ohtsuka hironori sensei founder of wadoryu - Wado ryu Ishikawa ...

WADO NO MICHI
A.J. VAN DIJK & H. ISHIKAWA

This book is a reference for all interested in Wado Karate. Inside are over 1800 photos that show many of the techniques of Wado in detail.
What is inside?
• History and etiquette
• Mentality
• 50+ articles on the terminology, principles and martial theories of Wado karate.
• 70+ Kihon and applications
• 10 Ido Kihon
• 15 Kata including kaisetsu
• 64 Kumite
Below are some highlights of the introductions of H. Ishikawa, P. May, N. Nukina, D. Shephard and A.J. van Dijk to give you an impression of
the quality of the content and the author of this 512 A4 Wado Karate book.
“I dedicate this book “Wado No Michi” to my friend and father; Ishikawa sensei. I am convinced that this book will contribute to all
practitioners of this efficient and dynamic art.” – Hiroki Ishikawa
“Since my first meeting with him, through many gasshuku, practices, conversations, e-mails and chats, he has evolved into a karateka with
techniques and knowledge that few in Europe possess. Even though your karate practice may not reach completion within your lifetime, this
book will without doubt enlighten the way to improve your karate. ” – Nobuyuki Nukina
“This book not only gives step by step instructions to Wado, but also the reasoning behind the execution and delivery as well as the correct
mental attitude required for the techniques of Wado Ryu.” – David Shephard
“A.J.’s thirst for knowledge was apparent even in his younger years, always questioning, always probing into the deeper learnings of Wado. Over
his years of study A.J. was diligent in collecting information from many sources and studying the slightly different interpretations that can occur
within the Wadokai – Wadoryu – Wado Kokusai way. He has painlessly researched and cross referenced these differences within the three main
styles of Wado, his clear interpretations and explanations of Wado technique are clearly shown in this publication.” – Peter May
“It took me three years to write this book and have re-written it about 6 or 7 times before coming close to finalising it. Throughout this book I
have made references to Ishikawa Naoiki sensei, Sakagami Kuniaki sensei, Peter May sensei, Nukina Nobuyuki sensei and Yokoyama Kazumasa
sensei from Shorin Ryu. I have really done my best to make this book the best it could be and naturally I hope you will enjoy it very much.
Please enjoy your karate and be loyal to your sensei.” – A.J. van Dijk
© A.J. van Dijk, Ishikawa Dojo Netherlands - www.ishikawa-karate.com

This book is dedicated
to our late sensei
Ishikawa Naoki
石 川直樹

大
塚
博
紀
先
生
Ohtsuka hironori sensei
Founder of Wadoryu 和
道流創始者

Dear reader,
Thank you for your interest in our karate.
A lot has happened over the last couple of years.
As you know Ishikawa Naoki sensei passed away in
August 2008, which left us (his son Hiroki Ishikawa
and myself) with a huge gap and also a big
responsibility.
Our dojo in Gorinchem has been running since 2005
and was under the guidance of Ishikawa sensei. I still
remember that I used to train weekdays at Ishikawa
sensei’s and virtually copied his classes to do myself
on Fridays. Of course, by now I have developed my
own style, but it’s based on Ishikawa sensei’s classes.
Anyway, when he passed away it really came down
to us and we had to do everything ourselves. I can
tell you it is quite difficult if you have new students,
because you want to train on your own level but this
is difficult sometimes, because you have to instruct
easier techniques to new students. Then there are the
children’s classes. We are not sport karate based, so
our children are not raised in a dojo that emphasises
competition. Hence, we want to teach them real
karate. The usual methodology is boring for kids, so
we had to do something about it, but still teach them
real karate.
The solution we found has now been realised, which
is a curriculum that uses Wado techniques, but is more
adaptable to children’s classes of real karate. This
curriculum contains Ippon gumite, Goshin jutsu and
partnered Renraku waza and of course basics and
kata. We wanted to make a book of this but soon
realised that we could add this and that as we were
busy anyway. This lead to the fact that Hiroki
proposed to make a “Way to the Black Belt” book as
his father did a couple of times.
However, the same effect occurred and I thought that
if you do Kihon Gumite 1 - 4 then I might as well do
1 - 10. I then decided to just do our whole curriculum
and had to drop the original idea of the children
curriculum because the amount of pages just became
too much. I ended up writing this book of more than
500 pages. It took me about 3 years to complete it.
It was fun and I learned a lot, but it was frustrating
at times as well. Sometimes I just got stuck writing
for one reason or another. My students have helped
and encouraged me to keep writing. I remember I was
teaching Niseishi and one of my students asked me
a question about a movement. I explained it to him
and realised that I did not write that in the book yet.
So I could get back to continue writing. I think I have
re-written the whole thing about six or seven times
before getting close to finalising it. I know that when
I read this book in a couple of years I will say “Ahh! I
should have added this or that”, but I guess it will be
minor issues. I have to let it go now and just hope that
you will enjoy everything I have written because this
is my karate.
Throughout this book I have made references to
Ishikawa sensei, Sakagami sensei, Peter May sensei,
Nukina sensei and Yokoyama sensei from Shorin Ryu.
I asked them for permission and here and there I used
their explanations for several techniques. I learned
this from them and I understand and can do that
physically because of my training and experience.
Hence, I wrote it myself and not always mentioned their
names out of convenience. I would like to thank all of
them for their efforts that have helped me making this
production possible.
Last but not least there is my friend and a fellow
Wadoka David Shephard, student of Frank Johnson
(who has been a student of Sakagami sensei since
the early 1970’s and also the late T. Suzuki sensei) for
proof reading the book. As you can imagine, proof
reading over 500 A4 is not an easy task. Hence, I
would also like to thank him for his assistance.
I have really done my best to make this book the best
it could be and naturally I hope you will enjoy it very
much. To conclude, I would like to say that our dojo,
seminars and summer camps are open to all who are
interested to learn from my sensei, my friend Hiroki
Ishikawa and myself.
Please enjoy your karate and be loyal to your sensei.
A.J.van Dijk

