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Ðþøèíêàí.ðó. Òåõíèêè. Kata-dori IKKYO, Omote

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[Òåõíèêè]

// Èñòî÷íèê: B.A.F. Newsletter, Èþëü 2001, No 39

Íîâîñòè Òåõíèêè» Kata-dori IKKYO, Omote SW Kosa-dori Dai IKKYO SW Shomen-uchi Dai IKKYO'01 SW Shomen-uchi Dai lKKYO'05 TW Shomen-uchi Dai IKKYO

KATA-DORI IKKYO Omote

Demonstrated and explained by Kanetsuka Sensei

Photos and text: Peter Megann Graphics and typesetting: Graham and Laura Jones Uke: Richard Martin

Hanmi-handachi SHIHO-NAGE Hanmi-handachi SHIHO-NAGE, Katate-dori - number 2 Kosa-dori Dai SANKYO KOTE-GAESHI TENCHI-NAGE

Áåñåäû ñ ñýíñýåì» Ìàêêî-õō» Îñíîâû, òåðìèíû» Ãîâîðÿò ìàñòåðà» Ñòîï-êàäð» Ñëîâàðü Àòòåñòàöèîííàÿ ïðîãðàììà Àäðåñ çàëà

1 Suwari-waza The particular benefit from suwari-waza ikkyo (and particularly from kata-dori) is that it enables us to concentrate on 'solid' contact with our partner and to learn correct ma-ai. The distance between you and your partner is very short: the contact is very direct. Don't hurry when you are studying this technique. Photo 1: Both Tori and Uke start in seiza, Uke grasps Tori's left shoulder (with a view to controlling and attacking Tori) and is ready to pull (hence the omote version of this technique).

Photos 2a & 2b: Making atemi, Tori comes onto his toes (kiza) and moves off the line of attack, slightly to his left with his concentration remaining on Uke's centre. Tori's centre of gravity is low. Notice the movement of Tori's left arm. His hand is outstretched, the thumb turning down. Body and arm move to the left together. As Tori moves to his left his weight comes onto his left knee. The movement is essentially that of sokumen (to the side). Uke's position is now considerably weakened. Tori's ki or stream of energy is flowing up from his toes, through his knees and centre towards Uke's armpit or neck.

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Photos 3a & 3b: Tori's left arm swings up in an arc to make contact with Uke's arm just above the elbow with his te-gatana (hand-blade*), while keeping his left elbow low. With his right hand Tori clamps Uke's gripping hand firmly against his shoulder with what we might call a nikyo grip. (Do not try to free yourself from your partner's grip). During this action Tori begins to shift his centre of gravity onto his left knee, without leaning to the side. Keeping his body low, Tori extends his left te-gatana further through Uke's elbow, while pressing his left shoulder against Uke's right hand. This movement comes very much from your centre, with a cutting feeling that engages the whole body, rather than a

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feeling of simply pushing with your hand. This action causes your partner to lose his balance as his elbow and shoulder come up, and if it is performed correctly you should need to use very little strength in your arms.

* The expression te-gatana is formed from two words; te (

),

hand, and katana ( ), blade (the characters can also be read as shu and to and pronounced sh'to). However, for Japanese te means not just the hand alone but also the forearm. In this context the contact is made not with the hand but with the part of the ulna bone just below the wrist.

Photo 4: Tori slides his right knee a little forwards and shifts his centre of gravity onto this knee (this is like the reverse of the action shown in photos 2a and 2b).

Photo 5: Tori starts to move his left knee and hip forwards across Uke's front, at the same time cutting down with his left arm. The result is that Uke is brought down in a semicircular movement around Tori's shoulder.

Photo 6: As Uke is brought down to the tatami, his grip on Tori's shoulder is relaxed. Now Tori grasps Uke's arm just above the elbow in the usual ikkyo manner. He is still holding Uke's right hand with the original nikyo grip. Tori slides his left knee towards Uke's armpit.

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Photo 7: Tori finishes the technique in the same manner as with omote shomen-uchi ikkyo (from kosa-dori / ai-hanmi katate-dori). He moves Uke's arm to an angle of more than 90° from his body, ideally about 100-105°. Tori is silting up on his toes (in kiza), inclining slightly forwards, his back straight and his eyes looking towards the tatami several feet beyond Uke. His two knees and his ankles (drawn together) make a very solid triangle. With his right knee placed on the inside of his right wrist and his left knee close to Uke's armpit, his knees have a feeling of expanding in both directions. With relaxed shoulders and arms he shifts his weight, with a rocking feeling, onto Uke's elbow. This is essentially the same as the finish of the suwari-waza kokyu-ho exercise.

Learn how to move with your whole body; you must move like a pyramid. Don't lean forwards. The sokumen version of the technique shown here is the basic form. However if your partner pulls strongly, raise your hips (coming from seiza to kiza) and make a more direct ornate movement, driving your left knee forward (and moving with shikko), your loft knee and your left te-gatana working together.

2 Tachi-waza

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Photos 8, 9a & 9b: Tori is in hidari gyaku-hanmi. As Uke takes Tori's left shoulder and pulls, Tori - keeping his body upright -lakes one step to the side, moving slightly forward and making atemi to Uke's face. (But don't advance too much to your partner's side, otherwise you will find yourself behind your partner and will not be able to apply the technique.) After making atemi Tori's right hand comes down Uke's arm in a kind of stroking motion to take Uke's fist and clamp it to his shoulder. (Keep your right elbow down as you do this.)

Photo 10: As Tori brings up his te-gatana to Uke's elbow, he lowers his centre of gravity and brings it strongly over his back (left) foot, (Again, don't grip your partner's elbow). Slash upwards with your te-gatana making contact with the part of your arm just below your wrist and keep your hand open and dynamic. The action is rather like that of sawing upwards against

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your partner's upper arm. Don't try to grip or lift your partner's arm, and don't try to take your partner's arm from your shoulder. (Use your shoulder to control your partner's action,) This action makes Uke's elbow rise and unbalances him. Tori clamps Uke's right list against his shoulder (at a point between his collar-bone and ribs) with the same grip as in kata-dori nikyo: thumb on thumb.

Photos 11 &12: Tori bends his front knee, advances his right hip and shifts his centre of gravity to his right across Uke's front. This has the effect of bringing Uke downwards.

Photo 13: As Uke loses his balance, his grip on Uke's shoulder is released. Without delay Tori grips Uke's elbow, then slides his left foot towards Uke's upper body. The feeling is like that of thrusting with a spear towards Uke's armpit. Tori's left hand now grasps Uke's elbow. The action in photos 12 & 13 must be of one movement: there should be no pause in between. As Tori's left foot advances there is a moment (in between photos 12 & 13) when his knees come together before the left foot changes direction towards Uke's armpit. In other words, it moves in the shape of the letter L.

Photos 14 16: Tori places his left knee on the tatami near Uke's armpit, then rocks on his left knee bringing his right knee together with Uke's left arm down to the

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tatami. If we now review the movements of Tori from the beginning (photo 8), he moves left-right, left-right.

Tori finishes in a very solid, square-like posture. His two knees and his ankles placed together make a triangle or tripod. He is sitting in kiza (up on his toes), settling down on Uke's right arm, with his back straight. There is a rounded feeling in his arms similar to the final stage of the suwari-waza kokyu-ho exercise. To apply the final pin rotate your partner's wrist strongly forwards while at the same time applying pressure with your hands as though bringing the index fingers of each hand together in a triangle shape. The heel of your left hand is bearing down on your partner's arm just above his elbow.

