1-Tohei - Aikido

AlkiIDO Koichi Tohei 70th Dan JAPAN PUBLICATIONS, INC.Japan Publications, Inc. Japan Publications Trading Company 1255 Howard St, San Francisco, Calif, 94103 U.S.A. P.O.Box $030 Tokyo International, Tokyo, Japan Library of Congress Catalog Card No. 68-19977 © 1968 by Japan Publications, Ine, All right reserved. First printing: August 1968 Second printing: January 1971 ‘Third printing: March 1972 Photographs by Ihei Misaki Layout and typography by Iwao Yoshizaki and Toshihiro Kuwahara Printed in Japan by Tokyoinshokan Co., Ltd. and Ichimura Color Photo. Printing Co., Ltd.preface Everything depends on a good beginning, AM O18 MOE thas it that i gute ses de iting ood comes oF ad start, Whatever itis one gets aut to std, op pia one qught Bist to ‘establish a clear goal and then proceed stéadily along - one GU path leading tt. In Chapter Ones 1 deal the basic pSY- ge uavigw' chology of aikido and eth geasons for studying it. Some of you may SaoLORY OF that aikido is healthful; other, that its 4ecRniG0e and move have ere such that even elderly people and children master them. ments eg nay have aikido in mind as self-defense tech or the are may consider it a fine beauty course. When } ‘vas still training, & young man came to me and suid he wanted 1 study aikido, When t | sked him why, he replied that he F6 ‘would prevent the stiff shoul afc tHich_ders that had plagued him. There is no doubt that it could, but const “tu ering the young man impertinent 10 offer this as his study goal, I told "him he should go to a masseur for treatment and sent him away. UPON =, Juste. reflection, Thave ‘come to rearet my rashness. I feel now ‘that we should “OE reaeetnd fault with a motive, whatever it be After 3 the young man nerercne knew nothing about aikido, 1 realize now 1a) the duty of at de instructor is to explain the proper aim fash fhe 8° way, toe aan together with his students as they practice and PORTS Tn chapter Two, [explain the actual aikido techalt es, and at the serene into payehological attitudes, the meaning ‘of the move- + ments, and their goals. ‘Qecidental peoples use reason in an attempt to understand the nature oe amit Mrobtems before taking ection. Peoples of 1s East prefer to ° {ackle a question head on, without resort fo theoretical quibbling, and _., toleer by doing. Zen sis Ye Shall know by doing.” Yoga brings adogt? men to enlightenment without exPonet ‘through austerities. ha" henh sda Each system has its own evils. The Wester approach risks encounter~ ing problems impossible to understand by meat of reason alone; the |, Oriental system could lead t0 *Ristaken concept of the goal. Let us ida say, for instance, that you have heard of a beautiful place you want to - Sy you ask directions and understand them thoroughly; you feel Sentee vat you could go any time you want, but You Wi) My have actually en, tat he beauty of the place until you ae Chest ‘iil you ean gain by fee ®h/ aj reason is a ‘knowledge of the road. On the other hand, how far do you z season WF would get by taking the attitude, “What's he ot of theorize fy tayo? ing? It 1 just start out walking, Tl get there soone! Tt later"? You aunty mat indeed succeed with that Te ‘of thought, bat think of the mis writs you are inviting. You could even have the work place in mind. takes yotine way and know where you are headed then tt saat the aikido movements. Practice them over ané OMT Do not be big By content merely because ‘things go well the first few times. You must SPEAt what you lear firmly in your subeonscions; Wet TA body and Sour spirit will become so well tained that You £20 ‘without thinking yecform the needed actions in keeping with the If this book helps aeare uno have begun or those who are about 10 Pest studying aikido to achieve this goal, [shall be very happy July 1968 Koichi Tobeicontents Preface CHAPTER I FUNDAMENTALS ‘The Spirit of Love for All Things 10 ‘The Principle of Passivity 10 The Principle of Ki 17 Unification of Body and Spirit 12 Relationship between the Body and the Spirit 13 ‘The Single Spot in the Lower Abdomen 16, Morihei Ueshiba, the Founder of Aikido 17 maven AIKIDO CALISTHENICS 19 NIKYO UNDO 20 2. KOTE-GAESHI UNDO 20 TEKUBI-FURI UNDO 20 4. FUNE-KOGI UNDO 2/ MEN-UCHI IKKYO UNDO 22 6. ZENGO UNDO 23 HAPPO UNDO 25 8. KOKYU-HO UNDO 26 |. TEKUBI-KOSA UNDO 27 10. sayU UNDO 29 11. UDE-FURI UNDO 29 12. usHIRO-ToRI UNDO 30. 13. USHIRO-TEKUBI-TORI ZENSHIN UNDO 30 14. USHIRO-TEKUBI-TORI KOTAI UNDO. 32 15. KOHO-TENTO UNDO 32 16. ZEMPO-KAITEN UNDO | 34 HANMI STANCE 35 GLOSSARY OF AIKIDO TERMS 36 exw CHAPTER Il TECHNIQUES 1, KATATE-TORI KOKYU-NAGE a. iRIMI 38 b. TENKAN 44 APPLICATION TECHNIQUE 49 2. KATATE-TORI KOTE-GAESHI 50 3. KATATE-TORI SHIHO-NAGE a. IRIME. $2. b. TENKANI 54 c. TENKANIT 56 4, KATATE-TORI KAITEN-NAGE 57 KATATE-TORI IKKYO 58 6. RYOTE-TORI TENCHI-NAGE a. RIM 60 b. TENKAN. 64 7. RYOTE-TORI KOKYU-NAGE 66 RYOTE-TORI SHIHO-NAGE 70 9. KATA-TORI IKKYO a. iRIMI 72 APPLICATION TECHNIQUE 74 —b. TENKAN 75 10. KATA-TORI NIKYO a. irimi 76 b. TENKAN 76Tt 12. 13, 14, 15, 16. 7. 18, 19. 20. 21, 22, 23, 24. 25. 21, 28. KATA-TORI SANKYO. a. IRIME 78 APPLICATION TECHNIQUE 79 —b. TENKAN 80 KATA-TORI YONKYO. a. IRIME 82 b, TENKAN 82 KATA-TORI KOKYU NAGE 8 RYOTE-MOCHI KOKYU-NAGEI 84 RYOTE-MOCHI KOKYU-NAGE I] 86 RYOTE-MOCHI KOKYU-NAGE III 87 RYOTE MOCHI KOKYU-NAGE IV a. mim 90. TENKAN 92 RYOTE-MOCHI KOTE-GAESHI 94 RYOTE-MOCHI IKKYO I 96 RYOTE-MOCHI IKKYO II 97 RYOTE-MOCHI NIKYO I 98 RYOTE-MOCHI NIKYO II 99 SHOMEN-UCHI KOKYU NAGE imivt 100 SHOMEN-UCHI KOTE-GAESHI 104 SHOMEN-UCHI IKKYO a. mit 106 b. TENKAN 108 SHOMEN-UCHI SUDORI 1/7 YOKOMEN-UCHI SHIHO-NAGE a. mimi 112 b, TENKAN 1/3 YOKOMEN-UCHI KOKYU-NAGE a. TENKANY 116 b. TENKAN II7 ©. TENKAN TH 119 d.mnat 120 ¢ mmr 121 MUNE-TSUKI KOTE-GAESHI 122 APPLICATION TECHNIQUE 124 MA-AL 126 MUNE-TSUKI KAITEN-NAGE 128 APPLICATION TECHNIQUE 129 MUNE-TSUKI IKKYO HANTAI KAITEN 130 APPLICATION TECHNIQUE 1 132 APPLICATION TECHNIQUE 134 USHIRO-TEKUBI-TORI KOKYU-NAGE | 136 USHIRO-TEKUBI-TORI KOKYU-NAGE II 139 USHIRO-TEKUBL-TORI KOTE-GAESHI I 140 USHIRO-TEKUBL-TORI KOTE-GAESHI II /40 conrtenrs | 729, USHIRO-TEKUBI-TORI SANKYO 142 30. USHIRO-HIJI-TORI KOKYU-NAGE 144 31, USHIRO-KATA-TORI KOKYU-NAGE I 1/46 USHIRO-KATA-TORI KOKYU-NAGE II 148 USHIRO-KATA-TORI KOKYU-NAGE III 149 | 32. USHIRO-TORI KOKYU-NAGE 150 APPLICATION TECHNIQUE 152 33. USHIRO-UDE-TORI KOKYU-NAGE 154 34, USHIRO-KUBI-SHIME KOKYU-NAGE 156 APPLICATION TECHNIQUE 158 35. USHIRO-KATATE-TORI KUBI-SHIME SANKYO I 160 USHIRO-KATATE-TORI KUBI-SHIME SANKYO II 16/ 36. KOKYU DOSA 162 APPLICATION TECHNIQUE 164 @ CHAPTER Il APPLICATIONS SELF-DEFENSE FOR WOMEN 168 ARREST TECHNIQUES 172 . CONCLUSION 177 | AS A WAY TO GOOD HEALTH 73 1. Generating Life Force 178 2. Exercises in Keeping the Body Flexible /78 | AIKIDO AS SELF-DEFENSE 179 1, Refining the Sixth Sense 179 2. Actual Practice 180 8. conrmsrsFUNDAMENTALS Nee a)1, The Spirit of Love for All Things Christ teaches that God jis love, and the Buddha expounds merey and compassion. Universal nature is love and teaches love and protection to ward all things. I do not mean love for people alone but love for everything, the smallest blade of grass and the last tree in the forest. The tiniest plant by the wayside will bloom in its time, and the tree hidden deep in a forgotten wood receives the same blessing of rain that you and I do. Love of nature is directed equally toward all things. Our way is born of a feeling of gra tude to nature. [tis that same feeling that opens ‘our eyes to the world around us. This is the basic point on which rests the essence of aikido. Some of you will object that our sorrowful world could not be an expression of universal love. Certainly, sorrow exists in this world, but everything depends on the way you accept it. When the sun gives us sunlight it also creates shadows.. In this life, where there is joy, there is also sadness. Only those who overcome sorrow, discover cause for hope, and conquer suffering can contribute to the progress of society. It is no exaggeration to call sorrow itself a sign of nature’s great love. ‘Though nature is love, no man can prosper if he opposes nature’s laws. He might flourish tem- porarily in wrongdoing, but the day must come ‘when he will have to settle accounts. We must be always striving to perfect ourselves by learning the truths and laws of nature, openly accepting the blessings of our world, purely and earnestly training our bodies, and attempting to make the all-foving spirit of nature our own spirit. Unlike ordinary sports, aikido cares nothing for the idea of winning or losing. Our aim is to discipline ourselves so that through discipline we may master the laws of nature and, by obeying them perfect ourselves. Morihei Ueshiba always said that true victory is conquering one’s self. He also held that the martial way is love. A beginner who hears. this may well wonder, “What Kind of love is he talking about? He spends all his time throwing people on the floor and causing them pain.” We cannot, of course, expect an insufficiently disciplined person intent on the idea, of winning to understand what this love mearis. The most obvious attitude for the unenlightened to take is that if you love your opponent and give in to him, you lose. Winning 10. runpasenrace or losing becomes a serious matter beyond con- siderations of duty and love. When you win, love ‘ceases to be. This is not the way with aikido, We think less of throwing or being thrown than of using our ‘opponent as a whetstone on which to polish ourselves. We serve our opponent in a like capacity. The aikido way of discipline lies in this mutual assistance in development and refinement. If you are properly following correct rules, you will be able to throw your opponent. If you are not, you will not budge him. When you cannot down, your opponent, reflect for a moment. See what you are doing that runs counter to the rules. Once you know, perservere. When your opponent cannot down you and you understand why, show him his mistake. This way both of you work together for true progress. That is what Ueshiba meant when he said the martial arts are love. People who come to watch us practice are often surprised by the harmony that prevails even during particularly diligent training. This is a clear manifestation of the martial art as love. ‘The way of the warrior is the way we must follow, but it must be more than that: the way of the warrior must be harmonized with the way of humanity. 2. ThePrincipe of Passviy enc Hy Though today's highly advanced civilization offers Man many opportunities for greater happiness, it also undeniably threatens him with the sort of dangers that invite despair. It is only by seeking and utilizing the truths of nature that Man has been able to develop this civilization, but rather than grasp the true spirit of the natural world, he relies too heavily on his own strength and knowledge and seeks only self- satisfaction, To this end, he turis the power of nature into destructive weapons. Each faction seeks to lead the other to misery and destruction. This it does because without the knowl: edge of the all-pervading love of nature, each faction remains anchored to the idea of fighting to win, There is no warfare in the world of nature, only in the society of Man. Here I seem to detect @ voice raised in refutation: “How can 2 man possibly get the better of his fellows and succeed if he refuses to fight in our freely com- petitive, eator-be-eaten society? After all,always to give in to others is to go against man’s fate, which is to be either conqueror or con- quered. It is only in a society where battle takes place that we have individuality, success, and social progress.” ‘We must agree, to a certain extent, with that concept—but not entirely. In sports, for instance, the idea of competition, of winning or losing, lies behind training and, so, behind progress and new records. There are those who care nothing for the means they employ so long as they attain their goal. These are the people who applaud their opponent's mistakes and greet their defeat with shouts of happiness. In sports, none the less, we have the concept of sportsman ship, which teaches us to control ourselves ‘whether we win or lose. In aikido, this attitude is applied with even greater thoroughness. Seen from the magnitude of all nature, the triumph or defeat of a single individual seems as small a thing as a poppy seed. Be assureid thet if you ‘win now, the time to lose will come, for it is the way of the world both to rise and to fall. By cultivating a personality that we believe sincere we create one that others will love and respect. If we grasp the meaning of the universal and put into application the laws of the world of nature, all those who would oppose us will give way Aikido holds that all bodily movements must ‘agree with the laws of nature. Nothing that contradicts those laws is permissible. We deter- ‘mine whether a thing is strong by testing its cor- rectness, The man who is right has might. We live in a society where the correct sometimes suffer and where honesty does not always pay. ‘The aim of aikido is to create a society based on higher principles. So far as techniques go, there is a great difference in actual strength between the man who is out to fight and the man who is out to perform those techniques correctly. Pugnacity always ac- companies spiritual instability, Though matched by an opponent of equal strength, the man with a tendency to squabble always boils over. But once you have mastered the principle of peace and trained in it thoroughly, you will always ‘maintain a calm spirit, and you will develop @ degree of strength that will be surprising fo you yourself. 3. The Principle of Ki We say that aikido is the way to a meetit with ki, but what is ki? Until you understand it, you cannot begin to study aikido. ‘The word “ki” has many different shades of meaning in Japanese; from ancient times it has turned up in expressions that range in meaning from the weather to fecling good, or being strong-willed, or even being depressed. When 1 was teaching in the United States, { found that one of my most troublesome difficulties was translating “ki” so that_my English-speaking students could understand it, I finally came to the conclusion that there is no suitable word in the English language by which to render its meaning, and I simply had my students use the Japanese word. I shall follow the same practice in this book: ‘Oriental cosmology holds that, in some remote time, before the universe began, nothing existed: not the sun, the moon, and the stars, or our own planet earth. If the sun is now burning, therefore, it must have started burning at some point, and there must have been a time before it began to burn, If things have form now, there must have been a time when only formlessness existed, when nothing but colorless, odorless chaos reigned supreme. Buddhism describes the period as one in which there was no color, no receiving, no thinking, no movement, no labor, no eyes, cars, noses, tongues, bodies, or mind. From this ‘mass of formless energy gradually grew the sun and the earth, and the things that live on the earth. Man deifies the movements of the natural ‘world. Christians call the force that brought into being the universe we know God Almighty. Buddhism proclaims the vanity of all things and describes the Buddha as the being who has mastered all the principles of the universe. Aikido refers to the forces behind all things as ki: When Morihei Ueshiba said that all things are born of ki, he was not merely promoting aikido, nor did he mean ki in the narrow sense applicable only to aikido. He considered the universal ki and the ki of aikido as one and the same. The ki of the universal has no beginning and no end; it can neither increase nor diminish Though it change its form, it remains basically unchanged. You and J, the sun, the moon, everything is born of ki, Should something made of ki pass away, the ki merely returns to ki. To grasp this is to have no enemies and no allies, to know no life and no death, It is to achieve eternal, immutable lifea bit Angi Ki is the elemental basis of the universe. Call it God or call it Buddha, it is still the same. ‘Only the method of explaining it and the disciplines vary. Aikido is a discipline designed to help us clearly understand the laws of the universal, to incarnate them in our own bodies, and to become one with the ki of the universal in our daily activities. From this mission comes the name aikido—the way to harmony with weakens. We cannot rely totally on sleep, however. We must maintain constant, contact with the universal flow of ki when we are awake as well When you have understood what it means to entrust your body and spirit to the great universal in a natural state, so that ki always courses through you, you will be in constant harmony with the natural world. In other Let us see how ki is related to our daily lives, words, concentrate your spirit in the single spot If I asked you what are the conditions essenti to human life, you would probably answer first of all that breathing is. After that you would mention water and food, and then cloth- ing and a place to live. These last two, though essential sometimes, lose their absolutely indis- pensible nature depending on time and place. ‘Air, water, and food, however, are essential, and to them we must add ki, something without which human life would be impossible. Man is born by receiving the ki of the universal. As long as he continues to receive that ki, he is alive; when ki is interrupted, he dies. When he receives a good supply of ki and fills ‘every part of his body with it, the man is robust ¥ nd active. When the flow of ki slows down, he becomes depressed. Should the depression in- ‘crease, he falls ill. You can easily see the tre- mendous influence ki has on the human body and iL jie ‘To be always in the pink of health and brim- ming with vitality, we must strive to maintain a rich supply of ki and a constant exchange with the ki of the universal. But, if we spend all. of our time and spiritual energies worrying about what to eat and wear or where to live and if we forget to introduce into our lives the all- important ki, we will find it difficult to be really healthy and active. ‘We constantly consume ki in our daily lives and in our work. That consumption becomes remarkably greater in times of worry, anger, or alarm. Sleep is an essential method of supple- menting our supply of ki. When the activities of the brain subside and we entrust ourselves to the great universal, ki flows freely through our bodies. During these periods of recovery, our talents are being cultivated. The healthy man, getting plenty of sound sleep, thereby re- plenishes his supply of ki and becomes stronger. ‘The sickly man fails to get enough sleep, and so his supply of ki dwindles, and he himself 12. FUNDAMENTALS in the lower abdomen, relax, maintain a rich spirit, avoid wasteful consumption of ki, remain always in contact with the ki of the universal, and your own supply of ki will be full ‘The ideal situation is for you to be constantly dispatching 2 generous stream of Ki to the unt versal from which you simultaneously receive a fresh supply. The’ worst thing you can do is attempt to bottle up your ki within your body You must maintain ¢ constant outward flow of ki It is important to. practice keeping your ki in gfepod order and moving naturally. Though, to ti fhe untrained eye, the man who is always tense and exerting his strength seems strong, natural postures in fact are not only the strongest, but they are also the most correct. Everyone who has trained in aikido will already have experienced the strength of natural postures and will understand the reasons for it. When you have trained your body to remain in constant contact with the universal flow of ki and have studied how to do so anywhere, any- time, you will at last experience the enlightenment of knowing yourself to be one with the universe. You will be able to cross into zones that are closed to those who follow only the wishes of their hearts. 