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com
 Takemusu Aikido
Special Edition
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Commentary on the 1938

Training Manual of Morihei Ueshiba
by Morihiro Saito, 9th dan
With an Historical Introduction by Stanley A. Pranin

Translated by Sonoko Tanaka & Stanley A. Pranin

Tokyo
Aiki News

www.aikidojournal.com
 Please note that the author and publisher of this instructional
book are NOT RESPONSIBLE in any manner whatsoever for any
injury that may result from practicing the techniques and/or
activities following the instructions given within. Since the
physical activities described herein may be too strenuous in
nature for some readers to engage in safely, it is essential that
a physician be consulted prior to training.

Published by Aiki News

Matsugae-cho 14-17-103
Sagamihara-shi, Kanagawa-ken 228-0813 Japan

Copyright © 1999 by Aiki News

All rights reserved
No portion of this book may be reproduced or used in any form, or by any
means, without prior written permission of the publisher.

ISBN 4-900586-56-0

First printing 1999

Book and cover design by Stanley Pranin

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 ‡C¹Jc@AÅ·½¥@1964N@ïé§âÔÉÄ
Morihei Ueshiba, Iwama, Ibaragi Prefecture, c. 1964

www.aikidojournal.com
ڟ
ͶßÉ ................................... 8
§sÉ ½ÁÄ ............................ 10
w¹xÉ墀 ........................... 13
Zp‘w¹xÌðà ...................... 33
\¦ ..................................... 34
ÐèæèüègŠ° ....................... 36
ÌÌÏ»iÏXj.......................... 40
ÐèæèÄzŠ° ......................... 42
³ÊÅ¿ê³@\Z ....................... 44
³ÊÅ¿ê³@ Z@C̬ê ............. 48
³ÊÅ¿ÄzŠ°@C̬ê ............... 50
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³ÊÅ¿ñ³@ Z ........................ 58
³ÊÅ¿O³@ Z ....................... 62
¡ÊÅ¿üègŠ° ....................... 66
¡ÊÅ¿lûŠ° ......................... 70
¡Êſܳ@ Z ....................... 74
¡ÊÅ¿ñ³@ Z ....................... 78
¡ÊÅ¿l³@\Z ....................... 80
¼èæèlûŠ°@\Z ................... 82
¼èæèlûŠ°@ Z ................... 86
‡CÌbû@
iÄzŠ°j................... 88
¼èæèVnŠ°@C̬ê ............... 90
Ë«üègŠ° ............................ 92
¡ÊÌbû ............................... 94
ãÝæèÄzŠ°@
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ãÝæèÅßZ@
iãûÉø©ê½ê‡j..... 98
ãÝæèÄzŠ°@
iOûɟ³ê½ê‡j.. 102
ãÝæèÄzŠ° ........................ 104
ã¼èæèÄzŠ° ....................... 106
¾æè¬èÔµ ........................ 108
•³ÊÅ¿ÄzŠ° ....................... 112
¾æèÄzŠ° ........................ 114
EÌÏ» ................................. 116
¶ÌÏ» ................................ 117
¡ÊE·@¶EÌÏ» .................... 118
6wY‡C¹xʪ
www.aikidojournal.com
Contents
Foreword .................................................... 9
Editor's Note ............................................... 11
Introduction to Budo ..................................... 13
Commentary on Budo .................................... 33
Kamae ........................................................ 34
Katatedori iriminage ................................... 36
Tai no henka (henko) .................................. 40
Katatedori kokyunage ................................. 42
Shomenuchi ikkyo omotewaza .................... 44
Shomenuchi ikkyo urawaza ki no nagare ... 48
Shomenuchi kokyunage ki no nagare ......... 50
Shomenuchi kotegaeshi ki no nagare ......... 54
Shomenuchi nikyo urawaza ........................ 58
Shomenuchi sankyo urawaza ..................... 62
Yokomenuchi iriminage .............................. 66
Yokomenuchi shihonage ............................. 70
Yokomenuchi gokyo urawaza ...................... 74
Yokomenuchi nikyo urawaza ...................... 78
Yokomenuchi yonkyo omotewaza ................ 80
Ryotedori shihonage omotewaza .................. 82
Ryotedori shihonage urawaza ..................... 86
Aiki no tanren (kokyunage) ......................... 88
Ryotedori tenchinage ki no nagare ............. 90
Tsuki iriminage .......................................... 92
Yokomen no tanren .................................... 94
Ushiro eridori kokyunage (When Pulled) ...... 96
Ushiro eridori katamewaza (When Pulled) ... 98
Ushiro eridori kokyunage (When Pushed) .... 102
Ushiro eridori kokyunage ............................ 104
Ushiro ryotedori kokyunage ........................ 106
Tachidori kotegaeshi ................................... 108
Ken shomenuchi kokyunage ....................... 112
Tachidori kokyunage .................................. 114
Migi no henka ............................................. 116
Hidari no henka .......................................... 117
Yokomen • Do Sayu no henka .................... 118
Z•Ë«ÄzŠ°@ ...................... 122
Z•æè¬èÔµ ........................ 124
Z•æèܳ@ Z ...................... 126
•Î•@Äè ............................ 128
•Î•@Ê ............................... 130
•Î•@Ë« ............................. 134
e•Ë«ÄzŠ° ........................ 136
e•æèÄzŠ° ........................ 138
e•Ë«Z³ ............................ 140
e•Ë«ÄzŠ° ......................... 144
e•Îe• .............................. 146
„æèÄzŠ° .......................... 148
I–®ì ................................. 150
ÀèZÄz@ P .......................... 154
ÀèZÄz@ Q ......................... 156
ÀèZÄz@ R .......................... 158
ÀèZÄz@ S ......................... 160
]ÍÌ{¬@
i”èæèÄz@j............. 162
wÌ^® ................................ 164
www.aikidojournal.com
Tanken tsuki kokyunage ............................ 122
Tankendori kotegaeshi ................................ 124
Tankendori gokyo urawaza ......................... 126
Ken tai ken kote ........................................ 128
Ken tai ken men ........................................ 130
Ken tai ken tsuki ....................................... 134
Juken tsuki kokyunage .............................. 136
Jukendori kokyunage ................................. 138
Juken tsuki rokkyo .................................... 140
Juken tsuki kokyunage .............................. 144
Juken tai juken .......................................... 146
Yaridori kokyunage ..................................... 148
Shumatsu dosa .......................................... 150
Suwariwaza kokyuho 1 ............................... 154
Suwariwaza kokyuho 2 ............................... 156
Suwariwaza kokyuho 3 ............................... 158
Suwariwaza kokyuho 4 ............................... 160
Hiriki no yosei (Morotedori kokyuho) ........... 162
Se no undo ................................................. 164
Takemusu Aikido Special Edition 7
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Foreword
I still remember vividly how ecstatic I was when Stanley Pranin first
showed me the book titled Budo written by the Founder Morihei Ueshiba. I
felt convinced that this book was the only document that could validate my
aikido and that the founder had come to assist me. I hoped it wasn’t just a
dream.
Around that time, there were those who referred to my aikido as “Saito-
ryu aikido.” I wanted to answer them saying that it wasn’t true and that my
aikido is “Ueshiba Morihei-ryu.” It was very difficult to restrain myself. In the
early 1960s, even though the Founder was still enjoying good health, he did
not teach weapons or basic taijutsu techniques anywhere other than Iwama.
His teaching elsewhere consisted mainly of demonstration-like performances
with little explanation. This is why my aikido was misunderstood as I have
mentioned above.
Since I discovered Budo, I have always kept it at hand wherever I have
gone. I think I was given the mission of introducing the Founder’s tech-
niques to as many people as possible because I am entrusted with his dojo.
Fortunately, the techniques I learned directly from the Founder over many
years are nearly the same as the basics presented in Budo.
For this reason, I was delighted to accept the invitation to demonstrate
and explain the techniques of Budo for the next book in my technical series
Takemusu Aikido published by Aiki News.
Aikido is a martial art created by the Founder Morihei Ueshiba. I will be
very pleased if this book can provide a helpful reference for those who
believe that the Founder’s basic techniques should be the starting point
for their practice of aikido.

Morihiro Saito
at the Aiki Shrine,
May 1999

Takemusu Aikido Special Edition 9

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§sÉ ½ÁÄ

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Editor's Note
I have long wished to undertake together with Morihiro Saito Shihan this
project of presenting Morihei Ueshiba’s Budo to a worldwide audience. Saito
Shihan is eminently qualified to provide a detailed view of the historical evo-
lution of aikido technique having lived and trained at the Founder’s side in
Iwama for more than 20 years.
This special edition of the Takemusu Aikido technical series presents an
historical overview of the Founder’s aikido techniques from the time of the
mid-1930s through the Iwama period following World War II. It is based on
technical material contained in the manual entitled Budo published in 1938
by Morihei Ueshiba supplemented by the detailed commentary of Morihiro
Saito Shihan.
I would like to express my gratitude to Hitohiro Saito Shihan, 6th dan, for
his cooperation in demonstrating many of the techniques covered in this
volume. Special thanks also go to Jöran Fagerlund and Daniel Toutain, both
high-ranking students of Saito Sensei, for their assistance in taking ukemi
for the technical sequences of this book.
Finally, I would like to express my sincere gratitude to Sonoko Tanaka for
her outstanding work in editing and translating the text in coordination with
Saito Sensei. Aiki News Japanese editor Ikuko Kimura also reviewed and
edited the final manuscript.
It is my hope that the publication of this book will contribute greatly to
the preservation and dissemination of the Founder’s technical legacy.

Stanley A. Pranin
Editor-in-chief, Aikido Journal
May 1, 1999

Takemusu Aikido Special Edition 11

www.aikidojournal.com
www.aikidojournal.com
 Introduction to Budo
by Stanley A. Pranin

www.aikidojournal.com
 w¹xÉ¢Ä

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 Introduction to Budo

Anyone attending a seminar conducted by Morihiro Saito

Sensei in the last few years will have noted him frequently refer-
ring to a small illustrated manual. In fact, Saito Sensei will often
open this booklet to the page illustrative of his teaching point
and walk from student to student showing the technique in ques-
tion for a brief moment. He will repeat over and over, “O-Sensei!
O-Sensei!,” as if to validate his technical explanation with the
stamp of approval of the ultimate authority—Morihei Ueshiba,
the Founder of aikido. What is this modest technical compen-
dium that Saito Sensei consults constantly and holds in such
high regard?
The book is entitled simply Budo and was published in 1938
by Morihei Ueshiba in his private capacity. Budo was virtually
unknown outside of the inner circles of the Aikikai Hombu Dojo
until its “re-discovery” was announced in November 1981 in
the magazine Aiki News. During an interview conducted shortly
before the article appeared, Zenzaburo Akazawa, a prewar dis-
ciple of Morihei Ueshiba, produced a copy of the rare technical
manual. Akazawa stated that only a few hundred copies of Budo
were distributed and that it served as a training aid and fund-
raising device during the difficult years of the prewar era.

Contents of Budo
Budo measures 18 x 26.7 cm and contains 50 pages
divided into two parts. The first section consists of a
one-page composition titled Dobun (Essay of the Way),
followed by 26 doka (songs or poems), a two-page table
of contents, and an eight-page essay titled “The Essence
of Techniques.” The second part presents 50 techniques
demonstrated by Morihei Ueshiba in 119, 5.3 cm square
photographs. The technical material covered includes
preparatory exercises, basic techniques, knife (tantodori)
and sword-taking techniques (tachidori), sword vs.
sword forms (ken tai ken), mock-bayonet (juken) tech-
niques, and finishing exercises (shumatsu dosa). Budo
is the only work on aikido—Ueshiba’s art was actually w¹xæè
called aiki budo at this stage—in which the Founder Specimen page from Budo

Takemusu Aikido Special Edition 15

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 w¹xÉ¢Ä

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16wY‡C¹xʪ

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 Introduction to Budo

personally appears demonstrating techniques. Ueshiba’s train-

ing partners in the book are his son Kisshomaru, Gozo Shioda—
who would later create Yoshinkan Aikido—and a third man
named Okubo about whom little is known.
The circumstances surrounding the publication of Budo were
alluded to briefly in a 1987 interview with Kisshomaru Ueshiba,
the son of the Founder. He remarks, “Budo was published as a
textbook when my father was teaching Prince Kaya. For that
reason, a staff officer came to take pictures. My father didn’t
give this book as a license but presented it to those intellectuals
who practiced very hard at the dojo and to those by whom he was
helped in his daily life.” (see Aiki News 79, p. 35, January 1988)
The specifics of the association between the Founder and Prince
Kaya are not known. However, some biographical data on this
descendant of royal lineage is available and, pieced together with
other bits of historical information, it is possible to make several
relevant observations.

Prince Kaya
Prince Kaya, whose Japanese name was, Tsunenori
Kayanomiya, was born in January, 1900. He was the first
son of Prince Kuninori Kayanomiya. The Kayanomiya family
was established as an independent family lineage in 1900.
At the age of 14, Tsunenori attended the Army Central Prepa-
ratory School and was groomed for a military career. He later
attended the Army Officers’ School and the Army College. As
an army officer, his impressive resume includes the following
posts: Commanding Officer of the Cavalry Regiment, Superin-
tendent of the Army Toyama School, and Superintendent of
the Army College. He rose ultimately to the rank of Lieutenant-
General in the Imperial Japanese Army and was later awarded
the Grand Order of the Chrysanthemum, Third Rank. Also, he
was a first cousin of Nagako Kuninomiya, the mother of the
present Emperor Akihito, who married the Showa Emperor,
Hirohito, in 1924.
Prince Kaya served as Superintendent of the Army Toyama
School in Tokyo from 1942-43. The tradition at the school was

Takemusu Aikido Special Edition 17

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 w¹xÉ¢Ä

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Ueshiba seated in center dressed in
kimono and flanked by army officers
and staff of the army school
­ÉÌè ­ ÉÌÝâ
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18wY‡C¹xʪ

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 Introduction to Budo

Ü\ãÌêz{ ºa 17 N ¤RËRwZ·žã
Prince Kaya in his 50s Prince Kaya when Superintendent of Toyama School, 1942

for superintendents to serve one-year terms. One of Prince Kaya’s

predecessors was General Makoto Miura who held the same post
sometime in the early 1930s. Morihei Ueshiba was a regular
instructor at the Toyama School in the 30s and early 40s and
received an honorarium for his services. It is worthy of men-
tion that General Miura had studied under Sokaku Takeda as
a young man before later becoming a student of Ueshiba around
1930. Miura emerged a hero during the Russo-Japanese War
when he ignored a stab wound to the chest and continued
cutting down enemy soldiers with his sword. After first doubt-
ing Ueshiba’s authenticity as a martial artist, Miura eventu-
ally became one of his staunchest supporters. Ueshiba’s pro-
curement of a teaching post at the Toyama School was possi-
bly due to his association with Miura.
Given the fact that Prince Kaya received instruction from
Ueshiba at the time of publication of Budo as stated by
Kisshomaru and his royal lineage, it seems perfectly fitting that
the manual Budo was prepared on his behalf.
By 1938, the year of the publication of Budo, the Kobukan
Dojo of Ueshiba in Tokyo which had been a lively center of
training, had quieted down considerably. One by one students

