by: Henry Ellis
Interview with Sensei Henry Ellis a pioneer of British Aikido from 1957.
Interview by Arthur Lockyear - Fighting Arts International - Issue 93
Where and when were you born, Henry? I was born in Yorkshire, in May 1936 in a little coal mining village called Brampton, near Rotherham. A place where you had to fight your way to and from school each day.
When did you begin your study of Aikido?
It was in 1957, I was studying Judo and Karate at the 'Abbe School of Budo' at the 'Hut' in Hillingdon, Middlesex. My direct teacher was Mr Ken Williams, who was 3rd Dan (3rd degree black belt) Judo, and we were all students of Kenshiro Abbe Sensei, 8th Dan Judo, 6th Dan Aikido, 5th Dan Karate, and 5th Dan Kendo. At this time no-one in the United Kingdom had heard of Aikido. Abbe Sensei told Mr Williams that he had received a letter from O'Sensei Morehei Ueshiba, stating that all instructors outside of Japan now had permission to teach Aikido to anyone who wished to learn. Mr Williams was his first student and he then selected a hard core group of Judo students to study Aikido - this was when I started.
Abbe Sensei made Mr. Williams National Coach for Aikido and I became Mr Williams' assistant, a post which I held for approximately 15 years.
Abbe Sensei and Williams Sensei then brought eight of us special students up to 1st Dan, the only Aikido Dan grades in Great Britain at that time, and all in one dojo (place of training)!
All the Dan grades were hard training and strong with no 'bandage men' amongst them.
Sunday morning practice was for Dan grades only and Williams Sensei would lock the doors to the dojo - it was then that the serious practice started, with real fighting. He would allow the younger black belt grades to try and prove themselves against him - without success, I might add. It was at that time that Williams Sensei started to visit other dojos to introduce Aikido.
I have heard that Aikido training was harder back then...
In the early days the training was extremely difficult, with the emphasis on very strenuous exercise. My students and I used to train four or five nights a week as well as on Sunday mornings.
Immediately after taking the students running for several miles, we would return to the mat and perform 200 press-ups on the backs of the wrists, which was then followed be general practice and a further two hours of hard practice. Abbe Sensei's Aikido was the pre-war style of Aiki Jutsu, which was very physical. Both Abbe and Williams were excellent teachers - they worked very hard to train us, whilst promoting Aikido to a rather unreceptive public.
When I was graded 1st Dan by Abbe Sensei, Williams Sensei instructed me to take a good student as an assistant. The assistant I chose was a 17-year-old by the name of Derek Eastman, who is now 3rd Dan and technical Director of our Basingstoke Headquarters. Mr Eastman is now 48 years of age and still a loyal friend. It proves one old adage: that you cannot buy or demand respect, you earn it.
At what point did you go 'on the road' to spread the 'Aikido gospel'?
When Mr Eastman reached 1st Dan, I was 2nd Dan and Williams Sensei advised us to spread the word of Aikido.
We both gave up our jobs and travelled all around the U.K. It was so difficult trying to introduce Aikido, because most people had never heard of it. Mr Eastman and I left home and headed for the Midlands, without money and with little hope. In some areas where Sensei Williams had already introduced Aikido, we would find accommodation with the students and receive a small fee for teaching. We would visit Judo and Karate clubs, sports centres, etc.
In the areas where there was no Aikido at all, we would take a job for a few days to feed ourselves. We had many jobs and in one area we worked as assistants to a funeral director. We had to collect the bodies from the mortuary and take them back to the chapel of rest.
The boss caught me in the chapel of rest with a young maiden who had no right being there.. she being very much alive and well. He was very angry with me, and after many more similar escapades he assured me I was on borrowed time.
We got a job as road sweepers, wearing bowler hats, which attracted a great deal of attention from the girls. In the North of England the girls loved to hear a London accent, and this was a great help with the invitations for dinner and, if we were lucky, accommodation, it was a struggle to survive.
We also worked in steel factories and carried out many other jobs around the country, but without doubt the worst of all was repairing an old railway line. We called it the 'railway of death', the hard work and the foremen were like the films we had seen on this subject - needless to say, we did not stay there for very long. I must add, as I look back on my life in Aikido, that this was a really great time. As with all memories, we tend to forget the bad times and remember the good ones. We contributed greatly to the promotion of Aikido and I do not regret one day of it.
I believe that you also trained under Nakazono Sensei in those early days.
Yes that's right. As I said, Abbe Sensei's Aikido was all we knew, and when he told us that he had invited a new teacher from Japan to visit us, we were quite exited as we had not seen another Japanese Aikido master. The new teacher was Masahiro Nakazono Sensei and he taught us for two weeks. It was two weeks of hell! He had us practising on the mat for three hours in the morning and three hours in the afternoon, and the Dan grades had to practice an additional three hours in the evening. During this seminar there were many broken bones and other injuries.
Our etiquette and discipline could not be questioned, and Abbe Sensei had always taught us to use very strong technique in our Aikido and not be thrown, unless the technique was effective. He also taught us that to be strong showed respect for your teacher.
It is important to understand in those early days that we knew no different, we knew only the strong fighting art of Aikido. Nakazono Sensei was very angry and perplexed with us. He did not understand us and thought we were being disrespectful to him. It was not until near the end of his seminar that Abbe Sensei explained to him the reason for our approach to Aikido, and then Nakazono Sensei realised we were genuine students with great respect for him and a strong desire to learn.
In England it is traditional, after a hard practice, to finish the evening with a pint of beer at the local pub. But Nakazono was keeping us on the mat until 10.00 p.m., and the pubs closed at 10.30. We were not able to change and reach the nearest pub before closing time, so Sensei Williams said to me; "Ellis, as my assistant, it's your duty to ask Sensei if we can leave the mat at 9.00 p.m. so we have time to get to the pub". What a fool I was! I did ask Nakazono Sensei and he was angry with me and said he had travelled across the world to teach us Aikido, and all we wanted to do was go to the pub! Well, when he put it like that, it made us feel bad. However, he didn't seem to understand that this was our vacation from work... I reminded Nakazono Sensei of this incident when we met in Santa-Fe recently, and we were able to laugh about it.
The important thing I have not mentioned so far is the vast difference in technique between Abbe Sensei's old style and Nakazono Sensei's new style, which was a far more flowing movement - it seemed so much softer and yet so strong. We quickly adapted to this new style, and it was then that Abbe dropped a 'bombshell'. We would all have to be re-graded to meet with the present standards of the Aikikai Hombu (Headquarters) in Tokyo.
The grading was physically and mentally demanding, and at the end of it he lined-up all eight Dan grades and said he accepted all our grades with the exception of one. He looked at this student for what seemed an eternity, then said: "Necessary sell you gi (uniform) while price is high".
Even after 37 years that sentence has not been forgotten. He took away that students grade.
In 1963 I was Nakazono Sensei's assistant at a national Martial Arts demonstration at the Royal Albert Hall in London - that was a very proud moment for me as a young black belt, and also a proud moment for my parents, as this was the first time they had ever seen me in an Aikido demonstration.
Abbe Sensei then brought over from Paris a young 5th Dan, Masamichi Noro Sensei. This was the first time we had seen a Sensei (teacher) in a white hakama (traditional uniform), and Noro turned out to be perhaps the most graceful of all the teachers I have seen to date. There followed many other fine teachers, like Hiroshi Tada Sensei, Tadashi Abbe Sensei and Nobuyoshi Tamura Sensei.
For me the most effective of all the Japanese masters was, without doubt, Kazuo Chiba Sensei. I was with him for several years and once partnered him on television. At that time Chiba Sensei and I were teaching Aikido at our dojo, which was situated at 'The Times' newspaper in London, and were asked to take part in a 30-minute World Service broadcast on BBC World Radio. Sensei asked me to do the talking, because at that time his English was not so good. A television producer heard the broadcast and asked if we would do a demonstration on Anglia TV, to which we agreed. Whilst we were waiting for our 'slot', they took us to the hospitality room, where the bar was stocked with just about every drink you could imagine. The hostess asked if we would like a drink, and I thought a whisky would go down well. I asked "Sensei, can we have a drink?". He said we could, but before I could order, Sensei had asked for two orange juices.
Some Aikido I have seen in recent years depresses me because it can be carried out only by two Aikidoka who practice together on a regular basis, like a couple of dancers who know each other's movements. I honestly think that the majority of students take up Aikido for self defence, so if I wanted Yoga I would study Yoga, and if I wanted to dance I would take dancing lessons.
I believe Aikido not only has to look good, but also has to be effective.
Abbe Sensei not only taught Tori (performer of technique) to have good posture and balance, but Uke (receiver of technique) had to attack on balance also, since it is easy to throw when he comes in off balance. He used to teach with a Shinai (bamboo sword), with which he would hit and say: "My English is not very good, but my shinai speaks fluent English".
You can tell a student twenty times what he is doing wrong before he gets it right, but the shinai speaks only once, with incredible results. I still occasionally teach the high grades with a shinai.
In the early 1960's I was asked to carry out an Aikido demonstration at the British Judo Council's National Championships in London.
It was to be the most important Aikido demonstration to date. The VIPs were the Japanese Ambassador and Lady Baden-Powell, wife of Lord Baden-Powell, who was then the head of the World Organisation of Boy Scouts. Kenshiro Abbe Sensei and Masutaro Otani Sensei, 8th Dan, another Japanese Judo Master, emphasised how important this evening was, and wanted an impressive display from the Aikido people. Whilst we were waiting to go on, a Judo Dan grade approached Otani, who was speaking to he Japanese Ambassador, and said: "Hey, Smiler". I couldn't believe the disrespect and took him to one side. We were in a confrontational situation when Derek Eastman, who had been outside smoking a cigarette, called me to inform me that we were due on stage immediately. We rushed on to the stage and as I performed the first technique, Mr Eastman's cigarettes and matches fell from his gi, on to the stage. I was already upset from the previous incident, and now this embarrassment was the final straw. I smashed Mr Eastman all over the tatami (mat) and back again. When demonstrating knife defence, the knife went through my gi and I felt the blade against my stomach and thought: "My God, it's in me!". I dropped on to my knees with Mr. Eastman in immobilisation as I withdrew the knife from the hole in my gi. I expected blood to flow but... nothing! It turned out to be just a graze. I looked at the front row, and staring at me with shock and horror was her Ladyship, and I knew by her face that any hopes we had entertained of securing her sponsorship for Aikido had disappeared. In fact, Her Ladyship was quoted as saying: "That was the most horrific display of violence I have ever witnessed".
The Japanese Ambassador, on the other hand, congratulated us on an excellent display.
In those days, the style we practiced was hard and positive, as well as being defensive. If I had only known then some of the things I was later to acquire from Nakazono Sensei's teachings, this could have given Aikido a major boost in the UK
Could you talk about your own philosophy of Aikido and feeling on Budo (the 'Way')?
I still practice the old, original Aikido, which appeals to my positive nature and attitude.
The early traditional style of Aikido is that of O'Sensei as a young man - a fighting man. My own understanding of O'Sensei's life of Aikido was that he developed Aikido as a fighting art as well as a positive form of self-defence. His life changed as he became older and so did his Aikido - he became more involved in he philosophy of his art. I have heard and read of other Sensei who were close to him, who said they could understand maybe 10% of what O'Sensei taught. If that is true, then what chance have we of understanding the depths of his mind?
I have met many Western Sensei who have delved so deep they almost think they are Japanese. I always tell my students that we are practising a Japanese Martial Art, but remember, we are Westerners, and therefore we must reach a happy compromise between East and West. I teach some Japanese words, but I don't go 'over the top'. When I was teaching in America, I was asked to visit a large dojo in Texas. Everything they said was in Japanese, so I tried to look as if I understood, but to be honest I didn't have a clue, and I don't suppose a Japanese person would understand much of our Western interpretation of their language either. I am often asked what are the best books or videos to buy, and I always point to the tatami and say: "That's where it's at!".
In the beginning, Abbe Sensei would not discuss Ki (spirit, mind, energy) - he said you had to be 1st Dan before you could understand. I still agree with that. What I find a little disturbing in Aikido is that some people really believe that Ki is almost a form of magic. Abbe Sensei's method was that you first trained very hard physically to develop your spirit and your mind. He said that when the body says it is tired the strong mind will override it and carry on.
Some teachers of Ki Aikido have had previous study of traditional Aikido, and this, along with the practice of Ki, is good. But the students who have been taught only Ki style cannot fall back on to the good, solid, traditional style when in difficulty with certain techniques. My own students are aware of Ki and its meaning, but it is not a word I use very often. I teach students the flow and power of breathing as an important part of their exercise and Aikido training.
During Nakazono Sensei's last visit to the UK, he asked me to be his assistant at a demonstration at a venue in Acton, London, for Otani Sensei. Chiba Sensei was there too, but only as a spectator. Knowing how hard Nakazono was from past experience, I feared the worst and thought I was in for a hard time, but Sensei was a little older and had changed dramatically. I think he threw me only twice, and then we spent about an hour kneeling while Sensei went into some very deep philosophy which none of us could understand. Even Chiba Sensei looked puzzled, and when I think of this particular seminar, I wonder: Is this how O'Sensei changed?
When I saw Nakazono Sensei again in Santa Fe, New Mexico, he gave me two books he had written, and signed them for me. I spent about four hours at his home, and he and his wife made me most welcome, which made me think: Yes, I am a privileged student.
After 40 years in the Martial Arts, with many friends who are bouncers, boxers, fellow Martial Artists and Street fighters, it is my honest opinion that the hardest man to beat is the natural street fighter. My assistant for many years and a great personal favourite of Chiba Sensei, was 'Mad' Geoff Goodwin, who disappeared some years ago. Geoff came from Derbyshire and followed me to London, where he later became my special assistant. He was a natural-born street fighter and we had some great battles.
