NORTHERN VIRGINIA KI-AIKIDO VIRGINIA KI SOCIETY INSTRUCTOR/STUDENT HANDBOOK

MEMBER DOJO OF THE EASTERN KI FEDERATION

NORTHERN VIRGINIA KI-AIKIDO HEAD INSTRUCTOR - STEVE WOLF SENSEI ASSISTANT HEAD INSTRUCTOR – MARION LEBENSBAUM

EASTERN KI FEDERATION DAVID SHANER SENSEI – CHIEF INSTRUCTOR EASTERN KI FEDERATION TERRY PIERCE SENSEI – CHIEF INSTRUCTOR NEW JERSEY KI SOCIETY TABLE OF CONTENTS

WELCOME HOW TO GET STARTED UNIFORM CURRICULUM FOUR BASIC PRINCIPLES TO UNIFY MIND AND BODY FIVE PRINCIPLES OF SHINSHIN TOITSU AIKIDO FIVE DISCIPLINES OF SHINSHIN TOITSU AIKIDO TYPICAL ATTACKS AND THROWS DOJO ETIQUETTE NORTHERN VIRGINIA KI-AIKIDO THE EASTERN KI FEDERATION THE KI SOCIETY INTERNATIONAL PARTS OF THE BODY GLOSSARY OF TERMS USED IN AIKIDO

APPENDICES

CLASS SCHEDULE (See website, http://novakiaikido.org/class.html ) PRACTICE FEE SCHEDULE (See website, http://novakiaikido.org/fees.html ) DUES AND TESTING FEES

TESTING SHINSHIN TOITSU AIKIDO HITORI WAZA (AIKI TAISO) CRITERIA FOR EXAMINATION TAIGI

February 2005 2 WELCOME!

Northern Virginia Ki-Aikido strives to promote personal well-being and harmony in daily life for all its members through martial arts training, specifically Ki Development and Shinshin Toitsu Aikido as taught by Master Koichi Tohei, Tochigi, Japan. NVKA seeks to provide the means by which students can benefit realizing the principles of mind and body unification.

HOW TO GET STARTED

• Before beginning training all students must sign a Northern Virginia Ki-Aikido waiver.

• Students should pay dues for the first month(s) and a one-time $25 NVKA initiation fee at the beginning of their training. Go to http://novakiaikido.org for fees and dues. Checks are to be made payable to the Virginia Ki Society and may be left in the lockbox at the dojo.

• Class Schedule – For the current schedule, go to www.vakisociety.org

• Location – Our address is 2929-E Eskridge Road, Fairfax, VA 22031. This is located near the Lee Highway - Gallows Rd. intersection and the Northern Virginia Regional Post Office.

UNIFORM

Aikido students, like students of other martial arts, wear a uniform consisting of a loose fitting tunic and pants (dogi) secured by a belt. Aikido students traditionally wear a judo-style dogi for its durability, but a karate-style dogi is acceptable. Beginning students are not required to wear a traditional dogi, but may wear clothing in which they can move easily. Shorts are not recommended as we perform many exercises on our knees on a canvas mat. When purchasing a dogi, it should be white (bleached or unbleached).

The dogi should be kept clean and neat at all times and not worn to and from the dojo. The belt shows both rank and, because it is positioned low on the hips, reminds the student to concentrate his or her mind on the hara or one point just below the navel.

The black split pants, or hakama, also concentrates the mind on the hara. Traditionally, samurai wore the hakama to conceal their feet. The positioning of the feet reveals one's intentions for movement. At NVKA today, wearing the hakama is a privilege reserved for those men and women who have reached the Aikido rank of shodan. Hakama:

The hakama is authorized to be worn by those who:

.have attained the rank of Shodan and above

or

February 2005 3 .are Ni-kyu or I-kyu and preparing for an International Taigi Competition in Japan (One must be at least Ni- kyu to be a participant at this competition at HQ).

For students in those dojos where the hakama had been authorized previously for lower rank, the hakama may continue to be worn by them within their own dojo, if desired and permitted by the local Head Instructor/Qualified Examiner.

Belts:

Colored belts may be authorized and worn in accordance with the following schedule:

Rank Color Beginner White Gokyu Blue Yon-kyu & San-kyu Purple Ni-kyu & I-kyu Brown Shodan and above Black

CURRICULUM

The skills taught in Ki and Aikido are applicable to physical balance and centering, mental focus and calmness, and thus help students to achieve their full potential in the classroom, at work, in athletics, the performing arts, and in daily life. Northern Virginia Ki-Aikido seeks to provide the means by which students can benefit from learning the principles of mind and body coordination. These principles can be learned by men and women of all ages. From children to senior citizens, we encourage everyone to practice together in a safe, compassionate manner. And while Aikido is a Japanese art and we wish to preserve its beautiful traditions, anyone, regardless of philosophical and religious persuasion, is always a very welcome member of our organization.

As developed by Tohei Sensei, Ki Development is the way to experience Ki through the realization of mind and body oneness. There are five disciplines designed to help practitioners experience Ki in this way. Each discipline works together in achieving mind and body oneness and realizing the power that is naturally ours.

1. Aikido (martial art techniques) 2. Kiatsu (personal health and healing) 3. Ki Breathing 4. Ki Meditation 5. Sokushin no Gyo (bell meditation)

The study of mind and body unification is not just reserved for the martial arts. It is a powerful tool to improve your performance in daily life.

During the Ki focused classes, only the principles of Ki, rather than the techniques of Aikido, are studied and practiced deeply and thoroughly. There are many people - including the elderly, the sick, and the weak - who do not care to throw or be thrown by an opponent and yet want to learn how to relax and how to unify their mind and body. The Ki Society offers these people the opportunity to do this.

February 2005 4 The power most people think they have is only like the small visible segment of an iceberg, which floats above the surface of the water. They have forgotten that they also have the power of mind and body unified which is like the much, much larger, unseen part of the iceberg beneath the surface.

FOUR BASIC PRINCIPLES TO UNIFY MIND AND BODY (Shinshin Toitsu no Yondai Gensoku) To realize the (original) unity of mind and body

Principle of the mind: 1. Seika no iten ni kokoro o shizume toitsu suru. Calmly realize (your) mind at the one point in (your) lower abdomen. Keep One Point

Principle of the body: 2. Zenshin no chikara o kanzen ni nuku. Completely release all tension from the entire body/mind and emotion. Relax Completely

Principle of the body: 3. Karada no subete no bubun no omome o sono saikabu ni oku. Let the weight of every part of the body settle at its lowest point. Keep Weight Underside

Principle of the mind: 4. Ki o dasu. Ki is extending (naturally). Extend Ki

FIVE PRINCIPLES OF SHINSHIN TOITSU AIKIDO

1. Ki is Extending.

To be safe and successful in both the dojo and daily life you must learn to allow your Ki to extend naturally. 2. Know your partner's mind. In order to take the appropriate action for a given situation, you must understand your partner’s intent. Diligent training is required to cultivate this sensitivity. 3. Respect your partner's Ki. The martial arts begin and end with courtesy and respect. February 2005 5 4. Put yourself in the place of your partner. If you know your partner’s mind and respect their Ki, then it is simple and natural for you to be willing to put yourself in their place. Many techniques begin with physically putting yourself in your partner’s place. 5. Perform or lead with confidence. Without confidence, successful performance of any task is difficult.

FIVE DISCIPLINES OF SHINSHIN TOITSU AIKIDO

AIKIDO WAZA – AIKIDO TECHNIQUES All Aikido techniques begin and end with the principle of non-dissension. We must be able to remain peaceful in our daily lives and in all situations. Shinshin Toistu Aikido teaches non-dissension by eliminating the idea of a conflict in our hearts as well as in the hearts of others. If you physically struggle to throw a person, you are performing with a fighting mind. A fight is bound to result. But if you move a person's mind, their body will gladly follow. By leading their mind, you avoid conflict and collision. You lead them to a place where they already have chosen to go.

"There is no conflict in the Absolute Universe, but there is conflict in the relative world. If we unify our mind and body, become one with the Universe, and practice its principles, others will follow us gladly. Do not say that this is a world where we must struggle to live each day. The true way to success is exactly one and the same as the principle of non-dissension, and that is the way to peace."

KI NO KOKYU HO - Ki Breathing Breathing is something we all take for granted, yet it is an experience we can not do without for more than a few minutes. To breathe properly is to breathe with mind and body unified. Just as breathing is essential to sustaining life, it is also essential to developing our Ki and life power. Ki breathing exercises, as designed by Tohei Sensei, are a central part of training and represent another opportunity to directly experience and realize for yourself the oneness of mind and body as well as your original connection to the Ki of the Universe. You are already One with the Universe. Even when tired, this method of breathing will quickly restore our energy. Ki breathing exercises are simple and can be performed in almost any situation.

"Breathe out so that your breath travels infinitely to the ends of the Universe, breathe in so that your breath reaches your one point and continues infinitely there. Ki breathing is an important way of unifying mind and body. At night when all is quiet and calm, do this alone, and you will feel that you are the Universe and that the Universe is you. It will lead you to the supreme ecstasy of being one with the Universe. At this moment the life power that is rightfully yours is fully activated."

KI NO ISHI HO - Ki Meditation Being calm in daily life can often be the difference between performing well and performing poorly. In extreme situations, it can even be the difference between life and death. Tohei Sensei, in an effort to teach us the realization of mind and body oneness, has developed a method of Ki Meditation. This form of meditation focuses our mind to the one point February 2005 6 in the lower abdomen. When the one point is infinitely condensed by half, mind and body are unified and true calmness is obtained. In this state, are we able to effectively manage whatever complexities the world may offer us.

"We begin with the number one in counting all things. It is impossible that this one can ever be reduced to zero. Because just as something cannot be made from nothing, one cannot be made from zero. Ki is like the number one. Ki is formed from infinitely small particles, smaller than an atom. The universal Ki condensed becomes an individual, which in turn condensed becomes the one point in the lower abdomen, which in turn infinitely condensed never becomes zero, but becomes One with the Universe. Thus we understand the definition of Ki."

KIATSU RYOHO – PERSONAL KI THERAPY The name kiatsu refers to connecting with Ki. "Ryoho" means therapy. Therefore, Kiatsu Ryoho refers to a form of personal therapy based upon Ki "connection" through the unification of mind and body. In this way, the kiatsu "therapist" is enabling a connection with the healing power of the Ki of the Universe. Tohei Sensei has developed Kiatsu as a way for us to realize the oneness of mind and body and the healing power that is naturally ours. Rather than focusing on "points", Kiatsu directs Ki through "lines" or meridians that run throughout the entire body. By connecting with another person through Ki, you fill their mind and body with plus energy, accelerating the healing process made possible by the Ki of the Universe.

