Tag: Aikido

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

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.

Aikidō: A Matrix Budō

In 1976, I stayed for several weeks in Shizuoka Japan and practised mostly Korindo Ryu Aikido with Hakamatsu sensei, a Shihan of Minoru Hirai Korindo Ryu. I didn’t really understood very well the principles and concepts of this martial art. But I made a lot of notes in my martial art diary. From time to time I am re-reading my notes and I discovered some secrets which I didn’t understood very well in that time.

The ideas and concepts taught to me in 1976 by Hakamatsu sensei are not opposing the ideas and concepts of Kenji Tomiki sensei and Hideo Ohba sensei. I was thaught by Hideo Ohba in Okubo Tokyo a few years later and I didn’t realize the similarities at that time.

It was a shocking idea to discover the concept of “Matrix* Budō “. One of the most important principles is to apply a single set of basic forms of exercise, which contains all vital movement elements, to all types of combat. These forms are contained in the developed taisabaki (tandoku undo). This taisabaki is the basis of all forms of movement, from which all techniques arise. A botai-budō or matrix-budō.

This concept was in the mind of Kenji Tomiki, when he was rationalizing Ueshiba’s Aikido. He formulated unsoku-ho and tandoku undo, containing the basic information for further development of the practitioner. Together with some other fundamental principles, a unique system is created which included kata and randori.

*Matrix = Botai (母体) = whomb, uterus

Don’t become fixed on techniques. Create your own waza.

Matrix

Matrix: an environment or material in which something develops; a surrounding medium or structure.

Matrix Budō

Minoru Hirai was the founder of Kōrindō Aikidō, a martial art based upon older forms of Jujutsu, Kenjutsu and other Japanese martial arts. He was also during World War II a director of Kobukan, Morihei Ueshiba organisation. Minoru Hirai introduced the word aikido as a generic term for Japanese martial arts not associated with Judo or Kendo. Basically it can be said, aikido is a term to define martial arts auround the “aiki” principle. (see also Minoru Hirai Korindo Aikido). As usual, the information on Wikipedia is based sometimes upon the view of one person or group and can be controversial for other persons.

Hirai’s martial art developed over time into what he calls “Matrix Budō “, which is not based on a multitude of different techniques, but is based on a single principle practised during taisabaki movements:

The harmoniously round circle (enten) and ball rotation (kyūten) expressed by koshi-mawari in a number of forms of movement called taisabaki.

Koshi-mawari taisabaki serve as the basis in order to acquire efficient natural movement.

From koshi-mawari taisabaki, you develop a natural, rotating-flowing movement mode. Out of this, techniques are created unintentionally and adapted to the constantly changing situation, with which the attacker can be controlled and thrown because one does not oppose the attacking force. In order to acquire the movement of koshi-mawari taisabaki the following forms of exercise are practiced in training:

  • 7 or 8 forms of movement (taisabaki), which are initially trained individually, then in combination, and finally with a partner;
  • Partner forms to deepen the correct posture and the approach of every movement;
  • Randori means free attack and free movements in order to spontaneously realize the principle of koshi-mawari.

Enten

円転 Smooth circular motion; spherical; rolling smoothly; (with) smooth circular motion

The principle of giving movements a circular, flowing, non-okori course. The circular movements can be thought of as horizontal and vertical rotations.

Okori: The approach or initial impetus that usually initiates a movement. As a result, an attack usually reveals itself at the moment it arises. This happens often when attacker lauch a strike by stamping his back leg into the ground to create momentum or using a stamping front leg to give more power in the (tanto)strike. This can be avoided by using ashi no korobi or rolling feet or using a short tsugi-ashi after adjusting ma-ai.

Kyūten

球転 Ball rolling, ball rotation

In Chinese martial arts, the concept of Dantian and Chan Si Gong (silk reeling exercises) is related to kyūten and tenshi & tenshikei (discussed earlier).

from: Narita Shinjūrō – Kōrindō Aikidō

The ball rotation is perfectly round at all times. It has no corners or edges. Thanks to the rotations of the ball with this form of movement, continuous changes in direction are always possible. One could also describe the rotations as the sum of all angles of a circle. In Budo, the angles at which the two opponents meet play a critical role for victory or defeat, since each of the opponents tries to avoid the attack of his opponent in some way in order to get to the target with his blow. How to design the relationship of the angles to an attack line for your own advantage is therefore one of the decisive questions in every style.

Hirai came to the conclusion that it was not necessary to deliberately choose an angle of attack or defense against an opponent, but it was enough if one acted on his rotational movements from the angular fullness of the rotations of a 360 degree circle. Because when you implement the circular principle in your actions, you move completely freely and unhindered, because every movement always includes all contact points as they lie on a 360-degree circle. The sum of the angles of a circle remains the same, regardless of its size, although the smaller the circular movements, the more favorable it is for our purposes. In the thousands of possibilities, any one of the opponents will always be captured.

Since a circle encompasses a total of 360 degrees, any other shape, no matter how polygonal, would be less favorable in any case, since it must inevitably always have blind spots. As a result, gaps arise in defense, where one is inevitably defeated. Without this principle as a matrix, there can hardly be any effective taijutsu, kenjutsu or jojutsu. If it is possible to acquire koshi-mawashi, everything else will follow naturally.

To illustrate the effect of the koshi-mawashi principle, one can imagine the following: hold a sword horizontally sideways and turn from the center, i.e. koshi. Each angular point of the circle will be full of energy.

This effect can also be shown by a partner exercise from 7hon no kuzushi

This is something that every human being is able to accomplish. Every student has the opportunity to learn aikido with sufficient effort, since everyone is naturally capable of these circular or spherical movements with their 360 degrees.

With this form of movement, you have an unlimited number of hit points on the 360 degree circle, at least one of which inevitably contains the opponent’s hit point location. With the circular or spherical movements (Kyūten), you reliably reach the crucial point. Everything depends on the skill of moving the body with a circular or spherical pattern and able to to generate power to the opponent from each point of circle created by koshi-mawari taisabaki.

An opponent who fixes his attack on only one point only has this one chance. On the other hand, if you trust in the infinite number of angular possibilities, you are definitely in an advantage, because you can generate power from any point of your circle to an opponent’s vulnerable point.

Beyond that, no further considerations or techniques are required. Because of the fact that, in contrast to the opponent attacking with only one possibility, you have this unlimited number of angles, and you are able to master it completely, you can overcome it. Since this can hardly be achieved with rehearsed, fixed and therefore rigid techniques (katachi), it is better to work with the kyūten principle. This in turn is inextricably linked to the term yawara (suppleness).

Kyūten can be considered as a yōso or fundamental principle and is used under different names.

Basic Tomiki Aikido Kata (Basic15 or 17…) can only be considered as an effecient method, when taking in consideration fundamental principles (yōso) and the evolution from katachi to kata. The different waza cannot be considered as techniques, but as an expression of fundamental principles of Budō. By using randori, waza becomes alive. As Tomiki sensei mentioned: we need randori to paint in the eye of the dragon.

Achieving smooth movements must be regarded as one of the most important prerequisites for successful Budō. Jerky, forcefully applied techniques have the disadvantage that each new movement starts from a standstill. The absence of circular or spherical movements needs a forcefully start of a linear movement, which is easily detected by an opponent. Remember, kyūten is a skill for instant power generation and movement. This type of movement cannot be learned solely through the appropriately determined handles and tricks

These rotational and smooth movements are inseparable linked to the concept of yawara (suppleness). Rather, this idea of yawara* (JU in JU-do or JU-jutsu) is the physical expression of an inner attitude, which is often expressed in terms of harmony. Internal tension and aggressiveness would prevent the development of suppleness. As it is free from tension, it represents the most natural of all forms of movement and finds its equivalent in the concept of enten-mukyu**, the endlessly flowing and spherical twists.

*The kanji for yawara and ju in jujutsu is the same (柔). For Tomiki sensei “ju or yawara” is the principle of gentleness and it is similar to “aiki”, which is an explanation of the principle from within. Remember it was Minoru Hirai who introduced the word “Aikido” to make a separate division in Dai Nippon Butokukai. The word “aiki” was used by different Ryuha and it was difficult to bring them under the banner of Kodokan Judo.

**Endless circular movements. Can be considered as a Buddhist concept of Karma. After Buddhism was introduced to Japan, people easily accepted the notion of karmic retribution but not the literal belief of rebirth as animals or lower life forms. Transmigration of the soul focused more on the practical path to liberation.

Koshi-mawari

Koshi

Physiologically the pelvic area of the human body. It is also related to the lower back and sometimes it is referring to the waist. It is often translated by “hips” and referring to the hip joints although this is not completely correct. See “Koshi or other blog post and do a search with “koshi”.

Koshi-mawari or koshi-mawashi

The difference between the two terms koshi-mawari and koshi-mawashi is a grammatical one and consists in the fact that this is a question of a transitive and an intransitive verb form.

In practical use, the transitive form “koshi mawashi” means that the rotations are deliberately started, while koshi-mawari points to automatic, naturally occurring rotations by koshi.

Taisabaki

Some practitioners believe taisabaki is just avoiding an attack. This is only a small part of taisabaki. Basically it means a moving body.

Taisabaki has 3 elements;

  • Ashi-sabaki – concerning the feet and legs
  • Te-sabaki – concerning the hands and arms
  • Koshi-sabaki – concerning the central body, especially the lower part

How to……?

In fact, your training is not about winning or losing a match or a combat. It is about your attitude towards an unknown territory named Budō. In Budō-land are no rules or descriptions how to do a technique. There are only Yōso or fundamental principles. If you cannot see them and understand, you will not be a real Budō-ka (a martial art practitioner). You will rely on brute force and driven by primitive desire to win.

In these blog-posts, there are many indications how to master fundamental principles. If you can integrate them into your martial art practise, I believe you are on the right path of Budō.

Anyway you can have more ideas here

Ma-ai, a question of space

Budo movement can be understood as communication between two persons mediated by the body, that is usually considered two separate and independent bodies but rather should be considered integrated as one body communication system.
The point where two bodies (in Budo) becomes one body communication system depends upon the condition of the interface between the two bodies or persons. (from: Movement of Budo by : Yosuke YANASE )

A communication system is a moving construction and when communication stops there will be no movement anymore.
During a moving process, the feeling of safety is very important and is expressed by the skill of “rikakutaisei, fighting from a distance”.
Distancing or using the appropriate distance during a confrontation is a skill often used in martial arts but also in other fields of human behaviour.

