Introduction to Martial Arts Aikido Handbook

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INTRODUCTION TO MARTIAL ARTS – AIKIDO HANDBOOK

The following handbook is based on the Aikido of San Leandro Aikido Handbook, written by Pat Hendricks and used with Permission. Pat Hendricks Sensei is a 6th degree black belt instructor of Aikido. Pat Hendricks started her Aikido career in Monterey, California in 1975. She founded her own dojo "Aikido of San Leandro", in 1984 and today attracts students from all over the world.Since 1977 she has traveled frequently to Japan for extended periods of time to study with her teacher Morihito Saito Sensei, who holds the highest rank possible in Aikido. Saito Sensei has beenregarded by many has the foremost authority on Aikido as taught by the founder, Osensei. Saitosensei recently passed away and his presence is missed by all. Pat Sensei is one of the highest-ranking women in the world for Aikido and respected amongst all types of martial arts. She conductsseminars in the U.S. and abroad,, works regularly with community service projects and conductsspecial training sessions for groups such as the police and secret service. Pat Sensei holds the highestdegree possible in Aikido weapons certification. In addition to Aikido, Pat Sensei is a certified Yogainstructor and passionately studies nutrition, holistic health, meditation and the mind-bodyconnection. Pat Sensei allows live-in, or “uchideshi” students at her dojo. For more information

about Pat Sensei or the uchideshi program visit her dojo on the web at:http://www.entertrain.com/aikido.sanleandro/.

Pat Hendricks Sensei



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THE FIVE PRINCIPLES OF AIKIDO

as taught by the founder Morihei Ueshiba

1. Aikido is the path which joins all paths of the universe throughouteternity; it is the universal mind which contains all things andunifies all things.

2. Aikido is the truth taught by the universe and must be applied toour lives on this earth.

3. Aikido is the principle and the path which joins humanity with theuniversal consciousness.

4. Aikido will come to completion when each individual, following hisor her true path, becomes one with the universe.

5. Aikido is the path of strength and compassion which leads to theinfinite perfection and ever-increasing glory of God.

(note by J. Sullivan: the reference to “God” by Ueshiba Sensei is not necessarily areligious reference as much as a spiritual reference, as he believed in many forms of Gods and did not feel that Aikido belonged to any religion).



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Introduction to a History of Aikido

The following text was taken in part from: http://www.jinjapan.org/museum/aikido/about_ai.html

Aikido is a relatively new Japanese martial art with historic roots. The term “Aikido” can betranslated as “the way of blending with harmony” [“way” refers to the Zen component of Budo].

Aikido concentrates on immobilizing holds and twisting throws, causing the attacker's ownmomentum and strength to work against him.

Aikido is derived from Jujutsu, the same system of weaponless self-defense from which Kano Jigorodeveloped Judo. However, Aikido is considerably different in its incorporation of manipulativeholds not included in judo by Kano. While judo's main techniques are throwing, grappling, andattacking vital points, the Aikido student concentrates on deflecting blows and checking offensiveattacks by meeting, rather than blocking, a blow, and redirecting the flow of an opponent's ki(energy force), dissipating it, and then using joint manipulation (wrists elbows or shoulders) to turnthe opponent's ki against him until he is thrown or pinned.

A martial arts devotee trained in sword and spear techniques named Takeda Sokaku (1860-1943)

was the first to develop the techniques of Aikido’s forerunner, the Daito Aiki system of jujutsu.Ueshiba Morihei (1883-1969), was considered to be the best student of Takeda and is credited withthe subsequent modern systematization of the martial art known as Aikido. Ueshiba Sensei, knowthroughout the Aikido world as “Osensei”, developed Aikido based on Takeda's teaching and hisown extensive martial arts training, as well as religious experiences as a convert to the Omoto Shintosect. Osensei used the philosophy of the Omoto religion to add a component of peace and harmonyto a formally brutal martial art. Osensei felt that Aikido was a means to improve one’s spiritualityand promote peace on this earth by learning to blend with one’s opponent. Osensei’s Aikidoreceived public recognition in 1959, after Waseda University adopted Aikido as part of its physicaleducation curriculum.

Upon the death of Osensei, Aikido splintered into many different organizations such as Yoshinkai(Shioda sensei) and Ki society (Tohei sensei). The student to have spent the greatest amount of timetraining with Osensei was a man named Morihito Saito sensei. Saito sensei took over the Iwamadojo and became caretaker of the Aiki Jinja (shrine) adjacent to the dojo upon the death of Osensei.Osensei’s son, Kishomura, took over the main dojo in Tokyo refered to as headquarters or “Hombudojo”. Hombu dojo remains the worldwide headquarters of Aikido and is currently run by Osensei’sgrandson, Moriteru – refered to as “Doshu”. Saito Sensei has recently passed on and the Iwama dojois currently run by his son Hitohiro Sensei.

Students training in Aikido practice training forms on an opponent, alternatively taking the roles of attacker [uke] and defender [nage]. Because of this style, there is fundamentally no competition in

Aikido, only demonstrations. However, ranks are attained in a process similar to Judo.

