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As taught hy the Founder to the A uthor-, Aikido is an e-xtremely efficient and versatile martial art. It does not rely upon Ii weapon or weapons but shows that the body m ovements are the same whether one holds a weapon or not.

The term riai means, literally a blending of truths. By understanding A ikido t hr-oug'h rial, one sees that the taijutsu techniques were d velop d hom movements using th

s W oI·d. Theref 0 re, t ra i ni ng wit h the sw ord will develop taijustu technique,

The Founder said that a weapon should

be used as an extension of the body.

However he stressed that one should not develop a d pendence upon a par-t icula r weapon. To build this Feeling , one should practic th basic exercises of ken and io suhuri, tai no henko, and kokyu dosa consistently. A good understanding of these basic exercises will enable the practi ti oner to move smoo thl y

and surely w.i th or w i thout weapons.

Explanations have purposely been kept at a minimum. to encourage the reader to use the book as a guide to dey loping understa nding through practice.

About the Author

Mr. Mo rihiro Saito was born in Iba.raki Prefecture in March of 1928. In July of 1946, he met and became the student of Professor Morihei Ueshiba, the founder of Aikido, at

the 1 bar-a ki Outdoor Doio in T wama, He

Ii .. ed at the dojo and worked hard for the Founder even though he held II. regular job.

So complete was his desire to learn Aikido

and his devotion to the Founder, that after

his marriage, instead of a honeymoon trip,

he l ef t his bride to train with Professor

U eshiba.

He became head of the Ibaraki Dojo In April of 1969, after the death of the Founder. Together wit h his wife, he also ca res 'for the Aiki Shrine next to the dojo. In addition, he also regularly instructs at Kanagawa Ibaraki, Iwate, and Tohoku Gakuin Universities, the Miyagi Branch Dojo and

the Japan Self Defense Fore Army Weapons School in Tsuchrura. Other Aikido groups

in Japan and from abroad also come to the Iba raki Dojo for instruction.

At the New Year Celebration in 1959 l1f! became an instructor at the Main Headquarters Dojo in Tokyo. Through his Sunday morning practices at the Headquarters Dojo, he attracted many students by his p rsonal character and nthusiasrn for Aikido.

© 1973 by Mor ihir o Saito ISBN: 0-87040-267-6

MINATO RESEAR,CH & PUBLiSHING COMPANY

, N j sh ikubo Sa kurnkaw 6' C 1.0 • .M ina to . ku, Tokyo. J" pan

First Printing: December, 1973 Printed in Japan

Exdusl ve Distributor in LJ. 5, /\. & Canada:

JAPA PUBLICATIONS TRADING CO.

(U. S. A.), INC.

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

Traditional

SWORD· STICK

AN D BODY ARTS

VOL.2

ADVANCED TECHNIQUES

MORIHIRO SAITO

© 1973 by Morihiro Saito

IS B N : 0- 87040- 267- 6

M INATO RESEARCH & PUBLI SHING COMPANY

1 N ish i kubo Saku r akawa.cch o , M lrva tocku . Tokyo I Japan Phone: 03(!:?Ol)9248

First Printing; January, 1974

Photographys by Sadao Hirata

printed in Japan

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

JAPAN PUBLICATIONS TRADING CQ.(U,g.A.). INC. 1255 Howard Street. San Francisco. CaliL94103.U.S.A. Phone: {41.5}431-3394, 3384

Cable: SHUTSUBO SANFRANCISCO

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;~ Ji>X; 1If- i1§ *JP.lW.;g I~' IlfTfi fMj26·fIHtl!. 1i.1ffi 029945-2224~

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FOREWORD

The previous' book covered the relationships between the basic techniques and practice methods of jo, ken. and taijutsu, This volume explains the applicati0nand variations or the basic kumitachi as developed by the founder, Professor Morihei Ueshiba. Also the concept of Rial has been expanded to, include k.umijo and relationships between jo and taijutsu. taijutsu and ken, and ken andjo,.

In Aikido, the ku mita chi contain body movements according to the principles of Aiki, It is possible at any time during the kumitachi to change to taijutsu, The same holds true for the kumlj5. However, it will be very difflcult to switch to taljutsu, if (me is dependent upon jo or ken. Therefore, for easier understanding the ex planations have been made by use of detailed photographs, If the aim of the reader is to instruct in Aikido, then this book should be considered necessary.

