AIKI GOSHIN HO JUJUTSU

Practical Self-Defense

The techniques in this book are being demonstrated for educational purposes only. Before beginning any kind of martial arts program or physical exercise, seek
the approval of ones physician. The author assumes no responsibility for use or misuse of the information contained within this book resulting in physical or
mental injury. Martial arts are inherently dangerous and one could sustain both minor & serious injuries from their practice. Find a qualified instructor.

A Special Thanks to My Students Who

Helped with This Book
Jorge Varela
John Berry
Justin and Grace Clum

1st Edition

2011 Dr. James Clum

ISBN 978-1-257-96233-4

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Table of Contents
Shodan Requirements to First Degree Black Belt
Introduction/ 1
Chapter 1-Kihon: The Foundation/13
Chapter 2-Principles/21
Chapter 3-Ukemi/25
Chapter 4-Ikkajo: The First Lesson/38
Chapter 5-Nikkajo: The Second Lesson/61
Chapter 6-Sankajo: The Third Lesson/85
Chapter 7-Yonkajo: The Fourth Lesson/106
Chapter 8- Kote Gaeshi: Turning the Wrist/126
Chapter 9-Shiho Nage: Four Directions Throw/145
Chapter 10-Kokyu Nage: Breath Throw/164
Chapter 11-Irimi Nage: Entering Throw/184

Nidan Requirements to Second Degree Black Belt

Chapter 12- Defense Against Strikes and Kicks/202
Chapter 13-Control Techniques/225
Chapter 14-Advanced Throws/243
Chapter 15-Defending Attacks from the Front/248
Chapter 16- Defending Attacks From Behind/300
Chapter 17-Defending Choking Attacks/325
Chapter 18-Defending Leg Takedowns/334

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The Development of Aikijutsu

The Meaning

iki Goshin Ho refers to self defense methods that are based on blending with another
persons energy. Aiki Goshin Ho is a form of Aiki Jujutsu that does not conflict with an
attackers force or aggression, but rather redirects it by blending with the opponents
movements naturally. The emphasis is on neutralizing attacks, subduing the attacker and
restraining him from further aggressive threats.
History

Sokaku Takeda

Aiki Goshin Ho employs the principles of various martial arts derived exclusively from the
teachings of the renowned Sokaku Takeda who was the Soke of Daito Ryu Aiki Jujutsu.
Daito Ryu developed from arresting techniques called Oshikiuchi used by samurai primarily
to protect their lords in settings inside as opposed to on battlefields. The systemization of
these techniques developed among the Takeda family in the 1600s, but the art is originally
credited to Shinra Saburo Minamoto no Yoshimitsu of the 11th Century. Aiki Goshin Ho
was developed to encompass the best techniques that are easiest to learn from methods
learned from Daito Ryu based systems. This was done by over 20 years of practice
experience in Aikido and Hapkido. Aikido of course was founded by Sokaku Takedas
student Morihei Ueshiba and Hapkido founded by another of Takedas students Yong Sool
Choi.

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(top) Morihei Ueshiba founder of Aikido

(bottom) Yong Sool Choi founder of Hapkido

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The Methodology
I encourage students to learn a small number of techniques well and apply them to many
situations as needed. Practice the techniques as shown and described in this book as closely
as possible making sure the form and position of the body is observed. There is no need to
be rigid or formal in Aiki Goshin Ho. Neither are attributes that relate to skill. Be relaxed
but be precise. Learn each thing well before moving on and dont skip ahead. Constantly,
repeat what you have already learned. Humans differ in terms of age, shape, health,
intelligence, aptitude skill etc..... Therefore, each individual will discover what is uniquely
suitable to his or her needs within this system. Aiki Goshin Ho is a self-protection
method, therefore it must adapt over time to meet the needs of its users. By mastering less
than ten lessons and applying them to the most common attacks, you will by nature develop
a way cohesive and reliable way to defend yourself.

Defining Characteristics
Written here are the characteristics that define the methodology of Aiki Goshin Ho.
1. Distance, angles and timing are the keys to the correct application of martial
responses.
2. Strength and speed should not be relied on to overcome attackers because these
attributes fail with age.
3. Force is not met directly with force.
4. An attackers energy, force and momentum are used to his own disadvantage.
5. Movement is generated by the whole body as a unit and not as isolated
functioning parts.
6. Relaxation is essential to develop the ability to feel through a connection with the
attacker.
7. One movement should flow seamlessly into the next movement.
8. One remains centered and mindful at all times.
9. It is better to master a few techniques than to memorize thousands that cannot be
used effectively.
10. Students are encouraged to develop their own solutions to attacks based on
applying Aiki Goshin Ho principles and characteristics.

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Hanmi: How to Stand

There is basically one way to stand in this system with many variations. The posture for lack
of a better term is known as Hanmi which means half body. The name comes from the
fact that the body is turned to the side when facing an opponent so as not to provide a target
that would endanger the vital organs. Study the pictures on the following pages carefully as
they will show many of the details discussed here. Use the following checklist to make sure
you are doing it correctly.
Points to Remember
1. Stand with your front foot directed at the opponent.
2. Your rear foot points to the side.
3. Your weight is evenly distributed for the basic position.
4. Your body is turned to the side.
5. Your hands line up in front of you along your center line.
6. The edge of your hands extend towards your opponent.
7. Your fingers are spread apart and extend your energy outward.
8. Your thumbs point towards your center.
9. Your front hand is at the level of the chest and your rear hand is at the level of
your abdomen.
10. Your pelvis is turned towards your opponent slightly.
11. The front hand may be raised or lowered as needed to guard the face or belly.
12. If moving from this posture by stepping, at least one of the hands guards the
center line.
13. The knees are kept flexed.
14. The back is kept straight.
15. Relax the body and do not be rigid.
16. You should shift your weight forward to the front leg before stepping forward
with the other leg.
17. You may lean back to the rear leg when necessary for a more defensive
posturing.
18. You must have focused spirit and project intent through your whole body
particularly your hands.
20. Breathe naturally and be ready to move in any direction.

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Freeing the Ankles to Move

A close up of the feet are taken here to illustrate a very subtle yet important point about
weight distribution. The heels should barely touch the ground if at all. This makes it
possible to move the feet freely. One should constantly review this by starting each training
session with moving from Hidari (left) Hanmi and Migi (right) Hanmi. The feet are rarely
picked up from the ground. Instead, one slides the feet across the ground with the heels
slightly off of the ground. This makes ones steps light and smooth. The methods of Aiki
Jujutsu originated from ways to control and detain opponents indoors. Japanese homes
traditionally have polished wood floors or tatami mats that are slippery. Therefore, these
movements arise from the way in which Japanese people have moved on these surfaces.
Try these basic methods of moving with the hands kept in place:
1. Slide Stepping
From the position shown above, slide the right foot forward several inches. This is followed
by the rear left foot being pulled forward to maintain the same distance. This is one
common way to shorten the distance between you and an opponent.
2. Stepping Forward
From the position shown above, shift your weight forward to your right leg slightly and then
step forward with the rear foot without picking that foot up. The feet rub lightly across the
ground.
3. Turning
From the position shown above, turn around simply by turning the feet 90 degrees to the
left and to face the opposite direction.

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Basic Terminology

Hidari Shizen Tai

In the picture above both people are about to perform a prearranged pattern (kata). Such
patterns are called techniques (waza). This is a standing technique (tachiwaza). Some
techniques are seated techniques (suwari waza) in which both the attacker (uke) and the
person being attacked (tori) start from sitting Japanese style (seiza). The attacker may grab
(dori), punch (tsuki), strike (uchi), kick (keri), or throw (nage). When the attacker is thrown
he must learn to fall or roll away correctly (ukemi). When both people have their left feet
forward as shown in the picture above this is called a left natural position (hidari shizen tai).
If both people switch feet so the right foot is forward it called a right natural position (migi
shizen tai).

Migi Gyaku Hanmi

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In the second picture the hands are extended on the centerline of the body. The right foot
of one man is extended while the left foot of the other is extended. This is called a right
reverse half body posture (migi gyaku hanmi). If both people switched their feet to have the
other foot forward, it would be called a left reverse half body posture (hidari gyaku hanmi).

Hidari Ai Hanmi

In the picture above both people extend the hands out on the centerline of the body. Notice
however that both have their left foot forward. This is called a left same half body
posture (hidari ai hanmi). This means that the left side is forward. Only half of the body is
exposed to the front and both people are doing the same thing or matching. If both persons
switched feet so the right were forward. This would be called a right same half body posture
(migi ai hanmi).
Both trainees (budoka) are wearing large pleated pants (hakama). Hakama were worn by a
class of warriors (bushi) and retainers (samurai) in Japan (Nihon). Students of traditional
Japanese martial arts (budo) typically wear these pants (zubon) and a jacket (dogi) made of
strong fabric for training (keiko).
In some martial arts lineages (ryuha), only masters
(shihan) or upper level students (yudansha) are permitted to wear hakama. In Aiki Goshin
Ho everyone is permitted to wear hakama.
Ettiquette (reiho) is extremely important in traditional Japanese arts (jutsu). Students at the
beginning of class typically bow (rei) and put their hands together (gassho) in the direction of
the class shrine (shomen). This is done at the beginning and end of class. Sacred syllables
(kotodama) may be uttered and students may meditate (mokuso) in order to focus and
center ones self for practice. Courtesy is also extended to your teacher (sensei) and training
partners by bowing as a greeting or before initiating practice. For instance, if you wish to
choose a training partner to practice with you, you might say, Onegai shimasu which
means If you please.

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Wrist Exercises
The wrist exercises shown on the following pages serve two important functions. First, they
prepare the wrists for being twisted in joint locking techniques that are common to our
practice. Secondly, they give the practitioner a chance to learn from his or her own body
how these joint locking techniques feel if they are put on correctly. Each of these exercises
produce a common way of locking an opponents wrist in various techniques that you will
learn later. In other words, if you cant make the lock hurt when you stretch your tendons
and ligaments during the exercises, then it is probably not going to hurt when you do this on
somebody else. You should always use circular or spiraling motions when arriving at these
hand positions. Rotations and spiral motions will increase blood circulation and prepare the
joints for use. This is extremely important to prevent injuries during training. Although
there are other wrist exercises, I have presented some of the more common ones here.

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Shodan Syllabus
Techniques for Promotion to First
Degree Black Belt

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Chapter 1
Kihon
The Foundation
The foundation of Aiki Goshin Ho Jujutsu is based on only a handful of techniques. The
beginner should focus on these primary lessons. Although they are the most basic
techniques of this system, they may also be the hardest to master. They are certainly some
of the most painful. As beginners, students first learn how to use the four basic techniques
to defend against a variety of attacks. These techniques include Ikkajo, Nikkajo, Sankajo,
and Yonkajo. In English these techniques mean Lesson One, Lesson Two, Lesson Three
and Lesson Four. Since the applications of these techniques are taught against the most
common attacks, the beginner who becomes proficient in these techniques should be able to
defend himself effectively even after a few months of training. From my perspective it is
best to know only a few techniques well for a variety of attacks than many techniques for
only a few attacks. These techniques must be practiced diligently until they become natural
and one is able to flow smoothly through them in any situation.
A student is able to proceed to the intermediate level techniques once the following criteria
have been met:
1. The student flows naturally without accentuated pauses in technique.
2. The student is able to control the attacker and illicit a pain response using the
techniques taught.
3. The student performs each technique using the power of dynamic motion created
by steps and the turning of the hips.
4. The student does not use strength to perform the technique and does not try to
force techniques on the opponent.
5. The student performs each technique by name with recognition and confidence

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How Techniques Are Named

For the beginner there are 10 attacks that one learns to defend against.
1. Katate Dori (Wrist Grab)
2. Kosa Dori (Cross Wrist Grab)
3. Ryote Dori (Opponent Grabs Both Wrists)
4. Katamune Dori (Opponent Grabs Shoulder or Chest)
5. Mune Tsuki (Lunge Punch)
6. Shomen Uchi (Overhead Strike to the Forehead)
7. Yokomen Uchi (Strike to the Side of the Head)
8. Keri (Kicks)
Zenpo Geri (Front Kick)
Yoko Geri (Side Kick)
Mawashi Geri (Round Kick)
These 9 attacks make the prefix for any techniques name. The suffix is formed by the
technique used. All of the beginner techniques can be done against the 10 attacks. Most of
the intermediate techniques as well can be done against the 10 attacks. Heres an example
of naming.
Katate Tori Ikkajo
( Single Hand + Capture + Lesson One )

Presence

Expression an of Indomitable Spirit

When you stand in front of an opponent in Hanmi you should maintain a presence that
should deter all possible conflicts. A victory may be gained before any conflict actual arises.
Your presence reflects your skills and self-confidence, but there is more. Your presence is
partially an expression of your own spirit. Your gaze should be straight ahead as if looking
through the opponent. You are centered and maintain a straight spine. You are not rigid
but on the contrary ready to spring into action at any moment.
These methods were born out of the use of the sword. The sword in Japanese culture is a
spiritually endowed weapon. When holding your hands out with or without a sword, your
spirit is expressed. Many of the principles taught in this book come directly from the way in
which one handles a sword, and this makes it possible to practice these movements by solo
practice with the sword even when no partner is available to practice with.

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Whether or not you are holding a sword you

must maintain presence.

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Holding the Sword

An Expression of Presence, Focus and Center

Hold the sword with the right hand forward on the tsuka (hilt) and the left hand behind.
The left palm should be pressed against the butt of the sword. Bring the elbows in to a
comfortable position. The tendency is to spread the arms so that the elbows stick out.
Avoid this tendency. The sword will extend from ones center where the knot of your belt is
located. The center point is known as your hara. Your sword tip will point towards your
opponent but your energy and focus through the sword will extend beyond your opponent.
Your right hand will keep the sword fixed in front of you on the centerline while in this
posture. The rear hand can maneuver the sword as necessary. The index fingers will lightly
hold the sword and may be opened slightly. You will grip the sword firmly but without
rigidity or tension using primarily the pinky and ring fingers.

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Shomen Uchi
Forehead Strike
Stand in Hidari Hanmi (Left Foot Forward Turned Standing Position) and shift your weight
to your front leg as you raise your right hand over your head. Step forward and strike down
to the opponents forehead. Spread your fingers apart and extend Ki energy through your
hands. The striking surface of the hand is the edge near the wrist. Cast this strike outward
as you would a sword cut.

Shomen Giri
Forehead Cut

Cutting down with the hand is similar in feeling to cutting down with the sword. Begin by
standing with the sword tip pointed to the rear. This position is called Ura Gedan no
Kamae or Waki no Kamae. Shift your weight forward to the front leg as you raise the sword
overhead and prepare to cut down. This position is called Daijodan no Kamae. Step
forward and cast the tip of the sword outward and down. After making this cut, shift your
weight to a neutral Hanmi position and point the tip of the sword to the opponents eyes.
This position is called Seigan no Kamae.

Yokomen Uchi
Strike to the Side of the Head
Stand in Hidari Hanmi (Left Foot Forward Turned Standing Position) and shift your weight
to your front leg as you raise your right hand over your head. Step forward and strike down
to the opponents left temple. As you strike down the whole body turns to the left and the
rear leg follows. Spread your fingers and extend Ki as done previously. The hand strikes
down at about a twenty or thirty degree angle rather than vertically as in Shomen Uchi. The
strike is cast out in a similar way to a diagonal cut with a sword. A cut with the sword called
Kesa Giri is done in a similar manner to produce a slightly diagonal cut.

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Shomen Uchi

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Shomen Giri

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Yokomen Uchi

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Chapter 2
Principles
The Principle of Centeredness
Physical centeredness comes from staying in kamae. By that I mean, it is important to have
a structurally sound framework as one moves about. This is dependent upon Taijutsu (body
mechanics) unique to each individual and their experiences. Ideally one should keep the
back erect but relaxed. The balls of the feet should be set solidly on the ground with the
ability to move freely and swiftly. Mental centeredness comes from confidence in ones
abilities and freeing oneself of potential distractions. These factors are important in evading
a technique. If one is centered, it is difficult if not impossible to take a technique on a
person by normal means. Any phase of a technique can be thwarted by the opponents
centeredness.
Most joint locking and throwing techniques work because the opponent is off balance. This
is done in throws turning the pelvis or shoulders and accelerating one part of the body faster
than another. In joint locking techniques the hand is often moved away from the axial
skeleton to overextend the opponent. How does one prevent this? It is prevented by
moving and maintaining ones kamae. By that I mean keeping the shoulders over the legs
and being rooted yet agile.
Here is an example of how to evade a technique using this principle. If the opponent were
to twist your hand outward in a wrist lock to throw you, what could be done to stop it? Yes,
you could try to pull away, but lets say its too late for that. You can always move your feet
under the hand that is being twisted. By getting your feet solidly planted under the joint you
will gain a positional advantage making it possible to reverse the technique. In most cases
this means bending your knees and finding the direction to get out. This cannot happen if
you are tense. Once I had an instructor who put my arm behind my back and pulled me
back to break my balance. He told me to get out of it. At first I tried to struggle, but to no
avail I could not get out. He encouraged me and told me to completely relax. Once I
relaxed he told me to find the angle to move to get free. I did that and got out. This was a
very important lesson. When you apply a lock it is to control the body and thereby the
mind. Likewise, if someone controls your one of your joints you must not let this control
the rest of your body and certainly not your mind.

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Connection to Center

Hold your belt out in front of you with both hands as though your belt were a sword. Your
belts knot is over your hara (center). Imagine holding a sword and the tip extending well
beyond you. Turn to face different directions while maintaining focus on your center and
this feeling of extension from your belt. Your whole body moves together as a unit as you
turn. If you open the hands and extend Ki through the fingers this is the position for Ai
Hanmi and Gyaku Hanmi positions.

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The Principle of Non-Resistance

If the opponent wants to throw you and you resist, you will only encourage a struggle. If
that is what you want then you are free to pursue it. The problem is that there will always be
someone bigger and stronger and also one day younger than you. Aiki Goshin Ho is not for
just the young and able. It is for everyone regardless of age and physical ability.
If for example someone were to try and take you off balance and throw you with a wrist
lock, I would advise going with it. Usually, we flip, fall or roll to preserve our joints. For
those who do not know how to do this, the alternative is to stay in one place and have their
joints wrenched into dislocation. Aikijutsu does not meet force with force. In principle the
best alterative is to go with it. Am I suggesting getting thrown? I am suggesting that one
does the following things. First, go past the point that the person is trying to take you. For
example if the person takes the wrist lock as Ive previously mentioned, extended you hand
outward in the direction the person is taking you, but farther than he is planning. This has
the effect of destroying his technique. This concept is hard to explain in words. It is also
unthinkable to most people to actually do this. If you still cant imagine what I am talking
about think about what I am about to tell you. Imagine you are getting kicked out of a
building and you get to the door first to let yourself out.

The Principle of Extension

This principle is intimately connected to the last. Not only do we not resist and go with our
opponents direction of energy, we take him beyond it. Taking our opponent beyond where
he wanted to take you imbalances him because his body has made all of the right calibrations
and suddenly all of the measurements are off. Creating miscalculations for the opponents
brain is how we can reverse his techniques on us and create our own.

The Principle of Taking the Opponents Balance

The word Kazushi means to smash, crumble or level. It Jujutsu and Judo this term is used
loosely to refer to breaking the balance of our opponents. Therefore, the actual meaning
is stronger than just meaning to take a persons balance. It literally means to demolish.
Sometimes this is referred to as Happo Kazushi which means to break the balance in all
directions. When trying to unbalance an adversary one seeks to get his shoulders moved and
twisted so that they are not level above his feet. Ideally, we want the person to be
completely imbalanced in one of the eight directions before ever attempting to throw the
person.

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The Principle of Connection

This is referred to as Musubi. Through touch one feels what the opponent will do. Without
touch one must rely soley on the eyes which can be deceptive. If one tenses up and uses strength
during technique one limits what one can feel. Keep a light touch as you will feel more. With a
light touch the muscles can contract with a sudden burst of energy and this gives rise to great
speed. If the muscles are tense one must relax them to move and then contract them again to
strike or move. The connection I am speaking off is not only tactile. Connection also relates to
ones relationship to the ground through posture (kamae). Also the relationship of your center to
your partner or opponents center is a type of connection. These things will be discovered more
through training.

The Principle of Entering

This is referred to as Irimi. In the face of an attack make a bold entry. This is done by getting off
the line of attack for safety and then moving past the enemy like a sliding door. Once you have
entered, become the axis of a rotation that will spiral the attacker around you. This principle is the
same in swordsmanship. This requires courage and strong spirit.

The Principle of Flowing

Flowing movement is referred to as Nagare. This is an essential principle in the practice of
Aikijutsu and arts like it. One movement should flow seamlessly to the next in a relaxed manner.
Beginners should slow down and work on making their movements seamless. The tendency is
for students to go very fast through parts that are easier for them and then slow down or stop at
other parts where they have difficulities. When one flows in a technique the opponent cannot
find you. When you stop the opponent begins to fix a target or plan and you begin to lose
control. Blend with the opponents movements, keep moving and stay relaxed despite what the
opponent does.

