$ 11.

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On The Move

by Morihiro Seir-:

. 8Illlll.Yw Fillll

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

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MINATO RESEARCH,& PUBLISHING CO" LTD.

Tokyo 105, Jaoan

I Nishikubo SabJraknwa •• 110. Minato-ku, Tekvo, Japan

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

MINATO RESEARCH & PUBLISHING COMPANY

First Printing: October, 1974 Printed in Japan

E""lllI<Iw Dl~Lrihur<i" ;1' U.S. A. &. Canuda :

JAPAN PUB lCATIONS TRADING CO. (LT. S. A.). INC.

1255 Howard St reet , San F'rancisc • Calif. 94103, U. S. A.

Tradl t ion a I

SWORD· STICK

AND BODY ARTS

VOL.4

VITAL TECHNIQUES

MORIHIRO SAITO

Written by Morihiro Saito Translated by Kyoichiro Nunokuwa

Dennis N, 'Tatnian Edited by Tetsutaka Sugawara Photogra ph y by Sa da 0 Hirata

ISB ; O,8704G-288-9

First printing; October, 1974

Published by MlNArO R S ARCH & PUBLISlIINGCO., LTD. .l Shiba Nlshlkubo Sakurakuwa-cho, Minato-ku, Tokyo, Japan

Phone: (03) 501-9248

©1974 by Morihiro Saito

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

L255 Howard Streel, San Francisco, Calif. 94103, U,S.A. Phone; (41:)) 431-3394,3384

Cable: SHrlTSUBO SANFI?ANCISCO

Printed in Japan

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FOREWORD

October 1, L974

The current series of nooks on AIkIDO entitled "Coordinated Relationships Between Ken (sword), 10 (stave) and. Taijutsl1 (empty·l1Imded tech· niques~" was to have been coneluded Willi Volume 3, However, when r reviewed the supposedly last book in the series, my mind h'egan to be filled. with memeries of il number of'e.ssentlal techniques which ought to have been in c1 uded ini r, Ile nee' the ine'Vi table publi cation or Volume 4,

Words 'of Old Master Morlhei lIyeshjba, the late founder of AllCIDO, carne ringing back ill my ears while I Was demonstra ling the art for phctograpbtc pu rposes, A space of vari ed tachniq ues, heretofore buried in til)' mind, then came fl:uoding out. Had 1 forgetten the Pounder, these wqrds would neY,er have 'come b<l0k.

Highlights of this Vol1.ll11e are the .intrcduetion of rigorous exercises and Atemi or delivermg blows to the bodypdor to applying techniques, as well as the explanation of the P[QC~S~ of variations in Taijutsu .. AlKIDO wilhout \lari.ed technlques is bound to lose itl! real essence in the upplication of the Ken, J 0, and Taiju tsu, The trainees must therefore acquire a total command of such varied techniques to the degree of rendering a match meaningless,

This book covers "KaesW-wa:za" or counteractive tecbniques wl:iJchJUlve been handed down exclusively tel AIKIDO Instructors, Due I'OU18 -nahJ.Ie of these technjCj,Ues, however, the coverage MS been limited only to the basic types, It is to be desired tlll1l the tnstructors concemed Will give thetrqvm thought to these l(lCh1iique~a:nd make: g!!lod use Of them in imparting the art to thetr trainees.

~e AOCIDO techrdques are ,at-rayed in. such a way that the unlimited ramifications of these techniquesshculd be practiced systematically. If there is an opportunity In the future, I may wish to talk about teaching methods as W€U.

MORIB1RO SAITO Ibaraki Doj'o

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Tho Late Founder Moril1ci Uye~hrba

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1;t 7;(~ ·········"······",,··,,··,,,·······,,· ···6

1itJ!fi t}~!..:. -j 1,,' J; , 18

1. Ji\':~j}1I\ .J4-='F1fR I) G7)~1t;

1;~*U: . It=f-lfR I} ~-~

*it,···························,·,,······22 ~~i··" .. ······· .... ·· .... ·· .. · .. ···· .. · 44·

~ll'~H . 5£11:;---{1) ··· .. · ·::l1S

1i,1t.-(:2,J.····················,,······ 31

~it--{31········· ·,·····34

~1t-(4-1 ...... ·· · .. · .. ,···· .. · 36

~1t;-(5)"""'" ·,····38

1£11:;-(6)··························· 40

~1t;-(7) .. · · ···· .. ··· ·,···42

TTE, -tit ,. ~1~-(l)· .. · · 43

~1t;-(2)···········,· , ·,···44

~1t;,-(3)··· ·························44

~1t;-(4)'" ·17

.~J~ I) (7) i~1l:J

$*tt· JFl ~ I) ~-;fj: M~

m:11~ff . ~H~-(l)""'''''''''''''' , 51

:~1t;-(2)···· .. ··· 52

.D~ulfx I) <7) >~1t

~-4='lX . JJ(ljJrr~ r) i;p;-.-~

'*jt··········,,···················,,··Ei4 ~t:li.··········,·············,·······,,·,,57

m j;li:. 1J\liJ.l[;.I I) ~~ - ~ "" 5H

~ff.N:t:. ·~1t-(1) .. ·······" .. · .. ·.· · 59

~1l:'.-(2)···· .. , .... ·· .. · ···,· .. 5g

~1t-(3)···············,············6Q

~it;-(4)······,··········· ,. (i.Z

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CONTENT§. nr VOllHUG 4,

IJ'lIreWflrd .. " " " .• " •.. " 7

Remarks on Takemusu Aiki · · ·18

I. 1'AKKM LJSU AIKI

• Vari,1 Ll n ns of KtLtalc" dot i Ign"-b,,nu hI! Id)

Basic exercise : Kataie-duri Dill -Ikkyo Illr", '1>1,,)

() m OIA' Wala (from t~c,h ni9"o)' , .•.•.•..•... ". ',,' 23 II ra- waza \1" r~ln!( IcrJlmigtio) •••••••.••...•...••.•.• 24

Balli!! exeruise ; Katate-dori

Dai· N ikyo (\;d.,!!ul·n) , 26

Varied 6">; rcise : Variali(£D-(1) 2R

. aria~iun-(2) 31

Val'ialion-(3) ··-··34

Va,rialion-(4) 36

Va,_cialiun-(.S) 38

Varial ion-(S) 40.

Vtlriati~)n-(7) 43

Ri~orolls exercise: V'ariat)on-(l) ·, 43

Variatiuo-(2)· 4~

Val'iaLi()n-(3) · .. · .. 44

Val'iaLion-(4) 47

• Var i a l; U Ill> III Ka ta"J( )ri (~lLm,.JJi"r hBI,I) Baslc cxr'rcise : Kata-dorl

Dai-Ikkyo " " " 49

Vari(;d exere ise ; Var:ialiIlJl-(l)'" " 51

Variation-(Z) ... " 52

• Vari1lti{)[lS or M una-rlerri (low., 1"1'..1 h.,J,I)

Ihw:i(' exercise: Muon·dod Dai . .Ikkyo

Omote-wasa .. · .. · .. , ··,,·,,·,·,,··,,···· ·5J

Uru'W<L1*I ,."" , '" 57

RigOrDUB (~x~n:,i~e : Murra-dori r"

DaJ· ~ I kyu .. " " " ".' , D8.

