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Ðþøèíêàí.ðó. Òåõíèêè. Kata-dori IKKYO, Omote http://www.ryusinkan.ru/article.php?aid=2&lang=en&PHPSESSID=16...
[Òåõíèêè]
// Èñòî÷íèê: B.A.F. Newsletter, Èþëü 2001, No 39
KATA-DORI
Íîâîñòè
IKKYO
Omote
Òåõíèêè»
Demonstrated and explained
Kata-dori IKKYO, Omote by Kanetsuka Sensei
SW Kosa-dori Dai IKKYO
Photos and text: Peter Megann
SW Shomen-uchi Dai IKKYO'01
Graphics and typesetting: Graham
SW Shomen-uchi Dai lKKYO'05
and Laura Jones
TW Shomen-uchi Dai IKKYO Uke: Richard Martin
Hanmi-handachi SHIHO-NAGE
Hanmi-handachi SHIHO-NAGE,
Katate-dori - number 2 1 Suwari-waza
Kosa-dori Dai SANKYO
The particular benefit from suwari-waza ikkyo (and particularly
KOTE-GAESHI from kata-dori) is that it enables us to concentrate on 'solid'
TENCHI-NAGE contact with our partner and to learn correct ma-ai. The distance
Áåñåäû ñ ñýíñýåì» between you and your partner is very short: the contact is very
direct. Don't hurry when you are studying this technique.
Ìàêêî-õō»
Îñíîâû, òåðìèíû» Photo 1: Both
Ãîâîðÿò ìàñòåðà» Tori and Uke
start in seiza,
Ñòîï-êàäð» Uke grasps
Ñëîâàðü Tori's left
shoulder (with
Àòòåñòàöèîííàÿ ïðîãðàììà a view to
Àäðåñ çàëà controlling and
attacking Tori)
and is ready to
pull (hence the
omote version
of this
technique).
Photos 2a & 2b: Making atemi, Tori comes onto his toes (kiza)
and moves off the line of attack, slightly to his left with his
concentration remaining on Uke's centre. Tori's centre of gravity is
low. Notice the movement of Tori's left arm. His hand is
outstretched, the thumb turning down. Body and arm move to the
left together. As Tori moves to his left his weight comes onto his
left knee. The movement is essentially that of sokumen (to the
side). Uke's position is now considerably weakened. Tori's ki or
stream of energy is flowing up from his toes, through his knees
and centre towards Uke's armpit or neck.
1 of 7 11/06/2009 11:22
Photos 3a & 3b: Tori's left arm swings up in an arc to make

contact with Uke's arm just above the elbow with his te-gatana
(hand-blade*), while keeping his left elbow low. With his right
hand Tori clamps Uke's gripping hand firmly against his shoulder
with what we might call a nikyo grip. (Do not try to free yourself
from 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 further
through Uke's elbow, while pressing his left shoulder against Uke's
right hand. This movement comes very much from your centre,
with a cutting feeling that engages the whole body, rather than a
2 of 7 11/06/2009 11:22
feeling of simply pushing with your hand. This action causes your
partner to lose his balance as his elbow and shoulder come up, and
if it is performed correctly you should need to use very little
strength 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 te
means not just the hand alone but also the forearm. In this
context the contact is made not with the hand but with the part
of the ulna bone just below the wrist.
Photo 4: Tori slides his right knee a little forwards and shifts his
centre of gravity onto this knee (this is like the reverse of the
action shown in photos 2a and 2b).
Photo 5: Tori starts to move his left knee and hip forwards across
Uke's front, at the same time cutting down with his left arm. The
result is that Uke is brought down in a semicircular movement
around Tori's shoulder.
Photo 6: As
Uke is brought
down to the
tatami, his grip
on Tori's
shoulder is
relaxed. Now
Tori grasps
Uke's arm just
above the
elbow in the
usual ikkyo
manner. He is
still holding
Uke's right
hand with the original nikyo grip. Tori slides his left knee towards
Uke's armpit.
3 of 7 11/06/2009 11:22
Photo 7: Tori
finishes the
technique in
the same
manner as with
omote
shomen-uchi
ikkyo (from
kosa-dori /
ai-hanmi
katate-dori).
He moves
Uke's arm to
an angle of
more than 90°
from his body,
ideally about 100-105°. Tori is silting up on his toes (in kiza),
inclining slightly forwards, his back straight and his eyes looking
towards the tatami several feet beyond Uke. His two knees and
his ankles (drawn together) make a very solid triangle. With his
right knee placed on the inside of his right wrist and his left knee
close to Uke's armpit, his knees have a feeling of expanding in
both directions. With relaxed shoulders and arms he shifts his
weight, with a rocking feeling, onto Uke's elbow. This is essentially
the same as the finish of the suwari-waza kokyu-ho exercise.
Learn how to move with your whole body; you must move like a
pyramid. Don't lean forwards. The sokumen version of the
technique shown here is the basic form. However if your partner
pulls strongly, raise your hips (coming from seiza to kiza) and
make a more direct ornate movement, driving your left knee
forward (and moving with shikko), your loft knee and your left
te-gatana working together.
2 Tachi-waza
4 of 7 11/06/2009 11:22
Photos 8, 9a & 9b: Tori is in hidari gyaku-hanmi. As Uke takes

Tori's left shoulder and pulls, Tori - keeping his body upright -lakes
one step to the side, moving slightly forward and making atemi to
Uke's face. (But don't advance too much to your partner's side,
otherwise you will find yourself behind your partner and will not be
able to apply the technique.) After making atemi Tori's right hand
comes down Uke's arm in a kind of stroking motion to take Uke's
fist and clamp it to his shoulder. (Keep your right elbow down as
you do this.)
Photo 10: As Tori

brings up his te-gatana
to Uke's elbow, he
lowers his centre of
gravity and brings it
strongly over his back
(left) foot, (Again, don't
grip your partner's
elbow). Slash upwards
with your te-gatana
making contact with the
part of your arm just
below your wrist and
keep your hand open
and dynamic. The action
is rather like that of
sawing upwards against
5 of 7 11/06/2009 11:22
your partner's upper

arm. Don't try to grip or
lift your partner's arm, and don't try to take your partner's arm
from your shoulder. (Use your shoulder to control your partner's
action,) This action makes Uke's elbow rise and unbalances him.
Tori clamps Uke's right list against his shoulder (at a point
between his collar-bone and ribs) with the same grip as in
kata-dori nikyo: thumb on thumb.
Photos 11 &12: Tori bends his front knee, advances his right hip
and shifts his centre of gravity to his right across Uke's front. This
has the effect of bringing Uke downwards.
Photo 13: As
Uke loses his
balance, his
grip on Uke's
shoulder is
released.
Without delay
Tori grips Uke's
elbow, then
slides his left
foot towards
Uke's upper
body. The
feeling is like
that of thrusting with a spear towards Uke's armpit. Tori's left
hand now grasps Uke's elbow. The action in photos 12 & 13 must
be of one movement: there should be no pause in between. As
Tori'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 the
shape of the letter L.
Photos 14 -
16: Tori places
his left knee on
the tatami near
Uke's armpit,
then rocks on
his left knee
bringing his
right knee
together with
Uke's left arm
down to the
6 of 7 11/06/2009 11:22
tatami. If we now review the movements of Tori from the

beginning (photo 8), he moves left-right, left-right.
Tori finishes in a very solid, square-like posture. His two knees

and his ankles placed together make a triangle or tripod. He is
sitting in kiza (up on his toes), settling down on Uke's right arm,
with his back straight. There is a rounded feeling in his arms
similar to the final stage of the suwari-waza kokyu-ho exercise. To
apply the final pin rotate your partner's wrist strongly forwards
while at the same time applying pressure with your hands as
though bringing the index fingers of each hand together in a
triangle shape. The heel of your left hand is bearing down on your
partner's arm just above his elbow.
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© Ïî âñåì âîïðîñàì è ïîæåëàíèÿì ïèøèòå ÷åðåç