Sensei N. Ishikawa +1942 - 2008.
I dedicate this book “Wado No Michi” to my friend and father; Ishikawa
sensei. His immense love, persistence and discipline for Wado Karate
in its many facets convinced me to publish this book together with my
colleague A.J. van Dijk. My fathers energetic contribution to karate is both
nationally and internationally admired and deserves all commendation.
I am very happy that this book “Wado No Michi” is published and that it is
now available for everybody. A book for Karateka’s and all that are
interested in this dynamic style of karate. I would like to thank all people
that have helped realise this book for their contribution and dedication,
especially A.J. van Dijk.
Every day I am still grateful that my father teached me Karate from my
sixth year onwards. As a child, I had to do the heavy basic Ido kihon
training that I had to repeat again and again. I have a pragmatic mentality
and this is something you can see in my karate. Basic skills are extremely
important and I use these often during my instruction lessons in the dojo.
For me, karate is a life style and it has formed me to the person I am today.
Next to my work in the dojo, I work for the Dutch police organization. In
this work I can put my karate knowledge and skills into practice.
Whatever the future may bring us, I have good
hope for the further developments in Wado Karate.
Hereby, I would like to express my wish that my
two sons follow in the footsteps of their father and
especially their grandfather: karateka’s in heart and
soul. In any case I will follow my father’s example.
I am convinced that this book will contribute to all
practitioners of this efficient and dynamic art.
Lastly I wish you a lot of reading pleasure!
Hiroki Ishikawa. Rotterdam, Netherlands
The first book written in English about wado karate was published in 1965 by the late Tatsuo
Suzuki 8th dan Hanshi. Prior to this publication the only books printed on Wado were by
the founder Hironori Ohtsuka which were written in the Japanese language. The founder’s
book on Wado kata was later translated to English but left a lot to be desired with incorrect
translations.
I have followed the Wado way since 1969 and believe Wado karate is probably the least
published in all the styles of karate. I can never understand why more experienced
practitioners of Wado have not published their works and experiences. I have often heard is
said by the Wado Hierarchy “you cannot learn Wado from a book; the only way is by correct
diligent practise”. This is true on many levels, but I feel everyone needs written reference to
progress; our studies in Wado have to be physical but also supported by the written word.
I first met A.J. van Dijk many years ago at a Federation of European Championships which
was held in London, England. He was competing and traveling with his long time teacher
Ishikawa sensei. A.J.’s thirst for knowledge was apparent even in his younger years, always
questioning, always probing into the deeper learnings of Wado.
A.J.’s teacher and mentor Ishikawa sensei sadly passed away 4 years ago. This passing greatly
affected him and for a while his direction in Wado was suspended in a state of uncertainty.
He finally decided, after a lot of deliberation, to follow the Wadokai way and along with the
teaching of Nobuyuki Nukina sensei and the mentoring of Kuniaki Sakagami sensei
refound his direction.
Over his years of study A.J. was diligent in
collecting information from many sources and
studying the slightly different interpretations that
can occur within the Wadokai – Wadoryu – Wado
Kokusai way. He has painlessly researched and
cross referenced these differences within the three
main styles of Wado, his clear interpretations and
explanations of Wado technique are clearly shown
in this publication.
We have a saying in England “everyone who has
lived has a book with in them”. I for one applaud
A.J’s book and feel this will be the first of many on
the Way of Wado.
Peter May. UK

