KishimotoDi style patch designed by Fredrik Nyberg
The art of KishimotoDi (AKA, Kishimoto-Ha Karate/Shuri-Te) is an interesting look into the Shuri-classified (or Tomari-classified, if you prefer to look at it that way) karate of the past, before its popularization by Itosu “Anko” Yasutsune and his disciples. As this style is is rare, only a small number of practitioners around the world study it, so it has been largely untouched by the preferences that drove the development of the karate most people see, today. If one were to compare the solo kata practiced in KishimotoDi–of which their are only 4–to their more popular counterparts, one can see a softer approach in the KishimotoDi versions, reminiscent of Chinese “internal” martial arts. Luckily, the majority of the applications for these versions were passed down along with the solo kata, so we have a fairly clear understanding of the methods being conveyed, and we can use this to explore other applications and kata, from a variety of other styles, as well. This article will be focusing on a recurring theme in KishimotoDi–the “scissor” or “wedge” throw. Popularized in the current era of mixed martial arts by karateka and former UFC champion, Lyoto “the Dragon” Machida (who has used it numerous times in the UFC: LINK), the “scissor” or “wedge” throw is a concept that appears time and time again in Tachimura no Naihanchi, which is the base kata of KishimotoDi. The idea is fairly simple–put your leg on one side of the opponent, and arm on the other, and use a scissoring motion of the limbs to throw the opponent over your leg. There are many different ways to accomplish this, but we will focus on three main principles for study: twisting, sinking, and rising.
Ulf Karlsson, the first person to be granted a Shihan license in KishimotoDi by Higa Kiyohiko of the Bugeikan, demonstrating the footwork used in the wedge/scissors throws of the art
In all of these, the entry and leg/foot placement are important, and before one can employ the three principles that will be addressed, below, one must understand how to fit themselves into the proper position. Since the leg must be in a solid position to act as a barrier, over which the opponent is to be pushed, it must be in an effective place. Ideally, the thrower should have their foot as close to the opponent’s rear foot as possible–touching it, or even stepping on the foot (as previously discussed, here: LINK). In the process of stepping into this position, it is important to step in as straight a line as possible, which can be difficult, as people learning these throws have a tendency to try to go around the opponent, rather than “through” them. The problem with this is that it will cause the step to be circular, and when contact is made with the opponent, it will actually push the thrower away from the opponent, so that the throw cannot be completed. The thrower should also try not to collide with the opponent, as that collision can also push the opponent out of range of the throw. Even if the collision doesn’t move either party, it can stop the forward momentum of the opponent’s attack, which makes the throw harder to complete–ideally, the opponent should be in the process of moving past the thrower as the throw is being executed. Another component to the footwork of these throws, in KishimotoDi, is that the entry lands in kokutsu-dachi (back stance), first, then shifts into shiko-dachi as the throws are executed, thus driving the thrower’s hips into the opponent and locking the stance in place for the throw.
The author demonstrating a movement found in Tachimura no Naihanchi which directly illustrates the lateral twisting at the waist that is a key component to KishimotoDi methods
The first method of performing the “scissor” or “wedge” throw that must be explained is not the first application typically taught in the exploration of Tachimura no Naihanchi, but is vital to its function–twisting. In the kata, this principle shows up quite frequently, but is most clearly expressed by the tekko-gamae (steel turtle posture), or meotode-gamae (husband and wife hands posture), being twisted to the side in shiko-dachi, as part of the nami-gaeshi (returning wave) sequence in the middle of the kata. The same twisting can be seen in other versions of Naihanchi, and other kata, as well, which is not surprising, given famed karate master and fighter, Motobu Choki, once said that “twisting to the left or right from the Naifuanchin [Naihanchi] stance will give you the stance used in a real confrontation. Twisting one’s way of thinking about Naifuanchin [Naihanchi] left and right, the various meanings in each movement of the kata will also become clear.” In different versions of the kata, one can find that the hands are held in many different formations during this sequence but, as was the case with the gedan-barai example, these do not affect this application. There are, of course, other applications which make use of the hands, themselves, but even then, the formation of the hand should be adjusted to fit the task, the way different arrowheads were used against different types of armor in medieval warfare.
Ulf Karlsson demonstrating the twisting tekko-gamae posture in application
The tekko/meotode-gamae throw is focused purely twisting, without adding sinking or rising actions to it. As mentioned, the movement of the hands should not be the focus when executing this technique. Indeed, the arms, themselves, are merely a structure which is pushed into the opponent’s body. The power for this throw comes from the core muscles, so focusing on the shoulder can be helpful for making sure that the thrower can effectively push the opponent. This may require the thrower to twist away from the opponent, first, so that there is enough room to fit the shoulder in front of or behind the opponent (depending on which side of the opponent the thrower’s leg is on). Once fitted into place, the stance is shifted and core engaged to twist the arms, which effectively block the opponent’s upper body and force it to lean over the thrower’s leg. Even then, unless one has trained to twist their body at the waist as far as they can, with power, this can be a difficult movement to do. For this reason, it is important to ensure that one twists strongly when practicing the solo kata, which will develop the strength and coordination needed for the technique. Hojo undo (supplementary training) to strengthen the core can also be very beneficial.
