$11.

50

TRADITIONAL

· ido

As taught by the Founder to the Author, Aikido is an extremely efficient and versatile martial art. It does not rely upon a weapon or weapons but shows that the body movemen t s are the same whether one holds a weapon or not.

The term riai means, literally, a blending of truths. By understanding Aikido through r iai , one sees that the taijutsu techniques were developed from movements using the sword. Therefore, training with the sword w ill develop ta ijustu technique.

The Founder said that a weapon should be used as an extension of the body.

Ho wever, he st ressed tha tone shou ld not develop a dependence upon a particular weapon. To build this feeling, one should practice the basic exercises of ken and jo suburi, tai no henko, and kokyu dosa consistently. A good understanding of these basic exercises will enable the practitioner to move smoothly

and surely with or without weapons.

Explanations have purposely been kept at a minimum to encourage the reader to use the book as a guide to developing understa nding through practice.

About the Author

Mr. Mor ihi ro Saito was born in Ibaraki Prefecture in March of 1928. In July of 1946, he met and became the student of Professor Morihei Ueshiba, the founder of Aikido, at

the Ibaraki Outdoor Dojo in Iwama. He lived at the dojo and worked hard for the Founder even though he held a regular job.

So complete was his desire to learn Aikido

and his devotion to the Founder, that after

his marriage, instead of a honeymoon trip,

he lef t his bride to train with Professor

U eshiba,

A t the New Year Celebration in 1959 he became an instructor at the Main Headquartel'S Dojo in Tokyo. Through his Sunday morning practices at the Headquarters Dojo, he attracted many students by his personal character and enthusiasm for Aikido.

/.

(

He became head of the Ibar aki Dojo in April of 1969· after the death of the Foundel'. Together with his wife, he also cares for the Aiki Shrine next to the dojo. In addition, he also regularly instructs at Kanagawa, Ibaraki , Iwate, and Tohoku Gakuin Universities, the Miyagi Branch Dojo and

the Japan Self Defense Foree Army Weapons School in Tsuchiura , Other Aikido groups

in Japan and from abroad also come to the Iha raki Dojo for instruction.

© 1973 by Morihiro Saito ISBN: 0-87040-267-6

MINATO RESEARCH & PUBLISHING COMPANY

1 Nishikubo Sakurakaw a- cho, Minuto- ku, Tokyo, Japan

First Printing: December, 1973 Printed in Japan

Exclusi ve Distributor in U. S. A. & Canada;

JAPAN PUBLICATIONS TRADING CO. (U. S. A.), INC.

1255 Howard Street, San Francisco, Calif. 94103, U.S.A.

Traditional

SWORD· STICK

AN D BODY ARTS

VOL.2

ADVANCED TECHNIQUES

MORIHIRO SAITO

© 1973 by Morihiro Saito

, S B N : 0- 87040- 267- 6

MINATO RESEARCH & PUBLISHING COMPANY

1 Nishikubo Sakur akaw ac.ch o , Minato_ku. Tokyo. Japan Phone: 03(501)9248

F;rst Printing; January, 1974

Photographys by Sadao Hirata

Printed in Japan

Exclusive Distributor in U S. A. & Canada:

JAPAN PUBLICATIONS TRADING CO.(U. S. A.J. INC. 1255 Howard Street. San Francisco. Calif.94103.U SA. Phone; {415}431-3394. 3384

Cable: SHUTSUBO SAN FRANC I SCQ

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Bi':{i'D48.2p 9 Ji 15 B

*:g;~1jf!. r§ ~:!ltum;grEl'IIrTE jjYiJ 261ltti.!!. ~~ 029945-2224~

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FOREWORD

The previous book covered the relationships between the basic techniques and practice methods of jo, ken, and tajjutsu, This volume explains the application and variations of the basic kumitachi as developed by the founder, Professor Moribei Ueshiba. Also the concept of Riai has been expanded to include kumijo and relationships between jo and taijutsu, taijutsu and ken, and ken and jo.

In Aikido, the kumitachi contain body movements according to the principles of Aiki. It is possible at any time during the kumitachi to change to taijutsu. The same holds true for the kumijo, However, it will be very difficult to switch to taijutsu, if one is dependent upon j 0 or ken. Therefore, for easier understandlng the explanations have been made by use of detailed photographs. If the aim of the reader is to instruct in Aikido, then this book should be considered necessary.

I sincerely hope that the first volume, this book, and the third intended volume will help the reader to broaden his understanding and correctly grasp the principles of Aikido.

In the publication of this book, the cooperation of Sensei G6z5 Shiota of the Yoshinkan nere, Sensei Shoji Nishio of Aikido Headquarters Dojo and Sensei Yasuo Kobayashi, through their donation of photographs, is deeply appreciated. I would also like to thank Shigemi Inagaki and Masaie Umezawa of the Ibaraki Dojo for their participation in this book as well as in the previous one.

September 15, 1973

Morihiro Saito

Yoshioka 26, Iwama-cho

Nishi lbaraki GWl, Ibaraki Ken Telephone: 029945-2224

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-9-

r--------;g=~ f3

~--------------------------

If: X (Fore\.\'o·rd)··············· .... ············ ...... ·· .. ··············· .. ·· .. ··· .. ····6

~Ij . tt . 1*1iliJ C: 1*:tgIJ ~ (Ken,Jo,Ta i.11tsU and Body Movements) 14

~iilt=~ L -c (Before Practice) · · .. · · · 21

I ::Is:]J (~J ) (7)$ (Sword Techniques)

1 *1l:t:7J (Kumitacbi)

-CT)*7J ···24

=CT)7f;.7J ····························27

.=oCT) -;t:7J ·30

IZ9 CT) '* 7J ·32

n CT) * 7J " ·34

'7\~tFCT)-;t: J ····· ·· · ·· · · .. · .. ·· .. 39

2 *Jl:t:7J~itti (Kumitachi Variations) -(J);Js;.]J

~il::-{l) (~Ij(J)J1.) ···40

(i*(J)~) ·41

~il:: -(2) (~Ij (1) JJI!) ·42

( f$:: 0) :f!!) ·44

-(J);Js;.]]