I first met the author, A.J. van Dijk, through the late Ishikawa Naoki Sensei who
resided in the Netherlands. At the time, he was a fledgling high-school teacher,
and my first impression of him, if put nicely, was that he was a passionate and
knowledgeable young man, with an overwhelming desire to learn. In a negative
way, he could be seen as a big-headed maniac, whose techniques had not caught
up with his abundant knowledge, a fact which he tried to cover up with theories.
Since my first meeting with him, through many
gasshuku, practices, conversations, e-mails and
chats, he has evolved into a karateka with techniques
and knowledge that few in Europe possess. This
book summarises the techniques and knowledge
that he has acquired through passion and soul.
From my point of view as a Japanese man, Japanese
acquire skills by feeling their sensei’s movement
using their five senses, in practices as well as in
everyday life. While gradually internalising the
movements, they also constantly repeat and
eventually master the technique. Westerners, on
the other hand, have a tendency to master by
understanding the theory behind the movement first, followed by physical practice.
From that respect, the author has benefitted from the ideal combination. He had
years of training under Naoki Ishikawa Sensei, practising with the five senses,
but in the same time was always deepening his theoretical knowledge. Hence, he
should have many clues to bridge the gap between practice using the five senses
and theoretical understanding.
A European karate friend of mine once said: Karate training is like a jigsaw
puzzle. Each technique, or each piece of the puzzle (training with the five senses),
when given a certain clue, approach or theory, will gradually start hinting to the
image of the jigsaw puzzle. Following further practise along these principles will
clarify the whole picture, and lead to the completion of the puzzle.
Even though your karate practice may not reach completion within your lifetime,
this book will without doubt enlighten the way to improve your karate. Praying
for the further development of Wado Karate.
Nobuyuki Nukina. Bucharest, Romania
It is with great pleasure that I write an introduction to this book on Wado Ryu
by my good friend AJ van Dijk. Wado Ryu as a karate style is unique in that it
has its roots in Japanese koryu budo and as such it has very different principles
and perspectives to many of its techniques and kata than that of its Okinawan
counterparts.
There are many books on the market on karate but not very many on Wado Ryu.
This is because of the complexities of the subject and it is certainly not an easy
task to put those complex issues into writing in an easy to understand coherent
manual. AJ set himself that task 3 years ago and this book is the end result. I
think he should be proud of his work. This book not only gives step by step
instructions to Wado, but also the reasoning behind the execution and delivery
as well as the correct mental attitude required for the techniques of Wado Ryu.
I know AJ will be the first to
advise that any karate book can only
ever be an ‘aide memoir’ for the
karateka’s training. There is simply
no substitute for dojo time with a
good sensei. But I sincerely hope
that this book will go some way in
helping the reader in their journey
along the Wado road.
I wish all readers well in their
training and endeavours.
David Shephard
Shropshire, UK

HISTORY
What is karate? 8
History of Wadoryu 8
History of N. Ishikawa sensei 9
REISHIKI
Musubikata 12
Reishiki 13
Tachi rei 13
Za rei 14
MENTALITY
Mentality 15
KIHON
Purpose of Kihon 20
Kamae 20
Nukeru 20
Itsuki 20
Koshi 21
Hiza no nuki 21
Ukimi 21
Vertical dropping 21
Kime 22
Momentum 22
What is seichusen 22
Gravity 23
Connected body movement 23
External muscle 23
Internal muscle 23
Ten Chi Jin 23
TACHIKATA
Musubi dachi 26
Heisoku dachi 26
Shizentai 26
Hidari shizentai 26
Junzuki dachi 27
Gyakuzuki dachi 27
Tsukkomi dachi 27
Kokutsu dachi 27
Shomen neko ashi 28
Hanmi neko ashi 28
Mahanmi neko ashi 28
Shiko dachi 28
Nagashizuki dachi 29
Naihanchi dachi 29
Yoko Seishan dachi 29
Tate Seishan dachi 29
Hanmi dachi 30
Heiko dachi 30
Moto dachi 30
Gyaku neko ashi dachi 30
SHIYO BUI
Seiken 32
Tettsui 32
Uraken 33
Shuto 33
Nukite 34
Hiraken 34
Haito 35
Teisho 35
Hitosashiyubi ipponken 36
Oyayubi ipponken 36
Nakadaka ipponken 36
Koken 37
Hirabasami 37
Kumate 38
Koko 38
Nekote 39
Shishu 39
Koshi, Maegeri 40
Haisoku, Mawashigeri 41
Sokuto, Sokutogeri 42
Kakato, Ushirogeri 43
Gesokutei, Mikazukigeri, 44
(ushiro) Uramawashigeri 45
Hiza, Hizageri 46
UKE WAZA
Jodan uke 48
Gedan barai 49
Uchi uke 50
Soto uke 51
Shuto uke 52
Nagashi uke 53
Osae uke 54
Harai uke 55
Kake uke 56
Teisho uke 57
Otoshi uke 58
Tettsui uke 59
Hiji uke 60
Hirate uke 61
Juji uke 62
Haishu uke 63
Sukui uke 64
Hasami uke 65
Tsuki uke 66
IDO KIHON
Introduction to ido kihon 68
Presentation of techniques 68
Ayumi ashi 68
Tsugi ashi 68
Surikomi ashi 69
Yori ashi 69
Hiki mae ashi 69
(kette) Junzuki 70
(kette) Gyakuzuki 72
(kette) Junzuki no tsukkomi 74
(kette) Gyakuzuki no tsukkomi 76
Tobikomizuki 78
Tobikomi-nagashizuki 80
KATA
Purpose of kata 84
Kata kaisetsu 84
Presentation of techniques 85
Centre line shifting 85
Pinan Shodan 87
Pinan Nidan 99
Pinan Sandan 111
Pinan Yondan 123
Pinan Godan 141
Kushanku 155
Naihanchi 183
Seishan 201
Chinto 221
Jitte 245
Jion 259
Rohai 283
Bassai 297
Niseishi 319
Wanshu 339
KUMITE
Formally opening and closing
yakusoku gumite 360
Torimi and Ukemi 362
Maai 362
Mazakai 362
Kiai 362

