Eddy Wolput

In search of “Koshi”

Koshi is most often translated as “hips” and bring much confusion in the minds of martial arts practitioners. If we include Kyokotsu in the use of “Koshi”, a new world opens up, a world of energy and power.

Koshi can variously refer to the pelvis(to include the hips, pelvic carriage, lower spine, sacrum and coccyx), the lower abdomen, the upper thighs, the centre of gravity in the lower abdomen, and all the muscle and other bodily material situated around these areas.
George Donahue, ‘Koshi / Yao: An Introduction’ http://www.fightingarts.com/reading/article. php?id=663

In the same way, one of the bases in Chinese Taijiquan or Yiquan, “using Yao” is often translated as “using hips”. Basically, it also comprises the upper torso above the hips, and even the rib cage.

During many seminars, the importance of “Koshi” came up, but unfortunately in most cases the explanation where koshi is located was confusing.

Thus, when you are looking for a complete explanation for “Koshi”, most of the information will be confusing. To experiment with Koshi, I can only recommend a form of abdominal breathing known as “reverse breathing”. During such breathing of Taoist origin, several elements must be taken into account.

Breathing in – pulling slightly in the upper abdomen, imagine breathing through the belly button.
Exhale while pushing the diaphragm, the picture is to bring the air into the hara.
Pull on the perineum to create a certain compression in the hara, the source of your physical and mental stability.

After some training, weeks or months, depending on the schedule you use, you will feel how the lower body muscles and the rib cage move. The next step is integrating kyokotsu into your training process. This is the controller for power transfer, originating from the legs and feet through the Koshi in the arms.

Koshi is not the origin of power. Koshi is the tool to deliver the power of the legs and feet in sync with gravity, to the rest of the body. But the Koshi muscles are really strong. These muscles can generate a lot of useful power as an “injector” to begin our movement with or without displacement. The role of the hara and in particular of the “tanden” is to create physical and mental stability.

The importance of posture

To begin to sense Koshi, we need to adopt a proper posture. It may be “shizentai” or natural posture, but also “Kamae” or posture ready for action.

There are some important considerations.

Posture in line of the pull of gravity
The head is at the top of the posture – the ears are drawn far from the shoulders, do not pull the shoulders down.
Kyokotsu is very lightly pulled in, the breast has a concave form, not a military posture or a collapse.
You have the image to sit with Koshi
Body weight can be experienced in the feet touching the ground.
…..

Suri-ashi, sliding feet

The idea behind Suri ashi is to slide your foot parallel to the ground. At Noh, they learn a posture, leaning slightly forward. What’s going on here is that your ankles will be bent so that you can move your foot without or with a little lifting from your heel. You can’t make one big step.

Raising the heel too high should be avoided since it creates an unstable body.

This can only be done when the appropriate posture is taken. Koshi must connect with the legs and feet to sense the power coming from the earth. There is a certain pressure on the feet, in particular the ball of the feet. It comes from the acceptance of gravity. Body weight falls by placing the Koshi in the proper place.

Pressing too much into the ground using muscle power, creates excessive resistance that hinders the flow of motion. Similarly, too little pressure creates a collapsing body, the horizontal parallel lines between the koshi and the ground are disturbed, and the body begins to ‘waver’ when it is moving.

Suri-ashi has some benefits when you need to reduce the distance between you and your training partner to perform an offensive move from a proper distance. Essentially, you move with a Kamae posture.

Those benefits are:

1) no rocking of the hips,
2) no unnecessary twisting of the upper body
3) no ups and downs of the body.

When I practiced Suri ashi, one leg is pressed downward and the other leg is near empty. The empty leg can move on with help from Koshi. It is called “the use of substantial and non-substantial behaviours”. The exercise is done very slowly, with full focus on weight distribution.

Ki-ai, the sound of energy

With proper posture and breathing, the hara is strengthened and ready to invoke a burst of energy. If it is accompanied by the power of the earth, channeled by Koshi to the arms and hands, effective movements or waza are created. Sometimes the waza is accompanied by a sound or a scream from the bottom of the hara. It is the sound of energy also expressed by famous singers and players of Noh (Noh – the classical Japanese dance theatre).

Ki-aI, the sound of energy is linked to the use of “hakkei”, the skill of instantaneous power. Sometimes “hakkei” may be thought of as an explosive power. Be that as it may, a strong hara is a necessity for the use of Koshi handled by kyokotsu.

Onmyō – Yin/Yang

Our movements are acting by using opposing forces – tension and release. The concept of opposing forces is in Oriental philosophy explained by the well-known words: Yin and Yang, in Japanese: Onmyō.

Pressure (tension) by stepping (unsoku – Suri-ashi and tsugi-ashi) represents the building up of energy, and the distribution and control (release) with the koshi creates efficient movements. The arms and in particular the elbows are controlled with kyokotsu.

When building up pressure or storing power, there is always a flexibility component that represents movement. Let’s take the example of our breath. Inhalation creates pressure or tension and breathing out is the release of pressure or tension. Our respiratory muscles should have high quality flexibility. Tightening these muscles will hinder the efficiency of respiration.

Breathing is a valuable element in the way power is used, distributed by koshi and controlled by kyokotsu. The inhalation pressure and the associated breath, energy, must be distributed in the hara to create a solid foundation. Koshi requires a solid foundation to distribute the power of the earth. If there is no solidity in the koshi, there will be a possibility to hurt the muscles of the Koshi or damage the lower vertebral column..

Tension and release are an expression of the dual forces in the universe. Both elements are constantly in motion and by tension, the movement will stop.

Adding Kyokotsu into the training

Before you can use kyokotsu control, you need to experience kyokotsu. The outcome of the kyokotsu manipulations can be seen in the Koshi movement.

Do not move Koshi deliberately, allow Kyokotsu to do his work, Koshi will move without thinking. Of course, this can only happen when you relax your body and adopt a good posture.

Some examples of kyokotsu movements can be seen in next videoclip.

Tenshikei, diagonal power

Tenshikei, in Chinese called Chansigong or silk reeling, is a topic for another blog post. The correct manipulation of kyokotsu and Koshi is the source of tenshikei or diagonal power. There are drills for developing this kind of power. Here is one simple example. The motion starts with pushing Koshi in the direction of the foot. The heel pushes outward without actually moving. There’s a rebound that goes through the body to the head. In the end, the eyes follow the diagonal path. The body goes back the same way.

Balance of “JU” and “GO” or the alternative way in Tomiki Aikido

Tomiki Aikido is most commonly associated with a “competitive” version of the Aikido. In a way, this is correct because this kind of Aikido is created at Waseda University for the purpose of holding competitions among the different universities in Japan. As with other martial arts, Tomiki Aikido is also known as Shodokan Aikido has become a sporting activity throughout the world.

Every martial art also has a component of maintaining health, the same goes for Tomiki Aikido.

Maintaining a strong and supple body is an important condition in order to live a happy life. Our minds and thoughts have an important role to play here and this cannot be underestimated. Unfortunately, our sedentary life is a great danger to our movements, physical as well as mental. Such a life does not give us much chance of moving our body or using our creative mind. We can forget how to move our body in a rational way and our mind becomes in a state of unmindfulness.

Some people begin with a movement program to solve the problem of inactivity. Martial Art can be such a program for better movement.

The image of a martial art with the people in general, is an image of violence and aggressive behavior. Of course, people are aware of the Japanese art of Aikido or the Chinese art of Tai-chi-chuan. Most of the time, they consider these arts to be a watered-down combat system, without any connection to the real world.

The purpose of martial arts can be described as 2-fold

Civilian purposes
- Maintenance of health for everyday life and well-being.
- Self-cultivation of the mind/spirit
Martial purposes
- Self-protection/self-defense
- Simulated combat (sport/randori/shiai)

Basically, the main concept in the so-called soft martial arts is to find and improve the balance between relaxation and tension. This is not only a physical matter. The balance in the mind has also to be accomplished.

When the balance is created, the movements of mind and body can be describes as: “The rational way of using the mind and body.”

To understand this, two concepts come forward: Ju and Go.

Ju: the body is flexible, movement is smooth without blockage, force can be transmitted in the body without difficulty
Go: a physical state, mostly associated with martial art practice in which the body or movement is strong but not rigid.

In other words, a balance between flexibility and power is needed to produce an efficient action in your life.

For example the action os simple standing and trying to relax. Relaxing is associated with some kind of softness and flexibility. We also need some power to overcome gravity and keeping the body up. Too much power creates a stiffness in the body and mind, too much relaxing creates a kind of collapsed body (mind & body).

Balance between “Ju” and “Go”

The balance between the Ju and Go, the 2 physical qualities of the body create a detached mental state, in other words a state of emptiness, also called “mushin mugamae”, a famous quote frequently used by Kenji Tomiki/

You become an observer of the movements produced by yourself without any urge to bring your “ego” into play. Your mind and body comes into a state of balance between flexibility and power.

How to?

So, when you start to practice, you should first focus on relaxation in order to remove any stiffness in your mind and body. Stiffness is the condition of muscular movements in which your mind cannot lead your body movement.

Or the muscular force is blocked at a certain point even though the mind wants to reach a certain objective. In other words, there’s a lack of coordination and alignment between the body and the mind. The disharmonious state between the physical movement and the mind is the root of stiffness.

To practice “relaxation”, the best way is to put yourself in an upright posture, also called “shizentai”, and start to get rid of all unnecessary tension by scanning the body. You can find more on this matter if you do a search on “ritsuzen “.

The next step is making the body strong by using the optimal muscle tone to generate power for you movement action. Be aware, movement is always guided by the mind, but never forced by the mind.

Tandoku renshu

Solo training consists of several components that cannot be omitted.

Warming up – loosening up mind and body with soft stretching and flexible movements
Energetic exercises – Kiko or Qigong – Shin-kokyu exercises (reverse breathing exercises)
Winding/unwinding exercises – Tenshikei exercises (Chansi-gong)
Sword-hand exercises with displacement – tegatana-dosa and unsoku-ho

Sotai renshu

The purpose of partner exercises is to test the efficiency of the skills developped during solo training.

Katachi and Kata training

Martial art techniques using the skills developped during solo training and partner training

Randori

Testing the accumulation of the skills developped during training of tandoku renshu, sotai renshu and katachi/kata.

Kyokotsu Control

The concept of “Kyokotsu” is already mentioned in numerous posts on this blog. The Kyokotsu movement is part of the entire body movement and cannot be separated from it. There are several basic kyokotsu movements, and these movements are embedded in different exercises already covered in this blog.

The Kyokotsu control consists of several basic movements:

In and out (horizontally)
Up and down (vertically)
left and right (horizontally)
Figure eight (combination of 1-3 with turning torso
……

Those movements connect Kyokotsu with the abdominal area, the spine and the back muscles, which leads to a whole-body movement.

By controlling the kyokotsu, we control the spinal column and surrounding muscles. Kyokotsu is essentially a part that is hard work to move consciously. If you succeed in doing so, other parts of the skeleton have no alternative but to move with it. An interconnection with the spinal column at the center is created when you succeed after much training. If you try to control your spine directly, you find yourself in tension. We need to use an image of the kyokotsu in motion, and thus the spinal column will have the freedom to move by the surrounding muscles.

Major muscles groups affected by kyokotsu control

Kyokotsu control strengthens the iliac muscle and the major psoas muscle which are attached to the spine. Strengthening these muscles helps the movement of the body to bring power to the hands and legs. Moreover, the intentional movement of Kyokotsu causes the opening of the shoulder blades. This in turn enables the freedom of the upper body, including the ribs, and the suppleness of the arms. In addition, Kyokotsu control affect the movement of the pelvis, which increases the strength and freedom of the lower body.

The latissimus dorsi, which is also connected to the spinal column, is also affected by kyokotsu motion. Especially when the kyokotsu rises with an upward move of the arm.

Of course, the above mentioned muscles are just a part of the necessary muscles needed for the whole body movement.

Kyokotsu Control

Pulling in horizontally

Aikira Hino Budo Theory

The concept of Kyokotsu control is one of the basic elements taught at many seminars of the Study Group Tomiki Aikido in Belgium, Spain, Bulgaria and the UK.

The concept of Kyokotsu Control is an element of Hino’s Budo Theory. Before the Corona crisis, Akira Hino gave several seminars in the countries of Europe. His method is not limited to practicing martial arts. In 2012, he taught a seminar at a cultural center in Antwerp (De Singel). The majority of the participants were performers and dancers. A report is available at Singel website.

Don’t Think, Listen to the Body! Introduction to the Hino Method and Theory of human body and movement control by Akira Hino Translation by Yuko Takeda

This book is available at Amazon Kindle Store

Solo-training and feedback

The adoption of solo training in modern Budo is in large part due to the influence of Western learning methods in the early years of modern Japan. In particular the Swedish gymnastic method or the German and British military drill are very influential. Modern Budo introduces mass education and it is more convenient to treat a large number of practitioners in a small space. In Koryu or traditional Japanese martial art, solo training was minimal, if at all.

Very popular in Japan have been a radio broadcast to promote health exercises to the population as a mass education.

Rajio Taiso, literally “radio calisthenics,” is a radio program that broadcasts a set of warm-up exercise guidelines along with music, and while “rajio taiso” is the Japanese name, similar programs are popular in China and Taiwan, too. The first broadcast took place in 1928, and the aim was to improve the health of the general public in Japan.

Also the influence of Chinese martial arts on some modern Japanese Budo cannot be overlooked.

Modern Budo as Kodokan Judo has adopted some methods of striking training of Tenshin shinyo-Ryu, who, through Yoshin-Ryu, has distant links with the Chinese arts. Karate-do is a further example of the influence of Chinese solo training.

Even Tomiki Aikido may have some Chinese influence due to the fact that Kenji Tomiki lived a few years in Manchuria and was imprisoned for a few years in Siberia.

From 1936 till the end of the second world war he lived in Manchukuo (Manchuria) where he taught aikibudo (an early name for aikido) to the Kwantung Army and the Imperial Household Agency. In 1938 he became an assistant professor at Kenkoku University in Manchukuo. In 1941, became a professor at Kenkoku University in Manchuria.