My son, Richard, who studied Aikido from the age of 5 and continued until he was 14 years old, is also a natural street fighter. He has now been back into Aikido for a year and is running the junior section with great success. We often practice together and I try my techniques against him, and with his natural balance and Aikido training, his reactions and responses are very fast. It makes you very aware that an opponent has more than one hand.
I teach as Abbe Sensei did, that Uke must attack on balance, remember at all times that two people are practising, Tori to throw, and Uke Atemi and Ukemi. What I don't allow is the Uke attacking with his or her back leg off the mat. I also don't like to see Uke trotting around Tori's circle on his toes like a trained poodle on a lead, waiting for the instruction to jump!
You have dojos in the United States affiliated to your school, I believe.
Yes, in Dallas, Texas and in Alamogordo, New Mexico. The teachers there, Al Montemar and David Rogers, were my students in the early 1980's when they were with the US Air Force at Greenham Common. I was fortunate enough to be able to visit both dojos during 1992 and give seminars and grading examinations for my American students.
I know that Abbe Sensei told you how he first came to Aikido - would you mind recounting that particular story?
I'd be happy to. Abbe Sensei was All Japan Judo Champion at the age of 18, prior to World War II. He told me that he was rather arrogant at that time, having achieved fame so young.
Anyway, it was during a train journey in Japan that he first met O'Sensei. Abbe didn't know who he was and he reacted to Ueshiba Sensei looking at him, saying: "What are you staring at, old man?" Ueshiba replied: "I know who you are". to which Abbe modestly retorted: "Everyone knows me, I am Kenshiro Abbe, Champion of All Japan". O'Sensei then introduced himself as the Founder of Aikido, and was told by Abbe that he didn't look strong enough to be a Martial Arts Master. O'Sensei then offered Abbe his little finger, and said: "But young man, you look very strong indeed. Please break my finger".
Abbe at first declined, but eventually accepted the challenge, presumably to shut this old man up. Abbe Sensei told me that, as he took hold of the old man's finger and tried to break it, he found himself on the floor of the carriage and totally immobilised. Whilst on the floor, Abbe asked the Founder for permission to study under him. This is my understanding of Abbe Sensei's story.
When you were in my 'local' earlier, you told me a couple of interesting stories about one of your former teachers. Could you repeat them for this interview, please?
Certainly, but I think its better that we don't print the man's name. Well, he was a 2nd Dan in Aikido, under Ken Williams, and also held equivalent ranks in Judo and Karate. He was a strange character and used to speak in an affected, Japanese broken English, and one day he said to me: "Mr Ellis want come my house for supper?" So I said: "Yes, Sensei, I'll come for supper, thank you". I went along to his home, knocked on the door and it was opened by this guy wearing a black silk kimono (traditional Japanese gown) and geta (clogs). I was a little taken aback by this, but went in and we sat down.
After a couple of minutes, Sensei clapped his hands and his wife came trotting in from the kitchen, also in a kimono. So, the first thing he did was to slap her across the face three times. Her head rocked back and forth but she didn't say a word, or even cry. I just looked on in total amazement... it was unbelievable. He told her to prepare the meal, and she returned to the kitchen. When his wife had left us I told him that I thought he was out of order. This chap replied that Abbe Sensei had told him that it was a Japanese tradition to slap one's wife every morning to teach her humility! I pointed out to him that he was not Japanese - but to no avail, as he slapped her again when he ordered our drinks! I was never the same with him after that..... it was incredible behaviour.
You did, in fact, come to blows with this particular man later on, didn't you?
Yes, I did, Arthur. We were in this pub after training and he said to me:
"You think you can take me, don't you?" I told him that I'd never thought about it, to which he replied: "Oh yes you have, you think about it all the time". Again I denied this, it was just bloody rubbish, but he would not let go. He kept baiting me, saying: "You want to try?" and I said to him: "You know, Sensei the only person troubled by this is you. It is you who are unsure about me, not I about you". So he said: "Let's go outside", and out we went.
Outside the pub he put himself in Aikido posture, so I just stood there as relaxed as possible, and waited. As soon as he came for me, I hit him and put him on the deck. As he went down I dropped and immobilised him with my knee on his neck. At this point he said: "O.K., that's enough, let me up". I said: "Is that it? Is this incident finished?" He replied that it was. Well, I'm a very straight man, and if someone says it's finished, then for me it is finished. So as soon as I let him go, he smacked me straight in the nose and broke it - I was covered in blood and in a bit of a mess. He lost not only my respect, but that of everyone who had been present. He moved from the area soon after that, and I've never seen or heard of him since.
Finally, Henry, do you have any advice that you would like to offer to Aikido practitioners?
I would urge them to visit other clubs and look at other methods. You don't have to like everyone's Aikido, but if you can take away a little from each dojo you visit, it will help make your own Aikido complete. Also, I would say - stay clear of 'fairy' Aikido - remember it's a Martial Art and must work.
The Origins of Aikido
Aikido is a name which is created by linking three characters in Japanese. Ai means joining, Ki refers to spirit and do means way. By taking these three terms together you get the essence of the art of aikido. Aikido can then be defined as a form of martial art which joins the spirit in order to find the way. In the 1930's - 1940's this was officially accepted as the definition as the true name of this martial art.
Aikido emphasizes techniques that do not damage or kill people unlike other different forms of martial arts. These skills and movements which are taught are created in order to divert a person's focus or immobilize that person. Most people prefer this discipline because it is a peaceful and harmonious compared to aggression and conflict. Morihei Ueshiba who developed the martial art believed that the control of aggression without any resultant injury was the art of peace.
Ueshiba is also O sensei, which translates to Great Teacher in English. He created aikido from the founding principles of Daito-Ryu -Aiki-Jujutsu. He also made use of the different techniques of the yari, the spear; the juken, (a bayonet); and the Jo, (a short quarterstaff). Something that separates Aikido from other different martial arts is that Aikido uses hands as weapons and the individual has no use for weapons.
When Ueshiba was a child he focused a lot on physical fitness and conditioning due to the fact that he had vowed to avenge the death of his father. He studied different martial arts including those with weapons and those without. This is one of the reasons why this particular far eastern martial art is such a diverse and multi-disciplinary field.
Despite all his knowledge Ueshiba wasn't satisfied because he felt that something was missing. This was where he found religion in the hands of Onisaburo Deguchiof the leader of the sect of Omoto-Kyo in Ayabe. It was Deguchiof who taught him to take care of his spiritual self. With the combination of the spiritual and his cumulative knowledge of martial arts led to formation of Aikido.
By associating with Deguchiof he also go to meet the ruling and military elite as a martial artist. Due too this connection he then established a spiritual discipline and transferred this teaching to different students. These students over time developed their different styles and additions to Aikido.
Aikido is a diverse mélange of the various styles of Jujitsu and some other techniques of other arts such as sword and spear fighting. Ueshiba was an expert in all these arts. This martial art combines certain joint locks and techniques which are employed in Jujitsu and movements that the body goes through whenever you're fighting with swords and spears.
Aikido was brought to the west by Minoru Mochizuki when he came to France in 1951. He introduced the aikido techniques to students who were learning judo at the time. In 1952, Tadashi Abe came to France as the official Aikikai Honbu representative. In 1953, Kenji Tomiki made a tour through the United States while Koichi Tohei stayed in Hawaii for a full year where he set up a dojo and taught Aikido. Aikido then spread its influence in United Kingdom. In the year 1965 this Japanese discipline was introduced to Germany and Australian and now it exists all over the world.
Aikido emphasizes techniques that do not damage or kill people unlike other different forms of martial arts. These skills and movements which are taught are created in order to divert a person's focus or immobilize that person. Most people prefer this discipline because it is a peaceful and harmonious compared to aggression and conflict. Morihei Ueshiba who developed the martial art believed that the control of aggression without any resultant injury was the art of peace.
Ueshiba is also O sensei, which translates to Great Teacher in English. He created aikido from the founding principles of Daito-Ryu -Aiki-Jujutsu. He also made use of the different techniques of the yari, the spear; the juken, (a bayonet); and the Jo, (a short quarterstaff). Something that separates Aikido from other different martial arts is that Aikido uses hands as weapons and the individual has no use for weapons.
When Ueshiba was a child he focused a lot on physical fitness and conditioning due to the fact that he had vowed to avenge the death of his father. He studied different martial arts including those with weapons and those without. This is one of the reasons why this particular far eastern martial art is such a diverse and multi-disciplinary field.
Despite all his knowledge Ueshiba wasn't satisfied because he felt that something was missing. This was where he found religion in the hands of Onisaburo Deguchiof the leader of the sect of Omoto-Kyo in Ayabe. It was Deguchiof who taught him to take care of his spiritual self. With the combination of the spiritual and his cumulative knowledge of martial arts led to formation of Aikido.
By associating with Deguchiof he also go to meet the ruling and military elite as a martial artist. Due too this connection he then established a spiritual discipline and transferred this teaching to different students. These students over time developed their different styles and additions to Aikido.
Aikido is a diverse mélange of the various styles of Jujitsu and some other techniques of other arts such as sword and spear fighting. Ueshiba was an expert in all these arts. This martial art combines certain joint locks and techniques which are employed in Jujitsu and movements that the body goes through whenever you're fighting with swords and spears.
Aikido was brought to the west by Minoru Mochizuki when he came to France in 1951. He introduced the aikido techniques to students who were learning judo at the time. In 1952, Tadashi Abe came to France as the official Aikikai Honbu representative. In 1953, Kenji Tomiki made a tour through the United States while Koichi Tohei stayed in Hawaii for a full year where he set up a dojo and taught Aikido. Aikido then spread its influence in United Kingdom. In the year 1965 this Japanese discipline was introduced to Germany and Australian and now it exists all over the world.
The Diverse Concepts in the World of Aikido
The merger of the cultures of the East and West along with other factors have lead to people discovering novel means of self-discipline. This self-discipline is primarily existent in martial arts like Aikido which have Japanese origins.
Knowing Aikido Aikido’s basic principle emphasizes restraint from the use of force. Aikido is seen as one of the martial arts that is the least aggressive. Aikido is largely popular because it refrains from provoking or initiating attacks. Aikido emphasizes the use of the attackers force and the redirection of such force into throws, locks and other different means of restraint. Little or no amount of kicking and punching is employed in Aikido. The art also pays no heed to the physical aspects of an individual during combat. Features such as size, age, weight and strength are irrelevant. What is relevant is that a skilled Aikido student knows how to direct the energy of their attacker and keep them unbalanced.
Aikido has a history that can be traced to the time when its founder Morihei Ueshiba discovered the art and developed the founding principles of Aikido. Morihei Ueshiba is also known as “O Sensei” or “Great Teacher” the translation in English, what he succeeded in developing was a martial art that employed the physical and useful elements of other martial arts such as “Kenjutsu” and “Jujitsu”. Aikido was derived from the branch of martial arts known as "Daitoryu Aiki-jujutsu" it also involves other different forms of training such as “yaru”, ”jo” and “juken” these terminologies stand for “spear”,” quarterstaff” and “bayonet” respectively.
When Ueshiba was done developing the minor and major parts of the art of Aikido, he also emphasized that martial arts was not restricted solely to the self-defense techniques of an individual but also had its part to play in the enhancement and development of the moral and spiritual aspects of an individual. This development would lead these individuals to place a greater emphasis in the creation of a feeling of harmony and peace. People who are skilled in the practice of Aikido claim that “harmony of the spirit” is one literal term that may be used to describe Aikido in English.
Aikido isn’t simply about kicking and punching and opponent and at the same time it isn’t a static art. As a martial art it is largely effective just because it makes sure that the person practicing the aikido uses the energy of their opponents in order to control them. Taking a closer look at Aikido will reveal that it is not solely a means of self-defense but a means of enlightenment as well. It is also a means of physical health and exercise and a means by which a person may gain peace of mind as well as concentration and serenity.
Different styles of Aikido emphasize a great emphasis and focus on the spiritual aspects of an individual to varying levels. Some of these levels may be greater or lesser but the primary idea is that the art was created in order to promote peace and harmony.
Knowing Aikido Aikido’s basic principle emphasizes restraint from the use of force. Aikido is seen as one of the martial arts that is the least aggressive. Aikido is largely popular because it refrains from provoking or initiating attacks. Aikido emphasizes the use of the attackers force and the redirection of such force into throws, locks and other different means of restraint. Little or no amount of kicking and punching is employed in Aikido. The art also pays no heed to the physical aspects of an individual during combat. Features such as size, age, weight and strength are irrelevant. What is relevant is that a skilled Aikido student knows how to direct the energy of their attacker and keep them unbalanced.
Aikido has a history that can be traced to the time when its founder Morihei Ueshiba discovered the art and developed the founding principles of Aikido. Morihei Ueshiba is also known as “O Sensei” or “Great Teacher” the translation in English, what he succeeded in developing was a martial art that employed the physical and useful elements of other martial arts such as “Kenjutsu” and “Jujitsu”. Aikido was derived from the branch of martial arts known as "Daitoryu Aiki-jujutsu" it also involves other different forms of training such as “yaru”, ”jo” and “juken” these terminologies stand for “spear”,” quarterstaff” and “bayonet” respectively.
When Ueshiba was done developing the minor and major parts of the art of Aikido, he also emphasized that martial arts was not restricted solely to the self-defense techniques of an individual but also had its part to play in the enhancement and development of the moral and spiritual aspects of an individual. This development would lead these individuals to place a greater emphasis in the creation of a feeling of harmony and peace. People who are skilled in the practice of Aikido claim that “harmony of the spirit” is one literal term that may be used to describe Aikido in English.
