Tag: koshi-mawari

Hara Tanden – An Imaginary Spot

When the muscles of the lower abdomen are tensed, the seat of body’s power, the tanden, appears. The tanden is the tension of the muscles and appears only in the living body. It was not discovered through western medicine or academics because it cannot be found in a dissected body.


“The Essence of Budo” by Prof. Sato Tsuji, (Professor of Literature, Kogakkan University) and Kawakubo Takiji, Iaido Hanshi

Content of this article

Introduction

Is the Hara Tanden the core of your being or is your brain the core?
We can address this from a western perspective, but also from an eastern perspective.
Talking about Hara Tanden may be very confusing for many of us. If you try to understand Hara Tanden with your brain, you will undoubtedly have a short circuit in your head.
Attempting to approach Hara Tanden from an Eastern point of view with our Western education will give many difficulties and errors in the translation of the concepts involved.

Hara Tanden, your engine

For those who have a problem with Hara Tanden’s concept, we can do a comparison with a rowing boat with outboard engine.

Are you going to use the engine or the paddles?

Most of us only move our bodies as efficiently as we can. Unfortunately, we just paddle even though we have an engine in our body.
Hara Tanden is about where our centre of gravity is. Your lower body muscles can be used to move more efficiently. Hara Tanden will serve as a base for upper body support. Without a strong support base our motions will become unstable and the power of our upper body will simply depend on the local muscle power.
To use our motor effectively we need fuel, Hara Tanden uses “Ki” produced by effective breathing.
Understandably, the words Hara Tanden or Ki mean nothing to you. It is very difficult to explain them.

2 different explanations

Of course, there are many more explanations, but these are examples from the West and the East.

From Wikiwand:
The Hara or lower Dantian, as conceptualised by the Chinese and Japanese martial arts, is important for their practice, because it is seen, as the term “Sea of Ki” indicates, as the reservoir of vital or source energy. It is, in other words, the vital centre of the body as well as the centre of gravity. For many martial arts, the extension of energy or force from this centre is a common concept. Many martial art styles, amongst them Aikido, emphasise the importance of “moving from the hara”, i.e. moving from the centre of one’s very being – body and mind. There are a large number of breathing exercises in traditional Japanese and Chinese martial arts where attention is always kept on the tanden or hara to strengthen the “Sea of Qi”.

The “Wiki” text is certainly written from a Western point of view, trying to define something we don’t understand.

From a Chinese text on Dantian (Tanden):
Anatomically speaking, what is in the tanden is the lower abdomen, and it is nothing more than a multi-layered structure of the intestines. However, from a mechanical point of view, the lower abdomen is a place where the force called gravity and the repulsive force generated from the ground are in opposition .

The physiology of the joints, a masterpiece of manipulative science, explains that this up and down force that collides in the pelvis draws a circle along the structure of the pelvis. The imaginary Tanden stands in opposition to be supported by this circle. In other words, it can be said that the sense of fulfillment you feel when you put effort into the tanden is, first of all, a sense of vertical balance that arises from the feeling of stepping on the ground, or more simply, a sense of mechanical stability.
Concentration of energy in Tanden means performing abdominal breathing. Specifically, the pumping action of the diaphragm causes gentle cardiopulmonary exercise in the upper part, and repeated contraction and relaxation of the internal organs, mainly the intestines, in the lower part.
Also, “bringing the mind down” is actually a way to release the tension in the brain.

The Chinese text (translated) is less philosophically orientated than the wiki text.
The Chinese and Japanese understand the idea of “Qi/Ki” very well because it is part of their culture. Most martial arts texts are mainly practical and explain how to carry out the movement of the body.

There is no magic involved

The word “Ki” or “Qi” is often used to describe the magical power of the martial arts of the Orient and is often translated as energy. This translation is in fact not covering the concept of “Ki” or “Qi” as understood by Japanese or Chinese practitioners. A paper written by a Western follower of Chinese Martial Arts and TCM will give you some practical insight of the “Ki” or “Qi” concept.

qi-e6b094Download

Observations on the importance of the yao/koshi to the actor in Japanese Noh ̄ and Chinese Jingju (‘Beijing opera’) From an article by Ashley Thorpe

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.

Some Japanese expressions

To write concepts, the Japanese use one or two kanji (or more) to express a complete concept. An explanation in a Western language requires more words and still cannot transmit the message fully. Find a few examples here.

  1. 呼吸法 Kokyū-hō: breathing method – in the context from Martial Arts: Abdominal Breathing.
  2. 緊張 Kinchō: tension 弛緩 Shikan: relaxation – “Tense” and “tension” (緊張) is often used to describe the prolonged or continuous contraction of muscles, tendons and other parts of the body.  Its opposite is “relax” or “relaxed” (弛緩). Breathing is an alternation of tension and relaxing.
  3. 含胸抜背 gankyô bappai: relax the thorax, elongate the back. “Lower the chest means the chest is drawn in to enable chi to sink down to the dan tian (or the abdominal energy field about 3 inches below the navel)”.
  4. 気位 Kigurai: pride, haughtiness. Kigurai can be seen as fearlessness or a high level of internal energy. What it is not, is posturing, self congratulating.

Kyokotsu and 含胸抜背 Gankyô Bappai

Kyokotsu (sternum) and Hara Tanden are connected through the spine and the attached muscles. Especially the latissimus dorsi plays an important role.
The use of the sternum is called 含胸抜背 gankyô bappai: relax the thorax, elongate the back. This skill opens the shoulders for power transfer coming from the legs.

含胸抜背 gankyô bappai

Become conscious of the point in the middle of the chest (the midpoint where both nipples are connected) and pull it down while pulling it back. Open the shoulder blades with the latissimus dorsi instead of opening them with the trapezius muscles of the shoulders

Kyokotsu is the lower point of the sternum in the Hino Budo exercises. Most of the exercises in previous posts on kyokotsu have to be seen as methods to make the torso more flexibel. Of cours, kyokotsu is translated as sternum and all the points on the sternum can be considered as the focal point for exercises and movements.
Using 含胸抜背 gankyô bappai is in fact the more practical application of the sternum manipulation.
After creating gankyô bappai, we can make a link between the sternum and the arm, especially the elbow. Most of the Aikido methods have exercises to develop “Hiriki” or elbow power. Unfortunately, when there is no connection between the sternum and the arm, elbow power will solely depend on arm muscles.

Pressuring Hara Tanden

Before we can transfer power from legs to arms, we need to be conscious of Hara Tanden in the lower torso.
When we look inside the abdomen, we may not be able to see the Hara Tanden. The creation of the imaginary spot is the result of a breathing technique by controlling the diaphragm and the pelvis.

The main action of the pushing down is a backward action against the spine.

Sometimes you will find a text: “Lower the chest means the chest is drawn in (or pushed down) to enable chi to sink down to the dan tian (or the abdominal energy field about 3 inches below the navel)”.
When you push down the breath, the Ki/Qi sinks into the Hara Tanden.

After several sessions of breathing exercises, you can feel the Hara Tanden in the lower part of the torso.
We can connect the upper part of the body with the hara tanden by using gankyô bappai. “Become conscious of the point in the middle of the chest (the midpoint where both nipples are connected) and pull it down while pulling it back. Open the shoulder blades with the latissimus dorsi instead of opening them with the trapezius muscles of the shoulders“.

気海息 or “Kikai breathing”

This is about abdominal breathing (Hara Tanden breathing). As you will notice, the first word “Ki” is a breathing related word.

There are many types of breathing, but in martial arts abdominal breathing or kikai breathing is preferred. Not all abdominal breathing is efficient for martial art power. Hara tanden breathing creates pressure in the lower abdomen.
When the muscles of the lower abdomen are tensed, the seat of body’s power, the tanden, appears. The tanden is the tension of the muscles and appears only in the living body. It was not discovered through western medicine or academics because it cannot be found in a dissected body.

Moving system

The arms and the legs are fundamentally our tools to perform actions like grasping an object or walking around. The torso is the place where our main components of our body are located.

Anatomically, the arm begins at the sternoclavicular joint, the connection of the collarbone and the sternum. Manipulation of the sternum or gankyô bappai affects the spine and the arms.

The legs are connected through the hipstructure to the lower end of the spine. The opening of the crotch is necessary to transfer the power from the legs in the spine. By controlling the Hara Tanden, we stabilize the pelvic girdle and give access to the power coming from the legs.

Mata no chikara – Power management from the groin

Hara Tanden is mainly used to transfer power from the legs to the upper body.
股 Mata is mostly translated as crotch, inner thigh, groin or femur.

Using “round crotch” is not only in martial arts often used, it is also important in artistic body movements.

圓襠 En machi – Round crotch
股の力 Mata no chikara – powering up Mata

Making crotch round is a skill to open the groin for transfer of power. The iliopsoas is the muscle that controls the hip joint.
Using Hara Tanden to develop legpower uses iliopsoas muscle. If this muscle is not not active, the upper and lower limbs will not work together. You can’t even push the floor.

Making crotch can be created naturally by doing the following. Open both hip joints while pulling them left and right, both knees are subtly tightened inward. See picture above (圓襠 En machi – Round crotch)
The breathing exercises “Hachi Danken” are very helpfull in making the crotch round.

Fundamentally making crotch round is the same as gankyô bappai, the opening of the shoulders.

Tsugi ashi – Using The Iliopsoas

Tsugi ashi 次 足, mostly translated as “succeeding or following legs/feet” or “shuffling”. There are many explanations for this kind of footwork.
Fundamentally, tsugi ashi is build upon the use of the ilipsoas. Without an active iliopsoas, we cannot pressing down the feet to generate power.

The distance between the feet when using tsugi ashi
Between the feet, in most instances, there is a width of approximately shoulder width. When the distance becomes greater, it becomes more difficult to carry out tsugi ashi.

How to activate the iliopsoas and perform tsugi ashi (shomen uchi)
The example is given when using a sword, but it is also possible when using tegatana or handblade.

  1. Open the front of the hips to activate iliopsoas, front foot is ready to move forward
  2. Push with back leg into the ground, knee of front leg softens
  3. Put front foot heel forward softly on floor
  4. Put ball front foot down, heel back foot goes up, knee of back leg softens
  5. Move back foot forward, don’t cross feet

If iliopsoas is not enabled, it becomes hard to push with the rear leg. The rear foot is going to have a dragging effect.

The iliopsoas and shomen tsuki
The same skills as with shomen uchi strike will be used during shome tsuki.
In Tomiki Aikido, tanto-randori is a method to explore your skills against an attacker who is using a frontal attack (shomen tsuki) to the chest with a soft tanto.
A frontal attack (shomen tsuki) can also be used as a frontal strike to the face with the palm of the hand.

Ayumi ashi

Ayumi ashi is normally associated with ordinary walking. This is correct. Unfortunately, most people are not walking efficiently and are frequently exposed to loss of balance. We see this often with elderly people.
Keeping balnce is important in ordinary life and certainly during martial art training.

How to keep your balance during walking?

  • The heel of the right foot in front lands on the ground. When the heel of the front foot lands, the back foot is firmly pushing the ground without lifting off the ground.
  • Then, when the front right ball of foot touches the ground, the rear left heel rises.
  • When you fully step into the sole of your right foot, the left knee come forward.
  • The left foot is brought forward

One of the more important skills in ayumi ashi and tsugi ashi is the flexibility of the knee. The knee must be very relax and this gives the ability to stretch and bend.

Aikido, Kenjutsu without a sword

A Japanese sword is often used to explain the skills of Aikido. Most Aikido practitioners cannot manage the sword properly and are lacking in depth.
However, if practitioners can find access to a qualified instructor, the swordsmanship skills will improve and the impact on some skills of Aikido can be huge.

You need some basic skills to understand the relationship between Kenjutsu and Aikido. Without these skills, training with a sword or a stick serves no purpose.

How to hold the handle of a sword

Holding the sword can be done with 1 hand or 2 hands.

If you don’t have a proper grip, the power generated by the body cannot be transmitted in the sword.
In a another post of this blog, the art of grabbing the wrist, some explanations were given about holding the handle of a sword.

The use of the middle finger and thumb is a fundamental skill for holding the handle, but also for grasping the wrist or dogi.


  1. When grasping start with tegatana
  2. Use middle finger
  3. Close the grip with the thumb

In a book for Taichiquan practitioners, there is reference to the use of the middle finger. The treatise known as the Yang Family Forty Chapters (translated into English by Douglas Wile in his acclaimed book, Lost T’ai-Chi Classics from the Late Ch’ing Dynasty) is titled “An Explanation of Fingers, Palm, Fist, and Whole Hand in T’ai Chi.”
Each individual finger is assigned a name as well. For example….., the middle finger is referred to as the “heart finger” or “hooking finger.”

The use of kyokotsu

The power comes from the legs and is started with the koshi. To transport the power to the arms, kyokotsu is the distributor for the upper body how the power is used. Therefore, you need to move the kyokotsu in sync with the movement or technique.

  • Kyokotsu as distributor

Here, the front leg is used to push. The groin of the front leg should be open to allow pushing from the koshi into the front leg. The strength of the front leg goes up to the koshi and upper body. Kyokotsu serves to transfer power in the arms.
You can find many more examples on the Internet about using the internal power of the legs, most of the time using the back leg.
It should be clear, getting out of the box can be very refreshing in how you think and move.

As we saw in the previous example, the synchronization of the leg power, initiated by the koshi and transmitted to the arms, requires a lot of training. Do not expect to become skillful after a couple of workouts. It takes several months or more of regular training.

Exercises for arm-sternum linkage

The manipulation of the kyokotsu (sternum) increases the flexibility of the upper body and spine, and becomes the key to the coordination of the entire body.
When it comes to martial arts, it is a key factor in the use of weapons such as swords and sticks.
Arm movements are driven by the strength of the legs and the connection to the upper body. If the upper body and spine are flexible enough, the opening and closing of the scapulas (shoulder blades) will connect the upper body and spine to the arms.

