It's been ages since I wrote anything here. In part because I'm still trying to understand better before I speak of a subject, but mainly because I was so busy with work. As always, with Ramadhan, I get more time to sort things out because we spend less time doing needless things.
Funnily enough, that's what Aikido training should be about. Leading towards the gradual elimination of needless things. Most people study Aikido awhile and come to various different conclusions. It doesn't help that they came in already colored by rehire expectations coming from watching all those videos out there. More often than not, they'd come to conclude that AIkido is so fake nowadays because people try to hard to follow Osensei's vision of harmony (or what they perceive as his vision). And because of that they talk about collusive aikido, about cross training, about looking for 'aiki' or 'IT' from somewhere some who...
Then there'll be the Daito ryu boys saying that Aikido is nothing but a watered down version of their budo and so on and so forth. First thing's first... Osensei said a lot of things about Aikido, but he emphasized in so many different ways that Aikido was never about the technique per se, nor is it about the movement. He almost always approached it from a relational aspect of the universe. How to fight someone who is in harmony with the universe is impossible. That Aikido begins in the heart.
Nevertheless he did condense certain techniques that he used again and again to demonstrate this art. Amongst the most often used is ikkyo and iriminage. He also said much of aikido can be taught from shihonage. Yet, they are a means to the end not the end itself. Otherwise how could you do it any better after 20 years or 50 years? The process of writing a word doesn't make a particular word any more meaningful, you can wrote gold a million times if you wish, it won't make you rich by the way. However, practice writing continuously and I'm sure one day people will praise you of your script. Perhaps you could even do calligraphy by then. For all of the beauty of your script, does it mean that you can now write tear jerking prose? Or novels that paint a picture so vivid that it colours the imagination?
Thus in that simple technique that's made up of so many different principles and mechanics and rules, what we are polishing goes beyond the application of the technique. Goes beyond the proficiency, the fluidity and the validity of the technique. You need to realize the technique's true purpose and that is to understand Aikido.
And at what stage can we begin this type of practice? It really boils down to you. Needless to say, to begin with you will need your letters and you need to learn the vocabulary, so I suspect Shodan is where you try to take your first tentative steps into the unknown.
This is the point where you can no longer answer through copying, where you have to answer through understanding. And of course, what I understand is but a piece of a million pieces and each of us may pick up different pieces in the beginning. Yet, persevere and we will complete the same picture. Some of us may take longer than others, but keep at it. For the pieces fit only in this puzzle. If we discontinue and try to pick another piece from a different puzzle, you will only end up with a weird incomplete picture in the end with many more pieces missing.
Sunday, August 14, 2011
Sunday, June 19, 2011
Kihon intensives: Sunday
Katate shihonage. No change. Ukemi, at kuzushi, to fall back and over so the legs point into the direction of the fall. Not like the yoshinkan method.
Katate kotegaishe. 2nd method. Body escape using combination of butterfly hands and irimi movement. Also remember, as kaeshi is performed, not to transmit power into uke. As kaeshi is done, uke's power is drawn towards nage's hara too.
Katate sokumennage. Like shihonage. Bring up and draw uke to you. Touch with the other hand and enter. Careful for hijiate reversal. Remember angles and intent.
Katate sumo otoshi. Reverse palm, cut to the side and tai sabaki. Rear leg move more and control chushin. Enter all together.
Futari katatedori/morotedori. Light and easy.
Katate kotegaishe. 2nd method. Body escape using combination of butterfly hands and irimi movement. Also remember, as kaeshi is performed, not to transmit power into uke. As kaeshi is done, uke's power is drawn towards nage's hara too.
Katate sokumennage. Like shihonage. Bring up and draw uke to you. Touch with the other hand and enter. Careful for hijiate reversal. Remember angles and intent.
Katate sumo otoshi. Reverse palm, cut to the side and tai sabaki. Rear leg move more and control chushin. Enter all together.
Futari katatedori/morotedori. Light and easy.
Sunday, June 12, 2011
Swimming and Aikido
Some years back my old aikido teacher told me swimming was like aikido. Being the guy I am, I never asked him to explain.
