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Preface
Gassho.
In 2000 and 2001, the Japanese publisher Baseball Magazine produced three volumes of explanations
of Shorinji Kempo hokei [training patterns] using high-speed photograph sequences. The photographs
themselves are so helpful that many non-readers of Japanese have bought the books, despite being unable
to understand the explanatory notes given for each technique.
It became clear that providing even a partial translation of those notes into English might be a useful
thing to do. This document therefore covers the notes in the first volume, which is dedicated to g o ho and
illustrates twenty-three hokei in six technique families, selected from the syllabus up to 3rd dan. The book
also contains a chapter on Shorinji Kempos history, which I have not attempted to translate.
I have also made no attempt to restructure the explanations to suit a more natural flow of English,
opting instead to provide an almost word-for-word translation that replicates the note-like chunking of the
Japanese text. One hope is that this close correspondence of the texts will encourage some bilingual readers
to check the translation and let me know about important errors and omissions. I have already received
much help of this kind from Tameo Mizuno sensei and other Japanese kenshi in London, but please note
that even if the original books carry the authority of hombu and its instructors, the translations
offered here are approximate, and are necessarily limited by the translators own experience of the
Japanese language and of Shorinji Kempo.
In line with the international teaching of Shorinji Kempo, the names of all basic technique elements as
well as of the hokei themselves are not translated. Any reader unsure of the meaning of some expression
should in the first instance ask his or her sempai or branch master.
Finally, for the most part in these notes I have avoided expressions such as his or her (or their, for
that matter), usually opting for the male pronoun. This is of course not intended to imply maleness of all
kenshi, but does happen to fit the fact that these books show only men demonstrating the techniques.
Enjoy your training!
Kesshu.
1
Contents
Numbers in these titles are the page numbers in the original book.
Nio ken 3
8: ryusui geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
16: uchi uke zuki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Byakuren ken 4
24: tsubame gaeshi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
32: chidori gaeshi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
40: suigetsu gaeshi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
48: hangetsu gaeshi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Tenno ken 9
56: tsuki ten ichi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
64: gyaku ten ichi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
72: tsuki ten ni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
80: tsuki ten san . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
88: keri ten san . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Kakuritsu ken 13
96: kinteki geri hiza uke nami gaeshi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
104: mawashi geri san bo uke nami gaeshi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Sango ken 15
112: juji uke geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
120: shita uke jun geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
128: gyaku tenshin geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
136: han tenshin geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
144: yoko tenshin geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
152: harai uke geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Chio ken 21
160: jun geri chi ichi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
168: gyaku geri chi ichi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
176: gyaku geri chi san . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
188: harai uke chi ni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
2
Nio ken
This group of hokei is based on jodan attack/defence combinations, and constitutes an essential training syl-
labus for helping beginners master the basic techniques. When higher-level kenshi perform the techniques,
rather than single counter-attacks they should practice three- or four-strike sequences.
8: ryusui geri
the difference between goho and juh
o
In juho practice, no-one would try to perform kata muna otoshi in response to a wrist being grabbed, or
gyaku gote as a response to a grab to the upper arm. Its not even the case that every kind of grab to
the lapels can be handled using kata muna otoshi: having grabbed, the attacker might push, pull or twist,
and for each different kind of attack there is a different kind of counter-attack. When you think about it,
typically in juho you dont have a range of different ways to deal with a single type of attack.
But what about goho?
Taking nioken as an example, there can be many different techniques for dealing with the same attack.
You can defend and counter-attack a jo dan choku zuki using any one of ryu sui geri, uchi age zuki, uchi age
geri, uchi uke zuki. . . So what criteria are there to limit the responses one can use in g o ho?
Jumping ahead to the answer: the point is that the techniques you can use when confronting an attacker
are constrained by your distance, relative arrangement [tai/hiraki], foot placement, stance and so on.
caption p8 Picture 1 shows hidari chudan gamae; picture 2 shows hidari ichiji gamae. these are the two
most commonly used basic stances for the ho kei [patterns] in the goho branch of Shorinji Kempo. The feet
are in gyaku choji dachi.
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caption p9 Ryusui geri does not depend on ashi sabaki [foot movement], but on changing ones stance
from zen kutsu dachi to ko kutsu dachi, or vice versa. In this way one can move the body clear of the
incoming attack, then add a counter-attack. In performing ry u sui uke one must not only dodge the punch,
but also prepare both hands to cope with any sequence of further attacks possibly to j o dan or to chudan.
caption p10 Ryusui geri is a hokei that involves the body movement called ryu sui [lit: flowing water] in
order to dodge an attack, and a keri counter-attack.
Trying to perform the counter-attack at the same time as the dodge will spoil ones posture and make
the kick impossible.
From the stance used to invite the attack, you must move your weight to what will become the standing
leg for your kick, and make the counter-attack from a position of stability.
caption p16 Uchi uke is performed with fingers and thumb outstretched, and uses want o . By blocking
near the attackers fist it becomes easier to use the block to destabilise his posture.
captions p17 The omote form of uchi uke zuki: in go ho, an ura form is when the defender blocks then
moves towards the attackers rear; moving towards the attackers chest is omote.
In omote uchi uke zuki the defender ends up directly in front of the attackers fist so go no sen timing
(block, then counter) would be too slow. One must use tai no sen, in which the block and counter-attack
are carried out almost simultaneously with the attack.
caption p18 Uchi uke zuki is a hokei in which a choku zuki attack is handled using uchi uke followed by
a chudan counter-attack.