Aikido isn’t simply about kicking and punching and opponent and at the same time it isn’t a static art. As a martial art it is largely effective just because it makes sure that the person practicing the aikido uses the energy of their opponents in order to control them. Taking a closer look at Aikido will reveal that it is not solely a means of self-defense but a means of enlightenment as well. It is also a means of physical health and exercise and a means by which a person may gain peace of mind as well as concentration and serenity.
Different styles of Aikido emphasize a great emphasis and focus on the spiritual aspects of an individual to varying levels. Some of these levels may be greater or lesser but the primary idea is that the art was created in order to promote peace and harmony.
Aikido Spirit
Aikido means "The way of harmony with the spirit" and is considered a non-violent form of martial art. The Aikido spirit is about cultivating relaxation and a serenity throughout everyday life to be able to harness this virtue in actual physical combat.
Aikido is actually a modern Japanese martial art and the Aikido spirit continues to live on today years after it was developed by Morihei Eushiba. Noteworthy about this particular martial art is that the Aikido spirit is cultivated within its students so that there is a spiritual and philosophical development that happens; which in turn becomes the basis of the combative art. Modern day students of Aikido testify that they bring the Aikido spirit with them throughout ordinary mundane activities, forming a bridge between principles of how to tackle everyday life and combat moves on the training mat.
This spiritual and philosophical basis of the Aikido spirit that cultivates relaxation and the peaceful control of aggression are attributed to the founder's background in Omoto-kyo religion. Omoto-kyo is a modern Japanese religion, which is said to be an offshoot of Shintoism. Omoto-kyo followers believe in beautifying the world with art because they believe that art brings humans closer to the divine.
Aside from this, the Omoto-kyo followers are pacifists who espouse peace over war. This is the parallel between Omoto-kyo and Aikido. That is why the Aikido spirit is often paradoxically referred to as the art of peace. One may wonder about the sanity behind the fact that a martial art which was in all intentions created for combat and winning over the enemy can indeed to be claim to the art of peace. For all intents and purposes however, the philosophical and spiritual foundation of Aikido is about maintaining a constant state of relaxation.
It is in this relaxed state that the Aikido practitioner is able to perform difficult throws and maneuvers as taught by the martial art. The relaxed state can be attributed to a deep unshakable peace free of aggression. The concept is that when we are tense and not relaxed, we needlessly waste energy on aggression and force. By going with the flow and not being afraid of what can or cannot happen to us, we cultivate a peace with a relaxed demeanor as its direct consequence.
The Aikido spirit aims to cultivate a mental discipline, develop character and self-confidence with the end goal of being able to maintain peace and relaxation. It believes that in peace can one realize true power: The power to spread peace further and the strength to be able to withstand the onslaught of everyday situations. The basics in passing on the Aikido spirit can be done through practical applications that clearly show that a relaxed demeanor is more effective than an aggressive one.
One such physical example is the exercise of trying to cause someone to lose their balance. To be able to topple off an opponent usually means that we should be physically stronger and in some cases larger so that superior physical strength through muscle contraction is the traditional measure of victory.
Aikido is actually a modern Japanese martial art and the Aikido spirit continues to live on today years after it was developed by Morihei Eushiba. Noteworthy about this particular martial art is that the Aikido spirit is cultivated within its students so that there is a spiritual and philosophical development that happens; which in turn becomes the basis of the combative art. Modern day students of Aikido testify that they bring the Aikido spirit with them throughout ordinary mundane activities, forming a bridge between principles of how to tackle everyday life and combat moves on the training mat.
This spiritual and philosophical basis of the Aikido spirit that cultivates relaxation and the peaceful control of aggression are attributed to the founder's background in Omoto-kyo religion. Omoto-kyo is a modern Japanese religion, which is said to be an offshoot of Shintoism. Omoto-kyo followers believe in beautifying the world with art because they believe that art brings humans closer to the divine.
Aside from this, the Omoto-kyo followers are pacifists who espouse peace over war. This is the parallel between Omoto-kyo and Aikido. That is why the Aikido spirit is often paradoxically referred to as the art of peace. One may wonder about the sanity behind the fact that a martial art which was in all intentions created for combat and winning over the enemy can indeed to be claim to the art of peace. For all intents and purposes however, the philosophical and spiritual foundation of Aikido is about maintaining a constant state of relaxation.
It is in this relaxed state that the Aikido practitioner is able to perform difficult throws and maneuvers as taught by the martial art. The relaxed state can be attributed to a deep unshakable peace free of aggression. The concept is that when we are tense and not relaxed, we needlessly waste energy on aggression and force. By going with the flow and not being afraid of what can or cannot happen to us, we cultivate a peace with a relaxed demeanor as its direct consequence.
The Aikido spirit aims to cultivate a mental discipline, develop character and self-confidence with the end goal of being able to maintain peace and relaxation. It believes that in peace can one realize true power: The power to spread peace further and the strength to be able to withstand the onslaught of everyday situations. The basics in passing on the Aikido spirit can be done through practical applications that clearly show that a relaxed demeanor is more effective than an aggressive one.
One such physical example is the exercise of trying to cause someone to lose their balance. To be able to topple off an opponent usually means that we should be physically stronger and in some cases larger so that superior physical strength through muscle contraction is the traditional measure of victory.
On Ki Aikido - Keeping Centered and Zen in Daily Life
By James S Apps
For years I have practiced the principles of Shin Shin Toitsu Aikido and applied them to everyday life. As Tohei Sensei said, the way of harmony is through keeping one point, your centre and therefore the centre of the universe.
The centre of the universe?
By letting the Ki of Aikido pass through our center we can tap in to the Ki of the universe and use its power to direct our physical actions. With the addition of Zen thinking you can use Ki to control your perception of time and make a second last as long as you need it.
Impossible?
Not really if you sit in the seiza position, that is with your legs folded beneath you Japanese style, and with your hands together locked in the church and steeple manner with your thumbs crossed and your index fingers gently touching at eye level. Breathe deeply and steadily taking at least a minute to complete each breath first breathing in through the nose and then exhaling through the mouth with a pause at the change over.
You can use a Zen mantra if you wish. Silence is better, the mantra is a distraction because you need to empty your mind of all thoughts.
How can I do that?
Simply by concentrating on breathing and becoming aware of the circular contact between your fingertips. How does this aid keeping centre and what is keeping centre anyway?
Your centre is a small place about fifty millimeters below your belly button. This is the point in all martial arts movements around which your body pivots. It is also the channel for Ki (or the Chinese Chi) that makes the proper practice of Aikido, Tai Chi and Kung Fu so powerful. It is the point from where the sword takes its power, or the Karate open hand gets its force.
Ki is the means of keeping centered.
Ki meditation; proper breathing is the way of learning how to use that power.
Okay, so what is the benefit of keeping centered?
When Mohammad Ali won his big fights he was young, strong, quick and light on his feet, incredibly fit and articulate. His famous saying, Float like a butterfly; sting like a bee, summed up how he used his centre to direct his power to his devastating straight left.
Benefit one. You can concentrate power by keeping centre.
Watch a racing motorcyclist closely and see how he shifts his weight to take advantage of the least bit of room on the track and cut that extra hundredth of a second. His balance and therefore his centre controls the cycle getting the best out of the optimum engine speed, gear selection and braking to sling-shot around the bends.
Benefit two. You can ride a motorcycle extremely fast.
And now back to Ki Aikido.
As Instructors we translated this centering (keeping one point ) into our own study of self defense and effective combat techniques. As a result we taught our students how to remain calm in a rough situation.
First recourse. Defuse the situation with reason.
Second recourse. To walk away.
Third recourse. If walking away is not possible then by keeping centered use the minimum amount of force to resolve the situation. In the third situation above all make sure that the antagonist(s) do not get up again and then walk away.
Benefit Three. You can beat the daylights out of somebody without them realizing how the heck you did it.
Of course it is best not to pick a fight in the first place, after all Aikido is a gentle art, but that depends on your lifestyle and beliefs.
Finally. How does this help your daily life?
By applying the principles of Ki and centering in your everyday life and not just for the Dojo you will find tasks become easier, that daily grind becomes a pleasure and you are happier. In addition by approaching your life centered with Zen of taking each moment as it comes that second you want to stretch becomes a regular and enjoyable experience.
James Apps is a poet, writer and artist who loves Cats and Motorcycles. James practiced Aikido for over twenty years and has only recently decided to take up Tai Chi. James lives on the Isle of Sheppey in Kent, United Kingdom and is the chairperson of a local writer's group. Interested in how people think he invites you to visit his site and leave a comment on any of the articles relating to Zen and the art of living. Visit the site and follow the links to his Kent based blog for ideas of places to visit in Kent and Sussex and to see how this guy ticks.
As a motorcyclist of many years standing James is also ready to hear from bikers all over the world to share experiences. Young or old have your say.
For years I have practiced the principles of Shin Shin Toitsu Aikido and applied them to everyday life. As Tohei Sensei said, the way of harmony is through keeping one point, your centre and therefore the centre of the universe.
The centre of the universe?
By letting the Ki of Aikido pass through our center we can tap in to the Ki of the universe and use its power to direct our physical actions. With the addition of Zen thinking you can use Ki to control your perception of time and make a second last as long as you need it.
Impossible?
Not really if you sit in the seiza position, that is with your legs folded beneath you Japanese style, and with your hands together locked in the church and steeple manner with your thumbs crossed and your index fingers gently touching at eye level. Breathe deeply and steadily taking at least a minute to complete each breath first breathing in through the nose and then exhaling through the mouth with a pause at the change over.
You can use a Zen mantra if you wish. Silence is better, the mantra is a distraction because you need to empty your mind of all thoughts.
How can I do that?
Simply by concentrating on breathing and becoming aware of the circular contact between your fingertips. How does this aid keeping centre and what is keeping centre anyway?
Your centre is a small place about fifty millimeters below your belly button. This is the point in all martial arts movements around which your body pivots. It is also the channel for Ki (or the Chinese Chi) that makes the proper practice of Aikido, Tai Chi and Kung Fu so powerful. It is the point from where the sword takes its power, or the Karate open hand gets its force.
Ki is the means of keeping centered.
Ki meditation; proper breathing is the way of learning how to use that power.
Okay, so what is the benefit of keeping centered?
When Mohammad Ali won his big fights he was young, strong, quick and light on his feet, incredibly fit and articulate. His famous saying, Float like a butterfly; sting like a bee, summed up how he used his centre to direct his power to his devastating straight left.
Benefit one. You can concentrate power by keeping centre.
Watch a racing motorcyclist closely and see how he shifts his weight to take advantage of the least bit of room on the track and cut that extra hundredth of a second. His balance and therefore his centre controls the cycle getting the best out of the optimum engine speed, gear selection and braking to sling-shot around the bends.
Benefit two. You can ride a motorcycle extremely fast.
And now back to Ki Aikido.
As Instructors we translated this centering (keeping one point ) into our own study of self defense and effective combat techniques. As a result we taught our students how to remain calm in a rough situation.
First recourse. Defuse the situation with reason.
Second recourse. To walk away.
Third recourse. If walking away is not possible then by keeping centered use the minimum amount of force to resolve the situation. In the third situation above all make sure that the antagonist(s) do not get up again and then walk away.
Benefit Three. You can beat the daylights out of somebody without them realizing how the heck you did it.
Of course it is best not to pick a fight in the first place, after all Aikido is a gentle art, but that depends on your lifestyle and beliefs.
Finally. How does this help your daily life?
By applying the principles of Ki and centering in your everyday life and not just for the Dojo you will find tasks become easier, that daily grind becomes a pleasure and you are happier. In addition by approaching your life centered with Zen of taking each moment as it comes that second you want to stretch becomes a regular and enjoyable experience.
James Apps is a poet, writer and artist who loves Cats and Motorcycles. James practiced Aikido for over twenty years and has only recently decided to take up Tai Chi. James lives on the Isle of Sheppey in Kent, United Kingdom and is the chairperson of a local writer's group. Interested in how people think he invites you to visit his site and leave a comment on any of the articles relating to Zen and the art of living. Visit the site and follow the links to his Kent based blog for ideas of places to visit in Kent and Sussex and to see how this guy ticks.
As a motorcyclist of many years standing James is also ready to hear from bikers all over the world to share experiences. Young or old have your say.
Brief Introduction to Aikido
Aikido is a Japanese martial art developed by Morihei Ueshiba as a synthesis of his martial studies, philosophy, and religious beliefs. On a purely physical level it is an art involving some throws and joint locks that are derived from Jujitsu and some throws and other techniques derived from Kenjutsu.
Aikido was originally started in Japan back in the 1940s. As Aikido's founder, Morihei Ueshiba, was growing up in modern Japan, Ueshiba witnessed the local thugs vandalize his father. The young boy decided that he would make himself strong in order to seek revenge against the thugs. Ueshiba was strong willed, and devoted every waking moment to physical training and martial arts. He then began to look into religion, hoping that he would find a greater significance with life - pursuing martial arts all the while. Ueshiba founded the martial art of Aikido by combining both his religious beliefs and his training in martial arts. Aikido believes in harmony and peace of the spirit. By achieving a higher spiritual power, Ueshiba has always believed that the human body is capable of anything. Even though he wanted revenge, he still stated that Aikido wasn't about fighting, but rather a way to reconcile with the world and make every human being on giant family. At that time, the style was known as aikibudo, it wasn't until 1942 that he decided to go with the name Aikido.
The Japanese word "Aikido" is made up of three characters: Ai, Ki, and Do. Ai means to join, unify, or harmonize. Ki means energy or spirit, particularly a universal life force, essence, or the forces of nature. Do means a path or way of life, and signifies that Aikido involves not only self-defense techniques, but also positive character-building ideals which a person can incorporate into his or her life. Taken together, the three characters mean the way of harmony with the spirit of the universe.
