~~

~- ~ ~ ~ ~"WH~~~
~

Asayama Ichiden Ryii Taijutsu

Written by Iwaki Hideo

Translation by Masayo Jennings and Jason Jennings

Assistant Translation by Carl Stevens
Editing, Design, and Layout by Josh Sager

PUBUSHED BY
1996 by Iwaki Hideo.
Asayama Ichiden Ryu Taijutsu Densho

Table of Contents
The Origins of Jujutsu
Hardness and Softness, Strength and Weakness
The Jmmovable Spirit

11
12

Meikyos.hisui
Why Keep the Techniques Secret?

14

Kq~oro, Ki~

16

15

and Waza
The Principles of Jujutsu
Tlte Importance of Henka in JUjutsu
The.Way of Deliverance

18
20

Sonshiden

24

22

TEHODOKI SHODEN
Kf!sumi Hodoki

28

Jun Temaki
Katak6 Gaeshj
Tsuyu Hodoki
Ayayoko Nukj
Ayate M.aki
Yoko Nu ki
Katate Zashi
Joren
Karen
Ryoko Kaeshi
Morote Zashi

30
32
33
34

35
36

37
38
39

40
42

TEHODOKI O.KUDEN
Mu.tsuki

44

Kisaragi
Yayoi
Uzuki
Satsuki
Minazuki

46
48
49
50
52

Fumizuki
Hazuki
Nagazuki
Kannazuki
Shimozuki
Gokugetsu

54
55
56
58

60

62

JODAN NO KURAI
64

Hiki Otoshi
Kakae Komi
Kote Gaeshi
Iri Chigai
Ete Nage
Ryote Dori
Oriki
Sakami Otoshi
Eri Hiki
Kasumi Gaeshi
Ryo Mune Dori
Uchi Otoshi

66
68
70
72

74
76
78
80
82
84
86

CHUDAN NO KURAI
Hiki Tate
Marumi
Gyakute Nage
Mojiri Gaeshi
l chimonji
Gyaku Mune Dori
Eri Jime
Mae Kata Dori
Kaeri Nage
Sanmyaku Dori
Uchikomi No Kakae
Tsurigane

88
90
92

94
96
98
.100
102

104
106

108
110

GEDANNO KURAI
MaeMorote
Katate Jime
Gyaku Tora Ka.eshi
Tsuyu Gaeshi
Ushiro Morote
Yokohiki Otoshi
Koshi Gaeshi
Kansetsu Nage
Hagai Jime
Kubi Nage
Ushiro Kata Dori
Uchikornj no Osbi

112
114

116
118

120
122
124
126
128
130

13.2
134
OKUDEN NO KURAI

Uchi Komi

136

Mae Otosh.i

13.8

Wankotsu Nag~
Harai Ta.oshi
Ganseki Otoshi
lnko Ot-ashi
lrimi
Gyaku Seoi
Morote Nage
Kannuki Gaeshi
Tori Shibari
Sumi Zeme
Sumi Zeme (henka)

140
142
144

146
148

15Q
152
154
156
158
160

IDORI NO KURAI
Hoshi Otoshi
Hoshi Gaeshi

Shishi Tsuk~
Shishi Kudaki
Tengu Otoshi

162
164
166
1.67
168

169
170
172
173
174
176
178

Tcngu Gaeshi
Tsubame Gaeshi
Katate Hagai
Shiba no Tsuyu
Nio Nagc
Morote Hagai

Yuki Ori

SHI<) NO KURAT
180
182
184
186
188
190
192
194
196
198
200
202

Kasumi Otoshi
Morote Dori
Morote Gaeshi
Asama Gacshi
Asama Otoshi
Saru Suberi
Korna Gaeshi
Shishi Gaeshi
Iwa Kudaki
Shikoro Gaeshi
Shikoro Otoshi
Ushiro Asama

SH<)TODORl NO KURAI
Shinobi Gaeri
Kabe Mash ira
Mura Same
Senko
Taki Kawa
Kesa Giri
Shozcn Kaeshi
Fuchin
Koromode
Ogi Biraki
Kaia
Kirara
Tsukimi

204
206
208
2 10
212
214
216
218
220
222
224
226
228

TACHIDORI NO KURAI
Donuki Tsuke
lloppu

llibaku
Sego Otosh.i
Abiki
Asaji Dori
Varna Kasumi
lshizuki Gaeshi
Gyoa
Saka Oroshi

Shukan
Tokci
Gyoga

230
232
234
236
238
240
242
244

246
248
250
252
254

The Origins of Jujutsu

In order to find the otigins of martial arts in Japan we must look far
back into the past. The people of ancient Japan, finding themselves
in conflict with others, would have probably created taijutsu out of
necessity, and we can also imagine that they would have used pieces of
wood and stones as crude weapons. One can also imagine that, in due
course, those possessing greater skill or strength would have taught their
skills for the protection of their tribe or personal development. In the
beginning, advances in the martial arts were based on actual cxpenences,
and while reflecting the social conditions of the times they increased in
kind and developed through the implementation of original ideas and the
systemization of their contents. And so, modern jtljutsu includes such
ancient systems as sumo, gyakudori,jujun, yawara, taijutsu, hoshu, yoroi
kumiuchi, kogusolcu, koshinomawashi, and kenpo.
Thejii injiijutsu means 'gentle' or 'flexible.' It signifies the method of
making the forms part of your self through the use of these qualities, and
s the reason the art was named jujutsu. As stated in the 1 Ching,jii means
uppressing one's self and submitting unresistingly to people's nature.
herefore, we say that, giving form to neither body nor spirit, if they
msh, you tum, if they fall back, you follow. We call this 'the freedom of
body that changes.' The true value ofjUjutsu lies in whether or not this
tate is attained.
is the difference between violence and self-defense.
is not a matter of winning or losing.
s learning to integrate the mind, body, and spirit through the transition
ween strength and weakness, hardness and softness, for if we learn to

control the hardness and softness in our spirits, we can achieve wondrous
things. Jiijutsu could also be thought of as disciplining one's spirit to
know one's heart. However, whe.n you only understand these principles
with your head and don't discipline your body, it won't result in anything
useful. And althoughjt~jutsu is a 'disciplining of the spirit,' just learning
the forms ofjiijutsu will also not result in anything useful, as your spirit
will be unbalanced. If you only discipline your body and don't understand
these principles with your head, it will only unbalance your mind an
spirit and won't result in anything useful. Jf you integrate the mind, body,
and spirit, the principles ofjiljutsu will not be hindered; your body wil
not be hindered, and through the principles of hardness and softness, yo
will be able to change spontaneously and adapt unlimitedly. Therefore;
even when you arc training you should always be aware that the truth o
jz{jutsu is simply being able to respond appropriately and defend oneseJ
skillfully.

JO

Asayarna fchiden Ryu Ta1

1-lardness and Softness, Strength

and Weakness
l.trd~lCSS

is not strength; it is the person that excels at only one thing. It is

........h....,
:~_ling of being restless and distracted, out ofharmony with nature.
is not weakness; it has the vitiue of being supple and flexible. It
11 lccling of being relaxed, at one with one's self and in hannony with

J1ltlCSS

rc.

c qualities: hardness, softness, strength, and weakness, could all be

1~ht of as moods. If we try to 'fit the mood, there is a danger that we
lbil and will be unable to do henka. As the old saying goes, "A great
tnl artist should not try to break hardness or to envelop softness."
-fore, one should confront strength with weakness and hardness
softness. For the forces of true strength and true weakness will
rrably be broken; and the forces of true hardness and true softness
invariably destroy. Walking the right path is a matter ofbeing neither
nor soft. In other words, you should learn to differentiate and control
transition from hardness to softness. 1t is essential to study and
alize these four qualities .

lii[;.,nd Softness. Strength and Weakness

II

The Immovable Spirit

The immovable spirit is a spirit that remains unmoved by any thing or
person. A spirit that is imperturbable and free of ego or avarice. The
immovable spirit is not a spirit that is kept in one place but a spirit that
flows like water. An immovable spirit makes henka free, and, in turn,
henka being free makes the spirit immovable. There are still not many
people who have attained this ultimate goaL It is no good to consciously
try to stop your spirit ftom moving, because it will not be immovable if
you do, and if your spirit is unmoving, like a mountain, it is not going to
be. good for anything.
If we relate this to jujutsu when many opponents surround us, our spirit
is moYing; and when our spirit is moving, only the opponents can be
seen, and we are nothing. It's as if there is a person but the spirit can't
be seen. Then, without moving, calm and composed as if the water was
reflecting the moon, our body and spirit will be able to work in four
and eight directions. After handling one opponent our spirit will throw
away any trace of working, and without stopping will be ready to work
again. So even if there are many opponents our henka will be free. We
call this. moving without movement, or the immovable spirit. If we give
another examp[e - and if you've ever seen a person ride a bicycle you'll
understand this - people who ride bicycles often ride un.huniedly, with a
calm mind, and do not disobey the nature of their vehicle, even if they are
on a long journey. Still, without movement, this is 'spirit., Moving and
responding, this is 'using the spirit.' Although we move, we.remain calm;
although we are calm, we do not fail to move. This we call ' stillness in
movement.' Without stopping our spirit, without casting a reflection,
applying the principles of nature with our body and spirit, we become the
water and moon. When a person moves with strength~ however, they are
dragged down by moving and lose themselves. Then, when they are still,

12

Asayama lchiden Ry}'i Taijutsu

they ate obstinate and foolish and cannot respond to anything. When one

can 't do henka freely, we see it as evidence of immaturity and call it do

(movement).

l'hinking n~:ilb~r of moving nor of being still; neither of stopping the

pirit nor of moving it; entering without fonn and withdrawing without
1race; being at one with nature; with an unconcerned but resolved heart;
rree of distracting thoughts. This is the immovable spirit.