"We have learned the coordination of mind and body and Ki breathing. Therefore we can bring the Ki of the Universe into our bodies at any time. When a water pump is dried out, no water can flow from the well up through the pump. To start this flow again we must put some water back into the pump. In the same way, Ki does not flow strongly in a person suffering from illness or misfortune. Let us practice Kiatsu to put Ki back into these people, stimulate their own flow of Ki, and give them a fresh start to happiness."

SOKUSHIN NO GYO - Purification -”Bell” Meditation (MISOGI) Sokushin no Gyo is a form of meditation that involves an active body. These actions can be tiring and often test the endurance of both mind and body. Tohei Sensei developed Sokushin no Gyo as a means to realize the oneness of mind and body while in an active physical state. Without mind and body unified, Sokushin no Gyo is difficult and even impossible to sustain. But when we realize the oneness of mind and body by relaxing completely, the Ki of the Universe naturally fill us up. Sokushin no Gyo strengthens our will and our conviction to give 100% in everything we do.

"Just as a top spinning very rapidly becomes steady, the most rapid movement results in calm. Like the eye of the typhoon which is always peaceful, inner calm results in great strength of action. Calm and action are exactly one. Only when we keep one point and unify our mind and body, can we find spare time even when busy. Keep a calm mind and you will be able to perform to the best of your ability even in an emergency or when facing important tasks."

TYPICAL ATTACKS AND THROWS February 2005 7 The name of an art or technique in Aikido is made up of both the type of attack by the uke (attacker), and the type of throw by the nage (thrower). The name is usually a phrase, the first part of which identifies the attack, and the second part of which identifies the throw. The following is a list of the basic types of attacks and throws.

ATTACKS: Shomenuchi cut to center of head Yokomenuchi cut to side of head Munatsuki blow to chest (front punch) Katatetori single hand grab Katatekosatori cross-hand grab Ryotetori grab of both wrists Katate ryotemochi two-hand grab of one hand Katatori shoulder grab Kubishime choke Ushirotori grab around arms from behind Ushiro tekubitori grab wrists from behind Ushiro katatori grab shoulders from behind Ushiro hijitori grab elbows from behind

THROWS: Kaitenage wheel throw Kirikaeshi cut-back Kokyunage breath throw Koshinage hip throw Shihonage four-way throw Koteoroshi wrist down Ikkyo first technique Nikyo second technique Sankyo third technique Yonkyo fourth technique Gokyo fifth technique Zenponage forward throw (sometimes wave throw)

DOJO ETIQUETTE

The Aikido dojo is the place where we cleanse and enrich our mind and body. Such a place offers effective use only when it is filled with thoughts and feelings of respect, gratitude, right attitude, integrity and positive mutual support. When you come into the dojo, you will notice that everyone works very hard and sincerely to maintain these feelings. Any feelings to the contrary should be left outside the dojo. Following traditional forms of etiquette in the dojo is an essential aspect of our training and should be practiced with sincerity.

Bowing

Bowing is an appropriate way of showing gratitude and humility, while at the same time placing one's mind in a state of non-dissension, which is necessary for the right training. When to bow:

February 2005 8  Upon entering and exiting the dojo  When stepping on or off the training mat  At the beginning of each training session, bow to the shomen (front side of the room), and then to the instructor, saying "onegai shimasu," which translates as "I humbly wish to learn and work with you."  At the end of each training session, bow again to the shomen, and to the instructor, saying: arigato gozai mashita meaning "Thank you (Sensei, for teaching the class)," then bow to your partner or partners and thank them as well  Bow whenever requesting help from an instructor

On the Mat

1. Treat the instructor with respect at all times. 2. Refer to the instructor simply as "Sensei" or surname followed by “Sensei.” 3. Please do not interrupt the class to question unnecessarily. If you must ask a question, wait until an appropriate moment. 4. Please do not interrupt the instructor or have another conversation while he or she is talking or demonstrating. 5. Please do not leave the mat during class without first obtaining the permission of the instructor. 6. When training with your partner, speak only as absolutely necessary. 7. Please do not argue about a technique. If there is a problem that cannot be resolved, ask the instructor for help. 8. Please do not interrupt another student's training to ask for assistance. Wait until the instructor is available to help. 9. When receiving personal instruction, remain quiet until the instructor has completed his explanation. Then bow. 10. It is inappropriate for a student (including black belts) to offer instruction when he or she is not formally teaching the class, or has not been specifically requested to assist by the instructor. This is an essential point of your personal development, and should be followed carefully, particularly among those who assist or teach in other classes. 11. When an instructor is teaching a point, do not attempt to move ahead to another point, thinking you know what is next. 12. Do not compare one instructor with another. Every instructor has something unique to share with you. Your job is to discover it. 13. It is considered good form to fold the hakama of visiting high ranking guests and instructors. You will learn the proper method of folding as you progress. 14. Arrive at the dojo with plenty of time to sign in, change into your dogi, and report to the mat at least 15 minutes before class is to begin. 15. If you are late for class, wait at the side of the mat until the instructor signals that you may join the class. 16. All participants should be sitting in a straight line and in attentive meditation when the instructor steps onto the mat to begin class. 17. The formal sitting position on the mat is seiza. If you have an injury, check with the instructor, and/or if the instructor suggests, you may sit cross-legged (agura or "half-lotus"), but do not sit with legs outstretched or lean against posts or walls, or lie down during class. Do not sit with your feet facing the shomen. Once in the dojo, you are there to train. 18. Please do not be idle during practice. You should be training or, if necessary, seated formally awaiting your turn. 19. A place of martial arts training should be kept spotless. If you see, for example, rubbish or dirt on the mat, don't wait for someone else to correct it. This is part of your training. February 2005 9 20. No rings, watches, or jewelry of any kind should be worn during practice. These items can injure yourself and others. 21. No gum chewing or eating is allowed on the mat during training. 22. Your body and, in particular, your feet, must be very clean before you step onto the mat. 23. Do not wear heavily scented perfume or cologne.

Off the Mat

24. If you are in the dojo, but not on the training mat, respect the teaching, stay quiet, and pay attention. Guests should also be informed of this policy. 25. Please see that restrooms and dressing areas are kept clean. Remember - the cleanliness of the dojo (including changing rooms, office space and restrooms) reflects the character of the students in the dojo, the Head Instructor, the Ki Society Chief Instructor and the Federation Chief Instructor. 26. When approaching or leaving the dojo, check to make sure that the outside area is clean. Take care of your dojo inside and out. 27. The office area is for instructors only and is so marked. If you need something from that area, ask an instructor to assist you, or get permission to enter. 28. Treat your training tools with respect. Your dogi should always be clean and mended. Your ken, jo, and tanto should be in good condition and in their appropriate place when not in use. 29. Slippers are not normally worn at the Merrifield dojo; however, students should take them to summer camp or when visiting another dojo. Slippers must always be left neatly facing away from the mat. 30. Please enter the dojo with an open mind. If you think you know already, it will be difficult for you to learn. 31. Please do not come to train when you have ingested any type of drug or alcohol unless it has been prescribed for your health. 32. Please enter the dojo with a positive attitude (plus Ki). There is no place for negativity in the training hall. 33. Please do not attempt to train if you are ill or over-tired. Ki breathing and Ki meditation will help you to restore your Ki. 34. There will be no smoking in the dojo. 35. Instructors are expected to “lead by example” in all matters of training and development. 36. According to Tohei Sensei, the most important quality for development is good character. Anyone can learn to perform techniques and even experience mind and body oneness. However, the development of instructors is based on the continuous development of good character, integrity, respect and mutual support. 37. Please make yourself knowledgeable of Tohei Sensei’s rules for Instructors and Students. 38. Please do not speak ill of another form of martial arts. "The mountain does not speak ill of the river because it is lowly, nor does the river speak ill of the mountain because it cannot move about. Speak ill of others and it shall soon come back to you."

NORTHERN VIRGINIA KI-AIKIDO

MISSION STATEMENT: Northern Virginia Ki-Aikido strives to promote personal well-being and harmony in daily life for all its members through martial arts training, specifically Ki Development and Shinshin Toitsu Aikido as taught by Master Koichi Tohei, Tochigi, Japan.

February 2005 10 Northern Virginia Ki-Aikido is a member dojo of the Virginia Ki Society (VKS), a non-profit organization and the Eastern Ki Federation (EKF), which is the umbrella organization. Steve Wolf sensei, holding the rank of 3rd dan Aikido, is the Head Instructor of Northern Virginia Ki-Aikido. The chief instructor of EKF is David Shaner sensei, 7th dan Aikido and Chuden in Ki Development. VKS is affiliated with the Eastern Ki Federation.

The instructors receive no income and all revenue stays within the club. Monthly dues are set at an amount necessary only to cover the costs of the facility (rent, utilities, etc). Therefore, we wish to emphasize to all members that we are truly a volunteer organization and all members are encouraged to serve the organization so that we may continue to train together and learn the principles of Ki Development and Aikido. In this way, our goal is to grow and develop together as a dojo, community, and member of the Virginia Ki Society, Eastern Ki Federation, and the Ki Society International founded by Koichi Tohei Sensei.

We are responsible to train in earnest in all areas of our practice. This includes everything from keeping the training facility clean, to demonstrating the proper etiquette while training, to demonstrating the proper respect to our instructors. Our instructors are also volunteering their time and energy in order for us all to learn and grow together. Prompt payment of NVKA practice fees and annual dues to VKS, EKF, and Ki Society International is important as they not only cover the day-to-day expenses of running the dojo, but also this makes it possible for the local Head Instructors and Chief Instructors of the Eastern Ki Federation to continue their training through reimbursement of travel expenses.

THE EASTERN KI FEDERATION

The Eastern Ki Federation (EKF) is a not for profit organization that links together the talents and vitality of Ki Society and member dojos across the Eastern United States.

On January 1, 2004, Tohei Sensei authorized the formation of the EKF as a part of the Ki Society International (Ki no Kenkyukai) headquartered in Japan, with David Shaner Sensei, 7th dan in Aikido and Okuden in Ki Development, as Chief Instructor. Shaner Sensei is a former uchi deshi (live-in student) of Tohei Sensei.

The EKF embraces the teaching of Tohei Sensei who has dedicated his life to the study of mind and body unification. The purpose of the EKF is to further Tohei Sensei's life work: the study of how to realize mind and body oneness in everything we do. (Four Basic Principles to Unify Mind and Body)

For further information on the Eastern Ki Federation go to www.easternkifederation.com

THE KI SOCIETY INTERNATIONAL

The Ki Society International (Zaidan Hojin Ki no Kenkyukai) was established in 1971 by Koichi Tohei, 10th dan in Aikido. Tohei Sensei was awarded this highest rank directly by Aikido Founder Morihei Ueshiba just prior to his death in 1969.

