Inasu is one of Wado’s most fundamental principles

Inasu can be explained in one word

Redirect. Inasu is to change the direction of the attack. 

Have a look at the image.

A represents the initial position while B represents the desired position. In other words, A could be the Hikite position and B could be the position of the fist when the punch is completed. If B is where your face is, or any part of your body, you'll be having a bad day.

 

This is where Inasu comes in:

Inasu

Inasu means to change the initial direction, it's the event where you manipulate the trajectory and change the intentional outcome. As you can see from the image, at X, the trajectory is changed from B to B2, making sure that the attack misses its target. 

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Before we dig deep, watch the first minute of this video to make sure we're on the same page 👇


One Minute Principle Series

What is inasu?

how can you apply inasu?

Inasu can be applied in different ways. You can:

  1. Redirect gradually, with for example Harai Uke.
  2. Deflect instantly, like Tsuki Uke.
  3. Connect and Control: push, pull, guide and ride that you would consider more Aikido-like movement. 

Let's have a look at the footage from my seminar in Germany — 2015.

After explaining the meaning of Inasu, I demonstrated several Ippon Kumite to show how Inasu can be applied.

footage from my seminar in germany

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inasu 1: redirect gradually

The Digi Dojo - Uke Waza - Application of Sukui Uke

This movement is Kaisetsu from Kata Bassai.

The Inasu shown here is connected to Nagashi and Harai Uke. The duration of contact with the opponents arm or leg is quite long. Long enough, to guide and redirect the opponents attack.

Formal Kumite techniques associated with this type of changing the initial direction of the attack are Kihon Kumite 1 (first and second movement of right arm), Kumite Gata 1 and also Maegeri Uke for example.

_____
inasu 2: deflect instantly

The Digi Dojo - Uke Waza - Application of Tsuki Uke

You could say Inasu is to force or guide the attack or energy of the opponent to another direction than its intentional direction. Instead of parrying, you can hit the opponent. Adjust or use your attack in such a way that it will deflect the upcoming attack with the same arm, hence it is attack and defense at the same time.

This is called Ko Bo Ittai.

Think about Jodan Uke 2, Kumite Gata 6 and 12. At the moment of contact it is already determined where the attack will continue to travel. The path is changed instantly upon contact, because you deliberately give a shock to the opponents attack with your attack. Hence, the attack ‘bounces’ off instantly.

_____
inasu 3: connect and control

The second you touch your opponent you become one. And the more a touch turns into a grip (my left hand) the more "one" you become.

Let's analyse this technically a bit.

He's leaning on to me, so...

  • he's not in a position to resist strongly
  • he can't attack effectively easily and has to correct himself first - basically "get up on his feet"
  • he's in a falling state so he has no other option that to follow pretty much any move I make.

The "Inasu" here is that YOU control his direction of movement, but connecting and then leading the dance.

Clear use of inasu in maegeri uke 10

Hanmi Kamae

Ukemi: Hanmi Gamae
Torimi: Shizentai

Ukemi moves backward and enters hanmi gamae. Ukemi moves forward using nijiri ashi until there is a correct distance to attack. Hence, mind mazakai. Not only Ukemi’s, but also Torimi’s reach count. That is the difficulty in feeling and judging mazakai. Torimi remains in shizentai the whole time, while not thinking ahead about the next movement. However, do not wait and move back. Rather, manipulate and control. The first two movements are usually done without ukewaza. Some who misunderstand added blocks to these movements as well. This clearly shows the unawareness of the fact that this is a learning aid to teach maai and body movement while not relying on movement of the hands. Also, we don’t have any blocks. Hence, applied ukewaza is always done to attack, unbalance and position Ukemi to our advantage. Hence, this is done in the third movement as you continuously deliver a counterattack. Refer to explanations of chudan and jodan uke as well.

The Digi Dojo - Sanbon Kumite Maegeri Uke - Gyaku Gamae Maegeri 1

Ukemi: Maegeri
Torimi: Hidari Gamae

Ukemi executes chudan maegeri. Torimi moves backwards and pulls his body out of range of the attack, entering migi hanmi gamae. A common error is to just move back when Ukemi starts to kick. Wait until the right moment - when Ukemi actually commits to kicking and cannot change this - to pull the body out of range. This moment depends on the distance and Ukemi’s intention. Even if you hang in mid air, you need to accelerate the body by pulling it out of range from the inside. In Wado we do not push the floor to move, but we pull our body. You have to connect and pull the left side of your body and apply hiza no nuki on the right leg to lower the body and move back smoothly. As you do so, keep seichusen through seichushin. Hence, keep the body erect as you move. Feel the opponent, act and lead accordingly. Hence, do not take a step backwards because you are suppose to do that. Rather, move back to barely avoid the kick and to force Ukemi to expose his weak spot.

The Digi Dojo - Sanbon Kumite Maegeri Uke - Gyaku Gamae Maegeri 2

Ukemi: Maegeri
Torimi: Migi Gamae

Torimi should have suki in his kamae on purpose, in order for Ukemi to attack with another chudan maegeri. Torimi moves backwards using ayumi ashi. Just before landing you should ‘add’ yori ashi by pulling the body out of range, increasing maai. However, don’t increase maai too much. It is important to consciously act. Perhaps for white or yellow belt not sliding could be mandatory as a helping aid in the stage of learning to step back. However, in Wadoryu we never step. To step refers to the feet, it is better to say move. Of course, if you step with the body or understand that you should do so there is no problem. Practice of mandatory ‘not sliding’ should be discontinued as the interaction and strategies employed can never be correctly understood when doing so. Hence, it is important to learn how to use the body to slide and determine distance with the body. Always challenge Ukemi to enter deeply in order for him to expose his weak spot as you slide (yori ashi) to an advantageous maai.