.e lmm.ovable Spirit

13

Meikyoshisui
(The moon reflecting on still water)
MeiA:yi5shisui is the likening of spontaneous, 'no mind' response to
the water and the moon. Both the water and the moon are unthinkingi
therefore the moon does not think about reflecting on the water, and th~
water do.e s not think about being reflected upon. If you scoop up th0
reflection of the moon in a container, it's obvious that the water is ~til)
going to hold the reflection. We can think of a person's spirit reflecting
on things as being the same as the moon t'efiecting on the water. Mirrors
also reflect, and in the same way that everything held in front of a mino11
is reflected, a person's spirit will reflect everything held in front of it~
However, if something was casting a reflection and we placed our body~,
in the reflection, our spirit would be taken by it. Therefore, with an
empty, calm mind, we produce no reflection, just as if we face a milTOll
into a mirror ; there will be no reflection in between. We can think oi
this as being in an extremely aware state of mind where we can reac1
spontaneously and naturally with no distracting thought~, for, although
we call thjs state mushin or ' no mind, 'it doesn't mean 'not thinking, 'lt
means 'free of distracting thoughts. ' However, neither the moon nor the.
water is duty bound to speak by means of the water's purity or impurity;
Also, although the moon reflects on the.surface ofthe water, if we search
the bottom of the water and find no moon, this is the end. It's simply the
mind and heart that reflects the same as a still lake or a clear mirror. The
moon has shape and color. The mind has neither shape nor color. By
using the visible we provide a metaphor for the invisible.

l4

Asayama lc1Jiqen Ryu Taijlitsu

Why Keep the Techniques

Secret?
'Keeping techniques a secret is for the sake of the beginners and if we
don't keep them secret we won't gain their tmst," is nothing more than
one method. Therefore, once you sta1t keeping them secret, it is the end
lo all things; for the gokui (secrets) of the teachings are not, by nature,
~he hidden techniques. lf the beginner listens carelessly, however, and
misunderstands the teachings, that is another matter. Tn thnt case, while
jt may on the contrary be harmful for the student, it will in no way be
beneficial for them. Therefore, if the student is one who is unable to
understand, be or she should not be taught carelessly. Even when it comes
to the depths of the art, even if it's not a student, as long as it's a serious,
cnthus.iastic person, there should be no need to hide the techniques.
However, even though it's not necessary to hide the techniques, it can
be dangerous if they are disclosed, so some secrecy may be necessary,
depending on the technique. In fact, much of the secrecy is the way that
the art of war should be. Also, some teacl1ers may hide the techniques
because they dislike them being seen and evaluated by others. Anyhow,
this is not somcthjng that can be judged sweepingly, and in the end it's
not easy to say whether keeping techniques a secret is right or wrong.

Why Keep the Techniques Secret'?

15

Kokoro, Ki, and Waza

Thet"e are various elements that are necessary in order to produce
techniques, if one is to be able to display one's ability at its fullest. The
main elements are kokoro (hea1t, mind), ki (spirit), and waza (technique).
Through the unification of these three, one is best able to vaty and adapt
his or her techniques. However, these three elements are invisible to the
human eye, and when they are seen it is just as the result of an application.
And so, all movements of the body are due to the workings of the spirit,
with the spirit following the mind and technique following the spirit.
Therefore, when one's spirit is full, the application of techniques is light;
when it is empty, application of techniques is heavy and slow. Because
this 'spirit' is merely iny6 or kyojitsu, the truth of the human heart shows
itself due to the purity or impurity of the shitan (four virtues found in
Confucianism):jin (humanity), gi (righteousness), rei (gratitude), and chi
(wisdom). However, the martial arts require us to train our mind, spirit,
and technique, and to differentiate the usc of hardness and softness.
On kokoro ...
Kokoro is the origin ofknowledge and volition with no color or shape, the
inside of which is stillness and movement. When one's kokoro is empty,
one is prone to act rashly and the principles that form the basis of the
techniques are disrupted. The only thing that one can do to suppress those
rash acts is to foster one's conscience. By fostering one's conscience, the
rash acts vanish naturally, and because one's spirit is enlivened the use of
the kokoro is liberated.
On ki ...
Ki is the movement and stillness that gives shape to the duality of all
w1iversal forces on both the inside and the outside, with the kokoro as
the center. We think offrce-flowingki as yo (the positive side ofthe Yin-

1(;

Asayama Ichidcn Ryu Taijutsu

Yang principle). Ki in this stat.e results in fast~ free-flowing movement.

We think ofblocked ki as in (the negative side of the Yin; Yang principle).
Ki in this state results in blocked, lethargic movement. Therefore, inyo is
five of yo and five 6f in made one, and the cultivation and ham1onization
of the ten results in the free use of one's ki. Also, when one.'s ki is
depleted, one's movement will be lethargic, when one's movement is
exhausted, one's ki will become null.

On >-vaza ...
Wazq is the outer working of the principles of stillness and movement. It
obeys ki and kok'()ro. Although this principle has no visible shape; signs
[Of it appear due to a person's ability - if there is no ability, the principle"S
viH not be seen. Waza could be thought of as doing all of the application
f one body with great spirit. It is self-acqyisition through the discipline
of one's self. Waza is obtaining natural form through the integration of
echnique and principle, and including the greatest of principles within
1e forms.
no good to just learn this through books and trust in the forms
contained therein, or to just listen to and trust in what p.eople say; you
1 ust tmin in these te_chniques and principles yourself. We call the former
md of learning learning by hearsay and through the hearsay of reason
1 ne one cannot learn how to apply ones body. Furthermore, if you don't
ow anyone but yourself~ you will end up contented with inadequate
1 owledge, a!)d because this wiU result in looking down on o.t her people
otl will end up being unable to reflect on yourself. All learning and art is
1:ed on these principles. You must learn kokoro, ki, and waza through
.............
onal experience.
L is

----

IJI'P, Ki, and Waza

17

The Principles of Jujutsu

Jutsu i_s the training of one's waza. Waza is the application of the spirit
expressed through form. Form that includes principles we call 'the law.
The law is the method of countering an attack using the core principles
of jujutsu. The core principles of jujutsu are principles unique to the
counter-offensive that the practitioner ofjujutsu must obey.
When we usc the law we must obey these principles, and the principles
themselves are to be found in the law. The law could be desc1ibed as the
manipulation of truth and falsehood.
When counter-attacking, it is important to use sabaki, which means taking
up a position in the space between the opponent and yourself at a fixed
angle in relation to the opponent's body. If this is done correctly, you
will be in a position to act effectively; therefore, sabaki is indispensable
forjiijutsu. After sabaki, it is important to strike the opponent's kyusho,
take their balance, or manipulate their joints, with the goal being to apply
gyaku t.o their joints (to reverse their joints). In other words, to apply
pressure to the opponent's strained, unnatural body posture. To this end
we can use the following methods:
Extending the Joint
In this method we extend the joint to an extreme degree and then apply
pressure to it.
Compressing the Joint
ln this method we bend the joint to an extreme degree and then apply
pressure to it.
Twisting the Joint
Jn this method we twist the joint to an extreme degree and then apply

18

Asayama lchiden Ry\i Taijutsu

pt l'ssure to it.
\J>plying hongyaku to the Joint
Tn this method we twist the wrist joint in the opposite direction that
1 naturally bends and apply pressure. l n the process of doing this the
joint should also be reversed. Therefore, we could describe
llongyaku as a method of causing pain to both the wrist and elbow joints
lU ltaneousl y.

n,ow

1cn using these methods, one must not rely on strength or technique.
1is is because when one relies on strength or teclmique, traces of fonn
lpcar and the wondrous workings of nature are not found in form
1fhout principle. On top of that, the enemy may be able to attack that
ace where form is present. Therefore, these methods center on sabaki
d are controlled by the elbows and wai.s t area. [n other words, we
tnduce the law by including principles in the forms and we call this
11u. We call the learning ofthis shugyo (training).

'rinciples of .Jujutsu

19

The Importance of Henka in

Jujutsu
l njzijutsu one learns to respond to the movements of the opponent through
the use of fonns and techniques. Until the J~!jutsu practitioner becomes
accustomed to moving his anns and legs as one, however, he or she will
be unable to respond or control the opponent's henka. The wondrous
use of nature appears through the transition between in and yo, and
through this wondrous use one can understand the opponent's kyojitsu.
This kyojitsu varies infinitely. Looking at the places where it varies we
can understand the place where it is the same: the base. When we don't
know the base, the techniques won't be clear and we won't be able to do
applications or henka. Therefore, we need to know or see the base to be
able to respond to the opponent's henka. It is important not to commit to
any one specific technique when responding to the opponent's attack. lfi
one responds solely in defense without understanding of form, one ends
up hindering oneself and cannot respond or adapt. On the contrary one
ends up being taken in by the opponent's kyojitsu.
Therefore, by entering without fotm and withdrawing without trace,
being neither concerned with defending nor attacking, following th
laws of nature, without strength, throwing away any trace of oneself.
one can ride on top of the opponent's form. You should think of this as
being like riding on top of a wave that is at its peak. We call this the ' lo
floating on the wave.' Just as if you were floating on a wave, you will
be able to feel the opponent's center of balance. Using your hips and th
forces of gravity to destroy that place where it is felt, then using sabak
to move in the direction it is destroyed, we can perform an appropriat
kata. This kata is the same as the standard opening moves in the Japanes
game of Go. However, although 1 say 'standard moves,' the substance i
completely different. This 'substance' is the subtlety in henka where th
inside and outside are one, and by acquiring a sense for this subtlety, w
20

