Kihonshisei

(Basic Postures)
In order to master correct techniques, it is essential that you practice with the correct posture and attitude.
In aikido. kamae, rei-ho, seiza-ho, and shikko-ho are mind expressed throuh !orms. "ou can also achie#e the
proper mind $y practicin your !orms properly. I! you adopt a $ad posture, you will not $e a$le to concentrate.
%hen you are distracted, con#ersely, it is natural that your posture will $e incorrect.
&irst o! all correct yoursel!, then express your mind with simplicity 'his is $asic to aikido.
Kamae
(Basic (tance)
Kamae is the $ody posture necessary !or practicin aikido techniques. %e use either the riht hanmi, a stance
in which the riht !oot is in !ront, or the le!t hanmi, with the le!t !oot !orward. 'his posture is suita$le not only !or
attack and de!ense, $ut is also a physical mani!estation o! our mental state, and pro#ides a $asis !or the
de#elopment o! the correct mental attitude !or aikido. "ou should practice this posture repeatedly in order to
culti#ate the application o! your mind in the correct physical !orms
)l*I +,-)I, +I.,/I +,-)I
)I*I +,-)I (/I*+' (',-01)
2 'he principles o! aikido come !rom the principles o! raisin and cuttin with a sword3 they are expressed
physically in aikido4s empty-handed !orms. I! you assume this stance with a sword, it $ecomes seian no
kamae, a posture in which your sword is pointed directly toward your opponent4s eyes.
/elax your shoulders and extend your riht arm to the !ront at chest le#el, keepin your el$ow slihtly $ent like
the cur#e o! a sword.
"our le!t hand should $e held a$out !our inches, or one !ist4s width, in !ront o! your a$domen and $oth hands
should $e in line with the center o! your $ody "our !iners should $e spread out and pointed toward the
opponent so that equal power !lows !orward !rom $oth hands. "our eyes should !ace !ront and your mind should
$e pro5ected !orward.
'he toes o! your !ront !oot should $e !acin slihtly outward while the toes o! your $ack !oot should !ace side-
ways3 $oth !eet should $e alined on the center line o! your $ody , line extendin $ack !rom the ankle o! your
!ront !oot should intersect with the side o! your $ack !oot at an anle o! 67 derees.
In order to $e a$le to mo#e rapidly either !orward or $ackward, keep your !eet at a distance o! one-and-a-hal!
times the lenth o! your own !oot. +a#e a$out 879 o! your weiht on the !ront !oot and :79 on the $ack !oot
while $endin your !ront knee slihtly and keepin your $ack le extended.
'his posture allows you to easily execute circular mo#ements, which are characteristic o! aikido. )oreo#er,
since your $ody is placed on a trianle !ormed $y your !eet, your posture is sta$le and also you will $e a$le to
execute techniques quickly
+l.,/I +,-)I (;1&' (',-01)
2 ,ssume this posture in the same manner as in riht hanmi, $ut mo#e your le!t !oot and hand to the !ront this
time. It is 5ust the opposite o! riht hanmi.
-otes
.o not mo#e your head !orward as you direct your attention !orward. Keep your $ack and neck straiht and
make sure not to $end or twist your hips.
)o#e your hands, les and hips at the same time as thouh they were one mo#ement toether.
in order to strenthen the centerin power o! the $ody, your upper $ody should $e !acin directly !orward with
$oth shoulders alined.
In particular, make sure that your lower hand is not stretched or $ent too much. Keep extendin your power
throuh the hand.
,l +,-)I, *",K< +,-)I
%hen you !ace an opponent, assume either ai hanmi or yaku hanmi. 'ry to see his whole $ody with his eyes
as the center, howe#er, do not !ocus your mind only on him. Be alert in all directions. )aintain a distance
$etween you o! a$out six !eet (= > meters?, the distance at which it is di!!icult !or your opponent to reach you
e#en i! he extends his arms or les. 'his distance is appropriate !or $oth o!!ense and de!ense when executin
aikido techniques, 'his is a standard maai @distance $etween you and your opponent) in aikido.
,l +,-)I
2 In ai hanmi you and your opponent assume the same stance, $oth riht hanmi or $oth le!t hanmi.
,l +,-)I, *",K< +,-)I
*",K< +,-)I
2 "ou and your opponent assume an opposite stance to each other. I! one o! you are in riht hanmi, the other is
in le!t hanmi.
-ote
A .o not straihten your arms, $ut $end them slihtly. 1xtend your !iners.
(eizaho
(0orrect %ay o! (ittin)
In Bapanese, seiza literally means to sit correctly. In aikido, you can prepare your mind !or practice $y assumin
the correct !orm. Bad posture will distur$ your concentration, while a distracted mind will make you lose the
correct posture and will pre#ent you !rom executin techniques !reely.
'here!ore, mind and technique must $ecome one. (eiza-ho is one o! the essential practices in order to execute
aikido techniques. It is important to maintain correct !orm e#en when sittin down !rom a standin position. "ou
should always culti#ate the correct posture and mind also when you are in mo#ement.
)oreo#er, i! you master a correct seiza posture, you will $e a$le to execute more solid suwariwaza (seated
techniques), which are characteristic o! aikido.
