Stick Fighting PDF
Stick Fighting PDF
Stick Fighting PDF
1nasaaki hatsunzi
quintin cha1nbers
sticl< fighting
techniques
of
self-defense
KODANSHA INTERNATIONAL
Tokyo New York london
Distributed m the UMed States by Kodansha Amenca, Inc., 114 Fifth
Avenue. New York, NY 10011, and in the United Kingdom and con
t1nental Europe by Kodansha Europe Ltd., 9b Aldwych, London WC2B
4JF Published by Kodansha lnternat1onal Ltd. 17-14 Otowa 1-chome,
Bunkyo-ku, Tokyo 112, and KOdansha Amenca. Inc. Copyright
1971 by Kodansha International Ltd All nghts reserved. Printed 1n
Japan
L.CC 79-158643
ISBN 087011-4 751
ISBN 4-7700-0963-1 (in Japan)
f"1rst ed1tlon. 197 1
r1rst paperback editiOn, 1981
94 95 96 15 14 13 12
Contents
Introduc tion 8
Fundamentals 11
SECTION 1 Basic Movements 13
SECTION 2 Techn iques against Fist Attacks 31
Technique 1 Tsuke iri 32
Technique 2 Koshi ori 34
Tech nique 3 Ganseki otoshi 36
Vari ation 1 Ganseki otoshi mak1kom i 38
Va nation 2 Ganseki otos hi garami 40
Technique 4 Oni kudaki 42
Variation 1 44
Variation 2 45
Variation 3 46
Technique 5 Gyaku ude garami 48
Technique 6 Kyokotsu kudaki 50
Tech n1 que 7 Ryo ashi dori 52
Tech n1que 8 Kocho dori 54
Tech ni que 9 Eda kopp6 56
Technique 10 Kata - te nage omo te 58
Technique 1 Kata te nage ura
1
60
SECTION 3 Techniques agamst Foot Attacks 61
Techn1que 12 Ashi kuJiki 63
Variation 1 64
Tech n1 que 13 Ash 1ori 65
Technique 14 Ash i garami 66
Technique 1 5 Ash 1dori 67
Technique 16 Ash1 gatame 68
SECTION 4 Techniques against Wrist Holding 71
Techn1que 17 Ude garam1 72
Variation 1 Ude garami omote 74
Technique 18 Kasum1 uch1 74
Technique 19 Kyojitsu 76
Technique 20 Ude gaeshi 78
Technique 21 Take ori 80
Techn ique 22 Ryo-te dori 82
Technique 23 Hon-gyaku jime 84
Technique 24 Kata- te jime 86
Techn 1que 25 Ude kujik1 88
Technique 26 Katame kuj1ki 89
Techn1que 27 Tsure don 90
Technique 28 Ude gatame gyaku zeoi 92
Techn ique 29 RyOfCi 94
Technique 30 Shiban kosh i ori 96
Technique 31 Kote gaesh1 96
SECTION 5 Tec hniques agamst Sleeve
and Lapel Holdmg 99
Techn ique 32 Hiki otosh1 100
Technique 33 Tsuki otosh1 102
Technique 34 Yoko kujiki 103
Technique 35 Hiki taoshi 104
Technique 36 Uko arash i 105
Technique 37 Nage kaeshi 106
Technique 38 Do gaeshi 108
Techn ique 39 Gyaku zeoi 110
Tech ni que 40 Uchi taoshi 112
Technique 41 Ryo -te garami dori 114
Technique 42 Kataginu 116
Technique 43 Ganseki dome 11 8
SECTION 6 Techniques against Seizure from Behind 1 21
Techn1que 44 Ushiro don tsuke "' 122
Technique 45 Benke1 don 124
Technique 46 Taiboku taoshi 128
Technique 47 Tawara taoshi 130
SECTION 7 Tech niques against Stick Holding 131
Technique 48 86 gaesh1 132
Techn1que 49 Koku 133
Technique 50 Awase nage 134
Vanation 1 135
Variation 2 135
Techn1que 51 Tomoe gaeshi. ashi
dori osae 136
SECTION 8 Immobilizations 139
lmmob11izat1on 1 Jo-wan ori 140
Immobilization 2 Hiji ori 140
Immobilization 3 Zen-wan ori 140
Immobilization 4 Sokkotsu ori 141
Immobilization 5 Ryo-te ori 141
Immobilization 6 0 gyaku 142
Immobilization 7 Shinto 143
Glossary 145
Introduction
WE HAVE OFTEN wondered why the stick as a weapon has been so neglected
in recent years In evitab ly, traditional forms of han d to-hand combat were
preJud iced by the increas in g use o f f irea rms. and yet, in spite of th is.
boxing, wrestling, fencing, and archery have all survived and even flour -
IShed 1n their spor t forms Until the early part of the nineteenth centu ry in
England, th e art of the quarter stave was an essential part of a man's
educati on. and it con ti nued to be practiced until very recently by the Boy
Scou ts. However. in genera l it is a forgotten art. and eve n among the
pol 1ce-the only peop le perm1tted by law to carry a sticl( as a weapon
the standard of techn 1que is lamentably primitive
Someone may well object. "Why shou ld st1ck f 1ghting be revived?
Surely there are enough weapons already Without remtroducing an art
that has fallen 1nto d isuse 7" The answer I think is sim p le. In every soc1ety
there are peop le who resort to v1olence to cheat and molest innocent
VICti ms. If yo u became such a victim. you would have no WISh to submit.
and if you saw someone else being attacked. you wou ld feel bound to
go to his assistan ce
If you are armed. of course. you will stand a much better chance . But
wh1ch weapon would you choose 7 A gun is certamly effective. bu t it IS
letha ll y so. A kntfe IS undoubtedly expedient. but 1f you use one. you are
forced to kill or maim. On the other hand. let us not go to the other ex treme
and say of an armed assai lant that he is merely psychologically disturbed
and th at we must avotd hurting him Our aim. then. ts to de fend ourselves
adequately. and at the S<lme time to be able to control the degree of pam
and 1njury th at we 1nrlict Thus we must seek a weapon that. when used
with skill. can overpower and subdue. Without having such automatica lly
letha l effects as a gun or knife.
Empty handed self defense has become very popular over the last few
years. However, to be able to acquit yourself With out tnjury when attacked
by armed assailants requires a degree of skill that 1S achteved by few. A
little knowledge is a dangerous th1ng. and th ts was never truer th an in
regard to fighting and self -defense Yet it IS astonish ing to see how su-
premely and foolishly conf1dent people can become after a few years
tratning in judo and karate.
