Vocabulary Technique 10 – Techniques that come from jujutsu
| Techniques for Striking a Vital Point | ||
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Atemi waza — Techniques for striking a vital point —
当て身技 Strike a vital point / technique
Atemi waza are techniques inherited from jujutsu. They were originally intended to neutralise an opponent. These techniques have been retained in junomichi, where they are practised only in certain kata (nage no kata, kime no kata, jû no kata, koshiki no kata, itsutsu no kata).Although atemi waza have lost their offensive vocation in their passage into junomichi, they must nonetheless be practised with the greatest sincerity and the greatest efficiency. Often, an atemi is accompanied by a kiai from the one who executes it. Atemi waza, although initiated by an action of the whole body and controlled by the hara, are delivered through certain parts of the body: ken (the metacarpophalangeal joint), yubi saki (the tips of the fingers), te gatana (the edge of the hand), hiji (the elbow), hiza gashira (the kneecap), sekitô (the metatarsophalangeal joint), and kakato (the heel). Atemi are directed mainly towards the following points on the partner’s body: tentô (top of the head), uto (the point between the two eyes), jinchû (the point between the nose and the upper lip), kasumi (the temple), sui getsu (the solar plexus), denkô (the lower floating ribs), myôjô (the point below the navel), and tsurigane (the testicles). |
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| Uchi waza | ||
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Uchi waza — Striking techniques —
打ち技 Strike / technique
Uchi waza proceed from the hara with a broad amplitude. The strike, following a deployment of the body through space, is considered a soto (outer) action.
Agete ate or Kozori ate — Strike with the whole body — 挙り当て Whole body / strike Te gatana ate — Strike with the edge of the hand — 手刀当て Hand / sword / strike Uchi oroshi — Strike from top to bottom — 打ち下ろし Strike / downward Suri age — Rise while brushing — 摺り上げ Brush / upward Kata te age — Rise with one arm — 片車上げ One / upper limb / upward Yoko uchi — Strike to the side — 横打ち Side / strike Naname uchi — Diagonal strike — 斜め打ち Diagonal / strike Naname ue uchi — Upward diagonal strike — 斜め上打ち Diagonal / upward / strike Ô naname ue uchi — Large upward diagonal strike — 大斜め上打ち Large / diagonal / upward / strike Naname shita uchi — Downward diagonal strike — 斜め下打ち Diagonal / downward / strike Sayû uchi — Strike right and left — 左右打ち Right and left / strike Ushiro uchi — Strike to the rear — 後打ち Rear / strike |
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| Tsuki waza | ||
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Tsuki waza — Piercing techniques —
突き技 Pierce, strike / technique
Tsuki waza arise from the hara with a very short amplitude. They are more immediate than uchi waza: the body pierces directly in the direction of the action. These techniques may be described as uchi (inner).
Agete ate or Kozori ate — Strike with the whole body — 挙り当て Whole body / strike Yubi atama ate or Shitô ate — Strike with the fingertips — 指頭当て Fingertips / strike Hiji ate — Strike with the elbow — 肘当て Elbow / strike Tsuki age — Pierce upward — 突上げ Pierce, strike / upward Tsuki dashi — Thrust the arm forward to pierce — 突き出し Pierce, strike / push out Tsukkake — Launch oneself to pierce — 突っ掛け Pierce, strike / launch oneself Tsukkomi — Plunge to pierce — 突っ込み Pierce, strike / plunge, go into Ago tsuki — Pierce the chin upward — 顎突き Chin / pierce, strike Ganmen tsuki — Pierce the face — 顔面突き Face / pierce, strike Choku tsuki — Pierce directly — 直突き Direct / pierce, strike Naname tsuki — Pierce diagonally — 斜め突き Diagonal / pierce, strike Morote tsuki — Pierce with both hands — 双手突き Two hands / pierce, strike Yoko tsuki — Pierce to the side — 横突き Side / pierce, strike Ryô gan tsuki — Pierce both eyes — 両眼突き Two eyes / pierce, strike Zengo tsuki — Pierce forward and backward — 前後突き Front and rear / pierce, strike Ryô te ue tsuki — Pierce upward with both upper limbs — 両手上突き Two hands / upward / pierce, strike |
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| Keri waza | ||
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Keri waza — Techniques for striking with the foot —
蹴り技 Strike with the foot / technique
In keri waza, the foot is the point of contact between Tori and Uke. The action is nonetheless led with the whole body and relayed by the leg, which makes it possible to act at a greater distance than in uchi waza and tsuki waza. The foot intervenes in the course of movement, like the lash of a whip.
