Aikido Way

2007-01-16T23:49:00.000-05:00

Jan 15 Mon ~ Shomenuchi Ikkyo

108 Tenkans
108 Suwari Waza Shomen Suburi
Happo no Giri
Shomenuchi Ikkyo Omote
Shomenuchi Uchi Kaiten Kokyunage
Suwari Waza Kokyuho

Warm-up drills to establish clear sense of center, posture, and movement. Continued focus on solid basics. After initial partner practice it moved to group practice where groups divided into 8 individuals in the positions of happo no giri and each attacked nage in the center with shomenuchi. Nage completes ikkyo with same footwork (and economy of movement) as happo no giri. Then technique changed to deal with the situation when the attacking arm is received too late for ikkyo. Beginners introduced to Shomenuchi Ikkyo and then joined and blended with the senior students. Class ended with Suwari Waza Kokyuho.

2007-01-16T23:48:00.000-05:00

Jan 12 Fri ~ Beginners

Continued practice of Katatetori Ikkyo and Katatetori Shihonage. Introduced Katatetori Ikkyo.

2007-01-10T00:17:00.000-05:00

Jan 8 Mon ~ Sho Shin Kihon Waza

Continuing with the “beginner’s mind” theme and clear review of the basics. In order to accentuate the ‘fresh look’after initiating the typical entry, the entry was changed to “cross under the blade” (an irimi then tenkan in front of uke to receive the yokomenuchi strike as it completes its circular path). This entry was added after the conventional practice of each technique.

Yokomenuchi Shihonage (Omote & Ura)
Yokomenuchi Ude Kime Nage
Yokomenuchi Kotegaeshi

2007-01-10T00:11:00.000-05:00

Jan 6 Sat ~ New Look at Ikkyo

New Year and an opportunity for looking at a basic technique with beginner’s mind.

Tsuki Ikkyo
Ikkyo Projection
Irimi Ikkyo Kokyunage

2007-01-09T23:44:00.000-05:00

Jan 5 Fri ~ New Beginner’s Class

Another new beginner’s class that is motivated, excited about starting, listening intently and trying hard. Had the basic introduction of dojo etiquette and history as well as the outline of expected content and purpose of training.

Courtesy
Awareness of the center
Walking
Sitting
Ikkyo Omote

Sensei Bernie Mulligan - 1/2/07

2007-01-04T18:46:00.000-05:00


Sensei Bernie Mulligan demonstrating Aikido Kihon Waza - Tsuki Kotegaeshi in the First Class of 2007 - Michael Donnelly taking ukemi

2007-01-04T18:17:00.000-05:00

Jan 2 Tues ~ First Class of the Year

Sensei taught the first class of the new year and talked about “breaking the mirror”. Leave the past behind, forget your preconceptions and look with “Sho Shin” (Beginner’s Mind), which was the calligraphy on the kamiza. He spoke of 26 fundamental techniques (Kihon Waza) that serve as the foundation and the walls of Aikido. All of the ‘fancy’ techniques are built on these and cannot be correctly implemented without mastery of the basics. “You cannot have a roof without walls and you cannot have walls without a foundation.” He asked that even though we have done all the techniques before look at them as if you are seeing them for the first time. He also asked that we concentrate on being a good uke. This means attacking sincerely at the edge of what your partner can handle and resist only just enough. He also said that we should let our partner make mistakes; that to talk and try to correct too much is futile. We each should concentrate on one thing and not expect perfection all at once. Let your partner discover the correction to their own errors… “shut up and train!”

Review of 5^th kyu techniques

2007-01-04T17:57:00.000-05:00

Dec 29 Wed ~ Last Class of the Year

Discussion about Japanese New Year traditions particularly the idea of “susuharai”, the “soot sweeping” that occurs in order to ‘clean the house’ of grudges and negative things you don’t want to carry into the new year. They should be swept out of your life, settled into the past and left behind.

