Aikido techniques

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Aikidō consists of inner forms, the principles of Aikidō ( Ki , Aiki , Kokyū , Hara , Shin), and outer forms, the techniques (Waza), whereby both forms together form Aikidō. In Aikidō training the outer forms serve as a means to experience and develop the inner forms. In Aikidō, a distinction is made between basic techniques (Kihon waza) and variants (Henka waza) and concatenations (Renzoku waza); There are also unarmed techniques ( Tai Jutsu ) and techniques with weapons, e.g. B. with sword (Aiki-Ken) or with stick (Aiki-Jo). The variety of aikidō movements is based on relatively few basic techniques (5 holding techniques and 8 throwing techniques), which can be combined, converted into one another and varied. Therefore the founder of Aikidō, Ueshiba Morihei , could say: "When you move, techniques are born".

Posture (Shisei)

The right attitude (Shisei) includes both an inner attitude to the world and the partner as well as their outer expression (Shizentai).

was standing

Shizentai (Shizen Hontai)
Hidari hanmi
Migi Hanmi

Stand upright with a relaxed body tension ( tone ) and a low center of gravity. A distinction is made between:

Shizentai or Shizen Hontai

Natural posture. The feet are parallel about shoulder width apart, the knees are not bent and the weight is distributed on both legs. The stand should be secure, connected to the earth and open to the room. Shizentai expresses a neutral, non-directed position (kamae) towards the partner.

Hidari hanmi

Left half side. The left foot is in front and the right foot is behind.

Migi Hanmi

Right half side. The right foot is in front and the left foot behind.

Position to the partner (Kamae)

The partners meet in the exercises as Tori (Nage) and Uke. To perform the techniques, one takes a dynamic position in relation to the partner and further lowers the center of gravity. In order to take up kamae, starting from Shizentai, one pushes one foot forward and turns the corresponding side to the partner. The rear foot stands at an angle (so-called T-position) and you take your hand forward on the side that is turned towards your partner. The body weight rests on both feet, the body is relaxed. The position is clearly directed and remains open to the room. If the partner does the same thing, there are two possible positions.

Ai hanmi
Gyaku Hanmi

Ai hanmi (point symmetrical position):

Starting from Shizentai, both partners put their right foot or both their left foot forward.

Gyaku Hanmi (mirror-symmetrical position):

Starting from Shizentai, one partner pushes his right foot and the other partner his left foot.

position

In Aikidō, the techniques can be performed standing or on your knees, which results in three possible (fighting) positions that can be performed in Ai hanmi or Gyaku hanmi.

Tachi waza
Both partners are standing.
Hanmi hantachi waza
One partner (Tori) kneels in Seiza and the other partner (Uke) is standing.
Suwari waza
Both partners kneel in Seiza .

Hand position

When holding hands, a distinction is made between height.

Godan
Deep hand position. The hands are below the navel.
Chūdan
Medium hand position. The hands are between the navel and the top of the shoulders.
Jōdan
High hand position. The hands are above the shoulders.

relationship

Sankaku waza or Sankaku tai (power triangle)

The "T-position" in Kamae forms a force triangle that allows Tori to move variably in order to absorb and redirect the force impulse from Uke while maintaining its own center. The force triangle is dynamically related to Uke.

Ma-ai (right space)

The dynamic relationship with Uke lies in the “right distance”, which includes the distance to the partner, the timing in the movement and the attentive presence in the situation. Ma-ai is determined by both the physical situation and ki.
In the starting position, ma-ai is the length of the arms and hands of the uke and tori. When the uke and tori extend their arms and fingers forward, the uke and tori fingertips should be able to touch.

Movement (sabaki)

Aikidō techniques have been developed from Japanese sword fighting ( Kenjutsu ). This results in the turning movements typical of Aikidō (in contrast to Jiu Jitsu and Judo ), which the step forms (Ashi) serve, and the use of the hands as a 'cutting weapon ' ( Tegatana ). The aikidō movements flow from the hips and lower abdomen (hara), which are 'anchored' in the ground via the legs and feet. Therefore the steps (ashi) are of particular importance.