Ma-ai, a dynamic concept

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.

Safe and unsafe distance

In another post, ring of power, the concept of a close distance was used to practise posture and power through a grip on opponent. Before we have a proper grip on opponent, we need some skills to gap the distance between you and opponent.
These skills incorporate the concept of safety by using “rikakutaisei” or fighting from a distance.

Basically we can distinguish 3 kinds of distance during a confrontation.

  • When there is no physical contact it is called To-ma.
  • Making physical contact but still safe in your own environment it is called Uchi-ma.
  • Chika-ma is the distance for using power. Without controlling opponent actions it is very unsafe.

Don’t confuse distancing or ma-ai with the 3 kind of distance. In each distance, the skill of ma-ai can be used.

Rikakutaisei, fighting from a distance

Rikakutaisei is a word to describe the expression “fighting from a distance”. In general this is explained as a distance when using “tegatana awase” distance. Of course to attack we have to come closer. The attacking distance is depending on the use of ma-ai or distancing.

We know space is expressed by the word “Ma” and it is not fixed distance. Controlling the actions of opponent can give an opportunity to attack. The example here is from “uchi-ma” entering into “chika-ma” to apply power or in other words “a technique or waza”.

Closing the gap between you and opponent

As with everything in martial art, there are many solutions for 1 problem. It depends on the level of the practitioner which skill is used.
To create such skills, basic training is used to ingrain basic movements into the subconscious mind.

Stepping skills
During unsoku-ho, basic patterns are used to practised stepping skills. In this exercise the skill of tsugi-ashi is practised.
Bridging a long distance uses mainly a ayumi-ashi stepping method and will be practised separately.

Controlling skills
If we only use stepping skills it is possible we can control an opponent without touching. But at a certain point in a confrontation we have to take a decision and use our hand(s) and arm(s) to create a definite solution.
There are many armskills to control an opponent. In the various kata, examples are used to have training in the control of aggression.
To understand the principles of aikido, we use our body as a communication tool.
The example below shows a kind of body turning, an important bodyskill. Uke is grasping the arm, Tori is not changing the interface of the grip. Tori uses the turning of the body and at the end of the turning the power of the turning is entering into the body of Uke. The distancing performed by Tori is necessary to perform the bodyturn and to use “tenshikei”.

Internal and external distancing

Distancing or ma-ai is not only depending on stepping methods, but can also performed when we cannot do stepping skills.
As in the previous example, the body can turn without changing the interface of the grip by Uke.
How is this possible?

If some is twisting your arm, your muscles are wrapping around your skeleton. The power of the twist is stored in your muscles but also in your tendons. Tendons have a great capacity to store energy. This energy can be released. This action is a clever way to use distancing internally.

Some clarification

Most of the material discussed in the blog articles is my interpretation of the various teachings learned and practised during seminars, workshops and long-term training periods with interesting people.
Sometimes I am using material to explain some topics with images found in articles and books. Mostly I provide the source of the images, but sometimes I fail to mention the source. I apologise…..

2-weeks seminar with Andre Nocquet – La Baule/France 1972

A ring of power

“One Ring to rule them all, One Ring to find them, One ring to bring them all and in the darkness bind them.”
Tolkien – 1954 – The Lord of the Rings

It is silly to think we can control our movements by just using one virtual ring in the body. Our physical behaviour is more complex than 1 body ring.
Nevertheles we can use the image of 1 ring in the upperbody to understand the mechanism of power generation in the arms. Of course this is just one part of the body.

Manipulating kyokotsu, pushing out and pulling in, generates power in the arms produced by stretching and contracting back muscles steered by the inconscious mind.
By moving Kyokotsu, koshi will also move. Drilling the legs and feet will rebound the power from earth in the arms.
Drilling will be discussed in another post.

Inner and outer circle form a ring of power

In a previous post, we spoke about “opposing isometric forces“.

This concept can be introduced in a form of “Toshu Randori”. In this case we grasp each other elbows and creates a ring of power . Each one has his own ring of power, the skill is to merge with opponent’s ring of power and keeping the initiative.
As a first step we can start to move around, using different Unsoku-ho.
Of course we will detect very soon a major problem: How to create a ring of power?

Yiquan

How to create a ring of power?

To answer this question we must understand the different modes of tension.

  • Contraction of muscles.
  • Dropping the bodyweight to create a line of tension
  • Direct your mind into a body part
  • Other modes…..

The first mode will be used in most of the cases during our daily life.
To create a ring of power by contraction is not a solution during training because the muscles of our arms have limitations if used to stabilze our posture or to cope with an attack from opponent.
But we are looking for a more efficient multifuncional application in our activities especially during training martial arts.

Postural & phasic muscles

Postural muscles act predominantly to keep your posture in the gravity field. These muscles contain mostly slow-twitch muscle fibres and have a greater capacity for longterm activity.
Phasic muscles contain mostly fast-twitch muscle fibres, and are therefore more suited to movement. They are more easily fatigable.

The muscles we use to move around are “fast twitch” or phasic muscles. The other type of muscles (slow twitch) is what are called “stabilizing” or postural muscles, are involuntary and react against force, primaly gravity without intervention of our conscious mind.
Unfortunately we are reinforcing our structure with contraction or pulling phasic muscles.
We need those fast twitch muscles for our movements during training and randori. By contracting or pulling the benefit of fast twitch will be gone. Our movements become rigid and predictable.

Why are we using fast twitch muscles as postural muscles?
When our balace is not correct, postural muscles have to do a lot of work and sometimes they need support, mostly from fast twitch muscles. By doing this on a regular base, a wrong pattern is created into the brain. We have to overwrite this pattern.

Postural training, a key to efficient movement

When you make any movement, before the movement begins there is a short delay during which your lumbar spine using deep abdominal postural muscles. The delay produced by stabilization of your lumbar spine makes you slower. This does not matter very much for slow movements. There is a way to eliminate or at least minimize this delay by holding your body in a posture where your postural muscles are already engaged.
Every martial arts require a certain efficiency of movement that can be increased through the strengthening of postural muscle, and freeing phasic muscle from performing a postural role.
Postural training can be a solution for efficient use of postural muscles by keeping the whole body in the gravity field.
Although a lot of people are refering to “shizentai” or natural boy as an important principle in our training, often we see a fight of muscle power in randori. There is no shizentai in their performance.

Ritsuzen or standing meditation is a perfect exercise to understand “Shizentai“

Dropping the bodyweight to create a line of tension

Creating a line of tension by dropping the bodyweight is a matter of dropping the groins or mata down and keeping the bodystructure.

Dropping the bodyweight has nothing to do with bending the knees. Of course, the perception gives an image of bending the knees.

When our posture is correct, the line of gravity falls into the gravitational field marked by the 2 feet.
Top of the head, shoulder-line, tanden and back of the knees are on this vertical line. All the bodyweight rest in the feet.

Bodyweight in the feet has a direct relationship with the knees. The vertical line from the knee to the foot cannot pass the line of the toes. Although there is also a possibility to bring the knee more forward and will pass the toes.
When we can feel the bodyweigth in the feet by pushing down on the knees, keep the back also straight.
Testing the bodystructure when dropping the bodyweight into the groins or mata will reinforce the structure.

This skill can be used when performing sumi otoshi and putting knees on the floor. By directing the power from koshi & mata into the back of the front foot, there will be lesser stress on the knee.

Direct the mind into a body part – projection Ki

Ki is a multi-purpose term for many bodily processes, functions, and energy that may not have been scientifically researched at the time various martial arts were developed.
Nowadays we understand much better the function of “Ki” but we have no word for this multi-purpose process.

Because we seek to create a ring of power, our mind can use an image of a ring which can be inflated or deflated. Tension can be going outward and inward. We can define this tension as “pressure” or directing Ki (on of the processes for this multi-purpose term).
There is no contraction of muscles. There is pressure in the muscles and tendons. There is a feeling of lenght and stretching in the muscles and tendons.

By imaging we can control body processes. NLP or neuro-linguistic programming is a popular Western imaging method .
Of course we don’t need to become an expert in NLP.
During postural training, the skill of imaging can be learned and used in an efficient way to start feeling the flow of Ki (bodily processes) in our body and eventually steering in the right direction.

Meditative Movements: Fusion between Mind & Body

We learn not to move, but to be moved
Sometimes people ask me about my passion for martial arts. The answer is straightforward: to become better than yesterday.
Of course ageing is a factor to take into account and which is “a game breaker”. What you can do when you are 20 will be not the same when you are 50.
The search for a method to become better than yesterday is a path full of obstacles and the end is for everybody the same.
Becoming better than yesterday?
Maybe the answer is at the end of this blog post…….Maybe other questions will be asked…….Who cares…..

I “feel better” than yesterday.

Eddy Wolput

Meditative Martial* movements and Mushin Mugamae
When we speak about Meditative Martial Movements, we are talking about body and mind movements. In general the body is for movement and the mind is for thinking. But what about a “thinking body” or a “non-thinking mind”?
Our Aikido as a kind of meditative movement is a method where mind and body make a fusion. Both becomes one unit and both are equal with a different function.
We have to look at the body and mind in a different way.
The body operates according natural laws, the mind guides according natural laws. There is no interference from the ego.
This is called “Mushin mugamae”: No mind, no posture.
Which means, the body is not rigid, the mind is not fixed.

The mind as an observer
Commonly spoken, body movements are mostly based upon using power generated by muscles. But as said previously, ageing is a game breaker.
The answer to this problem is the use of natural forces of our environment.
Mostly our movements are inspired by reflexes or inborn actions and also by learned movement patterns stored in the brain.
To learn a new pattern or overwrite a wrong pattern, we have to practise the “new” pattern according natural laws. To become succesful we cannot allow the conscious brain and ego to interfere. Mind in this context means “awareness”. The mind is neither engaged in conceptual activity nor focused on a future goal, but instead is focused on bodily experience.

“Don’t think, listen to the body”

Akira Hino – Budo Researcher

Relaxing & acceptance, a skill called zanshin
Zanshin is in general defined as a state of alertness or awareness. When you are alert, it means you can start a movement immediately. This only can happen when you are in a state of relaxation.
To define relaxation in the context of our training in Western language is very difficult. Some therapeutic systems use the word “eutony” to define this state of being.

