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$ 11.50

On The Move

by Morihiro Ssir-:

. 81111ll. Yw F Ilrn

with built-in narration both in English and Japanese on cassette tape.

S word Techniques PART 1- 8 min. PART 2 - 8 min.

Jo or Stave Techniques PART 1- 8 min. PART 2 - 8 min.

Body Techniques

PART 1 - 8 min. PART 2 - 8 min.

8 minute tapes available each for US$29.50

Produced by

MINATQ RESEARCH & PUBLISHING CO" LTD.

Tokyo 105, Japan

I Nishikubo Se kur-akaw a- cho, Mina to- ku, Tokyo, Japan

© 1974 by Mor-ihiro Saito ISBN: 0-87040-288-9

MINATO RESEARCH & PUBLISHING COMPANY

First Printing: October, 1974 Printed in Japan

Exclusi ve Distributor in U. S. A. & Canada:

JAPAN PUBLICATIONS TRADING CO. (U. S. A.), INC.

1255 Howard Street, San Francisco, Calif. 94103, U.S.A.

Traditional

SWORD· STICK

AND BODY ARTS

VOL.4

VITAL TECHNIQUES

MORIHIRO SAITO

Written by Morihiro Saito Translated by Kyoichiro Nunokawa

Dennis N. Tatoian Edited by Tetsutaka Sugawara Photography by Sadao Hirata

ISBN: 0-87040-288-9

First printing: October, 1974

Published by MINATO RESEARCH & PUBLISHING CO., LTD.

I Shiba Nishikubo Sakurakawa-cho, Minato-ku, Tokyo, Japan Phone: (03) 501-9248

©1974 by Morihiro Saito

Exclusive Distributor in U.S.A. & Canada:

JAPAN PUBLICATIONS TRADING CO. (U.S.A), INC. 1255 Howard Street, San Francisco, Calif 94103, U.S.A.

Phone: (415) 431-3394, 3384

Cable: SHUTSUBO SANFRANCISCO

Printed in Japan

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FOREWORD

October 1, 1974

The current series of books on AIKIDO entitled "Coordinated Relationships Between Ken (sword), 10 (stave) and Taijutsu (empty-handed techniques)" was to have been concluded with Volume 3. However, when I reviewed the supposedly last book in the series, my mind began to be filled with memories of a number of essential techniques which ought to have been included in it. Hence the inevitable publication of Volume 4.

Words of Old Master Morihei Uyeshiba, the late founder of AIKIDO, came ringing back in my ears while I was demonstrating the art for photographic purposes. A space of varied techniques, heretofore buried in my mind, then came flooding out. Had I forgotten the Founder, those words would never have come back.

Highlights of this Volume are the introduction of rigorous exercises and Aterni or delivering blows to the body prior to applying techniques, as well as the explanation of the process of variations in Taijutsu. AlKfDO without varied techniques is bound to lose its real essence in the application of the Ken, Jo, and Taijutsu. The trainees must therefore acquire a total command of such varied techniques to the degree of rendering a match meaningless.

This book covers "Kaeshi-waza" or counteractive techniques which have been handed down exclusively to AIKIDO instructors. Due to the nature of these techniques, however, the coverage has been limited only to the basic ty pes. It is to be desire d tha t the ins true tors con cerned will give their own thought to these techniques and make good use of them in imparting the art to their trainees.

The AIKIDO techniques are arrayed in such a way that the unlimited ramifications of these techniques should be practiced systematically. If there is an opportunity in the future, I may wish to talk about teaching methods as well.

MORIHIRO SAITO Ibaraki Dojo

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The Late Founder Morihei Uyeshiba

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J? I) L 8 (7) ~fJl trnl.Z:@.f~ The Late Founder Morihei Uyeshiba

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The Late Founder Morihei Uyeshiba

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-14-

CONTENTS

of Volume 4

Foreword , 7

Remarks 011 Takernusu Aiki 18

I. TAKEMUSU ATKI

• V ari a li 0 ns 0 f Kala te- do r i (nne-hand I", In)

Basic exercise: Karaie-dori Dai.lkkyo (arm pin}

Oruote-waza (ImOI technique) •• , ••••••••••..•.. 23 U ra- waza (tu rn i ng led, nique] •.•.•............•. , 24

Basic exercise : Katate-dori

Dai-Nikyo [wr ist turn) , ,., •• 26

Varied exercise; Variation=-f l ) 28

Variation-(2) ·· ··31

Varialion-(3) 34

Variation-(4) 36

'\'ariation-(5) 38

Variation-(6) 40

Variation-(7) 42

Rigorous exercise: Variation+-fl ] ·· .. 43

Variation-(2) .. · .. · .. ·· 44 VariaLion-(3)··········· 44 Variation-(4)· .. ····· .. 47

.Variations of Kata-dori (sho u ldee held} Ba;;ir; exercise : Kata-dori

Dai-lkkyo 49

Varied exercise; Varialion-(I) 51

Variation-(2) 52

.-Variations of tvl U na-dori (lower lnpel held)

8asi c exe ret se : M u na -dori D ai -lk k yo

Ornote-waza 54

Ura-waza , 57

Rigorou~ exerci se : I'll u na-dori

Dai.l'\ikyo ...... ··· .. ··· .. ·· ·58

Varied exercise: Variation-(l) · ·59

Variation -(2) .. · ·····59

V ariation -(3) .. · · .. 60

Variation -(4) · .. ·· ·62

'i!t11:;-(5)··························64 N:1t-(6)······ ····················67 'i!1:it-(7)··························· 68 ~ft-(8)·························· 70

~1t.-(9)··· ········72

>t:1t.-(J0)··························· 74

>t:1t.-(Jl)··· ·····76

~2f;::tt • ~ ~ ~-ilf;Z""""""""""'" 79

9~ e-- ~-f:t 80

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~it.-(6)······ 106

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II. )\ ntrJ I)

• I\, jJtD f) .•.•........... ······················116

.lliIjJ:J)tlf

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Variation-(5)'" ········64 Variation-(6)··········· 67 Variation-(7)············ 68 Variation-(S)··········· 70

V ariatio n -( 9)···· 73

Variation -(10)··········· 74

Variation-(]J)· .. · 76

.V ariatio ns agai nst Tsu k i {thrust! ng attack)

Basic exercise : Tsu ki Dai-Ikkyo ········79 Tsub Dai-Tkkyo ········81 Varied exercise: Variation-(1) ···········82 Variation-(2) ... ········84 Basic exercise : Tsu ki Kote.gaeshi

(wri., turn-out) ••••..............•.•••••.. 87

Varied exercise : Variation-(l) 90

Variation-(2) ········92

.Variations of Shomen-uchi (straight strike at the head)

Varied exercise : Variation-( 1) ···········94 Rigorous exercise: Shomen-uehi Dal-Ikkvo ················96

..

