In this video lesson, I break down the common misunderstandings about kamae and explain the exact reason they are the 'beginning and end' of our martial art. Too often, many well intentioned instructors offer their ideas on this topic with vague explanations and miss crucial points rooted in physiology and the law of escalation. This video will help you understand once and for all what it kamae means and bring value to it's place in your training.

Fudō ken 不動拳(shizentai)

Conventional fist from natural stance

Begin from shinzen tai. Step forward with the right foot and strike your target with a closed fist at the head level. The important point is that the impact point on the hand is at the first and middle finger, supported by the structural line of the forearm bones and muscles. As well, the timing in your step is critical when training this type of advancing punch. Another important point is to be certain not to over extend the striking arm. This is a common mistake among martial artists and will lead to long term injury due to constant hyper extension. Breath and strike must have the correct synergy and come from the tanden. Once this technique is understood, you can begin to train various forms of punching, such and gyaku ken and ura ken.

Fudō ken 不動拳 (za gamae)

Conventional fist from seated position

This is the same as the previous technique only done from za gamae. Come up onto the right foot from za gamae as though advancing forward with shikkō quickly. This movement is being led by a closed fist strike to the head level. The important point in this movement is to have a strong shikkō and correct ken waza.

Fudō ken tsuki gata 不動拳 突型

Closed fist lunging punch

From seigan no kamae, pull forward on the lead leg, stepping and striking with a lunge punch. The important points are to not demonstrate bounce in your movement and to project the energy in the strike from the hips. The strike should hit at the exact moment the advancing leg finishes the step. Maintain a vertical fist and a slight bend in the arm to prevent hyperextension or locking the arm for counter techniques. Be certain to bring the lead knee over the ball of the foot to demonstrate power in the strike and then return to kamae. It is important to maintain the correct pattern of breathing while demonstrating this technique. When testing, a student must demonstrate this technique with power and precision, striking to the jodan level. There is no leaning into the strike.

Omote shuto 表手刀 (shizentai)

Bladed fist facing upward from a natural stance

From a natural stance, step the right foot forward striking with a bladed fist to the temple level. This strike will be done with the palm of the hand facing down and the point of impact with the hand is at the point just below the pinky knuckle and above the wrist. When doing this strike, do not make a circular motion with the arms. Instead, this style of shuto ken is straight from the hip to the target, knocking your target back in the direction you’re advancing in.

Omote shuto 表手刀 (za gamae)

Bladed fist facing upward from a seated postureThis technique is the same as the previous with the difference being that you are now striking from za gamae. The important point is moving with shikkō.

Omote shuto tsuki gata 表手刀突き (seigan no kamae)

Begin from seigan no kamae. Step forward with the right foot while bringing the right hand to the side of the head and above the forehead in a soft fist. From this position, the elbow will be guarding, do not pull the elbow back. As the foot is continuing into the step, strike from the right to the left with the blade of the hand, palm facing upward. It is important to note that the strike comes off of the rotation of the elbow. Do not pull the arm back, as this creates an opening on the right side of the body for counter techniques. Return to seigan no kamae after completing the strike. Important points for this technique include keeping the spine perpendicular with the ground and demonstrating power in the strike by having the lead knee go over the foot correctly on the strike.

Omote shuto tsuki gata 2 表手刀突き二

Bladed fist facing upward from a ichimonji no kamae

Begin in Gyokko Ryu Ichimonji no kamae. Advance forward, striking with shuto in a downward manner. The feeling should b similar to striking a target with a hatchet or hammer. It is characteristically different than Koto Ryu shuto.

Ura shuto 裏手刀 (za gamae)

Bladed fist facing downward from a seated posture

This technique is the same as the previous with the difference being that you are now striking from za gamae. The important point is moving with shikkō.

Ura shuto 裏手刀突き (seigan no kamae)

Begin from seigan no kamae. Step forward with the right foot while bringing the palm of the right hand near the left ear in a soft fist. As the foot is continuing into the step, strike from the left to the right at a neck-high level with the blade of the hand, palm facing downward. It is important to note that the strike comes off of the rotation of the elbow. All other points are the same as previous technique. Return to seigan no kamae after completing the strike. The important points are the same as in the previous technique.