~lt.-(l) (~IjC1)JJI!) ···46

({*C1)J!l!.) · .. ··· .. ···· .. ······· .. ·· · .. ······················ .. ·49

~lt-(2) (~Ij (J)~) · .. · ··· ·· .. ··· .. · .. ·· 51

({*C1)~) ··53

=(J);Js;.]]

~11::-(1) (~Ij(J).f!!.) ···55

(i:$:I1):E:I!) : 56

Wilt. -(2) (~Ij 7)J_lI!) ··58

({;;tC1)f:l[) , ·60

1!9(J);Js;.]]

~11::-(1) (;fjljO)JJI!) ···62

({!.jc(J)~) · ····· ·· ···· .. ···················62

~il::-(2) (~IJO)flEl) ···65

(1:tC1)J:ffi) ··· .. ·· ·· .. ······· .. ···· ···· .. · .. ···· .. ····66

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li.(j)-:Js.7J

Wift -(1) (~IJ (7)JJ[) ·68

(1;f;:O)IJ[) ····70

j2ft--(2) (9:lUO)JlIl) ···73

(1*0)}1J:t) ···· ····74

3 ::*: 7J ~ 'J (Tachidori)

u* . ijlIJ(J)Ejj.{~=9:lU f~~1·-t Q 11111:]')

t:7J113l. I) -(1)····· .... ······ .. ·· · .. · .. · ··· ···· .. · .. ·· ····· ··.·78

*7JJfx: IJ -(2) · .. ·· · .. 81

j(7JJf5l I) -(3)·· .. · .. ········ .. ················· ··········· ·· .. · ·· .. ····· .. 82

*7JJf)(. t) -(4) .. ··· .. ·· .. ·· ·· ·84

*JJJfx: I) -(5)····· .. ······ .. ···· ······ .. · ···· .. ····· ·········· ·86

7s:.7J~:Z I) -(6)···· .. ··· .. ·· .... ·· ·· ····· .. ······ .. ···· .. · .. · · ···· .. · .. ·88

*7J.!fI I] -(7)· .. ·· .... ··· .. ····· .. ···· .. ···· .. ······· .... · · .... ····· .. ···· · .. ·· .. ···90

*JJJf:x. I) -(8) .. ·· .. ··· .. ·· · .. · .. ·· .. ·· ·· .. · .. ·· .. · .. ··· ...... ·· .. · ·· ·. ···92

*7J~1. I) -(9)· · .. ·· ········ · · .. ·· .. ··· ·· .. · .. ·· 94

*7]Jf31: I) -(10) .. · .. · ···· .. ··· .. · .. ·· ·········· .. · .. ·· .... ,··· .. ····· .. ··· ·96

II *3tO)gB (J6 Techniques)

1 ~Jl *3t (Kumi.jO)

*Il tt-(l}···· ······· 101

~~ {1: -(2.)-·· 102

k:.[~'t-(3)"""·"····"···"····""··"···""""·""···"·"··,,,,·····,,····,, 1 04

fJ:J. ~"t -(4) .. ··· .. ·· · · ·· ·· ··· ····............. 107

#JL 4"1: -(5}· · ·· .. ·· .. ···· ·· ····· ·· .. ···· ·· ·· .. ·... 111

fJl vJ:-(6)···· ·· ········ .. ···· .. ·· .. ·· .. · .. ·········· .. ···· .. · 114

fJl i't-(7)· .. ······· .. ···· .. ···· .... ········ .... ····· .. ···· .. ···· .. ···· ····· .. ··· 118

2 *.tlli 'J (Jotori)

{kIf>!. I) -(l}······· · 122

~Ifx ~ - (2)·........ 124

t-t112 t) -(3) .. · .. ······················· ·· ······· .. ······ .. ·· ·......... 126

t-tJfx I) -(4) .. · .. · .. · ...... ·· .. ··· .. ·· ·· ······· .... ·· .. ·· ·· .. · ... 129

;ft~2 I) -(5) .. ·· ····· .. ···· .... ····· .. · ····· .... ···· .. ············· .. ·· .. ·..... 130

ttJfx.I) -(6) ·· .. ··············· .... ·· ····· .. ······ .. ·· .. ···· .. ···············132

f.t1l:Z I) -(7)·· · .. ···· .. ········· .. ···· .. ······· ··············· .. ···· 134

tk£ljz_ I) -(8) .. ···· .. ··········· .. ···· ················· · · 136

:t~Jfi I) -(g)........................................................................... 138 {tJfi I) -(10}........................................................................... 140

;ftl[)[ 1) -(Il).. 142

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(.To and Taijutsu Relationships)

:E1f!. -@--(l)················································· 145

~ 1} -(2)··········································································· 146

~ 1}-(3)················································· 148

llTI. 1} -(4)··········································································· 150

_g[ i'i- -{S)··············· ···· .. ······· .. ·········· .. ··· ...... ·· .. ··· .. ···· .. · 153

~ 1}-(6)· .. ··· .. ·· · ·· .... · ...... · .. · ·· .. · .. ······· .. ···· .. · 154

:I;'I! 1}-(7) · .. ·· ·· .. ··· .. ··· .. · .. · ·· ·· .. ·· 156

4 *31:. ~J OJ:!:! * ( ~Ij ,.: 7fT ;., ttfjJ~ ~ )

(Jo and Ken Relationships)

~ 1:;--(1)· · .. · .. · .. ·· 158

II 'is- -(2) ·· · ···· .. · · .. ··· .. ·· · .. · ·· .. ···· .. · 160

:£lll: %-(3)· ······· · ···· .. ····· ···· ·· .. ···· .. · 162

~ -fr-{4}··· .. · .. ········ · .. · 164

]-1. 1}-{S)··· ··· .. ···· .. ·· .. ·· .. ·· · ··· ·· .. ···· ····· .. · 167

~ {}-(6) .. ·· ···· .. · .. · .. · · ·· ·· · ·· 168

:E1ll. %-(7)· .. ··· .. ·· · 172

. ~ %-(8)········· .. ····· ·· .. ···· .. · · .. · .. · .. ·· · 174

~ %-(9)· · .. ·· ·· ··· · .. · ··· ·· ·· ·· .. · .. ·· .. 176

:.El! ~-(10)··· .. ····· ···· .. ····· ·: ··· ···· .. · 178

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-c" ih ~ J c::;2I" ¥ok _z -c ~li L ~ -jj! 10 ~ :::. C: ~:: -t ~ 0 fjf-=f- C: :2 -3 .: C: Ii 1PJ ~ +'!f t: ~' 1" .; C <7) M. P* T ih

