Passing on the torch for the new year

Well, it's the end of the year, and Pat is moving on from the deshi program after two years working hard at it. He'll be concentrating for now on testing for Shodan, and running the kid's program, but will be free from the day-to-day responsibilities of deshidom.

We have two new deshis who will be joining me — Tracy and Josh, and I hope they'll be contributing to this blog as well.

がんばって!!!

Resolutions for Kangeiko and 2015

These are my intentions for kangeiko (Jan. 1 to 10):

1. Train every class with the exception of the 6:30 am classes during this kangeiko. 
2. Whole30 diet (strict paleo, no junk food or carbs, no legumes, no sugar) for the month of January. 
3. No cigarettes! This went from one a day to... let's just say an increasingly bad habit over the past year. 
4. I am continuing with daily morning yoga practice. 

In 2015, my resolutions include: 

1. I have noticed that on occasion, I correct someone (though never a senior student), even if someone asks what to do. Instead, if anyone is lost with a technique, I will ask them to watch a senior student, or ask them to personally ask Sensei for help. To correct someone in class is inappropriate. I resolve to concentrate only on the technique I am doing when I am nage, and only on my ukemi when I am uke. To try to instruct, even though it is intended as helping, is disrespectful to both Sensei and the person you are training with, and you might be wrong! The solution to being lost in class is to carefully observe, and practice, practice, practice. 
2. I resolve to continue to work on becoming more responsive with my ukemi (although this was also my resolution last year, and will probably be my resolution every year). 
3. I resolve to improve my etiquette this year. This also means that I will attempt to be more observant of details. 
4. I will go to Japan in June for a seminar in Kyoto. This will be my first trip to Japan, and I will also visit Hombu Dojo. 

Holidays and preparing for the new year

The blog has been a little bit sparse over the past several weeks, because of the holidays, and preparing for upcoming events at the dojo. We have several traditional events coming up, so here they are:

Dec. 31: Toshikoshi misogi
 Join us for New Years Eve misogi! Meet at the dojo to help with bokken and supplies. Come in your regular street clothes, but bring a bathing suit, towel, and something to burn from the previous year. (yes, there is a bonfire, and yes, we are jumping into the water — jumping into the water is not required, but encouraged). We are meeting at the dojo at 5:45, and leaving from there. Carpooling is available. If you want to go directly, we're meeting at the beach at Golden Gardens. Link for directions.

Jan. 1: Hatsu Keiko 
Join us for the first practice of the new year! It's a very special practice, and is also the start of kangeiko!

Jan. 1-10: Kangeiko 
Join us for intensive winter practice, in which we will try to get 10 hours of training or more. Everyone has the option to do 10 classes, or try for all the classes available.

Jan. 3: Cleaning waza and pancake-o 
Saturday, January 3, we'll be doing our usual first Saturday dojo cleaning after first class, followed by pancakes! If you'd like, you can bring some fruit, pancake toppings or a beverage to add to the fun and deliciousness.

Kagami Biraki

To my knowledge, we don't observe Kagami Biraki at our dojo, but here is an essay by my first sensei on the topic.

The Japanese New Year Celebration

As we prepare to celebrate Kagami Biraki, it is important to understand the real meaning behind this deeply symbolic ritual. As with all such spiritual traditions, this meaning is truly universal, i.e. it applies to our experience as Westerners just as much as it does in the lives of the Japanese people.
The words themselves, "Kagami Biraki," signify the unveiling, or rather "breaking out," of the mirror (kagami - mirror, biraki - breaking out). The mirror, of course, stands for the reflection of our true nature, the real self. Our hope is that with each new year, the reflection will become truer to the original.

At the center of the Kagami Biraki celebration is mochi tsuki - preparing a heavy, dense cake out of sweet mochi rice, to be offered to the Creator. The rice used for this purpose is the "cream of the crop," expressing our recognition that we do not own our bounty and need to be willing to offer the best of it even before partaking in it ourselves. As we pound (tsuki) the rice, its vital energy is concentrated manifold in a flat cake. This preparation method is deeply symbolic of the kind of work we need to do on ourselves-our bodies, minds and spirits - distilling the essence of who we really are.
The shomen at the Kagami Biraki ceremony is appointed with the best of offerings, which are full of metaphorical meaning as well. There are four principal elements: a round kagami (mirror): a keg of sake, the kagami mochi centerpiece and a floral arrangement. The first three objects are different kinds of "mirrors" - glass, liquid (surface of the sake) and solid - representing respectively spirit, mind and body.

The kagami mochi set consists of several parts. At its core are two flat rice cakes stacked on top of each other, with the wider one at the bottom. They represent the yin and yang parts of the "mirror." (The "stack" itself is known as kasane mochi.) On top of the kasane mochi sits an orange. The Japanese word for the color orange - dai dai - has a homonym* meaning "generations," which makes this fruit a symbol for the continuity of spiritual teachings as they are passed down from parents to children. (The orange should also have its stalk intact, with some green leaves, signifying the youthful energy needed to ensure a productive future). Inserted between the orange and the kasane mochi is a strip of konbu, or kelp. Again, the meaning of this element is carried by its homonym, yorokobu, signifying "happiness." The kasane mochi "stack" sits on top of two fern leaves that fan out in front and to the sides and are turned upside down to expose their reverse (ura) side. Ferns represent our link to the past (they are among the oldest of plants). The back of the fern leaf is lighter-colored than the front. This represents the principle of ura shiro - the need to keep our reverse side (the one we are sometimes reluctant to show) as pure as the one we like to present to others. The white sheet of paper (noshigami) at the base of the whole arrangement represents a "cloud in heaven" that carries us forward through this existence and elevates us to the next.

