History Of Aikido

合 - ai - joining, harmonizing
気 - ki - spirit, life energy
道 - do - way, path

Aikido was created by Morihei Ueshiba (植芝 盛平 Ueshiba Morihei, 14 December 1883 – 26 April 1969), referred to by some aikido practitioners as Ōsensei ("Great Teacher"). The term 'aikido' is a generic term coined in the twentieth century. Ueshiba envisioned aikido not only as the synthesis of his martial training, but as an expression of his personal philosophy of universal peace and reconciliation. During Ueshiba's lifetime and continuing today, aikido has evolved from the Aiki that Ueshiba studied into a wide variety of expressions by martial artists throughout the world.

Aikido is both an excellent form of physical exercise and self-defense. The study of Aikido technique teaches smooth, balanced, and coordinated movement in a non-competitive, cooperative atmosphere. During classes and training sessions students strive with one another to refine their movements and further their understanding of Aikido principles. The practice of Aikido combines the training of the mind, body, and spirit in a single unified discipline.

Aikido may be translated as "the way of harmony with universal energy." Budo (martial arts) are often misrepresented as fighting. In reality, the Japanese character for budo represents the stopping of swords, or peacemaking. In our Aikido program we continue with the original concept of peacemaking and harmony -- allowing students to enjoy a life of peace from a foundation in this traditional martial art. Developing self-control and self-discipline, the ability to focus and concentrate, listening skills and the ability to follow directions, independence and leadership skills are all part of this program.

Physical training
In aikido, as in virtually all Japanese martial arts, there are both physical and mental aspects of training. The physical training in aikido is diverse, covering both general physical fitness and conditioning, as well as Closing Class Etiquette

Tai no henko (Body Shifting)

ai no henko is one of the basic body movements (kihon dosa). It's a method of training the body movement for when you are pulled (tai no henko ichi) or pushed (tai no henko ni). The movement for ichi is the basis of irimi (entering) and the movement for ni is the basis for tenkan (turning). For tai no henko ni we do a 95-degree turn with the back leg, although an actual completed technique could involve a 180-dergee turn.

Both ichi and ni can be performed with or without a partner. Training without a partner helps you learn how to focus power, how to enter and turn, and how to maintain a stable posture. Training with a partner helps you develop a sense of connecting with them and also how to unbalance them.

Doshinkan Aikido Curriculum

Every individual learns differently and progresses at different rates through different areas or dimensions of the martial arts.

Ones progress in the martial arts depends largely on a learner-teacher relationship and is affected by variable attributes of both the learner and the teacher. Attributes or characteristics such as; commitment, prior experience in the subject area, physical ability, and culture reveal an integral interconnection between the learner and the teacher. This interconnection is a key component any fundamental framework in a teaching pedagogy in the martial arts.

In addition to the learner-teacher relationship, a fundamental martial arts pedagogy must include a well thought out and systematic curriculum, covering both the techniques and principles of the art through an incremental outcome/assessment model, providing the teacher a blue print to pass on his lessons in a logical progression, which allow individuals to progress most efficiently.

Teaching models not integrating this framework are less advantageous and run the risk of being a hindrance to the learning and teaching of the martial arts.

In modern times, many teachers of the martial arts are proletarian trainers. Instruction tends to be ad hoc and focuses on route drills of basics or a plethora of flashy tournament techniques with little regard to the theory that supports the technique. Instruction tends to concentrate on those competences that are measurable but independent of the learner's understanding.

The Genyuakan Dojo adopts a holistic and systemic approach to teaching the martial arts, which takes in to consideration interactions between the leaner, teacher and subject taught.

Proper Attire

When you first visit the dojo, wear loose, comfortable clothing. Sweatpants and a t-shirt are fine. When you become a member, you should wear a dogi, (also called simply a gi), which is a training uniform consisting of a pair of drawstring pants and a belted tunic. A white cotton Aikido, judo, or kendo gi is acceptable. Aikido gis have shorter sleeves, which allow for wrist grabs, and padded knees for knee-fighting (Suwari Waza).

Proper Attire

The hakama is a seven-pleated garment worn by senior students. Each pleat symbolizes one of the seven virtues of budo. Senior students should aim to refine these virtues.

