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Kata-dori IKKYO, Omote

SW Kosa-dori Dai IKKYO

SW Shomen-uchi Dai IKKYO'01

SW Shomen-uchi Dai lKKYO'05

TW Shomen-uchi Dai IKKYO

Hanmi-handachi SHIHO-NAGE

Hanmi-handachi SHIHO-NAGE,Katate-dori - number 2

Kosa-dori Dai SANKYOKOTE-GAESHI

TENCHI-NAGE

-

,

-

[]

// :B.A.F. Newsletter, 2001, No 39

KATA-DORI

IKKYOOmoteDemonstrated and explained

by Kanetsuka Sensei

Photos and text: Peter MegannGraphics and typesetting: Graham

and Laura JonesUke: Richard Martin

1 Suwari-waza

The particular benefit from suwari-waza ikkyo (and particularlyfrom kata-dori) is that it enables us to concentrate on 'solid'contact with our partner and to learn correct ma-ai. The distancebetween you and your partner is very short: the contact is verydirect. Don't hurry when you are studying this technique.

Photo 1: BothTori and Ukestart in seiza,Uke graspsTori's leftshoulder (witha view tocontrolling andattacking Tori)and is ready topull (hence theomote versionof thistechnique).

Photos 2a & 2b: Making atemi, Tori comes onto his toes (kiza)and moves off the line of attack, slightly to his left with hisconcentration remaining on Uke's centre. Tori's centre of gravity islow. Notice the movement of Tori's left arm. His hand is

outstretched, the thumb turning down. Body and arm move to theleft together. As Tori moves to his left his weight comes onto hisleft knee. The movement is essentially that of sokumen (to theside). Uke's position is now considerably weakened. Tori's ki orstream of energy is flowing up from his toes, through his kneesand centre towards Uke's armpit or neck.

.. . Kata-dori IKKYO, Omote http://www.ryusinkan.ru/article.php?aid=2&lang=en&PHPSESSID=16...

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Photos 3a & 3b: Tori's left arm swings up in an arc to makecontact with Uke's arm just above the elbow with his te-gatana(hand-blade*), while keeping his left elbow low. With his righthand Tori clamps Uke's gripping hand firmly against his shoulderwith what we might call a nikyo grip. (Do not try to free yourselffrom your partner's grip). During this action Tori begins to shift his

centre of gravity onto his left knee, without leaning to the side.Keeping his body low, Tori extends his left te-gatana furtherthrough Uke's elbow, while pressing his left shoulder against Uke'sright hand. This movement comes very much from your centre,with a cutting feeling that engages the whole body, rather than a


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feeling of simply pushing with your hand. This action causes yourpartner to lose his balance as his elbow and shoulder come up, andif it is performed correctly you should need to use very littlestrength in your arms.

* The expression te-gatana is formed from two words; te ( ),

hand, and katana ( ), blade (the characters can also be read

as shu and to and pronounced sh'to). However, for Japanese temeans not just the hand alone but also the forearm. In thiscontext the contact is made not with the hand but with the partof the ulna bone just below the wrist.

Photo 4: Tori slides his right knee a little forwards and shifts hiscentre of gravity onto this knee (this is like the reverse of theaction shown in photos 2a and 2b).

Photo 5: Tori starts to move his left knee and hip forwards acrossUke's front, at the same time cutting down with his left arm. Theresult is that Uke is brought down in a semicircular movementaround Tori's shoulder.

Photo 6: AsUke is broughtdown to thetatami, his gripon Tori'sshoulder isrelaxed. NowTori graspsUke's arm justabove theelbow in theusual ikkyo

manner. He isstill holdingUke's right

hand with the original nikyo grip. Tori slides his left knee towardsUke's armpit.


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Photo 7: Torifinishes thetechnique inthe samemanner as withomoteshomen-uchi

ikkyo (fromkosa-dori /ai-hanmikatate-dori).He movesUke's arm toan angle of more than 90from his body,

ideally about 100-105. Tori is silting up on his toes (in kiza),inclining slightly forwards, his back straight and his eyes lookingtowards the tatami several feet beyond Uke. His two knees andhis ankles (drawn together) make a very solid triangle. With his

right knee placed on the inside of his right wrist and his left kneeclose to Uke's armpit, his knees have a feeling of expanding inboth directions. With relaxed shoulders and arms he shifts hisweight, with a rocking feeling, onto Uke's elbow. This is essentiallythe same as the finish of the suwari-waza kokyu-ho exercise.

Learn how to move with your whole body; you must move like apyramid. Don't lean forwards. The sokumen version of thetechnique shown here is the basic form. However if your partnerpulls strongly, raise your hips (coming from seiza to kiza) andmake a more direct ornate movement, driving your left kneeforward (and moving with shikko), your loft knee and your leftte-gatana working together.

2 Tachi-waza


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Photos 8, 9a & 9b: Tori is in hidari gyaku-hanmi. As Uke takesTori's left shoulder and pulls, Tori - keeping his body upright -lakesone step to the side, moving slightly forward and making atemi toUke's face. (But don't advance too much to your partner's side,otherwise you will find yourself behind your partner and will not beable to apply the technique.) After making atemi Tori's right handcomes down Uke's arm in a kind of stroking motion to take Uke'sfist and clamp it to his shoulder. (Keep your right elbow down asyou do this.)

Photo 10: As Toribrings up his te-gatanato Uke's elbow, helowers his centre ofgravity and brings itstrongly over his back(left) foot, (Again, don'tgrip your partner'selbow). Slash upwardswith your te-gatanamaking contact with thepart of your arm just

below your wrist andkeep your hand openand dynamic. The actionis rather like that ofsawing upwards against


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your partner's upperarm. Don't try to grip orlift your partner's arm, and don't try to take your partner's armfrom your shoulder. (Use your shoulder to control your partner'saction,) This action makes Uke's elbow rise and unbalances him.Tori clamps Uke's right list against his shoulder (at a pointbetween his collar-bone and ribs) with the same grip as inkata-dori nikyo: thumb on thumb.

Photos 11 &12: Tori bends his front knee, advances his right hipand shifts his centre of gravity to his right across Uke's front. Thishas the effect of bringing Uke downwards.

Photo 13: AsUke loses hisbalance, hisgrip on Uke'sshoulder is

released.Without delayTori grips Uke'selbow, thenslides his leftfoot towardsUke's upperbody. Thefeeling is like

that of thrusting with a spear towards Uke's armpit. Tori's lefthand now grasps Uke's elbow. The action in photos 12 & 13 mustbe of one movement: there should be no pause in between. AsTori's left foot advances there is a moment (in between photos 12& 13) when his knees come together before the left foot changes

direction towards Uke's armpit. In other words, it moves in theshape of the letter L.

Photos 14 -16: Tori placeshis left knee onthe tatami nearUke's armpit,then rocks onhis left knee

bringing hisright kneetogether withUke's left armdown to the


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tatami. If we now review the movements of Tori from thebeginning (photo 8), he moves left-right, left-right.