Ichi Go Ichi E 362
Machite Kakete 362
Sente 362
Go no sen 362
Sen no sen 363
Sen sen no sen 363
Suki 363
Hiki komi 363
Shikaku 363
Metsuke 363
Zanshin 363
Kokyu 363
San mi Ittai 364
Ten I 364
Ten Tai 364
Ten Gi 364
Nagasu 364
Noru 364
Inasu 364
Meotode 364
Irimi 364
Otosu 365
Kuzushi 365
SANBON GUMITE CHUDAN UKE
Ipponme 368
Nihonme 370
Sanbonme 372
Yonhonme 374
Gohonme 376
Ropponme 378
Nanahonme 380
Hachihonme 382
Kyuhonme 384
Jyupponme 386
SANBON GUMITE JODAN UKE
Ipponme 390
Nihonme 392
Sanbonme 394
Yonhonme 396
Gohonme 398
Ropponme 400
Nanahonme 402
Hachihonme 404
Kyuhonme 406
Jyupponme 408
SANBON GUMITE MAEGERI UKE
Ipponme 412
Nihonme 414
Sanbonme 416
Yonhonme 418
Gohonme 420
Ropponme 422
Nanahonme 424
Hachihonme 426
Kyuhonme 428
Jyupponme 430
OHYO GUMITE
Ipponme 434
Nihonme 436
Sanbonme 438
Yonhonme 440
Gohonme 442
Ropponme 444
Nanahonme 446
Hachihonme 448
Kyuhonme 450
Jyupponme 452
KIHON GUMITE
Introduction and analysis 456
Ipponme 458
Nihonme 460
Sanbonme 462
Yonhonme 464
Gohonme 466
Ropponme 470
Nanahonme 472
Hachihonme 474
Kyuhonme 476
Jyupponme 478
TANTO DORI
Ude garami dori 482
Kote nage dori 484
Unga dori 486
Eri nage dori 488
Zu dori 490
Hiki tate dori 492
Hiki otoshi dori 494
I DORI
Te dori 498
Zu dori 500
Ashi dori 502
Hiki dori 504
Hijite kansetsu gyaku tori nage 506
Gozen dori 508
Shumoku dori 510

Kakato 踵
Like sokuto, kakato is a very
hard part of the body and it
can be used for stamping and
thrusting actions. The most
common technique that uses
kakato is ushirogeri, which is
without a doubt the hardest
technique. For maegeri, there is a
thrusting version called kekomi.
The heel is then also used to
attack. Ura mawashigeri, can
also be performed using the
heel. Another way to use is
stamping on the feet of the
opponent, which is very
effective if you are grabbed.
shiyo bui
使用部位

Uchi uke 内受け
When practicing uchi uke in a large
movement, open the arm with the
palm at least facing forward. Move the
arm inside focusing on the movement
of the elbow, while keeping the arm
‘standing up’. Finally, twist the wrist
sharply to assist the action of the
elbow and execute uchi uke. The fleshy
part of the inside of the arm should
be used. According to Ishikawa sensei,
originally Wado only had jodan uke.
Jodan uke is more difficult to execute
then chudan uke, so practice jodan uke
as a matter of habit when doing your
basic practice. Jodan uke refers to all
uke waza occurring above the chest.
uke waza
受け技