Ðþñèíêàí.ðó îáðàòíóþ ñâÿçü
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[Òåõíèêè]
// Èñòî÷íèê: B.A.F. Newsletter, Ñåíòÿáðü 2005, No 51
Suwari-Waza Kosa-dori
Íîâîñòè
Dai-Ikkyo
Òåõíèêè» Ude-osae
Kata-dori IKKYO, Omote Demonstrated and explained by Graphics and typesetting: Graham and Laura
SW Kosa-dori Dai IKKYO Kanetsuka Sensei Jones
SW Shomen-uchi Dai IKKYO'01 Uke: Richard Martin
TW Shomen-uchi Dai IKKYO Kosa-dori Dai-lkkyo is particularly important for studying te-sabaki (hand movement) not
Hanmi-handachi SHIHO-NAGE only in the execution of Dai-lkkyo but of many techniques.
Katate-dori - number 2
KOTE-GAESHI
TENCHI-NAGE
Áåñåäû ñ ñýíñýåì»
Ìàêêî-õō»
Îñíîâû, òåðìèíû»
Ãîâîðÿò ìàñòåðà»
Ñòîï-êàäð»
Ñëîâàðü
Àòòåñòàöèîííàÿ ïðîãðàììà Photos 1a & b: With his right hand Uke grasps Tori's right
wrist and threatens to strike Tori's head with his other hand
Àäðåñ çàëà (though there are various other ways in which he can attack
after taking Ton's wrist). Tori's thumb starts to turn inwards,
pointing towards his nose, and with this turning of the wrist the
forearm is twisting like a coil and the elbow begins to rise
naturally outwards. There is a feeling of tension between Ton's
centre and Uke's, like when drawing a bow with an arrow. At
this 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 be
relaxed and the movement should be of a sinuous nature.
Photo 2: Coming up onto his toes Tori slides his left knee to the side. At the same time he
raises his right arm, protecting his head (furi-kaburi). With one movement you have to
protect 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. Even
though 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 thumb
pointing to his (Tori's) left shoulder. The contact with Uke's wrist is through Ton's 'hand-
blade'.
Photo 3: Tori changes direction, his right

knee sliding slightly to the right. I3e careful
not to push your partner during stages 1 - 3.
You should simply move around the contact
point (the point where you are gripped). In
Photo 3 Tori brings his left shoulder closer to
his hand, while continuing to raise and turn
outwards his right wrist. The effect of this is to
bring Uke's elbow up so that his balance starts
to be disturbed. After making atemi with his
left hand Tori brings it up to make contact
with Uke's arm just above the elbow. At the
same time Ton's right wrist and hand are
continuing 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 right
elbow has been brought up.
Photo 4: With the combined movement of

both arms, just as in the suwari-waza
kokyu-ho exercise, Tori brings Uke's arm in a
wide arc down to a point in front of his navel.
During this movement Tori rolls Uke's wrist
outwards and downwards. Avoid dragging
your partner. There is no need to grip
1 of 3 11/06/2009 11:22
strongly with either hand: just maintain

contact and tension. The action through
Photos 1 - 4 should be one of an unbroken
arc.
Photos 5 & 6: Pivoting on his right knee Tori

advances his left hip and slides his left knee
forwards towards Uke's right armpit. He
moves with shikko, keeping his heels
together.
Photo 7: Pivoting on his left knee Tori slides

his right knee forwards and brings it into
contact with his right wrist and with Uke's
arm just above the wrist. It is important that
Uke's arm is brought to rather more than 90°
to his body. Tori is sitting up onto his toes
(kiza), putting his weight on his heels, his
tanden (lower belly) is thrust forwards and his
spine is slightly concave. His feet and two
knees form a triangle like a tripod. He
expands his tanden and opens his knees with
a stretching feeling. His right knee is inside
his gripping hand, as though locking it, his left
knee is in contact with Uke's upper ribs by the
armpit. Tori is stretching Uke's arm, pinning
the inside of his elbow to the tatami.
Breathing out Tori rocks forwards, bringing his weight to bear through the heel of his hand
on the ligament just above Uke's elbow. The heel of his right hand is in contact with the
pulse area of Uke's wrist. There is no need to grip strongly with either hand. You control
your partner by shifting your weight, not through the power of your grip. Don't look down
as 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 tatami
through the elbow.
2. Application: Defence against tsuki
Photo 8: (Uke takes a shikko step forwards and makes tsuki to Ton's face. Instantly Tori
conies up into kiza and moves off the attacking line to his left, sliding his left knee and
raising his right hand to protect his head and neck and at the same time attacking Uke's
armpit with his left hand. He makes contact with Uke's arm with his right hand-blade. Do
not try to take hold or block at this moment. This contact is like when you start
suwari-waza kokyu-ho and bring your partner up.
Photo 9: Rotating his body to his right Tori makes contact with Uke's elbow with the heel of
his hand, his thumb pointing downwards and lightly gripping the inside of Uke's arm. Ton's
weight is beginning to shift onto his right knee. The action of his hands in conjunction with
the rotation of his body unbalances Uke and turns him over.
Photo 10: Changing direction, Tori thrusts
2 of 3 11/06/2009 11:22
towards Uke's armpit. Because of the height

of Uke's attacking arm in this instance he has
brought his left knee up. But his body is not
rising up: more a feeling of kicking. His
energy is flowing from the toes of both feet.
Photos 11 & 12: As Tori brings his left knee

to the tatami, he slides his right knee towards
the wrist of his right hand, which is now
gripping Uke's wrist. The finish is the same as
explained in Photo 7.
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© Ðþñèíêàí.ðó Ïî âñåì âîïðîñàì è ïîæåëàíèÿì ïèøèòå ÷åðåç îáðàòíóþ ñâÿçü
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[Òåõíèêè]
// Èñòî÷íèê: B.A.F. Newsletter, Äåêàáðü 2001, No 40
Important points in
SHOMEN-UCHI
Íîâîñòè DAI IKKYO
Òåõíèêè» (Suwari-Waza) Photos and text: Peter Megann
Kata-dori IKKYO, Omote
Graphics and typesetting: Graham and Laura
Demonstrated and explained by Jones
SW Shomen-uchi Dai IKKYO'01 Kanetsuka Sensei Uke: Richard Martin
TW Shomen-uchi Dai IKKYO
Omote
KOTE-GAESHI
TENCHI-NAGE
Ìàêêî-õō»
Ñòîï-êàäð»
Ñëîâàðü
Àòòåñòàöèîííàÿ ïðîãðàììà
Photo 1: In the omote form of Ikkyo it is Photo 2: As Tori's hand descends towards
Àäðåñ çàëà Tori who takes the initiative by making a Uke's head. Tori's weight comes onto his
strike at Uke's head. Note that if the ma-ai right knee as he slides it slightly forward to
is not so great between Tori and Uke there the right, keeping a strong feeling in the
is no need for Tori to take a (knee) step toes.
forward at he makes shomen-uchi at Uke's
forehead. Tori's action causes Uke to raise
his right hand to protect himself.
Photo 3: Tori's right te-gatana (hand-

blade) is cutting down, while his left hand
rises with a feeling of atemi towards Uke's
armpit and head and makes contact with
the under part of Uke's upper arm just
above the elbow. He is not actually gripping
at this moment; just cupping Tori's arm with
the palm and little finger of his left hand.
Tori's whole body is moving forward and to
the right. Two important points at this
stage: (a) Do not try to grip your partner's
right wrist (a common mistake). If you do,
you will bend your elbow and your attack
will be weakened. (b) Don't push your
partner away from you. Keep him at a
distance where you can control him without
losing your centre. Your energy should flow
strongly from your big toes as you make
kiza. Keep your back straight; don't lean
forwards. As you cut down, your right hand
makes a small circle and your left hand
makes a large circle as your body turns to
the right.
Photo 4: As Uke loses his balance, Tori