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;it-, J.J -J 0 f',-3i\J!!-C"ij:. 1!E¥-C";it-, Q ip ~' v';o' ii, ~m ~ fJ1.~ k t# -"? -r 1" ~ 1.)' l' T.i.' 1t';O' O);fF:lii t!lt -C";it-, Q 0 r1!:l!. i}J (7) ~J~JlJ~ (~-~) "e:H rl] I) <7) J: '7 I·::, tHnsl t:: (i ~Ij 0) t)l ~. t-tO)]}JJ ~. f4>:1if.r <7)tb ~ 1;1: '::::'~-1* l:: T.i.' -? -Cl ' Q <7) T'if) Q 0 *~ ~ :!iii i: -e b ~)L;h l' t: t:' tt 1;1:", llJ:! I: l.lIJ <7) Mit'I'1I': :B :J\. l'J ~ I: T.i.' Q C: }(!;I, 'J 0 WI] ;Ut', El 7t hftt ~ fiT 'G iF! ¥ 1J"~1j -c iT '1:,; i60 A.- -r" ~ t: t£%, JEtJ1! -r" <h 1.;, ir- f:, I: t j: 1: tl ~ TIllj L ~ It tUi' 7J: ~ >j,' ", 0 ?7.\ L Y..., Fl5t hf~U ~ r.f 'G t]j T' nf;ft -r"~ l,.' -r\_ t: :l~#- t:: t ~ Ii I) TIll]

Ken, Jo, Taijutsu, and Body Movements

Before practice, it is important to motion that ken, jo, and taijutsu techiques are not intended to be done with just the hands. Therefore, one should not use the hands too much but practice as the basis of technique body movements that will turn, throw, or upset the balance of an opponent.

Generally , it is said that the main aspect of Aikido is "empty handed" technique, Instead the idea is advanced here that the main aspect is body movement. "Empty handed" means literally not to be holding anything, However, "empty handed" may perhaps also mean that even while holding a ken or j5 one should not rely only upon the weapon. The person who can use a ken or jo as a part of his body will be able to do "empty handed" technique. For, in Aikido, it does not matter if the techniques are "empty handed" or if one is actually holding something,

It is hoped that the concept of Riai as presented in the first volume has been understood, That is, ken, jo, and taijutsu movements have been combined from three parts into a single body, If this book is read completely,

- 14

L tJ,' ~t tl ii"i<I: ?, >J.' l' 0) '''C';Ji; Q 0 E! 1tiJf~=¥- -C l'J '? -C L, t§"f ;/]{*9 l" l'J '? -C b % (': fEJ 1M] t .: c i){ I:. i. Q 0 .: O).J: "3 I.~~· i: Q ~~ I.: t, ~IJ 0+'1 0 14.:1iI'YO) ~H* Ii #;: L -r jf~ + Q ,~ 0) ·C(i >J: <, § 5J-;/]' -;}'fi,jgO)f*!jJIJ ~ O)rn':WIJ r:ff£'? ll' Q Illt I), IPI ~~-.> -r L W<:") lifft.: /;.: < "C {, ,_t6·ftl:l - ~fljIJT Q :. c iJ{ tJJ"* Q 0 1* l:l;IJ ~ .: J(, ~U 0 ;ft, 0 f.lq'II'T ~ 1'l:tP~-1* 0) Hi:lJ ~ ~ f<I.' ~ L;n, {--t $\ jfi 2: m~ L "C l' Q 0) -C.l'J Q 0 i~.ld-=: ~Ij I,': JI1ffi( I) Ji!!1 ~', ;ft ~ :Ii: ~i& 1_ ~ ~' Q .:_ c Ii ~iJW -r" tI':. Q • C I:. "3 .:_ c 1:, F :b -r :$:!:' k

-r L ~m~T Q:X~ -r"-"9 0

~IJ c ii \" ~tli j'j1tlJ"tU'i~: 0) -r', ".) o'"'J"' ~~ftI( L ill!~" Q L 0) -r";Ji; Q 0 1fTi'll (m-·~) f<I.·MR'M 2:5'Gf}r':il'l." (-~·t~ IJ 2 If.J;JJ:) , :!it1*(T)-{fI)O)tz~1 < ~&:O) i i r.:t&7~ Qt:;IH~}jJ ~ h Q:' C i.l'.k1J.J "Co <h Q 0 y, ~IJ r.: J:: Q r ~m.r4t:tT t, J t ~~~·ll· h~: t+ h ii"i;.: G >J.' "a -t- f.·l~ ~ {I~**T Q .:_ C: Ii. 1* .f!Iti' r: ~ i_, ~,~ 7j ~~0)*lE'11. 2: ~ -J ~ I:':*: ~ f<I.';i'9:~~ 1: *-"9 .: c C >J.' Q a k L l iii-=: (:;I: H'&!O)*"5E 1_ i: 1;;KI}JrJ ~ i.lftl:l* ~ J" -j I: ~. Q 0) "C"d:J ~ 0

®

@

it is felt that one will develop another relationship - control of the opponent through body movement. For instance, when holding a jo and facing an opponent who strikes with a ken, one must be able to control him. Conversely, when one holds a ken and faces an opponent with a jo the same is true. If both are without weapons, the attacker still must be controlled. If one bears in mind the above concepts, inconsistencies will not arise. One will be able to control an opponent without fail regardless of whether a weapon is involved or not providing the idea of body movement is grasped and understood. Emphasis on body movement unifies ken, jo, and taijutsu techniques into a single Aikido.

If must be pointed out once more that too much dependence upon j6 or ken is not a good idea and is to be avoided.