Tsuki Kotegaeshi
Tsuki Sankyo w/ Projection
Tsuki Tai Otoshi (2 Ways)
Tenkan hooking the arm underneath the striking arm and then pivoting uke for the projection
Entering underneath the striking arm to complete the throw (Kanai style)

Focus on the details of posture, placement of the hands and extending from the center.

2007-01-04T16:49:00.000-05:00

Dec 27 Wed ~ Beginners

Katatetori Iriminage
Katatetori Nikkyo

2007-01-04T16:48:00.000-05:00

Dec 20 Wed ~ Beginners

Yokomenuchi strike
Yokomenuchi Ude Kime Nage
Katatetori Kaitennage – Soto Mawari

2007-01-04T16:37:00.000-05:00

Dec 18 Mon ~ Sword & Body Movement Cont.

Moving in to Strike on the Center Line
Entering under a Shomen Giri (Shinai)
Entering into a Yokomen Giri (Shinai)
Jo Tori / Yokomenuchi Shihonage
Tanto Tori / Yokomenuchi Shihonage

Making the entries and general Aikido practice “crisper and sharper”. Encouraging awareness of an actual defensive situation. Expanding confidence by entering from a greater distance into a more “threatening” situation. Application of weapons movement to regular body movement practice.

2007-01-04T16:30:00.000-05:00

Dec 15 Fri ~ Sword & Body Movement Cont.

6^th & 7^th Suburi
Boken Exercises

Morotetori Kokyunage (4 ways)
Cross step entry to “pick a flower”
Cross step entry to “drop the elbow” and elevate along nage’s central axis
Irimi (while turning hips) entry then extending in an arc towards uke
Hanme change entry along “tangent” of uke’s arms/hands

2007-01-04T16:28:00.000-05:00

Dec 13 Wed ~ Beginners

Ushirotekubi Kotegaeshi
Morotetori Kokyuho

2006-12-18T23:25:00.000-05:00

Dec 11 Mon ~ Sword Movement & Body Movement

1^st Suburi
1^st Awase
Tachi Dori

Ryotetori Kokyuho

Maintaining movement along the center line, with upright posture, an open chest and springy knees. Harmonizing with the movement of a partner throughout the entire movement. The harmony allows the opportunity to see where there are openings for entering for tachi dori.

2006-12-18T23:15:00.000-05:00

Dec 9 Sat ~ Renraku Waza

Yokomenuchi Shihonage
Yokomenuchi Iriminage
Yokomenuchi Sankyo
Yokomenuchi Kaitenage

Yokomenuchi Shihonage→Iriminage→Sankyo→Kaitennage

2006-12-18T23:12:00.000-05:00

Dec 6 Wed ~ Beginners

Rear Roll Outs
Tsuki Kotegaeshi
Ryotetori Tenshinage

2006-12-18T23:10:00.000-05:00

Dec 4 Mon ~ Weapons Class

3^rd & 4^th Suburi

2006-12-18T23:01:00.000-05:00

Dec 4 Mon ~ Tanto Tori

Yokomenuchi Shihonage (Tanto Tori)
Yokomenuchi Gokyo
Yokomenuchi Iriminage
(Entering step w/ slip block)

Review of differences between Sankyo & Nikkyo pins.

2006-12-18T23:00:00.000-05:00

Nov 29 Wed ~ Promotion Exam

The tests were really good. Clear movements, concise and with awareness. Great posture. Much improvement noted, particularly in the flow of movement. Suwari waza was excellent with good balance and follow through. Everyone passes with room to spare! We look forward to your continued practice and progress.

2006-12-18T22:53:00.000-05:00

Nov 29 Wed ~ Beginners

Rear Rollouts
Cross Hand Shihonage

2006-12-18T22:51:00.000-05:00

Nov 27 Mon ~ Review

Katatetori Kaitenage
Standing & Hanme Handache
Shomenuchi Iriminage
Standing & Suwari Waza
Ushiro Tekubitori Kotegaeshi
Yokomenuchi Iriminage

Focusing on details to polish the techniques.

