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BAY

MARIN
AIKIDO
STUDENTS'
RESOURCES
TABLE OF CONTENTS
Page 1
Practice Rules

Page 2-3
Dojo Courtesy Guideline

Page 4
Aikido
The Founder

Page 5
Training Levels
Riai

Page 6
Takemusu Aiki
Aiki Shrine

Page 7-9
Memoirs Of The Founder

Page 10
Helpful Phrases (Japanese/English)

Page 11
Training Methods

Page 12-14
Attacks and Defenses (Japanese/English)

Page 15-17
Examination Requirements

Page 18-25
Glossory of Terms

Page 26-27
Aiki Weapons (Bokken and Jo)

Page 28
Happo Giri(bight directions)

Page 29-35
Thirty One Jo Kata (31 Short Staff Form)
Thirteen Jo Kata (13 Short Staff Form)
BAY MARIN AIKIDO
PRACTICE RULES

1. Listen to the instructor. Follow what he or she says as closely as


possible. Try and put aside any preconceived notions of Aikido . If
there any dis putc in the dojo, the instructor has the final word.

2. Do not waste your time or other's time by resisting techniques or


showing how strong or skillful you are. A technique in Aikido is
capable of serious injury. Practice in a way not to hurt or injure your
practice partner,but allows them to take ukemi. One of the go~ls of
Aikido is to train, when injured, no training is POSSible.

3. Practice at all times with a fe~1ing of pleasurable exhilaration.

4. Polish and perfect each movement so that you can take care of
attackers from any direction. notjul:)l Ule attack in front of you.

4. The teachings o[your instructor constitute only a small fraction


of what you will learn. l\1astery will depend on your sincere and
earnest trainin.g. Allow time to reflect on your training.

5. Daily practice bcgins with light movements of the body and


gr adually increases in intenSity and strength. Do not overdo it. This
way, anyone can continue to practice with pleasure and without
injury.

6. The purpose of Aikido is to train both the body and mind.

7. You must get permission of the instructor to teach Aikido to


others.

8. Do not practice other martial arts in the dOJo Without the


instructor's permission. This is an Aikido dojo .

-1-

I
DOJO COURTESY GUIDELINE
BOWING (REI<RAY

1. Do a standing bow to the 'front' (O'sensei's picture) when


entering and leavil1.g the practice area.

2. At thc bcginning of class (from seiza), do two bows to the


'front', two claps, then one more bow. (This is to wake up the 'Spirit
of Aiki' within us). Finally, bow once more to the instructor and say,
"Onegaishimasu!" (oh-neh-guy-she moss).

3. At the end of class repeat the bowing and clapping like the
beginning of class(this is to thank the 'Spirit of Aiki' ). Finally, bow
once more to the instructor and say, uArigato gozaimasul " (8h -ree -
gah-toh--goh-zai-ee-moss).

3. From selza bow to your partner when beginning and e n ding


each t echnique.

4. Bow to instructor when individually taught during practice


as a 'thank you'.

ATTIRE

1. The Aikido gi or dogi should be clean and in good repair.

2. It is best to remove all jewelry when training. Jewelry with


pOints or edges can harm you or your training partner.

3. Hair that is long in the back is best held in place with a hair
tie or a head band . This will help prevent accidental grabbing of the
hair during a technique or haVing the hair get in your eyes.

HYGEJNE

1. Walk on the mats with clean socks or clean barefeet only. No


shoes are allowed. OIl the Illats.

2. Wash or wipe feet and hands that are dirty.

3. Keep toenails and fingernails clean and trimmed.


-2-
4. As soon as class is finished .. pick up a broom to help sweep
or clean up the training area.

5. lfyou have a cut or open wound, please stop immediately


and get a band-aid to cover it up.

OTHER HINTS

1. Think of new or beginning students as your personal 'guests'


in the dojo. Give them extra courtesy and attention. It 1s very easy at
the start to feel awkward and 'out of place' in the dojo. Every little hit
can help Inake Ule flrst few practices feel less overwhelming. It is
important training for senior students to try and take a new person
'under their wing' and help them out.

2. When black bclts from othcr places or dojos come to train , all
students, but especially senior students should makc an extra cffort
to train with that person. Look at it as a great opportunity to learn
and train with a senior person. I

3. When in the dojo, lis ten to the instructor or teacher carefully.


It is important in training to keep an awareness of your surroundings
and the other people practicing near you. 1n some instances the
teacher will warn you of potentially dangerous practices or situations
in your training. Other times it might be to enhance or reinforce some
safe movement or response . One of the instnJC'tor's primary interests
is to have a safe and energiZing practice.
AIKIDO

Aikido means the way of harmoniZing universal energy. It is a method of


realizing one's mental and physical potential and an effective m eans of self-
protection. The goal of Aikido is the enlightenment of the student, not the
destruction of the attacker.
Aikido teaches awareness of the interaction of mind and body. Unification of
the mind, body an.d spirtt is the ultimate purpose of Aikido.

All Aikido movements contain circles and SpiralS which echo the hellCal
patterns found in nature. In addition to circular movements, Aikido employs
blending of action between the aggressor and the defender. The attack is
received and redirected into a hold or throw in one continuous movement.

The power for this movement is generated from the lower abdomen and legs. It
does not rely on upper body strength and muscle. As a side benefit , co-
ordination 1Inproves between Ule left and right sides and overall health Is
enhanced.

Greater understandmg and even mastery of Aikido requires the m1.ernalizmg of


Aikido principles , as wcll as techniques. These prinCiples are unusual for a
martial art; a compaSSionate attitude towards an attacker, remainmg calm in
the midst of heated action, and recogn1Zmg and reconciling conflicts before
they escalatc mto major problems. This is thc approach that differentiates
Aikido from the other martial arts . By constant practice and study of Aikido ,
the art is integrated into one's life. At that ttme a glimpse of the true meanmg
of Aikido can be felt and understood .

THE FOUNDER
(1883-1969)

Morthci Ucshiba, callcd O-scnsci (great tcachcr) , had studied the traditional
martial arts of Japan. With mind, body and soul he mastered the sword ,
spear, and Jo (short staff) as well as the empty-handed arts . Yet, even With
this mastery, he was dissatisficd with thc scope and philosophy of thc martial
arts . Master Ueshiba felt that the physical techniques alone were not enough.
With thlS in mind, he isolated himself in Ibaraki Prefecture to search for the
true meanmg of the martial arts . There he founded a shrine dedicated to the
spirtt of Aiki. It was in the shrine that the Master spent long hours practicing
and performing purtfying exercises in the hope of reaching his goaL Through
this arduous period, Master Ueshiba began to evolve the prinCiples of Aikido ,
Rather than focusing on discord and the constant desire to win and dOminate.
the ideas of harmony and peaceful reconciliation began to emerge.

Through a revelation in the mid 1940s, he found the answer he was looking
for --the essence of Budo(the way of the warrior) . That answer was modern
Aikido.

I
TRAINING L~VELS

There are three basic levcls of practice which can be applied to almost every
technique. Through familiarization of these categories , one ~an grasp the
stages of development most Alkldolsts go lhrough.

The flrst is the solid or rigid type. It is the fundamental level of practice, in
which the partner is allowed to get a firm grasp or hold lJefore the technique is
started. The subsequent movement permits onc to practice stable hip
movements, 'ki' extensIon, coordinated body movements, breathing, and other
basics. The solid practice lets one move slowly against strength and power in
order to feel the proper movement.

The second level is the 'fleXible' approach. ThIS IntermedIate .slep allows one to
add timing and movement to the previously mentioned basics. This level is
practiced by having the attacker get close enough to almost grab or hold the
AikidoisL This practice has the defender mOVing slowly but deliberately just
before a complete grip is established.

The third level is the tlowing approach. The attacker is led even before actual
plly.slcal conlC:l.cll.s walle. The attacker's intentions are drawn in and led to a
throw or hold down technique. Rhythm and timing are very important as is
reading the attacker's intentions. It is at thiS level that one can practice 'free
wheeling' technique . The abilily lo perform flowing movements and to
effiCiently rcspond to attacks is quicldy developed.

When one trains and studies these fundamental part.s of Aikido, one can
progress to the art of 'Takemusu Aiki' describcd later.

Riai is a concept unique to the type of Aikido pradi~eri at the Aiki shrine. Its
underlying prinCiple stresses that Aikido techniques and movement remain the
same whether armed or unarmed. If a sword or staff is lost during a
confrontation, the techniques and movements remain the same.

One trains in this method by learning the empty-handed, the sword, and the
staff techniques. With this sort of practice, natural comparisons among the
three will arise. Having thiS knowledge, the Aikidoist Will progress very qUIckly.

-5-
TAKEMUS U AIK!
(SPONTANEOUS AHG)

When the foundation has been laid the Aikido practitioner can look forward to
greater developments in the art. That next step Is 'Takemusu Aiki' (Aiki which
is bound to thc roots of thc way of thc warrior).

AL Llils sLage Lechnlques are performed effortlessly and spontaneous-


ly. The true form is elegant to watch in its bcauty and powcrful to fcel in its
effectiveness.

AIKI SHRINE

The Aiki shrine in Ibaraki Prefecture,Japan, embodies the spirit of Aikido and
scrvcs as its source of inspiration. It was here at the Ibaraki Shuren Dojo that
O-sensei refined and perfected Aikido. After teaching and traveling throughout
Japan. he would return to the dojo shrine for further refinement and Ml1<iy.

Even now, practitioners from all over the world come to the shrine to pay
homage to the memory of O 'sensei and to revitalize their training in Aikido .

The current guardian of the shrine is Morihiro Saito, 8th Dan who was left in
charge of the shrine ;;md the roots of Aikido by the Founder, Morihei Ueshiba.