Takemusu Aikido Special Edition 19

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 w¹xÉ¢Ä

½OY^­²ÌãCÒÆ¢¤±ÆÉÈéB¿ÈÝÉË
RwZ·ÌACúÔÍAðã 1 NÅ Á½BOYÍ
1930 N ÉAÅæ¶ÌíqÆÈÁ½ªAᢠ͐
cyp¥ÌàÆÅmÃðµÄ¢½BOYÍܽAúI
툆¹ðh³êð‰Á½Éà©©íç¸AÅG
̺mBðØ豯½±ÆÅêôpYÆÈÁ½B
ʼn͐¹ÆƵÄÌJcÌ^¿ð^Á½OYàA
âªÄÍJcÌMŠ·×«x‡ÒÆÈÁ½B1930 N
ãyÑ 40 NãO¼Éí½èAJcÍËRwZÅñV
ðó¯ÈªçèúIÉw±·éæ¤ÉÈÁ½ªA±ê
ÔòõV•
ÍOYÆÌÖW©çÆvíêéB
Mitsunosuke Akazawa
Jcªêz{ÉÂlIɇC¹ð³¦Ä¢½Æ¢
¤–ÀAܽêz{̂¢gªðl¦ÄàA
w¹xÍ
aºÌ½ßÉìçê½Æ¢¤àª–ÄÍÜé¾ë¤B
åvÈmÃêƵķñ¾Á½ŒžÉ éJcÌ
cÙ¹êÍA
w¹xª­s³ê½ 1938 N É͈
Cð¸¢Â Á½BíˆÌ½ßÉíqBÍêlܽ
ÐÆèƎÁÄ¢Á½BJc̕èðµÄ¢½àíq
ÌÙÆñǪ¥W³ê½èAuèºÆµÄ†‘âŒì
AWAÉh­³ê½B
¹êÉÍw±Òàí¸©µ©¨ç¸Am÷éí
q̔͸ÁÄ¢Á½B»µÄíˆÌe¿ª­­Èé
ÆAJcÍËRwZðͶßA¤R†ìwZA›ºw
ZACR@ÖwZA¤RåwZACRåwZACRº
wZÈÇÌR”Ì{Ýų¦é±Æª½­ÈÁ½B

œ`̖ÆÔòõV•

ÔòÌŠL·éw¹xÌÅãÌy[WÉÍuœ
`̖vÆ葫ÅL³êĨèA³çÉu1938 N
UŽgú@ÔòõV•lvÆ éBÔòõV•APO

20wY‡C¹xʪ

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 Introduction to Budo

were lost to the war effort. Most of the old live-in disciples who
served as teaching assistants were conscripted or volunteered
into military service and many were stationed abroad in China
and Southeast Asia. Faced with a thining teaching staff, few
students attending his private dojo, and the intensification of
Japan’s war effort, Ueshiba spent much of his time instructing
at such military institutions as the Toyama School, Nakano Spy
School, Naval Academy, Naval War College, Army Secret Police
School, Naval Machinist and Fireman School, Army University,
and other military establishments.

Ogi no Koto and Mitsunosuke Akazawa

A few additional observations concerning Budo will serve to
paint a clearer picture of the circumstances surrounding its
publication. The handwritten inscription appearing at the end
of Mr. Akazawa’s copy reads, “Ogi no Koto”
(Secret (Martial] Principles), and is dedicated
to “Mr. Mitsunosuke Akazawa on an auspi-
cious day in June 1938.” Both father and son
received copies of Budo—Zenzaburo was
awarded his in January 1939— but only one
has survived. The inscription is signed and
sealed by “Moritaka Ueshiba,” one of the three
names used by the Founder during his life-
time and one given to him by Onisaburo
Deguchi, the Omoto religious leader. By way
of comparison, another surviving copy of Budo
contains an identical inscription including the
same date, but is dedicated to “Mr. Yoshitaka
Hirota,” another prewar student and relative
of Ueshiba.
First, let us consider the use of the term
“Ogi no Koto.” This is wording used in the cÙ¹êàíqžãÌÔòPOY
Daito-ryu aikijujutsu grading system for the 1937 N
body of 36 techniques constituting the third
level of proficiency. According to Kisshomaru, Zenzaburo Akazawa during his uchideshi
days at Kobukan Dojo, Tokyo 1937
Ueshiba received his third-level transmission

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 w¹xÉ¢Ä

YƒqÍ»ê¼êw¹xðö©Á½iPOYÍ
1939 NPŽjª»¶·éÌÍêûÅ éB±Ì £«
ÉÍuAÅç‚v̐¼Æóª éB
uAÅç‚vÍ
Jcª¶OÉgÁ½RÂ̼OÌÐÆÂÅ èAå{
³Ìw±Òoû¤mOY¹t©çö¯çê½àÌÅ 
éBà¤êû¼É©Â©Á½w¹xÉàAútàÜ
ßÄ·×į¶£«ª‘©êÄ¢éªA±êÍJcÌ
e°Å éíOÌíqA)cP²É£æ³ê½àÌ
Å éB
ܸA
uœ`̖vÆ¢¤¾tÌg¢ûÉ¢Äl
¦ÄÝæ¤B±êÍ匬‡C_pÌÚ^Égíêé
ÔòõV•É¡æ³ê½w pêÅA匬ÅÍæRiKÌŽx‹i36 ÌZj
¹x
ÌÅãÌy[Wɠ飫 ÉnBµ½±ÆðÓ¡·éBgËÛæ¶ÉæéÆAJ
JcÌóÆ AÅç‚v
̘¼ª
 é
cÍ 1922 Nɐcyp¥©ç±ÌÚ^ðò³êÄ
¢éB1930 NãÉÍAJcÍA±Ì匬ÌÚ^p
Inscription in back of copy of Budo
êðA©ªÅö¯½ÆóÉp¢Ä¢éBµ©µAJc
presented to Mitsunosuke
Akazawa with signature and seal ªgpµ½±Ìuœ`̖vªA»ÌÜÜ匬ÌÚ
of “Moritaka Ueshiba.”
^ÌZðÓ¡·éí¯ÅÍÈ¢BÀÛA–žÆóðö
¯éû@àêѵĨç¸A»êÙǁ­©ç«¿ñ
Ƶ½]¿§xªÅ«Ä¢½©Í^íµ¢BܵÄA
±ÌZp‘w¹xÍA‡C¹ðwñÅ¢½ÒÆ¢¤
æèJcÌã‡Òâ¼Ìdvl¨É¡æ³êÄ¢½æ
¤¾©çÅ éB
ÔòPOYª»ÝŠL·éw¹xÍAå{³Ì
MÒÅ Á½ÌƒAõV•É¡æ³ê½Bå{³
Í_¹ÌêhÅ èA1900 NÌͶߩç­{©ç
µµ¢e³ðó¯é 1935 NÜÅÌÔAú{ÅL­M
ÒðWßÄ¢½BJcÍAJŠX}Iw±ÒÅ Á½
oû¤mOY¹ț¢éå{³ÌMSÈMÒÅ 
èA²”ÌêõÅ Á½Bïé§âÔ¬ÅXÖÇ·ð
µÄ¢½ÔòõV•ÍAå{³âÔx”·Å Á

22wY‡C¹xʪ

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 Introduction to Budo

scroll in 1922 from Sokaku Takeda. Later in the 1930s, the

Founder borrowed freely from the terminology used in the
Daito-ryu curriculum in awarding his own certifications.
Technically speaking, the term as it is used here by Ueshiba
no longer corresponds to the body of techniques of the Daito-
ryu classification. In fact, the Founder was not consistent in
his award of certifications during this time frame and it is
doubtful any well-defined grading system even existed at such
an early date. Moreover, it seems that most copies of Budo
were given out to Ueshiba’s supporters and other important
personages more than to actual practitioners.
The man to whom Zenzaburo’s copy of Budo is dedicated is
his father, Mitsunosuke, an Omoto believer. The Omoto reli-
gion was a Shinto-derived sect that enjoyed a huge following in
Japan from the beginning of the 1900s through 1935 until it
was brutally surpressed by the military government. Morihei
Ueshiba was an ardent follower and a member of the inner
group of associates of Onisaburo Deguchi, the charismatic
leader of the sect. The elder Akazawa was the head of the Omoto
chapter in Iwama, Ibaragi Prefecture and the local postmaster.
The church group also practiced aiki budo under the auspices
of the Dai Nippon Budo Sen’yokai, a national martial arts asso-
ciation set up by Onisaburo in 1932 whose chairman was Morihei
Ueshiba.
The aikido Founder felt a debt of gratitude to Mitsunosuke
as the latter had lent him assistance in his personal affairs. It
was Mitsunosuke who arranged the purchase of considerable
property in Iwama for Ueshiba in 1939. Ueshiba retired there
in 1942 having built a home with attached dojo and later an
Aiki Shrine. The first shrine still stands in back of a newer and
larger structure dedicated in 1964.

Technical Analysis
From a technical standpoint, Budo offers numerous insights
into the prewar martial art of Morihei Ueshiba. It provides a
capsule view of those techniques that Ueshiba considered the
basics and the way they were executed in the mid-1930s. The

Takemusu Aikido Special Edition 23

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 w¹xÉ¢Ä

½B1932 NÉÍAS‘IȐ¹¦ïƵÄåú{
¹égïªoû¤mOY¹tÉæÁÄnݳêéÆA
JcÍ»Ìï·ÆÈèA½­Ìå{³ÌMÒBɇC
¹ð³¦½i–žJc̐pÍu‡C¹vÆÄÎ
êÄ¢½j
B
JcÍÔòõV•©ç‡•ðó¯éÈÇÂlI
ɶ`ª Á½BÂÜè 1939 NAJcªâÔÉ©È
èLåÈynðwü·éÛAÔòÌ¢bÉÈÁÄ¢
éÌÅ éBâÔÉÆÆA»Ì±«É¹êð¢Á½J
cÍA1942 NÉâÔÌnÉÚÁ½B»ÌãA‡C_
Ð𚧵A1964 NÉÍqaª¢c³ê½B{aÍ
»ÝàqaÌãëÉÌÌÜÜcÁÄ¢éB

ZÌàeÉ¢Ä

1938 NÉ­s³ê½w¹xÍAíOÌJc̐
pÉ¢ÄÌZpIÈ©ðð^¦Ä­êéBJcªî
{ÆÝȵ½ZªA1930 N† ÌâèûÅvñ³ê
ĨèAZÌðàÍȉÅAñíÉLvÅ éBܽ
w¹xÉ éZÍAJcªcyp¥©çwñ¾å
Œ¬‡C_p©ç»ã̇C¹ÖÆÏíè Á½
iKð\íµÄ¢éB
w¹xɠ颭©Ìî{
ZAá¦Îê³AüègŠ°AlûŠ°Í·ÅÉAí
ãâÔÅJcª³¦½`ÆÙÆñǯ¶àÌÅ éB
±ÌâÔĄ̊¨æ»1945N©ç1955NÌÔÉJc
̐pÍ®¬xðµAÇñÈóµÉ¨¢Äà©RÉ
ZªYÝo³êéæ¤ÉÈèA±êðuY‡Ci³
ÀÈéZð¶Ýo·‡Cj
vÆÄÔæ¤ÉÈÁ½B
ܽw¹x̽­ÌZªíZÅ é±ÆÉÁ­
ûà¢é¾ë¤B±Ì{ÌOªÌêÍAZA•Ae
•ðgÁÄÌZÅ éBíZªÜÜêÄ¢é±ÆÌ

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 Introduction to Budo

­‡V–¬@Æ
Ìgì_êYÌ‰
1980 N iÊ^Ej

Kashima Shinto-r yu
sword demonstration by
the late Headmaster
Koic hir o Yoshikawa
(right), c. 1980

technical descriptions offered are succinct and highly instruc-

tive. As Budo was published in 1938, the techniques covered
represent a transition phase between the Daito-ryu aikijujutsu
Ueshiba learned from Sokaku Takeda and modern aikido. Sev-
eral basic techniques covered in the manual—for example,
ikkyo, iriminage, and shihonage—already bear a close similar-
ity to those taught by the Founder in the postwar period in
Iwama. It was during these years—roughly 1945-1955—that
Ueshiba reached a level of mastery such that he could sponta-
neously execute techniques in any situation. This he called
takemusu aiki—aiki that spawns infinite techniques.
Surprising to some will be the large number of techniques
included in Budo that are performed with weapons. Fully one-
third of the book features techniques executed using the knife,
sword, spear and mock-bayonet. There are a number of identi-
fiable influences that bear on the inclusion of these weapon
techniques. One is the fact that Ueshiba was at the very time of
the compilation of Budo experimenting with the sword tech-
niques of the Kashima Shinto-ryu school. The manual includes
several suburi movements derived from Kashima paired-sword
(kumitachi) practices. Ueshiba, together with Zenzaburo

Takemusu Aikido Special Edition 25

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 w¹xÉ¢Ä

•ÌmÆÌJc ´öƵÄAJcÌZÉe¿ð^¦½¢­Â©Ìp
ó¯Í˜ÒÄ¡çOtÍ
ª©¢¾¹éBÐÆÂÍA
w¹xª˜í³ê½ É
1960 N  âÔÉÄ
JcªŽµÄ¢½Æ³êéA500NÌ`ðÂ­‡
Founder Morihei Ueshiba practicing V–¬Ì•pÌe¿Å éB
w¹xÉÍA­‡V–
the sword with the author in Iwama,
c. 1960 ¬Ìg¾©çÌfU誢­Â©ÜÜêÄ¢éB
1937 NÉAÔòPOYÆ¤ÉJcÍïé§Ì­‡
ɠ魇V–¬Ì¹êɳ®ÉüåµÄ¢éB
Jc
Í­‡Ì¹êÅÍÀÛÉmÃ͵ȩÁ½ªA­‡V
–¬Ìw±ÒªêNöÌÔAJc̹êÉTêñÊ
¢AgËÛæ¶ÆÔòðÜޔlÌíqɕpð³
¦½BJcÍMSɱêçÌÁÊmÃðÏ@µA»Ì
ãAgËÛæ¶âÔòðŠèɎµA1955 N­ç
¢Üűêç̕p̤†ð±¯½BÌ¿ÉAâÔÅ
Ä¡çOtͪ»ÝÌ`Én§Ä½‡C•ÌZÍA
±êçÌ`ɹðu¢½àÌÅ éB

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 Introduction to Budo

Akazawa, formally enrolled in this 500-year-old classical tradi-

tion based in Kashima, Ibaragi Prefecture in 1937. Although
Ueshiba never actually practiced at the Kashima dojo, instruc-
tors from the school visted Ueshiba’s dojo once a week for about a
year to teach a few students including Akazawa and Ueshiba’s
son, Kisshomaru. Ueshiba would keenly observe these special
training sessions and then practice on his own with students
such as his son and Akazawa who had taken lessons with the
Kashima teachers. Ueshiba would continue his experimentation
with these sword arts through approximately 1955. These con-
stitute the root forms for the aiki ken techniques which were
subsequently systematized into their present forms by Morihiro
Saito in Iwama.
The inclusion of bayonet techniques no doubt reflects the fact
that Ueshiba was contemporaneously teaching at various mili-
tary institutions including the Army Toyama School of which
Prince Kaya later served as superintendent. Such bayonet prac-
tices were de rigueur in Japanese army infantry training up
through World War II. As a young man, Ueshiba himself prac-
ticed bayonet forms intensively during his military training as
a foot soldier during the Russo-Japanese War.

