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Introduction by the Author

Foreword

When I began to study Taiho Jutsu in 1981 little did I realise how much it would affect and change my life. Until that point I had practised and become knowledgeable in the sport of judo and a number of other martial arts. I did not know that I had only touched on the physical aspects, and that there had been a great void in the foundation of my knowledge.

Taiho Jutsu put me on the path that can only be described in Western language as enlightenment. What had been lacking was ‘Ki’.

My instructors in previous Martial Arts had neglected the essential format that made up any martial art. The Oriental import was missing, yes, the combat was there, I was good, even represented my country, but fulfilment had not been achieved. As a young man strength and stamina are paramount, but as an adult they begin to fail, only slightly if you maintain the standards, but fail they do. The hunger is still there but the speed of reaction slows, only fractionally it is admitted, but it is enough to be dangerous at a high level. When the ability to compete at international level goes, then there has to be something pretty sensational to take its place.

‘Ki’ is the embodiment of all enlightenment. It is the Centre, and around it provides all. ‘Ki’ made it possible to get the feeling, the essence of what it had all been about, the reason why we train, the reason why we achieve.

Taiho gave me a new direction. It made me apply myself, sure the techniques are strong, able to overcome any other martial art system, but in themselves not enough. Taiho gave me a thirst for knowledge. It made me realise how little I knew.

I began to cast my net, and in doing so I met a most startling man,George Saltries, he was 83 when I met him. He took me under his wing and I began to learn, a sponge in a bath, no matter how much I was able to soak up there was always so much more. He began with the physical aspects of ‘Ki’, the ability to apply it to techniques, achieving power that I had previously before thought of only as ‘book oriental mystique. As I developed I began to see that ‘Ki’ opened my mind. As time has progressed I have become to understand the humility of George’s own words, “The more I learn, the less I know”.

I would like to thank the following people for their assistance in the compiling of this manual. William Isaac, Robert Noble, Matthew Kelly and Edward Waters for their gentle persuasion in the direction of the manual.

Ross Jackson

1995

III

I dedicate this book to two men. Brian Eustace who was my mentor in Taiho Jutsu, and George Saltries. They achieved more for anyone I have ever had the pleasure of teaching than they will ever know.

Ross Jackson

1995

IV

Contents

Foreword

Page

VI

Taiho Jutsu - Origins

Page

VI

Training guide

Page

1

Breakfalls

Page

4

Posture

Page

6

Passive holds

Page

8

Restraints

Page

10

Releases

Page

12

Cross blocks

Page

14

Weapon defences

Page

16

Ne-waza - Groundwork

Page

18

Groundwork roll-overs / Leg holds

Page

22

Tanto Randori

Page

24

Nage waza

Page

31

Syllabus

(Kyu)

Page

34

Syllabus

(1st Dan)

Page

36

Syllabus

(2nd Dan)

Page

37

Syllabus

(3rd Dan)

Page

38

Grading examinations

Page

39

Competitions

Page

41

Glossary

Page

48

V

TAIHO JUTSU

Taiho Jutsu is the adopted martial art of the Japanese and British Police forces.

In Britain, Taiho Jutsu was first taught at CPU (Central Planning Unit), the Home Office Teaching College for Police Physical Training Instructors at Harrogate, Yorkshire, in 1979. As the requirements of the British Police are different to most other Police forces of the world the decision to adopt Taiho Jutsu was made with the proviso that it be adapted to suit the needs of the British Police. In 1979 it was introduced into the Physical Training syllabus by Mr. Brian Eustace, a retired Police officer, using the same principles of evolvement that has been available in Japan. It has since been taught at all British Training establishments throughout Britain, and all Police Officers since that date have been taught to the minimum standard of yellow belt, some attaining orange belt. There were no purely civilian black belt instructors in Taiho Jutsu. As a result of this instruction, the syllabus for Taiho Jutsu has been adapted into a system best suited to the needs of the British Police forces.

TAIHO JUTSU AND ITS ORIGINS

All martial arts have but one aim, and that is to make the defender safe, by either forcible removal of the attacker or damage of the attacker to allow the defender to remove himself from the scene with safety.

Taiho Jutsu is fundamentally different from all other martial arts in that the defender must achieve the aim of safety and also retain the attacker in his possession so as to affect an ‘arrest’. Having completed a defence, the attacker must be held in such a way that he can be restrained, from further attack, or from escape, with the least amount of physical injury to either himself or the defender.

Taiho Jutsu in its present form is derived from the system used by the modern Japanese Police force. From the 14th century Menji era, various forms of martial arts have been used by the Police for both practice and physical education.

It was felt that none of the martial arts were purely suited to the Police with their particular needs when applied to civil problems. As the awareness of the modern public was recognised it became essential that the Police should standardise their own system with appropriate techniques of self defence.

