Questions?

 

 

Honest questions.

 

 

Is your Aikido practice really:

 

- Free of aggression?

- Non ego driven?

- Free of fear?

- Natural flowing?

- Non competitive?

- Joyful?

 

No?......

 

 

 

Keep training and enjoy practice.

 

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Suwari waza kokyu ho, a practical guide.

Suwariwaza kokyu ho.

In my view the most important excercise in all Aikido training. Also the most misunderstood part of Aikido training. What's this excercise all about?

In Aikikai Aikido training the most training sessions are ended with this strange excercise. Tori and uke are seated towards each other and it looks like tori is forcing his movement upon uke and throws his partner to the side. In reality, good practice of this simple excercise reveals a lot of Aikido principles. Following I will try to explain the tips and tricks for this wonderful training tool.

 

What's going on?

 

A few "rules" have to be established when doing this excercise.

1. Never use strength.

2. Never compromise your posture.

3. Don't be aggressive.

4. Use hips, not hands.

5. Use listening energy, called ting jin in Tai Chi Chuan.

6. Tori in seiza, uke in kiza.

7. Be seated as close to each other as possible.

8. Use round arms, same as zhan zhuang chikung.

9. First connection, than move together.

10. Don't throw but unbalance your partner.

11. Always relax shoulders.

12. Use spiral movements, 3 directions at once.

13. Don't fight his structure but use space around him.

14. Use arm swing

15. "Kokyu breath power" is to be studied.

16. Identify open and closing of centerline, breath and joints.

 

Above are a few pointers which will give direction to the right way of training these movements.

First of all uke has to give a light pressing power in the direction of the center region of tori. This wil give tori an opportunity for experiencing center to center contact. One's this is established tori will have to direct the movement of his wrists, the contact points in this case, with his hips. When uke is solid or one unity it will be easy to unbalance him. Later on variables can be added to this training like different points of contact, more or less resistance of uke and so on... So I see this as a possible push hands like excercise without using feet and therefore only hara usage.

It really is a practice which doesn't receive the credits it should get. I could fill multiple lessons by this excercise and all it's variations.

 

Two clips to get a few ideas..

 

 

 

Enjoy practice, maybe more suwari waza kokyu ho.

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Arm drag in martial arts.

 

Remember Fujita study part nine? The armswing.

http://aikiprinciples.blogspot.nl/2014/11/fujita-sensei-study-part-nine.html

 

The arm swing is used in many martial arts because of it's efficiency. Sometimes called differently but the movement is the same. A natural swinging motion of the arm which mimics natural walking and therefore is very difficult to counter. Combined with a movement which is forward one can always reach the ura side of uke which is preferable.

 

Following a few examples from other martial arts then Aikido. Hope the similarities are recognized.

 

 

 

 

Enjoy practice.

 

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Ukemi and fear

Ukemi.

The practice of "falling down" is a big part of Aikido training. Tori practices the technique which has been shown, uke takes the appropriate ukemi. Is this way of training the way to learn to take natural ukemi?

First of all a decent amount of time is spent on solo training of ukemi. Forward, backward, sideways, standing, sitting, with a slap of the arm, free falls and more can be practiced. This is a physical way of training and often used as a part of warming up. I think this is an excellent way of starting a training session. The body is cardiovascular challenged and circulation is improved. Concentration on the falls is necessary and there will be a certain amount of stress reduction concerning the feared ground contact.

 

How can ukemi, the receiving of technique, become more natural and improved?

The greatest challenge concerning ukemi will be the letting go of pre-conceived ideas and expectations of what's going to happen. Simply put: Fear is causing problems.

Fear can only exist when there's thought about the future. There's an assumption of what will happen or likely to happen which causes stress. Natural ukemi will be free of fear or distress, because it will be impossible to think about the past or future. Saotome sensei mentioned in one of his books a phrase which sums it up perfectly. Now is now!

Good ukemi will feel effortless and a natural consequence of the harmonious interaction practiced in Aikido.

 

Next clip will show some techniques but instead try concentrating on ukemi skills.