After World War II, Aikido rapidly spread and nowadays has become more and more popular in many countries. "The Aikido-boom" can be seen around the world. Why is Aikido now loved by all different generations, regardless of nationality, culture, language, etc.? On a purely physical level Aikido is an art involving some throws and joint locks that are derived from Jujitsu and some throws and other techniques derived from Kenjutsu. But its style was quite different indeed, incorporating several different styles of jujitsu, aiki-jujitsu, and spear and sword fighting techniques as well. It focuses not on punching or kicking opponents, but rather on using their own energy to gain control of them or to throw them away from you. It is not a static art, but places great emphasis on motion and the dynamics of movement. Its principal is not to resist the law of nature, but to harmonize without using physical strength. This means no matter if you are strong or weak, big or small, male or female, young or old, you can do Aikido without having to be a top athlete. Although Aikido does not require physical strength, with regular practice, strength will develop as well as agility, coordination, flexibility, balance, stamina, and alertness. Aikido practice is as much a mental and spiritual exercise as well as a physical one. Regular and continuous practice teaches Aikido exercisers to coordinate and unify their minds and bodies so that they remain centered and calm in the face of physical attacks or other forms of aggression.
Can Aikido be used for self-defense?
"Those who are skilled in combat do not become angered, those who are skilled at winning do not become afraid. Thus the wise win before the fight, while the ignorant fight to win."
Yes, Aikido can be a very effective form of self-defense However, it can take considerable time and effort before Aikido (or any martial art) can be used effectively in a self-defense situation.
Aikido was originally started in Japan back in the 1940s. As Aikido's founder, Morihei Ueshiba, was growing up in modern Japan, Ueshiba witnessed the local thugs vandalize his father. The young boy decided that he would make himself strong in order to seek revenge against the thugs. Ueshiba was strong willed, and devoted every waking moment to physical training and martial arts. He then began to look into religion, hoping that he would find a greater significance with life - pursuing martial arts all the while. Ueshiba founded the martial art of Aikido by combining both his religious beliefs and his training in martial arts. Aikido believes in harmony and peace of the spirit. By achieving a higher spiritual power, Ueshiba has always believed that the human body is capable of anything. Even though he wanted revenge, he still stated that Aikido wasn't about fighting, but rather a way to reconcile with the world and make every human being on giant family. At that time, the style was known as aikibudo, it wasn't until 1942 that he decided to go with the name Aikido.
The Japanese word "Aikido" is made up of three characters: Ai, Ki, and Do. Ai means to join, unify, or harmonize. Ki means energy or spirit, particularly a universal life force, essence, or the forces of nature. Do means a path or way of life, and signifies that Aikido involves not only self-defense techniques, but also positive character-building ideals which a person can incorporate into his or her life. Taken together, the three characters mean the way of harmony with the spirit of the universe.
After World War II, Aikido rapidly spread and nowadays has become more and more popular in many countries. "The Aikido-boom" can be seen around the world. Why is Aikido now loved by all different generations, regardless of nationality, culture, language, etc.? On a purely physical level Aikido is an art involving some throws and joint locks that are derived from Jujitsu and some throws and other techniques derived from Kenjutsu. But its style was quite different indeed, incorporating several different styles of jujitsu, aiki-jujitsu, and spear and sword fighting techniques as well. It focuses not on punching or kicking opponents, but rather on using their own energy to gain control of them or to throw them away from you. It is not a static art, but places great emphasis on motion and the dynamics of movement. Its principal is not to resist the law of nature, but to harmonize without using physical strength. This means no matter if you are strong or weak, big or small, male or female, young or old, you can do Aikido without having to be a top athlete. Although Aikido does not require physical strength, with regular practice, strength will develop as well as agility, coordination, flexibility, balance, stamina, and alertness. Aikido practice is as much a mental and spiritual exercise as well as a physical one. Regular and continuous practice teaches Aikido exercisers to coordinate and unify their minds and bodies so that they remain centered and calm in the face of physical attacks or other forms of aggression.
Can Aikido be used for self-defense?
"Those who are skilled in combat do not become angered, those who are skilled at winning do not become afraid. Thus the wise win before the fight, while the ignorant fight to win."
Yes, Aikido can be a very effective form of self-defense However, it can take considerable time and effort before Aikido (or any martial art) can be used effectively in a self-defense situation.
Understanding the Five Principles of Shin Shin Toitsu Aikido
by J. Kirk Demaree/Virginia Ki Society
he Five Principles
There are five principles in Shin Shin Toitsu Aikido (aikido with mind and body corrdinated) which form the nucleus of the arts an aikidoka might perform. The principles also may be used in daily life during interaction with other individuals. These principles are:
ï Extend Ki
ï Know your opponent's mind
ï Respect your opponent's Ki
ï Put yourself in the place of your opponent
ï Perform with Confidence
Several of these principles have multiple applications and meanings. An aikidoka's initial definitions of a given principle may later change as (s)he becomes aware of other ways of looking at a given situation. Aikido is a path where, as one opens a door, (s)he may simply find more doors to choose from, and some of those doors may lead back to the original door. However, the door will not look the same as it did during the first journey through it.
The following is meant as a discussion of some possible meanings for the five principles and is not meant to limit the possible definitions for any given principle.
Extend Ki
Many practitioners of aikido begin the performance of an art by thinking, "Now I must extend ki." This is not correct in the sense that one should always be extending ki. Taking this one step further, if one is relaxed at all times, then ki is naturally extending.
Extending ki is also one of the Four Principles of Mind and Body Unification. Ki extension is a principle of the mind which affects the body. The mind leads the body, and ki extension is the connecting link between the thought in the mind and the action of the body.
Another way of saying "extend ki" is to say "extend the mind". Many aikidoka extend their arms physically, but lack the unity of the mind in performing the motion. This is "extending limbs", not "extending ki".
Know Your Opponent's Mind
In The Art of War, Sun Tzu writes, "If you know the enemy and know yourself, you need not fear the result of a hundred battles. If you know yourself, but not your enemy, for every victory gained you will also suffer adefeat. If you know neither the enemy nor yourself, you will succumb in every battle."
Master Koichi Tohei, founder of Shin Shin Toitsu Aikido, offers the parallel rule, "Know your opponent's mind."
The word aikido is composed of three Japanese characters: ai (harmony, ki (energy), and do (the way). One possible translation might be simply the way of harmony with energy. In the performance of the arts of aikido, the energy of the nage (defender) must harmonize with the energy of the uke (attacker). Before one can be in harmony with the energy of another, (s)he must first determine the intent of the attacker.
This intention can be broken down into two components: the intention of the mind and the intention of the body. Before commencing an attack, uke will have a certain mental attitude. If this attitude culminates in an actual attack, the attack itself will have certain characteristics in terms of direction and intensity. To successfully defend oneself, the aikidoka must understand both the mental and physical components of uke's attack, and this understanding must begin with uke's mind. By being sensitive to uke's mental and physical states, nage will become aware of the exact intentions of uke, and application of the proper technique will be naturally forthcoming.
When a student first begins studying aikido, (s)he will often hear senior students and sinstructors using the phrase, "Lead the opponent's mind; his body will follow." This is only possible if one first understands the opponent's mind.
Respect Your Opponent's Ki
This is simply an extension of the principle just discussed. Uke's attack has distinct elements of direction, velocity, and intensity which must be recognized. Once identified, nage must movein harmony with these elements for a technique to be successful.
In their book Aikido and the Dynamic Sphere, Oscar Ratti and Adele Westbrook define the motions of uke and nage in the early stages of an attack as motions of convergence. The goal of nage is to move in harmony with the energy of uke, guiding it into a circuit of neutralization, a movment which by its very nature not only dissipates the energy of the attack harmlessly, but which succeeds because of its non-dissension with the attacking energy. Such a movement is not possible if one does not recognize uke's ki and respect it.
Put Yourself in the Place of Your Opponent
In Aikido with Ki, Koretoshi Maruyama, current chief instructor of the Ki Society International, write, "Even if you think someone is wrong, first try to understand his opinion. You must put yourself in his place."
By putting yourself in someone's place, you develop a different understanding of his or her perspective and motivations. Such an understanding may allow you to defuse a potentially explosive situation, eliminating the need for a physical altercation.
If an attack does occur, the performance of an aikido technique typically involves substituting nage's center (one point) for uke's center. Wheras uke initiates the motion of the attack, nage performs a technique in which (s)he becomes the center of motion, leading uke's energy in the process. Mune-tsuki kote-gaeshi tenkan is a good example of the substitution of nage's cetner for uke's.
Perform with Confidence
If nage has followed the first four principles, (s)he should simply perform the technique without hesitation. If nage lacks confidence (s)he may hesitate, which in turn will disturb the harmony of the attacking energy and nage's lead, and the technique may become frustrated.
Will Reed, in Ki: A Practical Guide for Westerners, says it best: "Do the thing in your mind quickly, and relax completely knowing that it is done."
he Five Principles
There are five principles in Shin Shin Toitsu Aikido (aikido with mind and body corrdinated) which form the nucleus of the arts an aikidoka might perform. The principles also may be used in daily life during interaction with other individuals. These principles are:
ï Extend Ki
ï Know your opponent's mind
ï Respect your opponent's Ki
ï Put yourself in the place of your opponent
ï Perform with Confidence
Several of these principles have multiple applications and meanings. An aikidoka's initial definitions of a given principle may later change as (s)he becomes aware of other ways of looking at a given situation. Aikido is a path where, as one opens a door, (s)he may simply find more doors to choose from, and some of those doors may lead back to the original door. However, the door will not look the same as it did during the first journey through it.
The following is meant as a discussion of some possible meanings for the five principles and is not meant to limit the possible definitions for any given principle.
Extend Ki
Many practitioners of aikido begin the performance of an art by thinking, "Now I must extend ki." This is not correct in the sense that one should always be extending ki. Taking this one step further, if one is relaxed at all times, then ki is naturally extending.
Extending ki is also one of the Four Principles of Mind and Body Unification. Ki extension is a principle of the mind which affects the body. The mind leads the body, and ki extension is the connecting link between the thought in the mind and the action of the body.
Another way of saying "extend ki" is to say "extend the mind". Many aikidoka extend their arms physically, but lack the unity of the mind in performing the motion. This is "extending limbs", not "extending ki".
Know Your Opponent's Mind
In The Art of War, Sun Tzu writes, "If you know the enemy and know yourself, you need not fear the result of a hundred battles. If you know yourself, but not your enemy, for every victory gained you will also suffer adefeat. If you know neither the enemy nor yourself, you will succumb in every battle."
Master Koichi Tohei, founder of Shin Shin Toitsu Aikido, offers the parallel rule, "Know your opponent's mind."
The word aikido is composed of three Japanese characters: ai (harmony, ki (energy), and do (the way). One possible translation might be simply the way of harmony with energy. In the performance of the arts of aikido, the energy of the nage (defender) must harmonize with the energy of the uke (attacker). Before one can be in harmony with the energy of another, (s)he must first determine the intent of the attacker.
This intention can be broken down into two components: the intention of the mind and the intention of the body. Before commencing an attack, uke will have a certain mental attitude. If this attitude culminates in an actual attack, the attack itself will have certain characteristics in terms of direction and intensity. To successfully defend oneself, the aikidoka must understand both the mental and physical components of uke's attack, and this understanding must begin with uke's mind. By being sensitive to uke's mental and physical states, nage will become aware of the exact intentions of uke, and application of the proper technique will be naturally forthcoming.
When a student first begins studying aikido, (s)he will often hear senior students and sinstructors using the phrase, "Lead the opponent's mind; his body will follow." This is only possible if one first understands the opponent's mind.
Respect Your Opponent's Ki
This is simply an extension of the principle just discussed. Uke's attack has distinct elements of direction, velocity, and intensity which must be recognized. Once identified, nage must movein harmony with these elements for a technique to be successful.
In their book Aikido and the Dynamic Sphere, Oscar Ratti and Adele Westbrook define the motions of uke and nage in the early stages of an attack as motions of convergence. The goal of nage is to move in harmony with the energy of uke, guiding it into a circuit of neutralization, a movment which by its very nature not only dissipates the energy of the attack harmlessly, but which succeeds because of its non-dissension with the attacking energy. Such a movement is not possible if one does not recognize uke's ki and respect it.
Put Yourself in the Place of Your Opponent
In Aikido with Ki, Koretoshi Maruyama, current chief instructor of the Ki Society International, write, "Even if you think someone is wrong, first try to understand his opinion. You must put yourself in his place."
By putting yourself in someone's place, you develop a different understanding of his or her perspective and motivations. Such an understanding may allow you to defuse a potentially explosive situation, eliminating the need for a physical altercation.
If an attack does occur, the performance of an aikido technique typically involves substituting nage's center (one point) for uke's center. Wheras uke initiates the motion of the attack, nage performs a technique in which (s)he becomes the center of motion, leading uke's energy in the process. Mune-tsuki kote-gaeshi tenkan is a good example of the substitution of nage's cetner for uke's.
Perform with Confidence
If nage has followed the first four principles, (s)he should simply perform the technique without hesitation. If nage lacks confidence (s)he may hesitate, which in turn will disturb the harmony of the attacking energy and nage's lead, and the technique may become frustrated.
Will Reed, in Ki: A Practical Guide for Westerners, says it best: "Do the thing in your mind quickly, and relax completely knowing that it is done."
Practicing Aikido
Aikido is a martial art and should be practiced as such, but this does not mean that we encourage or condone fighting or aggressive behavior either in the dojo or outside. Instead, aikido should spread a feeling of peace and harmony, defusing the possibilities of violence from a position of confidence.
