AIKIDO WORLD BLOG

BUILDING A DOJO IN AUCKLAND... Part 3 Getting K.O.-ed

2009-06-13T08:23:00.015+12:00

At last, we are gradually getting to the stage where we can see this as a finished building. On-site, we grandly refer to this as "Phase III".

I think this is because basically we haven't got a clue what we're doing and it makes us feel more important.

I refer to our incompetence in the broadest sense, with no disrespect meant to Gareth Hodgkiss, my incredibly expereinced Project Manager/Builder/Carpenter/Engineer/Labourer/Drainage Consultant/Digger Driver who is also my neighbour and friend, who has been amazing and worked like a dog throughout the last 3 months.

The point I'm making is that ALL construction projects, no matter how carefully scoped, budgeted, planned and drawn-up all end up running over time and costing more money than you actually have and this genuinely doesn't reflect on the poor people running the project.

Isambard Kingdon Brunel was regarded as a genius and a great engineer and leader in his field, but many of his most famous achievements took waaaay longer than planned at almost double the cost.

I think this needs a name; "Sod's Law" just doesn't do it justice. For the sake of argument, lets call it "Knock-on-effect Disorder or K.O.-ED. So why do nearly all building and construction projects end up getting K.O.-ed?

Here's what happens. You start a project and you get to the point whereby the Council need to come out and inspect the work - for example the concrete footing. They say "very nice, but how are you going to handle the water run-off? You'll need a drain". So all of a sudden you find yourself having to hire a digger - again. Then you dig trenches, get drainage pipes and porous stone delivered, pour more concrete and pay for yet another Council inspection. This of course puts you behind time and budget.

Now there was no way that anyone could have planned for this, as there is no way of guessing what each individual inspector will want. They all have their own preferences and bias, within the umbrella of The Planning Rulebook.

So you get that done, then you realize that the truck that delivered the digger was so heavy it has churned up the drive and has broken the concrete. So now you have to re-lay concrete and get 7 metric tonnes of top dressing stone delivered, spread it by hand in the rain (I kid you not - see picture) before you even have a workable, accessible site to get back to.

More cost, more time.

Then came the rain. For those of you that don't know Auckland, it is famous for being able to produce glorious sunshine, wind, rain anything else the weather gods can conjure up, all in the space of five minutes. But sometimes it just rains. And rains....

The day we spread the stones over the parking

area was one of those days. We had so much water flowing down the drive it looked like a stream, and even when we dug a few "diverting" trenches to push the water elsewhere, we still ended up with so much surface water that we had no option but to dig another set of drains, this time along the front of the dojo so that, should we get rain like this again (likely!) students leaving the dojo wouldn't have to swim to their cars.

All good fun. To cut a long story short, Sunday evening saw two very tired men, socked to the skins laughing at how much water was in their gumboots whilst standing waistdeep in a water-filled trench, drinking heineken.

So now we wait for a break in the rain and the 'final' inspection from the council.....

AIKIDO GLOSSARY - Useful Japanese words and phrases

2009-06-03T11:52:00.002+12:00

A ai harmony, unity, blending
aihanmi basic relation between partners: both have same foot forward (left or right), compare gyakuhanmi
aihanmi katatedori wrist grip, right on right or left on left, also called kosadori, compare gyakuhanmi katatedori
aiki blending/uniting one's ki with that of the partner
aikibatto sword exercises, solo or pair
aikibudo budo based on the aiki principle, earlier name for aikido
aikido the way through the life energy to harmony/unity
aikidoka one who does aikido, specifically on an advanced or professional level
aikido toho Nishio sensei's iaido school
Aikijinja the aikido temple in Iwama
aikijo aikido jo-staff exercises
aikijutsu name on the Daito ryu Martial art, also called aikijujutsu
Aikikai organization and "label" for Ueshiba's aikido
aikiken aikido sword exercises
aikinage aiki-throw, throwing technique
aiki no michi aikido (michi=do)
aikiotoshi aiki-drop, throwing technique
aikitaiso aikido warm-up exercises
aite partner in training
arigato thanks
arigato gozaimasu thanks for something going on
arigato gozaimashita thanks for something completed
ashi leg, foot
ate hit, strike
atemi strike to the body
awase harmonizing/blending movement
ayumiashi altering steps, left and right, like normal walking
B barai/harai parry, ward off
batto draw the sword, also called nuki
bo staff, longer than the jo
bokken wooden training sword
bokuto same as bokken
bu war, battle, fight
budo the way of war/battle, the Japanese Martial arts
budoka one who does any budo, specifically on an advanced or professional level
bugei battle art, old term
bukiwaza weapons training
bushi warrior
bushido the way of the warrior
C chado tea ceremony
chikara force/strength
choku direct
chokutsuki direct strike with the jo
chudan middle, compare jodan and gedan
chudan kamae guard position with a weapon at belly height
chudan tsuki strike at belly/solar plexus, with weapon or empty hand
chukyusha continuing student, with a mid-level kyu grade (jämför jokyusha)
D dai big, also o
daisho sword pair, the long and the short sword
Daito ryu aikijutsu school
dame wrong, bad
dan level, black belt grade in budo
dao/tao transcribation of the Chinese word for way, do
deshi student
do way, also michi
dogi training dress, also keikogi
do-in self massage tradition
dojo training hall
dojo cho head of a training hall
doka poem about the way
domo much
domo arigato gozaimas thank you so much, for something going on
domo arigato gozaimashita thank you so much, for something completed
dori take, catch, grab
dosa movement
doshu way leader, head of a budo
dozo please/by all means
E embukai public demonstration
empi strike with elbow
eri neck, collar
eridori collar grip by the neck
F fukushidoin assisting instructor, title for aikido teacher, 2-3 dan, compare shidoin and shihan
funakogi undo, rowing exercise, also called torifune
furitama exercise to still ki
futaridori/futarigake two attackers
G gaeshi/kaeshi returning, reversed
gamae/kamae guard, basic position
gasshuku training camp, lodging together
gedan low, compare jodan and chudan
gedanbarai low block
geiko/keiko training
geri kick
gi dress
giri/kiri cut
go five
gokyo fifth teaching, pinning technique
gomen nasai excuse me
Gorin no sho Book of Five Rings, by Miyamoto Musashi
gotai hard body, static training, compare jutai, ryutai and kinagare
gyaku reverse, opposite
gyakuhanmi basic relation between partners: they have opposite foot forward, compare aihanmi
gyakuhanmi katatedori wrist grip, right on left or left on right, compare aihanmi katatedori
gyakutsuki strike with opposing arm and leg forward, compare oitsuki
H hachi eight
Hagakure Hiding the Leaves, classic samurai book from the 18th century
hai yes
hajime begin
hakama traditional wide pants, used in aikido
handachi half standing
hanmi half body
hanmi gamae angled guard position
hanmi handachiwaza sitting versus standing
hanshi title in kendo, from 8th dan
hantai opposed
happo eight directions, compare shiho
hara stomach
harai/barai sweep away, parry
harakiri cut belly, ritual suicide, also called seppuku
hassogaeshi jo-staff technique
hasso gamae guard with weapon at shoulder level
henkawaza, changing techniques, variations on basic techniques, also shifting from one technique to another
hidari left (right: migi)
hiji elbow
hijidori grip on elbow
hijikimeosae pinning technique, sometimes called rokkyo
hiki pull
hineri twist
hiragana Japanese phonetic writing, compare katakana
hito e mi making the body small, guard position with more of an angle than hanmi
hiza knee
ho method
ho direction, side
hombu head quarters
Hombu dojo head dojo, used for Aikido's head dojo in Tokyo
I iaido the art of drawing the Japanese sword
iaito training sword, usually not sharpened
ichi one
ichiban first, best
iie no
iki will power
ikkajo older term for ikkyo
ikki one ki, bottoms up, toast
ikkyo first teaching, pinning technique
ikkyo undo exercise of the basic ikkyo movement
in Japanese for the Chinese concept yin, compare yo
ippon one point
ipponken strike with one knuckle
irimi in to the body, inwards
iriminage inward throw, throwing technique
Iwama Japanese town, where Osensei had a dojo and a home
Iwama ryu Saito sensei's aikido style
J jiyuwaza free training
jo wooden staff, 127.5 centimeters
jo awase jo-staff exercises
jodan high, compare chudan and gedan
jodan kamae guard with weapon over head
jodan tsuki strike at head
jodanuke high block
jodo the way of the staff
jodori defense against jo-staff
jokyusha advanced student, with a higher kyu grade, compare chukyusha
ju ten
ju soft
judo the soft way, or the way to softness
jujigarami/jujinage cross throw
jujutsu the soft art
jumbitaiso warm-up exercises, also called aikitaiso
juntsuki strike with the same arm and leg forward, also called oitsuki, compare gyakutsuki
jutai soft body, smooth training, compare gotai, ryutai and kinagare
jutsu technique/art
K kaeshi/gaeshi returning, reverse
kaeshitsuki reverse strike with jo-staff
kaeshiwaza counter techniques
kagami biraki Japanese New Year celebration, held January 11
kai club, association
kaiso founder
kaitennage rotation throw, throwing technique
kaitenosae rotation pinning technique
kakaedori embrace
kakarigeiko attackers in line, one after the other
kakudo angle
kamae/gamae guard position
kami divinity
kamiza honorary place in a dojo, compare shomen and shinzen
kampai cheers, toast
kan intuition
kangeiko mid-winter training
kanji ideograms, the Chinese writing
kanren linked, connected
kanrenwaza linked techniques, one technique followed by another, compare renzokuwaza
kansetsu joint (on body)
karatedo the way of the empty hand, or the way through the hand to emptiness
Kashima shintoryu traditional sword school
kata form, pre-decided movements
kata shoulder
katadori shoulder grip
katadori menuchi shoulder grip followed by shomenuchi
katakana Japanese phonetic writing, compare hiragana
katamewaza pinning techniques
katana the Japanese sword, also ken, to and tachi
katate one-hand technique
katatedori wrist-grip
katate ryotedori grip with both hands, also called morotedori
Katori shintoryu traditional sword school
keiko/geiko training
keikogi training dress, also dogi
ken sword, also katana, to and tachi
kendo Japanese fencing
ki spirit, life energy
kiai gathered ki, usually used for shout in budo
ki-aikido Tohei sensei's aikido style
kihon basics
kihonwaza basic training
kikai tanden the ocean of ki in the body's center
kime focusing
kimusubi tying one's ki to that of the partner
kinagare/ki no nagare streaming ki, flowing training, compare gotai, jutai and ryutai
Ki no kenkyukai Tohei sensei's aikido school, also Shinshin toitsu
kiri/giri cut
kirikaeshi turning cut, sword exercise
koan riddle in zen
kobudo older budo
kogeki attack
kogekiho attack techniques
kohai one's junior, compare sempai
Kojiki religious Japanese book from the 8th century
kokoro heart, will, mind, also pronounced shin
kokyu breathing
kokyuho breathing exercise, throwing technique
kokyunage breath throw
kokyu ryoku breath power
kosa cross over, pass
kosadori cross-over grip, same as aihanmi katatedori
koshi hip
koshinage hip throw
kote wrist
kotegaeshi reversed wrist, throwing technique
kotehineri twisted wrist, sankyo
kotemawashi turned wrist, nikyo
kotodama/kototama spirit of words, Japanese sound mystique and cosmology
ku nine
ku emptiness
kubi neck
kubishime neck choke
kuden oral tradition/teaching
kumi group, set
kumijo jo-staff exercises, jo against jo
kumitachi sword exercises, sword against sword
kumite empty handed fight
kumiuchi ancient Japanese wrestling in full armor
kuzushi break balance
kyo principle, learning
kyoshi title in kendo, 6-7 dan
kyu grade before blackbelt, compare dan
kyudo the way of the bow and arrow
L (L not used in Japanese)
M ma distance between training partners
ma-ai harmonious, balanced distance between training partners
mae front, forward, compare ushiro
maegeri straight kick
mae ukemi forward fall
makiwara target for hitting practice in karatedo
maru circle
mawashi revolving, turning
mawashigeri roundhouse kick
mawate turning
me eye
men head
michi way, also do
migi right (left: hidari)
misogi purification, cleansing
mochi hold/grip, also called dori
mochikata gripping attacks
mo ikkai do again
mokuso meditation, also called zazen
moro both
morotedori grip with both hands, also called katate ryotedori
mu nothing, empty
mushin empty mind
mudansha trainee without dan grade, compare yudansha
mune chest
munedori collar grip by the chest
musubi tie together
N nagare flow, streaming
nage throw, also used for the one doing the aikido technique, compare tori
nagewaza throwing techniques
naginata Japanese halberd
nakaima here and now
nana seven, also pronounced shichi
nen the purity and unity of the mind
ni two
Nihon/Nippon Japan
Nihongi religious Japanese book from the 8th century
nikajo older name for nikyo
nikyo second teaching, pinning technique
nin person
ninindori two attackers, also called futaridori
ninja courier and spy in old Japan
Nippon/Nihon Japan
Nito ichiryu/Niten ichiryu School of Two Swords/Two Heavens, Musashi's sword school
noto return the sword to the scabbard
nuki draw the sword, also called batto
nukite strike with fingertips
O o big, also dai
obi belt
ocha tea
oitsuki strike with same arm and foot forward, also called jontsuki
omote front, surface, compare ura
Omotokyo shintoistic society
onegai shimasu please, asking for something
osae press down, pinning
osensei great teacher, in aikido Morihei Ueshiba
otagai ni rei bow to each others
otoshi drop
oyowaza applied techniques, modified for efficiency
P (P rarely used in Japanese)
Q (Q not used in Japanese)
R randori disorderly grabbing, free training
rei bow
reigi etiquette, also called reishiki
renshi title in kendo, 4-6 dan
renshu training
renzoku continuous
renzoku uchikomi jo-staff exercise
renzokuwaza consecutive techniques, a series of techniques
ritsurei standing bow
rokkyo sixth teaching, pinning technique, see hijikime osae
roku six
ryo both
ryotedori gripping both wrists
ryu school
ryutai flowing body, fluid training, compare gotai, jutai and kinagare
S sabaki action/handling
sake rice wine
samurai to serve, Japanese warrior class
san three
sankajo older term for sankyo
sankaku triangle
sankakutai triangle shape, position of the feet in hanmi
sankyo third teaching, pinning technique
sannindori/sanningake three attackers
sanpo three directions
satori enlightenment in zen
saya scabbard
seika no itten, the one point below the navel, the body center, also called tanden
seiki life energy
seiza correct sitting, sit on knees
sempai one's senior, compare kohai
sen no sen before the attack, countering before the strike
sensei teacher
sensen no sen before before the attack, a leading initiative
seppuku cut belly, ritual suicide with sword, also called harakiri
shi four, also pronounced yon
shiai competition
shiatsu massage
shichi seven, also pronounced nana
shidoin instructor, middle title for aikido teacher, 4-5 dan, compare fukushidoin and shihan
shihan expert example, high title for aikido teacher, from 6 dan, compare fukushidoin and shidoin
shiho four directions
shihonage four directions throw, throwing technique
shikaku square
shikaku dead angle
shiki courage
shikko knee walking
shime choke
shin heart, will, mind, also pronounced kokoro
shinai kendo sword of bamboo
Shindo Musoryu jodo-school
shinken sharp authentic Japanese sword
Shinshin toitsu Tohei sensei's aikido school, Ki no kenkyukai
shinto the way of the gods, Japanese religion
shinzen seat of the gods, in a dojo usually a position on the wall farthest from the entrance, compare kamiza and shomen
shisei posture
shite the one leading, defender in aikido, also called tori or nage
shizentai natural body posture
sho first, beginning
shodan first dan grade
shodo calligraphy
Shodokan Tomiki sensei's aikido school
shomen front of the head
shomen head place of the dojo, compare shinzen and kamiza
shomen ni rei bow to head place of the dojo
shomenuchi cut or blow to head
shoshinsha beginner
shuto hand ridge strike
sode sleeve
sodedori sleeve grip
sodeguchidori grip on the cuff of the sleeve
soto outside, outer, compare uchi
sotodeshi student who lives outside the dojo, compare uchideshi
sotokaiten outer rotation, compare uchikaiten
sotouke block from outside, compare uchiuke
suburi basic exercises with sword or staff
suki opening
sumi corner
sumikiri sharpness of body and mind
sumimasen excuse me
sumo traditional Japanese wrestling
suri rub, scrape
sutemiwaza techniques with losing one's own balance
suwariwaza seated training, also called suwate
suwate seated training, also called suwariwaza
T tachi sword, also to, ken and katana
tachi stand
tachidori defense against sword
tachiwaza training standing up
tai body
taijutsu body techniques, unarmed techniques
tai no henko body turn, also called tai no tenkan
tai no tenkan body turn, also called tai no henko
taisabaki body move, evasive movement in aikido
taiso exercises
takemusu improvised Martial art
takemusu aiki improvised Martial art through the principle of aiki
tambo short staff
tameshi test
tameshigiri cutting test with sword
tameshiware hitting test in karatedo
tanden body center, compare seika no itten
taninzugake several attackers
tanren drill
techniques/tanto/tanken knife
tantodori defense against knife
tao/dao Chinese for do
tatami mat
tate stand up
te hand
tegatana hand sword, hand ridge in swordlike movements
tekubi wrist
tekubiosae pinned wrist, yonkyo
tenchinage heaven-earth throw, throwing technique
tenkan turn
tettsui hammer strike
to sword, also ken, tachi and katana
tobigeri jump kick
tobikoshi fall over hip, break fall
tomauchi jo-staff technique
tori the one who takes, defender in aikido, also called nage and shite
torifune rowing exercise, also called funakogi undo
tsuba sword guard
tsugiashi following step, back foot following and not passing front foot
tsuka sword hilt
tsuki strike, with a weapon or empty hand
U uchi hit
uchi inside, within, inner, compare soto
uchideshi student living in the dojo, compare sotodeshi
uchikaiten inner rotation, compare sotokaiten
uchikata striking and hitting attack forms
uchikomi hitting repeatedly
uchiuke block from inside, compare sotouke
ude arm
udekimenage arm lock throw
udenobashi extended arm, gokyo
udeosae pinned arm, ikkyo
uke the one receiving, attacker in aikido
uke block, parry
ukemi falling
undo exercise
ura backside, inside, reverse side, compare omote
uraken backhand strike
ushiro behind, backwards, compare mae
ushirogeri backward kick
ushiro kiriotoshi rear cutting drop, throwing technique
ushiro ukemi backward fall
ushirowaza attacks from behind
V (V not used in Japanese)
W waka sensei young teacher, used in aikido for successor of Doshu
waki side
wakizashi short sword
ware break, split
waza technique, skill, training method
X (X not used in Japanese)
Y yame stop
yang sunny side, male pole, in Japanese yo, compare yin
yari spear
yawara old jujutsu
yin shady side, female pole, in Japanese in, compare yang
yo Japanese for yang
yoko side, sideways, horizontal
yokogeri side kick
yokogiri horisontal cut
yokomen side of the head
yokomenuchi strike to the side of the head
yoko ukemi side fall
yon four, also pronounced shi
yonkajo older term for yonkyo
yonkyo fourth teaching, pinning technique
Yoseikan Mochizuki sensei's aikido school
Yoshinkan Shioda sensei's aikido school
yudansha dan graded, compare mudansha
Z za seated, sit
Zaidan Hojin Aikikai Aikikai Foundation
zanshin remaining spirit, continued concentration
zarei sitting bow
zazen sitting meditation, also called mokuso
zen a form of buddhism
zengo around, forward and back, front and rear
zori sandals