Steps (ashi)

Since Aikidō is dynamic, the steps play a major role in the movement, the feet are generally not or hardly removed from the floor in order to quickly have a secure footing. To do this, the foot that is not under load is always moved or the weight is shifted before a step so that the crotch foot can move freely. By shifting weight, the steps and with them the entire movement become more fluid. Moving a foot can be straight or circular around the body's center of gravity (moving with it).

Tsugi ashi (sliding step or sliding step)

Here you push the front foot forward and immediately pull the back foot afterwards. The execution can be done forwards, backwards or sideways from Migi Hanmi or Hidari Hanmi.

Okuri ashi (sending step )

This is a variant of the Tsugi ashi. In Okuri ashi one pulls the back foot towards the front foot and only then pushes the front foot forward. The execution can be done forwards or backwards, from Migi hanmi or Hidari hanmi.

Issoku irimi (forward step )

Used to move forward and switch between Migi hanmi and Hidari hanmi. In Migi hanmi, the left foot is put forward around the right foot in front of the right foot. Then the right foot is placed sideways with a small step or by turning the ball of the foot, which results in hidari hanmi. The change from Hidari hanmi to Migi hanmi takes place in the same way with exchanged sides. The movement can also be carried out backwards, whereby the order of the individual steps is reversed.

Irimi ashi (forward movement)

This is a series of several Issoku irimi that are executed one after the other. The movement can also be carried out backwards.

Ayumi ashi (transfer step)

The form of movement resulting from the Hara, in which the back foot is pushed in front of the front foot. There is a switch between Hidari hanmi and Migi hanmi. At the same time, the upper body rotates and you turn the other half of the body towards your partner.
Derived from Ayumi ashi, there are two variants without changing sides:
  • Starting from the hidari hanmi, the right foot is placed in front of the left foot by crossing it sideways. Then the left foot is placed straight in front of the right foot to get back to Hidari hanmi. In the case of the Migi hanmi, the process is reversed.
  • Starting from the hidari hanmi, the right foot is placed next to the left foot. The toes of the right foot point to the heel of the left foot. Then the left foot is put forward to get back to Hidari hanmi. In the case of the Migi hanmi, the process is reversed.

Tenkai (hip rotation)

Turn on the spot without setting foot. The weight lies between the feet to relieve the joints and to accelerate the movement, the hips are rotated on the ball of the foot. The hips turn 180 ° while the feet turn 90 °. Here you switch between Migi hanmi and Hidari hanmi. The front foot becomes the back and vice versa.

Kaiten (step forward with hip rotation)

A variant of the Tenkai in which the front leg is pushed forward before rotating.

Tai no henka / Tai no henkō or Tai no Tenkan (change of direction)

Tenkan ashi (redirecting step, backward turn)

Starting from Migi hanmi, the right foot is rotated 180 °. Subsequent repositioning of the left foot causes the hip to rotate 180 ° and, at the same time, a return to Migi hanmi. Similarly, Hidari hanmi works the other way around. In contrast to tai no henka, the front foot is again in front after the technique.

Irimi tenkan

This is a step forward followed by a rotation. Starting with Hidari hanmi, the right foot is presented and rotated 180 °. Then the left foot is put back and also rotated by 180 ° to get into the Migi Hanmi. Analogously, starting with Migi Hanmi, the procedure is reversed and thus changes to the Hidari hanmi.

Tai Sabaki (Entrance Diverting Step)

The combination of Irimi ashi followed by Tenkan ashi results in a change of position with a 180 ° rotation. Tai Sabaki is the most common step combination in Aikido.

Hantai Tenkan

Like Irimi tenkan, but the body is rotated 90 ° instead of 180 °.

