Aikido 123

The free version of the book "Aikido 1,2,3 "
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Please use the Adobe Acrobat Reader latest version.
This ebook version was made public on July 15, 2014.
The book presents my point of view about Aikido, and I understand
that others may have different opinions.
At the beginning of each chapter, there is an icon on the left and /
or right of the image in the middle.
If you click on it, you can see Aikido in motion. Right clicking will
enlarge the window, so you can see it better.
I suggest you to not excessively increase the window's size because
the images will be blurry. That is because I used small images in
order to keep the ebook small in size.
The book will be enriched over time with related films including
techniques with and without weapons, so be sure you always visit
our website to download these annexes.
Please notify us of any errors of translation or interpretation, in
order to correct them.
With all my friendship,
Dan Ionescu
Foreword
Dan Corneliu Ionescu
AIKIDO 1,2,3
Cover - Bogdan Fratila
Drawings Radu Petrescu
Graphic presentation of the chapters Mariusz Szmerdt
English translation Rares Barsan, Liviu Iordache, Radu Lascar,
Andrei Dobre, Bogdan Fratila
Dan Corneliu Ionescu - AIKIDO 1,2,3 1
Foreword
The biggest weakness of our thinking is the overestimation of what is known
in relation to what remains to be known.
FOREWORD
Perhaps the readers will ask: why "Aikido 1,2,3 " ?
I wanted this title to remain in the mind of Aikido practitioners as a
reference for an execution pattern of an Aikido technique. Reading the book
you will see that an Aikido technique is generally done in three steps.
One step is necessary to avoid or block the attack, another one to
unbalance the opponent and the third one to apply the Aikido technique, a
throw or a lock.
Of course, this is a general pattern of execution and depending of each
practitioner skill level, one step may take one second, one fraction of a
second, more or less.
In a bigginers case these steps may take more seconds, but if we
reffer to a master a step may be a mere fraction of a second and hell be able
to compress and merge the movement so that the three steps become two
and then only one. This means that our master will execute the technique in
the same time with the agressors attack or even faster then the agressors
complete attack.
In this book I have described basic techniques against attacks with and
without weapons and it is intended for Aikido practitioners and instructors.
Foreword
I hope they will enjoy it. Same as in my previous books, I used first
person so that the reader will feel that he/she is taking part,directly, in the
execution of the Aikido techniques.
What makes this book special is that Aikido techniques are presented in
various types of execution, without weapons, with Tanto, with Tambo, with J o,
with Boken and with Tessen.
Because in Aikido the training with and without weapons is done in
different periods of time, these techinques although related, are described by
most of the Aikido books separated, usually in different volumes accordingly
with the natural evolution of the students skill but without any connection
between them. Grouping the different variations of the same Aikido technique
in one continuos presentation, allows the reader to see the natural connection
between them, to understand the universality of Aikido techniques and the
fact that doesnt matter if we use weapons or not, Aikido is the same.
Because the drawings or the photos are sometimes not explicit enough
when dealing with a dynamic technique, some techniques in this book can be
seen "in motion" by pressing the button accompanying them. I thought that
this method of seeing a technique in motion will make it easier to understand
how the technique should be executed.
Aikido techniques drawings were made by Radu Petrescu.
Graphic presentation of the chapters was made by my friend Mariusz Szmert,
from Poland.
This book was translated into English by my colleagues from Romania,
England, Canada and United States of America: Rares Barsan, Liviu
Iordache, Radu Lascar, Andrei Dobre and Bogdan Fratila.
I am deeply grateful for their efforts, which is why I feel obliged to briefly
introduce them:"
Mariusz Szmerdt
Mariusz Szmerdt of Poland is a highly accomplished
ink painter who exhibits widely and is a member of the
International Chinese Calligraphy & Ink Painting Art
Society (ICCPS), Tokyo, J apan.
Introduced at a young age to Asian culture and
subsequently to the martial arts, his art is deeply
influenced by Zen Buddhism.
His accompanying passions are photography and
mountain climbing to which he has been devoted for
some 20 years. He cites as his mentors nature, intuition, and books.
Foreword
He also finds a lot of inspiration for his art in meditation. His paintings are in
the collections of many famous martial art's Masters. For more information,
please see his website at http://sumi-e.pl
Rares Barsan
Rares was born in Bucharest in 1976, hes an
economist graduated of ASE Bucharest and working at
the moment for an investment company as executive
manager. He started performace sports with
swimming, between 1981-1989, than Aikido in 1993,
with shihan Dan Ionescu, took a break for a few years,
then started again in 2004 and never stopped since.
Hes a 3rd Dan black belt with his own club and vice-
president of Romanian Aikido Federation. His hobbyes
are: sport, travel, motorbikes and cooking. And the proud owner of a Golden
Retriever.
Bogdan Paul Fratila
He is a 6th Dan black belt, official instructor, Vice-
president of the Romanian Aikido Federation (FRA)
and Board Member of the European Aikido
Confederation.
He is a certified trainer of the Romanian National
Center for training and coaches - National School
Coaches and the Ministry of Youth and Sports.
Over time he practiced boxing, karate shotokan,
taekwondo, but his heart has remained in aikido, which he practiced it
continuously since 1993. Experience as a coach with adults since 1997, and
with children since 2002. He loves sports and social activities.
Liviu Iordache
Liviu born in 1975, has been studying Aikido since
1997, alongside a vast variety of other martial arts
styles, which include many empty handed and
weapons techniques.
Being a very dedicated teacher for both adults and
children alike, he believes that martial arts can develop
your physical and mental abilities along with
compassion and sense of righteousness. Abilities that
you will benefit from, in your day to day life as well.
Since his arrival in the UK, in 2010. Hes a 3rd Dan black belt Aikido.
Foreword
Liviu Iordache has opened the Aikido Club Peaceful Warriors and he has
been teaching self-defence classes for adults and teenagers.
Radu Lascar
Born in Bucharest in 1966, he graduated the Bucharest
Polytechnic Institute as an engineer. After few years of
working in Bucharest, he moved to Canada here hes
working as an IT consultant for various financial
institutions. From young age he enrolled in team sports
like soccer and rugby and from 1984 to 1991 he learned
and trained in Aikido with shihan Dan Ionescu. Hes a
3rd Dan Aikido and instructor of Romanian Aikido
Federation. His hobbies are: playing squash, jogging,
motorcycle trips and escaping to warm Caribbean
islands during the long Canadian winters.
Andrei Dobre
Andrei started his Aikido journey in 1998 in the
beautiful Danube river town of Braila, Romania. He
was 16 and very eager to learn; He joined the only
Aikido Dojo in town under Sensei Sorin J oghiu, who
became his lifelong friend. He was just a teenage boy
that knew next to nothing of martial arts and had never
heard about Aikido before.
He kept practicing ever since. He started his college years in 2000 and
moved to Bucharest were he started training in my Dojo. I awarded him his
first Dan degree later that year, the second in 2004 and the third in 2013.
Opportunity carried him and his wife to Seattle, US, in the autumn of 2008,
working as a software engineer.
After ten years of constantly training, he found himself starting in what he
calls the inner Aikido research period. His lifelong dream is to build his own
dojo somewhere on the planet.
This book was made with the aid of instructors of the Romanian Aikido
Federation: Alexandra Vasilescu, Florina Raduca, Alexandra Lemnaru, Andra
Negulescu, Gabriela Fratila, Bogdan Fratila, Sorin J oghiu, Nicolae Mitu, Luis
Turcu, Tiberiu Aluas, Marian Albeanu, Iulian Bosoi, Lucian Dan, Victor
Bubulac, Ciprian Budes, Eugen Matei, Romeo Simici and Paul Baiasu.
I dedicate this book to them and to all other Aikido instructors in
Romania. Their merit in the promotion and development of Aikido is
fundamental.
Foreword
Alexandra Vasilescu Florina Raduca Alexandra Lemnaru
6 Dan Trainer 4 Dan Trainer 4 Dan - Instructor
Gabriela Pomirjanschi Andra Negulescu Gabriela Fratila
3 Dan - Instructor 3 Dan Trainer 2 Dan - Instructor
Sorin J oghiu Luis Turcu Nicolae Mitu
6 Dan Instructor 4 Dan Trainer 4 Dan - Trainer
Foreword
Tiberiu Aluas Marian Albeanu Ciprian Budes
3 Dan - Trainer 3 Dan - - Instructor 2 Dan - Instructor
Victor Bubulac Iulian Bosoi Lucian Dan
2 Dan - Instructor 2 Dan Instructor 2 Dan - Instructor
Romeo Simici Eugen Matei Paul Baiasu
1 Dan Instructor 2 Dan Instructor 1 Dan - Instructot
Foreword
To facilitate the understanding of this book please note the following:
- Some techniques are presented in more detail because they are more
commonly used
- Drawings and pictures are to be looked at from left to right and top to
bottom, if not explicitly numbered.
- The weapons and non-weapon techniques are significant different because
the weapon techniques respect only the governing principles of Aikido.
A weapon is meant to strike or maybe block and is hard to grip to an Uke
using a Tanto, Tambo, J o, Boken, or Tessen. Because of this, the techniques
will likely be different as the technique complies with the idea, the principle,
and less with the details.
- The book doesnt describe all the variations of the basic techniques, nor the
techniques relating to all types of attacks, due to lack of book space. For the
same reason, only some techniques are presented with their positive and
negative forms, and if I insisted in some cases on the weapons techniques,
this is because they lend themselves better for such purpose.
- In many cases, I presented the same technique performed by different
individuals, so the reader may observe different ways of execution, so he/she
may understand what freedom of execution means.
Foreword

O Sensei Morihei Ueshiba
by Tadashi Abe

"He who lives only for himself does not exist for the others"

Master Morihei Ueshiba was born in Tanabe, a harbour city defended
by the family castle of Daimio Kii (Kishu).
The province in which Tanabe was situated was under the control of the
Tokugawa Shogun, who was living most of the time in the city of Wakayama,
city which was administrated at that time by the Tokugawa Daimio.
Later the Kii family full control of the city of Wakayama.
The grandfather of master Morihei Ueshiba was a samurai of Kii family and
his name was Kichiemon.
He had the opportunity to study the method named Aioi-Ryu, based on
Kendo-Aiki-Tai-J utsu techniques.
This discipline was taught in secret and only in verbal way, by the master of
the school.
The interdiction of making a certain method of fighting public was named
Ottomeryu and this was the reason why nothing was passed in writing about
the techniques studied by the grandfather of master Ueshiba.
Therefore it is impossible to determine dates or facts related to this method,
which we could place in J apans past and the few documents that exist are
not easy to obtain.
Ottomeryu, keeping in secret information about techniques and fighting
methods, was applied in all the big japanese families. This explains the big
diversity or fighting techniques in that era.
Foreword

Basically each important family was working hard to put together their own
technique in secret, techniques which were meant to surprise the enemy in
case of a fight.
Much later, in 1886, J igoro Kano, the first master who decided to make public
his fighting techniques, created his own school by selecting the most efficient
moves and fighting techniques.
In those times, J igoro Kanos contemporaries, especialy the young
generation, was very confused. Morals, honor and the fighting spirit was
seriously in decline.
J igoro Kano thought that revival of the Bushido principles and the posibility of
the young generation to have acces to a new Martial Art geared towards
peace, might revive the ancient samurai spirit.
They were hoping that societys ethics and especialy young generations
ethics will be strenghtened by the aplication of Bushido Code principles.
That was the situation when J udo was created at Kodokan.
It is said that Ueshibas grandfather had an unusual strength and together
with his Budo techniques it made him a skillful and fierce warrior.
His numerous fighting deeds became legend and maybe one day we will
present them to our readers.
His son, Yoroku Ueshiba, master Morihei Ueshibas father, was priviledged
with good study conditions and became himself Shihan of Kii family, where he
taught the Aioi-Ryu method.
Like his father, Yoroku was gifted with exceptional physical strength, which
allowed him to lift two rice sacs at once. In those times a rice sacs weight
was around 65 kg.
In November 1882 Morihei Ueshiba was born, naturally gifted with a weak
physical constitution, but with an exceptional memory and inteligence.
At 6 years old he had memorised Shishogokyo The classic chinese
philosophical history, and at 14 years old he was passioned about
trigonometry and integral calculus and he had fun doing complicated
multiplications and divisions in his mind, faster than the kids who were doing
it with pen and paper.
His poor health made him interrupt his studies and for conquering his physical
handicap, he decided to study martial arts.
He began by training with his father and learning Aioi-Ryu method until 15
years old, when his father decided to send him to continue his instruction to
Tokyo at his friend Shihan Tozawa Tokusaburo, one of the best teachers of
the moment, who was teaching the Kitoryu method.
Morihei Ueshiba was taught by master Iso, the assistant of Tozawa
Tokusaburo and by master Fukuda. J igoro Kano studied with master Fukuda
as well, in fact he came especialy to learn this famous method, which will be
his inspiration for the main grabs of his own school (1886).
His will to succeed made Morihei overcome the difficult stages very fast.
Foreword

After a while, Master Tozawa Tokusaburo took control over Morihei Ueshibas
teachings and as a result of his progress Master Tokusaburo decided to write
a letter of recommendation and to send him to Osaka, the center of J apan, to
his good friend Master Nakai Msakatsu to learn the Yagyu-Ryu method (a
special form of J u-J utsu).
Master Masakatsu was well known for this fighting deeds.
He had a short stature and very thin, he was 1.55 m tall and he weighed only
56 kg, but his determination, self control, and his technique attracted
everyones admiration.
Very tough with himself and with his students, he had obtained excellent
results as a teacher.
His dominant feature was his severity.
His lack of sensibility in his manner of thinking and his frank answers didnt
always appease the big families.
Nevertheless, his school had a good reputation because it applied the
Bushido rules in a very strict manner.
It is said that one day master J igoro Kano came to see Shihan Masakatsu to
ask advice about including J u-J utsu techniques in his J udo school, specific to
the Yagyu-ryu method.
Since master Masakatsu wasnt there at that moment, one of his students
named Inoue challenged J igoro Kano.
To understand better what this means, we must remember that in those days
every school was secret, no one outside the school had any idea what that
school teaches and thats why it was difficult to say which method was the
most efficient.
So how a test of worth could have been done in this conditions, if the
methods and their efficiency couldnt be compared ?
Also, they couldnt have competitions because a set of rules to evaluate the
efficiency of each school and method was impossible.
In this situation only a straight fight could prove the superiority of a school,
method, or a particular fighter.
The two adversaries, Inoue and J igoro Kano, bowed to each other and got
ready for the confrontation, each of them on his side of Tatami.
The fight was about to start from the distance named Rikaku (the equivalent
of the natural distance).
The main rule in such contests was that the fight couldnt be stopped unless
one of the fighters called Maita , which means he declared himself
defeated by the technique or the efficiency of his opponent.
Very often the fight was finished with one of the fighters injured, thats
because the schools honor was at stake and many fighters preffered to let
themselves choked or to have one joint dislocated rather than to admit defeat.
Foreword

Any technique was allowed, there was no rule to forbid a certain technique or
strike and if weapons were involved, wooden weapons could be used as well
as the ones from blunted metal.
Because there was no referee to coordinate the fight, the only referee was
the honor of the two fighters involved in the duel.
Since this kind of challenge was used to prove the superiority of the
techniques and the efficiency of the school, most of the time this challenge
was set by the best masters of that school.
The fighter who was challenged and accepted the fight wasnt dishonored in
case he lost, but the challenger consider himself dishonored and in many
cases the fights finished with a seppuku.
Master J igoro Kano accepted Inoues challenge, who weighed 110 kg and
was 1.80m tall and 25 years old, compared with the 40 years of J igoro Kano,
who wasnt taller than 1.68m and heavier that 70kg, but J igoro Kano has
seen many things in his life and he accepted many challenges.
Fortunately the fight didnt take place, because master Nakai Masakatsu was
informed in time and he became very angry when he found out about it.
He called his disciple and he applied him a very severe penalty for this lack of
respect towards a Shihan like J igoro Kano and because he did it without
asking his permission.
The penalty was to declare Inoue as Hamon , which means completely
banned to ever practice martial arts.
This was the biggest punishment for a disciple, because no school and no
teacher could accept a student with such an interdiction.
Inoue, who thought that he was doing only good by defending the honor of his
master and his school, was very suprised by such a decision, he appologized
to J igoro Kano and he asked that his punishment to be turned in a different
one, so he can continue his studies.
Master J igoro Kano being an understanding person spoke for him and the
Hamon interdiction was withdrawn.
Inoue learned that the difference of age and hierarchy between a student and
a master can turn such a challenge in a big insult, which the Bushido Code
harshly condemns.
This event boost Master Nakais reputation, who was appreciated especially
for the severity of his teachings, severity that later was adopted by many
masters in their schools.
After this event, many masters visited Master Nakai and asked for permission
to apply his methods.
Shihan Yokoyama Chubei, expert in Naginata and Master Handa, expert in
Daito-Ryu-J u-J utsu, were the first masters who adopted his teaching method.
Master Morihei Ueshiba stood 10 years next to this great expert to study his
technique and perhaps he would have carry on his studies if the war with
Russia (1904-1905) wouldnt have started.
Foreword

In 1903 Ueshiba enrolls in infantry Regiment 61 where he receives the
sergent rank for special merits in the Manciurian campaign.
He is called by his brother in arms by the name Heitai-No-Kami-Sama, which
means Soldiers God, because of his skill and efficiency in the bayonet fight.
At 24 years old he refuses his commanders offer to sign up for the Military
Academy because to do your duty for your country is one thing and to love
war is a different thing .
Peaceful and passionate by nature, Ueshiba returns to Master Nakai to carry
on with his studies and finaly he obtains the Menkyo degree.
So Menkyo was very difficult to obtain and if we think about the Yagyu-Ryu
school, it was even harder to obtain because Master Nakai was very strict
when it comes to teaching and giving degrees.
In April 1909 Morihei Ueshiba goes to Hokkaido to lead a group of 300
colonists and their families, intent on reviving this abandoned region.
Surprisingly, the difficult life helps Ueshiba to regain his health. The harsh
climate, the hard training with his young students, horse riding and swimming
completed the healthy life he had on his farm.
In 1910 Morihei Ueshiba meets Sokaku Takeda while he was in one of his
short trips to Enkalu, a small town of the Hokkaido Island.
At 60 years old Master Takeda wasnt taking disciples anymore to teach the
Daito-Ryu-Aiki-J u-J utsu method, which made him famous in J apan.
To become one of Takedas students the rule was that the candidate must
pass a test of tenacity and rigor by making full service as a servant of the
Takeda family, to convince the master about the sincerity of his intentions.
At the smallest doubt that his intentions werent sincere, the student was
rejected.
Regarding the first meeting of master Takeda with Ueshiba, it concluded with
the proposal that Morihei Ueshiba start to study Daito-Ryu, an offer that
Ueshiba accepted with great respect.

The Daito-Ryu Method appeared almost a thousand year ago and its
beginnings can be found in the Genji family method of fighting.
This method changed over time, until it became the form of Takedas method.
Master Takeda was born in Aizu (300 km north of Tokyo, Fukushima
prefecture) in 1830.
Aizu had the reputation of a Bushido city because the samurais from the
north were very faithful to the lords which they served.
A very well known story in J apan shows us this state of mind. This event
happened during the revolution of 1867.
The Aizu Lord, devoted to the Shogun, sent his guards to defend the
Emperor. Regardless of their courage and their loyalty, the guards were
surrounded by enemies with fire weapons and they were in the situation to
choose between death and surrender.
Foreword

Among the samurais of these guards there was a group of cadets called
Byakko-Tai (White Tigers troups).
The leader of the Aizu guards decided to save the life of these young cadets
and ordered them to retreat.
In the beginning they refused, but in the end they were forced to follow the
order.
From the 32 cadets which formed the Byakko-Tai only 16 were still alive.
Instead of running, they climbed the Umoriyama hill and when they finally
realised that any chance of victory was hopeless, they committed seppuku to
save their samurai honor.
Master Takeda, who was too young to be part of Byakko-Tai, was very
affected by this event and he swore revenge on Mushashugyo the fighters
who took part in the rebellion.
Takeda was a strange man. He was wearing under his outfit, wrapped around
his body, a special cotton cloth covered in a special paper which made the tip
of the Katana to be deflected and so the wound to be lighter.
Also, he had with him on his belt, a dagger and a Tessen (war fan), which
was his favorite weapon.
There were many stories about him and his bloody deeds.
It is told that one night he found himself into a street fight between 2 brigands
gangs and because he was involved without his will in the fight he left on the
ground 30 wounded and the others ran away, being scared by Takedas
cruelty.
Because he had many enemies, if he was visiting someone he would take all
the precautions, he was carefuly checking the garden, the house
surroundings, behind each door and in the hidden places and only after all
these areas were safe he would pick a place that gave him the possibility to
have a good view without being taken by surprise.
He never ate or drank whatever was offered to him and he appologized
saying that he brought with him everything that he needed, food and drink
made by his best disciple.
Master Ueshiba learned all he desired, even the most secret techniques,
having complete trust in Master Takeda who gave him the Menkyo-Kaiden
title in 1915.
Master Ueshiba applied the Daito-Ryu principles to the methods studied by
him in the past. These were the Budo schools: Kiko-Ryu (J u-J utsu which
stood at the base of J udo), Shikage-Ryu (Kendo and J U-J utsu), Hozoin-Ryu
(spear techniques), Takenouchi-Ryu (special method of J u-J utsu), Tenshi-
Ryu (Kendo with J o-J utsu and Tai-J utsu), etc.
Master Morihei Ueshiba studied until 1920 all these techniques from the
perspective of the Daito-Ryu principles.
In this way he created a new Budo method, which he named Aiki-Budo with
Master Takedas consent.
Foreword

Spending his life looking for the best way, he had the revelation that the
purpose of Budo is to achieve victory through peace and from that moment
he decided to change the name of his method from Aiki-Budo to Aikido.

Important moments in the life of the Founder of Aikido - 1883-1969

1882 - J igoro Kano creates J uku Kano School, prior to the Kodokan School
1883 - Morihei Ueshiba is born on December 14th, in Tanabe, Kii Province
Wakayama prefecture
1901 - He moves to Tokyo in September and works together with his relative
Koshiro Inoue. He studies Tenshin Shinzo-Ryu with Tokusaburo Tozawa in
Tokyo. Possible short studies in Shinkage-Ryu sword school.
1903 - He marries Hatsu Itogawa in Tanabe
He enrols in 61st Infantry Company in Wakayama
1904 - Russian-J apanese war begins.
1905 - He leaves for Manciurian battle front.
1906 - He finishes his military service and returns to Tanabe
1908 - He receives J u-jutsu Yagyu-ryu certificate (probably Goto-ha Yagyu
Shingan-ryu) from Masanosuke Tsuboi (or Masakatsu Nakai).
1909 - Kodokan J udo headquarters is established
1910 - He leaves for Hokkaido to evaluate development projects with
government-sponsored lands. He returns to Tanabe quickly.
1911 - Possible short J udo studies with Kiyoichi Takagi in Tanabe. His first
child, a dother named Matsuko, is born.
1912 - He leads emigrants from Kii province to Aza-Shirataki province,
Kamiwakibetsu village, Mombetsu, Hokkaido.
1915 - He is introduced by Kotaro Yoshida to Sokaku Takeda from J ujutsu
Daito-Ryu in Hisada Inn, Engaru
1916 - He engages in studying and training intensively in Daito-Ryu Aikijutsu
1917 - His first son, Takemori is born on J uly.
1918 - He works as city councilman in Kamiwakibetsu village between J une
1918 and April 1919.
1919 - He leaves Hokkaido in December because of his fathers illness. He
donates all his land and assets to his teacher Sokaku Takeda.
1920 - He meets Onisaburo Deguchi, head of Omoto-kyo cult from Ayabe.
His father Yoroku dies in J anuary. He arrives home in Tanabe shortly after his
fathers death.
He moves with his family in Ayabe, Kyoto Prefecture, place of the Omoto-kyo
cult.
He builds Ueshiba J uku Dojo next to his home.
His second son Kuniharu is born in April.
His eldest son Takemori dies in August.
His second son Kuniharu dies in September.
Foreword

1921 - His mother Yuki dies.
Sokaku Takeda visits Ayabe with his family and stays there from 28th April to
15th September.
He receives Kyoju Dairi from Takeda which qualifies him as a certified Daito-
Ryu instructor (September).
Kisshomaru Ueshiba was born on J une 27, 1921, in the city of Ayabe, Kyoto
Prefecture. He was the third son and fourth child of Morihei Ueshiba and
Hatsu Ueshiba (ne Itokawa). Kisshomaru Ueshiba began training under his
father around 1937.
1924 - He leaves for Mongolia with Onisaburo Deguchi to establish an utopic
community (from February until J uly).
1925 - He holds special demonstrations in Tokyo for high ranking officers and
dignitary.
1926 - Kenji Tomiki begins his training.
1927 - He moves to Tokyo with his family. He establishes a temporary Dojo in
the billiard room of the Count Shimazu Inn in Shiba, Shirogane in Sarumachi.
1928 - He moves to Shiba, Tsunamachi in a temporary Dojo.
1929 Hi moves with his family in Shiba, Kuruma-machi and builds a
temporary Dojo.
1930 - He moves in Shimo-ochiai, Mejiro.
J igoro Kano, the founder of J udo, observes Ueshibas lessons in Mejiro and
sends some students from Kodokan, including Minoru Mochizuchi, to study
Aikido.
1931 - He dedicates himself to Kobukan Dojo in Ushigome, Wakamatsu-cho.
Sokaku Takeda holds seminaries at Kobukan Dojo between 20th March and
7th April. Ueshibas name appears in Takedas registers. (Rinjiro Shirata
enters Kobukan).
1832 - Budo Senyokai (The Society for Martial Arts Promotion) is founded
with Ueshiba as leader. Gozo Shioda enters Kobukan.
1932 - The technical manual Budo Renshu is published.
1937 - Ueshibas name appears in Kashima Shinto-ryu recording book next to
Zenzaburo Akazawas.
1938 - The technical manual Budo is published, containing photos of
Ueshibas techniques.
1939 - He is invited to teach in Manchuria.
1940 - He attends The Martial Arts Demonstrations Championship in
Manchuria celebrating J apans 2600th anniversary. Koichi Tohei enters
Kobukan. Kenji Tomiki receives the 8th Dan from Ueshiba himself. Kisaburo
Osawa enters Kobukan.
1941- He holds demonstrations organised by Admiral Isamu Takeshita in
front of Imperial Family at Saineikan Dojo. He teaches at the Military Police
Academy.
Foreword

He is invited to teach in Manchuria for the Universitary Week of Martial Arts.
He becomes martial arts consultant for Shimbuden and Kenkoku University.
1942 - The name Aikido becomes official and is registred at the Ministry of
Education.
He is invited in Manchuria as representative of J apanese martial arts and
assists at the Manchurian-J apanese Martial Arts Exchange Demonstrations
celebrating 10 years of independence for Manchuria (August). He moves to
Iwama, Ibaragi prefecture. Kishomaru Ueshiba becomes director at Kobukan
Dojo.
1943 - The first Aiki shrine is built in Iwama.
1945 - Kobukai Foundation ceases its activity because of a post-war martial
arts interdiction. Iwama Dojo is completed.
1946 - Morihiro Saito enters Iwama Dojo.
1947 - Sadateru Arikawa enters Aikikai Hombu. Hiroshi Tada enters Aikikai
Hombu.
1948 - He is engaged in farm activity, intense training and meditation in
Iwama. Aikikai Hombu Dojo moves to Iwama, with an office opened in Tokyo.
Kishomaru becomes Aikikai Dojo headmaster.
1949 - Regular training at Tokyo Dojo.
1951 - Minoru Mochizuchi leaves for France to teach J udo and Aikido.
1952 - Koichi Tohei receives 8th Dan from Ueshiba.
1953 - Koichi Tohei leaves for Hawaii for one year initially.
1954 - Yoshinkan Aikido Dojo is opened in Tsukudo Hachiman.
1955 - Aikikai Hombu (headquarters) is moved from Iwama back to Tokyo. A
few foreign dignitaries assist at a demonstration by Ueshiba arranged by
Andre Noquet at Aikikai Hombu Dojo.
1958 - He appears in USA televisions documentary Meeting with
adventure. Kenji Tomiki founds Waseda University Aikido Club in April.
1960 - He is awarded with The Medal of Honour with Purple Ribbon, by the
J apanese government.
1961 - He is invited in Hawaii for the opening of Aikikai Honolulu School
(February). He appears in a television documentary produced by NHK.
All-J apan Student Aikido Federation names Ueshiba as president.
1963 - All-J apan Aikido Demonstration is held for the first time in Hibiya
Kokaido (Octomber).
1964 - He receives The Sunrise Award 4th Class as founder of Aikido.
1968 - A new building dedicated to Hombu Dojo is build.
1969 - He holds a final demonstration on J anuary 15th at Kagami Biraki
celebration.
He dies because of liver cancer on 25th of April
He becomes honour citizen of Tanabe and Iwama.
His wife Hatsu dies in J une.

Foreword

TADASHI ABE

Born in 1920, Tadashi Abe is from a rich family and very well situated at
the imperial court. His father owned few mines in Korea and he used a part of
his wealth to support Aikikai centre.
This type of patronage was in those days something usual among the
business men in J apan who understood to encourage the old fighting
traditions of J apan. Very soon, Tadashi Abe became the disciple of O Sensei
Ueshiba.
Besides him, there was another member of his family who followed the
path of Aikido, we talking here about Yamada, his nephew, who later became
one of the people responsible with the American Aikido.
Tadashi Abe shaped himself in a specific era of J apan, when the martial
arts trainings had to build the character of the young people, and to literally
make warriors out of them.
In those days Aikido was under the government rules, lead by admiral Togo
and the majority of O Sensei students in that period were navy officers.
For a better understanding of that specific era and the way of practicing
Aikido, I must tell you a story which shows you better the way of acting of the
founder of Aikido.
One day, Tadashi Abe was in the locker room with one of his students,
getting ready for the training. Seeing the body of his master, the student was
surprise to see so many scars of all kind. Drove by curiosity, the student
asked where he got those scars.
- Grading exams, the answer came.
Foreword

He carried on with the story in front of his amazed student:
- These are the results of the degree exams sustained with O Sensei.
The Founder chose a group of us and we went to the port. There, he
sat at a coffee shop in front of a massage parlor.
He order a beer for him and we were sent inside the massage parlor to
test our level of skills against the sumo wrestlers who owned the parlor.
Of course, the fight was real being allowed any means and weapons
such as staffs, knives and bottles. From there I have these scars. In the next
day the master gave us the degrees according to our performance.Shodan
for some of us, Nidan or Sandan for others.

