Monthly Update from Wadō-Ryū Benkyō

🥋 1. Saturday Benkyō Review

Putting the focus on Pinan Kata

Vickerman Sensei recounts: Many years ago, in the 1970s, I remember being in the Temple dojo with Takamizawa Sensei (Toru) and a room full of senior-grade students. Toru said to the class, “Who knows Pinan Nidan Kata?”

There were a few smirks and furtive glances between us, and several of us smiled and raised our hands. Toru simply nodded and said:

“OK, Hantai Gawa (反対側). Do it on the opposite side.”

The smiles suddenly dropped from our faces as we were dragged rapidly from our comfort zone. We all took our places, now not so confident. As we progressed through the first Kata we had all learned years before, it descended into a shambles—some of us going in one direction and others in the opposite direction.

This was a huge lesson for me and, as you can tell, it has stuck with me for 50 years.

Toru was trying to convey, as he often did, that knowing a Kata is not simply remembering its sequence. It is understanding every movement so completely that there is no need to think or prepare—you simply move. You are able to act without conscious thought, with body and mind working as one.

As a Dan grade then, I thought I had passed the stage of needing to learn the Pinan Kata. However, this was a reality check that reminds me I am still learning them now, as a 7th Dan, nearly 60 years on.

However, it didn’t end there. When we were finally able to perform the Kata on the left or right side, Toru introduced doing it backwards, from the finish to the start. There is always something to keep you on your toes, and this is something I continue to do with my own students to this day.

Whatever you do on one side, you should be able to do on the other. However, the most important lesson for me was that if somebody asks whether you “know” a Kata or a combination, you had better be damn sure you do before you put your hand up!

Recently, we have spent a great deal of time exploring the Pinan Kata, examining their relationship with the other Kata, what each contributes individually, and how they connect together as a complete system.

I find people are sometimes in a rush to move beyond the Pinan Kata and onto what they see as “advanced” Kata. In my experience, there are no advanced Kata—only different Kata. Certainly, some contain more sophisticated principles, but those principles have their roots in the Pinan Kata. If you cannot find them there, you are unlikely to recognise them elsewhere.

The Pinan Kata, when studied and performed correctly, contain almost everything you need to develop as a karateka: timing, posture, distance, breathing, knowing when to relax and when to explode, transitions, stances, Kihon, mental awareness, and so much more.

When I say there are no advanced Kata, it is true to a very large degree. However, I would also say that if you cannot perform the Pinan Kata properly, there is little point looking at the other Kata. You will not gain nearly as much from them if you do not know where to find their principles within the Pinan Kata.

In Wado-Ryu Karate, we have only 15 Kata: 10 additional Kata alongside the five Pinan. This is a relatively low number for a Karate style, but to me it highlights how much importance the Grandmaster placed on the Pinan Kata when he chose the Kata for the style.

In fact, originally there were fewer than 10 other Kata. Others came later, but from the very beginning, all five Pinan Kata were included in the syllabus.

As I have alluded to previously in this section, the Pinan Kata are something you take with you throughout your Wado-Ryu journey. If you are a 2nd or 3rd Dan, you should be performing the Pinan Kata like a 2nd or 3rd Dan—not like a Kyu grade simply because that was when you first learned them.

When I look at people performing the Pinan Kata, I want to be able to see what grade they are from their Enbu (演武 — performance) of the Kata. I want to see all the elements that make them the grade they are within the Kata. I want them to show me that they understand how everything is connected and can demonstrate that understanding.

The Pinan Kata are not stepping stones to be left behind; they are lifelong companions.

Every time you return to them, you should discover something new about the Kata—and something new about yourself. Give them the time, patience and respect they deserve, and they will continue to reward you throughout your entire Wado-Ryu journey.

📝 3. Featured Article of the Month

Kumite Kata No.3 – Sanbon Me is a compact but sophisticated paired form that develops the close-range controlling principles introduced in the first two Kumite Kata.