Finally, for the floral arrangement, we should ideally use plum-blossoms (or any other fruit tree blossoms), which remind us that gentleness is what gives birth to the "fruit of life." Actually, since plum blossoms are hard to find, we will substitute them for plums - an appropriate alternative, as they represent the Imperial Family of Japan. The vase should also contain pine branches (representing simplicity and strength) and bamboo stalks (which stand for resilience and flexibility).

Prior to the start of the Kagami Biraki ceremony, the round kagami mirror is kept veiled. When it is uncovered, its shape becomes a fitting symbol for our true nature, which is nothing but the entire harmonious Universe, without beginning or end.

* A word that sounds the same as another word, but has a different meaning.
— Rev. Zenko N. Okimura

Deshi Assignment: Your Foundation

Ikkyo thru Rokkyo from every attack.

Training

After you have practiced for a while, you will realize that it is not possible to make rapid, extraordinary progress. Even though you try very hard, the progress you make is always little by little. It is not like going out in a shower in which you know when you get wet. In a fog, you do not know you are getting wet, but as you keep walking you get wet little by little.
– Shunryu Suzuki, Zen Mind, Beginner’s Mind (1973)

Training Principles in Cat Stevens' Lyrics

For this week's deshi assignment, we were asked to find song lyrics that reflect some common themes in Aikido practice.

Song lyrics are immense in scope, so I decided to research Aikido themes that were reflected strictly within Cat Stevens' lyrics. I picked Cat because I was a kid with 5 older sisters in the 1970s. I still remember how sad my sister Charlene was when he decided to stop releasing music.

After each set of lyrics I've added a short explanation. I hope these are interesting for you.

from Sitting: 

Life is like a maze of doors
And they all open from the side you're on
Just keep on pushing hard, boy
Try as you may
You're going to wind up where you started from...
You're going to wind up where you started from.

I like these stanzas because they capture the notion that you cannot move your training or learning forward without being willing to open yourself, mentally and physically.

from Don't Be Shy: 

Don't wear fear
Or nobody will know you're there
Just lift your head, and let your feelings out instead
And don't be shy, just let your feeling roll on by
On by, on by...

I think of randori when I read or hear these lyrics. In the song, Cat Stevens repeats the last few words over and over, about a dozen times. You can imagine a group of ukes flying away from a whirling nage.

from Can't Keep It In: 

No I can't keep it in
I can't keep it in, I've gotta let it out
I've got to show the world
World's got to know
Know of the love
Love that lies low

I have occasionally been told that I smile too much when practicing, but I can show you picture after picture of O-Sensei smiling on the mat. There is always joy in Aikido, and the world's gotta know.

from Into White:

I built my house from barley rice
Green pepper walls and water ice
Tables of paper wood, windows of light
And everything emptying into white

When I started in our deshi program, I was asked to do at least one hour a week of my own practice. It could be mediation, writing, calligraphy... anything like that. It seemed hard to get that one hour in back then. Now, almost two years later, I practice yoga, meditate, and write many hours each week. You build your house from a lot of materials.

from Drywood:

Like drywood takes to fire, the truth will come to you
Like streams that seek the ocean, they will find ways through
Like morning meets the night's stars, my love will guide the way
It's time to wipe your eyes not, and awake

These words remind me of the idea that all movement in Aikido is natural and authentic. If you are true to that concept, and patient, you will find a way through.

from The Boy With A Moon And Star On His Head:

As years went by the boy grew high
And the village looked on in awe
They'd never seen anything like the boy
with the moon and star before

And people would ride from far and wide
Just to seek the word he spread
"I'll tell you everything I've learned,"
And "Love" is all he said.

These stanzas give an image of a miraculous boy in complete harmony with the himself and the world around him. The boy didn't need to practice to attain this, but I do.

Training Principles, in my words

Our assignment this week is to rewrite O Sensei's "Training Principles" in our own words.

Training Principles, by Morihei Ueshiba:

1. Aikido decides life and death in a single strike, so students must carefully follow the instructor's teaching and not compete to see who is the strongest. 
2. Aikido is the way that teaches how one can deal with several enemies. Students must train themselves to be alert not just to the front but to all sides and the back. 
3. Training should always be conducted in a pleasant and joyful atmosphere. 
4. The instructor teaches only one small aspect of the art. Its versatile applications must be discovered by each student through incessant practice and training. 
5. In daily practice first begin by moving your body and then progress to more intensive practice. Never force anything unnaturally or unreasonably. If this rule is followed, then even elderly people will not hurt themselves and they can train in a pleasant and joyful atmosphere. 
6. The purpose of Aikido is to train mind and body and to produce sincere, earnest people. Since all the techniques are to be transmitted person-to-person, do not randomly reveal them to others, for this might lead to their being used by hoodlums.

