Professional Documents
Culture Documents
I)
ompanion notes in English
Prefa
e
Gassho.
In 2000 and 2001, the Japanese publisher Baseball Magazine produ
ed three volumes of explanations of
Shorinji Kempo hokei
[training patterns illustrated with high-speed photograph sequen
es. In August 2002
I produ
ed an informal English translation of the explanations in the rst book, whi
h addresses goh o
te
hniques. This se
ond do
ument serves the same role for the twenty-seven hokei
overed in the se
ond
book, `Juho I' a sele
tion of ryu o ken and ryuka
ken te
hniques from the syllabus up to 3rd dan.
This booklet, like the rst, gives an almost word-for-word translation that repli
ates the note-like
hunk-
ing of the Japanese text. If you
an read both languages, and noti
e some important mistake or omission
here, please let me know! I am indebted to the many tea
hers and other kenshi who have answered my
questions along the way espe
ially Tameo Mizuno sensei, Yoshiyuki Karahashi, Anders Pettersson, Shiho
Nosaka and Kumiko Ikeno but please still note that even if the original books
arry the authority of
hombu and its instru
tors, the translations offered here are approximate, and are ne
essarily limited
by the translator's own experien
e of the Japanese language and of Shorinji Kempo.
In line with the international tea
hing of Shorinji Kempo, the names of all basi
te
hnique elements as
well as of the hokei
themselves are not translated. Any reader unsure of the meaning of some expression
should in the rst instan
e ask his or her sempai or bran
h master.
Finally, in general I have avoided expressions su
h as `his or her' (or `their', for that matter), usually
opting for the male pronoun. This is of
ourse not intended to imply maleness of all kenshi, but does
happen to t the fa
t that these books show only men demonstrating the te
hniques.
Enjoy your training!
Kesshu.
2
Te
hnique families
Ryuo ken
Ryu ken is the name given to a family of atta
k/defen
e patterns based on the te
hniques in Shorinji
o
Kempo for eluding, breaking free, evading. This family forms the foundation that underlies ryuka ken.
The hokei
in ryu o ken are not only helpful for learning prin
iples of body and limb movement, but are also
indispensable to beginners as basi
training for kumi embu.
Ryuka ken
Ryuka
ken is a
olle
tion of hokei
involving hand grabs, and is an extremely important part of Shorinji
Kempo. Ea
h of these te
hniques is based on some kind of `kna
k', of a deli
a
y that makes it hard to
explain with words. After taking down an atta
ker with a ryuka
ken te
hnique, one subdues him using a
katame waza or tori waza from the kongo ken family.
3
o
8: kote nuki (ryu ken)
aption p.10 The nuki waza in ryu o ken involve taking up a prote
tive shuho , eluding, and making a
ounter-atta
k. They are for when an atta
ker makes some
ommitted atta
k, rather than simply taking
hold. Kote nuki is a prote
t/elude
ombination that works against an atta
ker trying to perform ude juji
or
a straight pull.
o
16: morote wa nuki (ryu ken)
an elude for
ases when the atta
ker sti
ks out his elbows
Morote wa nuki is an elude for use when an atta
ker, with both arms bent, grabs one of the defender's arms
in jun from above and tries to twist it outwards, or to put the defender over his ba
k for a throw su
h as se
nage.
Note that morote maki nuki would be the te
hnique of
hoi
e for
ases involving a similar kind of
atta
k but with the atta
ker's arms straight. Morote wa nuki be
omes the more effe
tive approa
h when the
atta
ker bends his arms maybe be
ause he wants to make a strong pull towards himself, or maybe with
the spe
i
aim of preventing maki nuki.
4
If you work against the for
e being put in by the atta
ker, then even if you manage to get yourself into
kagite and stand your ground, you'll still have trouble performing wa nuki.
Looking at photo sequen
e B, we see that when the atta
ker grabs the defender's arm and tries to twist
it aside to perform se nage, the defender doesn't ght this twisting for
e but moves his body to the side,
taking up kagite shuho in front of the atta
ker.
At this point the atta
ker's feet are aligned square-on and both his hands are o
upied; he
annot use
either the feet or the hands for further atta
ks. In
ontrast, the defender is in the stable half-turned stan
e
of kagite shuho , from whi
h he
an laun
h me u
hi or kinteki geri at any time.