Just now as I was doing some laps whilst holding my breath, I realized that it's quite strenuous. I wondered how all those movies about guys and girls swimming underwater avoiding bullets, bad guys, sharks and zombies could possibly do what they do for a minute or longer when even 20 secs was too long for me.
That got me thinking on how to improve my strokes. Being self taught I have no doubts that my technique is far from ideal. Plus the fact that I kept my body straight to prevent water from going into my ears was probably a factor. Then, I thought about how sometimes swimming felt so effortless that I could have swam forever. I wonder what was it that I was doing wrong.
Then I tried to move in unity. Instead if pulling my downstroke with my arms, I twisted my torso slightly. To my surprise, I wasn't breathless anymore. 20 secs was nothing. My arms no longer burned the oxygen I needed. Using the body turn didn't exert my body at all, and the laps went by easily.
So is this what he meant? Well I guess maybe. Moving your body in unison is not magic, nor is it aikido's secret. Certainly it's right there in basic aikido, we do it everyday. However, moving body in unison is not the end to it all. Knowing what part and how to move those parts in unison is equally important. Take our kihon kosanage ikkyo for example. You need to sink and move your body with your hands and get kuzushi. But just turning on your vertical axis won't get you anything but a punch to your face. There is a need to move from your hara and not the hand, but also to maintain a chain or a link from hara to your hands to your uke. Sinking, you take kuzushi only if there is a connection to uke. An easy way to start will be to sink into uke's corner but not moving forwards whilst doing it.
Other techniques need equal study and how to best move your body. And this is why kihon training is so wonderful. It allows an actual study and development period to practice moving your body in a united fashion. That us why in the first level of aikido, harmonizing with yourself, kihon is absolutely necessary.
Just now as I was doing some laps whilst holding my breath, I realized that it's quite strenuous. I wondered how all those movies about guys and girls swimming underwater avoiding bullets, bad guys, sharks and zombies could possibly do what they do for a minute or longer when even 20 secs was too long for me.
That got me thinking on how to improve my strokes. Being self taught I have no doubts that my technique is far from ideal. Plus the fact that I kept my body straight to prevent water from going into my ears was probably a factor. Then, I thought about how sometimes swimming felt so effortless that I could have swam forever. I wonder what was it that I was doing wrong.
Then I tried to move in unity. Instead if pulling my downstroke with my arms, I twisted my torso slightly. To my surprise, I wasn't breathless anymore. 20 secs was nothing. My arms no longer burned the oxygen I needed. Using the body turn didn't exert my body at all, and the laps went by easily.
So is this what he meant? Well I guess maybe. Moving your body in unison is not magic, nor is it aikido's secret. Certainly it's right there in basic aikido, we do it everyday. However, moving body in unison is not the end to it all. Knowing what part and how to move those parts in unison is equally important. Take our kihon kosanage ikkyo for example. You need to sink and move your body with your hands and get kuzushi. But just turning on your vertical axis won't get you anything but a punch to your face. There is a need to move from your hara and not the hand, but also to maintain a chain or a link from hara to your hands to your uke. Sinking, you take kuzushi only if there is a connection to uke. An easy way to start will be to sink into uke's corner but not moving forwards whilst doing it.
Other techniques need equal study and how to best move your body. And this is why kihon training is so wonderful. It allows an actual study and development period to practice moving your body in a united fashion. That us why in the first level of aikido, harmonizing with yourself, kihon is absolutely necessary.
Tuesday, June 7, 2011
Kata dori Menuchi ikkyo
Just a short clip, but I was whiling my time away link to link and came across this one of Tamura sensei. Very interesting...
In the first iteration, nage atemi's even as uke grabs and strikes. Thus from the atemi, could even cut down the men uchi hand before going for ikkyo at the katadori hand.
In the 2nd iteration, Tamura sensei is pointing out that we should not stay to perform ikkyo on the hand, and instead to irimi before the ikkyo.
In the 3rd iteration, he was pointing out that the atemi hand is not a block for the men uchi. In this instance when you lose chushin (and uke's), uke has gained control of the attacking line.
In the 4th iteration, he sinks and controls the vertical space.