Numbers 1 ichi
2 ni
3 san
4 shi / yon
5 go
6 roku
7 shichi / nana
8 hachi
9 ku
10 ju
20 ni-ju
21 ni-ju-ichi
100 hyaku
1000 sen

Taken from Stefan Stenudd's excellent site. Worth a visit.

...All the moves were different but the idea was the same.

2009-04-20T15:19:00.005+12:00

Recently I was honoured to be one of the instructors on the now famous Auckland Friendships Seminars, where Aikidoka from all over NZ, as well as students of other disciplines including jujutsu, Kung Fu,karate and Judo all take part. the emphasis is on the sharing of knowledge, and to this end in recent years there have been guest instructors from other arts taking a session.

This time around John Tahere, an expert in Karate, Close Protection techniques and crowd control filled the guest slot, and emphasized the "real life" aspect of martial arts.
This, of course, opened the old "Is Aikido effective" can of worms, and after the seminar man, many emails (CC all...) pinged around the country as attendees all said their piece on the matter.

As a writer/blogger/all round opinionated git, I’ve had a couple of people nudge me and ask when I was going to put my oar in on the great “To Bash or Not To Bash” debate, and it’s taken me a while to respond, as frankly, it’s a big subject and I only have a small brain.

Before I ramble on, I think it’s worthwhile giving you a bit of background…
I started Aikido as a ten year old, basically because during 1974 Bruce Lee was doing his thang and every kid wanted to be able to do the same. This meant that me and my little brother spent every weekend at A & E having just punched, kicked or hit each other with something. By coincidence, The Hut dojo, birthplace of Aikido in the UK (est. 1950-something) was at the end of our road, so it was a no-brainer for our parents to start dropping us off every Saturday morning at the kids class.

After a few years my brother grew huge and started playing rugby on Saturdays, leaving me to continue on my own. I left home at 16 and moved into central London to go to Uni, and ended up doing the “local” club martial art (Wing Chun) which was an eye opener, as all the moves were different but the idea was the same. For me the first huge penny dropped.

Life, work, etc dragged me away but within a few years I was back at The Hut dojo – this time my motivation was for overall self-improvement, which of course included fitness and self defense. Anyone that has trained with Sensei Foster at the Hut will tell you it is physically demanding, high tempo, the attacks are committed and the straw tatami tough on the body. I spent about 15 years there training, teaching and assisting Sensei Foster before coming to New Zealand to live in 2005.

At around the same time my Pancreas decided it wanted retire, so I had to start shooting up with insulin and doing all the other stuff the doctors tell you to stop you dropping down brown-bread. What I hadn’t planned for was the fact that for about 80% of the time your blood sugar is either high or low, meaning you feel like crap. Couple this with the fact that for the last few years I’ve pretty much been teaching and am very lucky to get one training session in for my self a week, and you get a good picture of someone who has gone from being fit, strong and used to a regular beating to basically a normal middle-aged Pom trying to get through each class without embarrassing people by falling into a coma. For me the days of relying upon physicality are past.

“Where is he going with this” I hear you ask? Well, my point is that I started Aikido because my parents wanted me to get out the house, and I wanted to be able to do flying ninja kicks like Bruce Lee. I continued with it as a teenager because I was fascinated by it, and quite frankly, it was one of the few things I was good at. I returned to it as an adult as I wanted something else in my life apart from the quest for money to pay bills and the disappointment of seeing Queens Park Rangers Football Club lose every week. I continued with it as an adult as it got me out of a couple of scrapes in one piece and I was starting to see something within our Art that was gradually making me slightly better than the dodgy cockney I am at heart.

And now? Now I have responsibilities to my own students, and to all the years Sensei Foster, Sensei Ron Russell and all the other instructors along the way that gave me their time and energy to pass on how I see Aikido. That of course includes 2000-odd techniques and variations, ukemi, a sack-load of weapons kata and pairs practices, as well as everything that I am greedily absorbing from other Aikidoka, Jujutsu practitioners, my Eagle Claw Kung Fu friends in the UK, Peter Ralston and people like John Tahere.

At this moment in time I now view Aikido as a Martial Art that can give me the best possible chance not to have to fight.

All the moves were different but the idea was the same. It was a great seminar – can’t wait to be a part of the next one.

BUILDING A DOJO IN AUCKLAND... Part two

2009-04-02T07:42:00.003+13:00

After a lot of discussion, holding up the plans to the light (then turning them around so that they were the right way up) and drinking of tea out of large enamel mugs, we have eventually arrived at what is now referred to on site as "Phase II".

basically, the tricky bit was to dig the footing for the concrete floor to be poured, without wrecking the existing barn or destroying the chook shed, which just happens to be connected to the back of the barn. Some amazingly dextrous work by Gareth and Darcy on the digger managed to provide us with a decent trench, whcihwe then boarded and re-inforced with old doors and plywood, as we've had such a dry summer the ground is either like dust or rock, either way as soon as you dig a trench it collpses.

The concrete trucks started arriving - 6 in all, and Gareth's guesstimate was almost perfect - 25 cubit metres of concrete and about 4 hours of sweat later, we had a floor.

At this point it would have been great to have said "here's one we made earlier" and carried on, but of course we then had to down tools and wait until it hardened off.