4, Unification of Body and Spirit In the preceding section, 1 spoke of putting your ki in order and training it, but before | go into detailed explanations of those two pro- cesses, let us give our full attention to the oper ational relationships between body and spirit Each of us has a body and a spirit, both entrusted to us by the universal. In whatever we may undertake, we must use both these elements of our being. Nothing is possible with the body alone, (Even an infant has the spirit of an infant.) It is only when the spirit and the body unify into one element that weare able to function as complete human beings. ‘The body has form and jg perceptible to the senses, whereas the spirit tacks form, color, oF odor and is not perceivable by means of the |. The world, in general, pays more Sefontion to the body than to the Spit “Though ‘many people wash their faces UY morning and train their bodies every day, the number of those who give the same care to their spirits is small, On the reverse ‘of the coin, people who concern themselves with the spirit tend to ignore the welfare ‘of the body ‘Neither approach merits praise. A man functions as a real man Minty when he pays equal attention Me the development and care of both elements in his ature. The body and the spirit are as insepara: ble as two wheels of a cart. ‘The unification and joint use of body and spirit, poth given by the ‘universal, are most ‘compatible with the principles of the ‘universal, most correct, and most powerful. 1 suppose everyone SErees, in principle, to the idea of using body and spirit as @ ‘unified whole, ut putting that principle into practice is dif ficult, Far too many people either 0sh the two independently of else pit one sesinst the other, Te their mutual destruction. The alarmingly large number of ‘people who, in the dizzying pace of our age, try £0 read 2 book while thinking of something else, OT turn to their work ‘with an ill will, or go to bed ‘at night still enery ‘over something that happened during the day reveals the extent to which we use our spirits and bodies separately. We should not read a atk with our eyes only; our spirit must be Girested toward what we read, YOu will find ‘that even work you do not like is easier to do if you put your whole spirit into it. Approaching yor ak with a feeling of resistance increase the mount. of effort required [0 do the work, Practically everyone has ‘experienced the phe- ractenor of being able to stay up all night doing something he likes, but of tiring within an hour of unpleasant compulsory work. This alone should’ show you how important are the di rection of your spiritual attention and ‘the way you manage your ki in making work easy. You have heard of people who have picked up loads they could never have tackled under WP omey circumstances and carried them ° cryin time of fire. After the fire is St that same person, ‘once again, is unable: to lift the same load. Under the stress of impending disaster, he has instantaneously unified his body ‘nd spirit and so performed feats impossible to hon when, at ease under the secunty of ordinary times, those two elements operate jndependent- ty. Should he recognize the reason for his qudden super-strength and train himself to be able always to unify body and spirit, he would find new confidence and hope. Tt is, of course, difficult to be able always to bring forth great Strength, Nor is it an easy thing for a man, Confronted by the violent change and tran- Gtions of our world, to keep his body and soul unified. in the past, when a man wanted {0 discipline himself, he went up to 2 high ‘mountain and tat in thought on the rocky slopes oF submitted 3S the buffeting of a cold waterfall: Today few people have the time for such disciplines or the Prliingness to accept them. This docs not mean That spirit-body unification is beyond the man of today. The road is, in fact, surprisingly close gt hand. It must. be one leading straight and ‘road from the very place where Yo stand. A oad that permits only a specified few to travel Song it is unworthy to.be called “the universal ‘way.” The true way is one that all who want to may follow. Yet though the road be open to YOu thought- leg travel will never lead you to You! desti- reeFon. You must advance always i accordance with certain precepts. The Spirit hhas its own whles, as does the body. Find them out, and you mi be able to unify these two Parts of your heing. Only then will you be in harmony with the ki of the universal. 5, Relationship between the Body and the Spirit = To unify your body and spirit YON must mas fer a rule that will permit you £0 do so. A vague stab at matching the ‘body, formed and mited 25 to movement, with the spirit, un- formed and free to go where it wil, cae bring no rnceess. The question, then, is what We should see as our center of unification. That is, should WF emphasize the body or the spirit? This prob- Tem has perplexed philosophers for many ages the. mens sana in corpore sano theory concen eter on the body, while other theories fF Sore us that all things spring from the spirit. T have already said in the preceding section that FUNDAMENTALSwt only when body and spirit are one can we act ‘and work as we should. I now assert the importance of chosing one thing as the main ele- Prent of that unification, and I emphasize the Tnfluence our choice has on our method of discipline. Uhapniy, Wot Let us suppose we concentrate on the physical vou Then a wholesome and strong spirit should result sa aa wy ery from a wholesome and strong body. The facts, however, do not bear this supposition out. Many proud possessors of mighty bodies find that their spirits, when they most need them, fare distressingly weak. Though they can con (quer opponents in combat, they eannot conquet Glemselves. If training the body had the desired effect on the spirit as well, we should expect all men engaged in heavy labor and all sportsmen fo be of the finest character. The truth is that only those who strive to train their spirits a5 well as their bodies turn out to be men of the highest caliber. ‘Let us, however, concede the point that training the body results in a well-trained spisit ‘As long as the person is young and healthy, his spirit too remains in good condition, but with sivancing years and the afflictions of illness, his spirit tends to weaken. vigor as long as that, when they do not, frustration and despair will set in. Yet this is the very: time when a tenacious and strong spirit is essential. The spirit need stot be ill just because the body is The spirit need not suffer setbacks when the pody does. The strong spirit is that which does ot falter in adversity and which is not moved in time of trouble. . Since the body is a living being, it is subject to the outside world. If the spirit always follows the lead of the body, which is dependent on the uncertainties of the mes, the spirit too must become unstable "Though the body, by its very form, is limited in the amount of training it can receive, no such restiictions apply to the spirit, With age, the body naturally weakens; the spirit need not do so. Those whose spirits decline with the pass ing years are those who allow the spirit to follow the lead of the body. ‘Aikido always concentrates on a study of the rules of the spirit—that is, the rules of ki, Our iseipline is focussed on discovering how giving full play to the roles of the spirit can favorably ‘affect the body. One real action is better than LA. ruNDAMENTALS a hundred theories. On the following pages, T give some examples of experiments designed to reveal the extent to which the spirit can control the body. Try.them yourself The founder of aikido, Morihei Ueshiba, was the most con: Vincing example of the continued power of spiritual development I ever saw. In his eighties, ‘when physical strength had begun to wane, this jman was using sumo wrestlers as practice part hers. Even when young students attacked him with all their strength, he would turn their Rtacks away with the grace of a dancer and in a flash have them on the floor. No one who had the privilege of watching him in action could fail to be thrilled Tn our aikido training we refer to the rules of the spirit as the rules of ki, No one should itempt to teach aikido without knowing these yules, for they afe the very beginning of the art, and its most essential part. Aikido techniques are born only when a person who already knows the rules of the spirit seeks to discover, the rules of the body as well and then combines the two Here 1 would like to give a few examples of the way the spirit controls the body: Example One: ‘Any man has plenty of Ji d= things go well. The danger i...) a as ai ” A puts one arm out to the side with the elbow slightly bent. B attempts to bend that atm. Fig, one shows a position in which A clenches hig fist and tenses his arm with all his might Fig. two shows A with his arm physically Felaxed. In this instance, he is thinking that his strength is flowing through his arms and out Of his fingertips to a distance of a thousand miles. Should A stand with his arm relaxed, making no use of his bodily strength at all, it is only Teasonable that B, or anyone ese, should be ble to bend his arm. It seems only common sense, then, to make as good use of one's oostrength as possible. On the other hand, even tensing the arm and applying one’s might is use~ less in the face of a much larger, much stronger opponent (Fig, three). The method used in Fig. two, however, produces the result shown inFig. four. B is totally unable to bend A’s arm, a: though he could if A interrupted his flow of thought. Thus it is essential that you keep thinking your strength is flowing out of your T imagine that on seeing this example you immediately conclude that the reason behind it all is simply that one man is stronger than the ‘other. Let me explain o little further. The spirit possesses its own kind of strength. Sound hos sound waves, light has light waves; there is no reason why the spirit should lack spirit waves. ‘All you need to do is to think that your spirit , is flowing out of your fingert am, and your spirt’s strength will actually do Bee Wile ile Anes Get sain Wl Beas un. a bendable as a fire hose through which is coursing a mighty flow of water. The posture in Fig. one, with the fist tightly clenched, amounts to a hose with its end blocked off. Though it looks strong, it is actually very brittle, From these simple examples of the way the spirit operates in the body, you may get some Bula, idea of the vast difference in effect between cor- .sé4 rect and wasteful use of the spirit. For example, if you think 10 yourself that the weather is chilly and that you are likely to catch cold, your spirit immediately floods your body with that idea and so weakens you that you will be un- usually susceptible. A person who thinks he is worthless has lost the strength to be good. Imagine, on the other hand, the value and tok courage of the man who trains in himself a bold and strong spirit and who has confidence in his strength. Example Two: ¢ through yourd dyexert your strength or when you stand at ease In Fig. five, A is tense and is exerting all his s strength, In Fig, sik, he stands naturally, his ams at his Side; here, however, he is concentrating on dinking dil ie weight of his upper bo in a spot in his lower abdomen. To test the stability of these two attitudes, B should push first against the front and then against the back of one of A's shoulders. ‘The more slowly he pushes, the better he will understand the com parative merits of the two postures. Should A i have one of his feet in a sightly withdrawn posture, he would gain a certain advantage, but in this cate, he keeps his feet aligned both times in the stance in Fig, five, he is easy for B to move any way he wishes. In the stance in Fig Sik, A remains firm because his sprit is une movable, This shovld help you see whether you are stronger when you tense your body and 7 and keep your spirit stable, Naturally, if you settle your center of gravity where it should be and leave the rest up to nature, you are in the strongest position possible. Example Three: 9 ey Fig. seven shows A, who had been in the stance of Fig easily being lifted from the floor. In Fig. eight, on the other hand, we find A in the st ken in Fig. six. From this postur B is unable to budge him, Model A actual weighs so much less than model B, he should be why bel runpaMentars « 15Keopte cht Hs ‘th ag epi aw ct easy fo lift, but not when he is in the posture in Fig. eight. This experiment makes clear the change that concentrating one’s spirit in the lower abdomen has on weight. If A were not persistent in keeping his spirit concentrated where it belongs, he would tend to resist when his opponent touches him and to let his con- sciousness tise. Since his center of gravity is no longer in his lower abdomen, his opponent will be able to lift him. If someone discovers that his opponent is always able to lift him, he should turn for instruction to a man who truly understands the theory of ki. ‘These examples should have demonstrated the extent to which the spirit can control the body Aikido insists that a man always concentrate his spirit in the single spot in the lower abdomen and that each of his movements be the result of a unification of the body and the spirit. For a strong arm, you need more than muscle; you need a strong output of ki, Through such training, ki will fil your body and help you produce both resilience and might. sui, dati hrt RES) 6. The Single Spot in the Lower Abdomen ‘Once you have understood how the spirit moves the body, you will need to learn a way to handle your spirit. ‘The first thing is to lear to use all of your spirit as a unit. Just asa single beam is stronger ie ‘than diffused light, so your spirit is more powerful unified than dispersed. ‘The model in fig, two, by concentrating on a mighty outpouring, of ki, actually strengthens his arm. Should he doubt the effect of the flow of ki or should he permit the ki to disperse in many directions, he ‘would immediately lose in strength. ‘The next point is always to make positive use ‘of your spirit, Aikido lets you pour out your kia” when you need it. You will be strong if yoo think you-are. If you think you are weak, your strength will recede, It is interesting to note that though the Japs- nese language uses the word “ki” in many different ways, i none of them is it flattering to mate that a person's ki is small or that it is inward-directed. On the other hand, in no instance is it denigrating to say that a person's ki is outgoing. Thus, for a person to lead a life full of activity and value he must first cultivate a strong, unified spirit and then use that spirit itively by directing his ki outward. This is 16. ruspamenrars easy to do when we are at rest, but how may we maintain unity and a strong outflow of ki amidst «ithe bewildering variety of daily life? eng 10 galt At this juncture, I must deal with the importance traditionally attached in the Orient to the lower abdomen and the diaphragm. Zen and Yoga, seated meditation and mizogi breathing methods all consist in training this part of the body. Why is the lower abdomen so vital both, to spiritual unification and to that of the body and the spirit? The spirit inhabits the body, Veguely attempting to unify the spirit alone, therefore, is impossible. You will see that even this part ‘of our total object is not so easily attained as might be imagined if you recall how difficult it is to calm a panicky person or to soothe a man who is ina rage. To concentrate cour spirit in one place, we use the single spot in the lower abdomen. We speak of the “single spot” because to talk of the diaphragm or the lower abdomen invites the danger that the student will tense that pert of his anatomy. This is not our aim; we are striving to concentrate the spirit. We expect the center of gravity of any object to be in a lower part of that object. Putting our centers of gravity in our heads, therefore, or tensing our shoulders and putting our centers of gravity there, runs cdunt- er to the laws of the universal. When the human body is in a natural posture, its center of gravity will settle down to the place where it should be, the single spot in the lower abdomen. It is here that we must concéntrate and stabilize our spirit. funy Equally important is the need to train so that in all the activities and exercises of life we maintain this spiritual posture unbroken. A calm. person, one who is always unperturbed and "S ‘placid, is a person who keeps his spirit calm and concentrated in the single spot in the lower abdomen. body and spirit. It is there that the rules of the ‘body and the rules of the spirit come together in agreement, Once you are able to calm your spirit in the single spot in the lower abdomen, you will have acquired an immovable spirit, which will, in turn, give you an immovable body Only when you have reached this point can you say you have unified body and spirit Here I suspect misunderstanding can creep in Do I hear someone say that an immovable spirit is all very well, but if you stand stock still, con- That spot is the intersection point of joa3 centrating your spiit all the time, what can you fthough at first you do concentrate your spirit, accomplish in this bustling world? Or do I heang" you tend to Japse immediately into confusion. another object that this sort of concentration would take so much time there would be none left for anything else? Do not misinterpret my use of the word “immovable” to mean a spirit that cannot move. I mean a spirit that will not move, A spirit that cannot move is fixed; one that will not move is unified. Whatever violent movement the body may perform, a stable core is, essential. When your spirit is concentrated and calm in the single spot in the lower abdomen, your body and spirit are in union, and you can direct all of your concentrated spirit at your ob- Do not worry. Continue to practice earnestly, and ultimately you will reach the point where the proper concentration becomes habitual. When this happens you will unconsciously put yourself in the proper attitude to meet any