'chases' him by bringing his left foot
forward. At the same time he grips Uke's
wrist gently with his palm and little finger
(no need for a strong grip).
1 of 3 11/06/2009 11:23
Photo 5: Tori maintains his control of Uke Photo 6: Tori's left knee conies down to the
through the position of his centre of gravity tatami near Uke's armpit and his right knee
rather than by using arm strength. It is moves forward to a point near Uke's wrist,
important to maintain good balance through inside his gripping hand. At this point Uke's
the stages of Photos 4 and 5. arm should be lying at about 105° from his
body (certainly more than 90°).
Photo 7: As Tori pins Uke's arm, he

maintains a good posture, sitting in kiza and
keeping a straight back, his feet (together)
and his knees forming a triangle. Don't rise
up off your heels at this point. The inside of
your partner's elbow should be in contact
with the tatami. Relax your shoulders and
arms, and keep your armpits closed (though
not tightly). Keeping your centre of gravity
low, shift your weight with a rocking feeling
onto your partner's elbow and wrist, as you
breathe out. Don't push down on your
partner: simply settle your weight down
onto his arm. Don't look down but look at a
point about a metre in front of you.
Ura
Photo 8: As Uke makes a shomen-uchi strike
against Tori's head, Tori rises up into kiza. His left
hand floats up to engage Uke's striking hand with
te-gatana (DO NOT GRASP THE WRIST). Note that
Tori's left wrist is rotating at this point - as in the
suwari-waza kokyu-ho exercise - so that the
thumb is pointing towards Tori's forehead, his left
elbow slightly expanding outwards as it moves
towards Uke. The left arm is not held stiffly
outwards towards Uke but rises in an arc. The
feeling is that of making a strike at Uke's forehead.
Like the left elbow the right elbow is expanding
slightly outwards. (Notice again the similarity with
the movement of the arms in the suwari-waza
kokyu-ho exercise.) At the same moment Tori's
right 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 both
arms 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; your
knees have not yet moved.
Photos 9-12: Tori slides his right knee

slightly forwards to a point just in front of
Uke's left knee. Keeping his feet together he
pivots on his right knee, his whole body
turning to the left as he draws his left knee
backwards in a large arc. Be careful not to
pull your partner during this tenkan
movement. You must bring your partner
around you in a spiral movement. His arm
must always be in front of your centre. Your
partner should be as if floating in front of
you. A stable, square-like feeling must be
maintained throughout the whole of the
tenkan. As you begin to turn, rotate your
hand-blade (thumb turning downwards) to
deflect your partner's power. The shape of
your arms should remain constant (they
should remain extended). Your right hand is
pointing to the left and is at a point in line
with your navel. Your left hand is leading to
a point just beyond your left hip. Don't grip
2 of 3 11/06/2009 11:23
too soon or your arras will straighten and

your wrists will roll over outwards. Rather,
your wrists should be depressed so that
your hands form an angle with your
forearms such as when you place your
hands on the tatami when you begin to
make z.a-rei (Photo 12). Keep your arms in
a horizontal position and maintain the same
pressure on your partner's arm. Don't use
too much physical force: just keep contact
with your partner's arm. If you keep good
ma-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 of kokyu is important.
You should make one unbroken sweeping
movement with energy flowing from your
toes 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 dai might be translated as 'number' (i.e. 'number one',
'number two', 'number three', etc.)
Èç ñëîâàðÿ
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[Òåõíèêè]
// Èñòî÷íèê: B.A.F. Newsletter, ßíâàðü 2005, No 49
Suwari-Waza
Íîâîñòè
Shomen-uchi Dai-Ikkyo
Òåõíèêè» (or Ude-osae) Photos and text: Peter Megann
TW Shomen-uchi Dai IKKYO Dai Ikkyo ('Number One Study') or Ude-Osae ('Arm Pin') is one of the most important
techniques in Aikido. "It is said that in Aikido you hardly need learn other techniques if you
can master it" (Aikido by Kisshomaru Ueshiba). It is the basis of all pinning techniques
Hanmi-handachi SHIHO-NAGE, (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,
Kosa-dori Dai SANKYO Dai-Yonkyo and Dai-Gokyo. Essentially, with Ikkyo you control the attacker through his
KOTE-GAESHI arm.
TENCHI-NAGE
1. Omote
Ìàêêî-õō»
Ñòîï-êàäð»
Ñëîâàðü
Àäðåñ çàëà
Photos 1, 2a & 2b: Anticipating an attack from Uke, Tori

initiates an attack with shomen- uchi. the fingers pointing
upwards: the hand is not pushing. The purpose of this is to
provoke Uke to block in order to protect himself and so
enable Tori to grasp under Uke's elbow with his left hand.
Note that Tori rises onto his toes (kiza) as he makes the
blow. This means that his centre rises so that he is not
pushing Uke's arm up with his hands. He makes contact with
Uke's right forearm with his right hand-blade (te-gatana). Do
not grasp Uke's wrist at this point. At the same time Tori's
left hand cups Uke's arm just above the elbow, the thumb
making good contact on the inside of the arm. In this way it is easy to turn Uke's elbow
over.
While making this first contact Tori is already turning his body to his right, his weight
beginning to shift onto his right knee. In other words, he is already deflecting Uke's body
from the first contact, rather than pushing him backwards.
Photo 3: Tori slides his right knee

diagonally to the side. At the same time he
cuts down in a circular movement with his
right te-gatana and rolls Uke's elbow over
with his left hand. The two hands should be
working in unison. The movement of Tori's
centre is what dictates this action: there
should be no pushing or thrusting. Tori is
essentially in hanmi now. His overall
posture is triangular, like a pyramid. This is
a pivotal point of the technique. From this
stage you can execute the omote forms of
ikkyo, nikyo, sankyo and yonkyo. Gokyo
too is possible, though it needs a change of
grip at the stage of Photo 2.
Photo 4: The formation of the body and arms

is similar to that at the end of kokyu-ho. Tori
1 of 3 11/06/2009 11:23
has now grasped Uke's right wrist. Don't turn

