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 through forms. You can also achieve the proper mind by practicing your forms properly. If you adopt a bad posture, you will not be able to concentrate. When you are distracted, conversely, it is natural that your posture will be incorrect.First of all correct yourself, then express your mind with simplicity This is basic to aikido.Kamae(Basic Stance)

Kamae is the body posture necessary for practicing aikido techniques. We use either the right hanmi, a stance in which the right foot is in front, or the left hanmi, with the left foot forward. This posture is suitable not only for attack and defense, but is also a physical manifestation of our mental state, and provides a basis for the development of the correct mental attitude for aikido. You should practice this posture repeatedly in order to cultivate the application of your mind in the correct physical formsMlGI HANMI, HIDARI HANMI

MIGI HANMI (RIGHT STANCE)Q The principles of aikido come from the principles of raising and cutting with a sword; they are expressed physically in aikido's empty-handed forms. If you assume this stance with a sword, it becomes seigan no kamae, a posture in which your sword is pointed directly toward your opponent's eyes.Relax your shoulders and extend your right arm to the front at chest level, keeping your elbow slightly bent like the curve of a sword.Your left hand should be held about four inches, or one fist's width, in front of your abdomen and both hands should be in line with the center of your body Your fingers should be spread out and pointed toward the opponent so that equal power flows forward from both hands. Your eyes should face front and your mind should be projected forward.The toes of your front foot should be facing slightly outward while the toes of your back foot should face side-ways; both feet should be aligned on the center line of your body A line extending back from the ankle of your front foot should intersect with the side of your back foot at an angle of 90 degrees.In order to be able to move rapidly either forward or backward, keep your feet at a distance of one-and-a-half times the length of your own foot. Have about 60% of your weight on the front foot and 40% on the back foot while bending your front knee slightly and keeping your back leg extended.This posture allows you to easily execute circular movements, which are characteristic of aikido. Moreover, since your body is placed on a triangle formed by your feet, your posture is stable and also you will be able to execute techniques quickly

HlDARI HANMI (LEFT STANCE)Q Assume this posture in the same manner as in right hanmi, but move your left foot and hand to the front this time. It is just the opposite of right hanmi.NotesDo not move your head forward as you direct your attention forward. Keep your back and neck straight andmake sure not to bend or twist your hips.Move your hands, legs and hips at the same time as though they were one movement together.in order to strengthen the centering power of the body, your upper body should be facing directly forward with both shoulders aligned.In particular, make sure that your lower hand is not stretched or bent too much. Keep extending your powerthrough the hand.

Al HANMI, GYAKU HANMI

When you face an opponent, assume either ai hanmi or gyaku hanmi. Try to see his whole body with his eyes as the center, however, do not focus your mind only on him. Be alert in all directions. Maintain a distance between you of about six feet (1 8 meters}, the distance at which it is difficult for your opponent to reach you even if he extends his arms or legs. This distance is appropriate for both offense and defense when executing aikido techniques, This is a standard maai {distance between you and your opponent) in aikido.Al HANMIQ In ai hanmi you and your opponent assume the same stance, both right hanmi or both left hanmi.Al HANMI, GYAKU HANMI

GYAKU HANMIQ You and your opponent assume an opposite stance to each other. If one of you are in right hanmi, the other is in left hanmi.Note• Do not straighten your arms, but bend them slightly. Extend your fingers.

Seizaho(Correct Way of Sitting)In Japanese, seiza literally means to sit correctly. In aikido, you can prepare your mind for practice by assuming the correct form. Bad posture will disturb your concentration, while a distracted mind will make you lose the correct posture and will prevent you from executing techniques freely.Therefore, mind and technique must become one. Seiza-ho is one of the essential practices in order to execute aikido techniques. It is important to maintain correct form even when sitting down from a standing position. You should always cultivate the correct posture and mind also when you are in movement.Moreover, if you master a correct seiza posture, you will be able to execute more solid suwariwaza (seated

techniques), which are characteristic of aikido.DQ Assume right hanmi.