Publishing History
Budo was privately published by Ueshiba in a limited edi-
tion and was not distributed through any commercial outlet.
In fact, in the publication note at the end of the book, the
indication “Not for sale” appears in bold type. From anecdotal
information we know that only a few hundred copies were
printed. Kisshomaru also mentioned in an interview that he
still had in his possession quite a number of uncirculated
copies of Budo. Based on this and the scant number of known
surviving copies, it is safe to assume there was only a single
printing.
For the sake of completeness, it should also be mentioned
that Ueshiba published an earlier manual in 1933. This was a
larger work titled Budo Renshu containing some 211 techniques
depicted in the form of line drawings which covered Ueshiba’s

Takemusu Aikido Special Edition 27

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 w¹xÉ¢Ä

ܽAe•pªw¹xÉüÁÄ¢é±Æ©çAê
z{ªwZ·ð±ß½ËR¤RwZðͶßAlXÈ
R”ÌwZÅJcª³¦Ä¢½±Æ;ç©Å éB
e•pÍAæñŸ¢Eåí†Ì¤RÌPûƵÄKv
ÈàÌÅ Á½BJc©gàúI툆ÌÂNžãA
RàPû†ÉàºàƵÄe•ÌmÃðW†µÄs
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oÅÉÖ·é–P

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¹xªæ¶Ìè³Éܾ½” éÆq×ĨèA±Ì
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Æ©çàA‰Å¾¯ÉIíÁ½Æl¦Ä梾ë¤B
¿ÈÝÉAJcÍ 1933 NÉÊÌZp‘ðoŵÄ
¢éB±êÍÌ¿Éw¹ûKxÆè³ê½àÌÅA
w¹xæèàभµOÌZªC‰XgÉæÁÄ
211 ZÐî³êÄ¢éBZpðàÌOÉAw¹xÆ
¯¶uZ@Á\vªÚ¹çêÄ¢éB
w¹ûKxÍA
1978 NÉ`ŠT[`æèúpÎóÅƵÄVµ­o
ųêA»Ìã½x©ÄÅðdËÄ¢éB
w¹xÍA1980 NÌO¼Éܸw‡Cj…[Xx
ÅA̿ɼÌoŨŭ\³êéÜÅÍA»Ì¶Ý
͇C¹Ì¢EÅÍÙÆñÇNÉàmçêĢȩÁ
½Bá¦ÎÄ¡çOtÍi–žWijÍA
w¹xð
©éÜÅA»Ì¶ÝÉ¢ÄÜÁ½­mçÈ©Á½Æ
¢¤B¼Ì½­Ì‚iÒÌûà‰ßıÌ{ðÚɵ
½žA¯lÉÁ¢Ä¢½B

28wY‡C¹xʪ

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 Introduction to Budo

techniques of a slightly earlier period. The technical portion of ìÔ¹êÉÄ

Budo Renshu was preceded by the same essay, “The Essence »¶·é”SÌÊ^Ì
†Ìê‡ @1935 N
of Techniques,” that appears in Budo. Budo Renshu was pub-
ó¯ÍÄì¬ü
lished in a bilingual Japanese-English edition in 1978 by
Minato Research and has since gone through several One of the hundreds of
reprintings. photos from the Noma
dojo series, 1935. Uke:
Budo remained almost unknown in the aikido world until
Shigemi Yonekawa
the early 1980s when it was first mentioned in Aiki News and
later in other publications. For example, when Morihiro Saito,
an 8th dan at the time was shown a copy of the book, he had
been totally unaware of its existence. A number of other high-
ranking aikido shihan who saw the book for the first time were
likewise surprised to learn it existed.
An English translation of Budo by John Stevens which fea-
tured a general historical introduction by Kisshomaru Ueshiba
was published by Kodansha in 1991. The historical circumstances

Takemusu Aikido Special Edition 29

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 w¹xÉ¢Ä

1991NÉÍukÐæèA
w¹xÌpêŪW‡“E
XeB[u“XÌóÅoųê½B»ÌO‘«Ì†
ÅgËÛ涪T‡IȇC¹jðq×Ä¢éªA´
{Ìw¹xÌoÅÉÖµÄÌðjIwiÈÇÍA±
ÌÅÉÍ_¶çêĢȢBܽA»ÝɊéÜÅA
ú{êÌw¹xÌÄÅÍsÈíêĢȢB

ðjIdv«É¢Ä

w¹x̳{ª‡C¹Ìðjɨ¢ÄȺdvÈ
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ܸA±êÍêAÌZðà¾üèÅJc©gª‰
µÄ¢éBê̑¿Å é±ÆiukÐÌnÝÒÅ
 éìÔ´¡Ì¹êÅBÁ½JcÌZÌÊ^àܽ
½­cÁÄ¢éªA1935 NÈ~ÉBçê½±êçÌ
Ê^Í®ªÞ³êĢȢj
B³çÉA
w¹xÉ 
éZÍAÌpÌÝÈ縔½­ÌíZðÜñŨ
èAJcªíZðsÈÁ½Æ¢¤±Æðؾ·éà
ÌÅ éBJcÍ©g̐¹Csɨ¢ÄAíɐí
ZÉ£¹³ê¤†ð±¯½BÁÉA•ÆñðgÁÄÌ
mÃÍAÌpÌÌJ«AüègAԇ¢â‡í¹ÈÇ
̐¹´ðð·éãÅñíÉøʪ Á½Æví
êéB
1938 NÆ¢¤‡C¹Ì­WiKÉoųê½Éà
©©íç¸A
w¹xÍÁ­ÙÇ»ãIÅ éBJc
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é»ã̇C¹ÌÁ¥Å éA¬êéæ¤È~Ì®«
ÌÙ¤ðæèDñÅæèüêÄ¢éB

X^“Œ[Ev‰j“
1999 N 5 Ž

30wY‡C¹xʪ

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 Introduction to Budo

surrounding its publication are not discussed in this edition. No

Japanese reprinting of Budo has been forthcoming to date.

Historical Importance
In summary, there are several reasons why the manual Budo
is of great importance to aikido history. It is the only source of
organized technical sequences demonstrated by Morihei
Ueshiba replete with explanations. Another large collection of
technical photos of Ueshiba taken at the dojo of the Kodansha
Founder Seiji Noma also survives, but these photographs dating
from 1935 have never been ordered or classified. Moreover, Budo
provides clear testimony to the eclectic nature of Ueshiba’s tech-
nical system that included not only hundreds of empty-handed
arts, but also numerous weapon-based techniques. Ueshiba’s
fascination and experimentation with weapons training lasted
most of his martial career. His training with the sword and
staff, in particular, heavily influenced his understanding of the
martial principles of body movement (taisabaki), entering (irimi),
combative distance (maai), and timing.
Although Budo was published in 1938 during the middle
phase of the development of aikido, it is surprisingly modern
in the sense that the Founder had already distanced himself
from the more rigid jujutsu techniques of the Daito-ryu school
in favor of the flowing, circular movements which would come
to characterize modern aikido as we know it today.

Stanley Pranin
May 1999

Takemusu Aikido Special Edition 31

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* The use of bold italic type in the following text
denotes oral teachings of Morihei Ueshiba and cites
from the Founder’s 1938 Training Manual Budo. Also,
note that the main technical sequences are
designated with white numbers on a black
background while photos of alternate views and
close-ups are indicated by black numbers against a
white background.

www.aikidojournal.com
ZF[MZ¹NÌðà((¶FÄ¡çO
Commentary on the 1938
Training Manual of Morihei Ueshiba
by Morihiro Saito, 9th dan

www.aikidojournal.com
 \¦

u®ìÌIŠVžn
X‹v
„½L’Èes˜g
ccuGj³^X‹n
«níjZûjJLv
\\wZ¹xæè\\

@ÌÍuZûÉJ­vƾÁÄ¢½ªA¡Íu¼ In the old days, the expression, “open in a

gvƾ¤B̑êÅàuZûð¥Þvƾ¤B roppo stance,” was commonly used. However,
nowadays this stance is called hanmi. The
w¹xÌ{ªìçê½ Íu¼gvÆ¢¤¾t
word “roppo,” meaning six directions, is used
ÍgíêĢȩÁ½æ¤¾ªA ÆÉÈÁÄJ in Kabuki, too. The expression, “Step from a
cÍu¼gvƨÁµáÁÄ¢éB‡C¹ÅÍA roppo stance," is an example.
It appears that the Founder Morihei Ueshiba
üåµ½çܸ¼gð³¦çêÄA»ê©çî{
did not use the term hanmi at the time Budo
®ìÉÍ¢éBˆÜÁÄ͢ȢªA•Ìê‡Í was written, but he surely employed this term
E¼g©çAÌpÌê‡Í¶¼gÌ\¦©çnß later. When you start aikido practice as a
éB
beginner, the first thing you will be taught is
the hanmi stance; then you will be allowed to
@
w¹x̆Ìu®ìÌIí赞ͫÍíÉ begin with some basic movements. Although
ZûÉJ«vÆ©uGɳ^·é̈́½«ðÈÄ not a set rule, one usually starts with right
s˜Æ·év
vÈÇÍAv·éÉu¢Âà¼gÅ¢ hanmi for sword practice, and with left hanmi
for taijutsu or unarmed techniques.
ȳ¢vÆ¢¤±ÆÅ éB¾©ç‡C¹Íñí

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 Kamae

JcÌ\¦ wV¹xæè@1942 N
Hanmi demonstrated by Founder in Shin Budo magazine, 1942

ɼgɱ¾í鐹ƾ¦éB˜Ì­«Í¼« In Budo, the following admonitions appear:

É éƾ¤æ¤ÉA«ª³¾©ÅȢƘª©
R©ÝÉ®©È¢B¼gÍñíɇIÈ®«Å
 éB
@ facing to the front because you will be open
Make sure always to assume a roppo
stance upon completing a technique. Also,
You are at a disadvantage if you stand
before your partner with your whole body
to many attacks in this position. What the
Founder wanted to emphasize was that it is
important to always keep your hanmi stance.
Of all of the martial arts, aikido most
emphasizes the importance of hanmi. The
Founder said, The movements of your hips
depend on the movements of your feet. If
you do not assume a correct hanmi position,
you cannot move your hips freely. Movements
executed from a hanmi stance are very logical.

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ÐèæèüègŠ°

A ŠèÉEèŶèñ𭭝½ê½ê‡
RgKviŠ
Œr’à¤jüN‹
Eèmwæj͒ü

B ¶èÌwæÉÍðüê¶ðãÉü¯AÎßEÉ
Ë«oµA¶«ÅŠèÌE¤É[­üèg·éB
EèŊèÌEèñðæèAÍÜêÄ¢½¶èð
͸µÈªçgÌðEÉü¯ãûð©éB
C ¶èŊèÌãÝðæèA»Ìèð¹³Éø«
ñ¹
D E«ð¥ÝžÝÂÂAEàIŊèÌñðŸµ
|µÄŠ°éB
E Š°½ Æà¼gÌÌ`ðö³¸AwæÉÍð
üêÄ©ªÌgðçéB

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 Katatedori iriminage

B C

D E
AB When your partner grabs your left wrist D Step through with your right foot and throw
firmly with his right hand, put ki energy into your partner as though pushing his neck down
the fingertips of your left hand and turn your with your inside right elbow.
palm upward. Take a large step to your E Be stable and stay in a correct hanmi
partner's right side with your left foot, while position after throwing your partner. Put ki
extending your left hand diagonally to the right. energy into your fingertips and protect yourself
Then grab your partner's right wrist with your from any further attack.
right hand and release your left hand from his
grip. At the same time, turn your body to the
right 180 degrees and look in the same
direction as your partner.
C Hold your partner's collar from behind with
your left hand. The Founder said on this point,
Bring your hand toward your chest.

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ÐèæèüègŠ°

|C“g Commentary

@Ê^BÅãûð©é±ÆÍÆÄàdvÅ éB In photo B, it is very important to look in the

Oûðü¢½ÜܾÆüègÉÈçÈ¢Bãûð same direction as your partner. If you keep
looking forward, you cannot execute a correct
©êήSÈüègªÅ«éB
irimi step.
@ŠèÉ­­ÍÜ꽞AܸÍÜê½èð͸ When your partner grabs your wrist firmly,
µÄ©çüègŠ°ÉÍ¢é̾ªA±ÌZÅÍ first release your hand from his grip and then
execute iriminage. This is the key to the
»Ì͸µûª|C“gÅ éBw¹xª‘©
technique. Each opponent is different in height
ê½ ÉOÂÌû@ª Á½©Ç¤©Íí©çÈ and body type. This is why the Founder taught
¢ªAŠèÉÍå«¢lA¬³¢lÆ¢ë¢ë  us three different hand releases. However, I do
éÆ¢¤±ÆÅA„ÍJc©çOÂÌèÌ͸µ
not know if he was already teaching these three
ways when Budo was written. The three ways
ûðKÁ½BãA†AºÅ éBmÃ̇ÔƵ are high, low and middle and they are to be
ÄÍãAºA†ÉÈéBãÅ͸·AºÅ͸·A practiced in that order. You release your hand
^†Å͸·A±Ì͸µûªãèÉÅ«È¢Æ in a high, low or middle position according to
the opponent’s body type. You must be able to
±ÌZÍÅ«È¢B±êÍdvÈmÃÅ éB
w
release your hand smoothly to execute this
¹xÉÍu±ÌžãûɍڷvÆ éBuãë technique successfully. This is a very important
ð©ëBãëÉàGª¢évÆ¢¤±ÆÅ éB practice. In Budo it says, Pay attention to your
rear, meaning you should look behind while
»¤¢¤ÌJ«ÅÈ¢ÆãèÉèªÍ¸êÈ¢B
turning. Another opponent might be standing
³Êðü¢Ä¢½ÌÅÍèªÍ¸êÈ¢ÌÅ  behind you. If you do not turn a full 180 degrees
éB or if you keep looking at your opponent, you
@
u¶èÉÄãÝðæèA
i½Í˜ð}¦jE«ð will not be able to release your hand.
The Founder says in Budo, Grab your
¥ÝžÝÂÂAEO]ðÈÄñ🵺°|·v
partner's collar from behind (or push his
Æ éªA±ê͸ÁÆJcÌÓNÜů¶¾Á lower back) with your left hand. Step
½B through with your right foot and throw him
by pushing his neck down with your inside
@±ÌZÍÐèæèüègŠ°†iÅ éªi¼
right elbow. The Founder taught this way
èæè௶j
A±±Å͊èÌèñðº©çÍ through his last days.
ñÅ¢éBÓNÉÍA†iÌê‡ÍAlûŠ°Ì This technique is katatedori iriminage chudan
(middle position). It is done in the same manner
æ¤ÉŠèÌèñðÍñÅ©ªÌèð͸·æ¤
as ryotedori iriminage. As shown here, you grab
ÉÈÁ½B your partner's right wrist from below with your
@ȨA±ÌZðͶߔXÌZ̼OÍw¹x right hand. However, in his latter years, the
É͑¢Ä¢È¢ªAÓNÉÍJcÍ«¿ñÆ» Founder proceeded in the same manner as in
shihonage in order to grab his partner's wrist
ê¼ê̼Oð¾ÁÄ¢éB
and then to release his left hand from the grip.
Although many techniques are not named
in Budo, including this one, the Founder called
each technique with a precise name in his
last years.

