“Don’t become a prisoner of the shape”

The Body that moves with Maximum Efficiency

by Eddy Wolput 7th dan

Foreword

“Don’t become a prisoner of the shape”

This book is about “basics : the essential training”. Although in the book are many techniques described, the techniques are just vehicles to make the basics apparant. The basics are the fundamentals of martial arts, these are not techniques.The most important basic of martial arts, performance arts and human relationships is to feel the partner.In martial arts, it is the partner who is going to move us, we only move the moment when we feel this, fysically and/or mentally.Life is movement, movement is life………

Content

Tomiki Aikido is a form of modern budo• What is modern budo• What is aikido• The principle of gentleness• Aikido froma physical point of view

Basic Techniques (kihon Waza)

Basic structure• 22 techniques

Basic training• Mushin Mugamae• Using the body (and mind)• Koshi - the lumbar-pelvic center• Kyokotsu - sternum (breastbone)• Using koshi & kyokotsu• Warming up • Tuning exercises• Shotei awase

Basic movements• Unsoku• Tandoku undo• Sotai dosa

The method of grasping and moving the opponent

How to practice basic techniques (kihon waza)

Kata• Basic 15 - 17 - 22, embu or kata• The difference between kata, embu or embu-kyogi• From waza to katachi (embu) to kata• Waza - Katachi - Kata

Koryu no kata

Notes

Grading and training syllabus• Kyu grades• Shodan• Nidan• Sandan

Tomiki Aikido is a form of Modern BudoWhat is Modern Budo?“Modern Budo is a method to create a dynamic state of being and is built on the interrelationship of all things. Modern Budo has no external enemy, only the internal enemy, one's ego that must be controlled. Modern Budo training creates not only skillful martial technicians but also human and social beings. Modern Budo is both a physical as a mental and spiritual activity.”

Human beings are capable of sensing intentional actions. Intuitively human beings are able to detect easily a thinking movement. This means you are not allowed to move intentionally. The movement comes from a non-thinking state of mind (mushin). Let's take throwing an opponent as an example.It is necessary to have the strength and technique to throw but you cannot show a signal the action you are going to take. The skill is to be go under a person’s conscious reflex and not be noticed. In reality, it is not an easy thing to execute. We need to be able to be fully present and free of habitual thinking patterns or conditioned images that have been imprinted.In Budo to practice these skills we do more than practicing patterns of movement.Budo master Itō Ittōsai says. “ using our human intuition is the key to mastery of the sword.” which is the same thing we are saying when we say "to be moving not in habitual patterns.”Itō Ittōsai Kagehisa (1560–1653) was a legendary yet mysterious Japanese swordsman never to have lost a duel. He is attributed as the founder of the Ittō-ryū ("one sword" or "one stroke") school of sword fighting.In the old days there was no word such as “subconscious or neural pathways” but in modern time humanity has evolved to the point that we have identified them and understand to some degree how they work.Master skills are capacities that we have within us as humans. It is however a process of learning and evolving one's spirit to be able to identify them and understand how they work within us.

What is Aikido?Aikido is a generic term used to describe martial arts build around the concept of “aiki”. There are many definitions of the word “aiki”, but the central message is the idea to create a state of being, physically and mentally, in harmony with yourself and your opponent.

From “Judo and Aikido” Kenji Tomiki 1956

The Principle of Gentleness

This principle of gentleness means in a wide sense action to maintain your initiative against the resistance and obstruction arising from the surroundings. The manners of taking your posture, taking your steps and moving your body as taught according to the principle of natural posture indicates that the action against all resistance should follow the principle of gentleness. In regard to the case where your body loses its balance and you fall at last, breaking falls are devised as a

Aiki means making your spirit fit in with your opponent. In other words, it means bringing

your movements into accord with your opponent's.

After all it means the same thing as the principle of gentleness, for it is an explanation

of the principle from within.

means to protect your own body from the impact on the ground. This is also an application of the principle of gentleness.

Jujutsu (art of gentleness) was also formerly called wa-jutsu (art of accord). This shows that ju (gentleness) has also the meaning of wa (accord). In the Ryuko-no-maki (lit. Book of Dragon and Tiger) which is regarded as one of the oldest volumes expounding the secrets of the martial arts, there is a passage, "If the enemy turns upon us we meet him; if he leaves we let him leave. Facing the enemy, we stand in accord with him. Five and five are ten. Two and eight are ten. One and nine are ten. All this shows accord."

