The Kids’ Karate Workbook is an engaging workbook meant to be used at home by young people who want to supplement their regular Karate or Taekwondo training. Drawing on the author’s more than 20 years of experience teaching martial arts to children, the book offers a step-by-step curriculum that traces a typical journey from first-day beginner to intermediate-level student. Along the way, kids learn about uniforms and etiquette; practice the most frequently used strikes, kicks, blocks, and forms; and unlock the basics of martial arts physics. The curriculum is highly interactive, inviting readers to answer questions and solve puzzles. It also highlights common mistakes to avoid, answers frequently asked questions, and points the way to a deeper understanding of martial arts. The easy-to-follow text is accompanied by 150 illustrations depicting the author’s own students—real kids who are also serious martial artists. While written for youngsters, the book is equally useful for parents who want to assist in practicing at home, as well as instructors who teach children.

Introduces karate, describing the equipment required; different stances, punches, blocks, and kicks; important terms; and how to improve technique.

Martial arts students don't just learn how to fight. They also learn lots of other important things they use every day—like concentration, for example. Martial artists are good at focusing on one thing at a time—and by practicing martial arts, you too can get better at concentrating. Concentration will help you do better in and out of school. Discover how martial arts can help you concentrate!

Martial arts students don't just learn how to fight. They also learn lots of other important things they use every day—like hand-eye coordination, for example. We use hand-eye coordination for everything from writing to playing sports to using a computer. Practicing martial arts can improve your hand-eye coordination, so you'll do better in and out of school. Discover how martial arts can improve your hand-eye coordination!

Martial arts students don't just learn how to fight. They also learn lots of other important things they use every day—like self-discipline, for example. Self-discipline is what keeps us going, even when it's hard work. Martial artists learn this skill, and it helps them with everything from studying for a test . . . to practicing an instrument . . . to playing sports. Discover how martial arts can help you learn self-discipline too!

This informative and helpful guide will assist your clients in making positive strides toward a nonviolent life. Some of the tips and suggestions that are further explained in this workbook include: Acknowledge to yourself and to others that you have a problem with anger, abuse, and control Address mental health and chemical use issues if they are present in your life Come to know that, when you become abusive, you are always feeling inadequate, powerless, and unlovable Realize that controlling and abusive behavior hurts you and those you love Understand that anger is different from abuse and control Recognize that becoming abusive is always a choice Instead of blaming others, take responsibility for what you feel, how you think, and how you act Accept that you cannot control or change other people Remember that you can always take a time-out Think about the possible consequences before you become controlling and abusive Identify what triggers your anger and your abusive and controlling attitudes and behaviors Notice what you are thinking: Your thoughts can increase your escalation or calm you down Become aware of all your feelings, not just your anger, and learn to respectfully communicate them to others Turn conflicts into positive problem-solving opportunities Control, abuse, and violence are learned: Think about the messages you received from your family and from society about what it is to be a man Redefine manhood as nonviolent and nonabusive Take the risk to count on other men for emotional support Learn to feel a genuine sense of pride by taking control of how you view the world and how you act Start to believe that you can truly change the controlling and abusive parts of who you have been

Martial arts students don't just learn how to fight. They also learn lots of other important things—like how to defend themselves. All martial arts teach you self-defense. But martial artists also learn when to use these moves—and when not to use them. They know that martial arts actually lead to less fighting! Discover how martial arts can help you defend yourself too!

Provides an introduction to tai chi, describing the fundamentals of tai chi practice and presenting twenty-four form sequences.

