Tandoku undo

The “Dogma” of Tandoku-Undo

Stepping out of the box

Years ago, my children made the remark: “What is the purpose of doing tandoku undo (unsoku and tegatana dosa) always in the same way for years and years like a robot?”

Gitte and Tim were both World-Champion Tanto Randori in 2005. At the center is prof. Fumiaki Shishida.

This question caused me to reflect on the advantages of practicing the “tandoku undo”. It was always said, by doing tandoku undo my Aikido will improve. So, I did some research in the field of martial arts solo-training. I got some experiences of my time doing karate. Several years later, I was exposed to Korindo-Ryu’s solo exercises. Tandoku-renshu or solo practice is also part of Jodo and certainly a main part of Iaido. I learned from one of my Jodo and Iaido’s teachers about the importance of “understanding”.

To return to the initial question about Tandoku-undo from my children, the answer came as a shock.

If we do the exercises with belief by doing it often and many rehearsals, it is an illusion that we will progress.

By practicing the exercises with an understanding of the mental and physical level, progress will come stage by stage. Sometimes the progress will be large as an explosion, but most of the time it will be minor and will occur only after practicing regularly with understanding.

Human behavior (mental and physical) can only progress in a positive direction when we get out of the box full of dogmas. Dogmas are created to keep people foolish and ignorant about evolution.

The concept: Tandoku Undo

Teruo Fujiwara on Tandoku Undo or Yawara Taiso (Judo exercises).
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 exercise forms, called ‘Judo Exercise’ (Yawara Taiso). The plan of making ‘Judo Exercise’ (Yawara Taiso) was 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.

Simplified and abstracted

The significance of “simplified and abstract” can be described as a method of exercises which can be used in different situations. We should be able to detach a fixed application derived from performing a tandoku undo exercise. The implementation of tandoku undo in our training must create the gate of “creativity”. By using “creativity” we are able to deal with a different situation.

Movement memory – 2 phases

According to Science, learning a body skill is a two-step process. Mostly, the term Muscle Memory is used, we cannot assume that this search is only built around “Muscles”. The whole movement system is integrated into the research. We can talk about muscles, tendons, ligaments, fascia, neurons………. and our brain.

Muscle memory encoding
Muscle memory consolidation

The coding of information in the brain in Phase 1 is well documented by Science. The coded information has to be transferred to another part of the brain during Phase 2. The transfer of coded information has also been investigated by Science, but Science still does not know where the information is stored. How the transfer occurs is also a source of speculation among the various interpretations.

Bridge between Science and practical use of Martial Art Exercises

Movement Memory is a real thing and is not a fantasy used by people to earn some money by promising unrealistic skills. The bridge between science and the practical use of martial arts exercises (randori & Goshin-ho) resides in how we organize our training. The purpose of the training is to activate the movement memory in an efficient way.

Tandoku-renshu (solo-training) and sotai-renshu (paired training) include both the same body movement skills. Those skills are centered around:

Body structure (shizentai)
Methods of using gravity as the power source
- Body weight shift (taiju no dendo)
- Body weight displacement (taiju no ido)
- Coiling movement (tenshikei)

Tandoku renshu and Koryu no Kata

“The main ways of moving the body and hands were picked from Aiki skills, then simplified and abstracted and organized as exercise forms, called ‘Judo Exercise’ (1954 – Yawara Taiso).“

This is a remark on Judo Taiso (Tandoku Undo and Sotai Renshu) by Teruo Fujiwara, an early Tomiki student. In those days, Koryu no kata did not exist as a formal exercise. Students practised most basic waza and exercises. Some classical waza have been used to demonstrate the capabilities of Aikido as an art of self-defense (martial art). It was also during this period that Kododokan Goshin Jitsu was introduced. Kenji Tomiki was the first public demonstrator of this kata. You will find his demo on YouTube.

