“Aikiken is the use of the sword as one part of the body. That is to say, it is uniting the sword and body into one, to make it an integral part of the body, and to move in a way that is not reliant on the sword. In other words, to use the sword in accordance with the rules of body movement. I think this is the sword of aiki. I think this sword-work is extremely easy for people doing taijutsu [body arts] to understand.” Mitsunari Kanai (From Aikido Journal)
I think this concept is entirely correct and well described, just not always easy to implement. Ed.
I think this concept is entirely correct and well described, just not always easy to implement. Ed.
Hints and tips on the use of and principles of using the Jo, those with little knowledge may find some basic rules of value that can endure; those with greater knowledge might still find new ideas to explore.
You will also find useful tips in the aiki blog
Don't take my word for it, always test ideas out for yourself.
I have expressed opinions based on my current understanding, never follow blindly.
.It is a while since I wrote and my learning has moved on but not so infrequently I discover what it is I can't do
However, the content may remain useful for those following a similar path.
Try to learn from the experience of your own practice.
There is not a week should go by, without discovering something new of interest.
Be interested ! It makes a difference to every thing you do.
Your teacher may have already told you, 'you are on your own in this journey, you must find your own way.'
Question in your own mind if what you read makes sense to you;
you are the map maker of your own world, you are your own destiny, if not, who the hell is?.
**********
You will also find useful tips in the aiki blog
Don't take my word for it, always test ideas out for yourself.
I have expressed opinions based on my current understanding, never follow blindly.
.It is a while since I wrote and my learning has moved on but not so infrequently I discover what it is I can't do
However, the content may remain useful for those following a similar path.
Try to learn from the experience of your own practice.
There is not a week should go by, without discovering something new of interest.
Be interested ! It makes a difference to every thing you do.
Your teacher may have already told you, 'you are on your own in this journey, you must find your own way.'
Question in your own mind if what you read makes sense to you;
you are the map maker of your own world, you are your own destiny, if not, who the hell is?.
**********
"Remove from your practice that which it isn't
and, like the master sculptor,
you will be left with that which it is."
"Like the master sculptor,
you should be aware that there is always
something even better hidden within."
Sensitivity – a skill worth the search.
If you have an interest in the deeper skills of aikido rather than its outwardly apparent techniques , then you will be seeking to use minimum force to effect them. Sensitivity towards your own mind, spirit and body and to the presence of your ‘attacker’. Remember we use these words loosely for there is much more to their understanding.
Only when you are capable of ‘listening’ to where your attacker is willing to go, will you achieve true aikido – the way of harmony. How can it be otherwise?
At a higher level your mind or spirit may carry more influence but for now just ‘listen’ with your body.
Solo practise with weapons can assist you in finding that sensitivity. The weapons should feel smooth and effortless in your hands. Whenever an angle is wrong, a tension will be felt in the grip. Develop a sensitivity to this and allow your own body to find the correct path. Your hands will tell you better than your mind, which too often thinks it knows better – it doesn’t.
Real power comes from feeling no resistance to an attack nor to the completion of the technique. The greatest technique of all, the one that surpasses all techniques, is the skill you have to ‘listen’ with your body.
Weapons training will help you find that skill.
When you can make suburi and kata with your hands gripping the jo as if holding a raw egg then I think you will know the answer for yourself.
‘If you hope to defeat an enemy, why start by fighting your own body?’
‘Don’t see an ‘enemy’ to be beaten, see an opportunity to show the way to a better place.’ An attitude developed and enhanced by weapons training. Any weapons – if it is aikido you wish to study.
If you are finding this body conscious idea difficult to understand, then try a simple weapons move that you already know and then practise with a light grip all the way through, if you feel any awkward pressure in your hands then you will know why.
Just my opinion, Richard
If you have an interest in the deeper skills of aikido rather than its outwardly apparent techniques , then you will be seeking to use minimum force to effect them. Sensitivity towards your own mind, spirit and body and to the presence of your ‘attacker’. Remember we use these words loosely for there is much more to their understanding.
Only when you are capable of ‘listening’ to where your attacker is willing to go, will you achieve true aikido – the way of harmony. How can it be otherwise?
