The roles of Uke (the receiver) and Tori (the giver) are central to the practice of Junomichi.

Most of time and too often, these roles are seen as fixed: Tori initiates a movement or technique, and Uke simply receives or counters it. However, in Junomichi, these roles are fluid and interdependent. Uke and Tori are not in opposition; instead, they are collaborators working towards the same goal, the creation of Ippon. This is true in very dynamic contexts of randori and shiai.

In randori, the practice allows spontaneous movement. However, the underlying principle remains the same: Uke and Tori are engage in an exchange where each helps the other refine their technique and understanding. Through this collaborative process, they strive to create an Ippon, where the interaction flows naturally, without resistance or excessive force. In randori, the goal is about mutual improvement through free-flowing practice.

In shiai, the setting is the creation of an Ippon that reflects perfect harmony between the two partners. Even in this environment, the principles of No Opposition and collaboration remain crucial. The purpose of shiai is to demonstrate an Ippon that comes from a deep understanding of timing, balance, and mutual respect. The result is the ongoing search for Ippon, where both Uke and Tori’s roles blend seamlessly. This search is about finding the moment of perfect balance and harmony. Through their collaboration, they aim to create an Ippon that embodies the principles of Junomichi. The Ippon is the natural result of their combined efforts, reflecting unity in action, respect, and mutual understanding. In this way, the search for Ippon is an expression of their commitment to working within the five principles, whether in randori, shiai, or more formal practice.

This collaboration is guided by the first principle of No Opposition. Rather than resisting each other’s energy or movements, Uke and Tori flow together, each one complementing the other. Tori initiates the action, but it is not with the intention of conquering or defeating Uke. Instead, Tori’s role is to propose an action that Uke can receive, respond to, and return. Uke, on the other hand, is not passive. Uke actively engages with the movement, responding to Tori’s actions with awareness and presence.

The interaction between Uke and Tori can be understood through the concept of the crest line, a metaphor for the point of perfect balance. The crest line represents the delicate point where the forces of Uke and Tori meet in harmony.

As the practice progresses, Uke and Tori flow between their roles, with Uke naturally becoming Tori and Tori becoming Uke. This fluid exchange reflects the principle of Hara Mobility, where movement originates from the body’s centre of energy, the Hara. Through this centre, practitioners maintain a state of constant, dynamic balance, always ready to adapt and move with their partner’s energy.

The relationship between Uke and Tori in Junomichi is about mutual respect and cooperation. Both practitioners must fully engage with each other, continuously adjusting and responding to create the conditions for an Ippon. Through this process, they move beyond simple technical execution, engaging in a form of practice that is deeply connected to mental and moral development.