 

 

 

 

 

A few tips for training:

1. Practice all kinds of falls on your own.

2. Give unconditional energy towards the center of your partner.

3. Don't think about wat is likely to happen.

4. As uke, "feel" the movements of tori while excecuting techniques.

 

Personally I feel my ukemi skills have improved, but still aren't natural and completely free of fear. Shimizu sensei once said the moment one's ukemi become natural, Aikido can be experienced and improved upon drastically. "Good uke becomes good nage"

 

Things to avoid in trying to improve ukemi:

1. Showing of ukemi skills on behalf of a demonstration. To make it look good or because of egoistic reasons.

2. To take falls because one is practicing with a higher grade out of respect.

3. To do ukemi which fits the technique. This is a thinking process based ukemi and therefore to slow to be natural.

4. Have fear of injuring oneself.

 

To conclude:

Ideally tori and uke will experience harmonious interaction where movement happens in a instant and naturally. This will only be possible when there will be no fear or anger during your practice.

 

Enjoy practice.

 

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On/off principle

On/off principle.

A student of Yamaguchi sensei, Endo sensei, is one of Aikido's teachers with a style where there's a lot to be studied. His Aikido is characterized by his ability to "listen" to his partner and act accordingly. Whenever there's a moment of tension or resistance he's able to relax completely in an instance and thereby creating a new situation. This is what I call the "on/off" principle.

 

I try to visualize this concept by comparing this to a light switch where it's possible to shut off the current for a moment. A total relaxation of muscles and tissue is the result. The aggressor loses control of the situation and an Aikido technique could evolve from this interaction. This way of training will result in different spontaneous creation of techniques. Listening and timing are most essential when practicing in this manner.

 

 

 

So try to use this on/off principle in your daily practice.

 

Enjoy practice.

 

 

 

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Fujita sensei study part twenty

Attack centerline or spine.

The last post on the study of Fujita sensei deals with a principle which is crucial to all Aikido practice but is often neglected. To create Aiki or harmonious interaction a connection is to be made. The best way to achieve this would be to "attack the center". This doesn't mean to aggressively hit or push towards the center of your partner but to extend your body through your arms towards this centerline. This will always create a connection which can be used to become essentially one body. Therefore where you move, your partner will move also.

 

Fujita sensei can be studied on video and his "attack" towards the spine will be obvious. Preferably the spine will be attacked from the rear side of uke. There are no weapons of attack for your partner and is therefore easily controlled.

 

The next clip is a long one(two hours) to conclude this study for now. Thanks Aikido Moldova for the upload.

Next blogposts will contain different subjects concerning Aikido and internal martial arts.

 

Enjoy practice.

 

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Fujita sensei study part nineteen

Yahazu.

Fujita sensei is known to use the hands in a specific way while doing Aikido. He called this hand position Yahazu. It's like the notch of an arrow or the playmobil hand. Why would he use this hand position? It's likely that it it used as a grasping hand with little chance of injuring the fingers. Also this position is naturally used when doing irimi nage, ikkyo and nikkyo in the style of Fujita sensei.

 

 

 

Whenever I use this "power hand" the techniques appear to be more solid and structurally sound. Try and feel for yourself.

 

Enjoy practice.

 

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Fujita sensei study part eighteen

Posture, taisabaki, technique.

The study and practice of Aikido is often "technique" oriented. This means that the sensei is showing a technique concerning an attack which has been agreed upon. The students try their best to emulate or imitate this technique with their partner. The technique is the starting point of their movement. One works towards the goal which is the described technique. This is a top-down learning method.

Fujita sensei stresses the importance of the basics in his kihon waza. First your posture has to be correct. Then one has to learn to move this posture in a natural way. The end result will be an Aikido technique. Therefore the sentence "posture, taisabaki, technique" contains the training method of sticking to the basics at all time. When one attempts a technique with bad posture and movement it will never be natural and harmonious practice.

The next clip Fujita sensei emphasizes posture. The starting point of all things concerning Aikido.

 

 

Enjoy practice.

 

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Fujita sensei study part seventeen

Use center.

Aikido can be a study of many different things but it can be seen as a study of knowing and using your center. Hara is a concept in Japan that can be studied through different excercises. A lot of martial arts are related to this study. Aikido in particular emphasizes the use of your center from the very first lesson. In my opinion the kihon waza of Fujita sensei can be used to give attention to and how to use your center.

 

Sometimes you can observe him tapping onto his hara to remind us not to use brute force or awkward strength, but instead use whole body movement directed by your hara. Simple, but not easy! Once you are able to use your center one can connect this to the center of your partner and Aikido movement can be experienced.

 

The following clip one can observe his use of hara with uke Armando Braat, who also gives attention to hara usage in his lessons.

