Vassar College Aikido Club

During the one-hour randori workouts at Shodokan, the following sequence of drills is typical. The person holding the knife is called the tanto (after the fact that a dagger in Japanese is called a tanto.) The unarmed person is referred to as the toshu (literally unarmed) player.

1) One-on-one taisabaki. Each person in a pair takes turns stabbing at the other. Maybe 30 seconds each. Overhand as well as normal stabs. Several rounds are played. In the first, tanto cannot feignt, and toshu cannot use his arms to help block. In the next, tanto is still prevented from feignting, but toshu can uses his arms to block. In the third, the intensity and reality of the drill are kicked up, with tanto allowed to feighnt and do multiple stabs and toshu allowed to block.

2) Two-on-one taisabaki. Here, groups of three are formed. Two get knives and take turns stabbing at the third person. Little time should elapse between sucessive stabs so that toshu really has to dance, constantly having to face a new attacker just after having avoided the previous one. This is done for maybe 45 seconds before the players rotate rolls.

3) The two tanto hijimochi no tsukuri drill. Here pairs are formed. But one person is given two tantos, one for each hand. They then face off and the person with the tantos stabs. The other grabs one arm, and attemps one of the hijimochi no tsukuri grabs (elbow control grabs) against that arm. Not only is the grab made and a hijimochi no tsukuri attempted, but the attempt is also made to use the drip to drive the stabber off the mats. The stabber is required to push back, constantly trying to circle back towards the center so as to not be driven off of the mats. He can also after a few seconds attempt to put the other tanto onto toshu’s chest. If this happens, toshu is to quickly switch arms and do a hijimochi no tsukuri against this other arm. This is done for maybe one minute before the two people switch rolls.

4) Kakari geiko. Maybe 60 seconds each side. This is essentially sparring with no resistance.

5) Hiki tate geiko. Maybe 60 seconds each side. This is light sparring with moderate resistance. Tanto only goes down if good aikido is being done (good posture, good timing, etc.) This drill can be repeated so that renzoku waza (multiple techniques in sequence) are practiced. If so, then tanto never goes down on the first technique that toshu attempts, thereby forcing toshu to try a second or even a third technique so as to practice combinations.

This drill is to develop timing for atemi waza strikes. It is done in itterations, each building upon the previous one.

For instance, suppose that tori wants to practice his timing for shomen ate.

Uke and tori start at proper distance (ma-ai.) They are both standing in neutral posture (shizen-tai), with neither foot forward—that is, in neither a left-foot-forward nor a right-foot forward stance.

Suppose that uke has the knife in his right hand. He first pounces down into a right-foot-forward stance (migi-gamae). He lower his center and prepares to spring forward and stab. He is ready like a cat about to pounce!

He then springs forward and stabs. Tori just stands there and gets stabbed with the rubber knife.

This first itteration is just so that tori can get used to the timing of a stab.

On the second itteration, uke goes into the pounce but does not get the chance to stab, because as uke is going into the right-foot forward pouncing position, tori slides forward into the right-foot-forward position for shomen-ate. Tori enters and just barely touches uke. There is no throw on this itteration. But the timing must be right: tori slides forwars as uke is transitioning from the neutral stance into the pounch. That is, tori enters as uke is preparing to stab. This is sen no sen.

On the third and final itteration, tori not only slides forward for shomen-ate as uke transitions into the pouncing position, he also finishes the technique and throws uke.

So on the first itteration, tori stands there and gets stabbed, learning how uke moves. On the second, tori slides into position for shomen ate as uke goes into the right-foot-forward pouncing position (knees bent, center lowered.) And then on the third itteration, tori not only moves forward as uke goes into the pouch but finishes things up but completing the throw.

Naturally, this three-itteration drill can be done for any of the atemi waza.

But notice that the version I just described involves sen no sen, or tori moving simultaneously with uke. You can also practice this drill as a go no sen drill, or one in which tori moves second.

In this version, tori moves in for the technique after doing a tai sabaki to avoid the stab. So the order is uke stabs, tori moves out of the way using good taisabaki, uke pulls back (after stabbing) and then tori moves in towards uke as uke pulls back and then throws uke at that point in time. This is go no sen because tori definitely moves second, after uke stabs.

This drill is also done using three itterations.