Thus the body movement in taking up kagite shuho both stops the in
oming atta
k and puts the defender
into a good situation for doing wa nuki.
imagine you're doing yori nuki and kote nuki at the same time
We sometimes see
ases where morote wa nuki fails to work against an atta
ker's stiffened wrist.
On
e you have moved into kagite shuho , the wrist of the atta
ker's outside hand is now on top, and is
the one that he
an more easily prevent you from bending. In
ontinuing from the shuho to wa nuki itself,
bending this wrist is
ru
ial.
The image of doing yori nuki and kote nuki at the same time basi
ally
omes down to ensuring that
both of the atta
ker's wrists are bent, to let you make the elude.
Use the shuho to bend the wrist of the upper hand, and then perform wa nuki by pushing your arm
between the atta
ker's arms in a slightly upwards dire
tion.
By means of the
ontinuous movement from shuho to the elbow push, you
an bend the atta
ker's
outside wrist as you would in yori nuki, and the inside wrist as in kote nuki.
The end result is an elude that feels like doing yori nuki and kote nuki at the same time.
aptions pp.16/17 Against an atta
ker trying to do se nage, take up kagite shuho (photo 1).
Wa nuki is performed by pushing your elbow between the atta
ker's arms.
aption p.18 Morote wa nuki is an elude for when an atta
ker grabs with both hands to perform se nage.
The defender prote
ts himself with kagite shuho , and performs an elude that is like doing yori nuki and kote
nuki at the same time. This te
hnique works for
ases when the atta
ker's elbows are bent, so depending
on the situation you should sele
t either this te
hnique or morote maki nuki.
24: morote gyaku gote (ryuka ken)
5
the basis is gyaku gote
Let's have a look at morote gyaku gote in the photo sequen
es.
The defender invites the atta
ker's grab from a migi mae stan
e. The atta
ker responds by grabbing the
defender's right arm in jun from above, using both hands (frames A13).
The defender doesn't take up kagite shuho only after being grabbed, but moves to meet the in
oming
atta
k,
hanging through to kagite shuho with the help of tai sabaki (frames A36). Thus by the time the
atta
ker has taken hold with both hands, the defender is already fully in kagite shuho (frame A7).
For morote atta
ks, in parti
ular, hurriedly trying to prote
t oneself after being grabbed is simply too
late.
Having performed me u
hi with his left hand, the defender uses that hand for kake te while performing
wa nuki by moving his right elbow diagonally upwards so it goes between the atta
ker's arms (frames
A815).
This sequen
e of movements bends the atta
ker's left wrist, over
oming the lo
ked state of that wrist
that would prevent morote gyaku gote from working.
We
an see that on
e the defender has performed the wa nuki elude, and laid his right arm on top of the
left-hand kake te, the atta
ker's posture is destabilised and his heels are oating off the ground (frame A15).
As the kime, the defender just needs to use his es
aped right arm on top of the kake te to drop the
atta
ker's upper body. It is important for the defender to
arry on through to the gyaku gote without
pausing at the wa nuki stage.
aptions p.25 On
e you have been grabbed, any dire
t attempt to apply gyaku gote will be foiled by the
atta
ker's left hand.
You have to use morote wa nuki to disable the left hand's atta
k, and then apply morote gyaku gote.
aption p.26 Failing to do morote wa nuki
orre
tly
an result in morote gyaku gote being foiled by the
atta
ker, leading to a deadlo
k. Wa nuki bends both the atta
ker's wrists, enabling morote gyaku gote to
work.
nage (ryuka
32: ryu ken)
6
the atta
ker's elbow will bend naturally
Let's have a look at the movements for ryu nage using the photo sequen
es.
From frames A19 you
an
onrm that the defender's invitation, the atta
ker's grab, and the move to
kagite shuho are all the same as for gyaku gote.
Then frames A1016 show the defender burrowing his arm through from under the atta
ker's grabbing
arm.
In frames B1116 you
an see that the defender deeply inserts his whole arm.
If the defender only partially inserted his arm, it would be dif
ult to apply his nai wanto to press
against the ba
k of the atta
ker's upper arm.
Frames A1721 show the defender using nai wanto against the atta
ker's arm while applying pressure
to the atta
ker's right hand, with its bent wrist.