Ki Society International is a non-profit organization recognized by the Japanese government Ministry of Health, Welfare, and Labor; and Monbusho (Ministry of Culture and

February 2005 11 Education). Its mission is to teach the principles of Ki which are based on Aikido arts and which show the way to coordinate and unify mind and body.

One of the basic aims common to all the nations of the world is to lead their young people along the right way. If we master the principles of Ki, we will have the strength of mind and body unified. Also, while the techniques of Aikido must not be used except in an extreme emergency, the teachings of Ki Society can be applied in our everyday life.

The Ki Society teaches not "how to say" but "how to do."

The Ki Society hopes to lead many, many people to practice mind and body unification. It hopes to open the eyes of people to their own real, natural power and to send them to a happy, healthful life, helping them to strive for and build a more peaceful society and nation. To train many instructors for this task is also an aim of the Ki Society.

Master Koichi Tohei credits his understanding of Universal Principles to three major teachers – Tetsuju Ogura (Ichikukai), Morihei Ueshiba (Aikido), Tenpu Nakamura (Tenpukai).

February 2005 12 PARTS OF THE BODY

Men Me Hana Kubi Kuchi Kata Mune

Do Hiji

Tekubi Koshi

Te

Ashi

February 2005 13 GLOSSARY OF TERMS USED IN AIKIDO

The following is a list of Japanese terms which you will often hear used in your training. It is essential that you study and learn these terms, not only for practical reasons, but also to help you discover the many aspects of Aikido training.

Agura...... Sitting cross-legged. Ai...... Harmony, coming together, unification Ai (love)...... The spirit of love is the spirit of harmony. Not selfish, limited affection for a particular person or group, but all-embracing compassionate love for all things. Ai-hanmi...... Mutual stance - When both partners have the same foot forward (right/right). Aikido ...... -Ai- Harmony, union with, oneness ...... -Ki The essential Life Force, the fundamental creative energy...... -Do The Way or Path. Aiki-ken ...... Swordsmanship according to the principles of Aikido Aiki taiso ...... Ki development exercises. A series of exercise used as "building blocks” for Aikido techniques. Atemi ...... A distracting blow used to change the Ki of your partner, i.e. to put him or her off balance so a technique can be applied. It is not meant to inflict injury. Atemi waza ...... Striking or hitting technique. Bokken...... Wooden training sword Bokken-dori...... Sword taking. Techniques used to disarm a partner armed with a sword. (See tachi-dori) Budo ...... Bu Military, martial ...... Do The Way or Path. Budoka ...... Martial way practitioner Bushido- ...... The ways which fighting nobles, knights, samurai should observe in their life as well as in their vocation; "the precepts of knighthood." Code of moral principles which the samurai were required or instructed to observe Choyaku ...... The exercise where one hops or steps as one executes a movement. Chudan...... Middle level. Sword (or hands) held at a lower level. Daito-ryu...... A traditional system of Aikijutsu. One of the foundation arts in O-Sensei’s early training. Dan...... Black belt rank. There are ten stations of Dan, as follows: Shodan - 1st dan (beginning dan) Nidan - 2nd dan Sandan - 3rd dan Yondan - 4th dan Godan - 5th dan Rokudan - 6th dan Nanadan - 7th dan Hachidan - 8th dan Kudan - 9th dan Judan- 10th dan

February 2005 14 Do...... In Japan, any art that is practiced to develop both technical and spiritual maturity is considered a do, a “way” or “path” of development Dogi...... Training uniform - usually white canvas or muslin material. The padded type (judo) is best for beginners. Dojo...... The training hall. the place where the way to harmony with the fundamental life force (Ki) is practiced. Fudoshin ...... Immovable mind Fudotai...... Immovable body Funakogi ...... A rowing motion. Gedan...... Lower level. Sword (or hands) held at a lower level. Gokyo ...... Number five technique Gyaku-hanmi...... Mirror stance. When both partners have opposite feet advanced (toe-to- toe). Gyosho ...... Aikido arts done with a full blend at the instant of contact, but not necessarily at full speed (i.e. cursive writing). Hakama ...... A black (sometimes dark blue) split, pleated skirt/pants worn over the dogi by people who have earned the privilege Hanmi...... The triangular stance. This position is meant to be relaxed, comfortable, and natural, and should in no way look or feel artificial or stiff. From the correct hanmi position, one can move readily in any direction. Hanmi handachi...... Techniques where nage and uke are sitting Happo...... Eight Directions Hara ...... Belly (see itten) Honbu Dojo...... Headquarters Training Hall. The Ki Society International Honbu is referred to as “Ki no Sato” and is located in Tochigi Prefecture near Utsunomia, Japan. Iki ...... Breath. Iki refers more to the physical act of respiration, while kokyu signifies a deeper meaning relevant to the topic of breathing. Ikkyo...... Number one technique Irimi...... Moving to the inside, or moving into. (Compare with tenkan.) Irimi nage...... Entering throw. Itten ...... The central balance point in the human body, located below the navel. All coordinated movement originates from this one point in the lower abdomen Jo...... Wooden training staff. The correct length is indicated by the distance between the palms of one's outstretched hands or from the armpit to the floor. Jodan...... Upper level. Sword (or hands) held at an upper level. Jo-dori...... Jo taking. Techniques for disarming a partner armed with a Jo. Juji-nage ...... Crossed arms throw. A throw executed when one's partner's arms are crossed at right angles. Kagura ...... In Sokushin no Gyo, the 2 persons that assist, and are seated opposite to the Osa. Kaisho ...... Aikido arts done from a stationary position (i.e. block writing, printing). Kaiten...... Wheeling, turning Kaiten-nage...... The spin throw which makes the partner's body revolve once before he is led down. Kami...... The divine in all things or that all things in nature are divine. The Japanese concept of kami has no direct parallel in Western religious terminology.

February 2005 15 Kata...... Fixed form. Predetermined sequences in set forms. Used in the martial arts as a learning technique. In Ki-Aikido we describe them as taigi. Katana...... The long sword worn by the Japanese samurai. Kata-tori...... Shoulder grab. Katate-tori...... Single-hand grab. Ki...... Ki, the life-force of the Universe Itself, which has no English equivalent. An essential element of all aspects of eastern culture -- philosophy, medicine, art, physical training -- the full significance of ki only becomes clear through firsthand experience. Kiai...... Literally "harmonizing ki," this is a penetrating expression originating in the one point. On the physical plane, kiai is manifest as a piercing shout emanating from the depths of one's being. On the spiritual plane, it is manifest as the intrinsic connection between you and your partner. There are 4 basic forms of the Kiai, as follows: EI - YAH - TOH - IEI - Kiatsu Ryoho...... Personal Ki Therapy through Ki connection Koho-tento waza ...... Rolling Exercise Kokoro...... Heart/Mind/Spirit (depending on context) Kokyu ...... Literally "breathing," or "breath," this refers to the Ki-power generated through the Hara, or one point in the lower abdomen. The concept of kokyu is similar to the Hindu idea of prana, "life breath of the cosmos." When one's kokyu is full and deep, one is in tune with the workings of the universe. Ki no Kokyu-ho ...... Ki Breathing. A special set of meditation and development techniques aimed at calming the spirit and establishing true kokyu. Ki no Ishi-ho ...... Ki meditation as is taught by Tohei Sensei. Kokyu-nage ...... Breath or rhythm throw Kokyu-ryoku...... Breath-power. The irresistible power that emanates from true kokyu Kotegaeshi...... Back of hand turning technique. We now refer to these techniques as koteoroshi. Koteoroshi...... Formerly kotegaeshi – name has been changed to reinforce the idea that this technique is a downward motion not a twisting motion. Koshinage ...... Hip throw Kubi-shime ...... Holding the neck. Kyu ...... Ranks prior to Shodan. (5th kyu, 4th kyu, etc.) Maai ...... The correct distance to be maintained between yourself and your partner; the immediate surroundings and one's own position determine this spacing. Misogi ...... (Purification.) Any type of purifying exercise can be referred to as misogi. In the Ki Society, through misogi purification of body and mind, we can remove impurities and restore our true balance and health. Although misogi rites usually involve water purification (e.g. in a waterfall), one can consider all Aikido techniques to be a form of misogi. In the Ki Society, we practice a form of misogi adapted from the Ichikukai dojo, now referred to as Sokushin no Gyo. Muna-tsuki ...... Strike to the chest/front. Nage ...... A throw, one who throws, or executes a technique February 2005 16 Nikyo ...... Number two technique Osa ...... The instructor who leads Sokushin no Gyo, seated on the front or right. O Sensei ...... Great, or original teacher. In Aikido, refers to Morihei Ueshiba, the founder of modern Aikido. Otomo...... Attendant to an Instructor. Serving as otomo represents an opportunity for shugyo (“cultivation” 24 hours a day) instead of mere keiko (“practice”) in the dojo. Otomo service is the practice of selflessness in daily life. Randori ...... Free style nage against multiple attack - usually improvisational. Rei ...... Bow, the command to bow. The formal gesture of respect and gratitude used by Aikido practitioners Reiseishin ...... The spirit that is one with the spirit of the Universe. Ryokata-tori ...... Grabbing both of the shoulders Ryote-dori ...... Both hands held Samurai...... One who follows the way. A warrior, knight; one charged with the protection of society. See budo, bushido. Sankyo...... Number three technique Sayu...... Term indicating left and right direction. Seiza ...... Sitting on both knees with the back straight. Sensei ...... Instructor. One who gives instruction. More importantly, one who leads the way. Literally, Sensei means “one step ahead.” Shihan ...... Exemplary teacher - A title used for the highest ranking instructors. (usually 5th dan and above.) Shiho-nage ...... Four-way throw Shikko...... Moving from a kneeling position. Also called "samurai walk" Shin ...... Mind, spirit, heart Shinshin Toitsu Aikido ...... Aikido with Mind and Body Unified founded by Koichi Tohei Soshu. . Shomen...... Literally – Front side. The honored symbol of Ki and picture of Soshu (founder) Tohei mounted in the forefront of the training area. In other traditions this is referred to as the kamiza (upper seat). Shomen-uchi...... Strike to the center of the head. Shokushu ...... A brief, uplifting statement used prior to training. Tohei Sensei has composed 22 of these Ki Sayings which are read and repeated phrase by phrase before each class. Used to center oneself, prepare oneself for training and create a plus atmosphere before class. Sokuboku...... Soku = breath; boku = wood. The wooden clappers used to signify the changes in controlled breathing and meditation. Sokushin no Gyo ...... Breath -(Voice)- Mind (Unification) training. The act of purifying mind and body. A side-training discipline in Aikido. (see misogi) Sosho...... Aikido arts done at full speed with a strong leading of Ki (i.e. "grass" writing) Soshu...... Founder – This is the title we use to refer to Master Koichi Tohei. Soto-mawari...... Turning out. Movement to the side of one's partner Suwariwaza...... Techniques from the sitting position Tai ...... Body, form, sometimes style Tachi-dori ...... Sword taking. Techniques used to disarm a partner armed with a sword.

