How to be a good Uke in Aikido
(English version at bottom)
por Giacobone sensei
Uke es el atacante, y su ataque puede ser un golpe, un agarre u otra intención de ataque.
Nage o Tori es el defensor, el que ejecuta una técnica para neutralizar el ataque. Las técnicas pueden ser proyecciones o inmovilizaciones, y en los niveles más avanzados combinaciones dinámicas de ambas (henka waza).
La mitad del entrenamiento (keiko) en Aikido consiste en ser Uke. La calidad del Uke determina la calidad de la práctica.
En la práctica del Aikido, el buen logro de una técnica es el resultado, no sólo del movimiento de Nage, sino de una labor conjunta entre Nage y Uke. La precisión y eficacia no se logran en un intento, sino luego de un montón de repeticiones y a lo largo de la práctica. Nage hace la técnica, Uke responde con suavidad, y así una y otra vez. De esta manera Nage avanzará poco a poco hasta logar hacer el movimiento ideal.
En Aikido aprendemos a caer, las caídas son fundamentales, por eso el principiante debe acostumbrarse a ser lanzado. A veces, sobretodo al principio, no es una experiencia agradable ser derribado por alguien y caer, pero es necesario aprender a disfrutarlo para poder continuar con la práctica.
Para esto, Nage debe tener cuidado de lanzar al principiante con cuidado, respetando sus posibilidades. El instructor tiene que observar el comportamiento de los estudiantes cuidadosamente, y si este llega a ser peligroso, debe corregir de forma adecuada. La responsabilidad del instructor en este punto es muy importante.
Para el principiante, es importante recordar el movimiento de las técnicas tan
pronto como sea posible, para esto es esencal su mentalidad. La mentalidad es
la clave en el arte marcial, podemos decir que es una combinación entre corazón
y determinación, entre disfrute y disciplina.
Cuando se le explica como debe caer, el principiante no puede entender por qué es necesario caer de esta o aquella forma. Cuando se empieza a entender la relación entre la caída y la técnica, entonces es fácil de adivinar qué tipo de ukemi (caida) es el que se necesita. "Caer por caer" no ayuda en los progresos de la técnica de ukemi.
A medida que progresan los entrenamientos, uno se va acostumbrando a diferentes compañeros, diferentes uke, diferentes nage. Diferencias de tamaño, de sexo, de experiencia, etc., cuya fuerza y velocidad serán distintas.
Uke debe aprender a armonizarse con el movimiento de Nage, sin bloquearlo, sin resistirse pero tampoco con una actitud displicente o fácil. El ataque debe ser sincero, sin intención pero fuerte.
Cuando se le explica como debe caer, el principiante no puede entender por qué es necesario caer de esta o aquella forma. Cuando se empieza a entender la relación entre la caída y la técnica, entonces es fácil de adivinar qué tipo de ukemi (caida) es el que se necesita. "Caer por caer" no ayuda en los progresos de la técnica de ukemi.
A medida que progresan los entrenamientos, uno se va acostumbrando a diferentes compañeros, diferentes uke, diferentes nage. Diferencias de tamaño, de sexo, de experiencia, etc., cuya fuerza y velocidad serán distintas.
Debido a que Uke no puede existir sin el movimiento de Nage, Uke debe moverse sin bloquear ni fingir el movimiento. Uke debe adaptar su movimiento a cada ocasión.Todo esto se relaciona con el método que se use en la práctica. La práctica no será buena si Uke intenta aferrarse demasiado, puesto que en Aikido practicamos técnicas predefinidas, el movimiento siguiente siempre es conocido y esto hace fácil bloquear. Esto no conduce a un buen progreso a menos que su objetivo sea hacer frente y derribar, pero para adquirir un buen movimiento de Aikido esto no funciona.
