The Attacks (Grabs- Tori/Dori): 1.

500302 Single hand grab on same side: Single hand grab on opposite side: Two hands on one wrist: Mochi) Two hands on two hands: One hand shoulder grab: Two hands on shoulders: Strangulation: Lapel hold (one or two hand): Grab shoulder/lapel, and strike: Double wrist hold from behind: tori) Double elbow hold from behind: Strangulation from behind: Double shoulder hold from behind: Bear hug from behind: Arm holding arms from behind: Grab wrist and choke from behind: (Sankajyo) Grab one hand,moving to the other: The Attacks (Hits): Stomach punch: Face punch: Overhead strike: Circular strike (45 deg): Circular strike (22 deg): Sideways torso strike : Shoulder push: Roundhouse kick: Front kick:

Version Katate Dori Kosa Dori (or Katate Kosa Dori) Ryote Mochi (or Katate Dori Ryote Ryote Dori Kata Dori Ryokata Dori Kubi Shime Mune Dori Kata Menage Ushiro Tekubi Tori Ushiro Ushiro Ushiro Ushiro Ushiro Ushiro

(Ushiro Ryo-

Hiji Tori Kubi Shime Kata Tori Tori Ude Tori Katatetori Kubishime

Ushiro Mawari

Munetsuki Ganmentsuki Shomen-uchi (uke must be in gyaku-hanmi) Yokomen-uchi * Kesa-gake uchi * Do-uchi Kata-oshi Mawashi-geri Maegeri

*:Note that Kesagake and Yokomen really refer to a position on the attacked and not an angle. Kesagake is toward the shoulder, hence usually implying a steeper angle than Yokomen-uchi's temple cut. One could extend this analogy to say that Shomen-uchi is really a strike to the forehead and do-uchi is a strike to the side/torso. Kote-uchi, for example, means wrist strike and implies a steeper angle than kesa-gake (10 degrees?). The Defenses: (30+ at last count) Enkei Gokyo (knife/tanto Shomen-uchi defense; top hand reversed from Ikkyo) Hane-kaeshi (motion of lifting up to change direction; salutations move; short kiri-; continuous motion from Ushiro Mawari for example)

Hiji-gatame Hiji-otoshi Hiki-otoshi Hiza-otoshi Ikkyo Irimi Nage Jujinage Jumonji Nage Kaiten Nage Kiri-kaeshi uchi

(elbow pin; Yokomenuchi Irimi Hijigamate for example) (elbow drop) (pull drop, usually used in Ushiro Kata Hikiotoshi) (or, Pete's bogus leg techniques; knee drop) (Charge them first) (Arm entwining throw) (Arm twist throw: another name for jujinage?) (Windmill/Spinning Arm/Rotary throw) (figure 8: Spinning change of direction; good for Shomen-

or Tenkan Nikyo for example) Kokyu Nage (breath throw) Koshihineri (hip twist?) Koshinage (hip throw) Kote Gaeshi Makiokomi (A vertical enkei-like motion: who knows?) Makiotoshi (Circular throw, good for Yokomen-uchi) Nikyo Oonami (Sometimes Ohnami; Big Wave, good for Ryote Dori) Sankyo Sayo-undo (Left/Right Pile of Bricks on Chest Throw) Sayu-Kaeshi Ikkyo (The "double ikkyo" for two person Futari-Ryotedori) Shiho-nage (four direction throw) Sudori (atemi blow and run) Sumi-Otoshi (arm under shoulder throw) Tenchi Nage (heaven & earth) Waterfall (Ushiro Kata Hikiotoshi; Hikiyose Otoshi; behind the back pull) Yonkyo Zenpo Nage (See also aiki-taiso, Zenshin Nage, Sasoikomi, etc.) Weapons or Pertaining to Weapons: (see also "Pertaining to Weapon Strikes" in the jogi/kengi section) Bokken: Light wooden sword. Wood katana. Bokuto: Same as Bokken. Chudan-no-kamae: Middle stance with sword to throat (also called seigan...) Gedan-no-kamae: Lower stance with sword. Hasso-no-kamae: Stance with sword raised vertically near the side. Jodan-no-kamae: High stance with sword above head posed to strike. Katana: Metal Japanese Samarai Sword. Kissaki: Tip or point of sword. Seigan-no-kamae: Middle stance again. See Chudan-no-kamae. Tachi-tori: Disarming Bokken Attack. Tsuka: Handle of sword. Wakizashi: Short sword. _____ Gokyo: Defensive technique for shomen-uchi tantotori. Tanto: Knife. Tantotori: Disarming Knife attack. _____ Jo-ken Awase: 3 people using jo & bokken while doing jo #1

Jo-nage: Throwing opponent using the jo. Jo-tori: Disarm jo attack. Jo-awase: Blending with jo attack. Pertaining to Weapons Strikes: (in the jogi/kengi section) Nice Lingo: Aikido: Way of life through harmony with nature. Banyu Aigo No Seishin: Spirit of Loving Protection for all things. Chudo: The middle path; path of moderation. Dochu-no-sei: Calmness in action. Domo arigato gozaimashita: Thank you very very much (end of class). Enkei-ho: Principle of circular motion. En No Hongi: Principle of circular motion. Fudoshin: A self-controlled mind Fudotai: A self-controlled body. Gogo-no-shugyo: Training after realization (understanding). Hitoashi Yokete: Step Aside Katsujin-ken: Sword to let live. Ken-to-shodo: Sword and first move. Ki-no-Myoyo-o-Tadashiku: The proper usage of the mysterious power of ki. Ki-no-nagare: Free flowing of ki. Koki: Self challenge Kuri Dori: Control your Enemy's Spirit Ma-ai: Distance between uke and nage. Matskatsu-Agatsu: True victory is victory over oneself Misogi: A breathing method; spiritual purification. Mu-shin: No mind. Nage: The defender. Onegai-shimasu: Please practice with me (beginning of class). Otonashi-no-kamae: The Soundless Stance (avoiding contact of weapons! :-( ) Satsujin-ken: Sword to kill or destroy. Seidokan: Earnest, Real, Sincere Shin-Tai-ki: Balance of Mind, Body, & Ki Shodo-o-seisu: Control the first move Shoshin-ni-kaeru: Return to basics. Shugyo: Making the arts part of oneself for oneself and others. Uke: The attacker. Word Forming Ashi : Atemi : Barai : Bu : Chokayu : Do : Enkei : Fudo : Furi : Futari : Gaeshi : kaeshi Phrases: Japanese to English leg or foot Defensive blow Nage uses to neutralize uke's ki Sweep Martial leap Path, road, way of life Circular shape Control Wave. Two person turn around; return; reverse. Left/Down. (Kote-): see

Ganmen : Geri : Hantai : Harai : Hidari : Hiji : Hikiyose: Hiza : Irimi : Kaeshi : gaeshi Kaiten : Kamae : Kata : Katate : Ken : Koho : Kokyu : Kosa : Koshi : Kotai : Kote : Kubi : Mae : Migi : Miken : Mochi : Momo : Morote : Mune : Nage : Ninin : Osae : Oshi : Otoshi : Po : Ryote : Sa : Sayu : Shime : Sode : Sudori : Taiso : Tekubi : Tenkan : axis. Tori : Tsuki : Ude : Undo : Ushiro : Waza : Yari : Yoko :

Face kick Opposite/reverse Vertical upper cut Left side (pertaining to uke's left) Elbow To pull toward you. knee entering in toward attacker w/o collision (w/o hip pivot) Turn about; like gaeshi. Right/Up. (Kiri-, Hane-): see Spinning/Rotary Stance Shoulder/lapel One hand (used in the case of a grab, for example) Sword To the rear; backward motion when facing forward. leading, timing, or momentum. Breath cross/intersect hips retreat back of hand; small wrist; used if a wrist strike Throat/Neck Front; forward. Right Side (pertaining to uke's right) Eyes Hold Thigh Two-arm Chest or stomach region to throw double pinning Push Drop Method Both hands left (moving) Both Left and Right moving Choke Sleeve Atemi blow leading into an escape. Body skills the wrists stepping out and around, rotating the hips about a vertical to take Thrust or stab with weapon or fist Arm; Arm taking Exercise from behind, rear, or back techniques Straight Spear Side

Yonin Yu Yubi Zenpo Zenshin

: : : : :

Quadruple Right (moving) Finger Forward direction Progress forward

Pertaining to Body parts: English to Japanese Arm; Arm taking: Ude Arms (two) : Morote Chest/stomach : Mune Elbow : Hiji Eyes : Miken Face : Ganmen Finger : Yubi Hand (one) : Katate Hands (both) : Ryote Hips : Koshi Knee : Hiza Leg/foot : Ashi Shoulder/lapel : Kata Sleeve : Sode Thigh : Momo Throat/Neck : Kubi Wrist : Kote Wrists : Tekubi Pertaining to Techniques: English to Japanese (see more complete definitions in the Word Forming Phrases: J to E) Arm taking : Ude Behind/rear : Ushiro Big Wave : Oonami Breath/Momentum : Kokyo Choke : Shime Circular shape : Enkei Cross : Kosa Defensive blow : Atemi Drop : Otoshi Dual/Double : Ninin Entering in : Irimi Entering Around : Tenkan Exercise : Undo Forward Direct. : Zenpo Forward Progress: Zenshin Hit and Run : Sudori (atemi blow leading into an escape) Hold : Mochi Kick : Geri Leap : Chokayu Left : Hidari Lure Towards : Sasoikomi Method : Po Opposite : Hantai Pinning : Osae Pull Towards : Hikiyose Push : Oshi