In my words:

1. Aikido can be very dangerous, so you must be careful and follow the instruction given to you exactly, so that you don't hurt your partner. This is not a competition to see who is stronger. 
2. Aikido teaches you to deal with threats coming from all directions, so you must practice this in your daily life, and build awareness of things going on around you in all situations. This means being constantly observant, whether in your own home, on the street (with pedestrians, cyclists, and traffic), or in the dojo (with things going on on the mat), whether or not these things are happening in front of you or behind you, or whether or not they involve you at the moment. 
3. You should try to train with a positive attitude. When you are training mad, you are less receptive to instruction. A good atmosphere makes it easy for everyone to be engaged and attentive. A bad atmosphere makes everyone unhappy and less receptive, when people are concentrating on the negative aspects.
4. The instructor teaches the physical aspect of the art, and the techniques relating to that physical aspect. The application of aikido is much broader, however, and extends through all aspects of life. You must treat every encounter as an aikido encounter, look for all potential applications in life, and practice them constantly.
5. Carefully learn the basics of the technique first. Once you have the basics memorized, you can begin to be expressive with the technique, and train more vigorously. Aikido movement is natural and based on the movement of the body, so anything that is unnatural or forced will not work, and may cause injury. If you follow this rule, everyone can train, even the elderly and the young.  
6. Aikido is difficult and takes a long time to learn correctly. As you go through the training process, you undergo emotional development process. You begin to become more earnest and sincere in your daily life. Without this emotional development accompanying the physical training, aikido could be used for bad purposes, so you should never teach a technique to someone who is not undergoing the training.

正直な心を持つ実践

Good reminder. From Aikido for Beginners:

'When I trained in Iwama under Morihiro Saito Sensei many years ago, every so often he would say something like, “Sunao ni keiko shite kudasai” (Practice with an honest mind) to admonish students to practice sincerely and in a spirit of cooperation. An example would be when he saw a student resisting another’s attempt to perform a technique using his foreknowledge of the technique being practiced. Let’s assume that we are practicing tai no henko. I know that uke will be pivoting to the outside while extending his arms in front of his center. 

Instead of merely grabbing his hand firmly, I lift it up forcibly to prevent him from turning and executing the technique. What I have done is simply to take advantage of the prearranged nature of practice to thwart uke’s attempt to perform the technique. I am not being “sunao” or honest in my training. Such an action on my part would be entirely self-defeating and a show of disrespect to the teacher. If I were to lift uke’s arm upward in tai no henko, he could simply continue the upward movement and swing his arm towards my face to throw me down. 

The following was a true story that occurred at the Iwama Dojo many years ago. I was practicing with a strong partner. Every time, he would use his knowledge of the technique we were practicing to block my movement. This of course was a cause of frustration to me. To make a statement, I proceded to block his technique in the same manner, but only once to prove a point. He continued every time to stop me, and from then on, I just resigned myself to continue until the end of class vowing to never train with him again. I knew that Saito Sensei was watching us as we continued in this manner, and I saw him becoming upset out of the corner of my eye. 

Finally, Sensei shouted, “Dame! So iu kudaranai keiko yamero!” (Stop that stupid training!). We all sat down while Sensei exploded at my partner. He explained that anyone can block a person’s technique if they know in advance what they intend to do. That this kind of training totally defeats the purpose of practice and that one cannot progress by training this way. Sensei then proceded to ban my partner from practice at the dojo. The man was totally humiliated and immediately left the dojo with his head hanging down. Sensei eventually let the man back after about a month. From that point on, he trained in a respectful way and became an exemplary student. I trained with him several times after that and it was an enjoyable experience. He later established his own dojo and is still active.'

More subtle etiquette

From "Aikido for beginners," "The Dojo Layout and Structure of Place"

Joseki (上席) – consisting of the kanji for “top” and “seat” (as in a place for sitting), this is the “most comfortable seat in the house” and is a term used in general Japanese etiquette. For example, the dinner table, train and taxi will have joseki. In a taxi it is the seat right behind the driver (first to get in and last to get out) and in a train it is the window seat facing the direction of travel (second place goes to the other window seat if there are facing seats). Other sources, including the discussion on Salmon-sensei’s blog, states this is the lateral wall adjacent to the kamiza and furthest away from the door. I somewhat disagree that this is the exact definition of the joseki though for convenience’s sake I will also refer to this wall as the “joseki” wall. However, in my view, rather than it being a wall, it is an orientation vaguely towards that corner but in front of the sensei, since joseki is one extreme of a continuum to the shimoseki (more on this below). If the entrance were on the right/east side of the dojo, then the joseki would be towards the left/west side. The joseki is where a VIP will sit, such as a visiting high grade sensei, dignitary or someone more senior in the organization who does not necessarily take part in the training (e.g. school principal, company president, police superintendant, etc.). Sometimes a resident sensei may sit here but from what I can tell, this is usually only the case if the resident sensei is a higher grade than the dojo leader sensei.

Something to remember when going out to eat or traveling with Senseis.

Uke's job

"Uke’s job is to feel."
~ Robert Nadeau Shihan

Your Own Words

We have a deshi assignment to rewrite O Sensei's training principles in our own words. Here is my post on this. I hope it is interesting :)

Aikido is precise

• It's also dangerous. Please do things exactly as demonstrated, with only as much force as required. 

Radiate awareness

• Like driving on the freeway or walking in a crowd, see everyone around you. 

Aikido always has joy

• Sometimes it's a tiny drop, sometimes it's a sweeping torrent - but it's always there. 