➣  Jin Benevolence
➣   Gi Honour and Justice
➣   Rei Courtesy and Etiquette
➣   Chi Wisdom and Intelligence
➣   Shin Sincerity
➣   Chu Loyalty
➣   Ko Piety

Basic Movements (Kihon Dosa)

Doshinkan Aikido techniques are composed of a series of movements known as basic movements. There are 6 basic movements taught to beginner students and subsequently these movements will be continually practiced and refined throughout a student's Aikido career. The 6 basic motions include:

➣   Tai no henko ichi (Cross step in body change)
➣   Tai no henko ni (95 degree pivot)
➣   Hiriki no yosei ichi (Elbow power #1)
➣   Hiriki no yosei ni (Elbow power #2)
➣   Shumatsu-dosa ichi (After class exercise #1)
➣   Shumatsu-dosa ni (After class exercise #2)

Aikido at the Genyukan Dojo

Tai no henko (Body Shifting)

Tai no henko is one of the basic body movements (kihon dosa). It's a method of training the body movement for when you are pulled (tai no henko ichi) or pushed (tai no henko ni). The movement for ichi is the basis of irimi (entering) and the movement for ni is the basis for tenkan (turning). For tai no henko ni we do a 95-degree turn with the back leg, although an actual completed technique could involve a 180-dergee turn.

Both ichi and ni can be performed with or without a partner. Training without a partner helps you learn how to focus power, how to enter and turn, and how to maintain a stable posture. Training with a partner helps you develop a sense of connecting with them and also how to unbalance them.

Tai no henko ichi

Tai no Henko Ichi (cross step in body change) is the basis of irimi (entering) from the yoshinkan basic movements.

Tai no henko ni

This movement teaches us how to redirect the pushing strength of an onent backwards by turning and that needs lots of physical training to reverse our instinct. This is the very basic turning practice that is used in almost all Aikido techniques. If you can fully understand/fix your own centre line while you are turning, you can generate amazing aiki-ryoku (aikido power produced from the combination of one's centre line power and focused power) in your techniques.

Hiriki-no-yosei Ichi

This movement teaches us how not to lose our centre line once it's fixed from the kamae position in the simplest movements of stepping forwards and backwards. In contrast to dancing that needs you to move each of your body parts separately with twisting and wiggling, the movement of Aikido requires you to set all the body parts – hands, feet, hips, into one line and concentrate the combined strength from each body part into one while we move in any direction at high speed.

Hiriki-no-yosei Ni

This movement requires that we put 80% of our weight on each leg every time we shift our body balance. The training of not losing one's centre line and keeping one's own balance steadily in hard positions is hiriki-no-yosei ni. The amount you feel so hard by practicing this movement will build your body stronger into the aikido way and you will be able to maintain the centre line when you apply techniques on someone a lot bigger and heavier than you.

Shumatsu-dosa

Shumatsu means the end. So, this is the movement used at the end of the class to restore one's centre line after it has gone out during the training. It teaches us; how to use the hips to maintain the centre line when we move diagonally, the stability of one's hips when a foot steps through, how to maintain the balance, stability and the centre line when we shift from turning motion to a straight line motion. All of the necessary movements of aikido are in these movements and we can imprint these important movements correctly by practicing shumatsu-dosas.

Kihon Waza (Basic techniques)

The following are a sample of the basic or widely practiced throws and pins. The precise terminology for some may vary between organizations and styles, so what follows are the terms used by the Genyukan.

➣   First technique (一教, ikkajo) a control using one hand on the elbow and one hand near the wrist which leverages uke to the ground.This grip also applies pressure into the ulnar nerve at the wrist.

➣   Second technique (二教, nikkajo) an adductive wristlock that torques the arm and applies painful nerve pressure.

➣   Third technique (三教, sankajo) a pronating wristlock that directs upward-spiraling tension throughout the arm, elbow and shoulder.

➣   Fourth technique (四教, yonkajo) a shoulder control similar to ikkyō, but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient's radial nerve against the periosteum of the forearm bone.

➣   Fifth technique (五教, gokajo) visually similar to ikkyō, but with an inverted grip of the wrist, medial rotation of the arm and shoulder, and downward pressure on the elbow. Common in knife and other weapon take-aways.

➣   Four-direction throw (四方投げ, shihōnage) The hand is folded back past the shoulder, locking the shoulder joint.

➣   Forearm return (小手返し, kotegaeshi) a supinating wristlock-throw that stretches the extensor digitorum.

