Wednesday, March 22, 2023

Aikido

 




Initial attacks

Aikido techniques are usually a defense against an attack, so students must learn to deliver various types of attacks to be able to practice aikido with a partner. Although attacks are not studied as thoroughly as in striking-based arts, sincere attacks (a strong strike or an immobilizing grab) are needed to study correct and effective application of technique.[2]

Many of the strikes (打ち, uchi) of aikido resemble cuts from a sword or other grasped object, which indicate its origins in techniques intended for armed combat. [2]Other techniques, which explicitly appear to be punches (tsuki), are practiced as thrusts with a knife or sword. Kicks are generally reserved for upper-level variations; reasons cited include that falls from kicks are especially dangerous, and that kicks (high kicks in particular) were uncommon during the types of combat prevalent in feudal Japan. Some basic strikes include:

  • Front-of-the-head strike (正面打ち, shōmen'uchi) a vertical knifehand strike to the head. In training, this is usually directed at the forehead or the crown for safety, but more dangerous versions of this attack target the bridge of the nose and the maxillary sinus.
  • Side-of-the-head strike (横面打ち, yokomen'uchi) a diagonal knifehand strike to the side of the head or neck.
  • Chest thrust (胸突き, mune-tsuki) a punch to the torso. Specific targets include the chest, abdomen, and solar plexus. Same as "middle-level thrust" (中段突き, chūdan-tsuki), and "direct thrust" (直突き, choku-tsuki).
  • Face thrust (顔面突き, ganmen-tsuki) a punch to the face. Same as "upper-level thrust" (上段突き, jōdan-tsuki).

Beginners in particular often practice techniques from grabs, both because they are safer and because it is easier to feel the energy and lines of force of a hold than a strike. Some grabs are historically derived from being held while trying to draw a weapon; a technique could then be used to free oneself and immobilize or strike the attacker who is grabbing the defender.[2] The following are examples of some basic grabs:

  • Single-hand grab (片手取り, katate-dori) one hand grabs one wrist.
  • Both-hands grab (諸手取り, morote-dori) both hands grab one wrist. Same as "single hand double-handed grab" (片手両手取り, katateryōte-dori)
  • Both-hands grab (両手取り, ryōte-dori) both hands grab both wrists. Same as "double single-handed grab" (両片手取り, ryōkatate-dori).
  • Shoulder grab (肩取り, kata-dori) a shoulder grab. "Both-shoulders-grab" is ryōkata-dori (両肩取り). It is sometimes combined with an overhead strike as Shoulder grab face strike (肩取り面打ち, kata-dori men-uchi).
  • Chest grab (胸取り, mune-dori or muna-dori) grabbing the (clothing of the) chest. Same as "collar grab" (襟取り, eri-dori).

Basic techniques

Diagram of ikkyō, or "first technique". Yonkyō has a similar mechanism of action, although the upper hand grips the forearm rather than the elbow.

The following are a sample of the basic or widely practiced throws and pins. Many of these techniques derive from Daitō-ryū Aiki-jūjutsu, but some others were invented by Morihei Ueshiba. The precise terminology for some may vary between organisations and styles, so what follows are the terms used by the Aikikai Foundation. Note that despite the names of the first five techniques listed, they are not universally taught in numeric order.[26]

  • First technique (一教 (教), ikkyō) a control using one hand on the elbow and one hand near the wrist which leverages uke to the ground.[27] This grip applies pressure into the ulnar nerve at the wrist.
  • Second technique (二教, nikyō) a pronating wristlock that torques the arm and applies painful nerve pressure. (There is an adductive wristlock or Z-lock in ura version.)
  • Third technique (三教, sankyō) a rotational wristlock that directs upward-spiraling tension throughout the arm, elbow and shoulder.
  • Fourth technique (四教, yonkyō) a shoulder control similar to ikkyō, but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient's radial nerve against the periosteum of the forearm bone.[28]
  • Fifth technique (五教, gokyō) visually similar to ikkyō, but with an inverted grip of the wrist, medial rotation of the arm and shoulder, and downward pressure on the elbow. Common in knife and other weapon take-aways.
  • Four-direction throw (四方投げ, shihōnage) the hand is folded back past the shoulder, locking the shoulder joint.
  • Forearm return (小手返し, kotegaeshi) a supinating wristlock-throw that stretches the extensor digitorum.
  • Breath throw (呼吸投げ, kokyūnage) a loosely used term for various types of mechanically unrelated techniques, although they generally do not use joint locks like other techniques.[29]
  • Entering throw (入身投げ, iriminage) throws in which tori moves through the space occupied by uke. The classic form superficially resembles a "clothesline" technique.
  • Heaven-and-earth throw (天地投げ, tenchinage) beginning with ryōte-dori; moving forward, tori sweeps one hand low ("earth") and the other high ("heaven"), which unbalances uke so that he or she easily topples over.
  • Hip throw (腰投げ, koshinage) aikido's version of the hip throw. Tori drops their hips lower than those of uke, then flips uke over the resultant fulcrum.
  • Figure-ten throw (十字投げ, jūjinage) or figure-ten entanglement (十字絡み, jūjigarami) a throw that locks the arms against each other (the kanji for "10" is a cross-shape: 十).[30]
  • Rotary throw (回転投げ, kaitennage) Tori sweeps the arm back until it locks the shoulder joint, then uses forward pressure to throw.[31]

