Instructing Invisible Aiki I

REVIEW: ASPECTS OF MINIMAL MOTION AIKI

In the Takeshin System, Advanced Aiki Minimal Motion Waza takes 6 forms:
1. structuring/structural freezing
2. minimization: making standard waza smaller
3. compliance by pressure points
4. leading by technical shape (down-out-down, S-curve, Kana no shape)
5. friction techniques
6. misleading intention (fakes)
I. STRUCTURING
To learn how to structure an opponent, you frst must be able to structure yourself.
1. We use the post-meditation and the unbendable arm block to develop this skill.
2. Combining them, we then move on to taking blows from various angles.
3. Next, we move slightly toward the oncoming blows to give energy back to the opponent.
4. We can move the energy slightly after contact to guide the opponent.
5. With practice and the right opponent, we can similar results by anticipating the opponents angle of
attack and intercepting his intent. At this level sometimes contact is unnecessary and Invisible Aiki
occurs (re: #6 in Aspects of Minimal Motion Aiki).
II. VARIATIONS OF Wrist Off
This preliminary off-balancing motion, at a higher level, becomes Aiki Sage and can be applied as a
takedown.
III. VARIATIONS OF TAKESHIN SHOMEI ODORI
This basic wrist release, Bamboo Spirit Proof Dance, at a higher level, becomes Aiki Age and can be
applied in, out, vertically, and horizontally.
IV. VARIATIONS OF KAO ATE
This Face Strike release is Aiki Age on its side and can be applied with several hand positions at various
amounts of rotation.
V. VARIATIONS OF TEKUBI-WA ODORI
Wrist Circle Dance is hidden within the intermediate techniques of kagi and te-hana-odori but can also be
used to structure, off-balance, or throw the opponent.
VI. VARIATIONS OF MAE KUBI SHIME ODORI
Front Neck Choke Dance can be applied without using hands and can be adapted to structure the
opponent when he attempts to push.
VII. MINIMIZATION
With or without structuring the opponent, we can capitalize on angles and shapes at which the opponent tends
to be maximally responsive.
VIII. VARIATIONS OF KAGI OR KOTE MAWASHI
IX. VARIATIONS OF UDE OTOSU ODORI
X. RETURN TO STRUCTURING WITH KATATE OSAE