your wrist over: you should be maintaining
contact with the heel of your hand, your little
finger and your ring finger - the fingers
gripping lightly. The index fingers of both
hands are pointing inwards. Tori's grip on
Uke's elbow is identical. The grip with the
hand should not be regarded as independent
of the rest of the arm. Shoulder, elbow and
wrist are all involved; and the position of the
elbow is very important. Think of the grip as
a 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 Tori Photo 6: Tori swings his right hip and knee
advances his left hip and slides his left knee forwards, pivoting on his left knee. In this
forwards towards Uke's right armpit. He instance Tori raises his right knee because
moves with shikko, keeping his heels of the disparity of size with his partner, who
together. The action on Uke's arm is like is much bigger (it is difficult to cover the
thrusting with yari (spear) towards Uke's distance simply with normal shikko
right armpit. movement). In other circumstances Tori
could simply slide his right knee forward.
Photos 7-8: In the final pin Tori opens his knees so that his left knee is expanding towards
Uke's armpit and his right knee comes to Tori's wrist. It is important that Uke's arm is
brought to rather more than 90° to his body. Tori is now sitting up on his toes (kiza) putting
his weight on his heels (the role of the toes is important at this point), his tanden is thrust
forward and his spine is slightly concave (don't hunch the back). Tori's feet and two knees
form a triangle, like a tripod. His right knee is inside his gripping hand, as though locking it.
Tori is stretching Uke's arm, pinning the inside of Uke's elbow to the tatami. Breathing out,
he finally brings his weight to bear on the ligament just above Uke's elbow. His energy is
flowing down his left arm towards his fingertips. He is looking forwards to a point about two
metres in front.
2. Ura
Photo 9: In this situation Uke has begun the
action by making shomen-uchi. Tori rises onto
his toes, slides his right knee forward and
intercepts Uke's attack by swinging his hands
up to protect his head. His elbows are
expanding and the feeling is like that of an
umbrella opening. As Tori's left forearm
meets Uke's forearm with te-gatana and is
ready to twist and deflect Uke's power to the
left, his right hand grasps Uke's upper arm
(just above the elbow). The 'cupping'
formation of this hand is the same as at the
beginning of the 'omote' response in Photo 1.
This is not a blocking but a deflecting action.
Be careful not to push.
2 of 3 11/06/2009 11:23
Photos 10 & 11: Tori slides his right knee forward slightly and starts to turn Uke's elbow
over, rising up from his toes so as to advance his centre. But at the same time Tori is
turning to his left, pivoting on his right knee, so the thrust of his movement is not forwards
but slightly to the side. Compare the action of the hands with that in suwari-waza
kokyu-ho, the left hand going down and the right one going up, with the body turning to
follow. The left knee is drawn backwards but this does not mean that Tori's centre is
moving backwards. His centre remains always in the centre of the movement: Uke's elbow
is always in front of Tori's centre. Do not turn away from your partner and leave his body
behind, otherwise you will have to drag your partner round. The line of the arms should
correspond with that of the hips during the whole turn. The bodies of Tori and Uke must
move in unison.
Photo 12: Tori continues to pivot on his

right knee until, drawing his right hip
round, he finishes at right angles to the
original line. The pin is the same as in
Photos 7 & 8.
Èç ñëîâàðÿ
3 of 3 11/06/2009 11:23
Ðþøèíêàí.ðó. Òåõíèêè. TW Shomen-uchi Dai IKKYO http://www.ryusinkan.ru/article.php?aid=38&lang=en&PHPSESSID=1...
[Òåõíèêè]
// Èñòî÷íèê: B.A.F. Newsletter, Ìàé 2005, No 50
Tachi-Waza
Íîâîñòè
Shomen-uchi Dai-Ikkyo
Òåõíèêè» (or Ude-osae) Photos and text: Peter Megann
TW Shomen-uchi Dai IKKYO 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 body
movement. Essentially the execution of Dai-lkkyo (in both suwari-waza and tachi-waza) is
Hanmi-handachi SHIHO-NAGE, the same as that of Suwari-waza Kokyu-ho in the way that Tori's arms and body move in
complete harmony; and contact is maintained by Tori with his partner from beginning to
Kosa-dori Dai SANKYO end.
KOTE-GAESHI
TENCHI-NAGE 1. Omote 表
Ìàêêî-õō»
Ñòîï-êàäð»
Ñëîâàðü
Àäðåñ çàëà
Photos 1 & 2: Tori and Uke are directly facing each other. Tori's arms are relaxed, just
hanging. Anticipating an attack from Uke. Tori slides his right foot forwards and swings his
right arm upwards to make shomen-uchi.
Photo 3: With okuri-ashi (the right foot

leading with a large step, the left following)
Tori approaches Uke, lowering his centre as
he does so. Tori cuts down and Uke raises his
right arm to protect himself. Tori makes
contact with Uke's forearm with his right
hand-blade (te-gatana) do not take hold of
your partner's wrist at this point and at the
same time swings his left hand up (with a
feeling of attacking Uke's armpit) to make
contact with Uke's arm just above the elbow,
his hand cupping the elbow in a U-shape with
the thumb making contact on the inside of the
arm. At this point Tori's weight has come onto
his front knee as with 'ey' in the tori-fune
exercise and his posture his very positive,
heels pointing in and toes pointing out
(shumoku-no ashi).
1 of 4 11/06/2009 11:24
Photo 4-5: Tori steps off the attacking line with his right foot. At this moment his body is
turning to the right (not twisting - the back heel must stay in contact with the ground). At
this point Tori's left arm is rising while his right arm is making an arc downwards and
outwards. You must maintain a feeling of expansion and of 'the unbendable arm'. As a
result of these movements Uke's body is twisted away from Tori and he is taken completely
off balance. Note that even though it might look as if Tori is pushing Uke over, he is not
pushing at all. As a result of Ton's body-turning Uke is twisted, naturally, away and
downwards. Tori's hands remain in the same relationship with his body, with the same
pressure - like a balloon. Both arms move in harmony, the left one cutting up and the right
one cutting down, applying equal power, so that even if you are not gripping, it should
work. There should be no forcing. Tori controls Uke's body through this action upon Uke's
arm (this is why the technique is also called Ude osae: 'arm pin').
Notice the position of Tori's right hand on Uke's wrist (this is like a Sankyo grip). The heel of
the hand is in contact with the inside of Uke's wrist over the area of the pulse. Tori is
gripping only lightly. His left hand is making the same kind of contact just above Uke's
elbow. During this movement there is an unbroken, smooth flow of power (ki no nagare)
from the back foot to the front foot.
Photos 6—8: Tori's back (left) foot moves in

an arc, first bringing the knees together
(Photo 6) then turning towards Uke (Photo 7).
The weight is still on the right foot. The
formation of Tori's arms and the contact with
Uke's arm remain constant. There is no
pushing or gripping, simply holding. As Tori
directs his left foot towards Uke there is a
feeling of attacking Uke's armpit with yari (a
spear) îò jo with a thrusting movement. The
left foot is pointing towards Uke's face and
the left knee towards his armpit. It is Tori's
centre which is moving towards Uke, not his
arms, as Tori shifts his weight forwards as in
tori-fune.
The body movement shown in Photos 3-5 and

in Photos 7 - 8 is very similar: simply the
sequence of the foot movements is different
(the right foot leading in the former and the
left foot in the latter).
Photo 9: Once your partner's movement has

stopped and he has reached the tatami, don't
move any further forward or else you will be
pushing. Tori now changes direction,
advancing his right foot to the right and
moving his left knee to Uke's armpit, so
bringing Uke into a completely prone position.
Photos 10 & 11: Pivoting his hips around his

left knee, Tori brings his right knee to the
tatami and brings it up to a point between his
thumb and Uke's wrist. Uke's arm is brought
to rather more than 90° to his body. Tori
2 of 4 11/06/2009 11:24
finishes sitting up on his toes (kiza) with his

feet together (see Photo 20). His feet and
knees form a triangle, like a tripod. Tori stretches Uke's arm, pinning the inside of Uke's
elbow to the tatami. Exhaling he rocks forwards from his toes and shifts his centre of
gravity forwards. He expands his tanden and brings his weight to bear on the ligament just
above Uke's elbow, his energy flowing down his arms towards his finger tips. As he finishes
his shoulders are relaxed and his spine is slightly concave. He fixes his eyes on a point
about two or three feet in front.
2. Ura 裏
Photo 12: Uke starts the action, sliding his left foot forward and making shomen-uchi at
Tori's head.
Photo 13: Tori protects himself, meeting the attack in gyaku-hanmi contact, with
furi-kaburi ('protecting the head'), his arms expanding like an umbrella opening. Tori slides
his right foot slightly forwards and to the side.
Photo 14: Tori starts 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 in
hanmi), with his weight mostly on his right foot. The action of his arms is the same as in
Photos 3 & 4.
Photo 15: Tori's body continues to turn to