I sincerely hope that the fUist volume, tltis book, and the third intended volume will help the reader to broaden his understanding and correctly grasp' the principles of Aikido.

In the publication of this book, the cooperation of Sensei Go:zO Sltiota of the Yosh:_i:nlCan Doj6, Sensei Shoji Nis!iiO of Aikido Headquarters D6j6and Sensei Yasuo Kobayashi, through thelr donation of photographs, is deeply appreciated. I would also like to thank Shigaml lnagaki aiLd Masaie Umezawa of Ute Ibaraki DOj6 for their participation in this book as well as in the previous one.

September 15, 1973

Moribiro Saito

Yoshioka 26, Iwama-cho

Nishi Ibaraki Gun, Ibaraki Ken Telephone: 029945·2224

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Ken, Jo, Taijutsu, and Body Movements

Before practice, it is important to men tion lha L ken, jo, and taij utsu techiqlles are not intended to be dene ,with Just the hands, Therefore, one' should, not use l.hellaods ton rhuch but practlceas the basis of technique b0dy movements that will turn, throw, or upset the balance ofan opponent,

Generally, it is said that the main aspeel of Aikido is '"'empty banded" technique. Iustead the idea is advanced here thaL thl!. main aspect is body movement, "Empty handed" means literally not to be holding, anything. However, "en!pry handed' mlly perhaps also meal") that even While holdb;lg a kel1 or j5 ene should n01 rely only upon the weapon. The person who can use a ken or 55 as ~ part 01 his bedy will be able fa do "empty handed" technique. Por, in Aikido,. it does 110t matter tf the techniques lire "empty handed" or if one is actually holding something

It is hoped that the concept of Riai as presented hi the first volurae has been understood. that is; ken, jo, and taijul!>U movements have been eornblned from three puts into a single body. If this book is read completely,

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it is fel' that one will develop another relationship - control of [he epponent through body mevernent, For instance, when holding. a joand [acing an opponent who strikes with u ken, one must be able to control him. Conversely, when one holds a ken and faces an Opponent with a j5 the same is true. If both are witbouL weapons, the attacker still must be controlled; U one bean in mind the above concepts, lneonaistencies will notarise, One will be able to control an. opponent Without fail regardless of whether a weapon is involved or not providing the idea of body movemerrt is grasped and understood, Emphasis on body movement unifies ken, ji5, and tallutsu techniques into a single AikidB,

If must bap oln ted OHt cace more tha t to 0 nTU en dependence upon j5 OT ken is not. a good idea. and is 10 beavoided.

Because j5 movements are more varied than those or ken, the tendency is [€I think they are more difficult and differen.t, Therefore, one must practice basic techniques as autlined ill Volume J un til [he j5 and ken ate fell to he

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part of the body. A minimum of two years practice of the basic suburl is recommeaded. One' should by all mea ns practlee the tanren ueal exercise. Those practices wiU develop a stability of the: hips uiat is most necessary .in taijuISU. Body movemen; must be Dl;complished Irern th.e bip.s,

Aikid5 is an art of non-reslstance. In lechnlque tll"U; is done through body rnovern ent, Body movement is .developed through the basic practices,

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Hold bcthhands together as shown

Tanren Uchi

For tanren uchl practice. the eas;iest object on which to strike is a tire (preferably, the tire is a smallone, Hkea motorcycle tire, capable ot· deflecting about l Ocm when struck.)

The purpose o" tanren 110hl practice is to develop stability of th' itips And to improve the grip on [he ken,

Reference "hoUldbe made to tJ:te pictures for Ute proper method of striking. When practicing tanren uchi, modify your grip 011 rhe ken so [hal both bands are held close together. The bokken used for tbis practice i usually rounder and thicker in shape,

-17-

The rounder, ProfessotMociheiUo!ihlba,

-18-

ria C~'") 0') It, nt, t*!*) I::JllLll':iili..., L ~\.lb J: ? I::, -1111 (1)* 1>, ,L' t_ ~ ~ -"?!:: {( . .., L ~E fL o;j-'-, * ~'L't ~.UJJ< f=1Tl;. <: I!)J < :::. I: 1:' " ? Vi '(",t, Q"

.f!l.t (lJ jc;,.,(.-il' '" 1> L 'V t ~£h t: ,:, , f tUol: 5if ~=-I;t "Q.' "

-1: \,~ j

The way r ~ ·.00) is. {ike the flow of blo/xi inside she body . .4s it is aontailled In the bOdy, it.is in mlity witl: til" Divin« Spirit (Love). Realization of the Diw'Ui Spirit is accomplished through practice: If there is tile $nUll/est separation from the Divine Spirit thsn the way ts not being fo.llowed- .....

