The second technique in the tachi-dori (sword-disarming) set is Ude-gurami (“entangling the arm” or “locking the arm”). Although this waza employs an entry similar to that used in Kiri-age, the technique is distinguished by its use of an active block and an arm-bar lock to facilitate the disarm.

Approaching from an open maai, uchidachi attacks with nissoku, kiri-oroshi.

From migi sankakudai, shidachi waits until uchidachi commits to his cut, then enters to hidari zenkutsu-dachi, hito-e-mi, blocking with open left hand (in the manner of soto-uke, a distinct block and not a blend) into the base of uchidachi’s right deltoid. Hito-e-mi (single-ply body) is a stance designed to minimize exposure of the body by presenting as slim a profile as possible. The stance is achieved by turning the hips on entry, such that the toes of the rear foot are on line with the inside edge of the lead foot.

To maximize the effectiveness of the block, shidachi must be sure to lead with his elbow to preclude uchidachi’s arm slipping down, thereby enabling him to complete or redirect his cut. Uchidachi should be struck just hard enought that he is “floated” toward his front-left corner; if the block lands hard enough that it forces uchidachi to step or fall away, there is strong likelihood he will be able to turn from the impact and resume his attack on a new line.

Without changing his stance or position, shidachi drops his left hand to uchidachi’s right wrist and grasps uchidachi’s hand with his right hand from underneath.

Shidachi spins to a deep zenkutsu-dachi, drawing a large circle with his right foot, and simultaneously pulling the point of uchidachi’s right elbow into a spot just in front of shidachi’s left-side floating ribs. (If you feel around your own floating ribs, you will find a spot that is sensitive to pressure — that’s the point at which uchidachi’s elbow should be placed. If applying the technique is uncomfortable for shidachi, he’s placed uchidachi’s elbow in the correct spot.)

Shidachi pushes out with his belly and pulls with his arms to drive uchidachi to the mat (shidachi must follow, lowering his stance somewhat to maintain control). Shidachi stretches uchidachi’s arm with the arm-bar to loosen his grip and removes the bokken from uchidachi’s hand. Shidachi assumes ten-no-gamae, with the bokken in position for kashira-ate.

With the fingers of his left hand grasping the pad of uchidachi’s right hand and his thumb placed to apply kote-gaeshi, shidachi leans uchidachi back to expose his throat. If too much pressure is applied in the kote-gaeshi, uchidachi may enter a backward roll and disengage himself from the technique — the trick is to balance uchidachi just at the point he cannot resist.

Shidachi takes a big step back with his left foot, cutting across uchidachi’s throat and the tendons of his right arm with hiki-giri (a pulling cut).

Shidachi continues the cut to gedan-gamae.