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DEFINITIONS OF ZANSHIN
Zanshin is a term used in Martial Arts that refers to a state of awareness relaxed alertness. The literal translation of Zanshin is remaining mind. In several martial arts, Zanshin refers more specifically to the bodys posture after a technique is executed. In Aikido, the usual method of practicing Zanshin is to focus on the just thrown opponent while holding posture or ready stance and maintaining awareness in case there are additional attackers approaching.

ZANSHIN AIKIDO SCHOOL MAIN PRINCIPLES

UNIFIED BODY MOVEMENT: This includes proper use of positional atemi, continual focus on center, efficient footwork, balance etc. CONTROL: Awareness of proper technique execution preventing injuries. ACCURACY: Relating to USAF requirements; preserving historical lineage; (principles from original Uchi Deshi, Shihan etc.) PRACTICALITY:

Techniques must provide valid effective & realistic selfdefense applications

What am I resisting? Where is my center? What is free?

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MISSION STATEMENT FOR ZANSHIN AIKIDO SCHOOL

To provide in a cohesive manner the most traditional and genuine training of Aikido techniques as established by the Founder Morihei Ueshiba and his original Uchi-Deshi. To enable and stimulate growth as well as provide reference and counsel to new and existing students of Aikido in our community, city, state and mid-west region. To establish Zanshin Aikido School as a central location for advice, guidance, training or communication which is linked directly to the United States Aikido Federation. To teach the principles of Aikido to those who look for not just physical training but ANYONE who seeks to achieve a greater mental clarity, emotional stability, peace and happiness in their daily life.

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ZANSHIN AIKIDO SCHOOL INSTRUCTOR INFORMATION

Zanshin Aikido School is honored to have close ties and leadership from the following instructors: Shihan Harvey Konigsberg 7th dan. Vice-President of the USAF. Longtime student of Yoshimitsu Yamada. Shihan Claude Berthiaume 7th dan. Member of the USAF Technical Committee. Longtime student of Mitsunari Kanai. Shihan Donovan Waite 7th dan. Member of the USAF Technical Committee. Shihan Hiroshi Ikeda 7th dan. President of Boulder Aikikai. Longtime senior student to Shihan Mitsugi Saotome 7th dan and President of Aikido Schools of Ueshiba.

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PRINCIPLES OF AIKIDO FROM MITSUNARI KANAI

What follows are some thoughts and observations from Kanai Sensei that also form the basis of how training is conducted at Zanshin Aikido School. These points were taken from the video and manuscript Technical Aikido written by Kanai Sensei himself. Aikido more than anything else is a continuous hard training and disciplining of the body, mind, and senses. At the core practice of Aikido is the development of wisdom. BU-GO-KO-RO = Budo spirit is the determination to resolve an confrontation using ALL your abilities and wisdom not just techniques. Aikido includes the elements of Bugi (combat techniques) and considers the real possibility of confrontation. There will always be confrontation and there will always be someone or something bigger and stronger than you. Ultimately the best defense is not head-on confrontation with an opponent but to MERGE WITH and become part of that opponent. Dont reduce the art of Aikido to an easy going exercise by uke and nage compromising too much. Harmony doesnt mean getting along with people at any cost just to avoid a confrontation. Harmony as used by Aikido does NOT include compromising at all. Rather, Aikidos harmony brings DIFFERENT, even opposing elements together and intensifies them in a way that drives everything towards a higher level. It is often pointed out that Aikido allows men and women, adults and children of all ages to practice together. It is equally true, but not as frequently noted that within Aikido theres also room to practice in other ways. For example using hard practice to develop martial techniques. Because they misunderstand the definition of harmony, many Aikido students havent been able to train in a way that requires using the human body in the most efficient and optimal way. True Aikido training must be based on a correct understanding of 2 KEY CONCEPTS: Number 1: understanding how the body works to produce efficient movement and power. Correct body movement is the key to maximum efficiency. A technique based on the bodys principles will be correct and therefore work. Failure to understand the body and apply it, makes techniques ineffective. Number 2: The relationship between uke and nage. Because training is too often in a fake confrontational state its easy to overlook an overdependence of the opponents cooperation. This destroys any chance to improve technique or train the eyes. The totality of the relationship between uke and nage is called SO-TAI-KAN-KAI and is based on acknowledging their interrelated but confrontational nature. Each of the training partners must give up the idea of being independent of the other and must accept the fundamental issue is HOW TO DEAL WITH THE ATTACKER through correct Aikido techniques. There are 3 MAJOR PRINCIPLES at the heart of Aikido techniques or Bugi. These principles should be applied in EVERY Aikido technique including the atemi waza that are the pre-cursors to many of Aikidos throwing or joint techniques: Number 1: Proper posture or body placement / position. Number 2: Shikau or entering the blind spot. Number 3: Avoid a direct clash and use minimal amount of power to turn a situation to your advantage.