The term eutony comes from Greek Eu: good, – and of Latin Tonus: tension, the grade of tension or elasticity of muscle fibers. It was coined to express the idea of a harmoniously balanced “tonicity in constant adaptation to the state or activity of the moment”. 

Essentially, accepting “the truth” causes less suffering than struggling vainly against it. In many cases, we have a choice. We can either accept or reject, and much of the time rejecting doesn’t change our reality, it just causes mental pain.

Acceptance is an active process. It must be practiced.
It can require effort most of the time, at least initially. It can be frustrating at times. By acceptance you create and strengthen the neural pathways in your brain, facilitating ease in the future. It is no defeat, it is a gate to victory. Because there is no frustation, no pain, you can use your energy to keep your awareness and start an action without delay.
Relaxing and acceptance go hand in hand and cannot be separated. Excessive tension physically and mentally is a barrier between your body and mind.

Relaxing is no collapse

a balance between tension & un-tension

Acceptance is no defeat

finding a way out of the impasse of losing

How to practice relaxing and acceptance?

Using natural laws is a principle wellknown in internal martial arts and can be very practical explained.
Take for example gravity. On Earth, gravity gives weight to physical objects, and everybody is influenced by the forces of gravity. Old bodies undergo the same influences as young bodies. Of course, strong muscle can give you some advantage as more body weight.
The point here is, gravity is not influenced by age. By using gravity as a source of power, even old bodies can put forward a powerful presentation.
Relax your body, especially your shoulders is a common problem. We know the expression: drop your shoulders. In fact you have to accept gravity on your body. Shoulders go down as the rest of the body, but you are not collapsing. The fear of collapsing doesn’t exist, it is a delusion. But your mind need acceptance.

Musoku no hô*** , a principle packed in a practical example.
Musoku no hô,a method or principle in which one does not use the force of the feet, aiming to make fast and powerful movements, without being predictable.
To demonstrate this principle we will look into 2 ways of moving around.

Displacement by propulsion
The first is the principle of displacement by propulsion we use spontaneously in all kinds of sports activities. With each stride, a sprinter gives a powerful blow to the ground to obtain a force of propulsion. With differences in degree of performance and intensity, this type of displacement is present in all sports activities. The characteristic is that you exert a force that goes against that of gravitation to produce a movement.
Don’t confuse this with the rebound of power during accepting an attack from opponent.

Displacement by immersion**
One of the keys to understanding longevity in budo is what called the immersion principle.
Although little known, this principle is in Japan transmitted in some kenjutsu and jûjutsu schools as a secret teaching. It makes it possible to increase the speed of displacements and the strength of the technical execution. The perception of this principle is masked by speed, and the difference is difficult to perceive. To move, instead of giving an impulse against the ground, you “remove” the force of the legs to let act the gravity of which you will transform the force in a horizontal movement by a control of the center of gravity. You have the impression of immersing yourself in gravity, which is about “displacement by immersion” as opposed to “displacement by propulsion”. It is in fact to find the sensation of gravitation as an existing force that can be used and no longer, as usual, as a force against which we must fight.

With the principle of displacement by immersion, you can engage the total weight of the body in the technical execution, which considerably increases the efficiency. Because you can use the energy of the descent of the body due to gravitation. This descent movement is absorbed by the flexible muscular contraction of the legs. This process is the opposite of the ordinary movement where you first propel yourself by muscle contraction and then absorb the fall.

How to do?
The first step in teaching is to properly place your weight in the lower body and use the force of the fall in a shift. In the second step, you learn to transfer this fall force to your hand, your fist, or your sword.

In kenjutsu this is associated with a rotation around the central axis of the body. Monjuro Morita described this action in one of his books:
To hit properly from the tanden and koshi, we must use a perfect structured body and a perfect handling of the sword. This is a gesture that is produced in accordance with the two forces that go diagonally right leg left arm, left leg and right arm.
The perfect handling of the sword is produced by the integration of three elements: the rotation of koshi, diagonal tension produced by this rotation and displacement of the body.

Only displacement?
In martial arts methods, the application of the immersion principle is not limited to displacement but can be extended to other physical movements.
The realization of the principle of immersion first requires a physical relaxation.
To apply the principle of immersion in the hand movements, it is essential to locate the center of gravity, which brings out the sensation of the center of the body, in other words “hara” and “tanden” and also the central line (seichusen) of the body.

Non-predictable start
The merit of this type of displacement consists firstly not to express the start of the gesture, which is essential in combat technique. Even if you can move with a great speed, if you express beforehand a start-up gesture, so small, your movement loses its technical efficiency. On the other hand, even if your movement is not very fast in appearance, if there is no prior expression of the start, it can be fast from a moving point of view. To act after making a setup for a technique, is missing the chance to become successful. This is why in all schools of Japanese sword, one seeks the “strike of non-thought”. This is the goal of the musoku technique.

Speed and gravity
An important aspect of the immersion principle is the ability to maintain the speed in the movement as you get older. Since the principle is not to use the force of the legs to propel the body, this type of movement keeps the speed of technical execution and serves as a basis for the practice of a long-term martial art.
Speed ​​is maintained by immersion in gravity and respiration. In the martial arts, this aspect is related to the channeling of the physical force, since it is to use the gravitation to move and to execute a technique. By using the weight of your body in the most rational way to be effective, it is concentrated in every attacking movement.

Sources
*Meditative movement: is a “Western” term used in medical articles about qi-gong and other Eastern Movement methods.

**Displacement by immersion: is a term used by Kenji Tokitsu. He published many sociological articles on Eastern Martial Arts.

***Gravity and displacement: Akira Hino, a Budo researcher, quoted the term Musoku no hô in his writings and seminars to explain the concepts of Taiju no dendo and taiju no ido.

Koryu no kata – Dai Yon (3)

Oyo waza

Section 3 of koryu no kata dai yon is called Oyo Waza

Oyo Waza literally means “application techniques”, which means you are using basic techniques in different attacking situations. You are required to “adapt” the basic technique without changing the concept and principles.

Section 3 – Techniques 1-4

These waza don’t use a lock. The first 2 waza are using an atemi waza, an application of gyakugamae ate. The next 2 waza are using a wrist-grip.

Section 3 – Techniques 5-8

A lock is applied to perform a throw.

Section 3 – Techniques 9-11

Using “tenshikei” makes these throws an efficient aikido waza.

Koryu dai yon a basic training tool

From a technical point of view, koryu dai yon has a different view on aikido waza as promoted in 17-hon no kata or 17-hon no kata in Tomiki’s aikido method. Mostly it is associated with the Kodokan kuzushi concept. But looking at the content of this kata, the relationship with Daito Ryu is more evident. The use of the hand (tegatana) is the most important aspect in the kata. Examination of Daito Ryu Aikijujutsu waza, the use of Aiki-age and aiki-sage are important and basic skills. Without these skills, other waza are not efficient.

When Kenji Tomiki was involved in the creation of Kodokan Goshin Jutsu kata, he visited Renshinkan Daito Ryu Aikijujutsu dojo headed by Maeda Takeshi, student of Matsuda Toshimi. Matsuda sensei was a student of Takeda Sokaku. As a sidenote, founder of Hakko Ryu Aikijujutsu was a member of the Matsuda Daito Ryu lineage.

Tomiki Kenji sensei, a student of Ueshiba Morihei and Jigoro Kano, asked Maeda to see the real Daito Ryu.

By examining the Renshinkan syllabus, the resemblance with Koryu dai yon is remarkable. The use of “tegatana” is from the beginning a basic skill.

From a BAB movie: Daito-ryu Aiki Jujutsu Renshinkan Part.1 Zadori 〜Aiki in sitting position

Koryu no kata – jo no tsukai

The logic of the kata

Mike Rother wrote an interesting book on kata: Toyota Kata.

Toyota Kata defines management as, “the systematic pursuit of desired conditions by utilizing human capabilities in a concerted way.” Rother proposes that it is not solutions themselves that provide sustained competitive advantage and long-term survival, but the degree to which an organization has mastered an effective routine for developing fitting solutions again and again, along unpredictable paths. This requires teaching the skills behind the solution.

Teaching the skills behind the use of the jo

When reading the biography of Kenji Tomiki and Hideo Ohba, there are references to sword and other weapons schools. Some of those references are from the time when Kenji Tomiki and Hideo Ohba were in Manchuria. Both were exposed to military martial arts especially sword, spear, bayonet and short sword. In Koryu no kata the yari or juken is replaced by the jo, but of course the length of the jo is not fixed like the jo of the Shindo Muso Ryu jojutsu or Kendo Renmei Jodo.

Military Juken training

There are 8 jo no tsukai kata in Koryu no kata dai san and 4 kata in Koryu no kata dai roku. The 4 dai roku kata are an extension of dai san jo no tsukai kata.

All kata start with tori thrusting to the suigetsu (solar plexus) of the opponent (uke). Note the use of rolling feet.

Uke is avoiding and grasping the jo either with 2 hands or 1 hand.

All actions of tori after the grasping are following the same logic.

The study of kata is very complex and depends on harmonizing the action between tori and uke. By trying to describe all the actions in the kata, there is a danger someone will depend totally on the description and will deny the creativity of a human being. Remember the words of Gustave Mahler

“Tradition is not the worship of ashes, but the preservation of fire.”
― Gustav Mahler–

Koryu no kata dai san – Jo no tsukai nr1

Koryu no kata dai san – Jo no tsukai nr2

Koryu no kata dai san – Jo no tsukai nr3

Koryu no kata dai san – Jo no tsukai nr4

Koryu no kata dai san – Jo no tsukai nr5

Koryu no kata dai san – Jo no tsukai nr6

Koryu no kata dai san – Jo no tsukai nr7

Koryu no kata dai san – Jo no tsukai nr8

Koryu no kata dai roku – Jo no tsukai nr1

Koryu no kata dai roku – Jo no tsukai nr2

Koryu no kata dai roku – Jo no tsukai nr3

Koryu no kata dai roku – Jo no tsukai nr4

Why practising with jo?

To understand the purpose of weaponwork in Aikido we must accept that development does not rely upon techniques or weapons, but on independence of it. If a sword is used, do not realize it as a sword. If using a Jo, do not depend on it, but feel the common harmony in body movement. 

By using a weapon there is a real threat towards the opponent or training partner. Unfortunately by doing too much shiai, the feeling of a threat not mentioned in the rulesbook will be ignored and some parts of the training can be spoiled by such an attitude. For this reason a balance has to be created between randori and kata, even if someone doesn’t see or ignores the purpose of kata training. Understanding the logic in the kata is necessary.