Keri kudaki 蹴砕

Breaking kick from natural stance

Your opponent will kick at you with zenpo geri with their right leg. Lift your left knee up and parry their kick in a sweeping motion toward your left, knocking them off balance. Return to a natural stance. This is a basic for of this technique and there are many variations of keri kudaki. This technique is to be trained to the inside and the outside when receiving the kick.

Zenpo keri 前方蹴

Begin from shizen no kamae. Lower the body by bending the knees making certain to not bend forward. Lift the knee to chest and stomp forward with the sole of the foot and return to shizen no kamae. The important points are to keep the lower leg horizontal with the ground and strike with the heel of the foot and maintain the kamae while doing the kick. Sensei stressed that the kick has the feeling of stomping outward, but the foot will return to it’s beginning point. The kicking point is with the heel.

Seigan no kamae 正眼之構

Sono ichi: Face your opponent in hidari seigan no kamae with the intent on forcing them to strike to your left side with their right fist. Control them. They will strike at you with migi fudo ken tsuki to the head level. With their strike, shift back to a forty five degree angle and receive their strike with hidari jodan nagashi. As they are imbalanced and before they are unable to recoil their strike, step in with your right foot into their center while striking to their uko with migi omote shuto ken. With this strike, do not use circular motion, rather drive them straight back in the direction they came from. This technique can be trained in many ways of course, but the basic techniques are to use omote or ura shuto ken. Practice receiving to the inside and outside and leaping away following the strike. Always maintain zanshin.

Sono ni: Both you and your opponent face each other in hidari seigan no kamae. Your opponent will strike at you with migi shikan ken tsuki or zenpo keri to the stomach level. Shift back to a forty five degree angle to the right and receive with gedan nagashi to the inside of their attack. Imbalance them and then step in and strike them down with ura shuto ken to the uko or kasumi. Leap away to seigan no kamae

Hira ichimonji no kamae 平一文字之構

Sono ichi: Face the opponent in hira ichimonji no kamae with the intent on keeping close attention to everything happening around you. Your opponent will strike at you with migi fudo ken tsuki. Step the right foot straight back as though you are stepping into hidari seigan no kamae, while parrying their attacking elbow with the palm of your left hand. The feeling in this movement is to step back deeply, then spring forward and into them with a powerful attack to their neck. As you step back in with the right foot, direct their attacking arm in front of their body without losing contact. This will cause their body to twist, making them off balance. Strike with ura shuto ken to the point uko. Assume seigan no kamae and maintain zanshin.

Sono ni: In this technique your opponent will be striking or kicking to your stomach level. For this exercise, we will present the technique with migi fudo ken tsuki. As the strike comes close to the body, pivot to the right on the ball of the left foot while parrying their attacking elbow with the palm of your left hands. What is important on this technique is the correct use of the pivot and distribution of weight used to imbalance their momentum. Direct their striking arm downward while lifting your right arm straight in the air. Step in with the right foot while striking downward to the back of the neck with migi shuto ken. Done correctly, this technique will cause the opponent to fall straight down onto the stomach as it’s a difficult technique to roll out of when done correctly. Again, the important point is to imbalance the structural elements of their attack, redirecting their force and attacking the point of best opportunity. Assume seigan no kamae and maintain zanshin. This technique is trained on both sides.

Hira ichimonji no kamae 平一文字之構

Sono ichi: Face the opponent in hira ichimonji no kamae with the intent on keeping close attention to everything happening around you. Your opponent will strike at you with migi fudo ken tsuki. Step the right foot straight back as though you are stepping into hidari seigan no kamae, while parrying their attacking elbow with the palm of your left hand. The feeling in this movement is to step back deeply, then spring forward and into them with a powerful attack to their neck. As you step back in with the right foot, direct their attacking arm in front of their body without losing contact. This will cause their body to twist, making them off balance. Strike with ura shuto ken to the point uko. Assume seigan no kamae and maintain zanshin.

