MORIHEI UYESHIBA-From a lecture SOA p9 ^[2]

A

Aiki Nage 

Aiki Nage [Aiki Throw]

In all probability after a certain point in his life, all forms, techniques, demonstrations executed and every life threatening event answered by self defense by the founder were manifestations of Aiki Nage. The master demarked stages of development of the mastery, integration and understanding of the system and reality. ^{[See Shu, ha, ri] [ALSO]}  He used the process as a template, created a system as a technology to replicate similar action in the world. The price was winnowing of the soul, removal of barriers, great striving and ultimately dedicated service.  All that followed bread crumbs left by his passing essentially aspire to similar objectives, of course, any individual acquisition is both a testimonial to personal greatness and often an act of grace from the universe. 

K. Uyeshiba writes about Aiki-Nage:

Form, Function, and Philosophy:

It is probably a good thing that this "Aiki" performance comes early alphabetically. It can act as a preamble to what follows. This term represents many intertwined concepts and issues regarding philosophy, the physical form of the process, efficacy, and east/west interpretation. In addition it represents the highest level of performance. Brushing up against these issues early on, provides the western practitioner, and perhaps our philosophical heritage, a representational model to understanding. However, it should be made clear that the "form" of the practice over all, is the media for transmission of ideas not transmittable by words or other forms of conveyance. ^[5] 

How does one define or evaluate performance of this nature. Remember the isolated event structure is the name of the entire path. For westerners this might present a conundrum. However, in many ways it makes absolute sense, you cannot have one without the other. One must initiate the experience of the path, live it to be it, travel the path to know the path, to become the path. For all persons that desire spiritual fulfillment the process begins with intention, an idea. Aiki is the source of the idea and the resultant of the process. 

Aikido is science, art and philosophy:

How does one practice something like this, because it transcends technique in the conventional sense. The process provides the answer, the path is the method which, like life, matures as it is traversed. Aikidō is craft, and art, it has both introversion and extroversion. ^{[See Shu, ha, ri]} One must master the physical aspects of technique, copy the teacher, and confront all internal issues, reflect. There are physiologic considerations and psychologic ramifications. In the context of training there is considerable overlap of ideation and form. All of the performances have the seed of Aiki. As in other kata environments, the secret lies in the kata. ^[6] Here too the practice conditions the response. The internal / external attributes of the methodology often churns confusion. Even confusion is part of the mosaic intended to come to clarity over time. It requires dedication, perseverance, and faith. This is life, in science there are contradictory questions that frame answers, in poetry there is irony that paints images.  Confusion is part of the mechanism of evolution. Aikidō is science, art and philosophy.

No Stagnation:

In the above statement by K. Uyeshiba he speaks of no stagnation. The oriental healing arts provide a considerable understanding of this condition, or state of being. This is characteristic of the language base that uses icons or characters to represent ideas. ^[7] Each icon has a metaphor etymologically associated with it. For now, the reader should recognize that in Traditional Oriental Medicine there are two general causal elements in disease, exogenous and endogenous, internal and external. This is just a formula to partition cause and effect relationships that are in cosmic terms unity. ^[8] Traditionally there was no schism between body, mind and spirit with respect to symptoms, in other words each experience on the part of the individual has weight when making an assessment, and is considered in the process of cure. Of course, certain symptoms take priority similar to western medicine. For example, one stops bleeding because it is life threatening.  In chronic conditions, many pathologies are seen as the result of obstruction, stagnation, or other forms of barriers in body, mind or spirit. Please understand, while this is essentially correct, it is still simplistic in terms of approach and resolution of human health issues. This does however, lend some understanding of the use of the phrase "no stagnation" in this context.^[9]  

A healthy aware state exists internally when there is obstruction, stagnation, or barriers. In subtle form the early stages of decline insinuate on the body, mind and spirit moving from dis-ease (disharmony), to eventual disease or pathology over time. Decline is similar to incline. ^[10] There are symptomatic pictures of individuals that are also confronting issues and resolving them. 

