Student Handbook - Central Aikidocentralaikido.org/resources/handbook.pdf · Central Aikido Student Handbook 3 What Is Aikido? The name “Aikido” is composed of three Japanese

Student Handbook

Central Aikido

Central Aikido Student Handbook

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Introduction What is Aikido? History of Aikido and O-Sensei General Principals of Aikido United States Aikido Federation USAF Mission & Bylaws Central Aikido Dojo Culture A Point of Etiquette Anatomy of the Dojo All About Bowing Entering & Leaving the Dojo Stepping on the Mat Opening & Closing Class Dojo Cleaning & Other Points of Etiquette A Note on Japanese Names & Titles The Senpai/Kohai Relationship The Gi & the Hakama Weapons Training Aikido Training Being Uke Appropriate Ukemi When Aikido Gets Tough Some Common Problems The Path of Promotion Examination Etiquette Your First Test: Rokukyu (6th Kyu) Gokyu-Ikkyu Exams Dan Level Exams Appendix I – Useful Phrases & Lexicon Appendix II – Central Aikido Constitution

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Introduction Why a Student Handbook? Here we hope to answer all your questions, asked and unasked, about your aikido training and dojo experience. While the handbook is an expansion of the USAF New Student Guide, much of the content is new and unique to this edition, drafted expressly for our students. We want to express our deep gratitude to Yamada Shihan and the Technical Committee members who made the original Student Guide. There are many things when starting Aikido that are often strange and confusing. Not being born in Japan and raised in the dojo, it can be hard to figure out the etiquette and customs. It can even be difficult for students who have had previous martial arts training. The way a dojo operates may, at times, seem antiquated. You may catch yourself wondering why we do these strange things – after all, we’re not in Japan. What you learn is important, but so too is how you learn it. Moreover, uniformity between dojo means you can attend classes elsewhere, even join other dojo, and not have to always start over. You can attend seminars and know what to expect, and what others expect of you. You can travel abroad, even to Japan and Hombu Dojo and fit in. Think of the dojo culture as driving a car. If we all know the rules, we all stay safe. It’s the one rogue car going speeding down the wrong lane that causes the head-on collision. We hope, through this handbook, to provide you with the means to understand the culture and etiquette, and find your lane. We aim to make it easier for you to practice Aikido in a safe, respectful environment. It is meant to be a starting point into the culture, but does not cover everything. It is also not meant to be read in one sitting, but instead taken in pieces and digested as you near your first kyu test. And read again later as you advance through the ranks. We hope this answers all your questions, even the ones you didn’t know you had, and sets you well on your way in your practice of Aikido. You may find you have questions not answered here, or that you need more clarification. Your senior students and instructors are always here and happy to help guide you on your way.

Welcome to Aikido As a new student, you have made a commitment to study Aikido; a commitment we hope you will pursue with sincerity. The process of learning this art is a journey and on it you will experience new ideas, physical challenges and no small degree of frustration. Just remember, all of us have stood where you are now standing–at the beginning. We understand how it feels to immerse yourself in a new environment that is exciting, confusing and even somewhat intimidating. People study Aikido for many different reasons. You may be drawn to the art for exercise, self defense, spiritual development, self realization or any number of reasons. All are valid and all have a place in Aikido. The art is infinitely flexible and adaptive and will meet any/all of those needs for the sincere practitioner. Like any truly worthwhile endeavor, it will not always be easy. However, if you persevere, you will find that your life will be enriched in many ways. Consistent Aikido practice improves one’s physical conditioning–strength, balance, flexibility, coordination, cardiovascular health–and one’s mental conditioning–self-confidence, concentration, perception, alertness, and concern for others. Aikido teaches one how to focus mind, body, and spirit into a vital, perceptive, and engaging sense of awareness. In short, Aikido is a vehicle for physical, mental and spiritual transformation. However different our reasons may be for coming to practice, we all share a common medium, Aikido, and through that medium, a common culture. In addition to learning new ways of moving and being in your body, you are also entering into an environment which is steeped in aspects of Japanese culture which may seem somewhat esoteric even to modern Japanese. It is the purpose of this guide to provide you with an understanding of the dojo environment and the cultural framework within which our training takes place. It is our hope that this guide will encourage you as you start on your path and help you to feel welcome in the world of Aikido.


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What Is Aikido? The name “Aikido” is composed of three Japanese words/kanji: Fundamentally, Aikido is the “way of the spirit of harmony”. However, the word “Aikido” can be translated as the “way of blending energy”, or the “path of unity with the fundamental force of nature”. Traditionally, however, it is the Way of Peace. Aikido is a true budo or martial way that evolved in the historic tradition of Japanese warrior arts. Studied in earnest, budo is more than a science of tactics and self defense. It is a discipline for perfecting the spirit of the practitioner. Aikido is a paradox: it is an extremely effective form of self defense but it is also considered by many to be a path of peace and reconciliation. Some dojo lean more towards one side of this equation than the other. Don’t forget that the Founder, O-Sensei arrived at his deep state of understanding only after many years of rigorous, martial training; it would be extremely presumptuous to think that we can start where he left off! So, is Aikido a path of peace or a martial art? The answer is, if it isn’t both, it is neither. Although Aikido’s techniques are derived from centuries old Samurai battle tactics, the art in its modern form was created during the first half of the twentieth century by an extraordinary martial artist, Morihei Ueshiba (1883-1969). Ueshiba (referred to by his students as O-Sensei, (