Aikido is extremely popular both in Japan and overseas since it does not require great physicalstrength, and can be practiced equally effectively by women and the elderly.

http://www.jinjapan.org/museum/aikido/about_ai.html

http://www.jinjapan.org/museum/aikido/about_ai.html



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An Aikido Chronology

1883 Aikido Founder, Morihei Ueshiba is born December 14 in Tanabe, WakayamaPrefecture, Japan.

1900-1920 Founder studies several schools of traditional martial arts.

1919 Meets O. Deguchi of the Omoto Sect in Ayabe, Kyoto.

1921 Kisshomaru Ueshiba (the second Doshu) born on June 27, in Ayabe.

1927 Founder moves to Tokyo with his family and begins teaching the "Way of Aiki" atShiba Shirogane, Tokyo.

1931 Opens Kobukan Practice Hall in Wakamatsu-cho, Shinjuku - site of present WorldHeadquarters.

1940 The Aikikai Foundation officially recognized by the Japanese government.

1940 Construction of outdoor practice facility planned in lwama - machi, IbarakiPrefecture.

1942 Name "Aikido" adopted; Kisshomaru Ueshiba named Head of the KobukaiFoundation.

1943 Aiki Shrine at lwama - machi, Ibaraki Prefecture erected.

1947 Reorganization of the Kobukai Foundation into the Aikikai Foundation.

1948 K. Ueshiba becomes General Director of the Foundation's Headquarters dojo. In thisyear the organizational base is laid for Aikido's subsequent growth.

1959 First issue of the Aikido Newspaper published.

1960 Founder receives the Shiju Hosho Medal.

1967 Construction of the new Headquarters Dojo begun; the City of Tokyo recognizes theAikido School; the Founder gives a demonstration in celebration of completion of thenew dojo and this proves to be the Founder's last public demonstration.

1969 The Founder passes away on April 26, at the age of 86. He posthumously receives the

Zuihosho Medal; K. Ueshiba assumes the title of Aikido Doshu; commemorativedemonstration given at the Budokan.

1974 International expansion stepped-up with the financial assistance of the JapanMotorboat Racing Association. Headquarters chief instructor, K. Osawa, toursSoutheast Asian Aikikai organizations on a Friendship Mission; Establishment of annual mission to Hong Kong, Thailand, Malaysia and Singapore. Establishment of International Aikido Federation (IAF) and Ueshiba Doshu is named lifetimePresident.



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1976 Establishment of All Japan Aikido Federation; first General Meeting of the IAF heldin Tokyo-attended by 400 representatives from 29 countries.

1977 15th Annual All Japan Aikido Demonstration held at the Nippon Budokan with morethan 1000 participants -- established as an annual event.

1978 Second General Meeting of the IAF convened in Honolulu. Ueshiba Doshu and 2

others travel to South America. Moriteru Ueshiba and two others dispatched to theMiddle East by the Japan Foundation; thereafter an occasional event.

1979 First All Japan Children's Aikido Session held at the Nippon Budokan established asan annual event.

1980 Two instructors dispatched to Papua New Guinea by the Japan Overseas CooperationVolunteers and annually thereafter. 3rd General Meeting of the IAF held in Paris.

1981 50th Anniversary of the establishment of the Aikido Headquarters celebrated at theKeio Plaza Hotel.

1983 100th Anniversary of the Founder's birth celebrated at the 2lst All Japan AikidoDemonstration and the Keio Plaza Hotel.

1984 IAF becomes a member of the GAISF.

1987 The Crown Prince and Princess of Norway visit Hombu Dojo.

1988 5th IAF General Meeting held in Tanabe, Wakayama Prefecture, Japan.

1989 Aikido demonstrated for the first time at the 3rd World Games held in Karlsruhe,West Germany.

1990 First students from Bulgaria and Soviet Union attend 1-month seminar at TokyoAikikai Headquarters.

1991 50th Anniversary of the Aikikai Foundation and 60th Anniversary of Aikido HombuDojo celebrated at the Keio Plaza Hotel.

1992 6th IAF Congress held in Taipei.

1995 Kisshoumaru Ueshiba Doshu receives the Zui Hosho Medal from the Japanesegovernment.

1999 Kisshoumaru Ueshiba Doshu passes away on January 4, at the age of 77.

1999 Moriteru Ueshiba assumes the title of Aikido Doshu.

2002 Morihiro Saito Shihan passess away on May 13; son Hitohiro Saito Shihan becomesdirector of Ibaraki Aikido and appointed keeper of Iwama dojo and Aiki shrine.



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DOJO ETIQUETTE

Dojo etiquette is important for many reasons. Generally etiquette is designed to increase awarenessand maintain safety. Following proper etiquette will allow you to benefit and enjoy training in

Aikido, to create an atmosphere of mutual respect among the students and teachers, and providesafety. The following are some of the essential rules of etiquette that are followed in the dojo.

Upon entering and leaving the dojo you should do a standing bow towards the shomen.

Bow towards the shomen when stepping on or off the mat.

Class is begun and closed with a formal bow towards the shomen and then the Sensei

(Instructor).

You should be on time for class, preferably early; but if you must be late please bow in

alone.