Fundamentally, we will use 2 kinds of sternum movements

  • Up and down
  • Forward and backward

Both movements control the push and pull motions. The use of kyokotsu is dependent on the flexibility of the torso and we can improve the kyokotsu movements during exercise.
Moving upward/downward and forwards/backwards can be carried out as an exercise. Do not use your shoulders actively in exercises.
One more difficult exercise is the movement of the body diagonally. During this exercise, kyokotsu is at the core of the movement.

Diagonal Movement and Kyokotsu

Open and close

  • When the kyokotsu is directed towards the spine, the scapulas open the back. The power will have a pushing effect.
  • As the kyokotsu moves away from the spine, the scapulae close the back. The power will have a pulling effect.
  • Pushing and pulling does not result from muscle contraction of your arms. The strength comes from the legs and goes up. Koshi and kyokotsu work as distributors.

Cutting with a sword can be one example of using kyokotsu. This makes clear the functioning of the kyokotsu movement.
Moving the kyokotsu is not power, it opens the door to the use of power with the arms.

Cutting with a sword

Vertical cut

When kyokotsu is pulled in, power is a pushing action into the arms. A forward cut utilizes the downward motion of the kyokotsu.
Lifting the sword above the head uses the upward movement of the kyokotsu.
The point is to stretch the upper body and connect the lower body.

During lifting and cutting with the sword, the rotational action of koshi cannot be ignored. Koshi mawari is integral to the movement of the body.

Horizontal cut

When kyokotsu is pushed out, power has a pulling action. A horizontal cut is based upon a pulling action. Naturally, when koshi turns, there is a forward movement as well.

Diagonal cut

The diagonal line used to cut can be improved through the use of kyokotsu. Watch this diagonal exercise when using kyokotsu.
Before the sword cuts downward, the arm and hand holding the sword rotate by using the arm length axis.

Pushing and pulling

The concept of pushing is easily understood by most of the practitioners. And after some sessions, most practitioners understand the absence of arm and shoulder muscles contraction during the push.

Thinking outside the box may be refreshing for the mind and body.
Pulling has to be seen as a “reverse” of pushing. Don’t pull towards your own centre. Pull away from you centre. Using koshi mawari is certainly a part of this action.
Pulling seen as a “reverse” pushing doesn’t use arm muscle contraction.
Some instructors use the following definitions:
Judo Push when pulled – Pull when pushed
Aikido Enter when pulled – Turn when pushed
Of course, these definitions are “defensive” in their nature. When we are in attacking mode and the opponent is in a defensive mode, we still can use “pushing and pulling”. It is important in these actions to hide your intentions.

The question arises, which kyokotsu actions when pushing and pulling. The examples of cutting with a sword give some answers.

Some examples

  • When the arm is lifting up (jodan), kyokotsu is up and moves slightly forward.
  • When the arm is going down in a rather vertical direction (shomen uchi), kyokotsu went down and moved inward.
  • When the arm turns outside (soto gaeshi), kyokotsu moves slightly forward
  • When the arm turns inward (uchi gaeshi), kyokotsu moves inward

More examples can be given, but we have to understand the logic behind the use of the kyokotsu. Manipulation of the sternum opens the door to efficient power management.

Don’t focus too much on kyokotsu, we need to understand that body and mind are “one” system and should act as “one” system.

The objective of practice is not to use movement simply to reach a destination, but awareness of the full experience of a journey. Many things may be missed while being fixed on reaching the goal or price. The quality of the movement measured at the end of a movement is a product of everything that has come before.


Coiling power and Aikido

Tenshikei 纏絲勁 is a Japanese term for a Chinese martial arts term Chán sī jìn. “Tenshi” commonly refers to Silk-reeling in traditional styles such as Taijiquan (太極拳).

Coiling power is the result of specialized training method to improve “Elastic Potential Energy”.
Tenshikei is the basic idea of a training method to store energy in the body.

We consider 2 basic forms of energy:

  • Energy generated by muscle action and converts in muscle power useful for creating momentum and leverage
  • Energy stored into the ligaments, tendons and fascia usefull for converting into kinetic potential energy

Elastic energy

Elastic potential energy is stored in ligaments, tendons and fascia and is the result of 2 possible actions of the body

  • the action of compressing and releasing of a springlike movement
  • the action of drawing a bow and shooting an arrow movement

How to use elastic potential energy

We will use drawing a bow and shooting an arrow as an example to explain the converting from eleastic potential energy to the power at the target.
The power must first be stored up by by pulling the bowstring. The energy stored in the archer’s bow represents elastic potential energy. When the bowstring is released, this stored elastic potential energy is converted into kinetic energy, which is then transferred into the arrow, propelling it into flight.

The human body and the archer’sbow

The human body can function like a bow. If there is no string, the body has no inherent power. By dropping for example the body weight into the hara, we create the same as adding a string to the bow.
A body rotation acts as pulling the string of a bow. Rotation is a movement without displacement of space. It signifies a movement without displacement.

Rather than treating the body as one large bow, you must realize that we could compartmentalize the body into multiple smaller bows. A leg can be considered as a bow, the same applies for the arms. And we cannot forget our spine which can act as a large bow.

The characteritics of an archer’s bow
The “back” of a bow, the part that faces a target, is stretched or pulled away from itself. The “belly” of a bow, facing the person shooting it, is pushed together. Not to forget the ever important neutral axis, this runs longways through the bow from tip to tip, it has the job of keeping tension and compression separated. When a bow is unstrung, it is basically like a stick, it has yin and yang in it, but they are not seperated until it is strung. When you put it under tension, by restricting the two ends, it is in a dynamic separated state. If it is well made, the forces of tension and compression will be balanced, and therefore power is maximised.
When pulling the string extra energy is added to the bow. When releasing the string, the stored energy is transferred into the arrow.

Ko-mawari, using compressive force

The exercise emphasizes the rotation of the body and the use of the legs as a compression force. The compressive force is generated by pushing down the koshi in the direction of the foot. The knee has no active role to play, however it is not held in a fixed or rigid position.

Research and Kenji Tomiki

Sometimes, people blame me not to follow the traditional methods of my teachers. In fact, they are shortsighted and they cannot see through the movements and see the basics supplemented by methods to improve efficiency.

Kenji Tomiki created some basic methods derived from Morihei Ueshiba’s art and asked his students and followers to do more research to develop an effective Aiki-randori method.
This research is definitely a key activity for Tomiki Aikido instructors. Of course we have to cherish the work of Kenji Tomiki, but we have to keep in mind that the method was and is still not complete.

Warming-up

The moment you put your foot in the tatami, your training begins. Generally, training begins to warm-up. The concepts of Aikido are integrated in the warming-up exercises explained in this blog.

Body-turning warming up can be used to integrate the “tenshikei-concept”. The upperbody is turning on the bottom of the pelvis. The turning has a diagonal direction. The legs are neither static of dynamic, the movement os the legs is the result of the body turning.


Unsoku-ho – footwork

The are various methods of footwork and the most basic are:

  • Ayumi ashi – alternate stepping
  • Tsuri ashi – sliding feet
  • Tsugi ashi – shuffle
  • De-mawari – forward stepping and turning
  • Hiki-mawari – backward stepping and turning

Step forward and backward with weight displacement and body rotation.

De-mawari and hiki-mawari

Tsugi ashi and basics

Posture and footwork

Essentially, “Mushin Mugamae”* is adopted at the outset of a confrontation. During the confrontation, different situations may arise and require different postures and different footwork.

We may go forward and back in a straight line or we may use a zigzag pattern.
The straight line will be used especially in the absence of physical contact. The zigzag line method will be used mainly during physical contact.

*mushin mugamae

Bodyweight shift

Shizentai is an essential posture to begin with.
Body weight can be moved left or right. Keep the centre line to the opponent’s centre.

At times we may put the two feet parallel when adopting a posture in randori.
When moving the body weight, hold the center line towards the opponent.

To move the body weight, we need to lower our body weight center by releasing the tension in the groin area. The area of the groin in the body is where the upper thighs meet the lower abdominal area. By releasing tension, we create a rounded crotch that is necessary to shift body weight without losing balance.

Body turning and Tenshikei

During Aikido training, body turn is frequently used to avoid an incoming attack. But body turn is more than avoiding an attack, it can be used to improve your power used during a confrontation.
Important is the correct timing when using body turn.
Another important item in body turn is the use of the “koshi”.

Koshi
All good martial techniques arise from the Koshi 腰.
The ideograph is read in Chinese like Yao and into Japanese like Yo or Koshi. In martial arts literature, Koshi/Yo* is typically translated as “hips” and Yao as “waist.” Those translations are incomplete and deceiving.

*koshi / yo 腰=waist, hips – 腰部-Yōbu= pelvis, pelvic region, hips, loins, waist

A good place to start is not trying to translate these words in your native language. Any translation will inevitably lead to a restriction of our comprehension.

Tenshikei
Turning body does not always create “tenshikei” or “coiling power”. To coil is to circle around a point, area or axis using a spiraling motion.


Tenshikai is explained by Akira Hino, a Japanese Budo researcher as follows:
To explain Tenshikei, I’ll give a metaphor of a rifle. Think of it as having the same mechanism as a rifle. Your body is the rifle barrel, and Tenshikei is the spiral grooves cut in the inner surface of the gun barrel. The spiral grooves create a longer distance for a bullet to travel, and by gaining frictional resistance during the travel, the bullet increases its force and precision.
Hino , Akira . Don’t Think, Listen to the Body!: Introduction to the Hino Method and Theory of human body and movement control (p. 97).

Coiling power is not easy to generate. A great deal of training is needed on how to use the flexibility qualities of the body. The arms and shoulders are just used to transport the power to the target. Fundamentally, they are not used to generate power.

Kyokotsu – Using the sternum

The use of kyokotsu has no energy output. The lower part of the body (koshi-tanden) is the source of the power coming from the legs. Koshi is the one who started it.
The role of kyokotsu is to prepare the upper body to transmit power from the legs to the arms.
By moving kyokotsu, the power can be guided toward the arms through the front or the back of the body.
See also the picture about vertical cutting with a sword.

Aikido waza

Step, shift and turn

Fundamentally, when practising techniques, we will perform a step, followed by body weight shifting and finishing with body turning.
In Tomiki’s Basic 17 Kata, “step,shift and turn” is often used to perform waza from the tegatana awase distance.

Of course, it is possible to practise bodyweight shift and bodyturn with a partner without stepping. But in most of the cases, we need some stepping to finish with a technique.

You can find a few examples from Hideo Ohba and Itsuo Haba in the next video clip – Yawara Dojo 1978.

Koshi mawari and basics

Integration of koshi mawari is necessary to generate coiling power. There are several ways to enhance koshi mawari and tenshikei.
Solo exercises as mentioned above in this article are the first steps when you like to enhance the effectiveness of your basic techniques.

Kote gaeshi

Kote mawashi

Aikido waza within the framework of Randori

Before you can get into randori, you need to learn how to apply techniques when the situation occurs.
It’s a pretty unique concept in Tomiki Aikido to do randori where we put Aikido waza against Aikido waza. The goal is to use Aikido concepts in a randori setting.
Of course, you must have a basic skill set.

Moving the Body or not?

Martial arts use body motions that are not always comparable to normal life movements. Aikido is no exception.
Human movements naturally depend on the physical laws of our environment, for example gravity.
Of course, human movements are actually quite a complex system. Martial arts moves should follow nature’s rules and something more. I’ll try to explain that a bit further.

The motion of a solid object

The motion of an object is described in two modes: the trajectory of its centre of mass and the rotation around an axis in its center of mass.

The motion of the human body

When Jigoro Kano formulated his Kodokan Judo, he tried to explain the stability of the human body as something solid. Unfortunately the human body is not a solid object, only when it stiffens up as a solid object.


The human body is a very complex system, it is a framework of segments linked to each other by flexible bands (muscles, tendons…).

To control the body, many skills are necessary to carry out effective movements.

The human body distinguishes two kinds of motion, comparable to the trajectory and rotation mode of an object.
Both modes operate side by side and due to the frame construction a rotary mode is always present during body movements.

  • Trajectory motion: use a fulcrum to move the body or part of the body (arm, leg…)
  • self-rotation: using the lenght axis of the body or part of the body

Moving without displacement

Looking at the Aikido demonstrations, you will notice many unnecessary displacements. A troubled mind is the cause of such errors and resulting in inefficient body movements or techniques. Of course, if you practise with a too cooperative partner, a beautiful show can be given with a lot of jumping.
Making your Aikido more efficient by using effective movements should be your objective.

An important characteristic of Aikido’s movements is its spiral trajectory. But this is not unique to Aikido, other martial arts make the same human movements less or more because of the structure of human body. An efficient system of connected segments is required and this is needed to control the actions of an opponent, especially if the opponent is very heavy or strong.
The use and control of power is a vital condition for surviving a confrontation.

3 important components with each an independent role has to act as a set to create the full body movement.

  • Using the legs
  • Using the torso
  • Using the arms

The example above deals with the action of the legs. The force generated by the legs, supported by the floor, passes through the torso to the arms and further into the target.
The legs do not only flex and stretch, but use a spiral movement. The koshi (bottom of the back) controls the legs. The torso spins lightly using the waist. The arm movement is based upon the basic arm movements of Tomiki Aikido.

Testing without falling down.

Testing our movements and techniques occurs primarily during randori. But not everybody likes to fight freely. Alternatives may be used to test your movements and techniques without falling, particularly for older practitioners.

No-movement : Mushin Mugamae

Even when you are not moving, you should maintain a strong posture. You are ready to act in a split-second. You can only do that if you have a calm mind.

By adopting the mugamae, it is not your intention to fight. You don’t offer, for instance, your wrist. Your eyes look at someone in front of you, but you don’t see an attacker. You notice his intention and when the intention becomes physical, you move.

Body Skills

Physical skills are required for effective movements or techniques. Of the many areas of body expertise, there are certainly two that are important.
Of course, other skills are also important, but those two skills are fundamental to the moving and non-moving martial arts body.

Dropping the bodyweight

Dropping the bodyweight is performed by bending or folding the “koshi”.
Bending the knees is the result of the koshi folding.

Dropping the bodyweight is needed for using the koshi.