February 2005 17 Taigi ...... Body art, technique. A kata-like grouping of arts performed by two people (usually) to a specific rhythm and time. There are International Taigi Competitions held in Japan every four years. Tai-jutsu ...... Body techniques. Techniques performed without weapons. Tanto/tanken ...... Wooden training knife. All wooden training weapons are treated as if they were actually sharp steel. The idea here is to train as though the wooden weapon is steel. Tegatana ...... Hand Sword. Since many Aikido techniques are based on sword movements, the hand, with the fingers actively projecting Ki, should function as a sword. Tekubi-kosa...... Crossed wrists. Tenkan...... Turning outside or away. Ude-furi...... Arm swinging. Uke ...... One who is thrown, one who follows Ukemi ...... The art of falling without injury. It is said that one's ability to throw is only as good as one's ability to fall. Uchideshi ...... Literally "inside-student" - a student that lives, trains, and teaches at the Headquarters or dojo. Undo...... Exercise. Ushiro ...... Back or behind Ushiro-kata-tori ...... Grabbing the shoulder's from behind. Ushiro-tori ...... Bear-hug from behind Waza...... Technique or system of techniques Yokomen-uchi...... Strike to the side of the head. Yonkyo...... Number four technique Yudansha...... Those who hold the rank of Shodan (1st degree black belt) and above Zempo-kaiten...... Foward roll Zengo...... Term indicating forward and backward direction. Zagi handachi ...... Techniques where nage is sitting and uke is standing. Zanshin...... Continuing mind, the mind that stops at, or on, nothing.

February 2005 18 TESTING

Students attending classes at Northern Virginia Ki-Aikido are not required to test; however, students are strongly encouraged to do so in order to benefit from all that the training program has to offer. The testing process is an important tool to gauge progress, and provide motivation for the regular practice required to progress.

To be eligible to test, students must have the required number of class hours and a regular NVKA instructor’s recommendation. The NVKA head instructor is authorized to test through the aikido rank of 2nd kyu and the ki rank of chukyu. Tests for higher ranks are conducted by EKF chief instructors, and require prior recommendation by the NVKA head instructor. The class hour requirements for each rank are minimums only; additional practice will be necessary to achieve the proficiency necessary for advancement. For this reason, NVKA offers regular periods of “open mat” time when skills learned in class can be polished.

Tips for Testing

 Learn the Japanese names for each of the hitori waza exercises and the aikido techniques required for the level being tested.

 The ki test and hitori waza requirements are an important part of testing. Students’ performance of aikido techniques should reflect an understanding of ki principles. Students should also demonstrate ma’ai, rhythm, “largeness of motion,” seishi, effective pins, and all of the other elements that come from practicing aikido with mind-and-body coordination.

 Do not wait to be asked to start practicing for a test. Instructors recommend test candidates on the basis of who is already preparing for their test. Feel free to ask about the criteria for each rank.

 Candidates should find one or more training partners to prepare for testing. This can be someone at the same or higher rank; however, training partners should not be more than two ranks higher than the testing candidate. Instructors and advanced students are encouraged to mentor newer students.

While the NVKA instructors are there to support the candidate’s efforts to improve, it is up to each student to devote the necessary time and effort to pass the examination. While the sense of achievement that comes with passing an exam can be a great motivation to continue training, the ultimate goal of training should be personal growth, rather than simply acquiring rank. Real and lasting achievements come only with regular practice.

February 2005 19 Shinshin Toitsu Aikido Hitori waza (Aiki taiso)

1. 二教技（Nikyo waza） 2. 小手おろし技（Kote-oroshi waza） Wrist exercises 3. 三教技（Sankyou waza）

4. 手首振り技（Tekubi-furi waza） Exercise to release tension

5. 船漕ぎ技（Funekogi waza） Exercise to strengthen the hips [or Hip strengthening exercise?] 6. 一教技（Ikkyo waza） 7. 前後技（Zengo waza） Ki extension exercises 8. 八方技（Happo waza）

9. 下方手首交差技（Kaho Tekubikosa waza） Exercises to gain calmness 10. 上方手首交差技（Joho Tekubikosa waza） [or Calmness exercises?]

11. 左右技（Sayu waza） Exercises to maintain left & right 12. 左右跳躍技（Sayu-choyaku waza） side balance.

13. 腕振り技（Udefuri waza） Exercises to maintain the center 14. 腕振り跳躍技（Udefuri-choyaku waza） [of gravity？]

15. 前進後進技（Zenshin-koshin waza） Exercises to maintain front and 16. 後ろ取り技（Ushiro-tori waza） back balance

17. 後ろ手首取り前進技（Ushiro-tekubi-tori- zenshin waza） Exercises to move from one point 18. 後ろ手首取り後進技（Ushiro-tekubi-tori- koshinwaza）

19. 後受身技 (Ushiro-ukemi waza Exercises to overcome adversity 20. 後受身立ち上がり技 (Ushiro-ukemi tachiagari waza)

February 2005 20 Eastern Ki Federation – Shin Shin Toitsu Do – Criteria for Examination Shokyu (Perform the first test for all exercises) Unification of Mind and Body Over 10 years of age Standing Unbendable arm Thrusting out one hand with its weight underside Sitting Seiza Sitting down and standing up Breathing exercise (last for all tests) Chukyu (Perform the second test for all exercises) Unification of Mind and Body Over 24 hours of training after earning Shokyu Sitting cross-legged Over 13 years of age - while being pushed from behind - while being raised by one knee Thrusting out one hand while being pushed by the wrist Bending backward Stooping Unraisable body Oneness Rhythm Exercise (Group) Jokyu (Perform the third test for all exercises) Unification of Mind and Body Over 48 hours of training after earning Chukyu Leaning Over 15 years of age - backward on a partner - forward on a partner Thrusting out one hand and raising one leg Holding up both hands Walking forward while being held from behind Sitting cross-legged while holding both hands of the examiner from underneath while being pushed by the shoulders Oneness Rhythm Exercise (Hitori) Examiners Notes:

Name: Date: Examiner:

February 2005 21 Eastern Ki Federation - Shin Shin Toitsu Aikido – Criteria for Examination 5th kyu (Shokyu) Hitori Waza Kumi Waza Over 30 hours and 3 Oneness Rhythm Exercise Katatekosa-tori Kokyunage months of training (Group) Katate-tori Tenkan Kokyu-nage Udemawashi waza Katate-tori Ikkyo * Udefuri waza Katatekosa-tori Koteoroshi Udefuri Choyaku waza Kokyu Dosa (All Tests) Sayu waza Ushiro Ukemi (Back Roll) Zenpo Ukemi (Forward * - irimi & tenkan · - katameru pin Roll) 4th kyu (Shokyu) Hitori Waza Kumi Waza Over 30 hours of training Oneness Rhythm Exercise Kata-tori Ikkyo * · after earning 5th kyu. (Group) Munatsuki Koteoroshi Shomenuchi Ikkyo waza Yokomenuchi Shiho-nage Zengo waza Shomenuchi Kokyu-nage Happo waza Katate-tori Irimi Kokyu-nage Zenshin Koshin waza Katate-tori Kokyunage (Zenpo) Shikko (Knee Walk) 3rd kyu (Chukyu) Hitori Waza Kumi Waza Over 30 hours of training Oneness Rhythm Exercise Kata-tori Nikyo * · after earning 4th kyu (Group) Kata-tori Sankyo * · Funakogi waza Kata-tori Yonkyo * · Nikyo waza Yokomenuchi Zenpo-nage Sankyo waza Ryote-tori Zenpo-nage Koteoroshi waza Ryotemochi Irimi Kokyu-nage Tenkan waza Katate-tori Kaiten-nage * Ryote-tori Shiho-nage 2nd kyu (Chukyu) Hitori Waza & Taigi Kumi Waza Over 50 hours and 6 Oneness Rhythm Exercise Ushiro-tekubitori Zenpo-nage months of training after Kaho Tekubi Kosa waza Ushiro-tekubitori Kubijime Sankyo-nage earning 3rd kyu and Joho Tekubi Kosa waza Ryote-tori Tenchi-nage * instructor's approval Ushirotori waza Ushiro-tori Kokyu-nage (Zenpo) Ushirotekubitori Zenshin waza Ryote-mochi Kokyu-nage (Enundo) Ushirotekubitori Koshin waza Munatsuki Ikkyo * · Tobikoshi Ukemi (Jump Roll) Ryote-tori Zenpo-nage (3 arts) 1 Taigi from #1 - 9 One Person Randori Examiners Notes:

Name: Date: Examiner:

February 2005 22 Eastern Ki Federation - Shin Shin Toitsu Aikido – Criteria for Examination 1st kyu (Jokyu) - Over 50 Hitori Waza (All) & Taigi Kumi Waza hours and 6 months of Oneness Rhythm Exercise Zagi Handachi Shomenuchi Kokyu-nage training after earning 2 Taigi from #1 - 9 Zagi Handachi Munatsuki Koteoroshi 2nd kyu and instructor's Zagi Handachi Yokomenuchi Zenpo-nage approval Munatsuki Zenpo-nage Munatsuki Sudori Munatsuki Kaiten-nage Katate-tori Ryotemochi Koteoroshi Katate-tori Ryotemochi Kokyu-nage (Hachi-no-Ji) Yokomenuchi Koteoroshi (Enundo) Yokomenuchi Kokyu-nage (Hachi-no-Ji) Shomenuchi Koteoroshi Shomenuchi Ikkyo * Ushiro-tekubitori Koteoroshi Ushiro-tekubitori Ikkyo * Keri waza (3 arts) Ushiro Ryokata-tori Kokyunage (3 arts) Two Person Randori Shodan (Jokyu)- Over 70 Hitori Waza (All) & Taigi Kumi Waza hours and 6 months of Oneness Rhythm Exercise Yokomenuchi (5 arts) training after 1st kyu and 3 Taigi from #1-15 Katate-tori (5 arts) recommendation of Head (chosen by examiner) Ushiro-tekubitori (5 arts) Instructor. Tantotori (5 arts) Ushirotori (5 arts) Ken (#1) Jo (#1) Four Person Randori Nidan (Jokyu) - Over 120 Hitori Waza (All) & Taigi Kumi Waza hours and 1 year of Oneness Rhythm Exercise Munatsuki (5 arts) training after Shodan and 3 Taigi from #16-23 Shomenuchi (5 arts) recommendation of Head (chosen by examiner) Bokken-dori (5 arts) Instructor Ken #2 Jo #2 Five Person Randori Sandan (Shoden)- Over 2 Hitori Waza (All) & Taigi Kumi Waza years of training after Oneness Rhythm Exercise Any of the above Nidan and Any Taigi(s) #1-30 recommendation of Head (chosen by examiner). Instructor.