When Tadashi Abe arrived in France, no one heard about Aikido except few
people who met Master Minoru Mochizuki.
Master Mochizuki came in France in 1951 to conduct few J udo
seminaries and to sensitize the public opinion towards Aikido.
Unfortunately, his vehemently anti-nuclear attitude, lead very soon to
his banishment.
It seems that at his arrival back in J apan he asked Master Ueshiba to
name someone to introduce Aikido to France.
So thats how, one day, a young J apanese, with a small suitcase and
wearing some strange green socks sewed with red wool threads, was seen
disembarked to Marseille harbor. His name was Tadashi Abe and he was 6
th

Dan in Aikido.
We must put ourselves in the context of that era and to remember the
tough conditions Tadashi Abe was designated to teach Aikido in France. No
one heard about him and on top of that, he didnt know the French language
or any other language except J apanese.
In France, besides J udo, none other martial arts were known in those
times. So he went to visit the J udo Dojos first to make Aikido known by the
others.
J udo in that time was conducted by another great expert, Master Kawaishi.
Tadashi Abe met the master, who advised him to do what himself did in
J udo, that is, to structure Aikido into a form of a series of techniques, to have
some meaning for his European students.
It seems that in those days Master Morihei Ueshibas Aikido wasnt structured
and organized like it is today.
Master Kawaishi advised Tadashi Abe to establish a number of
techniques and knowledge necessary for each black belt level: 1
st
Dan, 2
nd

Dan, etc.
Another important problem was, how and to whom to teach ?
Back in those days, the J udo classes, were organized in a special
manner, meaning that the last half hour of training time was kept for J u-
J utsu.
Foreword

In those Dojos which welcomed Tadashi Abe, they replaced J u-J utsu
with Aikido, which was named in the beginning superior J u-J utsu.
Kawaishi convinced him that the Europeans were less receptive to a
traditional way of teaching, where the master is teaching according to his
inspiration and he advised Tadashi Abe to adopt a European didactical
method.
He followed, for the most part, this advice, but he kept a very traditional
line of teaching. So thats how, in the first years he taught only Shomen Uchi
Ikkyo which, according to his beliefs, was the fundamental principle.
He thought that if we dont master this form, we cant carry on. We
couldnt say that this was a proper way to spread Aikido to the French
students and for this reason only those who loved Aikido or the stubborn ones
remained in the Dojo.

Tadashi Abe understood only the martial aspect of Aikido and his form
of practice was very personal. He was teaching the techniques showing only
the forward form.
Because he was gifted with a great physical strength, his students
remembered, that when he was doing Shiho Nage, they felt themselves
literally sucked by his motion.
In eight years he put the base of this edifice which will be the benefit of
his successors, experts like Noro, Nakazano and Tamura.
We could ask ourselves which were the reasons that Aikido had such a
great success. Besides the sincerity and the talent of Tadashi Abe and the
enthusiasm of his students, probably the dynamic and the beauty of Aikido
made that this martial art to thrive in a world conquered by J udo.
The J udo practiced in those time was statical and he was similar with the
close-combat fighting style which is taught in the army. An opponent is
grabbing you and you have to clean the way.
In opposition to all these, Aikido teaches you that you must react before
the grip is complete. You must anticipate, feel the attack and react before its
too late.
This way of practice was new for that age and many judoka couldnt
remain idle to this form of practice.
This is the reason that many great J udo masters became students and
later masters of Aikido. One of them was Master Daniel Brun 9
th
Dan Aikido
and 5
th
Dan J udo, the founder of the Traditional Aikido French Federation, the
one who passed on the school of Tadashi Abe.

After he spent eight years of his life in France to spread Aikido, one
day, considering that his mission was accomplished,Tadashi Abe returned to
J apan.
Foreword

In the Sixties in J apan, where the young generation was interested only
in base-ball and admired only what was made in America, Tadashi Abe
blames Aikikai for getting rid of the martial spirit, of Budo, which only purpose
was to shape the people.
He left Aikido, but he kept a good relationship with the son of the
founder, Kishomaru Ueshiba.
Tadashi Abe passed away at the end of the year 1984 due to natural causes,
in his bed, while he was sleeping.
For all of us Tadashi Abe will remain a great master, the one who
brought Aikido to the Europeans.

DANIEL ANDRE BRUN

Born November 14, 1925 in Bordeaux, Daniel Andr BRUN began his
martial arts study by practicing wrestling in 1935. Then began practicing
J udo in 1946 until 1980, alongside high-level Masters in the French
Federation including Master KAWASHI, Master AWAZU and Master
MICHIGAMI. He serves as technical expert 5th Dan and European Referee to
French J udo Federation. State certified, he taught J udo at J udo Club
dAquitaine, in Bordeaux. At the same time he discovers Aikido during a
demonstration of Master Minoru Mochizuki in 1951 in which he participates as
Uke.

The arrival of Tadashi Abe.

He starts this new martial art in J udo clubs. In 1952, his practice deepens
with the arrival of Master Tadashi ABE sent by the founder (O Sensei)
Morihei Ueshiba. From 1952 to 1960, starting from France where he lived,
Master Tadashi ABE laid the foundations of the European Aikido at a time
when nobody had heard of Aikido.
Foreword

Daniel Andr BRUN and some other early pioneers, are actively involved. It is
one of the first French black belts in Aikido. His 1st Dan was awarded in 1954
by the Aikikai Tokyo, signed by the hand of Kisshomaru Ueshiba by
delegation of O Sensei.
Andr Nocquet goes to J apan

On the recommendations of Master Tadashi ABE, another practitioner of
Aikido and J udo, Andr NOCQUET, went to J apan as uchi deshi to follow
instruction from the founder of Aikido, O Sensei Morihei Ueshiba.
His initiation lasted 2 1/2 years, from J une 1955 to December 1958 living as
one of the O Senseis uchi deshi. Then he returned to France with the title of
Master of Aikido, a graduate of the World Center of Aikido from Tokyo, with
the delegation of the founder (O Sensei), for the dissemination of Aikido in
France. From that moment on and from 1960, it is Master Andr NOCQUET
who assumes the responsibilities of the French Aikido from the Master
Tadashi ABE. In 1962, Master Morihei UESHIBA gives him the title of chief
representative of the Aikikai in France.
In the 60s, other J apanese experts arrive in France, such as Master Masahilo
NAKAZONO and Master Masamichi NORO (1961), Master Hiroo
MOCHIZUKI (1963), Master Nobuyoshi TAMURA (1963) and later, at the
invitation of Master Andr NOCQUET , Master Hirokazu KOBAYASHI.
After the departure of Master Tadashi ABE, Master Andr Daniel BRUN
continues to practice Aikido with Master NOCQUET who will assign him his
rank up to 5th Dan (1978), one of the highest level of that time.
He exercised within the FFAD of Master Andr NOCQUET, which later
became the FFAK, the function of national technical advisor member of the
Committee on grades. It will also be the European technical advisor to the
EUA (European Union for Aikido founded by Master NOCQUET in 1969 in
Cologne).

Consolidation within the FFAAA

In 1983, the federation (FFAK) led by Master NOCQUET, and all the
federations and other Aikido French groups are brought together in a single
federation. In this new federation, the FFAAA, Master Andr Daniel BRUN
became national technical advisor 5th Dan.
But the integration of these different currents that have existed since the
beginning of Aikido in France is not done without difficulty. The group of
Master TAMURA, which creates FFLAB with several thousand students, a
year ago, did not attend, but will be joined in 1985 by the group GHAAN of
Master Andr NOCQUET.

Foreword

Creating FFAT

During this time and with alumni of FFAK, Daniel Andr BRUN created in
1984 the FFAT, school following an existing trend since the beginning of the
French Aikido. Developing the school in France and Europe, invited in various
European countries he leads national and international courses in Germany,
England, Romania. In 1994, along with Dan Ionescu (Romanian Aikido
Federation President) founded the EAC (European Aikido Confederation).
Master Daniel Andr BRUN died on the morning of October 10, 2013. A few
years before his disappearance, after a journey of more than 70 years of
martial arts, he received the honorary title of 9th Dan, dedicated to his life
spent in spreading Aikido .
With increasing creativity, he encouraged us constantly to discover all the
facets of this martial art, practiced with bare hands or with weapons. All
practitioners that had followed his courses in France or abroad, were able to
appreciate the teacher who shared his knowledge and research with
everyone, never monetize his art. For years, he conveyed with passion and
selflessness that Aikido he had learned from Master Tadashi Abe, but also
from Master Andr Nocquet and Master Hirokazu Kobayashi, all three being
direct students of O Sensei Morihei Ueshiba, pushing each of us to find its
own way.
Today, the Federation of Traditional Aikido - School Daniel Andr BRUN, his
school, continues to honor his memory. With over seventy years of martial
arts to his credit, Mr. BRUN is one of the rare French Masters which pushed
the study to a new depth (after an article from Wikipedia).


Foreword

Dan Corneliu IONESCU

Born September 9, 1942 Iasi, Romania

Education and professional experience.
1966 - Technical University of Civil Engineering
1972 - 1974 - Specialization in IT at CII - France
1973 - 1976 UNIDO Expert
1976 - 1989 CEO for various computing centers
1991 - 2012 CEO for his own company - Unidec Computer Systems
Expertise in Sports and Martial Arts
1952 - 1960 - Sportsman - Gymnastics
1960 - 1976 Practice rugby, skating, riding, parachuting, jujutsu
1977 - Begins studying Aikido
1979 - Leads first illegal Aikido Dojo. Aikido was banned in Romania, until
1990.
1981 - Receives his black belt in Aikido (1 Dan)
1984- 2
nd
Dan Aikido
1990- 3
rd
Dan Aikido
1990 - Establishes and manages the first Aikido club - AIKIROM
1990 - Founding Member of the Romanian Martial Arts Federation
1990 - Establishes and manages Romanian Aikido Union
1990 Publishes Aikido way of harmony, together with Serban Derlogea
1991 - First International Aikido Training in Romania with Master Daniel Brun
(9 Dan Aikido, 5 Dan J udo)
1992 - Appointed Expert of the French Federation of Traditional Aikido
1992- 4
th
Dan Aikido
1993 Romanian Martial Arts Federation - Director of Aikido Department
1994 Award the first black belts to Moldova Republic
1994 - Founding Member of the European Aikido Confederation
1995 - 2000 - Training courses for Romanian Gendarmerie
1996- 5
th
Dan Aikido, 4
th
Dan Katana
Foreword

1996 - 2005 -President of the European Aikido Confederation
1997 - President of the Romanian Contact Martial Arts Federation
1998 Romanian Aikido Union turns into Romanian Aikido Federation, Dan
Ionescu is elected as President
1998 - organizes the first national Aikido Demonstration Championship
1999-6
th
Dan Aikido and 5
th
Dan Katana
2001 - Honorary Member of BUSHIDO ZA-ZEN INTERNATIONAL SOCIETY
2002-7
th
Dan Aikido and 6
th
Dan Katana
2003 - Publishes Aikido Encyclopedia - Vol 1. ART
2004 - Organizes the first Katana European Championship
2005 - Publishes Aikido Encyclopedia - Vol 2, UNARMED AIKIDO
2005- 8
th
Dan Aikido and 8
th
Dan Katana
2005 - Publishes Aikido Encyclopedia - Vol 3, TAMBO AND J O
2000 - 2005 - Leads International Aikido Courses in Romania, France and
England
2005 - Technical Commission Director - European Aikido Confederation
2006 - Publishes Aikido Encyclopedia - Vol 4, BOKKEN AND KATANA
2007 - Publishes Aikido Encyclopedia - Vol 5, TANTO AND TESSEN
2007 Romanian Aikido Federation is recognized by the Government as
National Federation
2010 Re-elected for a 5
th
mandate as President of the European Aikido
Confederation
2012 Publishes AIKIDO 1,2,3
2011-2013 Leads various international aikido courses

WHY WEAPONS ARE NECESSARY IN AIKIDO ?

There are two trends of opinion: one considers that the study of
weapons is not absolutely necessary, because Aikido has lost the martial
character and became a rather philosophical discipline. Adepts of this idea
believe that weapons are incompatible with the spirit of Aikido, and that is not
necessary to study weapons techniques.
The second trend states that Aikido is a martial art that seeks to
determine people to understand the philosophy of harmony by practicing
Aikido. According to this second trend the philosophy of harmony is Aikido
itself, and its practice represents the way this philosophy may be known,
understood and spread.
If we take in consideration the testimony of those that knew Ueshiba,
his biographers or the legends, we realise that his whole life was a
continuous battle.
In his childhood and youth he fought fiercely to stay alive, to defeat disease
and physical weakness, to train and to overcome his condition.
Foreword

In the Manchurian military campaign he fought to defeat his enemies,
and his fighting skills made him famous in his regiment. There is no doubt
that he had to kill people and often saw death with his own eyes.
Later, he engaged with his family in the Hokkaido island colonization
adventure. Here he was forced to fight with nature and with peoples
prejudices in order to build a community of pioneers capable to live from
agriculture.
Then, animated by the faith of his mentor, Onisaburo Deguci, he
ventures in that utopian expedition in Mongolia, where he attempts to create a
Kingdom of Peace on earth. Not only that he failed, but he was close to losing
his life. The risks of this expedition were absurd, and only by his skills, faith
and, of course, luck did he return home alive.
A period followed, before the war, in Tokyo, when he was called to train
officers of the Military Academy and Police Academy, and where he had to
persuade and command respect of those who doubted the effectiveness of
his method.
All his life he had to accept challenges from nature or people. With bare
hands or weapons, he was confronted with various martial arts masters and
experts who wanted to challenge the superiority of Aikido, and many of them
ended up becoming his students.
After the war, because of the ban of martial arts during the American
occupation, he had to withdraw in the countryside to train, and continue to
fight for his beliefs.
All these facts tell us with certainty that his life was a continuous battle,
and it is undeniable that he was a warrior until the last day of his life.
Throughout his existence, there was not any moment of complacency,
because, as I said, he had to win and especially to convince. If we think about
all these facts its obvious that Ueshiba's Aikido was not a dance but an
effective martial art and sometimes extremely tough.
In time, after Ueshiba's death, his arts message was changed
gradually, up to the point that todays Aikido ignores the fight, without taking
into account the reality which doesnt obey to the idealistic rules of humans.
The exaggeration of the partnership idea is emptying Aikido of its
meaning and its martial content. The unity, that Ueshiba proposes through his
art, is the union and harmonization of opposites, and for that the existence of
opposites its absolutely necessary.
When the Founder speaks of the art of non-resistance, he implies the
existence of resistance, because the world is made up of opposites, whether
we want it or not.
Without opposition there is no Aikido and the other, Uke, should be the
opposition, the resistance. Harmonisation with a false opposition is a false
harmony.
Foreword

If we were to give a different definition of Aikido, we can say that Aikido
is a concrete way to achieve unity not by ignoring it, but by solving it.
If Uke mimics the attacks and then reacts docile to everything I ask, and
finally willingly falls because of my fantasy techniques, then we will both
certainly move away from Aikido.
In the second part of his life, when his physical resources started to
diminish, Ueshiba's Aikido spiritualizes, it becomes fluid and ethereal, and the
Founder feels particularly attracted to the spiritual side of art, his messages
being deeply philosophical and mystical.
Many of his students, especially those who have been with him in the
last period of his life, believed that this is the true Aikido, ignoring the road
that Ueshiba went on so far.

ABOUT EFFICIENCY

I have noticed that many students prefer to talk and dream about
Aikido, instead of trying to practice it. They lack patience and they expect the
instructor to tell them the secret of becoming efficient within 24 hours.
Aikido is a martial art that aims to control one or more aggressors, and
from this point of view we can discuss about efficiency, as the frequency of
achiving our goal, without significant losses.
Attack and defence are elements of the same equation, an equation
valid for any martial art and combat method, J apanese or not. These two
elements, attack and defence are complementary, as Yin and Yang.
Because the reality is impossible to reproduce in controlled training
conditions, in the Dojo we train using simulations of reality.
The teachers talent lies in a gradual training, from simple to complex,
as the experience and understanding of practitioners increases, taking care to
always offer "surprises" to his students, because life does the same.

In many Dojos they are experimenting non-realistic things, more talking
and less sweating, students being more interested in the social component of
the training rather than the actual training.

Aikido is a martial art with a strong philosophical support. It can be
effective or not [like any other martial art], to the extent that, the one who
practice it understands its essence, and is sincerely committed to it.
In the beginning this depends on the instructor, in time it depends on
you.

The Founders words and elderly masters confessions support this idea:

Foreword

When the enemy makes his appearance
Rushing to hit you
Step outside, avoid him,
Immediately attack and cut.

Master Saotome said:

The founder was always concerned with the study of Budo, about the
correct understanding of the spirit of Aikido and not its particular forms.
He made no difference between fighting techniques with and without
weapons, because he wanted to demonstrate the principles behind the
techniques and the method of harmonizing them. Forms and techniques were
only means by which one could understand the essence of Aikido and
supporting this idea, was his goal throughout his entire life

Master Gozo Shioda - about training with O Sensei:

The night training was about sword attacks. The Master put on a white
cloth on his head to be easily observed. Three students armed with bokken
(wooden sword) had to attack while Ueshiba had a true sword.
Whenever Shioda raised the sword to strike, he found the tip of Senseis
sword in front of his eyes.

Master Tadashi Abe about how O Sensei tested the level of his students:

The Founder chose a group of us and we went to the port. There, he
sat at a coffee shop in front of a massage parlor.
He ordered a beer for himself and we were sent inside the massage
parlor to test our skill levels against the sumo wrestlers who owned the parlor.
Of course, the fight was real, all techniques were allowed as well as all
weapons such as staffs, knives and bottles. From there I have these scars.

Master Nishio said:

Some instructors claim the sword and staff training is not necessary.
They are ridiculous: nothing is further from the truth. O-Sensei said: "Aikido is
the expression of sword principles through the body." Therefore, to
understand Aikido without understanding first the sword is weird. I think those
who claim that there are no weapons techniques in Aikido did not understand
the words of the founder.

O Sensei said: "If your hands hold a sword, then Aikido is a sword, and if your
hands hold a staff, then Aikido is a staff."
Foreword

To understand the nature of the sword and the nature of the Aikido spirit, we
must train realistically, as if we have to knock off our opponent as soon as
contact is made, stopping our weapon within a hairs-breadth of him without
destroying the opponent, thus using the training as an exercise of reflection
and introspection.

About Technique
ABOUT TECHNIQUE
The basic techniques described in this book are presented through my
personal experience and understanding. It is possible for others masters to
have different points of view regarding the techniques presented in this book.
It is their right and I respect it.
Because the techniques are presented purely didactically and extremely
brief, instructors will have to explain these techniques with detail, to find
examples and suitable methods so that the students would thoroughly
understand the very meaning of the Aikido techniques.
Each Aikido technique will have to be deeply studied, analyzed and
understood, the key elements must be clearly stated, the movements and
their logics must be perfectly understood so that the entire technique would
be elucidated and accepted by the students subconscious.
It is preferable that the learning process to be done slowly and
thoroughly. The gradings must take place only when the Aikido student
masters the techniques related to his/her next degree, when he/she is able to
master properly the principles and when his/her instructor believes that
he/she has exceeded the level required for the exam.
As we said before, the first level of practicing controlled Aikido is
considered to be the level of black belt 1
st
Dan.
ABOUT ATTACKS
Basically, all Aikido techniques can be used in response to any attack,
either grab, hit, from front or behind, attacks executed by one or more
persons, with or without weapons.
At the beginning of training, students will learn the techniques using
those attacks that favor an easy assimilation of the techniques. I prefer my
students to perform mostly the techniques against strike attacks because
these attacks are much more powerful and are closer to the reality of a fight.
About Technique

As such, one Aikidoka can understand the direct approach (maybe
sometimes in full) of a true real strike.
The very first thing that beginners should learn is the correct execution
of strikes, and generally of any kind of attack, because not being forced to
fight, people have lost the ability to do so.

Attacks can be extremely varied so, in order to simplify the study I will
relate only to the basic attacks, the ones that have the highest frequency in
battle.

During training exercises, the instructors will have to organize the teaching
process by following the ideas below:

- from simple to complicated attacks
- from soft to strong attacks
- from grips to hits, then kicks and finally weapons attacks
- from a single attack of one partner to the continuous attacks of the same
partner, then from the sequential attacks of several partners to
simultaneous attacks of more partners

Katate Dori Ai Hanmi Katate Dori Gyaku Hanmi

Katate Ryote Dori Ryote Dori

About Technique

Mune Dori Mae Ryokata Dori

Morote Dori Kata Dori

Ushiro Ryote Dori Ushiro Ryote Dori Kubi Shime

Ushiro Ryokata Dori Sode Dori
About Technique

Ushiro Ryo Hiji Dori

Chudan Tsuki J odan Tsuki

Shomen Uchi Yokomen Uchi

Mae Geri Mawashi Geri


About Technique

CLASSIFICATION OF TECHNIQUES

There are thousands of variations of Aikido techniques, determined by
the type of the attack, or by the type of the technique, on the left or right, from
front or back, depending on the presence or absence of a weapon, the
number of aggressors, the conditions in which the fight takes place, etc.
If you are a good Aikido student and have enough experience, it does
not matter how many techniques you know, because you simply know
AIKIDO. Here are some ways to classify Aikido techniques:

DEPENDING ON THE DIRECTION OF THE ATTACK
MAE WAZA frontal attack
USHIRO WAZA attack from behind

DEPENDING ON THE POSITION OF THE PARTNERS
TACHI WAZA both partners are standing
HANMI HANTACHI WAZA UKE is standing, NAGE is kneeling
SUWARI WAZA both partners are kneeling

DEPENDING ON THE TECHNIQUE
KATAME WAZA locking techniques
NAGE WAZA throwing techniques
ATEMI WAZA striking techniques

DEPENDING ON THE ATTACK
TE WAZA techniques against attacks without weapons
BUKI WAZA techniques against attacks with weapons

DEPENDING ON THE WEAPON USED FOR ATTACK
TANTO DORI knife attack (Tanto)
TACHI DORI Boken or Katana attack
J O DORI staff attack (J o)
TESSEN DORI war fan attack (Tessen)
TAMBO DORI stick attack (Tambo)

DEPENDING ON THE WEAPON USED FOR DEFENSE
TANTO SABAKI defense using the knife
TACHI SABAKI defense using Boken or Katana
J O SABAKI defense using the staff
TESSEN SABAKI defense using the war fan
TAMBO SABAKI defense using the stick

In many Aikido schools, there is no teaching of the Aikido weapons
techniques. I believe that studying the weapons techniques is something
About Technique

natural and I also think that by lacking Aikido of this component means
regarding things from an incomplete, artificial and unrealistic perspective.
Aikido techniques are divided into different categories only for
educational reasons, in order to simplify things and Katame Waza, Nage
Waza or Atemi Waza are just different ways of executing the same principles
of Aikido.
This idea may be a surprise to the modern Aikido, highly structured and
formalized, but it is obvious that it complies with most of the Founders
principles, who had never spoken of techniques, but of principles.
Here below, you can find the list of the techniques currently studied in
Aikido Dojos. These techniques are called basic techniques and their
knowledge is necessary to achieve the black belt level, in about 2-3 years.
This list may look different in the program of other Aikido schools.

KATAME WAZA LOCKING TECHNIQUES

This group includes the main techniques that Nage can use to meet
Uke's attack, to immobilize and control him/her. I have to point out that this
control of the opponent takes place on the ground, usually with Uke lying face
down. This position of Uke keeps Nage somehow safe from a possible attack
coming from Uke and it restricts considerably Ukes possibilities of movement
and reaction.
The control and ground pinning is done by using a particular joint
technique, and in case Uke does not comply by resisting, it would cause
him/her pain.
Uke's obstinacy by trying to rezist Nages control, could cause the
fracture of his/her limbs. Here are the main locking methods:

1. UDE OSAE (IKKYO 1
st
principle) locking with lever on the elbow
2. KOTE MAWASHI (NIKYO) locking with lever and arm twist
3. KOTE HINERI (SANKYO) locking with lever and hand twist
4. TEKUBI OSAE (YONKYO) locking with lever and arm press
5. UDE NOBASHI (GOKYO) locking with arm lock
6. HIJ I KIME OSAE locking by forcing the elbow top-down

NAGE WAZA THROWING TECHNIQUES

This group includes a conventional number of basic techniques whose
object is to dodge Ukes attack, to unbalance and throw him/her to the
ground.
Throwing him/her, can cause an uncontrolled and high velocity landing
for Uke, which can lead to his/her knock out.
About Technique

Although it is said that Aikido is an art of gentleness, in reality if you do
not know or you are not ready to take a fall, the execution of a throwing
technique may seriously hurt you, or even cause death.
I want to insist on this idea and seriously warn you that Aikido
techniques could be extremely dangerous especially if they are executed on
someone who does not practice Aikido, a common situation in a real fight.
Here are the most common throws:

1. SHIHO NAGE four directions throw
2. IRIMI NAGE entering throw
3. SOKUMEN IRIMI NAGE side-entering throw
4. KAITEN NAGE rotary throw
5. UDE KIME NAGE throwing by forcing the elbow bottom-up
6. KOTE GAESHI throwing by twisting the wrist outside
7.TENCHI NAGE heaven-and-earth throw
8. KOSHI NAGE hip throw
9. J UJ I GARAMI figure-ten throw (throw that locks the arms against each
other)
10. AIKI OTOSHI double leg takedown throw
11. SUMI OTOSHI corner throw
12. KOKYU NAGE breath throwing

ABOUT FIGHT

During a fight, the aggressor can attack us with the weapons of his/her
(body, legs, head, etc.) so we must be able to execute Aikido techniques to
neutralize these attacks, techniques which will have to effectively use not only
our own body, but the aggressors body as well.
The instructor will have to expose his/her students gradually and safely
to various strikes and grips, developing in the subconscious of the student the
idea that he/she must avoid strikes because they cause pain, to get him/her
used to the pain so he/she will not be totally surprised when he/she will be hit,
and to make him/her aware that the attack must be controlled as quickly as
possible in order to avoid being hit over and over again.
Due to civilized life, people lose their instinctive skills to avoid different
troubles and hits. During the training, students are often hit without trying to
avoid it or defend themselves, because it comes difficult for them to believe
that they could be really hurt.
People are not at fault in this because they are just a product of the
society and its educational standards. They must be taught to regain their
natural skills to respond correctly without the need of rational involvement.
Lack of exercise, of regular sport, incorrect breathing, smoking, alcohol
excess, and a life spent on a chair, make most of us certain victims of any
kind of aggression.
About Technique

Therefore the first concern of any Aikido instructor is to understand
quickly and accurately the level of control of his/her students, and to ensure
that they, each at their own rithm, advance to a normal state of self control.
The normal state of self-control means the ability to react instinctively to
an attack, acquire a correct posture, the natural control of strength and
balance and also a breathing adapted to the effort level and its type.
To learn Aikido requires that each student to be Nage (the one who is
defending) and Uke (the one who is attacking), witch means to defend and
attack.
I met many instructors and students in Dojos both in the country or
abroad who practice a soft Aikido, with symbolic strikes, citing the argument
that in Aikido there are no strikes. This misconception leads to learning a
parlor Aikido which presumes that the fight is conducted according to rules
established in advance.
Aikido is a martial art and as such it is a fight method and obviously
Aikido training should be seen from this point of view. You cannot avoid
fighting, you cannot control it if you dont know how to fight, and if you do not
understand the laws that governs it.
I must remind to those who are seeing only the spiritual side of Aikido,
that in order for them to reach the stage where Aikido is a philosophy of life,
one must first practice Aikido as a way of fighting. Trying to skip this step will
certainly lead to failure and disappointment.
Many people when talking about fighting, they first of all think about
attack. They believe that having the skill and the strength necessary for a
strong and fast attack is enough, and often do not think about what could
happen if they come across a more powerful aggressor.
Practicing a martial art involves a complex training that takes into
account both components of fight, attack and defence.
From this perspective, the natural development of an Aikido practitioner
can be divided into the following stages:

1. gaining ones natural defensive instincts: 6 months -1 year
2. the development of physical and mental capacity necessary for fight: 1-
2 years
3. learning the Aikido techniques: 5-8 years
4. the understanding of fighting philosophy and accepting the idea of ones
defeat: 7-12 years
5. the physical and mental detachment: 5-10 years or never

In the first four stages, we notice that Aikidoka is an element, an active
part of the fight, and in the last stage he/she is the one who controls the fight,
he/she places himself/herself outside of it, becoming an observer, an arbiter
of events.
About Technique

Up to black belt 1
st
Dan, the student will need to practice mostly the
positive forms of the techniques because the positive forms allow the student
to confront directly the attack, to develop his/her physical skills and to gain
the understanding of the fight.
The execution of Aikido techniques in the positive form helps developing
physical qualities, effort capacity, contributes directly to improving breathing
and ensures the correct control and dosage of the effort. All these lead to a
healthy body, accustomed to the rigors of training.