V ari ed exercise : V ariatio n -( 2) 99

Variation -(3)·········· ·100 Variation-(4)···· ..... ··102 Variatio n -( 5)···········105 Variation-(6)··········· ·106

.·Variations of Yokomen-uchi [circu lnr strike at the head]

Varied exercise: Variation-(l) ·109

.Varial:io ns of C sh i ro- dori (held from behind)

Basic exercise: Ushiro.Ryote-dori (both hand. held from behind)

Dai-Ikkyo ·························.· 112

II. I-l APPQ - GIRl {eight·corller cut!i,,~)

• J-l appo-giri 116

• Shiho - nage (four-corner throw]

(1) Throwing in opposite direction .. ··120

(2) Throwing in the same di rection ·121

(3) Throwing leftward ·122

(4) Th rowing rightward ·123

II J. ill. lit

(1) ffi-fl -r-iS T !#;i}

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• ffi=.~!.-:: N-t Q ili. L 11

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• A%1~!fl,: tj--t Q is L:L1z

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III. KAESH J - 'W' AZA

(countcructi v c tet-hn iqnes]

.Kaeshi -waza against Dai- Tkkyo

(1) Counteraction with Dai-Jkkyo

Basic from: Fi rst stage 126

Second slag!: '128

Third stage · .. · .. · .. · ··133

(2) COllnl:era(:tion with Dai.Nikyo ... ·······134 (3) Counteraction with Dai ·Nikyo··· .... ,. ·137 (4) Counteractio n wi th Kote-gaesh I •••..• ·139 (5) Cuu nteractio n with lri m i- nage

[entering lhruw) 140

(6) Coltnt6ra!'lioll with Irirni-nage- .. ·· .. ···142 (7) Cou n teractlollwilh Kosh i- nage

(hip throw) •............•...••••• 144

(8) Coun teracti on with Koshi -llage ...... ·146 (9) COLI nteractiori with vari eo technique· '148 (0) Counteraction with varied technique ··150

.Coun teracti ve techniques against Dai-Ivikyo (1) Counteraction with Dai-Sankyo .. ·····152 (2) Counteraction with l rirni-nage ...... '154

.Coun teracti ve tech niques agai nst Kore- gi:lcshi

(1) Cou n teractio n with Dai - San kyo ·157

.Co(] nteracti ve tech ni ques against l rirn i -lluge

(1) Counteraction with leg·tr·ipping ·158

(2) Counteraction with Koshi-riage ·161

.Co u n teracti ve techniques agai nst

Shihc -nage

(1) Coun teractive with Shiho - nage ·162

.Co u nteracti ve tech niques agai nst

Kai ten - nage Irutarv throw]

(1) Counteraction with elbow-scooping .. ···165

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REMARKS ON TAKEMUSU AIK(

According to Old Master Morihei Uyeshiba , "AIKIDO is a divine truth which spells out a sophisticated implementation of TAKE"tI·1USU AIKL" This means "AIKIDO is nothing without TAKEMUSU AIKl". Consequently, "TAKEMUSU AIKI" should be a matter of paramount concern to the AIKIDO trainees.

The AIKIDO Founder defined T AKEMUSU A1Kl as follows: "TAKEMUSU, as identified in Shin to lit era ture, is the un surpa ssed martial art of Japan. The art therefore proliferates a multitude of techniques freely a s Divine will sees fit." Such being the case, only by focusing our attention on the root of the kaleidoscopic techniques will we be able to get a few glimpses of the unfathomable depth of AIKIDO.

"The unlimited ramifications of the principle of swordsmanship", which received major attention in Volume 3, is explained in greater detail in this book. The process of technical variations becomes evident as the numerous techniques (varied techniques) created by the Founder are reproduced. Main emphasis therefore is laid on varied techniques in discussing Taijut su in this Volume. Care has also been taken in editorial layout to enable to readers to compare the varied techniques with their basic counterparts.

To sum up, varied techniques are born of a blend with your partner. The Founder, however, strictly warned that "a technique will lose its effectiveness unless it is delivered with perfect

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precision." TAKEMUSU AIKI, in the real sence of the word, could only be mastered by observing the Founder's tenet in this regard, conforming with the ground rules and blending with your partner as a prerequisite to the execution of a host of varied techniques. There is no room for half-hearted techniques.

"Initiate your move first if you wa nt to lead your partner," a lesson which, in AIKIDO terms, means stepping to the side of your partner in the initial stage of executing a certain technique. There is a deeper meaning than that, however. The lesson also points out the mental attitude which should be assumed in practicing T AKEMUSU AIKI. Abiding by this lesson is the only way to master perfect techniques in the realm of T AKEJ\·1USU AIKI. The principle of this lesson reflects itself progressively in a number of techniques in th e form of a perfect Iri111i or a perfect Shih o-n age. J myself make it a rule to adopt this lesson in my A1KIDO practice. This is because if the lesson slips my mind, my techniques will become imperfect. Then there will be no possibility of my performing kaleidoscopic Taijutsu. Nor will it be possible to effect the unlimited deployment of the principle of swordsmanship.

T AKEMUSU AIKI proliferates countless variations of techniques freely at "Divine" command. Its key is found in leading out and blending with your partner. It must be clearly remembered that TAKEMUSU ArK] is alien to

-18-

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disharmonious mind and haphazard techniques which know no harmony.

What is most striking about Kaeshi-waza is the subtle changes which could take place in Taijutsu, In studying the pertinent techniques shown in this book, your close attention is invited to such areas as how the force of your partner functions and in which direction that force is counteracted.

Theoretical classification has no relevance to the variations, If, for instance, your partner tries to hold you down, lead the holding action downward and start counteracting. If you are held upward, let the upward motion continue up to a point where you can start your counteraction. If you are pushed from the right, divert the force leftward for counteraction. If the push comes from the left, the diversionary momentum is rightward. If pushed from the front, guide the momentum rearward. The push from the rear should be handled by giving it a forward momentum. In both cases, counteractions are ind icated in the same direction as your partner's momentum.