.
2 ,ssume riht hanmi.
2 ;ower your hips straiht down, placin your le!t knee next to your riht ankle. Be care!ul not to let your hips
mo#e $ack. Pull your chin in and straihten your $ack, while continually lookin !orward as you lower yoursel!
down. 7 Pull your riht le $ack while placin your hands on the tops o! your thihs with your !iners relaxed $ut
toether. (it on your ankles with your toes tucked under. Per!orm all these mo#ements at the same time as
thouh they were one mo#ement.
7 +a#e your !eet close to each other, $ut do not put one !oot o#er the other. Cnly your $i toes are slihtly
touchin each another. 'he distance $etween your knees should $e a little less than one !ist4s width and ne#er
wider.
/elax your shoulders, $ut keep your hips sta$le so as not to distur$ the correct posture. (it in seiza lookin
directly !orward. %hen you stand up !rom seiza, re#erse the entire process and o $ack to the initial kamae
posture in hanmi.
-ote
A %hen seated !acin an opponent, execute these mo#ements while $lendin with his mo#ements and mind.
urn
/eiho
(1tiquette and $owin)
%hen executin techniques, i! you do not always o$ser#e proper etiquette and keep a correct mental attitude,
you will not $e a$le to impro#e your techniques sini!icantly
In aiki techniques, mind and technique should $e one.
Be hum$le and recepti#e. Cpen and !ree yoursel! $y constantly expressin your ratitude. 'his natural $eha#ior
is the most important !actor in masterin techniques. Bowin is not prostratin onesel!, $ut a way to correct
yoursel! while expressin your mind with simplicity.
In our +om$u .o5o, we $ow to the altar when enterin or lea#in the do5o, and also $ow to each other
exchanin thank!ul reetins. ,ll people trainin say, DCneaishimasu,D in the $einnin and, D,nato
ozaimashita.D at the end o! practice. ,s mentioned $e!ore, it is necessary to adopt a correct posture in order to
display the correct mental attitude "ou can practice reiho toether with seiza- ho.
/eiho
2 (it in seiza.
7 'ilt your upper $ody !orward without li!tin your hips, keepin your $ack and neck straiht. (lide your hands
down towards your knees, then place them onto the mat in !ront o! your knees. Keep your !iners toether. "our
!inertips are pointin inwardly and diaonally !orward !ormin a trianle. %hen practicin with an opponent,
!ocus your eyes straiht on the opponent4s eyes.
&i 'ilt your upper $ody !urther !orward while $endin your el$ows and lowerin your hips. )ake sure your hips,
$ack and neck are all on one straiht line. "our nose should $e $rouht into the center o! the trianle !ormed $y
your hands. 2 /aise your upper $ody and return to the position shown in photo E.
/eiho
!c5 /aise your upper $ody !urther while slidin your hands $ack onto your knees and return to your initial seiza
position.
-ote
)ake sure that your upper $ody is not sti!!.
<kemi
(Break!alls)
<kemi, or $reak!alls, are necessary to protect yoursel! when !allin and there are many ways to achie#e that
purpose. +owe#er, the $asic principle is to reduce to a minimum the shock o! the !all. 'hus, we must practice
such mo#ements correctly.
<kemi are necessary !or learnin and executin techniques !rom this point on. In aikido there are #arious
techniques, such as osaewaza, (pinnin techniques), naewaza (throwin techniques), shimewaza (chokin
techniques), kimewaza (lockin techniques), atemiwaza (strikin techniques), and so on. <kemi are especially
crucial !or throwin techniques and you must $e a$le to protect yoursel! in all situations, no matter which
technique is used to throw you
'here are many types o! ukemi $ut only the most $asic !alls, $ack $reak!alls and !orward $reak!alls. are
descri$ed here.
&or $einners especially, masterin these ukemi is o!ten quite di!!icult, so it is important to et used to 5ust
!allin at !irst. 0ontinuous repetition o! the $asic mo#ements is necessary in order to quickly master correct
ukemi.
Koho ukemi
(tron slaps aainst the mat with one or $oth hands help to lessen the shock o! the !all when executin the
koho ukemi ($ack $reak!all).
2 (tand up straiht.
7 Bend your knees and lower your hips, and at the same time extend $oth arms to the !ront.
Fenpo kaiten ukemi (!orward rollin $reak!all) are used when !allin !orward. "ou cur#e your $ack and roll
!orward in a $all to protect your $ody and then et up aain.
Beinners should practice !orward rollin mo#ements $e!ore practicin this $reak!all in order to et used to
rollin.