2006-12-18T22:43:00.000-05:00

Nov 22 Wed ~ Beginners

Tsuki Kotegaeshi
Rear Roll Outs

Concentrating on rolling from the center.

2006-12-18T22:31:00.000-05:00

Nov 20 Mon ~ Knee Work

Hanme Handache
Katatetori Kaitennage (Uchi & Soto Mawari)
Katatetori Shihonage (Omote & Ura)
Suwari Waza
Shomenuchi Iriminage

Looking for clarity of movement reflecting the footwork of the technique as it would be done from standing but with more economy.

2006-12-09T18:17:00.000-05:00

Nov 15 Wed ~ Beginners

Katatetori Shihonage

Moving from the center, good posture, rotating on the central axis, relationship to sword movement.

2006-12-09T18:03:00.000-05:00

Nov 13 Mon ~ Test Review

Tsuki Iriminage
Mae-Geri Tsuki Iriminage
Tsuki Kotegaeshi
Hanme Handache
Katatetori Kaitennage
(Uchi & Soto Muwari)

Exploring tsuki as any strike or kick on a straight line. Reinforcing the clear aspects of the technique that should be evident. Looking at the nature of the lead and the size of that movement in kaitennage.

2006-12-09T17:54:00.000-05:00

Nov 11 Sat ~ Mixed Ushiro

Ushiro Ryokatatetori Sankyo (Omote & Ura)
Ushiro Ryokatatori Sankyo (Omote & Ura)
Ushiro Ryokatatori Iriminage
Ushiro Ryokatatori Kotegaeshi

Opportunity to drill a common beginning leading to a variety of conclusions.

2006-11-09T22:50:00.000-05:00

Nov 8 Wed ~ Beginners

Posture
Centering
Tenkan
Katatetori Ikkyo (Omote & Ura)

Another new beginners’ class. Last two groups have been exceptionally motivated and talented, quick learners. It is the same with this class, great! It is the beginning of the curriculum so the focus was on proper posture. Head up, neck and shoulders relaxed, arms relaxed but extending and with the normal curve of the arm evident, knees ‘springy’. Discussion of ‘ki’ and the fact that it can’t ‘flow around corners’.

First centered by aligning the center of weight with the center of height. This is done by bending the knees so the hara / tanden (located approximately a fist width below the navel) then ‘Walked the Line’ with a ‘block on the head’. Keeping good posture tenkan practice came next. Then the principles were applied to katetori ikkyo, omote and ura.

2006-11-09T22:23:00.000-05:00

Nov 6 Mon ~ Infrequent Techniques

Yokomenuchi Iriminage (variation)
Yokomenuchi Kube Shime Ude Gatame (2 ways)
Mentsuki Iriminage
Mae-geri (entry)
Ushiro-geri (entry)

Tonight less typical techniques were practiced. In addition the techniques varied from the standard application of Aikido techniques by going against the natural bend of a joint. The entry was practiced by initially doing an iriminage where only the rear hand was utilized to meet the strike and lead uke (as opposed to the typical forward hand leading the hand down to the rear extending hand). Although the completion of the projection is still done in a circular manner the entry to the irimi is more linear and on an angle like the ‘tail on the letter Q’.

This entering body movement continued into a lead as in shihonage but instead the inside hand moved as if to strike uke’s chin with a thrusting back fist. The same arm then continued in a reverse manner to wrap around uke’s neck as nage stepped back with the inside leg into hiza (high kneeling). Uke was brought to the mat in order to apply a choke and an arm bar with the other leading arm across the thigh on nage’s outside ‘upper’ leg. Safety on the neck was stressed with an alternative take down method suggested by placing the palm of the “choking arm” between uke’s shoulder blades (rather than complete the circle for the choke) in order to support uke and place him/her on the mat. A variation was then instructed where uke’s face was turned and pressed to the mat facing away from nage. In this instance the arm bar was completed across nage’s abdomen rather than the thigh.