Tori finishes in a very solid, square-like posture. His two kneesand his ankles placed together make a triangle or tripod. He issitting in kiza (up on his toes), settling down on Uke's right arm,with his back straight. There is a rounded feeling in his armssimilar to the final stage of the suwari-waza kokyu-ho exercise. Toapply the final pin rotate your partner's wrist strongly forwardswhile at the same time applying pressure with your hands asthough bringing the index fingers of each hand together in atriangle shape. The heel of your left hand is bearing down on yourpartner's arm just above his elbow.

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Kosa-dori Dai SANKYO

KOTE-GAESHI

TENCHI-NAGE

-,

-

[]

// : B.A.F. Newsletter, 2005, No 51

Suwari-Waza Kosa-doriDai-Ikkyo

Ude-osaeDemonstrated and explained by

Kanetsuka Sensei

Photos and text: Peter MegannGraphics and typesetting: Graham and Laura

JonesUke: Richard Martin

Kosa-dori Dai-lkkyo is particularly important for studying te-sabaki(hand movement) notonly in the execution ofDai-lkkyo but of many techniques.

Photos 1a & b: With his right hand Uke grasps Tori's rightwrist and threatens to strike Tori's head with his other hand(though there are various other ways in which he can attackafter taking Ton's wrist). Tori's thumb starts to turn inwards,pointing towards his nose, and with this turning of the wrist theforearm is twisting like a coil and the elbow begins to risenaturally outwards. There is a feeling of tension between Ton'scentre and Uke's, like when drawing a bow with an arrow. Atthis first contact, Tori's movement starts at his wrist, then

expands like a wave to his elbow and then to his shoulder. The shoulder and arm should berelaxed and the movement should be of a sinuous nature.

Photo 2: Coming up onto his toes Torislides his left knee to the side. At the same time heraises his right arm, protecting his head (furi-kaburi). With one movement you have toprotect yourself and control your partner: defence and attack happen at the same time.Both arms have the round, extended feeling of the suwari-waza kokyu-ho exercise. Eventhough his left arm is not yet making contact it is nevertheless engaged in the movement -not hanging inactive by his side. Tori's right hand continues to circle Uke's wrist, the thumbpointing to his (Tori's) left shoulder. The contact with Uke's wrist is through Ton's 'hand-blade'.

Photo 3: Tori changes direction, his rightknee sliding slightly to the right. I3e carefulnot to push your partner during stages 1 - 3.You should simply move around the contactpoint (the point where you are gripped). In

Photo 3 Tori brings his left shoulder closer tohis hand, while continuing to raise and turnoutwards his right wrist. The effect of this is tobring Uke's elbow up so that his balance startsto be disturbed. After making atemi with hisleft hand Tori brings it up to make contactwith Uke's arm just above the elbow. At thesame time Ton's right wrist and hand arecontinuing to revolve against Uke's right wrist,like a differential gear, the thumb pointing

down now. It is important that both your hands work in unison. Notice how Uke's rightelbow has been brought up.

Photo 4: With the combined movement ofboth arms, just as in the suwari-wazakokyu-ho exercise, Tori brings Uke's arm in awide arc down to a point in front of his navel.During this movement Tori rolls Uke's wristoutwards and downwards. Avoid draggingyour partner. There is no need to grip

.. . SW Kosa-dori Dai IKKYO http://www.ryusinkan.ru/article.php?aid=39&lang=en&PHPSESSID=1...

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strongly with either hand: just maintaincontact and tension. The action throughPhotos 1 - 4 should be one of an unbrokenarc.

Photos 5 & 6: Pivoting on his right knee Toriadvances his left hip and slides his left kneeforwards towards Uke's right armpit. Hemoves with shikko, keeping his heelstogether.

Photo 7: Pivoting on his left knee Torislideshis right knee forwards and brings it intocontact with his right wrist and with Uke'sarm just above the wrist. It is important thatUke's arm is brought to rather more than 90to his body. Tori is sitting up onto his toes(kiza), putting his weight on his heels, histanden (lower belly) is thrust forwards and hisspine is slightly concave. His feet and twoknees form a triangle like a tripod. Heexpands his tanden and opens his knees witha stretching feeling. His right knee is insidehis gripping hand, as though locking it, his leftknee is in contact with Uke's upper ribs by thearmpit. Tori is stretching Uke's arm, pinningthe inside of his elbow to the tatami.

Breathing out Torirocks forwards, bringing his weight to bear through the heel of his handon the ligament just above Uke's elbow. The heel of his right hand is in contact with thepulse area ofUke's wrist. There is no need to grip strongly with either hand. You controlyour partner by shifting your weight, not through the power of your grip. Don't look downas you finish: concentrate your eyes on a spot several feet in front of you.

The essence of Ikkyo is to bring your partner face down and pin him/her to the tatamithrough the elbow.

2. Application: Defence against tsuki

Photo 8: (Uke takes a shikko step forwards and makes tsukito Ton's face. Instantly Toriconies up into kiza and moves off the attacking line to his left, sliding his left knee andraising his right hand to protect his head and neck and at the same time attacking Uke'sarmpit with his left hand. He makes contact with Uke's arm with his right hand-blade. Donot try to take hold or block at this moment. This contact is like when you startsuwari-waza kokyu-ho and bring your partner up.

Photo 9: Rotating his body to his right Torimakes contact with Uke's elbow with the heel ofhis hand, his thumb pointing downwards and lightly gripping the inside ofUke's arm. Ton'sweight is beginning to shift onto his right knee. The action of his hands in conjunction withthe rotation of his body unbalances Uke and turns him over.

Photo 10: Changing direction, Tori thrusts


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towards Uke's armpit. Because of the heightofUke's attacking arm in this instance he hasbrought his left knee up. But his body is notrising up: more a feeling of kicking. Hisenergy is flowing from the toes of both feet.

Photos 11 & 12: As Toribrings his left kneeto the tatami, he slides his right knee towardsthe wrist of his right hand, which is nowgripping Uke's wrist. The finish is the same asexplained in Photo 7.

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KOTE-GAESHI

TENCHI-NAGE

-,

-

[]


Important points in

SHOMEN-UCHIDAI IKKYO

(Suwari-Waza)

Demonstrated and explained byKanetsuka Sensei



Omote

Photo 1: In the omote form ofIkkyo it isTori who takes the initiative by making astrike at Uke's head. Note that if the ma-aiis not so great between Tori and Uke thereis no need for Tori to take a (knee) stepforward at he makes shomen-uchiat Uke'sforehead. Tori's action causes Uke to raisehis right hand to protect himself.

Photo 2: As Tori's hand descends towardsUke's head. Tori's weight comes onto hisright knee as he slides it slightly forward tothe right, keeping a strong feeling in thetoes.

