Aikido - The Blog

Ikkyo, Nikyo, and Sankyo as Geometric Principles by Ross Robertson

2005-08-10T13:55:00.000-05:00

It is self-evident that the names we use for our aikido movement forms are not rigorous or systematic in any way. Some names are poetic, as with "tenchinage" (Heaven and Earth Throw). Some are descriptive, as with "kotegaeshi" (Forearm Twist). Some names refer to the morphological form, for example "jujinage" (Figure Ten Throw). Still others may refer to a simple direction of progression, as with "zenponage" (Forward Throw).

And then there is the numeric sequence of ikkyo, nikyo, sankyo, and so on (also called ikkajo, nikajo, sankajo... in some systems). These translate roughly as "First Teaching, Second Teaching, Third Teaching..." But what are the principles behind these teachings, exactly? Why these forms, in this sequence?

There is not, to my knowledge, a clear historical explanation as to how these forms acquired these designations. They all have in common that they refer to methods of manipulating the arm, or of a set of postures of the arm. But kotegaeshi and shihonage (Four Direction Throw) also suggest arm postures... why are they not similarly numbered? Some have suggested that the numbers refer to a possible sequence of execution, that is, nikyo may follow naturally from ikkyo, sankyo from nikyo. I have also heard the suggestion that the numbers refer to how many joints are being affected. None of these explanations seem particularly compelling.

The anatomical form of ikkyo is generally pronation of the entire arm. The wrist and elbow may or may not be flexed. Nikyo is typically pronation of the forearm, supination of the upper arm, and flexion of the wrist and elbow. Sankyo is mainly pronation of the forearm, usually manipulated indirectly via the hand and wrist. Again, there does not seem to be a logical progression to this ordered sequence.

This being the case, I would like to propose a new way of looking at these forms and why we might justify arranging them in this sequence. I specifically am not claiming any insights as to the historical reasons. Rather, this is an a posterori explanation which I find useful in communicating these teachings.

I propose that ikkyo, nikyo, and sankyo may be viewed not only as anatomical forms, but as the geometric principles of the Line, the Curve, and the Spiral.

Ikkyo

Dr. Stephen McAdam, Chief Instructor of the University of Texas Aikido Club, observed that all variations of of ikkyo serve to accomplish one goal: to move the shoulder forward sufficiently such that it is no longer supported by the hips. Once the system has been moved beyond its support structures, a collapse is inevitable. This understanding is primary, and underlies all other attack and defense forms.

We see that gravity implies a straight line along which things must be arranged if they are to stand. This same line is the vector of a fall, where no support is present (and no other forces are in effect, such as forward momentum).

We could, if we wished, extend the Principle of the Line in other ways. For example, when an attacker has the intent to pursue a target, a straight line is established between the aggressor and their goal (regardless of which path they ultimately take to reach the goal). Defenders who recognize this line can then act upon it, before tactile contact has even been made.

So, the axis of attraction may be viewed as the first principle. Understanding this forms the basis for successive principles.

In its simplest variation, ikkyo the defense form is expressed as a straight arm leading the shoulder off its support and then straight down. It is not necessary to twist (pronate) the arm for this to be successful.

Ikkyo is idealized as aikido in a single dimension.

Nikyo

Nikyo, then, is the Principle of the Curve. The first perturbation of a line will create a curve, or a wave pattern. If the principle of ikkyo is applied, but obstacles or interferences are introduced along the way, the straight line is deviated. Water dripping down a window pane or a leaf falling through air illustrate this dynamic.

In an attack dynamic, the line of intent may similarly be manipulated favorably for the defender. The defender is an "attractive" force operating on the attacker (though of course it is really the attacker's motive and follow-through that are the true forces in play, the effect is much the same). So, if the target moves after an attack has been launched, course corrections must be made which result in deviations from the original path of intent. This can serve the purpose of destabilizing much of the attack, and new trajectories may be introduced. Again, all of this may take place before tactile contact.

As a defense form, nikkyo is made manifest in the arm. The straight arm is now bent into curves, and the sine wave is almost visible. Furthermore, nikyo is more easily applied when moving the arm in a falling leaf pattern, than when cutting straight down.

Nikyo is aikido expressed in two dimensions.

Sankyo

Sankyo is the Principle of the Spiral. More specifically, it is the type of spiral known as the Helix. The line and the curve now have a rotational component added around the original axis.

Many aikido dynamics have a whirlpool quality to them. The attacker follows the line of Ikkyo attraction toward a goal. The target is in motion, and so a curvature in space is in effect created. Like two bodies orbiting around a common center, an imaginary gravity well results. When the system is sufficiently destabilized, one of the bodies will succumb to actual gravity. In this case, a downward spiral describes the trajectory.

Sankyo the defense form may be applied as an upward spiral or a downward spiral, or both in succession. Pronation or forward twisting about the axis of the forearm is characteristic.

Sankyo is aikido in three dimensions.

A Look At Abe Sensei

2005-08-06T22:09:00.000-05:00

Seiseki Abe Sensei is one of Japan's foremost masters of calligraphy and Aikido. Born in 1915, Abe Sensei began to practice calligraphy in 1934 when he was 19 years old. He was introduced to calligraphy by his father, who had taught it as an elementary school teacher. As Abe Sensei expressed in a 1991 interview, "...Even now I have very vivid memories of my father's breathing method as he taught calligraphy. I felt my father's way of breathing and it made a very strong impression on me - not just the writing of the letters, but the breathing power along with the writing of the characters."

Abe Sensei met the founder of Aikido, Morihei Ueshiba, in 1952. Known as O-Sensei, (great teacher) Ueshiba Sensei is world renown as one of the most gifted martial artists that has ever lived. Abe Sensei noticed that the breathing method that O-Sensei had mastered through aikido and misogi (ritual purification) was like the way of breathing of calligraphy. He saw this was the connection point between these two seemingly different arts, and immediately began his aikido training.

For the last ten or so years of his life, O-Sensei spent one third of every month living at Abe Sensei's home and teaching at the dojo Abe Sensei had built for him there. O-Sensei also recognized the connection between martial arts and calligraphy and so he began his study of calligraphy under Abe Sensei's direction. This close proximity, extremely rare within the strict Japanese code between master and student, gave Abe Sensei the opportunity to learn the inner-most aspects of Aikido directly from the founder of the art. O-Sensei promoted Abe Sensei to the highest rank, that of 10th degree black belt.

It Is Harder To Get Out Of The Way Of A Sword Than I Thought

2005-07-26T09:33:00.000-05:00

Ok, so I went to Aikido last night and there were only 3 of us there + our senior student, Steve Mathews, soon to be Sandan. Steve was teaching the class last night and he decided to do some work with Bokken take-always.

So we all grab a Bokken and split up. I felt pretty confident and was able to use the irimi concept to get out of the way of the attacks. Apart from Steve telling me not to look at the floor when I disarmed my opponent, all was well.

It seems that Steve felt differently. He sat us down and told Rick to get his shinai and went into a speech about being able to get out of the way when a person is "really" trying to hit you.

From this point on, I had a very hard time getting out of the way of strikes. I would have to agree that there is nothing like defending against someone that is really trying to hit you. This gives me a massive amount of respect for O'Sensei defending against live blades.

Lesson learned, practice with shinais often to simulate a true attack!

