Technical Video Kihon Waza 基本技Demonstrating basic/fundemental techniques of Wadoryu Karate.
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Technical Video Renraku Waza 連絡技Demonstrating combination techniques of Wadoryu Karate.
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Technical Video Sanbon Gumite 三本組手
Sanbon Gumite Junzuki UkeSanbon Gumite Junzuki Uke: Ipponme, Nihonme, Sanbonme, Yonhonme, Gohonme (Chudan Soto-uke), Ropponme (Chudan Uchi-uke).
Uke-mi: Robbie Baldock 2nd Dan. |
Sanbon Gumite Maegeri UkeSanbon Gumite Maegeri Uke: Ipponme, Nihonme, Sanbonme, Yonhonme, Gohonme, Ropponme.
Uke-mi: William Lucas 2nd Dan. |
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Sanbon-gumite (complete) performed by Sensei Tatsuo Suzuki Hanshi and Sensei Hiroji Fukazawa Shihan.
Original Source: Youtube. |
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SANBON-GUMITE 三本組手
'Three-step Sparring'. A system of combat in Karate where an attacker steps back into stance (with Kiai), then forward with three consecutive punches or kicks.
Kumite begins from the first 'rei', therefore, when partners move towards each other to assume yohi-dachi this would be in a state of combat; as if coming together within a 'dialogue distance' to each other. Upon opening the attack the uke-mi must kiai and step back with the right foot assuming either hidari-junzuki-dachi (for the punch attacks) or hidari-hanmi-gamae (for the kick attacks) - Stepping back allows the correct distance to occur for an effective punch or kick. The defender would demonstrate the same type of combat protocol from yohi-dachi and step back for an effective 'first strike' initiative.
Sanbon-gumite-junzuki-uke.
The principles contained within these include Sente, Inasu, Noru, Irimi, Ma-ai and additionally Kime-no-taemanai, which are important elements within all Judo and Ju-jutsu based systems.
Sanbon-gumite-maegeri-uke.
The principles contained within these include Sente, Inasu, Noru, Irimi, Ma-ai and additionally Ma-ai-suru.
On all Sanbon-gumite the defender moves back and the third attack is countered with a finishing technique. For example, the Sanbon-gumite as practised by British Wadokai:
(A = Attack, D = Defence - R = Right stance, L = Left stance)
Sanbon-gumite-junzuki-uke:
Ipponme; demonstrates rising and dropping movement with the addition of a three-technique within one timing (I-chosu). The defender moves his centre-line (seichusen) away from the line of the attack, and rises slightly into hachi-ji-dachi, whilst delivering upward strike to jaw and deflecting back-hand block (haishu-uke). After this technique has been performed the defender drops quickly into gyakuzuki-dachi and delivers (left elbow strike (gyaku-empi uchi).
A - Yohi, step back into left junzuki - Step forward 3 junzuki jodan.
D - Yohi, step back into R, L, R, 2 head blocks (jodan-uke with junzuki-dachi), on the 3rd technique the left leg step backs behind right (hachiji-dachi) while performing left back hand block (haishu-uke) and right rising punch to the head (jodan-age-tsuki), slide in left elbow strike to the body (chudan-empi-uchi with gyaku-zuki-dachi).
Nihonme; demonstrates a dodging/side-stepping movement coincided with a deflecting punch to the opponent, at the same timing as the attack. We see the methods of Noru and Inasu being demonstrated within this technique.
A - As above.
D - Yohi, back into L, R, L, 2 head blocks (jodan-uke), on the 3rd technique strike with left punch/forearm block (jodan-zuki/ude-uke) while in four-point stance (shiko-ashi-dachi), grab right punching arm with left hand and back of opponent's neck with right, pull onto right knee strike to the body (hiza-geri-chudan).
Sanbonme; demonstrates Noru with the practical application of nagashizuki on the interception timing of the attack.
A - As above.
