A step-by-step guide, with video and detailed instructions, for the first form studied in the Yagami Ryu.
At an introductory level, this figure allows you to explore the application of foundational principles and is highly recommended for practicing tension management in both the body and the rope.
It belongs to the group of shoden keito (初傳系統) techniques and is one of the simplest ways to manage the body.
When we talk about managing the body, we don’t mean simply moving it from side to side, but rather using it to guide the person within the framework of desire.
Formally, this is a highly efficient restraint, created with a single rope, using hon musubi and hojo-style cuffs, forming a gote in its most basic expression.
Note: If you’re unclear about what figures like gote and takate kote are or how they differ, I recommend reading the referenced articles in the footnotes before practicing these forms.
The key to constructing this form is maintaining constant muscle engagement through managing the tension between the body and the rope.
Step-by-Step Guide
Initial Preparation
This technique can be performed standing or seated, but always in an anatomically neutral posture (shisei 姿勢).
If practicing seated, for individuals with long arms relative to their torso, it’s advisable to place a support or cushion to slightly elevate the body when working on the floor. This prevents the hands from dragging on the ground during movements.
A support is also recommended for those with limited hip mobility (flexion). If you struggle to engage your core in floor positions, this could be the reason.
Kote Tori (小手取) + Hon Musubi (本結び)
The only tie used in this form is the hon musubi, focusing specifically on its wrapping and retention.
In the video, I use the rope to manage the arms (this requires prior rope-handling skills). Alternatively, you can use your hands directly. Try both approaches.
When applying the rope for the first time, it’s critical to replace the tension provided by your hand with the same tension applied through the rope.
Which arm to move first?
It depends on the person being tied, but choosing correctly is key. For some, it’s easier to build the restraint by moving one arm first and then the other; for others, it’s the opposite.
This depends on each person’s anatomy—there are no hard-and-fast rules. Trial and error will help determine which arm to start with in each case.
Tetori Sankaku (手取三角)
The video introduces the concept of a vector.
Pay close attention to the directions and energy vectors in the body of the person being tied and how to use them to maintain the form and manage tension.
From this point, the form is built in a zigzag pattern.
For example, if you apply triangulation to the left forearm, the next step will involve the right arm. The rope moves continuously from one side of the body to the other.
Before moving to the next step, you must master safe shoulder rotation.
Remember, this involves rotating the shoulder (backward), not pulling the arm back.
The humerus must stay centered, with the shoulder blades pressed against the body, sliding toward the spine as the shoulder rotates.
When done correctly, the joint remains stable, and the restraint is safe.
Also, ensure the ribs don’t protrude beyond the pelvis.
Reminder: The arm should only move within the tied person’s current dynamic range of motion.
Important: Don’t progress in the exercise until you’ve mastered this technique. There’s no need to complete the form in a single day.
Practice this movement 5 to 10 times with one arm, rest, and then repeat with the other. If it goes well, move to the next step. If not, set it aside for another day and try again.
If you get stuck at this stage and can’t move forward, feel free to reach out to us.
Fuchin (浮沈) + Fureru (触れる)
Pay special attention to ensuring the rope’s movement supports the body—this is fuchin in action.
Body manipulation should be minimal, enveloping, and at the level of the fascia.
Since you’re practicing, avoid using force or abrupt movements. Stay on the edge of subtlety.
As explained in the relevant lessons, this technique works by leveraging how the brain processes stimuli.
For this reason, movements must be precise, confident, and free of hesitation, wobbling, changes in direction, backtracking, or loss of rope tension, which must remain constant at all times.
It’s a collaborative effort: the person being tied must respond, allowing some of their weight to rest on the rope to create a kinetic circuit that the person handling the rope can manage.
Both must maintain a level of activation appropriate to the situation, which won’t be excessive, as over-activation from the start is not only inefficient but exhausting.
This kata will help you “feel” that kinetic circuit, allowing you to understand how tension is present and can be used to manage the body.
Around the Neck
It’s crucial to clarify that when the rope goes around the neck, it’s not a “neck tie” or a choke—it’s about working with the shoulders.
When the rope first touches the shoulder, it transmits the tension from the already-restrained arms.
From the shoulder, the tension is directed downward through the spine, using the core and a neutral posture.
Thus, the rope doesn’t press on or even directly touch the neck; it passes over the lower part of the neck, roughly at or just above the glottis.
Any discomfort must be immediately communicated by the person being tied so the person tying can refine their technique.
Discomfort (coughing, throat clearing, unease) adds nothing, acts as a distraction, and will likely worsen during the session.
In this step, the rope’s pressure is applied to the upper shoulder and directed downward, like the straps of a backpack.
Important: The friction point on the back, which secures the cuff around the neck, must be monitored at all times when adjusting the ropes.
If you pull the ropes in any direction, the tie may increase pressure on the neck, which can be uncomfortable. To prevent this, hold the friction point with your hand to ensure adjustments don’t affect it.
Chouryoku (張力)
Once the form is complete, with the “diamond” shape on the back, it’s time to check that the tension is consistent between the rope and the body.
It’s simple: gently touch a triceps and then the nearest rope line. Both should feel equally “firm.”
As the exercise progresses, the tied person’s body may warm up and gain mobility, which can cause the ties to feel slightly loose by the end.
It’s also possible that some sections of the rope are looser than others or uneven compared to the adjacent muscles.
In these common cases, identify the loosest side of the diamond and pass the excess rope through the opposite side to pull the loose section toward the taut one.
The movement should be smooth, gradual, and continuous, while using your other hand to hold the friction point securing the neck cuff.
Adjust the tension to the necessary level, without over-tightening or excessively compressing the tie or the person being tied.
Repeat this process for the remaining sides of the diamond until the tension is even throughout the entire tie.
Handling
This tie, like all ties without front support, is more tiring for the person being tied. Keep this in mind.
Once a balance of tension is established between the body and the rope, the rope acts like external tendons.
By applying a slight rotational movement with your wrist on the ropes (similar to turning a doorknob), if the tension is correct and a kinetic circuit has been established, the tied person’s body will respond.
It’s not magic—it’s biomechanics.
The body’s musculature distributes forces in a spiral through structures that cross the body in an X-shape, and we’re applying kinetic energy to that structure, which responds automatically.
This handling simplifies session management, as, when done appropriately (based on the person and situation), it will be accepted by the person being tied, transferring control to the person tying.
Untying
Untying is also part of the exercise.
On one hand, undoing the form in reverse order helps you understand it better and, more importantly, identify mistakes or areas for improvement.
Critically important:Maintain the structure’s tension while untying, ensuring it doesn’t collapse. A collapse signals an issue with rope handling and, more significantly, will be very uncomfortable for the person being tied, who relies on the ropes for support.
In a simple tie like this, especially during practice, this won’t be a major issue.
However, it’s a good habit to develop, as it prevents joint destabilization during more complex ties or intense sessions.
You should untie while gradually releasing the body from the tension held by the ropes, making the untying process smooth and controlled.