O'Sensei And His Crew

2005-07-21T09:32:00.000-05:00

Well, it has been a few days since my last update to the Blog.

My original intent was get some images of Saotome Shihan doing some sword work, but I was not able to come up with any images that I really liked.

While on my search for photos of Saotome Shihan, I ran into this photo which shows O'sensei and his students. By now, you have probably guessed that Saotome Shihan is in this photo, and you guessed right. Saotome Shihan is the 3rd student from the left.

Saotome Shihan will be in Nashville this coming October and I hope all of you will be there! Even if you do not train in Aikido, and live near Nashville, it might be worth your time to just observe and see this man in action.

Ki Is The Key!!!!

2005-07-10T22:24:00.000-05:00

INTERVIEW WITH KOICHI TOHEI (2)What is true aikido?

Mind-Body Unification (Shin Shin Toitsu) and Ueshiba SenseiUeshiba Sensei was an individual who showed what it means to exist in a relaxed state, to possess true ki, and to have a unified mind and body. His posture was as solid as a rock and you couldn’t budge him no matter how you pushed or pulled; yet he would toss me effortlessly without ever letting me feel that he was using any strength at all. I was astounded that such a person should actually exist in the world.
More than anything, what Ueshiba Sensei taught me was that a relaxed state is the most powerful. He himself was living proof of that.
I don’t think there is anyone these days who can truly demonstrate this the way he could. This truly wonderful quality that he took such great pains to develop— not stories about him pulling pine trees out of the ground and other nonsense—is what we should try to leave to future generations.
Why Ueshiba Sensei forbade shiai (matches)IUeshiba Sensei did not allow shiai. In a real shiai the goal is to deprive your opponent of his power utterly and completely; failing to do that, you can’t claim victory. On the other hand, modern shiai are governed by rules that have been established for the sake of safety and to preserve the lives of the combatants, and it is within these rules that victory and defeat are determined.
Such contests, however, are actually sports, and therefore are not really shiai in the true sense of the word. Judo, for example, has been designed so that players can get up off the mat after being thrown any number of times. This is possible only because judo is a sport; in reality such a thing would not occur.
In the past, shiai meant that you either tried to kill or severely injure your opponent, or at least render him incapable of further resistance. Otherwise, the match would be considered unfinished and without a victor.
Budo, by its very nature does not involve competitive fighting. If you examine the Chinese characters you will find that they literally mean “the way of stopping the weapon.” You lay down your own weapn and at the same time make your enemy lay down his. In other words, defeating people is not the goal; rather true budo is the completion and perfection of your own self. This is what Ueshiba Sensei always said.
To maintain our safety and preserve our lives we have to establish rules. But deciding victory and defeat within those rules automatically places us in the realm of sports. And Ueshiba Sensei was adamant all his life that aikido is a budo, not a sport.

What Ueshiba Sensei taught:

While Sensei felt deeply about this underlying principle of budo, he never really taught us anything about it in concrete terms. When we were training he would come around and tell us to “put some power into it.” And yet, when he himself demonstrated techniques he was totally relaxed! What he said and what he did, in other words, were completely different.
He also used to say fantastic things like, “The gods became like smoke and entered my body,” and “In all the world, past and present, even among saints and wise men, there has never been anyone who could understand what I say, and even I myself, though I am saying it, do not understand.” Now how in the world were we supposed to make anything of talk like that!?
Sensei was as solid as a rock but also very relaxed, and that combination made him extremely strong. He had mastered relaxation by completely integrating it into his body.
If I had not been fortunate enough to meet Ueshiba Sensei, I probably would have lived my whole life without ever knowing about this type and degree of relaxation. I’m very grateful to him for showing me that.
I never paid as much attention to what Sensei said as to what he did. You could ask him all the questions you wanted and never understand his answers. He would just show you and say something to the effect of “It’s done like this.”
Eventually I also met Tempu Nakamura Sensei, from whom I first heard the words, “The mind moves the body.” Hearing this I thought, “That’s it! That’s all there is to it! It’s so simple!” I started looking more closely for that kind of thing and indeed discovered that Ueshiba Sensei would move his opponents’ bodies by leading their minds (kokoro). And he did it while completely relaxed. It would have been good if he had simply taught us that, but he never did.
After thinking about it for a while I realized that for the mind to lead the body, and in order to lead your opponent’s mind, you first have to be capable of controlling your own mind. I set out with great enthusiasm studying how to do that. In other words, I had discovered that unifying the mind and body is a fundamental underpinning of aikido.
Nevertheless, because Sensei kept saying things like “Pin your opponent strongly” when he taught, people misinterpreted his meaning. When he died, the kind of aikido he wanted to pass on to us simply vanished.
The “Four Major Principles of Mind and Body Unification” that I teach now are actually things that Ueshiba Sensei demonstrated with his body. The Shin Shin Toitsu aikido that I teach is the aikido Ueshiba Sensei wanted to teach.
In a great deal of aikido today, the collusive way in which people practice allows ineffective techniques to be passed off as the real thing. Such aikido will only be criticized and ridiculed. People take advantage of the fact that there are no matches in aikido and allow themselves to train in collusion. The result is that they lead themselves into self-satisfaction, conceit, and arrogance. With Ueshiba Sensei’s death, true ki and the principle of mind and body unification vanished from aikido.
Guiding Principles for Aikido practiceAikido is criticized as fake, especially when people go around demonstrating using only their own students, not letting anybody else try, and this is a consequence of the fact that the principle of ki has been lost from aikido.
It is mistake to think that aikido is a path through which you match your own ki with the ki of others. Ueshiba Sensei said, “Five and five for ten, two and eight for ten.” In other words, aiki is merging your power of two with a power of eight to get a power equaling ten. Or matching your power of five with another power of five to get a power equaling ten. Ueshiba Sensei said that is an essential principle of aikido. However, I have always said that aikido is matching your ki with the ki of heaven and earth, rather than with the ki of other people. There is only one heaven and earth, and if we merge our bodies with that, then all people will come to merge with us.
Our minds and bodies have been given to us by heaven and earth, and when we are able to unify our minds with our bodies, the power of heaven and earth comes surging out. This energy is inherent in everyone. What I teach is how to polish and draw forth that energy.
Aikido prohibits matches because permitting them would result in a departure from the true meaning of budo. On the other hand, almost everyone has some sort of desire to improve, as well as to compete; these are what stimulate us to make efforts and give us hope that we can develop ourselves.
Aikido prohibits matches because matches are concerned with the issue of winning or losing. There would be no problem if matches were not about victory and defeat, but rather about how much we can unify the mind that we have been given by heaven and earth to discover our fullest potential as human beings. With this in mind I established what we call the Shin Shin Toitsu Aikido Competition, an event not for displays of circus-like techniques or other curiosities, but rather an opportunity to test this mind-body unification that anyone has the potential to attain. This event is not limited to Ki Society members; anyone can participate. But those unable to unify their mind and body won’t get very far in the competition.
I’ve taught mind and body unification to people like baseball star Sadaharu Oh and sumo wrestler Chiyonofuji. The fact is, there is nothing to lose in practicing it, no negative aspects whatsoever. The other day I was even teaching the Yomiuri Giants baseball team.
All I hope to do is teach mind and body unification. I want people everywhere in the world to have the opportunity to make their lives—which, it goes without saying, they only have one chance to live—meaningful through the spirit of Shinshin Toitsu Aikido.