D - Yohi, step back into L, R, L, 2 head blocks (jodan-uke), on the 3rd technique strike left flowing punch to the head (nagashi-tsuki-jodan), draw back left leg for distance, right roundhouse kick to the body (mawashi-geri-chudan).
Yonhonme; utilises the motion of double movement within the timing of the singular movement of the attacker. Elbow/forearm deflection and strike must be performed whilst the opponent is still in motion with his attack. As soon as the deflection and strike has been performed then strike again, using body shifting movement, to attack the opponent’s groin.
A - As above.
D - Yohi, step back into L, R, L, 2 head blocks (jodan-uke), on 3rd technique use rising/deflecting left forearm block (kote-uke) followed by left downward back-fist strike to the body (uraken-uchi-tate-mawashi-chudan), slide in with left leg (gyakuzuki-dachi), right (closed hand) ridge hand strike to the groin (haito-uchi-gedan).
Gohonme (Chudan soto-uke); demonstrates the application of outer block with grasping technique to the opponent’s arm whilst still allowing the opponent’s motion to be carried forward. Whilst this motion is still constant draw into cat stance and deliver front kick before the opponent’s motion has finalised. Reposition the opponent’s arm using own body weight then strike with gyakuzuki chudan.
A - Yohi, step back into left junzuki - Step forward 3 junzuki chudan.
D - Yohi, step back into R, L, R, 2 outer body blocks (soto-uke-chudan) in junzuki-dachi, on the 3rd technique step back into right front-viewing cat-stance (migi-mashomen-no-neko-ashi-dachi), right hand outer block (soto-uke) then grabs arm and holds after hooking (kake-shuto-uke), right front kick off leading leg (mae-ashi-maegeri-chudan), left reverse punch (gyakuzuki-chudan).
Ropponme (Chudan uchi-uke); as with Gohonme we must attempt to use the motion against the opponent by striking with the elbow as the opponent is still in his forward motion. This shows a good example of deflection and strike on the same timing.
A - As above.
D - Yohi, step back into R, L, R, 3 inner body blocks (uchi-uke-chudan), on 3rd step back move into four point stance (shiko-ashi-dachi), slide in with same stance right elbow strike(yoko-empi-uchi-chudan).
Sanbon-gumite-maegeri-uke:
Ipponme; demonstrates the ability to deflect and strike on the opponent without blocking the opponent too far away. We attempt to sweep the opponent forward with the block and punch as soon as the opponent drops into stance, thus hitting whilst the opponent is still in forward motion. This technique is performed in a rearward sliding motion.
A - Yohi, step back into left fighting stance (hidari-hanmi-gamae) - Step forward 3 front kicks to the body (maegeri-chudan).
D - Yohi, back into R, L, slide back, left inner open hand deflecting block (te-no-hira-uke), right reverse punch chudan.
Nihonme; as Ipponme but using the opposite side and demonstrating the same type of tactic but with a rearward stepping action.
A - As above.
D - Yohi, back into L, R, L, left inner open hand deflecting block, right reverse punch chudan.
Sanbonme; as Nihonme but reversed and defending against a one-step front kick attack.
A - Yohi, step back into left fighting stance - Step forward 2 front kicks (maegeri-chudan), one step front kick (surikomi-maegeri-chudan).
D - Yohi, step back into R, L, R, right inner open hand deflecting block, left reverse punch chudan.
Yonhonme; on the timing of the opponent’s intention of kick, we must intercept by moving towards the opponent, before the opponent’s kick has achieved any momentum, and punch to the opponent’s midsection and using a covering block to the attacker’s leg.
A - Yohi, step back into left fighting stance (hidari-hanmi-gamae) - Step forward 3 front kicks (maegeri-chudan).
D - Yohi, step back into R, L, slide forward and to the left side with left foot (junzuki-tsukkomi-dachi), right reverse punch chudan whilst making left lower forearm block (atoshi-gedan-ude-uke).
Gohonme; demonstrates the tactic of side-stepping and counter-attacking with a singular timing, whilst the opponent is still in motion.