The form begins with Uke attacking using Okuri Ashi Jōdan Zuki. Tori moves minimally back and to the side, receives with Jōdan Gaiwan Uke, counters with Chūdan Gyaku Zuki, and then enters beneath Uke’s arm to take control of the head and upper body.

The visible movements are relatively small, but the form contains a great deal of subtlety: invitation, off-centre movement, covering while entering, trapping the second hand, hip insertion, two-directional pressure and deliberate kuzushi on a backward and sideways angle.

Sanbon Me also teaches an important lesson about safety and responsibility. The neck and jaw are vulnerable areas, and the technique must always be practised with care, control and clear communication between partners.

Opening Kamae – Migi Tate Seishan Dachi

Both partners begin in Migi Tate Seishan Dachi. Tori may lower the front fist very slightly, creating an apparent opening that encourages Uke to attack jōdan.

This should not become an exaggerated invitation. The change is small—just enough to influence Uke’s decision without openly telegraphing Tori’s intention.

Lower the fist only enough to invite the attack, not enough to surrender the line.

Uke’s Attack – Okuri Ashi Jōdan Zuki

Uke attacks with Okuri Ashi Jōdan Zuki. Tori moves back and slightly to the side, using only enough movement to remove the head and body from the attacking line.

At the same time, Tori applies Jōdan Gaiwan Uke and Chūdan Gyaku Zuki. The defence and counter should not feel separated. The body moves, the attack is covered, and the counter arrives as part of one continuous response.

The movement off the line should remain compact. Moving too far creates unnecessary distance and makes the close-range entry more difficult.

Move only enough to take the target away, then use that position to enter.

Cover While Entering

As Tori moves in, the attacking arm must remain covered. The cover is not a static block; it is a live connection that protects Tori during the transition from striking distance to close control.

This is a central lesson of Sanbon Me. Tori should not finish the punch, pause, and then begin the grappling phase. The covering action and the entry must overlap.

The head comes close to Uke’s body so that Tori is protected from the free arm. At the same time, Tori begins to thread beneath the attacking arm and take the controlling position.

Entering Beneath the Arm

Tori moves in behind Uke’s front leg, coming beneath the attacking arm to take head control. The second hand is trapped against Uke’s chest, reducing the opportunity for a counter.

This position must feel close and connected. Tori is not reaching from a distance. The body enters sufficiently to influence Uke’s centre and prevent Uke from freely turning or striking.

The head position is important. Once Tori’s head is close and protected, the entry becomes safer. If the head remains outside and exposed, Uke may have space to use the free hand or apply a backfist.

Three Hand and Anchor Options

Sanbon Me can be performed with several slightly different hand positions. Each creates a different mechanical effect, while preserving the same underlying principle.

1. Straight Behind

The simplest variation keeps the pressure comparatively linear: one arm draws in while the other moves away. This is clear, stable and useful when first learning the form.

2. Around at Approximately 45 Degrees

Taking the hand slightly farther around creates more rotational pressure through Uke’s torso. This variation produces a stronger diagonal kuzushi and more clearly directs Uke backwards and sideways.

3. Pelvic or Hip Anchor

The most advanced variation uses the upper hand against the top of the pelvis or iliac crest while the opposite arm lifts and turns. This is more difficult to coordinate, but when the hip sinks correctly it can create a very strong off-balancing effect.

All three variations should be practised carefully. The objective is not to force Uke, but to discover how small changes in direction alter the mechanical effect.

Hip Insertion and Two-Directional Pressure

As soon as Tori reaches the close position, the hip is inserted. At the same time, one hand draws in while the other moves away or downward.

This creates two-directional pressure. Uke does not simply feel a push. The body is being drawn in one direction while being extended or rotated in another.

The hip is what connects these actions. Without the hip, the technique becomes an upper-body struggle. With correct hip placement and a slight sinking of the centre, Uke’s structure begins to weaken before the final push.

One side draws, the other side extends, and the hip joins both actions into one movement.

Junzuki Notsukomi – The Controlling Position

Tori moves into a Junzuki Notsukomi-type position rather than remaining upright or square.

This stance provides a deeper and safer controlling shape. It allows Tori to put body weight and forward pressure through Uke while remaining difficult to counter.