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 Katatedori iriminage

JcAÅ·½@ìÔ¹êÉÄ@1935 N ó¯FÄì¬ü
Founder at Noma Dojo, 1935. Uke: Shigemi Yonekawa

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ÌÌÏ»iÏXj

A
‹’LX
¨’ÀèZV€
’ZûjJLF
]mÌ»ãJ«

a
A ŠèªEèŶèñðÍñÅ«½ê‡ AB When your partner grabs your left wrist
B wæðJ«A¶«ÌÜæðŠèÌE«ÌÜæÉ with his right hand, open the fingers of your
left hand and put ki energy into your fingertips.
Ë«‡í¹Èªç¶èðà¤Éü¯A ÌOÉ
Align the toes of your left foot with the toes of
àÁÄ­éB¶«ð²ÉµÄ˜ðEÉÐËèȪ your partner's right foot, while moving your
çE«ðãûÉJ« 180 xñ]·éBwæð\ª fingers inward and bringing your left hand in
front of your abdomen. Pivot on your left foot
ÉJ¢ÄCÍð[ž³¹éB
and bring your right foot to the rear by twisiting
|C“g your hips 180 degrees to the right. Open your
fingers well and fill them with ki energy.
@±êÍ ZÌî{®ìÅ éB±ÌÌÌÏXÉ
æÁğ³êÄàø©êÄனȢ­¢˜ðì
éB­¢˜ðìêÈ©Á½çA­¢U‚ÍJ¯È
¢BÇñÈÉ­¢U‚É ÁÄàJ¢ÄÌJ«ª
Å«é­¢˜ðìçȯêÎÈçÈ¢B»Ì½ß

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 Tai no henka (henko)

Commentary

This is the basis of all urawaza movements.

The Founder said, Practicing this tai no
henko, you will build up strong and stable
hips which will never be affected whether
your partner pushes or pulls you. If you
do not have strong hips you cannot respond
to powerful attacks. Therefore, build up such
sturdy hips that you will be able to move
freely no matter how strongly your partner
B attacks you.
In point five of the section titled “How to
Practice” in Budo, the Founder says, Make
sure to begin daily practice with tai no
henko and gradually increase the degree
of intensity. It is necessary to practice tai no
henko every day.
In earlier times, the Founder executed tai
no henko with a single hand. However, when I
began to train with him, he was already using
both hands for this technique. By using both
hands you can assume a strong body position
regardless of whether your partner pushes or
pulls you, because you bring both your hands
in front of your abdomen. When you use only
b one hand, however, since your hands are not
in front of your abdomen, you may be weak
from certain angles even though you may be
ÉÍAJcÌuûKãÌS¾væÜÉuúXÌû
strong in one direction. I think this is the reason
KÉÛµÄÍܸÌÌÏXæènÜ耟­xð why the Founder began to extend both hands
‚ßvÆ éæ¤ÉAÌÌÏX͈úûKµÈ¯ in front of his abdomen in his late years.
êÎÈçÈ¢B
Bring your hands to about the height of your
navel, which is the same height of your hand
@ÌÍÐèÅâÁÄ¢½ªA„ªüåµ½žÉÍ position when you hold a sword at the ready.
JcÍ·ÅɼèðgÁÄÌÌÏXðµÄ¨çê
½B¼èðg¤±ÆÉæÁÄèÌÊuª ÌOÉ
­éæ¤ÉÈÁ½ÌÅAŸ³ê½èø©ê½èµ
Äà­¢Ì`ÉÈÁ½BÐèÌê‡Í誠ÌO
ɫĢȢÌÅAêûÉÍ­¢ªAÙ©Ìpx
ÅÍã¢ÊªoÄ­éB»Ì½ßAJcÍÓNÉ
ͼèð ÌOÉo·æ¤ÉÈÁ½B»Ì‚³Í
w\ÌOÅA•ð\¦½žÌ‚³Å éB

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ÐèæèÄzŠ°@

A B

A ŠèªEèŶèñðÍñÅ«½ê‡ AB When your partner grabs your left wrist

with his right hand, step to his side with your
B ¶«æèüègµA¶èðà¤Éü¯A ÌO
left foot while turning your left hand inward and
ÉàÁÄ­éB bringing it in front of your abdomen.
C ˜ðÐËèȪç³çɶ«ðŠèÌãûÉi C Take a further step to the rear of your partner
ß with your left foot while twisting your hips.
D Throw your partner by strongly pushing his
D ¶rŊèÌñð­­ãûɟµº°Ä|·B
neck down to the rear with your left arm.

|C“g Commentary

@ÄzŠ°ÅÍAŠè̤ÊÉÍ¢Á½çŠèÆ When you move to the side of your partner,

¯¶ûüð©éB
make sure to look in the same direction he is
facing. This is one of the basics of kokyunage
techniques.

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 Katatedori kokyunage

C D

ÄzŠ°
Kokyunage

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³ÊÅ¿ê³@\Z

A Š¼gŊηéB
i¼èy«’¯žjgpXj
gÌviŠ
r’]g¼pi‰V€‹R
yG’nãjŸt‹ž´m

䈊ieU‚X‹Rg

B E«ðOûÉißÂÂAEèÅŠè̳Êð
Å¿A¶èŊèÌe ðË­B
C D·Ýâ©É¶èŊèÌEIðÍÝAEèÅ
ŠèÌEèñð¬èA˜ðÐËÁĊèĮ̀ð
ö·B

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 Shomenuchi ikkyo omotewaza

B C

b c

A Face your partner in ai hanmi.
B Initiate the movement by advancing with
your right foot while vigorously extending your
right tegatana into your partner's face and, at
the same time, execute an atemi to his side
with your left hand. Your partner blocks your
shomenuchi strike with his right hand to protect
his face.
CD Immediately grab his right elbow with your
left hand while pushing his wrist down with your
right tegatana. Then hold his right wrist with
your right hand. Keep holding his right elbow
firmly with your left hand and unbalance him
by twisting your hips and bringing his arm down
in front of your abdomen.

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³ÊÅ¿ê³(\Z

D E

E ¶«ðå«­ŠèðË«òηæ¤ÉißéB
F ŠèÌrðÒÔɟ³¦Â¯A¶èŊèÌE
I🳦AEèŊèÌ㪔ðÅÂB

|C“g

@ÓNÍAJcÍA
uE«ÅOi·év
uEèų
ÊðÅÂvu¶èŊèÌEIðÍÞvÆ¢¤¼
èA¼«ÌOÂÌ®«ð¯žÉµ½ÌÅA¶èÅ
–Ägðüê¸É·®ŠèÌEIðÍñ¾Bൠe
–Ägðüêéê‡ÍA»Ì Æ·Ýâ©ÉŠè
ÌEIðÍÜȢƤܭ¢©È¢B E Take a large step diagonally forward with
your left foot. The Founder said on this point,
@
w¹xÉÍunãɟ³¦éžA»Ìrðg
Knock your opponent down with your left
ÌƼpÉ·é±ÆªdvÅ évÆ éB»ê leg.
ÉÍAŠę̀Ærª¾¢½¢ê¼üÉÈéæ¤ F Pin his arm at a right angle to his body. Sit
on his arm and close your knees tight. Pin your
ɟ³¦éBܽAÅã̟³¦ÅÍAŠèÌE
partner's right elbow to the floor with your left
rðÒÔɟ³¦ÄAEèÅŠèÌ㪔ð hand and execute a shomenuchi strike to his
ÅÁÄ¢éªAÓNÉÍAÊ^-fÌ`Åî{Ì head with your right hand.
®ìÍIíÁ½B±Ì`ÅऊèÍÜÁ½­®
¯È¢B
@ȨAw¹xÉÍuæê@vÆ éªA±ê
ÍÌ¿Éu³ÊÅ¿ê³\ZvÆ¢¤¼OÉÈÁ
½ZÌ´`Å éB

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Commentary
The Founder in his later years, executed the
three movements with his hands and feet at
the same time, that is, the step forward with
the right foot, the execution of a shomenuchi
strike with the right hand, and grabbing the
partner's right elbow with the left hand.
Therefore, he directly grabbed his partner's
right elbow with his left hand without executing
an atemi. If you execute an atemi with your
left hand in the movement shown in photo B,
you have to make sure to grab his right elbow
immediately after that. Otherwise, you will not
be able to execute this technique successfully.
The Founder said in Budo: When pinning
www.aikidojournal.com
Shomenuchi ikkyo omotewaza
f’
your partner to the ground it is essential
that his arm be at a right angle to his body.
This means you align his arm with his
shoulders.
Moreover, in the position shown in photo F,
you squeeze your partner's right arm with your
knees and execute a shomenuchi strike to his
head with your right tegatana. However, late
in his life, the Founder finished this basic
movement with the pinning position shown in
photo f’. This pinning form is effective enough
to immobilize your partner.
This technique is called dai ippo in Budo.
This is the original form of the technique which
the Founder called shomenuchi ikkyo
omotewaza in his final years.
Takemusu Aikido Special Edition 47
³ÊÅ¿ê³@ Z@C̬ê

A B

A Š¼gŊηéB
B ŠèªE«ð¥ÝžñÅEèųÊðÅÁÄ«
½ê‡AEèÅó¯éBÌÌÏXÌvÌŶ«Ì
ÜæðŠèÌE«ÌÜæÌOÉË«‡í¹éæ¤
ɵA¶èŊèÌEIðÍÝ
C EèŊèÌEèñðÍÝA¶«ð²ÉµÄE
«ðãûÉJ¢Ä 180 xñ]µ
D Šè🳦¯éB
E FŠèÌrðÒÔɟ³¦Â¯A¶èŊèÌ
EI🳦AEèŊèÌ㪔ðÅÂB
b
A Face your partner in ai hanmi.
B As your partner advances forward with his
right foot and executes a shomenuchi strike
with his right hand, block it with your right hand.
Align the toes of your left foot with the toes of
your partner's right foot in the same manner
as in tai no henko, and grab his right elbow
with your left hand.

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 Shomenuchi ikkyo urawaza ki no nagare

C D

E F
C Grab his right wrist with your right hand. EF Sit on his arm and close your knees tight.
Pivot on your left foot and bring your right foot Pin your partner's right elbow to the floor with
to the rear by twisiting your hips 180 degrees your left hand and execute a shomenuchi strike
to the right. on his head with your right hand.
D Pin his arm to the floor at a right angle to
his body.

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³ÊÅ¿ÄzŠ°@C̬ê

A t¼gŊηéB
mgX
Y,jenʒÅc‚
e|X
cAGm{’­NŸV
[NGmãûjôŠc

B ŠèÍEèðªãÉUè©ÔèAE«ð¥Ýž
ñųÊðÅÁÄ­éB
C ¶«ðŠèÌE¤ÉißAEèŊè̳ÊÅ
¿ðó¯A¶èŊèÌe É–ÄgðüêéB
D ³çÉ[­üègµA¶èŊèÌãÝðæ
èAEèÅŠèÌEèðEºÉØèŽÆ·B
±ÌžAãûð©éB

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 Shomenuchi kokyunage ki no nagare

B C

A Face your partner in gyaku hanmi.
BC When your partner advances forward with
his right foot and executes a shomenuchi strike
from above his head with his right hand, step
to the right side of your partner with your left
foot, while blocking his strike with your right
hand and executing an atemi to his side with
your left hand.
D
D Step further to the rear of your partner with
your left foot and grab his collar from behind
with your left hand. The Founder said in this
movement, Cut his right tegatana down to the
right with your right tegatana. Moreover, make
sure to look in the same direction as your
partner when you move to his side.

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³ÊÅ¿ÄzŠ°(C̬ê

E F

E EèðŠèÌ{ÌºÉ Ä E Place your right hand under your partner's

chin.
F G E«ð¥ÝžÝŠèÌ{ðË«|µÄ
FG Step through with your right foot while
Š°éB pushing his chin downward to throw your
H ¼gÌÌ`ðÛ¿AwæÉÍðüêÄCÍð[ partner.
ž³¹AÌðÀè³¹ÄgðçéB H Be stable and remain in a correct hanmi
position after throwing your partner. Put ki
energy into your fingertips and protect yourself
from any further attack.

|C“g Commentary

@Ê^DÅAŠèÌEèðEºÅÍÈ­©ªÌ In the movement shown in photo D, if you

³ÊÉØèŽÆ·ÆüègÉÈçÈ¢BEºÉØ
cut down your partner’s right hand in front of
you instead of downward to the right, you have
èŽÆ¹Î¶«Å[­üèg·é±ÆÉÈéB not executed a correct irimi. Only when you
@Š°IíÁ½ ÆàJcÌu\¦vÉ¢ÄÌ take a large step to the rear of your partner
³¦Ì²Æ­A¼gÌ`ðö³Ê±ÆªdvÅ  with your left foot, will you be able to cut his
right hand down to the right.
éB
After throwing your partner, it is essential that
you stay in a correct hanmi position as the
Founder stated in the teachings about kamae
in Budo.

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 Shomenuchi kokyunage ki no nagare

G H

JcAÅ·½ ‡Cï{”¹ê 1964 N Ê^ñŸF‹e‹E”H“ENŒ“l‹

Founder at Aikikai Hombu Dojo, 1964. Photo courtesy of Walther von Krenner

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³ÊÅ¿¬èÔµ@C̬ê

A
A Š¼gŊηéB
B ŠèªE«ð¥ÝžñÅEèÅ³ÊðÅÁÄ
«½ê‡AŠèÌEèðUè©Ô鮫ɇí¹
Ķèðã°éB
C ŠèÌE聪Uè¨ë³êéÌɇí¹ÄA
¶«ð²ÉµÄE«ðJ«AŠè̤ÊÉñèž
ÞB¯žÉ¶èÅŠèÌEèðØèŽÆµÈ
ªç¶èŊèÌEèðÍÝAEèŊèÌçÊ
ɖÄgðüêéB±ÌžAewŊèÌòwÌ
t¯ªðAòwƬwŊèÌèñÌÖßð¬
éB
D EèðY¦Ä¶«ðãûÉø«AŠèð|·B
RgÌLiŠ
Gm諒ˆ®ZVU‹
³¼wmPª’§X
’Èeèò’¬Šêwje
¬Šû??³¼wg¬wg

A Face your partner in ai hanmi.

B When your partner steps forward with his
right foot while bringing his right hand over his
head in order to execute a shomenuchi strike,
blend with his movement and raise your left
hand.
C Cut his right tegatana down with your left
hand while blending with his downward strike
and, at the same time, pivot on your left foot
bringing your right foot to the rear and turning
your hips to your partner's side. Grab your
partner’s right hand with your left hand and

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 Shomenuchi kotegaeshi ki no nagare

B C

c D
execute an atemi to his face with your right
hand. The Founder said in this regard, Place
your thumb at the base of your partner’s
ring finger, and your little finger and ring
finger on his wrist.
D Place your right hand on the back of your
partner's right hand. Take a large step to the
rear with your left foot and throw him by turning
his right wrist outward with both your hands.

