Article 11: The Hoplology of Aikido - Shite Happens

Ellis Amdur has always been an inspiration to me, I don't believe he still practices Aikido but if you read some of his books you'll realise that he is not short of knowledge on the system or of course on the koryu arts that he so dearly loves.

The one thing I really like about his writing is that he asks difficult questions about Aikido and it's purpose. I want  this article, for me at least, to be the start of an intellectual reflection about why Aikido techniques are the way they are and particularly ukemi, why it is done and whether what is done is fit for purpose.

Shite Happens:

Shite, like Shitachi (in Japanese swordsmanship) is the receiver.  The one who accepts and learners from uke and uchitachi respectively.

Shite waza are the techniques performed by the receiver, the throws and locks that make up the compendium of the Aikido curriculum (with largely transcends ryuha (style)).  But why is that curriculum the way it is?  To understand that I must first try (with my very limited knowledge), to look at the world in which these shite waza were developed.  

Long before Ueshiba Sensei, the amazing world of the Japanese koryu dominated Japan.  These systems contained a wide range of techniques, many different approaches to survival in a brutal world of battlefield combat, assassination and self sacrifice.  The techniques of Aikido, like Judo and Kendo are the modern face of this world.  However, if you search and probe, these schools still exist and allow us, just like a person seeking to understand their family tree, we can find many of the answers about the 'why' of what we do now.

Firstly, many Japanese combative systems were developed for the battlefield which is why we find relatively  few percussive elements with the bare hands.  Simply put, hitting a man with bamboo and leather armour with flesh and bone is likely to reveal only one loser, additionally, kicking techniques are not likely to be a priority to the well armed Samurai.  

What are their priorities likely to be (this did vary depending on the period of pre Tokugawa history)?

1. The Kyu (bow)
2. Steel (tamahegane) based weapons: Yari (spear) and Naginata (halberd)
3. Katana (and its many variations)
4. Kodachi and secondary weapons should your primary one be lost or broken
5. Unarmed techniques suitable against a man in armour

Many see the first port of call when looking at the Hoplology of Aikido as Daito Ryu Aikijujutsu, but Daito Ryu is only one generation older than Aikido and doesn't really offer us much insight, plus it was developed during a time of relative peace in Japan, and certainly far for the world of the Samurai.

I want to mention at this stage that in this article I won't be covering any weapons history.

According to what I understand Ellis Amdur's work is pointing to, there are a number of combative systems that are shadows in Aikido's past:

1. Inagamu Shinmyo-ryu
2. Yoshin-ryu
3. Tenjin Shinyo-ryu (I read this somewhere, but I can't remember where! AHH!)
4. Yagyu Shingan-ryu

The first three were studied by those before Ueshiba Sensei (and form part of the creation of Daito-ryu) and the fourth was studied directly by him.

What is the difference between Jujutsu and Aikido?  In short, nothing, if we put the 'peace and love' part of the Ueshiba's legend in a box and name it 'wishful thinking' and the whole but 'Aikido doesn't contain dangerous techniques' in a box and name is 'worrying ignorance', combatively there is little difference between many Koryu Jujutsu and Aikido.  It is a method of defeating an armed/unarmed opponent that is possibly in armour by throwing and locking them.

However, just like in Judo, Aikido techniques are based on battlefield combat, thus, many of the techniques are designed to work in and against armour.  

Tenjin Shinyo-ryu

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

Yagyu Shingan-ryu

http://www.youtube.com/watch?v=GzTCQk2KHyQ&feature=related 

When I watch these methods of jujtusu, I don't see them as that alien to me.  Of course I don't understand the ins and outs, the secret of these amazing systems, but I see some of the commonality with what I do week in and week out on the mat.

These systems are clearly part of our combative heritage as Aikidoka, and before we add our own modern interpretations, we must consider whether it would fit in with an older, austere and more intensity efficient world.  