�� or �� "Great

Teacher") was a remarkable individual. As a young man, he studied and became expert at several traditional forms of Japanese martial arts including sword and spear arts as well as empty hand combat (Jiu-Jitsu). A deeply spiritual man, O-Sensei brooded over the futility of a path based on violence and domination over others. Leading a life of austerity and rigorous training, he struggled with this dilemma for many years. In a moment of profound awakening, O-Sensei realized that winning at the expense of another was, at best, a temporary victory which ultimately leads to one’s own destruction. The essence of this revelation is contained in his statement, "Masakatsu Agatsu" (true/correct victory is victory over oneself). Transformed by this spiritual insight, O-Sensei’s technical mastery evolved into a martial art of refinement and astonishing power, fundamentally different from those which preceded it. "The secret of Aikido," he wrote, "is to harmonize with the movement of the universe and bring ourselves into accord with the universe itself." In his later years, O-Sensei maintained that the warrior’s path is a path of love ("AI"), a way to overcome the discord within ourselves and bring peace to the world, "To make the heart of the universe one's own heart." He said, "Aikido is not an art to fight with or defeat enemies. It is a Way to bring all people together as one family. The essence of Aikido is to put oneself in tune with the guiding principles of the universe. Those who have grasped the inner meaning of Aikido have the universe within themselves". O-Sensei taught that true awareness is not grasped by intellect alone. "This is not mere theory," he said. "You must practice it." Aikido offers us the opportunity to put these high ideals into practice and make them manifest in the physical reality of our day-to-day existence. At the core of almost all philosophical interpretations of aikido, however, we may identify at least two fundamental threads: (1) A commitment to peaceful resolution of conflict whenever possible. (2) A commitment to self-improvement through aikido training.

“ai” (harmony)

“ki” (energy/spirit)

“do” (way or path)


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O-Sensei & the History of Aikido

O-Sensei Morihei Ueshiba

1883-1969

Nidai Doshu Kisshomaru Ueshiba

1921-1999

Sandai Doshu Moriteru Ueshiba

1951-

Aikido's founder, Morihei Ueshiba, was born in Japan on December 14, 1883. As a boy, he often saw local thugs beat up his father for political reasons. He set out to make himself strong so that he could take revenge. He devoted himself to hard physical conditioning and eventually to the practice of martial arts, receiving certificates of mastery in several styles of jujitsu, fencing, and spear fighting. In spite of his impressive physical and martial capabilities, however, he felt very dissatisfied. He began delving into religions in hopes of finding a deeper significance to life, all the while continuing to pursue his studies of budo, or the martial arts. By combining his martial training with his religious and political ideologies, he created the modern martial art of aikido. Ueshiba decided on the name "aikido" in 1942 (before that he called his martial art "aikibudo" and "aikinomichi").

On the technical side, aikido is rooted in several styles of jujitsu (from which modern judo is also derived), in particular daitoryu-(aiki)jujitsu, as well as sword and spear fighting arts. Oversimplifying somewhat, we may say that aikido takes the joint locks and throws from jujitsu and combines them with the body movements of sword and spear fighting. However, we must also realize that many aikido techniques are the result of Master Ueshiba’s own innovation. On the religious side, Ueshiba was a devotee of one of Japan’s so-called "new religions", Omotokyo. Omotokyo was (and is) part neo-Shintoism, and part socio-political idealism. One goal of Omotokyo has been the unification of all humanity in a single "heavenly kingdom on earth" where all religions would be united under the banner of Omotokyo. It is impossible sufficiently to understand many of O-sensei's writings and sayings without keeping the influence of Omotokyo firmly in mind.

Despite what many people think or claim, there is no unified philosophy of aikido. What there is, instead, is a disorganized and only partially coherent collection of religious, ethical, and metaphysical beliefs which are only more or less shared by aikidoka, and which are either transmitted by word of mouth or found in scattered publications about aikido.

Some examples: "Aikido is not a way to fight with or defeat enemies; it is a way to reconcile the world and make all human beings one family." "The essence of aikido is the cultivation of ki." "The secret of aikido is to become one with the universe." "Aikido is primarily a way to achieve physical and psychological self-mastery." "The body is the concrete unification of the physical and spiritual created by the universe." And so forth.

After O-Sensei passed away on April 26, 1969, the Japanese government posthumously declared Morihei Ueshiba a Sacred National Treasure of Japan.

O-Sensei's son, Kisshomaru Ueshiba, inherited the title Doshu (Leader of the Way). He continued his father’s work at Hombu Dojo (Aikido World Headquarters) until he passed away in 1999. Today, O-Sensei's grandson, the third Doshu, Moriteru Ueshiba, continues to enlighten the lives of men, women and children from over seventy countries throughout the world.

You are now a part of a world-wide network of Aikido practitioners. As such, you may soon find yourself meeting, interacting and making friends with Aikido practitioners from around the world.


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General Principles of Aikido Aikido is a purely defensive art based on the principle of active non-resistance. Rather than meeting violence with reciprocal violence, the aikidoka (practitioner) learns to evade and re-direct the power and energy of the attack resulting in the attacker being unbalanced and subsequently either projected (thrown) or immobilized (pinned). Thus, it is the attacker’s own force and momentum which ultimately neutralize the aggression. Since the aikidoka never meets force with force, the techniques can be effectively applied even with a larger, stronger attacker or (at the higher levels of the art) with multiple attackers. While all traditional arts emphasize defense, Aikido stands alone in that it's highly developed standard of ethics are manifest in the techniques themselves. Great emphasis is placed on using the minimum amount of force necessary to neutralize an attacker’s will and desire to fight, while simultaneously seeking to protect the assailant from the more extreme consequences of his own violence. Partner practice Do not be mistaken; Aikido is budo. Aikido techniques are extremely powerful and some have the potential to cause pain, injury, or even death. For this reason, Aikido practice must always be conducted in a spirit of mutual respect and cooperation. Unlike most other martial arts, there is very little solo or “kata” practice in Aikido. (The exception being some weapons training.) Since our goal is the blending of our energy with that of another, practice is done with a “partner” not an “opponent”. Many people, when first exposed to the art, note that, “it looks like the attacker is just going along with the technique.” That is because that is exactly what they are doing! While this may be difficult to understand in the “win/lose” context of modern sport, it becomes very clear when one actually experiences the power of Aikido. To resist an accomplished aikidoka’s technique is not only foolish, it is downright dangerous. If competition were allowed, we would have to eliminate many of our most powerful techniques because of the risk of serious injury. Always remember that your partner is, in essence, loaning you their body so that you can perfect your movement. You must always respect each individual’s unique situation, taking into account differences in age, size, strength, physical condition etc. Don’t forget that for every throw or pin that you execute, your partner will get to “return the favor” so be sure to treat others the same way you wish them to treat you. Everyone on the mat is there to learn and help their partners learn and improve. Practice should be serious yet joyful, energetic yet supportive. Remember, Aikido is not a sport or a game; there are no tournaments or other forms of competition in Aikido. It is each student’s responsibility to bring only positive, constructive energy onto the mat.