Photo 3: Tori's right te-gatana (hand-blade) is cutting down, while his left handrises with a feeling ofatemi towards Uke'sarmpit and head and makes contact withthe under part of Uke's upper arm justabove the elbow. He is not actually grippingat this moment; just cupping Tori's arm withthe palm and little finger of his left hand.Tori's whole body is moving forward and tothe right. Two important points at thisstage: (a) Do not try to grip your partner'sright wrist (a common mistake). If you do,you will bend your elbow and your attackwill be weakened. (b) Don't push yourpartner away from you. Keep him at a

distance where you can control him withoutlosing your centre. Your energy should flowstrongly from your big toes as you makekiza. Keep your back straight; don't leanforwards. As you cut down, your right handmakes a small circle and your left handmakes a large circle as your body turns tothe right.

Photo 4: As Uke loses his balance, Tori'chases' him by bringing his left footforward. At the same time he grips Uke'swrist gently with his palm and little finger(no need for a strong grip).

.. . SW Shomen-uchi Dai IKKYO'01 http://www.ryusinkan.ru/article.php?aid=32&lang=en&PHPSESSID=1...

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Photo 5:Tori maintains his control ofUkethrough the position of his centre of gravityrather than by using arm strength. It isimportant to maintain good balance throughthe stages of Photos 4 and 5.

Photo 6:Tori's left knee conies down to thetataminear Uke's armpit and his right kneemoves forward to a point near Uke's wrist,inside his gripping hand. At this point Uke'sarm should be lying at about 105 from hisbody (certainly more than 90).

Photo 7: As Tori pins Uke's arm, hemaintains a good posture, sitting in kiza andkeeping a straight back, his feet (together)and his knees forming a triangle. Don't rise

up off your heels at this point. The inside ofyour partner's elbow should be in contactwith the tatami. Relax your shoulders andarms, and keep your armpits closed (thoughnot tightly). Keeping your centre of gravitylow, shift your weight with a rocking feelingonto your partner's elbow and wrist, as youbreathe out. Don't push down on yourpartner: simply settle your weight downonto his arm. Don't look down but look at apoint about a metre in front of you.

UraPhoto 8: As Uke makes a shomen-uchi strikeagainst Tori's head, Toririses up into kiza. His lefthand floats up to engage Uke's striking hand with

te-gatana (DO NOT GRASP THE WRIST). Note thatTori's left wrist is rotating at this point - as in thesuwari-waza kokyu-ho exercise - so that thethumb is pointing towards Tori's forehead, his leftelbow slightly expanding outwards as it movestowards Uke. The left arm is not held stifflyoutwards towards Uke but rises in an arc. Thefeeling is that of making a strike at Uke's forehead.Like the left elbow the right elbow is expandingslightly outwards. (Notice again the similarity withthe movement of the arms in the suwari-wazakokyu-ho exercise.) At the same moment Tori'sright hand floats up to meet Uke's arm just above

his elbow, making contact with a cupping action (see text for Photo 3). The action of botharms in unison is similar to the action of defending your head (furi-kaburi) in sword-work.Do not push against your partner during this action. There should be a feeling of 'dropping'

in your elbows. Your centre is advancing with energy flowing upwards from your toes; yourknees have not yet moved.

Photos 9-12: Tori slides his right kneeslightly forwards to a point just in front ofUke's left knee. Keeping his feet together hepivots on his right knee, his whole bodyturning to the left as he draws his left kneebackwards in a large arc. Be careful not topull your partner during this tenkanmovement. You must bring your partneraround you in a spiral movement. His armmust always be in front of your centre. Yourpartner should be as if floating in front ofyou. A stable, square-like feeling must bemaintained throughout the whole of thetenkan. As you begin to turn, rotate your

hand-blade (thumb turning downwards) todeflect your partner's power. The shape ofyour arms should remain constant (theyshould remain extended). Your right hand ispointing to the left and is at a point in linewith your navel. Your left hand is leading toa point just beyond your left hip. Don't grip


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too soon or your arras will straighten andyour wrists will roll over outwards. Rather,your wrists should be depressed so thatyour hands form an angle with yourforearms such as when you place yourhands on the tatami when you begin tomakez.a-rei(Photo 12). Keep your arms ina horizontal position and maintain the samepressure on your partner's arm. Don't usetoo much physical force: just keep contactwith your partner's arm. If you keep goodma-ai. move smoothly, keep a correct

relationship and don't force the movement,your partner will almost fly through the air.This is why the study ofkokyu is important.You should make one unbroken sweepingmovement with energy flowing from yourtoes to your palms.

Photos 13 & 14: The pin is the same as in Photos 6 & 7.

To conform with the standard terminology of Aikido techniques found in Hombu

publications we are now calling ikkyo, nikyo, sankyo, etc, dai ikkyo, dai nikyo,dai sankyo, etc., where daimight be translated as 'number' (i.e. 'number one','number two', 'number three', etc.)


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KOTE-GAESHI

TENCHI-NAGE

-,

-

[]


Suwari-WazaShomen-uchi Dai-Ikkyo

(or Ude-osae)Demonstrated and explained by

Kanetsuka Sensei



Dai Ikkyo ('Number One Study') or Ude-Osae ('Arm Pin') is one of the most importanttechniques in Aikido. "It is said that in Aikido you hardly need learn other techniques if youcan master it" (Aikido by Kisshomaru Ueshiba). It is the basis of all pinning techniques(katame-waza) and the essence of the technique lies in turning your partner's elbow over.From Dai Ikkyo proceed the other important pinning techniques: Dai-Nikyo, Dai-Sankyo,Dai-Yonkyo and Dai-Gokyo. Essentially, with Ikkyo you control the attacker through hisarm.

1. Omote

Photos 1, 2a & 2b: Anticipating an attack from Uke, Toriinitiates an attack with shomen- uchi. the fingers pointingupwards: the hand is not pushing. The purpose of this is toprovoke Uke to block in order to protect himself and soenable Tori to grasp under Uke's elbow with his left hand.Note that Tori rises onto his toes (kiza) as he makes theblow. This means that his centre rises so that he is notpushing Uke's arm up with his hands. He makes contact withUke's right forearm with his right hand-blade (te-gatana). Donot grasp Uke's wrist at this point. At the same time Tori'sleft hand cups Uke's arm just above the elbow, the thumbmaking good contact on the inside of the arm. In this way it is easy to turn Uke's elbowover.

While making this first contact Tori is already turning his body to his right, his weightbeginning to shift onto his right knee. In other words, he is already deflecting Uke's bodyfrom the first contact, rather than pushing him backwards.

Photo 3: Tori slides his right kneediagonally to the side. At the same time hecuts down in a circular movement with hisright te-gatana and rolls Uke's elbow overwith his left hand. The two hands should beworking in unison. The movement ofTori'scentre is what dictates this action: thereshould be no pushing or thrusting. Tori isessentially in hanmi now. His overallposture is triangular, like a pyramid. This isa pivotal point of the technique. From thisstage you can execute the omote forms ofikkyo, nikyo, sankyo and yonkyo. Gokyo

too is possible, though it needs a change ofgrip at the stage of Photo 2.