El Uke ideal es aquel que siente todo, reacciona y se pone en movimiento con la cantidad apropiada de fuerza (energía) y permanece en conexión con su compañero y el entorno. Suele mantener una actitud correcta hacia si mismo y hacia los demás. Es algo que irradia de su ser de forma natural, y es fruto de su práctica permanente y su dedicación. El Uke ideal valora y respeta el tiempo del compañero tanto como el propio. Sus acciones son sinceras, pero sobre todo, es honrado consigo mismo.
En efecto, al efectuar sus ataques o agarres de una manera realista, el Uke le brinda a Nage todo lo que este necesita, o sea, un ataque correcto, que, a su vez, demanda una reacción asimismo correcta y adecuada para completar las técnicas requeridas. Este es el aprendizaje de la armonía y la conexión. No hay lucha ni confrontación, no hay competición. Los practicantes se ayudan mutuamente a progresar.
En efecto, al efectuar sus ataques o agarres de una manera realista, el Uke le brinda a Nage todo lo que este necesita, o sea, un ataque correcto, que, a su vez, demanda una reacción asimismo correcta y adecuada para completar las técnicas requeridas. Este es el aprendizaje de la armonía y la conexión. No hay lucha ni confrontación, no hay competición. Los practicantes se ayudan mutuamente a progresar.
Puntos importantes para ser un buen Uke
Sujetar a Nage o atacarlo con golpes o movimientos de corte son maniobras ofensivas. Nage no puede bloquear un ataque si no hay nada que bloquear y un golpe o corte que no llega a la cabeza o al cuerpo es una tontería.
Al momento de atacar en necesario ser firme y mantener una buena postura. No hay manera de empezar a atacar con una distancia inadecuada, una mala sincronía o en una posición de desequilibrio.
Uke debe caer por la fuerza de Nage. No haga Ukemi (caída) sin sentir la fuerza de Nage.
2. Al sujetar la mano utilizar todos los dedos.
Un agarre que solo use el pulgar y el índice se romperá con facilidad. Uke debe agarrar con firmeza con toda su mano, así el movimiento de nage no romperá el agarre y Uke se moverá siguiéndolo.
3. No cambiar la fuerza de sujeción durante la técnica
Cuando Nage se está moviendo durante la técnica, y Uke cambia la fuerza de sujeción, el movimiento de Nage es perturbado. Puede mantenerla fuerte o suave, pero mantenga la misma dirección con la fuerza y siga el movimiento del Nage. Si cambia la fuerza de sujeción, no sólo perturbará el movimiento de Nage, sino también su propia capacidad para reaccionar a la técnica.
4. Recibir el movimiento con todo el cuerpo.
No se debe detener el movimiento centrando la fuerza en el hombro o el brazo. A menudo veo, en el caso de Katate-Dori o Ryote-Dori, a la gente reducir el movimiento al codo o la muñeca. Se debe transmitir la fuerza desde el punto de contacto a todo el cuerpo. Aunque su cuerpo sea más grande que el de Nage se debe recibir la fuerza con todo el cuerpo.
5. Mantener el contacto visual con el punto de sujeción de Nage.
Cuando se es Uke se debe procurar mantener el punto de contacto de las manos con Nage delante de los ojos. No mirándolo directamente sino manteniéndolo dentro del campo visual. Si la cabeza no apunta al lugar correcto quiere decir que no se está en guardia y esto no es marcial. Si la mirada se fija en la dirección de la caída seguramente la adelantaremos y nos estaremos tirando sin esperar la proyección, en cambio si la mirada busca el punto de contacto con Nage el centro del cuerpo la seguirá.
6. No ser un Uke perezoso.
Ser Uke perezoso significa, por ejemplo, hacer de Uke para Shiho-nage pensando de antemano en el Shiho-nage y moverse por sí mismo, y no por la fuerza de Nage. En ese caso, si Nage cambia la técnica Uke no puede seguir. No sea un Uke perezoso en ningún caso. No ser un perezoso lo ayudará a pulir su sentimiento.