Ulf Karlsson performing the first sequence in Tachimura no Naihanchi, which features a sinking gedan-barai followed by a rising, twisting mawashi-tsuki
The first application that is generally taught for Tachimura no Naihanchi is the use of gedan-barai (low level sweep) as a throw. This is not an unusual application, and many other styles teach it, as well (Enoeda Keinosuke of Shotokan demonstrates a version in his instructional video on kumite methods: LINK). What stands out in KishimotoDi is the explicit demonstration of the body mechanics used to perform the throw. In other versions of Naihanchi, it is common to teach that the practitioner’s head height should not change throughout the kata, but in Tachimura no Naihanchi, you see a good deal of sinking and rising, which is difficult to do in the more modern versions of Naihanchi, which utilize a variant of the horse stance with the toes pointed forward or inward, as opposed to the outward-pointed feet of shiko-dachi (sumo/four-corner stance) used in Tachimura no Naihanchi (which has been discussed in a previous article: LINK). In particular, the kata sinks as part of the execution of gedan-barai. This sinking action explicitly tells us the principle being used to achieve the throw, in this example. You can also see this expressed in other kata, in various styles, by the transition from a higher stance, such as a neko-ashi-dachi (cat foot/leg stance) or han-zenkutsu-dachi (half front stance), into a lower stance, such as zenkutsu-dachi (front stance), or shiko-dachi, even if the performer doesn’t sink after reaching the stance in their kata.
The author teaching the gedan-barai takedown of Tachimura no Naihanchi
It is possible to throw someone with a gedan-barai in this way, without sinking, but sinking makes it easier. The reason for this is fairly simple–the gedan-barai movement of the arm travels downward, so in order to add power to that motion, you must lower your body in order to put your weight behind the technique. Another important point in this application is that the elbow leads the hand in gedan-barai, and it is the elbow which actually forces the opponent to essentially sit down over the leg that is braced behind them. The hand at the end of the gedan-barai ensures that the motion isn’t cut short, but focusing too much on the hand tends to cause the thrower to attempt to use the deltoid and rhomboid muscles to push the opponent back over their leg. Focusing on the motion of the elbow, instead, tends to result in the use of the latissimus dorsi muscles, which are decidedly stronger. This throw also incorporates the core muscles by twisting at the waist as you sink, which means that the lats are vital for ensuring that the arms are firmly linked to the torso. By focusing on the elbow and twisting, you make the best use of your muscular strength, and by sinking into your stance, you make the best use of your body weight, making the throw as efficient as possible.
Ulf Karlsson performing the “double arm” or morote-tsuki sequence of Tachimura no Naihanchi
The third principle for executing this type of throw that this article will address is rising, which the kata expresses through the morote-tsuki (double thrust) motion of the arms. This is quite evident in Tachimura no Naihanchi, as that movement follows the nami-gaeshi sequence, dropping into a low shiko-dachi and twisting the arms down low to one side of the body, then rises into a higher shiko-dachi as the arms swing up and twist into place. In most modern versions of Naihanchi, since head height is kept level, the rising action is not as explicit, but even then, the arms are typically still brought into a lower position on one side of the body, before being moved to the higher ending posture of the movement. As with the sinking example, there must be twisting involved in this application, as well. In fact, while the end position of the arms is uneven, with one arm further extended than the other, KishimotoDi twists the body far enough to bring both fists to an even position to the side, then pulls one back as the body returns to a neutral position.
Ulf Karlsson demonstrating a scissor/wedge throw as an application for the morote-tsuki/double-arm motion of Tachimura no Naihanchi
In order to apply the rising “scissor” or “wedge” throw, one must first lower their level, which is generally done as part of the entry against an attack from the opponent (the four entry methods of KishimotoDi were covered in a previous article: LINK). From the lowered position, the thrower’s arms can rise up beneath the opponent’s arms, or even their head, rather than attempting to move them by applying pressure to their torso, alone. This gives the throw additional leverage to bend the opponent over their leg, making it even more difficult to regain their structure and balance. In Tachimura no Naihanchi, the twisting of the torso to make the fists meet evenly out to the side ensures that the shoulder can be used as an additional point of contact with which to push the opponent over the thrower’s leg. That use of the shoulder means that the thrower does not have to rely solely on the small muscles of the shoulder and upper back to move their arm and execute the throw. In more modern versions of Naihanchi, which do not tend to twist so far on this movement, the “rear” arm can be used to strike downward into the opponent’s torso, in order to block an opponent from attempting to push their hips away from the thrower’s trapping leg in an effort to maintain balance.
All three of these examples are merely illustrations of different principles being employed to realize a singular concept, and as such, they cannot fully express all of the possible variations and adjustments that can be incorporated into the application of those methods. As with any fighting techniques, these can be augmented and altered, as needed, based on personal preferences or limitations, environmental considerations, opponent physicality and reactions, etc. For example, one might utilize a foot sweep in order to further off-balance the opponent while executing the twisting throw, which is merely using the nami-gaeshi movement of the foot together with the twist, as opposed to separately, as is shown in the kata. In the sinking gedan-barai variant of the throw, one can use the mawashi-tsuki (turning thrust/punch) that follows as a leg scoop, which tends to be relatively easy to add, since the initial pressure of the technique will typically move the opponent’s weight off of the foot nearest to the thrower. The same leg scoop can be incorporated into the rising morote-tsuki throw, as well, effectively turning it into the sukui-nage (scooping throw) of Judo. The beauty of understanding these methods in this way is that each karateka can find different ways to explore and express the principles of the kata to best fit them, which should be part of every martial artist’s journey, following the learning concept of Shu-Ha-Ri (Obey-Digress-Transcend).