To neutralise the attack, rather than depend only on uchi uke the defender can move his front foot
diagonally forwards, taking his body away off the line of attack and increasing the blocks effectiveness.
Byakuren ken
This group is made up of goho hokei involving basic dan ko bo, i.e., two-stage techniques in which a
blocking hand is immediately used for a counter-attack. The principle in byakuren ken is that a single hand
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performs the block and counter-attack so rapidly that it is almost a single motion. In performing these
hokei, importance must be placed on both speed and control.
captions p25 Taiki gamae is a stance that invites a jo dan attack. The stance incorporates neko ashi dachi,
which lets you make a rapid kin teki geri at any time. Whenever you take up a stance, you must be clearly
conscious of which areas it establishes as jitsu and which as kyo. In taiki gamae, to invite a j o dan attack
you make that part kyo, while making chu dan and below jitsu to prevent attacks from coming there.
The key movement in tsubame gaeshi is from the uchi uke (picture 1) to the shut o giri (picture 2). Be
certain to perform the shuto giri properly, and not just put your focus on the chu dan zuki (picture 3).
caption p26 In response to the incoming attack, the defender steps his front foot slightly diagonally
forwards to move his upper body out of the way, blocks with uchi uke, then performs shut o giri with the
same wan to. The attackers step in to perform the attack also sets up the distance for the defender to
counter-attack so theres no need for the defender to make a big step forwards.
5
chudan gyaku zuki with the right hand, and slightly close [yose ashi] the right foot. (ren han k o description
omitted).
But isnt it common to see kenshi start in tai gamae and practice chidori gaeshi against a sashikae ashi,
jun zuki attack?
This isnt a case of one being right, the other wrong. The truth is that chidori gaeshi can be an effective
counter to either gyaku zuki or jun zuki.
Given an attacker who intends a jodan punch, its perfectly possible that from an especially close-
quarters hiraki gamae he might try gyaku zuki, or that from a rather far-apart tai gamae he might close
distance with sashikae ashi and launch jun zuki.
It seems that there are some people who, encountering a form thats different from the one they have
always practiced, denounce it as a mistake.
But every goho hokei has at least a pair of left and right forms, and many have four for left/right,
omote/ura plus maybe a ren han ko . The ren han ko itself can vary endlessly depending on the circum-
stances of attacker and defender, so couldnt you say that a h o kei doesnt really have a form at all?
One of the easy traps to fall into is focussing too much on a single attack/defence combination, thereby
tending to narrow ones understanding and ones acquisition of techniques. The standard for judging
whether a hokei is being performed correctly should be whether or not the defender, in response to the
attack, performs a sound defence and counter-attack informed by the special characteristics of some family
of techniques.
caption p32 Chidori gaeshi and tsubame gaeshi have an omote/ura relationship. The effectiveness of the
meuchi is increased by not putting in all your strength but keeping the arm soft.
caption p34 The counter-attack in chidori gaeshi is meuchi. Meuchi is an ura te [back of the hand] strike,
for which the fingers must be relaxed.
Having parried the incoming punch, the defender softens his arm from the elbow down to make a
whip-like counter-attack aimed at the attackers eyes.
6
Lets review the attackers and defenders movements in suigetsu gaeshi: Attacker: from migi ch u dan
gamae, sashi komi ashi and jodan choku zuki. Defender: from hidari taiki gamae, (1) mae chidori ashi,
hidari uchi uke, and at the same time yoko furi zuki to suigetsu with migi hira ken, immediately drawing
the hand away again backwards. Then bring migi sho ken back to finish the counter-attack with a swing
down onto keikotsu [the bones of the neck]. (2) with both hands push attacker over; sagari; zanshin.
In any goho hokei, you have to fulfil the five elements of atemi namely, (1) the position of the target
kyusho, (2) striking distance, (3) angle, (4) speed and (5) kyo/jitsu.
The first counter-strike in suigetsu gaeshi is a yoko furi zuki to the attackers suigetsu.
As is clear in each of the photo sequences, the attackers position after making jun zuki opens up a kyo
in his posture with his weight on the front leg, the front arm outstretched, and ch u dan exposed.
Suigetsu must be struck with an upwards blow from directly in front. Because in this case the attackers
body is half turned away, a choku zuki would arrive at the wrong angle and would be ineffective. By using
yoko furi zuki it is possible to deliver a strike at the correct angle for this kyo opportunity.
In addition, yoko furi zuki is an especially effective strike in cases like this in which it is used against
the trunk from close distance. This is because, by adjustments such as changing the angle of the elbow,
you can compensate for being somewhat close or far away as a result of the mae chidori ashi dodge.
After the yoko furi zuki, immediately pull the hand away backwards then put in sh o ken uchi to keikotsu.
In this case, too, the five elements of atemi are satisfied insofar as the attack to suigetsu has made the
attacker stoop forwards. Together, this makes an effective dan zuki.
Of course it is not just in suigetsu gaeshi that it is important to hit the kyu sho in the correct way which
means drawing the attacker into a position of kyo, then, taking into account the separation between attacker
and defender, immediately applying a decisive strike by hitting the chosen ky u sho at an angle that will be
effective.
caption p40 The main point of suigetsu gaeshi is the dan zuki, which involves striking suigetsu (photo 1),
drawing back the hand (photo 2), then hitting the attackers seikotsu with sh o ken uchi (photo 3).
caption p42 Suigetsu gaeshi involves meeting the incoming attack with uchi uke, simultaneously using
ones position alongside the attacker to put in a decisive furi zuki to suigetsu. Then, drawing back the fist
from suigetsu as if extracting the elbow upwards, strike the back of the neck with the same hand. After
these atemi, finish by pushing the attacker over.
