Yawara Book 2

YAWARA
Explained
The Teachings of Kiehl

Copyright ©2010 by Douglas C. Kiehl
All rights reserved. No part of this book may be reproduced in any form, or by any means,
electronic or mechanical, including photocopying, recording, or by any information storage and
retrieval system, without the written permission of the author.
Disclaimer
This book is intended as a reference for the subject matter. It should not be the sole basis for
teaching or practicing the arts without competent instruction. The author makes no representation,
warranty or guarantee that these techniques will be safe and/or effective in any self defense situation.
Author’s Note
The cover and art work were created by the author. The cover displays written Chinese characters
that translate as Danzan Ryu Martial Art.
The Founder’s history and list of Yawara techniques were drawn from the 1939 Mokuroku
presented to the late Professor Ray Law by Professor H.S. Okazaki, the Founder of Kodenkan,
Danzan Ryu Jujitsu, The Yawara content, however, is taken from Professor D. Kiehl’s notebook.
I am grateful for the use of Professor Law Mokuroku document translated by KDRJA Professor
George Arrington.
The arts described in this text are generally directed from the right side of the body. In practice,
however, an effort should be made to alternate position from right to left. To avoid injury, these
arts should be practiced slowly and with little pressure. It is understood that for safety reasons
a certified Black Belt instructor is always on the tatami when Danzan arts are practiced. Seek
competent instruction. Remember, of every seven (7) secrets to performing the arts, only five (5)
are passed on by the Sensei. The remaining two (2) secrets are left to the Heavens to decide. The
Okazaki Mokuroku suggests Han Chinese influence over the Danzan arts. The use of tsubo for
healing and defence, from Kappo through Yawara-Shingen, is undoubtedly rooted in that history.
Students should note that to be effective the pressure applied to tsubo is in a specific direction and
may require a second simultaneous movement. One direction and pressure to heal another direction
and pressure to injure.
Given that Yawara is dominated by hand positioning, emphasis is placed on tsubo related to
Lung, Large Intestine, Small Intestine, Pericardium, Heart and Triple Warmer meridians. Students
should be mindful that corresponding leg meridians are involved in overall movement. Additional
information can be found in the text “Danzan Medicine”.
Printed in the United States

Rowe’s Print Shop LLC
Carlisle, Pennsylvania
Library of Congress ISBN

Dedicated to the memory of the late Professor Ramon Lono Ancho
Judo & Jujitsu Master 1928-2001
Table of Contents
Introduction .......................................................................................................... 1
Personal History of Okazaki Seishiro Shihan ................................................... 2
Yawara Fundamentals .......................................................................................14
Know Your Opponent ...........................................................................14
Jing, Ki, Shen ..........................................................................................16
Ki Regions ..............................................................................................18
Heaven-Earth Connection ...................................................................23
Opposite & Contra-lateral ....................................................................24
Theory of Competing Circles ...............................................................25
Yawara niju te (Japanese)...................................................................................27
Yawara niju te (English) .....................................................................................29
Katate Hazushi A ................. Single Hand Escape one .......................29
Katate Hazushi B.................. Single Hand Escape two .......................31
Ryote Hazushi ...................... Both Hand Escape ................................33
Morote Hazushi .................. All Hand Escape....................................35
Yubi Tori Hazushi ................ Finger Seizure Escape...........................36
Momiji Hazushi ................... Red Maple Leaf Escape ........................38
Ryoeri Hazushi ..................... Both Lapel Escape.................................40
Yubi Tori ............................... Finger Seizure........................................41
Moro Yubi Tori ..................... All Finger Seizure .................................43
Katate Tori ............................ Single Hand Seizure..............................44
Ryote Tori.............................. Both Hand Seizure................................46
Tekubi Tori A........................ Wrist Hold (outside) ............................47
Tekubi Tori B ........................ Wrist Hold (inside) ...............................49
Imon Tori .............................. Clothing Emblem Seizure....................50
Ryoeri Tori ............................ Double Lapel Hold ...............................52
Akushu Kote Tori................. Handshake Wrist Seizure .....................53
Akushu Ude Tori.................. Handshake Arm Seizure ......................55
Akushu Kotemaki Tori ........ Handshake Wrist Winding Seizure ....56
Kubi Nuki Shime ................. Neck Encircling Constriction .............58
Hagai Shime ......................... Pinion Constriction ..............................60
Vocabulary...........................................................................................................62
Tsubo ....................................................................................................................64
Introduction
Yawara, derived from several thousand years of tradition, is part
of the evolved martial art legacy bequeathed to us by our great teachers.
Students who choose to study this early art form should be prepared to learn
challenging principles and unique techniques. However, arduous the task
may be, students should work at seeing the various mechanical dimensions
of the art as well as the energetic components that underlie all movement.
A blend of the mechanical components and the elusive Ki allows students
to eventually elevate their arts from the physical plane to the spiritual plane.
Indeed, this course of study, for most, casts a different light on much
of that which they have learned to date. To capture the essence of these
profound mysteries, students should set aside all preconceptions and
previously acquired knowledge of the Yawara. Students are encouraged to
embrace open mindedness and immerse oneself fully, without argument,
into the mysteries of Danzan Ryu’s Yawara Explained.
1
Personal History of
Okazaki Seishiro Shihan
2
3
4
5
6
7
8
9
10
11
12
13
Yawara Fundamentals
Yawara is the first of a dozen lists or boards taught to Danzan Ryu
Jujitsu students. Students are encouraged to take their time in learning
this particular list of arts for it holds many of the fundamentals that will be
used in the higher arts such as Oku no Kata. The Yawara board lists twenty
arts which are often referred to as self defense or hand techniques. When
explored, each art provides a separate mechanical and energetic lesson. It is
recommended that you study the mechanical and the underlying energetic
components of the arts simultaneously. It is often the case that study of the
mechanical and later the energetic creates bad habits that are hard to break.
In your study of Yawara, there are a number of basic concepts to grasp: 1)
know your opponent; 2) understand Jing, Ki and Shen; 3) learn to recognize
the relationship between your opposite & contra-lateral mechanical and
energetic actions; 4) know your tsubo (acu-points); and finally 5) get
acquainted with the Theory of Competing Circles.
Know Your Opponent

“Know your opponents by the sound of their breath and the form that
they have taken” is my first guidance to beginning Yawara students. Roughly
translated, it means that when you know your opponent’s body type and the
tone of their voice (kiai), you will know their physical/mental strengths and
weaknesses.
According to ancient Han Chinese theory, the human form is grouped
psychologically and physiologically as one of five (5) types. Often identified
by organ names, such as Kidney/Bladder, the types are also known as
Constitutions. In short, it’s the way that we are put together, our fabric, our
predisposition. Study the body types and you will understand your opponent’s
strengths and weaknesses before they make physical or intellectual contact.
My second guidance to beginning Yawara students is that “a good warrior
wins the battle field. The superior warrior never gets to the battle field”. In
short, learn to recognize potential conflict and act before it occurs. The
good warrior uses Yawara well. The superior warrior doesn’t need Yawara.
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Wood constitutions tend to have a dark hue to their face. They often have
a tall slender body and display broad shoulders. They are known for strong
bones and sinews. They generally have a straight back and are hard workers.
They have a tendency to worry. They will use their upper body strength first.
When healthy they are generous in nature and will consider other ideas. Their
movement will be fluid. When suffering an imbalance, they will not be open to
a broader discussion and their physical movement will appear mechanical. For
voice recognition or kiai one may expect a tone that projects itself. They will
often have a vertical line between their eyes and perhaps drying or cracking of
the nail on the large toe. They are quick to anger. A rancid smell will accompany
an imbalance. They are vulnerable at: inside of knees; toes; mid-back and outside corner
of eye brow.
Fire constitutions have a reddish hue to their face. They may have a
pointed chin or small head. They will often have curly or little hair. They
have small hands and walk fast. They are considered quick and energetic.
They are not impressed with material wealth. They do enjoy art or beauty.
They may have a short life span. Their strong point is their blood and
vessels. A voluminous laughter without apparent reason indicates an
imbalance. A burned smell will accompany an imbalance. They are
vulnerable at: inside of forearms and upper back.
The Metal type has large shoulders and often a triangular face. They are
physically strong and show a slow, deliberate pace. They are considered strong
willed, detail oriented and rational. Their lungs are a strong point, therefore
project a powerful voice. A rank smell is associated with an imbalance. Crying
tone or behavior is the mark of a Metal constitution. They are vulnerable at:
upper outside corner of chest and outside of forearms.
Earth types generally have a dark like complexion irrespective of race or

ethnicity. They will often have a fat body, large head, large mid section, strong
thighs. They are described as calm and somewhat generous. They will not be
described as ambitious. They will not lift their feet as they walk. It is more of
a shuffle. They have strong muscles therefore will be physical with actions.
Voice recognition or kiai will tend to have a melodious under tone. A sweet
smell is associated with an imbalance. They are vulnerable at: inside of ankle
and abdomen.
The Water constitution may be described as having a round face and