Asayama lchiden Ry\1 Taijut

eun freely use the wondrous workings of nature. The object of henka is
hut one: to throw away any trace of your self, ride on top of the enemy's
li>rm, do henka based on the direction of that form, and then return to the
~~~g mmng.

21

The Way of Deliverance

1. When you want to attack from the right side, strike from the left
side first.
2. When you want to step forward, follow with the leg behind.
3. When you want to tmn yom body, properly use the principle of
hardness and softness.
4. When your hair is grabbed, strike the sanmyaku.
5. When you want to strike the opponent, break the balance of the
legs of the opponent.
6. When the opponentreaches around your waist, hug around the
back of the opponent.
7. When the opponent does ogoru, attack the lower half of the
opponent's body by reaching around.
8. When you are grabbed from behind, strike the face of the
opponent with the back of the head.
9. When you are hugged from the front, kick the testicles.
10. When your neck is choked from the side, push down the waist of
the opponent.
11. When your body is held up, strike the face of the opponent.
I 2. When you can't move your legs, attack the throat of the
opponent.
13. When the opponent comes close to you, keep your mind calm
and maintain your courage.
14. When the opponent steps back tlom you, walk towards the side.
15. When the right side is blocked, you should move slightly to the
left.
16. When you want to attack the legs of the opponent, attack the
arms first.
17. When you kick up into the legs of the opponent, follow with the
leg behind.

22

Asayama lchtden R)'li Taijutsu

18.
19.
20.
21.
22.

When your hand is twisted, use the tips of the fingers.

When your sleeve is grabbed, use kan{e.
When the bottom of the gi is pulled, escape by using your knee.
When your foot is stepped on, use your hand.
When you want to step on the foot of the opponent, cover the
opponent.
23. When you want to kick the opponent, use your hand first.
24. When the body posture of the opponent is low, do not use your
legs.
25. When the body posture of the opponent is high, enter by
reaching around the waist.
26. When the opponent attacks you from the top, attack from the
bottom .
27. When yom hair is pulled, use your fingernails.
28. When your throat is being choked, use koppo to tear apart.
29. When your throat is strangled with rope, bend your neck at the
point of the knot.
30. When the opponent walks towards you swaying, be aware he
might kick you.
31 . When you and the opponent face to each other, suigetsu to nashi
or suku ranai koto.
32. When the opponent uses Lbe principle of hardness, use the
principle of softness.
33. When you use both your hands and legs at the same time, your
body moves as a hawk flying freely in the wind, and even if the
ground shakes like a wave you can balance your body as floating
wood on the wave.
using the above techniques, you deprive the ki of the opponent, and
.jldc the opponent's body parts, and can protect yourself.

Way of Deliverance

23

Sonshiden
(Sun Tzu)
If you know the opponent and yourself, you will not have difficulties
even if you fight a hundred times. If you don't know the opponent, and
only know about yourself, then one wins and one loses. If you don't know
anything about the opponent nor yourself, you will have difficulties every
time you fight. Therefore, it is said that you fi rst mature the mind, then
discipline the body so that you are mature enough to be able to create
henka.. In other words, you have the ability to make the opponent submi1
without even fighting. That is the master of hyoho.

24

Asayama Tchidcn Ryii Taijuls

25

26

TEHODOKI SHODEN

Kasumi Hodoki

Uke: Hold tori s left wrist with

your .right hand.

Tori: Extend your hand held by

the uke, and then twist with your
palm towards the inside while
lightly extending towards the right
side-of your waist

Bring your hand towards your right

shoulder by bending your elbow
(~he side of your thumb should touch
your shoulder).

2S

Asayama lchiden Ryu Taijutsu

Quickly strike uke :s- rig,ht ann from

below with your left elbow.

HENKA
When your wrist is pressed d0\\11,
you can escape by stepping
backwards with the right foot and
applying fmward pressure.

Tnri:

At the same. time, tum y(mr

waist to the right and turn your left

arm, in order to break away from the
opponent.

Jl}~

*~

Jun Temaki
Uke: Hold tori s left wrist with
your right hand.

Tori: Turn your hand held by the

uke so your palm is facing up.

30

Asayama Ichiden Ryu Taijutsu

Twist uke :S wrist and bring it toward

your chest by bending your elbow
upwards.

Push uke wrist towards his chest

with yout left hand.

31

Katako Gaeslii

Uke:

Hold tori~~ left wrist witb

your right hand.

Tori: Tum yo'-tr hand with yout

palm towards your left chest, as if
washing a small bucket.

Step forward, loweting your waist,,

and extend your elbow, striking witli\
your left fingertips on the right side
of uke ~ neck. (At that time, make:
sure the palm of the hand i~. facin~

up.)

32

As.ayania lchiden Ryti T<tijutsu

Tsuyu Hodoki

Uke: Hold tori~ left wrist with

your right hand.

Tori: Extend your hand held by

the uke, pressing uke hand towards
the right side of ulfe waist while
stepping forward with your left leg.

s
s

Step back tpwards the left with your

right leg while lowering your waist
at the same time~ making your ann
horizontal with your chest, as if
hitting uke s right wrist with your
left elbow.

33

Ayayoko Nuk1

Uke: Hold tori s left wrist with

your left hand.

Toii: Face the outside of your

hand downwards and make a eire!~
from the outside with your palriJ.
facing down.

Move your fingertips towards the

right side of your chest with youJl
palm facing down, as if hitting uke~
body with your left elbow.

34

Asayama fchiden Ryli Taijutsll

AyateMaki

Hold tori ~Y right wrist with

your right hand.
Uke:

Tori:

Extend your hand, and while

making a circle ftom the inside (as if
washing a bucket), bring your hand

in front of the right side of your

chest with your palm facing up.

At the same time, push uke wrist

with your pinky while pressing with
the back of your hand and turn the
hand, pressing towards uke :'~' chest
with the palm of your hand.

35

Yoko Nuki

Uke: Hold tori right wrist with

your left hand as s hown in .the
illustration.

Toti: Extend your hand to the left

with the back of your hand up and
the arm horizontal.

Step backwards, behind your left

leg, with your right leg, and whilej
turning cut open the base of uke :~
thumb.

36

Asayama lchiden Ryii Taijutsu

Katate Zashi

Uke:

Hold

tori:~

left

wrist

with both hands as shown in the

illustration.

Tmi: Extend your hand and step

forward witl1 your left leg while
breaking uke :s- balance.

While lowering your waist, strike

between uke ~<; legs as if you were
hitting tsurigane.

37

Joren

Uke: Hold
tori :S'
left wrisJ;
with both hands as shown in the
illustration.

Tori: Extend your hand and ste.PJ

forward with your left leg. Hold
your own left hand from above
(held by the uke hand) with your
right hand.

While lowering your waist, do

sabaki, break uke s left kote with.
your right kote, and then strike up
into uke suigetsu with your leftl
elbow.

~8

Asayama lchiden Ryu Taijutsu

Karen

Uke: Hold tori s right wrist

with both hands, as shown in the
illustration.

Tori: Extend your hand and step

forward with your left leg, holding
your own right hand (held by the
uke) from below with your left
hand.

While lowering your waist, at the

same time step backwards with your
right leg and smash open both 9f
uke s thumbs with your right kote.

39

Ryoko Kaesb~

Uke: Hold both of tori s wrists

with both of your hands as shown in
the illustration.

Tori: Tum both of your hands so

your palms face up.

40

Asayama Ichiden Ryii Taijutso

Turn both of your wrists from down

to up and place each thumb inside
uke. skote.

At the same time, lift u.ke right

ann up and pull his left hand down.
You shouldn 't grab uke s w1ist; just
lightly hold it with your thwnb and
four fingers.

Push down on uke s back with your

right hand.

41

1Jf]~ ~

Morote Zash'

Uke: Hold both of tor~ :s- wrists

with both of your hands as shown in
the illustration.

Tori: Open your hands anal

extend them, with th:e palm:s facing
upwards.

At the same time.~ lower your waist

and insert both hands by crossing
them. At this time, strike the firs~
jt)int pf uke 's left thumb with th~
inside of your right wrist.

Asayama Jc.hiden Ryi.i Taijutsu

TEHODOKI OKUDEN

Mutsuki

Uke: Hold t.ori :~ left wrist with

the right handt as shown in the
illustration.

Tori: While extending the .p._andl

held by the uke, dr()p your ann ro the
right, keeping your' arm horizontal
with the back of the hand facing up.

44

Asayama lch!den Ryii Taijutsu:

While pushing the back of uke's

hand with the right hand, press uke~
pinky with your thumb.

Place your left elbow on uke"'s right

kote .

While lowering your waist~ step

back and to the left with the right
leg.

cloki Okudel'l

Kisarag

Uke: Hold tori s right wrist wit

your right hand and grab his riglil
upper arm from outside with your
left hand.

Tori: After extending your wrislt

and making circle from the outsid~
place it onto uke left wrist.

46

Asayama lchiden Ryii TaijutsQI

Place.your left hand onto uke :S right

han~ bring uke s left wrist towards
yom chest and twist.

Step forward with your right leg,

and while pushing with your right
chest twjst uke's wrist joint even
farther.

Pla.ce your left hand on uke ;y right

han.d. At the same time, plac,e your
right hand onto uke :Y lett shoulder
and push down.

Yayoi

Uke: Hold tori right wrist with

the left hand and grab the right!
upper arm from inside with the righ~
hand.

Tori: Extend the wrist held by the

uke, and while making a circle from
the inside, place it onto uke :s- righ1l
wrist and twist.

While stepping forward with the

right leg, twist uke wrist joint evenJ
more. At the same time, place your
left hand onto uke right upper arm
and push down.

4.8

Asayama lchidcn Ryii TaijutsiJ

Uzuki

Uke: HoLd tori'S left wrist

with both hands, as shown in the
illustration.

Tori: Extend your left wrist held

by the uke. While making a circle
from the inside, turn your band in
front of the left side of your chest,
as in Katako Gaeshi. Then, while
$tepping forward with the left leg,
break uke s balance.

While lowering your waist, step

more forward with your left leg. At
the same time~ ptace your right hand
