O’Sensei

Aiki studies – Yin yang

The concept of yin yang is typically associated with the practice of Chinese arts. However, it is also an important aspect of Aikido practice, particularly for those of us who seek to use our Aikido as a method of progressing to the study of Aiki.

The importance that Master Morihei Ueshiba, Founder of Aikido (O’sensei), placed on an understanding of yin yang was referenced in an interview in 2008 with Henry Kono Sensei. Kono Sensei recalled the following conversation with O’sensei.

“All of us, the foreign students, had cooked up a little party for his birthday with a cake and everything. That day, he was very relaxed and happy so I thought it might be the right moment to try my luck with a question. I asked him “O Sensei, how come we are not doing what you are doing?” He just smiled and replied “I understand Yin and Yang, you don’t”.”  (Source: http://www.guillaumeerard.com).

In the below video Chicko Xerri Sensei (Aikikai 6th Dan) provides a brief introduction to, and demonstration of the importance of yin yang to the practice of Aiki.  Chicko Sensei also explains how yin yang interplays with the concept of connection and initiating movement when dealing with an attack.

 

ADDITIONAL NOTES

  • Difference between Aiki and Aikido

At its most basic, Aiki refers to the ability to negate and redirect an attacker’s power without reliance on specific technique and with a distinct absence of muscular tension usually associated with physical effort.

In our school Aikido techniques are not an end in themselves, but rather a “way” to progress to the study and practice of Aiki.  In essence we study to master form so that we can ultimately become formless in our practice.

 

  • Taoist definition of yin yang

“Yin/Yang : Two halves that together complete wholeness. Yin and yang are also the starting point for change. When something is whole, by definition it is unchanging and complete. So when you split something into two halves – yin / yang, it upsets the equilibrium of wholeness. This starts both halves chasing after each other as they seek a new balance with each other.

The word Yin comes out to mean “shady side” and Yang “sunny side”.

Yin Yang is the concept of duality forming a whole. We encounter examples of Yin and Yang every day. As examples: night (Yin) and day (Yang), female (Yin) and male (Yang).” (Source: http://personaltao.com/).

 

  • Fudoshin Warrior Dojo students – Aiki practice – Yin yang principles 

 

  • Chicko Xerri Sensei

Our dojo is an Aikido Kenkyukai Fudoshin dojo operating under the guidance and mentorship of  Chicko Xerri Sensei, 6th dan AKI (Aikikai), Tokyo.  Chicko Sensei has been practising and teaching Aikido for more than 45 years and is endorsed by Doshu Ueshiba.

Have a great week

Ian Grant
Dojo Cho
Fudoshin Warrior Dojo

Aikido is not resistance – A true warrior contests with nothing

“There are no contests in the art of peace.  A true warrior contests with nothing. Defeat means to defeat the mind of contention that we harbor within.”

(Master Morihei Ueshiba, Founder of Aikido)

 

Have a great week

Ian Grant
Dojo Cho
Aikido Warrior Fudoshin Dojo,
Brisbane

Its marvellous what a difference atemi makes – Tsuki zenpo nage

Tsuki zenpo nage is one of those techniques that for years had me baffled as to how it had any martial relevance  at all.  For those not familiar with the technique, it is more commonly seen in ki aikido dojos and basically involves the nage stepping to the side of a strike to the stomach, taking the uke’s arm and projecting them off.  The idea that a strike or thrust by a uke to a nage’s abdomen could ever result in the uke being able to be projected forward into an unavoidable roll-out in this manner always seem far fetched to me.  Further, I had never had anyone actually be able to do it to me without my full cooperation.  In the end I began to see the technique as nothing more than a rolling exercise.

Recently I came across a black and white video recorded sometime in the 90’s that included a range of hiji waza (elbow techniques).  To my surprise I recognised a hiji waza technique that was clearly tsuki zenpo nage in its martial form – Tsuki hiji nage.