Q Lower your hips straight down, placing your left knee next to your right ankle. Be careful not to let your hips move back. Pull your chin in and straighten your back, while continually looking forward as you lower yourself down. 0 Pull your right leg back while placing your hands on the tops of your thighs with your fingers relaxed but together. Sit on your ankles with your toes tucked under. Perform all these movements at the same time as though they were one movement.

0 Have your feet close to each other, but do not put one foot over the other. Only your big toes are slightly touching each another. The distance between your knees should be a little less than one fist's width and never wider.Relax your shoulders, but keep your hips stable so as not to disturb the correct posture. Sit in seiza looking directly forward. When you stand up from seiza, reverse the entire process and go back to the initial kamae posture in hanmi.Note• When seated facing an opponent, execute these movements while blending with his movements and mind.urnReiho(Etiquette and bowing)When executing techniques, if you do not always observe proper etiquette and keep a correct mental attitude, you will not be able to improve your techniques significantlyIn aiki techniques, mind and technique should be one.Be humble and receptive. Open and free yourself by constantly expressing your gratitude. This natural behavior is the most important factor in mastering techniques. Bowing is not prostrating oneself, but a way to correct yourself while expressing your mind with simplicity.In our Hombu Dojo, we bow to the altar when entering or leaving the dojo, and also bow to each other exchanging thankful greetings. All people training say, "Onegaishimasu," in the beginning and, "Angato gozaimashita." at the end of practice. As mentioned before, it is necessary to adopt a correct posture in order to display the correct mental attitude You can practice reiho together with seiza- ho.Reiho

Q Sit in seiza.0 Tilt your upper body forward without lifting your hips, keeping your back and neck straight. Slide your hands down towards your knees, then place them onto the mat in front of your knees. Keep your fingers together. Your fingertips are pointing inwardly and diagonally forward forming a triangle. When practicing with an opponent, focus your eyes straight on the opponent's eyes.

Fi Tilt your upper body further forward while bending your elbows and lowering your hips. Make sure your hips, back and neck are all on one straight line. Your nose should be brought into the center of the triangle formed by your hands. Q Raise your upper body and return to the position shown in photo 2.Reiho

fcj Raise your upper body further while sliding your hands back onto your knees and return to your initial seiza position.NoteMake sure that your upper body is not stiff.Ukemi(Breakfalls)Ukemi, or breakfalls, are necessary to protect yourself when falling and there are many ways to achieve that purpose. However, the basic principle is to reduce to a minimum the shock of the fall. Thus, we must practice such movements correctly.Ukemi are necessary for learning and executing techniques from this point on. In aikido there are various techniques, such as osaewaza, (pinning techniques), nagewaza (throwing techniques), shimewaza (choking techniques), kimewaza (locking techniques), atemiwaza (striking techniques), and so on. Ukemi are especially crucial for throwing techniques and you must be able to protect yourself in all situations, no matter which technique is used to throw youThere are many types of ukemi but only the most basic falls, back breakfalls and forward breakfalls. are described here.For beginners especially, mastering these ukemi is often quite difficult, so it is important to get used to just falling at first. Continuous repetition of the basic movements is necessary in order to quickly master correct ukemi.

Koho ukemi

Strong slaps against the mat with one or both hands help to lessen the shock of the fall when executing the koho ukemi (back breakfall).Q Stand up straight.0 Bend your knees and lower your hips, and at the same time extend both arms to the front.

Zenpo kaiten ukemi (forward rolling breakfall) are used when falling forward. You curve your back and roll forward in a ball to protect your body and then get up again.Beginners should practice forward rolling movements before practicing this breakfall in order to get used to rolling.Q Step forward with your left foot, bring the fingers of your left hand together, and place your left arm as shown in photo 1 (arm curved in reverse position of kamae), bending the elbow slightly. At the same time, bring together your right fingers, and place your right hand beside your hip in preparation for slapping the mat. Keep your left leg and knee flexible and lean forward with your upper body. 0 Move your upper body further forward and down, then place your left hand on the mat (place your left hand little finger-side down and bend your elbow slightly so that your arm forms an arc.) Push against the mat with the toes of your left foot and extend your right leg as you kick it up high. Tuck your chin and curve your back. 0 Roll forward along your left arm and then your back. Your left wrist should touch the mat first, followed by your left elbow, shoulder, back and hips, in a big circle. Tuck your chin to avoid striking your head on the mat. Your back should make contact with the mat along a diagonal from your left shoulder to your right hip and leg. Q As you roll, extend your right knee and bend your left knee at an angle of 90 degrees to the mat. Slap the mat with your right hand before both legs land on the mat (extend your arm and slap the mat near your body) in order to lessen the shock of the fall. When you land, land on your right side with your body inclined to the right. our left leg should be bent.Zenpo kaiten ukemi