Practice broadly

• Classes are the primary way of learning, but there are additional ways, too. Work on flexibility, meditation, reading, writing, and solo practice are examples. Be curious and explore. 

Aikido movement is natural

• Practicing should feel smooth and fluid, no matter what your abilities or skills are. 

We practice Aikido together as a community

Deshi Assignment: Your Own Words

Rewrite O Sensei's "Training Principles" in your own words.

Training Principles By  Morihei Ueshiba

·               Aikido decides life and death in a single strike, so students must carefully follow the instructor's teaching and not compete to see who is the strongest.

·               Aikido is the way that teaches how one can deal with several enemies. Students must train themselves to be alert not just to the front but to all sides and the back.

·               Training should always be conducted in a pleasant and joyful atmosphere.

·               The instructor teaches only one small aspect of the art. Its versatile applications must be discovered by each student through incessant practice and training.

·               In daily practice first begin by moving your body and then progress to more intensive practice. Never force anything unnaturally or unreasonably. If this rule is followed, then even elderly people will not hurt themselves and they can train in a pleasant and joyful atmosphere.

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

Tsuki Ikkyo

This is a tanto attack from tsuki. I like it because the blend from nage leads so naturally into this particular ikkyo ura variation. They start quite far apart, with uke's footwork moving from gyaku hanmi into ai hanmi during the tsuki. Due to the ma-ai and footwork, nage blends with an irimi tenkan. We would more likely use a simple tenkan blend for nage, and have uke start closer with footwork beginning from ai hanmi.

You can see on the slow motion replay how nage rolls uke's arm forward and down after the tenkan, then into a threat of hyperextending the elbow. As nage moves into the pin, the forward foot is placed under uke's upper arm where it meets the shoulder, similar to how we would pin for a reverse kotegaeshi to increase the pressure on uke's elbow. I assume there is a similar motivating effect here.

A little KNEE time, part 2

In Thursday's class I was able to work again with our same member who is coming back to training after time off due to knee problems.

This class was focused on tsuki and gyaku hanmi katatetori. We didn't need to do much to modify these techniques, and so we took time to explored alternate means of getting up from a throw to ease the impact to sensitive knees.

• Gyaku hanmi katatetori shihonage omote
• as nage, no modifications needed
• as uke
• communicated that nage should keep a comfortable pace, especially when cutting down
• we looked at alternate methods of rising after the throw, including inch worm from plank and pyramid (straight legs spread wide and rising up via arms)
• Gyaku hanmi katatetori shihonage ura - from static, then from motion
• same as above
• Tsuki blending practice via tenkan
• no need to modify this blending exercise, except to keep a safe, comfortable pace, especially due to the pivoting footwork
• Tsuki shihonage ura
• as nage, no modifications needed
• as uke, we skipped the throw at the end of the technique to reduce fatigue on the knees, which were starting to get a little noisy at this point in the class
• Tsuki udekiminage
• as nage, no modifications needed
• as uke, we skipped the forward roll at the end of the technique

We finished class with tsuki kotegaeshi in groups of 3, and my partner worked on the side with sensei, so no comments on how that went at this time.

The topic of rising after a throw or even from being in seiza is a probably the next thing to focus on. Maybe we could try some of the tips on the kick up, offered by the GingerNinja

Tsuki Ikkyo

Like Amanda, I also searched for tsuki ikkyo videos, and had a hard time finding videos that I really liked.  I liked the Tissier one she posted, but came up with this one as well: https://www.youtube.com/watch?v=hQm2SrJ38XE (just the first person, not once they switch roles).  They still seem to have some of the issue that I saw with most of the videos I encountered, that nage seems to be doing the technique primarily with their arms, rather than using the hips and focusing on maintaining good positioning.  This especially seems to be the case when the technique is being performed quickly or in sudden, jerky movements.  This video seems to be at a steadier pace, with uke providing constant force feedback instead of losing the connection and only moving when nage forces them into an uncomfortable position.  I'd appreciate it if more people posted videos showing the technique done as slowly and deliberately as possible, with constant connection between uke and nage.

Seattle Aikikai Beginner Series Curriculum, Class 8

Class start
  stretches, ukemi practice, striking practice

Instruction
  tsuki blending practice, nage does ushiro blend and traps uke's hand
  ikkyo omote from tsuki, via ushiro blend
  ikkyo ura from tsuki, via ushiro blend
  irimi nage openning from tsuki, via ushiro blend
  irimi nage (full technique now) from tsuki, via ushiro blend
    pause to break down uke's footwork to 3 steps only, followed by a backfall
    back to regular flow of the technique without the ukemi footwork breakdown
  3-person tanto take-away from kotegaeshi
    one uke behind, tanto to nage's back
    one uke in front, tsuki with tanto
  5-person blending practice, similar to a randori, with tenkan from tsuki
  4-person randori with sensei as nage
  Partner stretches

Closing
  circle time for questions and comments
  wet washed the mat

Tsuki ikkyo

I'm trying to find my favorite version of tsuki ikkyo, but it's pretty hard to find any versions online. I like Tissier Sensei's a lot -- he's very precise, and his timing is very good. I suspect that timing is ~99% of this technique. O-Sensei talked about leading the opponent in from the very inception of the attack, and I was looking for someone showing that.

I looked and looked, in summer camp and full class videos, for people doing this technique, and I found that there's actually not a lot of tsuki techniques being recorded. I'm not sure if that's because of the timing requirements, or if it's some other reason, or if I'm just missing something.

