Oct 30 Mon ~ Eight Corners

Happo no Giri
Happo no Kuzushi
Ryotetori Tenshinage
Katatetori Kokyunage (Omote & Ura)

After stretching, instead of the usual ukemi practice there was back stretching. The class seemed to have some confusion implementing a stretch that was basically “shihonage”. In order to harmonize with a partner you first have to harmonize with yourself. Head, arms, shoulders, torso, center, hips, legs, and feet all must be unified and “in-line”. To reinforce the ‘unity’ happo no giri was introduced so that this unity could be better understood and practiced. From here there was an introduction to the Judo exercise called happo no kuzushi so that the “eight corner’ notion could be applied to leading the partner. The economy of movement evidenced in both exercises should be present in nage’s responses in randori and multiple attacks. Kuzushi principles were then applied to techniques. This was also practiced dynamically in lines.

Oct 25 Wed ~ Beginners Class

Yokomenuchi Shihonage

Initial instruction on correctly initiating the strike. Awareness for the need to block while simultaneously attacking and the relationship of the hands to holding a boken. Partner practice with moving yokomen attacks. Line practice in the application of technique.

Oct 23 Mon ~ Ushiro Ryokatatori

Ushiro Ryokatatori Kokyunage
Ushiro Ryokatatori Kotegaeshi

Basic principles applied to both techniques. Focus on big arm movements, dropping the center, leading uke, extending down the underside of the arm and out the little finger (Koichi Tohei tegatana), diving through the arms, and continuing kuzushi with a full turn of the hips.

Oct 23 Mon ~ 31 Jo Kata

Here is a video of a 1981 All Japan Aikido Demonstration by Saito Sensei and one of his American soto deshi (Bernice Tom). It shows Saito Sensei doing the 31 Jo Kata and then the application of that kata to partner practice.

SAITO 31 JO KATA & KUMIJO

Oct 23 Mon ~ 4^th Kyu Techniques

Suwari Waza – Katatori Sankyo (Omote & Ura)
Suwari Waza – Katatori Yonkyo (Omote)
Tsuki Iriminage (Ura)

Pointing out that in order to understand how to correctly complete a suwari waza technique then examine how the technique is done standing. Translate all of the details to the kneeling position. However it is more practical to economize movement while on the knees and have uke do more of the movement than nage.

Began with center moving practice with both partners in shikko and nage simply must off-balance uke who is grabbing nage’s lapel. Standing practice of the respective technique and particularly examining the footwork. Followed by completing the same footwork of the standing technique while on the knees.

Minor digression of katatori yonkyo omote to show the placement of the knee on the shoulder while applying the suwari waza yonkyo pin.

Dojo requirement on 4^th kyu test to demonstrate tsuki iriminage 2 ways. Test scheduled for November.

Oct 19 Thu ~ A Parable

Here is a true story borrowed, and slightly edited for brevity, from the Foreword of OLD SCHOOL, Essays on Japanese Martial Traditions by Ellis Amdur.

“…given the sterile debates about… combative arts versus those for self improvement, this account concerns an aikido instructor. During my years in Japan I knew a man, then about 50 years old, whom I will call Aoyagi. He was a 6^th degree black belt, but his Aikido was not very good. He was stiff and ungraceful, his rank more a product of ‘being there’, year after year, than any degree of skill. He was the head instructor of a ‘ward’ dojo…

… there was a small dojo in the back yard of a man named Matsumura. This space was so small that… one could not fall normally… a lot of time, therefore, was spent converting aikido into punches and kicks. This suited Matsumura just fine… aikido, not providing the requisite toughness, he also took up some form of karate. He was now very strong. He’d drive his fingers into an urn filled with dried beans and ball-bearings, and he had calluses on his knuckles an inch across.

Matsumura found himself in a difficult situation. All the 'funded' positions for aikido instructors were taken – each ward had its own gymnasium dojo staffed by its own teacher. The only way he could get a bigger following was to build a larger place and publicize himself – in short, he would have to spend a lot of money and become a full-time teacher. He had a day job however, and he was good at it – he did traditional gardening – and in spite of his rather violent style of martial arts practice, he had a real sense of beauty.

So Matsumara came up with an idea. He and his students started attending Aoyagi’s classes. On several occasions, one of Matsumara’s students would call Aoyagi over and say something like, ‘Sensei, I don’t quite get this throw. Would you show me?’ Aoyagi would make a simulated attack to provide him with an opportunity to try the technique, and the student would ‘accidentally’ punch him in the face or the chest. At first the student would say, ‘Oh, I’m sorry. I mis-timed it.’ Then it became, smiling, ‘I got it now, Sensei.'