Quadruple Retreat Reverse/Return Right Side of Spinning Stance Take Techniques Throw Thrust/Stab Two Person Upper cut Wave

: : : : : : : : : : : : : :

Yonin Kotai Gaeshi Migi Yoko Kaiten Kamae Tori Waza Nage Tsuki Futari Harai/Barai Furi

Advanced Arts: Japanese to English Aiki-ryoho : Therapy with Ki. Hanmi Handachi: Nage in seiza kneeling, UKE standing Henka Waza : Dynamically changing the techniques as they progress Jiyuwaza : Free style techniques Jo-Ken Awase : 3 people using jo & bokken while doing jo #1 Jo-tori : Disarming Jo Attack (Uke has Jo) Jo-awase : Blending with Jo Attack Jo-nage : Throwing the Uke with the Jo. (Nage starts with Jo). Kaeshi-waza : Technique reversal. Uke and Nage switch roles midway. Kiatsu : Healing with Ki. Kokyu-dosa : Specific blending exercise with partners kneeling. Randori : All-out, multiple attackers, free-style Suwari Waza : Both uke and nage are in kneeling position. Tachi-tori : Disarming Bokken Attack Tachi-nage : Throwing the Uke with the Bokken. Nage starts with Bokken. Tanto-tori : Disarming Knife Attack Principles to Unify Mind and Body: Be sure to be consistent with the tests when teaching how to do it right or demonstrating why not doing it is wrong. (Tohei Sensei calls these: Extend Ki, Relax Completely, Keep weight underside, and Keep One point). 1.) Let your ki flow: Test 1: Unbendable arm test. (Orenaite) Test 2: Form a ring with your forefinger and thumb. Do an "unbreakable" ring test. Test 3: Walking through a crowded room test. If the walker is angry, the ki is stopped up and collision occurs. If the walker is daydreaming, the ki is transparent and the walker never gets anywhere. Test 4: Stand with the arm outstretched, palm out, and hand open. Have tester push on the palm of the hand.

Test 5: Grab two chairs, and lay across them and do an "unbendable" body test. 2.) Controlled Relaxation: Test 1: Have partner put their arm at their side. Lift it. If too relaxed then its easy. If too stiff, the whole body goes over. Solution: the middle path: controlled relaxation. Test 2: Holding a Bokken. If held too tight and someone hits it from the side it takes too long to return the bokken to pointing at their throat. Same with too loosely. Test 3: The "Liz" test. Hold a largish piece of paper too tightly and the paper wobbles. Hold too loosely and you can hold the paper level. Test 4: Katate Tori Tenkan. Try this aiki-taiso. It doesn't work unless controlled relaxation is in place. 3.) Settle Down Test 1: Have partner put their arm out to the side, parallel to the ground. Lift arm from underneath. If they are thinking about balloons at the top of the arm, its too easy, if they are thinking about weight underside it isn't. Test 2: Two people lift someone who shifts from thinking light to thinking heavy. Test 3: Full nelson. If relaxed, easy. If weight underside, no strength is necessary but its hard. 4.) Keep one point Test 1: Touch the top of the head and push the partner over (from front or rear not the side!). Next touch the one point and try again. Test 2: Do the above test in seiza. Test 3: Have your partner try to pull you by the arm. If they don't connect with their one point, it won't work. Applications of the Principles to Unify Mind and Body: 1.) Breathing Exercise (Misogi) 2.) Aiki-Therapy (Aiki-Ryoho) 3.) Application in Daily Life (?) Principles of Aikido: (from Kobayashi Handout) 1.) Control the first move (shoto-o-seisu) 2.) True Victory is victory over oneself (matsukatsu-agatsu) 3.) Principle of Oneness

4.) Principle of Circular Motion 5.) Range of Effectiveness

(en-no hongi)

Misc. Principles of Aikido: (from Jim Wallace Handout) (see also Nice Lingo section for more of these) 6.) Principle of Ki 7.) Middle Path (chudo) 8.) Calmness in Action (dochu-no-sei) 9.) Balance of Mind, Body, and Ki (shin-tai-ki) 10.) Controlled Mind and Body (fudoshin fudotai) 11.) Step Aside (hitoashi yokete) 12.) Back to Basics (shoshi ni kaeru) 13.) Training After Understanding (gogo no shugyo) 14.) No-mind (mu shin) 15.) Self challenge (koki) 16.) Spiritual Purification (misogi) 17.) Spirit of Loving Protection for all (Banyu Aigo No Seishin) Things 18.) Know your Opponent's Mind (Ai Te No Kokoro O Shi Ru) 19.) Extend Ki (Ki Ga De Te I Ru) 20.) Respect Your Opponent's Ki (Ai Te No Kokoro O Shi Ru) 21.) Put Yourself in the Place of your (Ai Te No Tachi Ba Ni Ta Tsu) Opponent 22.) Perform with Confidence (Sotsu Sen Kyu Ko) 23.) Control your Enemy's Spirit (Kurai Dori) 24.) The Visible & Invisible are One; (Kenyu Ichinyo No) All things in the universe are One 25.) Expose Your right hand to the Sun; (Migiteoba Hi Ni Arawashi; ..) Turn your left hand in the shade and( Hidarite Wa Kage Ni Kaeshite ..) lead the enemy ( Teki O Michibike) 26.) The Samarai is the first to Suffer (Shiwa Hito No Sakiinjite YoOh ..) anxiety for human society, and he is( Urei Hito No Tanoshimite ..) the last to seek personal pleasure ( Nochini Motute Tanoshimu) The Seven Virtues of Budo: (think: Be Happy Confucious Will Save Loyal Pupils, ie., BHCWSLP) 1.) Benevolence (Jin) 2.) Honor or Justice (Gi) 3.) Courtesy or Etiquette (Rei) 4.) Wisdom or Intelligence (Chi) 5.) Sincerity (Shin) 6.) Loyalty (Chu) 7.) Piety (Koh) The Aiki-Taiso with Applications to Techniques (see "Introduction To Aikido" by R. Kobayashi for complete details) 1.) Nikyo-undo Tech: Katatedori Nikyo 2.) Kotegaeshi-undo Tech: Munetsuki Kotegaeshi 3.) Sankyo-undo Tech: Ushiro Tekubitori Sankyo 4.) Ikkyo-undo Tech: Munetsuki Hantai Ikkyo

5.) Tekubi-shindo-undo Tech: 6.) Funakogi-undo Tech: 7.) Shomenuchi Ikkyo-undo Tech: 8.) Zengo-undo Tech: 9.) Happo-undo Tech: 10.) Tekubikosa-undo Tech: (double wrist break) 11.) Johokosa-undo Tech: (high wrist break- also called 12.) Enkei-undo Tech: Kotegaeshi 13.) Enkei Choyaku-undo Tech: Katatedori 14.) Sayu Enkei-undo Tech: 15.) Udefuri-undo Tech: 16.) Udefuri Choyaku-undo Tech: 17.) Ushirotori Zenponage-undo Tech: 18.) Ushiro Tekubitori Zenshinnage-undo Tech: 19.) Ushiro Tekubitori Kotai-undo Tech: 20.) Katatetori Tenkan-undo Tech: 21.) Ukemi Waza a.) Zenpo Kaiten-undo b.) Koho Tento-undo The "Nage's": Kokyu : Irimi : Juji : Jumonji : Kaiten : Koshi : Shiho : Tenchi : Zenpo : Zenshin :

Bogus Ryotedori Funakogi Drop Shomenuchi Hijiotoshi As above As above Ryotedori Shihonage Ryotedori Kotegaeshi tekubi joho ..) Katatedori Sude Sasiokomi Enkei when being pulled Enkei from the front Bogus Yokomenuchi Makiotoshi (A) Ushirotori Zenponage Ushiro Tekubitori Zenshinnage Ushiro Tekubitori Kotegaeshi Katatetori Tenkan Zenponage

(the throws) Breath Entering Arm entwining X/Ten/Cross throw. (same as juji?) Spinning Arm/Rotary Hip Four direction Heaven and Earth Forward Forward progressing

The "Otoshi's": (the drops) Aiki/Ashi: Pulling knees out from behind uke Hiji : Elbow Hiza : Leg/Knee Irimi : Entering drop (immediate) Kata Hiki: Waterfall technique from behind/ushiro (sometimes "hikiyose") Maki : Circular Sumi : Under the shoulder (corner drop) Uchi : "Dropping" Strike. As in jogi#1, move 9. The "Kamae's": (the Chudan-no-kamae seigan..) Gedan-no-kamae Gyaku-no-kamae Hasso-no-kamae stances) : Middle stance with sword to throat (also called : Lower stance with sword. : Reverse sword stance. : Stance with sword raised vertically near the side.