Open and close the koshi area

Open and close of the koshi is a very difficult action. The whole body is following the opening and closing of the koshi.
Don’t activily turn the knees.

Open and close the koshi area is important when you push or pull. The koshi is the key to efficient movements with the “hara”.

The Butterfly Experiment

Author: Eddy Wolput °1948 – 7th dan Aikido (JAA-Tokyo/Japan) – 5th dan Iaido – 5th dan Jodo. 
Part of the material in this article is not directly linked to the Japan Aikido Association (NPO) program or Shodokan approach. Other concepts are incorporated into the study of the subject presented.

Chiko-go-itsu – Knowledge and action are one

Yoshida Shōin

The Rorschach Test

The Rorschach test is a projective psychological test in which subjects’ perceptions of inkblots are recorded and then analyzed using psychological interpretation, complex algorithms, or both. Some psychologists use this test to examine a person’s personality characteristics and emotional functioning.

Rorschach’s test is/has been used as a tool to analyze “perceptions” of a patient.
“Butterfly Experience” is a tool to study your ability of a connected body. The perception you have about a connected body is not always truthful. But by using a partner, you may know whether you are connected is real or just an illusion.

The Butterfly Experiment

How can I experience the outcome of a “connected body?
The “Butterfly Experiment” is an exercise that is not directly related to any martial art situation. This exercise can make your body connected while working with a training partner.
The partner maintains an upright posture. The body is neither stiff nor too relaxed. The arms are in front of the body, the fists are lightly squeezed. The resistance to butterfly motion is structural.

When the body is connected, it generates a tremendous amount of power without relying too much on muscle strength. Rendo allows the flow of force to increase and transfer to the target efficiently.

Akira Hino on the concept of Rendo

The butterfly experiment is not part of a normal training routine. The experiment can be done from time to time experiencing your progress in the creation of a connected body and the associated power.

Kinetic Chain a Western approach to Rendo

A “Kinetic Chain” is a term used to describe how force is transferred through different parts of the body to produce movement.
The concept was introduced by Franz Reuleaux, a mechanical engineer, in 1875 and adapted by Dr Arthur Steindler in 1995.

Using power means moving your body. If the body does not have a synchronized posture, the power will be scattered and finally we may lose our stability and fall.
Moving the body can happen in a stationary or dynamic situation. Neither situation can be experienced properly if there is no balance or stability.

Our movement system

Our motion system’s got multiple subsystems. In general, we can talk about three fundamental things.

  • Stabilizer system
  • Mobiliser system
  • Our brain

The movement of our body is the result of the use of muscles and tendons and ligaments attached.
There’s a thousand ligaments and tendons all over the body. Ligaments and tendons are made of connective tissue.
Ligaments connect one bone to another. Tendons connect a muscle to a bone. Both, however, are vital for good body mechanics.
Another part of our system is fascia.
A fascia is a structure of connective tissue that surrounds muscles, groups of muscles, blood vessels, and nerves binding some structures together, while permitting others to slide smoothly over each other.
And we cannot forget our brains, or else we cannot function properly.

Stabilizer system

During any movement, the stabilizing muscles act to stabilize the body or part of the body. It is also important to note that there are no specific stabilizing muscles in the body. The name just outlines exactly what these muscles do.

Mobiliser system

These muscles are found close to the body` surface and tend to cross two joints. They are usually composed of fast fibres which produces power but lack endurance. Mobilizers help with rapid or ballistic motion.
Biceps and triceps are examples of this.

Stationary training

Basically, this kind of training focuses on the stabilizing system of the body. The mobilizing muscles of the upper body and arms perform large movements without excessive tension in these muscles. The goal of these exercises is not to create big muscles, but to create a synchronous movement between the stabilizer and mobilizing muscles.

Footwork

Footwork is closely related to balance and stability. Footwork exercises are basically working on the stabiliser muscles.
Practitioners of an older age can have a lot of benefit of footwork to keep their balance and stability during dynamic training.

The mobilisers of the upper body are in general not used during our footwork exercises and are kept in a relative fixed position.

Why holding the arms in this position?
This exercise is a good workout to strengthen the stabilisers of the upper body.

Koshi mawari

Koshi-mawari is in general translated as turning the hips. Koshi-mawari is a very complex way of moving with the lower torso. Koshi-mawari can be considered as the movement of a ball (kyūten*). Korindo-ryu aikido is largery based upon this concept.

*Kyūten – 球転 Ball rolling, ball rotation

Koshi-mawari can be performed at any time without a break, when your koshi is lowered sufficiently, with slightly springy knees. This makes it easier to react spontaneously to changes in any situation.

Stationary Tegatana Dosa

The posture is slightly deeper than the normal posture. This deeper position provides the opportunity to practice easier “Koshi mawari” or the so-called lower back rotating or hip rotating.

  1. Shomen uchi
  2. Shomen tsuki
  3. Uchi mawashi
  4. Soto mawashi
  5. Uchi gaeshi
  6. Soto gaeshi
  7. O mawashi

Numbers 3 to 7 are based upon the 5 original basic arm movements developped by Kenji Tomiki.

Power is generated by koshi mawari and directed into the arms and hands.

Footwork without Tegatana Dosa

Dynamic Tegatana Dosa

Mawari or turning/pivoting exercises

Applications of solo training

Without a suitable test, our solo practice may become an illusion. There are different ways to challenge your skills with a Training Partner. Some of these methods can be seen as an application of martial art solo exercises. Other testing methods can be considered as a learning tool to find out if our movement is effective in our daily life.

The first steps in Aikido as a martial art

Can one deal with an offensive action of the partner acting as an opponent?
First, we must find something from how far an offensive action can be effectively executed. Offensive action may consist of a strike, a push or a seizure.

How to deal with a simple offensive action is not at first glance a real street combat situation. This is a learning tool for finding the right timing, distance followed by a neutralising action with a “kuzushi” result. This may be followed with a “waza”.

Weapon training

Weapon training can be a great help in creating a connected body. Let me give you an example with a “Jo”.

Strategy, a secret

Without a strategy, victory in combat will be based on muscle power alone. Using “Chiko-go-itsu – Knowledge and action are one” is necessary to develop effective use of strategy.

Looking for the thruth

I’m not looking for the right answers in doing so,” . “I am just focusing on being able to do a certain task or technique. That is different from trying to be right.

Akira Hino

Hachi Danken (Kiko/Qigong)

Qigong, known as Chinese Breathing Exercise, is a holistic system of coordinated body postures and movements, breathing and meditation used for health, spirituality and martial arts training.
Kiko is the Japanese word for Qigong. Hachi Danken is Badua Jin’s expression from Japan.
The Baduanjin qigong (八段錦) is one of the most common forms of Chinese qigong used as exercise. It was primarily designed to be a form of medical Qigong, to repair injuries and enhance global health. It is also used as part of the training regimen in certain martial arts.

Hachi Danken

The Japanese version of BaduaJin, exercises aimed at enhancing the flow of energy in the body.
Like with Aikido and other martial arts, there are many versions of these millennial exercises. Although most versions taught today are from recent times.
The Chinese government has made great efforts to streamline the old ways of moving the body for martial or health purposes.

Standing

Every session start with a moment of standing.
In martial arts terminology we speak about “shizentai” or natural posture.

Diaphragm and pelvic floor muscles

When learning the exercises, you must be conscious of your diaphragm. When you can localize your diaphragm you can push down it after breathing in, you can relax and breath out. Don’t force the breathing. It must be smooth and no sounds. Try to avoid breathing in with the mouth.
A very difficult part of the exercises is the control of the pelvic floor muscles.
The pelvic floor is a muscular sheet that closes the pelvic cavity and the pelvic organs from below and is curved upward at the edges.
The muscles of the pelvic floor relax during bowel movements and while urinating. This also happens in women during sexual intercourse and when giving birth. The perineum is part of the pelvic floor too. It is located between the scrotum and the anus in men, and between the vagina and the anus in women.

Pelvic muscle control is important for keeping hara-tanden-koshi at the centre of your movements during martial arts training.

Breathing method

The synchronisation of the breathing and the movements will increase the effectiveness of the exercises. Nevertheless the breathing cannot be forced because this is unnatural. Breathing is a basically an unconscious process.

There are 2 fundamental methods of breathing.

  • Abdominal breathing: It involves taking slow, deep breaths in through your nose. The goal is to breathe deep enough to fill your belly with air. This increases how much oxygen you take in, and may help slow down your breathing and heart rate.
  • Reverse breathing: If you take a breath in and your stomach draws in, you’re reverse breathing. Usually, this goes along with a lifted chest and/or shoulders on the inhale. With the exhale, you’ll notice get the opposite: the chest/shoulders sink down and the stomach expands out. This breathing technique relaxes you. It also enables you to become aware of your emotions and increase your meditative focus which is necessary during martial arts training.

Reverse breathing is used for exercises 1 to 6.
Exercise 7 and 8 natural breathing.

Exercise 1 – Shin-kokyu

Taking a low posture

Exercise 2 -Shooting an arrow

Exercise 3 – Heaven and Earth

Exercise 4 – Gazing Backward

Exercise 5 – Bending to the side

Exercise 6 – Touching the Toes – Butterfly

Punching

Body shaking

Uki Waza – The Way to Otoshi

Author: Eddy Wolput °1948 – 7th dan Aikido (JAA-Tokyo/Japan) – 5th dan Iaido – 5th dan Jodo. 
Part of the material in this article is not directly linked to the Japan Aikido Association (NPO) program or Shodokan approach. Other concepts are incorporated into the study of the subject presented.

Standard Method

Standard methods are methodological approaches to create a baseline for a given category of project activities in order to simplify the development of individual projects.

3 Standard Tomiki Aikido Uki Waza

For randori purposes, Kenji Tomiki selected 3 “otoshi” throws also known as floating throws.
These throws are executed in three zones seen from Tori’s perspective. The throwing power, generated by Koshi mawari (lower back and hip power) and unsoku (footwork) is executed in 1 of the 3 zones.

Uki waza are also included in Koryu no kata, traditional kata techniques in the Tomiki system.
Most Koryu no kata techniques have their roots in the pre-war martial arts studies of Kenji Tomiki and Hideo Ohba. If we compare Koryu no kata with the pre-war techniques of Morihei Ueshiba, there are many similarities.

A Basic Footwork, one of the many

Proper footwork is a key factor for effective floating kuzushi and subsequent throwing. The pictures below give you an indication how doing basic footwork. When basic footwork is well understood, creativity is needed to develop a more convenient footwork.
Always remember the relationship to the training partner or opponent. Some opponents have longer arms than average, or some have short arms……………….

Kodokan Judo Connection

In Kodokan Judo we find similar techniques with a floating (uki) and dropping (otoshi) characteristics.

Uki otoshi (Kodokan Judo) performed by Senta Yamada

Judo throws are executed by using a standard grip on the dogi.
Of course, during Judo randori, many variations will be applied. This is called “grip fighting” or Kumi Kata.

During Tomiki Aikido Randori, Kumi Kata (Judo) must be avoided. For this reason wrist and elbow grabbing is the standardized procedure.

Standarized methods

If you follow only 1 teacher, you will usually find 1 core method. When the teacher is the head of a larger organization, the teacher’s method is the norm. An international organisation obviously needs representatives and this is where the differentiation of methods lies. They have their own interpretation.

Standardised methods cannot be regarded as a fixed method, there will always be interpretations and modifications.
When we understand “form, function and meaning”, the differences in the method of grasping, throwing or other things can be considered a personal approach.
While the basic shape is present, minor differences are the result of mechanical and/or mental images and will have a positive impact on performance.

Uki Waza Grabbing Method

A Living Martial Art is always the subject of change and Aikido is not an exception.
As with most standard methods, there are always some modifications for example in the method to grab uke’s arm.

The demonstration of Kenji Tomiki (1975) and the explanation of Tadayuki Satoh (around 2014) is slightly different.
The concept of “kuzushi” is of course the same and you will find this also in Kodokan Judo.

Kenji Tomiki’s method

Mae otoshi
Sumi otoshi
Hiki otoshi

Sumi otoshi and hiki otoshi have a 2hands grip on Uke’s wrist. Mae otoshi has a hold of one hand on the wrist while the other arm pushes the elbow.

Tadayuki Satoh’s method

Mae otoshi
Sumi otoshi
Hiki otoshi

Mae otoshi is similar to Kenji Tomiki’s approach.
Sumi otoshi and Hiki otoshi have one hand on the wrist, the other hand is at the elbow.

Full coverage of Basic 17 by Tadayuki Satoh

Mae Otoshi Method

A couple more interpretations of “Mae otoshi”by Shogo Yamaguchi, Ryuchi Omori, T.Kobayashi and Konoka.

Sumi Otoshi Method

Sumi otoshi methods by Konoka, Shogo Yamaguchi, Ryuchi Omori and T.Kobayashi

Hiki Otoshi Method

Hiki otoshi methods by Konoka and Shogo Yamaguchi

Uki waza and weapons

Weapon handling uses the same body movements as for unarmed combat. In the Tomiki system the Koryu no kata (classic aikido techniques) introduces basic weapon handling. Bokuto, jo (yari) and tanto are used to teach the basics of these weapons.

The use the Jo is used to explain kuzushi. The example here is the use of the jo (yari) during sumi otoshi kuzushi.

Basic arm movements (tegatana dosa tandoku undo) can be used to introduce basic weapon handling. Using a weapon during tegatana dosa can be very challenging to do the correct body movements.
Tomiki aikido training includes unarmed combat as well as armed combat (softanto). Basic kata, is performed unarmed or with tanto (softanto).
Of course, if you like to go deeper into the science of swordfighting or other weapon system, you need a qualified instructor.

The floating feature – Uki

The feeling of “floating” situation can be felt as standing on an “unstable” surface.

Uke’s arm is lifted up high and is rotated (torsion) inward or outward (hineri/gaeshi). This creates a disconnection between the upperbody and the lower body.
Floating can be created as a defensive action when opponent is grabbing you at the wrist. Some formal “kuzushi” exercises developped in the Tomiki system make often use of this situation (for example 7-hon no kuzushi).
When using an offensive method, the grasping method on Uke’s arm has an important role to fullfill.
In general, basic arm movement will be used to create kuzushi (floating action) and followed by a throw (otoshi)

The features of a fall – Otoshi

Otoshi techniques can be found in different martial arts. The idea brought forward is the image of a waterfall.