Wa, or accord, is the fundamental principle of the Japanese martial arts. Expressed in modern terms and made easy of practice to anyone, it became the principle of gentleness. The principle of gentleness teaches that one should go, not against, but with, the the opponent's force, and yet maintain one's proper position so as not lose one's balance. This corresponds to the spirit set forth in Confucius' remark in his Analects, "The superior man is compliant but not blindly yielding." Jujutsu originated as a method of fighting between men.

Aikido from a physical point of view

Aikido consist of entering and/or turning movements. These movements are based on the freedom to move the spine. To make freedom we need to practise the movements of the spine. A flexible spine is also the goal in yoga or dance training.Sometimes it is said, you have to use the hara or lower part of the central body.The movements of the “hara” are in fact movements induced by the muscles attached to the spine by tendons. Using the word hara is a little misleading, it is better to use “koshi” or lower back.In a book on aikido by Tadashi Abe, there are only 3 methods to practise:

• ashi sabaki (foot movements)• koshi sabaki (lower back movements)• te sabaki (hand movements)

Unfortunately in some aikido training systems, only ashi sabaki and te sabaki are taught. Using the koshi is a rather complex method to generate power and need special exercises to activate.By using the spine, controlled by the “kyokotsu” or sternum we can generate power coming from the koshi.Besides the physical aspect, we cannot forget the impact of “intention” on the physical movement, but as I said before, intention can be grasped by the opponent. All movements are born from a state of “mushin”.

To conclude, aikido is not about techniques but of body and mind skills in a everchanging situation.Acquiring those skills is the objective of training.

Basic Techniques (Kihon Waza)“Back to the future or revising Yamada’s syllabus.”Senta Yamada was a judo & aikido student of Kenji Tomiki, and introduced the original Tomiki Aikido method in the 50-ties of the last century in the UK. He used a simple syllabus similar to the Kodokan judo syllabus.Judo Kodokan basic techniques :“The Gokyo no Waza, the standard syllabus of Judo throws originated in 1895. From 1920 to 1982 the Kodokan Gokyo no Waza was made up of 40 throws in 5 groups and these were all of the throwing techniques in the Kodokan syllabus. Later they added more. The “Gokyo” is used to teach Judo techniques to students.Kenji Tomiki organised the most common aikido into a rational method.See further how to start with “kihon waza”.There are 22 basic techniques in 4 groups. Atemi waza (5 striking techniques)Kansetsu waza - Hiji waza (6 elbow techniques)Kansetsu waza - Tekubi waza (8 wrist techniques)Uki waza (3 floating techniques)

The origin is mostly Ueshiba’s Aikido, but some techniques have an origin in other Jujutsu or Aikijujutsu.

Atemi wazaShomen ate (1)Ai gamae ate (2)Gyaku gamae ate (3)Gedan ate (4)Ushiro ate (5)

Kansetsu wazaHiji waza Ude Hishigi Oshi Taoshi (6)

Hiki Taoshi (7)Waki Gatame (oshi taoshi) (8)Waki Gatame (hiki taoshi) (9)

Ude Garami Ude Gaeshi (10)Ude Hineri (11)

Tekubi waza Kote Hineri Junte (a) ai gamae (12)(b) gyaku gamae (13)

Gyakute(a) ai gamae (14)(b) gyaku gamae (15)

Kote Gaeshi Junte (a) ai gamae (16)(b) gyaku gamae (17)

Gyakute(a) ai gamae (18)(b) gyaku gamae (19)

Uki Waza Mae Otoshi (20)Sumi Otoshi (21)Hiki Otoshi (22)

Originally, Tomiki taught a set of 15 basic techniques (basic 15) for use in randori. This set was later replaced by 17 basic techniques (basic 17). Sometimes it is called a “kata”, but this is not correct. See further about kata.When the techniques of basic 15 and basic 17 are put together we can count 21 techniques. Waki gatame (hiki taoshi) is added, result is 22.Besides the basic 15 and/or basic 17, there is also ura waza (10 counter techniques). The ura waza consist of basic techniques used as a counter technique.