Jodan-no-kamae : High stance with sword above head posed to strike. Otonashi-no-kamae: The Soundless Stance (avoiding contact of weapons! :-( ) Seigan-no-kamae : Another name for Chudan-no-kamae Counting to "10": 1-> Ichi 2-> Ni 3-> San (Yon) 4-> Shi 5-> Go 6-> Roku 7-> Shichi (Nana) 8-> Hachi 9-> Kyu (Ku) 10-> Ju _________________________________________________________________________ __ Sample Defenses against a given attack: Yokomen/Kesa-Gake/Do Uchi: Circular strike (varying targets) 1.) MakioToshi 2.) Shiho-Nage (Irimi, Tenkan, Seidokan) 3.) Sumi-Otoshi 4.) Hiji-otoshi (Inside, goes into pin or throw) 5.) Roll Sankyo Irimi (cut down & blend in the same direction, then reverse) 6.) MakioToshi-B 7.) Roll Kotegaeshi (same start as Sankyo) 8.) If Yokomen-uchi: Sudori (3 ways: see Dan arts) 9.) If Yokomen-uchi: Irimi Nage 10.) If Yokomen-uchi: Choyaku Kokyu Nage (Slide to center; Leap across hand) 11.) If Yokomen-uchi: Choyaku Kotegaeshi (Leap across hand) 12.) If Yokomen-uchi: Choyaku Sankyo (Leap across hand) 13.) Irimi Sankyo (Grab nonattacking hand) 14.) Irimi Hijigatame (Grab nonattacking hand) Kata Dori/Mune Dori: One hand Lapel/Shoulder grab from front *.) Escape: Interlaced hands like Ryokata Tori 1.) Nikyo 2.) Ikkyo 3.) Zenpo Nage (Resembles Kokyo Dosa/Hiji-Otoshi, Be sure to Atemi) 4.) Break Free w/ Escape, then Kote Gaeshi 5.) Break Free w/ Escape, then Sankyo 6.) Break Free w/ Escape, then Yonkyo Katate *.) 1.) 2.) 3.) 4.) Kosa Dori: Cross single hand hold Escape: Nikyo start w/o nikyo Sankyo Kote-gaeshi Kokyu Nage Ikkyo Irimi

5.) Nikyo 6.) Yonkyo 7.) Hikiyose Ikkyo Tenkan (1st kyu exam technique) Katate Tori: One hand hold same side (front) *.) Escape: Nikyo start w/o nikyo *.) Remember the dynamic slipping method of free the hand. 1.) Irimi Otoshi (Move in and drop; short Sayo undo) 2.) Sayo undo 3.) Shiho-nage tenkan. 4.) Nikyo 5.) Ikkyo 6.) Dynamic Slip to Katate Kosa Kote Gaeshi (Irimi-Tenkan...) 7.) Dynamic Slip to Katate Kosa Sankyo 8-11.) 4 Zenpo Nages (the last one is the one Richard taught) 12.) Yonkyo 13.) Enkei 14.) Irimi Otoshi Nage 15.) Irimi Tenchi Nage (lower hand is the one that's grabbed; upper hand across chest/neck-bone) 16.) Irimi-Tenkan Kokyu Nage (follows "Dynamic Slip") Kata-Menage: One hand holding lapel or shoulder, other striking Shomenuchi 1.) Kote Gaeshi 2.) Shiho Nage 3.) Nikyo 4.) Kokyu-nage A.) (Go down on knee closest to uke. Push forward with hands at end.) 5.) Kokyu-nage B.) (Entwine both hands and turn tenkan or irimi) 6.) Kokyu-nage C.) (Grab elbow and pull.) 7.) Ikkyo (tenkan or irimi depending on uke) 8.) Juji (Grab holding elbow still. Swing the other hand from above down to same side hip. Throw them.) Munetsuki/Ganmentsuki: Punch to midsection/face 1.) Hantai Ikkyo 2.) Kote Gaeshi 3.) Sankyo 4.) Hiji-otoshi 5.) Zenpo-nage 6.) Ushiro Kata Hikiotoshi (hikiyose otoshi; waterfall technique) 7.) Kokyu-nage 8.) Munetsuki-> Grab hand, move in and drop (atemi to face) 9.) Enkei -> Do motion, use strong ki. 10.)Hantai Kokyu-nage (Grab with wrong hand; bogus Dan art) 11.)Hantai Sankyo (Grab with wrong hand; bogus Dan art) 12.)Irimi Tsukikaeshi (Difficult "dynamic" Kotegaeshi as uke pulls back) Ryokata Tori/Mune Dori: Two hands Lapel/Shoulder grab from front

*.) 1.) 2.) 3.) 4.) 5.)

Escape: Interlaced hands Turn & Bow Kote Gaeshi (Step outside, "contact down" from elbow to hand) Nikyo Zenpo Nage (resembles standing Kokyo Dosa/Hiji-Otoshi) Irimi Nage

Ryote Dori: Two hand on two - both hands being held (front) *.) Escape: Hands up then down to uke's one point 1.) Zenpo Nage (one hand behind back) 2.) Tenchi Nage 3.) Sayo Undo 4.) Shiho Nage 5.) Sasoikomi Oonami (Resembles a Funakogi Duck under and throw) 6.) Kote Gaeshi (Jo-ho Kosa escape. Think bounce and dribble) 7.) Standing Kokyo Dosa Technique (Palm down, hook, contact down) 8.) Tenkan Tenchi Nage ("Dynamic Version": be sure to walk forward) 9.) Funakogi Drop (step aside and Funakogi them to the ground) 10.)Funakogi Version 2 Drop (step aside, but grab cross hand for leverage) 11.)Hiri Kaeshi (changing direction throw) 12.)Enkei Nage (move offline, use upper hand to lead them far; low bridge) 13.)Nikyo (Concentrate on one hand, bring other hand to 1pt. Dip down) 14.)Sankyo (Bogus Dan art) 15.)Choyaku Kokyu-Nage (Joho break; leap to opp. side as uke's upper hand) 16.)Choyaku Kotegaeshi 17.)Choyaku Sankyo (Joho break; turn 180 to face uke's direction) Ryote Mochi: Two hand on one hand from front. *.) Escape: Nikyo start without nikyo 1.) Kote Gaeshi (Tenkan) 2.) Kokyu Nage (many ways: also, Sasoikomi Makiotoshi) 3.) Zenpo Nage (3 plus ways) 4.) Nikyo (3 plus ways: see 13 & 15) 5.) Ikkyo 6.) Kaiten Nage 7.) Sasoikomi Kotegaeshi (Draw in then cut down. Go left if grabbed right)

8.) Irimi Nage (like Katate Dori Irimi Otoshi; be sure to cross legs & dip) 9.) Choyaku Kokyu-nage (with a hop) 10.)Choyaku Kotegaeshi (Do full spin around them; Miriam technique) 11.)Choyaku Sankyo (with a hop) 12.)Choyaku Ikkyo (Do full spin around them; Miriam technique) 13.)Tenkan Nikyo (Get off line, open the door then draw `em in; turn 180) 14.)Tenkan Kotegaeshi (Similar start as Tenkan Nikyo) 15.)Tenkan Kirikaeshi Nikyo (Tenkan lead, then pivot back on `em) 16.)Irimi Nage Sayu-Undo (Secondary art for 8- they let go so go into Sayu) Shomenuchi: Overhead strike 1.) Ikkyo Irimi: Must be a strong cut down, like a bokken cut to the 1-point 2.) Kokyu-Nage 3.) Sankyo: Uses a special initial catch. 4.) Ushiro Kata Hikiotoshi (Hikiyose-otoshi; Waterfall) 5.) Hiji-otoshi 6.) Kote Gaeshi 7.) Gokyo 8.) Ikkyo-Tenkan 9.) Kirikaeshi (Grab hand and drop; the Kevin technique) 10.)Shiho-nage (bogus Dan art) 11.)Nikyo (Start with hantai motion!) Ushiro *.) 1.) 2.) 3.) work) 4.) gums. 5.) 6.) Kata Dori: Shoulder hold from behind Escape: Think about choyaku Hiza-otoshi (Inside Leg) Hiza-otoshi (Outside Leg) Salutations technique (to be followed by 1 or 2 above if doesn't Turn in place, place one hand on an elbow and the other in the Zenshin Nage (use hands exactly as if it were ushiro tekubi tori) Sayu-undo (far hand on pivot goes between uke's arms)

Ushiro Katatetori Kubishime Sankajyo: Grab wrist and choke from behind *.) Escape: Start sankyo below 1-2.) Sankyo (two types depending on which way one turns) 3.) Start same as Sankyo, but grab hand, kneel down and throw (shoulder to knee motion) 4.) Kotai Ikkyo on lower hand 5.) Yonkyo on upper choking hand Ushiro Kubi-shime: Strangulation from behind

*.) 1.) 2.) 3.) 4.) 5.)

Escape: hands up, turn in place Kote Gaeshi Sumi-otoshi Hiji Otoshi Sankyo Kokyu Nage

(Katate Kosa) Ushiro Mawari: Grab 1 hand from behind and moving for the other Pivoting around grabbed hand is the same thing as turning with the uke. Pivoting around ungrabbed hand often means moving under the grabbed hand. *.) Escape -> Pivot around grabbed hand & start nikyo escape w/o nikyo 1.) Ikkyo -> Pivot around grabbed hand (thumb and forefinger down) 2.) Tenchi Nage -> Pivot around ungrabbed hand. Bring grabbed hand up. 3.) Ikkyo -> Pivot around ungrabbed hand; fancy hand slip (not best) 4.) Nikyo -> Pivot around grabbed hand 5.) Sankyo -> Pivot around ungrabbed hand (can do both ways) 6.) Kotegaeshi -> Pivot around grabbed hand, turning with uke. 7.) Hanekaeshi -> Pivot around ungrabbed hand, moving under arm. Keep spinning after turning under arm. Draw them across you. "Salutations move". Ushiro *.) down!) 1.) 2.) 3.) 4.) 5.) 6.) 7.) Ushiro *.) down *.) 1.) 2.) 3.) 4.) 5.) 6.) (Ryo) Tekubi/Hiji Tori: Double hand/elbow hold from behind Escape: Think of aiki-taiso: ushiro tekubi tori kotai undo (sharp Zenshin Nage Zenpo Kote Gaeshi (forward) Kotai Kote Gaeshi (backward) Tenchi Kote Gaeshi (start to do Tenchi, but drop into Kote Gaeshi) Sankyo (Move forward) Back Ikkyo Tenchi Nage Tori: Bear hug from behind Escape: Hands parallel to ground. Create room, slide straight

Think also about pealing fingers apart with Yubi-gaeshi Zenpo Nage (as in aiki-taiso) Hiji-otoshi Hiza-otoshi Kokyu-nage Sumi-otoshi Sankyo (only if you can pull hands apart!!!)

