Contents Introduction Glossary About this Guide Contents Sensei's...

Master Morihei Ueshiba Master Koichi Tohei

Why do Aikido?

Principles For Character Development Aikido Ai/Harmony Ki/Life Energy Do/The Way

Beginners

Notes for Beginners Frequently Asked Questions

Seniors & Instructors

The Role of Seniors Philosophy of Teaching Rules For Instructors

Ki Principles

Ki Principles Four Basic Principles of Mind and Body Unification Principles for Mind and Body Unification Principles for Aikido Principles for Kiatsu Therapy and Health

Ki Testing

Ki Testing by William Reed Seeking Your Level Shadow Boxing the Real Tests of Life Testing Without Confusion

Dojo Etiquette

Dress & Cleanliness Bowing During Class Your Attitude The Sensei Children & Pets

Aiki Kids

Aikido Training for Children

A Mind for Training

Health Issues Attitude Commitment Calmness as Relaxed Readiness

Basic Technique

Basic Holds Basic Strikes Basic Combinations Basic Projections

Training

Blending Uke & Nage Ukemi Progression of Practise Basic Static Technique Flowing Practise Randori Resistance Training

The Four Ways of Aikido

Ki no fudo ho Ki no ishi ho Ki no Kokyu ho Ki no taiso ho Breathing

Ki Breathing Kiai Haku Breathing Kokyu Dosa Misogi Misogi Cadence Changing Cadence

Shokushu

Ki Sayings

Preliminary Exercises

Junan Kenko Taiso Toitsu Taiso (coordination exercises) Aiki Taiso Other Waza

Taigi

A list of Taigi's

Grading

Aikido Grading Terms Ki Grading Terms Instructors Criteria for Examinations Minimum Requirements Ki Exams Aikido Essay Multiple Attacks Grading Etiquette

Grading Syllabus

5th Kyu (yellow belt) 4th Kyu (orange belt) 3rd Kyu (green belt) 2nd Kyu (blue belt) 1st Kyu (brown belt) Shodan (black belt) Nidan Sandan

Ki Examinations

Shokyu Chukyu Jokyu

Significance of Belt & Hakama

Significance Belt Colours and what they mean The Hakama Tying the Belt Folding the Hakama

Counting

Counting

Recommended Reading

Recommended Reading Introduction

"Aikido strives truly to understand Nature, to be grateful for her wonderful gifts to us, to make her heart its heart, and to become one with her. This striving for understanding and the practical application of the laws of Nature, expressed in the words Ai and Ki, form the fundamental concept of the art of Aikido." Master Koichi Tohei

The early days of Aikido training can be full of excitement and confusion - an overwhelming experience for the body, mind and spirit. This handbook is an attempt to minimise your confusion and provide a comprehensive guide to the basics of Shin Shin Toitsu Aikido.

Shin Shin Toitsu Aikido was founded by Master Koichi Tohei. He established the four basic principles to guide students in the understanding of Ki (universal energy). If we follow these principles, we can enhance the quality of our daily life.

Shin Shin Toitsu Aikido is unique in its emphasis on using Ki, with progress in the understanding of Ki principles being part of the examination syllabus.

Shin is the reading for two separate Japanese ideograms, the first meaning "mind" and the second meaning "body". Toitsu means "coordination" or "unification". Therefore Shin Shin Toitsu is translated as "the unification of mind and body". It is interesting to note that shin (mind) can also mean heart - to put heart and commitment into your Aikido practice is, I feel, one of the most essential aspects of training. Glossary An understanding of the basic language and customs of the dojo not only enhances your practice in Aikido Ki Society Australia dojos, but also enables you to feel comfortable training in most places in the world.

A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z |

aiki taiso Exercises for aikido art aikidoka Person who follows the path of aikido arigato gozaimashita Thankyou for what you did ashi Leg ashisukui Leg sweep vacuum atemi Striking techniques barai Sweep bokken Wooden sword bujitsu The art of war bushido The warrior's code choyaku Leap/jump/slide/glide chudan Middle hand position dojo Training hall dori Hold douchi Cut to the trunk funakogi waza Rowing exercise furikaette Reversing direction futari waza Exercises with two people futarigake Two person attack gake Attack gedan Lower hand position gi Practice uniform giri Cut gokyu No.5 wrist technique goningake Five person attack hagaijime Uke grabs nage's elbow (usually from behind) hai Yes/start hajime Begin hakama Traditional garment worn over the gi by senior students hanmi A triangular stance hantai Opposite happo waza Eight direction exercise in ikkyo position hara Belly hidari Left hijiuchi Arm cut hikoki Aeroplane hitori waza Exercise without partner hiza Knee ikkyo No.1 wrist technique irimi Entering movement jo Wooden staff jodan High hand postion johotekubikosa waza High arm swing crossing at fingers juji nage Arm twist/cross projection junan kenko taiso Soft exercise for health kahotekubikosa waza Low arm swing crossing at wrists kaiten nage Wheel/sprial projection kamae Posture/stance kamiza Higher seat kata Shoulder katate One hand katatekosatori One-hand hold (opposite side) katatetori ryotemuchi Two-hand hold (on one hand) katatori One-hand hold (sholder grab) keri Kick kesa Sword cut - from shouder to hip ki no kenkyukai Ki Society International kiai Spirited shout with Ki extension kiatsu Pressing with Ki kiri Cut kirikaeshi Cut and return kokoro no ken Pure strikes with a live blade kokoro Heart kokyu Breath, total body extension kokyu dosa Kneeling exercise of Ki extension kokyu nage Breath powered projection koshin To move back kote Forearm kotegaeshi Outward wrist turn kubi Neck kubiuchi Strike to the neck kumi waza Exercise with two or more people ma-ai Distance of respect between uke and nage mae Front maekeri Front kick makikaeshi Wrist roll down, up in circular movement and return mawashikeri Roundhouse kick menuchi Attack to face migi Right misogi Purification breathing muki Vacuum mune Chest munetsuki Punch to stomach or chest musubi Blending of breath and process of unification between partners nage Partner executing the technique nikyo No.2 wrist technique nodo Throat obi Belt onegai shimasu Thankyou for what we are about to do, or, I place myself under your teaching randori Freestyle defence rei Bow rensoku Continuing movement ryo Both ryokatatori Two-hands hold shoulders ryotemuchi Two-hand hold ryotetori Two-hands hold two hands sakate Reverse sakate mochi Reverse hold or backhand grip sankyo No.3 wrist technique sanningake Three person attack sayu waza Arm swing to left and right seiretsu To form a line seiza Formal kneeling posture sempai Senior grade senaka Back senaka awase Two ukes collide back to back sensei Teacher shiho nage Four direction turn and projection shikko Knee walking shikoku Blind spot shimoza Lower seat shin shin Mind and body shin shin toitsu Mind body coordination/unification shinken A live blade shizentai A natural posture, feet apart shomenuchi Straight blow to centre of head sudori Uke passes through without stopping suikomi Suction /drawing up sukui Vacuum sumi otoshi Corner drop suzu Bell tachiuchi Crossing swords taigi Body (arts) taiso Exercise/practice/training - all done with Ki extension tanden One point tanto Knife te Hand tegatana Hand blade tekubi Wrist tenchi nage Heaven and earth projection tenkan Turning movement tobikomi Plunging in toitsu Coordination/unification tori Hold tsuki Thrust tsukikaeshi Thrust and return uchi Strike uchiwa Fan uchiwa kubikiri Fan cut to the neck ude Arm ude mawashi Circular arm swing udefuri Side arm swing uke Partner initiating the attack ukemi The art of defensive falling undo Exercise/practice/training - all done with Ki extension uragaeshi To move uke to face away from nage ushiro Back/behind ushiro ukemi waza Backward roll ushirokubishime Choke from behind ushiromuki Back vacuum ushiromuki furikaette yokomenuchi Nage draws uke into a vacuum and then reverses the direction and projects uke with a yokomen-style throw ushiroryokatatori Both sholders held from behind ushirotekubitori One or two wrists held from behind ushirotori Held from behind (bear hug) waza Exercise/practice/training - all done with Ki extension yame Stop yokobarai Side sweep yokomenuchi Circular blow to side of head yoningake Four person attack yonkyo No.4 wrist technique yudansha Students who have reached black belt level yurei Graceful swan-like bow zagi Both partners kneeling zagihandachi One kneeling one standing zanshin Calm awareness zen Front zengo waza Two direction exercise in ikkyo position zenpo kaiten waza Forward roll zenpo nage Forward projection zenshin To the front zenshin koshin waza Extending Ki to the front while hopping back About this Guide

This symbol expresses the movements of "entrance and exit" in Aikido.

Aikido: Student Guide Aikido Ki Society Australia 3rd Edition Copyright (c) 2000 Australian Ki Society Pty Ltd.

In the production of this work, liberal borrowings have been made from various books on Aikido, all of which are listed in "Recommended reading". Particular acknowledgement is made of Aikido and the Dynamic Sphere by Westbrook and Ratti, from which a number of drawings were copied.

Published by Australian Ki Society Pty Ltd. [Morihei Ueshiba] [Koichi Tohei] Master Morihei Ueshiba

Morihei Ueshiba (1883-1969) was history's greatest martial artist. Even as an old man of eighty, he could disarm any foe, down any number of attackers, and pin an opponent with a single finger. Although invincible as a warrior, he was above all a man of peace who detested fighting, war, and any kind of violence. His way was Aikido, which is known as the "Art of Peace". Morihei Ueshiba is known to Aikido students everywhere as O-sensei, "Great Teacher".

Morihei Ueshiba sought out and studied under masters in many traditional martial arts, eventually becoming expert at a number of styles of jujutsu (unarmed combat), kenjutsu (fencing), and sojutsu (spear fighting).

As his reputation grew, O-sensei moved to Tokyo and in 1931 opened his first full-size aiki-budo dojo. Students came from all over Japan to train with him. During World War II he moved to Iwama in Ibaragi prefecture to farm and study in peace. He opposed Japan's participation in the war. During this period O-sensei was inspired to rename his art "Aikido".

After the war, Ueshiba Sensei returned to Tokyo. Many students were drawn to him. A young man by the name of Koichi Tohei quickly became his top student and eventually was selected by O-sensei to carry Aikido to the West. Dissatisfied with mere strength and technical mastery, O-sensei also immersed himself in religious and philosophical studies. O-sensei understood that continued fighting - with others, with ourselves, and with the environment - will destroy the earth. He said: "The world will continue to change dramatically, but fighting and war can destroy us utterly. What we need now are techniques of harmony, not those of contention. The Art of Peace is required, not the Art of War." O-sensei taught the Art of Peace as a creative mind-body discipline, as a practical means of handling aggression, and as a way of life that fosters fearlessness, wisdom, love, and friendship. He believed that its principles of reconciliation, harmony, cooperation, and empathy could be applied bravely to all the challenges we face in life: in personal relationships, in business, and in our interactions with nature.

O-sensei continued to practice and teach Aikido into his old age. Observers would marvel at his abilities, vitality, and good humour; he was still giving public demonstrations of Aikido at 86, four months before his death.

O-sensei's approach to self-development was intense and unflagging. He constantly refined his art. Just before his death he said, "This old man must still train and train". After he passed away on 26 April 1969, the Japanese government declared Morihei Ueshiba a Sacred National Treasure of Japan.

"Budo (the Martial Way) is not felling the opponent by our force, nor is it a tool to lead the world into destruction with arms. True Budo is to accept the spirit of the universe, keep the peace of the world, correctly produce, protect, and cultivate all things in nature."

Master Koichi Tohei

Master Tohei was born in 1920 and grew up in Tochigi prefecture north of Tokyo.

In 1939, he met O-sensei and was introduced to Aikido. He was amazed that despite his judo training he was unable to overpower this much older man. He quickly became a serious student of Aikido.

After training for a short time, he was called up to the army and spent time in China. After the war he returned to his Zen studies and Misogi training, as well as to his role as uchi deshi to O-sensei. O-sensei soon recognised the young Tohei's great potential and it wasn't long before Koichi Tohei became Tohei Sensei, Chief Instructor of O-sensei's school and one of the strongest and most influential figures within the Aikido world. In 1953, he was sent by O-sensei to Hawaii, becoming the first teacher to introduce Aikido to the United States. Over the next decade or so, Tohei Sensei went to the US many times and was responsible for training many of the senior teachers in the US today.

Tohei Sensei rose to the position of Chief Instructor at the Aikikai Hombu dojo and was the only person awarded 10th Dan by O-sensei and issued with a formal scroll of rank. Tohei Sensei discovered that the teaching style of Japan did not translate well to the Western world. In searching for new ways to teach, Tohei Sensei formulated the Four Basic Principles of Shin Shin Toitsu Aikido.

While these four principles continue to form the basis of his teachings, Tohei Sensei has, through rigorous personal development and inquiry, broadened and further qualified his method of communicating to aikidoka around the world.

In 1971, while still the Chief Instructor of the Aikikai, Tohei Sensei founded the Ki No Kenkyukai (Ki Society International), to teach the principles of Ki and Unification of Mind and Body, outside the Aikido framework.

In 1975 he founded Shin Shin Toitsu Aikido (Aikido with mind and body unified), to teach Aikido in accordance with the Ki principles.

In 1990, Tohei Sensei proudly presided over the opening of Ki no Sato, the world headquarters of Ki No Kenkyukai, on part of his family's ancestral lands near Utsunomia in the Tochigi prefecture. Tohei Sensei lives at Ki no Sato, where he continues to teach Ki principles and watch over the Ki Society International.

Tohei Sensei is one of the most gifted teachers the Aikido world has known. That Ki principles are now taught in most Western countries is due to the work of Tohei Sensei in spreading his message:

"The power we ordinarily use is like the small, visible segment of an iceberg. When we unify our mind and body and become one with the universe, we can use the great power that is naturally ours." [Principles for Character Development] [Aikido] [Ai-Harmony] [Ki-Life Energy] [Do - The Way] Principles for character development

Not all of the following attributes can be actively cultivated, but they are all characteristics of a person who has mastered the art of mind and body unification. These qualities are universally admired, and serve as reminders of the ultimate purpose of Ki training: the development and growth of ourselves as human beings. ● Develop a universal mind. ● Love and protect all you meet. ● Show gratitude for all you have. ● Do good in secret without expecting reward. ● Have soft eyes and a composed manner. ● Be large-hearted and forgiving. ● Think deeply and see clearly. ● Maintain a spirit of unshakeable composure. ● Be vigorous and full of energy. ● Persevere as long as you live.

Aikido

Aikido is a highly refined martial art, developed this century as a means of self-defence and spiritual training. The art of Aikido develops coordination of mind and body. Through its philosophy and techniques, Aikido brings us into harmony with our environment, other people and ourselves. Unlike many martial arts, Aikido requires no particular advantage in strength or speed, and is practiced successfully by people of all ages and abilities.

Aikido practice develops flexibility, coordination, concentration, improved health and fitness, effective communication skills and self-esteem.

The physical aspects of Aikido, as graceful and dynamic as they can be, are only the outward manifestation of what is most importantly a real and direct way to improve the quality of our lives.

Ai - Harmony

Central to Aikido is the idea of being in harmony with your opponents, rather than in conflict with them. The movement and energy of an attack is redirected without the need for collision or the use of force. The physical practice of this fundamental principle of Aikido leads to a better understanding of people and nature, while teaching essential skills for the resolution of conflict.

The movements of Aikido are circular and flowing. They are designed on the principles of nature and move in circles and spirals.

When Aikido is performed well there is great beauty and composure in the movements of both partners.

Ki - Life Energy

Ki is universal energy, which gives life and vitality to all things. Developing both an understanding of Ki principles and the ability to direct and use Ki are an integral part of Aikido training.

Relaxation exercises, breathing methods, meditation, Kiatsu therapy (healing with Ki), bokken (wooden sword), and jo (wooden staff) are used to help students master Ki principles by giving them the opportunity to experience Ki with their own minds and bodies.

Understanding and developing Ki is a way of enhancing your natural strengths and abilities. As you begin to understand Ki principles, you will in turn develop creative and practical new ways to apply these principles to your daily life.

Do - The Way

The Aikido dojo (meaning "place of the way") provides a secure and friendly environment where we can begin to see and understand our fears, anxieties, reactions and habits. Aikido training is entirely non-competitive and fosters an attitude of support and cooperation.

The total concentration and discipline required during Aikido training brings discipline and focus to our daily life. Aikido challenges us to constantly improve our skills and to attempt new things. By successfully achieving these new skills, we gain confidence in our ability to maintain stability and poise in the everyday challenges of our lives. [Notes for Beginners] [Frequently Asked Questions] Notes for beginners First of all, let yourself relax and have a good time. It is normal to be nervous. Everyone you see in the dojo has gone through exactly the same thing. For everyone - even the sensei - there was a day when they first stepped onto the mat as a beginner.