At a higher level your mind or spirit may carry more influence but for now just ‘listen’ with your body.
Solo practise with weapons can assist you in finding that sensitivity. The weapons should feel smooth and effortless in your hands. Whenever an angle is wrong, a tension will be felt in the grip. Develop a sensitivity to this and allow your own body to find the correct path. Your hands will tell you better than your mind, which too often thinks it knows better – it doesn’t.
Real power comes from feeling no resistance to an attack nor to the completion of the technique. The greatest technique of all, the one that surpasses all techniques, is the skill you have to ‘listen’ with your body.
Weapons training will help you find that skill.
When you can make suburi and kata with your hands gripping the jo as if holding a raw egg then I think you will know the answer for yourself.
‘If you hope to defeat an enemy, why start by fighting your own body?’
‘Don’t see an ‘enemy’ to be beaten, see an opportunity to show the way to a better place.’ An attitude developed and enhanced by weapons training. Any weapons – if it is aikido you wish to study.
If you are finding this body conscious idea difficult to understand, then try a simple weapons move that you already know and then practise with a light grip all the way through, if you feel any awkward pressure in your hands then you will know why.
Just my opinion, Richard
I find the following enlightening article and indeed all the information in Aikido Journal to be of the greatest interest and always find something that promotes my learning. I hope you too will find it so, Richard
“O-Sensei made no attempt to codify or develop sword kata to be used formally in aikido training. The sword was for the Founder an extension of divine power to be used only for life-giving purposes. His sword work—and the same can be said of his jo—was merely a different tool for the expression of aiki movement based on the same universal principles as taijutsu techniques.
In that the sword is an extension of the body, certain uses and principles of movement are more clearly understood in comparison to empty-handed techniques. Often the Founder would illustrate a movement or principle both with and without the sword during training in order to clarify their interrelationship.
In this light, comparisons of O-Sensei’s swordwork with classical sword schools are not relevant as his intention was not to impart battlefield techniques but to show how divine energy channels through the human body, the space around it, and all throughout the Universe.”
From the Aikido Journal Newsletter Tuesday, March 17, 2015
Control without trying to control! “The Secrets of O-Sensei’s Art Hidden in Plain Sight,” by Stanley Pranin
31 Jo kata sequence in pictures
This is a copy of my T shirt bought at the 1994 seminar in Birmingham with Saito Sensei 9th Dan teaching. A great teacher, a great event, and yes the T shirt is still wearable though a little frayed at the edges ....like its owner!
(I think a chap called Nigel deserves some credit here)
Wise words from a Karate 6th Dan.
The principles may be unchanging but everything else is. Keep an open mind and test ideas for yourself.
In a recent conversation with a friend the subject of weapons training came up.
There were some things he said said that I'd like to share with you.
*Training with weapons ensures co-ordination of both hands -
through the connection of weapon, they learn to be in harmony.
*Weapons training ensures that both sides of the body are trained.
*Weight and length of the wooden long weapons ensures the receptive body can train and
adapt to avoid inefficient posture.
The principles may be unchanging but everything else is. Keep an open mind and test ideas for yourself.
In a recent conversation with a friend the subject of weapons training came up.
There were some things he said said that I'd like to share with you.
*Training with weapons ensures co-ordination of both hands -
through the connection of weapon, they learn to be in harmony.
*Weapons training ensures that both sides of the body are trained.
*Weight and length of the wooden long weapons ensures the receptive body can train and
adapt to avoid inefficient posture.
How and why to train with Jo and Ken in Aikido.
It’s much easier to understand thoughts than to write them down, but I’ll have a try. We can only believe what our mind allows and only feel what our body allows. Please explore this article and see how much you might or might not find agreeable. Everything in here can be tested by yourself therefore you can make up your own mind of its worth.
It’s much easier to understand thoughts than to write them down, but I’ll have a try. We can only believe what our mind allows and only feel what our body allows. Please explore this article and see how much you might or might not find agreeable. Everything in here can be tested by yourself therefore you can make up your own mind of its worth.
