| |
Techniques
I have
never let my schooling interfere with my education.
Mark
Twain
With good posture and
awareness it is difficult for uke to find an opening for attack. This is
particularly obvious when practising with a bokken or jo, which
one has to lower or retract to the side slightly to let uke in. And even
while the technique progresses, uke is still supposed to attack, poking
at any suki that appear in tori's technique. Uke too,
responds in such a way as to reduce the suki available to tori. In
fact, it is said that once all the suki for atemi are closed, all
that is left is Aikido technique.
The
techniques of Aikido offer us the opportunity for us to develop and test our
body structure in a coordinated way. The first aim has to be to get all the
techniques sorted in your brain - see the chart at the end. Once that is done,
you have the basic system. Constant emphasis on the basics is always required.
Also, it is interesting to think of a technique as being a solution to a problem
(uke's grip). This creates a more analytical approach.
Once the techniques have been
absorbed, you need to practice lots of kokyu-ho and kokyu-nage and
merge the way you do you these with the way you do your techniques. I am
guessing few will show you how so ... it is up to you!
(a) Discerning
differences
Rather than
'techniques', I prefer the concept of 'shapes'. This is an attempt to escape
from the form. But that is not to suggest that form be avoided - for beginners
it is essential. For beginners the form is a necessary introduction to any
martial art, no less so in Aikido. With a little experience under one's belt,
good basics, good ukemi, a few gradings, and a lot of kokyu-nage,
one will have become quite familiar with the basic patterns of Aikido. The
emphasis here is on 'patterns'. Now, it will become helpful to regard the
techniques as shapes. Thus we have ikkyo shape, nikyo shape, or
kaiten-nage shape. This is to help one come to terms with the vast number of
variations that exist.
Aikidoka,
perhaps more than most other martial artists, often hold courses where a mixture
of styles meet. Often, they frequent other dojos on friendly visits. It
is while participating in these kinds of activities that confusion can set in
for the unwary. What results is a classification of styles, or dojos - we
do it this way, they do it that, another dojo does it another, apparently
creating different sets of what is essentially the same knowledge. The key to
learning Aikido is to look for the commonalties, not the differences, since it
is only in the common principles where solid foundations lie. At first, it is
not easy to spot common principles as they are not always so obvious to the
uninitiated; one needs a discerning eye. And even amongst the differences one
may find other hidden principles just waiting to be grasped. For example, a
difference at another school might indeed be a very good principle that one's
own school lacks. It is also the case that some of these differences are bad.
But one must be careful - it may be that the problem lies in one's own method,
not theirs. Honest retrospection is the key through which the answers will
emerge.
There are many ikkyo
shapes. If one can make a particular ikkyo shape work, it makes sense to
adopt it in one's repertoire. If one can not make it work, but others can, then
the problem obviously lies in the self. Suspect the technique last. More often
than not, the differences between variations seem just mechanical. A different
foot is forward or a different entry is used. However, if one had just a
mechanistic view of the techniques there would be no end to the number of
variations to remember. And this is the way many people train. That different
entry is not a mechanical difference but represents a new principle that could
be applied elsewhere, in other 'shapes'. By thinking about it and trying to make
that new entry fit into another 'shape', one will automatically assign it as a
useful principle. One need not remember that particular ikkyo variation,
just remember the new principle so that it helps to create one's own new
personal variations. Of course, they will not really be new, nor one's own, as
others have already discovered them a thousand times before, but there is
nothing better than to discover, to feel in control of one's learning
experience, and not be completely dependent upon a teacher. This is where the
voyage of real discovery begins and may explain what is meant by the assertion -
the Shodan is just a beginner. The Shodan has the tools and should
have all the pieces, so now must set to work putting them together and figuring
out what it all means. But there is no need to wait until Shodan to
begin: When meeting in vigorous practice one has little time to think. What
happens is, one meets uke, recognises a shape such as ikkyo or
kaiten-nage, and takes it. One way to practice this is for uke and
tori to run and clash into each other, gently-ish. At the moment of random
clash, both pause, tori looks at uke and examines the situation
trying to recognise a shape. Once tori recognises something, it is used
and technique materialises.
