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ÍîâîñòèÒåõíèêè»
Kata-dori IKKYO, OmoteSW Kosa-dori Dai IKKYOSW Shomen-uchi Dai IKKYO'01SW Shomen-uchi Dai lKKYO'05TW Shomen-uchi Dai IKKYOHanmi-handachi SHIHO-NAGEHanmi-handachi SHIHO-NAGE,Katate-dori - number 2Kosa-dori Dai SANKYOKOTE-GAESHITENCHI-NAGE
Áåñåäû ñ ñýíñýåì»Ìàêêî-õō»Îñíîâû, òåðìèíû»Ãîâîðÿò ìàñòåðà»Ñòîï-êàäð»ÑëîâàðüÀòòåñòàöèîííàÿ ïðîãðàììàÀäðåñ çàëà
[Òåõíèêè]
 // Èñòî÷íèê: B.A.F.Newsletter, Èþëü 2001, No 39
KATA-DORIIKKYO
Omote
Demonstrated and explainedby Kanetsuka Sensei
 Photos and text: Peter MegannGraphics and typesetting: Grahamand 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 isoutstretched, 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.
Ðþøèíêàí.ðó. åõíèêè. Kata-dori IKKYO, Omotehttp://www.ryusinkan.ru/article.php?aid=2&lang=en&PHPSESSID=16...1 of 711/06/2009 11:22
 
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 yourself from your partner's grip). During this action Tori begins to shift hiscentre 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
Ðþøèíêàí.ðó. åõíèêè. Kata-dori IKKYO, Omotehttp://www.ryusinkan.ru/article.php?aid=2&lang=en&PHPSESSID=16...2 of 711/06/2009 11:22
 
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 readas 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 ikkyomanner. He isstill holdingUke's righthand with the original nikyo grip. Tori slides his left knee towardsUke's armpit.
Ðþøèíêàí.ðó. åõíèêè. Kata-dori IKKYO, Omotehttp://www.ryusinkan.ru/article.php?aid=2&lang=en&PHPSESSID=16...3 of 711/06/2009 11:22
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