Hints and tips on the use of and principles of Jo, those with little knowledge may find some basic rules that can endure; those with greater knowledge might still find new ideas to explore.
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Ask yourself. . . 'is Aikido an internal art? If it is, what does that mean to me and how can I train such an internal art?' Seeing is often not seeing. Knowing is too often also not knowing. Your feelings will reveal the answer, an answer you will find difficult to share.
Observe O'Sensei in photos and videos, consider what you see.
When I looked first at this photo two things were apparent.
1. O'Sensei certainly looks a man of peace.
2. His shoulders are relaxed. Quite markedly relaxed by the look of them.
There is a saying, first let your shoulders drop to your hips, then to your knees. Physically we know this is not possible, however, in your mind and in your feelings it is possible. The more your shoulders are relaxed and connected with the rest of your body energetically the more you can access the whole body power. A whole body power that is amazingly effective. It hides from the 'receiver where the power comes from. If you push with your arms the receiver will know this . . . if you remove the physical power from the arms then the receiver will be confounded by your seemingly effortl;ess power.
Test it yourself. Tsuki with a Jo to a partner who is also holding the same Jo. First use your arms . . . and their arms feel the effect. Second relax the arms and use the body . . . the receiver will sense that their own body has been moved and yet not by the arms with which they hold your Jo. The 'push' has come from somewhere they cannot understand.
This is only my opinion, but it makes sense and can be explored by yourself.
1. O'Sensei certainly looks a man of peace.
2. His shoulders are relaxed. Quite markedly relaxed by the look of them.
There is a saying, first let your shoulders drop to your hips, then to your knees. Physically we know this is not possible, however, in your mind and in your feelings it is possible. The more your shoulders are relaxed and connected with the rest of your body energetically the more you can access the whole body power. A whole body power that is amazingly effective. It hides from the 'receiver where the power comes from. If you push with your arms the receiver will know this . . . if you remove the physical power from the arms then the receiver will be confounded by your seemingly effortl;ess power.
Test it yourself. Tsuki with a Jo to a partner who is also holding the same Jo. First use your arms . . . and their arms feel the effect. Second relax the arms and use the body . . . the receiver will sense that their own body has been moved and yet not by the arms with which they hold your Jo. The 'push' has come from somewhere they cannot understand.
This is only my opinion, but it makes sense and can be explored by yourself.
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The usefulness of the Jo when weilded by an expert is born out by the Japanese legend of Muso Gonnosuke who is purported to have defeated Miyamoto Musashi, probably Japan's greatest ever swordsman and the author of the essential, 'Book of Five Rings'. It is intimated that they met twice, first with the sword winning over the Bo, but on the second meeting the Jo prevailed. Neither party chose to take a life in this conflict .... so says legend.
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The usefulness of the Jo when weilded by an expert is born out by the Japanese legend of Muso Gonnosuke who is purported to have defeated Miyamoto Musashi, probably Japan's greatest ever swordsman and the author of the essential, 'Book of Five Rings'. It is intimated that they met twice, first with the sword winning over the Bo, but on the second meeting the Jo prevailed. Neither party chose to take a life in this conflict .... so says legend.
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"We shall not cease from exploration
and the end of all our exploring
will be to arrive where we started
and know the place for the first time."
T S Elliot.
But all the time we travelled we should have been kind to our bodies, been at peace in our minds and had some fun in our spirit.
Some say, 'you should suffer for your art' . . . we probably all have, but I question if that was actually necessary. Richard
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and the end of all our exploring
will be to arrive where we started
and know the place for the first time."
T S Elliot.
But all the time we travelled we should have been kind to our bodies, been at peace in our minds and had some fun in our spirit.
Some say, 'you should suffer for your art' . . . we probably all have, but I question if that was actually necessary. Richard
***************************************
Some new thinking coming up soon; . . . an old saying 'abandon hope, all ye who search for certainty'. Everything is change, the one thing that does not change is change itself. Soon we will try and examine what that might mean for us.
April 2012
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April 2012
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Three stages of development .... one must follow the other ... your foundation is your future ..... but this doesn't mean we cannot look forward with interest to that which lays beyond ...
1. Posture and alignment; posture, being centred, learning about angles and connecting the body together in a way that conveys the required shape in a comfortable and repeatable manner, and that executes the desired movement. The relationship differences when going from solo practice in suburi and kata to partner work and why those postural alignments may need to change.Practicing and improving upon awase (blending) and with ma-ai (fighting distance or harmony of space).
2. Internal power and how to engage. this is more a development of body awareness, control of all the muscles that are required for the action. Unifying the body to develop more power than normally achieved. In part this can come from more practice (intelligent practice) in part from the body awareness, just mentioned and from the use of 'opposites', like in the Chinese theory of yin and yang. The easiest and most simple to develop is in the turning motion of the upper body ......... there is a common warm up exercise where you swing the body and arms from side to side, briefly my suggestion would be, keep knees soft but aligned with toes and knees, keep hip joint soft and flexible but do not allow it to turn too much, as the body turns left encourage your ribs to go right .... yes, you are right it can't be done ... not in a big way but it can in a small way. The exercise done in this way keeps you fully connected throughout the body and gives you a power option in both directions. There is much more to say on the subject but this section is not the right place.