The "attacks" that are taught are used for the purpose of learning the defense against those attacks rather than for the purpose of injuring an opponent. The techniques are designed to harmonize with the natural movements of the body. Half of the techniques involve joint locks which enable the "attacker" to be moved to a pinning position where they can be held without injury. The other half of the techniques involve throwing the partner. Much practice time is spent learning how to fall safely.
Because of the harmonizing quality of the movements, spectators of Aikido often comment on the dance-like, graceful quality of the movements. While there is a choreographed quality to daily practice, at the higher levels partners practice with one another with no pre-conceived notion of what the attack or the defense will be. Because the students have trained for years in harmonizing and blending with their partner, they move at ease with one another and so the spontaneous movements appear like a natural dance. Because of the nature of the movements, we have seen students continue practicing well into their 80s!
In practicing aikido, striving and resisting is discouraged, especially at first, as this develops poor technique. Instead, students should work together to develop and polish techniques. As students get to the point where they have good techniques, then some resistance is beneficial, though at that point nage can also change the technique as necessary. However, the competition should always be in the spirit of working to improve technique, not merely to see who can win.
Aikido is the way of nonresistance and is therefore undefeatable from the start. Fast and slow are of no consequence. Merely by having the intention to fight with one who embodies the universal law, they have fixed their mind on violating the harmony of nature itself. The person with evil or malicious feeling jyaki is defeated before he makes the first move. The contest has already been decided. This being so, in what way can we rid ourselves of this jyaki and become pure of spirit and mind? We must unify our mind and feeling with the mercy and compassion of the universal spirit. Withing love ai, there is no competition, no enemy, no antagonism toward anyone else or anything. Those whose feeling does not coincide with this mentality can in no way come into harmony the laws of nature. (Morihei Ueshiba From The Spiritual Foundations of Aikido by William Gleason 1995.)
The "attacks" that are taught are used for the purpose of learning the defense against those attacks rather than for the purpose of injuring an opponent. The techniques are designed to harmonize with the natural movements of the body. Half of the techniques involve joint locks which enable the "attacker" to be moved to a pinning position where they can be held without injury. The other half of the techniques involve throwing the partner. Much practice time is spent learning how to fall safely.
Because of the harmonizing quality of the movements, spectators of Aikido often comment on the dance-like, graceful quality of the movements. While there is a choreographed quality to daily practice, at the higher levels partners practice with one another with no pre-conceived notion of what the attack or the defense will be. Because the students have trained for years in harmonizing and blending with their partner, they move at ease with one another and so the spontaneous movements appear like a natural dance. Because of the nature of the movements, we have seen students continue practicing well into their 80s!
In practicing aikido, striving and resisting is discouraged, especially at first, as this develops poor technique. Instead, students should work together to develop and polish techniques. As students get to the point where they have good techniques, then some resistance is beneficial, though at that point nage can also change the technique as necessary. However, the competition should always be in the spirit of working to improve technique, not merely to see who can win.
Aikido is the way of nonresistance and is therefore undefeatable from the start. Fast and slow are of no consequence. Merely by having the intention to fight with one who embodies the universal law, they have fixed their mind on violating the harmony of nature itself. The person with evil or malicious feeling jyaki is defeated before he makes the first move. The contest has already been decided. This being so, in what way can we rid ourselves of this jyaki and become pure of spirit and mind? We must unify our mind and feeling with the mercy and compassion of the universal spirit. Withing love ai, there is no competition, no enemy, no antagonism toward anyone else or anything. Those whose feeling does not coincide with this mentality can in no way come into harmony the laws of nature. (Morihei Ueshiba From The Spiritual Foundations of Aikido by William Gleason 1995.)
Dojo Regulation
Aikido decides life and death in a single strike, so students must carefully follow the instructor's teaching and not compete to see who is the strongest.
Aikido is the way that teaches how one can deal with several enemies. Students must train themselves to be alert not just to the front but to all sides and the back.
Training should always be conducted in a pleasant and joyful atmosphere.
The instructor teaches only one small aspect of the art. Its versatile applications must be discovered by each student through incessant practice and training.
In daily practice first begin by moving your body and then progress to more intensive practice. Never force anything unnaturally or unreasonably. If this rule is followed, then even elderly people will not hurt themselves and they can train in a pleasant and joyful atmosphere.
The purpose of Aikido is to train mind and body and to produce sincere, earnest people. Since all the techniques are to be transmitted person-to-person, do not randomly reveal them to others, for this might lead to their being used by hoodlums.
Aikido is the way that teaches how one can deal with several enemies. Students must train themselves to be alert not just to the front but to all sides and the back.
Training should always be conducted in a pleasant and joyful atmosphere.
The instructor teaches only one small aspect of the art. Its versatile applications must be discovered by each student through incessant practice and training.
In daily practice first begin by moving your body and then progress to more intensive practice. Never force anything unnaturally or unreasonably. If this rule is followed, then even elderly people will not hurt themselves and they can train in a pleasant and joyful atmosphere.
The purpose of Aikido is to train mind and body and to produce sincere, earnest people. Since all the techniques are to be transmitted person-to-person, do not randomly reveal them to others, for this might lead to their being used by hoodlums.
Basics of Aikido
Aikido is a form of martial art. When used correctly, Aikido is very powerful. Distance, motion, speed, and projection of an attacker are the focuses of Aikido. In Aikido, the spiraling and circular movements reflect what the martial art is: a fluid and flowing movement of spirit and energy.
The players must learn to control themselves, which is one of the basics among the philosophical teachings of Aikido. It is necessary to keep an inner balance to harmonize with others which enables to control an opponent's attack. Self-control is the key to achieve and maintain harmony.
Techniques should function to execute. An aikido technique should be possible to perform, and to do it in a way that avoids as well as controls the attacker.
Another basic principle in Aikido is oneness which means that the players must learn to become one with any situation. If the players can become one with every situation, they can achieve harmonization and it will become possible for them to execute Aikido techniques, movements and forms accurately and efficiently.
In Aikido, one must learn to move away properly from the range of effectiveness of the opponent's attack to defend an attack. But as the same time, the player must also maintain their own range of effectiveness to counterattack effectively. The player won't be able to give an effective counterattack if they step too far away from the opponent. But if the player step too close. They definitely lessen the effectiveness of the techniques. So it is important for an Aikido practitioner to determine how to avoid the opponent's range while controlling their own in various situations. In addition, forces should be united. In aikido techniques the forces of the attacker and the defender should be joined, and not work against each other.
The belief that every thing in the universe is governed by a force or spirit involves in the principle of Ki which is the energy and life force. It binds the mind and the body and harmonizes the player to the surroundings. By learning to control Ki, the player will be able to unify the mind and the body which can maximize efficient movements and execution of Aikido techniques.
The players must learn to control themselves, which is one of the basics among the philosophical teachings of Aikido. It is necessary to keep an inner balance to harmonize with others which enables to control an opponent's attack. Self-control is the key to achieve and maintain harmony.
Techniques should function to execute. An aikido technique should be possible to perform, and to do it in a way that avoids as well as controls the attacker.
Another basic principle in Aikido is oneness which means that the players must learn to become one with any situation. If the players can become one with every situation, they can achieve harmonization and it will become possible for them to execute Aikido techniques, movements and forms accurately and efficiently.
In Aikido, one must learn to move away properly from the range of effectiveness of the opponent's attack to defend an attack. But as the same time, the player must also maintain their own range of effectiveness to counterattack effectively. The player won't be able to give an effective counterattack if they step too far away from the opponent. But if the player step too close. They definitely lessen the effectiveness of the techniques. So it is important for an Aikido practitioner to determine how to avoid the opponent's range while controlling their own in various situations. In addition, forces should be united. In aikido techniques the forces of the attacker and the defender should be joined, and not work against each other.
The belief that every thing in the universe is governed by a force or spirit involves in the principle of Ki which is the energy and life force. It binds the mind and the body and harmonizes the player to the surroundings. By learning to control Ki, the player will be able to unify the mind and the body which can maximize efficient movements and execution of Aikido techniques.
Whose Aikido is Best?
by Chuck Clark
Good question. Whose aikido IS best? Many students are looking for the most authentic representation of the art. Which senior instructor's style is closest to the founder of aikido? Who spent the most amount of time as a real uchideshi to Morihei Ueshiba Sensei? Who really spent most of their time learning from senior teachers and only saw the old sensei on occasion? Who inherited his legacy? Instructors often use these topics as criteria for judging who has the most power and authority. An important question we should ask is - Was the founder's aikido the best or most evolved form that aikidoka should strive for?
Many aikido students around the world have developed a form of "hero workship" and idealization which makes them feel more comfortable because "they are now part of that power, authority, and lineage ... and if they do what they're told ... they, also, will have this power and authority." I think the founder realized this and is known to have said, (as translated by John Stevens) "You can't do MY aikido, you must find your own." He also said, "...absorb venerable traditions into this new art by clothing them with fresh garments, and build on the classic styles to create better forms." Many aikido students have said that this creating stopped with the founder and that he had created the ultimate form. I don't agree; and in fact, think the founder would not agree. Probably with some sadness that so many haven't heard and understood.
Let's assume we do have a good system we want to pass on. There is a lineage, proud and well defined, in place. We now assume that this knowledge can be transmitted and passed down in the same form. We can't know for sure if the techniques being done by the person who is currently the "holder of the power" are the same. In fact, we must accept that they are not! Differences in stature, understanding, and intent of each aikidoka assure us that the techniques must be different. However, principle and a specific method or system of teaching the principles can be passed down in similar form as it was in the past. Unlike music, which has a written language that informs us how to play a piece of music extremely close to the way it was two hundred years ago, aikido has no written language or notation system to communicate it's form and expression. Many instructors teach their own idiosyncratic style as the best expression of aikido principle because it is the best way THEY can do it.
In order to keep these differences from diluting the art over the generations, we must make use of a systematic way to teach principle that allows individual students to use the form (techniques) to develop their own "style" of aikido that does express the principle in the best way possible.
It's important to remember that principle does not change, form can change, and of course individuals should eventually evolve their own style. In order to really express Universal Principle, we must create that expression out of our own creative spirit each instant. Otherwise, it is just a copy. As we can all tell when we see it, the copy is quite dull when compared to the real thing!
Everyone should look into the concept of "Shu - Ha - Ri" and search for real understanding of this traditional expression of how budo and other Japanese arts are learned and preserved.
After a long search, you have found a system that you have decided contains the physical fundamentals, the educational principles, and the spiritual qualities you are looking for. On top of that, you are fortunate to have found a teacher that you feel you trust and can learn from. Then this must be the best for you. We must understand that this doesn't mean that it is the best for everyone!
Once we find our teacher and have established a relationship, we must keep our hearts and spirits open. If we continue in the practice we will, at some point, begin to create the real expression of aikido and develop our own authority. The teacher's intent should be to help you (as a guide) to learn how to practice and how to learn. If successful, some of the students will eventually learn more than the teacher. Thus, the art is not only preserved, but is a living, growing entity filled with the spirit of those who have passed as well as those who are practicing now.
So ... who really does have the best aikido?
I believe that each person who is truly demonstrating correct principle and creating the best expression of their own aikido technique each instant is doing his or her own "best aikido". Who does THE BEST aikido is a question that can never be answered to everyone's satisfaction.
Good question. Whose aikido IS best? Many students are looking for the most authentic representation of the art. Which senior instructor's style is closest to the founder of aikido? Who spent the most amount of time as a real uchideshi to Morihei Ueshiba Sensei? Who really spent most of their time learning from senior teachers and only saw the old sensei on occasion? Who inherited his legacy? Instructors often use these topics as criteria for judging who has the most power and authority. An important question we should ask is - Was the founder's aikido the best or most evolved form that aikidoka should strive for?
Many aikido students around the world have developed a form of "hero workship" and idealization which makes them feel more comfortable because "they are now part of that power, authority, and lineage ... and if they do what they're told ... they, also, will have this power and authority." I think the founder realized this and is known to have said, (as translated by John Stevens) "You can't do MY aikido, you must find your own." He also said, "...absorb venerable traditions into this new art by clothing them with fresh garments, and build on the classic styles to create better forms." Many aikido students have said that this creating stopped with the founder and that he had created the ultimate form. I don't agree; and in fact, think the founder would not agree. Probably with some sadness that so many haven't heard and understood.
Let's assume we do have a good system we want to pass on. There is a lineage, proud and well defined, in place. We now assume that this knowledge can be transmitted and passed down in the same form. We can't know for sure if the techniques being done by the person who is currently the "holder of the power" are the same. In fact, we must accept that they are not! Differences in stature, understanding, and intent of each aikidoka assure us that the techniques must be different. However, principle and a specific method or system of teaching the principles can be passed down in similar form as it was in the past. Unlike music, which has a written language that informs us how to play a piece of music extremely close to the way it was two hundred years ago, aikido has no written language or notation system to communicate it's form and expression. Many instructors teach their own idiosyncratic style as the best expression of aikido principle because it is the best way THEY can do it.
In order to keep these differences from diluting the art over the generations, we must make use of a systematic way to teach principle that allows individual students to use the form (techniques) to develop their own "style" of aikido that does express the principle in the best way possible.
It's important to remember that principle does not change, form can change, and of course individuals should eventually evolve their own style. In order to really express Universal Principle, we must create that expression out of our own creative spirit each instant. Otherwise, it is just a copy. As we can all tell when we see it, the copy is quite dull when compared to the real thing!
Everyone should look into the concept of "Shu - Ha - Ri" and search for real understanding of this traditional expression of how budo and other Japanese arts are learned and preserved.