Then came the tricky bit (there seem to be a lot of these). 3 12 meter steel I beams, each weighing about half a tonne ariived on a truck. The nice man unloaded them in the most inconvenient spot he could find and disappeared like Allidin's genie. A combination of people, levers, bits of wood and swearing manaed to eventually roll these huge dead weights into position. Watching from the comfort of the kitchen window, i was reminded of one of those 1950's epic Egyptian movies where slaves moved huge lumps of rock on rollers across the dessert....

A day, and two mechanical hoists later, the beams were up. Everyone seemed very pleased with themselves and celebrated by drinking lots of strong tea out of large enamel mugs and swearing.

Now - the roof. The plan was to use the best value timber we could find for this, as long as it had a decent finish, as these beams will be exposed in the final design. The samples we had were natural wood with a slight green tinge to indicate they had been pressure treated. When the wood arrived, we found out that the previous week had sen the advent of a new regulation, whereby all timber of this grade is now stained pink. Not a pale blush pink, or even a warm flesh colour. We are talking real "AAAArgh!" pink. I'm assured that this will fadequite quickly, but at the moment I'm expecting our membership to swell upon completion, especially with girls in the 8-11 age groups.

So, we are slightly behind schedule, slightly over budget, we still don't have the roof on and there are gail force winds and rain forecast for next week. (to be continued...)

AIKIDO VS THE REST: THE [HE]ART OF CO-OPERATIVE TRAINING IN MARTIAL ARTS

2009-03-26T07:21:00.003+13:00

A nice piece by Jason Gray on the pros and cons of mixed-discipline training.

In point fighting there is a “strike first and win” mentality that allows you to disregard the loss of both tactical and defensive advantage during an overcommitted attack. By contrast Aikido in a similar scenario, you utilize this over commitment as the foundation of the attack, thus persevering yourself.

I have students that often ask what’s the best option, on one hand Aikido keeps the tactical and defensive advantage whilst on the other hand you don’t necessarily keep the strike first offensive that is preached about in so many of the other arts.

My own personal experience as a mixed style practitioner has led me to develop an underlying base of core techniques that are common to all of the various martial arts, I further this by encouraging my Yuudansha (senior students) and my black belts to train in a different martial art from either Aikido or Karate for a period of time so they lose their blinkers and lose their art bias. Yes the art you have worked so hard to become a senior is the best in your opinion if you have never experienced anything else.

I started my journey 22 years ago in Karate I have all the pretty little certificates and medals from my progression through the ranks, I’m even a nationally qualified referee for the sport, on the other side of the coin I'm have done Judo for 11 years am still a brown belt and don’t compete. Aikido I found 16 years ago and fell in love immediately with it training almost daily for the first 9 years and rising steadily through the ranks.

Here is where the question so often asked comes into it, even Francis Sensei asked me the same, it goes along the lines of “do the different arts confuse the others?” to this I offer the same answer they compliment each other by shoring up the various weaknesses that each contain.
Ahh I hear you the reader groaning and stating my art doesn’t have flaws. Got some bad news there as well, as with everything in life there is a flaw to it, take the human mind, there is so much in life we want to understand and do but our body lasts for a minute time (60-80 odd years on average) sure we can maintain a fit and healthy lifestyle but we can still never understand or learn everything.

Karate helps us develop reflexes, speed and strength and keeping of distance while lacking the true concept of defense as an offense; it is a largely upright style with things going to pieces when the fight gets grounded.

Judo is perfect for in close fighting or especially for when the fight gets grounded however it relies on your opponent not attempting to strike you in quick succession or grabbing you so you can make a good purchase on them, it also lacks the foresight of most street fights being multiple attackers.

Aikido is a medium range style that incorporates a little of both the above mentioned styles it can deal with multiple attackers at mid to close range and teaching us how to verbally and mentally diffuse a situ at range. However it takes many years of dedicated training to properly use these techniques and to make them second nature.

When Francis Sensei initially asked me to write this article I had to think long and hard about the question posed, the answer that most people want to hear isn’t always the answer they will hear, my sensei was smart enough to recognize that I personally needed to experience other forms in order to appreciate my own style, I have found that approaching the different styles with an open mind and asking questions is the key to making it work don’t dwell on I'm an purple belt from aikido or a brown belt from Wu Shu try instead to look and fill in the gaps that are missing from the style you come from.

O Sensei always said “ask questions not of yourself but of your surroundings and use these answers to fulfill the question of your own being.”

In the next installment I shall cover questions that you can ask when selecting a trainer / style for you and help dispose the myths that surround reality based self defense courses.

6th AUCKLAND AIKIDO FRIENDSHIP SEMINAR

2009-03-02T08:43:00.004+13:00

Train with five Senior Sensei's on one day.

The styles represented will be
Kyu Shin Do - Ray Eder 5th dan
Buikukai Aikido - Adam Cooper 3rd dan
Institute of Aikido - Dunken Francis 4th dan
Sounji Ryu Karate - Sensei John Tahere
(Special guest instructor. John has been a black belt for 16years and has a vast range of experience including karate, boxing, close protection techniques and crowd control)
Aikiway - Tony Schaufelberger 4th dan

Five 60 min classes for $15. That's right $15 AND lunch thrown in!
Sunday 5th April 2009
8 Falkirk St, Blockhouse Bay - Chaucer Primary School.
Times: 9.00am - 12.30 • lunch • 2pm to 4.30pm

Please bring bokken & Jo.
Please confirm numbers as soon as possible so we can ensure everybody has a mat to roll on.
Contact Graham Ball on 0274 751 366 or Email gbapromo@wave.co.nz

BUILDING THE NEW AIKIDO DOJO IN AUCKLAND

2009-02-24T08:07:00.015+13:00

After months of planning, and even longer trying to find the money, on Saturday morning we finally got underway on construction of the new, full-time Institute of Aikido Auckland dojo. The current venue in okura has served us well for the last 18 months but we are outgrowing the space, and it has been clear for a while now that we need more capacity, and the option of a more flexible training schedule.

At the moment, what we have is a lump of land (around 5 acres in Silverdale, just north of Auckland, about 30 mins from the City) space to park about a dozen cars and a barn.

The plan is to double the size of this building and create a full-time Aikido facility with just over 100 sq metres of mats. Sounds easy if you say it fast.

Phase 1 was basically to remove the mezzanine floor, clean out the inside of debris and then remove most of the fascia. Volunteers from the club managed this in an astonishing 3 hour stint. Once again, my thanks goes out to those who turned up, sledgehammers and crowbars in hand.

First job was to somehow take up the flooring. We are trying our best to recycle as much of the timber as we can, so this took a while. Each nail had to be tapped through so that we could lift off the floor board with as little damage as possible.

Once this was done, we then were faced with large beams that had been in place for a quarter of a century, and were nailed, bolted and strung together in a way that made you think the original builders were expecting earthquakes twice a week!

A combination of lateral thought, crowbars and gentle persuasion with 12lb sledgehammers gradually weakened their resolve, and one by tone they started coming out.

The last task was to pull off the timber cladding - again we were keen to save as much as possible for re-use later, so this was all done carefully, by hand. A special mention to Jeremy and Leighton as they worked through several heavy showers to get this done.

Finally, after a short beer break, the salvage was sorted, graded and piled up and the site left tidy for the builders to start preparing the roof for the arrival of the 12m steel beam that will be supporting the new roof, and allow us a pole-free mat area with enough head height for training with the Jo.

The schedule say April 23rd for the grand opening, but my experience of builders in the past means that in my head I'm assuming July or August! I'll keep everyone up to date as to the progress of this somewhat ambitious project, and of course, you will all be welcome to come and train with us once the new venue is up and running.

Acupuncture and Aikido

2008-12-18T14:39:00.021+13:00

About a year ago, I damaged my shoulder during a training session. The details of the incident escapes me now (something to do with shiho-nage..), but for the last 12 months I've been to doctors, taken painkillers and anti-inflammatory drugs, seen an osteopath, a chiropractor and had three 'complete' 10 week treatments with three different physiotherapists.

And it still hurts.

I can't bear my weight on it, so pull-ups and chins have disappeared from my exercise routine, and even the gentlest of sankyo/nikkyo/yonkyo pins leaves me twitching like a fish. I have it on very good authority that I have a torn rotator cuff and something else which I can never remember to do with an AC joint.

It was purely by chance that a friend of a friend recommended yet another Physio, saying that she had helped with a similar injury. By now I was ready to try anything, so I made an appointment and dutifully rolled up on time, expecting the usual manipulation and 'Theraband' rehab exercises. I lay down on the couch and she wiggled my arm around a bit and then said "Hang on, I'll go get my needles". "Sorry? I asked. "Needles" said she "You have come for acupuncture I'm assuming?". I hadn't, but if there is one thing Aiki teaches you it's to roll with whatever life serves up. "Errr.. yes. No problem".

5 minutes later I looked a bit like a porcupine with alopecia (see photo), or maybe a poor relation of that "pinhead" guys in the Hellraiser movies. She explained that not only did she need to get the blood flowing into the area that was injured so it could heal, but that the muscles around it had been protecting it for so long that they had set solid, so she needed to loosen them up too. In total there were 21 needles sticking out of me, starting between my toes and finishing in my neck.

The next bit is odd. I fell asleep. In the middle of the day, in a sunny room filled with traffic noise and the hubbub of the rest of the clinic through plasterboard walls I somehow managed to doze off. I was awakened by a slightly amused therapist telling me that it wasn't uncommon for people to react like this and that it showed she'd "shifted some energy". As she "un-needled" me, she explained that acupuncture worked by re-directing energy, and removing blockages. 're-directing energy... removing blockages'. Hmmmm... that rings a bell!

The more I thought about it, the more comparisons I could see between acupuncture and Aikido, both in a practical, physical, philosophical and physiological sense.

Practically, both systems are based upon sound physics. The bio-mechanics present within Aikido only function with an understanding and the correct application of the principles of leverage, force and inertia, and acupuncture relies upon stimulation of certain areas of the body which in turn affect it's energy flows. Cause and effect if you will.

Physically they both treat the body and it's place within the universe as a holistic, homogeneous receiver, generator and transmitter of energy. Philosophically, we touch on a key factor for me. Both Aikido and acupuncture 'work'. There are many studies which say that there is no clinical proof as to how acupuncture can treat ailments such as insomnia, diabetes, migraines, fatigue, even some cancers, but about a fifth of the population of this planet believes in it enough for it to be the mainstay of their health care system.

Similarly, Aikido has always had detractors, citing in-effectiveness in combat, no MMA aikido champions (!), no 'real' sparring within the syllabus (etc...) but if you look at most military close combat training, Police arrest training and most 'self-defense' courses, you will see a mix of jujutsu/Aikido in them all.

Acupuncture treatment regulates the flow of Qi (Ki) and Blood, fortifying where there is deficiency, draining where there is excess, and promoting free flow where there is stagnation or blockages. In a nutshell, the acupuncture approach is "no pain, no blockage; no blockage, no pain." Similarly, an Aikido fundamental is to "remove blockages" whether that be via re-direction, conflict resolution or even use of atemi.

Most modern acupuncturists use disposable stainless steel needles of fine diameter (0.007" to 0.020", 0.18 mm to 0.51 mm), sterilized with ethylene oxide or by autoclave. These needles are far smaller in diameter (and therefore less painful) than hypodermic injection needles since they do not have to be hollow for purposes of injection. The upper third of these needles is wound with a thicker wire (typically bronze), or covered in plastic, to stiffen the needle and provide a handle for the acupuncturist to grasp while inserting.

The size and type of needle used, and the depth of insertion, depend on the acupuncture style being practiced. In my experience some of the needles made me jump a bit initially, others were completely painless but then started to throb or "wake up" a bit as the point was stimulated. None of them can be described as being 'painful', although I have since compared notes with other patients and they have reported the occasional needle being very uncomfortable, in most cases though this fades during the treatment.

Have done a trawl of Google for "Aikido+Acupuncture" I was surprised to find very few article or websites that link the two, considering the obvious commonality. I was interested to see that MASAHILO M. NAKAZONO one of the Japanese Sensei that introduced Aikido into the UK was a practitioner of acupuncture. Nakazono sensei was responsible for awarding my sensei, H W Foster (now 7th dan) his nidan back in 1962 and was instrumental in establishing the "form system" within the syllabus of the pioneer clubs of british Aikido.

I am sure that there are many Aikidoka / Acupuncturists out there, and I'd love to get more insight into how these two fascinating Arts 'blend'. Comments please!