Dynamics Of Aikido The essence of all Aikido technique is the use of total body movements to create spherical motion around a stable, energized center. Even when a technique appears to be using only one part of the body, close observation reveals the aikidoka's movements are, in fact, total body movements. Properly executed, some techniques are spectacular; sending an opponent flying through the air. Others are small, deft movements that immobilize the aggressor. Both results are achieved through precise use of leverage, inertia, gravity, and the action of centrifugal and centripetal forces. Ultimately, it is the energy of the attack itself which brings down the attacker.

Aikido Training The final aim of Budo is personal transformation. Its goal is the creation of integrated human beings who are able to bring the totality of their wisdom and capabilities in order to resolve a problem. Yet philosophical discussion is rare in the dojo (training hall). The focus is highly practical. Constant repetition to master the fundamentals of movement, timing and breathing is the fundamental requirement. Students train themselves to capture the opponent's action and redirect it with techniques of martial efficiency and power. At the same time, they become aware of the tendency to overreact to opposition, and learn to remain centered under all conditions. Most practice is done with a partner. Each works at his or her own level of ability, alternating as uke (the attacker), and nage (the one who receives the attack). Both roles are stressed as each contributes skills that enhance overall sensitivity and control. Increased stamina, flexibility, and muscle development occur naturally as a result of training, but the techniques themselves do not depend on strength for effectiveness. Since Aikido's movements and techniques arise from the most efficient utilization of the entire being, great power can be developed by the practitioner, regardless of physical strength. Aikido practice encompasses a broad range of training styles, and allows people to train based on their individual stage of development. As a result, Aikido can be practiced by men, women and children of all ages.

Centering The aikidoka develops a relaxed posture in which the weight of the body is directed towards its physiologic center in the lower abdomen. Gravity is no longer a force to be overcome. Rather it serves to support and stabilize posture. As a result, ordinary movement assumes an appearance of grace and economy. The effects of centering are mental as well as physical. In addition, vitality increases, the senses are sharpened, and one is less affected by the irritations and annoyances of daily living. This state is referred to in Japan as having hara, or strong ki. It is a manifestation of the inner quality which aids the student of Aikido to develop to his or her fullest potential in every area of life.

http://www.centralaikido.org/guide/dictionary/index.htm#Aikidoka

http://www.centralaikido.org/guide/dictionary/index.htm#Aikidoka


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O-Sensei left as his legacy six guidelines for Aikido, known as the "Reminders in Aikido Practice". While Doshu, Kisshomaru Ueshiba, the son of O’Sensei states in his book, “The Spirit of Aikido”, that since these guidelines were written in 1935 some of the language may seem archaic. He has thus offered an interpretation on his father's teachings.

O-Sensei’s Reminders in Aikido Practice

Doshu's Interpretation of Reminders in Aikido Practice

Aikido decides life and death in a single strike, so students must carefully follow the

instructor’s teaching and not compete to see who is the strongest.

Proper Aikido can never be mastered unless one strictly follows the instructor’s teaching.

Aikido is the way that teaches how one can deal with several enemies. Students must train themselves to be alert not just to the

front but to all sides and the back.

Aikido as a martial art is perfected by being alert to everything going on around us and

leaving no vulnerable opening (suki).

Training should always be conducted in a pleasant and joyful atmosphere.

Practice becomes joyful and pleasant once one has trained enough not to be bothered by pain.

The instructor teaches only one small aspect of the art. Its versatile applications must be

discovered by each student through incessant practice and training.

Do not be satisfied with what has been taught at the dojo. One must constantly digest,

experiment, and develop what one has learned.

In daily practice first begin by moving your body and then progress to more intensive

practice. Never force anything unnaturally or unreasonably. If this rule is followed, then

even elderly people will not hurt themselves and they can train in a pleasant and joyful

atmosphere.

One should never force things unnaturally or unreasonably in practice. He should undertake training suited to his body, physical condition

and age.

The purpose of Aikido is to train mind and body and to produce sincere, earnest people. Since all the techniques are to be transmitted

person-to-person, do not randomly reveal them to others, for this might lead to their

being used by hoodlums.

The aim of Aikido is to develop the truly human self. It should not be used to display ego.


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United States Aikido Federation