During the class the instructor should be addressed as Sensei.

Before beginning and after training with your partner, they should be thanked with a

sitting bow or standing bow depending on technique. Traditionally all bows are done

sitting, the same also when the teacher gives you instruction.

Please remove all jewelry and keep your toenails and fingernails short.

Make sure your feet are clean before stepping on the mat.

Wash hands before and after training.

Aikido is more than just a physical form of self-defense. It is a physical, mental and spiritual path for growth and development; therefore the greatest understanding is gained when each motion is donewith your whole body, mind and spirit.

Bowing is a form of paying homage to Aikido, O' Sensei, the dojo, Sensei and your training partners,and it is the spirit in which it is done that gives it value and meaning. A bow done simply out of habit is but a hollow shell.



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GLOSSARY OF AIKIDO TERMS

PRONUNCIATION KEY The pronunciation of Japanese words is very simple in that there are only about fifty

syllables in the entire language. Consonants are usually pronounced as those inEnglish. The vowels are pronounced as follows.

A - "ah" as the a in father E - "eh" as the e in net I - "ee" as the i in marineO - "oh" as the o in oboeU - as the u in rule

AIKIDO -- ai means harmony or coming together; ki is spirit or energy; do means a path or a way.

AITE -- one's training partner. [Lit., reciprocal or together (ai ) hands (te)].

ATEMI -- punches and other sorts of strikes to your partner's unguarded areas, designed todistract and to weaken the defenses and/or balance. [Lit., a strike (ate) the body (mi )].

AWASE -- to blend or move together. For example, partner practice with weapons maybe done either "stop-start" or awase.

BOKKEN -- a wooden practice sword. There are many different styles of bokken. [Lit.,wood (boku ) sword (ken)].

BUDO -- the path or way of martial arts. [Lit., the way (do) of neutralizing aggression (bu )].

DAN -- a black belt ranking such as shodan, nidan, etc. [Lit., level].

DOJO -- a training hall for traditional Japanese arts, including aikido and other martial arts.[Lit., the place ( jo) of the way (do)].

DOSHU -- the official curator of the art of aikido. The title means the master or owner (shu )of the way (do). The present Doshu is Moriteru, grandson to Osensei and son of former Doshu Kisshomaru.

GI -- traditional uniform, usually white, worn during the practice of Japanese and Okinawanmartial arts. Also known as a dogi .

HAKAMA -- a traditional Japanese divided skirt. The traditional Japanese equivalent of dress pants. More durable types of hakama, usually blue or black, are worn for martialarts practice. . In aikido the hakama is usually worn only by black-belt holders.

HANMI -- a way of standing in aikido so that the feet form a "T-stance" and the body isturned at an angle. AI HANMI (harmonious hanmi ) is when partners each have thesame foot forward. GYAKU HANMI (opposite hanmi ) is when they have different feetforward. [Lit., half (han) body (mi )].

HANMI HANDACHI -- techniques executed from a kneeling position against an attacker who is standing. [Lit. half body (hanmi ) half (han) standing (dachi )].

HAPPO GIRI -- an exercise with the sword in which you practice turning the hips andcutting in at least eight directions. [Lit., eight (hachi ) direction ( po) cutting (giri )].



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HENKA -- variation. [Lit., unusual (hen) change (ka)]. For example, henka waza arevariations on the way a standard technique is completed.

HIDARI -- left. For example, hidari hanmi is hanmi with the left foot forward.

IWAMA -- a small town northeast of Tokyo. Also refers to the dojo where Saito Senseiteaches "Iwama-style" aikido. O-Sensei lived and taught in Iwama during much of thelater part of his life.

JIYU -- free; unstructured. For example, jiyu keiko (unstructured training) and jiyu waza (free techniques).

JO -- a short staff, being about as long as the distance from the floor to just under thearmpit.

JO DORI -- staff ( jo) taking (dori ) techniques.

KAESHI WAZA -- counter techniques. [Lit.,. to turn back/return (kaeshi ) techniques (waza)].

KATA -- pre-arranged sets of movements either with or without weapons. In aikido two jokata are commonly taught. They are called the thirty-one jo kata (sanju ichi no jo) andthe thirteen jo kata ( ju san no jo).

KEIKO -- training in a traditional Japanese art like aikido, flower arranging, tea ceremony,etc. [Lit., contemplation/exploration (kei ) of the old/traditional (ko)].

KEN -- a Japanese sword, usually curved. (See also BOKKEN).

KEN TAI JO -- a weapons partner practice involving the sword (ken) against (tai ) the shortstaff ( jo).

KI -- a difficult to define term, roughly translated as spirit, energy, mind, intention, etc. Thecharacter with which it is written is a pictogram representing the vapors rising fromcooked rice, and eventually it came to mean invisible movement/unseen force/spirit etc.KI is an important concept in much of Chinese and Japanese philosophical thought.

KIAI -- a loud shout accompanying the execution of martial arts techniques. [Lit., themeeting (ai ) of energy/spirit (ki )].

KIHON -- basic techniques, as opposed to flowing techniques or variations.

KI NO NAGARE -- techniques done in motion, as opposed to those done from a staticposition. [Lit., the flowing (nagare) of energy (ki )].