During the Japanese occupation of Manchuria, some Japanese soldiers were exposed to Chinese martial arts.One of them is Kenichi Saiwa. He was a Japanese martial artist and a colonel in the Japanese army. Having obtained Dan’s fourth grade in judo under Sanpo Toku and the fifth Dan in Kendo, Kenichi traveled to Beijing in 1939, to challenge Wang Xiangzhai, founder of Yiquan. After the war, Sawai founded Tai-Ki-Ken based upon the art of Yiquan.

Why is solo-training so boring?

Most of the practitioners stop training rather than to really get to the bottom of such less rewarding things at first sight, the regular or daily solo training also called tanren (strengthening and conditioning the body). The cause for this is mainly a lack of guidance or the boredom of kata and solo training. Many practitioners want to become involved from the first day into randori or combat without even training for building up a martial art body. In fact, Tanren has nothing to do with learning Aikido techniques or applications for randori or free combat, though a conditioned body is necessary to perform effective techniques.

Basically, solo training is a high standard training method. The encounter with yourself is one of the difficulties, someone must conquer.

Aikido is basically solitary, because even though it is mostly practised in pairs. Your training partner is actually a tool that we use to improve our understanding of the art Aikido.

A martial art can become an ideal solitary practice definitely on an advanced level, there are no more distractions. Self-glorification through competition victory or the self-satisfaction of rising in the ranks, should have disappeared.

Training must be done for its own good, it must benefit mainly to itself, and is in some ways very selfish. The higher the level of training, particularly solo training, the less likely people are to appreciate it. So those who are engaged in that kind of training are very lonely.

Tomiki Aikido Individual training method.

At a basic level, an individual training method is available. But from the birth of Tomiki Aikido to today, the method has changed greatly depending on the context of the training goal.

The emphasis on solo training in Tomiki Aikido can be very diverse depending on the purpose of the course.

Learn basic body movements useful in Tomiki Aikido, and mostly used as instruction for beginners.
Concentrate on body conditioning instead of technique.
Testing the generated power
…..

Testing the generated power

Martial arts that practice solo training need “feedback” practices such as t’ai chi “push hands” or the “pushing stability tests” as performed in “shotei awase”, a Tomiki Aikido pushing exercise. These kind of exercises are not randori or competition, the purpose of these exercises is to improve the stability and power with a resisting training partner.

Tomiki style of Shotei Awase

Most Aikido styles have some type of test methods. In Yoseikan Aikido (Mochizuki) tests have various methods. One of them is known as “tsuppari”.

A trial method like Shotei Awase and Yoseikan Tsuppari is equivalent in traditional Japanese wrestling. Sumo Tsuppari (突っ張り): To rapidly deliver harite (張り手) or open hand strikes to the opponent. This technique is often used by oshi-zumō fighters.

Impact of Corona-Covid-19 on testing

During the corona-COVID-19 period, a distance must be adopted. Using a Jo or Bo may be used to keep distance and yet be a test exercise.

Koryu no kata, the formal way of testing

Kata can become a successful method of testing your generated energy combined with the concepts of “hyoshi” and “ma-ai”.

Hyōshi is most often found in traditional martial arts, referring to cadence, rhythm and tempo. In the famous “Book of the Five Rings”, Miyamoto Musashi describes it as three stages: before, during and after an activity related to the attack of the enemy.

In Japanese terminology, distancing is ma-ai (ma, spatiotemporal interval / ai, harmony). Ma-ai integrates space, time, and rhythm and is the ideal situation to control a confrontation.
Controlling the situation or in other words “controlling the actions of the opponent” is depending on Hyoshi.
Ma-ai is not a fixed distance, it is dynamic. Depending on the situation, distance will change.

Practising “Kata” or “Katachi” is not a demonstration or competition, although it is possible to use a kata in a Embu (demonstration) or during a competitive event.

Embu and acrobatic performance

Kata or Embu is a controversial item at a competitive event, there are pro and contra.
Even Kenji Tomiki had an opinion on “Embu-kyogi”.

Prof. F. Shishida (Waseda University) wrote on this matter the following :
The difference between kata (katachi) and embu or embu-kyogi

Tomiki had never referred to embu in his life. Judging from my long experience in aikido and study, the word embu (to practice martial arts) was used as a demonstration at a place called embu-jo in early modern times. Around 1973, embu-kyogi started to take place at a public event at the student championship of Tomiki Aikido. Master Oba seems to have added embu-kyogi (embu) to the randori event in the All Japan Student Championship in 1971. He seems to have wanted to encourage students in the Kansai area who only practice kata. According to Mr. T. Sato, Tomiki mentioned only the fact to him with a dissatisfied look when he visited Tomiki to report that he joined the embu-kyogi with Koryu-Daigo-no-kata. Judging from the common sense of Japanese martial arts, embu-kyogi is out of the question to him, because it is impossible to avoid that practitioners want to exaggerate their performance to make a false show of power.

There are people from Aikido or other martial arts, who try to bring a dramatic performance with “ukemi” and great offensive moves. In their minds, they believe it to be the real thing.

But when you understand the objective of Kata and Katachi, the idea of creating a kata/Karachi competition becomes ridiculous. Kata is not a stunt show or a “Chinese opera”. Ironically, there’s nothing bad about acrobatics and Chinese opera. This type of performance requires a great deal of practice. However, it is not “martial art”.

Essence of Kokyu-hō

The general meaning of kokyu-hō is “a method using breathing”. It is also known as kokyu-ryoku or “a method for training breath power”. It is a method of practice that is necessary for mastering power in martial technique. In addition to the martial benefit, there is also an improvement in general health because of more functional breathing.

Abdominal breathing is an essential part of the martial art practice. The usefulness of a correct breathing is built upon the practice of three breathing modes, diaphragm breathing, flank breathing and open throat breathing.

The abdominal breathing or diaphragm breathing is the first step to successfully complete breathing.

Abdominal pressure

Some martial arts methods utilise respiratory pressures during force production. The concept of “Tanden” or “Hara” is needed to understand the “Why and How” of abdominal pressure. Tanden has to be seen as a three dimensional area of varying size in the abdomen, not as a point on the abdomen.

The abdominal pressure causes the “Tanden” to be more compact. This resulted in better handling by the muscles of the abdomen to produce what is called internal strength. In fact, there is no mystery about this skill, it must be trained to become useful as a tool to express “hakkei” or explosive power.

The skill of abdominal pressure

Bring your consciousness to Tanden (lower abdomen), the centre of gravity of your body, and use the diaphragm and the perineum to control the abdominal pressure.

Acquiring a skill of abdominal pressure by using the diaphragm and perineum shall be performed by a progressive use of our breathing system.

We can distinguish 2 methods of breathing useful in our training.

Complete abdominal breathing (normal and deep breathing) – improves general health and martial arts general performances.
Reverse complete abdominal breathing (reversing the breathing cycle) – improves explosive martial arts performances (hakkei).

Complete abdominal Breathing

Complete breathing is a breathing technique that unites diaphragm-breathing, flank-breathing and open-throat-breathing into a single natural rhythmic movement.

Complete breathing is seen as a healthy breathing technique. In the exercises, the intention is not to inflate itself like a ball, but rather to breathe unforced. Full breathing is most natural when the execution has a smooth and continuous coherence and the three phases follow each other, without breaking the continuity.

The three breaths blend progressively. If the breathing is audible, it means that it is too hasty. Also, when practising complete breathing, people sometimes collapse their abdomen by switching to flank breathing. However, the air pressure in the lower abdomen must stay at the same level during the transition to the next step. Pulling the perennials should support the abdominal pressure.

When people experience a sense of dizziness during the complete breathing exercise. It’s sometimes unpleasant and it’s scary. That would happen, especially for people with slightly lower blood pressure. Dizziness is caused by reduced blood pressure and therefore blood pressure in the brain and is therefore beneficial in itself.

When breathing in, the diaphragm flattens and pushed down on the abdomen. The muscles between the ribs open the breast more to enable more air in the lungs. The throat must open more by relaxing the muscles in this area, resulting in more air going into the lungs.

Complete Abdominal Breathing (Reverse)

Complete reverse abdominal breathing is a breathing method in which one expands the abdomen when breathing out and contracts the abdomen when breathing in. Complete reverse abdominal breathing increases the abdominal pressure, which in turn increases power.

Note that complete reverse abdominal breathing is part of our normal breathing habits. For example, when you are happy and you laugh, you exhale and your abdominal area push out.

This mode of respiration is the opposite of full abdominal respiration. Gently pull into the area of your stomach while breathing, holding the perineum upwards. The pressure is higher than regular breathing. Total reverse breathing should be used to enhance martial applications (hakkei). Refrain from reverse breathing when you have high blood pressure problems.

Expand the lower abdomen (the area from the navel down) while breathing out.

Control over abdominal muscles.Control over abdominal muscles.Controlling the abdomen muscles

Correct breathing in the martial arts requires practice. Complete abdominal breathing and the reverse alternative are exercises to develop the abdomen muscles and having full control of these muscles.

Though often overlooked, breathing has a vitally important role in our lives. Correct breathing can lead to increased calmness and relaxation, which facilitates greater focus and endurance. For martial artists, success in combat depends largely on high levels of energy and concentration, so proper breathing is absolutely essential.

Most instructors insist on not thinking about what is referred to as correct breathing during training. The point is, if you don’t need oxygen, you won’t breathe until you need it. There’s no need to take deep breaths all the time. Breathing is a natural process and we should not think about it.

Of course, if your muscles are weak, you will not be able to perform a strong “hakkei” or explosive power if required. It all comes down to controlling your tanden. Therefore, respiratory training is needed to expand your breathing possibilities.

While it is relatively easy to practice complete abdominal breathing when sitting or standing quietly, it is much more difficult to perform when engaged in activities requiring physical effort and movement. Yet, the timing and rhythm of physical movement are linked to breathing and neuromuscular control. Breathing and neuromuscular control depend on each other and interact.

Some practical information

How to become “Jūkozo” – flexible body

“Jūkozo” – flexible body is already described in another post on this blog

In every exercise, the body needs a quality that is not tense. The word “flexible” is accurate. The word relax is sometimes used, but that is not the right word in this context. Relax makes you feel almost limp. The body needs some muscle tone to move immediately.

Strength is generated through the loosening of the shoulders and the use of a flexible koshi.

I have already mentioned several times the efficiency of “ritsuzen” as the main exercise in developing a flexible body with the quality of “Jūkozo”. It is not a question of “standing”, but of an exercise with many internal movements. Full breathing may be added after the body is free of excessive strain.

Breathing during an exercise

If you are tense, your breathing will be not optimal. First, create Jūkozo before proceeding with the integration of complete abdominal breathing.

If you want to include complete abdominal breathing in your exercises, you must consider the rate of breathing. Breathing and body movements have to be synchronized, especially when you begin such an integration of breathing. We need to slow down the pace of performance. Breathing may not cause excessive muscle strain. Breathing is a natural process and breathing exercises are tools to improve respiration efficiency.

Complete abdominal breathing is the normal breathing during exercises. Reverse abdominal breathing is used when explosive power is needed.

Oshi-taoshi type of exercise

Expiration occurs primarily when power is needed, inspiration occurs when you absorb the opponent’s motion and power.

When you absorb the power, the reverse breath can be used to produce “hakkei” upon exhalation. In some cases, you will be able to use “Kiai”.

The exercise must be done at slow speed and in sync.

More info about these exercises

While breathing is a natural process, but at the beginning of respiratory training, you need to be very careful when you have medical problems. Breathing workouts may further aggravate your problems. Please check with your doctor for guidance.

Synchronising – A physical, mental and social action.

This article is not an academic document, it is a secular interpretation, not an academic one. It is based on my personal experiences during my 60 years of practice in various martial arts and sports. Judo/Jujutsu, Shaolin Kempo, Karate, Aikido, Hakko-Ryu Jujutsu, Iaido, Jodo, Yiquan, Qigong,….. and guidance from many martial arts teachers. And most important, the ability to self-cultivation.

A scientific statement.

Synchronization is, in a broad sense, coordination of rhythmic oscillators due to their interaction.

Buzzwords or ability to use tough words.

It is almost standard to use scientific terms in articles to give it an academic flavour. Without the necessary knowledge, these words are transformed into “Buzzwords”. A word or sentence, often an element of jargon, which is fashionable at a particular moment or context.

Translating scientific jargon into a plain language for martial arts, can give you a better insight into the many exercises and techniques during your training. The most important thing to improve your martial art as a human being is the competency of self-cultivation.

Definition of self-cultivation: the development of one’s mind or capacities through one’s own efforts.
From the Merriam-Webster Encyclopedia

Synchronisation – Neural-Mental-Social

In Martial Art, footwork, stretching and releasing, winding and unwinding…. All these “actions of body and mind” need to be combined into a single and smooth movement. A whole-body motion creates a more efficient technique for overcoming the confrontation with an opponent. This process is known in the language of martial art: Rendo.

But rendo is more than personal synchronization. It is also in sync with the training partner and/or adversary.

Let us look at a very simple action of the daily life:

A person’s steps unconsciously synchronize with those of a partner when two people walk together, although their foot lengths and therefore their intrinsic cycles are different.

Obviously, it’s not just a physical synchronization. Synchronization has a number of levels. There are synchronized neural processes, mental activities, and social interactions. Neural processes are critical to physical or bodily synchronization. Mental activities are required to form a picture of something we like to accomplish. Social interactions are playing an important role in our society. Social media as Facebook, Twitter, Instagram…. part of our daily life.

Synchronisation on a physical level

Sports and martial arts are activities that are seen frequently on television or in other forms of media distribution. Unfortunately, the mere fact of watching competitions or sports activities on the screen or in a sport-stadium does not have a direct impact on the search for a healthy body (Mental and Bodily). We have to do physical activities like cardio workouts, flexibility programs and other forms of physical training to build or maintain a healthy body and of course a mind free from frustrations and depressions.

At a beginners level, martial art training is more focused on the physical side of training. But we cannot ignore the game of the mind and the interaction between the mind of the attacker and defender.

Synchronisation and differentiation

Differentiation is the process of dividing a homogeneous whole into parts with different properties. Characteristic of differentiation is that a whole remains and that the division into parts with different properties occurs within that whole.

