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This document provides an overview and summary of the free ebook "Aikido 1,2,3". It states that the ebook can only be used for personal non-commercial use and any errors should be reported. It was made available on July 15, 2014. The book presents the author's view of Aikido and includes videos of techniques that can be viewed by clicking icons. It will be updated over time with additional videos. The book was translated into English by several individuals and is intended to show the connection between techniques performed with and without weapons.
This document provides an overview and summary of the free ebook "Aikido 1,2,3". It states that the ebook can only be used for personal non-commercial use and any errors should be reported. It was made available on July 15, 2014. The book presents the author's view of Aikido and includes videos of techniques that can be viewed by clicking icons. It will be updated over time with additional videos. The book was translated into English by several individuals and is intended to show the connection between techniques performed with and without weapons.
This document provides an overview and summary of the free ebook "Aikido 1,2,3". It states that the ebook can only be used for personal non-commercial use and any errors should be reported. It was made available on July 15, 2014. The book presents the author's view of Aikido and includes videos of techniques that can be viewed by clicking icons. It will be updated over time with additional videos. The book was translated into English by several individuals and is intended to show the connection between techniques performed with and without weapons.
In accessing this ebook, you agree that you may only download the content for your own personal non-commercial use. You are not permitted to sell, print, adapt or change in any way the content of this ebook for any other purpose whatsoever without the prior written permission of the author. Please use the Adobe Acrobat Reader latest version. This ebook version was made public on July 15, 2014. The book presents my point of view about Aikido, and I understand that others may have different opinions. At the beginning of each chapter, there is an icon on the left and / or right of the image in the middle. If you click on it, you can see Aikido in motion. Right clicking will enlarge the window, so you can see it better. I suggest you to not excessively increase the window's size because the images will be blurry. That is because I used small images in order to keep the ebook small in size. The book will be enriched over time with related films including techniques with and without weapons, so be sure you always visit our website to download these annexes. Please notify us of any errors of translation or interpretation, in order to correct them. With all my friendship, Dan Ionescu Foreword Dan Corneliu Ionescu AIKIDO 1,2,3 Cover - Bogdan Fratila Drawings Radu Petrescu Graphic presentation of the chapters Mariusz Szmerdt English translation Rares Barsan, Liviu Iordache, Radu Lascar, Andrei Dobre, Bogdan Fratila Dan Corneliu Ionescu - AIKIDO 1,2,3 1 Foreword The biggest weakness of our thinking is the overestimation of what is known in relation to what remains to be known. FOREWORD Perhaps the readers will ask: why "Aikido 1,2,3 " ? I wanted this title to remain in the mind of Aikido practitioners as a reference for an execution pattern of an Aikido technique. Reading the book you will see that an Aikido technique is generally done in three steps. One step is necessary to avoid or block the attack, another one to unbalance the opponent and the third one to apply the Aikido technique, a throw or a lock. Of course, this is a general pattern of execution and depending of each practitioner skill level, one step may take one second, one fraction of a second, more or less. In a bigginers case these steps may take more seconds, but if we reffer to a master a step may be a mere fraction of a second and hell be able to compress and merge the movement so that the three steps become two and then only one. This means that our master will execute the technique in the same time with the agressors attack or even faster then the agressors complete attack. Dan Corneliu Ionescu - AIKIDO 1,2,3 2 In this book I have described basic techniques against attacks with and without weapons and it is intended for Aikido practitioners and instructors. Foreword I hope they will enjoy it. Same as in my previous books, I used first person so that the reader will feel that he/she is taking part,directly, in the execution of the Aikido techniques. What makes this book special is that Aikido techniques are presented in various types of execution, without weapons, with Tanto, with Tambo, with J o, with Boken and with Tessen. Because in Aikido the training with and without weapons is done in different periods of time, these techinques although related, are described by most of the Aikido books separated, usually in different volumes accordingly with the natural evolution of the students skill but without any connection between them. Grouping the different variations of the same Aikido technique in one continuos presentation, allows the reader to see the natural connection between them, to understand the universality of Aikido techniques and the fact that doesnt matter if we use weapons or not, Aikido is the same. Because the drawings or the photos are sometimes not explicit enough when dealing with a dynamic technique, some techniques in this book can be seen "in motion" by pressing the button accompanying them. I thought that this method of seeing a technique in motion will make it easier to understand how the technique should be executed. Aikido techniques drawings were made by Radu Petrescu. Graphic presentation of the chapters was made by my friend Mariusz Szmert, from Poland. This book was translated into English by my colleagues from Romania, England, Canada and United States of America: Rares Barsan, Liviu Iordache, Radu Lascar, Andrei Dobre and Bogdan Fratila. I am deeply grateful for their efforts, which is why I feel obliged to briefly introduce them:" Mariusz Szmerdt Mariusz Szmerdt of Poland is a highly accomplished ink painter who exhibits widely and is a member of the International Chinese Calligraphy & Ink Painting Art Society (ICCPS), Tokyo, J apan. Introduced at a young age to Asian culture and subsequently to the martial arts, his art is deeply influenced by Zen Buddhism. Dan Corneliu Ionescu - AIKIDO 1,2,3 3 His accompanying passions are photography and mountain climbing to which he has been devoted for some 20 years. He cites as his mentors nature, intuition, and books. Foreword He also finds a lot of inspiration for his art in meditation. His paintings are in the collections of many famous martial art's Masters. For more information, please see his website at http://sumi-e.pl Rares Barsan Rares was born in Bucharest in 1976, hes an economist graduated of ASE Bucharest and working at the moment for an investment company as executive manager. He started performace sports with swimming, between 1981-1989, than Aikido in 1993, with shihan Dan Ionescu, took a break for a few years, then started again in 2004 and never stopped since. Hes a 3rd Dan black belt with his own club and vice- president of Romanian Aikido Federation. His hobbyes are: sport, travel, motorbikes and cooking. And the proud owner of a Golden Retriever. Bogdan Paul Fratila He is a 6th Dan black belt, official instructor, Vice- president of the Romanian Aikido Federation (FRA) and Board Member of the European Aikido Confederation. He is a certified trainer of the Romanian National Center for training and coaches - National School Coaches and the Ministry of Youth and Sports. Over time he practiced boxing, karate shotokan, taekwondo, but his heart has remained in aikido, which he practiced it continuously since 1993. Experience as a coach with adults since 1997, and with children since 2002. He loves sports and social activities. Liviu Iordache Liviu born in 1975, has been studying Aikido since 1997, alongside a vast variety of other martial arts styles, which include many empty handed and weapons techniques. Dan Corneliu Ionescu - AIKIDO 1,2,3 4 Being a very dedicated teacher for both adults and children alike, he believes that martial arts can develop your physical and mental abilities along with compassion and sense of righteousness. Abilities that you will benefit from, in your day to day life as well. Since his arrival in the UK, in 2010. Hes a 3rd Dan black belt Aikido. Foreword Liviu Iordache has opened the Aikido Club Peaceful Warriors and he has been teaching self-defence classes for adults and teenagers. Radu Lascar Born in Bucharest in 1966, he graduated the Bucharest Polytechnic Institute as an engineer. After few years of working in Bucharest, he moved to Canada here hes working as an IT consultant for various financial institutions. From young age he enrolled in team sports like soccer and rugby and from 1984 to 1991 he learned and trained in Aikido with shihan Dan Ionescu. Hes a 3rd Dan Aikido and instructor of Romanian Aikido Federation. His hobbies are: playing squash, jogging, motorcycle trips and escaping to warm Caribbean islands during the long Canadian winters. Andrei Dobre Andrei started his Aikido journey in 1998 in the beautiful Danube river town of Braila, Romania. He was 16 and very eager to learn; He joined the only Aikido Dojo in town under Sensei Sorin J oghiu, who became his lifelong friend. He was just a teenage boy that knew next to nothing of martial arts and had never heard about Aikido before. He kept practicing ever since. He started his college years in 2000 and moved to Bucharest were he started training in my Dojo. I awarded him his first Dan degree later that year, the second in 2004 and the third in 2013. Opportunity carried him and his wife to Seattle, US, in the autumn of 2008, working as a software engineer. After ten years of constantly training, he found himself starting in what he calls the inner Aikido research period. His lifelong dream is to build his own dojo somewhere on the planet. This book was made with the aid of instructors of the Romanian Aikido Federation: Alexandra Vasilescu, Florina Raduca, Alexandra Lemnaru, Andra Negulescu, Gabriela Fratila, Bogdan Fratila, Sorin J oghiu, Nicolae Mitu, Luis Turcu, Tiberiu Aluas, Marian Albeanu, Iulian Bosoi, Lucian Dan, Victor Bubulac, Ciprian Budes, Eugen Matei, Romeo Simici and Paul Baiasu. Dan Corneliu Ionescu - AIKIDO 1,2,3 5 I dedicate this book to them and to all other Aikido instructors in Romania. Their merit in the promotion and development of Aikido is fundamental. Foreword Alexandra Vasilescu Florina Raduca Alexandra Lemnaru 6 Dan Trainer 4 Dan Trainer 4 Dan - Instructor Gabriela Pomirjanschi Andra Negulescu Gabriela Fratila 3 Dan - Instructor 3 Dan Trainer 2 Dan - Instructor Sorin J oghiu Luis Turcu Nicolae Mitu 6 Dan Instructor 4 Dan Trainer 4 Dan - Trainer Dan Corneliu Ionescu - AIKIDO 1,2,3 6 Foreword Tiberiu Aluas Marian Albeanu Ciprian Budes 3 Dan - Trainer 3 Dan - - Instructor 2 Dan - Instructor Victor Bubulac Iulian Bosoi Lucian Dan 2 Dan - Instructor 2 Dan Instructor 2 Dan - Instructor Romeo Simici Eugen Matei Paul Baiasu 1 Dan Instructor 2 Dan Instructor 1 Dan - Instructot Dan Corneliu Ionescu - AIKIDO 1,2,3 7 Foreword To facilitate the understanding of this book please note the following: - Some techniques are presented in more detail because they are more commonly used - Drawings and pictures are to be looked at from left to right and top to bottom, if not explicitly numbered. - The weapons and non-weapon techniques are significant different because the weapon techniques respect only the governing principles of Aikido. A weapon is meant to strike or maybe block and is hard to grip to an Uke using a Tanto, Tambo, J o, Boken, or Tessen. Because of this, the techniques will likely be different as the technique complies with the idea, the principle, and less with the details. - The book doesnt describe all the variations of the basic techniques, nor the techniques relating to all types of attacks, due to lack of book space. For the same reason, only some techniques are presented with their positive and negative forms, and if I insisted in some cases on the weapons techniques, this is because they lend themselves better for such purpose. - In many cases, I presented the same technique performed by different individuals, so the reader may observe different ways of execution, so he/she may understand what freedom of execution means. Dan Corneliu Ionescu - AIKIDO 1,2,3 8 Foreword
O Sensei Morihei Ueshiba by Tadashi Abe
"He who lives only for himself does not exist for the others"
Master Morihei Ueshiba was born in Tanabe, a harbour city defended by the family castle of Daimio Kii (Kishu). The province in which Tanabe was situated was under the control of the Tokugawa Shogun, who was living most of the time in the city of Wakayama, city which was administrated at that time by the Tokugawa Daimio. Later the Kii family full control of the city of Wakayama. The grandfather of master Morihei Ueshiba was a samurai of Kii family and his name was Kichiemon. He had the opportunity to study the method named Aioi-Ryu, based on Kendo-Aiki-Tai-J utsu techniques. This discipline was taught in secret and only in verbal way, by the master of the school. The interdiction of making a certain method of fighting public was named Ottomeryu and this was the reason why nothing was passed in writing about the techniques studied by the grandfather of master Ueshiba. Therefore it is impossible to determine dates or facts related to this method, which we could place in J apans past and the few documents that exist are not easy to obtain. Dan Corneliu Ionescu - AIKIDO 1,2,3 9 Ottomeryu, keeping in secret information about techniques and fighting methods, was applied in all the big japanese families. This explains the big diversity or fighting techniques in that era. Foreword
Basically each important family was working hard to put together their own technique in secret, techniques which were meant to surprise the enemy in case of a fight. Much later, in 1886, J igoro Kano, the first master who decided to make public his fighting techniques, created his own school by selecting the most efficient moves and fighting techniques. In those times, J igoro Kanos contemporaries, especialy the young generation, was very confused. Morals, honor and the fighting spirit was seriously in decline. J igoro Kano thought that revival of the Bushido principles and the posibility of the young generation to have acces to a new Martial Art geared towards peace, might revive the ancient samurai spirit. They were hoping that societys ethics and especialy young generations ethics will be strenghtened by the aplication of Bushido Code principles. That was the situation when J udo was created at Kodokan. It is said that Ueshibas grandfather had an unusual strength and together with his Budo techniques it made him a skillful and fierce warrior. His numerous fighting deeds became legend and maybe one day we will present them to our readers. His son, Yoroku Ueshiba, master Morihei Ueshibas father, was priviledged with good study conditions and became himself Shihan of Kii family, where he taught the Aioi-Ryu method. Like his father, Yoroku was gifted with exceptional physical strength, which allowed him to lift two rice sacs at once. In those times a rice sacs weight was around 65 kg. In November 1882 Morihei Ueshiba was born, naturally gifted with a weak physical constitution, but with an exceptional memory and inteligence. At 6 years old he had memorised Shishogokyo The classic chinese philosophical history, and at 14 years old he was passioned about trigonometry and integral calculus and he had fun doing complicated multiplications and divisions in his mind, faster than the kids who were doing it with pen and paper. His poor health made him interrupt his studies and for conquering his physical handicap, he decided to study martial arts. He began by training with his father and learning Aioi-Ryu method until 15 years old, when his father decided to send him to continue his instruction to Tokyo at his friend Shihan Tozawa Tokusaburo, one of the best teachers of the moment, who was teaching the Kitoryu method. Morihei Ueshiba was taught by master Iso, the assistant of Tozawa Tokusaburo and by master Fukuda. J igoro Kano studied with master Fukuda as well, in fact he came especialy to learn this famous method, which will be his inspiration for the main grabs of his own school (1886). Dan Corneliu Ionescu - AIKIDO 1,2,3 10 His will to succeed made Morihei overcome the difficult stages very fast. Foreword
After a while, Master Tozawa Tokusaburo took control over Morihei Ueshibas teachings and as a result of his progress Master Tokusaburo decided to write a letter of recommendation and to send him to Osaka, the center of J apan, to his good friend Master Nakai Msakatsu to learn the Yagyu-Ryu method (a special form of J u-J utsu). Master Masakatsu was well known for this fighting deeds. He had a short stature and very thin, he was 1.55 m tall and he weighed only 56 kg, but his determination, self control, and his technique attracted everyones admiration. Very tough with himself and with his students, he had obtained excellent results as a teacher. His dominant feature was his severity. His lack of sensibility in his manner of thinking and his frank answers didnt always appease the big families. Nevertheless, his school had a good reputation because it applied the Bushido rules in a very strict manner. It is said that one day master J igoro Kano came to see Shihan Masakatsu to ask advice about including J u-J utsu techniques in his J udo school, specific to the Yagyu-ryu method. Since master Masakatsu wasnt there at that moment, one of his students named Inoue challenged J igoro Kano. To understand better what this means, we must remember that in those days every school was secret, no one outside the school had any idea what that school teaches and thats why it was difficult to say which method was the most efficient. So how a test of worth could have been done in this conditions, if the methods and their efficiency couldnt be compared ? Also, they couldnt have competitions because a set of rules to evaluate the efficiency of each school and method was impossible. In this situation only a straight fight could prove the superiority of a school, method, or a particular fighter. The two adversaries, Inoue and J igoro Kano, bowed to each other and got ready for the confrontation, each of them on his side of Tatami. The fight was about to start from the distance named Rikaku (the equivalent of the natural distance). The main rule in such contests was that the fight couldnt be stopped unless one of the fighters called Maita , which means he declared himself defeated by the technique or the efficiency of his opponent. Dan Corneliu Ionescu - AIKIDO 1,2,3 11 Very often the fight was finished with one of the fighters injured, thats because the schools honor was at stake and many fighters preffered to let themselves choked or to have one joint dislocated rather than to admit defeat. Foreword
Any technique was allowed, there was no rule to forbid a certain technique or strike and if weapons were involved, wooden weapons could be used as well as the ones from blunted metal. Because there was no referee to coordinate the fight, the only referee was the honor of the two fighters involved in the duel. Since this kind of challenge was used to prove the superiority of the techniques and the efficiency of the school, most of the time this challenge was set by the best masters of that school. The fighter who was challenged and accepted the fight wasnt dishonored in case he lost, but the challenger consider himself dishonored and in many cases the fights finished with a seppuku. Master J igoro Kano accepted Inoues challenge, who weighed 110 kg and was 1.80m tall and 25 years old, compared with the 40 years of J igoro Kano, who wasnt taller than 1.68m and heavier that 70kg, but J igoro Kano has seen many things in his life and he accepted many challenges. Fortunately the fight didnt take place, because master Nakai Masakatsu was informed in time and he became very angry when he found out about it. He called his disciple and he applied him a very severe penalty for this lack of respect towards a Shihan like J igoro Kano and because he did it without asking his permission. The penalty was to declare Inoue as Hamon , which means completely banned to ever practice martial arts. This was the biggest punishment for a disciple, because no school and no teacher could accept a student with such an interdiction. Inoue, who thought that he was doing only good by defending the honor of his master and his school, was very suprised by such a decision, he appologized to J igoro Kano and he asked that his punishment to be turned in a different one, so he can continue his studies. Master J igoro Kano being an understanding person spoke for him and the Hamon interdiction was withdrawn. Inoue learned that the difference of age and hierarchy between a student and a master can turn such a challenge in a big insult, which the Bushido Code harshly condemns. This event boost Master Nakais reputation, who was appreciated especially for the severity of his teachings, severity that later was adopted by many masters in their schools. After this event, many masters visited Master Nakai and asked for permission to apply his methods. Shihan Yokoyama Chubei, expert in Naginata and Master Handa, expert in Daito-Ryu-J u-J utsu, were the first masters who adopted his teaching method. Dan Corneliu Ionescu - AIKIDO 1,2,3 12 Master Morihei Ueshiba stood 10 years next to this great expert to study his technique and perhaps he would have carry on his studies if the war with Russia (1904-1905) wouldnt have started. Foreword
In 1903 Ueshiba enrolls in infantry Regiment 61 where he receives the sergent rank for special merits in the Manciurian campaign. He is called by his brother in arms by the name Heitai-No-Kami-Sama, which means Soldiers God, because of his skill and efficiency in the bayonet fight. At 24 years old he refuses his commanders offer to sign up for the Military Academy because to do your duty for your country is one thing and to love war is a different thing . Peaceful and passionate by nature, Ueshiba returns to Master Nakai to carry on with his studies and finaly he obtains the Menkyo degree. So Menkyo was very difficult to obtain and if we think about the Yagyu-Ryu school, it was even harder to obtain because Master Nakai was very strict when it comes to teaching and giving degrees. In April 1909 Morihei Ueshiba goes to Hokkaido to lead a group of 300 colonists and their families, intent on reviving this abandoned region. Surprisingly, the difficult life helps Ueshiba to regain his health. The harsh climate, the hard training with his young students, horse riding and swimming completed the healthy life he had on his farm. In 1910 Morihei Ueshiba meets Sokaku Takeda while he was in one of his short trips to Enkalu, a small town of the Hokkaido Island. At 60 years old Master Takeda wasnt taking disciples anymore to teach the Daito-Ryu-Aiki-J u-J utsu method, which made him famous in J apan. To become one of Takedas students the rule was that the candidate must pass a test of tenacity and rigor by making full service as a servant of the Takeda family, to convince the master about the sincerity of his intentions. At the smallest doubt that his intentions werent sincere, the student was rejected. Regarding the first meeting of master Takeda with Ueshiba, it concluded with the proposal that Morihei Ueshiba start to study Daito-Ryu, an offer that Ueshiba accepted with great respect.
The Daito-Ryu Method appeared almost a thousand year ago and its beginnings can be found in the Genji family method of fighting. This method changed over time, until it became the form of Takedas method. Master Takeda was born in Aizu (300 km north of Tokyo, Fukushima prefecture) in 1830. Aizu had the reputation of a Bushido city because the samurais from the north were very faithful to the lords which they served. A very well known story in J apan shows us this state of mind. This event happened during the revolution of 1867. Dan Corneliu Ionescu - AIKIDO 1,2,3 13 The Aizu Lord, devoted to the Shogun, sent his guards to defend the Emperor. Regardless of their courage and their loyalty, the guards were surrounded by enemies with fire weapons and they were in the situation to choose between death and surrender. Foreword
Among the samurais of these guards there was a group of cadets called Byakko-Tai (White Tigers troups). The leader of the Aizu guards decided to save the life of these young cadets and ordered them to retreat. In the beginning they refused, but in the end they were forced to follow the order. From the 32 cadets which formed the Byakko-Tai only 16 were still alive. Instead of running, they climbed the Umoriyama hill and when they finally realised that any chance of victory was hopeless, they committed seppuku to save their samurai honor. Master Takeda, who was too young to be part of Byakko-Tai, was very affected by this event and he swore revenge on Mushashugyo the fighters who took part in the rebellion. Takeda was a strange man. He was wearing under his outfit, wrapped around his body, a special cotton cloth covered in a special paper which made the tip of the Katana to be deflected and so the wound to be lighter. Also, he had with him on his belt, a dagger and a Tessen (war fan), which was his favorite weapon. There were many stories about him and his bloody deeds. It is told that one night he found himself into a street fight between 2 brigands gangs and because he was involved without his will in the fight he left on the ground 30 wounded and the others ran away, being scared by Takedas cruelty. Because he had many enemies, if he was visiting someone he would take all the precautions, he was carefuly checking the garden, the house surroundings, behind each door and in the hidden places and only after all these areas were safe he would pick a place that gave him the possibility to have a good view without being taken by surprise. He never ate or drank whatever was offered to him and he appologized saying that he brought with him everything that he needed, food and drink made by his best disciple. Master Ueshiba learned all he desired, even the most secret techniques, having complete trust in Master Takeda who gave him the Menkyo-Kaiden title in 1915. Master Ueshiba applied the Daito-Ryu principles to the methods studied by him in the past. These were the Budo schools: Kiko-Ryu (J u-J utsu which stood at the base of J udo), Shikage-Ryu (Kendo and J U-J utsu), Hozoin-Ryu (spear techniques), Takenouchi-Ryu (special method of J u-J utsu), Tenshi- Ryu (Kendo with J o-J utsu and Tai-J utsu), etc. Master Morihei Ueshiba studied until 1920 all these techniques from the perspective of the Daito-Ryu principles. Dan Corneliu Ionescu - AIKIDO 1,2,3 14 In this way he created a new Budo method, which he named Aiki-Budo with Master Takedas consent. Foreword
Spending his life looking for the best way, he had the revelation that the purpose of Budo is to achieve victory through peace and from that moment he decided to change the name of his method from Aiki-Budo to Aikido.
Important moments in the life of the Founder of Aikido - 1883-1969
1882 - J igoro Kano creates J uku Kano School, prior to the Kodokan School 1883 - Morihei Ueshiba is born on December 14th, in Tanabe, Kii Province Wakayama prefecture 1901 - He moves to Tokyo in September and works together with his relative Koshiro Inoue. He studies Tenshin Shinzo-Ryu with Tokusaburo Tozawa in Tokyo. Possible short studies in Shinkage-Ryu sword school. 1903 - He marries Hatsu Itogawa in Tanabe He enrols in 61st Infantry Company in Wakayama 1904 - Russian-J apanese war begins. 1905 - He leaves for Manciurian battle front. 1906 - He finishes his military service and returns to Tanabe 1908 - He receives J u-jutsu Yagyu-ryu certificate (probably Goto-ha Yagyu Shingan-ryu) from Masanosuke Tsuboi (or Masakatsu Nakai). 1909 - Kodokan J udo headquarters is established 1910 - He leaves for Hokkaido to evaluate development projects with government-sponsored lands. He returns to Tanabe quickly. 1911 - Possible short J udo studies with Kiyoichi Takagi in Tanabe. His first child, a dother named Matsuko, is born. 1912 - He leads emigrants from Kii province to Aza-Shirataki province, Kamiwakibetsu village, Mombetsu, Hokkaido. 1915 - He is introduced by Kotaro Yoshida to Sokaku Takeda from J ujutsu Daito-Ryu in Hisada Inn, Engaru 1916 - He engages in studying and training intensively in Daito-Ryu Aikijutsu 1917 - His first son, Takemori is born on J uly. 1918 - He works as city councilman in Kamiwakibetsu village between J une 1918 and April 1919. 1919 - He leaves Hokkaido in December because of his fathers illness. He donates all his land and assets to his teacher Sokaku Takeda. 1920 - He meets Onisaburo Deguchi, head of Omoto-kyo cult from Ayabe. His father Yoroku dies in J anuary. He arrives home in Tanabe shortly after his fathers death. He moves with his family in Ayabe, Kyoto Prefecture, place of the Omoto-kyo cult. He builds Ueshiba J uku Dojo next to his home. His second son Kuniharu is born in April. His eldest son Takemori dies in August. Dan Corneliu Ionescu - AIKIDO 1,2,3 15 His second son Kuniharu dies in September. Foreword
1921 - His mother Yuki dies. Sokaku Takeda visits Ayabe with his family and stays there from 28th April to 15th September. He receives Kyoju Dairi from Takeda which qualifies him as a certified Daito- Ryu instructor (September). Kisshomaru Ueshiba was born on J une 27, 1921, in the city of Ayabe, Kyoto Prefecture. He was the third son and fourth child of Morihei Ueshiba and Hatsu Ueshiba (ne Itokawa). Kisshomaru Ueshiba began training under his father around 1937. 1924 - He leaves for Mongolia with Onisaburo Deguchi to establish an utopic community (from February until J uly). 1925 - He holds special demonstrations in Tokyo for high ranking officers and dignitary. 1926 - Kenji Tomiki begins his training. 1927 - He moves to Tokyo with his family. He establishes a temporary Dojo in the billiard room of the Count Shimazu Inn in Shiba, Shirogane in Sarumachi. 1928 - He moves to Shiba, Tsunamachi in a temporary Dojo. 1929 Hi moves with his family in Shiba, Kuruma-machi and builds a temporary Dojo. 1930 - He moves in Shimo-ochiai, Mejiro. J igoro Kano, the founder of J udo, observes Ueshibas lessons in Mejiro and sends some students from Kodokan, including Minoru Mochizuchi, to study Aikido. 1931 - He dedicates himself to Kobukan Dojo in Ushigome, Wakamatsu-cho. Sokaku Takeda holds seminaries at Kobukan Dojo between 20th March and 7th April. Ueshibas name appears in Takedas registers. (Rinjiro Shirata enters Kobukan). 1832 - Budo Senyokai (The Society for Martial Arts Promotion) is founded with Ueshiba as leader. Gozo Shioda enters Kobukan. 1932 - The technical manual Budo Renshu is published. 1937 - Ueshibas name appears in Kashima Shinto-ryu recording book next to Zenzaburo Akazawas. 1938 - The technical manual Budo is published, containing photos of Ueshibas techniques. 1939 - He is invited to teach in Manchuria. 1940 - He attends The Martial Arts Demonstrations Championship in Manchuria celebrating J apans 2600th anniversary. Koichi Tohei enters Kobukan. Kenji Tomiki receives the 8th Dan from Ueshiba himself. Kisaburo Osawa enters Kobukan. Dan Corneliu Ionescu - AIKIDO 1,2,3 16 1941- He holds demonstrations organised by Admiral Isamu Takeshita in front of Imperial Family at Saineikan Dojo. He teaches at the Military Police Academy. Foreword
He is invited to teach in Manchuria for the Universitary Week of Martial Arts. He becomes martial arts consultant for Shimbuden and Kenkoku University. 1942 - The name Aikido becomes official and is registred at the Ministry of Education. He is invited in Manchuria as representative of J apanese martial arts and assists at the Manchurian-J apanese Martial Arts Exchange Demonstrations celebrating 10 years of independence for Manchuria (August). He moves to Iwama, Ibaragi prefecture. Kishomaru Ueshiba becomes director at Kobukan Dojo. 1943 - The first Aiki shrine is built in Iwama. 1945 - Kobukai Foundation ceases its activity because of a post-war martial arts interdiction. Iwama Dojo is completed. 1946 - Morihiro Saito enters Iwama Dojo. 1947 - Sadateru Arikawa enters Aikikai Hombu. Hiroshi Tada enters Aikikai Hombu. 1948 - He is engaged in farm activity, intense training and meditation in Iwama. Aikikai Hombu Dojo moves to Iwama, with an office opened in Tokyo. Kishomaru becomes Aikikai Dojo headmaster. 1949 - Regular training at Tokyo Dojo. 1951 - Minoru Mochizuchi leaves for France to teach J udo and Aikido. 1952 - Koichi Tohei receives 8th Dan from Ueshiba. 1953 - Koichi Tohei leaves for Hawaii for one year initially. 1954 - Yoshinkan Aikido Dojo is opened in Tsukudo Hachiman. 1955 - Aikikai Hombu (headquarters) is moved from Iwama back to Tokyo. A few foreign dignitaries assist at a demonstration by Ueshiba arranged by Andre Noquet at Aikikai Hombu Dojo. 1958 - He appears in USA televisions documentary Meeting with adventure. Kenji Tomiki founds Waseda University Aikido Club in April. 1960 - He is awarded with The Medal of Honour with Purple Ribbon, by the J apanese government. 1961 - He is invited in Hawaii for the opening of Aikikai Honolulu School (February). He appears in a television documentary produced by NHK. All-J apan Student Aikido Federation names Ueshiba as president. 1963 - All-J apan Aikido Demonstration is held for the first time in Hibiya Kokaido (Octomber). 1964 - He receives The Sunrise Award 4th Class as founder of Aikido. 1968 - A new building dedicated to Hombu Dojo is build. 1969 - He holds a final demonstration on J anuary 15th at Kagami Biraki celebration. He dies because of liver cancer on 25th of April He becomes honour citizen of Tanabe and Iwama. His wife Hatsu dies in J une. Dan Corneliu Ionescu - AIKIDO 1,2,3 17
Foreword
TADASHI ABE
Born in 1920, Tadashi Abe is from a rich family and very well situated at the imperial court. His father owned few mines in Korea and he used a part of his wealth to support Aikikai centre. This type of patronage was in those days something usual among the business men in J apan who understood to encourage the old fighting traditions of J apan. Very soon, Tadashi Abe became the disciple of O Sensei Ueshiba. Besides him, there was another member of his family who followed the path of Aikido, we talking here about Yamada, his nephew, who later became one of the people responsible with the American Aikido. Tadashi Abe shaped himself in a specific era of J apan, when the martial arts trainings had to build the character of the young people, and to literally make warriors out of them. In those days Aikido was under the government rules, lead by admiral Togo and the majority of O Sensei students in that period were navy officers. For a better understanding of that specific era and the way of practicing Aikido, I must tell you a story which shows you better the way of acting of the founder of Aikido. One day, Tadashi Abe was in the locker room with one of his students, getting ready for the training. Seeing the body of his master, the student was surprise to see so many scars of all kind. Drove by curiosity, the student asked where he got those scars. Dan Corneliu Ionescu - AIKIDO 1,2,3 18 - Grading exams, the answer came. Foreword
He carried on with the story in front of his amazed student: - These are the results of the degree exams sustained with O Sensei. The Founder chose a group of us and we went to the port. There, he sat at a coffee shop in front of a massage parlor. He order a beer for him and we were sent inside the massage parlor to test our level of skills against the sumo wrestlers who owned the parlor. Of course, the fight was real being allowed any means and weapons such as staffs, knives and bottles. From there I have these scars. In the next day the master gave us the degrees according to our performance.Shodan for some of us, Nidan or Sandan for others.