The paramount rule when training in Aikido is to have respect and courtesy for the other people in the dojo. Respect and courtesy are given not only to the instructors and seniors but also to all other students and visitors to the dojo.

An atmosphere of cooperation - not competition - is called for. We cooperate in the sense that we are all here to help one another learn. This does not mean you must submit to another person's will, as some tend to think. It means we learn to operate together. This is necessary because the techniques in Aikido are dangerous. Severe injury can occur to yourself, your partner, or others on the mat if you aren't mindful and careful.

A true student of Aikido wishes to do no harm to anyone and prefers a peaceful resolution to any conflict. Therefore, skills developed in sensing trouble and avoiding it are preferred over the option of using the martial abilities one has developed.

Five principles for learning Ki:

1. Be flexible and open-minded. 2. Never tire of training or repeating fundamentals. 3. Be resourceful in applying Ki in your daily life. 4. Change your subconscious mind. 5. Learn it well enough to teach others. A true student of Aikido wishes to do no harm to anyone and prefers a peaceful resolution to any conflict. Therefore, skills developed in sensing trouble and avoiding it are preferred over the option of using the martial abilities one has developed.

Sensitivity to situations, and trust in instinct and intuition, become the Aikido student's best tools. These qualities are honed on the mat every time you begin working with your partner. In other words, when you are training, practise not only the technique that is demonstrated but also the art of sensing your partner's state of mind and being. Frequently Asked Questions Why does Aikido look so choreographed?

Aikido can be a devastatingly effective martial art. Therefore, in the early stages it is necessary to simply follow the movement in order to train safely and learn. At this stage Aikido can look like a poorly staged fight scene. Aikido looks more "real" in the middle levels of achievement. Here students are likely to use some coordination and some strength and resist each others' techniques, unavoidably creating genuine conflict. High levels of Aikido once again look choreographed as uke and nage effortlessly follow the flow of Ki. What grade is Sensei?

It is considered bad manners to ask a senior aikidoka, particularly a teacher, what grade they are. "How long have you been doing Aikido?" is a better question and perfectly acceptable. If you train regularly for a few months or years you will no doubt discover what grades your training partners are (even Sensei) and how long they have been training. However, since a black belt in Aikido signifies only that someone has learnt the basics, what difference does it make? The best question to ask is "Am I learning as much as I can from this teacher, and am I learning the things that only he or she can teach me?". How long does it take to get a black belt?

Of course, it is the way you travel that is important, not how far you get or how quickly. You can expect to train at least three years before you get a black belt. Your training partners will respect your good attitude much more than your grade. How many times a week should I train?

When you begin training, once or twice a week is good. Soon, however, most people find training only once a week is not enough to maintain progress. Training twice a week means you maintain your level and make steady progress. If you regularly train three times a week you will make excellent progress. This is probably the ideal for most people. What do the black pants mean? Are they all black belts?

Hakama, traditional Japanese trousers, are generally worn by senior students. In some dojos they are worn only by black belts. In others they are not associated with a particular grade but more with a level of commitment. In some dojos, women can wear hakama from the very beginning levels. In Aikido Ki Society Australia dojos, senior students are 2nd kyu and above and this is indicated by wearing the hakama. What does a technique prove? Why practise it? What's it good for?

A technique proves nothing. O-sensei said that we should learn techniques and then forget them. The essence of Aikido is to remain calm, centred and able to act effectively in any situation. Techniques give us the opportunity to practise this skill in the dojo so we can apply the principles of Aikido in our daily lives. How long will it take me to be able to defend myself?

You will be able to defend yourself better against different attacks (physical, verbal, emotional) the more you learn to relax and unify your mind and body. And the longer you train the less likely it is that you will be attacked. Remember, the best defence against serious physical attack is not to be where it can happen.

[The Role of Seniors] [Philosophy of Teaching] [Rules for Instructors] The Role of Seniors Seniors should take the initiative to make friends with new students and make them feel at home. Show them how to put on their gi and tie their belt, and how to bow onto the mat. Be ready to assist them during warm-ups.

Seniors, who are given the privilege and responsibility of guiding beginners through their first days in the dojo, should give new students a positive experience. Show kindness and patience. Through you, new students get their first impressions of Aikido, the quality of the dojo, and your true character. If you show you care and show them what they can do (rather than what they can't), you go a long way to opening a whole new world to them. Five principles for teaching Ki:

1. Trust and have confidence in universal principles. 2. Share what you learn with others. 3. Practise and apply what you teach. 4. Teach according to the person. 5. Maintain the attitude of learning and growing together. Seniors should help other students with sincerity. They should show and feel true concern in guiding them. When helping others on the mat, we must all overcome the tendency to be too verbal. Mat time is practice time. Talking too much is a mistake. Keep your words brief and to the point. Although in the western world we are used to learning through verbal instruction, learning in Aikido comes from experiencing it.

Seniors should allow students to complete their technique: they become frustrated and resentful if you constantly stop their attempts. They are learning what makes a technique effective and if you stop them from experiencing and expressing it for themselves you make true learning nearly impossible.

When you make it too difficult for them to practise their technique, or stop it before it can get started, they instinctively want to use other options and are not encouraged to keep to the practice at hand. Guide them through their technique with your ukemi – let them feel their specific response to the prescribed attack. As they grasp the basic technique, how it relates to a specific attack and its ukemi, they are able to begin working on changes and variables as well as increased resistance and intensity. Five principles for Ki testing:

1. A test not of strength but of whether or not the mind moves. 2. Give instruction appropriate to the level of the student. 3. Test in order to teach, not in order to contest. 4. Learn by testing others. 5. The test merely points the way and is not an end in itself. So, when you are helping someone, keep the talking to a minimum, be patient, and show kindness. Let them practise and learn. Let them experience the difficulty, the joy, and the value that comes from their own discovery. Your partner will appreciate it and think better of you for it. If your words are condescending and your attitude is bad, or you stop their attempts at technique, don’t expect to make a friend. Treat them as you would like to be treated and you will not only get their attention but their respect and friendship as well.

Senior students should always set a good example in demeanour, etiquette, practice, cleaning and care of the dojo, personal appearance, and ability to smile. Philosophy of Teaching The success of a dojo is not based on locality, modern facilities, or even the art itself. The ability of individual instructors to impart not just technique, but the ‘spirit’ and ‘heart’ of Aikido is the essence of having a successful dojo. It is important that students have the security of knowing that their instructor has internationally recognised qualifications, is trustworthy, and has their best interests at heart.

Every student is special and unique. Individuals come to Aikido training for a variety of reasons, and their reasons are evolving constantly. There will be students who are a pleasure to teach, or those who are just plain difficult, some with natural coordination, and others with special needs. Each student represents a challenge for the instructor to further their communication skills and teaching abilities. To be a good instructor, you must never give up. Keep exploring new ways to explain or impart knowledge, never losing respect or patience with even the most challenging student. As Nonaka Sensei says, “Be strict with yourself, but gentle on your students”.

The role of instructor goes far beyond teaching techniques. Sometimes students confide their most intimate matters and concerns to their instructor. To act as a confidante or to offer advice can be an enormous responsibility. Objectivity, compassion, and imparting the principles of Aikido are the priority when helping a distressed student. Ma-ai, the proper distance of respect, should always exist between the instructor and students. This does not mean aloofness or withholding advice. Confidentiality must be maintained.

A good instructor will always find a way to illuminate Aikido’s message to each and every student. But it must be remembered that teachers and students alike are followers of the Way. Each has his or her own path to follow, which is sacred. The Sensei is also a student, as practice is a lifelong journey. Rules for instructors

The following are very brief summaries of Tohei Sensei’s “Rules for Instructors” taken from Ki in Daily Life.

1. Growing together

By earnestly and kindly attempting to lead others we make great strides in our own technique and in our own personality. The way of ki is to learn with our companions, progress with them, and help them. This is certainly a good path to follow in the world as well. Do not be stingy with a technique you have learned: if we give of what we have learned as much as we can we can learn still more. Do not worry that the supply will be exhausted, the universal is infinite. 2. An instructor must be modest

Just because someone is teaching does not necessarily mean they have mastered all of the principles the universal has to teach. For instructors to consider themselves perfected beings is a ridiculous illusion. Conceit closes the eyes of the spirit and leads to regression rather than to progress. Though a great instructor propounds it, a mistake is still a mistake; and though a beginner performs it, a correct act is still correct. A person becomes a splendid teacher when they possess a humble heart. 3. Pupils are the teacher’s mirror

The virtues and faults of the teacher are visible in the pupil and vice versa. If the pupil sincerely studies, the teacher will teach with sincerity. If a student is disrespectful to the teacher or shows interest in learning the techniques only, the teacher will know it, and the student will be unable to learn the best the teacher has to offer. Instructors who teach the principles of the universal must ensure their own words and actions conform to the principle of unified words and actions they expound. It is vital to preserve the attitude that they can learn from their students. 4. Right not might

Though it is good that instructors teach their students to become strong, strength should not be the sole aim. In ki training, where the goal is unification of mind and body and the perfection of the human personality, even a little of the desire for power or complacency that one knows all of the techniques is disgraceful and demands correction. It is not the mighty person who is right, but the person in the right who is mighty. The path that conforms to the law of the universal is the way to the greatest strength. 5. Attitude not seniority makes an instructor

Strength and technical skill and being a good instructor are different questions. One does not have to be a wonderful swimmer to be a good swimming coach. If you have studied and believe the laws of the universal you need have no hesitation in saying, “I myself am immature, but this is what I have learned. Let’s train together”. Since the universal is infinite if you wait until you have mastered it all to teach others, you will never do any teaching. When it comes right down to it, we are all immature. The fine instructors are those who, with a true faith, attempt to walk the path of progress together with others. 6. Be fair and impartial

A teacher must be completely unattached – yet kind, fair, and impartial to all students. Impartiality does not mean that you have to teach everyone in the same way. Some people learn something the first time they hear it, others do not get it down after ten repetitions. Anyone can teach a person who is good at whatever they try. A person who can teach those who really need teaching is truly an enthusiastic instructor. This is the way to become a truly impartial instructor, a person illuminated by the spirit of love and affection for all, a person with compassion for everyone. 7. Instructors must work together

Instructors must not squabble among themselves over techniques and teaching methods. In the same technique many methods exist, and the technique varies in accordance with the way an opponent applies force. All of them are correct if they adhere to the basic principles of ki. The universal is broad, and its rules are deep. Always be modest, always strive to learn all the universal can teach, and always lend an ear to what people have to say. Teacher or student, elder or junior, right is right, and a mistake is a mistake. Engrave this thought on your hearts. [Four Basic Principles for Mind & Body Unification] [Principles for Mind & Body Unification] [Principles for Aikido] [Principles for Kiatsu] Ki Principles As well as the “four basic principles for mind and body unification”, there are a number of other sets of principles designed to help you in your training and Ki development. Typically, each set contains five principles concerning a particular theme or area of practice. Each principle within the set addresses the same topic from a slightly different point of view. Some of these sets appear below while others appear in various places throughout this guide.

Often you will find that one of the principles is more relevant to you or easier for you to understand and apply at a particular time. This is as it should be, for we are all unique.

Four basic principles for mind and body unification 1. Keep One Point: calm and focus the mind at the one point in the lower abdomen. 2. Relax Completely: release all stress from the body. 3. Keep Weight Underside: let the weight of every part of the body settle at its lowest point. 4. Extend Ki: visualise limitless energy radiating from the one point. Principles for mind and body unification Five principles for keeping one point

1. Centre on the point in the lower abdomen where you cannot put tension. 2. Let your body weight fall on your One Point, not your legs or feet. 3. Your breathing is calm and subtle. 4. You can accept whatever happens without losing your composure. 5. Therefore you can do your best at any time. Five principles for relaxing completely

1. Each part of your body settles in its most natural position. 2. You relax positively, without collapsing or losing power. 3. Your sense of presence makes you look bigger than you actually are. 4. You are strong enough to be relaxed. 5. Therefore you have an attitude of non-dissension. Five principles for keeping weight underside

1. You maintain the most comfortable posture. 2. Your body feels light and does not sag. 3. Your Ki is fully extended. 4. You are flexible and can adapt to changing circumstances. 5. Therefore you perceive everything clearly. Five principles for extending Ki

1. You are not overly conscious of your body. 2. You make full use of centrifugal force in your movements. 3. You have soft eyes and a poised manner. 4. You show composure in your posture. 5. Therefore you are bright and easygoing. Principles for Aikido Five principles for Aikido

1. Ki is extending. 2. Know your opponent’s mind. 3. Respect your opponent’s Ki. 4. Put yourself in your opponent’s place. 5. Lead with confidence. Five principles for training with the bokken (wooden sword):

1. Hold the bokken lightly. 2. he tip of the bokken must be calm and steady. 3. Make use of the weight of the bokken. 4. Do not slacken your Ki. 5. Cut first with the mind. Five principles for training with the jo (wooden staff):

1. Hold the jo lightly. 2. Control the jo with the rear hand. 3. Manipulate the jo freely. 4. When changing the position of the jo, one hand must always have hold. 5. The line traced by the jo is never broken. Principles for Kiatsu therapy and health Five principles for Kiatsu therapy:

1. Extend Ki from the one point in the lower abdomen. 2. Do not let tension accumulate in the body. 3. Press perpendicularly towards the centre of the muscle without forcing. 4. Focus Ki continuously and precisely at the fingertips. 5. Concentrate on the lines, rather than the points. Basic Kiatsu Lines [Ki Testing] [Seeking your Level] [Shadow Boxing the real tests of Life] [Testing without Confusion] Ki testing

By William Reed Ki testing is the trademark of the Ki Society. Although it is the yardstick by which we measure our progress, it is one of the least understood aspects of our training. Ki testing allows us to experience physically the practical value of mind and body unification, and gives us a simple means of teaching it to others. To better appreciate its value we need to review what Ki testing is for and how it works.

Ki testing was originally developed by Tohei Sensei as a physical measure of, and shorthand for, teaching mind and body unification. Before this, students were expected to absorb the benefits of martial arts training through years or decades of subjective experience and intuition, with little theory or explanation.

The traditional Oriental approach to martial arts training has produced celebrated masters as well as talented performers over the centuries, but also clouds of dubious myth and esoteric nonsense. The old ways were developed for secret societies in feudalistic times, and depended for their success on a life of dedicated service to a master. When Koichi Tohei first took Aikido to Hawaii in 1953, he found that this traditional method was not only ill-suited for westerners, but that it was a highly inefficient method for teaching modern people whose lives were more multi-dimensional. Moreover, westerners had a habit of questioning everything, and refused to practise something without knowing the reasons why.

As a result he developed what we now know as the four basic principles of mind and body unification, and a whole system for Ki development which is both teachable and testable, a perfect match for modern men and women. Ki testing is controlled physical pressure applied on the student’s body by the instructor or partner in an effort to gauge the degree of physical stability, as a measure of the depth of mind and body unification. It is the foundation of our training, and we owe it to ourselves to get it right. Tohei Sensei established five principles to ensure that Ki testing was properly understood and practised: 1. A test not of strength, but of Fudoshin (immovable mind). 2. Test according to the level of the student. 3. Test to teach, not to pass or fail. 4. Understand yourself by testing others. 5. Do not confuse the method with the purpose of the test.

Seeking your level While these principles serve as general guidelines, we must not forget that Ki tests can be performed at different levels to test for specific results of training. There are many levels of training and certification now offered by the Ki Society, but we will concern ourselves here with the basic levels of Shokyu, Chukyu, Jokyu, and Shoden, leading up to the equivalent of a “black belt” in Ki Development. Specific Ki tests are prescribed by Ki Society World Headquarters for each level, which are described in the testing criteria posted in the dojo. For example, unraisable arm is tested under the upper arm at Shokyu, in the same place but with a hesitation at Chukyu, and under the hand at Jokyu.

Shokyu is a test of understanding of the four basic principles of mind and body unification. A Ki test at this level may be thought of as simply touch and test. The idea is to compare right and wrong ways of doing an exercise, keeping it simple and using the test to teach the student how to unify mind and body. It is appropriate at this level to define basic terms such as One Point, and to illustrate errors of common sense in the approach to concentration, relaxation, calmness, and use of the mind. For example, many people unconsciously assume that relaxation is weaker, but Ki testing can be used to demonstrate that by relaxing correctly you actually become stronger. The Ki principles at this stage should be presented in beginner’s terms in black and white, showing how the student can consciously control his or her own state of mind and body unity by simply applying the basic principles. Do not confuse the student by taking them too quickly to a higher level, or by using one-upmanship to show who is better. Remember that a Ki test is not a contest. Touch and test with gradually increasing pressure in a predictable direction with no surprises. The goal at this level is to clearly demonstrate how the Ki principles work with a particular posture or exercise. It’s supposed to be easy, if you follow the principles.