Koryu no kata – Dai Yon (2)

There are different opinions on the meaning of ura-waza.

  • reverse or counter technique, also called kaeshi-waza.
  • alternative performance of kuzushi with application
  • ……….

7-hon no kuzushi ura-waza

In Koryu no kata Dai Yon, the 2nd section is called Ura-waza. This section is build upon the omote-waza discussed in a previous article.
The start of the 7 waza are the 7-hon no kuzushi without the throw of the omote-waza, followed by an alternative action. Some of these actions are applications for randori (restricted free fight) or goshinho waza (aiki self-defence). The “kuzushi” element is a prime factor for a non-muscular approach.

Non- muscular actions

Movement is based upon muscular actions. When we say “non-muscular action”, we are talking about extending muscular actions, and not flexing muscular actions.
For a technical explanation see Encyclopedia Britannica.

Pulling and pushing are 2 different movements, but from a non-muscular point of view both are using an extensor action. Basically all “kuzushi” movements are based upon the non-muscular concept. The moment when we use a flexor action, opponent will intercept and can do a counter movement.

All non-muscular actions in koryu no kata dai yon are movements away from the centre to the outside.

Jodan aigamae & gyakugamae

 

Chudan aigamae & gyakugamae

 

Gedan aigamae & gyakugamae

 

Ushiro

Koryu no kata – Dai Yon (1)

A main component of Dai Yon is the (un)famous 7-hon no kuzushi. The 1st part of the Dai-Yon is about throwing an opponent after acquiring a perfect “kuzushi”. This possibility in a fighting situation will be very rare….although it can happen if…..

Koryu no kata Dai  Yon

  • Nage no kata – omote waza – 7 waza
  • Nage no kata – ura waza – 7 waza
  • Oyo waza* – applications – 11 waza

*Oyo waza designates applications build upon 7-hon no kuzushi basics. 

Nage no kata – omote waza

The 1st part of the kata is build upon the 7-hon no kuzushi. A throwing action is added after the kuzushi.
The focus is on the action of the hand and arm doing the kuzushi. The efficiency of the throw is depending on the elasticity of Tori’s body. When the body is stretched power is stored and can be released into uke’s body.
The dynamics of the kuzushi (loss of balance) will undergo the influence of gravity.
There is a mechanism we have to take in account when we use stretching and release.
With the muscular relaxation, the movement is immediate, in a single time, this movement is much faster than with the muscular system of contraction. If we try to throw with muscular contraction, opponent will sense your intention and will block your movement.
Using meguri and tenshi-kei is necessary to create efficient kuzushi.

aiki age sage009Jodan aigamae & Jodan gyakugamae

Kuzushi is created by using a rotational movement of the hand, followed by a body movement with the elbow as a transfer joint.
When you try to lift the hand and arm, Uke will feel and block your movement.
Jodan aigamae & gyakugamae are actions on the inside of Uke’s arm.

 

 

 

 

Chudan aigamae & Chudan gyakugamae

Kuzushi is created by using a rotational movement of the hand, followed by a body movement with the elbow as a transfer joint.
The skill is to turn opponent’s arm in hineri fashion without stretching opponent’s arm. Rotating the arm is the message.
Chudan aigamae & gyakugamae are actions on the outside of Uke’s arm.

 

 

 

Gedan aigamae & Gedan gyakugamae

Using downward power. No pulling action.

 

 

 

Ushiro

Keep centerline when rotating.

 

 

Ura-waza see in another article soon

Tenshi-Meguri & 7-hon no kuzushi

KobayashiTilburgIn the 70-ties I had the opportunity to study aikido with Hirokazu Kobayashi. In that time I didn’t understand the concept of meguri* and tenshi (body rotation). Kobayashi stressed on many occasions the spiral movement of the wrist and the dropping of the elbow. Using the koshi was also one of his favorite remarks.
It was Akira Hino’s explanation about “tenshi-kei”, the power of internal rotation, that gave me a better understanding of meguri* and the use of koshi (lower back).

Kobayashi en Eddy*A defensive movement when grasped at the wrist, is the skill of “meguri”, meaning flexibility, rotation of the forearms. The use of the koshi as engine for power release increases the efficiency of defense action.

Meguri and tenshi are the main components in 7-hon no kuzuzhi, the balance disturbing exercises of Tomiki’s Aikido. Without spiral rotations, the balance disturbing will only rely on muscular power of the arm. Only by using “rendo” or synchronizing body movements, the power of meguri and tenshi will create the necessary balance disturbing followed by a throw or control action.

7-hon no kuzushi

kuzushi007The concept of balance disturbing in Tomiki’s Aikido is partly the result of the influence of Kodokan Judo, but also Morhei Ueshiba’s Aikido is prominent present.

Morihei Ueshiba’s Aikido is build around the use of rotational and spiral power.

In the picture, there is the downward rotational movement of the body. By using a meguri pulling action on the sleeve or arm, the rotational movement changes into a downward spiral movement.

Some teachers use an almost linear approach, others use a more circular approach. This of course will affect the perception and will have a negative influence on the performance of lesser skillful practitioners. The external movements has to combined with internal movements, this is only possible through the skill of “rendo”.

The 7-hon no kuzushi is build around :

  • vertical movement
  • horizontal movement
  • central axis rotation

The basic positions are “aigamae” & “gyakugamae” for the vertical and horizontal movements. You will notice, Uke is grasping the wrist with the right hand and keeps the left hand ready for the follow-up action. This can be a strike with the fist or another grasping action.
The central axis rotation start from a rear attack position. Of course the central axis rotation is also present in the vertical and horizontal movements.

When studying 7-hon no kuzushi, we have to understand these movements are simplified and will not work in a randori environment without adaptation to the circumstances.
The movement pattern of these exercises has to be written in the subconscious part of the mind for immediate access when necessary

Vertical movement

jodan kuzushi
Combination Jodan & Gedan Kuzushi

There are 2 vertical modes in 7-hon no kuzushi:

  • upward – jodan-kuzushi is mostly characterized by a hineri movement
    • aigamae
    • gyakugamae
  • downward – gedan kuzushi – mostly characterized by a “gaeshi” movement
    • aigamae
    • gyakugamae

gaeshi

Horizontal movement

hineri

Horizontal kuzushi movements are mostly characterized by a hineri movement
When performing from the right posture, opponent can attack from 2 positions:

  • aigamae
  • gyakugamae

Central axis rotation

The idea here is an application of spinning top power.**

**A spinning top is a toy designed to spin rapidly on the ground, the motion of which causes it to remain precisely balanced on its tip due to its rotational inertia.

Meguri and tenshi in 7-hon no kuzushi

A “kuzushi” movement is succesful when we consider the following:

  • target: the wrist attacked by the opponent
  • the hand of the grasped wrist to indicate the direction
  • the elbow: the transfer joint for the full-body power by using meguri and tenshi

The target

Opponent can grasp the wrist according 2 modes:

  • omote dori – outside wrist
    • go-no-sen
    • sen-no-sen
  • ura dori – inside wrist
    • go-no-sen
    • sen-no-sen

Each mode has an influence on the hand movement of the grasped wrist. In the go-no-sen mode, opponent has the initiative of the grasping. Defender has the initiative in the sen-no-sen mode.

There are 2 grasping methods:

junte dori
kote gaeshi
kopte mawashi

  • junte dori – regular grip
  • gyakute dori – reverse grip

In 7-hon no kuzushi only the junte dori is covered. Gyakute dori or reverse grip is used in kote gaeshi, kote mawashi ……..

How to grasp a wrist?

Grasping a wrist is “almost identical” as grasping the hilt of a sword.
Most of the holding power is in the thumb and middle finger. Little finger, ringfinger and index finger are envelopping the wrist. Grasping is not a static action. The dynamics of grasping is the result of “meguri” and “tenshi”.

holding the swordholding wrist

The hand of the grasped wrist

As already mentioned, Tori can act in a go-no-sen or sen-no-sen mode.

The hand in most of the cases can move freely. There are 2 basic modes:

  • upward
  • downward

By using the turning point in the hand, the tendon of in the forearm will stretch. If the point of turning is close to the wrist, the stretching will not happen. By stretching the tendon(s) it is easier to use the elbow in the desired direction.

aiki age sage009

Meguri and the use of elbow

Meguri is based upon the flexibility and rotation of the forearm.
The flexibility and rotation of the forearm and elbow is depending on the connection with the kyokotsu, a point at the breastbone. When pulling in the arm by using the biceps muscle, the shoulder will be locked and the power from the central body cannot travel through the elbow to the hand.
In his book “Goshi Jutsu Nyumon”, Kenji Tomiki used a picture to explain hand and elbow movement around a fulcrum, the grasping point by opponent. The picture is only showing the principle of leverage and does not include meguri action.
It is not always possible to move efficiently just by using simple leverage as seen in Tomiki’s fulcrum picture. The elbow movement is only possible if the shoulder is free of tension.

point of rotation

Tenshi around skeletonRotation of the forearm when grasped at the wrist is possible by using the skill of “tenshi” or internal rotation. Tenshi-kei is the power of tenshi and can be used to make waza efficiency higher.

We can use body rotation and internal rotation at the same time to increase waza efficiency. An example can be the rear wrists grasping where we use an external body rotation and tenshi or internal rotation.

Basic 7-hon no kuzushi

7-hon no kuzushi is an exercise to study body movements which can be used in all forms of balance disturbing. The belief that 7-hon no kuzushi is the method for balance disturbance is a delusion. It is an exercise to learn how to use the body with external and internal movements.

There are many versions of 7-hon no kuzushi. The early versions are created when Kenji Tomiki was still teaching. During the creation of Koryu no kata, the study of 7-hon no kuzushi became a part of the training and was incorporated into Koryu no kata daiyon.