When Tadashi Abe arrived in France, no one heard about Aikido except few people who met Master Minoru Mochizuki. Master Mochizuki came in France in 1951 to conduct few J udo seminaries and to sensitize the public opinion towards Aikido. Unfortunately, his vehemently anti-nuclear attitude, lead very soon to his banishment. It seems that at his arrival back in J apan he asked Master Ueshiba to name someone to introduce Aikido to France. So thats how, one day, a young J apanese, with a small suitcase and wearing some strange green socks sewed with red wool threads, was seen disembarked to Marseille harbor. His name was Tadashi Abe and he was 6 th
Dan in Aikido. We must put ourselves in the context of that era and to remember the tough conditions Tadashi Abe was designated to teach Aikido in France. No one heard about him and on top of that, he didnt know the French language or any other language except J apanese. In France, besides J udo, none other martial arts were known in those times. So he went to visit the J udo Dojos first to make Aikido known by the others. J udo in that time was conducted by another great expert, Master Kawaishi. Tadashi Abe met the master, who advised him to do what himself did in J udo, that is, to structure Aikido into a form of a series of techniques, to have some meaning for his European students. It seems that in those days Master Morihei Ueshibas Aikido wasnt structured and organized like it is today. Master Kawaishi advised Tadashi Abe to establish a number of techniques and knowledge necessary for each black belt level: 1 st Dan, 2 nd
Dan, etc. Another important problem was, how and to whom to teach ? Dan Corneliu Ionescu - AIKIDO 1,2,3 19 Back in those days, the J udo classes, were organized in a special manner, meaning that the last half hour of training time was kept for J u- J utsu. Foreword
In those Dojos which welcomed Tadashi Abe, they replaced J u-J utsu with Aikido, which was named in the beginning superior J u-J utsu. Kawaishi convinced him that the Europeans were less receptive to a traditional way of teaching, where the master is teaching according to his inspiration and he advised Tadashi Abe to adopt a European didactical method. He followed, for the most part, this advice, but he kept a very traditional line of teaching. So thats how, in the first years he taught only Shomen Uchi Ikkyo which, according to his beliefs, was the fundamental principle. He thought that if we dont master this form, we cant carry on. We couldnt say that this was a proper way to spread Aikido to the French students and for this reason only those who loved Aikido or the stubborn ones remained in the Dojo.
Tadashi Abe understood only the martial aspect of Aikido and his form of practice was very personal. He was teaching the techniques showing only the forward form. Because he was gifted with a great physical strength, his students remembered, that when he was doing Shiho Nage, they felt themselves literally sucked by his motion. In eight years he put the base of this edifice which will be the benefit of his successors, experts like Noro, Nakazano and Tamura. We could ask ourselves which were the reasons that Aikido had such a great success. Besides the sincerity and the talent of Tadashi Abe and the enthusiasm of his students, probably the dynamic and the beauty of Aikido made that this martial art to thrive in a world conquered by J udo. The J udo practiced in those time was statical and he was similar with the close-combat fighting style which is taught in the army. An opponent is grabbing you and you have to clean the way. In opposition to all these, Aikido teaches you that you must react before the grip is complete. You must anticipate, feel the attack and react before its too late. This way of practice was new for that age and many judoka couldnt remain idle to this form of practice. This is the reason that many great J udo masters became students and later masters of Aikido. One of them was Master Daniel Brun 9 th Dan Aikido and 5 th Dan J udo, the founder of the Traditional Aikido French Federation, the one who passed on the school of Tadashi Abe.
Dan Corneliu Ionescu - AIKIDO 1,2,3 20 After he spent eight years of his life in France to spread Aikido, one day, considering that his mission was accomplished,Tadashi Abe returned to J apan. Foreword
In the Sixties in J apan, where the young generation was interested only in base-ball and admired only what was made in America, Tadashi Abe blames Aikikai for getting rid of the martial spirit, of Budo, which only purpose was to shape the people. He left Aikido, but he kept a good relationship with the son of the founder, Kishomaru Ueshiba. Tadashi Abe passed away at the end of the year 1984 due to natural causes, in his bed, while he was sleeping. For all of us Tadashi Abe will remain a great master, the one who brought Aikido to the Europeans.
DANIEL ANDRE BRUN
Born November 14, 1925 in Bordeaux, Daniel Andr BRUN began his martial arts study by practicing wrestling in 1935. Then began practicing J udo in 1946 until 1980, alongside high-level Masters in the French Federation including Master KAWASHI, Master AWAZU and Master MICHIGAMI. He serves as technical expert 5th Dan and European Referee to French J udo Federation. State certified, he taught J udo at J udo Club dAquitaine, in Bordeaux. At the same time he discovers Aikido during a demonstration of Master Minoru Mochizuki in 1951 in which he participates as Uke.
The arrival of Tadashi Abe.
Dan Corneliu Ionescu - AIKIDO 1,2,3 21 He starts this new martial art in J udo clubs. In 1952, his practice deepens with the arrival of Master Tadashi ABE sent by the founder (O Sensei) Morihei Ueshiba. From 1952 to 1960, starting from France where he lived, Master Tadashi ABE laid the foundations of the European Aikido at a time when nobody had heard of Aikido. Foreword
Daniel Andr BRUN and some other early pioneers, are actively involved. It is one of the first French black belts in Aikido. His 1st Dan was awarded in 1954 by the Aikikai Tokyo, signed by the hand of Kisshomaru Ueshiba by delegation of O Sensei. Andr Nocquet goes to J apan
On the recommendations of Master Tadashi ABE, another practitioner of Aikido and J udo, Andr NOCQUET, went to J apan as uchi deshi to follow instruction from the founder of Aikido, O Sensei Morihei Ueshiba. His initiation lasted 2 1/2 years, from J une 1955 to December 1958 living as one of the O Senseis uchi deshi. Then he returned to France with the title of Master of Aikido, a graduate of the World Center of Aikido from Tokyo, with the delegation of the founder (O Sensei), for the dissemination of Aikido in France. From that moment on and from 1960, it is Master Andr NOCQUET who assumes the responsibilities of the French Aikido from the Master Tadashi ABE. In 1962, Master Morihei UESHIBA gives him the title of chief representative of the Aikikai in France. In the 60s, other J apanese experts arrive in France, such as Master Masahilo NAKAZONO and Master Masamichi NORO (1961), Master Hiroo MOCHIZUKI (1963), Master Nobuyoshi TAMURA (1963) and later, at the invitation of Master Andr NOCQUET , Master Hirokazu KOBAYASHI. After the departure of Master Tadashi ABE, Master Andr Daniel BRUN continues to practice Aikido with Master NOCQUET who will assign him his rank up to 5th Dan (1978), one of the highest level of that time. He exercised within the FFAD of Master Andr NOCQUET, which later became the FFAK, the function of national technical advisor member of the Committee on grades. It will also be the European technical advisor to the EUA (European Union for Aikido founded by Master NOCQUET in 1969 in Cologne).
Consolidation within the FFAAA
In 1983, the federation (FFAK) led by Master NOCQUET, and all the federations and other Aikido French groups are brought together in a single federation. In this new federation, the FFAAA, Master Andr Daniel BRUN became national technical advisor 5th Dan. But the integration of these different currents that have existed since the beginning of Aikido in France is not done without difficulty. The group of Master TAMURA, which creates FFLAB with several thousand students, a year ago, did not attend, but will be joined in 1985 by the group GHAAN of Master Andr NOCQUET. Dan Corneliu Ionescu - AIKIDO 1,2,3 22
Foreword
Creating FFAT
During this time and with alumni of FFAK, Daniel Andr BRUN created in 1984 the FFAT, school following an existing trend since the beginning of the French Aikido. Developing the school in France and Europe, invited in various European countries he leads national and international courses in Germany, England, Romania. In 1994, along with Dan Ionescu (Romanian Aikido Federation President) founded the EAC (European Aikido Confederation). Master Daniel Andr BRUN died on the morning of October 10, 2013. A few years before his disappearance, after a journey of more than 70 years of martial arts, he received the honorary title of 9th Dan, dedicated to his life spent in spreading Aikido . With increasing creativity, he encouraged us constantly to discover all the facets of this martial art, practiced with bare hands or with weapons. All practitioners that had followed his courses in France or abroad, were able to appreciate the teacher who shared his knowledge and research with everyone, never monetize his art. For years, he conveyed with passion and selflessness that Aikido he had learned from Master Tadashi Abe, but also from Master Andr Nocquet and Master Hirokazu Kobayashi, all three being direct students of O Sensei Morihei Ueshiba, pushing each of us to find its own way. Today, the Federation of Traditional Aikido - School Daniel Andr BRUN, his school, continues to honor his memory. With over seventy years of martial arts to his credit, Mr. BRUN is one of the rare French Masters which pushed the study to a new depth (after an article from Wikipedia).
Dan Corneliu Ionescu - AIKIDO 1,2,3 23
Foreword
Dan Corneliu IONESCU
Born September 9, 1942 Iasi, Romania
Education and professional experience. 1966 - Technical University of Civil Engineering 1972 - 1974 - Specialization in IT at CII - France 1973 - 1976 UNIDO Expert 1976 - 1989 CEO for various computing centers 1991 - 2012 CEO for his own company - Unidec Computer Systems Expertise in Sports and Martial Arts Dan Corneliu Ionescu - AIKIDO 1,2,3 24 1952 - 1960 - Sportsman - Gymnastics 1960 - 1976 Practice rugby, skating, riding, parachuting, jujutsu 1977 - Begins studying Aikido 1979 - Leads first illegal Aikido Dojo. Aikido was banned in Romania, until 1990. 1981 - Receives his black belt in Aikido (1 Dan) 1984- 2 nd Dan Aikido 1990- 3 rd Dan Aikido 1990 - Establishes and manages the first Aikido club - AIKIROM 1990 - Founding Member of the Romanian Martial Arts Federation 1990 - Establishes and manages Romanian Aikido Union 1990 Publishes Aikido way of harmony, together with Serban Derlogea 1991 - First International Aikido Training in Romania with Master Daniel Brun (9 Dan Aikido, 5 Dan J udo) 1992 - Appointed Expert of the French Federation of Traditional Aikido 1992- 4 th Dan Aikido 1993 Romanian Martial Arts Federation - Director of Aikido Department 1994 Award the first black belts to Moldova Republic 1994 - Founding Member of the European Aikido Confederation 1995 - 2000 - Training courses for Romanian Gendarmerie 1996- 5 th Dan Aikido, 4 th Dan Katana Foreword
1996 - 2005 -President of the European Aikido Confederation 1997 - President of the Romanian Contact Martial Arts Federation 1998 Romanian Aikido Union turns into Romanian Aikido Federation, Dan Ionescu is elected as President 1998 - organizes the first national Aikido Demonstration Championship 1999-6 th Dan Aikido and 5 th Dan Katana 2001 - Honorary Member of BUSHIDO ZA-ZEN INTERNATIONAL SOCIETY 2002-7 th Dan Aikido and 6 th Dan Katana 2003 - Publishes Aikido Encyclopedia - Vol 1. ART 2004 - Organizes the first Katana European Championship 2005 - Publishes Aikido Encyclopedia - Vol 2, UNARMED AIKIDO 2005- 8 th Dan Aikido and 8 th Dan Katana 2005 - Publishes Aikido Encyclopedia - Vol 3, TAMBO AND J O 2000 - 2005 - Leads International Aikido Courses in Romania, France and England 2005 - Technical Commission Director - European Aikido Confederation 2006 - Publishes Aikido Encyclopedia - Vol 4, BOKKEN AND KATANA 2007 - Publishes Aikido Encyclopedia - Vol 5, TANTO AND TESSEN 2007 Romanian Aikido Federation is recognized by the Government as National Federation 2010 Re-elected for a 5 th mandate as President of the European Aikido Confederation 2012 Publishes AIKIDO 1,2,3 2011-2013 Leads various international aikido courses
WHY WEAPONS ARE NECESSARY IN AIKIDO ?
There are two trends of opinion: one considers that the study of weapons is not absolutely necessary, because Aikido has lost the martial character and became a rather philosophical discipline. Adepts of this idea believe that weapons are incompatible with the spirit of Aikido, and that is not necessary to study weapons techniques. The second trend states that Aikido is a martial art that seeks to determine people to understand the philosophy of harmony by practicing Aikido. According to this second trend the philosophy of harmony is Aikido itself, and its practice represents the way this philosophy may be known, understood and spread. If we take in consideration the testimony of those that knew Ueshiba, his biographers or the legends, we realise that his whole life was a continuous battle. Dan Corneliu Ionescu - AIKIDO 1,2,3 25 In his childhood and youth he fought fiercely to stay alive, to defeat disease and physical weakness, to train and to overcome his condition. Foreword
In the Manchurian military campaign he fought to defeat his enemies, and his fighting skills made him famous in his regiment. There is no doubt that he had to kill people and often saw death with his own eyes. Later, he engaged with his family in the Hokkaido island colonization adventure. Here he was forced to fight with nature and with peoples prejudices in order to build a community of pioneers capable to live from agriculture. Then, animated by the faith of his mentor, Onisaburo Deguci, he ventures in that utopian expedition in Mongolia, where he attempts to create a Kingdom of Peace on earth. Not only that he failed, but he was close to losing his life. The risks of this expedition were absurd, and only by his skills, faith and, of course, luck did he return home alive. A period followed, before the war, in Tokyo, when he was called to train officers of the Military Academy and Police Academy, and where he had to persuade and command respect of those who doubted the effectiveness of his method. All his life he had to accept challenges from nature or people. With bare hands or weapons, he was confronted with various martial arts masters and experts who wanted to challenge the superiority of Aikido, and many of them ended up becoming his students. After the war, because of the ban of martial arts during the American occupation, he had to withdraw in the countryside to train, and continue to fight for his beliefs. All these facts tell us with certainty that his life was a continuous battle, and it is undeniable that he was a warrior until the last day of his life. Throughout his existence, there was not any moment of complacency, because, as I said, he had to win and especially to convince. If we think about all these facts its obvious that Ueshiba's Aikido was not a dance but an effective martial art and sometimes extremely tough. In time, after Ueshiba's death, his arts message was changed gradually, up to the point that todays Aikido ignores the fight, without taking into account the reality which doesnt obey to the idealistic rules of humans. The exaggeration of the partnership idea is emptying Aikido of its meaning and its martial content. The unity, that Ueshiba proposes through his art, is the union and harmonization of opposites, and for that the existence of opposites its absolutely necessary. When the Founder speaks of the art of non-resistance, he implies the existence of resistance, because the world is made up of opposites, whether we want it or not. Dan Corneliu Ionescu - AIKIDO 1,2,3 26 Without opposition there is no Aikido and the other, Uke, should be the opposition, the resistance. Harmonisation with a false opposition is a false harmony. Foreword
If we were to give a different definition of Aikido, we can say that Aikido is a concrete way to achieve unity not by ignoring it, but by solving it. If Uke mimics the attacks and then reacts docile to everything I ask, and finally willingly falls because of my fantasy techniques, then we will both certainly move away from Aikido. In the second part of his life, when his physical resources started to diminish, Ueshiba's Aikido spiritualizes, it becomes fluid and ethereal, and the Founder feels particularly attracted to the spiritual side of art, his messages being deeply philosophical and mystical. Many of his students, especially those who have been with him in the last period of his life, believed that this is the true Aikido, ignoring the road that Ueshiba went on so far.
ABOUT EFFICIENCY
I have noticed that many students prefer to talk and dream about Aikido, instead of trying to practice it. They lack patience and they expect the instructor to tell them the secret of becoming efficient within 24 hours. Aikido is a martial art that aims to control one or more aggressors, and from this point of view we can discuss about efficiency, as the frequency of achiving our goal, without significant losses. Attack and defence are elements of the same equation, an equation valid for any martial art and combat method, J apanese or not. These two elements, attack and defence are complementary, as Yin and Yang. Because the reality is impossible to reproduce in controlled training conditions, in the Dojo we train using simulations of reality. The teachers talent lies in a gradual training, from simple to complex, as the experience and understanding of practitioners increases, taking care to always offer "surprises" to his students, because life does the same.
In many Dojos they are experimenting non-realistic things, more talking and less sweating, students being more interested in the social component of the training rather than the actual training.
Aikido is a martial art with a strong philosophical support. It can be effective or not [like any other martial art], to the extent that, the one who practice it understands its essence, and is sincerely committed to it. In the beginning this depends on the instructor, in time it depends on you.
The Founders words and elderly masters confessions support this idea: Dan Corneliu Ionescu - AIKIDO 1,2,3 27
Foreword
When the enemy makes his appearance Rushing to hit you Step outside, avoid him, Immediately attack and cut.
Master Saotome said:
The founder was always concerned with the study of Budo, about the correct understanding of the spirit of Aikido and not its particular forms. He made no difference between fighting techniques with and without weapons, because he wanted to demonstrate the principles behind the techniques and the method of harmonizing them. Forms and techniques were only means by which one could understand the essence of Aikido and supporting this idea, was his goal throughout his entire life
Master Gozo Shioda - about training with O Sensei:
The night training was about sword attacks. The Master put on a white cloth on his head to be easily observed. Three students armed with bokken (wooden sword) had to attack while Ueshiba had a true sword. Whenever Shioda raised the sword to strike, he found the tip of Senseis sword in front of his eyes.
Master Tadashi Abe about how O Sensei tested the level of his students:
The Founder chose a group of us and we went to the port. There, he sat at a coffee shop in front of a massage parlor. He ordered a beer for himself and we were sent inside the massage parlor to test our skill levels against the sumo wrestlers who owned the parlor. Of course, the fight was real, all techniques were allowed as well as all weapons such as staffs, knives and bottles. From there I have these scars.
Master Nishio said:
Some instructors claim the sword and staff training is not necessary. They are ridiculous: nothing is further from the truth. O-Sensei said: "Aikido is the expression of sword principles through the body." Therefore, to understand Aikido without understanding first the sword is weird. I think those who claim that there are no weapons techniques in Aikido did not understand the words of the founder.
Dan Corneliu Ionescu - AIKIDO 1,2,3 28 O Sensei said: "If your hands hold a sword, then Aikido is a sword, and if your hands hold a staff, then Aikido is a staff." Foreword
Dan Corneliu Ionescu - AIKIDO 1,2,3 29 To understand the nature of the sword and the nature of the Aikido spirit, we must train realistically, as if we have to knock off our opponent as soon as contact is made, stopping our weapon within a hairs-breadth of him without destroying the opponent, thus using the training as an exercise of reflection and introspection.
About Technique ABOUT TECHNIQUE The basic techniques described in this book are presented through my personal experience and understanding. It is possible for others masters to have different points of view regarding the techniques presented in this book. It is their right and I respect it. Because the techniques are presented purely didactically and extremely brief, instructors will have to explain these techniques with detail, to find examples and suitable methods so that the students would thoroughly understand the very meaning of the Aikido techniques. Each Aikido technique will have to be deeply studied, analyzed and understood, the key elements must be clearly stated, the movements and their logics must be perfectly understood so that the entire technique would be elucidated and accepted by the students subconscious. It is preferable that the learning process to be done slowly and thoroughly. The gradings must take place only when the Aikido student masters the techniques related to his/her next degree, when he/she is able to master properly the principles and when his/her instructor believes that he/she has exceeded the level required for the exam. As we said before, the first level of practicing controlled Aikido is considered to be the level of black belt 1 st Dan. ABOUT ATTACKS Basically, all Aikido techniques can be used in response to any attack, either grab, hit, from front or behind, attacks executed by one or more persons, with or without weapons. Dan Corneliu Ionescu - AIKIDO 1,2,3 30 At the beginning of training, students will learn the techniques using those attacks that favor an easy assimilation of the techniques. I prefer my students to perform mostly the techniques against strike attacks because these attacks are much more powerful and are closer to the reality of a fight. About Technique
As such, one Aikidoka can understand the direct approach (maybe sometimes in full) of a true real strike. The very first thing that beginners should learn is the correct execution of strikes, and generally of any kind of attack, because not being forced to fight, people have lost the ability to do so.
Attacks can be extremely varied so, in order to simplify the study I will relate only to the basic attacks, the ones that have the highest frequency in battle.
During training exercises, the instructors will have to organize the teaching process by following the ideas below:
- from simple to complicated attacks - from soft to strong attacks - from grips to hits, then kicks and finally weapons attacks - from a single attack of one partner to the continuous attacks of the same partner, then from the sequential attacks of several partners to simultaneous attacks of more partners
Katate Dori Ai Hanmi Katate Dori Gyaku Hanmi
Katate Ryote Dori Ryote Dori Dan Corneliu Ionescu - AIKIDO 1,2,3 31
About Technique
Mune Dori Mae Ryokata Dori
Morote Dori Kata Dori
Ushiro Ryote Dori Ushiro Ryote Dori Kubi Shime
Dan Corneliu Ionescu - AIKIDO 1,2,3 32 Ushiro Ryokata Dori Sode Dori About Technique
Ushiro Ryo Hiji Dori
Chudan Tsuki J odan Tsuki
Shomen Uchi Yokomen Uchi
Mae Geri Mawashi Geri
Dan Corneliu Ionescu - AIKIDO 1,2,3 33
About Technique
CLASSIFICATION OF TECHNIQUES
There are thousands of variations of Aikido techniques, determined by the type of the attack, or by the type of the technique, on the left or right, from front or back, depending on the presence or absence of a weapon, the number of aggressors, the conditions in which the fight takes place, etc. If you are a good Aikido student and have enough experience, it does not matter how many techniques you know, because you simply know AIKIDO. Here are some ways to classify Aikido techniques:
DEPENDING ON THE DIRECTION OF THE ATTACK MAE WAZA frontal attack USHIRO WAZA attack from behind
DEPENDING ON THE POSITION OF THE PARTNERS TACHI WAZA both partners are standing HANMI HANTACHI WAZA UKE is standing, NAGE is kneeling SUWARI WAZA both partners are kneeling
DEPENDING ON THE TECHNIQUE KATAME WAZA locking techniques NAGE WAZA throwing techniques ATEMI WAZA striking techniques
DEPENDING ON THE ATTACK TE WAZA techniques against attacks without weapons BUKI WAZA techniques against attacks with weapons
DEPENDING ON THE WEAPON USED FOR ATTACK TANTO DORI knife attack (Tanto) TACHI DORI Boken or Katana attack J O DORI staff attack (J o) TESSEN DORI war fan attack (Tessen) TAMBO DORI stick attack (Tambo)
DEPENDING ON THE WEAPON USED FOR DEFENSE TANTO SABAKI defense using the knife TACHI SABAKI defense using Boken or Katana J O SABAKI defense using the staff TESSEN SABAKI defense using the war fan TAMBO SABAKI defense using the stick
Dan Corneliu Ionescu - AIKIDO 1,2,3 34 In many Aikido schools, there is no teaching of the Aikido weapons techniques. I believe that studying the weapons techniques is something About Technique
natural and I also think that by lacking Aikido of this component means regarding things from an incomplete, artificial and unrealistic perspective. Aikido techniques are divided into different categories only for educational reasons, in order to simplify things and Katame Waza, Nage Waza or Atemi Waza are just different ways of executing the same principles of Aikido. This idea may be a surprise to the modern Aikido, highly structured and formalized, but it is obvious that it complies with most of the Founders principles, who had never spoken of techniques, but of principles. Here below, you can find the list of the techniques currently studied in Aikido Dojos. These techniques are called basic techniques and their knowledge is necessary to achieve the black belt level, in about 2-3 years. This list may look different in the program of other Aikido schools.
