Body and Soul of Uke_Shoji Seki Shihan

合氣道師範傳世之經典文章及人物故事
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michelle
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註冊時間: 週五 8月 31, 2007 12:07 am
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Body and Soul of Uke_Shoji Seki Shihan

文章 michelle »

Aikido Tankyu Magazine : “Half of Aikido’s Keiko (practice) is Uke. Depends on how you do Uke, the quality of practice will be very different. We asked Shihan (Instructor) of Hombu-Dojo what we have to take care during the practice to have fruitful practice”.

Shoji Seki Shihan’s answer
Shoji Seki Shihan.jpg
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In the Aikido’s practice, not only Tori but Tori and Uke achieve one technique helping each other. Why say this, because the movement you want to achieve is very difficult to do at first try. Tori makes practice with Uke’s gentle response again and again, and then Tori will progress little by little to make ideal movement.

So, I want the beginner to become get use to be thrown. Normally, it is not good experience to be thrown by someone, but it is necessary to enjoy to be thrown to continue the practice. For that, Tori have to take care to throw the beginner not giving scary feeling. Instructor needs to watch students’ behavior carefully and if it becomes dangerous, he needs to give advice or give caution. The responsibility of instructor is very important.

For the beginner, it is important to remember the Aikido technique movement roughly as soon as possible. If someone says you should fall, beginner cannot understand why it is necessary to fall. If you can understand the relation between falling and the technique, then easy to guess what kind of Ukemi is needed. “Making Uke just for Ukemi” does not help progress of Ukemi technique.

During your progression, it is necessary to be able to make Uke for different Tori who has different speed, different power. Because Uke cannot exist without Tori’s movement, Uke should move without blocking the movement of Tori. The Uke should adapt his movement every occasion.

This will be related to the practice method. It is not good practice if Uke tries to hold on too much. Because Aikido’s practice is pre-defined techniques, next movement is known. It is easy to block the movement in this circumstance. But that does not lead to good progress.

Apart if your goal is tackling and knock down but to acquire good movement, it does not work. I often see a person who block the Tori’s movement saying this is teaching and training the Tori, but this is not good way of practice. After all, it is necessary to move even the body does not respond with your age. For the practice, it is better doing Uke without comment than too much explanation. He comes to Dojo for practice as well; it does not help himself.

Skillful persons may remember two or three techniques par day, but only the procedure of techniques. Even you know the procedure of technique, you cannot understand the feeling of technique without doing Uke. By many experience of Uke with senior person or with junior person, you can understand your Tori movement was good or not. In the practice, doing Uke with respect counter person, it result bring out the Tori’s best. When you do Uke, if you feel Tori’s movement is good, you can try that method when you do Tori. Repeating and accumulating such things are the every day’s practice.

Check points for reconsidering the Uke
1. Are you aware of the Uke is the offensive side?
To take hand or Uchi are offensive movement. You can not hold if there is nothing to hold, Uchi which does not reach to the Tori’s head is nonsense. The moment you attack, it is necessary to have good posture. No way to start attacking with bad distance, bad timing or unbalance position. Uke will fall by Tori’s force. Don’t make Ukemi without feeling Tori’s force.

2. When you hold the hand, do you hold from the little finger?
If you hold tight with a thumb and a forefinger, it is easy to loose the holding. Hold from the little finger, and stick to Tori’s hand. Tori moves not to break the relation with Uke, and Uke moves follow the Tori not break the relation.

3. Do you change the holding power during the technique?
When Tori is moving, if Uke changes the holding power during the technique, the movement of Tori is disturbed. You can hold strong or soft, but keep the same force and follow the Tori’s movement. If you change the holding power, it is not only disturbing the Tori’s movement but also your response become worse.

4. Do you make movement with all the body? Not stopping the movement by arm or by shoulder?
Don’t stop the movement by putting force at shoulder or arm. In case of Katate-Dori or Ryote-Dori, I often see the people fix the elbow or the wrist. Transmit the force from the contact point to all the body. Even your body is larger than Tori, don’t stop and receive the force by all the body.