2 (tep !orward with your le!t !oot, $rin the !iners o! your le!t hand toether, and place your le!t arm as shown
in photo = (arm cur#ed in re#erse position o! kamae), $endin the el$ow slihtly. ,t the same time, $rin
toether your riht !iners, and place your riht hand $eside your hip in preparation !or slappin the mat. Keep
your le!t le and knee !lexi$le and lean !orward with your upper $ody. 7 )o#e your upper $ody !urther !orward
and down, then place your le!t hand on the mat (place your le!t hand little !iner-side down and $end your el$ow
slihtly so that your arm !orms an arc.) Push aainst the mat with the toes o! your le!t !oot and extend your riht
le as you kick it up hih. 'uck your chin and cur#e your $ack. 7 /oll !orward alon your le!t arm and then your
$ack. "our le!t wrist should touch the mat !irst, !ollowed $y your le!t el$ow, shoulder, $ack and hips, in a $i
circle. 'uck your chin to a#oid strikin your head on the mat. "our $ack should make contact with the mat alon
a diaonal !rom your le!t shoulder to your riht hip and le. 2 ,s you roll, extend your riht knee and $end your
le!t knee at an anle o! 67 derees to the mat. (lap the mat with your riht hand $e!ore $oth les land on the
mat (extend your arm and slap the mat near your $ody) in order to lessen the shock o! the !all. %hen you land,
land on your riht side with your $ody inclined to the riht. our le!t le should $e $ent.
Fenpo kaiten ukemi
7 *et up quickly usin the momentum o! the roll, keepin your chin tucked as you raise your head. ,ssume a
correct
posture to prepare !or the next mo#ement.-
-otes
A%hile rollin, $e sure to keep the el$ow o! the arm which lands !irst turned outward and slihtly $ent. Keep
extendin enery throuh the arm and make sure not to $end your el$ow too much durin the mo#ement.
Beinners need to pay special attention not to o directly !rom the wrist onto the shoulder and then hips when
they roll. ;ike a rollin $all, the more you cur#e your $ody into a circle the less the shock will $e.
A'he slap should $e timed to strike the mat at the same moment your $ack and hips contact the mat.
<sually the le that is on the same side as the strikin hand should $e extended and the other le should $e
$ent.
A'ry not to close your eyes when you roil and quickly check your position and your opponent4s in preparation !or
the next mo#ement.
Kihondosa
(Basic )o#ements)
Kihondosa are !or practicin $asic hand, !oot and hip mo#ements, as well as o#erall $ody mo#ements. 'hese
exercises also de#elop sta$le and !lexi$le les and hips, which are needed !or the practice o! techniques. 'here
are six kihondosa.
,ll aikido techniques are $ased on these kihondosa. I! you practice kihondosa correctly, you will learn to
execute correct techniques.
(ince these mo#ements are monotonous and repetiti#e, they sometimes $ecome rather automatic, like
calisthenics, and thus lose their martial meanin. "our !orm in kihondosa will clearly mani!est itsel! in your
techniques, so it is important to pay reat attention to these mo#ements
'here are two types o! kihondosa practice, solo or with an opponent. It is $est to practice with an opponent a!ter
practicin solo exercises.
1specially !or $einners, it is important to et used to the mo#ements rather than try to memorize them. 'ry to
learn them with your $ody $y continuous repetition.
,s you practice kihondosa pay close attention to the mo#ement o! your hands and !eet, and the position and
mo#ement o! your hips.
'ai no henko
('urnin)
,lthouh there are #arious kinds o! taisa$aki ($ody mo#ementsG in aikido, the principle is whether you turn your
$ody executin tenkan (turnin mo#ements) or step !orward executin irimi (enterin mo#ements). "ou should
turn when pushed and enter when pulled. 'hese are the most $asic mo#ements.
'-,
'his tai no henko is !or practicin taisa$aki when pulled. %ith this technique, you $reak the $alance o! your
opponent and neutralize his power, while maintainin a stron and sta$le posture $y placin your hands, !eet,
and hips all on one line. It is the most $asic mo#ement !or practicin irimi techniques which are characteristic o!
aikido.
2 (tand in riht hanmi and $e prepared to mo#e in any direction.
'ai no henko (=)
7 (lide your le!t !oot !orward, !irst cur#in it in towards your riht !oot, and then out diaonally to the le!t,
descri$in the letter (. Keep your $ody centered as you mo#e and don4t li!t your !oot !rom the mat (sunash!). +
2 'hen mo#e your riht !oot slihtly !orward while shi!tin your weiht onto your le!t !oot, and lower your hips.
'he distance $etween your !eet should $e wider than that in the oriinal kamae position. "our !ront knee should
$e deeply $ent o#er your !ront toes. Press the sole o! your $ack !oot !irmly aainst the tatami and completely
extend your $ack knee. Keep your riht hip pressed !orward to sta$ilize your lower $ody.
'he toes o! your le!t !oot should point outward, and your $ack !oot should $e pointin sideways. 'his position is
the same as in the oriinal kamae, except that the distance $etween your !eet is wider.
,t the same time, mo#e your hands !orward in unison with the mo#ements o! your les and hips. %hile
maintainin your kamae, extend your le!t hand !orward diaonally to the le!t with palm upward, then $rin it to
the heiht o! your !orehead. (1xecute this mo#ement without $endin your le!t
el$ow as thouh drawin a circle in !ront o! your $ody).
)o#e your riht hand in harmony with the mo#ement o! your le!t hand and $rin it parallel to your le!t hand.
Both palms should $e turned upwards.
1xtend your !iners, pro5ect your mind !orward and allow your power to !low throuh your arms and hands.