- 6-
{I MEMOIRS OF THE FOUNDER ) 1

~'D\zs) S o f

MORIHEI UESHIBA

As Ai (harmony) is common With Ai (love), 1 decided to name my unique lmtio


"AIKIDO", although the word "aiki" is an old one. The word which was used by
the warriors in the past is fundamentally different from that of mine .

Aikl is not a technique to fight With or defeat the enemy. It is t he way to


reconcile the world and make human beings one family.

The secret. of Aikido is to han110nize ourselves With the movement of the


Universe and bring ourselves into accord with the Universe itself. He who has
gain~rl th~ .e;ecret of Aikido has the Universe in himself and can say, "I am the
UI11ver:se. "

1 am never defeated, how~ver taM the enemy may attack. It is not because my
technique 1s faster than thal of lhe enemy. It is not a question of speed. The
fight is finished before it is begun.

When the enemy tries to fight wilh me, the Universe itself, he has to break the
harmony of the Universe. Hence, at the moment he has the mind to fight with
me , he is already defeated . There exists no mN'I.c;llr~ oftast or slow.

Aikido is non -resistance.


As it is non-resistance , it is always victOrians .

Those who have a warped mind, a mind of discord, have been defeated from the
beginning. Then , how can you straighten your warped mind, purify your heart ,
and be harmonized With the activities of all things in Nature? You should first
make God's heart yours . It is a Great Love, Omnipresent in all quarters and in
all times of the Universe. A mind of discord, thinking of the existence of an
~n~my i.e; no more consistent With the Will of God .

Those who do not agree with this cannot be in harmony with the Universe.
Their budo is that of destrnr.tion. It i.e; not constructive budo.

Therefore to compete in techniques, winning and lOSing, is not true budo. True
budo knows no defeat. "Never defeated means nev~r nghting."

Winning means winning over the mind of discord in yourself. It is to


accomplish your bestowed mission .

This not mere theory. You practice it. Then you will accept the great power of
oneness with Nature.

-7-
Don't look at thc opponcnt's cycs , or your mind Will bc drawn into his cycs.
Don't look at his sword, or you will be slain with his sword. Don't look at him
or your spirit Will be distracted. True budo is the cultivation of attraction With
which to draw the whole opponent to you. All I havc to do is to kccp standing
this way.

Even standin~ With my back toward the opponent is enough. When he attacks ,
hitting, he will injure himself with his own intention to hit. I am one with the
U niverse and I am nothing else. When I stand, he Will be drawn to me.
There is no time and space before Ueshiba of Aikido .. .only the Universe as it is.

There is no enemy for Ueshiba of Aikido. You are mistaken if you think that
budo means to have opponents and enemies and to be strong and fell them.
There are neither opponents nor enemies for true budo. True budo is to be one
with the I Jnlverse; that is, to he united with t he CENTER Of<~ THE UNIVERSE.

A mind to serve for the peace of all human beings in the world is needed in
Aikido ,and not the mind of one who wishes to he strong or who practices on ly
to fell an opponent.

When anybody asks if my Aiki budo principles are taken from r eligion , I say,
~No, my true budo prinCiples enlighten religions and lead them to completion."
I run calm, however, and whenever I am attacked, I have no attachment to life
or death. I leave everything as it is to God. Be apart from attachment to life
and death and have a mind whiCh leaves everything to Him, not only when
your are being attacked but also in your daily lives.

True budo is a work of Love. It is a work of giving life to all beings. and not
killing or struggling with each other. Love is the guardian deity of everything.
Nothing can exist without it. Aikido is the realization of love.

I do not make a companion of men. Whom then do I make a companion of?


God. This world is not going well because people make companions of each
other, saying and doing foolish things. Good and evil beings are all one
united family in the world. Aikido leaves out any attachment; Aikido does not
call relative affairs good and evil. Aikido keeps all beings in constant growth
and development and serves for the completion of t he Universe .

In Aikido we control the opponent's mind before wc face him. That is we draw
him into ourselves . We go forward in life with this attraction of our spirit, and
attempt to command a whole view of the world. We ceaselessly pray that fights
should not occur. For his reason we strictly prohibit matches in Aikido.

Aikido's spirit is that of lOving attack and


that of peaceful reconciliation.
In this aim we bind and unite with the will power of love.
By love we are able to pUrifY others.

-8 -
Understand Aikido first as budo and then as
the way of service to construct the World Family.
Aikido is not for a single country or anyone in particular.
Its only purpose is to perform the work of God.

The "WAY' means to be one with the Will of God and practice it. If we are even
slightly apart from it, it is no longer the Way.

We can say thal Aikido is a way to sweep away devils with the sincerity of our
BREATH instead of a sword. That is to say, to turn the devil-minded world
into the World of the Spirit. This is the mission of Aikido. The deVil-minded
Will go down tn defeat amI Ule Spirit rise up in victory. Then Aikido will bear
fruit in this world.

Without budo a nation goes to ruin , becawse budo is the life of loving
protection and is thc source of the activities of science. Those who seek to
study Aikido should open their minds , list en to the sincerity of God through
AIK!. and practice it. You should underslallli lhe great ablution of AIK!,
practice it and improve without hindrance . Willingly begin the cultivation of
your spirit.

I want considerate people to listen to the voice of Aikido.


It is not for correcting others; it is for correcting your own mind .

This is AIKIDO .
This is the mission of Aikido and should be your mission.

Th~ uiJuve has beell reprinted herefromAlKIDO, by Kisshomaru Ueshiba, and copyrighted by him.
ThP hnok is published by Hozansha Publishing Co .. Ltd... 1985.

-9-
HELPFUL PHRASES

OHAYO GOZAlMASU UNt:UAl ~HlMASU


(Ohio goh-zigh ee moss) (Oh neh guy she moss)
Good morning (used before 10 AM) Please,! make a request.(hard trans-
lation, usually said when beginning
pracUce with a student or the teach-
er.)
KONNICIII WA GOMENNASAI
(Koh knee chee wah) (Goh mehn nah Sigh)
Hello! Good day! (after lOAM) I'm sorry, excuse me .

KOMBANWA DO ITASHIMASHlTE
(Cumu lJollll Woll) (Doe ee tah she mah she teh)
Goorl evening. Don't mention it. You're welcome.

UYA::iUMl NA~A1 IKAGA DESU KA


(Oh yah sue me nab sigh) (Ee kab gab dess kah)
Good nIght. Huw are yuu? Huw are you feeling?

SAYONARA OKAGESAMA DE
(Sigh yoh nab rab) (Oh kab geh sarna deh)
Goodbye. Fine. Thank you.

ARIGATO GOZAlMASU HAJIMEMASHITE


(Ah ree gah toe guh zah-ee mu~~) (Hollgee lllay lllilll s!l'leh)
Th;:m k YOll . How do you do? (When introducedl.

::it:N~t:l , IJUMU AH.IUATU .t<Ll


GOZAlMASHITA (Ray)
(Sehn say, doe moh ah ree gah toe Bow. (As in bOWlng at the beginning
goh zah-ee mah she tah) and end of cla~s) .
Sensei(teacher), thank you VeIY Inuch
(for whM you h~ve clone. S~id hy Rtudent.s
at the end of the class.)

JAPANESE NUMBERS

rcm EE'-CHEE 1
NT KNF:F: 2
SAN SAlIN 3
SHI SHE 4
GO GOH 5
ROKU ROW-KU 6
SHICHl SHE-CHEE 7
HACm HAH-CHEE 8
KU KOO 9
JU JYU 10

-10-
'lrHm; VA~rrE"lrY AlNJD) ~~~l(J~lN<C~ (Q))F 'lf~ rrw(G lMIli:'lr!r<:r(Q)JD)~
FROM TRADITIONAL AIKIDO BY MORIHIRO SAITO

1. OBSERVATION TRAINING
This method is applip.ri whp.n you are not able physically to participate in
tra1ning for one reason or another. You are req uired to carefully observe
the training to take in the mental and technical aspects of performance.

2 . TRAINING BY YOURSELF
(1) Suburi ...This is a swinging exercise using a wooden sword. Use a
mirror to see if your swinging form is right .
(2) Tanren-uch1...This IS a strtking exercise using a wooden sword. An
old tire or a bundle of branches of a tree, fastened at an appropriate
height, is used for the exercise.
(3) SoteHassumptton) ... ThiS is an exercise assuming as if you are wilh
your partncr. Usc your shadow on a moon-lit night or a mirror in the
daytime. This exercise is also practiced in darkness .

3. STANDARD TRAINING
Choose your partner and practice a given technique by turns repeatedly
under the gUidance of an instructor.

4. TRAINING IN HANDLING A GROUP ATTACK


In the exercise, you are subjected to a group attack and learn to subdue it.

5 . FREEWHEELING TRAINING (FREESTYLE)


This is <1 'no holris o<1rrp.ri ' exercise allowing your partner to use whatever
techniques he (or she) wants and you are to cope with thenl in a free-
wheeling manner.

6. ~YENTS RELATED TRAINING


-Mid-winter and mid-summer training ... The training spans a given period
dUring the coldest and hottest seasons of the year. The Founder termed
the training ' misogi (purification) on the coldest day' and 'mtsogt on the
hottest day'.
-Camp for training ... ThiS formula calls for your camping at a specified Site
apart from your regular dOjo and living under the same roof With your
colleagues for a given period of time for concentrated training. Feelings
of solidarity aad affinity are born as a result.
:JOin t training ... This is a training session With members of other dOjoS
In the miXOO exerCise, the trainees are encouraged to point out their
mutual deficiencies in performance and prevent collusive training.