5. Do you keep your contact point to the Tori in your sight?
When you make movement as Uke, Keep your contact point or holding hand in your sight. Not stare that point, but more broad view. If your head is not pointing to the connected place, it means you are just chasing the movement and not martial. If you look at the direction of falling, then your falling will be too early, (or you are falling by yourself) If you try to keep looking, your center of body will direct to the contact point. If you look until last moment, then your body can follow as well.

6. Don’t you make lazy Uke?
Lazy Uke means for example, if you make Uke for Shiho-Nage, then you just think about Shiho-Nage and you move by yourself not by force from Tori. In that case, if Tori changes the technique, you cannot follow. Don’t make lazy for any person, don’t be lazy and polish your feeling.

Personal memories of Ukemis(Doshu K.Ueshiba and uke S.Seki)
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When I started to be instructor, I am prepared for making Uke in case senior instructor calling me. The impression of Uke for each instructor is very much different. And I still remember those impressions.
I made Uke lots for Kisaburo Osawa Sensei (9th Dan). I cannot express well, but there is no collision in the movement, and when I made Uke I feel myself purified.
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Aikido demonstration by K.Osawa shihan, 1979

Of course during making Uke is not easy. I don’t know what is next technique and how. It is necessary to respond any movement. But all the experience from senior instructor are still in my memory, and very important for me. So I would like to throw my student as much as possible.
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文章出處:
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michelle
道場長
文章: 3068
註冊時間: 週五 8月 31, 2007 12:07 am
來自: 台灣台中

Re: Body and Soul of Uke_Shoji Seki Shihan(中文版)

文章 michelle »

受方的身與心     共同翻譯:謝小鳳,蔣昌言,賴彥錕
  合氣道探求雜誌:「合氣道練習的一半是受方。依據你如何當一個受方,練習的品質將會變的很不一樣。我們詢問本部道場的指導師範,在練習的時候,我們必須注意什麼才能夠是個富有成效的練習」。

關昭二(Shoji Seki)師範的回答如下:
  在合氣道的練習裡,不是只有取方、而是取方和受方彼此互相幫忙去完成一個技法。為什麼這麼說呢,那是因為你要完成的動作在第一次嘗試時是非常困難的。取方練習時藉由受方一次又一次善意的回應,然後取方將會一點一點的進步、並建立出完美的動作。

因此,我希望初學者能夠習慣被摔。一般而言,被某人摔並不是一個好的經驗,但是為了使練習能夠持續、享受被摔卻是一件必須的事。因此,取方在摔初學者的時候必須小心,不要讓他們產生恐懼的感覺。指導者必須仔細地看著學生們的動作,當動作變的危險時,必須適時地給予建議或警告,由此可見,身為一個指導者的責任是非常重要的。

  身為初學者,能夠盡快大致上的記住合氣道技法動作是很重要的。如果有人說你應該要倒下,初學者可能無法瞭解為什麼倒下是必需的。但是如果你能夠瞭解到技法和倒下之間的關係,那麼你應該就很容易能夠察覺到做什麼樣的受身動作是正確的。「做受方如果只是為了被做」,並無法幫助你的受身技巧進步。

  在學習過程中,依不同取方的速度與力量來做出相對應的受身技巧是必須的。因為受方不能沒有取方的動作而存在,受方的移動不該阻礙到取方的動作,受方應能順著各種需要而調整自己。

  這將會和練習的方法有關,受方過於用力的抓死,對於合氣道來說並不是一個好的練習。因為合氣道的技法是預先設計好的組合,下一個動作是已知的,在這樣的情況下動作是很容易被破壞的,所以用力的抓住對手,將不會導致好的學習發展。

  除非你的目標是攔截或擊倒對手,而不是做出正確的技法,不然這是行不通的。我常常看到有人中斷了取方的動作,並且說這是為了教導和訓練,但這並不是一個好的練習方法。總的來說,即使因為年齡的關係而導致心有餘而力不足,正確的受身仍然是必須的。就練習的角度而言,多做受身訓練動作,而非說太多的理論,才對受方是好的。來到道場是為了更好的訓練,花太多的時間解釋,其實是沒有幫助的。