Photo 4: The formation of the body and armsis similar to that at the end ofkokyu-ho. Tori

.. . SW Shomen-uchi Dai lKKYO'05 http://www.ryusinkan.ru/article.php?aid=37&lang=en&PHPSESSID=1...

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has now grasped Uke's right wrist. Don't turnyour wrist over: you should be maintainingcontact with the heel of your hand, your littlefinger and your ring finger - the fingersgripping lightly. The index fingers of bothhands are pointing inwards. Tori's grip onUke's elbow is identical. The grip with thehand should not be regarded as independentof the rest of the arm. Shoulder, elbow andwrist are all involved; and the position of theelbow is very important. Think of the grip asa sankyo grip. There should be no pushing at this point: more a matter of deflecting Uke's

body. You should be quite relaxed - like holding a large balloon.

Photo 5: Pivoting on his right knee Toriadvances his left hip and slides his left kneeforwards towards Uke's right armpit. Hemoves with shikko, keeping his heelstogether. The action on Uke's arm is likethrusting with yari (spear) towards Uke'sright armpit.

Photo 6: Tori swings his right hip and kneeforwards, pivoting on his left knee. In thisinstance Tori raises his right knee becauseof the disparity of size with his partner, whois much bigger (it is difficult to cover thedistance simply with normal shikkomovement). In other circumstances Toricould simply slide his right knee forward.

Photos 7-8: In the final pin Toriopens his knees so that his left knee is expanding towardsUke's armpit and his right knee comes to Tori's wrist. It is important that Uke's arm isbrought to rather more than 90 to his body. Tori is now sitting up on his toes (kiza) puttinghis weight on his heels (the role of the toes is important at this point), his tanden is thrustforward and his spine is slightly concave (don't hunch the back). Tori's feet and two kneesform a triangle, like a tripod. His right knee is inside his gripping hand, as though locking it.Toriis stretching Uke's arm, pinning the inside ofUke's elbow to the tatami. Breathing out,he finally brings his weight to bear on the ligament just above Uke's elbow. His energy isflowing down his left arm towards his fingertips. He is looking forwards to a point about twometres in front.

2. Ura

Photo 9: In this situation Uke has begun theaction by making shomen-uchi. Toririses ontohis toes, slides his right knee forward andintercepts Uke's attack by swinging his handsup to protect his head. His elbows areexpanding and the feeling is like that of anumbrella opening. As Tori's left forearmmeets Uke's forearm with te-gatana and isready to twist and deflect Uke's power to theleft, his right hand grasps Uke's upper arm(just above the elbow). The 'cupping'

formation of this hand is the same as at thebeginning of the 'omote'response in Photo 1.This is not a blocking but a deflecting action.

Be careful not to push.


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Photos 10 & 11: Torislides his right knee forward slightly and starts to turn Uke's elbowover, rising up from his toes so as to advance his centre. But at the same time Tori isturning to his left, pivoting on his right knee, so the thrust of his movement is not forwardsbut slightly to the side. Compare the action of the hands with that in suwari-wazakokyu-ho, the left hand going down and the right one going up, with the body turning tofollow. The left knee is drawn backwards but this does not mean that Tori's centre ismoving backwards. His centre remains always in the centre of the movement: Uke's elbowis always in front ofTori's centre. Do not turn away from your partner and leave his bodybehind, otherwise you will have to drag your partner round. The line of the arms shouldcorrespond with that of the hips during the whole turn. The bodies of Toriand Uke mustmove in unison.

Photo 12: Toricontinues to pivot on hisright knee until, drawing his right hipround, he finishes at right angles to theoriginal line. The pin is the same as inPhotos 7 & 8.


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KOTE-GAESHI

TENCHI-NAGE

-,

-

[]


Tachi-WazaShomen-uchi Dai-Ikkyo

(or Ude-osae)Demonstrated and explained by

Kanetsuka Sensei



The basic difference between Suwari-waza Shomen-uchi Ikkyo (demonstrated in issue no.49) and Tachi-waza Shomen-uchi Ikkyo is that in the latter there is much more bodymovement. Essentially the execution ofDai-lkkyo (in both suwari-waza and tachi-waza) isthe same as that ofSuwari-waza Kokyu-ho in the way that Tori's arms and body move incomplete harmony; and contact is maintained by Toriwith his partner from beginning toend.

1. Omote

Photos 1 & 2: Toriand Uke are directly facing each other. Tori's arms are relaxed, justhanging. Anticipating an attack from Uke. Torislides his right foot forwards and swings hisright arm upwards to make shomen-uchi.

Photo 3: With okuri-ashi (the right footleading with a large step, the left following)Tori approaches Uke, lowering his centre ashe does so. Toricuts down and Uke raises hisright arm to protect himself. Tori makescontact with Uke's forearm with his righthand-blade (te-gatana) do not take hold ofyour partner's wrist at this pointand at thesame time swings his left hand up (with afeeling of attacking Uke's armpit) to makecontact with Uke's arm just above the elbow,

his hand cupping the elbow in a U-shape withthe thumb making contact on the inside of thearm. At this point Tori's weight has come ontohis front knee as with 'ey' in the tori-funeexercise and his posture his very positive,heels pointing in and toes pointing out(shumoku-no ashi).

.. . TW Shomen-uchi Dai IKKYO http://www.ryusinkan.ru/article.php?aid=38&lang=en&PHPSESSID=1...

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Photo 4-5: Toristeps off the attacking line with his right foot. At this moment his body isturning to the right (not twisting - the back heel must stay in contact with the ground). Atthis point Tori's left arm is rising while his right arm is making an arc downwards andoutwards. You must maintain a feeling of expansion and of 'the unbendable arm'. As aresult of these movements Uke's body is twisted away from Toriand he is taken completelyoff balance. Note that even though it might look as ifTori is pushing Uke over, he is notpushing at all. As a result of Ton's body-turning Uke is twisted, naturally, away anddownwards. Tori's hands remain in the same relationship with his body, with the samepressure - like a balloon. Both arms move in harmony, the left one cutting up and the rightone cutting down, applying equal power, so that even if you are not gripping, it shouldwork. There should be no forcing. Toricontrols Uke's body through this action upon Uke'sarm (this is why the technique is also called Ude osae: 'arm pin').

Notice the position ofTori's right hand on Uke's wrist (this is like a Sankyo grip). The heel ofthe hand is in contact with the inside of Uke's wrist over the area of the pulse. Tori isgripping only lightly. His left hand is making the same kind of contact just above Uke'selbow. During this movement there is an unbroken, smooth flow of power (ki no nagare)from the back foot to the front foot.

