Big things do come in small packages. While I have been working on the AJNM, I have also been sorting what exactly needs to happen to make Aiki Jo a proper fighting method. I have so far concluded that mastery of the various Kamae is the first part, and understanding how and why the Kamae changes, offensively and defensively. Certain options and variations naturally lend themselves to a particular posture, yet the postures are all fluid and interchangeable. That’s when it hit me that Roku No Jo is just that, a way to practice the various changes from each Kamae. Here’s what Roku No Jo is:
Starting in Hidari Tsuki No Kamae, thrust with Choku Tsuki
Raise the jo with the Jodan Gaeshi movement
Step forward and strike with Migi Uchikomi
Draw the jo back to Migi Gedan Gaeshi No Kamam
Step forward and strike with Hidari Gedan Gaeshi Uchi
Turn the jo with the Chudan Gaeshi movement, which puts you back in Hidari Tsuki No Kamae, and starts the practice again
This is the first stage. Later, you combine the counts of the movements, eventually making this a two count exercise. I find that if you use this as an exercise to practice Kamae, instead of strikes, you will find a key ingredient to using the jo flexibly in a combat situation. Here is what I’m talking about:
Start with Hidari Tsuki No Kamae, which is the basic Jo Kamae
Prepare to change with Jodan Gaeshi
Make Migi Chudan No Kamae, the basic striking posture, same as when holding the Ken
Draw the jo back to the rear to make Migi Gedan Gaeshi No Kamae
Bring the forward and make Chudan Gaeshi No Kamae
Turn the jo with Chudan Gaeshi and return to the first posture
And there it is. Right there in front of me. A drill that teaches you the all of the basic postures: Tsuki No Kamae, Uchi No Kamae, Ushiro No Kamae, Chudan Gaeshi No Kamae. It also teaches the basic jo changes: Jodan Gaeshi, Gedan Gaeshi, and Chudan Gaeshi. Note that there is a definitive high, middle, and low in the Kamae and the jo switches. Think about that.
As a birthday present from me to you, and since I’m not sharing the notebook for now, I’ll at least let you see a bit of what I have been up to.
Choku Barai – Direct Parry. Barai is the principle of warding off. Usually with Barai, you will stay on the line, or cross the line in such a way to dominate the line and space. With Choku Barai, the jo is used to ward off thrusts and strikes using a semicircular motion that is controlled with the rear hand holding the jo. When you use this parry, you do not change your kamae. For example, if you were attacked while in the left thrusting stance, you would stay in the the left stance to parry with Choku Barai.
Kaeshi Barai – Reversing Parry. With Kaeshi Barai, you take a step away from the attack and bring the rear end of the jo up to ward off strikes and thrusts.
Kesa Barai – Diagonal Parry. This parry has the final form of Kaeshi Barai, but does not use a reversing movement. The name comes from the angle that the jo makes when parrying.
Kaiten Barai – Rotary Parry. With Kaeshi Barai, you reverse the jo while stepping back to parry, and then rotate the jo a half turn with the right hand. This is practiced on both sides, and no matter which side you practice this on, the right hand is the hand the controls the rotary movement. Plenty of practice with Hachinoji Gaeshi and Hasso Gaeshi will prepare you for this.
Age Barai – Rising Parry. Here the jo is raised over the head to parry a strike or thrust. This is usually followed by Maki Waza. Maki Waza means that you use your jo to knock away your attacker’s jo and then finish with your own thrust or strike. There are many instances where instead of hitting your attacker’s jo, you would hit their hands. This is actually the case with most parries and it is worth the time to discover some of these ideas in your practice.
Jodan Gaeshi – High Jo Reversing. Jodan Gaeshi is a Nagashi movement. It is not a firm parry, but a way to deflect an attack while moving off of the line. Usually, in a Nagashi movement, you yield the space.
Gedan Gaeshi – Low Jo Reversing – After a strike or thrust, the jo can be moved to your rear and swept forward for a parry. This type of parry is done as an
Awase Dome. That means that you are parrying a similar attack, such as Gedan Gaeshi Uchi.