Junzuki 順突き
After rei, assume shizentai by opening the left foot first, followed by
the right. Grip the fists lightly. The reason to move both feet is to
maintain seichusen. Of course, this is especially true if you are facing
an opponent. The arms should hang relaxed by the sides. This kamae
is taken for several reasons. This is the most natural position for
simply standing. Hence, the body is relaxed and ready to attack. At
the same time, the back is hard like a turtle’s shell. The side of the
body, which is naturally weaker, is protected by the arms. It is also
unclear from what direction an attack will come from. Hence, you
have to consider any direction and not just in front of you. Of
course, ideally you always face the opponent. Hence, the arms should
just hang relaxed by the sides. Inhale as you lift your centre and move
the body forward by pushing koshi first slightly (intent) and strike
sharply with the left fist as you drop into hidari gamae. As you do
kime, drop the shoulders and lower your centre internally as you
squeeze the Jin area. Don’t prepare the position of the fists, strike
from the hanging position.
Ido kihon
移動基本
Move the body forward as if carrying the
body forward. Push koshi forward and use
hiza no nuki to facilitate this. Keep the
upper body erect and most of all do not
lead with the head first. Imagine having a
rope around your back and someone is
pulling you forward. The left fist should
protect seichusen and is maintained with
required energy. Please understand this
keeping seichusen with the left fist is not the
same as just holding it there. Although it is
not the fist that moves the body, I can say
that you should lead with the left fist. Hence,
the left fist has an active and alive role to
play. It is as if you are pushing through
seichumen with the left fist as you move
your body.
Execute chudan junzuki. When you apply
kime, which should happen before your body
stops moving, apply nukeru instantly and leave
your potential in the opponent and to be ready
to react immediately. Another point is that of
tachikata. A stance is simply the consequence
of your body movement, as Sakagami sensei
explains it. Or in my words, it is the end of
the process of the movement. Hence, in my
opinion it is not really of use to say that feet
have to point here or there. For example,
a common error is to point the front foot
inward. This means there is too much
rotational movement, which can be caused
by several things. You should look for the
elements that create that consequence and
correct the process, instead of correcting
stance after the process has finished.

Pivot on the left foot and open the kamae, left shuto and right fist. This is a
transition. Hence, do not intend to turn, but intend to enter towards the
opponent behind you and therefore turn. Continuously, move the whole body
at once and let the left and right hand meet in front of the body in order to
distract the opponent. This is called neko damashi 猫騙し. Lift the knee until it is
horizontal to the floor, with the toes pointing forward. Maegeri is implied here.
In Sumo, there is also neko damashi to distract the opponent. Neko means cat
and damashi means to lie or deceive. For example, you are playing with a cat
using some toy, you are actually lying and deceiving the cat as you intend to trick
him. This kind of movement has the same meaning. You should try to fool the
opponent and misdirect his attention to create suki.
kushanku
クーシャンクー
Drop the body quickly by dropping all of your power instantly and especially the
tension in the supporting leg. The left foot should not have moved from its position.
Both feet should be in tsumasaki dachi (ryo ashi tsumasaki dachi). Let the fingertips
only touch lightly, so do not lean on your hands. Weight should be mainly on the
ball of the foot. Make sure to point the fingers inwards. In this case the elbows have
room to bend in case of an accident. The position of the hands and feet should
occur naturally. Hence, the arms should hang about straight out of shoulder line,
due to hanging relaxed and the right foot drops just were you land. This will be a bit
to the right with your knee pointing outside slightly. Rise and open the body to the
left while pulling the left foot into mahanmi neko ashi dachi by koshi o kiri. Execute
jodan shuto uke. The right foot should only pivot. The centre of gravity should
move upwards as if being stuck in the vertical dimension as much as possible. The
dynamics of how to rise are identical to the other dropping and rising movements
from Kushanku. Pull the upper body up and move koshi below the upper body. Do
koshi o kiri on the left hip to pull the left foot into mahanmi neko ashi dachi.

kushanku
クーシャンクー

Continuously, move the body
forward over the vertical centre
line and execute chudan haito uchi.
Make sure to rotate and snap the
wrist, transfer energy accordingly.
Remember that a transfer of
energy is a fine and precise art.
Include sharp snapping actions
of the wrist to increase your
momentum. Use a mahanmi dachi
here. Instead of haito, you could use
chudan uke, uraken or jodan uke as
well. Hence, techniques should be
able to transform. To move properly
in the first place, attention should be
paid to the supporting leg. Use hiza
no nuki and vertical dropping.
Move the body to the left and
enter shiko dachi, while executing
jodan teisho uchi. The style of the
hands changes rapidly in this kata.
Of course, you have to move with
your whole body. In this case, do not
think of stepping with your right
foot. Rather, fully intend to execute
jodan uchi. If your jodan uchi has
the intention to penetrate the head
of the opponent, it is likely that
your body will move more smoothly.
However, the opposite may occur.
This all depends on your level of
skill. Ask your sensei what is
most suitable advice for your
karate.
Jitte
ジッテ
Move forward and execute another
jodan teisho uchi. Use shiko dachi
for this movement. Shiko dachi
allows for avoiding attacks by being
a mahanmi posture, as well as
positioning the opponents at the
sides. As you move, keep jodan
kamae and protect seichusen. The
feeling of the body movement
should be similar to Pinan Nidan
nukite. Hence, become shomen
during the transition and open
the body at the last split second as
you enter shiko dachi and execute
jodan uchi. Some sensei use
mawashi teisho uchi, we attack in a
straight line.
Move forward and execute another
jodan teisho uchi using shiko dachi.
The left fist is pulled to the side of the
chest and should be a fist, not teisho.
Although kaisetsu on the next page
only shows positioning and nagasu,
the change from teisho to a clenched
fist should be properly explained.
A meaning is to take hold of the
opponent, control him and pull him
off balance towards your attack.
Hence, it is not merely to create
power. Also, as I explained, there is
a reason for hikite being a clenched
fist instead of also being teisho.
Ishikawa sensei always said: “there is
always a reason”.