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Chapter 3
Ukemi
Ukemi refers to how one receives an attack with the body. This generally means falling correctly
and safely and also doing various rolls. Much of a beginners practice should focus on how to
take a fall safely. Without this important skill, practice can be cut short by injuries or the new
student will simply quit. Falling is a dangerous prospect for most people. As we get older going
to the ground and coming up again becomes more awkward. It is important to recapture the
natural feeling of going to the ground and coming up without effort or fear as a child would.
When we all learn to walk we constantly fall and get back up again. Toddlers make this look easy.
You might say that they eventually do this gracefully. Most people feel comfortable standing and
lying down. Navigation of the space in between is the problem.
When doing rolls, it is best to lower the body to a squatting position before rolling. This will
cut the distance from a standing position to the ground in half and thereby make the roll
safer if not less scary. Always avoid making contact with the shoulder. All rolls should make
contact on the back of the shoulder and never the front. In fact, the area over the scapula is
most ideal rather than any part of the shoulder. If doing a front roll, one must tuck and roll.
Breaking the clavicle or dislocating the shoulder are common injuries while doing the front
roll. Therefore it is advised to get professional instruction in rolling and breakfalls before
beginning and while practicing any material presented in this book. It is a tendency for
students to want to do too much too fast with regards to rolling. It may look easily but it is
not for most people.
Breakfalls and rolling are only one aspect of Ukemi. Another aspect is how to be a good
Uke (person giving an attack). Most people like being Tori (person who throws or wins in
the engagement). The roles of Tori and Uke are like two sides of the same coin. Both roles
are essential in the development of martial skill. Both roles require full mental and physical
attention or there is the possibility of injury. Both persons must be conscious of each other
and others around them. In addition, both must be very conscious of the environment
around them to protect each other from their surroundings.
Ukes should give an honest attack. This means that they are not supposed to go faster than
Tori or aim short of their targets. Sometimes Ukes will try to change the direction of their
punches to track a Tori. This is not an honest way to practice and little benefit if any will
come of it. Ukes role is to help Tori to learn. Uke must not try to resist the techniques
unless that is what is being practiced. On the other hand, Uke should not just fall easily for
no reason or try to guide Toris movements.
A good Tori should not be faster than his Uke. He should maintain the same speed. Tori
should not do the techniques harshly on lower ranking students to bully them or show off.
Tori must not do techniques on an Uke that does not possess the skill or knowledge to fall
or roll correctly. Tori and Ukes roles are a consensual relationship that must be built on
trust. Each allows their bodies to be used for the benefit of the others. At the heart of this
relationship is trust and respect for each other and the art practiced.
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Falling Forward Safely

Receiving Ikkajo, Nikkajo, Sankajo and Yonkajo

Ukemi refers to ways in which one receives a throw or joint lock. Traditionally, this
includes ways to fall and roll. Here we will look at a safe way to go down to the ground
when someone is applying the First Lesson Technique (Ikkajo). The first method, shown
here, is a way to fall forward to a face down position. This exercise can be practiced as a
warm-up before training.
Begin by standing in a Natural Standing Position (Shizen Tai). Raise your left arm as though
someone had seized it and were trying to take you to the ground. Step forward and bend
your knees as you go, and safely lower yourself at an incline towards the ground. One knee
will touch first and one hand will help support you so you dont fall abruptly. Once you are
down, turn your head to the side. If the person were pinning your arm down, you would
want to turn your face away from the seized side.
This way of falling is used for the first four techniques (Ikkajo, Nikkajo, Sankajo and
Yonkajo). Each of these techniques uses a different way to lock the wrist but the end result
is that the opponent is laid out prone on the ground and immobilized with a pin.

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Falling to the Side Safely

Receiving Kote Gaeshi, Shiho Nage and Irimi Nage

Kote Gaeshi (Wrist Reversal), Shiho Nage (Four Directions Throw) and Irimi Nage
(Entering Throw) all throw the opponent in such a way that one must fall either to the side
or backwards. It is important that one be observant, and also to maintain eye contact with
the opponent while being thrown. Do not try to tense up to resist being thrown because
this could cause injury. As your left hand is turned, let your body turn as well. Bend your
knees and fall to your side smoothly keeping your body rounded and your head up from the
ground. Notice that one steps back with the left foot placing the instep down first and then
the knee. Try to do these things as softly and as smoothly as possible.

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Forward Roll
Rolling forward and off to one side forces one to move in such a way that contact with the
ground must be distributed lightly and evenly from the shoulder to the opposite hip. It is
understandable why some people would have the fear of breaking their necks or shoulders
from this, too.
Find a clear area and stand normally. Step forward and to the right with the right foot.
Place the side of your right hand down on the ground so the fingers point between your legs.
Bend your front knee and extend your body forward to roll from your right shoulder, across
your back and over your left hip.

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Front Roll

Form Ichimonji tuck and roll from right shoulder to left hip.

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Rear Front Roll

Jun Nagare is a roll to the rear in which one turns ones body to face away from the direction
of the opponent. It can also be used to roll diagonally to the rear to the left or the right. If
one rolls off of the right shoulder, the right hand points in that direction and one rolls from
right shoulder to left hip keeping the body rounded for smoothness. After completing the
roll, come up into kamae and maintain zanshin (alertness). Practice making your rolls light
and smooth. They should be so quiet that they would go unnoticed by others around you.

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Turn and roll from right shoulder to left hip.

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Falling Backwards Safely

Receiving Tenchi Nage

There are throws like Tenchi Nage (Heaven and Earth Throw) in which one is thrown
backwards and rather than landing poorly one naturally goes into a roll to come back up on
your feet. If you are thrown backwards the first thing that you need to do is start bending
your knees and sink down. Since you are being moved backwards at an incline you will use
the force of the throws momentum to carry you over into a roll. It is important that you
tuck your chin forward towards into your chest so that you do not hit your head on the
ground. Also make sure you are rolling from right hip to left shoulder. Do the opposite on
the opposite side of the body.

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Irimi vs. Tenkan Movements

Some techniques enter (irimi) directly into the attacker in a linear fashion. Other techniques
involve stepping forward and then pivoting so that one turns around (tenkan). Turning
around generally means that the opponent is spun around you like a wheel around an axle.
So, whereas one in linear (irimi) the other is circular (tenkan). Irimi movements are
obviously more direct, but there are advantages to tenkan movements. Generally, with
tenkan movements you move away from the opponents other available hand which guards
against a possible second attack. Another advantage is that one can determine by panning
the surrounding area for other possible attackers.
The pictures on the following page illustrate how the hand is held on the opponents hand
during Ikkajo and how one can either enter or turn after seizing the opponent. It may not
be clear with the initial techniques how this is related, but keep in mind the opponent may
change the orientation of his arm or hand.

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Tenkan Spinning Exercise

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Chapter 4
Ikkajo

The First Lesson

Ikkajo is the first technique taught in Aiki Goshin Ho. It means the First Lesson. This
technique is important because the second, third and fourth techniques arise from the first.
Also, if one masters Ikkajo then it precludes the need for other techniques in many cases.
As the First Lesson, special care must be taken to practice this continuously before going
on to any other techniques. For this reason I have tried to write this book in such a way that
Ikkajo was the clearest and longest section of this book.

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The Mechanics of Ikkajo

Shown in the pictures on the following pages are the movements necessary to complete
Ikkajo (The First Lesson) in an unarmed technique. From using the walking stick (Jo) we
can practice this movement over and over again until we feel comfortable with it. When
you practice on a partner you will make exactly the same motions. Lets break down what is
happening picture by picture.
Picture...
1. The Jo is held at a downward angle at ones left side while in the Hanmi (halfturned) posture. Notice that more weight is distributed over the rear foot. This
position is called Ura Gedan no Kamae.
2. Shift your weight forward and raise your arms out in front of you. Notice that
the right end of the walking stick is raised slightly higher.
3. Cast the staff forward with the left hand to accelerate that end while at the same
time pulling the right end with the right hand. At the same time step forward with
your left foot.
4. The walking stick is cast outward with a strike towards your opponent.
5. Shift your weight back to the rear leg and let the hands relax as your sides with
your body now facing the right in left Hanmi.
Practice this very slowly at first paying attention to every detail until you can do this
as shown in the pictures with speed and power. When you do Ikkajo in its empty
handed form the opponents arm will replace the walking stick and all of these
motions will be exactly the same.

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Katate Dori Ikkajo

The First Lesson Response to a Single Hand Grab from the Reverse Posture
Tori and Uke stand in Migi Ai Hanmi. This means they stand with the feet in an L
arrangement with the right foot forward. The upper body is turned to the side. Here is a
clear example of an Irimi movement. Remember Irimi movements enter directly into the
opponent usually on his front side.
Uke steps forward with his left foot and seizes Toris right wrist with his left hand.
Just before contact is made, Tori turns 45 degrees to the left while still maintaining Ai
Hanmi.
Tori covers the grabbing hand with his left palm and at the same time the opponents hand
is rotated from a 6:00 position to a 10:00.
Ukes thumb is caught against Ukes forearm and pressure may be used to break it.
Tori then frees his right hand and applies Ikkajo by stepping forward with the right leg.
The arm can be broken at this point with a snap by using the edge of the hand or forearm.
Uke is taken face down to the ground.
Kuden
Cover the grabbing hand or Uke might withdraw it and strike you.
Learning to break or control the thumb is a useful skill as is using the bones of your thumb
to grind into the bones on the back of Ukes hand.
Get the opponent to reach deeply and upset his balance.
By turning 45 degrees to the left and stepping back to the right you avoid a right punch.
Dont use arm strength. Use your whole body to make each movement.
Drop through Ukes elbow joint with a sudden burst of Ki energy and keep your fingers
extended.
Extend Ki throughout the body but keep a light touch and dont muscle the opponent.

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Kosa Dori Ikkajo

The First Lesson Response to a Wrist Grab from the Same Posture
Tori and Uke stand in Migi Gyaku Hanmi. This means that Toris right foot is forward and
Ukes left foot is forward. This is nice example of a Tenkan movement. Notice that the
Tori (one doing the technique) pivots and turns bringing Uke (recipient) around him.
Uke steps forward with his right foot and seizes Toris right wrist with his right hand.
Tori will extend dip his right elbow down so that his right forearm is vertical and then use
his left palm to drive Ukes right elbow towards Ukes head and left shoulder.
Tori turns his right hand over to seizes Ukes forearm which faces him.
Ukes bent arm is driven forward with a turn to the right of the hips.
Tori controls the arm bringing it to his right side so that Ukes right hand is held at Toris
right hip.
(One can either enter to the inside of Ukes body (Omote variation) or to the left or outside
of Ukes body (Ura variation). To do the Omote variation one steps deeply between Ukes
right arm and right side as Uke is bent over. To do the Ura variation, Tori must step to the
outside of Ukes right leg, pivot and turn around. This step and turn is called a tenkan
movement and creates a powerful turning motion of the hips which is used to throw Uke to
the ground in a spiraling motion.)
Apply the Ikkajo pin as necessary in which Uke is face down and flat on his chest.
Kuden
Move the arm by turning the hips clockwise.
Moving the hand using arm strength will fail against a stronger opponent.
Breathe out as you turn your hips.
Grab Ukes tricep muscles pinching his flesh with the left hand rather than taking the elbow.
When holding Uke down, dont use arm strength but rather apply body weight.
Straighten your arms as you take and hold the opponent down.
Project the Uke away if there are multiple attackers.
Apply a kick with the rear leg if necessary to the face if the opponent resists.

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Ryote Tori Ikkajo

The First Lesson Response to Both Hands Being Seized

Tori and Uke stand in Migi Ai Hanmi.
This will also be an example of a Tenkan (turning) movement.
Uke steps forward with his left foot and grabs both of Toris wrists.
Tori remains centered and extends Ki through his fingertips.
Tori will step forward and to the left at the moment he is grabbed and strike the back of
Ukes left hand on the knuckle of the thumb of Ukes right grabbing hand.
Next, Tori will move his left hand to Ukes right elbow and move his right palm around
Ukes right wrist.
Tori will take Ikkajo on Ukes right arm as before and use a pivot and turn (Tenkan)
movement to take Uke down in a spiraling motion to the ground.
Tori may immobilize the arm in a variety of ways.
A pin may be used as shown in the previous technique.
Kuden
Uke is tying up the use of both of his hands by holding on.
Ukes attack will likely come from a kick in this position so one should not stay centered to
the opponent.
Uke will often try to press firmly to hold you in place, pull, or try to press you into retreating.
Move the hands to the side and keep them away from being lined up with Ukes centerline.
You should already be in motion when Uke grabs so that his feet will not be fixed.
Once Uke stops he will anchor with his feet and his grab will be more solid.

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Kata Tori Ikkajo

The First Lesson Response to a Shoulder Grab

Tori and Uke stand facing each other in Hidari Ai Hanmi.
This is an example of an Irimi movement because it enters directly into the opponent
without turning him around you.
Uke steps forward with his right foot and attempts to seize Toris left shoulder with his right
hand.
Tori responds to the forward motion by stepping back with the left foot deeply.
This causes Uke to overreach.
Tori strikes into the face with the right fist.
This brings Ukes head back.
Tori grabs Ukes hand with the thumb placed on the bones of the back of the hand.
Tori will now suddenly turn his hips to the right which turns over Ukes hand palm up.
Tori will drive Ukes right elbow over his head and in the direction of his left rear quantrant.
Tori will now step deeply into Ukes space by moving his left foot forward in the V
shaped space created between Ukes right arm and his side.
As Tori makes this step Uke will fall forward or go down to his left knee.
Tori can extend Uke out further face down into Ikkajo by stepping at a 45 degree angle in
the direction of Ukes left shoulder.
Tori then steps out to the right at a 45 degree.
These steps are similar to skating using a zigzag motion with a rubstep.
Tori may finish with a pin as previously shown.
Kuden
Be grounded.
As Uke reaches to grab, the strike could end the whole matter.
The strike could also be used a distraction.
By extending Uke by drawing back his balance is weakened.
If Uke is unable to grab you then so much the better.
If Uke is strong, put your right forearm on his forearm and drop your weight into his arm.
When taking Ukes hand away, keep your right elbow pointed at his chest so you are able to
strike him with the right hand.
Use your hips and shoulder to turn Ukes hand over and not strength.
The turning of the hips is much more powerful.
Any resistance by Uke to have the hand removed from the shoulder could be answered by a
strike to the neck or the temple with the edge of hand.

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Mune Tsuki Ikkajo

The First Lesson Response to a Punch to the Chest

Tori and Uke face each other in Hidari Ai Hanmi.
Uke steps forward with his right foot and strikes deeply with a lunge punch to Toris chest.
The punch could also be at the face or belly.
As the punch comes in, Tori steps back with his left foot diagonally to the right, and turns
his body to the left to get off line of the attack.
Toris brushes the punch by with a downward block that feeds the opponents hand to the
Toris right hand..
Tori will then turn his hips to the right and take Ikkajo on Ukes right arm.
Tori will finish with an immobilization pin or project Uke away in a throw.
Kuden
Dont stop the flow of energy of the attack until it is used to overcome the opponent.
The downward block brushes the punch by and then scoops it up in the same motion to
Toris right hand waiting at a 2:00 position.
Tori must make sure to be on the inside of the line of the punch.
This may be accomplished with a short slight step to the right with the right foot.
As Ukes arm is turned over there are opportunities to strike into Ukes side (atemi).
A kick may also be delivered if his head is down.

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Shomen Uchi Ikkajo

The First Lesson Response to a Downward Strike to the Forehead

Tori and Uke face each other in Hidari Ai Hanmi.
This will be an example of an Irimi movement.
Uke steps forward with his right foot and strikes downward to the forehead with an open
hand strike or fist.
One should also later practice with a club, bottle or knife.
While the attacking arm is raised high and has just started coming down, Tori will slide step
forward and to the right and bring both arms up to intercept Ukes arm at the wrist and
elbow.
Tori will drive the Ukes right elbow over Ukes head and to the right slightly.
This is done as a whole body motion upwards from the ground using the power of the hips
and legs.
You must catch the timing before the strike has started to come down.
Take Ikkajo on the arm and finish with a projection throw or a pin.
Kuden
Enter decisively like a huge wave before the opponent can launch his attack.
Timing is essential because if you are late, you will miss the opportunity to drive Ukes
balance to the rear and will be hit on the head.
If you are late you should at least be able to get off the line of attack by moving to the right.
Also, if Tori is late, he may do the technique as described in Mune tsuki Ikkajo.
If a weapon is involved it must be taken away.

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Yokomen Uchi Ikkajo

The First Lesson Response to a Strike to the Side of the Head

Tori and Uke face each other in Hidari Ai Hanmi.
This could be done either as an Irimi or Tenkan movement.
Uke steps forward and strikes with his right hand towards Toris left temple.
Later Uke may use his fist, the blade of his hand, a club, or a knife.
As Uke starts to move forward Tori steps forward and to the right slightly with his right foot
to the inside of the arc of the strike.
Toris left foot will follow.
Both Uke and Tori may turn as a mirror image of each other counterclockwise during the
attack.
Tori raises his left forearm inside of the Ukes attacking forearm guiding it downwards but
not impeding the integrity of the arc.
Tori brings his right forearm under the Ukes attacking arm.
With a turn of the hips to the right, and a shift of weight forward to the front leg, Ikkajo is
taken on the arm.
Immobilize the attacker with a pin.
Kuden
If Uke tries to rise you may kick him or knee him in the face with the rear foot or knee.
This technique is extremely dangerous in defense of a knife attack in which an ice-pick grip
is used.
The blocking motion is a counterclockwise arc and the right hand makes a clockwise motion
to the right and over the Ukes head while taking the Ikkajo.
Learn to drive Ukes bent elbow over his head to break his balance.
Always end up with knife.
Ikkajo as always must be taken by a powerful turn of the hips.
With a knife involved, one cannot struggle over the blade.
Stay clear of blade and dont focus on it.

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Mawashi Geri Ikkajo

The First Lesson Response to a Round Kick

Tori and Uke face each other in Hidari Ai Hanmi.
This will be an Irimi movement.
Uke steps forward and attempts to kick Toris mid-section using the top of his foot with a
Round Kick.
Tori will step forward and to the right with his right leg to inside the arc of the kick.
The body will follow as Tori slides into this space.
At the same time, Tori will gather up the incoming kick in the bend of his elbow and turn
his hips to the right.
This immediately diffuses any impact of the kick and upsets Ukes balance by overturning his
hips.
Tori keeps his right hand up to intercept Ukes right wrist.
Tori then takes Ikkajo on Ukes right arm and continues with the Omote variation (directly
into Ukes front side).
Finish with a projection throw or a pin as desired.

Kuden
Allow your enter to overwhelm the attackers balance.
This is also an advanced technique that requires that Tori match the timing and speed of
Ukes kick.
Failure to do this will result in a devastating kick landing on the arm.
The turning of the hips if strong enough can send Uke face down.
If that happens one may not be able to the grab the hand.
Also, if the hand is seized and one turns the hips strongly, Uke will be sent face down and
will fall badly.
Be careful in practice as this is a difficult fall to take safely.

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Suwari Gata Shomen Uchi Ikkajo

The Seated Form of the First Lesson in Response to a Forehead

Strike
Uke and Tori sit across from each other in Seiza several feet away.
Uke steps forward with his right foot and raises his right hand overhead to strike down.
Before Uke is able to strike, Tori steps forward with his right foot and raises his hands to
intercept the strike.
Tori moves Ukes right arm in an arc to the right and his elbow back towards Ukes head.
This causes Ukes weight to shift to his rear left leg and his body will turn to the left as he
seeks to stabilize himself in relation to the ground with his left hand.
This will prevent him from counterattacking as this abrupt entry makes his left side
immobile.
Irimi Version Finish (Third Picture)
The space between Ukes right arm and side once he is bent over forms a V shape.
Step into this space by entering in with the left leg.
Continue moving forward in a rolling motion by knee walking until the opponent falls face
first to the ground.
Maintain control of the Ukes arm and pin his arm flat to the ground with a standard Ikkajo
pin.
Tenkan Version Finish (Fourth Picture)
After catching the opponents arm immediately step back with the right knee and pull his
arm out at a 45 degree angle to your right and to the rear.
The Uke will fall forward losing his balance.
Pin the arm in a standard Ikkajo pin to immobilize the opponent.
Kuden
Enter quickly catch his forward motion as it starts.