Chudan Gaeshi – Middle Jo Reversing. This means that you hold the jo with the Gyakute grip, and release with the rear hand while turning the jo with the forward hand. You finish the movement with the Choku grip. As a parry, it can done as a Barai movement or as a Nagashi movement. When done as Chudan Gaeshi Barai, there are several Maki Waza that can be practiced. When done as Nagashi, there are several Kaeshi Waza, or Jo switches, that can be practiced. The final form of Chudan Gaeshi, minus the turning of the jo, is often used as a parry in several of the Kumijo.
Uchi Barai – This is the case when a movement such as Uchikomi is used to parry an attack.
Uchi Dome – This is the case when an attacker’s strike or thrust is forestalled by a strike or thrust of your own.
Nuki Waza – Here, you let your attacker strike or thrust freely, but they miss.
Hopefully, if I’m not too lazy, I will have an amazing draft six of the Aiki Jo Notebook and Manual for you all to look over. Oh yes. Draft Five of course is still available.
The one question that I have had the hardest time answering is how much I will charge for classes. i have decided that, in the spirit of wanting to share our diminishing resources, that I will accept barter as the primary unit of payment for classes. So if you are interested in classes, please consider what you are willing to barter per hour of instruction wanted.
Here is a list of individual courses that I currently offer:
Aikido, Taijutsu. The unarmed techniques of Aikido
Aikido, Kenjutsu. The sword techniques of Aikido
Aikido, Jojutsu. The staff techniques of Aikido
Kali. A Filipino martial art that teaches you how to use and protect yourself with any weapon, and also includes empty handed techniques.
jeet Kune Do. A set of principles based on your own personal abilities that draws from several martial arts.
CCQT: Civilian Close Quarter Tactics. A system I developed when I was a member of The Guardian Angels to train the volunteers for safety patrols.
Expect to train outdoors and one on one. Expect to train during the day, with some afternoons/evenings available for a slightly higher barter fee. Sundays all day available for a slightly higher barter fee.
As far as what to barter: Be creative and show my your talents as well. We all have resources and talents at our disposal, and I’m willing to listen to any idea you may have.
It’s up and ready. Terminology section, 31 Kumijo expanded, Kumijo 1-10 revised somewhat. Boom! Sleep now.
I have finally found the terms I need to say what it is I need to say as far as some of the terms. To those of you that I recently sent a copy to: it’s about to be old news. The new one will have updated terminology and explanations of it as such, complete with rewritten explanations of the Kumijo to follow accordingly. Also, an expanded explanation of the 31 Kumijo, same as I did for 1-10. Last, I’m going to add a Jo Awase section, and possibly a few more Jo Dori techniques. I would like to thank everyone that has contributed to my efforts so far. You know who you are, and you’re getting your honorable mention soon enough. Cheers.
I have received some good ideas and feedback from Jason Wotherspoon and Alejandro Villaneuva. With what I have from them, I’m reworking some of the ideas. I’m still going to list the curriculum as it, with notes. I’m working on an extended revision of the 31 Kumijo, and adding the Jo Awase techniques. I also plan on adding my Ken Tai Jo notes, which will be based on the newer version of the series, as well as a section detailing some of the various parries used in the Aiki Jo system. I have them organized as Harai, Nagashi, and Dome. Until this is done, I only have the second revision to offer to anyone that wants to read it. Warning to anyone that is already practicing Iwama Aiki Jo with a qualified instructor: you won’t see anything new here at all. Thank you all for listening!
This entry is directly from my Aiki Jo Notebook and Manual. If you find it helpful and want the draft copy, just email me and ask for one.
Roku no Jo
The 6-10 Kumijo all feature jonagewaza, or finishing by throwing uke with a taijutsu movement with the jo. It is important to always practice the ken and jo with the feeling of taijutsu. In Roku no Jo, uchi attacks with tsuki hayagaeshi.