VI

In 1924 the Tokyo Police bureau convened a technical study by an outside committee. Amongst the committee members were various martial art specialists in Judo, Jujitsu, Kendo, Kenjutsu, and Karate. This committee devised a series of self defence techniques based on unarmed defences, and recommended these techniques be taught. The Police board approved the techniques and incorporated them into basic Police training with the proviso that intensive study and testing be completed.

After the Second World War SCAP (Southern Command Army - Pacific) enforced a martial art prohibition and the Japanese government requested SCAP to allow the development of a Police system of self defence. This development was approved and all the previous elements were studied, but with the addition of Western style boxing. A system comprising of these elements together with the ancient teachings was created in 1947

and called Taiho Jutsu. An official manual was published and has since been revised in 1949, 1951, 1955, 1962 and 1968.

In 1974 the British Police commissioned a report with regard to self defence. As a result it was felt that an adoption of a defined system of self defence would be best suited. Prior to this date instruction in self defence was left to the physical training establishment of each area, with only a few techniques being standard.

As the requirements of the British Police are different to most other Police forces of the world the decision to adopt Taiho Jutsu was made with the proviso that it be adapted to suit the needs of the British Police. In 1979

it was introduced into the Physical Training syllabus by Mr. Brian Eustace, a retired Police officer, using the same principles of evolvement that has been available in Japan.

A further revue in 1990 led to an ACPO (Association of Chief Police Officers) recommendation in 1991 that all Police Officers should receive on-going training in Self Defence throughout their career. All techniques taught in Police Taiho Jutsu are approved as correct by the Home Office.

Taiho Jutsu is under constant study to allow revision with regard to the needs of the Police.

In 1995 the Home Office registered with the British Self Defence Governing Body to allow the formation of civilian clubs in Taiho Jutsu.

The teaching of Taiho Jutsu is split into three different aspects. In the centre is the Kata, the formal demonstration of the basic techniques of Taiho, and this is completed at all grading levels. On one side is the Street applications of the Kata techniques, on the other is the competition application of the Kata techniques. Streets and contest both derive from VII

Kata but are different in that whilst the demonstration of a Kata technique, by any person, should be exactly the same, streets and contest adjust the techniques to both the defender’s and opponent’s size and weight.

In Japan, more emphasis is given to ‘Hojo jutsu’, the method using a metal truncheon with hemp attached, the truncheon to restrain and incapacitate, the hemp being used to bind a prisoner to prevent escape. The Taiho Jutsu method used by the British Police limits itself to the use of body locks and handcuffs for restraint.

Shiai (contest) is the sport aspect of Taiho Jutsu which is derived from Tomiki Aikido and should not in general be considered ‘streets’, as the defender usually sacrifices safety to perform the technique against the ‘friendly’ attacker.

The grades in Taiho Jutsu are as follows:-

Senior

Junior

Yellow

5th Kyu

Mon,1,2,3

Orange

4th Kyu

Mon,1,2,3

Green

3rd Kyu

Upper/Lower

Mon,1,2,3

Blue

2nd Kyu

Upper/Lower

Mon,1,2,3

Brown

1st Kyu

Upper/Lower

Mon,1,2,3

Black

Dan

1 - 10

Why has this manual been written?

In 1981 Ross Jackson attended at Panal Ash to train as a PTI and Self Defence Instructor. At that time the syllabus was not written but adjusted to each course.

This was acceptable as to allow instructors to hone their skills and knowledge.

Police students were only taught on basic courses run training centres and never returned.

Ross Jackson received an Orange belt. Over the next few years he was to advance by two grades on each course attendance. Attaining 1st Dan in 1984.

The art of Taiho was honed in practice on the streets of Liverpool.

That year 1984, the the very fist civilian Taiho Justu club was formed in Merseyside by Ross Jackson. Up till this time no grading syllabus was actually written down. To facilitate grading, the techniques learned from courses were documented

Cub training was rigorous, as befits a civilian club, and the members were awarded their grades according to this syllabus. Progression could only be made by attendance and through each prior grade.

VIII

In 1987 the Taiho organisation allowed non PTI police officers to take part in national competitions. Merseyside club members took part and exceeded all expectations. The syllabus was never altered and the standards of club Taiho has improved to be equal to any Martial art. The use of a fixed syllabus demonstrated the in-depth knowledge of the members as opposed to the old system.

The Club moved to Wirral in 1987 and became the ‘Wirral Taiho Justu Club’.

Many serving Police officers joined, but it remained primarily a civilian club. The standards rose and many have attained their black belt. The members have gone from strength to strength. Some have fought in the Nationals and won.

Others have spread the skills of Taiho and have been accepted as accredited masters of their art.

Other civilian Taiho Jutsu clubs have since been formed and have applied the exacting principles set out.