Because jo movements are more varied than those of ken, the tendency is to think they are more difficult and different. Therefore, one must practice basic techniques as au tlined in Volume I un til the j6 and ken are felt to be

-15-

ii-%'~ Ii fI1IJi!.: L -r ~tjf:mi:;ff c' <f) ~ 0 t:t (7) .l; C" 1;1:, .f fut 1*::rgIJ 2< L: J: >b t (7) -C-;Ji;, >b 0 ?-k l .f 0) ~~~tL~~~l~ •• $~~*.~#~~l~.f~~it~(7)T~~o

®

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part of the body, A minimum of two years practice of the basic suburi is recommended, One should by all means practice the tanren uchi exercise, Those practices wiU develop a stability of the hips that is most necessary in taijutsu, Body movement must be accomplished from the hips,

Aikido is an art of non-resistance. In technique this is done through body movement. Body movement is developed through the basic practices.

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!Wi**:tT 10

1frIilMttJ t, (7) 1j i* /:i, =f-W! I,: A if-l- 2: ~ §llllh!II c7) 11 -"I (>J: ~ "" < *Bl ~ \ 1] 7Jf li Po Iln ~, t: ~~flO-t /' 1- 1.ll:" ,:. t., (7) iJ{~:lj_) ~ IFiI tE L 1.: ~ (7) !' tlj PH -t ~ (7) n<M -Iji l" if:, ~ 0

~llltlf[tJ t:, (7)13 BJI:i M:! ~'R'5:E ~ -I±, t§I I) !' L -» 7P I) ~ -I± ~ ,:. Z:: I,: Ji;. '-10 n t, 1J l:i ~~ ~ $ jf\:~ L l

~ E>- 1-: ~ '" i'fHiffi:fT t, (7) Ug, (7) till I) /:i 'jWJ -'f- i IlJlt ~ 1'1': -:l("j-t.: 1] iJf EJY Q £1iJ:~n t, ffl (7) *~IH:i :J.U3 (7)

7,cQw i 1!l' Jfj-t ~ 0

rmJ =? (7) 11" I; Wi l:i -I± J: ")y7J{f! V'

Hold bothhands together as shown

Tanren Uchi

For tanren uchi practice, the easiest object on which to strike is a tire (preferably, the tire is a small one, like a motorcycle tire, capable of deflecting about l Ocrn when struck.)

The purpose 0'" tanren uchi practice is to develop stability of the hips and to improve the grip on the ken.

Reference should be made to the pictures for the proper method of striking. When practicing tanren uchi, modify your grip on the ken so that both hands are held close together. The bokken used for this practice is' usually rounder and thicker in shape.

-17-

The Founder, Professor Morihei Ueshiba,

-18-

rig 1::"' 7 (1)1;1:, TJJt, wp;j1= illh<i1§.-o -'[\., 6 J: -) ~:, :j<f1(1):kh,t:" I:: ~ ( -'-:>1: '0.. -0 -CI1llHt 1', :kh,t:" a- ,*r~ ~=1T t -c I'~ < :. t '5': l' 7 (1) -C'if:, ;."

'i'r11(1):kh'L>ll' G:}' L""C° fJ /llln i: G, -t h 1;1: ;~)= (;I: t· G

~~ 1_. .... 00 ' •• r ••••••• ·~ J

The way ( itt -Do) is like the flow of blood inside the body. As it is contained in the body, it is in unity with the Divine Spirit (Love). Realization of the Divine Spirit is accomplished through practice. If there is the smallest separation from the Divine Spirit then the way is not

being followed .

From a speech by the Founder

-19-

-20-

2.:fJ't*JJ C ~lt*JJ

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1.*lI.* ]J

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Before Practice

Kumitachi

The kumitachi came originally from an old sword school. They were modified to include the concept of Aiki by the Founder, Professor Morihei Ueshiba, who left them as a legacy.

There are many possible variations of the kurnitachi, The Founder, when he taught, called these first attack and second attack variations. These variations are naturally used with the ken but are soon adapted to taiiutsu. Consequently, the kumitaohi are considered to be the personality of ken, jo, and taijutsu basic techniques. If one does not have a good understanding of suburi, it will be useless to practice the kumitachi. If practice is done everyday on the kumitachi and partner practices, stability of the hips will not be attained, and an important point of practice will be missed. Therefore, begin each practice session with the suburi as shown in Volume I.

Uchitachi (Attacker) and Uketachi (Defender)

The kumitachi are not to be considered competition. They are practices, and the partners do not vie for an attacking or superior position, It was said that one should be uchitachi for lOyears before being allowed to become uketachi, It was felt that this was the proper may to learn.

-'21-

-22-

Sword Techniques

-23-

Kumitachi

First Kumitachi

No.

3

Defend by cutting down. Settle the hips and adopt the attitude of a tsuki, (hitoemi)

Uketachi

Uchitachi

Stand in the posture of right hamrni.

2 Raise the ken above the head.

Take one step back with the left foot and strike down.

4

5

6 Defend by adopting the attitude of a tsuki,

7

8

9

-24-

Stand in the posture of right hammi,

Cut obliquely up, extend the ken point to uke's chest, step out with the left foot and bring up the right (From this posture, movement can be made in any direction).

Step forward with the left foot and strike.

Strike again with renzoku uchikomi.

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t~~\lo
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® ( -ig,5tJ -25-

-26-

1 5 9 13
2 6 10 14·
3 7 11 15
4 8 12 Second Kurnitachi (Refer to page 28)

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(!) ::Ei4'% 0 ffi4'%o
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To
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ID.::f.(7)~IjI':J:2G hi"Til' Grill]
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@ (-1lf_%) -27-

Second Kumitachi

(See pages 26,27)

No. Uketachi Uchitachi
1 Stand in the posture of right ham mi. Stand in the posture of right hamrni,
2 During the blending of ki, raise the ken over- Same movement as Uketachi.
head.
3
Defend by moving into hitoemi with the left Aim at the opponent's leg and strike down.
foot.
4
5 Intending to cut the opponent's wrist, raise
the ken.
Follow uke's ken briskly from below as it is
Step back with the right foot, adopt hitoerni, raised and thrust with the left foot forward.
6 parry his thrust, and aim the ken paint at his
throat.
7 Follow with a thrust stepping with the right
foot.
8
Uchikomi,
(Do not let the body cant at this time).
9 Defend by stepping back with the left foot.
10 Hold the opponent's ken down with your
own.
11
Do not resist uke's ken, pass your ken under,
When the thrust comes, step back with the and thrust stepping forward with the left foot'.
12 right foot and adopt an attitude of a tsuki.
13 Step off to the right, parry his thrust.
~
14 Defend as if cutting down with the ken.
(In practice step back with the left foot. Finally, strike with a shomen uchi as shown.
15 Originally, a step forward was taken) -28-

..