  對一個對合氣道熟練的人來說,也許能在一天內記住2到3支技法,但這僅只是如何做這些動作。如果你沒有當過受方、你不可能完整體會技法的實際感受。多去成為不同對手的受方,在這過程中,你將也會瞭解自己的技法優缺。在練習中,當受方是尊重對手的,它將會引導取方做的更好。當你是受方時,如果你感覺到取方的動作是好的,你也可以在你做技法時嘗試那個方法。練習,就是每天重覆和累積這些事情。

重新思考受方的檢查重點
1.你知道受方是攻擊的一方嗎?
  抓或打都是攻擊的動作。如果對手沒有任何空隙讓你抓,也讓你打擊不到他的頭,那抓或打是沒有意義的。攻擊時,必須維持正確的結構,在不對的距離、不好的時機或是失去平衡時絕不出手攻擊。受方的摔出是因為取方的關係,不要在沒有感覺取方的力量時自己做出受身動作。

2.當你抓握時,是否從小指頭開始抓起?
  如果你用大姆指和食指來抓時,它將會很不容易抓緊,抓的時候從小指頭開始抓起,並且控制住取方的手,在取方移動時,要注意不能破壞和受方之間的連結,而受方跟隨著取方移動時,也不能中斷與取方的關係。

3.在技法施做的過程中,你是否有改變抓握的力量?
  當取方移動時,如果受方在做技法時改變抓握的力量,取方的動作將會受到影嚮。你可以強而有力或是輕輕的抓著,但是需要保持同樣的力量,並且跟隨著取方做出正確的回應。假如你改變了抓握的力量,它不僅會讓取方的動作混亂,而且也會使你的受身動作變的更糟。

4.你是否以全身來移動?當使用手臂或肩膀時,是否保持移動?
  當使用手臂或肩膀來動作時,要持續保持身體的移動。我常常看到有人在單手抓或雙手抓的動作裏,受方會固定住取方的手肘或是手腕,並藉由接觸的點將力量控制住取方全身。即使你的身體比取方還強壯,也要記得持續以全身來接受力量,而不是控制對手讓他不能動。

5.你和取方的接觸點是否保持在你的視線範圍內?
  當你做為一個受方在移動時,必須保持與對手的接觸點或抓握的位置在你的視線範圍內,不是只盯著那個點,而是更廣泛的看到整個視野。假如你的頭不是朝向二個人連結的地方,那就表示你只是在做著動作而不知道武術的重點。如果你看著要摔倒的方向,則你將會太早摔倒(或者是,是你自己摔出去的)。假如你試著保持看著接觸點,身體的中心將會朝向二人連結的點,如果能到最後一刻都還維持著,那麼你的受身將可以跟隨的更好。

6.你是一個懶惰的受方嗎?
  舉例說明一個懶惰的受方所代表的意思,例如在做四方摔的受方時,你是想著四方摔的動作而自己移動,而不是因為取方的動作將你帶動,否則,如果取方改變技法,你將無法同步跟隨。對任何人都不要懶惰,保持警覺,不要偷懶。

個人的受身回憶
  當我開始成為一個指導者時,我就已經準備好成為資深指導者的受方了,而在當這些指導者的受方時,每一位的印象都是非常不同的,以至於到現在我仍然記得這些感受。
  我常做為九段 大澤喜三郎老師(Kisaburo Osawa)的受方,但我仍然沒有辦法將受身表達的很好,不過至少在動作當中是沒有任何碰撞的,而且在當下我感覺自己的身跟心都更精進了。

  當然,在當受方的過程期間是不容易的,我不知道下一支技法是什麼、該如何做?指導者所做出的任何動作,我都必須要立即做出反應,但是從這些經歷中所得到的經驗,仍然全部都在我的記憶裡,而且對我而言是非常重要的,因此我喜歡儘可能的多摔我的學生。
 
*以上中文翻譯僅供參考,若有不同的見解,歡迎提出討論。
*關昭二師範已於今年(2014)晉升八段。
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