BACK TO OUR REGULARLY SCHEDULED BLOGGING: WHAT IS KUMIJO? PART FOUR.

Today’s topic: San 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.

Coming up next: Yon no Jo.

WHAT IS KUMIJO? PART THREE.

Today’s topic: Ni 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.

Hidari Jodan Tsuki
Jodan Gaeshi Barai
Migi Gedan Uchi
Migi Choku Tsuki

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.

Uchi: Hidari Jodan Tsuki
Uke: Hidari Choku Jodan Barai

“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.

Uke: Hidari Choku Tsukii
Uchi: Jodan Gaeshi Barai, moving to Migi Hanmi

“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.

Coming up next: San no Jo.

WHAT IS KUMIJO? PART TWO.

Today’s topic: Ichi no Jo.

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.

Coming up next: Ni no Jo.

WHAT IS KUMIJO? PART ONE

So for the past few months, I have been drilling my Aiki Jo.  Surely, mine is a tired jo!  I have reached some personal conclusions, nothing profound or mind blowing, but I thought I would type this out so that my brain has room for more stuff.

As I understand it, the jo of Aikido is a tool for self perfection.  It has many lessons to teach, and many attributes to develop.

• Flexibility.  The jo doesn’t have a set handle.  It can be gripped with one or two hands.  It be held in the center or on either end.  it can thrust, sweep, strike, whip, parry, hack, pin and throw.  Any of those moves can flow to any other movement.  There is probably no end to the ways that a jo can be used to practice.
• Awase.  Learning to move along the length of the jo while working with a partner builds blending skills like no other.  Sometimes you are close, sometimes you are far.  Sometimes you hide the jo, sometimes you impose your will with its length.  Sometimes you wield it with a powerful two-handed strike, other times you let one hand off of the jo for a sweep or parry.  All of things happen while you try to fit in with your partner’s movements.
• Understanding.  I have realized that the jo fosters understanding.  By that I mean, as you increase your practice with it, you increase your understanding of what the jo is meant to do.  That will probably be something personal for each person, what that purpose of the jo is.  First and foremost to me, I use the jo to understand my taijutsu.  Things like hanmi, maai, kime, zanshin, kiai – they all get focused when I pick up the jo.  The jo informs my overall approach to Aikido.
• Application.  The jo is a severe tool with the proper understanding.  My Kali and Military Combatives instructor once asked me to make some movie footage.  The subject was tactical weapon retention.  I was able to casually demonstrate principles and techniques involving the use of the short stick, knife, and handgun in situations where an attacker would seek to disarm you, and my instructor was more than satisfied.  Every idea I used came directly from practice with the jo.  The jo itself, in my opinion, is a practical item to learn because of it’s length.  Anything longer than a jo is not really commonly found in my daily routine.  I am always seeing brooms and pool cues anywhere that I go.  Anything longer than that, I don’t usually see.  Anything shorter than a jo, and that’s where the Kali kicks in.  The advantage of the jo, in my opinion, is not the length, but the versatility of it.  I can use the jo with one hand or two, as  long range or short range tool, in conjuction with punches, kicks, locks, and throws.  There are some that argue that Aiki Jo has little to do with actual fighting.  I respectfully disagree.

These are just some of the ideas that are in my head right now.  The continuation of this series wiil be a run down of Saito Sensei’s first five Kumijo.  Be on the look out.

TODAY WAS ALL JO.

Sweet.  We went through Kumijo 4 and 5.  Then we linked 3 and 4, and 4 and 5, which led to a review of the first 5 Kumijo, all linked together.