8
All martial arts can be both creative and destructive. Used as a means
of aggression. they will eventually destroy the person who thus misuses
them. Used correctly. they can provide a stimulating and pract1cal train -
Ing. and at the same time they can be a means of education and discipline.
All these th1ngs we must bear 1n mmd when we come to choose a
weapon to defend ourselves with. It must be one that is incorporated mto
comprehensive technique w1th trammg exerc1ses. It must allow us Lo disarm
and control an assailant and. 1f the circumstances require it. to 1nfl1ct pain
on h1m. without runnmg the risk of permanently injuring or killing him.
In addition it is preferable that the weapon be commonly available or that
objects similar to 1t are often at hand.
The stick fulfills all these requirements. and while in the West there are
no f1ghting systems based on il still extant. in the Far East we find a com-
prehensive select1on of techniques. for there the stick has held an honored
place 1n f1ghting systems for many centuries. In fact. Japan's most famous
swordsman. Miyamoto Musashi suffered his only defeat at the hands of
Muso Gonnosuke. a master of the art of st1ck fighting.
The techn 1ques descnbed 1n this book. which might be described as a
basic manual of self-defense stick f1ghting. belong to the ryu("system")
called Kukishin ryO . Masaaki Hatsumi. the Master of the ryD, has adapted
the techn1ques so that they may be of practical value today.
In Japan there are bas1cally three types of fighting stick: the b6 which
IS 5 feet 11 1/2 1nches long and 1 1/16 inches in diameter. for which
there are about 360 fighting styles: the ;6. wh 1ch is 4 feet 2 3/1 6 inches
long and 7/8 inches in diameter. for which there are more than 70 f1ghting
styles: and the hanb6. which is very often included among the }6 and is
2 feet 11 3;4 1nches long. or "walking - stick" length The ways of us1ng
these three lengths of stick are of course different. This book is mainly
concerned with how to fight with a st1ck of walking-stick length Included
here. however. are some techniques us1ng a very short stick about one
foot long. The origm of this weapon and the techn1ques that are suitable
to its length is the tessen. a tan of wh1ch the outer sides and the folding
leaves were made of 1ron. S1nce the techniques have been class1f1ed
according to method of attack. you will f1nd techniques of the very short
st1ck Interspersed arbitrarily throughout the book This does not mean that
that technique can only be used with tl1at length of stick. since often
e1ther length can be employed. However. because leverage is tmportant.
Tsuke iri is very difficult with a stick much less than 15 mches in length.
as ts Gyaku ude garami S1milarly Eda kopp6 and Hiki taoshi become
rather clumsy with the longer weapon
We must think of a stick as anyth1ng that can be used as such. but it
IS extremely Important to choose a technique to suit the weapon If you try
Kyokotsu kudaki with an umbrella. all you will do is end up with a ben1
9
umbrella, whereas 1f you happen to be hold1ng an umb1ella any technique
1n wh1ch you can use the ends of it would be suitable. Pens. rulers. cig -
arette lighters. table cutlery, etc .. are well su1ted to techniques like Eda
kopp6. Uko arashi. or Nage kaesht. We must train ourselves to regard
everything as a possible weapon and use our imagmat1on to find techniques
that are suitable.
It is not possible to include every eventuality, and 1t may be that in the
course of practice you will find that your final position is different from
that illustrated This may mean that you have not followed the descrip-
tions or the pictures carefully enough. or it may be due to the fact that
people react d1 fferen lly. With some experience and experimentation you
should have little difficulty in adapt1ng your technique to meet the Situa-
tion
The authors wish to express the1r gratitude to Tetsuji lshizuka for so
uncomplainingly taking the part of the adversary, and to Atsuko Chambers
for doing the sketches and for her invaluable assistance with problems of
translation.
10
Fundamentals
There are numerous ways in whrch you can hold the strck, with rt above
your head. or beh1nd your back. held in one hand or two. wrth one foot
forward. and so on 1 he pos itio n shown overleaf has ma ny advant ages
and tmless o therwise st ated is th e one used thr oughout th 1s book. In Htra
tclwnonji no kama& you sta nd holding the stick in both hands down rn
froH of you Your feet should be approxrmately 1 8 rnches <tnd your hands
a shoulder-wrdth apart You must be relaxed and alert. but your aiertness
must be an rnner alertness whrch rs not evrdent erther rn your stance or
expressron From th1s pos1tron even if you are short of space to maneuver,
you can eas ily block an attack. You can also th rust. strr ke. or push 1n any
d11 ec t1on. and-mos t importa nt -your elbows remain close to your sides
ilncf below shoulder level. A no ther Importa nt fea ture o f th 1s kamae
("stnnce") IS that 1t IS not an aggress1ve frghtmg stance It looks perfectly
harmless and can grve offense to no one
A weapon that rs to be used rn hand to hand combat must be felt to
be an extensron of one's own body and not a mere appendage. It follows.
therefo 1e. that correct body movemcn t 1s essential to the successful execu-
tion of a technrque. Tl1 e most rmportant movements to be studi ed are
those th at enable you to evade your adversary's attack The e1g ht basrc
movements are primarrly evasrve and only secondarily do they rnclude
retal1ntory action You would be well advised to practrce tllem f1rst of all
without a strck to grve yourself suffrc1ent confrdence 1n not relyrng upon
a we::Jpon for protect ion. These movements should be practiced many
trmes until such pro f1c1ency IS attai ned th <Jt your tra 1n1ng partner can attack
With fu ll force and speed . r hese are exerCISeS in tim in g <J nd JUdgement Of
d1stance. and CJiso 1n learn ing to stn ke correc tl y and to focus the weapon
JUSt short of the target. Although the more dangerous techn1ques of
Kuktshtn ryD have been om1tted there rs strll a very real elementof danger.
and the greatest care must be taken dunng practrce to avord InJury to
your tlalnlllQ partner. At the same t1me you 1 practice mu ,t be realistic. 1n
other words if yo ur partne1 does not feel Pi.ll n or f eels he need not subm 1l,
you must conti n ue to t~p p l y t he tec hn iq ue until he does. It is a grave
m1stake for h1m to submi t too soon or for you to apply the techn1que too
wenkly, for in th1s way ne1ther will learn 1ts true appl1cat1on and capabilrtres
11
Hira ichimonji no kamae
12
SECTION 1
Basic Movements
BASIC MOVEMENT 1
Naname ushiro omote waki uchi
"Moving diagonally back outside his attack and striking the side"
14
sl1ding appl1es to all the basic movements except No 8. You should strike
not so much w1th your hands and arms as w1th your whole body. After
the completion cf the movement. both you and your partner return to your
ong111al positions He then attacks with the other f1st Whenever you strike
you should try to make contact w1th tl1e last 5 or 6 inches. where the
max1rnum power IS concentrated.