Seattle Aikikai Beginners Series class 7

Warmup
Back fall practice
Partner back fall practice
Munetski kotegaishi with tanto
Ushiro tsuki kotegaishi with tanto
Ushiro awareness practice
Bear hug grab from behind

We all need a little KNEE time

On Saturday I had the chance to work with one of our members who is resuming practice after time off due to knee problems.

I have a lot of joint concerns myself, so we worked together on adaptations of the techniques demonstrated that were less painful on damaged knees.

Here's what we came up with (this was a weapons take-away class):

• Gokyo tanto take away from tsuki
• as nage, you can pin from standing instead of going down to the ground.
• as uke, we chose to have nage to do the standing version of rokkyo instead of uke being taken to the ground via gokyo. 
• side benefit: nage gets to practice rokkyo :)

• Kokyuho tanto take away (with choke) from tsuki
• as nage, we chose to LIGHTLY compress the choke while instructing uke to drop the tanto rather than going down to the inside knee. Nage then threw uke into a backfall. 
• as uke, no modification was needed. 

• Kokyuho tanto take way (with arm bar) from tsuki
• as nage, no modification needed.
• as uke, you can skip taking a backfall after dropping the tanto, if needed. 

We improvised most of these as we went, but I'm sure there are lots of tried and true options for modifications that keep the martial effectiveness of these techniques while adapting to knee injuries. 

Comments, if you have them!

Seattle Aikikai Beginner Series Curriculum, Class 6

Warmup
Back falls
Footwork
Connection practice (Katatetori partner practice)
Katatetori sumiotoshi
Katatetodi jodan tenkan practice

How to watch a demonstration of a technique:
1. Watch attack (what kind of attack is it?)
2. Watch feet (are they ai or gyaku?)
3. Watch hands (Same or opposite hands?)
4. Watch movement (entering, or around the outside?)

Tsuki kotegaishi
Tantodori - Tsuki and nage draws back
Tantodori - Tsuki tenkan
Tantodoru: Tsuki kotegaishi

Seattle Aikikai Beginner Series Curriculum, Class 5

Starting class

  Warm ups and stretching, falls
  Footwork

Instruction
  Gyaku hanmi katatetori practice - jodan entry
  Gyaku hanmi katatetori kokyunage (jodan entry) - backfall for uke
  Tsuki blend review

  Tsuki kotegaeshi with tanto

  Gyaku hanmi katatetori kokyunage (chudan blend via kaiten) - forward roll for uke
  Overview of rolling, following

Ending class
  Bow out
  Circle to allow for questions and announcements

Seattle Aikikai Beginner Series Curriculum, Class 4

Stretching
Back fall practice
Tsuki striking practice
Tsuki udekiminage
Tsuki sumi otoshi

Seattle Aikikai Beginner Series Curriculum, Class 3

Starting class
  Warm ups and stretching, with emphasis on our core's relationship to rising from a backfall
  Footwork - kaiten, tenkan, irimi tenkan

Instruction
  overview of uke and nage's roles in a grab vs a strike
  Gyaku hanmi katatetori practice - just offering and grabbing, getting off the line
  Gyaku hanmi katatetori into shikaku angle causing a backfall for uke
  Gyaku hanmi katatetori sumiotoshi
  Ryotetori tenchinage
  Back stretch

Ending class
  Bow out
  Circle to allow for questions and announcements
  Quick demo of the techniques from class to help with vocabulary
  Wet wash the mat

Seattle Aikikai Beginner Series Curriculum, class 2

Introduction
Warm-ups and stretching
Back roll progression and practice, to back roll slapping the mat
Footwork practice
Munetski striking practice
Partner tsuki striking practice
Tai no henko partner practice
Introduction to kotegaishi
Kotegaishe progression to back fall
Tenkan, kaiten, irimi tenkan solo practice
Tenkan, kaiten, irimi tenkan randori practice
Back stretch
Off the mat after class:
Etiquette introduction
Bowing practice