- O-Sensei must have trained with and used weapons like Jo and Ken, (also spear and bayonet) for a reason. He developed techniques to counter weapons too and more than a few of the taijutsu techniques have their origins in this field. If you do not have a partner skilled in the use of weapons then how can you hope to develop such skills as O-Sensei yourself?
2. Practising with weapons can simply be great fun, and why should it not be so?
3. Weapons practice is something you can do almost anywhere, either alone or with a partner. (walking stick, umbrella, broom handle etc) Hiring halls and having expensive mats is not a requirement. You have as much freedom with weapons as the art of Aikido may have whispered to your soul when you first took up the art. (Garden, beach, forest – but beware Public places in case the armed response unit is called by overzealous busy-bodies).
4. I hesitate to put in a ‘do not’, for it is rarely if ever helpful, but, if you only use your arms to move the weapons then you are merely enjoying or enduring some exercise, you will not be doing Aikido. Your whole body needs to be connected and involved and better still, your mind as well. Do not isolate your arms from the rest of you. Act from the centre, not the extremities. Although we are told to move from the centre it is a more usefully applied mechanism to engage with the hip joint by mindfully emphasising the ‘kua’ or hip crease. There are related articles on the Aiki Jo web site.
5. Training with weapons teaches your body a of wide ranging variety of co-ordinated and flowing movements that can prepare you for the dynamic changes of postures required during tai jutsu.
6. Using weapons correctly can develop good, habit formed, integrity of posture that is transferable to empty hand techniques. It is a key purpose behind weapons practice . . . to cultivate and develop the body and not merely to become a sword or stick fighter
7. Weapons help teach ‘open’ postures which offer a more narrow, smaller target to the attacker and yet allow greater reach and generate greater power for the defender. Training with weapons is a useful mechanism to develop correct connection through your body and also to extend your mind connection. Ask yourself, “When I lift Ken or Jo above my head, can I relax my shoulders any more than they are . . . even just a little?”
If the answer is ‘yes’ then, when you lifted the weapon, you disconnected your arms from your body in the ‘energetic’ connective sense. You also moved the shoulder joint from a place of its own relaxed centre to a place of extremes. Weapons or not, properly relaxed and centred joints are an asset if not essential for good Aikido. Weapons can help you find this place; a place that encourages internal power to exist and energetic power to flow.
If the answer is ‘yes’ then, when you lifted the weapon, you disconnected your arms from your body in the ‘energetic’ connective sense. You also moved the shoulder joint from a place of its own relaxed centre to a place of extremes. Weapons or not, properly relaxed and centred joints are an asset if not essential for good Aikido. Weapons can help you find this place; a place that encourages internal power to exist and energetic power to flow.
8. Using weapons can develop an efficient and natural gripping that maximises your potential at a level you may not have yet considered. The 5 ‘fingers’ are controlled by two separate nerve systems. The Little finger and ring finger are connected by the ulna nerve; other fingers are not connected to the ulna nerve but to a separate system. The little finger system is more active than the first finger system; activation of the little finger tends towards mind body relaxation, the feet flatten and the inner thigh muscles release. Whereas, use of the thumb, first and middle fingers causes the body to become substantial, the feet to press into the ground and inner thigh muscles to contract the body in action. Gripping with little finger first also embodies a sense of gripping from your own centre.
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 all changes, a fuller grip engaging thumb and first two fingers develops. Power is issued from a fully active and substantial body. |
9. Using ken and Jo develops circles and spirals which due to exaggeration of movement can more clearly be observed thus enhancing benefits and correcting faults.
10. Weapons training increases awareness and martial attitude as well as developing a greater understanding in fighting distance or ma-ai. (E.g., Katate toma uchi can deliver a head strike from 3 metres or 12 feet.)
Weapons also greatly increase awareness of consequences: - is the Jo or ken safely parried or is the thumb or wrist broken? This is a fine line indeed. Facing fears helps to develop better self control and the student’s reaction speeds are necessarily improved.