From Bas1c Movement 1 continue wi1h Tsuke iri. Techn1que 1.
~~ -- y '
-... \
15
BASIC MOVEMENT 2
Naname mae ura waki uchi
" Moving diagona lly forward inside his attack and striking the side"
Your partner punches straigh t to your face with his left fist
Step to you r left with yo ur left foot and swing the stick to strike h im
across the ribs. Continue wi th Koshr ori, Techn iqu e 2.
When you are familiar with these two movements. practice them to
ge th er He attacks wtth hts rtgh t fist. you step to your left and apply No.1.
He attacks with his left f tst. aga in you step to your left and app ly No. 2.
16
'
,
..
l ~
-,(~ ' t
<("~
l! ' .:;
'
17
BA SIC MOVEMENT 3
Naname mae omote waki uchi
" Movrng diagonally forward outside his attack and striking the side"
Your partner punches straight to you r face w ith his rig ht fist.
Step to your left tram with your lett foot and sltde your nght foot in the
same drrection and strike h rm <1cross the ribs. Continue wrth Ky6kotsu
kudakt. Tech nrqt re 6.
18
,
..
19
BASIC MOVEMENT 4
Mawashi kote uchi omote
"Rotate the stick and strike the wrist, outside his attack"
Your partner punches stra ght to your face with his nght fist
Step Lo your left or left rear with your left foot and slide your ng h l foot a
lrttle in the s.Jrne drrection At the same time move the right hand end of
the strck in a clocl wrse movement and strrke down on hrs wnst. When
he attacks wrth hrs left fist. lhe movemen t o f the end of Lh e stick wrll be
anticlockwrse Contrnue with Gyaku ude garami. Technique 5.
20
' ..
~\
~,.;,.',
.J <::::.
G <. ,r
,._,--::......
"i, ..,
'
I
'
\j
\ ... ("_::;,
2 f
41
./
~ ..v
21
BASIC MOVEMENT 5
Mawashi kote uchi ura
"Rotate the stick and strike the wrist. inside his attack"
You t partner punches straight to your face with his left ftst.
Step lo your left rear w ith your lefl fool and move the right -ha nd end of
the sttck in a clockwtse movement and strike down on his wrist. For a
rtght fist attack the left -hand end of the stick must be moved anttclockwise
Continue with Kosht ori. Technique 2. or Ganseki otosht. Techn tque 3
22
'
<'\..
,
~-\ <. 'J~ \
c J
l
23
BA S IC MOVEMEN T 6 Kate uchi omote
"Strike the wrist, outside his attack"
Your partner punches stra 1ght to your face w ith his right f ist.
Step to your left w ith your left foot and w ithdraw your righ t foot in an arc
to your left rear. Strike down with the left end of the stick onto his w ri st.
Con ti nue with Ganseki otoshi garami. Techn ique 3. Var. 2.
24
,
25
BASIC MOVEMENT 7 K ote uchi ura
"Strike the wrist, inside his attack"
Your partner punches stra 1ght to your face With h is left fist.
Withdraw your nght foot in an arc to your left rear at th e same time pivoting
a little on your left heel and stri ke down onto his wnst. Continue witll
Ganseki oroslu. Technique 3.
For fu 1ther practice it 1s possible to work combinat1ons of the basic
movements. for example; your partner attacks w ith h1s right fist you app ly
Mawas/71 kote uchi ura, Bas1c Movement 5. He immediately fo llows up
w1 th a lcft-f1st attack. you w ithdraw your right Foot and strike down on
h1s left wr1st w1th the left-hand end of the stick using Koze uchi ura. Basic
Movement 7. He attacks again with his 1ight f ist. you Withdraw yo ur left
76
foot. sl1ding your left hand to the end of the st1ck. and strike down on his
r~ght wrist w1th the nght-hand end of the Stick. again us1ng No 7 He
attacks again With h1s left ftst. you use No . 5 str1k1ng down on h1s left
wr~s With the riglll- hand end of the stick You will notice that the move
rnents tn wh1ch you como inside your adversary's attacking Drrn 01 in other
words the "Um" movements le<tve you vulnerable to CJ contmuat1on of h1s
attack Consequently Basic Movements 2. 5. 7 and 8 should always be
pract1ced w1th a cornbmatton tn mtnd . Th1s may be a combination of some
of the Baste Movements or it may simply boa jab with tl1o Pnd of the Sitek
tu yout adver<,iJry's lace or ttbs to lJeller prepare the w<.1y lor your applica -
tion of a teciHltque.
...
2"/
BASIC MOVEMENT 8 Kata-te tsuki
"One-hand thrust"
Your partner punches straight to your face with his left fist.
Release your rig ht ha nd hold on th e stick. Step to your le ft fro nt with your
le ft foot und draw your right foot back a little, and th rust with the point
of the stick to his chin or so lar plexus.
28
I '
\
29
An iron weapon su1tclble 101 tile Ecla kopp6 tectmiQLie
SECTION 2
Techniques against Fist Attacks
Whether your adversa ry rs <Jttac kin g with his f ist s or with a weapon
sucl1 as a kn ife or bott le. you r respo nse w ill be much t he same You r first
purpose must be to drsa rm h rrn by destroyrng the strenuth rn his attacking
arm . Do not be tn too much of a hurry to apply a throwmg or arm-entangle
ment acnon but defend yourself wrth one of t11e Basrc Movements until a
surtable opportun rty presents rtself.
TECHNIQUE Tsuke iri
1 "Inserting the stick between arm and body"
3 Relcusc your left l1and hold on the 2 Step to YOLir ngh t and stri ke to h1s
stick and g rasp his 11ght wrist Bi mg 11bs as in Bas1c Movement 2
the st 1ck u11der his arrnoit, turn yot r
nght hand palm up nnd extend that
arrn. steppmg forwurd w1th your fl! ll)t
loo t.
34
G-6 Immobilization Hold your
advt ~art, ar n s r light Apply pres-
~uro aga 1nst hI S biCtlPS YotJ rnay <Ji:m
kneel on l11s wr1st and hold the st ck
w1th both hands or kneel o n h1s wr1st
and on tho suck to leave your hunds
lree
35
TECHNIQUE
3
Ganseki otoshi
"Dropping a brg rock"
DISCUSSION- - - -- -- - - - - - -- - - -
In Fig 5 and 6 your h ips must be low. and th ere shou ld be close
contact between your back and hips and your adversary's front
before you throw hirn.