Kihon Waza Basic 15 Basic 17 Counter

Atemi waza Atemi waza Atemi waza Against atemi waza

Shomen ate (1) Shomen ate Shomen ate Waki gatame

Ai gamae ate (2) Gyaku gamae ate * Ai gamae ate Kote hineri gyakute

Gyaku gamae ate (3) Ai gamae ate * Gyaku gamae ate Gedan ate

Gedan ate (4) Gedan ate Ai gamae ate

Ushiro ate (5) Ushiro ate Tenkai kote hineri - junte

Hiji waza Hiji waza Hiji waza Against hiji waza

Oshi taoshi (6) Oshi taoshi Oshi taoshi Kote hineri gyakute

Hiki taoshi (7) Hiki taoshi * Ude gaeshi

Ude gaeshi (10) Ude gaeshi * Hiki taoshi Tenkai kote hineri - junte

Ude hineri(11) Ude hineri * Ude hineri

Waki gatame (8) Waki gatame (8)

Waki gatame (9)

Tekubi waza Tekubi waza Tekubi waza Against tekubi waza

Kote hineri (12) Kote hineri (12) Kote hineri (12)

Kote hineri (13) Kote hineri (13) Kote gaeshi (18/19) Kote gaeshi (18/19)

Kote hineri (14) Kote hineri (14) Tenkai kote hineri (13) Waki gatame (8)

Kote hineri (15) Kote hineri (15) Tenkai kote gaeshi (16/17) Tenkai kote gaeshi (16/17)

Kote gaeshi (16) Kote gaeshi (16)

Kote gaeshi (17) Kote gaeshi (17)

Kote gaeshi (18) Kote gaeshi (18)

Kote gaeshi (19) Kote gaeshi (19)

Uki waza Uki waza

Mae otoshi (20) Mae otoshi

Sumi otoshi (21) Sumi otoshi

Hiki otoshi (22) Hiki otoshi

Basic structure

Basic structure is a general image of a basic technique (kihon waza). Using “tegatana awase” (see further) is a basic situation to study basic structure. During kihin waza training, basic movements (see further) will be integrated.Pictures from 1975 documentary Waseda University - Tomiki Aikido and from Judo & Aikido (1970)

Shomen ate (frontal attack)

Ai gamae ate (regular attack)

Gyaku gamae ate (reverse attack)

Gedan ate (low attack)

Ushiro ate (attack to back)

Oshi taoshi (forward pushing down)

Hiki taoshi (pulling down)

Ude gaeshi (arm turn)

Ude hineri (arm twist)

Waki gatame (side armlock)

Waki gatame (side armlock)

Kote hineri (1) (Forearm twist)Refer to oshi taoshi for the controlling on the floor

(Tenkai) Kote hineri (2) (Forearm twist)Refer to hiki taoshi for the controlling on the floor

Kote hineri (3) (Forearm twist)

Kote hineri (4) (Forearm twist)

Kote gaeshi (1) (Forearm turn)

Kote gaeshi (2) (Forearm turn)

Kote gaeshi (3) (Forearm turn)

Kote gaeshi (4) (Forearm turn)

Mae otoshi (Foreward drop)

Sumi otoshi (Corner drop)

Hiki otoshi (Backward drop)

Basic movements & Basic training

“Mushin Mugamae”

Kenji Tomiki used often the expression “mushin mugamae”, sometimes translated as “empty mind, empty posture”. In the words mushin or mugamae we find “mu” or “emptyness”. Musashi Miyamote (1584-1645), famous Japanese sword master, wrote a book called “Gorin no Sho” or “The book of 5 ring”. In the chapter about “Mu” or “Emptyness” he wrote: Knowing what doesn’t exist and knowing what does exist, that is Mu. The study of martial arts is based upon how to use the body and mind. If we are not mindful of our body we will never progress, we cannot think about our body, but we have to feel and experience the dynamics of our body and mind, therefore we need to empty mind and body to absorb new experiences and not sticking to old habits. Of course, we have to keep good experiences and habits for use in our life and practise of martial arts.

Using the body (and mind)How to utilize the body is always an important item in the training. Especially at beginners level, the mind needs to be used to remember the script of the movement. Beginners level is not simply associated with “novices”, but also with experienced people who are learning new skills.There are a few basic skills everybody has to learn :

• The use of the koshi• The use of the kyokotsu• Rendo, or harmonizing the movements of the koshi and kyokotsu • Implementation of rendo in the technical repertoire of Tomiki Aikido

Koshi - the lumbar-pelvic center Koshi is widely used in Japanese martial arts where the understanding between proper form and movement, power and effectiveness is highly developed. In martial arts (budo), a person’s form or physical posture clearly reveals their “spirit” and intention. Thus the proper outer form (shisei - omote) reveals the nature of the inner spirit (kokoro - ura). These concepts of outer form, power, and body center involve two principal body-mind concepts. The first well known to the Western world, is that of hara (hara-tanden) or abdomen. The second is the concept of koshi, which has no clear reference in Western language and has been variously translated as hips, waist, lower back or buttocks. Koshi represents the source of physical strength and movement, which encompass the thighs and lumbar-sacral region. All Japanese martial arts are concerned with “moving from the koshi as the source of strength and adaptability.