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Chapter 5
Nikkajo

The Second Lesson

When one does Ikkajo it could be interpreted as either a momentary hold by pressing the
adversarys arm down or by breaking it with a snap. Since Aiki Jujutsu techniques as they
came to us from Takeda were primarily from an art used to arrest assailants indoors, the
focus was on restraint and not intentional injury. A higher level of skill was required for a
samurai to arrest someone without leaving a mark. Therefore the emphasis is on control and
compliance. These techniques must either end in a pin or a projection throw.
Nikkajo shows us how to transition to another pin from Ikkajo especially if the Uke tries to
resist. Nikkajo is a technique which causes the hand to be twisted painfully in relation to
the forearm. The pain is caused by nerve compression due to the radius and ulna being
pressed against the carpals. The pain can extend up the forearm into the muscles and joint
of the elbow. Applied with increased mass or acceleration may cause the wrist or even
elbow to fracture or dislocate. It is recommended that students practice this with caution.
It is common that a Uke will drop a knee to the ground as Nikkajo is applied to relieve some
of the pain. Failure to do this could result in injury. Be careful.

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The Mechanics of Nikkajo

Nikkajo employs a different grip on the opponents hand than Ikkajo. In Ikkajo one seizes
the palm side of the opponents wrist and the other hand reinforces at the elbow. Ikkajo
controls the arm but does not attempt to apply a joint lock as Nikkajo does to the
opponents wrist. In Nikkajo, one holds the opponents hand with your palm on the back of
the opponents hand. Notice that in the pictures holding the Jo, the right hand is holding
the rear end of the staff is turned up. This is indicative of Nikkajo.

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Receiving a Nikkajo
Nikkajo is the Second Technique and consists of a lock that compresses the nerve in
forearm as radius and ulna overlap. Also, there is added pain in the wrist. When applying
this technique the opponents shoulder in internally rotated and the elbow is slightly bent.
The thumb faces downward and the pinky finger faces up. If these elements are not in place
then no pain will be caused and it wont work. If the forearm is pressed downwards and the
pinky is brought towards the head, great pain will result. The body naturally receives this
lock and lessens the pain by sinking down. Therefore, the way to receive this lock is to drop
to one knee. From the Toris perspective this will indicate that the Uke is in pain and he will
then loosen the lock which will cause Uke to want to rise again. It is at this moment that
one completes the Nikkajo by taking the opponent down face first to the ground and
immobilizing him.

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Katate Dori Nikkajo

The Second Lesson Response to a Wrist Grab

Tori and Uke stand facing each other in Migi Ai Hanmi.
Uke steps forward with his left foot and grabs Toris right wrist with his left hand.
Tori keeps immediately slides over to his right so his body and Ai Hanmi is aligned at a 45
degree angle to the left.
At the same time Tori will cover the back of Ukes grabbing hand with his palm so he may
not pull back and easily escape.
Tori will now rotate his right hand over the top of Ukes forearm just below the wrist.
Tori then presses downward and forwards causing Ukes wrist and forearm bones to twist
painfully into Nikkajo.
Avoid having Ukes arm straight.
Kuden
This technique combines twisting the radius over the ulna in such a way that nerves are
compressed causing extreme pain.
The bones at the elbow and wrist are at the end range of motion and any further play in the
joint could cause dislocation or fracture.
This is a difficult technique for students to learn because there are a few things that must
happen for the technique to be effective.
Here are some tips:
1.
2.
3.
4.
5.
6.
7.
8.
9.

Keep Ukes wrist and elbow bent.

Ukes arm is kept horizontal.
Ukes wrist in bent vertically towards Ukes head.
Hold the hand just above the wrist with the right hand.
Compress the joint by forcing Ukes forearm and hand is differen directions.
Keep Ukes hand lined up with his centerline and your centerline.
Bend at the waist and knees to apply pressure through his joints.
Hold Uke firmly.
Apply force generously but only for a moment.

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Kosa Dori Nikkajo

The Second Lesson Response to a Cross Wrist Grab

Tori and Uke face each other in Gyaku Hanmi. Toris right side is forward.
Uke steps forward with his right foot and seizes Toris right wrist with his right hand.
Tori slide steps to the left and turns 45 degrees to the right as he places his left palm on the
back of Ukes grabbing hand.
Tori then rotates his right hand around Ukes right forearm just below the wrist.
This is how Nikkajo is applied.
Tori presses forward and down towards Ukes center.
Uke drops to his knees to relieve the pain.
Tori eases up on the pain for a moment and Uke bounces up to attack again.
Tori steps behind Uke to the outside, pivots and turns around.
This is an Ura variation which causes Uke to spiral around Tori to the ground.
Kuden
Keep the elbow bent as before.
Keep your rotation of the right hand small and tight.
Your hands should contour around Ukes bones.
You should not have to use strength to do this.
People unfamiliar with this pain and technique may have their wrist suddenly broken
because they wont know to relieve the pain by dropping to one knee.

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Ryote Tori Nikkajo

The Second Lesson Response to the Both Wrists Being Seized

Tori and Uke face each other in Shizen Tai. It makes no difference which leg Uke uses to
step forward with.
Uke will seize Toris wrists.
Tori will step back with his left leg so that Uke will continue coming forward and his feet
will not be fixed at the moment he grabs.
Tori keeps his elbows near his sides as Uke grabs both hands.
Tori will strike the back of Ukes left hand against the knuckle of his right hand to weaken
his grip as in Ryote Tori Ikkajo.
Tori will move to Ukes right side and continue the same way as in Ryote Tori Ikkajo by
driving Ukes right elbow to head and taking an arm bar on the right arm using a Tenkan
movement.
After Uke is spun around Tori by the Tenkan armbar, he rises and at that moment applies
Nikkajo.
Uke dips down from the pain inflicted on the wrist.
Tori lightens up on the wrist compression, and as Uke attempts to rise again, Tori will make
another slight Tenkan movement taking Uke face down to the ground.
Pin Ukes arm as shown with the arm bent or straight as in the standard way.
Kuden
Keep moving and learn to control Uke smoothly.
This is essentially a study in how to manage a situation when things go wrong and Uke keeps
coming.
It is suggested that one do Ikkajo in a definitive way so that one does not have to use
Nikkajo.

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Kata Tori Nikkajo

The Second Lesson Response to a Shoulder Grab

Tori and Uke stand facing each other in Hidari Ai Hanmi.
Uke steps forward with his right foot and attempts to seize Toris left shoulder with his right
hand.
Tori responds to the forward motion by stepping back with the left foot deeply.
This causes Uke to overreach.
Tori strikes into Ukes face with his right fist as Uke comes in.
This brings Ukes head back.
Tori grabs Ukes right hand with the thumb placed on the bones of the back of the hand.
Tori turns his hips to the right to turn Ukes grabbing hand over.
Tori seizes Ukes right wrist with his left hand.
Ukes wrist is wrenched by torsion in a wringing motion.
The body may be used to provide mass to bend the wrist so the hand goes towards the head.
Downward pressure is also applied to the wrist using the left arm.
Once Ukes body dips down because of the hold, catch his bouncing up motion and take
him face down to the ground with an immobilization.
Kuden
Keep Ukes wrist and elbow bent.
Dont let Uke turn either shoulder away from you.

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Mune Tsuki Nikkajo

The Second Lesson Response to a Punch to the Chest

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and attempts to punch Tori in the chest with a right
punch.
Tori will switch his feet to to a right Hanmi while extending his right hand forward to punch
Uke in the face.
Toris right hand then seizes Ukes right hand from the top.
Tori will step forward with his left foot across the front of Ukes body while pressing down
on Ukes elbow with his left forearm.
As Tori lets off the pressure on the elbow, Uke attempts to rise.
Tori applies a Nikkajo hold on Ukes right wrist and forearm.
Tori can then take Uke down to the ground with an immobilization.
Kuden
Switching feet from a left Hanmi to a right Hanmi requires that the right foot step forward
and to the right followed by the left moving back and to the right behind the other foot.
Practice getting off line effectively and switching feet before moving on to the technique.

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Shomen Uchi Nikkajo

The Second Lesson Response to a Strike to the Forehead

This technique is performed the same way as Shomen Uchi Ikkajo. One transitions from
Ikkajo to Nikkajo at the end of this technique as the Uke attempts to rise when his arm is
pressed down.

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Yokomen Uchi Nikkajo

The Second Lesson Response to a Strike to the Side of the Head

This technique is performed the same way as Yokomen Uchi Ikkajo. One transitions from
Ikkajo to Nikkajo at the end of this technique as the Uke attempts to rise when his arm is
pressed down.

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Mawashi Geri Nikkajo

The Second Lesson Response to a Round Kick

Tori and Uke face each other in Hidari Shizen Tai.
Uke attempts to kick Tori with a right Round Kick to the chest or solar plexus.
Tori steps forward and to the right inside the kick.
At the same time Tori intercepts Ukes right wrist with his right hand.
The right elbow is driven over the head toward the standing leg.
After working through the Ikkajo enter and apply the Nikkajo.
Explore kicking with left leg to the face before taking the Nikkajo.
Also, explore bending the Ukes fingers towards his head while doing the Nikkajo.
Kuden
When a person kicks his balance is poor because only one leg is supporting the body.
Enter quickly and overcome the opponents balance by driving forward towards his standing
leg.
Tilt the body to the right and keep the left arm at your side.
If the kick comes in too fast deflect it with the right arm.
This Nikkajo comes on very strong and can devastate the wrist.

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Then Take Nikkajo

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Suwari Gata Katadori Nikkajo

Seated Form of the Second Lesson Respone to a Shoulder Grab

Uke and Tori sit in seiza across from each other several feet away.
Uke rises and steps forward with his right foot so that he can grab the Tori by the left
shoulder.
Tori, still in seiza, moves his left knee back and to the left as his right hand passes over Ukes
right arm.
Tori presses down with his right forearm momentarily on Ukes right forearm before seizing
Ukes hand from the top.
Tori will place his right thumb on the back of the hand and grip his fingers around the
bottom edge of Ukes hand.
Tori then turns to his right across Ukes body and steps forward with his right foot.
Ukes hand is naturally turned over in the process.
Tori presses into Ukes elbow and walks on his knees to take Uke face down to the ground.
Kuden
The way in which the hand is grabbed makes this an example of Nikkajo.
Although Nikkajo could be done by transitioning from Ikkajo when the opponent attacks
with Shomen Uchi, this transition takes longer.
Defending against a shoulder grab is a better way to examine the use of Nikkajo for seated
techniques.

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Chapter 5
Sankajo
The Third Lesson
In Sankajo the hand is turned with torsion in relation to the forearm. This compresses the
carpal bones and thereby causes a sharp pain in the nerves of the wrist. The hand is twisted
to its end range of motion and the elbow and shoulder cannot compensate to relieve the
tension or pain. Unlike Nikkajo where the wrist is bent, in Sankajo the hand and forearm are
aligned. As mentioned before the hand is internally rotated to cause pain. The Sankajo hold
will only be momentary and must be used to control the adversary long enough to set up for
a pin or a projection throw. If dealing with one person, a pin is suggested. For multiple
assailants projection throws will allow you time get away or put attackers in one anothers
way.
Sankajo can arise naturally from Ikkajo. This is especially true if the Uke attempts to rise
after he is being restrained with Ikkajo in a standing position and the edge of his forearm is
turned towards you. If the Ikkajo does not arise as a transition from Ikkajo, it arises by
holding the opponents hand, going under his arm, and then turning into him. You will be
be using both methods of getting Sankajo in this chapter.

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(Third Picture) Cut down from this position by casting the hand out and to the ground.
(Fourth Picture) Another alternative is to slide step forward (left then right and turn around with a
Tenkan movement. Take the opponent down with an armbar as shown.

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Katate Dori Sankajo

The Third Lesson Response to the Wrist Being Seized

Tori and Uke face each other in Migi Ai Hanmi.
Uke steps forward with his left foot and seizes Toris right wrist with his left hand.
Tori immediately steps forward and to his right with his right foot and strikes Uke in the
face with a left fist making his head go back.
Tori seizes Ukes left hand at the wrist and steps forward with his left foot as he goes under
Ukes left arm.
Tori raises the left arm and turns facing the same way as Uke.
Tori can now free his right hand and takes Ukes fingers.
Torsion is applied strongly from the ground up by turning the hips clockwise to the right.
The force is sent upwards through Ukes wrist causing extreme pain.
Tori may now step forward with his left foot.
Pivot and turn toward Uke as he is now in front of Uke.
Tori steps back deeply with his right foot and applies a reverse armbar similar to an Ikkajo.
Uke falls forward face down.
A Sankajo pin is applied.
Kuden
Uke the twisting of the hips to apply pain with Sankajo.
Sankajo is a great technique for arresting a person and restraining them.
When the Sankajo is kept near the chest of the Tori it will teach Tori to apply pain using
turns of the body.
Avoid using arm strength to do this technique.
Compress the fingers adequately and wring the wrist out like a rag.

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Kosa Dori Sankajo

The Third Lesson Response to a Cross Wrist Grab

Tori and Uke face each other in Gyaku Hanmi. Toris right side is forward.
Uke steps forward with his right foot and seizes Toris right wrist with his right hand.
Tori grasps Ukes wrist on the grabbing hand so Uke will not escape.
Tori steps forward and to the left with his left foot.
Tori will go under Ukes right arm, pivot and turn around while applying torsion to Ukes
wrist.
Tori will try and keep Ukes elbow up, and his forearm and wrist straight.
Tori frees his right hand and uses that hand to squeeze Ukes fingers together as if clamped.
Tori will cut down and outward with extension as though Ukes arm were his sword.
Uke will fall forward.
Continue walking forward until Uke is flat and face down on the ground.
Tori places Ukes seized hand so that the palm is on the side of his thigh.
This puts Ukes shoulder into extension.
More pressure is applied by shifting ones hip forward to put the arm into further extension.
One can also put Ukes arm in a Sankyo pin as shown on the following pages.
Kuden
Stand to Ukes side while doing Sankajo or the opponent will hit you.
Some Ukes will walk backwards in a circle to relieve the pain and this is not the reaction you
want as it means too much rotation.
If the Uke migrates backwards, jerk the Sankajo hold down and back to the ground and he
will fall on his backside in an excruciating variation.
Get Uke to rise to his toes with lift and then throw with a projection or cut down and
immobilize.

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Ryote Tori Sankajo

The Third Lesson Response to Both Wrists Being Seized

Tori and Uke face each other in Migi Ai Hanmi.
Uke steps forward and seizes both wrists.
Tori steps forward and to his left with his left foot.
As he steps Ukes right arm is raised.
Tori goes under Ukes right arm, pivots and turns around facing the same direction as Uke.
Toris right hand is allowed to go behind his back.
Tori faces forward and to his left after turning around.
Tori frees his right hand and proceeds to take Sankajo on Ukes right hand.
He may finish the technique any of the ways previously described.
Variation
With the right hand still behind your back, project out with the left hand throwing Uke
forward and to the left.
Catch the timing and flow of this movement.
Kuden
Extend Uke out in a forward direction before taking the Sankajo.

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Kata Tori Sankajo

The Third Lesson Response to a Shoulder Grab

Tori and Uke stand facing each other in Hidari Ai Hanmi.
Uke steps forward with his right foot and attempts to seize Toris left shoulder with his right
hand.
Tori responds to the forward motion by stepping back with his left foot deeply.
This causes Uke to overextend his reach.
Tori strikes into Ukes face with his right fist.
This brings Ukes head back.
Tori grabs the edge of Ukes hand with his fingers while pressing his thumb nail into the
bones on the back of Ukes hand.
Tori will suddenly turn his hips to the right which turns Ukes hand palm up.
Tori takes Ikkajo on Ukes right arm by stepping in with his left leg.
Uke is bent over at the waist.
This is technically Nikkajo because Ukes right wrist is kept bent.
If Uke suddenly rises, Tori will take the edge of Ukes right hand with his left hand so that
the fingers wrap around the outside of the hand.
The right hand will seize Ukes fingers and compress them with torsion added.
Tori will step forward towards Ukes front side taking him to the ground as he cuts down
with Ukes arm as though it were a sword.
This is an Omote variation of Sankajo because Tori enter on Ukes front side.
Kuden
The twisting motion applied by the Sankajo to the wrist disperses the rising motion of Uke
coming up to try and hit you.
This takes smoothness and good timing.
Keep Ukes elbow forward and his left should back to prevent an attack.

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Mune Tsuki Sankajo

The Third Lesson Response to a Chest Punch

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and attempts to punch Tori in the chest.
Tori steps offline to the right and switches feet.
Tori intercepts the punch from above at the hand with his right hand.
Uke turns his hips and drives the Ukes right elbow back towards his head.
Ukes arm is turned over as if doing Ikkajo and Uke is bent over at the waist.
If Uke rises, Sankajo is applied just as in the previous technique.
Kuden
Catch Ukes bounce up and take Ukes hand with the left hand.
Keep your distance and extend you arms outward.

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Shomen Uchi Sankajo

The Third Lesson Response to a Strike to the Forehead

This technique is performed the same way as Shomen Uchi Ikkajo except for the ending in
which Sankajo is put on. One transitions smoothly from Ikkajo to Sankajo. See the seated
version on the following pages for details as they are very similar.

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Yokomen Uchi Sankajo

The Third Lesson Response to a Strike to the Side of the Head

This technique is performed the same way as Yokoment Uchi Ikkajo. One transitions from
Ikkajo to Sankajo at the end of this technique as the Uke attempts to rise when his arm is
pressed down. Mirror Ukes strike so that you strike the left side of his neck first.

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Mawashi Geri Sankajo

The Third Lesson Response to a Round Kick

Uke attempts to kick Tori with a right Round Kick from Hidari Hanmi.
Tori immediately steps forward and to his right inside the kick and seizes Ukes left hand
with his right hand.
Tori will go under the Ukes left arm and then turn clockwise to turn around.
Ukes wrist is twisted in the process.
Tori will take a step back as he applies torque to the hand.
Tori can now project Uke forward into a throw, or cut down with the hand either straight or
turning to immobilize the attacker.
Kuden
You must blend with the attackers movements.
Timing is off utmost importance.

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Suwari Gata Shomen Uchi Sankajo

The Seated Form Third Lesson Response to a Foreahead Strike

Uke and Tori sit across from each other in Seiza several feet away.
Uke steps forward with his right foot and raises his right hand overhead to strike down.
Before Uke is able to strike, Tori steps forward with his right foot and raises his hands to
intercept the strike.
Tori moves Ukes right arm in an arc to the right and his elbow back towards Ukes head.
This causes Ukes weight to shift to his rear left leg and his body will turn to the left as he
seeks to stabilize himself in relation to the ground with his left hand.
This will prevent him from counterattacking as this abrupt entry makes his left side
immobile.
Sankajo Finish
At this point one can transition from Ikkajo to Sankajo if one wishes.
The primary reason for the transition would be that the opponent attempts to rise by force
after pressing with the Ikkajo and he raises his right elbow upwards. As the opponent does
this, he presents the edge of his forearm and hand to you because of the circumstances.
This makes an ideal opportunity to take Sankajo.
From Ikkajo, reach under the opponents seized hand with your left hand and take the edge
of his right hand in your left hand.
As he rises let go of his wrist with your right hand and move that hand down to grip his
fingers.
Apply counterclockwise torsion with the left hand in a spiraling motion upwards to generate
pain in his arm and wrist
Clamp his fingers firmly to apply a counter tension.
If Uke rises to his feet your may as well, and then cut down as if holding a sword to finish
with a Sankajo pin.
If Uke does not rise, you may rise to get leverage above him and then walk him to the
ground to obtain a Sankajo pin.
Kuden
The principles of doing techniques on the ground (Suwari Waza) is similar to doing
techniques while standing (Tachi Waza).
Keep the opponents hand close to your chest while making the transition.

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Chapter 7
Yonkajo

The Fourth Lesson

Yonkajo is the fourth lesson and the final technique that can be extracted from Ikkajo.
Ikkajo is taken when the back of the forearm of Uke is presented with his elbow up. The
base of the first metacarpal is used to press into the radial bone and radial nerve a few inches
above the wrist. It is best to press forward into the bone and hold the adversarys hand as
though you were holding a sword. Hold the index fingers straight. This is not only typical
of how Yonkajo is held but also Sankajo as well. It is common to grip with the index finger
extended as this extends ones Ki energy through outward.

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Katate Dori Yonkajo

The Fourth Lesson Response to the Wrist Being Grabbed

Tori and Uke face each other in Migi Ai Hanmi.
Uke steps forward with his left foot and seizes Toris right wrist with his left hand.
At the moment Tori is grabbed he bends his knee and raises his hand as shown in the
picture on the next page.
Ukes elbow is raised up so the forearm becomes more vertical.
Uke uses his index finger to clamp down painfully on Ukes radius bone.
This causes a sharp nerve and bone pain.
Kuden
Learn to do this by using the edge of your straight index finger against your own forearm.
The index finger is held straight and in not bent or curled.
Imagine that you are holding a sword in your hand.