In Martial Arts, whole-body movement is used to indicate the necessity of using all your physical and mental resources you have. Practising with the focus on all different resources is difficult, almost impossible, especially for beginners. Even advanced practitioners need a method to avoid an overload on details to look after. One of the chief instructors of the Japan Aikido Association made a remark during one of his semnars.

Perfection is a matter of 1000 details
Fumiaki Shishida, JAA Shihan

In a sense, he is telling us to practise with all the details. But I believe we have “to differentiate” and of course not to forget, the details are a part of the whole. The difficulty is to distinguish the various details for focused training without losing the whole.

An example can bring some clarity in this matter.

Tomiki Aikido put much emphasis on the use of “tegatana” during training. The hand can take different positions, and those positions are useful for different purposes in our hands. Using an exercise to indicate the hand position as a basic exercise for daily practice is, in my opinion, a waste of time. Tegatana positions are integral to a whole body movement and should be considered in the context of a whole body movement when using tegatana. Nevertheless, it is possible to do such an exercise when introducing the different positions of tegatana. As soon as possible, the tegatana positions must be included in the whole body movements of Tomiki Aikido.

A simple example of “synchronisation”

Start posture – both “kwa or mata” are neutral – tegatana uchi-mawashi position
Turning body by opening “kwa or mata” – tegatana is following body movement and synchronised with opening “kwa or mata”
Body returns to start posture – tegatana drops to middle lower position synchronised with “kwa or mata”
Body turn by opening “kwa or mata” – synchronising with lifting tegatana
Body returns to start posture – tegatana synchronised with “kwa or mata”
Movement is repeated…..

This simplified movement is an application of uchi-mawashi, soto-mawashi, uchi-gaeshi and soto-gaeshi. Synchronised with opening and closing “kwa or mata”.

Synchronisation and 6 Harmonies

Some of you recognize the word “Harmony” in a non martial art context. Take for example the harmony concept in music. Music can bring movement forward in the actions of humans, going from emotions to dancing. The main part of music is sound with the correct use of harmonies.

What is so enigmatic about sounds that provoke emotions in us? Is it just a physical phenomenon of vibrations or something more dynamic? This question can also be asked in martial arts. Our being starts in the mind, creates a kind of vibration of energy, and the result is a movement useful to apply as a waza. Everything has to be synchronised and in harmony. Without this, chaos is looking around the corner. In your search for effective movements or techniques, you will discover that martial art teachers use the word Qi or Ki.

The discussion of the word Qi or Ki in a Western “consumption” society becomes ridiculous if the focus is mainly on materialism. Fortunately, martial artists are often open-minded.

Chinese martial arts recognise 6 kind of synchronisation or in their words 6 harmonies.

Internal Harmonies

Internal Harmonies is about the way you are using your energy needed for physical movements, internal and external.

Xin (fighting-emotional-survival spirit or also called “heart”) and Yi (intention or wisdom mind)
Yi and Qi (physical energy)
Qi and Li (strength – the physical manifestation of Qi seen as a movement – internal and external)

External Harmonies

External Harmonies is about the syncronisation of major body joints

Hips and shoulders – Connection of the 4 main body joints
Knees and elbows – Knees are driven by hips, elbows are driven by shoulders
Feet (ankles) and hands (wrists) – Strength is controlled by the center through shoulders, hips, knees and elbows

The center is the core of the body and has 3 main parts

The central part of the head
The lower part of breastbone
The gravity center of the body

Synchronisation of all thes elements is a main part of the training. If this is not included, your martial art will not function as a whole body system with different part working toghether in harmonie.

Many Japanese Martial Arts have borrowed some of these concepts in their training program. Of course, they added a Japanese flavor, expressed in the different forms of Budo and Bujutsu.

The equivalent of the Chinese words (or concepts) in Japanese can create some confusion.

Xin or spirit: Shin, kokoro…
Yi or intention: I, Zanshin,…..
Qi or energy: Ki,….. the physical manifestation of power is called Chikara

Tanren, forging the mind and body

Tanren-gata and shinken-gata

In martial arts, the terms tanren-gata and shinken-gata are used to indicate the difference between a kata to enhance body movements and a combat-oriented kata.

Tomiki Aikido kata/katachi may also be categorized as tanren-gata or shinken-kata.

Most basic kata (basic15, basic17, tanto basic17, ura-waza….) can be categorized as tanren-gata. A series of movements or techniques for practicing the body movements necessary for the creation of an effective technique.

Koryu no kata are essentially a sort of shinken-gata, a series of formal techniques focused on combat. There is one exception in the Koryu no kata, the dai-yon kata omote and ura are tanren-gata to improve the body movements needed during the “randori” training.

Renshu and Tanren

Renshu 練習
This training is intended to study the waza found in kata/katachi which are already understood at a base level. The goal is to improve the movements of the entire body in a given context. It may be a combat setting or a randori setting.

Tanren 作務 (building physical and mental strength)
It focuses on improving physical and mental resilience through physical and mental training. For a true practical application of an effective technique, physical fitness and mental resiliency to pain and discomfort are necessary. Tanren actually precedes the other one, renshu. Without tanren, the numerous kata/katach waza become a hollow shell. If there is a demonstration (embu) or a grading (shinsa), the evaluation must take into account the outcome of the tanren and certainly not a show of acrobatic performances. It is not an object of entertainment.

Beyond 10,000 Hours: The Constant Pursuit of Mastery

Robert Greene (born May 14, 1959) is an American author known for his books on strategy, power, and seduction. Although he has a controversial reputation, his idea on “Mastery” is worth a study.

His book on “Mastery” makes a compelling case that mastery is earned, not granted. He describes three distinct phases of the journey, I) Apprenticeship, II) Creative-Active and III) Mastery. His advice is to keep in mind that the goal is not to become a Master, but to continuously pursue mastery with a purpose.

He also mentioned, you need at least 10,000 hrs of practise to forge the mind and body.

Shu-Ha-Ri

The concept of “Shu-Ha-Ri” is certainly a similar concept and Renshu/Tanren is a part of it. We have to use “Tanren” or the forging of the mind and body for the next step: Renshu.

If you have time and energy, you can walk the path of mastery with regular training. But this training has to be of high quality in other words: Renshu

Kenji Tomiki began training under Morihei Ueshiba in Daito-ryu Aiki-jujutsu in 1926. He was largely responsible for the compilation and editing of the text in Morihei Ueshiba’s 1933 training manual “Budo Renshu” (published in English under the name “Budo Training in Aikido“).

In this book, the assumption is that you have already done your Tanren, creating the foundation for Renshu.

Offensive and defensive “waza”

Something about offensive and defensive

People are offensive and defensive in many situations, mostly when there is a stressful situation. In one situation, one person may have offensive behaviour, whereas the other side may have defensive behaviour in response. Attacks and threats may be categorized as either physical or psychological, and their effects may also be categorized as such.
The offensive and defensive behaviour can be accompanied by the use of force and aggression; the difference lies in how that force or aggression is used in a situation. The skills needed for offensive or defensive behaviour without becoming aggressive depend entirely on the concept of having respect for our fellow men.

There may be a shift between offensive and defensive actions during a confrontation or training situation.
In a given situation, the offending person, by their offensive behavior, takes the action, while the defensive behavior on the other side is a response to this action. As a result, the defensive person becomes the target of the attack or threat.

The body is responsive to offensive and defensive behaviours. A person may experience an adrenaline rush, heavenly breathing, blood running down his face, sweating, and increased heart rate.

Spatial interval during offensive and defensive behaviors.

The space range is linked to “hyoshi”, a concept of synchronization, cadence and tempo. Physical distances within the spatial range will be discussed below.

In general, three distances are used as a concept to explain the range of space between two practitioners.

Chikama – it is the small distance, less than a step
Ma – when the opponent takes a step to be able to seize or to strike
Toma – when the opponent has to take multiple steps to attack, often with a weapon

Example “Toma” attack with weapon

From Koryu no kata dai san

Example of “Ma” – striking attack with “tsugi ashi”

Many examples in Koryu no kata

Also possible with “tanto” strike

Example “Chikama” – Eri dori without stepping

Many examples in Koryu no kata

Spatial interval in Tomiki Aikido

The red circle and its contents, is just one indication of how to measure the distance between two practitioners. The images in the second row show the position and method of contact between the two practitioners.

You can easily reach your opponent, but your opponent also can reach you easily. The distance from a judo perspective.
Issoku itto no maai: This distance is a distance where you can reach your opponent with one step forwards and you can avoid your opponent’s action with one step backwards or sideways.
You cannot get to your opponent and your opponent cannot get to you either. Fundamentally, your weapon or hand and the weapon or the hand of your opponent do not come into contact.

Offensive and defensive waza

A basic rule to apply offensive and defensive actions (waza application) is the need to physically contact an opponent.

Offensive actions may be applied primarily to three parts of the adversary.

Body – head and trunk by using a strike or push
Elbow and surrounding parts of arm
Wrist and hand

Defensive actions are frequently performed when the opponent uses an offensive action. This offensive action, sometimes goes hand in hand with a step to bridge the gap with the body. The defence against such an action can be a body turn (Koshi-mawari) or a stepping out of the line of attack by applying tsugi ashi or Ayumi ashi. After a defensive action and energy absorption, a switch to an attacking action can be used. Then it is possible to use tenshikei and hakkei.

Hakkei, explosive power

The key rule of explosive strength is the ability to stretch and twist the muscles, tendons and fascia around the bones. Building and releasing such strength is called tenshikei. There are 2 kinds of tenshikei: stationary and dynamic.

Stationary is without moving the feet, the distance is “Chikama”.

Dynamic hakkei is when you use movement (tsugi ashi or Ayumi ashi) to build momentum. It is known as ido-ryoku on a basic level. Ido-ryoku can also be thought of as tenshikei, because the power moves through the body and uses diagonal and spiral paths. Mostly, this is used when both practitioners are at the “Ma” distance.

Contracting and releasing muscles, tendons and fascia

In our study, muscles, tendons and fascia are a system and cannot be considered a separate system of muscles, tendons or fascia. Nonetheless, the muscle system plays an important role in the Western view of fitness.

What are the types of muscle contractions?

Isometric: A muscular contraction in which the length of the muscle does not change
Isotonic: A muscular contraction in which the length of the muscle changes.
Eccentric: An isotonic contraction where the muscle lengthens.
Concentric: An isotonic contraction where the muscle shortens.

Concentrating on the eccentric method has a few important advantages for martial art training. Eccentric contractions literally increase your muscle fibres, making the muscle itself physically longer.

“Longer muscles mean greater flexibility, and greater flexibility means greater injury prevention.”

How to contract and release our movement system?

Tenshikei creates a spiral activity. This enhances the potential energy in the body that can be used by releasing the “tension” in the body. Rotation of a “Flexbar” provides a visual picture of what can occur in the human body (muscle, tendon and fascia). The release of the Flexbar will be felt by a strong rotation to neutral or normal position. Letting go is a passive activity and requires no muscle contraction.

The human body is filled with spirals and these spiraling structures serve as power channels. This concept of spiraled structure is also used in many methods of healthy postures. For example “Alexander techniques” use a spiral design.

A major mistake is to concentrate on creating tension in the muscles by concentric action. This is no muscle building competition. The ability to twist and release or unwind the body can be done in a flash of less than a second.

The training objective must be directed towards the eccentric movement, that is to say the elongation of muscle fibres. Lengthening is created by a twisting movement and affects not only the muscles, but also the tendons and the fascia.

Tenshikei skill is a method to use full body movement, not at the same time, but following the logic of the moving force.

“You need to train the movement in full.” Because, as Aristotle once said, “The whole is greater than the sum of its parts.”

This is an example of tenshikei.

How to perform an eccentric contraction, useful for tenshikei?

There are 2 ways to create tenshikei contraction

By yourself as an active movement
Using the power of opponent in a defensive action

In solo training, several examples can be found as active tenshikei motion. Tomiki’s tandoku undo can be transformed into a long tenshikei exercise. Contracting and releasing the internal motion system is a challenging physical workout that can be performed by all ages.

Using the power of the opponent can be found in Tomiki’s 10-Ura Waza.

Omote & ura in Martial Arts

Omote techniques are taught to beginners and are considered less effective if the movement is not performed completely as most beginners always do. Efficiency is not that high despite the overall view appears good. Students are initiated into the basic movements of martial art.

Ura techniques are more efficient since the student has more control over internal movements. Some of these techniques are defensive, where the enemy’s attack is absorbed. Strategy is an important component, in addition to total control of body movements.

Ura waza is sometimes considered a contra-technique. I believe this explanation is too simplistic and reflects only a form of defensive behavior. Ura waza is the ability to shift from defensive to offensive action. You can see it clearly in “ura waza katatachi” or the techniques known as counterattack against basic techniques.

10-Ura waza, switching from defensive to offensive

Find here 10-ura waza, a switch between a defense action to an offense. After studying the basic waza, the practitioner studies the same basic waza as a response to the basic waza carried out by the adversary/partner. Please remember the logical evolution from katachi to kata. More info here.

Still not a randori (sparring). The objective is to study how to use basic waza under more advanced conditions. There is no resisting force involved. The attacker’s waza is real and with the intention to throw or hold.

Some pictures below will illustrate the 10-Ura waza.

Rikaku-Taisei, a game of distance

When there is less contact between the two, the muscular strength component becomes less important.

Tomiki, who meticulously analyzed all jujitsu techniques, proposed “rikaku-taisei-no-randori“, i.e., randori in the non-contact position, in addition to kumi-randori. Kumi-randori is the standard way of fighting in Judo.

Fighting from a distance, an expression with simple words but the content is a lot more complicated. In the situation of grappling, most of the people are successful when using a lot of muscle power. When there is less contact between the two, the muscular strength component becomes less important.

Kenji Tomiki once said the Ki of Kendo is one of the most important elements of Japanese Budo. Kendo in this case is not limited to “the sportive way”, but includes all the arts where weapons are used. (Kendo, Iaido, Jodo, Naginatado……..Yagyu Shinkage-ryu kenjutsu)

Taikan : a non-verbal way of communication

An unconscious bodily feeling process to create communication with an opponent. Without communication we cannot feel the intention and power of the opponent. Relaxation is a major component of the Taikan skill.