-11-
ATTACKS AND DEFENSES

Attacks or Holds

FRONTAL

kata-te (kah -tah -teh) ....... .. . .... .. .. . ... .. .. ... .. one handed grip on wrist

hiji (hee-gee) .. ....... .. .............. .. ................. elbow

kata (kah -tah) .............. ............. , ... ... ...... shoulder

kubi-shime (coo-bee she-meh) .... .. .. .... .. .... choke

kata(dori) men uchi (kah-tah mehn .. .... ... shoulder grab and with othcr
ooh-chee) hand strike to top of head

l11une (nlOo-neh) . .... .. ..... .... .... ........ . .... . ... . chest or abdomen

sode (soh-deh) .... ..... ............. ... ..... .. ......... cuff

mune-tsuki (moo -neh sue-key) ................. punch to abdomen

.shomen uchi (showmen ooh-chee) ............ hand blade strike to top of head

yokomen uchi (yoh-coh-men ooh-chee) .... . h'hlade s trike to side of head

ryote (rio-teh) . ...... ... ..... ... ... .. .... .... ...... ..... grip on both Wrists

morote (moh -foh-teh) ..... .... ............ .. ....... grip fore arm Wlth two hands

ryo-kata (rio-kah-tah) ....... ... .... ................ grasping both shoulders

FROM TIlE REAR

ryote (rio-teh) ...... ....... ... ......... . ... ...... .... ... grip on both wrists

ryo-kata (rio-kah-tah) . .......... .. . ... .... .... ..... grasping both shoulders

eri (eh-ree) ....... .. ... ..... .. .. ...... ...... ... .. ...... ... collar

kata-tc kubcshimc .... ....... .. ....... ... ... ... .. .... grab one wrist and apply choke

-12-
Bay Marin Aikido Rank Requirements: 5th to 3[(1 Kvu - 3/04-

5tb Kyo:
U kerni : furwauj amlu<:il:k lUll::;, abi1ily to do 10 forward rolls

Taj no Henko
M "fOlyUori Kokyl! Ho
Katate dorj:lkl..)'o-Omutt: and Ur~ Shihonage-Omote and Ura
Shornenllch j:lkl..) ,o.omote and ura
Kosadod(gyakytedoril: Kotegaeshi
Ken Sub\lri-7

Ko kyu dosafsittjog kokyl!)


Rp. nhlf! tn .Show: Hanmi: knee walking: basIC srnkes: two step

4th Kyu:
Ia j no Heoko
Morotedorj Kok yu Ho
K atadorj_1kkyo Kosadod -ikkyo;Shihonage
M orotedori _1k kyo Katatedorj-Nikyo
Ryotedori-Nikyo Yokorneollchj -Shihonage
Tsuki -Kotegaeshi ShQmen cb i-Kotegaeshi; lrimlD(lge
Rvotedori-Tenchinage

HanP" Gin (bok ken)


KQkv udosa

3rd Kyu:
ra j no Henko
Morotedori Kokyu Ho
Suwariwaza(seated)
Showenucbi-lkkyo- Yo nkyo
Tatewaza(standing)
SbQwenuchi-Ikkyo,Nikyo,Sank)'o, Yoru..),o,Sbihonagc
Katatedori-Kotegaeshi,iriminage, Koshinage, Kokl'unage (5), Kaitennage(2)
Luli-lkkYU,Sttihunagt:,lriII Iirlage
lJsh jroR vote Porj-Ikkyo
Yokornenuchj-Kotegaeshi
Ryot edori -Irminage(3). Koshjnage. Kokyunage( 5),
Moro!edori -Kokylloaee(.i )
Kenl.lo-'70 To suburj

Kokyudosa
Bay Marin Aikido Rank Requirements:2nd Kyu to 1st Kyu-3 /04-

2nd Kyu
Taj no Heoko
Moro ledori KoKYY Ho
Suwa..-iwaza:
Yt IknmenlJch i-Ikkyo-Gokyo
Tatewaza(standin~);
Yokomen!Jchi :fkkyo- Yonkyo, Kokyunagc
MQ[oled(lTi :Nikyu,1rilninage,Koshinage( 5),
Katadorj Menychi:Shihonage, Kotegaeshi, Koshinagt::
I JShj roB yotedorj: Shihonage
Shomen!!cbj'Kokyunage, Kaitennage
I..sJJ..ki; Kokyltn3ge
Ken/Jo:
11.10 Kata)l In Kata

1 Person .JiYUW8Z3

KokYlldm:a(l )

lst Kyu
Tal noHenko
Morotedorj Kokyu Ho
Hanm i Handacbi:
Katatedori-Shihonage
Ryotedori-Shihooage
Tate waza(standing)
Sbomenychj-Iriminage(3), Koshinage, Kosbinage, Ikkyo- Yonkyo
Katadorj Menuchj-Ikkyo
Ushiro RyokntA oori -Ikkyo
Ushiro Ed Iori-Ikk')'o, Shihonage, Kokyunage
Munadori-Ikkyo
Ushiro Ryote Dorj-Nikyo, Sankyo, Yonkyo, Juji Nage,Kotcgaeshi,Iriminage,Koshinage,
lJshjro Kalale K uheshjmeCMunadorj)-Koshinage, Kol...-yunage, Juji Nage

Kcn/Jo:
Kumi tachj
Kurui jQ

J Person ,Uyuw8za./2 Person ,Jiyuwaz3


Bay Marin Aikido Rank Requirements:] Dall to 2 Dall-3/04-

] Dan
Iaj IlO Henko

Morotedori Kokyu Ho

Suwariwaza(seated)
Shomenuchi
Yokornenuchi
Isuki BE ABLE IO DO: Ikkyo through vonkvo/ gokvo
Katatedori
Katadori
Munadori
Know:
I suki Kotegaeshi
Shomcnuchi lrimi Nagc
Hanmihandachi(nage sitting/uke standing)
Katatedori-Shihonage
Ryotedori-Shihonage
Shomeuchi-lriminage
Shomcuchi-Kotcgacshi
Ushiro ryokatadori-Kokyunage
Ushiro ryotedori-Ikkyo

Ushiro Ryotedori-Sankyo
Ushiro Ryotedori-Kokyonage
Tatewaza(standing)
Morotedori(5) variations
Shomenuchi Sankyo(3)
lkkyo-Yonkyo; shihonage; kotegaeshi; kaitennage; Jujigarami;

Koshim'lge; KokyuD<lge

Bukiwaza(Bokken/Jo)
Ianto(tanken) dori -Show 5 takeaways
Either the six Kumi Tachi or the ten Kurui Jo(Know each side)

Jiyuwaza(Free attack/free response)


One Person Jiyuwaza
Three Person Jiyuwaza
APPLIED TECHNIQUES-WAZA (WAH-ZAHj

lkkyo (eek -yah). .......................... 1st waza ... control the wrist and
elbow as the arm is
brought down
nikkyo (knee-k'yohJ. ....... . .... ......... 2nd waza .. appl1caUon is similar to
ikkvo but there is more
emphasis~ on wrist pressure

sankyo (sahn-k'yoh) .. . ............. 3rd waza . .wrist and foreman is


twisted from a hand hold
-control is maintained by
extending ki through the
elbow
yonkyo (yohn - k'yohJ .... .. . . ........... 4th waza .control and pin is main -
tained through nerve pOint
gokkyo (goh- kyohj ..... .5th waza .same as ikkyo bufhand on
the wrist is reverseri. this
waza lIS fur knife Laking
kotc-gacshi (koh-teh gah-eh-she) .............. wrist turn-the wrist is
turned to the outside or
away from the center of
the body
shiho- nage (she -ho nah -geh) ....................... 4 direction throw-the arm
.. ends up bent towards
attacker's own back
iriIni-nage (ee-ree - mee nah -geh)..... . ...... entering waza-step be-
hind the attacker to throw
koshi-nage (koh-shee nah-geh) .... .......... ... ... hip throw-waza that loads
attacker across the hips
for the throw
kOkyu- nage (koh -k'you nah-gell) ......... ... ..... waza that uses a 'spiraling
wrist' movement in co -
ordination with the mind
and breath
ten -chi nage (ten -she nah -geh) ... .... .. ..... ..... one hand moves towards
the heavens and t he other
towards t he earth
juji-garaml Ucw-gcc gah -rah -IDee) .. .... .... 'eross-twinc' throw-waza
when attacker's arms are
crisscrossed before the
throw
ganseki -otoshi (galln -seh-key oll-toe-she). 'rock drop'- a deep entering
throw like an irimi nage
kaiten-nage (kah-ee ten) .............................. 'rotary throw'

-13-
GENERAL TERMS

uchi (oo-chee) .... a IStrike

tsuki (sue-key) ............ a punch or thrust

tori or dori (toe-Tcc or doc -rcc) ................... a grab or hold

tate (tah-teh) ... standing: for 1nstance-


tate waza or standing
technique
suwarl (sue-wah -ree) .............. . .. slttlng; for Instance-
suwari waza or sitting
techniques
hanm1-handachi (hahn-mee hahn-dah-chee) one person sittlng ,one
person standing
gyaku (g'yah-coo) .... ............ ..... . . ....... .... .. ... .. reverse or opposite

uke (oo-keh) ...... . 'receiver' of technique

nage (nah -geh J.. 'thrower' of technique

ukemi (oo -keh -mee) .... .. ................................. rolling or protective


fClLling techniques
tobu-ukeml (toe - boo) .. ... ....... ... .. ...... ... ~. ....... 'high' falls

omotf' (oh-moh-tf'h) W::lZ::l whf'rf' onf' .. . t f'pS in


frunl of partItel
ura (aah -rah) .... wazn where one turns to
the rear of the partner
........ .. . ......... .. .... . , ... .... . . see ornate

tenkan (tehn -kahn) ...... .. .............. ................ . see ura

-14-
Bay Marin Aikido Kyu Rank Requirements(July, 2003) 6th to 4th Kyu
6K 5K ' 4K
1
ATTENDANCE
.!.r.~ill.i~.~ ..~~y'.s .. _.._..~?~.aX~. . ..l.~.~~~y.s . ?~~~)'~ ...... .
Regul arity Recent 1 month !Recent 1 month Recent 2 months
Seminar I Dojo in past 12 mo.
TECHNICAL
1_ .............. ,... ......................- ..- .._.. _.._.. _ .................................................................................................................................................. -.
~