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³ÊÅ¿¬èÔµ(C̬ê

E F

JcÌÓNÌÅßÌ` (ÀÁ½ê‡j JcÌÓNÌÅßÌ` (§Á½ê‡j

Seated pin as performed Standing pin as performed
by the Founder in his later years by the Founder in his later years

E FEèŊèÌEèñðº©çÍÝAŸ³¦ž EF Grab his right wrist from below with your

ÞB right hand and pin him.

|C“g Commentary

@Ê^BÌ‡í¹ªåØÅ éB±Ì‡í¹ªÅ In the movement shown in photo B, it is

«È¢ÆÍ¢êÈ¢B important to blend with your partner's
movement. Otherwise, you will not be able to
@JcÌÓNÉÍÅãÌÅßÌ`ÍÏíÁ½B
execute this technique successfully.
The Founder changed the pinning position
in his later years.

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 Shomenuchi kotegaeshi ki no nagare

ŒžÅÌuKïÉÄ@1992 N@ó¯FÄ¡mOtÍ
Author at Tokyo seminar with Hitohiro Saito Shihan, c. 1992

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³ÊÅ¿ñ³@ Z

A Š¼gŊηéB
B ¶«ðißAEèŊè̳ÊðÅ¿A¶èÅ
ŠèÌe ðU‚·éBŠèÍEèű¿ç̳
ÊÅ¿ðó¯éB
C ¶«ð²ÆµÄE«ðJ«Aå«­Ìðñ]³
¹Èªç¶èŊèÌEèñðµÁ©èÆÍÝA
EèÅŠèÌEèðØèŽÆ·B

A Face your partner in ai hanmi.

B Initiate the movement by vigorously
‹T@NGmE蒧X
mO]’¬ŠA¹j͒ü
†›j?eA¶è’ÈeG
Eèò’tj·ŠV’¹m
êw’ºjôVcTAGm

extending your right tegatana into your

partner's face while advancing forward with
your left foot and aligning the toes of your left
foot with the toes of your partner's right foot.
At the same time, execute an atemi to his side
with your left hand. He blocks your strike with
his right hand to protect his face.
C Grab his right wrist firmly with your left hand
while cutting his right hand down with your right
tegatana and, at the same time, pivot on your
left foot bringing your right foot to the rear.

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 Shomenuchi nikyo urawaza

B C

âÔ ïé¹êÉÄ@1987 N ó¯FpgŠVAEw“hŠbNX
Author applying nikyo pressure on Patricia Hendricks at Iwama Dojo c. 1987

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³ÊÅ¿ñ³( Z

D E

D E¶ðŠèÌEèñÌƱëÉ·×ç¹éæ¤ D Slide your right palm down to your partner’s

ɵÄAewðŠèÌEè̺ÉñµÄŠèÌE
right wrist. Move your thumb around the back
of his right hand while reversing his right wrist
èñðtÉæèA¹É ÄéB and grabbing it from below with your right hand,
E FŠèÌÙ¤ÖÌðX©¹Äñ³ðø©¹éB and bring it against your chest.
G H¶èŊèÌEIðÍÝAŠèÌE¨ðôÉ EF Apply nikyo pressure by inclining your
body toward your partner.
ŸµÂ¯
GH Grab your partner's right elbow with your
I ŠèÌE¤ÉÀèAŠèÌErð¶rÅÍ³Ý left hand and pin his shoulder to the floor.
žÝA»Ì¶èÅ©ªÌ¹ðÍÝA¼èŊèÌ I Lower into a seated position to the right side
of your partner. Grab your chest with your left
Erð§·éB
hand to secure your partner's right arm. Lean
forward toward his head and apply pressure
|C“g
against his right shoulder.

@
w¹xÉÍuæñ@vÆ éªA±êÍÌ¿
Éu³ÊÅ¿ñ³ ZvÆ¢¤¼OÉÈÁ½ZÌ
´`Å éB Commentary
@
w¹xÉ éÊèA³ÊÅ¿ê³à³ÊÅ¿ This technique is called dai niho in Budo. This
ñ³àî{ÅÍK¸±¿ç©çÅÁÄ¢­B is the original form of the technique which the
Founder called shomenuchi nikyo urawaza in
his later years.
Make sure that you initiate the movement in
the basic techniques of shomenuchi ikkyo and
nikyo as shown in Budo.

60wY‡C¹xʪ

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 Shomenuchi nikyo urawaza

F G

H I

Takemusu Aikido Special Edition 61

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³ÊÅ¿O³@ Z

D
A Š¼gŊηéB
GmEr’§X
r’\¶šjg~
GmE¤j¿V¼

B ¶«ðißAEèŊè̳ÊðÅ¿A¶èÅ
ŠèÌe ðU‚·éBŠèÍEèű¿ç̳
ÊÅ¿ðó¯éB
C ¶«ð²ÆµÄE«ðJ«A¶èŊèÌEI
ðÍÝAå«­ÌðJ«ÈªçEèÅŠèÌE
èðØèŽÆ·B
D EèŊèÌEèwæð¬èAãÉË«ã°È
ªç­µË¶èA¶èŊè̶ðtÉÍñÅè
ð¬èϦ
E F ˜ðÐËÁÄEèŊèÌÊɖÄgðü
êéB

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 Shomenuchi sankyo urawaza

B C

E F
A Face your partner in ai hanmi. D Grab the fingers of your partner's right hand
B Initiate the movement by vigorously with your right hand, bring his hand upward
extending your right tegatana into your while twisting it, then change your right hand
partner's face while advancing forward with grip on his hand to a left hand grip taking his
your left foot and aligning the toes of your left hand from below.
foot with the toes of your partner's right foot. EF Execute an atemi to your partner's face
At the same time, execute an atemi to his side with your right hand while twisting your hips
with your left hand. He blocks your right hand and applying sankyo pressure.
with his right hand to protect his face.
C Grab your partner's right elbow firmly with
your left hand, while cutting his right hand down
with your right tegatana and, at the same time,
pivot on your left foot bringing your right foot
to the rear.

Takemusu Aikido Special Edition 63

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 G H

I
G G Place your right hand on his right elbow and
pull him down while stepping to the rear with
your left foot.
HI
HI Lower into a seated position to the right
side of your partner. Change your left hand grip
on his hand to a right hand grip and grab your
chest with your left hand to secure his right
arm. Lean forward toward his head to apply
pressure against his right shoulder.

Commentary

This is the original form of shomenuchi

sankyo urawaza.

64

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 Shomenuchi sankyo urawaza

O³ Sankyo

Takemusu Aikido Special Edition 65

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¡ÊÅ¿üègŠ°

A Š¼gŊηéB
B ŠèªE«ð¥ÝžñÅEèÅ¡ÊðÅÁÄ«
½ê‡A¶«ðí¸©É¶ÎßOÉißÂÂA¶
èŊèÌ¡Êðó¯éƯžÉEèŊèÌÊ
ðÅÂB
C D E ¶«ÅŠèÌãëÉ[­üègµAEè
ÅŠèÌEèðØè¨ëµÈªç¶èŊèÌ
e É–Ägðüê

66wY‡C¹xʪ

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 Yokomenuchi iriminage

B C

D E

A Face your partner in ai hanmi.
B When your partner steps forward with his
right foot and executes a yokomenuchi strike
with his right hand, advance diagonally to the
left with your left foot and parry his strike with
your left hand, while at the same time striking
his face with your right hand.
CDE Take a large step to the rear of your
partner with your left foot while cutting his right
hand down with your right tegatana and, at the
same time, execute an atemi to his side with
your left hand.

Takemusu Aikido Special Edition 67

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¡ÊÅ¿üègŠ°

F G

H I
F ¶èŊèÌãÝðÍÝ F Grab your partner's collar from behind with
G Šèð©ªÌ¹³Éø«ñ¹ your left hand.
G Bring your partner toward your chest by
H IE«ð¥ÝžÝÂÂAEàIŊèÌñðŸ
pulling his collar.
µ|·B HI Step through with your right foot and throw
your partner while pushing his neck down with
your inside right elbow.

68wY‡C¹xʪ

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 Yokomenuchi iriminage

¡ÊÅ¿ðó¯é
Defense against yokomenuchi strike

Takemusu Aikido Special Edition 69

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¡ÊÅ¿lûŠ°

A Š¼gŊηéB
’§X‹jnÌviŠ

”Eèmêwje¬”

®ìX‹’vX

GmEr’gS¾e

B ŠèªE«ð¥ÝžñÅEèÅ¡ÊðÅÁÄ«
½ê‡A¶«ð¶ÎßOÉißÂÂA¶èŊè
Ì¡Êðó¯éƯžÉEèŊèÌÊðÅÂB
C EèŊèÌEèñ̬”ð¬èA¶èŊè
ÌEèÌewÌt¯ªðÍÝ

70wY‡C¹xʪ

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 Yokomenuchi shihonage

B C

b
lûŠ°Ì¬èû
Close-up of shihonage hand grip
A Face your partner in ai hanmi.
B When your partner steps forward with his
right foot and executes a yokomenuchi strike
with his right hand, advance diagonally to the
left with your left foot and parry his strike with
your left hand while at the same time striking
his face with your right hand.
C Grab your partner's right wrist with your right
hand and the base of his right thumb with your
left hand.

Takemusu Aikido Special Edition 71

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¡ÊÅ¿lûŠ°

D E

D ¶«ðiß
E F ˜ðÐËÁÄ180xü«ðϦA•ðØè¨
ë·æ¤ÉŠèÌEèðØ躰
G Š°éB
H ¶«ðãûÉø«AŠèÌEèð§·B
e
D Step forward with your left foot.
E Turn your hips 180 degrees while bringing
his right hand down as if cutting with a sword.
G Throw your partner.
H Bring your left foot to the rear and immobilize
your partner.

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 Yokomenuchi shihonage

F G

f H

|C“g

@Ê^DÅÍEèÌewŊè̬”ðµÁ©è
Ɵ³¦Â¯A•ðØè¨ë·æ¤ÉŠèðŠ°
éB

Commentary

In the position shown in photo D, make sure

to press your right thumb to your partner's right
wirst. When throwing, bring his right hand down
as though cutting down with a sword.
h

Takemusu Aikido Special Edition 73

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 ¡Êſܳ@ Z

A Š¼gŊηéB A Face your partner in ai hanmi.

B ŠèªE«ð¥ÝžñÅEèÅ¡ÊðÅÁÄ«
B When your partner steps forward with his
right foot and executes a yokomenuchi strike
½ê‡A¶«ð¶ÎßOÉißA¶èŊèÌ¡ with his right hand, advance diagonally to the
Êðó¯éƯžÉEèŊèÌÊðÅÂB left with your left foot and parry his strike with
C EèŊèÌEèñðµÁ©èƺ©çÍÝ your left hand while at the same time striking
his face with your right hand.
C Grab your partner's right wrist firmly from
below with your right hand.

74wY‡C¹xʪ

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 Yokomenuchi gokyo urawaza

B C

¡ÊÌbû
Block and counterstrike against yokomenuchi attack

Takemusu Aikido Special Edition 75

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 ¡Êſܳ( Z

D E

d
D E F ¶èŊèÌEIðÍÝA¶«ð²Æµ DEF Hold your partner's right elbow with your
ÄE«ðãûÉø«AÌðå«­J«ÈªçŠè left hand and pivot on your left foot while
bringing your right foot to the rear and turning
ÌEr🳦¯éB
your hips, then pin his right arm to the floor.

76wY‡C¹xʪ

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 Yokomenuchi gokyo urawaza

|C“g Commentary

@±ÌZ̼OÍw¹xÉ͑©êĢȢªA This technique is not named in Budo. This is

Ì¿Ì¡Êſܳ ZÌî{Å éB the basic form of what the Founder called
yokomenuchi gokyo urawaza in his later years.

Takemusu Aikido Special Edition 77

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¡ÊÅ¿ñ³@ Z
A B
A Š¼gŊηéB
B ŠèªE«ð¥ÝžñÅEèÅ¡ÊðÅÁÄ«
½ê‡A¶«ð¶ÎßOÉißA¶èŊèÌ¡
Êðó¯éƯžÉEèŊèÌÊðÅÂB
C ¶èŊèÌEèñðµÁ©èÆã©çÍÝA
¶«ð²ÆµÄE«ðãûÉø¢ÄÌðå«­J
«ÈªçEèÅŠèÌEèðØèŽÆµ
D E¶ðŠèÌEèñÌƱëÉ·×ç¹éæ¤
ɵÄAewðŠèÌEè̺ÉñµÄŠèÌE
èñðtÉæèA¹É ÄéB
E ŠèÌÙ¤ÖÌðX©¹Äñ³ðø©¹éB
F ¶èÅŠèÌEI𪫞Þæ¤ÉØ躰
ÂÂAŠèÌE¨ðôɟµÂ¯
G ŠèÌE¤ÉÀèAŠèÌErð¶rÅͳÝ
žÝA»Ì¶èÅ©ªÌ¹ðÍÝA¼èŊèÌ
Erð§·éB
78wY‡C¹xʪ
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A Face your partner in ai hanmi.
B When your partner steps forward with his
right foot and executes a yokomenuchi strike
with his right hand, advance diagonally to the
left with your left foot and parry his strike with
your left hand while at the same time striking
his face with your right hand.
C Grab his right wrist firmly from above with
your left hand while cutting his right hand down
with your right tegatana and, at the same time,
pivot on your left foot bringing your right foot
to the rear.
D Slide your right palm down to your partner's
right wrist. Move your thumb around the back
of his right hand while reversing his right wrist
and grabbing it from below with your right hand,
and bring it against your chest.
 Yokomenuchi nikyo urawaza

C D

E F

E Apply nikyo pressure by inclining your body

toward your partner.
F Push your partner's right elbow down with
your left tegatana as though wrapping it in, then
pin his right shoulder to the floor.
G Lower into a seated position to the right side
of your partner. Grab your chest with your left
hand to secure your partner's right arm. Lean
forward toward his head to apply pressure
against his right shoulder.

Takemusu Aikido Special Edition 79

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¡ÊÅ¿l³@\Z

A Š¼gŊηéB
üjؗX

”m?O¤’­Nœmû
mª’Èe¬”½n¬
eGmO]’¬Šl·w

¬wA³¼wj͒üŒ

B ŠèªE«ð¥ÝžñÅEèÅ¡ÊðÅÁÄ«
½ê‡A¶«ð¶ÎßOÉißA¶èŊèÌ¡
Êðó¯éƯžÉEèŊèÌÊðÅÂB
C EèÅŠèÌEèðØè¨ëµÂ¶èŊ
èÌEIðÍÝA˜ðÐËÁĊèĮ̀ðöµ
ȪçEèŊèÌEèñð¬èAŠè🳦
¯éB
D ¶«ðißAEèŊèÌEèñð¬èA¶è
ͻ̭µãðÍÝA¶èÌl·wÌt¯ªÅŠ
è̬”ÌââO¤ðœÌûüɳ—·éB
E F ¶«ðißĊè🳦¯éB

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 Yokomenuchi yonkyo omotewaza

B C

E F

A Face your partner in ai hanmi.