After a long search, you have found a system that you have decided contains the physical fundamentals, the educational principles, and the spiritual qualities you are looking for. On top of that, you are fortunate to have found a teacher that you feel you trust and can learn from. Then this must be the best for you. We must understand that this doesn't mean that it is the best for everyone!
Once we find our teacher and have established a relationship, we must keep our hearts and spirits open. If we continue in the practice we will, at some point, begin to create the real expression of aikido and develop our own authority. The teacher's intent should be to help you (as a guide) to learn how to practice and how to learn. If successful, some of the students will eventually learn more than the teacher. Thus, the art is not only preserved, but is a living, growing entity filled with the spirit of those who have passed as well as those who are practicing now.
So ... who really does have the best aikido?
I believe that each person who is truly demonstrating correct principle and creating the best expression of their own aikido technique each instant is doing his or her own "best aikido". Who does THE BEST aikido is a question that can never be answered to everyone's satisfaction.
Learning and Mastering AIKIDO / AIKI WAGO
Today, Aikido is taught in different opinions. Some organizations teach it as a Japanese traditional art, some others teach it as a combat art, or a competitive sport. Some instructors put emphasis on Aikido kihon waza (basic techniques), some others put emphasis on ki and breathing methods, or on weapon exercises (especially on using a samurai sword).
Usually Aikido instructors (of any style) teach Aikido without any personal intentions but introduce Aikido and its philosophy. "Usually" does not mean "all" because there are Aikido instructors who are teaching Aikido with negative personal intentions. Such instructors, in order to keep their followers stay, they misinform their students on purpose about the other Aikido styles / Aikido instructors or about ethics and loyalty in Aikido training. They might even say that the other clubs of Aikido are not teaching the original Aikido, the real Aikido, or something else.
To the questions "Why are there so many different "Aikido" styles ?" and "What is the real Aikido ?"
Aikido Senior Master Rinjiro Shirata - Dan 10, who had successfully integrated both the prewar and postwar styles of Aikido, explained, "Throughout his life, the Founder (Morihei Ueshiba) continually refined the approach and execution of his techniques. This is quite natural because Aikido techniques are not fixed forms that have been handed down from the past and must be preserved unaltered, but 'living,' infinitely varied responses to a particular situation. Therefore, every generation of disciples was exposed to a different type of Aikido, and within each generation each student had his or her own interpretation reflecting individual levels of progress, attitudes, and extent of spiritual insight. For example, the 'Aikido' of my fellow disciples - Tomiki, Mochizuki, Shioda - differs from each other and from my own. Each one of us focused on what we thought most important. In my fifty years of Aikido training, I have tried to faithfully preserve the essence of what I learned from the Founder. Yet the way I express that essence in my techniques has changed as my understanding of the Founder's message has deepened. Because the scope of that message is so vast and the forms in which it was expressed so great, no one can confidently state that a particular style is the 'real' Aikido or that there is a single Aikido standard. There can never be rigid uniformity in Aikido, but we must guard against totally ignoring the Founder's message to set up pseudo-Aikido based on personal quirks. If we keep the spirit of the Founder in our hearts and train sincerely, surely the Way of Harmony will open for us."
On the other hand, Chief Huang (the Founder of AIKI WAGO Association) said, "Grand Master Morihei Ueshiba taught us to live in love and harmony through Aikido. Therefore, I should say every style of Aikido is good as long as they teach us to live in love and harmony (although they teach Aikido in different ways and for different good purposes). People may choose the style that suit them best. They may also learn the styles one by one to gain the perfection in Aikido."
He often says, "It is hard but beautiful and very useful to work together in honor, love, and harmony for the goodwill of mankind and harmony of peace."
Another wise advice comes from Dr. Lee Ah Loi (a senior student of Senior Master Kenji Tomiki).
1. There is not one rigid way of learning and practising but many ways to achieve the same result. The mountain can be climbed via several routes. So be humble in your acquisition of this art and never think yours is the only way.
2. When you have consolidated your basic understanding and practise of Aikido, you should try to broaden your knowledge by practising in other dojos under different instructors and thus develop an open and flexible mind to all aspects of your search for perfection.
3. You should always respect your instructor but searching for knowledge from others does not mean disrespect.
Tips for starting Aikido
1. Gain as much as posible the information on Aikido and its activity around your area.
2. Check whether it is taught as a traditional art (just for a demonstration, with an obedient uke), a combat art, a competitive sport, a ki exercise, an exercise with atemi (a fatal hit) and force, or rational and realistic training of love (without atemi) and harmony (without forcing).
3. Visit the available Aikido clubs / dojos and compare their training curriculums.
4. Choose the club / dojo that suits your intention best.
5. Respect and trust your instructor, join the exercises patiently, feel your movements, pay attention to the characteristics of the Aikido movements, apply love and harmony in every part of your movements.
Notes:
o A good Aikido instructor will show you the spirit of Aikido 'love' and 'harmony' (not only 'harmony', and especially not 'atemi') in every part of his Aikido techniques (and in his daily life as well).
o One's rank only tells the formal level he ever achieved in a certain Aikido organization. It gives no guarantee of good instruction.
Tips to avoid an unnecessary hurt in learning Aikido
1. Nage should move on time (to avoid the hurt caused by a fast or strong attack).
2. Nage should do the waza with love and care about the surroundings (not to let his partner get any silly hurts).
Notes:
o Doing Aikido in harmony and love is not easy but it is not impossible.
o Harmony and love themselves are the heart of Aikido and the way of a real Aikido-ka.
3. Uke (the attacker) should do ukemi naturally, scientifically, carefully, and on time.
4. Nage should care about the uke's counter attack.
5. Both uke and nage should never pretend to be a clever Aikido-ka and play around with any Aikido waza. You may get a silly hurt and will never improve yourself.
Usually Aikido instructors (of any style) teach Aikido without any personal intentions but introduce Aikido and its philosophy. "Usually" does not mean "all" because there are Aikido instructors who are teaching Aikido with negative personal intentions. Such instructors, in order to keep their followers stay, they misinform their students on purpose about the other Aikido styles / Aikido instructors or about ethics and loyalty in Aikido training. They might even say that the other clubs of Aikido are not teaching the original Aikido, the real Aikido, or something else.
To the questions "Why are there so many different "Aikido" styles ?" and "What is the real Aikido ?"
Aikido Senior Master Rinjiro Shirata - Dan 10, who had successfully integrated both the prewar and postwar styles of Aikido, explained, "Throughout his life, the Founder (Morihei Ueshiba) continually refined the approach and execution of his techniques. This is quite natural because Aikido techniques are not fixed forms that have been handed down from the past and must be preserved unaltered, but 'living,' infinitely varied responses to a particular situation. Therefore, every generation of disciples was exposed to a different type of Aikido, and within each generation each student had his or her own interpretation reflecting individual levels of progress, attitudes, and extent of spiritual insight. For example, the 'Aikido' of my fellow disciples - Tomiki, Mochizuki, Shioda - differs from each other and from my own. Each one of us focused on what we thought most important. In my fifty years of Aikido training, I have tried to faithfully preserve the essence of what I learned from the Founder. Yet the way I express that essence in my techniques has changed as my understanding of the Founder's message has deepened. Because the scope of that message is so vast and the forms in which it was expressed so great, no one can confidently state that a particular style is the 'real' Aikido or that there is a single Aikido standard. There can never be rigid uniformity in Aikido, but we must guard against totally ignoring the Founder's message to set up pseudo-Aikido based on personal quirks. If we keep the spirit of the Founder in our hearts and train sincerely, surely the Way of Harmony will open for us."
On the other hand, Chief Huang (the Founder of AIKI WAGO Association) said, "Grand Master Morihei Ueshiba taught us to live in love and harmony through Aikido. Therefore, I should say every style of Aikido is good as long as they teach us to live in love and harmony (although they teach Aikido in different ways and for different good purposes). People may choose the style that suit them best. They may also learn the styles one by one to gain the perfection in Aikido."
He often says, "It is hard but beautiful and very useful to work together in honor, love, and harmony for the goodwill of mankind and harmony of peace."
Another wise advice comes from Dr. Lee Ah Loi (a senior student of Senior Master Kenji Tomiki).
1. There is not one rigid way of learning and practising but many ways to achieve the same result. The mountain can be climbed via several routes. So be humble in your acquisition of this art and never think yours is the only way.
2. When you have consolidated your basic understanding and practise of Aikido, you should try to broaden your knowledge by practising in other dojos under different instructors and thus develop an open and flexible mind to all aspects of your search for perfection.
3. You should always respect your instructor but searching for knowledge from others does not mean disrespect.
Tips for starting Aikido
1. Gain as much as posible the information on Aikido and its activity around your area.
2. Check whether it is taught as a traditional art (just for a demonstration, with an obedient uke), a combat art, a competitive sport, a ki exercise, an exercise with atemi (a fatal hit) and force, or rational and realistic training of love (without atemi) and harmony (without forcing).
3. Visit the available Aikido clubs / dojos and compare their training curriculums.
4. Choose the club / dojo that suits your intention best.
5. Respect and trust your instructor, join the exercises patiently, feel your movements, pay attention to the characteristics of the Aikido movements, apply love and harmony in every part of your movements.
Notes:
o A good Aikido instructor will show you the spirit of Aikido 'love' and 'harmony' (not only 'harmony', and especially not 'atemi') in every part of his Aikido techniques (and in his daily life as well).
o One's rank only tells the formal level he ever achieved in a certain Aikido organization. It gives no guarantee of good instruction.
Tips to avoid an unnecessary hurt in learning Aikido
1. Nage should move on time (to avoid the hurt caused by a fast or strong attack).
2. Nage should do the waza with love and care about the surroundings (not to let his partner get any silly hurts).
Notes:
o Doing Aikido in harmony and love is not easy but it is not impossible.
o Harmony and love themselves are the heart of Aikido and the way of a real Aikido-ka.
3. Uke (the attacker) should do ukemi naturally, scientifically, carefully, and on time.
4. Nage should care about the uke's counter attack.
5. Both uke and nage should never pretend to be a clever Aikido-ka and play around with any Aikido waza. You may get a silly hurt and will never improve yourself.
Discipline and Training Martial Arts Honor
by Cheryl Matrasko
We in the western hemisphere abuse the terms "honor" and "honorable". I highly doubt that most of the martial artists of today really understand what these words really mean. These terms have been sloppily associated with glorified acts of revenge, revenge for an embarrassing situation, bruised ego, a wrongful death, etc. The honor of Bushido, has its root in the word "honesty" or "integrity". Honor is "truth".
In addition, one phrase that has been perverted and misunderstood is: " . . . to save face . . . ". means to seek and preserve honesty and integrity, no matter how difficult it is ... no matter how much a compromise of integrity seduces your senses ... no matter what integrity will do to harm the dishonest ego. This is the "honor" of the true Bushido. Not everyone is strong enough to wear it. While we may never be perfect, it is the lifelong struggle towards that perfection that makes one great. This is the challenge and the object of accomplishment, that is a part of Bushido training martial arts. This is the same level of character that instructor Isao Takahashi lectured to us over and over again, during my training over 30 years ago.
Integrity is important and paramount above all. Good character is admired, because of the difficulty that it takes to maintain. One's true strength and discipline can be measured by his/her character.
A friend of mine, referred to a mutual acquaintence as honorable ... and I disagreed. The reason for my difference, was that this fellow Aikidoist had visited once and was boastful of himself, berated other Aikidoists in the dojo (including my friend), and placed himself as better than anyone. He did this openly in front of the students of the dojo. I did promptly disapprove of this visitor's behavior and made sure my objections were communicated when it was a much more polite time to do so. By then, the visitor left and returned home to Europe. Later that year, I had gone to Europe and made a visit to this very same man. Sadly, and to my disappointment ... his behavior was much the same. The same bravado and self-indulgence. Much later, when my friend spoke with the former visitor via long-distance, he mentioned that he felt this man to be honorable because he was nice and said different things than he had done when he first visited. However, it is not honorable for someone to initially perform such behavioral indiscretions and then try to appeal in another false face. This is dishonest --- this is not honorable.
Honorable means that you must be honest and truthful with yourself. And there is always something to be learned from the things you are afraid of or want to avoid. To be honorable we need to face the things we fear and the things we don't want to see. The most fearful things we don't want to face are those things we hate in ourselves, be it ... lack of honesty, ego indulgence, brashfulness, etc. Many of us refuse to acknowledge the existence of these traits in ourselves. These characteristics --- as bad and as undesirable as they are --- are the human part of our existence and are best dealt with when you can identify them. For instance, if you know where an infection is on your hand, it is easier to treat. If the individual chooses to ignore it --- the sore infects and worsens to the point of killing. It is the act of "saving face ...", is that means to rectify or maintain honesty within one's self, no matter the pain and price to pay. It is to face that aspect ... which is not honorable in yourself. This is what "saving face" is really about.
Perhaps when we truthfully deal with those frightening things about ourselves , we can better accept those things that truly compliment our character, without being boastful, self-indulgent or narcissistic. If we are honest with our own character flaws and make the painstaking effort to make these flaws into good qualities, we can go freely towards perfection. We will not need to prove ourselves, force-feed our egos, and make rank chasing a priority over life long learning in peace.