Yoshimitsu Yamada Shihan

Hachidan (8th Dan) President, USAF

Yoshimitsu Yamada Shihan began his training as an uchi-deshi (live in student) of the founder in 1957. In those days, Aikido was not known to the general public. One had to have several character references to be allowed to train. As an uchi-deshi, Yamada Sensei lived in the dojo, took four or five classes per day and was also responsible for maintaining the dojo as well as taking care of the personal needs of O-Sensei and his family. In 1964, Yamada Sensei came to New York to participate in the New York World’s Fair. Beginning with a small group of students who were already practicing Aikido, he formed the New York Aikikai which he still heads. In 1966 Mitsunari Kanai Shihan, another of the Founder’s uchi-deshi, arrived in the U.S. and began teaching at the New England Aikikai in Cambridge, Massachusetts. Aikido had firmly taken root on the east coast. In 1972, Akira Tohei Shihan left his teaching post at Hombu dojo and moved to Chicago where he established the Midwest Aikido Center in 1975. In 1981, Kazuo Chiba Shihan, who was also an uchi-deshi of the Founder, arrived in California and founded San Diego Aikikai. These four original students of O-Sensei, along with Yoshioka Shihan in Hawaii formed the United States Aikido Federation with Yamada and Kanai Shihan representing the East Coast, Tohei Shihan the Midwest, Chiba Shihan heading the West Coast with Yoshioka Shihan heading the Hawaiian region. In 1988, Seiichi Sugano Shihan, another of the Founder’s uchi-deshi arrived in New York. After many years of instructing in Europe and Australia, Sugano Sensei joined Yamada Sensei at the New York Aikikai. Unfortunately, Tohei Shihan, Kanai Shihan, Yoshioka Shihan and Sugano Shihan have since passed away. Thus, while the USAF was originally divided into four regions, this is no longer the case. The geographic regions became less relevant as students from each region became teachers, many of whom moved outside of their original regions. Since a student’s primary loyalty is to his/her teacher and the central USAF organization, it no longer made sense to maintain a structure based on geographical boundaries. Hence, in 2005, the USAF was reconfigured as one organization. There are currently over two hundred USAF Aikikai affiliated member dojo. The USAF currently has 25 Shihan within North America.


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USAF Mission & Bylaws The United States Aikido Federation (USAF) is a 501 (c) 3 not-for-profit organization. The direction and management of the USAF is carried out by a Board of Directors and the Technical Committee. The purposes and principle of the USAF as codified in its by-laws are: a) to spread and maintain the integrity of the martial art of Aikido, as

created, developed and exemplified by O-Sensei, Morihei Ueshiba, and spread by the Aikikai Foundation, Aikido World Headquarters, Tokyo, Japan.

b) To develop and guide the practice of Aikido and its instruction as it is established at Hombu and disseminated by the USAF, a New York not-for-profit corporation.

c) To promote and develop good will and friendship, and to improve lines of communication, among members of the USAF and other Hombu recognized organizations.

d) To register approved Dan grades with Hombu as laid down in the international regulations of Hombu. e) To standardize Kyu grading consistent with and as described in the international regulations of Hombu. f) To represent, defend and promote the interests of members of the USAF. g) To support and promote Aikido as created by the Founder Morihei Ueshiba, and spread under the

direction of Hombu. h) To carry out such other activities as are permitted by the laws of the State of New York and necessary

or incidental to the achievement of the above purposes. The USAF Technical Committee provides guidance in all matters pertaining to technique, testing requirements and rank promotions. All Yudansha (black belts) are vetted by USAF Shihan (Master Instructors), Instructors (Shidoin), and Assistant Instructors (Fukushidoin). While Shihan are appointed by the Aikikai World Headquarters, certification for Shidoin and Fukushidoin is granted by the USAF Technical Committee to assure that the quality of instruction is consistent throughout the organization. The USAF also provides a direct connection to Hombu Dojo, the Ueshiba family and the International Aikido Federation, of which, the USAF is the sole United States representative to that international Aikido congress. Members of the USAF are proud that the Aikido being taught in their dojo is a direct transmission of the art, passed down from O-Sensei to his most senior students, to us.


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Central Aikido In April 2009, Cliff Fuller and Tom Burden, coming from two very different Aikido backgrounds, founded the Aikido @ Central student organization of the University of Central Missouri. Originally a group for the practicing non-organization specific aikido, it quickly became evident that to practice techniques, someone had to teach them. By October the club had integrated into the Blue Springs Aikido Schools organization. In 2012 Central Aikido and Blue Springs Aikido split and Central became a full dojo of its own.

Today Central Aikido operates as a full dojo within the United States Aikido Federation. The unique Aikido background of our instructors brings to the mat some of the wisdom of numerous great sensei, creating an experience not normally found in other dojo. Our Mission The mission of Central Aikido, its instructors and officers, is to provide a traditional Aikido training environment in a cohesive and effective manner. Transmitting and perpetuating the philosophy, discipline and techniques of Aikido as established by the Founder.

To improve the mental and physical health of University of Central Missouri students and the surrounding community by using Aikido as an engine to train and enable members to maintain a healthy and balanced life while promoting personal safety, responsibility and unity.

To help, as best we can, fulfill the vision of O-Sensei, the United States Aikido Federation and Hombu Dojo.

Our Lineage

Moruhei Ueshiba, Founder 1883-1969

Yoshimitsu Yamada, 8th Dan

Linda Lee Vecchio, 7th Dan


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Dojo Culture The word "dojo" literally means "Place of the Way". In other words, it is a space specially set aside for the practice of a particular path or Way. In a philosophical sense, O-Sensei once said that his aikidoka carry their dojo with them, in their heads. In a practical sense, it is where you practice budo. A combination of the philosophy and the practical gives you an Aikido dojo. The dojo is NOT merely a gym or health club and should not be treated as such. Even if the space in which you practice is located in a recreation center or other facility and the mats are stored in a closet before and after training, it is important that you respect the mat area as a special place for a special activity. Even when the mats are not out. The dojo is more than just a space; it is a community of like minded individuals and also the repository of many years of sincere effort on the part of all the aikidoka who came before you.

As with any martial art, there is a fair amount of etiquette to Aikido. It is not antiquated, as some may believe. Etiquette shows respect, for your classmates, your instructor, the art, and for yourself. This provides a safe, effective environment to learn in. Without etiquette, a dojo falls into chaos and people get hurt. No matter if you are new to Aikido or from another dojo, we follow the practice passed down by the Founder, Morihei Ueshiba.

