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Examination Program 1st KYUPrerequisites:nd A minimum of 1 year practice 4 times per week since the last exam (2 KYU)
thththrdnd
 Knowledge of the techniques and theory required for 6 , 5 , 4 , 3 and 2 KYU exams
 Consent of the dojo’s technical director
The literal translation of some Japanese terms is placed between quotation marks “…“.

Dojo behavior(Continuation)
Dojo no kokoroe“Rules to be followed in the Dojo“

The 7 folds the hakama (5 on the front, 2 on the back) have the following symbolicmeaning:
1. yuuki 勇気 : courage, valor, bravery
2. jin 仁: humanity, charity, kindness
3.

gi 義: justice, righteousness, integrity4.

rei 礼: etiquette, courtesy, politeness, also obedience

5.
6.

makoto 誠: sincerity, honesty, truthfulness
chuugi 忠義: loyalty, fidelity, devotion

7. meiyo 誉: honor, merit, glory, dignity, reputation
These are the qualities which an aikidoka constantly maintains and improves.
“sword of autumn"
aki no tachi

Terms, to know andunderstandTai / Ashi Sabaki“Movement of the body / the legs(feet)"

Holding the Jo

mizu no kokyu
tsu no kokyu
kaze no kokyu
hi no kokyu“breathing of water"“breathing of earth"“breathing of wind"yose ashi“breathing of fire"from standing with both feet together, move
one foot in front
from standing with feet apart, bring one footto the other so that both are together

omote grip

ura grip

both thumbs are pointing in the same
direction to the tip of the jo
han omote grip (“half-omote")

both thumbs are pointing in the opposite
direction to the tip of the jo
han ura grip (“half-ura")

both thumbs pointing outwards

both thumbs pointing inwards

hakobi ashi

These examination programs are built up following the teaching systemthof Aikido conceived by Shihan Masatomi Ikeda, 7 dan, former
technical Director of the Swiss Aikikai.

© Eric Graf, 13/03/2016

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Technical program
AttackTechniques

Explanatory comments,
theoretical elements“practice on the knees”

SUWARIWAZA
1
2

Shomenuchi kiawase3

for ura: basic and variation
Ikkyo omote / ura
Yonkyo omote / ura
for ura: enter with irimi tenkan
Gyakuyonkyo omote /ura
finish with osae
Udegarami“standing practice”

TACHIWAZA
4Iriminage

5Kotegaeshi

67

Aikiotoshi
Sankyogoshi

8Shihonage

9Iriminage

Shomenuchi

12 Aikigoshi and kaitennage

via ikkyo kuzushi
1. basic
2. variation
taninzutori
intial contact
1. theory nikyo kuzushi
jodan yang omote 2. theory sankyo kuzushi
enter with irimi tenkan sabaki,
intial contact chudan yang ura without giving
enter with tenkan sabaki
intial contact jodan yang omote

13 Shihonage

different forms

14 Tenchinage
15 Genkeikokyunage

8 forms

10 Ikkyo omoteKatatetori aihanmi
11 Aikigoshi and kaitennage
Katatetori gyakuhanmi
Ryotetori

16 Jyujigarami
Katate ryotetori

17Jyujigarami – kotegaeshi
Jyujigarami – iriminage

18 Kokyunage
1920
21
22
2324

Ushiro ryotetori

Katatori menuchi

Sankyo (omote/ura)
Yonkyo (omote/ura)Jyujigarami
Ikkyo
Iriminage
Tenchinage

25 Soto kaitennage
Chudantsuki

2627
28
29
30

Udegarami sankyonage
Udegarami yonkyonage
Shihonage
IriminageJiyuwaza
Ikkyo, nikyo,
31
sankyo, yonkyo
Ikkyo, nikyo,
32
sankyo, yonkyo

