Thomas' Photo

Deshi Assignment: Ideas for Kid's Scavenger Hunt

• How much is an adult gi?
• What's the name of the zen group that we share the dojo with?
• What level is Malory Sensei?
• What is the color of Pat Sensei's drinking cup?
• How many mats are there in the dojo?
• How many blue drinking cups are on both shelves?
• Name three technique's taught in August for Adult class
• How many kid's bokkens are there?

Deshi Assignment

Read the book "Mastery" by George Leonard. Post reflections.

Deshi Assignment: Half Moon Ukemi

Explore the anatomy of half moon pose and how it relates to the ukemi for ikkyo and iriminage.

http://www.yogajournal.com/article/beginners/half-moon-pose-2/
http://rasayogacafe.blogspot.com/2013/10/ardha-chandrasana-half-moon-pose-anatomy.html

Deshi Assignment: ikkyo ukemi

I searched for videos specifically focused on taking UKEMI  from shomenuci ikkyo, as ukemi is our theme this month.

Surprisingly hard to find really good ukemi - nearly all the videos I found focus on nage's role.

Eventually I found one, which I thought was interesting & also a really unusual way of taking ukemi from shomenuci ikkyo, which I'd never seen before:

"feather fall" as taught by University of South Florida Aikido (Tampa Florida, http://usfaikido.com).

 https://youtu.be/NvjvEVoreU4

It is clear that uke has to be really committed (with their center) to the attack, in order for this ukemi to work. Also uke needs to be fearless about heading face first into the mat!

Deshi Assignment: Ikkyo and Irimi Nage (Kelly)

Ikkyo

Here's also a video of Christian Tissier doing Ikkyo from Morote tori, which we don't usually do in class so it was interesting to see it executed. What is interesting is that you would instinctively want to push using your right hand but you really just need your left hand to do all the work!

Starts off a kokyuho but turns into ikkyo.

https://www.youtube.com/watch?v=Dld4spyypuU&spfreload=1


Iriminage

Here's a video of Mitsuteru Ueshiba doing Iriminage. I think it is interesting when he brings uke around, he is also getting low. I am not sure if it's because he is short and it helps to give him more leverage?

https://www.youtube.com/watch?v=RgLtIUhluX0

I also like how Mary Heiny shows in this video the importance of where you are in relation to your uke (i.e. your center should stay with your uke's center). It may seem like an obvious thing but the way she demonstrated it was a good visualization of how it doesn't work when you are too close or too far.

https://www.youtube.com/watch?v=hPYRx8entzs

Deshi assignment: Ikkyo (Amanda)

=======

Guy Hagen
Aikido Chuseikan of Tampa Bay

At this year’s Winter Intensive training seminar in Florida, Saotome Sensei spoke a lot about the meaning of “ikkyo”. Ito illustrate, he shared a story about a time from when he was training with the Founder, O-Sensei Morihei Ueshiba:

“O-Sensei would frequently say, ‘ikkyo whole life.’ Once, I responded, ‘Sensei – I already know ikkyo!’ O-Sensei responded, “Baka! (fool!) You not understand the deeper meaning of what I say!'”

Saotome Sensei said there is both an “omote” and “ura” meaning within O-Sensei’s statement “ikkyo whole life.” The “omote” meaning simply refers to the time it takes to learn the technical performance of the technique, and that can indeed can learned in a short period of time. However, the hidden part of the meaning is much more subtle.  When O-Sensei referred to “ikkyo” he often was actually referring to approaching each opponent and each attack with a fresh mind, and with no expectation from previous training since each situation is unique, each attacker is unique, and each time an attacker strikes, her reactions and responses will probably be unique.  “Ikkyo means ‘first chapter’, like the first chapter of a book.”

Although it might of been hard for many people who were listening during the seminar to catch, Saotome Sensei related the term “ikkajo” (the older name for “ikkyo”) to the Zen “Icho-go Ichi-e” (there is only now, there is only this opportunity).

I followed up with Sensei in his hotel room during lunch, and he further discussed the relationship “ikkajo” and “Ichi-go.” Always new mind. Never treat your attacker like an old wife for old husband, always treat them with fresh eyes, “Ikkyo” is a state of mind and philosophy that transcends any physical activity.

We further discussed the importance and quality of that state of mind.  Sensei made a triangle of his fingers and said three words (Sensei loves puns and the accidental meaning found across homonyms)… “AtTENTION,” “inTENTION,”, “inTENSITY,” but not “tension.” He said it is a difficult paradox to summon the level of wakefulness and attention necessary to approach each situation with a truly alert and martial mindset but without tightening the body. He emphasized that when he says “ikkyo your whole life,” he means not just always having that mindset every time one is attacked, but trying to cultivate that state of mind throughout one’s entire life, every day, all day!

We joked that some people practice forceful, stiff, and muscular ikkyo technique their whole lives too.  Sensei laughed, “yes, that is also another meaning; some people stubborn, tense mind whole life!”

========

It's incredibly hard to find a video of ikkyo that works. There are so many approaches to ikkyo, so many right approaches, and some wrong. It can be shallow or very deep. I picked Osawa Sensei's ikkyo, because his technique is alive, and fluid, and he keeps his elbows close, which is what I am trying to do.
 


But also I found this lovely Tamura Sensei video: https://youtu.be/ezyVI1PuZzw

Ikkyo isn't about manhandling someone. It's about doing something so quickly and subtly that you've almost changed their mind, perspective, and direction before they realize it's even happened. It's magical.

Deshi assignment: Ikkyo (Wini)

I'd like to post a video of Tissier doing an ikkyo technique:

Also, here is his irimi nage. You might want to mute it, because the sound track is really annoying.