Seattle Aikikai Beginner Series Curriculum

Seattle Aikikai Beginner Series Curriculum

Class 1:	Goals: ·      Introduce students to concepts of aikido ·      Have students have an easy fun first class ·      Teach students basic back falls ·      Teach students to get off the line and to find “shi ka ku” (dead spot) ·      Create scaffolding experiences for success
Activity:	Description:
Students arrive at dojo	Have them fill out registration form, get gi and pay for class. Have deshi show them the dressing rooms, belt tying and go over basic bowing to get on and off the mat. ·      Explain Etiquette and Bowing as a way of paying attention and expressing gratitude.
Bow in/Welcome	Start class with verbal welcome acknowledging beginners before warm-ups. Key themes: ·      We all started aikido as beginners ·      The culture of aikido is about helping beginners/no competition ·      Body literacy. You are learning a new language. Be easy on yourself and just follow along. No one expects you to be fluent in French your first class
Warm-up	Make sure beginners are in front so they can see Give verbal description of correct form and purpose of stretches & breathing (avoid difficult warm-ups/don’t stay sitting in seiza too long) Go over wrist exercises with a senior student/deshi next to each beginner
Ukemi	Basic back roll with slap ·      Tuck chin so head doesn’t hit mat ·      Roll up one side of the spine and back the other ·      Use entire forearm (not wrist) to slap mat
Footwork	Explain basic hamni and foot position for a stable posture. Have students walk forwards and backwards leading with the ball of foot to glide across mat ·      Kaiten (pivot) ·      Tenkan (pivot and step) Have students walk around mat and randomly call out footwork for them to demonstrate
Technique	Learning tsuki (how to punch) ·      Walking across the mat w/partner ·      Getting off the line of tsuki (tenkan) ·      Getting off the line of tsuki randori (3 ukes) ·      Kokyunage, taking uke’s balance into back fall Demo actual Tsuki Randori w/ techniques (Pat)
Closing Circle	Congratulate beginners on first class Reiterate names of things we covered in class Go around circle and say names
Tour of Dojo/Intro Talk	Walk around dojo and explain things Weapons (relationship to aikido) Shomen (calligraphy, picture,  rotating flower arrangement) History & purpose of aikido ·      Developed by O’Sensei in the 1940’s ·      “The Way of Harmony” ·      Spiritual foundation in resolving conflict Rank Board (progression from Kyu to Dan) ·      Non-competitive. A path to work on one’s self Han (zen group/practice) Cleaning Supplies ·      Why we clean the dojo after every class ·      Paying attention First Aid ·      When and how to get off the mat/safety Kitchen/ water cups (make cup for each beginner)
Reading homework	Beginner Guidelines

The Way of the Warrior: The Samurai Way

'The Way of the Warrior' was a documentary shot by the BBC which aired in the 80s. The last part of the series was called: 'The Samurai Way'. It was never to be released on DVD and has become rare collectors footage for martial artists all over the world.

Kitsap Aikido's 20th Anniversary seminar with Ray Farinato Shihan

On October 11th, Kitsap Aikido will have its 20th Anniversary seminar with Ray Farinato Shihan. We are coordinating a dojo roadtrip to attend this event out on the peninsula. Please talk to Pat Roux if you are interested in joining. It's a great chance to add a dose of that seminar feeling into your practice!

Sign up here! Also talk to Pat about logistics.

"I am never happier than when I'm practicing on our own mat, and I owe much of that to what I've learned traveling to seminars over the years. Training with dozens of new people, feeling the squish of different tatami, and trying new twists on familiar techniques are all part of the beauty that is an Aikido seminar. The best part is to come home and practice again, feeling the breadth of that seminar within you." — Pat Roux, Soto Deshi

Iriminage!

Just standing

1. Set a timer for 15 minutes.
2. Just stand still.
3. Answer the question: Is your foot a triangle or a square?

Plus, fog is just cooler than rain

A perfect quote for our practice from "Zen Mind, Beginner's Mind"

After you have been practicing for a while, you will realize that it is not possible to make rapid, extraordinary progress. Even though you try very hard, the progress you make is always little by little. It is not like going out in a shower in which you know when you get wet. In a fog, you do not know you are getting wet, but as you keep walking you get wet little by little. If your mind has ideas of progress, you may say, "Oh, this pace is terrible!" But actually it is not. When you get wet in a fog, it is very difficult to dry yourself. So there is no need to worry about progress. It is like studying a foreign language; you cannot do it all of a sudden, but by repeating it over and over you will master it. This is the Soto way of practice. We can say either we make progress little by little, or that we do not even expect to make progress. Just to be sincere and make our full effort in each moment is enough. 

--Shunryu Suzuki

NatGeo's Aikido episode

Ukemi

I love Emm Gee's ukemi so much!!! 

Do the Math

1. Set a timer for one minute.
2. Count how many thoughts you have in that minute.
3. Do the math: How many thoughts occupy your day?

Tenchi nage

I like this video of tenchinage because the nage is very upright and focused forward.  The nage is able to use the energy coming from uke's hands and is able to get in a position where that energy is coming back to uke where their balance is weak.

I plan to put into practice the idea of learning who is the one who studies aikido by paying more attention to how others perform techniques, which aspects I like and dislike, and which aspects work well for me.

Kosadori iriminage

NYT: Inside the World of Longsword Fighting

NYT: Video

Hakama folding

I saw this very simple and easy to follow clip on hakima folding from Aikido Miami. It's so simple, they don't even say a word during the entire thing. The belt tie at the end is a nice variation that I'll be trying next time :)

Advanced Parkour roll tutorial

SQOTD: Thoughts

"Thoughts become words, words become actions, actions become character. So, pay attention to your thoughts."

How to Be a Student of Aikido

From http://www.aikiweb.com/columns/rrobertson/2006_10.html

By Ross Robertson
Still Point Aikido Center
Austin, TX, USA

Aikido is a lifelong discipline that requires a certain amount of investment. And it's an investment that pays immediate and long term benefits in the form of health, mental clarity, self-assurance, and capacity for joy. Yes, you can defend yourself too, if you ever have the need.

But aikido, like other martial arts, is its own path. A dojo is not a fitness center. It's not an academic institution. It's not a sanctuary or retreat. Coming to the dojo with these expectations is likely to be frustrating for everyone.

Many find the imagined level of commitment daunting. In reality, no heroic effort is required. Taking small, easy steps regularly and mindfully is all that is necessary. The assumption that you'll never be as good as Sensei, that you don't have what it takes, that you're not young, you're not gifted... all of this is just a cop-out. If you practice defeatist thinking, don't be surprised when you feel defeated.

