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Titolo: [Lungo] [2 di 4] Japanese Martial Arts: 2 - Aikido

Aikido 
Ken Williams 
1. The Background of Aikido 
Aikido is a scientific form of self-defence created over fifty years
ago by Master M. 
Uyeshiba, who is still practising at the age of eighty-six at the
world centre of the fighting art - 
the Aikikai, Tokyo, Japan. Aikido was a secret known only to a
relatively few privileged 
Japanese up until as recently as 1948. The requirements to gain
entrance into the inner chambers 
of the Aikido gymnasium and to learn Aikido's art and philosophy were
many including at least 
two recommendations from well-known, respected citizens of Japan. 
Aikido is a combination of many martial arts including ju-jitsu, Kendo
and Karate. Most 
Budo (military arts) originated from a kind of physical fitness
programme, developed into selfdefence 
arts and then on to refined Budo. 
A physical fitness programme may be compared to preventive medicine
programmes and 
prophylactics. If we move our body adequately and if the movement
agrees with the 'natural 
laws', we still have a well-conditioned body and will not be affected
so easily by disease. When 
we consider various physical fitness programmes we will soon discover
the ideal of Aikido. The 
flowing flexibility and the importance of a stable balance agree with
the 'laws of nature'. The aim 
of Aikidoists is complete self-control. When we have self-control, we
have a posture which is 
completely alert. By exercising our whole body we approach improved
health. 
In Aikido, the techniques related to each part of the body are
necessarily related to the 
whole. There are no radical techniques which use strength suddenly or
immediately cease using 
power. Here lies the secret of Aikido in keeping a healthy body. The
exercise of the body in this 
way will lead to better health.
The movement of Aikido is natural and is without the physical strain
demanded by other 
combat arts. Aikido provides tremendous range movement on the study of
balance, posture and 
most important - relaxation. For this reason Aikido can be practised
by members of either sex, 
young or old, while it is also a most effective form of self-defence.
Aikido has a particular appeal 
to most people for the way that it builds a mind which you can adapt
to everyday life. 
The Art was first introduced in any big way into Great Britain by my
teacher Kenshiro 
Abbe (8th Dan) in 1955. I was one his first pupils. At that time Judo
was very popular and so 
people were not interested in the 'new art'. The Aikido training was
also found by beginners to 
be extremely severe and this put off many beginners. 
After many years of study I was graded to 1st Dan. At the time I
received my black belt 
for Aikido, there were only eight pupils practising in this country.
These pupils are now the 
teachers of the art in this country. The art received stimulus by the
visit to this country of Mr 
Tadashi Abbe (7th Dan). In 1963, Mr M. Nakazono (7th Dan) came to
England and was asked 
to supervise Aikido in this country. At the same time I was appointed
National Coach. It is 
therefore only comparatively recently that Aikido has spread in this
country and it is now being 
taught in schools for the Education Authorities. 
2. Aikido Gradings 
To assess the student's ability in Aikido, he or she has to take an
examination before a 
Dan Grade (Black Belt). In this examination, the students with their
partners go through the 
techniques that have been taught. These techniques have been laid down
in the grading syllabus. 
This applies for all the Kyu grades up to 1st Kyu. 
If a pupil is trying for a Black Belt then he can only be graded by a
4th Dan or above. 
This method has been laid down by the Aikikai, the world centre of
Aikido. All Black Belts who 
have been graded by Aikikai teachers receive a diploma from Japan. It
is a great honour to 
receive one of these as there are only fifteen British students who
hold them. 
Do not forget that there is a lot of hard work before one reaches this
standard. The usual 
time is three years based on two practices a week. I believe that
ninety per cent of people who 
practise Aikido could arrive at the Black Belt stage if they had the
strength of mind and 
determination to keep up their practice. 
It is not so much the practice that is the difficult part but the
getting down to the club. 
For instance, the pupil may return from work on a cold evening, have
his dinner and afterwards 
sit by the fire. 
It is one of the hardest things to get oneself out of the chair and to
get down to the club 
for training. This is where the mind must be strong and control the
body. This dedication is a 
part of the training and discipline which must go with Aikido.
Try to adapt Aikido to everyday life and I am sure that you will
understand more easily 
the true principle and feeling of this wonderful art and more easily
progress up the grades 
towards your goal. 
3. The Spirit of Aikido 
You will find that the more you practise Aikido, the more the
self-defence aspect will 
become of secondary importance. By the physical practice of Aikido we
are trying to find the 
truth by technique. If one's technique is not correct or true, then
one's way of life is false and one 
can never be fully confident of oneself. 
I think that material things can only bring happiness up to a point
but it is the deeper 
inner happiness that we are seeking and Aikido is one way of finding
this. You will find that 
through Aikido practice your mind will become more positive in
deciding matters. 
As you can imagine, when one is practising and someone attacks you,
one has little time 
to decide what technique to use but one moves the way that one's
feeling takes you, either 
positive or negative. This attack is the same as a problem. If it is
an easy one, one can go 
positively into it. On the other hand if it is a difficult one, one
moves one way first to get out 
of the way and then considers it. But if you hesitate you are lost. It
is no good saying afterwards 
that one should have done such and such a thing. Naturally we all make
mistakes. This is a good 
thing, but one must try and learn from them. 