Chukyu is a test of continuity, whether or not the student can remain calm once unified. A feint or hesitation is done just before the test to see if the student’s mind or body is easily disturbed. It is a test of how to sustain mind and body unity, recognising that it is just as easy to lose it as to attain it. “Easy come, easy go” is the lesson here, for we tend to think that we have it when in fact we don’t. It is natural to get surprised, but it is not natural to stay surprised. It is easy to pass a test at this level if you recover rapidly. While a beginner will physically fall for the feint, lunging toward it in an effort to push back, with practice this disturbance becomes so small as to become undetectable. Instructors should be careful not to test with too much Ki at this level, making the test frustratingly difficult to pass. Except for the psychological factor of the hesitation, the Chukyu test is physically not much stronger than the Shokyu test: the lesson to be learned is “let well enough alone”. Once you are unified, you need do nothing to improve it. Once the tap is turned on, the water flows by itself. Do nothing (or do no-thing) to react to the false feint. At this level students learn to calmly trust the state of mind and body unity which at Shokyu they learned to recognise and control.

Jokyu is where the tests become more subtle, seeing whether the student can remain unified under Ki pressure. This is a test of the depth of mind and body unity, and whether or not the student can remain unified without receiving the Ki of the tester. At this level the student is led beyond recognition and trust to positive conviction in the state of mind and body unity. In order to be useful in daily life the four principles must become a natural response, your normal condition. This is a test to withstand the unexpected, only possible if the subconscious has been trained to respond automatically. The test need not be physically stronger, for if the tester’s Ki penetrates the student’s concentration even a gentle pressure is enough to move the student off balance. At this level students gain true confidence in mind and body unity by rising above the test altogether. It teaches us to take the initiative and not be slaves of circumstance.

Shoden is the equivalent of “black belt” in Ki Development, and only qualified instructors are allowed to test and certify students at this level. It may be thought of as a kind of turbo-charged Jokyu, and is characteristically “in your face”. The tests may not be physically stronger, but a deliberate attempt is made to disturb your mind, either by looking you directly in the eye, or by combining the psychological impact of hesitation with the penetrating power of extending Ki before the test is made. Shoden also makes use of unpredictability in the direction or timing of the test. This is a supreme test of whether or not you have made the Ki principles a part of you, and how well you are able to truly do no-thing under pressure. Higher levels of testing such as Chuden, Joden, Kaiden and Okuden may be thought of as more of the same, except that the testing is performed by higher ranking instructors, and usually under the added pressure of a formal test session in front of a large group of high ranking instructors and peers. The pressure is similar to that experienced by public speakers and stage performers, and the test becomes one of maintaining calmness and continuity under more intense scrutiny. Shadow boxing the real tests of life Ki tests offer objective biofeedback for teaching mind and body unification in a direct and tangible way. They also make effective shorthand for teaching Ki exercises and Aikido arts. More importantly, Ki testing prepares you for the real tests of daily life. Experience is supposed to be the best teacher, but in fact it is often the worst teacher, giving the test before the lesson. Ki tests offer a way to simulate the pressures of physical attack as well as psychological stress, and are a means of “shadow boxing” for the real tests of daily life. It is up to each person to make the connection in daily life by experimenting with how the state of mind and body unification learned in the dojo transfers to the endless variety of individual and specific daily life situations which would be impossible to duplicate on the mat. Tohei Sensei has provided us with an organised curriculum for mastering it at various levels, and we know that Ki testing works through the guidance offered by more experienced instructors and from our own efforts to test the principles against the problems of daily existence.

Nevertheless, Ki testing is a skill which in the wrong hands can produce distorted results. Individual variations, carelessness, bad habits, and egos alike can interfere with Ki testing and reduce its value as a teaching tool. Without proper understanding these distortions become magnified over time. Many students find that they can pass a Ki test in the dojo, but not at home. Or students become accustomed to the testing style of their own instructors, but find that they cannot pass the tests of a visiting instructor. The ultimate surprise comes when they find that what has worked for years in the home dojo doesn’t work at all when tested by a visiting instructor. This can lead people to assume that Ki testing is either subjective or a matter of the instructor allowing the student to pass just to prove a point. Instructors should be careful to emphasise the objective and progressive elements of Ki testing, and not let it degenerate into a game of subjective feelings and vague notions. Testing without confusion Much of the confusion arises from improper testing. You would not stand still if the tester were to take a swing at you, and you should not stand still for a test which shoves you or breaks ma-ai either. In our enthusiasm to invent new tests we sometimes overstep the boundaries of what is a test and in fact deliver a low-grade attack. This can have value if done in a controlled manner to illustrate a point, but it can easily turn into a reckless shoving match for which an Aikido throw or simple evasion might be a better response.

Control is the point. It is important to recognise the difference between “I will not move” and “I cannot move” . If we maintain the Ki principles correctly, we will know when it is time to move and when it is time to remain in place.

There is an optimal level of testing for the student’s growth. If a test is too easy it fails to make a point, if too hard it can create frustration or worse still, lead to little tricks for passing a particular test that miss the point altogether. Ki testing is a two-way affair, so you tend to get back what you give out. The best way to avoid ego conflicts and wrong ideas is to begin with a clear understanding of the fundamentals of testing at each level. In order to get the best results the tester must be unified, that is completely balanced, relaxed, calm, and positive. Since the focus is on the person being tested, it is easy to miss the fact that the tester may be using strength rather than Ki, pushing at an unfocused angle, or giving a low-grade attack rather than a Ki test. Training with bad testing is like taking music lessons on a poorly tuned piano.

As the tester, one way to ensure that your test is valid is to see how little pressure is required to move your partner, not how much. As the person being tested, if you find that you can violate a Ki principle and still pass a test then it is a bad test. It is possible to be stable against a fair amount of pressure by taking a low stance and tensing only the muscles at the point of the test. This little trick does not work against a real Ki test. An old Zen saying has it that a wooden Buddha cannot pass through fire, and a clay Buddha cannot pass through water. We want to develop a state of mind and body unity that is reliable for whatever conditions we meet, not just a set of mental and physical tricks for passing the Ki tests. The purpose of the test is to teach, not to pass or fail. If you come away from the test with a better sense of recognition, control, continuity, and conviction in Ki principles then you have been successful.

[Dress & Cleanliness] [Bowing] [During Class] [Your Attitude] [The Sensei] [Children & Pets] Dojo Etiquette The word dojo literally means “place of the way”. The dojo is a place of learning. It is a place to respect, to keep clean and to care for. The dojo is a place to be made special for practising a special art. In an Aikido dojo, the observation of basic forms of etiquette is integral to the creation of a respectful and attentive atmosphere which is conducive to learning. The following are a few simple rules which enable us to train together in the spirit of Aikido. Dress and Cleanliness ● The dojo should be kept spotless. If you see something that indicates otherwise, for example, rubbish or dirt on the floor, don’t wait for someone else to correct it. This is part of your training. ● Always see that toilets, showers, and dressing areas are kept clean. ● Treat your training tools with respect. Your gi should always be clean and mended. Your bokken, jo and tanto should be in good condition and in their appropriate place when not in use. ● Your body, and in particular your feet, must be very clean before you step onto the mat. Keep fingernails and toenails trimmed. ● T-shirts and singlets are not to be worn by male students during training. Only female students are allowed to wear a white T-shirt or singlet under their gi. ● No rings, watches or jewellery of any kind should be worn during practice. ● Do not wear heavily scented perfume or cologne in the dojo, although a deodorant might be appreciated by your fellow students. Bowing

Bowing is an appropriate way of showing gratitude and humility, while at the same time placing one’s mind in a state of non-dissension, which is necessary for the right training.

● Bow when entering and leaving the dojo. ● Bow when stepping on and off the training mat. ● At the beginning of each training session, the class lines up and bows first to kamiza (higher seat) and then to the instructor, saying onegai shimasu, which translates as “thankyou for what we are about to do” or “I place myself under your teaching”. ● At the end of each training session, bow again to kamiza, then to the instructor, saying arigato gozaimashita which translates as “thankyou for what you did”. ● Bow when requesting personal instruction from an instructor. ● When receiving personal instruction, remain quiet until the instructor has finished, then bow. ● After the instructor demonstrates a technique, bow, choose a partner quickly, bow and begin to practise. ● When the end of a particular practice is signalled, stop immediately, bow to your partner(s) and line up in seiza (formal kneeling position) for further instruction. During Class

● If you are late for class, wait at the side of the mat until the instructor signals that you may join the class. Then bow and enter the mat. ● All participants should be sitting in seiza with quiet attentiveness when the instructor steps onto the mat to begin class. ● The formal sitting position on the mat is seiza. If you have an injury, check with the instructor, and if the instructor suggests, you may sit cross-legged, but do not sit with legs outstretched, lean against posts or walls, or lie down during class. ● Do not leave the mat during class without first obtaining the permission of the instructor. ● Never interrupt the class to question unnecessarily. Learn as much as possible through intent observation and concentrated practice. If you must ask a question, wait for an appropriate moment. ● Do not call out or interrupt the instructor while he or she is teaching. ● There should never be conversation of any kind while the instructor is demonstrating. When training with your partner, speak only when necessary. ● For reasons of safety, respect and courtesy, it is essential that the instructions of the teacher be followed exactly. Many techniques are dangerous if not practised properly. ● Never argue about a technique. If there is a problem that cannot be resolved, ask the instructor for help. ● Never interrupt another student’s training to ask for assistance. Wait until the instructor is available to help. ● It is inappropriate for a student (including a black belt) to offer instruction during class unless he or she has been specifically requested to assist by the instructor. ● Never be idle during practice. You should be training or, if necessary, seated formally awaiting your turn. Your attitude ● Always enter the dojo with an empty mind and with positive Ki. If you think you know already, it is difficult for you to learn. ● Never come to train when you have ingested any type of drug or alcohol. ● Any negative feelings you might be harbouring must be left outside the dojo. There is no place for them inside. ● Always arrive at the dojo with plenty of time to sign in, change into your gi, and enter the mat area at least five minutes before class is to begin. The Sensei ● The instructor is referred to as Sensei during class. ● Treat every instructor with respect at all times. ● Never compare one instructor with another. Every Sensei has something unique to offer – your job is to discover it. ● A Sensei should never have to fold his or her own hakama after class. Children and Pets Traditionally, the Aikido dojo is a place to train in an atmosphere of calm and serenity. Aikido training requires total concentration. Adult students expect and enjoy the “get away from it all” feeling during practice. As children and pets are disruptive during adult classes, it would be appreciated if alternative arrangements could be made for the care of children and pets at those times you wish to attend classes. [Aiki Kids] [Health Issues] [Attitude] [Commitment] Aikido Training for Children

Although adults might practise Aikido to develop inner peace, relaxation, or self-defence, most children don’t even think about these concepts. So why is Aikido a good idea for kids?

Aikido teaches kids calmness. Of course, kids shouldn’t be calm all the time. Aikido gives them the choice. If they need to sit still at school, or concentrate on homework, or focus during sport, Aikido shows them exactly how to do that. The techniques and ki testing we do teach them correct calmness. This is entirely different from keeping their emotions bottled up. Aikido calmness feels good.

Aikido helps kids at school. By training, kids develop calm, clear minds. As a result, they absorb knowledge easier, and think with greater clarity. Aikido is about developing the full human potential, and school is one of the most important places for this potential to be realised.

Aikido teaches kids practical self-defence. Aikido does not require athletic talent. In fact, athletic prowess can sometimes get in the way. Aikido works for little people, since it does not rely on size, or speed, or weight. The key to making progress in Aikido is simply persevering and having a positive attitude. What better lesson can we teach our kids?

Some martial art instructors feel that “fun” does not belong in the dojo, because to study martial arts one must be dedicated and serious. However, for a child, any environment that promotes learning through laughter, imagery and games becomes a safe environment. This safe environment can enhance a child’s ability to learn and thus begin studying the more serious side of martial arts.

Having fun, playing games, and using one’s imagination are part of growing up. Opportunities and permission to do all of these things allow children to take risks in a safe way. By exploring their limits, kids can open new realms of understanding about themselves and the world in which they live.

Kids have the ability to learn basic Aikido principles through exercises, games and techniques. Kids can become absorbed in an activity because it is fun and then receive additional benefits, such as an increased awareness of their surroundings and a better perception of the strengths and limitations of themselves and others. They have the opportunity to push themselves further, to explore their abilities, to assert themselves, to focus their attention, to push themselves physically, emotionally and mentally beyond what they think they are capable of.

Aikido teaches kids “how to be strong” and how learning to stay calm and relaxed can be much stronger than things like anger, force and aggression. They learn about responsibility, doing the right thing, even without reward, about treating each other with respect and kindness. They also learn about things like bullying, or how to respond to verbal insults. Aikido is training for the mind and body. Aikido is training for life. Aikido teaches kids a lighter approach to life. A plodding serious approach to life doesn’t feel good. And it usually doesn’t yield the best possible results. Aikido works best when you relax and feel light. By learning this in practice, our children can’t help but apply this to their lives.

Aikido gives kids a positive worldview. It teaches that in order to create something worthwhile, you must work in harmony with your environment and others. If your mind is correct, calm, and positive, you can make something good out of whatever the universe hands you.

Health issues To protect the dojo family against disease, we have adopted the following policy intended to minimise the risk of transmission of HIV, Hepatitis B and other blood-borne pathogens during training. The following is taken largely from an Infectious Disease Policy of the Australian Sports Medicine Federation (ASMF).

A number of blood-borne infectious diseases can be transmitted during body contact and collision sports. The more serious include Hepatitis and HIV (aids) infections. These diseases may be spread by contact between broken skin or mucous membranes and infected blood, saliva, semen or vaginal fluids.

For the transmission of HIV through blood to occur during sport, the blood of an infected person must contaminate the lesion/wound or mucous membrane (for example, the eye or mouth) of another person. The risk of such transmission is very low, with few cases reported in the international literature. The following are principles recommended by the ASMF to help further reduce the low possibility of HIV and Hepatitis transmission while participating in sports which involve direct body contact. ● Be responsible: maintain strict personal hygiene. ● Keep your fingernails and toenails trimmed so you don’t scratch, cut or otherwise break the skin of others. ● Don’t share cups. ● Use paper towels for drying and dispose of them in the bin provided. ● If a wound occurs during training, leave the mat and wash the wound with soap and hot water, apply antiseptic cream and a bandage. Keep the wound covered until you receive medical advice, if required. ● Similarly clean and cover any existing lesion or open wound before training. ● If you notice that someone else has an open cut or sore remind them of their obligation before training with that person. ● Clean any spill of blood on the floor covering or furnishings immediately. Disinfectant is available in the change rooms. ● If you are assisting someone with a bleeding injury, wear gloves, located in the change rooms. Wash your hands with soap and hot water as soon as you remove the gloves. ● All used gloves, bloody dressings, rags and so on must be placed in a leakproof plastic bag and disposed of carefully. ● If anyone’s blood gets on your skin, leave the mat immediately and wash the blood off thoroughly with soap and hot water. ● The ASMF recommends vaccination against Hepatitis B. Finally, there are other diseases and illnesses aside from those transmitted through blood. You are reminded that you are responsible for not only your own health and safety but the health and safety of others with whom you train. If you know or suspect that you have any illness or disease which might infect others, refrain from training until you are no longer a risk to others. This self-defence and consideration of yourself and your fellow students is your responsibility and part of your training. It is embodied in the spirit of the art we study. Attitude One of the first things you notice about a person is their attitude. Your attitude towards life and others is one of the most powerful generative forces on earth. If your attitude and thoughts are positive, your life will reflect positive results.

When you see a person who has a proper attitude it tells you that their energy is positive. Positive attitude produces enthusiasm which in turn generates energy. Positive-thinking people accomplish more life goals because they expect positive results. Belief creates the actuality. You create your own reality.

Another way attitude plays a big part in your life is how you handle problems. Everyone has problems, but with a good attitude problems become challenges. Accept problems and use them to make you stronger. When you experience a setback, say to yourself, “That’s not like me, I’ll do better next time.”

It’s never too late to change your attitude. When you give up and stop caring, you lose the harmonious balance of mind and body; you begin to work against your own best interests. One way you can change your attitude is to adopt a spirit of thankfulness. Many people think only of what they want or don’t have. Instead, focus on what you do have. Be thankful for your food, clothing, shelter and for the people who appreciate and love you.>nr> Treasure your time. Most people live their lives as if they have all the time in the world. Think about how much time is wasted on projects which are not of value to you or society. You must realise that what you do affects the universe as a whole.

