Shiho Nage
The sword has influenced and formed the basis of many Japanese martial arts, for example Kendo, Iaido and in the use of the Jo. However, the sword has also played a major part in the formulating of Aikido. It may not seem obvious at first , that Aikido with it's circular movements and deep philosophical approach to life and the promotion of peace, love and harmony, could be influenced by the sword in so profound a way.
Many of the postures, body movements and principles do have a direct relationship to the sword in one way or another. The most obvious of these movements being Shiho-nage - the four directional technique. The movement of Shiho-nage clearly displays this relationship by it's fundamental principles and the manner in which the technique is executed.
The classical "text book" Shiho-nage only gives the student the basic technical requirements for a Shiho-nage take-down, making them aware that direction can be changed by controlling the arm. As the student progresses and his experiences increases he will be capable of projecting or "spilling" his partner in a dynamic manner.
However, we have all experienced the pain and discomfort when we have felt our arm separated from the rest of our body when an over-zealous or an inconsiderate pertness has applied Shiho-nage. We may have been sent off to an early tea-break and if we are lucky, it develops our ability to take a "dive", which in turn makes us complement. The problem is the fact that there has been a breakdown in communication and one doesn't mean discussions on last nights exploits at the local! but communication in movement and communications in feelings. Students should be adventurous and learn to experience the movement of Shiho-nage and not just perform the technique of Shiho-nage.
The student is advised to regularly practice Shiho-giri, with and without a bokken. The practice of Shiho-giri with a bokken reminds us of the relationship of the sword but also helps to isolate and recognize certain principles of Shiho-nage. It emphasizes the importance of the hips and the effect of correct breathing. It refines our Tai-sabaki so our balance and posture is maintained.
When practicing with a partner experiment with movement. Take into account the circumstances prevailing at the time and adjust your approach. Shiho-nage doesn't have to be restricted to a method of take-down but allow it to be integrated into other movements of Aikido rather than using it purely as a defensive technique against a particular "attack". It's variations are infinite and allows Uke to be moved with absolute control. Discover how subtle movements of the hips can create openings and generate energy for projections. It is worth remembering that knowledge of "hip techniques" or Koshi-waza will help the student to perform and execute the more advanced Shiho-nages.
"He that correct not small faults, will not control great ones"
A students interpretation of Shiho-nage....
Shiho-nage - an Aikido Technique
I have noticed through observation and the practice of Aikido a rather peculiar phenomena surrounding Shiho-nage. It is particularly noticeable in beginners and lower grades and it is quite simply this, Shiho-nage is a technique thatNage loves to perform but to varying degrees freak Uke out! It is not a digression to say that Shiho-nage is a good technique to emphasize certain principles and to pinpoint certain common faults that occur throughout Aiki practice.
I do not wish to dwell much on the physical technique although the usual trouble spots such as the hips, feet and breathing are emphasized quite strongly.
I suppose it can be said of most if not all of the Aiki techniques that they are potentially excruciatingly painful and dangerous. This most certainly applies to Shiho-nage. Due to the possible damage that can be done to the wrist, elbow or shoulder certain "rules" are laid down when teaching beginners, such as when taking down, the arm is taken straight back over the shoulder and down the center of the body so that the wrist and elbow bend in a natural direction as Uke falls with a back breakfall.
So far so good, Nage learns what to do with his feet, hips etc. without causing G.B.H. to his partner and Uke learns to do a back breakfall without bumping his head. But, all to frequently the learning process slithers to a standstill at this point. However there is still much to be learnt, at some stage in an individuals training he must learn control, not only how to control Uke but self control. Uke, if he is able to perform uninhibited free flowing Aiki will want to learn some of the bigger breakfalls. It is during this period when confidence can be shattered and the seeds of Uke syndrome are planted.
The harmony so often talked about in Aiki manifests itself in many ways, the harmony of two opposing forces becoming one for example, or perhaps this could be the harmony of timing. We also say frequently that we harmonize our Ukes energy flow, but what does it mean exactly?
Yes, it means that without using strength we can neutralize an attack but surely if a pair are in harmony a Nage will immediately sense the point at which pain will be caused, will immediately sense a split second shift in energy direction when Uke "bottles" out of a breakfall and immediately reacts to these changes with disciplined self control.
This control becomes of paramount importance when Uke is learning to do the big "Shiho-nage" breakfall because it cannot be learnt easily from the classic safe Shiho-nage take-down. To give Uke the space to roll his arm will put him in a position which makes him vulnerable but if Nage doesn't project and allows his partner to take his breakfall Uke comes to no harm but can learn the mechanics of the breakfall. As his ability increases Uke will not need to throw himself but will "go" with the technique. If Uke is subject to brutality or incompetence during the learning process his confidence will break down, he will be stiff, tense and prone to launching himself to avoid the pain anticipated. This is not conducive to free flowing Aikido, it looks ungainly and jagged instead of elegant and smooth, and both parties will feel frustrated unless they are sadly unaware that things can be different.
In Aikido we are all teachers because our partners are always learning. We have great responsibility to our partners. To carry this responsibility we must have discipline and self control. It takes a lot of regular practice to genuinely project using Shiho-nage and never hurt our partner, because that beautiful blending of two individuals which we refer to as harmony takes constant practice.
Performing Aikido techniques is not enough, it is how we perform them. All of us have been guilty of the above faults at some stage and probably still are but hopefully less frequently with practice. I have used Shiho-nage as an example but perhaps we should ask ourselves throughout our Aikido practice whether we are a student in a class or the teacher, "What are we doing?" "Are the techniques there merely to earn, or to learn from?"
"In trust is truth"
Irimi nage | Ikkyo | Koshi waza | Aiki nage | Uke - Friend or foe