7
Looking carefully at the times where hangetsu gaeshi goes wrong, it seems that the problem lies in the
part involving the body dodge.
To be specific, the problem arises when a defender tries to perform oshi dome against gyaku zuki while
his or her chudan region is still in the attackers path. The result is a posture with the backside sticking out,
from which neither the defence nor counter-attack can be performed well.
caption p48 Midare gamae: the front hand guards against jun geri, while the back hand protects the
torso. Like taiki gamae, this stance is used when inviting a jo dan attack.
caption p49 The attackers ren ko isnt avoided by hand movement alone. By changing from k o kutsu
dachi to zen kutsu dachi and moving the centre of the body, you get the body clear of the line of attack.
Not just in hangetsu gaeshi but in go ho in general, defence requires a harmonised combination of body and
hand movements.
caption p50 Dealing with the attackers ren ko using hand movement alone is virtually impossible.
In response to the jodan, chudan attack sequence it is vital to accompany the hangetsu uke, shita uke
defence sequence with a shift of the bodys centre-line and a kai shin [change of body angle]. The blocks
8
should be done not with the intention of intercepting the attacks, but of protecting the face, then protecting
chudan.
Tenno ken
A group of hokei involving ren ko bo. The attacks either involve a sequence of punches, or punching
followed by kicking, and all start with a jo dan attack. A special feature is punch combinations in which, in
a single effort, the attacker launches right- and left-hand attacks so rapidly that they appear to arrive almost
simultaneously and with the power emphasis on the second strike rather than the first.
Tsuki ten ichi is a defence and counter-attack technique against j o dan jun zuki, chudan gyaku zuki.
Compared with hokei such as those in nio ken, tsuki ten ichi could be said to involve movements of
high complexity. But thats only true for the upper body.
Studying the defenders lower-body movement in photo sequences A and B, we can see that it involves
an ushiro chidori ashi form of ten shin, followed immediately by keri kaeshi. This is just as simple as the
movement in a technique such as ten shin geri.
We can also observe that the ushiro chidori ashi lets the defender move out of reach of the jun zuki, and
evade the gyaku zuki. That increases the effectiveness of the uwa uke, shita uke combination, allowing the
jo chu ni ren ko attack to be handled without difficulty.
If part of the attack hits home, the problem is less likely to be slowness in the ren uke than an insufficient
ushiro chidori ashi.
Ushiro chidori ashi is a retreat in a diagonally backwards direction; one form of hiki ashi. But we quite
often see people doing tsuki ten ichi without attention to the backwards-diagonal aspect simply moving
one step backwards.
In most of these cases the defender doesnt evade the attackers gyaku zuki at all, but stops it with the
keri kaeshi.
The problem with doing tsuki ten ichi like this is that if the attacker turns out to be someone with long
reach, or if the attack is especially deep, moving back far enough to deal with the attack will mean that
even if the blocks are successful, the chances are that youll end up unable to deliver the counter-attack.
You must engrave in your mind the fact that ushiro chidori ashi is something completely different from
a simple step backwards.
Also, to cut down the time you need to perform the technique so you dont fall victim to a rapid attack
you have to think carefully about your posture before the technique begins.
The preparatory positioning for tsuki ten ichi is hiraki gamae, at neutral issoku ikken distance, in ichiji
gamae so as to be ready for a possible keri attack. To help do ushiro chidori ashi from this position, the
defenders weight should be slightly forwards (zen kutsu dachi).
If youre about to run a 100-metre race, you take up position so that as soon as the pistol fires you can
start running. Incorrect preparation for a waza is like waiting to hear the pistol before you even get ready.
In Shorinji Kempo techniques, where every moment counts, a sloppy stance loses you a lot of time.
caption p57 The attacker waits in a somewhat zen kutsu stance (picture 1), then performs uwa uke with
sorimi (picture 2), then ren uke with hikimi (picture 3). By moving with ushiro chidori ashi, the defender
moves his body off the line of attack (picture 4).
caption p58 The attack is a ren zuki: jun zuki then gyaku zuki. By using ushiro chidori ashi and setting
his upper body over the back leg, the defender can move the jun zuki and gyaku zuki targets out of danger.
As soon as his weight is on the back leg, he can perform a counter-kick with the front foot.
9
64: gyaku ten ichi
one point to watch is the hiki ashi
For gyaku ten ichi, the attackers and defenders movements are as follows:
Attacker: (1) fumi komi ashi with left foot, then a ni ren ko of jodan choku zuki with the right hand
followed by chudan gyaku zuki with the left.
Defender: (1) ushiro chidori ashi to the left, a ren uke of uchi uke with the left hand followed by uchi
harai uke with the right, (2) keri komi with right leg, (3) kumo ashi to retreat; zanshin.
Since the attacker combines his jodan gyaku zuki and chudan jun zuki as a ni ren ko, naturally the
defenders uchi uke and uchi harai uke form a ren uke.
To make effective use of a ren uke, the ashi sabaki becomes especially important.
One thing to watch for in particular is the hiki ashi. If you make a big step away youll spoil your
distance for the counter-kick, so the ideal is to make a small ushiro chidori ashi and swing the upper body
away, evading the first attack with tai sabaki.
If you retreat straight backwards, you wont satisfactorily get your body off the attack line. So, just
as for tsuki ten ichi, a half-hearted ushiro chidori ashi means you wont be able to evade completely the
incoming attack.