If Tori merely steps in without the correct posture, Uke may be able to raise the free arm, strike, apply a backfist or even wrap the neck. The Junzuki Notsukomi position places Tori’s body in a way that reduces these opportunities.

The goal is not simply to stand close. The goal is to occupy a position from which Uke’s posture is controlled and Tori remains protected.

Breaking Balance on a 45-Degree Line

The final kuzushi should send Uke backwards and sideways, roughly along a 45-degree line.

This is more pronounced than in many of the earlier Kumite Kata. Uke should feel not only backward pressure, but also lateral pressure. The combined direction makes it difficult to step, brace or quickly return to the original attacking line.

The off-balance must be established before Tori releases and withdraws. If Tori simply steps away while Uke remains stable, Uke may counter immediately with a backfist or another close-range technique.

Do not leave until Uke is already falling away from the line.

What Uke Should Experience

• a jōdan attack being invited through a subtle change in guard
• Tori moving only minimally off the attacking line
• continuous cover while Tori enters beneath the arm
• the free hand being trapped and unable to counter easily
• close body contact and clear hip insertion
• simultaneous upward, inward and lateral pressure
• loss of balance backwards and sideways at approximately 45 degrees
• Tori withdrawing only after kuzushi has been established

Safety Around the Neck and Jaw

Some versions use the fingers or thumbs beneath the jaw hinge to add pressure and reinforce head control. This is a sensitive area and should only be included with a trusted partner, clear agreement and very light pressure.

The technique should already work through positioning, hip placement and kuzushi. Pain compliance is an optional detail, not a substitute for correct body mechanics.

Withdrawal – Sugi Ashi Kōtai into Hanmi Gamae

Once Uke has been properly off-balanced, Tori withdraws using Sugi Ashi Kōtai into Hanmi Gamae.

The withdrawal is part of the technique. Tori must return to correct distance with posture, awareness and control. The release should not restore Uke’s balance; Uke should already be moving away on the 45-degree line.

Key Principles

• Invitation — subtly encouraging the jōdan attack
• Minimal taisabaki — removing the target without creating excessive distance
• Cover while entering — maintaining protection during transition
• Hip insertion — connecting the body to the controlling action
• Junzuki Notsukomi — establishing a safe and powerful controlling posture
• Kuzushi — directing Uke backwards and sideways
• Zanshin — withdrawing only when the danger is controlled

Common Errors

• lowering the guard too much and openly telegraphing the invitation
• moving too far off the line and losing the close-range entry
• finishing the punch before beginning the cover and control
• leaving the head exposed during the entry
• failing to trap or account for Uke’s free hand
• trying to muscle the technique with the arms
• entering without inserting the hip
• remaining upright instead of using Junzuki Notsukomi posture
• releasing before Uke is off-balanced
• using excessive pressure around the jaw or neck

Training Progression

• Solo shadowing: practise the small head drop, off-centre movement and hip insertion without a partner.
• Light contact: rehearse covering and entering with no lock or neck pressure.
• Grip variations: explore the straight, 45-degree and pelvic anchor positions slowly.
• Uke feedback: ask Uke to describe the direction of pressure and whether the 45-degree kuzushi is clear.
• Progressive intensity: add speed only after both partners can maintain posture, safety and control.

Final Thoughts

Kumite Kata No.3 is an excellent example of Wadō-Ryū’s compact, efficiency-first approach. The movement appears small, yet every detail contributes to the final result.

The slight invitation encourages Uke’s attack. The minimal movement removes the target without losing distance. The cover protects Tori during entry. The hip connects the hands to the centre. The Junzuki Notsukomi posture establishes control, and the final 45-degree kuzushi prevents Uke from immediately countering.

Sanbon Me also shows how striking and grappling are not separate phases. The punch, cover, entry, trap, head control and off-balance all flow together as one continuous exchange.

Practised slowly and responsibly, Sanbon Me develops sensitivity, close-range confidence and the ability to turn an incoming linear attack into a controlled loss of posture through timing, angle and connected body movement rather than brute force.