Then an iriminage was used as a defense against a ‘jab’ to the face. It is similar to yokomenuchi iriminage but is applied while entering toward uke rather than stepping back on the diagonal. The use of a ‘loose fist’ was recommended for safety reasons.

The class closed with only entries to techniques against ushiro-geri (back thrust kick) and mae-geri (front snap kick) because there was not enough time to practice the ukemi required to safely complete this technique.

2006-11-09T20:29:00.000-05:00

Nov 5 Sun ~ Gratitude Seminar

Lou Perriello has been a prominent Aikido presence in Massachusetts for decades. As founder and chief instructor of Northeast Aikikai he has taught and promoted scores of aikidoka. Recently Perriello Sensei has had to use his martial art skills to fight a life and death battle against an inoperable brain tumor. It seems he has emerged victorious but not without significant wear and tear to his body which has resulted in the loss of hair, significant weight, and his dojo. He is now in retirement, perhaps quickly becoming semi-retirement to do an occasional seminar.

To bolster his spirits and to wish him a speedy and complete recovery, a number of aikidoka attended a seminar hosted at Methuen Aikikai by John Dore, one of Lou’s senior students. It also hoped to thank other senior instructors who are central to the growth of Aikido in the Northeast but their cranky natures and unshakeable incorrigibility prompted them to refuse to attend unless the event was exclusively for their friend. The organizers knew when to “tap out”.

The seminar was very well attended and full of positive energy. The best part of the training was that Lou himself taught as well as three other very senior instructors. Together they represent the 4 pillars of Aikido in New England. Three of them started as judoka and began their study of Aikido before Kanai Sensei arrived; in fact they were instrumental in bringing him to New England. Bernie Mulligan founded Shodokan Dojo almost 50 years ago. Paul Keelan has been a mainstay of New England Aikikai, Lou founded Northeast Aikikai and Dick Stroud had been an instructor at New England Aikikai but has been the dojo cho of the MIT Aikido Club. There are video clips of the “founding fathers” below.

Sensei Lou Perriello

Sensei Dick Stroud

Sensei Paul Keelan

Sensei Bernie Mulligan

2006-11-05T22:53:00.000-05:00

Nov 4 Sat ~ All Lines All the Time

Morotetori Udekimenage
Morotetori Ikkyo Projection
Ushiro Katatori Ikkyo Projection
Ushiro Katatori Sankyo w/ pin
Ushiro Katatori Sankyo w/ Projection Backward
Ushiro Katatori Sankyo w/ Projection Forward
Ushiro Katatori Shihonage

Morning class with all senior students including a returning long time practitioner. Could have a steady brisk pace throughout without concern for ukemi ability. Progression was based on the movement of one technique shared and flowing into the next. Halfway through the class a technique with a kneeling pin was added to give everyone a bit of a respite. Emphasis on letting the body generate the movement rather than “grab” for the lock. The sankyo should be applied as nage comes up and into the technique.

2006-11-04T01:33:00.000-05:00

Nov 3 Fri ~ Practicing Fives

Katatetori Kaitennage (uchi muwari)
Yokomenuchi Udekime Nage
Yokomenuchi Randori (3 attackers)

Shihonage
Kotegaeshi
Iriminage
Kaitennage
Udekime Nage

Started with a mixed level class so opened with two basic techniques. Described the jujiutsu origin of kaitennage. Identified maintaining kuzushi, atemi prior to entry, dropping very low and ‘touching the mat’, then holding uke’s neck down rather than ‘pushing’ it down after entry, grabbed hand is left open in a ‘natural L’ so that uke’s arm ill easily fall into the grip, locking the shoulder across perpendicular to the spine, and project. Maintain zanshin.