Photos 68: Tori's back (left) foot moves inan arc, first bringing the knees together(Photo 6) then turning towards Uke (Photo 7).The weight is still on the right foot. Theformation ofTori's arms and the contact withUke's arm remain constant. There is nopushing or gripping, simply holding. As Toridirects his left foot towards Uke there is afeeling of attacking Uke's armpit with yari(aspear) jo with a thrusting movement. Theleft foot is pointing towards Uke's face andthe left knee towards his armpit. It is Tori'scentre which is moving towards Uke, not hisarms, as Torishifts his weight forwards as intori-fune.

The body movement shown in Photos 3-5 andin Photos 7 - 8 is very similar: simply thesequence of the foot movements is different(the right foot leading in the former and theleft foot in the latter).

Photo 9: Once your partner's movement hasstopped and he has reached the tatami, don'tmove any further forward or else you will be

pushing. Tori now changes direction,

advancing his right foot to the right andmoving his left knee to Uke's armpit, sobringing Uke into a completely prone position.

Photos 10 & 11: Pivoting his hips around hisleft knee, Tori brings his right knee to thetatamiand brings it up to a point between histhumb and Uke's wrist. Uke's arm is broughtto rather more than 90 to his body. Tori


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finishes sitting up on his toes (kiza) with hisfeet together (see Photo 20). His feet and

knees form a triangle, like a tripod. Toristretches Uke's arm, pinning the inside ofUke'selbow to the tatami. Exhaling he rocks forwards from his toes and shifts his centre ofgravity forwards. He expands his tanden and brings his weight to bear on the ligament justabove Uke's elbow, his energy flowing down his arms towards his finger tips. As he finisheshis shoulders are relaxed and his spine is slightly concave. He fixes his eyes on a pointabout two or three feet in front.

2. Ura

Photo 12: Uke starts the action, sliding his left foot forward and making shomen-uchiatTori's head.

Photo 13: Tori protects himself, meeting the attack in gyaku-hanmi contact, withfuri-kaburi('protecting the head'), his arms expanding like an umbrella opening. Torislideshis right foot slightly forwards and to the side.

Photo 14: Toristarts to turn his body to the left, pivoting on the front part of his right foot,receiving Uke's power. His relationship with Uke is now more square (rather than inhanmi), with his weight mostly on his right foot. The action of his arms is the same as inPhotos 3 & 4.

Photo 15: Tori's body continues to turn tothe left. Notice the position of his left foot. Hisweight is now decidedly on his right (back)foot as in the moment of 'ho' in the tori-Juneexercise. He has brought Uke's arm in front of

his abdomen. This action is exactly the sameas that in Photos 4-5. There should be nopushing at this point. Ton's arms are simplyswinging up and down.

Photo 16: When he has brought Uke's arm infront of his abdomen - and not before - Toriturns his eyes to the left and continues hisspherical turning movement, stepping backstrongly with his left foot (though maintaininghis weight on his forward foot) and bringingUke around with him. Tori's body turnsthrough about 270. In executing this turnyou must maintain the harmoniousrelationship with your partner: you and your

partner should form one unit without anyseparation. Uke's arm must remain in front ofTori's abdomen so that Tori does not dragUke as he turns. Tori is always at the side of

Uke (sokumen).

Photos 17 &18: Now Tori'srelationship withUke is moresquare with a

low stance. Toriputs his rightknee on thetatami with hisleft knee sti llraised (thiscorresponds to


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the situation inPhoto 10).

Photos 19 & 20: The action here is the same as in Photo 11.


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TENCHI-NAGE

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,

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[]


Hanmi-

handachiSHIHO-NAGE

Demonstrated andexplained by

Kanetsuka Sensei

Photos and text: Peter MegannGraphics and typesetting: Graham and

Laura JonesUke: Richard Martin

Hanmi-handachi shiho-nage techniques are important not simplyas throwing techniques but as training in how to sit (seiza), how tomove with correct shikko, how to shift the centre of gravity fromfront to rear, how to turn the body through 180. how to stand upwithout wobbling (as in the ryote-doriversion).

1. Katate-doriPhoto 1: The situation: Toriis sitting in seiza with hishands placed on his knees.Uke. moving off the attackingline, seizes Tori's left wristwith the intention of pullingToritowards him and strikingor kicking him. Responding toUke's pull Tori rises onto histoes into kiza so that thecontact point between Uke and Torigoes down so that even ifUke

is holding strongly his force is deflected: he loses control ofToriand he is brought off balance. As Torilifts his left elbow there is afeeling of slashing Uke's lower leg. There must be no pushing here.

Photo 2: Responding to Uke'spull. Toripivots on his right kneeand slides his left knee slightlyforward (not further than Uke'scentre), his right toes followinghis left toes {shikko). (Tori'sposture is now exactly the sameas in Photo 1 except that he is

sitting in kiza rather than in seiza,and his weight is coming up andforward. Essentially it is hiscentre which is moving.) (Do notmove too far forwards: the kneesare almost the same distanceapart as in the starting position.)Tori now makes atemi with hisright hand as he raises his lefthand from his knee. His left handis open and turned up. the thumbturning inwards. His left elbow isturned slightly outwards so that

the shape is like that insuwari-waza kokyu-ho exercise.Note how Tori's movement hasbrought his front knee forwards tobring him into a triangularposition relevant to the original

.. . Hanmi-handachi SHIHO-NAGE http://www.ryusinkan.ru/article.php?aid=35&lang=en&PHPSESSID=1...

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forward line. In other words he isnow in what is essentially hidari-hanmi.

Photos 3 & 4: Without pushing,pulling or lifting (the feeling is morelike the left hand floating) - it's amatter of leading Uke: Tori and Ukemust be 100% in harmony - Toritakes Uke's right wrist with his righthand and swings his left hand upwardsas his left elbow expands. At the sametime he inclines his body forwards sothat his head approaches his hands.This movement is just as in making asitting bow but in a vertical plain. Thecentre or contact point of this armmovement is first the left wrist joint,then the elbow joint and finally theshoulder joint, which moves like a hinge. His two wrists arecrossing at this point. As Toricuts up so that his hands cover hishead (furi-kaburi), his elbows expanding, he starts to transfer hisweight from his left knee to his right toes with a rockingmovement. Note how Uke is brought up onto his toes and his bodyis turning away from Tori. He finishes behind Tori. You must cur upin a straight vertical line and not be in a hurry to turn.

Photo

5 & 6:Tori

turnshis bodythrough180.

changing from hidari-hanmi to migi-hanmi. The relationshipbetween Toriand Uke in Photo 5 is the same as in haishin-undo(back-stretch exercise). Tori's left knee moves slightly forward inPhoto 5. Note that Torikeeps Uke's hand in front of his foreheadduring this turn. As Torifinishes this turn the gripping action of hisright hand on Uke's wrist is like that of sankyo, twisting orwringing just as when you apply sankyo to your own wrist inwarm-up exercises. His right hand is touching Uke'sshoulder-blade while his left hand is pointing towards Uke's neck.As he completes the turn (Photo 6). Toriis cutting downwards (notoutwards). If this operation is done correctly Uke simply falls tothe ground without any need for Torito throw. Uke steps back and

makes ushiro-ukemi.


