Learning To Be Silent

Editors Note: The author of this post wishes to remain anonymous.

Often times the importance of ukemi is understated leading to various outcomes, such as: inefficiencies in techniques, miscommunication, and injuries.

Uke’s level of commitment to their attack is an important element in observing the applications of various Aikido techniques. This is not a suggestion that uke will determine the outcome of an application. Rather, that uke will influence the outcome based on various factors, such as (but, not limited to): commitment of attack, speed of attack, type of attack, tai sabaki, ma ai, etc.

Uke’s commitment should not end when nage reacts to the attack. Uke must stay committed in their role and maintain connection and move with the energy to offer nage the opportunity to carry out an array of techniques. Of course, this is not to say that uke should viciously attack nage, nor ferociously resist the applications of techniques. On the other hand, uke should not immediately collapse during applications, if projections are not producing energy, or immobilizations are ineffective. Factors such as level of experience, stylistic preferences, and stamina will affect the interaction between uke and nage, and should always be considered by the parties involved.

There are factors compounded upon factors in the world of martial arts that create a great deal of uncertainty, even in controlled environments. In any relationship, whether a business transaction or the interaction between uke and nage, communication is essential. As martial artists we communicate through ways that transcend spoken words. Among these channels is the physical connection between uke and nage. In either role we must feel the flow of the technique and react. In doing so, we continuously send a message until the technique is fully carried out. The direction in which one’s shoulders or hips face, the positioning of one’s feet, shifting of weight, looking in a particular direction, and tapping out are all examples of communication.

The relationship between uke and nage is one of cooperation, communication, self-control, and consideration. It is a working relationship meant to facilitate learning and development and to build confidence in one’s technique, and each other. Aikido has a certain level of sophistication that many other martial arts do not observe. As aikidoka fulfilling either role, we are selfless and concerned for the well-being of others by maintaining control over the situation, and ourselves.

To follow Buck’s excellent post, I thought I’d republish our training guide, which you can also find in a printable format on our class information page.

1. Sink with every movement: Martial arts proficiency depends on a solid base from which to direct energy. Postures should have a continuous structural connection between the base, the waist, and the extension of the arms/hands.
2. Maintain good posture: This connection depends on the back being straight and the elbows and shoulders being sunk.
3. Maintain center alignment: Keep the hands and arms in front of the body and direct the movement from the waist. When turning, also turn the hands in toward the center of the body to maintain the alignment. Head and eyes should be facing in the same direction as the hands.
4. Move from your center: Do not try to execute techniques solely with the hands and arms. They are only energetic extensions of your hara, or physical center of gravity. If your posture is good, your hands and arms are in correct alignment, and you move from your center, then the technique will unfold.
5. Breathe: Kokyu, or breath, is one of the fundamental tools of the Aikidoka. Ki is also sometimes translated as breath. Breathe energy into your hands as you execute techniques and take ukemi, and your arms and body will be filled with that energy.
6. Extend your idea beyond the target: Visualize your movement extending beyond your opponent’s body. Extend out and gather in as if your partner is not there.
7. Maintain your balance, take your opponent’s: Aikido works because we sequentially and progressively take our opponent’s balance without compromising our own. The best uke is one who attempts to maintain his/her own balance as long as possible.
8. Do not rely on strength or speed: Internal martial arts such as Aikido develop the ability to direct energy with the mind in order to take an opponent’s balance without the use of strength or speed. If a technique is not working, examine your movement with respect to the principles; do not use more strength or speed. Aikido techniques are very effective and safe for your partner when done correctly, but can be injurious when done incorrectly, too strong, or too fast.
9. Face your opponent: Move in such a way that you do not turn your back on your opponent when he/she has his/her balance, as nage or as uke. Relax and enjoy – Aikido is a path, a journey. Don’t be hard on yourself.
10. Take your time: Continuity of training with good intentions is more important than exertion. Focus first on the principles, then on technique, and last of all on throwing or being thrown. In this way your practice will be more meaningful, more rewarding, and safer.

By Buck Pittman

Much has been posted over the years on training and the inevitable injuries that follow. Aikido has its roots in brutal martial arts designed to kill and maim, tested and refined under combat over centuries. Despite Aikido’s goal of harmony and non-injury, it remains a very powerful martial art that can cause serious injury in short order.

I’ve seen a lot of different injuries on the mat over my 15 years of training, from stubbed toes to broken bones. Fortunately, even the worst of these injuries were manageable and not permanent. But they all require attention and cause for concern. Any injury represents a setback from training, which for Aikidoka is The Way, our path to enlightenment and our contribution to restoring harmony in the world.

I was the cause of a recent injury that took my uke off the mat holding his shoulder. It looked bad at the time, like something that would keep him off the mat for a few weeks at least, probably more. I’ve heard since that the injury wasn’t so bad, but I still haven’t seen him back on the mat. I feel responsible and I should, because I am. Despite uke’s insistence that they took bad ukemi, I want to make the point strongly that it is up to nage to take care of uke—always and without exception.