Aikido Headquarter's Dojo Instructor, Shoji Nishio at a demonstration.

-29-

Third Kumitachi

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CD tl4'% m*fr
@ tEl=f-O) o;I)lj ~ 1l£ < t,,~7_~
i'll'j"" (I) S ~ i.. ~ lnI T 0
®
@
@ ;tL JE ip ;" ;~:Jf;J 1; I,:: f,$: ~ ~$ L rr t:, J6
:ti YU: ~t~~, -r~lt ~ 0 Do
@ I ~IJft ~ tEl=? (7) 9J 'L' I:: --:> I") ~ 0
(Jj tlcf,$:z.t~ L 9:2 ~ t irnTa
@
®
-m:-%I::'d:--?-r~~t~o @-@~;I: i!,f#tH t:, iLho
@
@ -30-

No Uketachi Uchitachi
1 Stand in the posture of right hammi. Stand in the posture of right hammi,
2 Hold down the opponent's ken lightly.
. Flow with uke's movement .
3
4
5 Defend by stepping back with the right Step forward with the left foot to the left
foot. and respond with an uchi komi.
6 Point your ken at the opponent's center
line.
7 Step to the right and parry his thrust.
S
9 Pictures 4 ~ 11 show the renzoku
10 Defend in the position of hito e mi. uchi movement.
11 -31-

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® ti~1J7J-:2:imh2J::! ~o ~§
® /_i,li 1:- n· il'rh L -11! :!} 0
® ;.flJ=f- (1) IJiIJ ~ .:I:; ~ i_ 00
@
ill!: h l' I,: i:Jfl L *IJ 1:- T ;Q' ~ !ill L ~
< (tr:=I=-5t )0
@ tr:'~ ::Ii" (: to: .., 1:":;g_ § "C1t" (t 0,
en
@ tcJE c"i*~OO §-t;IJ I) H;:' L "C1t
® It 00 * ~ ~ ;Q' h l"l n t;, ib. h 0
® !lll, ;:g § (7) fIE: ~\o -32-

1~[~[:1~15161

,

Fourth Kumitachi

No. Uketachi Uchitaehi
2 Step forward on the right foot and tsuki.
Move the left foot into the position of Do a Thrust.
3 hito e mi.
4 ,14'
Hold your opponent's ken down.
S
6 Stand in left hamrni and defend with a Without resisting, flow with uke's move-
ment, bring the ken around up from below
7 tsuki. and thrust. (left hammi)
8
Step back with the left foot, defend as if
9 cutting down, and adopt the attitude of a Parry his thrust and do an uchikomi.
tsuki,
10 -33-

Fifth K umitachi (Refer to page 36)

789

1 2 3

13 14

-34-

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CZl
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®
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®
CV
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:JT 1:, .ib h- 0
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@ ~x I) I:' ilf.., _ 'IT < 0
@ Wi t- i:: t; h ;j_. \, J: -j (:. tilE I~ 'J 'J, tl-I =P (1) ~ fit I:.
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©
@
li: IE ~ ~ I ~,~ It ~ 0 rr 1:, :\2oho
@ -35-

Fifth Kumitachi. (pages 34,35)

No. Uketachi Uchitachi
1 Right hammi. Right hammi.
2
3 Step widely to the left with the left foot Shomen uehi komi.
and strike down.
4
5 Turn the body into left harnmi and defend.
6
7
Defend by stepping back with the left foot. Uehi komi.
8
9
As shown, raise the opponent's ken and
move forward to grasp his ken.
10
11
Move into left hammi. Do not grasp his ken but flow moving to
the opponent's back and strike his leg.
12
13
Defend by stepping back with the left foot. Uebi komi.
14 -36-

-37-

-38-

1 5 9 13
2 6 10
3 7 11
4 8 12 Ki Musubi no Tachi

~1! '!fi:.(t-Jr.lJ Uketachi fft;, -Jr.lJ Uchitachi
(Z) '7i. t i." h -1t 'J 'J 7cJ-J9: I:. tt 6 0 ::_ (7) 1liT, ,rG, tjit :k_l-JJ{ !:. if< I) -/p .J; Q a
@ < OJk"J2,t.'o
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@
@ :f1 Ji!. ;oJ' G :t=iJl1j 7)-1: 1* t ~1KJJ I~ :J'}-s ).6. t.- el'i -'(. IEillin i? J2, ho
(f) -tr] ~ T.J;, -9-)0
@ ffl=¥-O')j)i{ I) -/pA-: I) !:.1th-t!:"(?R: < a
@ li:iJTc UTi?, -f 0') i i \1llj5tr; t m=y-I,: 'J (t Go iEITil:JTt,iAha
®
@ T 7J' c, tEl=¥- 0') Ij,=¥- Utili" 6, n t, i.6.h!:~ Oft 6,
@
e tTll: i_ I:: &it; G 0 fII1 i. (:. m G 0 2 Blending ki, raise the ken up over the head
Same movement as uke.
3 breathing in deeply.
4
Lower the ken to your right side. Same movement as uke.
S
6 Step forward with the right foot and strike
with shornen uchi (Besure to strike down Sham en uchi komi.
7 fully)
. 8 Thrust as the opponent raises his ken .
9 Make a flowing strike to the left. Shomen uchi komi.
10 As shown, point the ken at your opponent
for a thrust.
II From below, control your opponent's In preparation for another strike, raise the
12 wrist. ken up over the head.
13 Return to the initial stance. Return to the initial stance. -39-

Kumitachi Variations

-rJ)-xlJ

¥£ ft--(l)

First Kumi tachi Variation ~ (1)

.l-.:1.T, ~1j0)~Ej:f I:: f,*if)j~IU:: ~ J:~j~ L -Cft'T,I]-j 6 I:: \" "0

(Body movements)

CD

~~ ~'t:iOl H'I?:tJJ
CD -;!p: ill. I) rr 1:, }; 7:::> To 1'- lJ' i':, 'flJ I) .L If 60
"""
~J
0
C!) Withdraw one step Cut up across the ab-
® while striking. domen.
Jill
'-'
® +f~f1~J-J6o rr 1:, j2:,_;"o
Control the opponent's Uchi ko mi.
® wrist.
0 i{j =p. 0) ~IJ 0) fN r t~ I) ?J t: 7J' 'G
,-... ® El-5t if) ~IJ if) tltl < jm: I) id~ ~ :JT
t<f'. t,};7:::>Tc
C!) ®
f_fH Grasp your opponent's
'-' @ ken .. Raise your hand as
if lifting your own ken
@ and strike down. (Sword techniques)

tE Bh

-40-

®

®

@

®

@

Compare with the sword techniques and the body movements during practice.