 

Enjoy practice.

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Fujita sensei study part sixteen

Gyaku, aihanmi, ryote dori, ushiro ryote dori.

Fujita sensei kihon waza consists of movements derived from gyaku hanmi katate dori. Once these movements are understood one can proceed to aihanmi katate dori techniques. Ryote dori techniques are basically the same as gyaku hanmi movements, whereas ushiro ryote dori movements could be seen as a kind of aihanmi excercise.

 

So try to remember:

1. Gyaku hanmi katate dori: 4 basic taisabaki

2. Aihanmi katate dori: 4 basic taisabaki

3. Ryote dori same taisabaki as 1.

4. Ushiro ryote dori same as 2.

 

In this demo both gyaku hanmi and ryote dori are clearly seen.

 

In the following demo one can recognize gyaku hanmi katate dori, morote dori and aihanmi katate dori.

 

 

So all kihon waza of Fujita sensei are derived from the 4 basic taisabaki in gyaku hanmi katate dori and therefore to be practiced continuously.

Shomen uchi,yokomen uchi, tsuki can all be practiced using these body movements as shown in the next clip.

So Fujita sensei left us with a system to be studied and practiced while doing our Aikido.

 

Enjoy practice.

 

 

 

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Fujita sensei part fifteen.

Whole body movement.

 

 

 

The Aikido of Fujita sensei is often described as powerful but not hard and agressive. How is this done? Whole body movement is the base from where his power originates. He is using the basic excercises to illustrate this point. The balance breaking or projections are a result of the movement of his structure by means of his footwork. If you study his movements one will notice that his body moves like a solid unity transported by, usually, okuri ashi. This one step movement will cause a powerful and sharp hanmi posture while moving. So try to use your whole body and not only hand and shoulder power or fragmented use of the body.

 

Here's a demo from the 80's?

 

 

Enjoy practice.

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Fujita sensei part fourteen.

Triangle, circle, square.

Fujita sensei used his signature drawing on the back of your gi at seminars. It consists of three figures namely the triangle, the circle and the square.

 

My own ideas concerning these symbols in relation with the Aikido of Fujita sensei would be the following:

 

The triangle stands for hanmi kamae. The posture represents the most stable position and has a strong focus of energy in front of your hara. This could be compared to the offensive stance in the sword arts of Japan. So in your Aikido one should be aware of always maintaining this stance even when moving.

The circle represents the round posture of the arms and circular movement.

The square stands for the finishing of a technique which should be solid and hips square. Katame waza could also be named square and firm.

 

In the following demo the three principles are easily recognized.

 

 

 

Enjoy practice.

 

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How to use second hip.

 

 

How to use the second hip and what does it mean. Yamashima sensei is known for his use of his hara. In reality he uses both his hip joints to full effect. In the next clip this is shown by using your rear hand and hip in unison to attack the centerline of your partner. So imagine your holding a sword or knife and point this to the hara of your partner. This creates a center to center movement which can be used to upset your uke's balance. Ikkyo is best suited to study your second hip joint, but it's used in all Aikido movements. Hips, hips, hips. Don't use arms, use hips.

 

 

Enjoy practice.

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Fujita sensei study part thirteen

Laser.

To me a laser symbolizes a highly focused and concentrated energetic principle. In Fujita sensei kihon waza one can identify this as the concentrated energy in which he projects into sumi otoshi points. In Chinese internal martial arts this is often translated as Yi, Qi, Li. A simple explananation of this would be that in projecting energy one uses to full effect mind(Yi), breath power(Qi) and body(Li). These three powers combined will produce a laser like power into a single spot. Usually the most weak part of your partner's balance is used. When doing atemi this principle can also used to create a power which is multiplied because of the joining of energy into a single point.

Use of laser in kokyu nage by Fujita sensei. Notice the projection extends beneath the surface of the mat.

Enjoy practice.

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Fujita sensei study part twelve

One step.

 

 

Fujita sensei uses ashi sabaki which are clear and precise. His favorite movement would be the transfer of his whole body structure in one step. This step is called okuri ashi. Foot movement like this is most used in kendo. One should be in hanmi kamae and push of the back foot. This results in a forward movement where the front foot moves first. The end position will be the same as the starting one. Irimi movement and Hanmi principles are therefore maintained.

 

 

Usually his first step is okuri ashi as shown in this clip.

