Aiki Man

Student Handbook
Central Aikido
Central Aikido Student Handbook
Introduction
What is Aikido?
History of Aikido and O-Sensei
General Principals of Aikido
3
4
5
United States Aikido Federation

USAF Mission & Bylaws
7
8
Central Aikido
Dojo Culture
A Point of Etiquette
Anatomy of the Dojo
All About Bowing
Entering & Leaving the Dojo
Stepping on the Mat
Opening & Closing Class
Dojo Cleaning & Other Points of Etiquette
A Note on Japanese Names & Titles
The Senpai/Kohai Relationship
The Gi & the Hakama
Weapons Training
11
12
14
14
14
15
16
17
19
20
21
Aikido Training
Being Uke
Appropriate Ukemi
When Aikido Gets Tough
Some Common Problems
22
23
25
27
29
The Path of Promotion

Examination Etiquette
Your First Test: Rokukyu (6th Kyu)
Gokyu-Ikkyu Exams
Dan Level Exams
31
32
33
34
35
Appendix I Useful Phrases & Lexicon

Appendix II Central Aikido Constitution
36
37
Introduction
Why a Student Handbook?
Here we hope to answer all your questions, asked
and unasked, about your aikido training and dojo
experience. While the handbook is an expansion of
the USAF New Student Guide, much of the content
is new and unique to this edition, drafted expressly
for our students. We want to express our deep
gratitude to Yamada Shihan and the Technical
Committee members who made the original
Student Guide.
There are many things when starting Aikido that
are often strange and confusing. Not being born in
Japan and raised in the dojo, it can be hard to
figure out the etiquette and customs. It can even
be difficult for students who have had previous
martial arts training. The way a dojo operates may,
at times, seem antiquated. You may catch yourself
wondering why we do these strange things after
all, were not in Japan. What you learn is
important, but so too is how you learn it. Moreover,
uniformity between dojo means you can attend
classes elsewhere, even join other dojo, and not
have to always start over. You can attend
seminars and know what to expect, and what
others expect of you. You can travel abroad, even
to Japan and Hombu Dojo and fit in. Think of the
dojo culture as driving a car. If we all know the
rules, we all stay safe. Its the one rogue car going
speeding down the wrong lane that causes the
head-on collision.
We hope, through this handbook, to provide you
with the means to understand the culture and
etiquette, and find your lane. We aim to make it
easier for you to practice Aikido in a safe,
respectful environment. It is meant to be a starting
point into the culture, but does not cover
everything. It is also not meant to be read in one
sitting, but instead taken in pieces and digested as
you near your first kyu test. And read again later as
you advance through the ranks.
We hope this answers all your questions, even the
ones you didnt know you had, and sets you well
on your way in your practice of Aikido. You may
find you have questions not answered here, or that
you need more clarification. Your senior students
and instructors are always here and happy to help
guide you on your way.
Welcome to Aikido
As a new student, you have made a commitment
to study Aikido; a commitment we hope you will
pursue with sincerity. The process of learning this
art is a journey and on it you will experience new
ideas, physical challenges and no small degree of
frustration. Just remember, all of us have stood
where you are now standingat the beginning. We
understand how it feels to immerse yourself in a
new environment that is exciting, confusing and
even somewhat intimidating.
People study Aikido for many different reasons.
You may be drawn to the art for exercise, self
defense, spiritual development, self realization or
any number of reasons. All are valid and all have a
place in Aikido. The art is infinitely flexible and
adaptive and will meet any/all of those needs for
the sincere practitioner. Like any truly worthwhile
endeavor, it will not always be easy. However, if
you persevere, you will find that your life will be
enriched in many ways. Consistent Aikido practice
improves ones physical conditioningstrength,
balance, flexibility, coordination, cardiovascular
healthand ones mental conditioningselfconfidence, concentration, perception, alertness,
and concern for others. Aikido teaches one how to
focus mind, body, and spirit into a vital, perceptive,
and engaging sense of awareness. In short, Aikido
is a vehicle for physical, mental and spiritual
transformation.
However different our reasons may be for coming
to practice, we all share a common medium,
Aikido, and through that medium, a common
culture. In addition to learning new ways of moving
and being in your body, you are also entering into
an environment which is steeped in aspects of
Japanese culture which may seem somewhat
esoteric even to modern Japanese. It is the
purpose of this guide to provide you with an
understanding of the dojo environment and the
cultural framework within which our training takes
place. It is our hope that this guide will encourage
you as you start on your path and help you to feel
welcome in the world of Aikido.
What Is Aikido?
The name Aikido is composed of three Japanese words/kanji:
ai (harmony)
Fundamentally, Aikido is the way of the spirit of harmony.

However, the word Aikido can be translated as the way of
blending energy, or the path of unity with the fundamental force
of nature. Traditionally, however, it is the Way of Peace.
ki (energy/spirit)
Aikido is a true budo or martial way that evolved in the historic

tradition of Japanese warrior arts. Studied in earnest, budo is
more than a science of tactics and self defense. It is a discipline
for perfecting the spirit of the practitioner.
do (way or path)
Aikido is a paradox: it is an extremely effective form of self defense but it is also considered by many to be
a path of peace and reconciliation. Some dojo lean more towards one side of this equation than the other.
Dont forget that the Founder, O-Sensei arrived at his deep state of understanding only after many years of
rigorous, martial training; it would be extremely presumptuous to think that we can start where he left off!
So, is Aikido a path of peace or a martial art? The answer is, if it isnt both, it is neither.
Although Aikidos techniques are derived from centuries old Samurai battle tactics, the art in its modern
form was created during the first half of the twentieth century by an extraordinary martial artist, Morihei
Ueshiba (1883-1969). Ueshiba (referred to by his students as O-Sensei, (
or
"Great
Teacher") was a remarkable individual. As a young man, he studied and became expert at several
traditional forms of Japanese martial arts including sword and spear arts as well as empty hand combat
(Jiu-Jitsu). A deeply spiritual man, O-Sensei brooded over the futility of a path based on violence and
domination over others. Leading a life of austerity and rigorous training, he struggled with this dilemma for
many years. In a moment of profound awakening, O-Sensei realized that winning at the expense of
another was, at best, a temporary victory which ultimately leads to ones own destruction. The essence of
this revelation is contained in his statement, "Masakatsu Agatsu" (true/correct victory is victory over
oneself). Transformed by this spiritual insight, O-Senseis technical mastery evolved into a martial art of
refinement and astonishing power, fundamentally different from those which preceded it.

"The secret of Aikido," he wrote, "is to harmonize with the movement of the universe and bring ourselves
into accord with the universe itself." In his later years, O-Sensei maintained that the warriors path is a path
of love ("AI"), a way to overcome the discord within ourselves and bring peace to the world, "To make the
heart of the universe one's own heart." He said, "Aikido is not an art to fight with or defeat enemies. It is a
Way to bring all people together as one family. The essence of Aikido is to put oneself in tune with the
guiding principles of the universe. Those who have grasped the inner meaning of Aikido have the universe
within themselves".
O-Sensei taught that true awareness is not grasped by intellect alone. "This is not mere theory," he said.
"You must practice it." Aikido offers us the opportunity to put these high ideals into practice and make them
manifest in the physical reality of our day-to-day existence.
At the core of almost all philosophical interpretations of aikido, however, we may identify at least two
fundamental threads: (1) A commitment to peaceful resolution of conflict whenever possible. (2) A
commitment to self-improvement through aikido training.
O-Sensei & the History of Aikido

Aikido's founder, Morihei Ueshiba, was born in Japan on December 14, 1883. As a
boy, he often saw local thugs beat up his father for political reasons. He set out to
make himself strong so that he could take revenge. He devoted himself to hard
physical conditioning and eventually to the practice of martial arts, receiving
certificates of mastery in several styles of jujitsu, fencing, and spear fighting. In spite
of his impressive physical and martial capabilities, however, he felt very dissatisfied.
He began delving into religions in hopes of finding a deeper significance to life, all the
while continuing to pursue his studies of budo, or the martial arts. By combining his
martial training with his religious and political ideologies, he created the modern
martial art of aikido. Ueshiba decided on the name "aikido" in 1942 (before that he
called his martial art "aikibudo" and "aikinomichi").
O-Sensei
Morihei Ueshiba
1883-1969
Nidai Doshu
Kisshomaru Ueshiba
1921-1999
On the technical side, aikido is rooted in several styles of jujitsu (from which modern
judo is also derived), in particular daitoryu-(aiki)jujitsu, as well as sword and spear
fighting arts. Oversimplifying somewhat, we may say that aikido takes the joint locks
and throws from jujitsu and combines them with the body movements of sword and
spear fighting. However, we must also realize that many aikido techniques are the
result of Master Ueshibas own innovation. On the religious side, Ueshiba was a
devotee of one of Japans so-called "new religions", Omotokyo. Omotokyo was (and
is) part neo-Shintoism, and part socio-political idealism. One goal of Omotokyo has
been the unification of all humanity in a single "heavenly kingdom on earth" where all
religions would be united under the banner of Omotokyo. It is impossible sufficiently
to understand many of O-sensei's writings and sayings without keeping the influence
of Omotokyo firmly in mind.
Despite what many people think or claim, there is no unified philosophy of aikido.
What there is, instead, is a disorganized and only partially coherent collection of
religious, ethical, and metaphysical beliefs which are only more or less shared by
aikidoka, and which are either transmitted by word of mouth or found in scattered
publications about aikido.
Some examples: "Aikido is not a way to fight with or defeat enemies; it is a way to
reconcile the world and make all human beings one family." "The essence of aikido is
the cultivation of ki." "The secret of aikido is to become one with the universe."
"Aikido is primarily a way to achieve physical and psychological self-mastery." "The
body is the concrete unification of the physical and spiritual created by the universe."
And so forth.
Sandai Doshu
Moriteru Ueshiba
1951-
After O-Sensei passed away on April 26, 1969, the Japanese government
posthumously declared Morihei Ueshiba a Sacred National Treasure of Japan.
O-Sensei's son, Kisshomaru Ueshiba, inherited the title Doshu (Leader of the Way).
He continued his fathers work at Hombu Dojo (Aikido World Headquarters) until he
passed away in 1999. Today, O-Sensei's grandson, the third Doshu, Moriteru
Ueshiba, continues to enlighten the lives of men, women and children from over
seventy countries throughout the world.
You are now a part of a world-wide network of Aikido practitioners. As such, you may
soon find yourself meeting, interacting and making friends with Aikido practitioners
from around the world.
General Principles of Aikido