36
P acmg the slick firm ly under h1s
mmpit. move your nght foot beh1n<l
your left
6- 7
r~ghtand throwyour
Tw1st
your front.
upper bocly toyourto
h1m ro~1nd your hip
37
VARIATION 1 Gansek1 otosh1 makikom1
38
DISCUSSION
Never let your5elf be committed to the success of any one tech -
nique From the pos1llon m F1g. 3 he may be able to roll forward
and escape. If he does you can apply the Immobilization of Koshi
ori. You can prevent him f1orn rolling fo1ward by plac1ng yOLII ng h t
foot C19a1nst his neck and shou lder.
39
Ganseki otoshi garami
VARIATION 2
3 "Dropping a big rock-entangling technique"
..,. 1 rh1s techn1que can be appl1ed 2-3 Raise your ng ht hand and pass
lrorn Bas1c Vlovement 6 or if you are the lefl- hand end of the s11ck over h1s
attemot1ng Gansek1 otosln and he arm 1n 1.1 circle to the front and bnng
manages to slip h1s arm over yoUI head. the end unde1 his uoper arm.
0/SCUSSION----------------------------------
From the pos itio n in Fi g. 5 you ca n pu ll him to his right side or
right rear in w hi ch case you can probably bring h im to the grou nd
w 1th h1s arm beh ind h is back and hold h im in that positio n.
40
4-5 1rap hrs arm hctween the slick
and yotr forearn> Move behrnd hrm
and twrst hrs arm behrnd his back. bear
down wrth the strck aga nst hrs shoul-
der
~1 Adversary uttacks W1t!1 h1s oght f1st 2 Pass the SliCk t.nder his upper arrn
Parry h1s attackmg f1st and grasp h1s Push h1s wnst towards h1s head wnh
wr1st. str1ke with vour f1st agamst h1s your left hand
upper arrn (the 111nor s1de of the arm.
tlw hollow between the biceps and
t11ceps).
42
3 Benet tus arm and pass the stick 4 Immobilization Pull up wrth your
over hrs wnst keep your thumb agamst rrght hand. push down w th your lett
hrs wrst but release your fmgers to kneel on hrs elbow
grasp the stck Hold hrs WIISI And the
strck. frrmly together . Pu I up wrth your
rrght hand and push down wi th your
left drrectly to his rear. If you push
down with you r left to yolll left rear
you may drslocate hrs elbow.
DISCUSSION
r 19 2 shows your adversary with hs arm straight; in pomt of fact.
however. after your in1t1al blow to hts upper arm h1s react1on
would be to bend 1t. If you ti""ave struck h1s forehead (F1g 1b) and
his arm remarns stra1ght. you can. after passing the stick under
l1rs arm and with it tilted towards you. bend h rs arm by strikmg
sharply aga1nst tho inner s1de or crook of hi s elbow. pulling down
towards you r waist. In th e posrtron of 1- ig . 3 you can e1 ther fo rce
h1m to walk or throw him to the ground.
43
1
4 VARIATION
'
3 Contmue as 1n Techmque 4
44
2
4 VARIATION
45
4 VARIATION 3
46
DISCUSSION----------------------------------
You will notice here that the leverage ot the st1ck is very weak.
This technique depends for it's success upon destroying the
strength of h1s arm with your in1tial blow to his upper arm and
upon its swift application. From the position 1n Fig. 2 you would
be well advised. once you have bent his arm. to take hold of the
stick with your left hand to release your right hand and pass it
under his arm lo take hold of the stick again. which will give you
leverage on his arm. If his arm straightens with h1s palm towards
you and his forearm against the left side of your neck. you can
put pressure aga1nst his tnceps. step back w1th your right foot
and pull h1m to the ground. Refer also to Yoko ku;ik1. Technique
34.
47
TECHNIQUE
5 Gyaku ude garami
"Entangling the reversed arm"
48
4-5 Pull up with your left hand nnd
push down wnh your nght and turning
to your r~ght force h1m to the ground
When you have 111m in tt1e position of
r,g 4. take hold of his clothing with
your nqht hand as shown m 4a Th1s
will g1ve you better control of h1s
moveme11t
DISCUSSION--------
From the pOSitiOn in rig. 2 you may
hold his wrist and the stick together
with your right hand and move your
left hand to his rear so that that end of
the stick IS under his upper arm . Thon
push down to your right w1th your left
hand Th1s method is easier to use but
as you have your arms crossed 1t is not
quite so strong From the position in
F1g 4 you can release your nght hand
and take hold or the left-hand end of
the stick. then release your lrft hand
and pass it under h1s elbow to take
hold of the right- hand end of the st1ck
tn the posit1on of F1g 7 You can now
walk your capt1ve forward under con -
trol.
49
TECHNIQUE Kyokotsu kudaki
51
TECHNIQUE
7
Ryo-ashi dori
"Seizing both legs"
...
52
2 Str~ke down on l11s otti.lck1ng a1 m ..,. 1 Adversary <llt!lds Wllh h1s e11 llsl
Step to your right nnd raise t11e st1ck
h igh
0/SCUSS/ON---------------------------------
1n F1g 4 mstead of passing the stick in front of h1m at shin level.
you may start at chest level and apply pressure against h1s ribs
under his nght armpit See also Tmboku taoshi. rechnique 46
As you go down apply pressure also against the outer s1de or his
nght leg. pull his legs together and push with your shoulder against
the back of h1s thighs.
53
TECHNIQUE Koch6 dori
8 "Catching a butterfly"
DISCUSSION
Notrce that in 1-rg 1 your adver::~ary rs prepanng to lollow up his
1r11t1al attack With a nght f1st attack As you enter in Fig. 2. either
strrke his face with your left frst or at least cover rt w1th your open
hand Remember thnt an experrenced frghter wrll always attack
wrth a cornb111otron of frsts or frst oncf foot. Indeed h1s rnrtral attack
nlilY be no rl1CJfe th<m a feint. so you must be contrnucJIIy alert to
chilr1ge your tnctics to meet the si tu ation From the posrtion rn
r-ig. 2. if you now raise your rrght elbow. you can tr<1p his upper
arm between the strck and your forearm. This g1ves you good
cont10l of hrs aun and you should have no difficulty rn throwrng
hHP or walkmg hrm forward under control. After throwrng him
onto t'!is face. keep your right-hand hold but slrde your forearm
under h1s and bePd l1rs elbow.
