M. Saito - Traditional Aikido Vol. 5 - Training Works Wonders

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© 1976 by Morihiro Saito ISBN: 0-87040-372-9

MINATO RESEARCH & PUBLISHING COMPANY

No.1 Shiba Ni shikubo Sakurekawe-cbo. Mlnato-ku, Tokyo, Japan

First Printing: March, 1976 Printed in Japan

,Exclusive Distr-ibutor in U. S.A. & Ceneda '

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$11.50

o

On The Move

by Morihiro Saito

81111ll.% Fillll

with built-in narration both in English and Japanese on cassette tape.

Sword Techniques PART 1- 8 min. PART 2 - 8 min.

Jo or Stave Techniques PART 1 - 8 min. PART 2 - 8 min.

Body Techniques

PART 1- 8 min. PART 2 - 8 min.

·8 minute tapes available each for US$29.50

Color

Takemusu Aiki -12min.

Produced by

MINAfO RESEARCH & PUBLISHING CO., LTD Tokyo 105, Japan

Traditional

SWORD· STICK

AND BODY ARTS

VOL.S

TRAINING

WORKS WONDERS

MORIHIRO SAITO

Written by Morihiro Saito Translated by Kyoichiro Nunokawa

Edited by Tetsutaka Sugawara Photography by Sadao Hirata

ISBN: 0-87040-372-9

First printing: April, 1976

Published by MINATO RESEARCH & PUBLISHING CO., LTD.

No.1 Shiba Nishlkubo Sakurakawa-cho, Minato-ku, Tokyo 105, Japan Phone: (03) 501-9248

© 1976 by Morihiro Saito

Exclusive Distributor in U_S.A. & Canada:

JAPAN PUBLICATIONS TRADING CO. (U.S.A.), INC. 200 Clearbrook Road, Elmsford, N. Y. 10523, U_ S_A.

Phone: (914) 592-2077, 2078

Cable: REINICHI ELMSFORD NEWYORK

Printed in Japan

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FOREWORD

October, 1975

In volume 5, I felt prompted to give an account of the methods and sequence of training employed traditionally in mastering many of the Aikido techniques which have been dealt with in the previous volumes. It seems to me that lowe this task to Aikido.

If the beginner errs from or skips the basic rules in his progress to advanced stages of the art, he will inevitably find himself up against the wall at each stage. For this reason, the methods and sequence of training are truly important. While practicing only basic techniques over and over again, errors in the trainee's movements could go unnoticed. Such possible errors, however, become apparent and prove a hindrance when he tries to apply basic techniques to varied forms of exercise.

I have included in this volume a section on "techniques against group attack" to meet the request of many readers. Let me remind you, however, that Aikido has always been an art against a group attack. Consequently, rather limited space was allotted to this self-evident subject.

Throughout the previous series, I introduced a number of techniques but they are only a drop in the unlimited ocean of Aikido. The introduction of these techniques was meant only to outline the "Coordinated Relationship Between Ken, J 0, and Taijutsu" as part of "Takemusu Aiki", an art which prolifirates an unlimited number of techniques as Divine will sees fit. The current series will be concluded with Volume 5, leaving plenty of room for the readers to pursue Aikido on their own.

Morihiro Saito Ibaraki Dojo

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Contents of Volume 5

Frontispiece Foreword

Chapter 1. Identity of Aikido as

a martial art , 13

1. Essence of Aikido. , , .. , , .. , 14

• Invincihle martial art , . . . . . 14

• Spirit of Aikido 16

• Requirements of Aikido .. , 18

• Aikido is a "mirror" , . .. . . . . . . . . . . . . .. 19

2. Aikido in postwar years , . _ 20

• Aiki Shrine and open-air training school

at Iwama 20

• Development from "Aiki martial art"

to "Aikido" , 21

• Diffusion and growth of Aikido . . . . . . . . . 22

• Duties of trainees and instructors _ 23

Chapter 2. Training methods of Aikido. . 25

1. Essentials 26

• Natura] observation of manners 26

• Posture and mutual stance. . . . . . .. . . . . . . 29

• Tegatana (Sword-edge of hand) and hold

patterns , . . . . . . . . . . . . . . 33

• Peace and harmony of mind ... Aiki. . . . . 34

• "Sabaki" (Body maneuvers) in varied

training situations 35

• Triangular (i'» pattern 36

• Aterni (Body blow prior to applying technique) .. 38

• Distinction between Omote-waza(Front technique) and Ura-waza (Turning

technique] 38

2. Variety and sequence of

training methods 39

• Variety of training methods 39

• Sequence of training methods . . . . 40

3. Dos and Don'ts while in training

4]

4. Demonstration of performances

42

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Chapter 3. Aikido techniques . . . . . . . . . 4·3

1. Various patterns of "How to Hold" ... 44

• How to hold wrist 44

• How to hold one hand with both hands . . . . 46

• How to hold shoulder 47

• How to hold collar. . . . . . . . . . . .. . 48

• How to hold both hands from behind . . . . . 48

2. Solid (Basic), Flexible and Flowing (ki)

exercises 50

• Body turns. . . .. . 51

Solid (Basic) exercise 51

Flowing (ki) exercise . . . . . . . . . . . . . . 51

• Katate-dori (One hand-held) Kokyu-nage

(Abdominal breath power throw) 52


Flexible exercise . . . . . . . . . . . . . . . . . 52 Flowing (Ki) exercise . . . . . . . . . . . . . . 52

• Katate-dori Dai-Ikkyo (Arm pin) Omote-waza

(Front technique) 54


Flexible exercise 54

Flowing (Ki) exercise 54

• Kata-dorij Shoulder held) Dai-Ikkyo

Omote-waza 56


Flexible exercise . . . . . . . . . . . . . . . . . S6 Flowing (Ki) exercise. . . . . . . . . . . . . . 56

• Kata-dori Dai-Ikkyo. . . . . . . . . . . . . . . . . 58


• Katate-dori Dai-Njkyo (Wrist turn) 58


Flexible exercise . . . . . . . . . . . . . . . . . 58

• Y okomen-uchi (Circular strike at the head) Dai·Nikyo Ura-waza (Turning technique) .. 60


Flowing (Ki) exercise . . . . . . . . . . . . . . 60

• Shomen-uchi (Straight strike at the head)

Dai-Sankyo (Arm twist) Ura-waza 62



• Y okomen-uchi Dai-Sankyo . . . . . . . . . . . . 64-

Solid (Basic) exercise 64·


• Yokomen-uehi Dai-Yonkyo (Forearm pin) 66



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(....,_) r IlIit9: If j i.I' 0 r~if~ J"'-... 98

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armed attack) 68



• Katate-dori Shiho-nage (Four-corner throw)

Ornote waza 70


Flexible exercise . . . . . . . . . . . . . . . . . 70 Flowing (Ki) exercise . . . . . . . . . . . . . . 70

• Katate-dori Shiho-nage Ura-waza 72



• Irnni-nage (Entering throw) . . . . . . . . . . . . . 74

• Kaiten-nage (Rotary throw inward) 75


Flexible exercise 76


• Ushiro-mune-dori (Lower lapel held from

behind) Koshi-nage (Hip throw) 78

Solid (Basic) exercise 78.


3. Variation of techniques 80

• Variations contingent on mutual stance 81

a) From "Kaiten-nage" to "Dai-Ikkyo " 81

b) From "Kaiten-nage" to "Variation of

Dai-Sankyo" 82

c) From" Oshiro Ryote-dori (Both hands

held from behind) Dai-Ikkyo " to

J yuji-garami (Cross-twine throw) 83

• Variations when your partner resisted . . . . . 84

a) From "Dai-Ikkyo " to "Varied technique". . . 84

b) From "Dai-Ikkyo " to "Irimi-nage" 85

c) From "0 ai- Ikkyo" to "its variation" . . . . . . 86

d) From "Dai-Ikkyo" to "Dai-Sankyo" 87

e) From "Dai-Ikkyo " to "Irimi.nage" 88

f) F "I" "". .." 88

rom rmn-nage to rts varration .

) F "I" "t '-'Sh'h" 90

g 'rom rmn-nagevto 1 o-nage ..

h) From "Shiho-nage" to "its variation" 90

• Varia'lions when your partner brakes free . . . 92

) 'Q "K doi . Ikk " "K k "92

a _[' rom ata- on yo to :'>..0 yu-nage ..

b) From "Dai-Sankyo " to "Irimi-nage" 93

e) From "Shiho-nage" to "Shiho-nage" 94

d) From "Shiho-nage" to "Irimi-nage" 96

) F "Sh'h ." "K hi-naze" 97

e rom I o-nage to . os I-nage

i) F "K I' "". .." 98

<rom osm-nage to its variation .....

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6. ..IE.. III (])151! \. '1.7 128

j:5 h I) ~..:.......................................... 130

(J!#B) ~~JR ~-1m~1l0)~.5'8 t t& ~ 131

) In "K't "L "K't " 98

g 'rom ai en .. nage a al en .. nage .

h) From "Koshi-nage" to "Dai-Sankyo " 100

• Variations when you erred in your

movements. . . . . . . . . . . . . . . . . . .. 101 a) "Tsuki Kotegaeshi" (Wrist turn-out

against thrust) 101.

b) "Dai-Ikkyo" 102

c) "Shiho·nage" . . . . . . . . . . . . . . .. 103

• Variations when your partner erred

in his movements 104

a) Error made in "Katate-dori"

... Example (1) .

b) Error made in "Katate-dori"

... Example (2) .

c) Error made in "Ushiro Ryotc-dori" .

• Other varied techniques .

) "I' dori K h'"

a xata- ort otegaes I .•.••••••.....

b) "Kata-dori Dai-Sankyo " .

c) From "Kata-dori Kokyu .. nage" to

"Dai-Sankyo" .

104

104 106 107 107 108

109

4. Techniques against group attack .... 110

• Body maneuvers against group attack .... 110

a) When attacked individually . . . . . . . . . .. llO

b) When attacked simultaneously 112

c) When subjected to armed group attack. . . . 113

• Weapon.taking in group attack , 114

a) Sword-taking Example (1) 114

b) Sword-taking Example (2) 115

c) jo-taking Example (1) 116

II) jo-taking Example (2) 116

• Koshi-nage against group attack . . . . . . .. 118

a) Ushiro Mune-dori Koshi-nage . . . . . . . . .. 118

b) Hyote-dori (Both hands held) Koshi-nage... 120 • Throwing techniques against group attack .. 121

a) Ryote-dori Kokyu .. nage. . . . . . . . . . . . .. 121

b) Ushiro Ryokata-dori (Both shoulders

held from behind) Kokyu-nage 122

c) Ushiro Ryote-dori Kokyu-nage 123

d) Kaiten .. nage : . . . . . . . . . . . . .. 124

e) Mune-dori (Lower lapel held) Kokyu-nage ... 125 • Hold-down teclmiques against group

attack 126

a) Variation of Dai .. Sankyo . . . . . . . . . . . .. 126

5. Methods of training against group

attack 127

6. How to use your feet and hips 128

Concluding remarks . . . . . . . . . . . . . . . . .. 130 Appendix: Rou ndta ble Meeti ng . Regard i ng

the Founder's Life and Philosophy. 132 Editor's post-makeup note

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<h I) L E:I 0) ~m:Ji .MZ: i/,\r. + if;; The Late Founder Morihei Uyeshiba

-12-

ClHIAiPTEH 1

~ IDENTITY OF AIKIDO AS A MARTIAL ART

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1. Essence of Aikido

Old Master Morihei Uyeshiba, the Founder of Aikido, was born in Tanabe City, Wakayama Prefecture, on December 14, 1883. In commemoration of this day, a festival, presided over by present Master Kisshornaru Uyeshiba, is held on the 14th of every month at the Aiki Shrine of Ibaraki Dojo. The Founder took to the Nine Chinese Classics at the age of seven, started Zen practice at 10 and mastered a number of martial arts Jater. Endowed with extraordinary brains and a man of effort by nature, the Founder created a martial art named "Aikido" in 1942 when he was 59, after traversing such milestones as "Aiki-no-Michi" (Road to Aiki) , "Aiki Jujitsu" and" Aiki Budo' (Aiki Martial Art),

The successive changes in t he names of the art he sought after graphically reflect the growth of his mental and technical attainments. It is particularly worthy of note that the Founder imposed on himself superhumanly vigorous training and mental exercises at the open-air Dojo at Iwama (present Ibaraki Dojo), chanting "Aikido" and enshrining the Great Aiki Deity. His Iwama experience added greater depth to Aikido and

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rendered its position firm and secure in the world of martial arts.