The ultimate intention of taikan is the feeling of the opponent’s Ki. We cannot explain Ki by words, only by non-verbal communication. Ki can be felt by an intermediate of the body. The more the ego can be pushed to the back, the better we can have Ki sensations. Feeling the Ki is closely linked to the ability of relaxing mind and body.
Ki is a living entity and gives shape to our world. Ki is not only spiritual or mental power, but also the energy which gives shape to the world around us, including our opponent in martial arts.
On a very primitive level, we can see, hear and feel the body of our opponent, on a more advanced level we can sense the more subtle forms of Ki.

Seme : pushing with Ki

In Japanese sword martial arts like Iaido, the concept of Ki-Ken-Tai Ichi or the concept of the integration of Ki, sword, body and technique, can be studied by using Seme or pushing with Ki.
It is the spirit which guides the body, but sometimes it is the body which guide the spirit by using the subtlety of the Ki. If the body (and mind) is relaxed, we are made aware of the Ki in the body and this Ki is guiding the body and also the spirit.

To study Seme, some postures and movements are utilized to express the concept of Seme. Don’t confuse Seme with a feint. A feint like metsubushi (blinding the eyes) is provoking a movement in the opponent (his spirit), while Seme is pushing the opponent in a position where he cannot move (his spirit).

Ma : the space for the “moving” KI

If you hold a sword and you concentrate on holding the hands on the handle, the space of your focus (and your muscular power) is very small. If the opponent hit your sword for example with a stick (jo) and at the same time project his Ki to control your spirit, your sword will be wiped away and you will expose yourself to his attack. This is the key to success in the “hiki-otoshi-uchi” of Shindo-Muso-Ryu Jujutsu.

If you hold the sword and you use the concept of Seme, your space will become much bigger and your spirit will not be disturbed by the movement of your opponent. The key is to empty the mind for better sensing the mind of the opponent.
Becoming aware of “Ki” is easier when you hold a weapon in your hand. It is more difficult to sense the subtlety of Ki when you are in a situation of “close combat” or grappling situation.

In the situation of grappling you don’t have the time to detect the subtle forms of “Ki”, you are confronted immediately with raw muscular power. Only when you bring “Ma” into your training, you can learn about Seme or pushing with Ki. The more skill you acquire in sensing the Ki, the better you will cope with the opponent.

Tomiki emphasized the “Ki of Kendo” and “The principle of judo” as the essence of Japanese martial arts. His view on randori in aikido is heavenly influenced by these thoughts. It was always his dream to create a full scope of randori.

Picture of Tomiki around the time he entered the dojo of Ueshiba.

According to Tomiki’s recollection of his experience 50 years ago (1927), Tomiki tried to grasp Ueshiba’s collars or sleeves when was asked to attack him. Ueshiba was not there at the moment he thought to do it. Tomiki tried it again. The same thing happened. Tomiki was thrown by him at the same time he was struck by a blow. Then, Tomiki’s wrist was twisted. After that, Ueshiba said: “why have you learned only grasping techniques?”
1977 – Tadayuki Satoh visit to Kenji Tomiki

The secret of aikido is in the use of “atemi”

When Tomiki tried to grasp Ueshiba, he was struck by a blow (atemi), then Tomiki’s wrist was twisted. This episode (1927) in the training of Tomiki with Ueshiba is the origin of “rikakutaisei”.

Don’t grasp the wrist or dogi of the opponent when the opponent is not disturbed in his mind. Maybe you can have some victory, but mostly it will depend on muscular power.

Yawara (Judo) Taiso, the art of fencing without a sword

Aikido is closely related to the use of the sword and Tomiki Aikido is not an exemption. Use of the tegatana resembles the use of the sword. Even in martials arts which are not directly linked to the use of the sword we can find teachers who are using a sword to teach ways to discover Ki. Below an article describing the use of weapons in Karate-do by Mitsusuke Harada, MBE (原田満祐, Harada Mitsusuke, born 16 November 1928) is a prominent Japanese master of Shotokai karate. Harada holds the rank of 5th dan, personally awarded by Gichin Funakoshi in 1956.

Harada encourages his senior students to work with a heavy bokken and Bo Staff. What is the point of this? It promotes an understanding of how to use ones own body when not using a weapon. Not just from a technique point of view, but most importantly it gives the correct feeling necessary, the feeling of energy projection. Harada wields his Bokken using projected thrusts that transmit their focus outwards. Then at a given signal a student would remove the bokken and another would attack him. Harada, still using the feeling of the Bokken, would destroy the advancing oi-zuki in mid-attack using a Bokkenless thrust of his open hands. In his hands, Harada explains, is still his Bokken (even though it has been removed).

Impact Kyokotsu on Koshi

“Never tense koshi.” To do that, you should not become conscious of koshi. Your thinking about koshi will make it tense, and thus, a disconnect between the upper and the lower parts of the body occurs. That is not “using the whole body.”
Hino , Akira . Don’t Think, Listen to the Body!

There are of course several issues when concentrating too much on kyokotsu. When your kyokotsu movement is exaggerated, your shoulders tend to move forward. The result will be a lesser movement within the koshi and/or your neck will be placed unnaturally.

You need to understand that kyokotsu is the center of body motion control. By moving kyokotsu there will be mainly moving in 2 areas of the vertebral column possible.

neck region
lower back region

Impact of kyokotsu movement on koshi

As the headline of this article suggests, it is the impact of kyokotsu on koshi.

If the kyokotsu is slightly drawn, the lower part of the spine is pushed outwards and downward. The result is the rotation of the pelvis, although the focus is on pulling in the kyokotsu.

Imagine a cord tied to kyokotsu and koshi (lower back). If you move the chord to the kyokotsu, it will affect the pelvis.

Pushing or attacking

When there is the intention to attack or pushing forward, kyokotsu will be pulled in at the beginning of the action. There is the reversal of the basin. But there is also the effect of the opposite isometric tension in the leg. It creates a powerful bounce and is added to the basin ready to be used for attack or push.

Kyokotsu, koshi and rolling feet

Starting from the situation of lifting the arm and preparing for the attack, the use of rolling feet is the method to close the distance to the attack as well as using kyokotsu and koshi.

Shu Ha Ri, a question of Mutual Respect

A personal view on the concept of Shu Ha Ri

Keep, break and leave

As a westerner, am I to understand “Shu Ha RI”? If we simply read the words “keep, break and leave”, it gives a sense of “no respect” to your teacher. Of course, in the history of martial arts, there are numerous examples of the breakup of the founder after an argument, mostly a “money” argument.

However, there are many examples of leaving the teacher after he has given permission to leave. The teacher understood very well that the disciple needed a certain freedom to grow as a person practising martial arts. The teacher trusts the disciple, and the teacher knows that the legacy is safe in the hands of the latter.

When Kenji Tomiki became an 8th Dan by Morihei Ueshiba, this was a sign of confidence and also an indication of liberty permission. Of course, there are also signs of political motives as far as relations between Tomiki and Ueshiba are concerned. This topic is not central to this article and will not be expanded.

The idea of leaving is a mutual decision between the master and the disciple, and depends entirely on the understanding of the concept of “keeping and breaking”.

Keep and break

As a matter of fact, the concepts of “keep and break” are very simple. On the other hand very difficult to understand by a western person. There is a famous quotation by Morihei Ueshiba and for him the Westerners are “yes, but people”. If he really made that quote, I don’t know, but it’s going around in martial arts circles.

During the “Keep” relationship with our teacher, we learn from the teacher’s experience and we may ask questions about something we do not understand. Of course, we never criticize the teacher. We learn the basic elements of our martial art.

Depending on the time we practice and study, our understanding goes in the direction of “Break”, and this can lead to a very difficult situation. This is a period of your formation where you can see that truth has different aspects. You always learn from your teacher, but you can add personal insights into your training. Your teacher acknowledges this and sometimes will give you some advice.

The two, teacher and disciple, are still interacting positively during the breaking period. Otherwise, the outer world will see disagreements and this can have a negative effect on the functioning of the martial art school.

Randori, 3 types of practising

The relationship between the 3 kinds of randori and Shu Ha Ri may not be obvious. But they certainly have something in common.

Kakari geiko – Shu
Hikitate geiko – Ha
Randori geiko – Ri

In kakari geiko, the roles of attacking and defending are determined. We can talk about teachers/attackers and students/defendants. Sure, there is some freedom in timing and distance.

During hikitate geiko, the attacker has the freedom to interact during the actions of the defendant. There is still the role of teachers/attackers and students/defendants.

Randori geiko is not a shiai, not to win medals. Randori geiko is a process for the physical discussion of the art of fighting. Both practitioners recognize the equality of the two.

The Shiai Paradigm

Shiai should reflect the power and beauty of martial art during a public performance. Spectators must be attracted by the skills of the competitors and not by their brutal and aggressive nature.

It is true that in the shiai there is a certain rivalry, but also the respect of the adversary. When we figure that out, winning a medal is no longer important. The most outstanding performance you can offer is your reward. Whatever you know may be used depending on the circumstances. When you become obsessed with earning medals, your approach will be inflexible from a living human perspective. Respect for other people’s lives and ideas is more precious than winning medals.

The role of the teacher and student is an important factor when approaching the competition. In particular the role of the teacher is significant in the education of the martial art career of the student. The teacher’s respect and attitude toward the student without a medal should be positive.

How to improve someone’s skills comes in the first place.

The Kata & Randori Dilemma

“A kata is not fixed or immoveable. Like water, it’s ever changing and fits itself to the shape of the vessel containing it. However, kata are not some kind of beautiful competitive dance, but a grand martial art of self-defence – which determines life and death”….Kenwa Mabuni….Okinawa

Some martial arts instructors believe that they execute “kata or formal exercises” in the same way as the founder of their system. If you understand something about “Shu Ha Ri”, then you know that’s a little beside the truth.

The development in kata is already discussed in another blog post on katachi and kata. Kata and randori are 2 sides of a coin, but there is a 3rd part of a coin: kata and randori and….

In martial arts, we see the evolution of basic body movements to katachi and further to kata. Again, the term “Shu Ha RI” is like that.

Once you find the freedom of Kata, the application will go smoothly to randori. There will be no difference between kata and randori.

Of course, if you stick too much to Shu Ha RI without understanding the real meaning, you will be locked up into fixed forms without flexibility of mind and body. You will never find the liberty of Kata and Randori, which is the true dilemma of martial arts.

Tomiki Aikido: Past and Future

In her book “Past and Future”, she attempts to explain the real values of Aikido as a martial art with a message. There are no techniques explained, but the value of the book is at a much higher level: How to practice Aikido!

More books on Tomiki Aikido

Books & Video & Magazines

I have a huge collection of books and videos about martial arts, particularly Aikido, Iaido and Jodo, my major arts of study. It’s an effort to catalogue my library, but it’s going to take a long time. Be patient……more will follow……

Tomiki Aikido Books

Kenji Tomiki began training under Morihei Ueshiba in Daito-ryu Aiki-jujutsu in 1926. He was largely responsible for the compilation and editing of the text in Morihei Ueshiba’s 1933 training manual “Budo Renshu” (published in English under the name “Budo Training in Aikido“).

In 1954, Kenji Tomiki published a book “Judo Taiso – A Method for Teaching Aiki – Jutsu according to Judo Principles”, demonstrating his efforts to combine the scientific methodology that he took from Judo founder Jigoro Kano with the teachings he received from Aikido founder Morihei Ueshiba.

judo-taiso-aiki-no-jutsu-kenji-tomiki01 Download

Kodokan Judo’s Self-Defense System ─
Kodokan Goshin-jutsu
by Llyr C. Jones, Ph.D., Martin P. Savage, B.Ed. and W. Lance Gatling, M.A., M.P.S.
Journal of Asian Martial Arts • Volume 25 Number 1 • 2016

1958 – Kenji Tomiki – Kodokan Goshin-jutsu
Tomiki’s 1958 book “Kodokan Goshin-jutsu” is the first and most important book on the exercise. The 144-page text provides an illustrated explanation of the complete Kodokan Goshin- jutsu – including step-by-step black and white photographs of the attacks and defenses, line drawings of the footwork patterns, and advice on how to execute the wristlocks and various atemi-waza. However, consistent with the informal intent for Kodokan Goshin-jutsu, no emphasis is given to any reiho aspects. Recall in this original text, the final technique, Haimen-zuke concludes with Tori simply disarming Uke by capturing the gun.
The demonstrators are Tomiki himself as Tori, and Mr. Sakamoto, a former captain of the Waseda University Judo Club as Uke. Regrettably as with many Japanese judo books of that vintage, the paper is delicate and the printed photographs are of poor quality. The text is only available on the used book market, and given its historical significance, the asking price is often high. For these reasons its major usefulness is for reference and research purposes, rather than a practical text for studying Kodokan Goshin-jutsu.

Goshin jutsu no kata Tomiki Download

Aikido Nyumon by Kenji Tomiki 1958

“An Introduction to Aikido.

Edition 1983

Aikido Nyumon Download

Goshin jutsu nyumon

Edition Showa 49 (1974) – 206 p. This book by Kenji Tomiki: “An Introduction to Self-Defense” is an interesting sequel to another book by Kenji Tomiki: “Judo Taiso – The Method of Teaching Aiki – Jutsu Based on Judo Principles” showing the basics of self-defense in Tomiki Aikido

Goshin jutsu complete Download

Edition 1970

Senta Yamada

The-Principles-and-Practice-of-Aikido_Yamada.pdf Download

Senta Yamada

6 volumes featuring Tsunako Miyake

The six volume “Gendai Aiki” series of books is a 1970’s correspondence course in Aikido – the type of course one often sees advertised in the back of Manga and other popular magazines. The series was not authored by Kenji Tomiki, but was clearly written by someone who had experience with the Tomiki system of Aikido

gendai-aiki-complete Download

1966 – Book designed for beginners in Tomiki Aikido. 34 pages with explanation of exercises and techniques accompanied by many step by step B/w photographs of the author assisted by J Elkin.