After several weeks and several incidents of this kind, Matsumura paid a visit to Aoyagi’s home. Invited in, he laid his massive calloused fists on the table and after the tea arrived, said, ‘Sensei, I’ve been thinking about Darwin recently. And how the old in the herd must make way for the young. It seems to be a law of nature that the herd best survives when the elder knows when to step aside.’

Aoyagi smiled in his usual, head-bobbing way and said, ‘I understand perfectly. Just a moment.’ He left the room, returned with two swords, and placed them on the coffee table. Then he said: ‘When I was 16, I was drafted into the military, right near the end of the war. Within a few weeks they taught me how to take off in a plane, how to fly and steer it. They did not teach me how to land, because it wasn’t necessary. As a kamikaze I would only be making a single flight. They told me the date of my departure, and in the few days remaining, I said good-bye, in my heart, to my family, to all I loved and held dear. The war ended two days before I was scheduled to fly. But I had already died. Since then I have been lucky. I, a dead man, got married, had children, a job – but I never felt I possessed any of it. You are a very healthy young man – and you have those wonderfully scary hands. So I will tell you what we can do. Come into the garden with me and see if you can take the dojo from this dead man.’ And he picked up one sword and offered it to Matsumura.

Matsumura lurched back, spat out, ‘You’re crazy!’ and hurriedly left.

What makes this story so quintessentially Japanese is that a week later, Aoyogi retired from his teaching position, giving it to another older man – another stiff, middle-aged guy.

Some years later I saw Aoyagi at a funeral… and we passed time in conversation. After a lull I said, ‘Aoyagi-san. Awhile ago, I heard a certain story.” He glanced at me sidelong, and said, ‘What’re you talking about.’ I looked innocently at him and said, ‘Oh a story about a visit that a young man with big knuckles made to your house one day.’ He looked a little discomfited… Then looking him dead in the eyes, I continued, ‘And Aoyagi-san, ever since I heard that story, you have always been Sensei to me.’

He looked in utter placid calm, and then almost infinitesimally, he inclined his head in a quick, yet perfect bow. Then letting the smirk drop back on his face like a mask, goosed me in the ribs and snickering, said, ‘What’re you talking about Ellis-san’.”

Oct 18 Wed ~ The Purpose of Practice

“The primary purpose of Aikido is spiritual development”

Moriteru Ueshiba

There are many reasons why people practice Aikido. Kanai Sensei answered my question to him about commitment to Aikido this way…

“That particular question I cannot say anything about. I cannot give students any hints about such things as commitment. Everyone is different, everyone has different motivations and reasons to take Aikido. Some come here to practice Aikido for health reasons. Some come only once a week to practice. Some students want, if possible, to practice three classes in one day! There is also an age factor. Because each student comes with different conditions a sensei cannot tell students very specifically what attitude or commitment they should have. I am satisfied if I can feel from the students that they are practicing sincerely and have a good spirit in doing Aikido.”

Kanai Sensei Interview II - January 16, 1993

In Sensei’s open and accepting way he allowed each to determine what worked best in each individual life but practicing with a ‘good spirit’ was a critical factor.

And so what would be that ‘good spirit’. Perhaps we can rely on Aikikai World Headquarters and the Aikikai Foundation to give us the best direction…

“A pure budo comes with the unification of technique, body and heart. The budo, which will manifest itself, does not depend upon the technique, but rather upon the heart of the practitioner.”

”The aim of Aikido is a kindness of heart expressed through this spirit of budo.”

In every case it should be clear that the main point is NOT to focus on technique but on the inner self. The physical practice is the crucible that develops this inner self and its expression can be seen in softness and kindness in the real world ‘off the mat’. Its hallmark would be conflict resolution and harmonizing with others. It is an attempt “to skillfully strike down the ego and inherent insincerity in battling an enemy.” The state of “mushin” (empty mind) is an ultimate goal. It is a mind empty of the need to wound and to possess.

So regular practice is important, but it isn’t the regular practice of the outward appearance of technique. It is the inward practice of yielding and understanding. It is emptying oneself of the need to challenge. When you study make sure this is the lesson taught. Be cautious of a style or a teacher primarily espousing practical application and physical prowess. O Sensei, the Founder of Aikido, clearly moved away from this.

Remember the Zen saying, “The river that forgets its source dries up.”