Begin and end the day being grateful for the opportunities you are given to learn. Think of each day as if it were your last. Remind yourself of this constantly, and you will realise that some things are not so important anymore. Commitment ● Had a tough day at work? ● Got too much on your mind? ● Feeling kind of down? ● Too tired? ● Too many things to do? These are all good reasons to take class today.

As soon as you decide to do that, your day will change. Maybe just a little bit, maybe a lot. By the time you have packed your gi and are on your way to the dojo, your own personal ritual for transformation has begun.

The trip to the dojo, for instance, can be used to process the day and let it go. With each step, let your problems drop away. Each door you close behind you separates you from the difficulties of the day. Changing from your street clothes to your gi is a particularly effective tool. Shed your troubles with your clothes and step into a “fresh new you” when you put on your gi. By the time you reach the mat, whether you are aware of it or not, the transformation is well advanced.

Before embarking on the practice of Aikido you should be committed to training at least two or three times per week. A person cannot properly learn the art without consistent and diligent practice.

It will not be easy! There will be times when you will not want to train: you must be able to stand behind your commitment.

To attain that condition of being in which philosophy, technique, attitude and spirit merge requires consistent, sincere practice. There are no shortcuts! When there is no longer a distinction between daily life and the practice of Aikido we truly will be following the “Way of Harmony”. Calmness as relaxed readiness

By William Reed Shimizu Jirocho was the legendary “Robin Hood” figure of Japan, an undefeated swordsman whose reputation eventually earned him the highest certificate of ability from the greatest swordsman of the Meiji era (1868-1912), Yamaoka Tesshu. The Tesshu line was to have an enormous influence on Tohei Sensei through misogi training at the Ichikukai, and Ki Society students will recognise the meaning of a story about Jirocho’s swordsmanship.

Aware that Jirocho had never lost a fight, Tesshu asked him for his secret. Jirocho replied that there was no secret, he simply chose not to fight if he knew he would lose. When Tesshu asked him how he knew in advance whether he would win or lose Jirocho replied, “I lightly tap the tip of my opponent’s sword. If it bounces off with a crack, then I know I can win. However, if the tip of the sword whips back like a willow branch, then I know I cannot win so I find a reason not to fight.” Jirocho never lost a fight because he never fought a fight he would lose. On the strength of this insight, Tesshu awarded him a kaiden certificate.

Bokken practice often begins with an exercise in which you move the sword back and forth a few times, each movement diminishing by half, until the sword maintains the vibrant stillness of a tuning fork at rest. A partner then tests the sword in the same way as Jirocho, by tapping the tip of the sword to test the response. If the return of the sword to front centre is lively, relaxed and instantaneous, this represents the imperceptible movement in stillness known as seishi, or living calmness. However, if the return of the sword is sluggish or stiff, this represents the weak and vulnerable state of teishi, or dead calmness. It takes an exceptional eye to be able to detect the difference between the two.

While the coward hides behind a mask of bravado, the truly brave person may appear too relaxed or too calm for the situation. Being calm in a crisis may mean that you don’t understand the situation, or it may mean that you have had some excellent training. So similar is the outward appearance of living and dead calmness, that even an expert like Jirocho apparently felt the need to test the tip of the sword. This is certainly better than learning from experience, because experience can be fatal. It is said that experience is the worst teacher, because it gives the test before the lesson. In lieu of experience we are fortunate to have one of the best simulations ever devised, the Ki test, which clearly distinguishes between seishi and teishi. The more experience you have with Ki testing, the better you become at learning to see the difference.

While Ki testing gives you immediate feedback on mind and body coordination, it is also important to develop a clear conceptual understanding of the difference between living and dead calmness, between relaxation and collapsation. There are many examples and analogies in nature which demonstrate how apparent stillness conceals imperceptibly rapid movement. Both a spinning top and a helicopter propeller appear to be at rest when they are moving at maximum speed. We are not even aware of the turning of the earth, and yet how quickly the sun sets when it reaches the horizon. Wind and water are some of the most powerful forces of nature, and yet we often forget their existence though we are surrounded by them.

Without any outside implements you can achieve the same effect of the calm sword through meditation. Correct your posture and rock your body from side to side a few times, letting the movement fade by half, half, half... coming to rest in vibrant stillness. After the movement has stopped, a Ki test will immediately show whether you have come to rest in a state of living or dead calmness. You cannot reduce a number by half and ever reach zero. Though the movement may become too small to see, it continues unconsciously.

Living calmness means resting with readiness. After a minute or so have someone suddenly clap to sound the signal to stand up. If you are resting ready you will move with alacrity when required. This is the same state of relaxed readiness you need to receive an attack. If it takes you a moment to gather yourself up, then you have fallen into a slackened state of rest. People complain about having to “hurry up and wait”, which can lead to lethargy. It is difficult to remain calm without losing power, but it is equally difficult to remain calm in the midst of activity. The secret to maintaining calmness in action is to recognise the difference between seishi and teishi.

Students ask what they should think about when practising calmness. Calmness can be practised, but it must become an unconscious habit if you want to use it in daily life. Ki training leads to unconscious calmness, which frees your conscious mind to become active without losing its bearings. Most people think they are calm, but their true colors come out under stress. Relaxation and calmness are essential in enhancing performance. An excellent way to practice calmness is the relaxation exercise of rapidly shaking the fingertips. Let the movement rapidly fade until the hands appear to be at rest, but in fact are filled with Ki. Demonstrate the difference with a Ki test, and see how it makes both Aikido and Kiatsu techniques more effective.

A common metaphor for calmness used in Aikido is that of the calm still surface of the lake which reflects alike the moon and the flying bird. Clear awareness is critical to the martial arts, where misjudgment can lead to injury or death. This state of calm reflection is brilliantly portrayed in Miyamoto Musashi’s painting of a lone bird’s shriek on a withered branch. The eye of the bird, no more than a jot of ink, reflects that same mind which could encompass a dozen opponents within a single state of awareness. In Western painting we have the Mona Lisa, whose eyes mysteriously follow the viewer as he or she moves past. Leonardo da Vinci and Miyamoto Musashi both knew that a calm mind opens a wider field of awareness. Calmness reveals the difference between seishi and teishi, between bravery and bravado, between what is real and what is fake.

[Basic Holds] [Basic Strikes] [Basic Combinations] [Basic Projections] Basic Technique Basic Holds

Basic Strikes Basic Combinations

Basic Projections

[Blending] [Uke & Nage] [Ukemi] [Progression of Practise] [Basic Static Technique] [Flowing Practise] [Randori] [Resistance Testing] [Attending Seminars] [Unity] Blending Aikido is the study of wisdom. If you cannot control and trust yourself – if you cannot see yourself clearly – you will never have any knowledge or trust of others and you certainly will not be able to control them. The purpose of Aikido training is not to create aggressive fighters but to refine wisdom and self-control. As a student of Aikido you must study to improve and polish yourself, not to compete with others.

The key to this process – and the heart of Aikido – is musubi. This translates loosely as “unity” or “harmonious interaction”. In practice, musubi is the ability to blend, both physically and mentally, with the movement and energy of your partner. Musubi is the study of good communication. Communication exists in every human interaction, whether it is acknowledged or not. It is up to the participants in the interaction to determine whether the communication will be productive or futile, friendly or hostile, true or inaccurate. Musubi, as it is refined, can mean the ability to control and alter interaction, changing a hostile approach to a healthy encounter and an attack into a handshake.

Cooperation is very important in Aikido training. Almost all practice is done with a partner, and the relationship between partners must be a manifestation of musubi. Aikido training, through its gradual and cooperative process, teaches your mind to remain calm and your vision to remain clear, so that fear, anger or lack of confidence do not distort your body movements. It trains your body to be supple and responsive. Constant practice supplies the body with the wisdom of experience.

In this way, the body becomes the reflection and the physical manifestation of the mind. Body and mind working together, in the relationship of musubi, enable you to react simply, efficiently and sensibly under pressure, rather than letting yourself be dominated and controlled by circumstances.

The study of Aikido is the study of wisdom, and wisdom, in large part, is the possession of common sense. Common sense, unfortunately, is much rarer than its name would imply. Training in musubi and the basic principles of Aikido involves relearning common sense. We find evidence of this in the basic defensive movements of irimi and tenkan.

Many basic techniques can be performed in either of two ways. Irimi is the more direct version of a technique. The same technique done with a turn is known as tenkan.

Most irimi techniques begin by entering – moving decisively toward and across the front of uke (the partner initiating the attack). This requires a deep step, and must be done in a committed move with the whole body and spirit, not just the arms. Entering techniques have a sharp, direct motion and spirit to them.

Tenkan techniques place more emphasis on blending with and overextending uke’s attack. They usually involve bringing uke around the body in a spiralling movement.

In fundamental training there is a clear distinction between irimi and tenkan so that students can learn the principles of entering and turning.

However, these two movements can also be thought of as one movement, irimi–tenkan, in the same way that yin and yang are parts of a whole.

At later stages of training there is no formal irimi or tenkan. Once you have internalised the principles you begin to enter and turn to the degree most appropriate to the moment.

Both irimi and tenkan are movements that people use in everyday life without thinking. Imagine that you are walking down a crowded city street and you see someone coming towards you from the opposite direction. Would you rapidly back into the people behind you to get out of the way? No, you would continue to walk forwards and perhaps turn sideways to slip by. This is an example of irimi.

Now imagine that the same person pushes into you while passing by. Would you grab hold of them to keep your balance? No, you might spin around to keep your balance and keep walking. This is tenkan. Both movements are simple, natural examples of common sense. Anyone can do them, and their very simplicity and universality confirm their truth.

But when faced with an attack, people untrained in Aikido automatically do what they know to be foolish on a crowded street – they try to walk backwards. When a push is a hostile gesture, people either freeze or grab onto the assailant for balance. They lose common sense and the ability to react naturally. On crowded streets people show an understanding of musubi: but faced with threat, the mind regresses towards fear and aggression, and the body loses its ability to react with agility and efficiency.

O-sensei said again and again to his students that the same principles that govern nature govern Aikido. A small bird may fly in a gale, but not by struggling against the wind. It must use the force of the wind to aid it. You may successfully pilot a small boat in rough seas, but only if you know how to ride the waves. So too in Aikido, the student seeks to learn to receive force and transform it into an ally rather than to fight it. This is wisdom, and this is the reality of musubi. Uke and nage: harmonising energies In practising Aikido, the aim is not to defeat, overpower or dominate your partner but to achieve total coordination of mind, body and Ki.

Working with a partner, the techniques of Aikido allow you to explore and overcome any tendency to be either excessively dominating or too yielding. Aikido is a concrete manifestation of the principle of yin and yang, or complementary opposites. It teaches you to be both “rock” and “water” – the rock around which the water must flow, and the water which seeks the way of least resistance.

Beginners often find the wide range of techniques and subtle body movements quite baffling. However, the basic principle of a centred, circular movement that absorbs, merges with, and leads the energy of your partner soon becomes apparent. As your body becomes more centred and supple, you develop self-confidence and a calm mind. This increases your capacity for clear, powerful and creative involvement with the world in which you live.

The attack is the vehicle by which both uke (the attacker) and nage (the person performing the technique) become conscious of the energy within and around them. Both must learn how to let this energy circulate freely. Uke’s task is not to try to hurt nage but to provide the initiating action that makes it possible for both partners to learn.

Uke must give an honest, sincere and direct attack. The attack extends from uke’s one point to the one point of nage. It should be realistic, but carried out at a speed suited to nage’s particular degree of skill.

Stubborn resistance makes practice dangerous and unpleasant; submitting too easily makes it futile. At first, uke must learn to continue the movement of the attack until a fall is inevitable. Eventually the fall becomes simply the result of the attack, rather than a conscious completion of the movement.

If the attacks follow each other in a smooth, even flow, without becoming violent or jerky, you and your partner can practise the same technique indefinitely. Because it never happens the same way twice, there is always another refinement to discover. When you train in this frame of mind, uke needs as much concentration and skill as nage, and can learn just as much, if not more. Thus attacks and techniques progress together.

Nages must study the right placement of their movement and incorporate the principles and philosophy of Aikido.

Of the total energy generated, nage’s portion should be at the most 30%, uke’s the other 70%.

During class, the form for practice is usually set up by the Sensei. Hence, both uke and nage know in advance what the form will be. The challenge is to give an honest attack not altered by the knowledge of what nage will probably do.

An honest punch to the chest is just that: a punch to the chest. It should strike the chest if nage stands still, and miss if nage gets off the line of attack. It’s neither helpful to your partner nor good practice to shy away and miss when nage does not get off the line. Nor is it good training to redirect your strike in the direction nage is going in order to make it more difficult. Strike as if you don’t know what technique nage is going to do, and simply give a solid, straight, balanced punch. This must be done at a level appropriate to both your own and your partner’s ability.

A beginner deserves the same integrity in an attack as a senior student. The only difference is the speed and power with which it is done. A beginner should be hit if they stay on line, just more slowly than a black belt. Conversely, your attack should be at the speed and power of your ability to fall. If you can safely fall at no more than 7 km/h, don’t attack at 70 km/h.

An important Aikido training method involves offering resistance to your partner. This should never be done by beginners. This type of training is appropriate only among senior students. It is a practice of stressing the technique to discover weak, ineffective areas and requires nage to practice with the whole body and spirit. It takes great sensitivity, not strength, to do this so that it enhances the practice. Too much, and it’s a battle of wills: too little, and it isn’t stimulating. This practice must also be done in the purest of spirit, as a gift. All too easily, it becomes an ego game. This is quite destructive and should be avoided. Done in the correct manner, at the right time, in the purest of spirit, this intensified style of practice is very valuable. See “Resistance testing” on page 58 for a more complete explanation of this type of training. In summary, a good uke is responsive, responsible, free of fear and trusting. A good nage is accurate, skillful and sensitive.

With continued practice in Aikido, as your mind and body begin to work as one unit, you come to experience yourself as a whole person and to find a natural way of being in the world that is expressive, positive and without struggle or uncertainty. Conflicts are often created by the need to win, to demonstrate superior power and ability to exert brute force. Without the need to win, or the fear of losing, you begin to engage creatively with what is – physically, mentally, and spiritually. Ukemi Ukemi is the art of defensive falling. What you receive through your body as uke is not the losing end of someone else’s technique: you receive the essence of Aikido itself. Bit by bit, your body and senses are learning the movement and energy of the technique as it is being done to you. You are learning what feels strong and right and what does not. Aikido is thus transmitted directly from body to body.

It is important, therefore, to pay strict attention to both the form and the spirit of ukemi. Practice your falls until they are second nature. The way you fall affects your perceptions of Aikido. If you fall with a great amount of fear or tension, then your attention will be on escaping pain or injury. When you become nage, your concept of the technique will be clouded by the tension you had while learning it as uke. When ukemi becomes natural, then your focus can be on the technique.

Ukemi is also an opportunity to see clearly in practice the different ways we react to fear, pressure and pain. To take safe, fluid falls requires you to be completely aware of the motion and relaxed enough to adapt your body to it and absorb the power of the throw. Fear and pain cause you to tighten up, to withdraw when it is time to be 100% committed to the motion that is happening in that moment.

It is through the practice of ukemi that the relationship between emotion and body motion can be perceived, an inner understanding of the workings of the technique felt, and both turned into knowledge within the body. Progression of Practise Basic Static Technique In basic static technique we study the mechanics and form of a technique. We return to basics time and time again to reaffirm and correct our understanding of the foundation upon which we base more advanced aspects of the art. We practise the techniques over and over again, studying the movement of one point, the feet, and the hands, as well as the relationship with uke. The practice must be slow, deliberate, and repeated until the form and principles become second nature.

These basics are therefore not only the foundation of the techniques, but also the instruments through which we discover and practice the principles of centring, extending and blending. Basic technique is not just an important step for beginners, it is imperative that advanced students continually reinforce this basic foundation as part of their daily practice. Flowing Practise Fluid training is the step after basics. The different parts of the technique are put together into a whole. The practice is looked at as a unit, as a single movement, studying the motion and the timing of the technique. At first, the movement will have corners where the parts were put together. Do not rush or avoid areas that are rough. Do not slow down and speed up – perform the technique at the same speed throughout. With practice, the corners will round out and the technique will be done smoothly. So begin this stage slowly, adding just a little motion to the technique at a time. If the technique begins to falter, slow down, regain a strong footing in the basic form, and then start again with the fluid practice.

Fluid practice means that you begin your motion of blending with uke before the attack arrives, and that the technique is executed in one continuous motion. The training must be filled with commitment and spirit. Randori - Creative Practise After years of committed training, when the principles of Aikido are thoroughly a part of you, creativity begins to flow through the well-honed tool of your unified body and mind, enabling the discovery of new techniques and ways of moving.

In the more advanced levels of Aikido the rigid form begins to disappear and a more spontaneous way of movement takes its place.