ADVICE ABOUT TECHNIQUES EXECUTION

In the beginning, students have problems memorizing the positions and
the movements that makes the technique. This is happening naturally as
there is a lot of information to be assimilated, not as much by the students
mind, but by their bodies.
In the first year, students may not see the whole because of the details
and this makes understanding difficult.
Basically, what a person who studies Aikido should understand, is that,
regardless of the attack and the number of aggressors, and beyond the
technique used or the fact that is day or night, summer or winter, his/her task
is then to harmonize himself/herself as good as possible with the events and
situations that one might find himself/herself involved with.
Unfortunately, you cannot ask of a man who walks in darkness to see
the end of the road.
Although learning a martial art is fundamentally based on repetition and
then on understanding, I believe that is better to offer our students logical
explanations and rational formulations whenever we can.
Aikido techniques must be performed with the shoulders down, relaxed,
with elbows close to the body, with the movements organized around my
center, Seika no Itten (center of the body). In the first years of training, Aikido
students are interested in the movements necessary for executing the
techniques and the effect of these techniques upon the partner.
In parallel with this, the instructor must reveal to his/her students the
movements of the two centers, Nages and Uke's, that are specific for each
Aikido technique.
These movements are more important than arms or body movements
and the right understanding of this dynamic leads certainly to a good
execution of the techniques.
Unfortunately, verbal, logical explanations do not have the desired
effect, because, even if the student understands the logic of the instructors
explanations, he/she cannot reproduce at physical level what his/her logic
accepted.
To overcome these drawbacks, specific methods of learning martial arts
are used, apparent empirical methods, but with proven results. These
About Technique

methods make use of the students imagination, inducing different moods and
feelings that allow the practitioner to check if they are on the right track or not.
For example, I am getting my students used to the idea that they have
in their hands an imaginary sword, and that they must perform the techniques
using this weapon.
For this, they have to get used to the correct boken grip and will need to
spend considerable time training with this weapon. The boken exercises will
allow them to adopt a proper stance, to learn distance control and the
necessary balance for executing the Aikido techniques.
The instructor must get his/her students used with the idea that attacks
may come from any direction, including from above or below. This means that
during training the student should be careful to maintain visual control of the
world surrounding him/her to avoid unexpected attacks, even if the Dojo is
free of such events, at least in the begining.
Furthermore, the fact that the student learns to be aware of what is
happening in the Dojo saves us of unwanted`d accidents and strengthens the
feeling of safety and control during training.
One thing to remember, right from the beginning, is that most of the
Aikido techniques have as a favorite execution position KATATE DORI AI
HANMI or KATATE DORI GYAKU HANMI and only a few techniques have as
a favorite executing position RYOTE DORI or KATATE RYOTE DORI.
This leads us to the idea that if we can turn any attack into one of the
aforementioned positions, we will be able to perform the basic techniques that
use mainly these grips or positions.
Here is a rough classification of techniques in this regard:

1. KATATE DORI AI HANMI Executing Position favours the techniques:
UDE OSAE, KOTE MAWASHI, KOTE HINERI, TEKUBI OSAE, SHIHO
NAGE, IRIMI NAGE, UDE KIME NAGE, UDE NOBASHI

2. KATATE DORI GYAKU HANMI Executing Position - favours the
techniques: HIJ I KIME OSAE, KOTE GAESHI, KOSHI NAGE, TENCHI
NAGE, SOKUMEN IRIMI NAGE, KAITEN NAGE, SUMI OTOSHI, AIKI
OTOSHI

3. KATATE RYOTE DORI Executing Position favours the technique: J UJ I
GARAMI, KOSHI NAGE, KOKYU NAGE

4. RYOTE DORI Executing Position favours the techniques: KOSHI NAGE,
KOKYU NAGE

Another way of structuring the Aikido techniques is to split them up on
levels of knowledge, as they are required to the grading exams.
About Technique

This classification is specific to each school of Aikido, but in general, the
requirements are almost identical.
Many Aikido instructors and practitioners say that belts are not
important and the only important aspect is just to practice Aikido. Most of
them say that because they have heard it repeated by others.
Actually, most instructors and students are interested in degrees and
belts and I mostly belive that, to be a good thing. I think that being interested
in something and saying that you are not, is proof that you are ashamed to
admit that you may be interested in something that according to the general
opinion, it is meaningless.
This way to avoid reality is a prejudice to Aikido and to the people
involved in Aikido. On the other hand, I believe that the desire to publicize
your progress is good and this shows that you are not indifferent to the
opinion of others.
This will make you be careful and responsible for your actions.
And now a tip: if you are an instructor, you should know something very
important, that you are a model for your students. However, you decide if you
are a good or a bad model. They will try to imitate you, not only on the way
you practice Aikido, but on all your public expressions, both in the Dojo or
outside.
They will try to speak and act like you. Sure is nice to know this, but this
means that you must be careful to control yourself at all times, to be
balanced, impartial, fair and tolerant.
In the Dojo, the techniques have to be taught following these principles:

- From simple to complicated attacks
- From soft to hard attacks
- From grips to hand attacks, than kicks and finally weapons
- From a single attack from a partner to continuous attacks from the same
partner
- From sequential attacks from several partners to simultaneously attack from
several partners.
.
HOW DO WE TEACH AIKIDO

Over the years, I have found that beginners are progressing faster and
the instructors are more productive, if during the first year of practice they are
using different patterns and classifications for attacks, techniques, methods
and current situations encountered during Aikido training.
I have spoken with many students, instructors or just fans of Aikido and
most of them told me that there is a huge difference between the feeling that
you have watching others practicing Aikido and the surprise you have when
you start to practice Aikido yourself.
About Technique

If you are in the Dojo and watch those who practice Aikido you feel that
this is extremely simple, that the movements shown are easy and you may
wonder why the people on the mat find so hard to understand what they are
required to do.
This is because the instructors movements are natural, elegant,
appealing and above all efficient. You look and you say to yourself: no big
deal, I think I could do this thing! You are right, you could do it and anyone
could do it, all you have to do is train for it.
The instructors movements that address the subconscious are difficult
to remember consciously and so they must be stored by repeated physical
training rather than by explanation.

The developing patterns or models of these movements or situations
enable the student to understand movement consciously as well, because a
pattern or a model of a situation is a logical element that addresses his/her
understanding, his/her common sense, and thus is likely to be stored and
used later as reference for a similar situation.
I recommend to instructors to use a coherent teaching system with the
information well systematized, with periodic repetition of the concepts taught
because in our era, time is a very precious resource and peoples patience is
decreasing.
The effort to encode and systematize the information provided to
beginners may lead directly to a faster assimilation of basic knowledge, to an
increased number of students, and thus to a more rapid spread of Aikido,
such a method of studying Aikido is better suited for European students.

KEY POINTS AND JOINT TECHNIQUES

Aikido techniques are based on a good knowledge of the anatomy of
the human body. I cannot perform a technique without knowing what to do
and how I can make the aggressor who attacked me to execute my orders,
and without knowing what the effect of this technique would have upon
him/her.
We must insist on this issue from the first day of training if we want to
avoid unpleasant events later.
Generally, beginners are full of enthusiasm and ready to execute any
movement to reproduce what the instructor showed them, or to show his/her
partner that he/she already knows many things, and not only once, I saw
grownups on the mat, putting their life in danger, with a smile on their faces.
To avoid accidents strudents must be carefully monitored while in the
Dojo and any attempt to do something else than what the instructor shows
must be firmly sanctioned. Any manifestation of evil, aggression or superiority
towards the partner must also be discouraged.
About Technique

Aikido students must understand that they need a partner to learn
Aikido and they have an obligation to protect their partner, not to torment
him/her needlessly and to give him/her equal opportunity to learn and
progress.
Sure that during training each student gets his/her share of a certain
amount of suffering because he/she does not know well enough to control
his/her body and his/her strenght. Some students are taking the pain caused
by the partners ignorance or haste as a personal affront and feel compelled
to put things right.
Others are opposing any technique being applied to them, considering
that this may prove superiority, or to signal their partner that his/her technique
is not good.
Most of the times, it happens that the defender insists in applying more
force while the partner suddenly gives up and, in which case, the certain
outcome is an accident.
Instructors must also be careful with students that are well build and
have much force, or with those whom have practiced other martial arts, whom
sometimes amuse themselves trying to put the instructor to the test.
In this case, I recommend the following solution: if you are an instructor
and the student is clearly and intentionally opposing the execution of your
technique, than use a sudden strike (atemi) or movement of off-balance and
perform another safe technique to control him/her. Next, it will have to be
explained to him/her that, if he/she is excessively oposing, then he/she will
have a hard time learning the technique and the instructor will have to use
techniques that are more painful.
It is good for the student to feel the efficiency of the technique, and then
you can explain that the technique to which he/she was opposing, is done in
reality, in different conditions, as in a combat situation, and in which case, the
instructor or the defender will not protect him/her from hits or painful
techniques.
It is important that the actions order to be the one aforementioned and
not vice versa because otherwise you will lose the element of surprise.
In any situation, when showing something to a beginner, the instructor
must be prepared to meet a fast, powerful or quite different attack from that
requested.
If the instructor confuses the beginner with his/her assistant, he/she
may be in for big surprises, and the most important of those will be the loss of
confidence and respect of his/her students.
Most of the Aikido techniques are based on acting upon certain points
on the partner's body, causing pain or the inability to move. In order for
him/her to escape the pain, Uke will then move towards the direction that was
suggested by me, and so I can immobilize him/her, control him/her or force
him/her to give up the fight.
About Technique

Usually these points or areas used in Aikido are located on the partners
arms but they exist all over his/her body. The arms points are commonly
used, because they are not life threatening for the aggressor. Obviously, if the
aggressor does not understand my painfull message, then I have the liberty
to defend my life as as best as I know how.
The key points on my partners arms may be used to force him/her to
do what I want or to force him/her to release me from a grip.
The key points are associated with key movements and positions so
that the whole weak point-position-motion ensemble is known and used in
Aikido as The J oint Techniques.
During Aikido training, we practice different movements of the joints to
warm them up but also to prepare them for future use in various Aikido
techniques.
Thus UDE OSAE technique has a specific joint technique, KOTE
MAWASHI another one, KOTE HINERI also has a specific joint technique,
TEKUBI OSAE also has one, and so KOTE GAESHI, UDE NOBASHI and
HIJ I KIME OSAE techniques.
We will see that there are Aikido techniques that are not based on
certain joint techniques, and rather on the fact that the technique is executed
using off-balance or force deflection and force joining, and may be finished
with a joint technique in order to control the partner with a ground pin. Most of
the throwing techniques are part of this category.
Here are some ways to free yourself from Ukes grip:


About Technique

ABOUT TAI SABAKI

Few know that Tai Sabaki derive from ancient sword fighting
techniques. Because of the length of the aggressors weapon, the defender is
then forced to get out as fast as possible from the weapons range. This can
be done by linear movements or turning motions.
The advantage of a turning motion, Tai Sabaki, is that it allows Nage to
quickly get out from the direction of the attack and to continue the movment to
get behind Uke.


About Technique


About Technique

TAI SABAKI IN THE SWORD TECHNIQUES


About Technique

There are 2 types of Tai Sabaki, with one step and with 2 steps.
Regardless of their type, this technical element represents a spinning of my
own body, with the purpose of achieving a certain goal.
This purpose may be:
1. Evasion of an attack
2. Deflection of an attack
3. Nage's movement to reach a favorable position
4. Uke's engagement in an off balance movement
5. All these combined

ONE STEP TAI SABAKI

One-step Tai Sabaki is a pivot movement having as a centre one of my
legs, usually the one at the front. I say that is a pivot movement and not a
pirouette as the motion is given by my hips that have to rotate around the
center-leg.
Shoulders are relaxed, the back is straight and my eyes naturally follow
the movement. Almost the entire weight rests on the center-leg.
The second foot lightly touches the ground following the movement and
restoring the balance of the body, being ready at any moment for any type of
movement or strike.
Seika No Itten, center of the body, must be on the same vertical line as
the center of gravity and the center-leg sole. Therefore, the center of the body
rotates around a single point and the arms and generally, the whole body
moves according to my intentions, as shown below:
- To avoid a strike, my arms will move to parry, absorb or deflect the strike.
About Technique

- To escape from a grip, my arms will use different joint keys to release from
the partners grip.
- To reach a favorable position for the execution of a technique, my arms are
preparing to execute the intended grip or strike.
- To unbalance the partner, my arms will lead the partner towards the specific
movement of disequilibration.

For easier understanding, I will make a comparison between Tai Sabaki and
a door that rotates around a fixed axis (revolving doors).
If we are assuming that I am such a door, it is obvious that when I am
pushed, the door opens, turns and lets the one who pushes it to pass
through.
If you would push the axis, the door will not open, and if the push is too strong
then the door will be destroyed. This means that I will have to learn the skill
that no matter where my partner pushes or in what direction he/she pulls, I
will have to move slightly the door axis so that he/she could push or pull
where it suits me and so the door may be opened.
Unfortunately, things are simple when it comes to doors and much more
complicated when it comes to human beings.


About Technique

TWO STEPS TAI SABAKI

Two steps Tai Sabaki is less often used than one-step Tai Sabaki. The
reasons are:

- It takes more time
- Weight shifts from one foot to another
- The center of the body moves on a trajectory
- A greater probability to unbalance myself

On the other hand, the execution of two steps Tai Sabaki leads me
faster behind my partner and allows me to faster break his/her ballance.
Two steps Tai Sabaki can be described as a step followed by a one-
step Tai Sabaki. At the end of the movement, the weight is mostly on the front
leg.
Two steps Tai Sabaki is mostly used to unbalance the partner and to
get faster or better behind him/her. I believe that the meaning of one stepTai
Sabacki should be very well explained to the students in the first place and
only then should they be taught that this pivot can be executed with one or
more steps, before, after or both before and after.

When I am executing an Aikido technique, Tai Sabaki makes sense
only if needed. I am pointing to this because there is the temptation to abuse
of this element and this often leads to badly learning the technique.
About Technique

In the first years of Aikido, students believe that their technique looks
better if all their movements are rotations or exclusively round, whether or not
the factual situation justifies it. It is a wrong idea, but we must admit that is not
just the students fault.
Instructors, in their desire to set the basics as good as possible, often
state that: in Aikido there is no strike, that all the movements are round, all
steps are Tai Sabaki, there is no advance in a straight line, it is forbidden to
pull, you must only push, dont ever hit your partner, dont harm him/her in
any way, etc.
The problem is that sometimes these ideas are set so well that students
have a hard time getting rid of them. You should never forget that Aikido is a
martial art, a fighting style and, in battle, you have no time to admire yourself
how nice you fight, besides, the admiration of those watching you is of no use
to you if you are defeated or lose your life.
Therefore, instructors should be careful how to choose their words, and
not to make absolute statements.
Aikido, this art of harmony, cannot have fixed, rigid principles and
methods because life, people, nature, the universe, are so complex that you
cannot establish absolute standards. The only valid rule in Aikido is that there
are no strict rules. This is why Aikido is harder to learn than other martial arts.
Returning to the Tai Sabaki as a part of Aikido technique, it is important
to know that when I execute this kind of steps, I must be at the same time,
perfectly balanced, so to not expose myself unnecessarily to hits, and to be
ready at all times to move or react differently than I originally expected, if the
actual situation requires.
In the first months of practice, students have problems understanding
the motility mechanisms driving the execution of one technique or another.
Even if they see many times the instructors movements, they are not able to
understand what is essential and cannot see what lies beneath the
movements.
Furthermore, if the instructor is a creative person, it will become harder
for the student to understand, because the instructor will show the same
technique differently every time. This will complicate and lengthen the
learning process.
Many instructors want to impress their students and perform
complicated things, refined and with high speed and that indeed impresses
the students, but also leaves no traces into the student mind.
In these dojos, the students will have a slow progress, will not assimilate the
basics, and will execute random and superficial techniques, even if the
technical level of the instructor is very high.


About Technique

FORMS OF EXECUTION IRIMI AND TENKAN

An Aikido technique can be performed in positive or negative version.
Positive or negative usually refers to how the technique ends, but also refers
to how I meet the attack, so if I try to parry and get into the partners sphere
or if I avoid, allowing the attack to pass by, and then act on it.
Generally, an attack can be met in several ways:

1. The attack can be blocked, but that means that I will get all the attacks
force and for a very powerful attack the blow could pass through my block
and so I could be hit.

2. The attack can be deflected or influenced, and in this case, only a part
of the attacks force will get to me. This part of the attacks force will need to
be compensated with my own strength.

3. The attack can be anticipated and in this case I will have to advance
and stop it before it started, thereby controlling the partner. It implies intuition,
spontaneity and a serious knowledge of the laws of balance and movement.

4. The attack can be avoided with a Tai Sabaki (pivot movement) and in
this case all the attacks force will act outside my body. In this case, the
attacks force passes me and discharges into the void.

5. The attack can be prevented by avoiding involvement in the conflict.
Requires a high skill in Aikido.

It is clear that avoiding the fight is the ideal solution, but it takes many
years of serious practice and especially a proper understanding of Aikidos
principles to be capable of such. Moreover, even achieving a certain degree
of mastery in Aikido does not guarantee that I will not be involved, even
without my will, in various conflicts.
Like I said, for the first two years of practice, until the black belt level, is
good for students to practice the first three options, because this training
helps to improve the student's fitness, makes him/her aware of the strength
and danger of the attack, and allows him/her to understand the laws
governing the fight.
The student will learn to preserve his/her strenght, to be cautious and will
master the skill to quickly and accurately assess the attack.
Lets comment briefly the first four ways of meeting an attack.
To simplify, we will consider the aggressors attack as a blow or a strong
push to a transparent revolving door, and I the one who defends himself
(herself) am behind it.

About Technique

version 1 it is clear that blocking a strike puts me in a position to receive
the whole force of the attack. If I am more powerful than the aggressor there
are no problems, but if not, then things get complicated.
If several agressors attack me, even if all of them are less powerful than me,
which is hard to believe, then all my energy will be consumed blocking their
blows, and finally Ill give up and get hit.
Using the analogy with the door, we are in the situation where my aggressor
is outside the door and I am on the other side. He/she hits or pushes hard on
the door and I will have to push with greater force to open it out and sweep
the aggressor. If the aggressor is stronger than me or if there are more
aggressors, then they will sweep me.

version 2 - by my position towards the aggressor, by the way I will meet the
attack, by simulating a strike at the very moment of the attack, then I might
deflect or dimish the power of the attack.
A method for deflecting an attack is blocking it on a certain direction that
has some angle with the direction of the hit, because in this way the hit will
deviate from my blocking. Another way to discharge an attack of an
aggressor of some of its strength is simulating a hit or even hitting the
aggressor in the same moment of the attack. As such, the aggressor will have
a problem to solve - my hit, so his/her attack will diminish in strength and
speed.
Resorting to the example of the door, when the agressor hits or pushes
hard the door, I will open it just a little, so the hit will fall diagonally on the
surface of the door and thus be diverted, then I will push the door firmly and it
will sweep the aggressor.
Diminishing the agressors hit may be obtained with a shout or noise
(hitting the door) done simultaneously with his/her hit, and immediately I will
have to push hard the door to sweep the aggressor.

version 3 Ill have to anticipate that Im about to be attacked, and a split
second before the attack I will enter and execute a technique on my
aggressor before he/she could hit me.
Using the analogy with the door, this is the situation when my attacker
is out and I am inside, and right when he/she is preparing to strike, I push the
door firmly, so that it surprises him/her, unbalances and sweeps him/her out
of my way.

version 4 - I will not block the attack but will make a pivot (Tai Sabaki) letting
the attack pass me and discharge.
It is easy to say but pretty hard to do because my movement should be very
well harmonized with the aggressors attack and at the same time Ill have to
maintain permanent contact with him/her to take advantage of his/her
unbalance.
About Technique

This way of meeting an attack can be compared with the following
situation: the aggressor pushes or hits hard on the door and at the same
moment, I suddenly open the door and so he/she strikes into the thin air and
unballances, and I continue to push the door, in the same direction, so that
the door comes and hits him/her from behind sweeping him/her.
The first three versions of meeting an attack are all positive because
they imply my advance through the attack and the fourth version is a negative
one because I let the attack pass by me.
But if you want to have an accurate picture of what Aikido really is,
resorting to the same model with the door, then imagine that you are in a
room with lots of doors, that the room is dark, the doors are not transparent
and behind these doors are a lot of aggressors that all attempt to enter the
room and hit you.
If after 3 seconds you are outside the room, without being hit - this
could mean Aikido.

As the title of this book says, an Aikido technique should last no longer
than 3 seconds (3 beats):

- 1 second to block, dodge or deflect the attack
- 1 second to unballance the aggressor
- 1 second to pin or throw him/her

When you train in the Dojo is better to have it always in mind and try to
see how you fit in this phases. I recommend to my students to mentally
highlight these phases, counting in mind: 1, 2, 3, in the beginning very slowly,
then as years go by, faster and faster.
When you cannot count in your mind the number 3, no matter how fast
you count, it means you know Aikido.
When you cannot reach 2, it means that you know Aikido well, and
when you realize that cant count at all, you are master.
You are a great master when you do not have the opportunity to count.

THE IMPORTANCE OF UDE OSAE - IKKYO

UDE OSAE is one of the most important Aikido techniques. It is
important because it can be considered the beginning for all locking
techniques and for a good part of the throwing techniques.
As we know, each technique is characterized by a certain joint lock, a
certain position or movement, which is the essence of the technique and what
is specific about it.
In case of Ude Osae, the specific aspect is Nages action on one of
Uke's arms, which is pushing his/her elbow toward the unbalance direction,
and pinning Uke and his /her arm on the ground.
About Technique

Whatever Ukes attack might be, Nage must get behind Uke and action
upon his/her arm, to unbalance him/her and then pin him/her to the ground.
Nage can get behind Uke in two ways:

- By a positive action, of entering Ukes space, acting upon his/her arm in
order to rotate him/her and in this way to get behind him/her,
- By a negative evasion action, Tai Sabaki, which will permit Uke to pass over
and in this way Nage will get behind Uke.

Regardless of the method that Nage uses to get behind Uke,
positioning himself/herself behind the aggressor will keep him/her away from
possible hits and will allow him/her to execute the technique.
To understand how this technique can be executed effectively, we must
say that in general, each master has a specific way to execute the
techniques, each way being influenced by experience, intelligence, age, and
his/her physical constitution.
Regardless of these things there can be stated some technical details
that will allow executing this technique more easily. Given the fact that Nages
action occurs on one of Uke's arm, from his/her back, and because, naturally,
Uke will not allow anyone to bend his/her arm and to push his/her elbow
towards the ground and then immobilize him/her, it is necessary to have
general notions about the human body and to know the basic physical laws
that will allow us to unbalance and control Uke.
In UDE OSAE, Nage will act mostly upon Ukes forearm, with one hand
on Ukes wrist, close to the pulse area, and with the other on the Ukes elbow
joint.
Ukes elbow is twisted and pointed to the ground forcing Uke to follow it with
all his/her body.
If we pay attention to someones arm we will observe 3 joints: hands
joint, elbows joint and shoulders joint.
The wrist is the weakest and most of the times Nages action will
operate on it, when he/she executes different locking techniques.
In consideration, this quite weak joint is capable to move in almost all
directions which makes it extremely flexible and elastic.
Further on we talk about the elbows joint which is stronger and more
capable of effort and strength, but with less flexibility than the hands joint.
The elbow, like the knee, can bend only in one direction, but on that bending
direction it is capable of a lot of strength and power.
The shoulders joint is the strongest of them having also a wider angle
of flexibility.
All these joints complete one another and together allow the arm to
develop extremely complicated and precise moves and also to act with
strength, compensating for the apparent limitations of each joint. The human
arm is an extremely efficient system which, due to everyday use, during
About Technique

millenniums, comes very close to perfection. This perfection is given by the
perfect cooperation of the three joints and the segments between them.
Acting upon each joint, blocking each one of them in turns, we will
notice how the effort capacity and the flexibility angles of the human arm can
be dramatically reduced.
If we block the wrist, its flexibility angles will be reduced and the arm will
no longer be able to perform precise moves but is still very capable of a lot of
strength.
When we block the elbow, the wrists flexibility will not be affected but
we reduce the arms overall angle of action, limited by the shoulder joint
which is only capable of limited rotation and shifting moves.
By blocking the shoulder we can notice that the two other joints have
significantly reduced their capacity of effort and movement.

If we also consider the fact that the arm works in harmony with the rest
of the body, this system being capable of extremely fast, strong and
sophisticated moves, then we understand why the intention of controlling an
aggressor using one of his/her arms seems to be a very difficult task. Acting
upon someones arm will generate an immediate response from the rest of
the body in order to atone and reduce the effects of such action.
The things which make this system to stop working coherently and
efficiently are the disequilibrium and the pain and those two elements are
gradually used during the Aikido techniques.
Coming back to those three joints, we can assess their capacity to
endure pain and unbalance, as well as the way they can influence or
determine the unbalance of Ukes body:

Hands joint (wrist) has a lower strength, low capacity to endure pain (the
fingers are weak and painful points), low influence upon unbalancing the
body.

Elbows joint has a medium strength, medium pain endurance up to one
point (it can resist the pain only in some positions), medium influence upon
unbalancing the body

Shoulders joint has high strength, high pain endurance and an important
influence upon unbalancing the body.

Analysing those abilities it becomes obvious that the hands joint is the
easiest to handle and that is why most of the Aikido techniques bases or acts
upon the wrist. The types of actions that can be exercised by Nage upon
Ukes wrist are:


About Technique

- blocking the joint by fixing it in a certain position (Kote Mawashi)

- torsioning the joint by twisting the partners hand against the forearms axes.
(Kote Gaeshi)

- blocking the four adjacent fingers by squeezing and extending them in
Nages hand. (Kote Hineri)

- extending the four adjacent fingers towards a direction against the free
movement of their joints.

- shearing Ukes thumb by the action of Nages fingers

- extending the thumb towards a direction against the free movement of its
joint (Kote Gaeshi)

This high amount of possible actions upon the wrist leads to the idea
that more than 70-75 % of Aikido techniques are based on acting on Ukes
hand.
The shoulders joint as well as the elbows allow the wrist to use some
of their strength. This is the reason why the techniques locks are executed
on Ukes wrist and the ground pins are executed, mostly, upon his/her elbow
or his/her shoulder.

The pin from Kote Hineri is executed upon the elbow and shoulder
The pin from Kote Mawashi is executed upon the shoulder
The pin from Ude Osae is executed upon the elbow
The pin from Ude Nobashi is executed upon the elbow
The pin from Tekubi Osae is executed upon the elbow and shoulder

All of these pinnings involve pushing and locking the shoulder on the
ground. That means that blocking one of the upper joints will cancel the lower
joint, meaning: If I block the elbow I neutralize the wrist and if I block the
shoulder I will neutralize the other two lower joints, the elbow and the wrist
respectively.
The fact that Aikido techniques use mostly the wrist leads to the idea
that an Aikido student will seek not to get involved in close body contact fight,
because this way of fighting means high power and effort consumption, so
he/she would prefer to control opponents by harmonizing with them, rather
than directly confronting them.
This is the nature of Aikido and for this reason, Aikido may be practiced
regardless of the physical constitution or age.


About Technique

GENERAL RECOMMENDATIONS

Here are some recommendations for training in general and Randori
training in particular:

1. Do not work with tense muscles. If I am always tense, my muscles
will get tired, I will consume energy unnecessarily and will not be capable of
considerable effort when needed. The execution of Aikido techniques with a
tense body breaks the balance and reduces the suppleness and the elasticity
so necessary in Aikido.

2. It is preferable to defend from the Gyaku Kamae position, with the
right foot and hand in front. I recommend Gyaku Kamae position, because it
is favourable to the staff and knife techniques, and with the right side in front
because it is favourable to the sword and bokken techniques. Thus we will
adopt a position that is generaly convenient to the execution of all Aikido
techniques, with or without weapons. This is only a recommendation.

3. You can aproximate with great accuracy the moment of the attack if
you simulate a strike on Uke. When the attack is imminent I can simulate a hit
to Ukes face or body forcing him/her to respond with a defense motion.
In 99% of the situations this defense motion is made instinctively with
the hand, and this will allow me to quickly execute a technique using that
hand.

4. Get used to work with weapons. Working with weapons, inanimate
objects, which must be integrated with our bodies, develops maneuver skills,
increases the precision of strikes and the control of grips, leading ultimately to
the ability to use weapons as arms extensions.
This skill to handle weapons means that, when needed, I may
successfully use anything around me as a weapon. Weapons training
develops the Ki because it must be extended from my hands to the tip of my
weapons.

5. Do not look at the hands and feet of the aggressor or into his/her
eyes or at his/her weapons. Look upon him/her as a whole, without a specific
look to a detail or another.
Considering him/her as a whole, you will be able to see in a timely
manner any intention or move. The attacker is like a drawing in motion. If you
want to notice changes you should watch from a distance and as a whole.

6. Do not put your knees on the ground unless absolutely necessary.
Returning to the standing position is difficult and takes time and effort.

About Technique

7. Do not make long steps, do not exagerate your lunges, and lift the
soles of your feet off the ground as little as possible. All these deficiencies
can influence your own ballance.

8. Do not try refined dodges or complicated movements. Simple
movements are the best. They provide a good speed of execution and a
stable balance.

9. Do not work with only one hand. Even if it is not necessary to use
both hands you must get used to work with the whole body, not just part of it.
Fail to comply to this recommendation may lead to dangerous habits.

10. Get ready to cope with at least two hits from the aggressor. As I
said in a previous chapter, even in case of a grab you will have to also expect
an immediate strike. If you dont keep this in mind you will be hit and this will
seriously decrease your ability to defend.

11. In case of simultaneous attack of multiple aggressors, try to get all
of them on a single line. In this way you will have to deal with one aggressor
at a time.

12. During training and in everyday life, get used to observe everything
around you. This habit will save you of many troubles, both in life and in fight.

13. Control your emotions and do not get angry. Even if your partner
misbehaves or he/she is selfish and arrogant, do not get angry. Try to be
calm and detached, both in training and in combat.
If you do not get emotionally involved, you can accurately assess a
situation and you can more easily accept a hit or a defeat. Most of the times,
in a fight or in a difficult situation in life, the hits you get are exacerbated by
the frustration, the pride and your fears witch amplifies in an exagerated way
the hits or the failure.