The 42nd Annual Aikikai Demonstration in Japan

2005-07-06T09:01:00.000-05:00

So here is a picture of Doshu, the grandson of O'sensei, demonstrating Aikido at the 42 annual Aikikai Demonstration in Japan. I would love to go to one of these demos and see some of the best Aikidoka in the world demonstrate thier stuff. There are a bunch more pictures at http://www.aikikai.or.jp/Eng/newsletter/2004/zennihon42/alljapan42.htm. Go check it out!

What's Up With Steven Seagal Anyway?

2005-07-01T11:42:00.000-05:00

Is Steven Seagal really an Aikidoka? What is his rank?

Steven Seagal really is an Aikido instructor (or was, until his movie career got in the way). He has a rank of seventh dan (Aikikai) and has run his own dojo in both Japan and the United States. Most of what you see in the movies, however, is not Aikido as it is practised in the dojo. Some argue that it is not Aikido at all.

His Aikido is for real. Here's what Wendy Palmer had to say in "Aikido in America":

He has great throws. Very energetic, very fast, very powerful. He would throw me -- bam! -- I'd hit the mat; the spit would fly out of my mouth, that kind of thing, just really powerful. [...] He had very good Aikido. He really did. He threw me very energetically. At that time he was not particularly muscled. He was strong, aiki-strong, but he didn't have a kind of gym-muscle body at all. This throws were very fast, very energetic. You never knew what happened. He could do that art.

Just incase anyone wanted to know for sure.

Google Earth

2005-06-28T21:36:00.000-05:00

Welcome to Google Earth. Http://earth.google.com

Ok, I know that this is supposed to be the Aikido blog, but I had to make a post about the new Google World program. This thing rocks! Ok so what is it? It is a browser for the planet. You can type in any place on the face of the planet and you get zoomed into space and then zoomed into your destination.......freaking rad!!! Best part of the whole thing is that it is free!

Keeping with the Aikido feel, this picture is of Tokyo Japan, home of the Hombu Dojo!!!

Go get this now! Endless hours of fun!

Bettis, I just used the program to check out Jeju!

A Look Into The Mind Of O'sensei

2005-06-26T16:35:00.000-05:00

Morihei and Kishomaru Ueshiba - interview

The following interuiew, conducted by two unnamed newspapermen, appeared in the Japanese-language text Aikido by Kisshomaru Ueshiba, Tokyo, 1957, pages 198 -219. It was translated from the Japanese by Stanley Pranin and Katsuaki Terasawa.

A: When I was a college student my philosophy professor showed us a portrait of a famous philosopher, and now I am struck by his resemblance to you, Sensei.

O Sensei: I see. Maybe I should have entered into the field of philosophy instead. The spiritual side of me is more emphasized than the physical side.

B: It is said that Aikido is quite different from Karate and Judo.

O Sensei: In my opinion, it can be said to be the true martial art. The reason for this is that it is a martial art based on universal truth. This universe is composed of many different parts, and yet the universe as a whole is united as a family and symbolizes the ultimate state of peace.
Holding such a view of the universe, Aikido cannot be anything but a martial art of love. It cannot be a martial art of violence. For this reason Aikido can be said to be another manifestation of the Creator of the universe. In other words, Aikido is like a giant (immense in nature). Therefore, in Aikido, heaven and earth become the training grounds. The state of mind of the Aikidoist must be peaceful and totally non-violent. That is to say, that special state of mind which brings violence into a state of harmony. And this I think is the true spirit of Japanese martial arts. We have been given this earth to transform into a heaven on earth. War-like activity is totally outof place.

A: It is quite different from the traditional martial arts, then.

O Sensei: Indeed, it is quite different. If we look back over time, we see how the martial arts have been abused. During the Sengoku Period (1482-1558-Sengoku meaning "warring countries") local lords used the martial arts as a fighting tool to serve their own private interests and to satisfy their greed. This I think was totally inappropriate. Since I myself taught martial arts to be~used for the purpose of killing others to soldiers during the War, I became deeply troubled after the conflict ended. This motivated me to discover the true spirit of Aikido seven years ago, at which time I came upon the idea of building a heaven on earth. The reason for this resolution was that although heaven and earth (i.e., the physical universe) have reached a state of perfection and are relatively stable in their evolution, humankind (in particular theJapanese people) seems to be in a state of upheaval. First of all, we must change this situation. The realization of this mission is the path to the evolution of universal humanity. When I came to this realization, I concluded that the true state of Aikido is love and harmony. Thus the "bu" (martial) in Aikido is the expression of love. I was studying Aikido in order to serve my country. Thus, the spirit of Aikido can only be love and harmony. Aikido was born in accordance with the principles and workings of the universe. Therefore, it is a budo (martial art) of absolute victory.

B: Would you talk about the principles of Aikido? The general public regards Aikido as something mystical like ninjutsu, since you, Sensei, fell huge opponents with lightningspeed and have lifted objects weighing several hundred pounds.

O Sensei: It only seems to be mystical. In Aikido we utilize the power of the opponent completely. So the more power the opponent uses, the easier it is for you.

B: Then, in that sense, there is Aiki in Judo, too, since in Judo you synchronize yourself with the rhythm of your opponent. If he pulls, you push; if he pushes, you pull. You move him according to this principle and make him lose his balance and then apply your technique.

O Sensei: In Aikido, there is absolutely no attack. To attack means that the spirit has already lost. We adhere to the principle of absolute non-resistance, that is to say, we do not oppose the attacker. Thus, there is no opponent in Aikido. The victory in Aikido is masakatsu and agatsu; since you win over everything in accordance with the mission of heaven, you possess absolute strength.

B: Does that mean "o no sen"? (This term refers to a late response to an attack.)

O Sensei: Absolutely not. It is not a question of either "sensen no sen" or "sen no sen". If I were to try to verbalize it I would say that you control your opponent without trying to control him. That is, the state of continuous victory. There isn't any question of winning over or losing to an opponent. In this sense, there is no opponent in Aikido. Even if you have an opponent, he becomes a part of you, a partner you control only.

B: How many techniques are there in Aikido?

O Sensei: There are about 3,000 basic techniques, and each one of them has 16 variations . . . so there are many thousands. Depending on the situation, you create new ones.

A: When did you begin the study of martial arts?

O Sensei: At about the age of 14 or 15. First I learned Tenshinyo-ryu Jiujitsu from Tozawa Tokusaburo Sensei, then Kito-ryu, Yagyu ryu, Aioi-ryu, Shinkage-ryu, all of them Jiujitsu forms. However, I thought there might be a true form of budo elsewhere. I tried Hozoin-ryu Sojitsu and Kendo. But all of these arts are concerned with one-to-one combat forms and they could not satisfy me. So I visited many parts of the country seeking the Way and training. . . but all in vain.

A: Is that the ascetic training of the warrior?

O Sensei: Yes, the search for the true budo. When I used to go to other schools I would never challenge the sensei of the dojo. An individual in charge of a dojo is burdened with many things, so it is very hard for him to display his true ability. I would pay him the proper respects and learn from him. If I judged myself superior, I would again pay him my respects and return home.

B: Then you did not learn Aikido from the beginning.
B: When did Aikido come into being?