Internal power is greatest when the whole body is unified and unification is best found when the body is relaxed ... relaxed in a connected living sense and not our western view of relaxation which tends more to collapse than relax.
You will only be able to recognise what is happening in others when you have attained the same awareness. You might think otherwise ... but that is because you haven't yet understood!!! With luck we all will one day.
3. Energy level and its application. Intention, ki, spirit, visualisation, the mind, calm. Intention begins the flow of energy ... my intention was to write more on this subject .. and when the energy arrives I guess I will ... within this admission lies the clue that the correct application of mind, of belief of acceptance is essential in order to harness the energy at will.
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1. Posture and alignment; posture, being centred, learning about angles and connecting the body together in a way that conveys the required shape in a comfortable and repeatable manner, and that executes the desired movement. The relationship differences when going from solo practice in suburi and kata to partner work and why those postural alignments may need to change.Practicing and improving upon awase (blending) and with ma-ai (fighting distance or harmony of space).
2. Internal power and how to engage. this is more a development of body awareness, control of all the muscles that are required for the action. Unifying the body to develop more power than normally achieved. In part this can come from more practice (intelligent practice) in part from the body awareness, just mentioned and from the use of 'opposites', like in the Chinese theory of yin and yang. The easiest and most simple to develop is in the turning motion of the upper body ......... there is a common warm up exercise where you swing the body and arms from side to side, briefly my suggestion would be, keep knees soft but aligned with toes and knees, keep hip joint soft and flexible but do not allow it to turn too much, as the body turns left encourage your ribs to go right .... yes, you are right it can't be done ... not in a big way but it can in a small way. The exercise done in this way keeps you fully connected throughout the body and gives you a power option in both directions. There is much more to say on the subject but this section is not the right place.
Internal power is greatest when the whole body is unified and unification is best found when the body is relaxed ... relaxed in a connected living sense and not our western view of relaxation which tends more to collapse than relax.
You will only be able to recognise what is happening in others when you have attained the same awareness. You might think otherwise ... but that is because you haven't yet understood!!! With luck we all will one day.
3. Energy level and its application. Intention, ki, spirit, visualisation, the mind, calm. Intention begins the flow of energy ... my intention was to write more on this subject .. and when the energy arrives I guess I will ... within this admission lies the clue that the correct application of mind, of belief of acceptance is essential in order to harness the energy at will.
***********************************************************************************************************************************************************************
Something interesting about breath;
based on information taken from a thought provoking article written by Glen Gossling of ‘absolutetaichi’ in the journal of TCUGB, Tai Chi Chuan & oriental arts, No 38, Winter 2011. The original article is extensive as was the research from whence it came and I can only select a few words from it.
Anatomical breathing; ‘inhalation corresponds to an expansive movement’ and ‘exhalation occurs during a contracting movement’…. Used in internal Chinese arts combined with movement to ‘promote deep breathing and relaxation’.
Biomechanical breathing; ‘where you exhale during the point of a movement where the most muscular force is required ..’
This raises an interesting point about your breathing pattern when practising with the Jo particularly. Perhaps we should consider carefully what type of action is occurring and its relationship with the type of breath we engage, not only inhalation or exhalation but abdominal and not thoracic (chest). Example; in suburi number 5, tsuki jodan gaeshi. Below represents my opinion.
All actions have three stages, 1. prepare 2. the required action, 3. slowing down and return to normal stage.
As a solo practice this suburi could involve whatever speed and breath you wish, including the complete suburi in one out breath; as a partner practice your action may depend upon their's. Eg, 2nd photo if defending against tsuki an inbreath might seem best as you blend and draw them in, if it were a strike to the head then perhaps exhalation is best in creating a powerful block.
‘Another important distinction is between forced breathing and natural breathing. … forced breathing will often engage a wide range of core muscles as well as the diaphragm and pelvic floor muscles’. ‘Most biomechanical breathing will be forced … to coincide with the movement’.
As in the third ken suburi, “The sword of Universal Ki.” This being a personal training, solo action powerfully involving the breath and the mind specifically. It is training of the self and spirit, not to be confused with partner work.
If you are reading this you are quite likely aware that the 3rd suburi engages with Kiai, the sound that is uttered as the power is delivered. We know from the above that this will also engage the core muscles to our advantage.
From Gosling's excellent article; “Forced exhalation exercises can generate 5% to 11% extra power. Exhalation .... 2% to 7% on the upper limbs but reduces it on the legs; forced inhalation while extending the legs increases power production by13%,
So in the two examples above our exhalation helps power our upper body for the strike or tsuki and the inhalation adds power to the legs when defending or preparing.
‘Forced exhalation with partially closed airway can optimise power output.'
'Increased intra abdominal pressure increases core stability, relieving the spine and allowing power to move from legs to upper body.' To be avoided when taking a fall or being punched.
Hence the old advice ' do not hold your breath on a break fall, allow your breath out'.
'The ability to inhale deeply is a valuable skill for any martial artist'. Good levels of oxygen beneficially affect the nervous system and result in relaxation.
Another excellent tool in the martial artist's armoury… relaxation.
'Mouth breathing allows for a stronger exchange of air in the lungs.'
Difficult to Kiai with your mouth closed, but in general, breathing through the nose is how you were designed. I've heard it said that you would no more breathe with the mouth than eat a banana with the nose ... always amused me that idea.