This is why to find the 'way' we must always continue to practise our
technique and try 
to put our mistakes right. This is also why Aikido is so interesting
as there is no end to it. One 
never stops learning and there is always something new to learn and
improve. 
I have been asked by people if I am not afraid of the wrong person
learning the art and 
gaining knowledge which could in some circumstances be dangerous. 
But I know that it takes three years to become proficient at Aikido
and if the mind is bad 
and the intentions evil the technique and the Aikido power will not
come out. I believe that if 
one puts sincerity into the art then good will come out. So I feel
that no person with evil 
intentions can ever find this natural movement. If they use Aikido for
bad reasons then they will 
only destroy themselves. 
I have known students who have started Aikido in order to use any
knowledge they 
acquire out of Dojo to change their intentions. They become
responsible citizens and one has the 
satisfaction that Aikido has changed their whole character and way of
life. They are grateful for 
what Aikido has done for them. 
Aikido is for everyone - not just for the few.
4. Different Ways of Practising 
1. To practise with one partner. This is usually the way for beginners
and uses the forms 
as laid down. Once you understand the basic form then try to add more
movement to it. 
2. The next stage is for three people to practise. This gives two
students against one so 
as to provide a more continuous practice and teaches you to react more
quickly to the attack. 
Sometimes practise gently - other times practise hard. When I say hard
I do not mean 
with strength but by non-stop practise with your partner making strong
attacks on you 
continually. When attacking, make sure that your attack is true.
Otherwise, you give your partner 
a false impression and this will not help him one bit as it will give
him a false sense of the 
movement. If your partner cannot escape your attack then it is his
responsibility. Do not get upset 
if your partner catches you off-guard. Just put it down to good
experience. 
Next try three people against you with all three attacking you at
once. Do not try to make 
correct techniques but keep your body moving and turning in a circular
motion, trying to keep 
your mind and body relaxed. 
Another method practice is for two partners to hold you and for you to
try to escape. This 
practice will show whether you are using strength or not. In the
beginning always let your partner 
hold you but as you progress you should move just before they touch
you. Lead their strength 
with yours. Do not let your Ki power clash with your partners or you
will not feel the real sense 
of Aikido. 
5. Suwari-Waza (Sitting Techniques) 
These sitting and kneeling techniques are more difficult for Europeans
than for Eastern 
students. The Aikido manner of kneeling and sitting is the Orient's
natural way of sitting. Unless 
one starts young it is hard to acquire this suppleness. But with
persistent practice one should be 
able to learn these techniques. This is a very good exercise for the
student's body especially for 
the hips. 
When I began Aikido my teacher instructed me mostly from the kneeling
positions. This 
lasted for two years. Because of this I got a good idea of the use of
the hips in Aikido. Later on, 
after practising these postures which can be seen in Plates 51 and 52,
try the actual knee walking. 
Start with one knee resting on the mat, keeping your feet underneath
your buttocks. The other 
knee is bent. Keep your hands on top of your knees. Now lower the knee
that is bent onto the 
mat and spin on your knee until you are in the opposite direction,
bringing the other knee into 
the bent position. Continue this move - alternatively changing knees
and turning from side to 
side. Keep your shoulders relaxed, the small of your back straight and
your toes bent uppermost. 
Practise until you are able to move in all directions with a smooth
rhythm. Then practise the 
technique with a partner - sometimes techniques should be practised
with one of your kneeling 
and the other standing. Occasionally practise with both of you
kneeling.
Each technique is done to counter a particular attack on form. The
form in which your 
partner attacks you is described in each technique to help the
student. 
6. Dress of Aikido 
The Aikido dress varies according to whether one is a Dan or Kyu
grade. All Kyu grades 
wear trousers, jacket and belt of the Kimono style. These clothes are
suitable for the art because 
of the freedom of movement and the strength of material. 
Dan grades wear Hakamas. This dress has been kept from the old days in
Japan when the 
Samurai used to wear them. The dress has the other advantage that it
teaches the student to move 
properly by keeping the feet closer to the mat. 
Cleanliness is very important in Aikido as well as the other fighting
arts. Not only is it 
very important to keep your body and clothes clean but also your mind.
Aikido's aim is to make 
harmony and this will not be achieved if one person in the Dojo is
clean and another dirty. You 
will find that no one will want to practise with the dirty club
member. This can cause bad feeling 
in the Dojo. Harmony will thus disappear. 
In Aikido toe and finger nails can be very dangerous so these should
be kept trimmed. 
When stepping on to the mat, the student should bow to it. This is to
give thanks to the mat 
because without it one would not be able to practise. Therefore we
respect it for being there and 
it teaches us not to take things for granted. 
Slippers should always be worn to the edge of the mat and when they
are removed one 
should step straight onto the mat. This prevents any dirt or grit
getting onto the mat. One should 
never walk on a mat wearing ordinary shoes. 
When practising try not to have the same partner all the time as you
will find that you 
get too used to each other. Everyone is different in build, weight and
height. Your techniques 
becomes more adjustable if you change your partners. 
One should not have stupid strength contests with each other or fool
about. Try to help 
to understand each other and help one's partner wherever possible. 
7. The Basic Principles of Aikido 
The basic techniques of Aikido are very important to learn thoroughly.
In this book I 
cannot give you all of them as they are too numerous. But I have tried
to give you a good overall 
guide. It is difficult to learn true Aikido from a book and the best
way is to practise in a club 
under a good teacher. But use this book in conjunction with your
training. 