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Kosa Dori Yonkajo

The Fourth Lesson Response to a Cross Grab

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and grabs Toris right hand with his right hand.
Tori will rotate his right hand around the outside of Ukes forearm as he steps forward and
to the right with the right foot.
Tori may strike into Ukes ribs with his left fist.
Tori uses his left hand to drive Ukes right elbow towards Ukes head as he takes Ikkajo on
the right arm.
Uke is bent forward at the waist as the Ikkajo arm bar is put on.
If Uke rises from this position to attack, Tori will be able to take Sankajo or in this case
Yonkajo on Ukes right arm.
Kuden
If Ukes fist is closed, Sankajo is hard to get.
Sankajo is best done on an opened hand so that both hands can be used to apply torsion.
Yonkajo can be done effectively because it wont matter if Ukes hand is opened or closed.
Yonkajo is done by applying pain and pressure to the radial nerve and radius bone.

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Ryote Tori Yonkajo

The Fourth Lesson Response to Both Hands Being Seized

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward and seizes both of Ukes hands.
Tori will keep his elbows close to his body, bends his knees slightly and raises his right
hand vertically to take Yonkajo on Ukes left forearm.
The left palm rotates over the top of Ukes right hand and lowers the hand to the left hip.
Tori can finish with a Yonkajo pin as shown on the previous page.
Kuden
As one gets Ukes arm vertical it not only positions Tori for the Yonkajo, but more
importantly it causes Uke come want to come forward.
From this position a connection is made with in terms of a circuit with Ukes left hip.

Variation 1
Cut down diagonally to Ukes right rear quadrant as if his forearm were a sword.
This is the Omote (Irimi) variation because one enters to Ukes front side.
Variation 2
Step with the right foot behind Ukes forward left foot, pivot and turn around.
As one applies Yonkajo one enters to Ukes back side.
This is the Ura (Tenkan) variation.
Variation 3
In this last variation one steps to the rear as in Variation 2, but one projects Uke forward
into a throw.
This is a Kokyu (breath) throw.
Variation 4
Take Yonkajo on both of the Ukes wrist at the same time. Uke will rise to his toes from the
pain. Suddenly draw both of his hands out to the sides. Uke falls forward. Use a knee to
the face to knock him on his back.

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Tori applies a Yonkajo grip to both arms bringing

Uke up on his toes.
).

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Kata Tori Yonkajo

The Fourth Lesson Response to a Shoulder Grab

Tori and Uke stand facing each other in Hidari Ai Hanmi.
Uke steps forward with his right foot and attempts to seize Toris left shoulder with his right
hand.
Tori responds to the forward motion by stepping back with his left foot deeply.
This causes Uke to overextend his reach.
Tori strikes into Ukes face with his right fist.
This brings Ukes head back.
Tori grabs the edge of Ukes hand with his fingers while pressing his thumb nail into the
bones on the back of Ukes hand.
Tori will suddenly turn his hips to the right which turns Ukes hand palm up.
Tori takes Ikkajo on Ukes right arm by stepping in with his left leg.
Uke is bent over at the waist.
This is technically Nikkajo because Ukes right wrist is kept bent.
If Uke suddenly rises, Tori will immediately apply his left index finger to Ukes right forearm
taking Yonkajo.
Tori will step forward towards Ukes front side taking him to the ground as he cuts down
with Ukes arm as though it were a sword.
This is an Omote (Irimi) variation of Yonkajo because Tori enters on Ukes front side.
Kuden
This is very similar any many ways to Kata Tori Sankajo.
This takes smoothness and good timing.
Keep Ukes elbow up and his left shoulder back to prevent an attack.
Imagine a sword extending out from Ukes elbow.
Move the tip of that sword in an imaginary arc that cut down to the ground.
This extension will make the technique work much better.

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Mune Tsuki Yonkajo

The Fourth Lesson Response to a Chest Punch

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and attempts to punch Tori in the chest.
Tori slides forward and right to get off line.
Tori intercepts the punch in a wavelike motion from below the arm.
Ukes arm is turned over as if doing Ikkajo and Uke is bent over at the waist.
If Uke rises, Yonkajo is applied just as in the previous technique.
Kuden
Catch Ukes bounce up and take Ukes hand with the left hand.
Keep your distance and extend you arms outward.

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Shomen Uchi Yonkajo

The Fourth Lesson Response to a Strike to the Forehead

This technique is performed the same way as Shomen Uchi Ikkajo except for the ending in
which Sankajo is put on.
One transitions from Ikkajo to Yonkajo smoothly.

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Yokomen Uchi Yonkajo

The Fourth Lesson Response to a Strike to the Side of the Head

This technique is performed the same way as Yokoment Uchi Ikkajo. One transitions from
Ikkajo to Yonkajo at the end of this technique as the Uke attempts to rise when his arm is
pressed down. Mirror Ukes strike and his him in the left side of the neck first.

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Mawashi Geri Yonkajo

The Fourth Lesson Response to a Round Kick

Uke attempts to kick Tori a right Round Kick in the chest.
Tori forward and to the right inside the kick and immediately goes after Ukes right arm.
Tori will do Ikkajo and then as Uke attempts to rise will transition to Yonkajo.
Kuden
One may actually do Ikkajo and then apply Yonkajo if Uke rises.
In this case one goes after Yonkajo directly from the beginning.

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Suwari Gata Shomen Uchi Yonkajo

The Seated Form Fourth Lesson Response to a Forehead Strike

Uke and Tori sit across from each other in Seiza several feet away.
Uke steps forward with his right foot and raises his right hand overhead to strike down.
Before Uke is able to strike, Tori steps forward with his right foot and raises his hands to
intercept the strike.
Tori moves Ukes right arm in an arc to the right and his elbow back towards Ukes head.
This causes Ukes weight to shift to his rear left leg and his body will turn to the left as he
seeks to stabilize himself in relation to the ground with his left hand.
This will prevent him from counterattacking as this abrupt entry makes his left side
immobile.
Yonkajo Finish
Transition from Ikkajo to Yonkajo as shown.
The reason for doing this is because the opponent attempt to evade once you attempt to
finish by raising his elbow.
In this case the opponent presents his forearm in the process and this makes an ideal
opportunity to take Yonkajo.
As the Uke raises his elbow step in with the left foot and clamp onto the medial side of the
Ukes wrist with the base of the left index finger.
Press forward and then down to immobilize the opponent.
Kuden
Grip the opponents bone and attack his radial nerve.
Dont surround his wrist and hold on.
This grip is the same as holding a sword correctly and you should think of cutting the
opponents arm down like a blade.

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Chapter 8
Kote Gaeshi

Turning the Wrist

Kote Gaeshi literally means reversing the wrist. It is not so much the wrist as the hand that
is being reversed. Be sure to put your thumb on the back of Ukes hand around the bones
of the third or fourth metacarpals when seizing the hand to do this technique. Press the
opponents knuckles (of the hand) downwards so that his fingers point to the ground. As
you take the opponent to the ground the motion is in a vertical arc downward. If this arc is
made smaller over time and kept closer to the center it will be very powerful as it will be
applied with body mass instead of strength. Dont struggle over the hand. Keep it close to
your center and aligned on the centerline of the body. There are many variations to this
technique as there are with most techniques.

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Katate Dori Kote Gaeshi

The Wrist Reversal Response to a Single Wrist Grab

Tori and Uke face each other in Migi Ai Hanmi.
Uke steps forward with his left foot and seizes Toris wrist with his left hand.
Tori immediately steps to the right and raises his opened right palm so that it is front of his
chest about ten inches away.
At about the same time Tori will reach under his right hand and seize Ukes hand from
below.
As Tori seizes Ukes hand the left thumb is placed on the back of Ukes hand (pinky side).
Tori frees his hand through a gap created by Ukes thumb and index fingers.
Tori continues to rotate Ukes hand clockwise as he steps with his left foot over his right.
Tori steps again out the right with his right foot.
Uke falls onto his back and the hold is maintained on his wrist.
Kuden
Kote Gaeshi literally means a reversal of the wrist.
The wrist is twisted painfully causing the Uke to fall.
Straighten the arms and extend outwards and then suddenly turns the wrist abruptly down.
The fall occurs as an attempt to save the wrist from being broken.
This is atypical version of Kote Gaeshi in that the left hand applies the reversal to the Ukes
left hand.
As you will see in the upcoming techniques, the right hand would ordinarily apply a reversal
to Ukes left hand.
Toris movements cause Uke to be taken off balance and also mask the movements of the
arms to some degree.
One steps to the right to avoid a possible punch from Ukes right hand.

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Kosa Dori Kote Gaeshi

The Wrist Reversal Response to a Cross Grab

Tori stands in Migi Hanmi while Uke stands in Hidari Hanmi.
Uke steps forward with his right foot and seizes Toris right wrist with his right hand.
At the moment Uke grasps the wrist, Tori is already stepping back with his right foot to
cause Uke to reach further than he should.
The left hand covers Ukes grab at the wrist so that the hand stays committed to the grab.
The left thumb is placed on the back of Ukes right hand when it is covered and the fingers
wrap around the wrist.
Tori frees his right hand and rotates it counterclockwise and he reverses Ukes right hand
with his left.
Tori will use his right palm near the fingers to press on the back of Ukes knuckles (2nd and
3rd metacarpals).
The wrist is reversed and Uke falls on his back.
The hold is maintained and tightened further.
Kuden
This technique teaches the Tori to blend with the attackers motion.
One should not wait until Uke can gain a strong hold before doing the reversal.
The right hand is presented as bait and then drawn back to overextend Uke.
As Uke is drawn out too far forward, his natural tendency is to want to pull back.
This motion is caught and Tori rides this motion in with Kote Gaeshi.

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Ryote Tori Kote Gaeshi

The Wrist Reversal Response to Both Hands Being Seized

Tori and Uke face each other in Shizen Tai.
Uke steps forward and with his right foot and seizes both of Toris hands.
Tori will place his right hand over the top of his left striking the back of Ukes left hand on
to the thumb of Ukes own right thumb.
This is done to loosen the grip on Toris right hand.
At the same time Tori will cross step right over left towards the left.
Tori then circles his left hand over and around the top of Ukes right hand and seizes the
hand with the left thumb on the back.
The right hand is already in position to press down on Ukes knuckles with the right hand.
Uke is thrown to his right rear quadrant with Kote Gaeshi.
Kuden
As soon as you are grabbed, make a right fist and turn the hand over so the thumb is up.
Striking down must be precise when you are hitting the opponents hands together.
You are trying to smash the back of Ukes hand on the protrusion of Ukes knuckle.
This is extremely painful if done correctly.

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Katamune Dori Kote Gaeshi

The Wrist Reversal Response to a Chest Grab

In this second section, a chest grab will replace a shoulder grab.
Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and seizes Toris lapel at the chest with his right hand.
Tori steps back with his right foot and reaches to seize Ukes incoming hand.
Tori will place his left thumb on the back of Ukes right hand.
Tori will then step back with his left foot and throw Uke forward (the direction hes already
going) with Kote Gaeshi.
Tori follows Uke and pins him.
Kuden
It is best to move back so that Uke must reach to get you.
Seize the hand before the opponent can grab you.
If grabbed, be sure to use the body to make the throw.
Continue Ukes motion forward to make the throw.
Uke may be released into a projection throw.
This is enough to cause Uke to flip in mid-air.

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Mune Tsuki Kote Gaeshi

The Wrist Reversal Response to a Chest Punch

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and attempts to punch Tori in the chest with his right
fist.
Tori will get off line by switching feet to face Uke at a 45 degree angle to the right.
This puts Tori outside of the line of the attack and still positioned in a left stance with his
hands extended.
Tori will place his left thumb on the back of Ukes right hand and step back with his left foot
to throw Uke with Kote Gaeshi.
Kuden
Step back at a 45 degree angle to the left.
This is similar in some ways to the chest grab technique.
When attacked one may not be able to readily tell if the Uke is grabbing or punching.
If Uke is grabbing he may reach and overextend his reach.
If Uke punches it is best to get completely off the line of attack as one does in this
technique.
Once a punch reaches the end of its range, the Uke will pull back the arm.
It is this motion that one will use to do the Kote Gaeshi.

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Shomen Uchi Kote Gaeshi

The Wrist Reversal Response to a Strike to the Forehead

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and strikes downward to Toris forehead with his right
hand.
Tori immediately steps forward and to the left avoiding the downward strike.
Tori pivots and turns to face the same direction as Uke (Tenkan) as his left hand comes
down on top of the terminating strike.
At the same time Tori seizes Ukes right hand with his left hand with the thumb placed on
the back of Ukes right hand.
Tori continues turning and Ukes spins around facing Tori.
Tori strikes Uke in the face with his right fist and then presses down on Ukes right knuckles
with his right hand.
Tori throws Uke to Ukes right rear quadrant.
Tori can now pin as he sees fit.
Kuden
This technique requires that one uses expert timing and distancing.
It also requires that one keeps moving and keeps Uke moving.
The Uke must not be allowed to stop or settle until he hits the ground.
Slide past the Uke and turn bringing him into a spin.

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Yokomen Uchi Kote Gaeshi

The Wrist Reversal Response to a Strike to the Side of the Head

Tori and Uke face each other in Hidari Ai Hanmi.
Uke steps forward with his right foot and strikes to Toris left temple with his right hand.
Tori will switch feet meaning that his right side will be forward as he intercepts the incoming
strike at the forearm.
Tori will guide the strike downwards towards his center and to his waiting right hand.
Tori will place his left thumb on the back of Ukes right hand taking Kote Gaeshi.
Toris right hand will turn the hand over pressing the knuckles downwards.
Tori steps to Ukes left side (Toris right) and drops to his left knee to throw Uke.
Tori may finish with various Kote Gaeshi pins.
Kuden
This is typically practiced as an open hand strike but one should also practice holding
weapons such as a bottle or club.
Tori must be at a distance in which the strike will fall short and this is achieved by body
positioning.
The strike is not stopped. It is simply redirected.
Ukes strike is a swinging strike and not a thrust to the temple.
The body drops and one goes to the knee to create a whipping motion that causes Uke to
flip over his own locked wrist.
Uke should learn how to properly fall in preparation to be thrown this way.
The average person not knowing how to fall would have the wrist broken.

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Mawashi Geri Kote Gaeshi

The Wrist Reversal Response to a Round Kick

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forwards with right foot to deliver a right Round Kick to Toris left side or
stomach.
Tori will immediately slide step forward and to his right to get off line of the kick.
Tori will immediately go a after a Kote Gaeshi on Ukes left hand.
Kuden
If one senses the kick one can intercept the left hand before the kick even makes it in.
If one deals with the kick, it may be brushed by or away to the left using the top of the right
arm.
Do not attempt to block the kick with force.
The kick may also be caught at least for a moment in the bend of the left arm especially if
you are late on your timing.

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Chapter 9
Shiho Nage

Four Directions Throw

Shiho Nage means throwing in all directions. This technique provides a way to turn and
manipulate the way an attacker falls. Also, it employees sudden changes in direction. This
can be particularly useful when faced with multiple attackers because it allows you to put one
person in front of another causing the attackers to get in one anothers way. As you learn
Shiho Nage, pay special attention to how you can turn your opponents center away in
different directions. Notice how stepping and projecting your energy in a particular
direction can affect your opponent.

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Take the wrist lightly in a ring formed by your hands.

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Changing directions to cut with a sword repeat the motions of Shiho Nage.

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Katate Dori Shiho Nage

The Four Directions Throw Response to the Hand Being Seized

Tori and Uke face each other in Migi Ai Hanmi.
Uke steps forward with his left foot and seizes Toris right wrist.
There is an Omote (Outer) version and an Ura (Inner) version of this technique.
The Omote variation will be directed in front of the Uke and the Ura variation will be
directed behind the Uke.
Omote Variation
As Toris hand is seized, he will cover Ukes left wrist and step forward and to the left with
his left foot turning Ukes body so that his right shoulder is turned away.
Tori will keep Ukes arm fairly straight.
Tori then steps forward with the right foot, pivots and turns as he does under Ukes left arm.
Tori, now turned around, will use both hands held around Ukes wrist to pull Uke down
onto his back.
Uke falls on his back with Shiho Nage applied.
Tori will let go with his right hand and strike Uke with the side of his hand.
Kuden
Turning Ukes body away from you is important to protect you from a strike.
Do not raise Ukes arm up.
Slide under Ukes arm so it passes over your back.
Do not move or adjust your hands more than is necessary.
Hold Ukes wrist with both hands as though you were holding a sword and cut down.
Cut down to the ground diagonal to Ukes centerline.
Keep Ukes elbow pointing up and the wrist held firmly down.
Extend your arms to maintain distance.
Use your legs to make the throw.
By bending your knees only, you will be able to drop Uke.
As with other techniques there are many small variations and subtleties that cannot be
adequately described by words alone.

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Ura Variation
As Uke seizes Toris right wrist, Tori will seizes Ukes left grabbing hand from the top with
his left hand and step forward and to the right with his right foot.
Tori will pivot and turn around to Ukes outside left passing Ukes arm overhead.
Tori will now be facing Ukes rear holding Ukes wrist as though his forearm were a sword.
Tori cuts down diagonally throwing Uke to the ground.
Kuden
In this variation will again turn counterclockwise but this time to the outside and not the
front side of Ukes body.
The same points discussed earlier will apply here.

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The Omote Variation

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Kosa Dori Shiho Nage

The Four Directions Throw Against a Cross Wrist Grab

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and seizes Toris right hand with his right hand.
For this technique there is also an Omote and Ura variation.
Omote Variation
The moment Tori is grabbed, he will cover Ukes grabbing hand with his left hand.
Tori will step forward with his left foot then his right and then his left again.
Hell pivot and turn going under Ukes left arm.
Holding Ukes wrist like a sword, Tori will cut down throwing Uke on his back.
Kuden
Taking so many steps causes Uke to be turned around towards his rear and keeps him from
attacking you with his other arm.
Ukes arm should be kept straight while stepping and one should extend the arms out in
front of you.
Ura Variation
At the moment Uke grabs Uke, Tori will cover the grabbing hand and begin to turn
clockwise extending Ukes arm forward.
Tori goes under the arm and Shiho Nage is take on Ukes right arm.
Uke is thrown down onto his back.
Kuden
Dont raise Ukes arm and dont turn around in front of him.
Turn until your back is against Ukes right side.
Bend forward and let the arm pass over your back and head staying close to Uke.
Always keep Ukes elbow up.
Extend the arms and cut down.

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Ryote Tori Shiho Nage

The Four Direction Throw Response to Both Hands Being Seized

Tori and Uke face each other in Shizen Tai.
Uke steps forward with his right foot and seizes Toris wrists.
Tori will seize Ukes left wrist with his left hand.
Tori then turns the outer edge of his right hand horizontally facing Uke.
Tori bends his knees and rises pulling Ukes left wrist towards himself and pushing Ukes
fingers back.
This is painful.
Tori will then slide the step forward to the left with his left foot step through with the right
foot so that he turns around and take Omote Shiho Nage on Ukes left arm.
Uke is thrown to the ground on his back.
Kuden
Use the right forearm to bend the fingers back.
This will get Uke up on his toes.
Bend your knees and come up from below and then suddenly turn to do the Shiho Nage.

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Katamune Dori Shiho Nage

The Four Directions Throw Response to a Chest Grab

Tori and Uke face each other in Shizen Tai.
Uke steps forward with his right foot and seizes Toris lapel with his right hand.
Tori steps back at the same time with his left foot, and seizes Ukes grabbing hand from
below with his right hand.
Toris right thumb is placed on the palm side of the wrist.
Tori will now move his left shoulder in under Ukes right elbow as he turns clockwise.
Tori breaks Ukes elbow as he does this by leveraging it on his left shoulder.
Tori continues to turn to Ukes outside applying Shiho Nage.
Uke is thrown down on his back.
Kuden
Presented here is the Ura variation, but one could also do an Omote variation by stepping to
Ukes front side.

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Mune Tsuki Shiho Nage

The Four Direction Throw Response to a Chest Punch

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and punches to Toris chest or stomach with his right
hand.
Tori will slide step back with both feet to make the punch fall short and overextend Ukes
reach.
Tori seizes Ukes right wrist with both hands, steps forward with the left foot and turns
around.
Tori will go under Ukes arm and throw with Ura Shiho Nage.
Kuden
If one is not going to get off line of an attack then one must move back to be out of reach.
This is dangerous because a follow up attack from the opponents other hand is likely.
Catch the fist by using your palms to block the Ukes forearm and then slide into place.
The thumb and index fingers will surround the attackers wrist as you catch the fist.
An Ura variation is used here to do Shiho Nage.

Shomen Uchi Shiho Nage

The Four Directions Throw Response to a Strike to the Forehead

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with this right foot and strikes down to Toris forehead with his right hand.
Step forward and to the left passing by Ukes right side as he strikes down.
Pivot and turn facing the same direction as Uke.
Seize Ukes right hand from the top and step back with the left foot.
As Uke turns to come at you, strike to his face with the right hand.
Change your contact at Ukes wrist and throw Uke with Ura Shiho Nage.
Kuden
Shomen Uchi is not an attack which one can easily use Shiho Nage.
This technique is similar to Shomen Uchi Kote Gaeshi as far as its entry is concerned.