'Nose breathing in part causes a constriction that can have benefits'.(Relating to the pressure differences mentioned above.)
'Diaphragmatic breathing also requires better posture'.
In my own classes we have noted that with the head slightly looking up ... not a martially sound posture I'd say.... we can breathe in less air than if we tuck the chin in slightly and keep the crown of the head to the top. You can try that while you are reading this if you wish.
'The lower part of the lungs is seven times more efficient than the top; there are many advantages to using the lower half of lungs,' because of this.
Diaphragmatic (abdominal) breathing has many advantages which are covered in the original article; one of the most interesting is the engagement of the parasympathetic nervous system, (responsible for resting and digestion).
The two nervous systems under which our bodies operate are the sympathetic and the parasympathetic, the former is the system that kicks in when say, a rabid baboon breaks in while you are having breakfast, thus preparing you for fight or flight, flooding the body with adrenalin and other temporarily useful chemicals. The second system, parasympathetic, is kinder to the body in terms of promoting better health; you are likely to be more relaxed and have better control over your body and be able to move quicker. If this is so then abdominal breathing brings another advantage to the martial artist.
Going back to tsuki jodan gaeshi number six suburi, in the transition from tsuki to the 'block' or 'deflection' (raising Jo above head) this can be done much quicker if the body is relaxed at the end of Tsuki. So now we can consider physical and postural relaxation and perhaps incorporate abdominal breathing as well. Again you can test this out yourself.
There may be little time to think of these things in action with partner work but there can be little doubt that abdominal breathing has great benefits and could so easily fit into your own solo practice ... even if it were carried out as a specific breathing practice itself. Carrying out properly thought through breathing exercises can only bring you good. Seek good advice where you can.
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As a solo practice this suburi could involve whatever speed and breath you wish, including the complete suburi in one out breath; as a partner practice your action may depend upon their's. Eg, 2nd photo if defending against tsuki an inbreath might seem best as you blend and draw them in, if it were a strike to the head then perhaps exhalation is best in creating a powerful block.
‘Another important distinction is between forced breathing and natural breathing. … forced breathing will often engage a wide range of core muscles as well as the diaphragm and pelvic floor muscles’. ‘Most biomechanical breathing will be forced … to coincide with the movement’.
As in the third ken suburi, “The sword of Universal Ki.” This being a personal training, solo action powerfully involving the breath and the mind specifically. It is training of the self and spirit, not to be confused with partner work.
If you are reading this you are quite likely aware that the 3rd suburi engages with Kiai, the sound that is uttered as the power is delivered. We know from the above that this will also engage the core muscles to our advantage.
From Gosling's excellent article; “Forced exhalation exercises can generate 5% to 11% extra power. Exhalation .... 2% to 7% on the upper limbs but reduces it on the legs; forced inhalation while extending the legs increases power production by13%,
So in the two examples above our exhalation helps power our upper body for the strike or tsuki and the inhalation adds power to the legs when defending or preparing.
‘Forced exhalation with partially closed airway can optimise power output.'
'Increased intra abdominal pressure increases core stability, relieving the spine and allowing power to move from legs to upper body.' To be avoided when taking a fall or being punched.
Hence the old advice ' do not hold your breath on a break fall, allow your breath out'.
'The ability to inhale deeply is a valuable skill for any martial artist'. Good levels of oxygen beneficially affect the nervous system and result in relaxation.
Another excellent tool in the martial artist's armoury… relaxation.
'Mouth breathing allows for a stronger exchange of air in the lungs.'
Difficult to Kiai with your mouth closed, but in general, breathing through the nose is how you were designed. I've heard it said that you would no more breathe with the mouth than eat a banana with the nose ... always amused me that idea.
'Nose breathing in part causes a constriction that can have benefits'.(Relating to the pressure differences mentioned above.)
'Diaphragmatic breathing also requires better posture'.
In my own classes we have noted that with the head slightly looking up ... not a martially sound posture I'd say.... we can breathe in less air than if we tuck the chin in slightly and keep the crown of the head to the top. You can try that while you are reading this if you wish.
'The lower part of the lungs is seven times more efficient than the top; there are many advantages to using the lower half of lungs,' because of this.
Diaphragmatic (abdominal) breathing has many advantages which are covered in the original article; one of the most interesting is the engagement of the parasympathetic nervous system, (responsible for resting and digestion).
The two nervous systems under which our bodies operate are the sympathetic and the parasympathetic, the former is the system that kicks in when say, a rabid baboon breaks in while you are having breakfast, thus preparing you for fight or flight, flooding the body with adrenalin and other temporarily useful chemicals. The second system, parasympathetic, is kinder to the body in terms of promoting better health; you are likely to be more relaxed and have better control over your body and be able to move quicker. If this is so then abdominal breathing brings another advantage to the martial artist.
Going back to tsuki jodan gaeshi number six suburi, in the transition from tsuki to the 'block' or 'deflection' (raising Jo above head) this can be done much quicker if the body is relaxed at the end of Tsuki. So now we can consider physical and postural relaxation and perhaps incorporate abdominal breathing as well. Again you can test this out yourself.
There may be little time to think of these things in action with partner work but there can be little doubt that abdominal breathing has great benefits and could so easily fit into your own solo practice ... even if it were carried out as a specific breathing practice itself. Carrying out properly thought through breathing exercises can only bring you good. Seek good advice where you can.