Life is transited through the process that is Aikidō. There are similar guideposts to individual growth. No stagnation implies the work is completed, or at the very least at any given time, event structure, all is in harmony, both internally and externally. The process of epiphany, the momentary grasping of great truth, grows inside, until a rather ripe condition arrives in the individual. ^[11]  The process is cumulative and synergistic. The ability to perform Aiki Nage or Waza, is both a reinforcement of the ideal and an example or symptom of progress on the path. Clearly, to even those that witness such events there is a reinforcement of the ideal. ^[12]

Aikido and Natural:

Aikidō is not about mere limited form, it is about understanding and expressing nature in its most fundament sense. 

This quotation is in context of a very clear discussion regarding form, function and philosophy. The concept of "enter by form, and exit from form" is actually an adaptation from far older teachings spawned almost at the beginnings of esoteric thought.^[13]  It connotes cumulative understanding by direct contact with the material process, and transcendence through merging of the self with aspects of that process. Here will not be an exhaustive discussion of these matters, however, suffice it to state, the founder often spoke in esoteric terms, as indicated. He often referred to the terms yang and yin to describe the intimate balance between forces, and material reality, on all levels. ^[15] 

Not through words alone:

In order to have such experiences much must be recognized that is not representable in words. Please note that even the word 'represent' commonly used in English is etymologically evolved from Greek origins which mean to make present. The creative function of  human sentience makes many things, ideas, and objects, present. To deny the diverse mechanism that this implies is to reject the possibility of evolution of the species. Perhaps, many issues relate to the way so called reality has been adjusted to only infer aspects of the so called material world. In all modes of inquiry and expression there is a dynamic interplay between abstraction and compliance with the mechanisms of the world. Culturally, philosophically, and individually each have characteristic, unique perspectives on form. Due to the age and intactness of Eastern traditions there are artifacts which have evolved over time that retain ideas, representations, discovered in cultural contexts predating current technology and external instrumentalities that expand perception. 

This has both positive and negative attributes. While there evolves a repository of information designed to interact with reality, it does not mean that all individuals in the cultural container are exposed or competent with respect to certain matters. In all contexts one must discriminate. Each person must test exposure to events and knowledge bases to verify representational accuracy. Many superstitions and mythologies evolve that distort what may have been very accurate appraisals of the workings of the universe, but as time passed the metaphor lost veracity. As cultures disappeared into history the metaphor was occasionally lost entirely. The work is not complete. ^[15]

The epistemology of the east considers many subtle observations that are not necessarily collinear with current, western, scientific methodology or even the constructed material world generally. However, the divide that this once represented is narrowing. The gap between science and more etheric, spiritual, worlds produce less schism to the intellect. Perhaps the west with its particular predilection to science and technology are creating new metaphors that are discovering very similar attributes of nature. The science of Aikidō lies in an intimate understanding of Biomechanics, and other observations, including behavior, but these are merely current terms applied to another tradition that observed the matter without the benefit or liability of these tools. The Founder often stated "if it doesn't work, they won't believe it." He was the performance verifying the path, all others merely followed his example. He got people's attention. 

Levels of instruction and achievement:

 As one examines the nature of waza, other features of the totality of Aikidō are revealed. There are exoteric and esoteric compartmentalization, there are times when baggage must be left behind to climb higher on the mountain. 

Perhaps a long quote but a meaningful one. However, this is not all and it is suggested that readers plow through this reference and other materials to sort out ideas. 

Jiyuwaza:

The practice of Jiyuwaza can set the conditions for elevated performance.    It is in many respects very advanced training, ukeme must also improve to be flawless. Therefore, the conditions require a state of evolution inside the Dojo that is conducive to this exploration. One cannot travel the path alone. All peers, students and teachers are caught in this net. The relationship between student and teacher, is one of merely relative position. Sensei means born before. This of itself is rife with implication. It is not about how old one is in the body. The preceptor relationship is one of mentor, rabbi, guide. This implies a form of reciprocity between teacher and student. While the student has an obligation to the teacher to be diligent and respectful, the responsibility associated with the role of teacher is similarly great and complex, imbued with profound respect and diligence. 