Kneeling (shikko)

For techniques that are performed while kneeling (with Hanmi hantachi and Suwari waza), kneeling is used. When kneeling, the thighs are spread almost at right angles, the feet are together with the toes up and the buttocks resting on the heels. Analogous to the kamae in Tachi waza, one takes a dynamic and attentive position when kneeling (sankaku). The movement starts from Hara, with the center of gravity remaining close to the ground. To do this, one foot is set and the other foot is immediately pulled to take a stable position again. For turns that are drawn on the knees, the knees are brought together and the feet draw the arc.

Sword hand (tegatana)

In analogy to Japanese sword fighting, the arm of Tori is understood as a sword ( katana ). The hand and forearm are divided into the zones of the sword blade. The fingers (or fist) correspond to the tip of the sword (kissaki). The little finger side of the forearm is seen as the cutting edge (Ha), the edge of the hand as the cutting zone (Hammon). The thumb side of the forearm forms the back of the sword (mine). Similar to the curved sword blade, the arm is held slightly bent. As in kenjutsu the sword strokes are not blocked, but gently absorbed, deflected and redirected, the sword hand in aikidō should also be used in a certain but soft manner.

execution

Aikidō techniques consist of three phases: 1. the entrance, which is neutral in relation to the technique, 2. the implementation of the technique into which the uke is led by tori, and 3. the conclusion in which the uke eludes or falls through a fall being fixed by Tori. In performing the technique (2nd phase), tori can take two positions to uke, from which uke is led.

Omote waza (standing in front of uke)

The technique is performed before uke. Tori directly crosses the Uke's line of force and thus redirects its force.

Ura waza (standing behind uke)

The technique is carried out behind uke. Tori lets the power of Uke run into the void and leads Uke's power.

The execution of the aikido techniques can also be done according to different movement principles, whereby the type of contact between tori and uke plays a decisive role. There are three types of contact between Tori and Uke:

  1. Without a grip in motion:
    If an attacking movement takes place without the Uke being able to stabilize his grip, it is possible for Tori to steer the attacker without contact, merely by his intention to bring the unsuccessful attempt at gripping to success after all. The contact between the partners is established through the intention of Uke and the reaction of Tori.
    Aikido techniques are implemented in this form of application, also known as Ki gata , largely without contact, because the attacker's movement only requires guidance. With Ma-ai , both the distance and the time of the initial movement are of great importance.
  2. With grip in motion:
    If it is possible for Uke to stabilize his grip, other requirements arise for the implementation of an Aikido technique. The stabilized handle causes the movement to stagnate for a short time. Through an optimal use of the body in the center of gravity (Hara), the attacker must also set himself in motion again, whereby the realization of Aikido techniques takes place again from the movement. This embodiment is also called tan ren .
  3. With grip before movement:
    While the Ki gata and Tan ren versions contain initial or entry movements, with Shinken waza (emergency technique) these initial movements are shortened or no longer exist. The initial or entry movements in Shinken waza form the aikidō technique.

Holding Techniques (Katame Waza)

The holding techniques are divided into basic techniques, which are taught by most Aikidō styles and have been numbered by Kisshōmaru Ueshiba (Ikkyo - Gokyo), and special techniques .

Basic techniques

Japanese numbering Japanese name German name
Ikkyō Ude osae Arm extension handle
Nikyo Kote mawashi Rotating arm handle
Sankyo Kote hineri Hand turning handle
Yonkyo Tekubi osae Arm press grip
Gokyo Ude nobashi Arm wrench handle
Rokyo Hiji Kime Osae

Special techniques

Japanese name German name description
Ude garami Variant of Nikyo
Hiji osae Variant of Ikkyo

Depending on the school, other special techniques and variants are taught.

Throwing Techniques (Nage Waza)

Aikidō has essentially been developed from sword fighting (Kenjutsu), which is also reflected in the throwing techniques, which usually have only one or no lever point. The leverage is not primarily intended, but a consequence of the cutting movements that affect certain joints. The joints are usually guided in the natural flexion direction so as not to endanger Uke. An attentive uke reacts in good time before the actual leverage kicks in to protect himself. In this respect, the throwing techniques are not based on the use of lever techniques, which is ideally expressed in the Kokyū Nage. In addition, the throwing techniques can be combined with one another and partially converted into holding techniques. This results in three forms of throwing: 1. Throwing techniques that are converted into a holding technique, 2. Pure throwing techniques and 3. Throwing techniques without lever approach.