YokomenuchiChudantsuki
Katatetori aihanmi

sttori: ushiro ashi irimi tenkan sabaki. Always theleft foot forward or the right foot forward.
uke: attacks with the right or the left hand
1. sankakutai omote sabaki, basic
enter with(theory kotegaeshi)
irimi
2. sankakutai ura sabaki (hitoemi),tenkanvariation (theory iriminage)
maeotoshi (omote), ushirootoshi (ura)Examination program 1 KYU

at least 8 forms
intial contact
jodan yang omoterenrakuhenka-waza

enter with tenkantenshin1. kamihanen
2. shimohanen

different forms enter with(ushiroashi) irimi tenkan
1. omote:
yoko ichimonji gedan enter with mae ashi
2. ura: tate ichimonji
tenshin, mae ashi irimi
tate ichimonji
enter with ushiroashi tenkan tenshin:
1. kata no te2. uchi no te
1. nage
2. udegarami nikyo ura osae
theory sankyo
theory yonkyo
enter with ushiroashi
irimi tenkan: kiri oroshi

basic and variation

1. omote: enter with irimi tenkan tenshin
2. ura: enter with maeashi irimi
only omote: enter with maeashi irimi,
intial contact jodan yang omote

PAGE 3Buki waza
“weaponspractice”

katas

Kumi tachi
1
2
3
4
5

Explanatory comments,
theoretical elements

1“work with bokken"

Ichi no tachi “father” & “son”
Ni no tachi “father” & “son”
San no tachi “father” & “son”
Yon no tachi “father” & “son”
Go no tachi “father” & “son”

1st bokken kata
2nd bokken kata
3rd bokken kata
4th bokken kata
5th bokken kata
“work with jo"

Kumi jo
6
7
8
910

st

1 kata of Ikeda Senseind
2 kata of Ikeda Sensei
rd3 kata of Ikeda Sensei
th4 kata of Ikeda Sensei
Kata 38Hojo

omote kataura kata
hiki otoshi katamae otoshi katawithout partner
From Kashima Shinden Jikishinkage-ryū

11 haru no tachi “father” & “son”
12 natsu no tachi “father” & “son”
13 Aki no tachi “father” & “son”
2Genki waza“techniques Forms3
for health"Kokyu ho Breathing
1 Mizu no kokyu
2 Tsu no kokyu
3 Kaze no kokyu
4 Hi no kokyu
Genkikai567
8

Ground exercises
Yodo ho
動 法
Mo kan undo
毛管 運動
Gassho gasseki undo
合掌 合蹠 運動
Kingyo undo金魚 運動

1“spring sword”“summer sword”“autumn sword”

Explanatory comments,
theoretical elements“breathing forms”“breathing of water"“breathing of earth"“breathing of wind"“breathing of fire"“health system”“Method to nurture, develop andrefine movement"“Exercise for the capillary"“Exercise of the joined palms of the hands andsoles of feet"“Fish exercise (goldfish)"

The exact detailed descriptions of the katas required in the exam are described in the book “Aikido Sanshinkai: Buki Waza,
the practice of weapons in Aikido". This book can be obtained directly from Dojo de Neuchâtel - Espace Culturel or orderedover the internet.
2
This kata is the subject of an article in the SSKL N°7 in which it is detailed step by step. This article can be downloaded free ofcharge on the site www.dojo-ne.ch in section San Shin Kai Letter.
3
All the health exercises are described in details in the book “Regenerative Gymnastics Genkikai”. This book can be obtained
directly from Dojo de Neuchâtel - Espace Culturel or ordered over the internet.
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Wearing the hakama (袴)The hakama is a pair of wide pleated trousers (seven folds, five on the front and two on the rear) witha stiff back (koshi ita). Traditionally they were worn by the nobility in medieval Japan, the samurai inparticular. The current form was developed during the Edo period. Both men and women are permitted
to wear them.
The hakama, which is also a type of ceremonial garment, is worn in various martial arts, including
Aikido. In our school, they can be worn only by students who have attained a certain technical levelst(1 kyu). Students must be able to train without being hindered in their movements. The decision
when a student is allowed to wear the hakama, lies with the director of the school. In fact, the hakama
has become a symbol of personal commitment to the discipline and technical level. Traditionally this is
not the case.
Wearing the hakama symbolizes that the person who wears it can shoulder responsibility transferred
to him/her within the dojo. It is a sign of consistency on the Aikido path.
In seminars held elsewhere than in one’s own dojo, hakama is in general only worn by students whost
have achieved the 1 dan.
How to fold hakama?