After one has a grasp
of what principles are and can collect and apply them to one's own aiki, then, and
only then, will one be able to look at what others are doing and say with
certainty that, "That is correct," or, "That is wrong." In the long run, it will
help distinguish sound technique from bad variation. Many times I have seen
people criticise good form. It may not be good form in a certain school, but it
is good form nevertheless, which indicates that they do not know. Naturally
perhaps, it is the tradition in martial arts that when visiting other schools
one does it their way; the purpose in visiting another school is to learn new
ways, not show your own. Certainly, when visiting other schools the wise look
for new principles, not new form.
(b) Technical tips
The following are not
descriptions of how to do the techniques, rather the assumption is that one
already knows the basic ‘shapes’, thus what follows are added tips on how to do
them with different flavours. All descriptions are from the point of view of
tori in right posture, unless otherwise stated.
|
|
|
|
Ikkyo-irimi shape |
|
Ikkyo-irimi
midway |
(c) Ikkyo is
useful as it is the simplest of the immobilisation techniques in the sense that
tori grabs uke’s arm and presses uke down to the floor. The
tricky part is getting one’s co-ordination right while being in the right
place at the right time. Imagine the moment when uke takes
tori’s arm. In terms of co-ordination, the key is for tori
first to determine how uke grabs. |
|
As has
been explained,
there are four main arm positions, palm-up, thumb-up, palm-down, and thumb-down.
It would certainly be wise to practice being grabbed
from all four positions as in each case, the technique will start, and
unfold, differently. Also, tori could offer palm-up, or whatever, yet
turn the arm to one of the remaining three positions just as uke takes
hold. Naturally perhaps, one of the biggest problems beginners have is failing
to determine the initial position of teacher’s wrist / arm and how it changes;
such is true for all other hand grabbing attacks.
In terms of space, when
attacked tori needs to adjust their position rearwards slightly, or more,
so that uke can either, grab strongly, lightly, or barely grasp at all.
Obviously, the further back one goes, the weaker uke’s grab will be and
the easier it will be for tori to start. It is also useful to avoid
slightly to the left, or to the right while moving back, both of which modify
the technique differently. Think of the 8 directions in 3 planes and you can
almost move anywhere.
For an ai-hanmi katate-dori attack,
avoiding to the rear left will leave one on the outside of uke’s arms,
avoiding to the rear right will take one to the inside, avoiding straight back
will leave one central. All are viable and can be further modified by time,
the feeling of entering early, at the same time, or late. One can begin
technique at different times yet still maintain a sense of harmony with uke.
If tegatanas
meet as in shomen-uchi, try winding the bobbin (see the Power section).
Here, you meet, and deflect uke's strike/hand slightly to take balance
and then as he falls you take the elbow. If you train this, it will develop into
a powerful motion that uke has no control over - it controls his
energy/reaction.
One interesting variation -
ai-hanmi katate-dori - where uke drops his elbow to mess with your
technique - is for tori to not grasp uke's elbow at all, but
instead to place their lower wrist area on uke's upper arm , and then to
rotate it palm-down while thrusting the ulna bone forwards into the humourus
bone slightly - it hits a nerve on most people - if you get the right place.
This will roll uke over sending them to the ground , but be careful, do
not do it too hard - it is their turn next! Then, follow up with ikkyo.
An uncommon, but very powerful, variation of ikkyo is
for tori to catch uke's arm from underneath, just above uke's
elbow with the palm-up. This grip sometimes happens naturally, such as when
uke misbehaves bending their elbow downwards to resist ikkyo. This
allows tori the option of a strong jerk to disorient uke, after
which the opportunity to re-enter ikkyo might be created, otherwise a
follow-up technique, such as irimi-nage, could be attempted. Or continue
with ikkyo with the elbow hand the opposite way around. Other good
variations are to enter one's hips under uke's arm and project, or to
trip by blocking uke’s closest leg with one’s own, or to modify using
koshi-nage.