➣   Breath throw (呼吸投げ, kokyūnage) a loosely used term for various types of mechanically unrelated techniques.

➣   Entering throw (入身投げ, iriminage) throws in which nage moves through the space occupied by uke. The classic form superficially resembles a "clothesline" technique.

➣   Heaven-and-earth throw (天地投げ, tenchinage) beginning with ryōte-dori; moving forward, nage sweeps one hand low ("earth") and the other high ("heaven"), which unbalances uke so that he or she easily topples over.

➣   Hip throw (腰投げ, koshinage) aikido's version of the hip throw. Nage drops his or her hips lower than those of uke, then flips uke over the resultant fulcrum.

➣   Figure-ten throw (十字投げ, jūjinage) or figure-ten entanglement (十字絡み, jūjigarami) a throw that locks the arms against each other (The kanji for "10" is a cross-shape: 十).

➣   Rotary throw (回転投げ, kaitennage) nage sweeps the arm back until it locks the shoulder joint, then uses forward pressure to throw.[30] leverages uke to the ground. This grip also applies pressure into the ulnar nerve at the wrist.

Basic Techniques (Kihon Waza)

Following the warm-up and basic motions, the sensei will select a series of techniques the class will learn and practice. The class may be taught as one unit or broken up according skills, belts, or particular needs of the students (e.g. A student may work on specific techniques needed for an impending belt test). Senior belts - black and brown - will usually assist with instruction when called upon by the sensei.

Although there is a pattern to the classes, the format is by no means rigid to the exclusion of the students' input. Decision by consensus is an important aspect of the dojo. Instructors and students regularly meet informally to discuss ways of improving classes, and any ideas or decisions arrived at by the class are incorporated into the classes. The fostering of an enjoyable learning atmosphere is paramount for all involved with the dojo.

Kihon Waza

Basic techniques

The following are a sample of the basic or widely practiced throws and pins. The precise terminology for some may vary between organizations and styles, so what follows are the terms used by the Genyukan.

➣   First technique (一箇条, ikkajō) a control using one hand on the elbow and one hand near the wrist which leverages uke to the ground.This grip also applies pressure into the ulnar nerve at the wrist.

➣   Second technique (二箇条, nikkajō) an adductive wristlock that torques the arm and applies painful nerve pressure.

➣   Third technique (三箇条, sankajō) a pronating wristlock that directs upward-spiraling tension throughout the arm, elbow and shoulder.

➣   Fourth technique (四箇条, yonkajō) a shoulder control similar to ikkyō, but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient's radial nerve against the periosteum of the forearm bone.

➣   Fifth technique (五箇条, gokajō) visually similar to ikkyō, but with an inverted grip of the wrist, medial rotation of the arm and shoulder, and downward pressure on the elbow. Common in knife and other weapon take-aways.

➣   Four-direction throw (四方投げ, shihōnage) The hand is folded back past the shoulder, locking the shoulder joint.

➣   Forearm return (小手返し, kotegaeshi) a supinating wristlock-throw that stretches the extensor digitorum.

➣   Breath throw (呼吸投げ, kokyūnage) a loosely used term for various types of mechanically unrelated techniques.

➣   Entering throw (入身投げ, iriminage) throws in which nage moves through the space occupied by uke. The classic form superficially resembles a "clothesline" technique.

➣   Heaven-and-earth throw (天地投げ, tenchinage) beginning with ryōte-dori; moving forward, nage sweeps one hand low ("earth") and the other high ("heaven"), which unbalances uke so that he or she easily topples over.

➣   Hip throw (腰投げ, koshinage) aikido's version of the hip throw. Nage drops his or her hips lower than those of uke, then flips uke over the resultant fulcrum.

➣   Figure-ten throw (十字投げ, jūjinage) or figure-ten entanglement (十字絡み, jūjigarami) a throw that locks the arms against each other (The kanji for "10" is a cross-shape: 十).

➣   Rotary throw (回転投げ, kaitennage) nage sweeps the arm back until it locks the shoulder joint, then uses forward pressure to throw.leverages uke to the ground. This grip also applies pressure into the ulnar nerve at the wrist.

➣   Second technique (二教 nikyō) an adductive wristlock that torques the arm and applies painful nerve pressure.

➣   Third technique (三教 sankyō) a pronating wristlock that directs upward-spiraling tension throughout the arm, elbow and shoulder.