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Yokomen Uchi Shiho Nage

The Four Directions Throw in Response to a Right Strike to the Side of the
Head
Tori and Uke stand in Hidari Ai Hanmi.
Uke steps forward and strikes to the left side of Toris head with his right hand.
As the strike comes in Tori intercepts it by redirecting the strike with the edge of his left hand and
steps back with the left foot (switching feet).
Ukes hand is guided to a position in front of Toris belt.
Tori may either do Omote Shiho Nage or Ura Shiho Nage.
Kuden
It is important to maintain a distance in which Ukes strike will not reach the temple.
Also, it is essential that the strike is not blocked but only directed towards the center.
By the center I mean the centerline in front of the abdomen.
Make sure Uke does not bend his arm for either Omote or Ura variations of Shiho Nage.
When the right hand makes contact with Ukes hand, use your right thumb to compress his radial
pulse.

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Mawashi Geri Shiho Nage

The Four Directions Response to a Round Kick

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward and attempts to kick Tori in the side with a Round Kick.
Tori enters by stepping forward with the right foot inside the kick and immediately goes after
Ukes right wrist with the right hand..
Deliver a strike to the ribs with the left fist and then immediately apply Shiho Nage.
Tori cuts down and Uke falls to back.
Kuden
Uke will typically be tense if you do after his arm.
The real ending is in the strike and not the throw.

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Katate Dori Shiho Nage Suwari Gata

The Seated Form of the Four Directions Throw

The Tori sits on the floor with his legs crossed while the Uke steps forward and grabs his
right wrist with his left hand.
Tori will cover Ukes grabbing hand from below the wrist with his other hand and turn the
outer edge of his right hand towards Uke.
At the same time Tori will lift up and bring his hand closer to his chest and center line.
The effect is hyper-extension of the Ukes wrist.
Tori will then turn his body counterclockwise to his left and pass Ukes over his head.
Ukes right hand is locked into place with the left as if doing a type of Kote Gaeshi.
Kuden
Apply this technique with a sudden impulse.
If Uke straightens his arm, it is a sign the wrist is hurting.

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Chapter 10
Kokyu Nage

The Breath Throw

Kokyu Nage covers a broad category of throws that do have at least some common
characteristics. Typically the Tori sets up his throw and makes a large exhale upon throwing the
Uke. Contact may range from not even touching the Uke in some cases to driving the Ukes
body forward or back with the whole body. Some Kokyu techniques are done statically from a
position of rest while others are done dynamically with the Uke attacking at a fast pace. For the
static techniques often the Uke will push or pull as a way to provide the energy necessary to
complete the technique. However, in some cases the Uke will simply provide what is sometimes
referred to as a center to center connection. This simply means that both Tori and Uke will
ground themselves and press forward, at least in cases in which Tori is seized, into each others
center to make a connection and feel the other persons energy. This is done from the ground up
and is not a function of arm or shoulder strength. Attacks or defenses done in such a manner
make one vulnerable to such techniques as Kokyu Nage.
If Tori and Uke make a center to center connection, any deviation in any direction of the use of
force that Uke applies can be used to throw or imbalance him. For this reason the Katate Tori
techniques should be studied well as this is the most common techniques to establish the feel of
that connection. By understanding that Aiki movements do not conflict with the opponents
movements but only magnify them to the point that the Uke loses control, one can use the
example below to get a better sense of what is trying to be accomplished through Kokyu Nage
and apply these principles to other situations rather than just thinking that there is a form only to
be memorized.
Applications
1.
2.
3.
4.
5.

When pulled, push.

When pushed, pull.
Create an obstacle for the feet and the upper body will continue forward.
Create an obstacle for the head and the feet will continue coming forward.
Relax completely when the opponent pushes into resistance and he will come forward.

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Katate Dori Kokyu Nage

The Breath Throw Response to the Hand Being Grabbed

Tori and Uke face each other in Migi Ai Hanmi.
Uke steps forward with his left foot and seizes Ukes right hand.
As Toris hand is grabbed he will not offer any resistance and yield to the grab.
Ukes right hand will collapse to his center which allows Uke to come forward.
Toris right hand will be palm up and he will bend his knees.
Tori moves his right hand in a vertical arc over Ukes head towards his right shoulder.
Tori straightens his legs as he does this and steps behinds Ukes left leg.
Tori will now extend beyond Uke and bring the back of his arm down across Ukes chest.
Uke will fall on his back.
Kuden
When being grabbed by the hand the feeling is that Tori is breathing in Ukes motion.
When Tori throws he breathes out, and the feeling is like he is throwing with the exhalation.
Arcs and spirals are used throughout all techniques in this system.
This Kokyu technique employs a vertical arc that starts low and then rises over the Ukes head.
Establish a center to center connection with the Uke.
Let the Uke push into resistance and then suddenly relax completely.
He will naturally pitch forward and then raise your right arm up across his chest.
Extension is important with this technique as it is with most techniques.
Extend beyond Uke and you will be more successful.
Your body particularly your right arm and shoulder will occupy Ukes space causing him to fall
backwards.
If y6u meet any resistance drop your weight by bending your knees and apply your weight
downwards through Uke to make him fall.
Problems often arise when Tori attempts to make a more horizontal arc.
This will alert the Uke and he will resist.
The feeling of the right hand and arm is like a flower opening.
The left hand being free can strike Uke in the belly.
The step behind Ukes leg acts as a stumbling block.
It is essential that Uke is put into a position where his head is back and his back is arched to the
rear.

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Katate Tori Kokyu Nage Tenkan (Turning) Variation

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Katate Tori Kokyu Nage Mae ( Front) Variation

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Kosa Dori Kokyu Nage

The Breath Throw Response to a Cross Grab

Tori and Uke stand in Gyaku Hanmi.
Uke steps forward and seizes Toris right hand hand at the wrist with his right hand.
Tori will yield to the grab and step forward with his left foot behind Ukes right foot.
At the same time Tori will turn to his right bending his knees to lower himself with his left arm
above Ukes arm.
Tori will move the back of his arm in a vertical arc as he turns his hips to the left.
The arc rises over Ukes chest and head and extends outward.
This is Kokyu Nage.
Uke falls to his back.
Kuden
This has the feeling of contraction and expansion.
There is a horizontal component to this technique due to the rotation of the hips.
This clearly places Toris arm well into Ukes space.
This technique, as well as the first one, is typically practiced statically meaning that there is not
much forward motion at the moment of the attack.
Once the technique is learned statically then more motion can be applied.
As more motion is applied one sees that Ukes hips continue to come forward but his head is
suddenly moved back.
This creates problems maintaining balance and causes the fall.
A person unaware that he should keep his head back in order to avoid Ukes arm will of course be
hit.
A harsher way of applying this technique is to actually hit the Uke in the face with the elbow.

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Ryote Tori Kokyu Nage

The Breath Throw Response to Both Hands Being Seized

Tori and Uke face each other in Shizen Tai.
Uke steps forward and seizes both of Toris wrists.
Tori yields to the grabs as Uke presses forward.
Tori will raises his right hand up over the left.
Tori keeps the left hand closer to his left side.
Tori now steps behind Ukes left leg and throws with Kokyu Nage .
Uke falls to his back.
Kuden
Keep the right hand higher and the left hand lower.
As before extend your right arm over Ukes chest to draw his head back.
Always keep the back of the hand and arm facing Uke.

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Ryote Tori Kokyu Nage as a Projection Throw.

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Katamune Dori Kokyu Nage

The Breath Throw Response to a Chest Grab

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward and seizes Tori lapel with his right hand.
Tori steps forward with his left foot and depending on the distance may step back slightly with
the right foot.
At the same time, Tori will drop his center low by bending his knees and bring his left arm over
the top of Ukes right.
Tori sinks down low as if to gather energy and breathes in.
Tori will now open his arms like a flower opening and extend them over Ukes left shoulder.
Tori may step behind Ukes right foot with his left as he does this but it may not be necessary to
adequately throw Uke.
Tori rotates his hips to the left, and breathes out to throw with Kokyu Nage.
Uke falls to his back.
Kuden
If one is grabbed by the chest with both hands, this technique can be applied also.
Keep the back straight and dont bend forward.
Bend at the knees and not at the waist.

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Mune Tsuki Kokyu Nage

The Breath Throw Response to a Chest Punch

Tori and Uke face each other in Hidari Ai Hanmi
Uke steps forward with his right foot and punches to Toris chest or stomach with his right fist.
Uke slides steps slightly offline forward and to the left.
Toris right hand will guide Ukes right wrist downward using the web of the hand between the
thumb and index fingers.
The left hand will immediately shoot in across Ukes face and left shoulder.
Uke will have to move his head back of be hit.
Once his head moves back far enough he can no longer keep his balance as his hips are still
accelerating forward.
Uke will fall from Kokyu Nage.
Kuden
The left arm will take the space previously occupied by Ukes head.
The edge of the forearm (inner or outer side) may be used to strike the neck or head.
There is a shearing motion as the right hand draws in and the left hand extends out.
This is simultaneous defense and offense.
While training, the Uke will learn to move his head back to avoid being hit.
This is a self-defense skill that must be learned from Kokyu Nage.

Move off line and at the same time shoot past

Ukes head and left shoulder with the left hand.

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Shomen Uchi Kokyu Nage

The Breath Throw Response to a Strike to the Forehead

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and attempts to strike Tori on the forehead with a
downward strike.
Tori steps forward with his left foot, and forms a triangular shape with both arms creating a
wedge that Ukes strike will slide past.
Tori will now turn abruptly and guides Ukes right arm down with the edge of his hand.
Toris left arm will follow.
Tori sinks down and then rises as if collecting his energy.
With a release of gathered energy, Tori turns counterclockwise at the waist and extends out over
Ukes head.
Uke is thrown backwards with Kokyu Nage.
Kuden
In all Shomen Uchi techniques the Uke could use a weapon such as a club, knife or bottle.
The technique is even the same for a defense against a downward cut with the sword.
One must slide past Uke like two Japanese sliding doors.
Rather than extending the arm out it should be noted that one could strike with the elbow (the
left in this case) for all Kokyu Nage techniques like this.

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Yokomen Uchi Kokyu Nage

The Breath Throw Response to a Strike to the Side of the Head

Tori and Uke face each other in Hidari Ai Hanmi.
Uke steps forward with his right foot, and strikes to the side of Toris head with a right diagonal
strike.
Uke comes with a lot of momentum.
Tori sees Uke coming and starts moving to the right.
This causes Uke to reset his target in motion causing him to begin tracking while still moving.
This example presents a circular attack on a moving target.
This is not a linear attack.
Both Tori and Uke turn within the space facing opposite directions as Tori mirrors Ukes
movement.
Tori intercepts the strike and guides it to his center with both hands.
Tori will now step forward with his left foot and pass his left arm over Ukes right arm.
Tori will bend his knees and sink down before rising up, turning his hips and throwing Uke.
Kuden
Representing motion in still frames is a challenge.
One must see this actually demonstrated and this will make better sense.
Since the strike carries a lot of momentum, the strike is diffused by making it continue on its path
following in a spiral around.

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Zenpo Geri Kokyu Nage

The Breath Throw Response to a Front Kick

Tori and Uke face each other in Hidari Ai Hanmi.
Uke steps forward and attempts to kick Tori in the stomach or chest with a front kick.
Tori will step forward with his left foot and back with his right at a 45 degree angle facing slightly
to the right to get off line of the attack.
At the same time, the incoming kick is caught from the inside and guided to the right hip.
Tori will slide forward and extend his arms over Ukes chest and head throwing him with Kokyu
Nage.
Kuden
By moving back a few inches by shifting your weight to you rear leg, the power of a front kick can
be diffused.
Therefore, by shifting forward one is given even more distance when shifting back.
Being only a few inches off is all that is necessary to potentially imbalance the adversary.
As his kick comes in it is though the energy were inhaled by Tori.
Uke naturally feels as though he kicked something that is now not there.
It is like leaning on a door that is not completely closed and falling through the doorway.
As Ukes foot is caught, he may think to pull back and it is at this moment that he is thrown with
Kokyu Nage.
Breathe in the opponent and then breathe out to throw him.
On one leg the adversary can easily be knocked over.
Variation
Tori moves forward and to the outside of the kick as described above.
This time however he will catch the kick from below with both hands.
Toris right palm will be under the foot and the left hand under the calf.
When the power of the kick terminates, Tori will turn his hips and shoulders to the left and
throw his arm up.
This throws Uke backward onto his back.

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Variation

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Chapter 11
Irimi Nage
Entering Throw
Irimi Nage means entering throw. These techniques are characterized by a bold entry.
Typically a slight angle offline is used to come forward into the Ukes space. Often the Uke is
turned or spun around only to be thrown to the ground on his back. Irimi Nage is perhaps one
of the hardest techniques to learn and one should practice it well slowly and work up to an
increased flow with rhythm and speed.
Irimi Nage is one of the hardest techniques to learn. One factor that may impede ones
understanding of the technique is the fact that there are many variations which each have
their own challenges. Another factor is that it is often unclear what is actually happening in
the technique. The word irimi means to enter and this is an idea central to Aiki based
styles. Rather than avoiding an attack by retreating, one enters into the attack. To most this
would seem unthinkable but this does not that one walks into harms way. One essentially
moves by it and then turns around.
Japanese home consists of partitioned rooms divided by sliding doors. One door slides past
another smoothly without conflict. This is the feeling of Irimi Nage. As an opponent
attacks with forward motion, one enters by sliding by the attack. Because the attacker is still
in motion at the time any connection to the opponents center combined with a sudden turn
will imbalance the attacker and cause his body to suddenly change course.
If the first component of this technique is entering by sliding past, and the second
component is a sudden turn to take the opponents balance, the third component is to sink
and then rise to cause the attacker to fall. This occurs in a vertical arc. Because all of this
happens almost instantly, one can begin to understand the complexity of the technique and
all of the factors that could easily go out of control.
Lets take a moment to examine what Irimi Nage is not. It is not a way to clothesline the
opponent by sticking out your arm and the opponent runs into it. It is not a way to grab the
opponent by the shoulders to yank him off course and throw him down. These are the two
most common mistakes among beginners and advanced students respectively.
Please study the pictures on the next page. They show how the Ukes head is placed to the
shoulder as he is turned and how to raise your arms to create a vertical arc while throwing
him. This will all take time and may take years just to get better at much less master.

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Katatate Irimi Nage

The Entering Throw Response to the Hand Being Seized

Tori and Uke face each other in Migi Ai Hanmi.
Uke steps forward and seizes Toris right wrist with his left hand.
Tori will cross step forward with his left foot, move his right hand to the left and press the side of
Ukes left elbow to his body.
Tori frees his right hand as his right foot goes forward deeply behind Uke.
Tori turns to face the same direction as Uke and lightly cups Ukes ear and moves his head to
Toris left shoulder.
Tori will now step back deeply with his left foot and lower his hips.
This will cause Uke to fall backwards and turn into an empty space.
Uke turns and comes up to regain his balance.
At this moment, Uke is thrown with Irimi Nage.
Kuden
To practice the feeling of how Uke should fall back, practice this with a partner.
Stand behind your partner and tilt one of his shoulders down.
Lightly pull both shoulders back so that your partner loses his balance.
Get out of the way because your partner will back-peddle looking for his balance until he
suddenly turns around and then rises up again.
Only by turning around and rising will he find his balance.
It is at this moment and in this position that this Irimi Nage throw is made.
Throw the Uke by reaching across the line of the jackets lapel with the radial side of the left
forearm.
Repeat this until you can manipulate his balance well.
Uke should practice keeping his feet moving under his shoulders.
Failure to do this will certainly result in lack of stability.

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Kosa Dori Irimi Nage

The Entering Throw Response to a Cross Grab

Tori and Uke stand in Gyaku Hanmi.
Uke steps forward and seizes Tori opposite hand.
Tori turns his right hand palm down and his hips to the right.
This has the effect of turning Ukes torso away to the side and exposing his backside.
Tori steps in with his left foot to Ukes rear right quandrant, and faces the same direction as Uke.
Tori will now place the base of his index finger and hand on Ukes neck just below the ear with
his left hand and gently move Ukes head to his right shoulder.
Toris other arm can be extended out or may be down as shown.
Tori will now turn his hips and feet 180 degrees to the left.
Toris right hand will rise and pass over Ukes chest and left shoulder.
This will cause Ukes back to arch and his head to go back to avoid being hit.
Tori will then step forward and extend his arms for the Irimi Nage.
Kuden
Ukes back must be arched and his head must be made to go back.
For young people this is easier.
For middle-aged people who have less flexibility in their spine, this may not be possible and may
affect the usefulness of this technique.
Some people will try to turn away rather than arching their back.
This is dangerous as one should never turn away from a view of your opponent if possible.
Uke can be hit in the face with the bicep as the right arm throws him.

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In the picture at the top of the page the arm that is going across Ukes chest can be doing a variety
of things. If one practices kindly with beginners, there is no real contact being made. For real
defense purposes this could be a strike done with the bicep as the arm goes form a bent position
and is straightened abruptly. The hand could clip the chin or throat getting to this position. One
could also use an elbow or other hand strike. These strikes in Japanese are called atemi.

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Ryote Tori Irimi Nage

The Entering Throw Response to Both Wrists Being Seized

Tori and Uke face each other in Shizen Tai.

Uke seizes both of Toris wrists.
As the wrists are just to be grabbed move the left hand across to the side of the right arm and pull
the right hand back beyond Ukes reach.
In this position Uke will not get a good hold on either hand.
Use the edge of your left hand to cut across and down in a clockwise semi-circle to the outside of
Ukes left arm.
This will move his whole body sideways.
Step forward with you left foot and then behind Ukes left foot with the right foot so that you are
on Ukes left side.
Tori will then move Ukes head to the left shoulder with the right hand on the neck.
Tori steps back with his left foot and lowers his hips.
Tori has moved out of the way so Tori will fall into this open space created by stepping back.
This sends Uke falling backward.
Since his left shoulder in lower he will turn around as he falls backwards.
As he rises to regain his balance, Tori will throw with Irimi Nage.
Kuden
This is not a standard technique for doing Irimi Nage.
However, one must be able to get to just about any technique using the basics.
The cutting motion which turns Ukes body is reminiscent of a motion used to flick the blood of
of a sword called chiburi.

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Katamune Tori Irimi Nage

The Entering Throw Response to a Chest Grab

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward and seizes Toris left lapel with his right hand.
Tori turns his hips to the left and moves his right hand across past Ukes right arm.
Tori now moves his hips back to the right and his right goes under Ukes arm above the elbow.
This causes Ukes elbow to bend and Uke is locked up painfully.
Tori can now use strikes (atemi) or pressure points (kyusho) to the face.
Place the base of the left index finger just below the ear on the neck.
This point in a pressure point called dokko.
Tori then steps forward deeply behind Ukes right leg to throw him.
Ukes arm is still entangled and may break so proceed with caution.
Kuden
This employs the cutting motion described in the previous technique.
This motion should always be done in unison with the movements of the hips.
It cannot be done correctly with strength.

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Mune Tsuki Irimi Nage

The Entering Throw Response to a Chest Punch

Tori and Uke face each other in Migi Gyaku Hanmi
Uke steps forward and punches to Toris chest with a right punch.
Tori steps forward and to the left to enter with his left foot to get off line of the punch.
Ukes punch will slide by Toris right side but inside his right arm.
Tori will then suddenly turn clockwise to the right while at the same time scooping up Ukes head
by cupping his ear and bringing the head to his right shoulder.
Uke is swept up in the turn.
As Tori with the Tenkan movement his right foot goes back and he faces the same direction as
Uke when the attack started.
Tori now steps forward with the right foot and throws Uke to his back.
Kuden
As you turn Ukes right arm is lightly pressed to your side and this is instrumental in turning him.

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Shomen Uchi Irimi Nage

The Entering Throw Response to a Strike to the Head

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and strike down towards Toris forehead with a right open
hand strike or with a weapon.
Toril will step forward with his left foot and raise his hands up to create a triangular wedge to
protect his from the strike.
This movement forward and off line gets Tori out of the way.
Tori will pivot and turn around guiding Ukes attacking hand down with his right hand.
Tori places his left hand on Ukes neck or cup his ear and brings it to his right shoulder.
Tori will step back with his right foot and lowers his hips.
Uke falls backwards but his shoulders are not level so he turns himself and tries to regain his
balance.
Just before he rises enough to regain his balance he is thrown with Irimi Nage.
Kuden
Most of the problems with Irimi Nage come from these problems.
If Uke strikes down and you are applying any counter tension to his arms, his motion will stop.
The solution is to slide by Uke.
If you are grabby and try to man-handle Ukes neck, he will resist.
The solution is to guide and not force so keep a light yet firm touch.
If you dont get out of the way, Uke doesnt have a space to fall into.
The solution is to get out of the way.
If Uke is running into your arm extended out to the side like a clothesline you are not doing it
right.
The solution is to keep your throwing arm in front of you and not let it go out to your side.
You will accomplish this by moving your body in relation to your arms correct position.
Practice this slowly step by step over and over again.
If you are doing it correctly your Uke will feel like he has been caught up in a whirlpool.
If your Uke feels like a pinball, it needs more work.

