NEW! Adult Training

We are very excited to announce that we will be leading an adult training group at the Training Station (200 Elm St, Manchester, NH) on Wednesdays and Fridays, 6:00am-7:00am.

Terry and Christina Dow have graciously allowed us to use a space in their dojo for the times when we used to train at the Downtown YMCA as the Manchester Budo Club. There is a monthly cost for participating, 100% of which goes to the Training Station.

If you’re interested in joining us for Tomiki Aikido, fill out the contact form below.


Professor Tomiki believed strongly that a combination of jūdo and kendō principles (genri) were vital to development of practical jūjutsu (what he later called his aikidō). Tegatana dosa is a core piece of kendō principles applied without a blade. Nariyama Shihan later distilled these are the 3 Principles and 6 Concepts.

Tegatana Dosa (Drilling)

The power of tegatana dosa does not come from hand motion. The hands themselves are relatively poor at doing anything but grabbing small things. Tegatana is a weapon, and the body wields it. True swordwork comes from the hips (koshi) and core (hara), transmitted through the musculoskeletal system and extended through the hands.

The ten movements of tegatana dosa are meant to develop and refine the transmission of power through tegatana. The movements are distinct because the body movement is distinct. The movement of tegatana is powered through the shifting of gravity in the lower body to produce kinetic energy which is redirected and amplified through the core. 

Katana and Tegatana

Two 15th century blades, mounted by Iwamoto Konkan in the 18th century. On display in the NY Metropolitan Museum of Art.

We are all familiar with the katana, the curved steel blade of the samurai. This curved shape is practical, reflecting a very specific method of cutting; and that method can be translated into our movements in aikido through tegatana dosa. 

The vestiges of old sword work are still present in kendo’s terminology for the three large sections or zones of the sword. Each zone can be described by its function. Tegatana can then be described in roughly the same terms.

Tsubamoto (鍔元)
Beginning at Guard
Nakahodo (中程)
Middle Section
Monouchi (もの打ち)
Striking Point
Ude (腕)
The upper arm
Hiji/Kote (肘/小手)
Te/Shote (手/初手)
Hand/Edge of Hand

It is the monouchi that does the cutting in a sword, just as te is the cutting edge of tegatana. This is why monouchi is also called satsu. But it is the middle section, nakahodo on the sword and hiji/kote on tegatana, that transmits the body’s power to the cutting edge. The body makes the cut. The hand makes the kill.

Ura Waza

Counter Techniques

This video features both the seventeen Randori no Kata (Atemi Waza, Hiji Waza, Tekubi Waza, Uki Waza) and the Ura Waza, or counter techniques. Counters use the force of the initial attack to lead the aggressor into a lock or throw. The Ura Waza begins at 3:33

Shomen Ate (1)Waki Gatame (11)
Ai Gamae Ate (2)Kote Mawashi Oshi Taoshi (6)
Gyaku Gamae Ate (3)Gedan Ate (4)
Gedan Ate (4)Ai Gamae Ate (2)
Ushiro Ate (5)Tenkai Kote Hineri (13)
Oshi Taoshi (6)Kote Mawashi Oshi Taoshi (6)
Hiki Taoshi (8)Tenkai Kote Hineri (13)
Kote Gaeshi (12)Kote Gaeshi (12)
Tenkai Kote Hineri (13)Waki Gatame (11)
Tenkai Kote Gaeshi (14)Tenkai Kote Gaeshi (14)

Atemi Waza (1-5)

Technique Names

  1. Shomen Ate (Front Strike)
  2. Ai Gamae Ate (Facing Side Strike)
  3. Gyaku Gamae Ate (Mirror Side Strike)
  4. Gedan Ate (Low Strike)
  5. Ushiro Ate (Rear Strike)


Atemi are not really strikes in the sense of punches. They are ways of moving your opponent’s body along their lines of kuzushi. There are two lines of kuzushi.

  • NO LINE: a line drawn directly beneath the center of gravity, halfway between the contact points of the feet. If a person is standing in a neutral stance, with their feet even, the no line would be directly forward and back.
  • TOE LINE: a line drawn from the little toe of one foot through the side of the heel of the other foot. In a neutral stance,


Destabilizing your opponent’s body structure in such a way that he or she is out of balance.