Taijū no ido & Taijū no dendō

Workshop 14-16 February 2020

This workshop was build around basic aikido movements and the overlapping elements of different methods of aikido.

  • Solo training: warming up, unsoku ho and tandoku undo
  • Partner training: 7-hon no kuzushi – using the central line or seichusen
  • Partner training: 2 aspects of tekubi waza – hineri & gaeshi
  • Taijū no ido & Taijū no dendō or “using body weight”

Solo training is discussed in another blog-post.

Displacement & transmission

  • The displacement of the body weight is when we move in such a way that we shift its center of gravity. Strictly speaking, the displacement of the body weight consists in moving by making of its body a single block. For example, moving forwards, or backwards, by being a solid block.
  • The transmission of the body weight is the action of putting the weight  into the opponent without giving access to the own center. For example when one is grasped at the wrist, use this point of contact to transfer body weight to another. It is not pushing or pulling! By performing tenshikei, an internal line of movement (運動線, undō-sen” is created, this internal line of movement is needed to be able to do body weight transmission without body displacement. The power of this transmission is called “Ido-ryoku”.

Although it seems these concepts (taïjū no idō and taïjū no dendō) are separed items, the thruth is different. Both items are interwinded and cannot be separated.


Ido-ryoku is basically a kind of “power transfer” generated by using taïjū no idō and taïjū no dendō *. Both methods are using a different method to create power transfer into opponent’s body.

There are 2 kinds of ido-ryoku in martial arts

  • long power – usually to throw an opponent
  • short power – usually to create a shock into the body

*taïjū = body weight, idō = movement, dendō = transmission, conduction

Taijū no ido

Taijū no idō or body weight shift creates “power transfer” in the body of opponent by displacement of the body. There are different methods for causing power transfer. Those methods can be used indepentent or as a merged method.

  • Ashi no korobi can be translated as “rolling feet” and uses gravity as a source of power.
  • Tsugi ashi or short step displacement by using gravity and isometric opposing force.
  • Tenshikei can be translated as rotational power and generated by external movements. For example de-mawari & hiki-mawari.

Taijū no idō need distance to create power transfer, if it is not possible to use external distance, creating internal distance is a solution. In this case we can speak of merging Taijū no idō & Taijū no dendō.


One of the important elements of Tenshikei is the possibility to create a distance inside the body by utilizing the entire body. Generally, power transfer is thought to be increased by using a distance between the body and the object. However a distance can also be created inside the body. Twisting inside the body is creating distance and tension. By untwisting, the stored power is released. Using the skill of rendo (linking movements), the power can be guided to the arms or legs. Of course this is a very simplified explanation for a complex body action. It takes several hours of training to internalize the linking process of the different body movements.


Opponent is grasping wrist. Without moving the feet, create some space by a diagonal stretch.

Taijū no dendō

Taijū no dendō or body weight transmission (body weight conduction) is a skill to transfer power into the opponent by using body weight and gravity.


When opponent is grabbingr at the wrist, opponent is using power to push, pull or grab strongly. Don’t fight the power, but accept by using a flexible body (jukozo) and let the power goes into the back leg when there is a push, or into the front leg when there is a pull. Eventually you need to use ayumi ashi (stepping) of tsugi ashi (shuffle) to adjust the correct posture.

When the power goes through the body and reach the floor at the end of the leg, there is a rebound. When the body weight is going down by the push or pull, the rebound of the power will reach the opponent with the help of the body weight.

Body weight act as a tool to transfer power coming from opponent but also from gravity. The body joints, especially the knee joints are not activily bended, but are flexed and straightened by using the rebound and the added power of the body weight (gravity).

Compilation of workshop 14-16 Feb 2020

This compilation is covering some topics of the 6 hrs workshop.

Tandoku Undo – Solo training

Workshop 14-16 February 2020

This workshop was build around basic aikido movements and the overlapping elements of different methods of aikido.

  • Solo training: warming up, unsoku ho and tandoku undo
  • Partner training: 7-hon no kuzushi – using the central line or seichusen
  • Partner training: 2 aspects of tekubi waza – hineri & gaeshi
  • Taijū no ido & Taijū no dendō or “using body weight”
Partner training is discussed in another blog-post.

Your personal solo-training

Solo-training is an integral part of martial art training. The difficulty is the absence of the instructor or coach to encourage you. Most people have always an excuse for not doing solo-training during their spare time.

Personal solo-training can be practised any free-time and can give you a lot of benefits.

Benefits of solo-training

Solo-training is your personal tool to create skills usefull during dojo-training. You can use exercises dvelopped by yourself or you can use syllabus items supplemented with your ideas. Of course beginners start better with the syllabus basic solo-exercises. During dojo-training, your coach or instructor will help you with problems and difficulties.

An important benefit of solo-training, you can choose yourself which movement you like to improve. Solo-training during your spare time is not dependent on the opening hours of the dojo. You only need some space were you can practise your solo-exercises. Only you are responsable for your practise time.


There are numerous versions of warming-up. If you just want to do some exercises to change from a sedentary moment to a more dynamic moment, warming-up will focus on moving major body joints. Some teachers even say there is no warming-up needed, because Budo movements can be used for warming-up.

A simple method for a short warming-up

  1. Knees/Ankle rotation
  2. Hip rotation
  3. Waist rotation
  4. Body rotation
  5. Shoulder/Elbow rotation
  6. The Wave


Knees/Ankle rotation

Turning of the knees and ankles. For example 10x left and right.