Ukemi forward and back \ 10 rolls , 20 rolls


Kokyu Ho Morotedori
. ~.~~x.? ... ................ .....~~t~te.d.:.r!...................... . ., ... ,... , ....... ,..............!Shamenuchi;katate dori Katadori,
........................................................................................
~
kosadori,
... ......... .... morotedori
.. .. .............. ...... ....... . _. . _.. _.. - .. .
- - '

Nikyo . Katatdori Kala tedori, ryoledori


Sankyo
Yonkyo , :
.... . ..... . ......... . ......... ..... ................................... . .... . .......... .. .. ... .. . .. . . .......... ... .. . .. . .... . ....~ ............... - .... .. .... .. .. ........ ...... .. .... .. _ .... .. .. .. ...... l .... .. .. .... ..... . .. . ..... ..

Shihanage katatedori !Ryotcdo n ! YokorT.enuchi, Kosadori


Kotegaes hi : Kosadori : Tsuki , Shomenuchi
lriminage
,. ............................. ..................... _........ .. - ........... ............. .. .....' ~ ... ... ................. _.. _.. _.... .......... _.. - ........... ... {:. Shomen uchi ............. ..
....................
I .K9.shi.'1<1.g~._.... ...... _.. _.._._ .. _.. ....................... .......L...... ................ _.. _..... ..... .t . . . ...... . . ... . . . . .................................... .
K.:()~.Y.ll-'.l!1ge. ..... .
SWiHH kokYll dosa kokyu dma
Other Taijutsu Tai no Henko. Har.mi, knee walk, basic AW<Jse wi th basic strikes Ryotedori tenchi nage;Blelld with one uke
strikes, t lVO step pushing
Aiki ..Kenilo
: Ken Sllbllri
.. .. .. .............. -......................_......................... _r_ Happo Giri
.. ...................................... ....................... ................._.........................
Be haviora l Remember Dojo RJlcs : Apply Doja Etiquette H~milit y & Opencss
r
Bay Marin Aikido Kyu Rank Requirements(July, 2003) 3rd to 1st Kyu
I
3K i 2K lK
ATTENDANC E
.:r..r<li.l1.i.l1g.~.a.y.~_ .. _.. _.. _.~.o days ......... I.9.Q..d.<ly.~ ..............................................I.5.QAa.ys ...................... _.................. ,
Regulality Recent 3 months Recent 4 months Recent 6 months
Seminar .........1..P.?J.?in.ya.s.t.l?.I:rt.?:............ ?l??i.? .i ~.. p..~~t 12 1ll<>.................2.P.?J.?~.n. ..P..a.~.~..~~. mo.
, TECHNICAL
Ukemi 20 rolls+aided tobu ukemi 30 rolls+tobll ukemi fron: 50 roll s +tobu ukemi from
........................................................ ............ ~().t~~a.~.s.~i ......................................... ~h..ih..? ll~~~~.~~. iril.l1.i~a.~.e........... .
Kokyu Ho Morotedoli : Morotedori Morotedori
Lkkyo Munetsuki, lIshiro ryote dori i Yokomenuchi Katadori menuchi, u5hiro
ryokata dori, ushi ro eri tori,
munadoli
-_ .. __ .............................. ......... !............... ,.. ... .. .............................................. .
Nikyo Shomenuchi i Morotedori, yokomenuchi Ushi ro ryote dori
...........................................................
Sankyo Shomenuchi Yokomenuchi Ushiro ryote dori
.x.?~.~.<: ..........................s..I:.0.~n.~lly~.hi .. ....L)' okomenuchi ............................l.J.~~ir.C). Ii'C)te dori
Shihonage Shomenllchi, tsuki Katadori menuchi , ushiro Ushiro eritori, Katatedori (4
Iyotedori directions)
Kotegaeshi Katatedori, yokomenuchi Katadori menuchi Ushiro Ryote dori, Ushiro
Eritori
Iriminage Katate dori; ryote dori (3); Morote dod ;Katadori Ushiro ryotedori;
tSllki menuchi (2); Shomenuchi (3)
Koshinage KataledoIi; ryotedori Morotedori(5) ; katadori Ushiroryote dori ; uSiliro
menuchi katate kllbishime;
shomenuchi: yokomenuchi ;
t;;uki
Kokyunage Katatedori(5); Shomeuchi; yokomenllchi ; Ryokatadori; Ushirc eritori;
rvotedOli(S):morotedori(5) mllnetsllki ushiro katatekubeshime
SW/HH Shomenuchi ikkyo-yonkyo SW: Yokomenuchi HH: Shihonage from
SW ikkyo-gokyo; kokyudosa katatedori; ryotedori
h enkan~ ~hihonaee : lrimin3 !re.
Other Taijlltsll Katatedori kaitennage(2); i Kaitennage shomen uchi, luji nage: U;;hiro ry)te dori ,
Blend with two ukes pushing: shome.nuchi , Ushiro katatedori,
i vokomenuchi:Yolmmenuchi
. .A..i~.i ..K.:e.~~lJg.. ............ J~~.b.~.ri........
................... ~ ..L.3.} ().. ~a.til.;~..l.}() .~.a.til.; ....If.u.~Ua.~.r~.;..I<..t.J.'11: jJ
BEHA VIORAL Perseverence in Trai ning Help wi th Dojo Tasks i Coachjllnior kyu ranks for
tests
Bay Mario Aikido Kyu Rank Requirements(July, 2003) lst to 6th Dans
.. ......... ........-............. l2D
....... ,..... -.... -.
~ -.' ...... '...... '........
~
3D ..,........... ' .. " .......... t,
' 4D ,..... _............. _................. !SD
.... . ~ .......................l.m... .........
ATTENDANCE ; .: ' .. i :
. .:.
."i.~~~~.P.~;;. .1~Q. .P.i~Y.~. ... . . . . . .. . . ~.Q9.R~;;i;;;J. . . . . . .. ,.1~. ;.;~; . . . ... . . . . . . . ... . . 14.~~~. . . ... .....-...... . . . . .'1'.................................................. . .............;............................ . .. ....... .
R~gtP.~r.iIT....... : R.~~~lll. 1l.1()llJl~S. .......... LR~~~.Il.t) 2.. ~().Il~~.........!.R~~en.~ 12 mon~.~ ........ i.R.~~<;:l~.U~.. I:t!<.>.llths .... ... ~ R~cent .n I:U9.I~.W.S ............ .Lg.~~I),t.J2. ..n.!<'>lIJll~ .......... .
SemU13J : 2 Dojo in past 12 : 2 Dojo in past 12 : 2 Dojo ill past 12 [2 Dojo in past 12 : 2 Dojo in past J2 ! 2 Dojo in past 12
: months; 1 basics course : monU1S, I basics course : months; 1 basics course i momhs; 1 basics course [ months; 1 basics course i months; 1 basics course
: in past 24 months; I i in past 24 monUlS;1 : in past 24 monULs; 1 : ill past 24 months; I : in past 24 months; 1 ! In past 24 months;1
, outside in past 24 i outside in past 24 : outside in past 12 i outside in past 12 i outsIde in past 12 : outside in past 12
; months
......... .................................. "'.-.. -................. ....... ,- :................................
months
.~ -........... " .. :........
months
~ .,....... .................. [ momhs
....1'.......... ............. ,...........: montllS
..................... ... .. : months
................
~.... _................. .
.n(:!I}~JG.AL. ... ;.. ... ...................................... ,........................................:.. . ............. ....... ................:...... .. ................... ................. , .................... .
Ukemi : 80 rolls : Tobu ukemi in buki : Teaching proficiency i Teaching proficiency Teaching proficiency [ Teaching proficiency
i waza . , i
....................................
Taijutsu P~~fi~i~ ;~~i'~ ..;;ji'b~ ~ i~ i p~~fi~i ency in all basic ,Proficiency in all basic "!'U;:,cterstand Takemusu Und~~t;;~d'~;;d'P;~~ti~r' ............................. .
i teclmiques(kilion waza) : techniques(kihon) with : waza(kihon) with !Aiki; Understand and Takcrnusu Aiki; :
i with an emphasis on : emphasis on Kokyu emphasis on nagarc : show principles Understand and show :
, correct forms !(Willow); Ninin gake; : (Water). Sannin gake. i underlying Aiki waza; the basics as they relate i
(Diamond). Henka: ! Kaeshi waza(3 each): !Show and explain(teach)[Teaching proficiency in to the jo and bokken;
Morotedori kokyuho i ikkyo,nikyo,sankyo,shi i the components of the i all baSICteclmiques. teaching proficiency in :
(5); kokyu dosa(5); : honage,kolegaeshi, ; basic ,,'aza. Jiyu waza 4: basics, intermediate and l
Shomen uclti saukyo : iriminage. Jiyuwaza 3 ' ukes. . advanced techniques .
(4); nikyo;shohonage; i ukes. .
kotegaeshi .
Ji}llwaza(randori) 3
~
ukes--....
.. . ... ......... . .... -............................ -.::......... -.....' ................................. ..... -......................... ................
- ~- :... ".. ... . ............... _- ......... _...... _.--........ "'i" ................ ,... .
Buki Waza : Kumijo; Kwnitachi [31 kumijo kala; 13 ; Ken tai jo and henkas; 1Teaching proficiency : Teaching proficiency
; i kuntijo kata;tachidori; kumi tachi henkas . .
BE'iuvIoR~L : C~~d~~;'b~~~~~'~g oi'~ : s~li~~~ti~~t~t;~~~g:j{~lpt~~h~j~~~~~: . .... TT~a~I~~~gcl~ ~i~~ses Teach~'g;D~ ~I~~~ ...
Sempai: Coach : train self outside of ; Show compassion to : and take responsibility and take responsibility
i beginners, guide all : class time. :beginners. Lead dojo 1for major Dojo 1 for major Dojo ;o r major Dojo
; 1.)'1.1 ranks. iprojects. Coach Shodan.: activities; Coach nidall; : activities; Coach activities; Coach
1 . i Train desshi : Salldan; Train desshi ; sandan; Train desshi ;
. : help guide black :1elp guide black belts
: belts;Understand and
I Practice the Ethical and :
: Moral responsibilities ;
............._...... _............... ...........................
~.....
: .... ... ............................ .. ...........;........... _... ..... _.............. _..........................
._ .. _.:.. . i of .....teaching
........................ .. .. r .................. _................... ....................... .
~