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2. Ryote-dori

Photo 7: Tori followsUke's fall and sticksclosely to him to pinhim, his right handcoming down to hisright knee. Keepingyour feet togetherslide your kneeforwards and finish inkiza withzan-shin.

Photos 8 & 9: WhenUke grips both hiswrists and pulls himforwards. Tori risesonto his toes andfollows Uke.

extending his arms,opening his hands andkeeping his backstraight.

Photo 10: Tori stepsforward positivelywith his left foot (a)while taking Uke'sright wrist with hisright hand, his lefthand pointing upwardsas he turns his wristinwards with ascrewing action. Toribrings his hands up infront of his foreheadand inclines his headtowards them, as inPhoto 3. His rightknee moves up to his

left heel (b) with theprinciple of tsugi-ashi (donot leave your left kneebehind or else you will havedifficulty standing upsmoothly), and his rear foot

finishes on a straight linebehind his forward foot; i.e.his lower leg does not finishat right angles to the line ofhis advance. As Tori'scentre moves forward andhis arms cut up Uke isbrought up onto his toesand above Tori.

Photo11: Toristandsstraightup. Thecrown of


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his headis nowthecentreof the

movement. His weight is on his forward foot.

Photo 12: Keeping Uke's hands in front of his forehead Toriturnsthrough 180 to his right, pivoting on the balls of his feet (first onthe left foot and then on the right) and maintaining a low posture.

Photos 13 & 14: At the same timeas Toristarts to lower his hands hesteps back with his right foot. Thereason why Tori steps back at thispoint is in order to maintain goodbalance and ma-ai. If he does not

take a step back, the movementbecomes very tight. The action fromPhoto 10 to Photo 15 must becontinuous and flowing.

Photo 15: As Ukefalls Tori stepsforwards with his rightfoot, advancing hiswhole body, andfollows him to thetatami. Of course.Tori can finish in a

standing hanmiposition (as Uke'sposture in Photo 1).

The most important point in this technique is to keep your partnerunder control from beginning to end: how to move naturally withyour partner, harmonizing your movement with his.



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KOTE-GAESHI

TENCHI-NAGE

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,

-

[]


Hanmi-handachiSHIHO-NAGE

Katate-dori - number 2


Photos and text: Peter Megann

Graphics and typesetting: Graham andLaura Jones

Uke: Richard Martin

In the following sets of photographs, set 'a' shows the shiho-nage technique, set 'b'illustrates the relationship of the technique to sword-movement, and set 'c' concentrateson the basic body and hand movements.

Photo 1a: This represents the most difficult situation for Toriwhen the attacker has every advantage. The challenge is howto overcome Uke without using force. As Uke grasps Tori's leftwrist with his right hand with a view to controlling Tori andpulling him forwards, he moves off the attacking line. As heholds Tori, his posture is similar to the forward movement ofdeep tori-fune, while he initiates an attack with his left hand.

Photo 2a: Coming up onto his toes, Tori slides his leftfoot forward and raises his left knee. At the same time hemakes atemiwith his right hand and extends his left arm,bringing his left hand - coming into a more horizontalplane with fingers spread and thumb turning inwards - tothe height of his solar plexus. His left elbow is turningoutwards with a feeling of slashing Uke's right lower leg.Note that Tori's right hand remains in front of his centre(his back foot, navel, left toes and left hand remain onthe same line). As Toriconies up onto his toes his centrerises and moves forwards. Note that the action of Tori'sleft arm resembles that at the beginning of thesuwari-waza kokyu-ho exercise, his fingers open with thethumb turning downwards and his elbow expanding.

Photo 2b: In the parallel movement with the sword, Toririses into kiza and raises the sword slightly. Note the lightgrip of the left hand, the fingers open, and contact withthe sword maintained simply with the base of the thumb.The sword pivots around the right wrist as the left handextends forward.

.. . Hanmi-handachi SHIHO-NAGE, Katate-dori - ... http://www.ryusinkan.ru/article.php?aid=54&lang=en&PHPSESSID=1...

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Photo 3a: As Tori lifts his hands above his forehead with his two wrists crossing, hetakes a small step forwards and starts to turn to his right, at right angles to theattacking line. He l ifts his left heel and pivots on the toes of his left foot and on his rightknee. The grip ofTori's right hand on Uke's hand is similar to that of applying sankyo,while the action of his left hand is similar to a hand receiving sankyo. Uke is nowbrought up onto his toes and his body is turning away from Tori, as Torieffects a kind ofwinding movement. Tori's weight is now on his right knee and heel.

The sword movement shown in Photos 3b 5b is known as maki-uchi () or'winding-strike'. The sword is not brought up vertically in front of the head as in thenormal shomen-uchi, but stays in the same place as Tori turns; so that that his leftelbow comes to the sword before he raises it above his head. (In Photo 3b the sword ishidden behind Tori's left arm.)

Photo 4a: Here is the mid-point ofTori's turning from front to back. As he reaches apoint at right angles to the attacking line, he lifts his right knee and comes up onto thetoes of both feet, pivoting under Uke's right hand. Note that he is not moving Uke's righthand at this point, simply pivoting underneath it. The flow of Tori's concentrationproceeds from his toes through his centre to his elbow. Here we note the essentialdifference between the 'solid' form of the technique explained in Newsletter no. 47 in

which Uke is brought round Tori, and this more 'flowing' form in which Torimoves roundthe contact point with Uke.

Photo 5a:Torireverses the postureshown in Photo 3a by bringing his leftknee to the tatami and raising his

right knee. He brings Uke's righthand close to Uke's right shoulderblade. The fingers ofTori's left handare pointing towards Uke's neck. Ifyou execute this movement correctlythere is no need to throw yourpartner. Uke should simply fall to the


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ground.

Photo 6a: As Uke falls, Toristicks tohim. He can finish either in kiza -pushing his tanden forward and histwo knees and his toes forming atripod - or he can finish in sonkyo,with his left knee on the tatamiandhis right knee raised (as shown inPhotos 6a and 6b). His grip on Uke's

right wrist with his right hand issimilar to that ofkosa-dori yonkyo.

It is important that you master the 'solid' form of this technique first, otherwise you willnot be able to execute the more 'flowing' form effectively. The 'solid' form is a simpler,circular movement with the advantage of developing stability and kokyu. The 'flowing'form is more advanced, requiring more tai-sabakiand flexibuity.


