Article 7: Shiho Nage - What does it teach us?

The more I read about Aikido, the more I realise that Ikkajo and Shiho Nage appear to be core to our technical and spiritual development.  So having already discussed Ikkajo, albeit briefly, I want to spend sometime looking at Shiho Nage, as a technique and learning tool.

I want to start with looking at Iaido, and one thing that strikes me more than anything is the realism in the form.  One particular element demonstrated amazingly well by Ishido Sensei in the clip below is that once the technique has started you must not stop.

http://www.youtube.com/watch?v=E3vgvjYQdUI (Ishido Sensei)

http://www.youtube.com/watch?v=dGSNtW0nnUY (Takeno Sensei demontrating the link between the ken and Shiho Nage)

Shiho Nage is to Aikido what Mae (http://www.youtube.com/watch?v=sDfcu9BP5fI) is to Iaido.  When we perform Shiho Nage we should be mindful that we should not stop the technique. Although studying the technique is important, perhaps we should appreciate that the lesson is that, the power development should be smooth and gradual, we should, just like in Mae, avoid jerky and unnecessary movements and that the final cut should be certain, definite and above all relaxed.

In specific relation to the Aikido, we can see how Shumatsu Dosa (both Ichi and Ni), is Shiho Nage.

http://www.youtube.com/watch?v=4bIeBfm8Z40

What I think is important, and the relationship we can see between Shiho Nage and Mae, is that the cut or throw is not executed with the arms, but with the movement forward of the hips.  Another interesting exercise to try is to perform Shiho Nage (http://www.youtube.com/watch?v=JAbuib2xO_c), apart from the final throwing movement.  The reason for this is if you do it in an unbroken fashion (but still precise manner and certainly not rushed) then Uke will  begin to fall without the throw.  This will only happen if the movement is unbroken, the Seme (feeling) for the technique seems to carry Uke.  This idea is highly transferable to Iaido, because if you stop the form then you tekki (invisible training partner/or real evil Samurai) will then have the opportunity to cut you down.

Shiho Nage, appears in many different forms in the Koryu Suhada (kimono) and Yawara (Armour) Jujutsu.  This would indicate its power as a combative technique throughout Japanese history. The final element that we should make sure that we practice is the shoulder control, although Shiho Nage can be hard on the elbow and shoulder the target for the throw is the head and spine.  The throw is highly destructive and as a result we need to find a way to practice is hard and intense but without hospitalising our Uke. Mustard Sensei and Saunders Sensei both emphasised the shoulder and body control, this was done with two strong entry steps and when turning taking the hand in a big arc over your head and not interfering with the power created.  Kamae allows Shite to control Uke just before the final application of power, Uke should be able to test from this bent back position and not be able to overpower Shite.

 

To summarise:

1. Unbroken movement
2. Focus on shoulder control
3. Strong movements forward with the hips

Article 6: Putting on my dogi....

I've been lazy posting recently, the general grind of work has worn me down a little and the motivation to write has been waning.  So the obvious course of action was to go on FaceBook and ask folks what to write about.

Thambu Sensei replied with motivation, he sent me an article of his own that he wrote and I will do my up most to be a frank and honest as he was in his.

Why do I train?  It certainly isn't the easy option, I could just go home and watch the TV or even maybe go to the gym, for a run, or perhaps play squash.  Anyone who trains and has a partner will realise the pressures it can put on relationships, not only the weekends away training, but the weekly evenings and mornings where you are not at home.  We owe it to them to train hard, and make that 'lost' time something worth while.

It would certainly be easier to stop and take up a more main stream and less demanding 'hobby' (I do hate it when people call it that).

I don't think I ever really started Aikido because I was fearful in my daily life of muggings and physical assault.  That being said, I do believe that Aikido should be effective and demanding.  Interestingly enough, I do wonder what some of the external perceptions of Aikido are of those that do not practice.  I'm sure that fitness and general body conditioning in Aikido dojo are not as good as those in other Budo like Judo for example.  Perhaps because of the lack of a competitive element (except Tomiki Ryu) means we get lazy and allow ourselves to focus to much on technique and finer points but forgetting that conditioning (the right conditioning) is essential for the combat effectiveness of our Budo.  We know that our fitness is not likely to be challenged in the same way that it is in Judo Randori, and as we feel that are not going to be 'exposed' as weak, therefore we do nothing about it.  That being said,  the Budo of the Bushi (Samurai), is what we have inherited, and are we (am I) doing it justice every time we (I) step on the mat.