Hōkō no kamae 抱囲之構

Begin by facing your opponent in hidari hōkō no kamae with the intention of smashing through their attack. Be certain to keep the inside of your arms hidden from oyur opponent’s sight. Your opponent will close their distance and attack with migi fudo ken tsuki. As they strike, enter inward with your left foot and under their attack. Lift their attacking arm upward and back causing them imbalance and turning their torso to their right. Lift both arms up when doing this movement inward. As they are knocked back, step in with the right foot, striking straight downward to their left collar bone with migi shuto ken. Done correctly, is will be impossible for them to roll out of this technique as the direction of impact into the collar is straight downward. Assume seign no kamae and maintain zanshin. This technique is done on both sides.

Bōbi no kamae (防備之構)

Begin by facing your opponent in hidari bōbi no kamae with the intention of striking them down with a single blow. It is important to keep your right hand gently clenched without tension in your forearm, resting on the crook of your right hip. Your left hand is pointed straight ahead at their body. Keep your legs soft and ready to move. Your opponent will close their distance and attack with migi fudo ken tsuki. As they strike, shift to the inside of their strike and receive to the inside of their attacking arm with nagashi. Then strike them down with fudo ken to the center. This strike should knock them onto their back. Finish in bōbi no kamae. There are many variations to this basic, but the main principles should be kept in place.

This is hands-down one of the most misunderstood and poorly taught aspects to our martial art. This video will break down why a lunge punch is a dominant strike in this martial art early in ones training and the advantage this strike holds to helping you become a proficient technician. Crucial learning here, that is rarely taught correctly.

Zenpō nagare 前方流

Forward roll from a natural stance

Begin from a natural stance. Lower the body into a squat without the torso coming forward. Keep the back perpendicular with the ground. Tuck the coccyx in, then roll the body into a ball. Roll over the left shoulder and come up onto both feet and stand. It is important to eliminate the need for your hands in this roll by providing enough momentum to carry your body forward and onto both feet. Without losing your balance, stand straight up into shizen-tai. This technique is to be completed on both sides.

Zenpō kaiten 前方回転

Forward roll

This technique will be done with an opponent behind and in front of you with swords. The opponent in front can be with or without a sword for testing. Unsui Sensei was very clear about the fact that mai ai is the most important point of this technique. It must be done with two opponents for testing. The opponent closes in from a far distance behind you and at an angle. Begin from seigan no kamae and the uke will face you in dai jodan no kamae. While in kamae, maintain awareness of the opponent behind and in front by looking to the side slightly, but without losing kamae. Your opponent will cut downward with dai jodan karatake wari. At the correct moment, shift your left foot to the outside of the cut while bringing your weight onto this leg. Place the palm of your lead hand on the ground, making the arm into a “c” shape. This “c” shape will work almost as a wheel while doing the roll. While lowering your body, roll over the left (leading) shoulder maintaining eye contact on the uke throughout the roll. Come up onto both feet without the assistance of your knee. It is important to create enough distance from the uke so that when they counter cut, they will not be able to reach you. When they cut, you will roll over the lead arm away from the first opponent who cannot then reach with a cut. Sensei said that for testing, the first opponent can cut or strike to check distance after the roll. Come up into seigan no kamae. To be trained on both sides, as well as leading into the roll with the lead shoulder.

Zenpō otoshi 前方落

Forward drop

Begin in a squatting posture. Shoot the feet straight back, spread apart and land belly side down. When you do this, the forearms will be in front of you at a ninety degree angle to each other. Your hands will be in front of your forehead. When you land, the forearms and palms will absorb the impact along with the correct way to use your breath. Keep the body straight. It is also suggested that students use this posture for core strength conditioning as well.

Kohō otoshi 後方落

Backward drop

From a natural stance, lower the body straight down into a squat. It’ good practice in the beginning to cross your arms in front of your chest, but as you progress later, this will be done under many circumstances such has holding onto an opponent or a weapon. While squatting, tuck your chin and roll onto your back. When doing so, extend the left leg and tuck the sole of the right foot into the side of the left knee. When doing this technique in a manner suitable for training on a padded floor, it is acceptable to extend both arms to the side of your body and feather the impact of the fall with your extended arms. Outside of training in a controlled environment, such as a matted floor, this should not be done. When falling in this manner, bring your arms over your head with the palms facing inward. It’s extremely important to breath correctly when falling this way.

