Black Belt Essay – Erik DiVietro, Yondan

Uke as Co-Actor in Embu

Erik K. DiVietro
Tomiki Aikido of the Americas
Yondan Essay
Under the Supervision of Robert King Shihan, 7º Dan
June 20, 2024

Introduction
Previously, I have written on the necessity of Uke’s intent (DiVietro, 2016). In the
intervening years, I have continued to refine my thinking about the role of uke in the
performance of technique. This essay will be an expansion of the concepts presented in that
essay. In particular, the engagement of uke as a co-actor, heightens the performance of the embu. Understanding how this interaction works will improve an embu team’s overall presentation.

In preparation for this essay, I reviewed footage of world-level embu performance from
several world championships, as well as national competitions in Japan, the UK, and the United
States. (See the list of videos at the end of this essay.) While it must be admitted that there are
sometimes non-performance factors that might influence the objectivity of decisions (national
bias, home dojo, organizational affiliation, internal politics, etc.), it is still objectively true that
embu performance tends to be dominated by a very small group of high-level players. Emerging pairs can be observed developing certain traits that bring them up to the high level over time. The analysis offered here is a hypothesis as to how these improvements occur and the underlying coacting interactions which aid the improvements.

Embu Defined
The word embu (演武) is made up of two kanji which mean combat (演, bu) and
performance (武, en). Within the martial arts, it is generally used to describe performance of a
kata (型), a sequence of techniques which demonstrate techniques in a safe but dynamic way.
Most martial arts feature single person kata, but aikido emphasizes paired performance. In aikido embu, one partner, called uke (受け), attacks; and the other, generally called tori (取り) defends against the attack. In Tomiki Aikido, embu is performed competitively, meaning two pairs compete side-by-side and judges must determine in the moment which looked better.

Because embu is a kata demonstration and not randori, both partners work together to
perform the demonstration properly. Tori’s performance is generally the most closely studied,
but uke’s role should not be neglected. In reality, embu is a collaborative construction. It is
highly planned and choreographed performance, but it is must be presented as if it is organic and instantaneous (Ingram, 2017). To do this consistently, a balance of intent and self-protection must be maintained to keep the kata looking crisp while also being safe for both partners. The subjective nature of judging embu means that there is an element of audience engagement in the construct which will determine evaluation.

The highest level embu performances had several traits in common. First, the partners
have a sort of “unspoken language” that allows them to look relaxed and organic in performance. Second, the burden of the presentation is carried equally by both partners. It is not a matter of tori throwing uke but the two working together to make each technique look subjectively superior to the other pair performing. Third, the lines of the performance are clear and wellarticulated. This means the performance looks uniform within space. In short, the pairs that tend to rise to the top of competition are those in which there is a clear relationship that elevates both players. Here, this will be considered within the context of the idea of co-action (defined below).

Uke as Co-Actor
Most practitioners would agree that embu is not a task performed primarily by tori, but
we stop short of considering that high level performance requires much more than just a “good uke.” Ask any high level embu player, and they will emphasize the need for communication and trust between the partners. This is why pairs comprised of long-term friends, couples, or teachers and established students tend to claim more awards in competition. Innate in those relationships is a sense of what in psychological literature is called co-action.

In co-action, tasks are treated as “between subjects.” This means that both participants
track multiple elements of the tasks, provide meaningful scores or evaluations, and deal with
distractions through cooperation (Wahn et al., 2017). Co-actors must participate in the stimuli
and representative actions of the performer (Sellaro et al., 2013). From the performer’s
perspective, the co-actor shares in the task, even if they are performing a completely different
task. What is more, the engagement of a co-actor may do quite a bit to temper or even cancel out the negative impact of having to perform in competition with someone else (Turner et al., 2022).

It has been demonstrated in qualitative study that co-action improves kata performance,
even when the performances are solo, as in karate (Thomas et al., 2018). In these situations, the
co-actor is on the sideline, often serving as a coach or manager. There is no reason to doubt that co-action may be used to improve performance in paired embu in aikido as well, especially since the co-actor can physically participate rather than participating externally. It would seem to be important for uke to become more than simply the recipient of tori’s technique. Having intentional and coordinated movements within the kata, clear communication in preparation, and encouraging cues within the performance will make the uke a co-actor in tori’s actions and elevate the performance.