 

 

Enjoy practice.

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Fujita sensei study part eleven

Project through the ground.

Fujita sensei uses projections of whole body movement into sumi otoshi point of uke. Mae otoshi point is also used but the point on the ura side of uke is his most weak spot. It's not enough to just point at this spot or restrict your movement to the edge of the earth. The mental training consists of projecting the energy through the ground towards the center of the earth. Of course this will be impossible to do, but the movement changes because of the effort made. It's like the board braking excercise of karate. Project body, mind and spirit behind the board to go through it.

 

In irimi nage like movements this is best demonstrated.

 

 

 

Enjoy practice.

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Fujita sensei study part ten

D.

The letter D represents a principle which Fujita sensei uses to illustrate that there should be both round and straight energy projections. When one divides a circle in half it will look like two D's put together.

 

 

You will notice a lot of Fujita Sensei techniques use this kind of mixture of round and straight movements. Usually round energy is used to create harmony with your partner, while the projection is a straight energy line directed into sumi or mae otoshi point. Try to identify the use of the letter D in the next clip.

Enjoy practice.

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Fujita sensei study part nine

Armswing.

What does Fujita sensei mean by using the Armswing?

When walking, the arms of every human being make the same movement. It's a natural movement in which the arms swing like a pendulum. Both uke and nage will move in their most natural and effortless way when this swinging motion is to be used. Fujita sensei uses this knowledge to full effect. The arms are held in the structural strongest posture. Relaxed, not stiff, not weak and circular. The whole body power is therefore expressed through the arms and hands. Uke will naturally be unable to resist his own natural movement.

 

This clip shows the principle of the armswing combined with whole body movement.

 

Enjoy practice.

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Fujita sensei study part eight

Same.

O sensei and Fujita Masatake.

What does point no.8 on the list mean? Same refers to the harmony of posture which uke and tori will have when doing kihon waza of Fujita sensei. The 4 steps of Fujita sensei all involve a sense of moving in a manner which ends the same.

 

 

 

 

When you study this clip one thing you will notice that the end position of the 4 taisabaki ends in the same posture for uke and tori. Hence the principle, same. Hanmi posture for uke and tori.

 

Enjoy practice.

 

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Listening

Listening.

Endo sensei, known for his listening skills.

 

 

What does listening mean? Listening energy is a term used in the internal martial arts. Tai chi chuan being the art which uses it the most. During a conversation between two people you would have a talker and a listener. In a physical interaction you could translate this to the ability to "read" the movements of your partner. In Judo, wrestling, brazilian jiujitsu and Aikido the use of this listening energy is possibly more important than the knowledge of all the techniques.

 

How to improve one's listening skills? First of all when you want to listen you have to be still yourself. During a conversation this would mean don't talk yourself and interrupt your partner. In a physical sense it means to not to take the initiative and do things. Instead you listen to the movements of your partner. In Aikido we have an excercise which is really interesting in practicing this kind of energy, suwariwaza kokyu ho. This excercise alone contents a lot of aikido principles hidden in plain sight. Unfortunately it is commonly only used to end a class session. You could easily fill a lot of lessons only with variations of this excercise.

 

A few excercises I recommend to improve listening skills would be:

- Zhan zhuang chi kung. Standing meditation.

- Tai chi push hands.

- Zazen. Seated meditation.

- Yoga pose called Savasana or Corpse pose.

 

Good listening requires:

- Stillness. Physically and mentally.

- Balance. Every deviation from being balanced is felt.

- Being in the moment. Now is now.

- No ego. Mushin. No thoughts of winning or losing.

- Highest grade of sensitivity.

 

 

 

So a good excercise would be to try to improve your listening skills instead of forcing your techniques upon your partner. Usually trying to do a technique is felt by your partner and easily countered. If you meet a partner with better listening skills than you, all your actions will be futile because the other person will understand, with his body, what you're trying do.

 

As an example outside the realm of Aikido I would like to introduce one of the greatest martial artist in BJJ. Marcelo Garcia has perfected the listening skills in his art. His theory consists of always being a step ahead of your partner through listening and small attacking movements to get a reaction which he can use to his advantage. This way his partner reacts like a puppet on a string with him being the puppet master.

 

 

 

This clip shows the effortless of his movements while body and face show little excertion or aggression. So for Aikido training one could try to not win, don't throw or otherwise force your movements upon your partner. Just listen to what is available and use it to your advantage. This will also improve compassion with the aggressor.