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AIKIDO REIGI (ETIQUETTE)

The study and practice of Aikido consists of more than just learning physical technique; proper behavior and manners are also an important part of the training. The following guidelines should function as an introduction to proper dojo etiquette. Please use your best common sense in all aspects of courtesy and etiquette. However, the best way to learn proper behavior in the dojo (and at seminars also) is by observing the behavior of your Sensei as well as that of the senior students. 1. Upon entering and leaving the dojo, students bow in the direction of OSenseis picture on the shrine. This is a tradition to show respect for the founder of Aikido. 2. Shoes are to be taken off at the entrance of the mat area. Shoes should be lined up at the lower side (opposite side from shrine) of the mat and facing outwards during class instruction. 3. Immediately after stepping on (and off) the mat students should bow respectively to the shrine area. Most proper style is from seiza. 4. Students should assemble on the mat 10-15 minutes before the start of class to individually stretch and warm-up. 5 minutes before class starts students should be lined up rank order sitting quietly in seiza. (Highest rank to the right). *If unable to sit on knees in seiza, cross leg style is acceptable. 5. The instructor of class should be referred to as Sensei and not his first name or surname. 6. When a student arrives late he should QUICKLY do a few warm-up exercises OFF the mat and then when ready sit in seiza at the edge of the mat to WAIT to be admitted to class by the instructor. 7. Students must ask the instructor for permission to leave the class early or to leave the mat FOR ANY REASON. (Common sense excludes an injury or illness). It is not permissible to leave the mat to get a drink of water or for rest unless given permission. Students should stay on the mat until class is over. 8. When approaching the instructor, students should not pass between him and the picture of OSensei. If the sensei calls you to him to demonstrate a technique, the student should bow first. Never call for the instructor across the mat or beckon for instruction. If he is close by raise your hand and wait to be acknowledged. When hes done bow in seiza and thank him. 9. When the instructor is teaching a couple, it is not necessary to sit down and watch unless he says to watch or he is very near to where you are working. 10. If Sensei comes to help you and your partner individually, it is best to sit in seiza and watch attentively unless he is having you do the technique. Once he is done bow in seiza and thank him. 11. Once engaged in the training during class avoid all extraneous talking and focus on the techniques and lessons. 12. When Sensei claps, the students should sit down promptly and listen attentively. When he indicates practice is to resume immediately, bow and begin practicing with your same partner from before unless he indicates to choose a new partner.

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ETIQUETTE CONTD. 13. Always begin and end your practice with partners with a formal bow from seiza. 14. Care should be taken to be aware of the ability of ones partner so that no injuries occur. Nage should always be watchful for signs that uke may be in pain. Ukes attacks should always be under his full control and Nage should respond likewise. Ukes job is to attack sincerely and then follow while maintaining as safe a posture as possible. Nages job is to 1) Move off the line of the attack, 2) Redirect Ukes momentum via a technique, and 3) peacefully resolve the attack with the appropriate throw or pin. 15. At the end of class, upon direction from the instructor, students should straighten up their uniforms and be seated in rank order. At the conclusion of class students should remain in seiza until the instructor leaves the mat. 16. It is the responsibility of the higher ranked members to see that the guidelines of etiquette are understood and followed by the members of the dojo. The members of higher rank should assist the lower ranked members in learning proper bowing techniques, beginning exercises and ukemi. 17. It is the responsibility of each member of the dojo to ensure that the various need of the dojo are met. These include; paying of dues promptly, setting up weapons, cleaning of the practice mats etc. Fulfilling these needs should be anticipated, not prompted, by the head instructor. 18. A FEW DONTS: Dont sit on the mat with your back to OSenseis picture, lie on the mat with your feet towards the shrine or lean against the walls. Dont wear jewelry or watches. Dont eat food or chew gum in the mat area. Dont talk when the instructor is talking. Dont wear a dirty uniform. Keep finger and toe nails clean and trimmed. Dont yawn or slouch in seiza.