So lets check the movements for gyaku ten ichi, using photo sequence B.
In frame 1 the defender is standing in ichiji gamae with zen kutsu dachi, inviting a tsuki attack.
From frame 2 to frame 7, the attacker throws gyaku zuki. In response to this, the defender moves his
body away with ushiro chidori ashi, performing uchi uke while dodging the incoming punch. Because the
attacker launches his ren ko focussing on where the defender was initially standing, effectively this ushiro
chidori ashi also serves to dodge the second, jun zuki attack.
To join defence and counter-attack smoothly, you have to include in each movement the preparation for
the next.
For an ushiro chidori ashi moving through to uchi uke, you start in zen kutsu dachi. Then if you want
to follow uchi uke immediately with uchi harai uke and keri kaeshi, you have to prepare by pulling back
the right hand.
Above we mentioned that the attacker launches the attack based on where the defender was standing, but
it seems that many people worry about what to do if the attack comes instead to where they have moved.
There are also lots of people who, even though they move aside with ushiro chidori ashi, in fact still get
hit.
What both these cases have in common is that the defender has failed to take on his proper role in
inviting the attacks. Where the attacker anticipates the position to which the defender will move, and
strikes, the defender gets hit because he moves there. And even if the defenders tai sabaki is correct, if
he panics and moves too soon, he gives the attacker the opportunity to adjust the path of the attack again
increasing the chances of being hit.
As long as the attacker is using techniques correctly, his movements are very compact. What this means
is that even against a fast defender its possible that he can adjust. As defender one must be fully aware
of this, and rather than take up stance with the thought I dont want to get hit, should make calm mental
preparation with an attitude more like Go on, try hitting me here.
caption p64 The moment after performing the ushiro chidori ashi to move the body, and blocking with
uchi uke, the uchi harai uke must be ready. And almost at the same time as the uchi harai uke is the jun
geri.
10
caption p66 The defender invites from a somewhat zen kutsu dachi stance. In response to the attackers
gyaku zuki, jun zuki combination (ren ko ), he moves his rear foot diagonally backwards to get his body out
of the way of the attack. While moving the feet you must start uchi uke, while performing uchi uke start
uchi harai uke, while performing uchi harai uke start the counter-kick.
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caption p73 So as not to fall prey to the rapid ren geki, the uchi age uke and uchi otoshi uke cannot be
performed as movements one, two but must be a single stroke. To make this possible its important for
the arm not to be tense, and for the shoulder and elbow joints to move smoothly.
caption p74 To maximise the performance of the arms flexor and extensor muscles while performing a
dan uke of uchi age uke and uchi otoshi uke, clench the fist for the former and open it out for the latter.
Its vital that the uchi age uke and uchi otoshi uke are performed not as two separate actions, but as a
single connected movement.
caption p81 By accurately blocking the jun zuki, gyaku zuki ni ren k o using ushiro chidori ashi and ren
uke, defending against a third attack becomes easy.
caption p82 The way of avoiding the ni ren ko of jodan jun zuki, chudan gyaku zuki is the same as for
tsuki ten ichi, using a ren uke of uwa uke, do ji uke.
Having ascertained that a third punch is coming, perform uwa uke and dodge with a movement that
shifts your weight to the rear leg, finishing with jun geri.
12
Obviously, a technique that requires you to block and counter the kick that arrives as the third attack
will only come together if you successfully parry the previous jun zuki and gyaku zuki.
Therefore keri ten san is not a technique you can put to use unless you have the basic capacity to block
punches and follow up with a kick counter-attack.
Its also important to think beyond the definition of this particular h o kei, and remember that the attacks
final kick might be something like kinteki geri or mawashi geri rather than keri age.
Therefore as your level improves you must figure out and become practiced at the various combinations
of defence/counter-attack that you could perform after the ren uke using shita j u ji uke, yoko juji uke, hiza
uke or maybe even san bo uke depending on the angle of the incoming kick.
Since in real life the choice of attack is entirely up to the attacker, all kenshi must seek to step up the
level of their training, in line with their abilities, until even forceful attacks can be dealt with.
In the kyohan, Kaiso wrote The special feature of ten san no kata lies in the coordinated use of ren uke
and dan uke by both hands.
So lets look at photo sequence A to see how the defender in keri ten san makes use of his hands.
His right hand performs uwa uke in response to the initial jo dan choku zuki attack, then uchi uke to deal
with the third attack (the kick).
The left hand performs shita uke to deal with the second-place ch u dan choku zuki, then uchi barai uke
for the kick.
So in essence there is a ren uke of uwa uke with the right hand and shita uke with the left, and two dan
uke combinations: uwa uke, uchi uke for the right hand and shita uke, uchi barai uke for the left. You have
to remember that its the skillful combination of these hand actions, along with ashi sabaki and tai sabaki,
that together make the technique as a whole work.
Proficiency in any Shorinji Kempo technique requires being conscious of and becoming practiced in a
large number of individual elements. But its no good greedily trying to get to grips with all these elements
as quickly as possible. In one training session you should focus on a single element, building up your
stock of techniques slowly but surely. Though it may seem like a long way round, its the fastest route to
improvement.