 

SAITO 1973-5 Body techniques part 1

https://www.youtube.com/watch?v=WEasiWhgDsk



SAITO 1973-6 Body techniques part 2

https://www.youtube.com/watch?v=tzuH43NwIxI



 

Implementations

 

Diagram showing two versions of the ikkyō technique: one moving forward (the omote version) and one moving backward (the ura version). See text for more details.

Aikido is more of a defensive martial art. It makes use of body movement (tai sabaki) to blend with uke. For example, an "entering" (irimi) technique consists of movements inward towards uke, while a "turning" (転換, tenkan) technique uses a pivoting motion.[32] Additionally, an "inside" (内, uchi) technique takes place in front of uke, whereas an "outside" (外, soto) technique takes place to their side; a "front" (表, omote) technique is applied with motion to the front of uke, and a "rear" (裏, ura) version is applied with motion towards the rear of uke, usually by incorporating a turning or pivoting motion. Finally, most techniques can be performed while in a seated posture (seiza). Techniques where both uke and tori are standing are called tachi-waza, techniques where both start off in seiza are called suwari-waza, and techniques performed with uke standing and tori sitting are called hanmi handachi (半身半立).[33]

Thus, from fewer than twenty basic techniques, there are thousands of possible implementations. For instance, ikkyō can be applied to an opponent moving forward with a strike (perhaps with an ura type of movement to redirect the incoming force), or to an opponent who has already struck and is now moving back to reestablish distance (perhaps an omote-waza version). Specific aikido kata are typically referred to with the formula "attack-technique(-modifier)". For instance, katate-dori ikkyō refers to any ikkyō technique executed when uke is holding one wrist. This could be further specified as katate-dori ikkyō omote, referring to any forward-moving ikkyō technique from that grab.Atemi (当て身) are strikes (or feints) employed during an aikido technique. Some view atemi as attacks against "vital points" meant to cause damage in and of themselves. For instance, Gōzō Shioda described using atemi in a brawl to quickly down a gang's leader.[21] Others consider atemi, especially to the face, to be methods of distraction meant to enable other techniques. A strike, whether or not it is blocked, can startle the target and break their concentration. The target may become unbalanced in attempting to avoid the blow, for example by jerking the head back, which may allow for an easier throw.[33] Many sayings about atemi are attributed to Morihei Ueshiba, who considered them an essential element of technique.[34]

From the post-war period until the 1980s, numerous aikido organizations evolved in parallel to the main branch led by the Ueshiba family.[1]

The earliest independent styles to emerge were

The emergence of these styles pre-dated Ueshiba's death and did not cause any major upheavals when they were formalized. Shodokan aikido, did cause some controversy as it introduced a unique rule-based competition that some felt was contrary to the spirit of aikido.

After Ueshiba's death, more senior students branched out on their own to establish independent schools.

  • Iwama Ryu - This style evolved from Ueshiba's retirement in Iwama, Japan, and the teaching methodology of long term student Morihiro Saito. It is unofficially referred to as the "Iwama style". Saito's students have split into two groups; one remaining with the Aikikai and the other forming the independent organization Shinshin Aikishuren Kai (神信合気修練会) in 2004 around Saito's son Hitohiro Saito (斎藤 仁弘 Saitō Hitohiro, born 1957).
  • Ki Society - Another event that caused significant controversy was the departure of the Aikikai Honbu Dojo's chief instructor Koichi Tohei, in 1974. Tohei left as a result of a disagreement with the son of the founder, Kisshomaru Ueshiba (植芝 吉祥丸 Ueshiba Kisshōmaru, 1921–1999), who at that time headed the Aikikai Foundation. The disagreement was over the proper role of ki development in regular aikido training. After Tohei left, he formed his own style, called Shin Shin Toitsu aikido, and the organization which governs it, the Ki Society.[6]

Other important styles and organizations include:

Aikido of the modern period (1980 - present)[edit]

Today, the Aikikai is an umbrella organization, home to numerous senior teachers and sub-organizations with their own teaching methods and technical characteristics. Leadership of the group has remained centered on the Ueshiba family, and is currently headed by the founder's grandson, Moriteru Ueshiba (植芝 守央 Ueshiba Moriteru, born 1951).[9]

The current generation of senior teachers continue to branch out on their own, with the senior students of the senior students of the Founder (grand-students) coming to prominence in their own right.