54
.... 1 Adversary {l ttacks w1th h1s left fist
Step to your I< f rp and w1th the
movement swtng the SliCK up to stnke
h1s uppm Mm or elbow. keep the flttle-
rmger edge o 1 your hand uppnr>1ost
55
TECHNIQUE Eda koppo
9 "Attackmg the bones with a stick"
..,.. 1 Adversary attacks w1th h1s left fist 2 Keep a f1rrn hotel of hiS hand and
Parry h1s blow wtth your left hand and hold the st1ck as shown
grasp h1s wnst. slide your hand to cover
h s ftngers tncludtng the thumb At the
Sdme ttme move to hts left Side and
thrust to h1s nbs below the armp1t
0/SCUSSION-- - - - - - - - - - - - - - - -
F-rom r e pos1t1ons shown tn F1gs. 3. 5. 6 and 7. you can control
your capt1ve and persuade him to walk forward. or you can force
h1m to the ground and Immobilize h1m These two ways of holding
the stick are full of poss 1btltt1es. You should expertment agat nst
d11forent parts of the body. both for striking and captu 1ing Pencils.
bottles. cutlery. etc .. also provide suitable weapons for th1s type
ot techn ique.
56
4 The StiCk may be held between the
l1ttle finger and the nng finger as shown
or between the ring and middle f1nqE'rS
3 Press the stick aga1nst the rad1us 5 Hold the sttck as shown m F1g 4
bone and hold the other side of l11s and apply pressure aga1nst the lower
forearrn with your thumb. side of the uln<l .
57
TECHNIQUE Kata -te nage ornate
10 "One-hand throw- outside"
58
~ 1-2 Adversary attacks wrth hrs nght
fist Hold the strck as m Teclll'rque 9
f-rg 4. As he <Jttacks. s1r1kt> down on
his wr~st and grilsp it trghtlv Press the
st1Ck nga1nst tl1e lower srde of the
wd1us bone
-
bone.
lmmob!laaaon (not Illustrated) Whef"l you 1-)av..: voUJ advers ... ry IKe
dow11 and wrth hrs nrrn twrsted behrnd l1rs hr1ck as rn Fro 8. VOLJ Cclll hold
hrrn there by plncrnq the stck ncross the b<1ck of his wrtsl .rnd agdlll">l hrs
back. contrnue to bear down on h s f ngers wrt 1l your left hand
60
SECTION 3
Techniques against Foot Attacks
Defences aga rnst foot attacks do not lend themselves to such a variety
of ted'll1rques as those against frsl attacks or wnst holdrng for examp le.
In the frrst place rf you stnke your adversary's leg as a preliminary to your
technique. he wrll almost certainly wrthdraw it immediately, in wh1ch case
rt w11l be out of range for you to apply a technique against 1t In the second
place. as has just been mentioned . hrs f1st may already be on the way and
1f you are not careful you may walk straight mto 1t
To be on the safe side rt 1s advisable to be content w1th some form of
strikrng actron as shown on page 62 and contrnue with an appropriate
technrque taken from one of the other sectrons. Do not. however. neglect
this section for though the techniques are difficult and re(Ju rr e skrllfu l
body movement and good timing. a knowlege of them rs Important
Take. for example. the srtuat ron in wl1ich you have thrown your adversary
to the ground but have not managed to Immobilize h1m . He mdy be lying
on h1s back wrth his feet towards you . k1cking at you to prevent you
approach1ng In such a case 1t should be no problem to trap h1s leg in
one of the ways shown rn thrs sectron
Striking Actions
62
TECHNIQUE Ashi kujikl
12 "Wrenching the leg"
63
VARIATION 1
12
In th1s variation you attack your adversary's far leg or. if he is kickmg. h1s
platform leg
0
2 Reach ac1oss h 1s leg and take hold
of the st1ck.
64
TECHNIQUE
13
Ashi ori
" Breakmg the leg"
65
TECHNIQUE Ashi garamt
14 " Entangling the leg"
..,. 1 Adversa1y attacks w1 th i11s righ t 2 Release vow left l1 and ond pass
foot yolll hand over his leg to grasp the end
Step to your left and catch h1s leg from of thH st1ck. palm toward:. vuu Bend
underneath w1th the st1ck your w rists to hold h1s leg mnly 1n the
t nang le made by you1 wnst a nd the
stiL~ push vour elbows apart o sc1sso1
h1s leg and press With the stiCK agamst
h1s calf
66
TECHNIQUE Ash1 dori
15 "Serzing the leg"
0/SCUSSION- - - -- - - -
r rom th e posrtr on in Fig. 1 yo u may pass
your righl hand over h is leg and. ta k rnq
hold of the strck agarn. capture hrs leg as
1n Techmque 14.
67
Ashi gatame
16
TECHNIQUE
"Pressing on the leg"
68
4 5 Move yout rJ~)ht leg wtdely
nlongsdc you1 left so that you are fac -
r q your adversary squarely: at the
same t1me the le' t -hanct end of the stick
will pass over h1s sh:nbone In th1s way
hts leg tS t~apped between the stick and
your forearf'l'l as tn l"tg 5
DISCUSSION'----------------------------------
1he pos1t1on 1n Fig. 5 ts 1n itself a painful and eflect1vc Cilpturc.
but if you w1sh to 1C1nto1ce it. you can pass you1 right hand
benoillh his leg Bnd take hold of that end of the st1ck as in F1g 6.
You can now hook his left lc{J w1th your right and throw h1m
backw<Hds
69
A woodon Wl?apon su1table for the fda koppo techn1que
SECTION 4
Techniques against Wrist Holding
The tech niques in th is scct1o n and th ose in o ther sections d emonstra ted
w ith th e short st1 c k a1e not. h istorica ll y spea k1n g. th ose o f the st1ck bu t o f
th e tessen or 1ron wa r fan. wh ich was used in feuda l tlrnes in Japan.