Growth is not exclusive to either party, we learn from one another as we serve one another. To have Aiki-nage under all conditions means that even the so called enemy is embraced as one would a family member. Power and compassion merge, heaven and earth become connected through the process. The lessons have many implications, they are not words, they are actions. Such experiences in turn form experiences that are transmitted from person to person, they form an echo that reverberates to the end of time. To perform Aiki is to live forever. 

Aiki Otoshi 

Aiki Otoshi [Blending drop throw, Aiki drop]

This technique is somewhat unique, it is almost always performed in the context of Ushiro and has relatively few ramified brother's and sisters. Balance is essential, Nage drifts Uke forward in part by extension and uprooting and in part by stepping, sliding low and behind Uke's legs cantilevering his/her balance where they are dropped in front of Nage. This might be considered a specific named technique, similar to Judo technical forms. There are other such techniques for example, Siddori, which employ a combination of low subtle movement, impeccable timing and dramatic compliance with Uke's intent and flow to uproot Uke's center. Uke drops like a water balloon, thus the name. 

G

Gokyo 

Gokyo / Gokajo [Fifth teaching]

This is the last numbered teaching commonly taught in Aikidō. However, anecdotal information indicates that there were additional numbered techniques, teachings and  principles which numbered in all ten.  Perhaps, for the most part, the other "teachings" were eventually abandoned or submerged into the basic five. Anyone that has an insight on such matters are encouraged to contact. 

Gokyo is characterized by hand position and its application to weapon taking. Where Yonkyo is specific regarding the mechanism that inflicts persuasive pain and creates a barrier by extension of Ki. Gokyo permits moving around the threat of the edged, business end, of a bladed weapon. Both technical applications require substantial accumulated skill acquired through honing and absorbing prior teachings to execute effectively and with characteristic panache. 

I find Gokyo somewhat of a mystery. The form of the technique with its unique hand position is part of the dilemma. The major issue is how does it fit in, especially in terms of the larger technical package presented. It is well known that this technique was directed to tanto dori or other forms of weapon taking. So there is somewhat of a solicitation here. Those of you that have insights on the niche this fills and other incidentals please comment. 

H

Hanmi-

handachi

Hanmihandachi

[Uke standing, Nage sitting to standing]

Class of waza where Nage starts sitting and Uke is standing. Nage in the process of completing whichever waza rises to standing. While most of these techniques are completed in the standing posture it is not always essential, but rising from seated in the process is. Most specific principles can be extracted from this humble beginning. For example, Hanmihandach kotegaeshi, Hanmihandach Shihonage, Hanmihandach sumiotoshi, etc. all can be performed out of this starting pose. It is similar to swari waza in that it encourages powerful, flexible leg muscles. It also simulates working with a taller opponent. 

As one becomes more involved in the martial arts there is recognition that stratagems evolve around circumstances that might pose a threat. This can be a conduit to paranoid behavior, a survival mechanism and an expansion of human creativity and ability. Albeit many such adaptations are not designed for the benefit of the many, just a few.  Many specific skill sets developed in Japan to address situations that implied threat. 

Virtually all of what is today Iaido, is legacy of threat, stratagem and acculturation of ideation on the paranoid side. However, in this time it is a vehicle, or aesthetic, that comprises an art form to achieve other objectives transcendent of the urgency of the former circumstances.  In North America the quick draw with a side arm and marksmanship was a survival mechanism honed over time. Such were the battle arts of Japan, but be assured such behaviors are not exclusive to this context, and much can be discussed regarding this matter.

Bushi, particularly in the early years, were essentially ascetics, they tended to lead a Spartan life. And in general people were relatively poor when it came to material wealth. Chairs and other furniture, common place in the west did not proliferate in the east. Humans sat on the floor, rooms were multipurpose and ceilings were not high. The issue of rising from sitting while protecting one's self was bound to arise. In a real sense hanmi handachi is a refined abstraction of this urgency, but not so refined that one cannot see the history, psychology, practicality, and goals of such forms. However, on the more transcendent side, it reflects attention and flexibility of movement throughout the entire life, even while engaging in tedious or merely everyday activities. 