Creation of Koryu no kata

In about 1958, we practiced mainly the unsoku, tandoku undo, yonhon no kuzushi (the original version of the present nanahon no kuzushi) as well as the jugohon no kata (fifteen technique kata). In around 1960, the junanahon no kata (17 technique basic kata) and the roppon no kuzushi were created and then the dai-san no kata was devised as a kata of classical techniques. During the mid-60 Ohba Sensei and others worked on the creation of the kata forms of the dai-ichi (first) to dai-roku (sixth), which we presently practice as the koryu no kata, in order to work on techniques for demonstrations and for purposes other than randori. What Ohba Sensei particularly stressed in formulating these kata was the organization of different techniques in such a way that students could learn connections between techniques easily and naturally. After he had organized the techniques to some extent, Ohba Sensei reported to Tomiki Sensei and demonstrated what he had done for him. He received some advice from Tomiki Sensei and then added corrections to the kata. (“Bujin Hideo Ohba,” Kyogi Aikido Soseiki no Ayumi; Ohba Hideo Sensei o Shinobu, p. 67)

A tangle of movements

The source of Koryu no kata is mainly on the art of Morihei Ueshiba, especially the pre-war training methods. In the original Tandoku Undo, there are more body moves to explore than in the modern version of the Japan Aikido Association and the Nariyama Shodokan Method (Osaka). Unfortunately, when researching older versions of Tandoku Undo, the first challenge is the myriad of different movements. The use of all these Aiki-skills in a logical order without loss of effectiveness is the next difficulty. There are a number of successful and unsuccessful attempts in the history of Tomiki Aikido.

According to Teruo Fujiwara the original Tandoku Undo can be described as follows:

Tegatana soho in Yawara Taiso
Tegatana sosaho or handcontrol exercises

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

A young Senta Yamada demo of Tandoku Undo Tegatana Dosa

Kihon no kamae
Uchi mawashi
Soto mawashi
Uchi gaeshi/soto gaeshi
Uchi mawashi tentai
Soto mawashi tentai
Ko mawashi
O mawashi

In the next videoclip, Kenji Tomiki is performing an early version of “Tandoku Undo Uchi gaeshi/Soto gaeshi”. It is not very clear if Tomiki is performing an arm twist (inside and outside), or is he just swinging his arm forward and sideways. In the Yamada clip, there is an impression of a more clearer arm twist.

From the Early Tomiki Movie around 1950

Uchi gaeshi & Soto gaeshi

Back to the future

Can we recognize “the main ways of moving the body and hands” in koryu no kata, as the simplified and abstracted movements found in Tandoku Undo?

There are some videoclips of Kenji Tomiki performing old style aikido (koryu). Unfortunately, his movements are not very clear and give no clues how to move the body in a more efficient way. The performance of Senta Yamada demonstrating old style aikido gives a better impression. His movements are much closer to the movements of Hideo Ohba.

Ohba’s movements gives the impression of a loss of body structure. Tomiki and Yamada are showing a much better control of the body structure. But, on the other hand , Ohba’s seems to use more taiju-no-ido skill, using momentum to control uke’s body. Circular movements are frequently used in koryu-no-kata.

An example by Kenji Tomiki – Kote Mawashi

It seems Tomiki uses taiju-no-dendo of bodyweight transfer to control Uke. Koshi movement is a part of this body control.

An example by Senta Yamada – Kote Mawashi

Senta Yamada use his structure to control Uke. There is no unneccesary movement.

An example by Hideo Ohba – Kote mawashi

Hideo Ohba gives the impression to use shoulder power to control his Uke.

Another example by Hideo Ohba

Taiju-no-dendo or bodyweight shift is a part of controlling Uke

The key to success lies in your creativity.

I learned about Tomiki Aikido at the end of the seventies of the last century. I was taught unsoku and tandoku undo by Dr Lee ah Loi. Most of the time, this was the modern version of JAA, but there was an influence of Senta Yamada. Whereas the JAA version is a fairly straight version, the influence of Senta Yamada is circular.

Another important person for my footsteps on the way to Tomiki Aikido is Itsuo Haba. He taught me some basics for randori, but also something about the effectiveness of gentleness in body movements.

After more than 40 years of Tomiki Aikido, it is a natural evolution, my Tandoku Undo, Kihon Waza and Koryu no kata are “not” the same as of Tomiki or Ohba. Of course you will find influences of many instructors, wellknown or not, but at the end it is my Tandoku undo. Maybe it looks like Tomiki Aikido…..maybe……

Nagashi and Hakkei

In this blog post I will try to explain different types or methods to practice Tandoku Undo or the main ways of moving the body and hands picked from Aiki skills, then simplified and abstracted and organized as an exercise course.
The result of this training can be seen in the skills of Nagashi and Hakkei.

