Aikido Techniques

Aikido techniques are frequently referred to as ''waza'' 技 (which is Japanese for technique, art or skill). Aikido training is based primarily on two partners practicing pre-arranged forms (''kata'') rather than freestyle practice. The basic pattern is for the receiver of the technique ('' uke'') to initiate an attack against the person who applies the technique—the 取り '' tori'', or ''shite'' , (depending on aikido style) also referred to as ''nage'' (when applying a throwing technique), who neutralises this attack with an aikido technique.

Both halves of the technique, that of ''uke'' and that of ''tori'', are considered essential to aikido training. Both are studying aikido principles of blending and adaptation. ''Tori'' learns to blend with and control attacking energy, while ''uke'' learns to become calm and flexible in the disadvantageous, off-balance positions in which ''tori'' places him. This "receiving" of the technique is called ''ukemi''. ''Uke'' continuously seeks to regain balance and cover vulnerabilities (e.g., an exposed side), while ''tori'' uses position and timing to keep ''uke'' off-balance and vulnerable. In more advanced training, ''uke'' may apply to regain balance and pin or throw ''tori''.

refers to the act of receiving a technique. Good ''ukemi'' involves attention to the technique, the partner and the immediate environment - it is an active rather than a passive "receiving" of Aikido. The fall itself is part of Aikido, and is a way for the practitioner to receive, safely, what would otherwise be a devastating strike or throw (or joint lock control) and return to a standing position in one fluid movement. The person throwing (or applying other technique) must take into account the ''ukemi'' ability of his partner, as well as the physical space: walls, weapons (wooden tantō, bokken, jō) on the tatami, and the aikido practitioners nearby.

''Uke'' must attack with a strength and speed appropriate to the skill level of the ''tori''; in the case of beginners, this means an attack of far less severity than would be encountered in a real-life self-defense situation.

Training techniques

* / teaches movement from the hip rather than relying on muscle strength of the arms
* trains students to enter with both arms forward in the ''tegatana'' (手刀) position.
* altering the direction of an incoming attack
* / / breathing is important in the execution of all aikido techniques. Here "breathing" has an additional meaning of "match with" or "accord," as the efforts of '' tori'' must agree with the direction and strength with which his wrists are held by '' uke''.

Initial attacks

Aikido techniques are usually a defense against an attack; therefore, to practice aikido with their partner, students must learn to deliver various types of attacks. Although attacks are not studied as thoroughly as in striking-based disciplines such as karate or boxing, "honest" or "sincere" attacks (a strong strike or an immobilizing grab) are needed to study correct and effective application of technique.

Many of the of aikido are often said to resemble cuts from a sword or other grasped object, which indicates its origins in techniques intended for armed combat. Other techniques, which appear to explicitly be punches (''tsuki''), are also 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:
* 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.
* a diagonal knifehand strike to the side of the head or neck.
* a punch to the torso. Specific targets include the chest, abdomen, and solar plexus. Same as , and .
* a punch to the face. Same as .
* Being attacked with a sword or bokken, usually reserved for upper level practitioners.
* Being attacked with a tantō, usually a wooden one.
* Being attacked with a jō . Being attacked by any wooden staff is called ''bōtori'' (棒取り) or ''tsuetori'' (杖取り)

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.
* one hand grabs one wrist.
* both hands grab one wrist. Same as
* both hands grab both wrists. Same as .
* a shoulder grab. "Both-shoulders-grab" is . It is sometimes combined with an overhead strike as .
* grabbing the (clothing of the) chest. Same as .
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Techniques

When all attacks are considered, aikido has over 10,000 nameable techniques. Many aikido techniques derive from Daitō-ryū Aiki-jūjutsu, but some others were invented by Morihei Ueshiba. The precise terminology for some may vary between organizations and styles; 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.) Several techniques (e.g. the "drop" throws) are also shared with judo, which can be considered a "cousin" of aikido due to their shared jujutsu background.

Aikido techniques can be broadly classified into two groups, and .

Immobilizing techniques

* , a control using one hand on the elbow and one hand near the wrist which leverages ''uke'' to the ground (also called 腕押さえ, ''ude osae'', "arm pin"). This grip also applies pressure into the ulnar nerve at the wrist.
* , a pronating wristlock (小手回し, ''kote mawashi'', "forearm turn") that torques the arm and applies painful nerve pressure. There is an adductive wristlock or Z-lock in ''ura'' version.
* , a rotational wristlock (小手捻り, kote hineri, "forearm twist") that directs upward-spiraling tension throughout the arm, elbow and shoulder.
* , a shoulder control similar to ''ikkyō'', but with both hands gripping the forearm (also called 小手押さえ, ''kote osae'', "forearm pin"). The knuckles (from the palm side) are applied to the recipient's radial nerve against the periosteum of the forearm bone.
* , 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 (also called 腕伸ばし, ''ude nobashi''). Common in knife and other weapon take-aways.
*, also called .
*, an elbow lock generally used for knife thrusts or straight punches.
*, or . Note that the name of this technique varies with organizations, and that ''ude-garami'' may also refer to a different technique altogether (see below, arm entanglement throw).
*, a class of techniques which involve immobilizing the elbow through locks.
*, a variety of techniques that involve applying chokes.