body. They have soft white skin. Their spine seems long and they find
pleasure in movement. They may be described as lazy and often sympathetic.
They are aware and may be psychic. Their kiai may have a low, husky tone.
The tone is a groaning sound. A rotten or putrid smell is associated with the
imbalance. They are vulnerable at: nape of neck and lower back.
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Jing, Ki and Shen
Jing, Ki and Shen (Kami) are terms that describe physical and energetic
regions of the body that are critical to the success of the martial artist. The
regions are called Dantien. Given their function, they are also described as
the Elixir Fields or Alchemical Fields. The three Dantien (pron: don tee en)
are areas of the body that are capable of transforming or transmuting the
physical world into the non-physical world.
The first is Jing Essence or lower Dantien. Jing Essence is considered our
root. The Jing Essence is reported to reside in our lower abdomen/lower back
and is related to the Kidney/Bladder. It is the foundation for our energetic
and physical form. We can strengthen the lower Dantien or Jing Essence
by eating, sleeping and exercising well. Meditation or concentration will
also build Jing Essence. Danzan Kowami exercises, sutemi and abdominal
moxibustion will do the same. Jing Essence is naturally weakened by poor
habits, bad health and aging.
Concentrating your thoughts on the lower abdomen and breathing from
our lower abdomen will build Jing. As your concentration becomes focused
on the lower abdomen, it generates heat or fire in the lower region. This area
is often described as a cauldron of water with a fire under its base.
When sufficient fire is generated in the lower Dantien, it transforms the
water that is held in the cauldron. As the transformation occurs the water
changes form and moves. It rises to the middle Dantien where it appears
much like steam which we call Ki (pron: key). This area is also associated
with the Liver/Gallbladder/Spleen/Stomach. The Ki is the energy for our
physical and emotional self. The middle Dantien is also considered the
mental or solar plexus.
As the Ki gathers, it is transformed once again and moves into the upper
Dantien (Lung/Large Intestine/Heart/Small Intestine). Here, it is often
described as a vapor or mist. As it is further refined it becomes the spiritual
part of us. We call it the Shen or Kami. The Shen is that which is all around
us. When we are successful with transformation of the three Dantien, the
point on the top of our head known as Pai Hui (pron: by way) GV20 opens
and we are connected to that of the Source and the invisible material that
surrounds us. For the martial artist, this particular experience is called
Mushin or Ling Di. It is translated as “all calm”.
Success balancing the three (3) Dantiens, enables the third eye known
as Yintang (pron: yin tong) or the Hall of Esoteric Sensation to be accessed.
Yintang allows the martial artists and healer to see both the physical world
and the spiritual world. For example, it gives him a tool to see a situation
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from five (5) sides (front/back/two sides and above) simultaneously. If you
close your eyes and see nothing but white, you know that the third eye has
been accessed. The Ancients believed that a number of other points or gates
must be opened before the third eye or Yintang would open.
Further, with the broader awareness comes a new reality. The new reality
allows us to see everything differently. For the martial artists, it allows us
to see Yawara, Kappo or other arts in a different light. It allows us to move
from the physical plane to the mental plane and finally spiritual plane. Put
another way, the transmutation of Jing, Ki and Shen is necessary to realize
“Ju”. Jitsu is purely the physical or mechanical realm.
UPPER
MIDDLE
LOWER
17
Ki Regions
Earlier you were exposed to the definition and function of Dantien
or Jing Essence, Ki and Shen. In the middle and upper Dantien, Ki, is
channeled. Here, the Ki and Ketsu (blood/body fluids) become the energy
sources that run through pathways on the body that we call meridians. They
circulate inside and outside of the meridians. The Ketsu is described as Yin
when compared to Ki. It does have form and flows as body fluid and blood.
It is contrasted by Ki which is considered Yang in nature. It is described
in the West as the electricity of the body or the spark behind the eye. We
understand its actions but cannot describe it as a form. It can be understood
as matter about to become energy and energy about to become matter. The
gulf between the two is Ki. It runs outside of the meridians to protect the
ketsu. Ki will group, swell or wax. Ki will disperse, fade, wane. The notion
of Ki waxing or waning is an integral part of the arts. There are a number of
exercises used to explore the subtlety of waxing and waning Ki. For example:
Stand erect with your eyes forward. Reach forward with your right hand. As
your arm and hand extend, notice the shift of Ki from your left leg to you
upper right limb. The Ki waxes in the right arm/hand and becomes deficient
or wanes in the left leg/foot. For the martial artists this behavior creates
opportunities and vunerabilities.
We have learned that specific locations or tsubo (points) on the meridians
influence our mental and physical behavior. The tsubo are physical locations
on the body that were identified over time as energy vortices. There are 365
basic tsubo. The tsubo are found on fourteen (14) basic meridians. Twelve
(12) of the fourteen meridians are considered basic with two additional
meridians as control mechanisms. The meridians cover the entire body
to include our organs and skin surface. The tsubo are generally found in
areas of the body that are vulnerable or weak. They can be found in the base
of nerves and muscles, depressions in the skin and joints or angles of the
body. The location of the tsubo will vary slightly from one person to the next
based on their general health and constitution. For the purpose of locating
a tsubo, a measurement scale was established. The measurement of One (1)
unit is the width of your thumb. The measurement of 1.5 units is the width
of your index and middle finger. Three (3) units is the width of all four
fingers combined.
We, martial artists, use vibration on the tsubo to make our Kappo
(resuscitation techniques), Restoration therapy (elbow treatment), Anpuku
(abdomen therapy) and Seifukujutsu (body therapy) effective. We apply ki
to the tsubo via a strike (atemi), joint lock or pressure to disable Uke.
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THE 14 BASIC MERIDIANS
Foot Taiyang Region (Bladder) originates on the Foot Shaoyang Region (Gallbladder) originates
lateral aspect of the foot. It moves upward on the on the region of the fourth toe. It ascends the lat-
posterior region of the leg, over the buttock, up eral aspect of the leg, over the hip, across the ribs,
the back and over the head before terminating anterior the axilla, upward across the clavicle,
around the eye. Secondary branches cross the behind and over the ear before terminating at
chest and face. the corner of the eye.
Foot Yangming Region (Stomach) originates at Foot Taiyin Region (Spleen) begins at the medial
the region of the second, middle and fourth toes. side of the large toe. It moves around the ankle,
It moves to the lateral aspect of the leg to the knee. medial side of the leg through the knee region to
It continues upward on the abdomen, over the the abdomen where it meets the pertaining organ.
chest and terminating below the eye. It has a branch that leads to the spine.
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Foot Jueyin Region (Liver) begins at the dorsum Foot Shaoyin Region (Kidney) begins under-
region of the large toe. It moves upward along the neath the foot in the region near the large toe.
medial side of the leg through the genital area It runs obliquely below the inside ankle bone
before meeting its pertaining organ. (medial malleolus before moving up the leg where
it joins with the Foot Taiyin (Spleen) region. It
moves into the genital region before skirting the
back and connecting with its pertaining organ.
A branch of the region continues to connect with
the Foot Taiyang region (Bladder).
The Hand Yangming Region (Large Intestine)

begins on the index finger. It moves upward but
remains on the outside of the arm (lateral) to the
elbow. It the proceeds in a region that extends to Hand Taiyang Region (Small Intestine) begins
the point of the shoulder. At the shoulder it begins at the tip of the small finger, collects at the dorsum
to divide with one branch moving through the of the wrist and moves up the medial aspect of
neck to the nose and the second branch mov- the forearm to the elbow (medial condyle of the
ing upward through the temporal area where it humerus). It continues upward terminating at the
intersects the Hand Taiyang (small intestine). lateral portion of the face. It has links to the ear,
eye, teeth and jaw.
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T h e H a n d Ju e y i n R e g i o n ( Pe r i c a r- The Hand Taiyin Region (Lung) moves from the
dium) begins at the middle finger tip of the thumb and continues up the thumb to
(palmar aspect) and follows the general direction the wrist. At this point it begins to move later-
of the Hand Taiyin region to the elbow. It then ally to the inside of the elbow (medial) then
separates capturing the ribs (front and back) ascend through the upper arm to the front side
before moving across the chest to include the of the shoulder/chest where it terminates at the
diaphragm. collar bone. A second branch moves across the
diaphragm and includes the last rib.
The Hand Shaoyin Region (Heart) begins on the The Hand Shaoyang Region (Triple Warmer)
small finger, continues to the inside of the wrist begins at the fourth finger, moves over the dor-
and on ward to the medial side of the elbow. It sum of the hand, ascends along the lateral aspect
then continues upward to the chest wall. Here, it of the arm. It crosses the shoulder and neck,
divides with one branch striking the diaphragm branches around the ear to the face.
and the second to the umbilicus.
21
The Governing Vessel or Du Mo moves from The Conception Vessel or Ren Mo arises from
the lower abdomen and emerges at the perineum. the lower abdomen at the perineum moves up the
It was reported to then run along the poste- anterior aspect of the body. It ascends through
rior aspect of the body inside the spinal column the abdomen where it touches on critical points
through the nape of the neck, over the head and as it ascends the mid-line to the throat before
terminating at the nose. surrounding the lips.
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Heaven/Earth Connection
Professor Okazaki is reported to have said that “ a clean stomach and
a straight back lead to a long life”. The Ancients described the “straight
back” as the Heaven-Earth connection. The “clean stomach” is a balancing
or centering of the abdomen called Anpuku. This belief is an integral part of
Buddhist, Taoist and Shinto thought.
Much of their thinking was drawn from their experience with the night
sky and the Pole star known as Polaris. While viewing the night sky from
the Northern Hemisphere, it appeared that all things moved around the
center or the star Polaris. The Ancients felt that Polaris was the center of
the Universe and the gateway to the beyond. Given their experience with
the night sky, they began to explore the same energetic configuration in the
human form. They came to realize that our physical and mental self is a
reflection of the night sky and the Universe. In short, all things that are out
in space are found in all of us.
While standing, in your mind’s eye create an imaginary line that runs
from the top of your head downward through the center of your body,
through your perineum (space between the scrotum and anus) and directly
into the ground. The point at the top of your head is known as Pai Hui
(Du 20) or the “point of one hundred convergences”. This point was also
associated with the star Polaris. The point located at the perineum is Hui
Yin (pron: way yin)(REN 1). It translates as the “convergence of yin”. If we
hold a posture of bent knees and straight back we are tied to the Heaven
(Pai Hui DU 20) – Earth (Hui yin Ren 1),Yung-ch’uan (pron: yong chew
on)(KI 1-bottom of foot) and benefit by its relationship to Source Ki. The
Source Ki is that which comes from the Universe. Yung-ch’uan is activated
when the knees are bent because of the specific pressure placed on the sole
of the foot. Among other positions, we experience this connection in our
defensive stances, kumikata and kowami exercises. These points or gateways
are activated or accessed by moving the body to a particular position.
As we move, the Source Ki connection is easily compromised. Any
change from the upright, bent knee position pushes us to the physical realm.
We can be strong in this position (physical realm) but not powerful. This
condition is also true of our opponent. Our kuzushi causes Uke’s back to
bend or moves him off center forcing him into the physical realm. Again,
this change causes him to be physical but no longer powerful. The Heaven-
Earth posture is always superior to the physical realm.
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Opposite and Contra-lateral
When we walk, we begin by shifting our weight ever so slightly forward
with our hips. Our right or left foot leads and the opposite arm and hand
mirrors that movement. Examined a little more closely, we place our weight
on our heel, the weight then rolls to the outside of our foot as it shifts
forward, then shifts back across the ball from the lateral to the medial, then
finally pushing off with the great toe. Our knee has flexed in the process. A
similar and simultaneous action occurs with our opposite and contra-lateral
hand/arm. In short, our left arm moves with our right leg and our right arm
moves with the left leg. During this movement all of our joints, ligament,
tendons and sinews are expressing themselves.
In the purely physical, mechanical realm of Yawara, Tori takes advantage
of this motion as balance, leverage, fulcrum and pressure. It is the “jitsu”
part of “jujitsu”. We describe the physical technique of Yawara as joint locks,
arm bars, constrictions and throws.
As noted earlier, when we walk, it is the obvious mechanical opposite
arm and leg that perform the task. In order for this action to occur, however,
we should note that there is an energy that underlies all movement. It is
called Ki. Our Ki moves from our trailing leg to the opposite extended arm
and hand. As it shifts across the mid-line of the body (Ren Mo)(pron: wren
mo), the trailing leg becomes deficient or vulnerable and the leading hand
becomes dominant or stronger. Then the Ki reverses itself, again shifting
across the Ren Mo, as the other leg and arm begin to move. The hand/arm will
then become deficient or vulnerable and the leg/foot becomes dominant. Ki,
both mental and physical, will always reverse itself once it meets its extreme
position. The objective in Yawara, therefore, is to disturb or capture Uke’s
Ren-Mo (mid line of the body) and thereby the Ki that animates the limbs.
In a sense, Tori aims at creating a Ki short circuit at Uke’s Ren-Mo and its
related Ki activity. By doing so, Tori’s effort is reduced to a simple physical
movement.
There are a few basics Ki rules to consider as you study the Yawara.
1. When possible Tori causes Uke’s hand(s) or foot to cross Uke’s Ren-
Mo. Tori’s hand/foot should not cross his Ren-Mo in the process;
2. When possible direct your kiai at Uke’s Yintang or Hall of Esoteric
Sensation;
3. Apply your art when Uke’s Ki is deficient or vulnerable in the limb.
Do not attack a limb whose Ki can not be gathered;
4. When possible Tori should disturb Uke’s Heaven-Earth connection
while maintaining his own. A straight back and bent knees opens the
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Heaven-Earth gateway;
5. When possible Tori must keep an open hand to avoid fogging Lao-
kung (pron: l’ owl gong) PC 8. When possible Tori should block
Uke’s Lao-kung;
6. When possible Tori should capture Uke’s Ren-Mo or front center
line (pron: wren mo) or To-Mo or back center line (pron: Du mo);
7. When possible Tori should trap Uke’s Ki before moving Uke’s limb,
hand or foot;
8. Tori should be acutely aware of his transitioning Ki. Ki will shift and
build (waxing). Ki will diminish or reduce (wane). It is constantly
seeking out its opposite state;
9. Tori should always pause following the practice of an art. It is
important that the movement be permitted to register with the
Dantien. Rushing from one art to the next, in practice, is of little
benefit. Pure repetition is worthless. Stop, pause and breathe between
arts. The pause between the arts should equal the time that it takes
you to perform the art. If you stop, pause and breathe between arts
the body and mind will register Ki patterns and naturally seek them
out;
10. Learn to move with the natural flow of Ki. Mechanical, hinged
movements cause stagnation. Angles obstruct flow of Ki;
11. Become intimate with your breath. The Ki should lead your breath;
12. Surrender to the notion that you are One with the Source Ki.
Theory of Competing Circles