In 1946 when I was admitted into Aikido, the Founder was engrossed, day and night, in consolidating the techniques he had developed. I feel it was quite fortunate of me to come into contact with the Founder at a time when Aikido was on the threshold of consumation.

Now, I will try to explain what kind of martial art Aikido is and its essence.

• Invincible martial art

As history illustrates, mankind throughout the world has been involved in constant struggles, These struggles have been repeated without intermission in all the ages and curiously enough, "under the name of justice". Struggles arising from an outburst of militant instincts, struggles for higher positions and greater power and struggles generated by ideological differences. They combined to fill the world with enmity and hatred, turning it into an interminable scene of deadly strife and bloodshed. There was always the need for invincible martial strength because the struggles tended to expand beyond any hope.

The martial pursuits in Japan were not free

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from the world of struggles. These pursuits, however, gradually became independent of political involvements and have been sublimated into martial arts. The desire of individuals to become stronger has thus been given a sublimate environment for growth.

The martial arts have been in existence on the basis of Japan's traditional combat techniques. Despite their long history, the martial arts devised by man have inherent deficiencies regardless of what schools they belong to. An element which is considered important to make up for the deficiencies is spiritual strength. Japanese martial arts owe their essence a great deal to religions which cultivate such spiritual strength.

"Aikido is an invincible martial art". Does it mean that the art calls for a return to the old world where power meant every thing? No, that is not the case. Aikido founded by Morihei Uyeshiba was aimed at drawing forth the natural latent qualities of individuals in terms of mental attitude and techniques. In other words, Aikido is an art designed to cultivate the mind and techniques without running counter to nature. Body movements governed by a down-to-earth principle of nonresistance, coupled with a mental attitude of relinquishing disputes, contribute to the accomplishment.

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Fill your body fullest with the air of the universe and merge with nature. You will find your body replete with Ki (Spirit) power and ready to impart abdominal breath power (supernatural power), the intensity of which is beyond human imagination. Aikido is an art which induces a full display of such natural power. The mind and techniques divorced from strife are the indispensable prerequisite to bringing forth individual qualities to the fullest extent. This makes Aikido an invincible martial art.

While in a training session, the Aikido Founder would stand in the center of Dojo (training hall) inviting a trainee to strike at him. The minute the trainee swung his wooden sword over his head to deliver the strike, he found the tip of the Master's sword poised menacingly against his throat. Held at bay, the trainee would make a desperate attempt to strike at the Master, the Master vanished. He had moved with a divine speed and was standing behind the trainee. The Master's movement was natural enough and its speed did not appear to the spectators as great as it actually was.

The Founder was quoted as saying: "All I have to do is stand with my back facing the opponent. If the opponent tries to strike at me, his will to strike will hit and hurt himself. I am

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integrated with the universe, 1 possess nothing. When I stand up, I absorb my opponent. Dyeshiba's Aikido knows of neither time nor space, it is the universe itself, This state of affai rs is called "Kachi-haya-bi".

The Founder, who passed away in 1969, used to demonstrate Aikido performances at Doji while making his esoteric commentary on the art. His demonstration illustrated that Aikido is an astounding martial art which defies defeat under any circumstances. Aikido possesses the necessary spiritual strength covering the deficiencies witnessed in unsophisticated martial arts. Its techniques, by themselves, provide the evidence that Aikido reflects the strife-free mind. They are convincing to such a degree that even strongly ego-Oriented individuals are bound to be impressed. Aikido thus deserves the description of "an invincib ie, yet virtuous martial art" .

• Spirit of Aikido

It is a well-known fact that matches are prohibited in Aikido. This is because Aikido has inherited a number of lethal techniques from its Founder, which render the matches too dangerous an exercise, and also because the art purports

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to place no restrictions on every conceivable movement. If the rules are set and dangerous techniques are excluded from the matches, Aikido undoubtedly will lose its raison d'etre. If the matches are to be held, all the' techniques will have to be scaled. 'down to those consisting mainly of Atemi orthe contestants will have to either stake their lives or wear protective gear. A question also arises whether the form of the competition should be limited to empty-handed techniques or should also include the use of weaponry.

Even if only empty-handed techniques are allowed, the techniques inherent with Aikido are too terrific to make Ukemi (rolls and somersaults in defense) possible. True, such Ukerni against throwing is made possible deliberately in training sessions. However, execution of techniques becomes uninhibited in matches and the dangers involved are rather obvious. The answer to the question of why Aikido is not identified with a sport or a contest is simple. To make the art Like that is impossible for the reason mentioned earlier.

The Fonder described the movements of Aikido as the "materialization in minute detail of the movements of Heaven, Earth and other aspects of Great Nature". If the system of a

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match is introduced in an art of Aikido nature, the movements inevitably will be restricted within a frame work of rules. Introduction, of such system in keeping with gymnastic science and the western tendency to believe in "Win or lose" concept will prove a minus to future martial arts in some respects.

Aikido beginners are urged to understand, first and foremost, the spirit of the art explained above. Everybody has a desire to be strong. Such desire is quite important in the process of training. However, if the trainee is tempted to try out how strong the has become, such temptation must be overcome immediately. By so doing, he will gain command of himself. Those who have infinite faith in the techniques acquired and continue their training assiduously will win the final victory as strong individuals.

"Aiki is not the art to fight and vanquish the enemy. Its aim is to bring peace and harmony to the world and unite mankind as one family", this is the way the Founder defined Aikido, The spirit of Aikido, as he put it, calls on people to become aware of their respective missions in life, help each other to accomplish the missions and get mankind together as one united family. Such spirit is reflected on the stone monument along the path to the Aiki Shrine. The epitaph reads:

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"The heaven and earth look so serene and beautiful. This Universe has revealed itself as a family created by the omnipresent God ... Morihei Uyeshiba"

This is the Founder's ode to Aikido which still imparts to the visitors to the Shrine his affection for mankind and nature.

It is up to human beings to make this world a better of a worse place to live in. The Founder pondered:

"This world was created by God, man is but his child, and God dwells in OUI body". In other words, man is required to keep training for a finer self and carry out his ordained mission.

Aikido functions as a compass in guiding people in the direction of digging out and developing their intrinsic qualities, as wen as striving to accomplish their missions with a sense of enlightenment. According to the Aikido precept, if people live up to this doctrine, mankind will be united as one family, strife will cease, friendly relations will prevail and peace will be preserved.

The spirit of Budo (martial art) is extremely lofty and far-reaching. Complete grasp of the spirit in a man's lifetime is impossible. It is particularly Significant, therefore, to hand down Aikido to wider circles of posterity.

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"Aiki is equal to love for the Universe" , stated the Founder. Underlying this statement is the spirit of an all-embracing love for nature and animals, letting them enjoy their full lives in harmony with human environment. Such spirit gave rise to the thought that "even evil should not be treated as such beyond salvation but should be converted to good", Binding mankind as one family is thus made possible.

• Requirements of Aikido

There are requirements which make Aikido what it is. It is often said that Aikido is something like a combination of Judo and Karate, Aikido is not that simple,

The "intangible" part of the requirements is, first of aJI, the blending of K1 (Spirit). The word "Aiki", when applied to the world of nature, means the interchange of Ki between heaven and earth which procreates and nurses both the tangible and intangible of the Universe. Aiki, when applied to human SOCiety, Signifies the mystery of nature as represented by the harmonious mating of man and woman and the subsequent birth of their children.

If a state of Ki-musubi (Ki knotted up) is

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brought into being in accordance with the principle of "Aiki", mutual harmony is maintained in the tangible area of your body versus your partner's, leading to the proliferation of a great multitude of techniques.

The first requirement of Aikido is, as stated above, "Aiki". The second requirement is the "/::,. footwork pattern". Assume your posture obliquely and in the case of a group attack, you will be able to get to the side of each attacker in the t:. footwork pattern. Conclude your movement with "Hitoe-rni" (reverse triangular) posture,

The Aikido movement may be summed up as follows, according to the secrets of the art orally bequeathed by the Founder:

Enter the sphere of the opponent triangularly (/::,.), handle him circularly (0) and get it over with squarely (D).

The 6. footwork pattern balances out the Aikido movement.

Natural movement are not always as precise as determined by the ruler. Even when the position of your feet is not exactly in keeping with the reverse triangular pattern, the opponent can sufficiently be brought under control if you twist your hips (torso) appropriately to deflect his attack.

A detailed account of "Aiki" and the "/::,.

-18-

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footwork pattern" - the two major requirements of Aikido - will be given in the second and subsequent chapters.

• Aikido is a mirror

Aikido is a martial art seeking after truth. The way to truth is interminably long. Paradoxically, however, truth is not far away. It is "right at your feet". Those pursuing truth should know that they are always at the beginning of their endeavor. In other words, they should always remember the modest spirit and behavior of beginners they once were and refrain from indulging in the self-conceit that "they have already completed their pursuit".

Truth is an unwritten law governing human life. Gaining an awarness of such truth through Aikido is a valuable lesson of life. To get to know Aikido is equal to getting to know such truth. Seeking after truth in social life is an endeavor to accomplish one's ordained mission in life. Truth may sound difficult to attain if interpreted complicatedly. It is not all that difficult, however, if you turn your eyes to the immediate surroundings of reality and start with what you can do in ascending the ladder of truth.

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We live in a modern, complicated society.

Each one of us is but a cog-wheel of society. We tend to be too self-centered to pay due attention to society as a whole, and dissatisfactions and complaints are brewed. But those who have stepped into the path of truth are required to accomplish their individual missions and become enlightened selves above the overriding pressures of society.

The Founder of Aikido would be most pleased if his followers discovered their own paths to truth and could live in a divine world of peace and calm transcending earthly discontent. I regard such a way of life as a "fruitful life" - the kind of life I wish to have our posterity inherit.

In summary, to get to know Aikido is get to know yourself. I want you to consider Aikido your mirror. You should remember that the essence of Aikido lies "right at your feet".

-19-

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2. Aikido in postwar years

• Aiki Shrine and open-air Dojo at Iwama

The present Ibaraki Doji was set up as an "open-air training school" in 1941 when the Founder and his spouse moved over there from Tokyo. In 1946 when I was admitted into Aikido, the site of the Iwama Dojo with an area of more than 20,000 tsubo was just a forest of Japanese oak trees, dotted with the Aiki Shrine Dojo and a farm. The location of the DOj~ almost eluded detection. The local neighbors had not the foggiest idea of what was going on inside the Dojo and would not dare approach it.

When I recall the way the training was conducted at that time, I can conjecture the frame of mind the Founder was in which

prompted his move to Iwarna. '

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-20-

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starting their training. The training in the Dojo featured a dogged repetition of one particular exercise. If, for instance, Katate-dori (One hand held) exercise is taken up as a subject of practice, that particular exercise was repeated everyday in one variation after another. A standing exercise, no matter how often it was repeated, was endurable enough. But it was a different story with a sitting exercise. The week-long repetition of a sitting exercise was a hellish experience. The knee skin would peel, fester and stick to the floor. After listening to the Fonder's long speech in such a physically tormenting condition, we found it extremely difficult to peel ourselves off the floor and stand up.

It was too excruciating to remain seated upright during the speech, too. When we swayed our body sideways to seek a moment of respite, the fists of our seniors in the rear rows would descend on our heads in admonitory fury. Such Spartan discipline and training continued unabated, discouraging a further increase in the number of those admitted into Aikido. Any such increase was chopped off by still harder training. But the Founder himself was very kind and obliging in providing guidance for the beginners. He would personally come into contact with each beginner and teach what to do. The training

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focused on the beginners. As a natural consequence, emphasis was placed on repeated performance of basic exercises.

The Founder would wait on the Aiki Shrine and the Deity enshrined in the front area of Dojo every morning without fail, reciting a Shinto prayer and bowing in worship to the deities in all quarters. His voice was reported to have traveled over a range of one kilometer. The morning ritual lasted one hour and a half to two hours every day.