O Sensei: As I said before, I went to many places seeking the true budo..Then, when I was about 30 years old, I settled in Hokkaido. On one occasion, while staying at Hisada Inn in Engaru, Kitami Province, I met a certain Takeda Sokaku Sensei of the Aizu clan. He taught Daito-ryu Jiujitsu. During the 30 days in which I leamed from him I felt something like an inspiration. Later, I invited this teacher to my home and together with 15 or 16 of my employees became a student seeking the essence of budo.

B: Did you discover Aikido while you were learning Daito-ryu under Takeda Sokaku?

O Sensei: No. It would be more accurate to say that Takeda Sensei opened my eyes to budo.

A: Then were there any special circumstances surrounding your discovery of Aikido?

O Sensei: Yes. It happened this way. My father became critically ill in 1918. I requested leave from Takeda Sensei and set out for my home. On my way home, I was told that if you went to Ayabe near Kyoto and dedicated a prayer then any disease would be cured. So, I went there and met Deguchi Onisaburo. Afterwards, when I arrived home, I learned that my father was already dead. Even though I had metm Deguchi only once, I decided to move to Ayabe with my family and I ended up staying until the latter part of the Taisho period (around 1925). Yes . . . at that time I was about 40 years old. One day I was drying myself off by the well. Suddenly, a cascade of blinding golden flashes came down from the sky enveloping my body. Then immediately my body became larger and larger, attaining the size of the entire universe. While overwhelmed by this experience I suddenly realized that one should not think of trying to win. The form of budo must be love. One should live in love. This is Aikido and this is the old form of the posture in Kenjitsu. After this realization I was overjoyed and could not hold back the tears.

B: Then, in budo, it is not good to be strong. Since olden times the unification of "ken" and "Zen" has been tauqht. Indeed, the essence of budo cannot be understood without emptying your mind. In that state, neither right nor wrong have meaning.

O Sensei: As I said previously, the essence of budo is the Way of masakatsu and agatsu.

B: I have heard a story about how you were involved with a fight with about 150 workers.

O Sensei: I was? As I remember. . . Deguchi Sensei went to Mongolia in 1924 in order to accomplish his goal of a greater Asian community in line with the national policy. I accompanied him on his request even though I was asked to enter the Army. We traveled in Mongolia and Manchuria. While in the latter country, we encountered a group of mounted bandits and heavy shooting broke out. I returned their fire with a mauser and then proceeded to run into the midst of the bandits, attacking them fiercely, and they dispersed. I succeeded in escaping danger.

A: I understand, Sensei, that you have many connections with Manchuria. Did you spend a long time there?

O Sensei: Since that incident I have been to Manchuria quite often. I was an advisor on martial arts for the Shimbuden organization as well as for Kenkyoku University in Mongolia. For this reason, I have been well received there.

B: Hino Ashihei wrote a story called "Oja no Za" in Shosetsu Shincho in which he discusses the youthful period of Tenryu Saburo, rebel of the Sumo world, and his encounter with the martial art of Aikido and its true spirit. Does that involve you, Sensei?

O Sensei: Yes.

B: Then, does that mean that you were associated with Tenryu for some period?

O Sensei: Yes. He stayed in my house for about three months.

B: Was this in Manchuria?

O Sensei: Yes. I met him when we were making the rounds after a celebration marking the 10th anniversary of the establishment of the overnment of Manchuria. There was a handsome lookinQ man at the party and many people prodding him on with such comments as, "This Sensei has tremendous strength. How about testing yourself against him?" I asked someone at my side who this person was. It was explained to me that he was the famous Tenryu who had withdrawn from the Sumo Wrestler's Association. I was then introduced to him. Finally, we ended up pitting our strength against each other. I sat down and said to Tenryu, "Please try to push me over. Push hard, there's no need to hold back." Since I knew the secret of Aikido, I could not be moved an inch. Even Tenryu seemed surprised at this. As a result of that experience he became a student of Aikido. He was a good man.

A: Sensei, have you also been associated with the Navy?

O Sensei: Yes, for quite a long time. Starting in about 1927 or 28, for a period of about 10 years I was a part-time professor at the Naval Academy.

B: Did you instruct soldiers at the time you were teaching at the Naval Academy?

O Sensei: I have taught quite often for the military, beginning with the Naval Academy around 1927-28. In about 1932 or 19331 started a martial arts class at Toyama School for the Army. Then in 1941-421 taught Aikido to students of the Military Police Academy. Also, on one occasion I gave an exhibition of Aikido on the invitation of General Toshie Maeda, Superintendent of the Army Academy.

B: Since you were involved in teaching soldiers, there must have been a lot of rough types and many episodes.

O Sensei: Yes. I was even ambushed one time.

B: Was it because they considered you an overbearing teacher?

O Sensei: No, it wasn't that. It was to test my strength. It was at the tirne when I started to teach Aikido to military police. One evening while I was walking through the training grounds, I felt something strange going on. I felt that something was up. Suddenly, from all directions, from behind bushes and depressions many soldiers appeared and surrounded me. They started to strike at me with wooden swords and wooden rifles. But since I was accustomed to that sort of thing I didn't mind at all. As they tried to strike me I spun my body this way and that way and they fell easily as I knudged. Finally, they all became exhausted. At any rate, the world is full of surprises. The other day I met one of the men who attacked me. I am an advisor to the Military Police Alumnae in Wakayama Prefecture. During a recent meeting one individual recognized my face and came up to me grinning. After we had talked for a few minutes, I learned that he was one of the men who had attacked me that day many years ago. While scratching his head he related to me the following: "I'm very sorry for that incident. That day we were talking about whether or not the new professor of Aikido was really strong. A group of us, hot-blooded military police types, were discussing the matter and decided to test the new teacher. About 30 men lay in wait. We were completely amazed that we 30 self-confident men could do nothing against your strength."

C: Were there any episodes while you were at the Toyama School?

O Sensei: Strength contests?...One incident took place, I believe, before the episode with the military police. Several captains who were instructors at the Toyama School invited me to test my strength against theirs. They all prided themselves in their abilities, saying things like: "I was able to lift such-and-such a weight," or "I broke a log so many inches in diameter---I explained to them, "I don't have strength like yours, but I can fell people like you with my little finger alone. I feel sorry for you if I throw you, so let's do this instead." I extended my right arm and rested the tip of my index finger on the end of a desk and invited them to lay across my arm on their stomachs. One, two, then three officers by themselves over my arm, and by that time everyone became wide-eyed. I continued until six men lay over my arm and then asked the officer standing near me for a glass of water. As I was drinking the water with my left hand everyone was quiet and exchanging glances.

B: Aside from Aikido, you must have tremendous physical strength.

O Sensei: Not really.

Kisshomaru Ueshiba: Of course he possesses strength, but it should be described as the power of ki, rather than physical strength. Some time ago, when we went to a new settlement in the country, we saw seven or eight laborers trying in vain to lift a huge tree stump. My father stood looking at it for a while and then asked them to step aside so he could try it. He lifted the stump easily and promptly carried it away. It is totally inconceivable to do such a thing with mere physical strength. Also there was an incident involving a certain Mihamahiro.

B: Was he the same Mihamahiro of Takasago Beya Sumo Wrestling Association?