Examiners Notes:

Name: Date: Examiner:

February 2005 23 Northern Virginia Ki-Aikido – Dues and Testing Fees Rank Yen US $1 EKF Fee2 NVKA Fee3 Total Dues Structure Initiation Fee ¥4,000 $40.00 $5.004 $25.00 $70.00 Annual Fee ¥1,000 $10.00 $20.005 $10.00 $40.00 Monthly Dues n/a Rates vary according to age group – See Practice Fee Schedule Ki Development Promotion Fees Shokyu ¥3,100 $31.00 $5.00 $0 $36.00 Chukyu ¥4,200 $42.00 $10.00 $0 $52.00 Jokyu ¥6,200 $62.00 $15.00 $0 $77.00 Shoden ¥15,000 $150.00 $25.00 $0 $175.00 Chuden ¥30,000 $300.00 $35.00 $0 $335.00 Joden ¥50,000 $500.00 $50.00 $0 $550.00 Okuden ¥100,000 $1,000.00 $75.00 $0 $1,075.00 Kaiden Donation ¥100/US$ Donation Donation Lecturers’ Qualification Promotion Fees Assistant Lecturer ¥15,000 $150.00 $25.00 $0 $175.00 Associate Lecturer ¥25,000 $250.00 $35.00 $0 $285.00 Lecturer ¥30,000 $300.00 $50.00 $0 $350.00 Assistant Professor ¥50,000 $500.00 $70.00 $0 $570.00 Professor Donation ¥100/US$ Donation Donation Shinshin Toitsu Aikido Promotion Fees 10-6 Kyu ¥1,000 $10.00 $5.00 $0 $15.00 Gokyu ¥1,000 $10.00 $10.00 $0 $20.00 Yonkyu ¥1,000 $10.00 $15.00 $0 $25.00 Sankyu ¥1,000 $10.00 $20.00 $0 $30.00 Nikyu ¥1,000 $10.00 $25.00 $0 $35.00 Ikkyu ¥1,000 $10.00 $30.00 $0 $40.00 Shodan ¥11,000 $110.00 $35.00 $0 $145.00 Nidan ¥16,000 $160.00 $50.00 $0 $210.00 Sandan ¥21,000 $210.00 $70.00 $0 $280.00 Shinshin Toitsu Aikido Recommended Dan Promotion Fees Shodan ¥35,000 $350.00 $35.00 $0 $385.00 Nidan ¥45,000 $450.00 $50.00 $0 $500.00 Sandan ¥55,000 $550.00 $60.00 $0 $610.00 Yondan6 ¥65,000 $650.00 $75.00 $0 $725.00 Godan ¥85,000 $850.00 $85.00 $0 $935.00 Rokudan ¥120,000 $1200.00 $100.00 $0 $1300.00 Nanadan & above Donation ¥100/US$ Donation Donation 1Approximate exchange rate of ¥100 per US$ 2Eastern Ki Federation (EKF) fees to be used as indicated in Structure & Guidelines 3 Local Fees may be added in addition to EKF fees 4 Covers cost of banking fees 5 $20.00/year EKF initiation/dues – Renewal fee due June 1 of each year 6Yondan & Above – by recommendation of EKF Chief Instructor only From Ki no Kenkyukai: ”In addition to the promotion fees, the federation may assess the candidates the examination fees which may be used for the growth of the federation. Up to Sandan the candidates must take the examinations according to the specifications in the ‘Shinshin Toitsu Aikido Criteria for Examination,’ except those who cannot take the examinations for the reasons of physical problems or age, or those who have done much service to the Ki Society. In the case of the above three, the candidates are granted the recommended Dan.”

February 2005 24 Kitei Taigi 110 Seconds

ARTS FOR KITEI TAIGI POINTS NOTES SHOMENUCHI KOKYUNAGE When ki moves, enter straight behind uke 0.1 Raise both arms 0.1 Bring arms straight down, lead straight up and 0.1 down

Yokomenuchi Shihonage Step back in the direction of the ki 0.1 Enter passing closely in front of uke 0.1 Turn completely to the point where uke 0.1 naturally falls

Munatsuki Koteoroshi (Katameru) Lead the Ki without blocking it 0.1 Bring arm straight down, lead straight up and 0.1 down Place free hand over elbow, roll uke over and 0.1 pin

KATATEDORI IKKYO TENKAN Extend Ki from fingertips (curl fingers, not 0.1 wrist) Take ikkyo at the lowest point in the arc 0.1 Bring arm straight up and down, pin (place free 0.1 hand lightly over elbow, other hand leads uke)

Katadori Nikyo (Irimi) Brush uke’s hand down and take ma-ai without 0.1 changing position of hand Using an up and down rhythm, lead uke’s hand 0.1 to shoulder, while raising free hand fully and sending Ki to apply nikyo Leap behind uke leading tenkan and pin 0.1

Ushiro-tekubidori Sankyo (Katameru) Lower the leading hand when the ki comes 0.1 Take sankyo when the hands reach the top 0.1 Bring uke’s fingertips down, placing free hand 0.1 on elbow, lead in the direction of ki and pin TOTAL POINTS 1.8

February 2005 25 Daiichi Taigi: Katatedori 65 Seconds

Arts for Taigi #1 Points Notes Kokyunage (Holding the emperor’s clothes) Extend Ki from fingertips 0.1 Bring arm down straight from elbow 0.1 Bring arms up straight 0.1 Drop arms down straight and seishi (pause 0.1 calmly) in, sayuwaza form

Kokyunage (Kirikaeshi) Change direction of Ki at the moment 0.1 uke’s Ki comes (up and down motion) Face in the direction of the lead 0.1 After kirikaeshi, drop straight down to 0.1 throw

Kokyunage (Zenponage) Take a large hop forward (draw back foot 0.1 to the front foot) Nage must face the direction of the throw 0.1

Kokyunage (Kaitenage) Change direction of Ki at the moment 0.1 uke’s Ki comes (up and down motion) Contact the free hand on the uke’s head as 0.1 it goes down Do not step through 0.1

SHIHONAGE Extend Ki from fingertips 0.1 Take uke’s hand without stopping his ki 0.1 Turn completely to the point where uke 0.1 naturally falls

IKKYO Extend Ki from fingertips 0.1 Take ikkyo at the lowest point in the arc 0.1 Lead arm straight up and down (lead from 0.1 the hand holding the wrist, hand on the elbow holds lightly) TOTAL POINTS 1.8

February 2005 26 Daini Taigi: Katatedori Ryotemochi 71 Seconds

Arts for Taigi #2 POINTS NOTES Kokyunage (Tobikomi - leaping forward) Extend ki from fingertips 0.1 Raise both arms 0.1 Bring arms straight down, lead 0.1 straight up and down

Kokyunage (Enundo) Extend ki from fingertips 0.1 Point fingertips in the direction of the 0.1 lead Bring arms straight down, lead 0.1 straight up and down

Kokyunage (Hachinoji - figure eight) After doing tenkan, seishi 0.1 Leap in behind partner completely, 0.1 raise both arms Bring arms straight down, lead 0.1 straight up and down

Kokyunage (Zenponage) Extend ki from fingertips 0.1 Bring arm up straight at the moment 0.1 ki comes Drop arm down straight to throw 0.1

Nikyo Extend ki from fingertips 0.1 Bring fingertips up completely and 0.1 bring them straight down Leap behind uke, drop arms straight 0.1 down, and pin

Koteoroshi Extend ki from fingertips 0.1 Take hand at the lowest point of the 0.1 arc When pinning, one hand must seishi 0.1 Total Points 1.8

February 2005 27 Daisan Taigi: Yokomenuchi 49 Seconds

Arts for Taigi #3 Points Notes Kokyunage (Sudori) Enter with shoulders parallel to uke’s 0.3 chest

Kokyunage (Bow) Bow straight down 0.3

KOKYUNAGE IRIMI Enter straight forward and lead from 0.3 shoulder

SHIHONAGE Step back in the direction of Ki 0.1 Enter passing closely in front of the 0.1 uke Turn completely to the point where 0.1 uke naturally falls

Kokyunage (Sudori-nage) Step back in the direction of ki 0.1 Strike uke’s chin with one hand 0.1 Throw in the direction of ki 0.1

Kokyunage (Hachinoji - figure eight) Step back in the direction of ki, both 0.1 arms open and comfortably stretched Leap straight behind uke both arms 0.1 up Bring arms straight down, lead 0.1 straight up and down Total Points 1.8

February 2005 28 Daiyon Taigi: Ryokatadori 60 Seconds

Arts for Taigi #4 Points Notes Kokyunage (Bow) When uke’s ki comes, bow without moving 0.1 feet Bring head down completely 0.1 Bring head up completely 0.1

Kokyunage (Kirikaeshi-bow) Move from one point 0.1 Bring head down completely 0.1 Bring head up completely 0.1

Kokyunage (Bow twice) Both arms naturally open when you are 0.1 stepping back while extending ki forward Bow twice straight (bring head completely 0.1 down and up with a ‘1-2’ rhythm) Bring head up completely 0.1

SUDORI Line of vision must be straight forward 0.1 Catch the moment of uke’s ki movement, 0.1 jump in towards uke’s feet with the intention to scoop (opposite side of uke’s front foot) Look towards uke while standing up at the 0.1 end of throw

NIKYO Brush uke’s hand down and take ma-ai 0.1 without changing position of hand Using up and down rhythm, lead uke’s 0.1 hand to shoulder while raising free hand fully and sending ki to apply nikyo Leap behind uke, lead with tenkan and pin 0.1

Kokyunage (Zenponage) Step back straight 0.1 Drop one of uke’s arms with tegatana 0.1 (edge of hand) Nage must face the direction of the throw 0.1 Total Points 1.8

February 2005 29 Daigo Taigi: Children’s Taigi 77 Seconds

Arts for Taigi #5 Points Notes Shomenuchi Kokyunage When ki moves, enter straight behind 0.2 uke Raise both arms 0.2 Bring arms straight down, lead straight 0.2 up and down

Yokomenuchi Shihonage Step back in the direction of ki 0.2 Enter passing closely in front of the uke 0.2 Turn completely to the point where the 0.2 uke naturally falls

Munatsuki Koteoroshi Lead the thrusting ki without blocking 0.2 Bring arm straight down, lead straight 0.2 up and down Place free hand over elbow, roll partner 0.2 over and pin