This is much more than just the unhampered “creativity” which is abundant in all of us. It is the level of mastery where our body becomes sufficiently tuned through training to be capable of expressing creativity in Aikido. This ability comes slowly. The feeling is not so much doing a technique as becoming the technique. When your body and mind are trained sufficiently, it will begin to happen all by itself and can neither be forced nor hindered. Randori is a way to train spontaneously and creatively.

Resistance Testing Resistance testing may be employed by senior students when uke feels that the technique is not operating correctly. It might be that uke feels their balance has become stable or that the slack in the body has not been taken up. It may be that nage is not following Ki principles or that rhythm has been lost.

Testing nage can be done in a static manner before the technique starts or under movement within the technique.

Resistance testing can never realistically measure the effectiveness of an Aikido technique in a real situation, and should not be employed with this in mind. Uke’s understanding of Aikido and foreknowledge of the technique give an enormous advantage. The end result would be much more devastating for an attacker with no knowledge of Aikido.

In advanced training, resistance becomes an important part of the study. But, testing nage must not be done in a competitive manner. The challenge is to give an honest attack not altered by the knowledge of the technique. To learn when it is appropriate to resist and to understand when resistance creates a learning situation requires much experience. It is a practice for advanced students only.

Resistance testing during a technique should only be attempted if uke is experienced and able to explain why the technique is not working and demonstrate the correct way to do it. This is the only way in which testing can benefit nage. Resistance testing can also challenge your own understanding of how the technique should be performed. A good guideline is: “if you can’t explain, please refrain”.

Remember that communication can also be achieved by leading nage’s movement. Nage can allow uke to lead them through the technique. This non-verbal communication can also be a very good teaching method to show nage a more effective way of executing the technique. Remember that Aikido knowledge is transferred “body to body” in this way.

Resistance testing can readily elicit responses such as anger and aggression. As uke, you must consider whether nage can meet the challenge of a vigorous and sustained attack without “losing their cool” and causing injury. As nage, you must consider whether anger and aggression are the responses that serve you best in this kind of situation. The true challenge is not the resistance, but whether or not you can remain calm and centred, and adjust your technique to meet uke’s attack appropriately. Explore these aspects of training with caution.

Some nages change to a completely different technique if they are unable, when challenged, to complete the technique being practised. This does not foster learning or further development and is disrespectful to your Sensei. “Downing” your partner at any cost is not in the spirit of Aikido.

There is a strict guideline which should be followed in order to engage in resistance testing without injury and to maintain the right spirit of testing: as soon as resistance is applied and the technique is obviously not working, partners should separate and initiate the attack again. This allows for the rhythm of the technique to be re-established under movement.

In summary, there are three key factors which help to avoid injury and maintain an atmosphere of fun and harmonious learning: ● If you can’t explain, please refrain. ● Know your opponent’s mind. Ensure that nage can benefit from the resistance and that your own motives are correct. ● If there is obvious conflict: Stop – Explain – Begin again. Finally, it is imperative that all students in the dojo tell one another if they are experiencing pain or discomfort during practice. Unwillingness to communicate that you are being hurt during practice can result in injury. Maybe you can handle the pain or the difficult ukemi, but what about the next uke who trains with a pain-inflicting nage? Silence delays nage’s advancement and is a disservice to everyone in the dojo. Attending Seminars Since opening in February 1991, Goshinkan has hosted a remarkable number of seminars taught by some of the best instructors that the Aikido world has to offer: ● Koretoshi Maruyama Sensei ● Taketoshi Kataoka Sensei ● Takashi Nonaka Sensei ● Ken Ota Sensei and Steve Ota Sensei ● Jitsuo Niwao Sensei ● William Reed Sensei ● Iwao Tamura Sensei and Ohara Sensei ● Takashi Nonaka Sensei and Eric Nonaka Sensei ● Iwao Tamura Sensei All of these teachers have shared their areas of expertise with us in their own unique way. There are so many approaches to Aikido, every teacher broadens our Aikido repertoire and gives us new ideas and concepts to absorb and pass along.

These instructors are our direct link to Tohei Sensei’s most current teachings. They are able to impart knowledge and understanding to all levels of students – from beginner to advanced and their vast teaching experience enables everyone to improve their understanding of Aikido and Tohei Sensei’s Ki principles. Each seminar brings us new and exciting ways to understand Ki, whether it is a new Ki test or changes to familiar tests and techniques.

Have you ever wondered why the techniques always seem to be changing? Do you find these changes frustrating and annoying? Or do you approach change boldly and with a positive attitude?

Aikido is an evolving art. It is an art that mirrors nature, so it cannot be stagnant.

The Ki of the universe has never for a moment stopped moving. We call this continuous growth and development. Do you not think it strange that human beings seem to be the only ones trying to stop the movement of Ki? Master Koichi Tohei

The concepts we learn at our national seminars encourage us to have an open mind. The ability to change, to welcome new ways to execute a technique or direct ki, is what keeps us fresh, open and flexible in our daily life.

Those of us who have had the opportunity to spend time with the older senseis have all been amazed at how timeless they seem. They do not fit our expectations of older people. Whether you are 20 or 70, the senseis seem to be one of your peers. They are often described as vital, so alive, so “with it”. We always say “I hope to be like that when I am that age”. The aging process does not have to bring with it rigidity and a stagnant mind. Aikido training is one way that we can keep our minds and bodies sharp and flexible so that we can grow older, living our lives to our greatest potential.

One of the most important aspects of training at our national seminars is to remain open to new concepts, to adapt to new teachers and to new ways of doing things. This ability to accept change is far more important than comparing differences between instructors or between the old way and the new. Seminars provide us with the opportunity to renew our techniques by laying to rest the familiar, comfortable way we are used to doing things. There is a saying that “the enthusiasm of the beginner is the envy of the master”. Seminars give us all the chance to experience that state called “beginner’s mind”. Unity The concept of harmony is intrinsic to the practice of Aikido. O-sensei saw his art as a way to create harmony throughout the world.

In Aikido Ki Society Australia we encourage students to visit other dojos and welcome students from other styles to attend both our seminars and our general training. The key to the success of this policy is always to train with an open mind. Take what you like and leave the rest. Do not compare what is different but look for what is the same.

Each style and each person brings something unique to the whole of the art. If our training separates us from each other, are we truly practising Aikido?

When you meet someone new on the mat, remember that everyone has their own style derived from experience and the dojos where they have trained. See it as an opportunity to learn something new. With an attitude of openness and tolerance you will be doing your part to bring the world one step closer to harmony and unity. [Ki no fudo ho] [Ki no ishi ho] [Ki no kokyu ho] [Ki no taiso ho] The Four Ways of Aikido ● Ki no fudo ho (The four basic principles)

● Ki no ishi ho (Ki meditation)

● Ki no kokyu ho (Ki breathing)

● Ki no taiso ho (Ki exercises) Ki no fudo ho

Understanding the four basic principles enables us to develop immovable mind and immovable body. The four basic principles:

1. Keep One Point 2. Relax Completely 3. Keep Weight Underside 4. Extend Ki Ki no ishi ho

The study of meditation includes Ki no toitsu ho (Keep One Point) and Ki no kakudai ho (Extend Ki). In the understanding of this Way a strong will and positive attitude emerge. Five principles for Ki meditation:

1. You maintain a posture of mastery. 2. You have a sense of freedom. 3. You create an atmosphere of harmony. 4. You are vividly aware of the spirit of life in all things. 5. Therefore you can feel the movement of Ki in the universe. Ki no kokyu ho

There are many different ways of Ki breathing. They all lead to a healthy body and a calm mind. Five principles for Ki breathing:

1. Exhale gradually, with purpose and control. 2. Exhale with a distinct, but barely audible sound. 3. At the end of the breath, Ki continues infinitely like a fading note. 4. Inhale from the tip of the nose until the body is saturated with breath. 5. After inhaling, calm the mind infinitely at the one point. Ki no taiso ho

The goal of Aikido exercises and techniques is to learn to coordinate mind and body during any activity, whether sleeping, standing, sitting or moving rapidly. Five principles for Ki exercise:

1. Movements centre on and begin from the one point. 2. Ki is fully extended in each movement. 3. Move freely and easily. 4. Do not feel any tension in the muscles. 5. Show and feel a clear sense of rhythm in your movement. [Ki Breathing] [Kiai] [Haku Breathing] [Kokyu Dosa] [Misogi] [Misogi Cadence] [Changing Cadence] Ki Breathing An exercise of particular importance for the development of Ki is the practice of deep abdominal breathing.

Sit in seiza (or cross-legged with a cushion underneath you in order to keep your spine straight). Adaptation to sitting in seiza should be built up gradually, increasing the time spent in this position by a few minutes every session. Sit lightly, with your back straight and shoulders relaxed so that the weight of your body falls naturally to your one point.

Inhalation should be prolonged, as a thin stream of air is drawn in through the nostrils at a regular, controlled rate. The sound of such a prolonged inhalation should be close to the letter “u”. And this inhalation should be done relaxedly with no straining. Moreover, even though the air is drawn in through the nose, the glottis at the back of the throat should be used to control the stream. By drawing the air in through contraction of the glottis, instead of “sniffing” the air, you will achieve a slow, steady stream.

The air you inhale should fill not only the chest cavity, but also the lower abdomen. Inhale deeply into the lower abdomen such that it expands normally, without undue strain or tensing of your stomach muscles. The idea is to breathe as fully and naturally as a child.

Keep your shoulders down and relaxed during the inhalation. When you have inhaled all that you comfortably can, rest quietly for a moment or so before beginning to exhale.

Exhale through the mouth in a steady, concentrated, powerful (but relaxed) stream - the sound of the exhalation resembles a “haa”. Again, there should be no strain. Don’t attempt to exhale suddenly with great force.

Breathing exercises should be practised daily. When combined with regular practice of the arts of Aikido this results in coordinated development. Kiai Kiai literally means a unification or joining of Ki. It is a projection of the voice from the hara (belly). Sound is intrinsically powerful, with applications in both healing and martial arts. One type of Kiai is a shout with Ki. The uttering of kiai is a projection of audible breath, or voice, with Ki. It can be very loud or quite soft. The secret to kiai is not to make a forceful noise, but to extend ki strongly before speaking, relax the whole body, especially the throat, and unify mind and body instantly.

There are four basic forms of Kiai (as sound) practised in Aikido:

There is also “silent kiai”. This is accomplished by holding the breath and extending ki strongly from every part of the body. This kind of focused, powerful kiai can be used to save others from imminent danger, or to control those in an angry mood.

There is an old Japanese story of a samurai walking through the forest. He was set upon by a pack of wolves, clearly threatening his life. Instead of exhibiting fear, he calmly continued on his way, his countenance so stable, aware and potentially explosive, that the animals were frozen in their tracks, and he was able to pass safely through their midst. This is an example of silent kiai.

As in all aspects of Aikido, it is of primary importance that kiai be used only for good, and never used lightly. Five principles for kiai:

1. Relax completely to avoid straining your voice. 2. Remember that volume is not the objective. 3. The sound is sharp and penetrating, like an arrow. 4. Feel the movement of Ki like a strong gust of wind passing through you and beyond. Let your voice be swept into it. 5. Listen to the audible silence that follows good kiai. Haku breathing Haku breathing is a very short, forceful exhalation, repeated several times. The Japanese verb “hakimasu” means “to throw out” or even “to throw up”. So to perform haku breathing is to focus all of your mind and body, and throw everything into the exhalation.

First sit calmly in seiza. Open your mouth wide and place your tongue behind your lower teeth. Inhale fully, and while leaning slightly forward, throw your exhalation forward and out in one forceful blast. It is not necessary to make a particular sound with the voice box. The breath, passing rapidly through the throat region will create a sound by itself.

It is imperative that you remain calm and relaxed in the midst of this great breath movement. Do not move your shoulders, your jaw or mouth area, or your head. Maintain an erect posture, with mind and body coordinated, and as the breath comes out, lean forward slightly with the entire upper body.

If you perform haku breath completely, a natural vacuum is created in the lungs at the end of exhalation. This means that the lungs automatically refill with air. However, if you hold back even slightly, the vacuum will not be created and you must suck air into your lungs. If this happens you will find it very difficult to repeat haku breath rapidly.

All rapid or dynamic movement originates in, and is controlled by, the breath. If we learn to use this breath in a calm, but strong and lightning fast manner, we will be able to use our entire body in this way when an emergency requires it. Kokyu dosa

Kokyu dosa is usually practised at the end of every Aikido class. It is an exercise of sitting extension, to help you generate a greater flow of Ki from the one point in your lower abdomen. Since it is by means of Ki, not bodily strength, that we in Aikido always throw and pin our partners, this exercise is particularly significant, emphasising as it does the deep meaning of Ki. Relying on strength alone will get you nowhere against an opponent who understands how to use Ki. There are many kinds of kokyu dosa, but the one explained here is typical.

Sit in seiza with your arms extended, shoulder width apart, elbows down, fingers spread and fingertips turned slightly upwards. Your partner, kneeling in front of you, grasps your wrists lightly from the sides.

No matter how hard your partner resists, you must pay no attention, but calm your spirit in your one point and maintain a strong outpouring of Ki. Maintaining this extension, lean straight forward and your partner will lose their balance and begin to fall backwards.

From here it is easy to guide your partner by pushing gently to the right or left, allowing them to fall. Come up onto your toes as your partner falls and follow with your whole body to kneel beside them. Extend Ki. You will be like an immovable rock and your partner will be unable to rise.

Misogi Misogi, also known as soku shin no gyo (breath/mind training), is one of the most important of the Aikido side-disciplines. Its purpose is to unify mind and body in the midst of chaos. The word misogi comes from the Shinto religion and means “to go to the river and cleanse oneself”. This word is used in Aikido for certain breathing and meditation exercises because they have a cleansing effect on the mind and body.

The essential elements of formal misogi are sitting seiza, chanting, ringing of the suzu (bell) and controlled breathing.

When performing misogi, the sound of the voice and the sound of the bell must be one. To do this properly, the student must give 100% to each sound, each ring. Never try to pace yourself in misogi, attempting to save energy for later on in the exercise. Give your all at each moment, and you will discover that your reserves are far deeper than imagined.

This vigorous chanting and bell-ringing requires much flow of Ki. This power must come from a strong Ki developed through mind and body unification. Physical strength will not do. When done with a positive flow of Ki and correct breathing, you will not feel any ill effects.

Misogi usually takes anywhere from 30 minutes (10 minutes breathing, 10 minutes chanting, 10 minutes breathing) to 60 minutes plus (15 minutes breathing, 30 minutes or more chanting, 15 minutes breathing).

Doing misogi regularly, the student develops powerful kokyu (total body extension) by stretching beyond assumed limits. Misogi cadence

Like a straight, sharp spear, your training must be true. Do not change the road on the way, keep the teaching pure. Through training, Self becomes like a beautiful polished crystal ball and mind becomes clear like a mirror. Changing cadence

The successful performance of formal misogi arises from the unification of the entire group of participants. In other words, the striking of the bell and the sound of the voice must be one with everyone. To this end, we have an osa (the leader, seated on the right at the front) and two kagura (the leader’s assistants, sitting on the left at the front). Either osa on the right, or the kagura on the left should be the focus of your attention at all times during misogi. The osa sets the cadence, or beat, for everyone to follow.

The cadence changes twice. Beginning with eight beats, the cadence changes to five beats and then to two beats. At each of the two transition points, the osa raises his bell high above his head and places strong emphasis on the phrase ‘kami’.

In changing from eight to five: TO HO KA MI E MI TA ME, TO HO KAMI EMI TAME

In changing from five to two: TO HO KAMI EMI TAME, TO HO KAMI EMITAME, TOHOKAMI EMITAME

Achieving these transitions with precision requires tremendous concentration at all times. Do not slacken your attention.

Shokushu (Ki Sayings) Tohei Sensei’s book, Ki Sayings (called Shokushu in Japanese), helps students to focus on a specific area of Tohei Sensei’s teachings during training, and also gives insight into the ultimate nature and depth of Tohei Sensei’s understanding.

Some students look forward to the opportunity to read, other students live in terror of ever being asked. Whatever your reaction, the best approach is to look on reading in front of the class as a Ki test, or as a taigi to be performed to the best of your ability. Maintain mind-body unification from the time you are sitting in your place in the line, as you approach kamiza, as you kneel and bow, as you read, as you bow again and stand, right up until you are once again in your place in the line (of course, ideally you would not slacken Ki even then). When you remain calm and centred it is easy to remember what you must do. When you are relaxed and extending Ki it is easy to project your voice to the back of the dojo.

Below is the usual procedure for readings at the beginning of class. 1. The instructor or a delegated assistant generally selects the reading and the student who is to read. If you are the assistant responsible, make an effort to discover what the primary teaching will be and select a reading that relates. If possible, give the reader time to go through the reading before class.