 

Enjoy practice.

 

 

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Heavy hands and where to put them.

I would like to share with you two of the most important tips for creating or experiencing the so called internal power.

At a seminar on the island of Ameland, the Netherlands, Yamashima sensei was giving a seminar. The translator at the event commented on the Japanese text of Yamashima sensei in English. There are two sentences which stood out for me and which I currently try to include in my practice.

1. Use heavy hands, for when you use heavy hands your center will turn naturally.
2. Put your hips in your hands.

What one can try to experience is the sensation of creating a feeling where the hands and lower part of the arms are heavy. Like gloves filled with sand. Why should one do this kind of strange imaginative excercise?
The whole body structure wants to be balanced at all cost. Otherwise we would be falling continously when trying to walk. When the hands are used as counterweights just like a a tightrope artist, balance is assured by small corrections of the hips. This is the same feeling a lot of sensei speak about when they try you to urge to use "your center". Simply put, your hands and hips will always make movements which are opposite in direction. This will create the possibility of using your strength of the lower body into your hands.

So in your practice, and more important, during every day walking and tasks, try to imagine your hands are heavy and make a connection between hands and hips. You will be surprised by the results of this simple excercise over the course of your Aikido career.
Yamashima has practiced this for a long time I would imagine and in the next clip you can see what it can lead to.

Enjoy practice.

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Fujita sensei study part seven

Samurai walk

Point no.7 from the list. The samurai walk is a kind of walking where the hand and foot move together on the same side of the body. So front hand en front leg move simultaneously. In the next clip Fujita sensei shows this kind of movement during aihanmi irimi nage.

 

 

Normal walking consists of front leg followed by same side arm swinging to the rear. The secret to the samurai walk is that it's like normal walking accept the hand that swings to the rear during normal walking is extended to the front.

 

"Budo is walking"

 

 

 

Enjoy practice.

 

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Open/Close principle

Open/Close.

This principle is well known in the internal martial arts. What can it mean for Aikido practice? Open and close can be seen in a few different scenario's.
From my point of view there's an excercise which embodies the principle of open/close in a manner which can be practiced. This implies that this specific excercise can be used as a template for all Aikido movement. The excercise I'm referring to is called gyaku hanmi kokyu nage. Sometimes called sokomen irimi nage.
It's an excercise which Yamashima sensei frequently and during a longer period of time shows at his seminars.


The next clip will show a few examples which use the principle of open/close. This case morote dori is used as attack form.

First there's the invitation of uke by turning the spine around a vertical axis. This is opening. The return of this rotation is the closing aspect. Hand and arm movements are combined with this movement.

Next it is evident that it's a kokyu nage technique. Open and close refers to the subtle control of the breath. Opening through breathing in, closing while breathing out.

Finally you will notice no forced muscle power is used. This only will be possible when the muscles, tendons and fascia are to be used as a spring. To compress is closing, to release this compression is opening. So the "throw" is not a forced thing but rather a letting go of tension which has been build up by uke through nage.

When we split the movement into two separate subjects this is what's happening:

1. Open
Open - Spine turning
Open - Breathing in
Close - compression of body tissue

2. Close
Close - Spine turning towards uke
Close - Breathing out
Open - Releasing tension from previous compression

Obviously this is a simple explanation of a complex movement between two people. Prolonged practice will lead to understanding of this beautiful excercise. In the video above you will notice Yamashima sensei is experimenting with the moment of open and close. Timing and sensitivity are the most important skills to be practiced during this excercise.


" Don't use force, use mind". Tai chi saying.

Enjoy practice.

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Fujita sensei study part six

Round.


Point number six from my list concerning Fujita Sensei.
Round is the shape of the arms when doing kihon waza. Not to much bend, not to straight but in between. The shape of the arms looks al lot like a chi kung posture which is used extensively in various Chinese internal martial arts and Chi kung training. This posture is known under a lot of names. Hugging a tree, holding the ball or standing post. Zhan zhuang is the name used in Chinese chi kung training. This posture contains a lot of secrets used in the internal martial arts and is an excellent exercise to supplement Aikido training. I will use this posture for an article to be written in the nearby future.

In my view Fujita sensei uses this posture in movement. Through these arm movements he's able to use his structure and develop whole body power.

Enjoy practice.

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