situation, Remember, sikido discipline is not just for the training hall. Train constantly, wherever you go and whatever you do. 7. Morihei Ueshiba, the Founder of Aikido Before we go on to the actual aikido techniques, I feel we should say a word or two about Morihei Ueshiba, the founder. Let us imagine a mountain that everyone wanted to scale but that b= had defied all attempts. Of the many who tried, “Aah some came to impassable cliffs, some lost their it way, and others collapsed by the roadside. fi /y jective. Then, when the next objective comes in view, you can direct your total spirit toward it. In other words, you are able to instantaneously direct-all of your spirit in the direction in which you want it to operate. Concentrating your spirit in the single spot in the lower abdomen renders you capable of catching the full significance of a situation in a flash and of disassociating yourself entirely from that situation once it is passed. The effect is much like that of a well-polished mirror which accurately reflects an image only of what is before it. The desirable mental approach is to play with all your being when it is playing-time and to study or work with equal diligence when those activities are, appropriate. If anger is called for, rage; but when the anger has passed, beam as brightly and happily as a blue sky after a sud- den cloudburst. Concentrating your spirit in the single spot in the lower abdomen does not mean anchoring it there immovably. It does mean keeping it there so that your whole body and spirit will maintain a state of balance from which you can easily do whatever is required of you. With a. little experience in aikido discipline, you will realize how much stronger you become by concentrating your spirit in the single spot in the lower abdomen and assuming the posture shown in Fig.six. You should practice moving in any direction from this posture. Only when you can do so will you be able to instantaneously concentrate the whole power of your unified spirit and body and manifest all the power of which you are capable. You will then be able to deal with any number of opponents with such speed ahd power as will surprise you yourself, When you begin, you are likely to find that ott None had every stood on the summit of the Ai» mighty ‘peak. One man, however, a man who had known hardshi foundly contemplative and valorous, and whose spirit was firm and unshakeable, overcame heart- rending misery to reach the top. Not only did he attain ‘the seemingly unattainable, but he made it possible for anyone who would follow him to do the same and to taste with him the joy of success. Morihei Ueshiba was just such aman. It is because he pioneered the path that we, his followers, are able to reach the top without the suffering he experienced. We owe him a debt of great thanks, Everyone who studies aikido, the way of the principles of the great universal, should, as a matter of course, engrave on his heart an awareness of the great efforts of Pro- fessor Ueshiba and should never forget our obli- gation to him. Bom in Tanabe, in Wakayama Prefecture, Morihei Ueshiba was so frail a youth no one could have supposed he would become a powerful man and the inventor of a series of super physical techniques that would one day surprise the whole world. To develop a strong body was, the dearest wish of his heart. Always interested iin the martial arts, he finally decided that stud ing one of them would be the best way to im- prove his physical condition, He first trained in the Kito school of jujutsu and later went on to study Yagyu, Aioi, Hozoin, and finally Daito jujutsu. ‘Tales of Ueshiba’s meticulous courtesy FUNDAMENTALS © 17 , who was at once pro- qehi?toward his teachers have come down to us, He used any training method he came upon, and reached peaks of excellence in calisthenics, sumo-style wrestling, judo, kendo, and bayonet techniques. He volunteered to fight in the Russo-Japanese War to test his own strength, and later, when the government began developing Hokkaido, he became the leader of a group of pioneers there. Carrying nothing but a wooden practice sword, he walked the length and breadth of the land. His strength became so well known that he had no enemies. ‘Though he had accomplished his one aim, the development of physical strength, he found that a certain lingering doubt was difficult to dispel, ‘This doubt pertained, not to techniques, but to the nature of the martial arts. He asked himself, “What does fighting to win mean, after all? If win today, the time will inevitably come when T must lose. If the martial arts themselves entail no more than winning or losing, what good are they? To win and to lose are relative. They are no more than fluctuations, like the ups and downs of the waves at sea, What will [ have accomplished if T waste my entire life and all my spiritual power on such things as these? What will [ have gained? The universal is absolute; is there no absolute victory?” ‘Though one difficulty followed hard on another, Ueshiba was a man who saw things through. He knew no compromise, Determined to find a way out of his quandary, he threw himself even more diligently into discipline and study. He applied to religion for the answer. He turned to the philosophers. He retired for silent meditation in the deep recesses of the mountains, where he sat under the buffeting waters of cataracts in the hope that the eyes of his spirit might be opened. In his striving to find an answer he was prepared to undergo any hard- ship, He spent years in the mountains in ascetic re- treat, “Then one day he decided to come down again. He went into a garden to refresh himself by showering water over his body. As he did so, he looked up to the blue sky and suddenly thrill. ed to a spiritual enlightenment unlike anything he had ever known. All he felt was joy; all he knew was gratitude to the universal. Suddenly he saw the heart of the universe. At once, he Perceived his own oneness with the universe. His 8. runpammnrars Single-hearted quest for the truth had been an- swered; his relentless efforts, to which he had devoted body and soul, hadvat last burne fruit, He experienced with his whole being the heart of the universal. The day had arrived when he was able to discard his petty self and become one with the whole universe. Ueshiba surely underwent divine revelation, what Zen terms the great and thorough enlight. enment. This experience led him to proclaim, “The martial arts are love!” He explained, “The martial arts are more than mere strength or use of weapons to defeat an opponent or engines of warfare to lead the whole world to destruction. ‘The true martial arts fill us:with the ki of the universe and help us preserve the peace of the world. Their function is to project a correct vision 6f all creation and to inspire us to make reality agree with that vision. Discipline in the martial arts is not mere practice in throwing our ‘opponent; itis training in nurturing in our heart and body the love of god.” Once he was sure of his direction, Ueshiba set ‘out developing ways to give bodily and technical expression to this spiritual attitude, In doing this he created what we call aikido, Destructive, violent techniques became peaceful and composed ones. Whether with or without an oppo- ent, Ueshiba’s techniques look like dancing. By means of them, however, large men ean be thrown off their feet ina split second, and the man thrown will never know the source of the mighty power that sent him down, The realm into which this type of technique ultimately passed was one of winning without fighting. That is, all movements agree with the rules of the universal, and the strength used by a man in an attack inevitably returns to him, Despite the degree of excellence to which he attained, Ueshiba always stood in awe before the boundless universsl. “Go as far in it as we will, there are no limits. Like the universe, aikido ig thout bounds. Tam but a first-year student in aikido. Tam studying now. [ shall continue to study all of my life, and when I div, 1 shall leave the further development of aikido to those who come after me.” He did just as he said. When the Second World War began, he opened an outdoor training hall in the country. He concentrated on cultivating new land, farming, and deepening his own study of aikido. He was sixty-five at the time. For more than ten years,he continued in this way, taking only a few pupils, who worked with him on the farm. ‘After the war, however, when the crumbling of the old social order left young people adrift with nothing to guide them, he came to the con clusion that his time to act had arrived. A painful awareness of the need to teach the young men of the time the proper way to use their bodies and spirits and the pressing importance of restoring self-confidence to a generation confi dent of nothing prompted him to offer aikido to the world. Today aikido has many followers in Japan and in many other countries the world over, to which Japan must send large numbers of instructors. People studying aikido today learn. the techniques, of course, but—more important —they instill in their hearts the beliefs- of Morihei Ueshiba. The road lies open t6 further development and a wider dissemination of the truth of aikido, By following that road we demonstrate our deep gratitude to the founder. shomaru, son of Morihei Ueshiba AIKIDO CALISTHENICS 44 J, iad Aikido calisthenics are actually no me most nnjaues, extracted for repested practice, Unlike real techni which an AR opponent is essential, you can do anywhere, at ‘any time, and for as long 2s you like, with no one else p sent, Since they go beyond mere physicel training to corporate the basic rules of the unification of spirit, aikido calisthenics are of particularly great benefit Even people who feel they are in good physical and spiritust + <-> afp palance often find that the opponent's presence in actual Jaw wil BLY techniques unnerves them, But thenies, you will find that you can maintein your spi unification even in the most violer 15, $0 your opponent comes atong, you will t 0 do ju you have practised. For real and spec daily practice in these exercises is essentic!. jE sane catierHENics - 191. nikyo undo ' Bend your left wrist as you see in #1. Thrust your left elbow ‘ to the side. Over the back of your left hand with your right hand, and using the strength of both arms, bend your left wrist and stretch its muscles. Your ki must flow out of your left arm in the direction of the arrows in Fig. A. Do not let it flow in the reverse direction, You may find this exercise painful at first; but, as you practice, your muscles will get used to it. Gradually your wrists will become so strong that serious twists and turns will not hurt them. Practice first with the left wrist, then with the right 2. kote-gaeshi undo Hold your left hand out, palm up as you see in #2. Wrap your right hand around your left from below so thet both your ite finger and your fourth finger clamp the inside of your let wrist. Grip your left wrist firmly and twist ft 5 far as you can to the right ( #2"). Do not try to tvist your left west withthe foree of your 4, TBht thumb only. Should you do so, your strength flow tq2 wil return toward your right shoulder. "Clamp the itl and fourth fingers of your ght hand Gemly over your left wrist and uss the force of both arms to twist the writ, ‘Strength will then flew naturally into your right thumb, Repeat wing Tat one wes, then the other, Hoth ths and the priceding exercise devetow wists tat can take alot of bending and twisting in combat 3. tekubl-furi undo Concentrate your ki in the single spot in the lower abdomen. Assume a natural stance, and let your hands hang freely at your sides (#3). Relax your fingers, shaking your hands and wrists as fast as you can. Maintain a stabilized lower abdomen, but Jet the vibrations from the shaking motion pene trate every part of your body till you ure con Contrary to the general concept that relax: aL weak movement, the aikido method and power because it p pletely relaxed ion allows fast romotes both speed hrough the entire ermits ki to puss ree of these exercises develop wrists. If we compare the arm to a hose, and the spirit to water flowing Uhrough that ose, the wrist will correspond t the nozzle, If the nozzle is hard and inflexible, we will be wn able to control the direction in. whic 20. cunpamenrarsait diye Thrust your hips slightly forward (#4-6), and 4 4. fune-kogi undo It is easy to meditate in the Zen fashion when one is scated; it is difficult to do so if one is up and walking about, The same is trie of maintaining spiritual conoentration in the single spot in the lower abdomen. When you are standing straight and tall, it is easy to do; but it becomes more dif ficult if you are’ moving forward and backward or to the Fight and left. To overcome this difficulty, we practice to attain calm in action and constant spiritual concentration. wrists bent naturally, raise both arms and th straight forward, Do not move your upper body for backward, right, or left. You + body's center of gravity should be in the single spot in zhe lower abdc should be behind the other. out comfortably. Test 1 Your opponent attempts to push you backward by applying force against your hands in a line leading to your shoulders. You must not move as he wants you to, and you will not if you maintain the single spot in the lower abdomen and are confident that your ki is flowing outward to the front through your arms (#9). The model in (#9°) has lost that confidence and so moves. Test 2 When your opponent pushes you forward from behind you should not move (as the model in #10" does) but should re~ main sure of your flow of ki snd stable in your stance, 28 in #10, To continue exercise (#7), pull your hips backward, and bring both hands, fists now clenched, in to Begin the movernent with your hips, not with you The foot in the back position wil) bend slightly; stretch your forward leg out (#8). Test 3 When your oppone should not move ( position (#11). Beginning forward, run through the practice with your right foot forward ders, you fixed in anpe cauierwextcs | 2122 5. menuchi ikkyo undo Step forward one half step on your ieft foot. Concentrate on an outflowine of ki from your hands. Leaving them open raise both straight forward and simul sly thrust your hips to the-front (#1-3). og Test 1 When your opponent attempts to push you back by applying force to your arms, do not give in as t 6" does Swing your arms up in a circular motion, the center of which is represented by your shoulders. Your strength should then be flowing centripetally to your little fingers. If this is the case, you will not bend your arms or move your shoulders backward when your opponent pushes you (#6), Test 2 Do not move forward (as in #7") when your opponent pushes you from behind. Do not tense your arms. Doi causes you to lose the single spot in t that you teeter forward when your opponent pushes your back, Your arms should a lower abdomen so up. If you then maintain the single spot in the lower abdomen, a slight push on the back will not disturb you (7, Pall your hips back (as in #4) and simultaneously strik Jown with your arms with the feel enerating ki fror them. Return y As you do this, clench your fists h flows to yous little finge (45) Test 3 You should not budge whether your opponent pushes chest or your back. Alwayg maintain the single spot in th bdomen.) wee 5 . 6. zengo undo Stand with your left foot slightly forward (#1), Perf exercise number $ (p. 22) ( #14-16). With your fists clench at your sides, swing your hips clockwise so that you face in the reverse direction (#17-18). With your right foot forward, repeat exercise number 5 (419-20). Next swing your hips count wise (#21) to return to the position in #14, In performing this exercise, be careful to maintain the single spot in the lower abdomen as you change your direction; otherwise your hips will be unsteady and your position weak. When you face forward, your entire spirit must be directed forward. When you change, your entire spirit, must change direction as well, Should only a little of Jn in the former direction, Your spiritual and bodily ication will be in e and your posture weakened Exercise number 5 is you remain facing in one Girection, but aikido must prepare you for wh from all directions. You must be able to conform to all cir cumstances and to change the direction of your spiritual flow instantaneously and completely while maintaining 2 posture of strongth. 