The syllabus of Aikido styles usually contains short version basic sequences. This evolution was a result of martial arts becoming a highly educational and recreational activity for amateur practitioners worldwide after WW2.
The syllabus for the “short version” is not exclusive to Aikido. Short versions of Karate-do, Kendo, Judo, Iaido, Jodo,… are available.
In Iaido, a 12-kata syllabus called ‘Zen Nippon Kendo Renmei Iaido’ is used as an introduction to Kendo practitioners and as a partial syllabus for Iaido Dan-grading. This short version is highly popular among non-Kendo martial art practitioners.
Short version or shortcut
Many martial arts schools simplified and reduced their syllabus to fulfill the needs of the recreational practitioner. As a mean to survive in a society based more on quantity than quality. The question arises as to whether a short or simplified version can give you a deeper understanding of a complex martial art.
It’s possible that a recreational practitioner’s real skills will never be developed throughout their lifetime as a professional practitioner takes years to learn a complex method. If you can accept the shortcomings of the watered-down version, the reward of simplified training can be satisfying for you.
Basic concepts and short version
A short version of the basic kata can be utilized as a shortcut to comprehend a complicated system. To develop an understanding of body and mental processes, the short version basic kata should include basic concepts.
What are the fundamental concepts that are frequently discussed? The way we perceive basic concepts can vary greatly.
It is common to mention concepts like a ‘body mechanical approach’ and ‘energetical approach’. The purpose of your training is what determines everything.
Short version as an intro to classical kata
Having a basic understanding of the underlying concept presented in kata is crucial, as Japanese traditional martial arts frequently includes it in their syllabus. The underlying concepts of more complex katas can be quickly grasped by using a short version of the basic kata to introduce basic concepts.
Koshiki no kata, a high-level Kodokan Judo kata or Kito Ryu kata is sometimes used by high-level Tomiki Aikido instructors to explain the strategy and body mechanics. The value of this for an average Tomiki Aikido practitioner is negligible without comprehending the underlying concept in the Koshiki no kata.
The presentation of this kata at a seminar can be a starting point for a more comprehensive study and practice.
For those who are not interested in exploring the foundations of their art any resemblances to randori techniques can be an enjoyable pastime.
A watered-down attack method
Does Uke use a real attack method or is it typically an invitation to Tori to practice techniques in a basic format?
Most of the attacks are almost ceremonial gestures towards Tori. Tori’s movement is facilitated by the absence of danger and the concept of ‘hyoshi’.
To introduce a beginner to Aikido techniques, it’s essential to have a situation where they can study the correct body movements.
An extra enlarged attacking method is shown in the next video to aid Tori’s performance.
Recreational practitioners and University Students
What is a recreational (martial art) practitoner? It is someone who has free time to spend outside his professional responsibilities. It is during “leisure time“ that people participate in recreation and sporting activities.
Recreation refers to all those activities that people choose to do to refresh their bodies and minds and make their leisure time more interesting and enjoyable.
Besides the recreational group of practitioners there is another target of practitioners who need a short version of martial arts.
Extracurricular activities are an important part of student life in Japan, and approximately half of the university students take on sports or participate in artistic or cultural circles. A shorter version of a martial art is necessary because of the limited time you are studying at a university. A training syllabus must take into account this problem. Most of the students stop their training after graduation.
Waseda University Aikido Club and their technical syllabus are an illustration of the evolution of a short version of an Aikido training (competitive) program. Kenji Tomiki was responsible for organizing the program of this club.
After graduation, some students went abroad for professional reasons or to expand their knowledge at a university in the country they were staying. Occasionally, those students became members of a martial art group. Although they only learned the short version during their university days, they were treated as fully competent Sensei.
This was sufficient and enjoyable for most recreational practitioners in the West, of course. Certainly when they enter’shiai’ and win medals.
Unfortunately, some recreational practitioners were curious about the deeper aspects of their martial art, but were unable to receive an answer.