Here’s what we were using for the links:

1. From 1 to 2:  After uchijo parries with migi kaeshi barai, instead of thrusting, he steps back and parries uchikomi with hidari kaeshi barai, and then thrusts directly to the face to start Kumijo 2.  Ukejo simply changes the grip on the jo and parries with jodan choku barai.
2. From 2 to 3:  This one is really fun.  First the tempo is changed slightly.  After parrying the jodan gaeshi uchi to the left leg, instead of waiting, he attacks with hidari choku tsuki as soon as uchijo prepares the next attack.  Uchijo, instead of thrusting, moves the jo to a hidari gedan gaeshi parry, and then gives the jo a half turn to make hidari tsuki no kamae.  Uchijo then thrusts at the knee as in Kumijo 3.  Ukejo uses a similar movement to parry as in 3.
3. From 3 to 4:  This was another fun one, probably our favorite.  Ukejo strikes with nidan nagare tsuki, flowing past the first parry to the side and landing a finishing blow to Uchijo’s chest.  The first thrust is parried as in the Kumijo, and when the second one comes, Uchijo lets go of the jo with his left hand, and moving forward, uses a katate kasa barai (single hand umbrella parry) to defend and counter attack with katate toma uchi.  Ukejo has to move back and parry with migi kaeshi barai.  Uchijo then attacks with hidari choku tsuki, and Ukejo moves to hidari katate toma no kamae, as in Kumijo 4.  UPDATED: We have revised the transition from 3 to 4.  Uchi now uses a (3) katate uke nagashi while stepping forward to migi hanmi.  Uchi then attacks with (4) katate gyakute tsuki, and uke defends by stepping back with migi kaeshi barai (note: in application, uke would use kaeshi barai as a strike to uchi’s right hand).  Uchi then (5) steps forward to hidari tsuki no kamae, and uke (5) steps back to hidari tsuki no kamae.
4. From 4 to 5:  Instead of committing to the choku tsuki, Uchijo wards off gyaute tsuki with a barai movement, knocking the jo away.  Ukejo has to release his grip with the right hand.  As Uchijo attacks with jodan choku tsuki, Ukejo parries with jodan choku barai, as in Kumijo 5.

Video coming SOON.

TODAY’S WORK OUT

I have a new morning regimen.  Basically, it’s four days of martial arts, two days of weightlifting.  Today, we went over some Panantukan (the boxing art in Kali) and Aikijo.

• Panantukan: Jab-Cross Counters series
• Aikijo: Kumijo 1 ~ 3, and linking 1 ~ 3 together for a longer Kumijo
• Aikijo: 31 Kumijo 1-6 with the standard variations

The solutions that came up for linking the Kumijo were as interesting as they were instructive, and I will detail them later, when I have more time.

My basic plan is to get twice as good as I am now at martial arts in one year, and to be completely ripped in six months.  Look out world – here I come.

31 Kumijo, complete description

I found this image on the internet.  I can’t remember where, but as soon as I relocate it, I will credit the source.  It is supposed to be Saito Sensei’s very own list of the techniques of Aikiken and Aikijo.  I will detail the 31 Kumijo in accord to these notes.  Where “standard” vocabulary is not available, I will substitute my own.  I will use the term “uchi” to refer the “other person” and “uke” to refer to the person doing the 31 Jo form.  Since I have already provided an illustrated version of 1-22, I will only illustrate steps 22-31 (coming soon!!!).  Parts of the Kumi that are from the Kata will be in bold.

1-6

1.    Uchi: Hidari tsuki no kamae
Uke: Hidari jo no kamae
Uchi: Hidari choku tsuki
Uke: Hidari kaeshi tsuki
Uchi: Hidari choku barai

2.    Uchi: Hidari choku tsuki
Uke:  Hidari jodan Dome Barai

3.    Uke: Jodan dome maki otoshi, followed immediately by hidari kaeshi tsuki

4.    Uchi:  Hidari maki otoshi barai followed by hidari choku tsuki
Uke: Hidari jodan gaeshi

5.    Uke: Migi Uchikomi
Uchi:  Migi jodan uchikomi barai

6.    Uchi: Hidari jodan uchikomi
Uke: Hidari jodan (renzoku) uchikomi

9-11

9.    Uke: Hidari ushiro barai
Uchi: Steps back to make hidari jodan no kamae

10.    Uchi: Migi uchikomi
Uke: Hidari age uchi

11.    Uke: Hidari (renzoku) uchikomi

13-22

13.    Uke: Hidari choku tsuki
Uchi: Hidari choku barai

14.    Uchi: Hidari choku tsuki
Uke: Hidari jodan gaeshi

15.+16.    Uke: Migi uchikomi…16. migi gedan gaeshi no kamae
Uchi:  (16) Migi jodan uchikomi barai