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© Ðþñèíêàí.ðó

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11/06/2009 11:22

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[Òåõíèêè]

// Èñòî÷íèê: B.A.F. Newsletter, Ñåíòÿáðü 2005, No 51

Íîâîñòè Òåõíèêè» Kata-dori IKKYO, Omote SW Kosa-dori Dai IKKYO

Suwari-Waza Kosa-dori Dai-Ikkyo Ude-osae Demonstrated and explained by Kanetsuka Sensei

SW Shomen-uchi Dai IKKYO'01

Photos and text: Peter Megann Graphics and typesetting: Graham and Laura Jones Uke: Richard Martin

SW Shomen-uchi Dai lKKYO'05 TW Shomen-uchi Dai IKKYO Hanmi-handachi SHIHO-NAGE

Kosa-dori Dai-lkkyo is particularly important for studying te-sabaki (hand movement) not only in the execution of Dai-lkkyo but of many techniques.

Hanmi-handachi SHIHO-NAGE, Katate-dori - number 2 Kosa-dori Dai SANKYO KOTE-GAESHI TENCHI-NAGE

Áåñåäû ñ ñýíñýåì» Ìàêêî-õō» Îñíîâû, òåðìèíû» Ãîâîðÿò ìàñòåðà» Ñòîï-êàäð» Ñëîâàðü Àòòåñòàöèîííàÿ ïðîãðàììà Àäðåñ çàëà

Photos 1a & b: With his right hand Uke grasps Tori's right wrist and threatens to strike Tori's head with his other hand (though there are various other ways in which he can attack after taking Ton's wrist). Tori's thumb starts to turn inwards, pointing towards his nose, and with this turning of the wrist the forearm is twisting like a coil and the elbow begins to rise naturally outwards. There is a feeling of tension between Ton's centre and Uke's, like when drawing a bow with an arrow. At this first contact, Tori's movement starts at his wrist, then expands like a wave to his elbow and then to his shoulder. The shoulder and arm should be relaxed and the movement should be of a sinuous nature. Photo 2: Coming up onto his toes Tori slides his left knee to the side. At the same time he raises his right arm, protecting his head (furi-kaburi). With one movement you have to protect yourself and control your partner: defence and attack happen at the same time. Both arms have the round, extended feeling of the suwari-waza kokyu-ho exercise. Even though his left arm is not yet making contact it is nevertheless engaged in the movement not hanging inactive by his side. Tori's right hand continues to circle Uke's wrist, the thumb pointing to his (Tori's) left shoulder. The contact with Uke's wrist is through Ton's 'handblade'. Photo 3: Tori changes direction, his right knee sliding slightly to the right. I3e careful not to push your partner during stages 1 - 3. You should simply move around the contact point (the point where you are gripped). In Photo 3 Tori brings his left shoulder closer to his hand, while continuing to raise and turn outwards his right wrist. The effect of this is to bring Uke's elbow up so that his balance starts to be disturbed. After making atemi with his left hand Tori brings it up to make contact with Uke's arm just above the elbow. At the same time Ton's right wrist and hand are continuing to revolve against Uke's right wrist, like a differential gear, the thumb pointing down now. It is important that both your hands work in unison. Notice how Uke's right elbow has been brought up.

Photo 4: With the combined movement of both arms, just as in the suwari-waza kokyu-ho exercise, Tori brings Uke's arm in a wide arc down to a point in front of his navel. During this movement Tori rolls Uke's wrist outwards and downwards. Avoid dragging your partner. There is no need to grip

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strongly with either hand: just maintain contact and tension. The action through Photos 1 - 4 should be one of an unbroken arc.

Photos 5 & 6: Pivoting on his right knee Tori advances his left hip and slides his left knee forwards towards Uke's right armpit. He moves with shikko, keeping his heels together.

Photo 7: Pivoting on his left knee Tori slides his right knee forwards and brings it into contact with his right wrist and with Uke's arm just above the wrist. It is important that Uke's arm is brought to rather more than 90° to his body. Tori is sitting up onto his toes (kiza), putting his weight on his heels, his tanden (lower belly) is thrust forwards and his spine is slightly concave. His feet and two knees form a triangle like a tripod. He expands his tanden and opens his knees with a stretching feeling. His right knee is inside his gripping hand, as though locking it, his left knee is in contact with Uke's upper ribs by the armpit. Tori is stretching Uke's arm, pinning the inside of his elbow to the tatami. Breathing out Tori rocks forwards, bringing his weight to bear through the heel of his hand on the ligament just above Uke's elbow. The heel of his right hand is in contact with the pulse area of Uke's wrist. There is no need to grip strongly with either hand. You control your partner by shifting your weight, not through the power of your grip. Don't look down as you finish: concentrate your eyes on a spot several feet in front of you. The essence of Ikkyo is to bring your partner face down and pin him/her to the tatami through the elbow.

2. Application: Defence against tsuki

Photo 8: (Uke takes a shikko step forwards and makes tsuki to Ton's face. Instantly Tori conies up into kiza and moves off the attacking line to his left, sliding his left knee and raising his right hand to protect his head and neck and at the same time attacking Uke's armpit with his left hand. He makes contact with Uke's arm with his right hand-blade. Do not try to take hold or block at this moment. This contact is like when you start suwari-waza kokyu-ho and bring your partner up. Photo 9: Rotating his body to his right Tori makes contact with Uke's elbow with the heel of his hand, his thumb pointing downwards and lightly gripping the inside of Uke's arm. Ton's weight is beginning to shift onto his right knee. The action of his hands in conjunction with the rotation of his body unbalances Uke and turns him over. Photo 10: Changing direction, Tori thrusts

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towards Uke's armpit. Because of the height of Uke's attacking arm in this instance he has brought his left knee up. But his body is not rising up: more a feeling of kicking. His energy is flowing from the toes of both feet. Photos 11 & 12: As Tori brings his left knee to the tatami, he slides his right knee towards the wrist of his right hand, which is now gripping Uke's wrist. The finish is the same as explained in Photo 7.

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© Ðþñèíêàí.ðó

Ïî âñåì âîïðîñàì è ïîæåëàíèÿì ïèøèòå ÷åðåç îáðàòíóþ ñâÿçü

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[Òåõíèêè]

// Èñòî÷íèê: B.A.F. Newsletter, Äåêàáðü 2001, No 40 Important points in

Íîâîñòè Òåõíèêè»

SHOMEN-UCHI DAI IKKYO (Suwari-Waza)

Kata-dori IKKYO, Omote SW Kosa-dori Dai IKKYO SW Shomen-uchi Dai IKKYO'01

Demonstrated and explained by Kanetsuka Sensei

Photos and text: Peter Megann Graphics and typesetting: Graham and Laura Jones Uke: Richard Martin

SW Shomen-uchi Dai lKKYO'05 TW Shomen-uchi Dai IKKYO Hanmi-handachi SHIHO-NAGE

Omote

Hanmi-handachi SHIHO-NAGE, Katate-dori - number 2 Kosa-dori Dai SANKYO KOTE-GAESHI TENCHI-NAGE

Áåñåäû ñ ñýíñýåì» Ìàêêî-õō» Îñíîâû, òåðìèíû» Ãîâîðÿò ìàñòåðà» Ñòîï-êàäð» Ñëîâàðü Àòòåñòàöèîííàÿ ïðîãðàììà Àäðåñ çàëà

Photo 1: In the omote form of Ikkyo it is Tori who takes the initiative by making a strike at Uke's head. Note that if the ma-ai is not so great between Tori and Uke there is no need for Tori to take a (knee) step forward at he makes shomen-uchi at Uke's forehead. Tori's action causes Uke to raise his right hand to protect himself.