They seek answers to this problem by attending seminars and workshops organized by practitioners of Martial Art Bodywork Systems.
Another went to Japan to receive instruction on higher-level aspects of their art. The success of their quest will depend on where and who is teaching.
The rise of competition and public demo
Shiai and Embu became popular when training halls opened their doors to the general public. Martial arts in Japan were primarily a matter for professionals like police officers or military personnel. When Japan opened the doors for Western influence, the training for the enforcement or military changed. The old methods lost their glamour and were replaced by modern Western methods. But the image of the ‘Samurai and the moral ode of Bushido’ became popular in the police and military environment. The military government’s uprising in Japan was another factor to consider.
To explain in modern terms, Budo and Bushido marketing was a major factor in promoting short version martial arts. One of those marketing tools was Shiai and Embu.
Changes in society always create victims, and some of the Samurai became martial art instructors in public dojos. If you want to read more about this change in Japanese society, you can read a book written by E. J. Harrison.
The martial arts of the Japanese Samurai were promoted in Western countries through competition and demonstrations after WW2. Shiai and Enbu share the same goal of proving their superiority to a skilled or non-skilled opponent, there is no difference.
Competition or public demonstrations are fueled by a “short version” martial art. Transparency and a limited number of techniques must be accepted in order to make a competition enjoyable for competitors and spectators.
Ukemi during competition can be spectacular, but is different from the demo ukemi.
The majority of public demonstrations involve tori throwing jumping uke’s, which are both easy and nonchalant without power. Real skills are rarely seen in mass demonstrations. This fantasy is truly loved by the spectators.
On the other hand, if you look deeper into the performance, you can see whether the performance has skill or lacks it. But mostly the art of “ukemi” is there for the spectators.
An overview of the basic technical syllabus
If we look into the syllabus of some major Aikido schools and their associated organizations, we will find short version syllabi. Even schools which seem to have different short versions can find a solution for a uniform version under an umbrella organization.
An example was an umbrella organization in France, Union Nationale d’Aikido – UNA, in the seventies. The main figures were: N. Tamura, A.Nocquet and H.Mochizuki. Personal conflicts played a significant role in the abandonment of this experiment.
Aikido was introduced in Europe and the United Kingdom in the early fifties as a byproduct of Judo. The introduction of an unknown martial art was made easier by utilizing Judo schools and their main instructors. For interested Judoka, a short version made the introduction more accessible. As a so-called Samourai martial art, Aikido was surrounded by myths and fake historical facts. Still today, some contemporary practitioners accept those unreal stories.
Tadashi Abe, pioneer in France
In 1952, Tadashi Abe came to France to study at the Sorbonne. He was at that moment a 6th dan Aikido. He wrote a book in collaboration with Jean Zin, his student. L’Aikido, l’arme et l’esprit du samurai japonais (1958)
- First principle – Ik Kajo – Ude-Osae (armlock-elbow)
- Second principle – Ni Kajo – Kote-Mawashi ( wristlock)
- Third principle – San-Kajo – Kote-Hineri ( shoulderlock)
- Fourth principle – Yon-Kajo – (vital point)
- Fifth principle – Go-Kajo – (overflowof agression)
“Aiki Kai” short version
In 1969, Kishomaru Ueshiba published a book about the art of Aikido. This book is based upon 2 Japanese books: Aikido (1958) and Aikido Giho (1962).
Basic techniques
Nage Waza (Throwing techniques)
- Shiho nage
- Irimi nage
- Kaiten nage
- Kote gaeshi
Katame Waza (Hold down techniques)
- Ude osae (arm pin)
- Kote mawashi (wrist in-turn)
- Kote hineri (wrist twist)
- Tekubi osae (wrist pin)
The rest of their basic syllabus is called “Applied Techniques” and are based on the Nage waza and Katamae waza basic techniques with some additional techniques.