One of the interesting things about Shorinji Kempo is that no matter how strong you are, if you dont
carefully mesh together the elements that make up a given technique you wont be able to do it. In fact I
think theres a lot of fun involved in the process of learning how to perform the technique to compensate if
you happen not to be so strong.
caption p89 To allow confirmation of the defence movements involved in keri ten san weve snapped
them here as four separate pictures. However, since the attack comes as a rapid ren k o , the defender cannot
perform them as four separate movements. Note that if there turns out to be a pause in the attack after the
jun zuki, the defender can perform uwa uke geri; if theres a pause after the ren zuki, the defender can do
tsuki ten ichi.
caption p90 In keri ten san a correct balance of tai sabaki and te sabaki [use of the hands] is absolutely
vital. After the ren uke, both hands change through to ju ji uke to deal with the kick, but for this te sabaki it
is important not to put power into the arms except for the focussed instant when the block makes contact.
Kakuritsu ken
These are forms involving attack and defence using the legs. They all include standing on one leg to
perform hiza uke followed by keri kaeshi an unusual counter-attack technique that is referred to as har o
kyaku geki [wave-like leg attack].
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96: kinteki geri hiza uke nami gaeshi
a technique with a definite go no sen response
As indicated by the nami gaeshi part of the name of kakuritsu ken techniques, their combination of defence
and counter-attack involves a continuous motion that is likened to the ebb and flow of waves.
Kinteki geri hiza uke nami gaeshi is a defence and counter-attack in response to kinteki geri.
As youll appreciate from the photo sequences, the sequence of hiki ashi, hiza uke, kinteki geri is
performed in one motion without a pause.
However, its quite common to see kenshi who pause at the hiza uke stage, or who have a tough time
because they meet the attackers kick with a direct blow on the shin.
The result is a vicious circle in which kakuritsu ken techniques dont get practiced enough, so people
never get good at them.
Even if you happen to be unconcerned by a crashing style of block, it will break up the techniques
flow. If that happens the attacker will have time to pull back his leg, so even if you launch the kinteki geri
counter-attack it probably wont land.
Conversely there are those who specifically avoid the direct shin blow, by simply launching machi geri
to kinteki. In self-defence terms this is a dangerous gamble. Never mind what might happen against an
arc-like attack such as mawashi geri; if you try to handle a fast, shortest-distance attack like kinteki geri
just by waiting for it, and with no attempt at defence, even if you manage to hit the target theres a high
chance that youll be hit at the same time.
You also have to bear in mind that this machi geri approach wont help you to learn the specific lesson
of this family of techniques, i.e., the go no sen response to kinteki geri using a wave-like leg movement.
caption p97 Having aimed his kick at kinteki, the attacker isnt going to stand around in that position
for ever. For kinteki geri hiza uke nami gaeshi to work, the defender must land the deciding counter-kick
before the attacker has time to pull back his leg. To make a fast transition from hiza uke to kinteki geri, the
defender must keep his knee loose. Making an effort to move as quickly as possible in fact makes the legs
stiff, and reduces speed. Relaxedly lift the knee, and counter as soon as the kick has been blocked.
caption p98 Its important that having blocked kinteki geri with hiza uke you dont stop, but in a move-
ment like the turning of a wave immediately launch the kinteki geri counter-attack. Simply lifting the knee
has the desired effect of creating an obstacle in the path of the incoming attack, and simply straightening
the same leg delivers the counter.
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If it were absolutely certain that the attack could only be taka mawashi geri, there would be no point in
protecting kinteki. Any attempt to do so would be wasted effort.
Therefore, even within the practice of mawashi geri san bo uke nami gaeshi, it is important that from
time to time the attacker mix in other attacks such as kinteki geri, ch u dan geri, and maybe dan geri too.
first understand kinteki geri hiza uke nami gaeshi and juji
uke geri
Mawashi geri san bo uke nami gaeshi is, like kinteki geri hiza uke nami gaeshi, a member of the kakuritsu
ken technique family. This familys special characteristic is the har o kyaku geki [wave-like leg attack]. As
indicated by the use of the word haro [waves], the transition from defence to counter-attack should be a
continuous motion like the ebb and flow of a wave.
Many people who have trouble with mawashi geri san bo uke nami gaeshi do so because they are
breaking up the defence and the counter-attack.
As stated in the kyohan explanation, san bo uke is like a combination of yoko ju ji uke and hiza uke.
Using this fact in another way, what you have to do is use practice of j u ji uke geri and kinteki geri hiza
uke nami gaeshi to grasp the timing of ju ji uke, hiza uke and the keri kaeshi.
Then when you have become able to perform these two techniques, try doing kinteki geri hiza uke nami
gaeshi with juji uke added on, and conversely try moving with the sense that you are blending hiza uke into
juji uke geri. Youll find that mawashi geri san bo uke nami gaeshi becomes surprisingly easy.
Another point is that just because the attacker comes in with a high-level kick, thats no reason for the
counter-attack to be similarly high.
The standard counter-attack in mawashi geri san bo uke nami gaeshi is chudan geri. On the other
hand, the easiest and most effective counter-attack is probably kinteki geri and the higher the attackers
incoming kick, the easier it is to kick his kinteki. So as an exercise in practical self-defence application,
how about mixing some kinteki geri counter-attacks into your practice?
As an example of practical application, photo sequence C shows a kinteki counter-attack.
caption p104 A defender standing in ichiji gamae gives the appearance of being prepared for a kick from
straight ahead. However, what you must do is prepare mentally and physically to deal with any attack,
whether it comes to kinteki, chudan or jodan.
caption p106 Mawashi geri san bo uke nami gaeshi is a hokei performed against a taka mawashi geri
attack, but this doesnt mean that whenever a high attack comes in you should use san b o uke. Rather, its
a blocking method that is effective when the defender cannot easily judge whether the attack is coming to
kinteki, or is a dan geri, etc.