Ushiro Ude Tori: Grabbing the Arms from behind *.) Escape: relax arms, lean forward and spin one arm out.

1.) 2.) 3.) 4.) 5.)

Hiji Otoshi Kote Gaeshi Sumi Otoshi Hiza Otoshi Kokyu Nage (?)

_________________________________________________________________________ ___ Some Advanced Practice: Multiple Attackers: Remember quick movements like Hija-Otoshi, and Zenpo Nage. Futari/Ninin Ryote Dori: Two people each with a Ryote Mochi 1.) Zenpo Nage: Keep arms on the same level as shoulders. 2.) (Sayu Kaeshi) Ikkyo: Use your partners- cut deep. 3.) Ohnami: Bring one arm in front of the face, then slip under it and behind. Try to get a double nikyo going. 4.) Makiokomi: Bogus Dan art. A vertical enkei. Jo-nage (Katate Dori): Same side jo grab 1.) Nikyo 2.) Shiho-nage 3.) Zenpo-nage 4.) Turn and row down 5.) Enkei 6.) Kiri-kaeshi (?) Jo-nage (Kosa Dori): Cross side jo grab 1.) Nikyo 2.) Kote Gaeshi 3.) Shiho-nage 4.) Zenpo-nage 5.) Sankyo 6.) Enkei Tachi-tori Shomen-uchi: 1.) Zenpo Nage: Turn tenkan, and place hand between uke's. up, followed by a cut down. Then blend

Tachi-tori Yokomen-uchi: 1.) Turn tenkan, placing hand between uke's and drop bokken straight to the ground. Tanto-dori Ushiro Waza: Knife in back. 1-2.) Turn with arm in place. Depending on which is available, do Ikkyo or Kote Gaeshi. 3.) Sankyo only if Kote Gaeshi was possible. Tanto-dori Ushiro Katatetori Kubishime Sankajyo: 1.) Sankyo on upper hand. (Be sure to point weapon toward the body).

Tanto-dori Munetsuki 1.) Ikkyo 2.) Kote Gaeshi 3.) Sankyo Tanto-dori Shomen-uchi 1.) Gokyo _________________________________________________________________________ ___ Kyu Examination Requirements (from handout of the same name by R. Kobayashi) All Examinees must have a thorough knowledge of Aikido Fundamentals: 1.) The meaning of Aikido, principles of ONENESS 2.) The principles to unify mind and body 3.) The concept of "Shodo o seisu" 4.) The Aiki Taiso 5.) The applications of exercises to self-defense Rokkyu (6th kyu): 5 defensive movements against 5 holds, breathing exercise Gokyu (5th kyu): At least 1 controlling art against any given attack plus: Katatetori Nikyo, Tenkan Shiho-nage Yokomenuchi Hijiotoshi Shomenuchi Kokyu-nage Munetsuki Kotegaeshi Ushiro Tekubi Tori Zenshin-nage Yonkyu (4th kyu): At least 2 controlling arts against any given attack plus: Katatetori Ikkyo Tenkan Yokomenuchi Shiho-nage Shomenuchi Kotegaeshi Ushirodori Zenpo-nage Munetsuki Kokyu-nage Ryotemochi Kotegaeshi Tenkan Sankyu (3rd kyu): At least 3 controlling arts against any given attack plus: Katatetori Enkei-nage Yokomenuchi Makiotoshi Shomenuchi Ikkyo Irimi Ushiro Tekubi Tori Sankyo Munetsuki Hantai Nikyo Ryotedori Shiho-nage Nikyu (2nd kyu): At least 4 controlling arts against any given attack plus: (The examinee must also have knowledge of Ki Therapy) Katatetori Irimi-nage Yokomenuchi Choyaku Kokyu-nage (leap across arm) Shomenuchi Ikkyo Tenkan Munetsuki Zenpo-nage Ryotemochi Sasoikomi Makiotoshi

Ikkyu (1st kyu): At least 5 controlling arts against any given attack plus: (The examinee must also have knowledge of Ki Therapy self-application) Katate Kosa Dori Hikiyose Ikkyo Yokomenuchi Irimi-nage Shomenuchi Sankyo Ushiro Tekubi Tori Tenchi-nage Tenkan Munetsuki Ushiro Kata Hikiotoshi Ryotedori Tenchi-nage Irimi _________________________________________________________________________ ___ Dan Examination Arts (from handout of the same name by R. Kobayashi) Futari Ryote Dori Makikiomi Futari Ryote Dori Ohnami Futari Ryote Dori Sayu Kaeshi-Ikkyo Futari Ryote Dori Zenpo-nage Katate Kosa Dori Ushiro Mawari Hanekaeshi (2 wrists blend) Katate Kosa Dori Ushiro Mawari Ikkyo Katate Kosa Dori Ushiro Mawari Kotegaeshi (2 wrists blend) Katate Kosa Dori Ushiro Mawari Sankyo Katate Kosa Dori Ushiro Mawari Tenchi-nage (2 wrists blend) Katate Ryote Mochi Choyaku Kokyu-nage Katate Ryote Mochi Choyaku Kotegaeshi Katate Ryote Mochi Choyaku Sankyo Katate Ryote Mochi Irimi Nage Katate Ryote Mochi Sasoikomi Kotegaeshi Katate Ryote Mochi Tenkan Kirikaeshi Nikyo Katate Ryote Mochi Tenkan Nikyo Katatedori Irimi Otoshi Katatedori Irimi Tenchi Nage Katatedori Irimi Tenkan Kokyu-nage Katatedori Irimi Tenkan Kotegaeshi Katatedori Irimi Tenkan Sankyo Mune-Tsuki Hantai Kokyu-nage Mune-Tsuki Hantai Kotegaeshi Mune-Tsuki Hantai Sankyo Mune-Tsuki Hijiotoshi Mune-Tsuki Irimi Kotegaeshi (Tsukikaeshi) Ryote Dori Choyaku Kokyu-nage Ryote Dori Choyaku Kotegaeshi Ryote Dori Choyaku Sankyo Ryote Dori Enkei-nage Ryote Dori Kotegaeshi Ryote Dori Nikyo Ryote Dori Sankyo Ryote Dori Tenkan Tenchi-nage Ryote Dori Zenpo-nage Shomen Uchi Hijiotoshi Shomen Uchi Kirikaeshi Shomen Uchi Nikyo Shomen Uchi Shiho-nage Shomen Uchi Ushiro Kata Hikiotoshi

Ushiro Dori Koho-nage Ushiro Dori Koshihineri Ushiro Hiji Tori Hanekaeshi Ushiro Hiji Tori Kotegaeshi Ushiro Kata Tori Kotegaeshi Ushiro Kata Tori Sankyo Ushiro Katate Tori Kubishime Hantai Kotegaeshi Ushiro Katate Tori Kubishime Hantai Sankyo Ushiro Katate Tori Kubishime Sankyo Ushiro Koho-nage Ushiro Tekubi Tori Kotai-Ikkyo Ushiro Tekubi Tori Tenkan Jumonji-nage Ushiro Tekubi Tori Tenkan Kotegaeshi Ushiro Tekubi Tori Zenpo-Tenkan Hantai Kotegaeshi Ushiro Tekubi Tori Zenpo-Tenkan Koshihineri Ushiro Tekubi Tori Zenpo-Tenkan Kotegaeshi Yokomen Uchi Choyaku Kotegaeshi Yokomen Uchi Choyaku Sankyo Yokomen Uchi Irimi Hijigatame Yokomen Uchi Irimi Sankyo Yokomen Uchi Irimi Sudori (1,2, & 3) Yokomen Uchi Irimi Tenkan Zenpo-nage _________________________________________________________________________ ___ Jo & Bokken Katas: There are two optional descriptive tags which follow. The first tells us the direction we face. We assume that 12 is the Shomen, and count clockwise around our starting position. The Second thing is an "R" or "L". This tells us which foot we have forward at the end of the strike. More than one set of tags may appear on certain counts which have multiple strikes. On Yokomen uchi, a LEFT (hidari) yokomen-uchi means striking the left side of the opponent, which means you striking on your RIGHT side (hence right foot forward). Ex.: 12R: Shomen-uchi -> Face in the initial direction, right foot should be forward (take a step if it isn't), strike To keep things simple the "hidari" or "migi" will be suppressed or replaced by the English "left" and "right" whenever possible. Pertaining to Weapon Strikes: **** Barai: Circular upper-cut/sweep. See Also: harai. Gawashi: Stepping off to the left but keeping weapon posed fixed in front. Note kawashi is to the right. As in: shomengawashi, hidarigawashi Hanekaeshi: The small motion/circle the weapon makes in transition from an