“ICHI”
Uchijo: From Hidari Tsuki no Kamae, Hidari Choku Tsuki
Ukejo: From Hidari Jo no Kamae, rather than thrust when he can, uke, holding the jo in thirds, lightly presses the jo away to defend. Here, since uke uses irimi, he can also strike uchi in the face or the body with a thrust from the jo, or with a fist, but does not. This is perhaps the key feature of this and the Kumijo that follow. I believe that not striking reflects that attacks can be nullified entirely with proper taijutsu, and that the jo is a tool to foster not just striking techniques, but understanding how moving yourself to the right place is always going to supercede striking or throwing your partner.
“NI”
Uchijo: Steps forward and raises the jo to strike with Migi Hayagaeshi
Ukejo: Rather than thrust uchi in the face, uke slides forward and controls the movement of uchi’s left elbow with the left third portion of the jo. Uke is still is left hanmi, sliding toward uchi’s left. Here, once again, uchi is controlled by uke’s taijutsu and the threat of being struck. Uke does not actually strike uchi at all, even though he can, with the jo or empty hand. At every point in the kumijo, uke can finish with a jo strike, empty hand strike, or throw, whenever he decides to do so.
“SAN”
Uchijo: Migi Hayagaeshi
Ukejo: Stepping forward with the right foot and swinging the left leg around, uke brings the right third portion of the jo down between uchi’s arms, and presses on uchi’s jo. This is instead of hitting uchi’s face or body with the jo.
* Ukejo: Insert the right third portion of the jo between uchi’s jo and uchi’s right and raise it toward uchi’s left shoulder. Turning the hips, this will entwine uchi’s arms for jonage garamiwaza. Uke should be in migi hanmi when throwing. This clearly illustrates the concept of Riai, or blending of truths. There should be no distinction between body movement that strikes or throws an opponent, whether armed or not. Musashi talks about this in a slightly different manner in Go Rin no Sho in the Wind book. He states that in combat, you do not resolve to cut the enemy one particular way or another, you only resolve to kill him. In context to Aikido, we do not strive to move in some particular fashion with some particular goal in mind, armed or unarmed. We don’t talk about killing or hurting our opponents in Aikido, but Aikido is a martial art, with its origins coming from some of the most bloody and severe martial arts. O’Sensei often said that life and death is decided in an instant in Aikido. Without a proper understanding of this, your practice will be dubious, indeed.
I have been keeping myself busy writing my first draft of my Jo manual. It’s truly become a labor of love. Writing it has forced me to not be satisfied with just “kind of” knowing the proper Jo movements. I’m currently working on the second revision and the videos for the illustration. Keep your eyes peeled.
I have recently compiled a notebook and manual for Aiki Jo practice. It is a compilation of the material that appears on my blog, with additional notes. The contents are 20 Jo Suburi, 31 Jo Kata, 31 Kumijo, 13 Jo Kata, 13 Jo Awase, Kumijo 1-10, Jo Dori. Jo Dori Kaeshi Waza, and Jo Nage. These are a draft copy of a .pdf document that I am making with illustrative photos and embedded video demonstration. If you want a free copy of the current notebook, you only have to do two things:
Email me at autrelle at gmail dot com so that I can send the file to you
Post a comment here in the form of feedback on my blog
Uchijo gets down on this one! No tsuki-parry-tsuki this time!!! It’s time to break out katate gedan gaeshi!!! Look out ukejo! This time around it’s hidari jodan choku tsuki, dodging a thrust while making katate gedan gaeshi no kamae, katate gedan gaeshi, and finishing with hidari gyakute uchi.
“ICHI”
This is just like Ni no Jo.
Uchijo: Hidari Jodan Choku Tsuki
Ukejo: Jodan Choku Barai
“NI”
Ukejo counters with hidari jodan choku tsuki just like Ni no Jo, and uchijo evades the thrust using the same footwork that uke uses in “ichi” of Yon no Jo, save that he moves the jo to katate gedan gaeshi no kamae.