Is AIKIDO teachable?

2008-12-10T08:45:00.003+13:00

A very nice article by by Peter Goldsbury

“What a silly question! Of course aikido is teachable. The fact that there are probably a million past and present aikido practitioners in Japan and overseas is eloquent testimony to the fact. Since Morihei Ueshiba actually taught relatively few of these million practitioners, the phenomenal growth of aikido can be due only to the hundreds of dedicated teachers who trained at the hands of the disciples who were taught directly by O-Sensei.”
This response is plausible, but unconvincing. It is undeniable that the million past and present aikido practitioners (estimates of the actual numbers vary wildly) have learned the art at the hands of these dedicated disciples; whether they have been taught and, if so, how they have been taught, is another question entirely.

Teaching vs. Training
The issue is not just a matter of words, or yet another example of the conflict between eastern and western cultural traditions and the limitations of both. It is obvious that these cultural traditions are quite different, especially when it comes to matters of teaching and learning. Nevertheless, the differences, though important, are not absolute.

On the one hand Aristotle, the inventor of western logic, the university, western educational methodology and much more besides, was every clear on the matter of what was teachable and what was not. In the work known as Nicomachean Ethics, Aristotle states that morality, or the awareness of the importance of an ethical system, has to be learned from experience; all one can do is to present the student with learning opportunities and hope.

On the other hand, in the Japanese scheme of things, aikido shihan are not teachers in the commonly understood sense. In fact this title, so beloved of a certain class of aikido practitioners and such a source of anguish to those members who not do not have it and think they should, is unknown outside traditional Japanese arts. A shihan is a model or archetype of the art in question and the title is given (usually on payment of a large sum of money) to those who are considered outstanding exemplars of the art. Completely different titles are used for people in the Japanese educational world, who spend their time teaching the young and/or inexperienced.
The commonly accepted assumptions of the Japanese educational world are also relevant to the question of teaching in the martial arts. A young Japanese is socialized to become a member of a cohesive social organism or tribe; the development of individuality is never seen in opposition to membership of this social organism. Thus education has a more instrumentalist and utilitarian aim than it does in western countries, where the overriding aim is to develop individuality. Students in schools and universities passively receive from those perceived as elders or betters an extensive body of knowledge, much of it learned by rote. This is where textbooks and syllabuses come into play and at the Japanese junior high school level every school in the entire country is following the same syllabus, probably the same part at the same time.

Training, however, is rarely undertaken in the Japanese classroom. On attaining junior high school, a young student will join a sports club and such clubs also exist in the high schools and universities. The student learns by practice such matters as how to address seniors in polite Japanese and how to be a dutiful cog in a larger machine. The training can sometimes be very severe and absolute obedience to the rules is demanded. Anything less can result in problems and has sometimes led to severe injury or even death. Nearly all the student aikido clubs in Japan are organized on this model. The training is led by senior students (usually in the 3rd year) and a common complaint is that the process is very stifling. The weight of tradition is very strong, with the blind usually being led by the blind; students learn how to be polite and dutiful but not much else. Very few of those who graduate continue aikido practice after they have graduated.

Nevertheless, the high school sports clubs do instil certain assumptions that are of great use when practising the martial arts. A student will approach an art like aikido with certain basic assumptions. (1) The aikido world is completely different from the classroom, with syllabuses and textbooks. (2) The world is vertically structured and in no way depends on the interests or explicitly stated views of those at the bottom of the structure. (3) Practice of the art is overwhelmingly a matter of training, success at which involves the ability to learn techniques through repetition. (4) There is no explicit intellectual input, in the sense that the goals are not presented beforehand as an intellectual structure to be explained through the medium of language, though verbal instruction and explanations are very occasionally given. (5) Senior students are presumed to know much more than the beginner and this knowledge is not to be questioned in any way. (6) Techniques are shown and the students are there to practise them, usually with varying degrees of success. Nevertheless, a basic level of proficiency is demanded and is usually attained.

The Ki of Barberism
These very same assumptions operate in other activities, like hairdressing, for example. In my local shop there is a student, a deshi, whose entire training consists of watching in silence what the barber does. In the years I have been a customer I have never seen him cut a single hair, other than give a customer a shave. Eventually, he will be able to do this, but only on selected heads and always under the very watchful eye of the barber. I have no doubt that he will become a very good hairdresser, but this will not be the result of any explicit teaching on the part of the barber. I have been told that O-Sensei used to require of his deshi two years of ukemi practice before being introduced to techniques and in one of his books Saito Sensei suggests two years of suburi before beginning kumitachi. To my mind this is barbershop training par excellence.

I think it needs to be stressed that students brought up in a western educational system do not have these assumptions and that to approach a Japanese martial art like aikido, especially if it is presented according to the above assumptions, requires an intellectual “paradigm shift” of considerable magnitude.

The idea that the deshi has to “steal” the knowledge or techniques from the teacher is often mentioned by disciples of O-Sensei and there is the implicit suggestion that so-called western ways of teaching based on rational explanation have no place in aikido. This might have been the case in O-Sensei’s day before World War II, but it is clear that aikido’s “centre of gravity” has shifted somewhat. It might be too much to say that this centre is no longer in Japan, but the mere fact of thousands of dedicated and technically able aikido practitioners outside Japan must surely add a dimension to the art that O-Sensei cannot have imagined. In the rest of this article, I shall discuss the question of whether the actual dissemination of aikido has been “westernized” since O-Sensei’s time and if so, to what extent this matters for the future.

Primordial Chaos?
In the present state of objective studies of aikido history, it would probably be impolite to suggest that O-Sensei did not think very much about the teaching of aikido. However, a very large number of interviews in AJ with O-Sensei’s direct students (and my own private conversations with some of these students) suggest that O-Sensei was so filled with the uniqueness and magnitude of his vision that he did not spend a great deal of time thinking about how to put this vision across to other people or explain it in a systematic way. Of course, there are the so-called training manuals Budo and Budo Renshu. The former is supposed to have been written by O-Sensei himself and the latter to have been approved by him. However, (1) they were only given to certain students, probably those who passed certain unspecified tests of martial virtue and were in no sense general aikido manuals available to anyone, and (2) the explanations would be incomprehensible to anyone who did not possess a thorough knowledge of Japanese culture (in particular, of the contents and significance of the collections of Japanese myths known as the Kojiki and Nihonshoki) or who did not already understand the various techniques which O-Sensei practiced at the time. Even then, many immediate students of O-Sensei have confessed that they had very little understanding of the more esoteric explanations he gave relating to the “unalterable” laws of the universe etc. These students continuously trained under O-Sensei’s direction and would surely have been in the best position to acquire such understanding. But this does not appear to have been the case.

Judging from the written records and his own statements, it is highly probable that O-Sensei had experiences which might properly be termed mystical and these formed a central element in the creation of his art. Mysticism is a highly respected element in the Western religious tradition and it is clearly not the exclusive preserve of religions like Christianity, with its western intellectual background. The great mystics like Teresa of Avila and John of the Cross were, like O-Sensei, both major reformers in their chosen spheres of activity. Unlike O-Sensei, they both left copious records of their mystical experiences, but these records bring us no closer to an actual understanding of these experiences and they are in no sense a means of replicating these experiences in ourselves. O-Sensei composed some poems that are incomprehensible to most aikido practitioners. But perhaps we have no right to expect O-Sensei to present such experiences in words that we can understand?

AIKIDO & UKEMI

2008-11-24T13:51:00.002+13:00

The concept of 'ukemi' has always fascinated me. many martial arts have 'breakfalls' or rolls by which one can take a throw, protect oneself and land safely, but the Aikido concept of ukemi or "receiving through the body" implies so much more.

I would like to throw this one open for discussion. My feeling is that good ukemi should allow the uke to stay so well connected with nage that at any point he can reverse the technique, and that include during 'flight. I also believe that the attack that promoted the throw and ultimately the ukemi should also be 'honest', otherwise the energy of the entire sequence is flawed before it starts.

There are some great resources out there: check out Donovan Waites website and Bruce Bookmans site

What is Ki?

2008-11-23T11:09:00.002+13:00

One of the questions that gets discussed probably more than any other in Aikido. The Various styles of Aikido (Akikai, Iwama, Ki, Yoshinkai, Tomiki etc etc) all have there own slants on the nature of this mysterious, omniprescence force, and this is one discussion that, by it's very nature, will remain endless, rather like Ki itself :0)

Here is a fascinating take on the subject from the Houston Aikido Website.

What is meant by Ki?
Ki is an old japanese word which does not translate easily into english. It is used in many common Japanese idiomatic phrases where it conveys a meaning of spirit, energy, power, or air (gaseous).

There is an old connection between spirit and breath (air) related to the Chinese word Chi (or Qi) and to the Hindu word Prana. This older meaning of Ki as being a term for the life force (breath) and natural power within us and within all things is how we use the term here.

Tohei Sensei speaks about connecting to the Ki of the universe. This means to let go of the conflict we perceive in the relative world around us and in us and becoming aware of the infinite stillness of the absolute world where there is no other. With a calmer open mind, we begin to truly relax allowing the Ki of the Universe to flow through us. We are extending Ki.

Extending Ki is a natural state that we knew intuitively as babies, but as we have grown up in the hectic modern society of today we have forgotten how to let the Ki of the Universe flow through us. Thus, people tend to assume that Ki is a supernatural energy because reconnecting to the absolute allows one to do things one assumed not possible, and this sometimes leads people to lose perspective and focus on what amount to fancy tricks that are supposed to demonstrate some mystical invulnerability.

The Ki society approach to Ki development simply teaches a person how to develop his inner vitality or energy and to reconnect to the Universal Ki. The heart of one's study is really about relationships. In finding one's own inner space of calm in a frenzied, stressful world, one can then be capable of connecting to others in a compassionate, authentic way that enriches life and nourishes the spirit.

Ki development teaches you how to truly relax. From relaxation comes the ability to sleep better and lead a healthier, happier life. Of course, it is always up to the student to take advantage of those teachings and apply them in their daily life.

Koichi Tohei's Shin Shin Toitsu Do (The Way of Mind and Body Coordination) can be done without the self defense arts of Aikido. Therefore, your age or condition is of little importance. Of course, practicing this way of mind and body unification would push your aikido technique towards a very high level of skill.

Koichi Tohei Sensei's Four Basic Ki Principles
Keep One Point. - Calm and focus the mind at the One Point in the lower abdomen
Relax Completely - Completely release all stress from the body
Keep Weight Underside - Let the weight of every part of the body settle at its lowest point
Extend Ki - Keep a positive, open mind all the time.

Note: if you are doing one properly, you are doing them all!

VIDEO CLIP - 13 Movement Jo kata

2008-10-10T17:22:00.000+13:00

Atemi and Aikido

2008-09-24T07:56:00.002+12:00

Atemi

Japanese name

Kanji:

当て身

Hiragana:

あてみ

[show]Transliteratio
- Revised Hepburn:	atemi

In Japanese martial arts, the term atemi (当て身, atemi^?) designates blows to the body, ^[1] as opposed to twisting of joints, strangleholds, holding techniques and throws. Atemi can be delivered by any part of the body to any part of the opponents body. They can be percussive or use 'soft' power. Karate is a typical martial art focusing on percussive atemi. The location of nerve and pressure points, such as might be used for certain acupressure methods, also often informs the choice of targets for atemi (see kyusho-jitsu).

Some strikes against vital parts of the body can kill or incapacitate the opponent: on the solar plexus, at the temple, under the nose, in the eyes, genitals, or under the chin. Traditional Japanese martial arts (the ancestors of judo, jujutsu and aikido) do not commonly practice atemi, since they were supposed to be used on the battlefield against armoured opponents. However, there are certain exceptions.

Atemi can be complete techniques in and of themselves, but are also often used to briefly break an opponent's balance (see kuzushi) or resolve. (For example, this is the predominant usage of atemi in aikido.) ^[2] A painful but non-fatal blow to an area such as the eyes, face, or some vulnerable part of the abdomen can open the way for a more damaging technique, such as a throw or joint lock. Even if the blow does not land, the opponent can be distracted, and may instinctively contort their body (e.g., jerking their head back from a face strike) in such a way that they lose their balance.