Varied f!xl'rcis,' : Varialjrln-tl) · .. ·· .. ·····59

Vuriation-(2) " 59

Var ial iuu -(3) 60

Variation -(4) 62

1.:1(:-(5)· .. ········· .. ············64 ~1t-(6)····'·········,···········67

~1t-(7)'" " .. , 68

~ir.-(8}··· · 70

~1t.-(9) · · · .. · .. · .. 72

~1t-Oo) ·· .. ·· .. ··· · ........ 74

~it-(11)··· ·················76

~A'!~~ . ;E ~ f;-~ 79

~~~-~·······················80

W21fHt . ~it-(I) .... · ·· .. ····· .. · .... · 82

$:ilJ-(2)······ ·······84

~*tt . ~ ~ IJ"=r~Jl& L· · ·· .. · .. ··· 87

~)f~t:t . ~1t-(1)""" 90

~1t..-(2}· ··· 92

IE rm;ff ii. O? jl fl:;

~~.J1: . ~it-(l) .... · · .. · ·94

)it .ij:. JEffiitfii. ~~-~ 96

1l:Jftt.J[ . ~1t-(2) .. ·· .... ·· ·· 99

~1t-(3)"'''''''''''''''''''''' 100

'Bifl::-(4)'" 102

~it-(5)················;······· ] 04 ~it-(6) .. ·· .. ············ .. ·· .. 106

~mti . '4:1~-(l) · L09

.iflEK I) C7)~it

;I~*ii . ttJllfi2f-lT2 I} ~ _.f1.t 112

IT. II..}j 'rJJ r)

• /\ 111]] lJ 116

• [QH#t~r

(1.) JRttT;rfiJ "'~!it!-Y ?;, ±i;4':- ·120

(2) I;:;J--)nilJ'"'.J)t~f¢~{} · .. · 121

(3) E::~1:~!f Q J;Rr%- ··· .. · ···· .. ·122

(4) 1J~19:lf Q ~* ·· .. · .... l23

Val'iaJilltl-(S)··········· 64 Varialiuu-(6) .. ·· .... ··· 67 Val'iation-(7)··········· 68 V ari.a.lion-(8)'" .. ······70 Yadatiun-{S) .. ·· ....... 73 V Il.riulioll-(IO)··········· 7'4 Variation-OJ)···········7G

• ariations acgainsl Tsuk i (Il"u'li"~ Intack)

Basic exercise. : Tsuki Dai.lkkY0 ·· ··79

Tsuki Dai-l kkyo 81

Vari .. d exercise : Yarialiofl~(I) 82

Vaci<l.Liou-(2} · .. ·· ··84

Basil' ex reisv : T uki Kole-gal~shi

('wri,1 111"1'1"11) 87

Varied exercise: Variarion-(1) 90

ariaLio[)-{2l 92

.V ariaLiu nsof 5 hornen- ullbi 1>;1'" ighl strlke .1 lhe- 11"1))

Varied xercisu : Variation-(l) · .. · ...... ·94 R 19OTUllR P.X • I'f' ise ; Shomen-u .hi

Dal-Ikky« ·96

Vli1'ied exercise: Varia!iIH1-(2) ···99

Variation -(3)·········· ·100

Variatioll-(4)·· ·lQ2

V ariatio n -( 5)' ·105

Vurial"i()Il-(6)"" .. · .. ·-106

.VRciations of Yokotnen.uc:hi ('1m!.!,,, strike <ll ,h" hhuJI

VarieJ e.xecl·.isp. : VaricUioo-(l) ....... · .. 109

• ar-iatiuns of Lshiro-rlori

n,.,IJ rnlm ~whi",l)

Ba ie X n-ise : 0 hiro-Ryute-dnri [both ,,",!fl. held from hehln.dl

Did.Ik),;YII ······ .. ·· .. ······· .. · .... ·· .. · .. · .. ·112

Il , HAPPO·GTRl (oij.lbl.cnrner Ot.LUDj(l

• A appo-girl 116

• Sh i ho- rlage (r01l r-eorner Lit row)

(1) Thruwi ng in opposite til rsntlon ... ·120 (2) Tbrnwing i n. the S .• arne direction · .. ·lLl

(3) Thrnwi Il_g I ftwllrrl 122

(4) Thrnwinz rightward · .. t23

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• ,~- -1'); i= :f;JT 6 ilK l. tt

(J) n&- *X -c. jQ; i-.I":Mi ~

l&!Js:!ft . m-f}kl;~""""""'" '126

M :-J9:Mtt· 128

~ -::..}1Zfrllr··· , , ····'···1 :~3

(2) ~ =,fX "(.;g 1- *tJ?}·······················1 M (31 ~-:fi ""('illi T.I"<Ib~·"·"····· .... , .. , ..... 13't (4) + ·f.ilJ L l'"igTj~#·""····"········13g (5) J....,€t~'ll:~f"[·;Ii"tJ~4t····················140 (6) A.$f-tIJ:~f"[·ill.-:tJ:i1;g.."·"·"·"···'·····142

(7) 1lIt.!Hf 't-jg i-;lJiI.; t,- , .. , ,. ·144

(8) ~~HIk If T" iLK -t if; {to , , , " 146

(9) ~1t1t-e;rgT!;9J{}····························148

(l~ ~1~:j'J"""(· is -t r;l];{4- , .. , ·15Q

.~'::::::i&I.:,t,h- ¢)16 L#

(1) m-=#k"[';'di t 1,&* ·152

(2) AgH~lf--C-:g T:}~.H~-"""·" 154

(1) m.=.¥!Ct·Mi"'"Jillti'!-·······················157

.A~HHfkM'-~jlE Ut

(1) JE'f""t (,,"(j!g-tt&:it · .. · .. 158

(2) 11WU!.i: If -["j!E.i- ~f,- '161

.1lY1J.f.f:l:i1(=tt3~iM L.t!c

(1) l£l,]jH!tlf-cjiKi":r'*·· · l62

• Mw.:;lt (f (.: tofT -!, i/t_ L. ·~t

(1) :tH"PC') fit ~ ~t < \. \ J:,(f' '"{ .I.iZ. Tt&1-'I"164

TIT. KAESHJ-WAZA

.Kll,,,,hi·W<\7ifl Ilgnin.sl D<ti-Ikkyo

(1) CUll nteraction 1I'1!11 .L)ai":lkkyu

Basil' trum: Fi rst ~lU~~ 126

5111'0 nrl S L!!f;I"" .. , '128

Third ~Lagt' ...... ·· ·· .. 133

(2) C'Iw.llt~l·adi(ln with Dili·Nikyo .. · ·134

(3) Counteractlon witl: Dai-Ni ky'I···········137 (4] Courneracrinu with Kote-gaesbi ·· .... ·130 (5) Cuo u t.t'I·a{'tip 11 wi Ii) Irimi - n:;.g~

1'"I"l'inH I t'~"'.1 ·11J a

(6) Cuu nPT1If't iO'11 with Irirni - !I!ig{~""'''' .. 142 (7) CClllIlkraf'l'i1l1l IV i 1..11 Koshi· rliil-ge

(hit' .t11'Qwl , l44

(81 C,Hm[ r;.l.cliO'11 with KQ",h i - ougn ·· .. 145

(9) COlin terac: ion wi LII va ri,·" tech n iqu (1 .. ] 48 (LO), C'J u nteracti (In wi til varil'd Lr.clmi{l"e··l SQ

.CULl n LerHl:li. VI': tech niques ~gai1J>;1 DBi .i\i.kyu

(1) COl 10 !Ilrfl.l,ti I?tl wi t.h DU1- Sunkyu 152

(2) Cuumera 'lio n w i I h him i -]h1.gr '154

.Cnlil.lll'tar ti VIt IeI' lilliqll e~ ilguiU51 Knlt'- gil ... ~hi

(1) r:OIIlIL[il'<i.(:tion with Dlli-SHllkyo · ...... 157

.COlintel·Ul:li VI' lei'llI'! iqll~s ~!tilJl:it I rim i-nag e

III Cnu!l hm.l.l·li(ln wi th leg-· I ripping ·158

(z) Cuun terartinu wi th Knsl: i· naw' 161

.C'HlIILllra!'l·j ve toe h lli·quesagain~1

S b ill Ll-nlJ.g,~

(1) CI)onle.nH'liVe with SL.illi'-llu~ ·· ..... 162

.( :0111] teracti ve tlW.h niljllPS agaill~l

Kai ten - Hug!:! I ro~~ry d, <'l'w I

(1) CI ru n 1.l"l'llf·li (I 11 wi III 1.:lIlIIlW-~e"()[li)]f! .. · .. ·165

-16-

INTRO

-17-

ffiHJI.~'I1'i.z ~~'1' ~ h: {two :;t, IF f,"-$t~;i'l c I!, j( t'fVl ir,J1[! I: 1.- -:, iittm ").frt.~ Cf) ~:J.r FFJ -r- ~ 0 n

$.:_ll: -tl: "if'" t ~, -j .; d: ~.: ?'i-~. I:' i,;: \ ., .t?d: * I Ii, fHt1:j!~: fl~:;r{-t Q # I.: !: "') -r r fftj~ fj-li'\ I .t , 1l kC1) f1k!,G, :;},~ ""(·7",' It it ~ '"/;. I~ tr \ ,'i?,>e J;

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rm1:11.1+ x.. Jtr-t k ~l: t::... ") y , -: ;k (I) al [ < :Tili. '"( ~c ;; I', ~ L ~ c7) "( if> ~ ~ II' ~ jAf~J}J4' t:. J: Q li'.tl!ti tli, *&f~I7)U*6'llf.VC,h~" LiJ'Ju:r, fill :t: r:J 1E, ftll jill. T·3-.: TJfl.:.O"J ;h ~. r ~ ~,. ILl \ T OJ -r' j) ~ ~ c 0 H t.t Ii J1:~&l!: 1-= 9~ I J I -F-1}tT:ff t C') ·Jt :r !f.k tll T -it en JJiR I: h~ B + & .: 1: I:: 1 IJ. M~~~~m~~ff~~~~~~OO~~~~ ~ ~

~":.....:. :{j; Q) q-r -r'~&j,~ L. t.:_ "~Ij J.I~7~ .qWIU~ 17) ITt: 8fl'

REMARKS ON TAKEM1JSU AJKl

According bi> OldM aster M orihei (J yes lriba , .. AJ K IDO is a div ine trut.Ul will ell spell S ou ( a sop histicated nnp.lernentatlrm Qf TAK M VS'O A1Kl." Till" means "AnaDO 1. notlting WitJ10U1 TAKEMU U AIKI". onscquently, "TAKE, MUSU lKJ" should be a matter of paramount concern LO the JKIDO rainees.

The AI,ICIDO Founder defined TAKEMUSU A1KT as follows: 'TAKEMUSU, a identified in Shinto U1 erature, is the unsurpassed martial art of Japan. The art therefere prollferates a rnullitude of techniques freely as Divine Mil see,s fit!' Sllt.ill being the. case, only by focusing om a tterrtion Q nth e root 0 f i he kaleld oscopi c rechnlq lies will we be II hle to get a few g1ir,lpses of the: unfathomable depth of AIKIDO.