Aikido – a dialogue of movement Download

Aikido: an Introduction to Tomiki-Style by M. J. Clapton is a volume on techniques and kata of the unique Tomiki style of aikido. The book focuses on the execution, application and variations of Randori-No-Kata, the 17 basic techniques of free practice. Included are the categories of: attacking techniques, elbow techniques, wrist techniques and floating techniques.

Besides this book, Clapton wrote some articles for KOA, Karate and Oriental Arts magazine.

Koryu dai san Clapton KOA Download

6 Koryu no kata by Takeshi Inoue & Kitayama

This book is used as an inspiration for dr Lee ah Loi’s books

kata-no-subete Download

First published 1978 – dr Lee ah Loi with Takeshi Inoue and Leslie Hepden

Re-published 1982 – new photogtaphs with author and Leslie Hepden.

1979 – Koryu no kata with the author dr Lee ah Loi and Leslie Hepden

Published 1988 – Reflections on Tomiki Aikido

Copy for proofreading 2001

Reflections on Hideo Ohba by his students

Tomiki Aikido Video

Some of these videos are on my Vimeo Channel

Koryu no kata Dai Roku

Takeshi Inoue & Leslie Hepden

June 2003 – Yawara Dojo (London/UK)

1989 – Koryu no kata – Budokan/Tokyo

Takeshi Inoue & Lee ah Loi

Dai ichi
Dai ni
Dai san
Dai yon
Dai go
Dai roku

1976 (?) Koryu no kata – Okubo Sports Kaikan

Hieo Ohba & Takeshi Inoue & Tsunako Miyake

Dai Ichi
Dai ni
Dai san
Dai go
Dai roku

Seminars with Senta Yamada in UK

2000 – Teruo Fujiwara – Early student of Kenji Tomiki

1989 – Osaka & Tenri/Japan

Koryu no kata Daisan

2001 – Osaka/Japan

Basic 17 and Koryu no kata Goshin

Magazines

AikiNews 80 – Report injuries & death

aikinews-80-injuries-death Download

AikiNews 81 July 1989

Tomiki’s biography by Fumiaki Shishida

AikiNews 81 July 1989 Download

AikiNews 82 – October 1989

Interview Riki Kogure – part 1

Appeared in BBC Docu: The Way of the Warrior – (Tomiki Aikido) – also with Jim Elkin

aikinews-82-kogure-part-1 Download

AikiNews 83 January 1990

Interview Riki Kogure part2

Appeared in BBC Docu: The Way of the Warrior – (Tomiki Aikido) – also with Jim Elkin

AikiNews no.83 – 01/1990 Download

AikiNews no.85 – Summer 1990

Hideo Ohba Biography part1

aikinews-85-summer-1990 Download

AikiNew 86 – Fall 1990

Hideo Ohba Biography part2

aikinews-86-fall-1990 Download

AikiNews 93 Fall 1992 – Interview dr Lee ah Loi

AikiNews 93 Fall 1992 Download

AikiNews 97 – Fall/Winter 1993

Featuring Lee ah Loi with “Weapon training in Tomiki Aikido”

Weapon training in Tomiki Aikido Download

AikiNews 98 1994 vol21 no.1

Kata training and Aikido by Diane Bauerle

AikiNews 21 1994 Ueshiba & Tomiki Download

AikiNews 2001

Tomiki AikiNews 2001 Download

Hiden magazine – Special Tomiki – June 2015

Hiden Tomiki Download

Mochizuki – Yoseikan

Books

Published 1971

Hiroo Mochizuki – Son of Minoru Mochizuki – Yoseikan Budo

arts-martiaux-traditionnels-hiroo-mochizuki Download

Published 1971

Yoseikan Aikido method explained by Alain Floquet

progression-de-laikido-moderne-floquet Download

Unusual Books on Martial Arts

Some martial art books described unusual techniques. Most of these are published in books with good intention by the time they were written. But in modern times, it seems very odd or comical.

There are also books using elements of other disciples such as engineering, music or other activities of human interest.

Moshe Feldenkrais

Moshé Feldenkrais was born in Russia in 1904. He left home at age 12 and immigrated to what was then Palestine. He supported himself during his high school years as a construction worker in Tel Aviv, and as a tutor to failing students.

He developed great interest in hypnosis and autosuggestion, taught himself and others self-defense techniques, played soccer, and was a weight lifter.

As a young man, Moshé Feldenkrais was looking for a way to provide Jewish civilians living in what was then Palestine a way to defend themselves against the periodic massacres and killing of Jews by the Arab population. He taught himself Judo from a book he found and taught classes in self-defense.

In the early 1930’s, Jigorō Kanō, the creator of Judo and the Minister of Education of Japan at the time, came to Paris looking to find a white man to train in Judo with the intent to open the first Judo club in Paris, France.

Moshé Feldenkrais gave Jigorō Kanō a book that he wrote on self-defense. In this book, there was a self-defense move that Dr. Feldenkrais developed specifically for being attacked by a short knife, which was a common way that Jews were attacked and killed at that time.

Kanō realized that he had never seen this move before. When back in Japan, Kanō had his people check that this was an original movement created by Dr. Feldenkrais. When this was confirmed, he selected Dr. Feldenkrais to be the white man who would be trained by one of the original 12 black belts whom Kanō had trained.

In 1954, Feldenkrais book on Jiu-Jitsu was reprinted. Some advice was given for special situations. For example defending against animals.

Hubert Klinger-Klingerstorff

Professor of judo and jiu-jitsu at the University of Wien/Austria – Black Belt 1st dan

There is an interesting comment about this book: This is one of those old books that made its way on to the internet in digital form. It has some legitimate techniques, even a few that I might have to try out on the mat. However, the context in which they’re applied is silly. There must be thirty or more defenses against strangling attempts. The defenses against dogs are ridiculous. The illustrations are hand drawn, and actually do a fairly good job of showing the techniques, but many of them are complex judo throws that require more than one being “self taught”.

This book is originally published in German language.

French language 1960

Paul Maslak

As a magazine editor, Maslak introduced the use of statistical analysis to sport karate and kickboxing. He played a significant role in the national adoption of safety equipment and the mandatory seeding of the top competitors in major national open tournaments. He also successfully advocated for the establishment of separate women’s divisions for both kata and kickboxing competition. In 1979, he co-authored the Schlesinger Rules System of Martial Arts Competition with prominent tournament karate and kickboxing referee Tom Schlesinger. He also wrote the first Official Rules of the World Karate Association in 1980 as well as the revised Official Rules of the World Kickboxing Association: Third Edition, in 1987. After leaving Inside Kung Fu in late 1981, he discontinued the STAR tournament ratings.
Maslak authored two books, Strategy in Unarmed Combat and What The Masters Know, based on a statistical study, he undertook of contrasting fighting styles in professional boxing, full-contact karate (early kickboxing), Japanese kickboxing, Judo and collegiate wrestling

Describing techniques and strategy by music connotations -Published 1980

Slow or Fast Movement?

Fast movements can conceal flaws and mistakes can slip by. One does not do the movements slowly for the sake of doing them slowly, and it is most certainly untrue that the slower it is done, the better. There has to be a purpose for doing them slowly; there has to be “substantially” to those movements or progress will not come. It is about “Ishiki”

Ishiki 意識

Ishiki has 2 kanji, 意 = I, and 識 = shiki.
“Shiki” means identification, it is the act of recognizing someone or something.
“I” means intent, it is the determination to do something.

Why slow movements?

Posture and Health

Slow movements help you with the help of intentional thinking (Ishiki= 意識) to raise awareness of your posture. This will allow your posture to be adjusted to make the body function better and improve energy efficiency.

Slow movements with the whole body will affect and help the micro-circulation in the capillaries. It goes much deeper than fast movements.

Mindfulness training

Martial arts in Japan refer to a variety of physical and mental practices developed based on historical combat techniques. Nowadays, martial arts are considered not only as sports and/or fighting methods, but also as activities aimed at obtaining a unity between mind and body.

Aikido is a Japanese martial art that includes multiple components, such as musculoskeletal training and improvement of both interoceptive and exteroceptive consciousness.

Aikido and related styles include practices (randori – sparring) that are considered elements similar to those of sport, although these practices (randori – sparring) are not aimed at winning the competitions as typical sports do.

Aikido essentially emphasizes the importance of paying attention to one’s own breath and body, and the awareness of both internal and external environments.

Tenshikei, coiling power

Tenshikei is the Japanese term for chanshijin or silk reeling, a skill in Internal Chinese martial arts. The name derives from the twisting and spiralling movements of the silkworm as it wraps itself in its cocoon and the pulling off the silk from the cocoon. The body is imitating this by winding and unwinding movements. In a Western context, reference is made to “fascial movement”.

What is fascial movement?
Fascia training describes sports activities and movement exercises that attempt to improve the functional properties of the muscular connective tissues in the human body, such as tendons, ligaments, joint capsules………

Tenshikei uses the diagonal tension and releasing of the muscles and tendons in the body and can be regarded as fascial movement.
Kyokotsu or lower part of the breastbone, as a control centre of the tenshikei movement, uses the tanden, koshi and yōbu as the stability platform. Seen from a Western perspective, the pelvic girdle is synonymous for this important body region.

The pelvic girdle or “koshi” can be seen as the origin of power generation and it has to harmonise with the rest of the body to produce efficient movements. Unfortunately, when the focus is too much on the koshi, there is a tendency to freeze this area. To avoid this situation, focus on the kyokotsu is advisable.

In humans, the crotch is the bottom of the pelvis, the region of the body where the legs join the torso, and is often considered to include the groin and genitals. In our study of efficient movement, reference has to be made to the area around the hip-joint. It can also be defined as the lower part of the pelvic girdle.

Relationship between shoulders and hips

The upper (above the waist) and lower (below the waist) portions of the torso should move in harmony with each other, so the hips and shoulders need to move in conjunction with each other in order to maximize power. The final position for a given movement will often involve the shoulders being directly over the hips as this alignment optimises the strength of the torso. The waist area needs to be strong and flexible for power to be generated in this way, so the waist should be loose and relaxed.

Whether the upper or lower half of the body initiates the movement is not always the same. As an example we can look at “uchi mawashi” movement. Diagonal tension is a main factor in this movement. Hip joint(s) or mata opens and closes in synchronising with the shoulder(s).

Synchronising has been not always at the same time. We have to consider the concept of rendo. The art of linking is a skill to transfer power through the body which will increase the efficiency of the movement.

Relationship between elbows and knees

The relationship between the elbows and knees is similar to that of the hips and shoulders. The elbows are also driven by the shoulders and the knees are driven by the hips.

Relationship between hands and feet

There is the belief that “the foot and the weapon arrive together”. This usually refers to an attack connecting with its target as the practitioner comes into the correct distance to attack.

In reality a tiny (microsecond) delay between the placement of the foot and the attack can occur. The hand should never lead the foot. All movements should flow outwards from the practitioner’s centre to the hands and feet. The hips and shoulders drive the knees and elbows, which in turn, drive the hands and feet. All the movements have to stay in the area of “range of motion”. This area is slightly smaller than the area of peripheral vision.

Solo exercises are performed in the area “range of motion”. The arms are not passing outside this area, otherwise the body structure will be destroyed and power generation is disturbed. The same is true when doing partner exercises, don’t move outside your range of motion.

Range of motion

Tegatana-no-go-dosa, a “winding” exercise

Tegatana-no-go-dosa are solo exercises and can be converted into exercises with internal aspects: Tenshikei = wrapping power – 纏絲勁 – chansigong (chinese).

7-hon-no-kuzushi

In Tomiki’s syllabus, 7-hon-no-kuzushi is a tool to improve the skill of “kuzushi”. A method to disturb the opponent’s balance.

ai-gamae jodan
gyaku-gamae jodan
ai-gamae chudan
gyaku-gamae chudan
ai-gamae gedan
gyaku-gamae gedan
ushiro

Mostly, these exercises are performed with a partner gripping a wrist or both. These skills are executed by moving the arm(s) in accordance with the proper footwork. The use of “mata” is hardly discussed and using efficiently koshi, tanden or yobu are almost forgotten.

The movements of these exercises are based upon “tegatana no go dosa”, the original handblade solo-exercises developed by Kenji Tomiki. By simplifying basic movements, some of the “internal” content is lost. The reason of this loss can be found in the purpose of tandoku undo tegatana dosa. Modern tegatana dosa is used to teach big groups and give the practitioners a simple basic idea of the movements. In the past, university students were taught this set of exercises during their 3 or 4 years of study and focus of the training was on “randori”, a kind of sparring. Of course, after spreading the art of Kenji Tomiki for a broader public outside the Universities, the search for other aspects than randori become more important.

Kata, formal training

The original purpose of kata was to teach external and internal concepts of the martial to the practitioners. This is already discussed in other posts at this blog. The difference between kata and katachi is bringing forward different aspects of the formal training in a martial art.

7-hon-no-kuzushi (omote & ura) is a formal exercise found in koryu-no-kata dai yon. Originally, these exercises were taught as a tool to improve “kuzushi” or balance disturbing.

By omitting some of the internal aspect during the performance of tegatana dosa, the content of 7-hon-no-kuzushi became also simplified and abstracted. The focus is on a kind of balance disturbances, mainly inspired by judo kuzushi of Kodokan Judo. The external concept of “kuzushi” is dominant. The internal aspect, especially the winding and unwinding is not highlighted.

7-hon-no-kuzushi, partner exercises with internal aspects

After studying thoroughly “tegatana dosa”, the internal skill of winding and unwinding becomes a familiar one and can be used efficiently in all the partner exercises.

Using Hara (Koshi, Tanden and Yōbu) and Mata

For all of these methods, the momentum needs to flow freely between the shoulders and hips. The torso needs to undulate in order for power to travel unimpeded throughout the entire body. The final position for a given movement will often involve the shoulders being directly over the hips as this alignment optimises the strength of the torso. The waist area needs to be strong and flexible for power to be generated in this way, so the waist should be loose and relaxed. It is often seen in partner exercises, the shoulders have contracted as a result of using the shoulder muscles as the source of power used by the hand and arm.

Mata is the connection between the leg and koshi. This connection is also influencing the passing of energy from the ground to the arm and hand. Using koshi and hara is an internal aspect to produce power needed in the art of kuzushi and has to be introduced into 7-hon-no-kuzushi.