11. Lifting the ken or Jo can also be good for your general health, especially if carried out correctly, consciously and combined with breath. Any exercise that involves raising arms and breathing in is good for the internal organs. (Compare with some Chi Kung exercises.) The arms should remain powerful, not by muscular tension but by a power motivated by the mind; they become the ‘iron bar in cotton wool’. Arms are neither collapsed nor rigid but have found a middle way that is more born of mind than physicality. It is the relaxed concentration you may have heard about before. There is extension in the feeling at all times, even when the arms are bent they do not ‘come back’ to you. If your arm is soft (collapsing) it will be pushed back to you and if your arm is rigid it will be used to push you back.
If you extend your arm with intention it is still possible to bend it, as long as you maintain extension and an opening in the joints (thus only appearing to observers that it comes back to you). There is a world of difference. The overall length of the arm should stay the same regardless of any change in elbow angle.
If you extend your arm with intention it is still possible to bend it, as long as you maintain extension and an opening in the joints (thus only appearing to observers that it comes back to you). There is a world of difference. The overall length of the arm should stay the same regardless of any change in elbow angle.
12. Weapons training will teach you relaxation in movement while under pressure. For example:- in the 3rd kumitachi the more relaxed the defensive strike is made, the more powerful a deflection it makes on the attacker’s own strike. There is a case for, less muscle – more power. Cease to look outside for the effect of weapons but look in to yourself, and experience the effect. Seek to be one with the universe and do not fixate on any weapon for it can do nothing without the person behind it.
Finally, perhaps this can also help.
Ai Ki Do. Ki is the so called magical ingredient and becomes seemingly magical only to those who feel its effects without understanding. Ki is the essence of the art and the essence of a powerful, healthy body. You’ll have to think of it what you will; there are lots of ‘definitions’ and opinions out there. Just keep it simple and know that there is some force at work which you might be able to harness to your advantage. Searching for it is part of your journey.
I’ll call it ‘spirit energy’; Ki is real and can, from the application of mind on a relaxed body, create a physical effect merely by its presence. Importantly, it does not work the other way – any tense physical activity actually stifles or shuts down the flow of Ki. There are lots of exercises that emphasise this point. I am sure you will know many yourselves; unbendable arm is a well known example. The objective of practicing such exercises is surely to develop them in a manner that can be useful to you in your martial art or in daily life.
When you pick up the ken or Jo, add nothing more to that effort than that which is required to lift or move the weapon. By adding no extra and what becomes stifling force, your energy can flow. Remember, it is the flow of this energy which animates real power (not strength, which is very different from power). Your energy can flow from your centre all the way to your hands and beyond. By training in weapons you can access a useful tool to develop this mechanism. This is experientially true, regardless of what you really think about Ki.
My advice? Put the Ki in your Aikido and put good weapons training back in while you are at it.
O-Sensei surely didn’t use weapons for nothing . . . did he?
(Weapons) “. . . in the hands of a serious student, it is a pathway and a prayer towards balance and peace.” Terry
Finally, perhaps this can also help.
Ai Ki Do. Ki is the so called magical ingredient and becomes seemingly magical only to those who feel its effects without understanding. Ki is the essence of the art and the essence of a powerful, healthy body. You’ll have to think of it what you will; there are lots of ‘definitions’ and opinions out there. Just keep it simple and know that there is some force at work which you might be able to harness to your advantage. Searching for it is part of your journey.
I’ll call it ‘spirit energy’; Ki is real and can, from the application of mind on a relaxed body, create a physical effect merely by its presence. Importantly, it does not work the other way – any tense physical activity actually stifles or shuts down the flow of Ki. There are lots of exercises that emphasise this point. I am sure you will know many yourselves; unbendable arm is a well known example. The objective of practicing such exercises is surely to develop them in a manner that can be useful to you in your martial art or in daily life.
When you pick up the ken or Jo, add nothing more to that effort than that which is required to lift or move the weapon. By adding no extra and what becomes stifling force, your energy can flow. Remember, it is the flow of this energy which animates real power (not strength, which is very different from power). Your energy can flow from your centre all the way to your hands and beyond. By training in weapons you can access a useful tool to develop this mechanism. This is experientially true, regardless of what you really think about Ki.
My advice? Put the Ki in your Aikido and put good weapons training back in while you are at it.