So how did it differ?  Firstly the nage commenced the technique with a double strike to the uke’s abdomen and temple to break the uke’s balance at first instance (see photo of O’sensei at right).

This then easily segued into a locking of the elbow joint which in turn enabled the nage to continue to take the uke’s balance and then project them forward into an unavoidable roll. Any other response by the uke (eg resisting the roll out) would risk serious elbow damage.

Notably in the more typical Tsuki zenpo nage the elbow locking, as well as the atemi, was completely omitted.

Unfortunately, what has happened here is an example of an Aikido application being watered down (presumably for safety or philosophical reasons) to the point it had become martially irrelevant.  By removing the atemi (strike) and the elbow lock, the essence of the technique had become completely lost turning it into no more than an aided rolling or blending exercise.

Far more concerning, however, is that many of the Aiki principles underpinning the technique (you know what we are actually supposed to be learning) had been completely stripped from its application.  These include balance breaking, entering while moving off-line, “heaven-man-earth”, and nage/uke sensitivity and connection, and ukemi responses from an off-balanced position.

In the below video seniors from our dojo can be seen practising  Tsuki zenpo nage with the atemi and elbow lock included in the application.  In some instances, the nage also takes the added precaution of üsing their hip to provide added assurance that kuzushi (balance breaking) is maintained throughout.

 

Have a great week

Ian Grant
Dojo Cho
Aikido Warrior Fudoshin Dojo, Brisbane

 

 

 

 

 

 

 

Training notes: Ai hanmi katatedori hiji nage

Hiji waza (elbow techniques) are always practised with a high degree of caution.  These forms of Aiki applications rely on pressure either being applied to the elbow joint or alternately locking the elbow joint to facilitate the balance taking necessary to execute the throw.

In the below video seniors from our dojo demonstrate one of the most basic forms of hiji waza – Ai hanmi katatedori hiji nage (sometimes also referred to as kosadori hiji nage).  This particular type of projection is practised from an attack in the form of an opposite single hand grab to the wrist.

Notably in some schools the technique is labelled as a form kokyu nage (breath throw).  This is most appropriate given the kokyu ho based movement underpinning the application.

 

ADDITIONAL NOTES

  • Demonstration – Morihiro Saito Sensei

 

  • Takemusu Aikido (volume 4)

 

  • Alternate projection application

In the below video S Crane Sensei demonstrates and provides instruction for an alternate elbow projection application referred to as Ai hanmi katatedori hiji kime.

 

Learnings from the sword – Dealing with shoulder grabs

Ian Grant SenseiA key aspect of our practice at the dojo is to use traditional sword movements to enhance and improve our unarmed arts.  Our practice in this regard incorporates the use of a wide range of bokkens including the shoto (short sword), suburito and Musashi oar.

Exploring Aikido in this way is in line with comments made by Master Morihei Ueshiba (The Founder of Aikido) that Aikido at its essence is a form of taijutsu that incorporates traditional sword principles

In the below video Ian Grant and Jeremy Gehrke Sensei use the short sword to explore the Aiki principles associated with absorbing and redirecting an an attack in the form of a shoulder grab (katadori).

 

ADDITIONAL NOTES

  • Aiki principles and katadori

In the below video Chicko Xerri Sensei explores some of the key Aiki principles that underpin Aikido forms to address an attack from a shoulder grab. An integral part of the instruction in both videos is the use of the bokken to enhance understanding of the basic movements used in this type of practice.

 

  • chicko-senseiChicko Xerri Sensei – Brief Bio

Our dojo is a Fudoshin dojo operating under the guidance and mentorship of  Chicko Xerri Sensei, 6th dan AKI (Aikikai), Tokyo.  Chicko Sensei has been practising and teaching Aikido for more than 40 years and is endorsed by Doshu Ueshiba.

Have a great weekend

Ian Grant
Dojo Cho
Aikido Warrior Fudoshin Dojo