God always reigned in the life of the Founder at the open-air Dojo at Iwama. We were eyewitnesses of his throes in giving birth to Aikido. Everyday training gave us a pretty hard time but was understandable as the inevitable process the Founder had to go through in consolidating the Aikido techniques dating back to prewar days to give the art greater depth and a wider variety.

The Iwama training at that time ran the whole gamut of Ken, Jo and empty-handed exercises. 'This tradition has continued to be upheld to date;

• From "Aiki Budo" to "Aikido"

Before taking its final shape, Aikido used to

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be called "Aiki Jujitsu" or "Aiki Budo" as mentioned earlier. The techniques in present Aikido differ from those in the preceding art in every aspect. They are essentially different from the techniques in "Daito-ryu Aiki Jujitsu", too.

The growth from "Aiki Budo" to "Aikido" signifies that Aikido has come into being as a new martial art, marking a complete departure from the past techniques. Kokyu-ho (Abdominal breath power method), for instance, illustrates this paint, on which the Founder lay great emphasis. Even after "Aikido" assumed its present identity, the techniques have been undergoing subtle changes as seen in the case of Dai-Sankyo (Arm twist) Ura-waza (Turning technique). Such changes, however, go unnoticed unless the trainee constantly keeps in touch with the Founder. In this respect, the attitude of Rinjiro Shirata, instructor at the Yamagata Prefectural Branch of Aikido, who has been quietly studying the stream of such changes throughout the prewar and postwar years, serves as an exemplary case for us.

The kaleidoscopic techniques devised by the Founder accord with the rules of nature, thus leaving no room for vulnerability. None of these techniques were fashioned haphazardly or at his own will. Aikido, in its perfect form, allows the

-21-

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movement of even one finger and a twist of the hips to lead freely to subsequent techniques in accordance with the rules of nature. I just wonder how many of the Aikido practitioners can reproduce such miracle of the art now.

I have no doubt in my mind that the kind of Aikido I should bequeath to posterity is what the Founder called "Takemusu Aiki", which is like a fountain of techniques which never goes dry. In other words, producing techniques means "begetting martial inspirations and strength".

Ken has three characters called "Sho" (Pine), "Chiku" (Bamboo) and "Baj" (Plum). These characters are independent of each other and yet are linked up together to produce variations, the basic form of which is Kumi-tachi (Matching exercise). All of the Ken techniques are adaptable to Taijutsu (Empty-handed exercises), adding depth to the dimensions of Aikido. Aikido is said to have been perfected in the postwar period (after 1945) on the basis of various martial arts with a history of several hundred years.

• Diffusion and growth of Aikido

In the decade starting with 1955, Aikido began to find its way into the populace through

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exhibition performances. Aikido, which had until then been barred from public participation, took a turn and opened its doors widely for men and women of all ages and from all walks of life. Behind such phenomenon was the extraordinary effort toward a wider spread of Aikido on the part of leaders concerned of the Aiki Association headed by Kisshomaru Uyeshiba, present Master of Aikido. The diffusion of Aikido overseas was soon in coming. In 1961, the Founder was invited to Hawaii by the Hawaii Aiki Association for local demonstration of Aikido. Most enthusiastic reception marked his Hawaiian visit.

In 1960, the Founder was awarded a Purple Ribbon Medal by the Japanese Government for his glorious role in inaugurating Aikido. Four years later, a decoration was conferred on him in recognition of his Aikido accomplishment. The speed with which Aikido grew in popularity during a short span of 10 years was truly remarkable. The foundation of present-day Aikido was thus laid.

The current Aikido population is estimated at 900,000 the world over. Aikido is expected to keep expanding in population and take a firmer root not only in Japan but also in other countries of the world.

-22-

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• Duties of trainees and instructors

On April 26, 1969, Founder Morihei Uyeshiba passed away, he was 86. He devoted his lifetime to inaugurating and accomplishing the great task of consummating Aikido. When Mr. Isoyama, one of the Founder's disciples, and I rushed over to the Master's deathbed, the Master sat on the "futon" mattress, clasped his hands in prayer to each one of us and thanked us for what we had done for him. Our hearts bled with tears rolling down incessantly _ It was the unforgettable end of a career martial expert,

Time flies, five years have elapsed since the Founder's demise. There are some students practicing Aikido who even do not know the Founder's name. The Aiki Shrine has also been left to suffer less recognition.

Those of us who were privileged to come into contact with the Founder keenly feel that we must always keep up research on the Founder and hand down his lessons. The Founder still breathes in our hearts and SpUfS us to harder training. If we forge about the Founder, his voice of encouragement will cease to be audible and one arcane technique after another taught by the Founder will fall into oblivion. The Aikido

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instructors must continue their study on the Founder. Such study will help them resolve some of the questions which still remain unc1arified. It is their duty to hand down to the later generations the precise replicas of the techniques they learned personally from the Founder, as well as his "Kuden" (Orally bequeathed secrets of the art).

The attitude of the trainees should be attuned to that of their instructors. It is important for the instructors to do everything in their power to bring into being a new breed of good and reliable instructors from among their trainees and bring them up in a steady and sustained program. Such course of development is meant to bring about a genuine diffusion of Aikido. I personally believe that both the instructors and trainees should strive toward this common goal.

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iI'J ~ L E3 (7) ~~U ~@:Z~:;:Y:'illi The Late Founder Morihei Uyeshiba

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CHIAPTER 2 jft

TRAINING METHODS OF AIKIDO

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1. Essentials

• Natural observation of manners

lance asked the Founder why it is necessary to touch the mat with the left hand first, followed by the right hand, in a sitting bow. The Founder replied: "There is no such need. Natural behavior is the best requisite". He also told me not to imitate only the forms of other schools of martial arts.

Natural behavior represents a state of utmost alertness and will allow you to stay clear of a sudden attack. Everybody should be able to understand that manners based on natural behavior are more in line with the spirit of Aikido than those integrated with the habit of unsheathing a sword instantly.

Walking in front of a person is considered ill-mannered. This is because the walker is in danger of being tripped. You are also warned not to walk on the edge of the mat. The reason is that there may be a trap installed in the mat. As illustrated above, every bit of manners observed by martial experts reflects a warning against

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dangers to life. These manners see to it that life is not lost under trivial circumstances. One should try to become a man of manners based on natural behavior.

Photo shows an example of a sitting bow which makes an escape from an enemy attack easy. This bowing pattern is little different from the normal way of bowing. Care should be taken, however, to ensure that both hands should not be spread too far, a posture which makes it difficult to maneuver your body and initiate entering techniques immediately. The mutual stance shown in the photo is one assumed in sitting exercises.

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.. # ~ iJ' h L ""( ~11i 0) J: -3 I:. 1[~ U z.); ""("1'1> (-r ¢ 0

.... You can move your body sideways and jump into your partner's side as agilely as a cat.

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.... A light nod suffices for a stand- "':;1. fL (,;I: !ILl: < *;f!i;.""9 {;, 1-: fB!j), .1'i~

ing bow. After training, withdraw your breath quietly and sheath your wooden sword .

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This shows an instance of proceeding to an entering technique from a sitting bow and getting the better of your partner while unbalancing his attack.

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• Posture and mu tual stance

Right oblique posture is ordinarily required in Ken exercises. Conversely, empty-handed exercises require left oblique posture. The latter case is because the initial stance between the two partners is more than two steps apart so that when they mutually take one step forward with their right foot, they may come into contact with each other in the mutually right oblique posture.

An old saying goes that "the right shoulder is the key to Ken exercises, while the left shoulder is instrumental in empty-handed exercises". This principle holds good provided the right mutual stance is taken. It is only natural that one of the two hands which is more skilful than the other should prove more useful and effective at the time of contact with your partner. The fact that there are an overwhelmingly more right-handers may be accounted for by the natural tendency to protect the heart from attack.

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(Obi ique posture)

I was once chided by the Founder for walking on his right side while escorting him. He thundered: "Don't you dare block your Master's right hand. It is the Master's duty to protect you". The Founder was a right-hander.

The posture required in Aikido is different from that in the ordinary fencing art. Many of the readers must have noticed the difference, which was referred to in Volume 1. You might observe the Founder's posture shown on page 36 of the said volume. It is quite clear that his posture is a shade different from that of members of the Hanayagi school in the rear row who are presumed to be taking lessons from him, To illustrate the point, the same photo is shown here again.

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The desired mutual stance calls for the tip of one sword barely touching that of another. Taking too close a stance and engaging in a tip-to-tip skirmish with an eye to an opportunity for attack should be discouraged. Keep the tip of your sword as high as your throat. There is no need to direct the tip straight at the eye or throat of your partner.

I suggest you position your eyes in such a way that you will see the upper rear of your partner's right shoulder. Your eyes are not supposed to be fixed far from or near your partner but should rather grasp him as a whole. The Founder used to explain as follows:

"Don't look at the eyes of your partner because your mind tends to be absorbed by them. Don't look at his sword, either, because your Ki (Spirit) will get involved with it. Don't look at him because you absorb his Ki by so doing. The essence of a real martial art lies in the buildup of magnetic power to absorb your partner as a whole. Having mastered the art, all I have to do is just stand where I am."

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It is no good to take too close a mutual stance.

The above remarks explicitly point to the ultimate stage of attainment where no posture is considered necessary in Aikido practice. Such stage, however, is far beyond the reach of beginners. As a practical approach, I recommend tJ13t the instructors or senior trainees on the receiving end of Ken partnership provide guidance on the posture, mutual stance and eye positioning explained earlier,

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Shown next are left oblique posture and subsequent movements in empty-handed exercises, The readers are invited to study the varying aspects of mutual stance required,

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Mutual stance in Shomen-uch i (Straight stri ke at the head) Dai-I kkyo

Mutual stance in Yokomen-uchi (Circular strike at the head)

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Mutual stance in Kata-dori Dai-I kkyo (Arm pin when shoulder held)

Mutual stance in Tsuki Kotegaeshi (Wrist tu rn-ou t agai nst th rust attac k)

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~ ]J0):tJ 1::>)6';;'0 Striking with Tegatana

... Start gripping Ken with the little finger, followed by the third and other fingers, over your head,

• Tegatana (Sword-edge of hand) and hold patterns

Tegatana can be used in numerous ways, As the basic rule, it is important to strike always from above the head of your partner. When delivering a circular strike, some trainees are often seen using their Tegatana horizontally instead of landing it from above the head, it is wrong. The descending pattern of a circular strike should be the same as that of a straight strike. The motion peculiar to a circular strike is caused by a twist of the hips.

To form a habit of striking from above the head, it is suggested that priority be given to a straight strike in Suburi (Sword-swinging without partner) practice, This exercise should be conducted in parallel with "consecutive strikes" at the left and right, thereby maintaining a balance

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~10):tJ1::> =. ho Striking with Ken

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in hip twisting motions. Both exercises must be adaptable to empty-handed practice. Suburi No. S (Deflective counter-strike) should also be practiced after the pattern of a straight strike. A straight strike is the most difficult Ken momentum to parry.

In Ken holding, grip it first with the little finger, followed by the third finger, middle finger and forefinger in that order. When striking down from above your head, grip it mainly with your left hand using your right as an aid. Squeeze the palms of your hands as you swing down. Your Ken is supposed to stop descending in front of the lower abdomen but a full descending momentum is called for in the exercise. Twist your hips effectively in making a straight strike, letting that part of your body do the "cutting".

The Ken grip pattern is entirely applicable to empty-handed exercises. The knack of the holds in "Katate-dori" (One hand held), "Ryote-dori" (Both hands held) and "Shiho-nage" (Fourcorner throw) exercises is to be found in this pattern. If you build up sufficient abdominable breath power along with "training in grip strength", a so-called "grip" alone can be used as a technique to subdue your partner.

In using Tegatana, keep the fingers apart, stretch the peripheral area out and arch semi-

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circularly the shoulder-to-fingertip portion like the curve of a sword. If the fingers are stuck together, the flow of Ki will be blocked. Try it and see how it goes. Besides striking exercise, Tegatana is used quite often in a variety of empty-handed exercises. The ensuing photographs will help you study this particular subject.