Described the need to attack the elbow in practical application of udekime-nage and how this can be modified for a safer practice. The latter involves a slight change in angle of entry closer to the shoulder and projecting through uke’s center. Identified the locking aspect by dropping the grabbing hand lower as the projecting arm enters palm-up, lifting uke to his/her toes and the moving through the elbow as the attacking arm rolls to tegatana as if to take ukemi.

Finished class by reviewing 5 techniques that can be done from virtually any attack then having modified (use of only yokomenuchi attack) freestyle practice against 3 attackers.

2006-11-02T01:05:00.000-05:00

Nov 1 Wed ~ Beginners

Katatetori Shihonage Omote
Katatetori Iriminage
Katatetori Ikkyo
Katatetori Nikkyo Ura

Class started with practicing “the moment of contact”, grip breaking and using a grip that can’t be broken by maintaining this contact and ‘leading’. Also how body movement harmonizes with the energy given and that the direction of this energy determines the direction of the ‘entry’ into the technique that ‘evolves’ from this movement. Using the same opening movement in every case, techniques are changed by virtue of where the movement is blocked causing nage to move in a different direction in response to the respective resistance.

2006-10-31T00:26:00.000-05:00

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.

2006-10-26T14:17:00.000-04:00

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.

2006-10-24T00:31:00.000-04:00

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.

2006-10-24T00:29:00.000-04:00

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

2006-10-24T00:26:00.000-04:00

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.

2006-10-19T12:23:00.000-04:00

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’.”

2006-10-19T00:01:00.000-04:00

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

2006-10-18T22:32:00.000-04:00

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

2006-10-17T23:37:00.000-04:00

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.

2006-10-14T17:28:00.000-04:00

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”.

2006-10-14T17:19:00.000-04:00

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.

2006-10-11T01:33:00.000-04:00

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’.

2006-10-11T01:32:00.000-04:00

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.

2006-10-11T01:31:00.000-04:00

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.

2006-10-11T01:16:00.000-04:00

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.

2006-10-11T01:06:00.000-04:00

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

2006-10-11T01:05:00.000-04:00

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.

2006-10-11T01:02:00.000-04:00

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.

2006-09-30T23:49:00.000-04:00

Sep 29 Fri ~ Basic Class

Ryotetori Kokyuho
Katatori Nikkyo

Discussion of a good attitude towards training and accepting correction. This involves both remembering the point of specific feedback given regarding improving one’s technique and then practicing it consistently thereafter as well as not being too critical of oneself.

2006-09-30T14:46:00.000-04:00

Sep 27 Wed ~ Beginner’s Class

Ryotetori Nikkyo – Omote & Ura

Rowing exercise, its history and relationship to Shinto tradition (as is the kokyu exercise at the end of the warm-up) and aiki taiso developed and used just after WWII. Emphasis placed on moving the center rather than just the arms. Instruction in the ki-ai that accompany the movement. This exercise was then placed in the context of the specific technique.

2006-09-30T14:45:00.000-04:00

Sep 25 Mon ~ Tenkan

Kokyunage (2 ways)

A variety of tenkan and entry drills that started slowly (to get a sense of trust and timing) and then increasing the speed of response (to insure an aerobic workout as well as a sense of initiating a technique at “the moment of contact”). Exploration of how uke reacts to atemi with a change in body posture. This reaction can be different (reflexive without an ability to consciously override the reaction) when the atemi starts from peripheral vision.

2006-09-30T14:11:00.000-04:00

Sep 22 - 23 Fri & Sat ~ Ellis Amdur Seminar

Ellis Amdur has been training in Aikido since the 1970’s, spending 13 of these years in Japan. He studied most intensely with Terry Dobson (1937-1992, American Aikido teacher and writer and the only non-Japanese to be a direct student of the founder of Aikido), Yoshio Kuroiwa (b. 1932, Tokyo, 6th dan Aikikai, extensive boxing background. began training in Aikikai Hombu Dojo c. 1954, emphasizes the practicality and effectiveness of Aikido techniques), and Yasunori Kuwamori.