Taiho Jutsu has arrived in Britian.

Police training in Taiho has since been relegated to lip service as there has become a reliance on use of the baton and C.S. gas.

The Taiho Jutsu organisation, in their website and books, use many of these illustrations taken directly from this book. Permission was granted for their use.

IX

X

TAIHO JUTSU

Club Training Guide

This Taiho Jutsu training guide is based on the actual grading syllabus which is in existence at this moment. This syllabus, unlike the Police system, is static.

It should be noted that the examiner may ask for a demonstration of any technique to assist in the grading examination. Therefore, the more knowledge that you have with regard to the basic techniques and their applications, the better the chance that you have of being able to facilitate the request. With this in mind, the following is meant as a guide.

It should be the intention of the instructors of clubs to assist any pupil to the maximum to allow a complete understanding of all aspects of Taiho.

Instruction will be given in the basic syllabus for each grade together with a full and comprehensive explanation and breakdown with regard to each technique.

Instruction of separate techniques will include the derivative of the technique, the Aiki application, and if possible, the street application (Street application will be twofold, the use of the technique by Police and the application by a Civilian if circumstances warrant).

Complimentary demonstration of other techniques that can be introduced by that particular technique will also be given.

The introduction of techniques required for Dan grade will commence at the mid stage of the Kyu grades, usually prior to Blue belt (2nd Kyu), not for grading purposes, but as an aid to assist the ease of understanding of the basic techniques.

The use of Japanese terminology, both in instruction and in general use throughout the procedures of the clubs, is to be applied by all grades. Clubs are civilian and operate within the guide lines of the Japanese Martial Arts systems. Whilst the Police, to whom they are closely allied, do not learn the Japanese terminology, it is envisaged that at a later date, competition between other Aiki based clubs will occur, and to that effect the use of Japanese terminology will be of benefit. Tomiki Aikido, from which Taiho Jutsu draws heavily for contest, uses the exact same terminology and techniques for competition and Dan grading. However, it is worth noting that many of the higher techniques taught are only known in Japanese as there is no equivalent translation known by the instructors.

1

The demonstration of the techniques requested by the grading examiner will be primarily in order and in kata form. Every pupil must be aware that the examiner will request a demonstration of all techniques left and right.

With regard to gradings. No person will be permitted to take part in any grading examination without first producing a Taiho Jutsu grading booklet as proof of grade.

This book is a reference book for all who use it.

2

Exercises

Prior to any training there must be at least 10 minutes stretching and exercise completed. Working from head to feet. Gently warm the muscles then progress to full muscular

Head - Rotation. Forward. Rear.

Shoulders - Rotation. Shrugs.

Chest / torso - Rotation. Lateral.

Arms. Rotation. Lateral.

Wrists. Rotation.

Waist - Rotation. Lateral.

Hips. Rotation. Lateral.

Thighs.- bending. Stretching.

Ankle. Rotation.

Stamina

Leg raising for anaerobic.

Running for cardiovascular.

End of training

At the end of training, cooling down exercises should be completed.

3

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Techniques

For information, in this document all techniques are described to the right. This means all techniques are to be done on the opponents right side. Any attack by the opponent will be right sided. For left techniques, transpose left for right and vice versa.

Breakfalls (Ukemi)

Front crush

Standing with legs spread, turn feet outwards.

Lean low and slide forward on forearms into prone position. Head turned to the side on landing, hands turned slightly in to protect face.

Forearms and feet only on floor.

Rear Roll

From standing, place left knee on floor slightly behind original position, lower leg placed immediately behind body so that centre of calf is in line with right heel. Sit down in a curled position. Chin tucked in. Breakfall acceptable if done.

Side Breakfalls

From standing, slide right foot forward and sit onto right heel, keep in curled position and roll back onto right

shoulder. When shoulder

touches,

strike

floor with full length of arm,

palm downward,

with vigour. Chin kept

tucked in.

4

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Rolling Breakfall

From standing step forward with right foot, reach forward with right hand, turn arm so that elbow is up, lean down and place palm as far back to rear foot as possible, Pushing with right foot, roll over right shoulder, as left side touches, strike floor with full

length of left arm, continue roll

onto small of back. Keeping

left leg tucked under right,

continue

roll

so

that

momentum forces body into

standing position. Keep

chin tucked in.

Ground defence

Lie on your back then turn onto your left side to face your opponent, raise your arms into a basic Crosssblock to protect your face. Bring the left knee toward your stomach and use the shin of 5

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Posture

The most important item that you will ever learn in any Martial art is that of Posture, without it the majority of the techniques learned will be ineffectual.

To attain a good defensive posture - Stand with feet in line and slightly apart, now raise your arms above your head as though holding a sword, left hand in front of right. Keep your shoulders square to the front and bring the arms down to about chest height, still keeping the left in front of the right. Take an extended step back with the right foot but still facing the front, you will find that the right hand is moved back slightly but the left stays where it was.