As an elegant and symbolic garment, the hakama must be properly maintained. Just like the kimono(aikido-gi), the hakama should always be clean and kept in good condition. The pleats must bemaintained each time it is folded. The drawings above illustrate how to fold the hakama properly.
Before starting Step 1, first turn the hakama to the opposite side of what is shown in Step 1 in order tocorrectly align the rear pleats. Then turn the hakama back to the same side as can be seen in Step 1.
To ensure the pleats stay flat, you must stretch the material well before you begin with the folding.
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Theoretical knowledge: Aikido system
Aikido Sanshinkai (合気道 三心会)
Ikeda Sensei taught Genkikai as a complement to Aikido in order to help himself and his students tomaintain good health. His Dojo in Zurich was called “Aikido Ikeda-Dojo Sanshinkai”.The expression
Sanshinkai means three arts taught in the Dojo: Aikido, Kashima Shinden Jikishinkage-ryu (鹿島 神傳直心影 流) hojo no kata (法定 之 形) and Genkikai (元気会). Hojo and Genkikai are taught to students
to help them progress more efficiently in Aikido.
Like a stool supported by three legs, sustainable balance is reached among the large and solid leg of
Aikido and the other two stabilizing legs, Hojo and Genkikai. Whoever wants to explore the mysteries
and the genius of Ikeda Sensei’s teaching must thoroughly study and practice Hojo and Genkikai. Thisrd
is why Hojo and Genkikai are integrated step by step into the examination programs, from 3 kyu forstHojo and from 1 kyu for Genkikai.
Breathing (kokyu 呼吸)
Breathing exercises are of vital importance to the beginning of any practice, whether it is Genkikai,
Aikido or any other (martial) art. In Hojo, the breathing determines the rhythm of all acts/movements.
At the beginning of an Aikido-training session, the breathing exercises facilitate us to switch our foucsfrom daily life outside the Dojo to trainings in the Dojo. They stimulate the return to oneself andincrease the ability to concentrate
Breathing is life. Our first action at birth is a deep inhalation, and the last action at death of the body, isa deep exhalation. In between, along our whole life, we breathe in and out. Symbolically you can saythat each inhale is a small birth and each exhale is a small death. The control of the breath is the key
to the doors of yoga, Aikido, Genkikai, Hojo, etc. Visualization is another essential point not to beneglected during practicing. Without visualization, all breathing exercises, which are practiced in ourschool, lose their beneficial "powers". Each learning or training consists of the following stages:
 Breathing (cleaning), Concentration,
 Visualization,
 Meditation.
A rule of thumb for all forms of breathing is that, breathing in should always be shorter than breathingout. The various types of breathing practiced in Aikido are listed in Table 1.
Breathing form
Su no kokyu
Yo no te kokyu
In no te kokyu
Kimussubi no te kokyu
AUN no kokyu
Mizu no kokyu
Tsu no kokyu
Kaze no kokyu
Hi no kokyu
Exercices ofkokyu soren

Symboloriginyangyin
The Wholeunion
water element
earth element
air or windelementfire element

Related Aikido-techniquefurizuki kokyunage
tenchinage
genkei kokyunage
uchi kaiten nage
ikkyo (principle)
ikkyo ura
kotegaeshi
iriminage

cleansing

aikido!

shihonage

Table 1: relation and symbol of the breathing forms.
Detailed description of all breathing forms listed in Table 1, their symbolism, and the accompanying
visualizations can be found in the book "Regenerative Gymnastic Genkikai".