All of the above ideas
can be called principles, and with a little thought, can be applied in many
other techniques.
|
Start
palm up, try ikkyo |
|
Start
thumb up, try ikkyo |
|
Start
palm down, try ikkyo |
|
Start
thumb down, try ikkyo |
(d) Nikyo
can be done in much the same way as ikkyo explained above. When holding
uke in nikyo, make sure that their hand and thumb are grasped
firmly, and that one moves from one's own centre to apply the technique. The
more uke's elbow bends towards ninety degrees, the easier it is to apply
pain to the wrist. It is also important for tori to show control -
tori's slight movement applies technique that provokes a much larger
movement in uke. |
|
Non-standard nikyo release |
Standard Nikyo shape |
There are several
common variations of holding. In nikyo, some wring the wrist and hand as
in wringing water out of a wet flannel. Some concentrate on the up and down
motion of uke’s hand and cut down uke's centre through the pain in
their hand; some think of nikyo as a kind of reverse sankyo
screwing the hand in towards uke's face making them scurry around to the
rear; some take their free left hand over uke's arm so completely that
their own elbow passes that of uke's; some take it further over and under
latching onto their own right hand for extra leverage; some take their free left
arm under uke's arm and push against uke’s elbow from the inside; some
modify the latter variation pushing their hand under uke's arm and up
taking uke's hand an even more powerful wrist lock; some take uke's
wrist and press it into their chest then push forwards to make technique; some
even put uke's wrist on their foreheads and make a small nod or bow to
apply pain; and some press uke's wrist and elbow together. Nikyo
can also be combined with koshi-nage. It can be done in much the same way
as ikkyo koshi-nage projection, or, one can use the pain to push uke's
elbow up high like sankyo thereby drawing uke closer, then
throwing straight down with koshi-nage.
No matter what nikyo
variant tori does, however, from uke's point of view it ought be
pretty much the same kind of pain. An important point to note is that when
applying the wrist lock, one can either push uke away slightly, or draw
them nearer. Obviously, push them away for an irimi entrance, draw them
nearer for tenkan. Confusing the two leads to an untidy technique
|
(e) Sankyo
is a reversal of the nikyo wrist position. While it is standard to take
uke down while walking backwards, one simple and effective variation is
to perform a standard ikkyo while grabbing the fingers, instead of the
wrist, to make a sankyo bowed-arm shape. Finish by increasing the
pressure of the twist while still behind uke’s arm in the apparent
ikkyo-like position. Another similar variation is to take uke down as
before but then switch hands, remaining behind the bowed-arm with one’s own
hands reversed, again finishing by increasing the pressure. Sankyo is a powerful
technique and it is easy for tori to get used to the idea of leading
uke around by the point of their elbow. The pain is in the wrist but the
secret lies in the elbow. This kind of idea is useful in other techniques,
especially yonkyo. Interestingly, one can drop uke's elbow by
pointing it at the floor to the front or rear; to the front results in an
ordinary finish, to the rear, uke may be flipped over or thrown down like
the proverbial sack of potatoes. Nikyo can be done in like manner, which
becomes a kind of kote-gaeshi variant, as can ikkyo, which then
turns into ude garami-nage.
|
(f) Yonkyo
is one of the most difficult techniques. In essence the general movement is much
the same as sankyo, but inflicting pain on uke's inner wrist is
the main problem; on some people it is easy, on others, nigh on impossible. In
order to learn it better it is best to isolate the yonkyo grip from the
rest of the technique. Simply, grab one's partner's palm-up wrist and practice
pressing down on it with the inner knuckle of the forefinger. The weakest and
therefore the target points are the corners of the inner wrist, although it can
sometimes be seen done on the outside corners on the back of the wrist. Also,
the closer to the hand, the easier it is to generate the pain. Just pressing is
not enough. It feels as though one is collecting a bunch of nerves in the
knuckle and then manipulating them slightly over a bone, then pressing. If it
seems like a certain person is immune, hold a pen or stick in the palm and press
the flat side (not the point) of it into their wrist like yonkyo. This
also works quite well on the bony back of the hand too and at least, ought to
show that yonkyo is possible on most people. |
|
Yonkyo
is a useful holding grip in many techniques. In ikkyo, holding with a
yonkyo grip in both hands prevents one from using too much strength, and
might even cause a little yonkyo pain in the wrist if performed well.