O-Sensei surely didn’t use weapons for nothing . . . did he?
(Weapons) “. . . in the hands of a serious student, it is a pathway and a prayer towards balance and peace.” Terry
“Occasional weapons seminars can be very simple to organize; a hall or space with a high ceiling e.g. the sky! No mats are required and the students learn to move while wearing their street shoes too . . . a novel idea that pushes the boundaries of their natural learning yet another step forward.”
On training with weapons.
The following is my interpretation of a conversation with my friend, Karate 6th Dan Sensei William Hollister.
From a viewpoint of the Aikido student, surely it would be hard to differ in opinion. August 2014
1. Understand the weapon you are using or facing. Take into account if it is bladed or blunt. Consider this, even when using wooden ‘bladed’ weapons. You cannot ‘cut’ with a blunt weapon; however, its action may follow a similar line at times in order to better protect your own wrists and joints. With weapons you learn about blocks . . . whether they are useful or should be deflections instead. Angles of attack and defence vary with the type of weapon.
2. Using weapons conditions the body, developing endurance, balance, power and co-ordination. It is a conditioning that only requires the presence of self and the weapon; this is one of its advantages. Using weapons trains the mechanics of the body; weapons are a very useful aid to developing good footwork and maintaining centre.
3. Imagery, use of your mind, of an opponent is required in the beginning to create correct focus, posture and movement. Flailing about with the weapon without such thought will be of little benefit. Develop control; i.e. stop where and when you want to, and not when the weapon decides. Hit what you aim for, even if imaginary. Know what to strike, when training alone use mirror imagery.
4. When training, be delicate and conscious; do not miss out any of the ingredients. There should be no weakness in your actions. . . none at all.
5. Consider the origins. Original intent may have come from weapon to weapon.
6. If training a Kata, and there are many and various, know what it’s all about; know why it is this or that move. Have purpose in your Kata . . . know ‘why’.
7. Weapons training will reinforce the importance and necessity of mental focus. A relaxed mind and body will come from much training. Extension of body is good but tension in body is not.
8. Weapons training can enhance the awareness of breath in the whole issue. Breath is required as part of movement. Kiai can become part of this; however, I suspect there is still much more for us to know on this topic, in that kiai should be there to take the opponent’s mind and not your own. Neither should it create a tension in your own body but instead, in theirs.
(Weapons) “. . . in the hands of a serious student, it is a pathway and a prayer towards balance and peace.”
My good friend Terry, (Karate 4th Dan)
The following is my interpretation of a conversation with my friend, Karate 6th Dan Sensei William Hollister.
From a viewpoint of the Aikido student, surely it would be hard to differ in opinion. August 2014
1. Understand the weapon you are using or facing. Take into account if it is bladed or blunt. Consider this, even when using wooden ‘bladed’ weapons. You cannot ‘cut’ with a blunt weapon; however, its action may follow a similar line at times in order to better protect your own wrists and joints. With weapons you learn about blocks . . . whether they are useful or should be deflections instead. Angles of attack and defence vary with the type of weapon.
2. Using weapons conditions the body, developing endurance, balance, power and co-ordination. It is a conditioning that only requires the presence of self and the weapon; this is one of its advantages. Using weapons trains the mechanics of the body; weapons are a very useful aid to developing good footwork and maintaining centre.
3. Imagery, use of your mind, of an opponent is required in the beginning to create correct focus, posture and movement. Flailing about with the weapon without such thought will be of little benefit. Develop control; i.e. stop where and when you want to, and not when the weapon decides. Hit what you aim for, even if imaginary. Know what to strike, when training alone use mirror imagery.
4. When training, be delicate and conscious; do not miss out any of the ingredients. There should be no weakness in your actions. . . none at all.
5. Consider the origins. Original intent may have come from weapon to weapon.
6. If training a Kata, and there are many and various, know what it’s all about; know why it is this or that move. Have purpose in your Kata . . . know ‘why’.
7. Weapons training will reinforce the importance and necessity of mental focus. A relaxed mind and body will come from much training. Extension of body is good but tension in body is not.