A - As above.
D - Yohi, back into L, R, slide body to the left, right open hand deflecting block (gedan-te-nagashi-uke), slide back in with left reverse punch.
Ropponme; as Gohonme but reversed and with the added implication of the attacker moving forward with a one-step kick.
A - Yohi, step back into left fighting stance - Step forward 2 front kicks (maegeri-chudan), one step front kick (surikomi-maegeri-chudan).
D - Yohi, back into R, L, slide body to the right, left open hand deflecting block, slide back in with right reverse punch.
Technical Video Ohyo Gumite 応用組手
IpponmeUke-mi: Robbie Baldock 2nd Dan
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NihonmeUke-mi: Robbie Baldock 2nd Dan
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SanbonmeUke-mi: James Charnaud 5th Dan
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YonhonmeUke-mi: Robbie Baldock 2nd Dan
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GohonmeUke-mi: James Charnaud 5th Dan
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RopponmeUke-mi: James Charnaud 5th Dan
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NanahonmeUke-mi: James Charnaud 5th Dan
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NapponmeUke-mi: James Charnaud 5th Dan
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Ohyo Gumite CompleteDemonstrated by Tatsuo Suzuki 8th Dan Hanshi and Hiroji Fukazawa 8th Dan Shihan. Source; YouTube.
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OHYO-GUMITE 応用組手
‘Applied Sparring’. The prearranged, 'semi-free sparring', fighting sequences practised in Wado-ryu Karate. The principle of Ohyo-gumite is to enable the student to develop ‘individual timing’, as if free-fighting, as opposed to ‘coordinated timing’ found in Kihon-gumite.
For example, the Ohyo-gumite as practised by British Wadokai:
(A = Attack, D = Defence - R = Right stance, L = Left stance)
Prior to the attack/defence the tactic of nijiri-ashi (crawling-foot) is performed by both the attacker and defender. The attacker 'creeps' forward with nijiri-ashi, to take advantage, and the defender 'creeps' back with nijiri-ashi to retain the Ma-ai.
Ohyo-gumite:
Ipponme; demonstrates the foot-sweep tactic upon the opponent with a more rearward weighted stance. During the initial attack, the defender has been ‘forced’ to retreat, although the intended technique must be of paramount importance with the attempt of success. If his attack fails he has allowed himself the advantage of being able to sweep the opponent’s leading leg easily. Body punch must be delivered immediately after the sweep to avoid the opponent’s recovery.
A- L: Step forward with head then chest punch, left foot sweep, right reverse punch to the body.
D- L: Step back into right short cat stance with right inner sword hand block.
Nihonme; demonstrates a side-step attacking tactic to attempt to come on the outside of the opponent. Whilst still in this flowing motion sweep the opponent’s leading leg by making contact to the Achilles tendon in order to disrupt stability and ground security.
A- R: Right leg slides forward with left reverse punch to the head, one step foot sweep, left reverse punch to the body.
D- L: Draw back into long cat stance with left inner sword hand block.
Sanbonme; demonstrates the ability to use take-down methods with the irimi tactic.
A - L: Step forward with head then chest punch, slide forward to twist into right horse riding stance (avoiding oncoming punch from opponent), with right arm across D's chest and right shoulder, take down over right knee, back fist to head.
D - R: Step back into left fighting stance with hidari-jodan-uchi-te-nagashi-uke, slide forward left leaning lunge punch to the head.
Yonhonme;shows the ability to use overwhelming attack to fluster the opponent into a panic defence. This would then be of great advantage to the attacker as he can then use an onslaught of techniques to subdue and finish the opponent off.
A - R: Step forward with right back-fist strike to the head (temple), left hand grabs D's right sleeve (between elbow and shoulder), right reverse punch to the body, right hand grabs D's left shoulder (A's arm behind D's neck), pull onto right knee strike, right downward elbow strike to base of skull/neck.
D - R: Draw back into right side viewing back stance blocking with right forearm to cover side of head (temple).