➣   Fourth technique (四教 yonkyō) a shoulder control similar to ikkyō, but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient's radial nerve against the periosteum of the forearm bone.

➣   Fifth technique (五教 gokyō) visually similar to ikkyō, but with an inverted grip of the wrist, medial rotation of the arm and shoulder, and downward pressure on the elbow. Common in knife and other weapon take-aways.

➣   Four-direction throw (四方投げ shihōnage) The hand is folded back past the shoulder, locking the shoulder joint.

➣   Forearm return (小手返し kotegaeshi) a supinating wristlock-throw that stretches the extensor digitorum.

➣   Breath throw (呼吸投げ kokyūnage) a loosely used term for various types of mechanically unrelated techniques.

➣   Entering throw (入身投げ iriminage) throws in which nage moves through the space occupied by uke. The classic form superficially resembles a "clothesline" technique.

➣   Heaven-and-earth throw (天地投げ tenchinage) beginning with ryōte-dori; moving forward, nage sweeps one hand low ("earth") and the other high ("heaven"), which unbalances uke so that he or she easily topples over.

➣   Hip throw (腰投げ koshinage) aikido's version of the hip throw. Nage drops his or her hips lower than those of uke, then flips uke over the resultant fulcrum.

➣   Figure-ten throw (十字投げ jūjinage) or figure-ten entanglement (十字絡み jūjigarami) a throw that locks the arms against each other (The kanji for "10" is a cross-shape: 十).

➣   Rotary throw (回転投げ kaitennage) nage sweeps the arm back until it locks the shoulder joint, then uses forward pressure to throw.

Doshinkan Aikido Ranking System

Doshinkan Grade Structure

Aikido at the Genyukan Dojo follows the same ranking and belt system used at the Doshinkan Aikido Honbu Dojo (headquarters). Students start as beginners with a white belt, then progress through 5 tests spanning 10 levels before finally testing for a black belt (called Shodan or 1st Dan). Each pre-black belt level is called a Kyu and progresses from 10th Kyu up to 1st Kyu. The only other colour of belt used besides white and black is a brown belt which is granted to students at levels 3rd through 1st Kyu.

It takes 3 to 5 years to reach the level of Shodan (1st degree black belt), depending mainly on the effort and diligence of the student. From Shodan, you progress to second degree black belt (Nidan), then third (Sandan) and so forth. The undergraduate degree levels of Shodan and higher are quite advanced and take many years of diligent training to accomplish. Practitioners at levels of Rokudan and up are rare and very advanced expert levels of Doshinkan Aikido.

10th - 9th Kyu

Examiner will request the techniques to be demonstrated several times each at Kotai level.

Techniques

➣   Migi Hanmi Kamae
➣   Hidari Hanmi Kamae
➣   Tai No Henko (1,2)
➣   Hiriki No Yossei (1,2)
➣   Shumatsu Dosa (1,2)
➣   Seizaho
➣   Shikkoho
➣   Ukemi

* Denotes Techniques done both in standing and sitting position

8th - 6th Kyu

Examiner will request the techniques to be demonstrated several times each at Kotai and Juntai level.

Techniques

➣   Migi Hanmi Kamae
➣   Hidari Hanmi Kamae
➣   Tai No Henko (1,2)
➣   Hiriki No Yossei (1,2)
➣   Shumatsu Dosa (1,2)
➣   Katate Mochci Shihonage (1,2)
➣   Shomen Uchi Ikkajo Osae (1,2)
➣   Shumatsu Dosa (1,2)

* Note: *Kihon Dosa is done "without" a partner, *Kihon Dosa are done on right side only

5th Kyu

Examiner will request the techniques to be demonstrated several times each at Kotai and Juntai level.

Techniques

➣   Migi Hanmi Kamae
➣   Hidari Hanmi Kamae
➣   Tai No Henko (1,2)
➣   Hiriki No Yossei (1,2)
➣   Shumatsu Dosa (1,2)
➣   Katate Mochci Shihonage (1,2)
➣   Shomen Uchi Ikkajo Osae (1,2)
➣   Katate Mochi Sokumen Iriminage (2)
➣   Yokomen Uchi Shomen Iriminage (2)
➣   Shumatsu Dosa (1,2)

* Note: *Kihon Dosa are done without partner and all waza done on right & left side

4th Kyu

Examiner will request the techniques to be demonstrated several times each at Kotai and Juntai level.