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BASIC AIKIDO EXERCISES / TERMINOLOGY

KIHON UNDO (Basic movement exercises) 1. 2. 3. 4. 5. 6. Ikkyo undo protection of the forehead exercises Happo undo eight direction exercise Tai no tenkan ho outward body turning Udefuri undo arm swinging ex Funakogi undo rowing exercise Sayu undo left and right exercise

TEKUBI UNDO (Tekubi kansetsu junan ho) Wrist stretching exercises 1. 2. 3. 4. Kotegaeshi undo reverse wrist bend Nikyo undo second technique wrist bend Sankyo undo third technique wrist bend Shihonage undo four directions technique wrist bend

ASHI SABAKI (Footwork / movements) 1. 2. 3. 4. 5. 6. 7. 8. 9. Irimi issoku entering with a single step Tenkai ashi 180 pivot / pivot on toes or heels simultaneously Tenkan ashi back foot stays planted while front foot is pulled behind Kaiten ashi back foot step forward then Tenkai (pivot) Tenshin Withdraw lead foot back off line of attack Tsugi ashi Shuffle step (like irimi) Ayumi ashi walking gently sliding along mat Ai-Hanmi opposite side hanmi Gyaku-Hanmi mirror image hanmi

ATTACKS GRABS Kata tori shoulder grab Katate tori one wrist grabbed Morote tori two hand grab on one wrist Ryote tori each wrist grabbed Ryokata tori both shoulders grabbed from the front Ushiro Tekubi tori both wrists grabbed from behind Ushiro Ryo kata tori both shoulders grabbed from behind Ushiro Tekubi kubishime attack from behind one wrist grabbed while other arm chokes Ushiro Hiji tori both elbows grabbed from behind Katatori Menuchi uke grabs collar while nage strikes face uke blocks STRIKES Shomen uchi chop to the top of the head Yokomen uchi chop to the side of the head Mune Tski (ski) punch to the mid section Tachi tori attack with a boken / Jo tori attack with jo / Tanto tori attack with tonto

(8) COMMON AIKIDO TERMS

I. TECHNIQUES NAGE WAZA (Projections / throws) 1. SHIHO NAGE Four direction throw 2. TENCHI NAGE Heaven and earth throw 3. IRIMI NAGE Twenty year technique 4. KAITEN NAGE Rotary throw (inside = UCHI and outside = SOTO) 5. KOSHI NAGE Hip throw 6. KOKYU NAGE Breath throw 7. JUJI NAGE Arm entwining throw, #10 throw (Japanese sign for ten +) 8. KOTE GAESHI Wrist out turning throw 9. AIKI OTOSHI Entering deeply to life ukes knee 10. SUMI OTOSHI Corner drop throw 11. MAKI OTOSHI Nage ends up on one knee throwing uke over nages shoulder 12. GANSEKI OTOSHI Arm bar with elbow braced over shoulder KATAME WAZA (Wrist / Arm Immobilizations) 1. IKKYO (UDE OSE) Arm pin 2. NIKYO (KOTEMAWASHI) Wrist turn in 3. SANKYO (KOTEHINERI) Wrist twist 4. YONKYO (TEKUBI OSAE) 5. GOKYO (KUJI OSAE) 6. ROKKYO (HIJI KIME-OSAE) 7. NANAKYO Yonkyo applied to back of the wrist 8. KATA GATEME variation of Kaiten nage where nage locks ukes elbow to pin II. MOVEMENTS ASHI SABAKI Foot movement TE SABAKI Hand movement TAI SABAKI Body movement SUKASHI WAZA Moving before the attack comes KIHON WAZA Basic techniques TACHI WAZA Standing techniques or boken techniques SUWARI WAZA Techniques from seiza HANMI HANDACHI Techniques where nage is in seiza and uke is standing TUKUBI SHIDO Wrist shaking capillary exercise to warm up the hands MAI UKEMI Front rolling USHIRO UKEMI rear rolls YOKO UKEMI side rolls