'he eyes should $e !ocused alon the line which extends !rom the tips o! the le!t !iners. +ands, les and hips
should all $e alined-
7 7 %hen returnin to the oriinal riht hanmi, mo#e your hands, !eet and hips in precisely the re#erse manner,
while drawin a circle with your le!t le maintainin contact with the mat. Be care!ul not to put your weiht onto
your $ack le.
1xecute these mo#ements usin your hips as the center, and practice repeatedly.
'ai no henko (=)
-otes
(ince the position o! your riht and le!t hands chanes with the shi!tin o! your hips and les, it is easy to lose
your $alance 'here!ore, always mo#e your hands, !eet and hips in unison.
In the position shown in photo E, !ace !orward with sta$le hips, and ne#er look to the side. Blend with the
mo#ements o! your !eet when you mo#e your hands.
)ake sure not to mo#e them too late or swin them to the side. )oreo#er, $e care!ul not to raise your
shoulders.
'his tai no henko is !or practicin taisa$aki when pushed. "ou pi#ot on either !oot and turn to the rear. It is the
!undamental mo#ement used to $reak your opponent4s $alance and also to mo#e to a sa!e position !rom which
you can easily control him. %hen the $ody turns, the !ocus o! the mind should turn as well
'he deree o! the turn can #ary $ut the $asic !orm is usually 6H derees.
. ,ssume riht hanmi, and direct your attention !orward. + Place all your weiht on your riht !oot and pi#ot on
it, slidin your le!t !oot around 6H derees in an arc to the rear, all the while maintainin contact with the mat.
'he distance $etween your !eet will $e slihtly wider than that in the oriinal kamae. ;ower your hips while
keepin your le!t hip pushed !irmly !orward. Both your upper and lower $ody should !ace the same direction.
1xtend your $ack knee straiht with the sole o! your $ack !oot !irmly in contact with the mat to create a sta$le
posture !rom which you can rapidly mo#e at any time.
%hen pi#otin and turnin your hips, at the same time, draw a circle with $oth hands without distur$in your
kamae. Brin your riht hand to chest le#el and le!t hand in !ront o! your a$domen with the palms o! $oth hands
upwards. Both hands should $e on parallel lines, each one at a di!!erent le#el. Cpen your !iners, look straiht
!orward and extend your power throuh your !iners $eyond your !inertips while pro5ectin your mind in the
same direction.
)ake sure to turn your hands, !eet and hips all at once as thouh they were one mo#ement and $e especially
care!ul not to lean your $ody !orward or twist it. 'ry to culti#ate the
'ai no henko (E)
centered power o! your $ody and execute circular mo#ements, not linear mo#ements.
7 %hen you return to the oriinal kamae, mo#e your hands, !eet and hips in precisely the re#erse order. (lide
your le!t le $ack in an arc maintainin contact with the mat, and return $oth hands to their oriinal position.
Practice these mo#ements repeatedly.
-otes
%hen turnin, pro5ect your mind !orward as thouh ad#ancin, and $e care!ul not to look down or pull your hips
$ack, thus shi!tin your weiht to your $ack le. Be sure not to li!t the toes o! either !oot !rom the mat !rom
$einnin to end.
1xecute the mo#ements o! your hands, !eet and hips all at once and alin all parts o! your $ody. ,s you turn
your $ody, !ollow the mo#ement with your mind. In other words, concentrate and pro5ect your mind quickly in the
direction that your $ody is mo#in so as to $e ready to initiate any mo#ement rapidly %hen returnin to the
oriinal kamae, execute the mo#ements as eneretically as when you !irst turned.
'ai no henko (=) (E)
It is important to clearly distinuish $etween the roles o! shite and uIre.
'ai no henko (=) with an opponent
1xtend your riht arm diaonally !orward toward your opponent4s chest and place your riht hand o#er his riht
shoulder, while $rinin your le!t hand in !ront o! his a$domen closely enouh to touch it. Cpen !ully the !iners
o! $oth hands and look !orward $eyond the !iners o! your riht hand.
'ai no henko (E) with an opponent
Brin your riht hand to chest le#el and le!t hand in !ront o! your a$domen with the palms o! $oth hands up-
wards. Both hands should $e on parallel lines, each one at a di!!erent le#el. Bend $oth el$ows slihtly and let
your ki-enery !low #iorously out o! your !inertips.
(-oteJ 'he person who executes techniques is called shite and the person who recei#es shite4s techniques is
called uke. 'hese terms will $e used throuhout the !ollowin explanation. Pay close attention to who is which
when you execute techniques)
Kihonwaza
!ete.
Criinally, ail techniques were desined !or controlin an opponent $y merely touchin him. +owe#er, this
$ecomes possi$le only a!ter you ha#e mastered the $asic mo#ements and techniques.
%hen executin techniques, you should start !rom a distance that does not allow your opponent to reach you
e#en i! he extends his arms or les. 'his is a common sense in $udo, whereas it is not possi$le to percei#e the
in#isi$le power o! your opponent when you are still a $einner. 'here!ore, !irst you must practice $asic tech-
niques !rom a close distance to each other in order to learn methods to lead the !low o! power, to execute
correct $ody mo#ements, to $reak your opponent4s $alance, to use your power e!!ortlessly, and to !ully apply
kokyu-power, and so on.
