Part 1
Kenji Tomiki is credited with simplifying and classifying the various Aikido techniques into a clear scheme. It’s important to note that not all techniques are included in his scheme.
During the early 1950s, his view was solely based on atemi-waza and kansetsu-waza. Around 1960, when the 17 basic techniques were introduced, Uki-Waza or floating techniques were added.
In the Kodokan Judo repertoire, there is a significant emphasis on nage waza and katame waza. The kata method is utilized to study and practice Atemi waza and Kansetsu waza, but there are some drawbacks. The issue of efficiency was the most significant problem. In the past, during the 19th century or earlier, martial art practitioners were involved in duelling and street brawls. The technique’s real power was experienced through this method. Lethal fighting was no longer a possibility when modern times entered society. In many martial arts, a strict, regulated method of free play was introduced to address the issue of efficiency. Kodokan Judo utilized randori to evaluate the strength and effectiveness of nage-waza and katame-waza.
Trying atemi waza and kansetsu waza in a second method of randori was motivated by the lack of efficiency and safety of these techniques during judo randori. Tomiki’s ultimate objective was to create a system that covers all techniques in a single randori.
Tomiki had been studying under Morihei Ueshiba since the early 1920s and witnessed the effectiveness of atemi and joint locking in the Daito Ryu Aiki-Ju-Jutsu. His research on the atemi waza and kansetsu waza of the Daito Ryu was greatly influenced by Jigoro Kano.
Tomiki’s Atemi waza is discussed in an earlier post.
This time we will look into the kansetsu waza of Kenji Tomiki.
4 methods of joint locking
| Kansetsu waza | Hiji waza | Ude hishigi | Waza |
| Elbow technique | Straight arm | Oshi-taoshi, hiki-taoshi, waki-gatame…. | |
| Ude garami | |||
| Bended arm | Oshi-taoshi, ude-hineri, ude gaeshi…. | ||
| Tekubi waza | Kote hineri | ||
| Wrist techniques | Inward torque | Kote-hineri; tenkai-kote-hineri, Kote-mawashi…… | |
| Kote gaeshi | |||
| Outward torque | Kote-gaeshi, tenkai-kote-gaeshi (shiho-nage),…. |
In “Judo and Aikido” written by Kenji Tomiki, he explained the kansetsu waza as a 4 scenario of joint manipulation. See scheme above.
Scenario
A scenario or zogho gives access to different techniques
To study and practice martial techniques, a method of formal exercises (kata) is used as a basic model. This is not unique to Eastern martial arts, but it seems to be a universal concept.
In an Italian document from the 14th century, different scenario are described in a formal way. It is known as ‘Zogho’. It is commonly translated as ‘play’.
Although the ‘zogho’ are described as a formal set of movements, the’scenario or zogho’ allows access to different techniques based on the strategies used in the scenario.
*Il Fior di Battaglia (The Flower of Battle)
Workspace concept
When there is an opponent in front of you, there are two things to take into account.
- Your workspace
- The direction of the workspace
The two lines are the boundaries of your workspace.
An old Italian document about fighting and duelling mentions the concept of ‘la strada’. In simple terms, it is referred to as ‘a street’ or ‘a path’.
Il Fior di Battaglia (The Flower of Battle) 14th Century
Your actions should always be directed towards Uke’s body or part of it while in your workspace.
Uke’s workplace is not facing Tori.
Don’t mix up the lines of the workspace and the concept of a weak line in someone’s body structure.
The weak line is often used to destabilize the structure, of Uke, using the Japanese word ‘kuzushi’.
Some examples of using weak line
Setup as the start of techniques
In Tomiki’s Aikido, most of the techniques and strategies are based on the a ‘randori’ situation. This is not equivalent to a hostile act in the real world on the street.
Before we can apply a technique, we need to perform a kind of preliminary action.
This action depend on what Uke is using as an offensive action.
For example, Uke is performing a straight action to the face.
Tori puts the hands together to meet the action of Uke at the outside of the elbow.
Think about workspace and keeping the center.
Controlling the elbow
The main focus of hiji-waza is the control of the elbow. Our hiji-waza will become ineffective and Uke will take over the action if we are unable to control the elbow.
Two methods of controlling the elbow can be used if we control it on the outside of the arm.
Controlling elbow = controlling shoulder
Straight arm elbow techniques
Different techniques can be developed in this scenario, but they are all based on a straight arm with the elbow as a fulcrum.
In the case of “oshi taoshi”, the shoulder of uke is moving down through the action of hand on the wrist and keeping the elbow as the fulcrum. The elbow isn’t activily pushed down.
In this category we find the techniques: oshi-taoshi, hiki-taoshi, waki-gatame and others.
Bended arm elbow techniques
Even if we bend Uke’s arm, we use the elbow as a fulcrum. There are 2 main methods with a bended arm: gaeshi and hineri.
Hineri is an inward rotation of the arm, gaeshi is an outward rotation of the arm.
The tekuwi-waza or wrist techniques are also defined by hineri and gaeshi.
“Hineri” elbow technique
As an example we will use the “oshi-taoshi” technique. Before we apply oshi-taoshi we must create the appropriate setup.
A”Kimura” Clone
Masahiko Kimura (木村 政彦, Kimura Masahiko, September 10, 1917 – April 18, 1993) In submission grappling, the reverse ude-garami arm lock is often called the “Kimura”, due to his famous victory over Gracie jiu-jitsu co-founder Hélio Gracie.
“Gaeshi” elbow technique
Kata, a restrictive method?
Understanding Kata as a’model’ can help us gain a better understanding of its various interpretations.
Kata is frequently utilized as a rigid model, unfortunately. The offensive movement of Uke is followed by the defensive movement of Tori. Tori’s defense causes Uke to halt his actions.
Kata is often suggested to be a useful tool for understanding and performing well in randori. Of course, this is a delusion.
By using kata as a basic model and making modifications during our training, the results will be much better.
Using basic kata and modifications can improve your randori performance.
Part 2 – Tekubi-waza is expected to be published soon
Study Group Tomiki Aikido 
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