From a speech by the Founder

-]9-

-20-

1. *JL:*: JJ

~1i:i.;:::7J Ii, ~tJl iJ~ir1lTLO'"nt7J t ;~ I:.~:itt Vl }jj(:J=,I! ~j]1I i_. ~~ . .f1 r: t ~ -r:;}' ~ a ML *=7] I.: Ii ~1l:';:I1:ht S?;, iJl, f'}r.Jtl1l± =~~~ .7I;ffr, -~ !1)~1t.. -.~(TJ~1l:';l: f,Ji LiJ~Iij'J L -r 8 h tL tz , .; tl.~(1)~f~tH:t. ~U 1;J:~~illlO')': C 1*~11\r t L '( t ~ < rnJ;t{Ji: I.: r.tm i:' ~ a, t i?) l'~ ~ a

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2.1J-t?tJJ c 'f::!ttJJ

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Befor·e Practice

Kumitachi

The k:umit,a,ehi came o~igtnaUy from an old sword schooL They were modified to include the concept of Aiki by the Founder, Professor Morihei 'Ueshiba, who left them as a legacy.

There are many possi hie variations of the ku mltaehi. The F ounder, when he ta ugh t, caned these first attack and second attack variations. These variations are naturally used .with the ken but are soon adapted to taijutsu, Consequently, the kumitaohl are considered to be the personality of ken, JO,and taijutsu basic techniques .. If one does not have a good understanding of suburi, it VIill be useless to practice the kumitachi. If practice is done everyday on the .kumitachi and partner praotices, stability of the hips will not be attained, and an important point of practice will be missed. Therefore, begin each practice session wtth, the suburi as sh own in Volume 1.

Uehitachi (Attacker) and Uketachi (Defender)

The kumitachi are not to be considered competition. They are practices, and the partners do not vie for an attacking or superior position. It was said that one should be uchitachi for Lflyears before being allowed to become uketachi, It was felt that this was the proper may to learn.

-'21-

-22-

Sword Techniques

-23-

Knmitachi

First Kumitachi

No. Uketachi UchitDchi
J Stand in the posture of right harnrni. Stand in the postu re of right harnmi,
2 Raise Ute ken above the head.
Cul ob).iql1.ely up, extend the ken point to
3 Like's chest step out with the left foot and
Take one step back with the left foot and bring up the right (Fr0111 this posture,
strike down. movement can be made in any direction).
4
5
Step forward witb the left foot and strike.
6 Defend by adopting the attitude of a tsuki,
7
8 Defend by cutting down. Settle the hips Strike again with renzoku uchikomi,
and adopt the attitude of a tsuki. (hitoemi)
9 -24-

~Cl)*JJ

~. ~lt*JJ ;JTts :h01
cD b '~~ I7l HI~ i." ~'~I * Jlt a'/ r"i'li- L
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cr" JiJ Q> liIb~,1C -rr t::, Jb. x,
@ ( -tf(-Jif) -25-

7

-26-

1 5 9 13
2 Q 10 l4
3 7 11 15
4 8 12 Second Kumitachi (Refer to page 28)

~~ ~lt*)J n~*JJ
CD ;(l,*~Q fm*"-1lt •
.
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({*,;?{f~Ji,1J'~' ~, J: -j I': T Q .:
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~ -l;U I) :is 7:> 1'" d: :) t:·!t (t Q 0 :J1-t:,j1_,,;.
@ ( -M.~) -27-

Second Kumitachi

(See pages 26, 27)

Defend as if cutting down with t)1tl ken.

(In practice step back wHh the, left foot. Originally I·a step fo.rwa:rd was taken)

n chiea \ili i

No.