Ukejo: Hidari Jodan Choku Tsuki
Uchijo: Hidari Katate Gedan Gaeshi no Kamae
“SAN”
Uchi take a step forward and whips uke with katate gedan gaeshi. This strike goes from low to high, and is aimed towards the jaw. Uke takes a step back and screens behind the jo with migi kaeshi barai. Once again, uke does not expect to block this strike, but lets it flow past, using taisabaki and the jo as a backup shield. Since this is a high strike, the “old” practice was to step back and down on the left knee so that the strike would pass harmlessly overhead.
Uchijo: Migi Katate Gedan Gaeshi
Ukejo: Migi Kaeshi Barai
“SHI”
Uchijo attacks one last time with a downward blow, which I refer to as hidari gyakute uchi. Uke simultaneously parries and counter attacks with hidari kaeshi barai tsuki.
Uchijo: Hidari Gyakute Uchi
Ukejo: Hidari Kaeshi Barai Tsuki
“HENKA”
If you have come this far, congratulations! I can only talk about my current practice at this point. Basically, I’m trying to codify a matrix where we start with one Kumijo and finish with any other. For example, start Ichi no Jo, and finish with Ni, San, Yon, or Go no Jo, and so on. If anyone has any other variations that they want to share, I’m all ears!!!!
Here we go!!! Katate Toma Uchi! That’s a Tom and Jerry fantasy to me. Anyways, here we go. Uchijo attacks with hidari chudan choku tsuki, and then takes a large step back and uses the jo the screen himself from katate toma uchi, and attacks once more with choku tsuki. Short and sweet.
“ICHI”
When uchi attacks with hidari chudan choku tsuki, uke makes a large slide back to the right rear and prepares to attack with katate toma uchi. This is because haya gaeshi won’t reach, uchi is to far away.
Uchijo: Hidari Chudan Choku Tsuki
Ukejo: Hidari Katate Toma Uchi no Kamae
“NI”
Uke steps forward and whips out katate toma uchi. Uchi takes a slide back and holds the jo overhead diagonally. This is different from jodan dome barai, as in “san” in the 31 no jo, where a length of the jo is extended toward the partner and used to ward off a strike. Uchi holds the jo at the end with the right hand, and near the end, about 7-8 inches away from the end, with the left hand. He zones away and uses the jo to “screen” beneath. If goes well, the toma uchi strike will graze the middle section of the jo, and not uchi’s head or hands. Uchi does not expect to block this strike at all. In the “old” version of this, uchi was required to raise the left leg and take a really cool looking “crane” stance. This is because katate toma uchi is a strike that goes from high to low, and the target could also be uchi’s lead knee. This is not the current practice, but I still practice it.
Ukejo: Migi Katate Toma Uchi
Uchijo: Hidari Kasa Dome (as if taking shade from underneath an umbrella)
“SAN”
Uchi attacks again with hidari chudan choku tsuki. Uke uses irimi footwork to avoid the thrust. The lead right foot must move first, followed the rear right foot, which moves in such a way that uke faces uchi in migi hanmi. Stephanie Sensei told us this at a seminar: “Distance and direction. When you move from hanmi to hanmi, the first foot determines the distance, and the second foot determines the direction.” While uke moves, he finishes with migi gyakute tsuki down into uchi’s chest.
Uchijo: HIdari Chudan Choku Tsuki
Ukejo: Migi Gyakute Tsuki
“HENKA”
From Yon to Go, the tempo changes. Instead of attacking again, uke wards off the gyakute tsuki with a uchi choku barai movement. Uke lets the jo flow with chudan gaeshi as in 28-29 of the 31 Kumijo, and makes hidari tsuki no kamae. Uchi thrusts again for Go no Jo.
In the Kumijo, ukejo always starts in jo no kamae. This is a left hanmi, with the jo held vertically in the left hand, in front of the left foot. Uchijo always starts in hidari tsuki no kamae, ready to attack. In Ichi no jo, uchi attacks with chudan, middle level thrust. In Ni no Jo, uchi attacks with jodan, high level thrust. In San no Jo, uchi attacks with hidari gedan choku tsuki, a low level thrust aimed at uke’s left knee. When the thrust is warded off, uchi immediately attacks again with another thrust, at the chudan level. I think that the keynote feature of the Kumijo is learning how to ward two or more rapid thrusts, and learning to use a series of rapid thrusts as a defense.