Aikido is a purely defensive art based on the principle of
active non-resistance. Rather than meeting violence with
reciprocal violence, the aikidoka (practitioner) learns to
evade and re-direct the power and energy of the attack
resulting in the attacker being unbalanced and
subsequently either projected (thrown) or immobilized
(pinned). Thus, it is the attackers own force and momentum
which ultimately neutralize the aggression. Since the
aikidoka never meets force with force, the techniques can
be effectively applied even with a larger, stronger attacker
or (at the higher levels of the art) with multiple attackers.
While all traditional arts emphasize defense, Aikido stands
alone in that it's highly developed standard of ethics are
manifest in the techniques themselves. Great emphasis is
placed on using the minimum amount of force necessary to
neutralize an attackers will and desire to fight, while
simultaneously seeking to protect the assailant from the
more extreme consequences of his own violence.
Partner practice
Do not be mistaken; Aikido is budo. Aikido techniques are
extremely powerful and some have the potential to cause
pain, injury, or even death. For this reason, Aikido practice
must always be conducted in a spirit of mutual respect and
cooperation. Unlike most other martial arts, there is very
little solo or kata practice in Aikido. (The exception being
some weapons training.) Since our goal is the blending of
our energy with that of another, practice is done with a
partner not an opponent. Many people, when first
exposed to the art, note that, it looks like the attacker is just
going along with the technique. That is because that is
exactly what they are doing! While this may be difficult to
understand in the win/lose context of modern sport, it
becomes very clear when one actually experiences the
power of Aikido. To resist an accomplished aikidokas
technique is not only foolish, it is downright dangerous. If
competition were allowed, we would have to eliminate many
of our most powerful techniques because of the risk of
serious injury.
Dynamics Of Aikido
The essence of all Aikido technique is the use of total
body movements to create spherical motion around a
stable, energized center. Even when a technique
appears to be using only one part of the body, close
observation reveals the aikidoka's movements are, in
fact, total body movements. Properly executed, some
techniques are spectacular; sending an opponent flying
through the air. Others are small, deft movements that
immobilize the aggressor. Both results are achieved
through precise use of leverage, inertia, gravity, and the
action of centrifugal and centripetal forces. Ultimately, it
is the energy of the attack itself which brings down the
attacker.
Aikido Training
The final aim of Budo is personal transformation. Its
goal is the creation of integrated human beings who are
able to bring the totality of their wisdom and capabilities
in order to resolve a problem. Yet philosophical
discussion is rare in the dojo (training hall). The focus is
highly practical. Constant repetition to master the
fundamentals of movement, timing and breathing is the
fundamental requirement. Students train themselves to
capture the opponent's action and redirect it with
techniques of martial efficiency and power. At the same
time, they become aware of the tendency to overreact to
opposition, and learn to remain centered under all
conditions.
Most practice is done with a partner. Each works at his
or her own level of ability, alternating as uke (the
attacker), and nage (the one who receives the attack).
Both roles are stressed as each contributes skills that
enhance overall sensitivity and control.
Increased stamina, flexibility, and muscle development
occur naturally as a result of training, but the techniques
themselves do not depend on strength for effectiveness.
Since Aikido's movements and techniques arise from
the most efficient utilization of the entire being, great
power can be developed by the practitioner, regardless
of physical strength. Aikido practice encompasses a
broad range of training styles, and allows people to train
based on their individual stage of development. As a
result, Aikido can be practiced by men, women and
children of all ages.
Centering
The aikidoka develops a relaxed posture in which the
weight of the body is directed towards its physiologic
center in the lower abdomen. Gravity is no longer a
force to be overcome. Rather it serves to support and
stabilize posture. As a result, ordinary movement
assumes an appearance of grace and economy. The
effects of centering are mental as well as physical. In
addition, vitality increases, the senses are sharpened,
and one is less affected by the irritations and
annoyances of daily living. This state is referred to in
Japan as having hara, or strong ki. It is a manifestation
of the inner quality which aids the student of Aikido to
develop to his or her fullest potential in every area of
life.
Always remember that your partner is, in essence, loaning

you their body so that you can perfect your movement. You
must always respect each individuals unique situation,
taking into account differences in age, size, strength,
physical condition etc. Dont forget that for every throw or
pin that you execute, your partner will get to return the
favor so be sure to treat others the same way you wish
them to treat you. Everyone on the mat is there to learn and
help their partners learn and improve. Practice should be
serious yet joyful, energetic yet supportive. Remember,
Aikido is not a sport or a game; there are no tournaments or other forms of competition in Aikido. It is each
students responsibility to bring only positive, constructive energy onto the mat.
O-Sensei left as his legacy six guidelines for Aikido, known as the "Reminders in Aikido Practice". While
Doshu, Kisshomaru Ueshiba, the son of OSensei states in his book, The Spirit of Aikido, that since these
guidelines were written in 1935 some of the language may seem archaic. He has thus offered an
interpretation on his father's teachings.
O-Senseis
Reminders in Aikido Practice
Doshu's Interpretation of
Reminders in Aikido Practice
Aikido decides life and death in a single

strike, so students must carefully follow the
instructors teaching and not compete to see
who is the strongest.
Proper Aikido can never be mastered unless

one strictly follows the instructors teaching.
Aikido is the way that teaches how one can

deal with several enemies. Students must
train themselves to be alert not just to the
front but to all sides and the back.
Aikido as a martial art is perfected by being

alert to everything going on around us and
leaving no vulnerable opening (suki).
Training should always be conducted in a

pleasant and joyful atmosphere.
Practice becomes joyful and pleasant once one

has trained enough not to be bothered by pain.
The instructor teaches only one small aspect

of the art. Its versatile applications must be
discovered by each student through
incessant practice and training.
Do not be satisfied with what has been taught at

the dojo. One must constantly digest,
experiment, and develop what one has learned.
In daily practice first begin by moving your

body and then progress to more intensive
practice. Never force anything unnaturally or
unreasonably. If this rule is followed, then
even elderly people will not hurt themselves
and they can train in a pleasant and joyful
atmosphere.
One should never force things unnaturally or

unreasonably in practice. He should undertake
training suited to his body, physical condition
and age.
The purpose of Aikido is to train mind and

body and to produce sincere, earnest people.
Since all the techniques are to be transmitted
person-to-person, do not randomly reveal
them to others, for this might lead to their
being used by hoodlums.
The aim of Aikido is to develop the truly human

self. It should not be used to display ego.
United States Aikido Federation

Yoshimitsu Yamada Shihan began his training as an uchi-deshi (live in
student) of the founder in 1957. In those days, Aikido was not known to
the general public. One had to have several character references to be
allowed to train. As an uchi-deshi, Yamada Sensei lived in the dojo,
took four or five classes per day and was also responsible for
maintaining the dojo as well as taking care of the personal needs of OSensei and his family. In 1964, Yamada Sensei came to New York to
participate in the New York Worlds Fair. Beginning with a small group
of students who were already practicing Aikido, he formed the New
York Aikikai which he still heads.
In 1966 Mitsunari Kanai Shihan, another of the Founders uchi-deshi,
arrived in the U.S. and began teaching at the New England Aikikai in
Cambridge, Massachusetts. Aikido had firmly taken root on the east
coast.
In 1972, Akira Tohei Shihan left his teaching post at Hombu dojo and
moved to Chicago where he established the Midwest Aikido Center in
1975. In 1981, Kazuo Chiba Shihan, who was also an uchi-deshi of the
Founder, arrived in California and founded San Diego Aikikai. These
four original students of O-Sensei, along with Yoshioka Shihan in
Hawaii formed the United States Aikido Federation with Yamada and
Kanai Shihan representing the East Coast, Tohei Shihan the Midwest,
Chiba Shihan heading the West Coast with Yoshioka Shihan heading
the Hawaiian region. In 1988, Seiichi Sugano Shihan, another of the
Founders uchi-deshi arrived in New York. After many years of
instructing in Europe and Australia, Sugano Sensei joined Yamada
Sensei at the New York Aikikai.
Unfortunately, Tohei Shihan, Kanai Shihan, Yoshioka Shihan and
Sugano Shihan have since passed away.
Yoshimitsu Yamada Shihan

th
Hachidan (8 Dan)
President, USAF
Thus, while the USAF was originally divided into four regions, this is no
longer the case. The geographic regions became less relevant as
students from each region became teachers, many of whom moved
outside of their original regions. Since a students primary loyalty is to
his/her teacher and the central USAF organization, it no longer made
sense to maintain a structure based on geographical boundaries.
Hence, in 2005, the USAF was reconfigured as one organization.
There are currently over two hundred USAF Aikikai affiliated member
dojo.
The USAF currently has 25 Shihan within North America.
USAF Mission & Bylaws

The United States Aikido Federation (USAF) is a 501 (c) 3 not-for-profit
organization. The direction and management of the USAF is carried out by
a Board of Directors and the Technical Committee. The purposes and
principle of the USAF as codified in its by-laws are:
a) to spread and maintain the integrity of the martial art of Aikido, as
created, developed and exemplified by O-Sensei, Morihei Ueshiba, and
spread by the Aikikai Foundation, Aikido World Headquarters, Tokyo,
Japan.
b) To develop and guide the practice of Aikido and its instruction as it is
established at Hombu and disseminated by the USAF, a New York not-for-profit corporation.
c) To promote and develop good will and friendship, and to improve lines of communication, among
members of the USAF and other Hombu recognized organizations.
d) To register approved Dan grades with Hombu as laid down in the international regulations of Hombu.
e) To standardize Kyu grading consistent with and as described in the international regulations of Hombu.
f) To represent, defend and promote the interests of members of the USAF.
g) To support and promote Aikido as created by the Founder Morihei Ueshiba, and spread under the
direction of Hombu.
h) To carry out such other activities as are permitted by the laws of the State of New York and necessary
or incidental to the achievement of the above purposes.
The USAF Technical Committee provides guidance in all matters pertaining to technique, testing
requirements and rank promotions. All Yudansha (black belts) are vetted by USAF Shihan (Master
Instructors), Instructors (Shidoin), and Assistant Instructors (Fukushidoin). While Shihan are appointed by
the Aikikai World Headquarters, certification for Shidoin and Fukushidoin is granted by the USAF Technical
Committee to assure that the quality of instruction is consistent throughout the organization.
The USAF also provides a direct connection to Hombu Dojo, the Ueshiba family and the International
Aikido Federation, of which, the USAF is the sole United States representative to that international Aikido
congress. Members of the USAF are proud that the Aikido being taught in their dojo is a direct
transmission of the art, passed down from O-Sensei to his most senior students, to us.
Central Aikido
In April 2009, Cliff Fuller and Tom Burden, coming from two very
different Aikido backgrounds, founded the Aikido @ Central student
organization of the University of Central Missouri. Originally a group
for the practicing non-organization specific aikido, it quickly became
evident that to practice techniques, someone had to teach them. By
October the club had integrated into the Blue Springs Aikido
Schools organization. In 2012 Central Aikido and Blue Springs
Aikido split and Central became a full dojo of its own.
Our Lineage
Moruhei Ueshiba, Founder
1883-1969
Today Central Aikido operates as a

full dojo within the United States
Aikido Federation. The unique Aikido
background of our instructors brings
to the mat some of the wisdom of numerous great sensei, creating an
experience not normally found in other dojo.
Our Mission
The mission of Central Aikido, its instructors and officers, is to provide a
traditional Aikido training environment in a cohesive and effective manner.
Transmitting and perpetuating the philosophy, discipline and techniques of
Aikido as established by the Founder.
th
Yoshimitsu Yamada, 8 Dan
To improve the mental and physical health of University of Central Missouri

students and the surrounding community by using Aikido as an engine to
train and enable members to maintain a healthy and balanced life while
promoting personal safety, responsibility and unity.
To help, as best we can, fulfill the vision of O-Sensei, the United States
Aikido Federation and Hombu Dojo.
th
Linda Lee Vecchio, 7 Dan
Dojo Culture
The word "dojo" literally means "Place of the Way". In other words, it
is a space specially set aside for the practice of a particular path or
Way. In a philosophical sense, O-Sensei once said that his aikidoka
carry their dojo with them, in their heads. In a practical sense, it is
where you practice budo. A combination of the philosophy and the
practical gives you an Aikido dojo.
The dojo is NOT merely a gym or health club and should not be
treated as such. Even if the space in which you practice is located in a
recreation center or other facility and the mats are stored in a closet
before and after training, it is important that you respect the mat area
as a special place for a special activity. Even when the mats are not
out. The dojo is more than just a space; it is a community of like
minded individuals and also the repository of many years of sincere
effort on the part of all the aikidoka who came before you.
The Budo Life