(hite and uke should $ecome one and work toether in order to per!orm each technique correctly.
)oreo#er, you should not always execute throwin and pinnin techniques as shite. Cnly a!ter you ha#e $een
thrown and pinned many times as uke will you $e a$le to deepen your understandin o! the important points in
each technique.
In this chapter, we will explain the most important $asic techniques. 'he num$ers (=) and (E? used a!ter the
names o! the techniques indicateJ
@=) Cmotewaza, techniques in#ol#in !orward mo#ements in ai hanmi and, (E) urawaza, techniques with
pi#otin mo#ements in yaku hanmi.
(hihonae
(&our-.irection 'hrow)(hihonae is an empty-handed mani!estation o! the sword mo#ement when cuttin in
!our directions. "ou pi#ot on either !oot and $end your opponent4s arm, as thouh !oldin it, while $rinin it
$ehind his shoulder in order to throw him to the rear or in other directions. In explainin $asic techniques, it is
necessary to start with shihonae $ecause it is related to e#ery other technique.
%hen practicin shihonae, it is important to execute the mo#ements in the same manner as when you raise a
sword or cut down with a sword. &urthermore, you should not twist your opponent4s arm unnaturally, $ut lead his
power to !low into the most e!!ecti#e direction so that you can control him easily. ,lso, $e connected with your
center o! ra#ity and apply the extended power !rom there.
%hen executin shihonae, all the $asic mo#ements are used, $ut especially, that o! shumatsu dosa. It will $e
easier !or you to understand the mo#ement o! shihonae i! you remem$er that shumatsu dosa has turned into
this technique.
Katatemochi (hihonae (=) is used when your opp nent ra$s one o! your wrists and pulls. "ou !old his arm to
his shoulder and throw him to the rear. 'he mo#ement the same as in shumatsu dosa (=).
2 (hite !aces uke in riht ai hanmi lookin straiht !orwa 7 <ke ra$s shite4s le!t wrist with his riht hand and pi
it. (hite, with the !eelin o! allowin uke to ra$ his wri then extends the !iners o! his le!t hand and directs $oth
I physical power and ki-power !orward.-otes
%hen executin an atemi, do not twist your upp $ody or hips, or use too much shoulder-power. ,lin you hand
with the center o! your $ody and execute an ater !rom your center. ;ook into your opponent4s eyes piercin
)ind your rip when ra$$in uke4s hand. .o not ho it too tiht or pull with your riht hand. Push uke4s hand
!orwai with $oth hands as i! squeezin it in !ront o! you. Be sure ni to allow any space $etween your hands and
his.
,ll mo#ements should $e executed with your !ei maintainin contact with the mat and uke4s wrist mu. always $e
alined with the center o! your $ody.
Katatemochi shihonae (=)
KB (hite raises his riht hand up to the side o! his temple, closin his hand lihtly !irst, then clenches his !iners
to execute an atemi with an uraken (a $ack-handed strike) aainst uke4s !ace $etween his eyes (or $etween his
nose and mouth). %hen strikin, shite uses the power o! his hips, and clenches his !iners only at the moment
o! hittin uke4s !ace.
By executin an atemi, shite can weaken uke4s pullin !orce and also pre#ent his attack with his le!t hand, which
is !ree. <ke should $lock shite4s atemi with his le!t teatana (hand-sword) in order to protect himsel! !rom $ein
hit. <raken is an e!!ecti#e atemi when you are close to your opponent. 'here are many other kinds o! atemi as
well, such as seiken, teatana, and so on. 2 (hite slides his riht !oot diaonally !orward to the riht, in the
same manner as in shumatsu dosa (=), while $lendin with uke4s pullin power.
,t the same time, shite extends his le!t hand !orward in a circular motion, $rinin his le!t little !iner to the !ront.
1xecute this mo#ement as thouh cuttin uke4s a$domen throuh with your le!t teatana.
(hite ra$s uke4s riht wrist lihtly with his riht hand usin only three !iners (little, rin and middle) placed
alon the $ack o! uke4s wrist and supported slihtly $y the thum$. 'hen shite extends uke4s hand !orward and
up to chest le#el keepin his shoulders and el$ows down. +is weiht should $e mainly o#er his riht !oot and
his hips should $e lowered to $reak uke4s $alance, while his eyes are !ocused straiht on the !ront in the
direction his $ody is !acin.
(hite should ra$ uke4s wrist only at the moment he is !inishin steppin !orward, not earlier.
(hite leads uke so that the palm o! uke4s riht hand remains in solid contact with the $ack o! shite4s hand, while,
at the same time, raisin uke4s $ody $y stretchin his el$ow.
7 (hite slides his le!t !oot makin a lare step !orward and shi!ts his weiht !rom his riht le to his le!t, while
raisin uke4s hand in !ront o! the !orehead as thouh pushin it !orward in a circular mo#ement.
(hite looks straiht !orward !rom $elow his raised hands, and extends his el$ows slihtly !orward keepin his
shoulders down. +is $ack le, $ack and neck should $e extended with the weiht on his le!t le. 7 Pi#otin on
the toes o! $oth !eet, shite turns =>7 derees in the same manner as in hiriki no yosei (E), while shi!tin his
weiht !rom his le!t le to his riht le ,t the same time, shite extends his el$ows !urther as in the kamae, and
!olds uke4s arm up o#er uke4s shoulder $reakin his $alance to the rear.