He is a licensed instructor in two classical Japanese koryu, Araki Ryu, (a system that focuses on close combat, with or without weapons) and Toda-ha Buko-ryu, (the use of naginata against a variety of weapons).

This workshop focused on atemi. Sensei Amdur states, “Atemi-jutsu within Aikido training is often a crude formula of ‘if he doesn’t move I can hit or poke him to make him move’. But proper atemi should be more subtle than this – a destabilization of posture that ranges from psychological methods (kiai-jutsu) to kuzushi (physical methods of affecting the opponents balance) to more severe methods of striking."

Sensei Amdur started with warm-up exercises and individual practice movements that drilled 5 major planes of responses based on Aikido controls and hand & hip coordination with soft flexible shoulders.

He demonstrate heavy hand practices as it relates to atemi and kuzushi, as well as how atemi are part of the flowing movements inherent in aikido practice. In addition he offered insights into appropriate attitudes towards etiquette and attention to instruction while training.

Attention was paid to the meaning, purpose, and application of “ki-ai”. Weapons work emphasized ma-ai and indicated the ‘openings’ that present themselves as ‘opportunities’.

You can see a brief video of the instruction at the following link:

SENSEI AMDUR

2006-09-30T12:56:00.000-04:00

Sep 20 Wed ~ Beginner’s Class

Continued shihonage practice with demonstration of relationship to sword movement. This sword movement also emphasized the importance of maintaining correct ‘harmony with oneself’ in terms of alignment and movement from the center along the vertical axis of one’s posture. Introduction to rear roll outs and continued stress on the importance of ukemi. Here’s a “modified” quote from Jigoro Kano, the founder of Judo. It is great advice for aikidoka in understanding the importance of ukemi practice…

“ …if one hates to be thrown, one cannot expect to become a master of the art. By taking throws time after time, one must learn how to take falls and overcome the fear of being thrown. Then one will become unafraid of being attacked and be able to take the initiative in attack. Only by following this manner of training can one learn true… waza… conducted in the way to develop speed and free movement of the body.”

2006-09-30T12:55:00.000-04:00

Sep 17 Mon ~ Tsuki

Tsuki Tenshin Kotegaeshi
Men Tsuki Tenshin Kotegaeshi

In the first instance there is a block that is similar to the ‘chiburi’ movement in Iaido and has a simultaneous diagonal back step off the line. The second instance has a direct step back with kuzushi attained by leading the uppercut strike ‘up’ and then applying the kotegaeshi by following the direction of the fist ‘into the hand’ and then down.

2006-09-30T12:54:00.000-04:00

Sep 13 Wed ~ Beginner’s Class

Introduction to ‘standing’ and maintaining an erect posture along the central axis. Eyes focused forward so that the line of sight is parallel to the floor. Hold the sky up with your head! Ears over shoulders with chest open and knees “springy”. Discussion of the “center” and the importance of making the ‘center’ of your height coincide with the ‘center’ of your weight. The general rule for finding your ‘center’ (“hara” or “tanden”) is to place your thumb on your navel. Make a fist and place it UNDER your thumb. Now move your thumb and place it UNDER your fist… this is approximately where your ‘center’ is located (the probable center of your body weight). You make the adjustment to coincide the ‘center’ of your height by bending your knees and lowering yourself into a more stable defensive stance with feet in ‘hanme’ approximately a shoulder width apart. Having established this posture you can practice walking (tsugi ashi & ayumi ashi) while maintaining a round wooden block on the top of your head.