OTHER i minumum age of L6 : Essay showing an ; Essay showing an Essay exploring an [Uchi desshi ill Iwama; : Teach or assist in
i, years 1 understanding of Aikido' understanding of Aikido' aspect of Aikido; Assist! Essay exploring in ' leaching a seminar or
: teduuques or about : principles and their in organizing a seminar.: depth any aspect of : class.
; personal involvement in; applications(700-1000 !Aikido;teach or assist in
1 Aikido (500-700 words) : words) i teaching a seminar or
.. ............... .
~ ... ........ _.:............. ... . ....................................... ..................................... ................ ...... . .......L<?l~.s.s:.......................... . ...... ... ... ....... ... ......... .
: : :
A GLO~~Ol<.Y OF TERMS USED IN AIKIDO
ABUNAI
DANGEROUS
AIKIDO
AI=HARMO Y,Kl=SPII<IT,t::: tl<.e.;Y,DO=THEWAYORPATH
'THF WAY OF UNIVERSAL HARMONY'
AlKIDOKA
ONE WHO PRACTICES AlKlDO
AIKITAlSO
AIKIDO STRETCHES OR EXERCISES
AIHANMI
SAME STANCE, UKC AND NAGE HAVE THE RIGHT FOOT FORWARD, ETC.

AIuan
EQUAL STRIKE, MUTUAL KILL
ASHI
rOOT, rEET
ASHlYUBI
TOE, TOES
ATAMA
I lEAD

ATEMI
A STRIKETOA OPEN I G, STRlKE TOACCUFU C! un FOINI(S) 10 Wl:AK.tN AN ATTACK
AWASE
TO BLEND OR HARlVlONIZE WITH A MOVEMENT OR ATTACK
BaKKEN (80KUTO)
A WOODE PRACTICE SWORD
BUDO
Ijt. THE WAY OF STOPPINC WAR, THE WAY OF BU

BUJUTSU
f-le.;H nNe.; ItCH IQUES
BUSHI
WARRIOR
BUSHIDO
IHE WAY OJ:< IHt WARRIOR
CHUDAN
MIDDLE POSITION
CHUSHIN
ONE'S Ct:::N'IER
DAN
BLACK BELT RA K, GRADE
DESHI
STUDE T, DISCIPLE
DOGr
CLOTTTES USED IN PRACTICE
UUJU
TRAINING HALL. lit. THE PLACE OF THE WA Y
DOJO CHO
CI lIEf' INSTRUCTOR OF THE DOJO

-18-
UOSHU
HEAD OF AIKIDO. AS Or JANUARY OF 1999, IT IS MORITERU UESHIBA, THE FOUNDER'S GRA DSO
FUKU SIDOOIN
FIRST INSTRUCTOR'S RANK (2ND OR 3RD DAN)USAF, ASSISTANT I STR_

G E DAN
LOW, LOWER POSITION
CYAKUHANMI
OPPOSITE HA Ml, FOR EXAMPLE, NACE HAS THE RIGHT FOOT FORW ART) AND UKE HAS THE LEFT FOOT
FORWARD
HAl
YES ,OK

IlAKAMA
SKIRT-UKE PANTS
BANTAI
OPPOSITE
HARA
LOWER ADDOM[ ,ONE'S CENTER, THE SEAT OF LIFE'S E ERGY
HAYAI
FAST, QUICKLY
HESO
BELLY BUTTON
HIDAKI
LEFf(DTRECTIO

HIJI
EU30W
IDTUEMI
A REVERSE TRIANGULAR ENTRY
HO
METIIOD

HUNIW UOJO
lNTERNA nONAL HEADQUARTERS Of' AIKIDO I TOKYO JAPAN
ICID
ONE
INAZUMA
LIGHT INC
IPPAI
FULL, PULLY
llUMl
E TER

JIN
BE EVOLE cn
TINTA
SHRI E

JIYU
FREE STYLE; SPONTANEOUS ATTACKS AND RESPO SES
jIYUMIH -IAISO
WARM UP EXERCISES

JO
SHORT STAfF, APPROXIMATELY FIVE FEET LO G

-19-
JODAN
UPPER PosmON
KAMAE
FORM, POSTURE

KAMI
SPIRITS. GODS
KARADA
BODY

KATA
SHOULUcl<.; AN AL'ltl<.NAlE MEA G IS A SET FORM

KATAI
HARD, STIFF, NOT FLEXIBLE

KATSU JIN KEN


THE SA VING Or YOUl< t tMIES' LIFE
KEN
SWORD

KENDO
10DERN ART OFlAPA ESE fE U G
KENJUTSU
SWORD TECHNIQUES

KI
Urt t bf<GY, U lY ERSAL EN ERGY
KIHON
BASIC(S)

KIMOCHI
rttLlN(J(S)
KI MUSUBI OR KI 0 MUSUBU
TO UNIFY KT OR 'TIE ' 0 E'S KI TO THE OTHER PERSON

KI NOBASU OR KI 0 NOBASU
TO EXTEND OR POUR OUT KT
KI NO NAG ARE
FLUID FORM OF A TECHNiQUE
KOGEKI
ATTACKER, TO ATTACK
KORAl
JU lOR STUDENT
KOKYU
BREATH OR BREATHI G AS CYCLICAL E ERGY (ABDOMI AL)
KOKYU nOSA
KOKYU EXERCISE OR A METHOD OF TRAlNI G KOKYU
KOKYU NAGE
KOK Y U TH ROW

KOSHI
HIP
KOTAI
SWiTCH OR CHANGE PLACES
KlffiI
NECK

-20-
KYU
GRADES OR RA .KS Fl<ECED1NG BLACK BELT RA KS
MAAT
DISTANCE OR TIMINC

MARUI
CIRCULAK
ME
EYE
MIGI
RIGHT (DIRECTION)

MIMI
EAR
MISOGI
PURIFICATION, CLEA S1 G
METSUKE
EYF, FOlliS, & DTRECTIO

MOKUSO
MEDITATE
MUNE
ABDOMEN, CHEST
MUSUBI
or D1 GTOGETHER, U ITY, HARMONIOUS CO Nl:CnON
NAGE
THROWER, THROW

NOBASU
EXTE D, LENGTHEN
NUDO
THROAT
NINCEN
lIUMAN BEl G
U
AN HONORIFIC: PREFIX
OBI
OELT

UMOTE
ENTERT C; OR A MOVEME T TO THE FRONT OF liKE
o SENSEI
GREAT TEACHER
RANDORI
MULTIPl.F PERSON ATTACK PRACTICE
REI
BOW, COURTESY

REIGI
FTIQUETTE, COURTESY
RIAl
UNIFIED APPROACH TO WEAPON AND EMF 1 Y HA D PRACTICE
SAMURAI
o E WHO SERVES, WARRIOR

-21-
SATUKI
ENLIGHTENMENT, FPJPHANY
SAT5U J IN KEN
DeSTRUCTION OR KILLING OF ONE'S ENEMIES

~"'ZA
TRADITIONAL JAPANESE MANNER OF SmlNG WITH THE KNEES FOLDED
AND THE LOWER I Fr. UNDFR THF THIr.H
SEMrAI
SENIOR STUDENT
SEN S EI
TIOACHFR; ONE WHO C,IVES (;UlnANCF AI.oNr. THF WAY

SI-IIDOlN
CERTIFIED INSTRUCTOR(4TH OR 5TH DAN), USAF

5HIHAN
MASTFR TFACHFR

SHlKO
KNEE WALKING

SHINTO
WA Y OFTHE GODS; TRADITIONAL RELIGION OF JAPAN
S III ZEN
NATURE, NATURALLY

SHODAN
1ST DEGREE BLACK BELT
SHOMEN
THE FRONT, FROl\'T OF THE HEAD
SUBURI
RFPETITION OF A MOTION DONF TO PFRFFrT PFRFORMANCE