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TENCHI-NAGE

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,

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[]


Kosa-dori (or Ai-hanmi)

DAI SANKYO(Sokumen)Demonstrated and

explained byKanetsuka Sensei

Photos and text: Peter MegannGraphics and typesetting:Graham and Laura Jones

Uke: Richard Martin

Photo 1: Inkatate-dori orkosa-dori. atthe momentthat your

partner takesyour wrist youshould assumecorrect postureand correctma-ai, whichmeans havinggood contactwith your

partner. From this position you can make the Technique omote,ura or sokumen. The point is whether you can lead your partner.Here Uke has taken Tori's right wrist with his right hand (this iswhy the situation is called kosa-dori: 'cross-holding'), eitherpushing or pulling. At this moment he can strike Tori's head with

his other hand (or Tori can initiate a strike). Of course, Tori's wristcould be grabbed at chudan level. The situation in this photorepresents the most difficult one. It is impossible for Tori to cutstraight up with his right arm since Uhe's force is concentrated onhis right wrist. You should open your hand and splay your fingers.

Photo 2: Toricomes up ontohis toes, andsliding his kneeto the side hemoves his

whole body tohis left (withouttrying to movehis right wrist

independently). Notice how his hand has started to turn with thethumb pointing downwards and the palm towards the outside.Notice that the palm is open, the finger-tips are pointing inward,and Tori's ring finger is sticking to Uke's wrist. Tori's whole arm is

beginning to stretch outwards in the shape of an are, from theshoulder to the band, the elbow coming up and expanding (as itdoes when making za-rei). His hand begins to make a largecircular movement to the left (this is a little like The movement ofthe arms when we do breast-stroke in swimming), the finger-Lips

.. . Kosa-dori Dai SANKYO http://www.ryusinkan.ru/article.php?aid=10&lang=en&PHPSESSID=1...

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pointing inwards.

Photo 3: AsTori swings hisarm up, thecircular

movement ofhis handcontinuesupwards to theheight of hiseyes, thethumb pointingtowards hisnose, his wholearm extending.During thiswhole

movement his left hand stays in line with his body (not moving leftor right).

Photo 4: NowTori slides hisright kneeslightly to (heright, soturning hisbody to theright. Hisposition is now

essentially thatof sokumen('to the side').His left hand isprotecting himand at this

point his arms are crossed- At this moment the contact is identicalwith that of shomen-uchi ikkyo. You should not try to hold withyour right hand, just keep contact with your te-gatana ('hand-blade'), leading your partner's arm, not pushing it. Making atemiwith his left hand means that Tori is concentrating on his partner'scentre.

Photo 5: Tori'sright hand hascontinued in anunbroken circleand has comeback to thestarting pointof Photos 1 &2. To do thisyour shoulderand body must

be veryrelaxed. In thisway you avoidyour partner'sattack and


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control him without any struggle. The point is that you should beleading, not forcing your partner. So your movement should beone of expansion and extension: not pushing; rather, swingingyour arm up and down. Your whole body is turning to the right(not twisting), exactly as in suwari-waza kokyu-ho. Always keepsome space between you and Up to this point the movements areidentical with those of ikkyo.

Photos 6 & 7: While controlling Uke with his left hand just aboveUke's elbow, stretching his.arm from his shoulder. Tori slides hisright hand to hold Uke's fingers with a sankyo grip; but there is noneed to hold tightly. Note that you should not be pushing orgripping: just controlling. Your stream of energy should be flowingfrom your toes, through your knees up to your shoulders, thendown your arms to your hands, and crossing as shown in Photo 6.Keeping his back straight and moving his centre forwards Torislides his left knee slightly towards Uke's armpit and bead. Theaction on Uke's arm is like thrusting with a spear. But don't movetoo much at this point: just create kime (impact).

Photo 8: Torislides his lefthand to hisright hand andtakes Uke's

hand,controlling itwith a sankyogrip, screwingthe hand


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inwards. Again,there is noneed for a lightgrip and youshould notpush.

Photos 9 & 10: Tori maintains the screwing action on Uke's wristand elbow (the action is like that of a coil), keeping his left hand inthe same point in front of him as his body rises and he applies hiscentre of gravity upon Uke's lower arm. Bringing up his right kneehe makes irimi around Uke's wrist and places his right hand justabove Uke's elbow.

Photo 11: Toripivots on hisright knee(tenkan) and

finishes in kizain a positionwhich is justlike thefinishingposition of ikkyo, butreversed, as itwhere.

Photo 12:After sliding hisright kneeslightly to theoutside of Uke's shoulder,


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Tori pivotsround to bringhis left knee tothe other sideof Uke'sshoulder. (Notethat he issitting in kiza).He slides hisright hand upto (Uke's handto take overthe sankyo grip

from his left hand, not giving him the slightest chance to escape.Don't be too close to your partner at this stage. You need to leavesome space to manipulate his arm and allow his joints to adjust,thus avoiding injury. You notice that Tori's left knee has not yetcome very close to Uke's body.

Photos

13-15: Torihas slid hisright kneenearer to hispartner'sshoulder and isplacing Uke'shand onto hisleft shoulderand wrappinghis left hand,palm upwards,round Uke's

arm. It's not somuch a matterof clampingyour partner's

arm to your body as of hugging it. Keep your centre of gravity low(don't rise up off your heels) and keep your back straight. Beardownwards on your partner's arm at the same time as you rotateyour upper body in a circular path around his right shoulder-blade.This movement should be made without jerking, slowly and withcontrol. As soon as your partner taps, release the pressuresteadily.


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Photo 16-21: The first part of kosa-dori dai sankyo in tachi-waza.


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KOTE-GAESHI

TENCHI-NAGE

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,

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[]


KOTE-GAESHIDemonstrated and explained by

Kanetsuka Sensei

1. Omote (forwards)against Chudan Tsuki

Photo 1: Uke aims chudan tsuki at Tori'sstomach. The photo show the correct manner ofexecuting chudan tsuki.

Photo 2: Tori steps to the left, sliding his left footto the side of Uke's advanced foot, out of line ofUke's attack, at the same time protecting himselfwith his outstretched arms, hands open with thesame feeling as in the Suwari-wasa koku-ho

exercise, and making contact with Uke'sattatking arm in kamae (defensive posture).

Photos 3 &. 4: Maintaining contact wilh Uke's attacking arm, Tori pivots on his left tool and stepsback onto his righl loot.

.. . KOTE-GAESHI http://www.ryusinkan.ru/article.php?aid=5&lang=en&PHPSESSID=16...

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Photos 5 & 6: In order to increase the space (maai) between him and Uke (it is difficult to executeKote-gaeshi if you are too near your partner), and to have Uke's fist in front of his centre when heultimately turns, Tori now pivots to his right with tenkai-ashi to finish the movement with his weighton his right fool (as in shifting one's centre of gravity from one foot to the other in the tori-funeexercise), finishing at an angle of about 95 degrees to Uke. This movement further unbalances Uke.[Note that there should be no pushing against Uke's arm during the manoeuvre shown from Photos2-5: it's a matter of applying your weight onto your partner's arm through your body.] Tori has slidhis left hand down to Uke's wrist and now encloses Uke's fist. Note that, as the introductory photoshows, Tori takes hold of Uke's wrist essentially with the base of his hand, holding with his thumb ata point between the knuckles of Uke's little finger and ring-finger, while his fingers (excluding theindex finger), curl round the base of Uke's thumb, as in gripping a bokken.