strike to lifting for the next strike. lift

Since it is a circular

it usually implies a change of direction. See: Shomenuchi hanekaeshi. Harai: Vertical upper-cut. See Also: barai Hidari: Left side Hidaritenkan: A tenkan motion (see elsewhere) to the left side Ishizuki: The butt/back end of a jo (spear)- closest to one point. Kawashi: The same as gawashi, but to the right. Kesagake-uchi: Strike at uke's shoulder Kissaki: Point of Sword or the forward end of the jo. Koho: A motion to the rear when facing forward. This entails a small lift of the weapon straight up when following a tsuki for example. As opposed to a more circular hanekaeshi following a shomenuchi. See: Koho Shomenuchi, Kohotsuki, kohotento (elsewhere) Koho Shomenuchi: Lifting the weapon straight up for a shomen-uchi strike. Kohotsuki: A thrust/strike involving a linear change of direction to the rear. Involves lifting the weapon straight up for the next attack. Koteuchi: Strike at uke's wrist Migi: Right side Migitenkan: A tenkan motion (see elsewhere) to the right side. Mikenzuki: High horizontal poke with a jo. (As in jo gi #2, moves 12,13) Osame: Non-cutting horizontal, relaxed motion in a full circle. Shomen-uchi: Vertical strike to uke's forehead/shomen Shomen-uchi Hanekaeshi: Do shomen-uchi, but follow it with bring the jo/bokken up again above the head. Precedes changing direction. Shomengawashi: Letting the tip of the weapon draw a "U" on uke's neck while stepping off to the right or left. Shomenkawashi: Same as shomengawashi but to the right. Tsuka: Handle of sword. Tsuki: (Abrievated as "ski") thrusting forward w/ the body, not the weapon Tsuki Zujogaeshi: A "poke" with the jo from cover guard. Uchiotoshi: Dropping strike. As in jogi#1, move 9. Yokomen-uchi: Strike at uke's temple Zenpozuki: Forward thrust. Basically another name for a tsuki strike Zujogaeshi: Referring to a "cover guard". See: tsuki zujogaeshi ____________ The Ken-gi's: Ken-gi's all start and end with the same ready stance: right (migi) hamni, left hand on the bottom of the handle near the one-point, "controlled relaxation" grip, bokken tilted slightly inward (to the left), the tip of the bokken should be the same height as your throat (i.e., seigan-no-kamae). Always try to keep the Bokken in front of you.

Ken-gi #1 (Dai Ichi Aiki Kengi) 1.) 12R : Shomen-uchi. Jodan-no-kamae then slide forward w/ the right foot. 2.) 12L : Tsuki (with step). Turn blade slightly inward (to the right). Aim at the opponent's throat. 3.) 6R : Shomen-uchi (koho) 4.) 6R : Tsuki (w/o step) to the throat. 5.) 3R : Shomen-uchi (koho) 6.) 3R : Tsuki (w/o step) to the throat. 7.) 9R : Shomen-uchi 8.) 9R : Tsuki (w/o step) to the throat. 9.) 7:30L : Shomen-uchi (hanekaeshi). 10.) 1:30R : Shomen-uchi (hanekaeshi). 11.) 10:30L: Shomen-uchi (hanekaeshi). 12.) 4:30R : Shomen-uchi. 13.) 1-12LR: Osame: Walk forward in small circle (rightward/clockwise), the bokken parallel to ground (like do-uchi). End up facing at 12:00, left foot forward, bokken above head (jodan-nokamae). Wait a count, then bring the left foot back a step and the bokken down to throat level (seigan-no-kamae). The osame motion here is not a strike. Ken-gi #2 (Dai Ni Aiki Kengi) 1.) 12R : Left Shomengawashi (Cover guard). Step to the left drawing a "U". Point the bokken at the opponent's throat. 2.) 12L : Right Koteuchi to wrist (slightly steeper than kesagake) 3.) 12R : Left Kesagake to shoulder 4.) 12L : Right Kesagake to shoulder 5.) 6R : (Koho) Shomen-uchi (pivot in place on balls of feet) 6.) 6R : Tsuki (turning blade inward) 7.) 12L : (Koho) Shomen-uchi # 5 8.) 12L : Tsuki # 6 9.) 12R-6R : Left Yokomen-uchi to side of head, then keep cutting (end in 6R) This is fully titled: Choyaku Hidari Yokomenuchi Tenkan which encapsulates the tenkan and choyaku nature of the movement. 10.) 6L-12L: Right Yokomen-uchi then keep cutting (reverse of 9) (end in 12L) This is fully titled: Choyaku Migi Yokomenuchi Tenkan which encapsulates the tenkan and choyaku nature of the movement. 11.) 12L : Tsuki (thrust should be almost horizontal) 12.) 12R : Low/deep left Kesa-Gake.

13.) 6R-12L: Take a step forward with the left foot. Turn clockwise, feet in place, for a waist cut at 6:00 (right foot should now be forward). Take a step forward with the left foot, keep turning in the same direction, drawing the right foot now behind as we complete the circle facing 12:00 again. Left foot is forward, bokken above head, wait a count, then finish by drawing left foot back and bokken to throat level. (See kengi#1, move 13) Called: Migi Nagitaoshi Osame. Aiki Ken-gi #3 (Dai San Aiki Kengi) 1.) 12R : Shomen-uchi. Slide forward. 2.) 12R : Tsuki (w/o step) 3.) 12L : Right Yokomen-uchi 4.) 6R : shomen-uchi (koho) 5.) 6L : Tsuki (w step) 6.) 6R : Left Yokomen-uchi 7.) 3R : Upper-cut 8.) 3L : Right Yokomen-uchi 9.) 9R : Shomen-uchi 10.) 7:30R : Point. Just slide to 7:30 and point the ken at opponent's throat. 11.) 7:30R : Draw a small smile counterclockwise. First step toward the attacker with the left foot. 12.) 3R : Shomen-uchi 13.) 4:30L : Do-uchi (Parallel to ground strike) 14.) 4:30R : Do-uchi (Parallel to ground strike). Start looking for move 15. 15.) 10:30R: Look, then left yokomen-uchi 16.) 10:30L: Right Yokomen-uchi 17.) 10:30L: Tsuki 18.) 4:30R : Slide back then swing the ken to 4:30 w/o moving. Do-uchi or nukikaeshi. 19.) 1:30R : Upper cut (Called: Shomenuchi hidarigawashi) 20.) 1:30L : Right Yokomen-uchi 21.) 1:30R : Left Yokomen-uchi, turn to 8 22.) 7:30R : Cover guard (Called: Shomenuchi migikawashi) 23.) 7:30L : Right Yokomen-uchi 24.) 7:30R : Low kesa-gake to gedan-no-kaeme 25.) 12R : Spin counter-clockwise to a high-to-low "S" cut (form an "S" in the air). Called: Hidari Tenkan Tsubamegaeshi ___________ The Jo-Gi's For all the jo-gi's the standard starting position is left hamni (left foot

forward), jo held like a walking stick vertically in only the left hand. One tip of the jo should be on the ground. The left hand should be holding the jo near the forward left foot at a height slightly above the waist. Unlike the ken-gi's, where the hands remain the same throughout (left hand closer to the end, the right closer to the blade), the jo-gi's typically have fancy hand exchanges. On all pokes (tsukis), the left hand is forward (palm facing up or down depending upon target) and the right hand is closer to the end/butt (ishizuki). On most strikes (including Shomen-uchi, Yokomen-uchi, Kesagake), the hands are held like the ken gi's. Upper cuts (haraiage) may vary. Some pointers from a handout: 1.) Hold the jo lightly with ki flowing 2.) The hand closest to the body controls the jo (keep that hand close to the one point!) 3.) Always keep your elbows bend, not locked. Jo-Gi #1 (Dai Ichi Aiki Jogi) 1.) 12L : Flip jo up then poke. Step off the line diagonally to the right into a cover guard. The flipping up is merely flipping the part of the jo on the ground into the right hand which should be near the 1-point (keeping the left hand slightly out). The poke is as in #2 below. The cover guard is off the line of force, the jo over the head but pointing back on the line of force at the opponent's throat. Called: Tsuki Zujogaeshi. 2.) 12L : Standard Neck Poke. Then move off line to cover guard. Right hand should be near 1-point, left palm should be under jo facing up. To get to this from move 1, be sure arms drop straight down. This poke is done in #1,6,12,16 3.) 12R : Left Yokomen-uchi. 4.) 12L : Right Yokomen-uchi 5.) 6R : Pivot on heels in place for a low knee poke (called: Migitenkan Kohotsuki). 6.) 6L : Poke as in #2, but continue immediately from #5 7.) 6R : Left Yokomen-uchi. #3 8.) 6L : Right Yokomen-uchi. #4

9.) 12R below strike. 10.) 12R 11.) 12L 12.) 12L 13.) 12R forward. 14.) 12(L) in air. 15.) 12L steps. 16.) 12L the

: Turn in place bringing jo in a vertical arc to slightly throat level. : : : : Called: Uchiotoshi, or dropping

Tsuki (be sure not to poke). Lift jo up to throat level. Right Yokomen-uchi. Slide hands back to poking position. Neck Poke to cover guard. Left Yokomen-uchi. Then pull jo behind, still facing

: Horiz. Upper cut w/ bringing rear/left foot forward but up Target: Face. : High eye poke w/ left palm toward ground; just as left foot Both hands should be high on this one. (Mikenuchi) : Standard Neck poke; hand switch done by dropping tip of jo downward while releasing the right hand and letting back of the jo tip upward accordingly. Let the

motion continue till what was the tip come into the right hand 17.) 18.) 19.) 20.) 21.) 22.) 12R 12(L) 12L 12L 12R 12R : : : : : : from underneath. Go into cover guard Left Yokomen-uchi then pull jo behind to the left #13 Repeat 14 but at half height (kneeling over). Target knee. Repeat 15 but at half height. Target groin or lower. Standard poke but at stomach/torso (mune) Ago-Haraiage. Vertical Upper Cut Drop tip as in #16 and tsuki.