(hite should make sure not to pass under his raised hands while turnin, $ut execute this mo#ement as thouh
cuttin down with a sword. %hen shite !olds uke4s arm, he must $rin uke4s wrist down, lower than his own
shoulder.
)oreo#er, when shi!tin his weiht, shite should pull his $ack (le!t) !oot !orward quickly into the normal kamae
position, while lowerin his hips and puttin more weiht onto his riht le.
-otes
%hen you $rin uke4s hand down while turnin, as shown in photo 8, $e care!ul not to raise your riht shoul der.
Brin your le!t hip !orward. )oreo#er, make sure to $end uke4s wrist o#er his shoulder in order to pre#ent him
!rom extendin his wrist and re#ersin the !low o! his power.
,!ter throwin your opponent, as shown in photos L, >, and 6, keep your hips sta$le and do not $end your $ack.
%hen executin a !inal strike with your teatana, apply your hip-power !ully and execute a $low to uke4s !ace so
power!ully, as i! to shatter his $lockin teatana, with your strike.Katatemochi shihonae (=)
2 ,s shite $rins uke4s !olded wrist !urther down in !ront o! him, he slides his riht !oot !orward to throw uke,
while shi!tin e#en more weiht onto his !ront !oot and $rinin his hips o#er it.
,t the same time, shite pulls his le!t knee quickly close to his riht heel keepin most o! his weiht on his riht
le while $endin uke4s wrist !urther towards his shoulder. (<ke4s a$domen will $e raised.)
7 %hile still pinnin uke4s wrist, shite swins his le!t teatana up a$o#e his head,
7 (hite cuts down with his teatana and executes a !inal strike aainst uke4s !ace. <ke $locks shite4s attack !rom
$elow with his le!t teatana to protect himsel! !rom $ein actually hit.
'houh the technique ends when shite throws uke down, shite should execute a !inal strike in order to $rin the
technique to !ull completion.
I! you are in the kamae position and concentrate your ki-enery and hip-power on your hands, your hands will
immediately assume the teatana position.
(homenuchi ikka5o osae (E) is used when an opponent comes to strike your head !rom the !ront with his
teatana. "ou lead his teatana downward in a circular mo#ement and control him applyin the ikkyo pin. In
shomenuchi ikka5o osae (=), you initiate the mo#ement $y strikin your opponent. Cn the contrary, your
opponent initiates the mo#ement in this technique.
2 (hite !aces uke in le!t yaku hanmi lookin straiht
!orward.
7 <ke slides his !eet !orward keepin riht hanmi while
raisin his riht teatana a$o#e his head, then strikes shite4s
head straiht down !rom the !ront.
(hite mo#es his weiht onto his le!t le and lowers his hips to sta$ilize his $ody posture, then parries uke4s
teatana $y extendin his riht hand and turnin it !orward at the #ery moment uke4s teatana touches it. (hite
can lead the power o! uke4s teatana to !low upward this way. ,t the same time, he holds uke4s riht el$ow with
his le!t hand, and this causes uke4s $ody to $e raised.
'his position is the same as in shomenuchi ikka5o osae (=). (hite should $e especially care!ul not to $end his
le!t arm when holdin uke4s el$ow.
+e should parry uke4s teatana in !ront o! himsel!, on the center line o! his $ody, while applyin hip-power.
(homenuchi ikka5o osae (E)
B 2 (hite mo#es most o! his weiht onto his le!t !oot as
thouh ad#ancin !orward with his whole $ody, then pi#ots on his le!t !oot and turns =>7 derees, while slidin
his riht !oot to the rear in a circular mo#ement as i! drawin a lare arc.
,t the same time, shite $rins his hands down in a circular mo#ement in the same direction his !eet and hips
are turnin. +e leads uke4s riht wrist with his riht teatana and uke4s el$ow with his le!t hand, cuttin down in
M spiral mo#ement and $reakin uke4s $alance. (hite should not ra$ uke4s wrist too early, $ut should make
sure to cut it down completely with his riht teatana. (hite4s hips should $e solidly centered so that he can
execute the mo#ements o! his hands and !eet, cuttin and turnin, at the same time, in a sinle mo#ement.
%hen cuttin down with $oth hands, shite should $e care!ul not to push uke4s riht arm toward uke, or to pull it
toward his own $ody.
(hite keeps the same distance $etween uke4s arm and his own a$domen while turnin and !lowin. +e
executes the mo#ements alinin his hands, !eet, hips and head.
-otes
,lthouh uke initiates the attack, you should always $e prepared and alert.
'hrouhout all the mo#ements, always keep $oth hands in !ront o! your center. .o not turn your !eet too quickly
lea#in your upper $ody $ehind, otherwise your will $e !orced to pull uke4s arm with the strenth o! your arms in
order to pin him down. ,lin your hands, !eet and hips, and mo#e all toether at the same time leadin uke into
a circular mo#ement.