The thinking is this. When all movement is allowed to transition freely
and unobstructed, it will return to its beginning. It happens in the Universe,
Nature and in us. The Theory of Competing Circles speaks to the physical
and energetic conflicts that we create which ultimately disturb the natural
movement of Ki and its circular behavior in us. It plays out in our lives and
certainly in our martial art.
We create, consciously and unconsciously, movement and circles that
compete with the natural flow of Ki. We do it in our daily lives as a matter
of routine. The Competing Circles that we create are both physical and
mental. They are compounded by the additional Competing Circles that are
generated by neighbors, friends, family and other interactions which at some
point collide with our own circular predisposition. Most of the Competing
Circles that we create are fueled by our lack of connection with the Source
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Ki. They lead to anxiety, anger and depression. The anxiety, anger and
depression leads to timid, forceful or robotic movement. We tend to resist
or wrestle with things that come before us rather than understand and join
in their natural evolution. The physical and energetic aspects of our martial
art are not exempt from the effects of the Competing Circles.
At the simplest level there is a circular activity that occurs in our Ki and
physical movement. The arm goes out and returns with each movement. In
slow motion it is an oval perhaps, but it’s a circle of sorts. The leg goes out
and returns with movement. It’s another return action. The hip goes forward
and returns. The circle or return of the physical and energetic action will
occur with each movement and each thought. This behavior is a challenge
for both Uke and Tori. When Tori’s Heaven-Earth connection is well, there
are no Competing Circles. Additionally, it is easy to align and manage the
movement of Uke because Tori is one with the natural order. Again, when
there is balance or homeostasis, Tori has no Competing Circles that interfere
with his movement or thoughts. In a sense, he is connected with the Source
Ki. He is by natural design, therefore, able to manage one or more of Uke’s
movements. His arts are smooth and they work.
The reverse is also true. If Tori’s Heaven-Earth connection is not made
he will have difficulty managing Uke’s movement or thoughts. Tori will
find himself having to think through his arts, fumble and reposition rather
than allowing them to occur. His timing will be off. His clarity of thought
muddled. His power weakened. It is important to be at one with the Source
Ki or the energy that is all around us. There are a number of ways to judge
our being aligned with the Source Ki. Danzan practitioners judge “being
centered” by palpating the abdomen in Anpuku.
It is also true that when Tori is balanced with the Source Ki, he is able to
undermine or recognize Uke’s flawed movement. Simply, the state of Mushin
or “all calm” provides for this.
The underlying assumption in Yawara and other martial art is that Uke
is functioning at his optimum. In short, he is grounded and enjoys the
assistance of the Source Ki. When, in fact, it is most often not the case.
Most people, including Uke, are wrestling with Competing Circles that they
or others have created. It is for this reason that we find ourselves practicing
our arts over and over. Generally speaking, the human form does not retain
the movement. It is constant repetition because our mind is not clear. It is
a case of endless practice driven by the interference of Competing Circles.
It becomes an on-going effort to realign with an art over and over and over.
Given that all living things derive their Ki from the Sun, the amount of
Ki that we receive hinges on the position of the Sun relative to the Earth and
26
ourselves. We are a microcosm of the Universe. In short, what is out there is
in all of us. As a result there are excesses and deficiencies that occur naturally
in the human form at different times of the day and different meridians of
the body. They all can be defined as circular patterns. Nature will naturally
seek out a homeostasis or balance when one is connected to the Source Ki.
When the Heaven - Earth connection is strong, one’s intuition places him
in the correct mechanical and energetic position. In short, it is Source Ki or
Divine guidance. When the Heaven-Earth connection has not been made or
is disrupted, we struggle. We struggle at a physical, emotional and spiritual
level. Tori’s performance of Yawara is only as good as his connection with
the true circular pattern or Source Ki.
YAWARA
In Japanese
27
28
YAWARA
1. Katate Hazushi A: Single Hand Escape One
Mechanical Description:
Uke begins facing you. Uke grips Tori’s right wrist with his left hand. Do
not offer your hand. Uke must reach for it. To do so, Uke shifts slightly off
center as he reaches. As Uke grips, Tori resists slightly to cause Uke’s reac-
tion to pull you in. Tori mirrors Uke’s reaction while rotating his right palm
down as he pushes his elbow in Uke’s direction. This motion resembles a
pry action. Tori’s weight shifts slightly onto his right foot. Tori’s right hand
is moving in the direction of his left shoulder but not crossing his Ren-mo.
Tori’s hand never gets to his shoulder. Keep your hips under your shoulders
as you move. Move away with your left foot to Uke’s corner and into your
defensive stance. Tori uses a kiai.
Pause, breathe and allow the art to register before moving on.
Energetic Description:
The principle meridians involved in this art are the Lung (Hand Taiyin),
Large Intestine (Hand Yangming) (pron: yong ming), Spleen (Foot Taiyin)
(pron: tie ye in), Stomach (Foot Yangming), Conception (Ren-mo), Pericar-
dium (Hand Jueyin)(pron: zue way in) Liver (Foot Jueyin).
The primary tsubo involved are LU 11 Shaoshang (sh owl sh ong) - Lesser
Merchant, LI 1 Shangyang (pron: Shh hang ya ang) -Trade Yang, PC 8 Lao-
kung (pron: l’ owl kong)-Labor’s Palace, KI 1 Yung Ch’uan-(pron: young
chew on) Gushing Spring, M-HN3 Yintang-Hall of Esoteric Sensation.
Initially, Uke’s left hand Ki is waxing. Uke’s right foot Ki is waning. Tori’s
right hand Ki is waning. Tori’s left leg Ki is waxing. Tori’s Ki will shift from
his limb across his Ren-mo to another limb as he counters Uke’s movement.
First, be aware that the imaginary line (Heaven-Earth) that begins at the
top of Uke’s head (Pai Hui-DU 20) (pron: by way) runs through his perine-
um (Hui Yin-REN1) (pron: way ye in) and ends in the ground is disrupted
by causing him to bend slightly and off center. This action causes Uke to
lose the energetic connection known as Heaven-Earth, thus weakening his
use of the Source Ki and that of his gripping hand. It is important, however,
29
that Tori maintain his own Heaven-Earth (straight back) connection when
he moves or he, too, will be pulled into the purely physical realm.
As Uke grasps Tori’s wrist with his left hand, his Ki transfers slightly
from his opposite & contra-lateral (right) leg across his Ren-Mo (mid-line)
to his hand grip. His grip relies on the connection between tsubo LU 11
(thumb) and tsubo LI 1 (index finger). At this moment Uke’s hand Ki and
grip is waxing. Uke will react to Tori’s resistance causing his Ki to shift and
move in the direction of his opposite leg. Uke’s reaction allows Tori to briefly
gather Uke’s Ki while escaping.
As Tori escapes, be sure to move Uke’s gripping hand toward the mid-
line (Ren Mo) of his body. For maximum energetic efficiency, his hand
should cross the mid-line of his body before the mechanical pry occurs.
Uke’s strength is diminished considerably once the energetic mid-line is
crossed. Tori must take care not to cross his own Ren-mo with his own hand
as he performs the art.
The pry is against the index finger and the thumb. The index finger is
associated with the Large Intestine meridian Ki. It is related to the mental
action of putting things in their place or control. The thumb or Lung me-
ridian is associated with the Source Ki. Once the Heaven-Earth connection
is broken, the Lung (tsubo LU 11) and Large Intestine (tsubo LI 1) Ki (cir-
cuitry) is disturbed or weakened thus allowing Tori to escape the gripping
hand. Ki flows with an open hand (tsubo PC 8). Tori must take care not to
close his hand or allow the fleshy part of his thumb (thenar eminence) to
collapse on to the center of his hand known as Lao-kung (tsubo PC 8). Ki
flows from Lao-kung.
When returning to your defensive stance, do not allow your Ren-Mo
to be opposite Uke’s Ren-Mo. Tori’s kiai is directed at the third eye known
as Yintang tsubo M-HN3 or the Hall of Esoteric Sensation. This point is
located between the eyebrows. Yintang is important to the martial artists
because it is used to see multiple dimensions of the physical world and the
spirit world. Yintang must be open to get this benefit. The aim of the di-
rected kiai is to fog Uke’s ability to see the larger picture.
When Tori returns to his defensive stance, he keeps his knees bent in
order to activate Yung ch’uan KI 1 on the bottom of the foot. His back must
be straight to benefit from the Heaven-Earth connection. His hand must be
open to project Ki from tsubo PC8.
LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle
on the inside of the thumb. Cools lungs, fainting.
M-HN-3 Yintang (ye in tong)- Hall of Esoteric Sensation: located in the
area between the eyebrows; Yin sees the Spirit World and Yang sees the Liv-
30
ing World. Eliminates heat, calms the spirit.
LI 1 Shaoyang (shao yong)- Trade Yang: located at the base of the index
finger nail on the radial side. High fever, sore throat, deafness, toothache
PC 8 Lao-kung (le owl gong) - Labor’s Palace: cup your hand to a half
fist. This point is located at the tip of your middle finger. Cools the heart,
drains heat, projects Ki.
DU 20 Pai hui (by way)- Hundred Meetings: located at a point on top of
the head if a line was drawn from ear to ear and a second line drawn from
the middle of the spine up the neck to the top of the head. It will intersect
with the other.
KI 1 Yong Ch’uan Gushing Spring: located at 1/3 the distance from the
base of the second toe to the heel.
2. Katate Hazushi B: Single Hand Escape Two
Uke is facing you. Uke grasps the inside of Tori’s right wrist with his
right hand. Do not offer him your hand. He must reach for it. To do so, Uke
must lean slightly forward. As he grips, react slightly to cause his reaction
and then follow his pull. Time your escape with his reaction. Turn your hand
palm up as you move your elbow toward Uke. This motion resembles a pry
action. Your hand remains open. Simultaneously, step to Uke’s right side
with your left foot. Keep your shoulders over your hips. Kiai is directed at
Uke’s forehead. This action is a pry movement. Return to a defensive stance.
The principle meridians involved are the Lung (Hand Taiyin), Large In-
testine (Hand Yangming), Spleen (Foot Taiyin), Stomach (Foot Yangming),
Conception (Ren-mo), Pericardium (Hand Jueyin), Liver (Foot Jueyin).
The tsubo involved are LU 11 Shaoshang- Lesser Merchant, LI 1 Shang-
yang – Trade Yang, PC 8 Lao-kung-Labor’s Palace, KI 1 Yung ch’uan-Gush-
ing spring, M-HN3 Yintang- (pron: ye in tong)Hall of Esoteric Sensation.
Initially, Uke’s right hand Ki is waxing. Uke’s left foot Ki is waning. Tori’s
right hand Ki is waning. Tori’s right leg Ki is waxing. Tori’s Ki will shift from
limb across his Ren-Mo to limb as he counters Uke’s movement.
31
To begin, Tori’s kiai is directed at Uke’s third eye known as Yintang or
the Hall of Esoteric Sensation. This point is located between the eye brows.
The aim of the kiai is to fog Uke’s ability to see the larger picture through his
third eye. Next the imaginary line (Heaven-Earth) that runs from the top of
his head (Pai Hui-tsubo DU 20) to his perineum (Hui-Yin-Ren1) and onto
a point in the ground is broken by causing Uke to bend forward and slightly
off center. This action causes Uke to lose the connection known as Heaven-
Earth, thus weakening the Source Ki and that of the gripping hand. This
action diminishes Uke’s Ki considerably and pushes him into the physical
realm.
Remember as Uke grasps Tori’s wrist his Ki transfers slightly from the
opposite leg to the gripping hand. Uke’s Ki is dominant momentarily in his
gripping hand and his leg is vulnerable. As Tori escapes he should move
Uke’s griping hand toward the mid-line (Ren Mo) of Uke’s body. For maxi-
mum efficiency, it should cross the Ren-Mo of his body before the mechani-
cal action occurs. Remember, a shift of Tori’s position is necessary, too. It’s
not just an arm movement. Uke’s Ki is diminished considerably once his
Ren-Mo or energetic mid-line is crossed by his own limb. Tori must take
care not to cross his own Ren-Mo as he escapes.
Again, the pry is against the index finger (Large Intestine) and thumb
(Lung) as described in the previous art. The separation of Uke’s thumb
(tsubo LU 11) and index finger (tsubo LI 1) is intended to disrupt the Uke’s
Ki. From an energetic point of view, the thumb allows us to receive Source
Ki or Divine guidance. When coupled with tsubo LI 1 (index finger), it con-
trols or directs things to their place. Tori’s hand position is superior because
an open and extended hand benefits from tsubo PC 8 and he has maintained
his Heaven-Earth connection.
Tori returns to a defensive stance with a straight back and knees bent.
The straight back assures the Heaven-Earth connection. The bent knees
place pressure on tsubo KI 1 which grounds Tori. Tori’s hands are open al-
lowing him to project Ki from his palm (tsubo PC8).