SUKJ
OPENING, WEAK POINTS

~U T EMI
'SACRIFICE' FALL
S U WARI WAZA
TECHNIQUE DONE FROM SEIZA, SH1KKO
IACHI
JAPANESE SWORD (ORIQ AS IN DAlTO OR SHOTO)
TACHI DORI
WEAPONLESS peRSON TAKING AWAY THE SWORD OR BOKKEN
IAt:HI WAZA
STANDINGTECHNJQUfS
TAlJl.IT$U
WEAPONLESS ARTS, BODY ARTS
IAI NU Hl:NKO
BASIC BODY TURNING EXERCI5F
TAISA8AKl
DODY POSITION
TANTO
KNIFE. IN AIKJOO A WOODEN KNIFE
TANTO DORI
WEAPONLESS PERSON TAKING AWAY THE KNIFE
TATAMI
WOVEN JAPANESE MATS APPROX. J INClle!} TIIICK &: 3X6 n:rr

IAIt.
STAND. STANDING
TE
1!A.'l'O
Hi KUtJJ
WRIST
TECATANA
HANDBLADE
TENKAN
TURN ING TECHNIQUE (SEE.u.&A)
TSUKI
TIIRUST OR I"UNCH

UCH! KOMI
TO MOVE FORWARD AND STRIKE
UOE
ARM

Ut.~I'lltJA, MORIHEI
FOUNDER OF AIKIDO (1883-1%9)
UESHlBA, KISSHOMARU
CURRCNT IIEADor AIKIOOAT IIOMBU DOJO, SON or MORH 1[1 U[51IIBA,TII[ rOUNDeR

UESHl8A, MORITERU
HONBU ooJ0'5 iJOJO-CHO. SON OF KISSHOMARU. GRANDSON OF THE FOUNDER
UKE
ONe WI [0 IS TI [ROWN; R(C(IVt:R or T[CIINIQU(
UK,E Ml
THE ART OF BEING AN UKE; ROLLING, FALLING OR RECEIVING TECHNIQUES
URA
1>.'IOVEMENT TO THE REAR OFTIIE ATTACK[R

URA SANKAKU
REvERSE TRIANGLE
USHIRO
BEHIND
)'AMA8IKO
ECHO; REFERS TO THE METHOD OF 'CALLING OUT' THE ATTACKER'S KI
YAWARAKAI
sorr,
rLCxIl3Lr:
YUUANSHA
THOSE '''HO HAVE ACHIEVED DAN OR BLACK BELT RANK IN AN ART
WAZA
T[CIINIQU[!}

LANSH1N
THE CDtI.'IPLETE AND CONTINUOUS AWARENESS OF ONF'S SURROI I NOINr.S
ZAZEN
MEDITATION

ZEN
~IYSTICSEcr OF RUOOHIS\1

-Z3-
AIKI KEN AND JO

KEN

SUBURI(basics)
KAMAE (posture or baste stance)
SUBURIS; 1 THROUGH 7
1. Straight overhead(shomen) strike
~. Ove.rhe.;:trl Uorlan) strike. Step back with right leg . hip
turned La Slue , tliell step forward wiLh the same leg and
strike streight down.
3 . A kokyu strike. Step back with the right legUn a big
stance).brlnglng the bokken up and back before striking.
Be sure to inhale deeply as the bokkcn is raised, hold the
breath as the bokken is brought to the rear(sink the hips)
and kt-aHexhale wtth a nOise) whlle strik1ng forward and
down.
4. Shamen striking while walking forward
5. Cover rhe head Wlth the hilt of tlle bokken while
walking forward and striking: first on one side t h e n on
the other.
6. Stnklng from the Jodan postuon{#2 above ) ann then
quickly thrusting with the tip of the lJukken; first from
one side then the other.
7 .Starting from the jodan posiUon(#2 above) strike as the
light [uut ~leJ-lS awl tllen tllru.st willI the tIp of the
bokken as the left foot steps. Repeut.
AWASE(blenrllng :::Inri IImtng practices)

HAPPO GIRl (8 direction striking)

KUMI- TACHl(partner practice katas)


5 forms or katas

KI MUSUBI NO TACHHOTONASHI NO KEN)


Connected ki kata(silent sword kata)

-26-
AIKI KEN AND JO
JO
SUBURI
KAMAE(stance or posture)
Defensive or neutral stance with JO vertical(shizen no
kamae).
Attack stan ce (tsukt 00 kamae) with the Jo horizuntaL
FORMS I THROUGH 20
TSUKJ NOBU(thrustiog or piercing motton gro1lp)
Choko tsuki (forward thrust)
Kaeshi tsuk! (rotating thrust)
Ushiro tsuki (thrust 1'0 rear)
Tsukt jodan gaeshi (thrust then strtke [rom above)
Tsu ki gedan gaeshi (thrust then sweep the legs)
SHOME N UCHIKOMI NOBU (straight overhead strike
groupl
Shomen uchikoml(overhead strIke)
Renzoku uchlkoml(contlnuous stIike)
Shome.n Ilc.hl 1lshlro tsukJ(strike-thrust to rear)
Shumell ul.:l1t geuall gaeshl(stnke-sweep legs)
Gyalm yoltomen ushiro tsukl(covcr and 3trikC with
the left foot forward then thnlst to rear)
KATATE NOBU(one hand group)
Toma ucht (distant 3trike)
Gedan gaeshi(striklng from low to high)
Hacht jl no gaeshHfigure 8 turning movementJ
HASSO NO[3UUo is held vertically by head)
Hasso gaeshi shomen uchl(straight strike)
Hasso gaesht mae tsukt(forward thrust)
I Ia~~ gac~hl u~hlro t~uk.1(rcar thru!lt)
Hasso gaesh i ush1ro uchl(rear strike)
Hasse gaeshl ushlro barat(rear sweep)
NAGARE GAESHI NOBU(continuous movCIllt::lIl group)
Htdart nagare gaesht uch1(shomen strike then
turning to the left.strike a shomcn to the rear)
Mi~l na~afe gaeshl tsukl(shomen strike wlth the left
foot fo rward. then step back with fight foot and
cover head with the jO, finally drop the jO into
position and thrust.
no name move-combines thc two above movements.
+ JO KATAS
31 ceuntJo (san-jU-lcht nOJo)
13 count jo Uu-san no jO)
JO AWASE(blendlng and timing practices)

KUMI JO(partner katas)


10 fonns
Aikid o's happo-giri (8 direction cutting ) starting
with the right f oot f orward and moving clockwise

,
1
6 7

Empty
V
4 3 h . n~
4
3
se q" enoe

8
/ /".
2

7 5

2
The outer circle is the bokken sequence

Bay Marin Aikido, Inc. 199 5


The Thirty One Jo Kata
Sonju ichi 110 )0
Bay Mann Aikido p.1 IYY7

Starting position
K(mme Start from a left hanmi with the jo verti c,,1 in
front of rhe left foor and held with the left hand.

1. ichi fcct- The left foo l slides diagonally to the left and the right
foot follow s so thallht:. ft:.elllun ' ( gt:.t lOu wide apart.
hands/jo The right hand gmsps the jo thumb down and pushes it
forward and even with till: kft hanll. Tht: left hand rises
until the jo is level and then lets the jo slide through the
hand. (kaeshi f~iUki)

2. ni fect The right foot steps baek and to the right rear. The
left foot follows.
hnnds/jo Both hands rise. The right hand rises above the head
while the left hand stays about chest high. (cover)

3. son feet The left foot advances diagonally to the left.and the
right follows.
hands/jo The right hand roUs down and both hands move
forward to thrust the jo. (kaeshi fsuki)

4. -'"hi or feet The right foot moves to the right rear, the left follows.
yon hands/jo The left hand lifts up and hack to cover the top of the
head. The right hand slides and meets the other hand in
the middle of the jo.(cover)

5. go fcct Pivot 011 the left foot and advanct:: with tht:: righl foot.
hands/jo When the two hands meet, reverse the position of lht! jo
front to back. The right hand will now be ill frunt uf
the left. The left hand should s lide to the front end of
the jo then grasp it. Strike with the jo. The right hand
should also be able to slide a little on the jo. (:!ihnmel1
/fchi komi)

-2Y -
The Thilty-One Jo Kata
Sonju ichi no )0
Bay Marin Aikido P.2 1997

6. roku feet Advance with the left fOOl, right foot follows.
hands/jo Lift the left hand towards the back of the head as the
right hand rises above the forehead. Push the left hand
upwards as the hands switch back to front. When the
hands are lined lip, strike. (ren:akll IIchi komi)

7. shi,.hi. feet Pivot 180 0 to the right. The right foot is now in front.
nona hands/jo Raise the hands over the head as you pivot. When you
have changed directions. strike with the jo. (shamen
uchi komi)

8. liaclii feet Repeal slep 116.


hands/jo Repeat step #6. (ren:oku I-'Chi komi)

9. ku feet Step to the right 180 0 around with the right foot.
hands/jo Sweep the jo from the striking position downward
toward the right knee. (ushiro harm)

lO.ju feet Step forward 180 0 with the right foot


hands/jo Bring the jo up over the head. The right hand is in
front, left in back; jo parallel to the ground.