In the old days, the practice of budo
was simple. Not easy, but simple. First
you found a sensei. They you
convince them to teach you. You gain
access to their dojo. Then, you follow.
Yes, follow. Simple.
No being comrades and drinking
buddies. No competition for who is
favorite student. No passing or failing
grade tests on senseis current mood.
No colored belts. No worry senseis
day job will transfer him 400 miles
away next week.
Not anymore. But one thing remains
of budo that is indelible in a proper
dojo: being introduced to yourself.
Development of the self is now, and
has always been at the heart of all
great budo.
As with any martial art, there is a fair amount of etiquette to Aikido. It

is not antiquated, as some may believe. Etiquette shows respect, for
your classmates, your instructor, the art, and for yourself. This provides a safe, effective environment to
learn in. Without etiquette, a dojo falls into chaos and people get hurt. No matter if you are new to Aikido or
from another dojo, we follow the practice passed down by the Founder, Morihei Ueshiba.
Sincerely following proper dojo etiquette is an important part of your practice. While we make allowances
for differing etiquette, a lack of etiquette is unacceptable. Your outward demeanor is a reflection of your
state of mind and inner being. If your demeanor is sloppy, inattentive or overly casual, you are not in the
proper frame of mind to benefit from practice. While the rules governing proper etiquette may vary slightly
from one dojo to the next, the underlying principles of sincerity, respect and humility are universal and
immutable.
Know Your Place
In the West this statement is often taken with negative connotations, where everything is supposed to
be fair and democratic, and everyone equal. In the East, no such negative connotation exists, everyone is
a part of a greater whole, everyone has their place. It has been said that Japan is one giant codependent
society. Everyones place in society reflects a unified whole. You are not one in millions, you are one of
millions. You must remember that the dojo and the way that is practiced there is not a construct of the
West, and should not be treated as such.
When in dojo one becomes aware of their place. Non-ranking and lower ranked students are found on one
side, higher ranked students and instructors on the other. This is traditional, and servers many purposes;
from ancient ideals of defense, to more modern and practical reasons. One thing is for certain, even
without colored belts, it doesnt take long for a new student to identify who has rank as the student
progresses, their place in the dojo shifts. They move across it, slowly, seeing the dojo from a new
perspective as they find their way. Until they are sitting on the other side the high side. It is a journey of
only a few feet, but takes years. The whole while the scenery is both the same, and different. Your journey
on through the Way is marked, inch by inch. And you know, as you inch along, you are progressing.
Where you are in your journey is as simple as where you stand in the dojo. Knowing your place in the dojo
is a philosophical statement, yet it is also a literal one. It should be the goal of all aikidoka to know their
place, be in their place, and exemplify it. It is not only through hard training that this is done, it is also
through proper etiquette and state of mind. This is the culture of the dojo, and it is now your culture.
10
A Point on Etiquette
Hygiene
Where we are on our journey is reflected by where we stand in the dojo.
Regardless of where you stand, high or low, all students arrive there the
same way through the front door. And how you enter it is as important
as what you do when youre on the mat. Training doesnt begin when
sensei calls class to order. It doesnt begin when youre in your gi and on
the mat. It is daily, in every moment, but more to the point, its on the way
to the dojo. And you should arrive there early.
As we head to the dojo our minds should be heading there as well,
putting us in the mind of what we are going there for. Begin setting the
rest of the day aside. Pulling up outside with speakers blaring and tires
squealing is not appropriate. Approaching the dojo door with raised
voices, stumbling through laughing and giggling is no sign of maturity,
and should be highly discouraged. Of course we want your time in dojo to
be pleasant, even joyous. But you never know what is going on inside,
and what you are possibly disrupting.
Etiquette is about respect, for ourselves and others.
Long hair should be kept from

the face, and pulled back.
Keep your finger & toe nails
trimmed and clean.
Remove all jewelry and
watches. Even wedding
bands.
Be clean and presentable.
Use deodorant and be sure
your hands and feet, in
particular, are clean.
Your gi, or workout clothes if
you dont have a gi, should be
clean and presentable.
Don't wear a hachi maki
Food
No chewing gum, food, or
smoking in the dojo. Water
and "sport" drinks are the
exceptions.
It is advised that you do NOT
eat a large meal before a
class. If you are fasting, it is illadvised to workout in class. If
you are hungry, a light meal or
snack is best. This is
especially true in the summer
or during seminars. Large
meals can cause cramping
and water loss as your
digestive system tries to work
while you are highly active.
Drink sufficient water before
and after class.
Enter the dojo with a bow. Remove your

(head-band) while bowing.
shoes and place them in the proper
Long hair should be restrained
location. Socks belong with your clothes,
with hair ties or scrunchie.
not your shoes (which you will
appreciate when on cold cement floors in the dead of winter). Zori
(sandals), socks and bare feet are the only acceptable footwear in dojo.
More than tradition, it helps keep the dojo clean. After you change your
clothes should be put away, or set aside in a tidy manner, not strewn
about the changing area. Others use this space and should not have to
kick aside or work around your mess.
Turn your cellphone off!
Once you are dressed properly, step onto the mat and go to your
appropriate part of the dojo. Stretch and warm-up, focus your mind on the
training to come. Keep conversations to a minimum. This is the time to
work on your ukemi. If possible, find a fellow student of equal or higher
rank that is willing to work with you on techniques you are shaky on. Use
the time to meditate, and be aware of others that may be doing so if you
must have a conversation with someone. But above all, be aware of the
time and sensei; be ready for the start of class.
Never talk while sensei is talking. Its rude and distracting both to sensei, but also to the other students.
Before, during and after class never sit with your back to O-Sensei or with your feet stretched out to the
kamidana. This is disrespectful on multiple levels. You are in a dojo, not your livingroom. Always remember
that, even if you dont care for all the spiritual connotations and etiquette, others in the dojo do. And you
have to work with them.
11
Anatomy of a Dojo
A traditional dojo draws much of its layout from the Shinto faith, with a healthy smattering of Taoism. While
it is not a religious structure, centuries of tradition have dictated its layout. Each part has its own name and
meaning. Some dojos use the following terms incorrectly, possibly believing them interchangeable. They
are not. The layout described below indicates how Central Aikido is, as well as the ideal for a dojo.
The major parts of the

dojo
Shomen
This refers to the front of
the dojo, the main wall.
When possible it should
face the main door, with
no doors or fixtures along
it. Ideally, it would also
have no windows, but this
is not always possible.
This is where students
bow when entering the
dojo and at the beginning of class. The Kamidana, or shrine to O-Sensei is found here. Also found on the
Shomen will be portraits of sensei that have passed on, marking the lineage of the dojo. Bowing to the
shomen when entering the dojo is as much a sign of respect for those that have gone before us as a mere
act of etiquette.
Joseki
Meaning upper side or upper seat, it is the wall to the right of the shomen when facing it. This area of the
dojo is where the more senior students bow in, as well as the instructors. It is reserved for their use and is
not a place for lower ranks to loiter. While it is not enforced with us, in many dojo junior students should
only venture to this side of the dojo when invited or during cleaning. It may be best to consider this their
refuge.
Shimoseki
Opposite of the Joseki is the Shimoseki, or lower seat. Lower ranked students bow in on this side of the
dojo. At Central this is also where spectators observe from.
Shimoza
The back of the dojo, ideally where students enter. During instruction, this is where students observe from,
facing the Kamiza. If there is a place set aside for observers, this is properly where it belongs.
Embujo
The middle of the dojo where practice takes place. This can be considered the meeting place of all the
ranks.
Genkan
The foyer, where you enter the dojo and/or place your shoes. At Central this is to the left of the entrance,
where the shoe cubby/bench is. While we have one, we do not suggest using the cubbies as this is where
the mats are rolled up after class. Shoes and all bags should be left in the changing area. Ideally this is a
separate room.
12
Other Features of a Dojo

Kamidana
Shelf of the Gods. This is derived from a traditional Shinto alter
found in Shinto shrines and many Japanese homes. A kamidana
is both a small house-like structure and the self or stand it resides
on. These small wooden houses are meant to welcome the spirits
of the ancestors and come in a variety of shapes and sizes. In the
dojo the term is most appropriately used to refer to the entire
structure at the front of the dojo where O-Senseis picture
resides, and by implication his spirit (watching over and guiding
us in our training). In modern dojo this display can take up most,
if not all, of the shomen. The regalia of a Shinto kamidana are
well defined, but in a dojo the kamidana may be anything from a
simple picture of O-Sensei, to a massive structure with
calligraphy, flower arrangements, and more.
Tatami
The matted area. Traditionally dojo used tatami (woven reed
mats) to cover their practice area. A more modern choice has
been a custom canvas mat to fill the space. Other dojo use
gymnastics or wresting mats. Some dojo have no mats. Central
uses gymnastics mats. When stepping on and off the mats you
always bow.
Other less defined areas

Kamiza or Shinza
Literally Seat of the Gods. A somewhat
undefined space at the front of a dojo
reserved for instructors and honored
guests. This is where sensei bows the
class in from, instructs from and
presides over testing from. It is,
therefore, something of a mobile
location. The term is often used
interchangeably with kamidana and
even shomen. This is not the correct
usage.
Joza
High seat. Generally, the same as
kamiza, but used more in context to
other sides of the dojo. The high end of
the mat.
Tokonoma
A recessed alcove or niche traditionally

Weapons Rack
where the kamidana resides.
In many modern dojo, this is often part of the kamidana. Most
Kamidana are not always in a
Aikido dojo will have a rack or two that hold the dojo training
tokonoma, and not all tokonoma hold a
weapons, most commonly jo and bokken. While weapons should
kamidana, they may be separate.
not be a part of the kamidana, they are often integrated into the
Generally a tokonoma should contain a
structure. If weapons are present, the points and blades should
spiritual token. Central Aikido does not
always point away form O-Sensei. At Central these are set out
have a tokonoma.
only for advanced classes and when needed. In any dojo these
are not for play, and should not be used without permission. See Weapons training for more.
Nafudakake (also Nafuda Kake)

A rack, board, or other means by which dojo members and their ranks are shown. Most often tags are
hung from a board, grouped by rank. In some dojo the nafudakake can be a very decorative display. At
Central, it is a virtual board that can be found on our website (www.centralaikido.org).
Reception Desk and Offices
Many dojo like Central do not have a reception desk or offices directly associated to them. Others do. If
sensei is away from the practice area at one of these locations it should be considered that they are busy.
Approach with respect, quietly make your presence known, and wait to be acknowledged. Otherwise, treat
these areas as you would a business office space, because they are.
13
Dojo Culture: All About Bowing

You have probably already noticed that a great deal of ceremonial bowing takes place in the dojo. It is
important to understand that this activity has no religious significance in the context of your training. In
Japanese culture, it is roughly the equivalent of shaking hands or, in a military context, saluting. It is a way
to show respect and gratitude, no more. We demonstrate this attitude of respect and thankfulness toward
our dojo, the Founders memory, our Instructors and our training partners.
Japanese culture has evolved a highly complex system of bowing
based on the relative status of the individuals involved. Unless
you are Japanese (and even if you are!) this can be hopelessly
complicated and you are almost certain to err if you attempt to
decipher the complex social code governing this behavior. Dont
try. Just perform a simple bow with a sincere heart and you cant
go wrong.
Entering and Leaving the Dojo

Perform a standing bow when entering and leaving the dojo
(toward the kamidana). Remember that without the tireless efforts
of many individuals who have dedicated countless hours of
rigorous training over many years, we would not have the
privilege of practicing this marvelous art. Respect for the dojo
reflects our respect for all those whose dedication makes our
practice possible. At Central Aikido the kamidana is not always
up when you arrive, and may be put up before you leave. If this is
the case you bow in the direction the kamidana would normally
be.
Remove your shoes and place them out of the way. Sandals or
flip-flops used to keep the feet off the cold floor are lined up along
the mat towards the back pointing away from the mat.
If you enter or leave a room where O-Sensei's picture is
displayed (some dojos have more than one room, some have a
picture over doorways) ALWAYS perform a standing bow towards
O-Sensei.
When class is over, line up as before class and bow out. Order of
bowing, in and out, is almost always to O-Sensei, then to sensei.
Sensei will often then leave the mat, or go to the edge of it and
bow again. In most dojo, as in ours, students then gather in a
circle and bow to each other at once.
Stepping on the Mat
Bowing, A How To
A standing bow (rei)
Standing, with your heels together,
bow from the waste with your back
straight and your arms at your sides.
(Making fists or other flamboyant hand
gestures as well as verbal
exclamations are considered overly
militaristic and should be avoided).
Formal or sitting bow (seiza rei)
Kneel with your knees approximately
two fist-widths apart with your big toes
either touching or right over left. Your
body should be erect with good
posture (pelvis forward, back straight)
but not rigid. Women sit with their
knees together.
Place your left hand down first, then
your right creating a triangle with your
index fingers and thumbs. Lower your
torso with your back and neck straight
and bow from the waist. Do not allow
your rear end to rise up. Rise back to
original seiza position with your right
hand returning to your thigh, then your
left. When rising from seiza, step
forward with your right foot first, then
bring the left foot forward to create a
standing posture.
Note: Seiza is the proper way to sit
whenever you are on the mat. Never
sit with your feet extended or
leaning/slouching on the mat. If you
have a medical condition which does
not permit sitting in seiza, you may sit
with your legs tucked cross-legged or
anza.
Bow (sitting seiza) toward the kamidana when stepping on or

leaving the mat. Some dojos prefer that you perform this sitting, in others a standing bow is permitted;
follow the tradition of the dojo. At Central the first time you step on, and the last time you step off you
perform a sitting bow. If you are stepping off the mat briefly, a standing bow is fine. If you need to leave the
mat for any reason, ask the Instructor's permission first: do not simply walk off the mat. If in immediate
distress, your partner should inform the Instructor. This is for safety reasons as well as respect. The
Instructor is responsible for his/her students and needs to know if there is some reason you can't continue
14
to train. If you get dizzy or need to "catch your breath", it is acceptable to sit quietly on the edge of the mat
until you feel ready to go on.
You should be on the mat several minutes prior to the start of class. If you are unavoidably late, wait at the
edge of the mat in seiza until the Instructor acknowledges you, and then bow toward the kamidana and the
Instructor before joining practice. Please make every effort to be seated on the mat before sensei begins
class. Under NO circumstances should you go onto the mat when sensei and students are bowing at the
start of class. Students arriving late for class should quickly do a few warm-up exercises off the mat and
then bow in and sit in seiza on the edge of the mat. Wait for the instructor to admit you to the class.
Opening and Closing Class