O Sensei: Yes. He was from Kishu Province. When I was staying at Shingu in Wakayama, Mihamahiro was doing well in the Sumo ranks. He had tremendous strength and could lift three raDs which weighed several hundred pounds. When I learned Mihamahiro was staying in town, I invited him to come over. While we were talking Mihamahiro said, "I've also heard that you, Sensei, possess great strength. Why don't we test our strength?" "All right. Fine. I can pin you with my index finger alone," I answered. Then I let him push me while I was seated. This fellow capable of lifting huge weights huffed and puffed but could not push me over. After that, I redirected his power away from me and he went flying by. As he fell I pinned him with my index finger, and he remained totally immobilized. It was like an adult pinning a baby. Then I suggested that he try again and let him push against my forehead. However, he couldn't move me at all. Then I extended my legs forward, and, balancing myself, I lifted my legs off the floor and had him push me. Still he could not move me. He was surprised and began to study Aikido.

A: When you say you pin a person with one finger, do you push on a vital point?

O Sensei: I draw a circle around him. His power is contained inside that circle. No matter how strong a man he may be, he cannot extend his power outside of that circle. He becomes powerless. Thus, if you pin your opponent while you are outside of his circle, you can hold him with your index finger or your little finger. This is possible because the opponent has alreadybecome powerless.

B: Once again, it's a matter of physics. In Judo also, when you throw an opponent or pin him you place yourself in the same position. In Judo, you move in various ways and try to place your opponent in such a position.

A: Is your wife also from Wakayama Prefecture?

O Sensei: Yes. Her maiden name in Wakayama was Takeda.

A: The Takeda family name is closely associated with the martial arts.

O Sensei: You might say that. My family has been loyal to the Imperial Household for many generations. And we have been wholehearted in our support. In fact, my ancestors gave up property and fortune and moved all over in service of the Imperial Family.

B: Since you too, Sensei, have been moving around continuously from the time you were a young man, it must have been very difflcult for your wife.

O Sensei: Since I was very busy I didn't have very much leisure time to spend at home.
Kisshomaru Ueshiba: Since my father's family was rather well-to-do, he was able to pursue budo shugyo (ascetic training in the martial arts). And another thing, another of my father's characteristics is that he has little concern for money. The following incident took place on one occasion. When my father settled in Tokyo in 1926, his second visit to the capital, he first came alone and then was followed by the family, which came up from Tanabe in 1927. The place where we all settled was at Sarumachi, Shibashirogane in Tokyo. We rented that place with the aid of Mr. Kiyoshi Yamamoto, a son of General Gambei Yamamoto. At that time, my hther owned a fairly large amount of property around Tanabe, including both cultivated and uncultivated fields and mountainous terrain. However, he had little cash. He had to borrow money to get by. In spite of this, it never occured to him to sell any land. Not only that, when his students brought over monthly offerings he would respond, "I don't want this sort of thing." He told them to offer it to the kami-sama (deity) and never accepted money directly. And when he was in need of money he would humbly present himself in front of the altar of the kami-sama and receive gifts from the deity. We never thought about charging money for budo. The training hall at that time was the billiard room in Count Shimazu's mansion. Many dignitaries, including military offlcers such as Admiral Isamu Takeshita as well as many aristocrats, came to practice. The name we used was Aikijujitsu or Ueshiba-ryu Aikijitsu.

B: What is a good age for starting Aikido training?

Kisshomaru Ueshiba: You can start training at around age 7 or 8, but ideally serious training should start at about 15 or 16. Physically speaking, the body frame becomes sturdier and the bones somewhat stronger at that age. Besides, Aikido contains many spiritual aspects (of course, so do other forms of budo), so at that age one begins to acquire a perspective of the world and of the nature of budo. So, all in all, I would say 15 or 16 is a good age for beginning the study of Aikido.

B: Compared with Judo, there are very few occasions when one grapples with his opponent in Aikido. So not much physical strength is required in Aikido. Besides, you can handle not just one but many opponents at the same time. It is truly ideal as a budo. In that regard, are there also many hoodlum-types who come to study Aikido?
Kisshomaru Ueshiba: Of course, that sort of individual enrolls, too. But when this type of person studies Aikido with the intention of using it as a tool for fighting, they don't last long. Budo is not like dancing or watching a movie. Rain or shine, you must practice at all times during your daily life in order to progress. In particular, Aikido is like spiritual training practiced using a budo form. lt can never be cultivated as a tool by those who would use it for fighting. Also, individuals inclined towards violence cease to behave in that manner when they learn Aikido.

B: I see . . . through constant training they stop behaving like hoodlums.

O Sensei: Since Aikido is not a bu (martial method) of violence but rather a martial art of love, you do not behave violently. You convert the violent opponent in a gentle way. They cannot behave like hoodlums any longer.

B: I see. It is not controlling violence with violence, but transforming violence into love.

A: What do you teach first as the fundamentals of Aikido? In Judo one learns ukemi (falling) . . .
Kisshomaru Ueshiba: First, body movements (taisabaki), then ki flow. . .

A: What is ki flow?

Kisshomaru Ueshiba: In Aikido, we constantly train to control our partner's ki freely through the movement of our own ki, by drawing the partner into our own movement. Next, we practice
how to turn our bodies. You move rlot only your body but your arms and legs together. Then the whole body becomes unified and moves smoothly.

B: Watching Aikido practice, students seem to fall naturally. What kind of practice to you do for ukeml?

Kisshomaru Ueshiba: Unlike Judo, where you grapple with your opponent, in Aikido you almost always maintain some distance. Consequently, a freer type of ukemi is possible. Instead of falling with a thud as in Judo, we take circular falls, a very natural form of ukemi. So we practice those four elements quite diligently.

B: So you practice tai no sabaki (body movements), ki no nagare (ki flow), tai no tenkan ho (body turning), ukemi, and then begin the practice of techniques. What type of technique do you teach first?

Kisshomaru Ueshiba: Shihonage, a technique to throw an opponent in many different directions. This is done in the same manner as the sword technique. Of course, we use bokken (wooden swords) as well. As I said before, in Aikido even the enemy becomes a part of your movement. I can move the enemy freely at will. It follows naturally that when you practice with whatever means you have available, like a staff or a wooden sword, it becomes as much a part of you as an arm or a leg. Therefore, in Aikido what you are holding ceases to become a mere object. It becomes an extension of your own body. Next is Iriminage. In this technique you enter just as your opponent tries to strike you, and at that time two or three atemi (strikes) are made. For example, the opponent strikes at the side of your hce with his fist or hand blade (tegatana). Using your opponent's power, you open your body to the left rear as you lead the opponent's right hand with your two extended hands, continuing the direction of his movement. Then, holding your opponent's hand you move it in a circular motion around his head. He then falls with his hand wrapped around his head .... This, too, is the flow of ki... There are various sophisticated theories about this point. The opponent is left totally powerless, or rather, the opponent's power is led in the direction you want to take him. So the more power the opponent has, the easier it is for you. On the other hand, if you clash with you opponent's power you can never hope to win against a very strong person.

O Sensei: Also, in Aikido you never go against the attacker's power. When he attacks you striking or cutting with a sword, there is essentially one line or one point. All you need to do is avoid this.

Kisshomaru Ueshiba: Next we do the following techniques: seated ikkyo from shomenuchi attack, nikyo, then joint techniques and pinning techniques, and so on...

B: Aikido contains many spiritual elements. How long would it take to acquire a basic understanding of Aikido starting from the very beginning?