“ICHI”
Uchi attacks with hidari gedan choku tsuki. Uke grips the jo from the top, thumb upwards, and turns a bit to his rear with the right foot, parries the thrust with gedan dome barai. The move is identical in appearance to gedan gaeshi, but since there is no “gaeshi” movement, I refer to it as a dome barai movement. Two things here are noteworthy: First, that uke “gives way” with his taisabaki, rather than use irimi as in the first two Kumijo. Second, as a variation, uke could move forward with irimi, and use the dome barai as a barai uchi strike to uchi’s forward hand.
Uchijo: Hidari Gedan Choku Tsuki
Ukejo: Hidari Gedan Dome Barai
“NI”
Uchi then attack again to uke’s left floating ribs with chudan choku tsuki. Uke evades the thrust with a taisabaki identical to the third movement in Ni no Jo, and knocks down uchi’s jo with the chudan gaeshi movement. The chudan gaeshi can also be used to smash down on uchi’s hand or forearm.
Uchijo: Hidari Choku Choku Tsuki
Ukejo: Hidari Chudan Gaeshi
“SAN”
Now, uke begins the counter attack. First, hidari gedan choku tsuki, aimed at uke’s floating ribs. Uchi steps back a bit and parries with soto choku barai. Uke promptly allows his jo to flow down and thrusts again to uchi’s sternum with another chudan choku tsuki, ending San no Jo.
Ukejo: Hidari Chudan Choku Tsuki
Uchijo: Soto Choku Barai
Ukejo: Hidari Nagare Chudan Choku Tsuki
“HENKA”
From San no Jo to Yon no Jo: Given the uke is really, really close when the second thrust comes, it would be a bit late to try to move back further and parry with uchi choku barai. What I have found to be useful is a katate no bu, or single hand movement. Uke steps forward with the right foot with an irimi movement, and releasing the jo with his left hand, brings the jo up in a diagonal manner over his head to parry the thrust. I call this katate uke nagashi. If I wanted to more poetic, I might call it katate kasa barai, single hand umbrella parry. From here, uchi can do a single hand reverse thrust to uke’s face, which I call katate gyate tsuki, or use katate toma uchi. Either way, uke steps back and parries with migi kaeshi barai. After that, both uchi and uke come back to hidari tsuki no kamae to go right into Yon no Jo.
First let’s look at uchijo’s role. Uchi starts in hidari tsuki no kamae and attacks with hidari jodan choku tsuki. When the thrust is parried, uchi uses the jodan gaeshi technique to ward off the counter attack. Rather than continue with jodan gaeshi uchi to the head, uchi strike with a gedan strike to uke’s left leg. Finally, uchi attacks with migi choku tsuki.
Although uchi’s movements are not terribly complex, they do present some interesting ideas that are worth notice. His “set,” or pattern of movements is a fairly typical routine that should be practiced as a solo routine.
This should be immediately recognized as a variation of the fifth jo suburi, Tsuki Jodan Gaeshi, with a thrust added to the end. Using this set as an attack and countering it play a large part in the 31 Kumijo. In the first Kumijo, uke uses a variation of Tsuki Jodan Gaeshi to counter uchi’s attack. In the second Kumijo, uke must now counter when being attacked with a variation of Tsuki Jodan Gaeshi. The fouth and fifth jo suburi are perhaps the most important ideas to try to master early on in one’s study of Aiki Jo.
“ICHI”
Interestingly, uke now uses a parry similar to the one uchi uses in the first Kumijo. Uke starts in hidari jo no kamae. When uchi attacks hidari jodan choku tsuki, uke parries with a barai movement. I would best call this “choku jodan barai” since the jo is not turned at all as in kaeshi barai. I have seen different ways to practice footwork for this parry. One method is the slide backwards a little bit while parrying. Another method is to move off of the line slightly to parry. What I practice, and what I believe is the most reasonable, is the slide forward in the direction of the thrust, irimi. This is the case that I will describe. Uke uses an irimi movement and crosses the line of attack to dominate the space. When done properly, the irimi footwork and the hips parry the thrust and create an opening. Compare this to the first Kumijo, when uke uses irimi to get off of the line and counter thrust, and uchi slides slightly backward and crosses the line to parry.