Within this, as in swari waza, there are analogues associated with iaido, sword drawing and jitsu, grappling. When one is attacked there is urgency. One could be ambushed at any time, or attacked while simply sitting down for a meal or several cups of saki.  Moving from seated to standing powerfully and elegantly not only makes one look good, it is good for you. 

Hantai

Hantai [switching sides, adjustment step]

This is essentially a gross movement of the body. However, it is not quite a turn nor is it strictly entering. When  one is confronted with a powerful, accurate and committed strike, sometimes it is best to adjust the space to slightly skew the angle of entry. Hantai as a term refers to this sort of movement. It is not written about much but it is used allot. It has basic faces. Sometimes it involves sliding the foot back to adjust space, sometimes it is a full step behind with a slight partial turn. It is both an adjustment and a gathering of the force of the blow to permit it to pass. The movement and placement of the feet and center absorb the shock of the strike and the hands direct the focus of force downward in front of nage, centered, where it can be managed. The force of the attack technique is converted into an Aiki form as Uke begins to orbit about the center of nage.  

Ikkyo

Ikkyo / Ikkajo [First Principle / Teaching]

At the center of all things lies the first principle. 

BREATH POWER, ENTERING, punching, and especially the harmonious movement of waist and knees, are completely intensified in this art. In earlier days this was the first to be learned by beginners. Hence it is called ikkyo--" form one" p. 57 

While one matures in training, patterns arise that make sense of how training is conducted. This is merely a reflection of the intrinsically profound structure associated with Aikidō as the founder codified it.  One must always remember his words, he did not invent Aikidō, he discovered it.   This in some ways places him at the very least on a par with greats like Patanjali, who codified the yoga sutras.   However, while his was a profound investigative / scholarly act, Uyeshiba's digging unearthed the Aiki philosophical system from an entirely different perspective and the process derived drives to point many fundamental issues associated with human interaction not treated in other contexts.   His work was not just about his evolution but also about humanities intermingling and the nature of friction inevitably generated by brushing up against one another. 

Ikkyo has many faces.   Like Irimi, Ikkyo is a component, albeit sometimes cloaked component, of all form.   It has an alpha and omega quality.   Because in the process of training, beginner and advanced, one always returns to it to assist clearing the mind and honing perspective on what is fundamental, ikkyo.   Ikkyo is about initiation, about not just capturing another's spirit, but grasping the nature of that spirit.   It is also about what precedes events, a chain of cause and effect back to origin.  Before Nikkyo, and Sankyo there is Ikkyo.   Inside, as well, is Ikkyo.   In addition inside Irimi, omote, and other concepts lies ikkyo.   Even inside shihonage, it performs the basic initiation of the waza. Ikkyo can rise or fall, it has yang and yin manifestations that fold into one another.   It knows / grasps / captures spirit, balance and intent simultaneously as musubi comes. 

Thus the rising and falling of all spirals intentioned by Uke can be appropriately resolved in context of ikkyo.   Ikkyo resides in the fundamental geometries that comprise both Aiki form and cosmic movement.   One should not be surprised, no pun.    I share this tidbit with my students with expectation they will also ruminate over implications and extrapolations generated by the extraordinarily parsimonious declaration.   When such elements are so intimately entwined it is part of the process to discriminate where certain principle and form issues arise.   Perhaps they are inseparable, almost like life and breath.

Students and teachers should investigate Ikkyo both on the mat and off. There are many fine treatments of the concept, particularly M. Saotome, Chapter five, The Principles of Aikido. In time additional reference will be provided for reference and archival purposes.  

Irimi

Irimi [Entering] 

In all probability students hear the instructor saying irimi all the time, but by itself it is not actually referring to a specific technique, it refers to the shortest distance between two points that complies with not harming, remaining centered, being safe, resolving forces always consistent with truth. It is remarkably succinct. Irimi is a class or grouping of entering concepts that reflect global Aikidō concepts. The concept, like so many in Aikidō is global, equational and somewhat a priori.  There is a hierarchy of performance that indicates the totality of the integration of body, mind and spirit. 