ing World. Tong Yin is hearing the Spirit. Eliminates heat, calms the spirit.
32
with the other.
REN 4 Guanyuan (ge wan you on)- Gateway to the Source: located
the width of four fingers directly below the belly button. Stroke and general
weakness
3. Ryote Hazushi: Both Hand Escape.
Uke begins by grabbing Tori’s wrists with both hands. Uke must grab
the wrists. Do not offer them. Uke’s action moves him off center. Tori takes
advantage of this position when he pushes his palms together as Uke reacts
pulling backward. Tori’s thumb on the right hand is on the top of Tori’s left
thumb. Tori thrusts the clasped hands in the direction of Uke’s abdomen.
Tori then steps back with his right foot. Tori’s hands and arms move in the
direction of his right shoulder as he retreats to a defensive stance. This mo-
tion resembles a pry action. Tori’s kiai is directed at Uke’s Yin-tang.
As in the previous art, the principle meridians involved are the Lung
(Hand Taiyin), Large Intestine (Hand Yangming), Spleen (Foot Taiyin),
Stomach (Foot Yangming), Conception (Ren-mo), Pericardium (Hand Jue-
yin), Liver (Foot Jueyin).
The primary tsubo involved are LU11 Shaoshang-Lesser Merchant, LI 1
Shangyang- Trade Yang, PC 8 Lao-kung- Labor’s Palace, KI 1Yung ch’uan-
Gushing Spring, M-HN3 Yintang -Hall of Esoteric Sensation.
Initially, Uke’s hand Ki is waxing. Uke’s leg Ki is waning. Tori’s hand Ki
is waning. Tori leg Ki is waxing. Tori’s Ki will shift from limb across his Ren-
mo to limb as he counters Uke’s movement.
Uke grabs both of Tori’s wrists from the outside. The double outside
33
wrist grab relies on tsubo Lu 11 and tsubo LI 1 Ki. Tori resists slightly. Uke
reacts by applying outward pressure to the wrists. Tori adds Ki to that move-
ment before moving his hands to the Ren-Mo and joining his hands. Tori
thrusts his clasped hands in the direction of Uke’s lower abdomen tsubo
REN 4-Gateway to the Source. Stagnation at the tsubo can create general
body weakness or stroke. Tori has completed an energetic circuit by meet-
ing the Lao-kung point (tsubo PC 8) in the palm of both of his hands. Tori
has weaken Uke’s position by forcing both of Uke’s hands to Uke’s center or
Ren-mo. Tori steps back with his right foot. His hands move in the direction
of his right shoulder as the pry occurs. Tori’s Ren-mo shifts away from Uke’s
Ren-mo as he withdraws. As long as Tori’s knees are bent he will remain
grounded with the point on the bottom of his feet Yung-ch’uan (tsubo KI
1). It is particularly important in this art that Uke be pulled off center or
Heaven-Earth position Uke has a Ki energetic or circuitry of thumb and
index finger with both hands which is very powerful when supported by the
Heaven-Earth position. When Uke’s Heaven-Earth position is compromised
his grip is no longer powerful but remains physically strong. The pry action
is sufficient at this point.
Tori’s Kiai is directed at tsubo M-HN3 Yintang in order to fog Uke’s in-
sight. Tori’s hands remain open to project Ki from his palms (tsubo PC 8).

with the other.
34
4. Morote Hazushi: All Hand Escape
Uke reaches for Tori’s right wrist with both hands. Tori does not offer
the wrist. Uke’s reach causes him to move off center. Tori takes advantage
of Uke’s position.by moving forward slightly. In doing so, Tori counters by
reaching for his right hand with his left over the top. Once he makes contact,
Tori pushes his right elbow forward causing a pry of his wrist from Uke’s
double hand grasp. Tori escapes through the thumbs. Tori steps back with
his left foot into a defensive stance. Tori’s kiai is directed at Uke’s forehead.
The meridians involved in this art are the Lung (Hand Taiyin ), Large In-
testine (Hand-Yangming), Spleen (Foot Taiyin), Stomach (Foot Yang Ming),
The primary tsubo involved are LU 11 Shaoshang-Lesser Merchant, LI
1 Shangyang-Trade Yang, PC 8 Lao-kung-Labor’s Palace, KI 1Yung Ch’uan-
Gushing Spring, M-HN3 Yintang Hall of Esoteric Sensation.
Initially, Uke’s hand Ki is waxing. Uke’s foot Ki is waning. Tori’s hand Ki
is waning. Tori’s foot Ki is waxing. Tori’s Ki will shift from limb across his
Ren-mo to limb as he counters Uke’s movement.
Remember as Uke grips the wrist a shift in his Ki occurs. This time he
is using both hands. Uke relies on his thumb (Lung) and index finger (Large
Intestine) connection to make this art work. Uke moved forward to grasp
both wrists in turn compromising his Heaven-Earth connection.
For an instant, Tori’s Ren-Mo is aligned with Uke’s compromised Ren-
mo. This pry is against the index finger and the thumb. The index finger is
associated with the Large Intestine meridian. It is related to the mental ac-
tion of directing or putting things in their place. The thumb or Lung merid-
ian is associated with the Source Ki.
Tori shifts his Ki from the trailing leg to the right arm. Tori projects his
Ki to a location mid point between Uke’s solar plexus and the navel. This
can be done with his right elbow as he retrieves his hand or by making con-
tact with his left hand while reaching for his right. This point, on Uke, is
known as Zhong wan (pron: zong won) (tsubo REN 12). Either projected
Ki or physical contact at this point causes stagnation of Ki at tsubo REN 12.
Stagnation of Ki here adversely impacts Uke’s ability to be physically cen-
35
tered or mentally in the moment. This stagnation of Ki also causes him to
dwell on the past or obsess with the future. Further, stagnation at this point
leads to digestive issues such as reflux, ulcers, belching.
Uke’s position is weakened by his loss of Heaven-Earth connection and
positioning of his grip at his Ren-mo. Tori’s position is strengthen by his use
of Heaven-Earth connection, his contact with Uke’s Ren-mo (tsubo REN
12)(pron: wren mo) and his open hand tsubo PC8. His energetic position
makes the pry action incidental. Tori’s kiai is directed to Uke’s tsubo M-HN3
Yintang (pron: yin tong) region located between the eyebrows.

with the other.
REN 12 Zhong Wan (zong won)- Middle Cavity: located half way be-
tween the navel and the solar plexus. Impacts Stomach Ki and related activ-
ity
5. Yubi Tori Hazushi: Finger Seizure Escape
Tori and Uke face one another. Uke reaches forward grabbing four fin-
gers of Tori’s outside hand. In practice Tori does not offer his hand. Tori
withdraws slightly with his right foot causing Uke’s arm to be extended at
shoulder level. Tori steps back with his left foot and simultaneously pushes
the heel of his hand toward Uke’s shoulder. Tori’s hand is relaxed. Tori’s
36
fingers will slip from Uke’s grip. Tori uses his kiai and returns to a defensive
stance.
The primary meridians involved are: Lung (Hand Taiyin), Large Intes-
tine (Hand Yangming), Spleen (Foot Taiyin), Stomach (Foot Yangming),
The primary tsubo involved are LU11 Shaoshang-Lesser Merchant, LI
1 Shangyang-Trade Yang, PC 8 Lao-kung-Labor’s Palace, M-HN3-Yintang-
Hall of Esoteric Sensation, LU 1 Zhongfu-Central Residence.
Initially, Uke’s hand Ki is waxing. Uke’s opposite foot Ki is waning. To-
ri’s hand Ki is waning. Tori’s opposite foot Ki is waxing. Tori’s Ki will shift
from limb across his Ren-mo to limb as he counters Uke’s movement.
Uke has committed his Ki to the hand grasp. By doing so he has shifted
his Ki from the lower extremity across the Ren-mo to his upper extremity.
In short, Uke’s opposite leg is Ki deficient and vulnerable. Tori responds by
shifting his Ki to his upper extremity. Tori collects Uke’s Ki by withdraw-
ing slightly to break Uke’s Heaven-Earth connection and thus Uke’s balance.
Uke is now strong, but no longer powerful, in his grip. As Uke’s arm is ex-
tended Tori makes an effort to move Uke’s arm toward Uke’s Ren-mo before
flexing his hand and directing Ki (tsubo PC 8) toward the inside of Uke’s
shoulder tsubo LU 1 Zhongfu. Uke’s index finger (tsubo LI 1) and thumb
(tsubo LU 11) connection is disrupted. An effort should be made to shift
Uke’s arm toward the middle of his body before escaping. Tori’s Ren-mo
shifts away from Uke’s Ren-mo as he escapes.
Tori directs his Kiai at Uke’s tsubo M-HN3 Yintang area. Tori returns to
a defensive stance. Tori is careful not to align his Ren-mo with that of Uke.
Tori’s hands are open, knees are bent and back is straight. This position gives
Tori the benefit of Heaven-Earth position, pressure on tsubo KI 1 and Ki
from his palm (tsubo PC8).