Nagashi and Hakkei

These two concepts have already been covered in a separate blog post. Certain explanations are needed to light up a concept of “moving body”.

Nagashi: Within the context of Tomiki Aikido, nagashi is the skill of a flowing movement and its derivative power “hakkei”.

Hakkei: Is a sudden power, generated by using nagashi or flowing movements. Tenshikei and koshi-mawari are integrated components for producing hakkei.

Some advice by Shigeru Uemura, former Shito-Ryu karateka
When we release the muscles, an energy linked to gravitation is released. With the muscular relaxation, the movement is immediate, in a single time.

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

These are fundamental components of budo. By using the concept of “rendo” or “linking movements” flowing movements are created: nagashi

Body weight and using gravity play a substantial role in generating force when using Taïjū no idō and/or Taïjū no dendō.

Hino Sensei (Hino Budo method) states: “Strictly speaking, the movement of the body’s weight is to move by making one’s body a single block. For example, moving forward, or backward, being a solid block.

Posture training and static tandoku undo-tegatana dosa are the main methods to create one solid but flexible body. Next step is to use the flexible but solid block together with a proper footwork by using the skill of Rendo.

Taïjū no idō

stepping with gravity — Taïjū no idō by using gravity

Controlling own body during displacement is controlling the force of gravity.
Taïjū no idō is a skill for example to avoid an attack from the opponent. By applying the proper footwork, the distance between tori and uke can be managed in favor of tori. Sometimes the skill of avoiding an incoming attack can be done without displacement of the feet.
Gravity gives weight to the physical body and can be utilized to start displacement during footwork.
The force generated during this displacement is called “Ido ryoku”.
Another skill to generate ido ryoku is tenshikei or diagonal tension.

Taïjū no dendō

Taïjū no dendō or transmission of body weight.
This is a skill to transfer body weight into the opponent without pushing or tensing muscles.

Inoue- sensei from Japan Aikido Association is an expert on this matter.

Putting weight into a movement
If we attack with shomen uchi or shomen tsuki (straight forward attack) we need to put the weight into the attack.
When performing tegatana awase, we also can put weight in the tegatana.
Don’t confuse putting weight into the opponent by a pushing action. Pushing in many cases is performed by using local muscle work. Although this is not a mistake, it is more efficient to use the skill of Taïjū no dendō and/or Taïjū no idō with a flexible body and generating force by performing “nagashi”.

How to put weight into a movement?

To answer this question we can use an exercise from tandoku undo as an example: soto-gaeshi in a slow motion version

Body weight is dropping after the arms start to move down. There is a connection between the arms and the body weight. Gravity is used to drop and not local muscle power. Important is to keep the body vertical, in line with gravity.

If we only bend our knees or only using arm strength, there will be no Taïjū no dendō involved.

Tenshikei

Using diagonal tension as a source of force is already mentioned many times in this blog. Please refer to the different articles of Tenshikei.

A famous Budoka, Morita Monjuro wrote an interesting essay about diagonal tension.

The perfect handling of the sword is produced by the integration of three elements:
1. the rotation of koshi (koshi mawari)
2. diagonal tension produced by this rotation
3. displacement of the body
Morita Monjuro

Even for Morita Monjuro, a body in motion is needed to produce strength and its application.

An application of rotational force by Senta Yamada

The rotation force is transferred to the uke body using diagonal channels. To get an idea of the paths of power, one may consult the concept of tensegrity. This is called Budo’s case, Jukozo.

Patterns of footwork

Dynamic tandoku undo is based upon different pattern of footwork. These include:

tsugi ashi
tsuri ashi
ayumi ashi
de mawari
hiki mawari
tentai

Some examples of footwork training methods

Unsoku-ho

In Tomiki Aikido, the exercise unsoku-ho is a very basic footwork pattern and can be adjusted depending on the circumstances. The origin of this exercise can be found in Kodokan Judo.

By integrating Taïjū no idō and Taïjū no dendō into Unsoku-ho, a new way of practising footwork is created. If you like to experiment with unsoku-ho, don’t be afraid to change the fixed pattern. Aikido is a skill to react in different situations and fixed formats has to be avoided when you reach a more advanced level.