Photo 2: As Tori's hand descends towards Uke's head. Tori's weight comes onto his right knee as he slides it slightly forward to the right, keeping a strong feeling in the toes.

Photo 3: Tori's right te-gatana (handblade) is cutting down, while his left hand rises with a feeling of atemi towards Uke's armpit and head and makes contact with the under part of Uke's upper arm just above the elbow. He is not actually gripping at this moment; just cupping Tori's arm with the palm and little finger of his left hand. Tori's whole body is moving forward and to the right. Two important points at this stage: (a) Do not try to grip your partner's right wrist (a common mistake). If you do, you will bend your elbow and your attack will be weakened. (b) Don't push your partner away from you. Keep him at a distance where you can control him without losing your centre. Your energy should flow strongly from your big toes as you make kiza. Keep your back straight; don't lean forwards. As you cut down, your right hand makes a small circle and your left hand makes a large circle as your body turns to the right. Photo 4: As Uke loses his balance, Tori 'chases' him by bringing his left foot forward. At the same time he grips Uke's wrist gently with his palm and little finger (no need for a strong grip).

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Photo 5: Tori maintains his control of Uke through the position of his centre of gravity rather than by using arm strength. It is important to maintain good balance through the stages of Photos 4 and 5.

Photo 6: Tori's left knee conies down to the tatami near Uke's armpit and his right knee moves forward to a point near Uke's wrist, inside his gripping hand. At this point Uke's arm should be lying at about 105° from his body (certainly more than 90°). Photo 7: As Tori pins Uke's arm, he maintains a good posture, sitting in kiza and keeping a straight back, his feet (together) and his knees forming a triangle. Don't rise up off your heels at this point. The inside of your partner's elbow should be in contact with the tatami. Relax your shoulders and arms, and keep your armpits closed (though not tightly). Keeping your centre of gravity low, shift your weight with a rocking feeling onto your partner's elbow and wrist, as you breathe out. Don't push down on your partner: simply settle your weight down onto his arm. Don't look down but look at a point about a metre in front of you.

Ura Photo 8: As Uke makes a shomen-uchi strike against Tori's head, Tori rises up into kiza. His left hand floats up to engage Uke's striking hand with te-gatana (DO NOT GRASP THE WRIST). Note that Tori's left wrist is rotating at this point - as in the suwari-waza kokyu-ho exercise - so that the thumb is pointing towards Tori's forehead, his left elbow slightly expanding outwards as it moves towards Uke. The left arm is not held stiffly outwards towards Uke but rises in an arc. The feeling is that of making a strike at Uke's forehead. Like the left elbow the right elbow is expanding slightly outwards. (Notice again the similarity with the movement of the arms in the suwari-waza kokyu-ho exercise.) At the same moment Tori's right hand floats up to meet Uke's arm just above his elbow, making contact with a cupping action (see text for Photo 3). The action of both arms in unison is similar to the action of defending your head (furi-kaburi) in sword-work. Do not push against your partner during this action. There should be a feeling of 'dropping' in your elbows. Your centre is advancing with energy flowing upwards from your toes; your knees have not yet moved. Photos 9-12: Tori slides his right knee slightly forwards to a point just in front of Uke's left knee. Keeping his feet together he pivots on his right knee, his whole body turning to the left as he draws his left knee backwards in a large arc. Be careful not to pull your partner during this tenkan movement. You must bring your partner around you in a spiral movement. His arm must always be in front of your centre. Your partner should be as if floating in front of you. A stable, square-like feeling must be maintained throughout the whole of the tenkan. As you begin to turn, rotate your hand-blade (thumb turning downwards) to deflect your partner's power. The shape of your arms should remain constant (they should remain extended). Your right hand is pointing to the left and is at a point in line with your navel. Your left hand is leading to a point just beyond your left hip. Don't grip

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too soon or your arras will straighten and your wrists will roll over outwards. Rather, your wrists should be depressed so that your hands form an angle with your forearms such as when you place your hands on the tatami when you begin to make z.a-rei (Photo 12). Keep your arms in a horizontal position and maintain the same pressure on your partner's arm. Don't use too much physical force: just keep contact with your partner's arm. If you keep good ma-ai. move smoothly, keep a correct relationship and don't force the movement, your partner will almost fly through the air. This is why the study of kokyu is important. You should make one unbroken sweeping movement with energy flowing from your toes to your palms.

Photos 13 & 14: The pin is the same as in Photos 6 & 7.

To conform with the standard terminology of Aikido techniques found in Hombu publications we are now calling ikkyo, nikyo, sankyo, etc, dai ikkyo, dai nikyo, dai sankyo, etc., where dai might be translated as 'number' (i.e. 'number one', 'number two', 'number three', etc.)

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© Ðþñèíêàí.ðó

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[Òåõíèêè]

// Èñòî÷íèê: B.A.F. Newsletter, ßíâàðü 2005, No 49

Íîâîñòè Òåõíèêè» Kata-dori IKKYO, Omote SW Kosa-dori Dai IKKYO

Suwari-Waza Shomen-uchi Dai-Ikkyo (or Ude-osae) Demonstrated and explained by Kanetsuka Sensei

SW Shomen-uchi Dai IKKYO'01

Photos and text: Peter Megann Graphics and typesetting: Graham and Laura Jones Uke: Richard Martin

SW Shomen-uchi Dai lKKYO'05 TW Shomen-uchi Dai IKKYO Hanmi-handachi SHIHO-NAGE Hanmi-handachi SHIHO-NAGE, Katate-dori - number 2 Kosa-dori Dai SANKYO KOTE-GAESHI TENCHI-NAGE

Áåñåäû ñ ñýíñýåì»

Dai Ikkyo ('Number One Study') or Ude-Osae ('Arm Pin') is one of the most important techniques in Aikido. "It is said that in Aikido you hardly need learn other techniques if you can master it" (Aikido by Kisshomaru Ueshiba). It is the basis of all pinning techniques (katame-waza) and the essence of the technique lies in turning your partner's elbow over. From Dai Ikkyo proceed the other important pinning techniques: Dai-Nikyo, Dai-Sankyo, Dai-Yonkyo and Dai-Gokyo. Essentially, with Ikkyo you control the attacker through his arm.

1. Omote

Ìàêêî-õō» Îñíîâû, òåðìèíû» Ãîâîðÿò ìàñòåðà» Ñòîï-êàäð» Ñëîâàðü Àòòåñòàöèîííàÿ ïðîãðàììà Àäðåñ çàëà

Photos 1, 2a & 2b: Anticipating an attack from Uke, Tori initiates an attack with shomen- uchi. the fingers pointing upwards: the hand is not pushing. The purpose of this is to provoke Uke to block in order to protect himself and so enable Tori to grasp under Uke's elbow with his left hand. Note that Tori rises onto his toes (kiza) as he makes the blow. This means that his centre rises so that he is not pushing Uke's arm up with his hands. He makes contact with Uke's right forearm with his right hand-blade (te-gatana). Do not grasp Uke's wrist at this point. At the same time Tori's left hand cups Uke's arm just above the elbow, the thumb making good contact on the inside of the arm. In this way it is easy to turn Uke's elbow over. While making this first contact Tori is already turning his body to his right, his weight beginning to shift onto his right knee. In other words, he is already deflecting Uke's body from the first contact, rather than pushing him backwards.

Photo 3: Tori slides his right knee diagonally to the side. At the same time he cuts down in a circular movement with his right te-gatana and rolls Uke's elbow over with his left hand. The two hands should be working in unison. The movement of Tori's centre is what dictates this action: there should be no pushing or thrusting. Tori is essentially in hanmi now. His overall posture is triangular, like a pyramid. This is a pivotal point of the technique. From this stage you can execute the omote forms of ikkyo, nikyo, sankyo and yonkyo. Gokyo too is possible, though it needs a change of grip at the stage of Photo 2.