Uketaehl

Stand in the posture of: right .hamml,

Stand in the posture of tight hammi,

2

During the blending of J.ti:, raise the ken overhead.

Same movement as Uketachi,

Aim at .the opponent's leg-and strike down.

Follow uke's ken briskly from below as it is raised and thrust with the left font forward.

3

Defend by. moving into hitoemi with the left foot,

4

5

Intending to cut the opponent's wrist, raise the ken.

Follow with a thrust stepping with the right foot.

Ucrukomi.

(Do not let the body cant at this time).

Do not resist uke's ken, pass your ken under, and thrust stepping forward with the left f00t.

Step off to the right, parry his thrust.

6

Step back; with the dght fo:ot, adopthitoemi, p.arry his thrust, and aim. the ken point at his throat. ..

Finally, strik.e with a shomen uchi as shown.

7

8

9 Defend by stepping back with the left foot.

[0 Hold the opponent's ken down with YO-UI own.

II

.12

When the thrust comes, step back with the righ t foot and adopt an at titu de of a tsuki,

13

14

15

-.28-

Aikido Headquarter's Dojo instructor, Shoji N~shlo at a demonstration.

-29-

:;:}l ~~t*JJ tJ 'I? * TJ
CD 1:i"'l':-:lI1: ~IF!t.~
® 1:§~OJ~IJ t-~ < ,a ~ i.. ~
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®
I
@
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@ ;;jJE~ ~J~'--r1t,lt {,o 0'0
@ ~IJ-% ~;tr:l '¥- d) ~tl ie, 1-:: --:l 1"[- .:, u
(j) til:.: 1*.i: ~~ L ~ ~ z iJ' h To
®
®
-m:b?t>ic-:;l~~tQo @-@It l1£.&1.1T J:;, l2,./j. 0
®
@ Third Kumitachi

-30-

Ukatachl

Uchitaehi

No

Stand in the posture of right hammi.

Stand in the posture of right hammi,

2 Hold down the opponent's ken lightly ..

Flow with uke'smovement.

3

4

Step forward with the Left foot to the left and respond with an uchi komi.

Defend by stepping back with the right foot ..

5

Point ymrr ken at the opponent's center line ..

6

step to the right and parry his thrust.

7

S

9 10

Pictures 4 11 show the reazoku

uchi movement.

Defend in Ute position of hito e mi.

1 L

-31-

¥:Jt ~(t k.JJ ;fHdOJ
@ i:i·Frtr)jr":'ilfi.h~ s. ~~.
® ~~,5!. !-;§ WJJ I ... -.lli -!it c-
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®
i1( h -r (.: 1~E L ~J f r 1» ~j Illl L ~
( (h:.!I"~)o
® ft'>[< ~ C: >:J: __ l ~ ~l''f:!"j ~,
CD
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® (1 ~. ~.§ ~;6, h L ""[ n "I,;;jl_ 7>'0
® 1I1J, ~ 2< (7)m:~\o -32-

Fourth Kumitach!

6 7

Uketachi

Uchitadti

No.

2 3

Step forward on the .right foot and tsukl, Move the I.eft foot into the position of hito e mi.

De a Thrust.

5

Hold your opponent's ken down ..

Stand in left h~mj and defend with a tsuki,

Without resisting, flow with uke's movement, bring the ken around up from below and thrust. (left hammi)

8 9 10

Step back with the left foot, defend as if cutting down,and adopt the attitude of a tsuki.

Parry his thrust and do an uchikomi,

-33-

1 2

789

13 14

-34-

Fifth K umitachi (Refer to page 36)

'Jf.J\t '!1l:.lt-JOJ :rr "I? * lJ
CZJ
® /;::J1jj. ~ ft~tr-/J1=-1* <t~$. L. lIJ I) 1$1;,-t. It1TIHT T;, ~
®
@
t.i::i-"M I:: 'd: I) ~(T O.
@
(7)
® I ftli\'HI"'(~'t &0
;JoT t, .iA ff 0
® j-c. ~ i ' f-EI =;p.QJ Illl] ~ l' IP .1:,. frrl L J::H'*N *
@ }f[ I') j,:~., -r1T~.
@ ~'rJ1~ c ~,h_~"'J:? 1,..:mV?~), *11 f\1) 1~ fit .1":
fi< ~ff.l. ~*~ t t: s, @I) .IE ~ IT-:lo
@
@
1r:lerSI ~~It{lo .fTt;, ;b.h~
@l -35-

Fifth Kumitachi. (pagej 34,35)

No.