2. It’s a good idea if you are reading to prepare for it in the few minutes before lining up for the start of class. You might have been asked to choose a reading yourself. Make sure there are no words you don’t know or can’t pronounce. There might be complex phrases that will roll off your tongue if only you know to expect them. Look for places where you can logically pause for breath. Relax and get ready to enjoy the experience. You can place the book inside your gi so your hands are free for bowing (make sure it is secure so you can find it again).

3. Generally, if sensei has asked you to read, sensei will call you from the line when the time comes. If you have been asked to read by an assistant, wait for two or three seconds after sensei is settled and then bow in your place, stand and approach kamiza.

4. Kneel and bow to kamiza.

5. Turn clockwise to face the students and bow to them. 6. Open the book to the selected page. Read quite slowly in fairly short phrases.

7. When finished, replace the book inside your gi, bow to the class, bow to sensei and return to your place. [Junan kenko taiso] [Toitsu taiso] Preliminary exercises The exercises performed at the beginning of class are designed to coordinate mind and body while stretching, warming and relaxing the muscles. The body performs best when free of stress. The regular performance of these exercises develops both suppleness and speed.

The exercises are divided into three sections. All should be performed with Ki extension. 1. Junan kenko taiso (soft exercises for health) 2. Toitsu taiso (coordination exercises) 3. Aiki taiso (exercises for Aikido arts) Junan kenko taiso

Note: These exercises are often repeated with a partner assisting. Toitsu taiso (coordination exercises)

[Aiki taiso] [Other Waza] Aiki taiso

Tekubi furi waza Settle your Ki at your one point. Stand relaxed with arms hanging relaxed at your side. Shake your wrists rapidly. The vibration should start from your one point and reach every part of your body so that all tension in the body is released.

Other waza

Taigi The 31 taigi are groups of techniques or movements with a common theme. They are based on the traditional movements of Aikido and are used as an exercise and expression of ki movement through a series of techniques with a partner. Taigi were formalised by Tohei Sensei in 1978. They were developed to encourage both uke and nage to remain calm and centred individually, and in harmony with each other, throughout the taigi. This also helps to promote precision and grace in the movement of both uke and nage. The emphasis in performance of taigi is to show largeness of form and rhythmic flow of movement, as well as coordination of mind and body in both partners. There are three principle points used in assessing correct performance of taigi: Fudoshin the presence of an immovable mind is judged through the stability and unification of the body Kankyu ritsudo the presence of fluid and well-modulated rhythm in movement Kiryoku jujitsu the presence of ki as seen in the largeness and beauty of the arts. In addition, each taigi is given a certain amount of time for execution. When the techniques are performed with perfect rhythm and timing, the taigi is performed in exactly the number of seconds allowed. It is interesting to note that most commonly the arts are performed too quickly rather than too slowly.

Kitei | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30

Kitei taigi (110 s)

1. Shomenuchi kokyunage 2. Yokomenuchi shihonage irimi 3. Munetsuki kotegaeshi katameru 4. Katatetori ikkyo tenkan katameru 5. Katatori nikyo irimi katameru 6. Ushirotekubitori sankyo katameru

Taigi 1 Katatetori (65 s)

1. Kokyunage tenkan 2. Kirikaeshi tenkan 3. Zenpo nage tenkan 4. Kaiten nage tenkan 5. Shihonage tenkan 6. Ikkyo tenkan katameru

Taigi 2 Katatetori ryotemochi (71 s)

1. Kokyunage tenkan (jump in) 2. Kokyunage tenkan (circle) 3. Kokyunage tenkan (figure 8) 4. Zenpo nage tenkan katameru 5. Nikyo tenkan katameru 6. Kotegaeshi tenkan katameru

Taigi 3 Yokomenuchi (49 s)

1. Sudori (slide in) 2. Sudori (bow) 3. Kokyunage irimi 4. Shihonage irimi 5. Kokyunage sudori nage 6. Kokyunage tenkan (figure 8)

Taigi 4 Ryokatatori (60 s)

1. Kokyunage tenkan (turn & bow) 2. Kokyunage tenkan kirikaeshi 3. Kokyunage tenkan (bow & bow) 4. Sudori 5. Nikyo tenkan katameru 6. Zenpo nage

Taigi 5 (77 s)

1. Shomenuchi kokyunage 2. Yokomenuchi shihonage irimi 3. Munetsuki kotegaeshi katameru 4. Katatori ikkyo irimi katameru 5. Kokyu dosa

Taigi 6 Ushiro waza (71 s)

1. Ushirotori kokyunage 2. Ushirotekubitori uragaeshi kokyunage 3. Ushirotekubitori zenpo nage 4. Ushirotekubitori kotegaeshi 5. Ushirotekubitori ikkyo katameru 6. Ushirotekubitori sankyo nage

Taigi 7 Munetsuki and kick (66 s)

1. Munetsuki kokyunage (cut neck) 2. Munetsuki ikkyo hantai tenkan katameru 3. Munetsuki zenpo nage 4. Maekeri kokyunage (front kick) 5. Mawashikeri kokyunage (roundhouse kick) 6. Munetsuki kotegaeshi

Taigi 8 Ryotetori (50 s)

1. Tenchinage irimi 2. Tenchinage tenkan 3. Kokyunage yurei nage 4. Kokyunage sayu undo 5. Kokyunage zenpo nage 6. Kokyunage kirikaeshi

Taigi 9 Shomenuchi (67 s)

1. Ikkyo irimi katameru 2. Ikkyo tenkan katameru 3. Kokyunage 4. Kotegaeshi 5. Kokyunage kirikaeshi 6. Kokyunage zenpo nage

Taigi 10 Katatori shomenuchi (65 s)

1. Kokyunage irimi (no touch) 2. Kokyunage tenkan (circle) 3. Kokyunage tenkan (figure 8) 4. Nikyo tenkan katameru 5. Kokyunage sankyo 6. Kokyunage zenpo nage

Taigi 11 Katatetori (56 s)

1. Kokyunage irimi 2. Kokyunage irimi–tenkan 3. Kosadori kokyunage tenkan 4. Kosadori kokyunage makikaeshi 5. Kosadori kokyunage irimi makikaeshi nage 6. Kosadori kokyunage kirikaeshi

Taigi 12 Katatetori ryotemochi (66 s)

1. Kokyunage irimi 2. Kokyunage tenkan 3. Kokyunage nikyo katameru 4. Kokyunage ikkyo irimi katameru 5. Kokyunage zenpo nage 6. Kokyunage (throw ball)

Taigi 13 Yokomenuchi (61 s)

1. Kokyunage irimi 2. Kokyunage juji irimi nage 3. Kokyunage atemi 4. Shihonage irimi tobikomi 5. Kotegaeshi (circle) 6. Kokyunage zenpo nage kirikaeshi

Taigi 14 Katatori (85 s)

1. Ikkyo tenkan katameru 2. Nikyo irimi katameru 3. Sankyo tenkan katameru 4. Yonkyo irimi katameru 5. Kokyunage ushiromuki 6. Kokyunage ushiromuki furikaette yokomenuchi

Taigi 15 (89 s)

1. Shomenuchi ikkyo irimi katameru 2. Yokomenuchi kokyunage (figure 8) 3. Munetsuki zenpo nage 4. Katatori nikyo irimi katameru 5. Ushirotori kokyunage zenpo nage 6. Ushirotekubitori sankyo nage

Taigi 16 Zagi (60 s)

1. Shomenuchi ikkyo irimi katameru 2. Shomenuchi ikkyo tenkan katameru 3. Katatori shomenuchi kokyunage 4. Shomenuchi kokyunage 5. Munetsuki kotegaeshi katameru 6. Yokomenuchi kokyunage

Taigi 17 Zagi handachi (54 s)

1. Katatetori kokyunage 2. Katatetori kokyunage kirikaeshi 3. Shomenuchi kokyunage 4. Ushirokatadori kokyunage 5. Munetsuki kotegaeshi 6. Yokomenuchi kokyunage Taigi 18 Ushiro waza (72 s)

1. Hagaijime kokyunage 2. Katatori kokyunage hikoki 3. Katatori kokyunage suikomi 4. Katatori kokyunage zenpo nage 5. Tekubitori kubishime uragaeshi kokyunage 6. Tekubitori kubishime zenpo nage

Taigi 19 Munetsuki (52 s)

1. Uchiwanage kubikiri 2. Zenpo nage kubiuchi 3. Uchiwanage menuchi 4. Irimi sudori 5. Shomenuchi 6. Hantai tenkan kotegaeshi

Taigi 20 Futari sannin waza (82 s)

1. Futari ryotemochi kokyunage zenpo nage 2. Futari ryotemochi kokyunage senaka awase 3. Futari ryotemochi kokyunage seiretsu 4. Futari ryotemochi shihonage 5. Sannin ryotemochi kokyunage seiretsu 6. Sanningake (or goningake) randori

Taigi 21 Tanto tori (131 s)

1. Shomenuchi kotegaeshi 2. Shomenuchi kokyunage 3. Yokomenuchi kokyunage gokyo katameru 4. Yokomenuchi irimi sakate 5. Yokomenuchi shihonage 6. Munetsuki kotegaeshi 7. Munetsuki ikkyo hantai irimi katameru 8. Munetsuki kokyunage zenpo 9. Munetsuki hijiuchi menuchi 10. Munetsuki kaiten nage

Taigi 22 Bokken tori (106 s)

1. Shomenuchi irimi sudori kokyunage katameru 2. Shomenuchi kotegaeshi (right) 3. Shomenuchi irimi dori (left) 4. Yokomenuchi kokyunage irimi 5. Yokomenuchi shihonage (left) 6. Munetsuki kotegaeshi (right) 7. Munetsuki kokyunage zenpo 8. Munetsuki kokyunage irimi sudori 9. Douchi kokyunage katameru 10. Yokobarai kokyunage katameru

Taigi 23 Jo tori (124 s)

1. Shomenuchi irimi sudori kokyunage katameru 2. Shomenuchi kotegaeshi (right) 3. Shomenuchi irimidori (left) 4. Yokomenuchi shihonage (left) 5. Yokomenuchi kokyunage zenponage 6. Munetsuki kokyunage tsukikaeshi 7. Munetsuki kokyunage zenpo 8. Munetsuki kokyunage kirikaeshi 9. Douchi kokyunage katameru 10. Yokobarai kokyunage katameru

Taigi 24 Jo nage (68 s)

1. Kokyunage 2. Kokyunage zenpo nage 3. Sakate mochi kokyunage zenpo 4. Shihonage 5. Nikyo 6. Kotegaeshi 7. Kokyunage kirikaeshi 8. Kokyunage ashi sukui

Taigi 25 Bokken part 1 Taigi 26 Bokken part 2 Taigi 27 Jo part 1 Taigi 28 Jo part 2

Taigi 29 Tachi uchi (80 s)

1. Koteuchi 2. Migi douchi 3. Hidari douchi 4. Nodo tsuki 5. Shomenuchi 6. Hidari yokomen – Migi yokomen

Taigi 30 Shinken kokoro no ken

1. Shomenuchi 2. Hidari ashi maeuchi ushirouchi 3. Migi ashi maeuchi ushirouchi 4. Hidari yokomenuchi rensoku – Migi yokomenuchi rensoku 5. Hidari kesa ashi barai 6. Migi kesa ashi barai [Aikido Grading Terms] [Ki Grading Terms] [Instructors] [Criteria for Examination] [Minimum Requirements] [Ki Exams] [Aikido Essay] [Multiple Attacks] [Grading Etiquette] Grading Aikido grading terms

Kyu levels These are the beginning levels of Aikido understanding. There are six kyu levels: 6th Kyu being the lowest and 1st Kyu being the highest.

Dan levels (black belt) These are the senior levels of Aikido understanding. Dan means step, Shodan being the first step, Nidan the second, Sandan the third, Yondan the fourth, and so on. There are 10 dan levels in Aikido.

Students who have achieved black belt level are called yudansha.

Ki grading terms

Kyu levels These are the beginning levels of Ki understanding. There are three kyu levels: Shokyu, Chukyu and Jokyu.

Den levels These are the senior levels of Ki understanding. There are three den levels: Shoden, Chuden and Joden.

Instructors

There are three levels of instructors in Ki Society International. They are Assistant Lecturer, Associate Lecturer and Lecturer. Certain senior instructors are certified by Ki Society International Headquarters to be Qualified Examiners.

Criteria for examination

The information below will help you understand the idea behind gradings.

Firstly, all students pass the grade when they are examined. There are no marks, points or percentages awarded. Only when the instructor feels you are ready, and you have attended the required number of classes, may you go for the exam. Note that it is inappropriate to ask to be graded – your instructor keeps a close eye on your progress and will invite you to grade when you have met the requirements.

The reason you do the exam is to show that you can perform with confidence and extend Ki in front of your fellow students. Learning to do this will boost your confidence and assertiveness in your daily life.

Sometimes students are reluctant to grade, preferring to simply train. However, the grading syllabus is carefully structured to ensure steady progress through the basics. In reality, preparation for a grading is more important than the grading itself. By achieving a specific level of competence in a number of particular techniques you consolidate your progress in Aikido. It is important to complete the process by doing the grading so that you can integrate the experience and reap the maximum benefit from your training.

Ki exams show your understanding of the four basic principles.

Kyu exams show how well you blend this understanding with the physical techniques.

Ki grade certificates and black belt certificates are sent from Japan. This certification means that your level is recognised internationally. Every student is asked to affiliate with the world headquarters and you will receive a card with your membership number. This is important so that we are recognised as part of the international body and we are kept up to date with visits from the Masters and ongoing developments in Aikido.

Minimum requirements

The table below shows the minimum training requirement before you can be considered for grading by a Qualified Examiner. The number of classes required may vary slightly between dojos. Once you achieve Shodan, your progress is measured in years of dedicated training, rather than the number of classes you attend. In each case, the minimum requirement listed is in addition to the previous level achieved. Grading Minimum Requirement 5th kyu (and Shokyu) 25 classes 4th kyu 30 classes 3rd kyu (and Chukyu) 35 classes 2nd kyu 45 classes 1st kyu 70 classes Shodan (and Jokyu) 100 classes Nidan 2 years Sandan 3 years (and Shoden) Ki exams

The first Ki exam is called Shokyu and this can be done together with the 5th Kyu grading. The Shokyu Ki exam covers two kyu levels – 5th and 4th.

The Chukyu Ki exam can be done together with the 3rd Kyu grading. The Chukyu Ki exam covers three kyu levels – 3rd, 2nd and 1st.

The Jokyu Ki exam is done with Shodan (black belt). The Jokyu Ki exam covers Shodan and Nidan.

Unlike the kyu levels, the senior levels of Ki understanding: Shoden, Chuden and Joden, are not examined at the same time as Aikido grading levels. Although den levels of Ki understanding are examined independently, they are still linked to the dan levels of Aikido. Before you can grade to Sandan, you must achieve Shoden in Ki understanding. Similarly, before you can grade to Yondan you must have Chuden in Ki understanding.

Aikido Essay

An Aikido essay is a requirement for all those grading Shodan, Nidan or Sandan. The essay should explain what impact Aikido training has had on your life and what you envisage you will do with it in the future. All essays submitted are held in confidence, between Sensei and student.

The essay provides the opportunity to reflect on where you have been and where you are going in the art of Aikido. It is a point of reference to which you can refer in future years in order to reflect on your progress - to discover your own journey.

Over the years, many different styles of essays have been submitted. Every single one is unique, special in its own way. Many are creative and ingenious. They are an opportunity to ‘put it on paper’ just like when you ‘put it on the mat’. Some essays have been in the form of a painting, a letter to a friend, a script for a play, a children’s story, a leaflet for introducing the art to beginners and so on. Some are typed, some use graphics or photos, some are even written on rice paper. Use your imagination, but most important, write from your heart. Multiple attacks (san, yon, goningake)

Why ryokatatori?

All attacks are ryokatatori (both shoulders hold) for uke’s protection. With only one attack and one throw, uke is not forced to respond quickly to atemi and so on. Also, ryokatatori is one of the more difficult attacks to deal with.

Static practice

Uke holds with unbendable arms, keeping weight underside. You cannot move uke without first leading the mind: ● Maintain mind-body coordination. ● Remain unaffected by uke (don’t receive his or her ki). ● Drop your one point and touch inside uke’s arms. ● Step forward and turn your hips (and arms) through 180º to throw behind you. ● Keep your arms in front of your hips. ● Lead uke down with your leading hand and out with your trailing hand. It sometimes seems that nage uses his or her arms to throw uke. However, if you try to throw using the strength of your arms, not only will you tire very quickly but also you will not be able to throw some ukes at all.)