Techniques

➣   Migi Hanmi Kamae
➣   Hidari Hanmi Kamae
➣   Tai No Henko (1,2)
➣   Hiriki No Yosei (1,2)
➣   Shomen Uchi Yonkajo Osae (1)
➣   Mune Mochi Hijishime (2)
➣   Shomen Uchi Kotegaeshi (2)
➣   Ryote Mochi Tenchinage (1)
➣   Suwari Waza Ryote Mochi Kokyuho (1)
➣   Shite Waza
➣   Shumatsu Dosa (1,2) * Note: *Kihon Dosa are done without partner and all waza done on right & left side

3rd - 1st Kyu

Examiner will request the techniques to be demonstrated several times each at Kotai and Juntai level.

Techniques

➣   # Migi Hanmi Kamae
➣   Hidari Hanmi Kamae
➣   Tai No Henko (1,2)
➣   Hiriki No Yosei (1,2)
➣   Yokomen Uchi Shihonage (1)
➣   Kata Mochi ikkajo Osae (2)
➣   Suwari Katate Mochi Sokumen Iriminage (1)
➣   Shite Waza
➣   Shumatsu Dosa (1,2)

Shtie Waza

➣   *Shomen Uchi Yonkajo Osae (1,2)
➣   *Yokomen Uchi Yonkajo Osae (1,2)
➣   *Katate Mochi Sokumen Irimi Nage (1,2)
➣   *Kata Mochi Sokumen Irimi Nage (1,2)
➣   *Shomen Uchi Shomen Irimi Nage (1,2)
➣   *Yokomen Uchi Shomen Irimi Nage (1,2)
➣   *Shomen Uchi Hijishime (1,2)
➣   *Yokomen Uchi Hijishime (1,2)
➣   *Kata Mochi Hijishime (1,2)
➣   *Mune Mochi Hijishime (1,2)
➣   *Shomen Uchi Kotegaeshi (1,2)
➣   *Yokomen Uchi Kotegaeshi (1,2)
➣   *Ryote Mochi Tenchi Nage (1,2)
➣   Suwari Waza Ryote Mochi Kokyu Ho (1,2)
➣   Katate Mochi Shihonage (1,2)
➣   Ryote Mochi Shihonage (1,2)
➣   Yokomen Uchi Shihonage (1,2)
➣   *Shomen Uchi Ikkajo Osae (1,2)
➣   *Yokomen Uchi Ikkajo Osae (1,2)
➣   *Katate Mochi Ikkajo Osae (1,2)
➣   Ushiro Ryote Mochi Ikkajo Osae (1,2)
➣   *Katate Mochi Nikajo Osae (1,2)
➣   *Kata Mochi Nikajo Osae (1,2)
➣   *Shomen Uchi Nikajo Osae (1,2)
➣   *Shomen Uchi Sankajo Osae (1,2)
➣   *Yokomen Uchi Sankajo Osae (1,2)
➣   Ushiro Ryote Mochi Sankajo Osae (1,2)

* Note: *Denotes Techniques done both in standing and sitting position

Shodan

Nage must demonstrate at least 5 arts at Ryutai level with 1 uke for 1 minute. In tanto tori and bokken tori uke must attack shomenuchi, yokomenuchi and munetsuki.

Techniques

➣   Migi Hanmi Kamae
➣   Hidari Hanmi Kamae
➣   Hiriki No Yosei (1,2)
➣   Ryote Mochi Shihonage (2)
➣   Suwari Waza Katate Aya Mochi Nikajo Osae (2)
➣   Shomen Tsuki Hijiate Kokyunagge (1)
➣   Shite Waza
➣   Shumatsu Dosa (1,2)
➣   Shite Jiyu Waza

Shite Jiyu Waza

➣   Tai No Henko Ichi
➣   Shomen Uchi
➣   Yokomen Uchi
➣   Katate Mochi
➣   Ryote Mochi
➣   Shomen Tsuki