2

Defend. by stepping back with the left foot.

UC:hita~hi

Uketaihi

Right ham mi.

Right harruni,

3

Step widely to the left with the left foot andstrike down.

Shom.en uchi komi.

4

5

6

Turn the body into lef1 .harmni and defend.

7

Defend by stepping back with HUlleft foot.

8

9

As shown, raise the opponent's ken and move forward to grasp his ken.

10

Uchikoml.

IJ

Move into left hammi.

12

Do not grasp his ken but flow moving to the opponent's back and strike his leg.

13

14

Uthi komi.

-36-

-37~

-38-

1 5 9 131
2 6 10
3 7 11
4 8 12 Ki Musubi no Taclli

~~1t '!f(!t-jOJ Uketaehi trt?jOJ Uchltachi
® ~ ?:: 1;- b -It -J -:J .kJ-JJi 1::,1['W J,:, " .: 0) rWr, )ill,~r* "* J."J!i I~ j~ ~J -}J' Ji Q 0
e < p]1":ib tr~
® OOA1'1j'. i.. I::;f§; J., 0 lli'Mi'H .. ,I.:;fi" l.l 0
tID
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(lJ t;r),I) Tfoji'")o
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® ;liiil€. LfTl;, -ti7'l~ ~ 9nJJc >l.-1'l'i=J-!: -J ry ® 0 1£ 1fi1 n 1; ib. h-~
e
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@
@ ffij, i.. I.:..N:;,. ~~ i: I:. !}U~ 0 2 :3

Return to the initial stance,

Same movement as uke.

Blending ki, raise the ken up over the head breathing in deeply ..

4 5

Lower the ken to your right side,

Same movement as uke,

6

Step forward with the right foot and strike with shomen uchi (Besure to strike down fully)

7

. 8 Thrust as the opponent raises his ken.

9

Make a 'flowing strike to the left.

10

As shown, point the ken at your opponent for a thrust.

Shomen uehi komi,

Shomen uchi komi.

I] 12

From below, control your opponen t's wrist ..

13

-39-

In jrreparation for another strike, raise. the ken up over the head.

Return to the initial stance,

Kumitaohi Variations

-(1)*7J

~ {t-(l)

First Kumitachi V arfatio II ~ (1)

,1.1 T • ~ U (7) ;SlId:_ f;K OJ:®. .t 'S:

It.iJl* L "Cm"j:!l---t Q ~ I., ~'"

(Body movements)

CD

Withdraw one step

® while striking.

li'-=p ~ ilil] ~t ~ c

Control the opponent's wrist.

til-'¥- (7) ~U 0) 1N e_. ~~ I) <h t: iJ' 11 ~ *(7) .Jill C"l-~~ < fir{ I) -n,.J; I) H "I;.f::) h --'I ~

Grasp you.ropponent's ken. Raise your h~nd as if lifting your OWlJ ken and strike down.

-40-

Cut up across the- abdemen,

fl~J2,h~ Uehi ko rni,

(Swor4 techniques)

®

Compare with the sword techniques and tile body movements during practice.

-41-

-rl)-;k7J

~1t-(2) (1Jl1j0):l!)

'f3. rJ: 'lQ:lt:k:JJ tJ'"I:>:;tJJ
,
CD
® -~P.iJl"? -c lEWiiT i?~ rb'~ I;JJ ~ 1:.1-7' 1.>.
®
CD
(5) 1iJi !' 11 e. 1l~f,~lp -c,;tH~. f-J 1:,- ili ti' c
@
® :f=OEh' I? ~ff=-:ill:;h. iU-if-O'),] ,-=r.,_ i:$1j -r ~D n i?jbh I=-~,,Q 0
® -42-

First Kumitachi Variation ~ (2) (K,en Method)

5 6

tJketaclri

Uchiiachi

No

2 3 4

Withdrow one fool and strike

Cut up from below.