Sincerely following proper dojo etiquette is an important part of your practice. While we make allowances for differing etiquette, a lack of etiquette is unacceptable. Your outward demeanor is a reflection of your state of mind and inner being. If your demeanor is sloppy, inattentive or overly casual, you are not in the proper frame of mind to benefit from practice. While the rules governing proper etiquette may vary slightly from one dojo to the next, the underlying principles of sincerity, respect and humility are universal and immutable. Know Your Place In the West this statement is often taken with negative connotations, where everything is supposed to be fair and democratic, and everyone equal. In the East, no such negative connotation exists, everyone is a part of a greater whole, everyone has their place. It has been said that Japan is one giant codependent society. Everyone’s place in society reflects a unified whole. You are not one in millions, you are one of millions. You must remember that the dojo and the way that is practiced there is not a construct of the West, and should not be treated as such. When in dojo one becomes aware of their place. Non-ranking and lower ranked students are found on one side, higher ranked students and instructors on the other. This is traditional, and servers many purposes; from ancient ideals of defense, to more modern and practical reasons. One thing is for certain, even without colored belts, it doesn’t take long for a new student to identify who has rank – as the student progresses, their place in the dojo shifts. They move across it, slowly, seeing the dojo from a new perspective as they find their way. Until they are sitting on the other side – the high side. It is a journey of only a few feet, but takes years. The whole while the scenery is both the same, and different. Your journey on through the Way is marked, inch by inch. And you know, as you inch along, you are progressing. Where you are in your journey is as simple as where you stand in the dojo. Knowing your place in the dojo is a philosophical statement, yet it is also a literal one. It should be the goal of all aikidoka to know their place, be in their place, and exemplify it. It is not only through hard training that this is done, it is also through proper etiquette and state of mind. This is the culture of the dojo, and it is now your culture.

The Budo Life In the old days, the practice of budo was simple. Not easy, but simple. First you found a sensei. They you convince them to teach you. You gain access to their dojo. Then, you follow. Yes, follow. Simple. No being comrades and drinking buddies. No competition for who is favorite student. No passing or failing grade tests on sensei’s current mood. No colored belts. No worry sensei’s day job will transfer him 400 miles away next week. Not anymore. But one thing remains of budo that is indelible in a proper dojo: being introduced to yourself. Development of the self is now, and has always been at the heart of all great budo.


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A Point on Etiquette Where we are on our journey is reflected by where we stand in the dojo. Regardless of where you stand, high or low, all students arrive there the same way – through the front door. And how you enter it is as important as what you do when you’re on the mat. Training doesn’t begin when sensei calls class to order. It doesn’t begin when you’re in your gi and on the mat. It is daily, in every moment, but more to the point, it’s on the way to the dojo. And you should arrive there early. As we head to the dojo our minds should be heading there as well, putting us in the mind of what we are going there for. Begin setting the rest of the day aside. Pulling up outside with speakers blaring and tires squealing is not appropriate. Approaching the dojo door with raised voices, stumbling through laughing and giggling is no sign of maturity, and should be highly discouraged. Of course we want your time in dojo to be pleasant, even joyous. But you never know what is going on inside, and what you are possibly disrupting. Etiquette is about respect, for ourselves and others.

Enter the dojo with a bow. Remove your shoes and place them in the proper location. Socks belong with your clothes, not your shoes (which you will appreciate when on cold cement floors in the dead of winter). Zori (sandals), socks and bare feet are the only acceptable footwear in dojo. More than tradition, it helps keep the dojo clean. After you change your clothes should be put away, or set aside in a tidy manner, not strewn about the changing area. Others use this space and should not have to kick aside or work around your mess. Turn your cellphone off! Once you are dressed properly, step onto the mat and go to your appropriate part of the dojo. Stretch and warm-up, focus your mind on the training to come. Keep conversations to a minimum. This is the time to work on your ukemi. If possible, find a fellow student of equal or higher rank that is willing to work with you on techniques you are shaky on. Use the time to meditate, and be aware of others that may be doing so if you must have a conversation with someone. But above all, be aware of the time and sensei; be ready for the start of class.

Never talk while sensei is talking. It’s rude and distracting both to sensei, but also to the other students. Before, during and after class never sit with your back to O-Sensei or with your feet stretched out to the kamidana. This is disrespectful on multiple levels. You are in a dojo, not your livingroom. Always remember that, even if you don’t care for all the spiritual connotations and etiquette, others in the dojo do. And you have to work with them.

Hygiene Long hair should be kept from the face, and pulled back. Keep your finger & toe nails trimmed and clean. Remove all jewelry and watches. Even wedding bands. Be clean and presentable. Use deodorant and be sure your hands and feet, in particular, are clean. Your gi, or workout clothes if you don’t have a gi, should be clean and presentable. Don't wear a hachi maki (head-band) while bowing. Long hair should be restrained with hair ties or scrunchie.

Food No chewing gum, food, or smoking in the dojo. Water and "sport" drinks are the exceptions. It is advised that you do NOT eat a large meal before a class. If you are fasting, it is ill-advised to workout in class. If you are hungry, a light meal or snack is best. This is especially true in the summer or during seminars. Large meals can cause cramping and water loss as your digestive system tries to work while you are highly active. Drink sufficient water before and after class.


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Anatomy of a Dojo A traditional dojo draws much of its layout from the Shinto faith, with a healthy smattering of Taoism. While it is not a religious structure, centuries of tradition have dictated its layout. Each part has its own name and meaning. Some dojos use the following terms incorrectly, possibly believing them interchangeable. They are not. The layout described below indicates how Central Aikido is, as well as the ideal for a dojo. The major parts of the dojo Shomen This refers to the front of the dojo, the main wall. When possible it should face the main door, with no doors or fixtures along it. Ideally, it would also have no windows, but this is not always possible. This is where students bow when entering the dojo and at the beginning of class. The Kamidana, or “shrine” to O-Sensei is found here. Also found on the Shomen will be portraits of sensei that have passed on, marking the lineage of the dojo. Bowing to the shomen when entering the dojo is as much a sign of respect for those that have gone before us as a mere act of etiquette. Joseki Meaning upper side or upper seat, it is the wall to the right of the shomen when facing it. This area of the dojo is where the more senior students bow in, as well as the instructors. It is reserved for their use and is not a place for lower ranks to loiter. While it is not enforced with us, in many dojo junior students should only venture to this side of the dojo when invited or during cleaning. It may be best to consider this their refuge. Shimoseki Opposite of the Joseki is the Shimoseki, or lower seat. Lower ranked students bow in on this side of the dojo. At Central this is also where spectators observe from. Shimoza The back of the dojo, ideally where students enter. During instruction, this is where students observe from, facing the Kamiza. If there is a place set aside for observers, this is properly where it belongs. Embujo The middle of the dojo where practice takes place. This can be considered the meeting place of all the ranks. Genkan The foyer, where you enter the dojo and/or place your shoes. At Central this is to the left of the entrance, where the shoe cubby/bench is. While we have one, we do not suggest using the cubbies as this is where the mats are rolled up after class. Shoes and all bags should be left in the changing area. Ideally this is a separate room.