For some great video on the subject follow these links:
MORITERU UESHIBA ~ “The Empty Mind” Part 1
MORITERU UESHIBA ~ “The Empty Mind” Part 2

Oct 18 Wed ~ Beginner's Class

Shomenuchi Ikkyo
Shomenuchi Iriminage
Suwari Waza – Shomenuchi Ikkyo

Class began with some basic instruction in holding the boken and completing a shomenuchi strike. This was done in order to have a brief awase practice in order to get a sense of timing. The idea that “whoever moves first loses” was examined as making a commitment to a particular movement that cannot change so it also leaves an “opening”. Then the line of a shomenuchi attack was countered with an angle cut to the wrist as in Saito Sensei’s 1^st Awase. This informs the angle to meet in Ikkyo. And the connection to the wrist is like the kote giri made t uke’s wrist as the sword rises and nage enters. Ikkyo and Iriminage entries were completed from here.

YAMADA SENSEI DEMONSTRATES

Oct 16 Mon ~ Ushiro Ryokatatetori (Continued)

Ushiro Ryokatatetori Kokyunage
Ushiro Ryokatatetori Ushiro Iriminage
Ushiro Ryokatatetori Kotegaeshi

Started with a line technique kokyunage to serve as a baseline for sensing how it feels to complete the technique. This would give biofeedback to identify where things might be going right and where things might be going wrong. Discussion of the Judo ‘definition’ of randori and how that attitude should inform Aikido practice especially being aware of openings, (e.g. loss of balance, loss of control and kuzushi where nage ‘disappears’, allowing opportunities for the technique to be countered). This is followed by practicing a lead while nage is held morotetori on each arm by two ukes. Focus on the nature and type of errors and how the ‘mistakes’ inform us as to new responses and techniques.

Oct 14 Sat ~ Ushiro Ryokatatetori

Ushiro Ryokatatetori Kokyunage
Ushiro Ryokatatetori Jujinage
Ushiro Ryokatatetori Kaitennage
Ushiro Ryokatatetori Kokyunage (variation)
Ushiro Ryokatatetori Shihonage (Omote and Ura)

Emphasis on softening the shoulders and removing all strength and power. Spiral hand movement to palm up position with the heel of hand imagined to be like a magnet drawn to touch the hip and then the middle fingertips act as magnets drawn to each other while dropping one point and maintaining contact with cloth as the hands move to the center. Hands then turn so the backs of the hands touch to then move up the midline. Footwork is a side step to allow the forward foot to step back from one hanme to another. Arms lead out forward and down as if touching the mat.

Jujinage focused on hand changes and the origin of the technique to break elbows that has been adapted to allow safe ukemi.

Kaitenage also emphasized hand changes… with the need for changes to occur below the center while dropping the center.

Kokyunage stressed planting the uke’s foot on the side of the pivoting hand with dropping the center analogous to lower hand in tenshinage. The nage steps around while leading the other hand up the center and the over and behind uke’s head to complete the technique.

General discussion of maintaining awareness of leaving openings for being countered. In shihonage a point was made to have complete turn of hips for omote but tenkan in place without turn of hips for ura.

Discussed looking at “mistakes” as a finite number of ways to grab a human being by a human being and so implementing a technique just means knowing what to do when you get there. Thus you just have what you have rather than a ‘mistake’. This is what is meant by the technique occurs at the “moment of first contact”.

Oct 11 Wed ~ Tsuki Kotegaeshi

Tsuki Kotegaeshi

Begin by practicing 1^st Kihon Dachi of Kashima Shin Ryu and a discussion of ma-ai as it relates to differences in body size.

Then ‘tsuki’ strike practice in an “Aikido” way which is an atemi with a movement similar to the thrust of a knife. This is explained as a ‘kata’ method of attack and not necessarily how a boxer or karate-ka might punch. Continued practicing the strike with good posture and both feet flat on the ground especially because the power of the punch is directly related to the firm plant of the back foot especially. Punch variations include relaxing the arm for speed and power and tensing at the moment of impact; punching and retracting (re-cocking) the arm after the punch is delivered.

Body movement practice continues with turning the hips to avoid the strike while keeping both feet planted (to overcome a ‘flinching’ or ‘jumping away’ reflex) thus keeping entries narrow.

Then a tenkan to avoid the tsuki strike as a hand is placed to ‘ride’ on the punching forearm. The tenkan is complete so there is a sense that nage could deliver an elbow strike to uke’s kidney with the free arm as s/he turns. The grasping hand leads uke in the direction of the strike while turning the head and looking in the opposite direction (to more effectively complete the tenkan). This brings uke’s weight onto the forward foot so that s/he can be pivoted into position as nage steps back after the tenkan. The hand is then ‘harmoniously’ placed just under the first knuckles on the back of uke’s hand as the technique is completed with another tenkan.

Attention was paid to the proper hand positions as uke is rotated over for a kneeling pin.