Step back with the right foot, defend.

Uchikorni,

7 8

Advance the right foot f'orward and control your opponent's wrist.

Prepare to strike with anothet uchi komi

-43-

~(1)*JJ

it 1tJ~(2) (ptW)~~)

~~ -;:!t:t7J
CD ~'fl ".F j:>* h -Ii: -c -'t H~ I) l::_,i nRt II r 'J Ui'i:t- 1"i 1,;\ "
crJ
@ u t Ui1I L. -r-!'))1 ~') h'.J-:~o
®
@ f9: ~f 1.:: 1& ~.J ;f'i=Ff- ~= 9jIJ ~ .., 11' ~ 0
OJ) -44-

First Kumitaohi VO.riatlon - (2) (Body Method)

6

Uketacbi

No.

Raise y-our hand when tile opponent ralses his keD .. Grasp his ken when he strikes down.

7

8 Control hiselbow, and raise YOllT hand.

9

10 After throwing the opponent pOint his own ken at-him.

I [

-45-

~(/)j;c]J

5t {t-( 1) ({ilIJ (J)l]!)

'If.:If: 1ttt*lJ n~*7J
CD tj\'ti_ tIfF :Z.
@ l:~ ~;:H~ {,o Uj;~=f${,"
@ ~fJt~lt (-!IT$.!-) ~{j -=f"- (7),IE z. :rr -:.J 0
@) tnJEtJ, l':,~mnl:_f$.t:U L.;f-§,,¥ -I'v' ~ ~ ~ llfoo
@ <7)/ J 'if- ~ ilJlj -if Q" Second Kumitachi Variation - (I) (Ken Method)

..

1

Uketacbi

Uchitachi

No.

Karaae,

Kamas.

2

Raise the ken up over the head,

Raise the ken up over the head.

3

Block the strike (hito e m l)

4

5

Take II. large step forward with the left foot, Control your opponent's

wrist, .

Thrust at uke's chest,

-46-

-47-

~ i~ ~tt:t:7J :rrt;.X7J
® ~ ~ . !-7M. L -r fIliJ lflJ L: 1*~: l¥C T 0 r1J't,~<o
@ $IJlc'f ¢§=.F (7)~Jf:;-!;.."? It.{j ~
@
(7) ;ff'P'P' (7) -1'=1 ;;p 17) rp I;: ti: (1) 1~ !- it h "It I J ,j:8' it' I';, l..? t»
® I), jM I) tclE z. ry I ~, L 1* -c~ To
® 4

Thrust from below.

No.

Uketachi

Uchitachi

Flow with the opponent's thrust and turn to his side ... Point your ken at his throat.

5

6

7

Grasp the back of the opponent's right hand with your left. Close the grip from 'the little finger. Step back with the left foot- and turn the body.

s

9

-48-

=0) '::l JJ

~ 1ti- (1) (i*O')~l)

Second Kumitachi

Variation ~ (I) (Body Method)

-49-

-50-

=-(/)*71

~ f~-(2) (~rJO)il:1fO

\I'lllzj~',? t.:J~#. ~'E1=F(l)'i:!ff&i: 'r-1t:5}~:A I) :i6tdnll~ -4"" ~.: c.

Second Kurnitachi . Variation- - (2) (Ken Method)

This practice is for entering deep to the opponent's rear, when holding a ken ..

-51-

@ ®

-52-

=.0)*71

~ f~--(2) (f!tio).l!!)

Second Kumitachi

Variation - (2) (Body Method)

Jn1 ~~ j (Gj?)

(l),jiff'f-:7'),r#.:.1: Cl~}It){tj\:t iJ( 1"':f:W:-IID;;':' t~

(2) r17j' r7J {~~t.ll{.ry TI:t <- I': 0', lit" L .(f±_Q)I!'U::}j 111J i, -t <7) 7ft.:" It Ill! I? i%-t :. Co (;1)17) Ii L t: 1-'- ~ lii!.J.:lf f., .; J:: 0

Komi Nage (Orallnstructi(Hl)

(J) You)" bOdy (md the opponent's forma cross.

(2) Fully extend your hand toward me top of the wan and lower your hips.

(3) Look up a/on-t your extended hand. (This fits the back of yQur hip tv your opponenl's abdomenand lie will ride o).ler your hips.)