Gohonme; uses Ma-ai-suru principles incorporated into a take-down defence.
A - L: Step forward left reverse punch, one step front kick to the body.
D - L: Step back with right inner block to the body, step back with left inner open-hand deflecting block, right ridge-hand strike to the 'floating-ribs', right back-fist strike to the head, left hand grabs A's right shoulder, drop down onto right knee pulling A to the ground while right hand strikes rear of A's right knee, sword hand strike to the side of head.
Ropponme; uses the attacking combinations of Ipponme and Nihonme but using a more advanced principle of fluid motion to finish the technique off.
A - L: One step front kick to the body, left leg slides forward to the side/rear of opponent's leading foot while performing right reverse punch to the head, as punch recoils sweep with left ashi-barai, bring left leg back for distancing, right roundhouse kick to the body/head.
D - L: Step back into right fighting stance, draw back while blocking in with right sword hand block.
Nanahonme; demonstrating the use of ura-ashi (foot-sole-pressing) take-down technique. This technique requires good timing and good anticipation to perform.
A - L: Slide forward left snap punch, slide forward left snap punch, slide back with left open-hand deflecting block, right reverse punch to the body, right hand grabs D's right shoulder, kick with right ura-ashi-geri (foot sole) behind D's right knee (position the body as in kicking movement within Naihanchi kata), grab and pull D's shoulder to the right taking him to the ground, whilst still holding onto opponent left downward-punch to the head.
D - L: Slide back with right inner gyaku-te-nagashi-uke (open-hand deflecting block), (repeat) slide back with right gyaku-te-nagashi-uke (inner open-hand deflecting block), right front kick to the body.
Napponme; shows a combination attack followed by a three-into-one movement finishing off tactic after the back-kick. The turn, block, and punch must be performed in a singular flowing rotational timing movement.
A - R: One step foot sweep, foot sweep, back kick to the body and step to the outside of D’s left leg with right leg and use outer block, while performing left reverse punch to the body on the same hip-twist motion.
D - L: Step back into right fighting stance, step back into left fighting stance.
‘Applied Sparring’. The prearranged, 'semi-free sparring', fighting sequences practised in Wado-ryu Karate. The principle of Ohyo-gumite is to enable the student to develop ‘individual timing’, as if free-fighting, as opposed to ‘coordinated timing’ found in Kihon-gumite.
For example, the Ohyo-gumite as practised by British Wadokai:
(A = Attack, D = Defence - R = Right stance, L = Left stance)
Prior to the attack/defence the tactic of nijiri-ashi (crawling-foot) is performed by both the attacker and defender. The attacker 'creeps' forward with nijiri-ashi, to take advantage, and the defender 'creeps' back with nijiri-ashi to retain the Ma-ai.
Ohyo-gumite:
Ipponme; demonstrates the foot-sweep tactic upon the opponent with a more rearward weighted stance. During the initial attack, the defender has been ‘forced’ to retreat, although the intended technique must be of paramount importance with the attempt of success. If his attack fails he has allowed himself the advantage of being able to sweep the opponent’s leading leg easily. Body punch must be delivered immediately after the sweep to avoid the opponent’s recovery.
A- L: Step forward with head then chest punch, left foot sweep, right reverse punch to the body.
D- L: Step back into right short cat stance with right inner sword hand block.
Nihonme; demonstrates a side-step attacking tactic to attempt to come on the outside of the opponent. Whilst still in this flowing motion sweep the opponent’s leading leg by making contact to the Achilles tendon in order to disrupt stability and ground security.
A- R: Right leg slides forward with left reverse punch to the head, one step foot sweep, left reverse punch to the body.
D- L: Draw back into long cat stance with left inner sword hand block.
Sanbonme; demonstrates the ability to use take-down methods with the irimi tactic.
A - L: Step forward with head then chest punch, slide forward to twist into right horse riding stance (avoiding oncoming punch from opponent), with right arm across D's chest and right shoulder, take down over right knee, back fist to head.
