General

Attacks

Techniques

Miscellaneous

Ueshiba Morihei

The founder, Ueshiba Morihei was born in 1883. He studied classical Budo and became one of Japan’s most eminent martial artists. He was constantly developing Aikido until his death in 1969.

Aikido schools reflect this long period of development and are split between what are called ‘hard’ and ’soft’ styles. Yoshinkan, for example, is a hard style and is taught to Tokyo’s riot police. Whereas Kinokenkyukai is at the other end of the scale and focuses on Ki energy and health.

Aikikai styles run the whole spectrum. They usually have a more direct connection with Honbu Dojo in Tokyo, the founders principle school, where the Ueshiba family continue to teach.

"Heaven, earth and man must bind together as a single force. One must move in harmony with the cosmos propelled by the divine, Ki radiating from your body."

Bansen Tanaka

Bansen Tanaka Shihan was one of Ueshiba’s pre-war disciples. In 1936 He founded an Aikido dojo in Osaka that went on to become the Osaka Aikikai.

Central to his teaching was the spiral and the low stances required by them.

Kawahara Shihan

Kawahara Yukio Shihan continues this tradition as the present head of the Osaka Aikikai. He is also Tokyo Hombu’s representative in Canada and the Technical Director of the British Columbia Aikio Federation.

Introduction

One particularly evocative way to imagine Aikido is as an exchange of various forces. For this exchange to be realistic the correct execution of Ukemi is vital. During practice the Uke attacks and the Tori responds with Aikido. The Uke’s attack and response to the techniques performed on him is described as Ukemi.

Superficially this is a matter of rolls, break-falls and sincere attacks. However this is not to suggest that the Uke’s role throughout a technique is passive. They must react realistically in the midst of an attack to whatever is happening. In this way Ukemi also heightens awareness and reflexes.

Basics

There are primarily two methods of practice that require two distinct kinds of Ukemi. Kihon and Kokyu. Kihon means basic or fundamental. Kokyu means breath or breathing. As a general rule when we practice Kihon the Uke grips firmly and does their utmost not to move. When we practice Kokyu a more dynamic attack is defended against.

Any grip should be firm but it should also be light, it should never crush the Tori. This not only makes practice more pleasant, but also reflects the fundamental principles of how an Aikidoka should use their muscles.

An Uke should abandon a grip only when they feel that they would, as an aggressor, be compelled to do so. Whether that is to protect themselves by rolling, to defend against an Atemi or to continue the attack. Appreciating when that point arrives comes with practice. If as an Uke you are unsure, particularly in the beginning, then go with the flow.

It is important to note that a Tori rarely makes much progress in their Aikido if the Uke is constantly pointing out their mistakes. This responsibility should be left to senior students and the Sensei.

There are people who believe that a firm static grip is the only realistic way to attack. This is to misunderstand practice. Kokyu techniques are often practiced with an aggressor trying to move the Tori in some way. Which gives them some force to work with.

As discussed in the text on harmony on this site, the Uke also comes with some expectations. A punch is expected to make some sort of contact, a push or a pull is expected to deal with some resistance. Aikido techniques frustrate these expectations and the aggressor is unbalanced. The Uke has to mimic this behaviour to be ‘realistic’.

This does not mean that the Uke should give himself over completely to the Tori. It takes time to develop the correct balance, not so soft as to be meaningless, not so hard as to be meaningless.

Balance

Once someone has lost their balance their first instinct is to regain it. With the lead the Tori attempts to use this instinct to keep an aggressor off balance until they are neutralized.

If the lead is correct an aggressor will often feel that the only solid thing they have is their hold on the Tori and consequently they hold tighter in an attempt to regain their balance.

The Lead

The lead is an offer. The Tori offers the Uke an opening, something to attack. The Uke rushes in only to find that the opening is no longer there. If the lead is continued in the correct way the Uke continues to chase the opening which they have focused on, or perhaps a further offered opening. The Tori uses this to lead the Uke into a vulnerable position.