Shite Waza

➣   Tai No Henko Ichi
➣   Katate Mochi Shihonage (1,2)
➣   Ryote Mochi Shihonage (1,2)
➣   Yokomen Uchi Shihnonage (1,2)
➣   Hanmi Handachi Katate Mochi Shihonage (1,2)
➣   Hanmi Handachi Ryote Mochi Shihonage ➣   *Shomen Uchi Ikkajo Osae (1,2)
➣   *Yokomen Uchi Ikkajo Osae (1,2)
➣   *Katate Mochi Ikkajo Osae (1,2)
➣   *Kata Mochi Ikkajo Osae (1,2)
➣   Ushiro Ryote Mochi Ikkajo Osae (1,2)
➣   Ushiro Katate Eri Mochi Ikkajo Osae (1,2)
➣   *Katate Mochi Nikajo Osae (1,2)
➣   *Kata Mochi Nikajo Osae (1,2)
➣   *Shomen Uchi Nikajo Osae (1,2)
➣   *Yokomen Uchi Nikajo Osae (1,2)
➣   *Shomen Uchi Sankajo Osae (1,2)
➣   *Yokomen Uchi Sankajo Osae (1,2)
➣   *Kata Mochi Sankajo Osae (1,2)
➣   Ushiro Katate Ryote Mochi Sankajo Osae (1,2)
➣   Ushiro Katate Eri Mochi Sankajo Osae (1,2)
➣   *Shomen Uchi Yonkajo Osae (1,2)
➣   *Yokomen Uchi Yonkajo Osae (1,2)
➣   *Katate Mochi Yonkajo Osae (1,2)
➣   *Katate Mochi Sokumen Iriminage (1,2)
➣   *Kata Mochi Sokumen Iriminage (1,2)
➣   *Shomen Uchi Shomen Iriminage (1,2)
➣   *Yokomen Uchi Shomen Iriminage (1,2)
➣   *Shomen Uchi Hijishime (1,2)
➣   *Yokomen Uchi Hijishime (1,2)
➣   *Mune Mochi Hijishime (1,2)
➣   *Kata Mochi Hijishime (1,2)
➣   *Katate Mochi Hijiate Kokyunage (1,2)
➣   *Shomen Uchi Hijiate Kokyunage (1,2)
➣   *Shomen Uchi Kotegaeshi (1,2)
➣   *Yokomen Uchi Kotegaeshi (1,2)
➣   *Shomen Tsuki Kotegaeshi (1,2)
➣   *Ryote Mochi Tenchi Nage (1,2)
➣   Suwari Waza Ryote Mochi Kokyuho (1,2,3)

* Denotes Techniques done both in standing and sitting position

Nidan - Yudan

Nage must demonstrate at least 5 arts at Ryutai level with 1 uke for 1 minute. In tanto tori, bokken tori and jo tori uke must attack shomenuchi, yokomenuchi and munetsuki.

Techniques

➣   Tai No Henko Ichi
➣   Suwari Waza Royte Mochi Kokyuho (5)
➣   Ushiro Ryohiji Mochi Sokumen Iriminage (2)
➣   Shite Waza
➣   Shumatsu Dosa (1,2)
➣   Shite Jiyu Waza
➣   Taso Dori Jiyu Waza

For Nidan - Tanto & Shomen Uchi *For Sandan and up - Ken, Tanto & Shomen Uchi

Shite Jiyu Waza

➣   Shomen Uchi
➣   Yokomen Uchi
➣   Katate Mochi
➣   Ryote Mochi
➣   Shomen Tsuki
➣   Kata Mochi
➣   Shomen Yokomen Uchi
➣   Ushiro Ryote Mochi
➣   Ushiro Ryohiji Mochi
➣   Ushiro Ryokata Mochi
➣   Tanto Dori
➣   Ken Dori