• Peace and harmony of mind ... Aiki

"Aiki" means a matching of Ki (Spirit). It is also called "Ki-musubi" (Knotting Ki). The string knotting one Ki with another is described as "Tarna-no-o' (Thread of life). The Founder used different descriptions according to the audience. Getting into a state of "Ki-musubi" upon entry into Dojo is desirable but not easy. You must see to it, however, that your Ki is sustained and kept alive at least during the course of a given exercise. Harmony can only be maintained in a state of "Ki-musubi".

Harmony is a situation in which, physically speaking, the Ki strengths of two partners are tied together. If your partner is aggressive, your reaction should be turning your body obliquely, deflecting his attack and closing in on him for either a throw or a hold. If your partner

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ill!: ~ hi', !Wi1£H1C_:£~r.:. 1~ L -r (" ~ ~*~~ -C";Ii) ~ 0 WIJ i.. It, ::t L-,;f(~ )v_J, t: -'J ~ 11~ L -')(t ~ C:, JI I, ,(: < ~ < ~ /fy~ C: [ill I) -, 1J C 11 (1) _~~'-'Ji)' t) 1J{~ < iJ: ~ 0 :c- (1) Ii] I) 1J ~j ~ < T i~.ll ;6{-')1J' 7j I, 'oi*1it~(1)wHIII;i: -=- tU: J: < iJ.:l-r 1,. ~ 0 -=- (1) rtf~j 4'0 i' 1R-') II~n: r.;i:, =? 7J (1) ))' I oJ- iL Jg-:zt>:(1)!fiJJ ~ 1J'I":, ~j e/.( t'1£il::.t:t1Jf/t,-r < ~o § I,:, Jl!. i: iJ: 1,' 51. (1) it b --tt Lt , § ,:. ~ z ~ fJ5[l, ( I;I~J 1.) (1) _J:J: ~£ ~"£ t: t1 C 7j -'J -r ~ffJi,lL T ~ 0

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fjh~T2:: c L -c . *~-r"'i [illt~(J~4':), '*1*, iN. ( 7\ )f~ (1) =: -J (1) tk3* i' $g 1l' T ~ 0 -=- TJ ---:' -'J (1) tU* -c" I ±, :c- f.l.f'tL i:i? t: f;j;: 'lJ.:'1 ~ i' L iJ: It :rt (;f ij,' ~ 1J1J{, -rJJ'c.,*,. (i, L Ii' L I;fi!f. * it 0) ~~" I: "IAttL" (1) iH)jlj ~ ~ T G ::. c h" ib ~

withdraws his Ki, your ensuing action should be a move ahead for a hold. In other words, harmony is maintained by avoiding conflict with the strength of your partner and adhering thoroughly to a principle of nonresistance. When two rubber balls are pressed against each other, for instance, they spin uncontrollably without conflict of force between them. The way they gyrate utterly defies prediction. The harmony in empty-handed exercises is strikingly similar to this phenomenon. When such harmony is maintained, a number of varied techniques will result depending on how you direct your Tegatana, nay, move only a finger. An intangible matching of Ki manifests itself on the tangible body in the form of various techniques, "Aiki" is a mind possessed of peace and harmony. Under such condition, body and spirit merge into one, working their way up to new heights of enlightenment.

• "Sabaki" (Body maneuvers) in varied training situations

As methods of training, I will introduce in this volume three kinds of exercise - Solid (Basic), Flexible and Flowing (Ki). Different body ma-

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neuvers are required in these exercises. The beginners are often seen maneuvering their body in a "flowing" pattern at a time when their movements should be attuned to basic exercise. To remove such mixup, I feel an explanation is in order to identify body maneuvers with various training methods. What is elucidated here is meant as a preliminary introduction to the body maneuvers in Aikido techniques taken up in Chapter 3.

Body maneuvers in Solid (Basic) exercise start from a mutually static state. In such a state, you are putting yourself in the most disadvantageous position, letting your partner take the initiative by a wide margin in getting hold of one hand, both hands, shoulder, lower lapel and other parts. It is from such a fix that you are required to break away from the hold without resisting, lead your partner into your sphere of influence and bring him under control. This solid exercise is a way of training to the hilt. Under no circumstances should the beginners bypass this training method.

What is important in body maneuvers in "solid exercise" is that you should VOLUNTARILY TAKE ONE STEP TOWARD THE SIDE OF YOUR PARTNER AND LEAD HIM. The mistake of pulling your partner toward you

-35-

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when your hand is firmly held is liable to occur especially during such exercises as Shiho-nage (Four-corner throw) and Dai-Ikkyo (Arm pin).

Body maneuvers required in "flexible exercise" may be classified midway between those in "solid exercise" and "flowing exercise". It means, for instance, that in the case of Karatedori (One hand held) exercise, body maneuvers are already under way by the time your hand is held firmly by your partner. Quite a lot of ingenuity is required in practicing "flexible exercise". Let us take the case of this exercise conducted with a sufficient mutual stance. The areas where inventive study is needed include how to align hands and feet (adjustment of mutual stance) when you and your partner mutually take one step forward toward each other, how to twist the hips and how to set the angles of hands (as in Shiho-nage).

Body maneuvers in "flowing (Ki) exercise" call for causing your partner's Ki to flow off target by obliquely turning your body and adapting (synchronizing) yourself to the flow, No attempt was made in this book to tell "flowing" and "Ki" apart. Ki exercise is treated as the ultimate form of flowing exercise.

Aikido is generally believed to represent circular movements. Contrary to such belief, how-

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ever, Aikido, in its true Ki form, is a fierce art piercing straight through the center of opposition. The nature of the art being such that you are not supposed to adapt yourself to your partner by making a wide oblique turn of your body but are called upon to find your way onward while twisting your hips, Since you are practicing Ki exercise in this particular instance, you are expected, ideally speaking, not to touch your partner's hands and feet, This does not mean that the act of leading your partner's Ki and thereby adapting yourself to and hannonizing with him may well be omitted. Real Ki exercise is the ultimate form of flowing exercise. The Founder once demonstrated this esoteric exercise for us. You are advised against mimicking the exercise for it will get you nowhere. Nothing but real hard training will make it possible for you to attain such ultimate stage of the art. You might be interested to know that

-36-

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the Founder made the following remarks following his demonstration of Ki exercise: "I am what I am today precisely because I have been carrying on solid exercises for as long as 60 years".

• Triangular (D.) footwork pattern

As the illustration shows, four alternatives are considered possible in entering the side of your partner in front from oblique posture. This marks the first step in the first alternative. Entering the side of your partner means shifting neither to the left nor to the right, no backward steps and no conflict with the opposition on four sides. In other words, oblique posture is aimed against a group attack. Oblique posture takes a triangular pattern not only statically but also on its move.

D. is considered as a symbol of procreation because the pattern, as illustrated, suggests as if one has split into two. A spot of Ki (Nothing) is divided into two Kis _ positive and negative. The dual Kis interact and give birth to all things in the universe. Positive and negative elements are heaven and earth in terms of nature, father and mother in the human world and front and back in terms of objects.

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Nature mutates constantly and man will continue to exist for untold generations. The b. pattern is meant to invol ve the elements of time and space. It is fashioned after the workings of the universe. The Founder verbally expounded the subject as follows:

"This world, which is a manifestation of unity, is, after all, operated by soul and body. As an object has its front and back, so is this world operated at its root by soul and body. Operation of this world is made possible by an interchange of the breaths of fire and water, an act performed by three gods of creation '_ Arne-nomin akanushi-no-kami, Tak ami mu sub i-no-kami and Kamimusubi-no-kami.

The performance branches out into spiritual forces called "Ichirei Shikon". The body is endowed with forces known as "Sangen Hachiriki". It is a combination of these forces that sustains this world.

No matter how complex and subtle the functions of Takemusu Aiki to inculcate and nurture may be, that should not beguile the fact that its origin is traceable to the sources of fire and water, as well as to the zx pattern embodied by the three gods of creation".

We often heard the Founder describe "Aiki as an assembly of 6, 0 and 0". Worth noting, in

-37-

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this connection, is that 6. lies at the root of these elements. This is because while 0 is a circular form (body maneuvers) of 6., 0 is two 6.s put together (a state of control).

o signifies a form of harmony attainable after bringing your partner under control on your own initiative. In terms of Aiki swordsmanship, 0 illustrates a state of your bamboo sword and your partner's locked inseparably in a manner of "Kirnusubi", with the bamboo seemingly bending. You are poised advantageously enough to strike at his foibles or the nodes of the bamboo sword at whatever levels - upper, middle and lower - you choose. The same holds true for

empty-handed exercises. -

D is the ultimate state of form. The four corners represent the characteristics of gas, liquid, flexible matter and solid matter. They also allude to training methods with four characters.

The Founder also explained that 6. plus 0 plus D are equal to ® (i) ml (ki) or breath and form the root of science. "It is with profound respect", commented the Founder, "taht I venture to liken the Aikido symbols to the Rising Sun and the Imperial crest ofthe chrysanthem".

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• Atemi (Body blow prior to applying technique)

"Atemi accounts for 99% of Aikido" was a remark once uttered by the Founder. I introduced Atemi at some length in Volume 4. Atemi is virtually omitted in Aikido training on the ground that that preliminary blow should not become a matter of predominant concern. However, there are quite a few cases in which the meaning of a technique becomes incomprehensible if the attendant Atemi is left out. I suggest therefore that after reading through Volume 4, study be made as to when Aterni should be delivered in the execution of a technique and cases of its omission.

• Distinction between Ornote-waza

(Front technique) and Ura-waza (Turning technique)

Just as an object bas its front and rear surfaces, so has an Aikido technique its front (Omote) and rear (Ura) or turning variations. A front technique calls for entry forward of your partner, while its turning version is characterized

-38-

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by entering at his rear. These two techniques are distinguishable primarily in the basic exercises but not in all of the exercises, including varied versions.

Such distinction is sometimes difficult even in some of the basic exercises, For example, Urawaza (Turning technique) is practically inapplicable in the basic forms of Yokomen-uchi (Circular strike at the head) Shiho-nage (Four-corner throw) and Hanmi Handachi Katate-dori (One hand held in oblique standing vs, sitting posture) Shiho-nage. The application is not totally impossible but if you try to force it, you may lose the balance of your body, endangering your position.

2. Variety and sequence of training methods

• Variety of training methods

The variety is generally categorized as follows: (1) Observation training

This method is applied when you are not able physically to participate in training for one reason or another. You are required to carefully

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observe the training to take in the mental and technical aspects of performance.

(2) Training by yourself

These are three methods

(a) Sub uri ... This is a swinging exercise using a wooden sword. Use a mirror to see if your swinging form is right.

(b) Tanren-uchi ... This is a striking exercise using again a wooden sword. An old tire or a bundle of branches of a tree, fastened at an appropriate height, is used for the exercise.

(c) Sotei (Assumption) ... This is an exercise assuming as if you are with your partner. Use your shadow on a moon-lit night or a mirror in the daytime. This exercise is also practiced in darkness.

(3) Standard training

Choose your partner and practice a given technique by turns repeatedly under the guidance of an instructor.

(4) Training in handling group attack

In the exercise, you are subjected to a group attack and learn how to subdue it.

(5) Freewheeling training

This is a "no holds barred" exercise allowing your partner to use whatever techniques he

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±fflO)~ '/:?fJ cTifJ;L"t"I,'t-.:o

(D) %m;'fliitl

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wants and you are to cope with them in a freewheeling manner.

(6) Events-related training

(a) Mid-winter and mid-summer training ... The training spans a given period during the coldest and hottest seasons of year. The Founder termed the training "Misogi (Ablutions) on the coldest day" and "Misogi on the hottest day" .

(b) Camp for training ... This formula calls for your camping at a specified site apart from your regular Dojo and living under the same roof with your colleagues for a given period of time for concentrated training. Peelings of solidarity and affinity are born as a result.

(c) Joint training ... This is a training session with members of other Dojos. In the mixed exercise, the trainees are encouraged to point out their mutual deficiencies in performance and prevent collusive training.

In addition to the training listed above, there formerly was the so-called "Uchideshi training". Uchideshi was an apprentice who lived in the house of the Master for training. This particular training was extremely rigorous. For the apprentices, every minute of 24 hours was training, not to mention the regular training hours. They

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had to stay alert all the time and exercised care even in walking.