In
ombination with this use of nai wanto to send away the atta
ker's right elbow, and the left hand to
press on the atta
ker's right hand, the tai sabaki results naturally in bending the elbow. Thus the atta
ker's
posture is broken as if his elbow were being lifted, and he ends up being made to fall ba
kwards.
aption p.33 The kime for ryu nage is not a matter of lifting the atta
ker's elbow, but making his upper
body fall (pi
tures 1, 2).
aption p.34 Ryu nage is a variant
ontinuation of gyaku gote or makikomi gote. After using nai wanto
against the atta
ker's elbow, apply the kime by pressing down on the atta
ker's forearm while keeping his
wrist bent. Ryu nage will not work if you try to apply it by lifting the atta
ker's elbow.
40: gyakute nage (ryuka ken)
7
In frames A1218 the defender takes his es
aped right hand and snakes it around from under the
atta
ker's arm to take up kake te on the atta
ker's right hand.
At this point the defender doesn't just hook with his wrist, but
ombines the kake te on the atta
ker's
wrist with the use of his right nai wanto to hook the atta
ker's elbow.
This hooking with nai wanto destabilises the atta
ker's posture, bringing his heels off the ground.
Further tai sabaki while applying pressure to kento makes the atta
ker fall forwards and be thrown.
Frame B14 shows the point where the atta
ker is trying to resist, using kagite.
If the defender tried to throw him forwards dire
tly from this state, the atta
ker would be able to stand
rm and the defender's movement would be halted.
Noti
e how hooking with wanto lets you for
e the atta
ker's elbow out in front and apply a twist to his
upper body. This
reates a state in whi
h the atta
ker is unable to stand his ground. You
an then make
him fall towards you and be thrown.
aption p.41 Gyakute nage is not about just a
ting on the wrist, but requires that you restri
t the atta
ker's
movement by lo
king up his shoulder, elbow and wrist, then aim to drop the upper body (pi
tures 1, 2, 3).
aption p.42 Gyakute nage is a variant
ontinuation of gyaku gote. Removing the hand with whi
h he
was applying pressure, the defender wraps that arm around the atta
ker's arm from underneath, pulls on
the atta
ker's right hand by en
losing it with his right palm, and throws by pulling the atta
ker's wrist
downwards while raising the elbow.
48: soto maki tembin (ryuka ken)
8
The aim of the gyaku [reversal applied to the wrist in gyaku gote and the aim of the tembin applied to
the arm in soto maki tembin are one and the same: to manoeuvre the atta
ker's
entre of gravity so that he
falls.
You should be able to see from the photo sequen
es that, in the end, the atta
ker's body posture when
being thrown in soto maki tembin is similar to the posture when being thrown in gyaku gote.
So when gyaku gote fails to take effe
t, and the atta
ker
omes to a standstill, swit
hing to soto maki
tembin is a ba
kup approa
h to a
hieving the
onditions that will shift his
entre of gravity for the throw.
The gyaku is no more than a detail of the te
hnique.
By understanding what overall posture you're aiming to put the atta
ker into, you be
ome able to move
smoothly into a te
hnique's various possible
ontinuations.
aption p.49 If you try to do gyaku gote but the atta
ker's elbow straightens,
hange to soto maki tembin
and
omplete the te
hnique by applying tembin with your waist (pi
tures 1, 2, 3).
aption p.50 Soto maki tembin is another variant on gyaku gote. While variants su
h as ryu nage and
gyakute nage are used when the atta
ker bends his elbow to resist, soto maki tembin is for
ases when
gyaku gote fails with the atta
ker's arm straight. Bra
e the atta
ker's arm against your waist and perform
a tenshin pivot about the foot that did yose ashi, then take the atta
ker down by using your waist to apply
tembin.
56: nigiri gaeshi (ryuka ken)
9
With his tai sabaki,
hange of grip, and use of the gyakute line, the defender throws the atta
ker.
If you look at frame C14, you'll see that a straight line runs from the atta
ker's shoulder through his
wrist to the defender's elbow.