It can be difficult to move a static uke. Think half, half, half. Extend slightly forward and up before throwing behind you.

Usually, send ki strongly through uke and then strongly behind as you turn to throw. However, if uke is a dead weight, you can throw them backwards. Feel what uke wants, where uke wants to go. Moving practice

In multiple attacks you must deal with each uke quickly but completely. That is, you must execute the full technique but not waste any time. Move and throw without pause. Let your ki flow continuously. Move through each uke, rather than stopping to throw. Although you must turn to look (and send your ki) in the direction that you throw, don’t wait and watch uke roll away or the next attacker will be on top of you – keep moving forward. In moving practice, go for uke’s upper arms rather than elbows. Grading

Sensei calls ‘Hajime!’ during your bow. Use the energy of the kiai to move. Go to either end of the line of ukes, not the middle.

● Don’t throw ukes left, right, left, right – it’s difficult to keep one point and you might lose coordination at the start. To start with, throw ukes L, L, R, R, L, L, R, R. This will give you a good start. Always move forward. Use big tenkans. ● Don’t be afraid of your ukes – welcome them like friends. Extend ki towards uke. ● Move on uke’s ki – begin the technique when ma-ai is broken. Don’t change uke’s direction – move out of the way (but not too far, or you will draw uke towards you). Follow uke’s rhythm – don’t clash. ● Move your hands inside uke’s. Lead forward and down with your front hand, project out with your back hand. Throw with your hips, not with your hands.

Problems

● If you are knocked down, roll. ● If you become rattled, return to the L, L, R, R rhythm. ● If your wrong foot is forward, do the same move from your ‘wrong’ side. ● If your ukes don’t want to fall, be more in the centre, do the technique earlier, send a stronger signal. Strategy of movement to space multiple ukes

● Go to one end of the line of ukes, not the centre, to begin. Vary moving through with moving to the outside. If you do only one, ukes will bunch. ● Move forward – if you back away, ukes are drawn towards you. Don’t move straight into uke (don’t clash). Go forward but let uke come at you. ● Keep moving. Don’t stand still and wait for an attack – move to the uke you want to throw next. Circle around the outside of a group of ukes rather than go through the middle. ● Lead and position ukes so they obstruct each other in getting to you. Take the one furthest away: if two ukes are coming too close together, spin past the first and throw the second.

Grading etiquette

To begin your grading, bow three times: 1. Kamiza rei 2. Sensei rei 3. Uke rei. At the end of your grading bow three times: 1. Uke rei 2. Kamiza rei 3. Sensei rei. It is uke’s responsibility to ensure that weapons are readily available for nage’s use. All students on the mat must be sitting in seiza at the beginning and end of each grading. Any student participating in a grading must stay until all gradings are completed unless prior arrangements have been made with Sensei. A young boy travelled across Japan to the school of a great swordsman. When he arrived at the school he was given an audience with the founder, who was impressed that this young boy had made such a long journey.“ What do you wish from me?” the master asked.“ I wish to be your student and become the finest swordsman in the land,” the boy replied. “How long must I study?”“ Ten years at least,” the master answered.“ Ten years is a long time. What if I studied twice as hard as all your other students?”“ Twenty years,” replied the master.“ Twenty! What if I practise relentlessly, day and night, with all my effort?”“ Thirty years,” replied the master.“ How is it that each time I say I will work harder you tell me that it will take longer?” the student asked, quite confused by now.“ The answer is clear,” said the master. “When there is one eye fixed upon your destination, there is only one eye left with which to find the Way.”

Mastery of Aikido is a journey, not a destination. [5th Kyu] [4th Kyu] [3rd Kyu] [2nd Kyu] [1st Kyu] [Shodan] [Nidan] [Sandan] Aikido Grades 5th Kyu (yellow belt)

Waza: Udemawashi waza Udefuri waza Udefuri choyaku waza Sayu waza Ushiro ukemi waza Ushiro ukemi waza

Techniques: Katatekosatori kokyunage Katatetori kokyunage tenkan

Taigi arts: No. 5

4th Kyu (orange belt)

Waza: Ikkyo waza Zengo waza Happo waza Zenshin-koshin waza

Techniques: Katatekosatori kokyunage Katatetori kokyunage tenkan Katatekosatori kokyunage Katatetori kokyunage tenkan Katatori ikkyo katameru (irimi & tenkan)

Taigi arts: Kitei 3rd Kyu (green belt)

Waza: Funakogi waza Nikyo waza Kotegaeshi waza Sankyo waza

Techniques: Katatori ikkyo katameru (irimi & tenkan) Katatori nikyo katameru (irimi & tenkan) Katatori sankyo katameru (irimi & tenkan) Katatori yonkyo katameru (irimi & tenkan) Yokomenuchi kokyunage (zenpo nage) Ryotetori kokyunage (zenpo nage) Bokken tori (2 arts) Tanto tori (2 arts) Jo tori (2 arts) Jo nage (2 arts)

Taigi arts: No. 25 (Bokken part 1) No. 27 (Jo part 1) No. 1

Randori: Two ukes, one minute, at least five arts; Katatetori

Aiki is not an art to fight with or to defeat an enemy. It is a Way in which to harmonise all people into one family. The essence of Aikido is to put oneself in tune with the functioning of the universe, to become one with the universe. Those who have grasped the inner meaning of Aikido possess the universe within themselves. O'Sensei

2rd Kyu (blue belt)

Waza: Kaho tekubi kosa waza Joho tekubi kosa waza Ushirotori waza Ushirotekubitori zenshin waza Ushirotekubitori koshin waza

Techniques: Katatori ikkyo katameru (irimi & tenkan) Katatori nikyo katameru (irimi & tenkan) Katatori sankyo katameru (irimi & tenkan) Katatori yonkyo katameru (irimi & tenkan) Ushirotori kokyunage Ushirotekubitori zenponage Ushirotekubitori ikkyo katameru Ushirotekubitori kotegaeshi Ushirotekubitori kubishime sankyonage Bokken tori (3 arts) Tanto tori (3 arts) Jo tori (3 arts) Jo nage (3 arts)

Taigi arts: No. 25 (Bokken part 1) No. 27 (Jo part 1) No. 2 No. 3 No. 8

Randori: Two ukes, one minute, at least five arts; Yokomenuchi Ushirotekubitori Sanningake

1st Kyu (brown belt)

Techniques: Munetsuki kokyunage (zenpo nage) Munetsuki kokyunage (sudori) Munetsuki kotegaeshi Munetsuki kaiten nage Munetsuki ikkyo katameru Yokomenuchi kotegaeshi (circle) Yokomenuchi kokyunage (circle) Yokomenuchi kirikaeshi Maekeri kokyunage (front kick) Mawashikeri kokyunage (roundhouse kick) Futari ryotemochi zenpo nage Futari ryotemochi senaka awase Futari ryotemochi seiretsu Futari ryotemochi shihonage Bokken tori (4 arts) Jo tori (4 arts) Jo nage (4 arts)

Taigi arts: No. 25 (Bokken part 1) No. 26 (Bokken part 2) No. 27 (Jo part 1) No. 28 (Jo part 2) No. 9 No. 17 No. 21

Randori: Two ukes, one minute, at least five arts; Shomenuchi Munetsuki

Yoningake

Shodan (black belt)

Each randori lasts one minute and nage must demonstrate at least five arts. There are two ukes for all randori except tanto tori. In tanto tori there is one uke only and uke must attack shomenuchi, yokomenuchi and munetsuki. Aikido Essay

Randori: Katatetori Yokomenuchi Ushirotekubitori Shomenuchi Munetsuki Tanto tori

Taigi arts: No. 25 (Bokken part 1) No. 26 (Bokken part 2) No. 27 (Jo part 1) No. 28 (Jo part 2)

Yoningake

Nidan

Each randori lasts one minute and nage must demonstrate at least five arts.

There are two ukes for all randori except tanto tori, bokken tori and jo tori.

In tanto tori, bokken tori and jo tori there is one uke only and uke must attack shomenuchi, yokomenuchi and munetsuki. Aikido Essay

Randori: Katatetori Ryotetori Yokomenuchi Ushirotekubitori Shomenuchi Munetsuki Jo nage Tanto tori Bokken tori Jo tori

Taigi arts: No. 25 (Bokken part 1) No. 26 (Bokken part 2) No. 27 (Jo part 1) No. 28 (Jo part 2)

Goningake

Sandan

Each randori lasts one minute and nage must demonstrate at least five arts.

There are two ukes for all randori except tanto tori, bokken tori and jo tori.

In tanto tori, bokken tori and jo tori there is one uke only and uke must attack shomenuchi, yokomenuchi and munetsuki. Aikido Essay

Randori: Katatetori Ryotetori Katatori Yokomenuchi Ushirotekubitori Shomenuchi Munetsuki Jo nage Tanto tori Bokken tori Jo tori

Taigi arts: No. 25 (Bokken part 1) No. 26 (Bokken part 2) No. 27 (Jo part 1) No. 28 (Jo part 2) Kitei No. 17 No. 19 No. 20

Goningake Included in Taigi 20. [Shokyu] [Chukyu] [Jokyu] Ki Examinations Shokyu

Ki tests

Standing Unbendable arm Thrusting out arm with weight underside Sitting seiza Sitting seiza and standing up Breathing exercise

Chukyu

Ki tests

Standing Unbendable arm Thrusting out arm with weight underside Sitting seiza Sitting seiza and standing up Sitting cross-legged while being pushed from behind Sitting cross-legged while being raised by one knee Thrusting out wrist Bending backwards Stooping Unraisable body Breathing exercise

Jokyu

Ki Tests

Standing Unbendable arm Thrusting out arm with weight underside Sitting seiza Sitting seiza and standing up Sitting cross-legged while being pushed from behind Sitting cross-legged while being raised by one knee Thrusting out wrist Bending backwards Stooping Unraisable body Leaning backwards on a partner Leaning forwards on a partner Thrusting out hand and raising leg Swinging up both arms Walking forward when being held Sitting cross-legged and holding the examiner’s arms Breathing exercise [Belt Colours] [The Hakama] [Tying the Belt] [Folding the Hakama] Significance of the belt and hakama Throughout the world, the rules governing belts and hakama vary from dojo to dojo and from style to style. In most clubs, coloured belts are worn so that student levels of experience and understanding can immediately be recognised. Belt colours and what they mean

White 6th Kyu Purity and Potential Yellow 5th Kyu Stability and Assertiveness Orange 4th Kyu Fluidity and Adaptability Green 3rd Kyu Emotion and Sensitivity Blue 2nd Kyu Practical and Creative Brown 1st Kyu Practical and Creative Black Shodan Consolidates all above Hakama

The hakama is a seven-pleated garment worn by senior students. Each pleat symbolises one of the seven virtues of budo. Senior students should aim to refine these virtues.

Jin Benevolence Gi Honour and Justice Rei Courtesy and Etiquette Chi Wisdom and Intelligence Shin Sincerity Chu Loyalty Ko Piety

The hakama is retained in Aikido because of the beauty it adds to movement. It gives the wearer a feeling of gliding across the mat while at the same time being more grounded. If you have the privilege of wearing a hakama you must learn how to fold, wear, and care for it properly. If your hakama shows sign of wear (the knees are the first to go) make plans for a new one. Full, clean gi pants are worn underneath – meaning no cut-offs or holes in the knees. Tying the belt

Folding the hakama Pass through the centre of the universe(figures 10 and 13).

Govern the self (figures 11 and 14).

Walk the right way (figures 12 and 15). Counting 1 ichi 12 juni 2 ni 13 jusan 3 san 14 jushi 4 shi 15 jugo 5 go 16 juroku 6 roku 17 jushichi 7 shichi 18 juhachi 8 hachi 19 juku 9 ku 20 niju 10 ju 21 nijuichi 11 juichi 22 nijuni Recommended reading Ki in Daily Life by Koichi Tohei (Japan Publications) Kiatsu by Koichi Tohei (Japan Publications) Ki: A Practical Guide for Westerners by William Reed (Japan Publications) Aikido and the Dynamic Sphere by Westbrook & Ratti (Tuttle) Abundant Peace: The Biography of Morihei Ueshiba by John Stevens (Shambahla) Aikido: The Way of Harmony by John Stevens (Shambahla) The Magic of Conflict by Thomas Crum (Surai Schuster) Traditional Aikido (five volumes) by Morihiro Saito (Japan Publications) The Principles of Aikido by Mitsugi Saotome (Shambahla) Living Aikido by Bruce Klickstein (North Atlantic Books) The New Aikido Complete by Yoshimitsu Yamada (Lyle Stuart Inc.) The Spirit of Aikido by Kisshomaru Ueshiba (Kodansha) The Essence of Aikido by Sosa & Robbins (Unique Publications) Aikido and the New Warrior edited by Richard Heckler (North Atlantic Books) Budo: Teachings of the Founder of Aikido by Morihei Ueshiba (Kodansha) Ki: A Road That Anyone Can Walk by William Reed (Japan Publications) It’s a lot like dancing: an Aikido journey by Terry Dobson (Frog Ltd) The Essence of Aikido by Morihei Ueshiba (Kodansha) Aikido in Everyday Life by Dobson & Miller (North Atlantic Books) Aikido and the Harmony of Nature by Mitsugi Saotome The Art of Peace edited by John Stevens (Shambahla) Ki in Aikido: a sampler of ki exercises by C. M. Shifflett (Round Earth) The Secrets of Aikido by John Stevens (Shambahla) The Shambhala Guide to Aikido by John Stevens (Shambahla) Invincible Warrior: an illustrated biography of Morihei Ueshiba, founder of Aikido by John Stevens (Shambahla) Aikido: the heavenly road by Kenji Shimizu (edition q) Aikido: heart and sword by André Nocquet (Aiki News) The Elements of Aikido by Greg O’Connor (Element Books) Spiritual Foundations of Aikido by William Gleason (Destiny Books) Complete Aikido by Roy Suenaka (Tuttle) The Art of Peace

Morihei Ueshiba

Morihei Ueshiba (1883-1969) was history's greatest martial artist. He was the founder of Aikido, which can be translated as "The Art of Peace." Morihei Ueshiba is referred to by the practitioners of Aikido as O-Sensei, "The Great Teacher". The following quotations have been compiled from O-Sensei's collected talks, poems, and calligraphy, and from oral tradition.

One The Art of Peace begins with you. Work on yourself and your appointed task in the Art of Peace. Everyone has a spirit that can be refined, a body that can be trained in some manner, a suitable path to follow. You are here for no other purpose than to realize your inner divinity and manifest your innate enlightenment. Foster peace in your own life and then apply the Art to all that you encounter

Two One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

Three All things, material and spiritual, originate from one source and are related as if they were one family. The past, present, and future are all contained in the life force. The universe emerged and developed from one source, and we evolved through the optimal process of unification and harmonization.

Four The Art of Peace is medicine for a sick world. There is evil and disorder in the world because people have forgotten that all things emanate from one source. Return to that source and leave behind all self-centered thoughts, petty desires, and anger. Those who are possessed by nothing possess everything.

Five If you have not Linked yourself To true emptiness, You will never understand The Art of Peace.

Six The Art of Peace functions everywhere on earth, in realms ranging from the vastness of space down to the tiniest plants and animals. The life force is all-pervasive and its strength boundless. The Art of Peace allows us to perceive and tap into that tremendous reserve of universal energy.

Seven Eight forces sustain creation: Movement and stillness, Solidification and fluidity, Extension and contraction, Unification and division.

Eight Life is growth. If we stop growing, technically and spiritually, we are as good as dead. The Art of Peace is a celebration of the bonding of heaven, earth, and human kind. It is all that is true, good, and beautiful.

Nine Now and again, it is necessary to seclude yourself among deep mountains and hidden valleys to restore your link to the source of life. Breathe in and let yourself soar to the ends of the universe; breathe out and bring the cosmos back inside. Next, breathe up all fecundity and vibrancy of the earth. Finally, blend the breath of heaven and the breath of earth with your own, becoming the Breath of Life itself.

Ten All the principles of heaven and earth are living inside you. Life itself is the truth, and this will never change. Everything in heaven and earth breathes. Breath is the thread that ties creation together. When the myriad variations in the universal breath can be sensed, the individual techniques of the Art of Peace are born.

Eleven Consider the ebb and flow of the tide. When waves come to strike the shore, they crest and fall, creating a sound. your breath should follow the same pattern, absorbing the entire universe in your belly with each inhalation. Know that we all have access to four treasures: the energy of the sun and moon, the breath of heaven, the breath of earth, and the ebb and flow of the tide.

Twelve Those who practice the Art of Peace must protect the domain of Mother Nature, the divine reflection of creation, and keep it lovely and fresh. Warriorship gives birth to natural beauty. The subtle techniques of a warrior arise as naturally as the appearance of spring, summer, autumn, and winter. Warriorship is none other than the vitality that sustains all life.