• Sequence of training methods

(1 )1 ncrease training intensity by degrees

Normally, you warm up your body by going through a sequence of body turns, Tachi-waza Kokyu-ho (Abdominal breath power training in standing posture) and basic techniques ranging from Dai-Ikkyo (Arm pin) to Dai-Gokyo (Defense against armed attack), followed by throwing exercises. The training is concluded with Suwari-waza Kokyu-ho (Abdominal breath powe r training in si tting posture).

Mentioned above is the traditional training sequence of empty-handed exercises adopted. In Ken and Jo exercises, chances of injury will be eliminated if you follow the order of Awase (Coordination), Ku mi-ta chi (Matching of Ken) and Kumi-jo (Matching of Jo). In the initial stage of coordination exercise, keep the mutual stance sufficiently apart so that your Ken or Jo may not come into contact with your partner's when striking at each other. In the later stage, the mutual stance should be narrowed gradually. No protective equipment is to be put on in the

-40-

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exercise.

(2) Training pace geared to beginners

In training the beginners, attune the pace to them and repeat basic exercises in a readily understandable way. Senior trainees may hate to do this because the training is so elementary. Natural repetition of basic exercises, however, is so critical even to senior trainees that this training mehtod is adopted, whereby the basic Aikido form is ingrained in them.

(3) "Flowing' exercises are for three-dan holders and above

"Flowing" exercises become feasible as a matter of course if you keep practicing basic solid exercises until you become a three-dan holder. The "flowing" form of training is discouraged until then in view of the importance of solid exercises.

3. Dos and Don'ts while in training

(a) Observe good manners.,. Observing due respect is more than merely making a bow. It is essential for the trainees to receive their instructors and seniors with the utmost honor in

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every respect. Showing due respect is very difficult to do since excessive courtesy lapses into polite insolence and too modest a behavior is apt to lose the chance of doing the civil.

(b) How to throw your partner

There are often those who fancy themselves great by virtually knocking their partners down flat on the mat. Their concept of hard training is utterly wrong. The essence of real training lies in the throwing process. When let loose mercilessly, Aikido techniques do not allow Ukerni (Defensive rolls and somersaults). It therefore behooves you to throw your partner in such a manner that he can respond with Ukemi without fear of injury. The purpose of Aikido training is to build up strength, not to inflict injury.

(c) Perform exercises accurately

There is a saying that "the slightest deviation renders a technique ineffective". There is no need to conduct basic exercises with undue speed. Care should be taken not to leave out the cardinal points of the exercises and form a peculiar habit as a result of too hurried an approach. You are advised to follow faithfully the "Kuden" (Secrets of Aikido orally bequeathed by the Founder), which casts light on these cardinal paints.

(d) When in doubt, return to fundamentals

-41-

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While you are taxing your ingenuity on a wide assortment of varied techniques, you may either get lost or strike a snag. What you should do in a fix like this is go back to the fundamentals and restart. By so doing, you will be able to hew your way to advanced stages.

( e) Treat with care

It is considered most careless to step across a training outfit nonchalently. A person, who does such a thing, is, without question, ill-guarded. When in a camp for training, some participants throw the leftovers of their meal away right on the spot, while others choose to keep them until the following day. The throw-away tendency is particularly evident in the countries where social welfare is well developed. Those who make no scruples to throw things away are, for all practical purposes, belittling their lives. Generally speaking, you must value and treat your property with care.

4. Demonstration of performances

There are no matches in Aikido. Instead, its exercises are occasionally demonstrated for public assessment of skills acquired in day-to-day

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practices. Until a decade ago, Aikido was barred from public view for fear that its techniques may be stolen. The situation has changed now. Public demonstrations provide an extremely valuable opportunity to popularize Aikido.

The Founder would not unveil Aikido to the public in former days, His sentiment in those days, as I recall it, was not a mere apprehension that Aikido's techniques may be stolen as a result of their public debut. Uppermost in his mind was probably the fear that these techniques may be subjected to warped interpretations with the popularization of Aikido and handed down to posterity as such, It is important for us to remember this at a time when Aikido has become accessible to the public,

The instructors are therefore called upon to observe carefully how their trainees perform at public demonstrations and use their findings for future guidance. Bearing the Founder's concern regarding public demonstrations in mind, prospective trainees are also urged to engage in harder training so as to be able to demonstrate their accomplishments to the public.

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CRATERS

AI KIDO TECHNIQUES

-43-

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1. Various patterns of "How to Hold"

There are a number of "ways of holding", including "Katate-dori (One hand held), "Katadori" (Shoulder held), "Eri-dori" (Collar held) and "Ushiro Ryote-dori" (Both hands held from behind). AJI of these holds are meant to bring your partner under control.

In practicing basic exercises, you usually start them after letting your partner secure a hold on you. You are at a serious disadvantage in this condition because you have yielded the edge to him. Once you grasp the meaning of the hold, it will dawn on you that you are deliberately putting yourself in such a condition for practice's sake. I am citing below several examples of how to hold. As for other holds, please study by yourself.

-44-

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• How to hold wrist

This is the "Katate-dori" (One hand held) pattern. The technique introduced here is a well-guarded type as seen in the fact that instead of going straight ahead to grasp your partner's wrist, you deliver Atemi (Body blow prior to applying technique) prior to the hold.

When you try to grasp your partner's left hand, shoot two Atemis simultaneously, one at his face with your left hand and the other at his side belly with your right hand. These preliminary moves induce his left hand to rise in defense. Brush his parrying hand down and in a switching motion, hold it with your right hand. In the process, maneuver your body against his possible thrusting and kicking attacks and into a position where you will have a total command over him.

<III 7t i' 1_r. 9"" -C"I{jH~ ~ -!if ~ Al1t.:9'-- ~;tjlj '\~\-t0

First, strike Atemi at your partner's face with your left hand, causing his left hand to come out in defense.

<IIIi*~id") L t;;_'-jJ"?

II!!) ~~.H:_ ~I # ~. Ail 00

While maneuvering your body, shoot Aterni at his side belly.

<III L.~f· ~ 1111 ~ {!rt L -r'{ I pl~1~'-tA:} i.. -ri1~JT 00 Flip his left hand down and secure the hold with your right hand in a switch of hands.

-45-

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• How to hold one hand with both hands

Discharge Atemi in the same manner as "Katate-dori", slash down your partner's right parrying hand and grasp it with your both hands while maneuvering yourself on a counterattackfree course, In grasping his hand, watch its angle and give it a shade of twist from sideways.

-46-

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• How to hold shoulder

Shown here is a scene of subduing your partner by taking hold of his right shoulder only. You can add to your supremacy by grasping his right hand at the same time. "Kata-dori" (Shoulder held) exercise gradually comes closer to "Ushiro-dori" (held from behind) variations.

-47-

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It is the "Irirni" (Entering) technique that allows entry to the rear of your partner for a hold. Unless this technique is used, you will end

up remotely encircling him, the opportunity for "Ushiro-d ori" thus complete ly denied.

• How to hold collar

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• How to hold both hands from behind

"Ushiro Ryote-dori" (Both hands held from behind) exercise becomes possible if you could place yourself right behind your partner.

-48-

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There are many other ways to hold. While in training, it is desirable that you are not kept captive the minute you are held but initiate a technique of your own in a harmonious fashion.

9-

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2. Salad (Basic), Flexible and Flowing (KiJ exercises

Aikido exercises are classified into four methods, each called "Solid", "Flexible", "Flowing" and "Ki", However, I have combined, in this volume, "Flowing" and "Ki" into one. The four methods of training are based on the fact that all phenomena in nature are possessed of solid, flexible, liquid (flowing) and gaseous (Ki) characteristics.

Solid or basic exercises are purport to train you "to the marrow" . For this reason, the beginners are advised to concentrate on these exercises until they attain the three-dan rank. In the meantime, continued exercises will enable them to have a feel of what flexible and flowing (Ki) exercises are like.

Two classifications suffice for some of the exercises, while three to five groupings, all of them exclusive of Ki exercises, are required for others. I treated the subject at my discretion in this book in keeping with the needs involved.

:L;1) Q" ,;j;.: g-C"(ii[1rr't'I:, ,1l,£2Z(-.:. 1,t;, I..:. l,J1H&-t .Q -=- i:: C: L t:

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• Body turns

Body turns are a basic exercise in which after blending with your partner's Ki, you let your Ki strength and movement take the initiative in leading him.

-50-

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Solid (Basic) exercise

After letting your partner firmly hold your wrist, align your toes and move to his side, turning your body 180 degrees. In solid exercise, it is important for you to take a step forward on your own initiative and align your toes. If you take a step backward or try to pull your partner toward you, you will find it impossible to lead him.

til'=[" 7) ~-( z.it} ,§, i)l~ L t, iJ'" i'--:; lr}U:J -It Q 0 -.:.

(7)~fr.~+(7)~ctth0+z.~7)~~~~ (7) l" Ji:> Q D 1:' iJ' G, 'E.: I,',J 1J{·9\;t]~tt..: I) • j~ 1- '§"l RIJJ}iH:: ~':.i. ~) tL -r I j: ;fid~:.:+:ti:t I.:: 7;" G ~: v-, 1lFf:- r,:~',- -=j"::. z.lli f'-:, -It Q C ~, -j j,'i. ~i' z. 'L -'") .; C iJ{. j::AfHtz.C0~0)J,~*Ct·QD

Flowing (Ki) exercise

This is an exercise in which you let your partner get hold of your wrist while leading his Ki in a flowing manner. In the momentum, you link his hand and yours with a curtain of Ki. The flowing exercise is out of the question if you turn your body too quickly or too slowly, in the latter case allowing your partner ready access to your wrist. The mental attitude of yielding your one hand to your partner is a fundamental requisite to taking the leadership.

-51-

tlJ -=p. (J) mlJ fffi 1,.: [ffi -? l f~~ ~ ,4t I"J ,_, iJ"llJ (J) J1C{ t) 7:1' ~,~ Q ~/pW ""("Ilw] ~ (:;I: I), H'¥f. z. U b.""7 --c th I) H 7) -30 ,: 7)- ~~ (7)!1lIJ1'I~ 't J: c" h~' < ff;h t I·f

I':, ~~~) -1t~';i)<" t, i[[lll~i I.: A 0 i4>JIJIJ ~ -C"h 0 o }',' =t. ~ ~~ ~) tu-= U~'(': !±~!i:!f (J)i*~\ c 'd,' """) l'" 00

f~~ C i~~ ~ ;~ ""('f,Ii U'; 1M! h f 1.:1 .;4. ~ .. Ji: It· 0 0 ${ i:1>: tii:i I·.: i!1y·tHErj ~ l"'j'-; 6 r l,4i:(7)1'ilt'JJ (l)

l;1d:;f,: tl 11.: J: I) t, iit h (J) U~Hr1J 1){ !,t;jUp < , i* 1IJIJ "" tn~(J)Uhl)l,::fli C:'07]{*C7.;.'oc ~

-52-

• Katate-dori (One hand-held) Kokyunage (Abdominal breath power throw)


Turn your body alongside your partner, straighten up your chest while swinging your arms upward in a sword wielding fashion and twist your hips as you swing them down for a throw. The series of movements must be made smoothly.

Flexible exercise

This exercise calls for maneuvering your body to the side of your partner while, but not after,

letting him take hold of your hand. You are supposed to be ready for a throw by the time your hand is held.

F lowi ng (Ki) exercise

The secret of this exercise lies in using Ki as a medium for linking your body and your partner's, thereby leading him for a throw without physical contact. The body maneuver required here is for Ki exercise rather than for its

flowing counterpart. In this exercise, the time of flow is shorter than that in the flowing exercise discussed in the "Body turns" section. The body maneuver also owes its effectiveness a great deal to the twist of the hips. The throwing technique involved is close to a thrust or Atemi.

-53-

1~H~+-t ij_~ :7)1,_ktE1J ~ ~i 1,lil 14>; it d~ C: IIiJ I~ l"~ \ l' 0 ItUC)~)l.tJ)j, -:"(C){t-1th~, Mri..z f i:'A-Hrr:~

:{-ll- -C'lfli!::: !kJ -4 ~ A h "':1-'") IfIIlllli i,;::' 1M 1- .; (7)!fiJJf'I'iJ{I,I;1f~~HU1J: » I_~) Q t on:",h Q,

i1iL.I¥iJitC)Wi,r;J] z:.. (J:, I'll r- ~ 1'1 'jj(7)jIIIJ rfljl;::'

'41,) -( ( Q d: -j [.::: T Q .; C l"J0 I) , "I!I 'j}i)'

jlIIJ liIi:.::: ( A --, -C llj,j 1_ 1..: :IJd$" ~ I'll To i" iff I,;-C ~ -c f1-' I) ,'1\ -t C) -C';I') Q "

-54-

• Katate-dori Dai-Ikkyo (Arm pin) Omote-waza (Front technique)


Unbalance your partner sideways while sending Atemi to his face with your right hand. Such movement forms the core of solid exercise.