Sango ken
This group is made up of hokei involving chudan attacks and defences. The attacks are either kicks or
punches, and the responses involve blocking with a hand and countering with a kick. To save space in the
photo sequences these techniques are shown with single attack/counter-attack combinations, but advanced
students should perform ren han ko .
uke geri
112: juji
the time needed for juji
uke geri
Goho techniques are made up of extremely fast movements.
Have a look at photo sequence A. Between frames 1 and 10 the attacker closes distance and kicks, and
the defender blocks and counter-kicks.
This sequence was shot at a rate of 14 frames per second, so between each frame is approximately
0.07 seconds and the entire duration of this defence and counter-attack is a measly 0.63 seconds. In this
time the defender does a hiki ashi to protect kinteki, performs ju ji uke, and makes his counter-kick.
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The kyohan has the following explanation of the defenders movements: From migi ichiji gamae [our
sequence shows hidari ichiji gamae] slightly pull back the right foot to protect kinteki, and while doing so
simultaneously perform uchi harai uke with the left hand and uchi oshi uke with the right to make j u ji uke,
then immediately use the right leg for the deciding counter-kick.
From this explanation it is clear that one is not meant to finish hiki ashi before doing the block, or to
finish the block before doing the kick.
As seen in the photo sequence, the ju ji uke happens during the hiki ashi, and at the moment of blocking,
the counter-kick must already be on its way. Essentially all the movements are connected together. This
kind of connected set of movements is referred to as ikki do sa.
However, this ikki dosa expression is often misunderstood. Some people think it means you just do the
counter-attack. Others think the movements happen all at once, with no discrimination between them. If
you can grasp the proper meaning, of connecting a number of movements together without a break, youll
soon see that ikki dosa occurs not just in goho but in juho too. In fact, Shorinji Kempos techniques all
depend on such continuous sequences of movement.
So in practicing hokei you must set up exactly the stipulated conditions of distance, relative arrangement
[tai/hiraki], way of standing and kamae, then train so that under these conditions you become used to
making a correct, accurate response in one continuous action.
captions p113 The defenders mental preparation when in kamae is essentially the same as that for
mawashi geri sambo uke nami gaeshi.
Juji uke is a strong block made up of simultaneous uchi harai uke and uchi uke.
caption p114 Juji uke isnt just a matter of making a cross with the arms and putting them in the way of
a kick. One hand performs uchi harai uke, the other uchi uke. At the moment of blocking, the front leg
must be pulled in so that your posture is ready for a counter-kick otherwise the counter will be late.
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that your body position leaves no gaps or chinks, an unfocussed mind will ruin it; its no exaggeration to
say that the most important element of stance is the preparedness of the mind.
Then again, its also a mistake to take great pains over the mental preparedness but think lightly of the
posture. If your posture isnt right, you wont be able to respond to circumstances moment by moment.
This is how Kaiso spoke of the importance of both posture and mind. And the mental preparedness
were talking about here is not just a matter of determination or strong spirit. One way to think of it is
that you should know the kyo and jitsu aspects of your physical posture, and use this to prepare in your
head the various counter-attack strategies for a number of predicted attacks. On the other hand, you could
think of the physical posture as the particular body position that will make it possible to put your mental
preparations into effect. So without preparedness, any posture has a mass of unguarded openings, while a
posture that is sloppy makes you unable to respond in appropriate ways. The ky o han also has this to say:
Kamae concerns the battle-formation aspect of enabling effective attacks and defences in Shorinji
Kempo. In other words, it must be the physical embodiment of the energy concealed within of unified
mind, spirit and strength.
Not just for shita uke jun geri, but in general, the success or failure of a technique is largely determined
before it even begins, by these subtle tactics of stance and positioning.
caption p120 The defender takes up hasso gamae with zen kutsu dachi.
caption p121 Moving from zen kutsu dachi to ko kutsu dachi, perform shita uke and a counter-kick.
caption p122 Having taken up hidari tai gamae, when the attacker performs jun zuki the defender blocks
with the right hand, thus moving to the attackers ura. When practicing this h o kei dont just think of it as a
punch being blocked by shita uke, but consider carefully the relationship of attacker and defender once the
block has been made.
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By stepping in with sashikae ashi, the attacker can get a good angle for hitting the defenders ch u dan.
Shita uke jun geri suits the case in which the defender invites the attack from a somewhat zen kutsu dachi
stance. When inviting from ko kutsu dachi, the effective way to spoil the attackers angle and take up a
good stance for a counter-attack is to use gyaku tenshin.
caption p129 The defender neednt set out to spin his body around. By pulling the front foot to behind
the rear foot and shifting his weight, the body naturally turns for the gyaku tenshin movement.
caption p130 The main characteristic of the tai sabaki known as gyaku tenshin is evasion by moving the
body completely off the line of attack. Rather than deliberately forcing his body to turn, the defender pulls
his front foot to behind the rear one and quickly transfers his weight to it. This allows a simple, unforced
shifting of the body.
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Looking at the attacker during this time, in frame 7 he hasnt yet straightened his knee. But even though
he is set on delivering the kick, the defender has already moved away and its too late for the attacker
to change the kicks path. Then in frame 8, even though the attackers kick isnt yet fully extended the
defenders counter-kick has already begun.
Looking at frames 9 to 12 we see that the defenders kick lands in advance of the attacker pulling his
foot back.
So the attackers state when the counter-kick arrives is such that from ch u dan to gedan is all in kyo, and
hes also unstably poised on one leg.