Many of them can. however. be easi ly app lied w 1th a very short weapon
or w 1Lh a st1ck o f w;tlkmg-sllck length. They should also be practiced
with implements 1n d<1ily use. such as pens. ru lers. cutlery. etc For theu
ease of CJppllcatJon and nreat eftecttveness and for the w1de rnnne of
varrat1ons and comblllCJtJons to wh1ch they are sutted. they occupy cHl
Important place 111 the art of stick fJgl1t1ng The 1magmat1ve exponent will
no doubt d1scover many var1at1ons not descnbed here and also combma
t1ons of these and the other techn1ques 111 th1s book. It 1s 1ndeed hoped
that he w1JI do so since. for the arts of self -defense to be of practical
value. they requne the creat1ve Imagination of the md1v1dual You w1ll
notice that the part of his wnst or foream agamst wh1ch you apply pressure
With the st1ck Will depend on how he grasps your wnst. whethe1 from
the top or from the s1de
TECHNIQUE Ude garami
17 "Entangling the arm"
..,.. 1 Adversary grasps your nght wrist 2 Step forward with your right 'oot
wrth hrs rrght hand and lower your hips; thrust your elbow
forward 10 pul pressure agarnst hrs
thumb and thus bend hrs wrist so as to
bring tne strck across the back of his
wrist.
DISCUSSION----------------------------------
It must again be emphasrzed that while applying these techniques
you must put yourse lf out of range or your adversary's other fist.
as in Fig . 7 Fig 6 shows what will happen if you do not
72
3 Pass your 1!-lfl hand under hrs wrrst
and take hod of the sttck. palm to-
wa~ds you Pull your elbows apart to
scrssor hts wrtst and apply pressure
w r1l1 the strck JUSt above LI HJ prom rnent
bone of the outer side of thl' wnst
"' 1 Adversury grasps your 2 Step back agatn Wtth your 3 Rele<Jse your left
nght wrtst wtth hts left hand . left foot and brtng the felt hand nnd pass it
Step forwcJrd w1th your left twntl end ol the sttck up nnd under hts wnsl to
foot and bnck alitti'Wtlh your bnck 111 a ctrcular movement tnkc l10ld of the end
rtgllt and strtke with the left so that the rtghl hand end or of Hw st1ck. palm to-
hand end ol the sfck to the the sttck passes over hts wards you .
side ol hts he<td wrist !tom the tns1de
74
2 -3 Sc1ssor h1s arm m the way de
scr bed above and !)UII h1m to the
ground
75
TECHNIQUE Kyojitsu
19 "Feinting"
76
0/SCUSSION----------------------------------
Notice in Fig 1 that this is not the best way to strike at an enemy.
A rarsed arm is easy to block and the whole of your body is exposed.
If you should find yourself in thrs position. there are severa l things
you can do If the stick is long enough you may stil l be able to
stnke hrs head by turning your wrisl. If you are armed with a
truncheon you must first thrust your left hand to his face to prevent
h is right fist attack. then push the truncheon through your hand
so that it projects from the little-finger srde of your hand Then
proceed wrth the technique as illustrated.
4
4 Immobilization Curl your wrrsts;
push forward wrlh your right forearm
to bend hrs hand back
78
5 Take hold ot the StiCk w1th your
left hand and pu ll him onto his knees
6 Immobilization Yow ad -
versary's hand is trapped be-
tween your rrght wrrst and the
st1ck and pressed agarnst your
rrght knee
79
TECHNIQUE Take ori
21 "Breaking bamboo"
80
DISCUSSION-------
If you are standtng in Htm no kamae and your adversary grasps
your left wnst wtth his rtght hand. you can apply a variation of the
above technrque. Release your right -hand hold on the stick and.
turnrng your left wrrst. let the stick fall across his wrist Pass your
ri~Jht hand under his wrist a11d take hold ot the sttck. palm towards
you. If necessary you cn 11 releaso your lefl- l wnd hold and strike
him Clcross the fnce.
81
TECHNIQUE
22 Ryo-te dori
"Seiztng both hands"
llo- 1 Adversary grasps bo th your w nsts. 2 Release you r left hand ho ld on thfl
strck and move tha t hand towards your
shou lder to b rPak h s grrp A t the samu
ume move your rrght hand across your
body to your left beneath hrs right
w rr st.
82
3 Place the strck across his wrrst.
pass your left hand under hrs wrrsts
and take hold of the strck
83
TECHNIQUE Hon gyaku jlme
23 "Main reverse constnction"
84
DISCUSS/ON----------------------------------
From the pos1t on 1n Fig . 1 you can release your nght-hand hold
on the sttck and. stepp1ng to your left swtng the st1ck across the
tnside of his advanced right leg You will nottce from thts and the
previous technique that 1t makes little difference whether he grasps
one wrist or both; in fac t tt is p robably to your adva 11tage th at he
shou ld seize bo th . sin ce in th is way both h ts hands <li e kept
occup 1ed.
85
TECHNIQUE Kata-te jime
24 "Constricting one hand"
..,. 1 . Adversary grasps your nght wrist 2 If you are hold1ng the st ck as
With h1s lett-hand shown 1n hg 1, you ca n of course
apply Technique 20. Ude gaesht , or
you can step to your nghl and push
the st1ck through you 1 hand with your
h1p, so lhat 11 projects from tile ll n le-
finger side of you 1 hand.
86
4-5 Puttmg pressure agamst the
back of hiS hand. turn tO your lefl and
raise your hands d1agonally upwards
so that he comes up onto h1s toes. In
th1s pos1t10n you can persuade your
captive to walk forward. You mus1.
however. keep h1s palm pointing for-
wards or straight up in the air. if you
turn 1t f urther he will fall backwards as
in Techn1que 23. Hon-gyaku Jlme
87
25
TECHNIQUE Ude kujiki
" Wrenching the arm "
88
TECHNIQUE
26 Katame ku;iki
"Pressing and wrenching"
DISCUSSION----- - - - -
If 1n F1g. 3 he turns his hand pa lm up and
bends his arm. force h1m to bend 1t more
and app ly a variation of Technique 4,
-
Oni kudaki If he keeps his pa lm down. ..........
bear down on his triceps just above the 0
elbow. pull him to his right front and onto
his face Immobi lize him by kneeling on
h1s wnst and lean in g w1th the stick agai nst
his triceps.
89
TECHNIQUE
27
Tsure dori
" Arresting hold"
90
2 Pass your r1ght hand under h1s mm
and take hold of the st1ck. palm to-
w.trds you
91
TECHNIQUE Ude gatame, gyaku zeoi
28 " Pressing the arm, reverse shoulder throw"
e 1
4 Rarse your left elbow and pull
fo rw ard and down w rrl1 both hands.
slidrng the strck down to hrs forearm.
rn this way puttrn g strain on hrs elbow
JOint.
