#1
三本連突き
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.
#2
上段揚げ受け・中段逆突き
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.
#3
中段外受け・横猿臂・裏拳横回し打ち
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.
#4
手刀中段受け・中段縦四本貫手
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 目
(me: the eyes).
#5
下段払い・中段内受け・上段刻み突き・中段逆突き
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.
#6
中段前蹴り蹴上げ・中段追い突き
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.
#7
中段前蹴り蹴上げ・上段前蹴り蹴上げ
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).
#8
裏拳横回し打ち
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.
#9
手刀上段外回し打ち・手刀上段内回し打ち
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.
#10
転身中段逆突き
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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