Katadori Ikkyo (Irimi) Brush partner’s hand down, and take 0.2 ma-ai without changing position of hand Lead straight up and down before 0.2 stepping Pin must be done with both knees down, 0.2 standing on toes

Kokyu Dosa Body enters straight in and elbow drops 0.2 down Pin the uke with ki, standing on toes 0.2 TOTAL POINTS 2.8

February 2005 30 Dairokyu Taigi: Ushirotekubidori 71 Seconds

Arts for Taigi #6 Points Notes Ushirodori Kokyunage (Zenponage) Both arms up the moment uke makes 0.1 contact Look in the direction ki leads after 0.1 throwing

Ushirotekubidori Kokyunage (Uragaishi - Inside-out) Use vertical rhythm 0.1 Raised hand pauses calmly 0.1 Bring both arms back after throwing 0.1

Ushirotekubidori Kokyunage (Zenponage) Use vertical rhythm 0.1 Reverse both hands when arms reach 0.1 the top Go down from one point bowing head 0.1 while throwing

Ushirotekubidori Koteoroshi (Hantai tenkan) Hantai tenkan - reverse tenkan the 0.1 moment uke’s ki comes Fully extend arm when turning 0.1 Execute koteoroshi immediately 0.1

Ushirotekubidori Ikkyo Use vertical rhythm 0.1 Place free hand lightly over elbow 0.1 Pin must be done with both hands down 0.1 and sitting on USHIROTEKUBIDORI SANKYONAGE USE VERTICAL RHYTHM 0.1 TAKE SANKYO WHEN HAND REACHES 0.1 TOP BRING FINGERTIPS OF HAND DOWN, 0.1 SWING FULLY UPWARDS THROWING FORWARDS KEEPING SANKYO 0.1 HOLD TOTAL 1.8

February 2005 31 Dainana Taigi: Munatsuki-Keri 66 Seconds

ARTS FOR TAIGI #7 Points Notes Kokyunage (Michibikigaeshi - lead back and return) When uke’s ki moves, fingertips point at 0.1 uke’s fist Turn palm down as point back, cut uke’s 0.1 neck with two fingers without touching Look straight forward with seishi after cut 0.1

Ikkyo (Hantai tenkan) Step back with hantai tenkan, hold uke’s 0.1 thrusting hand down with tegatana Hold uke’s fist lightly and bring it back in 0.1 the direction of uke’s face, drop straight down, then step in forward Pin must be done with both knees down, 0.1 standing on toes

Kokyunage (Zenponage) Skip back 0.1 Use up and down motion to execute throw 0.1 Face the direction of the throw and seishi 0.1

KOKYUNAGE (IRIMI) KERI Chop at uke’s front kick with tegatana 0.1 (tegatana must be, parallel with mat) Strike uke’s face with the back of hand 0.1 Moment of strike, draw the hand back to 0.1 chest, down with tegatana

KOKYUNAGE (ASHIDORI) KERI Maintain hanmi, bend wrist to keep little 0.1 finger outside Catch uke’s foot without changing the 0.1 position of the hand Use one hand to throw 0.1

Koteoroshi (Nageppanashe - throw away) LEAD UKE’S THRUSTING KI WITHOUT 0.1 BLOCKING FACE THE DIRECTION OF THE THROW 0.1 Open the body by taking two sliding steps to 0.1 make a large throw Total Points 1.8 February 2005 32 Daihachi Taigi: Ryotedori 50 Seconds

Arts for Taigi #8 Points Notes Kokyunage (Tenchinage Irimi) Bring elbow straight down with leading 0.1 hand (step to the side of uke's front leg) Bring leading hand straight up and other 0.1 points down Drop down straight from fingertips to 0.1 throw

Kokyunage (Tenchinage Tenkan) Bring elbow straight down with leading 0.1 hand after tenkan (take one step back) Bring leading hand straight up and other 0.1 points down Drop down straight from fingertips to 0.1 throw

Kokyunage (Hakucho no Mizuumi - Swan Lake) Bring uke up 0.1 Drop arm like udemawashi 0.1 When arms drop, go down from one 0.1 point with head bent down Touch mat with back of hands 0.1

Kokyunage (Dojyo Sukui) Use hands with koteoroshi form 0.1 Move elbow up and down, seishi with 0.1 sayuwaza form to throw

Kokyunage (Zenponage) The moment uke comes to catch, lead 0.1 uke up Take uke's hand with yonkyo 0.1 Must face the direction of the throw 0.1

Kokyunage (Kirikaeshi) Change direction of ki at the moment the 0.1 uke comes to catch Face the direction of the lead 0.1 After kirikaeshi, drop straight down to 0.1 throw TOTAL POINTS 1.8

February 2005 33 Daikyu Taigi: Shomenuchi 67 Seconds

Arts for Taigi #9 Points Notes Ikkyo (Irimi) Bring uke's tegatana in 0.1 Slide straight up, then straight down 0.1 Step in after arms are down 0.1 Pin must be done with both knees down 0.1 and sitting on toes

Ikkyo (Tenkan) Step straight behind uke when ki moves 0.1 Bring arms straight down and pin (lead 0.1 from hand holding wrist, hand on elbow holds lightly)

KOKYUNAGE IRIMI When ki moves, move in and straight 0.1 behind uke Raise both arms 0.1 Bring arms straight down, lead straight up 0.1 and down

KOTEOROSHI Do not block partner's ki 0.1 Take uke's tegatana from top lightly 0.1 Bring arm straight down, lead straight up 0.1 and down

Kokyunage (Kirikaeshi) Bring front leg back 0.1 Take uke's tegatana from above lightly 0.1 Bring arm straight down, lead straight up 0.1 and down

Kokyunage (Zenponage) Skipping back 0.1 Throw with up and down motion 0.1 Face the direction of the throw 0.1 TOTAL POINTS 1.8

February 2005 34 Daiju Taigi: Katadori Shomenuchi 55 Seconds

ARTS FOR TAIGI #10 POINTS NOTES KOKYUNAGE IRIMI The moment uke comes to catch 0.1 shoulder, take a large step in with hanmi posture Slide up uke's face with tegatana 0.1 Erect posture at the end of the throw 0.1

KOKYUNAGE ENUNDO Extend ki from fingertips 0.1 Point fingertips in the direction of the 0.1 lead and down One hand touches uke's neck 0.1 Keep one point while throwing 0.1

Kokyunage (Hachinoji) Lead uke's hand down with front hand 0.1 and take ma-ai Leap in straight behind uke 0.1 Bring arm straight down, straight up and 0.1 down

NIKYO Extend ki from the fingertips 0.1 The hand taking nikyo and uke's hand 0.1 should go down together Pin with both knees down, stand on toes 0.1

Sankyo (Uragaeshi) Keep leading hand stretched, free hand 0.1 catches uke's fingertips Enter fully with irimi 0.1 Keep taking up slack in ki with sankyo to 0.1 throw

Kokyunage (Zenponage) The moment uke strikes, slide up to uke's 0.1 face to draw uke's ki out Skip forward in the direction of ki and 0.1 throw Total Points 1.8

February 2005 35 Daijuichi Taigi: Katatedori 56 Seconds

Arts for Taigi #11 Points Notes Kokyunage (Irimi) Little fingers of nage's held wrist must 0.1 point straight up Nage's body must enter straight ahead 0.1 (irimi) Throwing arm must seishi after throw 0.1

KOKYUNAGE (IRIMI) Take uke's hand with free hand as front 0.1 hand leads up Let go of uke's hand when the arm is 0.1 dropped Bring arms straight down, up and down 0.1

KOSADORI KOKYUNAGE Extend ki from fingertips 0.1 Enter straight behind uke 0.1 Raise both arms 0.1 Bring both arms straight down, lead 0.1 straight up

Kosadori Kokyunage (Makikaeshi - curl and return) Extend ki through fingertips towards uke's 0.1 base of thumb to lead and drop straight down The throwing arm must seishi after throw 0.1

Kosadori, Kokyunage (Mikikaeshi Nage) Wrist moves with an up and down motion 0.1 (don't stretch arm) Throwing arm must seishi after throw 0.1 Front foot takes a half-step forward 0.1

Kosadori Kokyunage (Kirikaeshi) Redirect uke's ki at the moment it comes 0.1 (using up and down motion) Face the direction of the lead 0.1 After reversing uke's direction, drop arm 0.1 straight down Total Points 1.8

February 2005 36 Daijuni Taigi: Katatedori Ryotemochi 66 Seconds

ARTS FOR TAIGI #12 POINTS NOTES KOKYUNAGE (IRIMI) Lead uke's ki by dropping elbow down 0.1 Enter irimi from you fingertips 0.1 Throwing hand must seishsi 0.1

Kokyunage (Tenkan) While turning tenkan, turn wrist 0.1 without moving shoulder Lead uke's ki by bringing the back of 0.1 the leading hand down close to the mat Raise both arms, throw uke down with 0.1 ki and seishi

Kokyunage (Nikyo Tenkan) Raise both arms together 0.1 Take uke's hand - at the lowest point 0.1 Lead uke's wrist to shoulder with an up 0.1 and down rhythm, raise freehand up fully and send ki to apply nikyo Leap behind uke leading tenkan and pin 0.1

Ikkyo (Kirikaeshi) After completely reversing uke's ki 0.1 direction, drop arm straight down Skip forward after dropping arm 0.1 Pin must be done with both knees 0.1 down, standing on toes

Kokyunage (Zenponage) Leading hand must move in same 0.1 direction in which uke moves Skip forward and complete throw with 0.1 body movement

Kokyunage (Ballnage) Relax completely at the moment uke's 0.1 ki comes Lead with tegatana to throw 0.1 After the throw, hand returns naturally 0.1 Total 1.8

February 2005 37 Daijusan Taigi: Yokomenuchi 61 Seconds

Arts for Taigi #13 Points Notes Kokyunage (Irimi) Enter immediately (on the "N"' of 0.1 "Now") Lead partner's arm from the shoulder 0.1 Erect posture at the end of the throw 0.1

Kokyunage (Jujinage) Enter immediately (on the "N" of 0.1 "Now") Enter straight in a hanmi posture 0.1 Bring arms straight down, and straight 0.1 up and down

Kokyunage (Atemi) Enter straight into uke's chest, one hand 0.1 protects the face Fist contacts uke's lower abdomen 0.1 Thrust forward with a turning fist 0.1

Shihonage (Irimi Tobibkomi) Leap in front of uke until uke and nage 0.1 change positions completely Enter passing closely in front of uke 0.1 Turn completely to the point where uke 0.1 naturally falls

Koteoroshi (Enundo) One hand protects face when nage 0.1 enters Drop uke's wrist down as uke's wrist 0.1 rolls in Lead arm straight up and down to throw 0.1