Yoshinkan terminology

The Yoshinkan school retains these Daitō-ryū Aiki-jūjutsu terms for the "first" through "fourth" techniques:
# 一ケ条 Ikkajo
# 二ケ条 Nikajo
# 三ケ条 Sankajo
# 四ケ条 Yonkajo

Throwing techniques

* . From a standing position where the ''tori'' and ''uke'' are side-by-side, the ''tori'' throws the ''uke'' backward with a raised arm cutting backwards and downwards. This technique is also sometimes referred to as the , or categorized as a type of breath throw (see below, slanted breath throw).

* . The hand is folded back past the shoulder, locking the shoulder joint.
*, a supinating wristlock-throw that stretches the extensor digitorum. As this technique contains both locking and throwing elements, it is sometimes classified under a hybrid category of .

* , throws in which ''tori'' moves through the space occupied by ''uke''. The classic form superficially resembles a "clothesline" technique.
* 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.
* aikido's version of the hip throw. ''Tori'' drops his or her hips lower than those of ''uke'', then flips ''uke'' over the resultant fulcrum.
* or a throw that locks the arms against each other (The kanji for "10" is a cross-shape: 十).
* ''tori'' sweeps the arm back until it locks the shoulder joint, then uses forward pressure to throw.
*, sometimes also considered a type of breath throw.
*, from behind, the ''tori'' extends the ''uke's'' arm slightly downwards and places the other arm outstretched under the ''uke's'' upper arm, then moves the whole body forward. Also alternatively termed the , referring to the ''tori'''s use of an outstretched arm as a fulcrum. Can also be considered a form of breath throw.
*, where the ''tori'' grabs both of the ''uke's'' knees and lifts them up, throwing the ''uke'' backward.
*. Like the forearm return, this technique contains both throwing and locking elements, and may be considered to be a . Note that the name ''ude-garami'' is sometimes used by different schools to refer to a different immobilisation technique (see above, arm entanglement).

Breath throws

refers to a class of techniques that centre on the union of breathing and throw, that generally do not end in joint locks like the immobilising techniques. The names of specific techniques may vary across organizations and ''dojos,'' but they begin with ''uke'' coming from the rear and blocking one or both ''tori'''s wrists; at their heart there are the two parts of breathing: inspiration and at the same time an elbow-arm ascending arc which ''uke'' must follow, expiration(and a lateral displacement) with the arc now descending, sending ''uke'' in the resulting vacuum. Different types of ''kokyū-nage'' may include:

* , where the ''tori'' throws the ''uke'' backwards. This technique is sometimes simply referred to as the main ''kokyū-nage'' technique, or separately as the breath method, ''kokyū-hō'' (see above, under throwing techniques). Alternative terminology also include (particularly in Yoshinkan), and .
* . Against an opposite stance single-hand grab, the throw can be referred to by the opening movement ''tenkan tsugiashi'' (転換継ぎ足), which is a rear pivot followed by a forward step.
* . The technique begins similar to that of a regular rotary throw (''kaiten-nage''), but then transitions into a forward throw. Just like the rotary throw, two variations of rotary breath throws exist— and . Against an opposite stance single-hand grab, these two variations can be named by their opening movements as ''irimi kaiten'' (入身回転) and ''irimi tenkan'' (入身転換) breath throws respectively.
*Variations on immobilizing techniques
**. This throw begins as if the ''tori'' were performing a regular ''ikkyō'' technique, using both arms raised to connect with the ''uke's'' attack. But instead of going into the arm pin, the ''tori'' pushes the ''uke'' backward instead.
**. Similar to the first teaching throw, but instead of throwing the ''uke'' backward, the ''tori'' transitions into a drop technique by cutting down or controlling the ''uke's'' attacking arm, as seen in the cutting (''kiri-otoshi'') or floating drops (''uki-otoshi''). This results in throwing the ''uke'' forward.
**. The ''tori'' performs the third teaching technique until the first lock, where the ''uke's'' elbow is pointing skyward, and then throws the ''uke'' forward.
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*, where the ''tori'' drops to the floor and causes the ''uke'' to roll forward and over the ''tori'''s back.
*Hip breath throws
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Implementations

Aikido 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 technique uses a pivoting motion.
Additionally, an technique takes place in front of ''uke'', whereas an technique takes place to his side; a technique is applied with motion to the front of ''uke'', and a 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 sitting are called ''suwari-waza'', and techniques performed with ''uke'' standing and ''tori'' sitting are called ''hanmi handachi''.

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'' () 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. 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 his or her concentration. The target may also become unbalanced in attempting to avoid the blow, for example by jerking the head back, which may allow for an easier throw.
Many sayings about ''atemi'' are attributed to Morihei Ueshiba, who considered them an essential element of technique.

See also

*List of judo techniques
* List of karate terms
* Jujutsu techniques

References

External links

{{DEFAULTSORT:Aikido Techniques
Aikido