Yankyo

This is called wrist cut because the forearm is used like the blade of a sword and Nage cuts with the sword.

Example 1, Yankyo Irimi.

Fig. 1 End of Ikkyo Irimi		Fig. 2 Shift Hand to Wrist		Fig. 3 Step Forward

1. In Fig. 1 uke has been brought to the off balance position using Ikkyo Irimi.
2. In Fig. 2 Nage's hands shift to the Yankyo grip shown in Fig. 7.
3. In Fig. 3 Nage steps forward and continues the Tornado Twist from the Ikkyo Irimi.

   Fig. 4 Tornado Twist		Fig. 5 Step to Pin		Fig. 6 Pressure Point

4. Fig. 4 is the end of the Tornado Twist and Uke is flat on the floor.
5. In Fig. 5 Nage has stepped to Uke's arm pit to tighten the pin.
6. Fig. 6 shows the point where Nage presses into Uke's wrist with the side of Nage's first knuckle. Fig. 6 and Fig. 7 are using Uke's right hand and the previous figures use Uke's left hand.

   Fig. 7 Yonkyo Grip

7. Fig. 7 shows the grip with the knuckle in place. Uke's palm is toward the camera and Nage's right hand is holding the back of Uke's right hand.
8. Nage's left hand pushes in with the knuckle and twist clockwise and Uke's right hand twist counterclockwise. This causes the edge of the knuckle to push against the nerves on the inside of the bone.
9. This twist is the opposite of how one twists the handle of a boken.
10. Nage will use the grip on the wrist and hand to cut Uke's forearm down like a sword.
11. Nage must put Uke's elbow on the floor.
12. Uke's wrist must not be allowed to bend. If the wrist bends Nage cannot get leverage.
13. With experience Yonkyo will inflict severe pain. Few students are eager to practice this. Getting the pain is not usually easy and takes some time to learn. People who fight do not mind pain. When they respond to pain it is to prevent damage. This pain does not really signal damage so it is no big deal. The important thing is to have the correct body mechanics as in Sankyo so that it is easy to damage Uke's joints. Most people respect this far more than the pain.

Example 2. Yankyo Tenkan.

Fig. 8 End of Ikkyo Tenkan		Fig. 9 Shift to Yankyo Grip		Fig. 10 Step Back for Twist.

1. Fig. 8 is the end of the Ikkyo Tenkan.
2. In Fig. 9 Nage has shifted to the Yankyo grip.
3. In Fig. 10 Nage's left foot has stepped back to continue the Tenkan Tornado Twist.
4. In Fig. 10 Uke's elbow is cut in the direction of the spin like an almost horizontal sword cut.

   Fig. 11 Spin to Floor		Fig. 12 Step to Pin

5. In Fig. 11 the Tornado Twist has flattened Uke on the floor.
6. In Fig. 12 Nage's right foot steps forward to Uke's arm pit to tighten the pin.
7. As mentioned above getting pain in the wrist is not important. Getting the proper mechanics in the arm is what pins Uke. It is the same as Sankyo.

Example 3, Yankyo Koshi Nage.

Movie of Yankyo Koshi Nage.

Fig. 13 1st Koshi Step		Fig. 14 2nd Koshi Step		Fig. 15 Squat And Twist		Fig. 16 Uke Down

1. Fig. 13 shows Nage at the end of the 1st Koshi Step holding Uke in the Arm Up position using Yankyo.
2. In Fig. 14 Nage has taken the 2nd Koshi Step and Uke has grabbed Nage's belt to help take the fall.
3. In Fig. 15 Nage squats and twist to throw Uke with the Koshi Nage.
4. Fig. 16 shows Uke on the ground. From here Nage can turn over and pin Uke.

Example 6, Yankyo Koshi Nage #2.

Movie of Yankyo Koshi Nage #2.

Fig. 17 1st Koshi Step		Fig. 18 2nd Koshi Step		Fig. 19 Squat		Fig. 20 Finish

1. Fig. 17 shows the Arm Up position at the end of the 1st Koshi Step. Nage has just stepped in front of Uke. It is important to be moving Uke with Nage so that Uke is already losing balance.
2. In Fig 18 Nage's right foot has stepped between Uke and Nage's left leg for the 2nd Koshi step. Nage's right foot steps out well in front of Uke for this style Koshi Nage. This is not completely obvious because Nage has led Uke forward forcing Uke's right foot to step forward so that Uke can roll.
3. Fig. 19 shows Nage squatting very much as we normally squat. This forces Uke down and over Nage's hip. Nage is levering Uke's elbow to the mat forcing Uke's head toward the mat. It is critical for Uke's safety for Nage to release Uke's arm in time for Uke to roll.
4. Fig. 20 shows Uke completing the roll toward the camera.