I love it!
In the first iteration, nage atemi's even as uke grabs and strikes. Thus from the atemi, could even cut down the men uchi hand before going for ikkyo at the katadori hand.
In the 2nd iteration, Tamura sensei is pointing out that we should not stay to perform ikkyo on the hand, and instead to irimi before the ikkyo.
In the 3rd iteration, he was pointing out that the atemi hand is not a block for the men uchi. In this instance when you lose chushin (and uke's), uke has gained control of the attacking line.
In the 4th iteration, he sinks and controls the vertical space.
I love it!
Friday, May 27, 2011
The Yogja seminar
Ah, Yogjakarta... one of my favourite place to visit in Indonesia. A very relaxed place and they really do have nice food that I recall from my first visit. I was really looking forward to this but like everything else in this world, something had to go wrong.
I couldn't really train well in the month preceding the seminar. Because of some health issues. Then I fell sick 5 days from the date and was basically a like a wet dead dog by the time I flew in. I also had to buy 2 separate flights back a day earlier to handle some work. Basically, it was like anything that could go wrong, did go wrong. Events occurred that really tested my endurance to actually go to the damn place. However, it was a commitment I had to force myself to adhere to. This was a test of will, and somehow I had to pass. Although I did go, I couldn't take much ukemi from sensei himself. So that was a major disappointment for me, but the training itself was good.
On Friday, there was a training session at the local dojo. I went to practice but in the end because the sensei was outstation, the seniors forced me to take the class. So we did some basic training in preparation for sensei's seminar. I started with the basic kamae focusing on hara and chushin development. Tenkan as an entering movement not a turning movement. Sinking hara to perform leading movements and sokumen nage. Then we did a few basic techniques like katatedori shihonage, kosadori ikkyo and tenchi nage, to look at half steps and movement from hara. The students were enthusiastic and energetic. For most, what I showed them was new to them but nothing too far from what they already know. I had a problem with only one uke who was very stable and I couldn't get kuzushi for shihonage omote. One of my weakest techniques, I was thinking that I didn't sink in chushin and perhaps I didn't apply aikiage before entering. But upon discussing with Sensei, I think the mistake was when I shift stance he felt some movement in my hands. The next problem was when I sinked, he told me to enter and displace uke's center straight away instead of vertically and then following with the irimi movement. Something to think about, but I told sensei that I saw him do what I was envisioning before. His answer was that's the next level, I have to get this right not skip it. Ah... yes we are fond of that. Changing methods when one doesn't work. In the end, we lose the opportunity to develop ourselves further by avoiding a difficult obstacle.
Sensei's class on Saturday near the Kenji outlet was interesting. Both his class and seminar the next day basically orientated around the same things. Hara, Sinking and Atari. Whilst the techniques are varied, those 3 was the core theme to it all. Fundamentally, this syllabus is actually up to 3rd kyu for our school. Yet, on occasion I do come certain uke's who I can't perform it well or immediately especially from static. But because I knew what we were looking for, this really helps with the progression of my own training. This means, its absolutely critical for us as students to train in this fashion. Not just in the dojo but with outsiders in seminars like this. Good progress can be made by applying what we know sort of like a revision against uke's who are not familiar with the material thus would not participate in a collusive manner.
One of techniques that I paid more attention to for the benefit of my uke was the irimi nage from a katadori. Although at above 3rd kyu he should be doing nagare training, I had to start him on static after a few rounds of full speed application. This is simply because having no understanding in sinking and entering instead of moving forwards, he cannot apply the technique well. For this technique uke grabs katatedori, and using our other hand we touch his forearm and sink. As the kuzushi occurs we enter his space and envelop him into iriminage. You could also do it without moving the feet, inviting him and turning kaiten and cutting his chushin as he comes across. But even so, the sinking on uke is an application of atari and hara movement/control and is used either way. If nage tries to cut the hand away or move in, uke is at liberty to stop or hit him.
A yudansha named Azhar who spent nearly 3 years in Japan with Inaba sensei led the Sunday's warmup with a hara building exercise. Looks like the sumo leg stomping exercise and is an absolute killer on the legs. It was pure torture climbing up and down the stairs on the airplanes that evening. Still, I'm wondering if its not a good idea to include this in my daily routine.