Iaido has a Taki Otoshi kata. If you use your imagination, you’ll see the waterfall.

Jodo Maki Otoshi is a fundamental technique for quickly dropping the opponent’s sword with a Jo.

In general, all aikido techniques can be performed as a throw. Even kansetsu waza (hiji waza and tekubi waza) can be a throwing technique.
Uki waza uses the skill of “otoshi”, the quickly dropping down of uke’s body. Tori’s power is generated with correct body movement synchronised with gravity.
If only arm power is used, our technique will fail and the opponent will take over the initiative.
Remember, the origin of our power comes from koshi mawari (lower back and hip movement) and unsoku (footwork).

Stationary and dynamic training of Uki Waza

Before we can use “uki waza” as an application in randori or sparring, we must learn:

Form, function an understanding

First we learn the form in a basic format starting from tegatana awase postures. It is about how to use our body without moving around. Some footwork is included in the performance of Tori.
Uke does’t move or doesn’t resist. Uke is just lending his body and do the appropriate “ukemi”.
Afer some training, the function of the different elements (footwork, grasping skills…) will be understood and the separate body movements are transformed into a basic technique.

The introduction of footwork into the tegatana awase, a dynamic basic format of training creates the next step. The dynamic format gives a extra dimension to the training.
Of course this is not yet “randori”, all the elements of the training are programmed. Uke is using footwork, but still lend his body and uses no resistance.
The form is further investigated, the function of the form gives a broader scope of applications and the understanding will open the door to creativity in the training of randori.

Junanahon no kata, the starting point

There are many version of basic 17, all of them have the same techniques using the same concepts. These concepts are discussed in many articles and posts on this blog.
In the unarmed versions, the physical meeting (tegatana awase) is the starting point of the stationary training method mentioned earlier.

Find here an older version of basic 17 (1989).

Tomiki Aikido Syllabus – Basic Framework Training Tool.

Author: Eddy Wolput °1948 – 7th dan Aikido (JAA-Tokyo/Japan) – 5th dan Iaido – 5th dan Jodo. 
Part of the material in this article is not directly linked to the Japan Aikido Association (NPO) program or Shodokan approach. Other concepts are incorporated into the study of the subject presented.

Study Group Tomiki Aikido – Shobukai Dojo Syllabus
This article outlines the “basic framework” employed in the Shobukai Dojo. The emphasis is mainly on “how to move the body” and “how to control the opponent”.
Members of the Shobukai Dojo study how to move the body and the methods of control of the opponent before being able to proceed with Tomiki Aikido Kata.

What Is a Martial Art Syllabus?

A syllabus is a document that presents all the necessary information on a martial art course. It lists the topics you will study while you practice martial art.
The course programme is a working document and a personal document. The syllabus can be used as a guide for the instructor as well as for the dojo.

Living Syllabus 

A syllabus is not fixed and basically a “living syllabus” can be updated as often as the teacher considers it necessary. This creates a vibrant, living document that students can interact with. Of course, the interaction between the instructor and the students is a major factor in updating the program.
Unfortunately, the emphasis is sometimes too much on a programme given by an international institute which does not allow much interaction between the institute, the instructor and the students. In this case, we cannot refer to a “living syllabus”.

An international institute program can be basically a policy guide to be used to generate a “living syllabus” for the local group.
So you can find a different program among the local groups while teaching the same concepts and principles.

Shobukai Dojo Syllabus

A Tomiki Aikido Syllabus can focus on various options for study and training, depending on the kind of dojo students.

  • Grading tool
  • Competition as the main goal
  • Sparring (randori)
  • Bodywork, efficient body movement
  • Self-protection and self-defense
  • Movement therapy
  • Other goals

The Shobukai Syllabus is based on the ideas and concepts of Kenji Tomiki and his nearest followers. There is an influence of other Aikido methods and Bodywork of independent instructors.

The program is built around various types of core concepts.

shobukai-syllabus-2022-englishDownload

Basic arm movements

Our hands are one of the most important tools of our body. Tegatana translates into “sword hand”, but also includes the arm.

Basic arm movements can be performed either stationary or dynamically.
The stationary method emphasises the use of the “Koshi” synchronized with arm movements (tegatana). A dynamic version is integrating footwork.

Basic arm movements are based upon the basic arm movements developped by Kenji Tomiki.

The Stationary Method

The 1st part of the videoclip gives a overal impression, the 2nd half focussing on the use of the koshi.

The Dynamic Method

The integration of footwork into the tegatana exercises is the first step for practising “hakkei” or sudden power.

Hakkei Tegatana Dosa

When practising tegatana dosa in a stationary or dynamic way, movements are relatively big. The performance is quite slow and with no explosive power.
After several years of training, sudden power or Hakkei may be introduced.

Footwork – Unsoku-ho

In the Tomiki Aikido method a formalized exercise is wellknown by most of the practitioners. Because the focus is more on the pattern or in which direction to move, the most basic ways of footwork is in the backround. In the syllabus, the basic ways of footwork (ayumi ashi, tsuri ashi and tsugi ashi) is mentioned as a basic exercise. The different methods are integrated in the dynamic tegatana exercises.
When practising footwork, the arms are hold high and the intention is to hold a big ball between the arms. The arms are not used to push or pull, the power comes from the footwork initiated by the koshi.

Ayumi Ashi forward

Ayumi Ashi backward

Tsugi Ashi

Testing the solo exercises

Sometimes during training, the instructor can test the posture and movement of the student or to give feedback (interaction). All the movements of the solo-exercises can be tested.


Some testing examples

Testing posture and tsugi ashi

Ko-mawari testing

Kumi Kata (Judo)

The definition of Kumi Kata is grip fighting. The word “grip fighting” means to take a grip that will give you an advantage over your opponent. But also not to allow your opponent to take a comfortable grip to be able to counter.

The mastery of Judo Kumi Kata is a critical component for any judoka to succeed in modern judo. Without this skill being very well developed it is difficult to see how any judoka can experience the ability to throw ones opponent cleanly, effortlessly and with grace and beauty.

Ridatsu ho & Seigyo ho

Grasping the wrist in Aikido is a kind of strategy skill similar to the strategy skill of Judo Kumi Kata. Without this skill, we are not able to perform kuzushi and waza.
Tegatana kihon dosa (basic hand and arm movements) can be used as a setting up for gripping skills and controlling the opponent: Seigyo ho
On the other hand, kihon dosa can be used as a defensive action when the opponent is grasping you: Ridatsu ho

Both methods will depend on a correct and powerfull gripping skill.

The are different ways to grasp the wrist of opponent.
The purpose of grasping the wrist is to control the opponent action.

The comments of holding the sword, the golf ball and the soft tanto apply also for grasping a wrist.

Some examples of grasping the wrist

The example shows an offensive way to capture the wrist of the opponent. When the opponent performs an offensive movement, you can apply a basic arm movement and then grab the wrist.

How to seize

A strong grip can be catogorised in 3 major metods. See picture.

In essence, grasping the wrist in Aikido is similar to grasping the hilt of a sword. 
The basic rule is to grip firmly with the middle finger and thumb, keeping contact with the base of the little finger.

A study performed by The University of Western Ontario on the Individual finger strength and published in Journal of Hand Therapy gives the following results:
The percentage contributions of the index, middle, ring, and small fingers to grip were approximately 25%, 35%, 25%, and 14%, respectively.

While the ulnar side of the hand (ring and little finger) is taught as the dominant side when holding the “tsuka” of a sword, there is a lack of control if you don’t use the middle finger and thumb. When you start grabbing with the middle finger and thumb and index finger, the ring and the little finger, you will have a strong grip with many possibilities of precision.

3 important points

  • Base of little finger
  • Middle finger
  • Thumb

Exercises to develop correct wrist grabbing

Using Thera Band Flexbar

Soto gaeshi & uchi gaeshi
As mentioned earlier, both movements can be used both offensively and defensively. When you grip a wrist to apply a technique, Soto gaeshi or Uchi gaeshi may be applied. An exercise with the Flexbar almost gives you the feeling of gripping a wrist with a certain resistance.

Holding a golf ball.
Holding a golf ball is a good exercise to power up the middle finger and thumb.
Index, ring and little finger just close, but do not put pressure. Do not tighten the ball or you will lose control of the ability to manipulate your hand and arm movements.

Other examples of grasping

  • Holding tsuka
  • Grasping softanto (soft training dagger)

Holding tsuka
Hold the tsuka with the middle finger, the thumb and the base of the little finger. Index finger and ring finger close without any pressure.

Holding softanto (soft training dagger)

Soft tanto is a safe training tool used during sparring (randori). Frequently used in a Tomiki Aikido training program.

More pictures
European Championship Antwerp 2014 – Zuiderpershuis

The same comments apply as for holding the ball or holding the tsuka of a sword.

Kihon no katachi – Basic Aikido Techniques

Kihon no katachi is not the ju-nana-hon no kata or ju-go-hon no kata (an early version of kihon no kata), but it is a collection of basic aikido techniques usefull during friendly sparring (randori). It is a basic techniques syllabus.
There are 4 different kinds of techniques in Tomiki Aikido. All techniques start from a “tegatana awase” situation.

  • Atemi Waza
  • Hiji Waza
  • Tekubi Waza
  • Uki Waza

Atemi Waza

Kihon dosa or basic movements is the source for succesfull applying atemi waza. The philisophy behind atemi waza is explained in differents posts on this blog.

  • Shomen ate
  • Ai gamae ate
  • Gyaku gamae ate
  • Gedan ate
  • Ushiro ate

Hiji Waza

The use of “seigyo ho” or seizing skills are necessary to apply a skillfull hiji waza.

  • Oshi taoshi – straight arm push down
  • Hiki taoshi – straight arm pull down
  • Ude gaeshi – entangled arm
  • Ude hineri- entangled arm
  • Waki gatame omote – elbow lock
  • Waki gatame ura – elbow lock

Tekubi Waza

The use of “seigyo ho” or seizing skills for control are necessary to apply a skillfull tekubi waza.

  • Kote Hineri (uchi gaeshi)
  • Tenkai Kote Hineri
  • Kote Gaeshi (soto gaeshi)
  • Tenkai Kote Gaeshi

Uki Waza

Generally, this type of waza is translated as “floating techniques”. Basically, kuzushi or balance disturbing is performed as a throwing technique. All examples of wrist grabbing can be used to throw the opponent.
We distinguish 3 area

Kihon no katachi describe 3 major throws using Uki-waza skill.

  • Mae otoshi
  • Sumi otoshi
  • Hiki otoshi

Sparring or Randori Ho

  • Kakari geiko – continious predescribed attacks, no resistance
  • Hikitate geiko – continious predescribed attacks, escape possible for uke
  • Randori geiko – both can attack and defend
    • Dojo sparring
    • Shiai format

Example kakari geiko

Tanto randori – competition format

Upgrade your Aikido through Tegatana-awase

Author: Eddy Wolput °1948 – 7th dan Aikido (JAA-Tokyo/Japan) – 5th dan Iaido – 5th dan Jodo

A principal obstacle to improvement in practice is the body’s usual mode of generating movements. One cannot improve, for example Uchi-mawashi or Soto-mawashi much unless one breaks the habit of the arm and shoulder muscles to dominate the actions, and learn how to use the waist to coordinate the muscles between left and right and upper and lower body. Between what the body is told to do -the control- and what the body does -the product of motion- is an enormous gap of neural mechanisms that is opaque. The practice is at the mercy of that black box of mechanisms, which include wrong habits.

The mind as an observer

The mind is a factor that cannot be denied, and first the mind will observe our actions to discover the possible mistakes made during our movements. These mistakes can be corrected using the mind, but the mind will once again act like an observer to find other mistakes in our movements.

Central axis and shoulderline

We need to realize that there is a difference between the physical aspect and the mental image of our centre. The central axis seen by the mind always creates a connection with the partner’s centre. This is the actual meaning of “Awase”. Mostly the physical and mental central axis overlap. However, there are instances where the physical central axis creates an opening, a feint. The central mental axis maintain control on the central axis of the partner. A less skilled partner/opponent will attack you, but you have not lost control over a partner/opponent’s actions.

During tegatana-awase the center line links the front hand to the center axis.

Central Axis

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The triangle

The line between the points of the shoulder joint remains the same relative length. The shoulder joint points are mentally connected to the hand and form a triangle. The lines between the shoulder articulation points and the hand are not fixed and will change synchronously when the shoulder line rotates around the central axis.

Turning the shoulderline is a matter of using the waist and not by using the hips. The upperbody can turn in-and outwards using the waist muscles.

During tegatana-awase, when partner/opponent moves forward with tsugi-ashi stepping, we can moves backward with tsugi-ashi stepping or turning the shoulderline.

Expanding powerline

Expansive force should not be confused with contractive force. Expansive force is the result of a mental image and muscle tone.

Muscle tone is defined as the tension in a muscle at rest. Appropriate muscle tone enables our bodies to quickly respond to a stretch.

Expansive force has to be trained to with special exercises. For example standing exercises like ritsuzen or zhan-zuang are very helpfull in the development of expansive force. Also, shotei-awase exercise is such an exercise to develop expansive force. Of course, the skill of remaining in muscle tone mode is necessary.

If this kind of training is not included in your training program, you have to rely on contractive muscle power on many occasions in your training when strong posture (static or dynamic)is needed.

The mental line from the central axis to the tegatana is not fixed. But the power in this line is always expanding. There is no pulling in.

Expanding is created by the powerline at the outside of the arm. Expanding power comes from the koshi/tanden and travels through the back to the shoulder and arm.

Range of movement

When adopting a “kamae” posture, mostly one foot is in the front.

Bodyweight can move forward and back. Moving to the side can compromise the stabilty. But the upperbody can turn without moving the feet.

Depending on the circumstances, turning the shoulderline can be performed with bringing the bodyweight forward or backward.