Of course training can be hard. It is taxing mentally, spiritually, and physically. But being a good student is easy. Being an EXCELLENT student is easy. Here's how:

"We should be someone who is a student of aikido."

合気即生活 (Aiki is life)

This week's assignment is to write about how we can embody the phrase, "We should be someone who is a student of aikido."

Aikido students operate on a spectrum, from the casual tourist to the highest ranking shihan. But what makes a student of aikido (break it down: someone who is a true and lifelong student of the art), and how to you become that? In the early stages of learning aikido, you are learning the most gross aspects of aikido and movement — you're trying to understand things like how to roll, timing, where to put your hands and feet, which way to turn — the basics.

As you progress, maybe you can't stop thinking about aikido over many years. Maybe you look at it not as a martial art, but as a way, and aikido starts to seep into other corners of your life. You ponder techniques and situations in and out of class. Not only are you "obsessed," but you start to take a methodical look under the hood at the "why" of aikido — a deeper look into the esoteric corners of the art ("What happens if I move my arm like this, or like this — how does that change the technique?").

Maybe we can embody the phrase "We should be someone who is a student of aikido" by being a student of O-Sensei's ultimately, and realize that our teachers teach on his behalf, interpreting and relaying his knowledge to us. Maybe we can be someone who is a student of aikido by letting aikido into all areas of our lives. Some examples might be cleaning at home as mindfully you clean the dojo, accomplishing tasks before they need to be accomplished, taking personal ownership of tasks.

Maybe it's by approaching every conflict as a practice for aikido, or by using martial awareness when you're driving or riding a bike, or walking through heavy foot traffic downtown. Maybe you can be a student by using aikido as a way to prevent violent encounters from every happening. There's a great clip, which I can't find, in which uke comes at Saotome Sensei with a katatedori attack, and Saotome grabs his hand, smiles, and shakes it heartily. Everyone laughs, but the potential to divert an attack starts at the first encounter.

But all that being said, I'm not sure what it takes to be a student of aikido. I think it's some combination of the above. Commitment, introspection, application to life. I'm not sure I have arrived there yet. I hope to someday.

Additional reading: How to Be a Student of Aikido (by Ross Robertson) and Advanced Aikido (by Phong Thong Dang and Lynn Seiser) (excerpted below)

Ryotedori Tenchinage

Part of this week's assignment was to select a video of ryotedori tenchinage and discuss what we liked about it. I picked Lorraine DiAnne Shihan. I love how low she comes in — that's her main focus in this instance. Not only does she step far off the centerline and then back directly into uke's space, but the low arm and low body position help to really put uke off balance. Tenchinage is really ineffective with a tall partner unless you can get them to your level.

 

Tenchi Nage from Tohei sensei film clip

This is a clip of Tohei sensei doing a variety of warm ups and techniques for a 1957 documentary. 

The ryote tori part starts at 5:03 and begins with Tenchi Nage almost as a backstretch warm up, without falling and without moving the front foot first, but rather by stepping through with the back foot at 45 degrees, then back to center, then repeat on the other side.

I like this because it allows uke to experience the technique without the transition to the fall, and focus on the feeling of the opening and being taken off balance - which is quite direct! Tohei sensei repeats this for several other techniques as the 8 minute segment continues. 

This reminds me a lot of when we practice at the park near the dojo, when there is a chance to go deeper into the initial parts of a technique without the temptation to move your focus immediately into the fall. 

Aïkido. Chutes et relevés / Ukemi / Falling techniques 2/4

Maslow's revised hierarchy of needs

On training and being a deshi

From Aikido Sangenkai

Q: At the time Shioda Sensei was in his early sixties, and he was still quite active – what was training at the Yoshinkan like?

A: It was exhausting. (laughing) As to what was exhausting…of course it was physically exhausting, but in the end is was mostly mental exhaustion. There was a lecture, “Zagaku” (座学), every Thursday afternoon, once a week. That is, the uchi-deshi would gather in Seiza and have an evaluation meeting. The person called on by Shioda Sensei would speak about their “Daily Reflections and Habits”. For example, “Yesterday, I had a cold and was a burden on others” (reflections), or “if there’s some trash I throw it away” (habits). The senior students would then comment. “That’s a good attitude…” and so forth. At times Shioda Sensei would further comment on those comments. That would continue for about an hour, and we were told “absolutely no movement from Seiza!”. Seiza was so painful that I couldn’t even hear what was being said. Greasy sweat would dribble off me, my head would spin, I just waited while praying to heaven for it to end.

Then, in training, they said “Suwari-waza” and we would practice basic techniques on our knees. We did that kind of training constantly, so by the second day of the Gasshuku my skin was raw and bleeding. The knees of my white Keiko-gi were dyed bright red with blood. Even when he saw those bright red Keiko-gi Shioda Sensei said “do Suwari-waza!”. I thought “this person is an ogre”. In the end, the wounds on my knees didn’t heal until after the completion of the one month Gasshuku.

Daily Mobility (It’s That Important)

THIS is something I need to pay attention to, now that I'm off the mat until I can get this back situation straightened out.

From 513fit.com

The good news is that you can make serious headway in improving flexibility in as little as ten minutes per day. There’s no need to budget time for a 60 – 90 minute yoga class, unless you really want to. So, don’t let that get in the way.

Plus, it does more than just get you flexible.

Stretching also improves circulation and can help reduce muscle soreness.