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Other Features of a Dojo Kamidana Shelf of the Gods. This is derived from a traditional Shinto alter found in Shinto shrines and many Japanese homes. A kamidana is both a small house-like structure and the self or stand it resides on. These small wooden houses are meant to welcome the spirits of the ancestors and come in a variety of shapes and sizes. In the dojo the term is most appropriately used to refer to the entire structure at the front of the dojo where O-Sensei’s picture resides, and by implication his spirit (watching over and guiding us in our training). In modern dojo this display can take up most, if not all, of the shomen. The regalia of a Shinto kamidana are well defined, but in a dojo the kamidana may be anything from a simple picture of O-Sensei, to a massive structure with calligraphy, flower arrangements, and more. Tatami The matted area. Traditionally dojo used tatami (woven reed mats) to cover their practice area. A more modern choice has been a custom canvas mat to fill the space. Other dojo use gymnastics or wresting mats. Some dojo have no mats. Central uses gymnastics mats. When stepping on and off the mats you always bow. Weapons Rack In many modern dojo, this is often part of the kamidana. Most Aikido dojo will have a rack or two that hold the dojo training weapons, most commonly jo and bokken. While weapons should not be a part of the kamidana, they are often integrated into the structure. If weapons are present, the points and blades should always point away form O-Sensei. At Central these are set out only for advanced classes and when needed. In any dojo these are not for play, and should not be used without permission. See Weapons training for more. Nafudakake (also Nafuda Kake) A rack, board, or other means by which dojo members and their ranks are shown. Most often tags are hung from a board, grouped by rank. In some dojo the nafudakake can be a very decorative display. At Central, it is a virtual board that can be found on our website (www.centralaikido.org). Reception Desk and Offices Many dojo like Central do not have a reception desk or offices directly associated to them. Others do. If sensei is away from the practice area at one of these locations it should be considered that they are busy. Approach with respect, quietly make your presence known, and wait to be acknowledged. Otherwise, treat these areas as you would a business office space, because they are.

Other less defined areas Kamiza or Shinza Literally Seat of the Gods. A somewhat undefined space at the front of a dojo reserved for instructors and honored guests. This is where sensei bows the class in from, instructs from and presides over testing from. It is, therefore, something of a mobile location. The term is often used interchangeably with kamidana and even shomen. This is not the correct usage. Joza High seat. Generally, the same as kamiza, but used more in context to other sides of the dojo. The high end of the mat. Tokonoma A recessed alcove or niche traditionally where the kamidana resides. Kamidana are not always in a tokonoma, and not all tokonoma hold a kamidana, they may be separate. Generally a tokonoma should contain a spiritual token. Central Aikido does not have a tokonoma.

http://www.centralaikido.org/


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Dojo Culture: All About Bowing You have probably already noticed that a great deal of ceremonial bowing takes place in the dojo. It is important to understand that this activity has no religious significance in the context of your training. In Japanese culture, it is roughly the equivalent of shaking hands or, in a military context, saluting. It is a way to show respect and gratitude, no more. We demonstrate this attitude of respect and thankfulness toward our dojo, the Founder’s memory, our Instructors and our training partners. Japanese culture has evolved a highly complex system of bowing based on the relative status of the individuals involved. Unless you are Japanese (and even if you are!) this can be hopelessly complicated and you are almost certain to err if you attempt to decipher the complex social code governing this behavior. Don’t try. Just perform a simple bow with a sincere heart and you can’t go wrong. Entering and Leaving the Dojo Perform a standing bow when entering and leaving the dojo (toward the kamidana). Remember that without the tireless efforts of many individuals who have dedicated countless hours of rigorous training over many years, we would not have the privilege of practicing this marvelous art. Respect for the dojo reflects our respect for all those whose dedication makes our practice possible. At Central Aikido the kamidana is not always up when you arrive, and may be put up before you leave. If this is the case you bow in the direction the kamidana would normally be. Remove your shoes and place them out of the way. Sandals or flip-flops used to keep the feet off the cold floor are lined up along the mat towards the back pointing away from the mat. If you enter or leave a room where O-Sensei's picture is displayed (some dojos have more than one room, some have a picture over doorways) ALWAYS perform a standing bow towards O-Sensei. When class is over, line up as before class and bow out. Order of bowing, in and out, is almost always to O-Sensei, then to sensei. Sensei will often then leave the mat, or go to the edge of it and bow again. In most dojo, as in ours, students then gather in a circle and bow to each other at once. Stepping on the Mat Bow (sitting seiza) toward the kamidana when stepping on or leaving the mat. Some dojos prefer that you perform this sitting, in others a standing bow is permitted; follow the tradition of the dojo. At Central the first time you step on, and the last time you step off you perform a sitting bow. If you are stepping off the mat briefly, a standing bow is fine. If you need to leave the mat for any reason, ask the Instructor's permission first: do not simply walk off the mat. If in immediate distress, your partner should inform the Instructor. This is for safety reasons as well as respect. The Instructor is responsible for his/her students and needs to know if there is some reason you can't continue

Bowing, A How To A standing bow (“rei”) Standing, with your heels together, bow from the waste with your back straight and your arms at your sides. (Making fists or other flamboyant hand gestures as well as verbal exclamations are considered overly militaristic and should be avoided). Formal or sitting bow (“seiza rei”) Kneel with your knees approximately two fist-widths apart with your big toes either touching or right over left. Your body should be erect with good posture (pelvis forward, back straight) but not rigid. Women sit with their knees together. Place your left hand down first, then your right creating a triangle with your index fingers and thumbs. Lower your torso with your back and neck straight and bow from the waist. Do not allow your rear end to rise up. Rise back to original seiza position with your right hand returning to your thigh, then your left. When rising from seiza, step forward with your right foot first, then bring the left foot forward to create a standing posture. Note: Seiza is the proper way to sit whenever you are on the mat. Never sit with your feet extended or leaning/slouching on the mat. If you have a medical condition which does not permit sitting in seiza, you may sit with your legs tucked cross-legged or “anza”.