Images
reated using the `Shorinji Kempo expert system' are introdu
ed in Part I (
omputer graph-
i
s
ompilation) of the rst Shorinji Kempo te
hni
al video, shorinji
kempo sono kotsu no kagaku [A
s
ienti
approa
h to the `kna
k' of Shorinji Kempo.
aption p.56 From a handshake, the defender makes kake te with his left hand,
hanges the grip of his
other hand so as to apply pressure to his opponent's kento , and performs gyaku gote (pi
tures 1, 2, 3).
aption p.58 Nigiri gaeshi is a te
hnique in whi
h, from a handshake, you apply gyaku gote. Be
ause
gyaku gote
annot be applied in the handshake grip, the defender
hanges the grip so that the ball of his
thumb applies pressure to his opponent's kento . It's important that you also be able to adjust the dire
tion
of the kuzushi to suit the
ir
umstan
es.
o
64: maki nuki (ryu ken)
10
The hokei
of ryu o ken provide valuable pra
ti
e not just for kagite and nuki te
hniques, but also in
making effe
tive atemi that
at
h your opponent when he is physi
ally or mentally off-guard.
aptions p.65 A ryote grab to the arms in jun (pi
ture 1). Attempting to prevent yori nuki, the atta
ker
pushes forwards while twisting the defender's hand outwards. The defender takes up kagite shuho (pi
-
ture 2).
While es
aping with maki nuki, the defender keeps the atta
ker's hand held down. This makes the
atta
ker fall forwards, as if a prop supporting his body has been taken away (pi
ture 3).
Atemi with uraken. The left hand is released with yori nuki (pi
ture 4).
aption p.66 Maki nuki is an elude for use when an atta
ker tries to prevent yori nuki by pushing so as to
twist the defender's wrist outwards. After taking up kagite shuho with your hand moved to the atta
ker's
outside the opposite to yori nuki elude by thrusting out the elbow.
72: katate okuri gote (ryuka ken)
11
aption p73 One
ru
ial element in applying katate okuri gote is the use of maki nuki to destabilise the
atta
ker's posture (pi
ture 2).
aption p74 Katate okuri gote is a te
hnique for responding to an atta
k with
hoji or a pull. The defender
uses maki nuki to bend the atta
ker's wrist and make the appli
ation of okuri gote possible. If the maki nuki
isn't performed properly, there's a risk that the atta
ker will be able to square his elbow and resist.
80: tsuri otoshi (ryuka ken)
aptions p.81 The defender tries to apply okuri gote (pi
ture 1).
The atta
ker spins around, and tries to hit with uraken (pi
ture 2).
The defender applies tsuri otoshi (pi
ture 3).
aption p.82 Tsuri otoshi is a variant of okuri gote. When an atta
ker tries to es
ape from okuri gote by
bending his elbow and turning round, lift his arm so as to bring it away from his ba
k, making him fall over
forwards.
12
88: okuri hiji zeme (ryuka ken)
aptions p.89 When the defender attempts okuri gote, the atta
ker bends his elbow to avoid it.
For
e the atta
ker down by using your left hand to
lamp his hand to your
hest, and your right hand as
a kake te on his elbow.
aption p.90 Okuri hiji zeme is a te
hnique that you swit
h to if you have attempted okuri gote but the
atta
ker has bent his elbow and is trying to stand rm. Maintaining the kake te that
ontrols the atta
ker's
wrist, the defender puts his other hand to the atta
ker's elbow and for
es him downwards. By bra
ing the
atta
ker's hand rmly to your
hest, you
an oor him without relying on arm strength alone.
13
96: furisute omote nage (ryuka ken)
aptions pp.96/7 Using the for
e that the atta
ker wanted to use for the se nage, destabilise him (pi
tures
1, 1').
The defender drops the atta
ker's upper body, and throws him. If the defender draws his hand in towards
himself after the throw, he
an keep
ontrol of the atta
ker's arm (pi
tures 2, 3).
14
aption p.98 Furisute omote nage is a te
hnique for use when an atta
ker makes a two-handed grab to
one arm, with the intention of
arrying out a throw su
h as ippon se nage. In response to this atta
k, the
defender exe
utes the shuho , kuzushi and nage without a pause.
104: morote okuri kote nage (ryuka ken)
aptions p105 Using the atta
ker's pulling for
e against him, the defender destabilises his posture (pi
-
tures 1, 1').
Drop the upper body, and throw (pi
ture 2).
15
aption p106 Okuri kote nage is a te
hnique for dealing with an atta
ker who grabs the defender's arm
with both hands and pulls, pushes or twists, or attempts a shoulder throw. The atta
ker's situation when
thrown is mu
h the same as in furisute omote nage, but for this te
hnique the defender performs the move-
ments with both hands.