Jo-Gi #2 (Dai Ni Aiki Jogi) 1.) 12L : Poke to cover guard. Exactly as in jo-gi #1 move 1 2.) 12L : Poke to cover guard. See jo-gi #1 move 2 3.) 12R : Left Yokomen-uchi. See jo-gi #1 move 3 4.) 12R : Swing the jo in a "U" clockwise then down near right foot. The "U" should be narrow. Be sure that the "U" is narrow. Called: Shomengawashi Migi Kote-Uchi. 5.) 12L : Right Yokomen-uchi 6.) 12L : Standard neck poke 7.) 6R : Left Yokomen-uchi (Koho Hidari cause of the turn) 8.) 6R : Swing jo in "U" like #4 9.) 6L : Right Yokomen-uchi #5 10.) 6L : Standard neck poke #6 11.) 12R : Left Kesa-Gake (Yokomen-uchi?) 12.) 7:30(L): High Poke (both hands up) to the Eyes (hop around on 12,13,14) Hop way off the line here. Called: Hidari Koho Mikenzuki) 13.) 4:30(R): High Jab (both hands up; don't let jo slide) to the forehead. Hop way off the line to the other side. Be sure to exchange hands. Called: Migi Koho Mikenzuki

14.) 6L with 15.) 12R 16.) 6R parallel See 16b.) 12L left off 17.) 12R smile 18.) 12R shoulder) 19.) 12L 20.) 12L 21.) 12R 22.) 12R

: Standard Neck poke #6.

Get back on the line of force.

Hop

right leg up as left foot steps forward. : Left Kesa-Gake (Yokomen-uchi?) : Take a step forward with the left foot the swing the jo to the ground to the strike at 6. Strike rightward.

16b.) below : Cover guard. Take another step forward toward 6:00 w/ the foot, then swing the root foot behind clockwise. End

the line, jo pointing toward the line. : Reverse cover guard. Exchange hands while drawing a little Take a step with the left foot, then the right. : High Face jab (right hand forward, left hand near left Don't move feet. Called: Ganmen Tsuki : Right Yokomen-uchi (right hand forward) : Standard neck poke but to chest (hand exchange; left hand forward). Called: Munetsuki : Vertical Upper cut as in jo-gi#1 move 21. (Ago-haraiage) : Left Tsuki. (as in jo-gi#1 move 22)

In Happo Jo-Gi, there is additional emphasis every third strike. Happo Jo-Gi #3 (Dai San Aiki Jogi) 1.) 12L : Poke to throat on line of force then cover guard off the line 2.) 12R : Left Yokomen-uchi to side of head 3.) 12L : Right Yokomen-uchi to side of head 4.) 6R : Shomen-uchi (let kissaki drop a little lower than is in 5) 5.) 6R : Tsuki. Slide forward with right foot. Aim for throat. 6.) 6L : Right Yokomen-uchi to side of head 7.) 3L : Bring jo to eye level & poke (right hand up high); left palm down There is a step to the left followed by a slide with the rear foot (right). Called: Miken-uchi 8.) 3L : Poke abdomen. Drop jo tip and catch with right hand near 1pt. 9.) 3R : Vertical upper-cut. (Harai-age) 10.) 9L : #7- high poke 11.) 9R : Left yokomen-uchi 12.) 9R : Left Tsuki 13.) 7:30L : Right yokomen-uchi 14.) 7:30L : Poke then to cover guard. Step off 7:30 line of force slightly to the right. But continue facing and pointing there. 15.) 7:30R : Left yokomen-uchi 16.) 1:30L : #7- high poke to the eyes (Mikenuchi) 17.) 1:30L : #8- low poke 18.) 1:30L : #9- upper cut

19.) 10:30R: 20.) 10:30L: advances 21.) 10:30L: 22.) 4:30R : 23.) 4:30R : 24.) 4:30L : 25.) 12L : to 12

Left yokomen-uchi Right upper cut letting the jo slide in the hand as foot Poke to the throat then pivot diagonally to the right. Shomen-uchi Left Tsuki Right yokomen-uchi. Start moving immediately for #25. Spinning low-cut shomen-uchi. Bounce up and spin from 4:30 clockwise (right-wise).

_________________________________________________________________________ _____ Jo-Ken Awase We practice Jo-Gi#1, described above, when doing jo-ken awase. This involves three people- two with a bokken and one with a jo. The one with a jo, in the center, does Jo-gi #1. The two people with the bokken are on either side of the person with the jo, one at 12 and one at 6 (using the same directions from the Jo & Bokken Katas section.) The person at 12 does the counting. Since Jo-gi #1 is described elsewhere, only the new bokken strikes will be described. Note that the person at 6 only gets involved during movements 4 through 9. Directions for the person yielding the bokken are suppressed. The strikes should always be directly at the person using the jo. Whichever foot forward (L or R) will still be used. Movements will always refer to the person counting, unless otherwise stated. 1.) R: Shomen-uchi. During the poke, step back, raising the bokken above the head in jodan-no-kamae. Afterwards, step forward again with the right foot and strike shomen-uchi right on the line (even though the person with the jo- now in cover-guard will have stepped off the line). 2.) R: Shomen-uchi. Same as 1.) 3.) R: Bokken facing left to protect from the incoming yokomen-uchi. 4.) L: Bokken facing right to protect from the incoming yokomen-uchi. Note that the left foot remains fixed, but we drop back with our right foot. R (person at 6): This person should be slowly creeping forward with the bokken raised above the head (jodan-no-kamae).

5.) R (person at 6): Skuttle back quickly to avoid getting the knee or ankle hurt when the person with the jo suddenly attacks in your direction. 6.) R (person at 6): When the attack is done, and the jo-ka goes into cover guard off the original line of force, strike on the line of force. 7.) R (person at 6): Exactly like 3.) 8.) L (person at 6): Exactly like 4.) R (person at 12): While this is happening, you should be creeping forward, posed to strike. 9.) R: Drop the tip of the bokken, so that it falls underneath the oncoming jo-swing. Note that their should be no collision. 10.) R: Back off. 11.) L: Take a step back with the right foot, pointing the bokken to the right to protect from the incoming yokomen-uchi. Like #4.) 12.) R: Drop the left foot back- avoiding the poke. Then take a step forward with both feet (right first), as you strike on the line of force. Again, the person with the jo should be off the line of force in cover guard by then. 13a.) R: Exactly like 3.), but when the jo retreats: 13b.) R: Raise the bokken up to strike as the jo retreats on this motion. Now is your chance! Smile with glee. 14.) R: Jump backwards! No time to move bokken. 15.) R: Keep retreating. 16.) R: Keep retreating, until the person with the jo steps off the line and goes into cover-guard. Then, strike on the line with a shomenuchi. 17a.) R: Exactly like 3.), but when the jo retreats: 17b.) L: A different strategy this time then 13-16 phase. Now, we try a right yokomen-uchi stepping with our left foot. But we don't start it until the count of 18.), but we never get a chance to finish it because: 18.) Both feet together: As we count 18, we move to the yokomen uchi. This misses the person with the jo, because they should now be kneeling. The jo strike of 18 should make us fail our attempt and have to jump backwards. From here- its all acting since the bokken user is doomed. 19.) Double over as if poked to the stomach. Take a step backwards in pain. 20.) Same as 19.) 21.) Upper cut to the chin forces our neck back. 22.) Blow to the throat kills us. Gurgle morbidly then collapse, tongue

outside of mouth. ========================================================================= Glossary, Version 1.141007 AGATSU Victory over one-self AGURA AI AI-HANMI foot AIKI AIKIDOKA AIKI-RYOHO Therapy AIKIDO respect for all things. AIKI-OTOSHI behind AIKI-TAISO of AI TE NO KI O TOOTO BU AI TE NO KOKORO O SHI RU AI TE NO TACHI BA NI TA TSU AGOTSUKIAGE ARIGATO-GOZAIMASHITA ARIGATO Drop caused by NAGE pulling leg/knees out from UKE. Also: ASHI-OTOSHI. Sitting "Indian style" (crossed leg). Harmony, blend, oneness Mutual stance. advanced. Both partners have left or right

As opposed to GYAKU-HANMI.

Harmony with the universe (nature, spirit). Aikido practionioner. Priming one's KI by transferring from others. with KI, recharging the life-force. The way of life through harmony with the of the universe; a non-violent art of self-defense which emphasizes the basic attitude of harmony and

Exercises derived from the self-defense movements Aikido. Respect your opponent's KI. Know your opponent's mind. Put yourself in the place of your opponent. Uppercut to the jaw. Thank you very much. (Past tense). We say DOMO

GOZAIMASHITA at the end of every class and ONEGAI SHIMASU at the beginning. ASHI Leg, foot.

ATEMI AYUMI ASHI BANYU AIGO NO SEISHIN BARAI BO BO KATA BOKKEN BOKUTO BU BUDO BUDOKA BUJUTSU BUSHI BUSHIDO CHIBURI CHI-NO-KOKYU CHOKAYU CHUDAN-NO-KAMAE CHUDO DAISHO DAITO DAN DO DO (DOTAI) DOCHU-NO-SEI

A blow to the vital points of the body to stun the opponent. Usually for distraction. Alternated step. The Spirit of Loving Protection for all things. Circular upper-cut or general sweep. Wooden staff or rod. A sequence of movements with the BO. Wooden sword. Wooden sword. Also: BOKUTO Also: BOKKEN

Martial or military. The way of life through applications of the principles of martial arts. Martial way practitioner. Martial art. Japanese warrior. Same as Samurai.

The way of the warrior; the code of honor of the Samurai. Downward stroke of the sword used to remove blood. The breath of the Earth. Leap. Middle stance with sword, pointing at opponent's throat. Same as: SEIGAN-NO-KAMAE Middle path; path of moderation, just enough. Long and short swords. Long sword. See also: KATANA, WAKIZASHI.