This is the seminannual Able Muse Review (Print Edition) - Winter 2013 issue, Number 16. This issue continues the tradition of masterfully crafted poetry, fiction, essays, art & photography, and book reviews that have become synonymous with the Able Muse-online and in print. After more than a decade of online publishing excellence, Able Muse print edition maintains the superlative standard of the work presented all these years in the online edition, and, the Able Muse Anthology (Able Muse Press, 2010). ". . . [ ABLE MUSE ] fills an important gap in understanding what is really happening in early twenty-first century American poetry." - Dana Gioia. CONTENTS: WITH THE 2013 ABLE MUSE WRITE PRIZE FOR POETRY & FICTION - Includes the winning story and poems from the contest winners and finalists. With the winner and runner-up sonnets from the 2013 Able Muse / Eratosphere Sonnet Bake-Off. EDITORIAL - Alexander Pepple. FEATURED ARTIST - Peter Svensson. FEATURED POET - Jehanne Dubrow; (Interviewed by Anna M. Evans). FICTION - Cheryl Diane Kidder, Charles Wilkinson, Blaine Vitallo, Donna Laemmlen. ESSAYS - A.E. Stallings, Peter Byrne, Philip Morre, David Mason, Chrissy Mason. BOOK REVIEWS - Rory Waterman, Jane Hammons. POETRY - Rachel Hadas, R.S. Gwynn, Catharine Savage Brosman, John Savoie, D.R. Goodman, Jeanne Wagner, Richard Wakefield, Melissa Balmain, Tara Tatum, Anna M. Evans, Matthew Buckley Smith, Stephen Harvey, Elise Hempel, Marly Youmans, Amanda Luecking Frost, Rachael Briggs, Chris Childers, James Matthew Wilson, Alex Greenberg, Catullus, Sappho, Theocritus.

Greed: A Confession showcases D.R. Goodman’s honed sensitivity to the human experience and the natural world around us. Her sensible scientific background melds with a meditative outlook: “this// is a vertebra/ from a cow.// It will win no prize./ It is just the childish wonder/ from which the rest derives.” This collection is a wellspring of keen observations, insight and secrets of nature, freely spilling out for those greedy for knowledge and enlightenment—as in the immediacy of “a certain joy/ that depends on nothing” and “wraps a tightness around your heart.” Here is a masterfully crafted finalist for the 2013 Able Muse Book Award—one brimming with delight, wit and insight. PRAISE FOR GREED: A CONFESSION I feel incredibly fortunate to have learned of D. R. Goodman’s poetry. Her technical control and powers of observation are extraordinary; diction, meter, and rhyming, superb. Writing about an egret, she details its “mind,/ a laser-focused eye, the weight of will”—attributes that apply equally to the poet. In “Autumn in a Place Without Winter,” she says, “The season brings/ no clarity, but this: we’re here, alive. . . .” This poet is alive to everything. You want this book. It’s terrific. —Kelly Cherry Goodman is greedy for things of this world—not in the rapacious, bottom-line manner of plutocrats, misers, and Wall Street brokers but for the enlightenment of the senses and the enrichment of her poetry. She’s sharing the wealth she accumulates. —John Drury (from the foreword) At the core of Greed: A Confession are natural ironies, or disjunctures, or improbabilities replete with intrigue. The poems are frames through which we view the events. D.R. Goodman is a scientist of natural history, which, for her, includes human experience. The poet shows us how to see. The deep pleasure she takes in the process displays itself, with characteristic irony, in “A Certain Joy.” —Clive Matson D.R. Goodman’s carefully crafted poems register a deep appreciation of the intricate meanings emanating from Nature’s tangible riches. “Depth cannot hide” from Goodman’s keen eye. “And so it flutters, sings,/ Betrays itself upon the face of things.” From the sudden appearance of a hundred tiny, freshly metamorphosed frogs, to ginkgo leaves’ brilliant, moonlit gold that “spurs imagination to those old/ heroic, dangerous quests of greed and sin,” the wondrous wealth of existence evokes joy that compels the poet to confess her “greed” in the presence of such good fortune. Even the blithe partake of a “certain joy”—certain: particular and definite—that is not attained or stumbled upon; it simply is—the gift of being: “There is a certain joy/ that depends on nothing./ One inhabits it./ It is there in the day/ when you walk out, whether chill and gray/ or magnified by light, and you inhale it.” Complex yet accessible, these formal and free-verse poems gift us with abundant insights to enjoy. —Beth Houston