14. In case of an attack, your answer must be proportionate to the
attack. Your reactions must be corrective rather than punitive. There is a
certain economy of actions during a fight, that must be generally respected. If
your response is not proportional with the attack, the fight will be unbalanced.
If your answer is less, the aggressor will feel encouraged to attack again, and
if you will answer with too much force you will determine the aggressor to
fight desperately. It is obvious that in case of more aggressors, the balance
refers to the whole situation. This means that you have to decisively remove
from the fight as quickly and as many aggressors as possible to reach to a
balanced situation that you can solve according to the principle: do not do
more harm than necessary.
About Technique

15. When you are on the mat and you are training, you must look at the
actions of those around you as possible attacks, and you should count only
on your own forces and your own ability to react. When you are on the mat
and you are training with your partner, and around you are other pairs that do
the same, the actions of those around you may be looked upon as attacks if
such actions endangers you.
Sloppy falls, careless throws or irrational weapons handling may be
aggressive actions against you, that you have to consider and defend
yourself from.
The habit of looking at things from such a perspective, helps you stay
away from unpleasant surprises and troubles in both fight and in life. This is
why I say to the students that only them are at fault for the accidents they are
involved into.
The excuse that the hit was unintended, does not ease the pain or
makes an accident easier to bear. You have no excuse when those around
you were not careful and you got hit. This is not a martial attitude as you
should not expect to be protected by those around you.
If I can not take care of myself or my people there is no hope that others
will. Unfortunately, modern society encourages this passive attitude, making
people increasingly less responsible for their own lives and for those around
them.
They expect the government to take care of them, to schedule their life,
to tell them how and what to eat, how to have fun, what is good and evil, what
and in whom to believe, and the government makes this better and better.

16. Do not use breakfalls as a defense technique. They are just a
necessary evil and you must understand that their goal is to bring you back
as soon as possible in a defense position, and not to massage your back or
to impress the audience.
Remember that during a breakfall your defense capacity is zero, so this
must happen as rare as possible and to take as little time as possible. For this
we must practice breakfalls constantly and from any position.

17. The most dangerous enemies are not those whose weapons and
hostile intentions are obvious. You must protect yourself from those whose
intentions and weapons are not obvious and treat them with reserve. A skilled
fighter will not reveal the surprises he/she has prepared for you, only when it
is too late.

18. Instructors will always have to repeat to the practitioners the idea
that any attack should be seen as a weapon hit, and should be treated
accordingly. A knife, a bat, a sword, a firearm can be easily hidden from sight
by a skilled aggressor. It is better for you to learn this now, than finding it
later, or too late.
About Technique

TRAINING STRUCTURE

Adult training session lasts 1.5-2 hours. Children training should not
exceed 1 hour because they lose patience, become careless and may get
hurt. Training at seminars will be held in the form of 2 hours training sessions
with 2-3 hours breaks between them.
Here is a training structure for a heterogeneous group of students:

Mokuso - 2 min.
Warm-up - 10 min.
Ukemi - 5 min.
Exercises to improve the technical bases, with and without partner -10 min.
Nage Waza - 20-30 min.
Katame Waza - 35-45 min.
Exercises to develop strength, games, Kokyu-ho - 10 min.
Mokuso - 2 min.

Warm Up
WARM UP
Warm up must prepare the student's body for the physical effort during
training. Even if warm up means no Aikido technique, it does not mean that
we can ignore it.
During warm up the joints and muscles prepare for the effort ahead and help
to avoid accidents.
A good warm up prevents us from unpleasant surprises. Instructors tend to
focus more on the students warm up and less on their own. This is a wrong
practice and an injured teacher has bad and lasting effects on students.
During the execution of the warm up exercises, one must keep in mind the
following principles:
- From slow to fast
- From small amplitude to large amplitude
- From the extremities to the center
- From the upper body to the lower body
- Do not use to much strength
- Do not skip any joint
- You must alternate the pairs or groups of muscles
- Flexibility exercises must be done with relaxed tendons (non-contracting
muscles)
- Breathing should be normal, continuous, uninterrupted
- Breathing should be harmonized with the rhythm and the direction of the
movements
- At the end of warm up pulse should not exceed 100-120 beats / minute
Dan Corneliu Ionescu AIKIDO 1,2,3 61
Warm Up

The instructor must work together with his students. He must be able to do
all that he requires his students to do. He must show them what and how
they should actually do things, and corrects them by showing them the
correct form. Warm up usually takes 10-15 minutes.

Moku so

The bow Za Rei

Exercises for the arms joints


Warm Up


Warm Up


Warm Up


Warm Up

z
Warm Up

Funa-Kogi-Undo exercise

Shiko Samurai walk


Warm Up

Exercise to extend the Ki

BREAK FALLS UKEMI

Mae Ukemi forward roll


Warm Up

Ushiro Ukemi backwards roll

Mae Ukemi forward roll

Ushiro Ukemi backwards roll

Warm Up

Tobi Ukemi breakfall over obstacle

Training exercise for breakfalls

Warm Up


Kokyu Ho

Circular motion exercise

Ude Osae - Ikkyo
UDE OSAE IKKYO - (Elbow lock)
UDE OSAE is considered the most important technique of Aikido, but
rarely is explained why. The main reason why the Founder of Aikido thought
this technique was so important is that UDE OSAE is the base for all locking
techniques and also for many throwing techniques.
Speaking of UDE OSAE, Aikido's Founder said that it is IKKYO ISSHO
- meaning the first technique or a technique for the entire life.
We'll see when we study the lockings, that in order to execute any of
the techniques mentioned is enough to execute UDE OSAE correctly and
efficiently to transform it in any of these locks.
UDE OSAE is my action on one of my partners arms so that he is
forced to turn unbalanced and with his back to me.
The action on the partner's arm is made in two points:
1 - the same hand as my partners on his wrist,
2 - the second hand on his elbow.
As I said, an Aikido technique means mainly a dodge or deflection of
the attack, followed by an unbalance of the aggressor and finally a pin or a
throw.
If we were to rank these three elements, then its easy to understand
that if I am unable to dodge, deflect or block the attack, I'll be hit or pinned
and in this case the next element of the technique will not be possible. So the
dodge, block or deflection of the attack is absolutely necessary in order to be
able to further defend myself.
If I managed to dodge the attack, but Im not able to quickly diminish the
attackers strength and ability to fight, then I will be attacked again, with far
more power and determination.
Ude Osae - Ikkyo
In addition, my attacker will be more careful and cautious because of
the failed attack, so that it will be much difficult to surprise him with my
dodges.
So after the dodge, deflection or blocking the attack, comes the
moment to quickly unbalance the aggressor. The off-balance makes the
aggressor, unconsciously, to gather all his physical resources for rapid
restoration of his balance and returning to full capacity to fight. This is the
moment that I have to take advantage of and finish the fight with a pin or a
throw.
So at this point I must be able to execute the most appropriate Aikido
technique, lock or throw, that should take control of the aggressor or
discourage him from ever attacking.
We analyzed these moments of fight because next we will show the
basic Aikido techniques, and their execution is dependent on a correct
understanding of their dynamics according to my partner's (the aggressors)
actions.
You may have noticed that I repeatedly used both the word aggressor
and partner to refer to the attacker (UKE), the one that I am applying the
technique on. Alternative use of these words is meant to remind you that we
refer in the same time to training but also to fighting.
In general, the techniques described will be started from Migi Kamae
position, that is with the right hand and foot in front. This way, readers will
have fewer problems to reconstruct the movements from photos and will
easily understand the textual explanations.
The most frequently attack used will be Katate Dori Ai Hanmi, meaning
the same hand grip, or Shomen Uchi, which is a downward hit to the head.
If we analize an Aikido technique we can create a model of its
development from the perspective of the two basic principles of Aikido: IRIMI
(positive) and TENKAN (negative). This model contains the following
execution ways:

1. the technique starts positive (blocking or deflecting the attack), followed by
unbalance and a positive finish (preserving my forward movement). In other
words, I pass through the partners attack and continue with a pin or a throw.

2. the technique starts positive (blocking or deflecting the attack), followed by
unbalance and a negative finish, which means I diverge the movement and
revolve my partner around me, pinning or throwing him. This means I pass
through the partners attack and then I rotate him to pin or throw him.

3. the technique starts negative (dodging the attack, letting it pass me - Tai
Sabaki), followed by unbalance and a positive finish, which means advancing
with the partner (as if I pass through him) and then pinning or throwing him.
Ude Osae - Ikkyo
This means that I rotate myself in the moment of the attack, I catch my
partner in my movement, I advance to pin or throw him.

4. the technique starts negative (dodging the attack, letting it pass me - Tai
Sabaki), followed by unbalance and a negative finish, which means deviate
(turn) the partner around me to pin or throw him. This variant means that I
rotate myself in the exact moment of the attack, I catch my partner while
moving then I continue to turn with him to pin or throw him.

During the execution of the technique, I must take care to keep my arms at
all times with the elbows close to the body, because otherwise I risk to offer
my partner an ideal position for him to execute a technique on me.

KATATE DORI AI HANMI - UDE OSAE


Ude Osae - Ikkyo
KATATE DORI AI HANMI - UDE OSAE NEGATIV

MOROTE DORI - UDE OSAE


Ude Osae - Ikkyo

SHOMEN UCHI - UDE OSAE NEGATIV

MUNE DORI - UDE OSAE NEGATIV


Ude Osae - Ikkyo

MUNE DORI - UDE OSAE NEGATIV


Ude Osae - Ikkyo

USHIRO RYOTE DORI - UDE OSAE

USHIRO RYOTE DORI - UDE OSAE NEGATIV


Ude Osae - Ikkyo

RYOTE DORI - UDE OSAE NEGATIV


Ude Osae - Ikkyo

SUWARI WAZA



Ude Osae - Ikkyo



Ude Osae - Ikkyo
KATATE DORI GYAKU HANMI - UDE OSAE NEGATIV

SHOMEN UCHI - UDE OSAE


Ude Osae - Ikkyo


Ude Osae - Ikkyo



Ude Osae - Ikkyo
MUNE DORI - UDE OSAE

USHIRO RYOKATA DORI - UDE OSAE


Ude Osae - Ikkyo

USHIRO RYOTE DORI KUBI SHIME - UDE OSAE


Ude Osae - Ikkyo


Ude Osae - Ikkyo



Ude Osae - Ikkyo
EXECUTION DETAILS

MUNE DORI

SHOMEN UCHI


Ude Osae - Ikkyo
USHIRO RYOTE DORI

KATATE RYOTE DORI

SHOMEN TSUKI


Ude Osae - Ikkyo
MOROTE DORI

KATATE RYOTE DORI

USHIRO RYOKATA DORI

MUNE DORI YOKOMEN UCHI

Ude Osae - Ikkyo
MUNE DORI

USHIRO RYOTE DORI KUBI SHIME

MUNE DORI


Ude Osae - Ikkyo
SHOMEN UCHI UDE OSAE


Ude Osae - Ikkyo

SHOMEN UCHI UDE OSAE - NEGATIV


Ude Osae - Ikkyo


Ude Osae - Ikkyo

KATATE DORI GYAKU HANMI - UDE OSAE-NEGATIV


Ude Osae - Ikkyo
KATATE DORI GYAKU HANMI - UDE OSAE NEGATIV

KATATE RYOTE DORI - UDE OSAE

Ude Osae - Ikkyo

MAE GERI - UDE OSAE


Ude Osae - Ikkyo

YOKOMEN UCHI - UDE OSAE NEGATIV


Ude Osae - Ikkyo

USHIRO RYOKATA DORI - UDE OSAE - NEGATIV


Ude Osae - Ikkyo
USHIRO RYOTE DORI KUBI SHIME - UDE OSAE



Ude Osae - Ikkyo
SHOMEN UCHI - UDE OSAE - NEGATIV



Ude Osae - Ikkyo
RYOTE DORI - UDE OSAE

KATATE DORI AI HANMI - UDE OSAE NEGATIV


Ude Osae - Ikkyo
TANTO UDE OSAE

EXECUTION DETAILS

TANTO YOKOMEN UCHI - UDE OSAE NEGATIV


Ude Osae - Ikkyo
TANTO SHOMEN TSUKI - UDE OSAE NEGATIV

TAMBO UDE OSAE

SHOMEN TSUKI UDE OSAE


Ude Osae - Ikkyo


Ude Osae - Ikkyo
YOKOMEN UCHI UDE OSAE

YOKOMEN UCHI UDE OSAE

Ude Osae - Ikkyo



Ude Osae - Ikkyo

SHOMEN TSUKI UDE OSAE


Ude Osae - Ikkyo
JO UDE OSAE

J O SHOMEN TSUKI - UDE OSAE NEGATIV


Ude Osae - Ikkyo
J O SHOMEN TSUKI - UDE OSAE



Ude Osae - Ikkyo



Ude Osae - Ikkyo


Ude Osae - Ikkyo



Ude Osae - Ikkyo



Ude Osae - Ikkyo

EXECUTION DETAILS



Ude Osae - Ikkyo



Ude Osae - Ikkyo


Ude Osae - Ikkyo



Ude Osae - Ikkyo

BOKEN UDE OSAE

BOKEN SHOMEN UCHI - UDE OSAE


Ude Osae - Ikkyo



Ude Osae - Ikkyo
BOKEN SHOMEN UCHI - UDE OSAE NEGATIV



Ude Osae - Ikkyo

TESSEN WAZA

TANTO SHOMEN UCHI UDE OSAE


Ude Osae - Ikkyo

KEN SHOMEN UCHI UDE OSAE


Ude Osae - Ikkyo


Ude Osae - Ikkyo
KEN SHOMEN UCHI UDE OSAE


Ude Osae - Ikkyo

Kote Mawashi - Nikyo
KOTE MAWASHI NIKYO
(Twisting the hand towards outside)
KOTE MAWASHI technique is a pinning technique by means of a lever
type action on the twisted arm. The specific joint lock can be easily
recognized by the shape and position of partner's arm, which, seen from
above looks like the letter Z.
This letter is composed of a segment that is his hand (palm), another
segment that is his forearm (between hand and elbow) and the third segment
that is his arm (between elbow and shoulder).
One side of the letter Z, the smallest (the partner's wrist) is pinned, on his
backhand by pressing with my right hand on my chest. My right hand holds
the partner's hand as if shaking hands with him, but with the palms upside
down.
Pressing my other hand on this twisted arm in the opposite direction, will drive
Uke to the ground because of the pain caused by Nage.
Locking variation
SHOMEN TSUKI - KOTE MAWASHI - NEGATIV

FIXING OPTIONS

KATATE RYOTE DORI - KOTE MAWASHI

USHIRO RYOTE DORI - KOTE MAWASHI



SHOMEN UCHI KOTE MAWASHI


MUNE DORI YOKOMEN UCHI - KOTE MAWASHI

MUNE DORI KOTE MAWASHI


EXECUTION DETAILS

KATATE RYOTE DORI - KOTE MAWASHI



SHOMEN UCHI - KOTE MAWASHI














EXECUTION DETAILS

MUNE DORI - KOTE MAWASHI

USHIRO RYOKATA DORI - KOTE MAWASHI



RYOTE DORI - KOTE MAWASHI

KATA DORI - KOTE MAWASHI

RYOTE DORI - KOTE MAWASHI

MUNE DORI YOKOMEN UCHI - KOTE MAWASHI

EXECUTION DETAILS






KATATE DORI AI HANMI - KOTE MAWASHI



SUWARI WAZA










TANTO KOTE MAWASHI

TANTO SHOMEN TSUKI - KOTE MAWASHI


TAMBO KOTE MAWASHI

TAMBO SHOMEN UCHI KOTE MAWASHI





JO KOTE MAWASHI

EXECUTION DETAILS



J O SHOMEN TSUKI KOTE MAWASHI



J O SHOMEN TSUKI KOTE MAWASHI





J O SHOMEN TSUKI - KOTE MAWASHI








J O YOKOMEN UCHI - KOTE MAWASHI



J O YOKOMEN UCHI - KOTE MAWASHI

BOKEN KOTE MAWASH

BOKEN SHOMEN UCHI - KOTE MAWASHI



TESSEN KOTE MAWASHI

TANTO SHOMEN TSUKI KOTE MAWASHI





Kote Hineri - Sankyo
KOTE HINERI SANKYO
(Twisting the wrist towards outside)
Kote Hineri is a highly effective technique, if well executed.
From Migi Kamae, regardless of the attack, I start by executing UDE
OSAE until I bring UKE in the classic position, with his back toward me, bent
over, leaning with his left hand on the ground.
In this position, I carefully control his arm with one hand while the other
hand grips his four fingers as a sword.
I strike down with this sword and with the other hand I press on his
elbow until Uke lies on the ground. I get down and control him using the
specific pinning technique.
For the negative form, Nage makes a Tai Sabaki controlling with both
his hands Uke's arm. Because of the pain, Uke is forced to follow him and lie
down.
If Uke strikes with the fist or a weapon, the success of this technique is
determined by a prior strike with the fist on the back of Ukes hand, the one
who controls the weapon.
USHIRO RYOTE DORI KUBI SHIME - KOTE HINERI

KATATE RYOTE DORI - KOTE HINERI



SHOMEN TSUKI - KOTE HINERI



MOROTE DORI - KOTE HINERI



KATATE DORI GYAKU HANMI - KOTE HINERI


KATATE DORI GYAKU HANMI - KOTE HINERI

MUNE DORI - KOTE HINERI



SHOMEN UCHI - KOTE HINERI


SUWARI WAZA


SHOMEN UCHI - KOTE HINERI - NEGATIV





SHOMEN UCHI - KOTE HINERI NEGATIV


SHOMEN UCHI KOTE HINERI


MOROTE DORI - KOTE HINERI

MUNE DORI YOKOMEN UCHI - KOTE HINERI


YOKOMEN UCHI - KOTE HINERI

RYOTE DORI - KOTE HINERI


EXECUTION DETAILS


YOKOMEN UCHI - KOTE HINERI

USHIRO RYOTE DORI - KOTE HINERI

EXECUTION DETAILS



USHIRO RYOTE DORI - KOTE HINERI

MUNE DORI - KOTE HINERI


SHOMEN TSUKI - KOTE HINERI


SUWARI WAZA

RYOTE DORI - KOTE HINERI




TANTO KOTE HINERI

TANTO SHOMEN TSUKI - KOTE HINERI




TANTO SHOMEN UCHI - KOTE HINERI

TANTO YOKOMEN UCHI - KOTE HINERI


TANTO YOKOMEN UCHI - KOTE HINERI.








TANTO SHOMEN TSUKI - KOTE HINERI.



JO KOTE HINERI

J O SHOMEN TSUKI - KOTE HINERI.












BOKEN KOTE HINERI

BOKEN SHOMEN UCHI - KOTE HINERI.



EXECUTION DETAILS



TESSEN KOTE HINERI

KEN SHOMEN UCHI KOTE HINERI





KEN SHOMEN UCHI KOTE HINERI



Tekubi Osae - Yonkyo
TEKUBI OSAE YONKYO
(Lock with lever on forearm)
The specific painful effect of this technique is achieved only if Nage's
hands act as a leverage, with the point of attack being the first part of Uke's
forearm.
In the Irimi form, the painful action is performed by pressing Nages right
index finger base on Ukes radial nerve or by pressing Nages index finger
base on the radial bone of Ukes arm.
The Tenkan form is happening in the same way but also simultaneously
executing a Tai Sabaki to rotate Uke around me.
This technique is difficult to execute, especially for beginners, because the
secret is the correct and accurate action on the partners radial nerve or bone.
This action on the mentioned points causes severe pain, plus some
temporary numbness of the arm. An incorrect action on these points does not
have any effect.
The instructor should explain in full detail how to execute the technique and
show to each student how the technique works, so they can feel on their own
arm the effect of the right action.
MUNE DORI - TEKUBI OSAE

SHOMEN TSUKI - TEKUBI OSAE



USHIRO RYOKATA DORI - TEKUBI OSAE



USHIRO RYOTE DORI - TEKUBI OSAE



SHOMEN UCHI - TEKUBI OSAE - NEGATIV


SHOMEN TSUKI - TEKUBI OSAE - NEGATIV

SUWARI WAZA

SHOMEN TSUKI - TEKUBI OSAE - NEGATIV


EXECUTION DETAILS


SHOMEN UCHI - TEKUBI OSAE




USHIRO RYOTE DORI - TEKUBI OSAE



SHOMEN UCHI TEKUBI OSAE



MAE GERI - TEKUBI OSAE


TANTO TEKUBI OSAE

TANTO YOKOMEN UCHI - TEKUBI OSAE

TANTO YOKOMEN UCHI - TEKUBI OSAE


TANTO SHOMEN TSUKI - TEKUBI OSAE


JO TEKUBI OSAE

J O SHOMEN TSUKI - TEKUBI OSAE


BOKEN TEKUBI OSAE

BOKEN SHOMEN UCHI - TEKUBI OSAE







TESSEN TEKUBI OSAE
TANTO SHOMEN TSUKI TEKUBI OSAE


TANTO YOKOMEN UCHI TEKUBI OSAE - NEGATIV

Ude Nobashi - Gokyo
UDE NOBASHI GOKYO
(Extending, forcing the elbow downwards)
Ude-Nobashi is related to Ude-Osae. The difference is that with Ude-
Nobashi, Uke's elbow is constantly extended and Nages hand holds Uke's
wrist from its pulse.
It is a technique frequently used for attacks such as: Shomen Uchi,
Shomen Tsuki and Yokomen Uchi. It is a Gyaku Hanmi type of technique,
and can also be executed against any attack which may be easily led to this
position.
As I said before, the technique is very similar to Ude-Osae, except that the
partners arm will have to be kept straight without bending the elbow and the
arm will also have to be strongly kept in torsion.
The technique is usually used for a knife attack. The action on the
elbow and the twisted arm allow a good control of the partners arm and the
lock with the twisted wrist at 90 degrees allows the partners disarming (the
release of the knife).
The negative form of this technique is different only in terms of
unbalance and turning movement of the partner. On the negative form,
instead of advancing, I will make a Tai Sabaki so I will get behind him.
Following with the technique in the same way as the positive form.
Ude Nobashi - Gokyo
YOKOMEN UCHI - UDE NOBASHI

YOKOMEN UCHI - UDE NOBASHI - NEGATIV


Ude Nobashi - Gokyo
YOKOMEN UCHI - UDE NOBASHI NEGATIV


Ude Nobashi - Gokyo

EXECUTION DETAILS


Ude Nobashi - Gokyo
SHOMEN UCHI - UDE NOBASHI



Ude Nobashi - Gokyo

USHIRO RYOTE DORI - UDE NOBASHI NEGATIV


Ude Nobashi - Gokyo

SHOMEN TSUKI - UDE NOBASHI


Ude Nobashi - Gokyo

YOKOMEN UCHI UDE NOBASHI


Ude Nobashi - Gokyo

SHOMEN UCHI UDE NOBASHI - NEGATIV


Ude Nobashi - Gokyo

SHOMEN UCHI UDE NOBASHI - NEGATIV


Ude Nobashi - Gokyo



Ude Nobashi - Gokyo
YOKOMEN UCHI - UDE NOBASHI NEGATIV

USHIRO ERI DORI - UDE NOBASHI


Ude Nobashi - Gokyo



Ude Nobashi - Gokyo
KATATE DORI GYAKU HANMI - UDE NOBASHI NEGATIV

SUWARI WAZA


Ude Nobashi - Gokyo

TANTO UDE NOBASHI

TANTO SHOMEN TSUKI - UDE NOBASHI


Ude Nobashi - Gokyo

TANTO YOKOMEN UCHI - UDE NOBASHI NEGATIV


Ude Nobashi - Gokyo



Ude Nobashi - Gokyo



Ude Nobashi - Gokyo

JO UDE NOBASHI

J O SHOMEN UCHI - UDE NOBASHI


Ude Nobashi - Gokyo

J O SHOMEN UCHI - UDE NOBASHI


Ude Nobashi - Gokyo
BOKEN UDE NOBASHI
BOKEN SHOMEN UCHI - UDE NOBASHI - NEGATIV

BOKEN SHOMEN UCHI - UDE NOBASHI NEGATIV


Ude Nobashi - Gokyo

BOKEN SHOMEN UCHI - UDE NOBASHI


Ude Nobashi - Gokyo

BOKEN SHOMEN UCHI - UDE NOBASHI



Ude Nobashi - Gokyo

OKEN SHOMEN UCHI - UDE NOBASHI NEGATIV B


Ude Nobashi - Gokyo

TESSEN WAZA

TANTO SHOMEN TSUKI UDE NOBASHI


Ude Nobashi - Gokyo

AILS EXECUTION DET

NTO SHOMEN TSUKI UDE NOBASHI

TA


Ude Nobashi - Gokyo

Hiji Kime Osae
HIJI KIME OSAE
(Pinning by forcing the elbow downwards)
This technique means forcing the partners elbow, while pushing his
arm towards the ground. I lock Uke's arm under my armpit forcing it towards
my ribs and with the other hand I act on my partner's wrist, pushing his
shoulder down, until he is forced to put the other hand on the ground.
The technique is very efficient and quite easy to execute.
Nage should sit straight and not lean too much on Uke's arm.
The negative form of this technique means unbalancing the partner by
executing a Tai Sabaki centered on my closest leg to him so that he will be
forced to follow me by moving backwards because of the pain getting him in
the best position for me to execute the final pinning technique.
EXECUTION DETAILS
Hiji Kime Osae
SHOMEN UCHI - HIJ I KIME OSAE

KATATE DORI AI HANMI - HIJ I KIME OSAE


Hiji Kime Osae



Hiji Kime Osae
KATATE DORI AI HANMI - HIJ I KIME OSAE

SHOMEN TSUKI - HIJ I KIME OSAE

Hiji Kime Osae

SHOMEN TSUKI - HIJ I KIME OSAE


Hiji Kime Osae

SUWARI WAZA



Hiji Kime Osae
TANTO HIJI KIME OSAE

TANTO SHOMEN TSUKI - HIJ I KIME OSAE


Hiji Kime Osae
TAMBO HIJI KIME OSAE

TAMBO SHOMEN UCHI HIJ I KIME OSAE


Hiji Kime Osae
TAMBO SHOMEN UCHI HIJ I KIME OSAE


Hiji Kime Osae
JO HIJI KIME OSAE

EXECUTION DETAILS

J O SHOMEN TSUKI - HIJ I KIME OSAE


Hiji Kime Osae
BOKEN HIJI KIME OSAE

BOKEN SHOMEN UCHI - HIJ I KIME OSAE


Hiji Kime Osae

BOKEN SHOMEN UCHI - HIJ I KIME OSAE


Hiji Kime Osae
TESSEN HIJI KIME OSAE

TANTO SHOMEN TSUKI HIJ I KIME OSAE


Hiji Kime Osae
TANTO SHOMEN TSUKI HIJ I KIME OSAE

Shiho Nage
SHIHO NAGE
(Four directions throw)
As we know, during Aikido training we create false fight conflict
scenarios that allow students to study conflict theory and resolution methods
with minimum losses and minimum effort.
In the case of the throwing techniques (Nage Waza), conflict resolution
is achieved through a harmonious control of the attacks energy, to deflect it
and discharge it into the air or to redirect it against the aggressor.
By executing a throwing technique, Nage has transferred the conflict to
another place and time, but has not completely solved it, so that the conflict
can reoccur. This disadvantage of the throwing techniques is compensated
by the fact that Nage is only for a little time in contact with Uke and can
quickly regain freedom of movement, movement which is absolutely
necessary for simultaneous attack from several opponents.
Because in Aikido, the defense force is determined by the attack force, if an
attack is strong and fast, Uke can be neutralized by the throwing techniques
violence alone, or by continuing the throw with a pinning or locking
technique.
Throwing techniques in Aikido are so varied that their number seems endless.
When the student is sufficiently advanced so he can move freely, he
discovers that there are no two techniques the same, as each is specific to a
particular attack and a certain situation.
After having been thrown by others many times and, in turn, you have
thrown others thousands of times, you come to stop thinking about how to
execute the technique or how to fall, and from this moment you start
practicing Aikido for real.
Shiho Nage
Aikido teaches you how to deal with unforeseen circumstances, to
successfully solve the present moment, "now and here", to control a situation
when you have no time for questions and you must act immediately. To get
there, the teaching should be part of you, not just to stick to you, meaning
"you must become what you learn to do".
This is the only way you can get to move freely without being paralyzed by
the attack.
The fight requires spontaneity and intuition. If you try to use reason in combat
you will be as a blind man using a torch. Only sincere training can train and
develop intuition.

During training you cannot decide beforehand what you will do, how you will
you react. You will have to feel the attack, follow it by dodging it and drive its
energy without blocking it so that your partner will find void where he thought
it was an obstacle and will be unbalanced by his own attacks energy.
It is obvious that in a fight, intuitive action does not guarantee your
success, but it is certain that a rational action gives you defeat. In Aikido we
train to react unconsciously in a fight, the same way we do consciously during
training.
We must train ourselves to receive any attack and to execute any technique
of Aikido, honest and relaxed, overcoming the barrier of "if" and maybe that
usually confuses our mind.
This way we overcome the state in which we ask what technique should be
done until the right time passes and it is too late to do anything.
Confidence in movement, obtained by training, is relaxing our mind which in
turn gives the body confidence and capacity to face critical situations, even
without the mind being involved. The physical and mental training can help
control fear and we can offer our body the ability to become an intelligent tool.

By practicing Aikido, the student discovers his body with its possibilities
and limitations, and this leads to a confidence of movements that positively
affects his mentality, and this leads to the disappearance of the tension
caused by the fear.
This process can be compared to a pyramid, which at first is upside-down in
precarious balance, and with training is returning to the natural position with
the base down. A student, "rebuilt" this way, knows his value, is no longer
paralyzed by false fantasies and can act outwards from his strong and stable
"center".

