By Robert Dziubla, 8th dan and Shihan
July 2025
As we all continue striving to improve our randori skills, I would like to share the following
comments and observations based on the summer 2025 training camp in Ohio.
3 Principles and 6 Concepts
The Three Principles and Six Concepts form the pedagogical framework for Tomiki Aikido. We
should analyze every movement we make and every waza we perform based on that. This is
fundamental.
The Three Principles are the:
1. Principle of Gentleness (ju no ri),
2. Principle of Natural Stance (shizentai no ri), and
3. Principle of Breaking Balance (kuzushi no ri).
The Six Concepts are:
1. Eye contact (metsuke)
2. Centerline (seichusen)
3. Hand Sword (tegatana)
4. Power of focused energy (toitsu ryoku)
5. Safe distance (ma-ai)
6. Power of locomotion (idoryoku)
Randori / tegatana taisabaki
Randori is the crucible in which we test the effectiveness of our techniques and our ability to
defend ourselves. It also is great aerobic exercise!
Before I proceed to explain in detail the key elements of tegatana taisabaki – which is the
bedrock for developing randori skills – let me first review our randori system.
In our training system we have three levels of competition, culminating in shiai, a tournament:
- Kakari-geiko: Kakari-geiko is the lowest level of competition. The attacker (tanto)
moves at a relatively slow speed and does not resist the defender’s (toshu) techniques.
This practice is designed to allow toshu to “connect the dots,” i.e. to try to apply the
techniques learned through kata, which is relatively static, into a more dynamic
environment where tanto is moving around and attacking from different angles. In
kakari-geiko, tanto does not resist.
- Hikitate-geiko: Hikitate-geiko is a more vigorous form of training in which tanto stabs
more aggressively but does not fully resist and instead takes the fall provided that the
technique has been done effectively. The Japanese word hikitate means to “help
someone up” or to “lend a helping hand.” In this practice, tanto gives hints and clues to
toshu as to what waza would work well at any given moment. E.g., if toshu is in a good
position to execute shomen-ate but is failing to grasp that, tanto will then move his
head back as if being thrown with shome-ate. Another example: toshu has grabbed
tanto’s arm but is fumbling as to applying, say, kote-gaeshi or oshi-taoshi. Tanto would
then move his arm in the appropriate direction to signal to toshu which of the
techniques would work better.
- Randori: in randori, tanto is stabbing as fast and aggressively as possible and goes down
only if the technique is done effectively. Tanto does not give hints or clues to toshu as
to what waza could work best at any particular moment. Randori is the battleground
where you test your mettle and see if your techniques actually work against another
trained aikidoka who knows what you may be trying to do. Based on my own
experiences, if you can make a technique work in randori, you can make it work much
more easily when you are confronted on the street by someone who won’t have a clue
as to what’s coming (assuming that you don’t freak out…and that is precisely why we
constantly train, so that we revert to our training rather than hoping we can “rise to the
occasion.”)
Shiai, a tournament bout, is randori done within the framework of a full-fledged tournament
with judges, referees, time-keepers, score-keepers and, often, a boisterous crowd cheering one
player or the other.
Why Do We Even Have Competition?
Why do we have competition and tournaments? As Tomiki Sensei wrote in his seminal
manuscript, On Jujutsu and Its Modernization:
“Randori practice, sparring practice, is something that is done to give life to, and
demonstrate the real power of, those techniques that were first learned by the student
through kata. That is to say, randori provides the means to complete a painted dragon by
filling in the eyes.”
Tomiki Sensei then went on to observe that:
“Randori and sparring help to lead us closer to both the core principles
of the martial arts and the true power that they generate by letting us
experience the techniques studied in kata as they were meant to be
performed: against a smart, resisting, and aggressive opponent. As an added
benefit, randori training leads to an indispensable and highly prized sense of
security.”
Tegatana Taisabaki
Taisabaki and tegatana taisabaki, when properly performed using the 3 Principles and 6
Concepts are the sine qua non for being an effective randori player.
Taisabaki basically means to get out of the way of an attack. “Tai” means body, and sabaki
means “management” or “manipulation.” So, within the world of Tomiki Aikido, taisabaki
means to manage or manipulate your body so as to avoid an attack. In my opinion, taisabaki is
one of the most important skills we teach.
When we practice taisabaki, the other player has a knife (tanto), and he tries to stab us within
the strike zone (from the top of the belt to the armpits). We, as the defender, then evade that
strike by using only the unsoku, the footwork, that forms a part of every practice. The defender
does not use his tegatana (hand blade) during this practice because the first principle is to use
our footwork to avoid the stab. When doing the diagonal evasions, it is very important to
ensure that you are turning your hips so as to minimize the target area and moving away.
After you have initially evaded the strike, it is critical that you immediately re-establish ma-ai.
Tegatana taisabaki is the next evolution of our training wherein we get out of the way of the
strike while using our tegatana properly to block the attack. More on that below.
After you have initially evaded the stab, it is critical to re-establish proper distance (ma-ai).
Otherwise, you almost certainly will get struck with the follow-up attack. More on that below.
And this is where the 3/6 play a crucial role.