-41-

-Cl)~7J

~ft-{2) (ffiU<7)~)

'fJ- ¥t ~~t;J,c)J ITi?;J,cJ.1
CD
@ -$ill-? -r iEWfr 1?o T i_p t., -l;lJ I) J: if 0 0 .
®
®
® ;(:j'@f£-":ll ~, l*!"~m~' -ri~:(t Go :tT 1:, ili ts 0
@
(J) ;t- JE 7)' i? fiJ I,::_ :i1t h , :J'E!=f-O:)!j'=F- !"f!jIJ"t 00 :JT 1? ili h (::_;1'$ G 0
® -42-

First Kumitachi Variation - (2) (Ken Method)

No Uketachi Uchitachi
1
2 Withdraw one foot and Cut up from below.
3 strike.
4
5 Step back with the right Uchikomi.
6 foot, defend.
7 Advance the right foot for- Prepare to strike with an-
ward and control your op- other uchi komi.
8 ponent's wrist. ®

-43-

~O)-kJJ

14: ft---{2) (1*C7)~)

~1f: ~(t-jOJ
CD ttl =f~.: i} h -tt l =f t jJa I) .L If'1m I) T ? L :tJ~ t j~ J.:, 0
CV
® 1} t t lb'IJ L l fJa I) Xl' ..I,; J.:, 0
®
@ Iii If t: f£. t ffi =f (.: ~IJ t ":l It 0 a
@ -44-

First Kumitachi Variation - (2) (Body Method)

No. Uketachi
6
Raise your hand when the opponent raises his ken. Grasp
his ken when he strikes down.
7
8 Control his elbow, and raise your hand.
9
10 After throwing the opponent point his own ken at him.
11 -45-

=0)*]]

~ ft-{1) (~JO)l!!.)

~J{. ~tt*JJ .tTl:, :teJJ
CD ~;(_ f~;(_
(2) J:J~ ~;: ~£; 0 0 J:.JiJ{ ~= ~~ 0 c
@ ~f)):~~t (_.l[$t) ffi-=f" CT) Ii ~ n-=>o
® t: JE:o' t:, t: M J;n;: fif>: ~ jf$. L tEFf ~7P to ~ ~J::lt' 0e
@ (7) IJ,=f- i' flJlj-r 00 Second Kumitachi Variation - (1) (Ken Method)

..

No, Uketachi Uchitaehi
1 Kamae. Kamae.
2 Raise the ken up over the head. Raise the ken up over the head.
3 Block the strike (hito e mi) Strike at uke's foot.
4 Take a large step forward with the
left foot. Control your opponent's Thrust at uke's chest.
5 wrist. -46-

-47-

'ltf. .. ~~t:J.OJ fJt:,*7J
@ g:g £i. ~ mE L 1: ifilJ ffij 1·= 1* ~ ~t -t 0 TD't:o~ C
@ ~IJJ't ~ t§ f. 0111f*j[; L:: -::> It {,o
®
(J) TEl-'¥- 01 tJ ~ (7) I'fl (:: 1:;: 01 $ ~ -fr j-:dt +~~ ip t, L? D'
@ t) , j~ t) ti.JE ~ t) I", -r1;:f;:.-r'ill_ T 0 .
®

No. Uketachi Uchitachi
4
Flow with the opponent's thrust and turn to Thrust from below.
his side. Point your ken at his throat.
S
,
6
7 Grasp the back of the opponent's right hand
with your left. Close the grip from the little
8 finger. Step back with the left foot and turn
the body.
9 -48-

='0)*71

~ ft-(l) (t4'-o)~)

Second Kumitachi

Variation - (1) (Body Method)

-49-

-50-

..

='(j)*n

~ ft-(2) (fflU(7)rm)

Second Kumitachi . Variation - (2) (Ken Method)

This practice is for entering deep to the opponent's rear, when holding a ken ..

-51-

CD ®

® @

-52-

=,0)*)]

~ {t----{2) (f*:<7)lJJ

®

Second Kumitachi

Variation - (2) (Body Method)

B~1!J: ti' (D f~)

(l)fR'f-7Jf;\.:c El?J7J14>:t i>:+q-~~-t;lJQ': Co

(2)L1?}7Jq:..~¥!.""TtI <"C:O)lfl~ Ot·7JTItl:.l1rta), -t-0)5.r1..:"~H1H:mT': 1::0 (3)O)L1' L t_:f~ 5!J:Jf Q .: to

Koshi Nage (Oral Instruction)

(J) Your body and the opponent's form a cross.

(2) Fully extend your hand toward the top of the wall and lower your hips.

(3) Look up along your extended hand. (This fits the back of your hip to your opponent's abdomen and he will ride over your hips.]

-53-

-54-

Sensei Gozo Shio ta, Head of the Yoshinkan Doj o.

-Cl)-J:\:7J

~ ft----( 1) (ifilJ O)l_ill)

r-

I_

¥J1 ~!t:t\_J)
®
® tr: =F ""Co- 9!IJ '!- }; ~ 7.., -BL~l·~~t ~o
@ Third Kumitachi

Variation - 1 (Ken Method)

No. Uketachi
4
S Hold the ken down with the left hand.
Stand in hito e mi.
6 -55-

~CJy-Js::.7J

~ {t-(l) C1*0):I1TD

~':J.1{ ;gtlt:A:.7J
(j)
t: JE 1:< flFf- (1'.q'::I Ji >C jjl'~ h- "":) "":) < T -90
@ -56-

Third Kumitachi

Variation - 1 (Body Method)

No. Uketachi
7
Step on your opponent's right foot with
your left and upset his balance.
8 -57-

CD

-=:: O)*)J

~ ft--(2) (~!JO)J!R)

Third Kumitachi Variation - 2 (Ken Method)

This has the same meaning as variation - 1.