D - R: Step back into left fighting stance with hidari-jodan-uchi-te-nagashi-uke, slide forward left leaning lunge punch to the head.
Yonhonme;shows the ability to use overwhelming attack to fluster the opponent into a panic defence. This would then be of great advantage to the attacker as he can then use an onslaught of techniques to subdue and finish the opponent off.
A - R: Step forward with right back-fist strike to the head (temple), left hand grabs D's right sleeve (between elbow and shoulder), right reverse punch to the body, right hand grabs D's left shoulder (A's arm behind D's neck), pull onto right knee strike, right downward elbow strike to base of skull/neck.
D - R: Draw back into right side viewing back stance blocking with right forearm to cover side of head (temple).
Gohonme; uses Ma-ai-suru principles incorporated into a take-down defence.
A - L: Step forward left reverse punch, one step front kick to the body.
D - L: Step back with right inner block to the body, step back with left inner open-hand deflecting block, right ridge-hand strike to the 'floating-ribs', right back-fist strike to the head, left hand grabs A's right shoulder, drop down onto right knee pulling A to the ground while right hand strikes rear of A's right knee, sword hand strike to the side of head.
Ropponme; uses the attacking combinations of Ipponme and Nihonme but using a more advanced principle of fluid motion to finish the technique off.
A - L: One step front kick to the body, left leg slides forward to the side/rear of opponent's leading foot while performing right reverse punch to the head, as punch recoils sweep with left ashi-barai, bring left leg back for distancing, right roundhouse kick to the body/head.
D - L: Step back into right fighting stance, draw back while blocking in with right sword hand block.
Nanahonme; demonstrating the use of ura-ashi (foot-sole-pressing) take-down technique. This technique requires good timing and good anticipation to perform.
A - L: Slide forward left snap punch, slide forward left snap punch, slide back with left open-hand deflecting block, right reverse punch to the body, right hand grabs D's right shoulder, kick with right ura-ashi-geri (foot sole) behind D's right knee (position the body as in kicking movement within Naihanchi kata), grab and pull D's shoulder to the right taking him to the ground, whilst still holding onto opponent left downward-punch to the head.
D - L: Slide back with right inner gyaku-te-nagashi-uke (open-hand deflecting block), (repeat) slide back with right gyaku-te-nagashi-uke (inner open-hand deflecting block), right front kick to the body.
Napponme; shows a combination attack followed by a three-into-one movement finishing off tactic after the back-kick. The turn, block, and punch must be performed in a singular flowing rotational timing movement.
A - R: One step foot sweep, foot sweep, back kick to the body and step to the outside of D’s left leg with right leg and use outer block, while performing left reverse punch to the body on the same hip-twist motion.
D - L: Step back into right fighting stance, step back into left fighting stance.
Technical Video Kihon Gumite 基本組手
Ipponme |
Nihonme |
Sanbonme |
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Uke-mi: Robbie Baldock 2nd Dan.
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Uke-mi: James Charnaud 5th Dan.
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Yonhonme |
Gohonme |
Ropponme |
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Uke-mi: James Charnaud 5th Dan.
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Uke-mi: Oren Teichmann 2nd Dan.
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NanahonmeUke-mi: Ian Hunter 7th Dan
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Napponme |
Kyuhonme |
Jupponme |
JKF-Wadokai Kihon Gumite 1-10
Original Source: YouTube.
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KIHON-GUMITE 基本組手
'Fundamental Sparring'. The prearranged fighting sequences within Japanese and Okinawan Karate that reflect the fundamental concepts of the individual style.
For example, the Kihon-gumite as practised by British Wadokai:
(A = Attack, D = Defence - R = Right stance, L = Left stance).
Prior to the attack/defence the tactic of nijiri-ashi (crawling-foot) is performed by both the attacker and defender. The attacker 'creeps' forward with nijiri-ashi, to take advantage, and the defender 'creeps' back with nijiri-ashi to retain the Ma-ai.