KOHAI -- a student of relatively less experience or rank. See also SEMPAI.

KOKYU -- [Lit., breath or respiration]. The power of "breath" arising from the center,manifesting itself through the body as a movement of the arm in which the blade edgeof the hand is rotated and extended out in a certain way. This sort of movement is akey principle in aikido. Interestingly, the word KOKYU also has the meaning of "thesecret" or "the knack", and also "timing".

KOKYU DOSA -- one of the three exercises practiced at nearly every aikido class. Itusually involves sitting in front of your partner as they grab you, and upsetting their balance through the power and technique of kokyu.

KOKYU HO -- one of the three exercises practiced at nearly every aikido class. It involvesmoving through - rather than around as in tai no henko - the forces of your partner'sgrab. [Lit., breath (kokyu ) method (ho)].

KUDEN -- an oral teaching, usually of a more secret nature. For example, "The foot takesthe hand." [Lit., oral (ku ) transmission (den)].



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KUMI JO -- partner practice with short staves. [Lit., to cross/entwine (kumi ) staves ( jo)].

KUMI TACHI -- partner practice with swords. [Lit., to cross/entwine (kumi ) swords (tachi )].

KYU -- a system of ranking before one attains black-belt level.

MAAI -- the relationship between you and your partner(s) in terms of space and time. [Lit.,interval (ma) relationship (ai )].

MAE -- forward; front.

MIGI -- right. For example, migi hanmi (right hanmi ).

NAGE -- the partner who executes the technique. [Lit., throw; thrower].

OBI -- belt or sash.

OMOTE -- front. Moving in front of your partner. See also URA.

O-SENSEI -- [Lit., the Great (O) Teacher (Sensei )]. Used to refer to the Founder of aikido,Morihei Ueshiba (1883-1969).

RANDORI -- a movement exercise used to develop calm and efficient blending with the

power and movements of multiple attacks. [Lit., principle (ri ) of a confused (ran) meleeor fight (do)].

SAITO SENSEI -- One of the longest practicing direct disciples of Ueshiba O-Sensei. He isa ninth degree black-belt and teaches in Iwama, Japan.

SASOU -- to draw out your partners; for example, to make them raise their arms or moveforward, and so on. [Lit., to invite, call forth, lure, etc].

SEIZA -- a formal sitting position with the knees and legs folded under the body. Sittingcross-legged is called AGURA and is considered more informal. [Lit., correct (sei )sitting (za)].

SEMPAI/KOHAI -- a pair of terms describing the relationship between people with more

and less experience. Senior (sempai )/Junior (kohai ) is a good English rendering. InJapan, how one behaves towards others is dictated largely by one's status in terms of seniority, from martial arts dojos to schools to workplaces.

SENSEI -- in Japan, a title used to address or refer to a teacher. [Lit., born (sei ) before(sen)].

SHOMEN -- the alcove at the front of the dojo, considered a sacred space, to which we payrespect in aikido-practice . [Lit., correct (sho) side (men)].

SOTO DESHI -- students who do not live at the dojo. [Lit., outside (soto) apprentice(deshi )]. See also UCHI DESHI.

SUWARI WAZA -- sitting techniques. [Lit., sitting (suwari ) techniques (waza)].

TACHI DORI -- sword (tachi ) taking (dori ) techniques.

TACHI WAZA -- standing techniques. [Lit., standing (tachi) techniques (waza)].

TAIJUTSU -- empty handed martial arts techniques which do not involve the use of weapons. [Lit., body (tai ) technique ( jutsu )].

TAI NO HENKO -- one of the three exercises practiced at nearly every aikido class. Your partner grabs your wrist and you practice blending with the force of the grab and movingoff to the side. [Lit., the changing of direction (henko) of the body (tai )].



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TAKEMUSU -- The martial technique that emerges spontaneously after years and years of repetitive training. The aikido that springs forth without preconception or intellectualthought. [Lit., martial art (take) and birth/production (musu )].

TANTO DORI -- knife (tanto) taking (dori ) techniques.

UCHI DESHI -- students who live at the dojo and train intensively. [Lit., inside (uchi )apprentice (deshi )]. See also SOTO DESHI.

UKE -- the partner who is thrown or receives the technique. See also NAGE.

UKEMI -- the art and skill of rolling, falling, etc. as a means of protecting the body frominjury during the execution of aikido techniques. [Lit., to receive (uke) through the body(mi )].

URA -- back; behind. Moving around or behind your partner. See also OMOTE.

WAZA -- technique or skill.

YUDANSHA -- a black-belt holder. [Lit., have (yu ) rank (dan) person (sha)].

Saito Sensei executing throwing technique against sword.



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PHRASES COMMONLY USED IN THE DOJO

DAME -- "Bad!" or "Wrong!" or "Mistake!"

DOMO ARIGATO GOZAIMASHITA -- "Thank you very much." [Lit., Somehow a difficulty

has been honorably overcome and I appreciate it].

HAI -- "Yes." A convenient answer to use when Sensei gives you a correction or asks youto perform some task.

HAJIME -- "Begin!"