When performing nikyo and sankyo it is likewise possible to
include a modicum of yonkyo pain at the same time as part of the
technique. In shiho-nage, applying yonkyo pressure to uke's
wrist can sometimes help but if too painful, shiho-nage itself might
become impossible as uke collapses in a heap. Holding a bokken or
jo using a yonkyo grip helps give a clue to direction in movement.
Of course it follows that in applying yonkyo more universally, one's own
yonkyo power will improve. Finally, when you catch your partner's wrist
as in katate-dori - think of and use yonkyo. Thus, they have to
learn to counter this grip while at the same time you are learning to develop
it.
Yonkyo also works on the ankle.
|
(g) Gokyo
is the same as ikkyo
but with the wrist-grabbing hand reversed. It is often taught as a
response to a knife attack as gripping in this way ensures the blade is
a little further from one's own wrist. Accordingly, it is most often
performed against knife attacks but it ought to credit more favour than
that. From the outside of uke's arms, ikkyo is the usual
response, but gokyo
is also possible. From the inside, especially from yokomen-uchi,
while we all do ikkyo without question in daily practice, logic
dictates that
gokyo be far more suitable since it is so easy to catch uke's
wrist with gokyo to strongly take control. |
|
With ordinary ikkyo, we cannot easily lift uke's hand, instead
having to wait for uke to do so of their own accord, then taking
advantage. Simply, if gokyo is good enough for knife defences, it ought
to be good enough for empty hand attacks too. Indeed, on grabbing uke's
(right) wrist from the inside, by necessity, tori's (right) hand is
palm-down. By turning the body (to the right) and twisting their own arm to a
palm-up position, tori can generate a lot of power, should that be
required. Accordingly, it makes sense to practice gokyo from
katate-dori or ryote-dori attacks as well. When practising gokyo
from sode-dori or mune-dori attacks it is essential to break the
cloth grip first. If uke offers a resisting straight arm, gokyo
can work as an armlock takedown. To enter,
tori reverse twists uke’s arm contrary to the ikkyo roll,
twisting wrist and elbow in reverse as though wringing a towel. At this time, it
is useful to push along uke’s arm to press their shoulder down to the
floor. If done this way, gokyo becomes related to
ude-gatame,
and change is possible to waki-gatame if necessary.
|
(h) Rokkyo,
otherwise known as waki-gatame, not to be confused with ude-gatame,
is the technique that can be used when all other immobilisation's fail. With
uke's arm held locked-out against one's chest in a little-finger-up shape,
it is quite similar to nikyo. Indeed, should uke succeed in
struggling to bend their arm at the elbow, nikyo is the result, yet a
side elbow lock can be incorporated at the same time, if desired. And should
uke force their arm straight from nikyo, then rokkyo is the
result - they are perfect cousins. This technique needs to be practised against
every form of attack. The main problem with this technique is that it is an
arm-lock and as such, some schools disregard it as they consider arm-locks to be
anti-Aikido. Sometimes, philosophy reigns over common sense.
|
(i) Ude-gatame,
sometimes called ude-hishige, differs from waki-gatame in that
here, uke's palm faces upwards and as a result, the elbow is pressed
straight down. Rather crude when compared to waki-gatame, it can be quite
effective. It forms the same kind of elbow pressure that is used when projecting
in mae-otoshi or juji-nage and can also be used within other
techniques to send uke flying down towards the tatami for an
ikkyo immobilisation.
|
|
|
|
|
|
|
|
(j) Irimi-nage
is one of the most basic of Aikido throws and in a sense, mirrors kaiten-nage
in shape in that if uke refuses to get up or be thrown back, one can
switch to kaiten-nage, and vice-versa. It is, perhaps, one of the easiest
techniques to come to terms with and the first throw that needs to be mastered.