These simple movements, when combined in a complicated pattern, will plot out spiral curves, sometimes clockwise and at other times counterclockwise. Depending on the circumstances, the spiral curves are either centripetal or centrifugal. In other words, the variations could continue infinitely through a com bination of three dimen-

.; 0 !: 3UJ'!. -t Q (1):_:-- ih Q D ~r!HII ~ Tltli. ~ IL', aI,",j tD '!: c ~ -= c (1) 1'+', -;)jI:: ;I;." I, \ , I, ; \, 'llD jlik T<.' :Ji C')r:p ~:_ (± ~fJ'!. L:f1} Q t ;7) -c-/± ~"(, 0 :. 7):tj?i- ~ 1C f 11)~~c L -c 1-:> ~ f:.. l \ (1) -c" n -10

;23. L 11 (:_ 1-3 l; -c ~.\' i: ~n:t,"~' 0) 1;;1:, i*1~\j(1)~ it7) ljlY""r n Q 0 1~*X. L t: H t 1i -c Wi < J~JfI"-, i'FI-=f"" (1) jJ iJ{ c> (1) J: -] (:_ 1'1" ,I'll L, -t- h ~ c" (1);] In] (:_ is L -c 1,; 0 iJ', k,III,C" (1) i1.:1"3: i:- 11. ? -c Je. -c !Ii)t < .Q,~iJ{ ih Q 0

:z:z it: il'_ttl ~~~ IJ1 ~: -j)- :ttl c I± ~ I}§ i#d:_ , WI] i.. i r. ;f'll "fe· iJ1'_1_:. iJ' t;, }.; ~ i. -c < tll:;l:"T I·':: 1,"1; I) -c ;g L, -I" f)' >? tl[l L JJ t' t;, II tt (;;f ~llf. I, \ .L f)' ? -c l; -c" ill

-t 0 :t:I fJ' t;, jljJ ~ tl tL (i" 1;:: !: iift L -c !!R L , hi. iJ'

~ :jIll ~ h h I;;I:--t:! t: i~t L -C;8 -t 0 ~fiJ' t;, jl~ ~ t1 h i.ff& I.:: jJlL L, f£;J' t) tell ~ h tll±"lfij I'::)g_ -t 0 Itx. \- \ Ii, 1iiI tL (1)t~i} t IITJ -jJ le'J""""_ 1M -t 0

sicns -left and right, up and down and front and rear.

You might bear in mind the triangle f'" circle 0, and square 0, which are the symbolic signs of AIKIDO, when you read this book with particular reference to stabilized body movements based on the so-called triangular pattern and the case of turning your body obliquely to pin down your partner in a circular movement. There are three traditional methods of AIKIDO training - SOLID, FLEXIBLE and Flowing (KI). These methods, however, could not be included in this book for space and other editorial reasons. If there is a demand for such information, I am prepared to putout a supplement covering that subject plus guidelines on how to cope with multiple attacks.

-19-

,: (7).J: ~ 7j.'lj§i *'1'. ~'li~ ~ t 1<.11,* I: kJi;;.. {,'- h ~ I), Ii.lZ ~ ~ li;{:j@J I) I: ~%1j(E ~ ti\'j ~, ~ ~ H~ji li: [ill I) ~: ~,r.1i/E ~ tm < (7) -c- <h ~ 0 -t- ~ L -c, :jl;: (7)~,'f1~k b 1'f'~'I: rtJ ~ !~iH) ~ h 11', Y}!: rDJ-? r£il'tAQo -:li I)~itli, li:kJ, J·'.T, M 1&(7) z: ,,?(7)jzj[;(7)Ml.;;"1i-:b-tt I·: .J: I), ~",I;JU: !t~~-t ~ (7) -r" A Q 0

J:!":~f£J~I'::.J: Q1iIELt.:f*:fJJIJ~~, f*~ ~~'l1L(jS~i..Qt£%7j.·c·, 6-\'JO, D~ filii: 11 \< , l :$:~ ~ .:_' 'ih ~ , t: t: '" , l t J: I.' 0

t5~1Ji*~: "? \.-, -c Ii, l~' '* . ilrt (yO (7) ~ -:l (7) 1J~ iJ'12; z to. h -c 0' ~ iJ<, :$:tt:; c'IHijj ~(7):jjB{,"'J::, t~~c-~ ~:iJ''? t: (7) c-, ':_':1fr'§§1 iJr<htL,±·t\'i'rllll:t~~: J: I), _}A~1!~I-r(7)'~'f~i.. 7j.' c' c ~ I: t~~;t ~ fF Q ffl]f, Ii L -c '", Q 0

tJ}., ~H{ I:.~.;;" ill ~ h ~ iEtllli (7) iP\:.;ji Ii, -t-

-20-

h ~ ~ ,j';%..g.it-t Q c , U C "? (7)};JH$: ~ Jf5~T Q G [f.'HD (7),~, !:: b 1*1- "'" ~ 1L I.' J3.R-C" A Q 0 .:_ (1) ,'2. ~ ~:2.ti& L -c t~~ T h 11', ~fc-Jl'f' (7) ~ ittt l;t - ~ p::j r~'I:~: I), ,~,~, iJ -til' It rbttiJ<ill.l ~ LI:J l ( ~ J: ~ I·:~: J.:, (7) c' A ~ 0 -t- C1) 1F.f (1) ¥ tF !- ,

fL !:: ;!t (.:: , 1i l ' I: 7t iJ' 1? il' i.. ~ .; !:: :zd!;lHt- L -CJI:~ >j:I.'o

I~~~~ • JJ:.\, JSE. c:::J .)( "

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I. TAKEMUSU AIKI

This section is designed to introduce T AKElvIUSU AIKI which proliferates unlimited variations of techniques with Katate-dori, Sode-dori (cuff held), Kata-dori, Muna-dori, Tsuki, Snornen-uchi, and other basic techniques as primers. Unlike basic techniques, the distinction of Ornote-waza and Ura-waza is hardly possible with these varied techniques. It is therefore important to pay close attention to the body movements so that the techniques you apply stay balanced.

Trainees are advised to concentrate their practice on one particular exercise. An example is Dai-Ikkyo in varied forms - Shornen-uchi, Yokomen-uchi, Katate-dori, Ryote-dori, Sodeguchi-dor i, Sode-dori, Kata-dori, Ryo-kata-dori, Muna-dori, Tsuki, and Ushiro Ryote-dori. If a trainee ,successfully undergoes a sufficient amount of training of this kind, he should be able to perform variations, for instance, of Katate-d ori techniques without losing balance. If the beginner, who is not familiar with basic techniques, ventures into varied techniques without preconditioning himself, he will only be exposing his weaknesses to his partner. What makes AIKIDO what it is comes from a surprisingly rapid execution of techniques. In order to attain this advanced stage, an attitude is required of devoting one's efforts steadily and unsparingly to the principle of TAKEMUSU AIKI.

Takernusu martial techniques, which are created one after another infinitely, form a sphere when they are compounded. This sphere is supposed to symbolize a mind of harmony. If you bear this in mind in your practice of AIKIDO, you will be able to carry out your varied techniques more smoothly. You will also find new and unexpected techniques welling up from sources beyond human perception. That pleasure r wish to share with all of you.