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Yokomen Uchi Irimi Nage

The Entering Throw Response to a Strike to the Side of the Head

Tori and Uke stand facing each other in Hidari Ai Hanmi.
Uke steps forward with his right foot and strikes to the left side of Toris head with his right hand.
Tori enters in directly by jamming Ukes right arm as it is pulled up and back to strike in.
Tori presses in with the edge of his hand or forearm into Ukes right inner arm.
This stops has attack from the onset.
Tori then steps forward with his right foot behind Ukes right foot and at the same time will either
do Irimi Nage as shown in previous techniques or will strike the face with the palm or fist.
Uke falls to his back.
Kuden
This is not done with a one, two, three count.
The movements blend into one continuous movement.

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Tori jams up the right arm and enters with an elbow to the chin.

Tori jams the strike and uses the heel of the palm to Ukes face.

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Yoko Geri Irimi Nage

The Entering Response to a Side Kick

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward and attempts to kick Tori in the chest or stomach with a Side Kick.
Tori will make a sliding step back with first the left foot and then the right foot.
This will cause Ukes kick to fall short of its target.
As Ukes leg comes down from the kick, Tori leaps with his left foot behind Uke and then the
right foot follows.
At this point Tori is behind Uke.
Tori seizes both of Ukes shoulders and pulls back and down.
Uke falls to his back.
Kuden
In this technique Tori will in one jump twist and pull Uke to the ground.
Practice leaping until this can be done smoothly.
Variation
Uke attempts to kick Tori in the chest or stomach with a Side Kick.
Slide step back and cross the hands blocking the kicks with what is called an X-Block.
Use the left hand to rotate the foot so Ukes leg turns over and his knee is facing down.
Surge forward to cause Uke to go face first to the ground.

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Nidan Syllabus
Techniques for Promotion to
Second Degree Black Belt

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Chapter 12
Techniques against Strikes and Kicks
At this level one should have the ability to flow easily from one technique to another and be able
to use all eight basic techniques against the attacks presented in this book. You will become the
most skilled at the techniques that you practice the most often. If you practice these techniques
over and over again you will see that they keep teaching new information. They are sources in
and of themselves of inspiration. Practicing with different partners will alert you to the
differences among people and the adaptations that you will need to make for these techniques to
work on all types of people. Aiki is about feeling and one technique does not express itself
exactly the same on every person.
The advanced techniques were placed in this section because they are more difficult, but also
because they are built upon a foundation. Some of them may look easy but each one presents
itself with different challenges. Other attacks are included in this section that were not previously
discussed. With regards to the techniques against strikes and kicks shown in this chapter, enter
decisively from the very beginning.

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Men Tsuki Ude Ori

Arm Break Response to a Head Punch

Tori stands in Migi Hanmi as Uke steps forward to attack with a right punch
Tori will step to the left slightly to get off line of the punch and scissor Ukes punching arm
at the wrist and above the elbow.
The arm is broken with a snap.
Kuden
Punching with the fist horizontal leaves the arm vulnerable to a being broken with a shear
force.

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Men Tsuki Te Katana Uchi

Hand Sword Strike Response to a Head Punch

Tori stands in Hidari Hanmi as Uke steps forward to attack with a right punch
Tori will step to the right slightly to get off line of the punch, turn his body to the left inside
the punch, and shield himself with his forearms.
Tori will then strike into the Ukes temple using the edge of his right hand.
Kuden
The block and the strike should happen in rapid succession with a turn of the hips.
Be careful of the opponents left hand.

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Mune Tsuki Hiji Osae

Pinning the Elbow in Response to a Chest Punch

Tori and Uke face each other in Hidari Ai Hanmi.

Uke steps forward with his right foot and punches to Toris chest.
Tori takes a slight step forward with his right foot forward and to the right to get off line of
the punch.
Tori intercepts Ukes hand from the top with his right hand.
Tori will proceed in the same way Nikkajo except Tori will hook his entire left elbow over
the right punching arm trapping it in his armpit.
Tori applies downward pressure to the Ukes wrist and arm using his torso.
Kuden
This is great to use on a much stronger opponent.

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Mune Tsuki Ude Gyaku

Locking the Arm Response to a Chest Punch

Uke steps forward with a right punch while Tori is in Hidari Hanmi.
Tori uses his left forearm to parry the punch to his right.
Tori seizes Ukes right wrist with his right hand and attempts to apply an Ikkajo arm bar.
Uke resists so Tori throws Uke by placing a lock on the elbow and wrist.
This is done by allowing Uke to bend his arm while he resists and bending the Ukes wrist.
Tori will step in with his right foot and then pivot and turn to throw Uke to the ground on
his back.
Once Uke is down, Tori maintains the wrist lock and presses Ukes elbow against his body
to increases the pain.
Kuden
This technique teaches Tori to make the best of a situation in which he was not prepared.
Also, if one meets with resistance, Tori learns to make the best of it and pursue another
path.
Tori should beware of Uke striking with his left hand.
To avoid this Tori strike into Ukes face with the right hand that is holding Ukes right wrist.
The right elbow could also be used to keep a left punch off of you.

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Brushing and Slashing

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward and punches to Toris face with his right hand.
Tori will raise his forward right hand up and brush the strike by from the outside.
Once Toris hand is up, he strikes downward and outward from his left to right with a
cutting slash of his hand across Ukes right side.

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Entering and Chopping

When an opponent attacks with a Yokomen strike, mirror his motions and strike with a
Yokomen of your own. This is typically done is such techniques as Yokomen Uchi Shiho
Nage and Yokomen Uchi Kote Gaeshi.
In the picture below, a simultaneous open hand block is performed with the left hand and a
right open hand strike to the opponents neck. Simultaneous defense and attack is a
characteristic of this system.

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Passing and Striking with the Elbow

A commited right punch can be pushed with the palm from the outside if one has the
courage to enter deeply. Here the side is struck simultaneously as the punch is parried.

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Gyaku Tekubi Dori Ude Garame

Entwining the Arm Response to a Reverse Grab on the Wrist

Tori stands with his arms up at grappling distance from Uke.
Uke grabs Toris left forearm just below the wrist with his right hand.
Tori steps forward and to the left with his left foot as he reaches under Ukes right arm.
Tori will hook the bend of his right elbow behind Ukes elbow and pull back.
This motion breaks Ukes structure.
Tori will seize his own left wrist with his right hand effectively locking Ukes elbow in place.
Tori then steps in behind Ukes right leg, turns his hips to the left and throws Uke down to
the ground on his back.
Tori will finish by dropping on Ukes ribs with his right knee while maintaining the lock on
Ukes arm.
Kuden
Tori must move out of range to the left and beware of Uke counter-punching with his left
hand.
An alternative is strike Uke with the right hand before entering.

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Mawashi Geri Te Tsuki

Hand Thrust Response to a Round Kick

Uke executes a kick with his rear leg from a left Hanmi.
Tori will diffuse the kick by stepping forward and to the right and deflecting the kick at an
angle with his left arm.
Tori will thrust into Ukes right inguinal ligament of the kicking leg with a thrust of the
fingertips to knock him down.
Kuden
The inguinal ligament is located between the groin and hip where the abdomen and pelvis
meet the thigh.
This area contains nerves, arteries and lymphatic vessels.
Thrust into the area as though your hand were a blade.

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Mawashi Geri Tai Otoshi

Body Drop Response to a Roundhouse Kick

Tori stands in Migi Hanmi as Uke attacks with a right Roundhouse Kick.
Tori leans forward and to the right as he puts his right arm out to the side at an incline.
This will insure that the kick will not land flush.
Tori will bend his left elbow catching the kick in the bend of his elbow.
Tori will seize Ukes jacket at the right shoulder, turn and sweep Ukes standing left leg.
Uke falls on his back.
Tori will then drop with his right knee into the Ukes groin.
Kuden
For safety purposes stick to Uke as he falls.
The Uke should be careful to keep his head up when he falls so as not to injure his head.
In a real encounter one would not hold onto the Uke and the fall is very violent.
Be careful and practice on a soft surface.

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Yoko Geri Sankajo

The Third Lesson Response to a Side Kick

Tori stands in Migi Hanmi
Uke attempts to deliver a Side Kick to Toris chest with his rear right foot.
Tori slide-steps back and parries the kick away to the right by the brushing the heel past.
Tori slide-steps forward to behind where Uke will place his right leg after the kick and seizes
his right wrist.
Tori swings Ukes right arm out to the side behind Uke and then lowers it swiftly throwing
Uke to his back.
Kuden
If Uke struggles when you seize his wrist, punch him in the face with the same right fist.
Then seize Uke by the throat or chin and throw him back as you step behind his leg.

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Yoko Geri Atama Dori

Head Capture Response to a Side Kick

Uke executes a Side Kick with his rear leg from a left Hanmi.
Tori will step back and deflect the opponents heel to the right to avoid being kicked.
Tori will then slide step forward with his right foot behind Ukes right leg and at the same
time reach out and pull Uke in by his forehead.
Tori pulls Ukes head to his right shoulder and then takes a short step back to imbalance the
Uke.
Tori can now to his right to turn around while striking Uke in the face with an elbow strike
or dropping him using an Irimi Nage type throw.
Kuden
Like most techniques this requires superb timing.
Snatch the head to your shoulder and control the opponents structure and balance.

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Chapter 13
Control Techniques
Control Techniques are used to arrest and detain individuals. Such an individual may be someone
who is causing trouble and needs to be removed from an area. These skills may be useful to
someone in law enforcement or bodyguards. Compliance should ideally be achieved by subtle
persuasion being friendly but firm in the manner in which you speak to others. One should avoid
a test of wills which leads to a physical confrontation. If physical contact becomes necessary, it
should be done in such a way that only the appropriate amounts of force is used. Try at this level
to seize the opponent using only the thumb and one other finger. Avoid grabbing control your
partner as much as you can using your whole body and not just your hands and arms.
Here are some suggestions for exercises one can practice before beginning this section.
1. Verbal Commands
Students can break up into pairs. One student walks to the door from across the room and the
other student must get the other student to stop using only verbal commands. The student
walking to toward the door will begin to slow down once he hears that he has been spoken to
directly and will stop when he feels that the commands were given firmly and in an authoritative
way. This practice does not insure that verbal commands will always work, but it does insure that
one exhausts this option effectively as an alternative. Some students may have never had to
speak up and get others attention in a firm manner and this is not as easy for some as it may
sound.
2. Routing
Again, students can break up into pairs. One student will again walk towards the door and
another student will intercept the student as he walks toward the door. Using body positioning
only the student will work on being able to stop the other person as they walk towards the door.
The student trying to get to the door will slow down once he is aware that the other person is
approaching and stop completely once the other student blocks a direct path to the door. This
does not insure that the person will not just keep walking. Both people should give each other
feedback and let each other know what is working and what is not.
3. Friendly Contact
Students can break up into pairs and again one student will try to cross the room to make it to the
door. The other student will route the other student and use verbal commands or questions to
slow his advance. The student may make only light contact with the palm of his hand to stop the
other persons advance. This may include touching the side of the persons arm, the back or chest
area as necessary. One may also reach out to shake the persons hand. Ideally one would want to
encourage the person to turn around or go a different way, and this can also be practiced in
addition to this exercise.

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Guinomi Kuden

The Oral Transmission of the Sake Cup

This refers to how the hand is held in variations of Sankajo.
When the fingers are gripped tightly they are brought to ones center and resemble someone
sipping sake.
This is an example of an arrest or come-along technique.
Tori approaches Uke and seizes his fingers of that his palm is one the backside of the fingers.
Tori will compress the fingers tightly and and then turn Ukes hand over to the inner side of the
forearm is facing up.
Tori may then get Ukes cooperation as Uke rises to his toes.
Tori may also raise Ukes hand up and then extend out for a projection throw.
Kuden
Take the left side before the right because most people who are married will be wearing a ring
which will add to the pain of the fingers being compressed.
Hold a cup without a handle and notice how the index finger wraps around the top of the cup.
This way of grasping the hand and bringing it upward towards the chest or face as if to take a sip
of sake is where this gets its name.

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Transitioning from Guinomi Kuden to Sankajo

Pivot and turn and then end by pressing at the elbow.

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Nikajo Gatame

The Seond Pin Entrapment

This could be used against a sleeve grab (Sode Tori) or a chest punch (Mune Tsuki).
Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and attempts to punch Tori in the chest or stomach.
Tori slide steps forward and to the left with his left foot to get off line and at the same time sweep
Ukes punching arm to the outside with the edge of his left hand (Te Katana).
Tori will continue to move his left hand around Ukes right elbow trapping his arm.
Tori pivots and turns taking Uke to the ground.
Kuden
This should be done in one continuous motion.

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Tori guides Ukes hand to the side when he punches.

Tori hooks the elbow and keeps it straight to lock it.

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Another View

Entering in and moving the arm to the side.

Turn trapping the arm.

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Oguruma Nage
Wheel Throw

If Tori steps forward to grab or punch, intercept his wrist the right hand and his elbow with the
left hand.
Tori puts his left fingers in the bend of the elbow.
Tori bends his elbow by bring his hand over Ukes right shoulder.
Tori will bend Ukes wrist as he does this and step forward with the right foot.
Ukes balance is broken and he leans to his right rear quadrant.
As Tori steps his elbow his Uke in the jaw.
As Uke continues to turn his hips, Uke falls on his back.
Kuden
Dont grab the wrist tightly.
Use your thumb and one finger (index or little finger) to hook the hand where is joins the wrist.
This is called Tsuribari Kuden.
By pressing the hand towards the body when bent will cause extreme pain.
The application as of this method is employed here in a technique.
In Daito Ryu the fifth basic pin called Gokajo.

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Variation

Rather than turning the hips and stepping forward with the right foot to enter in behind Uke as in
the previous technique, one can step behind Ukes right foot with the left foot and compress his
wrist with both hands as shown against your body. This will get Uke up on his toes to relieve the
pain if you are doing this correctly.

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Hiji Dori

Seizing the Elbow

Tori and Uke face each other in Shizen Tai.
Tori walks up to Uke and seizes his right forearm just above the wrist with his right hand.
Tori steps to the rear of Ukes right foot with his left foot.
Tori pivots and turns to face the same directions Uke while at the same time he brings his
left arm over the top of Ukes right elbow.
Tori pulls down on Ukes wrist and raises up on the elbow at the same time.
This causes Ukes fully extended elbow to by hyper-extended.
Tori can now suddenly turn his hips counterclockwise and drop to his right knee.
Uke is thrown over Toris left knee behind Tori.
Kuden
This technique could be adjusted to use against a cross wrist grab or a right punch to the
chest.
In this case the technique is an arresting technique.
Most people who have difficulty with this are trying to pull up on the elbow too much rather
than pulling the hand down and getting the forearm into a vertical position.
If the hand is pulled down Uke will rise to his toes and arch his back because of the
discomfort.

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Kote Hineri

Twisting the Wrist

Tori and Uke face each other in Shizen Tai.
Tori walks up to Uke and seizes his right hand.
This could be done from a handshake.
Tori steps forward with his right foot to the outside of Ukes right foot.
Tori continues to turn counterclockwise so that Ukes right hand is twisted like a Kote
Gaeshi.
As Tori is about to turn all the way around to face Uke he uses the other hand to reinforce
the hold.
Tori continues stepping in the direction of Ukes right rear quandrant.
Uke is thrown and Tori pursues Uke.
Uke is restrained face down with right arm vertical and the wrist compressed by both hands
at a 90 degree angle.
Kuden
This throw is made by the continous turning of the body.
You must turn completely around to sufficiently bend Ukes wrist enough to take him down.
Variation
If Uke cross grabs the wrist this technique could also be done.

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Atama Dori

Taking the Head

Tori and Uke face each other in Migi Ai Hanmi.
Tori steps deeply behind Ukes right leg and seizes Ukes right hand with his right hand at the
same time.
Toris right hand enters across Ukes neck and extends over his left shoulder.
Toris immediate entry imbalances Uke and throws him backwards.
Kuden
This technique is sort of a combination of Irimi Nage and Kokyu Nage combined.
The Uke should fall with one swift entry.
The throw is made by Tori stepping so far into Ukes space that he cannot maintain his balance
when his head is forced to go back by Toris arm being extended.
Variation
Rather than throwing Uke with a powerful entry forward, Tori may turn his hips
counterclockwise to the left.
At the same time he will bend his left elbow and capture Ukes head in his armpit.
The right hand still holds Ukes right wrist.
As a result of this hold Ukes back is arched and he is basically supported by Tori.
At this point Uke could be taken along in custody or simply dorpped.
Uke could be dropped on Toris bent knee if he steps back and kneels.
This of course would injury Ukes back.
Tori could also be dropped by stepping back with the left foot and letting go of the head.
As Uke falls back, his elbow breaks on Toris thigh.
Tori slides the arm down his leg and uses the shin as a fulcrum to flip Uke over on his stomach.

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Tori turns Ukes hand to the side so that he may enter.

From this position Uke can be thrown to his left side or Tori may
seize Ukes head with his left arm.

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Gyaku Hiji Nage

Elbow Reversal Throw

Tori and Uke face each other in Migi Ai Hanmi.

Uke steps forward and seizes Toris right wrist with his right hand.
Tori cut out to the side with the edge of his hand (tekatana) like sword turning Ukes shoulders.
Tori steps forward with his left foot to the outside and next to Ukes right foot.
Tori then pivots, turns and steps back with the right foot to face the same direction as Uke.
As Tori makes the left step forward he will bring his left arm deeply under Ukes right arm.
Ukes right hand will be brought near to Toris right hip.
Tori slide steps forward and to the left throwing Uke at an angle.
Kuden
Uke is thrown slightly forward and to the left at an angle.
Tori brings Ukes right arm into hyper-extension as he is moving.
This causes Uke to rise to his toes and step forward into a roll as he is projected.

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Chapter 14
Advanced Throws
Each of these techniques offer their own risk of injury to the Uke making them more
dangerous than other types of throws. For this reason, they are taught at a higher level. By
this time practice can be conducted in a more vigorous and dynamic way in which the Uke
may run up to Tori to attack. Tori will use this momentum to project or throw the Uke.
Because of the increased speed the force of the technique is increased. This does not mean
however that one needs to use more strength. In fact the opposite is true. These
techniques require that both Tori and Uke are mindful of their own abilities and the abilities
of their training partners. Each trainee should also be mindful of their own safety and the
safety of others training around them. Accidents often do not happen doing the most swift
or dynamic techniques. Accidents usually occur when people make small mistakes
unintentionally that have larger consequences. For instance, once I turned and my foot got
caught on the mat somehow resulting in a torn ACL (ligament) in my left knee. Another
time, my toe got caught momentarily on my hakama (large trousers) resulting in a poor fall
which injured my shoulder. The bottom line is that one must be mindful at all times. This
mindfulness is sometimes referred to as Zanshin.

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Seoi Otoshi

Carrying on the Back and Dropping

This throw can be done against a cross grab (Kosa Dori) as shown but can also be done against a
strike to the side of the head (Yokomen Uchi).
Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward and seizes Toris right hand with his right hand.
Tori will cut to the right with his hand sword to turn Ukes shoulders and present an opening.
Tori steps forward with the left foot in between Ukes legs and at the same time Tori brings his
left arm up between Ukes legs.
Tori hold Ukes hand so that his wrist is bent.
Ukes arm is hyper-extended over Toris back.
Tori will lift Uke using his legs and throw him over his back and hips.
As Tori does this he will will lift with his left arm and pull down with his right arm.
Kuden
If Uke holds onto Tori and tucks his head, he will land on the ground safely.
If Uke tries to save himself in mid-air he is likely to fall on his head and be injured.
Uke should let Tori do this throw very slowly and learn to take the fall easily.
This is not a hard fall to take although it doesnt look that way.

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Yokomen Uchi Koshi Nage

Hip Throw in Response to a Strike to the Side of the Head

Tori and Uke face each other in Hidari Ai Hanmi.

Uke steps forward with his right foot and attempts to strike Tori in the temple with a right
Te Katana (Edge of the Hand).
Tori raises his left hand to intercepts and guard against the strike while he switches the
placement of his feet.
Tori does not stop the flow of the strike but rather redirects its flow downward past his
center knot and passes the Ukes arm to his right hand.
Tori will now step forward with his left foot to enter for a throw.
Toris left arm will go around Ukes waist.
Tori will bend his knees and bend to the side so that Uke can be loaded onto the left hip.
Tori will then throw Uke over his hip onto the ground.
Kuden
Practice the passing of the Ukes arm until this happens smoothly before you ever attempt to
throw.
Practice loading the opponent on the hip smoothly before ever attempting to throw.
Make sure that the Uke knows how to take the fall correctly before throwing him.
The Uke must land on his back and not his head which requires that he turns as he is
thrown.
Uke may hold onto to Tori during the throw must let go once his is about to fall.
Tori should remain upright after the throw and not be pulled forward.