I have some vids up from yogja that you can check out.
I couldn't really train well in the month preceding the seminar. Because of some health issues. Then I fell sick 5 days from the date and was basically a like a wet dead dog by the time I flew in. I also had to buy 2 separate flights back a day earlier to handle some work. Basically, it was like anything that could go wrong, did go wrong. Events occurred that really tested my endurance to actually go to the damn place. However, it was a commitment I had to force myself to adhere to. This was a test of will, and somehow I had to pass. Although I did go, I couldn't take much ukemi from sensei himself. So that was a major disappointment for me, but the training itself was good.
On Friday, there was a training session at the local dojo. I went to practice but in the end because the sensei was outstation, the seniors forced me to take the class. So we did some basic training in preparation for sensei's seminar. I started with the basic kamae focusing on hara and chushin development. Tenkan as an entering movement not a turning movement. Sinking hara to perform leading movements and sokumen nage. Then we did a few basic techniques like katatedori shihonage, kosadori ikkyo and tenchi nage, to look at half steps and movement from hara. The students were enthusiastic and energetic. For most, what I showed them was new to them but nothing too far from what they already know. I had a problem with only one uke who was very stable and I couldn't get kuzushi for shihonage omote. One of my weakest techniques, I was thinking that I didn't sink in chushin and perhaps I didn't apply aikiage before entering. But upon discussing with Sensei, I think the mistake was when I shift stance he felt some movement in my hands. The next problem was when I sinked, he told me to enter and displace uke's center straight away instead of vertically and then following with the irimi movement. Something to think about, but I told sensei that I saw him do what I was envisioning before. His answer was that's the next level, I have to get this right not skip it. Ah... yes we are fond of that. Changing methods when one doesn't work. In the end, we lose the opportunity to develop ourselves further by avoiding a difficult obstacle.
Sensei's class on Saturday near the Kenji outlet was interesting. Both his class and seminar the next day basically orientated around the same things. Hara, Sinking and Atari. Whilst the techniques are varied, those 3 was the core theme to it all. Fundamentally, this syllabus is actually up to 3rd kyu for our school. Yet, on occasion I do come certain uke's who I can't perform it well or immediately especially from static. But because I knew what we were looking for, this really helps with the progression of my own training. This means, its absolutely critical for us as students to train in this fashion. Not just in the dojo but with outsiders in seminars like this. Good progress can be made by applying what we know sort of like a revision against uke's who are not familiar with the material thus would not participate in a collusive manner.
One of techniques that I paid more attention to for the benefit of my uke was the irimi nage from a katadori. Although at above 3rd kyu he should be doing nagare training, I had to start him on static after a few rounds of full speed application. This is simply because having no understanding in sinking and entering instead of moving forwards, he cannot apply the technique well. For this technique uke grabs katatedori, and using our other hand we touch his forearm and sink. As the kuzushi occurs we enter his space and envelop him into iriminage. You could also do it without moving the feet, inviting him and turning kaiten and cutting his chushin as he comes across. But even so, the sinking on uke is an application of atari and hara movement/control and is used either way. If nage tries to cut the hand away or move in, uke is at liberty to stop or hit him.
A yudansha named Azhar who spent nearly 3 years in Japan with Inaba sensei led the Sunday's warmup with a hara building exercise. Looks like the sumo leg stomping exercise and is an absolute killer on the legs. It was pure torture climbing up and down the stairs on the airplanes that evening. Still, I'm wondering if its not a good idea to include this in my daily routine.
I have some vids up from yogja that you can check out.
Wednesday, May 25, 2011
Tembin nage
Coming back from Yogja, I was a bit disappointed. First at falling sick right before flying to see sensei. 2nd because I had to reschedule to an earlier day to fly back because of work. Worst of all, for being unable to take much ukemi from sensei during the entire time.