Phases of the Uke’s Role in Embu
Shifting from the abstraction of the concept of co-action to examination of embu, it is
necessary to make a brief digression into our understanding of performance. Because of Tomiki
Aikido’s shared heritage with judo, practitioners are generally familiar with the three phases of
tori’s role in a technique. There is (1) breaking balance (kuzushi, 崩し), (2) creating structure
(tsukuri, 作り), and then (3) moving through to create the throw (kake, 掛け). Although aikido
technique is performed from a greater distance of interaction (ma’ai, 間合) these principles still
generally apply with the addition of body movement (tai sabaki, 体捌). This is either in the form
of entrance (irimi, 入り身) or avoidance (tenkan, 転換).

Less interest and study have been devoted to uke’s role. This may be because uke is
generally believed to do more or less the same thing in every situation. This is not true, however. After reviewing video of high-level performances shows, I have concluded that best embu pairs always include an uke whose movement is consistent and predictable across multiple performances. There are three observable phases of uke’s movement (Lefebvre, 2016).

Phase 1: Attack
Uke moves toward tori with intentional and consistent movement. This includes uke’s
initial stance and orientation to tori. This initial stage signals tori, perhaps at a subconscious
level.

• Initiation of Movement: It is important that uke initiate movement in the same line and
  with the same type of energy in every performance. Both partners should map the
  movements out on the mat when practicing and develop an innate feel for the moment of
  initiation, since tori needs to be seen as reacting to it, even in a rehearsed form.
• Projected Trajectory: Begin hand movement in the same timing and at the same angle every time. For example, if the attack is shomen uchi, it should inscribe the same arc every time. Shortening or lengthening the arc, turning the hands, or moving out of rhythm with your footwork will subtly change the timing and loosen the technique’s performance.
• Completion of Movement: Perhaps the most difficult component of uke’s role is the intentional non-anticipation of the throw or technique. The attack must be completed as intended, fulfilling the projected trajectory. When the attack phase is shortened or “pulled” in anticipation, it is immediately apparent.

While variety is important in training for randori and self-defense applications, in kata,
this initiation must be worked out between the partners and executed consistently by uke. When uke is consistent, support and confidence for tori is evident. An inconsistent attack, on the other hand, can be perceived as competitive, or possibly even an attempt to limit tori’s performance.

Phase 2: Interaction
As uke makes contact and completes his attack movement, a narrow space is created for
tori’s reaction. Maintaining posture (kamae, 構) and creating a consistent moment of contact
(dori, 取り) ensures that tori can act in a similarly predictable manner. When the interaction
occurs at the same height, location on tori’s body, and force, tori’s avoidance and technique will then be the same every time. This, in turn, protects uke because they can be confident that the throw will be the same.

It is important that this phase have continuity with the attack phase. During the
interaction phase, uke must remain intentional in movement and maintain their line. This
includes how they react to tori’s initiation of technique. Observers must be “sold” on the
effectiveness of tori’s technique, even though they know tori is not acting with destructive intent. Uke must therefore be careful not to react until acted upon.

Phase 3: Reaction
When uke receives tori’s technique, they must demonstrate the effectiveness of the
technique while simultaneously protecting themselves through judicious means (ukemi, 受身).
The most obvious area of failure in this phase is “throwing yourself” into a flying breakfall (tobi
ukemi, 飛受身).

• Proportional Reaction: When uke is receiving technique, they must move at the speed the technique is being performed. The timing should never lag behind the technique, but running ahead of it is equally detrimental. When the partners maintain a consistent timing, the reaction appears proportional to the technique.
• Relationship of Lines of Movement: The best reactions are those which reverse along the line of uke’s initial movement and projected trajectory. If those lines are clean, then the reaction should simply go back along those lines. This makes the form look tight, minimizes extraneous twisting and compression, and therefore presents well to the observer. One area which is often missed here is that all techniques occur in three dimensions, which means there are multiple lines of interaction. All should be considered in planning out the form.

Perhaps nowhere is the need for co-action apparent than in the reaction phase. Uke needs
to be conscious of position during technique, and they need to communicate changes or
confirmations to tori so they can work together. Even the best of entrances and performances can be marred by poor ukemi.