KATAME WAZA LOCKING TECHNIQUES
This group includes the main techniques that Nage can use to meet Uke's attack, to immobilize and control him/her. I have to point out that this control of the opponent takes place on the ground, usually with Uke lying face down. This position of Uke keeps Nage somehow safe from a possible attack coming from Uke and it restricts considerably Ukes possibilities of movement and reaction. The control and ground pinning is done by using a particular joint technique, and in case Uke does not comply by resisting, it would cause him/her pain. Uke's obstinacy by trying to rezist Nages control, could cause the fracture of his/her limbs. Here are the main locking methods:
1. UDE OSAE (IKKYO 1 st principle) locking with lever on the elbow 2. KOTE MAWASHI (NIKYO) locking with lever and arm twist 3. KOTE HINERI (SANKYO) locking with lever and hand twist 4. TEKUBI OSAE (YONKYO) locking with lever and arm press 5. UDE NOBASHI (GOKYO) locking with arm lock 6. HIJ I KIME OSAE locking by forcing the elbow top-down
NAGE WAZA THROWING TECHNIQUES
This group includes a conventional number of basic techniques whose object is to dodge Ukes attack, to unbalance and throw him/her to the ground. Dan Corneliu Ionescu - AIKIDO 1,2,3 35 Throwing him/her, can cause an uncontrolled and high velocity landing for Uke, which can lead to his/her knock out. About Technique
Although it is said that Aikido is an art of gentleness, in reality if you do not know or you are not ready to take a fall, the execution of a throwing technique may seriously hurt you, or even cause death. I want to insist on this idea and seriously warn you that Aikido techniques could be extremely dangerous especially if they are executed on someone who does not practice Aikido, a common situation in a real fight. Here are the most common throws:
1. SHIHO NAGE four directions throw 2. IRIMI NAGE entering throw 3. SOKUMEN IRIMI NAGE side-entering throw 4. KAITEN NAGE rotary throw 5. UDE KIME NAGE throwing by forcing the elbow bottom-up 6. KOTE GAESHI throwing by twisting the wrist outside 7.TENCHI NAGE heaven-and-earth throw 8. KOSHI NAGE hip throw 9. J UJ I GARAMI figure-ten throw (throw that locks the arms against each other) 10. AIKI OTOSHI double leg takedown throw 11. SUMI OTOSHI corner throw 12. KOKYU NAGE breath throwing
ABOUT FIGHT
During a fight, the aggressor can attack us with the weapons of his/her (body, legs, head, etc.) so we must be able to execute Aikido techniques to neutralize these attacks, techniques which will have to effectively use not only our own body, but the aggressors body as well. The instructor will have to expose his/her students gradually and safely to various strikes and grips, developing in the subconscious of the student the idea that he/she must avoid strikes because they cause pain, to get him/her used to the pain so he/she will not be totally surprised when he/she will be hit, and to make him/her aware that the attack must be controlled as quickly as possible in order to avoid being hit over and over again. Due to civilized life, people lose their instinctive skills to avoid different troubles and hits. During the training, students are often hit without trying to avoid it or defend themselves, because it comes difficult for them to believe that they could be really hurt. People are not at fault in this because they are just a product of the society and its educational standards. They must be taught to regain their natural skills to respond correctly without the need of rational involvement. Dan Corneliu Ionescu - AIKIDO 1,2,3 36 Lack of exercise, of regular sport, incorrect breathing, smoking, alcohol excess, and a life spent on a chair, make most of us certain victims of any kind of aggression. About Technique
Therefore the first concern of any Aikido instructor is to understand quickly and accurately the level of control of his/her students, and to ensure that they, each at their own rithm, advance to a normal state of self control. The normal state of self-control means the ability to react instinctively to an attack, acquire a correct posture, the natural control of strength and balance and also a breathing adapted to the effort level and its type. To learn Aikido requires that each student to be Nage (the one who is defending) and Uke (the one who is attacking), witch means to defend and attack. I met many instructors and students in Dojos both in the country or abroad who practice a soft Aikido, with symbolic strikes, citing the argument that in Aikido there are no strikes. This misconception leads to learning a parlor Aikido which presumes that the fight is conducted according to rules established in advance. Aikido is a martial art and as such it is a fight method and obviously Aikido training should be seen from this point of view. You cannot avoid fighting, you cannot control it if you dont know how to fight, and if you do not understand the laws that governs it. I must remind to those who are seeing only the spiritual side of Aikido, that in order for them to reach the stage where Aikido is a philosophy of life, one must first practice Aikido as a way of fighting. Trying to skip this step will certainly lead to failure and disappointment. Many people when talking about fighting, they first of all think about attack. They believe that having the skill and the strength necessary for a strong and fast attack is enough, and often do not think about what could happen if they come across a more powerful aggressor. Practicing a martial art involves a complex training that takes into account both components of fight, attack and defence. From this perspective, the natural development of an Aikido practitioner can be divided into the following stages:
1. gaining ones natural defensive instincts: 6 months -1 year 2. the development of physical and mental capacity necessary for fight: 1- 2 years 3. learning the Aikido techniques: 5-8 years 4. the understanding of fighting philosophy and accepting the idea of ones defeat: 7-12 years 5. the physical and mental detachment: 5-10 years or never
Dan Corneliu Ionescu - AIKIDO 1,2,3 37 In the first four stages, we notice that Aikidoka is an element, an active part of the fight, and in the last stage he/she is the one who controls the fight, he/she places himself/herself outside of it, becoming an observer, an arbiter of events. About Technique
Up to black belt 1 st Dan, the student will need to practice mostly the positive forms of the techniques because the positive forms allow the student to confront directly the attack, to develop his/her physical skills and to gain the understanding of the fight. The execution of Aikido techniques in the positive form helps developing physical qualities, effort capacity, contributes directly to improving breathing and ensures the correct control and dosage of the effort. All these lead to a healthy body, accustomed to the rigors of training.
ADVICE ABOUT TECHNIQUES EXECUTION
In the beginning, students have problems memorizing the positions and the movements that makes the technique. This is happening naturally as there is a lot of information to be assimilated, not as much by the students mind, but by their bodies. In the first year, students may not see the whole because of the details and this makes understanding difficult. Basically, what a person who studies Aikido should understand, is that, regardless of the attack and the number of aggressors, and beyond the technique used or the fact that is day or night, summer or winter, his/her task is then to harmonize himself/herself as good as possible with the events and situations that one might find himself/herself involved with. Unfortunately, you cannot ask of a man who walks in darkness to see the end of the road. Although learning a martial art is fundamentally based on repetition and then on understanding, I believe that is better to offer our students logical explanations and rational formulations whenever we can. Aikido techniques must be performed with the shoulders down, relaxed, with elbows close to the body, with the movements organized around my center, Seika no Itten (center of the body). In the first years of training, Aikido students are interested in the movements necessary for executing the techniques and the effect of these techniques upon the partner. In parallel with this, the instructor must reveal to his/her students the movements of the two centers, Nages and Uke's, that are specific for each Aikido technique. These movements are more important than arms or body movements and the right understanding of this dynamic leads certainly to a good execution of the techniques. Unfortunately, verbal, logical explanations do not have the desired effect, because, even if the student understands the logic of the instructors explanations, he/she cannot reproduce at physical level what his/her logic accepted. Dan Corneliu Ionescu - AIKIDO 1,2,3 38 To overcome these drawbacks, specific methods of learning martial arts are used, apparent empirical methods, but with proven results. These About Technique
methods make use of the students imagination, inducing different moods and feelings that allow the practitioner to check if they are on the right track or not. For example, I am getting my students used to the idea that they have in their hands an imaginary sword, and that they must perform the techniques using this weapon. For this, they have to get used to the correct boken grip and will need to spend considerable time training with this weapon. The boken exercises will allow them to adopt a proper stance, to learn distance control and the necessary balance for executing the Aikido techniques. The instructor must get his/her students used with the idea that attacks may come from any direction, including from above or below. This means that during training the student should be careful to maintain visual control of the world surrounding him/her to avoid unexpected attacks, even if the Dojo is free of such events, at least in the begining. Furthermore, the fact that the student learns to be aware of what is happening in the Dojo saves us of unwanted`d accidents and strengthens the feeling of safety and control during training. One thing to remember, right from the beginning, is that most of the Aikido techniques have as a favorite execution position KATATE DORI AI HANMI or KATATE DORI GYAKU HANMI and only a few techniques have as a favorite executing position RYOTE DORI or KATATE RYOTE DORI. This leads us to the idea that if we can turn any attack into one of the aforementioned positions, we will be able to perform the basic techniques that use mainly these grips or positions. Here is a rough classification of techniques in this regard:
1. KATATE DORI AI HANMI Executing Position favours the techniques: UDE OSAE, KOTE MAWASHI, KOTE HINERI, TEKUBI OSAE, SHIHO NAGE, IRIMI NAGE, UDE KIME NAGE, UDE NOBASHI
2. KATATE DORI GYAKU HANMI Executing Position - favours the techniques: HIJ I KIME OSAE, KOTE GAESHI, KOSHI NAGE, TENCHI NAGE, SOKUMEN IRIMI NAGE, KAITEN NAGE, SUMI OTOSHI, AIKI OTOSHI
3. KATATE RYOTE DORI Executing Position favours the technique: J UJ I GARAMI, KOSHI NAGE, KOKYU NAGE
4. RYOTE DORI Executing Position favours the techniques: KOSHI NAGE, KOKYU NAGE
Dan Corneliu Ionescu - AIKIDO 1,2,3 39 Another way of structuring the Aikido techniques is to split them up on levels of knowledge, as they are required to the grading exams. About Technique
This classification is specific to each school of Aikido, but in general, the requirements are almost identical. Many Aikido instructors and practitioners say that belts are not important and the only important aspect is just to practice Aikido. Most of them say that because they have heard it repeated by others. Actually, most instructors and students are interested in degrees and belts and I mostly belive that, to be a good thing. I think that being interested in something and saying that you are not, is proof that you are ashamed to admit that you may be interested in something that according to the general opinion, it is meaningless. This way to avoid reality is a prejudice to Aikido and to the people involved in Aikido. On the other hand, I believe that the desire to publicize your progress is good and this shows that you are not indifferent to the opinion of others. This will make you be careful and responsible for your actions. And now a tip: if you are an instructor, you should know something very important, that you are a model for your students. However, you decide if you are a good or a bad model. They will try to imitate you, not only on the way you practice Aikido, but on all your public expressions, both in the Dojo or outside. They will try to speak and act like you. Sure is nice to know this, but this means that you must be careful to control yourself at all times, to be balanced, impartial, fair and tolerant. In the Dojo, the techniques have to be taught following these principles:
- From simple to complicated attacks - From soft to hard attacks - From grips to hand attacks, than kicks and finally weapons - From a single attack from a partner to continuous attacks from the same partner - From sequential attacks from several partners to simultaneously attack from several partners. . HOW DO WE TEACH AIKIDO
Over the years, I have found that beginners are progressing faster and the instructors are more productive, if during the first year of practice they are using different patterns and classifications for attacks, techniques, methods and current situations encountered during Aikido training. Dan Corneliu Ionescu - AIKIDO 1,2,3 40 I have spoken with many students, instructors or just fans of Aikido and most of them told me that there is a huge difference between the feeling that you have watching others practicing Aikido and the surprise you have when you start to practice Aikido yourself. About Technique
If you are in the Dojo and watch those who practice Aikido you feel that this is extremely simple, that the movements shown are easy and you may wonder why the people on the mat find so hard to understand what they are required to do. This is because the instructors movements are natural, elegant, appealing and above all efficient. You look and you say to yourself: no big deal, I think I could do this thing! You are right, you could do it and anyone could do it, all you have to do is train for it. The instructors movements that address the subconscious are difficult to remember consciously and so they must be stored by repeated physical training rather than by explanation.
The developing patterns or models of these movements or situations enable the student to understand movement consciously as well, because a pattern or a model of a situation is a logical element that addresses his/her understanding, his/her common sense, and thus is likely to be stored and used later as reference for a similar situation. I recommend to instructors to use a coherent teaching system with the information well systematized, with periodic repetition of the concepts taught because in our era, time is a very precious resource and peoples patience is decreasing. The effort to encode and systematize the information provided to beginners may lead directly to a faster assimilation of basic knowledge, to an increased number of students, and thus to a more rapid spread of Aikido, such a method of studying Aikido is better suited for European students.
KEY POINTS AND JOINT TECHNIQUES
Aikido techniques are based on a good knowledge of the anatomy of the human body. I cannot perform a technique without knowing what to do and how I can make the aggressor who attacked me to execute my orders, and without knowing what the effect of this technique would have upon him/her. We must insist on this issue from the first day of training if we want to avoid unpleasant events later. Generally, beginners are full of enthusiasm and ready to execute any movement to reproduce what the instructor showed them, or to show his/her partner that he/she already knows many things, and not only once, I saw grownups on the mat, putting their life in danger, with a smile on their faces. Dan Corneliu Ionescu - AIKIDO 1,2,3 41 To avoid accidents strudents must be carefully monitored while in the Dojo and any attempt to do something else than what the instructor shows must be firmly sanctioned. Any manifestation of evil, aggression or superiority towards the partner must also be discouraged. About Technique
Aikido students must understand that they need a partner to learn Aikido and they have an obligation to protect their partner, not to torment him/her needlessly and to give him/her equal opportunity to learn and progress. Sure that during training each student gets his/her share of a certain amount of suffering because he/she does not know well enough to control his/her body and his/her strenght. Some students are taking the pain caused by the partners ignorance or haste as a personal affront and feel compelled to put things right. Others are opposing any technique being applied to them, considering that this may prove superiority, or to signal their partner that his/her technique is not good. Most of the times, it happens that the defender insists in applying more force while the partner suddenly gives up and, in which case, the certain outcome is an accident. Instructors must also be careful with students that are well build and have much force, or with those whom have practiced other martial arts, whom sometimes amuse themselves trying to put the instructor to the test. In this case, I recommend the following solution: if you are an instructor and the student is clearly and intentionally opposing the execution of your technique, than use a sudden strike (atemi) or movement of off-balance and perform another safe technique to control him/her. Next, it will have to be explained to him/her that, if he/she is excessively oposing, then he/she will have a hard time learning the technique and the instructor will have to use techniques that are more painful. It is good for the student to feel the efficiency of the technique, and then you can explain that the technique to which he/she was opposing, is done in reality, in different conditions, as in a combat situation, and in which case, the instructor or the defender will not protect him/her from hits or painful techniques. It is important that the actions order to be the one aforementioned and not vice versa because otherwise you will lose the element of surprise. In any situation, when showing something to a beginner, the instructor must be prepared to meet a fast, powerful or quite different attack from that requested. If the instructor confuses the beginner with his/her assistant, he/she may be in for big surprises, and the most important of those will be the loss of confidence and respect of his/her students. Dan Corneliu Ionescu - AIKIDO 1,2,3 42 Most of the Aikido techniques are based on acting upon certain points on the partner's body, causing pain or the inability to move. In order for him/her to escape the pain, Uke will then move towards the direction that was suggested by me, and so I can immobilize him/her, control him/her or force him/her to give up the fight. About Technique
Usually these points or areas used in Aikido are located on the partners arms but they exist all over his/her body. The arms points are commonly used, because they are not life threatening for the aggressor. Obviously, if the aggressor does not understand my painfull message, then I have the liberty to defend my life as as best as I know how. The key points on my partners arms may be used to force him/her to do what I want or to force him/her to release me from a grip. The key points are associated with key movements and positions so that the whole weak point-position-motion ensemble is known and used in Aikido as The J oint Techniques. During Aikido training, we practice different movements of the joints to warm them up but also to prepare them for future use in various Aikido techniques. Thus UDE OSAE technique has a specific joint technique, KOTE MAWASHI another one, KOTE HINERI also has a specific joint technique, TEKUBI OSAE also has one, and so KOTE GAESHI, UDE NOBASHI and HIJ I KIME OSAE techniques. We will see that there are Aikido techniques that are not based on certain joint techniques, and rather on the fact that the technique is executed using off-balance or force deflection and force joining, and may be finished with a joint technique in order to control the partner with a ground pin. Most of the throwing techniques are part of this category. Here are some ways to free yourself from Ukes grip:
Dan Corneliu Ionescu - AIKIDO 1,2,3 43
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ABOUT TAI SABAKI
Few know that Tai Sabaki derive from ancient sword fighting techniques. Because of the length of the aggressors weapon, the defender is then forced to get out as fast as possible from the weapons range. This can be done by linear movements or turning motions. The advantage of a turning motion, Tai Sabaki, is that it allows Nage to quickly get out from the direction of the attack and to continue the movment to get behind Uke.
Dan Corneliu Ionescu - AIKIDO 1,2,3 44
About Technique
Dan Corneliu Ionescu - AIKIDO 1,2,3 45
About Technique
TAI SABAKI IN THE SWORD TECHNIQUES
Dan Corneliu Ionescu - AIKIDO 1,2,3 46
About Technique
There are 2 types of Tai Sabaki, with one step and with 2 steps. Regardless of their type, this technical element represents a spinning of my own body, with the purpose of achieving a certain goal. This purpose may be: 1. Evasion of an attack 2. Deflection of an attack 3. Nage's movement to reach a favorable position 4. Uke's engagement in an off balance movement 5. All these combined
ONE STEP TAI SABAKI
One-step Tai Sabaki is a pivot movement having as a centre one of my legs, usually the one at the front. I say that is a pivot movement and not a pirouette as the motion is given by my hips that have to rotate around the center-leg. Shoulders are relaxed, the back is straight and my eyes naturally follow the movement. Almost the entire weight rests on the center-leg. The second foot lightly touches the ground following the movement and restoring the balance of the body, being ready at any moment for any type of movement or strike. Seika No Itten, center of the body, must be on the same vertical line as the center of gravity and the center-leg sole. Therefore, the center of the body rotates around a single point and the arms and generally, the whole body moves according to my intentions, as shown below: Dan Corneliu Ionescu - AIKIDO 1,2,3 47 - To avoid a strike, my arms will move to parry, absorb or deflect the strike. About Technique
- To escape from a grip, my arms will use different joint keys to release from the partners grip. - To reach a favorable position for the execution of a technique, my arms are preparing to execute the intended grip or strike. - To unbalance the partner, my arms will lead the partner towards the specific movement of disequilibration.
For easier understanding, I will make a comparison between Tai Sabaki and a door that rotates around a fixed axis (revolving doors). If we are assuming that I am such a door, it is obvious that when I am pushed, the door opens, turns and lets the one who pushes it to pass through. If you would push the axis, the door will not open, and if the push is too strong then the door will be destroyed. This means that I will have to learn the skill that no matter where my partner pushes or in what direction he/she pulls, I will have to move slightly the door axis so that he/she could push or pull where it suits me and so the door may be opened. Unfortunately, things are simple when it comes to doors and much more complicated when it comes to human beings.
Dan Corneliu Ionescu - AIKIDO 1,2,3 48
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TWO STEPS TAI SABAKI
Two steps Tai Sabaki is less often used than one-step Tai Sabaki. The reasons are:
- It takes more time - Weight shifts from one foot to another - The center of the body moves on a trajectory - A greater probability to unbalance myself
On the other hand, the execution of two steps Tai Sabaki leads me faster behind my partner and allows me to faster break his/her ballance. Two steps Tai Sabaki can be described as a step followed by a one- step Tai Sabaki. At the end of the movement, the weight is mostly on the front leg. Two steps Tai Sabaki is mostly used to unbalance the partner and to get faster or better behind him/her. I believe that the meaning of one stepTai Sabacki should be very well explained to the students in the first place and only then should they be taught that this pivot can be executed with one or more steps, before, after or both before and after.
Dan Corneliu Ionescu - AIKIDO 1,2,3 49 When I am executing an Aikido technique, Tai Sabaki makes sense only if needed. I am pointing to this because there is the temptation to abuse of this element and this often leads to badly learning the technique. About Technique
In the first years of Aikido, students believe that their technique looks better if all their movements are rotations or exclusively round, whether or not the factual situation justifies it. It is a wrong idea, but we must admit that is not just the students fault. Instructors, in their desire to set the basics as good as possible, often state that: in Aikido there is no strike, that all the movements are round, all steps are Tai Sabaki, there is no advance in a straight line, it is forbidden to pull, you must only push, dont ever hit your partner, dont harm him/her in any way, etc. The problem is that sometimes these ideas are set so well that students have a hard time getting rid of them. You should never forget that Aikido is a martial art, a fighting style and, in battle, you have no time to admire yourself how nice you fight, besides, the admiration of those watching you is of no use to you if you are defeated or lose your life. Therefore, instructors should be careful how to choose their words, and not to make absolute statements. Aikido, this art of harmony, cannot have fixed, rigid principles and methods because life, people, nature, the universe, are so complex that you cannot establish absolute standards. The only valid rule in Aikido is that there are no strict rules. This is why Aikido is harder to learn than other martial arts. Returning to the Tai Sabaki as a part of Aikido technique, it is important to know that when I execute this kind of steps, I must be at the same time, perfectly balanced, so to not expose myself unnecessarily to hits, and to be ready at all times to move or react differently than I originally expected, if the actual situation requires. In the first months of practice, students have problems understanding the motility mechanisms driving the execution of one technique or another. Even if they see many times the instructors movements, they are not able to understand what is essential and cannot see what lies beneath the movements. Furthermore, if the instructor is a creative person, it will become harder for the student to understand, because the instructor will show the same technique differently every time. This will complicate and lengthen the learning process. Many instructors want to impress their students and perform complicated things, refined and with high speed and that indeed impresses the students, but also leaves no traces into the student mind. In these dojos, the students will have a slow progress, will not assimilate the basics, and will execute random and superficial techniques, even if the technical level of the instructor is very high.
Dan Corneliu Ionescu - AIKIDO 1,2,3 50
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FORMS OF EXECUTION IRIMI AND TENKAN
An Aikido technique can be performed in positive or negative version. Positive or negative usually refers to how the technique ends, but also refers to how I meet the attack, so if I try to parry and get into the partners sphere or if I avoid, allowing the attack to pass by, and then act on it. Generally, an attack can be met in several ways:
1. The attack can be blocked, but that means that I will get all the attacks force and for a very powerful attack the blow could pass through my block and so I could be hit.
2. The attack can be deflected or influenced, and in this case, only a part of the attacks force will get to me. This part of the attacks force will need to be compensated with my own strength.
3. The attack can be anticipated and in this case I will have to advance and stop it before it started, thereby controlling the partner. It implies intuition, spontaneity and a serious knowledge of the laws of balance and movement.
4. The attack can be avoided with a Tai Sabaki (pivot movement) and in this case all the attacks force will act outside my body. In this case, the attacks force passes me and discharges into the void.
5. The attack can be prevented by avoiding involvement in the conflict. Requires a high skill in Aikido.
It is clear that avoiding the fight is the ideal solution, but it takes many years of serious practice and especially a proper understanding of Aikidos principles to be capable of such. Moreover, even achieving a certain degree of mastery in Aikido does not guarantee that I will not be involved, even without my will, in various conflicts. Like I said, for the first two years of practice, until the black belt level, is good for students to practice the first three options, because this training helps to improve the student's fitness, makes him/her aware of the strength and danger of the attack, and allows him/her to understand the laws governing the fight. The student will learn to preserve his/her strenght, to be cautious and will master the skill to quickly and accurately assess the attack. Lets comment briefly the first four ways of meeting an attack. To simplify, we will consider the aggressors attack as a blow or a strong push to a transparent revolving door, and I the one who defends himself (herself) am behind it. Dan Corneliu Ionescu - AIKIDO 1,2,3 51
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version 1 it is clear that blocking a strike puts me in a position to receive the whole force of the attack. If I am more powerful than the aggressor there are no problems, but if not, then things get complicated. If several agressors attack me, even if all of them are less powerful than me, which is hard to believe, then all my energy will be consumed blocking their blows, and finally Ill give up and get hit. Using the analogy with the door, we are in the situation where my aggressor is outside the door and I am on the other side. He/she hits or pushes hard on the door and I will have to push with greater force to open it out and sweep the aggressor. If the aggressor is stronger than me or if there are more aggressors, then they will sweep me.
version 2 - by my position towards the aggressor, by the way I will meet the attack, by simulating a strike at the very moment of the attack, then I might deflect or dimish the power of the attack. A method for deflecting an attack is blocking it on a certain direction that has some angle with the direction of the hit, because in this way the hit will deviate from my blocking. Another way to discharge an attack of an aggressor of some of its strength is simulating a hit or even hitting the aggressor in the same moment of the attack. As such, the aggressor will have a problem to solve - my hit, so his/her attack will diminish in strength and speed. Resorting to the example of the door, when the agressor hits or pushes hard the door, I will open it just a little, so the hit will fall diagonally on the surface of the door and thus be diverted, then I will push the door firmly and it will sweep the aggressor. Diminishing the agressors hit may be obtained with a shout or noise (hitting the door) done simultaneously with his/her hit, and immediately I will have to push hard the door to sweep the aggressor.
version 3 Ill have to anticipate that Im about to be attacked, and a split second before the attack I will enter and execute a technique on my aggressor before he/she could hit me. Using the analogy with the door, this is the situation when my attacker is out and I am inside, and right when he/she is preparing to strike, I push the door firmly, so that it surprises him/her, unbalances and sweeps him/her out of my way.
version 4 - I will not block the attack but will make a pivot (Tai Sabaki) letting the attack pass me and discharge. Dan Corneliu Ionescu - AIKIDO 1,2,3 52 It is easy to say but pretty hard to do because my movement should be very well harmonized with the aggressors attack and at the same time Ill have to maintain permanent contact with him/her to take advantage of his/her unbalance. About Technique
This way of meeting an attack can be compared with the following situation: the aggressor pushes or hits hard on the door and at the same moment, I suddenly open the door and so he/she strikes into the thin air and unballances, and I continue to push the door, in the same direction, so that the door comes and hits him/her from behind sweeping him/her. The first three versions of meeting an attack are all positive because they imply my advance through the attack and the fourth version is a negative one because I let the attack pass by me. But if you want to have an accurate picture of what Aikido really is, resorting to the same model with the door, then imagine that you are in a room with lots of doors, that the room is dark, the doors are not transparent and behind these doors are a lot of aggressors that all attempt to enter the room and hit you. If after 3 seconds you are outside the room, without being hit - this could mean Aikido.
As the title of this book says, an Aikido technique should last no longer than 3 seconds (3 beats):
- 1 second to block, dodge or deflect the attack - 1 second to unballance the aggressor - 1 second to pin or throw him/her
When you train in the Dojo is better to have it always in mind and try to see how you fit in this phases. I recommend to my students to mentally highlight these phases, counting in mind: 1, 2, 3, in the beginning very slowly, then as years go by, faster and faster. When you cannot count in your mind the number 3, no matter how fast you count, it means you know Aikido. When you cannot reach 2, it means that you know Aikido well, and when you realize that cant count at all, you are master. You are a great master when you do not have the opportunity to count.
THE IMPORTANCE OF UDE OSAE - IKKYO
UDE OSAE is one of the most important Aikido techniques. It is important because it can be considered the beginning for all locking techniques and for a good part of the throwing techniques. As we know, each technique is characterized by a certain joint lock, a certain position or movement, which is the essence of the technique and what is specific about it. Dan Corneliu Ionescu - AIKIDO 1,2,3 53 In case of Ude Osae, the specific aspect is Nages action on one of Uke's arms, which is pushing his/her elbow toward the unbalance direction, and pinning Uke and his /her arm on the ground. About Technique
Whatever Ukes attack might be, Nage must get behind Uke and action upon his/her arm, to unbalance him/her and then pin him/her to the ground. Nage can get behind Uke in two ways:
- By a positive action, of entering Ukes space, acting upon his/her arm in order to rotate him/her and in this way to get behind him/her, - By a negative evasion action, Tai Sabaki, which will permit Uke to pass over and in this way Nage will get behind Uke.
Regardless of the method that Nage uses to get behind Uke, positioning himself/herself behind the aggressor will keep him/her away from possible hits and will allow him/her to execute the technique. To understand how this technique can be executed effectively, we must say that in general, each master has a specific way to execute the techniques, each way being influenced by experience, intelligence, age, and his/her physical constitution. Regardless of these things there can be stated some technical details that will allow executing this technique more easily. Given the fact that Nages action occurs on one of Uke's arm, from his/her back, and because, naturally, Uke will not allow anyone to bend his/her arm and to push his/her elbow towards the ground and then immobilize him/her, it is necessary to have general notions about the human body and to know the basic physical laws that will allow us to unbalance and control Uke. In UDE OSAE, Nage will act mostly upon Ukes forearm, with one hand on Ukes wrist, close to the pulse area, and with the other on the Ukes elbow joint. Ukes elbow is twisted and pointed to the ground forcing Uke to follow it with all his/her body. If we pay attention to someones arm we will observe 3 joints: hands joint, elbows joint and shoulders joint. The wrist is the weakest and most of the times Nages action will operate on it, when he/she executes different locking techniques. In consideration, this quite weak joint is capable to move in almost all directions which makes it extremely flexible and elastic. Further on we talk about the elbows joint which is stronger and more capable of effort and strength, but with less flexibility than the hands joint. The elbow, like the knee, can bend only in one direction, but on that bending direction it is capable of a lot of strength and power. The shoulders joint is the strongest of them having also a wider angle of flexibility. Dan Corneliu Ionescu - AIKIDO 1,2,3 54 All these joints complete one another and together allow the arm to develop extremely complicated and precise moves and also to act with strength, compensating for the apparent limitations of each joint. The human arm is an extremely efficient system which, due to everyday use, during About Technique
millenniums, comes very close to perfection. This perfection is given by the perfect cooperation of the three joints and the segments between them. Acting upon each joint, blocking each one of them in turns, we will notice how the effort capacity and the flexibility angles of the human arm can be dramatically reduced. If we block the wrist, its flexibility angles will be reduced and the arm will no longer be able to perform precise moves but is still very capable of a lot of strength. When we block the elbow, the wrists flexibility will not be affected but we reduce the arms overall angle of action, limited by the shoulder joint which is only capable of limited rotation and shifting moves. By blocking the shoulder we can notice that the two other joints have significantly reduced their capacity of effort and movement.
If we also consider the fact that the arm works in harmony with the rest of the body, this system being capable of extremely fast, strong and sophisticated moves, then we understand why the intention of controlling an aggressor using one of his/her arms seems to be a very difficult task. Acting upon someones arm will generate an immediate response from the rest of the body in order to atone and reduce the effects of such action. The things which make this system to stop working coherently and efficiently are the disequilibrium and the pain and those two elements are gradually used during the Aikido techniques. Coming back to those three joints, we can assess their capacity to endure pain and unbalance, as well as the way they can influence or determine the unbalance of Ukes body:
Hands joint (wrist) has a lower strength, low capacity to endure pain (the fingers are weak and painful points), low influence upon unbalancing the body.