The upper and lower parts of the body are independent

I mentioned before, upper body is moved by using the waist. These movements are supported by the lower back (koshi) and the crotch/groin (mata). Turning movements by using the waist is fundamentally necessary during tenshikei exercises.

Many “kuzushi” drills use tenshikei. The use of the waist and back are the principal components.

Stepping during tegatana-awase

Footsteps begin with the use of Koshi and mata. Basically, the upper body is not involved in step motions (tsugi-ashi).

At times, the upper part of the body is used to invoke gravity in step movements (Ayumi-ashi/korobi-no-ashi).

Using the upper body (kyokotsu).

Tsugi-ashi or korobi no ashi need a flexible lower body. Especially the knees and Achilles tendons used the power of the falling body to move forward.

***

Using gravity during tegatana-awase is a method to study “yukozo” or using the flexible body while keeping the expansive power.

Tegatana-awase and intention

The intent relates to the mind, but certainly affects the mental and physical body.

In practice, we coordinate our mind and body with breathing and relaxation exercises to improve our various types of forces. We cultivate physical and mental control over our breathing, movement and energy flow. The exercises are designed to relax muscle tension and promote a natural energy balance.
In this growing process, there needs to be intent.

In general, “using intent” is subconsciously thinking, or more like something between thinking and doing. It’s like a pulse, a “thinking energy” that moves your arm forward if you want to grasp anything.

Training your intention means training your mind and developing a strong form of intention that allows you to be physically, mentally and neurologically prepared for action.

But the intention can be read by your partner/opponent and in that case you will have trouble. The skill is to use “Mushin”, the art of not thinking with the conscious mind.
Thinking energy is produced by the subconscious mind and this is only possible if your training program includes using the intention of the subconscious mind.
There is no delay when you use thinking energy in a situation where you must respond immediately to the right action.

Awase. How to connect.

Author: Eddy Wolput °1948 – 7th dan Aikido (JAA-Tokyo/Japan) – 5th dan Iaido – 5th dan Jodo

When I started Tomiki Aikido, I learned 2 exercises that I did not understand at the time, more than 40 years ago. Previously I practiced other methods of Aikido, but the exercises of tegatana-awase and shotei-awase were not practised in the way it was done in Tomiki Aikido training.

  • Tegatana awase
  • Shotei awase

The practice was very simple and the underlying actions of the body were not well explained. But back then, it wasn’t necessary. But I was very curious about what was happening beyond the horizon.

Tegatana and Shotei

Tegatana – Handblade

The handblade means the hand with the 5 fingers fully outstretched together. When the fingers are stretched out thus, the part that forms the base of the little finger is strained. With this part you can strike at the opponent and parry or check his blow upon you.

Shotei -Palm of the hand

Basically this is the palm of the hand, in particular the base of the palm.

Awase (合わせ)

If you are searching for a definition of this term, you will get various explanations. Then there is the general message: Gathering two opposites together.

In the case of tegatana-awase, the idea is to bring together “tegatana of two people”. And in the case of shotei-awase, it means gathering “shotei of two people”.

Aiki

Since we are talking about an exercise involving 2 people, and this in the context of aikido, we may conclude that these exercises should reflect the idea of “aiki”.

Here we are of course treading a slippery path, because opinions about aiki can differ quite thoroughly. If we stick to the definition that Kenji Tomiki gave it, we can get a better idea of what we should strive for.

The meaning of “aikido.” the old saying goes, “It is the spirit that carries the mind and controls the body.” The people of acient times believed that man’s mind and body and cosquently his strength were under the control of his spritit. 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.

Judo and Akido – Kenji Tomiki

Principle of gentleness

This principle, most often known by the Japanese word “Ju” cannot be explained without another word “Go”.

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

In explaining the exercises mentioned at the beginning of this article, we need to take into account both sides of the principle of gentleness or in other words “Aiki”.

Tegatana Awase

In Dr Lee ah Loi’s book, Book One Randori, there is a short description of this exercise.

Face one another and let your handblades meet in chudan posture, cross handblades at base of hand and look at your partner’s eyes through the gap made by your hands. Keep good posture and move forward with tsugi-ashi. When you are pushed, do not resist too much but step back with tsugi-ashi, then try pushing your partner. You can move backwards, forwards and sideways, but do not break your right chudan posture. Remember to keep your body square and to face your opponent all the time. In performing this exercise, you can practise basic posture, tsugi-ashi, fast movement and reacting to your opponent’s intention and power.

In a book written by Tetsuro Nariyama and Fumiaki Shishida, Tradition and the Competitive Edge, important key points are mentioned related to tegatana awase.

The practice of tegatana awase is made up of many important basic principles, such as shisei, unsoku, metsuke, toitsuryoku and ma-ai.

Nariyama and Shishida’s comment is very much in line with Dr. Lee’s description. Obviously, the Japanese book uses Japanese words, whereas Dr. Lee uses the English equivalent. What stands out clearly from the text of the Japanese authors, tegatana awase consists of many important basic principles. Without knowing those fundamental principles, the exercise becomes pointless.

The same book by Nariyama and Shishida contains an explanation of “toitsu-ryoku or focused power”. They described toitsu-ryoku as a combination of good breathing (kokyu) and proper use of the body. Unfortunately, there is no description of the correct breathing procedure. How to use the body primarily refers to general remarks on how to keep the body straight and the different methods of foot movements.

In a more recent book (05/06/2020) written by Toshiya Komatsu and Yoshiomi Inoue, Basic techniques of Sport Aikido (Tomiki Aikido) a brief description is mentioned on tegatana-awase.

A basic practice method to understand ma-ai “distance” from the opponent. The tegatana of two practitioners are matched in contact and they move freely while maintaining the correct distance.

Breathing and correct body use

If you ask a teacher about breathing, the answer will often be “don’t think about your breathing, it’s a natural process”. Of course, breathing is a natural process, but most people breathe quite superficially.

Breathing and the correct use of the body are a major health issue for a large part of the population. You will find a lot of breathing and movement programs to enhance your health.

When your breathing is poor and your body movements are not effective, the practice of tegatana awase will not result in better performance. Your training program should include exercises to turn your breathing and body movements into better performance.

One of the greatest martial art practitioner, Rickson Gracie Brazilian Jiujitsu, used a breathing method to improve his performance. What Rickson Gracie is doing is called a ‘Kriya or internal’ cleaning exercise. It’s a self massage of the organs which improves blood flow.

There are other methods to improve your breathing. These methods are mostly based upon the use of the diaphragm in relation with the abdomen. Kokyu-ho or breathing exercises are used to develop a stronger “hara”.

Shotei Awase

From Dr. Lee’ s book:

Face one another and step forward on left foot, keeping a slightly wider stance, with your right arm straight and in the center. Put the heel of your right hand against that of your partner. Push each other, but try not to bend your arm, the power should be horizontal. The main difference between Shotei and Tegatana is that in Shotei the position is stationary and the power comes from the hips. This training is for power and posture, if you keep practising this, you wil develop a very strong Aikido posture.

In the book by Toshiya Komatsu and Yoshiomi Inoue, a brief description of shotei-awase..

A basic practice method. Application of hand blade matching. Place each other’s tegatana (hand blades) on the centre line and put the lower part of the palm of your hand (shotei) on that of your opponent. Practice using the whole body efficiencly to push the opponent. Lower your hips to push him instead of using only your arms.

In Nariyama and Shishida’s book, shotei-awase is not explained, but there is an extensive explanation about the benefits of toitsu-ryoku and kokyu-ryoku. Both concepts are necessary to perform an efficiently shotei-awase.

Some Chinese martial arts use a similar basic practise. There seems also a relationship with traditional Chinese medicine and acupuncture.

Using Ming-men

Kokyu-ryoku

During tegatana-awase and shotei-awase, we need power to keep our posture and to move our body. Even when we don’t move our feet in shotei-awase, there is a lot of movement in our body. This kind of power is commonly named as “kokyu-ryoku”.

Kokyu (呼吸) is translated as “breath” and kokyuryoku is translated as the power of breathing. You wil also find the expression “shinkokyu”. This is translated as “deep breathing”. The word “ryoku” is translated as “power”.

Kokyu-ryoku is mostly translated as “breath power”. In fact this is misleading, because breathing is a process to bring oxygen into the body. The art of breathing of course, is using the diaphragm and other muscles. Training of these muscles can give you a better way of breathing, but also, a more robust “hara”. Hara is the source of generating power, mostly derived from gravity and solidity of the earth. The better the hara is functioning, the more power can be generated.

The power originated by the hara is not a contractive kind of power. When the breath after inhaling is pushed down into the hara, it becomes more solid and expansive. The surrounding muscles, especially the “koshi” will act more efficiently to make the rebound of power of the gravity from the earth in the direction of the arms. This is only possible if the body adopt the state of “jukozo”.

Tegatana-awase and shotei-awase are build upon jukozo. If we use contractive power during these exercises, the concept of “ju/go” or “Principle of gentleness” will not be there.

Unsoku – Suri-ashi and tsugi-ashi

Practising tegatana-awase and shotei-awase can be done either without stepping movements or with stepping movements. We must consider different kinds of stepping methods.

Unsoku – Moving around with sliding feet (suri-ashi) and following feet (tsugi-ashi) . When responding to your opponent’s attack, you need to maintain a good posture while moving. A formal method is created by Kenji Tomiki and consist of moving in eight directions from the posture of shizentai.

This is the original judo-unsoku

Suri-ashi – When moving in unsoku, do not raise the base of the big toe from the tatami mat, and slides your feet on the surface of the tatami mat. This is called sliding feet.

Tsugi-ashi – A sliding foot movement either to move the back foot closer to the front foot or to move the front foot closer to the back foot with the pusrpose to keep good posture. Remark that during tsugi-ashi the “suri-ashi” method is used. There is no lifting of the base of the big toe.

The formal method of course requires some adaptations to fulfill the requirements for practical applications during Aikido training. Especially moving forward and backward need some modifications. The formal way of practising is maintained.

Forward and backward stepping method – tsugi ashi. Adapted from the formal judo-unsoku

Alternative stepping movements

These movements are not included in the formal “Unsoku”, but are frequently used in the practise of Aikido.

Ayumi-ashi – To move the left and right feet alternately.

De-mawari – forward stepping and turning – Mawashi-ashi：Turning foot or feet .

Hiki-mawari – backward stepping and turning.

Postures

Basic postures are used when practising tegatana-awase and shotei-awase.

In tegatana-awase, mostly a ai-gamae or mutual posture is used. When right foot is forward, right tegatana are crossed at chudan level.

In shotei-awase, ai-gamae or mutual posture is used with a different approach in using the tegatana. When right foot is forward, left shotei is used to make contact.

Of course, this is the guidance when using the most “basic” method. Your creativity may be used to modify the posture in gyaku-gamae or reverse posture. Tegatana and shotei may also differ in a variety of ways.

Alternative Exercises

Joining tegatana or shotei is the main concept of awase exercises during Tomiki Aikido’s basic practice. Of course, there are other drills to practice “awase”.

There are 2 categories of practising “awase”:

  • Static exercises – without stepping
  • Stepping exercises

These exercises will be the subject of a separate blog post.

More information about Tegatana-awase and Shotei-awase will be discussed in another post in the near future.

Sotai renshu – Embrace the inevitable.

One of the very purposes of studying Martial Arts is to learn to utilize and cultivate unconventional movement options.

Sotai Renshu – Partner Training

In pairs, the primary concept is the relationship with the partner/opponent and how to control the power and the mind of the partner/opponent. It is the body which expresses the power originating in the mind.

From a purely technical point of view, we will examine our body in relationship with the body of our partner/opponent. Later, we can go further into the mechanics of the mind and the generation of power.

Relationship with partner/opponent.

We distinguish 2 major technical characteristics.

Our position in relation to partner/opponent

  • Aigamae or regular facing posture
  • Gyaku gamae or reverse facing posture

The result of our action on partner/opponent

  • Hineri or inward turning of partner/opponent body (or body part)
  • Gaeshi or outward turning of partner/opponent body (or body part)

Contractive power versus “jukozo”

Most of our movements in our lives arise from muscle contractions. The muscles always work in pairs, one muscle is the active actor (agonist) whereas the other (antagonist) is the passive actor. This is the conventional way of thinking about how the body moves.

An example to specify the activities of the agonist and the antagonist:

The agonist and antagonist work together in any type of movement. Once a muscle is tensed, it can no longer relax on its own. This requires the contraction of the opposite muscle. So as your biceps contract to bend your arm, your triceps stretch. Now your triceps becomes the active part. As an agonist, the muscle contracts, allowing your biceps to relax as an antagonist.

Furthermore, in martial arts, the use of the power of the partner/opponent is part of the strategy. Unfortunately, contractive power is not always a good partner when we need to use the competence of “jukozo”, the competence to absorb and store incoming power. Especially the contractive power of the arms and shoulder can negatively affect the release of the power of the legs and torso.

But there is an additional way in which the muscles lengthen (other than only through the contraction of the opposite muscles). This functionality lies at the heart of the “Jukozo” concept. It is actually a push/pull concept without local muscle contraction. The push/pull motion is the result of the use of the kyokotsu, your breathing (diaphragm muscle) and the rotation motion of the abdomen, in other words hara, Koshi and tanden.

Basically, jukozo uses the capacity to store power in the muscles, tendons and fascia while stretching or compressing and not by contracting the muscles. Most of the power will be stored in the tendons and fascia, the muscles themselves have a much lower capacity and are mostly actively used for their contractive features. The push/pull action depends completely on the push or pull quality of the tendons and the fascia

The picture shows a push/pull action. The partner/opponent is pushed while he is turned. There is also a pull to with the result he is bending backward. The pull is created by koshi turning and a backward tsugi ashi, the push is the result of a stretching movement while pulling in kyokotsu. There is no muscle contraction or bending the arm. It is a simultanious action.

Tenshikei (Japanese) – Chansigong (Chinese)

Jukozo is based on a skill which favors spiral power. Our body always generates energy by following a spiral path consisting of muscles, tendons and fascias. We may use a special training method to develop tenshikei ability. During the training, we use rotational movements mostly coming from the lower part of the torso. Koshi is one of the most significant components of the lower torso.