37
6. Momiji Hazaushi: Red Leaf Maple Escape
Uke reaches forward with both hands and places the around Tori’s neck.
In practice, Tori should not present himself to Uke. Uke must step forward
and grab Tori’s neck. Uke’s step forward disturbs his center of balance. Tori
takes advantage of Uke’s poor balance and thrust both arms upward and be-
tween Uke’s arms. Tori keeps the wedge like movement as close to himself
as comfortable. Tori then comes down with his elbows on Uke’s outstretched
arms. Tori’s kiai is directed at the center of Uke’s forehead. Tori returns to
a defensive stance.
The primary meridians involved in this art are the Lung (Hand Taiyin),
Large Intestine ( Hand Yangming)(pron: yong ming), Spleen (Foot Taiyin),
Stomach (Foot Yangming), Conception (Ren-mo), Pericardium (Hand Jue-
yin), Liver (Foot Jueyin).
The primary tsubo involved are LU 11 Shaoyang – Lesser Merchant, LI
1 Shangyang- Trade Yang, PC 8 Lao-kung Labor’s Palace, KI 1 Yung ch’uan-
Gushing Spring, M-HN3 Yintang Hall of Esoteric Senation, REN 17 Heav-
en’s Alter (Shanzhong).
Initially, Uke’s hand(s) Ki is waxing. Uke’s foot Ki is waning. Tori’s
hand(s) Ki is waning. Tori’s foot Ki is waxing. Tori’s Ki will shift from limb
across the Ren-mo to limb as he counters Uke’s movement.
Uke moves forward to grab Tori’s neck. Uke places both hands around
Tori’s neck. Uke’s grip at Tori’s neck places pressure on Tori’s tsubo REN
22 Tian-tu (pron: tee en too) also known as the Celestial Chimney. Tori
moves backward slightly encouraging Uke to shift his weight further. Uke’s
Heaven-Earth connection is now disturbed because Uke’s hips are no longer
under his shoulders. Given that Uke can not join his thumb (tsubo LU 11)
and index fingers (tsubo LI 1) around the neck, the loss of the Heaven-Earth
38
position significantly weakens Uke’s position. Tori counters by joining his
palms in the prayer-like position on his chest. This position allows him ben-
efit of tsubo PC 8 (palms together). Tori brings his joined hands close to
his chest to touch his Ren-mo at tsubo REN 17 Heaven’s Alter. Given this
position, Tori has humbled himself mentally and physically in the eyes of
the Heavens. Tori drops his chin slightly toward the tip of his fingers which
gathers the powers of Source Ki, from Heaven’s Alter, before pushing his
hands and arms upward through Uke’s grip. His hand movement stays close
to his Ren-mo as he moves his hands upward and above Uke’s grip. Uke’s
(Spleen) Foot Taiyin leg position is weakened momentarily as he has com-
mitted to placing his hands around the neck. Tori’s knees are bent slightly
which applies pressure to the point located on the bottom of his tsubo KI 1
and ensuring his Heaven-Earth connection. Tori’s elbows fall on Uke’s fore-
arms as he completes his escape.
Tori’s kiai is directed at Uke’s tsubo M-HN3 Yintang. Tori returns to a
defensive position with his hands open, knees bent and back straight.

with the other.
REN 17 Shanzhong ( shawn zong)- Heavenly Alter: located at a point
directly between the nipples. Impacts rebellious Ki and the diaphragm.
39
7. Ryoeri Hazushi: Both Lapel Escape
Tori and Uke begin facing one another. Uke reaches forward grabbing
both of Tori’s lapels. Uke’s thumbs are exposed. Tori places the side of his left
hand on his chest between the nipples and under Uke’s hand. His fingers
are pointing up. Tori then reaches over Uke’s left hand with his right to join
his two hands. He clasps the finger tips of both hands. As he steps back he
rotates his arms with his right elbow moving downward and left elbow mov-
ing upward. Tori should make an effort to keep his arms parallel. His arms
appear much like a straight line elbow to elbow. This movement causes Uke
to lose his grip as Tori steps back with his right foot as he pulls away. Tori’s
back remains straight. Tori uses a kiai as he escapes.
The primary meridians involved are the Lung (Hand Taiyin) Large In-
testine (Hand Yangming), Spleen (Foot Taiyin), Stomach (Foot Yangming),
The primary tsubo involved are LU11 Shaoshang-Lesser Merchant, LI
1 Shangyang-Trade Yang, PC8 Lao-kung Labor’s Palace, KI 1 Yung Ch’uan-
Gushing Spring and REN 17 Shanzhong-(pron: shawn zong) Heaven’s Alter,
M-HN3 Yintang- Hall of Esoteric Sensations, M-UE1 Shixuan-(pron: she
won)Ten Spreadings
Initially, Uke’s hand Ki is waxing. Uke’s leg Ki is waning. Tori’s hand Ki
is waning. Tori’s foot Ki is waxing. Tori’s Ki will shift from limb to Ren-mo
to limb as he counters Uke’s movement.
Uke grabs both of Tori’s lapels. Uke has committed his Ki momentarily
to the grip. Therefore, his legs are Ki deficient or weak. Additionally, Uke
can only be strong, not powerful, in this position because his hands are close
to his Ren-mo. Tori responds by shifting slightly to his rear to outstretch
Uke’s arms. This action encourages the loss of Uke’s Heaven-Earth position.
Simultaneously Tori places the thumb side of his left hand on his chest and
between his nipples. He reaches under Uke’s right arm to find this posi-
tion. Here, Tori benefits from the Ki when placing his hand at tsubo REN 17
(Heavenly Alter) on his Ren-mo. Tori derives Source Ki from this specific
point. Tori maintains his upright position and his Heaven-Earth position.
Tori now reaches over Uke’s left arm to grip his own hand which creates an
40
additional connection between hand meridians. The end of Tori’s fingers on
his left hand are joined by the ends of his fingers on his right hand. This cre-
ates an energetic circuit between points located on the tips of the fingers or
Shixuan-Ten Spreadings. Tori then rotates his arms with the left elbow mov-
ing up and the right elbow moving downward as he steps to the rear with
his right foot. Uke’s grip (tsubo LU 11 thumb and tsubo LI 1 index finger) is
broken as his arm crosses his Ren-mo. Tori’s kiai is directed at Uke’s tsubo
M-HN3 Yintang as he withdraws to a defensive stance.

M-UE-1 Shixuan (she shwan)- Ten Spreadings: located on the tip of
each finger. seizures, fainting, exhaustion, ki direction.
8. Yubi Tori: Finger seizure
Uke reaches for Tori with his left hand. This reach is at chest level. Tori
pivots slightly to move from Uke’s reach. Tori grasps Uke’s hand with his
right hand. He does so by placing his index finger between Uke’s index fin-
ger and thumb. Tori rotates Uke’s hand to a palm up position as he captures
Uke’s ring finger. The ring finger is pressed to the palm. Tori covers the tip
of Uke’s ring finger with his thumb as he collapses the finger. Tori maintains
this hold and lifts Uke’s hand above his shoulder.
After submission, Tori pushes the hand away and moves to a defensive
stance. Kiai is used as the hold is applied.
Caution: For safety, Uke signals Tori by tapping his own leg when he
feels discomfort.
41
The primary meridians involved are: Lung (Hand Taiyin), Large Intes-
tine (Hand Yangming), Spleen (Foot Taiyin) Stomach (Foot Yangming),
Conception (Ren-Mo) Pericardium (Hand Jueyin), Liver (Foot Jueyin), Tri-
ple Warmer (Hand Shaoyang), Gallbladder (Foot Shaoyang).
The primary tsubo involved are LU 11 Shaoshang-Lesser Merchant, LI 1
Shangyang-Trade Yang, TW 1 Guanchong-Gate’s Pouring, PC 8 Laokung-
Labor’s Palace, M-HN3 Yintang- Hall of Esoteric Sensation.
Initially, Uke’s hand is Ki waxing. His opposite foot is Ki waning. Tori’s
left hand Ki is waning. Tori’s opposite foot is waxing. Tori’s Ki will shift from
limb across his Ren-mo to limb as he counters Uke’s movement.
Uke moves in the direction of Tori. Uke’s arm/hand is in a reaching po-
sition. Tori has shifted his Ki to that of his hand. Tori moves Uke’s hand in
the direction of Uke’s Ren-mo as he captures and places his index finger
(tsubo LI 1) between the thumb (tsubo tsubo LU 11) and index finger (Large
Intestine) of Uke’s hand. This action breaks Uke’s hand circuitry. Tori ro-
tates Uke’s captured hand to a palm up position as Tori collects the end of
Uke’s ring finger (tsubo TW 1). Stagnation of Guanchong (pron: gwan ch
ong) tsubo TW 1 causes headache or laryngitis. Pressure on tsubo TW 1
and moving Uke’s hand to his Ren Mo prevents Uke from countering with
tsubo PC 8 Ki. Tori encourages Uke’s loss of the Heaven-Earth connection
by moving him off center. Tori continues to apply pressure with his thumb
to tsubo TW 1 at the end of the finger. Tori maintains his upright position,
while causing Uke’s upright position and Heaven-Earth position to be com-
promised.
Tori’s kiai is directed at Uke’s tsubo M-HN3 Yintang.

TW 1 Guanchong (ge won chong)- Gate’s Pouring: located at the base of
the 4th fingernail on the ulnar side. Fever, laryngitis, headache.
42
9. Moro Yubi Tori: All Finger Seizure
Tori feigns a movement to attract Uke’s reach. As Uke reaches with his
left hand, Tori captures the underside of Uke’s fingers with his right hand.
Tori continues Uke’s forward movement by pulling his hand forward and ro-
tating his palm forward and up. Once the hand and arm has been extended,
Tori moves Uke’s hand to the side of Uke’s body. He momentarily makes
contact with the palm on Uke’s thigh. Tori simultaneously captures Uke’s el-
bow with his left hand and collapses it into Tori’s arm pit. After submission,
Tori releases the arm and hand before moving to a defensive stance. The kiai
accompanies the art.
feels discomfort.
The primary meridians involved Lung (Hand Taiyin), Large Intestine

(Hand Yangming), Spleen (Foot Taiyin), Stomach (Foot Yangming), Con-
ception (Ren-mo), Pericardium (Hand Jueyin), Liver (Foot Jueyin), Triple
Warmer (Hand Shaoyang), Gallbladder (Foot Shaoyang).
Shangyang-Trade Yang, M-HN3 Yintang-Hall of Esoteric Sensation, M-EU1
Shixuan-Ten Spreadings, PC 8 Lao-kung-Labor’s Palace, TW 3 Zhongzhu-
(pron: zong zoo)Middle Island.
Initially, Uke’s left hand is Ki waxing. Uke’s right foot is Ki waning. Tori’s
right hand is Ki waxing. His left foot is Ki waning. Tori’s Ki will shift from
limb across his Ren-mo to limb as he captures Uke’s movement.
Uke reaches forward with his hand. Tori encourages this movement to
disturb Uke’s Heaven-Earth position. Tori is presented with the opportunity
to capture Uke’s extended hand. In this art Tori captures Uke’s finger tips
or Shiuxuan. This position traps Uke’s hand Ki which prevents him from
extending his hand Ki. Further, by doing so, Tori has countered Uke’s tsubo
PC8 (palm Ki) and therefore his arm Ki.
Tori’s position is strengthened because he maintains his Heaven-Earth
connection while capturing Uke’s hand. Tori has negated Uke’s Heaven-
Earth position by having him move off center. Tori’s hand position thumb
tsubo LU 11(Source Ki) and index finger tsubo LI 1 (Large Intestine) cre-
43
ate an energetic Ki circuit. This hand position supported by Tori’s Heaven-
Earth position and Kiai makes him powerful.
Tori applies pressure on the back of Uke’s hand tsubo TW 3 with his
knuckle as he rotates the hand. Stagnation of tsubo TW 3 Zhongzhu causes
stagnation of Ki in the entire body.
Tori directs his kiai to Uke’s tsubo M-HN3 Yintang (Hall of Esoteric
Sensation) to fog Uke’s ability to see the greater picture.