-58-

@

-59-

=:0)*71

r4: {t-{2) ({*C7)f11D

-_ (I) A: TJ >g: it-{z) (1;$:.(I)~) w.E!1;1"

-60-

Third Kumitachi

Variation - 2 (Body Method)

Refer to the Second Kumitachi Variation - 2 (Body Method).

-61-

Il9C1)7.(n

5!: {t-{1) (f$:0);f!)

'I5-Jl ~t1*7J
®@
1* 't PfJ ~ '"J '"J itFf- 0) t» t 'tfillj-j- 6 0
Q;@ [Z9C1):kn

¥: f~-( 1) (&!Ij O);f!)

*J:licJ1 (129 0)::(( rn c --0)*7]21:11::---(1) (wO)~) C <J(O)~. 't J'd.J:I::---':: l, i1J ;;-'-1.:. {, t:i<. 't iJ!i: -:> --c h l i'" ~ v-,

CD

-62-

Fourth Kumitachi Variation - 1 (Ken Method)

Compare the pictures of the Fourth Kumitachi, the Second Kumitachi Variation - 1 (Body Method), and see the picture below. Try and develop new techniques.

Fourth Kumitachi

Variation - 1 (Body Method)

No. Uketachi

5~8 While making a wide turn, control the opponent's elbow.

®

-63-

-64-

-65-

!mO)X))

~ {t---{2) (~U O)~)

'XJ.. n -Yl.:tt:;lOJ
~"
®
rJ) ttl - (/) ti U l: ~ ffilJ L -r .~ ~ 7E 5i'" CA n Q
@ Fourth Kumitachi Variation - 2 (Ken Method)

No. Uketachi
6
7 Control the left elbow of your op-
ponent and settle the hips.
8 imO):ic)J ~ {t-(2) (f*C7)l]D

- (1) xn ~1t--(2) (t;!,(1);IJ!_!) ~ Imo

-66-

Fourth Kurnitachi Variation - 2 (Body Method) Refer to the First Kumitachi Variation - 2 (Body Method).

®

-67-

® @

©

f[j=J=-o)*h*Q lJ ~im LlJIH' itt: §;, .f O)tR1J-C"§±$t U,"2. W,j ~ C: I? 11;;"" J: -'j I,:'ft~';.$f C: 'd:"? -c "Iff& ,I:. @]

T~ I) ~ U'o

-68-

Fifth Kumitachi Variation - I (Ken Method)

No. Uketachi Uchitachi
9 Move toward your opponent to take his ken.
10 Move to left hamrni to avoid the
Flow with the opponent's extended power, cut up ken from being taken and turn to-
II across the abdomen and finish as shown to protect ward uke's back.
12 your entire body. -69-

126 3 {

~ it-{l) ({+O)£_![1)

@ ®

(J) tlF} 0) ij[iiJ ~ tft < J: "5 ;j:;rt tJj' t, -r·1* 7)' A {;, 0

@

®

Fifth Kumitachi

Variation - 1 (Body Method)

No. Uketachi
5
6
7 Have the feeling of passing through the opponent's
abdomen as you enter with your body.
8 -
l 9 -70-

-71-

-72-

JiCTrklJ

~ ft-{2) (~rj C7)l}f)

~~ ,~tt:klJ 1T"I?::t7J
® 'i!-r"J -r < .; 1J ~iKL L,
@ -t- (7) i i tElf (7) tI U t. . @ I) ::. Iv "e fE ~ n"'?
@ ,
@ ~mIJT ':'0 Fifth Kumitachi

Variation - 2 (Ken Method)

No. Uketachi Uchitachi
10
II Flow with the oppo- Strike at uke's
nent's approaching leg while turn-
12 power .. As shown Con- ing.
trol his elbow.
13 1 5 9 131
2 6 10
3 7 11
4 8 12 I

-73-

liO)*7J

5f: {t-(z) (f*O)l]!)

~ Jl( ~~t;lOJ
Or-<
@ J:IN t) ;1».3; t) ~;:: % h -ttl ft: f"C' fEFf(7) :fjij ~
® t~!.~ 0
@ :tHt I) !J 7:> -t nil, ;tEl -=F(7) /] ~:.;;z. I) ~~ ~ A. tL
@
@ hQo I 1 2 6 10
3 7 11
4 8 12
5 9 13 Fifthe Kumitachi

Variation - 2 (Body Method)

No. Uketachi
8 As the opponent raises his ken, blend
with the movement and grasp the hilt
9 with your left hand.
10
J 1 When his strike begins down, turn and
enter in with the hips.
12 -74-

-75-

The Founder, Professor Morihei Ueshiba.

-76-

Tachidori

-77-

®

®

~;n ~ (t
CD .ti '*- $I' r7) tlW i_
@ *' fE i» to fEl 'f- r7);(j Wi] 1ID 1= A I) :ib Vo
@
®
® ;(r ~ -C*~j ~ J-_ iJ' to i§t I) , ~fE~~~r7)~~~~~~~*~~~~.
®
(J) Jj'l'J t [} b"? "( !9:lf ~"
® AJJ t~,'5ilIj~IL; ~i'l-If~= r;J)lt ~o -78-

Tachidori - No.1 Tachidori from right hammi.