Sekitô ate or Shitô ate — Strike with the ball of the foot — 蹠頭当て / 指頭当て Ball of the foot / strike Hiza ate — Strike with the knee — 膝当て Knee / strike Kakato ate — Strike with the heel — 踵当て Heel / strike Ke age — Raise the foot to strike — 蹴上げ Strike with the foot / upward Mae geri — Strike with the foot to the front — 前蹴り Front / strike with the foot Yoko geri — Strike with the foot to the side — 横蹴り Side / strike with the foot Ushiro geri — Strike with the foot to the rear — 後蹴り Rear / strike with the foot Hidari mae naname geri — Strike diagonally towards the front left — 左前斜め蹴り Left / front / diagonal / strike with the foot Migi mae naname geri — Strike diagonally towards the front right — 右前斜め蹴り Right / front / diagonal / strike with the foot |
| Gripping Techniques | ||
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Tori waza — Gripping techniques —
取り技 Take, seize / technique
Tori waza are techniques similar to kumi kata, except that they consist in gripping the partner at various points of the body (wrists, sleeve of the dôgi, belt, etc.).Like kumi kata, these grips aim to lead an action, not to immobilise the partner. In the kime no kata, the jû no kata and the koshiki no kata, tori waza are most often performed by Uke. |
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Ryô te dori — Gripping both wrists —
両手取り Two / upper limbs / grip Gyakute dori — Reverse wrist grip — 逆手取り Reverse / hand / grip Kata te dori — Single wrist grip — 片手取り One / upper limb / grip Hidari eri dori — Left collar grip — 左襟取り Left / collar / grip Migi eri dori — Right collar grip — 右襟取り Right / collar / grip Ushiro eri dori — Rear collar grip — 後襟取り Rear / collar / grip Kata ude dori — Single arm grip — 片腕取り One / arm / grip Kakae dori — Body embrace grip — 抱え取り Embrace / grip Ushiro dori — Rear grip — 後取り Rear / grip Sode dori — Sleeve grip — 袖取り Sleeve / grip Obi dori — Belt grip — 帯取り Belt / grip Shikoro dori — Grip of the armour neck plates — 錣取り Armour neck plates / grip |
| Pushing Techniques | ||
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Oshi waza — Pushing techniques —
押し技 Push / technique
Oshi waza are techniques that allow the practitioner to guide the partner in a chosen direction.The push is always tangential to the partner’s body. The intention is not to go through the partner, but to accompany them in an action. Under this condition, pushing techniques can be considered as true attacks. They are used in the jû no kata, the koshiki no kata and the itsutsu no kata. |
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Kata oshi — Push on the shoulder —
肩押し Shoulder / push Ago oshi — Push on the jaw — 腮押し Jaw / push Ryô kata oshi — Push on both shoulders — 両肩押し Two / shoulders / push Mune oshi — Push on the chest — 胸押し Chest / push |
| Cutting Techniques | ||
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Kiri waza — Cutting techniques —
切り技 Cut / technique
The kiri waza used in junomichi are two in number. One is performed with a dagger, the other with a sword.Their execution in the kime no kata reveals what characterises each technique of junomichi, whether standing or on the ground: an action from top to bottom, a total engagement of the body, a trajectory of projection identical to the path of a weapon through the air, and a body that cuts like a blade. |
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Kiri komi — Cut (with a dagger) —
切り込み Cut / plunge, go into Kiri oroshi — Cut from top to bottom (with a sword) — 切り下ろし Cut / downward |
| Turning Techniques | ||
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Mawashi waza — Turning techniques —
廻し技 Turn / technique
Mawashi waza are actions applied to the partner’s shoulders in order to make them pivot on their axis, and possibly to overturn them.These techniques are transmitted to the shoulders through the hands. Junomichi recognises only the form of kata mawashi, present in the jû no kata and in the koshiki no kata. |
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| Kata mawashi — Turn the shoulders — 肩廻し Shoulder / turn |