H. Nidan, Step 22, Hiji Mochi Nikajo, Tsuba Zeriai.

[HanshiClayton]

Reference "Nikajo Wristlock," Sam Combes, Aiki-do, Volume 1, Black Belt Video, 1999.
Also, "Hiji Mochi Nikajo," page 105, Gozo Shioda, Total Aikido: The Master Course, Kodansha, 1996.
Also "Tsuba Zerai," Taro Ariga's Kendo Principles DVD set.
Also, "Tsuba Zerai," John Donahue, Complete Kendo , page 79.

Step 22 of H. Nidan is the reinforced block (morote uke) just before the second major turn.

Unarmed Interpretation

The problem with morote uke is that it isn't useful. Karateka are quick to point out that it can be used, in the sense that a rolling pin can be used as a nightstick, but the fact is that few patrolmen carry rolling pins. The only time you see morote-uke demonstrated in the traditional literature is when someone tries to block a roundhouse kick to the head. Historical karateka didn't do high kicks, so this probably wasn't the original application of morote-uke.

Whatever the original application, the reinforced block lends itself to a demonstration of the Nikajo wristlock (reference above). This is the Z-shaped wristlock that is the second submission technique taught to jujutsu and aikido students.

Have your partner perform a left punch to the face. Slap the punch with your left hand, catching his hand in the jujutsu "pistol grip." (Your palm is on the back of his fist, and your fingers curl around the little-finger edge of his palm.) Roll his arm over into an ikkajo arm bar. When he sees the arm bar coming, he may try to frustrate it by bending his elbow. That's when you place your right forearm against his forearm and shift in, forcing his hand back toward his face. His arm bends into a Z. Now let your right elbow ride up on top of his forearm. Twist his wrist away from you at the same time you press strongly downward with your elbow on his arm. This is an augmented nikajo wrist lock, called hiji mochi nikajo in aikido.

The final position of your hands looks just like the reinforced block posture that we mimic in the katas. Your right arm is in "inside block" position with your right fist against his shoulder. Your left hand is about a foot from his face, twisting his wrist anti-clockwise. It would be hard to find a better fit to morote uke.

Considering that this technique is both a wrist-breaker and the entry to a takedown-and-submit waza, it is a very practical thing for the Shuri bodyguards to practice.

Nito Ryu Interpretation

It is not standard practice for the two-sword (Nito Ryu) warrior to hold both swords close together in front of his body. Usually the smaller sword is held in the right hand, directed forward at middle level as a fencing tool. The larger sword is held overhead in the left hand where it can be whipped down on the opponent's head and hands.

There is one exception, however. Kendo artists shift forward aggressively when attacking, intending to exchange blows as they pass each other, rather like knights jousting. Sometimes they collide, chest to chest, with their weapons pressed between. This is called tsuba zeriai. "Tsuba" is the guard of the sword. "Seriai" means "competition," and in the case of kendo it is written using a kanji symbol that implies "to draw near, or press." Tusba zeriai is close-quarters fighting where you immobilize the opponent's sword by pressing your hands against his.

I have video clips of a Nito Ryu player doing tsuba zeriai using two swords against one. He crossed his swords, catching the opponent's blade in the "V". In this posture, his hand position resembled morote uke. It was not an exact match, but by the Shadow Principle it was close enough to be considered.

The rules of kendo are designed for safety, and therefore depart from real-world combat in significant ways. To score in tsuba zeriai, you have to break away, deflect the opponent's sword, and make a full strike against the head, the ribs, or the right hand. In real life, the lightest touch against bare skin will wound, and even a shallow wound to the throat will be fatal. The carotid artery is right under the skin.

If you set up a two-sword tsuba zeriai similar to step 22 of H. Nidan, and then perform the 270 degree turn on the way to step 23, you may find that your katana has quite naturally sliced the opponent's throat. Remember, this opponent is not wearing armor in this kata. His throat is bare.

This would never be allowed under the rules of kendo, but Matsumura had more practical goals. This is a finishing technique that satisfies the Waldow Principle.