This shows how the precise flow of attack and counter-attack cant be mastered just by copying the
superficial form of a technique.
A technique only starts working given a proper understanding of how the tai sabaki, block, and counter-
attack are all inter-connected, and on a foundation of smooth movements of the feet and of ones weight.
caption p136 At the end of the day, the uchi otoshi uke in han tenshin geri is just supplementary; your
focus should be on dodging the attack with the han tenshin form of tai sabaki.
caption p138 Like gyaku tenshin, han tenshin is a form of tai sabaki for getting your body off the line
of an incoming attack. An important point shared by han tenshin and gyaku tenshin is that at the instant
when the tenshin ends, your shifting of body weight must also stop leaving you ready to perform the kick
counter-attack.
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Because the attack is aimed at the defenders seichu sen [centre line], the distance that he must move
sideways to evade it is half his body width maybe around 20cm. This is just one tenth of the distance to
be travelled by the attack, and its a single-step movement that anyone can do.
Moreover, when the attack happens the defender is standing firmly on both feet, so making a dodging
movement is easy.
By contrast, when the defender puts in his keri kaeshi, the attacker is standing on one leg and therefore
cannot dodge.
caption p144 The techniques of sango ken must be done with clear awareness of kamae and relative
arrangement [tai/hiraki]. Both han tenshin geri and yoko tenshin geri involve the same gyaku geri attack,
but when waiting in zen kutsu dachi in tai gamae, the effective response to gyaku geri is yoko tenshin geri.
caption p146 When facing each other in tai gamae, a gyaku geri attack is handled with yoko tenshin
geri. When the attacker closes distance and kicks, this also brings him into range for a counter-kick.
By not retreating but performing a sideways tenshin movement, the defender can take up distance for an
effective counter-attack.
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attack were deep, using a block that follows the line of the leg and cuts deeply into san in k o means that
the arm doesnt just hit with one point.
Turning the contact area from a point into a line reduces the impact shock, and hence the risk of injury.
An additional result is that you hit san in ko .
caption p153 Using uchi harai uke while moving with mae kagi ashi, the defender can easily block
against san in ko.
caption p154 Rather than thinking of the harai uke as being used to block the incoming kick, think of it
as protecting your own chudan. By using ashi sabaki and tai sabaki to dodge the attack, you can stop the
kick with little or no damage to your own arm.
Chio ken
Like tenno ken, these hokei are based on ren ko bo. Whereas tenno ken techniques deal with attacks that
begin with a punch, chio ken addresses attacks starting with a kick.
Apart from chio ken techniques, kinteki geri as an attack is addressed in kinteki geri hiza uke nami gaeshi,
in kakuritsu ken. How is that technique different from this one?
Anyone can see that for kinteki geri hiza uke nami gaeshi the attack is just a single kinteki geri, whereas
for jun geri chi ichi there is the additional hebi zuki. But the more fundamental difference lies in the
defenders stance.
In kinteki geri hiza uke nami gaeshi, the defender is in ko kutsu dachi. In jun geri chi ichi, the defenders
weight is evenly on both feet.
When youre in ko kutsu dachi, its easy to respond to kinteki geri by immediately doing hiki ashi and
hiza uke.
But if your weight is evenly distributed, or if youre in zen kutsu dachi, performing hiki ashi requires a
split-second shift of the weight. To cover your vulnerability during that split second, you use ken uke.
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ken uke is possible specifically when the attack is kinteki geri
One of the staff members at hombu tells a story of having broken a finger in randori during student days,
by unthinkingly using ken uke against a kick.
I asked what kind of kick it was, and how the block was done.
The answer was that the pair were in tai gamae, and when the opponent launched a jun geri to ch u dan
the defender immediately aimed a ken uke at the approaching foot.
In all Shorinji Kempos hokei, ken uke is never used against anything other than kinteki geri.
Kinteki geri is a style of kick designed to strike the groin area with the instep; its not intended for
higher targets such as suigetsu. Ken uke is a block that can be used against kinteki geri, and likewise is not
suited to other kicks.
If a kick comes towards your suigetsu, using ken uke just because your relative positioning happens to
be the same as for a kinteki geri attack is a reckless move. Its not surprising if you break your fingers.
In addition, even when applied against kinteki geri, to avoid hurting yourself the ken uke must be
performed with a tightly clenched fist and an active wrist [i.e., not bent].
So ken uke is a block that, if done badly, brings the risk of injury. Nonetheless we use it, because
stopping a kinteki geri using its intended target area is simply not a viable option.
The attacker launches the kinteki geri while performing hebi zuki as a feint to j o dan. The target of the
kick is based on where the defender was originally standing.
This is a crucial point. A defender always gets attacks to come to where he has taken up stance.
By moving his body backwards, the defender shifts his target area away from its position when the
kinteki geri attack was invited.
And then he performs ken uke at the position originally occupied by that target. That way, the block
naturally meets the kick.
Its absolutely not the case that the block is launched to target the kick.
The kick comes flying at you in tenths of a second. Even if you tried, you couldnt hope to hit the
intended nerve point.
Reading the attackers intentions, and using ken uke to cover up the kyo in your posture, is what allows
it to be effective.
caption p160 The defender faces the attacker in zen kutsu ichiji gamae. Protecting himself against the
hebi zuki feint using uwa uke, he protects himself against the kinteki geri using his knee and ken uke. Ken
uke should not be thought of as being aimed at the kicking foot, but as being put out to protect the kinteki
region.
caption p162 Its very difficult to do a good ken uke by trying to aim it. But because the attackers kick is
coming to kinteki, putting ken uke at the targeted location will catch it. Making such a block is like laying
a trap for an animal to run into.