Hip rotation

Turning the hips horizontally. For example 10x left and right.


Waist rotation

Bend knees and keep together.Turning the waist left & right 20X


Body rotation

Body rotation along the body axis. 20X


Shoulder/Elbow rotation

This is a “kyokotsu” exercise


The Wave

A 3D exercise with “undulation” patern.


Unsoku-ho or foot movements patterns

Unsoku-ho in Tomiki Aikido is based upon Judo foot movements. When you only practise these patterns, you will find out the restrictive character of these judo foot movements pattern.

Organising another unsoku-ho for a more traditional aikido practise includes turning actions generated by turning “hara” movements.

Extended unsoku-ho can be included into basic tandoku undo.

  • Ashi no korobi (rolling feet)
  • Tsugi Ashi (short distance)
  • Ayumi ashi (stepping)
  • De-mawari (forward turning step)
  • Hiki-mawari (backward turning step)
  • Tentai (180° turning without stepping)

Tandoku Undo

Almost every Aikido group has some kind of solo-training and Tomiki Aikido is no exception. Tomiki Aikido tandoku undo will vary according the organisations syllabus. As beginner you just stick to the syllabus.

Tomiki Aikido Tandoku undo is created around 3 kind of basic movements already discussed earlier.

  • Uchi & tsuki waza: striking movements
  • Tegatana Go-dosa: 5 handblade movements
  • Unsoku-ho: foot patterns

Athough there is a certain sequence in the solo-training, you don’t have to practise the exercises as prediscribed by the syllabus. If you find out you need some time fo improve a certain skill, you can practise only those exercises which include the pattern of the skill.

  1. Unsoku-ho
  2. Shomen uchi/tsuki
  3. Uchi/soto mawashi
  4. Uchi/soto gaeshi
  5. Uchi mawashi – de-mawari
  6. Soto mawashi – hiki-mawari
  7. Ko-mawashi – tentai
  8. O-mawashi – de-mawari/hiki-mawari

Can we change the kata of Kenji Tomiki?

Changing posture or not?

We cannot change Kenji Tomiki’s kata. Although we change frequently the kata according our understanding.

In basic 17 kata, Tori and Uke are always starting from a “ai gamae” posture. Right handed or left handed. In basic 15 kata, this is different. Most of the waza start from ai gamae. Gyaku gamae ate (number2) and tenkai kote gaeshi gyaku gamae (number 15) start from a gyaku gamae posture. The picture shows shomen ate form right posture and 2 exceptions mentioned earlier.

Basic posture

The origin of basic aikido posture can be found in Japanese sword methods. Right hand and right foot are forward.

Most of the basic kata in sword methods are starting from this posture.

In our basic 17 kata, the right hand posture is used as the basic posture for “all” the waza. And of course we can do a left hand posture for both.

Changing basic 15 posture

Basic kata can be explained from

  • a Tori point of view
  • an Uke point of view

In basic 15 kata there is a change in Tori’s posture. Uke is always the same posture. Tori is adapting the posture to suit better the performance of waza.

Gyaku gamae ate waza. In basic 17 kata, this problem is solved by changing the “tsukuri” action. The posture change becomes a part of the tsukuri. There is of course another point to mention. In basic 15 kata, shomen ate and ai gamae ate, atemi is performed by the right hand, while basic 17 kata gyaku gamae ate is performed with the left hand.

If Tori keeps a right hand basic posture during Basic 15 kata, gyaku gamae ate can be performed by using Basic 17 tsukuri . If we like to keep the original waza, and Tori keeps the right hand posture, Uke has to change the posture for attacking into a left hand posture. Gyaku gamae will be performed with Tori’s right hand.

Tenkai kote gaeshi waza In basic 17, there is only 1 tenkai kote gaeshi performed with 2 hands. We can consider this as a kind of merging the 2 basic tenkai kote gaeshi basic15 methods.

Basic 17 tenkai kote gaeshi tsukuri

If we like to keep the original basic 15 waza, and Tori keeps the right hand posture, Uke has to change the posture for attacking into a left hand posture.

Changing basic kata?

The question is not easy to answer. 
According to Yamada sensei  (early 60-ties) we can do basic 15 in kata style. This includes we can do basic 15 as personal variations. 
Did he consider basic 15 as a kata? Again this is difficult to answer because there are many version of basic 15. 
We can assume basic 15 is not a kata or a fixed form. It is a collection of basic techniques.
In the JAA syllabus (1999) we find "randori no kata".
We can assume, a collection of basic techniques is transformed into a standard basic kata. Of course there is the personal flavour and understanding of every JAA chief instructor.

Conclusion If we consider basic techniques (basic 15, 17, 19 or more) as a collection of techniques, we can change elements for practise purposes. If we consider these sequences of techniques as a kata, we can change elements but in this case we have to rename it. This often happens when a chief instructor has a different interpretation of the content. The question arises if this modification will be accepted by the governing body. And what about enbu competition?

Workshop 4 – 7 October 2018


Thursday 4th October

  • Using “rolling feet” in tandoku undo & sotai dosa.
  • Tentai, 180° without stepping.
  • Sotai dosa: ai gamae katate dori hineri & gaeshi
  • Sotai dosa : gyaku gamae katate dori hineri & gaeshi

Friday 5th October

  • Referee training : tanto scoring
  • Ippon, waza-ari and yuko

Saturday 6th October

  • Suwari waza dai san : grading and enbu differences
  • Tachi tai tachi dai san : grading keypoints

Sunday 7th October

  • Tanto dori dai san : grading keypoints