Exercises to develop “mata power”

The power generated using “mata” or “kua (Chinese)” is an action that is hard to explain in words. It involves every part of your body. When you have access to someone who can give you the basics, the following exercises are almost self-explanatory.

We will cover 4 exercises

Vertical forward (oshi taoshi)
Vertical backward (hiki taoshi)
Horizontal forward (chudan uchi mawashi/gedan soto mawashi)
Horizontal reverse (chudan soto mawashi/gedan uchi mawashi)

Exercise 1 – Vertical forward

The inspiration for this exercise comes from 3 other exercises.

Pendulum exercise, explained somewhere else in this blog
Ik-kyo undo, practised by many aikido styles
Tandoku undo tegatana dosa (shomen uchi/shomen tsuki)

Basically, a vertical movement is performed containing 2 actions

Lifting the arms up to deflect an incoming attack to the face
Dropping action to throw an opponent of controlling

Many other applications use this kind of movements.

Complete sequence

Exercise 2 – Vertical backward

A reverse circle is used to perform this exercise. The inspiration is found in other famous exercises

Rowing exercise used by many aikido styles
Hiki taoshi application (see BASIC 17 – Hiki taoshi)

Complete sequence

Exercise 3 – Horizontal (chudan uchi mawashi/gedan soto mawashi)

This exercise include uchi mawashi (chudan) and soto mawashi (gedan)

Please refer to 7-hon no kuzushi or to original style of tegatana dosa tandoku undo.

Complete sequence

Exercise 4 – Horizontal reverse (chudan soto mawashi/gedan uchi mawashi)

This exercise include soto mawashi (chudan) and uchi mawashi (gedan).

Please refer to 7-hon no kuzushi or to original style of tegatana dosa tandoku undo.

Complete sequence

Some footage of the “mata” exercises

Haragei, the physical side

Haragei, the art of hara is a concept with a lot of interpretations and is essentially a concept referring mainly in a metaphysical context. There is also a physical aspect when we look at “haragei”. The hara in single words is the part under the diaphragm and consist of “koshi”, “tanden” and “yobu”. In some historical documents written by famous swordmen, the skill of the hara is referred to and even explained how to do it.

The perfect handling of the sword is produced by the integration of three elements: the rotation of the koshi, the diagonal tensions produced by this rotation and the displacement of the body.
Morita Monjuro

Rotation of the koshi, mostly translated as rotation of the hips, is in many cases explained too simple. Rotation is not only in the horizontal plane, but also in a vertical plane. By adding diagonal tension or movement, the rotation of the koshi becomes multidirectional.

Multidirectional movement creates a kind of sphere and can be seen as a balloon in the lower part of the trunk, in other words Hara.

Hara Power is frequently mentioned in publications on Bodywork and Martial Arts. Some of the publications give you a good insight in the development of the Hara. I already wrote some ideas and info on the concept of Hara. But new developments are coming to the surface after daily training and need some explanation.

Where is “hara” localised?

Hara is a 3-part structure in the lower part of the trunk.

Koshi
Tanden
Yobu

The term “koshi” is usually translated either as “kidneys”, or as “hips” or as “pelvis”, but these translations are approximate. Koshi is an area located on the lower back, the opposite of the tanden located in the lower abdomen.
The tanden and the koshi, located on either side of the body, in practice form a whole. Each use of the koshi muscles is transmitted to the tanden by stimulating it by pressure, which positively activates different parts of the nervous system. Yobu is referring to the waist and these muscles will be used for turning action of the trunk.

The muscles of the koshi and the tanden form a unit, but their roles are not the same. The tanden is the centre of the hara and is the place of a relative no-movement. The training of the koshi is synonymous with the training of the tanden.

In our study, Hara will be used in many exercises, especially during Tenshikei movements.
However, a practitioner cannot develop Hara without breathing and the movement and stretching of the respiration-related tissues. Full development of the Hara will include the winding motion of tenshi, rotational internal movement or silk reeling movements. The power generated by tenshi is called tenshikei and is expressed by the movement of the arms or legs.

Mata-股 = 胯 – kua & 裆 – dang

Japanese terminology and Chinese terminology can create some confusion and need some explanation.

The translation of “mata” can be “inner thigh” or “groin”, “crotch”, “femur”……
In our study, reference has to be made in the area around the hip-joint.

In Chinese martial arts and movement methods, 2 words are used to describe the “mata” region.

胯 – kua or kwa
裆 – dang

“Kua” in Chinese has a reference to “hips”. Our waist and hips have to be relaxed and loosened. . Only then can power flow down from the body to the legs and your feet. It helps to give your feet the foundation of your strength. Then your power can build up throughout your entire body.

How to relax or loosen up our hips? During practice, we have to bend our knees, flex (means bend or fold, not tense up) our hip joints, and sit on our legs.

“Dang” means “crotch”, the place where our legs meet the body. Our crotch has to be round like an arch. When our crotch is round and open, we can shift weight more freely. If we make our knee move very slightly closer to each other, our crotch can be made round. You will feel also the heels will go slightly outside. Keep weight on the ball of the feet.

Yobu – Yao

The waist is a part of the Hara and is used during many body movements. For example the turning of the trunk happens more efficiently when the muscles of the waist are used.

The efficient body movement is achieved by integrating the diagonal tensions of the body which cross it from the legs to the arms. By applying this skill, the force spontaneously filled the tanden. The use of the waist is an integral part of a full body movement. This skill can be seen in tenshikei or winding power, a kind of rotational strength.

An example with wooden sword training

To strike correctly from the tanden and the koshi, it is necessary to obtain a perfect handling of the body or a perfect handling of the sword. It is a skill that is produced by the two diagonal forces which go from the right leg to the left arm, and from the left leg to the right arm.
The cutting power of the sword is produced by the integration of the three elements: the rotation of the hara, the diagonal tensions produced by this rotation and the displacement of the body.

The mechanism of sword cutting can be used when you apply atemi to the opponent by using tegatana or other parts of the body to produce a shock into the opponent. It is of course also very effective with some throwing technique like “shomen ate” or “gyaku gamae ate”.

Serape effect and diagonal tension

“Muscles must be placed on their longest length in order to exert their greatest force”

The serape effect is a rotational trunk movement that It stretches the muscles to their greatest length; when this tension is released from these muscles they shorten for the completion of the movement, a greater velocity is applied than had the muscles performed from a normal resting length.

Hara is a key factor in the use of the of diagonal tension, in other words: Tenshikei

The rotation of the pelvic girdle is a part of the tenshi movement and is important for creating a more efficient use of power in the direction of the target. The rotational movement of this large body segment, the trunk, enables a summation of internal forces that is able to be transferred from this large area to a smaller area as such as the arm and the hand for applying force to the opponent.

Conditions for developing “hara” strength

There are some conditions to achieve an efficient exercise

Correct breathing (kokyu)
Winding movements (tenshi)
Relax or loosen up koshi and mata
Using intent (I in Japanese – Yi in Chinese)

Correct breathing

Basically, during practise our intent is not on the breathing process. Breathing is an involuntary process. Nevertheless, during exercises, focus can be put on certain aspects of breathing to strengthen the breathing muscles.

During breathing, pulling the perineum is a skill to put pressure on the hara and forces to provide movement to the muscles used for deep breathing. By exerting these muscles become stronger and will support the “tenshi” movements. As a result, tenshikei power becomes more effective and stronger.

Winding movements

Winding movements create a kind of corkscrew strength. This strength does not initiate from the foot. It initiates from the trunk of the body. It transfers down toward the foot when standing, and then it rebounds from the foot back up and on through the body. When sitting in seiza, the same can be performed. The movement start at shoulder level, next a diagonal movement and finished by a movement of the pelvis. Releasing the tension happens in the opposite order.

Relax and loosen up hip joint

It is often said in many dojos: “drop your shoulders”. But if your “koshi” or pelvis is frozen or too weak, you will have difficulties dropping your shoulders. If pelvis are frozen, you cannot bring down your hara, if your pelvis is too weak, you will hold up your hara too high.

Strengthening the koshi and loosen up the hip joints will give support to the hara. Even in a standing or sitting posture, you need the feeling of sitting upon the sit bones.

Using intent

I in Japanese – Yi in Chinese – Yi is mostly translated as “intention” or also as “wisdom mind”. It refers to one’s experience or knowledge base. A practitioner might have a strong spirit, but without good tactics, combat knowledge and martial skills, the practitioner would not be able to fight very effectively.

So, intent is the skill to access your knowledge base which is acquired after successful training. The beginners knowledge base is very limited and using “intent” is very difficult and mentally tiring. After sufficient training, the knowledge base becomes a source derived from all your training experiences.

Practical exercises with diagonal tension

There are many exercises with diagonal tension. Mostly it will depend on the practical use of the exercise in the syllabus of the chosen martial art. In case of Tomiki’s Aikido, Tandoku Undo Tegatana Dosa is an excellent choice to incorporate diagonal tension.

Keypoints Tandoku Undo Tegatana Dosa 1

Take chidori ashi posture
Lift hand above head (jodan)
Feel the line between the foot and the hand
Lower hand into chudan posture
Perform koshi mawari
Do not turn the feet and knees
Keep your “koshi” flexible but firm

During the 2nd half of the exercise, keep diagonal tension line.

Keypoints Tandoku Undo Tegatana Dosa 2

Start with chidori ashi posture
In chudan posture, turn palm upwards
Turn waist, keep arm in front of chest
Turn palm downwards
Turn waist to the front
Keep the movement of knees minimal
Keep “koshi” flexible but firm

During this exercise, keep diagonal tension line

During the 2nd half of the exercise, keep diagonal tension line. Turning of the waist and diagonal tension generate power into the hand.

Keypoints Tandoku Undo Tegatana Dosa 3 -part 1

Chidori ashi posture
Keep the movement of knees minimal
Use diagonal tension

Keypoints Tandoku Undo Tegatana Dosa 3 -part 1

Chidori ashi posture
Using waist without moving feet and knees
Use diagonal tension

The impact of the back

When using kyokotsu properly, it will affect koshi and oscillate between 2 positions according to kyokotsu movement.

Normal posture and slightly pulling in arms, kyokotsu is in forward position.

Pushing out arms, kyokotsu is in backward position and tilt the pelvis forward.

If you wish to see the Truth…

“If you wish to see the truth then hold no opinions for or against anything. To set up what you like against what you dislike is the disease of the mind.
Do not search for the truth; only cease to cherish opinions.

When the mind exists undisturbed in the Way, nothing in the world can offend, and when a thing can no longer offend, it ceases to exist in the old way.”

~Seng Tsan, Third Patriarch of Zen
Hsin Hsin Ming 信心銘 – Verses of Faith in Mind

There is certainly something positive about lockdown during the Corona-COVID-19 pandemic. Our life has changed completely, especially our time schedule is different. If you are a martial art instructor, during lock down the dojo is closed and the contact with the students or practitioners is reduced to online meetings or occasional meetup outside the dojo. As an instructor, you get more time for yourself and study concepts beyond basic and advanced training.

There are several stories of people who have been isolated for quite a while. They developed a method to practice their martial art. For instance, Kenji Tomiki was imprisoned after the war for a few years and created solo exercises from his experiences with several martial arts experts. These solo exercises formed the nucleus of an Aikido method focused on basic movements and techniques applicable in randori.

The result of investing time in personal training

If you do “personal training” as an instructor without students due Corona problems, the result of investing time can be very different from the thoughts you had when you embarked on your martial art journey. Your mind and body are not the same as a few years ago when you were a beginner.

One must accept that “change” is an all-pervasive concept in one’s life. Cultivating “curiosity” cannot be neglected in your training. Looking beyond all you have learned is a skill that should be cherished to the fullest.

Beyond existing methods

From a scientific standpoint, the research process basically follows a certain pattern.

The research process consists of eight steps: choosing a topic, studying the literature, developing theoretical and conceptual frameworks, formulating the research question, research design, data collection, data analysis and drawing conclusions.

In martial art, the process of research as part of our training follows also a certain pattern. But we are in a situation (pandemic) comparable to that of Tomiki during his time of imprisonment. Of course, we have more options because we can search the digital world for information, but the situation of not having training opportunities is the same. Some of us don’t even have a training partner.

Topic of research

Two topics may serve as an example to other research.

Physical and fitness training
Martial art movements

The question is whether to choose scientifically proven methods or methods based on mystic beliefs without any scientific proof. In this blog about martial arts training, some methods are discussed with respect to physical training, but also to a more metaphysical type of exercises primarily based on Japanese and Chinese methods with backgrounds in Taoism, Zen-Buddhism and similar philosophical ways of thinking.

The following methods are up-to-date, scientifically studied and the effects of these exercises may be repeated in a scientifically approved situation. The research process serves to formulate a conclusion, with physical and mental exercises resulting from the research.

Especially competitive martial sport is extensively researched for better performance. Scientifically tools are used to increase efficiency power and or speed. The Kodokan Judo Institute has published since 1958 a scientific report on Kodokan Judo on a regular base. The 1969 report has an item written by Kenji Tomiki.

Zhangzuang or Ritsuzen ( standing exercises) are a kind of exercises researched in hospitals with qualified personnel.

Some of the health-exercises like Qigong or Kiko can be executed on different levels from a pure physical point of view to a more metaphysical or a combination of physical and metaphysical. You can find many scientific studies on the internet. These studies are executed under scientifically rules and the results are published in academic magazines for professional metal health and physical body workers.

There is also a crossover concept using martial art movements useful as physical and fitness training. Plenty of examples can be found in modern fitness methods linked with popular music.

The “traditional” dilemma

When you enter the world of martial arts, you will see mane different views on how martial art has to be practised. As martial arts have always a flavour of conservatism and some of the practitioners are trapped into a “traditional” dilemma.

The question is about understanding the traditional elements in a martial art. Most martial arts have some traditional culture as a part of their training. Some “traditional” elements have no meaning in our Western way of thinking and are practised just as a kind of mannerism, doing something without knowing the origin and meaning of the action or movement. Trying to understand the traditional elements with an open mind is not easy, and sometimes there is a tendency to dogmatism in your martial art.