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On the other hand, because gyaku geri comes from a position further away from the defender, it is a
larger movement thats easier for the defender to read than a jun geri.
In the case of jun geri chi ichi the attacker and defender are in tai gamae, from which jun geri provides
the easier chance of an effective angle of attack against kinteki.
However, because the defender is bound to have set up stance at a safe distance from the attacker, its
necessary to distract him with hebi zuki while closing distance for the jun geri.
Gyaku geri chi ichi is from hiraki gamae. In hiraki gamae its gyaku geri that offers the better chance
of a good attack angle against kinteki.
In order to make effective use of the large gyaku geri movement, it should be launched after using hebi
zuki to take the defenders attention away from the gedan region.
So the hebi zuki used in techniques like jun geri chi ichi or gyaku geri chi ichi isnt just part of some
fixed kata, but serves to increase the effectiveness of the kick attack.
captions p169 Although chio ken is based around ren ko bo sequences that begin with a kick, jun geri
chi ichi and gyaku geri chi ichi make an exception by actually starting with hebi zuki. In the same way that
tenno ken has the characteristic that its attack combinations are thrown without a pause, the hebi zuki and
kinteki geri in chio ken techniques are not two separate movements. The attacker must have the sense that
the hebi zuki is for drawing the attackers attention to jo dan for a fleeting instant, during which the kinteki
geri is also put in.
Make sure that the wrist is active when performing ken uke.
caption p170 Neither gyaku geri chi ichi nor jun geri chi ichi involves a kinteki geri attack launched out
of the blue; they both use hebi zuki to first distract attention away from the gedan area. If the hebi zuki isnt
performed convincingly, it wont work as a feint; the attacker must make this first attack one that would hit
the defender if not blocked.
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According to the instructions given above, at step 1 the defender should perform ken uke while pulling
back his left foot. Part of the purpose of this hiki ashi is to move the kinteki target backwards, away from
the attack. You can see in the photo sequence that the defender doesnt actually pull his left foot back.
However, what the defender is doing here instead of hiki ashi is to dodge kinteki away from the incom-
ing kick by using the movement from zen kutsu dachi to ko kutsu dachi.
Using his momentum, the attacker follows kinteki geri with shuto giri and chudan zuki. This shuto giri
has the same angle as in tsubame gaeshi, and constitutes a tremendously dangerous attack.
Therefore, immediately after the ken uke, the defender uses ushiro chidori ashi as a tai sabaki that
moves him out of the range and the path of the incoming attacks, and while blocking with soto oshi uke and
shita uke performs the keri kaeshi counter-attack. Thus every attack is avoided by an effective combination
of tai sabaki and blocking.
caption p176 Verification of the attackers movements. From hiraki gamae he performs a san ren k o
starting with kinteki geri, then placing the kicking foot down in front and performing shut o giri and chudan
gyaku zuki.
caption p178 The attacker launches a san ren ko made up of kinteki geri, shuto giri, chudan gyaku zuki.
Even having successfully protected his kinteki with ken uke, if the defender then just stands there, the
remaining ren ko attacks will hit him full-on. So he can either follow the ken uke with a keri kaeshi like in
gyaku geri chi ichi, or, as seen here, break distance and prepare for those attacks.
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Reading these instructions and blithely following them to perform harai uke chi ni, there is a tendency
to fall into practice that simply goes through the motions: when mawashi geri arrives you protect yourself
with uchi harai uke; then block the gyaku zuki with uchi uke; then make an atemi to ch u dan.
Hokei outside chio ken for dealing with mawashi geri include harai uke geri, gedan gaeshi, ch u dan
gaeshi, juji uke geri, mawashi geri san bo uke nami gaeshi, and harai uke dan zuki.
So with all these techniques available against the first attack in harai uke chi ni, why go to the special
effort of preparing for an additional gyaku zuki?
To answer this, we have to look at which of these other ho kei are related to harai uke chi ni.
the relationship between harai uke chi ni, gedan gaeshi and harai uke dan zuki
In goho, the techniques available for use in confronting an opponent are constrained by distance, relative
arrangement [tai/hiraki], foot placement, kamae, and so on.
If you look at the preparatory stance in the photographs, youll see that it is hiraki gamae. At this stage
we can therefore rule out of the choice list the responses ju ji uke geri and mawashi geri san bo uke nami
gaeshi.
Then look at the instant when the defender has blocked mawashi geri. Because his rear foot is out to
the side, we have to rule out harai uke geri and chu dan gaeshi.
The only options remaining at this point are gedan gaeshi and harai uke dan zuki.
The attacker, also bearing in mind these various possibilities, launches gyaku zuki. The 1955 edition of
the kyohan makes this clear with the following guidance for the attacker:
Replacing the left foot on the ground, and while maintaining your left hand as a guard against the
defenders right leg, jodan gyaku zuki with the right hand.
caption p184 The position after blocking the attackers mawashi geri would also allow the gedan gaeshi
response.
caption p185 Harai uke chi ni becomes effective when the attacker launches gyaku zuki in the face of the
defenders possible counter-attack.
caption p186 Thinking of what could come after the sashi komi mawashi geri, the distance is too great
for jun zuki to be effective, and gyaku geri cant happen because the right leg is acting as the supporting
leg. So you can tell that the second attack must be gyaku zuki. During practice of h o kei it is important to
understand and become familiar with the kyo/jitsu aspects of posture.
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