Photo 4: The formation of the body and arms is similar to that at the end of kokyu-ho. Tori

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has now grasped Uke's right wrist. Don't turn your wrist over: you should be maintaining contact with the heel of your hand, your little finger and your ring finger - the fingers gripping lightly. The index fingers of both hands are pointing inwards. Tori's grip on Uke's elbow is identical. The grip with the hand should not be regarded as independent of the rest of the arm. Shoulder, elbow and wrist are all involved; and the position of the elbow is very important. Think of the grip as a sankyo grip. There should be no pushing at this point: more a matter of deflecting Uke's body. You should be quite relaxed - like holding a large balloon.

Photo 5: Pivoting on his right knee Tori advances his left hip and slides his left knee forwards towards Uke's right armpit. He moves with shikko, keeping his heels together. The action on Uke's arm is like thrusting with yari (spear) towards Uke's right armpit.

Photo 6: Tori swings his right hip and knee forwards, pivoting on his left knee. In this instance Tori raises his right knee because of the disparity of size with his partner, who is much bigger (it is difficult to cover the distance simply with normal shikko movement). In other circumstances Tori could simply slide his right knee forward.

Photos 7-8: In the final pin Tori opens his knees so that his left knee is expanding towards Uke's armpit and his right knee comes to Tori's wrist. It is important that Uke's arm is brought to rather more than 90° to his body. Tori is now sitting up on his toes (kiza) putting his weight on his heels (the role of the toes is important at this point), his tanden is thrust forward and his spine is slightly concave (don't hunch the back). Tori's feet and two knees form a triangle, like a tripod. His right knee is inside his gripping hand, as though locking it. Tori is stretching Uke's arm, pinning the inside of Uke's elbow to the tatami. Breathing out, he finally brings his weight to bear on the ligament just above Uke's elbow. His energy is flowing down his left arm towards his fingertips. He is looking forwards to a point about two metres in front.

2. Ura Photo 9: In this situation Uke has begun the action by making shomen-uchi. Tori rises onto his toes, slides his right knee forward and intercepts Uke's attack by swinging his hands up to protect his head. His elbows are expanding and the feeling is like that of an umbrella opening. As Tori's left forearm meets Uke's forearm with te-gatana and is ready to twist and deflect Uke's power to the left, his right hand grasps Uke's upper arm (just above the elbow). The 'cupping' formation of this hand is the same as at the beginning of the 'omote' response in Photo 1. This is not a blocking but a deflecting action. Be careful not to push.

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Photos 10 & 11: Tori slides his right knee forward slightly and starts to turn Uke's elbow over, rising up from his toes so as to advance his centre. But at the same time Tori is turning to his left, pivoting on his right knee, so the thrust of his movement is not forwards but slightly to the side. Compare the action of the hands with that in suwari-waza kokyu-ho, the left hand going down and the right one going up, with the body turning to follow. The left knee is drawn backwards but this does not mean that Tori's centre is moving backwards. His centre remains always in the centre of the movement: Uke's elbow is always in front of Tori's centre. Do not turn away from your partner and leave his body behind, otherwise you will have to drag your partner round. The line of the arms should correspond with that of the hips during the whole turn. The bodies of Tori and Uke must move in unison. Photo 12: Tori continues to pivot on his right knee until, drawing his right hip round, he finishes at right angles to the original line. The pin is the same as in Photos 7 & 8.

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© Ðþñèíêàí.ðó

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Ðþøèíêàí.ðó. Òåõíèêè. TW Shomen-uchi Dai IKKYO

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[Òåõíèêè]

// Èñòî÷íèê: B.A.F. Newsletter, Ìàé 2005, No 50

Íîâîñòè Òåõíèêè» Kata-dori IKKYO, Omote SW Kosa-dori Dai IKKYO

Tachi-Waza Shomen-uchi Dai-Ikkyo (or Ude-osae) Demonstrated and explained by Kanetsuka Sensei

SW Shomen-uchi Dai IKKYO'01

Photos and text: Peter Megann Graphics and typesetting: Graham and Laura Jones Uke: Richard Martin

SW Shomen-uchi Dai lKKYO'05 TW Shomen-uchi Dai IKKYO Hanmi-handachi SHIHO-NAGE Hanmi-handachi SHIHO-NAGE, Katate-dori - number 2 Kosa-dori Dai SANKYO KOTE-GAESHI TENCHI-NAGE

The basic difference between Suwari-waza Shomen-uchi Ikkyo (demonstrated in issue no. 49) and Tachi-waza Shomen-uchi Ikkyo is that in the latter there is much more body movement. Essentially the execution of Dai-lkkyo (in both suwari-waza and tachi-waza) is the same as that of Suwari-waza Kokyu-ho in the way that Tori's arms and body move in complete harmony; and contact is maintained by Tori with his partner from beginning to end.

1. Omote 表

Áåñåäû ñ ñýíñýåì» Ìàêêî-õō» Îñíîâû, òåðìèíû» Ãîâîðÿò ìàñòåðà» Ñòîï-êàäð» Ñëîâàðü Àòòåñòàöèîííàÿ ïðîãðàììà Àäðåñ çàëà

Photos 1 & 2: Tori and Uke are directly facing each other. Tori's arms are relaxed, just hanging. Anticipating an attack from Uke. Tori slides his right foot forwards and swings his right arm upwards to make shomen-uchi. Photo 3: With okuri-ashi (the right foot leading with a large step, the left following) Tori approaches Uke, lowering his centre as he does so. Tori cuts down and Uke raises his right arm to protect himself. Tori makes contact with Uke's forearm with his right hand-blade (te-gatana) do not take hold of your partner's wrist at this point and at the same time swings his left hand up (with a feeling of attacking Uke's armpit) to make contact with Uke's arm just above the elbow, his hand cupping the elbow in a U-shape with the thumb making contact on the inside of the arm. At this point Tori's weight has come onto his front knee as with 'ey' in the tori-fune exercise and his posture his very positive, heels pointing in and toes pointing out (shumoku-no ashi).

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Photo 4-5: Tori steps off the attacking line with his right foot. At this moment his body is turning to the right (not twisting - the back heel must stay in contact with the ground). At this point Tori's left arm is rising while his right arm is making an arc downwards and outwards. You must maintain a feeling of expansion and of 'the unbendable arm'. As a result of these movements Uke's body is twisted away from Tori and he is taken completely off balance. Note that even though it might look as if Tori is pushing Uke over, he is not pushing at all. As a result of Ton's body-turning Uke is twisted, naturally, away and downwards. Tori's hands remain in the same relationship with his body, with the same pressure - like a balloon. Both arms move in harmony, the left one cutting up and the right one cutting down, applying equal power, so that even if you are not gripping, it should work. There should be no forcing. Tori controls Uke's body through this action upon Uke's arm (this is why the technique is also called Ude osae: 'arm pin'). Notice the position of Tori's right hand on Uke's wrist (this is like a Sankyo grip). The heel of the hand is in contact with the inside of Uke's wrist over the area of the pulse. Tori is gripping only lightly. His left hand is making the same kind of contact just above Uke's elbow. During this movement there is an unbroken, smooth flow of power (ki no nagare) from the back foot to the front foot. Photos 6—8: Tori's back (left) foot moves in an arc, first bringing the knees together (Photo 6) then turning towards Uke (Photo 7). The weight is still on the right foot. The formation of Tori's arms and the contact with Uke's arm remain constant. There is no pushing or gripping, simply holding. As Tori directs his left foot towards Uke there is a feeling of attacking Uke's armpit with yari (a spear) îò jo with a thrusting movement. The left foot is pointing towards Uke's face and the left knee towards his armpit. It is Tori's centre which is moving towards Uke, not his arms, as Tori shifts his weight forwards as in tori-fune. The body movement shown in Photos 3-5 and in Photos 7 - 8 is very similar: simply the sequence of the foot movements is different (the right foot leading in the former and the left foot in the latter).