, The unlimited TamificaU ns of the princlple of swordsmanship". wnioh r calved major a: ten- 0011 in Volume 3, is explained in greater detail In Lhis book. The proces!; of technical variations become evident as ille numerous techniques (varied techniques) created !Jy the Pounder ate reproduced. Main emphasis therefore Is laid on varied techn jerLles in Ci isulJIsslo g Ta ij~ll SU in this VOI~\111e. Care has also bt'.en taken in editor-inl tayo .11 to enable to readers to compare the varied teehnlques with their basic counterparts,

To sum up, varied techniques arc born 0I a blend with Y0Uf partner. The Pounder, however, strictly warned rnat "3 technique will lose lts rr ctlveness unless it is delivered with perfect

:1, 7\>:,'4=1:' j.j 1,''''[ ~\: "C 9)-~)J1~1r. L t.::.~!- £ "'( yi~ < ..::. c IJr W '* 1;, !:: }[l, "l Q -;J J'. !) ,J~~Jt{l: 1) r 1Mi!i.H:.1:_h Iii ~ t: tk (t;.' it, jt) [- f1fJJL -t 1.> :. .'::!: l I,! I ~tl:.~:iJl'1:1\~~ HJj.:~ h'l~ T ~ t7'! "C.~ 4.1. (,'!:.-;;;:. *¥+(:{M·I&,I~1'..:H.:Wrl±, tl:::~ ~:~ tid,:, 'ltlc1: ll't l -r" ~ ?) -C';If, ~ 0 + L L. k h 1ffrnJ:li:ll ~,!:;t(1t C Jt,,~j'fb~L Q '- -5 \: 1!1~1.l'

-1_ll'ljl-lf'! , ~,W~txii~'~I¥tlllfilfn~.':: & rI;r!:. 1-):: tL -c < b" f.~ L. , Iif;t ij: , - "0'- J'f~ < i.E1 ? -r ~ .J t I':: Lt 1.,L· .::, k :f! l JI ..: I#HIT I Hit L " , 'ft!Zntt:~lV;::'~\{,m ~jUt(!:, ..::cnti*LI,.,rt~ d) rr '.j; I), JrJi,* ~ 9~ I). ~m =t- c tJ,\j'fd L, -t-~ TJ r ~ i- ~ If ~F>t, jf: L. ( ]ftillHt ~ :': ifr--g- ~ .: t ;I)tW ~~ Q (1'J -("I:t7';·/), 7) ~) iJ'Q J=t:~t: Ii. ,I l'hnil.t(-:;'·;Jt(7) A 11,\btt!l:~1 '~,~l *-c.,f,~.

precision." TAKEMUSO AlKI, to the real sencc of the word, eould only be mastered by observing the Founder's tenet itt this .rega rd, conforming with the ground rules and blending with your partner as ,I prerequtsire to the execution of a 1'1ost of varled techniques. There is no room for half-hearted te 'l1niques.

.. Initiate your move first jf you wa I1t to lead your partner," a lesson Which, ill AlKlDO terms, means, tepplng to the side of your partner in the initial stage olexecllting ;,t certain technique. There: is a deeper meaning than that, 11OW('lV~r. The lesson also pclnls eut the mental attitude which sh ould be assume din practlcin g T A lCE· MITSU AIKl. Abid.ing by this lesson is [he only way to master perfect t<-clmiques in the realm of TAKEMUSU AIKT. The. principle of this lesson reflects itself progressively in 3 number of techniques in U1 form ot a perfect Irimi or ,I perfect Shih o-nage, J myself make it a rule to adopt this Lesson in my AIKWO practice. This is because II QII~ lesson slips tn~1 rnind, my techniques will become lmperfe ol. Then there w!J I be 110 pOSsib ility of my p erforming JOIll;lid oscopi c Tai] LJ tsu, NOT will it be Po.s,5ible to e!fec\ the unlimited deployment of the principle of SWordsmanship.

TAKEMUSU All( I proliferates countless variations of techniques freely al "Diyl.t1e" command. Us key is found in leading OUL and blending with your partner. 11 musi be clearly remembered that 'rAJaI,.MU U AlKT is alien to

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II' A. I.!: it'} < I:. If, .;1[; i l'l ?)-i,ltlr)) ~ -;:. 1" JI

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~IBH9~~:i. w~n1C:, {iljl1llT-1£h"11:.G'J3i I; _1: 7-J. tU 0 -f i, L ! .Hfl =p <!" ti'J ~, IIJ~HIH- ~ ~

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 Tal[utsu, In studying the pertinent teolmlques shown in this D00k, your close attention is invited eo such areas as 110v,' the force of your partner functions and in which direction that force is counteracted.

heoretical classification bas 110 relevance to the va ria ti ons. If, far instance, yourpar(l1er tries [0 hold you down, lead the holding actlen downward and start counteracting. I f you are held upward, let the upward motion continue up to a point where you can start yOUT counteraction. If you are pushed frorn lhe right, divert the force leftward [or counteraction, [f the push comes from the left, the diversionary momentum Is rightward. If -pushed [rom the front guide !.h~ momentum rearward, The IJL1Sh from the rear should be handled by giv~g it a forward momentum. In both cases, counteractions are I11dicated in the Slime direction as your partner's momentum.

These simple movements, when combined ill a campti cat ed pa uern, Will plat ou I S]l,iral curves, sometimes clockwise and II t other times counterclockwise. Depending on the circumstances, ilie spiral curves are either centripetal or cerrtrlfugal. In other words, the variations could continue infinltety through II cOl11 bination of three dim en-

::. 1) 1::~:rJ}i-t G Q)"{-rl',~. f;,HD ~jlT!,iZ"L'. i1fI~

t-P ~ t Q =- C i9) Hi~ 1,).' \', t, H" )lPi)iJ~t.t J:!t(7) r-p

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iii L lH: B ~ , -c ~# i: M-f;-7';: VJ iJ:., f*1~li GTl~ it(7) ~~r"(' <1'1 Q 0 ;I.;,l ~~ L t.::I,,/[ ~ ~~ -r TI1 < r~ft, i=llfcl )] 1';1 t (7).J: -'j j= fpflJ L, -c-;/'t i" c I7rtj jll] 1= )~ L l"l 1 ¢ 1J', *111,(" i9) i1:It f ~1, -? "'( !'i ( y.'£ < .~,~iJ{.h {, u

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1'- 1J' 1'., ·l'ijl L I: If ~, ~ L.f ~ I j:" ~~~ ~ I J-, 1;1 r"? -( !~_ -C'l!.i To 1=)1.J' I~~'I~ ~ ~l.h(..rilt':'i~r. L -r iR L I£r.l' '" :tIll ~ (. i 1..111i I.: it!t L -ClifT e ~lj;9' ~J JI~ _ 7.'L tdi f&:.: lirE L, HlJI)" 1~1 <t h fui1ilr L::.\fKT ~ l'~I,,'!; 1ff(tt<ni$1tb Ifij-J:ilhJ""jKt.

sions-lefl and right, up and down and front and rear.

You might bear in mind the triangle 6, circle 0, and square 0, which ate the symbolic signs of AlK I DO, when you read Uris book with particular reference to stabilized bOdy movements t:lased on ~ll.o so-called triangular pattern and the case of turning your body obllquely to pin down your partner in a circular movement. There are three traditional methods of AlKIDO training - SOLID FLEXIBL and Flowing (Kl), These metll,(')cls, hOWe-VCT, could .not be Included In Uljs book for space and other editorial reasons, If there tsa demand for such infermatien, lam prepared to put out a supplement covering HUH subject plus guidelines on bow lo cope witb 111 uU1p1e atl acks.

-Hi-