B When your partner steps forward with his
right foot and executes a yokomenuchi strike
with his right hand, advance diagonally to the
left with your left foot and parry his strike with
your left hand while at the same time striking
his face with your right hand.
C Grab your partner's right elbow with your
left hand and cut his right hand down with your
right tegatana while unbalancing him by
twisting your hips. Then hold his right wrist with
your right hand and bring his arm in front of
f
your abdomen to immobilize him.
D Step forward with your left foot. Grab your ulna with the base of your left index finger.
partner's right wrist with your right hand and place EF Step forward with your left foot and pin
your left hand slightly above his wrist. Apply your partner to the floor.
yonkyo pressure on the nerve against the exterior

Takemusu Aikido Special Edition 81

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¼èæèlûŠ°@\Z

A Šèª¼èñðÍñÅ«½ê‡
B ¶«ð¶ÉÚµŠ¼gÆÈèAEèŊèÌE
èñð¬éB
C ¶èÌwæÉÍðüêĊèÌEèð¨Ìûü
ÉË«ã°
D ¶«ðOûÉißA˜ðÐËÁÄ180 xÌÌü
«ðϦ
E •ðØè¨ë·æ¤ÈC¿ÅŠèÌErðØ
躰Ä

AB When your partner grabs both your wrists,

’ØVGm-蒮5j§X

jøL-èmêwjeGm¬”

w³¼wj͒üŒe©Èmû

’¨mûüjËLãQ¶èm¬

¶èmwæj͒üŒGm-è

step to the left side with your left foot and

assume ai hanmi, while grabbing his right wrist
with your right hand.
C Put ki energy into the fingertips of your left
hand and apply pressure upward against your
partner's right hand toward his shoulder.
D Step forward with your left foot and turn your
hips 180 degrees.
E Bring his right hand down as if cutting with
a sword.

82wY‡C¹xʪ

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 Ryotedori shihonage omotewaza

B C

D E

ŠèĮ̀ðö·(Unbalancing the opponent in shihonage

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¼èæèlûŠ°(\Z

F G
F Š°|µ F Throw your partner.
G Ÿ³¦Â¯éB G Bring your left foot to the rear and immobilize
your partner.

|C“g Commentary

@Ê^B̞AewðŠè̬”É ÄéBÊ^ In the position shown in photo B, make sure

C ̞ÉÍ ÌÍð˜p·éB
@
w¹xÉÍuŠ°ÌbûvÆ éªA±êª
¼èæèlûŠ°Ì´`Å éBJcÌÓNÉ
ÍA\Z͊¼gÉÈÁĤʩçÍ¢èA Z
Ít¼g©çŠ°ÉÍ¢éæ¤ÉÈÁ½B
to press your right thumb to your partner's right
wrist. In the movement shown in photo C, exert
the power of your abdomen.
This technique is called nage no tanren in
Budo. This is the original form of ryotedori
shihonage.
The Founder taught us in his later years to
assume ai hanmi by stepping to the side when
initiating the technique in omotewaza, and to
assume gyaku hanmi instead in urawaza.

84wY‡C¹xʪ

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 Ryotedori shihonage omotewaza

âÔ ïé¹êÉÄ 1978 N ó¯FWƒC\“EC[

Applying shihonage at Iwama Dojo in 1978. Uke: Jason Yee

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¼èæèlûŠ°@ Z

A B

a b
A ŠèªE¼gżèñðÍñÅ«½ê‡
B CEèŊèÌEèñð¬èA¶«ÌÜæðŠ
èÌE«ÌÜæÉË«‡í¹éæ¤ÉµÄA»Ì
«ð²ÉµÄE«ðø«A180 xü«ðϦéB
D E ˜ðÐËÁÄܽ 180 xü«ðϦȪçA
•ðØè¨ë·æ¤ÈC¿ÅŠèÌErðØè
º°Ä
F Š°|µAŸ³¦Â¯éB
AB When your partner grabs both your wrists
from right hanmi, grab his right wrist with your
right hand while aligning the toes of your left
foot with the toes of his right foot.
C Pivot on your left foot while bringing your
right foot to the rear and turning your hips 180
degrees.
DE Bring his right hand down as if cutting with
a sword while turning your hips again 180
degrees.
F Throw your partner and immobilize him.

86wY‡C¹xʪ

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 Ryotedori shihonage urawaza

C D

E F

|C“g Commentary

@Ê^B̞AewðŠè̬”É ÄAEèÌ In the position shown in photo B, make sure

ewŊè̬”𳗵ĊèÌErð®SÉ
to press your right thumb to your partner's right
wirst and keep his right arm under perfect
§·éB control.

Takemusu Aikido Special Edition 87

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‡CÌbû@
iÄzŠ°j

A Šèª¶èÅEèñðÍñÅ«½ê‡
B C EèñðÔµŠè̶IªãÉÈéæ¤É
µÄ
D Šè̶IªñçÈ¢æ¤ÉIðUßĊ°
éB

|C“g

@±ÌZ͊èªÍÝÉ«½žÉ‡í¹ÄAŠè
ÌIðLÑ«ç¹éæ¤ÉµÈ¢ÆÅ«È¢Bñ
íɂxÈZÅ éB

ABC When your partner comes to grab your

V¾‹‚miŠ

ˊe©Rjð¾

‡VnûKm¿j

right wrist with his left hand, bring his left elbow
upward by turning your right wrist.
D Apply pressure against his left elbow by
extending your right arm toward his elbow.
Make sure not to allow your partner to bring
his elbow down.

88wY‡C¹xʪ

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 Aiki no tanren (kokyunage)

B C

Commentary

To execute this technique successfully, it is

essential you blend with your partner's grab
and lead him to hyperextend his left arm. This
is a technique of the highest level.

'%& NâÔÉÄ Iwama Dojo,1978

Takemusu Aikido Special Edition 89

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 ¼èæèVnŠ°@C̬ê

A t¼gŊηéB
B ŠèªE¼gżèñðÍñÅ«½ê‡
C Eè͊è̶èÌऩçèðUè©´·
æ¤ÉµA¶è͊èÌEèÌãÉàÁÄ«Ä
D ¶«ð²ÉµÄE«ðJ¢ÄŠèðÛ­¬·B
E F G E«ðŠèÌãûɥݞÝȪçA¶
è͊èÌãûÉAEè͊è̶¨ÌãÉË«
oµÄŠ°éB

90wY‡C¹xʪ

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 Ryotedori tenchinage ki no nagare

B C

E F
A Face your partner in gyaku hanmi.
BC When your partner comes to grab both
your hands from right hanmi, raise your right
tegatana upward from the inside of your
partner's left hand and bring your left hand in
front of your abdomen.
D Pivot on your left foot while bringing your
right foot to the rear and, at the same time,
lead your partner to turn with you.
EFG Step to the rear of your partner with your
right foot while extending your left hand to his
rear and your right hand over his left shoulder,
and throw your partner. G

Takemusu Aikido Special Edition 91

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Ë«üègŠ°

A Š¼gŊηéB
B ŠèªE«ð¥ÝžÝEèÅˢī½ê‡A
¶«Åå«­üègµA¶èŊèÌErÌt¯
ªðÍÝ
C D ¶èð©ªÌEeºÉø«ñ¹Èªç
E E«ð¥ÝžÝAEàIŊèÌñ𭭟µ
Š°éB
F ¼gÌÌ`ðÛ¿AwæÉÍðüêÄCÍð[
ž³¹AÌðÀè³¹ÄgðçéB

|C“g

@ŠèÌErÌt¯ªðÍñ¾¶ðEeºÉü
êéæ¤ÉµÄŠ°éB

92wY‡C¹xʪ

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 Tsuki iriminage

B C

E F

A Face you partner in ai hanmi.
B When your partner advances forward with
his right foot and punches with his right hand,
take a large step to the rear of your partner
with your left foot while grabbing him at the
back of his right shoulder with your left hand.
CD Pull your partner toward you by bringing
your left fist to your right armpit.
E Step through with your right foot and throw
your partner by strongly pushing his neck down
with your inside right elbow.
F Remain stable and stay in a correct hanmi
position after throwing your partner. Put ki
energy into your fingertips and protect yourself
from any further attack.
Commentary
The Founder said, Bring your left fist to
your right armpit after having grabbed the
back of his right shoulder in order to throw
your partner.

Takemusu Aikido Special Edition 93

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¡ÊÌbû

A Š¼gŊηéB A Face your partner in ai hanmi.

B ŠèªE«ð¥ÝžñÅEèÅ¡ÊðÅÁÄ«
B When your partner steps forward with his
right foot raising his right tegatana to execute a
½ê‡A¶«ð¶ÎßOÉißÂÂAŠèªEè yokomenuchi strike, blend with the movement
ðUè©ÔéÌɇí¹Ä¼èðã°éB of his right hand and raise both your hands,
C ¶èŊèÌ¡Êðó¯éƯžÉEèŊè while advancing diagonally to the left with your
left foot.
ÌÊðÅÂB
C Parry his yokomenuchi strike with your left
hand and, at the same time, strike his face with
your right hand.

94wY‡C¹xʪ

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 Yokomen no tanren

B C

|C“g Commentary

@곩çܳAlûŠ°AüègŠ°ÈÇÌ¡ All basic yokomenuchi techniques such as

ÊÌî{ZÍ·×ıÌ`©çÍ¢éB@ ikkyo through gokyo, shihonage, iriminage and
so on, begin in this manner.

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ãÝæèÄzŠ°
ãûÉø©ê½ê‡
A ŠèÉEèÅãÝðÍÜêAãûÉø©ê½ê
‡
B CŠèÉãûÉø©êéÌɇí¹AE«ð²
ƵĶɘðÐËèȪçAŠèÌEãûÉå
«­¶«ðø­Æ¯žÉ¶èŊèÌÊðÅ¿@
96wY‡C¹xʪ
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When pulled
ABC When your partner grabs your collar
from behind wih his right hand and pulls you
back, blend with his pulling movement and step
to his right rear with your left foot while pivoting
on your right foot and turning your hips to the
left. At the same time, strike your partner's face
with your left hand.
 Ushiro eridori kokyunage

B C

E F

D E EèŊèÌݼ¨¿ðU‚µÄ@ DE Strike the pit of your partner's stomach

with your right hand.
F ŠèðŸµ|·B
F Throw your partner by pushing him down.

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ãÝæèÅßZ@

ãûÉø©ê½ê‡
A ŠèÉEèÅãÝðÍÜêAãûÉø©ê½ê
‡
B E«ðEãûÉø«ÂÂA¶èŊèÌÊðÅ
¿@
C ¶«ðãëÉø¢ÄAŠèÌEr̺ð­®Á
ĊèÌãûɲ¯@

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 Ushiro eridori katamewaza

B C
3

When pulled
AB When your partner grabs your collar from
behind with his right hand and pulls you back,
step to the right rear with your right foot while
striking his face with your left hand.
C Take a step to the rear of your partner with
your left foot passing under his right arm.

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ãÝæèÅßZ

D E

d e

D EèŊèÌEIð§µA¶èŊèÌe ð D Immobilize your partner's right arm with your

right hand and, at the same time, execute a
U‚·éB
strike to his side with your left tegatana.
E ¶èŊèÌwðÅ¿|·B E Push your partner's back down with your
F G Šè🳦¯éB left hand and bring him to the mat.
FG Pin your partner to the mat.

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 Ushiro eridori katamewaza

F G

Šèð§·
Founder applying shoulder bar

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ãÝæèÄzŠ°@

Oûɟ³ê½ê‡
|C“g
A ŠèÉEèÅãÝðÍÜêAOûɟ³ê½ê
‡ @Ê^B ̞AE«ðEÎßOÉ¥ÝoµA»Ì
B Ÿ³êéÌɇí¹E«ðEÎßOÉ¥Ýo «ð²ÆµÄ¶É˜ðÐËéBE«ðÜÁ·®O
µA¶èŊèÌÊðU‚µ@@ ÉißÈ¢±ÆB
C D ˜ð¶ÉÐËè¶èÅŠèÌÊðÅ
¿|·B

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 Ushiro eridori kokyunage

B C

When pushed Commentary

AB When your partner grabs your collar from
behind with his right hand and pushes you In the movement shown in photo B, be sure
forward, blend with his pushing movement and to step to the right and forward with your right
step diagonally forward and to the right with foot and turn your hips to the left. Do not step
your right foot. At the same time, strike his face directly forward.
with your left tegatana.
CD Twist your hips to the left and throw your
partner by striking his face down with your left
tegatana.

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ãÝæèÄzŠ°

A ŠèÉEèÅãÝðÍÜê½ê‡
B CE«ð²ÆµÄEÉñ]µA¶«ÅŠèÌã
ûÉüègµÈªçEèÅŠèÌErðÅ¿¨
ë·B
D E F G ¶èŊèÌãÝðÍÝAE«ð¥Ý
üêȪçEèŊèÌÊðÅ¿|·B@

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 Ushiro eridori kokyunage

B C

E F
ABC When your partner grabs your collar
from behind with his right hand, pivot on your
right foot while turning your hips to the right
and stepping to the rear of your partner with
your left foot. At the same time, strike his right
arm downward with your right tegatana.
DEFG Grab your partner's collar from behind
with your left hand and strike him down with
your right fist while stepping through with your
right foot.

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 ã¼èæèÄzŠ°

A ŠèÉãû©ç¼èñðÍÜê½ê‡ AB When your partner grabs both your wrists

B C ˜ðø­æ¤ÉµÄ¼èÌwæÉÍðüêA from behind, draw your hips to the rear while
opening your fingers and putting ki energy into
¼èð ÌOÉàÁÄ­éB»ê©ç¶«ðø¢
your fingertips, and bring your hands in front
ļèðUè©ÔéB of your abdomen.
D E F E«ðø«A¼èðOûÉØè¨ëµÄ C Step to the rear with your left foot raising
both your hands.
ŠèðŠ°éB
DEF Take a step to the rear with your right
|C“g foot and throw your partner forward as though
cutting down with both your hands.
Ê^ A Ì`©ç·®ÉÊ^ C Ìæ¤É¼èð
ã°é±ÆÍÅ«È¢BK¸Ê^AĮ̀©ç˜
ðø­æ¤ÉµÄA¼èÌwæÉÍðüêAÊ^
BÌæ¤É ÌOżèÌwæªð··éæ¤É
àÁÄ­éB@

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 Ushiro ryotedori kokyunage

B C

D E

Commentary

In the movement between photo A and photo

C, you will not be able to raise both your hands
directly from the position shown in photo A.
First you must extend your fingers putting ki
energy into your fingertips, then draw your hips
to the rear while bringing both your hands in
front of your abdomen and aligning your
fingertips. (See photo B)

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 ¾æè¬èÔµ

A t¼gŊηéB
¹Z¬‹RgKviŠ
Eèm¬wA³¼wje¿’

E¤jü‹
jügz»jˊe[NGm
Gm\ja‰“gX‹„_¬

B ŠèªE«ð¥ÝžñŕųÊðÅÁÄ«½
ê‡A¶«ÅŠèÌE¤ÉÍ¢èȪçAŠèÌ
Uè©Ôé•É‡í¹Ä¶èðã°éB
C ¶«ð²ÉµÄE«ðãûÉJ«AŠèÌE¤
ÉñèžñÅãûð©éƯžÉAŠèÌUè¨
뷕ɇí¹Ä¶èÅã©çŠèÌEèðÍ
ÝAEèŊèÌçÊɖÄgðüêéB
D ¶«ðø«ÈªçEèðY¦éB

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 Tachidori kotegaeshi

B C

c D
A Face your partner in gyaku hanmi.
B When your partner steps forward with his
right foot executing a shomenuchi strike with
a sword, blend with the movement of his sword
and raise your left hand, while stepping to the
right side of your partner with your left foot.
C Pivot on your left foot while bringing your
right foot to the rear and turning your hips 180
degrees, and grab his right hand from above
with your left hand harmonizing your
movement with his downward cut. At the same
time, execute an atemi against his face with
your right hand and look in the same direction d
as your partner.
D Place your right hand on the back of your
partner's right hand while stepping to the rear
with your left foot.