Flexible exercise

The body maneuver required in this exercise is the same as in solid exercise. You are required to

determine the optimum mutual stance and Ki coordination on your own initiative all the time.


Maneuver your body to bring your partner to your side in a state described in solid exercise, which calls for "your stepping to his side and putting him off balance".

In flowing exercise, you blend with your partner and carry him on a stream into the state mentioned above. This is more than a mere exercise in causing his Ki to flow. Please bear this point in mind as you observe the exercise illustrated here.

-55-

~f*' (~*) 1t~li;

1t i' )I~ ~ l[Z t" {t .Q 0 ;)...: (.: j,: =F "{"WI I: ~I .q ~

A. H, jill ~ i: -c "" t: >? 1* ~ n~j ~ "J "J, i'- TJ --C" JL < ifrt I~ jAl] 1[11 (: lM T" t; ~ )~ }J (;I: Il;! j£ L t: f/)

-r~' 10K- T 0 0 ( m -=: {J;44 ([ )

;~ ( ~ ) 1:$ 11 ~li;

lJt}j1.J' t" oj 'I ~ ~ Ah -c ti4 ~;jf~ 1;' :1\ I~, itl =r- (7) -:,,\_ ~ ~.J1G L "J ' jl!lJ Itll (: iiJ1 T o

-56-

• Kata-dori (Shoulder held) Dai-Ikkyo Omote-waza


First, let your partner take hold of your shoulder. Then shoot Atemi at his face with your left hand, circularly deflect his countermove with your Tegatana while obliquely turning your body and unbalance him sideways. As for how to pin him down, please refer to page 44 in Volume 3.

Flexible exercise

The body maneuver required in this exercise is the same as in solid exercise, except that the

circular movement is more fluid. You are warned not to bend your arm as you form your Tegatana.


Shoot Atemi to lead your partner's left hand out and unbalance him sideways while deflecting his Ki.

-57-

~nt (~) 1*tt~li

l,lll4:i1it (j: 51\ [lY ~48 }:( ~ JI.!.'. D -:t14;iii±;7J' (, »: ~1 (:. "l,,( (7) i'JTth rr L::'~: 0 o r j~j ~',( t) J 7) lA(

l~IJ ~ I,: Ii =N[!Jj;l') 0 C) -r-, .; C) r iFilix I) m _. ¥lJ ~7);l1S 47)' :;, ~f1t/) 0 hili J: ~,-C L J -j c

~1* (£*) tijli

g- l- ~ L "7 i)' I) t:'\' t: -1± -C il' t) jl]llliti!'::: 1')'11 To l!hl t;j:.:Hi_i:EC)lH~IJ ~ :i, liI!llt ~ Ufl,!;jl 'lJL lit}j

~1ta:~~

)',' r-- ~ J.fx ~ --1i--'J -'J'jtJIn~i I,': it'!i T c jit Iv -e < 0

ttl=f"" c .';-'J;Q' ~~: l',f*r,;lj ~ i::;J.' "7 --C "'~: It tl 1f';J.· t;,;J." l \ 0 1'1J~" < I) i:: _Lt::Ji'{~('::: 1l'-) li~~'_;:C)11~ 1£IJ 2i Ii, -t"l{ < ~~JJ < i;j(jJJU 2i I: Jtilfi L -c ~ \ 0 0

-')i I), \'~ -? < I) :i!JJ < =- 2::: Ii, fj'_~'':: 2::: 2::: [Ii] L:-CJi.>0o

iA: (~O ji.:lil:tli r J', =f·l1'z I) ttl-it'lJ ~ W Ih1, L --c tJ-.., -c h ---c 1'- ~ ~ , 0

-58-

• Kata-dori Dai-Ikkyo


For solid exercise, please refer to page 48 in Volume 4. "Flow of Ki' gradually emanates

from flexible exercise. There are two kinds of body maneuver in "Kata-dori". The readers are advised to begin with the basic exercise in "Kata-dori Dai-Ikkyo",

• Katate-dori Dai-Nikyo (Wrist turn)


Unbalance your partner sideways after allowing him a firm hold on your hand. The firmer the hold, the greater determin ation is required to get to his side.

Flexible exercise

Unbalance your partner sideways while letting him catch hold of your hand. Your body must be .out of contact with his as he lunges forward. ,

There is something common between slow but accurate basic movements and quick ones. Paradoxically, slow and quick movements are the same thing. Practice flowing (Ki) exercise in the manner described in "Katade-dori Dai-Ikkyo".

-59-

W!'I1* (~*) tt~

tJ"'?""( ~ t: GmlJ1(lJl.: A. -:J ""(IJII § ¥'¥.; L (~tr '

f: "') ~ \ -c I ± ~"i 1m 15111 tI * Jj~t) , tl f ~:~ -,('jL < -\J) t) J; 1) L TO) III 'Ii:' ~~ Q, .::. cTlH~r, :1i ~-'-IHH g'- 0) 7h- -f-'- f-j- 'Ii:' ~::z. -) ""( I, , Q .::. c il"*-I:;lj -c" &) Q »

:n -:J l § t: G 1111 § ;W t: i~, J( cTl i > hit I~ "C -V)I),bJ_!i-c i~(.(*tlUj_~0);f'1 /" ]'I±f,;=f--1H': ~ 6 a @ '}} O)=f-)) c Ifj! c 0) r~J ~, ~I.i_ rjll] 0) 1': t:

Q c nid-.::. c fJ"-C'e >J_·I,'I.ffJ' 1)::'1- < , J:\i,fJ!IJ fJ{n~ rfu:: ~ilJ t: 6 .::. c 1...: >J_' Q 0) ::''', l±:(? L >J_' tt tu.f;t· I~) Id: l \ 0

.&jI1lllfli:: A. I) , 1'i~' I(ii ,n t, ~ ,t_,~ --=f'" 7 J -C)L < ,'t I t jJk-<j- 0

A Move to your partner's side and circularly deflect his circular strike with your left Tegatana.

-60-

f

• Yokomen-uchi (Circular strike at the head) Dai-Nikyo Ura-waza (Turning technique)


move to his side, knock his arm down with your right Tegatana in a circular cutting motion and hold the back of his hand. Be sure that your left hand holds his right wrist by this time. As for Atemi to be used in this exercise, please refer to page 111 in Volume 4.


Instead of knocking down your partner's arm as he tries to strike, let the striking momentum run its course and cut it down. Your left Tegatana is the key to flowing exercise. Keep your Tegatana and face at a distance greater than

I

the length of a dagger as you swerve your partner's circular strike. If you bend your arm, you will not only make the swerving motion ineffective but also court the danger of your partner's dagger stabbing you in the head. Better be careful.

"'~)'illli.fTt, ~;:iiCH:I;J:. =f. JJ!' JL < 1_ -OJ;),!I] 0') Iii! j). 'J.' ~, 'IItJ I Hi~"J':' C:o

• When deflecting your partner's circular strike, use your Tegatana circularly and keep your face beyond the reach of his dagger.

-61-

<l1li .~r[ >t' ~JT I) illl (t' ~ !: tjt rm n t:, I;l: ;01[ -t!:'1j: 0'0

... If you bend your arm, you can hardly deflect your partner's circular strike.

~~ C./.$:) tt~$;

1i. 'f -C1Ifi t; ~ -# ~ A n.. ;j:[;jf V') ft=f- ~ ~~ v' ~L. ~~~%h~~~<~~~~c ~0~ rM1"'1t;J~l"I·±, :ti=p·-CH·J"~tJI.""J~l[~I·±"L. jl., < ;f.5~j_~o :;J?c:r;l:W;=059N~gH:7)~ L

<IIII~~tBL T-/] -['::It < i:iI[-t!:'I·:f, WI] .z., If:<: I) m -» l b Jitp~li 7..' V'o

(;;.:tL~<1H:a~J]li 'J ) (Dagger·taking in Dai-Gokyo)

... If you are issuing forth your Ki and circularly deflect the strike with your Tegatana, you are safe even if you fail to take the dagger .

• Shornen-uchi (Straight strike at the head) Dai-Sankyo (Arm twist) Urawaza


Discharge Atemi at your partner's face with your left hand, causing his left hand to come out, align your toes and circularly bring him down. In the solid type of exercise, you hold and stretch your partner's elbow for a circular arm twist. For further details, please refer to page 59 in Volume 3.

---62-

I,A-'- "eTn T- 0) I,: =p. ~ ~ v ,: H I~, JL < ;:'rrtl_-"'J -"'J 11)-'- '"CO T- 0) r II ~ 11'1. Q 0 I~;I f¥HE}U ± JJ'n:: =]".0 IJ'- 1JI- 6 If, ;'Rt ii' i-J:il---C--(± I'll 'f C ,If; tr-» .... ) VII, -Y' 0) III'$:: .lj',( ~) -c 1-5 ~ i_ Q 0 T I ±' -'<-~ I,. , 'Al -~!fJ. O).lj',( I) h---C:h6o


Lead your partner's left hand upward with your left hand and take the back of it with your right hand while circularly guiding his momentum. In contrast with solid exercise, in which your hand hooks onto his elbow, flowing exercise features a hold on the back of his hand for an arm twist with your body poised side by side with his. This is a quick Dai-Sankyo holding motion.

-63-

fi[lW (~*) tt};1i

t~ rtii +1 1:, i-.: ~';JT ~ r~,1 f1~iiiL (7) H;:tl;IJ ~ (j:, W; =-If'x "'C:i!!! ~ t: (7) "C?Tlller ?!> -It -c H;; < c {*iJ;lj ~ fI{ h i;dU;:[J:[ IfllH t;, u;=-:lfJ ur~ 3 ;'IJ;56Yl- 59rli (: 10] t 4fllri"C,t .Q 0

• Yokomen-uchi Dai-Sankyo

So lid (Basic) exercise

The body maneuver against a circular strike in solid exercise has already been explained in the Dai-Nikyo series. Hence no repetition here. Once you know how to maneuver your body, Yokomen-uchi Dai-Sankyo can be performed in the same manner as Shomen-uchi Dai-Sankyo (P.56-59, Vol. 3).

-£4-

~nt (~) f*tt~1l .ffiH~~~~~nt.~~t~~~~~ Et1 z-11:l ¢ 0) iJf;(W lliitJ t, ffi =: f5(0)~,t;!;~ "'C'<f:> 7::J -30


Proper use of Tegatana to deflect a circular strike and the way you take hold of the back of your partner's hand in a side-by-side position are the key points of Yokornen-uchi Dai-Sankyo.

--65-

• Yokornen-uchi Dai-Yonkyo (Forearm pin)


The body maneuver required in the Yokomen-uchi exercise has a common application to Dai-Ikkyo through Dai-Gokyo (Defense against armed attack). To wit, you are required to knock down the circular strike of your partner at his side. The hold-down technique used in Dai-Ikkyo is common to the subsequent series up to Dai-Gokyo.

~'il1*tti1o: rJ)1*JhIJ ~ Ii, Wi rki:tT i? AA; -fai)' t:, ~~Ji.i& i -(-:!tij L -r 1,., ~ Q ..:r tLl;l:~'lj=F7)jf!llffi "'Ct1trliHTi? ~ un ~ TtrTi*fhlJ ~ -C';h I), 5fl;-#ft O)i; ~ ;_ h'b tP;_u_i!fl i l":;!~Jm L -c ~ \ ~ D

-66-

IJit1*HUt:(7)S~C7)'T 7J Lt, '§tltlJit L t: ic,.E!n, =f- §r ~ lfi -? t::.1] iJ{ J:. ~ '0 ¥t'r ~ [fJJ1 T Q 1*~\ ';l: 9l1J ~ 11 -s :: I,J:_' S;f C 101 La "~§PJ" t IOJ to

, Flowing (Ki) exercise

In this exercise, you had better let your Tegatana get hold of your partner's wrist immediately after turning aside his strike. The posture required in pressuring his wrist is the same as in sword striking exercise. The same holds true for the "holding" pattern.