TW 3 Zhongzhu (zong zhee) - Middle Island: located back of the hand
between the 4th and 5th metacarpal bones in the hollow below the joint. Ef-
fects the circulation of Ki for the entire body
each finger. seizures, fainting, exhaustion.
10. Katate Tori: Single Hand Seizure
Uke reaches with his right hand toward Tori’s chest. Tori steps back with
his right foot as he grabs (left hand) Uke’s right hand in a downward di-
rection. Tori simultaneously captures Uke’s right thumb region with his left
hand. Tori’s right thumb is positioned on the back of Uke’s hand and between
Uke’s third and fourth metacarpals. Tori’s little finger is in the crease of Uke’s
wrist. Tori rotates Uke’s hand in a circular motion. This action causes pres-
sure on Uke’s forearm and wrist. Tori keeps Uke’s hand at waist level. Uke’s
hand is twisted outward and downward. Uke’s fingers are pointed upward.
Tori applies additional pressure with his free hand to the action. Tori’s kiai
is directed at Uke’s forehead.
Caution: This art should be done slowly to avoid injury to Uke’s wrist.
44
Uke’s wrist is easily broken in this art. For safety, Uke signals Tori by tapping
his own leg when he feels discomfort.
The primary meridians involved are the Lung (Hand Taiyin), Large In-
testine (Hand Yang Ming), Spleen (Foot Taiyin), Stomach (Foot Yangming),
Conception (Ren-mo), Pericardium (Hand Jueyin), Liver (Foot Jueyin), Tri-
ple Warmer (Hand Shaoyang), Gallbladder ( Foot Shaoyang), Heart (Hand
Shaoyin), Kidney (Foot Shaoyin).
The primary tsubo involved are PC 8 Laokung- Labor’s Palace, HT 7
Shenmen-Spirit’s Door, TW 3 Zhongzhu- Middle Island, LU 9- Taiyuan -
Great Abyss, M-HN3 Yintang-Hall of Esoteric Sensations.
Initially, Uke’s hand Ki is waxing. Uke’s opposite foot is waning. Tori’s
hand Ki is waning. Tori foot Ki is waxing. Tori’s Ki will shift from limb
across his Ren-mo to limb as he counters Uke’s movement.
Uke reaches for Tori’s chest area. Tori turns his Ren-mo away as he reach-
es over Uke’s arm to grab Uke’s hand/thumb. Tori takes care not to cross his
Ren-mo with his own hand as he captures Uke’s Ki. Tori encourages the loss
of Uke’s Heaven-Earth connection by joining his forward movement. Tori
grips Uke’s thenar eminence (base of the thumb). Tori’s grip collapses the
thenar eminence onto tsubo PC 8 thereby severely weakening Uke’s hand
Ki. As Tori manipulates Uke’s wrist, his thumb is placed on the back of the
hand at a point between the 4th and 5th metacarpal bones known as tsubo
TW3. Simultaneously, Tori creates a sharp wrist angle at Uke’s tsubo HT 7
(Spirit’s Door) on the Ulna side of the transverse crease of the wrist. This
angle applies pressure that quells the Spirit. Simultaneously, Tori’s little fin-
ger is pressing on Uke’s tsubo LU 9 at the transverse crease of the wrist on
the thumb side. This point disables Uke’s wrist. Stagnation of Ki at tsubo LU
9 may cause wrist disease or chest pain. Tori moves Uke’s wrist/hand across
Uke’s Ren-mo as he performs the mechanical action. Tori does not want
his own hand to cross his own Ren-mo. Tori keeps Uke’s arm extended and
hand action at waist level.

45
HT 7 Shenmen (shen men)- Spirit’s Door: Palm up, this point is located
in the small hollow on the ulnar side (little finger) at the end of the transverse
crease of the wrist. Calms the Spirit, pacifies the heart, clears the channels.
11. Ryote Tori: Both Hand Seizure
This art is similar to the previous art. Uke reaches for Tori’s chest region
with both arms out stretched. Tori retreats slightly to keep Uke off center
as he slaps and captures both of Uke’s hands. Tori grips the thumb region
on both of Uke’s hands with his thumbs placed on the back of Uke’s hand
between Uke’s third and fourth metacarpal. Tori continues Uke’s motion
slightly before snapping the wrists outward and downward. Tori keeps the
hands at waist level. This action is quick.
Care should be taken in practice. Tori uses a kiai. Tori returns to a de-
fensive stance.
Caution: For safety, Uke signals Tori by tapping his foot on the tatami
when he feels discomfort.
The primary meridians involved are Lung (Hand Taiyin), Large Intestine
ception (Ren-mo), Pericardium (Hand Jueyin), Liver (Foot Jueyin), Heart
( Hand Shaoyin), Kidney (Foot Shaoyin), Triple Warmer (Hand Shaoyang),
Gallbladder (Foot Shaoyang).
The primary tsubo involved are: LU 11 Shaoshang -Lesser Merchant,
LI 1 Shangyang- Trade Yang, PC 8 Laokung-Labor’s Palace, HT 7 Shenmen
-Spirit’s Door, TW 3 Zhongzhu-Middle Island, LU9 Taiyuan-Great Abyss,
M-HN3 Yintang-Hall of Esoteric Sensations.
Initially, Uke’s hand Ki is waxing. Uke’s foot Ki is waning. Tori’s hand Ki
46
is waning. Tori’s foot Ki is waxing. Tori’s Ki will shift from his lower limbs
across his Ren-mo to his hands as he counters Uke’s movement.
Uke reaches slightly. Tori capturing Uke’s Ki and grasping both of Uke’s
hands as described in the previous art.
Tori’s kiai should be directed at tsubo M-HN3 Yintang. Tori’s hands are
open in the defensive stance position.

LU 9 Taiyuan (tie u on)- Great Abyss: located, palm facing up, the point
is in the depression at the radial (thumb side) end of the transverse crease of
the wrist. Pain in chest, disease in right side of wrist joint, asthma.
12. Tekubi Tori A: Counter to an outside wrist grab
Mechanical description:
Uke reaches forward with his left hand and grabs the outside of Tori’s
right wrist. Tori shifts slightly to move Uke off center. Tori follows by ro-
tating his palm upward and extending Uke’s arm. Tori then reaches under
Uke’s hand to capture his thumb. This action allows Tori to break free of the
grip and apply pressure to the back of Uke’s hand much like Katate Tori. In
practice Uke signals Tori by tapping his own leg when he feels pain.
Tori uses his kiai. Uke submits and Tori returns to a defensive stance.
feels discomfort.
47
ception (Ren-Mo).
The primary tsubo involved are LU 9 Taiyuan-Great Abyss, LU 11 Sha-
oshang-Lesser Merchant, LI 1 Shangyang-Trade Yang, HT 7 Shenmen-
Spirit’s Door, Yintang-Hall of Esoteric Sensation, PC 8 Laokung-Labor’s
Palace.
Uke grips Tori’s wrist. Tori encourages Uke’s forward lean to break Uke’s
Heaven-Earth connection. Simultaneously, Tori rotates his palm upward
and slightly toward himself while reaching under Uke’s hand to grab his
thumb. In doing so he frees his hand Ki (tsubo PC8) and deprives Uke of
Source Ki by capturing his thumb. This angle on Uke’s wrist creates stagna-
tion at tsubo HT 7 and tsubo LU 9 in turn quelling Uke’s Spirit and disabling
wrist mechanics. Tori uses his free hand on the back Uke’s hand to apply
additional pressure and collapses the center of Uke’s hand onto tsubo PC 8.
defensive stance.

LU 9 Taiyuan (tie you on)- Great Abyss: located, palm facing up, the
point is in the depression at the radial (thumb side) end of the transverse
crease of the wrist. Pain in chest, disease in right side of wrist joint, asthma.
crease of the wrist. Calms the Spirit, pacifies the heart, clears the channels
48
13. Tekubi Tori B: Counter from an inside wrist grab
Uke reaches with his right hand and grabs the inside of Tori’s right wrist.
Tori encourages Uke’s forward lean, pulling him off center. Tori then moves
his right hand under Uke’s gripping hand and wrist. As Tori encircles Uke’s
gripping hand, he traps Uke’s gripping hand in the same position with his
left hand. Tori steps slightly to the left as he forces Uke to bend his elbow.
Tori’s open hand moves over the top of Uke’s wrist in a downward circling
fashion. This movement causes Uke great pain as his lower arm (Ulna and
Radius) is twisted. In practice Uke signals Tori by tapping his leg when he
feels pain.
Tori uses his kiai and returns to a defensive stance following Uke’s sub-
mission.
Caution: This art must be done slowly to avoid injury. For safety, Uke
signals Tori by tapping the outside of his own leg when he feels discomfort.
ception (Ren-Mo).
oshang- Lesser Merchant, LI 1 Shangyang-Trade Yang, HT 7 Shenmen-
Spirit’s Door, Yintang-Hall of Esoteric Sensation, PC 8 Laokung-Labor’s
Palace, TW 9 Sidu Four Ditch.
Initially, Uke’s right hand Ki is waxing. Uke’s left leg Ki is waning. Tori’s
his limb across his Ren-mo to limb as he counters Uke’s movement.
Tori encourages Uke’s forward movement to break his Heaven-Earth
position. Tori counters Uke’s hand grip by trapping Uke’s palm and fingers
on Tori’s wrist. This action defeats Uke’s ability to use tsubo PC 8 (palm of
the hand). He is no longer able to project Ki from his hand. It further sepa-
rates Uke’s index finger (tsubo LI 1) and his thumb (tsubo LU11) weakening
Uke’s ability to use the Source Ki. As Tori encircles Uke’s wrist, he extends
his fingers to project his own Ki from tsubo PC 8 and bends Uke’s elbow.
This movement causes Uke’s Ulna and radius to shift which applies pressure
at tsubo TW 9 Sidu. This tsubo is located the width of four fingers below
49
the crease in the bent elbow. Stagnation at this point may cause numbness,
headache, paralysis of upper limb, vertigo and nephritis. Tori steps slightly
to the side of Uke to protect his Ren-mo and continues his downward hand
movement. Uke submits.
defensive stance.

TW 9 Didu-Four Ditch: located between the ulna and radius, five units
below the crease in the elbow. Headache, deafness, toothache, pain in fore-
arm, paralysis in upper limb, vertigo and nephritis.
14. Imon Tori: Clothing Emblem Seizure
Uke pushes on Tori’s chest with his right hand. Tori encourages Uke’s
push twice before reacting. On the third push Tori encourages Uke’s forward
lean but this time traps Uke’s hand on his chest. Tori traps Uke’s hand with
his left hand. Next Tori places his right hand on top of his left as he wrinkles
the skin on the back of Uke’s hand in an upward direction. Tori bows caus-
ing Uke to bend forward in pain. Tori’s bow is a bit crisp and slightly off
center with Uke. Tori’s kiai is directed at Uke’s head. Tori releases Uke’s
captured hand following his submission and returns to a defensive stance.
feels pain.
50
ception (Ren-mo).
The primary tsubo involved are LU 11 Shaoshang-Trade Yang, LU 9
Taiyuan-Great Abyss, LI 1 Shangyang-Trade Yang, HT 7 Shenmen-Spirit’s
Door, Yintang-Hall of Esoteric Sensation, TW 3 Zhongzhu-Middle Island,
PC 8 Laokung-Labor’s Palace
Initially, Uke’s right hand is Ki waxing. Uke’s left leg is Ki waning. Tori’s
right hand is Ki waning. Tori left leg is Ki waxing. Tori’s Ki will shift from
Tori encourages Uke’s forward lean to break Uke’s Heaven-Earth con-
nection. He traps Uke’s hand on his chest. The trapped flat hand of Uke
counters his use of tsubo PC 8-Labor’s Palace in the palm. Pressure on the
back of the hand at tsubo TW 3 –Middle Island reinforces the Uke’s hand
weakness and may lead to pain in the chest. Tori’s bow and angle on the wrist
applies pressure to tsubo HT 7 Shenmen which quells Uke’s Spirit and tsubo
LU 9 that weakens the wrist’s mechanical ability. It may lead to disease of the
wrist or asthma. Tori’s slight angle in the bow (rei) preserves his Ren-mo.