History of Koryu no kata

Takeshi Inoue the autor of a book on Koryu no kata, who knows in detail the background of the creation of the Koryu no kata wrote:

In about 1958, we practiced mainly the unsoku, tandoku undo, yonhon no kuzushi (a former version of the nanahon no kuzushi/7-hon no kuzushi) as well as the jugohon no kata (basic15 kata). In around 1960, the junanahon no kata ( basic17 kata) and the roppon no kuzushi/6-hon no kuzushi were created and then the dai-san no kata was devised as a kata of classical techniques. During the mid-60 Ohba Sensei and others worked on the creation of the kata forms of the dai-ichi (first) to dai-roku (sixth), which we practice as the koryu no kata, in order to work on techniques for demonstrations and for purposes other than randori. What Ohba Sensei particularly stressed in formulating these kata was the organization of different techniques in such a way that students could learn connections between techniques easily and naturally. After he had organized the techniques to some extent, Ohba Sensei reported to Tomiki Sensei and demonstrated what he had done for him. He received some advice from Tomiki Sensei and then added corrections to the kata. (“Bujin Hideo Ohba,” Kyogi Aikido Soseiki no Ayumi; Ohba Hideo Sensei o Shinobu, p. 67)

Some examples from an old Waseda movie 1975

7-hon no kuzushi by Takaeshi Inoue 

The illustrations: Tomiki Aikido-Book 1-1978 by dr Lee ah Loi
Tori: Takeshi Inoue

Jodan – aigamae

jodan aigamae

Jodan – gyakugamae

judan gyakugamae

Chudan aigamae

chudan aigamae

Chudan gyakugamae

chudan gyakugamae

Gedan aigamae

gedan aigamae

Gedan gyakugamae

gedan gyakugamae

Ushiro

ushiro kuzushi

7-hon no kuzushi application examples

Some applications we can find in “Koryu no kata dai yon”.
Examples are:
Jodan kuzushi aigamae nage waza

jodan omote 1b

 

Jodan kuzushi gyakugamae nage waza

jodan omote 2b.jpg

 

 

From “Koryu no kata dai roku”
Jodan & gedan kuzushi

Schermafbeelding 2019-04-12 om 17.06.09

More randori oriented example:
Hiki otoshi

hiki otoshi 001 kopie

Aiki-Do, the way to Aiki?

Aikido or Aiki-Do?

There are many explanations for Aiki-Do and from a historical point of view we have to look a the lineage of the many educational lines of Aiki-Do.
Morihei Ueshiba can be credited to be the founder of Aikido and was a student of Sokaku Takeda, the founder of modern Daito Ryu Aikijutsu (or Aiki-Jujutsu). Morihei Ueshiba modernized Daito Ryu and therefore changed the mechanical but also the philosophical concepts.

Is there a difference between Aikido and Aiki-Do?
The distinction between the two can be summarized as follows:

  • Aikido: the martial art created by Morihei Ueshiba, based upon a concept of natural rhythm, a free flow of personal expression that offers no conflict with nature.
  • Aiki-Do: a method to learn the skill of aiki which is to provide a method of hand-to-hand combat.

According to Japanese Martial Arts scholar Don Draeger, the personal view of Sokaku Takeda on aiki is:

The secret of aiki is to overpower the opponent mentally at a glance and to win without fighting.

Morihei Ueshiba modernized Aiki-Do, sometimes called Aiki-Budo or other names, in such a way that the concept of Aiki is different from the Daito Ryu Aiki concept. The concept of Aiki by Morihei Ueshiba is explained in “Aikido” by Kisshomaru Ueshiba, the son of Morihei Ueshiba. This book is written under supervision of Morihei Ueshiba.

Aiki is the expression of Truth itself. It is the way of calling people together and reconciling them with love whenever they may attack us.

Our interest of course is in the lineage of Kenji Tomiki. He was a student of Morihei Ueshiba for his Aikido (previously AikiBudo or other names) and this is the reason why there is a link with the Daito Ryu lineage. But can we conclude Tomiki Aikido is Daito Ryu? In my opinion, Tomiki Aikido has some Daito-Ryu influence via Morihei Ueshiba, but is not following the Daito-Ryu syllabus and therefore the movement patterns will be very different.

Another person who has an influence on Tomiki’s Aikido is Hirokazu Kobayashi from Osaka. Some of his student are claiming Kobayashi was a Daito Ryu shihan. But this seems a controversial assertion. To learn more about the link between Kobayashi and Daito Ryu, you can read an article by Guillaume Erard.
Tetsuro Nariyama, shihan of the Shodokan Dojo in Osaka has a great influence on the modern version of Tomiki’s Aikido and he was for many years a student to Hirokazu Kobayashi. During the time he learned from Kobayashi, he introduced Tomiki’s randori method to university aikido clubs under Kobayashi’s control.

Explanation by Kenji Tomiki

Kenji Tomiki gave an explanation for 2 important words, Aikido & Aiki.

  • Aikido: the old saying goes, “It is the spirit that carries the mind and controls the body.” The people of ancient times believed that man’s mind and body and consequently his strength were under the control of the spirit.

  • Aiki means making your spirit “fit in” with your opponent’s. In other words it means bringing your movements into accord with your opponent’s. After all it means the same thing as the “principle of gentleness,” for it is an explanation of the principle from within.

The perception of Kenji Tomiki is a “pragmatic” one, and most people approach his method very technically. In my opinion, Tomiki explained Ueshiba’s Aikido according the ideas of Kodokan founder Jigoro Kano, but tried to keep the spiritual message of Morihei Ueshiba. Tomiki seems to use almost non-religious words to explain a spiritual message. By using a non-religious language, some Western people are very highly attracted by the logic he used to explain his Aikido understanding. Other people regret the absence of a kind of aiki-mystery in the method.

But is this just a perception or maybe we don’t understand Tomiki’s message?

gleeson judoThere is an interesting quote of Tomiki in Geof  Gleeson’s book: Judo Inside Out:

  • When training in aiki jitsu under Professor Tomiki he often used the symbol of prayer, the placing of two hands together as signifying the purpose of prayer and religion – the duality of God and man, the yin and yang, becoming one.

 

Human Lifelong Activity

If we try to understand Aikido in a pragmatic way but as a lifelong activity, we cannot just build our understanding on techniques, exercises or technical kata. We have to find out the elements which can be used as criteria for Aikido as a human lifelong activity. I am not referring to the 3 principles of Judo used by Tomiki (Natural posture, Breaking the posture & Principle of Gentleness) because they are included in the Fundamental Elements.

Yōso – Fundamental elements

Yōso literally translated as “principle”, but in the context of our study we use “essential element”. Of course this is already discussed in other articles on this blog. But I would like to stress the importance of this way of thinking: A human lifelong activity.

This is only possible if we change our way of thinking from raw muscular power into a method based upon physical & mental skills, creating an Aikido method for everybody. This method is using technical skills to control attacking power of an opponent by using fundamental elements without raw muscular power.

What are the fundamental elements in the method which can be practised by everyone?

  • Ma
  • Hyoshi
  • Aiki

Ma : distance & time interval

Distance :

  • distance between 2 opponents or more
  • the distance to step to the opponent to control him, for example grasping the wrist

Time Interval :

  • the relation between distance and time
  • big and small movements and time relationship

Controlling the distance and the time to bridge the distance doesn’t need excessive muscular power, only our natural way of moving is needed. The relationship with the principle of natural posture is evident.

The exercises unsoku-ho & tandoku undo are a very basic training tool to practise how to move in a natural way. When a training partner is involved, we are confronted with the distance and the relationship with time when moving into a safe zone after a movement of the opponent. The concept of “rikakutaisei” is her involved.

Hyoshi : cadence, rhythm, tempo

  • cadence : Cadence is the total number of repeated movements (cycles) taken within a given period of time.
  • rhythm : creating movements within a pattern (waza). You create rhythm by repetition of similar movements with a variations pattern
  • tempo : the speed of a movement cycle

Learning the skill to change hyoshi with the purpose to control the opponent. There are 2 opportunities:

  • Changing the own hyoshi to create an opportunity to control the opponent.
  • Changing opponent’s hyoshi to create an opportunity to control the opponent.

Repetitive training is a basic method to learn the concept of hyoshi an includes the following parameters:

  • cadence : the total number of repetitions in a certain time
  • rhythm : repetitions of a movement pattern without changing the choreography
  • tempo : the time to perform 1 movement pattern, which is repeated several times at the same speed

Combinations of cadence, rhythm and tempo can be used.

Aiki

Aiki (in aikido) is the skill to read correctly the Ma & Hyoshi of the opponent and controlling his actions. Reading the opponent is called “yomi”* and comes from “yomu” which is “to read”. We can read before or during the actions of the opponent. When this reading is correctly done, the use of power will follow the laws of natural movements with the body. No tension is required to apply power. Therefore it becomes a lifelong activity.

The concept of reading goes far beyond the use of the eyes. The total body can be seen as a sense organ and will be used to “yomi” correctly the Ma & Hyoshi of the opponent. It is most important to “un-tension” the body if we use it as a “yomi” sense organ.

Shigeru UemuraSome advice by Shigeru Uemura, former ShitoRyu karateka
In internal martial arts we advance by releasing the muscles, in other words by falling. When we release the muscles, an energy linked to gravitation is released. With the muscular relaxation, the movement is immediate, in a single time, this movement is much faster than with the muscular system which is done in two stages.
It is by releasing the weight of the body that we move. By synchronizing the muscular system, the tendinous system, the nervous system and the bone system, which makes it possible to move with high efficiency.

By following this advice the skill how to move is improving which has a great influence on reading and anticipation of opponent’s movements.

* Sometimes Yomi is referring to a kind of fortune-telling.

Inspiration and creativity

tegatana secret front

In 2010, I wrote a book “Tegatana, the secret weapon of Aikido”. It describes history and technical content of Tomiki Aikido. Since that time my life changed a great deal. I am not going to disturb you with my family life. I like to mention the changes in my “martial art” life.

Since I wrote my book some interesting people came on my road to perfection. They changed completely my understanding of Tomiki Aikido.

Is this understanding the correct way of Tomiki Aikido, I don’t know, but at this moment it feels the best way for me.

Nevertheless, who are those people?

  • Mike Sigman : Internal Strenght & Chinese Martial Arts theory
  • Ilias Calimintzos : Yi-Quan, Chinese boxing
  • Akira Hino : Hino Budo, Japanese Martial Arts theory and practise

They triggered something in me and forced me to walk on a path in an unknown territory. I cannot see the end of the road but I enjoy very much the travelling.

Inspiration and creativity

”To raise new questions, new possibilities, to regard old problems from a new angle, requires creative imagination.”
Albert Einstein

interlinking-posts-630x401

Inspiration and creativity go hand in hand, but are 2 different things. There is also the “knowledge” component involved.

Inspiration comes at the right time and will be triggered in most cases by external stimulus. It creates new ideas how to solve old problems. The new ideas, of course, have to be concreted by action, in the case of martial arts: practise.