When an Atemi enters an aggressor’s space the aggressor reacts to it or gets a knock to react to instead. That response either has the aggressor putting themselves into a position where it is very straightforward to take their centre, or has the aggressor reacting with force, which gives the Tori something to work with, something to redirect.

If the attack is sincere and the lead is performed correctly a Tori will rarely feel the Uke become heavy or immovable. Should this event occur it is a simple matter to distract the aggressor with an Atemi and begin again to lead.

Sincerity

The Uke’s task is to attack in a manner that is considered realistic. As mentioned in the notes on practice, the essential primary stage in learning Aikido is choreographed. Techniques are practiced according to a strict understanding between Uke and Tori. The Uke is asked to attack in a particular way, the Tori is asked to defend in a particular way. This is a very efficient way to wire Aikido responses into your body whilst keeping the chance of injury to a minimum.

The problem here for the Uke is that they are aware of what the Tori plans to do and they must behave as if they were not. They must try not to anticipate the Tori’s defence during this kind of practice. An Uke’s attack should always be fully committed, sincere. An Uke should focus on their target and try to hit their target.

Again, in normal practice you might find yourself anticipating the direction in which the Tori is going to move. This makes for meaningless practice. If your attack on the mat is insincere, is going off target, you cheat the Tori. If these habits were to continue the Tori’s Aikido would be seriously flawed.

An aggressor outside the dojo has no idea what is going to happen, where their victim is going to move. They only know what they want to hit. On the mat we must simulate that.

Levels of Ukemi

There are various stages of Ukemi. In the beginning it is important to give yourself over to being led. Again, being careful not to anticipate. An Uke should give something to the Tori and then move where they are directed.

Later Ukemi is different. Once a Tori’s body has absorbed how to move, we progress to the Tori responding with a variety of techniques to one attack, so the Uke no longer has to worry about anticipation. Then to a variety of attacks with the same finish, then to a variety of attacks with a variety of finishes, all the while developing a sensitivity through practice to the movement of the Uke and beginning to feel what is appropriate to the situation, what the Uke is offering to you.

The more you practice the more responsibility you assume as Uke. Your attack does not end with the first cut or initial hold. You look for weaknesses or openings in the Tori’s defence.

After Dan gradings there is also Kaeshi Waza, where as Uke you are constantly on the look out for an opportunity to reverse the situation and become the Tori. But that is much later. Practice Kaeshi Waza too early and you are likely to slow your overall development. It takes time to understand what is and what is not a legitimate opening, to appreciate what is truly realistic. But this is actually a simpler matter than it may sound here and naturally emerges from regular practice.

Introduction

The first Kanji of Aikido - 合 - means to join or match. 合気 therefore is ‘joining / matching Ki’, harmony or coordination. The power in Aikido comes from coordination and there are various levels to this. There is harmony within yourself, harmony between yourself and others, and ultimately with everything.

On a practical level your technique will be transformed as soon as you stop trying to apply a technique "to" someone and realise that you are both part of one movement, one thing.

Harmony suggests separate paths coming together, forming a whole, and this is a very useful idea. There is also a further step, where harmony is understood as complete or one.

Rhythm

There is a rhythm to everything you do. This is not a matter of speed. It is a matter of timing. Move to and breath that rhythm. Do not try to force anything.

O-sensei put it like this, "Heaven, earth and man must bind together as a single force. One must move in harmony with the cosmos propelled by the divine, Ki radiating from your body."

Partner

During practice we often use the term Aite to refer to whomever we are practicing with. Aite does not mean enemy or opponent but partner. This is how you should view any aggressor. From a purely Aiki perspective “fighting an opponent” distances you from this most fundamental principle in Aikido, harmony.

From a practical standpoint this also helps you avoid the classic pitfall of allowing anger to dictate your actions within a conflict.

Leading

There are various aspects to the lead. From offering openings and targets, and the Atemi, to drawing out the attacking force and redirecting it. When we lead the mind of an aggressor, their body follows, they are unbalanced and vulnerable. They struggle to regain their composure. We do not allow them to do so.