The development of atemi techniques arises from the evolution of the Japanese martial arts, in particular jujutsu. Early styles of jujutsu from Sengoku-era Japan were created as a means of unarmed combat for a samurai who had lost his weapons on the battlefield. The purpose of jujutsu was to disarm the opponent and use their own weapon against them. As such, strikes to the body were limited as the intended victim would have been wearing extensive body armour. However, in later styles of jujutsu from Edo-period Japan empty-handed strikes to the body became more common as full-scale military engagement began to decline. This meant that the jujutsu practitioner's opponent would not have been wearing armour and the vital points that form the crux of atemi-waza were more exposed. Thus atemi began to play a pivotal role in unarmed killing and restraining techniques.

The use of Striking (Atemi) in Aikido - A relevant piece by George S. Ledyard

The use of striking in the performance of Aikido waza or applied technique is not well documented and is even the source of quite a bit of conflicting information. Saotome Sensei has made it quite clear that O-Sensei taught that atemi in Aikido was at the heart of the practice. Yet other instructors have been known to say there are no strikes in Aikido. A number of practitioners believe that Aikido’s peaceful intent is lost when atemi is used yet those who have worked to preserve the martial integrity of the art know from experience that any experienced attacker will defeat Aikido techniques if there is no use of atemi. Even those who feel that use of atemi is perfectly appropriate in Aikido waza may not have considered in any systematic manner the various ways in which it is actually utilized in the art.

The use of strikes in Aikido manifests itself in three main ways (Each of these can be further broken down into more precise description.)

A Strike as a Technique in Itself

A Strike as a Means to Facilitate Another Technique

The "Not Striking of Striking"

The use of atemi as techniques in themselves, in other words to end the confrontation without need for any other additional application, is as a means of creating physical dysfunction. This can range from strikes which attack the vital organs and are designed to kill to strikes which are targeted at specific limbs and can end an attack by making it impossible for the attacker to continue. This could include crippling blows or strikes which are meant to deliver enough impact to render an attacker unconscious. The use of atemi alone to end a confrontation is not generally studied by aikidoka of the post-war styles and most of the practitioners who have a working knowledge of this aspect of the art acquired their knowledge by way of training in some other striking oriented art. The use of strikes in this manner is generally considered the option of last resort in Aikido because of the emphasis on non-violence. The Aikido ideal is to end a confrontation without inflicting serious injury on the attacker. So this area of study is, for better or for worse, de-emphasized in most Aikido training.

When strikes are used as a means to accomplish a different non-impact technique it can be executed in two different manners. In the first case an atemi can be applied in order to cause intense pain and therefore create a shift in the resistive energy of the attacker (this could be accomplished with or without injury based on what type of strike were used and at which of the above targets). The moment the attacker shifts his attention and therefore his Ki to the site of the pain his resistance to the main technique being attempted tends to diminish drastically. This use of atemi is generally considered by most Aikido practitioners to be the proper one if strikes will be used at all. The drawback is that techniques that rely solely on pain are quite unreliable. A seriously motivated attacker simply doesn’t notice and that means that there is no shift of attention. So choosing to target atemi to non-injurious vital points can increase the risk of failure in a self-defense situation.

Another way in which impact can be used as a means to accomplish a different technique is by using strikes not for injury or pain, although those might possibly be a by-product, but to change the physical alignment of a resistant attacker. Frequently when an opponent has stopped a technique, it is close enough to success that switching to a variation is not necessary. The simple application of impact, such as a knee strike to the back of the upper thigh when an attacker resists a kokyunage, can change the alignment of the attacker sufficiently to free up the blocked energy of the technique. No pain or dysfunction is necessary in this type of impact delivery. It simply alters the structure.

The final aspect of the use of atemi in Aikido falls within what I call the "not striking of striking". This is the use of a strike with no necessity or expectation (on the part of the person delivering the atemi) that the strike actually make contact. This is the type of atemi which many Aikidoka favor while not understanding that for effective use of this atemi to be made, mastery of the actual impact techniques previously described needs to be attained. This is the "energetic " use of atemi and the attacker must really believe that the true strike were being delivered and feel the necessity of putting his attention on it.

Imagine that you are standing behind a perfectly clear sheet of Plexiglas and someone throws a baseball at your head. If the throw were done powerfully, with speed you would cringe and duck even if you knew the Plexiglas were there. If the throw were done by simply lofting the ball you would probably not react at all. The "not striking" use of atemi must have all the energy and potential of a real strike or it will not create the effect on the partner, which it is designed to accomplish. The weak atemi thrown by many Aikido practitioners will simply have no effect on a motivated and trained attacker.

The "not striking of striking" atemi can be used as a distraction technique in the manner described previously. To accomplish distraction and its attendant shift in resistive energy it is only necessary that the attacker shift his attention. This might come about because the strike connected and caused pain enough to register in his consciousness or it might occur when the attacker uses a block to deal with the strike and prevent impact.

Anyone who has had occasion to apply Aikido techniques on a really resistant subject as in police application knows how hard it actually is to get a technique on someone intent on countering it. We train to maintain connection but a real attacker will attempt to break with you the instant that he doesn’t feel things are going his way. It is necessary to get the attacker to create an opening for establishing connection by delivering an atemi, which forces the attacker to block. The Aikido technique can then possibly be run on the blocking arm rather than on the arm or leg, which had delivered the primary attack. Once again, it is possible that the atemi will hit but it is often not required, as it is much easier to get a connection with some part of an attacker’s body when they commit to defense than when they are throwing an attack.

Finally, the aspect of striking, which is most misunderstood outside of Aikido circles, is the so-called "touchless throw". Every interaction in Aikido contains many different possibilities. Most of the time in Aikido practice the strikes are implicit rather than explicit. One can do a whole class and not see any overt strikes. This is because, if well trained, both partners know where the strikes could be and do not do anything within the interaction, which would require that, the hidden strikes become manifest. But in the "touchless throw" we see the "not striking of striking" used in its most artful guise. This is accomplished by subtly changing the timing of a strike. The strike needs to be just fast enough that the attacker can not avoid or block it but is just slow enough that the attacker can respond to it by breaking his posture and taking a fall in order not to be hit. The emphasis on this type of interaction is unique to Aikido. It is actually a valid martial interaction in a type of coded form. An uke trained in the use of strikes as throws will be airborne the instant the strike is perceived.

This can give an onlooker the impression that the attacker is throwing him self. At that point he either decides what he is seeing is bogus and involves the cooperation of both partners or, if mystically inclined, he believes that he is seeing people being thrown energetically, without the need for actual physical contact or force. In fact on one level each of these points of view is true but not for the reasons they would think. The point is that here we are looking at a form of Aikido interaction which doesn’t normally exist outside of the dojo. If one tried to throw an untrained partner without touching him it would merely manifest itself as a strike which hit. The partner would not understand that the agreement exists that I run the strike in just such a way that there is just one "out", to take the fall.

There are probably other, more subtle ways in which Aikido utilizes atemi but the main ones are covered here. If one expands the definition of atemi from striking to include anything which nage does to catch the mind of the partner for a split second, then a whole new area of discussion opens up. One of my dear Aikido friends was fond of planting a big kiss on your cheek just before hurling you with her iriminage. It is indicative of the varied approaches to Aikido practice that many students seem to pick only certain of these aspects to incorporate in their technical repertoire. But as soon as one is interested in application of the Aikido techniques outside the controlled environment of the dojo it is necessary to put some emphasis on understanding each of these applications.

Does "Aikido" Even Exist?

2008-09-03T11:39:00.001+12:00

Does “Aikido” Even Exist?
a very well put together piece by George Ledyard

What is Aikido? One could simply say that all Aikido, regardless of style, has a certain basic set of techniques and movement principles which make the art “Aikido” as distinct from aikijutsu or jiujutsu or any other martial art. But, as any person who has trained widely in the Aikido community can tell you, there is such a wide range of interpretation with regard to how these techniques are practiced and executed that the surface similarities get outweighed by these inherent differences.

In Japan there is the traditional faction that believes that the art is the sole creation of Morihei Ueshiba and that Aikido is essentially the property of the Ueshiba family. Whereas, this might be the attitude of certain members of the Aikikai Honbu Dojo in Tokyo, I don’t think one can effectively maintain this as a point of view. Unlike the koryu, or classical martial styles of Japan, Aikido has had no set curriculum or any narrowly defined standards for the certification of its teachers. Even before the term “Aikido” came into common usage in the 1940’s, a wide gulf existed between the interpretations taken by various early instructors. The Yoseikan, Yoshinkan, Shudokan, Aikibudo (later Shin’ei Taido) systems emerged as distinct styles of what was just becoming known generally as “Aikido”.

The family claim to “Aikido” stems from its origin with the Founder whom we refer to as O-Sensei. Yet, even before the death of the Founder in 1969, his son, Kisshomaru Ueshiba, had secularized the philosophical underpinnings of the art and begun the process of simplifying its techniques, de-emphasizing the use of weapons and the more martially oriented techniques of the system. The Uchi Deshi who took Aikido abroad after WWII took varying elements from the Founder, the Nidai Doshu, and the Honbu Dojo Cho (Chief Instructor), Koichi Tohei Sensei, not to mention varying influences of the other senior instructors at the Honbu dojo. Saito Sensei, the caretaker of the shrine at Iwama, also had a degree of influence over the teachers sent overseas as virtually all of them had spent considerable time accompanying the Founder on his lengthy visits to the shrine and dojo.

By the time we reach the late 1970’s, this process had largely completed itself with Japanese Shihan presiding over the growth of Aikido all over the world. Yet even amongst these teachers, all considered “Aikikai” instructors, there was a wide range of interpretation as to what Aikido actually was. Some maintained a strong emphasis on weapons work; some even developed their own unique weapons training systems. Others put little or no emphasis on weapons training. Some ignored the trend towards a less martially oriented Aikido coming out of the home dojo and kept a strong emphasis on atemi and the more martial techniques which were dropping out of the Honbu Dojo repertoire. Even in Japan, apart from a small number of teachers like Abe Sensei, Hikitsuchi Sensei, Sunadomari Sensei and a few others, the spiritual orientation of the art had completely shifted away from the traditional, religious, Shinto based outlook which was fundamental to the way in which the Founder conceived and taught his art.

Where some sense of spirituality was maintained, its emphasis was more on the ethical / philosophical elements of the Founder’s teachings than on the mystical religious elements which didn’t travel well overseas and were even considered obscure by most modern Japanese practitioners themselves. Kisshomaru Ueshiba, the Nidai Doshu, wrote a number of books on Aikido and this orientation was quite evident in his works. In many, if not most cases, the practice of Aikido became almost entirely secularized with almost no emphasis by the teachers on the spiritual side of the art in favor of almost total focus on the technical side. This was in stark contrast to the Founder’s emphasis which was to talk about the spiritual underpinnings of Aikido and only rarely deal with the technical aspects of training.

When Tohei Sensei left the Aikikai after the death of the Founder he created his own style of Aikido which focused heavily on ki development as well as waza (technique). His ideas on this were derived from the work done by Tempu Nakamura rather than anything he had learned directly from O-Sensei and despite a painful rift with the Aikikai, many prominent teachers both in Japan and abroad left the organization to do the new style called Shin Shin Toitsu Aikido. Over the decades that followed, the majority of these teachers have struck out on their own, setting up their own organizations and adding further to the wide mix of interpretations that exist in contemporary Aikido.

So by the time the new millennium rolls around we find an Aikido that is variously defined by styles, organizations and individual teachers. In addition to the previously mentioned recognized “styles”, some teachers like Saito Sensei, in an attempt to distinguish their very traditional Aikido from the variants that followed came very close to developing new “styles”. “Iwama Style” came into common usage although it was never declared to be such by Saito Sensei nor recognized as such by the Aikikai Headquarters.

Some individual teachers, like Mitsugi Saotome, went off on their own (in his case the USA), started their own organizations, and then subsequently were reunited with the Aikikai Honbu Dojo. The “organization”, led by a talented and charismatic senior teacher soon became the new vehicle for promoting the growth of Aikido. It became possible to actually have one’s own organization which promoted a very specific interpretation of Aikido while simultaneously maintaining membership in the Aikiaki organization. K. Chiba Sensei’s creation of the Birankai is an example of this approach. Thus, re-absorption of previously estranged groups coupled with this toleration of organizations functioning within the larger headquarters organization has slowed down the creation of recognized separate “styles” of Aikido but serves to only thinly veil the fact that there continues to be very wide variation in approach and technique, even amongst students who trained with the Founder at precisely the same time.