onto uke left elbow and push down
while raising your waist.

fJ~

}1

Satsuki

Uke: Hold both of tori s hand

with both of your hands, as show]l
in the illustration.

Tori: Extend both of your wris~

while stepping forward witb
your right leg. Unbalance uke bj
extending your arms to the outsicUs
ofhis waist.

50

Asayama Ichiden Ry\i Taijutsll

Turn your hand so. your palm tilts

upward.

While making a circle from the

outside, lower ~out waist (bringing
both of your elbows to your body) as
though you were closing the sleeves
of your kimono.

Cross both hands in front of your

chest. At the same tim~, step forward
a JiJtle with. your right leg and push
down.

Minazuki

Uke: Hold both of tori~- hands

with both of your hands, as shown
in the illustration.

'

Tori:

Extend both wrists held b)'

uke, and then turn both hands b)l'
making a circle from the inside, as ii'
washing a bucket.

52

Asayama lchidcn Ryii Taijut.S'il

Keeping the tips of your fingers and

elbow as they are, step forward and
unbalance uke s body with the tips
of your fingers facing towards uke s
chest.

While bringing both of your hands

to each side of uke head, place each
elbow near uke :S arms and place
your hands on both of his ears.

Strike both of uke s ears with each

hand.

53

Fumiz.uld

Uke: Hold tpri's right wrist m

ayaie with your right hand.

Tori: Extend your ri&ht wrist held

by the uke, turn your hand over (iij
front of your che,st) "'(bile making ~
citcle from the inside.

Tori:

While quickly pushing u.ke's

t~ght pinky with your left hand, hol~
uke s pinky With your fingers and
twist.

54

Asayama Ic.hiden Ryii TaijntsUJ

Hazuki

Uke: Hold tori s left wtist with

your right hand,

Tori: Stretch your left wri.st l)eld

by the uke. Turn your hand over (in
front of your chest) while making a
circle from inside.

Quickty hold uke s right ring finger

betw;een yom thumb and index
fing~r Md twi$J.

5:5

Nagazuki

Uke: H old tori s left wrist with

your right hand.

Tori: Stretch your left wrist held

by the uke, and tum your hand over
(in front of your chest) while making
a circle.from the inside.

56

Asayama lchiden Ryu Taijutsu

Hold uke :~ thumb between yom

thumb and forefinger with your
thumb on the back of his ekimon

(hand),
hand.

anq then let go of your left

Hold uke ~ rigl)t elbow with your left

hand and push it very hard with your
thumb.

While

pushing
ttke
elbow
dO\vnward, twist your boqy tq. t;b.e
left and kneel down with your left
knee to throw the uke.

~lf' ~~~ }i

KannazukiJ

Uke: Hold tori

your tight hand.

s left;

wrist with

Tori: While extending your lef1

wrist held by the uke and steppin~
forward with your left leg, unbalance1
7Jke by extending your left arm.

58

Asayama lchidel Ryu Taijutsu

Place your right thumb onto the

bottom of u.k.e :S' Fight thumb ~nd take
the side of his pinky with your four
fin~ers.

White. bring1ng your left elbow up,

hook uke :S right kot,e with the fingers
of yow .left hand.

While lowering your waist, hold

up the side of uke s pinky towards
his face, and at the, same time push
down on t,lke ~ kote with the, fingexs
of your left lwnd.

I)

10doki Okuden

Shhnozuld1

Uke: Hold tori:~ left wrist in aycilJI

with your left hand.

Tori: Extend your left wrist he.liD

by the uke~ tum your hand over (iiil
front of the left side of your chest)
while makin~ a circle froi:n ili"dl
inside.

While raising your elbow, take uketJ

left wrist by turning your wrist.

60

Asa~ama

Ichiden Ryii Taijuts4l

Lower your elbow by twisting.

Hold uke s hand upside down from

the side of the pinky with your four
fingers on tbe outside of uke hand
and your thumb on the tanagokoro
of his hand) and then step forward
with yom right leg.

Lift uk:e ~ left arm towards the front

of your body (as if holding it in) and
lift up. At the same time, place your
left hand onto uke's left hand and
step backwards with your left Jeg.
twisting uke left hand with tbe
inside of his hand towards your left
shoulder.

doki Okuden

61

Gokugetsu

Uke: Hold tori:~ left wrist in ayatl)

with your left hand.

Tori: Extend your left wrist bel

by the uke, turn your hand over (i
front ofleft side of your chest) wh il
making a circle from the inside. A
the same time, take uke :S left wris
from the bottom with your rigb
band and push the back of his le
hand.

Twist your left wrist and hook i

onto uke s kote, push downward and
twist by stepping backward with th
right leg.

62

Asayama Jchiden Ryii Taijuts~

JODAN NO KURAI

1:

~J J ~J

Hiki Otoshi
Ukc: Grab the middle of tori s lef~
sleeve.

Tori: Hook your left wrist ontg

uke :s- right wrist from the outside.

64

Asayama lchidcn Ryii Taijuts!Ji

Hold your feft Wti.s t \Vith your right

hand.

Bend your body forward and pqsh

down while stepping back with your
right leg.

Twist uks right

wri~t.

Q5

Kakae Komi

Uke: Hold tori s left wrist witb

your right hand.

Tori: Step fotward and to the left

with your left leg.

66

Asayama lchiden Ryil Taijut~

Reach underneath uke ~ right hand

with yolJr right hand.

Hook your left wrist with your right

hand.

Twist uke :S" wrist by leaning back

v;~ith your body.

No Kur.ai

)J' ~~

Kote .Gaesltil

Uke: Hold tori :S left wrist with

both hands.

Tori: Press down on uke ~" riglll!

wrist from .above with your rigij]
hand while lowedng yoUT body alfii.
making a fist with your left hqnd.

Asayaina lchiden Ryi:i TaiJlltSlJ

Place the outside of uke :~ right hand

onto your chest.

Twist uke wrist by stepping back

with your-right leg and bending your
body forward while pushing down.

1 No

Knrai

lri Chigai

Uke: Hold tori s right wrist with

your right hand.

Tori: Shift your body to the right!

while holding uke 's right wrist witll
your right hand and bringing th
hand to your stomach.

70

Asayama Ichiden Ryi1 Taijuf~

Place the palm of your left hand

onto uke 's stomach by reaching
underneath his right arm with your
left hand.

Turn your body to the right and

lower your shoulder.

Break uke :S right elbow by bending

your body forward.

Ete Nage

Uke:. Hold tori's left wrist wi.tll

your right hand.

Tori: While lifting your left elbow

fonx;ard (raising your left arm), tum
your hand up. Then, hold ukes rig!Jj
wrist from below with your rigfj:
hand by grasping his right thumb
with your four fingers and hookin:gj
the outside of his band with ym:ll}
thumb.

As~yama

Ichiden Ryu Taijul,

Pull your left band out of the grasp

of uk:e 's right hand and place your
left band onto uke S. right hand.

Drop down forward and twist.

Throw.

llnNoKutai

iiJU

* Jk

Ryote Dorj
Uke: Hold both of tori s wrists
with both hands.

Tori:

Pull your right hand from

uke s grasp by bringing the outsid~
of your right hand to your chest.

74

Asayama Tc;:hidcn Ryu Taijuts\i

Tum your left hand from the

outside.

Drop and strike uke :~ right elbow

with your elbow, and then strike
uke s right kasumi with your l'i&ht
hand (keeping the fingers straight).

ddn No Ku~i

Oriki

Uke: Grasp tbe front of tori s bele

with your right hand (keeping the
outside of your hand upwards).

Tori: Hook uke 's right kote wit&

your right kote from above tD
lchimonji.

76

Asayama lchiden Ryu Taijutg

Place your left hand onto the right

wrist and push down.

Finish by kicking up between uke ~~

legs (in the testicles).

Sakami Otoshi

Uke: Hold both of tori s wrists

from behind with both hands.

Tori:

'78

While lowering your waist. ...

Asayama Jchiden Ryu Taijui11

Bring both of your hands overhead

from the sides and grasp uke right
wrist while holding his right hand
with your left hand.

While taking a big step to the left

with the left leg and kneeling down
on the ground.

Throw him down

lowering yom body.

quickly

by

79

Eri Hild

Uke: Hold the ba~k of tori's oolllir

from behind with the tight hand.

Torl: Step backwards with thD

left leg and face the uke b.y turniHS
around .

80

Asayama Jchiden Ryii Taijutm

Step forward with the right leg and

hoqk uke ~ right elbow fwm above
with your tight L.\nn and cross with
the left hand.

Break by bending your b:oxiy down

and forward.

n. No Kurai

81

"lg

Kasumi GaeshJ

Uke:

Hold tori s lapel with tfi

right hand.

Tori: Grasp your left lapel w~

your left hand and grasp the outsi
of uke :" right hand with your ri&J
hand.

82

Asayama lchiden Ryii Taiju

Turn your lapels out, putting both

hands togetber.

Break by pushing down.

., NoKurai

Ryo MuneDor

Uke: Hold both of tori ~s- lapels b

grasping the top of his lapel wi
your right hand and the bottom
his lapel with your left hand.

T01i: Insert your right hand in ffil

space between ukd; hands wh
kee,ping your hand straight.

84

Asayama lchiden Ryu Taijuml

Place your left hand onto uke's right

hand.

Break by bending your body

forward and pushing down, as in
Hiki Otoshi.

ss

Uchi Otos

Hit tort's head with }(Q:

right fist
Uke-:

Tori:

Block by using yamaktif{J

while lowering your waist. Quicklj

close both hangs and hook th(f mm
joint of uke:s right arh1 from aboV!ID,

Break by simultaneously steppiY)

straight hack with your right le
bending~ and pushing downward.

86

Asayama IJ:;.bitiell Ryu TaijutiDJ

CHUDAN NO KURAI

HikiTa

Uke: Hold tori :s- right wrist wi

the right hand.

Tori: Shift your body to the rig

and grab uke :S right wrist.

88

Asayama lchidcn Ryii Tajj

Hook 11ke s tight arm from the

bottom with the Left hand.

TWist uke 's wrist by the hooking the

outside of his hand \vith the fingers.
Break uke s hand using kO'te hishigi
by hooking his fingers on your right
wrist.

S9

Maruml

Uke: Hold uke

the right hand.

s right

wrist wiJ

Tori: Bring your right hand he

by the uke close to your body (pla
next to your body), keeping the rig]:\1
hand straight.

90

Asayama Ichiden Ryii Taiju

Grasp uke s right wrist with the left

hand and shift your body to the right.
Hold uke :s- right arm underneath
your left arm.

Break by pushing down.

!lao No Kurai

91

Gyakute Na,

Uke: Hold both tori

both hands,

Tori:

s wrists w

Turn the hand up wlli

bending the left elbow. and t

hold uke right wrist from bel .
with the right band by grasping uke
right thumb with yo:ur four fing~
and hooking the outside of the h
with your thumb.

92

Asay,ama lchiden Ryu Taiju

Pull your left hand (mt of the grasp

of uke s right hand and pla9e the l~ft
hand .onto the. right hand.

Twist and drop dqwn forward.

Throw.

n,tJ;.l oKurai

93

l~~~

Mojiri Gaes
Uke: Hold tori s lapel with
right hand.

Tori: Hold uke's right wrist

both hands.

94

wia

Asayama lchiden Ryii Taij