Conclusion
The phased description of uke’s role is perhaps a bit too simplified in this essay. This
simplicity was necessitated by the medium of the written word. Consider this essay as a proposal of process rather than a conclusion in itself. Within the context of embu, if pairs employ this phased process as a structure for developing co-action, perhaps they can develop their own unique approach to the forms that present well for competition because of the coherence and shared tasking. It is important to note again that the judging of embu is inherently subjective. Each judge evaluates forms with their own internal understanding, and so developing any method for “winning” will inevitably only address probable expectations. Reviewing the footage, however, it does appear that, on the whole, most high-level pairs operate within a paradigm similar to what is proposed here

References
DiVietro, E (2016). The necessity of uke’s intent in kata and randori. Unpublished paper
[Tomiki Aikido of the Americas]. https://tomiki.org/wpcontent/uploads/2024/06/divietro2016nidan.pdf
Ingram, E. (2017). Over the ropes: boundary play in professional wrestling. Illinois State
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Lefebvre, A. (2016). The coordination of moves in Aikido interaction. Gesture 15(2), 123–155.
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Sellaro, R., Treccani, B., Rubichi, S., & Cubelli, R. (2013). When co-action eliminates the Simon
effect: Disentangling the impact of co-actor’s presence and task sharing on joint-task
performance. Frontiers in Psychology 4, 844. https://doi.org/10.3389/fpsyg.2013.00844
Thomas, S., Lugo, R. G., Channon, A., and Spence, A. (2018). The influence of competitive coaction on kata performance. Martial Arts Studies, 5, 52–60.
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Videos Reviewed
Beardsmore, L. (2019, July 28). Pamela Dempsey and Keith McClean won silver in Dan
Junanahon [Private Video]. Facebook.
https://www.facebook.com/groups/BritishAikido/posts/10162152265130165/
Bonnett, P. (2013, August 2). SAF World Championships 2013 Goshin no Kata [Video].
YouTube. https://www.youtube.com/watch?v=b34odDj6s0Y
DiVietro, E. (2019, July 27). Keith Mcclean and Pamela Dempsey absolutely blowing it up in Ju
Nana Hon. [Video] Facebook.
https://www.facebook.com/696244049/videos/10157807948139050/
Dublin Tomiki Aikido. (2022, April 11). Dan Grade Tanto Junanahon final at BAA Nationals
2022 [Video]. YouTube. https://www.youtube.com/watch?v=uEsa1enRgMs
Dublin Tomiki Aikido. (2023, August 1). Dan Grade Tanto Junanahon Semi Finals – WSAF
2023 [Video]. YouTube. https://www.youtube.com/watch?v=74Amzr0vDu0
Dublin Tomiki Aikido. (2024, April 15). Micheal vs James – Men’s Dan Grade Tanto Randori
Final – BAA Nationals 2024[Video].
YouTube. https://www.youtube.com/watch?v=KdiZP-rYKyY
kdashi0. (2017, August 27). WSAF London 2017 Goshin No Kata 3rd place [Video].
YouTube. https://www.youtube.com/watch?v=6bdOmJQpJgA
kdashi0. (2017b, August 27). WSAF London 2017 Tanto Junanahon 1 [Video].
YouTube. https://www.youtube.com/watch?v=KHM3IT6PbGg
King, R. (2016, April 15). JAA/USA san dan tests, circa 1991: Calderhead and Walters [Video].
YouTube. https://www.youtube.com/watch?v=VFyfGHLdUR8
Manchester Budo Club. (2019, June 8). Koryu Dai San no Kata Comparison [Video].
YouTube. https://www.youtube.com/watch?v=R9MN06Bo3Vw
Ockendon, J. (2024, June 18). WSAF world aikido championship 2023 – Dai San final [Video].
YouTube. https://www.youtube.com/watch?v=Sm8TU4OLzUA
Shodokan Aikido Federation Yokikai. (2019b, July 28). 28th July 2019 The 2nd WSAF World
Aikido Championships in San Diego The Final Goshin no kata [Video].
YouTube. https://www.youtube.com/watch?v=BjwfX7_VKjE
Shodokan Aikido Federation Yokikai. (2022, May 3). 2019/7/26 The 2nd WSAF World Aikido
Championships in San Diego Kongo Dantiai Sen 2 [Video].
YouTube. https://www.youtube.com/watch?v=6D8GsEtup5Y
Shodokan Aikido Federation Yokikai. (2022b, August 26). 2022.6.23 高津 AC 演武競技 基本
技稽古情況 [Video]. YouTube. https://www.youtube.com/watch?v=Xaj4M1URswA