Koshi is well known in Japanese culture. In Sumo, the role of koshi is the biggest factor of winning matches, the sumo-belt (mawashi) gives an indication of the place of the koshi. Power swinging in baseball, and by extension, all Western sports in Japan, has incorporated the concept of koshi in practice. We also see the appreciation of koshi in dance movement.

Whatever the Japanese art, instruction always trains the person to keep the ki (life energy) in the hara and movement from the koshi. In the body-mind concept, we might understand Hara both as immovable stability and Koshi as the power vector of the structural musculo-skeletal center that puts driving power, and rotational adaptability into movement. The Japanese have a highly developed concept of musculo-skeletal postural alignment that has the koshi as its foundation. This is also seen in the many formal situations utilizing the traditional aligned sitting posture, seiza (“correct sitting”). Kyokotsu - Sternum (breastbone) Kyokotsu is a point on the sternum, about 2 cm above the solar plexus.Kyokotsu is at the core of whole-body movement. It initiates the stretch of inner core muscles. You can connect limbs such as arms and legs by Kyokotsu maneuvering. The manipulation of the kyokotsu has a direct effect on the spine and therefore an effect on the koshi.

Using Koshi & Kyokotsu

Push koshi in the direction of the front knee. Localize kyokotsu and keep koshi forward. Stretch kyokotsu up and keep koshi forward.

How to create training scheme

Without physical training all your knowledge how to do your martial art has no value.

Learning a new movement sequenceLearning the script is depending on the ability of the person. Suggestion is about 30 repetitions.It is important to know what you are doing. Make it right from the beginning, bad habits are hard to correct.Divide the movement sequence in segments, don’t skip a segment.

Practising a movement sequence in “rendo” methodRendo (connected movement, interlinking). Rendo is needed to control movement, start with simple movement sequence. Rendo is a skill and not a pattern.By doing a simple movement slowly, you catch stimuli happening in your body. And by tracing the sensation of the stimuli, you can create a real, accurate image of the body-movement. This process is very important to liberate the body from preconceptions and conscious thoughts.You can practise about 15 times a new learned skill to consolidate your movements in a fixed environment.Solo training like unsoku and tandoku are excellent methods to acquire body-movement skills.

From body-movement sequence to skillPaired exercises are a type of training to acquire body-movement skills.Practise 5-10 times and change the situation for example by switching partner.

Creating a training scheme

Warming upTuning exercisesUnsokuTandoku undoPaired exercises (pushing exercises, disturbing balance exercises, …….)Kihon waza from tegatana awaseKihon waza in different situationsKataRandori (kakari geiko, hikitate geiko, randori geiko)Cooling down

Note : It is not necessary to perform all the items of the training scheme. Important is a logical sequence of used items in the training. Avoid contra-productive actions.For example : the mechanism of oshi taoshi by using unsoku - ayumi ashitandoku undo - uchi gaeshi/soto gaeshi7-hon - chudankihon waza -oshi taoshitegatana awase kakari geiko

Warming UpWaking up the system-muscle-tendons (arm-turns, hip turns, knee/ankle turns).

Tuning exercisesImproving the stability of muscles and tendons, using the body as a whole unit.Creating the ablity for a “wave” movement by making the spine flexible through the skill of “kyokotsu” or manipulating breastbone and using koshi (lumbar-pelvic center).

• Open & close the chest

• Spine exercise - bending - raising (kyokotsu-koshi) - creating a wave with the spine

• Seiza exercises

Shotei awase

Shotei awase is a multifunctional exercise.In many Tomiki Aikido groups it is used as an isometric exercise, a form of resistance exercise in which one's muscles are used in opposition with other muscle groups, to increase strength.When kyokotsu and koshi are involved, the exercise becomes slightly different.

Basic movements

What is difficult about “aikido movements” is not the continuous movement itself but the fact that one has to become mindful of the body parts in proper order in order to achieve this continuous movement.In other words, it is not about moving the body, it is about being conscientious of each move and then connecting them together to create a flow.