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 ¾æè¬èÔµ

E F

G H
E ŠèðÐËè|µ E Turn your partner's right wrist outward with
F G Šè̪ãð¶ÉñèŠè🳦 both your hands to throw him.
FG Turn around your partner's head to the
¯
left and pin his right shoulder against the floor.
H •ðD¤B H Take the sword away from him with your
right hand.

|C“g Commentary

@Ê^C̞A¶èÌew͊èÌòwÌt¯ª In the position shown in photo C, place your

left thumb at the base of your partner's right
É ÄéBÊ^D̞ÉÍAK¸Eè̬wÆò
ring finger.
wŕ̿ð¬éB In the position shown in photo D, make sure
to grab the hilt of the sword with your right little
finger and ring finger.

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 Tachidori kotegaeshi

âԐ¹ÙÉÄ ó¯F_jG‹Ec[^“
Kotegaeshi pin at Iwama Budokan. Uke: Daniel Toutain

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 •³ÊÅ¿ÄzŠ°

D
A t¼gŊηéB
B ŠèªE«ð¥ÝžñŕųÊðÅÁÄ«½
ê‡A¶«ÅŠèÌE¤É[­üègµÂÂ
C ¶èŊèÌãÝðæè
D EèðŠèÌ{̺ɠÄ
E E«ð¥ÝžÝŠèÌ{ðË«|µÄŠ°
éB
F ¼gĮ̀ðÛ¿AwæÉÍðüêÄCÍð[
ž³¹AÌðÀè³¹ÄgðçéB

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 Ken shomenuchi kokyunage

B C

E F
A Face your partner in gyaku hanmi.
B When your partner steps forward with his
right foot to execute a shomenuchi strike with
a sword, take a large step to the right side of
your partner with your left foot.
C Grab your partner's collar from behind with
your left hand.
D Place your right hand under your partner's
chin.
E Step through with your right foot and throw
your partner by pushing his chin downward.
F Be stable and stay in a correct hanmi
position after throwing your partner. Put ki
energy into your fingertips and protect yourself d
from any further attack.

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 ¾æèÄzŠ°

A Š¼gŊηéB
B C ŠèªE«ð¥ÝžñŕųÊðÅÁÄ
«½ê‡AE«ðEÎßOÉißÂÂAŠèÌã
ªé•É‡í¹ÄEèŊèÌݼ¨¿É–Äg
ðüêéB
D E ¶èŊè̿̕ð¬èAEèŊèÌ
ÊðÅ¿|µÄ•ðD¢æéB

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 Tachidori kokyunage

B C

D E

A Face your partner in ai hanmi. DE Grab the hilt of his sword with your left
BC When your partner steps forward with his hand. Throw your partner by striking his face
right foot executing a shomenuchi strike with with your right tegatana and take his sword
a sword, advance diagonally to the right with away.
your right foot. While blending with his
movement as he raises his sword, execute an
atemi to the pit of his stomach with your right
hand.

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 EÌÏ»A¶ÌÏ»
ËNmV’{q½mlg¨‰U‹xJ‰Y
ŠÝj_„iL@NûVaŒoKYaŠËPoKY
’RŠgX
Yj܊iL³@mÁnS*m’jVelj—e‚
?g«Ù¨)
j¹’©ÈmSjQ€‹@NûX‹‚mgX
Gm_„’©ÈmVm[YjˊeÅjŠ’nmº¾
Gm\ja‰“gX‹„Vj_„AŠŸmû@jˊ
’nmº½RgVe®ì’¨V¾‹˜ûX‹’vX
ԄAŠ>*jˊe|giŠg»X

EÌÏ»
A ±¿çª¶¼g̞
B ŠèªE«ð¥ÝžÝÂÂAãiæè•Å³Ê
ðÅÁÄ«½ê‡AE«ðEÉiß B
C ¶«ðø¢ÄE¼gÉÈÁĊè̳ÊÅ¿ð
©í·B

Migi no henka
A Face your partner in left hanmi.
B When your partner advances forward with
his right foot executing a shomenuchi strike
with a sword from above his head, step to the
right with your right foot.
C Bring your left foot to the rear to assume
right hanmi and step off the line of your
C
partner's shomenuchi attack.

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 Migi no henka, hidari no henka

¶ÌÏ»
A ±¿çªE¼g̞
B ŠèªE«ð¥ÝžÝÂÂAãiæè•Å³Ê
ðÅÁÄ«½ê‡A¶«ð¶Éiß
C E«ðø¢Ä¶¼gÉÈÁĊè̳ÊÅ¿ð
©í·B

|C“g

@¶¼g©çEÉ]¶éê‡Í¶èðØçêÈ¢
æ¤ÉAE¼g©ç¶É]¶éê‡ÍEèðØç
A
êÈ¢æ¤ÉÓ·éB

Hidari no henka
A Face your partner in right hanmi.
B When your partner advances forward with
his right foot executing a shomenuchi strike
with a sword from above his head, step to the
left with your left foot.
C Bring your right foot to the rear to assume B
left hanmi and step off the line of your partner's
shomenuchi attack.

Commentary

When you shift from left hanmi to right hanmi,

make sure your left hand is not cut, and when
you shift from right hanmi to left hanmi, be
careful with your right hand.

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 ¡ÊE·@¶EÌÏ»

A A

B B
EÌÏ» ¶ÌÏ»
A t¼gŊηéB A Š¼gŊηéB
B ŠèªE«ð¥ÝžñÅA•Å¶Ì·ðØÁÄ B ŠèªE«ð¥ÝžñÅA•ÅEÌ·ðØÁÄ
«½ê‡AE«ðŠè̶¤ÉißAE¼gÉÈ «½ê‡A¶«ðŠèÌE¤ÉißA¶¼gÉÈ
èAEèŊè̶Ið§·éB èA¶èŊèÌEIð§·éB

Migi no henka Hidari no henka

A Face your partner in gyaku hanmi.
B When your partner steps forward with his
right foot executing a diagonal cut with a sword
to your left side, advance your right foot to the
left side of your partner to assume right hanmi,
and block his left elbow with your right hand.
A Face your partner in ai hanmi.
B When your partner steps forward with his
right foot executing a diagonal cut with a sword
against your right side, advance your left foot
to the right side of your partner to assume left
hanmi, and block his right elbow with your left
hand.

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 Yokomen • Do Sayu no henka

¶ÌÏ»
A Š¼gŊηéB
B C ŠèªE«ð¥ÝžñÅA•ÅEÌ·ð
ØÁÄ«½ê‡AE«ðŠèÌE¤É[­ißA
˜ð 180 xÐËÁĶ¼gÉÈèAŠèÌEIð
§·éB

A
Hidari no henka
A Face your partner in ai hanmi.
BC When your partner steps forward with his
right foot executing a diagonal cut with a sword
against your right side, take a large step to the
right side of your partner with your right foot
and turn your hips 180 degrees assuming left
hanmi. At the same time, block his right elbow
with your left arm.

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¡ÊE·@¶EÌÏ»

A B

a
EÌÏ»
A Š¼gŊηéB
B C D ŠèªE«ð¥ÝžñÅA•Å¶Ì·ð
ØÁÄ«½ê‡A¶«ðŠè̶¤É[­ißA
˜ð 180 xÐËÁÄE¼gÉÈèAErŊèÌ
¶Ið§·éB

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 Yokomen • Do Sayu no henka

C D

d
Migi no henka
A Face your partner in ai hanmi.
BCD When your partner steps forward with
his right foot executing a diagonal cut with a
sword against your left side, take a large step
to the left side of your partner with your left
foot and turn your hips 180 degrees assuming
right hanmi. At the same time, block his left
elbow with your right arm.

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 Z•Ë«ÄzŠ°

A Š¼gŊηéB A Face your partner in ai hanmi.

B ŠèªE«ð¥ÝžñÅAEèÅZ•Å袀 B When your partner advances forward with
his right foot and thrusts at you with a knife,
«½ê‡A¶«ÅŠèÌE¤Éüègµ
step to his right side with your left foot.
C EèðŠèÌ{ºÉ Ä C Place your right hand under your partner's
chin.

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 Tanken tsuki kokyunage

B C

D E
D E«ð¥ÝžÝÂÂAŸµ|·B D Step through with your right foot and throw
E ¼gĮ̀ðÛ¿AwæÉÍðüêÄCÍð[ your partner by pushing his chin downward
with your right hand.
ž³¹AÌðÀè³¹ÄgðçéB
E Remain stable and stay in a correct hanmi
position after throwing your partner. Put ki
energy into your fingertips and protect yourself
from any further attack.

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 Z•æè¬èÔµ@
A Š¼gŊηéB
B ŠèªE«ð¥ÝžñÅEèÅZ•Åˢī
½ê‡A¶«ðŠèÌE¤ÉißA¶èŊèÌ
Eèðã©çÍÞB±ÌžAew͊èÌòwÌ
t¯ªÉ ÄéB
C ¶«ð²ÉµÄE«ðãûÉJ«AŠèÌE¤
ÉñèžñÅãûð©éB¯žÉEèŊèÌç
ÊɖÄgðüêéB
D ¶«ðø«ÈªçEèðY¦
E ŠèðÐËè|µAŠè̪ãð¶ÉñèÂÂ
Šè🳦¯
F G EèÅZ•ðD¢AŠèÌñðØéB
124wY‡C¹xʪ
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D
A Face your partner in ai hanmi.
B When your partner advances forward with
his right foot and thrusts at you with a knife,
step to his right side with your left foot and
grab his right hand from above with your left
hand. Make sure to place your left thumb at
the base of his right ring finger.
C Pivot on your left foot while bringing your
right foot to the rear and turning your hips 180
degrees to his right side. At the same time,
execute an atemi to his face with your right
hand and look in the same direction.
 Tankendori kotegaeshi

B C

E F

DE Place your right hand on the back of your

partner's right hand while stepping to the rear
with your left foot. Turn your partner's right wrist
outward with both your hands to throw him.
Step around his head to the left and pin his
right shoulder against the floor.
FG Take the knife away from your partner with
your right hand and cut his neck.

Takemusu Aikido Special Edition 125

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Z•æèܳ@ Z

A Š¼gŊηéB |C“g
B ŠèªE«ð¥ÝžñÅEèÅZ•Å³Êð
ÅÁÄ«½ê‡AŠèªZ•ðUè©ÔéÌɇ @
w¹xÉÍuê@iê³jðžp·évÆ 

í¹A¶«ðŠèÌE¤Éiß éªA±êÍJcÌÓNAèñðº©çæéܳ

C ¶èŊèÌEIðº©çÍÝAEèŊèÌ  ZÌ`ÉÈÁ½B

e É–ÄgðüêéB
D EèŊèÌEèñðº©ç¬èA¶«ð²É
µÄE«ðãûÉJ«
E Šè🳦¯éB

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 Tankendori gokyo urawaza

B C

D E
A Face your partner in ai hanmi. Commentary
B When your partner advances forward with
his right foot executing a shomenuchi strike The Founder said in Budo: Apply ippo
with a knife, step to his right side with your left (ikkyo) to this technique. However, in his
foot while blending with his movement as he later years, he changed the technique grabbing
raises his knife over his head. his partner's wrist from below as shown above,
C Grab your partner's right elbow from below and called it gokyo urawaza.
with your left hand and execute an atemi to
his side with your right hand.
D Hold your partner's right wrist from below
with your right hand and pivot on your left foot
while bringing your right foot to the rear and
turning your hips.
E Pin your partner to the floor.

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•Î•@Äè

A
A Face your partner in gyaku hanmi.
B When your partner steps forward with his
right foot to strike your right forearm with a
sword, advance diagonally to the left with your
left foot while raising your sword and blending
your movement with your partner as he raises
his sword over his head.
C Strike your partner's forearm.

A t¼gŊηéB Commentary
B ŠèªE«ð¥ÝžñŕÅÄèðØÁÄ«½
ê‡AŠèÌãªé•É‡í¹Ä±¿çà•ðU Make sure not to end up in a mutual kill
cutting situation.
è©ÔèȪçA¶«ð¶ÎßOÉiß
C ŠèÌÄèðØéB

|C“g

@±ÌžAŠ¢¿ÉÈçÊæ¤ÉÓ·éB

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 Ken tai ken kote

B C

•Ì‡í¹@1992 N
Ken awase, 1992 Tokyo seminar

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•Î•@Ê

EÌÏ» Migi no henka

A Š¼gŊηéB A Face your partner in ai hanmi.
B When your partner steps forward with his
B ŠèªE«ð¥ÝžñŕųÊðØÁÄ«½
right foot to strike your face with a sword,
ê‡AŠèÌãªé•É‡í¹Ä±¿çà•ðU advance diagonally to the right with your right
è©ÔèȪçAE«ðEÎßOÉiß foot while bringing your sword over your head
C D E¼gÌÜÜAŠèÌÊðØéB
in harmony with your partner's upward
movement.

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 Ken tai ken men

B C

D
CD Keep right hanmi and strike your partner's
face.

Takemusu Aikido Special Edition 131

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•Î•@Ê

A B
mnûöX
äj?‰U‹
äG’aŠGm

¶ÌÏ»
A Š¼gŊηéB C ¶«ðå«­ŠèÌE¤Éiß
B ŠèªE«ð¥ÝžñŕųÊðÅÁÄ«½ D ¶¼gÉÈèAŠèÌÊðÅÂB
ê‡AŠèÌãªé•É‡í¹Ä•ðUè©Ôè
黍

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 Ken tai ken men

C D

Hidari no henka
A Face your partner in ai hanmi.
BC When your partner steps forward with his
right foot to strike your face with a sword, take
a large step to his right side with your left foot
while bringing your sword over your head in
harmony with your partner's upward
movement.
D Assume left hanmi and strike your partner's
head.

Takemusu Aikido Special Edition 133

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 •Î•@Ë«

A
A Š¼gŊηéB
B ŠèªE«ð¥ÝžñŕųÊðØÁÄ«½
ê‡AŠèÌãªé•É‡í¹ÄE«ðEÎßO
ÉißAnðãɵĊè̹ðË­B
C ŠèÌÊðØè
D ³çÉË­B

|C“g

@Šèª•ðUè©Ôé®ìɇí¹ÄË­Bx
êÈ¢æ¤É^C~“OðÍޱƪdvÅ 
éB±Ì‡í¹û;æèÌê‡Æ¯¶Å 
èA¤Ü­‡í¹çêȢƾæèªÅ«È
¢BñíÉdvÈZÅ éB

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 Ken tai ken tsuki

B C

A Face your partner in ai hanmi.