I can be honest and say that my fitness is terrible and it is something that I want to sort out, I do not want to make excuses for my art.  Although it should not matter what others think, I have to be honest with myself and I know that fitness and conditioning for Aikido does in fact matter.  It matters a lot.  However, I feel that I am parting slightly with the original purpose, why do I train.

Aikido, for me, is a drug.  I largely believe it has no ill side effects, other than I need to 'take it' more.  If I do not take it, then I get frustrated (like I am today, having been snowed out of the dojo yesterday).  I will at times put training above other important events.  I remember being told once "We should train to live, not live to train", a great axiom and one that I should remind myself of my often.

I really like something that Thambu Sensei says in his article, which is that he believes he is a custodian of his Aikido.  That he does not own it, and that he has a duty to pass it on.  Although I would never presume to draw any parallels between myself and an amazing Aikidoka like Thambu Sensei, I do believe I have a duty to do right by the art to which I have fused myself.  I love that fact that Aikido is Japanese, that in some twisty and windy way it is related to the Samurai, and I see nothing wrong in loving that romantic dream as long as you know it's a dream.  Aikido is repetitive, frustrating and hard... it requires a change in body and mind and it plays in my head all the time.  Subtle shifts in body movement, imperceptible to the unaware is the difference between the regular and the dedicated.  Having for the last 3 years been studying Iaido and Jodo, I have discovered a further and exciting link between Aikido and the past, and that my body allows me to access a past way of life.  I really love that.

I love the way Aikido makes me feel, when I am thrown and get thrown.  I love the magic and annoyance of being thrown well, and I mean really well, by the best in the world and wanting... no thirsting for the knowledge and ablility to do that.  How do they do that??  I enjoy the moment when a technique clicks... even if it is just for a moment and the flash of understanding and the next layer of the technique that is revelled.

Finally, I love the friends I have made.  An interesting bond with people that, when you knock the hell out of each other and you BOTH leave the dojo stronger for it.  You push each other (or we should) to the very edge of safety and sanity, testing the form to it's most and being satisfied that you are at least on the path, although not very far along it.

Aikido at times means too much to me, and others not enough. I simply could not be without it.

Article 5: Seme and Zanshin

Andy Watson, an Iaidoka, Jodoka and original inspiration for writing this blog wrote a fantastic article based on an interview with Ogura Sensei which you can read below:

http://iaidojodotraining.blogspot.com/search?updated-min=2010-12-01T00:00:00Z&updated-max=2011-01-01T00:00:00Z&max-results=1

With this in mind, I wanted to reflect on the use of these mental elements in taijutsu kata (unarmed combative forms).

I was first introduced to the ideas of seme and zanshin when I started Iaido and Jodo.  I think the level of concentration and focus required in weapons based systems, is instantly apparent.  You might argue that a mistake with a bokken, jo, iaito or even a shinken is far less desirable than a slightly awkward fall.  However, the feeling of seme and zanshin are as important in taijutsu as they are in weapons work, but sadly the concentration on it is far less.

I was lucky enough to be teaching again on Monday night, and as usual I get very excited about what I can do with our class.  We started with looking at Hiyaku Ukemi:

http://www.youtube.com/watch?v=HxpymTgcvSM

I want to spend sometime in a separate blog looking at each ukemi type, but other than the technical elements of falling the focus was on uke getting up and re-engaging with shite as quickly as possible.  I've used this clip before (http://www.youtube.com/watch?v=sVbd4x4EdUg), but we can clearly appreciate the 'battle connection' between the two practitioners.  We owe it to ourselves to aspire to the combative heritage that all Japanese Budo share.