Kihon-gumite:
Ipponme; A - R: Tobikomizuki-jodan, gyakuzuki-chudan.
D- R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, left foot slides forward and outward and twisting into migi-tate-seishan-dachi while turning the body to avoid punch, right nagashi-chudan-barai-uke (with noru) with left nakadaka-ippon-ken-chudan.
Nihonme; A - R: Tobikomizuki-jodan, surikomi-sokuto-chudan.
D- R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, hidari-gyaku-neko-ashi-dachi with right gedan-barai, right foot slides in behind A's right leg, twist body (clockwise) 180° into gyakuzuki-tsukkomi-dachi while striking with right soto-haito-uchi (upper right ribs, between spine and shoulder blade) and left shuto-uchi (right kidney) chudan.
Sanbonme; A - R: Tobikomizuki-jodan, right foot draws back for ma-ai to deliver left maegeri-chudan.
D - R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, slide forward into right tate-seishan-dachi with right tate-chudan-tsuki/nakadaka-ippon-ken (solar-plexus), while using left fist to protect' the body from A's kicking leg.
Yonhonme; A - L: Tobikomizuki-jodan, gyakuzuki-jodan.
D - R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, draw back into mashomen-no-neko-ashi-dachi while blocking with left te-nagashi-uke-jodan, slide towards the opponent into migi-tate-seishan-dachi with left palm osae-uke on A's right punching arm, while striking nakadaka-ippon-ken-chudan to the middle/upper ribs under A's arm.
Gohonme; A - L: Tobikomizuki-jodan, gyakuzuki-chudan.
D- R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, draw back into (moving stance) mashomen-no-neko-ashi-dachi while blocking with otoshi-uraken-uke, left hand grabs A's right fist while sliding into migi-tate-seishan-dachi striking right hitosashi-ippon-ken-chin-chu (under the nose), slide into shiko-ashi-dachi while delivering right chudan-empi-uchi (sternum), right hand assists left with fist grab applying grab/lock, using circular motion, with elbow support, on takedown technique while moving into right mashomen-no-neko-ashi-dachi, right kosa-dachi, right mashomen-no-neko-ashi-dachi, as A falls ensure right foot is placed under A's right shoulder-blade, apply arm-locking technique (while A is on the ground control must be kept with both hands), place right knee above A's elbow joint, release your right hand to reinforce control on the forearm (thumb turned in), take arm to the ground pressing both knee and hand against A's arm while moving and resting into left kata-hiza-dachi, right shuto-uchi-jodan (to the side of the head/temple), place hand back on A's arm with thumb pointing outwards this time, release knee pressure while still controlling A with the hands, left kata-hiza-dachi, release.
Ropponme; A - L: Tobikomizuki-jodan, surikomi-sokuto-chudan, gyakuzuki-jodan.
D- R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, twist to the left with hidari-gyaku-neko-ashi-dachi and using right gedan-barai, twist back 180° to the right in migi-tate-seishan-dachi while using right haishu-uke-jodan and left nakadaka-ippon-ken-chudan.
Nanahonme; A - L: Tobikomizuki-jodan, left foot draws back for ma-ai to deliver right maegeri-chudan.
D- R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, slide into migi-nagashi-tsuki-dachi while delivering right tate-shuto-uchi to the neck, under A's jaw.
Napponme; A - R: Tobikomizuki-chudan, gyakuzuki-jodan.
D - R: Chudan-uchi-uke in migi-tate-seishan-no-chinto-dachi, while twisting the body allow rear leg to move to the left in migi-tate-seishan-dachi whilst blocking age-kote-uke, slide forward into tate-seishan-dachi while striking right hitosashi-ippon-ken to A's top inside-leg/groin area (left hand presses A’s right wrist to chest area), slide in reinforcing right yoko-empi-uchi in shiko-ashi-dachi, twist body to face A, press A's wrist and forearm with both hands (left tate-shuto position on arm while right haishu 'rests and presses' against the back of A's wrist) while right knee presses against the inside of A's leading leg to create kuzushi effect, release when A becomes unbalanced and falls away.