When you climb a staircase blindly in the dark and you tread on what you think is the last step and that step isn’t actually there, you stumble forward. When you pick up an empty cup which you think is full, your arm shoots into the air. In Aikido, harmony often leads to these kinds of sensation in the aggressor. They are expecting some resistance, but there is none. They are expecting you to be there, but you are not.

So Aikido techniques are not a matter of ‘throwing’ with force. In fact, should you try to apply brute force you often give the Uke something solid to hold on to, which allows them to regain their balance. Consequently you lose the lead and are left in a purely physical struggle.

Additionally, should you try to move too fast, to force the rhythm, the aggressor will break off and typically find themselves in a very strong attacking position.

In Aikido force is never opposed with force. We don’t block and counter. We become one.

Atemi

Atemis are strikes but they are often misunderstood as existing solely for the purpose of inflicting damage. Obviously should you find yourself in a situation where this is necessary you have that option. However their principle purpose is to lead the mind of the aggressor. An Atemi to the face for example can cause the aggressor to lean back, from there it is a simple matter to take their centre.

Despite appearances on the Dojo mat the Atemi is not to be confused with a feint. We might hope that the aggressor has the sense to get out of the way of an Atemi, but if they don’t the Atemi will make contact.

Competition

Aikido is fundamentally noncompetitive. Competition separates you from your partner, separates you from the movement, from all that is going on around you. You want to win, to be better than someone else. There is division, there is conflict. There is no harmony. Without harmony there is no Aikido.

How you view a situation is vital. If you are competing you are involved in a struggle. If you are doing Aikido conflict ceases to exist.

Definition

Ki is imagined as an animating life force that permeates everything. In the body it flows through channels known as meridians. Tsubos are located on these meridians.

Relax

From a practical perspective relaxing has a direct effect on how you perform a technique. A beginners Karate punch is a very tense and slow affair and does little more than channel aggression. A relaxed punch is quicker, more efficient, more powerful.

For the development of Ki relaxation is vital. Once you have learnt to relax you are in a position to develop a feeling for Ki and then extend it into your movements.

The neck, temples, and shoulders can be particularly stubborn. If you find that you are very tense, the Yoga technique of visualising parts of your body and directing them to relax, can be useful. For particularly difficult muscles tensing them briefly before the order to relax can make all the difference.

Ki and Aikido

It is not necessary to believe in Ki as some kind of mystical force. It is enough to focus on it simply as an idea for it to transform the way you hold and move yourself. In the body of an Aikidoka, Ki manifests itself as a relaxed power free of unnecessary tension.

How you imagine Ki is a personal matter, but visualising it as a fluid coursing out from your centre through your limbs "info infinity and beyond" can be particularly constructive. When you imagine flow, you activate all the muscles we are interested in. The idea of the flow of Ki between yourself and your aggressors can also be helpful. See the text on harmony.

Breathing

Breathing and Ki are bound together. When you focus on your breathing it is also a good time to remember Ki and your centre.

Breath in through the nose and out through the mouth. On the in-breath your abdomen should expand rather than your chest. On the out-breath your abdomen deflates. Try to resist the temptation to use your stomach muscles as this adds unnecessary tension. Sitting quietly once a day and breathing like this for a short while can have a considerable effect on your well-being.

During practice as you project outwards you generally exhale. A Kiai is a development of this exhalation where you shout from your centre, focusing everything, the movement, the breath, into an instant.

In some schools of Japanese calligraphy they take three breaths to find their centre before putting brush to paper. Although this is worthwhile practice an Aikidoka should be able to centre instantly.

Centre

Hara and Chushin refer to your centre. Within that centre is the Danten, which some styles call “one point”. This point corresponds to your centre of gravity, two inches below your navel.

Ki can be envisioned as springing from this point, charging out through your frame into infinity. It is also sometimes useful to imagine your centre as a sphere expanding in all directions from your Danten, behind and below you as well as in front and above.

As your centre should be involved in just about all your movements in Aikido it is often useful to listen to your centre. For instance, should you run into difficulty with a technique your centre can tell you where you are going wrong or offer alternative directions.

Zanshin is generally used to describe a calm and centred state of focus at the end of a technique. However, this is just the beginning. Ideally you want to extend this frame of mind to the whole time you are on the mat, Ukemi included. And then perhaps into everyday life.