This book, I hope, will help you to understand the real meaning of
Aikido. 
If you can imagine that you are like a spinning top and if someone or
something attacks 
you, they will fly off from you and not be able to enter into your
body. In Aikido all movements 
must be 'circular' - not 'triangular'. Thus if you are spinning like a
top and your opponent is on 
the outside, he is controlled not by strength but by your movement. At
the same time your body 
and mind must be relaxed. We then have a posture which is completely
alert. 
Always practise with good feeling and spirit. An excessive amount of
talking on the mat 
is a waste of time. Your breathing should be through your nose with
your mouth closed. By this 
method you will learn to control your breathing. This will in time
enable you to practise at least 
three hours a week. At the leading clubs in this country, most pupils
practise five hours a week 
and Dan grades ten hours a week. At the Aikikai, they have a system
whereby the pupils live in 
and devote their lives to Aikido. They train up to six hours a day for
seven days a week. After 
a certain number of years - usually ten - they are sent out as
apostles of Aikido to teach the Art 
to all parts of the world. 
8. The Power of Ki and Kokyu 
When listening to people talk about Aikido, you will hear about the
power of Ki (Spirit) 
and Kokyu (Breath control). Both are things that cannot easily be
explained as they are spiritual 
feelings. I am still trying to acquire these powers fully. I have
found that these powers in Aikido 
are only possible when one is fully relaxed. So if one loses one's
temper one will never find this 
power. This is why I feel sure that it is important to practise not
only the technical side of Aikido 
but also to discipline the mind and accept the ceremony which is
associated with the Art. 
9. The Ceremony in Aikido 
The ceremony in Aikido is similar to that in the other Martial Arts. 
The pupils bow to the teacher before and after practice. They also bow
to each other 
before each separate practice. This creates respect for each other and
is helpful to class discipline. 
Discipline not only stops accidents on the mat but also helps in
self-discipline which is essential 
in Aikido. This helps make the club a strong and happy one. 
10. Warming-Up Before Practice 
Warming-up is as necessary in Aikido as it is in other physical
activities. One loosens up 
one's joints and muscles. Starting from the feet, one twists one's
ankles. Then one softly but 
firmly taps one's insteps with the palms of the hands. Next in a
sitting position and with your 
legs tucked underneath you tap your thigh, shoulders and chest. From a
standing position bend 
one knee and push the other leg out. Try to get down as far as
possible. Keep the outstretched 
leg straight. 
Next stand in a natural posture stretch your arms out and twist from
your waist from side 
to side. Turn your head from side to side in time with your hands.
Then move your head up and
down. Finally twist your wrists. This is a little painful at first but
with practice becomes easier. 
Catch the back of your right hand with the palm of your left and twist
down to the right, for your 
left hand reverse the procedure. You are now ready to practise. 
11. The Aikido Techniques 
Shino-nage (four direction throw). 1st form 
This technique is the four direction projection as used in Japanese
fencing. It involves 
turning on the left and right foot and cutting in four directions.
Your opponent grasps your right 
wrist with his right hand. By making a spiral movement with your right
hand, you then catch his 
wrist. At the same time catch the back of his right hand with your
left hand, breaking his balance 
to his front. Do not lean backwards but keep your body slightly
forward. Step through with your 
left leg, keeping your legs slightly bent. Swivel on the ball of your
foot and bend your opponent's 
arm backwards. Throw your opponent down. 
Koto-gaeshi (small hand twist). 1st form 
This technique is called the small hand twist. As your opponent
catches your right wrist 
with his right hand, grab the top of it with your left hand and at the
same time turn ninety 
degrees to your right. Keep your head looking in the same direction as
you are going and your 
partner will come round in a semi-circle. Now change your direction,
going back with your leg. 
Your right hand should push on the back of his right hand, throwing
him. At all times try to keep 
this a smooth action and use circular not angular movements. Maintain
your own balance and in 
no circumstances use shoulder strength to try to force the throw. 
Irimi-nage (enter body projection). 1st form 
Irimi-nage is the enter body projection (throw) and is a special
technique of Aikido. When 
your opponent catches your right wrist with his right hand, keep your
right arm straight. Step in 
with your left foot into his rear side, your left hand encircling his
neck. You are now the centre 
of the movement, and, stepping backwards with your right foot so that
he is on the outside circle 
pull him into your right shoulder. Hook your right hand under his chin
and throw him down. 
Most of the control comes from your grip on his neck. Try not to use
strength catching him, 
otherwise he will resist you more easily. 
Kaiten-nage (spiral throw). 1st form 
This technique is a spiral throw and involves a circular movement. All
techniques of 
Aikido are circular and not angular. This is important to remember.
When the opponent attacks 
you for 1st form, step slightly back with your left leg. Your right
hand follows your body, taking 
his arm over his head as you escape backwards under his arm. Keep your
hand in the same 
position, push forward thus making an arc. At the same time you should
catch his right wrist 
with your left hand. With your right hand press upon his neck and roll
him forward.
Simultaneously step into him with your left foot, keeping your posture
upright. 