Avoid & Deflect

The most important move in Taiho Jutsu. If you don’t avoid the attack how can you even attempt a technique?

Facing your opponent who is moving forward in a striking movement, either punching or kicking.

Move the left foot two inches to the left, then move the right foot three feet to the left, your body should be no more than 45° off the centre.

At the same time complete a little clockwise circle with the left hand to protect the face. If possible allow the left hand to rest on the opponents right forearm just above the wrist, making sure that the fingers and thumb are in a cupped position. Maintain the same posture, the punch or kick should pass you by. On no circumstance take hold of the forearm in a tight natural grip, or punch the arm away. If you are not there, neither attacks can harm you. Do not lean forward to deflect the punch, if a kick, treat it as a punch.

These two techniques are the most important that you will ever learn. The movement to 45° is to applied rigorously. There should be no exception.

6

Posture

Examiners notes

The student is given the following information regarding these two techniques so that understanding of Taiho can commence.

To attain the correct posture. Raise your hands above your head as though you have a sword gripped by the halt. Step back with the right foot as far as feels comfortable. Bring the hands downward in a striking movement to the centre of the chest. Open the palms and move the left hand forward and the right hand closer to the chest.

The examiner will be looking for relaxed hands, the back foot at a slight angle off centre, and the front leg from shin to knee to be perpendicular, shoulders upright. There must be no lean forward or back.

Avoid & Deflect.

Student / Examiner notes

Failure to understand this movement will restrict the student from advancement throughout his/her career.

To understand the reason and principle try the following.

Tori and Uke (defender) face each other. To set the distance, Tori steps forward and makes a roundhouse punch to Uke who has not moved. The punch reaching uke’s jaw. If the punch was done at speed the jaw would have been struck. Uke would be incapacitated.

Return to the original position. Set the strike again. If Uke moves as requested but moves to 90° it will be seen that uke still receives a full strike to the jaw.

Uke moves to 45° and there is no strike. This is usually demonstrated by and examiner as Uke and a high grade as Tori. facing each other with eyes closed, on command Tori attempts a full strike and Uke moves in Defensive posture. It will be seen that the strike passed Uke’s face at speed but missed by possibly less that an inch.

45° is the only angle that will offer this protection. More or less will result in being struck.

Leaning forward in posture will result in a strike. Leaning back in posture will result in Uke being unable to move without moving forward to regain posture.

You will notice in this manual that the techniques up to and including 4th Kyu are named in English and Japanese. Above those grades are only given in Japanese. The examiner for 3rd Kyu and above will only be give the requested technique in Japanese.

7

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Basic Techniques

The basic techniques are a sequence of techniques Passive Holds.

Straight arm (Ude gatame)

Approach from rear, take hold of opponents right wrist with right hand, turn palm away from body. Push left arm between opponents arm and body, place left hand palm on top of the back of your own right hand. Push to walk forward by pressure to shoulder with your own shoulder not your arm.

Resistance

Offender attempts to resist, to straighten arm, bend arm or pull away.

Keep both hands in position. Step backwards and at same time bend down. This puts full body pressure on opponents right elbow, forcing to the ground. Apply Rear Pin-down, Gyaku-ushiro-ude-gatame.

Wrist twist (Kote hineri)

Approach the opponent from the front. With your right hand take hold of the opponents right elbow and step with your right foot to the outside of opponents right foot. Pivot on right foot and place left foot just behind opponents right foot, left shoulder touching rear of opponents right shoulder. Lift elbow up to centre of own chest, place left hand over own right and run it down opponents forearm and place palm over back of opponents hand. Put thumb around wrist and place little finger firmly into palm, there should be no gap between your palm and the back of opponents hand. Hold opponents forearm so that it is down centre of chest and inside of wrist is held against own stomach at belt height, opponents palm should be horizontal to the ground. Keep own left elbow against own side and not in front of opponents stomach. To walk forward push opponent with shoulder.

8

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Resistance (Kote hineri -

If opponent resists by either refusing to move, or attempting a kick or strike. Keep both hands in previous positions, step backward with left foot, pivoting on right foot, so that whole of body faces opponent. If left hand is maintained on set position on stomach opponent will be forced backward.

If opponent drives elbow upward to strike face, as before, keep both hands in previous positions, step backward with left foot, pivoting on right foot, so that whole of body faces opponent, then put left hand to own right hand and raise opponents wrist, still horizontal to the floor, as close to opponents own armpit as possible. Keep own arms straight and move backwards.

If opponent grabs groin, place both hands on top of opponents to stop any pulling. Hold as tight as possible to your won groin, step backward with left foot, pivoting on right foot, so that whole of body faces opponent, keep left hand on opponents groin hold and drive right hand onto elbow forcing opponent to ground.