0 Get up quickly using the momentum of the roll, keeping your chin tucked as you raise your head. Assume a correctposture to prepare for the next movement.NNotes•While rolling, be sure to keep the elbow of the arm which lands first turned outward and slightly bent. Keepextending energy through the arm and make sure not to bend your elbow too much during the movement.Beginners need to pay special attention not to go directly from the wrist onto the shoulder and then hips when they roll. Like a rolling ball, the more you curve your body into a circle the less the shock will be.•The slap should be timed to strike the mat at the same moment your back and hips contact the mat.Usually the leg that is on the same side as the striking hand should be extended and the other leg should be bent.•Try not to close your eyes when you roil and quickly check your position and your opponent's in preparation forthe next movement.

Kihondosa(Basic Movements)Kihondosa are for practicing basic hand, foot and hip movements, as well as overall body movements. These exercises also develop stable and flexible legs and hips, which are needed for the practice of techniques. There are six kihondosa.All aikido techniques are based on these kihondosa. If you practice kihondosa correctly, you will learn to execute correct techniques.Since these movements are monotonous and repetitive, they sometimes become rather automatic, like calisthenics, and thus lose their martial meaning. Your form in kihondosa will clearly manifest itself in your techniques, so it is important to pay great attention to these movementsThere are two types of kihondosa practice, solo or with an opponent. It is best to practice with an opponent after practicing solo exercises.Especially for beginners, it is important to get used to the movements rather than try to memorize them. Try to learn them with your body by continuous repetition.As you practice kihondosa pay close attention to the movement of your hands and feet, and the position and movement of your hips.

Tai no henko(Turning)Although there are various kinds of taisabaki (body movements] in aikido, the principle is whether you turn your body executing tenkan (turning movements) or step forward executing irimi (entering movements). You should turn when pushed and enter when pulled. These are the most basic movements. T-,This tai no henko is for practicing taisabaki when pulled. With this technique, you break the balance of your opponent and neutralize his power, while maintaining a strong and stable posture by placing your hands, feet, and hips all on one line. It is the most basic movement for practicing irimi techniques which are characteristic of aikido.Q Stand in right hanmi and be prepared to move in any direction.Tai no henko (1)

0 Slide your left foot forward, first curving it in towards your right foot, and then out diagonally to the left, describing the letter S. Keep your body centered as you move and don't lift your foot from the mat (sunashf). H Q Then move your right foot slightly forward while shifting your weight onto your left foot, and lower your hips. The distance between your feet should be wider than that in the original kamae position. Your front knee should be deeply bent over your front toes. Press the sole of your back foot firmly against the tatami and completely extend your back knee. Keep your right hip pressed forward to stabilize your lower body.

The toes of your left foot should point outward, and your back foot should be pointing sideways. This position is the same as in the original kamae, except that the distance between your feet is wider.At the same time, move your hands forward in unison with the movements of your legs and hips. While maintaining your kamae, extend your left hand forward diagonally to the left with palm upward, then bring it to the height of your forehead. (Execute this movement without bending your left

elbow as though drawing a circle in front of your body).Move your right hand in harmony with the movement of your left hand and bring it parallel to your left hand. Both palms should be turned upwards.Extend your fingers, project your mind forward and allow your power to flow through your arms and hands.The eyes should be focused along the line which extends from the tips of the left fingers. Hands, legs and hips should all be aligned-0 0 When returning to the original right hanmi, move your hands, feet and hips in precisely the reverse manner, while drawing a circle with your left leg maintaining contact with the mat. Be careful not to put your weight onto your back leg.Execute these movements using your hips as the center, and practice repeatedly.Tai no henko (1)

NotesSince the position of your right and left hands changes with the shifting of your hips and legs, it is easy to lose your balance Therefore, always move your hands, feet and hips in unison.In the position shown in photo 2, face forward with stable hips, and never look to the side. Blend with themovements of your feet when you move your hands.Make sure not to move them too late or swing them to the side. Moreover, be careful not to raise your shoulders.