Shizentai
First is the principle of shizentai, a natural stance. What is shizentai? It is the same as
mugamae (no stance) in our motto, which is Mushin, Mugamae. Mushin means no emotion, no
heart, while mugamae means no stance. And no stance is shizentai. When standing in
shizentai, your feet are parallel and underneath your shoulders. Your knees are slightly bent.
Your hands are by your side (not held up in front of your torso in a defensive stance). Your
weight is primarily on the balls of your feet with your heels lightly touching. Your hips are
rolled forward, i.e under your spine. Your spine is straight, and your head sits on top of your
spine.
To the casual observer, when we are standing in shizentai, nothing gives the appearance that
we are prepared to confront violent attacks or that we are a trained martial artist. It looks like
we are just standing naturally, though getting used to standing in shizentai may seem a bit
contrived at first.
When standing in shizentai, you are able to move freely and smoothly in any direction.
Conversely, if you take up a stance, i.e., a right stance, a left stance, or a horse stance, you are
signaling to your attacker that you are a trained fighter, and perhaps more importantly you
limit your ability to move in other directions. For example, if I take up a right handed stance, I
can move quickly and easily to the right, but I am equally disadvantaged in moving to the left or
other directions.
Ma-ai
Ma-ai means proper distance or a safe distance. How do you determine that distance? When
facing your unarmed opponent, you both put up your matching arms, and your fingertips
should touch. That is ma-ai. Repeated practice with different partners will eventually allow
you to know ma-ai without ever having to raise your arm. Ma-ai must become somatic
knowledge. If you are closer than ma-ai, your attacker can often strike you without ever having
to take a step. That is the road to perdition. Ma-ai gives you enough room so that you can
avoid the attack without being struck.
When your opponent is armed, whether it be with a knife, a sword, a 2×4, a broken bottle, or
any other striking weapon, ma-ai is measured by both of you putting up your matching arms
with uke including his weapon. Ma-ai is from the fingertips of the defender to the tip of uke’s
weapon.
During taisabaki practice, whether it be armed or unarmed, if one of the players thinks that maai is
wrong, he simply stops, stands in shizentai and raises his arm.
The other player should raise the mirror arm to confirm ma-ai and adjust accordingly.
Metsuke
Metsuke means eye contact, i.e. looking at your attacker’s eyes but usually with a diffused
focus. Metsuke serves two purposes. First, metsuke allows you to use your peripheral vision to
see any movement by the attacker much better than direct focus does. That is, if you
mistakenly stare at the knife in the attacker’s right hand you likely won’t see his left hand
coming around to punch you or slap and rupture your eardrum.
Secondly, metsuke can be unsettling to the attacker. Most victims do not unwaveringly watch
their attacker’s eyes.
Third, as the Japanese say, “the eyes are the window to the soul.” There is a lot of merit in that.
By looking at someone’s eyes, you can quickly make many determinations. Are the eyes
flickering around, thus signaling that the other person is on drugs or overly nervous? Are the
eyes bristling with hatred and malice? If so, you may need to adjust your tactics and defense.
By steadily focusing on your attacker’s eyes, you can begin to unnerve your attacker, as most
victims don’t do that.
Tegatana and Toitsu Ryoku
What is tegatana? It of course means “hand sword” or hand blade,” but how do you form a
tegatana? The answer is simple: four fingers together, thumb extended, and energy focused
on the blade of the hand.
By using a proper tegatana when we are evading an attack, we are then also using focused
energy (toitsu ryoku) because our energy is focused on that handblade as we apply it to block
the strike by placing it perpendicular at the wrist of the striking hand.
Seichusen
Seichusen means centerline. How do we know where our centerline is? We should intuitively
know this, but if you are unsure, then stand in shizentai, put both of your hands together as if in
prayer, and then drop one of your hands. The other hand is naturally on your centerline.
When we practice tegatana taisabaki, the routine goes like this:
– One person has a tanto (knife) and tries to stab you as explained above.
– You are standing in shizentai at ma-ai with both hands relaxedly in tegatana by
your side.
– You are using metsuke to watch your attacker and thus pick up his attack quickly
because of your peripheral vision.
– As tanto begins to move, let’s say striking with his right hand holding the knife,
you decide for example to move to your left front diagonal (one of the easiest
and safest moves). Your left tegatana will come on to your centerline (starting
low) and you will then simply step and turn your hips thus turning your
centerline and the tegatana placed thereon. Your left tegatana should make
gentle but firm contact perpendicularly at tanto’s right wrist. Your goal is NOT to
push tanto’s arm away or hit it hard. Rather, your goal is to allow the striking
arm to go where it’s going and then block it perpendicularly on your centerline
as you turn your hips. You should be using your tegatana not only to block the
strike but to prevent it from tracking you around, while simultaneously using
that tegatana as an antenna to glean information about the attacker: Is he stiff?
How strong is he? How flexible is he?
Idoryoku
Idoryoku means the power of locomotion. Obviously, when we are practicing taisabaki and
tegatana taisabaki, we are using the power of locomotion to avoid the attack. And we continue
to use idoryoku when we subsequently apply a technique.
***
I hope this discussion has been useful, and I am always happy to answer questions!
In the meantime, please do take advantage of the extensive video library on the TAA website to
review all the above plus most of the kyu-level techniques, especially the junanahon, the basic 17.
Bob Dziubla
Shihan, 8th dan
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