the left. Notice the position of his left foot. His
weight is now decidedly on his right (back)
foot as in the moment of 'ho' in the tori-June
exercise. He has brought Uke's arm in front of
his abdomen. This action is exactly the same
as that in Photos 4-5. There should be no
pushing at this point. Ton's arms are simply
swinging up and down.
Photo 16: When he has brought Uke's arm in

front of his abdomen - and not before - Tori
turns his eyes to the left and continues his
spherical turning movement, stepping back
strongly with his left foot (though maintaining
his weight on his forward foot) and bringing
Uke around with him. Tori's body turns
through about 270°. In executing this turn
you must maintain the harmonious
relationship with your partner: you and your
partner should form one unit without any
separation. Uke's arm must remain in front of
Tori's abdomen so that Tori does not drag
Uke as he turns. Tori is always at the side of
Uke (sokumen).
Photos 17 &
18: Now Tori's
relationship with
Uke is more
square with a
low stance. Tori
puts his right
knee on the
tatami with his
left knee still
raised (this
corresponds to
3 of 4 11/06/2009 11:24
the situation in
Photo 10).
Photos 19 & 20: The action here is the same as in Photo 11.
Èç ñëîâàðÿ
4 of 4 11/06/2009 11:24
Ðþøèíêàí.ðó. Òåõíèêè. Hanmi-handachi SHIHO-NAGE http://www.ryusinkan.ru/article.php?aid=35&lang=en&PHPSESSID=1...
[Òåõíèêè]
// Èñòî÷íèê: B.A.F. Newsletter, Ìàé 2004, No 47
Hanmi-
Íîâîñòè
handachi Photos and text: Peter Megann
Òåõíèêè» SHIHO-NAGE Graphics and typesetting: Graham and
Laura Jones
Kata-dori IKKYO, Omote Demonstrated and Uke: Richard Martin
SW Kosa-dori Dai IKKYO explained by
Kanetsuka Sensei
SW Shomen-uchi Dai lKKYO'05 Hanmi-handachi shiho-nage techniques are important not simply
TW Shomen-uchi Dai IKKYO as throwing techniques but as training in how to sit (seiza), how to
Hanmi-handachi SHIHO-NAGE move with correct shikko, how to shift the centre of gravity from
front to rear, how to turn the body through 180°. how to stand up
without wobbling (as in the ryote-dori version).
1. Katate-dori
KOTE-GAESHI
TENCHI-NAGE Photo 1: The situation: Tori
is sitting in seiza with his
hands placed on his knees.
Ìàêêî-õō» Uke. moving off the attacking
line, seizes Tori's left wrist
with the intention of pulling
Ãîâîðÿò ìàñòåðà» Tori towards him and striking
or kicking him. Responding to
Ñòîï-êàäð»
Uke's pull Tori rises onto his
Ñëîâàðü toes into kiza so that the
contact point between Uke and Tori goes down so that even if Uke
is holding strongly his force is deflected: he loses control of Tori
Àäðåñ çàëà and he is brought off balance. As Tori lifts his left elbow there is a
feeling of slashing Uke's lower leg. There must be no pushing here.
Photo 2: Responding to Uke's

pull. Tori pivots on his right knee
and slides his left knee slightly
forward (not further than Uke's
centre), his right toes following
his left toes {shikko). (Tori's
posture is now exactly the same
as in Photo 1 except that he is
sitting in kiza rather than in seiza,
and his weight is coming up and
forward. Essentially it is his
centre which is moving.) (Do not
move too far forwards: the knees
are almost the same distance
apart as in the starting position.)
Tori now makes atemi with his
right hand as he raises his left
hand from his knee. His left hand
is open and turned up. the thumb
turning inwards. His left elbow is
turned slightly outwards so that
the shape is like that in
suwari-waza kokyu-ho exercise.
Note how Tori's movement has
brought his front knee forwards to
bring him into a triangular
position relevant to the original
1 of 5 11/06/2009 11:24
forward line. In other words he is

now in what is essentially hidari-
hanmi.
Photos 3 & 4: Without pushing,

pulling or lifting (the feeling is more
like the left hand floating) - it's a
matter of leading Uke: Tori and Uke
must be 100% in harmony - Tori
takes Uke's right wrist with his right
hand and swings his left hand upwards
as his left elbow expands. At the same
time he inclines his body forwards so
that his head approaches his hands.
This movement is just as in making a
sitting bow but in a vertical plain. The
centre or contact point of this arm
movement is first the left wrist joint,
then the elbow joint and finally the
shoulder joint, which moves like a hinge. His two wrists are
crossing at this point. As Tori cuts up so that his hands cover his
head (furi-kaburi), his elbows expanding, he starts to transfer his
weight from his left knee to his right toes with a rocking
movement. Note how Uke is brought up onto his toes and his body
is turning away from Tori. He finishes behind Tori. You must cur up
in a straight vertical line and not be in a hurry to turn.
Photo
5 & 6:
Tori
turns
his body
through
180°.
changing from hidari-hanmi to migi-hanmi. The relationship

between Tori and Uke in Photo 5 is the same as in haishin-undo
(back-stretch exercise). Tori's left knee moves slightly forward in
Photo 5. Note that Tori keeps Uke's hand in front of his forehead
during this turn. As Tori finishes this turn the gripping action of his
right hand on Uke's wrist is like that of sankyo, twisting or
wringing just as when you apply sankyo to your own wrist in
warm-up exercises. His right hand is touching Uke's
shoulder-blade while his left hand is pointing towards Uke's neck.
As he completes the turn (Photo 6). Tori is cutting downwards (not
outwards). If this operation is done correctly Uke simply falls to
the ground without any need for Tori to throw. Uke steps back and
makes ushiro-ukemi.
2 of 5 11/06/2009 11:24
2. Ryote-dori
Photo 7: Tori follows
Uke's fall and sticks
closely to him to pin
him, his right hand
coming down to his
right knee. Keeping
your feet together
slide your knee
forwards and finish in
kiza with zan-shin.
Photos 8 & 9: When

Uke grips both his
wrists and pulls him
forwards. Tori rises
onto his toes and
follows Uke.
extending his arms,
opening his hands and
keeping his back
straight.
Photo 10: Tori steps

forward positively
with his left foot (a)
while taking Uke's
right wrist with his
right hand, his left
hand pointing upwards
as he turns his wrist
inwards with a
screwing action. Tori
brings his hands up in
front of his forehead
and inclines his head
towards them, as in
Photo 3. His right
knee moves up to his
left heel (b) with the
principle of tsugi-ashi (do
not leave your left knee
behind or else you will have
difficulty standing up
smoothly), and his rear foot
finishes on a straight line
behind his forward foot; i.e.
his lower leg does not finish
at right angles to the line of
his advance. As Tori's
centre moves forward and
his arms cut up Uke is
brought up onto his toes
and above Tori.
Photo
11: Tori
stands
straight
up. The
crown of
3 of 5 11/06/2009 11:24
his head
is now
the
centre
of the
movement. His weight is on his forward foot.
Photo 12: Keeping Uke's hands in front of his forehead Tori turns
through 180° to his right, pivoting on the balls of his feet (first on
the left foot and then on the right) and maintaining a low posture.
Photos 13 & 14: At the same time

as Tori starts to lower his hands he
steps back with his right foot. The
reason why Tori steps back at this
point is in order to maintain good
balance and ma-ai. If he does not
take a step back, the movement
becomes very tight. The action from
Photo 10 to Photo 15 must be
continuous and flowing.
Photo 15: As Uke

falls Tori steps
forwards with his right
foot, advancing his
whole body, and
follows him to the
tatami. Of course.
Tori can finish in a
standing hanmi
position (as Uke's
posture in Photo 1).
The most important point in this technique is to keep your partner

under control from beginning to end: how to move naturally with
your partner, harmonizing your movement with his.
Èç ñëîâàðÿ
result resource
4 of 5 11/06/2009 11:24