Ser Uke perezoso significa, por ejemplo, hacer de Uke para Shiho-nage pensando de antemano en el Shiho-nage y moverse por sí mismo, y no por la fuerza de Nage. En ese caso, si Nage cambia la técnica Uke no puede seguir. No sea un Uke perezoso en ningún caso. No ser un perezoso lo ayudará a pulir su sentimiento.
English version
As Aikido is an art of harmony and connection, it is practiced with un partner, one that performs the attack and the other that performs the technique, alternating roles after certain repetitions.
Uke is the attacker, and his attack can be a stroke, a grip or another attack intention.
Nage or Tori is the defender, who executes a technique to neutralize the attack. The techniques can be projections or immobilizations, and in the most advanced levels dynamic combinations of both (henka waza).
Half of the training (keiko) in Aikido consists of being Uke. The quality of Uke determines the quality of the practice.
In the practice of Aikido, the good achievement of a technique is the result, not only of Nage's movement, but of a combined work between Nage and Uke. The precision and effectiveness are not achieved in an attempt, but after a lot of repetitions and throughout the practice. Nage does the technique, Uke responds gently, and so on again and again. In this way, Nage will advance little by little until the ideal movement is achieved.
In Aikido we learn to fall, falls are fundamental, so the beginner must get used to being thrown. Sometimes, especially at the beginning, it is not a pleasant experience to be knocked down by someone and to fall, but it is necessary to learn to enjoy it in order to continue with the practice.
For this, Nage must be careful to throw the beginner with care, respecting his possibilities. The instructor has to observe the behavior of the students carefully, and if it becomes dangerous, he must correct it in an appropriate way. The responsibility of the instructor at this point is very important.
For the beginner, it is important to remember the movement of the techniques as soon as possible, for this is esencal his mentality. The mentality is the key in the martial art, we can say that it is a combination between heart and determination, between enjoyment and discipline.
When it is explained how it should fall, the beginner can not understand why it is necessary to fall in this or that form. When you begin to understand the relationship between falling and technique, then it is easy to guess what kind of ukemi (fall) is what is needed. "Falling just to fall" does not help in the progress of the technique of ukemi.
As the workouts progress, one becomes accustomed to different partners, different uke, different nage. Differences in size, sex, experience, etc., whose strength and speed will be different.
Because Uke can not exist without Nage's movement, Uke must move without blocking or pretending movement. Uke must adapt his movement to every occasion. All this is related to the method that is used in practice. The practice will not be good if Uke tries to cling too much, since in Aikido we practice predefined techniques, the following movement is always known and this makes it easy to block. This does not lead to good progress unless your goal is to face and shoot down, but to acquire a good movement of Aikido this does not work.
Uke must learn to harmonize with the movement of Nage, without blocking it, without resisting, but not with a cavalier or easy attitude. The attack must be sincere, unintentional but strong.
A skilled practitioner can learn several techniques in a day, but only the procedure of doing it. Even if you know the procedure of a technique, you will not know the feeling and the correct feeling of it without being uke. Accumulating experience with experienced Toris and beginners, you learn to feel like Uke, when a technique was well executed and when not. Being a firm but respectful Uke brings out the best in each nage. In this way, if Uke learns to feel when a technique was well executed, he will try to do it this way when he must be Nage. The repetition and accumulation of these processes must be the essence of daily practice.
The ideal Uke is one who feels everything, reacts and sets in motion with the appropriate amount of force (energy) and remains in connection with his partner and the environment. He usually maintains a correct attitude towards himself and towards others. It is something that radiates from your being in a natural way, and is the fruit of your permanent practice and your dedication. The ideal Uke values and respects the partner's time as much as his own. His actions are sincere, but above all, he is honest with himself.
