Daisho Sabaki Gata

Tsuka Kudaki
Stand facing opponent. Opponent has Daisho in belt, and places right hand on Tsuka (handle) of Katana. I hold the Tsukagashira (pommel) with ! right hand, and strike the ene !"s right K!ukan#setsu$ at the sa e ti e, I kick up with ! right foot into the ene !"s Gedan %enro. There is a Kuden.

&iki Dori
Stand facing opponent. Opponent places hand on Daito and awaits opening to cut in. I a in 'udoshin$ G!oun#r!usui (cf. Sanmyaku Vol.2 No. 2, Birth of Juyushi)$ strike and break the ene !"s %!osode (ears)$ take the Tsuka of the opponent"s Daito in ! right hand$ draw it using a change in ! bod! position$ Tsuki no Ka ae$ (uso. There is a Kuden.

Iri Dori
Opponent holds Daito in Dai)odan no Ka ae. I position !self in &ira Ichi on)i. The ene ! o*es like lightning and co es in to cut down and in. I assu e the nature of the lightning"s shadow, and ad*ance with ! right foot in ti e with the ancient song +if !ou step in, ahead lies paradise,$ the left leg lies flat. -se the energ! and rh!th to punch into the ene !"s suigetsu with ! right fist$ take the Tsuka of the opponent"s Shoto with ! left hand or with the striking fist$ draw it and thrust in. There is a Kuden.

%an Gaku
The opponent is wearing a Daito and Shoto, and walks forward. I walk fro behind the opponent, and whilst taking the Ko)iri (the closed end of the scabbard) of the ene !"s Daito with ! left hand, grasp fir l! the ene !"s left wrist with ! right hand. The ene ! places his right hand on the Tsuka and tries to draw the Daito. In an instant, I pull ! right hand up high and o*e into Sukui#gata on the ene !"s left leg, whilst using ! left hand in re*erse on the Katana"s Sa!a (scabbard) to hold the in and finish the techni.ue. There is a Kuden.

Sukui Dori
The opponent places their right hand on the Daito and tries to draw. In an instant (/lease sa*our these characters (Shunkan is normally written as blink period ! i.e. in the blinkin" of an eye ! but here is written as blink sense ! with the #an$i used for %th sense &), I kick the ene !"s wrist upwards with ! right foot. The Sabaki of ! left pi*otal foot at this ti e is i portant. 0lso, please grasp the direction and anner of kicking. Through this, the ene !"s Daito flies out of the Sa!a. 1efore the ene ! tries to attack again, I use ! energ! to seal in their techni.ues and their heart, to know in ad*ance the instant (Shunkan, written as abo'e) when the opponent"s techni.ue and spirit (#anshin is normally written as in'ol'ed heart (interest, but here as %th sense heart ) will o*e, and take the Tsuka of the opponent"s Shoto in ! left hand, using ! right hand to strike the ene !"s K!usho +Sancho,. 0s the

ene ! falls backwards, I ake use of this to draw their Shoto and thrust into the $ Sabaki. There is a Kuden.

%!u Kotsu
The opponent co es to cut in with their Daito. The! do not si pl! cut in fro Dai)odan. %ead this as the Kihon &appo of cutting, eaning cuts fro Shi2en no Ka ae, and3or fro the Ka ae regarded as the Gokui of Ka ae in *arious schools. I pull ! right foot one pace back in response to the ene !"s cut, and use ! bod! to e*ade it. The Gokui for this anner of pulling the bod! is Tai#sabaki )ust as though one were notching an arrow on a bow and pulling. 0s the! cut, the ene !"s Daito flows to the right side of ! bod!. This state of flow should be seen # or let us phrase this as +percei*ed bodil! (multiple pun... )iru(see, )i(body, but the #an$i for body used here is #arada) # as a flow of water, or a flow of air. I grasp the ene !"s right wrist with ! left hand, and use a right ar #strike (how an! strikes and *ariations are there with the right ar 4 this is another .uestion to be understood) to strike the ene "s (enbu$ then in an instant (a ti e of "enius (pun... Shun$i(instant, shun("enius&) I take the ene !"s Daito and cut the ene ! down in 5oko Ichi on)i. This is also known as the 5oko Ichi on)i cut of Kirisute#Go en (normally refers to the custom of pardonin" samurai who cut down commoners) (Go en is a polite ter for (enk!o). There is a Kuden.

-shi O Gaeshi
'ro the o*e ents of %!u Kotsu described abo*e... while turning ! bod!, I use the Shuto of ! right hand to strike and crush the Shakkotsu K!usho on the ene !"s right forear . The ene ! will drop their sword. I leap in to &appo Tenchi ( * directions + up and down, i.e. all around) on the ene !. (o*ing with the flow of an Osoto techni.ue (not specifically ,soto!"ake etc., $ust that you mo'e in with the side of your body), I use ! right hand to strike into the ene !"s 6inchu, and change ! strike to punch the ene ! down. There is a Kuden.