This tai no henko is for practicing taisabaki when pushed. You pivot on either foot and turn to the rear. It is the fundamental movement used to break your opponent's balance and also to move to a safe position from which you can easily control him. When the body turns, the focus of the mind should turn as wellThe degree of the turn can vary but the basic form is usually 95 degrees.D Assume right hanmi, and direct your attention forward. H Place all your weight on your right foot and pivot on it, sliding your left foot around 95 degrees in an arc to the rear, all the while maintaining contact with the mat. The distance between your feet will be slightly wider than that in the original kamae. Lower your hips while keeping your left hip pushed firmly forward. Both your upper and lower body should face the same direction. Extend your back knee straight with the sole of your back foot firmly in contact with the mat to create a stable posture from which you can rapidly move at any time.When pivoting and turning your hips, at the same time, draw a circle with both hands without disturbing your kamae. Bring your right hand to chest level and left hand in front of your abdomen with the palms of both hands upwards. Both hands should be on parallel lines, each one at a different level. Open your fingers, look straight forward and extend your power through your fingers beyond your fingertips while projecting your mind in the same direction.Make sure to turn your hands, feet and hips all at once as though they were one movement and be especially careful not to lean your body forward or twist it. Try to cultivate the

Tai no henko (2)

centered power of your body and execute circular movements, not linear movements.0 When you return to the original kamae, move your hands, feet and hips in precisely the reverse order. Slide your left leg back in an arc maintaining contact with the mat, and return both hands to their original position. Practice these movements repeatedly.NotesWhen turning, project your mind forward as though advancing, and be careful not to look down or pull your hipsback, thus shifting your weight to your back leg. Be sure not to lift the toes of either foot from the mat from beginning to end.Execute the movements of your hands, feet and hips all at once and align all parts of your body. As you turn your body, follow the movement with your mind. In other words, concentrate and project your mind quickly in the direction that your body is moving so as to be ready to initiate any movement rapidly When returning to the original kamae, execute the movements as energetically as when you first turned.Tai no henko (1) (2)

It is important to clearly distinguish between the roles of shite and u/re.Tai no henko (1) with an opponentExtend your right arm diagonally forward toward your opponent's chest and place your right hand over his right shoulder, while bringing your left hand in front of his abdomen closely enough to touch it. Open fully the fingers of both hands and look forward beyond the fingers of your right hand.Tai no henko (2) with an opponentBring your right hand to chest level and left hand in front of your abdomen with the palms of both hands up-wards. Both hands should be on parallel lines, each one at a different level. Bend both elbows slightly and let your ki-energy flow vigorously out of your fingertips.

(Note: The person who executes techniques is called shite and the person who receives shite's techniques is called uke. These terms will be used throughout the following explanation. Pay close attention to who is which when you execute techniques)

Kihonwazafete.Originally, ail techniques were designed for controling an opponent by merely touching him. However, this becomes possible only after you have mastered the basic movements and techniques.When executing techniques, you should start from a distance that does not allow your opponent to reach you even if he extends his arms or legs. This is a common sense in budo, whereas it is not possible to perceive the invisible power of your opponent when you are still a beginner. Therefore, first you must practice basic tech-niques from a close distance to each other in order to learn methods to lead the flow of power, to execute correct body movements, to break your opponent's balance, to use your power effortlessly, and to fully apply kokyu-power, and so on.Shite and uke should become one and work together in order to perform each technique correctly.Moreover, you should not always execute throwing and pinning techniques as shite. Only after you have been thrown and pinned many times as uke will you be able to deepen your understanding of the important points in each technique.In this chapter, we will explain the most important basic techniques. The numbers (1) and (2} used after the names of the techniques indicate:{1) Omotewaza, techniques involving forward movements in ai hanmi and, (2) urawaza, techniques with pivoting movements in gyaku hanmi.