Shiho Nage technique comes from the J apanese sword technique and
consists in controlling Uke's energy, unbalance him, and the 180 degree
rotation of Nage's body, followed by a "sword cut" to one of the four cardinal
points.
Shiho Nage
During training, the Aikido movements are generally performed without force.
To meet this requirement, we should rather not block the attack energy, but
change its direction and then return it against our partner.
To do this, Uke's energy should be controlled and returned following a loop, a
spiral. The idea of returning the energy following a spiral is found in most
techniques, and it is accomplished by moving the Center, both in Irimi and
Tenkan forms.
Shiho Nages favorable position is Katate Dori Ai Hanmi. So, no matter the
attack, Nage will have to get into Katate Dori Ai Hanmi position by different
maneuvers and unbalancing techniques and then execute the technique.

TENKAN form negative
The difference between the positive and negative forms is simple. Instead of
entering, to rotate myself and to strike with the sword in one of the forth
directions, I will pivot toward the outside of my partner space and I will strike
with the sword behind him.

KATATE DORI AI HANMI - SHIHO NAGE


Shiho Nage



Shiho Nage
RYOTE DORI - SHIHO NAGE

MUNE DORI - SHIHO NAGE


Shiho Nage

USHIRO RYOTE DORI AI HANMI - SHIHO NAGE


Shiho Nage


KATATE DORI AI HANMI - SHIHO NAGE - NEGATIV


Shiho Nage

HANMI HANTACHI WAZA

KATATE DORI GYAKU HANMI - SHIHO NAGE NEGATIV


Shiho Nage

KATATE DORI AI HANMI - SHIHO NAGE NEGATIV


Shiho Nage


KATATE RYOTE DORI - SHIHO NAGE

Shiho Nage

USHIRO RYOTE DORI - SHIHO NAGE


Shiho Nage

YOKOMEN UCHI - SHIHO NAGE


Shiho Nage
MUNE DORI - SHIHO NAGE

SHOMEN UCHI - SHIHO NAGE


Shiho Nage

USHIRO RYOTE DORI SHIHO NAGE


Shiho Nage

SHOMEN TSUKI - SHIHO NAGE - NEGATIV

Shiho Nage

RYOTE DORI - SHIHO NAGE


Shiho Nage


SHOMEN TSUKI - SHIHO NAGE - NEGATIV

Shiho Nage

MAE GERI - SHIHO NAGE


Shiho Nage

SHOMEN TSUKI - SHIHO NAGE

Shiho Nage

HANMI HANTACHI WAZA



Shiho Nage

TANTO SHIHO NAGE

TANTO SHOMEN TSUKI - SHIHO NAGE


Shiho Nage
TANTO SHOMEN TSUKI - SHIHO NAGE NEGATIV


Shiho Nage
TAMBO SHIHO NAGE

TAMBO SHOMEN TSUKI SHIHO NAGE


Shiho Nage


Shiho Nage
SHOMEN UCHI SHIHO NAGE

TAMBO SHOMEN UCHI SHIHO NAGE


Shiho Nage


Shiho Nage

TAMBO YOKOMEN UCHI SHIHO NAGE


Shiho Nage


Shiho Nage
JO SHIHO NAGE

J O SHOMEN TSUKI - SHIHO NAGE


Shiho Nage

J O SHOMEN TSUKI SHIHO NAGE


Shiho Nage

J O SHOMEN TSUKI SHIHO NAGE


Shiho Nage



Shiho Nage

J O YOKOMEN UCHI - SHIHO NAGE


Shiho Nage
BOKEN SHIHO NAGE

BOKEN SHOMEN UCHI - SHIHO NAGE

Shiho Nage



Shiho Nage



Shiho Nage

EXECUTION DETAILS


Shiho Nage
TESSEN SHIHO NAGE

TANTO YOKOMEN UCHI SHIHO NAGE


Shiho Nage
TANTO SHOMEN TSUKI SHIHO NAGE

TANTO SHOMEN UCHI SHIHO NAGE Negativ

Shiho Nage

TANTO SHOMEN UCHI SHIHO NAGE Negativ

Irimi Nage
IRIMI NAGE
(Entering throw)
The basis of this technique is engaging Uke in a horizontal or vertical
circular motion, which amplifies or neutralizes his initial action, and it
unbalances him.
Then, when Uke is off-balance, Nage suddenly changes the direction of
movement, throwing Uke forward, backward or in any other direction.
The execution of this technique is using the principle of action and reaction.
Because Uke is drawn into a strong movement which unbalance him, after a
moment he will try to recover and to regain balance. At this point Nage
changes the direction of movement, adding to Ukes reaction his own energy
to force him to fall.
The technique is extremely efficient, has a wide range of applications for any
attack, but the correct and efficient execution is not easily achievable.
The technique was called the 20 years' throwing to remember the time that
Morihei Ueshiba spent to perfect this technique.
Due to Nage's posture (facing Uke) when throwing, the technique is also
called Shomen Irimi-Nage, to distinguish it from the related technique, called
Sokumen Irimi-Nage, where Nage is with the shoulder towards Ukes face.
It is a technique from the group of techniques of opportunity, meaning
that, if I lost the opportunity (the moment), the technique cannot be efficiently
executed anymore and I will have to try something else.
Uke's throwing is made by Nage entering into his energy sphere, when Uke is
trying to regain his balance, and continues with Uke's center moving on a
trajectory toward his rear. Irimi Nage can easily be understood if we imagine
the sword technique at its origins.
Irimi Nage
I am staying in Migi Kamae position, Uke strikes with the sword towards my
head, I avoid with a Tai Sabaki on the left leg to the right and back, raising my
sword. Once the strike missed me, I return with the right foot forward,
advance towards my partner and strike him with the sword in the face.

In Tenkan form, Nage and Uke, move horizontally on two semicircles. The
first semicircle signifies Ukes unbalance, and is executed by Nage, having as
center one of his legs, and the second is throwing Uke, movement executed
by Nage with the center on the other leg. Throughout the execution of the
technique, Nage must keep Uke close to him and in control, by retaining
continuous contact of their bodies.

The difference between positive and negative form comes after the
unbalance of the partner, rather than entering in his sphere of energy to throw
him, I do a Tai Sabaki, attract Uke in my energy sphere and throw him.
The negative form ends with an unpleasant fall for Uke, so if he is a beginner
he can be seriously injured.

SHOMEN UCHI - IRIMI NAGE


Irimi Nage
SHOMEN TSUKI - IRIMI NAGE



Irimi Nage

KATATE DORI GYAKU HANMI - IRIMI NAGE


Irimi Nage



Irimi Nage
KATATE DORI GYAKU HANMI - IRIMI NAGE - NEGATIV

KATATE DORI AI HANMI - IRIMI NAGE


Irimi Nage

KATATE DORI AI HANMI - IRIMI NAGE - NEGATIV


Irimi Nage

KATATE DORI AI HANMI - IRIMI NAGE - NEGATIV


Irimi Nage
KATATE RYOTE DORI - IRIMI NAGE

KATATE RYOTE DORI - IRIMI NAGE - NEGATIV


Irimi Nage

KATATE RYOTE DORI - IRIMI NAGE - NEGATIV


Irimi Nage

USHIRO RYOTE DORI - IRIMI NAGE - NEGATIV


Irimi Nage



Irimi Nage
YOKOMEN UCHI - IRIMI NAGE


Irimi Nage

VARIATIONS


Irimi Nage


Irimi Nage
USHIRO RYOTE DORI - IRIMI NAGE

SHOMEN UCHI IRIMI NAGE

Irimi Nage

YOKOMEN UCHI IRIMI NAGE


Irimi Nage

AI HANMI IRIMI NAGE


Irimi Nage

KATATE DORI GYAKU HANMI IRIMI NAGE


Irimi Nage

USHIRO RYOTE DORI IRIMI NAGE

Irimi Nage

KATATE DORI GYAKU HANMI - IRIMI NAGE - NEGATIV


Irimi Nage


MUNE DORI - IRIMI NAGE - NEGATIV

Irimi Nage

USHIRO RYOTE DORI - IRIMI NAGE


Irimi Nage

KATOTE DORI GYAKU HANMI - IRIMI NAGE

Irimi Nage

MUNE DORI YOKOMEN UCHI - IRIMI NAGE


Irimi Nage

MAE GERI - IRIMI NAGE


Irimi Nage
SHOMEN UCHI - IRIMI NAGE - NEGATIV

MAWASHI GERI - IRIMI NAGE


Irimi Nage
EXECUTION DETAILS

KATATE DORI AI HANMI IRIMI NAGE

SHOMEN TSUKI IRIMI NAGE


Irimi Nage

YOKOMEN UCHI IRIMI NAGE

MUNE DORI IRIMI NAGE


Irimi Nage

MUNE DORI YOKOMEN UCHI IRIMI NAGE



Irimi Nage



Irimi Nage

EXECUTION DETAILS

KATATE DORI AI HANMI IRIMI NAGE

Irimi Nage

MUNE DORI - IRIMI NAGE

Irimi Nage

USHIRO RYOKATA DORI - IRIMI NAGE


Irimi Nage
YOKOMEN UCHI - IRIMI NAGE



Irimi Nage



Irimi Nage

USHIRO RYOKATA DORI - IRIMI NAGE


Irimi Nage

KATATE RYOTE DORI - IRIMI NAGE

Irimi Nage



Irimi Nage
MUNE DORI - IRIMI NAGE

SUWARI WAZA


Irimi Nage



Irimi Nage
HANMI HANTACI WAZA


TANTO IRIMI NAGE

TANTO SHOMEN TSUKI - IRIMI NAGE NEGATIV


Irimi Nage

TANTO SHOMEN TSUKI IRIMI NAGE


Irimi Nage


Irimi Nage



Irimi Nage



Irimi Nage


Irimi Nage

TAMBO IRIMI NAGE

TAMBO SHOMEN UCHI IRIMI NAGE


Irimi Nage



Irimi Nage


Irimi Nage



Irimi Nage



Irimi Nage


Irimi Nage



Irimi Nage

JO IRIMI NAGE

J O SHOMEN TSUKI - IRIMI NAGE


Irimi Nage

J O SHOMEN TSUKI IRIMI NAGE


Irimi Nage



Irimi Nage


Irimi Nage

J O SHOMEN TSUKI - IRIMI NAGE - NEGATIV

Irimi Nage


J O YOKOMEN UCHI - IRIMI NAGE - NEGATIV

Irimi Nage



Irimi Nage



Irimi Nage



Irimi Nage


Irimi Nage

BOKEN IRIMI NAGE


Irimi Nage
BOKEN SHOMEN UCHI - IRIMI NAGE

BOKEN SHOMEN UCHI IRIMI NAGE


Irimi Nage


Irimi Nage



Irimi Nage




Irimi Nage




Irimi Nage


Irimi Nage


Irimi Nage

TESSEN IRIMI NAGE

TANTO SHOMEN TSUKI RIMI NAGE


Irimi Nage


Irimi Nage



Irimi Nage


Irimi Nage
TANTO SHOMEN UCHI IRIMI NAGE


Irimi Nage



Irimi Nage



Irimi Nage


Irimi Nage


Irimi Nage

Sokumen Irimi Nage
SOKUMEN IRIMI NAGE
(Side-entering throw)
This technique is related to Shomen Irimi-nage in what concerns the
reverse-movement principle applied to the end of the action, but it differs by
body position when throwing.
Nage throws Uke with the side of his body and the related arm. In this
technique the breathing effect has a greater importance than usual, it has to
be well synchronized with the throwing movement.
The technique is usually executed from Katate Dori Gyaku Hanmi
position, or from any attack that can be reduced to or assimilated the position
mentioned before.
By analogy with the sword technique that we talked about when I
described Irimi Nage, we conclude in the Sokumen Irimi Nage case, that I
deal with the same attack, but my reaction will be different from that
described in Irimi Nage.
When the attacker strikes Shomen Uchi, I do a Tai Sabaki outside of
Uke space, on the opposite side of the hand carrying weapon, I raise my
sword up at my opposite shoulder, and after I got my right shoulder near my
partners left shoulder, I strike Uke with my sword from the top to bottom and
from left to right.
The execution of the technique consists of the following: the partner
attacks Katate Dori Gyaku Hanmi, I do a Tai Sabaki on the front leg, I raise
my partners arm as high as possible, and after reaching the shoulder-by-
shoulder position, I enter diagonally with my right hand towards him with an
action from top to bottom and from left to right and with my left hands te-
katana towards his chest or abdomen, until he is thrown on his back.
Sokumen Irimi Nage
Tenkan negative form
A negative execution consists in replacing the movement of entering
and unbalancing the partner with a Tai Sabaki while my hands acts on the
partner, followed by his unbalance and a throw at 180 degrees from the initial
direction.

SHOMEN UCHI - SOKUMEN IRIMI NAGE

KATATE DORI GYAKU HANMI - SOKUMEN IRIMI NAGE


Sokumen Irimi Nage

MUNE DORI - SOKUMEN IRIMI NAGE

MOROTE DORI - SOKUMEN IRIMI NAGE


Sokumen Irimi Nage

USHIRO RYOTE DORI - SOKUMEN IRIMI NAGE


Sokumen Irimi Nage

USHIRO RYOTE DORI - SOKUMEN IRIMI NAGE - NEGATIV


Sokumen Irimi Nage
MUNE DORI YOKOMEN UCHI - SOKUMEN IRIMI NAGE


USHIRO RYOKATA DORI - SOKUMEN IRIMI NAGE


Sokumen Irimi Nage
YOKOMEN UCHI - SOKUMEN IRIMI NAGE

RYOTE DORI - SOKUMEN IRIMI NAGE


Sokumen Irimi Nage

USHIRO RYO HIJ I DORI - SOKUMEN IRIMI NAGE


Sokumen Irimi Nage
MAE GERI - SOKUMEN IRIMI NAGE


Sokumen Irimi Nage

RYOTE DORI - SOKUMEN IRIMI NAGE

Sokumen Irimi Nage
SHOMEN UCHI SOKUMEN IRIMI NAGE


Sokumen Irimi Nage

SHOMEN UCHI SOKUMEN IRIMI NAGE


Sokumen Irimi Nage
SHOMEN TSUKI SOKUMEN IRIMI NAGE

Sokumen Irimi Nage
RYOTE DORI SOKUMEN IRIMI NAGE


Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage

KATATE DORI AI HANMI - SOKUMEN IRIMI NAGE


Sokumen Irimi Nage
USHIRO RYOKATA DORI - SOKUMEN IRIMI NAGE

USHIRO RYOTE DORI - SOKUMEN IRIMI NAGE NEGATIV

Sokumen Irimi Nage

MUNE DORI SOKUMEN IRIMI NAGE


Sokumen Irimi Nage

SHOMEN TSUKI - SOKUMEN IRIMI NAGE


Sokumen Irimi Nage

KATATE DORI AI HANMI - SOKUMEN IRIMI NAGE

Sokumen Irimi Nage
MAE GERI - SOKUMEN IRIMI NAGE

TANTO SOKUMEN IRIMI NAGE

TANTO SHOMEN TSUKI - SOKUMEN IRIMI NAGE


Sokumen Irimi Nage

TANTO SHOMEN TSUKI SOKUMEN IRIMI NAGE

Sokumen Irimi Nage



Sokumen Irimi Nage


Sokumen Irimi Nage
TAMBO SOKUMEN IRIMI NAGE

TAMBO YOKOMEN UCHI SOKUMEN IRIMI NAGE

TAMBO SHOMEN TSUKI SOKUMEN IRIMI NAGE

Sokumen Irimi Nage

TAMBO SHOMEN TSUKI SOKUMEN IRIMI NAGE


Sokumen Irimi Nage
TAMBO SHOMEN UCHI SOKUMEN IRIMI NAGE


Sokumen Irimi Nage

JO SOKUMEN IRIMI NAGE


Sokumen Irimi Nage
J O YOKOMEN UCHI - SOKUMEN IRIMI NAGE


Sokumen Irimi Nage

J O SHOMEN TSUKI SOKUMEN IRIMI NAGE


Sokumen Irimi Nage




Sokumen Irimi Nage




Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage
J O SHOMEN TSUKI - SOKUMEN IRIMI NAGE



Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage
J O SHOMEN TSUKI - SOKUMEN IRIMI


Sokumen Irimi Nage



Sokumen Irimi Nage
J O SHOMEN TSUKI - SOKUMEN IRIMI NAGE - NAGE cu J O



Sokumen Irimi Nage
J O SHOMEN UCHI - SOKUMEN IRIMI NAGE

EXECUTION DETAILS


Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage


Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage

BOKEN SOKUMEN IRIMI NAGE

BOKEN SHOMEN UCHI - SOKUMEN IRIMI NAGE


Sokumen Irimi Nage



Sokumen Irimi Nage




Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage
TESSEN SOKUMEN IRIMI NAGE




Sokumen Irimi Nage

KEN SHOMEN UCHI SOKUMEN IRIMI NAGE

Sokumen Irimi Nage



Sokumen Irimi Nage
TANTO YOKOMEN UCHI SOKUMEN IRIMI NAGE


Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage



Sokumen Irimi Nage

BOKEN SHOMEN UCHI SOKUMEN IRIMI NAGE


Sokumen Irimi Nage
BOKEN SHOMEN UCHI SOKUMEN IRIMI NAGE

Kaiten Nage
KAITEN NAGE
(Wheel/rotary throw)
The technique allows Nage to solve Uke's attack by a special throw
called Kaiten Nage, where Uke is unbalanced and thrown like a wheel.
The first part of the technique can be executed in two ways:
1. Kaiten-Nage-Uchi throwing Uke after Nage enters under his arm, from
the inside;
2. Kaiten-Nage-Soto throwing Uke by Nages movement outside Ukes arm.
Kaiten Nage is a technique specific to Katate Dori Gyaku Hanmi
position, so regardless of how Uke attacks, Nage will have to maneuver Uke
so he gets into Katate Dori Gyaku Hanmi position and then executes the
technique.
The difference between positive and negative forms is the throwing
direction of the wheel that represents my partner.
To execute the negative form of any of the two variations, Uchi or Soto,
in the moment of the throw I execute a Tai Sabaki, rotate 180 degrees and
throw him in this new direction.
I point out that this break-fall is difficult for an unexperienced Uke, and
so it can be dangerous.
Dan Corneliu Ionescu- AIKIDO 1,2,3 446
Kaiten Nage
SHOMEN TSUKI - KAITEN NAGE SOTO

SHOMEN TSUKI - KAITEN NAGE SOTO NEGATIV


Kaiten Nage

SHOMEN UCHI - KAITEN NAGE SOTO NEGATIV


Kaiten Nage
KATATE DORI GYAKU HANMI - KAITEN NAGE SOTO

KATATE DORI GYAKU HANMI - KAITEN NAGE UCHI


Kaiten Nage



Kaiten Nage
KATATE DORI GYAKU HANMI - KAITEN NAGE SOTO - NEGATIV

SUWARI WAZA



Kaiten Nage

SHOMEN UCHI - KAITEN NAGE SOTO

KATATE DORI GYAKU HANMI - KAITEN NAGE UCHI NEGATIV

Kaiten Nage

MUNE DORI YOKOMEN UCHI - KAITEN NAGE UCHI


Kaiten Nage


KATATE DORI GYAKU HANMI KAITEN NAGE

Kaiten Nage

KATATE DORI GYAKU HANMI KAITEN NAGE

Kaiten Nage


Kaiten Nage
SHOMEN UCHI KAITEN NAGE


Kaiten Nage

USHIRO RYOTE DORI KAITEN NAGE

Kaiten Nage

USHIRO RYOTE DORI - KAITEN NAGE SOTO NEGATIV


Kaiten Nage


Kaiten Nage
SHOMEN TSUKI KAITEN NAGE

SHOMEN TSUKI KAITEN NAGE


Kaiten Nage



Kaiten Nage


Kaiten Nage

USHIRO RYOKATA DORI - KAITEN NAGE SOTO

USHIRO KATATE DORI GYAKU HANMI - KAITEN NAGE UCHI

Kaiten Nage

KATATE RYOTE DORI - KAITEN NAGE SOTO



Kaiten Nage
KATATE DORI AI HANMI - KAITEN NAGE OTO

KATATE DORI AI HANMI - KAITEN NAGE

MAE GERI - KAITEN NAGE SOTO NEGATIV


Kaiten Nage

MAWASHI GERI -KAITEN NAGE UCHI NEGATIV


Kaiten Nage
KATATE DORI GYAKU HANMI - KAITEN NAGE SOTO - NEGATIV

HANMI HANTACHI WAZA

SOMEN UCHI - KAITEN NAGE SOTO


Kaiten Nage



Kaiten Nage

SUWARI WAZA


Kaiten Nage

MAE GERI - KAITEN NAGE SOTO


Kaiten Nage
SHOMEN TSUKI - KAITEN NAGE SOTO NEGATIV

TANTO KAITEN NAGE

TANTO SHOMEN TSUKI - KAITEN NAGE SOTO

Kaiten Nage

TANTO YOKOMEN UCHI - KAITEN NAGE SOTO


Kaiten Nage

TANTO YOKOMEN UCHI - KAITEN NAGE


Kaiten Nage

TANTO YOKOMEN UCHI - KAITEN NAGE SOTO NEGATIV


Kaiten Nage

TANTO SHOMEN TSUKI - KAITEN NAGE NEGATIV

TANTO SHOMEN TSUKI - KAITEN NAGE SOTO

Kaiten Nage

TANTO SHOMEN TSUKI - KAITEN NAGE SOTO NEGATIV


Kaiten Nage



Kaiten Nage


Kaiten Nage
TAMBO KAITEN NAGE

TAMBO YOKOMEN UCHI


Kaiten Nage
TAMBO SHOMEN TSUKI KAITEN NAGE


Kaiten Nage
TAMBO SHOMEN TSUKI KAITEN NAGE


Kaiten Nage
JO KAITEN NAGE

J O SHOMEN TSUKI - KAITEN NAGE SOTO

J O SHOMEN TSUKI - KAITEN NAGE UCHI NEGATIV

Kaiten Nage

EXECUTION DETAILS


Kaiten Nage


Kaiten Nage


Kaiten Nage

J O YOKOMEN UCHI - KAITEN NAGE SOTO

Kaiten Nage
J O SHOMEN TSUKI - KAITEN NAGE UCHI NEGATIV


Kaiten Nage



Kaiten Nage

BOKEN KAITEN NAGE

BOKEN SHOMEN UCHI - KAITEN NAGE SOTO


Kaiten Nage

BOKEN SHOMEN UCHI - KAITEN NAGE NEGATIV


Kaiten Nage

TESSEN KAITEN NAGE

BOKEN SHOMEN UCHI KAITEN NAGE


Kaiten Nage

TANTO SHOMEN UCHI KAITEN NAGE


Kaiten Nage

TANTO YOKOMEN UCHI KAITEN NAGE


Kaiten Nage

Ude Kime Nage
UDE-KIME-NAGE
(Throw by forcing the elbow)
This technique is based on the execution of a lever on Uke's extended
elbow.
The negative form of this technique is to change the direction of the throw
and the grip on the elbow. Instead of throwing him forward while acting on his
elbow, I throw him backwards acting on his elbow turned inward. The
execution of the negative form of Ude Kime Nage with a beginner may cause
him injury.
YOKOMEN UCHI - UDE KIME NAGE NEGATIV
Ude Kime Nage

KATATE RYOTE DORI - UDE KIME NAGE


Ude Kime Nage
KATATE DORI AI HANMI - UDE KIME NAGE

KATATE RYOTE DORI - UDE KIME NAGE


Ude Kime Nage
MUNE DORI - UDE KIME NAGE

SUWARI WAZA


Ude Kime Nage
EXECUTION DETAILS

MUNE DORI YOKOMEN UCHI - UDE KIME NAGE


Ude Kime Nage
USHIRO RYOKATA DORI - UDE KIME NAGE

SHOMEN TSUKI - UDE KIME NAGE


Ude Kime Nage

SHOMEN TSUKI - UDE KIME NAGE


Ude Kime Nage
YOKOMEN UCHI - UDE KIME NAGE

MAE GERI - UDE KIME NAGE


Ude Kime Nage

TANTO UDE KIME NAGE

TANTO YOKOMEN UCHI - UDE KIME NAGE

TANTO SHOMEN TSUKI - UDE KIME NAGE

Ude Kime Nage

JO UDE KIME NAGE


Ude Kime Nage
J O SHOMEN TSUKI - UDE KIME NAGE



Ude Kime Nage



Ude Kime Nage

BOKEN UDE KIME NAGE

BOKEN SHOMEN UCHI - UDE KIME NAGE


Ude Kime Nage



Ude Kime Nage
TESSEN UDE KIME NAGE

BOKEN SHOMEN UCHI KIME NAGE

Ude Kime Nage
BOKEN SHOMEN UCHI UDE KIME NAGE

Kote Gaeshi
KOTE GAESHI
(Twisting the wrist towards outside)
This technique serves to unbalance Uke and make him fall on his back,
and can be finished with a pinning to the ground by a painful action on his
arm.
The execution of this technique is based on the painful effect caused by
turning Uke's wrist towards outside, with a specific grip, shown below.
Kote Gaeshi is one of the most effective techniques and can be executed
from any attack if I know to turn it into one of the forms suitable for execution.
Before I start describing this technique, I want to remind you that when
someone grabs me with one hand, most often does so to immediately hit me
with the other hand or to try to restrain me.
For safety, you have to get used to the idea that if someone grabs me by the
hand or other body part a hit will follow immediately, and even if Uke does not
intend to hit me, I have to imagine this and act.
Tenkan negative version
Usually, the positive form of a technique means the execution of the pinning
or throwing by entering into the partners sphere and passing through it, and a
negative form means the execution of a Tai Sabaki, shortly before the
execution of the pin or throw, or simultaneously with it, and by drawing my
partner into my energy sphere.
Kote Gaeshi
KATATE RYOTE DORI - KOTE GAESHI

KATATE RYOTE DORI - KOTE GAESHI


Kote Gaeshi

USHIRO RYO HIJ I DORI - KOTE GAESHI


Kote Gaeshi

YOKOMEN UCHI - KOTE GAESHI


Kote Gaeshi
YOKOMEN UCHI - KOTE GAESHI - NEGATIV



Kote Gaeshi
YOKOMEN UCHI - KOTE GAESHI - NEGATIV



Kote Gaeshi
SHOMEN TSUKI - KOTE GAESHI

KATATE DORI GYAKU HANMI - KOTE GAESHI


Kote Gaeshi
MOROTE DORI - KOTE GAESHI - NEGATIV

SHOMEN TSUKI - KOTE GAESHI


Kote Gaeshi

EXECUTION DETAILS


Kote Gaeshi
SHOMEN UCHI - KOTE GAESHI



Kote Gaeshi



Kote Gaeshi

SHOMEN UCHI KOTE GAESHI


Kote Gaeshi

USHIRO RYOTE DORI KOTE GAESHI


Kote Gaeshi
USHIRO RYOTE DORI - KOTE GAESHI

MUNE DORI - KOTE GAESHI

KATATE DORI AI HANMI - KOTE GAESHI

Kote Gaeshi

SHOMEN UCHI KOTE GAESHI


Kote Gaeshi

KATATE DORI AI HANMI - KOTE GAESHI

Kote Gaeshi

SUWARI WAZA


Kote Gaeshi



Kote Gaeshi



Kote Gaeshi
TANTO KOTE GAESHI

TANTO SHOMEN TSUKI - KOTE GAESHI


Kote Gaeshi


TANTO YOKOMEN UCHI - KOTE GAESHI

Kote Gaeshi




Kote Gaeshi

TAMBO KOTE GAESHI

TAMBO SHOMEN UCHI KOTE GAESHI


Kote Gaeshi

TAMBO SHOMEN TSUKI KOTE GASHI


Kote Gaeshi

TAMBO SHOMEN TSUKI KOTE GAESHI


Kote Gaeshi

TAMBO SHOMEN TSUKI KOTE GAESHI

Kote Gaeshi



Kote Gaeshi

JO KOTE GAESHI

J O YOKOMEN UCHI - KOTE GAESHI

Kote Gaeshi

J O SHOMEN UCHI - KOTE GAESHI

J O SHOMEN TSUKI KOTE HAESHI


Kote Gaeshi


Kote Gaeshi
J O SHOMEN TSUKI - KOTE GAESHI

BOKEN KOTE GAESHI

BOKEN SHOMEN UCHI - KOTE GAESHI


Kote Gaeshi



Kote Gaeshi



Kote Gaeshi

TESSEN KOTE GAESHI

TANTO SHOMEN TSUKI KOTE GAESHI

Kote Gaeshi

TANTO YOKOMEN UCHI KOTE GAESHI


Kote Gaeshi
TANTO SHOMEN TSUKI KOTE GAESHI

Tenchi Nage
TENCHI NAGE
(Heaven and earth throw)
The name of the technique comes from the specific position of Nages
hands when throwing Uke: one hand towards heaven and the other
downwards towards earth. Ukes unbalance is created by the movement of
the arms, and not by Nages chest. This technique is suitable to front attacks
(RYOTE DORI) when Ukes force is taken by Nage and then returned against
Uke. This asymmetrical position causes the unbalance of my partner which I
can then use to throw him.
TENKAN negative form
The negative form runs as follows: instead of entering and acting on my
partner to throw him, before he recovers his balance, I will continue with Tai
Sabaki until he rotates 180 degrees, I enter, unbalance him with the heaven
and earth position and throw him.
KATATE DORI GYAKU HANMI - TENCHI NAGE - NEGATIV
Tenchi Nage