Tentchi-nage (heaven and earth throw). 1st form 
This is quaintly called the heaven and earth throw. As the opponent
catches your right 
wrist, cut off with your left hand and at the same time step with your
left leg to his right back 
corner, making sure you keep your left hand straight and pointing down
to the earth. The right 
foot is then moved with a zig-zag step to his right rear corner. Bring
your right hand arm under 
his chin and with your fingers of your right hand point directly
upwards and throw him down. 
Keep your posture upright and your balance correct. 
Ikkyo (first principle). 1st form 
As the opponent catches your right wrist with his right hand, move
your left leg and hip 
to the rear and lead him up bringing his arm back to his hand. At the
same time, your left hand 
catches him just above his elbow and pushing back over his head you
direct him to the floor. 
Then pin him down by kneeling with your left knee on his arm-pit.
Place your right knee near 
his wrist. Keep your arms straight and posture upright. 
Nikkyo (second principle). 1st form 
The first part of this technique is the same as Ikkyo. Step backwards
and lead him to the 
ground. But when coming back catch his fingers that are grasping your
right wrist. Then apply 
the lock by bearing down on the wrist. Simultaneously, move your body
backwards. This 
technique can be most painful to your partner and should not be
applied too quickly in the early 
stages. Even at advanced levels, care must be taken. Your partner
should tap to indicate 
submission as is done in the other martial arts. The moment he taps
you should release the 
application. 
Sankyo (third principle). 1st form 
When the opponent grasps your right wrist with his right hand step to
your left side. Turn 
your body move under his right arm, at the same time take his left
hand with your right. Now 
twist his right hand up and to the left, keeping the palm open. Move
your hips to the left. Cut 
his right hand down and grasping his elbow with your right hand direct
him to the floor. Apply 
the lock by keeping the elbow straight and face his body when pinning
him on the mat. 
Yonkyo (fourth principle). 1st form 
The opponent grasps your right wrist. Turn as in Sanyo and catch his
right hand with your 
left. Twist his wrist with your right hand and put the bottom of your
left forefinger on his right 
pulse. Push upwards, making sure that his elbow than his shoulder,
then cut his arm down to the 
ground. At the same time, step forward with the left foot. Pin him
down and release on 
submission.
This concludes the fundamental techniques. Throws are often achieved
in Aikido by 
forcing an opponent to throw himself if he is to avoid having one of
his limbs dislocated. This 
is why it is particularly important for the beginner to practise
carefully. The beginner will learn 
to avoid locks by throwing himself but this may take some time to
acquire. 
12. Aikido Breakfalls 
Aikido Ukemi (breakfalls) are similar to those in Judo. At all times
they should be soft, 
and your body should be kept like a ball. But unlike Judo at no time
should one hit the mat with 
your hand in order to soften the shock. In Judo, we argue that if you
find it necessary to use 
Ukemi in the street softening the blow by hitting the ground with your
arm, you will only 
succeed in hurting your arm. In Aikido we learn to roll when thrown so
as to recover on one's 
feet. 
Ukemi are important. You must remember that Aikido is not so much a
sport as a fighting 
art. Therefore, I believe that Ukemi are as important as other
techniques. If your Ukemi become 
proficient then you will follow your partner better because the fear
of falling will have gone. This 
will allow your mind to be calm and as the body always follows the
mind in Aikido then it will 
be more relaxed, giving you more speed and natural movement for your
technique. 
13. Aikido Posture 
The posture in Aikido is in an oblique position. The reason for this
is that you lessen the 
area of attack and you are able to move more easily and with speed.
Stand with your left foot 
half a step forward as shown in the photograph. This is left Hamni.
Right Hamni is the same 
except that your right foot is half a step forward. 
14. Advanced Aikido Techniques 
Defence against a knife 
Attack to the stomach 
There are many ways in which you can be attacked with a knife but I am
giving the most 
basic technique for you to practise. With the practice of Aikido, the
others will come more easily 
to you. 
Your partner lunges at you with the knife. Turn to the rear in a
clockwise direction so that 
your partner is kept moving. Step back with your left foot, at the
same time catch the back of 
his hand with your right hand and then throw him. As soon as he falls,
lock his arm by placing 
your right arm on his elbow. Walk around his head bringing him onto
his stomach. Now put your 
right knee on his neck and push his arm towards his head until he lets
go of the knife.
Koky-nage from 11th form 
Catching both of your wrists with his hands your partner comes in to
you. Slightly bend 
your elbows so as to break your partner's power. Step in to him to
stop him from pushing you 
back and kneel down. Your left hand should be pushing out and down to
the mat. Your right 
hand goes down to your partner's right foot and you can throw him
easily. Make sure that the 
small of your back is kept straight and your shoulders relaxed. 
Shiho-nage (four direction) 6th form attack 
Your partner attacks the side of your head. Step back to your right
corner with your left 
foot. Your left hand should guide his right. Your right hand attacks
his face. Follow through with 
your right hand, and catch his wrist with both hands then as in 1st
form Shiho-nage step through 
and throw him. 
Nikkyo (second principle) 4th form attack 
Your partner catches your wrist with his right hand. Step back to your
right corner with 
your left foot. Your right hand attacks his face. Follow through with
the back of your hand 
brushing down his arm. Your left hand catches your jacket above his
hand and with your right 
hand take hold under his hand. Now turn it over until his little
finger is uppermost, making sure 
that you keep it tight to your body. With your left elbow, bend his
elbow and bear pressure on 
his wrist until he submits by tapping. 