Basically, it means that power is not transmitted linearly, but that it coils and spirals along the limbs. This means that there are two directions (clockwise and counterclockwise). When examining Tomiki Aikido Tandoku Undo Tegatana Dosa, we can clearly see the 2 directions of coiling movements in Uchi-mawashi/Soto-mawashi and Uchi-gaeshi/Soto-gaeshi.

Uchi Gaeshi

The rotational motions are created by using the “koshi” muscles and those, of course, follow the rule of contraction and relaxation. But we use an unconventional method, the muscles associated with the arms and shoulders are not contracted. The “hara” muscles (Koshi and tanden) are responsible for the rotation movements. A push/pull action is achieved if the muscles in the arms and legs are relatively relaxed.

The result of tenshikei training takes longer than the well-known methods for improving the core muscles in the gym. To control the movements of these muscles, the average practitioner requires many years of regular training. The control of rotation movements can be seen in the performance of top level sports people.

Controlling incoming power

When the incoming power penetrates the body, most people will respond by contracting the muscles along the power path. It will obviously interfere with the storage of incoming power. A better way is to use the “Jukozo” skill, a skill to absorb and store incoming power in the tendons and fascia.

The incoming power, for instance, when someone grabs your wrist and does a twisting movement, follows a spiral path through the body. This energy can be stored within the tendons and fascia. Ready to operate with flexibility.

The better we can store the power, the better we can use the stored power to counter the partner/opponent attack. Countering the attack means avoiding conflict with the strength of the partner/opponent.

An example – the wrist grip.

It’s a practice, not a martial application. Nonetheless, the integrated body movement may be used in martial applications..

The partner/opponent has a strong grip on our wrist. There is no pulling or pushing by partner/opponent, but an inward twisting action of the wrist. Start a release action at the foot, thereafter the leg, the hip joint, the torso, shoulder, arm and wrist. Avoid contractions of the muscles, power transfer will stop at the muscle contraction.

By the way, muscle contraction is also a method to generate strength. There are times when such a method can be used. But especially as a beginner, it is preferable to use the jukozo method rather than the contracting method.

Kenji Tomiki and Hideo Ohba during WW2 in Manchuria

Control your own power!

Basically, we don’t want to give the partner/opponent the opportunity to use our own power against us. A highly skilled partner/opponent may simply use a clever action to cause some sort of blocking action in your body.

Incoming power does not necessarily travel within our body. The incoming power could also be very local. For instance, when someone grabs with one or two hands without pushing, pulling or twisting. All power is centered on our wrist.

In such a case, stretch the tendons and fascia the gripped wrist without pulling, pushing or twisting on the arm of partner/opponent . By releasing the power generated by the stretching movement, an undulating movement will distort the body of the partner/opponent.

Senta Yamada is stressing the softness of the body to transfer spiral power into the body of uke.

Active and static power

The body under mind control, may produce various types of useful power during martial art training and its application as self-defense.

Usually two types will be used.

  • Active Power – Power by hitting, kicking, pushing, pulling or twisting and entering the body for the purpose of hurting or throwing.
  • Static Power – The power to immobilize the body of the partner/opponent or part of the body. Many examples in koryu no kata where partner/opponent has a grip on you to immobilize.

The use of different types of power will depend on the circumstances and will become part of the strategy. Every martial art can have a different type of strategy, but the efficient use of power depends on the same principles.

Uke/Tori and switching roles

Perhaps you noticed that I did not use the words Uke and Tori in previous paragraphs. In many martial arts explanations, the words Uke and Tori are used to define the role of the attacking and defending or winner and loser. That kind of thinking is actually a “one way of thinking”. Uke is thus the receiver of a successful movement. Uke act as a loser and this of course has an impact on our way of thinking. During basic training, Uke carries out ukemi or breakfall. Uke has a losing concept. Whereas during the randori, the concept of loser is not allowed. To avoid losing during randori, most of the practitioners will block the movement of partner/opponent. What we have pointed out in the previous paragraphs is completely forgotten. Jukozo or flexibility is replaced by muscle contraction resistance.

Actually, during basic training, randori or martial applications, there are 2 people (or more) performing Uke/Tori movements. Each person acts at the same time as Uke and Tori. In fact, we may be talking about a Uke/Tori person, an expression of duality as described in an earlier post about Ju and Go. The duality in the Uke/Tori person is also related to the concept of Onmyō – Yin/Yang – Our movements are acting by using opposing forces – tension(*) and release. The concept of opposing forces is in Oriental philosophy explained by the well-known words: Yin and Yang, in Japanese: Onmyō.

(*) Tension shouldn’t be confused with muscle contraction. In our case, tension is stretching tendons and fascia to increase power. It is also possible to build power through compression, a skill to allow input power and transfer in the ground. Rebound is the outcome and is only possible with the competence of Jukozo. For this case, an exercise as shotei-awase can be mentioned.

Conscious and sub-conscious mind

When people start with martial art training in an unconventional manner, many new things need to be learned. This process is principally realized by the conscious mind. The motions of the body begin at a slow speed because our conscious mind is actually a slow process. But we got a faster processor, our subconscious mind. The moment we do not have to think about how to operate, the subconscious mind may take control of the process of our body moving.

Even if you are a practitioner with many years of experience, the moment you start the non-standard path, you are again a newbie. Thus, your conscious mind takes control of the process and your movements are still slow until the unconventional method of movement can be performed by the subconscious mind. This process may take several years, depending on the depth to which the conventional method is grounded in your mind.

Moving from solo to partner training is actually a test of whether the unconventional method has replaced the conventional method and how anchored it is.

We need to embrace the inevitable. Can we do it or not?

Mushin Mugamae

This expression is quoted many times by Kenji Tomiki and his followers. Mostly it is translated as “Empty mind, empty posture”.

Basically, it’s a good idea to use this translation as a beginning to try to understand Mushin Mugamae. There is more to this expression than just “Empty Mind, Empty posture”. However, putting the phrase “Mushin Mugamae” in your mind makes a mind filled with thoughts. This is also true when we adopt a combat posture. As a beginner, the conscious mind will create the thinking combat pose. Unfortunately, using the conscious mind is too slow to respond to the actions of the partner/opponent.

Unconventional movement and training

One of the very purposes of the study of martial arts is to learn how to use and cultivate unconventional movement options. This process may be regarded as “the path of a martial art practitioner”. Becoming a skilled practitioner is not an easy way, but for those who are on the way, it is an experience that can also be monitored for the purposes of everyday life.

As mentioned above, the use of the conscious mind is too slow to react to a sudden move of the partner/opponent or even sudden events in everyday life. The unconscious mind can handle such events if you have the ability to “mushin mugamae”.

Study or technical training takes place at a slow rate. After acquiring the bodily sensation, stored in the subconscious mind, the reaction may be very quick or even slow. That will depend on the circumstances. An image is slow, while a pattern is slow/fast.

From image to pattern, from slow to slow-fast

There are many ways to bring content to the movements of our body. For instance, how to use weight transfer during walking. Within the brain, there are images of the various aspects of walking. The first image is created when we have learned to stand vertically. Later, we start walking, foot by foot. How to use this image depends on our experiences throughout our lives, and based on these experiences, we have created patterns. Learning new patterns of movement takes time and needs to be done properly from the start.

Beginners are not only associated with “novices”, but also with experienced people who are learning new skills. Starting with a new “model”, we start slowly and sometimes we exaggerate the motion by making it bigger. That allows us to create a bodily sensation. This is a condition of subconscious usage. Without a bodily sensation, every action will depend on the conscious mind or the inborn fight or flight reaction**. The physiological changes that occur during the fight or flight response are activated in order to give the body increased strength and speed in anticipation of fighting or running.

A highly skilled practitioner can use the fight or flight reaction in combination with the patterns stored in the brain. If it is still at the stage of using the conscious mind, the fight or flight reaction will have an uncontrollable effect on performance.

It takes time to build experiences to create a model or pattern after creating an image. Sometimes a pattern is corrupted or may not be used in martial arts situations. We need to reprogram something. Reprogramming is a challenging process because bad habits must be removed and new moves must be created. It takes more time to start again, then start anew as a beginner.

**The fight-or-flight or the fight-flight-or-freeze response (also called hyperarousal or the acute stress response) is a physiological reaction that occurs in response to a perceived harmful event, attack, or threat to survival

A Wet Towel In Space Is Not Like A Wet Towel On Earth

Both in static posture or dynamic posture we use the feet to take power from Earth and transfer it to the arms and hands.

Gravity

Gravity is the force through which a planet or other body attracts objects toward its centre.

What else does gravity do?

Why are you landing on the ground when you’re jumping rather than floating in space? Why does everything fall when you throw it away or let it fall? The answer is gravity: an invisible force that attracts objects together. Earth’s gravity is what keeps you on the ground and what makes things come down.

Anything that has mass also has gravity. Objects with more mass have more gravity.

The gravity of the Earth comes from its entire mass. Its entire mass creates a combined gravity attraction over the entire mass of your body. That’s what gives you weight.

Gravity and martial art

Gravity is necessary to create the equilibrium of your posture. If you fail to act on the concept of balance, gravity becomes your worst enemy and you will fall.

What is balance?

Balance is a situation in which your body has stability. It does not take much effort to keep your position. All forces that apply to your body are canceled out. When you are in balance, it is very hard to throw you or move you. This is true standing.

Gravity applies to everything in the body. If you combine the effect of all gravity forces, you can summarize it as a force applied at a single point, the centre of gravity. Put another way, “Hara” is the centre of your physical being. If you can put your mind in “Hara”, you are a balanced person, physical and mental.

Exercises used in training should consider the concept of gravity. Without a good body structure, you will not be able to use the power of the earth and you rely only on the local muscle power. And even if you use local muscle power, earth mass and gravity are needed. Sadly, it is not the most effective way to move the body and use power.

Practical exercises

There are many practical exercises to train in martial arts. Some have a direct advantage in martial art applications, others have an impact on body structure and power generation. Some exercises are directed towards improving health.

Since you don’t always have a partner to practice, solo training may be an option. Most practitioners are familiar with the basic solo exercises of their Aikido method. Tomiki Aikido isn’t the exception.

The objective of this article is to explain certain exercises with a “creative touch”.

All the exercises has 1 important concept: we have to use the power of the earth.

Gravity is the greatest source of power by touching the opponent. During solo training, the adversary may be in your mind, but maybe you can use a boxing bag. It is also possible to use various weapons as a tool to enhance your body movements including the use of gravity.

The moving body

A moving body has 3 main methods to generate force:

  • Taïjū no idō – using footwork
  • Taïjū no dendō – using body weight
  • Tenshikei – diagonal tension

Local muscle power is not used during the 3 metods. The use of gravity is an important source as well as the solidity of the Earth. Without control of the body centers, local muscle power will replace the flexible and elastic power organised by koshi and kyokotsu.

Moving koshi forward and back

Push with the hand (backside) on the sacrum forward. Let the body return and start over the pushing.

After some practise, you will notice the movement of “koshi”. This is an important step forward in the concept of using “koshi” or hip-power.

Oshi taoshi exercise

Move the arms up with the dynamics of lifting kyokotsu. Dropping kyokotsu into koshi and feet.

While we say “use kyokotsu”, this is not the power source. Kyokotsu is the controller which sends the power to the arms. When kyokotsu returns to the original position, it controls the downward power to the legs via Koshi.

Rowing exercise

Body moves forward before the arms. This is controlled by kyokotsu.

Tenshikei, diagonal/coiling power

Sometimes a comparison is made between tenshikei and wringing a towel. Of course, if you don’t know about “tenshikei”, this conversation is ridiculous.

Tenshikei is the rotational power generated with a body skill using gravity. If there is no gravity, you will have probably a difficulty to generate tenshikei or diagonal power.

Role of the knees during tenshikei exercises

Think about a ball between the knees. There is a certain tension (opposing forces) between the 2 knees.

The example shows a ball when adopting “shizentai – mugamae”. The same feeling must be experienced during a forward posture or a 2x shoulderwide posture (kiba-dachi or jigotai)

A simple example of Tenshikei movement

Between the knees, an image of a ball can be used when performing uchi-mawashi and uchi-gaeshi/soto-gaeshi.

Using waist and hips during tenshikei skill

This topic is a difficult one. In martial art the waist is a part of the koshi. Koshi is mostly translated as hips, but this is partly wrong. The hips are a part of koshi.

Our waist usually turns only from five degrees to thirty degrees. Occasionally, it turns forty- five or ninety degrees. Many practitioners use their hips instead of their waist without realizing it. This is because it is much easier to use our hips than our waist. The waist gives power for the push and also functions as a rotational tool. This action is basically “tenshikei” skill.

The hip joint is used to push down into the leg.

When moving forward or back, the ball of the front foot is used as the rebound tool or as a shock absorber. The heel of the front foot is slightly lifted. Using power for moving forward comes from the back foot. When moving back, the front foot is the driving foot.

Taïjū no idō – Taïjū no dendō

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

Taijū no idō or body weight shift creates “power transfer” in the body of opponent by displacement of the body.

Both methods are basically dependent on the use of gravity with or without footwork.

There are many kinds of footwork. Most of them are based upon using losing balance and regaining balance. Using gravity is the main source for this kind of footwork. An example is “rolling foot movement during pushing”.

Not all the foot movements have “losing balance – gravity” as the main source of movement power. The driving power of the leg can be used to move forward or back.

Driving leg – receiving leg

Moving around is a matter of using koshi, knees and ankles. The pressure between the feet and the earth has also to be taken into account.

There is always a leg which is doing the action – the driving leg. There is also the receiving leg with an absorbing function, but also a rebound action.


Where is the pressure in the foot?

Both in static posture or dynamic posture we use the feet to take power from Earth and transfer it to the arms and hands.

Mostly, the pressure will be on the ball of the foot. Triangle formed by 1-2-3

But it can also move more in the direction of the heel without losing the pressure on the ball. Triangle 1-2-4.