Elbows joint has a medium strength, medium pain endurance up to one point (it can resist the pain only in some positions), medium influence upon unbalancing the body
Shoulders joint has high strength, high pain endurance and an important influence upon unbalancing the body.
Analysing those abilities it becomes obvious that the hands joint is the easiest to handle and that is why most of the Aikido techniques bases or acts upon the wrist. The types of actions that can be exercised by Nage upon Ukes wrist are:
Dan Corneliu Ionescu - AIKIDO 1,2,3 55
About Technique
- blocking the joint by fixing it in a certain position (Kote Mawashi)
- torsioning the joint by twisting the partners hand against the forearms axes. (Kote Gaeshi)
- blocking the four adjacent fingers by squeezing and extending them in Nages hand. (Kote Hineri)
- extending the four adjacent fingers towards a direction against the free movement of their joints.
- shearing Ukes thumb by the action of Nages fingers
- extending the thumb towards a direction against the free movement of its joint (Kote Gaeshi)
This high amount of possible actions upon the wrist leads to the idea that more than 70-75 % of Aikido techniques are based on acting on Ukes hand. The shoulders joint as well as the elbows allow the wrist to use some of their strength. This is the reason why the techniques locks are executed on Ukes wrist and the ground pins are executed, mostly, upon his/her elbow or his/her shoulder.
The pin from Kote Hineri is executed upon the elbow and shoulder The pin from Kote Mawashi is executed upon the shoulder The pin from Ude Osae is executed upon the elbow The pin from Ude Nobashi is executed upon the elbow The pin from Tekubi Osae is executed upon the elbow and shoulder
All of these pinnings involve pushing and locking the shoulder on the ground. That means that blocking one of the upper joints will cancel the lower joint, meaning: If I block the elbow I neutralize the wrist and if I block the shoulder I will neutralize the other two lower joints, the elbow and the wrist respectively. The fact that Aikido techniques use mostly the wrist leads to the idea that an Aikido student will seek not to get involved in close body contact fight, because this way of fighting means high power and effort consumption, so he/she would prefer to control opponents by harmonizing with them, rather than directly confronting them. This is the nature of Aikido and for this reason, Aikido may be practiced regardless of the physical constitution or age.
Dan Corneliu Ionescu - AIKIDO 1,2,3 56
About Technique
GENERAL RECOMMENDATIONS
Here are some recommendations for training in general and Randori training in particular:
1. Do not work with tense muscles. If I am always tense, my muscles will get tired, I will consume energy unnecessarily and will not be capable of considerable effort when needed. The execution of Aikido techniques with a tense body breaks the balance and reduces the suppleness and the elasticity so necessary in Aikido.
2. It is preferable to defend from the Gyaku Kamae position, with the right foot and hand in front. I recommend Gyaku Kamae position, because it is favourable to the staff and knife techniques, and with the right side in front because it is favourable to the sword and bokken techniques. Thus we will adopt a position that is generaly convenient to the execution of all Aikido techniques, with or without weapons. This is only a recommendation.
3. You can aproximate with great accuracy the moment of the attack if you simulate a strike on Uke. When the attack is imminent I can simulate a hit to Ukes face or body forcing him/her to respond with a defense motion. In 99% of the situations this defense motion is made instinctively with the hand, and this will allow me to quickly execute a technique using that hand.
4. Get used to work with weapons. Working with weapons, inanimate objects, which must be integrated with our bodies, develops maneuver skills, increases the precision of strikes and the control of grips, leading ultimately to the ability to use weapons as arms extensions. This skill to handle weapons means that, when needed, I may successfully use anything around me as a weapon. Weapons training develops the Ki because it must be extended from my hands to the tip of my weapons.
5. Do not look at the hands and feet of the aggressor or into his/her eyes or at his/her weapons. Look upon him/her as a whole, without a specific look to a detail or another. Considering him/her as a whole, you will be able to see in a timely manner any intention or move. The attacker is like a drawing in motion. If you want to notice changes you should watch from a distance and as a whole.
6. Do not put your knees on the ground unless absolutely necessary. Returning to the standing position is difficult and takes time and effort. Dan Corneliu Ionescu - AIKIDO 1,2,3 57
About Technique
7. Do not make long steps, do not exagerate your lunges, and lift the soles of your feet off the ground as little as possible. All these deficiencies can influence your own ballance.
8. Do not try refined dodges or complicated movements. Simple movements are the best. They provide a good speed of execution and a stable balance.
9. Do not work with only one hand. Even if it is not necessary to use both hands you must get used to work with the whole body, not just part of it. Fail to comply to this recommendation may lead to dangerous habits.
10. Get ready to cope with at least two hits from the aggressor. As I said in a previous chapter, even in case of a grab you will have to also expect an immediate strike. If you dont keep this in mind you will be hit and this will seriously decrease your ability to defend.
11. In case of simultaneous attack of multiple aggressors, try to get all of them on a single line. In this way you will have to deal with one aggressor at a time.
12. During training and in everyday life, get used to observe everything around you. This habit will save you of many troubles, both in life and in fight.
13. Control your emotions and do not get angry. Even if your partner misbehaves or he/she is selfish and arrogant, do not get angry. Try to be calm and detached, both in training and in combat. If you do not get emotionally involved, you can accurately assess a situation and you can more easily accept a hit or a defeat. Most of the times, in a fight or in a difficult situation in life, the hits you get are exacerbated by the frustration, the pride and your fears witch amplifies in an exagerated way the hits or the failure.
Dan Corneliu Ionescu - AIKIDO 1,2,3 58 14. In case of an attack, your answer must be proportionate to the attack. Your reactions must be corrective rather than punitive. There is a certain economy of actions during a fight, that must be generally respected. If your response is not proportional with the attack, the fight will be unbalanced. If your answer is less, the aggressor will feel encouraged to attack again, and if you will answer with too much force you will determine the aggressor to fight desperately. It is obvious that in case of more aggressors, the balance refers to the whole situation. This means that you have to decisively remove from the fight as quickly and as many aggressors as possible to reach to a balanced situation that you can solve according to the principle: do not do more harm than necessary. About Technique
15. When you are on the mat and you are training, you must look at the actions of those around you as possible attacks, and you should count only on your own forces and your own ability to react. When you are on the mat and you are training with your partner, and around you are other pairs that do the same, the actions of those around you may be looked upon as attacks if such actions endangers you. Sloppy falls, careless throws or irrational weapons handling may be aggressive actions against you, that you have to consider and defend yourself from. The habit of looking at things from such a perspective, helps you stay away from unpleasant surprises and troubles in both fight and in life. This is why I say to the students that only them are at fault for the accidents they are involved into. The excuse that the hit was unintended, does not ease the pain or makes an accident easier to bear. You have no excuse when those around you were not careful and you got hit. This is not a martial attitude as you should not expect to be protected by those around you. If I can not take care of myself or my people there is no hope that others will. Unfortunately, modern society encourages this passive attitude, making people increasingly less responsible for their own lives and for those around them. They expect the government to take care of them, to schedule their life, to tell them how and what to eat, how to have fun, what is good and evil, what and in whom to believe, and the government makes this better and better.
16. Do not use breakfalls as a defense technique. They are just a necessary evil and you must understand that their goal is to bring you back as soon as possible in a defense position, and not to massage your back or to impress the audience. Remember that during a breakfall your defense capacity is zero, so this must happen as rare as possible and to take as little time as possible. For this we must practice breakfalls constantly and from any position.
17. The most dangerous enemies are not those whose weapons and hostile intentions are obvious. You must protect yourself from those whose intentions and weapons are not obvious and treat them with reserve. A skilled fighter will not reveal the surprises he/she has prepared for you, only when it is too late.
Dan Corneliu Ionescu - AIKIDO 1,2,3 59 18. Instructors will always have to repeat to the practitioners the idea that any attack should be seen as a weapon hit, and should be treated accordingly. A knife, a bat, a sword, a firearm can be easily hidden from sight by a skilled aggressor. It is better for you to learn this now, than finding it later, or too late. About Technique
Dan Corneliu Ionescu - AIKIDO 1,2,3 60 TRAINING STRUCTURE
Adult training session lasts 1.5-2 hours. Children training should not exceed 1 hour because they lose patience, become careless and may get hurt. Training at seminars will be held in the form of 2 hours training sessions with 2-3 hours breaks between them. Here is a training structure for a heterogeneous group of students:
Mokuso - 2 min. Warm-up - 10 min. Ukemi - 5 min. Exercises to improve the technical bases, with and without partner -10 min. Nage Waza - 20-30 min. Katame Waza - 35-45 min. Exercises to develop strength, games, Kokyu-ho - 10 min. Mokuso - 2 min.
Warm Up WARM UP Warm up must prepare the student's body for the physical effort during training. Even if warm up means no Aikido technique, it does not mean that we can ignore it. During warm up the joints and muscles prepare for the effort ahead and help to avoid accidents. A good warm up prevents us from unpleasant surprises. Instructors tend to focus more on the students warm up and less on their own. This is a wrong practice and an injured teacher has bad and lasting effects on students. During the execution of the warm up exercises, one must keep in mind the following principles: - From slow to fast - From small amplitude to large amplitude - From the extremities to the center - From the upper body to the lower body - Do not use to much strength - Do not skip any joint - You must alternate the pairs or groups of muscles - Flexibility exercises must be done with relaxed tendons (non-contracting muscles) - Breathing should be normal, continuous, uninterrupted - Breathing should be harmonized with the rhythm and the direction of the movements - At the end of warm up pulse should not exceed 100-120 beats / minute Dan Corneliu Ionescu AIKIDO 1,2,3 61 Warm Up
The instructor must work together with his students. He must be able to do all that he requires his students to do. He must show them what and how they should actually do things, and corrects them by showing them the correct form. Warm up usually takes 10-15 minutes.
Moku so
The bow Za Rei
Exercises for the arms joints
Dan Corneliu Ionescu AIKIDO 1,2,3 62
Warm Up
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Warm Up
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Warm Up
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Warm Up
z Dan Corneliu Ionescu AIKIDO 1,2,3 66 Warm Up
Funa-Kogi-Undo exercise
Shiko Samurai walk
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Warm Up
Exercise to extend the Ki
BREAK FALLS UKEMI
Mae Ukemi forward roll
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Warm Up
Ushiro Ukemi backwards roll
Mae Ukemi forward roll
Ushiro Ukemi backwards roll Dan Corneliu Ionescu AIKIDO 1,2,3 69
Warm Up
Tobi Ukemi breakfall over obstacle
Training exercise for breakfalls Dan Corneliu Ionescu AIKIDO 1,2,3 70
Warm Up
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Kokyu Ho
Circular motion exercise
Ude Osae - Ikkyo UDE OSAE IKKYO - (Elbow lock) UDE OSAE is considered the most important technique of Aikido, but rarely is explained why. The main reason why the Founder of Aikido thought this technique was so important is that UDE OSAE is the base for all locking techniques and also for many throwing techniques. Speaking of UDE OSAE, Aikido's Founder said that it is IKKYO ISSHO - meaning the first technique or a technique for the entire life. We'll see when we study the lockings, that in order to execute any of the techniques mentioned is enough to execute UDE OSAE correctly and efficiently to transform it in any of these locks. UDE OSAE is my action on one of my partners arms so that he is forced to turn unbalanced and with his back to me. The action on the partner's arm is made in two points: 1 - the same hand as my partners on his wrist, 2 - the second hand on his elbow. As I said, an Aikido technique means mainly a dodge or deflection of the attack, followed by an unbalance of the aggressor and finally a pin or a throw. If we were to rank these three elements, then its easy to understand that if I am unable to dodge, deflect or block the attack, I'll be hit or pinned and in this case the next element of the technique will not be possible. So the dodge, block or deflection of the attack is absolutely necessary in order to be able to further defend myself. Dan Corneliu Ionescu - AIKIDO 1,2,3 72 If I managed to dodge the attack, but Im not able to quickly diminish the attackers strength and ability to fight, then I will be attacked again, with far more power and determination. Ude Osae - Ikkyo In addition, my attacker will be more careful and cautious because of the failed attack, so that it will be much difficult to surprise him with my dodges. So after the dodge, deflection or blocking the attack, comes the moment to quickly unbalance the aggressor. The off-balance makes the aggressor, unconsciously, to gather all his physical resources for rapid restoration of his balance and returning to full capacity to fight. This is the moment that I have to take advantage of and finish the fight with a pin or a throw. So at this point I must be able to execute the most appropriate Aikido technique, lock or throw, that should take control of the aggressor or discourage him from ever attacking. We analyzed these moments of fight because next we will show the basic Aikido techniques, and their execution is dependent on a correct understanding of their dynamics according to my partner's (the aggressors) actions. You may have noticed that I repeatedly used both the word aggressor and partner to refer to the attacker (UKE), the one that I am applying the technique on. Alternative use of these words is meant to remind you that we refer in the same time to training but also to fighting. In general, the techniques described will be started from Migi Kamae position, that is with the right hand and foot in front. This way, readers will have fewer problems to reconstruct the movements from photos and will easily understand the textual explanations. The most frequently attack used will be Katate Dori Ai Hanmi, meaning the same hand grip, or Shomen Uchi, which is a downward hit to the head. If we analize an Aikido technique we can create a model of its development from the perspective of the two basic principles of Aikido: IRIMI (positive) and TENKAN (negative). This model contains the following execution ways:
1. the technique starts positive (blocking or deflecting the attack), followed by unbalance and a positive finish (preserving my forward movement). In other words, I pass through the partners attack and continue with a pin or a throw.
2. the technique starts positive (blocking or deflecting the attack), followed by unbalance and a negative finish, which means I diverge the movement and revolve my partner around me, pinning or throwing him. This means I pass through the partners attack and then I rotate him to pin or throw him.
Dan Corneliu Ionescu - AIKIDO 1,2,3 73 3. the technique starts negative (dodging the attack, letting it pass me - Tai Sabaki), followed by unbalance and a positive finish, which means advancing with the partner (as if I pass through him) and then pinning or throwing him. Ude Osae - Ikkyo This means that I rotate myself in the moment of the attack, I catch my partner in my movement, I advance to pin or throw him.
4. the technique starts negative (dodging the attack, letting it pass me - Tai Sabaki), followed by unbalance and a negative finish, which means deviate (turn) the partner around me to pin or throw him. This variant means that I rotate myself in the exact moment of the attack, I catch my partner while moving then I continue to turn with him to pin or throw him.
During the execution of the technique, I must take care to keep my arms at all times with the elbows close to the body, because otherwise I risk to offer my partner an ideal position for him to execute a technique on me.
KATATE DORI AI HANMI - UDE OSAE
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Ude Osae - Ikkyo KATATE DORI AI HANMI - UDE OSAE NEGATIV
MOROTE DORI - UDE OSAE
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Ude Osae - Ikkyo
SHOMEN UCHI - UDE OSAE NEGATIV
MUNE DORI - UDE OSAE NEGATIV
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Ude Osae - Ikkyo
MUNE DORI - UDE OSAE NEGATIV
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Ude Osae - Ikkyo
USHIRO RYOTE DORI - UDE OSAE
USHIRO RYOTE DORI - UDE OSAE NEGATIV
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Ude Osae - Ikkyo
RYOTE DORI - UDE OSAE NEGATIV
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Ude Osae - Ikkyo
SUWARI WAZA
SHOMEN UCHI - UDE OSAE NEGATIV
KATATE DORI AI HANMI - UDE OSAE Dan Corneliu Ionescu - AIKIDO 1,2,3 80
Kote Mawashi - Nikyo KOTE MAWASHI NIKYO (Twisting the hand towards outside) KOTE MAWASHI technique is a pinning technique by means of a lever type action on the twisted arm. The specific joint lock can be easily recognized by the shape and position of partner's arm, which, seen from above looks like the letter Z. This letter is composed of a segment that is his hand (palm), another segment that is his forearm (between hand and elbow) and the third segment that is his arm (between elbow and shoulder). One side of the letter Z, the smallest (the partner's wrist) is pinned, on his backhand by pressing with my right hand on my chest. My right hand holds the partner's hand as if shaking hands with him, but with the palms upside down. Pressing my other hand on this twisted arm in the opposite direction, will drive Uke to the ground because of the pain caused by Nage. Locking variation SHOMEN TSUKI - KOTE MAWASHI - NEGATIV Dan Corneliu Ionescu AIKIDO 1,2,3 128 Kote Mawashi - Nikyo
FIXING OPTIONS
Dan Corneliu Ionescu AIKIDO 1,2,3 129 Kote Mawashi - Nikyo KATATE RYOTE DORI - KOTE MAWASHI
Kote Mawashi - Nikyo Dan Corneliu Ionescu AIKIDO 1,2,3 161
Kote Hineri - Sankyo KOTE HINERI SANKYO (Twisting the wrist towards outside) Kote Hineri is a highly effective technique, if well executed. From Migi Kamae, regardless of the attack, I start by executing UDE OSAE until I bring UKE in the classic position, with his back toward me, bent over, leaning with his left hand on the ground. In this position, I carefully control his arm with one hand while the other hand grips his four fingers as a sword. I strike down with this sword and with the other hand I press on his elbow until Uke lies on the ground. I get down and control him using the specific pinning technique. For the negative form, Nage makes a Tai Sabaki controlling with both his hands Uke's arm. Because of the pain, Uke is forced to follow him and lie down. If Uke strikes with the fist or a weapon, the success of this technique is determined by a prior strike with the fist on the back of Ukes hand, the one who controls the weapon. USHIRO RYOTE DORI KUBI SHIME - KOTE HINERI Dan Corneliu Ionescu AIKIDO 1,2,3 162 Kote Hineri - Sankyo
Kote Hineri - Sankyo BOKEN SHOMEN UCHI - KOTE HINERI.
EXECUTION DETAILS
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Kote Hineri - Sankyo BOKEN SHOMEN UCHI - KOTE HINERI.
TESSEN KOTE HINERI
KEN SHOMEN UCHI KOTE HINERI
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Kote Hineri - Sankyo
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Kote Hineri - Sankyo
KEN SHOMEN UCHI KOTE HINERI
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Kote Hineri - Sankyo Dan Corneliu Ionescu AIKIDO 1,2,3 197
Tekubi Osae - Yonkyo TEKUBI OSAE YONKYO (Lock with lever on forearm) The specific painful effect of this technique is achieved only if Nage's hands act as a leverage, with the point of attack being the first part of Uke's forearm. In the Irimi form, the painful action is performed by pressing Nages right index finger base on Ukes radial nerve or by pressing Nages index finger base on the radial bone of Ukes arm. The Tenkan form is happening in the same way but also simultaneously executing a Tai Sabaki to rotate Uke around me. This technique is difficult to execute, especially for beginners, because the secret is the correct and accurate action on the partners radial nerve or bone. This action on the mentioned points causes severe pain, plus some temporary numbness of the arm. An incorrect action on these points does not have any effect. The instructor should explain in full detail how to execute the technique and show to each student how the technique works, so they can feel on their own arm the effect of the right action. Dan Corneliu Ionescu AIKIDO 1,2,3 198 Tekubi Osae - Yonkyo MUNE DORI - TEKUBI OSAE
Tekubi Osae - Yonkyo Dan Corneliu Ionescu AIKIDO 1,2,3 216 TANTO YOKOMEN UCHI TEKUBI OSAE - NEGATIV
Ude Nobashi - Gokyo UDE NOBASHI GOKYO (Extending, forcing the elbow downwards) Ude-Nobashi is related to Ude-Osae. The difference is that with Ude- Nobashi, Uke's elbow is constantly extended and Nages hand holds Uke's wrist from its pulse. It is a technique frequently used for attacks such as: Shomen Uchi, Shomen Tsuki and Yokomen Uchi. It is a Gyaku Hanmi type of technique, and can also be executed against any attack which may be easily led to this position. As I said before, the technique is very similar to Ude-Osae, except that the partners arm will have to be kept straight without bending the elbow and the arm will also have to be strongly kept in torsion. The technique is usually used for a knife attack. The action on the elbow and the twisted arm allow a good control of the partners arm and the lock with the twisted wrist at 90 degrees allows the partners disarming (the release of the knife). The negative form of this technique is different only in terms of unbalance and turning movement of the partner. On the negative form, instead of advancing, I will make a Tai Sabaki so I will get behind him. Following with the technique in the same way as the positive form. Dan Corneliu Ionescu AIKIDO 1,2,3 217 Ude Nobashi - Gokyo YOKOMEN UCHI - UDE NOBASHI
Ude Nobashi - Gokyo Dan Corneliu Ionescu AIKIDO 1,2,3 243
Hiji Kime Osae HIJI KIME OSAE (Pinning by forcing the elbow downwards) This technique means forcing the partners elbow, while pushing his arm towards the ground. I lock Uke's arm under my armpit forcing it towards my ribs and with the other hand I act on my partner's wrist, pushing his shoulder down, until he is forced to put the other hand on the ground. The technique is very efficient and quite easy to execute. Nage should sit straight and not lean too much on Uke's arm. The negative form of this technique means unbalancing the partner by executing a Tai Sabaki centered on my closest leg to him so that he will be forced to follow me by moving backwards because of the pain getting him in the best position for me to execute the final pinning technique. EXECUTION DETAILS Dan Corneliu Ionescu AIKIDO 1,2,3 244 Hiji Kime Osae SHOMEN UCHI - HIJ I KIME OSAE
KATATE DORI AI HANMI - HIJ I KIME OSAE
Dan Corneliu Ionescu AIKIDO 1,2,3 245
Hiji Kime Osae
SHOMEN UCHI - HIJ I KIME OSAE
Dan Corneliu Ionescu AIKIDO 1,2,3 246
Hiji Kime Osae KATATE DORI AI HANMI - HIJ I KIME OSAE
SHOMEN TSUKI - HIJ I KIME OSAE Dan Corneliu Ionescu AIKIDO 1,2,3 247
Hiji Kime Osae
SHOMEN TSUKI - HIJ I KIME OSAE
Dan Corneliu Ionescu AIKIDO 1,2,3 248
Hiji Kime Osae
SUWARI WAZA
SHOMEN UCHI - HIJ I KIME OSAE
Dan Corneliu Ionescu AIKIDO 1,2,3 249
Hiji Kime Osae TANTO HIJI KIME OSAE
TANTO SHOMEN TSUKI - HIJ I KIME OSAE
Dan Corneliu Ionescu AIKIDO 1,2,3 250
Hiji Kime Osae TAMBO HIJI KIME OSAE
TAMBO SHOMEN UCHI HIJ I KIME OSAE
Dan Corneliu Ionescu AIKIDO 1,2,3 251
Hiji Kime Osae TAMBO SHOMEN UCHI HIJ I KIME OSAE
Dan Corneliu Ionescu AIKIDO 1,2,3 252
Hiji Kime Osae JO HIJI KIME OSAE
EXECUTION DETAILS
J O SHOMEN TSUKI - HIJ I KIME OSAE
Dan Corneliu Ionescu AIKIDO 1,2,3 253
Hiji Kime Osae BOKEN HIJI KIME OSAE
BOKEN SHOMEN UCHI - HIJ I KIME OSAE
Dan Corneliu Ionescu AIKIDO 1,2,3 254
Hiji Kime Osae
BOKEN SHOMEN UCHI - HIJ I KIME OSAE
Dan Corneliu Ionescu AIKIDO 1,2,3 255
Hiji Kime Osae TESSEN HIJI KIME OSAE
TANTO SHOMEN TSUKI HIJ I KIME OSAE
Dan Corneliu Ionescu AIKIDO 1,2,3 256
Hiji Kime Osae Dan Corneliu Ionescu AIKIDO 1,2,3 257 TANTO SHOMEN TSUKI HIJ I KIME OSAE
Shiho Nage SHIHO NAGE (Four directions throw) As we know, during Aikido training we create false fight conflict scenarios that allow students to study conflict theory and resolution methods with minimum losses and minimum effort. In the case of the throwing techniques (Nage Waza), conflict resolution is achieved through a harmonious control of the attacks energy, to deflect it and discharge it into the air or to redirect it against the aggressor. By executing a throwing technique, Nage has transferred the conflict to another place and time, but has not completely solved it, so that the conflict can reoccur. This disadvantage of the throwing techniques is compensated by the fact that Nage is only for a little time in contact with Uke and can quickly regain freedom of movement, movement which is absolutely necessary for simultaneous attack from several opponents. Because in Aikido, the defense force is determined by the attack force, if an attack is strong and fast, Uke can be neutralized by the throwing techniques violence alone, or by continuing the throw with a pinning or locking technique. Throwing techniques in Aikido are so varied that their number seems endless. When the student is sufficiently advanced so he can move freely, he discovers that there are no two techniques the same, as each is specific to a particular attack and a certain situation. Dan Corneliu Ionescu - AIKIDO 1,2,3 258 After having been thrown by others many times and, in turn, you have thrown others thousands of times, you come to stop thinking about how to execute the technique or how to fall, and from this moment you start practicing Aikido for real. Shiho Nage Aikido teaches you how to deal with unforeseen circumstances, to successfully solve the present moment, "now and here", to control a situation when you have no time for questions and you must act immediately. To get there, the teaching should be part of you, not just to stick to you, meaning "you must become what you learn to do". This is the only way you can get to move freely without being paralyzed by the attack. The fight requires spontaneity and intuition. If you try to use reason in combat you will be as a blind man using a torch. Only sincere training can train and develop intuition.
During training you cannot decide beforehand what you will do, how you will you react. You will have to feel the attack, follow it by dodging it and drive its energy without blocking it so that your partner will find void where he thought it was an obstacle and will be unbalanced by his own attacks energy. It is obvious that in a fight, intuitive action does not guarantee your success, but it is certain that a rational action gives you defeat. In Aikido we train to react unconsciously in a fight, the same way we do consciously during training. We must train ourselves to receive any attack and to execute any technique of Aikido, honest and relaxed, overcoming the barrier of "if" and maybe that usually confuses our mind. This way we overcome the state in which we ask what technique should be done until the right time passes and it is too late to do anything. Confidence in movement, obtained by training, is relaxing our mind which in turn gives the body confidence and capacity to face critical situations, even without the mind being involved. The physical and mental training can help control fear and we can offer our body the ability to become an intelligent tool.
By practicing Aikido, the student discovers his body with its possibilities and limitations, and this leads to a confidence of movements that positively affects his mentality, and this leads to the disappearance of the tension caused by the fear. This process can be compared to a pyramid, which at first is upside-down in precarious balance, and with training is returning to the natural position with the base down. A student, "rebuilt" this way, knows his value, is no longer paralyzed by false fantasies and can act outwards from his strong and stable "center".
Dan Corneliu Ionescu - AIKIDO 1,2,3 259 Shiho Nage technique comes from the J apanese sword technique and consists in controlling Uke's energy, unbalance him, and the 180 degree rotation of Nage's body, followed by a "sword cut" to one of the four cardinal points. Shiho Nage During training, the Aikido movements are generally performed without force. To meet this requirement, we should rather not block the attack energy, but change its direction and then return it against our partner. To do this, Uke's energy should be controlled and returned following a loop, a spiral. The idea of returning the energy following a spiral is found in most techniques, and it is accomplished by moving the Center, both in Irimi and Tenkan forms. Shiho Nages favorable position is Katate Dori Ai Hanmi. So, no matter the attack, Nage will have to get into Katate Dori Ai Hanmi position by different maneuvers and unbalancing techniques and then execute the technique.
TENKAN form negative The difference between the positive and negative forms is simple. Instead of entering, to rotate myself and to strike with the sword in one of the forth directions, I will pivot toward the outside of my partner space and I will strike with the sword behind him.