UnsokuBasic foot movements consist of 3 methodsAyumi ashi : stepping methodTsugi ashi : shuffle methodMawari ashi : step and turning foot movement

Ayumi ashi (stepping)

Normal walking is always associated with ayumi ashi, although this is not completely correct.If we look at namba (traditional Japanese walking), we notice right arm moves forward at the same time the right foot is going forward. Western style is opposite arm/foot.In martial arts, during ayumi ashi the heel and toes are lifted up together by using the koshi, then the foot is going forward with a sliding fashion called suri-ashi.

Tsugi ashi (shuffle)

Remarks of ayumi ashi (suri-ashi) apply also here.Basically tsugi ashi is used to bridge small distances in relationship with the opponent.Tsugi ashi is also used as a coordinated movement together with • Kyokotsu sosa :

manipulation of sternum• Taiju ido : weight shift by

using koshi to generate power

Mawari ashi

Step and turning. The 2 feet are not turning simultaniously.

Tomiki’s unsoku patternOriginally Tomiki used an unsoku pattern based upon his Kodokan Judo expertise. But in tandoku undo the use of ayumi ashi, tsugi ashi and mawari ashi is more apparent.

Tandoku undoBasic hand/arm/body movements with unsokuHand, arm and body act as one, strong and flexible (Rendo or synchronized movement)Seichusen or keeping the central line must be acquired for good movements.

Raising and pulling in of the sternum (opening and closing) is directly connected to the movement of the spine. And, the movement of the spine is directly connected to the pelvis.Without “kyokotsu” there is no connection between hand/arm and hara (tanden/koshi). This is strongly related with “mushin”. After learning the script of tandoku undo, we will focus on basic movement like :• Kyokotsu sosa : manipulation of sternum• Taiju ido : weight shift by using koshi to generate power• Tsugi ashi/ayumi ashi/mawari ashi

In the early 19-fifties, Kenji Tomiki used a very wide deep stance to perform some exercises from tandoku undo. Probably to emphazise stretching the tendons and creating a strong push from the koshi region.

Senta Yamada at the end of the 19-fifties. The stance becomes less wide.The stretch is still apparent. The koshi is pushing forward.

Tandoku undo 01 - Jodan/chudan/gedan no kamae

This exercise incorporate kyokotsu sosa, taiju ido and tsugi ashi.

Tandoku undo 02 - uchi mawashi

Tandoku undo 03 - soto mawashi

Tandoku undo 04 - uchi gaeshi & soto gaeshi

Tandoku undo 05 - uchi mawashi tentaiPushing the knee forward by the koshi, lifting the kyokotsu to generate power

Tandoku undo 06 - soto mawashi tentai

Tandoku undo 07 - ko mawashi

Tandoku undo 08 - o mawashiForward stepping (1) and backward stepping (2)

How to practise “Tandoku Undo”

According to Kenji Tomiki there are 5 basic hand/arm movements. Besides these basic hand/arm movements, some basic postures will be used.In combination with unsoku we can create almost unlimited amount of exercises.Of course there are some basic patterns to practise tandoku undo.8 exercises version is already described.Around 1975, another version was created. Basic postures are practised according “rendo method.Uchi mawashi and soto mawashi are practised according “rendo method.Same for uchi gaeshi and soto gaeshi.

When many repetitions are practised according a pattern, a pattern is created in the brain. This is not always the goal of our training. Our movement memory cannot be linked to specific cases, but must be linked to the stimuli we receive from the partner, not from a technical pattern.Movement memory is also called muscle memory.In Wikipedia :Muscle memory has been used synonymously with motor learning, which is a form of procedural memory that involves consolidating a specific motor task into memory through repetition. When a movement is repeated over time, a long-term muscle memory is created for that task, eventually allowing it to be performed without conscious effort. This process decreases the need for attention and creates maximum efficiency within the motor and memory systems.

Changing patterns with rendo methods will create a skill, not a pattern which reacts to the stimuli we receive. In these skills we find the basic hand/arm movements.

Using power in our “solo” training

Basically we don’t use power by strongly contracting muscles. The purpose of solo training is to create movement memory. Of course there is synergenic action by using agonist and antagonist.

Agonists and antagonists (from Wikipedia)Agonist muscles and antagonist muscles refer to muscles that “cause or inhibit a movement”.