Point 1 will act as a kind of pump to transfer Earth’s power up. During breathing exercises, the mind can use the “pump” image to bring Earth”s power to the koshi and further to the arms when inhaling. When breathing out, point 4 will receive the down power.

The mechanism of pump and switching from point 1 to point 4 is very useful during Taijū no dendō or bodyweight shift.

Although we speak about points, we have to consider the image of the triangles. Using triangles makes a better use of the feet soles surface without forgetting the different points marked in the picture.

An important point of attention is the stability of the knee. Keep an imaginary ball between the knees.

A simple exercise to introduce the foot pressure skill. When moving up, use the ball (point 1 – pump) to take the Earth’s power up by breathing in. At the end of inhaling, push the breath down end let it sink into the heel (point 4). After a while you will feel the action of the pump.

Grabbing the floor with the toes

Sometimes you can read this advice. And this advice is not only for martial arts, but also other sport are involved like weightliftting and sports with a squating action. Grabbing with the toes has to be viewed as grabbing with the plantar fascia. Find here a nice animation:

When you start using the triangles in the foot, the plantar fascia is the driving element in the use of the Earth’s power along the body structures. If the plantar fascia is not correct working, the rest of the body will act accordingly mostly with a faulty structure. The result is a damaged knee or hip joint. Even the neck will have a negative impact.

The importance of the plantar fascia

Plantar fascia – the longest ligament of the foot. The ligament, which runs along the sole of the foot, from the heel to the toes, forms the arch. By stretching and contracting, the plantar fascia helps us balance and gives the foot strength for walking.

Regularly shift weight from one foot and leg to the other stretches the tight muscles of the feet. Thight muscles often contribute to plantar fasciitis pain, also called heel spurs.
One basic move simply puts your body weight from heel to toe with a rocking motion. This promotes balance along with foot strength. (pendulum exercise)(rolling feet movement)
This will also actually massage the foot by applying different pressure in a graduated fashion along the foot.
Another move allows for a rocking motion from the outside of the foot to the inside of the foot.
This will strengthen the lateral muscles and medial muscles of the leg. Your weight will shift from the arch to the outside of the foot.

In search of “Koshi”

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

Koshi can variously refer to the pelvis(to include the hips, pelvic carriage, lower spine, sacrum and coccyx), the lower abdomen, the upper thighs, the centre of gravity in the lower abdomen, and all the muscle and other bodily material situated around these areas.

George Donahue, ‘Koshi / Yao: An Introduction’ http://www.fightingarts.com/reading/article. php?id=663

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

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

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

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

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

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

The importance of posture

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

There are some important considerations.

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

Suri-ashi, sliding feet

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

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

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

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

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

Those benefits are:

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

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

Ki-ai, the sound of energy

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

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

Onmyō – Yin/Yang

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

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

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

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

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

Adding Kyokotsu into the training

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

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

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

Tenshikei, diagonal power

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

Impact Kyokotsu on Koshi

“Never tense koshi.” To do that, you should not become conscious of koshi. Your thinking about koshi will make it tense, and thus, a disconnect between the upper and the lower parts of the body occurs. That is not “using the whole body.”

Hino , Akira . Don’t Think, Listen to the Body!

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

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

  • neck region
  • lower back region

Impact of kyokotsu movement on koshi

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

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

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

Pushing or attacking

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

Kyokotsu, koshi and rolling feet

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

Opening/closing the armpit

The “opening and closing” of the armpit is managed by using kyokotsu or sternum in the correct way. This is necessary to perform an efficient movement when aiming for a target.

Using kyokotsu and “koshi” in a correct way (koshi-mawari) is the key to send the power of the base (earth) through the arms into the opponent. About koshi mawari, you can consult: The influence of Chidori ashi.

Controlling “kyokotsu” or “sternum”

Controlling kyokotsu or sternum is explained by Akira Hino in his book: Don’t Think, Listen to the Body.

The picture on the left is a sort of simplification of the mechanism. It has also an influence on the utilization of the koshi.

When the sternum is moving, the spine is also moving. This creates a pelvic tilt.

The pelvic tilt has to be the result of a full body movement. Just doing a pelvic tilt has no influence on the movement of the upper body when there is no connection between upper and lower body. Also just doing a sternum movement has no effect on the lower body if there is tension around the spine.


Straight line and koshi mawari

Directing for the target is a simple action with a lot of difficulties. The skill of opening and closing the armpit has to be entirely understood, mentally and physically.

When there is no control of the armpit, there is a probability of missing the target.

To resume, we can point out:

  • Rotation of the torso
  • Extending the arm in a straight line aiming at the target.
  • Opening and closing of the armpit.

Using a jo to perform taijū no dendō and koshi-mawari

During “corona” time it is necessary in a partner exercise to maintain distance, especially when you are practicing with someone not belonging to your nearest social contacts. The “jo” or medium range stick is the ideal tool to make contact and still maintaining a distance.

This video clip demonstrates taijū no dendō and koshi-mawari with the help of a jo or a medium range stick. It gives the opportunity to feel how partner is using power to push you back. There are some points to take into account on both sides of the stick.

How to push the stick forward?

Starting from a “chidori ashi” posture with the hand holding the stick near the body. Move the center line forward until you feel pressure in the ball of the front foot. Start turning the body while extending the arm forward.

How to receive the incoming stick?

Chidori ashi posture. Move the center line back until you feel pressure on the heel of the back foot. Start turning the body to absorb the power into the floor.

Relationship with compatible martial arts

A clear relationship with Jodo Kata “Suigetsu”. The straight line and koshi-mawari is only successful if there is a control of the armpit and the extended arm holding the stick.

Remark also the straight center line and the advice not to bend the body and arm.

There are of course more examples about opening and closing armpit in relationship with koshi mawari. Simply for the purpose to keep this post compact, my advice to find out by yourself and find similarities in other martial arts.

The influence of Chidori ashi

During “corona” time, we manage to do a lot of solo training. Solo training for a prolonged period can change our movements. It is necessary to understand the mechanism behind the changes. This post is an attempt to explain some points I am working on during this “corona” time. I have the opportunity to practice in my Dojo without the danger to get infected by the virus. Most of you will notice the modifications in my ideas for training, after all, life is always changing according to our experiences.

Chidori ashi

The influence of Chidori ashi is a rather complicated and includes more than the placement of the feet. Of course, there is a pattern for foot placement. But we cannot forget the role of the center line, gravity, pelvic tilt and some other elements.

A basic “chidori-ashi” pattern

Hanmi gamae or half posture is a basic stance in many martial arts and it is used in a lot of circumstances.

Chidori ashi is mostly used to have a bigger range of hip/lower back turning: koshi-mawari.

After some training, you will find out your own direction to use hanmi gamae and certainly the benefits of Chidori ashi posture.

The centre line

The centre line is an imaginary vertical line. In general, this line is perpendicular to the floor. The picture of Teruo Fujiwara shows a perfect centre line.

During taijū no dendō (transferring body weight), the center line can tilt a few degrees depending on the conditions.

Offensive Centre line

The first set of the JAA-Tandoku undo – shomen uchi/shomen tsuki – is using the center line in an offensive way. This originates from swordsmanship. When the sword breaks away from the center line, we are vulnerable to an attack from opponent.

Some points to take into account:

The centre line is a straight line in front of the spinal column. Everybody’s spine has a different shape. Some of us bear a natural hollow lower back, others have almost a hunchback.

Center line is not a fixed line in a perpendicular format to the floor. It is possible there is some inclination of the center line. If the inclination is going out of range, we need to do some adjustment to avoid too much tension. See below for this kind of adjustment.

When we learn to move “koshi” or lower back, we will take into account the structure of our spinal column. It is not wise to force our structure into a stance which can result in chronic pain.

Before we perform the movements of tandoku undo tegatana dosa, we must first master the skill of koshi mawari.

Protecting the center line

Both hands are protecting the centre line after adopting a chidori ashi posture.

In his book on Aikido, Senta Yamada made a notice about the importance of the centre line. Yamada sensei is using a hanmi gamae.

Stepping into “kamae” – hanmi kamae or chidori-ashi – has to take into account the important concept of the centre line.

The hands are protecting the own centre line and are pointing towards the opponent’s centre line.

A weapon is protecting your own center line, and on the other hand it is also threathening the center line of opponent.

Angle of inclination

The centre line has on top a direction range of 360°. The angle of the inclination is rather small when standing in shizentai.

The angle will increase when adopting hanmi gamae or Chidori ashi posture in the direction of the posture. The range of movement (forward, backward and turning) is influenced by the placement of the feet. (See below)

During inclination, the role of koshi comes into play for adjustment by using a pelvic tilt.

Pelvic tilt

Koshi mawari is a very complex movement and “pelvic tilt” is a part of a complete koshi mawari.

There are 3 positions of the pelvic:

  • Neutral
  • Posterior pelvic tilt
  • Anterior pelvic tilt

Neutral stance is used in the situation when no action is needed. A posterior pelvic tilt is in general used when the inclination of the body is going forward and we need to make adjustments for applying taijū no dendō. A anterior pelvic tilt is used when we retreat for an incoming power. The anterior pelvic tilt is needed to execute the rotational movement of the body – koshi mawari –

Range of turning movement

By using “chidori ashi” posture, our range for koshi mawari is much larger than for hanmi kamae. Chidori ashi posture opens the front of the koshi more than a basic hanmi gamae. While a basic hanmi gamae has a range of about 135°, chidori ashi posture has a range of about 180°

Range of bodyweight movement

When adopting hanmi gamae or chidori ashi posture, the body weight can move in an efficient way forward, backward and turning. A combination of these 3 actions is possible. There are 3 basic body weight postures, and in each posture we can turn the body. By adding “tsughi ashi” or sliding feet, we create almost unlimited possibilities of movements for offensive or defensive tactics.

  • 2 forward – offensive movement
  • 3 neutral
  • 4 backward – defensive movement

Taijū no dendō and gravity

Basically the center line and gravity are in the same area, but it is possible to have a small inclination depending on the situation. For example, just before a strike or a push is applied, the body moves a little forward to put body weight on the ball of the front foot. Releasing this tension will rebound the power stored in the tension. A pelvic tilt is needed to transmit the power of gravity (stored in the tension of the front foot) into the opponent. The line of gravity is moving forward to keep the body up.

Forward movement

The body in the previous picture has an egg shape. If you generate a mental image of an egg shaped central body, you will feel and understand the interaction of the pelvic tilt, the center line and gravity. The influence of Chidori ashi and the associated elements becomes apparent if you practice this on a regular footing.

Partner practise

It its necessary to use partner practise to experience the influence of your solo training. In “corona time”, weapon training can be a solution. This will be a theme for another “post”.

The effect of koshi-mawari

There is an interesting aspect on the integration of koshi -mawari in our martial art movements. The range of our movements becomes greater when integrating koshi-mawari.

The skill of koshi-mawari is defined by 3 major aspect:

  • use of chidori-ashi
  • vertical turning of koshi
  • horizontal turning of koshi

There are more aspect in koshi-mawari, but lets keep it simple, if this is possible, and only discuss the 3 major aspects to make the range of the movement greater. Making the range greater is not performed by overstretching the arm, or leaning into the direction of the target. The vertical and horizontal turning of the koshi has a dramatically increase of the range.

By using a sword the range of a cut can be visually presented.

Kiri-oroshi – a vertical cut with the sword

This is “kiri-oroshi” or vertical cut. Of course each “style” has a special flavour, but in general most of the cutting is according this method. Mostly, the head of opponent is the target. If the cut is lower, there is the possibility to cut the wrist or other target.

Chudan no kamae with vertical koshi-mawari

When talking about koshi-mawari, mostly a horizontal turn is considered. Vertical turn of the koshi is more difficult to perform and need a lot of training. The example here is of course a little exaggerated, but it expressed visually the vertical turn of the koshi.

Remark also, there is no change in the position of the sword when performing the vertical turn.

From chidori-ashi to shumoku-ashi

Adopting chidori-ashi no kamae with vertical koshi turning, and again some exaggeration to illustrate the vertical turn.

From chidori-ashi to shumoku-ashi, the range becomes greater. The supplemental range is about the size of the sword part for kiri-oroshi to the target (head).

Koshi-mawari is using a horizontal & verical turn of the koshi.

Integration koshi-mawari in kiri-oroshi

Performing kiri-oroshi while using koshi-mawari (horizontal & vertical turn of koshi) will greatly improve the range, but also an improvement in power generation by using a full body concept.

Tai-jutsu and koshi mawari

Using koshi-mawari (horizontal & vertical turn of koshi) when performing tai-jutsu (unarmed techniques) will have the same effect as the use of koshi-mawari during armed techniques (sword, spear or stick).

Koshi-mawari & sotai-dosa

The main ways of moving the body and hands were picked from Aiki skills, then simplified and abstracted and  organized as the exercise forms.

Teruo Fujiwara

In the Tomiki system, the use of solo-exercises and paired exercises are incorporated into the training method. Originally it was called Judo Taiso or Yawara Taiso and the purpose was to introduce judo students to Aiki-arts.

It was Senta Yamada who brought Judo Taiso/Yawara Taiso to the UK in the late 50-ties/early 60-ties. Most of his teaching are forgotten due to the focus too much on the sporting side of Tomiki Aikidō. Nevertheless, Judo Taiso is very valuable to understand Koryu no kata.

The creation of “Judo Taiso” (Judo Gymnastics)

The time when I studied under Tomiki-shihan in 1956-1958 is called ‘the age of Judo Exercise’ (Yawara Taiso). The main ways of moving the body and hands were picked from Aiki skills, then simplified and abstracted and  organized as the exercise forms.  These forms are ‘Judo Exercise’ (Yawara Taiso). The plan of making ‘Judo Exercise’ (Yawara Taiso) is that by doing them repeatedly, we can learn Aiki as if we learned hundreds of thousands of skills which can benefit our bodies in a positive fashion. . ‘Judo Exercise’ (Yawara Taiso) is the valuable legacy of Tomiki-sensei.

Around 1950-1952, Kenji Tomiki developed  a training-system for the many aiki-jutsu techniques. It was called judo taiso or judo gymnastics. This training-system was created according to the judo principles, (Judo Taiso 1954 by Kenji Tomiki) and includes 11 solo exercises (Tandoku Undo) and 8 partner exercises (Sotai Undo)

What is Judo Taiso? 