Variations of Katate-dori

£*it . h =¥-llx t) ~-tfc

.~ ~~im~n~~. ~~~m%t~ it I;: ~11,' -c 7~ tJ Z 7E~ ~ -1:t .Q 0 til =f (J) I$Jffffi (;: *' ~ z J.... n"')"') M -ta~.i'. 1)f_ ~ n t: y. (;;l.,_lZ, (.., ~ J:L t - kt 1·:..t13 =f (J) 1~ilj 1m 1= i!! #) .Q :::. t iJf );:_ $- --c' <h .Q 0 ttl =t. V') wnffi -c-_ Jt, ~ .Q (J) i i 1ili 7[;: I'll 7J: ~ t)-e,h.Qo

-22-

Basic exercise:' Katate-dori Dai-Ikkyo

Dmote-waza: When your wrist is held, be sure to fully splay ,'our fingertips and charge them with your inner centralized energy. When unbalancing your partner feigning a blow to his face, it is important to move your held hand to your partner's \ide and in alignment with your feet. It is wrong to draw your foot a step backward in front of your partner.

-23-

Information on Atemi

(Open your fingertips fully, lower your elbow and counteract in the'ldirection of your partner's face)

'I

.,

~

f'

I!

(tl-I-¥O')ft:"f-IJ'ra:iiJ''J.'' J: -i ~:::jUlJ1ID'::hfiTc iIPilJi")( I) 0') tJ;}i." {, [cij t )

(U nbalance your partner sideways so that his , left hand is kept ou t of reach of your body, The same holds true for the Muna-dori exercise.)

.tt 1~ 7.j>: it. -c" (.:t ,Q, to f Jl1, -JIG ?: 11- h -It, JL <};~;tQa

Basic exercise: Katate-dori Dai-Ikkyo

Ura-wa~a: In the basic exercise, it is mandatory to align your toes and pin your partner down circularly.

-24-

(:!l!. ~'WIJ-i'blcT~ 1": mil iii] I:. h'il ~ -r I·::. if.tl_ I) 1":!1i i- :. I:: Ii I~:J '* ;j.- ~'Q iil (, liH* 'd.' {1LifL I·: -v: ") -r~' ~ cTJ-'(";h ~ 1

(Bad example - It is impossible to counteract the holding action without unbalancing your partner sideways because you are exposing yourself in a most vulnera ble position.)

-25-

Information on Atemi

~*f:t . Jt.=fJIX IJ ~=fX

.:It W;=-~j:Xl'~[Q~i -(-Lt, ~-*J:O) Jt-i.:..II\[ I) OJi*f);lj ~ "f" l£4:>:im I) 1·= Mj * ~ 0

(~'::::~$,If«)

Basic exercise: Katate-dori Dai-Nikyo

Ura-waza: The basic Katate-dori Dai-Ikkyo movements are applicable to those of Dai-Nikyo through Dai-Yorikyo. (Refer to Volume 3)

-=. (1) iil;t fIB Ij";l I) 0) ~ =-~~ it "c ;:Ii) J.:. 0

~~ I·': J: ~ ~:!if Ii, fill /:( (1) =.1f;.I.::; *.ij L "'[ m l' ~ -=. C: ii' III * ~ Q

This technique is Ura-waza of Sode-dori DaiNikyo. Atemi with the back of your hand can be used in common for a variety of Dai-Nikyo techniques,

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-27-

~ff3t1i • ~{t-(l)

~ __:_~ <1) r,tffl 11>1. I) -r" ih ~ 0

Varied exercise: Variation ... (1)

This is the applied form of Dai-Sankyo,

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-29-

-30-

~7r)t! . ~{t-(2)

f! H'o(1) 1nc.(7) A 1:1.1' ~ 1~1 ~ X. G J: -3 I: -Iff-:> "(II!;: I) l.l'.;{ I), tlJ I) ti 0 L"( H ~ X.:: u'o

Varied exercise: Variation .. , (2)

Hold your partner's right hand down from above, initiate your upswinging motion and cut him down for a pinning hold,

-31-

.: V') ~ $t Ii, rAJ I1lIIJ V') !ill9li;j'_!;t (f",<~, in -~~ V') 1?i1t H:: V') 11# I.: Ii, 'J6' ~ -1' A tl 1: 1,.' ;od: It ;i'HJ:'

Information on Atemi

This Atemi must be applied without fail when executing the inward Kaiten-nage and Dai-Sankyo variations. When throwing your partner, deliver Atemi to his face with your knee.

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Information on Atemi

This Aterni is applicable to basic Dai-Sankyo tee h niq ues,

-33-

~g'-I!& t.lt tf (7) ~it, L t: tlel'.1':J .0 0 fl'l=f- (7) Hjfi ~ l~f1 (: iii L -c 1,' Q 0

Varied exercise: Variation ... (3)

This is a variation of Kokyu-nage (abdominal breath throw). Note the opponent's arm is counteracted in the upper position.

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(W~~.Lffi~~~i~L~~ffi~~~ tit 1;:~fiJ (~+)~;: ~ i *¢) "'(oj],!: if ~ )

(After turning the body and controlling your partner's elbow, step forward triangularly to his rear for a throw.)

-35-

.::. C7)!lf U)k ·fl.t ~ f i j: , mil rni I.::: A 'J -c 1'll-f· r [ffJJJ [tiJ" t!J: ~f b -Ii "C. Ji:, b 0

Varied exercise: Variation ... (4)

This Kokyo-nage is a technique whereby you step round to the side of your partner and throw him down in the direction he faces.

(m ::p (7) tif. -, f::'!Y1I iJ< $l;. [a (' ~: {rjJ rJ Q J: -J (.: ¥: ~ ig L.., riJ' ~1l1'·nJHrc·~ ~ f-.It'''C1!J:lf· ~)

(Turn the palm of your partner's hand .10 as to extend his arm straight forward, push it up with abdominal breath power and throw him away.)

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-37-

~**Hi . I4:ft-(S)

.; (1) IIf' 11,& j)l: (f I j: , ::It! T' il) nffi il) IAJ m~ T' =F TJ Z: 1Jl~ I) 7J' J: ~ .til it a: t~ -c" en ~ 0 J:i. 'r' c' I1:Jl rill ~::. ~ ~ Z: A fl, )k_ (:. ij.J ~ J:.i!' ~ Illi L -c .}!>t If ~ 0

Varied exercise: Variation ... (5)

This Kokyu-nage is applied by swinging your Tegatana (knife-edge of the hand) up inside the arm of your partner. Deliver a blow to his face and unbalance him using his elbow from above.