Existing knowledge is necessary, but it cannot interfere directly with new ideas, otherwise creativity will be blocked. Keep your mind open for evaluating the process of problem solving with existing knowledge. Unfortunately knowledge is sometimes hid by bad habits.

How to become creative in your training

First, forget you are a member of a big organisation. The rules of your organisation are blocking your creativity.
Next, study the basic principles of your martial art.
Ask yourself, what is the aim of your training? For yourself or eventually for your students? When you have your answer start with your training and keep in mind the basic principles of your art.

In my case, as I am not interested in competitive randori and certainly not in competitive kata or enbu, my interest goes in the direction “how to move efficiently the body in randori and kata”. I discovered that most of the basic principles in Tomiki Aikido are the same as in most of the other martial arts. My discovery is not based upon conscious thinking and using buzz words. No, my discovery is on the level of subconscious acting.

There are no words to describe how to imply the basic principles into my art. Maybe I can say the art are the basic principles itself.

Another discovery was the concept of “rendo”. The interlinking of all your body and mind movements in relationship with the opponent. Without this interlinking your martial art will be based upon raw muscle power and wrong use of bodyweight.

Once I had a bodily feeling (taikan) of rendo, I started to review basic kata and koryu no kata. Of course my rendo is not optimal and sometimes I am trapped in my old habits.
By reviewing kata, new problems came to the surface. By using the quote of Albert Einstein, some of the problems are solved by using creativity based upon the basic principles.
Besides using the basic principles of the art, you need training in the use of hara (koshi, tanden and yōbu). How to use the mind is another important element in the training. All of those elements are commented in the content of this blog.

Creative randori

creative randori

People asked on several occasions about the skills of my son. There is only 1 answer: practise.
Of course, there is external stimulus. In his case, he had very good training partners. Those men triggered him a lot to find new ways for improving his randori.
Once, a Japanese teacher said: Tim created a system which only suits him.
His ideas are written into a little booklet:

creative-randori

If you had a look at this booklet, you will notice this is not the basic stuff your organisation is providing. It is totally different, but on the other hand it is Tomiki Aikido Randori.

Don’t become trapped in your own structure

When creative movements become fixed movements you will be trapped in your own body and mind structure.
From a physical point of view, reference is made to doubleweight. Your body cannot move anymore. You are ready to be thrown by the opponent.

An example of this problem is called the stiff knee syndrome. Your knees are blocked because you are pushed in a defensive situation and don’t want to fall. The stiff knee syndrome is frequently seen by older people or overweight people.

images

The purpose of “kata” training

Many people are aware of kata only as a collection of techniques in a prearranged order, in a solo format or with a partner.
Some Tomiki practitioners believe that a kata is a set of techniques practiced with a partner for teaching the basic principles of various aspects of Tomiki aikido.
The question can be asked : What are the basic principles of Tomiki Aikido?

  1. The principle of natural body (shizentai no ri), which concerns posture. This is a natural, unrestricted posture from which it is possible to attack and defend, adapting to any kind of assault.
  2. The principle of gentleness (ju no ri), which concerns the position of defense. It says, do not oppose the offensive power of any kind of antagonist with force. Rather, render that force ineffective by moving your body out of the way (taisabaki).
  3. The principle of breaking balance (kuzushi no ri), which concerns the position of attack. This says to go and build a chance of winning by taking advantage of the breaking of your opponent’s balance or by adhering to his body.

The words are easy to understand in a conscious way. But is it possible to understand with the body?

When researching the ways of training, we find out there are 2 kinds of training methods to study the principles.

  • The traditional method.
  • The modern or the alternative method.

And what about the randori method?
We can consider randori as an application of the basic principles in a non-fixed situation. But we are discussing a fixed situation or a kata-based situation.

Traditional method

Kata was or is the central training method for all bujutsu because it is the only way bujutsu can be practiced without the practitioners being wounded or killed.
Bujutsu exponents concentrate training time on perfecting the skills that would provide the base from which fighting techniques could arise when needed. This was done through innumerable repetitions of kata, practiced with one partner as “doer” (shidachi) and the other as “receiver” (uchidachi).

Alternative method

‘To prepare for randori (free training with or without resistance), it is important to realise, that functional strength needed to perform a technique or waza, can only be developed through exercises not only focus on major muscle groups but also improve the condition and flexibility of the fascia. Kata training has a huge effect on developing fascia strength and your ability to apply that strength in many diverse directions, while still maintaining your body’s centre and balance.

In today’s sport martial arts, the big trend is power that collides with your opponent. If one remains at that level of power, then that person will have a harder time as he or she grows old. Kata training is an ideal approach  for older practitioners to keep their mind and body injury-free. By exercising the fascia the body becomes more flexible and has the ability to emit tremendous power without damaging the own body by overtension of the major muscle groups.

Kata training is not dull

Practice is not a matter of quantity but quality. If your inside (quality) has not changed, it will be pointed out to you during your training, your kata or randori. There is no positive development in the repetition of meaningless practice. It is necessary to think with the body when you are practicing. The important thing is the time that you have spent in quality practice, and not simply the years that have passed in physical exercise. You have to realize this. This is shugyo (committed practice).
The whole point of kata-training (kihon training included) is to be able to progress from waza (technique) to katachi (basic frame of different waza) and ultimately to kata or your understanding by body and mind of the waza sequences.

If you practise katachi to study “the words of Tomiki Aikido principles”, you are on the wrong road to understanding. You cannot study the words, but you have to study and practise the body-skills behind the principles. Everybody knows the principle of ju, the principle of shizentai, the principle of…..

But not so many people understand the body and mind skills behind the principles. It is only through physical and mental training that the body learns how to handle in a confrontation. The difference between Kyogi Aikido and Budo Aikido becomes non-existing if the body knows, because the body and mind will react with the correct method.

Studying is different from reviewing. Finding the body-skills within kata, this is studying.

Body-skills in kata

Body-skills can be learned through practising exercises focusing on a body movement priciples or Yōso.

Yōso : literally translated as “principle”, but in the context of our study we use “essential element” or “reality based upon laws and rules”.

Technical Visuals

You will find some explantion of body-skill exercises on “Technical Visuals” or in the many articles of this blog. See “content”.

Koryu no kata Dai Yon

Kata can have many versions with the personal interpretations of the performer. Koryu no kata Dai Yon is a kata with many versions.

DaiYon PDF document

Schermafbeelding 2018-10-31 om 16.26.12

 

Self-defence or self-development

Without self-development, there will be no self-defence

Many people start a martial art with the intention to study self-defence. This is not wrong in itself, but before you can survive in a confrontation, you must study yourself.

  • physical
  • mentally

As long you cannot control yourself, you will be not able to defend yourself.
Fear, for example, creeps up in your body and freezes all flexible movements.
Anger can give you a wrong answer to solve a physical or mental confrontation.

Can we find an answer for fear, anger or other mental situations in martial arts?

This was of course also a problem for famous Japanese swordsmen and they also tried to find answers.
In Japanese swordsmen literature are many stories about this problem. Do they find a direct answer? Lets have a look at some stories.

Yamaoka Tesshu

Yamaoka-TessuYamaoka Tesshu (1836-1888), a famous swordsman from the end of the Tokugawa era through the beginning of Meiji era, wrote an essay about martial arts.
In this essay there is a story of Katsu Kaisu (Japanese statesman, end of the Tokugawa era through the beginning of Meiji era) recalling his encounter with Shirai Toru (1782-1843).
Even after a long period of training, Katsu Kaisu was afraid of the eldery Shirai Toru and his sword.
Shirai Toru gave an interesting explanation about his fear to Katsu Kaisu.

You feel fear towards my sword because you have some knowledge and experience in the art of sword fighting. A person without ego and no thoughts has no fear. That is the secret of the art of sword fighting.

Fear and anger

After the age of 40, most of the people’s physical power will deteriorate. When we don’t take enough attention to our self-development, fear and anger will come more apparent in a physical confrontation and this will kill you. It is not the opponent who is killing you, you kill yourself, because you cannot control your fear or anger.
Young people are compensating their fear by muscular power, but as we said before, power will deteriorate after a certain age.

There is another  story of Shirai Toru (mentioned higher) and his teacher Terrada Muneari (1745-1825, founder of Tenshin-Itto-Ryu). Shirai (28yrs) thought he could easily handle the elder Terrada (63yrs). But he didn’t have one chance to hit Terrada. Later Terrada said:

Self-awareness and spiritual enlightenment is the only way

Self-development

Self-development is closely related to self-awareness. How you see and feel yourself. Can you accept yourself, with your quality and your human weaknesses?

Martial arts are a mirror for you. Very soon in your training, your weaknesses are coming to the surface. This is the moment to become consciously aware of these weaknesses, to know yourself is the first step in self-development.

A practical example:

When an opponent (your training-partner) is attacking your face. How are you avoiding or handling this attack? Jumping away, freeze, panic,…..

Just ask your partner to slow down, and perform your defensive action also in a slow manner. From the moment you feel comfortable, ask your partner to add more speed and power. Can you handle? Maybe you have to go back to a slower performance, maybe you have more confidence and you can ask for more speed and power. From very structured training, you can evolve to unstructured training. If you are fortunate you will never use your skill in the real outside world. But you can test yourself in some kind of “competition” set? Not to become a champion, but just to test yourself.

Self-defence

Self-defence is a practical application of martial arts, and are mostly performed with a partner. Remember this model from an earlier post:

autopietic system

Your movement is always the result of a communication with the opponent. This is only possible if you have developped the skill of awareness, physically and mentally.

Having confidence in your abilities and knowing your shortcomings will create the perfect strategy for you in a confrontation, hostile or friendly.

The last words of Musashi Miyamoto

Abstract: The “Dokkôdô” is the last handwritten manuscript by Miyamoto Musashi. Due to its apho- ristic style it is often quoted and used to illustrate his thinking as well as his way of life, it has however until now not been intensively, thematically dealt with, so that the interpretation of several verses is still contradictory, which often leads to misunderstandings. In order to improve this situation we have ini- tially tried to interpret all words in each verse as literally as possible, then from here to form a sentence under consideration of its grammatical as well as its historical context and finally to present the entire translation of the “Dokkôdô”. The author hopes that this small contribution may become an inspiration for further discussion, which could lead us to a deeper understanding of Musashi’s truth.