Process

Constant repetition of prearranged attacks and defenses in paired and group practice is an efficient and safe way to transfer techniques and principles from the brain to the body, replacing your reflexes with a more efficient set. This choreographed approach allows us to practice at full speed whilst minimizing the chances of injury.

In time you will discover that for a single attack you have developed a number of responses. Later you will find yourself responding dynamically during the attack, instantly taking advantage of openings or weaknesses with no premeditation whatsoever. Ultimately you find that no matter what the attack you have an appropriate response wired into your system.

As you progress you will find that you no longer think about where this arm goes and where that leg should be. Your focus shifts from the details of technique, from Aikido by numbers, to more important concerns such as how to use your centre, leads, balance, distance and timing.

Eventually even these principles should be so completely absorbed that you are not consciously aware of them. At some point you will begin to approach Mushin, a state where you do not consciously think of anything. Your body, through your training, takes over.

Essence

The techniques themselves are not as important as what you learn through them. How to move, how to use your centre, leads - atemi included, balance, distance and timing. You are after the very essence. In self defence it is that essence that will be of use to you.

I like to think that Bruce Lee didn’t master the one inch punch by simply practicing one inch punches. He learnt through the countless repetition of normal punches, finally realising the heart of the punch and then being able to apply it within an inch.

With a Shomen cut, as you step forward, the lower you are the greater feeling you have for the ground, and a greater sensation of how your centre is involved. With experience that movement can be abbreviated, so that you no longer need to be so low or even step to deliver that cut with the same coordinated power.

Commitment

People practice for a variety of reasons. Only a few end up devoting a major part of their lives to Aikido. If you enjoy Aikido but can’t commit to practice more than once a week, that is fine. Likewise it is not necessary to train so hard that you can no longer stand or breathe.

However, one of the most useful things you can take from the mat is the ability to focus, one hundred per cent, body and soul, on a single task. No diversion, no doubt, no delay, not even for an instant. There is nothing to think about, you just do it.

This is part of Shinken Shobu, a fight to the death. Sincere practice consists of approaching every encounter in this frame of mind. Your own prevaricating mind is put to the sword.

You develop this committed state of mind while you are actually practicing. Every attack, every defense, every movement, always doing the best Aikido you can. Every time you practice anything your object is to be that much better with each attempt. A hundred cuts, a hundred cuts better.

However, be careful not to lose yourself in endless repetition. Ten focused cuts is better than a hundred if for those hundred you are merely going through the motions. If you must rest, rest. If you are doing Aikido, do Aikido.

Ultimate Objective

Takemusu Aikido is described as the spontaneous creation of techniques appropriate to each unique situation. Whatever the attack, whatever openings are offered, wherever the aggressor wishes to go, wherever you wish to go, it does not matter. You will move in accordance with Aikido principles in a relaxed state, with a clear mind, creating techniques dictated by the circumstances.

There is nothing magical about this, it is simply the logical result of practice.

Be aware that in the early stages it is vital that you stick strictly to the techniques you are taught. Otherwise you will quickly find that you are not practicing Aikido at all.

Weapons

In the Eigoku Bansen Kai we regard weapons practice important for several reasons. Weapon work can clarify basic principles such as footwork and how to use your centre. It also improves posture and strengthens the legs making the Aikidoka much more solid. Additionally it is useful for the practice of defences against weapons.

However more significantly O-sensei has said that Aikido techniques are based on the sword. An understanding therefore of how to use the sword gives the Aikidoka an insight into the whole of Aikido.

General

Teachers should be referred to as Sensei, which means exactly that, teacher. The Eigoku Bansen Kai is not a particularly strict school but as with many oriental arts there is a lot of bowing. Bows in this context are a matter of courtesy and respect rather than subservience.

Beginning and End of Practice

A standing bow is required when entering or leaving the Dojo. Shoes should never touch the mat. It is customary to remove footwear as you step backwards onto the mat. A kneeling bow is necessary when you first step on the mat and when you are leaving at the end of practice.