Shihonage(Four-Direction Throw)Shihonage is an empty-handed manifestation of the sword movement when cutting in four directions. You pivot on either foot and bend your opponent's arm, as though folding it, while bringing it behind his shoulder in order to throw him to the rear or in other directions. In explaining basic techniques, it is necessary to start with shihonage because it is related to every other technique.When practicing shihonage, it is important to execute the movements in the same manner as when you raise a sword or cut down with a sword. Furthermore, you should not twist your opponent's arm unnaturally, but lead his power to flow into the most effective direction so that you can control him easily. Also, be connected with your center of gravity and apply the extended power from there.When executing shihonage, all the basic movements are used, but especially, that of shumatsu dosa. It will be easier for you to understand the movement of shihonage if you remember that shumatsu dosa has turned into this technique.

Katatemochi Shihonage (1) is used when your opp nent grabs one of your wrists and pulls. You fold his arm to his shoulder and throw him to the rear. The movement the same as in shumatsu dosa (1).Q Shite faces uke in right ai hanmi looking straight forwa 0 Uke grabs shite's left wrist with his right hand and pi it. Shite, with the feeling of allowing uke to grab his wri then extends the fingers of his left hand and directs both I physical power and ki-power forward.NotesWhen executing an atemi, do not twist your upp body or hips, or use too much shoulder-power. Align you hand with the center of your body and execute an ater from your center. Look into your opponent's eyes piercingMind your grip when grabbing uke's hand. Do not ho it too tight or pull with your right hand. Push uke's hand forwai with both hands as if squeezing it in front of you. Be sure ni to allow any space between your hands and his.All movements should be executed with your fei maintaining contact with the mat and uke's wrist mu. always be aligned with the center of your body.Katatemochi shihonage (1)

|J Shite raises his right hand up to the side of his temple, closing his hand lightly first, then clenches his fingers to execute an atemi with an uraken (a back-handed strike) against uke's face between his eyes (or between his nose and mouth). When striking, shite uses the power of his hips, and clenches his fingers only at the moment of hitting uke's face.By executing an atemi, shite can weaken uke's pulling force and also prevent his attack with his left hand, which is free. Uke should block shite's atemi with his left tegatana (hand-sword) in order to protect himself from being hit. Uraken is an effective atemi when you are close to your opponent. There are many other kinds of atemi as well, such as seiken, tegatana, and so on. Q Shite slides his right foot diagonally forward to the right, in the same manner as in shumatsu dosa (1), while blending with uke's pulling power.At the same time, shite extends his left hand forward in a circular motion, bringing his left little finger to the front. Execute this movement as though cutting uke's abdomen through with your left tegatana.Shite grabs uke's right wrist lightly with his right hand using only three fingers (little, ring and middle) placed along the back of uke's wrist and supported slightly by the thumb. Then shite extends uke's hand forward and up to chest level keeping his shoulders and elbows down. His weight should be mainly over his right foot and his hips should be lowered to break uke's balance, while his eyes are focused straight on the front in the direction his body is facing.Shite should grab uke's wrist only at the moment he is finishing stepping forward, not earlier.Shite leads uke so that the palm of uke's right hand remains in solid contact with the back of shite's hand, while, at the same time, raising uke's body by stretching his elbow.

0 Shite slides his left foot making a large step forward and shifts his weight from his right leg to his left, while raising uke's hand in front of the forehead as though pushing it forward in a circular movement.Shite looks straight forward from below his raised hands, and extends his elbows slightly forward keeping his shoulders down. His back leg, back and neck should be extended with the weight on his left leg. 0 Pivoting on the toes of both feet, shite turns 180 degrees in the same manner as in hiriki no yosei (2), while shifting his weight from his left leg to his right leg At the same time, shite extends his elbows further as in the kamae, and folds uke's arm up over uke's shoulder breaking his balance to the rear.Shite should make sure not to pass under his raised hands while turning, but execute this movement as though cutting down with a sword. When shite folds uke's arm, he must bring uke's wrist down, lower than his own shoulder.Moreover, when shifting his weight, shite should pull his back (left) foot forward quickly into the normal kamae position, while lowering his hips and putting more weight onto his right leg.