First, uke stabs and tori just does a taisabaki to get out of the way and then stays still as uke pulls back after the stab. Uke should not only pull is arm back, but should also slide backward with his feet as well. (But keeping the same stance, so that if he is in a right foot forward stance after finishing the stab, he slides backward still in a right-foot-forward stance.) The pouncing routine is also the same. Both start in shizen tai, uke goes into a right-foot-forward pouncing position, and then stabs. But now, after stabbing, uke pulls back.

On the second itteration, uke stabs, tori gets out of the way, but then follows uke in as uke slides back. As tori slides forward, he moves into the proper position for an appropriate atemi waza technique. But he does not finish the throw.

On the third itteration, tori finishes the throw, with the proper timing being that tori adds to uke`s backward sliding motion, so that the atemi waza is very easy to apply effectively.

A final version of this drill involves second stabs. That is uke stabs straight forward at tori, tori does a taisabaki, uke points his center at wherever tori is now standing,　goes into a pouncing position and then takes a second stab at him.

On the first itteration, tori gets out of the way of the first stab but not the second.

On the second itteration, tori gets out of the way of the first stab, and then enters to do an atemi waza as uke gets ready to pounce for the second stab. Uke never gets the second stab off because tori is already coming in at him. But there is not throw on this second itteration.

On the third itteration, the throw is made.

Nariyama Sensei takes his drills very seriously. They are done regularly and without fail at the beginning of each practice, and also sometimes at the end of each practice. In addition, at random times during practice, everything is stopped to do a few rounds of the Nanahon Nage Kuzushi Waza.

Let me explain the drills in the order they are typically done at the beginning of class.

Tegatana Awase

Here, both people stand in matching stances (both people standing right-foot forward, for instance.) They then raise tegatana arms to match (right arm if the right foot is forward.) They touch tegatana blades, and then move smoothly around the dojo, using good sliding feet footwork, making sure to keep the same foot always forward, and never bending their tegatana arms. The whole point of the drill is to maintain proper distance as you move together.

Make sure you switch, and do a round both with the left leg and hand forward as well as the right leg and hand forward.

A variation of this drill is to do it without the arms. You start off touching arms to get the distance right, but then lower your arms and then move around, staying square to each other, and at proper distance.

Tegatana Bogyo

Bogyo means defense. In this drill, the two partners take turns being attacker and defender. They start as in tegatana awase and move around smoothly, but then one of them (pre-designated as the attacker) either raises the opposite arm to begin a strike or raises a leg to begin a kick. Since it is a drill, you don’t finish the strikes or kicks. Please note that it is the opposite arm that goes to strike. That is, if you are doing the tegatana awase with your right arm forward and touching your partner’s right arm, you will raise your left arm as if to strike.

For the person defending, as soon as he senses a strike coming, he pushes in with his stiff tegatana arm right towards the attacker’s throat. To aid in the drill, the attacker allows his tegatana arm to collapse at the elbow so that his own tegatana hand gets squished between own his throat (or upper chest) and the defender’s tegatana arm, which is of course pushing in at his throat. The point of the drill is to move in quickly and push the attacker off balance. It is, foremost, a timing drill, to teach you to react immediately when attacked. It also teaches you that the best first thing to do when attacked is to break your opponent’s balance.

As you do the drill, each person should make three attacks before switching attacker and defender. This is a nice alternation scheme, since you don’t spend too much time as either attacker or defender and you learn to move smoothly and be alert equally well in either role. Make sure you do both left and right sides.

Gassho no Bogyo

This drill is also sometimes called Gassho no renshu. A gassho is a pray position, with the palms pressed together. In this drill, you again work on your timing and moving smoothly and quickly when attacked. Here, the pre-designated attacker either goes for an overhead temple strike to the head (migi men or hidari men), or raises a knee as if to begin a kick.

If an overhead strike is initiated, the defender moves forward smoothly and raises up his tegatana arms in a gassho position, putting them hands right up near the attacker’s face. This will block the strike and get you used to moving towards an attacker—as paradoxically this is often the safest place to be.

If the attacker raises up a knee as if to strike, the defender blocks it by moving smoothly forward and putting out both tegatana to block the leg on the thigh, just above the knee. The key point here is to keep your back vertical and also to keep looking at the attacker’s face. Do not look at the leg! You should also end up pretty low, as to block properly, you have to extend a leg forward. This will naturally lower your center.