Tentchi-nage (heaven and earth throw) 3rd form attack 
As soon as your partner's right hand catches your shoulder, turn to
your right giving him 
no chance to punch you with his right hand. Try to keep contact with
his arm across your back. 
Now with this movement, he should be moving on the outside of you.
Change your direction by 
stepping back with your left foot. Your left arm comes over the top of
your partner's right, with 
a cutting action towards the mat. Your right foot makes a zig-zag step
towards his rear and your 
right arm pushes across his left shoulder. Keep your forward leg
slightly bent and shoulders 
relaxed. 
Shiho-nage (four direction throw) 4th form 
Your partner catches the front of your jacket with his right hand.
Step back to your right 
corner with your left foot. Attack your partner's face with your right
hand. Catch his wrist with 
both hands. Now use your shoulder against the inside of his elbow
joint. Step through with your 
left leg. Turn completely around on the balls of your feet and kneel
on your left knee. Your 
partner's arm should be bent backwards so as to break his balance.
Irimi-nage (enter body throw) 5th form 
Your partner's right hand attacks you to the centre of your head.
Using your right hand 
push straight towards him so as to deflect the blow. At the same time
step into his rear side with 
your left foot. 
Your right hand should be on top of his right hand. Now cut down his
right arm and catch 
his neck with your left hand. Step right around with your right foot
bringing him in a circle 
outside you. Pull his head into your right shoulder and throw him down
by bending his head 
backwards with your right arm. 
Sankyo (third principle) 6th form attack 
Your partner attacks the side of your head with his right hand. Guide
his right hand with 
your left. At the same time step back to your right corner with your
left leg. Attack his face with 
your right hand. Follow on down his arm to grasp his wrist. Take his
arm back in the direction 
of his head simultaneously stepping to his front catching the back of
his hand with your left 
hand. Put your fingers in the palm of his hand and place your own
thumb against his. Your right 
hand comes down just above his elbow and leads him to the mat. 
Shino-nage (four direction throw) 7th form 
Your partner punches to your stomach with his right hand. Turn your
body to the right 
and grasp his fist with your left hand in the same was as Kote-gaeshi.
Step back with your left 
foot, bringing his hand in the same direction. Now catch his right
wrist with your right hand. 
Your thumb should be across the inside of his wrists so that you can
push his arm straight. Step 
into his arm, your left arm pushing against his elbow. Slightly lift
his arm up and throw him. 
Nikkyo (second principle) 8th form 
Your partner catches your collar with his right hand. Step back to his
right side in a 
crouching position, letting his arm go over your head. You will find
that his wrist is now under 
your chin. Hold his right hand with your right hand and bend his elbow
with your left hand. Now 
bear down on his wrist with your chin. Bend your knees slightly as you
do this. This completes 
Nikkyo and he will submit by tapping. 
Sankyo (third principle) 16th form attack 
Partner holds you with his right hand around your neck. His left hand
is grasping your 
left wrist. Bend your body slightly forward, pushing forward with your
left hand. 
Step back to your left side, at the same time turning your left hip.
Catch the back of his 
hand with your right hand, thus applying Sankyo. Keep moving your body
to your partner's front, 
your left hand catching him just above his elbow. Move your body
backwards, lowering your
partner on to the mat. Kneel down with your left knee by his neck. The
other knee is by his side. 
Ensure that his arm is straight. Change from your right hand holding
his wrist to your left. Push 
your right arm down his arm bearing towards his shoulder until he
submits. 
Ikkyo (first principle) 7th form attack 
Your partner punches to your stomach with his right fist. Step back
with your left foot 
towards your right corner. Your right grasps the top of his wrist.
Take it in a downward 
movement by bending your knees slightly. When you feel your partner
resist slightly bring his 
arm back into him. Your left hand should be just above his elbow
pushing towards his head. Step 
in with your left foot, pushing him into the mat. Make certain that
his body and arm are flat on 
the mat. Push his arm more than ninety degrees towards his head. Put
pressure on his arm with 
your arms so as to immobilise him. 
Irimi-nage (enter body throw) 4th form attack 
Your partner holds your lapels with his right hand. Step back to your
right corner with 
your left foot. Attack his face with your right hand. Follow through
until your arm is under his 
right hand. Swiftly turn back and with a big circle with your shoulder
break his grip. At the same 
time, step into his right side with your left leg. Catch his neck with
your left hand. Take a big 
step with your right leg so that you are in the opposite direction.
Bring your partner in a wide, 
smooth circle. Keep his head into your right shoulder. Your knees
should be a little bent and 
your shoulders relaxed so as to maintain balance. Now bring your right
arm over his face and 
bend his head back. Throw him to the mat. Do not bend from the waist
but use your hip 
movement to throw him.
Kote-gashi (small hand twist) 6th form attack 
Your partner attacks the left side of your head with his right hand.
Step back with your 
left leg to your right rear corner. 
Your left hand should be guiding his right hand. At the same time
attack his face with 
your spare hand. Follow through with your right hand on top of his
wrist. Push his hand in a 
circle in front of him whilst you move to your right. Now catch his
hand with your left, with 
your right hand pushing on the back of his hand, step back with your
left leg and throw him. 
Make sure that you keep his arm straight and project your power. The
breakfall can be either 
forwards or backwards. But if it is forwards roll on the side that you
are thrown. Do not try to 
forward roll on your left arm if you are thrown by your right. 