A few minutes before class starts, the students will line up in seiza in front of the kamidana. This is done
according to rank with senior members (facing the kamidana) on the right-hand side, or toward the joseki.
Sit quietly and attentively. The Instructor will bow onto the mat, sit in front of the class and lead the
students in a kneeling bow towards the photo of O-Sensei. (Remember that this is not a religious act so
much as an expression of remembrance and gratitude, sort of like bowing your head in memory of a
revered grandparent). The Instructor will turn and face the class, bow and the class will say, "onegai
shimasu" (o-nay-guy-she-mass) which means "may I be of
service", or "please grant me this favor". This phrase is also used
Hakama Folding
when bowing to a new partner.
After all the bowing in class, those
At the end of class this process is repeated in reverse, bowing
first to O-Sensei, then sensei turns to the class and they say the
phrase "domo arigato gozaimasu" ("doh-moh ahh-ree-gah-toh
goh-zii-mass"). Sensei will then take the lead position of the line
and all bow to the kamidana again saying "domo arigato
gozaimashita" (doh-moh ahh-ree-gah-toh goh-zii-mashta) roughly
meaning "thank you very much for what has been given".
When class starts and ends (prepares to bow out), straighten
your gi (uniform), making sure it is clean, neat, and tucked in. All
personal grooming, especially of the gi, is done facing away from
the kamidana, but do not put you back completely O-Sensei.
Bow to each of your partners. Bow to the Instructor when he
helps you. Sit in seiza and bow when the Instructor is helping
someone near you on the mat. In other words, you can't get in
trouble for bowing too much! (Can one ever be too respectful?)
While all of this bowing may seem excessive and somewhat
redundant, remember that the very essence of budo is respect.
Each bow should be performed with an attitude of sincerity and
humility that is physically evident in your demeanor.
students wearing a hakama will fold

them. It is discouraged to interrupt
them during this time. While folding a
hakama is not a religious or spiritual
practice for most members, it can be a
confusing and complex process that
some are still mastering and need their
concentration.
It is also appropriate, when bowing out
in circle, for a senior student to offer to
fold senseis hakama. This is an act of
respect for the instruction they have
provided, but also allows them to tend
to dojo business and get out of the
dojo at a reasonable time. Keep in
mind that other students may have
questions that only sensei can
address. If sensei has reached you
and no one has offered to fold his
hakama, you should. If you dont know
how, a senior student can show you as
they fold theirs.
15
Dojo Culture: Dojo Cleaning & Other Points of Etiquette

Dojo Cleaning
Most Aikido dojo are operated on a volunteer basis
and are also not-for-profit organizations, of which you
have an interest as a member. There are many ways
you can serve your dojo; it is up to you to volunteer.
Joining a dojo is not like joining a health club. You are
not just "buying" some lessons. This means that it is
the students' responsibility to clean and maintain the
dojo. After every class, the mat should be swept and
the dojo dressing rooms and common areas cleaned.
These activities are age-old matters of respecting the
dojo space and leaving the dojo as clean, if not
cleaner than the moment that you entered. Don't wait
for someone to ask you to help... it is part of your
training to contribute to the space that is the dojo.
Look around. Are the trash cans full? Does the
bathroom need cleaning? Find something that needs
to be done and do it!
While Central Aikido utilizes the UCM Student
Recreation and Wellness Center, many duties are
performed for us. This tends to lead students to be
complacent. While the janitorial staff do clean the
trash cans and sweep the floors, they do not clean the
mats of the closet that we utilize as a changing room.
It is our duty to do so. If you enter the dojo and see a
sensei performing these tasks, you should
immediately ask to take over, or if there are other
duties you can tend to. Sensei often have things they
need to deal with that other students cant. However,
do not be surprised or offended if sensei declines
your offer and continues with that duty. Some sensei
like to finish what they started, and there are some
times that they simply dont have anything else to do.
There will be periodic clean up and maintenance days
when the dojo will be more thoroughly cleaned and
any repairs made. In some dojo, these are regularly
scheduled. In others, this is done as needed. Some
dojo manage the space in such a way that you'll never
notice the ongoing preservation of the space.
Whatever your dojo experience, all dojo members
should gladly take part in everyday cleaning activities,
regardless of rank or status. Remember, it is your
dojo. Just as with anyone's outward personal bearing,
your dojo, and its appearance, is a manifestation of
the spirit of the members of the dojo. A few minutes
spent attending to dojo cleanliness will go a long way
in your future practice and positively contribute to how
others perceive the dojo.
Other Points
The instructor should be referred to as "Sensei"
during class instruction and not by his first
name or surname.
When approaching the instructor, students
should not pass between him and the picture of
O-Sensei. If the student approaches to ask a
question or he calls you to him, the student
should bow first. Never call for the instructor
across the mat or beckon for instruction. If the
instructor is close by, quietly raise your hand
and wait to be acknowledged. Then bow and
say: "onegai shimasu" (oh-nay-guy she-mahs).
If sensei comes to help you and your partner, it
is best to sit seiza and watch attentively; unless
sensei is having you do the technique. Once
sensei is done helping you and is leaving, a
seated bow and verbal thank-you are
appropriate.
When changing partners during class, one
should acknowledge the partner you are leaving
as well as the new partner with a seated bow.
Your partner is not an opponent. It should be a
pleasure to be uke as well as nage. Each
movement in Aikido teaches the principles and
spirit of Aikido and should be practiced
sincerely.
It is the responsibility of the higher ranked
members (senpai) to see to the rules of
etiquette are understood and followed by the
members of the dojo. The members of higher
rank should assist the beginners in learning
proper bowing techniques, beginning exercises,
and ukemi.
16
Dojo Culture: A Note on Japanese Names and Titles

Surnames and Given Names
While it is often adjusted for Westerners, the Japanese do not follow a First Name Last Name naming
structure that Westerners use. A proper Japanese name structure is Surname (family name) Given Name.
Middle names are generally not used. So, as an example George Washington in Japan would be
Washington George.
Often when dealing with Westerners, Japanese will convert their names to the First/Last name structure for
easier interactions. In the case of Japanese nationals that have been in the US for a considerable time, we
present their names in that structure. For example, Yoshimitsu Yamada, head of the USAF, where
Yamada is both the surname and last name. In this guide and in the dojo, all other Japanese nationals are
more commonly referred to in their proper form. If in doubt on the surname, ask.
It is considered rude to address a Japanese person by their given name. This is especially true high
ranking Aikidoka. In general, treat a Japanese national like you would a superior in the military. Address
them by the proper honorific, or last name. Or both, if appropriate. You will be told if you may address them
by their given name, but do not expect to receive such a concession.
Titles and Honorifics in Japanese

In Japan addressing someone properly is rather important, and
they have a wide array of honorifics to do so. However, just as
with surnames, the Japanese do not follow Western procedures
with honorifics. Honorifics are suffixes. For example, the
Japanese equivalent for Mr. is San. Westerners would address
someone as Mr. Anderson, but for the Japanese its Andersonsan. This is best illustrated in the original Karate Kid movies
(Daniel-san). While Mister is a male honorific, San is a genderneutral honorific and used for males and females. Gender
specific honorifics are Kun (male) and Chan (female). Additionally
while it is most common to use an honorific with the surname,
they can by used with a given name as well. For example, Petersan, Jessica-san, Smith-san.
Some serious faux pas to consider with honorifics you do not
refer to yourself with one (ie. you dont introduce yourself as
Steve-san). Another is to drop an honorific when it is required. In
either case this is considered clumsy or arrogant.
It can be tricky to learn when to use an honorific, and when not
to. In most cases follow these rules: use it when referring to the
person you are talking to and when referring to a third party. In
the case of the dojo, always refer to your instructor as sensei,
and when referring to an instructor call them surname sensei.
Honorifics are sometimes dropped by superiors, when referring to
ones in-group, and in formal writing.
A Note on Honorifics
Japanese honorifics are often times
used inappropriately by Westerners
and in the wrong forms. Other times,
the placement changes the meaning.
As a title, an honorific is used as a
suffix after the surname. Some can
be used by themselves. However, in
some cases they can define a persons
role. For example, your instructor is
referred to as Surname Sensei (ie.
Fuller Sensei). To say sensei Fuller is
the equivalent of saying the instructor
is Fuller. In such a case, it would be
more appropriate to say "senseiwa
Fuller-san" (The teacher is Mr. Fuller).
Many Westerners have a very limited
understanding of Japanese honorifics,
even in a dojo. It is common, therefore,
to see instructors referred to by Sensei
Surname, Sensei Given Name, and
even Given Name Sensei. While it
would be nice to correct this error, it
would be rude to do so. And, in some
cases, this is done deliberately to
create a more relaxed air in the dojo.
When in such situations, follow the
lead of the other students.
It is considered a high level of intimacy to drop an honorific with

ones interlocutor, and generally only done with a spouse, younger family members, very close friends and
social inferiors (as in a teacher addressing a student). Among classmates (where individuals are of
generally the same age and seniority) it is acceptable to use family names without honorifics. It is also
17
becoming more common for the younger generations of Japan to prefer not to be addressed with an
honorific. But do not expect this to be the case.
Another rule to consider is uchi-soto distinction (inside-outside). When referring to a third person you use
an honorific, except when referring to your family members to a non-family member, or someone in your
company when speaking to a customer or someone form another company.
Common Honorifics
San The most commonplace honorific. Western equivalents would be "Mr.", "Miss", "Mrs.", or "Ms." Used
for either gender and in both formal and informal contexts.
Chan A diminutive suffix, used to express that you find a person endearing. Thus, using chan with a
superior's name would be condescending and rude. Most commonly used for females, and generally to be
avoided in dojo.
Kun Used by persons of senior status in addressing or referring to those of junior status, or by anyone
when addressing or referring to male children or male teenagers. It can also be used by females when
addressing a male that they are emotionally attached to or have known for a long period of time. Not often
used in dojo.
Sama A markedly more respectful version of san. It is used mainly to refer to people much higher in rank
than oneself and sometimes toward people one greatly admires.
Senpai, Khai and Gakusei Senpai is used to address or refer to one's seniors. Students of the same or
lower grade are not Senpai they are referred to as Khai or Gakusei. Instructors are also not senpai. Like
"Doctor" in English, Senpai can be used by itself as well as with a name. Due to the phonological rules of
the Japanese language, although spelled senpai, the n sound turns to an m sound, thereby being
pronounced sempai.
Khai A junior, the reverse of senpai, but it is not normally used as an honorific.
Gakusei means student and is not normally used as an honorific.
Sensei Literally meaning "former-born", this is used to refer to or address teachers (and other
authority figures). It is used to show respect to someone who has achieved a certain level of mastery in
an art form. As with Senpai, Sensei can be used not only as a suffix, but also as a stand-alone title.
18
Dojo Culture: The Senpai/Kohai Relationship