“NI”
Uke attacks with jodan choku tsuki. Now it is easy to see why irimi is the best option besides sliding away or steppng off of the line. Closing the distance and creating the opening with irimi makes this thrust extremely terrifying. Be sure to practice this method very carefully, especially when practicing awase. Uchi uses a flowing movement, jodan gaeshi, to defend. Jodan Gaeshi is not just a way to turn the jo from a thrust to a strike, or a high level parry. It is also a tai sabaki movement, where the hanmi changes from left to right or right to left, using the body motion to avoid the blow. In this case, uchi slides across the line, changing from hidari to mige hanmi, dodging uke’s jodan choku tsuki.
“SAN”
Uchi renews his attack with a downward strike to uke’s left leg. Uke’s parry is particular to this Kumijo. First, the taisabaki. From the hidari jodan choku tsuki position, uke pulls the rear right foot forward in such a way that uke’s new hanmi forms a 35-45 degree angle with uchi’s own hanmi. So as uchi is trying to strike at uke’s leg from an ura position, uke maintains a posture that removes his leg off the direct line of attack, and also allows uke to stay in front of uke. The thrusting end of the jo is allowed to fall down alongslde the leg. The left hand grip opens up and the palm is facing upward, the fingers pointing down. The right hand grip is rather firm and the arm makes a kokyu shape. The right hand should be palm facing toward uchi, thumb downward, and about 12 inches away from uke’s own face.
Uchi: Migi Gedan Uchi
Uke: Hidari Gedan Uke Dome
“SHI”
Uchi wanted to get a nice strike to uke’s leg while moving to his rear. When uke parries while turning to face uchi, uchi decides to attack to the front again with migi choku tsuki. Uke simply uses irimi to enter to an ura position on uchi. The end position has uchi thrusting in migi hanmi, and uke, ura, thrusting to uchi’s right side with hidari choku tsuki.
Uchi: Migi Choku Tsuki
Uke: Hidari Choku Tsuki
“HENKA”
I have already covered the basic ideas for variations in the Kumijo in the previous article. Here I will only detail the transition from Ni no Jo to San no Jo. Once again, the tempo changes. Instead of the final thrust, uchi must parry in uke’s thrust in such a way that allows him to continue with hidari gedan choku tsuki. The most interesting method I have found is to incorporate a flowing practice of a set from the 31 no Jo.
Movements 16-18 from the 31 no Jo done after migi gedan uchi will both parry uke’s thrust and leave him in hidari tsuki no kamae.
16 – Draw the jo back to Gedan Gaeshi no Kamae
17 – Parry the thrust with Gedan Gaeshi Barai
18 – Let the jo turn with the Chudan Gaeshi
When done as one flowing movement, you immediately sweep the thrust aside and attack with hidari gedan choku tsuki.
The first kumijo is a close cousin of the first 6 moves in the 31 Kumijo. Let’s talk about what uchijo does first. Uchi attacks from hidari tsuki no kamae with choku tsuki, and then uses uchi choku barai to parry a counter thrust. So right away we learn that there is protection even as there is an attack being made. Uchi then attacks again with choku tsuki. After that, uchi steps back to parry a strike with migi kaeshi barai. I remember Patricia Hendricks Sensei at a seminar once calling this parry uke nagashi. After this, uchi finishes up with migi gyakute tsuki.