5 of 5 11/06/2009 11:24
Ðþøèíêàí.ðó. Òåõíèêè. Hanmi-handachi SHIHO-NAGE, Katate-dori - ... http://www.ryusinkan.ru/article.php?aid=54&lang=en&PHPSESSID=1...
[Òåõíèêè]
// Èñòî÷íèê: B.A.F. Newsletter, Ñåíòÿáðü 2004, No 48
Hanmi-handachi
Íîâîñòè
SHIHO-NAGE Photos and text: Peter Megann
Graphics and typesetting: Graham and
Òåõíèêè»
Demonstrated and explained by Laura Jones
Kata-dori IKKYO, Omote Kanetsuka Sensei Uke: Richard Martin
In the following sets of photographs, set 'a' shows the shiho-nage technique, set 'b'
SW Shomen-uchi Dai lKKYO'05 illustrates the relationship of the technique to sword-movement, and set 'c' concentrates
TW Shomen-uchi Dai IKKYO on the basic body and hand movements.
KOTE-GAESHI
TENCHI-NAGE
Ìàêêî-õō»
Ñòîï-êàäð» Photo 1a: This represents the most difficult situation for Tori
Ñëîâàðü when the attacker has every advantage. The challenge is how
to overcome Uke without using force. As Uke grasps Tori's left
Àòòåñòàöèîííàÿ ïðîãðàììà wrist with his right hand with a view to controlling Tori and
Àäðåñ çàëà pulling him forwards, he moves off the attacking line. As he
holds Tori, his posture is similar to the forward movement of
deep tori-fune, while he initiates an attack with his left hand.
Photo 2a: Coming up onto his toes, Tori slides his left
foot forward and raises his left knee. At the same time he
makes atemi with his right hand and extends his left arm,
bringing his left hand - coming into a more horizontal
plane with fingers spread and thumb turning inwards - to
the height of his solar plexus. His left elbow is turning
outwards 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 on
the same line). As Tori conies up onto his toes his centre
rises and moves forwards. Note that the action of Tori's
left arm resembles that at the beginning of the
suwari-waza kokyu-ho exercise, his fingers open with the
thumb turning downwards and his elbow expanding.
Photo 2b: In the parallel movement with the sword, Tori

rises into kiza and raises the sword slightly. Note the light
grip of the left hand, the fingers open, and contact with
the sword maintained simply with the base of the thumb.
The sword pivots around the right wrist as the left hand
extends forward.
1 of 3 11/06/2009 11:24
Photo 3a: As Tori lifts his hands above his forehead with his two wrists crossing, he
takes a small step forwards and starts to turn to his right, at right angles to the
attacking line. He lifts his left heel and pivots on the toes of his left foot and on his right
knee. The grip of Tori'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 now
brought up onto his toes and his body is turning away from Tori, as Tori effects a kind of
winding 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 (卷打) or

'winding-strike'. The sword is not brought up vertically in front of the head as in the
normal shomen-uchi, but stays in the same place as Tori turns; so that that his left
elbow comes to the sword before he raises it above his head. (In Photo 3b the sword is
hidden behind Tori's left arm.)
Photo 4a: Here is the mid-point of Tori's turning from front to back. As he reaches a
point at right angles to the attacking line, he lifts his right knee and comes up onto the
toes of both feet, pivoting under Uke's right hand. Note that he is not moving Uke's right
hand at this point, simply pivoting underneath it. The flow of Tori's concentration
proceeds from his toes through his centre to his elbow. Here we note the essential
difference 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 Tori moves round
the contact point with Uke.
Photo 5a: Tori reverses the posture

shown in Photo 3a by bringing his left
knee to the tatami and raising his
right knee. He brings Uke's right
hand close to Uke's right shoulder
blade. The fingers of Tori's left hand
are pointing towards Uke's neck. If
you execute this movement correctly
there is no need to throw your
partner. Uke should simply fall to the
2 of 3 11/06/2009 11:24
ground.
Photo 6a: As Uke falls, Tori sticks to

him. He can finish either in kiza -
pushing his tanden forward and his
two knees and his toes forming a
tripod - or he can finish in sonkyo,
with his left knee on the tatami and
his right knee raised (as shown in
Photos 6a and 6b). His grip on Uke's
right wrist with his right hand is
similar to that of kosa-dori yonkyo.
It is important that you master the 'solid' form of this technique first, otherwise you will
not 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-sabaki and flexibuity.
Èç ñëîâàðÿ
3 of 3 11/06/2009 11:24
Ðþøèíêàí.ðó. Òåõíèêè. Kosa-dori Dai SANKYO http://www.ryusinkan.ru/article.php?aid=10&lang=en&PHPSESSID=1...
[Òåõíèêè]

Kosa-dori (or Ai-hanmi)
DAI SANKYO
Íîâîñòè (Sokumen)
Òåõíèêè» Demonstrated and Graphics and typesetting:
Kata-dori IKKYO, Omote explained by Graham and Laura Jones
Kanetsuka Sensei
SW Kosa-dori Dai IKKYO Uke: Richard Martin
Photo 1: In
katate-dori or
Hanmi-handachi SHIHO-NAGE kosa-dori. at
Hanmi-handachi SHIHO-NAGE, the moment
Katate-dori - number 2 that your
Kosa-dori Dai SANKYO partner takes
your wrist you
KOTE-GAESHI
should assume
TENCHI-NAGE correct posture
Áåñåäû ñ ñýíñýåì» and correct
ma-ai, which
Ìàêêî-õō» means having
Îñíîâû, òåðìèíû» good contact
with your
Ãîâîðÿò ìàñòåðà» partner. From this position you can make the Technique omote,
Ñòîï-êàäð» 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 is
Ñëîâàðü
why the situation is called kosa-dori: 'cross-holding'), either
Àòòåñòàöèîííàÿ ïðîãðàììà pushing 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 wrist
Àäðåñ çàëà
could be grabbed at chudan level. The situation in this photo
represents the most difficult one. It is impossible for Tori to cut
straight up with his right arm since Uhe's force is concentrated on
his right wrist. You should open your hand and splay your fingers.
Photo 2: Tori
comes up onto
his toes, and
sliding his knee
to the side he
moves his
whole body to
his left (without
trying to move
his right wrist
independently). Notice how his hand has started to turn with the
thumb 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 the
shoulder to the band, the elbow coming up and expanding (as it
does when making za-rei). His hand begins to make a large
circular movement to the left (this is a little like The movement of
the arms when we do breast-stroke in swimming), the finger-Lips
1 of 8 11/06/2009 11:25
pointing inwards.
Photo 3: As
Tori swings his
arm up, the
circular
movement of
his hand
continues
upwards to the
height of his
eyes, the
thumb pointing
towards his
nose, his whole
arm extending.
During this
whole
movement his left hand stays in line with his body (not moving left
or right).
Photo 4: Now
Tori slides his
right knee
slightly to (he
right, so
turning his
body to the
right. His
position is now
essentially that
of sokumen
('to the side').
His left hand is
protecting him
and at this
point his arms are crossed- At this moment the contact is identical
with that of shomen-uchi ikkyo. You should not try to hold with
your right hand, just keep contact with your te-gatana ('hand-
blade'), leading your partner's arm, not pushing it. Making atemi
with his left hand means that Tori is concentrating on his partner's
centre.
Photo 5: Tori's
right hand has
continued in an
unbroken circle
and has come
back to the
starting point
of Photos 1 &
2. To do this
your shoulder
and body must
be very
relaxed. In this
way you avoid
your partner's
attack and
2 of 8 11/06/2009 11:25
control him without any struggle. The point is that you should be
leading, not forcing your partner. So your movement should be
one of expansion and extension: not pushing; rather, swinging
your arm up and down. Your whole body is turning to the right
(not twisting), exactly as in suwari-waza kokyu-ho. Always keep
some space between you and Up to this point the movements are
identical with those of ikkyo.
Photos 6 & 7: While controlling Uke with his left hand just above
Uke's elbow, stretching his.arm from his shoulder. Tori slides his
right hand to hold Uke's fingers with a sankyo grip; but there is no
need to hold tightly. Note that you should not be pushing or
gripping: just controlling. Your stream of energy should be flowing
from your toes, through your knees up to your shoulders, then
down your arms to your hands, and crossing as shown in Photo 6.
Keeping his back straight and moving his centre forwards Tori
slides his left knee slightly towards Uke's armpit and bead. The
action on Uke's arm is like thrusting with a spear. But don't move
too much at this point: just create kime (impact).
Photo 8: Tori
slides his left
hand to his
right hand and
takes Uke's
hand,
controlling it
with a sankyo
grip, screwing
the hand
3 of 8 11/06/2009 11:25
inwards. Again,
there is no
need for a light
grip and you
should not
push.
Photos 9 & 10: Tori maintains the screwing action on Uke's wrist
and elbow (the action is like that of a coil), keeping his left hand in
the same point in front of him as his body rises and he applies his
centre of gravity upon Uke's lower arm. Bringing up his right knee
he makes irimi around Uke's wrist and places his right hand just
above Uke's elbow.
Photo 11: Tori