Senpai and kohai are an essential element of Japanese seniorityNote that senpai is often seen
based status relationships, similar to the way that family and other
Romanized as "sempai" because it
relationships are decided based on age, with even twins being
is pronounced that way (the
divided into elder and younger sibling. Senpai is roughly equivalent to
Japanese "n" ( ) is pronounced
the western concept of mentor, while kohai is roughly equivalent to
as "m" when it comes before
protg, though they do not imply as strong a relationship as these
bilabials, such as "p").
words mean in the West. More simply, these may be translated as
senior and junior, or as an elder compared with someone younger in
the family/company/organizationthe terms are used more widely than a true mentor/protg in the West.
There is usually no average separation in age between a senpai and his or her kohai.
In the dojo, a junior student will refer to senior students as "senpai". Unlike in a normal school, where age
groups are kept together, in the dojo a younger individual may be senpai to an older kohai. Seniority in a
dojo is marked by when someone started, and their rank. It is not unheard of for a higher ranking member
of a dojo to refer to a lower rank as senpai where the lower rank has been there much longer than the
other. This is not very common in the West.
Kohai, as the junior, are the ones that do most of the duties around a dojo in regards to upkeep. While this
may seem elitest to many Westerners, one should keep in mind that the senpai were once kohai
themselves. It should also be noted that a senpai in a dojo often has other duties to attend to, usually in an
administrative capacity. Senpai, especially those of dan rank, are expected to assist the sensei, as well as
mentor younger or less experienced students. It is also often the senpai that fold senseis hakama after
class.
More than simple seniority, senpai implies a relationship with reciprocal obligations, somewhat similar to a
mentoring relationship. A kohai is expected to respect and obey their senpai, and the senpai in turn must
guide, protect, and teach their kohai as best they can. Senpai/kohai relationships generally last for as long
as the two people concerned stay in contact, even if the original context in which the senpai was senior is
no longer relevant.
In the dojo it is encouraged for senior students to mentor junior students. Senpai assist their kohai in their
test preparations, points of etiquette, and help introduce them to the wider world of Aikido and the many
great Sensei and Shihan they have met over the years. While your sensei will do all these things, they
simply cannot do this one-on-one with every student in the dojo. It is also often a kohais senpai that is their
uke during testing.
19
Dojo Culture: The Gi and the Hakama

Your uniform (do-gi or keiko-gi, but usually referred to simply as a gi) is a traditional way to dress for
practice. Changing into this uniform serves to further separate your practice from the mundane aspects of
daily life. Your gi should be plain white. Some people have their name written on a sleeve or a small,
discreet kanji inscription on their gi but large, flashy patches, advertising, flags and other decorations are
frowned upon. Most USAF dojo do not award colored belts to adults. (There are exceptions; go along with
whatever your dojo requires.) The gi jacket is always worn with the left lapel crossed over the right (unless
you are a Shinto priest or the unfortunate subject of a funeral.) Some one will show you the correct way to
tie the belt or obi. Always make sure that you and your gi are clean and free of odor. (Some folks dont
wash the belt, apparently hoping it will turn black all by itself.) Keep your finger and toe nails clipped and
do not wear jewelry on the mat since it might scrape you or your partner. Tape wedding bands or other
jewelry which cannot physically be removed.
The hakama
The divided skirt-like garment you see is called a
hakama. It is a traditional Japanese article of
clothing. In the past, this was not some esoteric
training uniform; for the Samurai, it was everyday
attire. For most modern Japanese, it will be worn
only a few times during a persons life, usually at
very formal occasions such as traditional weddings.
The hakama is worn by practitioners of most of the
traditional martial arts of Japan (koryu- old schools)
as well as more modern derivatives such as Kendo,
Kyudo and Aikido.
In most USAF dojo, the hakama is only worn by
students who have achieved the rank of ikkyu or
shodan. Again, there are exceptions. Female
members are sometimes allowed to wear it
(presumably for reasons of modesty) whenever they
choose but most modern women prefer to be treated
equally with their male counterparts and do not avail
themselves of this option. In other schools, those
about to receive their black belt or those who are
called upon to teach are allowed to wear it. As
always, follow the tradition established by your
particular Instructor. Black or dark (indigo) blue are
the only acceptable colors; this is formal attire, not a
costume.
You may read or hear elaborate treatises about the
symbolism of the number of pleats or the type of knot
that is tied or other myths such as that the hakama is
worn to hide the footwork of the practitioner. Most of
these stories are of somewhat dubious origin and
have no basis in the historical record. The elaborate
folding that you see black belts engaged in after
class is designed to preserve sharp pleats in the
hakama and is not some kind of religious ceremony.
20
Dojo Culture: Weapons Training

In feudal Japan training encompassed a wide array of skills
which included strategy, tactics, fortifications and,
especially, weapons. Empty hand training was secondary to
weapons training. It was considered a last resort to be
employed only if something had gone horribly wrong and
the soldier found himself weaponless on the battlefield. In
the early twentieth century when the modern arts evolved,
this emphasis became reversed. Weapons became
separate arts in many cases such as Kendo (sport
swordsmanship) and Kyudo (Japanese archery). O-Sensei,
having studied ancient sword and spear arts, retained some
weapons training within the pedagogy of Aikido. The
primary weapons practiced in Aikido are the sword (bokken
or bokuto- wooden sword) and the short staff (jo).
While many dojo provide some practice weapons for use in
class, it is advisable to acquire your own so that you can
practice outside of class. Weapons kata are about the only
way a student can practice without a partner and training
with weapons greatly enhances your empty hand technique.
Weapons training fosters a better understanding of proper
distance and timing and adds an extra level of mental focus
and spiritual intensity to your Aikido experience. Weapons
training begins with basic kamae (posture/stance),
proceeds to suburi (practicing basic cuts, thrusts and
strikes) to kumi-tachi and kumi-jo (partner practice with
weapons), and often waza (executing techniques while
holding the jo and bokken). You will also practice tori
techniques for disarming an attacker who is armed with
bokken, jo or tanto (wooden knife) while empty handed.
Unlike most other martial arts, weapons training is not
reserved for senior students. You will be allowed to
participate as soon as you begin.
Weapons Etiquette
There are specific ways of handling a
weapon (particularly the sword). These
rituals evolved not just as social formalities,
but as ways to make the handling of deadly
weapons safer for all concerned. Some dojo
place more emphasis on these formalities
than others. Always treat weapons with the
respect you would show any other deadly
weapon. You should not regard these as
mere "imitations" of "real" weapons. These
are quite real; many people throughout
history have been killed in duels with bokken
and Japanese police and security forces still
use jo for riot control and other duties.
Never handle another persons weapons
without permission.
Students should "bow in" their weapons,
essentially dedicating them to O-Sensei
before training. Holding it horizontal before
you, bow to O-Sensei's picture. When
finished, bow it off.
Treat all weapons like they are real.
Consider a bokken (wooden sword) as a live
blade, with an actual cutting edge. Learn
how to carry weapons properly.
When beginning the class place weapons
at the side of the mat ensuring the blade
edge and tip of your bokken are pointing
away from the Kamidana.
When watching a demonstration, set your
weapon on your left, blade out. Neither the
blade edge or the tip should face the
Kamidana, however.
When handing a bokken or tanto to
another person, the handle should be in your
left hand and the edged part of the blade
should face youthe person handing off the
sword. This is a courtesy in the highest form.
It makes it difficult for you to attack them(if
you notice that your partner isnt handing the
weapon back to you in the same fashion,
please appreciate that your partner might be
very much higher ranked).
21
Aikido Training
Points on Safety
This is Aikido, not tae kwon do. It is not about
speed or strength, and if you make it a practice
session of those, serious injury can occur.
Aikido requires repetition to refine and perfect
each move. When practicing a technique,
practice until sensei tells you to stop. Don't do it
twice and then stop. Don't chat. Don't try
something else. This cheats you, and your
partner, and is the primary cause of someone
getting hurt (even the chatting, which is a
distraction).
Do not struggle. If you find your uke is not
moving, do not fight it. This is not a competition.
Acknowledge that you're doing something wrong
and address it. Struggling to force uke to move is
not Aikido, and can lead to serious and
permanent injury for either uke, or yourself. Get
assistance to do the technique properly.
At all times, respect your opponent, without
exception. Your uke is your partner and deserves
to have the same respect and concern for safety
as you.
It is nage's responsibility to protect uke. This is
best done by performing the technique properly.
Sometimes by knowing when uke is about to be
thrown into a bad direction. Nage must look after
uke as uke is in your care and under your control.
It is uke's responsibility to protect uke. Know
where you are. Know when you are about to roll
into a wall or another group. Its self-preservation,
nage may have all their concentration on the
technique.
Practice
Your sensei will impart what wisdom and technical
experience they can, but it is only a portion of what
you will learn. If you are to master each technique
and make it rote, it rests entirely on you, in your
earnest practice of the technique, in repetition, and
your attention to detail.
Every technique we do involves interaction between
nage and uke. Nage and uke must connect, even
before practicing. Each will learn from the
experience, regardless of who is uke, but they will
learn more if there is a connection.
It is uke's responsibility to help nage to perfect the
technique. When practicing, uke should cooperate
appropriately for nage to execute the technique and
learn. Especially with beginners. As nage becomes
more skilled, cooperation will not be necessary.
Some techniques may seem strange as we adapt to
not injury uke. However, for Aikido to work uke
MUST attack with intent. Uke must attack with
singular intent. Without intent there is no attack. It's
just someone stumbling into nage, defense is not
necessary, and sometimes not even possible. Intent
is NOT speed. Intent is NOT strength. Intent is
moving your body along the actual and proper path
of a real attack, regardless of speed.
While in class, PRACTICE THE CURRENT
TECHNIQUES AS SHOWN BY THE SENSEI. IT IS
NOT THE TIME TO DIVERT TO OTHER
TECHNIQUES OR VARIATIONS. This confuses
less experienced students, often confuses you,
cheats both you and your partner from learning
properly, and can be distracting to other groups,
depriving each of valuable practice time.
To become a good nage, you MUST become a good
uke. You cannot be one without the other. A good
uke follows the lead given, rather than going where
he thinks he should go. Even though the initial
impetus is supposed to come from uke, from a static
position it is nage who leads. It is as difficult to
become a good uke as a good nage, and more
important to your health.
22
Aikido Training: Being Uke

by Guy Hagen of Jinonjuku: Aikido Academy of Warrior Spirit, Largo, Florida
Ukemi training as Uke, being the attacker, taking
the falls is probably the most important part of
your Aikido experience. 99% of your interaction
with your Sensei will be as an uke. More
importantly, uke and nage are two sides of the
same coin. The way you train as uke will shape the
way you perform technique as nage, and in the
end how good of a martial artist you will become.
Unfortunately, students and I mean our students
too fall into limiting, destructive patterns as uke.
The best way to avoid these patterns is flexibility in
our training styles. There is a saying in Tai Chi
Chu'an: "train low center, train high center; train
strong, train weak; train fast, train slow." The
message is that we must learn to "switch on"
different ways of moving that best fit the situation
and increase our understanding of the art.
Based on the different styles and dojo that I've
trained in and my own training and teaching, I've
categorized a few important "ways of being uke."
none of them is really better or "higher level" than
the others, and I strongly urge every student to try
each style with determination and sincerity. In my
own training, I would often try to "be" each of these
uke to the best of my ability for a couple weeks or
a month at a time.
(1) Passive (Empty) Uke
This Uke is essentially just "there" for their partner.
No real resistance, no aggression, and they just let
themselves be thrown. When working with new
students that have enough difficulty getting their
own hands and feet straightened out, it's often best
to "be" this type of uke.
However, this doesn't mean you get to sleep
through the technique. Now is the chance for uke
to practice perfect posture and alignment, and
deep, centered breathing without distraction. Don't
let your attention wander you can still get hurt. I
had my knee almost destroyed (literally) in Judo
when I got confident and sloppy being a "passive
uke" for a beginner student.
(2) Sincerity Uke

This type of uke also gets to focus on posture and
clarity and ferocity of attacks. A sincere uke
strikes or grabs with all their intent, focus and
energy. This should be an intentional overcoming
of laziness and fatigue (which we all experience).
The attacks should never be sneaky, or have the
hidden purpose of making you look good or your
partner look bad. A sincere attack prepares your
partner for realistic situations. You may have to
"tone down" the force of your attack to what your
partner can handle; but too many "soft pitches" will
give your partner a false sense of confidence and
rob them of the growth that comes from being
challenged.
After your sincere attack, continue your force and
effort into the original direction of your attack (upon
contact, press toward your partner's center) until
you are thrown or pinned. Sincere attacks are
characteristic of all good uke.
Practice your punches! Practice ferocity! Don't
telegraph your attacks! Break up your timing!
(3) Acrobatic Uke
Believe it or not, it's beneficial to exaggerate your
attacks and falls sometimes. Attack fast, throwing
all your center into your strike or grab. Abandon
safety. When you are thrown or pinned, fling
yourself as dramatically as you can ahead of the
attack. Learn to feel what it's like to accelerate out
of your partner's technique (by speeding up your
center, not using force), and let your partner feel
what it's like to have done a technique masterfully.
This type of uke will make you a popular training
partner, and teach you to make big, pretty falls. If
it's all you ever do, however, you will never
develop any real center, or learn how to "change
your mind" mid-attack to protect yourself or change
to a different attack. It definitely puts you at the
mercy of your nage, and if they step it up or act
cruelly, you may suffer for it.
(4) Resistance (Static) Uke
This type of uke attacks with clarity and force, but
actively resists when their partner begins a
technique. This type of training builds strong
centers, and reveals the flaws in your partner's
technique. For it to be honest, however, you must
23
erase your memory before each technique, always

attack honestly, and never begin countering a
technique early just because you know it's coming.
This is important! It's easy to block almost any
technique if you know it's coming, and the "You
can't throw me" game gets old really quickly. It also
rapidly results in pointless struggling, no real
learning, and crappy technique. If you and your
partner begin "butting heads" this way, it just gets
ugly and nothing more.
However, this type of uke is also one of the more
common and dangerous traps, to my observation.
Many students somehow get the idea that being
able to resist a senior partner's technique
demonstrates how good they are. Real resistance
destroys any sensitivity and subtlety you may
have, so you are unable to feel your partner's
technique they may be trying to show you
something, and you may be leaving them no resort
but smack you on the head! Do this enough, and
all your technique as nage will look exactly like this
straining, forceful, ungraceful and violent, with a
grimace on your face and every muscle in your
body tense. Learn to recognize these symptoms in
yourself before your growth becomes stunted. If
your partner brings out these reactions in you,
switch to being another type of uke.
(6) Guiding Uke