Kyuhonme; A - R: Tobikomizuki-chudan, gyakuzuki-chudan.
D - R: Chudan-uchi-uke in migi-tate-seishan-dachi, left foot slides forward and outward into migi-tate-seishan-dachi while delivering left nakadaka-ippon-ken to A's throat/neck whilst deflecting with right haishu-uke.
Jupponme;
A - R: Tobikomizuki-jodan, gyakuzuki-jodan.
D - R: Uchi-sokumen-awase-uke in migi-tate-seishan-dachi, right soto-sokumen-awase-uke while striking the vulnerable point just above the left chest (and below the collar bone) with migi-tate-empi-uchi in migi-tate-seishan-no-chinto-dachi - the left hand presses with osae-uke to A's right wrist at the same time, draw left arm back while grabbing A's sleeve, at the shoulder/arm area, with right hand - between shoulder and elbow, strike left haito-uchi to A's groin in gyakuzuki-dachi, step under your own right arm with left leg moving into gyaku-neko-ashi-dachi while grabbing A's left leg, throw A over right shoulder while using a lifting manoeuvre with the left hip - dropping down and releasing grasp on A's leg as his weight shifts forwards, pull down with right hand to create Kinu-katsugi (lit. carrying a roll of cloth) throw whilst drawing back and down into left kata-hiza-dachi.
'Fundamental Sparring'. The prearranged fighting sequences within Japanese and Okinawan Karate that reflect the fundamental concepts of the individual style.
For example, the Kihon-gumite as practised by British Wadokai:
(A = Attack, D = Defence - R = Right stance, L = Left stance).
Prior to the attack/defence the tactic of nijiri-ashi (crawling-foot) is performed by both the attacker and defender. The attacker 'creeps' forward with nijiri-ashi, to take advantage, and the defender 'creeps' back with nijiri-ashi to retain the Ma-ai.
Kihon-gumite:
Ipponme; A - R: Tobikomizuki-jodan, gyakuzuki-chudan.
D- R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, left foot slides forward and outward and twisting into migi-tate-seishan-dachi while turning the body to avoid punch, right nagashi-chudan-barai-uke (with noru) with left nakadaka-ippon-ken-chudan.
Nihonme; A - R: Tobikomizuki-jodan, surikomi-sokuto-chudan.
D- R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, hidari-gyaku-neko-ashi-dachi with right gedan-barai, right foot slides in behind A's right leg, twist body (clockwise) 180° into gyakuzuki-tsukkomi-dachi while striking with right soto-haito-uchi (upper right ribs, between spine and shoulder blade) and left shuto-uchi (right kidney) chudan.
Sanbonme; A - R: Tobikomizuki-jodan, right foot draws back for ma-ai to deliver left maegeri-chudan.
D - R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, slide forward into right tate-seishan-dachi with right tate-chudan-tsuki/nakadaka-ippon-ken (solar-plexus), while using left fist to protect' the body from A's kicking leg.
Yonhonme; A - L: Tobikomizuki-jodan, gyakuzuki-jodan.
D - R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, draw back into mashomen-no-neko-ashi-dachi while blocking with left te-nagashi-uke-jodan, slide towards the opponent into migi-tate-seishan-dachi with left palm osae-uke on A's right punching arm, while striking nakadaka-ippon-ken-chudan to the middle/upper ribs under A's arm.
Gohonme; A - L: Tobikomizuki-jodan, gyakuzuki-chudan.