✨ 5. Spotlight on the Wado-Ryu Community

In this new section we will be shining a spotlight on fellow Wado-Ryu creators and, with their permission, sharing some of the excellent resources they have produced for the benefit of the wider karate community.

In this first edition, and over the coming months, we will be featuring a series of interviews conducted by Domenico Capilongo Sensei (6th Dan). These conversations are with some of the most respected figures in the Wado-Ryu world, including two Soke (Grandmasters). They are not only exceptionally informative, but also demonstrate the high regard in which Capilongo Sensei is held, with his guests sharing their knowledge so openly and candidly.

The first is an up-close and personal interview with the current Grandmaster, Ōtsuka Hironori III Soke. It is a fascinating read that offers valuable insight into the philosophy, history and future of Wado-Ryu Karate.

Read the full interview →

Our sincere thanks to Capilongo Sensei for allowing us to share this outstanding resource with the Wado-Ryu Benkyō community.

🧠 6. Principle of the Month

Inasu (いなす) is often translated as “to deflect,” “to brush aside,” or “to parry.” These translations are useful, but they describe only the visible result. Within Wadō-Ryū, Inasu is much more than an arm movement that changes the path of a punch. It is the art of receiving incoming force, redirecting it with little or no unnecessary effort, and using that redirection to control both the opponent and oneself.

Correct Inasu does not merely prevent an attack from landing. It changes the relationship between attacker and defender. The opponent is encouraged onto a different line, their posture or balance may be weakened, space is created, and an opportunity appears. At the same time, the defender preserves posture, composure, mobility and the ability to continue. Inasu therefore belongs to the broader Wadō idea that defence should not be separated from positioning, control and response.

It is important, however, not to treat Inasu as an isolated technique. It rests upon a larger foundation. Good posture, correct Ma-ai, accurate timing, Ten-i, Ten-tai and ultimately Ten-gi all contribute to whether the redirection is effective. Without those supporting principles, the practitioner may still move an arm and call it a deflection, but the deeper quality of Inasu will be missing.

What Inasu Means in Wadō-Ryū

At its simplest, Inasu means allowing an incoming action to be guided away from its intended course. Yet the word “deflect” can easily create the wrong picture. It may suggest a sharp collision, a slap against the attacking limb, or a separate defensive action performed before a counterattack begins. In Wadō, Inasu is usually subtler and more integrated.

It includes several qualities working together:

• receiving — acknowledging and meeting the attack without panic or unnecessary resistance
• redirection — changing the line of force rather than stopping it head-on
• control — influencing where the opponent travels, settles or becomes vulnerable
• self-control — maintaining posture, relaxation, awareness and readiness throughout
• opportunity — creating the time, space or angle from which the next action can emerge

This is why Inasu should not be understood as something that happens only at the hand. The hand may make contact, but the quality of the redirection depends upon the whole body and upon the timing and position from which that contact is made.

Inasu Does Not Stand Alone

One of the most important things to understand is that Inasu is not a self-contained trick. It is an expression of several principles operating together. A practitioner cannot simply add a brushing movement to an otherwise poor position and expect the attack to become harmless.

Posture provides the structural base. If the body is leaning, collapsed or braced, the redirection becomes dependent on muscular effort. Ma-ai determines whether the attack is met at a point where it can still be influenced. Timing decides whether the incoming force is guided early enough to be useful. Ten-i changes position, Ten-tai changes the orientation of the body, and Ten-gi brings the movement and technique into a unified expression.

When these elements are present, Inasu can appear light and effortless. When they are absent, the practitioner is left trying to compensate with speed, tension or a larger movement. The visible arm action may look similar, but the effect upon the opponent is entirely different.

Inasu as Part of Uke

Inasu is truly a part of Uke. In everyday karate language, Uke is often translated as “block,” but its deeper meaning is to receive. This distinction is important. A block suggests an obstacle placed against force. Receiving suggests that the incoming action is accepted, understood and dealt with appropriately.