Other teaching organizations[edit]

 

Aikido Techniques

Kaeshi waza

Counter techniques



Kaeshiwaza: all attacks and aikido techniques. Click the image to see the table enlarged.

 

Notes on kaeshiwaza

1.     A correctly done technique on a sincere attack, should not really be possible to counter with kaeshiwaza.

2.     Countering is done by "switching roles" from uke to tori, at a certain point, by treating the other one's aikido technique as an attack.

3.     In basic techniques, the shift of "roles" should happen at a moment when the technique of the other has become specific, ie. recognizable as a certain aikido technique.

4.     Kaeshiwaza should be seen as a way of improving the aikido techniques.

5.     Since kaeshiwaza should be done when the technique has become specific, the initial attack form does not matter much.

6.     Additional comments on kaeshiwaza techniques are below.

7.     Aikido glossary here.

Comments on kaeshiwaza

1.     IKKYO should not be countered before uke's arm is lifted in an arch. It is relatively easy to counter with most techniques, except tenchinage, because of the partner's arm positions.

2.     NIKYO should not be countered before uke's hand is positioned for the nikyo wrist twist. Because of this position, several techniques are impractical against it.

3.     SANKYO should not be countered before uke's hand is positioned for the sankyo wrist twist. Because of this position, several techniques are impractical against it.

4.     YONKYO should not be countered before uke's arm is positioned for the yonkyo pressure. Because of tori's two-handed grip, most techniques are impractical against it.

5.     GOKYO is not practical to counter, since it doesn't really become gokyo before the end pinning, and that is too late for kaeshiwaza.

6.     HIJIKIME OSAE can be countered, but it is quite risky because of the elbow lock. It should be avoided, or practiced with care. Solutions are difficult on most counter techniques, because of tori's arm positions.

7.     KAITEN OSAE is not that meaningful in kaeshiwaza, since it has to be countered before it clearly has become kaiten osae.

8.     KOKYUHO can be countered at tori's first move, but not after tori has started the actual throw. It is reasonably easy to counter with most techniques.

9.     KOKYUNAGE can be countered when the actual throw commences, but preferably right before that. It is rather easy to counter with most techniques.

10.                        IRIMINAGE should not be countered before tori moves the throwing arm toward uke. It can be countered with most techniques.

11.                        SHIHONAGE should not be countered before uke's arm has been lifted. Most counter techniques can be used, although with differing difficulty.

12.                        KOTEGAESHI should not be countered before tori prepares to turn uke's wrist. Because of tori's hand positions, several counter techniques become impractical.

13.                        TENCHINAGE is difficult to counter, since it is quite late in the technique that it becomes recognizable as tenchinage, and few options remain.

14.                        KAITENNAGE is quite difficult to counter, since it is quite late in the technique that it becomes recognizable as kaitennage, and by then uke's position is weakened.

15.                        KOSHINAGE should not be countered before tori has assumed a throwing position. Some counter techniques are quite easy, others very impractical.

16.                        UDEKIMENAGE should not be countered before tori has positioned uke's arm for the throw. Several counter techniques are quite easy, but some impractical.

17.                        JUJIGARAMI (also called JUJINAGE) is not practical to counter, since it is too late in the technique that it is reognizable as jujigarami, and by then uke's arms are locked.

18.                        USHIRO KIRIOTOSHI is not practical to counter, since it becomes recognizable right at the throwing moment.

19.                        AIKINAGE is not practical to counter, because it becomes recognizable at the very moment of the throw.

20.                        AIKI OTOSHI is not practical to counter, because it becomes recognizable too late in the technique, where uke's options are few.

 

Lists of Aikido Techniques

1.     Tachiwaza - mae (standing, attacks from the front)

2.     Tachiwaza - ushiro (standing, attacks from the rear)

3.     Suwariwaza (tori and uke sitting)

4.     Hanmi handachiwaza (tori sitting, uke standing)

5.     Tantodori (defense against knife)

6.     Tachidori (defense against sword)

7.     Jodori (defense against staff)

8.     Kaeshiwaza (counter techniques)

9.     Henkawaza (changed techniques)

10.                        Kogeki (attacks in aikido)

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