MATTE -- "Wait!"

MAWATTE -- "Turn around!" or "About face!"

ONEGAI SHIMASU -- A phrase used to ask a favor of someone, in this case, "Will youplease train with me?". [Lit., I humbly request].

REI -- "Bow!"

SUWATTE -- "Sit down!"

TATTE -- "Stand up!"

YAME -- "Stop!"

YOROSHIKU ONEGAI SHIMASU -- A more formal version of onegai shimasu, used asthe equivalent of "Welcome to the dojo."

NUMBERS IN JAPANESE

ichi one

ni two

san three

shi/yon four

go five

roku six

shichi/nana seven

hachi eightku/kyu nine

ju ten

niju twenty (sanju, yonju, etc.)

hyaku one hundred (nihyaku, sanhyaku, etc.)

sen one thousand (nisen, sanzen, etc.)example: 3574 = san-sen go-hyaku nana-ju yon



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TECHNIQUE NAMES

After demonstrating a technique, Sensei will often say the name of the technique inJapanese. It is essential to memorize which name goes with which technique. Aikido

students usually pick up these terms naturally over time. But, in order to make it a littleeasier and more rational, we offer the following analysis of the Japanese words used toname techniques.

Generally technique names are composed of two main parts: The first part describes thetype of attack, and the second part indicates the method by which the attack isneutralized.

FOR EXAMPLE: SHOMENUCHI SHIHONAGE

In addition, most techniques can be executed by moving either to the front or aroundbehind your partner. Techniques moving to the front are called OMOTE (front) WAZA(technique). Techniques moving to the rear are called URA (back) WAZA (technique).Thus, the full name of a typical technique might go something like this:

SHOMENUCHI SHIHONAGE URA WAZA

On the following pages you will find two lists, one of Attacks and one of Neutralizations.Please refer to these when searching for the meaning of a technique.



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NAMES OF ATTACKS

Striking Attacks (UCHI, TSUKI)

SHOMEN UCHI -- straight on attacks to the front, usually the head. Like a downward

strike with a sword. [shomen means front of the face/mask].

YOKOMEN UCHI -- attacks coming from a direction slightly to one side or the other,usually as a "chop" to the side of the head. [yokomen means the side of the face/mask].

MUNE TSUKI -- a horizontal attack such as a straight punch or a straight thrust with aknife, sword, staff, etc. [mune means chest; tsuki means a thrust or stab].

Grabbing or Seizing Attacks (DORI, TORI, SHIME)

KATA TE TORI -- grabbing the wrist on the same side, i.e. facing your partner andgrabbing their right wrist with your left hand. [kata means on one side; te means hand].

GYAKU TE TORI -- grabbing the wrist opposite your partner's body, i.e. grabbing their

right hand with your right hand. [gyaku means opposite or diagonal. te means hand].

RYO TE TORI -- grabbing both wrists, one in each hand. [ryo means both or two; te means hand].

MORO TE TORI -- using two hands to grab one wrist. [moro means many, multiple, or two; te means hand].

KATA DORI -- a grab to the same side shoulder. [kata means shoulder].

RYO KATA DORI -- grabbing both shoulders, one with each hand. [ryo means two or both. kata means shoulder].

KATA MENUCHI -- grabbing the shoulder with the same side hand and striking the face.

[kata means shoulder; men means face or mask].MUNE DORI -- grabbing the clothing in the chest area. [mune means chest].

ERI DORI -- grabbing the collar, usually from behind. [eri means collar].

HIJI DORI -- grabbing the arm at the elbows. [hiji means elbow].

KUBI SHIME -- attempting to strangle a person's throat from behind while holding on toone of their hands. [kubi means neck; shime means to tighten, strangle, or wring].

Additionally, many of these attacks may be done from behind. These are called USHIRO(behind) WAZA (techniques). For example, USHIRO RYO KATA DORI or USHIRO KUBISHIME.



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NAMES OF NEUTRALIZATIONS (TECHNIQUES)

IKKYO -- Involves controlling your partner's center through the arm, as well as pinning thearm flat on the mat. [Literally, first teaching or first principle.

NIKYO -- Involves manipulating the wrist and pinning the arm vertically.. [Lit., secondteaching or second principle].

SANKYO -- Involves twisting the wrist and arm in a third way, pinning the arm vertically,and torquing the hand and wrist. [Lit., third teaching or third principle].

YONKYO -- An arm pin involving leverage on the underside of the arm and elbow, whileattacking the nerve points there. [Lit., fourth teaching or fourth principle].

GOKYO -- Similar to IKKYO but with a change in the position of the hands. [Lit., fifthteaching or fifth principle].

KOTE GAESHI -- involves throwing partner by folding the hand back over the wrist. [Lit.,

small hand (kote) turn over (gaeshi )].SHIHO NAGE -- a throw in which partner may be thrown in any direction. [Lit., four (shi )direction (ho) throw (nage).

IRIMI NAGE -- a throw involving entering through an attack to get behind your partner andtake their balance. [Lit., to enter (iri ) body (mi ) throw (nage)].

KOSHI NAGE -- throwing your partner by rotating their body over the back of your hips.[Lit., hips (koshi ) throw (nage)].