To receive well does not mean being passive. It means avoiding the mistake of fighting the attack at its strongest point. The defender receives enough information through distance, vision, timing and contact to guide the attack elsewhere. In doing so, Uke becomes more than protection. It becomes the beginning of control.

From this perspective, Inasu helps transform Uke from a defensive interruption into a continuous combative action. The attack is not stopped so that something else can begin. It is received and redirected in a manner that already contains the next opportunity.

Redirection Without Resistance

The central mechanical idea behind Inasu is simple: changing direction usually requires less effort than stopping momentum completely. Meeting a committed attack head-on asks the defender to absorb, oppose or overpower its force. Even when successful, this can disturb posture, create tension and delay the response.

Inasu seeks a different solution. Instead of becoming a wall, the defender makes a small but meaningful change to the attack’s course. The greater part of the opponent’s movement continues, but no longer towards its intended target. Their own energy carries them into a less favourable position.

This does not mean the redirection is weak or vague. A light action can have a strong effect when it is applied at the correct time, angle and point of contact. The aim is not softness for its own sake, but efficiency: the least unnecessary effort required to create the desired result.

Control of the Opponent — and Control of Oneself

Inasu is about control, but control should not be understood only as physically dominating the opponent. It begins with control of oneself.

When people feel force approaching, the natural reaction is often to stiffen, flinch or rush. The shoulders rise, breathing changes, posture narrows, and the hands begin acting independently of the body. At that point, even a technically correct movement becomes difficult to apply.

Good Inasu requires the defender to remain composed enough to perceive the attack accurately. The body must retain its structure without becoming rigid. The mind must remain present rather than becoming fixed upon impact. Only then can the opponent be influenced without the defender first losing their own balance, posture or timing.

Control of the opponent follows from this stability. By guiding the attack onto a chosen line, the defender can place the opponent where they want them, create a pause in their movement, expose a target, take their centre, or generate the time required to enter. The opponent may feel as though their attack simply missed, but in reality their direction has been quietly reorganised.

Creating Opportunity and Time

One of the most valuable functions of Inasu is that it creates opportunity. The redirection may open a direct line for a strike, expose the opponent’s body, turn their shoulders, lengthen their posture, or carry their weight beyond a stable base. It may also create something less visible but equally important: time.

A small change in the opponent’s direction can delay their ability to recover. That moment may be brief, but in paired work it is often enough. The defender is no longer reacting from behind the attack. They have changed the exchange and created a window in which their own action can arrive.

This is why Inasu is not merely protective. It is tactical. It does not only ask, “How do I avoid being struck?” It also asks, “Where do I need the opponent to be, and what opportunity can their movement create for me?”

Inasu, Kuzushi, Irimi and Nagasu

Because Inasu operates within a larger family of Wadō principles, it naturally introduces and supports other ideas.

Kuzushi — Disturbing Balance and Structure

When the attack is redirected, the opponent’s posture may be altered. Their shoulders turn, their weight continues beyond the expected line, or their centre becomes easier to influence. This is the beginning of Kuzushi. The balance break is not always dramatic; often it is simply enough to make the opponent structurally late or unable to respond efficiently.

Irimi — Entering the Gained Space

Redirection creates space, but that space must be used. Irimi is the act of entering decisively into the opportunity created. Inasu and Irimi therefore complement one another: one changes the line, the other occupies the advantage.

Nagasu — Allowing the Attack to Pass

Nagasu carries the sense of letting something flow or pass. Inasu may use this quality by avoiding direct opposition and permitting the attack to continue beyond its target. The defender does not merely disappear from the line; through contact and body movement, the attack is guided into a direction that supports the defender’s purpose.

These principles overlap, but they are not identical. Nagasu describes the flowing past of force, Kuzushi describes the weakening of balance or structure, Irimi describes entering, and Inasu describes the act of receiving and redirecting in a way that helps bring these outcomes into being.

The Relationship Between Inasu and Taisabaki

Taisabaki and Inasu are closely connected. Taisabaki changes the position and orientation of the defender’s body in relation to the attack. Inasu expresses how the incoming force is then received and redirected within that changed relationship.