II.juichi feet Left foot steps diagonally fonvard.


hands/jo The left hand moves forward at the same ti me as the
foot. When the left hand is in front, strike down with
the jo. (ren:oku IIchi komi)

J2.jllni feet The right foot withdraws a small step and the left fnnt
follows.
hafll.ls/ju The left hand releases the jo and slides past the right
to the middle of the jo. Once there, the left h(lnd grasps
the jo and the right slides back until it reaches the very
back of the jo. (tsuki flO kamae)

13. jusoll feet The left foot moves forward, the right follows.
hands/jo Push the jo through the left hand with the right in a
thrust. (dlOko tsuki)

-30-
The Thirty-one Jo KaLa
Sanjll ieh; no jo
Bey Marin Aikido P.3
1997

14. jushi or juyol1


feet The right foot step to the rear, the left foot follows.
handsijo The left hand rises over the middle of the forehead
and the right hand s lides to the middle of the jo. The
front end of the jo stays forward .(cover)

I5.jugu
feet Step forward with the right fool.
handsijo Reverse the position of the jo(the front and back switch)
When the jo has reversed. open the len hand and slide
it to the bottom of the jo. letting the right hand slide
about two hand holds above the left as you strike with
the jo. (slwnum /leI!; knmO

16. jllrokll
feet Step to the left rear with the left foot, the right follows.
hands/jo The jo is pulled back to the left rear. Right hand is in
front. (gedol1 gaeslii)

17 . jIJshi('/7i or jUJ10l1fl
reet Pivoting on the ri g ht foot ,step forward with the left
foot.
hands/ju The left hand pushes forward in a sweeping mOTion.
(~edal1 gaeshi)

18 . juliaclii
feet The left foot slides a li ttle 10 rhe right to allow the Idt
hip to dip.
hands/jo The left hand tlips to a palm up posit ion while holding
the jo. The right hand rotates to a p<tlrn down position
and catches the end of the jo.

J9.jukll
feet The left foot steps diagonally forward; the right follows.
hands/jo Thrust the jo dow nward toward the knee.(gedan Isuki)

-31-
The Thirty-One .10 Kata
SOllja ielli no jn
Bay Marin Aikido P.4
1997

20. nijll
feet The right foot steps forward, then drop down to the
left knee.
hands/jo Cover and strike at knee leve l. (s imilar to # 14&#15)

21.nijllichi
feet No movement.
hanrls/jo Pull thejo back to the lower Icft sidc.(similar to #16)

22. nijuni
feet While standing up , step forward with the left foot.
hands/jo The right hand moves the the jo from the left hip to the
right shoulder. When the left hand is in front and the jo
is pctralld tu tht: ground, move bOlh hands 10 poke the
jo forward.

23.niju:i(lJ1
feet The left foot slides a little to the right as the hip dips.
(like #18).
hands/jo Flip thejo over like #18.

24.nijushi or nijl/yon
feet The left foot steps diagonally forward, the right follows.
hands/jo Thrust the jo forward. (choko 1suki)

25.nijllgo
feet The left foot advances again, the right follows.
hands/jo Rolling the jo slightl y left to right , thrust again.

26.nijl-lro kll
recl The right foot steps diagonally back, left follows.
hands/jo The jo is pulled back to the lower right (geritm gaeshi)

-32-
The Thirty-O ne Jo Kala
Sanju iehi 110 jo
Hay Marin A ikido P.5
1997

27.mjrlshi nr nijllnrJJ1f1
reet The left leg steps hack while pivoting on the ri ght foot.
hands/jo The jo is brought up to a bout waist height. (gerfn.n gaeshi

28.niju/wc/Ji
feel The feet don't move,
hauds/jo The jo is brought about neck high am! wilh bOlh hands
poke the jo forward. (like 1122)

29. nijuku
feet The right foot slides a little to the left to let the right hip
to dip.
hnnds/jo The right hand turns palm up and the left ha nd turns
palm down to catch the end of the jo.

30. sanjll
r t The right foot ste ps forward diago nally.
hands/jo Thrust the jo fo rwa rd. (Right hanmi choko Isuki)

1 1. wmjl.lirhi
feet The left foot steps forw:m1 , lh~ ri g ht fo llows
hands/jo Strike with the jo. (r en: oku IIchiknmi)

FI NISH The feet stop moving. The jo is brought to a f ull upright


position. The wholt: body strdigh lens up. Rerum to
normal deep breat hing. Relax ,espcl:iall y the [ace muscles
but the eyes/s pirit stay ale rt .

-33-
The 13 Jo Kata
J" san 11t) jn kafa
Bay Marin Aikido 1997

STARTING: The feel arc in a left hanmi position. The jo is held vertically
in the left hand. Both the body and the face are relaxed. but
the eyes and spirit slay alert and alive.

I. ichi
feet; The left foot steps forward.
hands/jo; The top of the jo points straight forward and thrusts
(clwko tsuki)

2. ni
feet: Continuing to move forward step with the right foot
h/j: Cover the head and stri ke (haya gaeshi)

3. sail
feet: Step back diagonally to the left with the left foot; the
right slides to follow.
h/j: Roth hand~ rise ahove the head , until the jo is over head
and parallel to the grollnd.
4. shi or yon
feet: The right foot slides forward.
h/j: Both hands drop to waist level and poke forward with
the jo.

5. XO
feet: Do the two step. Initiate the move with the left foot.
h/j: After finishing the two step, spin the jo in the right hand
to has.\'{} kamae (hasso pos iti on).

6. roku
feet: The right foot steps forward.
h/j: Strike shomen Nehi from the hasso position.

7 . shichi or l1U1a
feet: Pivoting on the right foot,step backward 1800 with the
Ie.ft fool.
h/j: From the finished strike in #6 (about waist high) , move
the right h,md towards the left shoulder as the Jeft hand
moves to the left hip.
-34-
BukiWaza
Saito Sensei's Kumi Jo
Jo Partner Forms (Kata)
Bay Marin Aikido 1997 p.1
Fonn 1 Kumt Jo no Icht

Kooekt <attac ker> or Ucht Uke<recetver>


Tsuki no Kamae (jo hOrizontal) Shizen no Kamae Uo vertical)

1. Tsukt lo mid-section (chokotsukl). 2. Step left. rotating tsuki to chest


(kaeshl tsukt)
3. Roll JO ov~r IIkp's jo. tsukl towards the chest. 4. Step right,right hand rolls overhead
to block. ~tcp forward with the right
foot and strike.
5. Step back with the lell foot. using
back end of Jo lo llloc,;k. (left hand moves
to hip) .
6. Back h and thrust with the right hand and toot
forward. 7. Lt!il. fool steps in a short two step
and strike overhead.

Form 2. Kumt Jo no Nt

Koaekl (l lent Uke


Tsukt no Kamae Uo horizontal) Shizen no Kamae (jo vertical)

I. "J'suld to throat (choko tsukt). 2. Slight step left, cant left. bloc,;k l.!5uki,
two handed thrust back to kogeJd's
throat.
3 . Step under thmst ,raisin g the right hand
over head-lIlt!1I strike to the lead leg. 4. Pivot left, dropping the left hand and
raising the right to forehead, block.
5. TSllkt (right hand le::lns) to min section. 6. Step left. tsukt to fibs.

Fonn 3. Kumc Jo no San

Kooekl l Uchl Uke


Tsukl no Kamae Uo hOriZontal) Shi7.en no Kamae Uo vertical)

1. Tsukl to knee. 2. Move rear leg left b lock with a short


"sweep_typeH blork.
3 . T~lIkl to ribs. 4. Step rlght - ~ntp" block left.
5. Llfl uke'sJo counter-clockwise to
attempt tsukl. 6. Step left. tsukllo ribs
BukiWaza
Saito Sensei's Kumi Jo
Jo Partner Forms (Kata)
Bay Marin Aikido 1997 p. 2

Form 4. Kum( Jo no Yon

Kooeld l Ucht Uke


Tsukl no Kamae Uo horiZontal) Shtzen no Kamac Uo vertical)
J . T.<:;lIki to mId-section. 2. Gl<1U tUJJ urJo like kaesflt tsukt move
step back right. bring hand over head
Bnrt Left hand to side.
3 . Step forward With the right foot to
right-do a long one ham.led strike
(high to low)<kalate lorna uchl>.
4 . Step back right(drag left foot). Right
hand to forehead ::lnrt left hand to side
block. Keep left-bawJ palm up With fingers
under the JO.
5. to mid-section.
TSIJki 6. Step forwartlleft(45").reverse entry
tsuki (the right foot steps and leads
and the right hand is forward), The
tsukl is to the solar plexus at a down
ward angle.

Fonn:S. Kumt Jo no Go
KoqektlUchl Uke
Tsukt no Kamae Shtzen no Kamae

1 . Tsuld to throat 2. Slight step left. cant left . hlnck.


3. Thrust back to throat.bolh hands.
4. Ste p back to the righl . lhe JO Is In the
right hand. (katategedangaesht)
5. Strike from low to htgh . Catch the jo
overheat! wtth the left hand (palm up .
little finger to the rear). 6. Step back 1f':11. dropping down on the
left knee. Brtng jO to left stde In a
vertical position. Right hand on top.
Top tip of jO protects the head.
7 . Strike down on head . 8. Step!il! left and brush aside jotsuk1
to upper body.
Buki Waza
Saito Sensei's Kuml Jo
Jo Partner Forms (Kata)
Bay Marin Aikido 1997 p. 3
Fonn 6 . Kumi Jo no Roku

l{oaektlUchl (Ike
Tsuki no Kamae Tsukl no Kamae

I. Tsukt to mld-sedton. 2_ Roll and press w1th the left hand side.

3. Covpr the h ead. 4. Follow the cover motion and do an


atemi to the tricep of the left arm
with t hp. length of the JO. (stopping
the str1ke for a moment).

5. When the pressure Is reiea:scd, o. P1vottng around uchi's left upper arm,
finish the striking motion. Rollmg the jO over the top. move the
JO clockwise to unbalance or thmw
uchl.

Form 7. Kuml ,In no Shicht

KooekilUchl !Ike
TsukJ no Kam;:te Sh1zcn no Kamae

1. Cover nnd strike towards the left leg. 2. The left leg ste.ps back. The right
hand attaches to Ule jo below the
the left hand to hold the jO vertical
and block t.hp. strike

3. From the rtght hand. right foot forwa rd 4. Move fOlWard with the right foot as
posItion. tsuki. the right hand raises the Jo to the left
shoulder and the left hand drOpS to
the left hlp to block the thrust.