Jitte
ジッテ

Lower jodan gamae to chudan gamae, inviting the
third jodanzuki. Lower kamae to the inside of the
imaginary line that the jodanzuki travels, in order to
end up on the inside. Don’t twist the body yet and
don’t move the right fist. The body may be dropped
and the front foot (body) may enter to correct
distance if appropriate (when executing urazuki)
Hence, in order to control the distance you can use
vertical dropping to stop the backward movement.
sanbon gumite jodan uke
三本組手 上段受け
Continuously, execute jodan haishu nagashi uke and
urazuki simultaneously. Tilt the upper body backwards
slightly if necessary. Use shiko dachi to become
mahanmi. Nagashi uke parries the attack in the
original direction, this is the setup for urazuki. If the
attack was deflected, the urazuki would probably miss
its target. Therefore, by using this nagashi uke you are
positioning Ukemi to receive urazuki. Create Ichi Go
Ichi E and stay one step ahead of the opponent.
Without losing contact with Ukemi’s right arm, slide
the body forward and execute enpi. Make sure not
to raise the heel and keep the body upright. Hence,
attack with the whole body. Change the body from
mahanmi to shomen, harmonise the rotational
movement. Move sharply and thrust left koshi
forward to move and direct enpi into the opponent.
Do not step with the foot and follow with the body.
Move with the body and initiate from koshi.

ipponme 一本目
From musubi dachi, open the stance into shizentai
or engage into kamae immediately. It does not really
matter what stance to use before moving into kamae,
as long as the stance of both Torimi and Ukemi is the
same.
In this case, it is hidari ai gamae. Torimi moves
forward and Ukemi moves backward.
OHYO GUMITE
応用組手
Torimi moves forward to execute jodanzuki. The
posture should be a little tsukkomi. Ukemi responds
to this attack by doing an ayumi ashi and eventually
executes shuto nagashi uke. Ukemi should tilt the
upper body backwards due to pressure created by
Torimi. Actually, try to force Ukemi to suffer itsuki
in the left leg. This pressure is there from the initial
of engaging into kamae. From that point, your body
should not move back or increase maai in any way. Of
course, move forward by pulling the whole body as
you do hiza no nuki to facilitate this action. Maintain
a matter of calmness inside the body as you travel
as quick as possible. As you move forward, protect
seichusen with the left kamae. Not by extending the
arm, but by entering with the body. Keep in mind that
the intent should be to attack, but also that you should
be ready to adapt and react to any sudden change.
Of course this is a kind of yakusoku gumite so both
should follow the form. However, in ohyo gumite you
are allowed (this is also agreed upon) and expected (for
higher grades) to experiment with other techniques.
Continuously, move forward using tsugi ashi and
execute chudan gyakuzuki. Your centre should keep
moving forward, in order to reach the opponent when
executing chudan gyakuzuki. You have to correct
the distance after jodanzuki. Ukemi will most likely
respond to your attack in some way, so maintain the
dynamic in your movement to follow the opponent
and to change your movement if necessary. What is
most important in this technique is that you can attack
different levels (jodan and chudan) without
interruption. Hence, you need to control your own
body as well as continuously trying to control maai.
You have to think about attack the whole time,
while not forgetting about protecting your body.
Protecting meaning the same as protect to attack. Not
protect to withdraw. Similar to avoid to attack and
not escape to run away. If the opponent attacks with
left jodanzuki for example, drop the body and strike
him in the groin with your right hand.

After executing gyakuzuki, drop your power instantly
and cover Ukemi’s kamae with your left hand while
correcting the distance for ashi barai with your right
foot. Make sure not to pull the body away from
Ukemi, keep applying pressure forward and stay close
to Ukemi. If you increase the distance too much you
are allowing Ukemi too much freedom to move. Of
course, there is always some freedom unless you are
tied to a chair. However, you have to give Ukemi the
feeling that he is tied to a chair. You should own the
maai. Imagine Ukemi attempts to do uraken, then you
control him with your left hand for example and still
continue with ashi barai. Or, control and push (or
take hold) with your left hand and execute chudanzuki
with the right fist possibly followed by kingeri with the
right foot. There are always almost endless variations
that you can think of, but keep in mind that Ukemi has
this ability as well. Of course, in jiyu gumite Ukemi
tries to control the maai as well and in his mind he is
Torimi.
OHYO GUMITE
応用組手
Continuously, while guarding seichusen and controlling the opponent, execute ashi barai. Create Ichi Go Ichi E
and destroy Ukemi’s posture. When training Ukemi often thinks ahead if he knows what is going to happen and
adjusts his movement. Avoid those situations as that is a counterproductive action. Although you should aim to
destroy Ukemi’s balance and position him in order to deliver a strong punch, Ukemi might respond in another
way than expected. Of course there are some body mechanics (and laws of nature) that are the way they are,
but when somebody is scared or makes a sudden move, things might turn out differently than expected. Hence,
in this situation you have to be ready to punch or kick. To try another kind of ashi barai or do anything that puts
you in charge and not the opponent. In my opinion, these forms are not really necessary to practice, but the
concept is. To allow your body to freely adapt, you have to practice. This will give you the experience you need.
Continuously, use the momentum of lowering ashi barai and execute gyakuzuki. This will probably become
tateken due to the distance. Make sure to strike the lower ribs. If Ukemi turned to far to strike the ribs, practise
to position him better. However, at that time execute haito uchi or mawashi hizageri if appropriate. Remember
that ohyo gumite is a dynamic practice. Finally, push Ukemi away with your left hand to make him turn around
becoming left hanmi. You should move back into right hanmi, so you can continuously practice nihonme. All
10 ohyo gumite can be practiced continuously in this way.

