I'm a Swedish writer and aikido instructor, 6 dan Aikikai Shihan, former Vice Chairman of the International Aikido Federation. I've practiced aikido since 1972. I also teach the sword art iaido. Here's my budo bio.
How to do kogeki, the attack techniques, by Stefan Stenudd. All the attack techniques in aikido explained, and how to do them correctly. Click the image to see the book at Amazon.
Basic Concepts of the Peaceful Martial Art, by Stefan Stenudd. Aikido principles, philosophy, and basic ideas. Click the image to see the book at Amazon.
Increase your life energy, by Stefan Stenudd. The life energy qi (also chi or ki), with exercises on how to awaken, increase, and use it. Click the image to see the book at Amazon.
Uke nagashi URA
Aspects and considerations already treated in a previous exercise of Aikibatto, are omitted here.
Uke nagashi, the high level parry, is commented in the text on OMOTE. So is omote and ura, as well as kesagiri.
Starting position. Tori at right, uke at left.
Ura, reverse, is the second of the two Uke nagashi, differing from the first in movements five and on. Basically, the difference is that tori moves to the other side of uke after the uke nagashi parry, and the consequences thereof. Also, uke makes two charges instead of just one.
In movement five, tori is doing the same as in OMOTE, bringing the feet together and raising the sword to jodan kamae, whereas uke - because of having done the short men instead of the deep gedan cut - is quick to draw for a new cut. Uke now takes aim at the point where tori stands after the uke nagashi parry.
Tori moves over to the right side of uke, getting very near uke by this move. There is no problem in this nearness, it is actually a common dueling distance in the old samurai arts. Since the actual cutting is done by drawing the sword back, starting very near uke only means a lot more of the blade than just the outer part of it, involved in the cutting move. The step to the left with the left foot can be done immediately, but the body cannot follow until uke's sword is out of the way by being lifted to jodan kamae - and then, there is need to hurry.
The kesagiri diagonal cut is from left to right, as opposed to right to left in OMOTE, stopping above uke's right side neck. This means, when using the method of leaning with the body, that the body needs to be tilted to the left. In case of a straight body kesa cut, the sword should be held at a high kamae slightly to the left over the head - or left side hasso gamae.
The straightening of the sword in movement ten, is for a more pure and efficient chiburi at the next step. If the body is tilted from a leaning form of the kesa cut, this is the proper moment for adjusting the posture - or the backward step would be a bit awkward.
The chiburi in movement eleven, is done the same way as in OMOTE, except that it does not start from a standstill position, but begins just before the left foot step backward stops. From then on, it is the same as in OMOTE.
In iai style single training of the tori movements in this exercise, the modifications of the above would be: the kesagiri in movement eight is not stopped at neck height, but pulled through to gedan.
Uke's movements in this exercise are not very meaningful to practice in a iai solo style.
© Stefan Stenudd, 2000. You are free to any non-commercial use of this material, without having to ask for my permission. But please refer to this website, when doing so.
Aikibatto - Sword Exercises