Kokyunage (Kirikaeshi) Step back in the direction of uke's ki 0.1 and seishi Swing back uke's arm, enter close with 0.1 hanmi to uke's armpit Skip forward to throw 0.1 Total 1.8

February 2005 38 Daijuyon Taigi: Katadori 85 Seconds

Arts for Taigi #14 Points Notes Ikkyo (Tenkan) Brush partners hand down, and take ma-ai without 0.1 changing position of hand Lead arm straight up and down (elbow hand holds 0.1 lightly) Enter straight behind partner and pin 0.1

Nikyo (Irimi) Brush partner's hand down, and take ma-ai without 0.1 changing position of hand Using a vertical irimi rhythm, lead uke's hand to 0.1 shoulder while raising free hand fully and sending ki to apply nikyo Leap behind partner leading tenkan and pin 0.1

Sankyo (Tenkan) Brush partner's hand down, and take ma-ai without 0.1 changing position of hand After taking sankyo, when lowering inside arm, hand 0.1 must be placed on elbow, while leading arm down from fingertips Pin is made standing with the hand which applied 0.1 sankyo

Yonkyo (Irimi) Brush partner's hand down, and take ma-ai without 0.1 changing position of hand The forefinger of the hand applying yonkyo must be 0.1 extended straight and applies perpendicularly Pin by applying yonkyo in the position where uke falls 0.1

Kokyunage (Ushiromuki) Turn on the spot where the shoulder is grabbed 0.1 Both arms move down between legs 0.1 At the end arms come down calmly (without colliding) 0.1

Kokyunage (Ushiromuki Kirikaeshi Yokomenuchi) Lead uke's ki down 0.1 When standing, put one hand on partner's elbow 0.1 Throw him with yokomenuchi movement 0.1 Total Points 1.8

February 2005 39 Daijugo Taigi: Middle School Students 85 Seconds

ARTS FOR TAIGI #15 POINT NOTES S SHOMENUCHI IKKYO Bring uke's tegatana in 0.1 Slide straight up, then straight down, and 0.1 step in after arms are down Pin must be done with both knees down and 0.1 sitting on toes

Yokomenuchi Kokyunage (Hachinoji) Step back in the direction of ki, after 0.1 catching uke's hand, both arms open and comfortably stretched Leap straight behind uke both arms up 0.1 Bring arms straight down, lead straight up 0.1 and down

Munatsuki-Kokyunage (Zenponage) Skip back 0.1 Use up and down motion to execute throw 0.1 Face the direction of the throw and seishi 0.1

Katadori Nikyo (Irimi) Brush partner's hand down, and take ma-ai 0.1 without changing position of hand Using up and down rhythm, lead uke's hand 0.1 to shoulder, while raising free hand fully and sending ki to apply nikyo Leap behind partner leading tenkan and pin 0.1

Ushirodori Kokyunage (Zenponage) Both arms up the moment uke makes 0.1 contact Look in the direction ki leads after throwing 0.1

USHIRO TEKUBIDORI SANKYONAGE Use vertical rhythm 0.1 Take sankyo when the hands reach the top 0.1 Bring fingertips of hand down, swing fully 0.1 upwards Throwing forward keeping sankyo hold 0.1 TOTAL POINTS 1.8

February 2005 40 DAIJUROKU TAIGI: ZAGI 60 Seconds

ARTS FOR TAIGI #16 POINTS NOTES SHOMENUCHI IKKYO IRIMI Bring uke's tegatana in 0.1 Slide straight up and drop straight down 0.1 Pin with shikko (knee walk) 0.1

SHOMENUCHI TENKAN Step straight behind uke when ki moves. 0.1 Bring arms straight down and hold (Lead 0.1 from hand holding wrist, hand on elbow holds lightly) Pin with Shikko 0.1

KATADORI SHOMENUCHI Enter straight, slide up and over uke's 0.1 head with tegatana Thrust solar plexus with free hand, in a 0.1 fist Erect posture at end of throw 0.1

SHOMENUCHI KOKYUNAGE Both hands up 0.1 Brings arms down straight until uke hits 0.1 the mat Bring arms straight up and straight down 0.1

Munatsuki Koteoroshi (Katameru) Lead uke's thrusting ki without blocking 0.1 Bring arm straight up and straight down 0.1 Seishi when pinning 0.1

YOKOMENUCHI KOKYUNAGE Step in forward with one knee 0.1 Both arms up and throw 0.1 Erect posture when finishing throw 0.1 TOTAL POINTS 1.8

February 2005 41 Daijunana Taigi: Zagi Handachi 54 Seconds

Arts for Taigi #17 POINTS Notes Katatedori Kokyunage (Zenponage) Lead uke's hand down to knee when uke 0.1 comes to grab Bring arm straight up and straight down 0.1 Erect posture at the end of the throw 0.1

Katatedori Kokyunage (Kirikaeshi) Change the direction of ki at the moment 0.1 the uke's ki comes (down and up movement) Face the direction of the lead 0.1 Erect posture at the end of the throw 0.1

Shomenuchi Kokyunage Both arms up 0.1 Bring arms straight down until uke hits the 0.1 mat Bring arms straight up and straight down 0.1

Ushirokatatetori Kokyunage Lead uke's ki 0.1 When uke comes around, bow with head 0.1 down to throw Return to original posture after uke is 0.1 thrown

Munatsuki Koteoroshi Lead uke's thrusting ki without blocking 0.1 Bring arm straight down, straight up, and 0.1 straight down Seishi when pinning 0.1

Yokomenuchi Kokyunage Bring one knee back 0.1 Both arms up, then throw 0.1 Erect posture at the end of the throw 0.1 TOTAL POINTS 1.8

February 2005 42 Daijuhachi Taigi: Ushirowaza 72 Seconds

Arts for Taigi #18 POINTS Notes Kokyunage (Hagaijime) Bring head down without bending the 0.1 upper body forward Draw one arm downward 0.1 Leap behind uke 0.1 Bring arm straight down, lead straight up 0.1 and down

Ushirokatadori Kokyunage (Hikokinage - Airplane throw) Lead with both arms up 0.1 Turn rapidly 0.1 At the moment of the turn, use up and 0.1 down rhythm to throw

Ushirokatadori Kokyunage (Suikomi - suck in) Lead with both arms up 0.1 Throw arms in between legs 0.1 Using rebound of arms thrown in, both 0.1 arms up to throw

Ushirokatadori Kokyunage (Zenponage) Lead with both arms up 0.1 Going down from one point bring head 0.1 down and lightly touch the mat with fists to throw

Ushirokatadori Kubishime (Uragaeshi) Use up and down rhythm 0.1 Free hand hooks uke's elbow to lead 0.1 Keep the form of leading to throw with 0.1 seishi

Ushirokatatedori (Zenponage) Bring little finger line outward and contact 0.1 closely with uke's armpit Drop leading hand 0.1 Use up and down rhythm to lead and 0.1 throw TOTAL POINTS 1.8

February 2005 43 Daijukyu Taigi: Munatsuki 52 Seconds

Arts for Taigi #19 POINTS Notes Kokyunage (Uchiwanage Kubikiri) Lead ki from partner's shoulder 0.1 Cut partner's neck without touching 0.1 After throw, seishi looking straight 0.1 forward

Kokyunage (Zenponage Kubiuchi) The moment partner strikes enter irimi to 0.1 other side Strike back of neck with ki, using the 0.1 blade of the hand and face the direction of uke Draw back hand 0.1

Kokyunage (Uchiwanage Menuchi) Lead ki from partner's shoulder 0.1 Hit partner's face with knuckle 0.1 The moment of hit, drawback hand to 0.1 chest

Kokyunage (Irimi Sudori) Keep ki (face) forward until partner 0.1 strikes Sense and enter at moment uke's ki 0.1 moves Stand up after throw looking at uke 0.1

Kokyunage (Shomenuchi) Lead uke's ki upward by raising 0.1 fingertips straight up The body itself does not move, hit 0.1 partner's face Draw back hand above head 0.1

Kokyunage (Hantai Tenkan) Do not hold uke's hand but touch with 0.1 tegatana while doing hantai tenkan Lead uke's hand, jump behind uke 0.1 Throw by leading straight down 0.1 TOTAL POINTS 1.8

February 2005 44 Dainiju Taigi: Niningake, Sanningake, Randori 82 Seconds

Arts for Taigi #20 POINTS Notes Kokyunage Zenponage (Once) Lead in from elbows in direction of 0.1 uke's grip Move forward from one point (don't 0.1 think hands) After throw, seishi 0.1

Kokyunage Senaka- awase (Once) Lead in from elbows, in the direction of 0.1 uke's grip Make enundo movement with elbows 0.1 fully bent Make ukes line up and throw them 0.1

Kokyunage (Seiretsu) Enter from the hips 0.1 Take a big step back to the same 0.1 direction Make them line up and throw 0.1

SHIHONAGE Extend ki forward while moving back 0.1 Lead as if holding a ball 0.1 Swing both arms over the head 0.1 Turn fully before dropping arms down 0.1

Kokyunage (Seiretsu) Lower head as you turn 0.1 Throw with a vertical motion, standing 0.1 in the same position

RANDORI Do not grab or be grabbed 0.1 Keep one point 0.1 Nage finishes with command of “Hai” 0.1 and holds ukes back with ki TOTAL POINTS 1.8

February 2005 45 Dainijuichi Taigi: Tantodori 131 Seconds

Arts for Taigi #21 POINTS Notes Shomenuchi (Koteoroshi) Take uke's hand lightly from above, use up and down motion, 0.1 execute koteoroshi Take tanto away at the moment of contact, complete follow 0.1 through with tanto behind body in a ready position

Shomenuchi (Kokyunage) When uke's ki moves, step straight behind uke, use up and 0.1 down motion to throw Step around the uke and complete a full turn 0.1

Sakatemochi Yokomenuchi Irimi (Gokyo) Enter at the "N" of "Now," lead from uke's shoulder 0.1 Without moving position of uke's hand, enter behind drop 0.1 straight down and pin

Sakatemochi Kokyunage Enter at the "N" of "Now," lead from uke's shoulder 0.1 Erect posture at the end of the throw 0.1

YOKOMENUCHI SHIHONAGE Take tanto away with the hand closest to the uke at the 0.1 moment of the throw

MUNATSUKI KOTEOROSHI Lead uke's thrusting ki without blocking, use up and down 0.1 motion execute koteoroshi Take tanto away at the moment of contact, complete follow 0.1 through with tanto behind body in a ready position

Munatsuki Ikkyo (Irimi) Hantai tenkan, hold uke's thrusting hand down, use up and 0.1 down motion to throw After pinning uke, take tanto away and hold to the side 0.1