Facing our dark sides takes courage and what results is bravery. I knew of a man and a friend of his, that cheated a few elderly couples of some money. Finding it difficult to live with his crime, he confessed freely and turned himself in, along with his partner. He did go to jail for a short time, paid back his victims willingly, and still accepts the fact that he will have a difficult time finding good employment for a long time. This man committed a dishonest act and on his own volition chose to return to being "honorable". He could have easily kept his silence and no one would have found out his identity, but he was strong enough to "save face" and face his own bad character. I would believe this man to be the courageous one. He ended up showing his strength of character through the trial, bad publicity, and financial ruin. His family was proud of his acts of redemption, as they should be. His actions of courage were not out of fear of his crime being discovered, but of a genuine wish to be honorable again. While some acts such as killing the enemy in war are considered courage and bravery, they are more acts of survival --- that place the soldier in absolute danger and as a result they perform their extreme best, in the worst of times. In regards to this man, there was no danger in being discovered. He freely gave up dishonesty, knew and accepted the penalties, made restitution voluntarily, and fully understood that life would be difficult for both he and his family. He performed his best in the worst of times. Some may say this man was a criminal and -- yes, he committed a crime, but it still required courage to do what he did. He is brave to continue his life living with this stain. And this stain will fade eventually into nothingness ... with time.
Courage and bravery is oftentimes, not marked with fanfare and parades. This is only in the old war films. As they say " ... movies imitate life, but life surely isn't like the movies ...". While dead soldiers will not hear parades or champagne glasses chime their praises for courage and bravery, neither will those that are silently courageous and continue to be brave in their vigilant quest to be "honorable". Perhaps, you really don't need the fanfare and acknowledgements for these things. It may be that when you are truly honorable --- is when you discover that you hold something that is more precious than a medal, another empty Dan rank, or even money. You cannot barter or purchase honor. It comes with hard work, pain, and extreme effort, It is not to be compromised. True honor makes the soul feel good. It is nearly private, because honor is a private and earnest endeavor.
The Characteristics of AIKIDO
Aikido, in some styles / organizations, is taught as a Japanese traditional art. That is why there are Japanese sitting exercises (suwari waza) and Japanese samurai sword exercises in their teachings.
The heart of Aikido is 'love and harmony'.
Aikido has two footworks: 'irimi' and 'tenkan'.
o aiki musubií (the blend of our spirit with the one of other people)
o takemusu aikií (the unlimited creativity through Aiki)
Aikido uses no physical strength / tense hands but ki no nagare and aiki no nagare.
Some people interpret 'ki' as inner energy, some others interpret it as will or spirit. Ki no nagare (the flow of ki) will spring from ki-shin-tai no toitsu. Aiki no nagare (the flow of well-blended ki) will spring from ki musubi.
Aikido was not created as an indoor exercise only.
'Ukemi' in Aikido should be 'the safe ways to fall' - not for a nice show.
Aikido never limits the attacker's position and distance, nor the types, the speed, and the changes of his attacks.
In a correct performance, 'atemi' (a fatal attack) is not neccessary in Aikido. Especially, if the attackers are not dangerous armed bad guys.
The heart of Aikido is 'love and harmony'.
Aikido has two footworks: 'irimi' and 'tenkan'.
Aikido movements are based on:
o 'ki-shin-tai no toitsu' (the unity of spirit, mind, and body)o aiki musubií (the blend of our spirit with the one of other people)
o takemusu aikií (the unlimited creativity through Aiki)
Aikido uses no physical strength / tense hands but ki no nagare and aiki no nagare.
Some people interpret 'ki' as inner energy, some others interpret it as will or spirit. Ki no nagare (the flow of ki) will spring from ki-shin-tai no toitsu. Aiki no nagare (the flow of well-blended ki) will spring from ki musubi.
Aikido was not created as an indoor exercise only.
'Ukemi' in Aikido should be 'the safe ways to fall' - not for a nice show.
Aikido never limits the attacker's position and distance, nor the types, the speed, and the changes of his attacks.
In a correct performance, 'atemi' (a fatal attack) is not neccessary in Aikido. Especially, if the attackers are not dangerous armed bad guys.
Tips for mastering Aikido
Your movements are good:
1. If they work easily and effectively without much time or physical strength.
2. If they are not risky (for you).
3. If they flow harmoniously with the ones of the enemies.
4. If they express your love. (Many people say this is the most difficult part to do in martial arts.)
An aikido-ist should remember that:
1. He will have no mats outdoor but rough ground.
2. He should convert 'aiki' (spirit of harmony), 'wago' (unity in harmony), and 'ai' (love) into reality - in his movements, and in his life as well.
3. An attacker has two hands, two feet, and many tactics.
4. An attacker cannot be forbidden to do what he wants to.
5. An attacker cannot be asked to do something he does not want to.
6. It is quite possible you will get troubles or hidden dangers when you improperly / illogically execute your movements.
7. It is quite possible you will get unexpected various attacks from different directions at a time.
1. If they work easily and effectively without much time or physical strength.
2. If they are not risky (for you).
3. If they flow harmoniously with the ones of the enemies.
4. If they express your love. (Many people say this is the most difficult part to do in martial arts.)
An aikido-ist should remember that:
1. He will have no mats outdoor but rough ground.
2. He should convert 'aiki' (spirit of harmony), 'wago' (unity in harmony), and 'ai' (love) into reality - in his movements, and in his life as well.
3. An attacker has two hands, two feet, and many tactics.
4. An attacker cannot be forbidden to do what he wants to.
5. An attacker cannot be asked to do something he does not want to.
6. It is quite possible you will get troubles or hidden dangers when you improperly / illogically execute your movements.
7. It is quite possible you will get unexpected various attacks from different directions at a time.
KI Part II - The Psychology of Aiki
by Lawrence Novick, Ph.D.
To feel is natural
The notion of Aiki implies having a sense of the unfolding direction and intention of a situation, blending with that flow, and leading it to a positive conclusion in a conscious and empowered way. The psychology of Aiki emerges from applying the subtle and underlying principles of Aiki to oneself and to life situations.
There is a basic concept in psychology when explaining people's reactions to aggressive or threatening situations, ¥well-known as the "fight or flight" response. This refers to the unconscious, instinctual and learned reaction patterns that we fall into when we perceive some behavior as an attack or a threat. Simply put, we seek to get away or to confront, in an attempt to make things "safe."
There are many things in life that we perceive, consciously or unconsciously, as a threat. This creates conflict, as it invokes the fight-or-flight response. In times of conflict, we naturally establish a negative bonding pattern with the person who initiates threatening behavior towards us; a bonding pattern between our vulnerablity, which is the part of us that can be hurt, and the other person's "power," as defined by their behavior. The important aspect of the process, at the psychological level, is that when we feel threatened the natural thing for us to do is to identify ourselves with (or become) the part or parts of us that we learned to protect ourselves with when we were young, and then react accordingly.
Feelings were ment to protect
Let's back up a minute. As we grow up in this relatively unsafe world, we quickly find out that we need to learn how to protect our vulnerability. This can be on a physical or emotional level. There is a mechanism in the psyche that seeks to avoid pain and protect us. If our feelings get hurt or we fear for our safety, we find some other part of ourselves to "be" at that moment, or to focus on. That way we don't have to feel the pain, we don't have to be vulnerable, we don't have to stay in an uncomfortable, disempowered, and often self-critical position. We take on many different "ways of being" in the service of our own protection: we can become extroverted, introverted, confrontive, avoiding, whatever our unconscious correctly or incorrectly feels will allow us to be safe.
We perpetuate these patterns in life, because in a relative sense they work for us, they keep us safer than if we were wide open. These ways of being become dominant parts of our personality. As we get older, even if we no longer need to be identified with some of these patterns, they grow so big in our psyche, that is, we become so used to them, that they become an integral part of who we consider ourselves to be, and how we react in life. The downside of this process is that our identification with these parts distances us from our vulnerability, and therefore our essence and real feelings. A certain amount of our behavior in life comes from compensatory reactions to feeling vulnerable.
When we get into relationships that call for us to be open and vulnerable, we find ourselves faced with a reflection of our own consciousness. However much we stay identified with those parts of us that compensate for our vulnerability, it is to the same degree that we cannot be intimate and vulnerable with other people, and with ourselves. We stay defended, and in fact may not be responding to the situation at hand at all, just to our unconscious, threatened interpretation of it. When we do respond in this manner we don't learn anything, we don't grow, we don't get closer to people. We perpetuate our own unconsciousness. Without vulnerability, there is no intimacy.
Controlling reactions
How does this relate to Aikido? When someone grabs our wrist or attacks us in Aikido practice, or in life for that matter, they are setting up a negative bonding pattern with us. They are threatening our vulnerability. We, in turn, ordinarily react with the energy of whatever part of us we learned to protect ourselves with: fighter, victim, pleaser, child, avoider, caretaker, etc. When this happens, we get caught up in, and react to, the "area of conflict", rather than relate consciously to the real source of the conflict: vulnerability.
What Aikido teaches us about this system is that, one, we can get in touch with and understand the patterns that we go into to protect ourselves, physical or emotional, and two, that there is an alternative to this behavior; that of conscious response and choice, rather than unconscious reaction. Aikido shows us that we don't have to be trapped in the bonding patterns, our own limited self-concepts, or the conflict itself. By being aware and accepting of our own vulnerability, and by also being aware of our own power, i.e.our own center, our own Ki, we become more conscious, and start to let go of our identification with the negative process. By adding to that the awareness of the other person's intent and vulnerability and blending with that, we enter into the experience of Aiki. Within this, there is a balance of vulnerability, power and freedom of choice, rather than fear and unconsciousness. This doesn't mean that we will always be totally loving and completely embracing of another's aggressive behavior, it means that we will have a chance to deal with it consciously.
This awareness of vulnerability is important for two reasons. One, it is at the root of our own feelings and responses, and two, when we know our own vulnerability, we are aware of another persons' as well. Knowing what it would feel like to have our own feelings "violated", we then do not go out and violate someone else's. We can also be aware that most people act aggressively or defensively because they are responding unconsciously to their own vulnerable feelings. When we understand Aiki, we can make other choices as to how we treat that kind of situation; we can come from a more tolerant and empowered place. I believe that this is primary to O'Sensei's view that Aikido is loving protection for all living things, including ourselves, including our supposed attacker.
From fear to positive feeling
So, in Aikido, rather than block and punch or hurt and maim, we blend with the energy / intention / movement of the aggressive act out of a respect for the underlying vulnerability on both sides, and redirect it to a more beneficial conclusion. Being centered, extending Ki, blending, and leading: these are basic to Aikido. The nature of Aikido movements are designed so that we actually move from a different place, from center with Ki, and can address the larger truth of the situation, the nature of the interaction, rather than getting completely caught up in the attack itself. This is fundamental to the philosophy and actuality of Aikido.
At a psychological level, we can also "move from a different place" and respond more to the vulnerable and spiritual essence of relationship instead of just the negative aspects that arise in life, that is, "the attacks." Then our perspective of interpersonal relationship broadens towards a more compassionate and "win-win" experience. When someone "grabs our wrist" at the emotional level, we need not be at the mercy of our own past or our unconscious patterns, we don't have to "run", we don't have to "fight", we can stay present and make clearer choices about our behavior in accord with our sense of the true needs of all involved. The duality that the unconscious defense of vulnerability creates, falls away when the situation is approached consciously, and the experience of Aiki that the Founder held paramount emerges.
But how is this really done?
I recall a quote from O'Sensei:
[ Aikido] . . . . is an act of faith based on the desire to achieve total awakening.
He didn't say that it is a series of techniques that bring "enlightenment", or an austere training method, or the following of a particular religion, but an act of faith. To me that means the faith to trust and let go to the vulnerability and power of the consciousness of Aiki; the awareness and experience of the joining of the Hara, or center, with the feeling and extension of Ki, of energy itself. This allows one to be both consciously empowered, and harmoniously extended into and fully dancing the dance of life. Balanced in one's own awareness of vulnerability and sense of empowerment, this dynamic consciousness naturally finds it's own harmony, it's own flow, it's own understanding and truth.
Aikido then becomes a form through which the practitioner can learn to let go to the thing inside of them that awakens them to the harmony and true nature of all things big and small, personal and spiritual, and apply that knowledge and experience to anything they wish in life, be it self-defense, music, work, walking or talking. Aikido practice then truely becomes a transformational process from unconsciousness to a conscious state of dynamic being, of harmony and balance, of self-protection and conscious choice, and of the co-existence of vulnerability and power which is the foundation and meaning of consciousness, the hallmark of the new age, and the essence of the new, conscious warrior.
KI Part I - A Metaphor
by Lawrence Novick, Ph.D.
Ki means many things to many people. There are many ways of defining it, ranging from scientific and bio-mechanical explanations to extremely spiritual viewpoints, and people's feelings about it run the gamut of complete disbelief to mystical adulation.
O Sensei believed in Ki, and he apparently talked and certainly wrote about it a lot. He did take a rather mystical approach to it, which can be rather hard to understand, and perhaps even harder to put to use in the actual practice if Aikido, let alone in daily life.
I'm not going to debate the reality of Ki here, I'm just going to offer one way to look at it that may help some people relate to it, and perhaps even offer a way to bring it into their realm of experience.
Imagine a house. Generally speaking, a house has an exterior structure. In the normal sense, there is air all around the house, and there is air inside the house. Air is air - there is no difference between the air outside and the air inside. (Unless something has affected the immediate state of the air inside or out, but that will be addressed elsewhere.)
The only difference in perception between the inner air and the outer air is caused by the walls and roof of the house being there; the structure as we see it, and experience and live within it. This is what creates two localities and causes a perception of duality. However, it is very easy to see, in this kind of example, that in fact there is no real difference between the air inside and the air outside. If we understand that the structure doesn't truly divide the two spaces, we can see that the air is "one entity," one vast "body" that is moving, flowing, circulating.
So it is with Ki.