Removing traditional elements of a martial art need a deep understanding of the traditional culture. On the other hand, some instructors are adding cultural elements with or without understanding the content. Removing and adding elements with understanding sometimes creates a “new” martial art or sport with of without cultural value. The choice is up to you.

Understanding the technical syllabus

As a high level instructor we can choose to research the existing methods of our founders with the tools based upon scientifically proven methods. Of course, there are metaphysical or psychological elements which are difficult to measure with our tools. Take for example the concept of “sen” or “hyoshi“, as explained by Miyamoto Musash i.

The barrier between science and pseudoscience is not clearly defined and can create problems when we seek for the Truth.

The “Truth” dilemma

This post started with a quote by Seng Tsan, Third Patriarch of Zen (Hsin Hsin Ming 信心銘 – Verses of Faith in Mind).

I believe most practitioners are not looking for the “Truth”, but they found a method for practising a martial art. If they never have a confrontation, mentally or physically, there is no need to find the “Truth”, because they found the truth in their method. Unfortunately, some of the practitioners became “True Believers” and are not open for the “Truth”. During a confrontation, maybe they will win, maybe they will lose.

“The True Believers” – The critically acclaimed true story about the human cost of hero worship in martial arts. The term “True Believers” is inspired by a book by Eric Hoffer.

Eric Hoffer (July 15, 1902 – May 21, 1983) was an American moral and social philosopher. He was the author of ten books and was awarded the Presidential Medal of Freedom in February 1983. His first book, The True Believer (1951), was widely recognized as a classic, receiving critical acclaim from both scholars and laymen. (Wikipedia)

Finding your Way

Again, finding the “Truth” is letting go all pro- and contra- opinions. Martial Art is not a cult, but it is a tool to become aware of the world around you and inside you. Dogmatism will disturb your progression, on the other side, if you are happy………

The Art of Cutting

Integrating the use of kyokotsu and tanden has an enormous impact on cutting efficiency. This effect is due to a wave of power generated by the kyokotsu skill. You will find some info on a “wave of power” blog post.

Lifting the sword in jodan position with Chidori ashi foot posture, keep the centre line straight and spine in a natural position.
When the sword moves forward, start pulling in kyokotsu
By pulling in kyokotsu, the pelvis will tilt
Almost at the end of the cut, push kyokotsu forward to neutral position. Pelvis returns to neutral position.

Pulling in kyokotsu and releasing it affect the use of the back muscles and the pelvis.

When kyokotsu is pulled in, the sword or in case of an unarmed action, the tegatana will move forward and makes contact with the target. When kyokotsu returns, the sword or tegatana will generate a cutting action.

In case of an unarmed action, the returning kyokotsu is generating a pulling action without excessive local muscle power.

Grasping the handle or wrist

A ring of power is discussed earlier. This also applies how to hold an object with the fingers. The object can be a handle of a sword or the wrist of an opponent. Grasping is not a question of muscle power, but it is making an unbreakable ring with thumb and middle finger. This is basically a very simple skill and makes the grasping of a wrist or sword handle very solid. The idea is to close the energy circuit between thumb and middle finger. When understanding this simple action, you can use it in different situations.

During “kiri-oroshi” or cutting exercise, the correct grip on the tsuka of handle is important. Also it is not a good idea to drop the sword behind the back. This is a signal about too much relaxation in holding the sword. Sometimes you can see warming up with the sword with this method, but as a method of cutting it has to be avoided.

Te-no-uchi

Previous paragraph gave you some information about the grasping skill. Of course, when using a sword for cutting or grasping a wrist to apply a “waza” on the opponent, just holding is not enough. Power transfer is necessary to become efficient in applying a waza.

Te-no-uchi is a phrase mostly associated with Japanese weapon arts. A popular description is about “wringing out a towel”. If too much power is used, the towel will be damaged, if the wringing is weak, most of the water will stay in the towel. An interesting observation is made in the Journal-of-Physical-Therapy-Science.

The skills of various kinds of motion must be maintained so that activities of daily living (ADL) can be performed fluently. An important objective of Occupational Therapy is to improve a patient’s ability to perform ADL. However, there are very few studies that have tried to scientifically analyze skill contributing to the quality of ADL. Therefore, we focused on the motion in wringing out of Towel, which is done frequently in ADL, and analyzed the factors that contribute to this motion. We hypothesized that the factors that contribute to this motion include the subject’s age, gender, grip strength and motion pattern. These factors were analyzed. The results show that the female elderly group, although weak in hand grip strength, was able to squeeze the maximum amount of water from the towel. We speculate that this group of elderly females were most efficient at wringing the towel because this was a common household chore for them and because of this, their level of skill was the highest among all the groups.

Uchi gaeshi, soto gaeshi, tenshikei and meguri

During te-no-uchi action or wringing out the towel, an uchi gaeshi or inward twist can be seen. This inward twist is basically a wrist and forearm movement.

When lifting the sword into jodan or hasso position, a soto gaeshi or outward twist is performed. As with the inward twisting action, local excessive muscle power has to be avoided. The twisting is not only affecting the wrist or forearm, but is a part of generating ‘tenshikei” or spiral power.

Te-no-Uchi, wringing out the towel

Te-no-uchi is more than wringing out the towel. It is a technique in which the fingers, palm, wrist and forearm play a major role. The twisting effect is to compress the soft tissues and, by loosening the tension, the tissues return to a neutral situation. When reaching the target, ten-no-uchi is applied to create one block between sword and body.

The relationship with “meguri”, referring primarily as an action of the wrist, but it is actually a motion of the whole body. It’s some type of te-no-uchi. Tenshikei or spiral power is also an expression of the power generated by te-no-uchi.

Tandoku undo tegatana dosa

Te-no-uchi is an integral part of tandoku undo tegatana dosa. In a previous paragraph I mentioned this in relationship with uchi gaeshi and soto gaeshi. During the execution of aiki-age and aiki-sage an internal movement is made, a rotations of the fore arm around the transverse axes. See a previous post “Wave of Power“. Although the turn of the hand is made around a point in the palm with an upward direction, the power target is in the wrist joint, the part when you push for example someone.

When performing aiki-sage or bringing the power down, the point of power is at the thumb side of the wrist.

Exercise for aiki age and aiki sage

The pendulum exercise is already mentioned on numerous occasions in this blog. The pendulum is a comprehensive exercise and can be “settled” for different purposes. When Tegatana moves upwards, the emphasis is on the aiki-age point. When Tegatana descends, we concentrate on the Aiki-sage point.

The question about the relationship between the art of cutting and aiki age & aiki sage is self explaining. The photos come from a book on Aikido. The word Aikido is a general term for defining the art of Aiki.

“Wave of Power”

Much has been said in the debate on internal and external power. Most martial methods are built around a variety of concepts, including interior and/or exterior components. When a debate is held, we must look at the context of the debate. Basically, we should be aware of the definition of internal or external power given in the martial art we are discussing. We cannot accept a debate on good or bad unless we know the inner and outer aspects of martial art or combat sport.

Martial art built around flexible circular movements is considered as an internal method. While a martial art with a lot of muscular tension is considered an external one. Muscular tension is considered a linear action. The question about internal or external still exist and the linear/rotational answer is not sufficient. There are other aspects to take into account. Having a debate about internal and external will take up a lot of time and space. So we will consider a few creative thoughts.

Taking up space or not

External and internal movement

Very simply, external motion is a movement that takes space to perform. Running is one example of external movement, just like waving your arms or jumping up and down. A body or limb spinning around its center line without going anywhere is an expression of pure internal movement.

In the case of the internal movement of the human body, it can be clearly defined. It refers to rotations of the torso or limbs around their transverse axes, something that can take place with almost no external movement through space.

Linear and rotational movement

Linear: to move the body in space – external movement
Rotational: to turn the body around and axis – internal movement

A paradox?

If the torso turns around its axis, it is called internally, but our arms if outstretched move in space (external?). Our arms itself can turn around its axis, in this case we have an internal movement. All the movements we do with our body have an internal and external aspect. Talking about internal and external has to include both aspects and cannot be separated.

Another thought about the paradox of internal and external

Movement of the arm may be considered as internal and/or external action. If this movement is merely a local action, the effectiveness will be rather low, even if an internal aspect is included. Some people think that internal movements should always be stronger or better than external movements. Unfortunately, this is not true, both concepts need to be balanced to become effective for the task we use it. If the external aspect is performed with too much muscle contraction, the internal aspect will find it difficult to integrate. If the internal aspect depends too much on the relaxed or relaxed posture, the body will have problems to move correctly or perhaps completely frozen or collapse.

Another Creative Thought: Root and target

Everybody is familiar with Darwin’s famous book: The Origin of Species. The title suggests that there is an origin or a source for everything. This is a very simple thought and when one looks at the use of power in our martial art one can discover the same thought behind our source of actions. Of course, we can have a debate about where that source came from. Again, it has to be looked at in the context of this discussion. Where is “the root” as a physical part of our body?

root: source of force for movements
joint segments: transfer of force by using the joints of the body
tip: end of the line of force or the point of transfer into the opponent

Take for example an action with “tegatana”, the so called sword-hand. In a very simplistic way of thinking, the shoulder is the root and tegatana is the tip. Mostly tegatana will be used as a striking weapon in case the arm is not immobilized by opponent. Tegatana is moving in space and this movement can be considered as an external movement. On the other hand, there is an internal movement included if the arm is rotated around the transverse axe.

A wave of power

When power travels from the root to the tip, it takes time to reach the target. Power goes a certain way, and at first sight it moves linearly. But actually, most of these moves are characterized by a wavy motion. Basically, there are 3 types of waveforms in the human body in the context of our martial applications, but also in the context of all human movements, a wave pattern can be discovered. The idea of bodily wave pattern can be found in a book written by Jacques Lecoq: The moving Body.

Undulation and inverse undulation (1&2)

In undulation the wave of movement starts from the feet, goes through the hips, chest, neck and at last, comes to the head. We can see a small undulation for example when a person starts to walk. The power of movement starts from the ground and is dragged through the whole body. Inverse undulation is the same “wave of movement” as undulation but it starts from the head and goes through the body to the feet. The concept of rebound can be found in the inverse undulation.

Walking or running is a good example to illustrate the harmony between undulation and inverse undulation. The integration of external powers like gravity, inertia or others is necessary to use the human body as a whole system.

Eclosion (3)

Eclosion is a movement of opening and closing. It starts from the ground in a closed position and gradually expands towards the open. The movement starts from the center of the body and moves towards the head, hands and feet. The rhythm is important, and hands and legs should arrive in the open position at the same time. The closing movement is the reverse of the opening movement.

The role of kyokotsu

The “kyokotsu” exercise is one of the exercises for generating a waveform pattern. Of course, it takes several months of regular training to feel the wave of power. Most people have no flexible torso, especially at the level of the sternum. The kyokotsu exercise is not only a movement of the lower part of the breastbone, it forces the torso to open en close in different directions. The concept of “eclosion” discussed earlier can be found in this exercise.

When we move our kyokotsu forward or backward, it affects the pelvis by tilting it in both directions. Moving kyokotsu creates an undulatory movement in the body along the spine.

Kyokotsu is not the power generator, but the kyokotsu movement invokes the body to move according a wave pattern. Movement generates power with the help of the floor and gravity.

The better we can connect the different body parts, the more efficient use of power is possible.

A first goal to achieve is the connection between the elbows and the kyokotsu. The muscles in the back can be felt when a connection is made between kyokotsu and elbows. If we move the elbows without the use of the back muscles, there is no connection.

The next goal is connecting kyokotsu and pelvis. Don’t move pelvis without connecting with kyokotsu.

Tenshikei or winding power

The idea of winding power can be illustrated by the squeezing of multiple fibres. It stores power and by unwinding its release the power. By using the correct skill or technique, the power can be used to neutralize the actions of an opponent.

Tenshikei can be seen as a form of using an internal movement to generate power. The key to a successful procedure is the ability to keep the muscles and tendons flexible. When muscles and tendons become stiff and lack mobility, power generation will lack efficiency.

Elbow exercise

This is an exercise to develop a basic idea of tenshikei with a partner. It is an exercise and cannot be seen as a technique for self-defence. Tenshikei skill can be used in different situations if the training allows the study of this kind of power generation.

The elbow exercise can be performed with various concepts and some concepts do not use tenshikei or winding power effectively. If the focus is on the use of leverage, the winding energy will be virtually absent because the production of energy comes from the use of leverage. Below is a sample of an internal movement generating tenshikei taken from a DVD by Hino sensei.

Another view at the 2 types of power

Previous was mentioned external and internal power and its relationship with the surrounding space. But of course, there are different ways of looking at the use of power by the human body. To apply power, a movement is needed to give transport to the strength generated by the body with the help of our main source of power “gravity”.

Open and closed chain movement

In open-chain and closed-chain exercises, the chain referred to is a series of body parts, such as a hip, knee, ankle, and foot. In an open-chain exercise, the body is stationary while the limb moves. In the closed – chain exercise, the limb is stationary while the body moves. For example, a squat is a closed-chain exercise because your feet stay stationary while your quadriceps do the work.

In martial arts open and closed chain movements can be seen during basic training and randori. The open chain movement uses the momentum from the limb accelerated by the body. Closed chain techniques are those that use the ground and the stabilization of the body to produce the power. Open chain techniques depend on motion and speed to build their inertia while closed chain techniques use the ground to brace the body and transmit the force to the target.

In randori, the use of local power is often seen to force a movement on the opponent, or to block a lock on the arm or wrist.. Those manoeuvres belong mostly to the category of a closed chain movement. If the practitioner is more skilled in the use of full body power, the combination of linked chains can give more power. By using an appropriate technique or movement, the game of strategy becomes important.

Rendo, the art of mixing

In the music industry, the art of mixing based upon existing songs is very popular. Mostly it is used during festivals for dance. It is a kind of becoming into trance. Body and mind are becoming one, and the movements of the body can be seen as whole body movements.

The art of Rendo is a similar process where different movements are mixed into one whole body movement. We are not using the word “mixing”, but we use “linking”. Rendo has also a time component, because it takes time power travelling from the source or root to the target. The previous elbow exercise is an example of linking different movements by using winding and unwinding power.