-38-

~I # t.:::_ J: -::> -r :.: 0) t:lUHt I) IT. ..., l ~, 0 0

*' # ~ 7& hoC:, Ei5j-O) ft ooJ 0) ~jifr i:;tEl =to 1,:

UP9 T:': !::: t: 7 .. ' Q 0) l-fr;\I~ ~ ~T Q"

Information on Atemi

Atemi is the very essence of this technique.

Don't forget about Atemi because if you do, you will be exposing the soft spot of your left side to your partner.

-39-

~IDt! . ~ft-(6)

Varied exercise: Variation ... (6)

lill }J t:Hf ftHi OrE: ~ fiH{ i5 Jrfl) 0) ~·~i1l -f'§ f (7) ¥]t ~]fx t), ft=J=. ~ £ L l tl-J=p 0) tLfI) ~ IlJIt L, U1·ttljIJt"~o

Hold the wrist of your partner in the same manner as described on page 61 of Volume 3, which deals with Ura-waz a of Shiho-nage , disengage his by turning your left hand and controlling his elbow.

-40-

(:HFf-(7)i.r,i_ I) ~ p'1lt 1- niI r.; l;l:ij>r ~ 1'- (f, ~ ~ iE T /::_ mjlji I.: :l'i-t'l Q )

(Your partner's hold can ea ily be disengaged if you lower your elbow and turn your palm.)

-41-

Varied exercise: Variation. , . (7)

+4- ill l.. (7) ~ If; H: -c- h ~ 0 j'li[ t;, tL t: t: f (7) l'i)' >? tJj =¥- (7) I J '-i"'" ~ ill. -t :tj}.g.. , ;tg =f- (7) ;ilJH~ ~ tf l.. ~ C: ~ J: -j 1:.iE_ l.., J:i}'t;,1!~<':!-;~ l'f!..t(f

This is a variation of Kote-gaeshi. When effecting Kote-gaeshi from below your grasped hand, turn your partner's wrist out as if plucking out his thum b and hold it down for a throw,

-42-

'fr'tfii[~-Ij:, 1!!:H:' 'J_' h h t: -h i±:: -c J'JI.:tE (j: Hi

1v~';:U btl "[ 1" ~. , '0 ?,~ L., -t- C') J1 o)Jj()fr: C')

'l? !- /J ~ -t ~ ! ~ tl'~ 'J_- ft- rJ_:ii:t 'J_- C') "[< jim "?

l b < . i6':~HLn ~ 0 nft, ~ i=- '/'t I·'::' r~ Il:6t 'J_' :7) -c- r- 1J1JiJ.;x'!2;G:h 'J_'" J: -'j !.:: I_~: ~t h ~:f~' .:,~. "0

Remarks on rigorous traini ng

Rigorous training was popular in olden times but is no longer so. This particular training method is combative in nature and you should know what it looks like, Because of the great dangers involved, its execution must be tempered with a great deal of caution.

mJt . ~{t-(l)

rJ'T' ri& tQ: (f :7) m H( -c' ih Q 0 ftl 'f- :7) tI'-T'" ~ 1f '~T'!2 Ji:)i C') 1-_ l" tn' Q filJ* ~d1l· ih ~ c

Rigorous exercise: Variation .. _ (1)

This is the rigorous version of Kokyu-nage. It is a dangerous technique which can cause a broken hand or a sprain to the foot.

Information on Atemi

-43-

Jittt . ¥tft.-(2)

~fl1& t!i: If:7) )'¥tii -r";Ii-, ~ 0 '1ri ~ ") II' k -C" 01 ~ 1;-tt, ;Ji.1:- J:. 1.l' t" tlp~ i.., litt 1:- u~ ~ -:) (-r ~ -Ii -e&)~o

Rigorous exercise: Variation ... (2)

This rigorous version of Kokyu-nage is a technique whereby you grasp your partner's belt. and pun him toward you, push his chin from above knocking his head down on the mat.

Jrttt . ~f~-(3)

~"Jq9k 1·1,t If 17) II,;'} I,:: 'f- t '71 1)' n. t: t-), k-:7) J ::I:

J!l. '.' ""(11" 2<, '&;l 1:- -F;/)' ~) t~j L J:.lf ~ j: -) I:: fl'IJ To

Rigorous exercise: Variation ... (3)

lf your partner pulls your hand while in the act of Kokyu-nage, follow his move without resistance and flip him down as if pushing his chin upwards.

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-45-

-46-

Rigorous exercise: Varia non ... (4)

~J'l dB 1·2 ~ ~ ~ A h "":l "":l!WJ 1m ~-.: A -? -c !H ~ aill L, t~1 ~ ;u'b. td1-z" iF:> ~ 0

This is a technique which calls for sliding to the side of your partner while delivering a strike at his face a nd controlling his elbow for a pindown.

-47-

~tt ~Irx I) C')r~*(7)i,j.;1hU 2< Ij:i',-jolrlll) C £: < l.iJ L 7d::7) -C, 2,('ijJq~ J: -Z:-O ii rJrJ ff t $fti;1 L

-48 -

Variations of Kata-dori

Basic exercise: Kata-dori Dai-Ikkyo

Omote-waza: Body movements in the case of Kata-dori are exactly the same as Katate-dori. It is suggested th at readers refer to the foregoing pages in practicing techniques ranging from Dai-Ikkyo to Dai-Yonkyo,

-49-

Information on Atemi

-50-

Varied exercise: Variation ... (I)

~ ~ Ifx. ~ t1. t: J?, .~ "(j~1.i;.g ~ tn'j < - -) (:_ flP

)_ili I: 'f.7J "("H i' ~jlJ L "( J.:; ~ i:_ .; u' 0 .: tl(;J: I',':)

Ii ~: tli: "(";P) Q -!Jr, "L' L .1:>, ~ rrx I) O):lIt /js: Jt~ rJ;, ~ 0

If your shoulder is held, control your partner's elbow instantly with your Tagatana and pin him down as if your shoulders were describing a spiral curve. This is an advanced technique b ut also con stitut es the basic form of Kata-dcri.

-51-

1M "J -c 0') D~fIlH9:! l' l" if:, Q 0 JFPfx. I) 0') #fu~ "" -c :7) j"t >c!]I"':J -c Hj * Q J: i I: oJ: tU;f, \T H: li~F ,!;;. ':-: * 1,-: ~' Q 0 -t n Ii, I~ iii.~: J: "':J -c ~~ 1.l'kJill .:, tL Q i» to l' iPJ Q 0

Varied exercise; Variation, , , (2)

Kokyu-nage in t be sitting posture, lf you master the sitting versions of all the Kata-dori techniq ues, you will find standing exercises extermely easy, This is because the sitting exercises help you train your hips.