It can improve balance and coordination.

It can alleviate lower back pain.

And stretching can even improve your cardiovascular function and reduce blood pressure.

Ten minutes of focused mobility work can change your life.

But, it comes with a few caveats.

1. Work into the tightness, not around it. It doesn’t matter how far you reach or bend. If there’s a tight spot stopping you, don’t bend around it to go further. Work into it.

2. Do not lock your knees (IE on anything with a forward bend). The goal is to lengthen your hamstrings and calves, not the tendons immediately behind your knees.

3. Keep your back straight. Rounding the back is one of the most common ways we like to look like we’re more flexible. Work into the tightness to get the most benefit. You will get more flexible.

Kanai Sensei

Upcoming events!

Seiza humor

Posted without comment.

But also with a credit and a link! http://giuseppematteoni.deviantart.com/

SQOD

Sensei Quote of the Day:
"You don't do aikido to learn how to do aikido — you do aikido to learn about the one who does aikido." (I hope I got that quote right).

More on etiquette

I noticed that we're slipping somewhat with regards to etiquette lately. Some folks just walk on to the mat if they are late, without waiting for sensei (although they are new, so this is especially for them); some folks give a half-hearted or no bow when receiving instruction from sensei; and some folks use an abbreviated gassho in place of a bow.

Dojo etiquette provides a sharp division between the outside world, and the mat, where we need to shed our tasks and concerns of the day, and be fully present for training. On crossing the physical threshold to the dojo, you bow, and leave all that outside world stuff outside, and focus your mind on what you are doing here and now. This ritual of bowing on entry provides a distinction between the two spaces. When you train, it's important to bring an intensity and precision to your practice. Don't come and be sloppy, floppy, or lazy.  Cultivate the mindset that this is a life or death situation. This intensity includes handwork, footwork, and also etiquette.

Bowing
Malory Sensei has talked a lot about the proper way to bow, and it's very important to remember her instruction, and not to rush or take a shortcut.

When bowing from seiza, place your left hand, fingers together, on the mat first, then place your right hand on the mat, and form a triangle with your closed fingers and thumbs. This is important from a martial standpoint, because your right hand would still be available to draw your sword, if needed. Your eyes should go to the floor when bowing to the kamiza and to sensei. However, if you are in a situation where you are training, it might be appropriate to keep your eyes on your uke. Again, do not take a shortcut.

A proper standing or seated bow is from the point of the hip. The back is not rounded. When standing, the arms and hands should be at your side, and again, the back should be straight.

If you are bowing to someone of a higher rank, wait for them to lift their head before you lift yours, and always go to their level. If they are sitting, you should sit as well.

Bow when entering or leaving the dojo, bow when stepping onto or leaving the mat, and bow when Sensei gives you instruction, feedback, or comments. Bow even if you think she's not looking and it won't matter. It does.

If you arrive late, and the bowing-in has not begun, quickly get in line and get settled. If the bowing-in has already occurred, wait quietly in seiza until Sensei gestures to you that it's ok to get on the mat. Only then should you get on the mat. Again, bow when you get on.

Bring all your attention and precision to the mat. If you are not sure what to do, watch the senior students. You can learn a lot by being hyper-observant.

Here are some other things to keep in mind:

• Never lie on the mat (unless it's part of a specific stretch before class, or you are told to)
• Never lean against a wall (even if you are not training)
• Never stand with your arms folded or your hands in the side splits of your hakama
• Never point the bottom of your feet to Sensei or the kamiza (don't sit with your legs splayed out)

Edit: One additional item I left out. When Sensei ends her demonstration, and everyone pairs up, find someone very quickly — anyone. Don't stand around looking lost or confused. It's important not to mill around, but to get down to practice quickly. When you hear Sensei clap, quickly run and sit down. If you are called for ukemi, quickly run. Don't amble up in a leisurely fashion. This is all part of developing martial awareness.

Aikikai Hombu Dojo - ABC for visitors

By Michelle Feilen Rigol
5th dan
Aiki Feilen
Barcelona, Spain

[Ed.: Items in bold are great etiquette tips for home, too!]

• Remember to bring a 100 yen coin for the lockers.
• Be on time for the class.
• You should pay the fees on the first day, so make sure you arrive there early.
• Don’t forget to take your membership card and leave it at the front desk, you’ll take it back after the class.
• Take off your shoes at the entrance.

Tokio Restaurants ABC

By Michelle Feilen Rigol

5th dan

Aiki Feilen

Barcelona, Spain

It is believed that restaurants in Japan are expensive, but, actually, it isn’t true. In order to enjoy them, follow these tips:

• Check out the menu prices before getting in. Generally there are plastic models of food or pictures with the prices by the entrance. If you can’t find them, just don’t enter.
• Never tip the waiters – For Japanese, it can be rude!

A few handy sentences:

Kanpai - cheers
Itadakimasu - Bon appétit
Oishi -Good (use it during the meal)
Goshiso sama deshita - I enjoyed the meal (use it when you leave the restaurant)
Sumimasen - Excuse me (use it to call the waiter)
Kore - This
Eigo menu wa arimasuka - Have you got the menu in English?
Biru: beer
Mizu: water
Sakana: fish
Niku: meat
Shio: salt
Kosho: peper
Shoyu: soya sauce
Taberu: to eat
Sake: nihonshu
Tea: o-cha