RYOTE DORI - TENCHI NAGE - NEGATIV


Tenchi Nage
RYOTE DORI - TENCHI NAGE

EXECUTION DETAILS


Tenchi Nage
KATATE DORI GYAKU HANMI - TENCHI NAGE



Tenchi Nage
RYOTE DORI - TENCHI NAGE NEGATIV

SHOMEN UCHI - TENCHI NAGE


Tenchi Nage
SHOMEN TSUKI - TENCHI NAGE




Tenchi Nage
MUNE DORI - TENCHI NAGE

MUNE DORI - TENCHI NAGE

Tenchi Nage



Tenchi Nage
TANTO TENCHI NAGE

TANTO SHOMEN TSUKI - TENCHI NAGE



Tenchi Nage

TANTO YOKOMEN UCHI -TENCHI NAGE


Tenchi Nage
YOKOMEN UCHI - TENCHI NAGE

TANTO YOKOMEN UCHI - TENCHI NAGE

Tenchi Nage



Tenchi Nage

TANTO SHOMEN TSUKI -TENCHI NAGE

Tenchi Nage

TAMBO TENCHI NAGE

TAMBO SHOMEN UCHI TENCHI NAGE


Tenchi Nage

JO TENCHI NAGE

J O SHOMEN TSUKI - TENCHI NAGE

Tenchi Nage

J O SHOMEN TSUKI TENCHI NAGE


Tenchi Nage

J O SHOMEN TSUKI TENCHI NAGE


Tenchi Nage



Tenchi Nage


Tenchi Nage

J O SHOMEN TSUKI -TENCHI NAGE


Tenchi Nage



Tenchi Nage
BOKEN TENCHI NAGE

BOKEN SHOMEN UCHI - TENCHI NAGE



Tenchi Nage



Tenchi Nage



Tenchi Nage
TESSEN TENCHI NAGE

TANTO SHOMEN UCHI TENCHI NAGE



Tenchi Nage

KEN SHOMEN UCHI TENCHI NAGE


Tenchi Nage

KEN SHOMEN UCHI TENCHI NAGE


Tenchi Nage

TANTO SHOMEN TSUKI TENCHI NAGE


Tenchi Nage


Tenchi Nage



Tenchi Nage

TANTO YOKOMEN UCHI TENCHI NAGE


Tenchi Nage

Koshi Nage
KOSHI NAGE
(Over hip throw)
The principle of this technique is used in various martial arts e.g. in
J udo. This is an action applied on Ukes upper body: Uke's hips are blocked
by Nage's hips and his hands are drawn by Nage's hands, leading to the
overthrow of Uke.
The technique can be done by loading and flipping Uke over Nages
hips, or Nage moves Uke so that he stumbles over Nages hips and falls. The
optimal position for the execution of this technique is Katate Dori Gyaku
Hanmi.
The negative form of this technique means the execution of Tai Sabaki
pivoting on the leg nearest to the partner, in the exact moment of the
throwing.
This combination makes the partner to follow a spatial spiral trajectory,
leading to a dangerous fall for Uke. This technique is not recommended for
beginners without good experience with falls. For this reason, some Aikido
federations of various countries have banned the execution of this technique.
Koshi Nage
RYOTE DORI - KOSHI NAGE



Koshi Nage
KATATE RYOTE TOR I- KOSHI NAGE

USHIRO RYOTE DORI - KOSHI NAGE


Koshi Nage

SHOMEN UCHI - KOSHI NAGE


Koshi Nage



Koshi Nage



Koshi Nage
MOROTE DORI - KOSHI NAGE

YOKOMEN UCHI - KOSHI NAGE


Koshi Nage
SHOMEN UCHI KOSHI NAGE


Koshi Nage
SHOMEN UCHI KOSHI NAGE

KATATE RYOTE DORI - KOSHI NAGE NEGATIV

Koshi Nage

KATATE RYOTE DORI - KOSHI NAGE NEGATIV

KATATE DORI GYAKU HANMI - KOSHI NAGE


Koshi Nage

KATATE DORI AI HANMI - KOSHI NAGE NEGATIV


Koshi Nage

TANTO KOSHI NAGE

TANTO SHOMEN UCHI - KOSHI NAGE


Koshi Nage

TANTO YOKOMEN UCHI - KOSHI NAGE NEGATIV

TANTO SHOMEN TSUKI - KOSHI NAGE

Koshi Nage

TANTO YOKOMEN UCHI - KOSHI NAGE

TANTO SHOMEN TSUKI - KOSHI NAGE

Koshi Nage

TANTO SHOMEN UCHI - KOSHI NAGE


Koshi Nage
TAMBO KOSHI NAGE

TAMBO SHOMEN TSUKI KOSHI NAGE

TAMBO YOKOMEN UCHI KOSHI NAGE


Koshi Nage


TAMBO SHOMEN UCHI KOSHI NAGE


Koshi Nage



Koshi Nage



Koshi Nage



Koshi Nage


Koshi Nage

JO KOSHI NAGE

SHOMEN TSUKI KOSHI NAGE


Koshi Nage

SHOMEN TSUKI KOSHI NAGE

Koshi Nage


Koshi Nage
J O SHOMEN UCHI KOSHI NAGE

J O SHOMEN UCHI - KOSHI NAGE


Koshi Nage

J O SHOMEN TSUKI - KOSHI NAGE NEGATIV


Koshi Nage
BOKEN KOSHI NAGE

BOKEN SHOMEN UCHI - KOSHI NAGE NEGATIV

BOKEN SHOMEN UCHI - KOSHI NAGE NEGATIV


Koshi Nage

TESSEN KOSHI NAGE

TANTO SHOMEN UCHI KOSHI NAGE


Koshi Nage



Koshi Nage


Koshi Nage



Koshi Nage

Juji Garami
JUJI GARAMI
(Figure-ten / cross throw)
J uji Garami is a very efficient throwing technique, using cross-blocking
Uke's arms, therefore the name of this technique is: "throwing with the arms
crossed."
The favorable position of this technique is Katate Ryote Dori, which
means my partner is gripping one of my hands with both his hands. Because
of the pain and the restrain of his arms, the partner is thrown and flipped over
his head in the same time.
fall is dangerous because the partner is flipped in the air over his head
and because his hands are blocked he cannot use them for the breakfall to
diminish the force of the impact with the ground.
The negative form of J uji Garami differs from the positive form by replacing
the enter and throw of the partner with the arms crossed, with the execution
of Tai Sabaki on the front leg or with the foot withdrawal, and simultaneously
throwing the partner with his arms in the mentioned position.
Beware This is not a technique for beginners !
Juji Garami
MOROTE DORI - J UJ I GARAMI - NEGATIV

USHIRO RYOTE DORI KUBI SHIME - J UJ I GARAMI


Juji Garami

KATATE RYOTE DORI - J UJ I GARAMI


Juji Garami
MUNE DORI YOKOMEN UCHI - J UJ I GARAMI

MUNE DORI YOKOMEN UCHI - J UJ I GARAMI


Juji Garami
RYOTE DORI - J UJ I GARAMI

KATATE RYOTE DORI - J UJ I GARAMI

USHIRO RYOTE DORI - J UJ I GARAMI

Juji Garami

KATATE DORI AI HANMI - J UJ I GARAMI


Juji Garami

SHOMEN UCHI - J UJ I GARAMI


Juji Garami
KATATE DORI GYAKU HANMI - J UJ I GARAMI

TANTO JUJI GARAMI

TANTO SHOMEN UCHI - J UJ I GARAMI


Juji Garami
TANTO SHOMEN TSUKI - J UJ I GARAMI

TAMBO JUJI GARAMI

TAMBO SHOMEN TSUKI J UJ I GARAMI


Juji Garami

JO JUJI GARAMI

J O SHOMEN TSUKI - J UJ I GARAMI

J O SHOMEN TSUKI - J UJ I GARAMI

Juji Garami

BOKEN JUJI GARAMI

BOKEN SHOMEN UCHI - J UJ I GARAMI


Juji Garami
BOKEN SHOMEN UCHI - J UJ I GARAMI

Aiki Otoshi
AIKI OTOSHI
(Throw by lever on the legs)
The technique relies on a leverage applied to Uke's lower body. Uke's hips
are blocked against Nages chest or upper body and Uke's legs are wrapped by
Nages hands and thrown forward or backward.
It is very important for Nage not to lift Uke, but just sweep him in one direction or
another. This is possible if Uke is unbalanced and thus unable to resist the
sweep and Nage is balanced with his center of gravity close to the ground.
The technique can be successfully applied for attacks from behind: Ushiro Ryote
Dori, Ushiro Ryokata Dori, Ushiro Eri Dori or Ushiro Ryote dori Kubi Shime.
The technique resembles throwing a bucket of water forward or backwards. The
bucket is the arms of Nage and the water is Uke.
Because Uke will fall on his back is necessary for students to master the
breakfalls to avoid injuries. To prevent accidents, breakfalls will be made by
breathing out. A fall on the back with the lungs full of air can lead to unpleasant
accidents.
The throw is dangerous and should be carefully supervised by the instructor. Do
not perform this technique with beginners!
Aiki Otoshi
MUNE DORI - AIKI OTOSHI

USHIRO RYOKATA DORI - AIKI OTOSHI


Aiki Otoshi

USHIRO RYOTE - AIKI OTOSHI

KATATE DORI AI HANMI - AIKI OTOSHI

Aiki Otoshi

SHOMEN UCHI - AIKI OTOSHI


Aiki Otoshi
SHOMEN UCHI - AIKI OTOSHI

TANTO AIKI OTOSHI

TANTO SHOMEN TSUKI - AIKI OTOSHI


Aiki Otoshi

TANTO SHOMEN UCHI J UJ U GARAMI


Aiki Otoshi

JO AIKI OTOSHI

J O SHOMEN UCHI - AIKI OTOSHI

Aiki Otoshi

J O SHOMEN TSUKI - AIKI OTOSHI


Aiki Otoshi



Aiki Otoshi



Aiki Otoshi

J O SHOMEN TSUKI AIKI OTOSHI


Aiki Otoshi

J O YOKOMEN UCHI - AIKI OTOSHI


Aiki Otoshi

BOKEN AIKI OTOSHI

BOKEN SHOMEN UCHI - AIKI OTOSHI


Aiki Otoshi



Aiki Otoshi

TESSEN AIKI OTOSHI

TANTO SHOMEN TSUKI AIKI OTOSHI


Aiki Otoshi

TANTO SHOMEN UCHI AIKI OTOSHI

Aiki Otoshi

TANTO SHOMEN UCHI AIKI OTOSHI


Aiki Otoshi
TANTO YOKOMEN UCHI AIKI OTOSHI

Sumi Otoshi
SUMI OTOSHI
(Corner or diagonal throw)
This technique is based on unbalancing and throwing Uke backwards and
sideways in the same time, meaning towards his corner. Action on Uke is
made by using one of his arms.
The negative form of the technique means replacing entering and
throwing with a pivot (Tai Sabaki) and throwing partner towards the back,
meaning towards my corner.
KATATE DORI GYAKU HANMI - SUMI OTOSHI
Sumi Otoshi

KATATE DORI AI HANMI - SUMI OTOSHI


Sumi Otoshi

SHOMEN UCHI - SUMI OTOSHI - NEGATIV

Sumi Otoshi
SHOMEN UCHI - SUMI OTOSHI

SUWARI WAZA



Sumi Otoshi
KATATE DORI GYAKU HANMI - SUMI OTOSHI - NEGATIV



Sumi Otoshi



Sumi Otoshi

EXECTION DETAILS



Sumi Otoshi
YOKOMEN UCHI - SUMI OTOSHI

SHOMEN TSUKI - SUMI OTOSHI

MUNE DORI - SUMI OTOSHI

Sumi Otoshi


SHOMEN TSUKI - SUMI OTOSHI


Sumi Otoshi
MUNE DORI - SUMI OTOSHI


Sumi Otoshi


Sumi Otoshi

TANTO SUMI OTOSHI

TANTO SHOMEN TSUKI - SUMI OTOSHI


Sumi Otoshi
TANTO SHOMEN TSUKI - SUMI OTOSHI

TANTO YOKOMEN UCHI - SUMI OTOSHI


Sumi Otoshi
TANTO YOKOMEN UCHI - SUMI OTOSHI

TANTO YOKOMEN UCHI -SUMI OTOSHI - NEGATIV


Sumi Otoshi

TAMBO SUMI OTOSHI

TAMBO SHOMEN TSUKI SUMI OTOSHI


Sumi Otoshi



Sumi Otoshi


Sumi Otoshi


Sumi Otoshi

TAMBO SHOMEN UCHI SUMI OTOSHI


Sumi Otoshi


Sumi Otoshi


Sumi Otoshi
JO SUMI OTOSHI

J O SHOMEN TSUKI - SUMI OTOSHI



Sumi Otoshi



Sumi Otoshi
J O SHOMEN TSUKI SUMI OTOSHI


Sumi Otoshi


Sumi Otoshi


Sumi Otoshi

J O YOKOMEN UCHI SUMI OTOSHI


Sumi Otoshi


Sumi Otoshi
BOKEN SUMI OTOSHI

BOKEN SHOMEN UCHI - SUMI OTOSHI


Sumi Otoshi

TESSEN SUMI OTOSHI

TANTO SHOMEN TSUKI SUMI OTOSHI


Sumi Otoshi


Sumi Otoshi



Sumi Otoshi


Sumi Otoshi
BOKEN SHOMEN UCHI SUMI OTOSHI

Kokyu Nage
KOKYU NAGE
(Breathing throw)
Kokyu Nage is a technique whose correct execution requires a good
control of breath and energy, combined with the practical understanding (not
just theoretical) of the principle of harmony.
Kokyu means breath, so the name can be translated into the breathing
throw or technique.
The technique can be associated with taking the energy of the attack
while breathing air in the lungs, followed by an unbalance or a change of
direction which corresponds to the moment of transition from breathing in to
breathing out, and finally throwing the partner with the breathing out of the air
from the lungs.
Similarity to my own breathing is not just a figure of speech. We will see
in time that we can get the ability to execute an Aikido technique as if we are
breathing, which means natural and unconscious.
The technique runs as follows: I am in Migi Kamae position and my
partner attacks Ryote Dori. I receive the energy of the attack, easily as I
would inhale, and then I enter and throw my partner with my exhale.
Kokyu Nage can have many forms; it depends on the experience, ability
and mastery of the student.
The negative form of this technique relies in changing the throwing
direction. Instead of entering and throwing my partner, I make a Tai Sabaki
and throw him in a new direction, different from that expected.
Kokyu Nage
RYOTE DORI - KOKYU NAGE - NEGATIV



Kokyu Nage
KATATE RYOTE DORI - KOKYU NAGE

USHIRO RYOTE DORI - KOKYU NAGE


Kokyu Nage
KATATE RYOTE DORI - KOKYU NAGE



Kokyu Nage
MUNE DORI - KOKYU NAGE - NEGATIV

YOKOMEN UCHI - KOKYU NAGE - NEGATIV


Kokyu Nage
KATATE RYOTE DORI - KOKYU NAGE - NEGATIV

USHIRO RYOTE DORI - KOKYU NAGE


Kokyu Nage
USHIRO RYOKATA DORI - KOKYU NAGE

USHIRO KUBI SHIME - KOKYU NAGE

USHIRO KUBI SHIME - KOKYU NAGE


Kokyu Nage

USHIRO RYOTE DORI - KOKYU NAGE - NEGATIV

RYOTE DORI - KOKYU NAGE


Kokyu Nage



Kokyu Nage

KATATE DORI GYAKU HANMI - KOKYU NAGE



Kokyu Nage

SHOMEN TSUKI - KOKYU NAGE

USHIRO ERI DORI - KOKYU NAGE


Kokyu Nage

MOROTE DORI - KOKYU NAGE



Kokyu Nage


RYOTE DORI KOKYU NAGE


Kokyu Nage

KATATE DORI AI HANMI - KOKYU NAGE


Kokyu Nage
SHOMEN TSUKI - KOKYU NAGE



Kokyu Nage



Kokyu Nage
MAE GERI - KOKYU NAGE

EXECUTION DETAILS

SHOMEN UCHI - KOKYU NAGE

Kokyu Nage




Kokyu Nage

KATATE DORI GYAKU HANMI - KOKYU NAGE

USHIRO RYOKATA DORI - KOKYU NAGE

Kokyu Nage

YOKOMEN UCHI -KOKYU NAGE - NEGATIV



Kokyu Nage


SHOMEN UCHI - KOKYU NAGE - NEGATIV


Kokyu Nage




Kokyu Nage


KATATE DORI GYAKU HANMI - KOKYU NAGE - NEGATIV

Kokyu Nage



Kokyu Nage



Kokyu Nage
SUWARI WAZA


TANTO KOKYU NAGE

TANTO SHOMEN TSUKI - KOKYU NAGE - NEGATIV


Kokyu Nage

TANTO YOKOMEN UCHI - KOKYU NAGE

TANTO YOKOMEN UCHI - KOKYU NAGE - NEGATIV

Kokyu Nage

TAMBO KOKYU NAGE

TAMBO SHOMEN TSUKI KOKYU NGE

TAMBO SHOMEN UCHI KOKYU NAGE

Kokyu Nage

TAMBO SHOMEN UCHI KOKYU NAGE

TAMBO SHOMEN TSUKI KOKYU NAGE


Kokyu Nage

TAMBO SHOMEN TSUKI KOKYU NAGE


Kokyu Nage
JO KOKYU NAGE

J O SHOMEN TSUKI - KOKYU NAGE



Kokyu Nage



Kokyu Nage



Kokyu Nage



Kokyu Nage



Kokyu Nage
J O SHOMEN UCHI KOKYU NAGE


Kokyu Nage



Kokyu Nage


Kokyu Nage

Kokyu Nage
J O SHOMEN TSUKI KOKYU NAGE

BOKEN KOKYU NAGE

BOKEN SHOMEN UCHI - KOKYU NAGE - NEGATIV

Kokyu Nage

BOKEN SHOMEN UCHI - KOKYU NAGE


Kokyu Nage



Kokyu Nage



Kokyu Nage



Kokyu Nage



Kokyu Nage



Kokyu Nage

KEN SHOMEN UCHI KOKYU NAGE


Kokyu Nage

TESSEN KOKYU NAGE



Kokyu Nage
BOKEN SHOMEN UCHI KOKYU NAGE



Kokyu Nage



Kokyu Nage



Kokyu Nage



Kokyu Nage



Kokyu Nage



Kokyu Nage

Kata
KATA TECHNICAL MODELS
Kata represents a determined sequence of elements, techniques and
technical principles of Aikido, executed according to specific rules by the two
partners (Nage and Uke), which switch roles, and who are trying together to
achieve a certain objective - the correct execution of techniques in a certain
form.
Kata exercises role is to keep the classical, traditional form of the Aikido
techniques as they were created by the founder of Aikido, Morihei Ueshiba.
In general, the technique can be influenced by the personality and
experience of Aikido masters, who tend to creatively develop the techniques
of Aikido.
This variety of forms is useful for the development of Aikido but could lead to
the loss of traditional forms.
To preserve the original forms of the technique so that the world of Aikido can
have on hand a Golden sample of what the Founders Aikido means, the
Kata exercises were put together, having as purpose a living memory.
METHOD OF KATA EXECUTION
Kata exercises are like those reference music pieces that any future
artist must practice to perfection. Earlier in his career, the artist will perform
parts of the music, basic tunes, and after those he will sound perfectly, he will
play the ensemble, and then he will repeat endlessly the whole piece. Once
Kata
he reaches virtuosity, he can create in return, playing these songs in a new
and original way.
This same principle applies to the execution of kata techniques. All
elements, movements, groups and key points contained in a Kata must be
practiced extensively, a lot of time and with patience, as parts and then as a
whole.
Only after Nage and Uke master the components can they execute the
whole piece. This must happen gradually and with no haste. First they do
groups of movements, which are fragments of Kata, then follows the
execution of these fragments linked to a big whole.
At this stage the instructors corrections must be limited to what is
necessary and must be adapted to the learning capacity of the student. If the
instructor will correct every movement, the student will lose his interest and
the pleasure to practice. People need to be encouraged to correct their
mistakes, and must be helped to notice what is wrong. If they are aware of
mistakes, they can easily correct them.
The following is the polishing stage of Kata execution. Now the teacher
will have to work with each pair individually to help them perfect their
execution.
After each execution the instructor assess the progress and if mistakes
occur he will recommend repeating elements or suites having problems.
When Kata is executed correctly, fluently and focused, the training
becomes a form of dynamic meditation, allowing the student to fathom the
essence of Aikido. He gets to act spontaneously, loses the sense of space
and time and this offers him calm and understanding.

In judging a Kata, the following aspects are evaluated:

1 The degree of mastery of all the elements and techniques in classical
form;
2 - Separation and correct expression of Irimi and Tenkan principles;
3 - Resolving the contradiction between attack and defense by harmony
between Nage and Uke;
4 The personality of the examined student, outwardly expressed with
dynamic, controlled and smooth Aikido techniques, and inwards with calm
and tranquility;
5 - The efficiency of attack and defense in terms of self-defense;
6 The pace, execution mode and the ability to seize the 'right moment'.

NO. 1 KATA AIKIDO PRINCIPLES FROM Hantachi Waza

Kata No. 1 consists of the five main locking techniques (Katame-Waza)
and two throwing techniques (Nage-waza) which can be ended with pinning
the opponent.
Kata
When executed correctly, Kata is natural, elegant, smooth and efficient.
It should be studied seriously and constantly by students over Kyu 2 (blue
belt).

Nr. ATTACK TECHNIQUE PPRINCIPLE
1. Shomen Uchi UDE OSAE IKKYO Irimi+Tenkan
2. Shomen Uchi KOTE MAWASHI - NIKYO Irimi+Tenkan
3. Shomen Uchi KOTE HINERI SANKYO Irimi+Tenkan
4. Shomen Uchi TEKUBI OSAE YONKYO Irimi+Tenkan
5. Yokomen Uchi UDE NOBASHI GOKYO Irimi+Tenkan
6. Yokomen Uchi SHIHO NAGE Irimi
7. Shomen Uchi KOTE GAESHI Irimi

NO.2 KATA AIKIDO priciples from Suwari Waza

Kata no. 2 consists of the five main locking techniques (Katame-Waza),
executed against strikes, and from Suwari position. The Kata must be
performed correctly in the soft form (J u-no-Geiko), and this can only happen if
the two partners, Nage and Uke have enough skill to easily move in Suwari..

Because when performing Kata, improvisation or deviation from the
established model is not allowed, any mistake of the two partners leads to
unbalance. In this way, students are required to analyze every detail and
understand that their progress is based on concern for simplicity.

Studying Kata no. 2 is recommended for all the students over Kyu 1
level (brown belt), as it strengthens Hara, developes balance, sense of
distance and right timing.

Nr. ATTACK TECHNIQUE PRINCIPLE
1. Shomen Uchi UDE OSAE IKKYO Irimi+Tenkan
2. Shomen Uchi KOTE MAWASHI NIKYO Irimi+Tenkan
3. Shomen Uchi KOTE HINERI SANKYO Irimi+Tenkan
4. Shomen Uchi TEKUBI OSAE YONKYO Irimi+Tenkan
5. Yokomen Uchi UDE NOBASHI GOKYO Irimi+Tenkan

NO. 3 KATA AIKIDO principles from Buki Waza

Kata no. 3 symbolizes the path traveled by advanced Aikidoka. This
Kata includes synthesis techniques corresponding to the evolution in time of
the student, (ie)e.g.: unarmed attack, then attack with J O, with TANTO and
finally with BOKEN.
Kata
This Kata raises problems for students and therefore should not be
executed before obtaining the black belt.
Efficient use of Aikido techniques against armed attacks is possible only
if Nage has a good technical base.
The variety of distances between partners, as a result of various attacks
and weapons, require flexible and adaptable response to attack.
Although Kata exercises are spectacular, we must not forget that they
are just patterns, models, requiring from the student a great capacity of
detachment.
When performing this Kata, we must take care to detail and the
controlled execution express the students adherence to the principles of
Aikido.

Nr Attack Ude
Kime
Nage
Irimi
Nage
Koshi
Nage
Kote
Gaeshi
Kote
Mawashi
1. Katate Ryote
Tori
Irimi Irimi Irimi Irimi Irimi
2. J o Shomen
Tsuki
Irimi Irimi Irimi Irimi Irimi
3. Tanto Yokomen
Uchi
Irimi Tenkan Irimi Irimi Irimi
4. Boken Shomen
Uchi
Irimi Irimi Tenkan Irimi Tenkan

Legenda: IRIMI =Final part of the technique is Irimi
TENKAN =Final part of the technique is Tenkan

JO KATA

J o kata is executed without a partner. In the beginning is done slowly,
aiming the correct execution, then gradually the speed is increased. It is
important to bear constantly in mind that when you practice Kata you fight an
imaginary partner that does no mistakes. Kata must be performed with great
sincerity and self-critical, otherwise there is a risk youll think your technique
is perfect. Here are some considerations about the way of executing J o Kata:

- You have to continually move your body and the J O.

- Execution is continuous with the same speed and determination.

- Beginning and end of Kata is made from the same position, same
place, and facing the same direction.
Kata
- The eyes always follow the imaginary opponent, but never focus on
his weapon or to other irrelevant directions.

- You must be careful to your balance and execute the movements with
martial spirit.

- You have to understand the meaning, purpose and importance of
each movement.

- You must not add new elements, modify existing ones or remove
certain movements that you feel are unnecessary. If you feel that there are
such movements it means that you dont understand their meaning yet.

Below is Master Daniel Bruns Kata:


Kata


Kata


Kata


Kata


Kata

Andrei Dobre execute JO KATA

Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata

BOKEN KATA 10 STRIKES KATA


Kata


Kata

Andra Vasilescu and Florina Raduca execute BOKEN KATA


Kata


Kata


Kata


Kata

Bogdan Fratila and Doru Danilet
execute KATANA KATA


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata
Dan Ionescu execute BOKEN KATA CDI


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata


Kata

Chain of techniques
CHAIN OF TECHNIQUES
A chain of techniques means a series of at least two techniques
executed by Nage in response to an attack from Uke, series governed by the
rules and principles of Aikido. Chained techniques are highly complex and
demanding exercises that lead to:
1. Controlling the Centre and maintaining balance in motion
2. Development of reaction capability and the ability to sense the Ukes
actions
3. Ability to properly and swiftly perform appropriate techniques,
4. Understanding the unity between attack and defense;
5. Correct assimilation of Aikido principles and ideas;
6. Increased technical skill
I emphasize the idea that chained techniques are a form of non-combat
training. For this type of training to produce the expected effects on students,
it is necessary they understand the following ideas:
a- Uke must attack correctly and act continuously and actively on Nage all the
time, without trying relentlessly to get the control over the action. If Uke does
not comply with this rule, the chain of techniques becomes Randori.
b - In response to Ukes attack, Nage must apply only Aikido techniques.
c - Uke must keep the type, direction and strength of the action as long as
Nage is not forcing him to do otherwise.
d- Uke will seek to defend himself only with natural movements and reactions
and not with Aikido techniques.
Chain of techniques

e - The chain of techniques must not include acrobatic or unnatural elements.

The chains of techniques are conventional and didactical exercises
because in real life an Aikido technique correctly executed would not need a
second one.

Chaining the techniques allows the student an understanding of wrong
positions and movements, his own or those of his partner, and puts him in a
position to make simple decisions in unexpected situations. Chained
techniques execution leads to a synthesis of knowledge and thus to a better
retention process.

In theory, one can imagine infinite sets of chained techniques. Practically we
will study only two or three techniques in a chain, in the beginning with a
limited number of variations and later the student will imagine his own chain
techniques.
The chain of techniques must be executed flexibly, controlled and
without any force in order to not be injured. The goal of these exercises is not
efficiency but skill and responsiveness.

Aikido students must be encouraged to study chained techniques because
this kind of practice is challenging, stimulates imagination and develops a
sense for detail.

Chaining of techniques in case of weapon attacks are a part of the training
dedicated to advanced degrees that can use their technical knowledge for a
prolonged control of Uke. Chained techniques execution should be done
slowly and carefully to avoid accidents.

Below are presented several types of chained techniques, all of them starting
with the basic techniques as: UDE OSAE, SHIHO NAGE, IRIMI NAGE, KOTE
GAESHI.