Usually when our partner is having difficulty, we all
like to give spoken advice to teach (often after
our "bad uke" caused the difficulty to begin with).
Sometimes this is OK but remember, this is
Sensei's class, not yours, and people generally
want advice from you less often than you think.
What you can try instead is to let your partner do
the technique, while practicing the opposite of
resistance. Without grabbing your partner or
becoming nage, shape and off-balance your body
so that your partner performs the technique
correctly. In a sense uke does the technique
from start to finish, and nage sort of "holds on."
While reading this, you've probably told yourself
several times "Oh, I already practice that way" or
"yeah, I see others having problems with that."
Well, I think there's only a handful of people in our
dojo who are truly proficient in being' all of these
types of uke and they are all yudansha. I
personally look to improve myself in each of these,
all the time and maybe in a couple other ways
too.
I believe that becoming the type of martial artist
that people admire requires determination and
discipline. It also requires constant selfexamination and adjustment.
Too much of this is the antithesis of Aiki.

(5) Reversal (Kaishi) Uke
If you have become sensitive and skillful enough,
you will begin to sense moments of weakness in
your partner's technique. If you can take
advantage of that opening with a small, subtle and
clean reversal, this is good training. Done
correctly, this "kaishi" will flow naturally and
spontaneously without force or struggle. It should
never be situation where you overpower or yank
away from your opponent's technique if both
you and your partner can maintain this mindset,
one reversal might simultaneously flow into
another, and you both may experience
continuation training, which I believe is one of the
higher levels of training in Aikido.
I've been told that students in our dojo sometimes

joke, "what kind of uke is Guy going to be today?
The sweetheart or the son-of-a-bitch?" Frankly, I
take this as evidence my flexibility in training styles
is clear enough that others can easily recognize it.
Don't be afraid to ask for feedback from your nage
"Am I resisting too much? Was my attack good
enough?" Remember, 50% of your training is as
Uke, so you should be using that time to improve
and practice every bit as much as when you are
doing the technique!
Use your time as uke to focus on the things that
you aren't able to focus on as nage. Learn to
switch from an invisible center to a powerhouse
center as needed. Learn when to pour on your
power, and learn when to be super-sensitive in
your training. All these characteristics are
important to being a well-rounded Aikidoka.
24
Aikido Training: Appropriate Ukemi

by George Ledyard of Aikido Eastside, Bellevue (Seatle), Washington
The incident to which Mr. Ledyard is referring to is, in summary, one 6th kyu student was working with
another 6th kyu student who seemed to want to prove to the first that his aikido didn't "work" by giving very
strong attacks that the first student could not deal with.
Regarding the incident in question... There are
several issues here that need to be covered
separately. First, the issue described is one
between two sixth kyus. At that level neither one of
them knows enough to be resisting each other.
Uke doesn't have the ukemi required to protect
himself if nage pulls off a technique that he is
resisting. Nage doesn't know enough technique to
make the adjustments necessary to do technique
against an uncooperative partner. It is
inappropriate for the seniors / Sensei to allow this
at this level of training. Neither one of them is
training correctly if this is what is taking place. Uke
at this level needs to be focusing on how to take
the ukemi. His desire to take good ukemi facilitates
the development of the understanding of how a
technique should be done.
Now let's make the assumption that these fellows
aren't sixth kyus any longer but more like
shodans... The idea that being resistant is
somehow more honest is incorrect. It is essentially
martially unsound. One should never resist a
technique since that simply creates a suki or
opening. The partner will simply change the
technique or apply the appropriate atemi. If one is
striving for reality in training from a martial
standpoint one should never resist a technique but
rather reverse it. I have had partners sitting there
congratulating themselves on being able to stop
my technique who were completely open to a head
butt or knee to the groin.
There was a reason that O-Sensei used the high

level students as ukes. They knew how to attack
appropriately to the techniques he was attempting
to demonstrate. The idea that your technique
should be strong enough to work regardless of the
manner in which the attacker delivers his attack is
silly. If that were true there would not be any aiki.
One would simply force his technique using his
strength. Actually, it doesn't matter how good you
are (Shihan included) if the other fellow knows
what the technique is, he can make the energy of
his attack inappropriate for that defense. In other
words, I could do a yokomen uchi that NO ONE
could do a shihonage on.
This happens all the time in training. The Sensei
demonstrates a technique and then your partner
attacks in a way in which that technique would
clearly not work. But since you are trying to do
what the Sensei did, you keep straining to make
the uke fit the technique.
At a certain point in your training it's not so easy to
do this to you any more. You have enough
techniques in the repertoire to shift appropriately
when the energy of the uke shifts. And you aren't
so concerned with doing exactly what the Sensei
just did. That's fine for YOUR training but the fact
still remains that the uke is not training correctly.
He isn't learning anything (aside from the fact that
if he contracts his arm strongly enough to stop
your shihonage he gets an elbow in the head that
he can't block).
An exception to this is training with a peer when
you have a mutual understanding that giving each
other a hard time is for your mutual benefit. It's a
kind of Aiki weight lifting. Your partner supplies
resistance so that you can get stronger and then
you do the same for him. This is never done from
the standpoint of showing up your partner but
rather from the desire that both of you get stronger
in your technique. You agree to resist in order to
show your partner the weaknesses in his
technique and he agrees not to do the myriad
atemi that present themselves when you resist. It
is important that neither one of these people think
25
that this resistance is anything more than a training

aid between consenting partners.
If the uke trains this way all of the time he is not
learning proper ukemi. He might get to the point at
which he can take any fall you dish out after he
begins resisting but that isn't real ukemi. In a real
martial a situation you are striving to not be thrown,
not survive the throws when they occur. Real
ukemi training is simply the preparation for kaeshi
waza. You learn to move so completely in concert
with the technique that there becomes no
separation between you and the nage. Once your
ukemi gets to the point at which you can stay
connected with your partner through the fastest
and most complex techniques, then in a situation
requiring martial application, you can sense any
small openings in the technique of the opponent
and apply a reversal.
Kaeshi waza is Aikido at its most martial. It is the
way in which a person perceives the suki in the
partner's technique and takes full advantage of it.
While this is the real deal as far as martial practice
goes you can't have a class in which everybody is
is hell-bent on making the technique the Sensei
has just demonstrated impossible for his partner.
Each pair would be executing some technique or
other and no one would be practicing the actual
technique the Sensei wished to teach. This would
be chaotic and dangerous.
So there is a reason that we structure our training
the way we do. Part of the structure is taking the
ukemi in such a way that it challenges the partner
but doesn't defeat the technique being practiced
(unless the partner simply blows the execution).
This is taken to the point at which it is happening at
full speed and power. At this point (higher level

yudansha) it is appropriate, even necessary, to
start reversing the partner if he doesn't have the
technique. This trains the proper perception and
responses. But this isn't meant to be emulated by
the whole class. It is something that the seniors
engage in when they train with each other but is
not meant to be emulated by the whole class.
Finally, ukemi is never about showing up your
partner. That kind of ego is dangerous. Years ago I
had a nemesis in the dojo who for my first year
never let me do a technique on him. He always let
me know that if he fell down it was because he
was being nice, not because I had actually thrown
him. Well at one point he had to have an operation
and was gone for three or four months. I kept
training steadily and when he returned to the dojo
he thought to reestablish the same relationship we
had had before. But I had been training and was
somewhat better at that point and he was weaker
due to his operation. We were training and I went
to do a shihonage, he resisted as usual, but this
time I realized that I had it! Not pretty or artistic but
I had it. And I ripped his elbow out and put him
back off the mat. Now this guy was a very skilled
yudansha and I was still a white belt. He could
have taken the ukemi at any point and been fine.
But he needed to show me he was superior and
that was his downfall. He hurt himself, I didn't do it.
That's why the type of resistance the partner
described above was doing is not to be
encouraged. He might be able to stop you now.
But he isn't doing anything to prepare for the day
when your technique has gotten better and
stronger. And on that day he will get creamed.
26
Aikido Training: When Aikido Gets Tough

It is important to train consistently, but even more important is the belief that you will continue to train.
Strong determination is important, but that doesnt mean no flexibility. If something comes up in your life,
you must take care of it. But know that you will come back. Some people always seem to be at the dojo.
Maybe their physical skills are good, but they forget their responsibility. There is no balance in their lives.
They are always looking to prove something. Thats why they call it DOJO: do - way and jo - place, the
place where you find out about yourself, about what is missing. So training is part of your life. If you feel its
just self defense (or exercise) then its easy to give up. But youre more likely to continue if you feel it is
important: that it helps you in every part of your life.
quote of unknown origin carried in the wallet of a senior student for over 10 years
Crisis of Commitment
The practice of Aikido often develops into a commitment but like all
commitments there are moments of discouragement. The members
of Central Aikido are here to support you through those difficult
phases of your training because each of us has experienced such
moments. Your sensei and the senior students are aware of the
occasional need to wrestle with such challenges to your original
choice to begin your training and will work with you if you seek them
out.
Senior Student
When I was first beginning, one of
my seniors taught me an important
lesson: the classes that are often
the most powerful are those that I
go to when I feel most like not
going.
Injuries of the Spirit

On occasion you may feel discouraged because of apparent lack of progress. There are many plateaus in
Aikido, even regressions. These are natural stages and should not be discouraging. For example
regressions often occur as you discover new, subtle elements of basic techniques and must go back to
master them. If you feel frustrated or disappointed in your progress, talk to your sensei and the senior
students. They will be glad to listen and share their experiences with you.
Senior Student
I see this as a most important aspect of
the idea of self defense. When I get
injured, it is usually because I have
failed to ask for what I need from my
partner. I have a very hard time asking
for my partner to go slowly, or to put
minimum pressure on a particular joint
because I think Im supposed to be
tough & strong and always pushing
myself. For me, the way to defend
myself against injury is to pay attention
to my body and speak up, unabashedly
about what I need. When my ego gets in
the way, and I get injured, then it is
important that I keep working out at a
reduced rate and direct my attention to
self-defense: asking my partner for what
I need.
Injuries, Aches & Pains

Pain is not bad. It is natures way of saying this is as far as you
can bend or stretch this part today. It signals your limitations in
a healthy way. While students should expect the development &
strengthening of joints to be accompanied by occasional pain,
injuries are another matter. With respect to injuries, we have
one very important bit of advice:
If you are injured, HEAL in Aikido with the support of the dojo.
Please consult with your sensei or one of the senior students if
you are injured, whether during your training or outside the dojo.
Several students have both personal and professional
experience dealing with pain caused by sports injuries and are
willing to discuss your injuries and suggest how to handle them.
Most are not professionals, however, and you are ultimately
responsible for how you take care of your injuries.
There are many creative ways that you can safely continue your
training working around whatever physical (or emotional) circumstances you are facing. There is one basic
set of tools weve found to be incredibly helpful for the treatment of most injuries:
R.I.C.E.
Rest. Ice. Compression. Elevation.
27
Tips for Avoiding Injuries & Enjoying Practice:

Leave your worries off the mat.
Senior Student
Practice with respect and enthusiasm.
I occasionally will tweak this or
that muscle (nothing major). For
Practice often.
me it is always a sign that I am
Stretching both before & after class helps educe soreness in
going too fast with techniques I
addition to increasing flexibility. Pay attention to your body and stop
know too little about. The tweak
when it says enough.
is my bodys way of telling my ego
Get to know other students off the mat. If you can, join them for
to back off. I look at these times as
social activities after class.
opportunities to go slowly & further
Talk with other students about your experiences. Chances are,
develop my style, and to work on
they have experienced the same thing you are struggling with and
the thousands of details with each
can offer their experience in overcoming those struggles.
technique. Invariably I come away
Speak up if your partner is going too fast or too rough with you.
from these periods better off than
This is not only part of your self-defense, it is helpful to your partner
before.
to get this feedback so they become more sensitive to their partners
and increase their ability to blend.
Tell your partners when you are injured (you may also use a visual reminder such as wearing a wrist
band on the injured arm or by rolling up your sleeve). If you are too injured to practice, observe the class.
Avoid heavy meals for at least a few hours before practiceespecially spicy ones.
Abstain from drugs or alcohol before practice.
Drink water before classes during summertime.
Begin to use Meditation & Visualizations to enhance both your physical practice and your spiritual
development.
Enjoy your practice!
Remember why . . .
When you first joined you came with some purpose in mind. Sometimes the challenges obscure the vision.
Your vision is important whether you pursue it in Aikido or elsewhere.
Agatsu.
Victory over the Self.
28
Aikido Training: Some Common Problems

"Oh, he's just falling down for her."
An Aikido throw can look so improbably smooth and effortless that it is easy to believe that it is faked. It
isn't its physics.
The laws of physics are as strictly enforced at Aikido schools as they are at ski slopes. If you have ever
been a beginning skier, you know from painful experience just how devastating those forces can be.
Saying that the attacker fell down "for" the Aikidoist is like saying that the beginning skier fell down "for" the
mountain.
The advanced skier has learned to use these forces; a small shift in weight or position determines whether
the skier crashes into a tree or swooshes effortlessly through a turn and down the slope. An accomplished
skier flying across the snow is as improbable to the frustrated beginner as an accomplished Aikidoist flying
across the mat but neither one is faking.
"It's too much like dancing it would never work."
What is dancing? It is controlled motion. Watch Fred Astaire and
Ginger Rogers, the two moving in harmony, whirling around the floor
in perfect control.
What would have happened if Fred had let go of Ginger at a critical
moment, she would have gone flying across the room and fallen.
I think [aikido] is the most difficult

of all the martial arts to learn. Its
demands for skill, grace and timing
rival those of classical ballet.
- Physicist Jearl Walker
What happens when the Aikidoist lets go of an attacker at a critical moment? The attacker goes flying
across the room and falls.
Yes, it is like dancing.
Yes, it works.
The genius of Aikido is to

transform the most violent attack,
by embracing it, into a dance.
- George Leonard
"It didn't work."

It is useful to define what you mean by "it worked" or "it didn't work." If someone grabs you and you prefer
that he not do that, you have many options. Some techniques (especially those known as kokyunages)
depend on the attacker (uke) holding on to the defender (nage); he is in danger of being thrown only so
long as he does so. If he lets go, you have no throw. But if your purpose was to persuade uke to let go and
he did, then the technique "worked." You do not have to put him on the ground to achieve that purpose.
On the other hand, if you purpose is to learn a technique, there are other considerations. Some students
are afraid of falling. Others may see doing the throw as "winning" and falling as "losing." Consequently
many beginners counter every move or let go as soon as they fell themselves in danger of falling -- then
confuse the cessation or change of their own attack with failure of
Winning means winning over the
nage's technique.
In Aikido there is no losing. We learn to give the appropriate attack
and we learn to fall so that we can help others to learn. They will do
the same for you. You "win" by being a good teacher.
discord in yourself. Those who

have a warped mind, a mind of
discord, have been defeated from
the beginning.
- Morihei Ueshiba
"But instead he could..."

Yes. But don't worry about it. The possibilities of attack and defense are unlimited. Beginning Aikido is like
beginning arithmetic: we stage a particular attack with a particular energy in order to practice a particular
response or its variations. Calculus, with multiple variables, comes later. For now, give the appropriate
energy, respond with the appropriate response. This is how we learn.
29
"What is Ki? Do you really believe it's real?"

Aikidoists think of Ki as the universal energy or spirit present in all things -- often a difficult concept for
Westerners. If the idea of extending a beam of energy from your fingers out to the edge of the cosmos
violates your sense of reality, then think of it as "attention" or "mind" and use the ideas as a tool, like
Einstein riding his hypothetical beam of light; if it were true, what would you see? What would happen?
Did Einstein "really" go riding on a beam of light? Not in the usual sense, but the thought was "real" in that
it produced "real" results -- he was able to see using this image and what he saw is now considered very
real indeed. If you begin a ki test by imagining yourself nestled at the center of the earth, are you physically
attached of billions of tons of water and rock? Not "really" -- but if your thought results in stability and
power, what, then, is "real?"
Use the concept of Ki as a working hypothesis. Soon you may develop your own ideas of what it is and
how it works for you.
"Have you ever had to use your Aikido?"
This answer is different for everyone. In the usual sense of a physical
attack, for some of our students and the instructors, the answer is
yes. In the larger sense most of our members use it every day. Budo,
the "way" or "path" of the Japanese samurai, is usually translated as
the "way of the sword." The characters, however, actually mean "the
way to cease using the sword."
If you pit negative force against

negative force, there will always be
a collision; even if you win, you still
lose. So I always go out of my way
to avoid an altercation. Having this
attitude is probably the reason
why, to this day, I have never had
to use karate in an aggressive
manner off the mat.
- Chuck Norris
Aikido emphasizes control of the situation -- and of yourself. Self

defense is a side effect of something far more profound. Aikido, the
Way of Harmony, is a path well worth following. And it can be followed for a lifetime.
30
The Path of Promotion

Rank in USAF Aikido is not easily or quickly attained. Unlike some
more commercial Martial Arts organizations, promotions in the USAF
are not looked upon primarily as a source of revenue. There are six
Kyu ranks preceding Black Belt. In most USAF dojo, there are no
colored belts associated with these ranks; practitioners wear the white
belt until achieving Shodan (again, there are notable exceptions). The
USAF supports and encourages childrens programs but does not
oversee the testing regulations. This is left to the discretion of each
dojo. Since there is no Black Belt for children in Aikido, once a child
moves up through their dojos program and their maturity level
permits, he/she will start the Kyu ranking system regulated by the
USAF. The Technical Committee has established 16 as the youngest
age a person may be tested for Black Belt.
Testing Eligibility
Each level of testing requires a
minimum of classes attended
since the last test. This does not
include watching videos, reading
books, or even training on your
own at home. A day at a seminar
is counted as one day. Reaching
this minimum does not guarantee
you may test. Not making the
minimum does not completely
remove you ability to test, either.
In some rare cases sensei may
wave a few classes for the
student who clearly is ready.
Each rank requires a specific minimum of training days (counted from

the last test) to be eligible for testing. It should be emphasized that this
is a minimum and does not automatically confer the right to test. That right is solely at the discretion of the
Instructor and it is considered extremely bad form to request a promotion. After moving up through the six
Kyu ranks, you may enter into the Dan or Black Belt ranks. Theoretically, there are ten Dan ranks.
However, tenth Dan is considered unattainable since to achieve such rank would imply that one has
learned all there is to know about Aikido, an impossibility! The path to Shodan (1st degree Black Belt)
takes, on average, approximately six or seven years of serious, frequent practice. While this may seem a
long time in our fast track, short attention span culture, it represents a commitment to the art which goes
beyond mere technical proficiency. Testing of Kyu ranks are overseen by Shidoin and Fukushidoin at the
local level. All Kyu rankings are recorded, and for each, a Kyu Certificate is issued by the USAF
administration. Upon passing your first test you will receive a Yukyusha book. You should maintain good
records and remember to present your book when attending seminars as this record will impact your
fulfilling some future Kyu rank testing requirements. Bring your Yukyusha book along with you when
visiting other dojo.
Yudansha (Black Belt) testing is conducted most often by Shihan members of the Technical Committee,
usually at one of the major annual Camps or Seminars. You are encouraged to attend testing even if you
are not eligible so that you can observe the level of training that is expected at each rank. Testing provides
an opportunity for students to demonstrate their ability to perform under pressure. As one moves up in
rank, the tests become more free-form, meaning you are not told in advance what to expect. The
Yudansha tests are physically and emotionally exhausting, often taking place in front of hundreds of
spectators and fellow students. Suffice it to say, when you achieve rank in the USAF you know you have
earned it. (Sometimes when a person has a physical or age related handicap and they have practiced
sincerely to the fullest extent of their ability, the test may be modified or waived based on the persons
commitment and positive contribution to the art.) Upper Dan ranks are granted by the Technical Committee
based on the individuals long term commitment and continuing progress in Aikido. All Dan ranks are
registered and approved by Hombu dojo, Aikido World Headquarters. Upon receiving a Yudansha book,
you should continue to maintain good records and remember to present your book when attending
seminars as this record will impact your fulfilling future Dan rank testing requirements. When visiting other
dojo, it never hurts to have your book with you.
31
The Path of Promotion: Examination Etiquette

Most dojo conduct Kyu examinations several times per year. Sometimes different dojo will gather together
to conduct exams. There is no fee for the sixth Kyu exam but members are expected to join the USAF at
this time. The protocol of the test are as follows: Those eligible will be called individually to the front of the
dojo by the examining committee. You and your partner will sit in seiza in front of the Kamiza and, when
told to begin, will bow first to O-Sensei, next to the examiners and finally to your partner. After the test is
concluded repeat this process. The Instructors will call out specific techniques for you to perform, left side,
right side, ura and omote. Keep performing the technique until the examiner calls out for a change in
request or indicates that it is your partners turn to demonstrate. If you mess up (and you might!) do not
stop in the middle of your technique. Rather, complete the (wrong) technique and then perform the correct
one next time.
The examiners are of course looking for technical proficiency consistent with the level for which you are
testing. They are also looking for your ability to take proper ukemi and demonstrate proper focus while
maintaining a state of calm alertness while under pressure. (This is when those breathing exercises really
pay off!)
A final word on promotions: Aikido does not lend itself to a "ten easy lessons" approach. Do not be in a
hurry to achieve rank. Use testing as a motivator to "ratchet up" your training but stay focused on the day
to day, long term pace of your training and you will eventually achieve a deeper understanding of the art
(and yourself) which no belt or certificate can adequately represent.
32
Rokukyu Your First Test

The 6th Kyu examinations are sometimes held as part of the class, but more commonly as part of a
seminar. Testing is not structured around competition, you are graded on:
Your understanding of basic technique appropriate to your level.
Your spontaneous movement and response appropriate for the attack.
Your ability to adapt your movement to the force of the attack.
The concentration and awareness you maintain throughout the examination.
Continuity of movement is important, not speed.
Confidence and courage are important, not ego.
Be prepared to act as uke for someone else of your same level during the examination period. You will be
graded on your ukemi.
A technique should be demonstrated continuously on both sides until there is a signal to stop. Both irimi
and tenkan movement should be used whenever applicable.
You will be expected to know and respond to the Japanese terms. It may not seem so now, but you will
come to know these terms in short order.
Rokukyu Testing Requirements:
Hitori Waza
(solo techniques)
Seiza & Seiza Rei
Shikko*
Hanmi (migi and hidari)
Ukemi* (back fall, back roll & front roll)
Funekogi undo
Ikkyo undo
Irimi (two ways)
Tenshin
Tenkan
Kumi Waza
(partner techniques)
Hanmi (ai and gyaku)
Atemi (shomenuchi, yokomenuchi & tsuki)
Tai No Henko
Kokyu dosa
*Instructors option depending on age and ability
33
Gokyu through Ikkyu Exams