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Wellsprings Aikido based in Dorset; their newsletter contains information on breathing matters but I also commend to you an excellent article called training matters. Our eyes and minds can only be opened further when we begin to understand such things.
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Something of interest about gripping.
This article is based in part on the work of William CC Chen in volume 35 number 4 of T’AI CHI magazine, on ‘Using fingers in Tai Chi is a work of art’.
It is more detailed and interesting than space here permits, and I have used a very small part of the whole. However, he writes of the strong connection between the fingers and other parts of the body which they influence. Fingers are disproportionately represented in the motor cortex ….. the fingers are part of the mind ….they move when we talk, and which ones move and how they act depends on our mood. The 5 ‘fingers’ are controlled by two separate nerve systems. The Little finger and ring finger are connected by the ulnar nerve, the rest are connected to another. The little finger system is more active than the first finger system, activation tends towards mind body relaxation, the feet to flatten and the inner thigh muscles to release. Whereas the thumb, first and middle fingers cause the body to become substantial, the feet to press into the ground and inner thigh muscles to contract … the body in action.
As I read the article I sensed the connection with Aikido in terms of grip. Perhaps your teacher has said in the past, ‘grip with little finger first … gripping with index finger first tightens shoulders. Gripping with little finger first embodies a sense of gripping from your own centre’ …. Not surprising in the light of Chen’s article.
When using aiki weapons, when we lift we need a relaxed grip and relaxed body and the grip tends to be from little fingers first, roundly encompassing the Jo or Ken …… even during the strike the hands are comfortable and relaxed as is the body, … Then as the ‘strike’ materializes much changes, a fuller grip engaging thumb and first two fingers develops. Power is issued from a fully active and substantial body …. Then released as suddenly.
They say, ’when you know the why, you can endure any how.’
Perhaps this will make a sense to you that you can put to use.
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A question for you … “when you grip your partner’s Gi or indeed your own Jo or Ken … what is it that you are gripping? Worth thinking about .. an answer will be posted … one day. ..... not yet though ! OK , long enough ... in your mind do not grip their gi but grip their very centre. Try it out and you will see that the person gripped in such a fashion feels that they are much more constrained ... and yet it is the same Gi, the same body, the same grip ... just a different intent and energy. Worth a try, don't just take someone's word for it, because in the end you will have to set yourself free and find your own path. Richard
PS the concept is no different than Koichi Tohei's exercise with the Jo where he puts his spirit at the far end of it.
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This article is based in part on the work of William CC Chen in volume 35 number 4 of T’AI CHI magazine, on ‘Using fingers in Tai Chi is a work of art’.
It is more detailed and interesting than space here permits, and I have used a very small part of the whole. However, he writes of the strong connection between the fingers and other parts of the body which they influence. Fingers are disproportionately represented in the motor cortex ….. the fingers are part of the mind ….they move when we talk, and which ones move and how they act depends on our mood. The 5 ‘fingers’ are controlled by two separate nerve systems. The Little finger and ring finger are connected by the ulnar nerve, the rest are connected to another. The little finger system is more active than the first finger system, activation tends towards mind body relaxation, the feet to flatten and the inner thigh muscles to release. Whereas the thumb, first and middle fingers cause the body to become substantial, the feet to press into the ground and inner thigh muscles to contract … the body in action.
As I read the article I sensed the connection with Aikido in terms of grip. Perhaps your teacher has said in the past, ‘grip with little finger first … gripping with index finger first tightens shoulders. Gripping with little finger first embodies a sense of gripping from your own centre’ …. Not surprising in the light of Chen’s article.
When using aiki weapons, when we lift we need a relaxed grip and relaxed body and the grip tends to be from little fingers first, roundly encompassing the Jo or Ken …… even during the strike the hands are comfortable and relaxed as is the body, … Then as the ‘strike’ materializes much changes, a fuller grip engaging thumb and first two fingers develops. Power is issued from a fully active and substantial body …. Then released as suddenly.
They say, ’when you know the why, you can endure any how.’
Perhaps this will make a sense to you that you can put to use.
***********
A question for you … “when you grip your partner’s Gi or indeed your own Jo or Ken … what is it that you are gripping? Worth thinking about .. an answer will be posted … one day. ..... not yet though ! OK , long enough ... in your mind do not grip their gi but grip their very centre. Try it out and you will see that the person gripped in such a fashion feels that they are much more constrained ... and yet it is the same Gi, the same body, the same grip ... just a different intent and energy. Worth a try, don't just take someone's word for it, because in the end you will have to set yourself free and find your own path. Richard
PS the concept is no different than Koichi Tohei's exercise with the Jo where he puts his spirit at the far end of it.
**********
Something to consider on 'being centred;
What is it that we understand about being centred? We surely have heard our teachers say, 'be grounded, be centred'. What is 'being centred'? Well, there are some obvious observations; the body should be upright and the centre of gravity should fall comfortably in the middle of the posture. The further you lean or shift your centre of gravity to one extreme or the other the less stable you are and the harder it is to execute fast moves like turning etc.
Perhaps there is more to it than the physical; take the eyes for example, not possible to move them into the back of your head physically ... but you can with the mind. Your eyes should be soft, soft focussed and appear to your mind that they are further back in your head ... near the ears .. and are looking out through the eye sockets from within and not from the front edge. A mental sense of energy going in all directions also assists centreing, front back left right up and down ..... your intention may be focussed in a particular direction ... as in Tsuki (thrust) but the sense that your energy expands from the centre in all directions should also exist.