Twist uke :y- wrist while lowering the

elbows.

While stepping ba.ck with the le:ft

leg, ta.ke uke down towards the.
outside using both ha11ds to twist the
ri gb t wrist.

an No Kurai

lchimonj

Tmi: Hold both uke s wrists

both hands.

Wl

Spread your anns wide and thr

into uke :S tsukikage with your hea

96

Asayama [chiden Ryii Taiju

Lower yourself so
underneath your hands.

you

are

Cross arms into natagake and twist.

Throw.

an No Kurai

Gyaku Mune Dorj

Uke: Hold tor; s lapel with botfr

hands (the rjght hand is on top a
the left hand on the bottom).

Tori: Hook the right hand onto

outside of uke :S right h~nd.

98

Asayama Ichiden Ryu Tai}u

While lowering the teft shoulder and

hand, put the left hand underneath

both of uke ~ anns.

Place both of uke s bands oil your

ovvn left shoulder and pre.ss down
on both of uke :S wrists with both
hands.

Throw.

n No Kurai

99

#i~

Eri JillllJ

Uke:

Choke tori's neck from ifll.

front.

Strike both sides of

ribs with both fists.

Tori:

100

u/(

Asayama lchiden Ryu TaijU.

Take uke right elbow with the left

hand and hold his wrist with the
right hand.

Shift your body to the left and hold

uke s right arm underneath the
armpit.

Take uke down and twist.

an No Kurai

101

Mae Kata Do

Uke: Grab the top of uke

shoulder with the right hand.

sL

Tori: Press down on the outside

uke s right hand with the right han

102

Asayama lchiden Ryii Taij

Raise your left arm and shift the

body to the right.

Lower your left hand toward your

tsurigane.

Twist uke ~ right wrist.

udan No Kurai

103

Kaeri Nage

Ukc: Hold tori right wrist witb

the right hand from the back.

Tori: Raise your right hand b

bending the elbow, and then tuml
around by stepping back with tli
right leg.

l04

Asayama lchiden Ryii Taiju

Hook uke right wTist with the left

hand.

Twist uke's wrist by pressing down

and forward.

Keep pressing while taking uke

down.

an No Kurai

Sanmyaku Dori

Uke: Hold tori :5' waist with bot

hands from behind. (The left ha
should be on top of the right hand.

Tori: Strike uke sanmyaku of t

left hand with the left fist.

Grasp the tip of the fingers of uk

left hand with the right hand.

J06

Asayama lchiden Ryii Tai.J

Twist with kote hishigi by inserting

your ]eft hand underneath uke left
wtist and book the tip ofyom fingers
onto your tight wrist.

Tum around and tw.ist uke left ann

upwards.

Throw and take down.

dan No Kurai

Uchikomi No Kakae

Uke: Strike tori:~ head with th

right fist.

Tori:

Block with the left elbow.

Quickly hook uke s arm.

108

Asayama Icbiden RyG Taij\ltS

Hold uke :~ right ann under the left

am1pit.

Take uke down by pressing int0 both

sides <Jf the jawbone with the, right
tbumb and index finger.

[ hudau No Kurai

109

~~

Tsurigan

Uke: Hold tori

front.

s waist

from ti.HI

Tori: Put your arms around u

from the outside and kick uk
tsurigane with the bottom of t
right foot.

Twist both of uke ~ anns and ta

down.

II 0

Asayama Ichiden Ryft Tai'

GEDAN NO KURAI

f.J~

Mae Moro
Uke: Hold both of tor; s wr
with both hands.

Tori: Put
underneath

your
uke s

right
right

arm

while lowering your waist, as

you are putting your whole bo
underneath.

112

Asayama lchiden Ryii Taij

Straighten uke} right arm back,

hooking the shoulder with the tips
of the fingers, and then raise your
left hand.

Twist uke s right elbow by shifting

your body to the right.

1n

\!o Kurai

113

J=T ~~

Katate Jinm

Uke: Hold tori s left wrist

your right hand.

WI

Tori: Hold the outside uke ~ ri

hand from above with your n
hand.

114

Asayama lchiden Ryii Taij

Raise your le:ft elbow tqwards the

frcmt while pressing forward with
your thumb.

Twist by applying hongyaku.

t'

an No Kurai

115

'JJP_ 'Ji ~

Gyaku Tora Kaes

Uke: Hold tori

right hand.

s lapel

with y

Tori: Hold uke :S right wrist fr

underneath with your right hand,

Put your left shoulder undem

uke :., right armpit by lowering y,..,_
_,..
left shoulder so uke is behind y

116

Put tJ.ke right arm on your 1eft

shoulder and put your left hand onto
your right hand.

Lqwer yourself underneath uke

hand.

Throw towards the. right.

n No KL\fai

117

Tsuyu Gaes

Uke: Hold tori:~ right wrist fro

behind with your left hand.

Tori: As shown in Kaeri

raise uke :~ right hand, and then
around by stepping back with
right leg.

118

A say ama lchiden Ry\1 Tat

Twist uke .~ wrist by doing henka

with Ete Nage.

:tn No Kurai

I 19

1~~ ~

Ushiro .Moro

Uke: Hold both of tori:~ w

from behind with both hands.

Tori: Shift your body to the ri

by stepping backwards with tfll
right leg, and hold the tips of u!d
left fingers with your left hand.

120

Asayama lchiden Ryii Ta\J"t;!.

Press down on uke s left elbow with

your right elbow.

Throw uke onto the back.

uan No Kurai

121

tl7J ti

Yokohiki Otos

Uke: Grab the back of tori :S

from behind with your right hand.

Tori: Shift your body to the ri ,

by stepping backwards with y
right leg while hooking uke ri
wrist with your right wrist.

122

Asayama Icbiden Ryu Taij

Press down on uke:<; wrjstpy placing

your left hand onto your right hand.

Do as shown in Hiki Otoshi.

lin No Kurai

12}

Koshi Gaesld

Uke:

Grab the back of tori's

from behind with your right hand

Tori: Turn around by steppillJ

forward with your right leg.

124

Asayama fchiden Ry\i Tai]uJSD

As shown in lri Chigae, place your

haud onto uke :S' right hand while
reaching towards him with your left
arm.

Twist your waist to the right.

Twi.st the joint of uke ~ right elbmv.

dan No Kurai

125

00 'flP t__t

Kansetsu Na

Uke: Grab the back of uke s

from behind with your right handk

Tori:

Reach behind with your 1

hand and hold uke :~right wrist.

126

Asayama lchiden Ryu Taiju1

Press down on the joint of uke s right

elbow with your right elbow.

Drop and throw behind.

cdau No Kurai

127

HagaiJi

Uke: Reach underneath tori sa

from behind and apply a choke.

Tori:

Raise both arms.

Drop both of your arms~ making

let go.

128

Asayama Ichiden R<1 Taij

Place your left hand underneath

uke s left wrist; hook the fingertip~
onto your right w1ist and twist using
kote hishigi.

Bend uke s left arm while turning

around.

Throw and take down.

dan No Knrai

129

~~
1A

KubiNa

Uke: Choke tori from behind w

your right hand.

Tori: Push uke right elbow

with the right hand while pushin
the fingertips with your left hand.

130

Asayama lchiden Ryii Taiju

Lower your body underneath uke s

hand.

Twist using ude hishig; with the left

hand.

Take uke down, onto his stomach.

dan No Kurai

131

Ushiro Kata Do

Uke: Similar to }vfae Kata Q

but hold tori s shoulders :ff
behind with both hands.

Tori:

Step backwards with yo

Left leg a11d place your left hand.
behind uke s left hand.

132

Asayama Ichiden Ryu TaijuOO)

, ~~

~,
I I

II

Place your right hand onto your left

hand.

Drop forward.

Gcdan No Kurai

133

Uchikomi no Os

Uke: Strike
right fist.

tori:~

head with MD

Tori: Block with your left 11

while striking uke stomach
ichiffionji, using the right hand.

Grasp uke s right ankle with

left hand.

Take uke down by pulling his aw

and then press down on his aiiKII
with your left knee and twist.

134

Asayama Ichlden Ryu Taijut

OKUDEN NO KURAI

Uchi KaJDt

Uke:
Strike tori head with
right fist.

'j;.

Toti: Block and grab with y

left hand, and then strike uke s r
with your right hand.

Place your right hand on uke s harul

136

Asayama Jcbiden Ryii Taijutru

Lower yourself underneath uke s

right hand from the outside.

Throw to the right.

udeo No Kurai

137

Mae Otos

Uke: Grab both of tori~ lapc

with both hands and attempt
throw.

Tori: Hold uke ~ right wrist w

your left hand.

Strike the right side of uke J

with your right hand while stcpP.i
back with your left leg.

138

Asayama lchiden Ryii Ta1

Extend your right arm onto the right

side of uk.e ~ neck.

Step on uke ~ right foot with your

right foot.

Take down.

den No Kurai

Wankotsu Na

Hold tori s left hand

your right hand.

Uke:

Tori: Grab uke ~ right wristi

your right hand.

140

Lower yomself underneath uke ~

right wrist from the outside.

Throw to the right.

o Kurai

141

Harai Taos

Uke: Grasp the back of to

collar from behind.

Tori: Turn around by steppi

back with the right leg and sti
the right side of uke :~ ribs with yo
right hand.

142

Asayama Ichidcn Ryu Tai \1

Hold uke~s right hand between your

palms and strongly push up so uke
will let go of your collar.

Throw using Ete Nage.

[43

Uke: Hold toris wrists wit

hands. Pull with your right
while pushing with your left ba

Torj: Strike the rigl1t side

ribs with your head as
with your whole body.

}44

A sayama lchiden

Quickly put your right ann between

uke s right armpit.

Throw uke, from behind.

l45

Inko Otos

Uke: Hold tori

hands.

s lapels

with bo

Tori: Grasp the fron t of uke :S

with your right hand (with the p
up).

146

Press into uke s jaw with your left

thumb and index finger.

Take uke down onto his back.

n No Kurai

Uke: Hold tori:.,. lapels with 1J

hands.

Tori: Insert the left hand betweeD

both of uke :S hands and place yo]ll
right hand onto uke left hand.

148

Asayama lchidcn Ryli Taijul

As seen in Hiki Otoshi, press down

and twist uke :s left hand.

Throw.

Okuden o Kurai

149

Gyaku Seoi

Ukc: Strike tori :S head with you

right fist.

Tori: At the same time, block and

hold uke :S fist with your left hand
and strike the right side of uke :s- rib
with your right hand.

Place your right hand behind uke'

right shoulder.

!50

Asayama Jchiden Ryii TaijutSD

Lock uke arm by pushing his hand

from below with your left hand.

Pull uke :~ right hand down with

your left hand and throw. Also, as
shown in Mae Morote, twist uke.'s
right wrist.

Okuden No Kurai

151

Morote Nage

Tori: Sttike uke

your head.

s mizutsuki

Quickly, grab both of uke

with both hands.

152

with

s wrist~

Asayama lcbiden Ryii Taijutsu

Lower your body underneath uke

hands and turn around so he is
behind you.

Bend forward.

Throw and drop.

Okuden No Kurai

153

Kannuki Gaes

Uke: Strike tori

right fist.

s head with yo

Tori: Block and hold uke 's h(

with your left band and strike
right side of his ribs of with yo
right hand.

Put your right ann under and aro

uke ~~~ right arm and place your r
hand on top of uke left hand.

154

Asayama lchiden Ryii T11,1

Lower your arms.

Throw and drop.

ISS
1dcn No Kurai

Tori Shib~

Uke: Hold tori s right wrist

your right hand and twist upwUY.IOGrasp the back of tori :S co11a
yom left hand.

Tori: Turn around by