The body shift is often what generates the redirection. If the arm acts alone, it must work harder and may become a separate block. When the centre moves and the body turns or shifts at the correct moment, the contact of the arm becomes lighter because the whole body has already changed the geometry of the attack.

In this sense, the arm does not manufacture Inasu by itself. It communicates and refines what the body movement has created. The hand and forearm maintain the line, carry the opponent past, and guard against the attack, but the deeper redirection begins in posture, timing and movement.

Kumite Kata No.1 — A Clear Example of Inasu

One of the clearest examples can be found in the opening exchange of Kumite Kata No.1. Uke pushes forward with Jōdan Junzuki Notsukomi. Tori does not remain directly in front of the attack and attempt to stop it with the arm. Instead, the body subtly shifts away from the attacking line.

At the same time, the incoming arm is picked up with Gaiwan Uke. This action guards against the punch, but it does more than protect the head. Through the body shift and the quality of contact, Uke’s attacking arm is redirected. A subtle Suri Uke along the arm helps carry Uke forward and past Tori rather than allowing them to settle immediately in front.

The Inasu changes the course of Uke’s movement and brings them onto the Chūdan-zuki, which is delivered at the same time as the Gaiwan Uke. Defence and attack are therefore not arranged as two separate events. The redirection, the body movement, the protection and the counter all belong to the same moment.

This example shows why Inasu should not be reduced to a parry. The attacking arm is not simply pushed aside. Uke’s direction is changed, their body is influenced, and their forward commitment becomes part of the opportunity used by Tori.

Where Contact Is Made Matters

The point at which the attack is picked up has a major effect on the quality of the redirection. Not every point along the arm offers the same control, timing or influence over the opponent’s body.

Too Late at the Wrist

If the defender waits until the punch is met near the wrist, the attack has already travelled a long way. The fist is close to its target, the available time is reduced, and the defender must make a faster and often larger correction. Redirecting the force becomes exceptionally harder, while the effect upon the opponent’s overall body is reduced.

Too Close to the Shoulder

Moving too high onto the upper arm creates different problems. The opponent is structurally stronger near the shoulder, so the same small action may have less effect. Closing too deeply without the correct control may also expose the defender to an elbow action or other close-range response.

The Useful Area Around the Elbow

Picking up the attack around the elbow often offers a more effective relationship. It is early enough to influence the incoming line before the punch reaches full extension, while being far enough from the shoulder to affect the opponent’s arm and body with relatively little effort.

This should not be treated as a rigid rule or a fixed point that can be measured in isolation. The correct place changes with distance, timing, body shape and the nature of the attack. Finding the “sweet spot” is therefore a matter of paired practice, observation and trial and error. The purpose is to discover where a small, well-timed action creates the greatest effect on the opponent’s direction and structure.

Refinement Through Reduction

Inasu is also a measure of refinement. When practitioners first learn to redirect an attack, the movements are often large. There may be a broad body shift, a wide sweep of the arm, or an obvious attempt to push the attacking limb away. These larger actions can be useful in the early stages because they make the direction and purpose easier to feel.

Over time, however, unnecessary movement should be removed. The body shift becomes smaller, the arm travels less, and the moment of contact becomes more precise. The defender learns that they do not need to move the opponent’s arm very far; they only need to change its course enough.

This reduction is not about making the technique visually impressive or mysterious. It is about preserving time, balance and options. Every unnecessary movement creates delay. Every unnecessary tension reduces sensitivity. Every oversized deflection risks losing contact, position or the ability to continue.

The refined practitioner therefore seeks the bare minimum needed to achieve the goal. The movement may become difficult for an observer to see, but its effect upon the opponent becomes clearer. This is one of the hallmarks of mature Wadō: less visible effort, but greater control.

From Big Deflection to Subtle Influence

The progression from large to small movement should not be rushed. A beginner who tries to imitate the tiny action of an experienced practitioner may simply do too little. The advanced movement is small because posture, Ma-ai, timing and body movement are already accurate—not because the principle has been removed.