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to train. If you get dizzy or need to "catch your breath", it is acceptable to sit quietly on the edge of the mat until you feel ready to go on. You should be on the mat several minutes prior to the start of class. If you are unavoidably late, wait at the edge of the mat in seiza until the Instructor acknowledges you, and then bow toward the kamidana and the Instructor before joining practice. Please make every effort to be seated on the mat before sensei begins class. Under NO circumstances should you go onto the mat when sensei and students are bowing at the start of class. Students arriving late for class should quickly do a few warm-up exercises off the mat and then bow in and sit in seiza on the edge of the mat. Wait for the instructor to admit you to the class. Opening and Closing Class A few minutes before class starts, the students will line up in seiza in front of the kamidana. This is done according to rank with senior members (facing the kamidana) on the right-hand side, or toward the joseki. Sit quietly and attentively. The Instructor will bow onto the mat, sit in front of the class and lead the students in a kneeling bow towards the photo of O-Sensei. (Remember that this is not a religious act so much as an expression of remembrance and gratitude, sort of like bowing your head in memory of a revered grandparent). The Instructor will turn and face the class, bow and the class will say, "onegai shimasu" (o-nay-guy-she-mass) which means "may I be of service", or "please grant me this favor". This phrase is also used when bowing to a new partner. At the end of class this process is repeated in reverse, bowing first to O-Sensei, then sensei turns to the class and they say the phrase "domo arigato gozaimasu" ("doh-moh ahh-ree-gah-toh goh-zii-mass"). Sensei will then take the lead position of the line and all bow to the kamidana again saying "domo arigato gozaimashita" (doh-moh ahh-ree-gah-toh goh-zii-mashta) roughly meaning "thank you very much for what has been given". When class starts and ends (prepares to bow out), straighten your gi (uniform), making sure it is clean, neat, and tucked in. All personal grooming, especially of the gi, is done facing away from the kamidana, but do not put you back completely O-Sensei. Bow to each of your partners. Bow to the Instructor when he helps you. Sit in seiza and bow when the Instructor is helping someone near you on the mat. In other words, you can't get in trouble for bowing too much! (Can one ever be too respectful?) While all of this bowing may seem excessive and somewhat redundant, remember that the very essence of budo is respect. Each bow should be performed with an attitude of sincerity and humility that is physically evident in your demeanor.

Hakama Folding After all the bowing in class, those students wearing a hakama will fold them. It is discouraged to interrupt them during this time. While folding a hakama is not a religious or spiritual practice for most members, it can be a confusing and complex process that some are still mastering and need their concentration. It is also appropriate, when bowing out in circle, for a senior student to offer to fold sensei’s hakama. This is an act of respect for the instruction they have provided, but also allows them to tend to dojo business and get out of the dojo at a reasonable time. Keep in mind that other students may have questions that only sensei can address. If sensei has reached you and no one has offered to fold his hakama, you should. If you don’t know how, a senior student can show you as they fold theirs.


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Dojo Culture: Dojo Cleaning & Other Points of Etiquette Dojo Cleaning Most Aikido dojo are operated on a volunteer basis and are also not-for-profit organizations, of which you have an interest as a member. There are many ways you can serve your dojo; it is up to you to volunteer. Joining a dojo is not like joining a health club. You are not just "buying" some lessons. This means that it is the students' responsibility to clean and maintain the dojo. After every class, the mat should be swept and the dojo dressing rooms and common areas cleaned. These activities are age-old matters of respecting the dojo space and leaving the dojo as clean, if not cleaner than the moment that you entered. Don't wait for someone to ask you to help... it is part of your training to contribute to the space that is the dojo. Look around. Are the trash cans full? Does the bathroom need cleaning? Find something that needs to be done and do it! While Central Aikido utilizes the UCM Student Recreation and Wellness Center, many duties are performed for us. This tends to lead students to be complacent. While the janitorial staff do clean the trash cans and sweep the floors, they do not clean the mats of the closet that we utilize as a changing room. It is our duty to do so. If you enter the dojo and see a sensei performing these tasks, you should immediately ask to take over, or if there are other duties you can tend to. Sensei often have things they need to deal with that other students can’t. However, do not be surprised or offended if sensei declines your offer and continues with that duty. Some sensei like to finish what they started, and there are some times that they simply don’t have anything else to do. There will be periodic clean up and maintenance days when the dojo will be more thoroughly cleaned and any repairs made. In some dojo, these are regularly scheduled. In others, this is done as needed. Some dojo manage the space in such a way that you'll never notice the ongoing preservation of the space. Whatever your dojo experience, all dojo members should gladly take part in everyday cleaning activities, regardless of rank or status. Remember, it is your dojo. Just as with anyone's outward personal bearing, your dojo, and its appearance, is a manifestation of the spirit of the members of the dojo. A few minutes spent attending to dojo cleanliness will go a long way in your future practice and positively contribute to how others perceive the dojo.