“ICHI”
Ukejo has some unique issues to solve at every point of the kumijo. From the very get go, uke has to use proper timing and distance since uke starts with the jo held vertically, but uchi starts in tsuki no kamae. Rather than parry, when uchi attack with choku tsuki, uke counters with irimi footwork and attacks with kaeshi tsuki to uchi’s chest. One note here: Both uke and uchi attack with omote footwork. This is the same omote that we refer to in taijutsu. The condition that make omote the most viable is the both partners start ai hanmi, that is, both with the left foot forward. As uchi advances with the left side forward it is the most direct attack, omote, to the face or chest. Just as uke’s counter thrust lands true, uchi counters with uchi choku barai. The choku barai should knock uke’s jo down and aside, creating an opening and slightly unbalancing uke. The main impetus for uchi’s movement is the footwork. When countering kaeshi tsuki with the barai technique, uchi actually moves toward his own right side, across the line, trying to dominate the line and the space. When done as a start-stop practice, this is easy to practice as a three count movement. In reality these three things happen on one count, so for some, the awase practice can be a bit confounding at first. This is because uke’s timing with kaeshi barai should be to “start last but arrive first.” In other words, timing should be that when uchi is struck with uke’s kaeshi tsuki at the exact moment that uchi expects his own choku tsuki to attack. Uchi has to, at a split last second, ward off uke’s thrust with uchi choku barai movement. The lesson in these motions for uchi is that he must still give a fully committed attack without overly anticipated the kaeshi tsuki and the counteraction for it. Here’s the blow by blow account of the one count:
Uchi: Hidari Choku Tsuki
Uke: Hidari Kaeshi Tsuki
Uchi: Uchi Choku Barai
“NI”
Now that uke’s jo is down and aside, uchi make a rapid attack again with choku tsuki. Uke responds with a flowing parry, the jodan gaeshi movement. This is different from the jodan dome barai movement. Jodan gaeshi requires that uke move boths hands so that they meet near the center of the jo, in order to change to a striking technique. Since the jo is not held in a sturdy manner, this parry is designed to cover the path of attack while the body moves to avoid the strike. Uke changes to migi hanmi while making jodan gaeshi.
Uchi: Hidari Choku Tsuki
Uke: Moving to Migi Hanmi, Jodan Gaeshi
“SAN”
Uke strikes at uke’s head with migi jodan uchi. In the “old” form this was the end of Ichi no Jo. The current practice is that uchi steps back and parries the strike with migi kaeshi barai. Uchi has to be careful here. If the parry is to firm, he will give uke the impetus to immediately strike again with renzoku uchikomi. Also, if uchi steps back at a bad angle, or hold the jo at a bad angle, uke’s jo will slide down uchi’s jo and smash his hand. Uchi’s footwork and handling of the jo, if done properly, will allow him to “catch” jo, and make a proper attack after.
Uke: Migi Jodan Gaeshi Uchi
Uchi: Migi Kaeshi Barai
“SHI”
Before uchi can attack again, a little finesse is required. He must give uke’s jo a tiny “push” to make room to perform migi gyakute tsuki. If the push is too big, uke will counter him immediately during the motion. He gives a tiny push, and then attacks with gyakute tsuki. Uke uses taisabaki to avoid the thrust, and strikes uchi with renzoku uchikomi to finish the Kumijo. The final strike is hidari jodan uchi. Since uke doesn’t parry the thrust at all, he must have perfect timing, or his elbow can be struck as it is raised to make uchikomi.
Uchi: Migi Gyakute Tsuki
Renzoku Uchikomi
“HENKA”
There are a number of ways to vary the Ichi no Jo once the kihon is fully understood. Obviously, uchi can vary as in the 31 Kumijo. I have already detailed that in my earlier posts about the 31 Kumijo. There’s no reason why one wouldn’t practice these here either, as it will provide practice with the 31 Kumijo as well. Uke may also want to experiment with different endings as well, whether it be a strike with the jo, a jo garami nage, or a jodori technique. Mixing taijutsu and jo nage with the kumijo is important because they all have the same feeling. Pat Hendricks Sensei said that “at any point uke should be able to drop the jo and finish with a taijutsu technique.” The Kumijo can also be linked to combine them. The easiest way to go from Ichi no Jo to, say, Ni no Jo, is to change the tempo. At “san” uke should attack immediately with renzoku uchikomi. All uchi has to do is step back and parry the second strike with hidari kaeshi barai, and then thrust with jodan choku tsuki.