Testing is not structured around competition, you are graded on:
Testing Eligibility
Your understanding of basic technique appropriate to your level.
Minimum test requirements:
Your spontaneous movement and response appropriate for the attack.
th
5 kyu 40 classes
Your ability to adapt your movement to the force of the attack.
th
4 kyu 80 classes
The concentration and awareness you maintain throughout the
rd
3 kyu 100 classes
examination.
nd
2 kyu 200 classes
st
Continuity of movement is important, not speed.
1 kyu 300 classes
Confidence and courage are important, not ego.
Be prepared to act as uke for someone else of your same level during the examination period. You will be
graded on your ukemi.
Gokyu (5th Kyu)
Shomenuchi Ikkyo (omote & ura)
Shomenuchi Iriminage
Katatetori Shihonage (omote & ura)
Ryotetori Tenchinage (omote & ura)
Tsuki Kotegaeshi (tenkan)
Ushiro Tekubitori Kotegaeshi (omote & ura)
Morotetori Kokyuho (omote & ura)
Yonkyu (4th Kyu)
Shomenuchi Nikkyo (omote & ura)
Yokomenuchi Shihonage (omote & ura)
Tsuki Iriminage
Ushiro Tekubitori Sankyo (omote & ura)
Ushiro Ryokatatori Kotegaeshi (omote & ura)
Suwari waza:
Shomenuchi Ikkyo (omote & ura)
Katatori Nikkyo (omote & ura)
Katatori Sankyo (omote & ura)
Sankyu (3rd Kyu)
Yokomenuchi Iriminage (3 variations)
Yokomenuchi Kotegaeshi (omote & ura)
Tsuki Kaitennage (omote & ura)
Ushiro Ryokatatori Sankyo (omote & ura)
Morotetori Iriminage (2 variations)
Shomenuchi Sankyo (omote & ura)
Suwari waza:
Shomenuchi Nikkyo (omote & ura)
Hanmi handachi:
Katatetori Shihonage (omote & ura)
Katatetori Kaitennage (uchi & soto)
Nikyu (2nd Kyu)

seminar attendance is encouraged
Shomenuchi Shihonage (omote & ura)
Shomenuchi Kaitennage (omote & ura)
Yokomenuchi Gokyo (omote & ura)
Ushiro Tekubitori Shihonage (omote & ura)
Ushiro Tekubitori Jujinage (omote & ura)
Ushiro Kubishime Koshinage (2 variations)
Morotetori Nikkyo (omote & ura)
Hanmi handanchi:
Katatetori Nikkyo (omote & ura)
Yokomenuchi Kotegaeshi (omote & ura)
Jiyu waza & Randori: 2 attackers
Ikkyu (1st Kyu)
Must attend two seminars per year
Katatori menuchi - 5 techniques
Yokomenuchi - 5 techniques
Morotetori - 5 techniques
Shomenuchi - 5 techniques
Ryotetori - 5 techniques
Koshinage - 5 techniques
Hanmi handachi Ushiro Waza - 5 techniques
Tantotori
Jiyu waza & randori: 3 attackers
34
Dan Level Exams

The next level, Dan grades black belts, are a whole new playing field. Its about more than technique, its
about understanding, performing, and application of technique. Weapons come into play, as well as your
ability to understand technique with such things as Henka waza (switching midstream from one technique
to another) and kaeshi waza (countering techniques). And its about proving yourself against multiple
attackers all at once.
Shodan (1st Dan)
All Ikkyu Requirements
Katatori menuchi - 5 techniques
Yokomenuchi - 5 techniques
Morotetori - 5 techniques
Shomenuchi - 5 techniques
Ryotetori - 5 techniques
Koshinage - 5 techniques
Hanmi handachi Ushiro Waza - 5 techniques
Tantotori
Tachitori & Bokuto waza
Jotori & Jo waza
Henka Waza
Nidan (2nd Dan)
All of Shodan requirements
Tachitori: 2 attackers
Kaeshi Waza (counter techniques)
Whats Next?
So, whats after Sandan? What are the
requirements for those tests? The answer seems
to surprise most people. After Sandan is Yondan,
Godan, and so forth. But there are no more tests.
Even getting to Sandan is sometimes not tested.
At this level in your training, at this point of your
journey, going through rote techniques will not help
you advance. Unlike other martial arts, Aikido has
no kata to learn to advance. It is about the art,
about your growth, not about if you can remember
a 37 step form to which you cant figure a purpose.
At this stage, advancement is through teaching
and a deeper mastery of the art. Your
advancement is by recommendation, either from
your sensei, the head of the USAF, or even your
peers in other dojo. It comes from your dedication
to the art, the dojo, and the USAF.
Sandan (3rd Dan)

Subject of examination to be determined by
examiner at the time of examination.
35
Appendix I
Useful Phrases & Lexicon
Names of Techniques: It will help to know that most Aikido techniques are named in three parts, such as
Shomenuchi Kaitennage Ura. The first word is ukes attack (shomenuchi = front strike to head); the second
word is the Aikido technique to be performed by nage (kaitennage = arm-rotary throw); the third word is the
direction in which the technique is performed (ura = behind).
Aikikai Organizational name for Aikido Headquarters.
Aikido concepts
Dan Black belt level.
Masakatsu Victory of
Dojo Cho The operational head of the dojo. A title.
correctness, precision,
Domo Arigato Gozaimasu Formal thank you.
righteousness.
Domo Arigato Gozaimashita Formal thank you for what has been
Agatsu Victory over self.
received. Past tense.
Katsuhayahi Victory over
Doshu Head of the Way. A title.
light, over speed.
Dozo Please. Go ahead, please continue.
Hakama Skirt-like pants worn over gi pants.
Henka waza Switching from one technique to another.
Hombu (Dojo) Aikido World Headquarters, Japan
Kaeshi waza Counter techniques.
Japanese numbers
Ki Spirit, energy.
Ichi One.
Kohai A junior to one who has trained longer and comes before. A matter
Ni Two.
of seniority but also an intangible awareness of place in the martial group.
San Three.
Kokyu Breath power.
Yon, shi Four.
Kyu All ranks below Dan level.
Go Five.
Roku Six.
Maai Spacing, proper distancing.
Shichi, nana Seven.
Misogi (purification) rites of breathing or water used to purify body and
Hachi
Eight.
mind; to remove various impurities and restore our true image. O-Sensei
Kyu, ku Nine.
considered all Aikido techniques to be forms of misogi
Ju Ten.
Mukyusha Those not yet having attained kyu rank. A.K.A. "nokyu".
Nage Throw, or the one who throws.
Omote Movement toward the front of uke.
Onegaishimasu May I be of service or please grant me this favor.
Aikido foundation
Randori Free style, random multiple attackers.
techniques
Rei Formal bow.
Ikkyo First form.
Reigi Etiquette or courtesy.
Nikyo Second form.
Senpai Student/Instructor above your rank. A person may be sempai to
Sankyo Third form.
other kohai but they are also kohai or a junior student to someone else.
Yonkyo Fourth form.
Sensei Teacher.
Gokyo Fifth form.
Shihan Senior Instructor. "Teacher of Teachers".
Shikaku Dead cornerukes blind spot.
Shikko Knee walking.
Suwari waza Kneeling techniques.
Tai Sabaki Body movement.
Tanto Knife.
Uke The person receiving the technique (attacker).
Ukemi The knack or art of falling.
Ura Towards the back.
Waza Techniques.
Yudansha Dan, black belt rank.
Yukyusha Kyu, not yet having attained black belt rank.
36
Appendix II
Central Aikido Constitution
Article I
Name
The name of this organization shall be known as the Central Aikido
Article II
Purpose
The purpose of this organization is to practice the art of aikido.
Through this practice, promote the ideal of harmonious interaction with others.
Provide an aerobic work out which fosters healthy mind body integration.
Article III
Active membership of this organization shall be extended to anyone who:
Is a student, faculty, staff of UCM or family member of the aforementioned, and has the desire to practice
aikido.
Article IV
Section 1:
Officers
The officers of this organization shall be president, vice president, and treasurer. Other office positions
may be created as needed.
Section 2:
Qualifications of officers
Active members who have good standing within the organization shall be eligible to hold a position of
office. Nominees must adhere to UCM officer qualifications, if applicable. Any office positions not defined in
the constitution may be held by non-UCM members.
Section 3:
Election of officers
The election of officers shall be as follows:
Candidates are nominated by a member in good standing.
Candidates elected by a majority of the members who are present at the meeting.
Election of the officers shall be held every year in April, or as needed to fill vacant offices.
Office positions not defined by the constitution may be filled wither by election or by appointment.
Section 4:
Term of office
The term of office shall begin in full at the onset of fall classes, and lasting until the onset of fall classes the
following year. Exceptions are for when an officer graduates and/or leaves their office early. Elected
officers will work with existing officers to learn their duties until their term begins.
Section 5:
Duties of officers
Duties of the president:
To represent the organization, its ideals, and its members.
To inform the members of the organization of any affairs concerning the organization.
To insure that the duties of the organization's officers are carried out.
Duties of the vice president:
To carry out the aforementioned in the absence of the president.
To see to the publicity of the organization.
To keep attendance of the practice sessions, and record the techniques.
To keep a list of members.
Duties of treasurer:
To receive and disburse all money of the organization and be responsible for its account.
To carry out duties as the primary advisor and chapter may specify.
37
Section 6:
Officer approval and reassignment
As a part of UCM, and associated with the United States Aikido Federation, continuity and competency are
important in officers. Therefore, to maintain quality operations, the primary faculty advisor and approved
instructors of the advisor may block or reject an office nomination, and retain the right to remove an officer
for lack of competency or conduct reflecting poorly on the organization.
Article V
Primary Faculty Advisor
Duties of the primary faculty advisor:
To teach aikido, or to designate someone to teach, such as in his absence.
To support the organization, and with the chapter members work toward fulfilling the organization's
purpose.
Article VI
Practices
The organization shall practice at such a time as decided by the membership for each semester.
The practice time may be changed due to the primary faculty advisor's schedule. And in accordance with a
majority vote by the members, assuming room availability.
Special practices may be called by the primary faculty advisor with member's approval.
A member may be asked not to come to practice by the primary faculty advisor if the member in harmful to
other members, or to UCM or the Warrensburg community.
Article VII
Dues
There will be no dues at this time.
Members will have the option to pay yearly dues to a national aikido organization (United States Aikido
Federation).
Members may vote to collect dues for special occasions, or aikido events.
Article VIII
Amendments
This constitution shall be amended by a two-thirds vote of the active members present at any given
meeting. The amendment in question must have been introduced at the previous meeting.
38

Aiki Man

Încărcat de

Informații document

Titlu original

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

Aiki Man

Încărcat de

Drepturi de autor:

Formate disponibile

Student Handbook

Central Aikido Student Handbook

United States Aikido Federation

The Path of Promotion

Appendix I Useful Phrases & Lexicon

Central Aikido Student Handbook

Central Aikido Student Handbook

Fundamentally, Aikido is the way of the spirit of harmony.

Aikido is a true budo or martial way that evolved in the historic

Central Aikido Student Handbook

O-Sensei & the History of Aikido

Central Aikido Student Handbook

General Principles of Aikido

Always remember that your partner is, in essence, loaning

Central Aikido Student Handbook

Aikido decides life and death in a single

Proper Aikido can never be mastered unless

Aikido is the way that teaches how one can

Aikido as a martial art is perfected by being

Training should always be conducted in a

Practice becomes joyful and pleasant once one

The instructor teaches only one small aspect

Do not be satisfied with what has been taught at

In daily practice first begin by moving your

One should never force things unnaturally or

The purpose of Aikido is to train mind and

The aim of Aikido is to develop the truly human

Central Aikido Student Handbook

United States Aikido Federation

Yoshimitsu Yamada Shihan

Central Aikido Student Handbook

USAF Mission & Bylaws

Central Aikido Student Handbook

Today Central Aikido operates as a

Yoshimitsu Yamada, 8 Dan

To improve the mental and physical health of University of Central Missouri

Linda Lee Vecchio, 7 Dan

Central Aikido Student Handbook

The Budo Life

As with any martial art, there is a fair amount of etiquette to Aikido. It

Central Aikido Student Handbook

Long hair should be kept from

Enter the dojo with a bow. Remove your

Central Aikido Student Handbook

The major parts of the

Central Aikido Student Handbook

Other Features of a Dojo

Other less defined areas

A recessed alcove or niche traditionally

Nafudakake (also Nafuda Kake)

Central Aikido Student Handbook

Dojo Culture: All About Bowing

Entering and Leaving the Dojo

Stepping on the Mat

Bow (sitting seiza) toward the kamidana when stepping on or

Central Aikido Student Handbook

Opening and Closing Class

students wearing a hakama will fold

Central Aikido Student Handbook

Dojo Culture: Dojo Cleaning & Other Points of Etiquette

Central Aikido Student Handbook

Dojo Culture: A Note on Japanese Names and Titles

Titles and Honorifics in Japanese