112: okuri tsuki taoshi (ryuka ken)
16
aptions pp.112/3 Using kagite shuho to suppress the atta
ker's se nage, the defender applies kake te
with his left hand in the same way as for okuri gote (pi
ture 1).
Breaking the atta
ker's balan
e dire
tly ba
kwards, strike downwards (pi
ture 2).
aption p.114 Okuri tsuki taoshi is a te
hnique for when an atta
ker uses both hands to grip one arm and
attempts a throw su
h as ippon se nage. The defender uses yorimi and takes up kagite shuho , applies kake
te in the same way as for okuri gote, then raises the elbow of the grabbed arm and thrusts the atta
ker down
with a strike aimed at his
hest.
120: koshi kujiki (ryuka ken)
aption p.121 Using kagite shuho to prevent the atta
ker's se nage, the defender hits the lower ba
k with
his left hand. It's important to ensure that this hit to the ba
k is syn
hronised with the destabilisation of the
upper body (pi
tures 1, 1').
17
aption p.122 Koshi kujiki is a te
hnique to be used when an atta
ker grabs one of the defender's arms
with both hands to attempt ippon se nage, or makes a grab involving the
ollar or a sleeve to attempt se
nage. You
annot destabilise the atta
ker simply by hitting his lower ba
k; you must also make use of the
arm that has been grabbed, getting the atta
ker's upper body bent over ba
kwards.
128: okuri dori (ryuka ken)
aptions pp.128/9 The little nger, ring nger and middle nger all grasp the little-nger side of the
opponent's hand, while the thumb atta
ks his dai kento (pi
ture 1).
Simply twisting the wrist won't budge your opponent's body. You must
on
entrate on removing the
play in his shoulder, elbow and wrist joints (pi
tures 2, 3).
18
aption p.130 Okuri dori is a shikake form of okuri gote i.e., laun
hed on your own initiative. You
must ensure that the rotation of the opponent's shoulder a
ts to remove the play in the shoulder joint. One
important aspe
t in a
hieving this is the balan
e of for
es between your two applied hands. The pull of
your little nger, ring nger and middle nger must be balan
ed against the push of the thumb and of the
added left hand.
nuki (ryu
136: juji o ken)
aptions p.137 The atta
ker
omes to grab the defender's hands in gyaku (pi
ture 1).
The defender overlaps the atta
ker's arm with his own, making the shape of a
ross (pi
ture 2).
Moving his elbow as if to draw it ba
k to his own ank, the defender makes the elude (pi
ture 3).
19
aption p.138 Juji nuki is an elude for use when an atta
ker grabs the outside of the wrist in gyaku.
Without stopping at the shuho , the defender moves in with sashikae irimi and eludes by pushing his right
elbow through from the atta
ker's upper left to bend the atta
ker's wrist. The name juji
nuki
omes from
the
ross shape made by the forearms of atta
ker and defender.
gote (ryuka
144: juji ken)
aptions pp.144/5 The atta
ker
omes to grab the defender's arm in gyaku (pi
ture 1).
Moving his grabbed arm over the atta
ker's in the same way as for juji
nuki, the defender uses his left
hand for kake te and makes the atta
ker fall forwards (pi
tures 2, 2').
20
aption p.146 Juji gote is a te
hnique that involves putting the atta
ker's arm into an S shape, making
him fall forwards, and holding him. When doing te
hniques like juji gote that use an S shape for the take-
down kime, people tend to fo
us just on atta
king the wrist while the
ru
ial aspe
t is the manoeuvring of
the atta
ker's
entre of gravity. For this you have to remove the play not just from the wrist, but also from
the elbow and shoulder.
gote (ryuka
152: ryaku juji ken)
aptions p.153 The atta
ker
omes from the side to grab the defender's hand in gyaku (pi
ture 1).
The defender brings his other hand from underneath to make kake te on the ball of the atta
ker's thumb
(pi
ture 2).
The kime is applied by straightening the atta
ker's elbow and pressing down (pi
tures 3, 4).
21
aption p.154 Ryaku juji gote is a distin
t, abbreviated form of juji
gote. It is for use when an atta
ker
standing next to you grabs your arm as it hangs by your side. To apply the kime for ryaku juji
gote your
grabbed arm must not remain at your side, but must be brought to the
entre of your body.
o
160: morote hiki nuki (ryu ken)
aptions pp.160/1 Stop the atta
ker's ude gyaku dori using kagite shuho (pi
ture 1).