KATATE DORI AI HANMI - SHIHO NAGE
Dan Corneliu Ionescu - AIKIDO 1,2,3 260
Shiho Nage
KATATE DORI AI HANMI - SHIHO NAGE
Dan Corneliu Ionescu - AIKIDO 1,2,3 261
Shiho Nage RYOTE DORI - SHIHO NAGE
MUNE DORI - SHIHO NAGE
Dan Corneliu Ionescu - AIKIDO 1,2,3 262
Shiho Nage
USHIRO RYOTE DORI AI HANMI - SHIHO NAGE
Dan Corneliu Ionescu - AIKIDO 1,2,3 263
Shiho Nage
KATATE DORI AI HANMI - SHIHO NAGE
KATATE DORI AI HANMI - SHIHO NAGE - NEGATIV
Dan Corneliu Ionescu - AIKIDO 1,2,3 264
Shiho Nage
HANMI HANTACHI WAZA
KATATE DORI GYAKU HANMI - SHIHO NAGE NEGATIV
Dan Corneliu Ionescu - AIKIDO 1,2,3 265
Shiho Nage
KATATE DORI AI HANMI - SHIHO NAGE NEGATIV
Dan Corneliu Ionescu - AIKIDO 1,2,3 266
Shiho Nage
KATATE DORI AI HANMI - SHIHO NAGE NEGATIV
KATATE RYOTE DORI - SHIHO NAGE Dan Corneliu Ionescu - AIKIDO 1,2,3 267
Dan Corneliu Ionescu - AIKIDO 1,2,3 291 Shiho Nage BOKEN SHOMEN UCHI - SHIHO NAGE
BOKEN SHOMEN UCHI - SHIHO NAGE
Dan Corneliu Ionescu - AIKIDO 1,2,3 292
Shiho Nage
BOKEN SHOMEN UCHI - SHIHO NAGE
Dan Corneliu Ionescu - AIKIDO 1,2,3 293
Shiho Nage
EXECUTION DETAILS
Dan Corneliu Ionescu - AIKIDO 1,2,3 294
Shiho Nage TESSEN SHIHO NAGE
TANTO YOKOMEN UCHI SHIHO NAGE
Dan Corneliu Ionescu - AIKIDO 1,2,3 295
Shiho Nage TANTO SHOMEN TSUKI SHIHO NAGE
TANTO SHOMEN UCHI SHIHO NAGE Negativ Dan Corneliu Ionescu - AIKIDO 1,2,3 296
Shiho Nage Dan Corneliu Ionescu - AIKIDO 1,2,3 297
TANTO SHOMEN UCHI SHIHO NAGE Negativ
Irimi Nage IRIMI NAGE (Entering throw) The basis of this technique is engaging Uke in a horizontal or vertical circular motion, which amplifies or neutralizes his initial action, and it unbalances him. Then, when Uke is off-balance, Nage suddenly changes the direction of movement, throwing Uke forward, backward or in any other direction. The execution of this technique is using the principle of action and reaction. Because Uke is drawn into a strong movement which unbalance him, after a moment he will try to recover and to regain balance. At this point Nage changes the direction of movement, adding to Ukes reaction his own energy to force him to fall. The technique is extremely efficient, has a wide range of applications for any attack, but the correct and efficient execution is not easily achievable. The technique was called the 20 years' throwing to remember the time that Morihei Ueshiba spent to perfect this technique. Due to Nage's posture (facing Uke) when throwing, the technique is also called Shomen Irimi-Nage, to distinguish it from the related technique, called Sokumen Irimi-Nage, where Nage is with the shoulder towards Ukes face. It is a technique from the group of techniques of opportunity, meaning that, if I lost the opportunity (the moment), the technique cannot be efficiently executed anymore and I will have to try something else. Dan Corneliu Ionescu AIKIDO 1,2,3 298 Uke's throwing is made by Nage entering into his energy sphere, when Uke is trying to regain his balance, and continues with Uke's center moving on a trajectory toward his rear. Irimi Nage can easily be understood if we imagine the sword technique at its origins. Irimi Nage I am staying in Migi Kamae position, Uke strikes with the sword towards my head, I avoid with a Tai Sabaki on the left leg to the right and back, raising my sword. Once the strike missed me, I return with the right foot forward, advance towards my partner and strike him with the sword in the face.
In Tenkan form, Nage and Uke, move horizontally on two semicircles. The first semicircle signifies Ukes unbalance, and is executed by Nage, having as center one of his legs, and the second is throwing Uke, movement executed by Nage with the center on the other leg. Throughout the execution of the technique, Nage must keep Uke close to him and in control, by retaining continuous contact of their bodies.
The difference between positive and negative form comes after the unbalance of the partner, rather than entering in his sphere of energy to throw him, I do a Tai Sabaki, attract Uke in my energy sphere and throw him. The negative form ends with an unpleasant fall for Uke, so if he is a beginner he can be seriously injured.
J O SHOMEN TSUKI IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 354
Irimi Nage
Dan Corneliu Ionescu AIKIDO 1,2,3 355
Irimi Nage J O SHOMEN TSUKI - IRIMI NAGE
J O SHOMEN TSUKI - IRIMI NAGE - NEGATIV Dan Corneliu Ionescu AIKIDO 1,2,3 356
Irimi Nage
J O SHOMEN TSUKI - IRIMI NAGE
J O YOKOMEN UCHI - IRIMI NAGE - NEGATIV Dan Corneliu Ionescu AIKIDO 1,2,3 357
Irimi Nage
J O SHOMEN TSUKI - IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 358
Irimi Nage J O SHOMEN TSUKI - IRIMI NAGE
J O SHOMEN TSUKI - IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 359
Irimi Nage J O SHOMEN TSUKI - IRIMI NAGE
J O SHOMEN TSUKI - IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 360
Irimi Nage J O SHOMEN TSUKI - IRIMI NAGE
J O SHOMEN TSUKI - IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 361
Irimi Nage
BOKEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 362
Irimi Nage BOKEN SHOMEN UCHI - IRIMI NAGE
BOKEN SHOMEN UCHI IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 363
Irimi Nage
Dan Corneliu Ionescu AIKIDO 1,2,3 364
Irimi Nage BOKEN SHOMEN UCHI - IRIMI NAGE
BOKEN SHOMEN UCHI - IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 365
Irimi Nage
BOKEN SHOMEN UCHI - IRIMI NAGE
BOKEN SHOMEN UCHI - IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 366
Irimi Nage
BOKEN SHOMEN UCHI - IRIMI NAGE
BOKEN SHOMEN UCHI - IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 367
Irimi Nage
BOKEN SHOMEN UCHI - IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 368 Irimi Nage BOKEN SHOMEN UCHI - IRIMI NAGE
BOKEN SHOMEN UCHI - IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 369 Irimi Nage BOKEN SHOMEN UCHI - IRIMI NAGE
TESSEN IRIMI NAGE
TANTO SHOMEN TSUKI RIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 370
Irimi Nage
Dan Corneliu Ionescu AIKIDO 1,2,3 371
Irimi Nage
TANTO SHOMEN TSUKI IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 372
Irimi Nage
Dan Corneliu Ionescu AIKIDO 1,2,3 373
Irimi Nage TANTO SHOMEN UCHI IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 374
Irimi Nage
TANTO SHOMEN UCHI IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 375
Irimi Nage
TANTO SHOMEN UCHI IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 376
Irimi Nage BOKEN SHOMEN UCHI IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 377
Irimi Nage BOKEN SHOMEN UCHI IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 378
Irimi Nage Dan Corneliu Ionescu AIKIDO 1,2,3 379 BOKEN SHOMEN UCHI IRIMI NAGE
Sokumen Irimi Nage SOKUMEN IRIMI NAGE (Side-entering throw) This technique is related to Shomen Irimi-nage in what concerns the reverse-movement principle applied to the end of the action, but it differs by body position when throwing. Nage throws Uke with the side of his body and the related arm. In this technique the breathing effect has a greater importance than usual, it has to be well synchronized with the throwing movement. The technique is usually executed from Katate Dori Gyaku Hanmi position, or from any attack that can be reduced to or assimilated the position mentioned before. By analogy with the sword technique that we talked about when I described Irimi Nage, we conclude in the Sokumen Irimi Nage case, that I deal with the same attack, but my reaction will be different from that described in Irimi Nage. When the attacker strikes Shomen Uchi, I do a Tai Sabaki outside of Uke space, on the opposite side of the hand carrying weapon, I raise my sword up at my opposite shoulder, and after I got my right shoulder near my partners left shoulder, I strike Uke with my sword from the top to bottom and from left to right. Dan Corneliu Ionescu AIKIDO 1,2,3 379 The execution of the technique consists of the following: the partner attacks Katate Dori Gyaku Hanmi, I do a Tai Sabaki on the front leg, I raise my partners arm as high as possible, and after reaching the shoulder-by- shoulder position, I enter diagonally with my right hand towards him with an action from top to bottom and from left to right and with my left hands te- katana towards his chest or abdomen, until he is thrown on his back. Sokumen Irimi Nage Tenkan negative form A negative execution consists in replacing the movement of entering and unbalancing the partner with a Tai Sabaki while my hands acts on the partner, followed by his unbalance and a throw at 180 degrees from the initial direction.
J O SHOMEN TSUKI - SOKUMEN IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 427
Sokumen Irimi Nage
J O SHOMEN TSUKI - SOKUMEN IRIMI NAGE
J O SHOMEN TSUKI - SOKUMEN IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 428
Sokumen Irimi Nage
J O SHOMEN TSUKI - SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 429
Sokumen Irimi Nage
BOKEN SOKUMEN IRIMI NAGE
BOKEN SHOMEN UCHI - SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 430
Sokumen Irimi Nage BOKEN SHOMEN UCHI - SOKUMEN IRIMI NAGE
BOKEN SHOMEN UCHI - SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 431
Sokumen Irimi Nage BOKEN SHOMEN UCHI - SOKUMEN IRIMI NAGE
BOKEN SHOMEN UCHI - SOKUMEN IRIMI NAGE
BOKEN SHOMEN UCHI - SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 432
Sokumen Irimi Nage
BOKEN SHOMEN UCHI - SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 433
Sokumen Irimi Nage
BOKEN SHOMEN UCHI - SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 434
Sokumen Irimi Nage TESSEN SOKUMEN IRIMI NAGE
TANTO SHOMEN TSUKI SOKUMEN IRIMI NAGE
TANTO SHOMEN TSUKI SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 435
Sokumen Irimi Nage TANTO SHOMEN TSUKI SOKUMEN IRIMI NAGE
KEN SHOMEN UCHI SOKUMEN IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 436
Sokumen Irimi Nage
KEN SHOMEN UCHI SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 437
Sokumen Irimi Nage TANTO YOKOMEN UCHI SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 438
Sokumen Irimi Nage TANTO SHOMEN TSUKI SOKUMEN IRIMI NAGE
TANTO SHOMEN TSUKI SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 439
Sokumen Irimi Nage
TANTO SHOMEN TSUKI SOKUMEN IRIMI NAGE
KEN SHOMEN UCHI SOKUMEN IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 440
Sokumen Irimi Nage
KEN SHOMEN UCHI SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 441
Sokumen Irimi Nage
TANTO YOKOMEN UCHI SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 442
Sokumen Irimi Nage
TANTO YOKOMEN UCHI SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 443
Sokumen Irimi Nage TANTO YOKOMEN UCHI SOKUMEN IRIMI NAGE
BOKEN SHOMEN UCHI SOKUMEN IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 444
Sokumen Irimi Nage Dan Corneliu Ionescu AIKIDO 1,2,3 445 BOKEN SHOMEN UCHI SOKUMEN IRIMI NAGE
Kaiten Nage KAITEN NAGE (Wheel/rotary throw) The technique allows Nage to solve Uke's attack by a special throw called Kaiten Nage, where Uke is unbalanced and thrown like a wheel. The first part of the technique can be executed in two ways: 1. Kaiten-Nage-Uchi throwing Uke after Nage enters under his arm, from the inside; 2. Kaiten-Nage-Soto throwing Uke by Nages movement outside Ukes arm. Kaiten Nage is a technique specific to Katate Dori Gyaku Hanmi position, so regardless of how Uke attacks, Nage will have to maneuver Uke so he gets into Katate Dori Gyaku Hanmi position and then executes the technique. The difference between positive and negative forms is the throwing direction of the wheel that represents my partner. To execute the negative form of any of the two variations, Uchi or Soto, in the moment of the throw I execute a Tai Sabaki, rotate 180 degrees and throw him in this new direction. I point out that this break-fall is difficult for an unexperienced Uke, and so it can be dangerous. Dan Corneliu Ionescu- AIKIDO 1,2,3 446 Kaiten Nage SHOMEN TSUKI - KAITEN NAGE SOTO
SHOMEN TSUKI - KAITEN NAGE SOTO NEGATIV
Dan Corneliu Ionescu- AIKIDO 1,2,3 447
Kaiten Nage
SHOMEN UCHI - KAITEN NAGE SOTO NEGATIV
Dan Corneliu Ionescu- AIKIDO 1,2,3 448
Kaiten Nage KATATE DORI GYAKU HANMI - KAITEN NAGE SOTO
TANTO SHOMEN TSUKI - KAITEN NAGE SOTO Dan Corneliu Ionescu- AIKIDO 1,2,3 472
Kaiten Nage
TANTO YOKOMEN UCHI - KAITEN NAGE SOTO
Dan Corneliu Ionescu- AIKIDO 1,2,3 473
Kaiten Nage
TANTO YOKOMEN UCHI - KAITEN NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 474
Kaiten Nage
TANTO YOKOMEN UCHI - KAITEN NAGE SOTO NEGATIV
Dan Corneliu Ionescu- AIKIDO 1,2,3 475
Kaiten Nage
TANTO SHOMEN TSUKI - KAITEN NAGE NEGATIV
TANTO SHOMEN TSUKI - KAITEN NAGE SOTO Dan Corneliu Ionescu- AIKIDO 1,2,3 476
Kaiten Nage
TANTO SHOMEN TSUKI - KAITEN NAGE SOTO NEGATIV
TANTO YOKOMEN UCHI - KAITEN NAGE SOTO Dan Corneliu Ionescu- AIKIDO 1,2,3 477
Kaiten Nage
TANTO YOKOMEN UCHI - KAITEN NAGE SOTO
Dan Corneliu Ionescu- AIKIDO 1,2,3 478
Kaiten Nage TANTO YOKOMEN UCHI - KAITEN NAGE SOTO
Dan Corneliu Ionescu- AIKIDO 1,2,3 479
Kaiten Nage TAMBO KAITEN NAGE
TAMBO YOKOMEN UCHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 480
Kaiten Nage TAMBO SHOMEN TSUKI KAITEN NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 481
Kaiten Nage TAMBO SHOMEN TSUKI KAITEN NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 482
Kaiten Nage JO KAITEN NAGE
J O SHOMEN TSUKI - KAITEN NAGE SOTO
J O SHOMEN TSUKI - KAITEN NAGE UCHI NEGATIV Dan Corneliu Ionescu- AIKIDO 1,2,3 483
Kaiten Nage
EXECUTION DETAILS
Dan Corneliu Ionescu- AIKIDO 1,2,3 484
Kaiten Nage
Dan Corneliu Ionescu- AIKIDO 1,2,3 485
Kaiten Nage J O SHOMEN TSUKI - KAITEN NAGE SOTO
J O SHOMEN TSUKI - KAITEN NAGE SOTO Dan Corneliu Ionescu- AIKIDO 1,2,3 486
Kaiten Nage
J O YOKOMEN UCHI - KAITEN NAGE SOTO
Dan Corneliu Ionescu- AIKIDO 1,2,3 487 Kaiten Nage J O SHOMEN TSUKI - KAITEN NAGE UCHI NEGATIV
J O YOKOMEN UCHI - KAITEN NAGE SOTO Dan Corneliu Ionescu- AIKIDO 1,2,3 488
Kaiten Nage
J O YOKOMEN UCHI - KAITEN NAGE SOTO
Dan Corneliu Ionescu- AIKIDO 1,2,3 489
Kaiten Nage
BOKEN KAITEN NAGE
BOKEN SHOMEN UCHI - KAITEN NAGE SOTO
Dan Corneliu Ionescu- AIKIDO 1,2,3 490
Kaiten Nage
BOKEN SHOMEN UCHI - KAITEN NAGE NEGATIV
Dan Corneliu Ionescu- AIKIDO 1,2,3 491
Kaiten Nage
TESSEN KAITEN NAGE
BOKEN SHOMEN UCHI KAITEN NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 492
Kaiten Nage
TANTO SHOMEN UCHI KAITEN NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 493
Kaiten Nage
TANTO YOKOMEN UCHI KAITEN NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 494
Kaiten Nage Dan Corneliu Ionescu- AIKIDO 1,2,3 495
Ude Kime Nage UDE-KIME-NAGE (Throw by forcing the elbow) This technique is based on the execution of a lever on Uke's extended elbow. The negative form of this technique is to change the direction of the throw and the grip on the elbow. Instead of throwing him forward while acting on his elbow, I throw him backwards acting on his elbow turned inward. The execution of the negative form of Ude Kime Nage with a beginner may cause him injury. YOKOMEN UCHI - UDE KIME NAGE NEGATIV Dan Corneliu Ionescu AIKIDO 1,2,3 496 Ude Kime Nage
KATATE RYOTE DORI - UDE KIME NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 497
Ude Kime Nage KATATE DORI AI HANMI - UDE KIME NAGE
KATATE RYOTE DORI - UDE KIME NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 498
Ude Kime Nage MUNE DORI - UDE KIME NAGE
SUWARI WAZA
Dan Corneliu Ionescu AIKIDO 1,2,3 499
Ude Kime Nage EXECUTION DETAILS
MUNE DORI YOKOMEN UCHI - UDE KIME NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 500
Ude Kime Nage USHIRO RYOKATA DORI - UDE KIME NAGE
SHOMEN TSUKI - UDE KIME NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 501
Ude Kime Nage
SHOMEN TSUKI - UDE KIME NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 502
Ude Kime Nage YOKOMEN UCHI - UDE KIME NAGE
MAE GERI - UDE KIME NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 503
Ude Kime Nage
TANTO UDE KIME NAGE
TANTO YOKOMEN UCHI - UDE KIME NAGE
TANTO SHOMEN TSUKI - UDE KIME NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 504
Ude Kime Nage
JO UDE KIME NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 505
Ude Kime Nage J O SHOMEN TSUKI - UDE KIME NAGE
J O SHOMEN TSUKI - UDE KIME NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 506
Ude Kime Nage J O SHOMEN TSUKI - UDE KIME NAGE
J O SHOMEN TSUKI - UDE KIME NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 507
Ude Kime Nage
BOKEN UDE KIME NAGE
BOKEN SHOMEN UCHI - UDE KIME NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 508
Ude Kime Nage BOKEN SHOMEN UCHI - UDE KIME NAGE
BOKEN SHOMEN UCHI - UDE KIME NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 509
Ude Kime Nage TESSEN UDE KIME NAGE
BOKEN SHOMEN UCHI KIME NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 510 Ude Kime Nage Dan Corneliu Ionescu AIKIDO 1,2,3 511 BOKEN SHOMEN UCHI UDE KIME NAGE
Kote Gaeshi KOTE GAESHI (Twisting the wrist towards outside) This technique serves to unbalance Uke and make him fall on his back, and can be finished with a pinning to the ground by a painful action on his arm. The execution of this technique is based on the painful effect caused by turning Uke's wrist towards outside, with a specific grip, shown below. Kote Gaeshi is one of the most effective techniques and can be executed from any attack if I know to turn it into one of the forms suitable for execution. Before I start describing this technique, I want to remind you that when someone grabs me with one hand, most often does so to immediately hit me with the other hand or to try to restrain me. For safety, you have to get used to the idea that if someone grabs me by the hand or other body part a hit will follow immediately, and even if Uke does not intend to hit me, I have to imagine this and act. Tenkan negative version Usually, the positive form of a technique means the execution of the pinning or throwing by entering into the partners sphere and passing through it, and a negative form means the execution of a Tai Sabaki, shortly before the execution of the pin or throw, or simultaneously with it, and by drawing my partner into my energy sphere. Dan Corneliu Ionescu - AIKIDO 1,2,3 512 Kote Gaeshi KATATE RYOTE DORI - KOTE GAESHI
KATATE RYOTE DORI - KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 513
Kote Gaeshi
USHIRO RYO HIJ I DORI - KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 514
Kote Gaeshi
YOKOMEN UCHI - KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 515
Kote Gaeshi YOKOMEN UCHI - KOTE GAESHI - NEGATIV
YOKOMEN UCHI - KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 516
Kote Gaeshi YOKOMEN UCHI - KOTE GAESHI - NEGATIV
YOKOMEN UCHI - KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 517
Kote Gaeshi SHOMEN TSUKI - KOTE GAESHI
KATATE DORI GYAKU HANMI - KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 518
Kote Gaeshi MOROTE DORI - KOTE GAESHI - NEGATIV
SHOMEN TSUKI - KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 519
Kote Gaeshi
EXECUTION DETAILS
Dan Corneliu Ionescu - AIKIDO 1,2,3 520
Kote Gaeshi SHOMEN UCHI - KOTE GAESHI
SHOMEN UCHI - KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 521
Kote Gaeshi
SHOMEN UCHI - KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 522
Kote Gaeshi
SHOMEN UCHI KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 523
Kote Gaeshi
USHIRO RYOTE DORI KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 524
Kote Gaeshi USHIRO RYOTE DORI - KOTE GAESHI
MUNE DORI - KOTE GAESHI
KATATE DORI AI HANMI - KOTE GAESHI Dan Corneliu Ionescu - AIKIDO 1,2,3 525
Kote Gaeshi
SHOMEN UCHI KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 526
Kote Gaeshi
KATATE DORI AI HANMI - KOTE GAESHI Dan Corneliu Ionescu - AIKIDO 1,2,3 527
J O YOKOMEN UCHI - KOTE GAESHI Dan Corneliu Ionescu - AIKIDO 1,2,3 539
Kote Gaeshi
J O SHOMEN UCHI - KOTE GAESHI
J O SHOMEN TSUKI KOTE HAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 540
Kote Gaeshi
Dan Corneliu Ionescu - AIKIDO 1,2,3 541
Kote Gaeshi J O SHOMEN TSUKI - KOTE GAESHI
BOKEN KOTE GAESHI
BOKEN SHOMEN UCHI - KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 542
Kote Gaeshi BOKEN SHOMEN UCHI - KOTE GAESHI
BOKEN SHOMEN UCHI - KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 543
Kote Gaeshi
BOKEN SHOMEN UCHI - KOTE GAESHI
BOKEN SHOMEN UCHI - KOTE GAESHI Dan Corneliu Ionescu - AIKIDO 1,2,3 544
Kote Gaeshi
TESSEN KOTE GAESHI
TANTO SHOMEN TSUKI KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 545 Kote Gaeshi
TANTO YOKOMEN UCHI KOTE GAESHI
Dan Corneliu Ionescu - AIKIDO 1,2,3 546
Kote Gaeshi Dan Corneliu Ionescu - AIKIDO 1,2,3 547 TANTO SHOMEN TSUKI KOTE GAESHI
Tenchi Nage TENCHI NAGE (Heaven and earth throw) The name of the technique comes from the specific position of Nages hands when throwing Uke: one hand towards heaven and the other downwards towards earth. Ukes unbalance is created by the movement of the arms, and not by Nages chest. This technique is suitable to front attacks (RYOTE DORI) when Ukes force is taken by Nage and then returned against Uke. This asymmetrical position causes the unbalance of my partner which I can then use to throw him. TENKAN negative form The negative form runs as follows: instead of entering and acting on my partner to throw him, before he recovers his balance, I will continue with Tai Sabaki until he rotates 180 degrees, I enter, unbalance him with the heaven and earth position and throw him. KATATE DORI GYAKU HANMI - TENCHI NAGE - NEGATIV Dan Corneliu Ionescu- AIKIDO 1,2,3 548 Tenchi Nage
RYOTE DORI - TENCHI NAGE - NEGATIV
Dan Corneliu Ionescu- AIKIDO 1,2,3 549
Tenchi Nage RYOTE DORI - TENCHI NAGE
EXECUTION DETAILS
Dan Corneliu Ionescu- AIKIDO 1,2,3 550
Tenchi Nage KATATE DORI GYAKU HANMI - TENCHI NAGE
RYOTE DORI - TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 551
Tenchi Nage RYOTE DORI - TENCHI NAGE NEGATIV
SHOMEN UCHI - TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 552
Tenchi Nage SHOMEN TSUKI - TENCHI NAGE
SHOMEN TSUKI - TENCHI NAGE
SHOMEN TSUKI - TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 553
Tenchi Nage MUNE DORI - TENCHI NAGE
MUNE DORI - TENCHI NAGE Dan Corneliu Ionescu- AIKIDO 1,2,3 554
Tenchi Nage SHOMEN TSUKI - TENCHI NAGE
RYOTE DORI - TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 555
Tenchi Nage TANTO TENCHI NAGE
TANTO SHOMEN TSUKI - TENCHI NAGE
TANTO SHOMEN TSUKI - TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 556
Tenchi Nage TANTO SHOMEN TSUKI - TENCHI NAGE
TANTO YOKOMEN UCHI -TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 557
Tenchi Nage YOKOMEN UCHI - TENCHI NAGE
TANTO YOKOMEN UCHI - TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 558 Tenchi Nage TANTO SHOMEN TSUKI - TENCHI NAGE
TANTO SHOMEN TSUKI - TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 559
Tenchi Nage TANTO SHOMEN TSUKI - TENCHI NAGE
TANTO SHOMEN TSUKI -TENCHI NAGE Dan Corneliu Ionescu- AIKIDO 1,2,3 560
Tenchi Nage
TAMBO TENCHI NAGE
TAMBO SHOMEN UCHI TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 561
Tenchi Nage
JO TENCHI NAGE
J O SHOMEN TSUKI - TENCHI NAGE Dan Corneliu Ionescu- AIKIDO 1,2,3 562
Tenchi Nage
J O SHOMEN TSUKI TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 563
Tenchi Nage
J O SHOMEN TSUKI TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 564
Tenchi Nage
J O SHOMEN TSUKI - TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 565
Tenchi Nage J O SHOMEN TSUKI - TENCHI NAGE
J O SHOMEN TSUKI - TENCHI NAGE Dan Corneliu Ionescu- AIKIDO 1,2,3 566
Tenchi Nage
J O SHOMEN TSUKI -TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 567
Tenchi Nage J O SHOMEN TSUKI - TENCHI NAGE
J O SHOMEN TSUKI - TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 568
Tenchi Nage BOKEN TENCHI NAGE
BOKEN SHOMEN UCHI - TENCHI NAGE
BOKEN SHOMEN UCHI - TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 569
Tenchi Nage BOKEN SHOMEN UCHI - TENCHI NAGE
BOKEN SHOMEN UCHI - TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 570
Tenchi Nage BOKEN SHOMEN UCHI - TENCHI NAGE
BOKEN SHOMEN UCHI - TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 571
Tenchi Nage TESSEN TENCHI NAGE
TANTO SHOMEN UCHI TENCHI NAGE
TANTO SHOMEN UCHI TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 572
Tenchi Nage
KEN SHOMEN UCHI TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 573
Tenchi Nage
KEN SHOMEN UCHI TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 574
Tenchi Nage
TANTO SHOMEN TSUKI TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 575
Tenchi Nage TANTO SHOMEN TSUKI TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 576
Tenchi Nage
TANTO SHOMEN TSUKI TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 577
Tenchi Nage
TANTO YOKOMEN UCHI TENCHI NAGE
Dan Corneliu Ionescu- AIKIDO 1,2,3 578
Tenchi Nage Dan Corneliu Ionescu- AIKIDO 1,2,3 579
Koshi Nage KOSHI NAGE (Over hip throw) The principle of this technique is used in various martial arts e.g. in J udo. This is an action applied on Ukes upper body: Uke's hips are blocked by Nage's hips and his hands are drawn by Nage's hands, leading to the overthrow of Uke. The technique can be done by loading and flipping Uke over Nages hips, or Nage moves Uke so that he stumbles over Nages hips and falls. The optimal position for the execution of this technique is Katate Dori Gyaku Hanmi. Tenkan negative form The negative form of this technique means the execution of Tai Sabaki pivoting on the leg nearest to the partner, in the exact moment of the throwing. This combination makes the partner to follow a spatial spiral trajectory, leading to a dangerous fall for Uke. This technique is not recommended for beginners without good experience with falls. For this reason, some Aikido federations of various countries have banned the execution of this technique. Dan Corneliu Ionescu AIKIDO 1,2,3 580 Koshi Nage RYOTE DORI - KOSHI NAGE