KAITEN NAGE -- throwing partner as if they were a big wheel. [Lit., rotation (kaiten) throw(nage)].

JUJI NAGE -- throwing your partner by using leverage on their crossed arms. [Lit., cross( juji ) throw (nage)].

TENCHI NAGE -- throwing by extending your arms around and behind your partner'sbody, one down towards the mat, the other up towards the ceiling. [Lit., heaven (ten) earth(chi ) throw (nage)].

KOKYU NAGE -- any sort of throw that relies essentially on blending and flowing with your partner's movement and upsetting their balance, rather than any specific movement. Oftenused for throws that have no specific name. [Lit., breath (kokyu ) throw (nage)].



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REQUIREMENTS SKILL TEST

1. Forward roll

2. Backward roll

3. Tae no henko

4. Tae no henko ki no nagare

5. Morote dori kokyu ho

6. Shomen uchi ikkyo omote waza

7. Shomen uchi ikkyo ura waza8. Munetsuki kotegaeshi

9. Katate dori shihonage

10. Yoko menuchi iriminage

11. Kokyu dosa

Osensei demonstrating Tai no henko.



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Development and Training Principles of Traditional Japanese Karate

By Jim Sullivan, Ph.D. Exercise Physiology

and Sensei Shojiro Sugiyama,Chief Instructor JKA Great Lakes Region

Preface

Contemporary—Traditional Sotokan Style

The fundamental principles of contemporary Shotokan karate envelop the scientific disciplines

of kinesiology, physics and physiology, although he origins of traditional karate go back over

two thousand years. Unlike some “contemporary” martial arts that attempt only to mimic

ancient movements and uncover “secrets” of the past, contemporary Shotokan karate is basedon sound scientific principles. Because our understanding of physics, physiology, kinesiology,

biomechanics and psychology is continuously evolving, there is always room for improving

the understanding and execution of karate techniques. However, the traditional concept of

“finishing blow” technique must always be embodied in contemporary karate training. It for

this reason that the term “traditional contemporary karate” has been coined by members of the

Japanese Karate Association ( JKA). Increasing one's understanding of the scientific principles

of karate will allow one to gain further insight into karate, and will provide an important

adjunct to training. However, it is important to note that an understanding of the scientific

principles of karate alone will not produce great karate skill. There is no substitute for years of

regular training and good coaching. Furthermore, an emphasis on producing karate

techniques is only one aspect of karate. In order for karate techniques to be effective in

practice, tournament and combat situations, the student must also understand the concepts of

timing and distancing in the application of karate technique. Finally, for one to completely

understand karate the spiritual aspects of perfecting one’s character and living in harmony

with others must be developed.

“Today is conquering yourself of yesterday,and your enemies of tomorrow”.

– Miamoto Musashi



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History and Development of Shotokan Karate

What is Karate

The original characters for Karate literally translated into “empty hand”. The

fundamental precept of traditional karate is Ikken Hisetsu – to destroy with one technique. At

all times karate maintains its role as a form of self-defense and as a martial art. However,

karate is not meant to be a form of aggression nor a method for dominating others. Ultimately

karate is a method for learning to integrate and focus the mind, body and spirit. An emphasis

on this concept and the influence of Zen Buddhism prompted revising of the Japanese

characters of Karate–Do to conceptually translate into “the way of empty technique”.

Origin of Karate

Around 1400 years ago a man name Daruma Taishi journeyed from India to China in

order to teach Buddhism. This was an incredibly arduous task since at the time there were noroads or bridges for much of this journey. During the Cheng Kuang era [A.D. 520-4] Daruma

was invited by Emperor Hsiao Ming to teach at the Shoalin monastery in the Hunan Province.

However, he soon found that his students did not have the physical fitness necessary to keep

up with his lessons. Because Daruma felt the body and the soul were inseparable, he set forth a

method of physical training designed to improve the body and mind. It is thought that this

method of training eventually led to the evolution of many martial arts. Because weapons

were not allowed to be carried by monks, martial arts flourished amongst monasteries both for

physical and mental conditioning and for self defense. Some of these arts became called

Chinese Kempo, Tai’Chi, Kung Fu and ToDe.





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Karate Today

After W.W. II many great Karate students and instructors had been killed, wounded or

relocated. In an attempt to improve the organization of Karate in Japan the JKA (Japanese

Karate Organization) was formed around 1950. The formation of the JKA was accomplished

primarily by M. Nakayama and H. Nishiyama, and Funokoshi was appointed head instructor.

Shotokan Karate is the official style of the JKA and is the most popular form of karate in the

world today. Upon the death of Funokoshi Sensei in 1957, Nakayama Sensei became the head

instructor. Nishiyama Sensei has helped form the American Amateur Karate Federation

(AAKF) and the International Traditional Karate Federation (ITKF). The instructor of your

class is a student of Sensei S. Sugiyama. Sugiyama came from Japan to Chicago in 1962 in

order to teach karate. Sugiyama is a unique, innovative instructor who continues to teache

karate to adults and children at his Dojo at 803 W. Belmont, Chicago, IL.