Training therefore needs stages. First, the practitioner learns the direction of the redirection. Then they learn to connect it to the body. Next, they discover how it affects the opponent’s balance and movement. Finally, they begin removing everything that is not required.

True economy is the result of understanding, not abbreviation. The small movement contains the lessons of the larger one.

Where Inasu Appears in Training

Inasu can appear throughout Wadō training, but it is often easiest to recognise in paired work where the effect upon another person can be directly felt.

• Kihon Kumite — where timing, line, body movement and simultaneous response make redirection essential
• Kumite Kata — where receiving and controlling the opponent are clearly built into the paired sequences
• Ohyo Kumite and related paired practice — where attacks are guided into positions that support entry, striking or control
• Kata — where movements often contain the body mechanics and receiving qualities later expressed against a partner
• General partner drills — where the practitioner can explore contact points, timing, sensitivity and the reduction of unnecessary force

Paired training is particularly important because Inasu cannot be understood fully from shape alone. The practitioner must feel whether the opponent’s force has genuinely been redirected, whether their own posture remains intact, and whether an opportunity has actually been created.

Common Misunderstandings

• Inasu is not simply slapping or knocking an attacking limb aside
• Inasu is not an arm-only movement separated from posture and body movement
• Inasu is not passive avoidance without control or purpose
• Inasu is not dependent upon large force or dramatic movement
• Inasu is not complete if it leaves the defender tense, off-balance or unable to continue

It is the refined art of receiving an incoming force, changing its direction, and using that change to improve one’s own position while reducing the opponent’s options.

How Inasu Connects to Other Wadō Principles

Inasu sits naturally among many of Wadō-Ryū’s central principles:

• Shisei — posture provides the stable but adaptable base from which redirection becomes possible
• Ma-ai — correct distance allows the attack to be influenced before it becomes too late
• Hyōshi — rhythm and timing determine the moment at which the force can be guided most efficiently
• Ten-i — changing position removes the body from the intended line
• Ten-tai — changing the body’s orientation improves angle and alignment
• Ten-gi — technique is expressed as part of the completed body movement
• Taisabaki — the centre and body create the geometry of the redirection
• Nagasu — the attack is allowed to pass rather than being stopped
• Kuzushi — the opponent’s balance or structure is disturbed through the changed line
• Irimi — the space created by Inasu is entered and used
• Datsuryoku — unnecessary tension is removed so that sensitivity and speed can remain
• Kōbō-ittai — defence and attack become one connected action

This network of relationships explains why Inasu cannot be studied successfully as a single isolated movement. It is one expression of Wadō’s broader preference for non-collision, efficient movement and control through position rather than strength.

Inasu as the Refinement of Receiving

At an early stage, receiving may mean simply preventing the attack from landing. Later, the practitioner learns to redirect it. With deeper study, that redirection becomes a means of shaping the entire exchange.

The opponent is no longer merely kept out. They are guided into a position. Their commitment is used. Their recovery is delayed. Their centre becomes available. Meanwhile, the defender remains balanced, calm and ready to continue.

This is why Inasu can be understood as the refinement of receiving. It represents a progression from protection, to redirection, to control. The external movement becomes smaller, but the tactical content becomes greater.

Closing Thoughts

Inasu is not the act of moving an arm. It is the art of changing the opponent’s direction without first having to stop them.

Its effectiveness depends upon a solid foundation: posture, Ma-ai, timing, Ten-i, Ten-tai and Ten-gi. It belongs within Uke, because it receives rather than collides. It supports Nagasu by allowing force to pass, Kuzushi by disturbing structure, and Irimi by creating the space into which the defender can enter.

Most importantly, Inasu brings control without unnecessary force. It controls the opponent by influencing their line, posture and recovery. It controls the defender by preserving composure, balance and freedom of movement. Through practice, the large deflection becomes a small adjustment, and the obvious action becomes a subtle influence.

In this way, Inasu expresses something fundamental about Wadō-Ryū. The aim is not to meet conflict with greater conflict, but to understand force well enough to redirect it—placing the opponent where you need them to be while remaining exactly where you need to be yourself.