B When your partner steps forward with his
right foot to strike your face with a sword,
advance diagonally to the right with your right
foot, while blending your movement with your
movement as he raises his sword above his
head, and thrust at his chest with your sword
turning the blade upward.
C Execute a shomenuchi strike with your
sword.
D Thrust again at his chest.
D

Commentary

Make sure to thrust at his chest as he raises

his sword above his head. It is important that
you time your movement correctly so as not to
be late. This way of blending with your partner
is the same as in the tachidori techniques. You
must time your movements with your partner's
in order to be able to execute any tachidori
technique successfully. This is an essential
practice.

Takemusu Aikido Special Edition 135

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e•Ë«ÄzŠ°

A t¼gŊηéB
B Šèª¶«ð¥ÝžñÅe•Åˢī½ê
‡AE«ðEOûÉiß
C E«ð²ÉµÄ¶«ðãûÉJ«AEèÅŠ
è̶àIðÅ¿¨ë·B
D ¶¼gÉÈÁÄEèŊèÌãÝðÍÝ
E ¶èÅŠèÌÊðÅ¿|·B

136wY‡C¹xʪ

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 Juken tsuki kokyunage

B C

D E
A Face your partner in gyaku hanmi. D Assume left hanmi and grab your partner's
B When your partner steps forward with his collar from behind with your right hand.
left foot and thrusts at you with a bayonet, E Throw your partner by striking his face down
advance diagonally to the right with your right with your left tegatana.
foot.
C Pivot on your right foot while bringing your
left foot to the rear and turning your hips and,
at the same time, strike your partner's inside
left elbow downward with your right tegatana.

Takemusu Aikido Special Edition 137

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e•æèÄzŠ°

A t¼gŊηéB
B Šèª¶«ð¥ÝžñÅe•Åˢī½ê
‡AE«ðEOûÉiß
C E«ð²ÆµÄ¶«ðJ«A˜ðÐËÁÄÌÌ
ü«ð 180 xϦȪçe•ð¼èŬéB
D EIŊè̶IðUßȪç
E F ŠèðŠ°Ae•ðD¤B

|C“g

Ê^C̞AEè͊è̶I̺©çe•ð
ŽB
»ÝÅÍe•ðp¢¸AñűÌZÌmÃðµ
Ä¢éB

138wY‡C¹xʪ

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 Jukendori kokyunage

B C

E F
A Face your partner in gyaku hanmi. Commentary
B When your partner steps forward with his
left foot and thrusts at you with a bayonet, In the position shown in photo C, grab his
advance diagonally to the right with your right bayonet from below his left elbow with your
foot. right hand. Nowadays, a staff is used instead
C Pivot on your right foot while bringing your of a bayonet to practice this technique.
left foot to the rear and turning your hips 180
degrees and, at the same time, grab his
bayonet with both hands.
DEFThrow your partner by applying pressure
against his left elbow with your right elbow and
take his bayonet away.

Takemusu Aikido Special Edition 139

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e•Ë«Z³

a
1
A t¼gŊηéB A Face your partner in gyaku hanmi.
B Šèª¶«ð¥ÝžñÅe•Åˢī½ê
B When your partner steps forward with his
left foot and thrusts at you with a bayonet,
‡AE«ðEOûÉißÂÂEèÅŠè̶à advance diagonally to the right with your right
IðÅ¿¨ë·B foot while striking his inside left elbow
downward with your right tegatana.

140wY‡C¹xʪ

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 Juken tsuki rokkyo

B C

b
C E«ð²ÆµÄ¶«ðJ«A˜ðÐËÁÄÌÌ C Pivot on your right foot while bringing your
ü«ð 180 xϦȪçAe•Ìº©ç¶èŊ
left foot to the rear and turning your hips 180
degrees. At the same time, grab his left hand
è̶èð¬èAe•Ìã©çEèðY¦ from below his bayonet with your left hand, and
place your right hand on his left hand from
above his bayonet.

Takemusu Aikido Special Edition 141

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e•Ë«Z³

D E

d e
D E ¶«ðãëÉø«ÂÂEIŊè̶Ið DE Apply pressure against your partner's left
UßéB elbow with your right elbow while stepping to
the rear with your left foot.

142wY‡C¹xʪ

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 Juken tsuki rokkyo

e•Ì\¦
Kamae with juken

Takemusu Aikido Special Edition 143

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e•Ë«ÄzŠ°

A Š¼gŊηéB
B Šèª¶«ð¥ÝžñÅe•Åˢī½ê
‡A¶«ð¶ÎßOÉi߶èŊèÌÊð
Å¿AEèÅŠè̶àIðÅÂB
C D ¼èÅe•ðÍÝA³çɶ«ðißÂÂ
E Šèð|·B

144wY‡C¹xʪ

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 Juken tsuki kokyunage

B C

D E
A Face your partner in ai hanmi. CDE Grab your partner's bayonet with both
B When your partner steps forward with his your hands and throw him stepping forward
left foot and thrusts at you with a bayonet, with your left foot.
advance diagonally to the left with your left foot
and execute an atemi to your partner's face
with your left hand while at the same time
striking his inside left elbow with your right
tegatana.

Takemusu Aikido Special Edition 145

www.aikidojournal.com
e•Îe•

A
A e•ðÁĊηéB A Face your partner with a bayonet.
B C Šèªe•Åˢī½ê‡AŠèªË¢
BC When your partner advances forward with
his left foot and thrusts at you with a bayonet,
Ä­éÌɇí¹Ä¶«ð¶ÉÚµAŠè̹ð step to the left with your left foot while blending
Ë­B with his thrusting movement. Then thrust at
@ your partner's chest with your bayonet.

|C“g Commentary

@±±ÅÍAe•ÎñÅsÈÁÄ¢éªAe•Î In the photos shown above, a staff is used

e•Ìê‡ÆÜÁ½­¯¶Å éB instead of a bayonet. You can execute this
technique with a staff against a bayonet in the
same manner as with a bayonet against a
bayonet.

146wY‡C¹xʪ

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 Juken tai juken

B C

e•ÅË­
Thrust to opponent’s neck with juken

Takemusu Aikido Special Edition 147

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„æèÄzŠ°

A t¼gŊηéB
B Šèª¶«ð¥ÝžñńÅˢī½ê‡A
E«ðŠè̶«ÌeÉißA±êð²ÆµÄ¶
«ðJ«A˜ðÐËÁÄÌÌü«ð 180 xϦÈ
ªçEèÅŠè̶èñðÅÂB
C ¶èńðã©ç¬è
D E«ðŠèÌãûɥݞÝÂÂAErŊè
ÌñðŸµ|µÈªç„ðD¤B

148wY‡C¹xʪ

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 Yaridori kokyunage

B C

b D
A Face your partner in gyaku hanmi. CD Grab his spear from abovewith your left
B When your partner advances forward with hand. Step to the rear of your partner with your
his left foot and thrusts at you with a spear, right foot and throw him by pushing his neck
place your right foot beside your partner's left to the rear with your right arm. Take his spear
foot. Pivot on your right foot while bringing your away.
left foot to the rear and turning your hips 180
degrees and, at the same time, strike your
partner's left wrist with your right tegatana.

Takemusu Aikido Special Edition 149

www.aikidojournal.com
I–®ì
A Šèª¼èű¿ç̼èñðÍñÅ«½ê‡
B ¼èÌwæÉÍðüêA¶«ð¶ÉÚµ
C ¶«ðOûɥݞݼèðªãÉUè©
ÔèA˜ðEÉÐËÁÄ 180 xü«ðϦȪç
¼èðØ躰AŠèÌÌðãëÉ»ç·B
150wY‡C¹xʪ
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AB When your partner grabs both your wrists,
extend your fingers and put ki energy into your
fingertips while stepping to the left with your
left foot to assume ai hanmi.
C Advance with your left foot raising both
hands over your head, then turn your hips 180
degrees to the right while cutting down with
both hands. Bend your partner over backward
by bringing your hands down.
 Shumatsu dosa

B C

1–®ì(Shumatsu dosa

Takemusu Aikido Special Edition 151

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 D E

F G
D D Turn to the opposite side and come back to
E
the initial position.
E Bring your right foot to the right.
F F Step forward with your right foot while raising
both hands over your head and turning your
G hips 180 degrees to the left.
G Bend your partner over backward by
bringing your hands downward.

152

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 Shumatsu dosa

ŠèÌÌ ðãëÉ»ç· your partner over backwards

ŠèÌÌðãëÉ»ç·(Bending

Takemusu Aikido Special Edition 153

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ÀèZÄz@@P

a
A ³ÀµÄŠÎ·éBŠèª¼èű¿ç̼è
iŠ
Xž¼è’äûjøNnsÂ
SjeG’ŸVcccc|

e¸_’W†V’UŠí‹
¶’àjüPwæj͒üŒ

ñðÍñÅ«½ê‡
B ¼¶ðà¤Éü¯wæÉÍðüêA•ðUè©
Ôéæ¤ÉµÄ
C D EGðiߊèðŸµ|·B

|C“g

@Ê^BÅÍA¼èÔ̗£Í¨æèââL­
·éB

154wY‡C¹xʪ

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 Suwariwaza kokyuho 1

B C

D
AB Face your partner sitting straight. When Commentary
your partner grabs both your wrists from the
side, extend your fingers and put ki energy into In the position shown in photo B, the distance
your fingertips while turning both your palms between your hands must be a little wider than
inward and raising your hands as if cutting with the breadth of your shoulders.
a sword.
CD Move your right knee forward and throw
your partner by pushing him downward with
both hands.

Takemusu Aikido Special Edition 155

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ÀèZÄz@@Q

A ³ÀµÄŠÎ·éBŠèª¼èű¿ç̼è C •ðUè©Ôéæ¤ÉµÄ
ñðº©çÍñŝ¿ã°Ä«½ê‡ D E EGðiߊèðŸµ|·B
B ¼¶ðO¤ÉÔµwæÉÍðüê

156wY‡C¹xʪ

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 Suwariwaza kokyuho 2

B C

D E
AB Face your partner sitting straight. When DE Move your right knee forward and throw
your partner grabs both your wrists from below your partner by pushing him downward with
and raises them, extend your fingers and put both hands.
ki energy into your fingertips while turning your
palms upward.
C Raise both your hands as if cutting with a
sword.

Takemusu Aikido Special Edition 157

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ÀèZÄz@@R

A ³ÀµÄŠÎ·éBŠèª¼èű¿ç̼è C D EGðiߊèðŸµ|·B
ñðÍñÅ«½ê‡
B E¶ðà¤Éü¯wæÉÍðüêA•ðUè©
Ôéæ¤ÉµA¶è͊èÌEè̺ÉË«oµ

158wY‡C¹xʪ

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 Suwariwaza kokyuho 3

B C

b D

AB Face your partner sitting straight. When CD Move your right knee forward and throw
your partner grabs both your wrists from the your partner by pushing him with your right
side, extend your fingers and put ki energy into hand.
your fingertips. Turn your right palm inward and
raise it as if cutting with a sword, while
extending your left hand outward from below
your partner's right hand.

Takemusu Aikido Special Edition 159

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ÀèZÄz@@S

A ³ÀµÄŠÎ·éBŠèª¼èű¿ç̼è
(NE¶j|X
¼è’Èe@t

ñðã©çÍñÅ«½ê‡
B wæÉÍðüêAŠè̼èÌऩ緭¢
 °éæ¤ÉµÄ¼èðUè©Ôè
C D EGðiߊèðŸµ|·B

160wY‡C¹xʪ

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 Suwariwaza kokyuho 4

B C

D
AB Face your partner sitting straight. When CD Move your right knee forward and throw
your partner grabs both your wrists from above, your partner by pushing him downward with
extend your fingers and put ki energy into your both hands.
fingertips while raising both your hands on the
inside of your partner's hands as if scooping
something up.

Takemusu Aikido Special Edition 161

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]ÍÌ{¬@
i”èæèÄz@j

A B
A t¼gŊ誼èÅEèñðÍñÅ«½ê‡
B E«ðŠè̶«ÌeÉißÂÂ
C ¨AIA˜ðŽÆµA180 x˜ðÐËÁĶ¼
gÉÈèAŠèƯ¶ûüð©éB
D ¼èðã°ÄŠèĮ̀ðöµÈªçE«ðŠ
èÌãûÉißÄ
E EIŊèÌñ🵥ÁĊ°|·B
AB When your partner grabs your right wrist
with both his hands from gyaku hanmi, place
your right foot beside his left foot.
C Lower your shoulder, elbow and hips while
turning your hips 180 degrees to assume left
hanmi, and look in the same direction as your
partner.

|C“g

@±ÌÙ©Éà”XÌ{¬@ª éB

162wY‡C¹xʪ

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 Hiriki no yosei (Morotedori kokyuho)

C D
D Raise both your hands breaking your
partner's balance. Place your right elbow
against your partner's neck while stepping to
his rear with your right foot.
E Throw your partner as though sweeping him
away with your right arm.

Commentary

There are various other practices to develop

elbow power beside this technique.

^èæèÄz@ó¯.nÓMv Morotedori kokyuho, uke: K.Watanabe

Takemusu Aikido Special Edition 163

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MÌ^®

D
A Šèͼèű¿ç̼èñðÍÞB AB When your partner grabs both your wrists,
B «Ì®«Í¼èæèlûŠ° ZÌvÌÅ
move your feet in the same manner as in
ryotedori shihonage urawaza.
C ŠèÌwãÉñèžÝŠèÆw†‡í¹ÉÈè C Pivot on your left foot and turn to the rear of
your partner standing back to back with him.

164wY‡C¹xʪ

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 Se no undo

B C

E F
D E F ˜ðŽÆµA¼èͨÌ—£ÉL°ÄA DEF Lower your hips and bring your partner
Šèðw‰¤B
onto your back while opening your arms to
shoulder width.

Takemusu Aikido Special Edition 165

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 âÔ̇C_Ð
Aiki Shrine, Iwama

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 Takemusu Aikido Technical Series
by Morihiro Saito, 9th dan

Contents:
Exercises (3 techniques) Contents:
Ikkyo (16 techniques) Shihonage (32 techniques)
Nikyo (23 techniques) Kotegaeshi (21 techniques)
Sankyo (17 techniques) Iriminage (24 techniques)
Yonkyo (7 techniques)

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Background & Basics More Basics
US$25.95, 192 pp, Code: TA01 US$25.95, 176 pp, Code: TA02

Contents:
Contents:
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Koshinage (34 techniques)
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Tenchinage (3 techniques)
Katatedori (11 techniques)
Jujinage (4 techniques)
Ryotedori (8 techniques)
Suwariwaza kokyuho
Morotedori (6 techniques)
(5 techniques)
Tsuki (9 techniques)
Morotedori kokyuho
+ 32 more techniques
(4 techniques)

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methods: Visa and MasterCard cards are accepted. Please provide card holder name,
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