With the spread of Aikido around the world we find the tendency towards entropy magnified even more. Most countries now have senior instructors at what would once have been considered “Shihan” grade who have their own ideas, not always in concert with the Japanese viewpoints, on what should happen with their art in their own country. Further, the development of non-Japanese teachers has also diminished the Japanese mystique which used to surround the senior teachers, all of whom had trained with the Founder. Now, students of the students of these teachers are instructing in their own schools. The pure numbers of practitioners, especially in France and the United States has made it virtually impossible for the Uchi Deshi of the Founder to remain as the dominant influences in the countries in which they have settled. Aikido has begun to take on aspects of the national character of the various countries it has spread to with increasing variation amongst a growing number of high level instructors.

At this stage, connection with the Aikikai Headquarters in Japan is more a sentimental attachment rather than something considered important to the continued development of the art in its various host countries. Pandora’s box has been opened and nothing will return it to its former state.

It is evident that, at this point in time, that the term “Aikido” which might have referred to something specific historically, is really a generic reference to a collection of martial and non-martial movement systems which share only the most surface similarities. Saying one does Aikido is like saying that one likes to eat Chinese Food. What kind of Chinese food? Sichuan, Hunan, Shanghai, Peking? What kind of Aikido? Yoseikan, Yoshinkan, Shudokan, Aikikai? Aikikai? Well, that doesn’t describe anything at this point… it’s all about the particular teacher within the organization or even which organization within the organization.

If this all seems to be impossibly confusing, it is. My intention in pointing this out is to help us all get past any remaining tendency to argue about what is the “true” Aikido, which Aikido is the most authentic. I don’t believe that there ever was anything that could be defined as “Aikido” in the sense of a “style”. Even before it officially became “Aikido” it had already morphed into several versions. The fact that the Founder spent his entire life refining and developing his art meant that what was called Aikido at any point in time represented only a temporal snapshot of what kept changing right up until the Founder died. It is almost impossible to maintain that any particular approach is more valid than any other. It’s simply a matter of finding the one that works for a particular individual. Not much more can be said.

The History of Morihei Ueshiba, Founder of Aikido

2008-06-27T10:57:00.003+12:00

Taken from the book "Aikido - A beginner's Guide"

The History of Morihei Ueshiba, Founder of Aikido

1883 Morihei Ueshiba born December 14 in Tanabe, Kishu (Wakayama Prefecture). Father, Yoroku Ueshiba, mother, Yuki Itokawa

1890 Goes to a Shingon sect Buddhist temple (Jizodera) to study Confucian and Buddhist scripture.

1897 Attends Tanabe Prefecture Middle School.

1899? Leaves Tanabe Prefecture Middle School and goes to Yoshida Abacus Institute.

1900? Graduates and goes to work for theTanabe tax office as a land value assessor.

1902 Resigns from the tax office and in September moves to Tokyo to open a stationery store. Briefly studies Tenjin Shin'yo-ryu Jujutsu and Kenjutsu. Marries Hatsu Itokawa (b. 1881) a distant relative, in Tanabe.

1903 Joined 37th Army Infantry Regiment (4th Division) in Osaka.

1904 Sent to front as corporal in Russo-Japanese War. Returns as sergeant. During this time, attends Masakatsu Nakai's dojo in Sakai (Goto School of Yagyu-ryu jujutsu).

1907 Discharged from Japanese army, returns to Tanabe. Studies Kodokan judo from Kiyoichi Takagi. Awarded certificate from Goto School (Yagyu-ryu Jujutsu).

1910 Brief visit to Hokkaido. First daughter born (Matsuko).

1912 Becomes leader of the Kishu group, consisting of fifty-four households (80+ people). In March they leave Tanabe for Hokkaido. They arrive in May and settle at Shirataki, near village of Yobetsu, to start a farming community.

1915 Meets Sokaku Takeda (Daito-ryu jujitsu) at Hisada Inn in Engaru.

1917 The Shirataki community completely destroyed by fire, May 23. First son, Takemori, born in July.

1918 Elected as town councillor in Kamiyubetsu village, June 1918_April 1919.

1919 Leaves Hokkaido in December due to father's illness. Transfers land and property over to Sokaku Takeda. Meets Onisaburo Deguchi of Omoto religion in Ayabe, Kyoto Prefecture. Stays in Ayabe until December 28th.

1920 Father (Yoroku) dies on January 2, aged 76. Returns to Tanabe then relocates with his family to Ayabe (HQ of Omoto religion). Builds "Ueshiba Juku" dojo. Second son, Kuniharu born in August. Eldest son Takemori, dies in August aged 3. Second son, Kuniharu dies in September aged 1.

1921 On February 11, authorities clamp down on sect and arrest several people including Onisaburo. Third son born (Kisshomaru, but birth name Koetsu) in June.

1922 Mother, Yuki, dies. Sokaku Takeda visits Ayabe along with family to teach, staying from approx April 28 to September 15th. Awarded "Kyoji dairi" (teaching assistant) certificate from Takeda (September). Ueshiba's martial arts principles become known as Ueshiba-ryu aiki-bujutsu.

1924 Secretly leaves Ayabe on February 13th for Mongolia with Onisaburo Deguchi with concept of establishing a utopian community. The party, led by Onisaburo Deguchi, including Ueshiba, is captured and held prisoner by the Chinese military for plotting the overthrow of the government. Released after a short internment through intervention of Japanese consulate and returns to Japan. Ueshiba teaches at the Ueshiba Academy and works on the Tennodaira farm. Becomes fascinated by sojutsu (spear technique). Ueshiba reflects on his Mongolian experiences particularly facing death under gunfire. He found that he 'could see flashes of light indicating the path of oncoming bullets'. From here on he frequently encountered situations where he felt manifestations of a spiritual force.

1925 In spring, Ueshiba is challenged by a young naval officer and master of Kendo. He defeats him without actually fighting because he could sense the direction in which the blow would fall before the officers wooden sword could strike. Immediately after this encounter, Ueshiba goes to wash at a well, and experiences "a complete serenity of body and spirit". At the same time "the unity of the universe and the self " became clear to him. It was at this time that Ueshiba changed the name of his art to Aiki-budo.

1925 Performs demonstration in Tokyo for former Prime Minister Gombei Yamamoto.

1926 In spring, Ueshiba is invited to return to Tokyo by Admiral Takeshita, where teaches at the Imperial Court and at the Imperial Household Ministry. In the summer, Ueshiba returns to Ayabe ill with an intestinal disorder.

1927 Moves to Tokyo with entire family. Establishes temporary dojo in billiard room of the Shimazu mansion in Shiba, Shirogane in Sarumachi.

1928 Moves to Shiba, Tsunamachi, site of temporary dojo.

1929 Moves with family to Shiba (near sengaku temple), Kuruma-cho, sets up temporary dojo.

1930 Moves to Shimo-Ochiai in Mejirodai. In October, Jigoro Kano of Judo observes demonstration by Ueshiba in Mejiro dojo and dispatches several students from Kodokan, including Minoru Mochizuki and Jiro Takeda, to study. Ueshiba is visited by Major-General Makoto Miura, who is sceptical and only comes to defeat Ueshiba. However Miura is impressed and changes his mind. At Miura's request, Ueshiba becomes an instructor at the Toyama Military Academy.

1931 Dedication of eighty mat aiki-budo dojo inaugurated as the Kobukan dojo in Ushigome, Wakamatsu-cho. This becomes known as "hell dojo" because of the intense training.

1932 Budo Sen'yokai (Society for the Promotion of Martial Arts) is established.

1933 Ueshiba becomes president of Budo Sen'yokai. Technical manual "Budo Renshu" published. Takeda Dojo established in Hyogo Prefecture.

1935 Film documentary of Aikido Budo made in Osaka. This is still the only known pre-war film of Morihei Ueshiba

1939 Invited to instruct in Manchuria. Fights ex sumo wrestler Tenryu and pins him with one finger.

1940 Attends martial arts demonstration in Manchuria commemorating 2600th anniversary of Japan. Aiki-budo becomes official curriculum subject at police academy. On April 30th Kobukan is granted status as an incorporated foundation by the Ministry of Health and Welfare.

1941 Aiki-budo is assimilated into the Butokukai (a government body uniting all martial arts under one organisation). Gives demonstration at Sainenkan dojo on imperial grounds for members of the imperial family. Teaches at military police academy. Invited to Manchuria to instruct during University Martial Arts week. Becomes martial arts advisor for Shimbuden and Kenkoku universities in Manchuria. The name AIKIDO first comes into use.

1942 Name "Aikido" becomes official and is registered with Ministry of Education. Invited to Manchuria as representative of Japanese martial arts to attend Manchuria-Japanese Exchange Martial Arts demo's in commemoration of 10th anniversary of Manchurian Independence (August). Moves to Iwama, Ibaraki Prefecture. Kisshomaru Ueshiba becomes Director of Kobukai Foundation.

1943 Aiki Shrine built in Iwama.

1945 Kobukai Foundation ceases activity due to post-war ban on martial arts. Iwama dojo completed.

1948 Hombu Dojo moves to Iwama, office opened in Tokyo. Kisshomaru Ueshiba becomes Director of Aikikai Foundation.

1949 Regular practice resumes at Tokyo dojo.

1954 Hombu Dojo moves back to Tokyo from Iwama and takes the title "Aikikai Foundation: The Hombu Dojo of Aikido".

1955 Travels to Osaka for several weeks to instruct in dojo of Bansen Tanaka.

1956 Several foreign ambassadors invited to public exhibition.

1958 U.S. television documentary "Rendezvous with Adventure" filmed

1960 Receives Medal of Honour with Purple Ribbon from Emperor Hirohito and the Japanese government

1961 Invited to Hawaii by Hawaii Aikikai (February). TV documentary made by NHK company. All-Japan Student Aikido Federation established with Ueshiba as president.

1963 First All-Japan Aikido Demonstration (October).

1964 Receives Order of the Rising Sun, 4th Class, as Founder of Aikido.

1967 March 14, new Hombu Dojo building begins construction.

1968 January 12, new Hombu Dojo completed.

1969 Gives final demonstration January 15th at Kagami Biraki celebration. Dies April 26th. Ashes buried at Kozanji, Tanabe. Strands of hair preserved at Iwama, Kumano Dojo, Ayabe and Aikikai Hombu Dojo. Made honorary citizen of Tanabe and Iwama. Wife, Hatsu, dies in June.

When is Aikido not Aikido?

2008-06-10T09:13:00.002+12:00

A truly great piece of insight by David Lynch, which underlines for me how important experience really is, especially when it comes to martial arts . As a side-note; for those of you thinking of visiting New Zealand, you could do worse than pay him and his amazing Spherical glass-and-hardwood dojo a visit

Arguments about the “martial effectiveness” of aikido are a popular feature of Internet bulletin boards. Unfortunately, many posts show an abysmal ignorance of the premises on which the art was founded by making comparisons with various systems of fighting.

Aikido is not a system of fighting, but a way of not fighting, intended not to protect or enhance the ego but, potentially, to eradicate it. Its value lies in promoting qualities diametrically opposed to those advocated for use “in the street.”

Speaking for myself, the day I have to face a life and death situation will be soon enough to prove the effectiveness, or otherwise, of my aikido. I have never had to use the physical techniques outside the dojo in 40 years of training, so I am not going to lose any sleep over that.

Certainly one should strive for improvement, and it is always a challenge to try and perform the techniques with a bit more smoothness and elan, but what is the point of raving on about the inadequacies of aikido, versus kickboxing, college wrestling and street fighting? There is quite enough material to work with in aikido as it stands, without resorting to cross-training, or worrying about which schools have lost the plot and left us with some watered down, ineffectual version. There is only so much you can learn from others, anyway, so you can’t blame the system for your own shortcomings.

Effectiveness is bought at a price and the more I see of those who claim to have achieved it in aikido, or in other areas of life, the more empathy I feel with ordinary people who have no great ambition to be superefficient or effective. At best this attitude is irrelevant, at worst downright destructive and depressing.

To be appreciated, aikido needs “space,” i.e., spirituality, psychological depth, aesthetics, compassion and enjoyment. Not to mention love! (There seems to be a tacit agreement not to mention love in the martial effectiveness arguments, which is curious in view of the importance O-Sensei placed on this, and his insistence that love was the essence of aikido.)

Not that aikido’s “spiritual effectiveness” is any easier to prove objectively than any of the technical arguments are. There are no guarantees, anyway. I am not convinced, however, that someone’s inability to perform a technique from, say, a strong Iwama-style morotedori grip testifies to a lack of spiritual development. The link between spirit, mind and body is more complicated than that.