backwards with your left leg
strike the left side of uke 's ribs .
your left hand.

156

Asayama lchiclen Ryu Ta_i., -

Press into uke 's jaw with your left

thumb and index finger.

Place your elbow into the joint of

uke :S right elbow.

Throw and take down.

Cien No Kurai

!57

SumiZ

Uke:

Hold both of tori~ "

with both hands and push him

comer of the room.

Tori : Kick up into uke :S tsu

with the top of your right kn~

158

Asayama [chiden Ry

1111

Lower your body.

Throw using Ete Nage.

i:tl No Kurai

159

Sumi Zeme

Tmi: When the lapel is held,

twist using Hiki Otoshi.

L60

(hen""'""._

When finishii1g, stand up with!

Chigae.

Asayama lchiden Ry,:u

IDORI NO KURAI

Uke: Sit 1n seiza to the left o

and hold the top of his left w ~"'j,...l!.
the right hand.

Tori: Shift your left knee sl

to the left and hold uke ~~
above the elbow with the -o;;;;.;..;::

while lowering your left lll_!.f~

to the ground.

162

Asayama !chiden

While extending your left hand

towards uke 's right backside, pull
down his sleeve (towards your
front) with your right hand.

Twist uke s elbow joint.

163

Hoshi Gaes

Uke: Sit in seiza to the left of

and hold the top of his left '
from above with the right hand.

Tori: Press down on the

of uke s right hand with youli
hand.

164

Asayama lchiden Ryu

Place your left elbow m front of

uke ~~ right arm.

Twist uke :s: elbow by bending

forward and pulling his elbow
backwards.

165

Shishi Tsu

Uke: Hold tori right wrist \

the left hand and strike his head
tho right fist.

Kneel up with the rigM

and place your left hand
uke 's left hand.
Tori:

Twist by rotating.

166

Asayama lchiden Ryil,

Shishi Kudaki

Uke: Hold tori :r; left wrist with the

left hand and strike his head with the

right fist.

Tori: Block uke punch by raisjng

your left hand, and then hook uke 5
left elbow with the right arm.

Twist and take uke down in front.

167

ti

Tengu Otos

Ukc: H.old both of tori

with both hands, and then
push down.

Tori: Grab uke wrists with

hands. Extend your lett leg t
outside of uke :S right arm and
extending, placing your foot ill)
left side of uke :s- neck.

Twist uke :s- right elbow by

your body towards the left
back.

168

Asayama Ichiden

Tengu Gaeshi

Uke: Hold both of tori s lapels

wi th both hands. Try to push down.

Tori: Grab uke wrists with both

hands, extend your left leg to the
inside of uke s right arm, and hook
his left elbow with your foot.

Twist ukes right elbow with your

left knee by bending your body to
the right and take uke down onto his
stomach.

Kurai

169

Tsubame Gaeshi

Uke: Walk close to tori from

behind and grab the back of his

collar with the right hand. Try to

pull tori down.

Tori:

While you are being pulled

down, kick into uke :) face with the<
bottom of your Jeft foot.

170

Asayama Ichiden Ryu Taijutsu

Quickly bend the joint of uke s right

leg with both hands, strongly pull
the leg towards the front of your
eyes; and then push the leg towards
your legs.

Twist uke's right leg.

ldori No. Kttrai

171

Katate Hagai

Uke:

Hold tori :s- lapels with both

hands and pull.
Tori: While being. pulled, gra~
uke 's right wTist with the tight hand.

Finnly hold uke 's right wrist in yout

left armpit and straighten your handJ
outside of uke :S right arm.

Twist by dropping towards the1

front.

172

Asayama lcbiden Ryu Taijutslll

Shiba no Tsuyu

Uke:

Strike tori :S bead with the

right fist by kneeling up with the

right knee,.

Tori: Kneel to the right (with the

right knee up) and place your right
hand under ukes left armpit.

Place yom left hand onto uke :~ right

wrist while bringing the tight knee
down and the left knee up.

As shown in Hiki Otoshi, pull uke

down towards the front) and then
shift your left leg to the left. Raise

the right elbow ahd bend over uke s

body. Tbe combination of these last
three steps creates a powerful gyaku.
waza.

ldori No Kurai

173

Nio Nage

Uke: Hold tori's left wrist with

the right hand (uke and tori are both
standing).

Tori: Twist the joint of uke ~ righ~

w1ist by holding his wrist with the
tight hand, and then lower and rotate
his elbow towards the front.

174

Asayama lchidcn Ryii Taijuts

Stand up beginning with the left leg,

and then as shown in Kasumi Otoshi
place uke right ann onto your left
shoulder.

Take down by throwing to the right.

!dori No Kurai.

J75

Morote Haga

Uke:

Sit on the right side, and fa

tori. Kneel with the right leg up -a:wl
strike tori~ head with the right fis

Tori: Block with the right ha

while kneeling with the left kfi."al
up.

176

Asayama lchiden Ryii TaiJ

Quickly put your right arm around

uke arm from the outside to the
inside, and then btiog your right leg
up from kneeling.

As soon as you step forward with

the left leg hehind uke, slide your
left hand around the inside of his left
am1 ft-om the front, and then twist
by pulling and lifting both of uke:'s
arms up.

11 1 No

Kurai

Uke: Strike tori :S chest wit

right fist whil e kneeling with t.~
h
knee up.
Tori: Block uke 's right
towards the right with the .-~.u.
the left hand while kneeling
left with the left leg up.

Wrap your tight arm

right elbow with the right
it under your arm and place
hand onto uke s right wrist.

Kneel down on your left Kn~.Q..

bring your right knee up.
in Hiki Otoshi, tum and
front.

178

Asayama lchiden

SHIO NO KURAI

Kasumi Otos

Uke: Hold tori

both hands.

s right

wrist \

Tori: Grab uke :S left wrist

your left hand.

180

Asayama Ichiden Ryii

While shifting the body to the right,

step to uke s left with your right
leg and lower your waist, placing
both of uke ~'>' anns on your right

shoulder.

Twist the joint of uke :. . left ann and

do Hiki Otoshi quickly.

Throw to the right.

~10 No

Kurai

~4.~

~A -:J'11fl

Morote Do
Uke: Hold both of tori s
with b.oth hands.

Tori:

Extend your right hang)

uke s left, let go of uke :s left l

and raise your left hand.

182

Asayama Ichiden Ryu Tit!

Ill

At the same time, tum the tips of the

fingers of uke :S right hand, placing
the thumb 1mderneath, and grab
uke ~- right wrist with your right
hand.

Push forward w1tb both hands and

trap uke 8 right thumb with your left
forearm.

While stepping backvvards with the

right leg, twist uke :s right hand by
quickly doing Hiki Otashi forward.

oN0 Kurai

14l3

~ ~::.l?
/'A
~

-:r

Morote Gaes

Uke: Hold both

with both hands.

Tori : At the same time, lower

elbows and put your right
arms around uke from the
of l1is hands, so his fingers
upwards.

184

Asayama fchideo Ryil Ta1

Grab the side of uke s pinky with

your finger$ and place onto your
chest.

Kick uke :s- testicles with your right

knee.

At the same time, kneel down on

your right knee, and while bertding
your body forward, twist the-joint ef
uke s wrist by bending ulre<~ iinge
tips with both hands

'6 No Kurai

Uke: Hold tori. :s- left lapeJ

right hand.

Tori:

W'iib

At the same time, grab

right :fist with both hands anQJ

up into uke s tsurigane withl
right leg.

186

Asayama !chi den Ryu I t

While stepping back with your right

leg, strongly pull uke :s- hand down
and place it under your left annpit.

Twist by pulling uke 's fiugettips

with both hands and push down the
backside of uke elbow.

o Kur.al

~~ua~~.
~ 1lf.J ;~

Asama Oto~
Hold tori s left lap,e]
your right hand.

t[ke:

Toti: While stepping

your right leg, hold uk~
fist with your right hand~
~=
middle finger around
joint and twist the joint.
left hand onto the joint
~=
elbow from outside so
cannot be bent.

188

Asayama lchiden

While twtstmg uke ~S' tight hand

outwards with both hands, lowet
yom body and get close to uke. Lock
the joint of uke s elbow by pushing
up his right arm.

Take a big step with the right leg,

kneel down with the left knee and
do fliki Otoshi.

Take uke down by pushing his right

arm with both hands towards the
ground and pushing the joint of his.
elbow with your left knee.

o Kurai

~l~~

Saru Sub

Uke: Hold tori

your right arm.

s left

lapel

Tori: While shifting your u

body to the left, bend your rigb)and bring your elbow to the
Push uke s right fist down with:JII
arm, place your le ft hand out
joint of uke s wrist and twist.

190

At the same time, bend your body

forward, step forward with your left
leg and make a circle with your right
fingertips (going underneath uke s
right amJ). While straightenmg your
body, lightly place your fingertips
onto the right side of uke s body.

Lower your right fingertips, loosen

the other side and pull uke s right
ann towards the left side of your
chest while holding uke :S right
forearm with your right hand
(placing your left hand onto uke s
right fingertips).

Throw by stepping backwards with

your left leg.

1\ No Kurai

Uke: Hold the back of tori~

from behind with your right
and pull.

Tori:

Fall straight down w

are pulled.

192

Asayama fchiden

Ry

..

While getting up to the right~ kneel

down with your left knee.

Bring your right knee up and strike

uke ~ stomach with the :palms of
your hands by extending both arms.

Twist the joint of uke

stand]ng up.

o Kurai

s elbow

by

a~q-~

Shishi Ga

Uke: Hold the back of tori'

from behind with
and pulL

Tori: While your lapel is

pulled, lower your body and
the right

194

Asayama lchiden

Firmly grab the joint of ukes right

elbow from below with both hands
and push up.

While twisting uke 's elbow to the

lett with both bands, step backwards
with your left leg.

Do Hiki Otoshi and throw.

No Kurai

195

IwaKu

Uke: Hold the back of to-r' . .

from behind ,and pulL

Tori: Step backwards wi:tl

right leg. At the same tim, IDD
your body and tum around It

right.

196

Place yqm right shoulder onto uke s

body, go around with your right
forearm underneath his arm and
raise his fingetiips.

Make uke stand on his tiptoes and

hold the back of his collar with your
left hand.

Pun down and throw uke onto his

back.

No KUt.-ai

I 'l

~~

Shikoro Ga ____. . . . . .

Uke: Hold the back of tori.'$

from behind with your right
and pull.

Tori: While your coUar is

pulled, at the same time
backwards with the tight le~,
aro~md to the left and lower
body. Place your left hand on~
joint of uke thumb.

198

Hold uke s left fingertips with your

right hand and step backwards with
your left leg.

With both hands, turn around the

joint of uke s elbow inward~ , do Hiki
Otoshi and twist.

io \lo Kurai

199

.ft

Shikoro

Uke: Hold the back of

from behind with your ri
and pull.

Toti: While your collar i

pulled, at the same tim
backwards with your right I~
