Aiki Nage
Aiki-nage is often seen as the ultimate Aikido technique, a technique when seen in demonstrations expresses the dynamic spherical movements so common with Aikido. Each and every technique in Aikido emphasizes certain elements that are characteristic to it's particular movement and Aiki-nage is no exception. This technique is held in awe because Uki appears to float magically, without any apparent contact with Nage - as if both parties have choreographed the moves to perfection.
It is easy to see why some observers actually believe this, mainly because the moves can be choreographed just as in any other technique. Unfortunately this occurs when Uki and Nage have failed to wholly recognize the fundamental principles contained in the techniques of Aikido. Choreographed movements may be necessary in the event of public displays especially in the interest of safety where weapons are being used. Also, using movements in Kata format is an excepted and essential method of learning and gaining experience. However, there comes a point when one has to move away from the mechanical movements and explore the principles involved.
Aiki-nage, for all it's dramatical expression of movement actually demonstrates some very fundamental principles, such as distance, space, commitment and awareness. The very principles that are found in the multitude of techniques that make up Aikido. So why is so much importance placed on Aiki-nage, a technique often reserved for the higher ranks?
Firstly, the best thing to do is to break the technique into it's various elements. Kamae or posture is as important as in other techniques, however the posture which is known as Hanmi requires some defining. The posture in Aikido is never "aggressive" nor "passive". Most other martial arts promote a stance that shows a readiness to fight or defend which gives Uki a preconceived idea on how he should commit himself. A fighting stance will make Uke wary of committing himself and also makes Nage rigid for free-flowing movement, both in thought and in action (and the same applies to a defensive stance). The Sankaku-tai (triangle) stance adopted by the Aikidoka offers the best all round stability with opportunity to react to action that Uke instigates.
The next important factor is Ma-ai or distance in relation to Uke. It is the safe working distance for Uke and Nage to practice. Too far makes mutual practice impractical and also shows both parties reluctance to commit themselves. Too close smothers the movements and makes it very difficult to experience the principles. The proper distance is when Nage is just out of reach for Uke to "attack" but not far enough to feel he can't "attack". It should be a distance where Nage suffers no anxiety but is aware and confident he can react to any movement from any direction with control and purpose. By the same token, Uke must feel he is capable of reaching his target with commitment and with the same confidence.
As one's experience increases this distance will vary as a sixth sense will guide the individual until it becomes a instinctive reaction - just as a bird evades ones frustrated attempts to catch it. How often have we seen a flock of pigeons totally oblivious to the traffic around them. They strut about with confidence, even perhaps with an air of arrogance. In reality one would expect to see the pavements and kerbs littered with squashed birds but how many times have you seen a "flattened" pigeon? Members of the animal kingdom have retained the ability to sense when danger is around and teasingly keep out of reach. We can achieve the same by developing our own senses of sight, smell and hearing, etc.
As we develop these senses we can instinctively create the right space and conditions so we can react spontaneously to Uke's action, which of course must be perfectly timed. Timing will become a natural development as we experience a spatial awareness and will be linked to the circumstances of the moment. By harmonizing with Uke's breathing , ie. becoming one with them, we will immediately sense the exact moment of his intention. Maintaining eye contact, which doesn't necessary mean physically "staring" but enveloping your partner with your Ki , thereby blending with his being will also serve to enhance our reaction.
Let us assume that the above conditions have been met, Uke and Nage are facing each other and the "attack" is Shomen-uchi. Nage immediately closes the distance, giving Uke his target but also giving himself the opportunity to stop Uke's Ki. Nage may also Kiai or even Atemi, which again doesn't have to be "physical", to create this opportunity. He may also use Kokyu to soak up Uke's breath and use it against him. Although Uke's Ki is stopped, his movement is allowed to carry on and depending on Nage's timing , control is taken of Uke's movement which could either Irimi or Tenkan.
Uke's confusion and commitment will cause him to lose his balance which Nage will use to his advantage. Physical contact may not be necessary but Nage could "lead" Uke by gently "tapping" or "pushing" him in the appropriate direction. Aiki-nages and Kokyu-nage's can quite easily be related as they share the same principles . When both techniques are executed to perfection they both express the power that can be generated and in both cases Uke has to cope with taking quite a heavy and spontaneous breakfall.
Ukemi or breakfalls should not be seen as the end product of a technique but become an integral part of the technique. Ukemi's done purely to protect oneself from injury again demonstrates the narrow-minded restrictions we place on Aikido and techniques become just "techniques". The successful Aiki-nage technique which contains the elements of speed and commitment will depend largely on Uke's ability and understanding of Ukemi and Nage's awareness of this.
Aiki-nage and its related techniques are best seen in a multiple "attack" situation where Nage has a responsibility to maintain constant movement and inter-action. Nage cannot afford to be "bogged downs" by a technique but must be free to move from person to person so opportunity and creativity are not hampered. The complement of Uke's in Taninzu Waza must never appear rigid or jagged but must be represented with Nage in the fundamental principles of existence that manifest in the molecular vibration that dictate the laws of the Universe. The whole "show" will be a display of unpredictable beauty, exciting movement, full of life and spiritual energy.
The importance of mutual cooperation cannot be stressed enough even if we have re-evaluate our learning and teaching methods so we can develop a better understanding of Aikido and its principles, without fear of putting our individuality at risk. Performing the techniques , especially the "advanced" movements is not a measure of our skills but how we use these techniques and what we get out them that is important.
Instructors who may be able to "do" techniques such as Aiki-nage must also be able to explain the principles involved and not digress to a "self-defense" exercise. They should inspire and motivate the student to develop the technique and not just copy the movements. Students should not be afraid to ask! The aim of this and all the other articles found elsewhere on this site is to provide an insight into the technique of Aiki-nage and it's underlying principles. Every teacher, every student and every moment of time will perceive another interpretation of the principles involved.
"A mind enlightened is like Heaven, a mind in darkness is like Hell" [Chinese proverb]
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