In fact, when performing his attacks or grabs in a realistic manner, Uke gives Nage everything it needs, that is, a correct attack, which, in turn, demands a correct and adequate reaction to complete the techniques. required. This is the learning of harmony and connection. There is no struggle or confrontation, there is no competition. Practitioners help each other to progress.
Important points to be a good Uke by Shoji SEKI shihan
1. Uke is the offensive part.
Holding Nage or attacking him with blows or cutting movements are offensive maneuvers. Nage can not block an attack if there is nothing to block and a blow or cut that does not reach the head or body is foolish.
When attacking, it is necessary to be firm and maintain a good posture. There is no way to start attacking with an inadequate distance, a bad synchrony or in an unbalanced position.
Uke must fall by force of Nage. Do not do Ukemi (fall) without feeling Nage's strength.
2. When holding the hand, use all the fingers.
A grip that only uses the thumb and forefinger will break easily. Uke must grip firmly with his whole hand, so the nage movement will not break the grip and Uke will move following him.
3. Do not change the clamping force during technique
When Nage is moving during the technique, and Uke changes the clamping force, Nage's movement is disturbed. You can keep it strong or soft, but keep the same direction with the force and follow the movement of the Nage. If you change the clamping force, it will not only disturb Nage's movement, but also your own ability to react to the technique.
4. Receive the movement with the whole body.
The movement should not be stopped by focusing the force on the shoulder or arm. I often see, in the case of Katate-Dori or Ryote-Dori, people reducing movement to the elbow or wrist. The force must be transmitted from the point of contact to the whole body. Even though his body is bigger than Nage's, strength must be received with the whole body.
5. Maintain eye contact with Nage's attachment point.
When you are Uke you should try to keep the point of contact of your hands with Nage in front of your eyes. Not looking at it directly but keeping it within the visual field. If the head does not point to the right place it means that you are not on guard and this is not martial. If the gaze is fixed in the direction of the fall we will surely advance it and we will be pulling without waiting for the projection, instead if the look seeks the point of contact with Nage the center of the body will follow it.
6. Do not be a lazy Uke.
Being lazy Uke means, for example, playing Uke for Shiho-nage thinking in advance of the Shiho-nage and moving by himself, and not by Nage's strength. In that case, if Nage changes the technique Uke can not continue. Do not be a lazy Uke in any case. Not being a lazy will help you polish your feeling.
Uke is the attacker, and his attack can be a stroke, a grip or another attack intention.
Nage or Tori is the defender, who executes a technique to neutralize the attack. The techniques can be projections or immobilizations, and in the most advanced levels dynamic combinations of both (henka waza).
Half of the training (keiko) in Aikido consists of being Uke. The quality of Uke determines the quality of the practice.
In the practice of Aikido, the good achievement of a technique is the result, not only of Nage's movement, but of a combined work between Nage and Uke. The precision and effectiveness are not achieved in an attempt, but after a lot of repetitions and throughout the practice. Nage does the technique, Uke responds gently, and so on again and again. In this way, Nage will advance little by little until the ideal movement is achieved.
In Aikido we learn to fall, falls are fundamental, so the beginner must get used to being thrown. Sometimes, especially at the beginning, it is not a pleasant experience to be knocked down by someone and to fall, but it is necessary to learn to enjoy it in order to continue with the practice.
For this, Nage must be careful to throw the beginner with care, respecting his possibilities. The instructor has to observe the behavior of the students carefully, and if it becomes dangerous, he must correct it in an appropriate way. The responsibility of the instructor at this point is very important.
For the beginner, it is important to remember the movement of the techniques as soon as possible, for this is esencal his mentality. The mentality is the key in the martial art, we can say that it is a combination between heart and determination, between enjoyment and discipline.
When it is explained how it should fall, the beginner can not understand why it is necessary to fall in this or that form. When you begin to understand the relationship between falling and technique, then it is easy to guess what kind of ukemi (fall) is what is needed. "Falling just to fall" does not help in the progress of the technique of ukemi.