SHOMEN UCHI - UDE OSAE +HIJ I KIME OSAE

Chain of techniques

SHOMEN UCHI - UDE OSAE +UDE OSAE

SHOMEN UCHI - UDE OSAE +IRIMI NAGE

Chain of techniques

SHOMEN UCHI - UDE OSAE +KOSHI NAGE

YOKOMEN UCHI - SHIHO NAHE +KOTE GAESHI

Chain of techniques

YOKOMEN UCHI - SHIHO NAGE +IRIMI NAGE

Chain of techniques

YOKOMEN UCHI - SHIHO NAGE +AIKI OTOSHI
`

SHOMEN UCHI - IRIMI NAGE +IRIMI NAGE

Chain of techniques

SHOMEN UCHI - IRIMI NAGE +SOKUMEN IRIMI NAGE


Chain of techniques

SHOMEN UCHI - IRIMI NAGE +UDE OSAE

SHOMEN UCHI - KOTE HINERI +SUMI OTOSHI


Chain of techniques

SHOMEN UCHI - IRIMI NAGE +TENCHI NAGE

SHOMEN UCHI - IRIMI NAGE +KOSHI NAGE

Chain of techniques

KATATE DORI AI HANMI - KOTE HINERI +SUMI OTOSHI

SHOMEN UCHI - KOTE GAESHI +SHIHO NAGE

Chain of techniques

SHOMEN UCHI - KOTE GAESHI +IRIMI NAGE


Chain of techniques

SHOMEN UCHI - KOTE GAESHI +KOSHI NAGE

SHOMEN UCHI - KOTE GAESHI +UDE OSAE


Chain of techniques

MAE GERI - KAITEN NAGE +IRIMI NAGE


Chain of techniques

TANTO CHAIN TECHNIQUES

TANTO SHOMEN TSUKI - KOSHI NAGE +KOTE HINERI


Chain of techniques

BOKEN CHAIN TECHNIQUES

BOKEN SHOMEN UCHI - IRIMI NAGE +KAITEN NAGE


Chain of techniques

BOKEN SHOMEN UCHI - SOKUMEN IRIMI NAGE +IRIMI NAGE


Chain of techniques

BOKEN SHOMEN UCHI - KOTE HINERI +KAITEN NAGE

BOKEN SHOMEN UCHI -SUMI OTOSHI +UDE OSAE +KAITEN NAGE +
IRIMI NAGE

Chain of techniques


Chain of techniques

BOKEN SHOMEN UCHI - J UJ I GARAMI +UDE OSAE +SOKUMEN IRIMI
NAGE

Chain of techniques

TANTO YOKOMEN UCHI KAITEN NAGE +SOKUMEN IRIMI NAGE

Chain of techniques


Counter techniques
COUNTER-TECHNIQUES
Another important type of training is execution of counter-techniques.
A counter-technique is a chain of techniques where Nage attacks, Uke
executes an Aikido technique, and Nage makes use of his usually wrongfully
executed technique, to execute in his turn a counter-technique.
It is very important that the two roles, Uke and Nage to be balanced, to
have a approximately equal value to avoid any unnecessary confrontation
during execution.
These techniques allow me to detect errors or sloppy positions and
grips in my partners execution and to take advantage of this and turn his
technique into a new one, this time executed by me.
It is a useful exercise for both Uke and Nage.
Nage, who is attacking, will try to notice the moments when his partner,
who executes the technique, does not control well enough the movement or
makes a mistake and will execute a counter-technique, and, in turn, Uke will
understand his mistakes because they are used by Nage.
The two partners must work correctly, without trying to impose on one
another by any means, understanding that this is an equally valuable exercise
for both of them.
Both Nage and Uke must understand that sincere training, active
cooperation and good will, are absolutely necessary for the execution of
counter-techniques to have the desired effect.
Theoretically, you can imagine any number of counter-techniques, but
we will present just a few of them. Instructors and advanced students can
imagine and try various other combinations.
Counter techniques

SHOMEN UCHI - UDE OSAE - UDE OSAE

SHOMEN UCHI - UDE OSAE - SHIHO NAGE


Counter techniques

SHOMEN UCHI - UDE OSAE - IRIMI NAGE

SHOMEN UCHI - UDE OSAE - SUMI OTOSHI


Counter techniques

SHOMEN UCHI - IRIMI NAGE - IRIMI NAGE

SHOMEN UCHI - IRIMI NAGE - AIKI OTOSHI


Counter techniques

SHOMEN UCHI - IRIMI NAGE - KOTE GAESHI

SHOMEN UCHI - IRIMI NAGE - UDE OSAE

Counter techniques

SHOMEN UCHI - KOTE GAESHI - KOTE GAESHI

SHOMEN UCHI - KOTE GAESHI - UDE OSAE

Counter techniques


Multiple and simultaneous attacks
MULTIPLE AND SIMULTANEOUS ATTACKS
In case of a real fight, involving several attackers, I will have to organize
my defense so that it can cope quickly with such a situation, I will try to
quickly reduce the number of aggressors until I can get to fully control and
end the conflict.
This is hard to do because there is no technique that ensures success in any
situation.
The attack is an event that sometimes occurs spontaneously, other
times deliberately, but often it is a surprise for the victim. Although the Aikido
student, after long training, is able to control the attack of one aggressor, if
multiple opponents attack him, he will find that almost nothing he knows can
now be applied to such an attack.
The difference between one aggressor and multiple attackers is that the
student will try to apply to every aggressor in part the rules and techniques
that he successfully applied for a single aggressors attack. For this reason,
the efficiency of his techniques will be flooded with different and continuous
attacks, and he will be surprised to find that all his experience and training are
worthless.
This situation can be compared to a swarm of bees attack. Obviously, it
would be foolish for me to try to catch or to avoid each bee in part, because
the others will sting me for sure. The solutions I have in this situation are
limited:
1 - I could hide,
2 - I could try to catch them all at once, with a suitable net,
3 - I could distract them..
This strategy can also apply to a multiple aggressors attack, and it
seems obvious that in the case of a multiple attack, the only solution is to
treat all my aggressors as one, and apply the techniques I know.
To achieve this performance we will have to continue training
considering the new facts of the problem, finding and applying appropriate
methods in order to reach this level.
Learning these skills is done in three steps:
1. Defense against repeated attacks of a single partner.
2. Defense against sequential attacks of two or more partners.
3. Defense against simultaneous attacks by two or more partners.
Gradually, through training, the student will have to get used to execute
the techniques that he already knows in the conditions that were determined
by the specific attacks of each particular situation. Let us talk briefly about the
execution of techniques for each of the three types of training mentioned
above.
REPEATED ATTACK OF ONE PARTNER
So far, the training was conducted as a small scenario between the two
partners, which in turn, attack and defend, in clear conditions, known to both.
Nage knows how Uke will attack and Uke knows what technique Nage
will use. This method of training is suitable at baseline, for learning how to
correctly execute the attack, the technique and the correct interaction
between partners.
It is an important step in training and should be treated very seriously.
Once partners have learned what to do, they will start doing it, that is, to learn
how to fight.
This stage begins with Uke's continuous attacks and how to defend
myself against such an attack, which, with no pause or time to think of how to
do it, forces me to defend without thinking. This is the first step in learning the
laws of fight in Aikido.
Training must be conducted like this: my partner attacks me, I execute
an evasion or technique, he attacks me again, and I do another technique,
and so on. At first, there will be only two to three attacks, one after another,
but gradually, the exercise will continue to increase the number of successive
attacks.
The instructor must carefully calibrate the difficulty of the exercises,
supervise training and step in when Nage is in difficulty.
For this he will set a specific speed for Ukes attacks, so that Nage will not be
overwhelmed by these repeated attacks, and to allow him to organize
consciously his defense.
If things are random, then these exercises will be a futile confrontation of
forces, that will take place without any logic, and in addition, will certainly
cause accidents. The phases of this kind of training are:
1. Uke attacks with 2-3 hits or grips known beforehand by Nage, and Nage
defends himself with a single technique established by the instructor.
2. Uke attacks with 2-3 hits or grips known beforehand by Nage, Nage
defends himself with 2-3 techniques established by the instructor.
3. Uke attacks with 2-3 hits or grips unknown to Nage, and Nage defends
himself with a single technique that is not established by the instructor.
4. Uke attacks with 2-3 hits or grips unknown to Nage, and Nage defends
himself with 2-3 techniques not established by the instructor.
5. Uke attacks with various hits and grips unknown to Nage, and Nage
defends himself with different techniques, without repeating.
Attack speed should be increased gradually so that Nage can be able to
adapt quickly to fighting conditions, to cleverly use his advantages, to
minimize drastically disadvantages, and make quick decisions necessary to
control the partner.
At the end of the period allocated to this kind of training, the Aikido
student will be able to face attacks and execute techniques with some speed
and effectiveness. The main gain of the practitioner, at the end of this training
period is not only the instinctive execution of techniques but also the ability to
quickly understand what the particularities of his partner are and react
accordingly.
SEQUENTIAL ATTACKS OF TWO PARTNERS
Training with only one partner, even if the partner changes from time to
time, after the first few attacks I will soon be able to apprehend what is
specific to this partner, how fast he attacks, the strength of his attacks, how
easily it is to unbalance him, and as such I can adapt pretty quickly to his
attacks so I can deal with the fight without much trouble.
Unfortunately things change dramatically when there are two Uke. Of
course I know each of them, and if I think about it, I can remember what are
the particularities of each of them, the hit power, the speed, their skill and
weight, but during the very short time of their continuous attacks, I dont have
enough time to consciously decide how and what to do in each case.
Training for this stage should be structured as follows:
1. The two Uke attack, one at a time, with hits or grabs known beforehand by
Nage, and Nage defends with a single technique established by the
instructor.
2. The two Uke attack, one at a time, with hits or grabs known beforehand by
Nage, and Nage defends with 2-3 techniques established by the instructor.
3. The two Uke attack, one at a time, with hits or grabs unknown to Nage, and
Nage defends with a single technique not established by the instructor.
Nage defends with 2-3 techniques not established by the instructor.
Nage defends with a different technique each time.
At the end of this training period, the student gains the ability to,
unconsciously and without having to memorize all particularities of his
partners, instinctively defend himself with different techniques of Aikido.
The crucial element that allows Nage to successfully defend himself is
"understanding the pace and strategy of fight". This means that he will
understand quite quickly that the successive attacks of the two Uke follow a
certain rhythm, and instinctively, Nage will try to fit into this rhythm to control
it, or he will try to impose a new rhythm.
SIMULTANEOUS ATTACKS BY TWO PARTNERS
After the student already got the ability to integrate himself in the rhythm
of the fight described above, then he will be attacked simultaneously by two
people, his previous knowledge about the logic of the fight will not be
sufficient to control the situation.
He will find with surprise that he cannot divide himself in two so that half
will fight with a partner and the other half with another.
Deception is high and many advanced students told me that suddenly
they realized that they are not too far from the beginning, and that they had
serious doubts that things have progressed as they thought until that
moment.
Fortunately, it is only a momentary deception, because the student
already has a significant knowledgebase and enough experience to make the
steps to the next level. He will quickly understand that if one is unable to split
in two, then he will have to treat the two partners as one, which is an already
known scenario. The training structure is similar to the two previous stages:
1. The two Uke attack simultaneously, with hits or grabs known beforehand
by Nage, and Nage defends with a single technique established by the
instructor.
2. The two Uke attack simultaneously, with hits or grabs known beforehand
by Nage, and Nage defends with 2-3 techniques established by the instructor.
3. The two Uke attack simultaneously with hits and grabs unknown to Nage,
and Nage defends with a single technique, not established by the instructor.
and Nage defends with 2-3 techniques, not established by the instructor.
and Nage defends with a different technique each time.
During training in this last stage, the Aikido student will understand a
key point, which is: regardless of how many partners attack him, he will have
to look at them as a single one, and to execute one of the techniques to fit
that situation.
During training with simultaneous attacks by two partners, the student
learns how to move, how to lure and maneuver partners into the right position
so that they can be treated as a single partner. Here are some examples:
KATATE DORI - SHIHO NAGE
KATATE DORI - SHIHO NAGE
KATATE DORI - UDE OSAE
KATATE DORI - IRIMI NAGE
KATATE DORI J UJ I GARAMI
KATATE DORI - KOKYU NAGE
KATATE DORI - SOKUMEN IRIMI NAGE
KATATE DORI - KOSHI NAGE
KATATE DORI - UDE OSAE
KATATE DORI - IRIMI NAGE
KATATE DORI - SOKUMEN IRIMI NAGE
KATATE DORI - KAITEN NAGE
KATATE DORI - SUMI OTOSHI
TECHNIQUES AGAINST SIMULTANEOUS WEAPON ATTACKS
This chapter describes Tanto Waza, J o Waza and Boken-Waza
techniques, locks or throws, executed against simultaneous attacks by two
aggressors. We have chosen some of the best known Aikido techniques,
which we presented in both Nage without weapon and Nage with weapon
variants.
These techniques are reserved for black belts and require high skill in Aikido.
It is possible for me to be able to effectively defend with a weapon
against multiple aggressors, but to control such a fight, to avoid serious injury
or the death of my aggressors, without unnecessarily endangering to my own
life -- it is not easy.
This is only harder if I have to fight with my bare hands alone.
J O SHOMEN TSUKI - UDE NOBASHI
J O SHOMEN TSUKI - KAITEN NAGE
BOKEN SHOMEN TSUKI
Randori
ABOUT RANDORI
Randori or free fighting training is possible only after the Aikido student
is able to defend himself instinctively, possess a good technical knowledge,
has a correct understanding of the rules of the fight, and is capable of self-
control.
Randori training will only be conducted under the strict control of the
instructor who is solely responsible for the actions of his students. He will not
allow unauthorized students to experience this form of training because they
could not cope with it in terms of safety. This means that the instructor must
determine for each student the moment when he will be able to participate in
Randori, he will establish the speed of execution, the number of Uke as well
as the length of the training.
Randori training will come progressively, initially with a slow speed, with
a small number of Uke and will be short (2-3 minutes), and then continued
with the gradual increase of the speed and the number of attackers, and with
a controlled increase of the duration.
During this type of training, there is a clear accident hazard, either
because of limited training space or because of the students who, engaged in
fight frenzy, may unintentionally but badly injure their partners.
Exercise 1
Randori

Exercise 2


Randori

Exercise 3


Randori

Exercise 4

Exercise 5

Randori

Exercise 6


Randori

Exercise 7


Randori

Exercise 8

Exercise 9

Randori

Exercise 10


Randori

Exercise 11


Randori

Exercise 12


Randori

Exercise 13

Answers to questions
ANSWERS TO FREQUENTLY ASKED QUESTIONS
I thought to choose some of the questions I frequently receive on the
forum or by e-mail, because the answers to these questions might clarify
some things I did not think to include in my books.
You once said that Aikido, as it is practiced now, is not efficient in a
fight, why is that ?
This is not an absolute affirmation. It is just a personal observation
based on experience, but obviously questionable.
I noticed that people prefer to talk and dream about things instead of trying to
do them. Many of them do not have enough patience and expect that the
teacher will tell them the secret of how to become efficient within 24 hours.
Aikido is a martial art, which means a sum of techniques having as
purpose, the control of one or more aggressors. From this point of view, we
can discuss efficiency as the frequency to achieve the purpose mentioned,
without significant losses.
On the spiritual side, Aikido aims towards control and harmonization of
opposite forces, antagonistic, of any kind.
If there are no such forces Aikido is not needed. Therefore, we can say that
learning Aikido involves the simultaneous existence of an attack and a control
technique to cancel the attack.
Attack and defense are elements of the same equation. This equation is
valid for any martial art and any combat method, J apanese or not.
These two elements, attack and defense are complementary and
inseparable, like Yin and Yang.
If there is no attack, there is no defense, and if the attack is simulated or
symbolic, the defence will be the same.

On the other hand, we know from experience that the real life conditions
are impossible to reproduce in a controlled training environment, and for this
reason we teach and train in the Dojo, using patterns of reality.
The art of the teacher is to conduct the training from simple and easy to
complex and very difficult, as the students experience and understanding
increases. He must always introduce "surprises" to the training of his
students, because life does the same.
In the end, the student will have to assimilate the "understanding" of control,
which is much more than learning the control methods.
What I said about Aikido efficiency is determined by the fact that in
many Dojos fictional things are experienced, there is much talk and little
sweat, students being interested more in the social component of training,
than in the training itself.
Aikido is a martial art with a strong philosophical support. Aikido can be
efficient or not (as with any other martial art), to the extent that, the the one
who practices it understands its role and essence, and is sincerely committed
to this.
In the begging this depends on the teacher, in time it depends only on you.

Is it possible to execute the techniques like Morihei Ueshiba ?

In theory it is. In dojo we learn the basics of this martial art. We learn
different techniques, and how they can be used for various attacks.
The number of techniques is limited and the attacks are not entirely real.
The purpose of training is to get you to respond in an instinctive
(unconscious) way to an attack, and to harmonize with the aggressor, in your
favor. In time all techniques merge into what we call THE TECHNIQUE, and
the various attacks become THE ATTACK. When you can solve THE
ATTACK using THE TECHNIQUE, than the things you refer to, become
possible.

Which is the true Aikido ?

In any serious Aikido Dojo, no matter the organization it is part of,
Morihei Ueshibas Aikido is taught.
Instructors are those who put emphasis and make differences.
Their different vision and understanding of Ueshibas art makes Aikido alive
and continuously growing.
Schools, different styles of Aikido, are just personal views of masters on
Morihei Ueshibas art. Some are interested in certain aspects of the
technique; others are attracted to the spiritual and philosophical part, while
others are more interested in the martial aspect of Aikido. Each of them

teaches what they understood from the art of O Sensei. So look closely at the
teacher.

I do not understand how can you learn harmony using a martial art ?

We all agree that it is easy to harmonize yourself with someone you are
compatible with, you sympathize with, or have the same ideals, passions,
hobbies, and so on, but it is very difficult or often impossible to harmonize, to
live in harmony with an aggressor that wants you dead.
This is the main reason why the way of harmony through fighting techniques
was chosen: so, while in a fight when your life is threatened, if you are able to
use Aikidos principles to protect yourself, but also your opponent, it means
that you hold the secret of harmonizing with this opposing force.
Sure, you could say that it is enough if your opponent dies, and if you stay
alive, everything is fine.
However, viewed from the perspective of your opponent, for him it is sufficient
if only you would die. So what is the truth?
In any case, someone could die, a life will be lost. On the other hand, all lives
have their purpose.
How could one learn such a harmonization technique to protect oneself
without seeking the attackers destruction by any means ?
There was the necessity of a better, accessible way for anyone, whether
weak or strong, educated or naive, rich or poor, male or female, adult or
young.
Because Morihei Ueshiba, the founder of Aikido, lived in a place and time
when the fight was a honorable occupation, he could not find something more
appropriate to put a method in place to teach people the technique and the
art of harmonization.
Sorry for the simplicity of explanation, if you would practice Aikido It would be
easier to explain.

What is the club that teaches the right Aikido ?

My opinion is that it is not very important the club you choose because Aikido
is about the same everywhere.
Teachers can be better or worse, more interested or not, with or without
teaching talent.
It is like the music class, when you cannot sing, you think that studying in
Vienna you could progress faster than in Iasi. Unfortunately, many students
have such ideas, forgetting that progress depends only on their effort and
sincerity.
I advise you to go to see a class in several clubs and then decide.

What is important is to feel good in that community, because Aikido is
approximately the same everywhere.

Many say that you teach an Aikido different from the others,
why is that ?

The fact that the founders of Aikido in Romania were largely self-taught, and
that during the communism period it was not possible to have any contact
with other Aikido schools, these had two important consequences:
- Many things have been reinvented, and as such, the development of Aikido
in Romania was slower.
- Because it was not under the direct influence of known schools, Romanian
Aikido looked at all the styles, tried various things and has built its own
method, the effect being a grate freedom of understanding and execution of
techniques.
Because of its self-taught childhood, Aikido in Romania tried to assimilate
valuable things from other schools and movements, without any concern of
joining in any existing style. This is the reason for which at Romanian Aikido
Federation one can encounter both elegant but also extremely concise and
effective techniques.
I think it is important to say that the Romanian Aikido reput the weapons
techniques in their rightful place, and had been constantly developing them.
A good friend of mine thinks, and I agree with him on this, that our Aikido
practice accepts many of the concepts that amount to fundamental
differences between the major schools of Aikido.
Here is a significant tale in this respect:
Many years ago I was visited by some Aikido masters from the United
States, very nice and friendly people. Once they returned home, I read their
impressions of the visit to Romania on their federation website:

"We participated in a seminary of the Romanian Aikido Federation, led by
Master Dan Ionescu and we were impressed by his technique and efficiency.
(I told you they were nice people).
Master Dan Ionescu teaches an effective form of Aikijutsu, with and without
weapons, with original techniques, some completely unknown until now. "

Why do you think Aikido does not go in the right direction ?

I do not intend to give lessons or to judge others. What I will say is only my
opinion, criticizable though. Here is what happens generally in Aikido dojos:

1. There are more and more conventions.

If, for the first few months, they are required to simplify the learning process,
after a while they become a habit and nobody gives them up, because it is
more convenient. When things are typical and thus you cannot have any
surprises, life in Dojo becomes like a chat between friends. It is good for
socializing, but very bad for martial purpose.
You can make your own observations by looking at beginners!
When they come to Dojo, some of them still have some traces of instinctive
reaction, of the survival instinct, that is if you try to hit them, they have a weak
reaction to defend themselves.
After 6 months of training, after it being confirmed that the partner or the
instructor does not really hit them, any trace of defensive reaction melts
away.
Very often it happens that when I train with an advanced student or
instructor and he is not used to me, it happens that I hit him, and he looks at
me, surprised, thinking what he done wrong.

2. People avoid pain. On the other hand, without pain it is difficult to find the
answer to such questions like why and how. These things cannot be told. I
remember that in my early years of Aikido I was bruised all over because I did
not know I had to be polite in training.

3. Because of civilization and the lack of physical activity, beginners do not
know how to hit, do not know to avoid being hit, do not have a proper balance
and physical condition. While the balance and physical condition are part of
the daily training, nothing will be done for real life strikes, blocks and dodges.
Everyone repeats like parrots: there are no strikes in Aikido !
This is wasteful for Aikido and dangerous for students.

4. Excess of Tai-sabaki. In Dojos, Tai-sabaki is used whether it is needed or
not. The moves which are not round enough and wide enough are prohibited,
so that it can be frequently seen in Dojos, people doing a useless tai-sabaki
for a positive technique. It is obvious that in this case the throwing strength is
substantially reduced.
Because in the beginning the students are told not to withdraw or not to
pull, in order for them to easily learn specific movements of entering or
avoiding, over time people make it the absolute truth, completely prohibiting
such movements.
The problem is that people want to practice an "elegant" Aikido and for
this they execute the techniques gracefully without understanding that
elegance is the result of perfection in execution.

5. Lack of training of the teachers. Instructors, with rare exceptions, no longer
train. They believe that teaching others will also bring teaching to their own

bodies. It is important to be a teacher but you cannot progress unless you are
a student at the same time.

6. Small number of classes. 2 or 3 classes per week are a minimum that
ensures only a slow progress. Many Aikido black belts believe that training
only when they have time is sufficient. It is not because people are
increasingly busier.

7. Lack of real life training, where Uke really strikes and Nage is obliged to
perform best to avoid being hit. In many Dojos such training is considered out
of the spirit of Aikido.

8. Reluctance to work with weapons. Some, most people do not use them at
all in training and others only during seminars. Many instructors are hiding
behind the words: "Aikido is a path of peace and not of weapons and
confrontation" because they lack the experience and knowledge necessary to
teach weapons techniques.

Do you think teachers are responsible for the lack of efficiency of their
students ?

No, I do not want to leave such an impression. Teachers are not the only
ones to blame. The blame belongs to the whole community of Aikido,
because gradually they induced the idea that Aikido is addressed exclusively
to the spirit and would be the universal cure for all the bad things of the world.
Grave is that things are constantly evolving in this direction and we can see
Dojos where Aikido masters mysteriously wave their hand and the aggressors
fall motionless to the ground or scream in pain.
The tendency makes people expect everything from technology, the system
or divinity. People indulge in living according to the rules of the system,
tutored by the system; they dress, have fun, eat, love and do martial arts as
induced by the system or by fashion trends.
I expect to see appearing, if its not already existing, the organization who
teaches you Aikido by mail.
What can we do? We can replace words with deeds. We can talk less about
Aikido and practice more Aikido. Much more and more sincere.

I read somewhere that Aikido training should be strictly structured in
groups of movements, to make it more accessible to students.

Yes and no. Maybe it would be easier for people to learn Aikido if the
Aikido class would resemble the mathematics class, but the effect would not
be the desired one.

I do not recommend the training to be divided into groups of movements: hits,
movements, grips, techniques, etc., I do only in the first year of study. After
that things should change, because when studying the Aikido techniques, the
student must learn to hit to make way or to unbalance the attacker, and he
must feel on his own skin that he can be hit as well, and that such a hit is not
a gentle touch. A fight is not like a math lesson, even though both are based
on logic.

Are you an adept of hard or subtle Aikido ?

I think it is wrong to say that Aikido should be this or that, hard or soft,
with hits or without, etc. Aikido is a martial art and that should say everything.
We know that the goal of Aikido is harmony between people. By
analogy, if the world peace depended on the skill of playing the violin, it is
understandable that people should play the violin as good as possible, and
nobody would question how the bow should be held, or whether to use it with
the right or left hand.
The same is with Aikido. It cannot achieve its purpose unless it is done right,
as natural, real, effective and simple as possible. Hard or subtle are only
elements of a whole called Aikido.
All martial arts, Karate, J u J utsu, J udo, etc., all have pretty much the same
purpose: human perfection, combating violence and mutual understanding.
The difference is that each one does it in its own way.

Why dont you practice Kotodama, can we discuss ?

I do not see why it would not be discussed. As you may know,
Kotodama is a form of Zen Buddhism practice. Not only Ueshiba, but tens of
millions of J apanese, Chinese, Burmese, etc., practiced it and probably still
are.
With all the respect towards Zen, I do not think you need to change your
religion or to become J apanese to practice Aikido. Of course, if you are
convinced that it can be useful to you, try it. In our federation we dont have
this custom, but that doesnt mean it is prohibited. Each student has the
freedom to try any experience.

In which federation is practiced Ueshibas Aikido ?

I will tell you a few things that, if you have enough patience, which
means many years of Aikido practice, you will discover for yourself.
Aikido is a universal good. That means he was given to the world by
Morihei Ueshiba, who did not want it to be just an asset of his family.

You must know that there is no mystery of any kind, no secret practice
or secret technique in Aikido. Even if I disappoint you, I have to say that the
only secret is years of honest, curious and intelligent training.
Today, all the information is public. I am sure you have videos of O
Sensei, of his son and grandson, with Saito, Saotome, Shioda, Mochizuki,
Obata, Abe, Tamura, etc... You can look at them for years without getting too
much out of it.
What is certain is that years of constant training in a dojo of any
organization is a sure method of progress and mastery.
Masters are just humans. Some are better than others in certain
directions, some work with weapons and others without them, some value
efficiency and others spirituality. Some are friendly and eager to explain,
others are reserved and sullen, while others are arrogant and distant.
From everyone you should take what you think is right for you. They
merely show you what Aikido means for them. Like I said, they're just people
who live, grow old and then die.
Responsibility for what you do and what you choose is yours, and you
cannot escape it.
My advice, if you need it, is not to bother too much with stories about
organizations and people. The reality is the one in your Dojo. There you will
get the best answers.

What is Ki? How do you perceive Ki at 8 Dan ?

In a Molieres comedy, there is a Mr J ourdain who does prose without
knowing it. The same is with Ki. We all use it more or less without being
aware of this.
Ki is at the same time energy, the desire to do, is ambition and
determination, lust for life and strength of character. There is no word in
Romanian for Ki, and even in J apanese, Ki means a lot of things.
It seems to me that the closest word in our language is "determination". You
are determined if you are motivated. You are motivated if you understand and
accept. And now concrete answer:
At 8 Dan I dont perceive Ki different than at 3 Dan. Maybe Ki looks better
now in what I do. I do not know.

Why do Japanese people think so complicated ?

J apanese people just think differently than we do. That does not mean
complicated, but from our point of view. All J apanese that I know are
constantly surprised by how complicated we think. They have different
education, another religion, J apan is another country, and they are another
race. It is hard to think like them. Fortunately this is not absolutely necessary.

It is important to accept that there is value everywhere, and that some
cultural, social or historical experiences of others can be useful.
A J apanese man, about my age, with whom I had business relations, was
fascinated by Romanian dances. He learned several such dances and was
proud of that. One summer I was with him at a Romanian restaurant where
he danced and took photos. There he heard the ballad Miorita. For those who
do not know, this ballad is about a shepherd who heard from his favorite
sheep that other two shepherds want to kill him in order to steal his sheep.
Hearing about it, the shepherd is preparing for his death and tells his sheep
his last wishes.
I translated the content, the songs words and he remained open-mouthed.
What do you mean, he said, he knew that those will kill him and did nothing ?
What a nonsense !
I explained that it is a symbol, but he continued: this is very stupid !

Why do you still practice Aikido, you have 8 Dan and you are 70 years
old ?

I do not know. I think that I got used to it.
It is difficult to precisely define peoples aspirations. We must
understand that people do a thing or another, not because they always have
a specific justification or a clear aspiration, but because human nature seeks,
in its way, a certain perfection.
This aspiration towards perfection is written in our genes as a divine
program and we feel compelled, more or less, to follow. Of course, perfection
has different images for each of us, but that does not contradict the idea.
Aware or not of these things, people take action, often absurd for the
surrounding others, but those are justifying this aspiration to perfection. I have
to say that each of us believes strongly that he is "chosen" and has a
particular role in the world, and maybe this is true.

Is it sufficient for the dojo to be called " of Aikido" to be sure that what
we practice is really Aikido ? Are there bullies in Aikido ?

If you do it sincerely, Aikido is the Aikido you practice. If you believe in what
you do, then it is true. If the Aikido you practice meets your aspirations, then it
is perfect, and it is inevitable for each of us to pursue a different goal.
There are, as you say, thugs or bullies, who not only claim, but really do
Aikido, and sometimes they do it well. This corresponds to their aspirations
and it is nothing you can do. There are no boundaries, except the ones in our
minds.
Aikido, like religion, good will, atomic energy, and millions of other things can
do good, but it can also harm.

How much Japanese culture you need to have in order to practice
Aikido ?

Now, that is an interesting question.
If we talk in general terms, how much J apanese or any other culture
should we know, the answer is only one: as much as possible as it does no
harm to anyone.
How much J apanese culture you must have to practice Aikido, this
depends on the individual. It is enough for you to know a few J apanese
martial arts words and the basic techniques names and you can practice
Aikido with no problem.
If you want to understand what Aikido is, why the J apanese teach
Aikido differently or the meanings of different ideas in Aikido, then you will
need to know more about J apanese people and their culture.
What should be said foremost is that the J apanese are not like us, and
therefore what is valid for them is not for us, and vice versa. Writing,
literature, music, family, relationships, hierarchy, history, religion, society and
fighting techniques, are totally different.
So to understand them we need to know more about them.
Because Aikido is based on Ueshiba's ideas, a deeply mystical person
convinced that he was divinely chosen to bring this martial art to the people, it
is important to have some knowledge of major philosophical currents and
religious doctrines of J apan and about the history, customs and habits of the
ancient J apanese society.
Many students and instructors alike tend to sometimes use this
information to gain an advantage over others, less informed.
Many of those whom I know in the country but also abroad are using
J apanese terms for any movement and technique, terms of sensations and
feelings that we are not familiar with, believing that "theory" can compensate
practice.
Unfortunately this is not so. Ueshiba talked very little about what he did,
and when he spoke, he wasnt generally understood by others.
Trying to split Ueshiba's art in tiny elements is a superficial, forced form,
to show what Ueshiba seen as an indivisible whole.
Meanwhile Aikido became the property of the whole world and it must
be studied using the language, culture, customs and habits of each nation.
Obviously the names of the techniques, strikes, grabs, etc. must be generally
known because these are common points in communication between
students, but to try by any means to behave or feel like a J apanese, it is a
pointless exercise.
Another danger that many Aikido students may face is the faith,
sometimes induced by the teachers themselves, that Aikido is a mystic

practice, with secret techniques and exercises which once known, would
make them capable of extraordinary things.
To impress students, some teachers, like ancient shamans (sorcerers),
flood the poor students with all kinds of stories, words, feelings, mysteries,
which creates a certain state of delight and excitement. These students are
tempted to believe that it is possible that certain exercises or movements will
reveal, in a record time, the great mystery that only Ueshiba knew, but over
time, many are losing hope that this will happen.
Disappointed, they will give up Aikido, without understanding that the
only way to Ueshiba's mystery is only through repeating his experience,
which is permanent training.