-52-

(Be sure to turn your body obliquely and slide to the side of your partner for the throw.)

-53-

~*tt . fiMJfX IJ ~-.~

~::11:~ iN (.:: ~ $I' ~ A. AT -J "'J 18 'f- ~ mu ffi (.:: hll T 0 tl~ =P (J) IIffi ~ ;Q 'nil' (.:: lc JE fr{ l:f'- < IL~,.iMJ ~' ~. J,) J: -J, 'l>i~: (.:: II-~ ~ [,'.I? t). ~ ~ Jlhf T d:: -'5 (:_ #-,iH=- jifl A., -c- J.:; ~ .z Q c

Variations of Muna-dori

Basic exercise: Muna-dori Dal-Ikkyo

Omote-waza: Unbalance your partner sideways while feigning a blow to h is face. As you turn his ann, don't let your foot step out too quickly. Turn your hips completely, advance obliquely in the manner of thrusting him away and pin him down.

(j-',' 4".1[">1: I). ,iH nz ~J I::: fUHlJHftlJ i'ffi1::'+Elf~imT)

(Unbalance your partner sideways as in Karate-don and Kata-dori.)

(~\.-' j5'IJ-il-lf0 § # ~,~ (t ~ ilL~: -r-tid'f i: foifj-t t (&; ~~ .. C"~ 7.,)

(Bad example - It is dangerous to unbalance your partner at a point where you are exposed to his Aterni.)

-54-

-55-

-56-

.::_ 0') J1 Ii ~tt -(" J:, ~ 1);', 1~ *B~~: Ii 1IN: Ii 7j.' ~, Cl) 1);' ~l Iv C -) "('.f:, ~ iWf- (7) 1fu~) Z. {; ~. c h i:f ,%>f(: Q :t ~, -) .; c-C"J:,~o

Basic exercise: Muna-dori Dai-Ikkyo

This is Ura-waza, Basically speaking, there is no Ura-waza as such in this exercise. The key to this exercise is to wrest your partner's hold off your body.

)

(Bad example - If you tu rn rearwa rd wi thou t disengaging your partner's hold, your elbow will go up and you will find it impossible to pin him down circularly.]

(~ \- \ WIJ -=y. fJf~~f~_ i l ~- ~ , :t£;1';- I: :tS t.; 1151 J., c,

IN ;I): l_:JJ' --:J -r JL < l-i ~ i_ J., -= c ii' IJ:l"* ,.., , \ )

(;;!~tt IHlj T- C) i-~.~ I) 7'Jf~~ff tl ;J.' 1" tVA}~: t ,':I:l"* J., )

(Omote-waza can be performed even when your partner's hold remains engaged.)

-57-

(tli+1)t,§t I) ~;jm~r c illfjJ;i'1. i ,':lJ*J.,)

(Ura-waza can be performed by wresting your partner's hold otf.)

~ H£ r7) ~ ~~'ifJ_ ~:::_ Ii, »: a: -=-Ht ~t~ if ;t ~ 0

CIHB ¥ C)IbiH: < r7) + I,:::_ EliJ ~ f, ,of. rl'ij!:::_ I~ I ~ <: (t ~ t#;-ift 0

Rigorous exercise: Muna-dori Dai-Nikyo

There are three methods of conducting this exercise:

1. Bend your partner's arm in the shape of "<," and draw it toward you.

0J1* ~ U'i;;J.""") ""'C 1f,]iil:> ~ ffl"=.~c

2. Turn your hips and bring your partner to his knees.

3. Use a combination of the foregoing methods.

-58-

~tf:;f1 . ~ft-(2)

f' 0) Cj3 ~ --:)]')' 1 1', IlWf· "{" + Ef ~ j!j1 -? -c ~ 1) {, f~ 6 ift -rj) {, 0

Varied exercise: Variation ... (2)

This exercise calls for holding your partner's wrist with both hands, not the back of the hands.

~M}1 . ~ft-(l)

D~u ~!fx. h t1 t: h ft =.P -r- E1-n-:7) ~ ~ -') "I)' h , ti =} (::. -t;J. i; iJ· :z. ~) < -t {, 0 1:l" =P "{-.:c (7)tJW ~ fli I), 1*~Vb"?-r1illi6/)~Q

Varied exercises: Variation ... (1)

When your lower lapel is held, hold your collar with your left hand in a manner which will make a shift of hands easier. This done, hold the collar with your right hand and turn your hips to clinch the exercise,

-59-

~fuHi . ~ft.-(3)

IJ~ tJ ~ If)( ~:11., tT t;, ib * tL t: 1F,f 0) ~~J.Q: (f l" .h Q"

Varied exercise: Variation ... (3)

This Koshi-nage is applied when you are seized by the collar and are about to be hit.

-60-

-61-

;;j:g -r:. i;l{tm I; I) J: If -1 J: -J 1-: )JiIj] 1r. ~~ -» -r 2< t: to, .t!IlJillI:' Yi-lHU ii' to H'H:1~1j I~, lIif'P}J:.t!i: If·~:. f~ GOI-r-;F;,{;,o

Varied exercise: Variation ... (4)

The instant your partner tries to twist your lower lapel, control his elbow from the outside and proceed with the Kokyu-nage,

-62-

\:tWf- C) tM L: Q IJ [UI-'"' ,~iJJ! 'Ii: U tJ I) , mr"C))J $:-])J It -c -"? Q C '~~J-'C J:, 6 )

(This exercise is made easier if you turn your hips in keeping with and in support of your partner's twisting mornenturn.)

-1)3-

~Jf~tt . ~ft-(5)

+ "f jIX L 0) ~ ~(i ""C" tr: "fl" -J- "f ~ Ji! ,~, 1=11"l"fl34 (7) 'lJ§t iT 7J' ~ 5i:!_ ~ J:: l1 ~ J: ') l::.1flj i- c ;(=j f" 0) 1'111 j: J~_:jj[ < < I::. 1$ i r L , -ttl -=f-'- (7) 0 i; ~ ~ 1j_"1,'J:: -j l::.tt,\lT~o

Varied exercise: Variation ... (5)

Turn your partner's wrist out in the same manner as Kote-gaeshi and whip him down, with your right hand describing a pattern of pushing his chin upward. Stretch the fingers of your hand out straight so as not to blind his eyes.