2006-09-28T14:10:00.000-04:00

Sep 11 Mon ~ Suwari Waza

Class opened with a longer period of meditation in remembrance of the 5^th anniversary of the 9/11 tragedy. Thoughts went to those trapped by flames on the upper floors who decided to jump rather than become engulfed. In that crucial moment so many in peril reached for the hand of a stranger so that two human beings might jump together. It is a reminder of what a powerful force is the sense of connection. It also reminds us that we should not wait for tragedy to display such compassion.

Suwari Waza
Katatetori Nikkyo – Omote & Ura
Nikkyo variations for alternate arm positions of uke
Tsuki Tenshin Kotegaeshi

Emphasis on nage’s economy of movement during suwari waza and getting uke to do as much of the movement as possible. Making sure to get a “Z” in uke’s arm and that the application should come from the center with relaxed arms and shoulders.

2006-09-28T13:13:00.000-04:00

Sep 9 Sat ~ Kaitennage

Katatetori Kaitennage
Ryotetori Kaitennage

Emphasis placed on dropping the center as the arms are dropped for more effective kuzushi.

2006-09-28T13:11:00.000-04:00

Sep 6 Wed ~ Ryotetori

Ryotetori Ushiro Iriminage
Ryotetori Kokyunage (2 ways)
Ryotetori Irimi Koshinage

Emphasis placed on maintaining posture and holding the center with loose relaxed shoulders and flexibility in the upper body to allow fluid entry for the techniques.

2006-09-28T12:22:00.001-04:00

Sep 3 Sat ~ Lorraine DiAnne Seminar

This was a wonderful event that was designed to celebrate and support DiAnne Sensei. She has an upcoming trip to Japan in November where she will be awarded her Shihan certificate at Aikikai Hombu by Doshu. As usual Sensei DiAnne gave spirited classes of effective techniques. There is a brief video of the application of kotegaeshi to an uppercut at:

SHIHAN DiANNE

Congratulations to her for a well deserved recognition of a lifetime of Aikido. Much gratitude also for years of friendship, instruction and support.

2006-08-31T23:37:00.000-04:00

Aug 30 Wed ~ Tachi Dori

1^st Suburi
1^st Awase
Tachi Dori
Shomenuchi Tenkan Kokyu-ho
Shomenuchi Iriminage
Yokomenuchi Shihonage

Emphasis placed on the need to enter narrowly to the correct position, toward uke and behind the live and active part of the blade, with precise timing. It is important to enter and not commit too early, not to ‘grab for’ or try to ‘catch’ the sword hilt but rather harmonize with uke’s movements and grasp at the end of the strike when the momentum is spent.

Proper execution of the attack was drilled by extended repetitions of the 1^st Suburi.

Timing for the entry was drilled by extended repetitions of the 1^st Awase.

2006-08-29T17:20:00.000-04:00

Aug 28 Mon ~ Tai Waza

Ushiro Techniques
Ushiro Tekubitori Kokyunage / Ushiro Iriminage
Ushiro Tekubitori Kotegaeshi
Ushiro Tekubitori Ikkyo → Ushiro Tekubitori Kaitenage
Suwari Waza Kokyuho

O Sensei said that through the practice of rear techniques one learns how to train one's mind and body against attacks from all directions. Rear techniques open the window of one's mind and develop one's sixth sense. (I know I have read this and I will track and cite the source.)

Emphasis was placed on the appropriate method of attacking. A reference was made to a conversation with Kanai Sensei where he stated that practice would improve if ukes were better at more sincere attacks. He felt that we have a problem with nage and uke in that nage somehow...'compromises' with uke, (uke will not hurt nage) and nage 'compromises' with uke, (nage will not hurt uke). Although this situation is a very important part of Aikido, it can also result in students becoming lazy. They take advantage of each other. What really should be done is that uke has to be able to take any kind of ukemi from whatever nage does. In that way, and only that way, will they be able to have a productive practice and can grow together. Otherwise they are going down together.

Kanai Sensei Interview I ~ August 17, 1991 http://www.neaikikai.org/kanai-inter-1.html