Centred is also about being calm ... an essential feature of our art .... if not calm then it will be reaching out to one extreme or another ... it will fail to be balanced .. centred.
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What is it that we understand about being centred? We surely have heard our teachers say, 'be grounded, be centred'. What is 'being centred'? Well, there are some obvious observations; the body should be upright and the centre of gravity should fall comfortably in the middle of the posture. The further you lean or shift your centre of gravity to one extreme or the other the less stable you are and the harder it is to execute fast moves like turning etc.
Perhaps there is more to it than the physical; take the eyes for example, not possible to move them into the back of your head physically ... but you can with the mind. Your eyes should be soft, soft focussed and appear to your mind that they are further back in your head ... near the ears .. and are looking out through the eye sockets from within and not from the front edge. A mental sense of energy going in all directions also assists centreing, front back left right up and down ..... your intention may be focussed in a particular direction ... as in Tsuki (thrust) but the sense that your energy expands from the centre in all directions should also exist.
Centred is also about being calm ... an essential feature of our art .... if not calm then it will be reaching out to one extreme or another ... it will fail to be balanced .. centred.
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Jo Suburi number 13, katate hachi no ji gaeshi .... and awareness.
Elsewhere on the site we have mentioned not using the Jo to lean on, for the benefit of the mat for an example, sadly we all do it, the masters did it, no doubt you do it too. The Jo suburi number 13 is a case in point where you might ensure that your awareness does not allow this to happen. A teacher from one of the Chinese arts once said to me, "if you have to prepare, you were never ready." The difference in speed and ease of technique with this Jo Suburi from a), resting your arm weight on the Jo and from
b), holding your arm and grip of the Jo in a relaxed but already engaged attitude is quite significant. In the martial arts the tiniest of differences can make the greatest effect .... like living or dying ! Try it and think on it as a lesson for other applications.
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Elsewhere on the site we have mentioned not using the Jo to lean on, for the benefit of the mat for an example, sadly we all do it, the masters did it, no doubt you do it too. The Jo suburi number 13 is a case in point where you might ensure that your awareness does not allow this to happen. A teacher from one of the Chinese arts once said to me, "if you have to prepare, you were never ready." The difference in speed and ease of technique with this Jo Suburi from a), resting your arm weight on the Jo and from
b), holding your arm and grip of the Jo in a relaxed but already engaged attitude is quite significant. In the martial arts the tiniest of differences can make the greatest effect .... like living or dying ! Try it and think on it as a lesson for other applications.
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Kata from Westbrook and Ratti's excellent book, Aikido and the Dynamic Sphere ..... shown below.
"Only as far as you seek "Only as much as you dream
shall you go." can you be."
shall you go." can you be."
**
Boken for precision, Jo for flowing,
the essence of each inherent in the body and spirit of one
who walks the path of Aikido - way of harmony of spirit.
**
Boken for precision, Jo for flowing,
the essence of each inherent in the body and spirit of one
who walks the path of Aikido - way of harmony of spirit.
**
Just a thought on learning; as students we often physically copy our teachers
without actually understanding what they are really doing.
Should we simply let our body blindly copy the teacher or should we let our own body explore self improvement?
What we 'see' is often not what we should see.
Of another martial art, I overheard of a master who visited a teacher and observed his class.
At the end of the class the master praised the teacher,
"you must indeed be a great teacher, for you have taught all your studentsl your mistakes".
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without actually understanding what they are really doing.
Should we simply let our body blindly copy the teacher or should we let our own body explore self improvement?
What we 'see' is often not what we should see.
Of another martial art, I overheard of a master who visited a teacher and observed his class.
At the end of the class the master praised the teacher,
"you must indeed be a great teacher, for you have taught all your studentsl your mistakes".
****************************
Just a thought on the 31 partner practice: first we learn the kata, copying the moves but often not understanding the 'why' of a move. We can become quite expert with the kata but might stop looking further into the 'why'. A move can be swish, fancy and fast, but has it a practical martial value? (You only have to look at the Hasso series in the suburi to see the pitfalls.) Then comes the partner practice .... and all has changed ...... for the simple move you had before won't work, you need to be more off line, your parry needs to be more effective, your timing is wrong, you need more body and less arms .... so many things to fix.
You practice and practice the both sides of the 31 kata and eventually with a partner you can complete the 31 moves and their opposites. The completion of the choreography is only a beginning for there will still be many places where you have not even considered the 'why' a move takes place. The 31 partner practice is not iherently perfect, it is as good as Saito Sensei could make it. Some small changes have been made by other teachers, some changes might appear better yet others worse. Now you have another dilema. You can make progress though by asking 'why?' Why am I making this move, what is the cause and effect of the move, what will the partner do next, eg they might think to strike but because you attack the knee they change to block. If, because you only copy the choreography, they go straight for the block, then it removes the reason in the first place for the attack to have gone to the knee. It is not easy to explain what I mean here, but why not spend a little time and look at the 'why' of each move .... doing it only once may still be enough to enlighten you.