- Koshi nage
- Tenchi nage
- Juji garami
- Aiki otoshi
- Sumi otoshi
- Kokyu nage
- Aiki nage
- Ude nobashi
- Ude hishigi
Yoshinkan, short version
This is based upon “Dynami Aikido” by Gozo Shioda (1968)
Basic techniques
- Shiho nage
- Ikkajo osae
- Nikajo osae
- Sankajo osae
- Yonkajo osae
- Sokumen irimi nage
- Shomen irimi nage
- Hiji jime
- Kokyu ho
- Tenchi nage
- Kote gaeshi
Minoru Mochizuki – Yoseikan
Based upon a book by Minoru Mochizuki and adapted by Jim Alcheik “Ma méthode d’Aikido Jiu-Jitsu” (1957).
The techniques described are used as an application against different attacking methods. As with other aikido methods, there are also basic actions to build up posture and strength.
- Kote gaeshi
- Shiho nage
- Yuki chigae
- Tenbim nage
- Hatchi mawashi
- Atemi waza
Hiro Mochizuki – Yoseikan
L’Aikido by Hiro Mochizuki and Daniel Zimmerman (1971)
- Kote gaeshi
- Neji kote gaeshi
- Yuki tchigae
- Mukamae daoshi
- Robuse
- Shiho nage
Aikido, Tomiki style
Kenji Tomiki created in the early 50-ties a set of techniques for use during randori. This set of techniques became the Randori no kata basic 15 or 17.
In the 90-ties, Senta Yamada returned to the UK and introduced a set of 20 techniques. The JAA and Shodokan using both a set of 17 basic techniques presented as a kata. This kata is used for grading purposes and competition.
Basic 15 is described in his book “Judo and Aikido” (1956 1st printing Judo, appendix Aikido).
Atemi Waza
- Shomen ate
- Gyaku gamae ate
- Ai gamae ate
Hiji Waza
- Oshi taoshi
- Hiki taoshi
- Ude gaeshi
- Ude hineri
Tekubi waza
- Kote hineri (junte dori) same hand
- Kote hineri (junte dori) opposite hand
- Kote hineri (gyakute dori) same hand
- Kote hineri (gyakute dori) opposite hand
- Kote gaeshi (gyakute dori) opposite hand
- Kote gaeshi (gyakute dori) same hand
- Kote gaeshi (junte dori) same hand
- Kote gaeshi (junte dori) opposite hand
Classification methods and Kodokan Judo
Classification in Japanese martial arts is very common. In traditional sword and stick arts, classification is a standard methods to define “skills”. In Iaido some schools use “Shoden, Chuden and Okuden”. Other schools use “Omote, Ura, Kage…”. As you can see, Aiki methods like Daito ryu and Aikido are not the only to use claasification.
You will notice the differences in the names of the techniques or groups of techniques used by Aikido schools. Some methods are still linked to the names used in Daito Ryu Aiki-jutsu (Ik-kajo…). Other names are referring to the end result of the technique, while other names are referring to the action to become to the end result.
The classification Ik-Kajo, Ni-Kajo… as used by Daito Ryu Aiki-jutsu and the adapted classification by the Aikido methods can be seen also in Go-kyo Kodokan Judo.
Gokyō is the classification of a set of throwing techniques (nage-wazanage-waza). The first version of the Go-kyo contains 42 techniques.
Why 42 techniques? The answer is found in the words of Kaichiro Samura: “There was no special reason, but since in sumo there were forty-eight techniques, we decided that it would be roughly the same.”
Go-kyo creates a bridge between Kata and Randori. In kata you cannot change the content, in randori you can use freely throwing techniques which are mentioned in the Go-kyo. The purpose of Go-kyo is to provide keys for the practise of randori.
Kodokan Judo and its technical development
An article written by Kenji Tomiki (1969) with a reference to the Kodokan Go-kyo. Fundamentally, he is promoting short version methods and his ideas can be found in the technical sequences for practicing randori safely.
Study Group Tomiki Aikido 
Nice Article
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