Munatsuki Kokyunage (Zenponage) Skip back, use up and down motion to throw 0.1

Munatsuki Kokyunage (Hijiuchi Menuchi) Chop uke's thrusting ki down with tegatana 0.1 Bring hand back to chest at the moment uke's face is struck 0.1 with the back of the hand

Munatsuki Kokyunage (Kaitenage) Hold uke's thrust with both hands 0.1 Take tanto away, use tanto at the back of the neck to keep 0.1 uke's head down, then throw Total Points 1.8

February 2005 46 Dainijuni Taigi: Tachitori 106 Seconds

ARTS FOR TAIGI #22 POINTS NOTES SHOMENUCHI IRIMI SUDORI KOKYUNAGE Enter straight and throw uke with up and 0.1 down motion Keep bokken calm when immobilizing uke 0.1

Shomenuchi Koteoroshi (right side only) Hold uke's hand lightly and execute 0.1 koteoroshi with up and down motion Take bokken away instantly and have a ready 0.1 posture with the bokken pointed back

Shomenuchi Irimidore (left side only) Cut with tegatana from uke's face down to 0.1 the space between both of uke's hands on the bokken After the throw, keep upper body erect 0.1

YOKOMENUCHI IRIMI Enter straight in hanmi 0.1 Alter the throw, keep upper body erect 0.1

Yokomenuchi Shihonage (left side only) Lead bokken avoiding cutting own legs 0.1 Take away bokken with your left hand above 0.1 the uke's hands and throw

Munatsuki Koteoroshi (right side only) Lead uke's thrusting ki without stopping it 0.1 and throw with koteoroshi in an up and down motion Take bokken away instantly and have a ready 0.1 posture with the bokken pointed back

Munatsuki Kokyunage (Zenponage) Throw with vertical movement avoid being 0.1 cut by bokken

Munatsuki Kokyunage (Irimi Sudori) Look straight forward 0.1 Jump into the uke's feet the moment ki moves 0.1 After the throw, stand up looking at uke 0.1

DOUCHI KOKYUNAGE Enter straight and throw with vertical rhythm 0.1

Yokobarai Kokyunage Enter at the moment the bokken points at 0.1 nage TOTAL POINTS 1.8

February 2005 47 Dainijusan Taigi: Jodori 124 Seconds

ARTS FOR TAIGI #23 POINTS NOTES SHOMENUCHI IRIMI SUDORI KOKYUNAGE Enter straight and throw uke with up and down motion 0.1 Keep jo calm when immobilize uke 0.1

Shomenuchi Koteoroshi (right side only) Hold uke’s hand lightly and execute koteoroshi with up 0.1 and down motion Take jo away instantly and have a ready posture with 0.1 the jo pointed back

Shomenuchi Irimidori (left side, only) Cut with tegatana from uke's face down to the space 0.1 between uke's hands on the bokken After the throw, keep upper body erect 0.1

Yokomenuchi Shihonage (left side only) Lead jo and avoid hitting own legs 0.1 Take away jo with your lest hand from above the uke's 0.1 hand and throw

Yokomenuchi Kokyunage (Zenponage) Catch the jo while you step back 0.1 Throw uke by hitting his back in the direction of his ki 0.1

Munatsuki Kokyunage (Tsukikaeshi) Hold jo loosely so that the uke's tsuki remains straight 0.1 The moment uke's tsuki stops, change the direction of 0.1 the jo upward and throw

Munatsuki Kokynage (Zenponage) Lead jo upward without changing the direction of tsuki 0.1 Take a step and throw 0.1

Munatsuki Kokyunage (Kirikaeshi) Hold jo and tenkan 0.1 Execute kirikaeshi and throw uke by pointing jo toward 0.1 his face

Douchi Kokyunage Enter straight and throw with an up and down rhythm 0.1

Yokobarai Kokyunage Enter at the moment the jo points at nage 0.1 TOTAL POINTS 1.8

February 2005 48 DAINIJUYON TAIGI: JONAGE 68 Seconds

Arts for Taigi #24 POINTS Notes Kokyunage Throw uke with vertical movement without 0.1 disturbing his ki Seishi at end of throw 0.1

Kokyunage (Zenponage) Lead jo upward without disturbing uke’s ki 0.1 Throw and seishi 0.1

Sakatemochi Kokyunage (Zenponage) Lead jo upward without disturbing uke's ki 0.1 Throw and seishi 0.1

SHIHONAGE Point jo straight up 0.1 The moment the jo points up, pass through and 0.1 throw straight down, seishi

NIKYO Push jo forward the moment uke tries to hold 0.1 it Move the end of jo straight down toward uke's 0.1 face and seishi

KOTEOROSHI Turn jo in a small circle inside uke's hand 0.1 Throw uke straight down and seishi 0.1

Kokyunage (Kirikaeshi) Lead uke forward 0.1 The moment uke passes, execute kirikaeshi 0.1 and point jo up Throw uke forward with a step and seishi 0.1

Kokyunage (Ashisukui) Move the end of the jo in a big circle to the 0.1 back of uke's knees Throw by swinging jo upward and seishi 0.1 TOTAL POINTS 1.8

February 2005 49 DAINIJUGO TAIGI: KENGI DAIICHI 27 Seconds (44 Seconds when combined with Kengi Daini)

Movements for Taigi #25 POINTS Notes Hold bokken horizontally with left 0.1 hand, blade underside Sit seiza, put bokken down at left side 0.1 and bow without putting hands on knees Hold bokken with seigan no kamae by 0.1 moving left foot back Left hand must hold the end of bokken 0.1 Count in Japanese in harmony with 0.1 bokken movements Tip of bokken should stay calm 0.1 Counts 1, 3, 5, & 7 should be done by 0.1 swinging up from the tip of bokken and by swinging down from one point Counts 2, 4, 6, & 8 should be done by 0.1 thrusting with whole body without bending upper body Bokken should be horizontal with tsuki 0.1 Counts 9 to 12 should be done by 0.1 swinging down from above head and by using the weight of bokken Turn one and a half times 0.1 The arm and bokken should be 0.1 horizontal when turning After turning, swing up bokken and 0.1 stay calm with left foot forward Swing down bokken calmly while 0.1 stepping back into seigan no kamae Nage must finish where they started 0.1 Hold bokken horizontally with left hand 0.1 keeping the blade underside Sit seiza, put bokken down at left side 0.1 and bow without putting hands on knees Stand up, turn to the right and walkout 0.1 TOTAL POINTS 1.8

February 2005 50 Dainijuroku Taigi: Kengi Daini 29 Seconds (44 Seconds when combined with Kengi Daiichi)

Movements for Taigi #26 Points Notes Hold bokken horizontally with left 0.1 hand, blade underside Sit seiza, put bokken down at left 0.1 side and bow without putting hands on knees Hold bokken with seigan no kamae 0.1 by moving left foot back Left hand must hold the end of 0.1 bokken Count in Japanese in harmony with 0.1 bokken movements Tip of bokken should stay calm 0.1 First movement steps with right foot 0.1 forward and cuts to the left Counts 5 & 7 should be done 0.1 swinging bokken down with one point Counts 6 & 8 should be done with 0.1 tsuki with the whole body without bending the upper body The bokken should stay horizontal in 0.1 tsuki Counts 9 & 10 should be big and 0.1 rhythmical Turn with arm and keep bokken 0.1 horizontal After turning, stop with bokken up 0.1 Swing down bokken calmly while 0.1 stepping back into seigan no kamae Nage must finish where they started 0.1 Hold bokken horizontally with left 0.1 hand keeping the blade underside Sit seiza, put bokken down at left 0.1 side and bow without putting hands on knees Stand up, turn to the right and walk 0.1 out TOTAL POINTS 1.8

February 2005 51 Dainijunana Taigi: Jogi Daiichi 38 Seconds (66 Seconds when combined with Jogi Daini)

Movements for Taigi #27 POINTS NOTES Hold jo in left armpit and keep it calm 0.1 Sit seiza, put jo down at left side and 0.1 bow without putting hands on knees Take sankaku no kamae (triangle) by 0.1 moving right foot back Hold jo lightly 0.1 One hand should always hold one end 0.1 of the jo One hand should hold jo when 0.1 changing holds Count in Japanese according to jo 0.1 movement Move big, relaxed and with rhythm 0.1 After tsuki, keep upper body erect, 0.1 there should be no space between right arm and armpit After tsuki, draw right foot to the left 0.1 foot After tsuki, pull up the jo above head 0.1 and step back to the right At count 9, pull right foot to the front 0.1 left On counts 13 & 17, strike tsuki back 0.1 after hitting down In the end, at 1 again, finish with seishi 0.1 Nage must finish where they started 0.1 Sit seiza, put jo down at left side and 0.1 bow without putting hands on knees Keep jo in left armpit calmly 0.1 Stand up, turn to the right and walk out 0.1 TOTAL POINTS 1.8

February 2005 52 DAINIJUHACHI TAIGI: JOGI DAINI 40 Seconds (66 Seconds when combined with Jogi Daiichi)

Movements for Taigi #28 POINTS NOTES Hold jo in left armpit and keep it calm 0.1 Sit seiza, put jo down at left side and 0.1 bow without putting hands on the knees Take sankaku no kamae (triangle) by 0.1 moving right foot back Hold jo lightly 0.1 One hand should always hold one end 0.1 of the jo One hand should hold jo when 0.1 changing hands Count in Japanese according to jo 0.1 movement Move big, relaxed and with rhythm 0.1 After tsuki, keep upper body erect, 0.1 there should be no space between right arm and armpit From count 12 to 14, look in the 0.1 direction of tsuki, jo should be horizontal At count 16, keep arm and jo horizontal 0.1 After turning, swing jo above head 0.1 On count 17, sweep up jo from lower 0.1 right to upper left In the end, at 1 again, finish with seishi 0.1 Nage must finish exactly where they 0.1 started Sit seiza, put jo down at left side and 0.1 bow without putting hands on the knees Keep jo in left armpit calmly 0.1 Stand up, turn to the right and walk out 0.1 TOTAL POINTS 1.8

February 2005 53 Dainijukyu Taigi: Tachi uchi 80 Seconds

Movements for Taigi #29 POINTS NOTES

Koteuchi (nage cuts to right side of uke’s body)

Migi douchi

Hidari douchi

Nodo tsuki

Shomenuchi

Hidari yokomenuchi - Migi yokomenuchi

February 2005 54 Daisanju Taigi: Shinken kokoro no ken

Movements for Taigi #30 POINTS NOTES

Shomenuchi

Hidari ashi maeuchi ushiro uchi

Migi ashi maeuchi ushiro uchi

Hidari yokomenuchi rensoku

Migi yokomenuchi rensoku

Hidari kesa ashi barai

Migi kesa ashi bara

February 2005 55