Types of tandoku undo

Static tandoku undo – basic – about postures, body movement and tenshikei. No footwork is involved.
Dynamic tandoku undo – integration of footwork into postures and creating a moving body.

A number of versions of tandoku undo exist. Mostly we use an adapted version taught by Senta Yamada. The history of Tomiki’s Tandoku Undo is briefly described in my book The secret weapon of Aikido Written 2008/2009 and published 2010, free to download. In this blog, many elements of my book are being discussed in light of my growing experience and research on these subjects.

How to practise Tandoku Undo?

There are a number of ways in which the tandoku undo can be practiced. Mostly Unsoku ho or footwork is practised first, followed by Tegatana dosa. Counting every posture in performance is a perfect format for beginners who are not familiar with the sequence of movements. Advanced practitioners are benefiting more from other types of practice. We talked about it in a previous blog post.

As we began our article with some explanations about the “moving body” and its fundamental elements, we must concentrate on these fundamental elements and integrate them into our practice.

Tegatana dosa without footwork allows you to concentrate more on integrating tenshikei (rotational force). Integration of footwork adds an extra item in the training and the synchronisation of the footwork with the movements of the torso and upper limbs is an extra difficulty to overcome.

Each Tandoku undo exercise may be done as often as desired. The concept of “nagashi” or flowing movements can be incorporated without counting the positions.

Static tandoku undo

In this type of training, there is no footwork. Although a very small turning movement of a foot is used sometimes to create “Chidori ashi and koshi mawari“. Only basic arm movements are used.

Shomen uchi & shomen tsuki
Uchi mawashi & soto mawashi
Uchi gaeshi & soto gaeshi

The names of tegatana movements can be different depending on the use of the tegatana. A more recent version is focused on the use of tegatana as a sword. See also Nagashi kata.

Shomen no uchikomi/tsukikomi
Kiri kaeshi
Maki zuki
Kesa uchi (not discussed in static tandoku undo)
Tenkai/tentai no uchikomi (not discussed in static tandoku undo)

Dynamic tandoku undo

Tegatana – Shomen uchi & shomen tsuki
Uchi mawashi & Soto mawashi
Uchi gaeshi & soto gaeshi
De-mawari Uchi mawashi
Hiki-mawari Soto mawashi
Ko mawashi
O mawashi

The integration of footwork makes this type of solo workout very dynamic, and depending on the speed usage, it becomes a sort of cardio workout.

By using the concept of “ju & go” power, another dimension can be added. Go-power typically uses a penetrating, linear force, whereas ju-power usually uses a circular, flowing force. The original Nagashi kata, an older version of tandoku undo is characterized by flowing movement and generates ju-power. The first exercise shomen uchi & shomen tsuki is an example of go-power, although there are elements of ju power movements included.

In previous articles on tandoku undo tegatana dosa, using chidori ashi is exaggerated for introducing basic mawari koshi. By adding more velocity** to the exercises, the use of chidori ashi becomes only important at certain points of the exercise. Especially when the direction of the movement must be adapted in accordance with the circumstances. Over-focusing on a concept can destroy the effectiveness of a body movement application.

**Velocity is equivalent to a specification of an object’s speed and direction of motion.

Tegatana – Shomen uchi & shomen tsuki

Static method

This exercise includes some technical applications besides the fundamental elements like chidori-ashi, koshi-mawari and nagashi.

A study of postures: jodan, chudan and gedan no kamae

A study of basic atemi-waza – striking or pushing techniques

Koshi-mawari and tenshikei is also the key to successful application of “hakkei” or explosive immediate power.

Dynamic method

The integration of footwork makes this exercise highly dynamic. Footwork is based upon ayumi ashi and tsugi ashi. These kinds of footwork are extensively practised during unsoku-ho. In the beginning, it is preferable to use a slow speed method.

The application of atemi-waza becomes more obvious in the dynamic method. During the static method, the integration of chidori-ashi, koshi-mawari and nagashi is fully developed and the benefit of it will come to the surface.

The skill of “hakkei” or “sudden power” during dynamic performance must be considered as a tool for further development of randori and self-defence applications. Timing in this case is a crucial element and cannot be overlooked.