92
"' -
0
..,. 1 Step to your lett as lle attacks
and parry the blow. mak1'19 contact
above the elbow With tile st1ck lymg
over the top ot h1s arm
93
TECHN IQUE
29
Ryufu
" Dragon wind"
II
.. 6
2 As he bnngs h1s r1ght hand for-
ward. place the suck on your nght
shoulder and grasp h1s w11st
0/SCUSS/ON----
Needlrss to say, effect1ve Ku?usht or breaking of your adversary's
posture IS essential in the stage between F1gs. 2 and 3. 1n this
case in the d1rection 1n which h1s nght foot is pornting.
95
TECHNIQUE Shibari koshi ori
30 "Tying up and breaking the hip"
31
TECHNIQUE Kote gaeshi
"Turning the wrist over"
97
A Jurte
SECTION 5
Techniques against Sleeve
and Lapel Holding
When yo111 advers,uy se1zos your sleeve or lapel. you ure tn 1mmed1ate
danger smce he now hns cons1der<1ble control over your movemen l and
this may be the prelude to a very swtft attack Th1s attack may l<.lke scvcrcJI
forms: he muy merely WISh to pull you forward or push you backwards.
on the other hdnd he rnny attempt a throw. or butt you 1n the fdce w1th
b1s hond or br1ng h1s knee up rnto your gro1n Your response must therefore
be Instantaneous ldenlly. by the t1me he has se zed you. you should
a 1ready have moved or ell least prepared a move that wtll frustrate the
com1ng attack
TECHNIQUE Hiki otosht
32 "Pulling down"
100
b Tu111 to yo u1 le lt and tu rn his .11rn G l mm ob lize 111 l11 s tHJ', Ili O II 0 1 ho ld
so that Ins h .111d IS palm 11 p Press W il l i tl1 e S l iCk a:; n T uc.: IHIICJtt f> 1\Jo 9 f g II
tl1e po1nt of the slick 1nto 'l1S sl 1oul de1 ancl press 1t agam~ t 111'> t11ceps
10 rt nnd force hm1 to :he gr011 11d
102
TECHNIQUE
34
Yoko kujiki
" S1de wrenc hing"
0/SCUSS/ON - - -- - - - - -
A ftu gett ng h m off-balance as shown tn
Ftg 3 there are a number of other tech-
ntques you could move into Techn1que 1,
Tsuke lfi 1s of course possible but more
natural would be No. 3 Var 1. Ganseki
oroshi makikomi If you press against the
understde of h is elbow. you can bend his
arm and usC' Tech nique 5. Gyflku ude
3 Swrng to your rrght put -
gr:Jramt Anoth er effective mensure is to ting p1 r.ssuro ag arnst 11rs tri
pass you1 le ft hand over his upper arm nnd, ceps just above the elbow In
ti.lktn g hold of the Sti Ck. SCISSOr hiS arm thrs WilY lurce hrm to WDik
w1th the stick against h1s trrceps forward or brrng h1m to the
ground
103
TECHNIQUE
35 Hiki taoshi
"Pulling and throwing down"
104
5 Immobilization WJth 6 7 Pull towards yourself and take hold of the
yo.Jr acfversary lymg on trs end of thP. st1ck wrth your left hand: scrssor hrs
face, kneel wrtll your ng hr upper arm ard pull towarcls yoursel' Hctvrrlg
kneP o n hr s ngh t upp er arm. seclll cly scrssoHci llrs arrn you rnny now rE>h!d~O
rciiCil o ver hrs b ody nnd p ass th e press ure of yuur righ t kneP ilnd , nllowrnq your
tlw rr<J h t hand end o f 'he prrsoner to stand up, w<1lk tum fo rward under
st ck. protruding 'rom the little control
f nger edge of your hand.
under hrs upper arm
l Ob
TECHNIQUE
37 Nage kaeshi
"Throwing down"
......
....
106
~ 1 Aclve rsury seizes your nght steeve
and left lapel
As ho comes nearer to try a h r> throw.
:;hilt yOUr wetght over your left foot.
gt<JSP hrs nght hnnd wrtl1 your lef1 ,rnd
ttmr your rr~tht 1-Jand forward
DISCUSSION- - - - - - - - -- - - -- -- - - -
Whether you can bring t his technique to the conclusron shown
here wtl l depend on his reaction to your initial preventve measure
( Ftgs 1 & 2). In any event you have ample opportunity to apply
techniques to either arrn.
107
TECHNIQUE 06 gaeshi
108
3 Pass the strck acruss hrs chest. take
hold ol rl again wrth your rrghl hand
and pull up sharply loWillds yourself 4 Step back wrth erth cr loot and pull
Jab your thurnbs rnto hrs ribs your adversary onto hrs back
109
TECHNIQUE Gyaku zeoi
DISCUSSION- - - - - - - - - - - - - - - -
From the pos1t1on in Fig 4. Instead of throwmg your adversary.
you can lift h1m onto your back and walk forward wnh h1m con
trolled 111 this way
111
TECHNIQUE
40 Uchi taoshi
"Pulling and throwing down"
I r you are bemg attacked by several people a L the same time. you
may not have time to bnng any under contro l. or if you are moving
through a mob one of whom seizes your lapels 1t moy be your
purpose merely to break h1s g 11 p.
112
3 5 Stoke d rectly forward aga nst
t)rs breastbone 11nd pustl towards hrs
throat Conllnue pushrn~J until hu falls
bockwads
1I3
TECHNIQUE Ryo te garami don
41 "Se1zmg and entangling both hands"
114
3-4 Scrssor both l11s wnsts.
step back w th either foo: and
pud hrm to h s knees You can
1111W r<JrS<' l11m to h1s feet aga111
ancl compel h1m tu walk w1th
you. or. by twrstll1{1 to your
lef; and pushtng wrth your
foot. turn h1m onto h1s stle
and hold him rn lhs posit1on
See also Ryo-te dart, Tech
nrque 22
11 5
TECHNIQUE Kataginu
42
.
4 Step With you1 nqht foot deeply 111
between Ius legs and force h1rn to ti'C
ground With Tsuko m. Techn1que 1
116
Adversary se1zes both la pnls
0/SCUSS/ON----------------------------------
r 1g 2 Illustrates one of the most etrect1ve defenses aga1nst th1s
form of attack. If he <Jttempts a stomach throw (tt1e Judo Tomoe
nagc). you ca n place the pomt of the st1 c k m his solar plexus and
th iUst os he falls backwards An alternative continuation from
1-ig 2 wou ld be to pass tho lofH1and end of th e stick ove1 his
righl wrist and. releasing yoUJ rig ht hand. pass 1l beneath h1 s wnst
to take hold of the st1ck agam. Scissor h1s wrist and pull him to
the ground.