While doing kohō otoshi, be sure to not let your hips rise above the shoulders as you fall. Should this happen, commit to a back roll. Also, practice coming to your feet without the use of your hands while keeping your eyes and intention on a fixed point.

Be sure to train this falling techniques with both legs tucking.

Kōhō nagare 後方流

Back roll from a natural stance

Begin from a natural stance. Lower the body into a squat without the torso coming forward. Keep the back perpendicular with the ground. Tuck the coccyx in, then roll the body into a ball. Roll over the left shoulder bringing the left knee to the ground. Do not let the right knee go to the ground, rather finish in a posture you with find while practicing shikkō. When coming to your feet, be sure to not have unequal weight distribution while standing. To eliminate strain, lift the left knee off the ground into a squat. Then stand to shizen-tai using both legs.

Kōhō kaiten 後方回転

Begin in shizen no kamae facing your opponent. They will be in seigan no kamae with bokutō. At the right moment, they will attack with tsuki to the head level. Drop straight down, not deviating to one side or the other, and perform kōhō kaiten. It is important that you maintain eye contact on the uke throughout the technique while rolling straight backward. Return to your feet, without the assistance of their hands and assume seigan no kamae.

Yoko otoshi 横落

Side drop

This technique is extremely important to understand before you move on to training nage waza, throwing techniques. Begin in a natural stance. Extend the right arm in front of the body and to the left side. While doing this, also extend the right leg to the left side. Lower your body to the ground using your left leg and fall onto your right side. It’s important to not confuse this movement with a backfall as you must land on your side.

While positioned on your side, the right leg will be extended with a slight bend and the left foot will be on the ground behind the right knee. Keep tension in the right leg when doing this technique as you must protect the parts of your body where the joints are close to the surface area of the skin. Keep your chin tucked and the arms close to your body. As with the previous technique, there are different ways we train this technique. The first is learned with a feathering of the impact with the right arm extended. When training this without a matted floor, both arms must be tucked close to the body and the muscle mass of the shoulder is absorbing much of the impact.

As with the back roll, if the hips go above the shoulder line, you should commit to a side roll.

When coming to the feet, switch the legs and rock yourself up without using the assistance of your hands. There are several ways we learn in our basics to come to the feet from this position. Practice all of them while keeping your eye contact on a fixed point always.

Yoko nagare 横流

Side roll from a natural stance

Begin from a natural stance. Extend the right arm in front of the body and to the left side. While doing this, also extend the right leg to the left side. Lower your body to the ground using as though doing yoko otoshi and allow your momentum to carry you over your left shoulder. When doing this roll, it’s important to maintain your eye contact on a fixed point. Come up on your left knee and right foot in the same posture as shikkou. What is most important in this roll is fluidity in movement and maintaining awareness on a fixed point throughout the technique.

Yoko nagare 横流 (against opponent)

Begin in shizen tai facing your opponent. They will approach you in dai jodan no kamae with bokutō and will attack with karatake wari. At the correct moment, extend one leg outward and in front of you to the side and quickly lower the body to the ground on the side of the body. It is important to get the tanden under tsuka. The extending leg will kick the weapon straight upward with sokuho geri while. Without stopping your momentum after the kick, roll over the high should and maintaining eye contact on the opponent. Assume seigan no kamae at a distance in which the opponent cannot reach you with an immediate cut.

Tachi nagare 立流

Escaping into a back roll while continuing forward

From a shizen-tai, extend your right leg straight out in front of you keeping the heel of your foot close to the ground. Lower your body straight down using your left leg, then immediately roll over the left shoulder. Continuing your momentum and without using the assistance of your hands, come back to your feet by having the right leg follow completely through without touching the ground. As the leg comes to the ground, begin walking forward, then do this again over the opposite shoulder. Assume shizen-tai.