  

Article 10: Irimi Tsuki

Irimi tsuki: The Perfect Synthesis of Ikkajo and Irimi-Nage

When I watch Shioda Sensei, Takeno Sensei and Mustard Sensei do jiyu waza, the movement that always strikes me as amazing is Irimi tsuki.  As a technique it is the essence of simplicity just like Ikkajo and it requires confidence and timing like a well excuted Irimi Nage.

What I want to first communicate how this technique reminds me of studying Iaido, like all things it is so tempting to add to what you're doing.  However, every additional movement, every extravagance only serves to slow down the technique and reduce it's combat effectiveness and moves it further from the principles upon which effective technique can be built.

If I'm perfectly honest I find this technique really intimidating to uke for, and if I know that the shite that I'm practicing with is good at it, I'm aware that they could use it and I slow down my attacks as a result.  This is a total falseness.  You cannot uke with a preconcieved knowledge for what might happen, a combative response should be intuitive and building in these calculating elements serves only to prevent both uke and shite learning.

http://www.youtube.com/watch?v=aqK8p_NQV8U&feature=related (watch at 55 secs for about 10 seconds)

I watched Shioda Sensei do this technique and the impact that it can have on uke like Ando Sensei, and I thought that if I am going to teach this technique in the dojo I absolutely have to start with the ukemi.  It was a lovely opportunity to consult my notes from Mustard Sensei and Thambu Sensei that I made last summer and develop a simplicity to my shite waza and structure to my uke waza.

In the class on Monday night we have a real mix of abilities, however, none of them have ever studied Irimi tsuki and it's ukemi.  Firstly I wanted to impress upon the group that you may not resist. Ever.  Shite would stand in shizentai with his hand out stretched, uke would approach and when their chin hit the palm of shites hand they would bend back and make sure that their feet would pass the back heal of shite.  

I think it is really dangerous when uke attacks, notices the technique and then tries to step back out of it.  This is where the ukemi for Irimi Nage and Irimi Tsuki part, physiologically this is because of the body control difference between these two techniques.  As ukes head is taken so far back and so fast Irimi Tsuki requires a specific ukemi, also Irimi Nage is a body control technique and uke can in part dictate the fall.

Once uke is used to bending their back and still moving foward, we then looked at building in a variation of yoko ukemi.  The leg furtherest from shite would straighten allowing uke to fall to the floor and slap the mat.  Following the same ukemi technical elements involved with hiraku ukemi.

I then moved on to the shite waza.  I was really keen to make sure that everyone understood that you should not add anything to the technique, and infact there are many more technical elements shared with Ikkajo than Irimi Nage.  The foot movement is essential shaku dosa, where shite moves in a cherveron shape so that shite moves off ukes attacking line and approaches uke from a 30 degree angle.

Takeno Sensei demonstrating Irimi Tsuki

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

Each sliding step is into 80/20 and we have to be mindful of the lead hand.  Under no circumstances should shites arm move out their own body line.  Two commen mistakes are bending the arm in the form of a choke slam (although that'd be cool!) or even if the arm is straight it moving out at right angles to shites hips.

I found making uke and shite for this technique really enlightening and further illustrates to me two things; one, shite much move into 80/20 with a strong feeling of jushinmae (always forward) and two that you shouldn't engage the shoulder to try and topple/tip/slam uke into the mat.  If you adhire to these elements then you will throw uke through the cracks in the mat, and if you can uke for this technique then you can be virtually fearless.

Happy training. Osu!

Article 9: What happens once uke posture is broken?

Kuzushi or the removal of uke basal support is a key part of Aikido and what appears to be it's effortless grace. I've been wanting to write about the elements of this explicitly for some time, and it really needs more preparation on my part with some photographic resources so that I can communicate accurately what it is I'm trying to say.  But I'll have a go anyway.

How is uke posture broken?

In the human body weight centres around the pelvic cradle, and Aikido techniques (as I'm sure all combative systems do)  make use of this to throw or immobilize our attacker.  Shiho nage and Ikkajo illustrate the two key lines that can be broken in uke, to the real and front respectively.  Different to many Judo techniques, which break balance in a direction parallel to the shoulders.