The learning curve is a broad one, and one may reasonably expect to spend a lifetime working on oneself without being able to boast of full enlightenment, aikido or no aikido. This is no reason to abandon the effort, and practicing aikido with a spiritual goal in mind, rather than technical effectiveness alone, is a good start.

Meanwhile, the health benefits, mental as well as physical, amply justify serious, regular training, without the need to be fixated on martial effectiveness or intimidated by those who are. Since aikido is an individual pursuit, the school you choose is important only to the extent that it suits you and it is pointless attempting to pit one against another.

For myself, exposure to the contrasting teaching methods of Kisshomaru Ueshiba, Koichi Tohei, Gozo Shioda, Kenji Shimizu and others during my prolonged sojourn in Japan virtually forced me to seek whatever common principles I could find. I have tried to keep the door open to new knowledge, without falling into parochialism or sectarianism.

But knowledge is not wisdom. Knowledge is derived by means of the senses, which cannot and were never intended to tell us anything about the truth of the universe. Chasing after more and more technical knowledge is likely to take one further from the goal of aikido, rather than closer to it.

I used to get a bit annoyed when I overheard people say that one or other of the various styles I was practicing was “not aikido.” (This seemed to be a common term of derision bandied around in Japan.) While I was willing to admit my own interpretation might leave much to be desired, it seemed incredibly arrogant for anyone to write off major Japanese aikido schools with this sort of flippant remark.

The major schools were established, after all, by masters who had each served a long apprenticeship under the founder, and who had devoted their lives to aikido. It became obvious to me after a while that the comment, “that is not aikido” was shallow and meaningless, and by the time I had heard it applied to every one of the major schools, it no longer bothered me.

Nevertheless, such a statement can easily discourage new students struggling to understand a particular version of the art, so I suggest they turn to O-Sensei’s words for advice on this:

“Failure is the key to success; each mistake teaches us something. Be grateful even for hardships, setbacks and bad people. Dealing with such obstacles is an essential part of training.” (From, “The Art of Peace,” by John Stevens.)

In relation to O-Sensei’s own definition of aikido, it is probably true that what we are practicing is “not aikido,” irrespective of what system of training we follow. In this respect we are all in the same boat; we all have a long way to go, as is obvious from O-Sensei’s words (quoting again from John Stevens’ book):

“There are many paths to the top of the mountain, but only one summit - love.”

“As soon as you concern yourself with the good and bad of your fellows you create an opening in your heart for maliciousness to enter. Testing, competing with, and criticizing others will weaken and defeat you.”

“You are here for no other purpose than to realize your own inner divinity and manifest your innate enlightenment.”

Senior aikidoka continue to criticize their fellows in other schools and to claim theirs is the only way to the top of the mountain, despite clearly not having reached the summit themselves.

Aikido and the Triangle, Circle, Square

2008-04-22T17:03:00.005+12:00

The representation of Aikido principles by the geometrical shapes triangle, circle and square are taken from the Shinto cosmology theory of "Gogyo Gogen" where the elements of existence, Liquid, Solid and Gas are all shown to be transmutable and interrelated.

In his book "Kami no Michi", Rev. Dr. Yukitaka Yamamoto, the 96th generation Shinto High Priest (Guji) wrote:

"The Principle of 'Sanmi-Sangen' explains the mystery of life. Sanmi-Sangen means the three elements that constitute the basis of all forms of existence. These basic symbols both explain the meaning of and guide the destiny of human life. We can see Sanmi-Sangen operate at many levels."

O Sensei clearly saw the relationship between this theory and the key principles of Aikido - the diagram below attempts to show how these three shapes symbolise not only the separate core principles but the inter-connectedness of all things.

The core shape of Aikido, the spiral, signified by the Circle, is apparent everywhere in the universe. The exact "5/7 logarithmic spiral", is identical in galactic discs (for example, the Milky Way), DNA strands and sub-atomic particles - O Sensei taught that Ki flows into the body in a great spiral, drawing on the power of the universe.

In incredibly simplistic terms, the Triangle can be said to represent the triangular posture predominant in Aikido, triangulation of arms to centre/hips, and triangular offline avoidance and the Square to represent solidity of stance, or the principles of "weight-underside".

Seiza (sitting position)

2008-04-12T15:53:00.003+12:00

Seiza (sitting position)

Seiza is one of the most commonly used sitting postures in Japanese martial arts, with students assuming this posture at the beginning and end of practise sessions for formal bow, meditation etc. Aikido, in particular, makes use of seiza to teach basic movements, with technique being performed "on the knees" (Suwari-waza) and many Iai schools use seiza as a basis for basic forms.

The word seiza is written with two Chinese characters; "sei" meaning "correct, proper, true" (and by itself can be pronounced tadashii, meaning "just right" or "appropriate") and "za" meaning "sitting posture" (written with an ideograph that looks like people sitting on a raised floor under a roof).

In Japanese culture, sitting in seiza (kneeling, sitting on one's ankles) is the most correct, beautiful, and "proper" formal sitting posture, especially when seated indoors (usually on tatami matting).

Many people complain that seiza makes their feet "go to sleep" (known in Japan as "shibireru") but this tends to be from lack of proper exercise, weak leg muscles and poor circulation; not necessarily due to the position of sitting in seiza. If one is sitting correctly, one should be able to perform seiza for anything up to an hour a day without discomfort.

Proper seiza, helps to naturally align your body and spinal column, focusses on your "centre" and leads to an alert mind and body - hence its common use in meditation.

Different schools of martial arts may have slightly different versions of seiza, but for a rough guideline, sit in seiza as follows:

• Sit kneeling with your legs folded under you, with the left big toe on top of the other.

• The knees are about one to two fists apart .

• Sit with back up straight, but in a relaxed posture.

• Rest your hands naturally in your lap.

Jujitsu New Zealand Camp and Seminar Series 2008

2008-03-27T07:53:00.002+13:00

JuJitsu New Zealand is the non-sporting branch of the New Zealand Jujitsu Federation. The goal of the Camp and Seminar Series each year is to foster communication and camaraderie between Martial Artists from a variety of different schools and locations and in doing so improve the Art as a whole.

This year the event will be in Auckland, and you are invited. Any member of any Martial Arts style is welcome provided they comply with the NZJJF code of conduct and any other reasonable requests from the organisers or instructors during the day.

The camp will consist of 6 Seminars over 2 days with a variety of instructors. Featured instructors this year are:

Dunken Francis, 4th dan, Institute of Aikido
Dave Beaver - Tactical Krav Maga
Steve Oliver - Brazilian Jiu Jitsu

Plus others to be announced.

You can go to as many Seminars as you want, but registration is for a minimum of 2 seminars. The best value is the full package which includes accomodation, 6 seminars, breakfast and lunch on Saturday and breakfast Sunday.

On this site you will find information as it becomes available. Check the Camp News regularly for details. For more information contact Ben on 021473228 or email camp@jiujitsu.co.nz

Atemi - by Dunken Francis

2008-03-18T17:04:00.004+13:00

The word "Atemi" literally means "strike". O'Sensei is often quoted as saying "Aikido is 70% atemi" (I've even heard 90% quoted..).

The martial concept of 'Atemi' was developed in Asia thousands of years ago somwhat ironically aiming strikes at many of the points also used for healing in acupuncture and acupressure. The principles of Atemi eventually began to be assimilated into Japanese martial arts (Samurai especially began integrating atemi into their unarmed combat techniques).

In Aikido, the atemi is most commonly used in the following ways:

• To stop or re-direct your partner's intention, attention, ki or movement.

• To " fill the gaps" or potential weaknesses during the application of technique.

• As a destructive force, if one is left with no ethical alternative.

To "take the mind"

An attack will be produced by an aggressive intention. One of the key roles of Atemi within aikido is to diffuse the attacker's intention, either by an applied counter strike or by simply leaving a disruptive force (fist/hand/tegatana/knee/foot etc) directly in the path of where a (vulnerable) part of your opponent will be, once they have committed to their attack.

For example, if your partner strikes with a straight punch to the face (Jodan tsuki), by moving off the line of attack Atemi can applied either as a strike, or can be positioned in such a way that your opponent's impetus lead him to"walk into" your Atemi. In either instance, Atemi will serve both to disrupt the attacker's output of ki, and should make the physical aspect of the attack falter, even stop, allowing technique to be applied in a much more controlled manner (and therefore with more ethical choice) than if attempted against a "full speed" attack.

To "fill the gaps"

The other aspect of Atemi often neglected appears "within" technique. In an ideal situation, under perfect conditions, technique can be applied without Atemi, but in the real world this is unlikely, so Atemi is made to both "protect" the nage whilst carrying out technique and to further breakdown the attacker's resistance.

For example, when applying a technique like Gyakyu-hamni Kaiten-nage (a spiral throw which requires nage to Atemi enter under the attacker's arm), without correctly placed Atemi nage is left vulnerable to counter strikes; in this way we can see that the atemi is actually an integral part of the technique, not an afterthought.

Some styles of Aikido do not practise using Atemi, other styles use them comprehensively: whatever your practice protocol requires it is essential to always remember where the Atemi would occur within each technique you study, as in a out-of-the-dojo encounter you may well need it.

The "last resort"

This brings us to the final aspect of Atemi - If all else fails, and it is appropriate in the situation, Atemi can be used as a destructive, even fatal strike. Advanced martial artists will be aware of the many nerve points and areas of vulnerability which when struck with accurate Atemi can cause severe injury, even death (there are martial arts specifically concerned with Atemi to these "vital points") .

From an Aikido standpoint (as an art based upon the premise of unification and love) this is a last resort, but when in a life-threatening situation, common sense dictates ones uses whatever one has available.

Safe Stretching

2008-03-15T16:31:00.005+13:00

Safe Stretching by Dunken Francis
Aikido, like any other physical activity, relies upon a healthy body. A key factor in any physical regime is maintaining flexibility through proper stretching and although nearly all Aikido activity involves stretching in some form, it is still important to build correct stretching exercises into every pre-practice warm-up, and at the end of the session as part of the "warm-down".

Stretching is not the same as warming up! It is, however, a very important part of warming up. Warming up is quite literally the process of "warming up" or raising your core body temperature. A proper warm-up should raise your body temperature by one or two degrees Celsius. It is very important that you do your general warm-up before you stretch.

Warming up can do more than just loosen stiff muscles; when done properly, it can actually improve muscle performance. On the other hand, a bad warmup, or no warm-up at all, can increase your subsequent risk of injury.

Ideally, a particular stretch should work only the muscles you are trying to stretch. Isolating the muscles worked by a given stretch means that you do not have to worry about having to overcome the resistance offered by more than one group of muscles. In general, the fewer muscles you try to stretch at once, the better.

Any decent Aikido instructor (especially those with Coaching qualifications) should know the difference between safe and unsafe stretches.

Proper breathing is important when stretching. Correct breathing helps to relax the body, increases blood flow, and helps to remove lactic acid from muscles. Take slow, relaxed breaths when you stretch, exhaling as the muscle is stretched.

The proper way to breathe is to inhale slowly through the nose, expanding the abdomen (not the chest); hold the breath a moment; then exhale slowly through the nose or mouth.

Basic rules of Stretching
• Warm up first
• Do not ballistic stretch ie. using a "bouncing" motion
• Don't hold your breath whilst stretching
• Stretch slowly and gently
• Try to hold your stretch for around 20-30 seconds
• Pain is your brain's way of telling you to stop!
• If it stretches tendons or ligaments, don't do it!

Excellent new New Zealand Website

2008-03-13T07:56:00.003+13:00

For anyone interested in all thing Aikido, especially if you are visiting New Zealand in the near future, you can do worse than check out www.AikidoNZ.co.nz

The site has a complete dojo directory, excellent instructor profiles, a current events calendar showing seminars etc and lots of other resources.

Check it out.

AIKIDO WORLD - aikido for beginners: resolving conflict

2008-02-18T13:54:00.000+13:00

AIKIDO WORLD - aikido for beginners: resolving conflict

resolving conflict

2008-02-14T08:08:00.006+13:00

Conflict Resolution (taken from www.mindtools.com )

Resolving conflict rationally and effectively
In many cases, conflict in the workplace just seems to be a fact of life. We've all seen situations where different people with different goals and needs have come into conflict. And we've all seen the often-intense personal animosity that can result.

The fact that conflict exists, however, is not necessarily a bad thing: As long as it is resolved effectively, it can lead to personal and professional growth.

In many cases, effective conflict resolution skills can make the difference between positive and negative outcomes.