-53-

-54-

Sensei Gozo Shiota, Head of the Yoshinkan Dojo.

4 5 6

Hold the ken. dnwn with the left hand. Stand in hito e mi.

Uketat;bl

='(7)*71

~ ft-(l) (~ljO):ElrD

~J'l- ~lt:k7J
@
@ ;;(Z"f' -r' ~IJ ~ :t-; ~ i., -lfht{ -r·1t_I:t ::. ~
® Third Kurnitachi Variation ~ 1 (Ken Method)

No.

-55 -

=0)*7]

~ (Ij-(l) U*O)l!lD

~14 '1l: (-}" 7,rJJ
(J)
~~~~4~~~~.h~?(f~.
® -56-

Third Kumitachi

Vaciation - I (Body Method)

No. Uketaehi
7
Step on your opponent's right foot with
your left and upset his balance.
8 -57-

~ flj-{2} (1JiIJO)~)

.; Cl).f~Ji ~ (t---{l) II\] L:~~li -C0;P', .;.

Third Kumitachi

Variation - 2 (Ken Method)

This has the same meaning as variation - l ,

-58-

®

®

-59-

~(J)*]J

~ fl:J-(2) (i*O)lllD

-':'(1) A:7J~1~-(2) I 'f*O')~) ~Jffio

-60-

Third Ktnnitachi

Variation - 2 (Body Method)

Refer to the Second Kurnitaohi Variation - 2 (Body M'etltod).

- 61-

17..9 0) ::i..: 7J

~ {t-{l) (f;ti:O);tI)

~r! ';l:tt-k7J
@@)
i<l>: T 1*1 ~ ":l "'?~;~!T-(7) v t; ~i~lj-;t Ga
®$) J2gO)*JJ

~ 1t-(1) (flU V')lIID

k,~t k JJ ([I_t;J (?)j,( n) t -.0) :-kTJ ~1t-( 1) (#CT) Rf!) .:: ~ t7) ~';11i 'i- f~J;1: < r. ;Ii, 'i'1..: if., t;t ~ i)!i: ~ -r h -:

I{ ~ ~'"

®

-62-

Fourth Kamitaehi Variation ~ I (Ken. Method)

Compare the jiictures of the Fourth Kumitachi, the Second Kumitachi Variation - 1 (Body Method), and se-e the picture below. Try and develop new techniques.

Fourth Kumitachi

Variation - 1 (Body Method)

No. Uketachi

s'"'""g While making a wide turn, control the opponent's elbow.

@

-6a-

-64-

rmO)~JJ

~ ft.-{2) Ci!UO)FjD

'!;n 11JtjOJ
®
(1) ffi~~ftUtf~L~.i~~~~n6
® Fou rtb Kumitachi Variatjon - 2 (Ken Method)

No. lJketachi
6
7 Control the left elbow of your op-
ponent and settle the hips.
8 -65-

iZ9O)jcJ] ~ {t-(2) (f<t;:cr)J!fD

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-66-

Fourth Kumltachi Variation - 2 (Body Method) Refer to the First Kurnitaohl Variation - 2 (Body Method).

~67-

tIts )OJ

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To rJ : b'o

-68-

Fifth.Kumitachi variation -1. (Ken Method)

No. Uketachi Uchitachi
9 Move toward your opponent to take his ken.
JO Move to left hammi to avoid the
Flow with the opponent's extended power, cut up ken from being taken and turn to-
II across the abdomen and finish as shown to protect ward uke's back.
1'2 your entire body. e ~69-

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(ID Fifth Kumitachl

Varmtion - 1 (Body Meth.od)

5 6 7 8 9

Uketachi

No.

Have the feeling of passing through the opponent's abdomen as you enter with your body.

-70-

~7j ~

-72-

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@ Fifth Kurnitachi

Variation - 2 (Ken Method)

No. Uketacbi Uchitachi
10
J ) Flow with the oppo- Strike at uke's
nent's approaching, leg while turn-
12 power. As shown Con- ing,
trol his elbow,
)3 1 5 9 131
2 6 LO
3 7 11
<1 8 12 I ~73~

JiO)-j.(JJ

51:: flJ-(2) (1*o)lJJI)

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B 7 11
4 8 12
5 9 13 Flfthe K trmitach j

Variation - 2 (Body Method)

No. Uketachi
8 As the opponent raises his ken. blend
with the movement and grasp the hilt
9 with your left hand.
10
11 When his strike begins down, turn and
enter in with the hips,
12 -74-

-75-

The Founder, Professor Morihei Ueshiba.

-76-

Taehidori

-77-

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Tachidorl=- No.1 Tachldori from right llamrni.

No. Uke

2 3

1 S tand in righ t hamrul,

Step forward WHIl her right foot and enter to the opponent's right side.

4 5 6