Sugiyama Sensei and Nishiyama Sensei with Tiger and Phoenix logo of JKA Chicago



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Method of karate ranking and training

The ranking system of karate involves 9 colored belt ranks (kyu ranks) and 9 black belt

ranks (dan ranks). On the average, a student can attain the rank of first degree black belt

(Shodan) within five years. Of course, the amount of time required to reach the black belt rank

varies greatly depending on the student’s natural ability, motivation, and quality of

instruction. There are three essential aspects of karate training: kihon (basics), kata (forms) and

kumite (fighting). Kihon training involves repeatedly performing separate basic techniques.

Kata are formalized movement patterns which generally contain twenty to fifty movements

and require 30 to 60 seconds to complete. Kata contain both defensive and offensive

movements against one or several imaginary opponents. Since kihon and kata training do not

require equipment or partners, a great deal of karate skill can be developed by practicing

alone. However, in order to effectively understand the use of timing and distancing, and instill

the spirit necessary to face an actual opponent, the karateka must also practice kumite. Kumite

practice may vary from highly controlled, pre–arranged techniques to “free-style”.

Rules for proper Karate Dojo etiquette

1. In order to maintain a clean and healthy floor, shoes must be removed prior to entering

Dojo.

2. To show respect for the Dojo, other students and oneself, students must always bow upon

entering and leaving the Dojo. Furthermore, the bow should be directed towards the

instructor, or the highest ranking person if the instructor is not present.

3. Students must be properly dressed to participate.

4. Chewing gum, jewelry (e.g. watches, bracelets, rings, earrings, etc.) are not allowed

because they can interfere with training and cause injury to oneself or others.

5. At all times students must be respectful of the instructor and other students. The instructor

is referred to as Sensei (teacher).

6. Questions to the instructor should be welcomed and encouraged at all times. However, in

the Dojo talking amongst students is not permitted during class and should be kept to a

minimum prior and following class.

7. Free fighting in the Dojo is not allowed

8. The misuse of any karate skill inside or outside of the Dojo will result in expulsion fromclass.

9. The student must have an open mind and a serious attitude.

10. Always show respect for your Dojo by keeping it clean and neat.

“When the body is weak, the mind must be

strong”. – Miamoto Musashi



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Karate Class Format: class begins and ends with either formal or informal procedures.

Formal procedure:1. Line up (according to rank).2. Sezan (assume meditating position).

3. Mokuso (begin meditation).4. Mokuso Yame (end meditation).5. Shomeni rae (bow to the school).6. Sensei-ni rae (bow to the instructor).7. Otogai-ni rae (bow to each other).8. Kuritsu (stand up).

Informal procedure (performed standing, with no meditation):1. Line up (according to rank).2. Shomeni rae (bow to the school).3. Sensei-ni rae (bow to the instructor).

4. Otogai-ni rae (bow to each other).

Performing Karate Techniques

Karate techniques contain three main general aspects:1) Reaction force to floor.2) Ballistic movement.3) Physical support of technique upon impact.

Karate techniques must be developed sequentially according to the following six steps: (note:

these are specific aspects of technique as taught by Sugiyama Sensei).1. KI2. Fumikomi3. Ibuki4. Sae5. Kime6. Zanshin

KI—The term Ki has many similar yet different connotations. KI may refer to the “vital

energy” inherent to the body and universe, called CHI by the Chinese. Some people contend

that CHI is a unique form of energy within our bodies; more scientifically-minded people

explain CHI as simply a heightened awareness of the natural electrochemical processes of the

human body. Regardless of the explanation, becoming aware of CHI improves one’s health

and well being. When you learn to manipulate your CHI you will improve control of your

body and emotions. In addition, you will better understand others’ emotions. With respect to

karate technique, KI means “mind before impact”. It is essential to have a feeling of

confidence and success in order to relax and fully focus on executing a karate technique. A



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person’s KI is easily perceived by others; albeit this usually occurs on an unconscious level.

With training it is possible to consciously perceive another persons intent, or Ki.

Fumikomi—“Reaction force”. All body movements begin from a reaction to a force to the body

or floor. Reactions should be made from large muscles close to the spine.

Ibuki – means “forcefull exhalation”. Vigorous exhalation helps to contract the mass of the

body by first contracting the torso muscles of the abdominals, back and side.

Sae—After a movement is initiated, the mind and limbs msut stay relaxed and allow the hand

or foot to travel toward the target unhindered by the muscles. The hand or foot should be

thrown towards the target much like a bullet is propelled from the barrel of a gun by the

explosion of the cartridge. Braking muscles contract to reconnect the limb to the body.

Kime — “Total body connection”. Beginning with the tanden area, the body completely

contracts for a split second upon impact of the technique. If the contraction occurs too soon,

the technique is slowed; too late and the body is distorted by the force of the blow.

Zanshin — “Keep mind”. It is important to have mental follow–through, in case another

technique is required. More symbolically, Zanshin means to completey finish what you

started. In addition to KI, Zanshin is a principle that should be applied to all aspects of life.