Oct 9 Mon ~ Mixed Level Class

Ryotetori Tenshinage (Omote & Ura)
Ryotetori Tenshinage – variation if resisted

Attention paid to importance of the ‘earth hand’ to off balancing and “allowing a fall to happen”; the upper hand that enters vertically and close to uke’s chest to ultimately break ‘over the shoulder’.

Oct 9 Mon ~ Ryotetori

Ryotetori Kokyunage – 3 ways
Ryotetori Koshinage

Attention paid to spiral of upper wrist and the alignment of long bones of the arm in order to find the easiest entry that will not require strength. This entry was applied to various kokyunage and then applied to multiple attack drills. The movement was expanded into a hip throw and some attention was paid to appropriate ukemi from koshi waza.

Oct 7 Sat ~ Ryotetori Line Techniques

Ryotetori Kokyunage (3 ways)
Ryotetori Kaitenage (Omote & Ura)

Focus on an aerobic workout that continues in a consistent and brisk manner. Maintain a sense of the ‘martial’ aspect of the technique, e.g. what are the openings for attack that nage is giving uke as s/he implements the technique. In addition there should be critical attention given to how nage gets and maintains kuzushi.

Oct 6 Fri ~ Sekiya Sensei

10^th Anniversary Remembrance

Many students gathered to practice principles, watch videos, and remember the visits of a warm and wonderful man.

Masatake Sekiya Sensei
7^th Dan ~ Student of O Sensei
October 8, 1916 – September 3, 1996

Sekiya Sensei was born in Ehime, Japan on October 8, 1916 to a family with a small farm. Before WWII he received a 2^nd Dan in Judo. During the war he flew unarmed cargo planes all over Asia and after the war he worked for Northeast Airlines and Japan Airlines (where he founded the corporate Aikido club).

When he was 42 years old he was introduced to the founder of Aikido by the founder of the Macrobiotic movement, George Ohsawa (born Joichi Sakurazawa).

He became a direct student of O Sensei from 1959 until 1969, receiving his first five dans from him. One of the first branches of Aikikai Hombu was Sugino Sensei’s dojo in Kawasaki. Sugino was a 10^th Dan in Katori Shinto Ryu and Sekiya Sensei studied this style. After O Sensei died Sekiya Sensei maintained his Aikido under Yamaguchi Sensei (BIOGRAPHY & DOJO) who also taught at the Meiji University Aikido club. Through this connection he met Noguchi Sensei and Inaba Sensei, who studied Kashima Shin Ryu under Kunii Sensei the headmaster of this system, and so studied this art as well. Impressed by Inaba Sensei’s understanding and skill, Sekiya Sensei studied under him at the Shiseikan Dojo at the Meiji Shrine until his death on September 3, 1996 of liver cancer.

During the last meeting between Inaba Sensei and Sekiya Sensei, within days of his death, Sekiya Sensei left his sick bed to make tea for Inaba Sensei who visited to request some discussion of the final death poems of Zen Masters. Inaba Sensei felt that Sekiya Sensei was in a unique position to share some significant insight.

Oct 4 Wed ~ Buki Waza

Weapons classes have been re-implemented for several weeks now with focus on the 7 Suburi and 1^st Awase of Aikiken; as well as Kesa Giri and the 1^st Kihon Dachi of Kashima Shin Ryu. Links to an article listing basic principles can be found here:

MI Magazine: Issue 9

The Aikido FAQ

Oct 4 Wed ~ Beginners

Nikkyo (Omote & Ura)
Crosshand Kotegaeshi

Demonstration of two methods of rotating around the wrist for application of the lock in the omote version. The first is hooking the thumb and maintaining contact as it scribes around the periphery of the wrist. The second has the finger tips of an open hand serve as a pivot point on the upper side of the bend of the wrist.

Introduction to kotegaeshi was done with a cross hand grab so that nage could lead with a turn of the hips and grasp uke’s wrist more easily. The nage can step back to the starting poition as uke’s wrist is rotated upward for application of the technique.

Oct 2 Mon ~ Hand Changes & Controls

Katatetori Kaitenage - omote
Katatetori Yonkyo
Ushiro Kubishime Sankyo

Although all the entries are done with good posture, flexible knees, and from the center, attention still needs to be focused on the ‘natural’ movements of the hand and forearm and how the grip changes and flows with an economy of motion. In the first instance he hand is open as nage drops behind uke and uke’s wrist should drop into nage’s grasp. In the second, as nage tenkans his elbow must drop and align with uke’s arm so that it reflects the grip of a boken. In the last instance, depending upon the strength of the choke, as nage exits in either direction the body movement should be in the direction of the application of the technique.