Both shoulders are grabbed from behind, but Uke hasn’t locked Tori down yet  – there is a chance to move.

Tori takes a big step forward and extends the same arm forward as the leg that just stepped. This should cause Uke to come around farther and even be on his toes or off-balance. Before Uke can regain his balance, Tori steps back to the original position he was before he stepped, however he must take care to return under Uke’s arms.

Both of Uke’s arms should be in front of Tori like the unbuckled back seat passengers of a speeding car end up in the front seat after a small head-on collision (but everyone is safe).

Now, you have at least two choices: take hold of Uke’s arm that is just in front of your line of sight, or use your forehead to push his forearm is front of you. Eric J. and I found out that there is good leverage in the latter method. It also causes Uke to go even farther off balance. Thanks Eric!

Tori can then properly take hold of Uke’s arm and continue with ikkyo, nikyo, sankyo or yonkyo etc.

Ueshiba Kisshomaru performing ushiro ryokatadori kokyunage with tenkan.¹

1. From http://www.youtube.com/watch?v=YJNQz0fD-60 [↩]

Nage’s initial movement is the same for all ushiro ryokatatori waza. As Uke attacks coming around to grab both shoulders from behind, Nage blends and propels Uke forward off-balance. The footwork is critical to get the required ’sling-shot’ affect.

Footwork

Nage first steps to the side, out of the way of Uke and then crosses slightly forward with the other foot and finally steps through with the trailing leg, pulling Uke through and forward with the leading shoulder. Nage then takes a large step back behind Uke and is then in position to do a variety of techniques such as ikkyo, nikyo, sankyo, yonkyo, kokyunage, kotegaeshi, iriminage (2 ways), kaitenage, shihonage.

Ikkyo

The large step back is important to get the required ma-ai. If this step is too small then the result is tangled arms in too close proximity.

Nikyo

The initial movement is the same as for ikkyo. After Uke’s arm is ‘pinned’ then rotate into the nikyo osae, then tenkan and bring the pinned hand to the shoulder. Apply the nikyo ‘bowing motion’ and take to the mat in ura.

Sankyo

Same as ikkyo initial movement but the sankyo pin and take-down. Nage can apply either omote or ura.

Kotegaeshi

The large backward step is important. If Uke doesn’t let go on the backward step then Nage uses his shoulder to apply the kotegaeshi throw rather than struggle to release and grasp Uke’s hand.

Shihonage

Uke’s hands become ‘wrapped-up’ and trapped after the tenkan turn.

Iriminage

Two ways are possible.

基本的には、後ろから肩をつかまれた時（って、そんな事が日常で起こるであろうか？）

取りを遠心力でぶん投げるような技なんだなあ〜と月曜日の稽古後からイメトレをしている。

横に動くタイミングが最初の肩をつかまれた時であるのは、取りがもう片方の肩をつかもうとして

回り込んだ勢いを、そのまま前方に肩を振る事で投げに転じる訳なのね、とイメージでは理解出来る…….

んだけど、クラスの中ではそこまで理解をする前に練習時間が終わっちゃうんだよね…….

もう一回練習したいな〜

写真に撮ったらカッコ良さそうな、技だと思う。（＾＾）v

As uke grabs the shoulder, tori performs a large shikko side-step (away from the side that is initially grabbed). As uke’s other hand grabs the other shoulder tori moves forward to throw. The key is to do this movement with perfect timing – not quite as easy as it sounds!

Timing is important here as we learned tonight. As Uke successfully grabs your first shoulder, shikko sideways (away from Uke) with timing such that it gives Uke more rotational momentum which he can’t fully control himself. As he reaches for the other shoulder, place your farthest knee out forward and press forward, bend your waist forward and use your body to generate a short, blending thrust to send Uke falling back where he came from.

If the second shoulder is not completely grabbed, a kind of tenbin can be done on his missed arm to finish the waza the same way.

Shifting sideways is not always needed. If you can use your koshi and rotate your torso then your shoulders will also rotate and can you can execute a similar waza this way.

今日は、後ろ両手取りから四方投げをする練習をしました。

そもそも、受けとしてきちんと手首を掴めていないため、相手が身体をひねっただけて私の手が離れてしまうのは

問題外、とベン先生に指導して頂きました。つくづく、合気道は受けと取りが一体になって動く事が大事だと感じました。

今日習ったポイントは、受けの腕をのばして重心を崩す事に主眼を置いていたため、自分の身体が受けから離れすぎていた

せいで技がかからなかった事と、入り身転換の際に今までは直線で踏み込んでいたのを、むしろ前足を軸にしてコンパクトに

回るようにする事でした。

四方投げは好きな技の一つなので、絶対上手く出来るようになりたいのですが、この技は色々ポイントが多くて中々完成度が

上がらなかったのですが、今日は少しだけポイントが掴めた気がします。

後は、杖の正面打ちで振り上げる際には両手で持ち上げるのではなく、前に出ている腕（？）で引き上げるようにし、

打ち下ろす際には後ろの腕で引き下ろすようにとのアドバイスでやってみると、ずっと力強くしかし楽に杖が振れるようになったので

これで正面打ち込みの時にヘタレナイで済むな〜と思いました。（＾＾）v

日本語で書き込みをしてみたけど、他の人が見たら読めないんじゃないかなあ？　スミマセン。

On Monday I was tested for my 3rd kyu and I was given a couple bonus techniques; one of which was an ushiro ryokatadori kokyunage. I gave it a good try, but today in class Ben Sensei taught several variations of this such as

• ushiro ryokatadori kokyunage (with one step forward)
• ushiro ryokatadori aikiotoshi (step behind the uke and lift him up and back)
• ushiro ryokatadori kokyuho (step behind the uke and do a breath throw)

Plus we did more variations on these.

One important thing Andy, Rudy sempai and I were working on was trying to move at 45-degree angles to keep the uke off balance throughout. We discovered that just going back and forward then back again for an ushiro ryokatadori ikkyo was less effective than moving diagonally because the uke can’t bend his arm. i.e. it is extended.