Inashi Uke

Ukemi: Maegeri
Torimi: Inashi Uke (Suikomi Uke = absorb)

Do an ayumi ashi, eventually absorb the kick and pull your whole body out of range. When absorbing, move your body to the right while twisting it to the right and ‘carry’ his leg to position it correctly to execute ura ashi barai. This variation of uchi harai uke is executed with hiki komi. Hence, after using suki to invite the opponent to attack, you are pulling and drawing him in before finally carrying his leg. Apply hiki komi with such timing that Ukemi is convinced to kick you even though you are moving elsewhere. Ukemi should have the feeling as if his leg is being extended and that his leg is not under his control anymore. Note that the left foot does not actually land on the floor pointing forward as pictured, it is a continuous movement.

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Ura Ashi Barai

Torimi: Ura Ashi Barai preparation

Smoothly turn your body to the right before you land and make sure the left foot is already be turned in, in order to execute ura ashi barai. 

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Ura Ashibarai

Torimi: Ura Ashi Barai

Use your right hand to grip Ukemi’s sleeve and pull him off balance. Depending on distance, either use the calf sweeping low, or use the thigh sweeping high. You should not stop moving since Ukemi executed maegeri. Hence, execute harai uke and ura ashi barai continuously and smoothly. 

Shitazuki

Torimi: Shitazuki

As Ukemi drops to the floor, follow him quickly and smoothly by doing hiza no nuki on the supporting leg. Do not let any gap appear in space or time. Control Ukemi’s upper body by holding his arm. Beware of a kick from Ukemi. Never drop your attention and expect anything to happen. Be ready to change movement at anytime. Nevertheless, always try to control your opponent and destroy his options to attack to the best of your ability.

how to apply inasu to change the direction of the kick

performance

slow

explanation

sanbon kumite maegeri uke 8
how to use your leg with inasu to unbalance your opponent

Hanmi Kamae

Ukemi: Hanmi Gamae
Torimi: Shizentai

Ukemi moves backward and enters hanmi gamae. Ukemi moves forward using nijiri ashi until there is a correct distance to attack. Hence, mind mazakai. Not only Ukemi’s, but also Torimi’s reach count. That is the difficulty in feeling and judging mazakai. Torimi remains in shizentai the whole time, while not thinking ahead about the next movement. However, do not wait and move back. Rather, manipulate and control.

The first two movements are usually done without ukewaza. Some who misunderstand added blocks to these movements as well. This clearly shows the unawareness of the fact that this is a learning aid to teach maai and body movement while not relying on movement of the hands. Also, we don’t have any blocks. Hence, applied ukewaza is always done to attack, unbalance and position Ukemi to our advantage. Hence, this is done in the third movement as you continuously deliver a counterattack. Refer to explanations of chudan and jodan uke as well.

[ELSE_is_for] Get Started, It's Free [/mbr_is_for]
Chudan Maegeri

Ukemi: Maegeri
Torimi: Migi Gamae

Ukemi executes chudan maegeri. Torimi moves backwards and pulls his body out of range of the attack, entering migi hanmi gamae. A common error is to just move back when Ukemi starts to kick. Wait until the right moment - when Ukemi actually commits to kicking and cannot change this - to pull the body out of range. This moment depends on the distance and Ukemi’s intention. Even if you hang in mid air, you need to accelerate the body by pulling it out of range from the inside. In Wado we do not push the floor to move, but we pull our body. You have to connect and pull the left side of your body and apply hiza no nuki on the right leg to lower the body and move back smoothly. As you do so, keep seichusen through seichushin. Hence, keep the body erect as you move. Feel the opponent, act and lead accordingly. Hence, do not take a step backwards because you are suppose to do that. Rather, move back to barely avoid the kick and to force Ukemi to expose his weak spot.

[ELSE_is_for] Get Started, It's Free [/mbr_is_for]
Maegeri

Ukemi: ​Maegeri
Torimi: Hidari Gamae

Torimi should have suki in his kamae on purpose, in order for Ukemi to attack with another chudan maegeri. Torimi moves backwards using ayumi ashi. Just before landing you should ‘add’ yori ashi by pulling the body out of range, increasing maai. However, don’t increase maai too much. It is important to consciously act. Perhaps for white or yellow belt not sliding could be mandatory as a helping aid in the stage of learning to step back. However, in Wadoryu we never step. To step refers to the feet, it is better to say move. Of course, if you step with the body or understand that you should do so there is no problem. Practice of mandatory ‘not sliding’ should be discontinued as the interaction and strategies employed can never be correctly understood when doing so. Hence, it is important to learn how to use the body to slide and determine distance with the body. Always challenge Ukemi to enter deeply in order for him to expose his weak spot as you slide (yori ashi) to an advantageous maai.

[ELSE_is_for] Get Started, It's Free [/mbr_is_for]

Ukemi: Maegeri
Torimi: Ashi Barai

Ukemi executes chudan maegeri. Torimi moves his body to the right in order to change seichusen. Continuously, execute ashi barai by raising the knee sufficiently. Parry the leg with the outside of your leg, pushing it to the outside creating kuzushi. The primary importance is to change seichusen. 

Torimi: Gyakuzuki

Lower the left leg and execute gyakuzuki before decelerating. Like kette, use the gravity accordingly and create a flow in your movement. Ashi barai is a secondary action which could have been numerous of other actions. However, it is sufficient practice of how to use your leg to execute harai uke and apply kuzushi. Remember this is basic practice. Experiment moving more close after ashi barai and apply kuzushi on the inside of the front leg when doing gyakuzuki or perhaps do an ashi barai on the inside of Ukemi’s front leg.

sanbon kumite maegeri uke 8 videos

performance

slow

explanation

There are two key actions that make this technique effective.


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