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The tantien
4

The tantien (tanden 丹田 in Japanese, dantian in Chinese) are energy centers, but different from themain chakras; however, the first three chakras correspond to the lower tantien, the fourth and the fifthchakra correspond to the middle tantien and the sixth and seventh chakras correspond to the uppertantien.
You can count as many (secondary) tantien as the cells in our body. The
major-tantien are located on the centreline between left and right andbetween front and back of our body. The lower tantien reflects theconnection between the consciousness and the physical body. The
middle tantien reflects the connection of consciousness with the soul. The
upper tantien reflects the connection between consciousness and themind. Through meditation and the practice of Aikido we aim to develop
the tantiens to go beyond our attachment to the physical body. Locationsof the major-tantiens: The first tantien, the lower tantien, also known as seika tanden臍下丹田 or kikai tanden 気海丹田, can be found three finger
widths down from the belly button and corresponds with theposition of hara; The second tantien, the middle tantien or chudan tanden 中段丹
田 is at the height of the solar plexus (sternum) The third tantien, the upper tantien or jodan tanden 上段丹田, isFig 1: Position of thelocated at the height of the third eye.
major-tantien.
Tori fune undo: the activation of tantienthIn Aikido the first series of tori fune undo (see 6 kyu) are accompanied by the kiai “HEI-HOO” (“HEI”
while the hands are thrust to the front; “HOO” while the hands are withdrawn to the hips). In this way
the upper tantien (with the matching resonance level “iii” and “eee“) and the lower tantien (with thematching resonance level “uuu", “mhh" or “ooo") are activated and connected. This rowing exercise
ends with “HEII".
Next, you join (gassho) the palms of both hands together, raised them straight towards the sky above
your head, touch the top of your head and move your hands upwards again with the head tilted back.
Then locate both hands upright above the third eye (upper tantien). After that keep your hands joint,
move them down by the front of your throat to the lower tantien and then shake them vertically(furitama) in the direction of hara (lower tantien). While doing furitama, you shake your whole body tothe end of your heel (slightly lean your body forward). By doing so, you distribute all over your bodythe energy which is previously generated by kiai “HOO” and stored in the lower body (lowertantien).From the perspective of distributing energy, this series of exercises can be seen as a warm-up
for your body. Note that furitama is also practiced by monks in order to disperse the sexual desire.
The second series of tori fune are accompanied by the kiai “HEI-SAA" ("HEI" while the hands arethrust forward “SAA” while the hands are withdrawn to the hips). In this way the upper tantien (with thematching resonance level “iii” and “eee“) and the middle tantien (with the matching resonance level“ooo” or “aaa”) are activated and connected. This rowing ends with “HEII”.
Afterwards, move your hands that are initially facing the earth by the front of your body, join them ingassho in front of the solar plexus at the middle tantien and bring them upwards to the level of thethird eye (the upper tantien). Then move your hands down to the level of your heart (middle tantien)and diagonal to this direction of movement begin to vibrate (furitama). This vibrates the whole body(slightly lean your body backward). In this way the accumulated energy created by kiai “SAA“ in the(middle tantien) is distributed over the whole body.
The third part of tori fune (optional) is accompanied by the kiai "HEI-HEI“. The upper tantien is
activated in this part. After rowing movements join your hands over your head in the gassho position
and then directly move them down (sky-earth axis, the seven chakras are connected) in order torepeat the movement furitama (body is neither leaning forward nor backward).
After this ritual exercise we are centered, here and now, ready to practice.
4

Literally “cinnabar field”. Cinnabarit is the most common and widely used form of Mercury ore. During the last millennia, native
cinnabar deposit was used either as a pigment or, after extraction in pure vein, roasted to extract mercury by thermal
decomposition. Taoists used cinnabar as a drug to achieve condition of bliss. Cinnabar was considered to be the most effective
natural substance to achieve immortality, or at least to extend life and youthfulness.
stExamination program 1 KYU