Jun nagare 順流

Escaping into a side roll from seigan no kamae, same side

Begin in hidari seigan no kamae. You will shift your weight back onto the rear leg and lower yourself deep. Place your right hand on the ground, pointing the fingers in the direction you are facing. Pivot your hips to the right and roll over your right shoulder. The important points are found in the correct footwork, completing the technique in a straight line back and keeping your eyes on a fixed point in front of you. Do not lose your zanshin as you come up onto two feet, then shift into hidari seigan no kamae. This technique is practiced on both sides.

Sokuhō kaiten 1 側方回転一

Side roll, first version (真剣型体変術 Shinken Gata Taihenjutsu – live sword form body changing art)

Both training partners will face each other. At the same time, your will assume seigan no kamae as uke assumes dai jodan no kamae with bokutō. Uke will cut from dai jodan no kamae with karatakewari. Lowering your body, shift back and place the rear hand to the ground with the palm facing in the direction of the opponent. This technique is essentially jun nagare against an opponent. Turn your hips away and roll over back shoulder while maintaining eye contact on the uke. Unsui Sensei stressed to me the importance of using the rear arm in this “c” shape, as in the previous technique. You must maintain focus on the opponent and return to seigan no kamae while coming up onto both feet. It’s important to lower yourself close to the ground while going into the roll. Be certain to roll straight backward, maintain zanshin and keep your kamae.

Sokuhō kaiten 2 側方回転二

This technique is similar to the previous technique, only executed over the opposite shoulder. As you lower yur hips, focus on your opponent first under their lead arm, between the legs (if possible), and pivot their torso looking over the opposite shoulder. The lead arm will scoop around into the roll. Tori will roll straight backward and assume seigan no kamae. Tori will begin technique in one side kamae and finish on the opposite.

Shihō Tenchi Tobi 四方天地飛

‘Heaven and earth’ leaping in all directions

From hira ichimonji no kamae, leap sideways forward, backward, straight upward and dropping down to the ground quickly. The important points in leaping are to control your balance on landing and use your legs correctly. Don’t cross your legs when doing this.

Shihō Tenchi Tobi 四方天地飛

‘Heaven and earth’ leaping in all directions

From hira ichimonji no kamae, leap sideways forward, backward, straight upward and dropping down to the ground quickly. The important points in leaping are to control your balance on landing and use your legs correctly. Don’t cross your legs when doing this.

Shihō Tenchi Tobi 四方天地飛

‘Heaven and earth’ leaping in all directions

From hira ichimonji no kamae, leap sideways forward, backward, straight upward and dropping down to the ground quickly. The important points in leaping are to control your balance on landing and use your legs correctly. Don’t cross your legs when doing this.

Fudōza Tobi 不動坐飛

Leaping straight upward with feet in front of you

From a shizen tai, leap straight up as high as you can while pulling your feet so that they are in front of you with the knees bent and the soles of your feet turned inward. The goal of this type of jump is to create the maximum distance between the ground and any part of your body. It is important to keep contol of your arms when jumping.

Tobi ori 飛折

Leap into a roll

From a natural stance, leap forward landing on both feet and roll over either shoulder without stopping. When landing, be sure to bend the knees deeply without losing your balance. Practice this technique leaping in all directions and from every kamae. Also, practice leaping for both height and distance.

Hichou kaiten 飛鳥回転

Diving roll

From a natural stance, bend both knees deep and leap forward into a roll. When landing, be sure to not allow the head to impact the ground and continue your momentum up onto your feet into kamae. Practice this technique for both height and distance, as well as leaping over obstacles.

Yoko tenkai 横転回

Sideways flip

From a natural stance, leap sideways onto both hands and then spring back onto your feet. To begin training this technique, practice simple cart-wheels by placing both hands on the ground and stepping around them. Then gradually begin to get your feet higher into the air. As you become more comfortable with increased momentum, begin placing both hands to the ground at the same time, flip sideways and land on both feet. Practice this technique from every kamae.