 

Full text Last words Musashi Miyamoto

 

 

Creative copying

 

copy copying

Japan is well-known for the skill of copying. In the West, copying has a bad flavor, but what about creative copying.

“The original doesn’t exist!”

When a performance is done, the kata or randori doesn’t exist anymore. Even if it is on videotape, the original doesn”t exist…….the videotape is a copy.

Next time we try to perform again the same kata or randori, it will be a copy …… or a new original if we don’t try to copy. But once the kata or randori is finished, the original doesn’t exist anymore.
When a student performs a kata or randori based upon your previous performance, it is a copy. Sometimes it is a copy of a copy if the student uses a videotape.
Copying is a skill and as learning all skills it takes time and perseverance.

Using videotape

Can we learn from a videotape? The answer is “yes”. But you have to understand the limitations of a videotape.

  • A videotape offers a fixed form, it is only 1 performance. A teacher has no “fixed form” or “standard form”. The dynamics of adaptation to the changing situations can only be seen when we have several videotapes performed during different demonstrations or other performances.
  • It is difficult to understand which gesture is important or not important. Sometimes people are using a kind of mannerism or non-essential gesture which is done over-exaggerated. The reason for this a non-understanding what happens.
  • A videotape contains mistakes. Everybody makes mistakes, also the teacher.

Creative copying

Creative copying is based upon basic patterns learned through basic training. Learning basic patterns is not the act of memorizing the visual recognition, but by repeating the patterns until the body has learned them, so that the practitioner or performer can use them without thinking. Using your creativity is the same for kata and randori, although this is only possible when your level is sufficient to do basic patterns without conscious thoughts.

The essence of kata and randori

Randori and kata has to be performed with the essence and not with the mind. But the attention to detail and accuracy cannot be omitted.
When using creative copying, there is a danger to perform a parody or travesty of the reworked material, with or without the intention to use an ironic process.

Putting the essence of kata and randori in words is an impossible task, because adaptation to the many situations is only possible by practising a multitude of variations with a skillfull practitioner or teacher. This is another explanation of ” it has to be felt”. The task of the teacher is to transmit the “essence” of kata and randori, not to show the spectators how good he is.

The 1st lesson

When someone start with a martial art having roots in a traditional school, the way of teaching can be frustating.

There is no verbal explanation, no movement instruction. The expectation is to follow or copy the teacher.

“Stepping into the footsteps of the teacher.”

Learning an art or a skill is done by body to body transmission, not through the mind.

Randori and kata, 2 sides of a coin

 

2 sides of the coin

There are 3 important parts in a coin. The front, the back and the edge. Each part represent a major element of Budo Aikido training.

  • Kata ( katachi, basic forms,…sotai renshu)
  • Randori (free style, sparring…)
  • Bodywork (how to move, generating power……ishiki, hyoshi)

Bodywork will make Budo Aikido stable and strong. Without bodywork Budo Aikido has no power. If a coin is very thin, it will easily tear in a coin machine and probably not work.

Randori in Aikido

Adapted from an article by Fumiaki Shishida, JAA Shihan

Many aikido techniques are similar to some of the early jujitsu techniques, evidence that aikido was originally a type of jujitsu. Jigoro Kano, who reformulated various jujitsu techniques and integrated them into the modern judo, proposed two practice systems: randori and kata. He guided his followers to practice using some of the techniques in randori and polish the other techniques through repetitive kata practice. (In the following discussion, the randori style that Kano proposed will be referred to as kumi-randori or randori in the contact (or closed) position). Kano’s proposal is contrasted with the fact that the mainstream aikido schools, following Morihei Ueshiba’s ideology, have been practicing techniques only in the form of kata. Tomiki, who meticulously analyzed all jujitsu techniques, further proposed rikaku-taisei-no-randori, i.e., randori in the non-contact (or open) position, in addition to kumi-randori. As a judo practitioner, Tomiki referred to this new style of randori as the “second randori style”; as an aikido practitioner, he referred to it as “aikido randori.” Tomiki demonstrated how to use atemi techniques (thrusting at the opponent’s chin or crashing against his torso) and kansetsu techniques (locking the opponent’s wrist or elbow) in the non-contact position. In order to standardize the practice procedure, he designed a task cycle that included: unsoku (foot movement), tegatana-undo (foot and hand movement), tegatana-awase (person-to-person foot movement exercise with the hand blade pressed against each other’s), tegatana-no-kuzushi (balance-breaking techniques using one’s hand blade), kakari keiko (randori with no resistance), hikitate keiko (randori with partial resistance), and randori (wrestling with full resistance). In order to show the major techniques that can be used in randori, he compiled the 17 Basic Techniques and 10 Counter (or Reverse) Techniques. The original Tomiki aikido was tailored for toshu randori. The manners and courtesies for aikido practice were modeled on those for Kodo-kan judo.

Techniques learned through kata can be revitalised by randori

From an article written by Kenji Tomiki

The method of practise traditionally used to ensure the safety of dangerous techniques was the kata system of practise. In ancient bujutsu, 99% of a practise was completed by kata alone. That is to say, in order to cope with an opponent’s unlimited attacks, each response was practised by means of kata. That is the reason for the extreme number of kata in ancient jujutsu. For example in Tenjin Shinyo Ryu jujutsu there were 124 kata techniques, and there were over 10 ranho (literally unstructured captures). To become masterful in the practical applications of the techniques required innumerable months. Then someone would be challenged to go from kata to a violent shiai (literally street fight) called tsujinage or tsujigiri. This gave life to kata and was the place to try to fit together objectively one’s own real ability.

A martial art that has no ethics is nothing but violence. Along with the perception of being prepared for death, one must participate in shiai. In the traditional writings there is a prohibition against shiai. Novices entering into shiai unpreparedly were admonished about losing their lives.

Times changed after the middle of the Edo period and shiai that caused injuries costing a life were rigidly proscribed. It was then decided that bujutsu training would be done from first to last only by kata. The bujutsu that lost the opportunity for shiai training showed signs of degeneration because it was impossible to experience personally the true power of the martial arts and the core of the principles of the arts. As a means of correcting this decline the bamboo sword practise in kenjutsu and free sparring practise (randori geiko) in jujutsu were invented.

For example, within kenjutsu in the middle of the Edo era, schools such as kempo-kaho were ridiculed. The ridicule was because these schools were revealed to have kata only practises that made it easy to develop weak points. It is said that the rigor of bujutsu training was forgotten, that the training sank into easy-going ways, that real power was not sought, and that pretentious bombastic activity increased. In short, history reports that the sword kata of budo degenerated into the sword kata of the stage.

Kata practise is performed to avoid the ultimate power of the techniques. When we study by means of a sword or wooden sword, it is necessary to try to meet the moment of the ultimate clash through use of the bamboo sword practise, even though in nine cases out of ten we will be able to absorb the principles of the art, such as the principle of simultaneous strikes (ai-uchi), i.e. cutting the skin to cut the meat, through kata.

From early on jujutsu also devised midare geiko (unstructured practise) training for the nage-waza and the katame-waza techniques that occur in the final moments of close-in hand to hand fighting. On the basis of this kind of practise, Kano completed his randori system of training during and after the Meiji period.

Randori practise is something that is done to give life to the real power of those techniques that were learned through kata. That is to say, randori provides the power to complete a painted dragon by filling in the eyes. The synthesised martial arts techniques of the old jujutsu schools, however, were quite varied and had numerous styles of hand to hand combat. Thus, it is impossible to incorporate all of these techniques into a system of randori training.

Toshu randori

Based upon ideas taught by Itsuo Haba

Atemi waza
Kansetsu waza
Uki waza

Toshu Randori is an aikido training method which includes the principles of kendo and judo. In the principle of kendo, techniques are performed by striking or thrusting at the opponent up to the moment of the contact from the starting position. In the principle of judo, however, they are performed after touching or grabbing the opponent (kumi randori). Toshu Randori has elements of both kendo and judo and shows how we perform techniques in ‘rikaku’, or “at a distance” situation.

In organising toshu-randori, two points particularly warrant attention. First is the safety of the atemi-waza and the kansetsu-waza. Second is the relationship between kata and randori. When we consider the atemi-waza and kansetsu-waza on a fundamental level, we find two characteristics:

  1. The atemi-waza control an opponent by hitting, thrusting into or kicking the physiological weak points of the body (the vital areas), and the kansetsu-waza control an opponent by inflicting a sprain or dislocation on a joint. That is to say, these techniques were divised with the purpose of maiming or killing.
  2. The atemi-waza topple an opponent by manipulating the mechanical weak points of his body and pushing (or pulling him in some occasions) in one direction, while the kansetsu-waza restrain an opponent with a minimum of force by utilizing the limits of joint movement.

To organize “toshu-randori” in a safe way, the second method is the only way in accordance with ethics and safety for the practitioners.

The methods of offensive actions and defensive actions

Offensive actions can be performed by using atemi waza or kansetsu waza (by grasping the wrist or arm). Eventually by using Uki-waza after grasping the wrist.
So ideally techniques should be performed the moment one touches the opponent after yielding and redirecting the power of his kamae.

Defensive actions follow the same concept, yielding and redirecting the power of the offensive actions

By using kendo tactics of distance and hyoshi, physical strength are not required as much. In the field of toshu-waza principles, however, tactics of yielding and redirecting power are emphasised, so physical ability (powered by bodywork) becomes more important. But if one depends on physical strength alone, while grappling with the other carelessly, by neglecting to control opponent’s power and balance properly, one will be countered and defeated. Offense and defence  work integrally as two sides of the same coin.

The role of kata in Budo Aikido randori training

The 17 Basic Techniques (Randori no kata) and classical kata forms (Koryu-no-kata) that Kenji Tomiki and Hideo Oba compiled were based on the philosophical and technical principles for Kodokan kata forms set by Jigoro Kano. The original kata are build with an inherent simplicity to demonstrate a basic template of the action.

The over-standardized movements in the kata can destroy the practical information of the performed techniques. The urge to make the randori-no-kata “efficient” makes the kata “unefficient”.
Besides the technical evolution in kata, reiho (etiquette) is another aspect in performing kata. There is a tendency to emphasize too much the way of reiho or “etiquette methods”. Its use is so common that you can see many people simply perform the actions with no or little understanding behind the purpose of the movements. This non-understanding creates an almost clownish behaviour. This is especially the case in koryu no kata when people have to go into seiza for bowing.