NotesWhen you bring uke's hand down while turning, as shown in photo 6, be careful not to raise your right shoulder. Bring your left hip forward. Moreover, make sure to bend uke's wrist over his shoulder in order to prevent himfrom extending his wrist and reversing the flow of his power.After throwing your opponent, as shown in photos 7, 8, and 9, keep your hips stable and do not bend your back.When executing a final strike with your tegatana, apply your hip-power fully and execute a blow to uke's face so powerfully, as if to shatter his blocking tegatana, with your strike.Katatemochi shihonage (1)

Q As shite brings uke's folded wrist further down in front of him, he slides his right foot forward to throw uke, while shifting even more weight onto his front foot and bringing his hips over it.At the same time, shite pulls his left knee quickly close to his right heel keeping most of his weight on his right leg while bending uke's wrist further towards his shoulder. (Uke's abdomen will be raised.)0 While still pinning uke's wrist, shite swings his left tegatana up above his head,0 Shite cuts down with his tegatana and executes a final strike against uke's face. Uke blocks shite's attack from below with his left tegatana to protect himself from being actually hit.Though the technique ends when shite throws uke down, shite should execute a final strike in order to bring the technique to full completion.If you are in the kamae position and concentrate your ki-energy and hip-power on your hands, your hands will immediately assume the tegatana position.

Shomenuchi ikkajo osae (2) is used when an opponent comes to strike your head from the front with his tegatana. You lead his tegatana downward in a circular movement and control him applying the ikkyo pin. In shomenuchi ikkajo osae (1), you initiate the movement by striking your opponent. On the contrary, your opponent initiates the movement in this technique.Q Shite faces uke in left gyaku hanmi looking straightforward.0 Uke slides his feet forward keeping right hanmi whileraising his right tegatana above his head, then strikes shite'shead straight down from the front.Shite moves his weight onto his left leg and lowers his hips to stabilize his body posture, then parries uke's tegatana by extending his right hand and turning it forward at the very moment uke's tegatana touches it. Shite can lead the power of uke's tegatana to flow upward this way. At the same time, he holds uke's right elbow with his left hand, and this causes uke's body to be raised.This position is the same as in shomenuchi ikkajo osae (1). Shite should be especially careful not to bend his left arm when holding uke's elbow.He should parry uke's tegatana in front of himself, on the center line of his body, while applying hip-power.Shomenuchi ikkajo osae (2)

B Q Shite moves most of his weight onto his left foot asthough advancing forward with his whole body, then pivots on his left foot and turns 180 degrees, while sliding his right foot to the rear in a circular movement as if drawing a large arc.At the same time, shite brings his hands down in a circular movement in the same direction his feet and hips are turning. He leads uke's right wrist with his right tegatana and uke's elbow with his left hand, cutting down in 3 spiral movement and breaking uke's balance. Shite should not grab uke's wrist too early, but should make sure to cut it down completely with his right tegatana. Shite's hips should be solidly centered so that he can execute the movements of his hands and feet, cutting and turning, at the same time, in a single movement.When cutting down with both hands, shite should be careful not to push uke's right arm toward uke, or to pull it toward his own body.Shite keeps the same distance between uke's arm and his own abdomen while turning and flowing. He executes the movements aligning his hands, feet, hips and head.