This matrix in some ways forms a teleology, where the lowest of waza performance simply clones behavior or gathers information. The higher reflect understanding of principles and geometries of cause and effect. The most elevated positions in process imply integration with universal principles and existence. In this sense the entire mosaic of Aikidō comprises a philosophical system. The ontology subsumes a relatively well formed epistemology, based on science, mathematics (reality based and adaptive evolutional conduits), personal physiologic / psychologic integration, creative goal directed community conduct consistent and complying with natural law or cosmic principles. In essence classical construction, metaphysics, physics, aesthetics and ethics. [See Sho, ha ri]

While this implies a literal translation of "Entering the Body" this terse interpretation obscures the rich implications metaphorically and practically of the form.  Straight on entering movement into the attacker. This has many physical, psychological and spiritual implications. It might be correctly that conceptually, spiritually and in fact irimi and ikkyo merge because they are merely descriptors of a single event structure in the here and now. 

It is the very essence of honing one's intent to the goal with the confidence that the universe will support the movement. The movement is not merely into the body but also the spirit, not just of the opponent but the entire event structure. It is bold and pure. This action reflects Aiki with parsimony and manifold explication. It has transcendent qualities. It is not about petty motives and issues associated with security and control. The nature of the event is greater than control because the desire for control must be abandoned or transcended to achieve the objective. This term is linked to omote, marabashi, echi go echi ai, shikaku, and many other reflections of the same principle.

Most experienced sensei's can render extended commentaries regarding irimi and its relationship to ikkyo and other principles and concepts. Students should discuss import and form perspectives.

Iriminage

Iriminage [Entering throw]

Student's, in attempts to classify irimi-nagi, or to comply with dogmatic interpretations of Aiki concepts, often believe this is one characteristic throw, but again it is more a classification of techniques, forms or principles generated from certain conditions. 

In Aikido, by the late K. Uyeshiba, it is described 

As these issues are fleshed out there will be more information regarding such matters. For now suffice it to say, the basic flow chart for this concept is omote and ura, as is typical of all Aiki movement. Again omote generally means to the front and it is connected to direct entering, irimi.  Ura connotes to the back and is related to tenkan, or gross body movement, rotational, turning, movement, (as in tai sabaki). While these differentiations appear initially equivalent, they are not. They are specifics within a class, also while there is taxonomy associated with relationships, there are taxonomies associated with movements or forms of execution. 

The basic nature of Aikidō is relational, ideas orbit around one another to hone understanding of events and participants in the most highly contentious of all niches humankind engages, that is war and personal combat. The process contains the observer, the participant, who cognates at various levels of perception the working of nature. The most highly evolved of all action seeks and achieves the heart of the matter, and shatters the illusion generated by that which is not in accord with the greater movements of universal law and perhaps consciousness. Interpretively, we perceive god or creation from a finite perspective that instantly grasps events in terms of the heart of the matter. A common attribute of this experience is a form of cultured abandonment that permits letting go of all baggage enabling perception to transcend personal boundaries and limitations to experience the diving in all events. It is victory over self, as the work reaches its completion.  

This is a form of teleological hierarchy that ascends to the purist forms associated with principle and geometric form. The mechanism or heuristic model moves from the more gross to the more refined. All forms of Kata, fractal model, and technique essentially spawn in this fashion. Clearly, this is the construct characteristic of the Aikidō process model. The interweaving of practical application and real world exposure to esoteric concepts contributes to making Aikidō a Philosophy in the purest sense. 

As a technique Nage enters directly on initiation to either pass the attack as it comes to him or deflect, direct the attack to simulate passing by and Uke swirling in an upward spiral eventually becomes prey to gravity. Either arm can be used, or the body, or the intention of the attacker.  The event structure is a proving ground of both efficacy and compassion, everyone wins, all become stronger wiser and more resolved.   