--67-

~1i.rzIHIl_~lr~:z I) 0) ti t!iJ' t-" ;h"fO)j:::;-'t:. }J(:i±~ L, 1J1i; "*it£O)~n <" A < .H ~ x_ :tJo


Dai-Gokyo is an exercise in taking, among other weapons, a dagger. Because of such nature of the exercise, you should be particularly attentive to the way you hold your partner's right hand. Circularly hold him down "in a billows-like movement" as mentioned in Kuden (Secrets of Aikido orally bequeathed by the Founder).

--68-

• Yokomen-uchi Dai-Gokyo (Defense against armed attack)

1L =F J J -e 1'1:19"" (J) i-TI i((;1J iI Q1'llii ! .; Jffi ii' ~ I; 'J: ~) 1·= iJTt L, ;j=J=F-r" L -:> ;6'1) .r-w ~ If~ -:> l J,gT 0

Flowing (Kil exercise

Turn aside your partner's dagger with your left Tegatana to keep it from reaching your head and firmly hold and turn his wrist with your right hand.

--69-

• Katate-dori Shiho-nage (Four-corner throw) Omote-waza

ti =¥--c"~ rnJ (:. " # >C ;A.. n. "'?"'? 1~IJ 00 I:. }..._ ') -c ti =? ~ I[R ~ 0 !~ I) 7J' l~ I) "'?"'? - *jjgk -C-f¥z h

>C -I~l] Q a IQ] 1:4:1t£ Ii, L ') TJ' I) Jt =F >C 1fx G-It

-c 1J' ?, 1tf1 /;t) ~ 0

1Wl lID (:. A r) -':) '") J..',- =f- ~ I[R. G -tt ~ 0 .:: Cf) ~~ (J)

A:=?Cf)iS L 2:: ~~(:.tl:Jt L, t& I) iJ''''.;:') -c i&·

h>ct'J~c *14:tt1*-C"Ij: 1~1'I9J (7)1fRI) hiJ<* ~ 1;,.' .¢,T, -C" ib Q 0

t~ ~ ~m ~ ) -c ftFf- Cf) 1ft. ~ l'nE L, 13 1]-Cf) iWJ 00 I:. ~l)-C < Qo ~1*1j:£"C';l:g)tiJ'G{}-1t-c1t):J < iJ', im1*1t£-C·IH§=f·~ 13,}-Cf)1~JJoo~:.~~'

-c * l i" h-tt ~ (.t~lf ~ ij1J (7) rEl~i} ~"iJ{ c tlf.: ;1;fC)'lJ)o ~':h It):J Q "7AEh" c I;l:, .I::~ >C ?J1r.T t':"j,t -C" Ii 1;,.: <, .: Cf) J: -3 (:. ~ < .:: 2:: iJ{*-fJJ t! 0

-70-


Step into your partner's side and seize his right hand while subjecting his face to your right-hand Aterni. Take a step forward in an

upward arm swinging motion and cut the rear. Solid exercise gets under way after letting your partner get a firm hold of your one hand.

Flexible exercise

Let your partner seize your one hand as you glide to his side. As you swing up your arm and

cut the rear, be careful about the way you turn your left hand and the load on it. An "interval" is important in flexible exercise.


Turn your body obliquely, thereby turning his Ki aside, and lead him to your side. In solid exercise, it is you who coordinate your move with his. In flowing exercise, however, it is he

who does so. In the latter case, the mutual stance is such that you are ready to throw him. The so-called "flow" is not meant merely as deflecting your partner's Ki, It is important, to lead his Ki to your desired position.

-71-

:be: =f ~ ~~ t:;, 4± t: ?;" 11\-$t; ~ % b 4± ~ t'Jf ?;, m

=f. (I) tJ =f ~ J:1~ I), f&}=j ~ * If t.:~] t) --:J--:JW I)

~1.f ( ~) 1*:tt~:t:

tE=f. ~ Ifx?;, ~ G Il~f'': ~ ~ Ubi) --:>--:J )1\9c ~ %:h4±G (itl=pi]{fI~(f'::_ /; -C" < hl;,J:'l::J< < ) 0 ,e, ~ :1L Cf~ -= 1m I:: rm < (u 1id J: -3 i CA:lH t G

::_ Cl"d:JGo (~1!..bJ~1l6-117l'il~Ah~JI?J wfm)

!i[lf*ttj$;O)~o)lli I) 15 (How to hold hand in solid exercise)

.... !C=f J]17)il! L C: 11'f·(7)lfX I) 1jl,: i':f:jJ: L, 1& 1J~*~I':·l;iJQo

,It. Note carefully how to turn your left Tegatana and seize your partner's right hand. Then cut the rear horizon tally.

-72-

• Katate-dori Shiho-nage Ura-waza


After letting your partner take hold of your left hand, take his right hand while aligning your toes, swing up your ami as you slash the rear horizontally and cut the rear again.


Align your toes while twisting yOUT hips as you allow your partner to seize your left hand. Scale down your movement in depth when he

rushes against you. Try to KEEP YOUR MIND CIRCULAR AND TURN YOUR BODY 270 DEGREES as instructed in Kuden. Please refer to P. 116-117 in VoL 4.

(How to hold hand in flowing exercise]

A~~n~~~~~~~~~.~$~. 1J":' 1*~ =W( %)~.:: I*J I,' l Ht'f ~ 0

... Take your partner's wrist with your right hand while leading him with your left Tegatana. Follow the action with turning your body 270 degrees for a throw.

-73-

A ~:lli(t' I: -J v~ -r ,;t ~'l-: ;lfu88Jft 1)' i? 103 # -r"*7Hr L t: (7) -r" , :::: -r" l;l: 1rIi JE T ~ ~: 'iii' oi) Q c

A :!? iii: (t' -c'M: .N O)~;I\ f~ (;l:, ;ftFf- 0) FF'I ~~J ,~- ~ OOJ ~ L iii') -r #111 L -r v' Q :: c_ "t";f) Q 0 ;ff:I T' (j: fF'I ~ oJ I v' -r illH tv:n' i» t::>, :: 0) ;[;1\ rIB t» i? I~ ~ U nfL/i", lIfij"f-I: Wl'f -:> -r:t!i: It~· < -r ~ 1iflJ T :: c b"tI:I*Qc

• Irimi-nage (Entering throw)

Only a supplemental explanation is offered here regarding Irimi-nage since the technique was introduced at length on P. 88-103 in Vol. 3_

The best condition in which to perform this technique is brought about when you gain control of your partner's shoulder blade by tightening your armpit. His shoulder thus held captive, you can throw him down without resorting to the strength of your both hands if only you twist your hips.

..t..)i=J)jIjl~~i1ll]llv'tl(i', ti::'F-l"jflJ-t:: c '8 l"~ ;"0

... As long as you have complete control over your partner's shoulder blade, you can flip him down only with your left hand,

-74-

• Kaiten-nage (Rotary throw inward)

[6] ljJj;J!i! -f 0) t~ tr -e , - EI :tIt. ") t: i'l-3 =? (7) =? (7) t§' t: tt z. ~ ;Q'-li-, .::. (7) 2J:~ (l) 1*-4~IJ ~ "(""'? ") -r h Q Q .f tl "('-itH& i "('=f'iJfllJlttL -r ~--= -;:'1,' -r 1,' Q J: -) I,:: H~(7H}:fd r) ~ ~ I:t:-t G <L (7) <L J: '" 15 $:"(";P) Q 0


As an experiment with this exercise, have your partner loosen up his fingers, leaving only the palm to hold your hand, and practice the sequence as shown in these photos. It will do you good if you make your own studies on how to twist your hips and other aspects of the technique so that your partner's palm may stay "glued" on your hand until you finish the exercise.

-75-

Flexible exercise

Unbalance yOU! partner sideways as you let him take your right hand, trigger Atemi with your left hand and turn off his inward parrying attempt without resisting it. Then, rotate inward, take his wrist after cutting him down sweepingly and hold his head in front of you when it reaches the lowest level. The exercise is concluded with feigning a kick at his face with your right knee and taking a step forward for a throw.

tJ =F- ~ JfR 0 -tt-:> -:> WI] lID ,:. fJij L t: =t- -r" ~ $I' ~ A n , I};J1RIJ ,::. 1'1- h h t: t~ jfti, 0 h 9'1=- tifE L -r F"J @FJ L, * e- CI;l] ~ 1:11'-r f1§- ~ ~R t), -~ifj T -r-§Ji ~ =f- wJl= t~i ~ :Z., tJ lit -,("11iH::. ~ $t (lw.t t)) ~ AtV:J-:>-P~A.., -r'i'!;i:(f ~ 0

-76-

1* ~ r,m l' C if'8 =f- G7) 7C ~ l'iIE L, IAJ lEI I) [ill J1ii t~ 'f!7)l*~i "Z"i#,'"Z < .Qo ~ C: !7)f*i$tl ~ L:±:* f~tti* c: rm to


Turn your body obliquely to let your partner's Ki run its course and bring him to a position where an inward rotary throw is possible. The rest of the body maneuver required is the same as in flexible exercise.

-77-

~1<Hx$lj:q3tIR t) O)t~A} t [iT]HH':: L -? i» f) !::: ff t: -It -r -jp t, kf,/i) ~ 0 ~~ ~~~.:: -'J v~ -r ~;;t ~-=~122]t ~ %H[(t L -r r ~ \t·o

• Ushiro-mune-dori (Lower lapel held from behind) Koshi-nage (Hip throw)


The exercise, even in the case of Ushiro-dori, begins after letting your partner get a firm hold on you. As for further details, please refer to page 122 in Volume 3.

~~n~~L.lli~O)~~~~~L. kO) =f. -e)ij ~ 1;.: -C" E 0 T !::: )ij (l) J::I,.:: * ~ 0 it #tt i~-C"I±lr:=f. 7J ~ T I: 11, v' m ~ ~T, .f O)=f.-r"

~<.::. !:::;Q{*~-e;hQo )l~H!i:lt·O)Ufi;~~~.~~ O)~:r- (~-:::~122l';[) 0

;fj iFi iJ' I? !}il ~ ;j: l" J.; 7) T 1(\ :j-'¥ t-, l" 1:1~ 10 :a- R~O)J:~: ~ < 0

... Lead your partner's Ki by swinging up your Tegatana and cause him to land on your hips by

-78-


Turn your left Tegatana to conduct your partner's Ki to your advantage and pass it from his shoulder across his arm. The action results in his landing on your hips. In flowing exercise, it is

important to use your left Tegatana as a means of leading your partner to your desired position without flipping it down. Please refer to page 122 in Volume 3 which carries Kuden concerning hip throws .

• seemingly passing it from his right shoulder across his arm.

-79-

:. O)1t~~;l:ttO)i1i3_ q:. -c" rri'l~J ~ c iJ ~ ift::

I)_ tlll;;.z ~ n~iJ'-:d: iJ, :gJh' 1;1:.),&(1 t;, h t: f) l t::.U;f, ..:c-0):tk~JL(=-{}-\t-C~1tT.Q 1.Ji:i; -c"th:Qo Lfr-1ft.i!!I:!±r"eii~'iJ"~''')J c:z;:b h .Q 0) b :;It 0') ~ -c" <b .Q 0

J£1l: l ~ tt n!i' ~ t;, ~ l·~jUJL'j: 15 /z ~- .z t;, h.Q iJ~', -r,t0') \K!5IJ ~ l-C1¥~IFT.Q O)!i.r.::.tl ~ 1~l~~' c :. 7:;,"C <b.Q Q ~~(j:1<i~H= *~h;b -? t: tit ~j iJ{.~ (:. :ilC ~ -, c ,i(!;I, -) 0 t: iJ' t:, ~g;_ *p, 1r-l t::.~1l:t:t ~1E%1,:'{1~1~ l t: 1:-C" , B/z ~ ~;lU5L ~ m~ t., $:1tO):fstift ~ I~ l-C h-cmt ~ t: ".0') -c- <b .Q 0

JC :'(7)J; -3 ~~1tO):txit:.r.::., ret(=:i2I!:A~t::. is. l tt ij,- CO z.fl~~~T tui', %1rtill-C"~i\1}O) tJj

3. Variation of techniques

Techniques must vary to conform to various situations arising from too apart a mutual stance taken during the execution of a technique or a failure to hold your partner down completely, allowing him to escape. Hence the saying:

"Aikido never goes wrong". There are all kinds of conceivable situations where such variations must take place. For convenience's sake, 1 have categorized and illustrated the variations required. Actually, the situations under review are rather intricately entwined. I therefore suggest the trainees suppose a wide variety of situations and study compatible techniques after fully mastering the varied exercises introduced previously.