D- R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, draw back into (moving stance) mashomen-no-neko-ashi-dachi while blocking with otoshi-uraken-uke, left hand grabs A's right fist while sliding into migi-tate-seishan-dachi striking right hitosashi-ippon-ken-chin-chu (under the nose), slide into shiko-ashi-dachi while delivering right chudan-empi-uchi (sternum), right hand assists left with fist grab applying grab/lock, using circular motion, with elbow support, on takedown technique while moving into right mashomen-no-neko-ashi-dachi, right kosa-dachi, right mashomen-no-neko-ashi-dachi, as A falls ensure right foot is placed under A's right shoulder-blade, apply arm-locking technique (while A is on the ground control must be kept with both hands), place right knee above A's elbow joint, release your right hand to reinforce control on the forearm (thumb turned in), take arm to the ground pressing both knee and hand against A's arm while moving and resting into left kata-hiza-dachi, right shuto-uchi-jodan (to the side of the head/temple), place hand back on A's arm with thumb pointing outwards this time, release knee pressure while still controlling A with the hands, left kata-hiza-dachi, release.
Ropponme; A - L: Tobikomizuki-jodan, surikomi-sokuto-chudan, gyakuzuki-jodan.
D- R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, twist to the left with hidari-gyaku-neko-ashi-dachi and using right gedan-barai, twist back 180° to the right in migi-tate-seishan-dachi while using right haishu-uke-jodan and left nakadaka-ippon-ken-chudan.
Nanahonme; A - L: Tobikomizuki-jodan, left foot draws back for ma-ai to deliver right maegeri-chudan.
D- R: Nagashi-soto-uke-jodan in migi-tate-seishan-dachi, slide into migi-nagashi-tsuki-dachi while delivering right tate-shuto-uchi to the neck, under A's jaw.
Napponme; A - R: Tobikomizuki-chudan, gyakuzuki-jodan.
D - R: Chudan-uchi-uke in migi-tate-seishan-no-chinto-dachi, while twisting the body allow rear leg to move to the left in migi-tate-seishan-dachi whilst blocking age-kote-uke, slide forward into tate-seishan-dachi while striking right hitosashi-ippon-ken to A's top inside-leg/groin area (left hand presses A’s right wrist to chest area), slide in reinforcing right yoko-empi-uchi in shiko-ashi-dachi, twist body to face A, press A's wrist and forearm with both hands (left tate-shuto position on arm while right haishu 'rests and presses' against the back of A's wrist) while right knee presses against the inside of A's leading leg to create kuzushi effect, release when A becomes unbalanced and falls away.
Kyuhonme; A - R: Tobikomizuki-chudan, gyakuzuki-chudan.
D - R: Chudan-uchi-uke in migi-tate-seishan-dachi, left foot slides forward and outward into migi-tate-seishan-dachi while delivering left nakadaka-ippon-ken to A's throat/neck whilst deflecting with right haishu-uke.
Jupponme;
A - R: Tobikomizuki-jodan, gyakuzuki-jodan.
D - R: Uchi-sokumen-awase-uke in migi-tate-seishan-dachi, right soto-sokumen-awase-uke while striking the vulnerable point just above the left chest (and below the collar bone) with migi-tate-empi-uchi in migi-tate-seishan-no-chinto-dachi - the left hand presses with osae-uke to A's right wrist at the same time, draw left arm back while grabbing A's sleeve, at the shoulder/arm area, with right hand - between shoulder and elbow, strike left haito-uchi to A's groin in gyakuzuki-dachi, step under your own right arm with left leg moving into gyaku-neko-ashi-dachi while grabbing A's left leg, throw A over right shoulder while using a lifting manoeuvre with the left hip - dropping down and releasing grasp on A's leg as his weight shifts forwards, pull down with right hand to create Kinu-katsugi (lit. carrying a roll of cloth) throw whilst drawing back and down into left kata-hiza-dachi.
Additional Training Elements Introduced into British Wadokai as from 1982.
Please use 'drop down' menu to find Idori-no-gata, Tanto-dori-no-gata, Mutodori-no-gata.
Additional Training Elements Introduced into British Wadokai as from 1982.
Please use 'drop down' menu to find Idori-no-gata, Tanto-dori-no-gata, Mutodori-no-gata.
NB: These 'additional training elements' do not form part of the traditional British Wadokai Grade Syllabus.