Strategy and power

If the focus is on power, internal or external, it is not “the solution” to win a fight. It is important to have a method “how to use power” in a fight. This method is based on a mix of skills in the range from pure physical to pure spirit. Of course, as usual, the extreme ends have to be avoided, it is better to use a well-balanced method.

One of the most difficult skills in martial art is the use of a wave power pattern. Most practitioners will rely on the power of a closed chain movement, mostly locally executed. For example, only arm power generated by the muscle of the arm and shoulder.

As I mentioned in other blog posts, the concept of a creative mind is one of the cornerstones to become a skilful practitioner.

Ankles, knees, pelvis and kyokotsu

The motions of the body are magical, we can move many parts of our body in order to accomplish many physical tasks. But we can more with our body, there are certain parts that we have to pay attention to and we will discover many other physical features of our body.

Kyokotsu movement

Kyokotsu in general can be translated as “sternum”. In our case it is a special point on the sternum. By focusing on this point, we can move the sternum.

The Kyokotsu movement involves flexibility in the sternum and, by extension, the ribs and shoulder blade. The objective is to enhance the flexibility and mobility of the sternum and scapula. When moving the sternum there will be no compressing of the lungs and heart, and through the practice one’s whole rib cage will actually be expanded, or larger than it was previously. Moving the sternum is also affecting the movements of the spine and in extension the pelvis.

Turning the pelvis line

Pelvic manipulation consists of using kyokotsu. When kyokotsu is slightly pulled in the spine is straightened. When kyokotsu training is done enough, it will also affect pelvic tilt or rotation automatically.

To give you an inclined sensation of the pelvis using kyokotsu, you can try the following 4 steps. If the remark is made about an upright spine, it is not completely upright, there are always curves but less than in a normal posture.

4 steps to tilt pelvis

Normal posture with curved spine
Straighten legs, straighten the spine by pulling in slightly kyokotsu, called Gankyōbappai*
Bend over, keep legs and torso straight
Push pelvis in the direction of the ankles, keep torso as 1 block

*Gankyōbappai (含胸抜背).
This is an expression used to describe the postural adjustment at the chest level (Empty the chest & Pull out the back ). Keep the concave shape of the chest and stretch the spine to widen the back. Important is not to tense the muscles.

After learning the rotation of the pelvis, different posture heights can be performed with an inclined pelvis. Fundamentally, it’s an ankle movement and not knee-shifting. Even though the knees are bent, the work is done by moving the pelvis towards the ankles. You will notice that the gravity point located in the hara descends almost straight down.

Often you will hear about Achilles tendon problems with older, experienced practitioners. This is due to the abusive use of the knees and pelvis. To prevent such problems, adequate training for ankle flexibility should be introduced. A simple exercise involves moving the pelvis down and up with the ankles.

Tilting the pelvis simply using the pelvic muscles, creates tension in the pelvic region, especially when the footwork is used to move. A frozen pelvis cannot be used with skills such as tenshikei or meguri. Using only the pelvic muscles has no impact on the rest of the body structure.

Turning the pelvis line is only possible when the “mata” or “kwa” is flexible and not tensed up. Should you fail to soften your groin, a frozen pelvis will result. Some tension should be felt in the calves, especially when a deeper posture is adopted. Don’t lift the heels of the floor.

Proper kyokotsu training will affect the entire body, and after adequate training, flexibility and mobility is possible in the torso area. A frozen torso will be avoided. The use of kyokotsu during posture practice will benefit the ability to maintain a strong right posture. Legs and arms are attached to the torso and need flexibility and mobility during body movements. In martial arts, frozen limbs are a major disease when someone is attacking you. This will happen if you didn’t follow proper training, focused on movement. Remember a book written by John Wilkinson, a Tomiki Aikido Pioneer:

Aikido, a Dialogue of MovementDownload

An exercise for pelvis, ankles and kyokotsu

During this exercise, the use of kyokotsu can be practiced. Pull the sternum in when going down and straighten breastbone when arms are raised. The ankles are bent and straightened throughout the movement.

Although it seems that the point of gravity is receding, in reality, it is descending directly.

Tension and relaxation

Excessive tension in the muscles can produce “frozen” joints, but complete relaxation will do exactly the same thing at the other end of the movement spectrum. Total relaxation is a kind of stagnancy or a state of inactivity. Both situations have to be avoided.

The problem of over-tension is often noticed by the practitioner if someone makes a remark on too much tension. The slackening of the muscles is a more serious problem because if someone makes the remark “relax”,. The practitioner has mostly a misunderstanding about “relax” and is not thinking about reducing the tension, but the practitioner focuses more about total slackening the muscles. It is maybe better if we talk about “high or low muscle tone”.

“Muscle tone” is often confused for “muscle strength” and although related, they are not interchangeable terms. Tone refers to the amount of tension in a muscle when at rest state (not actively contracted). Muscle tone helps our bodies maintain posture.
The Low muscle tone is characterised by the muscles having less tension at resting state and feeling “floppy”. High muscle tone is created by excessive contraction of the muscle. High and low muscle will interfere with the power management of the body.

Taikan

Taikan (体感) or bodily feeling or sensation has to be improved before we can start with releasing the tension. If you experience tension you have to know from where it is coming. The same with relaxed, if you don’t feel your body, it is very difficult to solve this slackening of the muscles.

In Taikan’s case, this is a “somatic” concept, we use our sensory system to feel our movements. Although it is a natural process to feel something, if our mind is not focused on the feeling process, we will miss a lot of information how to handle different situations.

Some of you will notice the word “taikan”, as another trendy word to describe a natural process. The Japanese Wikipedia and Dictionaries provides an explanation of Taikan (体感), mostly describing the concept of feeling. The English version provides a few insights from a medical perspective.

The somatosensory system is a part of the sensory nervous system. The somatosensory system is a complex system of sensory neurons and neural pathways that responds to changes at the surface or inside the body. The axons (as afferent nerve fibres) of sensory neurons connect with, or respond to, various receptor cells. Sensory receptors are found all over the body including the skin, epithelial tissues, muscles, bones and joints, internal organs, and the cardiovascular system.

How to use “Taikan” in our practice?

Most practitioners enjoy practicing with sweat. There are some health benefits from such training. Cardio and fat burning are boosted during such training. Unfortunately, this is not the correct method to use the concept of Taikan when you like to discover the different body feelings when practising. In particular, the concept of “muscle tone and reduction of muscle tension” requires a workout at a slower pace. Everyone is aware of the slow movements of taichichuan. There is some logic behind the slow movements, feeling the bodily movements is the first step towards a more efficient martial art.

So the first stage consists of starting “kihon” at a slower pace. Feel the movements and after a while you will become the movement. From now on, you can increase the pace of motion and concentrate on what you actually do. Of course, to maintain the concept of fat burning and cardio, remember to spend time on this important element of your training. A healthy and strong body is necessary for exploring the feelings of body movements.

One important tip is to avoid vigorous “randori” in the first year when the emphasis is on Taikan. The first step of randori, kakari geiko is possible at a slow pace. Ask your partner to co-operate.

Tai-sabaki – Movement Control

Tai-sabaki – Shintai – Shizentai

All the practitioners of the Tomiki method, whether it is Aikido or Judo, are familiar with this model of footwork. This is one of the many overlapping components between Aikido and Judo. It is used in numerous books written by Kenji Tomiki. In “Judo et Aïkido”, an abbreviated English version of his Japanese books, the same concept is used to explain the footwork exercises.

Unfortunately, we cannot find indications how to use footwork in a proper way. We have the pattern, we know “shizentai or natural posture” is necessary during body movements, but most of the practitioners don’t know “how to….”. It is very easy to say “just practise”. The question arises “how to practise?”.

How to..?

Everybody knows that the answer coming from famous teachers when you ask them for something you don’t understand.

“Case by case”

Such an answer is not solving your problem. In case of footwork, we have to consider the basic types of footwork. Besides the basic types, we also have to think about the relationship between the body weight and gravity. And don’t forget the concept of “MA-AI“. By understanding the different aspects in proper footwork and practised these during solo-training and partner exercises, the finalisation will come forward during randori. As Kenji Tomiki said: colouring the dragon’s eye.

Basic types footwork

These are already discussed in other blog posts.

The moving body and shizentai

Among the fundamental elements of martial arts are, taijū no idō or moving the body weight with footwork and taijū no dendō or the transfer of body weight one of the most important concepts. Hino Sensei (Hino Budo’s method) says: “Strictly speaking, the motion of the body weight is to move by making his body a single block. For example, moving forward, or backward, being a solid block”.

Both skills (taijū no idō and taijū no dendō) are based upon proper footwork. And footwork includes also the use of shizentai or in Hino’s words “one’s body a single block”. Don’t take his words out of the context, because we have to take in account another concept or skill: Jukozo or the flexible body.

I would like to repeat a remark I made in other articles:

The main purpose of ritsuzen or standing meditation is to create a “linked” body-system.

This isn’t about standing still. This is an exercise with a lot of movement controlled by your mind. In essence, there is neither footwork nor arm movement. Nevertheless, it is possible some movements can occur when kyokotsu and koshi are involved.

Standing still or creating “shizentai” is the first step in footwork exercises. Advanced practitioners need just a few seconds to adopt shizentai, beginners need more time and need to practice a lot.

More to learn about ritsuzen and shizentai: A ring of power

Shintai and tai-sabaki

Kazuko Kudo a 9th dan Kodokan Judo made an interesting comment on footwork:

Advance-retreat (shintai) – Under this single heading we include both the advance-retreat (shintai) type of movement and turning movements (tai-sabaki).

To master the advance-retreat style of movement you must first master the following way of walking. Usually humans walk by putting their weight on one foot and advancing the other, then shifting their weight to the advanced foot as soon as it touches the floor and advancing the other foot. If we walk backwards the process is the same, only in the opposite direction. Forwards or backwards, this walking method always leaves your weight on one foot for an interval during which your body itself remains back with that support foot.

In his remark, he is talking about the normal way people are walking. In the next comment he talks about a martial way of walking.

In judo walking methods, on the other hand, we move our legs, hips, and bodies forward or backward all at the same time, you must not put one foot forward and leave your body behind or advance your body and leave one foot behind.

How to master this walking method? The first thing to remember is to maintain the natural body position. In judo we walk in the natural position, or to put it slightly differently we walk with our hips. As you walk do not let your feet move too far apart or too close together, do not let your body—head, shoulders, hips—rise and fall, and walk in a sliding smooth fashion across the floor.

Further, he advised to study the skill of “tsugi ashi”. He called this “following feet”. Tomiki’s Unsoku-who is using exactly the same method as Kazuko Kudo explained.

About Tai-sabaki, there is also an interesting comment

Movement control (tai-sabaki)

The Japanese words tai-sabaki are capable of two interpretations. In the wider sense they simply mean all natural body movements including the tsugi-ashi advance-retreat motions we have just been explaining. In the narrower sense they indicate the ways we manipulate and control our body’s motions.

He explained several items included in tai-sabaki:

Carriage of the head
Use of the eyes
Breath control
Use of the torso
Hand movements
Foot movements

These items are also explained by Senta Yamada in his book about aikido: The principles and Practice of Aikido. Some of Kudo’s comments, you also find in Tomiki’s Judo and Aikido.

A contemporary of Sentia Yamada was Tadashi Abe, a student of Morihei Ueshiba. In his books about aikido, he described the art of tai-sabaki as a three-fold action.

Koshi sabaki
Ashi sabaki
Te sabaki

Tadashi Abe studied at the Sorbonne in Paris and is also considered as one of the aikido pioneers in Europe.

Tai-sabaki – Movement Control

The word tai-sabaki is commonly used in Tomiki’s Aikido to describe the ability to avoid an attack. Of course, avoiding can be considered as a part of tai-sabaki. However, tai-sabaki has more to offer the practitioner.

In the words of Kazuko Kudo, Movement Control is the mantra to fully understand Tai-sabaki. Kenji Tomiki explained in fact the idea of Tai-sabaki when he talked about Tsukuri. This concept was developed by Jigoro Kanon the founder of Kodokan Judo. But again we must admit, most of the explanations are just words, so called buzzwords.

When we practise our exercises, one of the goals has to be the control of our movements. When practising with a partner, controlling the movements of the opponent becomes the goal. The attack is just the result of his movement.

Tsukuri or preparation

From “Judo and Aikido” by Kenji Tomiki:

Bringing your opponent’s posture and position into such a relation to yours as to make it easier for you to throw him is called tsukuri (preparatory action). Breaking your opponent’s posture and making it unstable is aite o tsukuru (to prepare the opponent) and assuming at that moment a position and posture convenient for using a technique according to the change in your opponent’s is jibun o tsukuru (to prepare yourself). Thus you must use the most adequate technique after making a thorough tsukuri.

Jibun o tsukuru

It is paradoxical to emphasize ukemi as a form of jibun o tsukuru, but by mental and physical understanding, the concept of “jukozo” or “flexible body” becomes more understandable.

It is a common fact, when a beginner comes into the dojo, he or she likes to know how to throw the opponent. The newbie is in most cases not interested in the fact, you can only throw someone if you can control yourself.

In the older days, ukemi training was one of the foremost methods for beginners to learn to do breakfalls and build up stamina. This was the explanation given to the beginner. It took several months to become more or less skilful in the art of falling. Ukemi or protecting the body is a very physically demanding exercise. When practised correctly and with full commitment, ukemi training becomes a cardio training with a lot of peak moments. Also the body becomes used for different kinds of impact when it hits the floor. The body creates a skill to avoid hard impact by using jukozo to distribute the impact to a bigger surface or into a larger body movement. A big rolling ukemi is such an example.

Aite o tsukuru

Preparing of the opponent consists in destroying the opponent’s balance before performing a technique and putting him in a posture where it will be easy to apply it. (Kenji Tomiki).

Without proper jibun o tsukuru, aite o tsukuru wil be very difficult and every attempt to throw the opponent will fail in most cases. Of course you can succeed by using extreme physical strength, but we are looking for a method useful for the lesser muscular practitioner.

Tai-sabaki becomes one of the pillars of aite o tsukuru together with the many exercises found in “sotai dosa“. The 7 balance disturbing exercises (shichi-hon-no-kuzushi) are another example of sotai dosa in the Tomiki Aikido training program.