I think this is the first time it has happened on my watch. I didn’t realize when it happened; it was jiu waza and we were training fast. But I clearly lost my focus and a bad injury resulted. My apology cannot make up for uke’s lost time on the mat or their discouragement.

I would offer a few suggestions to help avoid injury:

• Take care of your uke, especially if you are the senior student. Take control of the attack and maintain control throughout the technique.
• Know your limits. It is important to understand where your limit is and know how to push to the limit and pull back from it depending on the circumstances.
• Remember that the intensity of uke’s attack determines the intensity of nage’s response. Don’t attack with more intensity than your ukemi can take. Beginners who don’t know should attack slowly as this signals to nage to respond slowly.
• Never stop working on your own ukemi. It can always be better and the better it is, the better insulated you are from injury, the better you can train, and the more you help nage.
• Don’t forget to breathe. Breathing helps you relax and not hold tension. It also keeps oxygen in your blood, brain, and muscles so you can train longer without getting tired. Tired and lazy ukes are more likely to get injured.
• Eat well. Having energy for an hour or two on the mat demands a diet not made up of simple sugars and fats. Again, pooping out makes one prone to injury.
• Get in shape and stay in shape. Regular training is the best way to build a body that can respond to Aikido techniques, but supplemental training off the mat to improve strength, flexibility, and stamina may be needed, especially if you can’t make it to the dojo enough. Carrying extra pound also adds stress to your bones and joints and puts an additional load on your vascular system.
• Pay attention! Never lose focus.
• Have fun! Look at the picture of O’ Sensei on our Kamiza while you train—he’s smiling. Happy Aikidoka train with confidence and compassion.

Editor’s note: As well as teaching at the dojo, Buck is the President of Pittman Landscape Architecture, a Jacksonville based land planning firm.

Editors Note: This is the first in a three part interview with Seabolt Sensei, chief instructor at the Aikido Center of Jacksonville. The full interview can be found under the Sensei tag.

Jerry: When did you start training?

Sensei: In Aikido? I began in 1996 with Chris Rozette. I had actually tried a little Hapkido before joining the dojo. And later on, when I wanted to try grappling, I enrolled in San-Jitsu for a bit.

What I wanted back then was to learn a martial art. A coworker had taken some Aikido lessons with Curtis Rosiek, who started our school. He suggested I give it a try.

Jerry: What was the school like in the early days?

Sensei: For me, it was incredible. Back then we were training in a dance studio. But it didn’t matter! I just loved training. Chris and I would travel to every seminar we could. I probably attended a seminar every three weeks or so my first two years. I wanted to learn everything.

Jerry: What seminars did you go to?

Sensei: [Laughs] Every one I could! Boston, Montreal, Atlanta, New York, Fort Lauderdale…

Jerry: OK. How many students were in the school back then?

Sensei: Around six to eight, on average. After Chris left, our black belts were Mike [Sands] and Brett Jackson.

New York Aikikai

Jerry: Tell me how you first met Yamada Sensei.

Sensei: I first met Sensei in Atlanta, at Dogwood Aikikai. Yamada and Kanai Sensei were teaching. I had asked Chris to make the introduction, because I knew I wanted to train in New York. Chris introduced me to Edwin, who was a deshi in New York. Edwin then introduced me to Sensei.

Jerry: And then you stayed in New York?

Sensei: Well, the first time I went to New York, I stayed for one week. This was in December 1996. I then went back in April 1997, and stayed for five weeks.

Jerry: What was it like for you in New York?

Sensei: It was amazing. I was in awe of everyone. You have to remember, when I first went, I was just a 4th kyu. I was 35 years old. I worked out a lot with the deshis, who were in their early twenties, and male.

The talent there is unbelievable. Not just the instructors, but the students as well. When I first went, I didn’t want the deshis to think  I was a wimp. I wanted to be tough, so I trained hard. I would take, on average, three classes a day, and on Tuesdays I would take five. And of course I would never miss class when Yamada or Sugano Sensei was teaching.

Soft Ukemi

Jerry: Is that where you learned soft ukemi?

Sensei: I was first introduced to soft ukemi through Joey Turner. But yes, my real education was in New York, with Donovan Waite Sensei and his students.

Jerry: It must have been thrilling learning a new way to take ukemi.

Sensei: It was. I was so excited about all the new things I had learned. I couldn’t wait to bring it back with me.

Jerry: What happened when you did return?

Sensei: [Laughs] Well…It was difficult.

Let’s just say that my reception wasn’t all positive. The ukemi I was taught was different than what my fellow students had been practicing here. It was something new and different. Some even refused to learn it.

Jerry: A lot has changed though, right?

Sensei: Yes. Now, soft ukemi, the kind I learned from Waite Sensei and his students, is very common. But when I first brought it back to Jacksonville, that wasn’t the case.

I’m happy that it’s become a standard type of ukemi here locally.

To Be Continued…