A black belt rank in BUDO. Path, road, a way of life. Torso Calmness in action

DOJO

Originally a place of learning the teachings of Buddha. In modern days it is referred to as the training center for BUDO. "Place of the Way" or "Place of Enlightment". Thank you very very much (past tense). at the end of class. To grab/take. Grand master. Head of the way. We say

DOMO ARIGATO this GOZAIMASHITA DORI (TORI) DOSHU DO-UCHI DOZA ENKEI ENKEI CHOYAKU-UNDO ENKEI-NAGE ENKEI-UNDO ENKEI SAYU-UNDO EN-NO-HONGI EN-NO-IRIMI FUDO FUDO NO SHISEI FUDOSHIN FUDOSHIN FUDOTAI FUDOTAI FUNAKOGI FUNAKOGI-UNDO NAGE's

Torso strike (horizontal). Please Circular shape. Defense.

Enkei-undo as you skip to the side. Technique to blend and control the attacker by applying ENKEI-UNDO. Exercise to blend with the attack by drawing a small circle in front of nage's HARA. Turn to left and right with ENKEI-UNDO. Principle of Circular Motion. Circular entry. Prefix used to mean "control" or "immovable". Immovable posture. Use controlled relaxation.

A self-controlled (immovable) mind. Controlled Mind and Body. A self-controlled body. A rowing motion. Rowing exercise; forward and backward movement of hips which leads the opponent's KI within the range of effectiveness.

FURI FURI KABURI

Suffix used to mean wave. Sword-raising movement.

FUTARI GAESHI reverse". GAKU GANMEN GANMENTSUKI GAWASHI GEDAN-NO-KAMAE GERI GI (KEIKO-GI) GO GOBASHIN GOGO-NO-SHUGYO GOKYO GOKYU GOSHI GOZAIMASU to GYAKU-HANMI (mirror) opposed to

Two persons Suffix used to mean "turn around; return; Calligraphy hung on DOJO walls. Front of the face. Strike to the face. Suffix used to mean stepping off to the left but keeping the weapon posed in front. Lower stance with sword pointing to the ground. Kick. Training uniform. Count of five. Compassionate mind. Training after realization/understanding. Technique to disarm knife attack from above. number five pinning technique. Fifth KYU. Hips. See also: KOSHI. As opposed The

Thank you very much in present tense. GOZAIMASHITA. Reverse stance.

Both partners have opposite As

feet advanced (right-left, left-right). AI-HANMI. GYAKU-NO-KAMAE HACHI HAI HAI-DOZO HAKAMA to Reverse sword stance. Count of eight. Yes. Please train now.

A very baggy trousers originally warn over KIMONO give freedom of movement; a formal attire to show

accomplishment in AIKIDO. Different DOJOs have different customs regarding the HAKAMA. HANE-KAESHI HANMI left HANMI HANDACHI from HANTAI HAPPO HAPPO-GIRI HAPPO-JOGI HAPPO-UNDO undo. HARA KI, of KI. The center of our balance, typically 2" below the navel. HARAGEI HARAI HASSO-NO-KAMAE HENKA WAZA techniques HIDARI HIJI HIJI-OTOSHI HIKI-OTOSHI HIKIYOSE HIRAKI (HIRAKU) Art of developing the HARA. Vertical upper cut. Stance with sword raised vertically near the side. Varied technique. as they progress. Left side (pertaining to UKE's left). Elbow Dropping the opponent's elbow to lead him to fall. Pull drop. To pull toward you. To open. Dynamically changing the The area below the navel where the vital energy, an individual comes from. It is the reservoir of Motion of lifting up to change direction. A natural step forward; ready stance with either or right foot forward. NAGE defends in kneeling position as UKE attacks standing position. Opposite/reverse. Suffix used to mean eight directions. Eight directional cut with sword. Eight directional movements with a JO. Eight directional exercise; to develop freedom of movements in all directions with Shomenuchi Ikkyo-

HITOASHI YOKETE HIZA HIZA-OTOSHI ICHI IKKYO cranking "one"

Step aside. Knee Technique to control the knee. Count of one. A method to control the opponent with one arm or elbow-locked position and facing down. pinning technique. Number

IKKYU IRIMI collision. IRIMI-NAGE ISHIZUKI ITTEN JIYUWAZA JO mind JO-AWASE JO-DORI JOGI (JO-KATA) defense JODAN-NO-KAMAE JOHOKOSA-UNDO JO-KEN AWASE JO-NAGE JO-TORI JU

First KYU. Entering movement toward attacker without "Entering the body". Technique to control the attacker with irimi. Butt end of a spear where it hits the ground. The "One Point". See: SEIKA-NO-ITTEN.

Free style techniques, sometimes with multiple attackers. Staff about 50 inches long and used for unifying and body through spear and sword movements. Blending with JO attack. JO taking. Disarming the opponent who has a JO.

Techniques of JO movements to study the selfmovements of AIKIDO. Upper stance with sword swung overhead. Upper hand crossing exercise Practice to study the movements of JO and KEN by harmonizing with each other. Techniques to throw the opponent with JO. Disarming JO attack. Count of ten.

JUJI-NAGE KAESHI WAZA starts to KAITEN referred KAITEN-NAGE KAKARI-GEIKO attackers. KAMAE KAMI KATA KATANA KATA-OSHI KATA-OTOSHI KATA-TORI (KATA-DORI) KATATE-DORI KATATE-DORI TENKAN-UNDO KATATE-DORI RYOTE-MOCHI KATATE KOSA-DORI wrist KATSU KATSU-HAYA-BI what KATSUJIN-KEN KAWASHI

Crossed arms throw. A throw executed when one's partner's arms are crossed at right angles. When UKE and NAGE reverse roles, and the UKE use AIKIDO in defense. To turn like a wheel; in Aikido, it is often to rotating about a horizontal axis. Windmill throw. To practice one art over and over with many Ready stance. The standard posture.

Deity/divine spirit -> no direct translation. Shoulder OR fixed sequence of steps performed for learning purposes. Japanese/Samarai metal sword. Shoulder push. Technique to throw by dropping one's shoulder and letting the opponent slide off. Shoulder grab/hold. One wrist grab. Held by one hand.

Exercise to blend with opponent holding one wrist and to lead around. Two hands grabbing one wrist. Crossover wrist grab; Right hand grabbing right or left hand grabbing left wrist. To win. Faster than the speed of light or quicker than the eyes can see. Sword to let live. Same as gawashi, but to the right.

KAWASU KEIKO KEIKO GI KEN KENDO KENGI (KENPO) KENJUTSU KENYU ICHINYO NO the KESA-GAKE KESA-GAKE UCHI KI the

To dodge. Word meaning "training". Training uniform. Sword. The way of the sword. Method of using a sword. The art of the sword. The visible and invisible are one; all things in universe are one. Diagonal cut from the shoulder. Circular strike (22 degrees). The essence of the universe; everything in this universe is made of Ki, power of one's mind, or source of energy of nature herself. Usually just: GI

KIAI focussing KIATSU KI GA DE TE I RU KIKAI KIME KI-NO-NAGARE KIRIKAESHI opponent's KISSAKI KOHO KOHO-NAGE KOHOTENTO-UNDO roll.

A shout with strong ki for the purpose of energy. Healing with KI. Extend KI. Sea of KI, the HARA, SEIKA TANDEN. Focus. Free flowing of KI. Reversing the attack without blocking the KI, figure 8 movement. Tip of a sword or spear. To the rear; backward motion when facing forward. Throw to the rear. Backward fall with rocking motion or backward

KOKI KOKYU breath. KOKYU-DOSA KI

Self-challenge. Breathing, rhythm of KI movement. IKI refers to just respiration. Exercise to train yourself to avoid collision of even when you are on a collision course with your opponent. Spiritual

KOKYU-HO KOKYU-NAGE elbow neck. KOKYU-ROKU KOSA KOSA DORI side. KOSHI KOSHIHINERI KOSHI-NAGE KOTAI KOTE (TEKUBI) KOTEGAESHI KOTEGAESHI-UNDO KU KUBI KUBISHIME KURAI DORI KYU KYU (KU) MA-AI MAE

Method to blend with KI.

Breath mediation.

Momentum throw generally with one downing the and the other hand following it down behind the Breath power from KOKYU. To cross or intersect. Short for single hand grab on opposite/crossing Hips. Hip twist (?). Technique to throw using the hips. To move backward- retreat. Wrist. Reverse-wrist-throw. Exercise to throw using the hips. Emptiness Prefix used to refer to throat or neck. Strangulation. Control your enemy's spirit. Ranks below black belt. Count of nine. Proper distance between opponents. Front.

MAE-MAWARI MAE-GERI MAKI-OTOSHI MAKOTO (SELF) sincere. MASAKATSU (MASAKA) MASAKATSU AGATSU in victorious. MAWASHI-GERI MEN-UCHI METSUKE MIGI MIGITEOBA HI NI ARAWASHA; HIDARITE WA KAESHITE TEKI O MICHIBIKE MIKEN MIKENZUKI MISOGI MISOGI-BARAI MIZUOCHI

To go around the front. Frontal kick. Spiral throw (drop). The fundamental truth; earnest, realistic, True victory. True victory is victory over oneself. By acting

accordance with the truth we always emerge Roundhouse kick. Uke strikes at nage's face. Eye contact. Right side (pertaining to UKE's right). Expose your right hand to the sun; turn your left hand in the shade and lead the enemy.

Eyes. High horizontal poke with the JO. Spiritual or ritual purification. Training to purify the mind and body by shouting out loud. Solar plexus; a network of nerves situated at the upper part of the abdomen where a blow will have a stunning effect. Hold. Mediation. Two arm. Held by two hands. Thigh. Those of KYU rank.