Photos 7 & 8: Pivoting on the balls of his feet (tenkai-ashi), Tori turns through about 180 degreesaround Uke'a wrist. It's important not to lift your partner's hand at this point. You must keep it nohigher than your solar plexus so as to prevent Uke regaining his posture. As Tori turns towards Uke,

he makes atemi to Uke's face, and as Uke loses balance to his rear Tori rolls Uke's wrist backwardsand outwards, making use of both his hands. Note that this is not a matter of squeezing Uke's hand.As Tori's left thumb maintains pressure on the knuckles of Uke's hand, the fingers of his right handextend beyond Uke's fingers.

Photo 9: As Uke starts to lose his balancetowards his rear, Tori steps through with his rightfoot, sliding it in the direction of Uke's rear heel.At the same time he continues the rolling actionupon Uke's hand in the same direction as his rightfoot, so that as the movement is completed Toriis cutting down in a direct line, as when cuttingwith a bokken. It is important to note that thisaction is essentially the same as in shiho-nage.

[Of course, it is possible to make a larger tenkan

at the stage shown in Photo 5 and. by steppingback with the left foot while cutting down (Photo7). to make an 'ura' form of Kote-gaeshi.]

Photos 10-12: As soon as Uke is on the ground,Tori -while maintaining his grip on Uke's righthand - takes Uke's upper arm in a U-shaped gripwith his right hand, just above Uke's elbow. Thentaking a large step with his left foot to the otherside of Uke's head, he takes Uke's elbow in acircular movement around his (Uke's) head.While maintaining his control of Uke's arm. Toripivots on his left foot and finishes with his leftknee on the tatami near Uke's ribs, whileextending his right leg for a moment. You shouldnot push your partner's arm across his face inthis manoeuvre or drag him in any way. It's

more a feeling of rolling Uke's body over, usingyour body action and following the naturalmovement of Uke's shoulder and elbow joint.


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Photos 13-17: Now Tori sits in kiza, with hisknees placed lightly each side of Uke's rightshoulder. He carefully changes the grip on Uke'swrist, his right hand taking over and stretchingUke's wrist and hand in the crook of his leftelbow, and clamps Uke's hand against his chest.Keeping his shoulders and arms relaxed, Tori pinsUke's arm against his abdomen and upper body.With his armpits closed but without squeezingUke's arm into hi body. Tori completes theimmobilization by taking Uke' arm in a circular

movement around Uke's right shoulder. Note that(as Photo 17 shows), Tori is sitting up on his toesin kiza and energy is flowing from his toesthrough his body towards Uke's head. This isessentially the same immobilization as at thefinish of a Nikyo technique. Apply pressure in acontrolled way (never jerk) and stop applyingpressure as soon as your partner taps.


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KOTE-GAESHI

TENCHI-NAGE

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[]

Ryote-doriTENCHI-NAGE


Ten, meaning 'heaven' and chi, meaning 'earth', give this technique an unusually poeticname. The throw is so called because Toriunbalances Uke with one arm swinging upwardsand the other downwards. The most basic form, shown here, is with ryote-dori(in thiscase from ai-hanmistance). Tenchi-nage is essentially a form ofKokyu-nage. Is is a veryuseful exercise in te-sabaki(the use of the hands in Aikido movement) and for tai-sabakigenerally. The same principles of movement are used in many other techniques.

1. Omote (to the front)

Photos 1-4:Toriis in hidari ai-hanmistance. His arras form a kamae (defensive) posturewith the hands open in front of his centre, pointing directly at Uke, as with holding a swordin chu-dan. Tori's left hand cuts up with the same feeling as in the suwari-waza kokyu-hoexercise, the wrist rotating inwards and the thumb pointing towards his nose as the handrises. Do not open the arm-pit and lift the elbow too high. Keep the shoulders relaxed.Energy should flow from your back (right) foot through your centre to the fingers of yourleft hand.

With ayumi-ashi, Torislides his right foot forwards,: keepinghis knees well bent, so that it finishes well to the right ofUketo form sankaku (a triangle) with Uke's left] and right heels. Inthis movement Tori's right foot slides at an angle of about 30from Uke's attacking line. (You must take care not to finish tooclose to your partner, nor too far to the side. It will depend onthe situation and the reaction of your partner.) Then Torislides

his left foot forwards, the left ankle coming close to the rightankle (knees bent), as the left foot changes direction towardsUke's right heel.

The movement of Tori's right hand during this manoeuvreneeds careful study. The right hand swings downwards but alsoforwards in an action that is likecutting Uke's centre, the wrist

.. . TENCHI-NAGE http://www.ryusinkan.ru/article.php?aid=34&lang=en&PHPSESSID=1...

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turning inwards and the thumb downwards (rather like theaction of drawing the sword in Iaido), and the hand kept open and dynamic. The 'earth'element ofTenchi-nage is actually represented not so much by the downward cutting handas by the lowering of your centre of gravity. This is a very important point. After the initialcutting down, your right hand is not moving forward independently of your centre. It ismoving forward because your centre is moving forward. In other words, the distancebetween your centre; and your lower hand remains the same (Photos 2 and 4).

Once Uke is unbalanced as in Photo 4, the technique is all but complete.

Photo 5: As Uke falls, Tori continuesmoving andkeeping close contact. Note thatTori's arms have now the same shape andfeeling as at the end of the suwari-wazakokyu-ho exercise. They form an incompletecircle, the fingers pointing towards Uke.Maintainzanshin.

2. Ura (with tenkan)

Photo 6: From ai-hanmistance, Toritakes a step forward with a feeling ofattacking Uke's centre and assumesgyaku-hanmi.

Photo 7 & 8: Avoiding Uke's attack, Toritakes a small step aside with his left foot.His right hand cuts up vertically on theinside ofUke's wrist. With his left arm -the hand, palm upwards, staying in frontof his centre -he draws Uke forwards.This movement is identical with thebeginning of haishin-undo to the rear.Then continuing to unbalance Uke, Torimakes tenkan, sliding his right foot tothe rear. As you make this movement,it's important to keep your hands in frontof you. Do not pull your upper hand to

the side: it should finish more or less infront of your eyes. Turn the wristinwards as you cut up.


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Photo 9: Now Tori slides his left foot toUke's right side. Do not approach too closeto Uke at this point. Keep good maai inorder to maintain tension and keep Uke offbalance. This movement is the same as inthe omote form of the technique (Photo 2).

Photos 10 and 11: The action continuesidentical with that of the omote form shown

in Photos 5 & 6.


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