8. Weapons training can enhance the awareness of breath in the whole issue. Breath is required as part of movement. Kiai can become part of this; however, I suspect there is still much more for us to know on this topic, in that kiai should be there to take the opponent’s mind and not your own. Neither should it create a tension in your own body but instead, in theirs.
(Weapons) “. . . in the hands of a serious student, it is a pathway and a prayer towards balance and peace.”
My good friend Terry, (Karate 4th Dan)
A principle for you to consider:-
‘Nothing comes back to you.’
Before we examine this idea, what do we think we need in order to study the art of Aikido? Please don’t just read on, seriously reflect on your own answer first.
You need to take into account your own answer and not follow blindly that of others, you are making a choice here; you should therefore take responsibility for embarking on this path. Do not be a prisoner of someone else’s views but consider them with an open mind.
Realise that we are competing with ourselves and not with others . . . there will always be someone better! Ultimate victory is over self. Would you say Aikido is restrictive in nature? It is not for you or him or her? In general practice we do restrict who can join a class because young strong people are mostly favoured . . . it’s so much easier that way. Isn’t Aikido to reconcile the world in peace and aren’t all people entitled to find this peace?
Having a reasonable level of physical ability and fitness is a bonus . . . you can then look good and often better than others ! What you will also experience is the joy of feeling your own strength, it is what we have done since first placing our feet on the floor and pushing, (just watch a baby grow to see this change occur).
Strength and ego are often great bedfellows but ask yourself if this is the path of Aiki. Ego is not the same thing as self belief and strength is not the same as power.
Your strength can come back to you; you feel your strength when using it; you can only feel it because it is coming back to you and sending a false message of control and joy. The strength that comes back to you can be used by others.
However, your power can move from you yet you will not feel it go; only the recipient feels that power. To Nage it will appear effortless, to Uke, as though the universe has pushed them. As Uke cannot understand such power or where it came from they are unable to counter it. (Slight exaggeration there but level of expertise also plays its part . . . perhaps O-Sensei did have this skill in abundance.)
As a basic what we do appear to require in Aikido is:- Technique, Ki, spirit or energy, correct state of mind, and integrity of posture which remains relaxed and fully co-ordinated throughout all movement. To find and know such, we need to be body aware, to find and control our muscles in a manner that befits the art and not our own usual learned habitual thinking; we need to be able to place our mind both inside and outside our body and be fully conscious of that place. We need to know that place and yet never use it directly to conflict.
As it is a simple principle but complex to explain, we will look at a movement that should be known to all Aikidoka, whether in weapons or taijutsu; the raising of an arm. In this picture of a kentaijo movement, Mark Sensei is raising the ken. Take a moment to look at and consider the left arm and shoulder position.
The arms should remain powerful, not by muscular tension but by a power motivated by the mind, they become the ‘iron bar in cotton wool’. Arms are neither collapsed nor rigid but have found a middle way that is more born of mind than physicality. It is the relaxed concentration you may have heard about before. There is extension in the feeling at all times, even when the arms are bent they do not ‘come back’ to you. If your arm is soft (collapsing) it will be pushed back to you and if your arm is rigid it will be used to push you back.
If you extend your arm with intention it is still possible to bend it, as long as you maintain extension and an opening in the joints (thus only appearing to observers that it comes back to you). There is a world of difference. The length of the arm should stay the same regardless of any change in elbow angle.
The left shoulder does not go back and up but must go down and forward – the opposite to which many Aikidoka will train and aspire. One way leads to big muscles and the other to better technique. Which one did your mind say it would rather have when you read that?
As best as you can avoid using the outside muscles of the arms as this invariably tightens your shoulders. Instead tend towards using the inner muscles. Again there is a world of difference in the effectiveness. It is for such things that you need body awareness in order to locate and activate the correct muscles.
Any action should always emanate from your centre, if you deviate from this principle you will struggle to find ‘effortless power’, you will only find struggle and therefore conflict with self as well as others
This is a concept much easier to understand practically, feel free to ask questions. Often age or injury will force a fresh look on ‘soft power’. You don’t have to wait until you are old before you know this.