Jiyuwaza

Jiyuwaza 

[Extemporaneous attacks, Freeform Resolution]

Judo has randori, Aikidō has Jiyuwaza. While Jiyuwaza is intended to stress and maximize performance it is not competitive. Randori is essentially competitive, and is an import from Judo.  If any given participant can win epon, a point through a clean throw,  they win the round and thus the object is to gain epon in Randori, and be the next to continue. Jiyuwaza is a performance between Nage and sometimes multiple Uke where there is no predetermined attack or resolution.  There are usually committed, high velocity attacks but Uke is still required to perform ukeme otherwise people would be injured. Jiyuwaza is an extemporaneous performance art done with mutual respect, great vigor, without injury or intent to diminish.  

Jyuji Garame

Jyuji Garame [Figure "+" throw]

Kaitennage

Kaitennage [Rotary throw]

Heaven's spiral, or screw of heaven,

During the second great war, the Japanese had troops that would sacrifice their lives as living bombs. The ones that flew aircraft were called Kamikaze. There were others. There were small one man submarines crafted to carry explosives like a torpedo to enemy ships. These men and machines were called Kaiten.  Partly the name was derived from the rotor of the propeller of the sub, the other implication was the metaphor of divine inspiration, aspiration and intervention. However, it was not a very successful plot. 

Often this waza is considered an impractical contrivance or an Aiki affectation.  This waza is very rich in revealing aspects of form and reflects the ebb and flow of energies within the yang / yin  metaphor. 

Kokyuho

kokyuho [Breath Technique]

Kokyu-Nage

kokyu-Nage [Breath Throw]

Kokyu-

tanden-ho

Kokyutandenho

[Breath/center technique]

Koshinage 

Koshinage [Hip throw]

Kotegaeshi

Kotegaeshi [Wrist throw]

Less  Than, Before		Hand		To Make Small

Nage 

Nage 

The thrower is the throw. The iconography associated with Nage represents both the person and the event structure, it is another example of both irony and cohesiveness in concept and design. Although this may stretch the metaphor, one should consider that every art, or waza, principle or form represent a lesson bent on integration of the self to the event. This might also be construed as a Ten Chi analogy, the intent or mind of the event molds the physical manifestation of form. Personally I am dubious about accidents, this does not appear to be accidental or a mere linguistic idiosyncrasy or pun. 

Nikyo

Nikyo, Nikajo

[Second Principle / Teaching]

Omote

Omote [Front]

Randori

Randori

["Chaotic" multi-person techniques]

Sankyo

Sankyo, Sankajo, 

[Third Teaching / Principle]

Shihonage

Shihonage

[Four directional/dimensional throw]

Sumi-Otoshi 

Sumi Otoshi [Corner throw]

Suwariwaza

Suwariwaza [Sitting techniques]

Tai no Henkou

Tai no Henkou [Basic blend]

What is usually referred to as Tai no henkou is actually a Sotai Dosa, paired exercise classed as Tai No Tenkan-ho ^{[see elaboration]} designed to practice movement without cutting off the "unseen tie" between Nage and Uke. [p. 34-5] To sever, manipulate, impede or distort the tie (musubi) modifies the nature of Aiki. In order to place this in perspective students should acquaint themselves with several other terms and contexts fundamental to the training milieu.  The following are essentially considered Basic Preparatory Exercises ^{[Aikido; p. 27]}  and are classed under Tandoku Dosa or solo exercises. There are considerable adaptations from these basic forms or formulas. Readers should also consider evolutionary trends with respect to these basic demarcations or taxonomies. So please read and ruminate, commentary here is not intended to be the final word on the subject, just a clarification of issues. 

It would be superficial to interpret these basic forms, exercises, concepts as separate.  They do stress different aspects of fundamental motion and psycho/spiritual state.  The internal states referred to in these brief explanations can be extended to many creative processes, including other martial arts.  While it is true that the martial form of Aikido is unique to a purpose, it is also an eclectic collection, extrapolation, and evolution from previous systems. Thus it is built on the prior strata including cosmological, mythological, linguistic and philosophical. 

It is tedious for teachers to convey many of these nuances associated with the tradition, distinguish current evolution and adaptations in usage of terms. Now that many concepts are translated into the diverse languages to which Aikido has migrated the original nuance might be lost. Clearly, for those of us who are not Japanese speakers know it is extra effort to explore these issues, so at least our interpretation of the art form reflects original intent.  Clearly, there is little likelihood that we will get it all. 