NotesAlthough uke initiates the attack, you should always be prepared and alert.Throughout all the movements, always keep both hands in front of your center. Do not turn your feet too quickly leaving your upper body behind, otherwise your will be forced to pull uke's arm with the strength of your arms inorder to pin him down. Align your hands, feet and hips, and move all together at the same time leading uke into a circular movement.As you turn be especially careful not to bend your left arm (when holding uke's elbow with your left hand), or to leave your head behind, but face in the direction your body is turning, and keep your back straight.• While turning, make sure not to move your pivot foot.Shomenuchi ikkajo osae (2)

0 While continuing to turn his hips, shite shifts his weight from his left foot onto his right foot and rotates 180 degrees. At the same time, he brings both hands further down in a spiral movement breaking uke's balance more and more.0 Shite places his left knee at uke's right armpit lowering his hips and whole body, and brings uke completely down onto the mat face down.At the moment shite finishes turning, he should have also completed grabbing uke's wrist with his right hand. While turning and shifting his weight, shite should make sure always to keep his hands in front of his abdomen, his center, and to maintain a correct posture. Q Shite places his right knee on the mat and pins uke in the same manner as in shomenuchi ikkajo osae (1).Nikajo osae(Second Control)In the nikajo osae technique you break uke's balance, applying pressure against his wrist joint by bending his arm (wrist, elbow, and shoulder joints) in a sideways V position, and bring him down to the mat with his face down.Just as in the ikkajo technique, you can strengthen your wrists, elbow and shoulder joints and also develop their flexibility by practicing as uke. Moreover, since this technique stimulates the peripheral nerve, it has also a great significance for your health. The details of the nikajo method for grabbing and applying pressure are explained later in the technical descriptions.

In shomenuchi nikajo (1), you hold uke's wrist between the index finger and thumb of your left hand, and uke's hand with your right hand. You place the little finger of your right hand on uke's wrist, and your palm is in contact with the back of uke's right hand without allowing any space between them. Uke's wrist and elbow are bent and form a sideways V. You should not try to use only the grasping power of your hands, but should take a grip on uke's hand as if holding a sword, and squeeze it with both little fingers while keeping your shoulders and elbows down.You bring uke's wrist in front of your center, straighten your back and neck to keep your body stable, and look straight in the direction your body is facing. These are important points for the nikajo grabbing position.You slide your right foot forward pushing it with hip-power, and draw your back foot slightly forward. At the same time, you grab uke's hand in the nikajo grip, connect both hands with your hip-power and foot-power, then cut down along the center line of your body, using the equally balanced power of both hands as if executing a cut with a sword.You transfer most of your weight onto your right foot, twist your hips while slightly leaning your upper body for -ward, and apply the nikajo pressure against uke's wrist, breaking his balance and forcing him to lower to his knee (this is the nikajo pin).In this technique, you (shite) initiate the movement by striking uke's face from the front. Uke blocks your tegatana. Then you hold his hand which blocked your strike, apply the nikajo pressure against it, and pin him to the mat,Q Shite faces uke in right ai hanmi. 0 Shite strikes uke's face from the front with his right hand. Uke parries shite's strike with his right tegatana. Shite grabs uke's right elbow from below with his left hand.Shomenuchi nikajo osae (1)

In the same manner as Ikkajo (1), shite pushes uke's elbow upward toward uke's right ear in a circular motion with his left hand, while cutting uke's right wrist downward and diagonally forward to the right with his right tegatana. At the same time, shite slides his right foot forward and twists his hips to the right.Q After cutting down with his right tegatana, shite slides his left hand down along uke's forearm and grabs uke's wrist, and, at the same time, holds uke's hand with his right hand as if wrapping uke's hand in his hand and entwining it with his thumb. Keeping the nikajo grip, shite pivots on his right foot while sliding his left foot to the rear in a circular motion and faces uke.

Note• In the movement shown in photo 2, you raise your tegatana high above your head and execute a shomenuchistrike against uke's head Uke blocks your strike, then you grab his elbow from below with your left hand as if pushing tt upward, so that his body is raised.

0 Shite applies the nikajo pressure against uke's wrist. Q Shite steps forward with his right foot without loosening the nikajo pressure, and brings uke's arm downward while twisting his hips to the right.