Still, I did get sensei to show me how tembin nage is done outside of class. I wish I had time to practice this but it'll be a homework for me until he gets here in June. This is the video http://vimeo.com/24206670
Its very very different then the typical hiji ate we've all been doing. None of that grab the hand and put pressure on the elbow, shoulder, armpit whatever stuff that you get floating about. Its contact at the tembin pressure point is soft. All of a sudden you find your head being projected forwards. There is NO fulcrum being used whatsoever.
This is even different then the one Kancho showed me earlier this year. Anyway... that's all I have time for today. I'll try to write in about Yogja soon.
Still, I did get sensei to show me how tembin nage is done outside of class. I wish I had time to practice this but it'll be a homework for me until he gets here in June. This is the video http://vimeo.com/24206670
Its very very different then the typical hiji ate we've all been doing. None of that grab the hand and put pressure on the elbow, shoulder, armpit whatever stuff that you get floating about. Its contact at the tembin pressure point is soft. All of a sudden you find your head being projected forwards. There is NO fulcrum being used whatsoever.
This is even different then the one Kancho showed me earlier this year. Anyway... that's all I have time for today. I'll try to write in about Yogja soon.
Friday, May 13, 2011
Udekimenage, Hijiate and Mae otoshi
Hmm, normally I wouldn't talk in great detail about a particular technique. But we were talking about this technique over in Aikiweb and it was one of those techniques that done in the 'normal' way doesn't really seem practical whatsoever. However, I had previously asked Sensei about it and he mentioned that he too at one time was unconvinced of the viability of this technique.
Sensei related to us how he met with Kancho Inoue when he visited Malaysia a long time ago. He then asked Kancho how to perform this technique. Kancho asked him to hold his hand and then performed the technique. Without understanding how and without pain, sensei found himself flipped on the spot. Kancho did this 3 times and sensei still can't explain to me what he did until today.
Sensei does this technique differently now though. He uses more of tai no awase with the free hand. Thus kuzushi is happening at the core not at the hand. In fact it feels very much like you are falling over his hand thus there is no real application of force whatsoever on uke's elbow. To me mae otoshi seems pretty appropriate here.
I'll put up a video link here once I find it in my HDD somewhere.
To revisit the technique (I'm more familiar with Hijiate, but the other 2 was described to be similar techniques. In hindsight, I find mae otoshi to be more relevant to what is being practice in Aiki no Kenkyukai rather than Hijiate which eludes to hitting the elbow to effect the throw), hijiate is done when we have uke's left hand with our left hand and using our right hand to go underneath his armpit and then palm up taking kuzushi, take a right foot sliding step forward, rotate the palm down and projecting uke forward. Kuzushi is achieved by leading the left hand outwards, and locking out uke's elbow using the right arm.
Now this is where most applications will vary. I'm not an expert but what I've observed so far.
1. Typically aikikai way, in ai hanmi (say kosadori), you make an ayumi ashi movement and kaiten so now you are besides uke in a similar stance. Some nage will have grabbed uke's wrist by now, some will just lead it outwards. Next the other hand will go just above uke's elbow and stepping forwards with the back leg diagonally into uke's space, throwing with a rotating hand at the same time.
2. Some will not go beside uke, and instead moving obliquely in the direction of uke's omote proceed with the throw. (the hands are almost crossing and thus real pressure is applied on the elbows).
3. The way kancho showed me though was quite different to how sensei got thrown. He basically utilises enshin into uke's shoulder and projects the throw through uke's shoulder. Some would say, once you've applied enshin into the shoulder and uke's on his toes, you then drive him into the ground. This is quite similar to how you apply a yonkyo.
4. I've seen another method and typically this is used in shiai. Nage basically holds down onto uke's hand and brings him down with force. This is reminiscent of the unofficial 7th technique. Or a variation of nikkyo where uke's arm is straighten instead of bent. I don't know this is even accepted as a mae otoshi variant or a what, but for most it looks almost the same and I thought just to mention it anyway.