z ar) J: -1 tj lii~V,( dlb ~ B t1t4'ff'J: ki§, h- .g. b ~ I), E..Ii: ~ IIif I;:l: 15"@ I) 1:.~1ifE a- ·Mi ~, E& Q 11#: Ii 1.1: IfIll) I,: tfi1iiee.j:1Ii ( ?) "('"1) ~,~ -t -1 L (, ~: t1) ~JfVjfiH.l I"j=I ,~,I: rfiH Jilt iH.J en 1'L I:t' , 9'!-I: 11IJ -1 tlr€H:l<"6 QQ '?;t I) ~1tl;i, ti-:;f], i-_-F, WI fit (;t) _: -:H7) ;}(][; ~T) *Jl.h 1;- b -tt I,:. J; I). ~\fcIIJU:: }jJJ~ T ~ t1) (';F, ~ 0

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-r JL 7';. 1,.'"

-2Q-

-.21-

I. TAKEMUSU AIKI

This section is designed to Introduce TAKEMUSU Ana which proliferates unllmited variations of techniques with Katate-dori, Sods-dori (cuff .held), Kata-dori, Muna-dorl, Tsuki, Shomen-uchl, and other basic techniques as primers, Unlike basic te011 niques, the distinction of" Oracte-wasa and Ura-waza is hardly possible with these varied techniq LIes. It is therefore importan; to pay close attention to the bqdy movements so that the techniques you app ly st<ly balanced.

Trainees are advised to concentrate their practice on one jsartlcular e)(erciile,An exa 011' le is Dai-lkkyo in .... aried forms.Sham a n-uchi, Yokernen-uchl, Katate-dori, Ryote-dori, Sodeguchl-dori, Sede-derl, Kata-dor! Ryo-kata·t\o:ri, Mana-dort, Tsuki, and Ushiro Ryote-dori, If a trainee successfully undergoes a sufficient amount of trainlng of [his kind, he should be able to perform variations, for Instance, of Katate-dor! techniques without losing balance. 11 the beginner, who ls not nmlljar WUh basic techniques, ventuees into varied techniques without ilrecondit~orurtg hirnself', he will only be exposing his weaknesses [0 his partner, WTla.l makes AIKIDO what it is Gomes from a surprfsingly rapid execution 0f techniques. In order to attah1 this advanced stage, an altitude is required of deVoting one's efforts steadily and unsparingly, LO rhe principle ofTAKEMUSU ArlO.

Takemusu martial technique'S, which are created one after another infinitely) form a sphere wl1en they are compounded, This sphere is supposed to symbolize a mind or harmony. if you bear (his in mind in your practice of AlKIDO, you wij] be able to CS!l'Y out your vaded techniques more smoothly. You will also find new and unexpected taehntques welling up from sources beyond human perceptinn, 'That pleasure r wish to share with all of you,

Variations of Katate-dori

~*f! . )t -¥JlX ry ~ ~~

, ;"1, z, -.1' 1'\1tl±-.. r_-;/x

·~it =r~~.:z,.f!1 c') 1.'L t: ,?, \1.j"" 1 1~ 71:. '!: :11.,

71-1': r~~l v \ -r ~~ tJ t 7E~ ~ ~ z,,, 11-14' (f) ,}JI 1m ~:. ~ % >C A ~'L..-;;\ "") MlTIl~f, fw"'~ ~LI:.. ll.± . .\l"~ 1" Ii\. c ~'~~ 12. 'l'lt=p C7'J lI~IJ rm ~.: im"" 9 .: C 1j1 k "I~-r.n z, 0 ,fF['l'" Q') fjli'1ffi ~'~ )_t... ill ~ (7) j;t tb * B~ 1J.' a~ ~) -c'ih Q •

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· When your wrist is held, be sure to fully splay

fingertips and charge them wit!, your inner centralized , Wilen unbalan ing your partner feigning a blow to his it is hnportanf to move Y01.tr held hand to your partner's e and in alignment wilh ymu- filet. H is \VTong to draw your t U step backward in front of your partner.

llaslc exercise; Katate-dori Dai-lkkyo

~23-

U'11~ ~ 7c:7rr: ~~j , H ~rlf-C;fI'l'f-.:7)W(1'i }j,,)!I ~t) (Open your r;ngettip~ fully, lower your ,zlboW and counteract ln the ,direll"tion of-your partner's Iuce)

Information on Ateml

(fblf 0') tI:"'[. 7) ~ lifi '.b' t- \ , J:" '1 I': jlllJ 1TIf ,.: 1J'l1"" a IJiIiJ Jfl( I) (l) ~f,- t fiij t )

(Unbalance your partner sideways so that Irls , Ic[l hand is kept out of reach of your body. The same: he Ids true for the Muna-dor! exerclse.)

.:11 J~*tt-r·I;;t'lZ'~TJ.Ildtt'i%-h-It,)1

<.t;;!i_Qo

Basic exercise: Katate-dori Dai-Ikkyo

Ura-waza: In the basic exercise, it is mandatory to align your toes and pin your partner down eire u la rly,

-24~

(iN. !," fI'~ - f:1 H-'- f-1I!~ 1m kllfl ~ ~r~..:if.ll.l) ,?;g T': c_ U ILl * 1- \ '. ~ L JG; I~ {.-1li: l~ ~: J!. ..,1:1.~0')-r;P,$;,)

(Bad example - II i~ imposslble to counteruclHie heldlng action without unbalancing your partncr ~ideW(lys because you W:~ exposing Y01HSIlIf in a mo.~1 vulnerubleposltion.)

-25-

lUi ~~=*vrl'&1[ll,]#1-C·ji. ;;r;-flQ) 1t4'!fii I) Q) f;1I:tJ1IJ ~ 1:" ~ -ts::irn I) I': II H * Q 0 (m:_::.~$mo

Ura-waza: The basic Katate-dori Dai-lltkyo movements are applicable to U1.0se a I Dal-Nikyo through Dul-Ycnkyo. !Refer to Volume 3)

Baslc e rercise: Katate-dorl Dai-Nlkyo

Information on Atemi

.: 1;1) it '1 Ml J(:II. fJ 0') ~=:¥1l~~'t -r'" J<) Q a .~I:: .l: Q ~.§r 11, tlll '< ~-=-.ll~;: *ii L -r m 1,' Q':' C iJ'IIH~Q~

TJ:Lis technique is Ilra-wazu of Scde-dori DaiNikya. ACe 1111 wi til the back of your hand can be used in common for a variety of Dal-Nikyo techniques,

-26-

-27-

?£t~Jt . ~{tJ-(l)

~ - 4't 0') II[; Jlj Jli[ I J -"(f A ,Q •

Varied exercise: Variation ... (1)

This is the applied torm of Dai-Sankyc.

-28-

-29-

-30-

14:1f.~t~ • ~{t.-(2)

*11 =r-·1) 1-1 f-Q) t~ I: f;' ") t~[I ~ i ~ J: -) I:: f·~ --

"(t~~ I) /)'~ -, I" UJ I) t; 7; 1_ l is ~ ;L.:. b'o

Varied exercise: Variation .. , (2)

1-1 oj d y our _p~ rtner's tig hi band do wn r rom above, initiate your upswinglng motion anti cut him down for a pinning hold.

-3]-

..: Q) ~ .J_;r ~i, rJ~ lID I ! 0') lHl~!i: ~.J;t I ~.>, ~ -_il:

~ ~ It.UC') 11# r:- 1.1, ,g. I') i" .A,. ~ l r I. I ~d tt1 L.f

lnformatton on Aterili

Tl1is Ateml must be applied without fai.l when executing the inward Kaiten-nage and Daj-Sankyo varia Lions. Whim throwlng your partner, deliver A~eDlI to his race wltli your knee,

\nformlJ.tinn on Atemi

This Atemi is ap[1liooiljll Lo basic I)ai-Sankyo technlquer;

11* I [}k j-l-l; (f 0) ~ n:; L 1..::.:Ji '---e 1, .¢ g 11l'f"" 1;') IJm t [-.f!i ~: il!. L --r ~, ~ a

Vaded exercise: Variation ... (3)

This i5 ~ variatiari0r Kokyu'l1age La bdorninal breath throw). Note l he opponent's urn is counteracted in the upper position.

-34-

(Wt~~L~~~~t~L~~W~~~ 1~ t.::: =:JlJ ($if) I.::: hL ~ illi i#! --C ;f~ If ¢ )

(Anel' turning the hody and conLrolling your: partner's etbcw, step lorward triangularly (0 hls rear for II throw.)

~1fait . [4:{r.-(4)

-=- Q) I1'¥P}k.flt ( r i • lUll 1m I': A -:.l - qll f 1:- Iff]-- 11111] -".t9: I f ~ 1i -c' J;, .Q 0

Vazied exercise: Variation ... (4)

This Kokyo-nage is a te hnique wh reby you st p round lo the sloe of your partner and throw him down in tile direction he faces.

! t1lf-O') \f\I-:;> 1.;: iW[ b !'{-l!l (- I.: NI u~· 6 .l.: i (: ~ ~ J~ L. 1'1}'.., 1I':r<~),€}:J -r'~ ~ [-:..1 - "[ ~'!ktf ¢.)

(Turn the pal m of ycur partner's hand so us to extend his arm straigh t forward, push it up Wilh abdominal breath power and throw him uwny.)

-36-

-87-

