by Minoru Kanetsuka, B.A.F. Technical Director, 7th Dan Aikikai Foundation, Tokyo
// Источник: B.A.F. Newsletter, Июль 1998, No 30


Demonstrated and explained by
Kanetsuka Sensei

1. Omote (forwards)
against Chudan Tsuki

Photo 1

Photo 1: Uke aims chudan tsuki at Tori's stomach. The photo show the correct manner of executing chudan tsuki.

Photo 2

Photo 2: Tori steps to the left, sliding his left foot to the side of Uke's advanced foot, out of line of Uke's attack, at the same time protecting himself with his outstretched arms, hands open with the same feeling as in the Suwari-wasa koku-ho exercise, and making contact with Uke's attatking arm in kamae (defensive posture).

Photo 3 Photo 4

Photos 3 &. 4: Maintaining contact wilh Uke's attacking arm, Tori pivots on his left tool and steps back onto his righl loot.

Photo 5 Photo 6

Photos 5 & 6: In order to increase the space (maai) between him and Uke (it is difficult to execute Kote-gaeshi if you are too near your partner), and to have Uke's fist in front of his centre when he ultimately turns, Tori now pivots to his right with tenkai-ashi to finish the movement with his weight on his right fool (as in shifting one's centre of gravity from one foot to the other in the tori-fune exercise), finishing at an angle of about 95 degrees to Uke. This movement further unbalances Uke. [Note that there should be no pushing against Uke's arm during the manoeuvre shown from Photos 2-5: it's a matter of applying your weight onto your partner's arm through your body.] Tori has slid his left hand down to Uke's wrist and now encloses Uke's fist. Note that, as the introductory photo shows, Tori takes hold of Uke's wrist essentially with the base of his hand, holding with his thumb at a point between the knuckles of Uke's little finger and ring-finger, while his fingers (excluding the index finger), curl round the base of Uke's thumb, as in gripping a bokken.

Photo 7 Photo 8

Photos 7 & 8: Pivoting on the balls of his feet (tenkai-ashi), Tori turns through about 180 degrees around Uke'a wrist. It's important not to lift your partner's hand at this point. You must keep it no higher than your solar plexus so as to prevent Uke regaining his posture. As Tori turns towards Uke, he makes atemi to Uke's face, and as Uke loses balance to his rear Tori rolls Uke's wrist backwards and outwards, making use of both his hands. Note that this is not a matter of squeezing Uke's hand. As Tori's left thumb maintains pressure on the knuckles of Uke's hand, the fingers of his right hand extend beyond Uke's fingers.

Photo 9

Photo 9: As Uke starts to lose his balance towards his rear, Tori steps through with his right foot, sliding it in the direction of Uke's rear heel. At the same time he continues the rolling action upon Uke's hand in the same direction as his right foot, so that as the movement is completed Tori is cutting down in a direct line, as when cutting with a bokken. It is important to note that this action is essentially the same as in shiho-nage.

[Of course, it is possible to make a larger tenkan at the stage shown in Photo 5 and. by stepping back with the left foot while cutting down (Photo 7). to make an 'ura' form of Kote-gaeshi.]

Photos 10-12: As soon as Uke is on the ground, Tori -while maintaining his grip on Uke's right hand - takes Uke's upper arm in a U-shaped grip with his right hand, just above Uke's elbow. Then taking a large step with his left foot to the other side of Uke's head, he takes Uke's elbow in a circular movement around his (Uke's) head. While maintaining his control of Uke's arm. Tori pivots on his left foot and finishes with his left knee on the tatami near Uke's ribs, while extending his right leg for a moment. You should not push your partner's arm across his face in this manoeuvre or drag him in any way. It's more a feeling of rolling Uke's body over, using your body action and following the natural movement of Uke's shoulder and elbow joint.

Photo 10
Photo 11 Photo 12
Photo 13 Photo 14
Photo 15

Photos 13-17: Now Tori sits in kiza, with his knees placed lightly each side of Uke's right shoulder. He carefully changes the grip on Uke's wrist, his right hand taking over and stretching Uke's wrist and hand in the crook of his left elbow, and clamps Uke's hand against his chest. Keeping his shoulders and arms relaxed, Tori pins Uke's arm against his abdomen and upper body. With his armpits closed but without squeezing Uke's arm into hi body. Tori completes the immobilization by taking Uke' arm in a circular movement around Uke's right shoulder. Note that (as Photo 17 shows), Tori is sitting up on his toes in kiza and energy is flowing from his toes through his body towards Uke's head. This is essentially the same immobilization as at the finish of a Nikyo technique. Apply pressure in a controlled way (never jerk) and stop applying pressure as soon as your partner taps.

Photo 16 Photo 17
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