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Chapter 15
Defending Attacks from the Front
Each grade level before Shodan or First Degree Black Belt offers students different ways to
deal with scenarios in which someone has attacked or grabbed you from the front. At this
level we will see a larger variety of attacks from the front and how one can use both old and
new techniques to successfully overcome assailants. One might notice that these techniques
may be harder to perform in some cases and may not always resemble something you have
already learned. Sometimes the techniques may seem more technical or more aggressive in
nature. This is to be expected because by this time you will be less preoccupied with getting
down basic movements and are hopefully able to respond to new information with a more
developed sensibility about how to move your own body in relationship to your training
partners.
It is common that when people train with each other that each person does a technique
three times and then it is the other persons turn. Unfortunately, some people only think it
is their turn when they get to do the technique. The rest of the time they just allow
themselves to be thrown as they wait until they can go again. Try and think how you can be
better as an Uke and not just focus on making your technique better as a Tori. This does
not mean being an overly compliant Uke nor does it mean being an overly resistant one. Try
and give your partner a clean attack that is not to fast or too slow. Do not be tricky or
resistant. If a technique is not working go with it and explain afterwards to the Uke what
you felt and where they might have gone off track. Do not attempt to teach the technique
because this is the responsibility of the instructor. You can however, give constructive
feedback and be helpful. Above all else, training should not have a competitive spirit.
Constant correction and an uncooperative Uke with a you cant catch me attitude will only
frustrate a students training. Practice together and help your classmates improve and this
will create an environment where everyone works together and becomes better.

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Katate Dori Kaiten Nage

Turning Throw Response to a Single Hand Being Seized

Tori and Uke face each other in Migi Ai Hanmi.
Uke steps forward with his left foot and seizes Toris right wrist with his left hand.
Tori steps forward and to the right with his right foot and strike Ukes face with his left fist.
Tori steps forward with his left foot, goes under Ukes left arm and turns.
Tori now will take a deep step back with his right leg while still holding on to Ukes left wrist.
Tori uses his left hand as a sword (Tekana) to cut down at Ukes neck.
Tori raises Ukes left arm vertically and keeps Ukes head down.
Tori steps forward deeply with the right leg and throws Uke forward with Kaiten Nage.
Kuden
Raise the arm up vertically to make the head go down and not vice versa.
If you force Ukes head down he will naturally resist.
That is the most common mistake with Kaiten Nage.
At the moment Uke is thrown Uke right leg comes forward and Uke could be hit in the face by
Toris knee.
This creates an impetus for Uke to go into a roll.
Variation
When Ukes wrist is grabbed, Tori will rotate his right hand blade (tekatana) counterclockwise
around Ukes right hand as he steps back to draw Uke forward.
Tori moves his right hand into place so that Ukes wrist is in the web between his right thumb
and index finger.
Tori may strike to Ukes face (atemi) with the left hand.
Tori cuts down at Ukes neck while raising Ukes right hand vertically.
Tori steps forward with the right leg and throws.
(See variations pictures)

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Variation

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Yoko Katate Dori Nikkajo

The Second Lesson Response to the Hand Being Seized from the
Side

Tori and Uke stand shoulder to shoulder with Uke on the left side.
Uke reaches down and seizes Toris left wrist with his right hand.
Toris natural reaction might be to pull his hand away across his body.
This reaction is used to set up this technique.
As Tori pulls away his left hand across his body, he places his right palm on the back of
Ukes grabbing hand and then slips his forearm over the top of Ukes forearm.
Tori presses down with his left forearm causing Ukes wrist to bend in the form of Ikkajo.
Kuden
This technique as well as the last one make use of vertical arcs to create wrist locks.
Practice these smoothly and discover the arcs.

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Yoko Katate Dori Kote Gaeshi

Turning the Wrist Response to the Hand Being Seized from the
Side
The most distinctive difference with this way of seizing the hand is that the opponent must
grab with his hand turned over. In other words, he grabs Toris wrist in such a way that the
thumb side of his hand is down and the pinky side is up.
Tori and Uke stand shoulder to shoulder with Uke on the left side.
Uke reaches down and seizes Toris left wrist with his right hand.
Toris natural reaction might be to turn towards Uke and lift up the hand.
Ukes hold is too strong for Uke to just break away.
Tori then steps forward with his right foot and at the same time reaches under Ukes right
arm with his right hand and seize the back of Toris hand.
Tori will then cut down with both hands to his center which straightens Ukes locking out
his elbow and wrist.
Tori pivots and turns to his left to throw Uke down to the ground on his back.
Kuden
Again, cut down as if holding a sword.
By pivoting and turning, it takes the Ukes wrist past the end range of motion and his body
will allow itself to be thrown or suffer injury to the wrist.

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Ryote Dori Tenchi Nage

Heaven and Earth Throw Response to the Hands Being Seized

Tori and Uke face each other in Shizen Tai.
Toris right side is forward.
Uke steps forward and seizes both of Toris wrists.
Tori will step back and to the right with his right leg.
Tori yields when grabbed and as he is grabbed Uke comes forward naturally at Toris left side.
Tori will be firmly positioned and centered as he lowers his right hand and raises his left.
Ukes forward energy is split up and down.
His feet feel like going forward and his head feel like going back.
Uke falls on his back.
Kuden
This can be done statically but this would involve being able to rotate the palm left palm correctly
in a spiraling motion to raise Uke right elbow.
To do this let the Uke grab your wrists with your palms turned up, keeping the elbows close to
ones sides and then making a spiral with the right hand downwards and the left hand upwards.
Done with motion one feels as though one is diffusing Uke forward momentum by splitting in
between heaven and earth.
Point the index fingers towards heaven and earth.
Dont push forward into the opponents energy.
By yielding to the motion you will not meet resistance.
One can think of Tenchi Nage as two separate techniques in one.
The up or heaven side can throw an opponent and the down or earth side can throw an
opponent.
If you meet resistance on the heaven side then bend your knees to drop the opponent using the
earth side.
If the opponent gives you resistance on the earth side then throw him from the heaven side.

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Fukuto

Inside of the Knees

Tori and Uke face each other in Shizen Tai.
Uke steps forward and seizes both of Toris wrists.
Tori presents his palms towards Uke as he is grabbed.
Tori projects his index fingers and reaches up to seize Ukes wrist as though applying Yankyo to
both arms.
Uke rises to his toes from the pain.
He applies pain with both index fingers to Ukes radius bones and then suddenly cuts out and
down to both sides.
This causes Uke to stumble forward to his knees in front of Uke.
Kuden
The name Fukuto refers to the inside of the knees.
As Uke falls forward Tori could place Ukes head between his knees.
Ukes head would be locked this way while he holds Ukes arms out to the sides.
In the pictures Ive chosen to strike Ukes face with the knee.

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Sode Dori Tekubi Ori

Breaking the Wrist When Grabbed by the Sleeve

Tori and Uke face each other in Gyaku Hanmi.

Uke steps forward with his foot and seizes Toris right sleeve with his left hand.
Tori steps slightly to the right and raises his right hand.
Tori reaches under his right hand and takes the Ukes grabbing hand with his left hand.
Tori pivots and turns counterclockwise applying a Gyaku (reversal lock) on Ukes left wrist
and forearm.
Kuden
Extend you Ki through your open fingers and direct you energy outward with extension.
Apply pressure up as well but mainly outward.
The radial bone will be used as a weapon against the bones of the opponents forearm.

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Sode Dori Nikajo

The Second Lesson When Grabbed by the Sleeve

This technique uses a variation of Nikajo meaning this is a pinning version of the technique
Nikkajo.
Tori and Uke stand in Shizen Tai.
Uke steps forward and seizes Toris sleeve at the right elbow.
Tori will cover the grabbing hand firmly to his side and then move his arm downward to the
inside of Ukes arm.
This creates a painful joint-lock on Ukes wrist.
Kuden
There are two variations of this.
The first is pictured first here and shows Ukes right hand cutting down vertically to wrench Ukes
wrist.
The second is pictured next showing Tori moving his right arm horizontally across his body
creating a shearing of Ukes wrist.
Both techniques require that Tori keep Ukes wrist close to the body.
This is the key.

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Variation

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Sode Dori Hiji Maki

Wrapping the Elbow When Grabbed by the Sleeve

Tori and Uke face each other in Migi Ai Hanmi.
Uke steps forward with his left foot and seizes Toris right sleeve with his left hand.
As Tori is grabbed he steps back with his right foot and delivers a strike to Ukes face with a left
fist.
Tori then steps forward with his right foot deeply to Ukes left rear quadrant.
At the same time, Tori will pass his right arm straight forward over Ukes arm.
Tori scoops up Ukes left arm at the elbow with a straight arm.
Ukes arm bends painfully at the elbow.
Kuden
Keep the arm straight while scooping up Ukes arm.
It is natural to want to bend the arm, but use your hips to make this technique work and keep the
right arm as straight as possible.
If this is done correctly it will be very painful to the Uke and he will rise up to his toes.

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Sode Dori Hiji Osae

Controlling the Elbow When Grabbed by the Sleeve

Tori and Uke face each other in Gyaku Hanmi.

Uke steps forward with his left foot and seizes Toris right sleeve with his left hand.
Tori steps slightly to the right and raises his right hand out to his right.
Tori then seizes the nerve located above the bony protuberance on the inside of the elbow
with his left thumb.
As he applies pressure the Uke rises to his toes from the pain.
Tori will then go under Ukes left arm, pivot, and turn to the right.
Toris right arm can now press forward applying.
Kuden
Maintain control of the opponents elbow throughout the technique.
Control the opponent by leveraging his elbow upwards from behind.

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Katamune Dori Abara Uchi

Striking the Ribs in Response to a Shoulder Grab

Tori and Uke face each other in Gyaku Hanmi.
Uke steps forward with his right foot and seizes Toris left shoulder with his right hand.
As Uke attempts to grab, Tori takes a step back with his left foot and may strike Uke in the
face with a right punch.
Tori will then place his right hand on the back of Ukes grabbing hand and suddenly turns
his hips and shoulders swiftly to the right clockwise.
This will turn Ukes arm over a pitch his upper body forward.
Tori then delivers a right to left horizontal strike with the edge of his right hand to Ukes
ribs.
Follow up by applying a Ikkajo or similar armbar to Ukes right arm.
Kuden
Catch the timing of the step back so that you are not grabbed.
The sudden turn of the hips gathers potential kinetic energy that is released by strike to the
ribs.
Grab the opponents hand so that the fingers hook around the edge of his hand.
As you turn your hips you should have the feeling of trying to grind the bones of his wrist
together.
This technique is best done against the strongest of opponents.

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Katamune Dori Nikkajo Henka

A Variation of the Second Lesson Response to a Shoulder Grab

Although Nikkajo was already covered in the basics, we will cover another variation here
that is equally if not more painful.
To begin, Tori and Uke will face each other in Hidari Ai Hanmi.
Uke will step forward and attempt to seize Toris left shoulder with his right hand.
As Uke steps and he sees the grabbing hand coming in, Tori will step back with his left side
and assume a right Hanmi position.
At the same time Tori may strike Uke in the face with the right hand as necessary and then
cover Ukes grabbing hand with his right hand.
Once the Ukes hand is caught, it is pressed firmly to the shoulder.
Tori will then step forward (ideally with his left foot directed into the space between Ukes
legs, and bring his right hand over and then down swiftly over Ukes grabbing arm.
The hand is turned so the hand blade (edge) is facing the Uke and the fingers point straight
down.
By putting the hand in this position the wrist is painfully wrenched in the process.
Kuden
If this technique is not applied firmly it will not have the best results.
This technique can easily break the wrist so be careful.
As you point the fingers down the shoulder will be responsible by internal rotation for
turning Ukes hand over and putting it into the right position.
Have the feeling of cutting through the opponents wrist.
This is most effective against an opponent with a strong arm and a weak wrist.

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Katamune Dori Te Kudaki

Crushing the Hand When Grabbed by the Chest

Tori and Uke stand facing each other in Hidari Ai Hanmi.
Uke steps forward and grabs Toris jacket at the chest with his right hand.
Tori steps back with his left foot as the grabbing hand comes in but does not turn his body
to the side in a Hanmi position.
As Tori steps back he may strike Uke in the face with his right hand as necessary and then
cover the Ukes grabbing hand with his right hand.
Tori will press Ukes hand firmly to his chest so that the knuckles and palms are against the
chest.
Tori will then place his other hand over the seized hand and then press the hand from both
sides.
This weakens the grip, but the opponent cannot escape.
Tori bends forward forcing Uke to bend his knees.
Tori suddenly will twist his hips which thrashes the wrist.
Kuden
This is best used on opponents who maintain a weak grip and exert little strength.

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Ryomune Dori Kokyu Nage

The Breath Throw Response to Both Lapels Being Seized

Uke runs towards Tori to seize both of his lapels.
This technique is not done statically and is typically done when there are multiple attackers
coming quickly one after another.
As Uke gets close, Tori raises Ukes left elbow up with his right palm and presses in and down
with his left hand at Ukes right elbow.
At the same time Tori will step forward and to the right with his right foot to slide past Uke and
get off line.
Tori will pivot and turn.
Uke continues to come forward with head and torso leading.
Tori moves Uke past him by moving Ukes left elbow forward with power from his right leg and
hip.
Uke is thrown forward.
Kuden
Slide past Uke like a sliding door.
Dont stop Ukes energy coming forward.

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Slide past Uke and turn.

Uke is thrown forward with Kokyu.

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Abiseta Oshi Gyakute Dori

Locking the Hand Capture Response to Being Pushed Down

Uke steps forward and attempts to shove Tori backwards.
Tori steps back with his left foot and hold his bend arm out in front of his chest to defend
against the shove.
Tori will grip Ukes right fingers with his right hand and extend Ukes right hand over Ukes
left shoulder.
This begins to turn Ukes whole body counterclockwise.
As Ukes body begins to turn around, Tori will ram the fingers towards Ukes face causing
Uke to turn even more.
Tori starts stepping backwards and pulls by the forehead to Toris left shoulder.
Uke begins falling backwards.
Tori presses down on Ukes head allowing him to slip down his body.
Uke reaches down with his left hand to the ground to stabilize.
Tori steps on Ukes left fingers with his left foot and continues to raises up the painful lock
on Ukes fingers.
Toris left hand is free to defend himself as necessary.
Kuden
This technique has many complicated elements.
One needs to turn Ukes arm while holding his fingers at the beginning of this technique in
an arc that passes over the shoulder and then circles in more horizontally to threaten Ukes
face.

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Mae Do Jime Nodo Oshi

Pressing into the Throat Response to a Front Bear Hug

Uke steps forward and grabs Tori in a Bear Hug under both arms.
Tori steps back with his left foot and bends his knees to get stability while bringing his hands
up and placing them on the opponents chest or shoulders.
Tori will use the fingertips of his right index and middle fingers to press into the Ukes neck
just above the sternum (sterna notch) where there is a soft spot.
Tori presses inwards and then straight down.
Uke falls on his back.
Kuden
Pressing into this point can quickly stop an aggressive person from coming near you.
Pressure into this area immediately closes the windpipe and causes a gag reflex.

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Mae Do Jime Kao Kudaki

Crushing the Face Response to a Front Bear Hug

Uke steps forward and grabs Tori in a Bear Hug under both arms.
In this case, the Uke is not pushing Tori back, but may even being trying to lift or pull Tori
up.
Tori will hold his ground and then step in between Ukes leg with his right leg while he raises
his right hand to Ukes face and squeeze his fingers into the flesh.
Tori will drive Ukes head back and then down to throw Uke on his back.
Kuden
This can be a nasty as you make it.
A less harsh alternative is to drive the head back by placing the right palm on the Ukes chin.
Once the opponents head is back far enough he loses his equilibrium.

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Mae Do Jime Atama Hineri

Twisting the Head Response to a Front Bear Hug

Uke steps forward and grabs Tori in a Bear Hug under both arms.
In this case, the Ukes head is pressed against Toris chest as he gets a tight hold on Toris
body.
Tori will stabilize with his legs and then place his left hand on the side of Ukes head and
take his chin with the palm of his right hand.
Tori will now begin to twist Ukes head counterclockwise and to the left.
Tori will pivot and turn to his left at the same time causing Uke to fall down on his back.
Once Uke has fallen drop onto Ukes right ileum (pelvis bone) with the right knee.
Kuden
Toris head is turned independently of his body.
His head can only turn so far until his body makes up its mind that it too must follow.

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Mae Tai Jime Itami Dori

Pain Capture Response to a Front Bear Hug over the Arms

Uke steps forward and grabs Tori in a Bear Hug over both arms.
Tori will immediately spread his arms out to the side to prevent the Uke from getting a firm
hold.
Tori then steps back and drops his hips low for stability.
Next, Tori will grab the flesh at the Ukes sides with his fingers, squeeze the flesh hard, and
lift up.
This causes to Uke to shutter from the pain and causes him to rise to his toes.
Kuden
If the Uke has little flesh to grab on his sides, reach farther around his body and grab the
flesh at the low back instead.

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Mae Tai Jime Atama Dori

Capturing the Head Response to a Front Bear Hug over the Arms
Uke steps forward and grabs Tori in a Bear Hug over both arms.
Tori will immediately spread his arms out to the side to prevent the Uke from getting a firm
hold.
This technique is best done when spreading the arms which causes the Ukes arms to slip up
high near the shoulder.
In such cases, it makes it easy for Tori to reach under Ukes arm and grab his hair from the
back and sides.
Tori will pull Ukes head back and then straight down causing Uke to fall on his back.
Kuden
If the Uke does not have much hair then put your thumbs under the mandible (jaw) and
your fingers in his eyes.
Bend the head back and throw the opponent.

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Mae Tai Jime Koshi Nage

Hip Throw Response to a Front Bear Hug over the Arms

Uke steps forward and grabs Tori in a Bear Hug over both arms.
Tori will immediately spread his arms out to the side to prevent the Uke from getting a firm
hold.
Tori will press into the Ukes inguinal ligaments with both thumbs driving Ukes pelvis back
and opening him up for a throw.
Tori must maintain contact with Ukes arms as this happens.
Tori then enters with his right hip, seizes Ukes belt from behind with his right hand and
throws Uke with a right Hip Throw.
Once Uke is down, drop into his ribs with your right knee.
Kuden
The inguinal ligaments run from the bony protuberances which are the anterior and superior
parts of the ilium (pelvic bone) to the pubis.
This area is very sensitive.

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Kumiuchi Osoto Nage

Great Outer Throw Response to a Grappling Position

Uke steps forward and grabs Tori by his left lapel and right sleeve.
Tori seizes Ukes left lapel with his right hand and Ukes right sleeve with his left hand.
Tori will now press with his right thumb into the left side of Ukes neck and pulls on Ukes
right sleeve.
Tori will now step in behind Ukes right leg and throw Uke to the ground.
Drop onto Uke with the right knee after he falls.
Kuden
This throw is not done by a reap of the leg as in Judo.
One shifts ones weight forward causing Uke to lose his balance as Uke is unable to take a
step (because of the Toris right leg) into his right rear quadrant.
Such a step would save his balance, but he is unable to make the step.

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Obi Dori Gassho Osae

Praying Hands Pin When the Belt is Seized

Because of the nature of our clothing it is difficult to see the practicality of why such a
technique would exist. For Japanese who traditionally wore a loin cloth a kimono and a belt,
this technique makes more sense. A kimono can be pulled away from the body easily
resulting in the ability to control the person. By grabbing the belt, a firmer hold could be
established to move the opponents center especially if wrestling. Sumo of course is
practiced with only the loins covered and makes use of this type of belt grab. For the
western practitioner living in modern times, one could use this technique if the opponent
grabbed the front edges of a coat anywhere below the lapels.
To begin, Tori will face Uke in Gyaku Hanmi with his right foot forward.
Uke will step forward with his right hand and seize Toris belt with his right hand without
turning his hand upwards.
Tori will immediately clasp his hand together below the Ukes right arm and then move his
move his hands in a large clockwise motion to trap Ukes arm.
Kuden
One may clap loudly to startle the opponent and to show your resolve when putting the
hands together.

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Obi Dori Kote Gaeshi

Reversing the Hand When the Belt is Seized

Tori and Uke face each other in Shizen Tai.
Uke steps forward and seizes Toris belt with his right hand.
Tori will place his left thumb on the bottom side of the grabbing hand and begin turning
sharply in place to his left.
Toris right hand will join his left holding on to the Ukes hand.
The sharp spin of the hips in place causes Uke to be thrown with Kote Gaeshi.
Kuden
This technique shows how important it is to use the hips in taking Kote Gaeshi and why
using the strength of the arms is unnecessary and may actually hinder the success of the
technique by informing the opponent of your real intentions.

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Mae Kami Dori

The Hair Seized From the Front

Tori and Uke face each other in Shizen Tai.
Uke seizes Toris hair from the front.with his right hand.
Tori steps forward with his right foot and compresses the sides of Ukes hand with both hands.
Tori then bends forward at the waist and Ukes wrist is wrenched.
Turn the hand over and apply the Nikkajo in which the wrist is flexed at a 90 degree angle.
Kuden
Compressing the bones of the hand will make it hard for Uke to maintain a grip.