Mustard Sensei often says that he practices Aikido like a 'Koryu' or old martial system, when we watch Mustard Sensei throw (http://www.youtube.com/watch?v=_QHG0Esuntk), we can see the connection between him and his uke.  The question is how to do we establish this:

1. Create the right atmosphere of discipline and concentration in the dojo
2. Uke behaves in a way that applies mental and physical pressure on shite
3. Uke shouldn't act and put on an 'angry' face, but should really feel that if they see a gap in shite that they would rip into him.  Uke and Shite should be able to train so close to insanity, that the technique is really tested, but as the end of the session both Aikidoka leave the dojo stronger.

The way that I see it is that Seme is the combative intent during the movement and Zanshin is the awareness at the end.  Once the throw has been completed, shite should not just walk away casually tidying their keikogi, but apply this psychological pressure to uke, slowing them down perhaps...... the force....perhaps.....

Article 4: Ikkajo

Session 4:

Ikkajo: The technique designed to frustrate.

Sensei was away last night, so I ended up teaching the small but keen class.  I considered what we should do, and the best learning point I got from Saunders Sensei's Seminar was on Ikkajo, so I thought this was a good place to start.  The question was whether I could make it work.... I remember being told by high ranking Iaido teacher that 'Budo was about a willingness to change'.  What is the point in meeting amazing teachers and not making a certain and prolonged effort to integrate what they say into your day to day practice.

The thing I find most interesting about Aikido is that just at the moment you think you understand something, you then get it demonstrated again (always best to have it demonstrated on you) and it blows you away (if you have good teachers).  I've been doing Aikido a while and in general I've always avoided Ikkajo (ikkyo).  I think this is because of a number of reasons:

1. A lack of technical understanding
2. As a result of the above I tend to try and muscle it
3. As a result of that, the technique fails when tested
4. Also the final Osae Waza (or the PIN itself), I could never make work... or if I could it would be pain reliant 

We did the technique from katate mochi hantai (cross grip, shite on right, uke on right), I was concious that I was demonstrating out of my comfort zone and I really wanted to make this work.  I could feel my shoulders rising, so I focused on my right thigh and what tension there was, was directed down towards the mat.  Now, before we did the technique we looked at the first three kihon dosa, with a focus on moving wide and low with relaxed shoulders.  I had to make sure I practised what I preached and then thought back to Mustard Sensei's axiom about 'Enjoying/trusting the form' and tried to add nothing but movement into Kamae.

From 60/40 I slid forwards to 80/20, thinking of my shoulders I kept my grip light as to further avoid bringing them into play.  We briefly discussed Ukes role and how to do the correct ukemi for Ikkajo, which in fact puts Uke in a better position to test/counter Shite.  With my arms relaxed I asked Uke to test up, now although my Uke was not a huge monster, he is keen to expose the weaknesses in your technique when asked (which I think it a good and honest quality).  Although there was some movement... he couldn't get up.  Now, I hear you thinking, well so he shouldn't your a Nidan and he is a 'lower' grade... but I can say that for the first time I was not using my arms at all to maintain the form or excuses to justify the failure of my technique.  This stuff really seems to work.

We then moved through to the Osae Waza, which, when doing this technique during the seminar I had the biggest light bulb moment I had in a long time.  The single, only, most, bottom line, fundamental movement in the pin is FROM THE TOES.

1. Left knee to the shoulder
2. Right knee to the wrist
3. Push forward strongly from the toes to get the feeling of stretching the arm, just like pulling a cracker

The difficulty now is getting your arms to reach, KAMAE is in EVERYTHING.  So with you back straight and with the feeling of 'having a poo', pivot forward from the hips (be mindful not to let your back bend) and place your arms lightly just above Ukes elbow and on the wrist.  Let Uke test, test really hard and let me know how you get on.

Osu.

Article 3: The Form

This weekend was an amazing seminar taught by Saunders Sensei, and there was a great deal learnt by all present.  I'll cover what Saunders Sensei taught in the following article, that being said I was really inspired to write about this topic by both what Saunders and Mustard Sensei have been teaching recently.

Why kata or the form?