If you master these variable techniques, as well as counteractive techniques introduced in Volume 4, you will be convinced that matches are impractice in Aikido. It will also become patent that practice itself is more difficult than a match.

*7J:'~.:, C;/)fJ; < *1J-?-c~~t::.t::.'(t:Q c,t~Ho of L -c f~ti of 0) iJ 0) s», ~i\% j;).J: I,:' J&iJ> l ~~ to')~th.Q:,ct, *.I:~~l-C<.Q~<b 7:> -3 0

• Variations contingent on mutual stance

a) From "Kaiten-naqe" to "Dai-Ikkvo"

If the mutual stance becomes too apart, as shown in the photo, in performing an inward rotary throw, take the back of your partner's hand immediately and subdue him with "DaiIkkyo". In a common fashion, variations to the series up to Dai-Yonkyo should be possible.

-80-

r::9@ f) 1W'iiiBl:r-r-r<¥~r:7)J: -) r.:r.ll~~~iJ'r,~ ~ T ~. t: ~, T <" r:. =PO) FfI ~!f:l ":l -n1'~-~-r' fljlJi- Go ~-~iJq:l-HIHU.nf~lm~i -r'~im L "C I±l * G ii% "C" .h G 0

-81-

([J) rlEl'ii~'f J iJ' ~ r;g.::::.~~~1tJ ~

1QI~:t~(f-:C·FI'l'i}~·iJ{~ ~ T fJ/t:. t-:" -:W:t§ =p!:~-? -C~=~(7)~JBti(=f~-? -r H ~ i._ ¢ (7)-r",p)¢o -='(7):rb'ii}., .ti=f7J!:"1E71-!:~~t), ~7J"J:: Z. rtJ 7J> t- ~ -, J: "5 I: L t-I,t nlt~: t:;> t- 1,,'0

b) From "Kaiten-nage" to "Variation of Dai-Sankyo"

If the mutual stance becomes too apart in Kaiten-nage, move a step closer to your partner and hold him down with a varied form of Dai-Sankyo. See to it that your right Tegatana is fully spread and that the palm does not face upward.

-82-

(/ .. ) r 1t jiIij¥-l& ~J ~-~J 1J~ I? r+*~~J""'"

:f$:iIDl=¥-I& 1) ~-.~ -c. r~11f v., !' C ~ j@ e-' t: G , :tl JE !':*: ~ < - ~51 ~'l +~:jqS;;" I:: ~itT Go :. 0) J: -j ~.: T hL:f, tilT- 0) iIDiJJfQ.I,j: ~ < *~ h;b -) 0) -C';b Go

c) From "Ushiro Hvote-dori (Both hands held from behind) Dai-lkkvo" to "Jyujigarami" (Cross-twine throw)

If the mutual stance becomes too apart in Ushiro Ryote-dorl, draw your right foot back a full step for a change to Jyujigararni, Your partner's both arms get deeply entwined as a result.

-83-

( -1 ) rm-ifj:J i)' ~ r~11:: ttJ A...

JlGT J:.+&-C")"cJj* i; tLt.:IIi-f-r·j) 00 Til' 2' T m¥~~~~L •• ~Ub~-C~0TT~. tl'l'f-~i!'mtL -C1i~1v -C'\'~ < ~-C<h 00

• Variations when your partner resisted

a) From "Dai-lkkvo" to "Varied technique"

This shows a case of meeting with resistance at an upper level. Lose no tim e in turning off your partner's strength, twist your hips and cut him down. He will lose his balance, followed by a whirling drop on the mat.

-84-

~R~~~~h~~~0~~~L. ~0£ iX~19:!fl:~1t L --r~lf ~o

b) From "Dai-lkkvo" to "Irimi-nage" When resisted at an upper level, turn off your partner's strength and change over to Irimi-nage.

-85-

(H)r~-t&J ~r~mJ t:

*. 'J: I:j:I ¥St "(")eN ~ l:, tL t: U# 't: ,}, .Q 0 .:_ A.- ~. tf.J

lilltlH)Y-J c:~fll!~~' L, JE:rlE'J}7;-'J!t-r

~tt -'c'tltl ~ i: .Q 0 .:_ tL, i f.Hi 0) iH± (/1'1. JIG c:

!l\JIG :r -t 0 i: .Q) :r fiJ ffl L t: t 0) -C" I; .Q 0

c) From "Dai-Ikkyo" to "its variation"

This is a case of being resisted at a middle Level. In a case like this, be a little unkind to your partner, stepping on his foot and holding him down with Ura-waza. This represents use of Ura-waza-no-awase (aligning thoes of both feet).

... Ji:Ji91~ t? n t: I? JE :r F!V" -C" r ~'-:J i::, ~:tLJo :;!Htl::' ~11:::. L -rtql ~ i.. {;. 0

When resisted, step on your partner's foot. Then change over to Ura-waza for a hold-down.

-86-

(.=.) rm-ftJ 1)' ~ rm=~J .......

m-fL-etljl ~ 7_ ~ h -r, ;f§~iJ{3L i?l:.iJ"tL I·,f, J1P, ~~~I: -t- (7) tJ ~ J;tftl-t {, 0

d) From "Dai-l kkyo" to" Dai-Sankyo"

If you fail to hold your partner down with Dai-Ikkyo, allowing him to regain his posture, use that momentum for Dai-Sankyo immediately.

-87-

(*vm-ij&JfJ~~ r .A.:!~H9:'fJ .......

tlll ~ .z 2> tL T, l§~h~3L t., l.:.h;".tU±"~ Z. jf5l -? l A~:J'~I-n:~ivt {,o

JU.J:. CTJ.J: -) I,:, W;-~_b6' t, CTJI4:11:;'i ~ "0

e) From "Dai-Ikkyo" to "Irimi-nage"

If your partner survives Dai-Ikkyo and regains his balance, take him by the collar for Irimi-nage. As shown above, there are a number of variations from Dai-Ikkyo.

( ....... ) r .A..jtl~~f J ~ r~~ J ....... .A~:J'_!;t(fG')~z.T-r":J'~I~.z '":lIt t.:, hI.: t" 1fkJIz.i11 2> , 1~.IJjin:1ffl L l:f~(-rGa it.:, t:

~~~~:h'lt)Jf~ljh.-:; lt~!f{,':: C b -C'2> Go

f) From "I rim i-nage" to "its variation"

If your hand is held below in the act of Irimi-nage, draw your rear foot back and unbalance your partner sideways for a throw. It is also possible to throw him by twisting your hips, with your left hand placed on his chin.

-88-

-89-

( ~ ) r A5t~tf J ii' &? rlm1J~tf J r-;

(""-) C: rnJtj!H::-ti-=t- ~ T--C"tffl ~ .z 0 ht_: 0, J(- (7)tfIJ ~ .z t: 9 ~ 1f~"'J -c 1l!I}J tli:!f~:: ~ .z Q 0

,:_ (7):jia:!:: J: hi!, A~tli:!f;O' 0 r }_·!Hli:

If J r +~ Jl3. LJ rB~:J)tlf J r H ~ .z ttJ ij: c", i:R Lir (7):ji!:: ]£1t:; -c. ~ Q 0 ~I;~!:: ~J\ L "C h Q (7);of J: v~o

g) From "Irimi-nage" to "Shiho-nage"

If you are in the same situation as f), take your partner's hand holding yours for Shihonage.

A great multitude of variations from Irirninage are possible, such as to "I rimi-n age" , "Kotegaeshi" and "Osae-waza" (holding techniques). I suggest you try them out yourself.

IZ!l1f:t.!k t f -z:.:t~ I) ;0' J.~ I) iJ q±l * ij: It ' P?r !:: ,:± , JIl--C"fif'l?J:Jf-C1P 01& ~ 1J'£Qo ':-5 Tht! m* 0 h -c t ft.>d:' < :j:;Uf Q': C 1P·("~ s.

h) "Sh i ho-nage" to "its variation"

When you cannot swing up your arm in Shiho-nage, enlist the aid of your abdominal strength and make your partner's body buoyant. By so doing, the upward arm swinging motion becomes possible and you can throw him easily regardless of his resistance.

-90-

-91-

• Variations when your partner brakes free

(1" )r~JBr 'J ~-~J1J'1? rBlJ1l]i ~~~f J ......

~-;})['(,~t ~ j£T~~::Jl9ii ~ til' f) fIE (f-r )&(1 t,:h{,2:. C: 7J{~.:,o r~_ -#H;l:j}jj_ t) O)m~J C: -7S:;bfLG J:: -) ~::, L "?7J' f) ij~"~J&t:, ~!t:hl! m-f'ftlt WIE 7J' L v~o <L L ~(f t, :1'1 t: t, 1- r7Jj=j fi'iJ~~~::ml L, rQfU'&J};tlt"J 1::~iI:;T G r7J't"£J Go

a) From II Kata-dori I kkyo" to "Kokvunage"

When you turn your partner's elbow in Dai-Ikkyo, he may sometimes escape by bending his arm. It is said that "Dai-Ikkyo is a holding practice". This being the case, it is difficult to perform Dai-Ikkyo unless you hold your partner's elbow firmly. If he breaks loose, pursue and unbalance him, following up the move with "Kokyu-nage" .

-92-

( c) r?l;.=!ftJ IJ' &? r A!lt:J~L-Y J"

r m ~ftx:J"'C (± 1 < i&,,: 1ft! (t'-c illolf G h ~ ::

C: iJItch ~o :: 1v~~~I;l: ~ <.,_ r A!?:t~I~fJ -C" :f1t'f~iJ', *0'1;~(7)17 I:, ~~Jfx."'J-C5l ~ ~J L -: 'b J: ("'0 (,'fh~:. L -c t ~~-C·I±~ ~~ C: n~ J: 7':', f:\i:'f'~~~';l:~~JI4ff'L-C-'? ~'L,l~v'1'.J<W;: L "'0

b) From "Dai-Sankyo" to "Irimi-nage"

In "Dai-Sankyo", your partner often succeeds in breaking away by arching his body backward. In such a case, throw him immediately with "Irimi-nage" or as the next series of photos shows, pull him down by seizing him by the collar. In any case, be considerate to your partner while in practice by allowing him Ukemi (rolls and somersaults in defense) and letting go of your hand when throwing him.

-93-

(,,) rl!9::;tj1~~f J i;' ~ rlm1J1~tf J '"

'-ImJH~I~fJ -:C·t~ f) lJ'j~ G ai', tB:f 'L -;f~~':' iJ: -:J l @] t) JJ1lf G :. C: tJ{;h Go:' 0) J: J ~11zy r;l: L -3 J3r'- 1m nt:!i: rf J I: f$- G :. c IJ"-:C- ~ 0 iJf, LH~'i+@] t) L -:Ci&tj' t, tl~~, J: J r:: L 7'j'I,t tll;f~ t, 7J: ~'o

c) From "Shiho-naqe" to "Shiho-nage"

While swinging up your arm in "Shiho-nage", your partner may sometimes turn around with you and get away. You can then start up "Shiho-nage" again but this time you must make the turn smaller to block his getaway,

-94-

-95-

( -) rl2B:1J19:t1J b'~ r )'.!H9:t1J ......

(,. • ..,) 2:: l<'J i*!:: Jl1~f t:, h t: t?, -f (7)iJJ ~ !-;r1J fFl L -c r A $t;jI1:(t'J -Z"f!i ~t' ~ (7) -c" <b ~ 0

d) From 'ISh j ho-naqe" to "I ri m i-naqe"

If your partner runs away as in c), take advantage of his escaping momentum for a throw with "Irimi-nage"

-96-

M. Saito - Traditional Aikido Vol. 5 - Training Works Wonders

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