arow1d to the left and lowe
body. Place your left hand o
joint of uke s thumb.

200

Hold uke 's left fingertips and tum

around his ann inward. When you
are about to twist uke:S arm, he
avoids by bending his arm.

At tbe same time, hold uke s elbow

with your left hand and choke him
by g1ipping undemeath his Jower
jaw with your finge1tips.

Push and sweep uke right knee

with your right leg to take down.

201

Uke: Hold tori's left wns

behind with your right hand.

Tori: While your wrist is

be.ld, grab uke :s- hand with yoy]
band and tum around to
while bending your left arm.

While shifting your weight rta . .

left, press down on uke 'S f.Qr
with your left elbow and twist

202

Asayama lchiden Rytf

SHOTODORI NO KURAI

Shinobi G

Uke: Sneak up from be-hi

thrust at tori with the sh.6t6.

Pull up uke ~'i' hand and hold

the space underneath your ann

204

Ill

Kneel down on your right knee

while pressing (pulling) down with
your right elbow.

Turn your body 180-degrees while

twisting with hongyaku.

Kick uke with your right leg and

twist by stepping back.

~don

No Kurai

205

Uke: Sneak up from behinKl

thmst at tori with the shoto ~
ordering him to get dose t<)J
wall.

Tori: At the same time, twis~

body slightly to the right and
uke right hand from the
with your right hand.

Pull up uke :~ hand, making a c

and then lift up.

206

Asayama Ichiden

Go underneath uke s arm while

twisting it.

Place your Jeft hand onto the joint of

uke s right elbow.

Push and take him do\Vll to the

floor.

tOdori No Korai

2.07

Uke: Get behind tori and 1)1 c

shoto at his throat while
his left elbow with your left

Grasp the tsuka

with theright hand and pull dmm
the. left.
Tori:

208

Hold the top of the tsuka with your

lett hand.

Take the shoto while twisting your

left hand.

Thrust the shoto into uke :S left side.

' IOdori No Kunu

209

With the shoto, cut o

tori s eyes quickly from the ri ,
one swmg.

Uke:

Tori: At the same mqmeot

cuts, step forward with yow
leg in front of your left leg.

QuickLy place. your right pa

the blade (holding the shoto)

2.10

Asayama fchiden R}.: -

At the same time, pull it down to the

tight side of your body and change
the direction of the handle.

Hold or grab the tsuka with your left

hand.

Place the shoti:J onto the right side

of uke ~ neck and cut the neck while
stepping to the left with your Left
leg.

ilori No Kurai

z11

f@:Jl}

Taki Kaw

s
s

Uke: Grab tori lapel with the

hand and cut tori left kasumi.
Tori: Grab uke :s
your left hand.

Make uke cut the empty smtce

the shoto by lowering your
and bending your left knee.
the tsuka of the shoto with
hand while getting up.

Pull down uke s mms, 1ike jn

Kage.

2 12

Twist to the left and take uke down.

Hold uke :s- wrist with the left band

and take the shoto from him.

Place the shoto onto uke ~ neck and

odori No Kurai

21.J

Kesa G"

Uke: Cut the koiguchi, and t

cut tori:, right shoulder witb

shoto.
Tori: At the same moment
cuts, block it with your left
while lowering your waist
stepping forward to the left witiUII
left leg.

Hold the blade with your

hand.

214

Asayama lchiden R . _

Take uke sh6to while moving into

hanshin, as if pushing like a spring.

Quickly hold the tsuka with your

left hand and cut the Left side of
ukes neck.

215

Shozen Kaes

Uke: Run towards tori whill

placing the left hand onto the bla
of the shi5ti5. Slash tori s suigetsu.
Tori: At the same moment
cuts. dodge by stepping back ~
your right leg behind your left
At the same time, push uke 's ri
elbow with the left hand and
the blade of the shoto with ~
right hand.

Let go of uke ~~ elbow with th

hand while twisting your wai
the left.

216

Asayama Ichiden Ryu

Take the handle with yom right

hand.

Take the shoti5 while twisting uke s

right elbow with yow- left middle
finger.

Place your left hand onto the blade

and swing the blade to the right. Cut
the left side of uke s neck, and then
cut the right side of his neck from
the kft.

todori No. Kurai

217

Fuch1

Uke: Try to turn the sword ana

tori :S throat.

Tori: At the, same moment

cuts, step fotward with your
leg to the right and lower your
At the same time, hold uke:S
wrist with your left hand and hi
light side of uke s stomach wit
light hand.

Move and grab uke :s- golaisen.

218

Asayama lchiden Ryil.TiiJ.

While pushing down uke :~ right

arm, step foJWard to the right leg of
uke with your right leg.

Take uke down by lurning yow

waist while opening yow- leg.

Quickly kneel down on uke s arm

with your right knee and press into
the ground while twisting his right
a1m, thereby jamming his wrist.
Step on it with your left leg and
twist uke

s right

dokko with your

right hand.

6t0dori No Kurai

219

Koromod

Uke and tori kneel on the flo r:

facing each other.
Uke: Bring your right leg up a
do shomen giri.

Tori: At the same moment u

cuts, dodge by shifting your bod
the right using your right knee as
3XIS.

While placing your right palm fr

below onto uke :s- elbow joint, hit
shoto with your left palm,
it out of uke :s- hand.

Quickly grab uke :S' right elbow

your right hand and pull it
you. At the same time, hold
right wrist with your left hand

push.

220

Asayama Ichiden Ryu ' i j l .

While bringing your right knee up,

twist uke arm to the right.

Take down to the left front.

Using the impact, make uke turn

and twist his right wrist.

.~todori

No Kurai

221

Uke and tori kneel on the

facing each other.

Uke: Bring your right leg

do shomen giri.

-----

u~

Tori: Bring your right knee upj

grab the handle with your left ~--

Place your right hand onto

sword, from below.

222

.-.--

Asayama Ichiden Ryii Ta

While pushing down on uke :v right

elbow with your left elbow, step
back with your right leg and kneel
on both knees.

Take uke down towards the front,

put your left knee on uke :> right
seireien, and then lift uke ~v right
hand and twist.

Strike uke :S heart from the back with

a left uraken.

Sh5t5dori No Kurai

223

Ka

Uke and tori kneel on theJ

I.LUol-

facing each other.

Uke: Bring your right leg
cut straight.

..

Tori: While bringing up you

knee, at the same time blo

sword with your left hand and

uke 's suigetsu with your righ
(ippon).

While raising your waist, place

right hand onto the sh6t6 and
it to the right. At the same ."_..._.,
and kick the joint of uke s right
the inside with your left leg.

224

Asayama lchiden Ryii T<u

Kneel do~vn with your left knee and

extend uke's arm.

Put your left leg by the right side of

uke 's neck, raise his arm and twist
his wrist and shoulder.

11it6dor!No Kurai

2.25

Kirar:a

Uke and tori kneel on the tl

facing each other.

Uke: Grab tori lapel with th~

hand and thrust into his chest
the shoto.
Remairiing in seiza, '
uke :~ left hand with your right ba

Tori:

While bringing your left leg upj

outside to the left, strike uke ~
elbow with your right elbow.

Twisting your body and

your left leg to the left, place
left hand onto uke ~- hand andi
the joint of his left arm with
right elbow, taking him down.

226

Asayama Icbioen Ryu

Place your left knee onto uke s back

and twist his left arm.

llold the tsuka with your left hand.

Take the shoto and thrust or cut.

1116dori No Kurai

227

Uke:

Thrust into tori

with the tanto.

Tori: Shift your body by s
back with your right leg and
uke right wrist with your
hand. Strike the right side of
stomach with your left fist.

Place your left hand onto uke

hand and go underneath his an

Throw uke to the right.

228

TACHIDORI NO KURAI

Donuki Tsuk

Take a step with your ti

leg and cut the koiguchi poin
towards tori:~ waist.
Uke:

Tori: Take a step forward

your right leg in front of uke s
leg. At the same time, bloc
blade to the left with uchi roppa
grab the handle of the sword.

230

Asayama lchiden Ryu

At the same time, grip the bl~de with

your right hand, push down on the
tip of the blade and twist the ri-ght
band to the inside, which makes
uke .~ ann twist.

Hold the top of the tsuka wit11 your

right hand.

While pulling the tuska to take away

the sword, grip the mitsumine (end
of the blade) with the left hand and
thrust with the tip of the blade.

hidori No r<urai

221

Uke: Cut down the front

j6dan.
Tori: Block the sword by
a step to the left slightly with
left leg. Grab uke s right hand
above with your left hand.

J.r--

Take a few steps with both legs,......_

grab the tsuka from the bottom
your right hand. Lift the swotal
above your head.

While rotating 180 degrees

your right leg as the axis, strike
stomach with your left elbow.

232

Open your left leg to the left.

At the same time, twist your body

and knock uke down by swinging
the sword quickly to the left.

Cut.

ch1dori No Kurai

233

1At5~

Hibaku

Ukc:

Cut down the front fr

jodan.
Tori: While taking a step to
left slightly with your left leg, gra
uke right hand from below w
your left hand.

Wl1ile taking a step, push uke~

elbow with your right hand.

While stepping back with the

leg, place your left arm on
right elbow.

234

Asayarna Icbiden Ryii

While opening your left leg to the

left, twist your body like yuri and
hook.

Knock uke down.

Take the sword away from uke and

thrust or cut as you like.

chidori No Kurai

235

Uke: Cut down the front fr_om

jodan.
Tori: While lowering your~
at the same time take a step fm-w.m:d
with your right leg, grab the ts1l!l
with your left hand, and strike
right side of uke 's stomach with Y.011I
right band.

Shift your right leg in front of y

left leg.

236

Asayama lchiden Ryi.i ~

Step back with your left leg and lift

your waist, placing uke right a1m
onto your left shoulder. PulJ it by
twisting uke wrist.

Bend your waist as if you arc

bowing.

Grab the middle of the tsuka from

below uke :s hand with your ri ght
hand and take uke down onto his
back by twisting your body to the
right. Take the sword away and
lhrust or cut as you like.

ri'achidori No Kurai

237

21

~\Sa
,,,~ 7

AbiJH

Uke:

Cut down the front fronD

jodan.
Tori: Blocking with uchi rop_lflJ
by taking a step with your right ~
to your left leg (in front of your 1m
leg) and grabbing uke :s- right han
with your left hand. (Place your 1~
hand from the hottom.)

Holdtng uke :~ ann under your

arm, step back with the right l~g .
twist his wrist.

23S

While quickly moving your left leg

to the right leg, open your right Jeg.
At the same timc1 kneel down with
your left knee and twist uke wrist
and elbow joint.

Take the sword away and thrust into

the bonnokubo.

chidori No Kurai

239