9

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Restraints

These will be done 1 onto 1 across the mat.

Left and right will be demonstrated.

Goose Neck (Kote mune gatame)

Approach from rear right. Right hand takes hold of opponents right wrist, left hand on back of same arm just above elbow. Break balance in left posture by a circular motion, pulling up and then pushing forward mainly with left arm extended to obtain reaction. As reaction is felt, maintain hold on wrist and pull upper arm back, pulling opponents elbow into pit of own stomach. Right hand remains on wrist, left moves up to wrist and placing fingers overlapped, not crossed, on top of opponents knuckles, thumbs tight under wrist. Turn away when initiating walk so that you do not walk into the possibility of a strike from the opponent’s opposite fist.

Thumb Lock (Kote gatame)

Break balance in left posture by a circular motion to obtain reaction. Left hand moves to opponents hand and grips Thumb only. Hand fully over wrist/knuckles. Pushed through so that opponents arm is held at up at approximately 45°. Right hand to elbow.

Opponent walked under control, turn away from body.

10

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Rear Thumb Lock (Ushiro kote gatame)

Application of thumb hold attempted.

Secure the opponent from moving by

wrist locking as thumb lock, concertina.

Opponent immobilised, push arm

horizontal behind back and hold, still in thumb lock. Step in close to side of

opponent and place opponents elbow

against stomach to free right hand.

Right hand then pushed inside

between opponents arm and back.

Right hand then holds over top of

opponents wrist in goose neck. Has

the opponent been immobilised to

allow application of the handcuffs?

Left hand to opponents left upper arm

muscle and pull tight towards own

body. Walked to your rear or

opponent’s rear on completion.

Arm Entanglement (Ude garami)

Approach from opponents right front at

45° in right posture. Bar with left hand, grip with right hand, thumb down, at rear of opponents elbow just below

muscle in upper arm. Whilst stepping

into left posture and rotating round

behind, pull with right hand, push with

left, pulling opponents arm, push left arm through so elbow to elbow is

achieved with own left palm facing

away from opponent. Tuck opponents

elbow on left hip. Remain upright.

Place right hand in opponents front

shoulder socket, rotate left hip forward

to bring opponent up and pull toward

yourself holding opponent close.

Opponent must be walked backwards

or to the side which the arms is held when the lock is applied.

11

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Releases

2 couples on the mat. Each to demonstrate releases from static position.

Wrist turn (Kote gaeshi)

As opponent grabs, deflect by turning to right, left hand on back of opponents wrist and push across body so that position is 45° to opponents front left. Stepping with right into posture, place right hand on back of opponents wrist, both hands grasping wrist, left on top, whole arm touching. Rotate body 180° by placing left leg in spinning motion behind, moving into right posture. Hands pulled directly to waist.

Opponent to floor. Keep hold of opponents right hand with left hand, place right on elbow, stepping to left, push elbow across face and moving to opposite side roll opponent onto face.

Maintain wrist hold and push wrist under shoulder to apply thumb lock. Bring opponent to standing position.

Side Arm Lock (Wake gatame)

Opponent attempts grab to lapel. Balance broken by grasping opponents wrist with both hands, rotate body to right, fold elbow completely over arm and hug to chest, keep looking at opponent, move in sideways posture 45° to opponents front left. Opponent taken to floor, defender on left knee. Keeping pull on arm, maintaining lock, right hand retains wrist, left hand forces opponents right shoulder onto the ground. Push opponents right arm across own chest and round to opponents back.

Opponents right arm held in appropriate restraint.

The grip demonstrated alters trough the grades. White to Green as shown in the diagram. Blue to Brown. The offenders arm is held in a ‘V’ gripping toward the chest. Dan grade, the wrist is turned, rotation the palm so that the little finger facing the side of the face.

12

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Rear Drop (Ushiro otoshi)

Whilst held in a head lock. Simultaneous solid groin strike with right hand, as opponents body reacts to strike, place left hand up the back and over the right shoulder to head, push under control, lean forward to allow the crook of the right arm to be placed under inside of knee, try to get your own hand to touch your right ear, then pivot on right foot, bringing left foot in a complete 180° sweep away from the opponent.

Loss of balance will force opponent to ground to the rear. Withdraw in posture

Variation

Solid groin strike with right hand or Camel bite to inside of opponent’s right thigh forcing hands to release and open slightly. Place left palm over back of opponents right hand, put thumb around wrist and place little finger firmly into palm, there should be no gap between your left palm and the back of opponents right hand.

Hold opponents fingers with right hand and step backward with left foot, pivoting on right foot, so that whole of body faces opponent. Stand up, keep both arms straight, opponent’s palm should be horizontal to the ground, and rotate fingers towards and as close to opponents own armpit as possible. Keep own arms straight and move backwards turning slightly to face opponent. Take to ground.