RYOTE DORI - KOSHI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 581
Koshi Nage KATATE RYOTE TOR I- KOSHI NAGE
USHIRO RYOTE DORI - KOSHI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 582
Koshi Nage
SHOMEN UCHI - KOSHI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 583
Koshi Nage
RYOTE DORI - KOSHI NAGE
RYOTE DORI - KOSHI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 584
Koshi Nage
RYOTE DORI - KOSHI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 585
Koshi Nage MOROTE DORI - KOSHI NAGE
YOKOMEN UCHI - KOSHI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 586
Koshi Nage SHOMEN UCHI KOSHI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 587
Koshi Nage SHOMEN UCHI KOSHI NAGE
KATATE RYOTE DORI - KOSHI NAGE NEGATIV Dan Corneliu Ionescu AIKIDO 1,2,3 588
Koshi Nage
KATATE RYOTE DORI - KOSHI NAGE NEGATIV
KATATE DORI GYAKU HANMI - KOSHI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 589
Koshi Nage
KATATE DORI AI HANMI - KOSHI NAGE NEGATIV
Dan Corneliu Ionescu AIKIDO 1,2,3 590
Koshi Nage
TANTO KOSHI NAGE
TANTO SHOMEN UCHI - KOSHI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 591
Koshi Nage
TANTO YOKOMEN UCHI - KOSHI NAGE NEGATIV
TANTO SHOMEN TSUKI - KOSHI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 592
Koshi Nage
TANTO YOKOMEN UCHI - KOSHI NAGE
TANTO SHOMEN TSUKI - KOSHI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 593
SHOMEN TSUKI KOSHI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 602
Koshi Nage
Dan Corneliu Ionescu AIKIDO 1,2,3 603
Koshi Nage J O SHOMEN UCHI KOSHI NAGE
J O SHOMEN UCHI - KOSHI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 604
Koshi Nage
J O SHOMEN TSUKI - KOSHI NAGE NEGATIV
Dan Corneliu Ionescu AIKIDO 1,2,3 605
Koshi Nage BOKEN KOSHI NAGE
BOKEN SHOMEN UCHI - KOSHI NAGE NEGATIV
BOKEN SHOMEN UCHI - KOSHI NAGE NEGATIV
Dan Corneliu Ionescu AIKIDO 1,2,3 606
Koshi Nage
TESSEN KOSHI NAGE
TANTO SHOMEN UCHI KOSHI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 607
Koshi Nage
TANTO SHOMEN UCHI KOSHI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 608
Koshi Nage
TANTO SHOMEN UCHI KOSHI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 609
Koshi Nage
TANTO SHOMEN UCHI KOSHI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 610
Koshi Nage Dan Corneliu Ionescu AIKIDO 1,2,3 611
Juji Garami JUJI GARAMI (Figure-ten / cross throw) J uji Garami is a very efficient throwing technique, using cross-blocking Uke's arms, therefore the name of this technique is: "throwing with the arms crossed." The favorable position of this technique is Katate Ryote Dori, which means my partner is gripping one of my hands with both his hands. Because of the pain and the restrain of his arms, the partner is thrown and flipped over his head in the same time. fall is dangerous because the partner is flipped in the air over his head and because his hands are blocked he cannot use them for the breakfall to diminish the force of the impact with the ground. Tenkan negative form The negative form of J uji Garami differs from the positive form by replacing the enter and throw of the partner with the arms crossed, with the execution of Tai Sabaki on the front leg or with the foot withdrawal, and simultaneously throwing the partner with his arms in the mentioned position. Beware This is not a technique for beginners ! Dan Corneliu Ionescu AIKIDO 1,2,3 612 Juji Garami MOROTE DORI - J UJ I GARAMI - NEGATIV
USHIRO RYOTE DORI KUBI SHIME - J UJ I GARAMI
Dan Corneliu Ionescu AIKIDO 1,2,3 613
Juji Garami
KATATE RYOTE DORI - J UJ I GARAMI
Dan Corneliu Ionescu AIKIDO 1,2,3 614
Juji Garami MUNE DORI YOKOMEN UCHI - J UJ I GARAMI
MUNE DORI YOKOMEN UCHI - J UJ I GARAMI
Dan Corneliu Ionescu AIKIDO 1,2,3 615
Juji Garami RYOTE DORI - J UJ I GARAMI
KATATE RYOTE DORI - J UJ I GARAMI
USHIRO RYOTE DORI - J UJ I GARAMI Dan Corneliu Ionescu AIKIDO 1,2,3 616
Juji Garami
KATATE DORI AI HANMI - J UJ I GARAMI
Dan Corneliu Ionescu AIKIDO 1,2,3 617
Juji Garami
SHOMEN UCHI - J UJ I GARAMI
Dan Corneliu Ionescu AIKIDO 1,2,3 618
Juji Garami KATATE DORI GYAKU HANMI - J UJ I GARAMI
TANTO JUJI GARAMI
TANTO SHOMEN UCHI - J UJ I GARAMI
Dan Corneliu Ionescu AIKIDO 1,2,3 619
Juji Garami TANTO SHOMEN TSUKI - J UJ I GARAMI
TAMBO JUJI GARAMI
TAMBO SHOMEN TSUKI J UJ I GARAMI
Dan Corneliu Ionescu AIKIDO 1,2,3 620
Juji Garami
JO JUJI GARAMI
J O SHOMEN TSUKI - J UJ I GARAMI
J O SHOMEN TSUKI - J UJ I GARAMI Dan Corneliu Ionescu AIKIDO 1,2,3 621
Juji Garami
BOKEN JUJI GARAMI
BOKEN SHOMEN UCHI - J UJ I GARAMI
Dan Corneliu Ionescu AIKIDO 1,2,3 622
Juji Garami Dan Corneliu Ionescu AIKIDO 1,2,3 623 BOKEN SHOMEN UCHI - J UJ I GARAMI
Aiki Otoshi AIKI OTOSHI (Throw by lever on the legs) The technique relies on a leverage applied to Uke's lower body. Uke's hips are blocked against Nages chest or upper body and Uke's legs are wrapped by Nages hands and thrown forward or backward. It is very important for Nage not to lift Uke, but just sweep him in one direction or another. This is possible if Uke is unbalanced and thus unable to resist the sweep and Nage is balanced with his center of gravity close to the ground. The technique can be successfully applied for attacks from behind: Ushiro Ryote Dori, Ushiro Ryokata Dori, Ushiro Eri Dori or Ushiro Ryote dori Kubi Shime. The technique resembles throwing a bucket of water forward or backwards. The bucket is the arms of Nage and the water is Uke. Because Uke will fall on his back is necessary for students to master the breakfalls to avoid injuries. To prevent accidents, breakfalls will be made by breathing out. A fall on the back with the lungs full of air can lead to unpleasant accidents. The throw is dangerous and should be carefully supervised by the instructor. Do not perform this technique with beginners! Dan Corneliu Ionescu- AIKIDO 1,2,3 624 Aiki Otoshi MUNE DORI - AIKI OTOSHI
USHIRO RYOKATA DORI - AIKI OTOSHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 625
Aiki Otoshi
USHIRO RYOTE - AIKI OTOSHI
KATATE DORI AI HANMI - AIKI OTOSHI Dan Corneliu Ionescu- AIKIDO 1,2,3 626
Aiki Otoshi
SHOMEN UCHI - AIKI OTOSHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 627
Aiki Otoshi SHOMEN UCHI - AIKI OTOSHI
TANTO AIKI OTOSHI
TANTO SHOMEN TSUKI - AIKI OTOSHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 628
Aiki Otoshi
TANTO SHOMEN UCHI J UJ U GARAMI
Dan Corneliu Ionescu- AIKIDO 1,2,3 629
Aiki Otoshi
JO AIKI OTOSHI
J O SHOMEN UCHI - AIKI OTOSHI Dan Corneliu Ionescu- AIKIDO 1,2,3 630
Aiki Otoshi
J O SHOMEN TSUKI - AIKI OTOSHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 631
Aiki Otoshi
J O SHOMEN UCHI - AIKI OTOSHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 632
Aiki Otoshi J O SHOMEN UCHI - AIKI OTOSHI
J O SHOMEN TSUKI - AIKI OTOSHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 633
Aiki Otoshi
J O SHOMEN TSUKI AIKI OTOSHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 634
Aiki Otoshi
J O YOKOMEN UCHI - AIKI OTOSHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 635
Aiki Otoshi J O SHOMEN UCHI - AIKI OTOSHI
BOKEN AIKI OTOSHI
BOKEN SHOMEN UCHI - AIKI OTOSHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 636
Aiki Otoshi
BOKEN SHOMEN UCHI - AIKI OTOSHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 637
Aiki Otoshi BOKEN SHOMEN UCHI - AIKI OTOSHI
TESSEN AIKI OTOSHI
TANTO SHOMEN TSUKI AIKI OTOSHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 638
Aiki Otoshi
TANTO SHOMEN UCHI AIKI OTOSHI Dan Corneliu Ionescu- AIKIDO 1,2,3 639
Aiki Otoshi
TANTO SHOMEN UCHI AIKI OTOSHI
Dan Corneliu Ionescu- AIKIDO 1,2,3 640
Aiki Otoshi Dan Corneliu Ionescu- AIKIDO 1,2,3 641 TANTO YOKOMEN UCHI AIKI OTOSHI
Sumi Otoshi SUMI OTOSHI (Corner or diagonal throw) This technique is based on unbalancing and throwing Uke backwards and sideways in the same time, meaning towards his corner. Action on Uke is made by using one of his arms. The negative form of the technique means replacing entering and throwing with a pivot (Tai Sabaki) and throwing partner towards the back, meaning towards my corner. KATATE DORI GYAKU HANMI - SUMI OTOSHI Dan Corneliu Ionescu AIKIDO 1,2,3 642 Sumi Otoshi KATATE DORI GYAKU HANMI - SUMI OTOSHI
J O SHOMEN TSUKI SUMI OTOSHI Dan Corneliu Ionescu AIKIDO 1,2,3 667
Sumi Otoshi
J O YOKOMEN UCHI SUMI OTOSHI
Dan Corneliu Ionescu AIKIDO 1,2,3 668
Sumi Otoshi
Dan Corneliu Ionescu AIKIDO 1,2,3 669
Sumi Otoshi BOKEN SUMI OTOSHI
BOKEN SHOMEN UCHI - SUMI OTOSHI
Dan Corneliu Ionescu AIKIDO 1,2,3 670
Sumi Otoshi
TESSEN SUMI OTOSHI
TANTO SHOMEN TSUKI SUMI OTOSHI
Dan Corneliu Ionescu AIKIDO 1,2,3 671
Sumi Otoshi TANTO SHOMEN TSUKI SUMI OTOSHI
Dan Corneliu Ionescu AIKIDO 1,2,3 672
Sumi Otoshi TANTO SHOMEN TSUKI SUMI OTOSHI
TANTO SHOMEN TSUKI SUMI OTOSHI
Dan Corneliu Ionescu AIKIDO 1,2,3 673
Sumi Otoshi
TANTO SHOMEN TSUKI SUMI OTOSHI
Dan Corneliu Ionescu AIKIDO 1,2,3 674 Sumi Otoshi Dan Corneliu Ionescu AIKIDO 1,2,3 675 BOKEN SHOMEN UCHI SUMI OTOSHI
Kokyu Nage KOKYU NAGE (Breathing throw) Kokyu Nage is a technique whose correct execution requires a good control of breath and energy, combined with the practical understanding (not just theoretical) of the principle of harmony. Kokyu means breath, so the name can be translated into the breathing throw or technique. The technique can be associated with taking the energy of the attack while breathing air in the lungs, followed by an unbalance or a change of direction which corresponds to the moment of transition from breathing in to breathing out, and finally throwing the partner with the breathing out of the air from the lungs. Similarity to my own breathing is not just a figure of speech. We will see in time that we can get the ability to execute an Aikido technique as if we are breathing, which means natural and unconscious. The technique runs as follows: I am in Migi Kamae position and my partner attacks Ryote Dori. I receive the energy of the attack, easily as I would inhale, and then I enter and throw my partner with my exhale. Kokyu Nage can have many forms; it depends on the experience, ability and mastery of the student. The negative form of this technique relies in changing the throwing direction. Instead of entering and throwing my partner, I make a Tai Sabaki and throw him in a new direction, different from that expected. Dan Corneliu Ionescu AIKIDO 1,2,3 676 Kokyu Nage RYOTE DORI - KOKYU NAGE - NEGATIV
RYOTE DORI - KOKYU NAGE - NEGATIV
Dan Corneliu Ionescu AIKIDO 1,2,3 677
Kokyu Nage KATATE RYOTE DORI - KOKYU NAGE
USHIRO RYOTE DORI - KOKYU NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 678
Kokyu Nage KATATE RYOTE DORI - KOKYU NAGE
RYOTE DORI - KOKYU NAGE - NEGATIV
Dan Corneliu Ionescu AIKIDO 1,2,3 679
Kokyu Nage MUNE DORI - KOKYU NAGE - NEGATIV
YOKOMEN UCHI - KOKYU NAGE - NEGATIV
Dan Corneliu Ionescu AIKIDO 1,2,3 680
Kokyu Nage KATATE RYOTE DORI - KOKYU NAGE - NEGATIV
Dan Corneliu Ionescu AIKIDO 1,2,3 714 Kokyu Nage J O SHOMEN TSUKI KOKYU NAGE
BOKEN KOKYU NAGE
BOKEN SHOMEN UCHI - KOKYU NAGE - NEGATIV Dan Corneliu Ionescu AIKIDO 1,2,3 715
Kokyu Nage
BOKEN SHOMEN UCHI - KOKYU NAGE
BOKEN SHOMEN UCHI - KOKYU NAGE - NEGATIV Dan Corneliu Ionescu AIKIDO 1,2,3 716
Kokyu Nage
BOKEN SHOMEN UCHI - KOKYU NAGE - NEGATIV
BOKEN SHOMEN UCHI - KOKYU NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 717
Kokyu Nage
BOKEN SHOMEN UCHI - KOKYU NAGE - NEGATIV
Dan Corneliu Ionescu AIKIDO 1,2,3 718
Kokyu Nage BOKEN SHOMEN UCHI - KOKYU NAGE - NEGATIV
BOKEN SHOMEN UCHI - KOKYU NAGE - NEGATIV
Dan Corneliu Ionescu AIKIDO 1,2,3 719
Kokyu Nage BOKEN SHOMEN UCHI - KOKYU NAGE
BOKEN SHOMEN UCHI - KOKYU NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 720
Kokyu Nage BOKEN SHOMEN UCHI - KOKYU NAGE
BOKEN SHOMEN UCHI - KOKYU NAGE - NEGATIV
Dan Corneliu Ionescu AIKIDO 1,2,3 721
Kokyu Nage BOKEN SHOMEN UCHI - KOKYU NAGE
KEN SHOMEN UCHI KOKYU NAGE
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Kokyu Nage
TESSEN KOKYU NAGE
KEN SHOMEN UCHI KOKYU NAGE
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Kokyu Nage BOKEN SHOMEN UCHI KOKYU NAGE
BOKEN SHOMEN UCHI KOKYU NAGE
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Kokyu Nage
BOKEN SHOMEN UCHI KOKYU NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 725
Kokyu Nage BOKEN SHOMEN UCHI KOKYU NAGE
BOKEN SHOMEN UCHI KOKYU NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 726
Kokyu Nage
KEN SHOMEN UCHI KOKYU NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 727
Kokyu Nage
BOKEN SHOMEN UCHI KOKYU NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 728
Kokyu Nage
BOKEN SHOMEN UCHI KOKYU NAGE
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Kokyu Nage Dan Corneliu Ionescu AIKIDO 1,2,3 730 TANTO SHOMEN UCHI TENCHI NAGE
Kata KATA TECHNICAL MODELS Kata represents a determined sequence of elements, techniques and technical principles of Aikido, executed according to specific rules by the two partners (Nage and Uke), which switch roles, and who are trying together to achieve a certain objective - the correct execution of techniques in a certain form. Kata exercises role is to keep the classical, traditional form of the Aikido techniques as they were created by the founder of Aikido, Morihei Ueshiba. In general, the technique can be influenced by the personality and experience of Aikido masters, who tend to creatively develop the techniques of Aikido. This variety of forms is useful for the development of Aikido but could lead to the loss of traditional forms. To preserve the original forms of the technique so that the world of Aikido can have on hand a Golden sample of what the Founders Aikido means, the Kata exercises were put together, having as purpose a living memory. METHOD OF KATA EXECUTION Dan Corneliu Ionescu AIKIDO 1,2,3 731 Kata exercises are like those reference music pieces that any future artist must practice to perfection. Earlier in his career, the artist will perform parts of the music, basic tunes, and after those he will sound perfectly, he will play the ensemble, and then he will repeat endlessly the whole piece. Once Kata he reaches virtuosity, he can create in return, playing these songs in a new and original way. This same principle applies to the execution of kata techniques. All elements, movements, groups and key points contained in a Kata must be practiced extensively, a lot of time and with patience, as parts and then as a whole. Only after Nage and Uke master the components can they execute the whole piece. This must happen gradually and with no haste. First they do groups of movements, which are fragments of Kata, then follows the execution of these fragments linked to a big whole. At this stage the instructors corrections must be limited to what is necessary and must be adapted to the learning capacity of the student. If the instructor will correct every movement, the student will lose his interest and the pleasure to practice. People need to be encouraged to correct their mistakes, and must be helped to notice what is wrong. If they are aware of mistakes, they can easily correct them. The following is the polishing stage of Kata execution. Now the teacher will have to work with each pair individually to help them perfect their execution. After each execution the instructor assess the progress and if mistakes occur he will recommend repeating elements or suites having problems. When Kata is executed correctly, fluently and focused, the training becomes a form of dynamic meditation, allowing the student to fathom the essence of Aikido. He gets to act spontaneously, loses the sense of space and time and this offers him calm and understanding.
In judging a Kata, the following aspects are evaluated:
1 The degree of mastery of all the elements and techniques in classical form; 2 - Separation and correct expression of Irimi and Tenkan principles; 3 - Resolving the contradiction between attack and defense by harmony between Nage and Uke; 4 The personality of the examined student, outwardly expressed with dynamic, controlled and smooth Aikido techniques, and inwards with calm and tranquility; 5 - The efficiency of attack and defense in terms of self-defense; 6 The pace, execution mode and the ability to seize the 'right moment'.
NO. 1 KATA AIKIDO PRINCIPLES FROM Hantachi Waza
Dan Corneliu Ionescu AIKIDO 1,2,3 732 Kata No. 1 consists of the five main locking techniques (Katame-Waza) and two throwing techniques (Nage-waza) which can be ended with pinning the opponent. Kata When executed correctly, Kata is natural, elegant, smooth and efficient. It should be studied seriously and constantly by students over Kyu 2 (blue belt).
Kata no. 2 consists of the five main locking techniques (Katame-Waza), executed against strikes, and from Suwari position. The Kata must be performed correctly in the soft form (J u-no-Geiko), and this can only happen if the two partners, Nage and Uke have enough skill to easily move in Suwari..
Because when performing Kata, improvisation or deviation from the established model is not allowed, any mistake of the two partners leads to unbalance. In this way, students are required to analyze every detail and understand that their progress is based on concern for simplicity.
Studying Kata no. 2 is recommended for all the students over Kyu 1 level (brown belt), as it strengthens Hara, developes balance, sense of distance and right timing.
Dan Corneliu Ionescu AIKIDO 1,2,3 733 Kata no. 3 symbolizes the path traveled by advanced Aikidoka. This Kata includes synthesis techniques corresponding to the evolution in time of the student, (ie)e.g.: unarmed attack, then attack with J O, with TANTO and finally with BOKEN. Kata This Kata raises problems for students and therefore should not be executed before obtaining the black belt. Efficient use of Aikido techniques against armed attacks is possible only if Nage has a good technical base. The variety of distances between partners, as a result of various attacks and weapons, require flexible and adaptable response to attack. Although Kata exercises are spectacular, we must not forget that they are just patterns, models, requiring from the student a great capacity of detachment. When performing this Kata, we must take care to detail and the controlled execution express the students adherence to the principles of Aikido.
Nr Attack Ude Kime Nage Irimi Nage Koshi Nage Kote Gaeshi Kote Mawashi 1. Katate Ryote Tori Irimi Irimi Irimi Irimi Irimi 2. J o Shomen Tsuki Irimi Irimi Irimi Irimi Irimi 3. Tanto Yokomen Uchi Irimi Tenkan Irimi Irimi Irimi 4. Boken Shomen Uchi Irimi Irimi Tenkan Irimi Tenkan
Legenda: IRIMI =Final part of the technique is Irimi TENKAN =Final part of the technique is Tenkan
JO KATA
J o kata is executed without a partner. In the beginning is done slowly, aiming the correct execution, then gradually the speed is increased. It is important to bear constantly in mind that when you practice Kata you fight an imaginary partner that does no mistakes. Kata must be performed with great sincerity and self-critical, otherwise there is a risk youll think your technique is perfect. Here are some considerations about the way of executing J o Kata:
- You have to continually move your body and the J O.
- Execution is continuous with the same speed and determination.
Dan Corneliu Ionescu AIKIDO 1,2,3 734 - Beginning and end of Kata is made from the same position, same place, and facing the same direction. Kata - The eyes always follow the imaginary opponent, but never focus on his weapon or to other irrelevant directions.
- You must be careful to your balance and execute the movements with martial spirit.
- You have to understand the meaning, purpose and importance of each movement.
- You must not add new elements, modify existing ones or remove certain movements that you feel are unnecessary. If you feel that there are such movements it means that you dont understand their meaning yet.
Below is Master Daniel Bruns Kata:
Dan Corneliu Ionescu AIKIDO 1,2,3 735
Kata
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Dan Corneliu Ionescu AIKIDO 1,2,3 737
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Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 739
Kata
Andrei Dobre execute JO KATA
Dan Corneliu Ionescu AIKIDO 1,2,3 740 Kata
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Kata
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Dan Corneliu Ionescu AIKIDO 1,2,3 750
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Dan Corneliu Ionescu AIKIDO 1,2,3 756
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 757
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 758
Kata
BOKEN KATA 10 STRIKES KATA
Dan Corneliu Ionescu AIKIDO 1,2,3 759
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 760
Kata
Andra Vasilescu and Florina Raduca execute BOKEN KATA
Dan Corneliu Ionescu AIKIDO 1,2,3 761
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 762
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 763
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 764
Kata
Bogdan Fratila and Doru Danilet execute KATANA KATA
Dan Corneliu Ionescu AIKIDO 1,2,3 765
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 766
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 767
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Dan Corneliu Ionescu AIKIDO 1,2,3 768
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Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 772
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 773
Kata Dan Ionescu execute BOKEN KATA CDI
Dan Corneliu Ionescu AIKIDO 1,2,3 774
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 775
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 776
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 777
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Dan Corneliu Ionescu AIKIDO 1,2,3 778
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Dan Corneliu Ionescu AIKIDO 1,2,3 779
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 780
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Dan Corneliu Ionescu AIKIDO 1,2,3 782
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Dan Corneliu Ionescu AIKIDO 1,2,3 784
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 785
Kata
Dan Corneliu Ionescu AIKIDO 1,2,3 786
Kata Dan Corneliu Ionescu AIKIDO 1,2,3 787
Chain of techniques CHAIN OF TECHNIQUES A chain of techniques means a series of at least two techniques executed by Nage in response to an attack from Uke, series governed by the rules and principles of Aikido. Chained techniques are highly complex and demanding exercises that lead to: 1. Controlling the Centre and maintaining balance in motion 2. Development of reaction capability and the ability to sense the Ukes actions 3. Ability to properly and swiftly perform appropriate techniques, 4. Understanding the unity between attack and defense; 5. Correct assimilation of Aikido principles and ideas; 6. Increased technical skill I emphasize the idea that chained techniques are a form of non-combat training. For this type of training to produce the expected effects on students, it is necessary they understand the following ideas: a- Uke must attack correctly and act continuously and actively on Nage all the time, without trying relentlessly to get the control over the action. If Uke does not comply with this rule, the chain of techniques becomes Randori. b - In response to Ukes attack, Nage must apply only Aikido techniques. c - Uke must keep the type, direction and strength of the action as long as Nage is not forcing him to do otherwise. Dan Corneliu Ionescu AIKIDO 1,2,3 789 d- Uke will seek to defend himself only with natural movements and reactions and not with Aikido techniques. Chain of techniques
e - The chain of techniques must not include acrobatic or unnatural elements.
The chains of techniques are conventional and didactical exercises because in real life an Aikido technique correctly executed would not need a second one.
Chaining the techniques allows the student an understanding of wrong positions and movements, his own or those of his partner, and puts him in a position to make simple decisions in unexpected situations. Chained techniques execution leads to a synthesis of knowledge and thus to a better retention process.
In theory, one can imagine infinite sets of chained techniques. Practically we will study only two or three techniques in a chain, in the beginning with a limited number of variations and later the student will imagine his own chain techniques. The chain of techniques must be executed flexibly, controlled and without any force in order to not be injured. The goal of these exercises is not efficiency but skill and responsiveness.
Aikido students must be encouraged to study chained techniques because this kind of practice is challenging, stimulates imagination and develops a sense for detail.
Chaining of techniques in case of weapon attacks are a part of the training dedicated to advanced degrees that can use their technical knowledge for a prolonged control of Uke. Chained techniques execution should be done slowly and carefully to avoid accidents.
Below are presented several types of chained techniques, all of them starting with the basic techniques as: UDE OSAE, SHIHO NAGE, IRIMI NAGE, KOTE GAESHI.