237. happe Undo - ne “es ci bw Perform exercise number 5 ( #1-3); turn clockwisé to the tear and wait a second (#4), Do exercise number 5 (#5) ‘Then step to the left on your left foot and do exercise number 5 (46-7). Step to the rear on your right foot and again execute exercise number 5 (8-9). This accounts for four directions of the eight (happo) required for the complete set. Step to the left on your left foot, and repeat the four series agein, following the foot movements in Figs. #10-17. Prac: tice the happo et first slowly and accurately; then gradu: ally increase your speed till instantaneously you can switch the direction of the flow of all your strength. Over-concentration on Foot moves will only make them more difficult. Devote all your efforts to accurately directing your spirit to the right quarter, and your body and feet will naturally follow. Do not forget that the spirit controls the body aixipo cauisTHenres - 268. kokyu-ho undo Take one half step forward on your left foot and thrust yo left hand forward. Keep the wrist bent and the buck of the and directed .well forward. Your fingers should point Toward your own body (#1). Test 1 Your opponent should be unable to push you backward or bend your If you maintain the spot in the low abdomen and remain completely sure that your strength is ur arm, hie will be unable to do m, however, he will be able to owing outward throusl 80. Should you tense your do as he wishes. Test 2 You should not move forward if your opponent pushes you from behind. Swing your hip around to where your wrist is (#2). Do not pull your wrist inward or move it at all. Pass your hip beyond the position of your wrist, advance your foot, and you will be facing in the opposite direction Let your teft foot follow naturally (#3-4) Test 3 Your opponent should be unable to pull your wrist back. If its center of gravity is on its lower side, he should also be unable to lift it easily. Lower your left hand and thrust your right band forward (#5). Take a step forward on your right foot, bringing your hip to the position of your wrist (46) As you rotate your hip to the left, beyond the position of your wrist, take one step back on your left foot so that you follow naturally (#7-8), 26 . rupamenrae9. tekubikosa undo Standing in a natural postion, facing front, relax your an xy and ot them hang naturally. Bend your wists, The centers Of gravity of your arms should be in their lowest parts in this ease, the backs of your wrists (#9). Keeping your wrists bent, Dying them together as you see in 10. Open them naturally. Repeat the exercise Test 1 Your opponent should push your wrists upward when they arg joined as in #10. If the centers of gravity are where they should ‘be, he will be unable to raise your arms ( #10’). If you feel your centers of gravity in the palms cf your hands or in your shoulders, or if you tense your arms, he will bend them easily ( #10") This exercise is useful practice for the ti ponent has seized both your wrists. Practically then try to wrench his hands free, but this is di opponent is stronger than you. If, however, 2 shows, you do not tense your hands but bend your wrists, your opponent’s strength will £ making it not only easy for you to mo you to seize his hand and throw him. After you have thoroughly practiced the move in #10, ra your hands to eye level as in #11-12 40” Test 2 You should not move when your opponent attempts to your hands toward you. You will have all the force you to resist him, if you maintain the single spot in the lower abdomen and if your strength is flowing that is, toward your hands. , °° Ph, t Armipo cattermentes «2710. sayu undo Stand naturally, facing forward with your arms hanging re- Jaxed at your sides. Swing both arms upward to the left Your face should remain forward, and both palms should be turned up (#1-2). Maintaining the same upright carriage, lower your arms, hips, and upper body to the left. Stretch your tight foot straight out, and bend your left foot slightly out (#3). As you swing your arms upward to the right, rex turn your body to the straight-up position (#4), Repeat the exercise lowering your body to the right instead of to the left (#5), This exercise can down an opponent, as you see in #3. It will fail, however, if your hips are unstable or if your arms are easy to raise from below. Test 1 ‘You should not move when your opponent pushes your hips in the positions shown in #2 and #4. If your upper body is slightly out of line when you lower it to the side (#3"), your center of gravity will be out of the single spot in the lower abdomen, and even a slight push will move you, Always keep your center of gravity im the single spot in the lower abdomen. Test 2 When your arms are in the positions in #2 and #4, your opponent should be unable to raise them easily from below. He will be able to do so if you tense your arms; he will fail if you let the arms' centers of gravity fall downward, where they should be. 14, ude-fori undo Stand facing forward. Swing both outstretched arms in semi- circles to the left (#9-11). Next swing them to the right (212-13). Repeat many times in rhythmical fashion, Test 1 Your opponent should be unable to move you by pushing your right hip to the left when you swing your arms left You will lose your balance, however, if you tense your arms or twist your trunk because this will cause you fo lose the single spot in the lower abdomen. The secret of the excercise is to keep your face forward, to maintain the single spot in the lower abdomen, and to swing your arms full to the side, Doing all this results in an extremely powerful posture, To elaborate further, begin from the stance in #9, and as you swing your arms left, take one step forward on your left foot. Next, as you turn to the rear, take a step forward on your right foot (#14-20). Now begin from the stance in #21 and, as you swing your arms to the right, take one step forward on your right foot, turn to the rear, and take a step forward on your left foot (#21-24), Repeat the series a number of times. ‘The postures in #20 and. #24 ought to be so stable that if you are pushed, you do. not waver. To accomplish this, al- Ways swing your arms full and wide and always maintain the single spot in the lower abdomen.12, ushiro-tori undo Stretch your arms straight out as in #1, Open them and raise them slightly forward. Take one half step forward on your right foot (#2-4). As you bend your right knee, lower your right arm, raise your left arm, and let your upper body fall forward. Stretch your back leg out straight (#5-6), then re turn to the original position. Begin again with your left foot forward. Test | If you do not tense your arms but think of your strength as flowing along their outer sides, your opponent will be um able to push them together when you are in the posture shown in #4, Test 2 When you are bent over as in #6, a push from the rear should not force you off balance. You can achieve this stability if you do not tense your arms and if you maintain the single spot in the lower abdomen, ‘This exercise is useful in throwing an opponent for when he has come up to you from behind and has his ai around your body from the outsides of your arms ( You should direct your strength downward and feel your k coursing through your fingertips. Do not attempt to force your opponent upwards. When you throw him forward (#6), do not ride him on your hips, The moment his weight is on your hips, use your arms and let him slide over as he might on a sliding board Be careful to maintain the single spot in the lower abdomen or you will slide too. 13. ushiro-tekubi-tori zenshin undo From the stance in #7, take one half step forward on your Fight foot, bending your wrists so that your hands are well forward. "Thrusting the backs of your hands forward, rise y your arin toward your head (410), Revers the dnveion of your hands so that your fingers und palms are forward AID. Bend your right knee; leaving your left knee stretched straight, bead forward, Swing both ems downward to the front (#12-14), Return to the original position and repeat the exercise beginning on the left foot. 786 80. eunpanentatsTest 1 In stance #8, should your opponent push your hands, your arms must not bend, and you must not raise your shoulders, To prevent this, let your hands hang naturally with the ters of gravity in their backs and maintain t tin the lower abdomen Test 2 z A downward push on your hands in #13 should have no ef fect. Your strength should flow centripetally to the backs of your hands mak’ pervious to outside influences. If that strength clogs up somewhere along the line, your opponent will easily push your arms down, Test 3 A push from behind in #1 should noi move you > causernentce «3114, ushiro-tekubl-tori kotai undo Raise your arms as in exercise 13, but take one half step backward on your left foot. Keep your carriage upright (1-2), Take a large step to the fear on your right foot, and lower your arms as in exercise 13 (#3-4) Test 1 After you have lowered your body, pushing the backs of your hands should not'move you. ‘The naturat tendencs for one’s ki to retract when he lowers his body backward Practice to make sure you that you maintain a steady ovt. ward flow of ki even in such a situation, We use this exe 3@ When our opponent has taken both wrists from beh or when we need a preparatory move to get behind the op ponent, or when he has seized hoth shoulders from behind 15, koho-tento undo From a natural stance, bend your right knee, lower your hips, and let your hands rest naturally on your thighs (# 10-13). Roll your body into as tight a ball as possible and fall to the rear (#14-15). Return to the position in #13 (#16). Test 1 After you have returned to the original seated position, let your opponent attempt to push you over. That will be easy if only your body, but not all of your spirit, is in the upright Position, but if you consciously concentrate on sending your ki forward, you will be immovable. Keeping body and spirit, directed the same way is a vital phase of training, To stand, rise straight from the seated position in #16 to the posture in 417-18, 2. ruNDAMeNTatsTest 2 Shonid vour opponent hold vane choniders to a4 ing up, if you suddenly think you are really pi will not be able to rise; but if you keep your ki fi ward and reveal no reaction in your face, you wil y rising any aikido techniques throw oppon: It is essential to pr: the mand difficu down tice these techniques properly so thet wn does not strike his head or back when he falls, Do not pound the tatami in turns for the sake of the mood. Pounding is all right so long as the floor is tatami, but you could hurt yourself badly on a floor made of some other, harder material. Avoid the pounding habit.16. zempo-kaiten undo Put your left foot forward. ‘Thrust y hand in front of your left foot and put your right hand, back forward, be- {ween your left foot and your left hand (# 1-2), Bend your head well down, as if you were going to cover it with your right hand. Then, with the feeling of lightly thrusting your hips forward, roll over to the front (#3). End seated facing forward (#4). In a motion continuous with that preceding, stretch your upper body and both arms to the front ( #5-6) and moye immediately into the next forward roll When you begin this exercise you will find that two or three rolls make you dizzy. After some practice, however, you will be able to roll all the way around a spacious training hall. When-executing rolls in a series, constantly protect your head with both hands so that it does not strike the floor Make as little noise as possible, and try to roll just like a ball If you are thrown with force by your apponent, tise the im. Petus of the throw to catry you through one of these rolls into a standing posture.right hanmi hanmi stance Since aikido emphasizes mainly the posture of spiritual and bodily unification, it specifies no particular physical stances Stand naturally: that is the strongest posture and the position from which the body can most freely move. We do have one placement of the body, the hanmi, which, though we call it a stance, is actually more a spiritual than a physical posture (#7). In the hanmi you advance one foot a step in front of the center line of your body. If the right foot is forward, we call the stance the right hanmi; if the left is forward, the left hanmi. Your center of gravity should be in the single spot in the lower abdomen, not in one leg or the other; otherwise, you will be hindered when you try to move in any direction Stand so that you tense neither leg; we call this posture standing with the spirit rather than with the legs. Raise your arms lightly, and you are ready for your opponent. If you have your spirit calm in the single spot in the lower abdomen and are, pouring out your ki, the ki flowing from your left hand and that coming from the fingertips of your right hand will form a triangle, The ki flowing from the extremities of your feet, placed the hanmi way, also forms a triangle. The result is that all of your flows of ki are directed toward the opponent in triangles. The point of a triangle has no area and can penetrate anywhere. We call this the triangular stance as ‘well as the hanmi, You may leave your hands by your side and pour out your ki in a triangle and still be in the triangular stance, which is more a matter of the spirit than of the body. From the left hanmi, swing your hips to the right, as in the zengo exercise, make a half turn with your toes, turn to the rear, and you are in the right hanmi. The footwork in the happo exercise always leads you into either a right or a left hanmi. In the zempo kaiten and the kohotento exercises, your feet, as you roll, stay in hanmi placement so that when you stand again you are automatically in the hanmi stance. In aikido we never stand with both feet together facing the opponent straight front because such a position tends to make the spirit rigid and to slow down movements. When both you and your partner are in the right hanmi, this is called ai-hanmi (mutual hanmi). When one is in the right and the other in the left hanmi, we call it gyaku-hanmi (reverse henmi), Although we will now leave this section, bear in mind that these are by no means all the exercises. Any movement that you practise while keeping the body and spisit unified can be aan aikido exercise. Any-of the aikido techniques practiced by ‘one person alone becomes an aikido exercise, It is impossible to repair a broken watch without taking it apart to find out where the trouble is, correcting the trouble, and then putting the watch back together again. In the same way, sometimes in practice with an opponent, you find that one certain technique never works for you and that you do not understand why. If your teacher also cannot see the wrong point or if he sees it but cannot correct it in the middle of an exercise, make the troublésome part of the technique an exercise, Work on it by yourself, testing it in different ways, till you have found your mistake and corrected it 8536 GLOSSARY OF AIKIDO TERMS: ‘The names of the techniques in this book are all in Japanese, because that is the language in which they are most widely known; and you will probably be unable to deciper their meanings without the assistance of this glossary. Use it freely in your practice periods, athanmi you and your partner stand facing each other in the same position. fune-kogi a rowing motion. ‘fakwhanmi though facing each other, you and your pariner are in reverse postures; that is,you are in the sight hanmi, and he isin the left hanmi,. hhanmi a posture in which one foot is advanced one step and the body weight is distributed equally on both feet. It is very easy to move from this position, ‘hantai opposite ‘happo eight directions. lkkyo the most basic of the aikido ways to arip an opponent's arm, ‘nimi without changing your direction you apply your technique on an opponent who is moving straight ‘toward you; you must be careful to lead and to avoid a rect collision with his strength. aiten-nage a technique in which you force your partner to revolve his body once before you down him. katatori your opponent attacks by seizing your shoulder. katate-tori your opponent attacks by seizing one of your arms, ‘koho-tento. a method of falling to the rear. kokywdosa a method of pinning your partner with your ki instead of with your physical strength, okywnage 2 throw in which, without applying pres sure to any of your partner's joints, you use the timing of both your body and your spirit to throw him, otal amovement to the rear, kote-gaeshi a throw accomplished by twisting your partner's waist ‘maral the distance between you and your partner. ‘mer-uchi your partner attacks by striking your face ‘munestsukt your partner attacks by thrusting to your chest. nityo a method of gripping your partner's arm. ryotemochi your partner attacks by holding one of your hands n both of his. ryotesort your partner attacks by taking both of your hands in both of his, sankyo a method of gripping your partner's arm. sayu_leftand right. shiho-nage four directions; you throw your partner in four directions before he falls, shomencuchi your partner attacks by striking your face sudori your partner, in effect, throws himself with an excess of power. tekubi-kosa crossed wrists, tenchinage a pose in a throw; one of your hands taised 2s if you were pointing to the sky, the other is down as if you were pressing on the earth fenkan you turn your body from your opponent's line of attack, cause his strength to flow off wasted, ‘move your body to 2 place where his strength isidactive and lead ude furi yonkyo ushiro-hiji-tord your partner attacks by taking both ‘your elbows from behind ushiro-kate-tori your partner attacks by taking both ‘of your shoulders from behind. ushiro-katate-fori your partner takes one of your hands from behind in one of his. ushiro-kubishime with the other hand he tries to choke you. ushiro-tékubttori your partner attacks by taking both your wrists in his hands from behind. ushirotori your partnerhas his arms wrapped around you from behind, ushirowde-tor’ your partner is controlling both of {your arms from behind with both of his, yokomenucht your partner sirikes the side of your fice, remporkaiten a method of falling to the front zengo. backward and forwacd. arm shaking. @ method of gripping your partner's arm,2 TECHNIQUESmis 1. KATATE-TORI KOKYU-NAGE a. irimi ‘Your partner stands in the right hanmi and takes your right wrist in his right hand. You too stand in the right hanmi You relax the hand he holds, calm your spirit in the single b your ki, and do not resist him (#1). 1 Strong outflow of ki from your right hand to the right and your left hand, in a wide arc, dy ang 's neck (#2-3). Simultaneously ther, then bi us thand (#4-6). From the b position, you use the aikido udefur exercise (p. 29) to control your partner's neck and move into 8 position from which to act further. Your right hand should turally lower as it leads his right hand, ithout stopping the outward flow of ki, you next turn th: fingers of your right hand upward and swing it in a large circle. At the same time, lift your left hand in such a way as to bring your partner's neck upward too (#7-8) Next, point your raised right hand at your partner's lef cheek, and force him over and down backwards ( 49-10) You may take a step behind him on your ri pending on the positi already bent as low as your arm your right hand ato: ind push your me t foot still fa Jown with your le Key Points At #1, your partner should push your arm in the direction of your shoulder. If your shoulder rises or your arm bends, you are not'pouring out sufficient ki, and you will find throwing your partner difficult. All aikido techniques are impossi unless you constantly keep your spirit concentrated single spot and pour forth a powerful stream of ki. eu At #3, if you retract your ki, even a little, you will receive ki from your pactner, Who will then offer serious hindranc: to you in the throw.: You will find it impossible to behind him as you should. 1 Swi ind behind your partner's neck. hand vill naturally move to his right and will br ‘ou must be well behind your partner and mutbs ay force him for n At #6, when you have forced his ne crouch, you should employ th against your downward push and, flowing from your right hand, stand > with you. Your right hand must not the line in Fig. A shows, but must move in a large cir lead him in accordance with the line in If we compare the arm to a hose and ki to the wa hose, the fingertips correspond to the outlet through which the water discharges. When you are moving your hand in an upward direction, always point your fingers upward. When you move your hand downward, point your fingers down, The direction in which your fingess point has great influence on the power you are able to generate Although a person with some aikido experience will probs bly be able to follow these directions easily, it is unlikely that a beginner will master any technique from books alone. Much depends on whether your partner grips your hand with all his might or whether he holds it lightly; if he is controlling you with his ki, instead of with his strength, you may find yourself immobilized. To help you learn m Thave ex- ‘tracted the difficult parts of the techniques and have given them special detailed explanations. Those of you who intend to learn from the book without an instructor will find the following method useful: form a team of three people and let one read the directions aloud as, two, in the roles of thrower and thrown, follow the h of you should have practice in both throwing and being thrown, 39Hints 1. In the beginning, to make mastering the techniques easier, your partner should hold your hand lightly and should in no way interfere with your progress. If he resists when you do not yet know the technique very well, you may never learn it properly. Once you have mastered it, however, your partner should tighten his hold and resist you in any way he can, Re- member, mutual assistance is the basis on which to build good practice habits. 