(9) GLOSSARY
(These are definitions and translations taken from multiple sources for over 20 years. These are offered simply as an introduction to each students study and understanding of aikido / Japanese related language. There may be some mispronunciations or slight inaccuracies depending on use of the word, situations etc.) Ai-Hanmi (mutual stance): When both partners have the same foot advanced. Atemi (Strike): The defensive blow can be used to neutralize the ki of your partner. Example: put them off balance so a technique can be effectively applied. It is not meant to inflict serious injury. Baransu: Balance Bokken: Wooden sword with two edges, or generically, any sword. Budo (Martial ways): Ways originating in the martial arts. Dan (level): Black Belt rank. Deshi: Student or disciple. Doshu (Grandmaster): Following traditional Japanese custom, the position of Doshu has been hereditary. The current Doshu, Moriteru Ueshiba, is the grandson of Morihei Ueshiba. Furi Kaburi: Sword raising movement Hai: Yes Hakama: A divided skirt like pant. In most US Aikido dojos, it is black or blue and is worn by men of yudansha rank and women of all ranks. Hanmi (half open body): The basic triangular stance of Aikido. Hanmi-Handachi: Techniques done when nage is kneeling and uke is standing. Hara: The center or one point located in the lower abdomen. This is also, reputably, the physical center of the body. Haragei: A sixth sense of surroundings or actions. Henkawaza: Switching from one technique to another. Hidari: Left Hiraki mas: Open up, unfold. Ikkyo: Number one pinning technique. Irimi: To enter, entering. Jitsu: Fullness, as in breathing. Jo: Wooden staff about shoulder high in length. Jo-Tori (Jo take away): Techniques for disarming an opponent armed with a jo.

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GLOSSARY CONTD.
Jyuwaza: Free style throwing; also referred to as Randori. Kaeshi-Waza: Counter techniques. Uke applies initial technique to nage. Kaiten (open and turn): To revolve or turn. Kakari-Geiko (hard practice): Repetition of the same technique with many different ukes. Kansetsu waza: Joint manipulation techniques Kata (fixed form): Predetermined sequences of movements used as a learning technique in martial arts. Also Shoulder in Japanese. Keiko: Practice session or training. Kiai (full of ki): On the physical plane, kiai is manifested as a piercing shout emanating from the depths of ones being. On the spiritual plane, it is manifested as a steady outpouring of vital energy. Kihon Waza: basic techniques Kohai: Junior student. Kokyu (animating breath): When ones kokyu is full and deep, one is in tune with the workings of the universe. Kokyu-dosa: An exercise to develop your ki / breathing without using strength. Kokyu-ho (breath-meditation): A special set of meditation and development techniques aimed at calming the spirit and establishing true kokyu. Ku Zu Shi: Principle of breaking ones balance Kyo Sho: Vital spots on the body. Kyo: Emptiness as in breathing. Ma-ai (distance): The proper space between two partners; Varies with the height of the partners and whether or not they are holding weapons. Migi: Right Mushin: No Mind Na Ga Re: Flowing Nage: Throw or the person throwing. Nari Yuki No Matsu: To wait for the turn of events, patience. Omote (forward): Techniques done moving forward or IN FRONT of uke. On egai shi mas (I make a request): Please do me this favor. Rei (respect): The formal gesture of respect and gratitude used by Aikidoists.