Kisshomaru Ueshiba: Since there are both coordinated and uncoordinated people I can't make any general statement, but when a person practices for about three months he comes to have some understanding of what Aikido is. And those who have completed three months of practice will train for six months. If you practice for six months, then you can continue for an indefinite time. Those who have only a superficial interest will quit before three months.

B: I understand there will be a shodan examination the 28th of this month. How many black belt holders are there currently?

Kisshomaru Ueshiba: The highest rank is 8th degree, and there are four of them. There are six
7th degree black belt holders. And the 1st degree holders are quite numerous, but of course this figure only includes those having contacted Hombu Dojo after the War.
B: I understand there are a considerable number of peopl e learning Aikido in foreign countries as well.

Kisshomaru Ueshiba: Mr. Tohei has visited Hawaii and the U.S. for the purpose of teaching Aikido. The most popular place for Aikido is Hawaii, where there are 1200 or 1300 practicioners. This figure for Hawaii would be equivalent to 70,000 or 80,000 Aikidoists in Tokyo. There are quite a few black belt holders in France as well. There is one Frenchman who began studying Aikido after injuring himself practicing Judo. He wanted to experience the spirit of Aikido but was not able to accomplish this in France. He felt that to seek the true spirit of Aikido he had to go to the birthplace of the art. He explained that this is why he came to Japan. The Panamanian ambassador is also studying Aikido, but it seems that the climate in Japan is too cold for him and he doesn't practice in the winter. Also, there is a lady named Onada Haru who went to Rome to study sculpting. She has been coming to the dojo since the time she was a student at the Tokyo School of Fine Arts. I just recently received a letter from her where she says she happened to meet an Italian who practices Aikido, and he treated her very well.

A: And concerning the interpretation of Aikido techniques?

O Sensei: The essential points become masakatsu, agatsu, and katsuhayai. As I said previously , masakatsu means "correct victory" and agatsu means "to win in accordance with the heavenly mission given to you." Katsuhayai means "the state of mind of rapid victory".

A: The Path is long, isn't it?

O Sensei: The Aiki Path is infinite. I am 76 years old now, but I am still continuing my search. It is not an easy task to master the Path in budo or the arts. In Aikido you must understand every phenomenon in the universe. For example, the rotation of the Earth and the most intricate and far-reaching system of the universe. It is a life-long training.

B: So, Aiki is the teachings of Kami (God), as well as the martial way. Then what is the spirit of Aikido?

O Sensei: Aikido is ai (love). You make this great love of the universe your heart, and then you must make your own mission the protection and love of all things. To accomplish this mission must be the true budo. True budo means to win over yourself and eliminate the fighting heart of the enemy... No, it is a way to absolute self-perfection in which the very enemy is eliminated. The technique of Aiki is ascetic training and a way through which you reach a state of unification of body and spirit by the realization of the principle of heaven.

B: Then Aiki is the way to world peace?

O Sensei: The ultimate goal of Aiki is creation of heaven on earth. In any case, the entire world must be in harmony. Then we do not have a need for atomic and hydrogen bombs. It can be a comfortable and pleasant world.

Finding Your Internal Power

2005-06-24T10:45:00.000-05:00

I am not so sure how much validity this article has, but I still found it to be an extremely interesting read. The author is a guy named B.K. Frantzis who seems to be some sort of expert in the Chinese martial arts systems, it seems that he trained with O'sensei for a couple of years in the early 60's.

Enjoy,
Twright

PROFILE OF AN INTERNAL MASTER
Morihei Ueshiba-Where Did He Get His Power?
By B.K. Frantzis

I studied with O-Sensei Morihei Ueshiba, the founder of aikido, during my undergraduate days in Japan. My research has indicated that O-Sensei's Aikido was in a primary way directly influenced by ba gua chang. My first in-depth, extended experience with a top-level master of internal martial arts was with Ueshiba between 1967 and 1969. Looking back on my training with him, it is obvious to me that much of what Ueshiba's Aikido had in terms of the physical techniques came from jujitsu. However, the chi that he manifested when he did Aikido appears to have come directly from ba gua, with some partial influence from hsing-i as well.

I saw people in Japan in the late 1960s who were very skilled at the type of Daito Ryu aikijitsu, a form of Jujitsu, upon which Ueshiba based his Aikido. But none of them was able to manipulate chi as subtly or powerfully as Ueshiba or even to articulate the theories of ki (chi) basic to Aikido and ba gua. Actually, Ueshiba was far beyond aikijitsu's level of sophistication. His ability to enter, turn, attract, and then play with and lead an opponent's chi and mind was phenomenal. In Japanese history, there was no martial art to compare to it, and no one else in Japan could do anything like it. In his dojo, I often heard that he spent many years in China and only afterwards returned to Japan with this miraculous chibased Aikido ability.

It is my opinion, based upon personal memories of him and mv technical analysis of his films twenty-five years after his death, that it is completely reasonable to assume Ueshiba studied ba gua while he was in China. The entering, turning, and leading of one's opponent, as well as the hundreds of subtle energy projections of Aikido are fundamental ba gua techniques that existed long before Ueshiba's birth. Because of this, I believe that Ueshiba learned ba gua while he was in Manchuria, China. Before and just after World War 11, it would have been extremely politically incorrect and counterproductive for Ueshiba's organization to have credited the Chinese with part of his "new" martial art, given the chauvinistic military and nationalistic bent of Japan in that era.

Ueshiba had great internal power. Internal power is almost incomprehensible to the Western mind, which is conditioned by the overt displays of external power in films and on television. External power is like seeing someone with a wallet stuffed with $ 100 bills-vou automatically assume this is a wealthy person, which may or may not be true. However, an extremely wealthy person can conceal wealth and have a very thin wallet, carrying only one credit card that has a million-dollar credit line (which is the nature of internal power). Things are not always as they seem. In Ueshiba's case, this was very true. When I was with Ueshiba, he was in his eighties and of small stature, yet incredibly strong. When he was old and near the end of his life, his students would carry him into the dojo on a stretcher. He looked extremely weak and frail. However, he would suddenly gather his chi, stand up, and toss exceptionally strong men around like rag dolls. Afterward he would return to the stretcher and resume being a sick old man.

With Ueshiba, you began to expect the paranormal. I still vividly remember that he could get behind you so quickly it was as if he had disappeared. The same is true of top ba gua people. You could have Ueshiba clearly in your sight, and suddenly he was gone. Then, with equal suddenness, he was back. Ueshiba would then fake a hit and then joint-lock and/or throw you to the ground. In contrast, ba gua people typically would actually hit you first and then throw you on the ground. This "now you see me, now you don't" is one of the great martial strengths of ba gua adepts. Unlike a boxer or karate person, whose hand you can see coming at you, ba gua people have an incredible power and a strange kind of speed that is so subtle you cannot perceive its origin or destination.

In watching films of the late master, one can see Ueshiba clearly demonstrating many of the chi principles of ba gua. But while these chi principles are referred to in the vaguest of terms in Aikido (when they are spoken about at all, which is rare), in ba gua the critical energy principles are articulated in great depth and are specified in a systematic way. This valuable ability to pass on previously accumulated information intact, so the next generation can accurately reproduce the previous generation's skills, is part of the genius of the Taoist internal arts. The Taoist internal martial arts and chi gung also clearly articulate the health, healing, and longevity chi methods that are generally absent in modem Aikido. I believe that lovers of Aikido will find it both interesting and beneficial to explore ba gua chang and chi gung in order to gain practical insights into what O-Sensei Ueshiba was doing.