But what is the role of randori-no-kata for randori? All the 17 randori techniques are intended to keep the opponent under control and restrain him from getting up and striking back. No technique is designed to hurt the fallen opponent anatomically. An act of exaggeration to make kata performance more spectacular has always been disapproved in the history of Japanese martial arts.
By practising the kata, we keep an original template of the waza. By using training methods like sotai renshu we can adapt the original template for use in randori-geiko and goshin-ho (self-defense exercises). Sotai renshu is a kind of repetitive training with ishiki and taikan as important items.
Some of you maybe bring forward that there is only interest in free-style sparring and they denie the role of creating patterns by repetitive training, in fact sotai renshu  is a kind of “katachi”.  Creating a pattern is the result of repetitive training. By repeating the basic movement(s) of a waza without stopping, the brain is storing this information for use when necessary. Regular training and focusing on the correct movements are the key for success.
Randori is of course the other side of the coin, and cannot be neglected. Randori is a test to control the correctness of the pattern in your brain.

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Hyoshi – cadence, rhythm or tempo?

musashi tokitsuHyōshi is most commonly found in the classical martial arts, referring to cadence, rhythm and tempo. In the famous “Book of Five Rings”, Miyamoto Musashi describes it as three timings: before, during, and after an activity in relation to the enemy’s attack.
See : Sen or pre-emptive action

As described by researcher Kenji Tokitsu, hyōshi can refer to the rhythm, cadence, or momentum in things. Momentum is related to the speed of a body (mass).
The relation between two combatants brings into play the whole set of “hyoshi” manifested by each of them: movements, facial expressions, breathing, the ebb and flow of muscular tension, mental state.

Hyoshi is the synchronisation of cadence, rhythm and tempo.

Cadence
Cadence refers to the speed and time taken to complete a series of a single movement.

Rhythm
Just as musical rhythms are defined by a pattern of strong and weak beats, so repetitive body movements often depends on alternating “strong” and “weak” muscular movements.

Tempo
Tempo is the speed of synchronised movements

Kihon training

In kihon training there are many different “sen”. You need to understand the hyoshi and be able to use it properly in order for you to improve your randori.

  • 2.0 go-no sen (up to 2nd kyu or blue belt)

This is a beginners hyoshi. There is an attack, your brain is acting in a conscious way, you are performing the exercise or defense as told by the instructor.
It is the slowest one and not very useful in randori. It is mechanical training.

We can practice a kihon technique thousands of times and we can execute one very quickly. But it is not the mechanical speed which is important, but the tempo of the synchronised movements.

  • 1.5 go-no-sen (1st kyu or brown belt)

It is still a mechanical approach to attack and defense. The synchronisation is much better than the 2.0 approach. You have more control on your movements and some of the substructures of the techniques will be done from the subconscious.

  • 1.0 sen no sen (1st dan and higher)

An approach of 1.0 means when the opponent’s attack comes, the defense by tori simultaneously counters. In other words, these two techniques (attack and defense) are executed at the same time and the execution completes at the same time with the opponent’s attack.

I must emphasize that these numbers are used simply to describe the speed of the training approaches. So, a tempo of 1.5 is biomechanical structurally faster than 2.0, even though an actual 1.5 combination could be slower if it is purposely executed very slowly. I want to make sure that the readers to understand clearly that a “hyoshi” speed I am referring to is different from the popular mechanical speed.

  • 0.0 sen sen no sen

This is an approach which will raise the eyebrows, because the defender will act before a physical attack will happen. In our modern society we cannot act with a violent action against a person who maybe thinks about attacking you.
On the other hand it is possible to take precautions before a physical confrontation will happen. I am not referring to your precaution you take because you are afraid of the confrontation.

Is it possible to use this in kihon training? Yes, this is about taikan or bodily feeling without a physical contact.
Multiple people are sitting with their back to you. Point your finger to someone of the group and shout a kiai* to a person in particular. If that person feels your pointing he will stand up.

* Kiai (気合) is a Japanese term used in martial arts for the short shout uttered when performing an attacking move. Kiai or yelling (with or without a sound) can also be used to teach taikan It starts in the hara; from a physiological perspective, this means the yell should start in the diaphragm, not the throat.

Using hyoshi in your training

Sen or hyoshi can be used to explain the different levels in your kihon training. The application of kihon waza, the basic movements and techniques of Budo Aikido, will be further deepened in randori geiko. Here the use of hyoshi cannot be omitted from the different methods of randori.

So if the instructor is asking you to do a technique faster, don’t change the rhythm and cadense. The secret to do it faster is “relaxation”.

Mikiri – sharpness of perception

Martial art Mikiri

Mi-kiri can be divided in 2 parts. The literal translation of the 2 parts is: mi, “look” or “see”; and kiri, “cut”. The term mikiri  is associated with Musashi Miyamoto and his excellent sharpness of perception. For him, mikiri was the basis of his concept of strategy.

Mikiri is basically the ability to judge distance by eye and act accordingly. It is putting the body out of range of the attack by a fraction of a centimeter. In other words avoiding the attack and stay in the distance of rikakutaisei.

Mikiri rest on the accuracy of hyoshi (cadence, rhythm and tempo). Because mikiri is about perception, mikiri can have an impact on fight or not to fight. If your perception gives you the impression you will lose your life in a fight, it is better to walk away and keep your life. Although Musashi Miyamoto was a famous samurai, he also avoided some fights if the situation was not in his favor.

The other meanings of mikiri

DIY, carpentry, & life in Japan

Any decorative trimming for the purpose of creating an aesthetic boundary or joint between two different materials. The term “mikiri” is often preceded by a noun that specifies what kind is being discussed, such as yuka-mikiri or tenjou-mikiri, which means floor mikiri and ceiling mikiri respectively.

Japanese Tattoos
The word is used to define “borders” in Irezumi style of tattoos.
Irezumi is a traditional style of Japanese tattooing, as well as certain modern forms derived from it. Irezumi is done by hand, using wooden handles and metal needles attached via silk thread.

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The relationship with “Noh”

Japanese martial arts like Budo Aikido have a lot of common with Japanese and Chinese performing arts like Noh, Kabuki or Chinese Opera. Those cultural arts have a history which spans more than 700 years. The ideas of training in Noh or Chinese Opera can be usefull for modern martial arts. In our bodywork, kyokotsu, koshi, yōbu and tanden have the most important role in training.

250px-Noh-Hayashi

https://en.wikipedia.org/wiki/Noh

From an article by Ashley Thorpe

Observations on the importance of the yao/koshi to the actor in Japanese no ̄ and Chinese jingju (‘Beijing opera’)

Ki or chi/qi

Energy may be considered as a culturally specific phenomenon, but there is correspondence between no ̄ and jingju. In Chinese, qi can mean breath, air or spirit, but it is also a technical term used in traditional Chinese medicine to refer to a vital life energy. The conception of qi as referring to the energy of the actor is in evidence in jingju, as Jo Riley explains:
Qi means more than mere breath control. A performer who has qi is considered to be ‘in-spired’, moved by a special kind of energy or filled with presence. During training, the master will often point to the student’s abdomen and demand that the student draw up his qi. This is the heart or residence of qi, the undefined and indefinable centre of the human body from which presence( force) flows.
Shelley Fenno Quinn has suggested that qi [in Japanese, ki, 気] was used by Zeami Motokiyo (c.1363-c.1443) to describe the technique of the no ̄ actor in producing his voice.

Basic training

The focus on basic training automatically raises significant differences between the two forms. In no ̄, an actor develops through the learning of kata [型], movement patterns that form the basis of plays. Techniques that might be regarded as basic, such as kamae [構え] and suriashi [摺り足], underpin all kata, are used on stage in performance, and thus cannot easily be demarcated as a distinct set of basic training exercises (even though these techniques might still be described as the ‘basics [’基本]). Incontrast, jingju has training explicitly conceptualised as jiben gong [基本功], ‘basic techniques’that are only practised off-stage, but nevertheless are central to underpinning the quality of movement on-stage. Jiben gong includes exercises designed to cultivate specific skills, fitness and endurance in the actor, including in the yao [腰] ‘lower abdomen and thighs’, tui [腿] ‘legs’, taibu [台 化] ‘stage walking’, yuanchang [垈 魁] lit.‘circular course’, a training exercise in which the actor practices fast stage walking by repeatedly circling around the room, shanbang [山膀] ‘mountain arms’, yunshou [云 手] ‘cloud hands’, tanzigong [毯子功] lit.‘carpet training ’but meaning the conditioning of the body for acrobatics, and bazigong [把子功] ‘weapons training’. Thus, jingju performers do not begin by studying particular plays or characters, but by focussing on how these foundational skills and movements should be mastered. Once central aesthetic ideas are understood and the body has become accustomed to the demands placed upon it, jiben gong is extended according to the conventional requirements of one of four role types in which the actor may specialise: male [生], female [旦], painted face [昌], and clown [丑]. A professional actor must have technique “inside the heart” (xinli you, 心里有), a state fully achieved only by solid training in jiben gong as a child, and further consolidated throughout adulthood. Thus, the conceptualisation of the ‘basics’ and its relationship to the actual material performed on stage is different in each form.

Building presence (kigurai) – harnessing tension: the significance of yao/koshi 

In no ̄ and jingju, I have experienced energy emanating from the lower section of the trunk of the torso (yo or koshi in Japanese, yao in Chinese). The term yao/koshi is difficult to neatly translate into English. 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.
In my own experiences of training, although I can locate the central locus of energy reasonably precisely to a specific area of the body, I would never describe it as only element of the lower trunk working to produce, support and distribute energy. I find the yao/koshi to exist as a kind of ‘interconnectedness’ between the skeletal and muscular structures in the lower section of the torso. For instance, in no ̄, I find that the locus of energy emanates from the base of the spine. Yet, tension is also achieved by pushing the base of the spine inwards and extending the hips backwards, creating a solid central focus of compressed energy around the lower back more generally, which is then forced further downwards. Indeed, teachers have often stressed to me the importance of having good koshi, which supports the basic kamae stance. In jingju, energy is considered to emanate from an area described as the dantian [丹田], an ‘energy centre’ situated towards the front of the waist just below the navel which is also cited in relation to Chinese martial arts, Qigong, and Taiji. Basic exercises aim to strengthen the yao as a means to cultivate stamina and suppleness in the dantian, which, in turn, supports all movement, from walking, to gesturing, to acrobatics.