These are my own views based on studying the internal martial arts and applying the principles to my practice of aikido weapons. You must follow your own path.
‘Nothing comes back to you.’
Before we examine this idea, what do we think we need in order to study the art of Aikido? Please don’t just read on, seriously reflect on your own answer first.
You need to take into account your own answer and not follow blindly that of others, you are making a choice here; you should therefore take responsibility for embarking on this path. Do not be a prisoner of someone else’s views but consider them with an open mind.
Realise that we are competing with ourselves and not with others . . . there will always be someone better! Ultimate victory is over self. Would you say Aikido is restrictive in nature? It is not for you or him or her? In general practice we do restrict who can join a class because young strong people are mostly favoured . . . it’s so much easier that way. Isn’t Aikido to reconcile the world in peace and aren’t all people entitled to find this peace?
Having a reasonable level of physical ability and fitness is a bonus . . . you can then look good and often better than others ! What you will also experience is the joy of feeling your own strength, it is what we have done since first placing our feet on the floor and pushing, (just watch a baby grow to see this change occur).
Strength and ego are often great bedfellows but ask yourself if this is the path of Aiki. Ego is not the same thing as self belief and strength is not the same as power.
Your strength can come back to you; you feel your strength when using it; you can only feel it because it is coming back to you and sending a false message of control and joy. The strength that comes back to you can be used by others.
However, your power can move from you yet you will not feel it go; only the recipient feels that power. To Nage it will appear effortless, to Uke, as though the universe has pushed them. As Uke cannot understand such power or where it came from they are unable to counter it. (Slight exaggeration there but level of expertise also plays its part . . . perhaps O-Sensei did have this skill in abundance.)
As a basic what we do appear to require in Aikido is:- Technique, Ki, spirit or energy, correct state of mind, and integrity of posture which remains relaxed and fully co-ordinated throughout all movement. To find and know such, we need to be body aware, to find and control our muscles in a manner that befits the art and not our own usual learned habitual thinking; we need to be able to place our mind both inside and outside our body and be fully conscious of that place. We need to know that place and yet never use it directly to conflict.
As it is a simple principle but complex to explain, we will look at a movement that should be known to all Aikidoka, whether in weapons or taijutsu; the raising of an arm. In this picture of a kentaijo movement, Mark Sensei is raising the ken. Take a moment to look at and consider the left arm and shoulder position.
The arms should remain powerful, not by muscular tension but by a power motivated by the mind, they become the ‘iron bar in cotton wool’. Arms are neither collapsed nor rigid but have found a middle way that is more born of mind than physicality. It is the relaxed concentration you may have heard about before. There is extension in the feeling at all times, even when the arms are bent they do not ‘come back’ to you. If your arm is soft (collapsing) it will be pushed back to you and if your arm is rigid it will be used to push you back.
If you extend your arm with intention it is still possible to bend it, as long as you maintain extension and an opening in the joints (thus only appearing to observers that it comes back to you). There is a world of difference. The length of the arm should stay the same regardless of any change in elbow angle.
The left shoulder does not go back and up but must go down and forward – the opposite to which many Aikidoka will train and aspire. One way leads to big muscles and the other to better technique. Which one did your mind say it would rather have when you read that?
As best as you can avoid using the outside muscles of the arms as this invariably tightens your shoulders. Instead tend towards using the inner muscles. Again there is a world of difference in the effectiveness. It is for such things that you need body awareness in order to locate and activate the correct muscles.
Any action should always emanate from your centre, if you deviate from this principle you will struggle to find ‘effortless power’, you will only find struggle and therefore conflict with self as well as others
This is a concept much easier to understand practically, feel free to ask questions. Often age or injury will force a fresh look on ‘soft power’. You don’t have to wait until you are old before you know this.
These are my own views based on studying the internal martial arts and applying the principles to my practice of aikido weapons. You must follow your own path.
|
This is a simple exercise but with the potential for a lifetime of study. Constantly developing co-ordination of mind and body, listening to body, making subtle changes to improve the conscious connections throughout, engaging in an energetic realm of guiding Ki, developing awareness of self and surroundings . . . it seems endless. Consider even small points, for example, when you change hand grips, do you feel that this is comfortable and seamless? Nothing switched off? No excessive pressure on any of your knuckle joints? While remaining centred and balanced, this exercise allows you to work on ankles, knees, hips, spine, neck arms and wrists as well as mind, all at a pace you choose of your own, opening opportunities for you to discover even more of self.