SHOMEN UCHI - UDE OSAE +HIJ I KIME OSAE Dan Corneliu Ionescu AIKIDO 1,2,3 790
Chain of techniques
SHOMEN UCHI - UDE OSAE +UDE OSAE
SHOMEN UCHI - UDE OSAE +IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 791 Chain of techniques
SHOMEN UCHI - UDE OSAE +KOSHI NAGE
YOKOMEN UCHI - SHIHO NAHE +KOTE GAESHI Dan Corneliu Ionescu AIKIDO 1,2,3 792
Chain of techniques
YOKOMEN UCHI - SHIHO NAGE +IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 793 Chain of techniques
BOKEN SHOMEN UCHI - SOKUMEN IRIMI NAGE +IRIMI NAGE
Dan Corneliu Ionescu AIKIDO 1,2,3 804
Chain of techniques
BOKEN SHOMEN UCHI - KOTE HINERI +KAITEN NAGE
BOKEN SHOMEN UCHI -SUMI OTOSHI +UDE OSAE +KAITEN NAGE + IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 805
Chain of techniques
Dan Corneliu Ionescu AIKIDO 1,2,3 806
Chain of techniques
BOKEN SHOMEN UCHI - J UJ I GARAMI +UDE OSAE +SOKUMEN IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 807
Chain of techniques
TANTO YOKOMEN UCHI KAITEN NAGE +SOKUMEN IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 808
Chain of techniques
Dan Corneliu Ionescu AIKIDO 1,2,3 809
Counter techniques COUNTER-TECHNIQUES Another important type of training is execution of counter-techniques. A counter-technique is a chain of techniques where Nage attacks, Uke executes an Aikido technique, and Nage makes use of his usually wrongfully executed technique, to execute in his turn a counter-technique. It is very important that the two roles, Uke and Nage to be balanced, to have a approximately equal value to avoid any unnecessary confrontation during execution. These techniques allow me to detect errors or sloppy positions and grips in my partners execution and to take advantage of this and turn his technique into a new one, this time executed by me. It is a useful exercise for both Uke and Nage. Nage, who is attacking, will try to notice the moments when his partner, who executes the technique, does not control well enough the movement or makes a mistake and will execute a counter-technique, and, in turn, Uke will understand his mistakes because they are used by Nage. The two partners must work correctly, without trying to impose on one another by any means, understanding that this is an equally valuable exercise for both of them. Both Nage and Uke must understand that sincere training, active cooperation and good will, are absolutely necessary for the execution of counter-techniques to have the desired effect. Theoretically, you can imagine any number of counter-techniques, but we will present just a few of them. Instructors and advanced students can imagine and try various other combinations. Dan Corneliu Ionescu - AIKIDO 1,2,3 810 Counter techniques
Multiple and simultaneous attacks MULTIPLE AND SIMULTANEOUS ATTACKS In case of a real fight, involving several attackers, I will have to organize my defense so that it can cope quickly with such a situation, I will try to quickly reduce the number of aggressors until I can get to fully control and end the conflict. This is hard to do because there is no technique that ensures success in any situation. The attack is an event that sometimes occurs spontaneously, other times deliberately, but often it is a surprise for the victim. Although the Aikido student, after long training, is able to control the attack of one aggressor, if multiple opponents attack him, he will find that almost nothing he knows can now be applied to such an attack. The difference between one aggressor and multiple attackers is that the student will try to apply to every aggressor in part the rules and techniques that he successfully applied for a single aggressors attack. For this reason, the efficiency of his techniques will be flooded with different and continuous attacks, and he will be surprised to find that all his experience and training are worthless. This situation can be compared to a swarm of bees attack. Obviously, it would be foolish for me to try to catch or to avoid each bee in part, because the others will sting me for sure. The solutions I have in this situation are limited: 1 - I could hide, 2 - I could try to catch them all at once, with a suitable net, Dan Corneliu Ionescu AIKIDO 1,2,3 817 3 - I could distract them.. Multiple and simultaneous attacks This strategy can also apply to a multiple aggressors attack, and it seems obvious that in the case of a multiple attack, the only solution is to treat all my aggressors as one, and apply the techniques I know. To achieve this performance we will have to continue training considering the new facts of the problem, finding and applying appropriate methods in order to reach this level. Learning these skills is done in three steps: 1. Defense against repeated attacks of a single partner. 2. Defense against sequential attacks of two or more partners. 3. Defense against simultaneous attacks by two or more partners. Gradually, through training, the student will have to get used to execute the techniques that he already knows in the conditions that were determined by the specific attacks of each particular situation. Let us talk briefly about the execution of techniques for each of the three types of training mentioned above. REPEATED ATTACK OF ONE PARTNER So far, the training was conducted as a small scenario between the two partners, which in turn, attack and defend, in clear conditions, known to both. Nage knows how Uke will attack and Uke knows what technique Nage will use. This method of training is suitable at baseline, for learning how to correctly execute the attack, the technique and the correct interaction between partners. It is an important step in training and should be treated very seriously. Once partners have learned what to do, they will start doing it, that is, to learn how to fight. This stage begins with Uke's continuous attacks and how to defend myself against such an attack, which, with no pause or time to think of how to do it, forces me to defend without thinking. This is the first step in learning the laws of fight in Aikido. Training must be conducted like this: my partner attacks me, I execute an evasion or technique, he attacks me again, and I do another technique, and so on. At first, there will be only two to three attacks, one after another, but gradually, the exercise will continue to increase the number of successive attacks. Dan Corneliu Ionescu AIKIDO 1,2,3 818 The instructor must carefully calibrate the difficulty of the exercises, supervise training and step in when Nage is in difficulty. Multiple and simultaneous attacks For this he will set a specific speed for Ukes attacks, so that Nage will not be overwhelmed by these repeated attacks, and to allow him to organize consciously his defense. If things are random, then these exercises will be a futile confrontation of forces, that will take place without any logic, and in addition, will certainly cause accidents. The phases of this kind of training are: 1. Uke attacks with 2-3 hits or grips known beforehand by Nage, and Nage defends himself with a single technique established by the instructor. 2. Uke attacks with 2-3 hits or grips known beforehand by Nage, Nage defends himself with 2-3 techniques established by the instructor. 3. Uke attacks with 2-3 hits or grips unknown to Nage, and Nage defends himself with a single technique that is not established by the instructor. 4. Uke attacks with 2-3 hits or grips unknown to Nage, and Nage defends himself with 2-3 techniques not established by the instructor. 5. Uke attacks with various hits and grips unknown to Nage, and Nage defends himself with different techniques, without repeating. Attack speed should be increased gradually so that Nage can be able to adapt quickly to fighting conditions, to cleverly use his advantages, to minimize drastically disadvantages, and make quick decisions necessary to control the partner. At the end of the period allocated to this kind of training, the Aikido student will be able to face attacks and execute techniques with some speed and effectiveness. The main gain of the practitioner, at the end of this training period is not only the instinctive execution of techniques but also the ability to quickly understand what the particularities of his partner are and react accordingly. SEQUENTIAL ATTACKS OF TWO PARTNERS Training with only one partner, even if the partner changes from time to time, after the first few attacks I will soon be able to apprehend what is specific to this partner, how fast he attacks, the strength of his attacks, how easily it is to unbalance him, and as such I can adapt pretty quickly to his attacks so I can deal with the fight without much trouble. Dan Corneliu Ionescu AIKIDO 1,2,3 819 Unfortunately things change dramatically when there are two Uke. Of course I know each of them, and if I think about it, I can remember what are Multiple and simultaneous attacks the particularities of each of them, the hit power, the speed, their skill and weight, but during the very short time of their continuous attacks, I dont have enough time to consciously decide how and what to do in each case. Training for this stage should be structured as follows: 1. The two Uke attack, one at a time, with hits or grabs known beforehand by Nage, and Nage defends with a single technique established by the instructor. 2. The two Uke attack, one at a time, with hits or grabs known beforehand by Nage, and Nage defends with 2-3 techniques established by the instructor. 3. The two Uke attack, one at a time, with hits or grabs unknown to Nage, and Nage defends with a single technique not established by the instructor. 4. The two Uke attack, one at a time, with hits or grabs unknown to Nage, and Nage defends with 2-3 techniques not established by the instructor. 5. The two Uke attack, one at a time, with hits or grabs unknown to Nage, and Nage defends with a different technique each time. At the end of this training period, the student gains the ability to, unconsciously and without having to memorize all particularities of his partners, instinctively defend himself with different techniques of Aikido. The crucial element that allows Nage to successfully defend himself is "understanding the pace and strategy of fight". This means that he will understand quite quickly that the successive attacks of the two Uke follow a certain rhythm, and instinctively, Nage will try to fit into this rhythm to control it, or he will try to impose a new rhythm. SIMULTANEOUS ATTACKS BY TWO PARTNERS After the student already got the ability to integrate himself in the rhythm of the fight described above, then he will be attacked simultaneously by two people, his previous knowledge about the logic of the fight will not be sufficient to control the situation. He will find with surprise that he cannot divide himself in two so that half will fight with a partner and the other half with another. Dan Corneliu Ionescu AIKIDO 1,2,3 820 Deception is high and many advanced students told me that suddenly they realized that they are not too far from the beginning, and that they had serious doubts that things have progressed as they thought until that moment. Multiple and simultaneous attacks Fortunately, it is only a momentary deception, because the student already has a significant knowledgebase and enough experience to make the steps to the next level. He will quickly understand that if one is unable to split in two, then he will have to treat the two partners as one, which is an already known scenario. The training structure is similar to the two previous stages: 1. The two Uke attack simultaneously, with hits or grabs known beforehand by Nage, and Nage defends with a single technique established by the instructor. 2. The two Uke attack simultaneously, with hits or grabs known beforehand by Nage, and Nage defends with 2-3 techniques established by the instructor. 3. The two Uke attack simultaneously with hits and grabs unknown to Nage, and Nage defends with a single technique, not established by the instructor. 4. The two Uke attack simultaneously with hits and grabs unknown to Nage, and Nage defends with 2-3 techniques, not established by the instructor. 5. The two Uke attack simultaneously with hits and grabs unknown to Nage, and Nage defends with a different technique each time. During training in this last stage, the Aikido student will understand a key point, which is: regardless of how many partners attack him, he will have to look at them as a single one, and to execute one of the techniques to fit that situation. During training with simultaneous attacks by two partners, the student learns how to move, how to lure and maneuver partners into the right position so that they can be treated as a single partner. Here are some examples: KATATE DORI - SHIHO NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 821 Multiple and simultaneous attacks KATATE DORI - SHIHO NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 822 Multiple and simultaneous attacks KATATE DORI - UDE OSAE KATATE DORI - IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 823 Multiple and simultaneous attacks KATATE DORI J UJ I GARAMI KATATE DORI - KOKYU NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 824 Multiple and simultaneous attacks KATATE DORI - SOKUMEN IRIMI NAGE KATATE DORI - KOSHI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 825 Multiple and simultaneous attacks KATATE DORI - UDE OSAE KATATE DORI - IRIMI NAGE KATATE DORI - SOKUMEN IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 826 Multiple and simultaneous attacks KATATE DORI - KAITEN NAGE KATATE DORI - SUMI OTOSHI Dan Corneliu Ionescu AIKIDO 1,2,3 827 Multiple and simultaneous attacks TECHNIQUES AGAINST SIMULTANEOUS WEAPON ATTACKS This chapter describes Tanto Waza, J o Waza and Boken-Waza techniques, locks or throws, executed against simultaneous attacks by two aggressors. We have chosen some of the best known Aikido techniques, which we presented in both Nage without weapon and Nage with weapon variants. These techniques are reserved for black belts and require high skill in Aikido. It is possible for me to be able to effectively defend with a weapon against multiple aggressors, but to control such a fight, to avoid serious injury or the death of my aggressors, without unnecessarily endangering to my own life -- it is not easy. This is only harder if I have to fight with my bare hands alone. J O SHOMEN TSUKI - UDE NOBASHI Dan Corneliu Ionescu AIKIDO 1,2,3 828 Multiple and simultaneous attacks J O SHOMEN TSUKI - SOKUMEN IRIMI NAGE J O SHOMEN TSUKI - IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 829 Multiple and simultaneous attacks J O SHOMEN TSUKI - IRIMI NAGE SHOMEN TSUKI - IRIMI NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 830 Multiple and simultaneous attacks J O SHOMEN TSUKI - KAITEN NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 831 Multiple and simultaneous attacks J O SHOMEN TSUKI - KOKYU NAGE J O SHOMEN TSUKI - KOKYU NAGE Dan Corneliu Ionescu AIKIDO 1,2,3 832 Multiple and simultaneous attacks Dan Corneliu Ionescu AIKIDO 1,2,3 833 J O SHOMEN TSUKI - AIKI OTOSHI BOKEN SHOMEN TSUKI Randori ABOUT RANDORI Randori or free fighting training is possible only after the Aikido student is able to defend himself instinctively, possess a good technical knowledge, has a correct understanding of the rules of the fight, and is capable of self- control. Randori training will only be conducted under the strict control of the instructor who is solely responsible for the actions of his students. He will not allow unauthorized students to experience this form of training because they could not cope with it in terms of safety. This means that the instructor must determine for each student the moment when he will be able to participate in Randori, he will establish the speed of execution, the number of Uke as well as the length of the training. Randori training will come progressively, initially with a slow speed, with a small number of Uke and will be short (2-3 minutes), and then continued with the gradual increase of the speed and the number of attackers, and with a controlled increase of the duration. During this type of training, there is a clear accident hazard, either because of limited training space or because of the students who, engaged in fight frenzy, may unintentionally but badly injure their partners. Exercise 1 Dan Corneliu Ionescu - AIKIDO 1,2,3 834 Randori
Exercise 2
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Randori
Exercise 3
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Exercise 4
Exercise 5 Dan Corneliu Ionescu - AIKIDO 1,2,3 837
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Exercise 6
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Exercise 7
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Exercise 8
Exercise 9 Dan Corneliu Ionescu - AIKIDO 1,2,3 840
Randori
Exercise 10
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Exercise 11
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Exercise 12
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Randori
Dan Corneliu Ionescu - AIKIDO 1,2,3 844 Exercise 13
Answers to questions ANSWERS TO FREQUENTLY ASKED QUESTIONS I thought to choose some of the questions I frequently receive on the forum or by e-mail, because the answers to these questions might clarify some things I did not think to include in my books. You once said that Aikido, as it is practiced now, is not efficient in a fight, why is that ? This is not an absolute affirmation. It is just a personal observation based on experience, but obviously questionable. I noticed that people prefer to talk and dream about things instead of trying to do them. Many of them do not have enough patience and expect that the teacher will tell them the secret of how to become efficient within 24 hours. Aikido is a martial art, which means a sum of techniques having as purpose, the control of one or more aggressors. From this point of view, we can discuss efficiency as the frequency to achieve the purpose mentioned, without significant losses. On the spiritual side, Aikido aims towards control and harmonization of opposite forces, antagonistic, of any kind. If there are no such forces Aikido is not needed. Therefore, we can say that learning Aikido involves the simultaneous existence of an attack and a control technique to cancel the attack. Attack and defense are elements of the same equation. This equation is valid for any martial art and any combat method, J apanese or not. These two elements, attack and defense are complementary and inseparable, like Yin and Yang. Dan Corneliu Ionescu - AIKIDO 1,2,3 834 If there is no attack, there is no defense, and if the attack is simulated or symbolic, the defence will be the same. Answers to questions
On the other hand, we know from experience that the real life conditions are impossible to reproduce in a controlled training environment, and for this reason we teach and train in the Dojo, using patterns of reality. The art of the teacher is to conduct the training from simple and easy to complex and very difficult, as the students experience and understanding increases. He must always introduce "surprises" to the training of his students, because life does the same. In the end, the student will have to assimilate the "understanding" of control, which is much more than learning the control methods. What I said about Aikido efficiency is determined by the fact that in many Dojos fictional things are experienced, there is much talk and little sweat, students being interested more in the social component of training, than in the training itself. Aikido is a martial art with a strong philosophical support. Aikido can be efficient or not (as with any other martial art), to the extent that, the the one who practices it understands its role and essence, and is sincerely committed to this. In the begging this depends on the teacher, in time it depends only on you.
Is it possible to execute the techniques like Morihei Ueshiba ?
In theory it is. In dojo we learn the basics of this martial art. We learn different techniques, and how they can be used for various attacks. The number of techniques is limited and the attacks are not entirely real. The purpose of training is to get you to respond in an instinctive (unconscious) way to an attack, and to harmonize with the aggressor, in your favor. In time all techniques merge into what we call THE TECHNIQUE, and the various attacks become THE ATTACK. When you can solve THE ATTACK using THE TECHNIQUE, than the things you refer to, become possible.
Which is the true Aikido ?
In any serious Aikido Dojo, no matter the organization it is part of, Morihei Ueshibas Aikido is taught. Instructors are those who put emphasis and make differences. Their different vision and understanding of Ueshibas art makes Aikido alive and continuously growing. Dan Corneliu Ionescu - AIKIDO 1,2,3 835 Schools, different styles of Aikido, are just personal views of masters on Morihei Ueshibas art. Some are interested in certain aspects of the technique; others are attracted to the spiritual and philosophical part, while others are more interested in the martial aspect of Aikido. Each of them Answers to questions
teaches what they understood from the art of O Sensei. So look closely at the teacher.
I do not understand how can you learn harmony using a martial art ?
We all agree that it is easy to harmonize yourself with someone you are compatible with, you sympathize with, or have the same ideals, passions, hobbies, and so on, but it is very difficult or often impossible to harmonize, to live in harmony with an aggressor that wants you dead. This is the main reason why the way of harmony through fighting techniques was chosen: so, while in a fight when your life is threatened, if you are able to use Aikidos principles to protect yourself, but also your opponent, it means that you hold the secret of harmonizing with this opposing force. Sure, you could say that it is enough if your opponent dies, and if you stay alive, everything is fine. However, viewed from the perspective of your opponent, for him it is sufficient if only you would die. So what is the truth? In any case, someone could die, a life will be lost. On the other hand, all lives have their purpose. How could one learn such a harmonization technique to protect oneself without seeking the attackers destruction by any means ? There was the necessity of a better, accessible way for anyone, whether weak or strong, educated or naive, rich or poor, male or female, adult or young. Because Morihei Ueshiba, the founder of Aikido, lived in a place and time when the fight was a honorable occupation, he could not find something more appropriate to put a method in place to teach people the technique and the art of harmonization. Sorry for the simplicity of explanation, if you would practice Aikido It would be easier to explain.
What is the club that teaches the right Aikido ?
My opinion is that it is not very important the club you choose because Aikido is about the same everywhere. Teachers can be better or worse, more interested or not, with or without teaching talent. It is like the music class, when you cannot sing, you think that studying in Vienna you could progress faster than in Iasi. Unfortunately, many students have such ideas, forgetting that progress depends only on their effort and sincerity. Dan Corneliu Ionescu - AIKIDO 1,2,3 836 I advise you to go to see a class in several clubs and then decide. Answers to questions
What is important is to feel good in that community, because Aikido is approximately the same everywhere.
Many say that you teach an Aikido different from the others, why is that ?
The fact that the founders of Aikido in Romania were largely self-taught, and that during the communism period it was not possible to have any contact with other Aikido schools, these had two important consequences: - Many things have been reinvented, and as such, the development of Aikido in Romania was slower. - Because it was not under the direct influence of known schools, Romanian Aikido looked at all the styles, tried various things and has built its own method, the effect being a grate freedom of understanding and execution of techniques. Because of its self-taught childhood, Aikido in Romania tried to assimilate valuable things from other schools and movements, without any concern of joining in any existing style. This is the reason for which at Romanian Aikido Federation one can encounter both elegant but also extremely concise and effective techniques. I think it is important to say that the Romanian Aikido reput the weapons techniques in their rightful place, and had been constantly developing them. A good friend of mine thinks, and I agree with him on this, that our Aikido practice accepts many of the concepts that amount to fundamental differences between the major schools of Aikido. Here is a significant tale in this respect: Many years ago I was visited by some Aikido masters from the United States, very nice and friendly people. Once they returned home, I read their impressions of the visit to Romania on their federation website:
"We participated in a seminary of the Romanian Aikido Federation, led by Master Dan Ionescu and we were impressed by his technique and efficiency. (I told you they were nice people). Master Dan Ionescu teaches an effective form of Aikijutsu, with and without weapons, with original techniques, some completely unknown until now. "
Why do you think Aikido does not go in the right direction ?
I do not intend to give lessons or to judge others. What I will say is only my opinion, criticizable though. Here is what happens generally in Aikido dojos:
Dan Corneliu Ionescu - AIKIDO 1,2,3 837 1. There are more and more conventions. Answers to questions
If, for the first few months, they are required to simplify the learning process, after a while they become a habit and nobody gives them up, because it is more convenient. When things are typical and thus you cannot have any surprises, life in Dojo becomes like a chat between friends. It is good for socializing, but very bad for martial purpose. You can make your own observations by looking at beginners! When they come to Dojo, some of them still have some traces of instinctive reaction, of the survival instinct, that is if you try to hit them, they have a weak reaction to defend themselves. After 6 months of training, after it being confirmed that the partner or the instructor does not really hit them, any trace of defensive reaction melts away. Very often it happens that when I train with an advanced student or instructor and he is not used to me, it happens that I hit him, and he looks at me, surprised, thinking what he done wrong.
2. People avoid pain. On the other hand, without pain it is difficult to find the answer to such questions like why and how. These things cannot be told. I remember that in my early years of Aikido I was bruised all over because I did not know I had to be polite in training.
3. Because of civilization and the lack of physical activity, beginners do not know how to hit, do not know to avoid being hit, do not have a proper balance and physical condition. While the balance and physical condition are part of the daily training, nothing will be done for real life strikes, blocks and dodges. Everyone repeats like parrots: there are no strikes in Aikido ! This is wasteful for Aikido and dangerous for students.
4. Excess of Tai-sabaki. In Dojos, Tai-sabaki is used whether it is needed or not. The moves which are not round enough and wide enough are prohibited, so that it can be frequently seen in Dojos, people doing a useless tai-sabaki for a positive technique. It is obvious that in this case the throwing strength is substantially reduced. Because in the beginning the students are told not to withdraw or not to pull, in order for them to easily learn specific movements of entering or avoiding, over time people make it the absolute truth, completely prohibiting such movements. The problem is that people want to practice an "elegant" Aikido and for this they execute the techniques gracefully without understanding that elegance is the result of perfection in execution.
Dan Corneliu Ionescu - AIKIDO 1,2,3 838 5. Lack of training of the teachers. Instructors, with rare exceptions, no longer train. They believe that teaching others will also bring teaching to their own Answers to questions
bodies. It is important to be a teacher but you cannot progress unless you are a student at the same time.
6. Small number of classes. 2 or 3 classes per week are a minimum that ensures only a slow progress. Many Aikido black belts believe that training only when they have time is sufficient. It is not because people are increasingly busier.
7. Lack of real life training, where Uke really strikes and Nage is obliged to perform best to avoid being hit. In many Dojos such training is considered out of the spirit of Aikido.
8. Reluctance to work with weapons. Some, most people do not use them at all in training and others only during seminars. Many instructors are hiding behind the words: "Aikido is a path of peace and not of weapons and confrontation" because they lack the experience and knowledge necessary to teach weapons techniques.
Do you think teachers are responsible for the lack of efficiency of their students ?
No, I do not want to leave such an impression. Teachers are not the only ones to blame. The blame belongs to the whole community of Aikido, because gradually they induced the idea that Aikido is addressed exclusively to the spirit and would be the universal cure for all the bad things of the world. Grave is that things are constantly evolving in this direction and we can see Dojos where Aikido masters mysteriously wave their hand and the aggressors fall motionless to the ground or scream in pain. The tendency makes people expect everything from technology, the system or divinity. People indulge in living according to the rules of the system, tutored by the system; they dress, have fun, eat, love and do martial arts as induced by the system or by fashion trends. I expect to see appearing, if its not already existing, the organization who teaches you Aikido by mail. What can we do? We can replace words with deeds. We can talk less about Aikido and practice more Aikido. Much more and more sincere.
I read somewhere that Aikido training should be strictly structured in groups of movements, to make it more accessible to students.
Dan Corneliu Ionescu - AIKIDO 1,2,3 839 Yes and no. Maybe it would be easier for people to learn Aikido if the Aikido class would resemble the mathematics class, but the effect would not be the desired one. Answers to questions
I do not recommend the training to be divided into groups of movements: hits, movements, grips, techniques, etc., I do only in the first year of study. After that things should change, because when studying the Aikido techniques, the student must learn to hit to make way or to unbalance the attacker, and he must feel on his own skin that he can be hit as well, and that such a hit is not a gentle touch. A fight is not like a math lesson, even though both are based on logic.
Are you an adept of hard or subtle Aikido ?
I think it is wrong to say that Aikido should be this or that, hard or soft, with hits or without, etc. Aikido is a martial art and that should say everything. We know that the goal of Aikido is harmony between people. By analogy, if the world peace depended on the skill of playing the violin, it is understandable that people should play the violin as good as possible, and nobody would question how the bow should be held, or whether to use it with the right or left hand. The same is with Aikido. It cannot achieve its purpose unless it is done right, as natural, real, effective and simple as possible. Hard or subtle are only elements of a whole called Aikido. All martial arts, Karate, J u J utsu, J udo, etc., all have pretty much the same purpose: human perfection, combating violence and mutual understanding. The difference is that each one does it in its own way.
Why dont you practice Kotodama, can we discuss ?
I do not see why it would not be discussed. As you may know, Kotodama is a form of Zen Buddhism practice. Not only Ueshiba, but tens of millions of J apanese, Chinese, Burmese, etc., practiced it and probably still are. With all the respect towards Zen, I do not think you need to change your religion or to become J apanese to practice Aikido. Of course, if you are convinced that it can be useful to you, try it. In our federation we dont have this custom, but that doesnt mean it is prohibited. Each student has the freedom to try any experience.
In which federation is practiced Ueshibas Aikido ?
I will tell you a few things that, if you have enough patience, which means many years of Aikido practice, you will discover for yourself. Dan Corneliu Ionescu - AIKIDO 1,2,3 840 Aikido is a universal good. That means he was given to the world by Morihei Ueshiba, who did not want it to be just an asset of his family. Answers to questions
You must know that there is no mystery of any kind, no secret practice or secret technique in Aikido. Even if I disappoint you, I have to say that the only secret is years of honest, curious and intelligent training. Today, all the information is public. I am sure you have videos of O Sensei, of his son and grandson, with Saito, Saotome, Shioda, Mochizuki, Obata, Abe, Tamura, etc... You can look at them for years without getting too much out of it. What is certain is that years of constant training in a dojo of any organization is a sure method of progress and mastery. Masters are just humans. Some are better than others in certain directions, some work with weapons and others without them, some value efficiency and others spirituality. Some are friendly and eager to explain, others are reserved and sullen, while others are arrogant and distant. From everyone you should take what you think is right for you. They merely show you what Aikido means for them. Like I said, they're just people who live, grow old and then die. Responsibility for what you do and what you choose is yours, and you cannot escape it. My advice, if you need it, is not to bother too much with stories about organizations and people. The reality is the one in your Dojo. There you will get the best answers.
What is Ki? How do you perceive Ki at 8 Dan ?
In a Molieres comedy, there is a Mr J ourdain who does prose without knowing it. The same is with Ki. We all use it more or less without being aware of this. Ki is at the same time energy, the desire to do, is ambition and determination, lust for life and strength of character. There is no word in Romanian for Ki, and even in J apanese, Ki means a lot of things. It seems to me that the closest word in our language is "determination". You are determined if you are motivated. You are motivated if you understand and accept. And now concrete answer: At 8 Dan I dont perceive Ki different than at 3 Dan. Maybe Ki looks better now in what I do. I do not know.
Why do Japanese people think so complicated ?
Dan Corneliu Ionescu - AIKIDO 1,2,3 841 J apanese people just think differently than we do. That does not mean complicated, but from our point of view. All J apanese that I know are constantly surprised by how complicated we think. They have different education, another religion, J apan is another country, and they are another race. It is hard to think like them. Fortunately this is not absolutely necessary. Answers to questions
It is important to accept that there is value everywhere, and that some cultural, social or historical experiences of others can be useful. A J apanese man, about my age, with whom I had business relations, was fascinated by Romanian dances. He learned several such dances and was proud of that. One summer I was with him at a Romanian restaurant where he danced and took photos. There he heard the ballad Miorita. For those who do not know, this ballad is about a shepherd who heard from his favorite sheep that other two shepherds want to kill him in order to steal his sheep. Hearing about it, the shepherd is preparing for his death and tells his sheep his last wishes. I translated the content, the songs words and he remained open-mouthed. What do you mean, he said, he knew that those will kill him and did nothing ? What a nonsense ! I explained that it is a symbol, but he continued: this is very stupid !
Why do you still practice Aikido, you have 8 Dan and you are 70 years old ?
I do not know. I think that I got used to it. It is difficult to precisely define peoples aspirations. We must understand that people do a thing or another, not because they always have a specific justification or a clear aspiration, but because human nature seeks, in its way, a certain perfection. This aspiration towards perfection is written in our genes as a divine program and we feel compelled, more or less, to follow. Of course, perfection has different images for each of us, but that does not contradict the idea. Aware or not of these things, people take action, often absurd for the surrounding others, but those are justifying this aspiration to perfection. I have to say that each of us believes strongly that he is "chosen" and has a particular role in the world, and maybe this is true.
Is it sufficient for the dojo to be called " of Aikido" to be sure that what we practice is really Aikido ? Are there bullies in Aikido ?
If you do it sincerely, Aikido is the Aikido you practice. If you believe in what you do, then it is true. If the Aikido you practice meets your aspirations, then it is perfect, and it is inevitable for each of us to pursue a different goal. There are, as you say, thugs or bullies, who not only claim, but really do Aikido, and sometimes they do it well. This corresponds to their aspirations and it is nothing you can do. There are no boundaries, except the ones in our minds. Dan Corneliu Ionescu - AIKIDO 1,2,3 842 Aikido, like religion, good will, atomic energy, and millions of other things can do good, but it can also harm. Answers to questions
How much Japanese culture you need to have in order to practice Aikido ?
Now, that is an interesting question. If we talk in general terms, how much J apanese or any other culture should we know, the answer is only one: as much as possible as it does no harm to anyone. How much J apanese culture you must have to practice Aikido, this depends on the individual. It is enough for you to know a few J apanese martial arts words and the basic techniques names and you can practice Aikido with no problem. If you want to understand what Aikido is, why the J apanese teach Aikido differently or the meanings of different ideas in Aikido, then you will need to know more about J apanese people and their culture. What should be said foremost is that the J apanese are not like us, and therefore what is valid for them is not for us, and vice versa. Writing, literature, music, family, relationships, hierarchy, history, religion, society and fighting techniques, are totally different. So to understand them we need to know more about them. Because Aikido is based on Ueshiba's ideas, a deeply mystical person convinced that he was divinely chosen to bring this martial art to the people, it is important to have some knowledge of major philosophical currents and religious doctrines of J apan and about the history, customs and habits of the ancient J apanese society. Many students and instructors alike tend to sometimes use this information to gain an advantage over others, less informed. Many of those whom I know in the country but also abroad are using J apanese terms for any movement and technique, terms of sensations and feelings that we are not familiar with, believing that "theory" can compensate practice. Unfortunately this is not so. Ueshiba talked very little about what he did, and when he spoke, he wasnt generally understood by others. Trying to split Ueshiba's art in tiny elements is a superficial, forced form, to show what Ueshiba seen as an indivisible whole. Meanwhile Aikido became the property of the whole world and it must be studied using the language, culture, customs and habits of each nation. Obviously the names of the techniques, strikes, grabs, etc. must be generally known because these are common points in communication between students, but to try by any means to behave or feel like a J apanese, it is a pointless exercise. Dan Corneliu Ionescu - AIKIDO 1,2,3 843 Another danger that many Aikido students may face is the faith, sometimes induced by the teachers themselves, that Aikido is a mystic Answers to questions
practice, with secret techniques and exercises which once known, would make them capable of extraordinary things. To impress students, some teachers, like ancient shamans (sorcerers), flood the poor students with all kinds of stories, words, feelings, mysteries, which creates a certain state of delight and excitement. These students are tempted to believe that it is possible that certain exercises or movements will reveal, in a record time, the great mystery that only Ueshiba knew, but over time, many are losing hope that this will happen. Disappointed, they will give up Aikido, without understanding that the only way to Ueshiba's mystery is only through repeating his experience, which is permanent training.
Are there similarities between Aikido and Yoga ?