Throw with holding technique

  • Kote gaeshi (wrist throw )
    Kote gaeshi is carried out in the basic form with holding technology. Other throws can also be carried out with the holding technique, but not in the basic form (e.g. Shiho nage).
    (Note: Tori grabs Uke's hand, turns it outwards and leads Uke, without letting go of his fixed hand, on to Nikyo. If Tori lets go of the fixed hand, Uke can escape with Ukemi.)

Pure throwing techniques

The throwing techniques start at certain joints through which the attacker's kinetic energy (Uke) is redirected.

Attachment to the cervical spine
Attachment to the wrist
  • Shihō nage ("sword throw", also "four directions throw")
    Shihō nage can be converted into a holding technique
Insertion at the elbow joint
Insertion at the shoulder joint
Insertion over the hip joint

Approach over leg joints (special form)

  • Sumi otoshi (corner butt)
    Uke is levered out by a strong countermovement over the loaded and thus blocked foot.

Seamless throws

Aikido also knows throwing techniques that manage completely without attaching to certain parts of the body and instead start solely with the attacker's kinetic energy.

  • Kokyū-nage (breath throw)
    The throw is carried out with the force of the breath (Kokyū) and includes many variants based on deflection movements.
  • Aiki nage (throw without touch)
    A typical throw consists in Tori diving down or crouching down at the right moment (Ma-ai) before Uke's attack, so that Uke has to jump over Tori in order not to fall.

Striking techniques (Atemi waza)

Strikes and thrusts as block techniques do not correspond to the principles of Aikidō, so that hits are largely excluded from Aikidō techniques. If Atemi is used in Aikidō, it is to keep the partner at a distance (Ma-ai) or as cuts that are derived from Kenjutsu. Atemi always serve as interventions to redirect the partner's ki. As with all aikidō techniques, especially with Atemi waza, the inner and outer path must coincide, so that the actual goal of the Atemi is not the body, but rather the partner's ki. The kiai (battle cry from the lower abdomen) also serves to influence the ki .

Forms of attack

Since Aikidō is a purely defensive martial art, attacks have a different status. Attacks are not included in the overall system, but on the other hand countermeasures against the widest possible range of possible attack movements should be practiced. Codified forms of attack are used for this purpose. These stylized movements are recognized and internalized in patterns by the Aikidoka as part of his learning process. The role of the attacker (Uke) requires a certain amount of "cooperation" in the joint movement (Aiki), so that Tori and Uke can develop the inner forms by practicing the outer forms. This way of practicing, which often gives the impression that Aikido has been discussed and not 'real self-defense', is due to the fact that Aikidō is primarily a martial art such as Kyūdō or Iaidō . It inherently contains the potential for people who practice it to further develop their personality, whereby martial arts must be regulated as a sport discipline in order to be able to carry it out in competition and to determine winners and losers. Nota-bene: Real conflicts are resolved entirely without rules anyway - but not blindly, but strategically and tactically well coordinated. (The so-called Real Aikido takes a different view.)

When taking a closer look at all codified forms, it is important to note that an attack is never carried out completely spontaneously from a peaceful situation. The development - the escalation path, so to speak - always takes place in stages: If one previously executed action fails, the next follows. In and of itself, a sudden attack from behind by an opponent armed with a sword is extremely unlikely. However, 'ushiro ryotedori' can arise in the sequence of a dispute when an initial attack is parried and fails. The attacker finds himself in a position in which he can either break off the attack or the way past the Aikidōka in his back becomes possible. The aikidōka can also deliberately enable this path for tactical reasons in order to induce the attacker to take this action (see also section 'Strategy').