Hira no kamae 平之構

Opponent will close their distance and cut down with daijodan karatakewari. Begin in hira no kamae. At the correct moment, you will step back with either foot, turning away from the sword allowing the cut to pass close behind your lead shoulder. Lower your body in one movement and sokuho kaiten. If you step back with your left foot, the sword passes behind your right shoulder and you will roll toward 7 o’clock over the left shoulder. It is important to maintain kamae and zanshin throughout the movement. Maintain kamae at the end for three seconds.

Ichimonji no kamae 一文字之構

Beginning from hidari ichimonji no kamae, face the opponent as they approach you and then cut with daijodan karatakewari. At the correct moment, drop straight down and roll over your right shoulder, coming up onto both feet with your right knee close to the ground. Before the opponent is able to turn and counter cut, leap toward them by turing to the left, leaping and striking with migi boshinken to their butumetsu. Make certain that you do not stop after the first roll, or they will have time to turn and cut. Avoid, roll, leap, strike.

Jūmonji no kamae 十文字之構

Begin in jūmonji no Kamae. The opponent will walk toward you or approach with drawn sward and cut at you. At the correct distance, leap in quickly, striking with ura shuto to both sides of the uke’s neck and jump back to jūmonji no Kamae. The important point of this exercise is the correct use of hichōjutsu.

Osoto Gake 大外掛

High outside hook

Your opponent will walk toward you and grip you in kumiuchi with the right hand and right leg leading. Step back with the left leg as they grip, and grip their right elbow sleeve with your left hand and their left lapel with your right hand. When they pull back, release your right hand and secure their keikogi (or trapezius muscle) at the top of the shoulder while stepping the left leg to the outside of their right, bending them backward. Drive your right hip into their right hip as they are bent backward. From this point, drive them to the ground over your right thigh. What is important is the correct use of your center of gravity, keeping it low and driving them down with relative ease. Finish in shizen-tai. This technique is trained on both sides.

When throw is complete, their shoulder line should be directly under your center. Hold them in this position for three seconds, then slowly move away in a direction over their head.

Osoto guruma 大外車

High outside wheel.

Your opponent will walk toward you and grip you in kumiuchi with the right hand and right leg leading. Their intention is to throw you to the ground. Step back with the left leg as they grip, and grip their right elbow sleeve with your left hand and their left lapel with your right hand. Continue their forward momentum as they are gripping by slightly directing them forward, then as they pull back to regain balance. As they pull back, offer no resistance and shift forward to their right side causing them to lose their balance backward. Lift your right leg from the ground and outward across the back of both of their hips, just below the buttocks. Using your right hip, slightly lift them then kick the right leg back, spinning them over your leg. It’s important to regain balance quickly and correctly. This technique is to be trained on both sides.

Hiza guruma 足車

Knee wheel

Your opponent will walk toward you and grip you in kumiuchi with the right hand and right leg leading. Their intention is to throw you to the ground. Step back with the left leg as they grip, and grip their right elbow sleeve with your left hand and their left lapel with your right hand. Continue their forward momentum as they are gripping by slightly directing them forward, then as they pull back to regain balance, shift forward and place your left foot the side of their right knee. This technique must be done with caution as it’s easy to injure someone. Their knee will turn inward and they will lose balance backward. As they lose balance, pull the left leg back to it’s original position and take them down. They should will fall onto their left side in the same manner as ashi guruma. This technique is to be trained on both sides.

Ouchi Gake 大内掛

High inside hook

Your opponent will walk toward you and grip you in kumiuchi with the right hand and right leg leading. Step back with the left leg as they grip, and grip their right elbow sleeve with your left hand and their left lapel with your right hand. When they pull back to regain their balance, cross step your left foot in front of your right while releasing your right hand from their lapel. Your right hand will secure the opposite lapel as you press your right forearm into their throat, causing them to bend backward. Meanwhile your right leg will wrap their rear leg (left). With their leg locked and balance broken backward, drop them down onto their back, then move away to prevent a counter kick from the ground. Finish in shizen-tai. This technique is trained on both sides.