Photo 9: Once your partner's movement has stopped and he has reached the tatami, don't move any further forward or else you will be pushing. Tori now changes direction, advancing his right foot to the right and moving his left knee to Uke's armpit, so bringing Uke into a completely prone position.

Photos 10 & 11: Pivoting his hips around his left knee, Tori brings his right knee to the tatami and brings it up to a point between his thumb and Uke's wrist. Uke's arm is brought to rather more than 90° to his body. Tori

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finishes sitting up on his toes (kiza) with his feet together (see Photo 20). His feet and knees form a triangle, like a tripod. Tori stretches Uke's arm, pinning the inside of Uke's elbow to the tatami. Exhaling he rocks forwards from his toes and shifts his centre of gravity forwards. He expands his tanden and brings his weight to bear on the ligament just above Uke's elbow, his energy flowing down his arms towards his finger tips. As he finishes his shoulders are relaxed and his spine is slightly concave. He fixes his eyes on a point about two or three feet in front.

2. Ura 裏

Photo 12: Uke starts the action, sliding his left foot forward and making shomen-uchi at Tori's head. Photo 13: Tori protects himself, meeting the attack in gyaku-hanmi contact, with furi-kaburi ('protecting the head'), his arms expanding like an umbrella opening. Tori slides his right foot slightly forwards and to the side. Photo 14: Tori starts to turn his body to the left, pivoting on the front part of his right foot, receiving Uke's power. His relationship with Uke is now more square (rather than in hanmi), with his weight mostly on his right foot. The action of his arms is the same as in Photos 3 & 4. Photo 15: Tori's body continues to turn to the left. Notice the position of his left foot. His weight is now decidedly on his right (back) foot as in the moment of 'ho' in the tori-June exercise. He has brought Uke's arm in front of his abdomen. This action is exactly the same as that in Photos 4-5. There should be no pushing at this point. Ton's arms are simply swinging up and down.

Photo 16: When he has brought Uke's arm in front of his abdomen - and not before - Tori turns his eyes to the left and continues his spherical turning movement, stepping back strongly with his left foot (though maintaining his weight on his forward foot) and bringing Uke around with him. Tori's body turns through about 270°. In executing this turn you must maintain the harmonious relationship with your partner: you and your partner should form one unit without any separation. Uke's arm must remain in front of Tori's abdomen so that Tori does not drag Uke as he turns. Tori is always at the side of Uke (sokumen). Photos 17 & 18: Now Tori's relationship with Uke is more square with a low stance. Tori puts his right knee on the tatami with his left knee still raised (this corresponds to

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the situation in Photo 10).

Photos 19 & 20: The action here is the same as in Photo 11.

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© Ðþñèíêàí.ðó

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11/06/2009 11:24

Ðþøèíêàí.ðó. Òåõíèêè. Hanmi-handachi SHIHO-NAGE

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[Òåõíèêè]

// Èñòî÷íèê: B.A.F. Newsletter, Ìàé 2004, No 47

Íîâîñòè Òåõíèêè» Kata-dori IKKYO, Omote SW Kosa-dori Dai IKKYO SW Shomen-uchi Dai IKKYO'01 SW Shomen-uchi Dai lKKYO'05 TW Shomen-uchi Dai IKKYO Hanmi-handachi SHIHO-NAGE Hanmi-handachi SHIHO-NAGE, Katate-dori - number 2 Kosa-dori Dai SANKYO KOTE-GAESHI TENCHI-NAGE

Áåñåäû ñ ñýíñýåì» Ìàêêî-õō» Îñíîâû, òåðìèíû» Ãîâîðÿò ìàñòåðà» Ñòîï-êàäð» Ñëîâàðü Àòòåñòàöèîííàÿ ïðîãðàììà Àäðåñ çàëà

Hanmihandachi SHIHO-NAGE Demonstrated and explained by Kanetsuka Sensei

Photos and text: Peter Megann Graphics and typesetting: Graham and Laura Jones Uke: Richard Martin

Hanmi-handachi shiho-nage techniques are important not simply as throwing techniques but as training in how to sit (seiza), how to move with correct shikko, how to shift the centre of gravity from front to rear, how to turn the body through 180°. how to stand up without wobbling (as in the ryote-dori version).

1. Katate-dori Photo 1: The situation: Tori is sitting in seiza with his hands placed on his knees. Uke. moving off the attacking line, seizes Tori's left wrist with the intention of pulling Tori towards him and striking or kicking him. Responding to Uke's pull Tori rises onto his toes into kiza so that the contact point between Uke and Tori goes down so that even if Uke is holding strongly his force is deflected: he loses control of Tori and he is brought off balance. As Tori lifts his left elbow there is a feeling of slashing Uke's lower leg. There must be no pushing here.

Photo 2: Responding to Uke's pull. Tori pivots on his right knee and slides his left knee slightly forward (not further than Uke's centre), his right toes following his left toes {shikko). (Tori's posture is now exactly the same as in Photo 1 except that he is sitting in kiza rather than in seiza, and his weight is coming up and forward. Essentially it is his centre which is moving.) (Do not move too far forwards: the knees are almost the same distance apart as in the starting position.) Tori now makes atemi with his right hand as he raises his left hand from his knee. His left hand is open and turned up. the thumb turning inwards. His left elbow is turned slightly outwards so that the shape is like that in suwari-waza kokyu-ho exercise. Note how Tori's movement has brought his front knee forwards to bring him into a triangular position relevant to the original

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forward line. In other words he is now in what is essentially hidarihanmi.

Photos 3 & 4: Without pushing, pulling or lifting (the feeling is more like the left hand floating) - it's a matter of leading Uke: Tori and Uke must be 100% in harmony - Tori takes Uke's right wrist with his right hand and swings his left hand upwards as his left elbow expands. At the same time he inclines his body forwards so that his head approaches his hands. This movement is just as in making a sitting bow but in a vertical plain. The centre or contact point of this arm movement is first the left wrist joint, then the elbow joint and finally the shoulder joint, which moves like a hinge. His two wrists are crossing at this point. As Tori cuts up so that his hands cover his head (furi-kaburi), his elbows expanding, he starts to transfer his weight from his left knee to his right toes with a rocking movement. Note how Uke is brought up onto his toes and his body is turning away from Tori. He finishes behind Tori. You must cur up in a straight vertical line and not be in a hurry to turn.

Photo 5 & 6: Tori turns his body through 180°.

changing from hidari-hanmi to migi-hanmi. The relationship between Tori and Uke in Photo 5 is the same as in haishin-undo (back-stretch exercise). Tori's left knee moves slightly forward in Photo 5. Note that Tori keeps Uke's hand in front of his forehead during this turn. As Tori finishes this turn the gripping action of his right hand on Uke's wrist is like that of sankyo, twisting or wringing just as when you apply sankyo to your own wrist in warm-up exercises. His right hand is touching Uke's shoulder-blade while his left hand is pointing towards Uke's neck. As he completes the turn (Photo 6). Tori is cutting downwards (not outwards). If this operation is done correctly Uke simply falls to the ground without any need for Tori to throw. Uke steps back and makes ushiro-ukemi.