Interview With Morihiro Saito, 9th Dan

2005-06-21T13:50:00.000-05:00

Morihiro Saito, 9th Dan

I found this article online today and thought that I would share with all of you the most important technique in Aikido. LOL At least it is to Saito Sensei!!

Interview by Mark Binder, 3rd Dan Aikido

BINDER: What do you think the most important Aikido technique is?

SAITO: "They're all very important, but the one that makes people really get good is Shihonage, because you have the way of movement and the way of using weapons in Shihonage. O Sensei used to always say you can never do enough shihonage."

What is it that makes a strong shihonage?

"Kokyho. And the hips."

Can you explain Kokyho?

"You can't really see it. You can't really show it."
What is the biggest mistake that people make with Shihonage?

"They forget the feeling of the sword when they do it. You need to always have the feeling of the sword when you do it. You have to have it from the beginning to the end."

Is there anything that you'd like to correct with people about what Aikido Means?

"I would like to fix in people's minds that the weapons (ken-do) and the taijitsu (hand-to-hand) come together, and you need both of them for Aikido. It will be a really big mistake if you don't place importance in both of those."

2005-06-17T15:17:00.000-05:00

So this is Takeda Sokaku. This is the master of Daito-Ryu that O'sensei studied under before developing Aikido. An interesting point for my friend Isaac is that the founder of Hapkido also took from Sokaku at the same time as O'sensei. It seems that Sokaku's Daito-Ryu can trace its lineage back as far as Shinra Saburo Minamoto no Yoshimitsu [1045-1127], who lived in a mansion known as Daito, hence the name Daito-ryu. The art was then handed down through his descendants, the Takeda family of Kai Province

I thought that it was pretty cool that we can trace the basis of our techniques back about 1000 years or so.

What does this mean for Bettis and I though...hmmmm. I think we should still meet up on a mountain top and fight to the death!

2005-06-14T15:18:00.000-05:00

This is a picture of Bettis' last encounter with an Aikidoka. To bad Bettis, I know you thought that your Hapkido and Gumdo were better....

I should use what? Aikido?

2005-06-13T13:32:00.000-05:00

I found this article today on Aikidofac.com and I thought that I would share it with everyone. This article, like others that I have posted, deals with a part of Aikido that is very hard for me......using technique and not force.

Inspirational people

By Kevin Jones

It occured to me that there are a number of people in my Aikido past who've had a marked effect on the direction my training has taken. Indeed without some of these people, I might not even be still practicing Aikido.

Now, it's no surprise to anyone, and in some sense uninteresting, when we say "my Aikido was inspired by {O Sensei, Tohei sensei, SaitO Sensei, Saotome sensei, ...}" because most of us know (or at least know of) these people and are quite conversant with their contribution to the art - even if we wouldn't always agree on all aspects of their worth :-).

What I'm thinking of are the "little people" that no one outside the local dojo is ever likely to have come across but who, in some way or another, have had a real effect on your practice. It seems to me that we have a number of people on this list, ranging from decades to days in the art, who cover a wide range of dojo, and that this is the only medium where this kind of "inspirational person" is ever likely to be discussed. I always find this hearing stories of this kind helps to stoke my flame, as it were, and maybe some others here feel the same [or maybe it's just that I'm not interested in Tattoos and am looking for more interesting reading material :-)].
For me personally, there are a number of people who fit into this category, so I'll give an example from my own experience to show you the kind of thing I had in mind.

Back in the dim and distant past [probably before some people reading this were *born* - even though my teacher still thinks I'm a young whipper-snapper and I *know* I'm younger than some of the folk here :-)], when I first began practicing in the adult Aikido class in my first dojo, there were a large number of yudansha at all levels of age and ability. Since I was 16 (and not completely sane :-)), I was quickly adopted as a "ukemi-puppy" by a number of the yudansha and took great delight in bouncing off the walls and seeing if I could get them tired of throwing me before I got tired from being thrown :-). In the times between ukemi, I'd try to throw my partner to the ground as as big a thud as I could arrange. All in all, just what you'd expect for "young athletic male beginner" Aikido.
There were a number of older people in the class too, but I have to admit that I tended to avoid them since I thought that they'd be too slow and frail to be interesting. They certainly didn't seem to be bouncing off the walls!
There was one particular gentleman, Mr. Bateman, who was at that time 86 years old. He'd taken up Aikido when he was ~75 and had achieved nidan. Although I didn't realize it at the time (what's the saying about "old heads and young shoulders not being compatible" :-)), this person was rather special in a number of ways: he was about 5 feet, and weighed maybe 100 lbs soaking wet but he obviously had a very strong mind. He'd drive 1 hour to get to class, in an MGB sports car, practice for a couple of hours, go up to the bar for one drink and then drive back home again. He did this for one or two classes every week and usually practiced with one of a small group of yudansha. I probably assumed they were all old and slow :-).
One day when I was about 5th Kyu, I was a little slow in grabbing a partner and found myself about to practice with Mr. Bateman. I thought "Oh well, make the best of it; take it easy on him and make sure it doesn't happen again. I'll be really careful to make sure I don't hurt him". About 10 mins later, I was thinking "I wonder if I'll survive to the end of class"!
Mr. Bateman was not very physically strong but his technique was extremely powerful. I was exhausted in a matter of minutes and in a way that I never was after an hour of full bore "blood, sweat and tears" practice with the young yudansha. He didn't take flying ukemi, but he did make dignified forward rolls - and that's all anyone could make him do, no matter what their intentions were! He was efficient enough to rest in the gaps during the movements, and so was able to keep going at the same pace all night. He asked me if I needed to rest a couple of times, I think. I was worn out, exhausted and battered (with the nicest feeling imaginable since this was clearly a gentle-man in all senses) long before the class ended and I finished in in something of a haze.

After we finished and thanked our partners, I sat in the dojo for a while, thinking about what had happened, and how blind I'd previously been. I think this was probably the moment when I first realized some small glimmer of the depth in Aikido, when I realized that an 80 year old really could be "better" than a 20 year old and that I could still be improving in my practice 70 years from that point! It certainly helped remove some of my arrogance and maybe helped change some of the stupidity too - I'd heard people talk about Ki before but now I saw that it really did mean some thing in actual practice. I didn't know what but it was obvious that some people had something that I didn't - and it wasn't bigger muscles :-).
This experience gave me a completely new approach to my practice: I still enjoyed bouncing off the walls just as much :-) but I began to see the differences between those who were just using force to "throw" and those who were (to whatever level) truly trying to practice Aikido, with all that entailed. After this, I went out of my way to practice with anyone, young or old, since I'd discovered that there were many different approaches to practice and, if I paid attention, I could benefit from any of them. I began to see the difference between just technique and Aikido; I began to see the difference between a "Do" and Self Defense. I began to get a clue about why I was spending 20+ hours each week wearing strange pajamas and where I could go if I continued. Oh, and I saw just how often I could insert myself into that group of "old, slow and frail" yudansha ...
Now maybe I would have found this out eventually anyway(?) but Mr. Bateman was such a graphic illustration of how wrong my thinking was, that I'm sure he saved me years at the very least. I'll always be very grateful for that and feel blessed that there was such a person available in the dojo and that I could be given this lesson in this way.
So this is an example of a person no one else on this list has ever heard of [and I can be pretty sure of that since at a recent Summer school, my teacher mentioned Mr. Bateman and I was one of only three people on the mat who remembered him - doesn't 20 years fly by :-)] but who had a great influence on my practice.