Tenchinage 

Tenchinage

[Heaven and Earth throw] 

This is one of my favorite techniques and topics.  Ten reflects heaven, Chi reflects earth.   I consider this a symbol of Aikido.  As all techniques are formed to reflect the essence of Aiki it might be said that all performances are formulated to symbolize Aikido, or from which the entirety of the process can be expanded or extrapolated.  Tenchi-nage has a special quality in that it defines a relationship between sewing and reaping, as above so below, and many other so called metaphysical metaphors. In the perspective of performance these are not mere words, here form is an enactment, an affirmation, of the tie that binds the spiritual and material world.   To make spiritual power part of material life, the practice must extract subterfuge and illusion, and make all things clear.   The best affirmation is that which is very clear and filled with much intent. Service is spiraling up to heaven and returning it to earth. 

Tenkan 

Tenkan [ Step Pivot]

Tenkan is a movement only applied to the actions of Nage. Sometimes to understand something it is necessary to understand what it is not.   To most practitioners the common tenkan term is seen only as rotating or pivoting behind uke.  The original K. Uyeshiba text distinguishes certain fundamental movements of the lower extremities as pivot and step pivot.   Most instructors focus on what is a step pivot and subsume the latter within this context.   However, there is a distinction. 

Tenkan is mostly related to Ura, below, but it can be used in other placements.  The hard and fast rules of these forms blend into adaptive movement associated with Uke's intent, direction of flow. While it is important for students to recognize the distinctions between all forms represented by technical terms, they should also realize that they are merely representations of aspects of the totality of the Aikido mosaic. 

Ura 

Ura [Rear]

Ura and Omote describe relationships that on the banal side refer to front and back. For example, one can perform Kotegaieshi omote and ura just by configuration of the hand. It is my take that these terms reflect the action of nage, whereas Ushiro indicates the action of uke. S

Ushiro Waza

Ushirowaza

[Techniques generated from attack from behind]

Ushiro literally refers to the back, concerning the back, to or around  the back. Waza refers to technique, or method. It would appear that all techniques or forms that have the modifier Ushiro might be considered Ushiro Waza, but additional modifiers further specify nomenclature for techniques and references. 

Ushiro appears to exclusively pertain to the actions of Uke, not nage.   So it implies an intention of stealth, from behind on the part of the attacker.   Nage develops a unique form of adaptation through this waza.   Therefore, ushiro connotes, has a metaphor to be explored.   Most issues in one's psyche that are true impediments to growth are hidden from plain view, the practitioner must evolve a sense of vision that exposes these drives, impulses and causal mechanisms to fully grasp their implications to their lives. When we are babies many feelings come attached to experiences that to our immature minds have no representational structure.   They can smash into our souls like a meteor, leaving great scars, but there is no sound.  These events motivate in many ways.   This is the template for the world constantly bombarding our perception with data, some acceptable, some not so delectable.   There is no absolute determinant that an impact will be good or bad.   People tend to reach into their inner resources to adapt to all influences, this is a testimonial to flexibility with respect to change.   We can overcome ourselves, leave the past behind, and maintain that which is productive and joyful. It is largely a matter of choice and determination. 

The process of the waza implies great repose, vigilance and sensitivity.   It also notes that not all threat, problems or challenges approach from the front, there is always the hidden and covert that waits also for reconciliation, perhaps issues arrive when the individual is prepared.   Perhaps this metaphor might be strained to include the influences of Karma, but this is for the reader to consider inside themselves.   While the external process of training proceeds the internal mechanisms of Aiki churn inside every person that experiences a slice of the path. 

Regarding Ukemi, (breakfalls) there are basic forms, front falls (mae-ukemi), back falls (ushiro ukemi) and side falls (yoko-ukemi), that describe the specific form executed in association with a technique.    While this explanation appears quite tedious it is not atypical of any language attempting to describe reality. [p.24 Aikido] Of all the forms of falling, pitching oneself blindly backward connotes a high degree of internal control and abandonment, it is a valuable skill to promote faith, courage and centering. 