2. Let us suppose your pariner puts all his strength into his grip on your hand. Your natural refiex reaction then is to tense the hand being held. Since you do so, your ki will stop at that hand and render you incapable of moving your body freely. Calm your spirit in the single spot and completely relax your right hand, You will then be able to move both that. hand and your whole body with complete freedom. From the very start, you should learn that to be relaxed is to be strong and that to avoid fighting is the way to victory. If you evade your partner's power, he will find that power use less. Suppose someone calls you a fool. If you take the re- mark seriously, you become angry. If you merely return the insult to the man who made it, you preserve your calm; the abuser himself becomes the foo! It is admittedly difficult to remain cool and to avoid accepting your opponent's ki, To do so requires serious training. Similarly, it is hard to completely relax your right hand when your opponent grips it with all his might. Perhaps the follow ing experiment will help you develop the needed self-control Test 1 Stand with both hands hanging at your sides. Your partner grips your left hand in both of his and pulls downward. Generally, even if you resist with considerable strength, your body will lean to the left (#11"), But if you totally relax your arm, concentrate your spirit in the single spot, and re fuse to accept your partner's strength, he will be unable to budge you (#11). Should he succeed in forcing you off balance, that means you did not completely relax your arm The same principle applies when your partner attempts to push your arm upward or your outstretched left arm to th side. He will fail as long as you keép all of your strength i the single spot (#12-12', #13-13°) These experiments should convince you that remaini calm is the key to greater strength. You will be able to move your right hand as you like, no matter how firmly your part nner grips it, if you stay calm; and you will also be able to move your partner's body wherever you want. When you have this sort of control over him, you need not necessaril leap behind him to complete the technique with a throw, You can remain in your starting position, control his neck with your left hand, and describing a large circle with your right ‘hand, lift your partner's right hand and throw him 40. recuxrauns14 3. Suppose your partner does not tense his body but com- centrates his spirit in the single spot and, standing in a relaxed posture, holds your hand lightly with ki instead of with physical strength. To “hold with ki” means to hold with the power of the spirit. When your pertner does this, you can no longer move him about freely; your unaided hands are insufficient to throw him, In cases like this, aikido techniques become essential. To show you what I mean, let us examine this technique in verbal slow motion. First of all, you do not try to move your right hand, That would be a waste of time and energy. If you tense your right hand, you will be unable to move any part of your body. But if you relax that hand, you will be able to move as you like. Your partner remains in the same spot. You move quietly behind him, turn your body in the direction in which he faces, point your right hand forward, and control the back of his neck with your left hand. You should look very much like two good friends turned in the same diréction. Your strengths should be in complete agreement. Your bodies will touch (#14). Now, thinking of a point between your body and his as the center and of your right arm as the radius, draw a large circle with the index finger of your right hand. Keep your face tured constantly in the direction in which your finger points, that is, in the direction in which your partner faces. Both your flows of strength travel in the same direction, and your partner will easily turn to his right as your right hand makes the circular motion. ‘As you turn, gradually point your fingertips down end force your partner off balance downward (#6). When he is thoroughly off balance, turn still farther to the right, point your index finger up, and make a large semircircle with it. As you do this, force your partner to turn his face upward by raising your right hand (#8). Now turn your finger down again, and, with your left arm around your partner's neck, point your right index finger at his face and down him. He will not resist. Be sure, throughout the process of pointing your index finger up and down and leading your partner into the fall, that you maintain a powerful outpouring of ki. The following experiment tests the effect of ‘your flow of ki KATATETORE KOKYUNAGE «41.12 Test 2 Stop the action just before you throw your opponent, at the point where you have reised your right hand, and wait for him to stabilize himself. He should then resist your action with all his might. If you turn the fingers of yout right hand up or to the front and receive your partner's resistance, your throw will fail (#15). If, however, you point your index finger directly toward his face, so that it indicates a line skimming the left side of his face and continuing to the ground, he will be unable to resist and will fall ( #16-17), This experiment shows the importance of the direction in which you point your index finger. Another significant thing to remember is to use avery light touch in controlling the back of your partner's neck. The natural human reaction to 2 push is a push in return. There fore, if you lay your hand heavily on your partner's neck, he will surely grow tense and push his neck back, thus, making it impossible for you to control him. But if you swing your left hand wide, so that your pottner cannot know at what moment it will touch him, his ki will be working forward, and you will be able easily to press his neck down with only a light touch of yourfeft hand, In essence, you do not attempt to move your partner's body with your hands; instead, you move your entire body and lead him where you want him to 10. Once you have thoroughly mastered these points, devo! great deal of practice to this technique. Think in terms of a cone, two, three signal, Hike that given at the start of a race. At the counts of one and two, you move quietly so as to give ‘your opponent no indication of what you plan, At the count Of three, suddenly leap behind him, and finish the techni in so effortless @ manner that vour partner will seem to fal of his own will. Go through the movements slowly at first, and then, when you feel you have the technique under control, learn to move straight into the throw the moment your partner grips your hand.Test 3 Stand in the left hanmi with your right hand outstretched, as g (0 your partner, “There, take hold of it” (#18). : right hand as quickly as \ hie can. No matter how fast you move, there is always the esibility that he may be faster or that he may move in close to you and succeed In #19, your partner manages to grip your hand because you retract your flow of ki. Kiis like a spring of fresh, clean seater bubbling up in a muddy pond. As long as the spring flows with a certain force, not one drop of the muddy weter can foul it. But should it stop flowing, even for an instant, e water of the pond will cover it over. Then, even if the @ does begin to flow again, it will encounter sufficient resistance from the pond water to make anew start difficult When you cut off your own flow of ki, even for a sp second, the ki of your partner rushes in to attack, and you receive its force. By pulling your hand in and retracting your ki, you ere, in effect, calling the ki of your opponent. It is only natural, then, that he should be able to arab your hand. When this happens, a right turn, like the one in the udefuri cise (p, 29), will enable you to use your left hand to pre down on the back of your partner's neck and your right hand to lead his ki, Not only will he be unable to seize your hend, but fie himself will be induced to follow the direction of your 0). If you make a large circle with your right hand, your partner will tumble easily When you first begin aikido training, your partner must ke firm hold on your hand so that you can lear the aves in the technique. After you have mastered them, how- hen tries to seize yo no longer any need to permit him to take your The true aikido technique is one in which you your opponent's moves before he makes them and throw him in the split second of his attack. The spiritual end physical aspects of this one technique have requized this much explanation, for it is of extreme importance, Do not go on to any new techniques until you have mastered this one. By doing a good job on it, you will gain a true understanding of the laws of spirit and body unification, Once you have that principle firmly rooted in your mind, the tack of explaining techniques becomes much easier. Be sure, ily, that you practise all the techniques in this book with the right hand first and then with the left. KATATE TORI KOKYUNAGE - 43b. tenkan You are in the left hanmi, your partner in the right. He seizes your left wrist in his right hand, and you permit him to do so (ny. Maintaining an outflow of ki, bend your left wrist so that the back of it faces forward and strikes the palm of your partner's right hand (421°). Then, following the method ex plained in the kokyu-ho exercise (p. 26), move your right hip slightly toward your partner. Without altering the position of your right hand, revolve your right hip to the right, step to your partner's right rear on your right foot, and bring your left foot into place, The flow of strength in your left arm and that in your partner's right arm should operite in the same direction (#22-24) Without altering the position of your left hand, continue to walk to your own right. Your partner will follow in a large circular motion (#25-26). When you are ready, crouch and lower your left hand. Your partner will follow till he is off balance (#27), Remaining in the same location, raise your left hand, and lead your partner's right hand upward. Step to his right rear con your left foot. If you then make an inward pressing motion with the inside of your left forearm toward your partner's chest, he will fall backward (428-29). $4. recumavesKeypoints The most important factors in this techniques are to avoid direct conflict with your partner's strength and to lead him. ‘The tenkan method of the katate-tori kokyu-nage is one of the clearest applications of aikido’s rule of passivity. Its movements are so basic that dnce you have studied and mastered them, all other aikido techniques become much easier, Further, it illustrates a vital point about leadership, which is a major question in a world where the leading of the young is one of the most serious duties of those who are old- er. Comparing yourself to an instructor and your partner to your student, you see at once that brute force never achieves the best results. If you use only your strength and if you push or pull your partner, he is sure to resist. Should your power be very great, you may lead him where you want him to go, but he will never follow of his own free will If, as an instructor, you adopt an attitude of lofty superi- ority and issue nothing but commands, your students are unlikely to want to learn what you have to impart. But if you first turn your body in the direction in which your partner's body faces, and make your strength and his one, then he will gladly walk with you when you walk, or run when you run, or sit when you sit. A leader of the young must first enter the world of youth. If he is ready to walk hand in hand with his young charges, they will be happy to go where he leads. ‘Anyone in a position of leadership should pay particularly close attention to this technique. Test 1 Standing in the right hanmi, thrust the stick you are holding in your right hand toward your partner. He will seize the end of the stick in his right hand and try to push it toward you, If you tense your right hand, your partner will immediately succeed (#30'). If, however, you relax your hand, calm your spirit in the single spot, and concentrate on the end of the stick, he will fail (#30), because your ki will be flowing through your arm to the end of the stick All too often, people who pour ki out of their hands stop the flow at the point of contact with a stick or other object they are holding, thus preventing ki from flowing into the object as it should, Water gushing from a fire hose seems to have its greatest force at the nozzle. Ki, too, should flow strongest at its outlet. When you hold a stick, the end furthest from you should be the place where your ki is most powerfully flowing. The reason for having you concentrate on the end of the stick in this experiment is to force you to send your ki all the way there. If you bend your wrist so that the back of your hand is forward and have your partner attempt to push the back of that hand toward you, he will be unable to do so, because all of his strength will flow off useless through your fingertips. Walk toward him: unable to resist, he will go where you push him, because all of his strength has flowed away. The back of your hand should touch his palm. There should be no at!‘opening between your hands, nor should you push his palm Do not let your hand touch his at more than one spot, or you will come into contact with other outpourings of his strength Frequently students make the mistake of taking a half step toward their partners on their left foot before they swing their hips to the right and step back on their right foot. Nat urally, when they take that half step, the backs of their hands contact their partners’ palms. Thus the partners gain control of those hands and make the next move difficult. You must take the step to the rear on your right foot the minute your hand contacts your partner's palm. Your left foot should then follow immediately. If it remains advanced toward you partner, you will be unable to afaintain the single spot; you will lose your unification and divide your strength. Your partner should try to pull your right hand toward him, If you have your left foot forward, he will be able to. To prevent his doing so, you must bring your left foot in and keep your center of gravity in the single spot, instead of in fone of your legs. You must also pour forth ki from your sight hand, ts ‘The widespread belief that planting your feet firmly and immoyably on the ground is a stance of strength is no more than an illusion, Real strength comes only when you relax your entire body. Test 2 Stand in a natural position. Your partner attempts to lift one of your legs with both his hands If you tense your legs and do all in your power to prevent hhim, he will easily get the better of you (#31"). You will achieve the desired effect if you relax both legs and calm your spirit in the single spot in the lower abdomen. You can put your hand on his shoulder to help you keep your balance G31). Test 3 Stand firm in the left hanmi with both legs tensed ond spread slightly. Your partner should push downward on your hips with both hands from behind. You will lose your balance (432) Remember to relax your legs whether they are apart or close together. In #5 (p. 38), even though you do not bring your left foot in, both legs are relaxed. If you have just moved, however, some weight remains on your left foot, and his makes it difficult for you to relax it completely. That is why you should always bring it in close to your right foot If you try to lead your partner forward by turning to him and taking his right hand in your left hand, you will en counter his strength. When, in the tenkan method of this technique, you keep your fingertips in the Same direction as your partner, you must not move your hand. The same is true of stooping down. If you try to force your partner down, you will conflict with his strength. If you lead his ki with your left hand and simply lower your body, he will lower his too. ATTest 4 Your partner stands in the hanmi, with the upper part of his body inclined slightly to the rear. Using your right arm, try to push him down. You will succeed if he tenses his upper body (#33"); you will fail if he relaxes it and maintains a calm spirit in the single spot (#33). As long as he preserves his calm, your partner will be able to prevent your pushing him down simply by taking two or three steps to the rear in the same posture. Keeping your spirit concentrated in the single spot sends strength throughout your body and enables you to resist foree as young bamboo resists the wind. If your partner tenses lis shoulders, his ki-flow will cease, he will lose the single spot, and like a broken bamboo his ability to re- cover will desert him. To down your partner, once he is in a composed and powerful posture, relax your arm and think of its center of gravity as being along its underside. If you then lower your whole body, your ki will take your partner down too, even though he maintains the single spot in the lower abdomen. ‘You will find it helpful to experiment by having your partner attempt to push your arm up while you are thinking of your center of gravity as being on the upper side and again while you are thinking of it as being on the lower side, Practice concentrating on the location of your arm’s center of gravity Ifyou think of it as being in a certain place, that is whi will be. Once you have mastered these principles, practice exeouting the technique the instant your partner comes to seize your hand. Prepare for a head-on collision with the strength of his right hand as you stand with the back of your left hand outstretched. At the.moment that collision seems about to occur, leaving your left wrist as it is, turn your hips, and face to the right so that you are in the position shown in #5 (p.38). When impact of the two strengths occurs, your partner’s force will be enticed along your arm to your fingertips. Still holding your hand, he will bend forward in a semi-circle. ‘You will continue the motion by turning and walking to your right, Your partner will not only be unable to release your hand, he will actually follow along, pushing your left hand as, hhe goes. Do not rely on your hands to move him; lead his ki so that his body must follow Note carefully the two kinds of walking involved in this movement. Though both you and your partner walk in the same direction, your walk, when you are in control, is a f wall and his is a back one. Should you turn any part of your body in his direction or in any way allow his ki to gain a: cendancy, you may become the victim of a throw instead of the thrower. You must always turn your face and pour out ‘our ki in the direction in which you advance. Then, w you turn in a small circle, centripetal force will cause him watk around in a larger one. ed this techniqu ning a dance rat} you should fee! as if you han hrowing a parine 18 .