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2. Ryote-dori Photo 7: Tori follows Uke's fall and sticks closely to him to pin him, his right hand coming down to his right knee. Keeping your feet together slide your knee forwards and finish in kiza with zan-shin.

Photos 8 & 9: When Uke grips both his wrists and pulls him forwards. Tori rises onto his toes and follows Uke. extending his arms, opening his hands and keeping his back straight. Photo 10: Tori steps forward positively with his left foot (a) while taking Uke's right wrist with his right hand, his left hand pointing upwards as he turns his wrist inwards with a screwing action. Tori brings his hands up in front of his forehead and inclines his head towards them, as in Photo 3. His right knee moves up to his left heel (b) with the principle of tsugi-ashi (do not leave your left knee behind or else you will have difficulty standing up smoothly), and his rear foot finishes on a straight line behind his forward foot; i.e. his lower leg does not finish at right angles to the line of his advance. As Tori's centre moves forward and his arms cut up Uke is brought up onto his toes and above Tori.

Photo 11: Tori stands straight up. The crown of

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his head is now the centre of the

movement. His weight is on his forward foot. Photo 12: Keeping Uke's hands in front of his forehead Tori turns through 180° to his right, pivoting on the balls of his feet (first on the left foot and then on the right) and maintaining a low posture.

Photos 13 & 14: At the same time as Tori starts to lower his hands he steps back with his right foot. The reason why Tori steps back at this point is in order to maintain good balance and ma-ai. If he does not take a step back, the movement becomes very tight. The action from Photo 10 to Photo 15 must be continuous and flowing.

Photo 15: As Uke falls Tori steps forwards with his right foot, advancing his whole body, and follows him to the tatami. Of course. Tori can finish in a standing hanmi position (as Uke's posture in Photo 1). The most important point in this technique is to keep your partner under control from beginning to end: how to move naturally with your partner, harmonizing your movement with his.

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© Ðþñèíêàí.ðó

Ïî âñåì âîïðîñàì è ïîæåëàíèÿì ïèøèòå ÷åðåç îáðàòíóþ ñâÿçü

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[Òåõíèêè]

// Èñòî÷íèê: B.A.F. Newsletter, Ñåíòÿáðü 2004, No 48

Íîâîñòè Òåõíèêè» Kata-dori IKKYO, Omote

Hanmi-handachi SHIHO-NAGE Katate-dori - number 2

Demonstrated and explained by Kanetsuka Sensei

Photos and text: Peter Megann Graphics and typesetting: Graham and Laura Jones Uke: Richard Martin

SW Kosa-dori Dai IKKYO SW Shomen-uchi Dai IKKYO'01 SW Shomen-uchi Dai lKKYO'05 TW Shomen-uchi Dai IKKYO

In the following sets of photographs, set 'a' shows the shiho-nage technique, set 'b' illustrates the relationship of the technique to sword-movement, and set 'c' concentrates on the basic body and hand movements.

Hanmi-handachi SHIHO-NAGE Hanmi-handachi SHIHO-NAGE, Katate-dori - number 2 Kosa-dori Dai SANKYO KOTE-GAESHI TENCHI-NAGE

Áåñåäû ñ ñýíñýåì» Ìàêêî-õō» Îñíîâû, òåðìèíû» Ãîâîðÿò ìàñòåðà» Ñòîï-êàäð» Ñëîâàðü Àòòåñòàöèîííàÿ ïðîãðàììà Àäðåñ çàëà

Photo 1a: This represents the most difficult situation for Tori when the attacker has every advantage. The challenge is how to overcome Uke without using force. As Uke grasps Tori's left wrist with his right hand with a view to controlling Tori and pulling him forwards, he moves off the attacking line. As he holds Tori, his posture is similar to the forward movement of deep tori-fune, while he initiates an attack with his left hand.

Photo 2a: Coming up onto his toes, Tori slides his left foot forward and raises his left knee. At the same time he makes atemi with his right hand and extends his left arm, bringing his left hand - coming into a more horizontal plane with fingers spread and thumb turning inwards - to the height of his solar plexus. His left elbow is turning outwards with a feeling of slashing Uke's right lower leg. Note that Tori's right hand remains in front of his centre (his back foot, navel, left toes and left hand remain on the same line). As Tori conies up onto his toes his centre rises and moves forwards. Note that the action of Tori's left arm resembles that at the beginning of the suwari-waza kokyu-ho exercise, his fingers open with the thumb turning downwards and his elbow expanding. Photo 2b: In the parallel movement with the sword, Tori rises into kiza and raises the sword slightly. Note the light grip of the left hand, the fingers open, and contact with the sword maintained simply with the base of the thumb. The sword pivots around the right wrist as the left hand extends forward.

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Photo 3a: As Tori lifts his hands above his forehead with his two wrists crossing, he takes a small step forwards and starts to turn to his right, at right angles to the attacking line. He lifts his left heel and pivots on the toes of his left foot and on his right knee. The grip of Tori's right hand on Uke's hand is similar to that of applying sankyo, while the action of his left hand is similar to a hand receiving sankyo. Uke is now brought up onto his toes and his body is turning away from Tori, as Tori effects a kind of winding movement. Tori's weight is now on his right knee and heel. The sword movement shown in Photos 3b — 5b is known as maki-uchi (卷打) or 'winding-strike'. The sword is not brought up vertically in front of the head as in the normal shomen-uchi, but stays in the same place as Tori turns; so that that his left elbow comes to the sword before he raises it above his head. (In Photo 3b the sword is hidden behind Tori's left arm.)

Photo 4a: Here is the mid-point of Tori's turning from front to back. As he reaches a point at right angles to the attacking line, he lifts his right knee and comes up onto the toes of both feet, pivoting under Uke's right hand. Note that he is not moving Uke's right hand at this point, simply pivoting underneath it. The flow of Tori's concentration proceeds from his toes through his centre to his elbow. Here we note the essential difference between the 'solid' form of the technique explained in Newsletter no. 47 in which Uke is brought round Tori, and this more 'flowing' form in which Tori moves round the contact point with Uke.

Photo 5a: Tori reverses the posture shown in Photo 3a by bringing his left knee to the tatami and raising his right knee. He brings Uke's right hand close to Uke's right shoulder blade. The fingers of Tori's left hand are pointing towards Uke's neck. If you execute this movement correctly there is no need to throw your partner. Uke should simply fall to the

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ground.

Photo 6a: As Uke falls, Tori sticks to him. He can finish either in kiza pushing his tanden forward and his two knees and his toes forming a tripod - or he can finish in sonkyo, with his left knee on the tatami and his right knee raised (as shown in Photos 6a and 6b). His grip on Uke's right wrist with his right hand is similar to that of kosa-dori yonkyo.

It is important that you master the 'solid' form of this technique first, otherwise you will not be able to execute the more 'flowing' form effectively. The 'solid' form is a simpler, circular movement with the advantage of developing stability and kokyu. The 'flowing' form is more advanced, requiring more tai-sabaki and flexibuity.