Another traditional reference is associated with Basic Preparatory Exercises.  [p.21 Aikido]  this describes what is usually known as a back stretch but it is initiated from Uke grasping from the back.   The form is called Uhiro-tori Tenkan-ho (Behind: grasped hands body turning) [p.38].   This is not strictly speaking a waza because it has no falling component.   However, the distinction is slight because Nage must still perform movements consistent with Aikido biomechanics and philosophy, thus there is a honing of technique inside the form.   Uke benefits from a nice stretch.  

The following is a list of Ushiro techniques from Aikido by K. Uyeshiba.   Readers will note that many of the above technique descriptions are attached to the initiation indicated by Ushiro.

However, experienced practitioners will immediately note that this is a short list of forms generated with the initial attack scenario or sequence of Ushiro. All forms Ikkyo (Ikkajo), Nikyo (Nikajo), Sankyo (Sankajo), Sumio-toshi, Shihonage, etc., can be generated from the attack, and certain applications, like a strangle, punch or wrist grab. In addition atemi can be executed in transit. The scenario is designed to instruct within boundaries, but it is also not intended to create boundaries associated with creative performance of Aiki. Ushiro can be a very creative art form. 

I find this incident interesting and instructive. I am blessed with many fine students, and one of them, a Ukrainian woman instructor, (who will remain nameless until I have her permission to attach her name to this story), was waiting alone for a tram after practice. The city was Keiv, things were a bit lawless after the fall of the USSR, and it paid to know how to defend oneself.  There was a kiosk, and she related that she was looking at the stuff displayed, saying to herself, " what shall I buy" when someone grabbed her by the shoulders from the rear. Initially, she thought it was one of her friends messing with her, so she turned around, however, it was not a friend. She saw a very tall man, with, as she said, a big red face and crazy smile. She said "what do you want." He responded by starting to push on her shoulders. Her action was without thought. She released tension, floated down underneath his body, and he flew over her from behind landing unconscious in a puddle in front of her.  She then walked over to him, prodded him with her foot and said "Now what do you want?" The entire event took seconds, her action was without intention or design. She then realized that the other people at the bus stop were applauding. It was for her more than a mere physical success, she felt it, every nuance of Aiki from initiation to completion. The aggressor brought it on himself, and she had the presence to determine if he was friend or foe.  Not all events turn out this way, but sometimes life surprises you. She lives for Aiki, and I congratulate her. 

Many people consider the Ushiro format, as with other Aikido technical constructs, unrealistic or contrived. The instruction derived form Ushiro is profound, as in other technique packages, most discard the central teachings of Aikido to conform with their notions of effectiveness or martial practicality. The founder understood these issues and constructed the overall format of Aikido practice to gradually erode the neediness associated with chasing stratagems for specific offences and defenses. Aikido is bigger than these small ideations. Higher ideals subsume lower issues. It is part of the mosaic codified by Uyeshiba to mold body, mind and spirit, and to not encourage that which does not contribute to the overall lesson plan. 

Waza

Waza ^{[Conditioning the spirit]}

In every art one must have an educated practiced hand.   Surgeons must have extraordinary hand eye coordination and complete comprehension when lives are at stake.   In fact the term Sergeon, is derived from the Greek word for craft, chiros.   Painters must know their media, control their brush.    Welders must manipulate their bead.   Glass workers must work with gravity, comply with expansion of hot gas, understand chemistry, coefficients of expansion and move smoothly, quickly and confidently.   Poets, musicians, scientists, pilots, and almost every profession must conduct forms of rituals that make their performance possible, so at some point in the process it becomes second nature, a part of them that comes from nature, and resides secondarily in the individual that plies the trade, art or process.    This system set has relevance to every tool making, handicraft, expression and manufacture of human hands derived from intellect.   Habits must be examined and adjusted in all activities to excel in performance.    In war, battle, one can make few errors or they die.   The urgency associated with the prospect of one's own death changes the character of constructing habits and reactive mechanisms to be very succinct and perceptive.   Here, to live there can be no error.   Thus there is Waza.

Yonkyo