,s you turn $e especially care!ul not to $end your le!t arm (when holdin uke4s el$ow with your le!t hand), or to
lea#e your head $ehind, $ut !ace in the direction your $ody is turnin, and keep your $ack straiht.
A %hile turnin, make sure not to mo#e your pi#ot !oot.
(homenuchi ikka5o osae (E)
7 %hile continuin to turn his hips, shite shi!ts his weiht !rom his le!t !oot onto his riht !oot and rotates =>7
derees. ,t the same time, he $rins $oth hands !urther down in a spiral mo#ement $reakin uke4s $alance
more and more.
7 (hite places his le!t knee at uke4s riht armpit lowerin his hips and whole $ody, and $rins uke completely
down onto the mat !ace down.
,t the moment shite !inishes turnin, he should ha#e also completed ra$$in uke4s wrist with his riht hand.
%hile turnin and shi!tin his weiht, shite should make sure always to keep his hands in !ront o! his a$domen,
his center, and to maintain a correct posture. 2 (hite places his riht knee on the mat and pins uke in the same
manner as in shomenuchi ikka5o osae (=).
-ika5o osae
((econd 0ontrol)
In the nika5o osae technique you $reak uke4s $alance, applyin pressure aainst his wrist 5oint $y $endin his
arm (wrist, el$ow, and shoulder 5oints) in a sideways N position, and $rin him down to the mat with his !ace
down.
Bust as in the ikka5o technique, you can strenthen your wrists, el$ow and shoulder 5oints and also de#elop their
!lexi$ility $y practicin as uke. )oreo#er, since this technique stimulates the peripheral ner#e, it has also a reat
sini!icance !or your health. 'he details o! the nika5o method !or ra$$in and applyin pressure are explained
later in the technical descriptions.
In shomenuchi nika5o (=), you hold uke4s wrist $etween the index !iner and thum$ o! your le!t hand, and uke4s
hand with your riht hand. "ou place the little !iner o! your riht hand on uke4s wrist, and your palm is in contact
with the $ack o! uke4s riht hand without allowin any space $etween them. <ke4s wrist and el$ow are $ent and
!orm a sideways N. "ou should not try to use only the raspin power o! your hands, $ut should take a rip on
uke4s hand as i! holdin a sword, and squeeze it with $oth little !iners while keepin your shoulders and el$ows
down.
"ou $rin uke4s wrist in !ront o! your center, straihten your $ack and neck to keep your $ody sta$le, and look
straiht in the direction your $ody is !acin. 'hese are important points !or the nika5o ra$$in position.
"ou slide your riht !oot !orward pushin it with hip-power, and draw your $ack !oot slihtly !orward. ,t the same
time, you ra$ uke4s hand in the nika5o rip, connect $oth hands with your hip-power and !oot-power, then cut
down alon the center line o! your $ody, usin the equally $alanced power o! $oth hands as i! executin a cut
with a sword.
"ou trans!er most o! your weiht onto your riht !oot, twist your hips while slihtly leanin your upper $ody !or -
ward, and apply the nika5o pressure aainst uke4s wrist, $reakin his $alance and !orcin him to lower to his
knee (this is the nika5o pin).
In this technique, you (shite) initiate the mo#ement $y strikin uke4s !ace !rom the !ront. <ke $locks your
teatana. 'hen you hold his hand which $locked your strike, apply the nika5o pressure aainst it, and pin him to
the mat,
2 (hite !aces uke in riht ai hanmi. 7 (hite strikes uke4s !ace !rom the !ront with his riht hand. <ke parries
shite4s strike with his riht teatana. (hite ra$s uke4s riht el$ow !rom $elow with his le!t hand.
(homenuchi nika5o osae (=)

In the same manner as Ikka5o (=), shite pushes uke4s el$ow upward toward uke4s riht ear in a circular motion
with his le!t hand, while cuttin uke4s riht wrist downward and diaonally !orward to the riht with his riht
teatana. ,t the same time, shite slides his riht !oot !orward and twists his hips to the riht.
2 ,!ter cuttin down with his riht teatana, shite slides his le!t hand down alon uke4s !orearm and ra$s uke4s
wrist, and, at the same time, holds uke4s hand with his riht hand as i! wrappin uke4s hand in his hand and
entwinin it with his thum$. Keepin the nika5o rip, shite pi#ots on his riht !oot while slidin his le!t !oot to the
rear in a circular motion and !aces uke.
-ote
A In the mo#ement shown in photo E, you raise your teatana hih a$o#e your head and execute a shomenuchi
strike aainst uke4s head <ke $locks your strike, then you ra$ his el$ow !rom $elow with your le!t hand as i!
pushin tt upward, so that his $ody is raised.
7 (hite applies the nika5o pressure aainst uke4s wrist. 2 (hite steps !orward with his riht !oot without
loosenin the nika5o pressure, and $rins uke4s arm downward while twistin his hips to the riht.
(hite applies the nika5o pressure $y $rinin $oth hands down as i! executin a cut with a sword.
-ote
A %hen applyin the nika5o pressure, as shown in photo H, let your power !low into your hips $y pressin the
toes o! your !eet aainst the mat, and make your hips and !eet completely sta$le. Keep your el$ows down,
mo#e your weiht onto your riht !oot, and apply pressure aainst uke4s wrist as i! cuttin down with a sword.