~~~Ji · ~1t~(5)

z: 17) (1'1"' IV,:{ 1·!t I f(;:t , ~r=( g~- (J1 !l~d. (/) If,! illl] -C~'f 7J ~ tl& I) r)'j~ -b}"J?tentt"""(-j<) Z, 0 )iF-r-~ll'iH: *' £.r ~,A fl., ~ ~~!H 1: 1::ip ~ #~ l-r:!:kt ~f ~ .. 0

Varied exercise: Variation .... (5)

This Kokyu-nage is ~ pplied by swinging: you r Tega ta na (k ni fe-edge 01' the l,a.nd,) up inside the arm of. your partner. Deliver- II blow [0 hill rae\), 3-'"\11 unbalaneehim using h-is elbow from above.

-38-

=!!I.tr i: J: ..., -c .: 0) i1 I± I5Ii; I) JL ") -r v' b •

~ ~ ~~, ~ l ~ z , 1"'1 t} 17) .£r: IlYJ ¢1) 1&',1')i ~ t~l4' i:: 11J19"t.: ~ I.: 1d: ~ 1) "t"+tl::kE:~~-r 0 0

Information on Atemi

Ate1l11 is the very essence of this technique, Don't forget abou t Atemi because if you do, you will be exposing the soH spol or your Jeil side to your partner.

-39-

II] J:j:!'tW@Ht{m~>~61lt~If(U(7)~~'N"[,~;I~ J-".

Q)T-R~~~IJ. ~ft-ill,L "tffl=j"-\9)141il) ~W~_ L. IH~llitl-t~"

Varied exercise: Yanatlon ... (6)

Bold Lite wrist of" YOW" purtner in Ole sarue rna nner as described 0'0 page 6 I of Volume 3, which deals wJtb Ure-waza of Shlho-nage, disengage his by turnlng YOUT len hanuand eon-

trolling 111'$ elbow. .

-40-

tifil'f(1'lI@II) ~I'J!~ t-liff(.:liIH ~ I'-If. ~'~)!1i r l: t1il tilt.:. r-I-tl ~ )

(YoU! panm,:r'i; hl'lld san easily be diSllng~ged If you lower YOUf elbow llnd turn your pulm.)

-41-

Varied ex rcise: Variation ... (7)

+r-.j~ L CI) ~ Ir;.t1Cr- J, ~ 0 jill? t LI~ 1:[: T=- II) -'--1)" .:.,;j:fl~?)/J f€jiK1-}~1-t. ~{Pfc:')f)H~eu' 1...1) t ~.t 1 !:JM L. l:t)\(Jtlfl~ ~ 'Cf.lhr Qo

This is U variation of Kote-gaeshi. When e{fecting Kote-gaeshi from below your grasped hand, tum YOlLr 1 artner 's wrist out as if pi ucking out. his thumb and hold it down for a throw,

-42-

ifL.t~l1lj:. ~;tj;:' T~' htLr~ JJii-c-.qJ.ffIHf; kcql~:btl-r ... ,ij;"" W.\L .f(7)~:t(?!**111 5/k t: 1J ~ T 1!i li)!Ul~ ;C.' fit II i j;liJ: 0) -"';jill ..,

-r1'3 ( '16"~ r;j; ;h. ~ 0 ~I£, ~1:1r\'~": r~lrtitr~ (1)1:"- T" )Jlllr.~ ~ ;r&,iL,z_, I.» .J: ."j I': L ~. : t h (i"'J.' ~', t.. "0

Remarks on rigorous training

Rigorous training was popular in olden times but Is 110 longer ao. This particular training method is combative in nature and you S110uld know what il looks like. Because of the great dangers. invOlved., its execution III ust be 'tempered WiU'l 8 great dea 1 of ca ution,

=tn:tJi • fl:{t-(l)

Ilrj'"I I&J!l: (1 tJ) mN, ~.J) Q" m T'?) k.T T~~ 1=T'lt ~ Ii. lE(/') I', -c jff ~ frtl* tJ.' H '"Co tJ ~ "

Rigorous exercise: Variation .. , I)

This is the rigorous version of Kekyu-nage, It is a dangerous technique which can cause a brcken hanc Of u sprain to the foot.

-43-

Ilifi.n)k~ (f (7):#'eft *(0 J) i£,., * * -");0' k "{' '3l ~ -it--tt, ~ i= J:: 1;'i':, j'lP~ s.. itl a- liD ~ -:; 11 ~dR

-eh ~o

Rigoroua exercise: Variation ... (2)

This rigorous version of Kokyu-nage is a technique whereby YOU!¥a5p your partner's bel t and pull bim toward YOJ:l,. push ills chin from above knocking his head dowJl 0,1l the mat.

lI'ftfVH1H rTllFJp ~= f- t I~ I J)' ~l t: t;" i- 0"1 3: i ;~ " .""[ 19 ~. ~j'( ~ F V' ,(,jljl L J:H ~ J: 7 l.:..f~J i-o

Rigoruus exercise: Variation ... (3)

IJ your partner pulls yOUT hand whil.!l In the !let of Kokyu-nage, follow his move without resistance and flip him down as it pushing hiS chin upwards.