Grasp the hilt of hls ken with your right hand. Place your tight foot behind the opponent and place your hlp next to his body.

7 8

Rotate your hips and throw him. Point his ken at him.

-79~

-80-

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@ Tachidorl - No, 2 Kate Gaesbl

No. 'Uke
1 Stand in right hammi,
2 As the opponentraises his ken and strikes
slide the left foot in and blend with his
3 movement.
4 Grasp his right harld from above with
5 your left,
6
Place your right hand over his right hand.
7 Turn your hips and step back with the
left foot.cnoving the body, and throw.
S
9
10 Move to left hammi arid restrain the op-
ponent with his own ken.
11 1.0J J:C<. 11 (1) 11# Q)1j, =r is. L. f;t IHIii' ~;k7J 1=.·m'l rr :f; \1'1;:.11 ilJit 1"0

When doing Tachidori Kate Gaeshi, your little finger should touch the hilt of the opponent's ken.

-·81-

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® -82-

Tachidori - No.3

This technique is called "Irimi Nage."

5 6 7 8

Uke

No.

2

Blend with the oppcnent's movement as Ire raises

:11 hj_s' ken and enter with the left fOot {Note the right hand) Grasp h is collar with yO.l1T left band.

4

Rotate your hips to destroy his balance and step to .M rear with your right foot. Throw .him with the same movement as raising the ken using your breath power. At this time take his ken and control him.

-83-

:tJJll;{ ~ -(4)

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® -84-

Tachidorl ~ No.4

4 5

Uke

No.

Durmg your body turn, grasp the opponent's wrist

6 with both your hands and turn it outward. Restrain hili elbow.

7 8

-85-

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@ Tachidori - No.5

No. Uke
3
4 Grasp the hilt of the opponent's ken with your
tight hand. Place YOUT left arm under Iris elbows,
5 enter with the hips and throw him,
6 -86-

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Tachidori No.6

2 3 4 5

Uke

1

No.

This technique is called "Shinken SlIiraha Don". It 1S very important to raise the ken along theopportent's center when taking it from him.

5

-89 -

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CV -90-

Tachidori No.7

5 Grasp the hilt of the opponent's ken. with your Illft hand,

Step on his pg]rt foot with your righ t foo l, extend your 61land to his chin and fell him while taking his ken.

No. . Uke

4

7

-91-

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J.c7J1T~ ~ -(8)

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-92-

Tachidori No.8

Uke - Place Y011r right arm under the oppoaent's left elbow. Raise your hand as if lifting a ken and throw him as if striking.

~93-

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-94-

Tachidori No.9 (Refer ti!) page 96)

1 2 3
I 4 5 6 7
18 9 io II -95-

Tachidori No.9 (See pages 94. 95)

4

Take JUs ken, wi fh your left hana. and restrain him with your right.

No.

Uk.e

2 rt;;}fi J1R I') '(- j) Q 0

Hold the opponent's left hand

3 from below. With your left nand grasp his ken hilt:

5

Withdraw your right foot. Do not let JUs elbows drep, PLace yourself alongside the opponent.

7

8 9

Turn the hips and extend your hands up from. the opponent's sid~ toward his face. '

10 I I

This technique is called "Sankyij,"

The explanations of Ikkyo through Gakro techniques will be covered in Volume HI.

-k JJIfR I) -(10)

Techidod No. 10

This technique is called Yonkyo ..

m

6

7

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In applle d techniques of SankY0, the op ponen t's wrist is held from [he back of his hand.

~96-

111 applied techniques of Yonkyo, the opponent's wrist is held. from the front of IUs hand ..