Agonist muscles cause a movement to occur through their own contraction. For example, the triceps brachii contracts during the up phase of a push-up (elbow extension). During the down phase of a push-up, the same triceps brachii actively controls elbow flexion while relaxing. It is still the agonist, because while resisting gravity during relaxing, the triceps brachii continues to be the prime mover, or controller, of the joint action. (Agonists are also interchangeably referred to as "prime movers," since they are the muscles considered primarily responsible for generating a specific movement. This term typically describes skeletal muscles.)

Antagonist muscles oppose a specific movement. This controls a motion, slows it down, and returns a limb to its initial position. Antagonism is not an intrinsic property; it is a role that a muscle plays depending on the motion. If a motion is reversed, agonist and antagonist muscles switch roles. Because a flexor muscle is always a flexor, in flexion it is the agonist, and in extension it is the antagonist. Conversely, an extensor muscle is the agonist in extension and the antagonist in flexion. Using the example above of the triceps brachii during a push-up, the elbow flexor muscles are the antagonists during both the up phase and down phase of the movement.

Rendo and Ido Ryoku

“Ido ryoku is the power of the continuous movement, Rendo”

Rendo (connected movements, interlinking, continuous). Rendo is the controlling factor of movement. Rendo is a skill and not a pattern. It is a principle that we have to practice in the way of slow and steady movement. Ido-ryoku is the effectiveness of physical movement that works without locomotive power in a mutual relation between two practitioners. Ido ryoku is based upon the skill of “rendo”.Kenji Tomiki gave important instruction to move slowly in the beginning (creating movement memory). He mentioned “A line has unlimited dots. Try to move on all dots in the line in a contiuous movement”.

HakkeiHakkei or explosive power is used to suddenly bring power into the body of the opponent. It is depending on good relaxing and contracting abilities of muscles and tendons.It can be used in a moderate way during randori, otherwise it can harm the partner.It is a skill which needs a lot of training to emit during rendo or continuous movement.

Sotai dosaPartner exercises with a simplistic attacking movement by opponent. The purpose of these exercises is to create an opportunity to apply basic technique. Disturbing the body structure (kuzushi)

Bending and turning of the kneesDuring paired exercises bending and turning knees will be used frequently.

Ryotedori -gyakuteAn exercise to make a connection with the forearm to the hip structure of uke. By pushing down, uke will do a backward ukemi.

TenkanUchi tenkan & soto tenkan - exercise for waza like tenkai kote hineri & tenkai kote gaeshi

7-hon no kuzushi omote & uraThese are group 1 & 2 of the koryu no kata dai yon (number 4 kata), but during basic training we can expand with “tenkan” movements derived from early sotai dosa (partner exercises). Because this is a training tool, it is not necessary to follow the sequence. See also the article on waza-katachi-kata.

In jodan-chudan-gedan, we stretch the tendons of the grasped arm, make tegatana.The jodan is after the lifting, a circular movement on uke’s shoulder line.The chudan is an elbow to elbow connectionGedan is a connection between uke’s hip to tori’s knee, it is a pulling action along this line.

Jodan kuzushi - ai gamae - omote waza

Jodan kuzushi - gyaku gamae - omote waza

Chudan kuzushi - ai gamae - omote waza

Chudan kuzushi - gyaku gamae - omote waza

Gedan kuzushi - ai gamae - omote waza

Gedan kuzushi - gyaku gamae - omote waza

Ushiro ryote dori - kuzushi - omote waza

The method of grasping and moving the opponent• Awase - how to make contact• Taisabaki - how to avoid the power of uke and keeping seichusen• Mochi - how to control uke by grasping the wrist

How to practise Basic Techniques (Kihon Waza)

Training in Tomiki Aikido is always related to “rikakutaisei”. Using the distance of tegatana-awase.

It is from tegatana awase we are starting to teach and practise kihon waza.Also note this is not kata where the techniques are in a pre-arranged order. The content of the training is depending on the tuning exercises, partner exercises (sotai doa & 7-hon no kuzushi)For example, during training the focus is set on “uchi tenkai”, the kihon waza will cover tenkai kote hineri junte and/or gyakute.Some of the techniques can have tenkai or non-tenkai version. Example : junte dori kote gaeshi & junte dori tenkai kote gaeshi

• Solid training (from tegatana awase - taisabaki-mochi) - learning the “waza script” • Dynamic training (tegatana awase - taisabaki-mochi) - how to apply waza in dynamic situation• Flowing training - free flow techniques from tegatana awase• Kakari geiko (using free attack)• Hikitate geiko• Randori geiko

The starting point to study Basic”waza” and different kind of randori

Kata

Basic 15 - Basic 17 - Basic 22, embu or kata?