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© Ðþñèíêàí.ðó

Ïî âñåì âîïðîñàì è ïîæåëàíèÿì ïèøèòå ÷åðåç îáðàòíóþ ñâÿçü

11/06/2009 11:24

Ðþøèíêàí.ðó. Òåõíèêè. Kosa-dori Dai SANKYO

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[Òåõíèêè]

// Èñòî÷íèê: B.A.F. Newsletter, Èþëü 2002, No 42 Kosa-dori (or Ai-hanmi)

DAI SANKYO Íîâîñòè Òåõíèêè» Kata-dori IKKYO, Omote SW Kosa-dori Dai IKKYO

(Sokumen)

Demonstrated and explained by Kanetsuka Sensei

Photos and text: Peter Megann Graphics and typesetting: Graham and Laura Jones Uke: Richard Martin

SW Shomen-uchi Dai IKKYO'01 SW Shomen-uchi Dai lKKYO'05 TW Shomen-uchi Dai IKKYO Hanmi-handachi SHIHO-NAGE Hanmi-handachi SHIHO-NAGE, Katate-dori - number 2 Kosa-dori Dai SANKYO KOTE-GAESHI TENCHI-NAGE

Áåñåäû ñ ñýíñýåì» Ìàêêî-õō» Îñíîâû, òåðìèíû» Ãîâîðÿò ìàñòåðà» Ñòîï-êàäð» Ñëîâàðü Àòòåñòàöèîííàÿ ïðîãðàììà Àäðåñ çàëà

Photo 1: In katate-dori or kosa-dori. at the moment that your partner takes your wrist you should assume correct posture and correct ma-ai, which means having good contact with your partner. From this position you can make the Technique omote, ura or sokumen. The point is whether you can lead your partner. Here Uke has taken Tori's right wrist with his right hand (this is why the situation is called kosa-dori: 'cross-holding'), either pushing or pulling. At this moment he can strike Tori's head with his other hand (or Tori can initiate a strike). Of course, Tori's wrist could be grabbed at chudan level. The situation in this photo represents the most difficult one. It is impossible for Tori to cut straight up with his right arm since Uhe's force is concentrated on his right wrist. You should open your hand and splay your fingers.

Photo 2: Tori comes up onto his toes, and sliding his knee to the side he moves his whole body to his left (without trying to move his right wrist

independently). Notice how his hand has started to turn with the thumb pointing downwards and the palm towards the outside. Notice that the palm is open, the finger-tips are pointing inward, and Tori's ring finger is sticking to Uke's wrist. Tori's whole arm is beginning to stretch outwards in the shape of an are, from the shoulder to the band, the elbow coming up and expanding (as it does when making za-rei). His hand begins to make a large circular movement to the left (this is a little like The movement of the arms when we do breast-stroke in swimming), the finger-Lips

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pointing inwards.

Photo 3: As Tori swings his arm up, the circular movement of his hand continues upwards to the height of his eyes, the thumb pointing towards his nose, his whole arm extending. During this whole movement his left hand stays in line with his body (not moving left or right).

Photo 4: Now Tori slides his right knee slightly to (he right, so turning his body to the right. His position is now essentially that of sokumen ('to the side'). His left hand is protecting him and at this point his arms are crossed- At this moment the contact is identical with that of shomen-uchi ikkyo. You should not try to hold with your right hand, just keep contact with your te-gatana ('handblade'), leading your partner's arm, not pushing it. Making atemi with his left hand means that Tori is concentrating on his partner's centre.

Photo 5: Tori's right hand has continued in an unbroken circle and has come back to the starting point of Photos 1 & 2. To do this your shoulder and body must be very relaxed. In this way you avoid your partner's attack and

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control him without any struggle. The point is that you should be leading, not forcing your partner. So your movement should be one of expansion and extension: not pushing; rather, swinging your arm up and down. Your whole body is turning to the right (not twisting), exactly as in suwari-waza kokyu-ho. Always keep some space between you and Up to this point the movements are identical with those of ikkyo.

Photos 6 & 7: While controlling Uke with his left hand just above Uke's elbow, stretching his.arm from his shoulder. Tori slides his right hand to hold Uke's fingers with a sankyo grip; but there is no need to hold tightly. Note that you should not be pushing or gripping: just controlling. Your stream of energy should be flowing from your toes, through your knees up to your shoulders, then down your arms to your hands, and crossing as shown in Photo 6. Keeping his back straight and moving his centre forwards Tori slides his left knee slightly towards Uke's armpit and bead. The action on Uke's arm is like thrusting with a spear. But don't move too much at this point: just create kime (impact).

Photo 8: Tori slides his left hand to his right hand and takes Uke's hand, controlling it with a sankyo grip, screwing the hand

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inwards. Again, there is no need for a light grip and you should not push. Photos 9 & 10: Tori maintains the screwing action on Uke's wrist and elbow (the action is like that of a coil), keeping his left hand in the same point in front of him as his body rises and he applies his centre of gravity upon Uke's lower arm. Bringing up his right knee he makes irimi around Uke's wrist and places his right hand just above Uke's elbow.

Photo 11: Tori pivots on his right knee (tenkan) and finishes in kiza in a position which is just like the finishing position of ikkyo, but reversed, as it where.

Photo 12: After sliding his right knee slightly to the outside of Uke's shoulder,

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Tori pivots round to bring his left knee to the other side of Uke's shoulder. (Note that he is sitting in kiza). He slides his right hand up to (Uke's hand to take over the sankyo grip from his left hand, not giving him the slightest chance to escape. Don't be too close to your partner at this stage. You need to leave some space to manipulate his arm and allow his joints to adjust, thus avoiding injury. You notice that Tori's left knee has not yet come very close to Uke's body.

Photos 13-15: Tori has slid his right knee nearer to his partner's shoulder and is placing Uke's hand onto his left shoulder and wrapping his left hand, palm upwards, round Uke's arm. It's not so much a matter of clamping your partner's arm to your body as of hugging it. Keep your centre of gravity low (don't rise up off your heels) and keep your back straight. Bear downwards on your partner's arm at the same time as you rotate your upper body in a circular path around his right shoulder-blade. This movement should be made without jerking, slowly and with control. As soon as your partner taps, release the pressure steadily.

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Photo 16-21: The first part of kosa-dori dai sankyo in tachi-waza.

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[Òåõíèêè]

// Èñòî÷íèê: B.A.F. Newsletter, Èþëü 1998, No 30

KOTE-GAESHI Íîâîñòè Òåõíèêè» Kata-dori IKKYO, Omote SW Kosa-dori Dai IKKYO

Demonstrated and explained by Kanetsuka Sensei

1. Omote (forwards) against Chudan Tsuki

SW Shomen-uchi Dai IKKYO'01 SW Shomen-uchi Dai lKKYO'05 TW Shomen-uchi Dai IKKYO Hanmi-handachi SHIHO-NAGE Hanmi-handachi SHIHO-NAGE, Katate-dori - number 2 Kosa-dori Dai SANKYO KOTE-GAESHI TENCHI-NAGE

Áåñåäû ñ ñýíñýåì» Ìàêêî-õō» Îñíîâû, òåðìèíû» Ãîâîðÿò ìàñòåðà» Ñòîï-êàäð» Ñëîâàðü Àòòåñòàöèîííàÿ ïðîãðàììà Àäðåñ çàëà

Photo 1: Uke aims chudan tsuki at Tori's Photo 2: Tori steps to the left, sliding his left foot stomach. The photo show the correct manner of to the side of Uke's advanced foot, out of line of executing chudan tsuki. Uke's attack, at the same time protecting himself with his outstretched arms, hands open with the same feeling as in the Suwari-wasa koku-ho exercise, and making contact with Uke's attatking arm in kamae (defensive posture).

Photos 3 &. 4: Maintaining contact wilh Uke's attacking arm, Tori pivots on his left tool and steps back onto his righl loot.