In the following, the German spelling 'dori' (to grasp) is chosen for the Japanese naming of forms of attack, to which the spelling 'tori' is also used as an alternative.

Handles from the front

designation execution Derivation of the codified form from the sword insert
Ai hanmi katate dori
(Kosadori) 		Grip one wrist crosswise with one hand Uke blocks Tori's sword-wielding hand with one hand
Gyaku hanmi katate dori Grasp a wrist on the same side with one hand Uke blocks Tori's sword-wielding hand with one hand
Katate ryote dori
Morote dori 		grab one wrist with both hands Uke blocks Tori's sword-wielding hand with both hands; Position of uke: outer side (back of sword)
Ryote dori grab both wrists Uke blocks the sword wield on both hands of Tori; Position of uke: outer side (back of sword)
Kata dori grab a shoulder
Katatori men uchi grab a shoulder; Hit the head with the other hand
Mune dori Handle the suit with one hand (usually Gyaku hanmi)
Mune dori Grip the suit with both hands (mostly Ai hanmi)
Ryo Kata dori grab both shoulders (mostly Ai hanmi)
Hiji dori grab an elbow
Ryo Hiji dori grab both elbows
Mune dori grab lapels with one hand
Kubi shime grabbing the neck and choking

Front blows and bumps

designation execution Derivation of the codified form from the sword insert
Kiawase shomenuchi semicircular uppercut with the open hand

to the chin or face

Uke draws the sword and thrusts the tip towards Tori's neck / face
Shomen uchi Slap on the forehead from above Uke makes a cut perpendicularly from above to the crown of the tori
Yokumen uchi Hit on the head side Uke makes an incision on the side of Tori's temple
Jodan tsuki Bump to the head or neck Uke stabs Tori's neck / face with the tip of the sword
Chudan tsuki Bump to your chest or stomach Uke stabs Tori's chest / stomach with the tip of the sword
Gedan tsuki Thrust in the abdomen Uke stabs Tori with the tip of the sword

Kicks from the front

designation execution annotation
Mae geri forward kick in the abdomen usually combined with attack Ryotedori: Grasping both wrists with simultaneous kick in the abdomen
Mawashi geri Sideways curved step to the head can also be equated in the movement pattern with a strong sideways horizontal blow to the head

Attacks from behind

designation execution Derivation of the codified form from the sword insert
Ushiro ryote dori grab both wrists from behind Sword wielding by Tori: the sword is still in the scabbard or is wielded with one hand with the sword drawn; Uke bypasses the sword area on the side facing away from the cutting edge and grasps both wrists from behind (note: with sword drawn, tactically also possible: Tori allows Uke to change position)
Ushiro ryo kata dori grab both shoulders from behind Uke can bypass the sword area and grabs both shoulders from behind
Ushiro ryo hiji dori grab both elbows from behind Uke can bypass the sword area and grabs both elbows from behind
Ushiro eri dori grip the collar from behind Uke can bypass the sword area and grabs the collar from behind (start of choking technique)
Ushiro kakae dori Clasp the upper body from behind Uke can bypass the sword area and clasps the upper body

Combined attacks

designation execution Derivation of the codified form from the sword insert
Kata dori men uchi Grab your shoulder and hit your forehead Tori: Defense of the blow to the forehead while pulling the sword out of the scabbard (similar to Kiawase shomenuchi)
Ushiro kata dori kubi shime grab a wrist from behind and clasp your neck Uke blocks the sword-wielding hand from behind with simultaneous gagging
Ushiro eri dori men uchi grab the collar from behind and hit the head

Fall Techniques (Ukemi)

The ukemi is not an expression of defeat, but a way to regain one's freedom of action. Uke puts himself in a position from which he can attack again or end the conflict. The ukemi is usually performed as a soft role in aikidō.