Are there similarities between Aikido and Yoga ?

I think you can find similarities.
Both are disciplines aimed at achieving human perfection, auto-education and
introspection.
Both use to a lesser or greater extent the universal energy theory and
harmonizing (even if different) techniques, based on breathing exercises and
stimulation of energy centers.
A yogin friend said that, in his opinion, Aikido is "Yoga in motion". I think he
wanted only to be polite.
Similarities seem to stop there. To insist in finding similarities between the
two disciplines would only force things, because there are serious differences
between them.
One of the most important is that Aikido contains an important social and
human message. Aikido makes people train together, collaborate and
befriend, because you cannot do Aikido alone.
The fact that during training we have physical contact with different partners
makes our energies to "work together".
You may remember the famous story that can be read in any Shiatsu manual,
the story of the two women (mother and daughter-in-law) who hated
eachother and became friends because the first one was forced to give a
daily massage to the second one.
Yoga is a purely personal experience (Im not saying it is not important) but I
think it makes the individual to isolate himself from society. In any case, I
prefer Aikido.

It is said that Aikido in Romania is influenced by your personal
experience, is that true ?
I do not know if this thing is for the good or bad. It is true that my experience
in Aikido is different from others, and perhaps because of that, my Aikido is
sometimes different. Here are some reasons:

1. I was someones student for a short time, because I had to be teacher for
others.
2. Because I had no one to ask, or to show me "how it is done" I was forced
to handle it alone.
3. I used much of my previous experience in sports (J u-J utsu, gymnastics,
rugby, skydiving, horse riding).
4. There were times when I was doing 12-15 workouts per week, was doing
Aikido in the park, in abandoned buildings, without mats, in the tram, when I
was visiting, on Christmas day or while working at the computer. When I say I
was doing Aikido that means that in addition to current training, I always
thought at techniques, attacks, new solutions and dodges.
Unfortunately, I also lost a lot of time searching and inventing things that had
already been invented, but of which I had no idea existed.
For years, I had only a flimsy booklet and few meters of 16mm film.... I lost a
long time, but I think these searches had set very well the basics, what does
and do not make sense, and a certain effectiveness of the techniques.
But I think that the most important role was played by my students which
forced me to investigate, to invent and to convince them.
All these made my students do Aikido different than me, which I think is
important.

Do you think there may be a state where the spirit prevails to such an
extent that the body no longer counts ?

Its not easy to achieve such a state, and I do not see what would be
useful for. On the contrary. The body is important. Without it we cannot
communicate on our forum or practice Aikido. You can achieve immortality
only by what you leave behind you.

I noticed your openness to other organizations. How should you
execute techniques if you go to another Dojo ?

"Openness" is something normal. In my dojo come many students from
other federations. I know that things are the same in the province. How
should you do techniques when you go to another Dojo?
Whatever you like, there is no particular reservation than normal rules
of politeness.
If you are going to attend practice in another Dojo, is because you want
to see and possibly do something else. If you do as you know, you cannot
learn anything new.
If it is not interesting what you see there, you will not go a second time.

I do not think this is a real problem. Differences in execution between
different schools are not important. Perhaps only in terms of efficiency, but
this are ones concerns. Moreover, with time, with increasing experience and
skill, differences in "execution" are becoming less important....

I have seen that in other Dojos things are done differently. I execute the
techniques more roughly, what to do if I go to another Dojo ?

Like I said, I think its not very important "how you execute a technique" but if
the person doing it understands and applies the basic principles of Aikido.
Okay, you'll ask, how to know if the technique is executed right or not?
I think efficiency can be a common unit of measurement. If you sometimes
execute the techniques in a rougher way, I do not think it to be a bad thing.
The important thing is not to do it with malice, with beginners or with people
who are not able to withstand such executions. In addition, you have to
accept the idea that others can work rough on yourself.
If you agree with these things, I personally feel you are doing the right thing.
Important is to train, and if you find interesting things in your partners actions,
that is all right. If not, perhaps you will choose not to train with him anymore
or not to go to that Dojo.
Nobody can tell you where the truth lies. You will have to find it for yourself.
By the time you will find it, it will probably not interest you anymore.

Why do you use so many strikes ?

Because sometimes I could not do Aikido techniques without them. In
Aikido Dojos is considered that strikes (Atemi) are used only to put Uke in a
position to easily apply a technique, and for this reason students consider that
strikes are only means to determine the success of an Aikido technique.
I think this idea to be false and dangerous at the same time.
Atemi are an important part of Aikido and any Aikido technique may
contain or end with Atemi.
Atemi can stop millimeters of Uke's body, or can hit Uke's body, making
him to react according to Nages desire, or to recognize the defeat and give
up the fight.
If we accept this idea then we understand the universality of the
principles of Aikido, meaning that the techniques, which are different
applications of the principles, have emerged only from the need to more
easily understand the principles and to be better assimilated by students,
and, in fact, Katame Waza, Nage Waza, Atemi Waza, etc. are just different
ways of illustrating the principles.


Representatives of Aikijutsu Takeda Ryu find Aikido similar to their
style. Is this true ?

It is true, they look pretty much the same and you realize immediately that
they are related. Given that Aikido comes from Aikijutsu and it is its evolved
form, the statement is correct.
I would say that Aikido is "Aikijutsu's dream"
Both are Martial Arts. What distinguishes them is the goal, the purpose.
In Aikijutsu the objective was to destroy your enemy, which seems fair
enough if you think that it was a Way of War.
In Aikido the target is coexistence with the enemy. Things should not be
viewed in absolute terms. You probably cannot live together with all the
enemies as you cannot possibly destroy them all.
What I mean is that Aikido ideas should be viewed and interpreted honestly
but at the same time efficiently. Where the boundary between Aikijutsu and
Aikido is, that is a subject that can be discussed.
Aikijutsu - now Aikido, simplified and spiritualized by Ueshiba, was a
fundamental discipline in Takeda Ryu. This method of fighting techniques
based on circular movements, synchronized with the breath, called Aiki, was
the secret concept of the Takeda family.
Although the AIKI principle was known before Takeda family existence, it was
redefined and especially applied mainly in Aikijutsu techniques.

Why should I protect the one who attacks me ?

It is a good question. The answer is more complicated.
In Encyclopaedia of Aikido, will find a chapter covering this subject. But even
if you read everything written there you may still have questions. This is
because the J apanese operate with other sizes than Europeans.
J apanese culture is not explanatory and does not operate with the logic
of cause and effect. Sensations, symbols, the absurd and the mystical closely
intertwine, suggesting ideas, truths, or principles, often difficult to understand
for a Cartesian mind. If you want to understand the J apanese people you
need to have more patience.
Aikido principles are not new. They are found to some extent in all J apanese
martial arts but also in other areas of culture such as tea art, theatre,
calligraphy, etc. Moreover, they can be recognized in one form or another in
all cultures, including Christianity.
I am convinced that many Christians have wondered what is the point to
turn the other cheek, or why would be so happy the ones poor in spirit. This is
because people tend to give words the most convenient meaning.

Aikijutsu, for example, operates with all principles of Aikido, the difference
being the goal. In Aikijutsu the purpose is to kill your opponent and in Aikido
the control and as much as possible his protection.
I think Aikido principles are the "bright, humane" part of martial arts the same
as a sword can kill or defend someone's life.

Is it true that Ueshiba did not explain his techniques ?

Ueshiba's words were not always understood, even by his closest students.
He never explained what he was doing and why he was doing it.
Some say he could not explain, others say he deliberately did not explained,
not to limit the powers of Aikido.
I think the truth is somewhere in the middle. If you look at Aikido techniques
you will find that they have a flawless logic based on a perfect knowledge of
the physical laws of motion and balance.
That makes me think that Ueshiba understood more than he said, but
he believed that this understanding is a divine gift given to him for a particular
purpose.
What I mean to say is that to understand Ueshiba, you must have
patience and discover for yourself, in time and practicing Aikido, the essence
of these principles.
Their simple enumeration: Harmony, The Way, Hara, Intuition, Irimi,
Tenkan, Kamae, Ki, Kokyu, etc. is nothing but words, sometimes also difficult
to understand.
In Aikido, patience is the greatest virtue.

I dont like working with weapons, I prefer working empty-handed.

I can understand your reluctance to train with weapons. However, it is
your decision whether or not to train with weapons.
The fact that you feel comfortable only when working with empty hands,
when you can have a firm, controlled grip, is because you loose the same
sense of safety and control when working with weapons.
Logically it can be deduced that if the techniques without weapons do
not raise particular problems, you should go to the next step. If you find that
during training all goes smoothly, it means you have a problem, and training
should be "complicated" so you can be more involved and in this way to learn
more than you know.
The unpleasant truth is that you cannot progress unless you always
have new problems to solve.
You are right, working with weapons involves additional complications
and headaches, you must be careful not to get hit, or hit others, and also the

fundamental problem: to correctly and efficiently execute a technique against
an attack. Can you do all this only through an exercise of imagination?
The same problem occurs with unconventional attacks, such as a kick.
What do you think ? Should Aikido techniques against such attacks be
studied ? Ueshiba did not say anything about that.
It is known the war story told by Ueshiba when he avoided the attack of
a soldier who shot him with a fire weapon. You cannot reach such
performance limiting the instruction to a few conventions.
I do not mean that you must learn to kill someone with the weapons you
train, or the techniques that you learn. But there is no other way to achieve
mastery, than the endless and limitless training. Or maybe I do not know of
another.
An Aikido technique, with or without weapons, can be deadly or friendly.
You are the one who decides that. Clearly, however, you cannot choose if
you do not have where to choose from.
And another thing: any grip, any contact with those who attack you
slows down your movements and makes you dependent on them.
Here is the natural evolution of an aikidoka:
At first you need physical contact with partners, then the contact is made
through weapons or other objects, then contact disappears and only gestures
and attitudes remain, and finally you control the conflict through wisdom and
the knowledge to know what to do, when, where and how.

I have never heard of Aikido techniques using Tambo.

No wonder. Aikido techniques that use the short stick Tambo, are
very little known in Aikido Dojos, as few masters took care of it. These
techniques, or rather, some short stick techniques are better known to
J apanese police, the Special Forces and many other public order structures
in the world.
Aikido techniques with Tambo were studied by Gozo Shioda in obvious
need (police work) and Tadashi Abe, because the use of the stick was the
object of study in preparation for the imperial guard officers and Kamikaze
troops.
Gozo Shioda never made public the police techniques, but Tadashi Abe
developed the study of these techniques, leaving notes on using the short
stick in Aikido.
Training with Tambo is interesting to Aikido students because it is more
maneuverable and faster than the J o, because it is an intermediate weapon
between empty hands and J o, and that allows students an easier learning of
Aikido weapons techniques.

Perhaps you remember that in the beginning J o moves as it wants
rather than as we want and many students hate J o techniques precisely for
this reason.
You can tell a lot about the advantages of Tambo training: understanding the
optimal distance (Ma-ai), speed of reaction, increased attention in executing
the techniques, practicality, etc.

What would be the measurement unit of reality ?

I must confess my ignorance; I do not know a unit for reality. Reality is
unpredictable and mean. A punch in the face, a kick in a bad spot, is part of
reality. Lightning, flu, cancer, a banana peel, are part of reality. A drunk
driver, a scared thief or a jealous woman are all part of reality. What good it is
to be invincible in battle, if you die of pneumonia or hit by a car ?
If you think about how to harmonize with reality, the mean one, then you
need to think about all those aspects. The effect is the same if a guy punches
you in the eye, or if the child in your arms puts by mistake his fingers into your
eyes.
When it comes to Aikido the default thinking is Self Defense, and usually,
when people say "self-defense" they think about a method to face one or
multiple attacks. When attacked by a bee or a virus you cannot make a dodge
and then punch it.
What I mean is that you must understand Aikido as a way to harmonize. You
cannot give and receive punches eternally. Eventually you will find someone
stronger than you.

It is good to train with different partners. Should I apply to each of them
different strategies ?

Aikido helps us understand things, to harmonize them with the lowest costs. It
is important to train with different partners with different and sometimes hard
attacks, but that is not all.
You have to think this way: where should I be and what should I do
when I am attacked? If you can answer this question, you hit the jackpot.
If you are thinking of a strategy for hard attacks, one for soft attacks and one
for swearing, you bother for nothing.
It is not difficult to determine someone to hit you hard; the problem is what
happens if he really does it?
As Aikido principles tell, you must harmonize with the attack. That means you
will react fast and consistent with the attacks power and speed. If he is a
beginner, this means certainly an accident, if he is an advanced partner he
will instinctively prevent your reaction and act accordingly, again a possible
accident.

Either way is wrong. You could go out into the street and swear at some
punks. Assuming you won, does that give you confidence that the model is
valid? Do you think if you put a punk in the hospital you will get an honorable
duel? No. And then why waste your time with nonsense?
Sporting events can be a way to check some things. Competition rules
are limiting the reality and try to avoid accidents. Competition can develop
certain qualities, but may lead you to think that you are really good also
outside the ring, and this can be a capital mistake.
But as you get older and you cannot participate in competitions, you
dont feel like swearing at punks and you dont have any more curiosity to see
how strong you are, what will you do then ?
You have two choices: you can be sad that all this has disappeared, or
you can be serene because you never worried about it.
Be serene; dont worry too much about this stuff.

What means '' learn and forget''. Why learn if you then have to forget ?

In the first 10 years of studying Aikido you are convinced that Aikido is
composed of a sum of techniques and their possible combinations.
When training in Aikido you quickly think about this reference and you
try to identify the situation, the attack with one that you already know and you
apply a solution (technique) that you know.
This need to permanently relate to given sets of data makes your
development to take place within a framework determined by your
knowledge. This lack of freedom on your actions during a battle can be fatal.
How can you break this frame? By ignoring what you already know.
Aikido Techniques were formalized by Ueshiba's descendants, who
lacked his talent and genius and tried to interpret for themselves and explain
to the others the ideas of O Sensei.
For teaching and learning more efficiently, they formalized, described
and classified the techniques to be easier to understand, and for students to
be aware of their own progress.
Another reason why they did so, was the idea for the Aikido students
from different countries and cultures to have a common reference.
When Ueshiba said that Aikido has no techniques he meant that the
definition and classification of the techniques limits the freedom of action of
the one who is studying Aikido.
Aikido means the freedom to act in harmony with what surrounds you.
You cannot be free to act if you have to do it in one way or another, because
the reality you face cannot be catalogued or known beforehand.
"Learn and forget" is about conscious learning and forgetting. That means, as
I said it before, you will not be dependent on what you learned consciously.

I was often told that my students are sometimes confused that over time
I do things differently. Many say, "Shiho Nage is different now." Some believe
that I changed my opinion about the execution of a technique or that I "forgot"
how I did it last time, although I always say that what I show is just a form, a
possible variant of reality.
You can test this yourself if you have enough patience.
Over time, as I said, you will find the truth by yourself, but unfortunately or
fortunately, is possible that you will not care anymore.

Why Aikido organizations split apart ?

About those who leave a federation or another. People are free to do as
their conscience dictates. I do not think it is reprehensible that some try their
luck elsewhere. It is their right and choice.
All organizations are subject to this process. People come together,
then apart, then get together in another combination, and so on. What is
wrong with that? It is important that those who leave do not use Aikido for
other purposes, though. If they are sincerely practicing Aikido, good for them,
no matter where they are.
Why people and organizations divide ? Why are the principles of Aikido
not acting on the Aikido people and their organizations? J ust because we are
talking about people, not gods. People have egos, desires and aspirations,
which changes their destiny. Is it bad, is it good, who knows ? I do not think is
a bad thing, or rather I would say it's more good than bad.
The world would be boring if we were all the same, if we would do the same
Ikkyo or be as tall and smart.

Is it true that Aikido is a product of Omoto kyo cult ?

Here is a really hard question. Before attempting to answer, I want to
warn you that this is only my opinion.
I would complement your question with what many students think but do not
say:
'' Is Aikido truly a path to universal harmony ? "
Is it true what they say about Aikido, even though I dont notice this ? "
Was Ueshiba really that great, or are just legends created by those around
him to give Aikido greater value for sale ? ''
Such doubts haunt many Aikido students.
And now the answer: The world, universe exists independently of us and with
us. People, in their desire to understand their role in the universe have
attempted to define, to explain what the world is and what its "rules" are.
In the beginning people understood the universe as a world ruled by
gods and they were trying to appease them in order to guarantee a better life.

Later they tried to use them and eventually they ignored them.
People were never comfortable with the idea that not everything around them
was designed specifically for them.
The faith, either in divinity, or in the role of humans on earth or in a
divine universal program that moves us all by unknown logic, made
philosophical currents appear, which are just different explanatory visions of
the seen and unseen world.
Omoto Kyo, like many other integralist philosophies, believes that there
is a universal harmony in which we can consciously integrate, by following
certain procedures (special type of training) and a certain way of life.
This is actually the idea Aikido is based on.
Ueshiba thought of Aikido as a practice, a way, a "training" by which people
can be integrated into universal harmony.
Ueshiba was not a philosopher, only but a good martial artist and he
expressed himself in the language he was familiar with.
But what is extremely important, and about this people rarely talk, is
that Ueshiba had a great "faith". He truly believed in his mission and in Aikido.
Aikido was his opera, his swansong, made with a certain fanaticism,
and this is, I beleive, why Ueshiba cannot be matched by anyone.
What to do if, no matter how hard we train, we cannot become like Ueshiba,
what good to strive so ?
Ueshibas faith and genius created Aikido as a way to apply the principles of
harmony. Even though we cannot be animated by Ueshibas faith, we can
agree with the value of his principles. These principles have undoubtedly an
undeniable moral, and they are to be also found in the Bible and in the major
philosophies and religions.
In fact what does Aikido teach ? That we must be attentive to those
around us, that we must also try to understand those with whom we disagree,
to have compassion, to be vigilant, to defend ourselves and our loved ones,
to have honour, to mediate conflicts, to oppose unnecessary violence, to
hope that people and the world can be changed for the better, and that we
can do this.
Do these ideas seem familiar to you ?

We have seen that many students ''catch'' the strikes, is this correct ?

A correct observation. You are right, many students, but sometimes
even the instructors 'catch' the strikes, whether Shomen Tsuki, Yokomen
Uchi, Shomen Uchi or another strike. The error lies in the fact that, often,
training is governed by excessive conventions.
From the practitioner's desire to be easier to understand and because
the strikes, the execution speed and strength are conventional (to be read as
not real), a strike can be caught easily.

And what should a beginner do? What he sees from the instructor.
If in the first few months such things are allowed to make understanding
easier, later, the instructor should make the necessary corrections.
Unfortunately, often this does not happen.
How should an attack or a strike be handled ? Importantly, in the first
place is not to get hit, or to be hit as little and soft as possible. For this
purpose we have the dodging, the block and the anticipation of the strike with
another strike. We will look at them one by one in reverse order:
1. Anticipating the attack, to strike the attacker before he could do it,
and to control him it is desirable but not easy to achieve. If you manage to
strike him, you can use his confusion and effectively execute a technique, in
case your strike did not stop him altogether.
When I say strike I do not necessarily think about a real punch or a
kick but anything that would give him a real problem and that would reduce or
delay the attack.

2. To block, to soften or deflect a hit, giving, for example, a tilted or
moving contact surface, to unbalance him and then to make the technique, is
another solution.
Unfortunately you must have the nerve to do that, and maybe a girl will
not choose this solution.

3. To dodge the strike, to unbalance him and then execute the
technique seems the most "Aikido" way, but technically speaking is the most
hard to do. When I say "hard to do" I mean the reality and not the Dojo. In
Dojo everything is easy to do.
In addition you should know that the attacker will not strike you once for
good, but will overwhelm you with multiple strikes, other than those studied in
Dojo.
This means that after the first strike will immediately follow the second
and the third and so on. You should also know that no matter how many Dan
you have, you will not escape without being hit.
Returning to the idea from the question asked, I tell my students: if you
do not know much about fighting techniques, than enter positive and try to
strike before he does. That does not ensure success but you can earn some
respect.
If you know something about fighting, if you have some experience on
the mat, try to block or soften the first hit, avoid, move quickly sideways from
his front and try to strike him or execute a technique before his second or
third strike.
If you "know Aikido" you can use any variant or all of them together.
This does not mean that you will be successful.

Be careful, you cannot do a thing more than once. The attacker or
attackers will be more careful about what you do and it will be more difficult to
dodge.
In relation to the specific question "how to receive a strike" Ill tell you
how I do it (that does not mean that it is generally applicable):
I avoid with a short Tai-sabaki, rather just a lateral movement usually
towards the exterior, simultaneously I protect my body and strike the partners
ribs with my fist. I take advantage of the short surprise and do a short and
firm Aikido technique.
In addition to Aikido techniques we should teach students a minimum of
fight tactics and combat strategy. Unfortunately, few are doing this.
The only practical advice that I can give you is to have patience. All the
things you do not yet understand now and you want to learn from me, you will
understand yourself, after a while, much better than I could explain them
myself to you. I only got my correct answers on the mat. It is also true that I
did not had too many teachers.

What can I do when a stronger partner grab my arms? Shall I enter in
force over him ?

Yes and no. If you try to go straight (perpendicular), and your partner is
much stronger than you, you do not have much chance unless your move is
quick and sudden (but you should not rely to much on this either).
The move that I use is to twist my body sideways and then enter. This
makes me not to be exposed to direct hits anymore, allows me to act from the
side on the partner (the worst direction for him), and allows me to move away
from my partner if I need to, without being forced to go backwards. In fact this
is one of the usual Aikido "tricks". So: a short Tai-sabaki, a very positive
action on your partner and the execution of a technique or a strike.
Tai-sabaki is the problem because it is done usually only as an evasion,
while from the movement described by me, Tai-sabaki is a rotation, pivoting
"in permanent positive contact" (pushing) with the partner. So when you
execute this Tai-sabaki, you must continually push the partner with your body.
I stress, with the body not with the hands. That makes him to give you
his place without realizing. If he lost his place he also lost his strength. This
move applies to everyone, including your leaders.
On the other hand, when the partner blocks you without the ability to
move, is a somewhat artificial situation, because usually it only happens in
the Dojo.
Outside, whoever tries this, does not achieve anything without the help
of a friend to punch you while he keeps you immobilized. In addition, the
effort to hold you so long simply tires him and reduces his strength.


I noticed that if I keep the action in front of me, in the normal
(perpendicular) plan of my hips, I have more power

I agree that the normal (perpendicular) position is the strongest, but is
also your partners strongest. If you are stronger there is no problem. But
what if you are not?
Do not try to find out which of you is stronger, because when you will
know it will be too late. This is why you must always act in the direction and in
the way where his effort capacity is the smallest.
Above I explained one way to resolve the situation. In addition to
techniques, movement, locks, strikes, etc. an extremely important element,
even more important than technical skill is THE STATEGY of the fight.
The most unpleasant things for my attacker are: FALSE MESSAGES
and SURPRISE, intoxication messages.
Whenever I can surprise him with an unusual move, even if the
movement itself is not a danger, he will be confused and I will have for a split
second an advantage over him.
It is important to use immediately that moment, when the attacker is
confused and temporary unable to react in order to give him an "unwanted
gift".
The simplest false message is transmitted by the contact between your
bodies. A message that your aggressor is expecting is a natural reaction: he
grabs your hands and you try to escape. Your partner is prepared for such a
reaction, and while you try to get free, he will counter this attempt with a
compensating motion and force.
This "constant adjustment" of the attack makes you feel stuck and not
able to free yourself.
All of this happens instantaneously, unconsciously, and for this reason
you must think of it before (to train) to master the art of sending different false
messages unconsciously.
A false message determine an unconscious correct reaction from your
aggressor and this allows you to use this reaction in your favour, because you
know in advance that he would react that way.
Unfortunately, all of this is harder to explain than to show.
You probably noticed that I used during these explanations the term
aggressor and partner interchangeably, because we must not forget for a
moment this duality: Dojo and the surrounding world.

Is it useful to make real techniques using real attacks ?

I see nothing wrong with this experiment. I have tried it many times and
helped me better understand Aikido. For such a training to have the desired

success, you need to establish a set of iron rules, to protect yourself and your
partner.
Use of protective equipment is not infallible.
Knowing that you have protection makes you think you are unstoppable
and untouchable. It is wrong because the partner will avoid hitting you in the
helmet and would prefer to hit the body, in various sensible points, and
believe me, there are plenty.
Then we must keep in mind that because we know we are protected
and freed from the rigors of training, people will venture into risky and fanciful
attacks and techniques. Remember, adrenaline numbs you only for a short
time.
As you said, in the beginning you will find out that the Aikido you
practice on the mat is not very useful in a real fight, and you will have to give
up doing the correct techniques, as they are normally executed in the Dojo.
There is a serious risk which cannot be completely avoided, because certain
Aikido techniques are extremely dangerous if they are executed swiftly and
against an unwilling opponent, and unfortunately there is no protection for it.
Conclusion: I believe you can try the experiment if you set some iron rules:
the first might be that no one must die.

How do you explain the performance of O Sensei to pin an opponent to
the floor with only one finger ?

It is hard to explain in words. You must have some experience in Aikido, to
feel certain things to understand. I can only give you a few examples, to make
some comparisons, to make you understand the nature of such performance:
1. Let us suppose that a person is on the edge of a deep hole in precarious
balance. There is no problem to keep him in that position with just one finger.
Control of a person at the boundary between balance and unbalance is
possible for everyone.
2. Let us suppose that a person is lying down and someone is pressing his
eye with a finger. Firm control of a vital point makes the controlled person to
obey unconditionally.
3. Let us suppose that a person is facing a fighter famous for his skill and
effectiveness. Such a person can be easily controlled, by the famous fighter
,only with his eyes, because it is considered defeated from the start.
4. Let us suppose that a person is laying on the ground with the arms under
his body, and that there is a "great threat" for him. A finger could be that
threat if it could trigger a deadly thing or action, lets say a sword.
Now imagine that Ueshiba could do all these things, and maybe more.



I understand that Ueshiba used kotodama in the beginning of training.
Is this necessary for practicing Aikido ?

I think this is about faith. Ueshiba believed in the power and purpose of
this practice. If Kotodama is useful or not for the non-J apanese Aikido
students, this is just their problem.
If you think it helps it really helps. Some people pray, others repeat that they
are strong and smart, others use kotodama.

References

AIKIDO UN ART MARTIAL, UNE AUTRE MANIERE DETRE - Andre Protin
AIKIDO - THE WAY OF HARMONY Serban Derlogea Dan Ionescu
BUDO Morihei Uyeshiba
BUDO Les Enseignements du Fondateur de lAikido - Stevens, J ohn
DYNAMIC AIKIDO Gozo Shioda
AIKIDO ENCICLOPEDIA ART Dan Corneliu Ionescu
AIKIDO ENCICLOPEDIA UNARMED AIKIDO Dan Corneliu Ionescu
AIKIDO ENCICLOPEDIA TAMBO AND J O Dan Corneliu Ionescu
AIKIDO ENCICLOPEDIA BOKKEN AND KATANA Dan Corneliu Ionescu
AIKIDO ENCICLOPEDIA - TANTO AND TESSEN Dan Corneliu Ionescu
HISTORY OF J APAN Danielle Elisseeff
LAIKI-DO Larme et lesprit du samourai japonais - Tadashi Abe, J ean Zin
A HISTORY OF J APAN Kenneth G. Henshall
LE TAM-BO LART DU BATON COURT J ean Zin
KATAS TOME1 BOKKEN ET J O Daniel Andre Brun


Pag.
Foreword 2
O Sensei Morihei Ueshiba 10
Tadashi Abe 21
Why weapons are necessary in Aikido 24
About efficiency 25
About author 28
About technique 30
About attacks 30
Classification of techniques 34
About fight 36
Advice about techniques execution 38
How do we tech Aikido 40
Key points and joint techniques 41
About tai sabaki 44
Irimi and Tenkan 51
The importance of UDE OSAE - IKKYO 53
General recommendations 57
Training structure 60
Warm up 61
Break falls UKEMI 68
Katame Waza.. 72
Ude Osae IKKYO.... 72
Kote Mawashi - NIKYO ................................................................................ 128
Kote Hineri SANKYO ................................................................................ 162
Tekubi Osae YONKYO .............................................................................. 198
Ude Nobashi GOKYO 217
Hiji Kime Osae ............................................................................... 244
Nage Waza.. 258
Shiho Nage . 258
Irimi Nage 298
Sokumen Irimi Nage .. 379
Kaiten Nage 446
Ude Kime Nage .............................................................................. 496
Kote Gaeshi ............................................ 512
Tenchi Nage .. 548
Koshi Nage ......................................... 580
J uji Garami ................................................................................................... 612
Aiki Otoshi 624
Sumi Otoshi 642
Kokyu Nage 676
Kata 731
Chain of procedures 789
Counter techniques 810
Multiple and simultaneus attacks 817
Answers to frequently questions 834

Aikido 123

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