By atta
king the opponent's thumb you weaken his grip (pi
ture 2).
Complete the hiki nuki release (pi
ture 3).
22
aption p.162 Morote hiki nuki is a te
hnique to be used against atta
ks su
h as ude gyaku dori. Although
its name means `pulling elude', if you simply pull you won't get free. It's important that you prote
t
yourself with shuho , then with the image of
utting against the atta
ker's thumbs apportion your strength
30% into
utting, 70% into pulling.
gote (ryuka
168: morote juji ken)
aptions p.169 The atta
ker's attempted ude gyaku dori is stopped with kagite shuho (pi
ture 1).
The kime is the same as for the katate form of juji
gote (pi
ture 2).
aption p.170 Morote juji gote is another te
hnique for dealing with an ude gyaku dori atta
k. Morote
gote is easy to apply if the atta
ker's arms are straight at the kagite shuho
juji stage. You don't get an
effe
tive kime by arm strength alone, but by bringing to bear the weight of your entire upper body.
23
176: maki gote (ryuka ken)
aption p.177 Maki gote works by atta
king the wrist so as to
url it around. But without also un-
derstanding what destabilising position is used for the body as a whole, you won't be able to break the
atta
ker's balan
e (pi
tures 1, 2, 3).
aption p.178 Being grabbed morote
an seem a highly unfavourable situation, in that the atta
ker's two
hands are pitted against the defender's one. But, looked at another way, when the atta
ker's hands are both
o
upied, the movement of his upper body
an easily be
ontrolled. After stopping the atta
k with a shuho ,
apply the kime by throwing downwards.
24
o
184: kirikaeshi nuki (ryu ken)
aption p.185 The atta
ker grabs the defender's right arm from outside, in jun (pi
ture 1).
The defender moves in with sashikae irimi and turns his wrist over to
ounter the atta
k. He lays his
left hand on top of the atta
ker's elbow, and es
apes (pi
ture 2).
aption p.186 Kirikaeshi nuki is an elude for when an atta
ker grabs an arm from outside with his palm
fa
ing down, and tries to twist the arm ba
kwards. If you attempt to perform the
ounter-atta
k using
shoulder strength, you'll meet strong resistan
e. You should pi
ture yourself
ountering the atta
k not just
at the atta
ker's wrist, but as a movement affe
ting him up to the shoulder.
25
192: kiri gote (ryuka ken)
aptions p193 While you
ut ba
k against the atta
k as in kirikaeshi nuki, the left hand takes up kake te
(pi
tures 1, 1').
Disrupting the atta
ker's posture, make him fall (pi
ture 2).
aption p194 When his right arm is grabbed, the defender takes up kagite shuho as for kirikaeshi nuki,
and while bending the atta
ker's wrist simultaneously applies kake te with his left hand, thumb upwards.
When applying a kime based on the S shape, you must be
areful not to push the atta
ker's shoulder ba
k.
200: kirikaeshi tembin (ryuka ken)
26
There are a number of te
hniques apart from kirikaeshi tembin that use the tembin atta
k, and we often
hear of instan
es of elbow injury due to the tembin.
Tembin is not a gyaku te
hnique against the elbow joint. It's a way to throw someone down by atta
king
a nerve point on the arm, using wanto or some other part.
That said, the atta
k to the nerve point does involve applying some for
e in a dire
tion in whi
h the
arm will not bend.
Therefore if the atta
ker is standing rm, any attempt to apply tembin with enough for
e to throw him
down is extremely dangerous. It's the kind of situation that
an put people off training.
Conversely, if you manage to apply tembin with just a small for
e, there will be no worry about
ausing
injury, and the pra
ti
e will be enjoyable.
In order to apply an effe
tive tembin with only minimal for
e, kuzushi be
omes tremendously impor-
tant.
hase down the atta
ker in the dire
tion in whi
h he's trying to es
ape
Let's have a look at kirikaeshi tembin using photo sequen
e A.
The defender takes up a migi mae stan
e and invites the atta
ker's grab.
The atta
ker uses his right hand to grasp the outside of the defender's arm in jun, and tries to wren
h it
upwards (frames 14).
The defender moves on from his shuho by applying kake te and attempting to use kiri gote. But the
atta
ker resists kiri gote by pulling ba
k his right shoulder while moving his weight onto his left leg (frames
513).