One interesting observation is that while many schools practice irimi and
tenkan variants for every technique four times before changing roles,
they almost always do four tenkan versions of irimi-nage, ignoring
the irimi. The irimi-nage irimi version (without the
initial tenkan movement) is of great practical importance, especially in
terms of self-defence and it makes no sense to ignore it. Standard technique is
to throw gently along the spine. The most common variation is to displace
uke’s hips to the right with one’s own while taking uke’s head
slightly to the left. Sometimes frowned upon as being un-aiki in that it
is uncomfortable for uke to break-fall, this is a very practical
variation. To be fair, one should only practice the same variation as one’s
partner.
|
Irimi-nage |
|
Irimi-nage variation |
Other variations include throwing uke over one's hips to the
front or rear, throwing uke with the hand on the chin or side of the
neck, throwing uke by feigning a strike to the face, which uke
avoids by break-falling, and throwing uke by actually striking the side
of the neck, albeit gently, of course. The highest skill in throwing with
irimi-nage is derived from throwing them up, not down. What goes up, comes
down naturally. Here it has become more like tenchi-nage, which shows how
some techniques can merge into each other. |
|
|
Shiho-nage tenkan |
|
|
|
|
(k) Shiho-nage,
almost impossible to do, is the most classic Aikido technique. No doubt the vast
number of variations reflect people's struggle to come to terms with it. But
strangely, even though one is highly unlikely to beat off five demented muggers
with it, practising shiho-nage offers many valuable lessons in feeling
and movement that can be used in other waza. For example, it is most likely through this technique that one
first begins to realise the importance of contact and centre.
|
For an effective
shiho-nage one must first come to terms with what different people call
mae-otoshi, jujigatame-nage, ude hishigi-nage, or ude
kime-nage. This technique, what I call ude kime-nage, is similar to
the beginning of shiho-nage but instead tori extends uke's
arm out in a twisted semi-armlock and projects uke away. There are many
soft and fluffy versions of shiho-nage out there, but the key to a truly
powerful shiho-nage lies in having a powerful ude kime-nage. The
way one performs ude kime-nage should determine the entrance for
shiho-nage; if one can hold uke in the junction position just before
the ude kime-nage throw, then one can convert it to shiho-nage
without much ado. Failing to unify such common principles indicates that one
does not understand.
|
|
|
|
|
Shiho-nage tenkan – tori’s eye view |
(l) Kote-gaeshi
is probably one of the most practical Aikido techniques. In shape, it is
opposite to nikyo or sankyo, and similar to shiho-nage.
Kote-gaeshi is one of the furthest Aikido techniques, furthest in the sense
of distance from uke when throwing. The key to getting kote-gaeshi
correct is to press uke's wrist in line with uke's fingers,
towards an imaginary point just outside their elbow, yet with the feeling of
screwing inwards toward their centre along their forearm. Twisting it outwards
any more is going to hurt; it might make it work, but does not help in learning
Aikido. Pressing towards the elbow allows one to maintain the feeling that one
is contacting and disturbing uke's centre. Uke can fall back, or
be led over their own wrist forwards. Dropping one's body weight adds a little
momentum to the occasion. Further, rather than simply returning uke's
hand towards uke's body, one should press or curl the wrist seemingly on
the spot, thereby drawing uke forward towards and over their own wrist.
Kote-gaeshi is very powerful and after uke's balance is disturbed,
many other techniques are possible in combination. If combining kote-gaeshi
with another technique such as shomen-ate or irimi-nage it is
necessary to modify the kote-gaeshi grip slightly to get a better
one-hand hold. To do this, allow the gripping left hand to slip slightly in the
direction of the applied pressure until one’s thumb just sneaks around to the
back uke’s hand, all the while maintaining control of uke’s thumb.
A yonkyo type pressure from your own pointing-finger knuckle can also be applied to
the back of uke’s knuckles. A
common mistake in kote-gaeshi is where the fingers of tori’s
(left) lower hand extend onto uke’s wrist thereby effectively blocking
the application of their own technique – the lower hand should hold uke’s
hand, not their wrist.
|
|
(m) Kaiten-nage
is almost ignored in some Aikido styles, which is strange considering it is such
a great compliment to irimi-nage, or tenchi-nage. Once in position
to throw, the most common method is to push uke's arm across their back.
