Aikido The Peaceful Martial Art                             Stefan Stenudd

Aikido basics
Kaeshi waza
Counter techniques

For introduction and basic principles, go to INTRO.

Aikido books by Stefan Stenudd

1. INTRO, Aikido basics
2. Tachiwaza - mae (standing, attacks from the front)
3. Tachiwaza - ushiro (standing, attacks from the rear)
4. Suwariwaza (tori and uke sitting)
5. Hanmi handachiwaza (tori sitting, uke standing)
6. Tantodori (defense against knife)
7. Tachidori (defense against sword)
8. Jodori (defense against staff)
9. Kaeshiwaza (counter techniques)
10. Henkawaza (changed techniques)
11. Kogeki (attacks in aikido)

Notes on kaeshiwaza

1. Techniques in parenthesis are less important or can be excluded in kaeshiwaza, because they are awkward to execute.
2. Crossed-out techniques should be excluded from kaeshiwaza, because the situation does not open for them.
3. A correctly done technique on a sincere attack, should not really be possible to counter with kaeshiwaza.
4. Countering is done by "switching roles" from uke to tori, at a certain point, by treating the other one’s aikido technique as an attack.
5. In basic techniques, the shift of "roles" should happen at a moment when the technique of the other has become specific, ie. recognizable as a certain aikido technique.
6. Kaeshiwaza should be seen as a way of improving the aikido techniques.
7. Since kaeshiwaza should be done when the technique has become specific, the initial attack form does not matter much.
8. Aikido glossary here.

KAESHIWAZA uke’s technique horizontal tori’s kaeshiwaza vertical	ikkyo	nikyo	san kyo	irimi nage	shiho nage	kote gaeshi	tenchi nage	ude kime nage	kokyu ho	koshi nage	kaiten nage
KATAMEWAZA (pinning) in order of importance	bas = basic     adv = advanced/difficult     - =not basic/possible
ikkyo omote/ura	bas	bas	bas	bas	bas	adv	-	bas	bas	bas	adv
nikyo omote/ura	bas	-	-	-	bas	bas	-	adv	-	-	adv
sankyo omote/ura	bas	bas	bas	-	-	-	bas	-	-	-	adv
yonkyo omote/ura	-	-	bas	-	-	-	bas	-	-	-	adv
(gokyo) omote/ura	-	-	-	-	-	-	-	-	-	-	-
(hijikime osae) omote/ura	-	-	-	-	-	-	-	-	-	-	-
(kaiten osae) omote/ura	-	-	-	-	-	-	-	-	-	-	-
NAGEWAZA (throw) in order of importance	bas = basic     adv = advanced/difficult     - =not basic/possible
kokyuho	bas	-	-	-	bas	bas	adv	bas	bas	-	adv
kokyunage	bas	bas	bas	-	bas	bas	-	bas	bas	bas	adv
iriminage omote/ura	bas	bas	bas	bas	bas	bas	adv	adv	bas	adv	adv
shihonage omote/ura	bas	adv	-	-	bas	adv	bas	bas	bas	adv	adv
kotegaeshi omote/ura	bas	adv	-	-	adv	-	-	bas	bas	adv	adv
tenchinage omote/ura	-	-	-	-	-	-	bas	-	bas	-	adv
kaitennage omote/ura	-	-	-	adv	-	adv	adv	-	-	-	adv
koshinage	bas	bas	-	-	adv	-	-	-	-	bas	adv
udekimenage	bas	adv	-	-	bas	bas	-	bas	adv	adv	adv
(jujigarami)	-	-	-	-	-	-	-	-	-	-	-
ushiro kiriotoshi	-	-	-	-	-	-	-	-	-	-	-
aikinage	-	-	-	-	-	-	-	-	-	-	-
aiki otoshi	-	-	-	-	-	-	-	-	-	-	-
KAESHIWAZA uke’s technique horizontal tori’s kaeshiwaza vertical	ikkyo	nikyo	san kyo	irimi nage	shiho nage	kote gaeshi	tenchi nage	ude kime nage	kokyu ho	koshi nage	kaiten nage

Comments on kaeshiwaza

1. IKKYO should not be countered before uke's arm is lifted in an arch. It is relatively easy to counter with most techniques, except tenchinage, because of the partner's arm positions.
2. NIKYO should not be countered before uke's hand is positioned for the nikyo wrist twist. Because of this position, several techniques are impractical against it.
3. SANKYO should not be countered before uke's hand is positioned for the sankyo wrist twist. Because of this position, several techniques are impractical against it.
4. YONKYO should not be countered before uke's arm is positioned for the yonkyo pressure. Because of tori's two-handed grip, most techniques are impractical against it.
5. GOKYO is not practical to counter, since it doesn't really become gokyo before the end pinning, and that is too late for kaeshiwaza.
6. HIJIKIME OSAE can be countered, but it is quite risky because of the elbow lock. It should be avoided, or practiced with care. Solutions are difficult on most counter techniques, because of tori's arm positions.
7. KAITEN OSAE is not that meaningful in kaeshiwaza, since it has to be countered before it clearly has become kaiten osae.
8. KOKYUHO can be countered at tori's first move, but not after tori has started the actual throw. It is reasonably easy to counter with most techniques.
9. KOKYUNAGE can be countered when the actual throw commences, but preferably right before that. It is rather easy to counter with most techniques.
10. IRIMINAGE should not be countered before tori moves the throwing arm toward uke. It can be countered with most techniques.
11. SHIHONAGE should not be countered before uke's arm has been lifted. Most counter techniques can be used, although with differing difficulty.
12. KOTEGAESHI should not be countered before tori prepares to turn uke's wrist. Because of tori's hand positions, several counter techniques become impractical.
13. TENCHINAGE is difficult to counter, since it is quite late in the technique that it becomes recognizable as tenchinage, and few options remain.
14. KAITENNAGE is quite difficult to counter, since it is quite late in the technique that it becomes recognizable as kaitennage, and by then uke's position is weakened.
15. KOSHINAGE should not be countered before tori has assumed a throwing position. Some counter techniques are quite easy, others very impractical.
16. UDEKIMENAGE should not be countered before tori has positioned uke's arm for the throw. Several counter techniques are quite easy, but some impractical.
17. JUJIGARAMI (also called JUJINAGE) is not practical to counter, since it is too late in the technique that it is reognizable as jujigarami, and by then uke's arms are locked.
18. USHIRO KIRIOTOSHI is not practical to counter, since it becomes recognizable right at the throwing moment.
19. AIKINAGE is not practical to counter, because it becomes recognizable at the very moment of the throw.
20. AIKI OTOSHI is not practical to counter, because it becomes recognizable too late in the technique, where uke's options are few.

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