Kokyu-nage 4th form attack 
Your partner catches you by the lapels with his right hand. With his
left he punches at 
your face. Side-step to your right by moving your hips and head.
Deflect his blow by using your 
left hand, making sure that your arm is straight and that feeling is
coming out of your fingers.
Now turn into his body with your right arm coming under both of his
armpits. Do not try to lift 
him over but lead his body down to the mat. Your left hand is still in
contact with his left arm 
and now lead him down to the mat. 
Sankyo (third principle) 14th form attack 
Your partner holds your elbows from the back. Keep your arms slightly
bent and push 
forward. Step back to his left side, with your body in a crouched
position. Bring your right arm 
over and catch the back of his left hand, making sure that your
fingers are well into his palm and 
your thumb against the knuckle of his thumb. Step round to his front
with your left leg. Break 
his grip from your elbow. Hold his elbow with your left hand and guide
him on to the mat so 
that he is face downwards. Kneel down, putting your right knee in the
middle of his back. Your 
other knee should be bent and the foot flat on the mat. Change the
grip from your left to right 
hand closing his wrist. Now use your left arm to pin his arm against
your own body. Turn to the 
right until you get the submission.
Koshi-waza (hip technique) 
The hip techniques are different to those in Judo. 
In Aikido, we make what we call 'T' form. This is not so much lifting
your partner up as 
using your hips as a see-saw. Imagine that the thrower is the upright
part of the 'T' and your 
partner is the cross. There are numerous techniques that one can do
with Koshi-waza. But usually 
these are not taught until the grade of 1st Kyu because of the special
use of the hips and the 
breakfalls involved. I have selected two main ones for this book. This
is one of them. 
Sankyo (third principle) Koshi-waza 13th form attack 
Your partner holds both your wrists from behind. Moving your body into
a crouched 
position push your hand forward and twist them. At the same time,
catch the back of his left 
hand with your right in the Sankyo position. Do not worry if he is
still holding your right wrist. 
Now push your hips through to his right side so that you are in a 'T'
form. The small of your 
back is against his thighs below his belt. Look up at your partner.
Now to throw him turn your 
head to your left, your right arm following him at the same time. 
Irimi-nage (enter body throw) 8th form attack 
Your partner catches the back of your collar with his left hand.
Attack his face with your 
right hand - usually the side as in the Karate shuto techniques. He
will defend against this attack 
with his right arm. As you hit his arm, step into his right side with
your left foot deflecting his 
right arm down. Now catch his neck. Step back with your right foot
making a ninety degree turn, 
bringing him with you. At the end of the movement, bring your arm over
his face throwing him 
backwards. He should escape by a backward roll, so as not to injure
himself.
Nikkyo (second principle) 12th form attack 
Your partner attacks both shoulder from your front. Step back with
your left foot to your 
own right corner. Counter with an attack to his face. Follow through,
bringing the back of your 
hand down his right arm so as to break his balance. Catch the back of
his hand with your right 
hand and bring it back so that his little finger is uppermost. 
Keep his hand close to your shoulder, your left hand bending his
elbow. Now step in with 
your right foot to the front of him and put pressure on his wrist. At
the same time move 
backwards so as to bring him face down on the mat. Kneel down with
your right knee by his 
neck and your left knee next to his armpit. Use your left hand under
his elbow to turn it over. 
Grasp his hand in the crook of your bent left arm. Bear down with your
right hand on his 
shoulder joint and turn your body to the right until he submits. 
At all times when going back you must think about going back. When
coming forward 
think forward. It is no good thinking forward when you are going back
or vice-versa. 
Kokyu-nage, 13th form 
Your partner grasps your wrists from behind. Move your body backwards
and push your 
hands forward. Simultaneously, twist your wrists slowly and lower your
body by bending at the 
knees. Escape to your partner's side. Still pushing your power through
your fingers, lower your 
hands to the mat, thereby throwing your partner. This technique calls
for complete harmony and 
understanding between partners. If you use strength, you will make
your partner resist or break 
his grip. 
Aiki-jyo jutso (stick technique) 
Techniques against a stick are very popular in Aikido. This is one of
them. 
Your partner thrusts to the stomach with the end of the stick. Move to
the outside - as 
shown in the photo - and catch the stick with your right hand. Bring
your partner round in a 
circle. Then grab the centre of the stick with your left hand,
bringing your right hand over your 
own head. Push the stick in front of your partner's body. Turn your
own body by swivelling on 
the balls of your feet and throw him backwards. 
Irimi-nage (enter body throw) 7th form attack 
Your partner punches your stomach with his right hand. Use your right
hand to deflect 
the blow. At the same time, step with your left leg into his right
side. 
Now catch your partner by the shoulders and push him down so as you
move past his 
back, bending your knees as you do so.
Kote-gaeshi (small hand twist) 5th form attack 
To counter an attack to the centre of your head, turn your body to the
outside, at the same 
time follow his hand down with your left hand until contact with his
hand is made. Your body 
should be moving towards his back, bringing him in a circular
movement. Make certain that you 
keep your arm straight. Now change direction, stepping back with your
left foot. Put the palm 
of your right hand on the back of his hand. Then push his hand over
with your hands thus 
throwing your partner. 