pivots on his
right knee
(tenkan) and
finishes in kiza
in a position
which is just
like the
finishing
position of
ikkyo, but
reversed, as it
where.
Photo 12:
After sliding his
right knee
slightly to the
outside of
Uke's shoulder,
4 of 8 11/06/2009 11:25
Tori pivots
round to bring
his left knee to
the other side
of Uke's
shoulder. (Note
that he is
sitting in kiza).
He slides his
right hand up
to (Uke's hand
to take over
the 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 leave
some space to manipulate his arm and allow his joints to adjust,
thus avoiding injury. You notice that Tori's left knee has not yet
come very close to Uke's body.
Photos
13-15: Tori
has slid his
right knee
nearer to his
partner's
shoulder and is
placing Uke's
hand onto his
left shoulder
and wrapping
his left hand,
palm upwards,
round Uke's
arm. It's not so
much a matter
of clamping
your 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. Bear
downwards on your partner's arm at the same time as you rotate
your upper body in a circular path around his right shoulder-blade.
This movement should be made without jerking, slowly and with
control. As soon as your partner taps, release the pressure
steadily.
5 of 8 11/06/2009 11:25
Photo 16-21: The first part of kosa-dori dai sankyo in tachi-waza.
6 of 8 11/06/2009 11:25
7 of 8 11/06/2009 11:25
Èç ñëîâàðÿ
result resource

8 of 8 11/06/2009 11:25
Ðþøèíêàí.ðó. Òåõíèêè. KOTE-GAESHI http://www.ryusinkan.ru/article.php?aid=5&lang=en&PHPSESSID=16...
[Òåõíèêè]
KOTE-GAESHI
Demonstrated and explained by
Íîâîñòè Kanetsuka Sensei
Òåõíèêè»
1. Omote (forwards)
SW Kosa-dori Dai IKKYO against Chudan Tsuki
KOTE-GAESHI
TENCHI-NAGE
Ìàêêî-õō»
Ñòîï-êàäð»
Ñëîâàðü
Àäðåñ çàëà
Photo 1: Uke aims chudan tsuki at Tori's Photo 2: Tori steps to the left, sliding his left foot
stomach. The photo show the correct manner of to the side of Uke's advanced foot, out of line of
executing chudan tsuki. Uke's attack, at the same time protecting himself
with his outstretched arms, hands open with the
same feeling as in the Suwari-wasa koku-ho
exercise, and making contact with Uke's
attatking arm in kamae (defensive posture).
Photos 3 &. 4: Maintaining contact wilh Uke's attacking arm, Tori pivots on his left tool and steps
back onto his righl loot.
1 of 3 11/06/2009 11:25
Photos 5 & 6: In order to increase the space (maai) between him and Uke (it is difficult to execute
Kote-gaeshi if you are too near your partner), and to have Uke's fist in front of his centre when he
ultimately turns, Tori now pivots to his right with tenkai-ashi to finish the movement with his weight
on his right fool (as in shifting one's centre of gravity from one foot to the other in the tori-fune
exercise), 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 Photos
2-5: it's a matter of applying your weight onto your partner's arm through your body.] Tori has slid
his left hand down to Uke's wrist and now encloses Uke's fist. Note that, as the introductory photo
shows, Tori takes hold of Uke's wrist essentially with the base of his hand, holding with his thumb at
a point between the knuckles of Uke's little finger and ring-finger, while his fingers (excluding the
index 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 degrees
around Uke'a wrist. It's important not to lift your partner's hand at this point. You must keep it no
higher 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 backwards
and 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 hand
extend beyond Uke's fingers.
Photo 9: As Uke starts to lose his balance

towards his rear, Tori steps through with his right
foot, sliding it in the direction of Uke's rear heel.
At the same time he continues the rolling action
upon Uke's hand in the same direction as his right
foot, so that as the movement is completed Tori
is cutting down in a direct line, as when cutting
with a bokken. It is important to note that this
action 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 stepping
back with the left foot while cutting down (Photo
7). 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 right
hand - takes Uke's upper arm in a U-shaped grip
with his right hand, just above Uke's elbow. Then
taking a large step with his left foot to the other
side of Uke's head, he takes Uke's elbow in a
circular movement around his (Uke's) head.
While maintaining his control of Uke's arm. Tori
pivots on his left foot and finishes with his left
knee on the tatami near Uke's ribs, while
extending his right leg for a moment. You should
not push your partner's arm across his face in
this manoeuvre or drag him in any way. It's
more a feeling of rolling Uke's body over, using
your body action and following the natural
movement of Uke's shoulder and elbow joint.
2 of 3 11/06/2009 11:25
Photos 13-17: Now Tori sits in kiza, with his