17.    Uke: Hidari gedan gaeshi
Uchi: Change to a left hand forward grip on jo makes hidari gedan dome barai

18.    Uchi: Hidari gedan choku tsuki
Uke: Hidari chudan gaeshi

19.    Uke: Hidari gedan choku tsuki
Uchi: Hidari gedan dome barai

20.+21    Uke: Migi jodan gaeshi gedan uchikomi (kneeling)…21. Migi gedan gaeshi no kamae
Uchi: (20) Hidari jodan gaeshi to migi gedan dome barai…(20) Migi jodan uchikomi

Notes:  Here we see that in the partner practice, 15 and 16 become one movement, as does 20 and 21.  Uchi basically unleashes a violent application of Roku no jo twice in rapid succession.  There are clips on Youtube showing Morihiro Saito Sensei, Hitohiro Sensei, and Daniel Toutain Sensei showing this in the solo practice.  This is literally uchi just beaten mercilessly with a jo, with little opportunity of awase.  I have a theory about this, that will be the subject of my next writing.

22.    Uchi: Migi jodan uchikomi
Uke: Interrupts uchikomi with hidari gyakute tsuki

22-27

22.    Uke: Hidari gyakute tsuki
Uchi: Evade with Hidari jodan no kamae

23.    Uchi: Hidari gyakute tsuki
Uke: Hidari chudan gaeshi

24.    Uke: Hidari choku tsuki
Uchi: Hidari kaeshi barai

25.+26.    Uke: Hidari choku tsuki…migi gedan gaeshi no kamae
Uchi: Hidari chudan gaeshi

27.    Uchi: Hidari choku tsuki
Uke: Migi gedan gaeshi

27-31

27.    Uke: Migi gedan gaeshi
Uchi: Migi gedan gaeshi barai

28.+29.    Uke: Migi gyakute tsuki…jo is knocked away and allowed to flow to migi tsuki no kamae
Uchi: Parry gyakute tsuki with hasso gaeshi and move to migi hasso no kamae

30.    Uke: Migi choku tsuki
Uchi: Jodan uchikomi barai

31.    Uke: Migi (renzoku) jodan uchikomi

Notes:  In 28 and 29, we see another application of chudan gaeshi.  Instead of being a parry or strike, it is used to allow the jo to flow back to instant use after being knocked away.  Practing the 31 kumijo in these isolated parts is a wonderful exercise for both uke and uchi.

It’s Jo Season!

In homage to my first and favorite Aikido teacher, I’m officially invoking Jo Season!  All Aikido Buki Waza sessions will be Jo, Jo, and more Jo.  If you’re looking to brush up on your Jo (like me!) then let’s get together.

Took ’em down, took ’em down…

I took down my notes that I made for the 31 kumijo.  Maybe if  I get the chance to film it myself, I’ll update them and put them up again.  Anyone that downloaded them, if you have any feedback, let me know.  Thanks.

More Aiki Jo

I found a clip of Saito Sensei performing the 13 Jo Kata on youtube, and I made a brief manual of that also.  Enjoy.

More 31 Kumijo, 1-22, illustrated

I just finished with illustrating my Kumijo notes. So far, I have put 1-6, 9-11, 12-17, and 18-22 up for download in PDF format. As always, I welcome your feedback. Thanks – and happy New Year.

31 Kumijo, illustrated

I thought that this might be my last post of the year, since nothing in particular is jumping out of me to write about. I figured I mas as well tie the year off for this blog on a martial arts note. And after making an inquiry, I have decided to share, at least for now, my notes on the 31 Kumijo, as demonstrated by Morihiro Saito Sensei. They are illustrated with stills pulled from his DVD on the subject, Aiki Jo, which is available from Aikido Journal. You will find them available as a download in the side column. As always, I welcome any and all critique. Thank you, and Happy New Year to all.