Shoulder throw (Seoi Nage)

Arm pull by right hand on opponents upper arm muscle. Solid groin strike with left hand, left hand to return to closest position to right hand.

Side step to left, right foot to be placed flat on floor, rotate body toward left foot. If contact lost, defender to regain defensive posture. If contact maintained, opponent brought up or held under control.

13

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index-26_3.png

Cross Block (Juji uke)

Left Posture correctly attained. Give when blocking. Block to be with clenched fist ending in open to facilitate reaction.

Push Down Oshi taoshi)

Cross block. Step to left, take hold of hold opponents right wrist with right hand, snap kick to ribs. Step forward with left to opponents right foot. Pivot on left foot 180°. Right hand on opponents wrist, left hand just above elbow not upper arm, push to floor. Control on ground with straight arm lock elbow uppermost.

Rear Pull Down (Ushiro ate)

Cross block. Step to left side, right hand pulls opponents arm. Step past opponents right foot with left foot, strike with knee to upper chest not stomach, causing opponents body backwards, pivot on left foot 180°. place hands over shoulders to chest, do not have hand on shoulders. Move back in left posture. Posture defence attained.

14

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Arm Entanglement (Ude garami)

Cross block. Take hold of opponents right wrist with right hand, break balance forward. Strike with left arm at elbow, right continues opponents arm action upward and pushes toward face. Simultaneously as stepping through into right posture passed opponents right side, left arm entwines through to own right wrist, open palm pushes past opponents ear and drives to rear down opponents spine.

Opponent forced to floor on back. To avoid opponent kicking, defender places left knee on opponents head, forcing face away, then applies reverse goose neck to opponents right wrist, finishes with slight upward pull to rotate opponent away slightly. Right knee may be either on floor or on opponents rib cage.

Leg sweep (Osoto gari)

Cross block. Spread arms, strike with open right palm to opponents chin. Then

simultaneously step forward with left foot past opponents right foot, wrapping opponents right arm with left pulling tight to chest and right arm driving passed opponents left shoulder, as a body hug. Opponent is forced to bend backwards. Defender then leaning forward sweeps opponents supporting leg away with reaping

Variations

All the Crossblock moves may be used without a distraction strike to increase the speed of the basic technique.

15

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Weapon defences

Defensive left posture. Hold staff so that back of palms facing opponent.

Right/Left Foot Kick (Ashi muni ate)

Posture defence, give in posture but strike forward and strike down toward kicking leg with baton, contact to shin. Upright back. Then move forward in posture with solid chest strike, both handed with baton, then again in posture forward drive at the chest to push opponent to ground. Posture in defence

Right/Left Foot Kick (Ashi hiza ate)

Posture defence, give in posture but strike forward and strike down to kicking lower leg with baton. Upright back. Move left posture to right side, solid strike at knee with baton. Strike opponents left shoulder with left hand, then continue with a straight arm drive, pushing forward in posture, creating backward motion of opponent. Staff hook at knee, drive back and to floor. Posture in defence.

16

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Downward attack (Ude garami - hidari)

Posture defence. Cross block defence with baton striking opponents arm upward. Move to right in left posture. Solid staff strike to opponents left upper arm. Move forward with right foot, place staff under left elbow, reach over opponents arm with left arm and take hold at top of staff with thumb down. Staff at rear of elbow not shoulder. Pivot on right foot, pinning opponents arm to chest on rotation, drive opponent to floor face down, pin with staff on upper forearm. Ground control by goose neck.

Knife attack (Ude garami - migi)

Posture defence. Knife attack either thrust or sweep. Move directly to right and into right posture simultaneously striking with the baton downward, hard on opponents right wrist, then kick the opponent in the groin using a right footed snap kick. As the opponent has been bent double from the kick and his right arm is relaxed downward, step with the left foot to just in

front

of

the

opponents

left

foot

simultaneously placing staff over arm , taking hold of end of staff at bottom with the left hand, Staff at rear of elbow not shoulder. Pivot on left foot, pinning opponents arm to chest on rotation, drive opponent to floor face down, pin with staff on upper forearm. When pinned, give added pressure to upper forearm with staff allow removal of knife if still held. Release and move back in posture defence.

17

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Ne-Waza (Groundwork)

Kesa gatame

Approach from right side of opponent and sit alongside. Press the right side of your body close to his ribs, wedging your hip tight into his armpit. Clamp his right forearm under your own left armpit and hold the cloth just below the elbow with your left hand. Circle his neck with your right arm and grasp your own trousers near your right knee to lift his head from the ground.

Lower your head forward and spread the legs in a wide ‘V’ to maintain and control balance.