Around 1956 Tomiki sensei selected 15 techniques for use in “randori”. Later he added more techniques. Basically when those techniques are demonstrated in sequence, it give the impression of “kata”, mostly the word embu is used when basic techniques are demonstrated or when entering cometition.

Prof. F. Shishida (Waseda University ) wrote on this matter the following :

The difference between kata and embu or embu-kyogi

Tomiki had never referred to embu in his life. Judging from my long experience in aikido and study, the word embu (to practice martial arts) was used as a part of the name of a training field or room (embu-jo) in early modern times. Embu-jo also came to mean demonstration of martial arts at a field or a room. Since in around 1973, embu-kyogi started to be held as a public event at the student championship of Tomiki Aikido. Master Oba seems to have added embu-kyogi (embu) to the randori event in the all Japan student championship in 1971. He seems to have wanted to encourage students in the Kansai area who only practice kata. According to Mr. T. Sato, Tomiki mentioned only the fact to him with dissatisfied look when he visited Tomiki to report that he joined the embu-kyogi with Koryu-Daigo-no-kata. Judging from the common sense of Japanese martial arts, embu-kyogi is out of the question to him, because it is impossible to avoid that practitioners come who want to exaggerate their performance to make a false show of power. Exaggeration is at the opposite end of the practicality in aikido that Tomiki pursued. On the other hand, kata is a tool to improve practical skill, the power of scientific investigation, and character building, compared with embu that is just a display of power. We have to understand that Tomiki’s goal are those above mentioned through kata and randori, and that he has no concept of embu for realizing his goal. With consideration based on the facts, we should improve the way that embu-kyogi should be

Senta Yamada wrote in 1962:Basic 15 or Basic techniques for Randori

They can be split into 4 sections. Three techniques apply to attacks, four elbow techniques, four are concerned with wrist twists, and four with wrist turns.These form the framework for the system and should be considered as the first essential to progress. Time should be allowed, periodically, for the practise of these "katachi" moves, because they serve to remind you to keep posture and movement fresh and sound. The importance of this cannot be stressed too strongly.

From waza to katachi (embu) to kata

There is a proces in the understanding of aikido.People are learning basic movements, they are put together and form “waza” or technique/skill.When demonstrating basic movements which result in a series of techniques it is called embu. In case the demonstration also results in a demonstration of understanding (not a copy) it is called “katachi”.Demonstrating basic techniques during grading (shinsa) = embu or katachiPublic demonstration = embu-joCompetition = embu-kyogi

Waza - Katachi - Kata(The Japanese way)Adapted from an article by Kumiko Ikuta (1990) AI & Soc 4: 127-146

Waza is a skill within the Japanese traditional performance arts or martial arts such as Noh, Kabuki, Aikido, Judo and others.Waza will be shown by a sensei and a learner can master it only through the activity of imitating and repeating what his sensei does.

"Katachi" is an apparent physical form of waza (1 or more) performed by the learner, which may be decomposed into parts and described as a sequence of procedures.On the contrary, "Kata", which has been regarded as the ultimate goal of the learner to attain in learning "Waza", is not a simple collection of parts of action like "Katachi", but his understanding and personal expression of "Katachi"

The most important matter for the learner in learning "Waza", is not the perfect reproduction of "Katachi" as a physical form of action, but grasping the meaning of it with a sense of reality.Speaking from the point of view of the sensei, how can the sensei transmit his "Kata", not "Katachi", to the learner effectively?To make the learner master the waza, the sensei says while showing him this waza, "Hold your right hand up just as if you were trying to catch snow falling down from the sky", instead of saying "Keep your right hand up exactly at an angle of 45 degrees".The sensei intentionally used metaphorical expressions in the process of teaching even in cases where he could express what he wished to say to his learner in a descriptive language.And it is after the same sensation is provoked in the body of the learner that he can grasp the meaning of "Kata", in other words, master "Kata" beyond the activity of imitation of "Katachi".Receiving a metaphorical suggestion like "Act as if you are catching snowflakes falling down from the sky", may confuse the learner at first, but he may begin to imagine the scene of snow falling on a cold day, and to compare the image of catching snow with his hand with the knowledge he has stored so far through committing himself to the world of Japanese martial art.As soon as he can understand what the metaphorical expression practically implies, he also can get the same physical sensation as his sensei has, in his own body, and can simultaneously grasp the meaning of "Katachi" with a sense of reality, that is to say, he can master "Kata".By intermediating metaphorical expression which has the effect of encouraging the learner to activate his creative imagination, the sensei can effectively transmit "Kata" to him. In this sense, the activity of imagination on the part of the learner, which encouraged effectively by metaphorical expression, is an indispensable factor for mastering "Kata", not "Katachi".