As you do this drill, you and the other person should be circling each other. This makes it much more natural, and well as much more challenging. The attacker should feel free to attack either right or left handed or right or left footed, alternating at will. Mixing it up this way makes it much more realistic for the defender.

Ippon no Bogyo

Ippon means one long cylindrical thing. In this case it refers to one arm. So this drill is the one-armed defense drill.

It is essentially the same as Gassho no Bogyo from the perspective of the person attacking. He or she either goes for hidari men or migi men (overhead temple strikes with the tegatana blade) or raises a knee up as if to go for a front snap kick.

As for the defender, he is now only allowed to block with one arm. For overhead strikes, he should meet them blade to blade, by which I mean that the blade side of his blocking tegatana arm (the pinkie finger side) should clash up against the blade side of the attacking tegatana arm. Also, he should move his whole body so that at the moment of contact, this blocking arm is right on his own center line. Between each block, the arms return to dangle loosely at the side. You should also be relaxed and well balanced as you await the next strike.

Now, if a kick comes, you have to again block it—but with only one tegatana blade this time (unlike in gassho no bogyo, where you blocked using both arms simultaneously). Block with the shote (base of the hand), with the thumb rotated so that it points back towards you. (The arm is extended as you block; it is still a tegatana.) You do not want to bock with the thumb side as you’ll quickly end up spraining or breaking a thumb. As with blocking kicks in Gassho no bogyo, keep your back straight and keep looking at the attacker’s eyes.

Circle each other as you do the drill.

Shote Awase

This is the drill where you push on each other using fully extended tegatana arms. I won’t describe it at much length as I’m sure you’ve done it before if you do Tomiki aikido. My only point will be to say that you shouldn’t be doing it very hard and that uke (the person being pushed backwards) should not fight the other person very hard. The uke should help by keeping both of their pushing hands in their mutual center and should give way reasonably, only mildly challenging the pusher. This allows the pusher to work on subtle balance breaking skills.

Ushio Kara Ryote Dori no Bogyo

This is the double handed wrist grab from behind drill, where uke grabs one of tori’s wrists using both of his own hands. The point is to grab and then push up and forward to break tori’s balance. Since you’ve probably already done this drill as well, I will only add that uke should definitely try to lift the arm, and that tori should get very good at suddenly dropping his weigh to break uke’s balance.

At Shodokan, they also start with the hand about six inches behind the buttocks, and the hand balled up into a fist. At the moment that uke grabs, you extend your fingers, form a tegatana, and drop your weight. Starting in a fist and then extending to a tegatana gets you in the habit of instantly going to tegatana no matter what position your hands are normally in. Put differently, you wouldn’t normally have your arm in a tegatana when grabbed. So this makes you practice having to initiate a tegatana immediately after being attacked.

Nana hon Nage Kuzushi Waza

These are the Seven Basic balance breaking drills. With ura (reverse) versions, there are 14 total. At Shodokan, they practice a set of eight: the first seven omote (forward) versions, as well as the 14th. Since number 7 and number 14 are both defenses against a double handed wrist grab from behind, this gives the set of eight a nice sort of symmetry.

That’s because the first two are against high level grabs from aigamae (matching stances) and gyakugamae (opposite stances), the second two are mid level grabs from aigamae and gyakugamae, and the third two are low level grabs from aigamae and gyakugamae. (The seventh and eighth are then both double landed wrist grabs from behind.)

Actually, though, calling them high level, mid level and low level grabs somewhat muddles things. What’s really happening is that after you are grabbed, you perform either high level balance breaking (where you raise the attacker up onto his toes), mid level balance breaking (pushing the uke sideways off balance), or low level balance breaking (where you push the attacker forward and down form his perspective to bend him over at the waste and break his posture).

If you’ve done Tomiki aikido, you’ll know these techniques since they appear on the 3rd kyu and 2nd kyu belt tests. But at Shodokan, they do them a LOT. With your first partner, you are given just enough time to do them twice each both left and right handed. Then you rotate to another partner, and do them twice each both left and right handed. As you go through them, alternate. That is, you grab my right wrist for the set of eight, then I grab your right wrist for the set of eight, and then you grab my left wrist for the set of eight, and then I grab your left wrist for the set of eight, etc.

And as I mentioned above, Nariyama Sensei will stop practice at various times and do this drill, as it gets everyone back in the spirit of blending with an attack and remembering that the first thing you always have to do is break the opponent’s balance. Only after that is accomplished should you attempt a technique.