What is often missed is pressing down the head firmly using the arch of the
extended hand. Before placing the hand on the back of the head it is useful to
perform a strike, stopping at the last inch for safety, then press. A gentle
push produces the standard roll. Done quickly uke will spin on the spot,
landing on their backside. Done slowly, one can twist uke so that they
feel like they are twisting out of it, but end up sitting down, quite open to a
range of holds, locks, or strangles. But if uke begins to twist out and
stand up, let the neck hand follow through and quickly grasp their opposite
collar and strangle ... with uke in a leant-back standing position ... by
maintaining hold of the throwing arm in a straight arm lock. Or, as uke
begins to resist the standard technique, tori might change to
irimi-nage or tenchi-nage. Kaiten-nage can also be performed
after any of the immobilisation techniques. It is also useful as a counter to a
rugby style head first grabbing attack - move to the rear (left) corner,
taisabaki slightly, and press the head down as uke approaches. If
uke does not fly with their own momentum, twist one's own body making
taisabaki in the opposite direction and sit them down backwards.
|
Kaiten-nage |
|
(n) Tenchi-nage
is sometimes known as the zigzag throw, referring to footwork, or the heaven and
earth throw, referring to the position of the hands. For ryote-dori most
people zigzag with their feet, but there appear to be several interesting
variations in terms of hand-work. In the simplest mechanical version, the hands
follow the feet; left hand goes down as the left foot zigs, the right hand goes
up as the right foot zags behind uke. In most cases, the top hand
actually goes down too, as in irimi-nage. Some people however, insist on
keeping it up high and making the throw work more with the body entrance; a
little harder, but more enlightening considering the name of the throw. By far
the best way is to initiate the lower hand as in tenkan-ho, with the
upper hand cutting up inside uke's wrist. Important here is that initial
tenkan-ho principle - it contacts uke's centre and off-balances,
turns circularly, and can lead them anywhere, no matter how hard they grip. In
this sense, this technique can be done in much the same way as suwari-waza
kokyu-ho. An interesting variation is to place the upper hand on the near
side of uke's neck, pushing up with tegatana to throw. To make a
stronger throw here, one can also grab the cloth of uke's lower arm, or
even contemplate Judo variations of an O soto-gari shape. By
concentrating on the up and down motion of tenchi-nage, a variation of it
can be done from ushiro ryote-dori; put weight in the left hand step
slightly to the left. At the same time, raise the right hand high. A slight
rearward step or shuffle should suffice to throw.
|
|
Tenchi-nage shape |
Koshi-nage |
|
Koshi-nage variation |
|
|
|
(o) Koshi-nage,
the technique that many love to hate, mostly because they cannot do it,
otherwise because of the heavy break-fall. With a little thought, many
techniques in Aikido can be converted to koshi-nage. The problem here is
that hip throws are rarely practised enough in Aikido. Worse, lots of practice
in 180 degree taisabaki means that many turn in too far to effect a good
throw. The Judo hip throw, O-goshi, is qualitatively different to that of
Aikido's koshi-nage. Nevertheless, practising the Judo type in an aiki
manner will help one's throws enormously, the main difference being that in
Judo, for extra power they straighten their legs, effectively doing the
technique 'on' their opponents, jacking uke up and over. In Aikido, a
committed attack necessitates that one move out of the way, so the throw is more
like tripping them up over one's hip. An Aikido type O-goshi grabbing the
cloth to throw is a good addition to break-falling exercises after the warm-up
and a useful introduction to the many koshi-nage variations often
performed in unison with projections or powerful arm-locks.
|
|
(p) Shomen-ate
is a devastating Aikido technique, a strong upwards thrust to uke's chin
with the palm-heel. It is not a hit - the trick is to thrust directly up, in
line with uke's centre. Any deviation from the centre will result in
one's own hand being automatically deflected left or right. The mild version
sees uke taking gentle ushiro ukemi, the strong version sees
uke's feet leave the ground. If uke has not already been sent flying,
then a follow up with any number of techniques is in order before uke
regains balance.
|
(q) Hold-downs
at the end of techniques immobilise uke. Ikkyo, nikyo, sankyo,
yonkyo, gokyo, and rokkyo each have their own forms. The
standard finish for kote-gaeshi is generally the nikyo finish but
there are several other variations. Shiho-nage is usually a projection
but it also has it’s own hold-down form. Tenchi-nage and irimi-nage
have no hold-down form and instead rely on zanshin to control uke.