Kake Otoshi
The opponent is positioned in Dai)odan with a Daito. I leap in, responding to the angle as the opponent cuts in, and push up the elbows of both of the ene !"s ar s. The ene ! o*es a pace back in the direction of the push. I respond b! o*ing one pace forward (this is also called Oshin ! normally means answerin" si"nal - here answerin" ad'ance ), kick up with the shin of ! right leg (the area of the tibia), and place this kicking leg as far as possible behind the ene !"s legs on the ground between the . 0t the sa e ti e I take the Tsukagashira of the ene !"s sword in ! hand and thrust upwards. The ene !"s head (.ento- different #an$i from the #yusho maps, but Soke said it was the fontanelle , i.e. the same) is struck b! the (une (back/spine of the sword) (Se) of their own sword, and the! collapse. There is a Kuden.

Kote Do e
The opponent co es to cut in with a Daito. I e*ade b! opening up ! right to the rear left... This is how it is written in the Densho. In other words, I e*ade b! opening up ! right foot to co e behind ! left foot, i.e. it shows the direction of the Sabaki ( Sabaki

+ #i (ener"y&) of the right foot. The ene !"s Daito flows past the right side of ! bod!. 0t this ti e, although one can sa! that the ene !"s Tsuba (sword "uard) will be found on the right side of ! bod!, it beco es a .uestion of where it is actuall! placed. I pretend to use ! left hand to punch awa! the ene !"s right hand, but with Sabaki I use ! left hand to take the ene !"s right hand in a lock, and follow it. (! right hand also takes the ene !"s right hand, as if following it, and with a change in bod! posture a transfer the power to ! right hand and use the power as I sit with ! left leg to throw the ene !. It is i portant to understand how to use all fi*e areas of ! bod! as fi*e strikes to attack while the ene !"s bod! is in the air. There is a Kuden.

O To
The opponent places their hand on their Daito. There will be ti es when the opponent does this with their left hand, and ti es when the! do it with their right. Such outco es a! arise depending on the school or the situation... it is i portant to read a principle of co bat here. I use ! right hand and o*e to hold down the Tsuka of the opponent"s Daito fro abo*e. The ene ! o*es back a pace. I o*e in on the (.sukeiri no Sabaki), and use Taihen for a shadow as I strike into the ene !"s Suigetsu with the elbow of ! right hand$ with ! left hand I draw the ene !"s Daito, and in the sa e instant cut the opponent awa! to the side. The ene !"s #issaki (end of the sword0s cuttin" ed"e) and Sa!a (scabbard) are but a hair"s breadth apart at this ti e$ re*ersal. There is a Kuden.

Kuru a 7age
0s in O To abo*e I use a right elbow strike against Suigetsu$ then I place ! right hand on the ene !"s left hip and fall down sidewa!s (to fall sidewa!s in *arious directions freel! re.uires so e practice). I o*e into 5oko Kuru a#gaeshi. 0s we flow through that Sabaki ! left hand is grasping the Tsuka of the ene !"s Daito, and so the ene !"s sword is in ! hand. I turn, and as I get up, use the force of the reaction to cut into the ene !. There is a Kuden.

5otsu De To
The opponent places their hand on their Daito. I use ! right hand to hold the tsuka of the ene !"s Daito. 0t this ti e ! left hand should be floating like a shadow, and neither ! right hand nor ! bod! should ake the ene ! aware of ! left hand"s o*e ents. I use ! right foot to sta p down fir l! on the ene !"s K!okei K!usho. The ene ! is startled and distracted$ one could also sa! shocked (#ito ! lit. ener"y flees ). The ene ! therefore pulls back their foot to let it escape, and I ake use of this to draw the ene !"s Shoto with ! left hand. 8hen the breathing of the Shoto Kissaki atches that of the ene !"s Sa!a#guchi (scabbard mouth), I thrust into the ene !. There is a Kuden.

&a (usubi
The opponent places their hand on their Daito. I bring ! right hand to the Tsuka of the Shoto and grasp it, controlling the base of the Daito"s Tsuba. The ene ! draws one pace back. I o*e in and i ediatel! draw the Shoto. There are an! Kuden regarding this ethod of 1atto (sword drawin") # the Tai Sabaki can not be e9pressed in words. I use the drawn Shoto to cut into the ene ! in 5oko Ichi on)i (i.e. a

strai"ht hori1ontal line), Ku)i (the shape of the characterfor 2 ! mi"ht be an idea to include it3), as the beginning of Shoto Iai (draw). There is a Kuden.

Sukashi Dori
The opponent is in Dai)odan (There is a Kuden) and co es to cut in. :ut. Ku. I e*ade it b! opening up (flattening) ! bod! on the left. The ene ! cuts in with 5oko Ichi on)i. (ake the cut air. I leap backwards, i ediatel! change, and leap in with ! bod! changing in K!o)utsu. I use ! right fist against the ene !"s Suigetsu in the rh!th of +if !ou step in, ahead lies paradise,, and without letting the ene !"s twisting bod! escape, finish the techni.ue with a hip throw. In this hip throw, ake sure that the ene ! does not stand up. 5ou should stud! how to perfor hip throws *er! well. (aster the ethod of Sabaki in the hip throw using Daisho. There is a Kuden.

Trans itted on; 'ro ; To;

the <le*enth Da! of the Second (onth of the Se*enth 5ear of &eisei &atsu i (asaaki &isa une 0ll e bers of the 1u)inkan Do)o