--44-

-45-

-46-

mtt . it{~-(4)

Rigorous exercise: Varlafion ... (4)

ffJ1lffi I : *1 -% li- A. it -") "") Ulil TI'iH : A -, -c IH >l: fiiiJ

L. , trr z. i.),6 t; ~~ -, ;0 ~ "

This is a technique which calls for slidin.g to lhe side of your partner while delivering a strike at hls face and controlling llis elbow for a p indown.

-47-

~a lI=!Jrl7.:l) 17").t~{'r'V1 M.;mlj ~ IA. H Y-Iri. I) J..::it < 1[1'] L TJ.· r/) ~C. :,n IJl] ~x a: ·C· ji: mr J;t ~ ~H~' L "'ffl1 JI L ~ 1\W. @;. 1::. , '0

-48

Variations of Kata-dcr!

Basic exercise: Katu-dori Dai-lkkyo

Onrote-waza: Body movements ill the case of Knta-dori are exactly I he same as Katate-dori, It i~ suggested that readers refer Lei tl~e foregoing pages in practicing techniques t~nging from Dai-Ik!tyo LQ Dai-Yonkyn,

-49-

Information on Atemi

-50-

Varied exercise: Variation. .. 1)

lfiI ~]11,~.rjJ.: )7, ~-r!l!f,li;ifm < -t -j ~.:.J;!n I}l! i: T')] -r. rl1 ~ rlllJ L ""[ -h ;Z .: u, :: AL (;;I: ~Ij !j{;I'j;jt-r;V, ~ iJi, U l_~, iFir["R I) (?)~~*I~,"(· th?:l

If your shoulder is held, control your partner's elbow instantly with your Tagatana and ~in him down as if your shoulders were describing a spiral curve. This 's an advanced technique but also constitutes the basic form of Kata-d.orL

-51-

!£fr~ti . ~ ft.-(2)

Jilt -) L OJ nrp.WflA'!.i: I f -e ih 0" @If)i: I) C')~~-c :7) jt i- PJ! -:J -r Hpft ~ J: -j I: C: ~'LI:t, iI..)-i Ij: 4~ 'itn:*~: ~ &. J(- f.UJ, ,I~~l~lu:. J: -:) -c WiJI7J',f,!f( ;)h¢i)'~~(-$i)Qo

Varied exercise: Variation ... (2)

Kokyu-nage in the sitting posture. If you master the sitting versions of all the Kata-dori techniques, you will find standing exercises extermely easy. This is because the sitting exercises help you train your nips.

-52-

{Be sura to tum your body obliquely and slide to U1& side of your partner (OT ihe throw.)

-53-

~~ • H~Jlf)( I') ~-1¥X

~ti ~j]i ~~ ~ ~ ~ A Il--:J"":I;ffJf- ~ !~U!TIf (;: I'm i- e fll"f-:o) ~ijg·fIl~.fI.:,!J:'UJ<41< IHJJ!il~1J:~\J; -j, 115~I.::lI~~·UiJ. I). ~ ~ J1~ L:t'-t .J: -1 !.:: ,f.~I·I:jffi k -r-.lJ ~ i: ¢ 0

Variations of Muna-~ori

Basic exercise: Muna-doni Dal-Ikkyo

Omo te-waza: Uribalance yonr partner sideways while feigning. a bloW to his face. As you turn his arm, don't let your foot step out too quickly. Turn your hips completely. advanc obliquely in the manner of' thrusting him away and pin him down.

( r'r=NT!lI). ~l IT:(. I) t: I[jJ JiJt1ml li'llC 1'n::f:-'2: Jill" }

(Unbalance. y cur partner sideways liS in K~~t~ te-dor] and K~ ta-dcri.)

\ ~!& v , Wlj -~ll f C7) ~ tr ~ ,~ It l>11i:fr'I. "'C" ~LI f ~ lu! -4 <':: fit ~:J2-r'J,z.,)

(Bad example - J t is dangerous 'to unbalance your partner at a _point where you arc exposed to lus A tern i.)

-54-

-55-

~56-

- VHt i;J:~tx-C'}) Q -hf, -Jjl,2j>:(111.: l;t~t~{i 7d: ~'(/) ;6<'Li

k C: -) -r: Ji-) ® ~ ofll =pQ")j11 'J Ii' E.J ~ t. J.'LI;1','t\ >I<: Q C ~, -) .:

C 'C'J;, Q"

Basic exercise: Muna-dori Dni-Ikkyo

This is Ura-wazu, Basically speaking, there is no Ura-waza as such In this exercise, The key to this exercise is to wrest your partners hold off your body.

(B!ld example - If you hun rearward without disengaging your p;lI'tfler'~ hold, your elbow will go up Il[Ia YOIl will find It im posslb Ie to pill h im ~OW11 elrculurly.]

II'j-h r r:1'J( -') 1: *L ~ :ki ~ i... ~.: _i: ;1)~,'fHl~i'·.,)

(&ftlim:r"-t7)~·!t I) !J ~l~ tlt.i: \ d;Crf'\' 1-: t Hi _*:z, )

(Omote-waza can be performed even when your partner's 1101d remains engaged.)

-57-

(:fFJ-FF Q')t~ I) ~ 1m l; t I.i '~liUt ; MI1tQ)

(Opl-WdZH can be perforrne d bywresting, your partner's h(Jld off.)

JiU1iO') ~; ~J&!~ (.J, ;)( (7) ::::'f.!t~ -/Jl;h ~ "e CD ~;W -'f- O'1I12iH: < 0) ~ ~= ttb ~ f , ~-i-~~

RigoJ"()US exercise: ~Ulla·dor.i Dai-Nikyo

There ora fhree methods of conducting this exercise:

I. Bend your partner's arm in the shape of "<," and dra wit towa rd you.

®1V~ £: t» iJ -, ~.~ {;, gp,~idi:.

2. Turn your llip and bring your partner to hi knees.

3. Use a com bination of the- foregoing methods.

-58-

f- 0') Ef1 ~ -? fJ it --r. ~ljj =:f -(' ~ t=1 * +£"? -r fj (/) ~ ~ 6-1*-rJS ~ 0

Varied exercise; Variation ... (2)

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

l4:J~;tt . ~flj-(l)

ll~~ ~ l1.t ~ ~ L 1.:. ~~ lL=f.-r- ~j ~N')ili< £ ~ Ir r;" 1-.1'" ~._:_ tIf t;, 7J' ;t ~J < T ~. f:1 =p -r- -t cry ¥,t. ~ j¥ I)., i* ~ tf i;) -") "( lid) ,Q e

Varied exercises: Variation ... (1)

When your lower lapel ls held, bold YC:)'UT collar with your left hand in a manner which will make a sllif1 of hands easier. This done hold the collar witb your right hand and turn yow: hips to clinch the exerdise,

-59-

~"I~Jt . ~1t-(3)

jj~U ~ ~ If~ t-" iL, -IT t., l6, .t H 1..: Ir.r- VJ WfH1HY-c· <n Q.

Varied e ercise: Variation ... (3)

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

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~61-

*li.:f-7J{tm l: I) J:Jf Q J: -] ,= IIIiil '8 ~5I. ? l ~ t:

~. Jl[l/3±~: 0\1-11111 1)' ~H z- ffili L. 1I.if"-1l1H!.t if I ::f~

9 17) -Co J'd, b

Varied exercise: Variation ... (4)

The instant y ur partner tries to I wist your lower lapel. control b_ls elbow Irom the outside and proceed with the Kokyu-nsge.