Judo taiso is a modern gymnastic training-system to learn atemi waza (striking techniques) and kansetsu waza (joint techniques). These fundamental  movements  are the expression of the power and rhythm in atemi waza and kansetsu waza.

Tandoku Undo are exercises to develop good posture and balance. Judo principle shizentai-no–ri (principle of natural posture) is clearly expressed in these exercises. The use of the handblade is a reflection of the many aiki-jutsu atemi-waza and kansetsu-waza learned from Morihei Ueshiba. 

  • Tegatana soho 1 : Kihon no kamae – Fundamental posture, power is concentrated in tegatana (1)
  • Tegatana soho 2 : Uchi mawashi – Inside sweep (2-3)
  • Tegatana soho 3 : Soto mawashi – outside sweep (4-5)
  • Tegatana soho 4 : Uchi gaeshi – soto gaeshi – Inside turn and outside turn(6-9)
  • Tegatana soho 5 : Uchi mawashi tentai – Inside sweep with forward turning (demawari) (10-11)
  • Tegatana soho 6 : Soto mawashi tentai – Outside sweep with backward turning (hikimawari) (12-15)
  • Tegatana soho 7 : Ko mawashi – Compact method of tegatana soho 2 and 3 (16)
  • Tegatana soho 8 : O mawashi – Big turning forward and backward (17-22)

List provided by Senta Yamada

Sotai undo – 8 partner exercises

In paired exercises the primary concept is the relationship with the partner/opponent and the way of controlling the partner/opponent by using the different tegatana-soho.

  • Aigamae or regular facing posture
  • Gyaku gamae or reverse facing posture
  • Hineri or inward turning of partner/opponent body (or body part)
  • Gaeshi or outward turning of partner/opponent body (or body part)

NrName techniqueGrip to wrist (*)Movement of tegatana
1Ai gamae ude hineriUra doriSoto gaeshi
2Gyaku gamae ude hineriOmote doriUchi gaeshi
3Ai gamae ude gaeshiOmote doriUchi mawashi
4Gyaku gamae ude gaeshiUra doriSoto mawashi
5Ai gamae tenkai ude hineriOmote doriSoto mawashi tenkai
6Gyaku gamae tenkai ude hineriUra doriUchi mawashi tenkai
7Ai gamae tenkai ude gaeshiOmote doriUchi mawashi tenkai
8Gyaku gamae tenkai ude gaeshiUra doriSoto mawashi tenkai

* Omote dori : grip to wrist on inside – Ura dori : grip to wrist on outside

Koshi-mawari and sotai dosa

Koshi-mawari is in general translated as turning the hips. From previous posts we know this is not correct. Koshi-mawari is a very complex way of moving with the lower torso. Koshi-mawari can be considered as the movement of a ball (kyūten*)

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.

1- Ai-gamae ude hineri

From “Judo Taiso” book

Below: from 1950 movie

*

Tomiki’s Movie around 1950

Senta Yamada performing sotai dosa “Ai gamae ude hineri”

The originals by Kenji Tomiki for this sotai dosa (1), give no indication of a focus on Koshi-mawari. When watching the performance of Senta Yamada, an early disciple of Kenji Tomiki and Morihei Ueshiba, we can see some indications of using koshi. There are many examples of Yamada sensei, where he is using koshi-mawari. Unfortunately he did fail to explain how to perform “koshi-mawari”.

2- Gyaku-gamae ude hineri

From “Judo Taiso” book

*

Tomiki’s Movie around 1950

In Tomiki’s original from the movie, we can see how he is using chidori-ash and the associated koshi-mawari.

3- Ai-gamae ude gaeshi

From “Judo Taiso” book

*

Tomiki’s Movie around 1950

4- Gyaku-gamae ude gaeshi

From “Judo Taiso” book

*

Tomiki’s Movie around 1950

5- Ai gamae tenkai ude hineri

From “Judo Taiso” book

*

Tomiki’s Movie around 1950

6- Gyaku gamae tenkai ude hineri

From “Judo Taiso” book

*

Tomiki’s Movie around 1950

7- Ai gamae tenkai ude gaeshi

From “Judo Taiso” book

*

Tomiki’s Movie around 1950

8- Gyaku gamae tenkai ude gaeshi

From “Judo Taiso” book

*

Tomiki’s Movie around 1950

Extra Kihon developped by Kenji Tomiki

In Tomiki’s early movie, under the chapter “kihon-waza” he demonstrated 4 extra kihon-waza.

Ude gaeshi rotation

*

Ude gaeshi rotation

*

Ten-Chi

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Haishin Undo

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Integrating Koshi Mawari

This is a sequel on “Aikidō: A Matrix Budō“. We will go deeper into the movements of the koshi, namely koshi mawari. The skill of koshi-mawari is practised at the first place with solo-exercises: tandoku undo.

During a seminar (March 2007), Fumiaki Shishida – JAA-Shihan re-introduced the concept of chidori-ashi.

  1. Unsoku (Shumoku-ashi 3 basics, Chidori-ashi, Denden-daiko)
  2. Quick posture change from natural posture
  3. Tegatana-awase (including the principle of Japanese swordsmanship)
  4. Shotei-awase (Skill to stop the partner.)
  5. Applications (Balance breaking with chidori-ashi, Relaxation from a hand sword)

Shisei or Postures

There are many kind of postures. Each Budō form has his own postures. But there are elements which can be found in each Budō form. A good posture allows maximum efficiency in terms of time and space. Posture is not static, there are always movements in the body to adjust balance and preparation to generate power.

Posture based upon “chidori ashi” will give you a better efficiency in generating coiling or wrapping power (tenshikei). The engine for such kind of power is “koshi mawari” which can be translated as: turning koshi.

When koshi rotates, the opponent is dominated by this rhythm. He has to follow against his will. He experiences the defeat as a non-violent, pleasant experience. That is precisely why it means losing with a smile on your lip.

It must be borne in mind that the arms and legs together with koshi always form a unity of movements. This is called “rendo“.

Feet positions in postures

Shizentai – Neutral Posture

Shizentai or neutral posture can be used as a meditative posture. It is also a posture to have the idea of “ready to start training”.

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Shumoku (shimoku) Ashi Posture

Shumoku or shimoku are 2 words for the same concept of foot position in an on-guard posture.

Shumoku originally the wooden bell hammer, a beam that is attached to Japanese bells at right angles. This way of stepping is frequently used with tsugi ashi or shuffle. Remark the 2 pattern: L-position and T-position. Both position will be used when hamni-gamae or sideway posture is adopted. The T-position is more convenient for hito-e-i posture, L-posture will give you a more slightly frontal posture. Sometimes, the front foot is slightly open? Although we speak about posture, we must understand the dynamics of this posture and the methods of changing positions in relation with oppponent.

Kenji Tomiki: It is good to wait in mugamae (shizentai) and to assume hanmi (shumoku ashi posture) as the opponent enters.

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Chidori Ashi Posture

Feet position or stepping named after a bird of the same name (chidori=plover), the traces of which resemble those of the feet-position turned outwards.

The chidori foot position differs from the Shumoku position, the front foot is open. Shumoku is not very suitable for our koshi-mawari purposes. Chidori ashi is the perfect method to excellent in koshi-mawari

The front foot turns slightly outward in relation to the direction of the target, the back foot follows at a 90 degree angle to the front foot position. The resulting angle of the front foot of 15 to 45 degrees in relation to the centerline causes the koshi to turn and to lower.

This posture gives an excellent opportunity to perform: “koshi-mawari”. Changing from shumoku ashi into chidori ashi is simple:

  • Turn front foot open
  • Drop bodyweight more into back foot.
  • Turn body almost complete frontal.

Shumoku ashi and chidori ashi can be used to perform unsoku-ho (foot movements).

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Shumoku Ashi Gamae

Such a posture will be mostly used during “katachi” or “kata” performances. Bodyweight is more to the back foot. Under the heel of the front foot is an opening of about 1or 2 mm.

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Chidori Ashi Gamae

By assuming this posture, the performance of koshi-mawari will be much better.

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Chidori ashi and koshi-mawari

Koshi-mawari can be performed at any time without a break, when your koshi is lowered sufficiently, with slightly springy knees. This makes it easier to react spontaneously to changes in any situation. If koshi does not lower in itself, so that one is only stiff and rock-solid, the chidori position cannot be performed. One speaks of a “lifeless”, that is to say an non-energetic position or a stiff kamae. Koshi-mawari and chidori are mutually dependent. If you fail to combine the koshi rotation with the chidor foot position, you run the risk of defeat.

So, we first adopt the chidori postion, let the koshi sink and perform koshi-mawari. Easy, isn’t it.

Hiraki

The term basically describes a lateral “opening” of the body, which, however, should not be confused with simply evading. The starting position is the left or right basic position. Koshi is now turning (without the upper body) in the opposite direction, which means that as soon as you release the resulting tension in the body and combine it with a small step, you come to a slightly laterally offset position next to the baseline without the movement jerky approach. A maximum 15 ° angling is enough to distance yourself from the opponent’s line of attack. It shouldn’t be any more so that the opponent cannot recognize it.
Hiraki uses the ball principle. A ball can rotate freely in a direction from a push or push, depending on the angle of impact, be it horizontally or vertically or in a combination of both directions also in a spiral shape.

Tandoku undo – Taisabaki

Tandoku-undo is just a name for solo-exercises and can have different names depending on the puspose of the exercises. Also, the content of tandoku-undo can also be very different, depending on the school you are practising martial art. As a beginner this is very confusing, the skill is to find out the principles and apply them in the exercises.

Another name for tandoku undo is Taisabaki: the moving body.

All actions have to be seen as an implementation of the free moving body concept. Therefore, tandoku undo or taisabaki regarded as a free moving body movements, should never be neglected as it is a practice for acquiring the principle of yawara, jū or aiki.

Although tandoku undo or taisabaki do not yet result in any techniques, if you train the body in the way the koshi-mawari moves, this has a decisive advantage when it comes to performing specific waza (techniques).

It is a great challenge to integrate “koshi mawari” into Tandoku undo or Taisabaki. Basically the first step to do is integrating chidori ashi posture. Next step is to become familiar with koshi and tanden, the lower part of the central body. This is not easy and will take a few years to become aware.

Koshi mawari is not about turning the hips, there is much more going on. As a reminder, it should be repeated again: in Budō it is very important that the movements are smooth and flexible (yawara). It is best achieved on the basis of the koshi-mawari, i.e. freely rotatable koshi. There is no other way to succeed than to acquire these flowing, spherical, horizontal and vertical rotations. The way there just leads over taisabaki.

Tandoku undo/Taisabaki Points

  • dropping the bodyweight
  • smooth movements
  • stretching the body
  • rotation start with waist movement
  • using diagonal tension (Monjuro Morita concept*)
  • …..

*Monjuro Morita (1889-1978)

Koshi-rotation

Adapted from Kenji Tokitsu book : Miyamoto Mushashi, Myth & Reality

The perfect handling of the sword is produced by the integration of three elements: the rotation of koshi (koshi-mawari), diagonal tension produced by this rotation and displacement of the body.

Traditionally, displacement in tandoku undo is done in a straight line forward. In relation with an opponent, this is of course a mistake. There are basically 3 mistakes (no koshi-turn, left and right koshi-turn without displacement) when considering the integration of koshi into tandoku undo.

To avoid such mistakes, moving slightly of the central line is a solution.

Integration of such an evasion makes the exercise much more difficult. Students have to think in the beginners-phase on many things.

The moving off the central line when introducing foot displacements can be done later when student understand tegatana and koshi movements (see again Morita Monjuro advice about using koshi and diagonal tension).

Tandoku undo – taisabaki

When integrating koshi-mawari into tandoku undo – tegatana no godosa, some adjustements has to be done. Koshi-mawari is often mentioned in explanations, but it is not often seen in demonstrations of katachi, kata or randori.

How to perform a “simple” koshi-mawari

Tegatana no godosa

Originally, Tomiki sensei introduced 5 methods to use tegatana. Those movements are integrated into tandoku undo taisabaki. When introducing the student into the 5 methods with the help of tandoku undo taisabaki, we can start without the foot displacement for tandoku 1 to 3. The integration of koshi maware together with the tegatana movements will be in such a case much more easier.

Starting position for tandoku undo tai sabaki.

Tandoku undo 1

Practising tandoku undo 1 can be done in 2 ways

  • With displacement
  • Without displacement

An example without displacement and turning footwork:

An example with displacement:

Tandoku undo 1

Shōmen-uchi, striking with tegatana from above or from below to the center line of the opponent.

There are different methods to practise.

  • Staying on the central line
  • Moving away from the central line
  • Moving forward
  • Moving backward
  • other…..

Use koshi-mawari when preparing for a strike. This is creating a kind of tension in the body (tenshikei) and can be used as spiral power.

This tandoku undo has many purposes and can be called a multi-purpose skill. Basically there are 3 kinds of skill:

  • Study of “kamae”
  • From jodan gamae attack or defence using shomen-uchi (striking)
  • From gedan gamae attack or defence using shomen-utsu (punching)

Tandoku undo 2

Yokomen-uchi, striking with tegatana to the side of opponent (head, arm,…). This yokomen-uchi has 2 modes: uchi-mawashi and soto-mawashi.

Tandoku undo 3

Tandoku undo 4

Tandoku undo 5

Tandoku undo 6

Tandoku undo 7

Ukimi – The floating body

A lightness of the body, a feeling of complete weightlessness, hovering sensation of the body that is established by koshi-mawari.

When we practise with our without a partners, we must always be ready to use both legs or feet to move. The skill of taijū no dendō is putting the weight in the koshi, not in the legs or feet. If the weight is in the koshi and we move with koshi-mawari and/or unsoku, a feeling of weightlessness will fill the body. An eventually partner will feel almost nothing and his bodyweight will dropp into the floor. Of course if he has the same skill, a different game has to be played. This game is called: hyoshi.

An example of using chidori ashi & koshi-mawari