At Eigoku Bansen Kai Dojos there is no particular order in the line up at the beginning or end of class. However students should remember when visiting other Dojos or on courses that many schools line up according to grade.

The Eigoku Bansen Kai begin and end practice with a double Shomen bow and four claps. Should you leave or arrive during practice you should still perform this bow.

During Practice

Before and after practicing in a group or with a partner a kneeling bow is required. A standing bow is adequate when leaving your group temporarily. In some very strict Dojos junior students place themselves further from the top of the mat for the bow. A standing bow is also adequate when leaving the mat temporarily. You should inform the Sensei if you wish to do this during practice.

If the Sensei interrupts your practice of a technique to make a point bowing to your group is unnecessary. It is customary to kneel if the explanation continues for any length of time. It is polite to bow to the Sensei once they have finished.

It is very bad etiquette to walk between people while they are bowing to each other.

In Addition…

If possible nails should be kept short. Open cuts must be covered. Obviously good personal hygiene is appreciated by those you practice with.

First

Inform your Sensei of injuries or any other problems that may be relevant to your practice.

It is not necessary to purchase a Gi for your first practice. Loose clothing will do. When you have decided that you wish to continue, that is the time to think about fees, membership and the Gi.

The first classes at Eigoku Bansen Kai Aikido Dojos are offered free of charge. We are required to obtain insurance for students within two weeks of them first stepping on the mat.

Practice

Eigoku Bansen Kai Aikido Dojos do not have a beginners course. Everyone is thrown in at the deep end. Although we generally practice at quite a pace you must always practice at your own speed. Take your time. Don’t rush anything. Advanced students learn much from beginners, so there is no need to feel that you are holding anyone back.

At first you may feel that the volume of information is just too immense. This sensation does not last. You will soon find your body taking over much of what your mind once felt it had to deal with. It helps to remember that those you practice with have all been though this same process. The only thing between you and being able to do all of this is practice.

Relax

O-sensei has said that the first step in Aikido is to let go of your strength. You will be taught to use your muscles in a different way, free of unnecessary tension, and yet powerful. The simplest way to approach this is to relax. From a practical perspective taking this advice will also make it less likely that you will do yourself or others any harm.

Smile

In Aikido we do not approach or resolve a conflict in an aggressive or violent frame of mind. Our approach to training reflects this and makes Aikido a pleasure to practice.

Overview

Aikido is a Japanese system of self defence that is fundamentally non-aggressive and non-competitive. Despite the potentially devastating nature of the techniques, the object of the various throws, locks and pins is to neutralise and immobalise aggressors rather than to cause them injury.

Process

Constant repetition in paired and group practice is an efficient and safe way to transfer techniques and principles from the brain to the body. As you progress your focus shifts from the details of technique to more important concerns such as how to use your centre, leads, balance, distance and timing. Eventually even these principles should be so completely absorbed that you are not consciously aware of them.

Principles

The word Aikido is split into 3 kanji. The first kanji - 合 - means harmony or coordination. The second - 気 - spirit or energy. The third - 道 - way or method.

In Aikido the force of an attack is never opposed with force. Unifying mind, body and technique, the Aikidoka enters and blends with an aggressors movement.

Ki is imagined as an animating life force that permeates everything, but it is not necessary to believe in Ki as some kind of mystical power. It is enough to focus on it simply as an idea for it to transform the way you hold and move yourself. In the body of an Aikidoka, Ki manifests itself as a relaxed power free of unnecessary tension.

Due to these principles Aikido techniques do not require physical strength, so practice is possible for anyone regardless of age, size or sex.

Outlook

Aikido appeals to many because it gives experienced practitioners the option to defend themselves without inflicting harm. However this does represent a high level of achievement that is only possible after many years of practice. It must also be remembered that Aikido is a Budo. The techniques and counter strikes can cause serious injury.

The competitive spirit is not compatible with Aikido philosophy. Even if this were not the case the nature of the techniques make meaningful competitions impossible.

Benefits

Calm, balance and coordination are all gradually acquired. With regular practice the full and fluid movements not only improve respiration and circulation but also reflexes, timing and agility. All of which prove useful in everyday life