Tag: 17-hon

17-hon no kata – Tekubi-waza

Tegatana no mune

 Tegatana (Japanese for hand sword) is a term that refers to the idea the hand and the arm are in the shape of a Japanese sword.
During training, uke and tori often face each other with their respective tegatana that touch each other. From this position, considered the ideal distance for two unarmed opponents, many balance breaking, striking and throwing techniques can be applied.
The inside of the tegatana is called “tegatana no mune”, and can be used in techniques like tenkai kote gaeshi.

Mawari foot movement

mawari foot movement

This kind of foot movement you will find in tenkai kote hineri or sumi otoshi.
A similar foot movement can be used in tenkai kote gaeshi.

Kote hineri

  • Tori avoid by sideways Tsugi Ashi and contact Uke’s wrist from the side with the free hand (Mune edge)
  • Tori, at the same time, and with the thumb in the palm of the hand, twist Uke’s wrist. This is done by Tori using a diagonal spiral in the Torso.  This action is used to drive Tori’s elbow so that it can then drive Uke’s elbow so that it is above the shoulder line.
  • As Uke’s elbow reaches the peak, Tori reinforce this position by sliding the hand up to the elbow, thumb into Uke’s inner elbow joint.
  • Tori push Uke to the ground, maintaining the wrist lock.
  • Once Uke is under control on the ground, change posture by moving the outside leg forward.

Kote gaeshi

  • Use the same start as in Kote Hineri.
  • Tori change direction once Uke’s elbow approaches the peak.
  • Tori turn from the Torso and step to the side and onto Uke’s weak line. (Don’t step towards Uke,  Don’t pull Uke)
  • Tori slip the hand gripping Uke’s wrist from the outside to the inside.
  • Tori use Hikimawari Ashi footwork and apply the wrist turn in the direction of Uke’s side to create the effect of Kaeshi.
  • Uke’s arm and wrist must have the shape 90° and 90° respectively.  Tori use the thumb and the palm of the hand to implement this.
  • The throw is achieved using a diagonal spiral in the Torso.
  • The preferred method of Ukemi is not to jump or roll around before the throw has happened.
  • Tori maintain the lock on Uke’s wrist and use Hikimawari Ashi foot to finish.

Tenkai kote hineri

  • Tori step to the side and use Hikimawari Ashi footwork.
  • Tori keep Uke’s arm at Chudan level.  Use a diagonal spiral in the Torso to achieve this.
  • Tori’s leading hand grips Uke’s arm above the wrist using skin effect.
  • Tori step and turn Demawari Ashi and apply a twist to Uke’s wrist and bring it down to Uke’s hip. This creates the effect of Hineri in Uke.
  • The lock on Uke’s wrist must be maintained throughout the action.
  • Bring Uke down onto their front to finish.

Tenkai kote gaeshi

  • Tori bring the free hand up and under the Tegatana hand and on the inside of Uke’s Tegatana and sweep the arm down and across.
  • At the same time Tori Tsugi Ashi to the side.
  • Tori, and with a curved step forwards, raise Uke’s arm.
  • This action is a diagonal spiral in the Torso of Tori which create the effect of Kaeshi in Uke.
  • Tori now turn and create Tenkai to reinforce the effect of Kaeshi in Uke.
  • Tori then relax the diagonal spiral stretch to throw

17-hon no kata – Atemi-waza

The integration of our exercises, discussed in this blog, have of course a great influence on the performance of our waza in kata and randori.
Major influences are:

  • stretching the body
  • diagonal tension
  • twisting and untwisting
  • rolling feet
  • and other elements…

Shomen ate

  • Tori stretch the body as the arm is raised as a threat.
  • Attack Uke’s arm as the stretch is released.
  • Tori use gravity effect and step before touching Uke’s chin.
  • Use rolling foot skill as you touch and push Uke.

Ai-gamae ate

  • Avoid in reverse posture along the line of Uke’s feet.
  • Use Inside Turn action on Uke’s upper arm, close to the elbow (Don’t grip).
  • Lightly grip Uke’s skin at the wrist.
  • Use gravity effect and step into regular posture and control Uke before moving the leg and then touching the chin.

Gyaku-gamae ate

  • Avoid in regular posture as Uke’s wrist is lightly gripped (skin effect).
  • Tori stretch the body as the arm is raised as a threat.
  • Attack to the face but lightly land on the chest of Uke.
  • Use skin effect on Uke’s upper body.
  • Gravity effect, Step with rolling foot and tsugi ashi and throw.

Gedan ate

  • Avoid in regular posture as Uke’s wrist is lightly gripped (skin effect).
  • Tori stretch the body as the arm is raised as a threat.
  • Uke closes down the options to an upper body attack by slightly turning and raising their arm.
  • Tori then drop to gedan and form a sword-drawing-like shape with the attacking arm.
  • Use skin effect on Uke’s lower body.
  • Gravity effect, Step with rolling foot and tsugi ashi and throw

Ushiro ate

  • Tori using the Mune action from Inside Turn, place the hand onto Uke’s upper arm.
  • Tori lightly grip the skin of Uke’s wrist and with both hands and using a diagonal spiral in the torso; slightly rotate the arm and Tsugi Ashi to rotate Uke.
  • This is an example of Tori’s upper and lower body being separate as the action is made.
  • Tori then, using a similar movement, Tsugi Ashi sideways across Uke’s back and touch the hands onto Uke’s shoulders.
  • By bringing down the elbows and rotating the hands; rather like rotating a Jo which is situated along the shoulder line.
  • Uke will be fixed in a stretched falling rearwards position.  Tori momentarily keep this before moving back.  Donít be tempted to pull Uke back.

You’ll find the complete Basic 17 here