Mr. Bateman died in about 1978 and was practicing up until a few weeks before his death.

Can You Say Video Clip of O'Sensei? =)

2005-06-10T12:36:00.000-05:00

I was trying to come up with a new post and ran into some video's that I have never seen before, including some footage of O'Sensei (Morihei Ueshiba) !! O'sensei is at the end of the 4 minute clip....this is truely amazing to me! I hope you all enjoy!

P.S. I linked the clip from Aikido Journal's video section. All of the clips are outstanding!

Twright

Techniques Beyond Gokyo

2005-06-09T20:00:00.000-05:00

Anyone ever wondered how many Kihon-Waza techniques were out there? I find it pretty common to hear people talk about and demonstrate Ikkyo, Nikkyo, Sankyo, Yonkyo, but I rarely hear about any techniques beyond this, with the exception of the occasional Gokyo. I found this information today and thought that it would be some great food for thought. Anyone have anything else to add?

Further Kihon-Waza by Rocky Izumi, head of the Barbados Aikido Federation in Barbados, West Indies:

Rokkyo: Also known as udehijigatame, udehiji shime, hiji osae, etc. Often used for knife thrust or jo thrust chest height. Tenkai so that thrust goes under armpit, flow thrust forward>sideways>upwards>backwards while holding uke's wrist with both hands. Pressure on uke's elbow as you drop down on inside knee or back. Warning, uke is liable to injure elbow on this one. I don't do this one often unless uke is yudansha because of injuries to at least four mudansha who went down on wrong knee.

Nanakyo: Kawahara Sensei says, "like sankyo but not sankyo." Instead of getting into the classical sankyo position, uke stays in front of nage. He used to do it to me by grabbing my thumb as I attacked with a munedori. However, I have also had it done to me by other Sensei from other attacks. I believe it was Endo Sensei who liked to do this from a jodan tsuki attack, going into tenkai and trapping and twisting the hand as it passed by into a sankyo-type grip. However, instead of stepping into tenkan, he would tenkai again and drop and twist uke's wrist in the sankyo type grip while pressing down on the elbow for leverage with the other hand. As nage steps backwards, uke is pressed downward. Some Sensei have called this just another variant of sankyo others say "like sankyo but not sankyo."

Hachikyo: Again, Kawahara Sensei says, "like yonkyo but not yonkyo." (I got reprimanded on this several times a while back because I insisted on continuing to do yonkyo when the practice was "not yonkyo.") The practice was from the katatetori attack. The uke's wrist is immediately turned over into a "yonkyo-type grip" without raising it and nage steps backward while pressing down on the elbow for a drag-down rather than press-down (more like gokkyo type of feel).

Kyukyo: Also known as Katagatame or Udehijigatame (this terms seems to be used for a number of techniques). It is especially done against tsuki attacks. It is a required technique for sankyu in Canada. The gedan tsuki attack is sidestepped outside using a strong irimi movement while cutting down at the elbow with a strong shuto. The other hand does atemi to face or throat. The atemi hand continues its path to uke's shoulder which it pulls down. The shuto hand wraps uke's arm so that the shuto continues on to grab uke's elbow from the inside. The nage's two hands overlap at uke's elbow which is pushed down as nage lowers down on to one knee while doing a tenkan, or stepping backwards. Finish with kansetsu waza.

Jyukyo: Easy way to start is like yokomenuchi shihonage but, instead of taking uke's arm upwards, the bent elbow is pressed downwards as nage steps forward in the 45 degree. Finish with shuto to back of neck.

I may have the order of these all wrong and all I ever heard was "next one" in terms of name. When I asked the name I was just told they were the kyo.
In the meanwhile I have been known to do a number of techniques which are not exactly kihonwaza and the Sensei would come over and correct it, so, it must have been another one I was fortunate enough to rediscover (I was told that I would sooner or later find out all the variants if I stayed in Aikido long enough but would never be shown all of them directly--basically, I was told to go away and find out myself and quite bothering them.). I am, however, finding out what makes each of the techniques a technique in itself a not something else. This is quite interesting. For instance, the one that Kawahara Sensei calls "like yonkyo but not yonkyo" is not yonkyo because it does not include the wide arm-sweeping motion of the ikkyo (uke's elbow doesn't come up and uke is pulled down and not pushed down).
Please take all this with a grain of salt. It is simply my distillation of things I have been taught over a number of years from a great many different teachers. If there is any incorrectness in this, it is because I stupidly misunderstood or mixed up what several different senseis were teaching. In my own defense, I sometimes find it difficult because of the different terms used for the same thing by different sensei and the limits of when a technique is something else differ from sensei to sensei from my point of view. It is, though, possible that they are all the same, the difference in perception being dependent upon how many times I have been bounced off the tatami as uke before getting a chance to try out the technique.
Rock

(Rocky Izumi is the head of the Barbados Aikido Federation in Barbados, West Indies.)

Getting into Katatedori

2005-06-07T23:34:00.000-05:00

Most of us that have been taking Aikido have run into a situation where we have to expain how we arrive at a point where we can execute a certain technique. Since Aikido has no offensive techniques, we are forced to do all of our techniques as a result of a defense for an attack. I have been asked coutless times why I think someone is going to grab my wrist out in "The Real World."

Well, the other night, I had the pleasure of attending a class that demonstrated how one might find themselves in a wrist grabbing situation. The demonstration delt with the defender throwing a punch to the eventual attackers mid section. The eventual Uke would then block the punch outside of the body and transfer the punch to a katatedori attack. Nage would then do any given technique from the Katatedori postion. - Wrist grab for those that do not know.

I found this to be an incredibally satisfying way of getting into an Aikido like situation, from a real world perspective.

Twright

Wendy Whited Seminar

2005-06-07T14:03:00.000-05:00

Last weekend was seminar weekend! I spent all day on Saturday at Wendy Whited's seminar in Nashville TN. For those of you that do not know, Wendy is a 6th degree blackbelt with over 30 years of experience in Aikido. Her seminar, or at least the part that I could make it to was amazing! It never ceases to amaze me how powerful Aikido can be. Sensei spent most of the day going over different forms of Kokyunage with a litte Bokken work thrown in for good measure. For the record, I have a very love hate relationship with Kokyunage techniques, they are absolutely awe inspiring when you get them right, but they can be extreemly difficult to execute properly.........I guess that is why O'Sensei labeled Kokyunage a 20 year technique! If you don't believe me, go to an Ikeda Sensei seminar. Sitting here writing this post, I can't wait to get into the Dojo tonight....................Kokyunage here I come!

Twright

Aikido - The Blog

2005-06-07T11:02:00.000-05:00

Welcome to Aikikai Aikido. I created this blog as a place of discussion for all forms of Aikido. Weather you are ASU, Aikikai, Yoshinkan.....ect. this is a place where we can all discuss our artform! Everyone is welcome and encouraged to share their experiences, comments, and anything else that might come to mind!

Twright