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~IDtt . r9::{r.-(6)

n ~JO) fillj =f- -et$ ~ -:l7P h, ;.tEl.:f- 7) -tWo I) fJ'wJJ iJ·"Ij_·~' J: --) !.::. L ~f*tJ;IJ ~ -c. t.lt !f ¢H:c:"iP:, ¢o

Varied exercise: Variation ... (6)

Grab your collar with both your hands to make your partner's hold immovable and maneuver your body for a throw.

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til 1'- i)f i d. t "'? -r i-!t-"'? -r 2< t: G, '3 I ~ ~) It Q J: -) I::: yt. mlj I::: lfll-t 0

Varied exercise: Variation ... (7)

When your partner tries to twist his hold fell him outside as you maneuver to draw 11i~1 to you.

( lim ~ '") T)' A- --c·-jj'lj L t: !), -E" r/) -r~ T·tl j T- 0) 1~l !fi}] ~W( ~ J.:L i_a -r b )

(After bringing him to the mat with your hand on his collar, apply pressure to his carotid artery with that hand.)

-68-

-69-

tI j 1-'" n{frhi T:.. ~ -9:. if: ~ -It --C ~jjI( ~ 'J t» h *% 9) 1-_ (1 -c < ;,;, S;f (j: ,_ ~ 51 C) 1IIIJ'f--c--t* ~ 'J IS)' h, tlJ =PC) j)lIj Of ~ 11;11 T;';' J: -) (_:_ ~tJJII ~ -c-~jt If;';' 0

Varied exercise: Variation ... (8)

When your partner seizes your collar with his hands across each other and tightens his grip) grasp your collar with both hands, maneuver your body in such a way that his hands are held captive and unleash a throw.

-70-

(Maneuver your way out under one of your partner's hands which is positioned higher than the othcr.)

( }[~ v '191]- {bFf"- O)1J1: '.' 17 (7) T' (7) fiJ'GA.:J:,7i::i-;"i::, ![J .." -c ['1 ',j'IT) f'f 'Ii: il?\; d) ~ ::_

(Bad example - If you try to seek your way out under your partner's lower - positioned hand, you will have your neck thro ttled.)

-71-

~1f~tx . ~{t-(9)

I'll T (7) fiJij IJm (7) 1-101] I]' ,'_' ~1J of- (7) Itj] I~i t ; ~ -4 !' A fL, ;C (7) To 'Z>fI1J-'- (7) filij ~t !' Tllil L --C 1St ! t' Q 0

lnforrnation on Atemi

-72-

Varied exercise: Variation ... (9)

Feign a blow to your partner's face from in bet ween his arms and control his el bows with your striking hand prior to a throw.

, ( II:. f-l·tElr~ rJ) r<Li IH i' ~i·ll T Q )

(It is your left hand that controls your partner's elbows.)

~73~

~*~t! . 1i:,t-(lO)

1'[3 f 7) fH ! Ifill L, i* 1:-1~~J \" -r 1PJJ rfn (:_ A "'? -r t\ttf ~ 0

Varied exercise: Variation ... (10)

While bringing your partner's el bows under control, turn your body obliquely to slip to the side and throw him down.

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-75-

~ ~1i . ~{t-(l1)

tEl =p ('7) [ilij )jJ[ ('7) f69 1-=: 1::1 =P ~ ~ L Jb h. , !l6h ~ ~~IYi.n 1'8 + ('7) ,lj'A£ ~ 1;1: ~ h.jb Iv "c}5;t:!1 ~ 0

Varied exercise: Variation _ . _ (11)

Launch your right hand in between your partner's arms, tighten your arms to your side to lock up his aTlTIS and deliver a throw.

Information on Atemi

ttl Tb(jilj} ~ ~ iTK -) -r ~ t: h, warm (: tldi"' ~ AA L (*Nrmt:~#) , [iliiT·('7)rl3~1;' G0tii < <'? ~ -rf;$: -i rlfl ~, 1tif-('7)~:l' jE('7) Eft (-=: ~I'l # ~ A

tl. G 0

When your partner attempts to seize you by the shoulders, unbaJance him sideways (while delivering an Atemi to his face), slip your head out between his hands and turn YOUT body obliquely and do Atemi to the instep of his foot.

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-78-

( :11:; l 'W~-1'I-I1- '7) 11' !:: A. -, -c'~ ~ IT> T- ~ 1j\l. ~ -) e:-n'Lit, ~"l,'6 J"--rIJht~~i,dl6)

14: i It-:: (:. I~ ( j-A{-t- (9=' I,: A 6 tAt}) I: I j:, ~ ti- ,7) J: -) I: f-§=f- t7);t;:: 1'-0))1i!;6' 'd.' pill: ji' -r-, :t134 t7) ~ ~ iT I:. rlfl ~ rrr I_-r ltI I), tfi-~7)~fi-r'i:> ~ ;~:::_ tr , ~filj: rE:l~ bf ~ '.-' :7) -r', *-:7) tU:- _:E t: 11' -? "C 1ft ~ t: '.-' 0

Variations against Tsuki

Basic exercise: Tsuki Dai-Ikkyo

When turning your body to the left (stepping inside the line of attack), knock your partner's thrust down at a point beyond the reach of his left hand, as shown in the photo, and follow it up with Dai-Ikkyo Omot e-waz a. Since Omote-waza is the most difficult technique to perform, it is therefore recommended that you concentrate on the following exercise.

(Bad example - If you try to get hold of your partner's thrusting hand within his own sphere, he will thrust your side with his unengaged hand.)

(Lil·:7)}[5iJ,>:._· v ,i3i:fEt-c·, ~CI-=f-O)~~ ~T':_ IJIl ~ {~T)

(Choose a pain t beyond the reach of your partner's left hand when chopping down his right-hand thrust.)

-79-

~'J Ji'" V') J::: 2< ~ -n.: j'fr L t: G, 1]\ jt ~ fr .:h --J:t -r JL < ].5;'!- X_ {J 0 ~ &< V') :r!b{-}, tD f- C: (7) 'II'L' *~ V') 'I~ r.: A ~) i: G, t!ll@ I.: n I.: n'l 1.> (7) ;/){ fit Il~ (7) ;J_' \< 'J.E L ~, Jrid:;; l" if) Q 0 t: t: L, ~I~ ,lAJ;J;:1) 11-1 I.:: A. I), -t tl ip G n f.: 1'+'1 Q .r~J'P'·I'': l;t, .itt if. WH C: Ij:r- j~~' 0\0 ~1i c. ii, tl}Y·/;'J.!{'J L -: < .Q H~ I:: JJ\ -JIG ~ 1;- h.ft ( Jii': "t. % (7) ·tIUL~) , tm I6H= ftld: 1'#1 < 1~ ft- (7) ),H';]f; i" :z>j 1)' 1'-:, l" A

1.>0

-80-

Basic exercise: Tsuki Dai-lkkyo

After sending your partner's thrust downward, align your toes and pin him down circularly, If you step inside the central thrusting line of' your partner, move to the outside immediately. If you plant yourself inside the central line and then move out of it, that sequence can no longer be called Ura-waza. Ura-waza is a basic form of aligning your toes (a reverse oblique stance) and turning your body obliquely with lightning speed to cope with attacks.