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Photos 5 & 6: In order to increase the space (maai) between him and Uke (it is difficult to execute Kote-gaeshi if you are too near your partner), and to have Uke's fist in front of his centre when he ultimately turns, Tori now pivots to his right with tenkai-ashi to finish the movement with his weight on his right fool (as in shifting one's centre of gravity from one foot to the other in the tori-fune exercise), finishing at an angle of about 95 degrees to Uke. This movement further unbalances Uke. [Note that there should be no pushing against Uke's arm during the manoeuvre shown from Photos 2-5: it's a matter of applying your weight onto your partner's arm through your body.] Tori has slid his left hand down to Uke's wrist and now encloses Uke's fist. Note that, as the introductory photo shows, Tori takes hold of Uke's wrist essentially with the base of his hand, holding with his thumb at a point between the knuckles of Uke's little finger and ring-finger, while his fingers (excluding the index finger), curl round the base of Uke's thumb, as in gripping a bokken.

Photos 7 & 8: Pivoting on the balls of his feet (tenkai-ashi), Tori turns through about 180 degrees around Uke'a wrist. It's important not to lift your partner's hand at this point. You must keep it no higher than your solar plexus so as to prevent Uke regaining his posture. As Tori turns towards Uke, he makes atemi to Uke's face, and as Uke loses balance to his rear Tori rolls Uke's wrist backwards and outwards, making use of both his hands. Note that this is not a matter of squeezing Uke's hand. As Tori's left thumb maintains pressure on the knuckles of Uke's hand, the fingers of his right hand extend beyond Uke's fingers.

Photo 9: As Uke starts to lose his balance towards his rear, Tori steps through with his right foot, sliding it in the direction of Uke's rear heel. At the same time he continues the rolling action upon Uke's hand in the same direction as his right foot, so that as the movement is completed Tori is cutting down in a direct line, as when cutting with a bokken. It is important to note that this action is essentially the same as in shiho-nage. [Of course, it is possible to make a larger tenkan at the stage shown in Photo 5 and. by stepping back with the left foot while cutting down (Photo 7). to make an 'ura' form of Kote-gaeshi.]

Photos 10-12: As soon as Uke is on the ground, Tori -while maintaining his grip on Uke's right hand - takes Uke's upper arm in a U-shaped grip with his right hand, just above Uke's elbow. Then taking a large step with his left foot to the other side of Uke's head, he takes Uke's elbow in a circular movement around his (Uke's) head. While maintaining his control of Uke's arm. Tori pivots on his left foot and finishes with his left knee on the tatami near Uke's ribs, while extending his right leg for a moment. You should not push your partner's arm across his face in this manoeuvre or drag him in any way. It's more a feeling of rolling Uke's body over, using your body action and following the natural movement of Uke's shoulder and elbow joint.

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Photos 13-17: Now Tori sits in kiza, with his knees placed lightly each side of Uke's right shoulder. He carefully changes the grip on Uke's wrist, his right hand taking over and stretching Uke's wrist and hand in the crook of his left elbow, and clamps Uke's hand against his chest. Keeping his shoulders and arms relaxed, Tori pins Uke's arm against his abdomen and upper body. With his armpits closed but without squeezing Uke's arm into hi body. Tori completes the immobilization by taking Uke' arm in a circular movement around Uke's right shoulder. Note that (as Photo 17 shows), Tori is sitting up on his toes in kiza and energy is flowing from his toes through his body towards Uke's head. This is essentially the same immobilization as at the finish of a Nikyo technique. Apply pressure in a controlled way (never jerk) and stop applying pressure as soon as your partner taps.

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[Òåõíèêè]

Íîâîñòè Òåõíèêè» Kata-dori IKKYO, Omote SW Kosa-dori Dai IKKYO SW Shomen-uchi Dai IKKYO'01

Ryote-dori TENCHI-NAGE Demonstrated and explained by Kanetsuka Sensei

SW Shomen-uchi Dai lKKYO'05 TW Shomen-uchi Dai IKKYO Hanmi-handachi SHIHO-NAGE Hanmi-handachi SHIHO-NAGE, Katate-dori - number 2 Kosa-dori Dai SANKYO KOTE-GAESHI TENCHI-NAGE

Áåñåäû ñ ñýíñýåì»

Ten, meaning 'heaven' and chi, meaning 'earth', give this technique an unusually poetic name. The throw is so called because Tori unbalances Uke with one arm swinging upwards and the other downwards. The most basic form, shown here, is with ryote-dori (in this case from ai-hanmi stance). Tenchi-nage is essentially a form of Kokyu-nage. Is is a very useful exercise in te-sabaki (the use of the hands in Aikido movement) and for tai-sabaki generally. The same principles of movement are used in many other techniques.

1. Omote (to the front)

Ìàêêî-õō» Îñíîâû, òåðìèíû» Ãîâîðÿò ìàñòåðà» Ñòîï-êàäð» Ñëîâàðü Àòòåñòàöèîííàÿ ïðîãðàììà Àäðåñ çàëà

Photos 1-4: Tori is in hidari ai-hanmi stance. His arras form a kamae (defensive) posture with the hands open in front of his centre, pointing directly at Uke, as with holding a sword in chu-dan. Tori's left hand cuts up with the same feeling as in the suwari-waza kokyu-ho exercise, the wrist rotating inwards and the thumb pointing towards his nose as the hand rises. Do not open the arm-pit and lift the elbow too high. Keep the shoulders relaxed. Energy should flow from your back (right) foot through your centre to the fingers of your left hand.

With ayumi-ashi, Tori slides his right foot forwards,: keeping his knees well bent, so that it finishes well to the right of Uke to form sankaku (a triangle) with Uke's left] and right heels. In this movement Tori's right foot slides at an angle of about 30° from Uke's attacking line. (You must take care not to finish too close to your partner, nor too far to the side. It will depend on the situation and the reaction of your partner.) Then Tori slides his left foot forwards, the left ankle coming close to the right ankle (knees bent), as the left foot changes direction towards Uke's right heel. The movement of Tori's right hand during this manoeuvre needs careful study. The right hand swings downwards but also forwards in an action that is like cutting Uke's centre, the wrist

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turning inwards and the thumb downwards (rather like the action of drawing the sword in Iaido), and the hand kept open and dynamic. The 'earth' element of Tenchi-nage is actually represented not so much by the downward cutting hand as by the lowering of your centre of gravity. This is a very important point. After the initial cutting down, your right hand is not moving forward independently of your centre. It is moving forward because your centre is moving forward. In other words, the distance between your centre; and your lower hand remains the same (Photos 2 and 4). Once Uke is unbalanced as in Photo 4, the technique is all but complete. Photo 5: As Uke falls, Tori continues moving and keeping close contact. Note that Tori's arms have now the same shape and feeling as at the end of the suwari-waza kokyu-ho exercise. They form an incomplete circle, the fingers pointing towards Uke. Maintain zanshin.

2. Ura (with tenkan) Photo 6: From ai-hanmi stance, Tori takes a step forward with a feeling of attacking Uke's centre and assumes gyaku-hanmi.

Photo 7 & 8: Avoiding Uke's attack, Tori takes a small step aside with his left foot. His right hand cuts up vertically on the inside of Uke's wrist. With his left arm the hand, palm upwards, staying in front of his centre -he draws Uke forwards. This movement is identical with the beginning of haishin-undo to the rear. Then continuing to unbalance Uke, Tori makes tenkan, sliding his right foot to the rear. As you make this movement, it's important to keep your hands in front of you. Do not pull your upper hand to the side: it should finish more or less in front of your eyes. Turn the wrist inwards as you cut up.

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Photo 9: Now Tori slides his left foot to Uke's right side. Do not approach too close to Uke at this point. Keep good maai in order to maintain tension and keep Uke off balance. This movement is the same as in the omote form of the technique (Photo 2). Photos 10 and 11: The action continues identical with that of the omote form shown in Photos 5 & 6.

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