ipponme 一本目
From musubi dachi, both engage in migi hanmi chudan gamae. Ukemi
should step forward and Torimi backward. Ukemi corrects the distance
using nijiri ashi and explores weak spots in Torimi’s kamae. Torimi adjusts
his kamae to draw Ukemi’s attack. Ukemi executes jodan tobikomizuki.
The intent should be to knock Torimi out with one blow. Hence, Ukemi
has to execute jodanzuki with full effort, with kime and aimed at the correct
target on realistic distance. Only in this way, practice becomes useful.
Torimi has to feel the attack is if being a real threat. If this is not the case,
the practice serves no real purpose. The real distance is to aim for the back
of the head of Torimi. However, do not follow the movement of Torimi
because you know what he is going to do. Do it because you try to punch
with a purpose. Similar in life, progress is only made if development
is approached with proper focus and conscious thought, minding the why
and how of things. People that merely follow blindly are unlikely to really
progress and make a difference in society. Torimi moves his body
slightly diagonally backwards to the left, off seichusen in order to change
position (Ten I). Jodanzuki should still hit the body at this stage. Hence,
stay close to the opponent. Simultaneously, twist koshi and the upper
body slightly but sharply to the left (Ten Tai). At this point the attack
kihon GUMITE
基本組手
should barely pass the body. Use the momentum to execute jodan nagashi uke (Ten Gi).
The upper body should be involved to increase force and stability. The involvement of the
upper body is not really rotational. It is a short sharp burst done slightly to the left. Nagashi
uke follows the movement of the body and together they manipulate the posture of Ukemi,
as a basic principle. This is a principle of attack, not defence. The position should be a
distance for attack, not escape. The right leg should follow the body and the stance or
kamae should be favourable in order to move in any direction. Although the right leg should
follow the body, it should not be dragged or merely follow the body because the leg is
attached. This kind of consideration is inadequate. You have to connect your leg to koshi and
pull it as the body moves. Explanation on closing maai is done at Kihon Gumite Nihonme.

ude garami dori 腕絡み捕り
Initially facing each other in musubi dachi, Ukemi
enters into hidari hanmi gamae while drawing the
knife and hiding it behind his leg. Some sensei teach
to show the knife, which is fine too. The saya can be
used to attack as well. Hence, this is kamae. Please
consider that you can use the saya to i.e. protect,
control and stab the opponent. You can even throw
the saya to Torimi’s face to distract him and create
Ichi Go Ichi E. Please bear in mind that you can also
kick or punch the opponent while holding a knife.
Kata should be alive. Hence, Torimi should consider
that Ukemi could do anything, not just attack with the
knife. All our tanto dori are done with Torimi being
hidari gamae. Please note, some sensei practice with
migi gamae. You should be able to do both ways. In
case of Torimi being migi gamae, Torimi should use
ayumi ashi to cover the distance and execute the first
movement.
tanto dori
短刀捕り
Ukemi moves forward, raises his right arm with his elbow close to his head and attacks with jodan uchi, cutting
straight down from above. The dynamic of the elbow in the attack is similar to Pinan Nidan move 4 and Pinan
Shodan move 2. Ukemi’s attack will generate more power as it comes down. Hence, Torimi should intercept
the attack before Ukemi has a chance to generate this power. As Ukemi raises the knife his state is weak but
unpredictable. It is very difficult to tell whether the attack will come straight down or in an angle. Hence, as
Ukemi intends to cut down from above, it is time for Torimi to enter and execute osae uke, which is a state of
power. At the same time, it does not matter whether Ukemi had planned jodan uchi or yokomen uchi. Torimi
enters deeply in a slight diagonal to the left in order to change his centre line. Simultaneously, break Ukemi’s
posture instantly with jodan uke. Like eri nage dori, it is important to break Ukemi’s posture and stop the attack
before the attack gains speed and power. Jodan uke is also an attack to the vital point located near the elbow
joint, so transfer your energy and the point of contact. After contact, keep pressing in order to control Ukemi’s
posture. This is osae uke. Without losing pressure, execute chudanzuki (function of kariate) to break Ukemi’s
posture.

