Tegatana – Study Group Tomiki Aikido

Seichusen & a column full of power

It is the Earth which allows to generate force with the legs.
Internal Martial Art

Seichusen

In “Aikido-Tradition and the Competitve Edge” written by Fumiaki Shishida and Tetsuro Nariyama the definition of “Seichusen” is as follows:
The human body displays bilateral symmetry. Seichusen is a vertical line through both the nose and the navel down the center of the body that cuts into two exact halves.

Of course, this definition gives us just a 2D image, whereas our body is a 3D object. The idea of bilateral symmetry is right if you see the body of the front face. On the other hand, another point of view does not follow the bilateral symmetry.
A view from any angle at the seichusen can be seen as the center line which divides the body into 2 halves. These 2 halves are not symmetrical, except for the front or back view.

A column full of power

Seichusen or the centerline always stretches in the direction from top to bottom. This creates a line of strength needed for good posture.

A strong position is not only with the vertical line, but in a horizontal plane as well.

The centerline should be viewed as the midline of a column. This column can be very thin, but can also be very broad and full of power generated using the legs.
The column strength lines are oriented in six directions.

Up and down
Forward and backward
Left and right

A column full of power is embedded in the various postures and positions we can adopt during training.

An example of how Seichusen works.

Testing posture with footwork

Footwork is a basic skill to perform effectively while exercising. Maintaining a strong yet flexible stance is a condition for moving when an adversary is involved.

Mu-gamae & Hanmi

Mu-gamae is mostly translated as empty posture or no-posture. In fact, when you just are in a standing position with parallel feet and your arms at the side of the body, we can consider this as “mu-gamae”. There is no intention in this posture.

There are 2 important control centers

Kyokotsu – upper center
Hara tanden – lower center

By moving a foot forward and turning the body, we create a stance mostly named as “hanmi” (half body turn).
If one thinks about Aikido as Budo, then it is necessary that one considers mugamae, right position (hanmi) and left position (hanmi) as 3 in 1. The 3 basic modes have of course an integrated seichusen and the column of power.

“Hanmi is efficient when you step in from mugamae to the opponent or when you want to apply a technique. But as a starting position, hanmi is not very useful.”
Kenji Tomiki

3 types of hanmi

Using hanmi has 3 modes. Each mode is associated with a type of movement expressed by the bodyweight transfer.

Neutral position, bodyweigth in the middle
Forward position, bodyweight forward
Backward position, bodyweight backward

Generating strength with the legs

Essentially, all of our strength comes from our legs. It is initiated from the lower body and then moved by the hara tanden to kyokotsu and distributed to the hands.

When you push with your legs down, there is a rebound, which is guided with your knees in your hips. They must be flexible and do not brake.
The role of the knees is important, these joints move toward each other during a forward motion. With a motion to the back, they separate. Knee motions are measured in millimetres.
Moving forward, the front leg and knee move downward. As you move backwards, your back leg and knee move downwards.
Don’t forget to fold your hips as if sitting on a high stool.

Hara Tanden and kyokotsu

Tanden and kyokotsu are two centres used as a distribution tool for the force generated in the body through the use of the legs. Find more information in a different article about kyokotsu and hara tanden.

Moving with tegatana.

All power generated by the legs has to be transferred to the hand and/or arm. The tool we use to transmit our power to the target is tegatana.

What is Tegatana?
When the 5 fingers are stretched enough, the base of the hand is stretched overflowing into the little finger. In the small sense this is called tegatana, but in a broader context this becomes the forearm (from wrist to elbow). Tegatana exercises include both hand length and arm length exercises

Tegatana no kamae

This is an extension of mugamae and hanmi (hidari/migi no kamae)

3 types of tegatana no kamae

These are chudan (middle level), jodan (upper level) and gedan (lower level), where chudan is used as a basis where the tegatana is kept in the seichusen (centerline) of the body

3 conditions for movement with tegatana

The use of posture with correct stability.
Positioning the tegatana in relationship with seichusen or correctly on the center line of the body.
To ensure that the use of the tegatana corresponds to the foot movement carried out at the same time.

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.

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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.

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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.

Koryu no kata – Dai Yon (3)

Oyo waza

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

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

Section 3 – Techniques 1-4

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

Section 3 – Techniques 5-8

A lock is applied to perform a throw.

Section 3 – Techniques 9-11

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

Koryu dai yon a basic training tool

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

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

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

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

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

17-hon no kata

Kata in general consist mainly of offensive and defensive methods. Although there is no visible attack (for the untrained eyes) in the 17-hon no kata “toshu” method , there has to be an offensive and defensive action.

Uke’s attitude towards Tori has to be an offensive one. Uke is projecting his attacking mind forward in the direction of Tori.
Tori attitude towards Uke has to be a controlling one. Tori is grasping the attacking mind and neutralize it.

Tegatana awase

Tegatana awase is mostly referred as a sensitivity exercise when Tori and Uke have their tegatana together. This is not only the case in Tomiki Aikido but in all Aikido methods where Tegatana Awase is used.
Morihei Ueshiba & André Nocquet putting together the tegatana.

Touching the tegatana in 17-hon no kata is an important part of the performance. It is the first physical contact with Uke. Losing the fight starts here.

Benefits of kata training

When kata is done with the correct attitude, the are a lot of benefits for body and mind. The attitude of offensive and defensive actions is one of the most important elements in the kata training. Without these actions kata becomes an empty performance, a display without a soul.

Kata can be very beneficial as physical training, especially if Uke accept the many stretching movements during the performance.

Ukemi can be very demanding and is a form of cardio training. It is the task of Tori to keep always control of Uke, even when Uke is performing ukemi.

Throwing Uke in a violent way has to be avoided. Controlling Uke with pain is not the preferred way and shows a lack of skill in controlling violence.

Because the roles of Tori and Uke are set, precision becomes another element in the performance of the kata. Without proper technical and mental skill, kata becomes a dull and boring training tool. Learning precision is an important benefit of proper kata training.