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You practice and practice the both sides of the 31 kata and eventually with a partner you can complete the 31 moves and their opposites. The completion of the choreography is only a beginning for there will still be many places where you have not even considered the 'why' a move takes place. The 31 partner practice is not iherently perfect, it is as good as Saito Sensei could make it. Some small changes have been made by other teachers, some changes might appear better yet others worse. Now you have another dilema. You can make progress though by asking 'why?' Why am I making this move, what is the cause and effect of the move, what will the partner do next, eg they might think to strike but because you attack the knee they change to block. If, because you only copy the choreography, they go straight for the block, then it removes the reason in the first place for the attack to have gone to the knee. It is not easy to explain what I mean here, but why not spend a little time and look at the 'why' of each move .... doing it only once may still be enough to enlighten you.
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Just a thought on teaching;- a consideration after a class on 13 Jo Kata partner practice.
1. Teaching makes you question correctness. Any 'transmitted' doubts result in questions from, or in, the students.
Variations are valid but raise confusion in beginners.
2. The 13 Jo partner practice is much more difficult than it would first seem, in fact, the more you study it the more questions arise.
For example; how easy is the first move, the evasion or blending coupled with a good tsuki (thrust), I say, not an easy move.
3. It would be simpler to ignore the questions and just stick with what you know and say 'this is it'.
4. Is it that Aikido or Aikijo is changing or isit us that changes . . . in a way that it makes the art appear to change.
5. Why do we fix into our bodies a set of kata moves that may not fit the reality of partner work? (O'Sensei had a view on kata or . .more importantly on there not being one. . . but somehow we must learn and someone must teach; therein lies the value of kata)
6 there comes a time when you are asked a question and the answer is not in your mind. To find the answer you act out the question physically and observe what happens. . . then explain the observation.
Is the acting out actually correct? Is it just correct for your own body feeling at the level you are?
Do we train for body feeling or choreography? Ah, yet another question !
7 Both partners should be engaged in Aikido (Jo) The 'attacker' should not just act out foolish moves for the defender. However, if we call them an attacker we can't be letting them practice aikido can we? Yet another question.
There may be some principles of posture and action that are appropriate for the 'attacker'. Which ones?
The role of the teacher is ever challenging.
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1. Teaching makes you question correctness. Any 'transmitted' doubts result in questions from, or in, the students.
Variations are valid but raise confusion in beginners.
2. The 13 Jo partner practice is much more difficult than it would first seem, in fact, the more you study it the more questions arise.
For example; how easy is the first move, the evasion or blending coupled with a good tsuki (thrust), I say, not an easy move.
3. It would be simpler to ignore the questions and just stick with what you know and say 'this is it'.
4. Is it that Aikido or Aikijo is changing or isit us that changes . . . in a way that it makes the art appear to change.
5. Why do we fix into our bodies a set of kata moves that may not fit the reality of partner work? (O'Sensei had a view on kata or . .more importantly on there not being one. . . but somehow we must learn and someone must teach; therein lies the value of kata)
6 there comes a time when you are asked a question and the answer is not in your mind. To find the answer you act out the question physically and observe what happens. . . then explain the observation.
Is the acting out actually correct? Is it just correct for your own body feeling at the level you are?
Do we train for body feeling or choreography? Ah, yet another question !
7 Both partners should be engaged in Aikido (Jo) The 'attacker' should not just act out foolish moves for the defender. However, if we call them an attacker we can't be letting them practice aikido can we? Yet another question.
There may be some principles of posture and action that are appropriate for the 'attacker'. Which ones?
The role of the teacher is ever challenging.
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My teacher always suggested that ken or Jo should be kept by the door.
It is an invitation to practice .... even if it is only one good strike or thrust, it will all help.
It certainly is easier than finding your weapons bag.
An idea worthy of consideration, I suggest.
PS no use just keeping them there. . . you have to pick them up !
So . . . have you been doing this?
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The above book , is a comrehensive guide to Jo and Ken practice and provides a most excellent aide memoire for anyone who has made some study of the art. You can see from the published contents just what is on offer. If interested in finding out more please go to the links page and select Poole Aikido, whose senior instructor is the author of this very useful book .... far outweighing the scrappy half legible notes that we often make for ourselves and rarely ever understand when we next look at them !!
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The Jo is a short staff, good ones made of Japanese Oak, it's length varies with the user ( standing from the ground to just under the armpit). Because of it's length and the opportunity to use both ends, it can be used in carrying out techniques from Bo (long staff), sword and spear.
Using the Jo involves relaxed postures and movements except for the moment of impact. Being relaxed allows quicker movement, more whole body co-ordination and a degree of flexibility, should the need arise to change direction. Originally the founder had three parts to his art called Aikido: 1. Body techniques 2. The Ken, a wooden sword 3. The Jo, a wooden staff They were used to achieve simple understanding. Saito Sensei (9th Dan) said when you use the weapons think of body movements; when you use body movements think of the weapons |
Using the Jo to effect; some ideas for development. Jo - use in line with your body angle - ie in harmony. Kata - your own practice to learn the various movements. Suburi - using the Jo with power , precision and purpose. Partner work - changes with circumstance - implications for movement - eg, not to move back if you wish to go forward |
Kata is a word to describe a set of predetermined movements which the student practices to improve skill, body timing, co-ordination etc ....... but it should be more!
'If you have to prepare then you were never ready' Again this can reflect at many levels, it only makes the level of sense to the level you are.