Karate Kata

There are over 50 kata in the Shotokan system, though 25-26 are generally considered tocomprise the main kata. A karate student generally studies one kata per rank, and all 25 katashould be known at san-dan rank (3rd degree black belt. There is an initial series of kata calledthe “Heian kata”. The term Heian translates generally into “peaceful mind”, and is the name ofa famous shrine in Kyoto. Prior to learning the Heian kata some instructors teach the“Teikyoku” kata to learn preliminary techniques and movement.

All kata should start and finish in the same spot if movements are correct. If you do not end upexactly where you started, pay careful attension to the length and width of stance, direction ofmovement and method of turning. Inconsistency in stance will often cause one to end slightlyoff of where on started. Kata follow a prescribe pattern called an “imbussen”. Being able tovisualize the pattern helps learn the kata. When initially learning kata be concerned simplywith the techniques and direction of movement. Over time while performing kata one shoulddemonstrate correctness of: movement, breathing, eye focus, speed, power, timing, and mentalfocus.



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First Kata — Teikyoku Shodan (note: this is not technically considered "first kata", but wascreated after the Heian series for ease of teaching beginners).

Teikyoku Shodan Kata movements:

1. Begin in yoi position after bowing to shomen and announcing kata name. Turn left, step

forward with the left foot and perform left downward block.2. Step forward with the right foot and execute front punch.

3. Look to your right shoulder and turn 180º right and execute right downward block

4. Step forward with left front punch.

5. Turn 90º left, step forward with the left foot and execute left downward block

6. Step forward and execute right rising block.

7. Step forward and execute left rising block.

8. Step forward and execute right rising block with Kia!

9. Look to the right but turn 270º counter–clockwise and downward block with left hand.

10. Step forward and right front punch.

11. Turn 180º right and downward block with right hand.

12. Step forward and left front punch.

13. turn 90º left and left downward block.

14. Step forward and execute right front punch.

15. Step forward and execute left front punch.

16. Step forward and execute right front punch with Kia!

17. Turn 270º counter–clockwise and left downward block.

18. Step forward with the right foot and execute right front punch.19. Turn 180º right and execute right downward block

20. Step forward with the left foot and execute left front punch. Draw the front leg into yoi

position, then yame.

starting and finishing position

20 movements altogether

techniques: downward block, rising block; front punch; front stance.

Imbusen (pattern of movements)



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Heian Shodan Kata movements:

1. Begin in yoi position after bowing to shomen and announcing kata name. Turn left, step

forward with the left foot and perform left downward block.

2. Step forward with the right foot and execute front punch.

3. Look to your right shoulder and turn 180º right and execute right downward block4. Draw the right fist in with the right foot to escape a grab to your right wrist and execute a

circular hammer fist strike to opponent’s face.

5. Step forward with the left foot and execute front punch.

6. Turn 90º left, step forward with the left foot and execute left downward block

7. Raise the left hand up as if grabbing opponent’s wrist. Step forward and execute right

rising block with the feeling of breaking the elbow.

8. Open the right hand to grab and step forward with left rising block to break elbow.

9. Raise the left hand up to grab and Kia as you step forward with right rising block to break

elbow.

10. Look over the right shoulder and turn counter-clockwise ant execute left downward block


12. Turn 180º to the right and perform right downward block.

13. Step forward and perform left front punch.

14. Look over left shoulder and turn 90º left and execute left downward block.


16. Step forward and left front punch.

17. Step forward and right front punch with loud Kia!.18. Look over the right shoulder and turn 270º counter–clockwise and execute right back

stance with knife-hand strike (right leg is in back),

19. Angle to the right and excecute left back stance with knife hand stride.

20. Look over the right shoulder and turn right to perform left back stance with knife-hand

block.

21. Angle to the left and execute right back stance with knife hand block. Hold for a few

seconds to demonstrate “zanshin”, then draw the left leg in to yoi, then bow and yame.

starting and finishing position

21 movements altogether

techniques: downward, rising, knife hand block; front punch; front and back stance.

Imbusen (pattern of movements)



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PUTTING IT ALL TOGETHER

In addition to the six phases of a karate technique, when performing karate against anotherperson, there are three concepts to be aware of: metsuke (or messen), maai, and sen. The term

metsuke referes to “eye vector”. Look to the triangle formed between your opponents eyes andshoulders. As Ueshiba Sensei said, “do not look into your opponents eyes, your soul will bedrawn into his; do not look at your opponents sword, or your body will be drawn into histechnique”. Maai and sen refer to “distance” and “timing”, respectively. These are advancedconcepts and must be studied in depth.

Try to blend with the universal timing, distance, and energy of all things.

Eventually, there will be no distinction between Karate and Aikido movements; there willsimply be correct movements for the given situation.

Remember all movements stem from awareness and are controlled by breathing.

In time develop the sequence of awareness, reaction, action.

Try to blend with your opponent and surroundings on a physical, mental, emotional,intellectual and spiritual level.

As O’sensei defines the concept of “Take-musu Aikido”, there are no mistakes in Aikido,When I am touched a technique is born”.

“Between two swords lies hell, You have only to step inside to find heaven”

– Unknow Sam urai Saying

Introduction to Martial Arts Aikido Handbook

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