After all is this not why you set out on your journey? |
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Why Aikido? Why does anyone practice it? What really is Aikido? How do we know we are really practicing the art? More importantly why do you? What is it that you hope to achieve, to accomplish, to gain, to give? What will change in us as we continue our practice, what will not? Do we follow many disparite teachers but hope for the enlightenment of O-Sensei? How will we find it if we don't really understand that which we seek? Is it power, security, peace, that we seek? Is it the 'fix' of endorphins and adrenalin that brings us back each week? Is it only new technique that keeps you there, is technique every thing to you?
What you seek and how you seek it will greatly affect the outcome. Your reasons will surely change with age and knowledge as it surely must have done for the founder. All is change except for the constancy of the path upon which we come across many signposts; some we read and some we don't. The mind, the spirit all take on greater importance and may display themselves in effortless power over physical challenges; perhaps this is the way of Aiki. Never underestimate the mind, it can change the world.
Why Aikido? Why does anyone practice it? What really is Aikido? How do we know we are really practicing the art? More importantly why do you? What is it that you hope to achieve, to accomplish, to gain, to give? What will change in us as we continue our practice, what will not? Do we follow many disparite teachers but hope for the enlightenment of O-Sensei? How will we find it if we don't really understand that which we seek? Is it power, security, peace, that we seek? Is it the 'fix' of endorphins and adrenalin that brings us back each week? Is it only new technique that keeps you there, is technique every thing to you?
What you seek and how you seek it will greatly affect the outcome. Your reasons will surely change with age and knowledge as it surely must have done for the founder. All is change except for the constancy of the path upon which we come across many signposts; some we read and some we don't. The mind, the spirit all take on greater importance and may display themselves in effortless power over physical challenges; perhaps this is the way of Aiki. Never underestimate the mind, it can change the world.
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.
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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.
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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.
The usefulness of the Jo when wielded 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.
"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
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 effect is one of relativity) 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 ... the correct application of mind, of belief of acceptance is essential in order to harness the energy at will. Body awareness coupled with mind will engage the muscles of your body in support of your intent. Meditation, Ki style exercises and removing 'slack' within your body will all aid finding the hidden power that is Aikido. few of us will ever touch this level.
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 effect is one of relativity) 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 ... the correct application of mind, of belief of acceptance is essential in order to harness the energy at will. Body awareness coupled with mind will engage the muscles of your body in support of your intent. Meditation, Ki style exercises and removing 'slack' within your body will all aid finding the hidden power that is Aikido. few of us will ever touch this level.
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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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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Newer thinking November 2019
Recently I've been working on the harmony between the travel of weapon and self. A weapon which is in motion along a path that has no conflict with universal principles and will feel in total harmony with your body .... which is also adhering to the same principles. This is difficult to achieve if you grip too tightly as your joints are not free to sense the correct path.
The correct path already exists - all you need do is allow the body to find it.
Even greater harmony exists if your grip concentrates on the little finger and its neighbour. All movement is free and relaxed, smooth yet still powerful and unifiesthe mind , body and weapon.
Why not experiment with the idea. I do not doubt what my experience tells me is either correct or better than what I did before.
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 ..
...........
... 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.
If when gripping, you tense your body, particularly your shoulders, then you create a disadvantage for self. Your grip should be encompassing from a relaxed and connected body ... your own. If you want to maintain an advantage believe you are gripping from your whole body and to a place that is not where your hands are. Sorry if that is a bit vague, best I can do.
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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.
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.
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.
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.
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.
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".
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.
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.
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.
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.
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?
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.
'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.
(From Sensei Paul Lowing 4th Dan of TIA Europe -- Paul is now 5th Dan )
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 Sensei Paul 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.
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.
(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.
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.
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 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 none 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.
"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 practise. 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?
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