Koshi seoi nage 腰投げ

Around the waist hip throw

Your opponent walks toward you and secures you in kumiuchi with the intention of controlling you. Capture their momentum as they grip your garment and throw them over your hip while bringing your arm around their waist. It’s important to not exert force to do the throw, rather capitalize on their momentum. Keep you back straight when throwing them. Finish the technique by moving away in shizen tai while maintaining eye contact.

Ippon seoi nage 本背負投

One arm shoulder throw

Your opponent walks toward you and secures you in kumiuchi with the intention of controlling you. Capture their momentum as they grip your garment and throw them over your hip while bringing your arm under their lead arm, securing their tricep in the crook of your elbow. Keeping control of their arm, bring them down to the ground so that their shoulder line is at your center. It’s important to use their lead arm correctly when acquiring kuzushi. Keep control of them for a moment, then move away over their head maintaining zanshin.

Ganseki nage 岩石投

For the description of this technique, we will assume that the opponent grabs your left sleeve and right lapel. Step back and drop your weight to your left leg, as though stepping into migi seigan no kamae. The right hand will be guarding. As the opponent pulls back to regain their balance, you will go in with this energy by offering no resistance. Done correctly, they will be anticipating resistance and by you providing none, they will lose their balance backward. As you enter, bring the left hand around to the top of their right bicep and clear their arms down and outward. Clear both hands stepping in with the left leg to the inside of their right. With this entering movement, guard to their eyes with your right hand while locking their right arm. The important point of this technique, very clearly defined to me by Sensei, was that there is no use of the locking arm employed when doing the throw. The guarding hand releases from the guard while pivoting the hips clockwise and shooting the left leg back to the inside of their right leg. The momentum created in the torso by powerfully pulling the right arm back is what creates the momentum of the throw and damages the arm. Pivot on the ball of the left foot while directing it back and throw them onto their back. Done correctly, this technique is nearly impossible to roll out of.

Gyaku ippon seoi nage 逆 本背負投

Reverse one arm shoulder throw.

This is a common throw within the forms of our art and can be extremely dangerous if not trained correctly. Your opponent walks toward you and secures you in migi kumiuchi with the intention of controlling you. Capture their momentum as they grip your garment direct their lead hand downward creating a side load in their gripping fingers in order to not allow the grip. Pivot one hundred and eighty degrees so that this same side shoulder goes under their elbow. Step the left foot in front of them and throw them over your hip. When first learning this technique, come down onto the left knee and allow your training partner to safely complete the technique while their arm is being leveraged. Maintain control of this arm and keep zanshin throughout the movement. Move away over the head to shizen tai.

Morote seoi nage 双手背負投

Two handed throw over back.Your opponent walks toward you and secures you in migi kumiuchi with the intention of controlling you. Capture their momentum as they grip your garment and throw them over your hip while bringing your right arm under their right arm without releasing grip of their lapel. The first important point is to not allow your arm to remain behind you when doing the throw, but rather keep it in front of you. Next, be certain to not allow the wrist to bend backward. As you enter for the throw, you should have a feeling as though you are striking upward and under the jaw of your opponent while twisting their lapel. Throw them over your hip and control them on the ground. Move away over their head while maintaining zanshin.

Yoko (nage) gaeshi 横返 Side reversal

As your opponent steps toward you to grip you in migi kumicuhi, receive their grip in the same manner, with your right hand gripping their lapel and your left on their sleeve. Directing their momentum forward, pivot your body to the right while extending your right leg outward and in front of their right leg. While doing this, bring your right hip under their center, bringing their torso tight you your right side. With your right leg extended, drop to your left side, throwing your opponent over your right side. It’s important to keep your center at a point between their feet when you drop. Quickly return to your feet and maintain zanshin.