Ikkyo (first principle) 3rd form attack 
Your partner catches your left shoulder from one side. Step back to
your own right corner, 
bringing your right hand up to attack his face with either a punch or
a blow with the side of the 
hand. Follow through brushing the back of your hand down his arm.
Catch his wrist with your 
right hand and place your left hand just above his face. Bring your
body back and push his arm 
into the mat to immobilise. 
Henka-waza (combination technique) 
The idea of combination techniques is to train the individual to
change from one 
technique to another. Thus if your partner escapes from one technique
one can quickly switch 
to another. Also by being able to follow him by the feel of his
movement and direction, 
combination techniques give you control over your partner the whole of
the time. 
There are many combination techniques but you will find that if your
practise properly 
they will come automatically through your Aikido movement. This will
eventually come to you 
without you thinking about them. I will give you the basic idea from
1st form Shiho-nage into 
Kote-gaeshi and then into Ikkyo. 
Take your partner into 1st form Shiho-nage as I have explained. Now
when you are 
throwing him he will make a backward breakfall, so make certain that
you keep hold of his wrist 
with your right hand. Now take hold of the top of his hand with your
left hand. Your right hand 
catches the back of his hand. At the same time, step back with your
left foot, throwing him with 
Kote-gaeshi. Keep hold of his hand with your left hand, your right
hand coming over to grasp 
his wrist. Switch your left hand grip to just above the elbow. Turn
your body to the right, 
throwing him in Ikkyo. 
Counter techniques, 2nd form Nikkyo (second form) into Sankyo (third
form) 
With counter-techniques you must completely follow your partner. At no
time resist his 
technique, otherwise you will find that you cannot counter him. This
is a very good exercise for 
harmony and relaxation. Make sure that you first try to 'give'
yourself to your partner. Do not 
practise these techniques too fast until you have learnt to completely
relax.
First I will describe 2nd form Nikkyo. Your partner grasps your left
wrist with his right 
hand. Step back with your left foot towards your right corner. Your
right hand attacks your 
partner's face. Carry down his arm to grasp his right hand at the
back. Now bring it up until his 
little finger is uppermost and his hand is resting on your left
shoulder. Your left hand should be 
grasping his wrist. Now by bringing your left elbow over push down and
out. So as to bend his 
elbow do not stay in this position but move backwards. Bear down on
his wrist. These 
movements should not be done too sharply, but smoothly. 
Let us assume that your partner has obtained Nikkyo on you. Go
forward, pushing your 
elbow into his body and turning it across his chest. Catch his thumb
between your thumb and 
forefinger and move your left hip out. Now you will be able to catch
the back of his hand with 
your own left hand in the Sankyo position. Draw his hand down to the
mat. At the same time 
push your left hand downwards just above the elbow, with your body
moving backwards. 
When you are practising these counter-throws, try to keep you mind
always going 
forward. If you let your mind go back it will be too late for you and
his technique will win. This 
is the real fight in Aikido - to try to completely give yourself to
him. This lets your partner feel 
that he has secured the technique and won. This lulls him back into a
false sense of security and 
you will be able to counter him. If you cannot control your ego and
try to show that you are the 
stronger by resisting him, you will lose. 
Kaiten-nage (spiral throw) 2nd form left side 
Your partner's right hand grasps your left wrist. Keep your left arm
straight and step with 
your left foot to the left. Attack your partner's face with your right
hand. Follow down with your 
right hand pushing it under your partner's right arm. Step with your
right foot so as to turn your 
hips, going underneath his arm with your head coming through last.
Catch the back of his head 
with your right hand, your left hand grasping his wrist, and push his
arm in the direction towards 
his head thus throwing him. Try not to break your own balance when you
throw. But if you are 
off-balance, take another step forward to regain it, keeping the front
leg slightly bent. 
Irimi-nage (enter body throw) 15th form 
Your partner catches you from the back by the shoulders. Step forward
and bend slightly 
to one side. On the next step bend slightly the other way. Then make a
ninety degree turn into 
your partner. Take your head and the arm that is furthest away from
him between his two arms. 
Keep moving until you feel that he is coming off-balance. Now change
your direction by 
stepping back with one arm coming in the direction of his head. Do not
knock him down but 
steadily push him. Keep your body moving backwards until he falls to
the mat. Your partner 
escapes with a backward ukemi.
Nikkyo (second principle) 10th form attack 
Your partner grasps your right forearm with both hands, his right hand
round your wrist. 
Step back to your right corner with your left foot. Your right hand
follows in the same direction. 
Catch the finger of his right hand with your left and lock them
against your arm. Make a big 
circle, coming back into him with your right arm. Your hand now goes
over the top of his wrist 
and pushes him to his right side so as to bend his elbow. Begin to
move backwards at the same 
time bearing on his wrist. Bring your right hand towards your own
stomach and he will crumple 
on the ground. You can immobilize him as in Nikkyo 12th form. 
Irimi-nage (enter body throw) 5th form attack against stick 
Here is another defence against a man with a stick. It calls for
perfect timing and speed 
as well as relaxation. You are attacked from the front to the centre
of your head. First of all look 
to see which of his hands is leading. As he brings the stick to your
head, move directly towards 
him. Keep your body in an upright position and step with your leg into
his right side. Turn your 
hips and head as you step so that your chest is nearly touching his
back. Your left hand catches 
his neck and your right hand goes over the top of his right wrist so
as to stop him bringing the 
stick back. Step ninety degrees with your right foot to the rear,
bringing your partner in a wide 
circle. Now take his head close to your right shoulder and with your
right arm coming over his 
head throw him down. 