One way to look at Ki is as the fundamental energy, flow, and life force of the universe. There is Ki all around us, flowing everywhere, like air. There is Ki inside us; our sustaining energy. The body, in this case, as we perceive it, is like a house. It perceptually separates us from knowing the unity of our inner Ki with the outer Ki. This perception keeps us in a state of duality. To transcend this, all we need do is step outside of this perception of "ourselves" as being the
dividing entity between inner and outer Ki. When we do this, we can know that the Ki around us and the Ki within us is the same, and that it is unified just like the air inside and around a house.
By being kinesthetically aware of the feeling of flow within us, emanating outward from the Hara, or center, and learning to trust that more than the conventional muscular processes that we usually rely on to support our sense of physical reality, we can release our total reliance on the body and open up to the experience of this vast resource that is flowing everywhere. We can draw on the Ki if we let go of our immediate attachment to our physical and personal references as the sole source and focus of our power and movement, and let ourselves experience and be aware of the fullness of this "universal" Ki flow, within and without. This is the "key" to using Ki in Aikido, or in life.
What is the Ki of the universe?
An excerpt from "Book of Ki: Co-ordinating Mind and Body in Daily Life" by Koichi Tohei
Look into the sky. The sun is burning. In what state was it before it began burning? If we ask this of everything in the universe, in a never ending spiral of questions, we approach the concept of something which is almost nothing, yet still exists.
What were you before your birth? A fetus in your mother's womb. Before that? A union of the father's sperm and the mother's egg, of course. But what about before that? Your parents possessed no sperm, no egg before they reached puberty. Where did you fit in then?
Man, like any other creature or object, emerges from "nearly nothing", from the undivisible substance of which the universe is made. This is Ki. Christians call it "God," Buddhists call it "Buddha," Soka Gakkai members call it the "Gohonzon." These are all names given by different languages and cultures to the same thing, just as what we call "te" in Japanese is called the "hand" in English.
The absolute universe was originally one. Two opposing forces appeared and the relative world was born. We tend to think that the relative world, which we see and hear all around us, is the only one, forgetting the absolute world behind it. The absolute quantity of Ki in the universe is constant and ever-flowing. In Buddhism it is said, "One is not born, one is not annihilated. One is not tainted, one is not immaculate. One does not increase, one does not decrease."
In 1974 I conducted a six-week course seminar during the summer session at Fullerton College in California. The school established a new course entitled "Ki Development." "Ki Development" is a bridge between psychology, which concern itself excusively with the mind, and physical education, which deals only with the body. Ultimately, mind and body are one - no borders exist between them. The mind is refined body, the body unrefined mind. It is foolish to consider them two separate things.
I conducted Ki development and Aikido classes inthe large school gymnasium and every day during lunch hour, held a question and answer session, although I had never intended to lecture university professors. One day, Dr. Melvin asked, "sound and light can be expressed mathematically. Is it possible to do the same with Ki? Has anybody done so?"
"The universe is one. A man is one. A pebble is one. They can all be represented by the number one." I held up my finger. "Here is one. If I reduce it to half, what remains is one. If I reduce it by half infinitely, will it ever become zero?" "No," said the Professor, "it won't." "It does not become zero. If there is one, half of it always exists. Ki is the infinite gathering of infinitely small particles."
This is the subject of a very difficult passage in an ancient Buddhist text, the Hanya Shingyo. Expressed in words, the idea is very hard to grasp, but in this mathematical way, even a child can understand it.
Gozo Shioda Sensei's words
"As you grow older,your muscles weaken,and you can't lift or pull as when you were young. This kind of power is limited and it cannot help but decline no matter how much you try to build it. So, as Ueshiba Sensei said, the key to unlimited strength is "Kokyu Ryoku", Breath Power. It is, in fact, based on natural principles. When your opponent tries to use his power against you,you can simply absorb it into your own.Therefore,you don't need use any force yourself."
" Aikido is said to be the martial art of 'Wa', Harmony. It is not difficult to explain this. When you see your opponent, you posess both a personality and power which makes your opponent feel that he doesn't want to fight with you. This becomes 'Wa'. It does not mean that you compromise. 'Wa'is only possible when you have "something strong" within yourself, that makes your opponent your friend, and makes them cooperate with you. This is called, "Tai sureba ai wasu", which means, 'When you see your opponent you harmonize.' This is only possible when you have "Toku", Virture, the foundation of which lies in your "Chu Shin Ryoku", Center Power."
" Aikido is said to be the martial art of 'Wa', Harmony. It is not difficult to explain this. When you see your opponent, you posess both a personality and power which makes your opponent feel that he doesn't want to fight with you. This becomes 'Wa'. It does not mean that you compromise. 'Wa'is only possible when you have "something strong" within yourself, that makes your opponent your friend, and makes them cooperate with you. This is called, "Tai sureba ai wasu", which means, 'When you see your opponent you harmonize.' This is only possible when you have "Toku", Virture, the foundation of which lies in your "Chu Shin Ryoku", Center Power."
Ittaika
By Hiroshi Ikeda
translated by Jun Akiyamaedited by Ginger Ikeda
Morihei Ueshiba, the founder of aikido, said that when he moved in a direction that was natural to him, his opponent had no other option but to do so as well. This is what we can call "ittaika" or "putting two bodies together as one."
When attacked, O Sensei, through his natural movement and exquisite "understanding" of the opponent, in some way formed a powerful connection that allowed him to affect his opponent's body as though it were a part of his own; both bodies became one under the founder's control. At that point, O Sensei could simply move, and his opponent would also be moved without having the opportunity to create any opposition. This is "aiki," perhaps one of the most influential and important aspects of aikido.
How can we hope to discover aiki for ourselves? How can we gain the finesse required to achieve ittaika? The search for the answer keeps us busy with our training year after year.
If you use your mind's eye, you can visualize yourself in a situation in which you are terribly off-balanced. Perhaps you are bending forward or backward at the waist, somewhat twisted, with arms awry and one leg out from under you. You are falling and at the last possible moment you manage to tenuously regain your balance by touching a post with one desperate finger. But then the post moves slightly, and you also half-move, half-fall to keep the tenuous contact with the post, your only hope of marginally maintaining your balance. In your compromised position, you have little choice, and instinctively you focus on the post. The post, your one hope of balance, keeps moving. The post is always upright and its balance is never compromised.
I think that this is the condition nage should strive to create for uke. Nage is controlling uke's direction and movement, and no force is needed! Causing uke to lose his/her balance and then giving him the briefest hope of recovery may provide an opportunity for ittaika. Within ittaika, there lies an option other than destruction and harm. With ittaika, there is the possibility of peaceful resolution. O Sensei defined aikido as the budo of love.
How do we attain ittaika at the first instant of engagement? Perhaps it is in the basics that at least part of the answer lies. Thoughtful experimentation and exploration of tenkan and irimi can yield important information about connecting with our partner, about our own balance and posture, about natural spiral forces and paths of least resistance. Facing a bokken or shinai can tell us much about entering and connecting. And ikkyo, the "lifetime technique," gives us limitless opportunities to study our behavior and that of our partner, with the goal of ittaika in mind. Without this, our aikido will be merely the practice of form.
translated by Jun Akiyamaedited by Ginger Ikeda
Morihei Ueshiba, the founder of aikido, said that when he moved in a direction that was natural to him, his opponent had no other option but to do so as well. This is what we can call "ittaika" or "putting two bodies together as one."
When attacked, O Sensei, through his natural movement and exquisite "understanding" of the opponent, in some way formed a powerful connection that allowed him to affect his opponent's body as though it were a part of his own; both bodies became one under the founder's control. At that point, O Sensei could simply move, and his opponent would also be moved without having the opportunity to create any opposition. This is "aiki," perhaps one of the most influential and important aspects of aikido.
How can we hope to discover aiki for ourselves? How can we gain the finesse required to achieve ittaika? The search for the answer keeps us busy with our training year after year.
If you use your mind's eye, you can visualize yourself in a situation in which you are terribly off-balanced. Perhaps you are bending forward or backward at the waist, somewhat twisted, with arms awry and one leg out from under you. You are falling and at the last possible moment you manage to tenuously regain your balance by touching a post with one desperate finger. But then the post moves slightly, and you also half-move, half-fall to keep the tenuous contact with the post, your only hope of marginally maintaining your balance. In your compromised position, you have little choice, and instinctively you focus on the post. The post, your one hope of balance, keeps moving. The post is always upright and its balance is never compromised.
I think that this is the condition nage should strive to create for uke. Nage is controlling uke's direction and movement, and no force is needed! Causing uke to lose his/her balance and then giving him the briefest hope of recovery may provide an opportunity for ittaika. Within ittaika, there lies an option other than destruction and harm. With ittaika, there is the possibility of peaceful resolution. O Sensei defined aikido as the budo of love.
How do we attain ittaika at the first instant of engagement? Perhaps it is in the basics that at least part of the answer lies. Thoughtful experimentation and exploration of tenkan and irimi can yield important information about connecting with our partner, about our own balance and posture, about natural spiral forces and paths of least resistance. Facing a bokken or shinai can tell us much about entering and connecting. And ikkyo, the "lifetime technique," gives us limitless opportunities to study our behavior and that of our partner, with the goal of ittaika in mind. Without this, our aikido will be merely the practice of form.
KI
Part I - A Metaphor
by Lawrence Novick, Ph.D. 1996
Ki means many things to many people. There are many ways of defining it, ranging from scientific and bio-mechanical explanations to extremely spiritual viewpoints, and people's feelings about it run the gamut of complete disbelief to mystical adulation.
O Sensei believed in Ki, and he apparently talked and certainly wrote about it a lot. He did take a rather mystical approach to it, which can be rather hard to understand, and perhaps even harder to put to use in the actual practice if Aikido, let alone in daily life.
I'm not going to debate the reality of Ki here, I'm just going to offer one way to look at it that may help some people relate to it, and perhaps even offer a way to bring it into their realm of experience.
Imagine a house. Generally speaking, a house has an exterior structure. In the normal sense, there is air all around the house, and there is air inside the house. Air is air - there is no difference between the air outside and the air inside. (Unless something has affected the immediate state of the air inside or out, but that will be addressed elsewhere.)
The only difference in perception between the inner air and the outer air is caused by the walls and roof of the house being there; the structure as we see it, and experience and live within it. This is what creates two localities and causes a perception of duality. However, it is very easy to see, in this kind of example, that in fact there is no real difference between the air inside and the air outside. If we understand that the structure doesn't truly divide the two spaces, we can see that the air is "one entity," one vast "body" that is moving, flowing, circulating.
So it is with Ki.
One way to look at Ki is as the fundamental energy, flow, and life force of the universe. There is Ki all around us, flowing everywhere, like air. There is Ki inside us; our sustaining energy. The body, in this case, as we perceive it, is like a house. It perceptually separates us from knowing the unity of our inner Ki with the outer Ki. This perception keeps us in a state of duality. To transcend this, all we need do is step outside of this perception of "ourselves" as being the dividing entity between inner and outer Ki. When we do this, we can know that the Ki around us and the Ki within us is the same, and that it is unified just like the air inside and around a house.
By being kinesthetically aware of the feeling of flow within us, emanating outward from the Hara, or center, and learning to trust that more than the conventional muscular processes that we usually rely on to support our sense of physical reality, we can release our total reliance on the body and open up to the experience of this vast resource that is flowing everywhere. We can draw on the Ki if we let go of our immediate attachment to our physical and personal references as the sole source and focus of our power and movement, and let ourselves experience and be aware of the fullness of this "universal" Ki flow, within and without. This is the "key" to using Ki in Aikido, or in life.
by Lawrence Novick, Ph.D. 1996
Ki means many things to many people. There are many ways of defining it, ranging from scientific and bio-mechanical explanations to extremely spiritual viewpoints, and people's feelings about it run the gamut of complete disbelief to mystical adulation.
O Sensei believed in Ki, and he apparently talked and certainly wrote about it a lot. He did take a rather mystical approach to it, which can be rather hard to understand, and perhaps even harder to put to use in the actual practice if Aikido, let alone in daily life.
I'm not going to debate the reality of Ki here, I'm just going to offer one way to look at it that may help some people relate to it, and perhaps even offer a way to bring it into their realm of experience.
Imagine a house. Generally speaking, a house has an exterior structure. In the normal sense, there is air all around the house, and there is air inside the house. Air is air - there is no difference between the air outside and the air inside. (Unless something has affected the immediate state of the air inside or out, but that will be addressed elsewhere.)
The only difference in perception between the inner air and the outer air is caused by the walls and roof of the house being there; the structure as we see it, and experience and live within it. This is what creates two localities and causes a perception of duality. However, it is very easy to see, in this kind of example, that in fact there is no real difference between the air inside and the air outside. If we understand that the structure doesn't truly divide the two spaces, we can see that the air is "one entity," one vast "body" that is moving, flowing, circulating.
So it is with Ki.
One way to look at Ki is as the fundamental energy, flow, and life force of the universe. There is Ki all around us, flowing everywhere, like air. There is Ki inside us; our sustaining energy. The body, in this case, as we perceive it, is like a house. It perceptually separates us from knowing the unity of our inner Ki with the outer Ki. This perception keeps us in a state of duality. To transcend this, all we need do is step outside of this perception of "ourselves" as being the dividing entity between inner and outer Ki. When we do this, we can know that the Ki around us and the Ki within us is the same, and that it is unified just like the air inside and around a house.
By being kinesthetically aware of the feeling of flow within us, emanating outward from the Hara, or center, and learning to trust that more than the conventional muscular processes that we usually rely on to support our sense of physical reality, we can release our total reliance on the body and open up to the experience of this vast resource that is flowing everywhere. We can draw on the Ki if we let go of our immediate attachment to our physical and personal references as the sole source and focus of our power and movement, and let ourselves experience and be aware of the fullness of this "universal" Ki flow, within and without. This is the "key" to using Ki in Aikido, or in life.
Subscribe to:
Posts (Atom)