Kezure kesa gatame

As Kesa gatame, but with right hand released from the neck, place the hand palm down under the opponent’s right armpit and slide the forearm under the shoulder so that the elbow rests fully on the ground. Body weight is more evenly pressed on the opponents’s chest.

Kata gatame

From Kesa gatame. Opponent pushes against face with right hand. Push opponent’s own elbow across face and reach round neck with right hand, join left in monkey grip at back of neck. Place head on floor. Lie fully on your stomach then slide and place your right knee into side of opponent’s chest. Keep your own bodyweight as close to the floor as possible.

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Kami shiho gatame

Approach from the head and kneel in line with his shoulders and grasp the belt on either side.

Your hands and elbows should be on the mat with the knuckles facing outwards. At the same time make chest to chest contact. Make firm contact with your upper body and arms. Turn your head to one side and bend your knees either side of his head with the toes tucked under. Spread the legs in a ‘V’ to obtain maximum stability.

Kezure kami shiho gatame

As Kami shiho gatame. Take the right hand away from the shoulder, reach over so that the hand is under the right armpit, push the elbow forward and slide the hand palm upward back under the armpit to take hold of the collar at the r e a r

of the neck. Move the whole of the

body

to the right at an angle of 45°, lying between the head and right shoulder.

Take the left hand from under the

shoulder and

place the elbow under

the opponent’s left armpit and rest the

forearm, palm down, fully on the ground.

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Ushiro kesa gatame

Hold exactly as Kezure kami shiho gatame. To maintain stability when the opponent begins to roll to the right, slide the left leg through and under the right to form a ‘V’. Pull the right arm tight across the chest. Maintain chest to chest contact.

Yoko shiho gatame

Approach kneeling from the opponent’s right side. Place your chest against the side your o p p o n e

nt’s stomach. With the left hand

r e a c h

around your opponent’s head and

take hold of the left collar by his

chest. With the right hand, reach

under the groin to take hold of the

cloth by his left buttock, keep your

chest on his stomach then ease

the legs back into a ‘V’ and let

your body settle lower the to keep the maximum body pressure. Do not worry if he can thresh his legs about.

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Ude garami

Approach from the opponent’s right side. As your opponent reaches up with the left arm to fend you away grasp your opponent’s left wrist with your left hand and lower your chest onto his chest to control body movement. Bend his arm force it to the ground, palm uppermost.

Bring your right arm under his upper arm, close to his elbow to grasp your own wrist palm down. Obtain submission by pulling his arm inwards and turn your right wrist clockwise to lift his upper arm. Release the lock as soon as he submits.

Ude hishigi jujui gatame

Opponent lies on his back and your approach from the side. Grasp his right wrist with both hands. Lift and extend his arm. Put your right foot into his armpit and sit down close to your own heel. Bring your upper body close to the arm and quickly slide your left leg over the top of his head to prevent him from getting up.

Ensure that the little finger edge of the trapped arm is towards your chest. Grip his arm between your thighs and slowly sit back until your opponent submits from the pain caused by the elbow lock.

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Groundwork Roll-overs

Elbow take

Opponent is in crouched and hunched position on all fours. From side, reach through under chest so that hands clasp around elbow, one arm under body, the other under shoulders, apply pulling pressure to elbow so that opponent is forced onto shoulder of opposite side. Feel the resistance to the side then pull the elbow to the head, thus rotating the opponent over onto the back. Do not pull the opponents arm sharply up, this would result in him landing heavily on his back and also the force will pull you even heavier onto his chest.

Thigh take

Opponent

crouched

and

hunched position on all fours. From side, reach through under stomach and around thigh, clasp hands, apply even pulling pressure to thigh to effect a roll onto back.

Body roll

The defender is in a hunched position on all fours. The offender is on the left side applying body pressure on the back, reaching over toward the waist with his right arm. Reach up behind the rib cage and take hold of as much of the opponents arm and secure as tight as possible. Do not try to roll over onto your back, but crawl forward and rotate onto your own right shoulder and then onto your back. It is most important that you crawl forward before rolling, if you do not your opponent will be able to force you onto your stomach to stop you rolling him over. The opponent will be forced to roll onto his back.

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Leg Locks

Ashi Gatame

You are standing, your opponent is on his

back trying to kick you. As he kicks, from a low cross block, clockwise circle your right arm, encircling and trapping his right leg shin against your right rib cage move into right posture. Hold tight to affect good control. Place your left palm on his right knee, place your right palm on your own left forearm. Lift up to apply the lock, keeping your head as far up as possible to stop a facial kick. As your opponent tries to kick with the other foot, complete an anti clockwise rotation with the left arm, as you are in right posture his foot will align with your right hand.