-recusrauns? my arg fs " 2. KATATE-TORI KOTE.GAESHI ne Both you and your partner are in the starting positions you used for the katate-Cori kokyu-nage, Just as you did in that technique, leap behind your opponent and to his right, but put your left Hand'on his risht hand instead of on his neck (#13). Continue your movement by stepping further behind him on your right foot. Lead him around in a lerge circle till he is turned in the opposite direction from the one he began jn. When his right arm is stretched out as far as possible. suddenly tarn your hips to the left and twist his wrist. Bring your right hand to his wrist and force him down (44-7). As soon as he is on the floor, slip your right hand down to his shoulder (#8). Keeping his right arm raised, tdrn the top of his head to the right, and he will be forced into a face-down position (#9). Slide his right wrist inside your right elbow. Bring your left hand down on his right elbow, and twist his arm toward his head (#10-11). When he gives the signal that he surrenders and pounds the flocr, release him immediately Key Points When you grip his wrist, press your little and fourth finge:s into his veins and clamp his wrist joint i rotch of your thumb and index finger. Rather than squeeze his wrist to stop his strength, hold it lightly. When you lead him around in a large circle, do not pull his right hand toward you. Keep your ki flowing in the direction where his hand is pointed. and as you swing your hips around he will follow as a result of centripetal force. When you twist his wrist (#6), be sure you do so in con. junction with the movement of your hips, Twist it in a small | ‘movement that curls his fingers, then lower it 50 . recumavesTest Your partner tightly clenches his fist. Because his strength is concentrated in the middle of his fist, his ki makes his wrist as strong as an iron rod and, therefore, very difficult to bend N12). But since his ki is flowing around then downward, in the direction of his fingers, do not try to resist that flow of ki, but instead make use of it: gently apply your ki in the same direction, and he will be unable to resist you. Be sure to practice this point thoroughly, for no matter how well you learn the kote-gaeshi, it will have no effect on stronger than you unless you understand the principle application ( #13-15) At #10, do not attempt to force your partner's arm to bend unnaturally. Lead his wrist with your left hand, contro his elbow with your right hand, and bend his arm the way i normally bends. Forcing his arm could hurt him; bend in the natural way stretches muscles he docs not ordinarily use and is, consequently, beneficial to his health. Be sure you pin him face down because this not only immobilizes him, but it also leaves you free to deal with a possible second ‘opponent. 6152. reckmraves 3. KATATE-TORI SHIHO-NAGE a. irimi Standing in t ht hanmi, your partner holds your left wrist in his right hand (#1). Relax the hand he is holding an¢ ct your ki flow outward. As you move your body closer to his, lightly take his right wrist in your rigl pouring his strength to your right, do not move your left hand but step straight in front of him on the toes of your left foot (42-3). Using the tocs of that foot and your right Foot togeth: your hips completely around to the right, Your partner will fall (#4-6). This seems 2 good point to explain the difference beween the irimi and the tenkan, both of which occur in the majari ty of aikido techniques. In the irimi, you move directly into your opponent in the direction opposite to that in which his strength is flowing. You do not collide with that strength but lead it where you want it to go. In the tenkan, you forcefully rotate your own body; your opponent's strength, ensnared in your strong ki movement, follows, and he falls. You must train so that you can use either version with complete freedom, Key Points The most important thing in this technique is to lead your partner's fight hund at #2. If he isa strong man or if he is pouring forth his ki and keeping his spirit calm in the single spot, you will be unable to jerk his hand one way or th other, You must therefore lead it: if you eannot, you witl fail in executing the technique. For this | propose te explain in detail the way you should lead his hr 1 Fig. A, two poles, esactly aligned head to head, exet sees in ite dircetions. As long as they maintain this itionship, the two forces are bakinced. Should one or th other stip a little, both forces will combine and flow in on direction, as you sce in Fig. B, Do not, therefore, move your wrist hut rather change the direction in which your fingertips. are pointing and move your body close in to your partner's. Your two strengths will then combine and flow in the di rection indicated by the line in #7. You require no strength all to accomplish this. When you lead his right hand in the divection of the arrow, quietly bring your own right hand fer on top of his wristWhen you step in front of him on the toes of your foot, you must see in your mind a large circular movement. He will foll naturally as you turn your hips to the right Caution Continue your turn until your partner falls. If you fail to carry the move to its completion and lower his arm when it is not in a proper position to bend, you might injure his elbow. Though aikido techniques are designed with the best intentions, since they can cause injury, if they are incorrectly, be sure thet you practice slowly, lightly, and correctly until you and your partner have mastered the tech nique. Concentrating w: cle is the best way to make sure that your movement is actually circular. Stepping in front of your partner on your toes only is important, putting your whole foot on the floor makes it difficult for you to tum your hips completely Test 1 Stop the action at #5 and let your partner regain his balance. He should then lower his right elbow and concentrate on putting the center of gravity of his arm in the elbow’s lowest point, When he does, no amount of effort on your part will succeed in raising his elbow. He should also use his left hand to make your work even harder. Try to use a shiho-nage on him at.this point. But be careful: should he lower his elbow and bow forward, you could be thrown backwards yourself, When 2 partner in aikido training looks as if he might manage to spoil the move by resisting, the signal should always be given to stop. Your p bility to resist is a sure that you are violati At 45, for instance, you must know how Most students try to ir partner's hand rection of the art But if he has his ri down and its center of gravity in the correct pl: proach is sure to fail. Your partner's ki is directed down ward, a8 th w in #9 indicates. To throw him n gently in that direction by lightly grasp your lef k of his lowering is withou hand, When you move this way, his rel 53b. tenkan I Your partner stands in the right hanmi and grasps your left wrist. You are in the left hanmi (#10). Move close to him and lead his right hand to the right, just as in the irimi, In this case, however, turn your hips to the Fight and step behind him, as closely as possible, on the toes of your right foot (#12). Quickly leading his right hand, turn your body completely around to the right, and throw him down backwards ( #13-14). 54. recumavesKey Points From ¥12 till you have turne jot move your partner's han ent you fi ne one oppor 210 m ai sing the number of steps you fake, how- \@ proper posture for either he icimi or nding on th he mo- to make this shift quickly and en to use the s p your Outs um your bod: » your left foot, and nd, stretch your right arm out, an a jovement. He will find St dhe will is balance f 4 ¢ nish the sh us Make sur: © jou or attack you wit his left hand, Th Ward, which nat him and hisc. tenkan I Standing in the right hanmi, your pertn ur He wrist. You are in the left hanmi (#15), Just as in the katate tori kokyu-nage tenkan (p. 44), you lead his right hand an¢ rotate-completely-to- your Tight-(#16).—As you do so, gradu ally turn the fingers of your left hand up; then point your left thumb downward and turn the hand around till the palm faces down, Your partner's hand will follow your movement When his hand is up high, take it lightly in your right hand and twist your hips suddenly to the right, He will naturally fall (417-19), You must lead his right hand upward to bring it into the range of your own right hand and to make it possible for you to turn your hips suddenly to the right. i From the moment you begin tur 2 and leading his hand until you throw him, your movements must be continuous,4, KATATE-TORI KAITEN-NAGE This is another of the kokyu-type throws in which you do not apply pressure to your partner's joints but unbalance and throw him by involving him in the movements of your own body Your opponent, standing in the right hanmi, grips your left in his right hand (#1). You must lead him just as yo did in the tori kokyu-nage tenkan (p. 44); turning to ht, stop your foot movement at a suitable point crouch, ai left hand. Fotlowing you, he will lean fory is head, When his head is in front of you, ligh on it with your right hand (#2-4). Con tinuing the leading mi to your left side. ‘This will enable you to take yrist with your left hand (#5). this, stand. If you keep his head pinned dow warning, he will make one turn himself and f ion of your left hand, raise his right ique your ki must be constant! is hard to push, but once ‘The same is true in this technique. Once your partner is moving, Keep your ki flowing and never let his stop. head because you lower your left armaust by Your partner low Your timing in lightly pinning his head for if you are a moment late, he may raise his head again. The secret of success in this technique is (o apply y keep your partner walking in the direction ia hich he started. a is head is lowered and you k EATATE-TORI KAITENNAGE - 575. KATATE-TORI IKKYO Your partner is in the right hanmi. He grips your left hand in his right hand. You are in the left hanmi with your left hand thrust forward. Leading his hand and turning as you did in the kaiten-nave, crouch at a suitable point and lower your left hand. Lead his right hand in a semi-circle to his right rear. When you lower your left hand, bring your right hand on to the top of his ight wrist. Lead his right hand upward. At this point, he will naturally release your left hand (#2-4). Continuing the circular movement, lower your right hand. With your free left hand, grasp your partner’ #5). Keep both your hands rotating around your body and lower his left hand to the floor. Pin it there (6-8), ht elbow 58. recnwraursKey Points ‘This entire movement should be continue: follow a line like that shown in Fig. A. Keep your ki constantly flowing forth. At #8, you should have the feeling that your little more than ninety degrees from his body. Only right foot should touch the floor; your left is armpit. You should have his right wrist bent so that his right fingertips point over his head Do not tense your shoulder or arm: if you do, you clog, and your partner will throw you, ki will xavaTe-zonr nye » BBBo 6. RYOTE-TORI TENCHLNAGE a. Irini Were holding down the earth (chi), ‘our partner stands in the right hanmi and holds both your wrists. You stand in the left hanmi with both anne forward @). Fight rear, lower your right elbow. Without raising or lowering Caopand itself, tum the fingers of your right hand upward £22). [Raise your right knee and rise on the toes of your eft foot. Bring your right hand high up above you, pointing vour fingers straight down so that your partner lowers his heed backward (#3). While you bring your right foot down sil farther_to_your partner's rear right, force him to fall by Pointing the fingers of your right hand downward 45 if you Were going to thrust them into the earth (44-5) Key Points Between steps #2 and #4, you pass through the position in Which your right hand supports the heavens and your left hand holds down the earth. Uf your partner maintains the single spot and, by concentrating on the placement of the weight of his arms, manages tne mmebllize your own arms, you will have difficulty using this technique in its simplest form The first thing to remember is not to tighten yo your partner has tensed his arms if Test 1 Your partner stands in the right hanmi with his clenched ght fist thrust forward. You push against his fist and try to move it, first to the right, then to the I Because your strength collides with his, moving his hand wil be difficult. With his fist clenched, he concentrates his ki in the center of his hand. Attempting to push that hand back, iherefore, is equivalent to trying to stem the flow of a mighty river. Mf, on the other hand, you lightly grip his fist, le forth, and cause him to siretch his arm out a little, you wit be able to move his hand easily. Do not let your strength collide with bis. Nor should you pull his hand too much: to 40 t00 far is {0 miss your goal62 Fest 2 Standing in the right hanmi, your partner grips your with his right hand. You stand in the lett hanmi Completely relax your left If you stretch his hand out slightly, you will be able to move it easily (#7). If you try to dr right, his strength will stop you (#7"), Relax your hand instead, turning your fingers toward his rear right. Letting your left thigh move your left hand, step slightly to his rear right on your left foot. Bring your foot in toward your left (#8). Step deep to his right rear on your right foot, and press against his right arm with your tis Ider. If you can get your shoulder past his body, ite will fall to the rear (#9) The idea is not to force him down with yc to relax, keeping your center of gravity | against him with your hip. To throw him, then, you need only walk by him. When you step in on your lelt foot, it is Ymportant that your thigh push his right hand a little behind his body. This will force him to change the direction of botl t wrist i left hand, but w und pushing that hand and his whole body, thus makins it easy for you to Having indicated correct use of the left hand in this twe nique. [ would now like to examine right hm ants. Test i , Tr tame hi nok pa( Should he dir howe Sithough it is pe est it n this position you cennot step be! The following explanation should hi Test 4 In the tenchi-nage, when you push your partner's right han with your left thigh and step forward on your right foo! rouch, Without changing the position of your right wrist lower your right elbow, so that the fingers of your right hi upwerd (#12). Next, rise to your full he 4 your right arm a8 if you were supporti (412-13), Now point ind raise your right knee this entire heavens with that hand of your right hand down as i¢ will naturally you were going to thrust your fingers into the earth. With his move, force your partner down (#15), You reaily need tner to practise th The important thing i to generate dynamic power as you rise from the crouch In effect, yo ected to the front, upward end ide with it, Having studied the movemei tice them in simul aiter the position of your grips both your hands. To move it at all is to come into direc contact with his ki. Y fever, Keep a flow of ki at he will be unable to lower svotmtonr TaxcHtxags . 63b, tenkan ‘You and your partner are both in the position you use for the opening of the irimi version of this technique. Turn the fingers of your right hand up along the inside of his arm Direct your left hand palm downward as if it were holding down the earth. Do not alter the position of your right wrist (#16). Leaving your hands as they are, take a step back on your right foot. After you have succeeded in leading your partner straight forward with the movement of your hips, begin a turn to your right. He is still holding your hands, so, in keeping with the law of centrifugal force, he must follow your movements (#17-22). At a suitable poin your right elbow suddenly, turn the fingers of your ri hand up, and crouch. As your partner follows ye he will lose his balance and fall forward. Rise at once, raise your right hand high, and lead your partner upward. He will ose control of his feet and fall still farther forward, If you now turn your fingers toward the ground, he will follow and fall (#23-24) ‘Once you ma the irimi or the ilt'be able to use either n version the mi ld ult r body mo im with yo ple to throv 64. rmommaves7. RYOTE-TORI KOKYU-NAGE The katate technique and the ryote technique sre inter changeable. As long as you execute your move the instant your partner tries to grip your hands, either ve fective Your partner, in the left hanmi, grips both your hands; you ve in the right hanmi (#1) Relax both arms, Without sitering the positions of your wrists, step as far to the rear as possible on your lett foot g only the toes of your left foot on the floor. At this point, your partner will have his arms outstretched as far as ne can (42), The instant the tocs of your left foot touch the head and body to your left, As you shift your weight to your left foot, your partner will naturally fall lance to the front (43-4). Throw lis right hand down at this point, whereupon he will make a turn to his left re and fall (#5) Key Points If your partne reach out and simply take his wrist. Wait till you have him off balance to the. front and his outstretched, then shift your hips s is strong’and skillful, you may not be able to ed t arm is completelyTest 1 You are executing the fune-kogi exercise (p. 21). Waiting till you have the backs of both hands outstretched, your partner seizes your hands, Ifyou then try to pull your hands in toward your hips, you will encounter his strength and either be stopped or, possibly be pulled toward him (#6). But if you remember to pull your hips in (#7), you will force your opponent to stretch his arms out to their full extent. Then you can easily pull your own hands to your hips, and him with them (#8) Test 2 You and your p: the two ends of a training-suit sas K in the sash (#9). Should you suddenly tug on the sash, it will become taut: this will immediately inform your partner of your impending attack, and he will respond by tensing his arm and blocking your strength so that you cannot pull him io you (#10). On the other hand, if you simply step back till th taut and then pull him, he will probably not resist (#11-13). Think of this action as similar to pulling the trigger revolver. In other words, you should pull the sash taut slowly, blending the action with that of pulling your oppo: nent, just as you slowly and evenly close your hand on the trigger. so that the tightening of your fist and the act lease of the round are one. To exhaust your strength by tugging the sash, thus warning your opponent and ence ing more force than you can handle, is 2 foolish waste of power ¢ apart, hold There ought to be som RYOTE-ToRI KOxxU NACE - 67Test Your partner is in the right hanmi with his right hand out 1 stretched. You hold his right wrist with both hands and try to throw him by thrusting the hand down (#14). If