The defender releases his left hand from its kake te and uses wanto to apply tembin against the atta
ker's
right arm (frames 1420).
No matter how detailed a photo sequen
e is, it
annot reveal how mu
h for
e is being applied in
performing some te
hnique.
Examining photo frames A14A24, it may look as if the defender is putting a lot of for
e into atta
king
his opponent's arm with wanto . But in fa
t for
e is only applied for a brief instant of kime.
Have a look at photo sequen
e C.
To try to es
ape kiri gote the atta
ker shifts his weight to his left leg and pulls ba
k his shoulder, and
the defender responds by making
onta
t with wanto (frames 1116).
Taking a
ount of this transfer of weight to the left leg, the defender adds his own weight behind the
movement, putting the atta
ker into a position where he
an no longer resist. That's why the tembin atta
k
an be applied with just a small for
e against the nerve point.
aptions pp.200/1 A
ase where the defender tries to apply kiri gote, but the atta
ker's arm straightens
(pi
ture 1).
The defender releases the kake te and brings his wanto to the atta
ker's elbow, applying tembin to throw
the atta
ker down (pi
tures 2, 3).
aption p.202 Kirikaeshi tembin is a te
hnique for use when an atta
ker responds to a kiri gote
ounter-
atta
k by trying to es
ape. It works by applying tembin to throw the atta
ker down. Tembin is not an atta
k
against the elbow joint, but is a way to make someone fall by applying pressure to a nerve point in the
upper arm.
208: kirikaeshi gote (ryuka ken)
27
the same time, use one hand to grip the atta
ker's wrist and to press upwards on kokoku using the ball of
your thumb. Take a fumikomi step outside and to the rear of the atta
ker, and make him fall fa
e-up.'
Kirikaeshi gote is a renraku waza [a
ontinuation for some other te
hnique, so it won't work if you try
to perform it immediately on being grabbed.
In pra
tising it, the atta
ker should rst make the same atta
k as for kiri gote, and the defender should
meti
ulously perform the shuho and kake te used for kiri gote.
Then the atta
ker should make as to es
ape the kiri gote, resisting by raising his arm and bending his
elbow.
It's important for the
ontinuation into kirikaeshi gote to happen from this situation.
With the arm has been grabbed, atta
k the little-nger side of the atta
ker's hand; your other hand grabs
the ball of his thumb.
Having taken a rm grip with both hands on the atta
ker's hand, twist it while breaking his balan
e and
bringing him up onto his toes, then make him fall fa
e-up with the appli
ation of kirikaeshi gote. Finally,
pin him with kirikaeshi gatame.
aptions pp.208/9 When the defender attempts kiri gote, the atta
ker raises his elbow and tries to stand
his ground (pi
ture 1).
The defender destabilises the atta
ker's upper body ba
kwards, and throws him to the ground.
aption p.210 Kirikaeshi gote is a variant te
hnique used when an atta
ker lifts his elbow in order to
resist the appli
ation of kiri gote. After using both hands to grab the atta
ker's arm, the defender twists it
while bringing the atta
ker to his toes and breaking his balan
e. Kirikaeshi gote is a way to end kiri gote
with a fa
e-up throw.
216: morote kirikaeshi nage (ryuka ken)
28
An alternative is for the defender to use the normal kiri gote-style hold, applying both his hands to the
atta
ker's right arm.
In morote kirikaeshi nage we often see a defender trying to perform the throw just by sweeping the
atta
ker's arm round with the shoulder as the pivot, but then nding that the atta
ker's posture is unbroken,
and tugging to try to pull him over.
But in
ommon with many other te
hniques it's important not to be xated on just the hold and the
way of atta
king the wrist.
What matters is that you're drawing the atta
ker into a posture where he will fall. The wrist is your
point of
onta
t.
aptions pp.216/7 The atta
ker tries to twist the defender's arm up and ba
k (pi
ture 1).
Turning his body, the defender takes up his grip: one hand is applied as in kiri gote, the other as in oshi
gote (pi
tures 2, 2').
aption p.218 Morote kirikaeshi nage is used when an atta
ker
omes to grab and twist one's arm up-
wards and ba
k. The defender uses sankaku shuho then applies kake te, turning the tables on the atta
ker
and making him fall. What nally throws the atta
ker is not the momentum of his arms being swept around,
but the way the defender drops his own upper body and thus removes the atta
ker's means of support.
29