As the workouts progress, one becomes accustomed to different partners, different uke, different nage. Differences in size, sex, experience, etc., whose strength and speed will be different.
Because Uke can not exist without Nage's movement, Uke must move without blocking or pretending movement. Uke must adapt his movement to every occasion. All this is related to the method that is used in practice. The practice will not be good if Uke tries to cling too much, since in Aikido we practice predefined techniques, the following movement is always known and this makes it easy to block. This does not lead to good progress unless your goal is to face and shoot down, but to acquire a good movement of Aikido this does not work.
Uke must learn to harmonize with the movement of Nage, without blocking it, without resisting, but not with a cavalier or easy attitude. The attack must be sincere, unintentional but strong.
A skilled practitioner can learn several techniques in a day, but only the procedure of doing it. Even if you know the procedure of a technique, you will not know the feeling and the correct feeling of it without being uke. Accumulating experience with experienced Toris and beginners, you learn to feel like Uke, when a technique was well executed and when not. Being a firm but respectful Uke brings out the best in each nage. In this way, if Uke learns to feel when a technique was well executed, he will try to do it this way when he must be Nage. The repetition and accumulation of these processes must be the essence of daily practice.
The ideal Uke is one who feels everything, reacts and sets in motion with the appropriate amount of force (energy) and remains in connection with his partner and the environment. He usually maintains a correct attitude towards himself and towards others. It is something that radiates from your being in a natural way, and is the fruit of your permanent practice and your dedication. The ideal Uke values and respects the partner's time as much as his own. His actions are sincere, but above all, he is honest with himself.
In fact, when performing his attacks or grabs in a realistic manner, Uke gives Nage everything it needs, that is, a correct attack, which, in turn, demands a correct and adequate reaction to complete the techniques. required. This is the learning of harmony and connection. There is no struggle or confrontation, there is no competition. Practitioners help each other to progress.
By Giacobone sensei
1. Uke is the offensive part.
Holding Nage or attacking him with blows or cutting movements are offensive maneuvers. Nage can not block an attack if there is nothing to block and a blow or cut that does not reach the head or body is foolish.
When attacking, it is necessary to be firm and maintain a good posture. There is no way to start attacking with an inadequate distance, a bad synchrony or in an unbalanced position.
Uke must fall by force of Nage. Do not do Ukemi (fall) without feeling Nage's strength.
2. When holding the hand, use all the fingers.
A grip that only uses the thumb and forefinger will break easily. Uke must grip firmly with his whole hand, so the nage movement will not break the grip and Uke will move following him.
3. Do not change the clamping force during technique
When Nage is moving during the technique, and Uke changes the clamping force, Nage's movement is disturbed. You can keep it strong or soft, but keep the same direction with the force and follow the movement of the Nage. If you change the clamping force, it will not only disturb Nage's movement, but also your own ability to react to the technique.
4. Receive the movement with the whole body.
The movement should not be stopped by focusing the force on the shoulder or arm. I often see, in the case of Katate-Dori or Ryote-Dori, people reducing movement to the elbow or wrist. The force must be transmitted from the point of contact to the whole body. Even though his body is bigger than Nage's, strength must be received with the whole body.
5. Maintain eye contact with Nage's attachment point.
When you are Uke you should try to keep the point of contact of your hands with Nage in front of your eyes. Not looking at it directly but keeping it within the visual field. If the head does not point to the right place it means that you are not on guard and this is not martial. If the gaze is fixed in the direction of the fall we will surely advance it and we will be pulling without waiting for the projection, instead if the look seeks the point of contact with Nage the center of the body will follow it.
6. Do not be a lazy Uke.
Being lazy Uke means, for example, playing Uke for Shiho-nage thinking in advance of the Shiho-nage and moving by himself, and not by Nage's strength. In that case, if Nage changes the technique Uke can not continue. Do not be a lazy Uke in any case. Not being a lazy will help you polish your feeling.
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