Place the left shin in your right palm. Lean back to apply the lock

Ashi Garami

From a toe hold on opponent's right foot. Left hand on bottom of heel, right hand to outside of foot. Rotate foot causing opponent onto face.

Place right foot into rear of knee joint, using left hand, fold the left leg toward bottom. Move forward and squatting on own feet, apply pressure with groin to instep of opponent's left ankle. Hold shoulders, for stability. On no account is pressure to be applied to the spine.

Application of handcuffs is accepted.

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Tanto Randori

(Knife taking)

This is the sport aspect of Taiho Jutsu and must be respected as that.

Tori faces Uke across the mat. Both Rei. Both step forward until distance between is 6 feet. Tori gains left stance to accept. Uke in right stance has knife, blade uppermost, by front of right knee. Uke advances in posture toward Tori, raising knife to horizontal. Uke reacts with demonstration technique as required.

Avoid & Deflect

Tenkai waki gatame

Avoid and deflect, pivot on left foot swinging round to left full 180º, at same time place left elbow over opponent’s leading knife arm and hold wrist with hand. Right arm encircles opponent’s knife arm, trapping own wrist with crook of elbow. Maintain turn and take opponent to floor

Ushiro otoshi

As you attempt Waki gatame your opponent withdraws the knife- hand and as your opponent begins to retreat, anticipate his movement and move forward in posture, lower your posture and place your left leg behind his right. Grip his forearm with both hands, move in close and drive the upper part of your forearm tightly under his right arm pit to a horizontal position.

Begin to stand up and turn to the left, your opponent will be thrown over the left knee to the floor.

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Waki gatame

You attempt Ushiro otoshi but your opponent moves his right foot back to regain balance.

Keep the hold on the right forearm and duck forward, rotate backward with the left leg and put your head and shoulders between the gap of his chest and arm. Continue to rotate, pulling the arm tight to the chest and apply basic Waki gatame in right posture. Stretch his arm to 45° for full application.

The grip demonstrated alters throughout the grades. White to Green as shown in the diagram. Blue to Brown., the offenders arm is held in a ‘V’ gripping toward the chest. Dan grade, the wrist is turned, rotating the palm so that the little finger facing the side of the face.

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Cross Blocks

Gedan ate

Defend with a crossblock. As opponent begins to retreat, anticipate his movement and move forward in posture, lower your posture and place your left leg behind his right. At the same time put your left arm across his abdomen and place the back of your left palm at the rear of his left knee, simultaneously place the rear of your right palm against the rear of his right knee.

Continue to move forward in posture,

maintaining this position, and force him to fall backwards.

Kote gaeshi

Defend with a cross block. Attempt Gedan ate, Uke pulls knife arm back. Move to right in posture maintaining cross block push the knife hand across the body and force the knife hand up into the left palm, fingers into the palm, thumb around the wrist. Keep in right posture, rotate through 90° and complete the technique by applying the right hand to the wrist.

Complete wrist turn to take opponent to floor.

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Ai gamae ate

Attempt Kote gaeshi, Uke pulls knife hand away to rear. As the opponent retreats by pulling the knife arm back and before he manages to fully retreat the leading leg, move forward into right posture, driving the knife hand down past his left knee, and placing the same hand behind the knee in a cupping motion. At the same time extend the right arm fully to contact the right shoulder. Left hand scoops, body drives. The right arm remains extended at all times.

Maintain right posture and drive him backwards to throw.

Ude garami

Attempt Ai-gamae-ate fully. Your opponent is fast enough to withdraw the leading leg to avoid the scoop with the left hand. Maintain the left hand on the knife arm and follow the movement. Reach with the right hand to the elbow and grip with right hand at rear of opponents elbow just below muscle in upper arm. Whilst spinning round into left posture rotate round behind, pull the upper arm with right hand upright into your stomach, Remain upright and place the opponents lower arm horizontal against your chest by cupping with your own forearm. The upper arm and lower arm must be almost at right angles to each.

Remain standing Do not complete the

rotational movement drive as a shoulder dislocation will result.

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Open Catch (Inside)

Hiki taoshi

Avoid and deflect to right into right posture. Left hand catches underneath of opponent’s knife hand. Right wrist strikes opponent’s knife forearm. Drop onto left knee, opponent pulled to ground, pull hard with left hand forcing opponent to roll onto back.

Shiho nage

Avoid and deflect to right into right posture.

Form cricketer’s catch, left hand on top of right.

Take hold of opponent’s right forearm just above wrist. Pull opponent forward to break balance, then force forearm directly to opponents left rear turning opponent to face rear. Step through with left foot and go into left posture keeping own arms outstretched to shoulder level. Pivot 180º to right, keeping arms stretched, maintaining hold on opponent’s wrist, force opponent’s wrist to rear of right shoulder, continue downward motion toward spine. Allow opponent to drop to floor for rear breakfall.