117
TECHNIQUE
43 Ganseki dome
"Stopptng a big rock"
118
4 ltmtng to your left. throw your
advr>rsnry over yo<~r lr>q
119
;'
A jutle
I
l
SECTION 6
Techniques against Seizure
from Behind
To se1ze someone from beh1ncl w1th the purpose or holding him is not
generally considered very good technique. For one thing there IS not much
you can do from that posit"on. and for another you leave yourself open
to several forms of attack. If. however. you shou ld be attacked in th1s
way you c<~n: 1) stamp on his instep: 2) strike with your knuckles aga1nst
the backs of his hands; 3) reach behtnd you and p1nch the 1ns1de ot hts
th1ghs. 4) arch your hack. thrust back with your buttocks and at the same
time butt hun in the race With the back Of your head; 5) lean forward
and grab one o f his teet as in Techn1que 45. Benkei dori. If you are nttackecJ
n thiS way it may be your adversary's Intention to p1ck you up and throw
you to the ground To prevent th1s. hook your nght leg round h1s right
r1 om the ms1de. then proceed with one of the escape methods of this
section.
TECHNIQUE Ushiro dori tsuke iri
44 "Seizure from behind, attaching and entering"
0
,.. 1 Adversarv seizes vou from behind.
122
3 Release your It~ II -hand hold on the
st ck and grasp h1s 'eft wrest
123
TECHNIQUE
45
Benket dori
" Seizmg the inside of the shinbone"
124
5 Immobilization No 1 Apply pres -
sure against h1s achilles tendon or calt.
s1t carefully on h1s knee. Since you
have to keep tension 1n your legs to
4 Pull his leg forward to throw h1m avoid causing savere 111Jury to h1s knee.
onto h1s back For extra leverage put I t is not possible to mamtain this POSI-
you1 forearms on your th1ghs. tion for very long.
(see overleaf)
7-9 Turn to your nght and step your
right leg over his captured leg to a
position close to hts left knee.
6 Immobilization No.2Trans-
fer the pressure of the stick to
the ou ter s1de or h1s leg .
126
10 W1th h1s foot trapped m the crook
of your arm. learn forward and apply
pressure agamst h1s calf
127
TECHNIQUE Taiboku taoshi
46 " Throwing down a big tree"
128
Immobilization HoI d
hrm wrth pressure aq<Pnst his
shrns
DISCUSSION- - - -- - - - -- - - - - - - -
From th o positron Jn Frg 3 you may strike aga rnst his hip as you
lower the stick. In Frg. 5 if you pul l back too strong ly. he wil l fall
w1th considerable force and may injure his head. If you bnng your
hnnds as c lose together as possrb le so as to b rmg h rs legs together,
he w il l be muc h less stCJble. and you may ease 11rm to the ground
by pushing with your shoulder against h1s thighs. Do not. however.
sacrifice safety to gentleness. Remember h rs ha nds are f ree to
strr ke your head
-------------------- --------
129
TECHNIQUE
47 Tawara taoshi
"Throwmg down a rice bale"
... ,
130
SECTION 7
Techniques against Stick Holding
DISCUSSION- - -- - - - - -
F-ig 4 llus rates a vanatton suppos1ng he
grasps the st1ck with both hands 1ns1de
yours
The wtder apart your adversary's ht1nds are.
the more dtff1cult it IS to apply th1s type of
techn 1q uc In Fig. 1 you may have to
c hange you r ri ght hand grip nnd press
w tlh you1 index fi nger agai nst h1s th umb.
You can also force the little f111qer of h1 s
nght hand Sideways with your thumb and
thus break h1s rtght-hand grip
TECHNIQUE
50 Awase nage
"Meetmg throw"
2
50 VARIATION
135
TECHNIQUE
51
Tomoe gaesh1: ashi dori osae
"Throw1ng 1n a circle, seizing and pressing the leg"
.... 1 Adversary grasps the st1ck and 2 You may fall backwards dellber
pushes you backwards ately and app y th1s technsque or st rnay
happen that as he pushes you trsp ancl
f<lll
136
3 Stnke with the left-hand ond of the
stick against h1s knee
10 fmmobllization
hrs leq under your mm and
Trap ~~'
apply pressure <Jgarnst hrs
sh rn
138
SECTION 8
Immobilizations
IM MO 8 I LIZA TION
1 Ji5- wan ori
" Breaking the upper arm"
140
/MMOB/LIZA T/ON 4 Sokkotsu ori
" Breaking the instep"
Thrs coul d be m;ecJ aS on rmmob lrz 11 or1 flr As/11 cion Te< h<1rq ue 1 S
1 2 Kneel on l rs rrgl't leg. pass tlte strcl under hrs body w rth your l""ll
hnnd w th hrs lefl leg bent at th ~n ee. grasp hrs foOL and press t ill
uutcr srde of hr s nnkln against the slrr k. pullrng up wrll your fe' t hund.
A vilrt<.ition o f thr s would be to lo ren n s ltlt foot under thl' SIIC"I nnd push
clown w th v( H oft lwnd
141
IMMOBILIZATION 6 6 gyaku
" Big reverse lock"
..,. 1 Hav1ng thrown your adversary
onto hrs face 1n front of you place your
11ght foot on hrs back to prevent hrm
rolling and place the suck agamst the
nght side of hrs neck. the pornt held
frrm ly agamst the q lound
142
IMMOBILIZATION 7 Shinto
"Shaking and throwing down"
Arashi. n. storm.
Ashr n leg.
Awase. n. from awaseru. to meet together.
Eda. n. branch .
Fir n wmd
H1ji n. elbow.
Hiki: n. from hiku. to pull.
Hira adj. flat
Hon. adj true. principal. main. regular.
H6 or p6 n. way. ru le.
145
J1ine or sh1me n from shimeru. to constnct. wring.
J6-wan n upper arm
146
Rvo adj both
Rvu. n. dragon.
Rvo n. style or tradition .
Seoi or zeot. n. from seou. to carry on one's back.
Shiban n from shibaru. to tie
Shirneru v. to constrict. wnng
Shiruo n. concussion. shock. impact.
Sokkotsu: n rnstep
Sow adj outer.
147
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STICK FIGHTING
Step-by-step instructions and over 300 photographs allow
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ISBN 0-87011-47 5 -1
~filli 1,960 p:j
(*ft. 1,903 p:j) I SBN4- 7 700-0963-1 C2075 P1960E (in Japan )