tanto dori
短刀捕り
Without losing pressure and without
moving your centre away from the
opponent, pull the left foot backward
and move the right foot forward.
The legs move in a connected
manner, not by stepping with the feet.
Contact the outside of Ukemi’s
upper leg with your leg, control
the opponent. Simultaneously, move
the left arm up to take hold of the
opponents wrist and grab the inside
of the opponents forearm with your
right hand. Move the right hand down
to the left and move the right elbow
upwards to the right forcefully to
apply the shoulder lock. Ukemi
should rise on his tip toes. The
direction to lock the shoulder is
actually the direction to destroy the
shoulder. Also, this is the direction
to force the opponent to the ground.
The way you bring your opponent
to the ground depends on the
necessity. You can either take the
opponent down under your control,
without actually destroying the
shoulder, and pin him on the ground.
Practically it is probably advisable
not to spend too much time with the
opponent. Hence, destroy the
shoulder quickly and instantly in
order to continue to the next
opponent if necessary. ‘Unwrap’ your
right arm without letting go of the
wrist. Then push Ukemi away from
you and increase maai.

te dori 手捕り
After rei, Ukemi closes the distance by leaning
forward, then places his fists on the floor. Finally he
pulls his body forward and sits straight up again. Repeat
until you feel you have the right distance to attack. In
this case, Ukemi is about to take hold of the both wrists
of Torimi. In idori, closing maai is always done like this.
1
2
3
idori
居捕り
Ukemi rises and moves forward from the hips
and ‘sits up’ with his left knee and tiptoes on
the ground having right foot flat on the ground,
knee pointing up. Ukemi takes hold of Torimi’s
wrists. Do not interpret this technique to be just
how to learn to deal with an attack when both of
your wrists are grabbed. This is to explore how to
manipulate Ukemi’s posture. Naturally, this is not the
end of Ukemi’s movement.
4 5
Cut your wrists upward and to the sides, as a flower
that opens in the morning. At the same time
push from the centre. Hence, initiate from tanden.
This is not only to loosen the grip, but also to feel the
opponents energy and weight being used in what
direction. Like jiyu gumite, you have to feel your
opponent. A variation is to open to the left
immediately as pictured on the bottom right on the
next page.

Continuously, rotate the left wrist outwards, take hold
of Ukemi’s wrist and do a hikite on the left hand,
pulling to the hips. At the same time, move the body
forward and ‘stab’ next to Ukemi’s face. This could
be atemi as well. Make sure to break Ukemi’s posture
and weaken or release the grip. Ukemi should keep
trying to maintain the grip. Letting go should result
in receiving a blow.
idori
居捕り
6 7 8
Contact the side of Ukemi’s face with your right hand,
twist the body to the left and push Ukemi down. Don’t
just pull behind the neck, because then Ukemi can slip
out easily. It is actually a combination, so you should
push Ukemi’s face to the right while pulling behind
the neck. The left fist should maintain the grip, keep it
close to the body, where you are naturally stronger. Of
course, you could do atemi. That is hidden however.
Still maintaining the grip of the left hand, finish with
shuto to hana. Variations of Idori include a joint lock
to the elbow. In our regular practice this is hidden.
Ishikawa sensei used to say that every movement in
kata contains hidden movement. He was referring to
techniques that where either not performed in regular
practice or ohyo of the techniques performed. Hence,
he also used to say “anything is possible”. The usual
explanation for using shuto is that it symbolises a
short sword or dagger that samurai carried and used
in the old days. According to Sakagami sensei, it is also
“hin”. Hin means grace. “Hin ga nai” is not graceful
or not polite as you insult or embarrass the one on
the floor when using a fist to finish, or even worse, to
pretend to stamp on him. Of course, practically that
would be quite effective. However, we have to keep in
mind that our eventual aim is to create peace and that
we should learn how to behave properly in society.

We hope you have enjoyed our book and that you use it as a reference
in your training. Nevertheless, please be loyal to your sensei and practice
accordingly. You are always welcome to train in our dojo or join our
summer camp and seminars.
We would like to thank all listed below for their assistance and patience that
made this production possible.
Teachings, advisory and contribution
• N. Ishikawa sensei
• K. Sakagami sensei
• K. Yokoyama sensei of Shorin Ryu
• P. May sensei
• N. Nukina sensei
Japanese texts
• N. Nukina sensei
• S. Berghianu
• A. Berghianu
Written content, editing and layout
• A.J. van Dijk
Native speaker proofreading
• D. Shephard
Publisher
• PrintSupport4U - www.printsupport4u.nl
Special thanks to the loyal members of Ishikawa Dojo.
Best regards,
A.J. van Dijk & H. Ishikawa