~~~lt-t
r;x..
?r Jf-\..

Asaji Doll

Uke:

Cut down the front fmm

jodan .
Tori: While blocking the cut w
uchi roppo by taking a step w
your right leg to your left leg, ""a~
the tsuka from the bottom with y;
left hand and place your right h
on the blade from above.

Keep your left hand as it is and p

the blade of the sword down
your right hand.

240

Asayama Jchiden Ry\i

Tiil

Quickly grab the end of the tsuka

with your right hand.

Take the sword away l;ly pulling it

in front of you and place your left
hand on the blade. Thrust into uke :~

ta.nden.

~hidori

No Kurai

241

Yama Kasu

Tori: Lean your upper l5

forward (leading with your n }
shoulder slightly) and step fori()C~.~.~.

with your right leg to encourage
to cut.

Uke:

Pull the sword and cut to

right shoulder.

Tori: Avoid uke 's sword

shifting your upper body back.

242

Asayarna lchiden Ryii Ta~

JJ _

At the same time, quickly block the

cut with soto roppo, centering your
right leg as an axis, and hold the end
of the tsuka from the bottom with
your right hand.

Take uke :} sword away by pulling it

towards you.

Place your left hand onto the tip of

the tachi and cut uke :S throat.

acbidori No Kurai

243

l shizuki Gaes

Ukc: Try
walking.

to

cut

tori

Tori: While taking the end

the tsuka with your left hand a
pushing it, step forward with y
left leg to the side of uke left le

Move close to uke and take the ~

of his saya with your right h
Twist and lift.

244

Asayama lchiden Ryii Tal

Plac.e tbe end of the tsuka to uke 's

tight yako. At the same time, hook
the middle of the saya to uke 's arm
and grab his left hand with your left
hand .

Press down on uke arm with the

saya (beld by your right hand) and
pull uke's hand up.

Knock uke down onto his stomach

and twist his arm.

(Variation.)

Tachid9riNo Kurai

245

Gyo~

Place your hand onto the~

tsuka and try to draw your sword.
Uke:

Tori: Take a step forward wit!

your left leg and grab the tsuka with
your right hand. Grab the koiguchl
from above uke right arm (holdin~
uke ~ four fingers from the bottom)
At the same time, twist and push tho
joint of uke left wrist from insid~
with your index finger.

Step back with your right leg behind

ym.1r left leg.

246

Asayama lchiden Ryi] Taijutsu

Take the sword away

vertically.

oy )1li!..Y.I.~

Strike uke 's face with a left ura ken.

Then, while turning the sword, place
your left hand onto the sword and
cut the left side of uke 's neck.

Tachidori No Kurai

247

.~rr.~ta
~
1 J~\

Saka Oroshil
Uke: Cut tori s nakasumi from
gedan.
Tori: Block the sword by shifti
your body and using dokura
walking.

At the same time, grab the end of

tsuka with your right hand and pia
your left hand onto the blade.

248

Asayama lchiden Ryu Taij

Uke: Try to quickly tum

sword.
Tori: Tum
opposite.

your

tight

the

hand

Uke: At that time, thrust into the

side tori s stomach with koiguchi.
Tori: At the same time, twist your
body and place the sword on the
side of uke s stomach by twisting the
handle.

While stepping back with your right

leg, pulJ and cut the right side of
uke :S stomach and thrust into his
suigetsu.

Tach1dori No Kurai

249

Shukan
Uke and tori kneel on the flo
facing ca,ch other.

Uke:

Hold the tsuka and try

draw the sword.
Tori: Stand the right knee
taking a step with the right leg,
grab uke right wrist with your ri ,
hand. Hold uke ~\ right elbow d
your left hand.

While s1 iding back your right

behind the left leg, pull the s""""
with the help of uke strength.

250

Asayama lchiden Ry\i Uil. .

Knock uke down by pulling his right

hand to the left.

At the same time, step on uke ~ right

elbow with your left knee and twist
uke :~ right arm by pulling it up.

Take uke

s sword away by striking

his heart from the back with a left

ura ken and tluust as you like.

nchidori No Kurai

251

Tokei
Uke and tori kneel on the tloo11
facing each other.
Uke: Grip the tsuka and try ta
draw the sword.
Tori: At the same time, grab t~
end of the tsuka, bringing your rig
knee to standing by taking a stc
with your right leg, and grab uk
right elbow with your left hand.
Push the tsuka up, then down.

Stand up while taking a step witlf

left leg.

252

Asayama Ichidcn Ryij\

Place your left hnnd onto uke s right

shoulder, and then move the sword
behind uke :li bock.

Knock uke down by pushing his right

shoulder and t.m ka while kneeling
down with your right knee.

Place the kurigata onto uke :.., left

kyokusawa and press the saya down
with your left foot. Take the sword
away and thrust or cut as you like.

tchidori No Kurai

253

Gyoga
Uke and tor; kneel on the floor,
facing each other.
Ukc: Cut
jodan.

straight

down

fron.1

Tori: While raising your lett knee

at the same time block the sword
with your left tegatana and grab
ukes left shoulder with your rigtn
hand.

While twisting uke's right ba

holding the handle, swing his ri gbt
hand towards the left side.

254

A snyama I chiden

Ryo l'aiJ,

Step back with your right leg behind

your left Jeg and take uke down by
kneeling down on both knees.

While placing your right knee onto

uke 's right upper arm, grab the end
of the tsuka with your right band.

Switch hands and tum the sword.

At the same time, twist uke s arm
by pressing it down with your right
knee. Take the sword away and
thrust or cut as you like.

T.achidori No Kurai

255