Thirteen When life is victorious, there is birth; when it is thwarted, there is death. A warrior is always engaged in a life-and-death struggle for Peace.

Fourteen Contemplate the workings of this world, listen to the words of the wise, and take all that is good as your own. With this as your base, open your own door to truth. Do not overlook the truth that is right before you. Study how water flows in a valley stream, smoothly and freely between the rocks. Also learn from holy books and wise people. Everything - even mountains, rivers, plants and trees - should be your teacher.

Fifteen Create each day anew by clothing yourself with heaven and earth, bathing yourself with wisdom and love, and placing yourself in the heart of Mother Nature.

Sixteen Do not fail To learn from The pure voice of an Ever-flowing mountain stream Splashing over the rocks.

Seventeen Peace originates with the flow of things - its heart is like the movement of the wind and waves. The Way is like the veins that circulate blood through our bodies, following the natural flow of the life force. If you are separated in the slightest from that divine essence, you are far off the path.

Eighteen Your heart is full of fertile seeds, waiting to sprout. Just as a lotus flower springs from the mire to bloom splendidly, the interaction of the cosmic breath causes the flower of the spirit to bloom and bear fruit in this world.

Nineteen Study the teachings of the pine tree, the bamboo, and the plum blossom. The pine is evergreen, firmly rooted, and venerable. The bamboo is strong, resilient, unbreakable. The plum blossom is hardy, fragrant, and elegant.

Twenty Always keep your mind as bright and clear as the vast sky, the great ocean, and the highest peak, empty of all thoughts. Always keep your body filled with light and heat. Fill yourself with the power of wisdom and enlightenment.

Twenty One As soon as you concern yourself with the "good" and "bad" of your fellows, you create an opening in your heart for maliciousness to enter. Testing, competing with, and criticizing others weaken and defeat you.

Twenty Two The penetrating brilliance of swords Wielded by followers of the Way Strikes at the evil enemy Lurking deep within Their own souls and bodies

Twenty Three The Art of Peace is not easy. It is a fight to the finish, the slaying of evil desires and all falsehood within. on occasion the Voice of Peace resounds like thunder, jolting human beings out of their stupor.

Twenty Four Crystal clear, Sharp and bright, The sacred sword Allows no opening For evil to roost.

Twenty Five

To practice properly the Art of Peace, you must: Calm the spirit and return to the source. Cleanse the body and spirit by removing all malice, selfishness, and desire. Be ever-grateful for the gifts received from the universe, your family, Mother Nature, and your fellow human beings.

Twenty Six The Art of Peace is based on Four Great Virtues: Bravery, Wisdom, Love, and Friendship, symbolized by Fire, Heaven, Earth, and Water.

Twenty Seven The essence of the Art of Peace is to cleanse yourself of maliciousness, to get in tune with your environment, and to clear your path of all obstacles and barriers.

Twenty Eight The only cure for materialism is the cleansing of the six senses (eyes, ears, nose, tongue, body, and mind). If the senses are clogged, one's perception is stifled. The more it is stifled, the more contaminated the senses become. This creates disorder in the world, and that is the greatest evil of all. Polish the heart, free the six senses and let them function without obstruction, and your entire body and soul will glow.

Twenty Nine All life is a manifestation of the spirit, the manifestation of love. And the Art of Peace is the purest form of that principle. A warrior is charged with bringing a halt to all contention and strife. Universal love functions in many forms; each manifestation should be allowed free expression. The Art of Peace is true democracy.

Thirty Each and every master, regardless of the era or place, heard the call and attained harmony with heaven and earth. There are many paths leading to the top of Mount Fuji, but there is only one summit - love.

Thirty One Loyalty and devotion lead to bravery. Bravery leads to the spirit of self-sacrifice. The spirit of self-sacrifice creates trust in the power of love.

Thirty Two Economy is the basis of society. When the economy is stable, society develops. The ideal economy combines the spiritual and the material, and the best commodities to trade in are sincerity and love.

Thirty Three The Art of Peace does not rely on weapons or brute force to succeed; instead we put ourselves in tune with the universe, maintain peace in our own realms, nurture life, and prevent death and destruction. The true meaning of the term samurai is one who serves and adheres to the power of love.

Thirty Four Foster and polish The warrior spirit While serving in the world; Illuminate the path According to your inner light.

Thirty Five The Path of Peace is exceedingly vast, reflecting the grand design of the hidden and manifest worlds. A warrior is a living shrine of the divine, one who serves that grand purpose.

Thirty Six Your mind should be in harmony with the functioning of the universe; your body should be in tune with the movement of the universe; body and mind should be bound as one, unified with the activity of the universe.

Thirty Seven Even though our path is completely different from the warrior arts of the past, it is not necessary to abandon totally the old ways. Absorb venerable traditions into this Art by clothing them with fresh garments, and build on the classic styles to create better forms.

Thirty Eight Daily training in the Art of Peace allows you inner divinity to shine brighter and brighter. Do not concern yourself with the right and wrong of others. Do not be calculating or act unnaturally. Keep your mind set on the Art of Peace, and do not criticize other teachers or traditions. The Art of Peace never restrains, restricts, or shackles anything. It embraces all and purifies everything.

Thirty Nine Practice the Art of Peace sincerely, and evil thoughts and deeds will naturally disappear. The only desire that should remain is the thirst for more and more training in the Way.

Forty Those who are enlightened never stop forging themselves. The realizations of such masters cannot be expressed well in words or by theories. The most perfect actions echo the patterns found in nature.

Forty One Day after day Train your heart out, Refining your technique: Use the One to strike the Many! That is the discipline of the Warrior.

Forty Two The Way of a Warrior Cannot be encompassed By words or in letters: Grasp the essence And move on toward realization!

Forty Three The purpose of training is to tighten up the slack, toughen the body, and polish the spirit.

Forty Four Iron is full of impurities that weaken it; through forging, it becomes steel and is transformed into razor-sharp sword. Human beings develop in the same fashion.

Forty Five From ancient times, Deep learning and valor Have been the two pillars of the Path: Through the virtue of training, Enlighten both body and soul.

Forty Six Instructors can impart only a fraction of the teaching. It is through your own devoted practice that the mysteries of the Art of Peace are brought to life.

Forty Seven The Way of a Warrior is based on humanity, love, and sincerity; the heart of martial valor is true bravery, wisdom, love, and friendship. Emphasis on the physical aspects of warriorship is futile, for the power of the body is always limited.

Forty Eight A true warrior is always armed with the three things: the radiant sword of pacification; the mirror of bravery, wisdom, and friendship; and the precious jewel of enlightenment.

Forty Nine The heart of a human being is no different from the soul of heaven and earth. In your practice always keep in your thoughts the interaction of heaven and earth, water and fire, yin and yang.

Fifty The Art of Peace is the principle of non-resistance. Because it is non-resistant, it is victorious from the beginning. Those with evil intentions or contentious thoughts are instantly vanquished. The Art of Peace is invincible because it contends with nothing.

Fifty One There are no contests in the Art of Peace. A true warrior is invincible because he or she contests with nothing. Defeat means to defeat the mind of contention that we harbor within.

Fifty Two To injure an opponent is to injure yourself. To control aggression without inflicting injury is the Art of Peace.

Fifty Three The totally awakened warrior can freely utilize all elements contained in heaven and earth. The true warrior learns how to correctly perceive the activity of the universe and how to transform martial techniques into vehicles of purity, goodness, and beauty. A warrior's mind and body must be permeated with enlightened wisdom and deep calm.

Fifty Four Always practice the Art of Peace in a vibrant and joyful manner.

Fifty Five It is necessary to develop a strategy that utilizes all the physical conditions and elements that are directly at hand. The best strategy relies upon an unlimited set of responses.

Fifty Six A good stance and posture reflect a proper state of mind.

Fifty Seven The key to good technique is to keep your hands, feet, and hips straight and centered. If you are centered, you can move freely. The physical center is your belly; if your mind is set there as well, you are assured of victory in any endeavor.

Fifty Eight Move like a beam of light: Fly like lightning, Strike like thunder, Whirl in circles around A stable center.

Fifty Nine Techniques employ four qualities that reflect the nature of our world. Depending on the circumstance, you should be: hard as a diamond, flexible as a willow, smooth-flowing like water, or as empty as space.

Sixty If your opponent strikes with fire, counter with water, becoming completely fluid and free-flowing. Water, by its nature, never collides with or breaks against anything. On the contrary, it swallows up any attack harmlessly.

Sixty One Functioning harmoniously together, right and left give birth to all techniques. The left hand takes hold of life and death; the right hand controls it. The four limbs of the body are the four pillars of heaven, and manifest the eight directions, yin and yang, inner and outer.

Sixty Two Manifest yang In your right hand, Balance it with The yin of your left, And guide your partner.

Sixty Three The techniques of the Art of Peace are neither fast nor slow, nor are they inside or outside. They transcend time and space.

Sixty Four Spring forth from the Great Earth; Billow like Great Waves; Stand like a tree, sit like a rock; Use One to strike All. Learn and forget!

Sixty Five When an opponent comes forward, move in and greet him; if he wants to pull back, send him on his way.

Sixty Six The body should be triangular, the mind circular. The triangle represents the generation of energy and is the most stable physical posture. The circle symbolizes serenity and perfection, the source of unlimited techniques. The square stands for solidity, the basis of applied control.

Sixty Seven Always try to be in communion with heaven and earth; then the world will appear in its true light. Self-conceit will vanish, and you can blend with any attack.

Sixty Eight If your heart is large enough to envelop your adversaries, you can see right through them and avoid their attacks. And once you envelop them, you will be able to guide them along the path indicated to you by heaven and earth.

Sixty Nine Free of weakness, No-midedly ignore The sharp attacks Of your enemies: Step in and act!

Seventy Do not look upon this world with fear and loathing. Bravely face whatever the gods offer.

Seventy One Each day of human life contains joy and anger, pain and pleasure, darkness and light, growth and decay. Each moment is etched with nature's grand design - do not try to deny or oppose the cosmic order of things.

Seventy Two Protectors of the world And guardians of the Ways Of gods and buddhas, The techniques of Peace Enable us to meet every challenge.

Seventy Three Life itself is always a trial. In training, you must test and polish yourself in order to face the great challenges of life. Transcend the realm of life and death, and then you will be able to make your way calmly and safely through any crisis that confronts you.

Seventy Four Be grateful even for hardship, setbacks, and bad people. Dealing with such obstacles is an essential part of training in the Art of Peace.

Seventy Five Failure is the key to success; Each mistake teaches us something.

Seventy Six In extreme situations, the entire universe becomes our foe; at such critical times, unity of mind and technique is essential - do not let your heart waver!

Seventy Seven At the instant A warrior Confronts a foe, All things Come into focus.

Seventy Eight Even when called out By a single foe, Remain on guard, For you are always surrounded By a host of enemies.

Seventy Nine The Art of Peace is to fulfill that which is lacking.

Eighty One should be prepared to receive ninety-nine percent of an enemy's attack and stare death right in the face in order to illumine the Path.

Eighty One In our techniques we enter completely into, blend totally with, and control firmly an attack. Strength resides where one's ki is concentrated and stable; confusion and maliciousness arise when ki stagnates.

Eighty Two There are two type of ki: ordinary ki and true ki. Ordinary ki is coarse and heavy; true ki is light and versatile. In order to perform well, you have to liberate yourself from ordinary ki and permeate your organs with true ki. That is the basis of powerful technique.

Eighty Three In the Art of Peace we never attack. An attack is proof that one is out of control. Never run away from any kind of challenge, but do not try to suppress or control an opponent unnaturally. Let attackers come any way they like and then blend with them. Never chase after opponents. Redirect each attack and get firmly behind it.

Eighty Four Seeing me before him, The enemy attacks, But by that time I am already standing Safely behind him.

Eighty Five When attacked, unify the upper, middle, and lower parts of your body. Enter, turn, and blend with your opponent, front and back, right and left.

Eighty Six Your spirit is the true shield.

Eighty Seven Opponents confront us continually, but actually there is no opponent there. Enter deeply into an attack and neutralize it as you draw that misdirected force into your own sphere.

Eighty Eight Do not stare into the eyes of your opponent: he may mesmerize you. Do not fix your gaze on his sword: he may intimidate you. Do not focus on your opponent at all: he may absorb your energy. The essence of training is to bring your opponent completely into your sphere. Then you can stand where you like.

Eighty Nine Even the most powerful human being has a limited sphere of strength. Draw him outside of that sphere and into your own, and his strength will dissipate.

Ninety Left and right, Avoid all Cuts and parries. Seize your opponents' minds And scatter them all!

Ninety One The real Art of Peace is not to sacrifice a single one of your warriors to defeat an enemy. Vanquish your foes by always keeping yourself in a safe and unassailable position; then no one will suffer any losses. The Way of a Warrior, the Art of Politics, is to stop trouble before it starts. It consists in defeating your adversaries spiritually by making them realize the folly of their actions. The Way of a Warrior is to establish harmony.

Ninety Two Master the divine techniques Of the Art of Peace, And no enemy Will dare to Challenge you.

Ninety Three In your training do not be in a hurry, for it takes a minimum of ten years to master the basics and advance to the first rung. Never think of yourself as an all-knowing, perfected master; you must continue to train daily with your friends and students and progress together in the Art of Peace.

Ninety Four Progress comes To those who Train and train; Reliance on secret techniques Will get you nowhere.

Ninety Five

Fiddling with this And that technique Is of no avail. Simply act decisively Without reserve!

Ninety Six If you perceive the true form of heaven and earth, you will be enlightened to your own true form. If you are enlightened about a certain principle, you can put it into practice. After each practical application, reflect on your efforts. Progress continually like this.

Ninety Seven The Art of Peace can be summed up like this: True victory is self-victory; let that day arrive quickly! "True victory" means unflinching courage; "self-victory" symbolizes unflagging effort; and "let that day arrive quickly" represents the glorious moment of triumph in the here and now.

Ninety Eight Cast off limiting thoughts and return to true emptiness. Stand in the midst of the Great Void. This is the secret of the Way of a Warrior.

Ninety Nine To truly implement the Art of Peace, you must be able to sport freely in the manifest, hidden, and divine realms.

One Hundred If you comprehend The Art of Peace, This difficult path, Just as it is, Envelops the circle of heaven.

One Hundred One The techniques of the Way of Peace change constantly; every encounter is unique, and the appropriate response should emerge naturally. Today's techniques will be different tomorrow. Do not get caught up with the form and appearance of a challenge. The Art of Peace has no form - it is the study of the spirit.

One Hundred Two Ultimately, you must forget about technique. The further you progress, the fewer teachings there are. The Great Path is really No Path.

One Hundred Three The Art of Peace that I practice has room for each of the world's eight million gods, and I cooperate with them all. The God of Peace is very great and enjoins all that is divine and enlightened in every land.

One Hundred Four The Art of Peace is a form of prayer that generates light and heat. Forget about your little self, detach yourself from objects, and you will radiate light and warmth. Light is wisdom; warmth is compassion.

One Hundred Five Construction of shrine and temple buildings is not enough. Establish yourself as a living buddha image. We all should be transformed into goddesses of compassion or victorious buddhas.

One Hundred Six Rely on Peace To activate your Manifold powers; Pacify your environment And create a beautiful world.

One Hundred Seven The Divine is not something high above us. It is in heaven, it is in earth, it is inside of us.

One Hundred Eight Unite yourself to the cosmos, and the thought of transcendence will disappear. Transcendence belongs to the profane world. When all trace of transcendence vanishes, the true person - the Divine Being - is manifest. Empty yourself and let the Divine function.

One Hundred Nine You cannot see or touch the Divine with your gross senses. The Divine is within you, not somewhere else. Unite yourself to the Divine, and you will be able to perceive gods wherever you are, but do not try to grasp or cling to them.

One Hundred Ten The Divine does not like to be shut up in a building. The Divine likes to be out in the open. It is right here in this very body. Each one of us is a miniature universe, a living shrine.

One Hundred Eleven When you bow deeply to the universe, it bows back; when you call out the name of God, it echoes inside you.

One Hundred Twelve The Art of Peace is the religion that is not a religion; it perfects and completes all religions.

One Hundred Thirteen The Path is exceedingly vast. From ancient times to the present day, even the greatest sages were unable to perceive and comprehend the entire truth; the explanation and teachings of masters and saints express only part of the whole. It is not possible for anyone to speak of such things in their entirety. Just head for the light and heat, learn from the gods, and through the virtue of devoted practice of the Art of Peace, become one with the Divine.

One Hundred Fourteen The divine beauty Of heaven and earth! All creation, Members of One family.

Thanks to text from William McLuskie.