fects the circulation of Ki for the entire body.
51
15. Ryoeri Tori: Both Lapel Seizure
Uke grabs both of Tori’s lapels. Tori encourages Uke’s forward lean as he
steps to the rear with his left foot. Simultaneously, Tori strikes the back of
Uke’s left hand with his right hand judo knuckle as he drives Uke’s left hand
off his right lapel. Tori continues his reach and grasps the far side of Uke’s
right hand. Tori continues stepping to the rear with his right foot which al-
lows Tori to position Uke’s right hand with his Ulna side up (little finger).
Forward pressure on Uke’s wrist is applied.
Tori uses his kiai and returns to a defensive stance.
Caution: For safety, Uke signals Tori by tapping the outside of his own
leg when he feels discomfort.
ception (Ren-mo).
oshang-Lesser Merchant, LI 1 Shangyang-Trade Yang, TW 3 Zhongzhu-
Middle Island, HT 7 Shenmen-Spirit’s Door, Yintang – Hall of Esoteric Sen-
sation.
Initially, Uke’s Hand Ki is waxing. Uke’s leg Ki is waning. Tori’s hand Ki
is waning. Tori’s foot Ki is waxing. Tori’s Ki will shift from limb across his
Ren-mo to limb as he counters Uke’s movement.
Tori encourages the loss of Uke’s Heaven-Earth connection by stepping
to the rear with his left foot. Simultaneously, Tori drives Uke’s left hand off
the lapel by striking tsubo TW 3 Middle Island with a judo knuckle. Striking
tsubo TW 3 Zhongzhu may cause stagnation of Ki in the entire body. Tori
captures right hand and rotates his hand (little finger upward) as he steps
back with his right foot. Tori’s move protects his Ren-mo. Tori applies pres-
sure to Uke’s wrist. This wrist angle involves tsubo LU 9 (mechanical aspect)
and tsubo HT 7 Shenmen (Uke’s spirit).
defensive stance.
52
16. Akushu Kote Tori: Hand Grab Wrist Seizure
Uke reaches for Tori’s hand. The position is much like a western hand-
shake position. Uke applies pressure to the grip that causes Tori discomfort.
Tori withdrawals slightly before countering Uke’s grip by relaxing the mid
portion of his hand. Tori allows the center metacarpal of his captured hand
to shift which offers some relief from the pressure. Tori quickly bends Uke’s
wrist and presses his abdomen against Uke’s bent wrist. Maintaining this
hold, Tori bends Uke’s thumb to free his hand. This action is often described
as turning a faucet. Once free of Uke’s grip, Tori then captures Uke’s elbow to
continue the forward pressure on Uke’s bent wrist. Tori is now pulling Uke’s
lower arm and bent wrist to his abdomen. Tori turns his hip slightly to apply
pressure to Uke’s wrist much like Katate Tori. Pressure is maintained until
Uke’s submits.
Tori’s kiai is directed at Uke’s head. Tori releases the hand and returns to
a defensive stance.
Caution: Care should be taken in practice not to injure the wrist. For
safety, Uke signals Tori by tapping his own leg when he feels pain.
53
ception (Ren-mo), Heart (Hand Shaoyin), Kidney (Foot Shaoyin).
Shangyang-Trade Yang, HT 7 Shenmen- Spirit’s Door, LU 9 Taiyuan-Great
Abyss, Yintang-Hall of Esoteric Sensation.
Initially, Uke right hand Ki is waxing. Uke’s left leg Ki is waning. Tori’s
his lower limb across his Ren-mo to his hand as he counters Uke’s move-
ment.
Uke has committed himself to gripping Tori’s hand. To do so his hand
Ki is strong but he has moved off center compromising his Heave-earth po-
sition. As Uke grips, Tori allows the center metacarpal of his hand to shift
slightly. This move frees Tori’s tsubo PC 8 in the palm of his hand. Tori’s
hand Ki is restored by this move. Tori has withdrawn slightly to gather Uke’s
hand Ki before capturing Uke’s thumb. This forward position breaks Uke’s
Heaven-Earth position. Now, Tori applies pressure to Uke’s thumb (tsubo
LU 11) thereby separating the connection between his index finger (tsubo LI
1) and thumb which is understood to be a controlled hand position. This ac-
tion coupled with Uke’s forward lean places Tori in a good place. Tori bends
Uke’s wrist as he shifts his lower Dantien (abdomen) against Uke’s hand.
This angle places pressure on tsubo HT 7 to quell Uke’s Spirit and tsubo LU
9 to disable the mechanical ability of his wrist. Tori grabs the back of Uke’s
elbow to reinforce the position. This position creates stagnation of Ki at the
wrist. Tori’s back is straight (Heaven-Earth) and his kiai is directed to tsubo
M-HN3 Yintang.

54
17. Akushu Ude Tori: Hand Grab Arm Seizure
Uke reaches for Tori’s hand. Tori allows him to grab a handshake posi-
tion. Tori steps slightly to the rear to encourage Uke’s forward movement.
Simultaneously, Tori rotates Uke’s hand (knife edge) to a vertical position
and extending Uke’s arm. Tori reaches over Uke’s arm with his left hand
then under Uke’s arm capturing his own lapel. This movement places Uke
in an arm bar position. The edge of Tori’s arm is just above Uke’s elbow. Tori
applies pressure to the arm and elbow until Uke submits.
Tori’s kiai is directed to Uke’s head. Tori releases the arm and moves to
a defensive stance.
Caution: Care should be taken in practice. It is easy to hyper-extend
Uke’s arm. For safety, Uke signals Tori by tapping his own leg when he feels
pain.
ception (Ren Mo), Heart (Hand Shaoyin), Kidney (Foot Shaoyin), Triple
Warmer (Hand Shaoyang), Gallbladder (Foot Shaoyang).
Shangyang-Trade Yang, LU 9 Taiyuan-Great Abyss, HT 7 Shenmen- Spirit’s
Door, TW 11 Qinglengyuan-Cooling Gulf, Yintang – Hall of Esoteric Sensa-
tion.
Initially, Uke’s right hand Ki is waxing. Uke’s left foot Ki is waning. To-
ri’s right hand Ki is waxing. Tori’s left leg Ki is waning. Tori’s Ki will shift
from his lower limb across his Ren-mo to his hand as he counters Uke’s
movement.
Uke grips Tori’s hand in hand shake fashion. Tori captures Uke’s hand
Ki by shifting back slightly. Tori keeps a firm grip on Uke’s hand to block
tsubo PC 8 in Uke’s palm. As he rotates Uke’s hand to the knife edge Tori
applies pressure to the Ulna side of Uke’s hand with a slight angle. This po-
sition impacts tsubo HT 7 Shenmen tsubo which quells Uke’s Spirit, thus,
reducing Uke’s ability to react. Tori reaches over Uke’s arm to apply an arm
bar. In doing so he applies pressure to a location just above the elbow on the
back of the arm known as tsubo TW 11 Qinglengyuan. This tsubo will cause
55
head and arm pain. Tori rolls the edge of his forearm into the tsubo to create
stagnation at this tsubo. Tori places his foot behind Uke’s foot to break Uke’s
Heaven-Earth position. He maintains his own upright position in doing so.
Tori directs his kiai at Uke’s tsubo M-HN3 Yintang. Following Uke’s sub-
mission, Tori returns to a defensive stance.

TW 11 Qinglengyuan (ching le en you won)- Cooling Gulf: located the
width of three finger above the elbow on the back of the arm. Headache,
pain in the eyes, pain in the shoulder and arm.
18. Akushu Kotemaki Tori: Hand Wrist Winding Seizure.
This art is taken from a handshake position. Uke becomes aggressive

with the handshake and applies pressure to Tori’s hand. Tori shifts slightly
to force Uke off center before bending Uke’s wrist into his abdomen. From
this position Tori grabs Uke’s right thumb with his left hand. While holding
the thumb, this move allows Tori to move Uke’s hand to Uke’s right shoulder.
Tori drives his right hand and arm between Uke’s body and right arm. Tori
reaches behind Uke’s right arm with his right to capture Uke’s hand. Tori has
trapped Uke’s elbow between his own body and arm. Tori reaches behind
Uke with his left hand to grab Uke’s shoulder blade. This action pulls the
shoulder blades together.
This art allows Tori to break Uke’s wrist, hyper-extend the elbow and
separate the shoulder. Tori uses his kiai and returns to a defensive stance.
56
feels pain.
(Hand Yangming), Spleen (Foot Taiyin), Stomach (Foot Yang Ming), Con-
ception (Ren-mo), Heart (Hand Shaoyin), Kidney (Foot Shaoyin).
The primary tsubo involved are LU 11 Shaoshang-Trade Yang, LU 9 Tai-
yuan- Great Abyss, HT 7 Shenmen- Spirit’s Door, LI 1 Shangyang-Lesser
Merchant, DU 9 Zhi Yang-Extreme Yang, Yintang –Hall of Esoteric Sensa-
tion.
Initially, Uke’s right hand Ki is waxing. Uke’s left leg Ki is waning. Tori’s
Tori encourages Uke’s forward lean to break his Heaven-Earth connec-
tion. Tori follows by trapping Uke’s bent wrist and thumb briefly as he cap-
ture the thumb tsubo LU 11 thereby separating the thumb and the index
finger (tsubo LI 1). By capturing the thumb, this action blocks Uke’s connec-
tion to the Source Ki. Tori moves Uke’s hand to Uke’s right shoulder before
reaching under Uke’s arm and capturing his wrist. In this position Tori has
collapsed Uke’s thenar eminence on to tsubo PC 8 to block Uke’s hand Ki.
Simultaneously, the wrist angle applies pressure to Uke’s tsubo HT 7 to quell
his Spirit and tsubo LU 9 Taiyuan to disable the wrist. Tori reaches behind
Uke’s for his far shoulder. Tori pulls the shoulder blades together. Collapsing
Uke’s shoulder blades causes stagnation at tsubo DU 9 Zhi Yang which will
cause Uke to weaken or faint. This action traps Uke’s Yang Ki (heat) which
generates an internal wind. Tori remains upright to maintain his Heaven-
Earth position.
Tori’s kiai is directed at tsubo M-HN3 Yintang. Tori releases Uke and
returns to a defensive stance.

57
DU 9 Zhi Yang (zee yong)- Extreme Yang: located in the center of the
back between the shoulder blades. The location is directly opposite REN 17
which is located between the nipples. internal heat and Ki circulation.
19. Kubi Nuki Shime: Neck Encircling Constriction
Uke wraps his left arm around Tori’s neck. This grab is from Tori’s right
side. Uke uses his left arm around Tori’s neck and then reinforces the hold
by grabbing his own left hand with his right under Tori’s chin. Tori counters
this hold by striking the back of Uke’s hand with his left judo knuckle. The
strike causes Uke to lose his grip and hold. Tori captures Uke’s left hand with
his left hand and drives Uke’s hips forward with a right hand judo knuckle in
his lower back. This causes Uke to move off center while Tori maintains his
grip. Uke’s forward movement allows Tori’s head to become free. Uke’s arm
is extended behind him and wrist is in a flexed position.
Tori uses a kiai as he strikes the back of Uke’s hand. Tori returns to a
defensive stance.
Caution: For safety, Uke signals Tori by tapping the outside of his own
leg when he feels discomfort.
The primary meridian involved are: Lung (Hand Taiyin), Large Intestine
(Hand Taiyang), Spleen (Foot Taiyin), Stomach (Foot Yangming).
The primary tsubo involved are LU 11 Shaoshang-Lesser Merchant, LI
1 Shangyang-Trade Yang, TW3 Zhongzhu-Middle Island, HT 7 Shenmen-
Spirit’s Door, BL 47 Zhishi-Will’s Dwelling, DU 4 Ming Men – Life’s Door,
Yintang –Hall of Esoteric Sensation.
hand Ki is waning. Tori’s foot Ki is waxing. Tori’s Ki will shift from limb
58
across his Ren-mo to limb as he counters Uke’s movement.
Uke wraps his left arm around Tori’s neck. Here, Uke has captured Tori’s
Ren-mo. He does so by joining his right hand with his left encircling Tori’s
neck and bending him forward. Tori counters by striking the back of Uke’s
hand at tsubo TW 3-Middle Island with his left hand judo knuckle causing
stagnation of Ki. Stagnation at tsubo TW 3 slows the circulation of Ki for
the entire body. This strike causes Uke to relax his grip, enabling Tori to
grasp Uke’s left wrist. Tori steps back slightly while maintaining Uke’s arm
around his neck. Simultaneously, Tori places his right hand fist (palm down)
in the lower back region at tsubo DU 4 of Uke. This location is opposite the
navel on the back. Stagnation here causes impotence, low back pain or sci-
atica. There is another tsubo to either side of tsubo DU 4 known as tsubo BL
47 Zhishi. Stagnation of Ki at Zhishi injures Uke’s Will Power and ultimately
his ability to see his destiny. This pressure is most effective when Tori has
captured Uke’s Du-mo (back) by causing him to bend in that direction. As
Tori’s head is freed and Uke’s arm extended to the rear, Tori rotates Uke’s
wrist. The wrist rotation causes stagnation at tsubo HT 7 quells Uke’s Spirit
and tsubo LU 9 disrupts mechanical movement. Tori maintains his upright
Heaven-Earth position while disrupting Uke’s upright position.