How can uke respond to this posture break?

I am a big believer in the 'form' and that uke has the most important job to do, which is to help shite learn.  Uke should approach the technique without ego, it is not a competition.  However, asking the question above does allow us to develop more of understanding of the reason why techniques are the way they are.  One of the great benefits I think of practising (even in some small part) the Yoshinkan Aikido type techniques, is that they are some of the least changed from O Sensei and thus a better link to the world for which they were originally designed.  Anyway, I digress, in my view, uke can only do three things once his posture is broken.

1. Fall over
2. Power up from the broken position
3. Step back

Having practised a with a variety of Aikido styles (and this is only in my experience and view), the Yoshinkan Shiho nage helps us understand this kuzushi process really well.

Obviously uke falling over is our goal and desirable. But uke does have two other options.

When holding uke for Shiho nage (just before the final slide forward for the throw), if we refer back to the core posture (kamae), shite should hold their centre line (chushin) strong.  At this stage uke should test upwards strongly in other to see if shite will be forced back.  It should also be noted that shite should not be engaging his shoulders in this maintenance of the posture break.  If this happens, then the technique is as good as failed, and shite will have to make up with his lack of technique with shoulder muscles and possibly speed to cover over the cracks.

How far should you slide behind uke?

When we move forwards it is essential that we do three things, firstly, slide into 80/20 with our weight forward, secondly maintain relaxed shoulders and a strong centre line.  But we must also slide forwards further than uke can step back.  If uke can step back further than the entrance movement from shite, then uke will be able to regain their posture and stop the technique from being effective.  

Article 8: Jiyu Waza, a chance to practice free techniques or become mindlessly tense?

Friday was our first session back after a break that felt like a life time and with the almost Arctic weather, it became nearly impossible to do any useful training other than 360 tenkans in walking boots.  So obviously I did the next best thing, watched Takeno and Mustard Sensei on DVD and ate.... lots.

I'm very aware of how time is trickling away now and that the counter on the top of the web page seems to be moving faster and faster.  I put my game face on as soon as I got into the dojo, and other than the odd hello and new year hug, I was focused on training hard.

Luckily enough I had a good uke for sumi otoshi kokyu nage and I felt good.... surprisingly.  My ukemi was light (for me) and my hiyaku ukemi was better than usual, my shite waza felt relaxed and I could put a lot into the throw without engaging my shoulders.

However, at the end of the lesson Sensei asked all the instructors to do a short demonstration with the uke of our choice.  Naturally I chose the individual who'd I spent the most time and understood  my technique the best.

As I sit and writing this blog, I could think of 7 or 8 techniques that are ideal for this:

1. Sumi otoshi kokyu nage
2. Hiji ate kokyu nage
3. The unnamed kokyu nages
4. Kote gaeshi
5. Shiho nage kuzushi
6. Ikkajo nage
7. Irimi Tsuki
8. Irimi Nage

Of course there are others, but these are the ones I like to think I'd use, especially after watching Takeno Sensei apply them so beautifully on YouTube.

That is not what happened, my first mistake was that, especially with an audience and I think the attraction of Jiyu Waza is that you can really go for it, I let the tension creep into my shoulders.  It had an unexpected effect where I felt very top heavy, so that every time I slid forward I felt that I was tipping.  Additionally, rather than sliding a good distance forward to generate power for the technique, my foot dug into the mat further distablising my kamae.  Which in turn caused me to make up for my lack of form with my arms and shoulders.

Next problem was me getting stuck on one technique which was sumi otoshi kokyu nage.  Normally, I think this is due to my job as a teacher, I am pretty good at recalling lists of items.  In this instance I was frustratingly limited on what I could do.  

So in addition to my other posted targets I want to start thinking about my Jiyu Waza and making sure that at the very least I can work through the 8 techniques above from any form of attack.

A short post, more thorough articles to follow.

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.....