Shite Waza

➣   * Katate Mochi Shihonage (1,2)
➣   Ryote Mochi Shihonage (1,2)
➣   Yokomen Uchi Shihonage (1,2)
➣   Shomen Uchi Shihonage
➣   Hanmi Hanchi Katate Mochi Shihonage (1,2)
➣   Hanmi Hanchi Ryote Mochi Shihonage
➣   * Shomen Uchi Ikkajo Osae (1,2)
➣   * Yokomen Uchi Ikkajo Osae (1,2)
➣   * Katate Mochi Ikkajo Osae (1,2)
➣   * Hiji Mochi Ikkajo Osae (1,2)
➣   * Kata Mochi Ikkajo Osae (1,2)
➣   * Mune Mochi Ikkajo Osae (1,2)
➣   Ushiro Ryote Mochi Ikkajo Osae (1,2)
➣   Ushiro Katate Eri Mochi Ikkajo Osae (1,2)
➣   Ushiro Ryohiji Mochi Ikkajo Osae (1,2)
➣   Ushiro Ryokata Mochi Ikkajo Osae (1,2)
➣   Ushiro Eri Mochi Ikkajo Osae (1,2)
➣   * Katate Mochi Nikajo Osae (1,2)
➣   * Katate Aya Mochi Nikajo Osae (1,2)
➣   * Hiji Mochi Nikajo Osae (1,2)
➣   * Kata Mochi Nikajo Osae (1,2)
➣   * Mune Mochi Nikajo Osae (1,2)
➣   * Shomen Uchi Nikajo Osae (1,2)
➣   * Yokomen Uchi Nikajo Osae (1,2)
➣   * Shomen Uchi Sankajo Osae (1,2)
➣   * Yokomen Uchi Sankajo Osae (1,2)
➣   * Katate Mochi Sankajo Osae (1,2)
➣   * Ryote Mochi Sankajo Osae (1,2)
➣   * Hiji Mochi Sankajo Osae (1,2)
➣   * Kata Mochi Sankajo Osae (1,2)
➣   Ushiro Ryote Mochi Sankajo Osae (1,2)
➣   Ushiro Katate Eri Mochi Sankajo Osae (1,2)
➣   Ushiro Ryohiji Mochi Sankajo Osae (1,2)
➣   Ushiro Ryokata Mochi Sankajo Osae (1,2)
➣   * Shomen Uchi Yonkajo Osae (1,2)
➣   * Yokomen Uchi Yonkajo Osae (1,2)
➣   * Katate Mochi Yonkajo Osae (1,2)
➣   * Ryote Mochi Yonkajo Osae (1,2)
➣   * Hiji Mochi Yonkajo Osae (1,2)
➣   * Kate Mochi Yonkajo Osae (1,2)
➣   * Katate Mochi Sokumen Iriminage (1,2)
➣   * Kata Mochi Sokumen Irimi Nage (1,2)
➣   * Shomen Uchi Sokumen Iriminage (1.2)
➣   * Yokomen Uchi Sokumen Iriminage (1,2)
➣   Ushiro Ryote Mochi Sokumen Iriminage (1,2)
➣   Ushiro Ryohiji Mochi Sokumen Iriminage (1,2)
➣   Ushiro Ryokata Mochi Sokumen Iriminage (1,2)
➣   * Shomen Uchi Shomen Iriminage (1,2)
➣   * Yokomen Uchi Shomen Iriminage (1,2)
➣   * Katate Mochi Shomen Iriminage (1,2)
➣   * Ryote Mochi Shomen Iriminage (1,2)
➣   * Shomen Uchi Hijishime (1,2)
➣   * Yokomen Uchi Hijishime (1,2)
➣   * Katate Mochi Hijishime (1,2)
➣   * Mune Mochi Hijishime (1,2)
➣   * Kata Mochi Hijishime (1,2)
➣   Ushiro Ryote Mochi Hijishime (1,2)
➣   * Shomen Uchi Hijiate Kokyunage (1,2)
➣   * Yokomen Uchi Hijiate Kokyunage (1,2)
➣   * Shomen Tsuki Hijiate Kokyunage (1,2)
➣   * Katate Mochi Hijiate Kokyunage (1,2)
➣   * Ryote Mochi Hijiate Kokyunage (1,2)
➣   Ushiro Ryote Mochi Hijiate Kokyunage (1,2)
➣   * Shomen Uchi Kotegaeshi (1,2)
➣   * Yokomen Uchi Kotegaeshi (1,2)
➣   * Shomen Tsuki Kotegaeshi (1,2)
➣   * Katate Mochi Kotegaeshi (1,2)
➣   * Ryote Mochi Kotegaeshi (1,2)
➣   Ushiro Ryote mochi Kotegaeshi (1,2)
➣   * Ryote Mochi Tenchi Nage (1,2)
➣   Shomen Uchi Kokyunage
➣   Yokomen Uchi Kokyunage
➣   Katate Mochi Kokyunage
➣   Ryote Mochi Kokyunage
➣   Shomen Tsuki Kokyunage
➣   Suwari Waza Ryote Mochi Kokyu Ho (1,2,3,4,5)

* Denotes Techniques done both in standing and sitting position