DU 4 Ming Men-Life’s Door: located between the 2nd and 3rd lumbar
vertebrae. Low back pain, impotence, sciatica, back sprain.
BL 47 Zhishi (ze sh)–Will’s Dwelling: located to the side of the spine
beside Ming men. Low back pain, nephritis, prostatitis, paralysis of lower
limb, eczema of the scrotum.
59
20. Hagai Shime: Pinion Constriction
Uke punches at Tori’s head with a right hand straight punch. Uke has
committed his weight to the effort. Tori counters with a shift to Uke’s right
as he deflects the punch over his shoulder. Tori, simultaneously, uses his
right hand to capture Uke’s right shoulder and neck. Tori drops his right
hand as he steps causing Uke to bend and move forward. Tori continues his
action by driving his left hand under Uke’s left shoulder and causing him to
stand. Tori joins his hands and applies pressure to the back of Uke’s neck.
Tori rotates Uke’s head slightly to the side. Uke submits and Tori moves to a
defensive stance. Tori uses his kiai.
Caution: For safety, Uke signals Tori by tapping his foot on the tatami
when he feels discomfort.
(Hand Yangming), Spleen (Foot Taiyin), Stomach (Foot Yangming).
The primary tsubo involved are DU 9 Extreme Yang- Zhi yang, DU 15
Yamen-Doorway to being mute, PC 8 Laokung-Labor’s Palace, TW3 Zhong
Zhu -Middle Island, Ren 22 Tien Tu- Celestial Chimney
Initially, Uke’s right hand is Ki waxing. Uke’s left foot is Ki waning. To-
ri’s left hand is Ki waxing. Tori’s right foot is Ki waning. Tori’s Ki will shift
from limb across his Ren-mo to limb as he counters Uke’s movement.
Tori deflects Uke’s right hand strike with a left open hand to project Ki
from tsubo PC 8. Tori directs Uke’s arm over his shoulder. With his right
arm Tori reaches under Uke’s arm and over Uke’s shoulder to his neck. Here,
Tori captures Uke’s Ren-mo while placing pressure on Uke to bend forward
and lose his Heaven-Earth position. As Tori directs Uke into position he has
placed his right arm under Uke’s right arm to capture his neck. Pressure at
the nape of the neck tsubo (BL 10) Tianzhu creates stagnation that leads to
occipital head pain. Tori uses this right hand hold to direct Uke into posi-
tion. Tori then turns Uke’s head slightly to the side as he applies Ki to Uke’s
neck. Tori’s open hands, on the back of Uke’s head, allow him benefit of
tsubo PC 8 Ki. This forward pressure and angle also causes stagnation of Ki
at tsubo Ren 22 Tien Tu (throat region) and tsubo DU 15 Yaomen (nape of
neck). Stagnation of Ki at Yaomen causes Uke’s to lose his voice or become
60
mute. Stagnation of Ki at Tien Tu injures Uke’s ability to pull a breath.
Uke’s shoulder blades are brought together by Tori’s arm position. This
position causes stagnation at tsubo DU 9 Zhiyang which traps Uke’s internal
heat and will cause him to faint.
Tori’s kiai is directed at Uke’s tsubo M-HN3 Yintang. Tori releases Uke
and returns to a defensive stance.
DU 9 Zhi Yang (shee yong)- Extreme Yang: located in the center of the
DU 15 Yamen (ya men)- Door of Muteness: located one finger width
above the hairline on the nape of the neck between the first and second cer-
vical vertebrae. deafness-mutism, seizures, convulsions.
PC 8 Lao-kung (l’owl gong) - Labor’s Palace: cup your hand to a half fist.
This point is located at the tip of your middle finger. Cools the heart, drains
heat, projects Ki.
TW 3 Zhongzhu (zong zhu) - Middle Island: located back of the hand
fects the circulation of Ki for the entire body.
REN 22 Tian Tu Celestial Chimney or Heaven’s prominence-Located .5
units above the suprasternal notch in the middle of the depression at the
throat. Regulates Lung Ki, cools the throat and clears the voice
61
Vocabulary
Akushu (ah koo shoe) Handshake
Anpuku (on pou koo) Abdomen treatment
Atemi ( ah tem e) Strikes
Dantien (don tee en) Elixir fields of the body
Danzan Ryu (don zon re you) Professor Okazaki’s style of Jujitsu
Dojo (dough joe) Practice hall
Eri (air ee) Collar or lapel
Gi (gee) Uniform
Hagai (ha guy) Pinion
Hazushi (ha zoo she) Escape
Imon ( e mon) Polite
Judo (jew dough) Gentle way
Jujitsu (jew jit sue) Gentle art
Jing (ge ing) Foundation energy
Kami (calm ee) Shen, Spirit, Source,
energy that is all around us.
Kappo (ka poe) Resuscitation techniques
Kata (ka ta) Form or single
Ketsu (get sue) Blood or fluids
Kumikata (cum e ka ta) Standard hold
Ki (key) Undefined energy
Kiai (key eye) Energy focus
Kowami (co wom ee) Danzan exercises
Kote (co te) Wrist
Kubi (coo bee) Neck
Kuzushi (ka zoo she) Unbalance
Kyu (cue) Junior students
Maki (ma key) Wrap or wind
Meridian (mur id e on) Energy pathway
Moro (more o) All
Momiji (mo me gee) Red maple leaves
Mushin (moo shin) All calm
Nage (Na gay) Throw
Nuki (nuk ee) Encircle
Oku (oh koo) Deep
62
Restoration
Therapy Treatment of ailment with elbow
forearm vibration
Ryo (re oh) Both
Ryu (re you) Style
Seifukujitsu (say fu koo jit sue) 52 Healing arts
Shen Spirit
Shime (shim ee) Strangle
Source Ki (key) Ki that comes from the
Universe/Cosmos/Maker
Sutemi (sue tem ee) Break fall similar to judo ukemi
Te (tae) Hand
Tekubi (tae koo bee) Neck of hand
Tori (tore ee) Person executing the art
Tsubo (sue bo) Acu points or energy vortex
Ude (ou day) Arm
Uke (ou key) Person receiving the art
Yawara (yaw a ra) Early Jujitsu
Yubi (you bee) Finger
63
Applicable tsubo
BL 10 Tianzhu (tee en zu)-Heaven’s Pillar: located the width of 1.5 fingers
to either side of DU 15 Yaomen on the back of the neck. Head pain, hysteria,
dizziness, swelling of the larynx, eye disease.
BL 47 Zhishi (ze sh)–Will’s Dwelling: located to the side of the spine
beside Ming men. Low back pain, nephritis, prostatitis, paralysis of lower
limb, eczema of the scrotum.
DU 4 Ming Men-Life’s Door: located between the 2nd and 3rd lumbar
vertebrae. Low back pain, impotence, sciatica, back sprain.
DU 9 Zhi Yang (zee yong)- Extreme Yang: located in the center of the
DU 15 Yamen (ya men)- Door of Muteness: located one finger width
above the hairline on the nape of the neck between the first and second
cervical vertebrae. deafness-mutism, seizures, convulsions.
with the other
line. Clears the senses, Calms the spirit, impacts ascending Yang Ki.
Ki (Japanese-key), Qi (Chinese-chee) or Chi (Chinese-chee): can be
defined as the gulf between matter about to become energy and energy
about to become matter.
KI 1 Yung ch’uan (yong chew you on) - Gushing Spring: located in the
center of the arch of the foot immediately behind the bulge of the second
toe.
finger nail on the radial side. High fever, sore throat, deafness, toothache.
LI 9 Shanglian-(Shong lee on)Upper Integrity: located the width of
four fingers below the crease in the elbow. Numbness in the arms and legs,
abdomen pain, intestinal noise, sprain of arm.
LU 1 Zhongfu-(zong foo)Central Residence: Below the lateral end of
the clavicle at the first intercostal space. Bronchitis, pneumonia, asthma,
64
pulmonary tuberculosis.
M-HN-3 Yintang (ye in tong)- Hall of Esoteric Sensation: located in
the area between the eyebrows; Yin sees the Spirit World and Yang sees the
Living World. Tong Yin is hearing the Spirit. Eliminates heat, calms the
spirit.
each finger. seizures, fainting, exhaustion.
Ren-mo- (wren mo) Conception vessel: a pathway that begins at the
perineum and moves up the front and center of the body and ends at the lip.
REN 1 Hui-yin (way ye in)- perineum: located midway between the
scrotum and anus (men) between the anus and commissural labiorum
(women). Prostate, menstruation and drowning.
REN 4 Guanyuan (ge wan you on)- Gateway to the Source: located the
width of four fingers directly below the belly button. Stroke and general
weakness.
REN 12 Zhong Wan (zong won)- Middle Cavity: located half way
between the navel and the solar plexus. Impacts Stomach Ki and related
activity.
REN 17 Shanzhong ( shhon zong)- Heavenly Alter: located at a point
directly between the nipples. Impacts rebellious Ki and the diaphragm.
To-mo – (toe mo) Governing Vessel: a pathway that begins at the
perineum and moves up the back and center of the body before going over
the head and ending at the lip.
TW 1 Guanchong (ge won chong)- Gate’s Pouring: located at the base of
the 4th fingernail on the ulnar side. Fever, laryngitis, headache.
between the 4th and 5th metacarpal bones in the hollow below the joint.
Effects the circulation of Ki for the entire body.
TW 11 Qinglengyuan (ching le en you won)- Cooling Gulf: located the
width of three finger above the elbow. Headache, pain in the eyes, pain in
the shoulder and arm.
65
66

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YAWARA

The Teachings of Kiehl

Printed in the United States

Library of Congress ISBN

Know Your Opponent

Earth types generally have a dark like complexion irrespective of race or

The Water constitution may be described as having a round face and

The Hand Yangming Region (Large Intestine)

Theory of Competing Circles

2. Katate Hazushi B: Single Hand Escape Two

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

3. Ryote Hazushi: Both Hand Escape.

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

5. Yubi Tori Hazushi: Finger Seizure Escape

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

6. Momiji Hazaushi: Red Leaf Maple Escape

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

8. Yubi Tori: Finger seizure

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

The primary meridians involved Lung (Hand Taiyin), Large Intestine

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

10. Katate Tori: Single Hand Seizure

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

11. Ryote Tori: Both Hand Seizure

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

12. Tekubi Tori A: Counter to an outside wrist grab

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

14. Imon Tori: Clothing Emblem Seizure

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

16. Akushu Kote Tori: Hand Grab Wrist Seizure

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

18. Akushu Kotemaki Tori: Hand Wrist Winding Seizure.

This art is taken from a handshake position. Uke becomes aggressive

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

19. Kubi Nuki Shime: Neck Encircling Constriction

LU 11 Shaoshang –(shao shong) Lesser Merchant: located at the cuticle

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