-62-

UWh;r,H1l! l: {;, )f[i'Jhll~' 1£ u t, I). ~Ii r~("') jJ ~ .IlJ] 1+ 1: '\~ ~ c fof ~J~" .b ~ )

(Ttlis exercise ts made easier ir YOII tum your hips in keeping with and in Shp[lOr( of your partner's twisting moruentum.)

+4' JQ; L (7) ~ 1m -c.t;: f T' +.=f- z- j~ L.. 1-l 'fl' ~tlf 0') ';jJl ~ 'F 7J' r., ~~ ~ 1: f r {) J: i f:: ff~

45 'f-q) m l;t !\ i1i ~' ):: IEflI:f L, +Wf 0) n 'it lA < r~' ~ \ J: -j 1~tt:,fj":T 6 n

Varied exercise: Variation ... (5)

Tum your Q8rlner's wrist out in the same manner as Kote-gaeshi and whip him down, wtth your right hand describing a pattern of pushing Ills chin upward. Stretch the flngers of your hand out straight so as not to' blind his eyes,

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-q!i-

-66-

~Jfftf~ • ~ft-(6)

(I ".n"47)[ifii =p. -C~~ ~""J 7J' .)t.;.. fl:l'Y·Q) {WI) b(gr)J i,J'l".: 0' J: ? I.: L -: f*tEO. "('~~11 ~ H -r- ih 4

Varied exercise: Variation ... (6)

Grab your collar with both your hands 'to make your partner's l10lu trnrnovable and ma· neuver your body for a throw.

:i7-

ffI f}J·i.1 L ""] -r t-!j'--> -r ~ 1: ~), rJI ~~) 11- ~ -J t.: Y~ffllJ 1:11II-t

Varied exercise; Variation , .. (1)

When your partner tries La t.wist his hold, tell 111m outside a~ you maneuver 1.0 draw him lo you,

(1i.~>:!:"'-lil'k '(11"11 L t: 1"" ;:.O~ l"-C l'llr~O'JiJ!f(

l~)J ~IR ~ 1J.j!1 ~t .6 )

(After bringing 111m to the mat with your hand OIl his collar, apply pressure to hi' carotid \ITI.Ll~Y with thai hand.]

-6R-

1:fJ }=-i,1. frIO f- i!: >.;(:& ~ "1t: C t~ 1.- r» 7J h i1i,~ ,I, I: rf'[ < ¢11;f(.l. 1'1'7tCl)lllij F .. "C t4'i*~)tJ·.;4.. j11 ~(r) jilij -¥ t: :Ijll-~- ~ J: ) ~,:: ,*i~~ ~ -r 4'.!i i1 Q I>

Varied exercise: Variation ..... (8)

When y0UI pari ner seizes yOU-T collar wiLh 11m hands across each other and lightens his grip, grasp your collar wllh both Itands, JUan uver YOlLf body in uch a way that his hands arc held capti-ve and unleash a throw.

~10-

(~anIlUVI!I your way out under one of your partner's ha,nt.h which ls positloncd higlH)r UUIl\ lIw olhet.)

(:!1\I,'fl'lJ-j:rl-::;CO)fJb' };(I) F Q') f iJ' i', A. 7) -J C 1-9 Jo • l;p -~ -c 1'1 &:;(7)~. ~i!:«i~ i,J :_ t;:.t .. :{1)

(Bndexarnple - If you lry 10 seek your W'.Iy' bUt under your partner's lower pcsltloued hand, you Will h<l;Vll :IIeur neck t1u:o tlletl.)

-71-

.fIll-IT) I~d ~~C7) 1m I~' I', *ll r--{)) i5ri \(111":' >J'r-lit >k A i L, ,c-!7) 1:. "t- ~:n 1=- if) [lfij lH" t- ntl! 1_ -r 1'!.t t f 0 "

Information on Ate.",

-72-

Varjed exercise: Variation ... 9)

Feign a blow to your partner's face from in betwe n his arms ami control hls elbow with your striking hand prior LO II throw,

rtcT-"(-~'ll r·if)llhlll·I·~fIJlIT.fu 1

Ilt is your len baud that controls your pur lO()I' ~ elba ws.)

-73-

~1~tJt • ~{t-(lO)

+Id :F- ~ H,j i:: Ilyil 1_. (t.. ~ II~J ~ \ --C {~U ,r[i ! : A .., "[ ·tjk(f ~"

Varied exercise: Variation ... ( 10)

WILlie bringing your partner's \bQWS tinder control, [urn your body obliquely to &lip t the side and throw him down.

-74-

-75~

+Q =f Q) [ilij IJ1IL 17) I-It] r; ;{:l-'f- ~ ft U~ h • rfhH: K~(; ~ f~1 f-") !1\1l >? Ii ~ hibk -eW:!f ¢ 0

Varied exercise: Variation (J 1)

Launch yOUT right hand in between Y ur partner's arms, tighten your arms to your side 10 Jock up his arms ani'] deliver 3 throw.

lntorrnatlen on Aterni

HI ¥iJll~n if] tlW. -, 1: ~ t: I-:i, 1l1IJ mi :: fl1-r- t

Ifu L (~~Iffi ,,:. ,_J, ;r 1 , om f- G7) 11,~ 1;' j~ uti f < < ~ "l± -( if$: tdjj-J ~, ~;J-j=rc:oG7) H Ji1. (1) '1" I.: VI; # ~ A

AL ~ 0

When your partner at ternpts to seize you by the shou lders, un L alance him sideways (while delivering an Atemi to his fa .e), WP )( ur head 0Qt between his hands and turn your body obliquely and d Aterni La the in tep of hi foot.

-76-

-77-

-78-

, :1! ~ 'fqIJ-t~l Y.?) 11l : : A~. -C~ ~ ;I) f-1' JI'2. 7:1 .; 1: - L I . ~ l , -r: l • ~ y. -- IW, ~ '~ 1;' ~l ~ )

{4d::: Lc:-!.:)'IM < fej 1-t (rr ~:: A ~ #l;{t) I:: 1.1, if jt.Q') J: -) I::: fA =¥--crJli=. T"'I1) fiJ9 iJ' /d.' , 'lJroc r, ~;ff4 cry ~ ii ~ r r: 1111 ~ ffi L -r Jr':(l) , ~ -1'1.Q) ~1i -r'" 1,; 21 z .: t. ', *~JU;t rtl.l~ -1;< ~ ~ '(/ -c-, ;kCf) f!1; {r- ::E I:: -fi '4 '{ ffl ~ 1.:. ~ \ .,

Variations against Tsukl

Baslc exercise: Tsuki Dai-Ikkyo

When turning you r body fo the left (step pillg inside the Line or a ttack), knock vcur pa rtner's thrust down at a pnint beyond the reach of hi lef't hand, as shown in [he photo, 311d follow i L up with Dai-lkkyo Omcl e-waz a, Since OmoLe-WSZI;l is l1l most dlfficult technique to perform, it is therefore reconunended l hal you concentrate on the following exercise.

(Bad example - If yuu try to gel hold or our partner's lhrustlng hund wlthin bL~ Own sphere, he will thrus t your slde with hls ItTl!lItg:aged hand.)

( A_ fog) Ill! Jp t:J,- v \ Dtlit"'t\ b T-CI) -~ ~ z. 1'1:: 11~ ~ -1ft t)

(Choo~(j :1 point heyond lhe reach of ycui partner's len hand when chopping down his right-lund tluust.)