5. Covering. step with the left foot to strike. u. a) Extend upward W1th both arms
until ucht is off balance or thrown
b) As uch! strikes. slip to the left and
with the right hanel steip. of the. jo.
catch the crease of the Ught knee
to unbalance or throw uchl.
Buki Waza
Saito Sensei's Kumi Jo
Jo Partner Forms (Kata)
Bay Marin Aikido 1997 p. 4
Form 8 Kuml. Jo no Hachi
Kooeki I Uchi llkp
Tsuki no Kamae Tsukl no Kamae

1. Cover the hCC1U IJrt:partng to strike. 2 . Tsuld. towards the head to stop the
mollon.

3. When Uke releases Ule tsuld. strtke. 4 . While uchi is striking , step back and
and to the right to get off the line of
attack. Bring the Jo overhead with the
fight hand slightly higher than the
left hane:l. TSlIld between the anus
to\vards the mId-section. After the
thrust. circle the JO clockwise
captllring the wriSts to unbalance or
to lhww uchl.

Form 9 Kuml Jo no Ku

Koaeld { Ucht Ukc


Tsuki no Kamae Tsuk1 no Kamae

1. Tsuki to mldsedlon (choko tsuld) 2. Roll thc JO down to block ~uk1.

3. Cover the head to strike. 4. QUickly step forward with the right
foot and the rIght hand to aim the JO
towards the uchfs fnce. stopping the
movement.

5. Complete the strtke. 6. Pivoting on the I1ght foot, drop the


right hano end of the JO to uchl's
right elbow crease to unbalance Of
throw the uchl.
BukiWaza
Saito S ensei's Kumi J o
Jo Pa r tner Forms (Ka ta)
Hay Marin Aikido 1997 p . 5

Form. 10 Kuml Jo no J u

KQgeldL.l!tJ1 Ukc
Tsukt no Kamae K~n no Kamae (chudan)

1. Tsuki to the midse.r.tlnn . (choko tsuld) 2. Stepping forward and to the It:fi. do
hassogaeshf to knock the thrust
away.

3. RJdlng the motion , step With the right lP.g 4. In a figure 8 pattern continue the
and str ike. hasso motion to knock the strike
away with JO palm down.

5. Again . riding the motion, step willJ th e left 6. Contin n ing the hasso motion, wit h
leg a nd strike. the h e lJJ ur the left hand, put the
top end of the JO ncar the left side of
the np.r.k and the bottom near the
r ight wr1:sl. Torque the Ja in a cou nt-
er clockwise motion to unbalance or
tn throw uchl.

End of Saito Sensei's Kumijo K a ta


Buki Waza
Saito Sen sei's Kumitachi
Bokken Partner Forms (Kata)
Bay Marin Aikido 1997 p.l
IntroductIon: The inIt1al stance and gnp of the bakken/sword Is very important in order to do
these katas well. These kUlIltluc:hl are a dIrect teaching from the ka/so. Morthe:I.
lJ<shJta.
The Grip: The left. h~nc1 holds the hilt or handle of the weapon at the very
end of the handle. amJ the rIght hand holds where the tSIlOO or sword guard.
separates the blode from the handle. The hands hold til a firm, bu t not tense
fashIon. The hUt traverses the palm from the knuckle of the index finger to
the crease of the wrtst 10int below the ttttle finger.
The S word: Holding the bokkcn at ann's length. touchIng your body, push tt
away from YOllr body until you can imagine a line that extends from your belly
bullull through the weapon towards your p;:lrtnrf's head / face. The blade line 1s
Is fncing down . We will call this JX)sltion Ken no kamae, even though in the
classical sword schools this would be called chudan or selgan.
The Stance: Your feet and legs :::ire In right hanml.
The Eyes; See your partner fmm beau tu toe, looking towards the eyes. Allow
yourself to also be aware of your peripheral vision.
Ma-ai: The ups of the bnkken or bokuto should overlap about 3 -4 Inches
throughout the katas.

Fo rm 1 Kumtcachl no Ichl

Kogelct I Uchll achl (attacking sword) Uketachi (receivIng swurd)

Ken no kamae Ken no kam;::w

1. Begtn to strUcc shomen uchi.


n Step forward dIagonally to the left
...nth the left foot. The bokkcn is
thrusting and cutting until the bokken
over the head. ;~ . Finish the shomen uchl. but step
uack wtth the left foot to avoid being
hit or cut. Leave the ri~ht foot in
front .
4. Step towards ukc with the left foot
<'Inri shike . 5. Parry the strike with an extended but
downward motion whlle stepping back
with the right foot
6. Step with the right foot towards uke
and strike. 7. Step back with the left leg and pnrry
the strike down . Lowe r the hips <'Ind
extend lhe bokkell tuward.s ucht to
finalized the ko.t.n.. Zanshin.
Buki Waza
Salta Sensei's Kumitachi
Bakken Partner Forms (Kata)
Bay Marin Aikido 1997 p. 2

Form 2 Kumltachi no N t

Kuuekt (Uchttachl

Ken no Kamae Ken no Kamae

1. Without 3tcpptng, ralse t he lJukken


overhead and strike towards t h e leg. 2. Move simultaneously With Uchl and
block the cut. -
3. Raise the tip of the. bokken slightly
preparlug to cut the lead wrist.
4. As the tIp of ukp.s bokken Is raised,
c ircle under aud around their weapon,
with yours then step with the left leg
a nd t hnlst. 5. Step back with the rt~ht foot amI parry
the thrust by circling the bokken and
directing It away from you.
o. Stepping with the right foot. cover and
s lJikc to the head. 7. Step back with the left leg a.nd cut
downward to parry the c ut , then tap
or roll uchl's bokkcll lo your lett.
8. Let your bokken roll wtth the: motion and
circlc uke's sword clockwise. S lep In wlth
the left leg and thrust. 9. Stepping back with the right leg, party
the thrust.
10. Cover the head, step willI UIC rtght leg and
strike towards uke's head. Zanshin. 11. Step b ack wllh the lett leg and parry
with a downward stroke. Lower the
hipS to tln::lllze thiS form. ZanshiTL
BukiWaza
Saito Sensei's Kumitachi
Bokken Partner Forms (Kata)
Bay Marin Aikido 1997 p. 3
Form 3 Kumltachi 110 San
[[chlfachllKooeki

Ken no Kamae I{en no Kamae

1. Tap or pres"c; lI chfs bokken to your


left.
2 . Letting your bokken roll with
the motion. cover tile head, and
stepping with the left foot . strike. 3. Step back With the right foot ann
party with a downward stroke.
4. Cover the head , step with thp. right
right foot. and strike. ZWlSfllH. 5. Step back with the left. toot and block
with a downward stroke. Lower the
hips to finallze this form. Zanshln.

Form 4 Kumttachl no Yon

UchltacllllKooekl

Ken no K<'Imae Ken no Kamae

Step back. stay in right hanmi Step lxu.:k. stay 1n right hanmt

1 . Step with the right foot. tsukl. 2 . Step slightly to the right. turning the
hipS, thrust back to the chest. Roll
the kogeld's sword to the left and
nown .
3. Step with the left foot and tsukJ. 4. Steppmg back W1th the nght toot ,
parry the thrust.
5. Cover and strike. 6. Step back with the left foot and
pany with a down'Wo'lrn stroke. Zanshln
Buki Waza
Saito Sensei's Kumitachi
Bakken Partner Forms (Kata)
Bay Marin Aikido 1997 p. 4
Form 5 Kumltachi no Go

Ken no Kamae Ken no Kamae

I . Strike shomen ucht. 2. Cover and strike , stepping forward


wlth the left foot.
3. Cumplele the strtke FInd quickly
step back with the right foot and block .
4 . Step forward with the right foot and CUVt:l
and strtke. 5. Step back WlUl the left foot ann parry.
6. Press against the bokken,pushillg.
7 . Letting the push slip to thc right, step
w1th the left. foot In a large 2-step and
eut for a baek leg. 8. Wtth the left foot do a large 2-step and
n rap the bokken down to block the eu t.
9. Step with the right foot and cover and
strIke tuwards the head. 10. Step back with the lefl foot and parry
the strike. Zanshln.

Ki Musubi no Tachi or Otonashi no Ken


(swOrdS of connf'l"ted kl or silent sword)

Uchttachl l Kooeki

Ken no Kamac Kf'n no Kamae

Thlrrt sllburi(step forward, left foot) Third suburt (step hackward. right foot)

1. Cut straight forwald. 2 . Step forward with the rIght foot.


Cut down thf": mid l1ne from the left
side of uchl lu the waist level.
3. RaIse the sword to judan. feet do
not move. 4 . Sl1de forward with the right foot and
press lhe bokken against the left wrist .
Buki Waza
Saito Sensei's Kumitachi
Bokken Partner Forms (Kata)
Bay Marin Aikido 1997 p. 5

Ki musubl no Tachi or Otonashi no Ken (cont.]

5. Release the pre1;i1;iure on the wrist as


the left foo t does a small 2step. The
bokken r:overs and strikes on the righ t
s ide of mltlltne to Waist level.
6. Step back with the right foot and bring the
bokken tO Jodan. 7. Step forw;:trd with the right foot and
press 011 Ult! left wrist to prevent
kogekl's bokkcn from cutting.
Conclusion: Uke releases the preSl:i un kogekts wI1st and step!=< back with the left foot, but
staytng tn right hanml. Kogekl also steps back In rIght h an ml when the lett wrist
Is released from th e press. Zanshln.

This concludes the Kumi Tachl of Saito Sensei.