knees placed lightly each side of Uke's right
shoulder. He carefully changes the grip on Uke's
wrist, his right hand taking over and stretching
Uke's wrist and hand in the crook of his left
elbow, and clamps Uke's hand against his chest.
Keeping his shoulders and arms relaxed, Tori pins
Uke's arm against his abdomen and upper body.
With his armpits closed but without squeezing
Uke's arm into hi body. Tori completes the
immobilization 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 toes
in kiza and energy is flowing from his toes
through his body towards Uke's head. This is
essentially the same immobilization as at the
finish of a Nikyo technique. Apply pressure in a
controlled way (never jerk) and stop applying
pressure as soon as your partner taps.
Èç ñëîâàðÿ
3 of 3 11/06/2009 11:25
Ðþøèíêàí.ðó. Òåõíèêè. TENCHI-NAGE http://www.ryusinkan.ru/article.php?aid=34&lang=en&PHPSESSID=1...
[Òåõíèêè]
Íîâîñòè Ryote-dori
Òåõíèêè»
TENCHI-NAGE
Demonstrated and explained by
Kanetsuka Sensei
Hanmi-handachi SHIHO-NAGE Ten, meaning 'heaven' and chi, meaning 'earth', give this technique an unusually poetic
Hanmi-handachi SHIHO-NAGE, name. The throw is so called because Tori unbalances Uke with one arm swinging upwards
Katate-dori - number 2 and the other downwards. The most basic form, shown here, is with ryote-dori (in this
Kosa-dori Dai SANKYO case from ai-hanmi stance). Tenchi-nage is essentially a form of Kokyu-nage. Is is a very
KOTE-GAESHI useful exercise in te-sabaki (the use of the hands in Aikido movement) and for tai-sabaki
generally. The same principles of movement are used in many other techniques.
TENCHI-NAGE
Áåñåäû ñ ñýíñýåì» 1. Omote (to the front)
Ìàêêî-õō»
Ñòîï-êàäð»
Ñëîâàðü
Àäðåñ çàëà
Photos 1-4: Tori is in hidari ai-hanmi stance. His arras form a kamae (defensive) posture
with the hands open in front of his centre, pointing directly at Uke, as with holding a sword
in chu-dan. Tori's left hand cuts up with the same feeling as in the suwari-waza kokyu-ho
exercise, the wrist rotating inwards and the thumb pointing towards his nose as the hand
rises. 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 your
left hand.
With ayumi-ashi, Tori slides his right foot forwards,: keeping

his knees well bent, so that it finishes well to the right of Uke
to form sankaku (a triangle) with Uke's left] and right heels. In
this movement Tori's right foot slides at an angle of about 30°
from Uke's attacking line. (You must take care not to finish too
close to your partner, nor too far to the side. It will depend on
the situation and the reaction of your partner.) Then Tori slides
his left foot forwards, the left ankle coming close to the right
ankle (knees bent), as the left foot changes direction towards
Uke's right heel.
The movement of Tori's right hand during this manoeuvre

needs careful study. The right hand swings downwards but also
forwards in an action that is like cutting Uke's centre, the wrist
1 of 3 11/06/2009 11:25
turning inwards and the thumb downwards (rather like the

action of drawing the sword in Iaido), and the hand kept open and dynamic. The 'earth'
element of Tenchi-nage is actually represented not so much by the downward cutting hand
as by the lowering of your centre of gravity. This is a very important point. After the initial
cutting down, your right hand is not moving forward independently of your centre. It is
moving forward because your centre is moving forward. In other words, the distance
between 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 continues

moving and keeping close contact. Note that
Tori's arms have now the same shape and
feeling as at the end of the suwari-waza
kokyu-ho exercise. They form an incomplete
circle, the fingers pointing towards Uke.
Maintain zanshin.
2. Ura (with tenkan)

Photo 6: From ai-hanmi stance, Tori
takes a step forward with a feeling of
attacking Uke's centre and assumes
gyaku-hanmi.
Photo 7 & 8: Avoiding Uke's attack, Tori

takes a small step aside with his left foot.
His right hand cuts up vertically on the
inside of Uke's wrist. With his left arm -
the hand, palm upwards, staying in front
of his centre -he draws Uke forwards.
This movement is identical with the
beginning of haishin-undo to the rear.
Then continuing to unbalance Uke, Tori
makes tenkan, sliding his right foot to
the rear. As you make this movement,
it's important to keep your hands in front
of you. Do not pull your upper hand to
the side: it should finish more or less in
front of your eyes. Turn the wrist
inwards as you cut up.
2 of 3 11/06/2009 11:25
Photo 9: Now Tori slides his left foot to

Uke's right side. Do not approach too close
to Uke at this point. Keep good maai in
order to maintain tension and keep Uke off
balance. This movement is the same as in
the omote form of the technique (Photo 2).
Photos 10 and 11: The action continues

identical with that of the omote form shown
in Photos 5 & 6.
Èç ñëîâàðÿ
3 of 3 11/06/2009 11:25

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

// Èñòî÷íèê: B.A.F. Newsletter, Èþëü 2001, No 39

Photos 3a & 3b: Tori's left arm swings up in an arc to make

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

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

Photos 8, 9a & 9b: Tori is in hidari gyaku-hanmi. As Uke takes

Photo 10: As Tori

your partner's upper

tatami. If we now review the movements of Tori from the

Tori finishes in a very solid, square-like posture. His two knees

© Ïî âñåì âîïðîñàì è ïîæåëàíèÿì ïèøèòå ÷åðåç

// Èñòî÷íèê: B.A.F. Newsletter, Ñåíòÿáðü 2005, No 51

Photo 3: Tori changes direction, his right

Photo 4: With the combined movement of

strongly with either hand: just maintain

Photos 5 & 6: Pivoting on his right knee Tori

Photo 7: Pivoting on his left knee Tori slides

2. Application: Defence against tsuki

Photo 10: Changing direction, Tori thrusts

towards Uke's armpit. Because of the height

Photos 11 & 12: As Tori brings his left knee

© Ðþñèíêàí.ðó Ïî âñåì âîïðîñàì è ïîæåëàíèÿì ïèøèòå ÷åðåç îáðàòíóþ ñâÿçü

// Èñòî÷íèê: B.A.F. Newsletter, Äåêàáðü 2001, No 40

Photo 3: Tori's right te-gatana (hand-

Photo 4: As Uke loses his balance, Tori

Photo 7: As Tori pins Uke's arm, he

Photos 9-12: Tori slides his right knee

too soon or your arras will straighten and

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

© Ðþñèíêàí.ðó Ïî âñåì âîïðîñàì è ïîæåëàíèÿì ïèøèòå ÷åðåç îáðàòíóþ ñâÿçü

// Èñòî÷íèê: B.A.F. Newsletter, ßíâàðü 2005, No 49

Photos 1, 2a & 2b: Anticipating an attack from Uke, Tori

Photo 3: Tori slides his right knee

Photo 4: The formation of the body and arms

has now grasped Uke's right wrist. Don't turn

Photo 12: Tori continues to pivot on his

© Ðþñèíêàí.ðó Ïî âñåì âîïðîñàì è ïîæåëàíèÿì ïèøèòå ÷åðåç îáðàòíóþ ñâÿçü

// Èñòî÷íèê: B.A.F. Newsletter, Ìàé 2005, No 50

Photo 3: With okuri-ashi (the right foot

Photos 6—8: Tori's back (left) foot moves in

The body movement shown in Photos 3-5 and

Photo 9: Once your partner's movement has

Photos 10 & 11: Pivoting his hips around his

finishes sitting up on his toes (kiza) with his

Photo 15: Tori's body continues to turn to

Photo 16: When he has brought Uke's arm in

© Ðþñèíêàí.ðó Ïî âñåì âîïðîñàì è ïîæåëàíèÿì ïèøèòå ÷åðåç îáðàòíóþ ñâÿçü

// Èñòî÷íèê: B.A.F. Newsletter, Ìàé 2004, No 47

Photo 2: Responding to Uke's

forward line. In other words he is

Photos 3 & 4: Without pushing,

changing from hidari-hanmi to migi-hanmi. The relationship

Photos 8 & 9: When

Photo 10: Tori steps

movement. His weight is on his forward foot.

Photos 13 & 14: At the same time

Photo 15: As Uke

The most important point in this technique is to keep your partner

© Ïî âñåì âîïðîñàì è ïîæåëàíèÿì ïèøèòå ÷åðåç

// Èñòî÷íèê: B.A.F. Newsletter, Ñåíòÿáðü 2004, No 48

Photo 2b: In the parallel movement with the sword, Tori