Japanese name German name description
Ushiro Ukemi backflip
Mae Ukemi Roll forward
Yoku Ukemi Roll sideways
Falling leaf Gentle laying down on hands, chest, legs
Freefall Salto (The free fall is carried out 'softly' in Aikidō)

Aikido styles and techniques

The execution of the techniques, which are described in the article as neutrally as possible, vary among the different Aikido styles or associations. The style-specific type of execution can best be clarified in conversation with your Aikido teacher and, if possible, by attending Aikido courses from other associations. The comparison helps to get an overview of techniques and to check one's own technique.

strategy

Like all martial arts applications designed for a specific purpose (attack, defense, neutralization), Aikido techniques also have strategic advantages and disadvantages. The Aikidoka achieves the greatest advantage in that the attack movement is not blocked. As long as a movement of the Uke (attacker) is maintained, guidance and guidance techniques are in the foreground. If the movement stagnates or is blocked, a movement of uke is triggered again with appropriate technique and body movement.

A certain disadvantage is that optimal body movement can only be practiced with reference to a partner. This requires a very high degree of tactile perception and sensitivity for movement and, in many cases, longer and more intensive practice.

Aikido has no intention of directly harming an attacker, nor does Aikido know the goal of winning a duel. The Aikidoka optimizes his defense strategy by disrupting an attack with his high potential for movement and thwarting it through the transition to throwing and holding techniques.

Offensive techniques are taught in many martial arts. It seems logical to laypeople that " attack is the best defense ". That means salvation - the solution of a latent conflict - is sought in the attack. The attack should be useful in eliminating the opponent. This is usually associated with physical damage or other impairment of its integrity. From the point of view of Aikidō, this strategy is an illusion, because in addition to moral reprehensibility, it also contains major strategic weaknesses.

The technical system of Aikido does not contain any offensive techniques. Because every offensive action contains a so-called point of no return, a certain point in the sequence of movements, after which the initiated attack can no longer be interrupted, the success of the attack, i.e. the creation of a superior situation over the opponent, but also still did not occur. Every execution of an offensive act contains starting points at which the attack can be disturbed and thus the success can be thwarted. With its exclusively defensive action, the Aikidoka pursues the strategic goal of thwarting the attack together with taking full control of the attacker's movement. The attack movement is not met with any energy-consuming blockage and thus the dynamic is maintained. During the synchronization with the attack movement, the Aikidoka takes control of the attacker's movement.

Initiative instead of attack How can the confrontation in a latently dangerous situation be resolved satisfactorily and while largely preserving the integrity of both parties? In a conflict-prone situation in which an attack is imminent but has not yet started (if it had started, there would be a movement with which the Aikidoka seeks synchronization), the Aikidoka has the choice of resolving the dispute or with the opponent initiated the attack. In the first case he will wait attentively or leave, in the second case he offers the attacker a worthwhile target: The Aikidoka assumes an open posture in which he uses one hand, one or both arms or another point of his body as a target for a grip , Chop or sting. An opponent who is really willing to attack will hardly turn down such an "offer", because he will be convinced and will be reinforced in the fact that a war should only be started if one can win it . The Aikidoka can use the initiative in the movement as an additional strategic means: With a movement in the direction of the potential attacker (see also: Movement Irimi ), the latter will most likely start his attack immediately, because it will remove the temporal moment of his already made decision to attack is shortened. The advantage lies on the part of the Aikidoka, as on the one hand he is prepared for the attack, offers the attacker a target of his own choice and on the other hand determines the time of the attack.

Despite this approach, the defensive character of Aikidō remains, because offering a gap to attack, as well as the initiative movement towards a potential attacker, do not in themselves constitute an offensive. From the Aikidō's point of view, they serve to positively control the situation Maintaining the integrity of both parties.

See also

literature

Web links

Commons : Aikido  - collection of pictures, videos and audio files
Wikibooks: Aikido  - learning and teaching materials

Individual evidence

  1. ↑ Quotation in: Tada Hiroshi Sensei : The embodiment of the unity of mind, technology, body; in: Aikido; Ed. Aikikai Germany; Issue 2/2005; Pp. 40-42; Quote on page 41.