Onna No Atemi Waza

Onna No]/glossary] [glossary]Atemi Waza involves the use of female percussive striking techniques. Female strikes are not simply the opposite of Otoko No Atemi Waza. Nor are they intended to be dainty or effeminate strikes.

Onna No Atemi Waza is used for the following purposes:

  • To cause pain and/or injury
  • To move an opponent into a more advantageous position
  • To control an opponent such that a void is or is not created
  • To enable a rapid succession of strikes in a short period of time
  • To juke an opponent to gain instantaneous control
  • To perpetually destabilize an opponent and compromise his or her structural integrity
  • To confuse, disorient, and bewilder an opponent
  • To rob an opponent of one or more sensory perceptions
  • To demoralize and intimidate an opponent
  • To position an opponent for a subsequent Otoko No Atemi
  • To initiate Nage
  • To reposition yourself relative to your opponent
  • To check some portion of an opponent’s body
  • To preclude the retraction of some part of the opponent’s body
  • To preclude the extension of some part of the opponent’s body
  • To intercept an opponent in rotation
  • To employ contouring movements

In reality this is only a partial list. What can be accomplished with Onna No Atemi Waza is boundless. Because of the variety of uses and movements involved in these strikes it is not possible to define a set of criteria for their use. But here are some common characteristics of these strikes:

  • The movements are either:
    • Very short and quick, or
    • Long and circular
  • Strikes can be done with any part of the body, including but not limited to:
    • A fist
    • Fingers
    • An open palm
    • The back of the open hand
    • The wrist (inside, side, or back)
    • The forearm (any surface)
    • The elbow (any surface)
    • Upper arm (any surface).
    • Shoulders
    • Upper torso
    • Hips
    • Thigh (any surface)
    • Knee (any surface)
    • Lower leg (any surface)
    • Heel
    • Foot
    • Toes
  • Each movement positions yourself or your opponent for a natural subsequent strike of some sort
  • Two subsequent motions will generally not be along the same geographic plane
  • Two subsequent motions may operate on and amplify the same axis of rotation

In rare cases the head can even be used (though you will want to avoid sudden impacts involving your head). What you undoubtedly notice is that virtually any part of your body can be used as a weapon under the appropriate circumstances.

These strikes take some time to get used to, especially if you have only been considering Otoko No Atemi Waza previously. These strikes are best practiced with a cooperative partner who will move, perhaps slowly at first, in a way that would mimic an opponent’s movements. See which short strikes might be used to retard a retraction or circumvent an extension. See which movements might keep an opponent from moving away from you, or which might pull an opponent closer.

This can all be very confusing when you first encounter it. Here is an example of a sequence of these strikes that you might find enlightening.

  1. As your opponent closes (let’s say with a Migi Oi Tsuki{/glossary]), step forward and impact them to the left side of their face, at about the level of their cheekbone, with the inside of your right forearm.
  2. Rotate your right forearm and quickly press a strike into their lower left jaw using the underside of your forearm.
  3. Drop your forearm down into the opponents shoulder area, striking with the outside edge of your forearm as you open your hand fully and point your fingers to the ground behind your opponent’s back.
  4. Pull forward with your right hand against the back of the opponent’s shoulder so that they are moved forward slightly.
  5. Bend the right forearm and deliver an [glossary]Tate Empi Uchi to the opponent’s collar bone.
  6. Slap the opponent’s left ear with your open right hand.
  7. Strike with a Migi Shuto Uchi to the opponent’s neck using your right hand.

There you have it in a nutshell. All of these strikes were performed with a single hand. These strikes are so fast and varied, with one strike leading immediately to another without any explicit retraction or unnecessary movement. This entire sequence of movements might be delivered in as little as a single second or two. That’s the power of Onna No Atemi Waza.

In reality you would likely use both hands to deliver alternate (not necessarily alternating) sets of strikes in which one strike sets the opponent up to receive the next strike. Some strikes will have more of a positioning effect, while others may be quite impacting. There is no preferred sequence or set of movements. You need to experiment to see what you are comfortable with, and then extend your horizons so uncomfortable or difficult sequences become part of your subconscious movement repertoire.

You will do much more with these types of movements in later belts. It is introduced here so that you have time to experiment with these movements and become acquainted with what is possible using the Onna No Atemi Waza concept. You will want to practice this rather extensively. It will ultimately become an essential skill.

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.