Uchi mawashi & Soto mawashi

Static method

Like the preceding tegatana dosa, several interpretations may be used for practical purposes. By utilizing a more linear approach, Atemi waza or striking techniques are more visible. When using “nagashi”, a flowing flavor is noticeable.

Dynamic method

When using footwork, the concept of “hakkei” can be practised and still having flowing movements or nagashi.

Uchi gaeshi & soto gaeshi

Static method

Nagashi is the main feature of this tegatana dosa, though certain hakkei elements may be detected.

Dynamic method

As for the previous tegatana dosa (nrs1 and 2), a dynamic approach makes the concept “hakkei” more obvious.

De-mawari Uchi mawashi

The main feature in this tegatana dosa is a circular footwork pattern. This is an application of “irimi” using circular footwork.

Hiki-mawari Soto mawashi

The main feature in this tegatana dosa is a circular footwork pattern. This is an application of “ura” using circular footwork and soto mawashi.

Ko mawashi

Sometimes reference is made to “tentai” or 180° bodyturn. Note that footwork is done after you have sufficiently turned the body.

O mawashi

Big movements are characteristics of this tegatana dosa. It can be performed in a more “atemi waza” format or a “nagashi” format.

Influence of velocity

Speed is not just the execution of the exercise with more speed, but the direction of motion has an important part to play. The 3 basic tegatana dosa, the focal point is straightforward. In older versions of tegatana dosa, the performance includes a moving on the side with a rotating body. This can be seen at the beginning of this post. Senta Yamada performing Uchi mawashi.

A rotating body will increase the power of a body motion if it is made correctly.

Body turns may be made at 90°, 180°, 270° or other angles.

Speed also influences the various levels of impact of the workout on the heart rate zones. This was discussed in Aikido, a Holistic Approach.

Taijū no ido & Taijū no dendō

Workshop 14-16 February 2020

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

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

Solo training is discussed in another blog-post.

Displacement & transmission

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

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

Ido-ryoku

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

There are 2 kinds of ido-ryoku in martial arts

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

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

Taijū no ido

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

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

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

Tenshikei

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

Example

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

Taijū no dendō

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

Example

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

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

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

Compilation of workshop 14-16 Feb 2020

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

Tandoku Undo – Solo training

Workshop 14-16 February 2020

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

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

Partner training is discussed in another blog-post.

Your personal solo-training

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

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

Benefits of solo-training

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

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

Warming-up

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

A simple method for a short warming-up

Knees/Ankle rotation
Hip rotation
Waist rotation
Body rotation
Shoulder/Elbow rotation
The Wave

***

Knees/Ankle rotation

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

***

Hip rotation

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

***

Waist rotation

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

***

Body rotation

Body rotation along the body axis. 20X

***

Shoulder/Elbow rotation

This is a “kyokotsu” exercise

***

The Wave

A 3D exercise with “undulation” patern.

***

Unsoku-ho or foot movements patterns

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

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

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

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

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

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

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

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

Unsoku-ho
Shomen uchi/tsuki
Uchi/soto mawashi
Uchi/soto gaeshi
Uchi mawashi – de-mawari
Soto mawashi – hiki-mawari
Ko-mawashi – tentai
O-mawashi – de-mawari/hiki-mawari

Tegatana no godosa – 5 handblade

There are 5 basic movements.
Those movements can be combined with unsoku ho and tenshikei skills.

Formal Tandoku Undo Tegatana dosa

Tandoku undo – unsoku ho/tegatana dosa are traditional Tomiki Aikido solo-exercises. In the history of Tomiki Aikido different versions were used. When Senta Yamada came to England, he taught 3 unsoku-ho and 8 tandoku undo as described in Tomiki’s book “Judo Taiso” published around 1954.

Teruo Fujiwara
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 1975, Tomiki introduced a 5 method tandoku undo containing 5 basic movements to the university students.

By combining unsoku ho and tegatana dosa, a dynamic training tool is created. The basic movements of kyokotsu (forward/backward, up/down and turning), taijū no idō or body weight shift and taijū no dendō or body weight transmission give an extra dimension to the execution of tandoku undo. Tandoku undo is the entry level for sotai renshu (paired training) .