his hand is loose and relaxed, you merely lower it and this has no effect on him (#15). But if you first pull his arm taut (416) and then thrust it down, he will somersault an fall (#17) After you have m: tered this movement, practice stepping ghtly back when he moves in to seize both your hands. His hands will naturally follow; when they are both fully stretched, take his right wrist in your right hand and throw him. Gradually you will be able to leave both your hands in his and throw him with the action of your hips alone. With training, it is also possible to let him hold your index fingers and throw him with them (#18-20). Th another variation, you to seize your hi suddenly to ‘th rection, to the left when he comes in s, leading him in that direction, then right and throw him in the opposite When he takes your hands, y take a step ba ntinue to face him but (on your left foot. As he follows, you poot)suddenly turn your body to the right and reverse the direction of your arms (#21-24). That is to say, at the be ginning your right palm was turned up and your left down (221). Reversing this (#23") catches your partner's hands fon your wrists, causes his body to incline to the left, anc fully extends his arms. At this instant, face right and lower both arms. Your partner will somersault and fall (#25) When you are leading him into a change of difection, if you lift his hands slightly in a scooping motion, the throw will be easier. After you have mastered this move, you will be able to throw your partner in any direction without drastically altering your own posit8. RYOTE-TORI SHIHO-NAGH Execute this technique exactly like the katate-tori shiho-nage (p. $2), but be very careful that you do not consciously try to move your right hand. If you do, you will encounter your partner's strength and will be unable to proceed (42°), Leave the fingers of your right hand open. Move your left hand in coordination with your hip action, leading your partner's right hand. In other words, the key to succe this technique is to ignore the fact that your partner is holdi ight hand and to carry out a keatat " 0. cecnmanes® € Ly 9. KATA-TORI IKKYO 4 a. trimi Your partner, standing in the right hanmi, grips your left shoulder in his right hand, You stand in the left hanmi with your shoulder turned toward him, offering no difficulty (#1) Be sure to position yoursolf so that you can move easily Without moving your loft shoulder, step back on the toes of your left foot. The instant your toes touch the Moor, turn your body slightly to the left and put your weight on your left foot. Bring your right foot back to your left so that you face straight forward. Your partner, following, will fall forward. Put your right hand on top of his, with your little finger on the outside of his little finger, as if you were pressing his hand to your shoulder (#2-3), In the next instant, turn your left shoulder—along with your whole body—to the right, taking your partner's right wrist in your right hand. With your left hand, seize his right elbow from below and push it down. Leaving your feet as they are, force his elbow down With the strength of your hips (44-6). When you turn to the right, you will weaken the effect of your hips if you step forward on your left foot. Remember that you are not thrusting his arm down with your arms; you rust use the strength of your hips, Looking to the front, step as far forward as possible on your left foot. You will be able to step farther if you first ake a small step forward on your right foot partner be sufficiently off balance and have his head s ficiently tow, he will fall when you step forvvardt ( r make sure his head is as low as you want it, swing your arn well down in steps #4-5, When he is down, you can pin him with a katate+tori ikkyo (p. 58). Or you might use the pinning method from the katate-tori kote-gaeshi (p. 50) Key Points Moving your left shoulder in #1 will only bring you into direct, and possibly disastrous, conflict with your partner's strength. ‘The youmts an yous imps permit you w move your "2. mecumiaursleft foot without disturbing your left shoulder. By stepping back on your left foot and then bringing your right foot to it, you retain a stable posture, whereas your opponent loses his balance. A word of caution: failure to bring your right foot back will divide your strength between your right leg and your left and will weaken your posture, When your partner has his right arm outstretched as fi as possible, the coordinated movement of both hips. and shoulder and the pressing motion of your right hand against his right-hand enable you to turn his wrist. If you do not press his right hand to your shoulder, you will have to turn his wrist with your right hand only, which might not be easy to do. Practice so that the actions of your right hand, your left shoulder, and your hip are coordinated into on oves, you take one breath nore breath for those in #4, and Practice executing these three stages of of one, iwo, and three. W should be able to down Next you shou ‘Once you master for the moves in #1-3, 0 one more to the fal the technique on the coun you a proficient, partner by th of stage where you can down i his hand to you! be able to use this tech aciually put his hand to yo ft shoulde mavactont txxxo 73application technique When your partner comes in to seize your left shoulder in his right hand, parry with your own right hand in a motion thot Suggests you might simply want to rub your left shoul der. Controlling his right hand-with the palm of yours, step back on your left foot and bring your right foot in jus you do for the preceding technique. When his right har fully outstretched, your partner Lightly grip the fingertips of his right hand with your right hand. Raise that hand above his head ( 410); then brin down rapidly in a large circular motion till he falls (# Pin his right arm by seizing his elbow in your left hand { Key Points At #9, the motion of your right hand must not stop, of you th, which will make 4 [oF you to turn his wrist. Since he will try to seize your shoulder as quickly as he can, you must be still quicke in parrying his hand. t is difficult to stop his strength, but it is easy to If you tu rear ri slightly he touches your shoulder, all of his strength will fh J. Because he will be unable to stop the flow of his strength, hie will lose his b himself under your control, The swinging movement with which you turn his arm and wrist should be large and light Be careful that you do not retract your ki when you step back on your left foot. Keep your face turned in your partner’s direction and your ki flowing full will encounter your partner's s lead it t and lower his hand 74. recumaues15 b. tenkan Execute the moves of t front of your partner. If a second oppo: your first partner and take on the other n (414-17), When you raise his right hand over his head (414 15), take his elbow in your left hand and jump to the right and well behind him, As you twist your hips to the right, keep your left hand on his elbow and swing his right hand around to the right. He will follow your movements and fall Pin him to the Key Point Since, just before you jump behind your partner, you right hanmi with your right hand up in the air, you should not be able to reach his right elbow with your left hand, If you ignore this limitation and try to seize it anyway, you will bbe unable to turn your hips to the right and jump behind him. By waiting till after you have jumped, however. you will find his right elbow in ch of your left hand. If' your ch you land as the cent jump behind him wide, using the position in wi the circle whose circum travel. 16 17 KATATORI HEKYO 7510. KATA-TORI NIKYO a. irimi You rotate your partner's right hand in a wide circle in his direction, put your left hand on his right elbow, and scoop his wrist up to your left shoulder. At this point, you will naturally change the position of your feet (41-7). Hold the fingers of his right hand in your right h wrap your left asm around the outside of his right arm s hat _you can seize his rig! s seen in #12, Whe: nd and lowers his body, he will feel a sharp pain in his wrist (#8) Return his right wrist to your left shoulder; then lower i forward till he falls. Pin him down (49-10). When you hold his right hand in your right hand, bend his wrist so that his fingers point toward him (#11). Do not re lax the bend in his wrist as you bring it to your shoulder Swing your left hand in a wide are and keep your ki traveling in the direction of the arrow in #12 as you bring his right wrist to your left shoulder b. tenkan As you swing his right upward circle, put your ind in his direction, move it in a wide t hand on his right elbow, and jump weil behind him. Lead him around and down, Next bring his right wrist to your left shoulder with scooping his entire body up, Follow this with a forward press on his right arm that will force him down (#13-21), he feeling of 1711. KATA-TORI SANKYO a. irimi When you swing his right hand up and toward him, make sure you have a firm grip on his fingertips. Once he is bent over and unable to rise, release his elbow and with your left hand stip his right hand from the side of his little finger (#1-5) Keeping 2 firm grip and teading down and around, as the arrow (4 ws, take the underside (now turned up) of hi elbow in your right hand (#6). Lead his arm around and own as you tum your body to the left in the direction of Once he is down, take his wrist from the little-finger side in your right hand and his elbow in your left; bend his arm till the pain makes him give in (#10-13), A katate-to gaeshi would work in the pin also, but since you With the sankyo, you will find that the senkyo pinning method is most effective, application techniqueKey Paints After you have mastered the mo: ing, and leading your partner's ar in the action. Be p: hold on his hand from your +i this point it is easy to cut off y advantage of the move you make when you raise his arm and swing it toward him; this is the point where you should seize his wrist in your left hand. When you have hand to about eye level, take his elbow in your right hand and swing your body to the lef. ticularly ca application technique When you have gripped his right hand in both hand: raise his wrist and swing it to 1 his si keeping a firm grip on his fingertips. The pain generated by this move will cause him to rise on his toes (#14-15). [f you swing your partner's right arm as a batter swings at a ball, he will roll over and down, Practice throwing him as far can (#16) xavarom eancro - 719 Necessity of proper grip in the sankyo technique. First practice bending your opponent's hand from the little-finger side, as you see in #17 and 17°. If you bend it only as far as it will go without forcing, your partner will feel no pain, but he will when you bend it just a little more. Gradually, however, through long practice, as his hand becomes accustomed to being bent, this action will cease to have any effect on him, Next, hold his fingertips in your right hand and bend his wrist toward him. Here again, there will be no pain up to a certain point, but if you bend his wrist just a little farther, his pain will be great. 4 The sankyo grip is one of the safest and surest ways of making your partner go where you want, If you hold his hand this way, bring it to your chest, and start walking he will necessarily follow, because resistance causes extreme discomfort (#18 and 18°, b. tenkan Just as in the kata-tori ikkyo tenkan (p. 75), here you jump behind your partner, then get a sankyo hold on his right hand with your left hand, move your right hand to his right elbow, and lead him down ( #19-26). After you have jumped behind him, you may cither lead his body up before you down him, or you may throw him down at a distanee as you do in the At this point, [ want to caution you about techniques that involve bending joints. Remember that in aikido we always bend the joint in the natural direction; to force it the wrong, way would be to violate the laws of the universal. Properly executed, therefore, aikido techniques never injure the body. ‘They stretch the joint at the instant of application, thus causing pain, but once the pressure is released, the stretched joint feels light and relaxed, You must be sure you understand the principles thoroughly and practice the techniques carefully, because if you apply 2 hold clumsily, your partner, though he feels nothing at the moment, might have an aching joint for several Always regulute the intensity with which you appiy « iuie by the amount of experience your partner has, A beginner'sjoints are likely to be tight and, therefore, to hurt more when bent than the looser, more relaxed joints of a man with con- idgtable aikido training: Wiien your techniques bein to lose matarou eaxnyo | BL12. KATA-TORI YONKYO "Begin as in th forearm. He will follow in ight foot and then fi strength in your ind wrist will Force hin the tenkan by jumping to the right and behind yor (#912), 32. mromeravesB4 13. KATA-TORI KOKYU-NAGE Your partner tries to seize your left shoulder with his right hand (#1), Catch his.right hand in your left hand, take a big step back on your left foot, and bring your right foot back to your left foot. Since the side of your body he intended to seize has, in effect, pulled him on, he will fall forward with his right hand outstretched (#2). Holding his right hand in your left as before, force either his right wrist or his tight elbow down with all the strength of your right hand. He will topple over and fell to your rear left (#3-4) This is the last of the techniques in which your partner attempts to seize your shoulder. You will find that, with practice, these same techniques will serve when he tries to grab both shoulders or your chest or elbow 14, RYOTE-MOCHI KOKYU-NAGE I These techniques are named for the hold (mochi) your part ner has on one of your hands with both of his hands (ryote: Names of aikido techniques usually split into two sections’ cone designating the part of the body involved in the hold or grip and one indicating the throwing method. In this case your partner uses both of his hands to hold one of yours hence “ryote.” You use a timing throw (kokyu-nage) tc break his hold and down him Standing in the left hanmi, your partner holds your right hand in both his hands. You in the right hanmi, relax your right arm and maintuin a steady outward flow of ki (#5 Tum directly toward your opponent and, keeping your right arm relaxed, move your pelvic region close to his body (46). As you do so, your strength and his will move in the ame direction. Then swing around in the direction by the arrow in #7. If, however, you tense your arm, your partner will prevent your coming close to him.Without altering the position of your right arm, swing your hips to and step back on your left foot in the opi site direction from that in which your right hand points. Bring your right foct to your left, Your right arm should be fully outstretched (#8); it will not be, however, if you fail to remember to pull in your right foot, Further, should you not stretch it npletely, it will lack its full stre the direction of the fingertips of your right hand, Since your ki and the ki of his arms are both same way, when you lower your right arm and then 13 a citcle, his body will follow (£9-10), Lightly put your lef hand on the back of his neck. Make another circle w right hand and point your fingertips downward. if tum your body to the left, as though you were tw’ neck around, he will follow and fall ( ‘As you approach his bod q stream of ki from your eyes and look straight into his face, He will reply by shooting ki from his eyes to combat yours, When the kis collide, turn your body to the left, letting him follow his own inertia, which, as you lower you! will lead him into a fall. This process is called evoki partner's ki st pour 8 powPractice in leading your opponent around in a left spiral teaches you the importance of leaving the position of your right hand unaltered, The minute you change its position, ‘you will collide with his strength and be stalled With fingers outstretched, turn the little-finger side of your right hand to the left and lead his hands in that direction (#13). Your fingers should point the same way in which he directs the strength of his hands. His right elbow will rise If you attempt to move your right arm, you will collide with his strength (#14). If, on the other hand, the direction of your right hand conforms with the direction of his strength and if you leave the position of your right arm unaltered and simply walk, he will follow, You will then be perfectly free to turn to the left or to go straight ahead, Key Points At #13, your tight arm should curve naturally, and its little- finger side should represent the “unbendable arm” ( #13"), That is, its outflow of ki should be so powerful that your ‘opponent cannot bend it, If you point your thumb toward you C414"), your strength will settle on that side of your arm, and your opponent will have no difficulty bending it. In general, in this technique, moving your thumb puts you in danger of colliding with your partner's strength—a collision that can immobilize you. However little difference there may seem to be between the hand positions in #13" and #14 their meanings differ immensely ‘After you have mastered these movements, practice apply ing the technique the instant your partner tries to seize your hand 46. recraunsRYOTH-MOCHI KOKYU-NAGE It At #7, instead of raising your right arm, leave it down. When your partner hs more or less relaxed after the half turn, jump behind him to the right, put your left hand on his neck, and finish with the katate-tori kokyu-nage throw (415-27). At #19, swing your left hand well to the rear, The left turn of your body will supply 2 reflex foree that will make your jump to his ri Failure to si 8788 RYOTE-MOCHI KOKYU-NAGE III In this version, at #2, you take still one more step on your already forward right foot and throw your partner to the front (#1-6). The additional step forward is (o lead his arms into a completely outstretched position. Keep in mind all the pointers on wrist movements we have already given in con- nection with the ryote-mochi throws. application technique You are in the right hanmi with your right hand stretched out toward your partner. When he tries to seize your hand in both of his, lift his hands using wrist action and the little finger side of your right hand, You must not alter the position of your feet as you turn your face in the direction in which your partner is headed, rotate your hips to the left, and throw him to the floor (#8-12). If the situation makes it impossible for you to go through the extra footwork in #2, you must simply throw your part net in place. As you do, think of throwing a ball. The crux of the matter is this: if you feel your partner's arm is stretched far enough to the front, throw him immediately; if not, take one more step forward on your right foot tll itis.bo ot ihe RYOTE-MOCHI KOKYU-NAGE IV This is the first of the ryote-mochi kokyu-nage we have so far discussed which has