Each move should be meaningful, it must fit the perceived attack, it must result in the opponent being in a worse position than you, each move should be simple and pure - add nothing, take nothing away, each move is 'in the now', as if it was the first move ever made, each move must be as perfect for purpose as you can make it, keeping to the principles of a relaxed and co-ordinated body..
Practicing the Suburi (20 of them) will improve skills in balance, focus and technique, to enhance the Kata, and if done slowly will enable the student to discover any weakness in posture and attitude, also how to co-ordinate the inner body as well as the outer. The Kata is the opportunity to put in your skill, and not some empty headed choreographed dance. Practice makes perfect, but only perfect practice has true value! Exercises and drills will help tone and guide your body and mind, and the Kata adds interest of varied movements so that you can continue that development.
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'If you have to prepare then you were never ready' Again this can reflect at many levels, it only makes the level of sense to the level you are.
Each move should be meaningful, it must fit the perceived attack, it must result in the opponent being in a worse position than you, each move should be simple and pure - add nothing, take nothing away, each move is 'in the now', as if it was the first move ever made, each move must be as perfect for purpose as you can make it, keeping to the principles of a relaxed and co-ordinated body..
Practicing the Suburi (20 of them) will improve skills in balance, focus and technique, to enhance the Kata, and if done slowly will enable the student to discover any weakness in posture and attitude, also how to co-ordinate the inner body as well as the outer. The Kata is the opportunity to put in your skill, and not some empty headed choreographed dance. Practice makes perfect, but only perfect practice has true value! Exercises and drills will help tone and guide your body and mind, and the Kata adds interest of varied movements so that you can continue that development.
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(From Sensei Paul Lowing of TIA Europe)
The principles are rather easier to demonstrate and have the student feel than to explain using the written word... Having said that let me make an attempt.
You rightly point out is that sticking a weapon in a beginner's hands instantly seems to produce an imitation of a marauding caveman with a club... I don't know why it just seems to happen.
Sorting out the posture and moving from the hips tends to take care of a lot of potential problems by naturally producing correct movement, so lets start with generalities about the posture.
Head should be held erect
Shoulders relaxed
The hips should be "loaded" at all times, even during tsuki which can appear otherwise. By loaded I mean turned in the opposite direction to the shoulders. E.g for a right side strike the left hip pushes forward and vice versa (the classic iwama style weapons stance). This twist is small in tsuki but should still be there. By keeping this loading as one moves from stance to stance one is always ready to continue the next move.
Weight should either be forward in a forward stance (e.g. a strike) or back or a rear stance (e.g. a rising block) NEVER 50:50!
Torso should be upright generally, (or occasionally in a straight line with the back leg on certain moves.).
Assuming a ken-type stance the arms should be extended, but there should be a overall feeling of roundedness within the extension. The arms are relaxed, the hands grip firmly starting with the little finger, then slightly less tightly with the third finger, slightly less tightly again with the second finger. First finger and thumb grip lightly. Little finger of the left hand is on the edge of teh hilt or end of jo. Approximately a hand-width gap between the hands in a striking posture and the knuckles of the first finger of both hands should engage on the upper part of the weapon to give a firm hold without any "cushioning" as can be felt if the weapon is held with the hands vertical and the weapon pressed upward.
All movements start from the hips. When stepping forward from a forward stance the weight shifts forward such that the front leg powers the step right from the commencement of the movement and all thte way through. Failure to do this means that the step becomes a "float" forward until the front foot becomes the rear foot and then drives the movement forward; this is poor technique.
The hips drive the strike (or thrust) and the hips raise the weapon. Arms must be relaxed and integrated with the centre.If the hips power the movements with the correct weight distribution the footwork pretty much will take care of itself.
Focus is to look through the target to infinity and you should be aware of everything in your peripheral vision. The eyes are "softened" to allow this.
Intention is to strike or thrust through the target and then move on. This is done cleanly and coolly, no aggression, but determination.
The weapon is also an "antenna" if held correctly and will feed back to you your opponents intentions. If it is held with arm and shoulder strength it will feedback nothing and be a crude bludgeon only.
Once an attack (or defence) has gone, it has gone, do not try and "win" on one strike, move to the next immediately, don't get tied up in a contest of strength.
A sword is a precision instrument and should be wielded as such.
Bit "stream of conciousness" but this is a start.
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This is an excellent 'gift' from SenseiPaul Lowing and I commend it to you. I have made bold some of the key points. Paul is senior instructor at Keighly Aikido Club and determined student of the art. More details of Paul and his teachings may be found by accessing the Keighley link on our links page.
Thank you Richard.
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A few practical Jo reminders.
(Borrowed, stolen or imagined following a conversation on Jo in Kefalonia Easter 2011.)
Self practice can lead to an imagined world of greatness.
Partner practice can lead to a new reality – a reality where ability, posture, spirit and timing are all put to question.
Then your greater skill leads to fun, fun for the ego as Jo whacks Jo and you win. Conversely sadness when you lose …. But there’ll be a next time you think.
Then a reminder comes your way that Aiki means harmony of spirit, and that your path is to beat the enemy within, not without.
Jo can be powerful, it defeated one of Japan’s greatest swordsmen, well, not so much the Jo but how it was used.