I think you can find similarities. Both are disciplines aimed at achieving human perfection, auto-education and introspection. Both use to a lesser or greater extent the universal energy theory and harmonizing (even if different) techniques, based on breathing exercises and stimulation of energy centers. A yogin friend said that, in his opinion, Aikido is "Yoga in motion". I think he wanted only to be polite. Similarities seem to stop there. To insist in finding similarities between the two disciplines would only force things, because there are serious differences between them. One of the most important is that Aikido contains an important social and human message. Aikido makes people train together, collaborate and befriend, because you cannot do Aikido alone. The fact that during training we have physical contact with different partners makes our energies to "work together". You may remember the famous story that can be read in any Shiatsu manual, the story of the two women (mother and daughter-in-law) who hated eachother and became friends because the first one was forced to give a daily massage to the second one. Yoga is a purely personal experience (Im not saying it is not important) but I think it makes the individual to isolate himself from society. In any case, I prefer Aikido.
It is said that Aikido in Romania is influenced by your personal experience, is that true ? Dan Corneliu Ionescu - AIKIDO 1,2,3 844 I do not know if this thing is for the good or bad. It is true that my experience in Aikido is different from others, and perhaps because of that, my Aikido is sometimes different. Here are some reasons: Answers to questions
1. I was someones student for a short time, because I had to be teacher for others. 2. Because I had no one to ask, or to show me "how it is done" I was forced to handle it alone. 3. I used much of my previous experience in sports (J u-J utsu, gymnastics, rugby, skydiving, horse riding). 4. There were times when I was doing 12-15 workouts per week, was doing Aikido in the park, in abandoned buildings, without mats, in the tram, when I was visiting, on Christmas day or while working at the computer. When I say I was doing Aikido that means that in addition to current training, I always thought at techniques, attacks, new solutions and dodges. Unfortunately, I also lost a lot of time searching and inventing things that had already been invented, but of which I had no idea existed. For years, I had only a flimsy booklet and few meters of 16mm film.... I lost a long time, but I think these searches had set very well the basics, what does and do not make sense, and a certain effectiveness of the techniques. But I think that the most important role was played by my students which forced me to investigate, to invent and to convince them. All these made my students do Aikido different than me, which I think is important.
Do you think there may be a state where the spirit prevails to such an extent that the body no longer counts ?
Its not easy to achieve such a state, and I do not see what would be useful for. On the contrary. The body is important. Without it we cannot communicate on our forum or practice Aikido. You can achieve immortality only by what you leave behind you.
I noticed your openness to other organizations. How should you execute techniques if you go to another Dojo ?
"Openness" is something normal. In my dojo come many students from other federations. I know that things are the same in the province. How should you do techniques when you go to another Dojo? Whatever you like, there is no particular reservation than normal rules of politeness. If you are going to attend practice in another Dojo, is because you want to see and possibly do something else. If you do as you know, you cannot learn anything new. Dan Corneliu Ionescu - AIKIDO 1,2,3 845 If it is not interesting what you see there, you will not go a second time. Answers to questions
I do not think this is a real problem. Differences in execution between different schools are not important. Perhaps only in terms of efficiency, but this are ones concerns. Moreover, with time, with increasing experience and skill, differences in "execution" are becoming less important....
I have seen that in other Dojos things are done differently. I execute the techniques more roughly, what to do if I go to another Dojo ?
Like I said, I think its not very important "how you execute a technique" but if the person doing it understands and applies the basic principles of Aikido. Okay, you'll ask, how to know if the technique is executed right or not? I think efficiency can be a common unit of measurement. If you sometimes execute the techniques in a rougher way, I do not think it to be a bad thing. The important thing is not to do it with malice, with beginners or with people who are not able to withstand such executions. In addition, you have to accept the idea that others can work rough on yourself. If you agree with these things, I personally feel you are doing the right thing. Important is to train, and if you find interesting things in your partners actions, that is all right. If not, perhaps you will choose not to train with him anymore or not to go to that Dojo. Nobody can tell you where the truth lies. You will have to find it for yourself. By the time you will find it, it will probably not interest you anymore.
Why do you use so many strikes ?
Because sometimes I could not do Aikido techniques without them. In Aikido Dojos is considered that strikes (Atemi) are used only to put Uke in a position to easily apply a technique, and for this reason students consider that strikes are only means to determine the success of an Aikido technique. I think this idea to be false and dangerous at the same time. Atemi are an important part of Aikido and any Aikido technique may contain or end with Atemi. Atemi can stop millimeters of Uke's body, or can hit Uke's body, making him to react according to Nages desire, or to recognize the defeat and give up the fight. If we accept this idea then we understand the universality of the principles of Aikido, meaning that the techniques, which are different applications of the principles, have emerged only from the need to more easily understand the principles and to be better assimilated by students, and, in fact, Katame Waza, Nage Waza, Atemi Waza, etc. are just different ways of illustrating the principles. Dan Corneliu Ionescu - AIKIDO 1,2,3 846
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Representatives of Aikijutsu Takeda Ryu find Aikido similar to their style. Is this true ?
It is true, they look pretty much the same and you realize immediately that they are related. Given that Aikido comes from Aikijutsu and it is its evolved form, the statement is correct. I would say that Aikido is "Aikijutsu's dream" Both are Martial Arts. What distinguishes them is the goal, the purpose. In Aikijutsu the objective was to destroy your enemy, which seems fair enough if you think that it was a Way of War. In Aikido the target is coexistence with the enemy. Things should not be viewed in absolute terms. You probably cannot live together with all the enemies as you cannot possibly destroy them all. What I mean is that Aikido ideas should be viewed and interpreted honestly but at the same time efficiently. Where the boundary between Aikijutsu and Aikido is, that is a subject that can be discussed. Aikijutsu - now Aikido, simplified and spiritualized by Ueshiba, was a fundamental discipline in Takeda Ryu. This method of fighting techniques based on circular movements, synchronized with the breath, called Aiki, was the secret concept of the Takeda family. Although the AIKI principle was known before Takeda family existence, it was redefined and especially applied mainly in Aikijutsu techniques.
Why should I protect the one who attacks me ?
It is a good question. The answer is more complicated. In Encyclopaedia of Aikido, will find a chapter covering this subject. But even if you read everything written there you may still have questions. This is because the J apanese operate with other sizes than Europeans. J apanese culture is not explanatory and does not operate with the logic of cause and effect. Sensations, symbols, the absurd and the mystical closely intertwine, suggesting ideas, truths, or principles, often difficult to understand for a Cartesian mind. If you want to understand the J apanese people you need to have more patience. Aikido principles are not new. They are found to some extent in all J apanese martial arts but also in other areas of culture such as tea art, theatre, calligraphy, etc. Moreover, they can be recognized in one form or another in all cultures, including Christianity. Dan Corneliu Ionescu - AIKIDO 1,2,3 847 I am convinced that many Christians have wondered what is the point to turn the other cheek, or why would be so happy the ones poor in spirit. This is because people tend to give words the most convenient meaning. Answers to questions
Aikijutsu, for example, operates with all principles of Aikido, the difference being the goal. In Aikijutsu the purpose is to kill your opponent and in Aikido the control and as much as possible his protection. I think Aikido principles are the "bright, humane" part of martial arts the same as a sword can kill or defend someone's life.
Is it true that Ueshiba did not explain his techniques ?
Ueshiba's words were not always understood, even by his closest students. He never explained what he was doing and why he was doing it. Some say he could not explain, others say he deliberately did not explained, not to limit the powers of Aikido. I think the truth is somewhere in the middle. If you look at Aikido techniques you will find that they have a flawless logic based on a perfect knowledge of the physical laws of motion and balance. That makes me think that Ueshiba understood more than he said, but he believed that this understanding is a divine gift given to him for a particular purpose. What I mean to say is that to understand Ueshiba, you must have patience and discover for yourself, in time and practicing Aikido, the essence of these principles. Their simple enumeration: Harmony, The Way, Hara, Intuition, Irimi, Tenkan, Kamae, Ki, Kokyu, etc. is nothing but words, sometimes also difficult to understand. In Aikido, patience is the greatest virtue.
I dont like working with weapons, I prefer working empty-handed.
I can understand your reluctance to train with weapons. However, it is your decision whether or not to train with weapons. The fact that you feel comfortable only when working with empty hands, when you can have a firm, controlled grip, is because you loose the same sense of safety and control when working with weapons. Logically it can be deduced that if the techniques without weapons do not raise particular problems, you should go to the next step. If you find that during training all goes smoothly, it means you have a problem, and training should be "complicated" so you can be more involved and in this way to learn more than you know. The unpleasant truth is that you cannot progress unless you always have new problems to solve. Dan Corneliu Ionescu - AIKIDO 1,2,3 848 You are right, working with weapons involves additional complications and headaches, you must be careful not to get hit, or hit others, and also the Answers to questions
fundamental problem: to correctly and efficiently execute a technique against an attack. Can you do all this only through an exercise of imagination? The same problem occurs with unconventional attacks, such as a kick. What do you think ? Should Aikido techniques against such attacks be studied ? Ueshiba did not say anything about that. It is known the war story told by Ueshiba when he avoided the attack of a soldier who shot him with a fire weapon. You cannot reach such performance limiting the instruction to a few conventions. I do not mean that you must learn to kill someone with the weapons you train, or the techniques that you learn. But there is no other way to achieve mastery, than the endless and limitless training. Or maybe I do not know of another. An Aikido technique, with or without weapons, can be deadly or friendly. You are the one who decides that. Clearly, however, you cannot choose if you do not have where to choose from. And another thing: any grip, any contact with those who attack you slows down your movements and makes you dependent on them. Here is the natural evolution of an aikidoka: At first you need physical contact with partners, then the contact is made through weapons or other objects, then contact disappears and only gestures and attitudes remain, and finally you control the conflict through wisdom and the knowledge to know what to do, when, where and how.
I have never heard of Aikido techniques using Tambo.
No wonder. Aikido techniques that use the short stick Tambo, are very little known in Aikido Dojos, as few masters took care of it. These techniques, or rather, some short stick techniques are better known to J apanese police, the Special Forces and many other public order structures in the world. Aikido techniques with Tambo were studied by Gozo Shioda in obvious need (police work) and Tadashi Abe, because the use of the stick was the object of study in preparation for the imperial guard officers and Kamikaze troops. Gozo Shioda never made public the police techniques, but Tadashi Abe developed the study of these techniques, leaving notes on using the short stick in Aikido. Dan Corneliu Ionescu - AIKIDO 1,2,3 849 Training with Tambo is interesting to Aikido students because it is more maneuverable and faster than the J o, because it is an intermediate weapon between empty hands and J o, and that allows students an easier learning of Aikido weapons techniques. Answers to questions
Perhaps you remember that in the beginning J o moves as it wants rather than as we want and many students hate J o techniques precisely for this reason. You can tell a lot about the advantages of Tambo training: understanding the optimal distance (Ma-ai), speed of reaction, increased attention in executing the techniques, practicality, etc.
What would be the measurement unit of reality ?
I must confess my ignorance; I do not know a unit for reality. Reality is unpredictable and mean. A punch in the face, a kick in a bad spot, is part of reality. Lightning, flu, cancer, a banana peel, are part of reality. A drunk driver, a scared thief or a jealous woman are all part of reality. What good it is to be invincible in battle, if you die of pneumonia or hit by a car ? If you think about how to harmonize with reality, the mean one, then you need to think about all those aspects. The effect is the same if a guy punches you in the eye, or if the child in your arms puts by mistake his fingers into your eyes. When it comes to Aikido the default thinking is Self Defense, and usually, when people say "self-defense" they think about a method to face one or multiple attacks. When attacked by a bee or a virus you cannot make a dodge and then punch it. What I mean is that you must understand Aikido as a way to harmonize. You cannot give and receive punches eternally. Eventually you will find someone stronger than you.
It is good to train with different partners. Should I apply to each of them different strategies ?
Aikido helps us understand things, to harmonize them with the lowest costs. It is important to train with different partners with different and sometimes hard attacks, but that is not all. You have to think this way: where should I be and what should I do when I am attacked? If you can answer this question, you hit the jackpot. If you are thinking of a strategy for hard attacks, one for soft attacks and one for swearing, you bother for nothing. It is not difficult to determine someone to hit you hard; the problem is what happens if he really does it? Dan Corneliu Ionescu - AIKIDO 1,2,3 850 As Aikido principles tell, you must harmonize with the attack. That means you will react fast and consistent with the attacks power and speed. If he is a beginner, this means certainly an accident, if he is an advanced partner he will instinctively prevent your reaction and act accordingly, again a possible accident. Answers to questions
Either way is wrong. You could go out into the street and swear at some punks. Assuming you won, does that give you confidence that the model is valid? Do you think if you put a punk in the hospital you will get an honorable duel? No. And then why waste your time with nonsense? Sporting events can be a way to check some things. Competition rules are limiting the reality and try to avoid accidents. Competition can develop certain qualities, but may lead you to think that you are really good also outside the ring, and this can be a capital mistake. But as you get older and you cannot participate in competitions, you dont feel like swearing at punks and you dont have any more curiosity to see how strong you are, what will you do then ? You have two choices: you can be sad that all this has disappeared, or you can be serene because you never worried about it. Be serene; dont worry too much about this stuff.
What means '' learn and forget''. Why learn if you then have to forget ?
In the first 10 years of studying Aikido you are convinced that Aikido is composed of a sum of techniques and their possible combinations. When training in Aikido you quickly think about this reference and you try to identify the situation, the attack with one that you already know and you apply a solution (technique) that you know. This need to permanently relate to given sets of data makes your development to take place within a framework determined by your knowledge. This lack of freedom on your actions during a battle can be fatal. How can you break this frame? By ignoring what you already know. Aikido Techniques were formalized by Ueshiba's descendants, who lacked his talent and genius and tried to interpret for themselves and explain to the others the ideas of O Sensei. For teaching and learning more efficiently, they formalized, described and classified the techniques to be easier to understand, and for students to be aware of their own progress. Another reason why they did so, was the idea for the Aikido students from different countries and cultures to have a common reference. When Ueshiba said that Aikido has no techniques he meant that the definition and classification of the techniques limits the freedom of action of the one who is studying Aikido. Aikido means the freedom to act in harmony with what surrounds you. You cannot be free to act if you have to do it in one way or another, because the reality you face cannot be catalogued or known beforehand. Dan Corneliu Ionescu - AIKIDO 1,2,3 851 "Learn and forget" is about conscious learning and forgetting. That means, as I said it before, you will not be dependent on what you learned consciously. Answers to questions
I was often told that my students are sometimes confused that over time I do things differently. Many say, "Shiho Nage is different now." Some believe that I changed my opinion about the execution of a technique or that I "forgot" how I did it last time, although I always say that what I show is just a form, a possible variant of reality. You can test this yourself if you have enough patience. Over time, as I said, you will find the truth by yourself, but unfortunately or fortunately, is possible that you will not care anymore.
Why Aikido organizations split apart ?
About those who leave a federation or another. People are free to do as their conscience dictates. I do not think it is reprehensible that some try their luck elsewhere. It is their right and choice. All organizations are subject to this process. People come together, then apart, then get together in another combination, and so on. What is wrong with that? It is important that those who leave do not use Aikido for other purposes, though. If they are sincerely practicing Aikido, good for them, no matter where they are. Why people and organizations divide ? Why are the principles of Aikido not acting on the Aikido people and their organizations? J ust because we are talking about people, not gods. People have egos, desires and aspirations, which changes their destiny. Is it bad, is it good, who knows ? I do not think is a bad thing, or rather I would say it's more good than bad. The world would be boring if we were all the same, if we would do the same Ikkyo or be as tall and smart.
Is it true that Aikido is a product of Omoto kyo cult ?
Here is a really hard question. Before attempting to answer, I want to warn you that this is only my opinion. I would complement your question with what many students think but do not say: '' Is Aikido truly a path to universal harmony ? " Is it true what they say about Aikido, even though I dont notice this ? " Was Ueshiba really that great, or are just legends created by those around him to give Aikido greater value for sale ? '' Such doubts haunt many Aikido students. And now the answer: The world, universe exists independently of us and with us. People, in their desire to understand their role in the universe have attempted to define, to explain what the world is and what its "rules" are. Dan Corneliu Ionescu - AIKIDO 1,2,3 852 In the beginning people understood the universe as a world ruled by gods and they were trying to appease them in order to guarantee a better life. Answers to questions
Later they tried to use them and eventually they ignored them. People were never comfortable with the idea that not everything around them was designed specifically for them. The faith, either in divinity, or in the role of humans on earth or in a divine universal program that moves us all by unknown logic, made philosophical currents appear, which are just different explanatory visions of the seen and unseen world. Omoto Kyo, like many other integralist philosophies, believes that there is a universal harmony in which we can consciously integrate, by following certain procedures (special type of training) and a certain way of life. This is actually the idea Aikido is based on. Ueshiba thought of Aikido as a practice, a way, a "training" by which people can be integrated into universal harmony. Ueshiba was not a philosopher, only but a good martial artist and he expressed himself in the language he was familiar with. But what is extremely important, and about this people rarely talk, is that Ueshiba had a great "faith". He truly believed in his mission and in Aikido. Aikido was his opera, his swansong, made with a certain fanaticism, and this is, I beleive, why Ueshiba cannot be matched by anyone. What to do if, no matter how hard we train, we cannot become like Ueshiba, what good to strive so ? Ueshibas faith and genius created Aikido as a way to apply the principles of harmony. Even though we cannot be animated by Ueshibas faith, we can agree with the value of his principles. These principles have undoubtedly an undeniable moral, and they are to be also found in the Bible and in the major philosophies and religions. In fact what does Aikido teach ? That we must be attentive to those around us, that we must also try to understand those with whom we disagree, to have compassion, to be vigilant, to defend ourselves and our loved ones, to have honour, to mediate conflicts, to oppose unnecessary violence, to hope that people and the world can be changed for the better, and that we can do this. Do these ideas seem familiar to you ?
We have seen that many students ''catch'' the strikes, is this correct ?
A correct observation. You are right, many students, but sometimes even the instructors 'catch' the strikes, whether Shomen Tsuki, Yokomen Uchi, Shomen Uchi or another strike. The error lies in the fact that, often, training is governed by excessive conventions. Dan Corneliu Ionescu - AIKIDO 1,2,3 853 From the practitioner's desire to be easier to understand and because the strikes, the execution speed and strength are conventional (to be read as not real), a strike can be caught easily. Answers to questions
And what should a beginner do? What he sees from the instructor. If in the first few months such things are allowed to make understanding easier, later, the instructor should make the necessary corrections. Unfortunately, often this does not happen. How should an attack or a strike be handled ? Importantly, in the first place is not to get hit, or to be hit as little and soft as possible. For this purpose we have the dodging, the block and the anticipation of the strike with another strike. We will look at them one by one in reverse order: 1. Anticipating the attack, to strike the attacker before he could do it, and to control him it is desirable but not easy to achieve. If you manage to strike him, you can use his confusion and effectively execute a technique, in case your strike did not stop him altogether. When I say strike I do not necessarily think about a real punch or a kick but anything that would give him a real problem and that would reduce or delay the attack.
2. To block, to soften or deflect a hit, giving, for example, a tilted or moving contact surface, to unbalance him and then to make the technique, is another solution. Unfortunately you must have the nerve to do that, and maybe a girl will not choose this solution.
3. To dodge the strike, to unbalance him and then execute the technique seems the most "Aikido" way, but technically speaking is the most hard to do. When I say "hard to do" I mean the reality and not the Dojo. In Dojo everything is easy to do. In addition you should know that the attacker will not strike you once for good, but will overwhelm you with multiple strikes, other than those studied in Dojo. This means that after the first strike will immediately follow the second and the third and so on. You should also know that no matter how many Dan you have, you will not escape without being hit. Returning to the idea from the question asked, I tell my students: if you do not know much about fighting techniques, than enter positive and try to strike before he does. That does not ensure success but you can earn some respect. If you know something about fighting, if you have some experience on the mat, try to block or soften the first hit, avoid, move quickly sideways from his front and try to strike him or execute a technique before his second or third strike. Dan Corneliu Ionescu - AIKIDO 1,2,3 854 If you "know Aikido" you can use any variant or all of them together. This does not mean that you will be successful. Answers to questions
Be careful, you cannot do a thing more than once. The attacker or attackers will be more careful about what you do and it will be more difficult to dodge. In relation to the specific question "how to receive a strike" Ill tell you how I do it (that does not mean that it is generally applicable): I avoid with a short Tai-sabaki, rather just a lateral movement usually towards the exterior, simultaneously I protect my body and strike the partners ribs with my fist. I take advantage of the short surprise and do a short and firm Aikido technique. In addition to Aikido techniques we should teach students a minimum of fight tactics and combat strategy. Unfortunately, few are doing this. The only practical advice that I can give you is to have patience. All the things you do not yet understand now and you want to learn from me, you will understand yourself, after a while, much better than I could explain them myself to you. I only got my correct answers on the mat. It is also true that I did not had too many teachers.
What can I do when a stronger partner grab my arms? Shall I enter in force over him ?
Yes and no. If you try to go straight (perpendicular), and your partner is much stronger than you, you do not have much chance unless your move is quick and sudden (but you should not rely to much on this either). The move that I use is to twist my body sideways and then enter. This makes me not to be exposed to direct hits anymore, allows me to act from the side on the partner (the worst direction for him), and allows me to move away from my partner if I need to, without being forced to go backwards. In fact this is one of the usual Aikido "tricks". So: a short Tai-sabaki, a very positive action on your partner and the execution of a technique or a strike. Tai-sabaki is the problem because it is done usually only as an evasion, while from the movement described by me, Tai-sabaki is a rotation, pivoting "in permanent positive contact" (pushing) with the partner. So when you execute this Tai-sabaki, you must continually push the partner with your body. I stress, with the body not with the hands. That makes him to give you his place without realizing. If he lost his place he also lost his strength. This move applies to everyone, including your leaders. On the other hand, when the partner blocks you without the ability to move, is a somewhat artificial situation, because usually it only happens in the Dojo. Outside, whoever tries this, does not achieve anything without the help of a friend to punch you while he keeps you immobilized. In addition, the effort to hold you so long simply tires him and reduces his strength. Dan Corneliu Ionescu - AIKIDO 1,2,3 855
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I noticed that if I keep the action in front of me, in the normal (perpendicular) plan of my hips, I have more power
I agree that the normal (perpendicular) position is the strongest, but is also your partners strongest. If you are stronger there is no problem. But what if you are not? Do not try to find out which of you is stronger, because when you will know it will be too late. This is why you must always act in the direction and in the way where his effort capacity is the smallest. Above I explained one way to resolve the situation. In addition to techniques, movement, locks, strikes, etc. an extremely important element, even more important than technical skill is THE STATEGY of the fight. The most unpleasant things for my attacker are: FALSE MESSAGES and SURPRISE, intoxication messages. Whenever I can surprise him with an unusual move, even if the movement itself is not a danger, he will be confused and I will have for a split second an advantage over him. It is important to use immediately that moment, when the attacker is confused and temporary unable to react in order to give him an "unwanted gift". The simplest false message is transmitted by the contact between your bodies. A message that your aggressor is expecting is a natural reaction: he grabs your hands and you try to escape. Your partner is prepared for such a reaction, and while you try to get free, he will counter this attempt with a compensating motion and force. This "constant adjustment" of the attack makes you feel stuck and not able to free yourself. All of this happens instantaneously, unconsciously, and for this reason you must think of it before (to train) to master the art of sending different false messages unconsciously. A false message determine an unconscious correct reaction from your aggressor and this allows you to use this reaction in your favour, because you know in advance that he would react that way. Unfortunately, all of this is harder to explain than to show. You probably noticed that I used during these explanations the term aggressor and partner interchangeably, because we must not forget for a moment this duality: Dojo and the surrounding world.
Is it useful to make real techniques using real attacks ?
Dan Corneliu Ionescu - AIKIDO 1,2,3 856 I see nothing wrong with this experiment. I have tried it many times and helped me better understand Aikido. For such a training to have the desired Answers to questions
success, you need to establish a set of iron rules, to protect yourself and your partner. Use of protective equipment is not infallible. Knowing that you have protection makes you think you are unstoppable and untouchable. It is wrong because the partner will avoid hitting you in the helmet and would prefer to hit the body, in various sensible points, and believe me, there are plenty. Then we must keep in mind that because we know we are protected and freed from the rigors of training, people will venture into risky and fanciful attacks and techniques. Remember, adrenaline numbs you only for a short time. As you said, in the beginning you will find out that the Aikido you practice on the mat is not very useful in a real fight, and you will have to give up doing the correct techniques, as they are normally executed in the Dojo. There is a serious risk which cannot be completely avoided, because certain Aikido techniques are extremely dangerous if they are executed swiftly and against an unwilling opponent, and unfortunately there is no protection for it. Conclusion: I believe you can try the experiment if you set some iron rules: the first might be that no one must die.
How do you explain the performance of O Sensei to pin an opponent to the floor with only one finger ?
It is hard to explain in words. You must have some experience in Aikido, to feel certain things to understand. I can only give you a few examples, to make some comparisons, to make you understand the nature of such performance: 1. Let us suppose that a person is on the edge of a deep hole in precarious balance. There is no problem to keep him in that position with just one finger. Control of a person at the boundary between balance and unbalance is possible for everyone. 2. Let us suppose that a person is lying down and someone is pressing his eye with a finger. Firm control of a vital point makes the controlled person to obey unconditionally. 3. Let us suppose that a person is facing a fighter famous for his skill and effectiveness. Such a person can be easily controlled, by the famous fighter ,only with his eyes, because it is considered defeated from the start. 4. Let us suppose that a person is laying on the ground with the arms under his body, and that there is a "great threat" for him. A finger could be that threat if it could trigger a deadly thing or action, lets say a sword. Now imagine that Ueshiba could do all these things, and maybe more.
Dan Corneliu Ionescu - AIKIDO 1,2,3 857
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I understand that Ueshiba used kotodama in the beginning of training. Is this necessary for practicing Aikido ?
I think this is about faith. Ueshiba believed in the power and purpose of this practice. If Kotodama is useful or not for the non-J apanese Aikido students, this is just their problem. If you think it helps it really helps. Some people pray, others repeat that they are strong and smart, others use kotodama.
References
AIKIDO UN ART MARTIAL, UNE AUTRE MANIERE DETRE - Andre Protin AIKIDO - THE WAY OF HARMONY Serban Derlogea Dan Ionescu BUDO Morihei Uyeshiba BUDO Les Enseignements du Fondateur de lAikido - Stevens, J ohn DYNAMIC AIKIDO Gozo Shioda AIKIDO ENCICLOPEDIA ART Dan Corneliu Ionescu AIKIDO ENCICLOPEDIA UNARMED AIKIDO Dan Corneliu Ionescu AIKIDO ENCICLOPEDIA TAMBO AND J O Dan Corneliu Ionescu AIKIDO ENCICLOPEDIA BOKKEN AND KATANA Dan Corneliu Ionescu AIKIDO ENCICLOPEDIA - TANTO AND TESSEN Dan Corneliu Ionescu HISTORY OF J APAN Danielle Elisseeff LAIKI-DO Larme et lesprit du samourai japonais - Tadashi Abe, J ean Zin A HISTORY OF J APAN Kenneth G. Henshall LE TAM-BO LART DU BATON COURT J ean Zin Dan Corneliu Ionescu - AIKIDO 1,2,3 858 KATAS TOME1 BOKKEN ET J O Daniel Andre Brun Answers to questions
Dan Corneliu Ionescu - AIKIDO 1,2,3 859
Pag. Foreword 2 O Sensei Morihei Ueshiba 10 Tadashi Abe 21 Why weapons are necessary in Aikido 24 About efficiency 25 About author 28 About technique 30 About attacks 30 Classification of techniques 34 About fight 36 Advice about techniques execution 38 How do we tech Aikido 40 Key points and joint techniques 41 About tai sabaki 44 Irimi and Tenkan 51 The importance of UDE OSAE - IKKYO 53 General recommendations 57 Training structure 60 Warm up 61 Break falls UKEMI 68 Katame Waza.. 72 Ude Osae IKKYO.... 72 Kote Mawashi - NIKYO ................................................................................ 128 Kote Hineri SANKYO ................................................................................ 162 Tekubi Osae YONKYO .............................................................................. 198 Ude Nobashi GOKYO 217 Hiji Kime Osae ............................................................................... 244 Nage Waza.. 258 Shiho Nage . 258 Irimi Nage 298 Sokumen Irimi Nage .. 379 Kaiten Nage 446 Ude Kime Nage .............................................................................. 496 Kote Gaeshi ............................................ 512 Tenchi Nage .. 548 Koshi Nage ......................................... 580 J uji Garami ................................................................................................... 612 Aiki Otoshi 624 Sumi Otoshi 642 Kokyu Nage 676 Kata 731 Chain of procedures 789 Counter techniques 810 Multiple and simultaneus attacks 817 Answers to frequently questions 834