I want to start with a quote from an article titled Kabala in Motion: Kata & Pattern Pratice in the Traditional Bugei (war arts) by Karl Friday (in Sword and Spirit: Classical Warrior Traditions of Japan by Diane Skoss).

The importance of pattern practice comes from the belief that it is the most efficient vehicle for passing knowledge from teacher to student.

So, where do we go from here?  When people watch Aikido, do they really understand what it is that they are seeing or is it all fake, unrealistic and lacking in spirit.

Firstly, is the form fighting?  Lets take two examples:

http://www.youtube.com/watch?v=sVbd4x4EdUg

http://www.youtube.com/watch?v=v7AHRm5uAE8

The first link is of Toda ha Buko Ryu a koryu (old school) of Japanese War Art and the send is Takeno and Chida Sensei teaching Kote Gaeshi.  

Who is senior?  Just like Saunders Sensei said on the weekend, in the koryu the senior student was the one who 'lost', yet he is senior, so surely he would be better and win?  But it's not about winning and losing, it is about strengthening the student, so strengthening the senior, strengthening the dojo and thus strengthening the army.  

The senior creates the situation that allows the student to practice. 

http://www.youtube.com/watch?v=h7vrbTScmjk

Take this clip for example, the gentleman in white creates the situation to allow the student to practice that technique.  If the tachi (man in white) does something different he will catch  the shijo (blue) out, but is that his job.  Like the opening quote says, the kata is used to pass on knowledge to the next generation.

Why the change for Aikido?  Clearly in the clip with Takeno Sensei he is the senior, yet he does not receive the technique.  Perhaps the more athletic student (uke) can take the severe ukemi (breakfall) required to allow Takeno Sensei to practice.  What ever the reason for the change, the logic remains the same, the kata are designed to let Shite (thrower) learn the technique.  Yet the Uke role is not passive, and 'living under the sword' allows you to learn lessons fast.  How the technique feels, how your posture is broken, how your body is led and the power you receive when thrown, are all lessons that can be learnt.

The most important element to this is that uke creates the CONDITION to allow shite to practice the technique.  So, if you are practising a irimi kote gaeshi, and then uke pushes then uke does not understand what they are supposed to be doing.  As shite should tenkan or pivot if uke pushes.  Each technique has a specific uke, to learn Ikkajo, then uke must move for Ikkajo.  If uke does this then shite will learn the technique, and uke will feel the technique, so when they become shite they have a better understanding of it.

This brings us on to another article, the role of uke.  The most important role in Aikido.

Osu.

Article 2: Where am I going?

Sadly there is no great stone tablet on the top of Mount Fuji that says what makes a good ikkyu or what makes a good sandan... life would be much easier if there was.  So over the last week I have been trying to assess what is it that I really need to improve in the limited time that I have to prepare for my grading.

I think I've narrowed the areas of improvement down to three key subheadings:

1. Conditioning
2. Technique
3. Relaxation

It does go without saying that if one of these areas improve then it will impact on another area.

Conditioning:

I'm slow, really slow.  I've been very lucky over the last year to train with some of the fittest Aikidoka I have ever met, they certainly are carrying the bar of what we should all be aspiring to.  I've never been a particularly talented runner and PE at school left me with a sense of mild dread, Aikido was the first time in my life that I looked forward to working up a sweat.  There is no denying it, I am not as fit or fast as I want to be.

When watching some of these guys training, they are so light on their feet that their and strong in attack.  This sort of fitness really does test shite, as uke can really close you down quickly, get up and attack again.  Intensity of practice is important, it furthers the ability for movements to be retained as muscle memory and it is a great way of testing you mental calmness.  

The benefits of being fit in Aikido are obvious, but what are the areas that I need to target?  As I said in my first article I do not want to rely on arm power (which I have little of anyway) to force my uke into the mat.  I need my fitness and strength to benefit my Budo.  Key areas for development are my thighs and lower stomach, the core stability provided by improving these muscular groups are going to have a huge impact on what I can do on the mat. 

I find koho ukemi difficult (Koho Ukemi (22 seconds), not all Aikido schools prescribe to this type of backward breakfall.  Not only do I find it a far more practical and safer than the cross leg, the result of doing 20 is clear on the faces of many of my fellow students in the dojo.  