®

®

No. Uke
1 Stand in right hammi.
2
Step forward with her right foot and enter to the opponent's right side ..
3
4
5 Grasp the hilt of his ken with your right hand. Place your right foot behind the
opponent and place your hip next to his body.
6
7
Rotate your hips and throw him. Point his ken at him.
8 -79 :._

-80-

~A ~ ~t
[) t:~.5tO)mi_o
(2) ftfE ~ii~, tl[~ -!)'_j{t)nt;,:B~ LI;::%
® b-lt.:so
@ ~'El=F 0) 15 =F ~ 4 "fl· J:b' to, ti..:s 0
@
@ 15 'f- z. *§ =f- 0) 15 =f 0) If! ~.:.m b., ~'![!~Uh
(Jj I) , 15 JE ~t!-l9"O)"M1JC ~~, t:fE l'1*
@ ~~~'-r'l':!l:~f.:so
®
® ft*.t~?lm"fO)~~m~~~~.:s.
@ Tachidori - No.2 Kote Gaeshi

No. Uke
1 Stand in right hammi.
2 As the opponent raises his ken and strikes
slide the left foot in and blend with his
3 movement.
4 Grasp his right hand from above with
5 your left.
6
Place your right hand over his right hand.
7 Turn your hips and step back with the
left foot, moving the body, and throw.
8
9
10 Move to left hammi and restrain the op-
ponent with his own ken.
11 :* 7J Jif!1. ~ 0) 11# 0) +f-!E. L. Ii +tlfl ~ J.\.7J i.:UI'lt -r.H"' t:.1J;O< & "0

When doing Tachidori Kate Gaeshi, your little finger should touch the hilt of the opponent's ken.

~81-

1;]:J'J; 'Jt (t
cv :t£{ ~) 1)' ,~; I) L: 1} -1:t 'C tr_ JE. 1)' t-, A % ( :tIT-
@ 1-:: ct,\:!:)o
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@
® .~f ~ 1J h. t) tiFF ~ < 1" t., -b ,IE ~ tEl =F- C')
(J) 1& 1.1 i: Ji!n -c 19: (f G, :: C') ll!j~IJ ~ 1f. -) 0
® -82-

Tachidori - No.3

This technique is called "Irimi Nage."

No. Uke
2
Blend with the opponent's movement as he raises
3 his ken and enter with the left foot (Note the
right hand) Grasp his collar with your left hand.
4
5
6 Rotate your hips to destroy his balance and step
to his rear with your right foot. Throw him with
7 the same movement as raising the ken using your
breath power. At this time take his ken and con-
8 trol him. -83-

~A ~ It
@
@ 1i>.0')'l£1tiJ ~Jc:5tI'':1T,\'''J--:J, filiiT-l'fEif
® 7)IJ'=F ~ JM L U l:. ~tJjiJ-t Q,
(J)
® -84-

Tachidori - No.4

No. Uke
4
5
During your body turn, grasp the opponent's wrist
6 with both your hands and turn it outward. Re-
strain his elbow.
7
8 @

-85-

'r;:J~: .;': (t
®
@ tI =f- -e J:. 7)' I? 1'N i' t§1 t) b:: 1'- "("ifEl =t- if) U t.
@ i'!ljl)L, ~i' An l:t~I-r Qo
® Tachidori - No.5

CD

®

No. Uke
3
4 Grasp the hilt of the opponent's ken with your
right hand. Place your left arm under his elbows,
5 enter with the hips and throw him.
6 -86-

@

-87-

~JJ; ~ tj
(Z) xu:t r J't 9ilJ El )J If:{ t) j
@ ;f§Pf- 0);(5 =f- ~ q-, 'L' 1= L- -: 7,;;: ;q ~ !fx {, .:. C:
® 7)<::f;:tlJ -r.: iI'1 {, 0
@ -88-

. ha Dori". . alled "Shinken S'~l~ng the op-

. ue IS C . the ken .

This techniq ortant to r~\Se . t from him. It is very Imp when takmg 1

t's center ponen

ITIiliI4l [illEli]

~A ~ It
® s: 'f- --ctlFf 0) i'"Fi H& I) • ;t! JE -(-tiFf O);t!
® JE ~ Ji!'~h -, ::1':.:: 'f- ~ 7J'.t -r 1'9:(1, jOJ~
® ll70
(J) -90-

Tachidori No.7

No. Uke
4
5 Grasp the hilt of the opponent's ken with your left hand.
Step on his right foot with your right foot, extend your
6 hand to his chin and fell him while taking his ken.
7 -91-

®

:kJJlfZ ~ -(8)

~~- ~~~m~~~~vt~~L, m~ ii' J~ I) • H t;, H ;:, i- rllrV.ttH: -r:f~ ~f

-92-

@

Tachidori No.8

Uke - Place your right arm under the opponent's left elbow. Raise your hand as if lifting a ken and throw him as if striking.

-93-

* 711fT( I) -(9)

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CZ)
® -rll''F ") 1..:: =F i'T i.J' t, iff IJ 1i:: f "Ctil'i ~ c 6
@)
@ :t:i Ji ~ jffl ¢.J, t~=f-i.J<U t ~-Flf'tl >d-'" J:
@ -) I:: tEl.~lE.h" c
rJ)
® .~Ub~~~=F~h~T0H~~~~
® if 60
@ ft.=¥- -r.-1.::.JJ '2 ~,'n-'f-~·#;IJ T 60
@ r!if; -$&J h' ~ '!if;3if.ll:J O):}i (;I: , *.(7) r!if;=~J t:. T~IIJlI.\t: L 3: 1" 0

-94-

Tachidori No.9 (Refer to page 96)

1 2 3
I 4 5 6 7
18 9 10 11 -95-

Tachidori No.9 (See pages 94,95)

No. Uke
2
Hold the opponent's left hand
3 from below. With your left
hand grasp his ken hilt.
4
5 Withdraw your right foot. Do
6 not let his elbows drop. Place
yourself alongside the oppo-
7 nent.
8 Turn the hips and extend your
hands up from the opponent's
9 side toward his face.
10 Take his ken with your left
hand and restrain him with
1 1 your right. This technique is called "83nkyo."

The explanations of Ikkyo through Gokyo techniques will be covered in Volume ITT.

* JJ Jf:( ? -(10)

.; (7)1iI;J: r;:p;rmij'J:j (7) J;t ffl JfR l) "c if> ~ Q

Techidori No. 10

This technique is called Yonkyo.

m

,

I 8

r ~fE::: f,{J (7) J;t)fj Jl"x: f) i±, 'f§ =F- (7) =F -it (7) f.j:liJl)j :a:: ~ !/) ~ 0

In applied techniques of Sankyo , the opponen t's wrist is held from the back of his hand.

-96-

r f.j'l; 11.9 i:¥il: J 0') ,trc ffl J1R I) ~::l:, it! =F- (7) "y- § (7) It{JIH' -tt !/) l,;, 0

In applied techniques of Yonkyo, the opponent's wrist is held from the front of his hand.

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