I'm sure there's many more intricate details that I've missed in this list. Its not meant to be exhaustive. All I'm doing is saying that the talks in Aikiweb raised my curiosity a bit since we seldom practice this technique. Thus I revisited it and yes, the issue of non-compliant ukes who resist by bending their elbows and posting with their legs do happen. So its not as fine and dandy as most videos of uke flying forward from such a throw are seen. I don't blame the technique however and most Aikido 'analysts' will come up with a great number of reasoning why such and such technique doesn't work. Inevitably it'll boil down to the fact that we are employing technique instead of applying Aikido principles. If you achieve control of uke's center it is unlikely that he can resist your technique. If you don't, no matter how forceful the technique is applied, uke can definitely resist or counter.
Easier said than done. And as I've mentioned the ideal form for me is to follow sensei's tai no awase and disrupt his core to effect the throw. I don't know how long it'll take for me to learn to this but in the end it'll be far more useful than were I to improve on my elbow attacking techniques.
Sensei related to us how he met with Kancho Inoue when he visited Malaysia a long time ago. He then asked Kancho how to perform this technique. Kancho asked him to hold his hand and then performed the technique. Without understanding how and without pain, sensei found himself flipped on the spot. Kancho did this 3 times and sensei still can't explain to me what he did until today.
Sensei does this technique differently now though. He uses more of tai no awase with the free hand. Thus kuzushi is happening at the core not at the hand. In fact it feels very much like you are falling over his hand thus there is no real application of force whatsoever on uke's elbow. To me mae otoshi seems pretty appropriate here.
I'll put up a video link here once I find it in my HDD somewhere.
To revisit the technique (I'm more familiar with Hijiate, but the other 2 was described to be similar techniques. In hindsight, I find mae otoshi to be more relevant to what is being practice in Aiki no Kenkyukai rather than Hijiate which eludes to hitting the elbow to effect the throw), hijiate is done when we have uke's left hand with our left hand and using our right hand to go underneath his armpit and then palm up taking kuzushi, take a right foot sliding step forward, rotate the palm down and projecting uke forward. Kuzushi is achieved by leading the left hand outwards, and locking out uke's elbow using the right arm.
Now this is where most applications will vary. I'm not an expert but what I've observed so far.
1. Typically aikikai way, in ai hanmi (say kosadori), you make an ayumi ashi movement and kaiten so now you are besides uke in a similar stance. Some nage will have grabbed uke's wrist by now, some will just lead it outwards. Next the other hand will go just above uke's elbow and stepping forwards with the back leg diagonally into uke's space, throwing with a rotating hand at the same time.
2. Some will not go beside uke, and instead moving obliquely in the direction of uke's omote proceed with the throw. (the hands are almost crossing and thus real pressure is applied on the elbows).
3. The way kancho showed me though was quite different to how sensei got thrown. He basically utilises enshin into uke's shoulder and projects the throw through uke's shoulder. Some would say, once you've applied enshin into the shoulder and uke's on his toes, you then drive him into the ground. This is quite similar to how you apply a yonkyo.
4. I've seen another method and typically this is used in shiai. Nage basically holds down onto uke's hand and brings him down with force. This is reminiscent of the unofficial 7th technique. Or a variation of nikkyo where uke's arm is straighten instead of bent. I don't know this is even accepted as a mae otoshi variant or a what, but for most it looks almost the same and I thought just to mention it anyway.
I'm sure there's many more intricate details that I've missed in this list. Its not meant to be exhaustive. All I'm doing is saying that the talks in Aikiweb raised my curiosity a bit since we seldom practice this technique. Thus I revisited it and yes, the issue of non-compliant ukes who resist by bending their elbows and posting with their legs do happen. So its not as fine and dandy as most videos of uke flying forward from such a throw are seen. I don't blame the technique however and most Aikido 'analysts' will come up with a great number of reasoning why such and such technique doesn't work. Inevitably it'll boil down to the fact that we are employing technique instead of applying Aikido principles. If you achieve control of uke's center it is unlikely that he can resist your technique. If you don't, no matter how forceful the technique is applied, uke can definitely resist or counter.
Easier said than done. And as I've mentioned the ideal form for me is to follow sensei's tai no awase and disrupt his core to effect the throw. I don't know how long it'll take for me to learn to this but in the end it'll be far more useful than were I to improve on my elbow attacking techniques.
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