-81-

Varied exercise: Variation"" "(1)

tFl'f- iJt~ (, \ l ~ t: >? fi>: 12 ~ ~, 'f-Cl) If! C:. If' ~,g.b-tt (D{~) tc'f-ft)l~-~jg:, *~ ( tll,¥-:7) f.& -n I:.A._ -:J l ~ = ;f1"C' H ~ i. ~ it --c- &)

This is an exercise in which you turn your body obliquely to divert your partner's thrusting drive, "put the back of your hand against his" (KUDEN) and stride to his rear, moving your left hand and left foot together, for Dai-Sankyo exe eLI tion,

~82-

('f. G') 'P C I~J !' 1} h "lttE!=f'- G') f?in I':: A --:> t: G, ,.16, G f fH.op c: f0:!lE1v "C. (U{z;:) ~""';:=.fll':: ft Q )

(Following the entry to your partner's rear with the back of your hand aligned against his, be sure to position yourself side by side with him (KUDEN) and begin Dai-Sankyo.)

-83-

f4:~tj{ . ~{t-(2)

1§.=p C: (7) 11,~1}~' b1jlj: I, d-£{}O) it

"(",0 00 tBy.O)~~ ~lcT-"CT

I)' ~ M ~ tEf! L Ufo J: -) r; W. L, W;=~l'E ~ i_ Q D

Varied exercise: Variation ... (2)

This exercise is applied to cases in which the stance between you and your partner is close. Divert his thrust by pushing his elbow upward with your left hand and subdue him with Dai-Sankyo.

(:!t, \, I71J-11I1 {}" iJ<j!I I, ,:I"%1}, 11[1',"& ~.:: ~ ~ t -Pt .z J: -) c 1"" Q C fJ1- iJ< 1-:. -j),',,) -c L j: -) )

(Bad example - If you attempt to capture your partner's thru st abruptly when the mutual stance is close, chances are that your elbow will get lifted with detrimental effects on your posture.)

-84-

-85-

-86-

lll=f iJig;g ~,-r * t: t, f¥i:-n ~ tU I) t1 '" -, :(T=¥.-r" tl~T-O) ~.l'm:fi I.:. ~% ~ Ail ?:. tl ~ ~Elllltc= t- ~ J: -) L:, ;:t;:=F-C·.H)ThiO)}j;j-r"+=f·~~~ I), ;fi=f-i-i:f.:.z -r.iS-to) -r.~ ~ a

J1H~ 0) "11HI:l '! fj:, _:_Jill I) f= 11· -7 .; i.: iJ{ -r" ~ ~o

Basic exercise: Tsuki Kote-gaeshi

When your partner comes at you with a thrust, sweep to the rear with a cutting motion, grasp his wrist with your left hand in front of your lower abdomen so that your right hand is at the right distance for a blow to his face and execute the wrist turn-out with the aid of your right hand. You can "finish off" this technique in two ways.

-87-

(ft:-n 'i:: -I}) I) ;j'1, -) l: "3 i.: f<$:. 'i:: f#j ~, il=f· -(>,iiff,i IlITl': ~% 'i:: A..tU~ Ii J.:, ~gifJft~{!il:'J':_ I:: )

( fJJ· L., $;- I j: 9:2 ~ :Ii 1)' t:, ttrl ~ f I.::. , iJm.Jlll{ I) ~ j'm. T fro dip ,,~{j~ 1.::.1;-/)f J. 1,»

(HffiJr[:z 'J 1= '1Q: t.l 1; i, ~ ~ f'_l i.: 'l£;( J.:, Q tIH"-t7J ~ t< Ii, ,Q:"~fTI:~n ~ m L l1J' GjlfJ.:,)

-88-

(Tum your body as if you were sweeping to the rear in a cutting motion and maintain a distance from your partner enabling you to deliver Atemi to his face with your right hand.)

(The beginner had better begin with the exercise of deflecting Muna-dor i before taking up the Tsuki cxercise.)

(Once you are used to the Muna-dori technique. move onto the Tsuki exercise. Be sure to start the holding process after knocking down your partner's thIUS!.)

-89-

~ -J 1: i=f ~:_ A. ""J -r L 1 -J 1::. (J, fll1@.(:_:I1-" H:l-r/J'=f·~i[To :.tll±, ~llf-O)I.r.¥O)~~ blJi (t {, t: iJ) -r'11 Q 0

Varied exercise: Variation ... (1)

If you happened to step inside of your partner's line of attack by mistake, get out of it immediately and get on with Kote-gaeshi, This stepping out is necessary to avoid his left-hand thrust.

-90-

-91-

+¥ ~;!R -'C -5 C: t" ~ I~ (:_ tllfil{=Y· ~ 91 \<, t:

~ , J~ I < )] r~IJ ".. - - * ~'i1t h ib, ;,_ 't: -l- 7· ~ is T .

Varied exercise: Variation ... (2)

If your partner withdrew his hand when you were trying to turn out his wrist, take a step in the direction of his momentum and execute Kote-gaeshi,

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-93-

~~H~M-fi~~~~~~.m~~ *"Hi) M t.::, -H$f 7) -; t,,!.:: / <: 5' "/ C: t~ fill (,: ,j: I) -;J It ~ It -e ~ ~ 0 ill=plj:~=pj,::~'-:> l'~' ~ 0) '-r"% !f!h ~ iJ{,':Jj*~' ~'o

Variations of Shomen-uchi

Varied exercise: Variation ... (1)

This is a variation of Shornen-uchi Dai-Ikkyo , This technique wiJl cause your partner to come crushing down to the mat in an instant and remain glued to it obliquely in front of you. Since his hand is held in a reverse position, he is held captive.

-94-

(Unbalance your partner obliquely in fron t of you.)

(flOUt: 1;1: IN >t-lr,lj L"{ 1:; ~ i.. ~ )

(Conclude the arm pin by holding his elbow down.)

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Rigorous exercise: Shomen-uchi Dai-Ikkyo

ffi - t& OY)jE ttr. I j: , ffi ~ 71 iUil JE 0) rJH-= H- J:E zAn, ~ ~ j!%liT J: -) l:t~J:z 6 7l-C"~ -b 0

This exercise requires that you put either of your feet in between your partner's legs and pin him down in a gusty movement of a thrust,

-96-