(homenuchi nika5o osae (=)
(hite takes a lare step !orward with his le!t !oot in the same manner as in the ikka5o osae (=) technique. 7 (hite
mo#es his riht !oot !orward in a lare motion and lowers to his le!t knee.
1l (hite pi#ots on his le!t knee and slides his riht !oot to the $ack o! uke4s head and places his $ody
perpendicular to uke4s $ody. ,t the same time, shite holds uke4s riht wrist under his le!t arm at the el$ow, and
places his riht teatana at uke4s riht el$ow. +e ra$s his own riht chest with his .le!t hand and immo$ilizes
uke4s riht arm. IB %hile keepin uke4s arm immo$ilized under his le!t arm, shite twists his hips and applies
pressure aainst uke4s riht shoulder.
(+C)1-<0+I (,-K,BC C(,1 (E)
In shomenuchi sanka5o osae (E), your opponent cornes to execute a shomenuchi strike. "ou lead his power
past, $reak his $alance $y applyin the sanka5o technique, and pin him to the mat with his !ace down.
. (hite !aces uke in le!t yaku hanmi lookin straiht !orward.
&M %hen uke comes to execute a shomenuchi strike with his riht teatana, shite mo#es his weiht onto his le!t
le and lowers his hips to sta$ilize his $ody posture, then parries uke4s teatana $y extendin his riht hand and
turnin it !orward at the #ery moment uke4s teatana touches it. (hite can lead the power o! uke4s teatana to
!low upward this way. ,t the same time, he holds uke4s riht el$ow with his le!t hand 'his is done in the same
manner as in shomenuchi ikka5o osae (=).
tl (hite pi#ots on his le!t !oot and turns =>7 derees to the rear, while leadin uke4s riht wrist with his riht
teatana in a spiral mo#ement, and turnin uke4s el$ow o#er with his le!t hand to $reak uke4s $alance. (hite
positions himsel! in the riht rear o! uke a!ter the turn. It is important that shite does not try to pull uke4s teatana
towards himsel!. <ke4s arm and shite should $e parallel to each other.
Keepin his weiht on his le!t !oot and his $ack le !irmly extended, shite slides his riht teatana to uke4s wrist
and lihtly ra$s uke4s !iners !rom a$o#e so that shite4s thum$ is in uke4s palm.
2 (hite mo#es his le!t !oot toward uke4s riht rear, turnin his riht hand which is holdin uke4s !iners in a
circular motion so that uke4s palm !aces outward and. at the same time, pushes uke4s el$ow upward with his le!t
hand and raises uke4s $ody. (hite4s riht hand should $e placed in !ront o! his own !ace.
(homenuchi sanka5o osae (E)
%hen applyin the sanka5o pressure with his le!t hand, Je extends his riht hand out pro5ectin his enery O#ard
throuh his riht hand as i! applyin the pressure i $oth hands.
7 Keepin uke4s $ody raised, shite slides his le!t hand
down !rom uke4s el$ow to uke4s wrist 5oint, places the $ase o! his thum$ and index !iner around uke4s wrist
5oint, and holds uke4s palm tiht with his other three !iners as in the sanka5o rip. (hite4s palm should
completely co#er and $e in !irm contact with the $ack o! uke4s hand. 7 (hite pi#ots on his le!t !oot slidin his
riht !oot !orward. and twists his hips to the le!t to $rin his riht hip !orward. ,t the same time, shite extends his
arm and pushes uke4s riht hand !orward towards uke4s riht armpit so that uke4s little !iner turns to the side o!
his $ody. (hite keeps his shoulders down and applies the sanka5o pressure.
%hile turnin his hips shite extends his riht hand outward in a circular motion with the palm downward. %hen
shite applies the sanka5o pressure aainst uke, <ke4s $ody will $e raised !urther and uke will stand on his toes.
<ke4s wrist, el$ow and shoulder !orm a hook shape in this position.
2 %ithout loosenin the sanka5o rip, shite $rins uke4s riht hand down in !ront o! his a$domen with his le!t
hand, while mo#in his le!t le and hips to the rear. ,t the same time, shite executes an atemi to uke4s !ace with
his riht uraken shi!tin his weiht onto his riht le and extendin his le!t le, and lowerin his hips.
tB %hile keepin the sanka5o rip with his le!t hand, shite places his riht hand on uke4s el$ow (shite4s thum$ is
placed on the inside).
(+C)1-<0+I (,-K,BC C(,1 (E)
7 (hite mo#es his le!t le !rom his hips !urther $ack alon
the arc descri$ed $y uke4s arm. ,t the same time, shite applies pressure aainst uke4s el$ow with his riht hand
as i! cur#in it !urther alon the arc, while maintainin the sanka5o pressure on uke4s wrist with his le!t hand, and
$reaks uke4s $alance. (hite keeps his weiht !irmly on his riht !oot and straihtens his $ack so that his $ack
le, $ack and neck are on a straiht line.
l1 (hite mo#es his riht !oot to the side into an o$tuse anle and places his le!t knee at uke4s armpit while
$rinin uke completely down to the mat with his !ace downward.