I end this techniques with another of the Koshi-waza (hip techniques).
Ikkyo, 1st form (Koshi-waza) 
The first part is the same as 1st form Ikkyo but instead of you
pushing your partner's arm 
towards the mat, you take it over his head, pushing your hips through.
Your right side is now 
touching him and the small of your back is completely against his body
and underneath his centre 
of gravity. Keeping his arm pushed out, swivel your hips and throw
your partner over. 
15. Exercise for One Person 
Often Aikidoists should supplement their Dojo training with practice
at home. The 
exercises I am giving here are for you to practise by yourself for the
purpose of building your 
Ki power, movement and balance. They are also good for relaxing your
mind. Stand in left 
Hamni posture, your hands having the feeling of pushing down and out.
Step forward, with your 
right foot turning at the same time. Repeat with your left so that now
you are in the reverse 
position. Do not stop dead. Repeat the movement. Keep this movement
going so that you build 
up a smooth and fast movement. On no account jump when you are doing
this exercise. Keep 
your centre of gravity down.
In the next exercise take the posture of left Hamni. Now with your
arms pushing forward 
and your fingers open and stretched out, keep the small of your back
straight, shoulders relaxed 
and head upright. As you push forward with your arms slide slightly
forward and bring them 
back to your side. Keep doing this until you can get someone to test
you by standing in front of 
you when you push out. See if they can push you back by holding your
wrist. Practise this 
exercise on both sides. 
16. Breathing Exercises 
Sit in an upright position with your legs folded underneath you. The
small of your back 
must be straight, the shoulders relaxed and your hands in your lap.
Push your hands out to your 
front bringing them up and out so as to open your chest. At the same
time, breathe deeply in 
through your nose. Your hands come back to catch the left hand in the
right. Push your breath 
down below your navel. Hold this for a few seconds. Now blow your air
out of your mouth 
whilst your hands are pushing forwards. Repeat this exercise four or
five times before and after 
training.
From a standing position bend your knees and try to imagine that your
body is a ball. 
Keep your body in a crouched position. Now roll back. Do not roll
right over as in the backward 
roll. As your head touches the mat regain your balance by rolling
forward. 
17. Conclusion 
There is no such thing in Aikido as a contest. It is against all the
principles of the art. 
Thus, if you practise 'contest' Aikido, you are not practising true
Aikido but street fighting. It is 
therefore better to practise in the streets as it is cheaper and the
training is not so hard! 
In Aikido, you must remember that your partner is not your enemy but
your friend. Look 
after his welfare as well as your own. Help him to learn Aikido. If
you injure him purposely then 
he will go away and you will not progress by yourself. There is an old
Japanese saying: 'It takes 
two hands to make a noise; one is no good by itself'. 
I truly believe that by giving to others you can obtain a great deal
of pleasure. Higher 
grades must be kind to lower grades and help them in their difficult
periods. Lower grades must 
have respect for their seniors and listen to them when they are
teaching. In this way, 
improvement can be assured.
--
Non c'è Peggior Troll di Chi non Vuol Capire
(Geppo)

>>
non esageriamo: chi esce fuori di casa la sera va sempre - immancabilmente -
a fare qualcosa che gli piace
mi fermo qua: non avrebbe senso commentare fino alla fine riga per riga,
ognuno è libero di dire la sua su quello che fa e il tizio stesso - che
sembra scrivere negli anni 60 - probabilmente adesso correggerebbe molto di
quello che ha scritto; in ogni modo vale sempre la pena di sentire quello
che pensa la gente, ma questa chiacchierata a piede libero di Ken Williams ,
ne non va presa come una fonte di notizie verificate ed attendibili
sull'aikido
Williams è passato poi negli anni 70 al Ki no Kenkyukai e ne è uscito
nell'86, dopo di che non ho sue tracce
Paolo

 3 anni per lo shodan allenandosi 2 volte a settimana č irrealistico
Io ce ne ho messi 6 allenandomi 2 volte a settimana !
Fra
--
"Hana wa sakura gi, hito wa bushi"
___________________________
Iwama Ryu Aikido
www.iwamaryunapoli.tk

quello che ha scritto
Per dovere di cronaca, č tutta roba rinvenuta sul Mulo. Facile che sia
piů che datata; per quel che riguarda la mia pratica, il fatto che il
materiale provenga dai Sixties non mi tange, anzi c'č caso che sia
pure meglio - verificherň; se invece ho postato delle inesattezze
circa l'aikido me ne dolgo, solo non potevo saperlo (d'altra parte
sennň tu che ci stai a fare?). Spero che le altre sezioni siano
sostanzialmente corrette.
Ciao
Geppo
--
Non c'č Peggior Troll di Chi non Vuol Capire
(Geppo)

>>
la frase suona bene e fa piacere sentirla (oltre che dirla), ma č
sostanzialmente falsa: c'č tanta gente in giro che ha buona tecnica ma
non vale una lira come persona
ma per fortuna ci sono anche tanti imbranati che sono persone correttissime
e
piacevoli
Paolo


Il motivo lo sappiamo tutti...