clearly defined irimi and tenkan versions. a. irimé You are in the left hanmi, and your partner, in-the right hanmi, holds your left wrist in both his hands (#1). Your left hand should be forward and your fingers open, outstretched, and turned slightly up. Do not press down with your arm. Maintain a steady, strong outflow of ki (#2). Do not move your left hand. Bring your left foot in to your right foot and raise your right knee (#3). Step toward your partner on your right foot, crouch, and lower your left elbow. All three of these movements must occur simultaneously (#4). At this point, your left fore should be vertical and the fingers of your left hand should be turned straight up. Your partner will lean forward (#5). Quickly rise again,-keeping your left elbow close to you body and making no attempt whatsoever to raise your left hand (#6). It will, of course, rise as you do, but this must be part of the general movement of your body, not a separate upward thrust Stretch your left arm to the left front. Pass the fingers of your left hand in front of your partner's face. As you do so, his strength will follow in the same direction (#7). Take a big step close behind him to the left rear and press down on his neck or chest with the underside of your left arm (#8-9) Key Points In #3, you must not raise your right foot till you hav brought your left foot in. Lf you do, your body weight must inevitably shift to your left foot, a shift that brings you 5 body in dangerous proximity to your partner's sphere o} strength. Once you are accustomied to these movements you will be able to do them all with great speed 10. recumauzsAt #5, be sure you concentrate on locating the full weight of your arm in the lowest part of the elbow Test 1 If you have the weight of your arm concentrated in the lowest part of your left elbow, you can stand and crouch as many times 2s you like; your partner will be unable to stop you If you tense your left arm and attempt to push ner’s hands upward, not only will you fail but you m find yourself rudely thrown. At #6, after you have stood up your left hand any higher. The pr direction in which your finge hand in a new di You should have no trouble stepping on your left foot and finishing the 1 sayu exercise (p. 29). This is a true irimi because you work in from a dizection opposite to that of your p n ning to end, should your strengih collide with his, Notice however, that you throw him in the opposite direction from that in which he ap es you. The following test should explain why you are able to do this per; but at no time, from b Test 2 Your partner is standing with fists clenched and arms tensed in a position similar to the one he uses when he grips your hand in both of his. If you try to push his arms uy strength, collid: but if you str them easily ( left g head-on with yours, prevents you (#10), technique, y When you stan what this test shows d thrust your arm out 2b. tenkan . Standing in the right hanmi, your partner holds your left ‘wrist in both hands (#14) Do not move your left wrist. Turn your head to face in the direction in which he faces, rotate your whole body to the right, and step to his rear right on your right foot. Stand t up (15). Keep turning your body to the righ tight against your hip. Leaving your elbow in that position crouch., The fingertips of your left hand should now point upward. Do not move your left wrist. Spread your knees squist (416). Now rise, still leaving your e till your left elbow is your hip (#17) Point the fingers of your let ont of your part This will lead the strength of both his arms in direction. At the same time, step behind him on you sot and throw him (#18-19). Key Poi I feel it desirable here, for reasons of emp! ‘nction between the irimi and the tenk aikido techniques. In the irimi, you face your partner an move directly in to him. In the tenkan, you turn your body, cause his strength to flow off wasted; only then do you ove in for the throw. is, to repeat the n versions ofAt #15, av Leave your wris making use of tance betweer fe vomroule, Be lt totaly unable t ut techni t You must tu Fight to insure unifcato of your body and Keep your ello cst your hip. IF you do not powerfal opponent os your elbow to remain in an nh tlevated position when you crouch. This would ruin the entire attack | At #16, you move your w which your partner is holding by. You ha joint that permits you to lower just your elbow without dis turbing the position of your wrist. If you point the fingers of your left hand streight up, you willbe able to rise from your c crouching position len execute the remaind. of the technique just as you do in the irimi In both versio: fa hing like th n of man pushing an xutomobi ce he musters enoug In #5 of the irim e tenkan, you must muste sufficient ki to nur partner moving. From then on, you need to exer i throw your pat strength to get the thing rol it rolling easily.94 15, RYOTE.MOCHI KOTE.GAESHI As you swing both arms down, get a kote-gaeshi hold on your partner's right wrist, turn your body to the left, and throw him with a kote-gaeshi throw ( #1-6) Or you can jump around to his right rear, take his right wrist in your left hand, and then throw him a kote gaeshi. In still another version, you move directly to your partner's right rear and throw him with a kote-gaeshi Combining the kote-gaeshi with the moves of the kokyu nage and the shiho-nage throws is excellent practice26 16. RYOTE-MOCHI IKK¥O 1 You use the action of your wrist to lead your partner's hands in the direction you see in #1-3: it is a rounded, horizontal movement by your right hand toward and beyond your chest. When your hand has gone past your chest, push your partner's right wrist to the Tight front and put your leit hand on his left elbow (#4-7). After his upper body has passed your chest, push him down (48-9). Ki should flow constantly from your right hand, which should move in circular lines, Key Points Af at #3 you fail to bring your right foot back far enough, there will be insufficient distance between your body and your partner's for your right hand to pass unobstructed. To avoid resistance from your partner's strength, delay changing the position of your right hand and taking his elbow in your left hand until his hand has completely passed your chest, Devote plenty. of practice to timing in this techniqueupward and to hand. Swing both arms w ikkyo grasp on his left hand ( As you move right hand, Lat17. RYOTE-MOCHI NIKYO I Direct your ki toward your partner’s face. As you move your pelvic region closer to him, lightly put your left hand on his right hand (#1-2). If you take a wide step to your part rer's left rear on your left foot and bring your right foot in immediately, he will follow your movement and make a half turn to the right (#3). Stop in this position, turn the fingers of your right hand straight up, and wait for him to complete the turn (#4). Wrap the fingers of your right hand well around his wrist and turn his right hand to the right and toward the center of his body (#5-6). After you have started him on while you are still waiting for him to com is half tuen round and Le it, leave as Fingertips high of freedom to wrap youRYOTE-MOCHI NIKYO It a.% AL AIG 1 (p. 97) whe your pa still fr100. recnmiaves 18. SHOMEN-UCHI KOKYU-NAGE Taking one step forward on his right foot from the righ! hanmi, your partner tries to strike you in the face with his Fight hand (#1). Swing your right arm up (#2): take a step to his right rear on your left foot. turn your body to the right, parry his right arm with your right arm, and press o1 the back of his neck with your left hand (#3-5). Crouch slightly as you take still another step to his right rear on your right foot. The movement in this case is much like that in the ude-furi exercise (p. 29), except that here you swing your arms up and down instead of right and left. Making use of the step to the rear right your partner will have to take in order to preserve his balance, push his body down with both hands and force him to move around you in a circle (#6). Then, rising, lead his ki upward (#7). Pull his neck back in a large rounded movement and throw him down to the rear (#8-9). Key Points In #6, since you prevent his neck from moving farther f ward, he can move only his feet. This makes it easy for you to lead his ki upward with your right hand (#7). The move ments of your right hand should be like those in # the fingertips of your night hand, which were turned up at #7, are brought down toward the space between your part nner's eyes, Just before your hand contacts his face, switch its direction so as 10 move close by his cheek and straight down, This will lead his ki downward, Although your left arm should be around his neck, it must not steike him in the throat Written explanations of this technique are insufficient 10 attain mastery of the moves, because in real combat your part ner's attempted strike to your face may be powerful enovish to disconcert you. Nevertheless, a point-by-point analysis of the moves should be of helTest 1 When your partner tries to strike you, calm your ki in the single spot in the lower abdomen and avoid his ki entirely. Unless you do, it could immobilize your right hand (#10). Raise your right hand as you do in the ikkyo exercise (p. 22), except that here you must not move your hips. Just as in the exercise, however, once you have raised your arm, your partner should be unable to push it back toward you You want his strength to fall useless behind you (#11). No matter how intensely your partner aims at your face, you will deflect his ki from its purpose if you calmly raise your right hand, since the spirit governs the body's actions Test 2 : ‘Your partner, standing in the right hanmi, exerts all his effort to prevent you from pushing down his outstretched right arm, You try to force his arm down by pressing on his fore- ann with your right hand. Clenching your fist and tensing your arm is the wrong approach-(#12). Calm your ki in-the-single spot, relax-your right arm completely, and concentrate on locating all its ‘weight in the underside: then you can easily lower his arm, Raising your arm and striking down on his forearm will om result in a conflict with his strength and consequent frustration. But if you concentrate on keeping the weight of your arm on the underside and if you raise it naturally and then lower it again, your partner's arm will lower too (#13- 13%, Test 3 Stand in the right hanmi with your relaxed right arm tended forward. Your partner tries to raise your arm pushing it upward from the underside of your forearm, He cannot do so because, with your ki calm in the single 102. rremwrauesright As soon as you do, yo ner will be able to Many people thin in the truth is they have not. The § to compl spot in t and you can locate the weight of any p y Where you want it ‘laxation is the sing! your ki ther your bedy exa Test 4 Your partner is in the right hanmi, and you @ his right with your body turned forward. Wi hand, try to push his neck down. If you tense your arm, he wi cessfully resist you (#16). If, however, you bring'you down on his neck just as if you had swung it down from raised position, you can push his neck down easily (#17) Test $ This is a combination of test 2 and 4. Crouching slightly, lower your opponent's right arm with your right hand and his neck with your left hand. The move your hands from his body. He will uncon: sciously raise his head and attempt to return to his original Making us jody a fa saw hen over ba standing to your left tighten his neck and suc of this reaction, lead appli ward (#18-197 wxacr 10819, SHOMEN-UCHI KOTE-GAESHI i kokyu-nage, ex. This teshnique begins as the shomen cept that, instead of putting your left h neck as he ti hand (#1-3). As you lead him around geshi and throw him (44-7). Key Points At #3, the force of your left arm shox that of his right arm. Exte fore you apply @ kote-gaeshi Do not try to stop his right arm you were’going to fellow it all the way to the floor. If you are facing an armed opponent, take away his weapon either with your right hand when you apply the kote-gaeshi or 2 you have pinned him face down to the floor. direction 104. recumaves106 . recumaves 3 20. SHOMEN-UCHI IKKYO a. drimi Although you throw your partner with an ikkyo, much as you do in the kata-tori ikkyo (p. 72), since, in this technique, his attempted strike moves downward, it is easy for you to collide with his strength and difficult for you-to-force him down backward. ‘The irimi here, therefore, consists of turning your partner's strength against him Standing in the left hanmi, your partner tries to strike your face with his right hand. You are in the right hanmi with your arms just in front of your pelvic region, Maintain a mighty outpouring of ki from your hands and swing your arms up (#1-2). Raise his right wrist with your right hand and his right elbow with your left hand (#3). If you co tinue your push, your partner will turn his head away from. you and lean to his side (##4-5). Taking advantage of his lack of balance, step wide forward on your left foot, down him, and pin him to the floor (#6-7), Key Points At #1, direct a withering stream of ki at your partner even before he tries to strike and do not anticipate the upward swing of your arms. Hurrying could result in a direct col lision with his strength, {f you perform this technique to the commands for the ikkyo exercise (p. 22), you will see that correct timing calls for your hands to start swinging upward from your hips at the count of one and to be just ready to start downward at the count of two Your partner will begin his strike at the first count; you should begin your upward lift of his wrist and elbow at the second count. When you start your lifting push, his right hand should be somewhere near your forchead. The point is to force him to extend his arm completely ond then to create a situation of inertia against which he is powerless Your force and his should come together like the arrows in Fig. A; this will cause him to move on a line similar to the dotted arrow. If your forces collide, the result will be a stalemate like thut in Fig. BTest 1 If you block his strike before his arm is fully extended and try to push his arm back, you will experience difficulty (#8). Therefore, let his hand approach your forehead before you take hold of it with your right hand and his elbow with your left hand (#9) Allow his body to tighten. Then all you will need to do to force him off balance is bow in his direction (#10-11). Do not push him at #9, The secret is to do no more than bow This will clearly reveal the importance of letting his hand extend all the way to your forehead You might also grip the fingertips of his right hand and lead them downward (#13-16). This course of action, too. will produce the result in #12. Do not force him back. At the instant when your two forces come in contact, change the direction of his to an upward course and lead it further. Do not stretch your hands out too far: practice raising them just as you do for the ikkyo exercise and start the upward swing with your hands well in, Do not be afraid that your partner will strike your face. If you execute the tech nique properly, all of his strength will revert to him. b. tenkan When he begins to strike you, use the irimi-version timing, but leap around to his rear right as you raise your hands. Grip his right wrist in your right hand and his right elbow in your left. Lead him around in a circular motion, Turn your ‘own body to the right, and lower your partner's right hand to the floor (#17-21), Key Points ‘There should be no break in your emanation of ki throughout this technique, which should flow in continuous movement. Be particularly careful that you change the direction of your face and that of your spirit each time you turn your body. 108 . recrxraves24 19.2021. SHOMEN-UCHI SUDORT in the right ha Yo Fe the tet hanmi, takes one step forward on hi ¢ attempt to strike your face with his right hand (1-2), oes so, step slightly to the inside your left fc tin fF necessary, by putting y your body as low, rounded, and small As he starts to lower his hand for the strik finds only empty air w but he is ne act of you 2 ple over you and down (#4), Use this technique whenever your partne P strike you without ‘aking are fighting a pa is #52 Making you iy Key Point When your 5 rd r i plan away by look Instead, lead his k by looking upiim tonkan 142. recusaune 22. YOKOMEN-UCHI SHIHO-NAGE a. irtmi Having taken one step forward on his right foot, your partner tries to strike the left side of your face with his, right hand. You are standing in the left hanmi with the left side of your face turned toward him. Maintaining a powerful flow of ki from both hands and keeping your face toward him, turn your left hip to the left and take a step back on your left foot (#2-3). As he leans forward, seize the inside of his right wrist in your left hand Bring your right hand to your left hand, your right foot back and lower his arm (#4), notion, raise his right hand forward andto his left, usly, step lightly in front of him on the toes of your left foot (#5-6). Revolving on your toes an: using the action of your hips, make a complete turn to the right. This will bring your partner down on his back (#7) Follow him to the floor. pin his right arm down, and strike his face with your left hand b. tenkan To step #8, the moves are just like those in the irin Then, holding your partner's right hand lightly in both you hands, step on your left foot to his right side. As you turn your hips to the right, step to his right rear cn your cight foot (#9-12). Your tucn to the right makes use of the shiho- nage principle to throw him backwards (#13. At #13, you must step lightly on your left foot and follow up with a step on your right foot aimost as if the two move. ments were one. Do ni four partner's right hand till your right foot has touched the floor. The turn of your hips to the right will naturally give rise to a shiho-E Key Points Your partner must train a mighty flow of ki directly at you a as he strikes from position close to the right hanmi. If he does not face you resolutely it will be much too easy for you to escape, Do not move toward. him when he strikes, or you will be forced to receive his ki and his strength. | Wait patiently Where you are. Since he intends to strike you, his hand must come where you want it. Step outside of his line of attack— a line like that in Fig. A—and lightly and softly take hold of his right wrist as you might catch a ball. At the beginning his strike will pack plenty of power, but it must gradually weaken. Avoiding his arm at the peak of its power, seize it only after it has slowed down. You can get out of the line of attack of a partner who is none too strong by merely stepping back once on your left foot and bringing your right foot in. When your opponent is, powerful and skilful, however, one step back may be insufficient. Practice, therefore, taking big enough steps back to enablé you to escape the attack of any partner. The follow- S
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