Try not to strain the body when practicing, as best you can remain relaxed and in good posture.
Good posture requires good foundations.
Hold the Jo firmly but not so tightly that it creates tensions, neither so loosely that it can be knocked from your hands.
Little finger should be able to grip comfortably.
Remember that it is not the Jo that does the work but you. The Jo is merely an extension of the body.
Blend, deflect or neutralise your partner while retaining your own power, which remains hidden from them until the moment of application.
At the point of application never feel your own power coming back to you. Only your ‘opponent’ or partner should experience your power.
Do not think of winning … or losing…. Merely make the correct movements that lead to the proper conclusion. It is your journey not the destination you should keep an eye on !
Keep your thumbs and fingers safe !
Fighting distance and blending skills all benefit from Jo practice. The power and possibilities of an opponent wielding a Jo serve to sharpen the mind.
Minimise movement – don’t add your own flowery bits….. keep it simple.
In general the hips should move before the Jo.
All movement starts from the centre.
Don’t over commit --- every move you make should be recoverable. This can relate to your own position or one you have in relation to your partner.
Safe practice means avoiding attacks to throat, knee, groin, jaw bone etc, martially these are the very targets you would seek …. But this may conflict with Aiki !!
Place your spirit in the Jo, this connects you to its very end and not just where you are gripping it.
Give 80% effort, saving something for yourself, give less than 50% effort and you waste your time.
Hard training is not necessarily training hard … put your whole self into the study, mind body and spirit … look to see how you could improve, feel how you could improve … and do it.
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(Borrowed, stolen or imagined following a conversation on Jo in Kefalonia Easter 2011.)
Self practice can lead to an imagined world of greatness.
Partner practice can lead to a new reality – a reality where ability, posture, spirit and timing are all put to question.
Then your greater skill leads to fun, fun for the ego as Jo whacks Jo and you win. Conversely sadness when you lose …. But there’ll be a next time you think.
Then a reminder comes your way that Aiki means harmony of spirit, and that your path is to beat the enemy within, not without.
Jo can be powerful, it defeated one of Japan’s greatest swordsmen, well, not so much the Jo but how it was used.
Try not to strain the body when practicing, as best you can remain relaxed and in good posture.
Good posture requires good foundations.
Hold the Jo firmly but not so tightly that it creates tensions, neither so loosely that it can be knocked from your hands.
Little finger should be able to grip comfortably.
Remember that it is not the Jo that does the work but you. The Jo is merely an extension of the body.
Blend, deflect or neutralise your partner while retaining your own power, which remains hidden from them until the moment of application.
At the point of application never feel your own power coming back to you. Only your ‘opponent’ or partner should experience your power.
Do not think of winning … or losing…. Merely make the correct movements that lead to the proper conclusion. It is your journey not the destination you should keep an eye on !
Keep your thumbs and fingers safe !
Fighting distance and blending skills all benefit from Jo practice. The power and possibilities of an opponent wielding a Jo serve to sharpen the mind.
Minimise movement – don’t add your own flowery bits….. keep it simple.
In general the hips should move before the Jo.
All movement starts from the centre.
Don’t over commit --- every move you make should be recoverable. This can relate to your own position or one you have in relation to your partner.
Safe practice means avoiding attacks to throat, knee, groin, jaw bone etc, martially these are the very targets you would seek …. But this may conflict with Aiki !!
Place your spirit in the Jo, this connects you to its very end and not just where you are gripping it.
Give 80% effort, saving something for yourself, give less than 50% effort and you waste your time.
Hard training is not necessarily training hard … put your whole self into the study, mind body and spirit … look to see how you could improve, feel how you could improve … and do it.
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Who knows what the Great Truth is? .... however ..... we can start with what seem like little truths ... for the moment !
The following few photos represent my current opinion (June 2011) on some aspects of Jo practice.
I am grateful to Sensei Mark Allcock of Wellsprings Aikido Club for assisting me by patiently posing for the photos.
The following few photos represent my current opinion (June 2011) on some aspects of Jo practice.
I am grateful to Sensei Mark Allcock of Wellsprings Aikido Club for assisting me by patiently posing for the photos.
The two photos above, (credit to who so ever made them available) are here for two reasons. Firstly because we are studying an art that we attribute greatly to the inspiration of the founder ... the way in which Jo was used ... in the spirit of Aiki. Secondly for a chance to see where he is gripping the Jo, the angle of grip etc. We all know that snap shots often hide a greater truth but non the less there may be things we can observe here and learn. we can then explore the learning for ourselves. If it feels right then it probably is right.
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"That's dragon body ", he said.
I had just returned from a brilliant two day workshop taught by Sensei Tony Sargeant in Reading. I had discovered much about the Aikido I had practised for years but never really understood .... now the light was on ! What did I learn? Be in the centre - your centre ! Move in harmony with all, no aggression, no dominance, don't be the attacker ..... and oh how easy that is to become the attacker even in practice. Work hard for the truth ... tricks are powerful but they are just tricks, so seek the truth. Use the hips ... but don't use the word hips or others will misunderstand. I demonstrated one of the ken suburi but using the Jo to some Tai Chi practitioners, I used the 'hips' as taught and Steve said ' hey, that's dragon body'. In this case with a strong involvement with the Kua, or hip crease. (Used in hsing Yi and other internal arts) Want to know more? 27.3.09.
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