Tomoe gaeshi 巴返 Top reversal (also Tate Nagare)

As your opponent steps toward you to grip you in migi kumicuhi, receive their grip in the same manner, with your right hand gripping their lapel and your left on their sleeve. Directing their momentum forward, by pulling them straight back. Step your left foot into the instep of their right foot and extend your right straight between their feet and behind them. Keeping their torso close to yours, drop straight down causing them to bend forward. As they bend forward, kick upward with your left shin into their genitals. This kick must be done by bracing with your shoulders and your right heel on the ground. Simply rolling into the kick with eliminate all power. Done correctly, they will be thrown powerfully on the crown of their head. For safety, release early and allow your training partner to roll from the technique. Pull your left knee to your chest while maintaining eye contact on your opponent as they roll. Roll to the left, coming to your feet quickly in kamae. Maintain zanshin.

Kuruma gaeshi 車返

This technique is the same as the previous, with the difference being that you will maintain your grip on your opponent as they roll and come up on top of them by rolling over your shoulder. Keep your body very close to theirs and complete the technique with jime. Roll away over the head and return to kamae.

Omote gyaku gaeshi 表逆 返

This technique is an outside wrist reversal counter. As your opponent applies omote gyaku, first grip their fingers from the hand they are attempting to lock. This will happen at the same time you are following their momentum with yoko aruki. As they attempt their throw, go to the ground and spin on your back keeping both knees close to your chest. Spin around so that both feet are facing them and their arm is not between your legs. Pull the hand you are gripping into your hip closest to their leg. Using your outside leg, kick to their knee to break them down, then place the opposite leg over their arm locking it and driving them down onto their stomach. The important point is the placement of the foot and locking of their elbow with your leg. Finish the technique by using your free leg to strike kakato keri to their chi dome. Pull that kicking leg back quickly and back roll from the technique, quickly returning to your feet.

Ura gyaku gaeshi 裏逆 返

This technique is an inside wrist reversal counter and is essentially the same as the previous. As the opponent applies ura gyaku on you, move forward and sink your body down to prevent the lock. Grip their fingers and roll over your outside arm, spinning to receive their arm and take them down in the same manner as the previous technique.

Omote gyaku 表逆

The uke will grab your left lapel with their right hand. Receive by lightly placing your left palm on the back of your hand, then pivot on the ball of your left foot, protecting the groin from a counter kick, while hooking the fingers over the top of the thumb and directing the left elbow up and against the their right elbow. At this point it is important to not create an un-natural bend in the wrist. Create a lock in their elbow, causing the uke to release their grip of the lapel. Upon release, pivot off of their left and onto their right foot while brining the right hand across with metsubushi to the eyes. Secure the uke’s right hand with both the left and right hands while pressing the tips of your thumbs into the correct kyusho in the back of the hands, while splaying the hand back. Use yoko aruki to bring your opponent to the ground, making sure you do not create unnecessary distance between you. An important point is to focus on taking three steps during the take down and keeping the elbows tight to the body. Pin their arm to the ground at a forty five degree angle, preventing their counter and use take ori on their wrist. Move away in seigan no kamae over their head, while maintaining zanshin. This technique is trained on both sides.

Ura gyaku 裏逆

Uke will grab your left lapel with their right hand. Receive by placing your left palm on the back of their gripping hand. Pivot on the ball of your right foot, protecting the groin from a counter kick while placing the palm of the right hand on top of their gripping right hand. At the same time as placing your right hand on theirs, use your elbow to guard and press into the crook of their gripping arm. Then rotate your left hand so that the fingers are directed downward and push downward. This creates a side load on the fingers which will cause a release of the grip. Roll their hand in a clock-wise direction so that the opponent’s fingers are pointed upward, while gripping this hand with both thumbs on the back of their hand. Keeping the elbows tight, yoko aruki to the right with three steps, rotating the palm all the way around and bringing uke to the ground. When doing this, it is important to keep the elbows close to the body and control where the opponent goes rather than allowing them to define where you goe. Pin their elbow to the ground, keeping their fore arm at a forty five degree angle and apply take ori to their wrist. Move away in seigan no kamae and maintain zanshin.

Shikkō 膝行 Knee walking

From za gamae, come up onto your right foot and bring your body forward. Slide the left side to follow and switch legs, coming down onto the right knee and lifting the left. It is important to keep the heels close together while doing this. You must be able to move not only forward, but backward and to each side.