MOCHI MOKUSO MOROTE MOROTE-DORI MOMO MUDANSHA

MUNE MUNETSUKI MUSHIN NAGARE techniques. NAGE NEN NI NIKYO pain NIKYO-UNDO

Chest or stomach region. Punch to the chest area. No-mind. Flow. Unbroken projection of KI during

A throw or the person who throws. Sense, feeling, desire, will power. Count of two. Wrist blending technique which inflicts severe to the opponent. Exercise derived from NIKYO which emphasizes stretching the wrist, arm, and shoulder in the direction of the flow of KI. Second KYU. Double. Belt. To move forward in front of the partner. An imaginary point about two inches below the where concentration of mind and body will give control over yourself.

NIKYU NININ OBI OMOTE ONE-POINT navel (SEIKO-NO-ITTEN) good ONEGAI-SHIMASU "please class.

"I make a request"; "please practice with me", please teach me", etc.. Said at the beginning of

See also: DOMO ARIGATO GOZAIMASHITA OONAMI ORENAITE OSAE OSAE WAZA OSAME Technique using a big wave-like motion. Unbendable arm. Pinning/lock. Controlling technique Non-cutting horizontal, relaxed motion in a full circle.

O-SENSEI OSHI OTONASHI-NO-KAMAE weapons. OTOSHI (OTOSU) PO RANDORI REI RITSUREI ROKKYU ROKU RYOKATA-DORI RYOKATA-OSHI RYOTE RYOTE DORI hands. RYOTE MOCHI RYU SA SAMURAI SAN SANKAKUTAI SANKYO SANKYO-UNDO SANKYU SASOIKOMI SATORI

Professor Morihei Ueshiba, the founder of Aikido, 1883-1969. Meaning Great teacher. Suffix used to mean push. The soundless stance. To drop. Suffix used to mean method. Calmness in action against mass attack. Bow. Standing bow. Sixth KYU. Count of six. Two hands on shoulders hold. Pushing both shoulders. Both hands. Holding both wrists/hands. Holding with both hands. Style, system, school. Left moving. Japanese warrior. Count of three. triangular position of stability. Wrist-twisting technique. Exercise derived from SANKYO which emphasizes twisting the wrist about the vertical axis. Third KYU. To lure someone toward you. Enlightenment, realization of the truth of the See also: BUSHI Two hands on two Avoid the contact of

Two hands on one wrist.

universe. SATSUJIN-KEN SAYU SAYU-UNDO SEI (MAKOTO) sincere. SEIDOKAN SEIGAN-NO-KAMAE SEIKA-NO-ITTEN SEIKA-TANDEN SEISANKAKKEI SHIMENTAI SEIKI SEIMEI SEIZA SEMPAI SENSEI SENSEI-NI-REI SETSUZOKU connected to SHI (YON) SHICHI (NANA) SHIHAN SHIHAN-DAI SHIHO-GIRI SHIHO-NAGE Sword to kill or destroy. Left and right. Left/right pile of bricks on chest exercise. The fundamental truth; earnest, realistic, Earnest, Real, Sincere. Middle stance with sword, pointing at opponent's throat. Same as: CHUDAN-NO-KAMAE The ONE-POINT below the navel. HARA, a vital area below the navel. Equilateral tetrahedron; a very stable four-sided body with each side being an equilateral triangle. That is, a three dimensional simplex. The vital force that enlivens the universe. Life: combination of KOKYU and KI. Formal Japanese sitting posture on knees with legs folded under; a very stable sitting posture. Senior Student. Teacher. Command to bow to SENSEI. Connection. one's HARA. Count of four. Count of seven. Head master of a BUDO system. Assistant head master. Four directions cut. Technique to throw the opponent straight down with elbow and wrist bent in a vertical plane. Four directions throw. All motions originate and are

SHIKO (SHIKKO) SHINAI SHINKEN SHOBU SHINTAI SHIN-TAI-KI

Walking on knees; samurai-walk. Sword made of bamboo. "Fight with a live sword." Throw oneself single mindedly into one's practice. The truth of the universe. Straight motion.

Balance of Mind, Body, & KI.

SHIWA HITO NO The Samurai is the first to suffer anxiety for human SAKIINJITE YO-OH society, and he is the last to seek personal pleasure. UREI HITO NO TANTOSHIMITE NOCHINI MOTUTE TANOSHIMU SHIZENTAI SHODAN SHODO SHODO-O-SEISU SHOMEN SHOMEN-UCHI SHOSHIN-NI-KAERU SHUGYO yourself in your everyday life for the benefit of others. SHUREN DOJO SODE SOJUTSU SOTSU SEN KYU KO SOTO SOTO MAWARI SUBURI Name of a DOJO founded by O-SENSEI. Sleeve. Spear art. Perform with confidence. Prefix used to mean "outside". Turning out to the side of UKE. Basic JO or BOKKEN practice. Natural stance. First degree black belt. First move. To control the first move. Front of a face; or, the main wall of a dojo. Blow to the forehead from above. Return to basics; an attitude of a beginner who is willing to learn from the basics. Making the principles and the arts part of by training rigorously and be able to apply them

SUDORI not uke

Atemi blow and run.

An escape or throw that did Or any technique that the

require actual contact.

throws theirself with an excess of power. SUKI SUMI-OTOSHI SUWARI-WAZA position. TACHI-TORI TACHI WAZA TAI-JUTSU TAISABAKI opponent. circular in design. TAISO (UNDO) TANINSU-GAKE TANTO TANTOJUTSU TANTO-TORI TATAMI TEGATANA TEKUBI (KOTE) TEKUBI KOSA-UNDO TEKUBI SHINDO-UNDO TENCHI-NAGE and TENKAN out Exercise. Body skills. An opening opportunity. Arm under shoulder drop. Techniques with both UKE and NAGE in sitting Disarming sword attack. Standing techniques (different use of TACHI). Techniques performed without weapons. Body movement to avoid collision with the To untangle yourself from a situation. Usually

Multiple attack with two or more persons. Knife, dagger. Art of knife throwing. Disarming knife attack. Mats sometimes used for martial arts. Blade of the hand. Wrist. Wrist crossing exercise. Exercise to shake the wrists, then the entire body to return the flow of KI to normal level. Heaven-and-Earth-throw; one hand pointing upward the other downward. Rotating the hips about a vertical axis- stepping and around 180 degrees. (Outer edge)

TENTO TORI (DORI) TSUKA TSUKI TSUKI ZUJOGAESHI UCHI UCHI-MAWARI UCHI-OTOSHI UDE UDEFURI-UNDO UDEFURI CHOYAKU UNDO UKE UKEMI UNDO URA URA WAZA WAZA. USHIRO USHIRO KATA HIKI-OTOSHI USHIRO KATATETORI KUBISHIME SANKAJYO USHIRO KATA-TORI USHIRO KATA-TORI holding KOTAI-UNDO beside USHIRO KUBISHIME

To tumble. To grab/take. Handle of sword. Suffix used to mean to thrust or stab. A "poke" with the jo from cover guard. Suffix used to mean "strike" or "inside". Turning inside UKE's arm. Dropping strike. Arm. Exercise to swing both arms to the left and the right keeping good coordination of mind and body. Exercise to switch direction of KI to the opposite direction with UDEFURI-UNDO. The attacker who gets thrown by the NAGE. Defensive roll or fall when thrown by the NAGE. Suffix used to mean exercise. To move behind the partner. Pretaining to rear techniques. Back, behind. Pull drop from behind- waterfall technique. Grabbing one wrist with choke from behind. Grabbing both shoulders from the back. Exercise to lead forward the opponent who is both shoulders from behind as you move down and the opponent. Choke from behind. See also: USHIRO See: SOTO-MAWARI

USHIRO HIJI-TORI USHIRO MAWARI USHIRO TEKUBI-TORI USHIRO TEKUBI-TORI KOTAI-UNDO USHIRO TEKUBI-TORI back. ZENSHIN-NAGE USHIRO TEKUBI-TORI who ZENSHIN-NAGE-UNDO USHIRO-TORI USHIRO-TORI back. ZENPO-NAGE USHIRO-TORI who is ZENPO-NAGE-UNDO USHIRO UDE-TORI USHIRO WAZA WAKIZASHI WAZA YARI YARIJUTSU YOKO YOKOMEN YOKOMEN-UCHI YONIN YONKYO Number YONKYU YU

Grabbing both elbows from behind. Grabbing one hand, moving behind to the other. Grabbing both wrists from the back. Exercise to blend and avoid collision with the opponent who is holding your wrists from the back. Forward throw when both wrists are held from the

Exercise to blend and lean forward the opponent is holding on to the wrists from the back. Bearhug from the back. Forward throw when held with bear-hug from the

Exercise to blend and lean forward the opponent holding with bear-hug from the back. Interlocking arms from behind. Pretaining to rear techniques. Short sword. Technique, art. Straight spear. Technique of using a spear. Side. Side of the head. Strike to the side of the head. Four person (quadruple). Controlling the opponent's wrist or lower arm. four pinning technique. Fourth KYU. Right moving. See also: URA WAZA

YUDANSHA ZAREI ZAZEN ZENGO-UNDO ZENPO ZENPO-KAITEN ZENPO-NAGE ZENPOZUKI ZENSHIN ZENSHIN-NAGE ZORI ZUJOGAESHI

Any one of DAN rank. Ceremonial bow from seated position. Seated meditation. Two directional SHOMEN-UCHI IKKYO-UNDO. Forward direction. Spinning forward (as in ukemi forward roll) Forward throw. Forward thrust with weapon. To progress forward. To move forward and throw. Sandals. Refering to "cover guard" with a weapon.