Shite applies the nikajo pressure by bringing both hands down as if executing a cut with a sword.Note• When applying the nikajo pressure, as shown in photo 5, let your power flow into your hips by pressing the toes of your feet against the mat, and make your hips and feet completely stable. Keep your elbows down, move your weight onto your right foot, and apply pressure against uke's wrist as if cutting down with a sword.Shomenuchi nikajo osae (1)Shite takes a large step forward with his left foot in the same manner as in the ikkajo osae (1) technique. 0 Shite moves his right foot forward in a large motion and lowers to his left knee.El Shite pivots on his left knee and slides his right foot to the back of uke's head and places his body perpendicular to uke's body. At the same time, shite holds uke's right wrist under his left arm at the elbow, and places his right tegatana at uke's right elbow. He grabs his own right chest with his .left hand and immobilizes uke's right arm. IB While keeping uke's arm immobilized under his left arm, shite twists his hips and applies pressure against uke's right shoulder.SHOMENUCHI SANKAJO OSAE (2)

In shomenuchi sankajo osae (2), your opponent cornes to execute a shomenuchi strike. You lead his power past, break his balance by applying the sankajo technique, and pin him to the mat with his face down.D Shite faces uke in left gyaku hanmi looking straight forward.F3 When uke comes to execute a shomenuchi strike with his right tegatana, shite moves his weight onto his left leg and lowers his hips to stabilize his body posture, then parries uke's tegatana by extending his right hand and turning it forward at the very moment uke's tegatana touches it. Shite can lead the power of uke's tegatana to flow upward this way. At the same time, he holds uke's right elbow with his left hand This is done in the same manner as in shomenuchi ikkajo osae (1).

tl Shite pivots on his left foot and turns 180 degrees to the rear, while leading uke's right wrist with his right tegatana in a spiral movement, and turning uke's elbow over with his left hand to break uke's balance. Shite positions himself in the right rear of uke after the turn. It is important that shite does not try to pull uke's tegatana towards himself. Uke's arm and shite should be parallel to each other.Keeping his weight on his left foot and his back leg firmly extended, shite slides his right tegatana to uke's wrist and lightly grabs uke's fingers from above so that shite's thumb is in uke's palm.Q Shite moves his left foot toward uke's right rear, turning his right hand which is holding uke's fingers in a circular motion so that uke's palm faces outward and. at the same time, pushes uke's elbow upward with his left hand and raises uke's body. Shite's right hand should be placed in front of his own face.Shomenuchi sankajo osae (2)

When applying the sankajo pressure with his left hand, :e extends his right hand out projecting his energy <vard through his right hand as if applying the pressure i both hands.

0 Keeping uke's body raised, shite slides his left handdown from uke's elbow to uke's wrist joint, places the base of his thumb and index finger around uke's wrist joint, and holds uke's palm tight with his other three fingers as in the sankajo grip. Shite's palm should completely cover and be in firm contact with the back of uke's hand. 0 Shite pivots on his left foot sliding his right foot forward. and twists his hips to the left to bring his right hip forward. At the same time, shite extends his arm and pushes uke's right hand forward towards uke's right armpit so that uke's little finger turns to the side of his body. Shite keeps his shoulders down and applies the sankajo pressure.While turning his hips shite extends his right hand outward in a circular motion with the palm downward. When shite applies the sankajo pressure against uke, Uke's body will be raised further and uke will stand on his toes. Uke's wrist, elbow and shoulder form a hook shape in this position.

Q Without loosening the sankajo grip, shite brings uke's right hand down in front of his abdomen with his left hand, while moving his left leg and hips to the rear. At the same time, shite executes an atemi to uke's face with his right uraken shifting his weight onto his right leg and extending his left leg, and lowering his hips.tJ While keeping the sankajo grip with his left hand, shite places his right hand on uke's elbow (shite's thumb is placed on the inside).

SHOMENUCHI SANKAJO OSAE (2)

0 Shite moves his left leg from his hips further back alongthe arc described by uke's arm. At the same time, shite applies pressure against uke's elbow with his right hand as if curving it further along the arc, while maintaining the sankajo pressure on uke's wrist with his left hand, and breaks uke's balance. Shite keeps his weight firmly on his right foot and straightens his back so that his back leg, back and neck are on a straight line.lE Shite moves his right foot to the side into an obtuse angle and places his left knee at uke's armpit while bringing uke completely down to the mat with his face downward.