Concerning the aim of teaching and learning "Waza", the process of teaching and learning a skill of Japanese martial art has been considered so mysterious and closed that the people outside the world of "Waza" hardly understand what happens there. Nonetheless,, in fact, what both the sensei and the learner aim for at the end of the teaching and learning is the mastery of "Kata", not "Katachi". "Kata", as distinct from "Katachi", can well be explained by introducing a sociological concept "habitus" which is a cultural or situational "Katachi". It is "Kata", "habitusized katachi", that the learner should make efforts to master through the activity of imitating and repeating the form his sensei shows. That is exactly what the learner should "steal in secret" from his sensei.The perfect reproduction of "Katachi" (the state of “Mushin mugamae") can easily be learned through following a sequence of procedures of "Katachi" shown by the sensei, but in order for the learner to get to the state of mastering of "Kata", he has to activate his creative imagination while he is following a sequence of procedures of "Katachi", and to grasp the meaning of it by himself. Metaphorical expression effectively encourages the learner to activate his imagination. Thereby enabling him to grasp the meaning of"Katachi" which is the mastery of "Kata".

Koryu no kata

Koryu no kata are sets of classical aikido techniques, except for part 1 & 2 of koryu no kata dai yon.

• Koryu no kata dai ichi• Koryu no kata dai ni• Koryu no kata dai san

• Koryu no kata dai yon• Koryu no kata dai go• Koryu no kata dai roku

Notes

RendoSynchronized Movement, combination of movement, linking of movements.It is necessary to feel the body with the aim of connecting every movement. If the arm moves, the whole body is moving.Similar to renraku waza or renzoku waza

MushinMostly incorrectly translated : empty mind.Mushin is a bodliy and mentally experience without thinking. By feeling the movement, the better the body do its job.

UkeThe target of an attack or attacking movement

ToriThe hitman or someone launching an attack

Rikakutaisei (awase-tai sabaki-mochi)Taking postures at a certain interval so that the contestants may not fall into grappling with each other. During basic techniques - making contact (awase) - step out of the central line of uke (tai sabaki) - controlling uke by grasping (mochi)

7-hon no kuzushi (omote & ura)There is no fixed format for this kind of exercises. It is a vehicle to explore and practise “tsukuri”, the action before using the waza.

Nigiri gaeshiReversing the grip of uke

Junte dori & gyakute doriJunte : gripping the hand of wrist in a regular fashion

Gyakute : gripping the hand or wrist in a reverse fashion

Tenkai movementsTurning under the arm from the inside (uchi) or from the outside (soto)Uchi examples are : tenkai kote hineri junte dori & tenkai kote hineri gyakute dori

Soto example is : tenkai kote gaeshi (shiho nage)

Tentai movementsBody turns (180°-360°) example in sotai dosa ko mawashi

Kote hineri & (tenkai) kote hineri

Grading & training syllabus

Kyu grades

Unsoku - tsugi ashi & ayumi ashiTandoku undo - 8 methodsSotai dosa & 7-hon no kuzushiKihon waza - awase/taisabaki/mochi • atemi waza (5)• hiji waza (6)• tekubi waza (8)• uki waza (3)Kakari geiko

Shodan

Unsoku - tsugi ashi & ayumi ashiTandoku undo - 8 methods17-hon - basic techniques embu (kata style)Koryu no kata dai san - suwari waza & tachi waza (16)Variations on atemi wazaKakari geiko Nidan

Unsoku - tsugi ashi & ayumi ashiTandoku undo - 8 methods7-hon no kuzushi omote & ura - throwing17-hon and 10-hon - basic techniques and counters embu (kata style)Koryu no kata dai san - tanto doriVariations on Kansetsu wazaHikitate geiko

Sandan

Unsoku - tsugi ashi & ayumi ashiTandoku undo - 8 methods17-hon and 10-hon - basic techniques and counters embu (kata style)Koryu no kata dai san - tachi dori -> tachi tai tachiKoryu no kata dai yonVariations on Uki wazaRandori geiko

NoteWe are using for dangrading the 17-hon and 10-hon (kata style) because as a member of the Japan Aikido Association we are following their advice for dangrade promotion.