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GLOSSARY CONTD.
Reigi: Etiquette or courtesy. Ryo: Both Sai Ka Tanden: State of nothingness. Say Chu Sin: Body center line Seiza (correct or calm sitting): Most formal and classic sitting style in Japan; sitting on knees with feet flat, left big toe over right with about three fists space between knees; back straight. Sensei (teacher): Title used for instructor. Set Su Zoku: Connection Shi Te Hara: Focusing of power from hara or center, awareness of center. Shi Zen Tai: Natural Shihan (teacher of teachers): Honorary title awarded to some of the highest ranked teachers. Shiho: Four directions Shikaku (dead corner): Blind spot or position. Shikko: Knee walking. Shin Ki Kiitsu: Unity of soul mind and body Shomen: #1=Front or top of the head. #2=The front of the dojo. So Tai Dosa: Partner warm-up exercises So Tai Kan Kay: Confrontational yet interrelated nature Soto (out/outside): Movement outside of ukes arm. Suburi: A single movement using the ken or jo as done in solo practice. Suki: Opening or vulnerability Sumatsu dosa: Back stretch Sumi Kiri: Clarity of mind and body. Suwari-waza: Techniques done from a sitting position. Suyoku nari mas: Stronger, become strong Tachi Agari Mas: Rise up to ones feet Tachi-tori (sword taking): Techniques to disarm and or neutralize an opponent armed with a sword. Tachi-waza: #1=Techniques done from a standing position. #2=Using the bokken to throw uke.

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GLOSSARY CONTD.
Tanto: Knife Te: Hand Tekubi: Wrist Tenkan (turn): Refers to the direction of movement. Moving to a position where nage is backto-back with uke. Tenshin: To take a step backwards off the line of attack. To Te Su Tai: United body Uchi (inner): Movement inside or under ukes arm. Uchi-deshi (inner disciple): A student who lives in the dojo and acts as a 24 hr trainee / attendant. Ude: Arm Udekime-nage (arm bar throw): Type of kokyu nage where ukes arm acts as a lever arm. Uke (to receive): The partner being thrown or attacking. Ukemi (fall): Taking a controlled fall when thrown. Ushiro-waza (rear techniques): Techniques applied when attacked from the rear. Waza: Techniques Yoko Wakari Mas: I understand Yokomen-uchi (side blow to the head): Uke cuts diagonally across nage, neck to hip. Yurume mas: loosen, relax Zanshin: Remaining mind

(13) SOME ASPECTS TO CONSIDER WHEN TESTING

In Aikido, testing is used as simply as signposts and mile markers for each student. It is not the acquiring of rank or belts that determines the sincerity of ones practice. A students etiquette, integrity, and commitment to the training of Aikido is always most important. With that being stated and testing put into proper context there are some general points to remember at each level of training. A beginners execution and demonstration of technique during their test is much different than a more experienced aikidoist. Here are some aspects perhaps unique to Zanshin Aikido School in regards to testing or evaluations: For Beginner level: (6th kyu-4th kyu) 1. Technique name recognition 2. Proper ashi-sabaki (knowing difference in omote and ura on techniques) 3. Proper te-sabaki (proper hand placement on Shiho-nage, Kotegaeshi etc) 4. Smooth consistent flow of movement during technique 5. Comfortable ukemi 6. Understanding of Suwari-waza For Intermediate Level (3rd kyu-2nd kyu) 1. Technique name recognition 2. Clear demonstration / precise ashi-sabaki 3. Clear demonstration / precise / controlled te-sabaki 4. Strong establishment of hanmi / Ma-ai before and during techniques 5. Proficient at all levels of ukemi including breakfalls 6. Proficient and smooth Suwari-waza For Advanced Level (1st kyu Shodan) 1. Technique name recognition from 6th kyu-Shodan 2. Ability to initiate commitment or movement from uke 3. Smooth precise transitions from technique to technique during a single attack 4. Placement of uke during Randori to best maintain safe position 5. Proficient and relaxed movements during attack and take away techniques with weapons. 6. Demonstrate any technique from Suwari-waza or Hanmi-Handachi.