Thursday 6 April 2023




Sanbon ren-zuki (jodan oi-zuki followed by niren-zuki: chudan gyaku-zuki then chudan maete-zuki) in zenkutsu-dachi. Utilize fumidashi to attack with the upper level chasing thrust—targeting the jinchu—then make two stationary middle level thrusts—both targeting the suigetsu. Lock into shomen at the end of your step, then slightly open the hips for the reverse thrust. Finally vibrate the hips for the final thrust into shomen. Note the above image.




Joudan age-uke kara chuudan gyaku-zuki. Move utilizing fumidashi into zenkutsu-dachi and make the upper level rising reception rotating into hanmi; then counter rotate into shomen making a middle level reverse thrust to the suigetsu. Attack with tekubi—with all of the basic ‘closed fist’ uke—and counterattack utilizing seiken with your thrusts.




Chuudan soto-uke kara yoko-enpi soshite uraken yokomawashi uchi. Move utilizing fumidashi into zenkutsu-dachi and make the middle level outside reception rotating into hanmi. From here counterattack by driving forward into kiba-dachi with yori-ashi to make yoko-enpi impacting the 上肋骨 (ue-rokkotsu: the upper ribs). Lastly, remaining stationary in kiba-dachi conclude with uraken yokomawashi uchi.




Shuto chuudan-uke kara chuudan tateshihon-nukite. Move utilizing fumidashi into kokutsu-dachi and make the sword hand middle level reception rotating into hanmi. From here counterattack by driving forward into zenkutsu-dachi, and rotating into shomen, with chuudan tateshihon-nukite. Note — the target in solo training is centralized at the suigetsu; however, in application, typically (me: the eyes).



Gedan-barai kara chuudan uchi-uke, joudan kizami-zuki soshite chuudan gyaku-zuki. Move utilizing fumidashi into zenkutsu-dachi with gedan-barai rotating into hanmi. From here draw back into neko ashi-dachi with chuudan uchi-uke. Counterattack by driving forward into zenkutsu-dachi stretching into an extreme hanmi with joudan kizami-zuki flowing into chuudan gyaku-zuki locking into shomen. The targets of this renzuki are the jinchu and suigetsu respectively.




Advance into zenkutsu-dachi with chuudan mae-geri keage kara chuudan oi-zuki. Keep the hikite and opposite arm sono-mama (set in place) when making your keri. Aim for the opponents suigetsu with both waza firstly with josokutei then with seiken. In application, this is kick to the opponents testicles followed by joudan thrust, ideally after their body has folded from the kin-geri. Note — unweighting the kicking leg is automatic when kicking; however, it must also be consciously applied with one’s thrust to apply maximum body weight/mass with snap. Furthermore, maximum connectivity of the jouhanshin and thrusting arm must be made by completing the waza in shomen. Please note that these important kihon points directly relate to the oi-zuki in sanbon ren-zuki.




Chuudan mae-geri keage kara joudan mae-geri keage. This waza is also simply referred to as 連蹴り (ren-geri). Assuming ryoken gedan-kakiwake gamae in zenkutsu-dachi advance with two consecutive mae-geri, the first aimed at the suigetsu and the second at the jinchu. With both keriwaza impact with josokutei.

When kicking remain in shomen throughout, both fists sono-mama in the kakiwake position, and the head set and level. Both fists and head form a set triangle. As in all kicks raise the knee high and as tightly (as compact) as possible; furthermore, drive with the knee of the sasae-ashi and maximize kakato-chuushin in the same manner as tsukiwaza. Avoid stretching your step between kicks; rather, keep the action tight. In application this is initially a kick to the groin. An upper level kick to the jaw or throat can then be applied. Alternatively, the opponents head can then be pulled down for joudan hiza-geri (ref. — movement 25 of 平安四段).




Uraken yokomawashi uchi. Move utilizing fumidashi into zenkutsu-dachi and make the back fist side roundhouse strike rotating into hanmi. This waza, unlike the stationary rendition following soto-uke and yoko-enpi is a lunging attack. Note — the target in solo training is at shoulder height for ‘arm alignment practice’ and understanding; however, in application, typically the komikame (the temple). This waza is light and fast and, like keriwaza, has a speed ratio of 3:7 for whip-like snap. Sharp ‘koshi no kaiten’ (rotation of the hips) is very important in maximizing this action. Also tightly compressing the arm, optimizing the elbow as a fulcrum, and fully using the extension, and retraction, of the hikite arm.




Shuto jodan sotomawashi uchi kara shuto jodan uchimawashi uchi. Move utilizing fumidashi into zenkutsu-dachi and execute the sword hand upper level outside roundhouse strike rotating  into hanmi. Then rotate into shomen and counter rotate back into hanmi with the sword hand upper level inside roundhouse strike. These strikes are aimed at both carotid arteries. It is important to note that these are two separate large scale waza as opposed to being made in quick concession and, thus, too small. Furthermore, the sotomawashi uchi is a lunging attack whereas the uchimawashi uchi is stationary. Wind ups are both large actions with the intent like tameshigiri with a katana.




Tenshin chudan gyaku-zuki, also referred to as ‘kaiten-shinagara gyaku-zuki’ is executed by first extending a reverse thrust in a stationary zenkutsu-dachi (shomen). From this position, turning on the kakato of the lead foot spin 360 degrees and make gyaku-zuki with the opposite seiken. In this koshi no kaiten, the axis of the front hip is utilized (running up a plum-line to the front shoulder) along with the hikite. The focus of the hikite is to fully engage the scapula to assist turning rapidly. Moreover, the tai no shinshuku is maximized. This requires that mid-way through rotation, as the moving foot is drawn towards the sasae-ashi/jiku-ashi, one must assume the position of sitting in a chair with good posture. From this position one expands into zenkutsu-dachi to execute the tsuki. The target is centralized at the suigetsu. Overall, this waza along with kaiten shinagara choku-zuki, are the most basic and critical underpinnings of tenshin, which is an imperative base-skill in IKS: inherited directly from Asai Tetsuhiko Sensei.

© André Bertel. Oita City, Japan (2023).

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