* In 1975 tandoku undo n° 7 & 8 was removed from the Japan Aikido Association syllabus. From Bodywork point of view, these exercises are still incorporated in our training.

** Gassho uke is a rather recent add in tandoku undo-tegatana dosa.

Tegatana no godosa – 5 basic handblade movements

The arm is not moving by itself, but the movement starts in the central body. No unnecessary arm muscle power is used. In other words, the arm is moving without conscious thoughts.
The muscles of the body must kept flexible but not limp.
The stretching part of the exercises cannot result in a tensed posture.

1-Uchi Mawashi

When lifting up the handblade, keep the palm inwards. When the handblade goes forward, the palm is downward. Stretch the body up, use the “tenshikei” lines. Release the stretch, the handblade will move forward. Just use the release to move the arm. Don’t bend the elbow intentionally. This is not a strike with the hand, but can be used as a strike without conscious thougth.

2-Soto mawashi

soto mawashi basic
When lifting up the handblade, keep the palm outwards. When the handblade goes forward, the palm is upward. Stretch the body up, use the “tenshikei” lines. Release the stretch, the handblade will move forward. Just use the release to move the arm. Don’t bend the elbow intentionally. This is not a strike with the hand, but can be used as a strike without conscious thougth.

3-Uchi gaeshi

The arm turning is an inward movement. Keep gan kyo bappai. This is a phrase used to describe the postural adjustment at the chest level (Empty the chest & Pull out the back ). Keep the concave shape of the chest and stretch the spine to widen the back. Important is not to tense the muscles.

4-Soto gaeshi

The turning is an outward movement.
The elbow is going to the inside.

5-O mawashi

Kyokotsu is the center of the big arm movement. Keep central axis. Keep the bodyblock.

These 5 basic arm movements can be employed in different kinds of body-movements. Tandoku-undo (Tomiki style) is such an example. When integrating unsoku and koshi-mawari taisabaki, an almost complete bodywork system is created. See “Integrating Koshi Mawari“

Atemi and tegatana

Tegatana – handblade

In various schools of martial arts, there are different ways of delivering a blow. One can strike with the fist, handblade, elbow, knee or foot or even a combination.

The handblade or tegatana (lit. handsword) is the part of the body most often used in aikido to strike in attack or parry in defence. By concentrating the energy of your body into the cutting edge of your hand, blows of considerable power can be achieved. These blows are called atemi-waza, (lit. ate= to strike, mi=body).

Learning to give a powerfull strike with the tegatana is depending on the skill of taijū no idō or body weight shift and taijū no dendō or body weight transmission. See unsoku ho for further information. When your skill can be performed with rendo or continuous full body movement, you wil create “hakkei” or sudden power in your atemi.

5 handblade methods – Tegatana no go dosa

The origin of tegatana dosa exercises can be found in the 5 handblade movements developed by Kenji Tomiki. These handblade movements will be used in attack and defence.

5 tegatana

Metsuke and Shisei

Looking straight forward (metsuke) and a proper posture (shisei) are the basic requirements for using atemi waza. By applying metsuke and shisei and adding the use of gravity we create a starting point of a movement.

“The starting point of a movement”

When you have the sensation of gravity, you will also experience the point where stability is changing into instability. We also know we put a foot in the direction of the instability without a conscious thought. The body reacts naturally. The starting point of a movement with the feet forward, backward, to the side or diagonal will happen without any extra movement. This gives a great advantage when attacking of defending, because the opponent will not receive any indication when the attack or defence starts. If you attack with atemi, the starting point of a movement (in this case an atemi) cannot be intercepted by the opponent.

The movement starts from emptiness, the mushin mugamae concept.

Weapon work and atemi

A weapon is an extension of the body and must be handled with the patterns of the bodily movements. “Don’t use partial muscular movement between the joints”. Use a full body movement (rendo).

Although nowadays most practitioners make reference to swordhandling when doing tegatana dosa, but at the origin of tegatana dosa the link with the sword is not so obvious.The emphasis is more on atemi or methods to destroy the body postures of the opponent by using tegatana movements. In any case, it is ambiguous to make reference to swordhandling without a thorough study of a sword school.

tachi shomen uchi