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Chapter 16
Defending Attacks from Behind
Being attacked from behind is perhaps more psychologically unnerving than being attacked
from the front. One is unable to make certain estimations and calibrations until it is already
too late and the attacker has already firmly adjusted into his hold. Attempts to push and
pull away meet with firm resistance as the person makes his own adjustments to stay in
control. It is for this reason that this should be considered an advanced practice. Some
people will become unnerved by the whole proposition of even practicing being attacked
from behind and ordinary smooth movements will become jerky. The person may stop
breathing in a normal relaxed manner and this signals that this basic fear of being out of
control must be overcome at least enough and in these particular situations to successively
deal with these type of attacks.
One should always avoid turning your back to potential threats. Surprisingly, many people
turn their backs as Ukes to relieve the pressure of an attack. This of course could be deadly
in a real confrontation. Even if your joints are being wrenched horribly, do not turn your
back even if it hurts more by doing so. Maintain a stable posture and imagine breathing out
the pain through your nostrils. You will find that your tolerance to pain will improve, and
you will not be setting yourself up for an attack from the rear.
If an opponent is approaching, do not let them have a clear path to your back. By turning
your body to the side even 90 degrees, a rear attack can be thwarted and addressed as an
attack from the side. Sometimes attacks can be practiced dynamically with the Uke running
in a circular path to get behind the Tori, but even then one should not completely expose
the back to the attacker. Many of the techniques that you will learn in this section deal with
the least favorable situation and that is that the attacker has actually caught you from behind.
As you get more familiar with these techniques, rather than doing them statically, allow free
movement in the work and start moving in relationship to the attacker before he has
grabbed you.

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Ushiro Kami Dori

The Hair Seized from the Rear

Uke walks up from behind and seizes Toris hair with his right hand.
Tori immediately covers the back of Ukes hand with his left palm.
Tori turns clockwise and steps out with the left foot.
As Tori turns around Ukes wrist is twisted as in Kote Gaeshi.
Kuden
Use your thumb nail to dig into the web on skin between the fingers.

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Uke covers the grabbing hand.

Tori turns around and twists the wrist.

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Ushiro Do Jime Ude Ori

Breaking the Arm When Bear-Hugged

When grabbed from behind the assailant must join his hands together in some way to apply
pressure with both arms. He will have to do this by grabbing his own wrist, lacing his
fingers together or clasping his hands together.
To begin Tori faces the other way as Uke comes up from behind and wraps his arm around
Toris torso.
Uke grab his right wrist with his left hand as he puts on the hold.
Tori will step out to the right and at the same time place both hands on Ukes right hand.
Ukes hand is turned with both palms so that the edge or pinky side of the hand is facing up.
Tori will have his left palm on the back of Ukes hand and his right hand on the palm side of
the Ukes hand.
Tori will bend Ukes hand at the wrist towards his chest.
This causes a Nikkajo type lock to be place on the wrist.
Tori will step to the left, pivot and turn around to face Uke.
At the same time he will bend Ukes wrist towards Ukes head.
A kick could be used to the head as necessary before restraining the Uke.
Kuden
Hold the Ukes hand as you would a Japanese sword.
As you apply pressure to the Ukes wrist while escaping, use your body to apply a pressure to
his arm.

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Ushiro Do Jime Yubi Kudaki

Crushing the Finger When Bear-Hugged from Behind

When grabbed from behind the assailant must join his hands together in some way to apply
pressure with both arms. He will have to do this by grabbing his own wrist, lacing his
fingers together or clasping his hands together.
To begin Tori faces the other way as Uke comes up from behind and wraps his arm around
Toris torso.
Uke clasps his hands together with his fingers entwined.
Tori will step out to the right and at the peel back one of Ukes fingers with his right hand.
When the finger is pulled back, Toris hand is formed into a fist so that the thumb side is
directed towards the chest and the outer edge of the hand away.
Tori will step forward and to the right with his left foot, pivot and turn around.
Ukes seized finger is held up like a sword and one cuts down holding the finger until Uke
falls backwards to the ground.
Kuden
This is often done incorrectly because people grab the finger the wrong way.
Read how the finger is taken carefully.
Imagine cutting down with a sword to take the opponent down and study the movements of
Shiho Nage carefully.

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Ushiro Do Jime Tai Otoshi

Dropping the Opponents Body When Bear-Hugged from Behind

When grabbed from behind the assailant must join his hands together in some way to apply
pressure with both arms. He will have to do this by grabbing his own wrist, lacing his
fingers together or clasping his hands together.
To begin Tori faces the other way as Uke comes up from behind and wraps his arm around
Toris torso.
Uke may grab around the waist anyway he chooses.
Once grabbed, Tori will take a slight step to the right with his right foot and slide his left
foot behind Ukes right leg.
At the same time Tori will bend over at the waist and pick up the Ukes legs.
After picking Uke up, Tori will turn to his left and throw Uke to the ground.
Kuden
Grab the Uke under the bend of both knees and seize his clothing in the mix as well.
When throwing Uke, project his legs out away from you.

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Hagai Jime Koshi Nage

Hip Throw When Held in a Full Nelson

Tori stands facing away as Uke steps up from behind and slips his hands up under Toris
armpits to try and get a Full Nelson hold.
As soon as Tori feels something under his arms at his sides he must clamp his arms to his
sides.
This prevents Uke from taking the hold by clasping his hands together behind the neck.
Tori will place his thumbs on the backs of Ukes hands as he holds them and takes a short
step back and to the right.
At nearly the same time, Tori will begin bringing both of Ukes hands out to the sides and
then up.
This creates a painful Gyaku or lock on the Ukes wrists.
Toris legs are positioned to throw Uke forward and to the left.
Tori then projects Uke by guiding his hands forwards in the direction described.
Uke is thrown to relieve the pain and passes lightly by Toris left hip.
Kuden
This is not a hip throw that involves loading the opponents weight on to the hip.
It is a hip throw in the sense that Uke is thrown over the hips.
Create torsion of the hands which pains the wrists.

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Eri Dori Hiji Maki

Wrapping the Elbow When the Collar is Grabbed

The Tori faces away then the Uke steps up from behind and seizes his collar with his right
hand.
Tori takes a step forward with his right foot and maintains Hanmi.
Tori will then turn to the left 180 degrees, again in Hanmi, and strike the Uke under the nose
with his Te Katana (edge of the hand).
While the Uke is momentarily stunned, Tori wraps his left arm over the top of Ukes elbow
and gathers his arm up in his armpit.
To throw Uke, Tori will drop to his left knee and turn to the left.
Kuden
Be stepping forward when grabbed by the collar, Tori tests for any resistance but also to get
into Hanmi which allows Tori to easily change directions by turning the feet and not
stepping.
When take Hiji Maki, slide the thumb (facing downward) over the bend on the elbow.
Then Tori must take up the arm keeping the forearm vertical before scooping it up.

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Ushiro Kata Dori Kote Gaeshi

Reversing the Wrist When the Shoulders are Grabbed with Both
Hands
The Tori faces away and then the Uke steps up from behind and seizes Toris shoulders with
both hands.
Tori takes a step forward with his left foot and maintains Hanmi.
Tori will then turn to his right 180 degrees to face Uke.
At the same time Tori will place his thumb on the back of Ukes right hand while he strikes
Uke in the face with a right punch.
Tori will then throw Uke by reversing his wrist with Kote Gaeshi.
Kuden
It doesnt matter which foot is forward in the Hanmi but this does determine which way you
will turn to strike Uke.

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Ushiro Sode Dori Ikkajo

The First Lesson Response When the Sleeves are Seized from
Behind
The Tori faces away and then the Uke steps up from behind and seizes Toris sleeves with
both hands.
Tori raises his right hand up and then puts it down as he lifts his left hand up and steps to
the left and to the rear.
As Tori steps to the rear he goes under Ukes left arm and is positioned safely to the left
behind Ukes arm.
Tori will then apply a straight arm bar using an Ikkajo type pin that scissors Ukes arm using
shear force.
Kuden
By raising the right arm and then the left a distraction is created.

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Ushiro Tai Jime Sankajo

The Third Lesson Response When the Body is Squeezed from

Behind
The Tori faces away and then the Uke steps up from behind and seizes Tori around the
arms.
If grabbed in such a way one should internally rotate the shoulders and turn both palms
outward.
Tori moves his arms away from his sides to make his body larger around.
Tori sinks his hips lower.
Tori will step back and to the right with his right foot and take the edge of Ukes right hand
with his left.
Tori will slip under the right arm and then reinforce the Sankajo with his right hand by
taking the fingers.
Kuden
The most important think to remember is to make your torso larger so the opponent cannot
get his hands around.
If you are grabbed, inflate your lungs as much as possible and maintain maximum muscle
tension.
If the opponent relaxes, which he will, let all of the tension go and slip away.

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Ushiro Ryote Dori Juji Nage

The Cross Throw When the Wrists are Seized from Behind
The Tori faces away and then the Uke steps up from behind and seizes Toris wrists with
both hands.
If grabbed in such a way one should internally rotate the shoulders and turn both palms
outward.
Tori will step forward in a right Hanmi position and raise his right hand.
Tori then will step back and to the left with his left foot as he lifts his left hand up and slips
under Ukes left arm.
Tori will reposition both hands to seize Toris wrists.
Tori will cross Ukes right arm over his left and then step forward and to the right projecting
Uke into a throw.
Kuden
This is called Juji Nage because the Japanese character for the number ten is a cross.
In this technique the opponents arms are crossed in a similar way.
Straighten your arms while applying Juji Nage and make sure that the arms are crossed firmly
above the elbow joints.

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Ushiro Ryote Dori Sankajo

The Third Lesson Response to the Hands Being Seized from

Behind
Tori stands facing away as Uke steps up from behind and seizes both of Toris hands.
As Tori first feels contact with his wrists he turns his palms inward, internally rotates both
arms at the shoulder, and steps forward with his left foot.
These movements affect the Ukes structure and grip.
Tori will now step back and to the right with his right foot so that he slides under Ukes
right arm.
Tori can now seize Ukes right wrist with his left hand in Sankajo.
Tori will raises the Sankajo so that Ukes arm is vertical and then cut down as though
holding a sword.
Kuden
This is the static version of this technique.
The technique can also be done dynamically by having the Uke run towards Tori and going
around him to rear from the front.

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Ushiro Ryote Dori Kote Gaeshi

The Wrist Reversal Response to the Hands Being Seized from

Behind
Tori stands facing away as Uke steps up from behind and seizes both of Toris hands.
As Tori first feels contact with his wrists it seems that Uke is pulling his wrists back.
Tori steps forward with his right foot and seizes Ukes right hand with his left hand behind
Toris back.
Tori will turn to his left, step back deeply with his left foot as he turns and applies a Kote
Gaeshi to the opponents wrist.
Kuden
This must be done swiftly and smoothly.
The turning of the body combined with the turning of the wrist makes it impossible for the
opponent to hang on.

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Chapter 17
Defending Choking Attacks
Choking techniques unlike other techniques in which other parts of the body are grabbed
pose more of threat because of their ability to cut off ones breathing. A person can be
choked out if done properly in a matter of seconds and as a result a person is more likely to
panic and not respond in a way that would be effective to escape. One develops a type of
tunnel vision when being choked in which the person desperately focuses on the choke and
forgets about everything else. The person eventually will pass out for lack of blood flow to
the brain which returns only if the person stops choking them. In addition, to this danger,
there is also a danger of crushing the windpipe. Therefore, these techniques should be
practiced cautiously. One should not attempt to put on a choke for longer than two
seconds even if the person does not attempt to tap out. If the person taps out, stop
immediately. Avoid constricting around the neck at full power and do not practice these
techniques on lower grades and especially not on others not involved with Aiki Goshin Ho.
Here are some useful suggestions that might be helpful.
1. Do not expose your back to your opponent or to other potential threats.
2. If anything tries to get around your neck raises your shoulders as high as possible
and lower your head making it unlikely that anything could choke you.
3. If you are choked from behind, attempt to slam the back of your head into the
attacker.
4. Do not let your spine get bent backwards or you are more vulnerable.
5. If choked from the front, attack the eyes, ears or groin.
6. Move the rest of your body to get a stable base and look for a way to imbalance
or throw the attacker.

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Hadaka Jime Seoi Nage

Back Bearing Throw Response to a Rear Choke

The Tori faces away and then the Uke steps up from behind and applies a Rear Naked
Choke which is also called Hadaka Jime.
Tori immediately raises his shoulders up on both sides which effectively makes it harder to
get an arm around the neck.
Tori will place his right hand in the bend of the elbow choking his neck and move his right
hip into position to throw Uke over.
Tori then bends forward at the waist throwing Uke over onto the ground.
Kuden
Take the throw as soon as possible and do not get bend backwards.
Apply both hands to the opponents choking arm as necessary.

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Ryote Jime Kokyu Nage

Breath Throw as a Response being Strangled with Both Hands

Tori and Uke face each other in Gyaku Hanmi
Uke steps forward with his right foot and attempts to choke Tori with both hands.
Before Uke can get a grip on the neck to assist his choke using your collar, catch his motion
forward by shuffling back a half step while keeping the right foot forward.
This will extend Ukes arms as you do not want him to pull his elbow in to choke you.
At the same time Tori pulls Ukes left forearm flat to his chest and raises his right elbow.
This will cause Ukes left shoulder to drop and his right shoulder to rise.
Tori then steps diagonally forward and to his right across Ukes body and past Ukes left
foot throwing Uke to his left rear quadrant.
Tori should sink to one knee as he does this and exhale as he throws the opponent.
Kuden
This throw is similar to the Kokyu Nage in which the opponent rushes forward at you with
both hands to grab your lapels.
The angle to the rear is chosen because the opponent pulls back to apply this choke which
elevates his elbows to the sides as he flexes his arms.

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Juji Jime Atama Hineri

Twisting the Hand Response to a Cross-Arm Choke

Uke steps forward and attempts to choke Uke by pulling his lapels with crossed arms to
choke the neck.
Tori will pull down on Ukes left arm and lift up with his palm under Uke right elbow to test
his resolve imbalance the opponent.
If Ukes right arm is high enough, Tori can slip in under the right arm nullifying the choke.
As Ukes left arm is pulled down, Tori can grab Uke by the hair from hehind his head with
his left hand.
As the head is pulled back, Tori will seize Ukes chin with his right hand, pivot and turn
throwing Uke on his back.
As Uke falls Tori will immediately use his fingers to close Ukes nostrils while restraining the
Uke by bending his arm over the thigh.
Kuden
When the Uke is down he will immediately fight the immobilization of his arm.
By going after his breathing apparatus the arm becomes a secondary problem.

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Yoko Kubi Jime Tai Otoshi

Body Drop as a Response being Choked in a Side Headlock

Tori and Uke face each other in Hidari Ai Hanmi
Uke steps forward with his right foot and wraps his right arm around Toris neck.
Uke turns his back to Tori as he grab his right wrist with his left hand and bends at the waist
to put on a side headlock.
Tori will immediately get a strong base with his legs and reach over Ukes back to his face
with his left hand while grabbing the bend on Ukes right knee with his right thumb.
Tori will pull back on Ukes face, press into the knee, and drop to his left knee as he turns to
his left.
This throws Uke down on his back.
Tori will immediately seize Ukes right arm and hyperextend to control or break Ukes elbow
over his left knee.
Tori presses his palm over the Ukes nose to close his nostrils.
Tori may also punch the Uke in the face as necessary.
Kuden
Your free arms are used to uproot the opponent and throw him on his back.
This requires that you twist your body to throw the opponent.
Dig into the nerve on the back of the knee with the thumb.
Claw the face with the left hand.
The breaking of the arm is done with a sudden snap.
Closing the nose makes the opponent focus his attention immediately to how he is going to
continue breathing and takes his attention for the time being off of his arm.

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Chapter 18
Defending Leg Takedowns
More and more people these days are learning competitive mixed martial arts and
may attempt to try going after the legs of their opponent so that they can do the
groundwork that they train for. Some may do this in an accomplished way and
others may attempt such techniques poorly. If martial artists do not practice any
defense against such attacks then they will become vulnerable to them. A
fundamental knowledge in this area may be useful.
A fundamental principle of Aiki Goshin Ho is to not conflict with the force exerted
by the opponent. If the opponent attacks aggressively then one gets out of the way
and yields to that force. This is typically done by sliding past at an angle, stepping
back, stepping to the side or turning. When an attacker comes at the legs he may be
in control of you an instant later and you may never recover. However, at the instant
he attacks, the opponent is most vulnerable. The lowering of his body causes his
head to pitch forward and lead in his attack. The arms reach forward to seize the
legs but they can be intercepted and taken into a hold.
Here are some general suggestions in dealing with these type of attacks.
1. Do not just back up or you will be overwhelmed.
2. Lower your center and move off line of the attack.
3. Pivot and turn with to avoid a direct attack.
4. Guide the opponents head and control his spine.
5. Make the opponent take your weight when you are above him.
6. Grab flesh instead of clothing.
7. Direct strikes towards the spine.
8. Joint lock to break and not for submission.
9. Relax and breathe normally so that you can remain calm and think clearly.

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Twisting the Head Response to Being Tackled

The Uke rushes in low to tackle the legs and knock Tori down.
Tori bends his knees and steps back with his left leg to avoid being taken down.
Tori seizes Ukes head with both hands and twists it counterclockwise to the left.
Uke falls to his back at Toris left side.
Tori follows Uke and drives his right knee into Ukes face.
Kuden
The opponents success in tackling is dependent upon the right distance and timing.
Both of these factors must be influenced.

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Torikumi Ude Dori

Capturing the Arm Response to Being Tackled

The Uke rushes in low to tackle the legs and knock Tori down.
Tori bends his knees and steps back with his left leg to avoid being taken down.
Because Tori sinks down low, Toris left arm intercepts Ukes right arm as he
attempts to get his arms around Tori.
Tori brings his palm onto the back of Ukes right elbow.
As Uke continues driving forward, Tori will pivot on his left foot and let his right leg
turn in an arc behind him.
This causes the left leg to become an axis of rotation and allow Ukes body to spiral
around him.
Tori takes Uke to the ground face first.
Ukes wrist becomes bend and wedged in the bend of Toris left elbow.
Tori will keep Ukes right arm straight and vertical which creates a painful shoulder
stretch.
Kuden
Tori will move like a toreador evading a bull and then use a spiral to take the Uke to
the ground.

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Torikumi Hiki Otoshi

Pulling Drop Response to Being Tackled

The Uke rushes in low to tackle the legs and knock Tori down.
Tori bends his knees and steps back with his left leg to avoid being taken down.
In this example Ukes head drives forward at the side of Toris right leg.
Tori will step back deeply with his left leg absorbing some of the incoming force and
immediately start pressing down on Ukes head with his right hand.
Because Uke is low and Tori by comparison is more upright, Tori is able to seize
Ukes right wrist and keep it at his left hip.
Tori will press Ukes head to try and get his chin to his chest to restrict breathing.
Tori will relax and make Uke take his weight.
Tori will step back with his right foot and guide Uke face down to the ground.
Ukes arm is trapped and Tori will turn to his right to pin Ukes arm painfully using
his knee.
Kuden
By overextending Uke and keeping his arm trapped, he can be brought to the ground
face down.

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About the Author

Dr. Clum is the founder of Aiki Goshin Ho Jujutsu. In addition to studying and
teaching martial arts he is also a licensed Chiropractor, teacher, writer and artist. He
teaches at the Azusa Bujinkan Dojo which he owns and operates. He produced Aiki
Goshin Ho to preserve in his own practice and to pass on to others the most
effective and practical techniques that he has learned from Aikido, Hapkido and
Jujutsu in a way that is easily learned and remembered. The development of Aiki
Goshin Ho Jujutsu arose from refining what was essential to the needs of students
who want useful and practical self-defense from a traditional source. This is a
process that has continued for 30 years and has led to studies with some remarkable
teachers such as Shihan Richard Van Donk, Soke Masaaki Hatsumi, Master Mitsugi
Saotome and Grandmaster Myung Kwang Sik to name a few. He believes that each
martial artist will come up with their own synthesis that is unique to themselves over
time. This comes about as a natural expression of study, training, and experience.
As of 2009, Dr. Clum holds the following ranks.
Aiki Goshin Ho, Founder
Bujinkan Budo Taijutsu- 6th Degree Black Belt, Shidoshi
Hapkido-5rd Degree Black Belt
AFJ Jujitsu-4th Degree Black Belt, Instructor
Yoshin Ryu Jujitsu-3rd DegreeBlack Belt
Aikido- 2nd Degree Black Belt
If you are interested in learning more about
Aiki Goshin Ho and finding out how you can earn rank
in this system at your own pace
Email me jamesnmichelle8@verizon.net

Azusa Bujinkan Dojo

www.azusabujinkan.com

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