It is usual to let uke roll out of kaiten-nage thus this technique has no
standard end form. There are many other hold-downs and variations beyond the
basic forms and it is wise to learn as many as possible.
|
Ikkyo |
Nikkyo |
|
|
Sankyo |
Yonkyo |
|
|
Gokyo |
Rokyo (Waki-gatame) |
|
|
Variation 1 |
Variation 2 |
|
|
Variation 3 |
Variation 4 |
|
|
Variation 5 |
|
|
There are many more variations. |
|
Udekime-nage |
(r) Other techniques
There are several other
Aikido techniques such as ude kime-nage, sumi-otoshi, juji-nage,
hiki-otoshi, sukui-nage, and so on. Some schools incorporate more
armlocks, others have more hip and shoulder throws, and a few even include
trips, sweeps (of foot), and reaps (of thigh). Yet other schools include punches
and kicks. Obviously, the more that is included the more it begins to resemble
Jujutsu. But just what is it that defines Aikido? Most Aikido schools restrict
themselves to a fairly limited number of techniques. Some speak of techniques
that do not match their philosophy, others believe that their own school’s
syllabus represents the totality of Aikido claiming it to be a complete system,
and so on and so forth. What defines a particular brand of Aikido lies in the
principles they use. Each teacher absorbs a slightly different set of principles
based on their learning experience and ultimately such become reflected in their
style or individual teaching method.
|
|
Sumi-otoshi |
Juji-nage |
|
|
Hiki-otoshi |
Wrist-hold |
|
|
(s) Technical progress
chart
In many schools of
Aikido, beginners are often bamboozled by the seemingly random multitude of
techniques. In the early days of Aikido in Europe people adopted a system of
first form = ai-hanmi katate-dori, second form =
gyaku-hanmi katate-dori, and so on. For the first grading, a student would
typically have to demonstrate all the basic techniques, about ten of them, from
a first form attack. For the second grading they had to do both first
and second forms, and so on. Some schools still use this system and by
the time students reach
Shodan,
the knowledge attained is more or less equivalent to that of the complicated
looking Aikikai or Yoshinkan syllabi. What students can do to make sense of the
mess, if that is how they see it, is to make a kind of Aikido multiplication
table. Write the basic techniques at the top of the columns, and the attacks
along the rows. If desired, one could divide each box into two or three to
account for tachi-waza, hanmi-handachi-waza, and suwari-waza.
As one learns, the chart is filled in and one can immediately see where the gaps
are. If curious, one could try to work out unknowns using aiki principles
with a co-operative uke.
|
Technical progress chart.
|
Ai-hanmi katate-dori |
Gyaku-hanmi katate-dori |
Sode-dori |
Mune-dori |
Shomen-uchi |
Yokomen-uchi |
Tsuki |
Ushiro ryote-dori |
kokyu-irimi |
|
|
|
|
|
|
|
|
kokyu-tenkan |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
ikkyo |
|
|
|
|
|
|
|
|
nikyo |
|
|
|
|
|
|
|
|
sankyo |
|
|
|
|
|
|
|
|
yonkyo |
|
|
|
|
|
|
|
|
gokyo |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
irimi-nage |
|
|
|
|
|
|
|
|
shiho-nage |
|
|
|
|
|
|
|
|
kote-gaeshi |
|
|
|
|
|
|
|
|
kaiten-nage |
|
|
|
|
|
|
|
|
tenchi-nage |
|
|
|
|
|
|
|
|
Note: An improved method of
memory retention is to base one's techniques on principles found in specific
kokyu-nage for each attack. For example, choose one method of kokyu-nage
to represent an irimi movement and then try to base the irimi
versions of your techniques upon that movement. Try likewise for tenkan.
|
|