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When martial arts or ways instructors mention “principles,” the
implication is that you have to understand them in order to perform
them. Usually instructors will define a Japanese term without exploring
its full meaning, often intentionally, implying that students should
discover the principle on their own through physical and mental
practice. Often this frustrates students, who soon quit. Some
instructors shorten definitions to the extent that any semblance to the
original meaning or intent is lost. Students and instructors
consequently perform maneuvers with little or no comprehension as to why
they do it.
This article aims to provide an understanding of major
mechanical or physical principles related to effective execution of
techniques, beginning with working definitions.
Taisabaki
In its simplest form taisabaki is body movement. In reality it is an
intricate principle that must be fully appreciated in order to perform
any martial arts technique. In a deeper sense taisabaki is management of
body movement. It is not simply moving your body but rather managing
body movement in a controlled and explicit manner to allow performance
and proper execution of techniques.
Ashi sabaki
This is the principle of foot movement in specific ways depending on the
intent of movement and the distance or maai from an opponent. There are
two general types of ashi sabaki related to martial arts:
Tsugi ashi – following/sliding foot, which can occur in
any direction.
Ayumi ashi – normal walking. usually done forward or
rearward.
Kamai
Kamai is posture. In judo and jujitsu kamai implies defensive posture.
Basic natural posture with hands at our sides is known as hontai. Jigo
hontai, self-defense posture, is a slightly wider than normal stance,
legs bent slightly at the knees. Knees are flexible, not locked. Most
importantly hands are raised to mid-torso in a position to enable
parrying, blocking, or performing strikes or grappling. Variations of
jigo hontai are numerous. Weapons training requires employing kamai
differ from those used with empty hands.
It is important for empty-handed techniques that when
one foot slides forward, the hand for the forward foot must also move
forward of the other hand. Depending on the style, the forward hand may
be at the same height or higher than the other. Having the forward hand
higher than the other is preferable as this permits parrying and
blocking to protect the head and shoulder area while the lower hand can
do the same for the torso and hip area. In the case of weapons the type
of weapon dictates which hand is forward. For swords the right hand
(assuming the usual right hand grip) always will be forward. In the case
of jo and depending on the technique being executed the hand of the
forward foot may or may not move forward with the foot. The goal of good
kamai is to maintain a posture where you are centered, balanced, and
ready to move without hesitation in as many different directions as
possible.
Maai
This is usually considered engagement space or distance between
combatants. Like taisabaki, maai has a deeper meaning and is a principle
that must be appreciated fully in order to perform techniques
effectively. Maai is not simply engagement distance but the principle of
knowing the correct distance to execute a technique effectively.
Conversely and more importantly, maai is knowing what techniques are
effective for any given distance between opponents.
Along with appreciation of distance there also must be appreciation for
the angle of attack between two people. Although specific techniques
work at certain distances, they may not work at certain attack angles
even though distance or spacing between opponents is correct.
Kuzushi
This is breaking an opponent’s posture, unbalancing and off-centering an
opponent. In a deeper sense it is unbalancing your opponent while
maintaining your own center and balance. Terms such as hara, tanden,
jushin, and shindashi define center of balance or gravity. It is
possible to disturb a person’s center and balance by contact or movement
without actual contact.
Tsukuri
Tsukuri is the entry into a technique. While this term generally is used
in the context of fitting in for a throw, it applies to all techniques,
even grappling. Tsukuri means to position your body correctly in order
to most efficiently and effectively execute a technique. This could be
as simple as stepping forward when striking with a jo or the required
stepping, turning, and lowering of center required to perform a koshi
nage (forward hip throw).
Kake
Kake means attack or execution of the technique. This would be the
actual swinging and striking with a jo or the hip and torso rotation
required to throw a person with a koshi nage.
Applying the Principles
Now that we have a set of definitions, let's see how these principles
work together to correctly perform or execute techniques in the context
of a judo shiai. The descriptions are detailed enough that actions can
be transferred to any martial art.
To begin, two opponents (uke and tori) face and bow to
each other at a distance. Using taisabaki with ayumi ashi they approach
each other. As the distance closes to within a couple of feet, they
begin walking in tsugi ashi, which allows them to take measured steps
while maintaining balance, until they have the correct maai for actual
engagement. At the same time they start tsugi ashi they should adopt
their offensive/defensive kamai, namely raise their arms in front, which
allows them to grip, while taking a slightly wider stance and lowering
their center. Uke and tori move around in tsugi ashi
feeling each other out while trying to adopt a maai that will afford the
opportunity to get a grip and perform a technique. Once they grip, the
next objective is to perform kuzushi. Once kuzushi is in effect, tori
moves into a position to perform a throw. This is the tsukuri. Actually
kuzushi and tsukuri occur almost simultaneously. Kuzushi must be
maintained during tsukuri.
Once kuzushi and tsukuri have occurred, all that remains
is the kake or completion of the throw. This is done while tori is
holding uke in an unbalanced position and then manipulating his own body
(leg sweep, hip rotation, etc.) to complete the throw. The goal is to
perform kuzushi, tsukuri, and kake quickly and smoothly, expending
minimum energy.
While tori has some control over how uke will move, he
will not have full control. The level of resistance and difference in
experience levels between uke and tori will be major factors as to how
much tori can unbalance and control uke. Except in kata, you cannot
predetermine that you will perform a specific technique. The actual maai
and angle of attack between uke and tori permit certain techniques while
attempting others would waste time and energy. This is why it is
important to know techniques and their variations so that for any
particular maai and angle of attack you’ll be able to execute an
appropriate and effective technique.
In addition to standing techniques, tachi waza, these
principles apply to techniques while lying, sitting, or kneeling on the
mat, often referred to as newaza or suwari waza. Proper appreciation and
use of these principles in newaza will greatly improve techniques while
expending minimum energy.
I have described each principle in a sequential linear way. In actual
practice many of these principles can and should occur simultaneously.
Furthermore, certain mechanical principles commonly are repeated: the
maai may close to engagement distance and then open up again; switching
between ayumi ashi and tsugi ashi may occur; depending on the maai and
the reaction of uke, kuzushi may be gained, lost, and regained.
It is important to appreciate proper flow and sequence
of these principles in order to perform a technique as quickly and
efficiently as possible.
Copyright © 2008 Ed Thibedeau, all rights reserved.
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Ed Thibedeau is 3rd dan in jujitsu, 4th dan in judo, and 1st dan in
karate. He also is a national referee, Regional Coordinator, national
kata judge and instructor, and approved coach certification instructor.
He is chief instructor at Arkansas Goshinkan (http://www.ArkansasGoshinkan.org/).
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