Target 1: 60 koho ukemi each week (in a row)

The exercise will improve the muscles in all the right areas, not only improving my uke but my shite waza to.

Additionally, I want something to do on my non training nights.

Target 2: Three 2 mile runs per week.  I'll publish the time of my first run on Tuesday and try to improve the time.

Technique:

Of course meeting Mustard Sensei a year ago has been the biggest influence of my technical development since I started again in 2002.  My first article looked at Chushin Rokyu as a concept, and it is something that I will come back to in some detail.  The key to technical development perhaps is studying technique less and principles more.  I think it is hard to give some quantifiable way of showing improvement in my Kihon Dosa or Kokyu Ho.  But what I am going to do is perhaps get more qualitative feedback after class, particularly on how the technique 'felt' to take uke for.  I can say however with a fair degree of certainity that my worst Kihon is Hiri no Yosei Ichi.

Youtube Video of Chida Sensei performing Hiriki no Yosei Ichi

This video demonstrates the movement, which is very challenging.  Currently I want to be able to go wider and lower, with my weight further forward.  When withdrawing I do not want my rear leg to bend or rise off the mat.

Target 3: Further confidence with Kihon Dosa - with a focus on Hiriki No Yosei Ichi.

Relaxation:

This is always a challenging one, my current thought processes are like this:

Strong core ---- maintenance of centre line ------ no need for shoulder power ----- therefore can relax.

I'm really not sure how to articulate this, so I'll say that it is something I need to do and it is totally reliant on the above two areas improving.

Target 4: No arm power and building this as a regular habit.

Happy training,

Osu

PS Oh and all my Ushiro Waza are garbage and I need to do them more often.

Article 1: The Centre Line

Training Session 1: Chushin Rokyu 1

After the Mustard Sensei Seminar I am of course left with so many elements that I need to practice, but I believe the most fundamental is generating power from your centre line.  This is known in Japanese as Chushin Rokyu.

Firstly where is the centre line?

I think the best place to start with this is one of my Aikido idols Takeno Sensei.  My understanding of the center line is that it runs in an unbroken line from the nap of the neck to the ankle in a straight line.

We can clearly see this here in Takeno Sensei's application of Kote Gaeshi.

It should also be noted that the center line should not only be established at the end of a technique, but also right at the beginning when in a more narrow kamae, also when sat in seiza, cutting with a sword, catching with a jo and even when you are making uke (photo examples of this to follow).

Secondly, how do we establish this power?
When taking uke for Mustard Sensei two things a very clear, one how you feel very little during the transition points of the technique and two how very powerful the end of the waza (technique) is.  No doubt many styles of Aikido learn about the center line, either explicit or implicitly.  For me, the more explicit and reasoned the better. As Mustard Sensei said on the course last weekend, Yoshinkan Aikido has either 1 or 6 basic movements (depending on the answer he wanted).  But it seems to me that being able to slide forward from 60/40 (% weight in your posture) to 80/20 is the most fundamental.  In addition to this Kihon Dosa, Seiza ho and Kokyu ho allow shite (the thrower) to focus on their own posture and mindset without the excitement of wanting to bury someone in the mat. I will cover each of these methods over the next 4 weeks.

Thirdly and finally... what are the benefits of having a strong centre line?
For me at my current stage of development, this is the one and only focus.  Of course making uke for Mustard Sensei shows clearly the stability, speed and power that can be generated from a strong centre line.  It allows shite to throw without over reliance on 'arm power' which is something to be avoided.  Chushin Rokyu, should not be seen as some abstract metaphor, but a physiological alignment that allows shite to focus their power so that it enters uke.  Push ups and weight training will no doubt produce a powerful combatant, but it is not our way.  Muscular development should focus from the waist down, with the exception of the lats.
Strong thigh and stomach muscle are important, as they allow your body to remain centred.

I just want to say a big thank you to everyone I met at the Mustard Sensei seminar and I'm looking forward to the impact that training has had on my Aikido.

Osu.