The good news is that by resolving conflict successfully, you can solve many of the problems that it has brought to the surface, as well as getting benefits that you might not at first expect:

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Increased understanding: The discussion needed to resolve conflict expands people's awareness of the situation, giving them an insight into how they can achieve their own goals without undermining those of other people;

Increased group cohesion: When conflict is resolved effectively, team members can develop stronger mutual respect, and a renewed faith in their ability to work together; and
Improved self-knowledge: Conflict pushes individuals to examine their goals in close detail , helping them understand the things that are most important to them, sharpening their focus, and enhancing their effectiveness.

However, if conflict is not handled effectively, the results can be damaging. Conflicting goals can quickly turn into personal dislike. Teamwork breaks down. Talent is wasted as people disengage from their work. And it's easy to end up in a vicious downward spiral of negativity and recrimination.If you're to keep your team or organization working effectively, you need to stop this downward spiral as soon as you can. To do this, it helps to understand two of the theories that lie behind effective conflict resolution techniques:

Understanding the Theory: Conflict Styles

In the 1970s Kenneth Thomas and Ralph Kilmann identified five main styles of dealing with conflict that vary in their degrees of cooperativeness and assertiveness. They argued that people typically have a preferred conflict resolution style. However they also noted that different styles were most useful in different situations. The Thomas-Kilmann Conflict Mode Instrument (TKI) helps you to identify which style you tend towards when conflict arises.

Thomas and Kilmann's styles are:

Competitive: People who tend towards a competitive style take a firm stand, and know what they want. They usually operate from a position of power, drawn from things like position, rank, expertise, or persuasive ability. This style can be useful when there is an emergency and a decision needs to be make fast; when the decision is unpopular; or when defending against someone who is trying to exploit the situation selfishly. However it can leave people feeling bruised, unsatisfied and resentful when used in less urgent situations.

Collaborative: People tending towards a collaborative style try to meet the needs of all people involved. These people can be highly assertive but unlike the competitor, they cooperate effectively and acknowledge that everyone is important. This style is useful when a you need to bring together a variety of viewpoints to get the best solution; when there have been previous conflicts in the group; or when the situation is too important for a simple trade-off.

Compromising: People who prefer a compromising style try to find a solution that will at least partially satisfy everyone. Everyone is expected to give up something, and the compromiser him- or herself also expects to relinquish something. Compromise is useful when the cost of conflict is higher than the cost of losing ground, when equal strength opponents are at a standstill and when there is a deadline looming.

Accommodating: This style indicates a willingness to meet the needs of others at the expense of the person’s own needs. The accommodator often knows when to give in to others, but can be persuaded to surrender a position even when it is not warranted. This person is not assertive but is highly cooperative. Accommodation is appropriate when the issues matter more to the other party, when peace is more valuable than winning, or when you want to be in a position to collect on this “favor” you gave. However people may not return favors, and overall this approach is unlikely to give the best outcomes.

Avoiding: People tending towards this style seek to evade the conflict entirely. This style is typified by delegating controversial decisions, accepting default decisions, and not wanting to hurt anyone’s feelings. It can be appropriate when victory is impossible, when the controversy is trivial, or when someone else is in a better position to solve the problem. However in many situations this is a weak and ineffective approach to take.

Once you understand the different styles, you can use them to think about the most appropriate approach (or mixture of approaches) for the situation you're in. You can also think about your own instinctive approach, and learn how you need to change this if necessary.

Ideally you can adopt an approach that meets the situation, resolves the problem, respects people's legitimate interests, and mends damaged working relationships.

Understanding The Theory: The "Interest-Based Relational Approach"
The second theory is commonly referred to as the "Interest-Based Relational (IBR) Approach". This conflict resolution strategy respects individual differences while helping people avoid becoming too entrenched in a fixed position.

In resolving conflict using this approach, you follow these rules:
Make sure that good relationships are the first priority: As far as possible, make sure that you treat the other calmly and that you try to build mutual respect. Do your best to be courteous to one-another and remain constructive under pressure;

Keep people and problems separate: Recognize that in many cases the other person is not just "being difficult" – real and valid differences can lie behind conflictive positions. By separating the problem from the person, real issues can be debated without damaging working relationships;

Pay attention to the interests that are being presented: By listening carefully you'll most-likely understand why the person is adopting his or her position;

Listen first; talk second: To solve a problem effectively you have to understand where the other person is coming from before defending your own position;

Set out the “Facts”: Agree and establish the objective, observable elements that will have an impact on the decision; and

Explore options together: Be open to the idea that a third position may exist, and that you can get to this idea jointly.

By following these rules, you can often keep contentious discussions positive and constructive. This helps to prevent the antagonism and dislike which so-often causes conflict to spin out of control.

Using the Tool: A Conflict Resolution Process
Based on these approaches, a starting point for dealing with conflict is to identify the overriding conflict style employed by yourself, your team or your organization.

Over time, people's conflict management styles tend to mesh, and a “right” way to solve conflict emerges. It's good to recognize when this style can be used effectively, however make sure that people understand that different styles may suit different situations.

Look at the circumstances, and think about the style that may be appropriate.Then use the process below to resolve the conflict:

Step One: Set the SceneIf appropriate to the situation, agree the rules of the IBR Approach (or at least consider using the approach yourself.) Make sure that people understand that the conflict may be a mutual problem, which may be best resolved through discussion and negotiation rather than through raw aggression.

If you are involved in the conflict, emphasize the fact that you are presenting your perception of the problem. Use active listening skills to ensure you hear and understand other’s positions and perceptions.

Restate
Paraphrase
Summarize

And make sure that when you talk, you're using an adult, assertive approach rather than a submissive or aggressive style.

Step Two: Gather InformationHere you are trying to get to the underlying interests, needs, and concerns. Ask for the other person’s viewpoint and confirm that you respect his or her opinion and need his or her cooperation to solve the problem.

Try to understand his or her motivations and goals, and see how your actions may be affecting these.

Also, try to understand the conflict in objective terms: Is it affecting work performance? damaging the delivery to the client? disrupting team work? hampering decision-making? or so on. Be sure to focus on work issues and leave personalities out of the discussion.
Listen with empathy and see the conflict from the other person’s point of view
Identify issues clearly and concisely

Use “I” statements
Remain flexible
Clarify feelings

Step Three: Agree the ProblemThis sounds like an obvious step, but often different underlying needs, interests and goals can cause people to perceive problems very differently. You'll need to agree the problems that you are trying to solve before you'll find a mutually acceptable solution.

Sometimes different people will see different but interlocking problems - if you can't reach a common perception of the problem, then at the very least, you need to understand what the other person sees as the problem.

Step Four: Brainstorm Possible SolutionsIf everyone is going to feel satisfied with the resolution, it will help if everyone has had fair input in generating solutions. Brainstorm possible solutions, and be open to all ideas, including ones you never considered before.

Step Five: Negotiate a Solution
By this stage, the conflict may be resolved: Both sides may better understand the position of the other, and a mutually satisfactory solution may be clear to all.

However you may also have uncovered real differences between your positions. This is where a technique like win-win negotiation can be useful to find a solution that, at least to some extent, satisfies everyone.

There are three guiding principles here: Be Calm, Be Patient, Have Respect…Key PointsConflict in the workplace can be incredibly destructive to good teamwork.

Managed in the wrong way, real and legitimate differences between people can quickly spiral out of control, resulting in situations where co-operation breaks down and the team's mission is threatened. This is particularly the case where the wrong approaches to conflict resolution are used.

To calm these situations down, it helps to take a positive approach to conflict resolution, where discussion is courteous and non-confrontational, and the focus is on issues rather than on individuals. If this is done, then, as long as people listen carefully and explore facts, issues and possible solutions properly, conflict can often be resolved effectively.

Overcoming The Fear Of Falling

2008-02-05T08:33:00.000+13:00

By Neil Ohlenkamp

While everyone has an innate fear of falling, most martial artists should learn basic falling techniques not only to avoid injury but to better learn the transition from standing techniques to those on the ground.

The most universal and basic of all fears, across all cultures, is the fear of falling. Behavioral research has established that babies are born with only two natural fears. One is a fear of certain noises and the other is the fear of falling. Over time people develop other fears. Many can become critical problems that disable normal functioning. On the other hand, most people can also overcome their fears and learn to cope with them. Learning to deal with the fear of falling can establish an important sense of confidence that often will translate into the ability to deal with other fears.

The earliest and most primal fear we experience is falling, but most people have many opportunities to fall and realize at a young age that they can survive. Recreation and sports activities can accelerate that level of acceptance. Activities as diverse as gymnastics, football, hiking, and skateboarding provide plenty of opportunities.

No activity deals with the fear of falling so directly and positively as judo and many jujutsu systems. Aikido is similar but places equal emphasis on rolling as well as initiating falls in response to a number of joint manipulation techniques. Karate, taekwondo, kung fu and other like systems also have many tripping, sweeping, take down and throwing techniques. Some forms of classical Japanese sword and weapon arts also incorporate foot sweeps as part of their curriculum.

Richard Carlson, author of "Don't Sweat the Small Stuff," defines fear with the acronym False Evidence Appearing Real. In general, fear is an unrealistic expectation of a negative, usually painful, outcome. It is often self-perpetuating and difficult to change. When we fear something we often try to avoid it. Yet we all know that the way to overcome fear is to face it, recognize its damaging effects, and begin a step-by-step process of dealing with it.

In classes around the world this is typically the first thing judo, aikido and many jujutsu teachers focus on with new students. Before people can be expected to participate in any sports activity involving physical contact or falling, they should develop certain skills and learn to overcome their fears so they can feel comfortable falling. Yet judo, aikido and many jujutsu systems are unique among sports and martial arts in the way it incorporates a scientific approach to the methods of falling called ukemi.

Unfortunately most karate and taekwondo, and kung fu, neglect proper training in falling or rolling. This is probably due to the fact that throwing, sweeping, tripping or takedowns are considered secondary techniques.

But it is so important to success in any system that incorporates these techniques that students practice ukemi (falling techniques) not just when they are beginning to learn, but as a part of almost every practice session. This is obvious in judo, aikido and jujutsu but also important in other arts to avoid potential injury.

Jigoro Kano, the founder of Judo, explains the importance of ukemi this way:

"As I have often said if one hates to be thrown, one cannot expect to become a master of the art. By taking throws time after time, one must learn how to take falls and overcome the fear of being thrown. Then one will become unafraid of being attacked and be able to take the initiative in attack. Only by following this manner of training can one learn true Judo technique."

It is not possible to excel in throwing, or to defend against an attack successfully, without a thorough understanding of falling. It is also not possible to be successful in matwork (ground fighting) without learning to control the transition from standing to the mat, the very definition of falling.

The traditional order of training is to move from the simple to the more difficult. Each person will progress at his or her own speed but the basic steps are as follows:

1. At first practice falling or rolling from a low position, and gradually move higher.

2. Learn one direction and style of falling, then learn to fall or roll in other directions.

3. First fall or roll in place, then add movement.

4. In the beginning move slowly and carefully, then increase speed.

5. First fall by yourself, then have a partner throw you. In aikido learn self-sacrifice throws only after mastering the basics of falling and rolling. Here it is often helpful to have a partner assist you. In Judo or jujutsu when someone is throwing you, repeat the learning steps 1 through 4 (i.e. start with a low throw, one direction, no movement, and slow speed).

This step-by-step approach to safe falling, rolling or self-sacrifice throws sets the stage for developing confidence, coordination, and control. Learning to fall properly and safely can be a big step towards facing some of the other more difficult lessons that come with intense training. In addition, this method of learning will immediately transfer well to the study of your first throws, sweeps or takedowns. For example, in judo first learn easy throws, in one direction, without movement, slowly with a cooperating partner. As you master each element then add other directions, movement, resistance, etc.

Knowing the importance of ukemi, strive to improve your skills. Challenge yourself by practicing different ways to fall, keeping safety uppermost in mind. Constantly work on developing a fearless attitude that will eventually allow you to relax and fully enjoy the complete Judo experience.

About The Author

Ohlenkamp is a martial arts writer and founder of www.judoinfo.com. He is a certified United States Judo Association instructor, referee, master rank examiner, and master coach (the highest level of certification), and he was awarded United States Judo Coach of the Year for 1999. He holds a sixth degree black belt in Judo and a sixth degree black belt in jujitsu and has over 31 years of training and experience in various martial arts as a competitor, instructor, team coach, and tournament official.