QOTD

While they tout their “accomplishments”…do 10,000 tsuki
While they impress you with how long they have “practiced”…do 10,000 men-uchi
For as many hours as they congratulate themselves …stand in kamae
While they argue the politics…sit still and become empty.
While they reach higher and higher for position…bow your head lower and lower.

Let no one define your worth with some imaginary status or title; let it be measured by your devotion to the daily struggles of practice.

By Jason Perna, Old City Aikido

Ikebana Workshop

Today, we hosted the first (hopefully not the last) ikebana workshop with Charles Coghlan of the Sogetsu school of Ikebana. Coghlan Sensei, a Master Sensei in the Sogetsu School of Ikenbana, studied under Aiko Ii Sensei, a student of Sofu Teshigahara, founder of the modern Sogetsu School of Ikebana, earned his teaching certificate and began taking students in 1995.

He compared the modernist Sogetsu style of ikebana to jazz, whereas more traditional ikebana is like classical music. We learned about the history and meaning of ikebana, and he compared the structure of ikebana to the structure of haiku.

It would be great to do this again — maybe in the summer, and again in the fall and winter, to add a seasonal aspect to the practice. I'm looking forward to seeing what sorts of designs my dojo mates come up with for the kamiza.

Fresh meat... er.. I mean NEW DESHIS! がんばって!!!

A warm and long-overdue welcome to the newest members of the Seattle Aikikai Deshi Program, Kelly, Tom, and Wini, who will, in addition to their core and supplementary deshi duties, be adding content and comments to this blog.

I'm looking forward to fresh content and observations about aikido practice and happenings at the dojo!

I hope they enjoy posting here as much as I do!

がんばってください

Deshi Assignment: 8 count bokken kata

8-count bokken kata and the techniques they correspond to.

Upcoming events

• This weekend (April 4) is the first Saturday class, followed by cleaning and Pancakeo.
• April 14 is social waza following second class.
• April 18 is Randori workshop part 2 ($30).
• Kyu testing is coming up June 4. Stay tuned for test prep open mat sessions. 
• And there will be a Chris Wong, Michelle Fielen, and Malory Graham senseis are teaming up for a spectacular seminar in mid-June. Stay tuned. 

Deshi update

Pat, Malory Sensei, Faith and I headed to San Francisco last weekend for the annual San Francisco Aikikai Winter Seminar. Yamada Sensei was teaching several classes, and looked in very good health.

Joel Posluns Sensei, Spiros Koyanis Sensei, and Malory Graham Sensei taught classes as well. Testing also happened, and Pat and about 8 others were awarded Shodan. There were also three (I think) Nidan tests and one Sandan.

I was wearing my hakama for the seminar, and was told to keep on wearing it. Which leads to this week's deshi assignment: To observe how the hakama changes your movement, what the pressure of the hakama does to your center, and how the sound and movement of the hakama can inform you about your movement.

I wore a hakama since about 1993 or so, so my default experience has been wearing one. When I returned ~two years ago, to a somewhat different scene. Hakama are worn only by shodan in USAF now. When I was coming up, they were worn by 4th kyu and above (I can't remember if it was just women or what), and later at ASU as 3rd kyu. So I have always had the proprioceptive feedback that the hakama offers.

So the long and short of it is that basically now I feel normal again. My center is supported, I can listen to the feedback of the fabric, visualize my movement with the flare of the legs in the air, and generally *make* the fabric do my bidding. My ukemi is instantly more fluid and quieter, I feel like I am more able to lower my center of gravity, and there's just a more acute awareness of my core and where it is in space. I feel like once I put it on again, my aikido got 100x better at once. Maybe some of it is psychological -- Sensei remarked that I look more confident, and maybe confident people stand up straighter and have better movement. I don't know, but I do know I'm glad to have it back again.

It's starting to smurf less, which is also good. Now Pat can smurf happily in his new hakama! Congratulations, Pat!

Deshi assignment Iriminage Ukemi - Joshua Porterfield

So I choose this video Due to the fact it was one I used for test prep.  Not only do I feel it shows ukemi clear but it shows the iriminage.   The ukemi is clean and done at a nice slow pace which I think is good for any student as it allows easy study and the ability to judge wit you are perhaps doing something wrong or could improve on it.

Deshi assignment: Iriminage ukemi

This week's deshi assignment was to find a video of iriminage ukemi that we particularly like. I looked at several types of ukemi.

The first is where uke bends from the waist and their upper body tips forward, and the back leg swings up, then makes a big step around nage.

Skip to 1:54.



The second is (typical of the ASU style of ukemi), where uke's upper body remains upright, and uke lowers himself by supporting himself on one arm while pivoting and sweeping the outside leg around.



In the first few examples, the ukemi appears to be the same as the first type, but starting at 16:27, uke has more of a connection with nage's shoulder.

The specific ukemi style I'm referring to is explained in detail starting at 17:13.

Of course, there are variations in which nage sends uke on an outward trajectory, rather than keeping the head close, and the version where nage sends uke straight down, as well as the classical iriminage, where nage keeps uke's head close to the shoulder. The outcome of iriminage can also vary, with a back fall or forward breakfall, and close or long range. There are also variations in which the shoulders or waist are used to complete the turn, keeping uke close initially, but then using their momentum to send them on an outward trajectory.

The correlate to this is the space travel "slingshot effect," where a spacecraft uses the gravity well of the Sun to slingshot into deep space.

Much of the ukemi style seems to have to do with how low nage brings uke on the vertical axis. In the examples where uke bends from the waist, they bend backwards to accommodate any movement down the vertical axis.

My favorite ukemi is the ASU style, but I think that is also the hardest to master. It's much faster than the other ukemi.

Late edit: I like this ukemi the best. This is Anne Slui. She's starting off with the ukemi that usually leads into a back fall, but turns her body and does a back roll.

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)