-79-

:tl j ¥cTl ~ ~ ~ T i :: if; L t: 17, 1J\}t; t {~,11 -t[ -C)L < 1:)' ~ i: I,:, ';;g ~,vJt~ft. frl 1'- ~ (/) 111 'L' ~;JjIifll-p (: A. ~J t: ~,. J1IJI~H= 1'l I: m ~ (I) 7J(m;1~ (7)~l'Jt:I~1, jJ*-c.,~Q. 1,:.t"-l. r-p.tAJtQ) 1111: A I), -t hlp fO 1ft i= HI ¢J~f1-( ~ 1:1, ltilf~ 1;!(. :: l:.t f. ;L :Q.' , '" ~,H-*-:' I J.: • ~trF- iJ t J5('~tr L ~ ( ?:l ~!~n: 1$.% ~ {=}:b--1±" (jU! ~-':.-!d'V):lkl'~ f • lilJ~ t= r¥ t I-*J < J;~1t(n -!.H(_IU ~ i';" -1 1), I:" -( ~

-80-

Basic exercise: Tsuki Dai-Ikkyo

After sendlng y ur partner's thrust downwarcl,align your toes and pin him down circularly. Jf you step insiue Lhe central thrusting line of your partner, move to the outside Im III edla te I y. lf yQU plant YO 1I rse 1£ Ins ide the central lina and then move 0 ut o[ il, uia ( sequence can no longer be called Ura-waza. Ura-waza is II basic form or aligning your toes (a reverse oblique stance) lind turning your body obliquely with Iighl rt] ng speed Lo cope with atta ks,

-81-

Varied exercise: Variation ... (L)

tli ¥fJ{~ ~ \ -r i1' t: ?) i,..j.. e r~J , =fCl) '¥ t ~] ~1}b-lt (l=liB) ;t:T-h:.£_z.--~tL:, *~ < ~;111::.t7"Jlt7JL: Iv:> """C ~ ::-.lJ< -c- B ~ x_ ~ ·tt -c' ,1-, 9~

This i an exercise in which you tum your body obHquelY 0 divert your pa:r1.ner'$ Lluusling drive, "nul lhe baek of _1'OIIJ' hand again.st his" (KUDEN) and stride to his rea r. moving your Jeft hand and lefl foot togeth r, for Dai-Sanky execu tion ,

-82-

( f Y') rp t bf11:: *~., -It- fl:Ff'" I7J 1£: -.11 I: A -; t _ )?, '14'~:' -nEI1~ c ;f-llitE A.. --Co (IJ1.c) ~=.¥I1I':f~¢)

(Fallcwlng the entry to your partner's rem: with the hack of yourllaml aligned agalnst his, be sure to posltlon ycurself Me by side witl~ him (KUDEN) and begin D,U-S.ankJfO. )

-83-

l!:tfHt . ~{t-(2)

.tB::P c ~ j'lfl ~ ~ ,-j) ili: \ ,i,£J1;-<n ft

'C. ~ 1.1" 1'9 f-?)~ ~ X ft¥ -C-F

h' l; iH ~ fEp L U f ~ J: .j f: ifiE L., ?f';--=-fil"H .;{_¢~

Varied e er ise: Variation _ . _ (2)

This exercise is applied to cases In which the stance hetween you and yOLlI part.ner is close'. Divert his thrust by pushing h is elbow upward with your ,left hand and subdue hint with Dai-Sankyo,

(:ti! I. ,t91J-lm 11- \ '1;' i!5: ~ ,:J-<¥;f,-, I!~]~ 1:~:\~1X_i_J:.i c .:;c!J·j'htf-: ';;' ..., l L. 1; -, )

(Bru.I example - If you attempt to capture YOUT partner's thru st abruptly whell the mutual s lance ill close, chances are lhut your elbow will get lifted with detrimental effects on your P{)~ LUTe.)

(WIlen, hfflll,g' tile 1101<.1 from one 11~ntl 10 the other make Ll8 point to align your~lr 'jdf'. hy side wi til your purlner.)

-84-

~85-

-86-

fl~ r·i1(~ ~ , -c * t: t;> f£ }J ~ ~J ~) ~"1 " -, 1.:1 T-"'[~El To Q) ~Jffffi !.: ~ tr ~ A h :"' h{J R~~l4fU.: ~ .Q l -1 1,:", !r:";=f--c- E 1J~d) 111!-c~+:r" ~!& I), {J=t- E: 'if:; i: -C!M -4- O? "('b Q"

~1~ (l) "[gJ:] d) q I,j, __:_iffi f) r; H -) .; !:: IJ( -c- ~

7.> a

Basic exercise: Tsuki Kore-gaeshi

When yourpartner comes lIL you with a thrust, sweep to the rear with a cutting motion, grasp his wrist with your left hand in rrontor yow lower abdomen so that 110m right hand is at the right distance for a blow' to his face lind execute the wrist UU'INlut with the aid of your righ], hand. You can "finish off" this technique iTI two wlllyS.

( 1~ }=j ~ 1;1) I) 41. -J J; -) ~~ fii>: ~ I~H ~, ih- r:. -C'llJ.[ ITII ,:. 1MdH, AfL ~ tL Q If!:ijlJjH'1*-:; .:: .!:: )

(M,C,·:tr l;t~ ~ f1.7J' t, Mi~ -r ,;::. Ij(qJ }f)t fJ. t lilt 'nll t~:r75' .-"i}f:;rh f,:.-J;tJr J: ~,)

(JI1ilrIf:z .) f:::_ 'In~ L t: 1', ~ :r. 1"l I.: '4.: i.. :r;, 0 tI=I T'" G"J ~ ~ I~, '16,':' -i'"l' 1,:'l1P e: 18 L. 'r oJ)' I·..., t)f~~ )

-88-

(Turn YOLlr body OlS if you were sweeping ttl the rear in a I:U ttlng merion. and !11 ain taln II dMa nee from yOUT partner annbling you to deliver tdBm.i [0 Ills face \v!th your rlgh t hand.)

(The beglun sr bad better begin. with till) exercise of deflecting MulllL-!,!Ori beforetaking up the Tsukl exercise.)

(Once vouure used [0 the MllIln-dori technique, move onto tltB Tsuki exercise. Be sure to start the holding: process after knocking (1 oWl1 YOllI partner's thrust.)

-89-

Varied exercise: Variation ... (1)

~ "":I -C i:p ~:_ A. -J -r L. 1 "":I t: "" tllJ ~ I;:_ r}"'I::H-C+f~i!i-r" ::.tu ., ~:E11"(7)S':T-C')~~ i:: if!! ~t {, t: ti) -r::h 7.> "

H YOQ J13ppened to step inside of yeur partner's line of attack by mistake, get out of it lmmedla tely and get on with Kote-gaeshi. This stepping OUL is necessary to avoid his left-hand thrust.

-90-

-91-

'J''F ~ .i.!i + -) ~ -T.Q!Wi L:~to fiJ<'J- ~ '] I ~ t: '''' d I < }JJl.'fJ" --J.J;:ll"'JPr.ibA. -c-+ 1'- i: ~ -9.

Varied exerci e: Variation, .. (2)

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

-92-

-93-

~1fMi . ~{G-(l)

JE 1f!;fJ ~ ~-f$t W) ~ 11:;1:;1+, ~ , tB1"" ~ !j';I·,y') nIT t.:, -1I~f<7) '1 ~ I: ".::? .'/ c;lt!! Uti ~.:

I± I) --:l I t ~ 11. 'Co it) ¢ 0 ~ll=f li.iifr=r= r: t;,.. -") "n , ~ 17)"(- bJ-TIrb ~ 7')< HI * ~ \, I Q

Variations of Shomen .. uch i

Varied exercise: Variation , .. (1)

This is 1I variation of Shomen .. uchi Dai-Ikkyo. This technique will sause your partner to come CJ;US11ing dq,;VI1 to the mat ill an instant and remain glued to !l obliquely In front or you. Since his hand is held in .8 reverse position, he is held eaptlve.

-94--

(Unbalance YOUT I?Rl'l'ner obliquely in front ofyou.t

U1if~ ( IH Hil!l_ "':' J.s ~ i. ~ )

( ouelude the arm pin by holding his elbow dowu.)

-fi5-

JTl;jt • JEiJtTi?1if4~~

~ -~ cry =JiE tt 1.t, i'E! 1"" (/'J jjIjj rE V') M41 I: It Ii ~ Ar.t, ~~}I~l;rTJ: -) j:~qli..~(7)-C·<f'J7.:>D

Rigoro IlS exercise: Sh omen- uehi DlIi.LKkyo

This exercise requires that you pui. either of your f'eet in between your partner legs and pll'1 him down in a gusty movement of a thrust.

-96-