Other Points The instructor should be referred to as "Sensei" during class instruction and not by his first name or surname. When approaching the instructor, students should not pass between him and the picture of O-Sensei. If the student approaches to ask a question or he calls you to him, the student should bow first. Never call for the instructor across the mat or beckon for instruction. If the instructor is close by, quietly raise your hand and wait to be acknowledged. Then bow and say: "onegai shimasu" (oh-nay-guy she-mahs). If sensei comes to help you and your partner, it is best to sit seiza and watch attentively; unless sensei is having you do the technique. Once sensei is done helping you and is leaving, a seated bow and verbal thank-you are appropriate. When changing partners during class, one should acknowledge the partner you are leaving as well as the new partner with a seated bow. Your partner is not an opponent. It should be a pleasure to be uke as well as nage. Each movement in Aikido teaches the principles and spirit of Aikido and should be practiced sincerely. It is the responsibility of the higher ranked members (senpai) to see to the rules of etiquette are understood and followed by the members of the dojo. The members of higher rank should assist the beginners in learning proper bowing techniques, beginning exercises, and ukemi.


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Dojo Culture: A Note on Japanese Names and Titles Surnames and Given Names While it is often adjusted for Westerners, the Japanese do not follow a First Name Last Name naming structure that Westerners use. A proper Japanese name structure is Surname (family name) Given Name. Middle names are generally not used. So, as an example George Washington in Japan would be Washington George. Often when dealing with Westerners, Japanese will convert their names to the First/Last name structure for easier interactions. In the case of Japanese nationals that have been in the US for a considerable time, we present their names in that structure. For example, Yoshimitsu Yamada, head of the USAF, where Yamada is both the surname and last name. In this guide and in the dojo, all other Japanese nationals are more commonly referred to in their proper form. If in doubt on the surname, ask. It is considered rude to address a Japanese person by their given name. This is especially true high ranking Aikidoka. In general, treat a Japanese national like you would a superior in the military. Address them by the proper honorific, or last name. Or both, if appropriate. You will be told if you may address them by their given name, but do not expect to receive such a concession. Titles and Honorifics in Japanese In Japan addressing someone properly is rather important, and they have a wide array of honorifics to do so. However, just as with surnames, the Japanese do not follow Western procedures with honorifics. Honorifics are suffixes. For example, the Japanese equivalent for Mr. is San. Westerners would address someone as Mr. Anderson, but for the Japanese it’s Anderson-san. This is best illustrated in the original Karate Kid movies (Daniel-san). While Mister is a male honorific, San is a gender-neutral honorific and used for males and females. Gender specific honorifics are Kun (male) and Chan (female). Additionally while it is most common to use an honorific with the surname, they can by used with a given name as well. For example, Peter-san, Jessica-san, Smith-san. Some serious faux pas to consider with honorifics – you do not refer to yourself with one (ie. you don’t introduce yourself as Steve-san). Another is to drop an honorific when it is required. In either case this is considered clumsy or arrogant. It can be tricky to learn when to use an honorific, and when not to. In most cases follow these rules: use it when referring to the person you are talking to and when referring to a third party. In the case of the dojo, always refer to your instructor as sensei, and when referring to an instructor call them surname sensei. Honorifics are sometimes dropped by superiors, when referring to one’s in-group, and in formal writing. It is considered a high level of intimacy to drop an honorific with one’s interlocutor, and generally only done with a spouse, younger family members, very close friends and social inferiors (as in a teacher addressing a student). Among classmates (where individuals are of generally the same age and seniority) it is acceptable to use family names without honorifics. It is also

A Note on Honorifics Japanese honorifics are often times used inappropriately by Westerners and in the wrong forms. Other times, the placement changes the meaning. As a title, an honorific is used as a suffix – after the surname. Some can be used by themselves. However, in some cases they can define a person’s role. For example, your instructor is referred to as Surname Sensei (ie. Fuller Sensei). To say sensei Fuller is the equivalent of saying the instructor is Fuller. In such a case, it would be more appropriate to say "senseiwa Fuller-san" (The teacher is Mr. Fuller). Many Westerners have a very limited understanding of Japanese honorifics, even in a dojo. It is common, therefore, to see instructors referred to by Sensei Surname, Sensei Given Name, and even Given Name Sensei. While it would be nice to correct this error, it would be rude to do so. And, in some cases, this is done deliberately to create a more relaxed air in the dojo. When in such situations, follow the lead of the other students.


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becoming more common for the younger generations of Japan to prefer not to be addressed with an honorific. But do not expect this to be the case. Another rule to consider is uchi-soto distinction (inside-outside). When referring to a third person you use an honorific, except when referring to your family members to a non-family member, or someone in your company when speaking to a customer or someone form another company. Common Honorifics San – The most commonplace honorific. Western equivalents would be "Mr.", "Miss", "Mrs.", or "Ms." Used for either gender and in both formal and informal contexts. Chan – A diminutive suffix, used to express that you find a person endearing. Thus, using chan with a superior's name would be condescending and rude. Most commonly used for females, and generally to be avoided in dojo. Kun – Used by persons of senior status in addressing or referring to those of junior status, or by anyone when addressing or referring to male children or male teenagers. It can also be used by females when addressing a male that they are emotionally attached to or have known for a long period of time. Not often used in dojo. Sama – A markedly more respectful version of san. It is used mainly to refer to people much higher in rank than oneself and sometimes toward people one greatly admires. Senpai, Kōhai and Gakusei – Senpai is used to address or refer to one's seniors. Students of the same or lower grade are not Senpai – they are referred to as Kōhai or Gakusei. Instructors are also not senpai. Like "Doctor" in English, Senpai can be used by itself as well as with a name. Due to the phonological rules of the Japanese language, although spelled senpai, the n sound turns to an m sound, thereby being pronounced sempai. Kōhai – A junior, the reverse of senpai, but it is not normally used as an honorific. Gakusei means student and is not normally used as an honorific. Sensei – Literally meaning "former-born", this is used to refer to or address teachers (and other authority figures). It is used to show respect to someone who has achieved a certain level of mastery in an art form. As with Senpai, Sensei can be used not only as a suffix, but also as a stand-alone title.


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Dojo Culture: The Senpai/Kohai Relationship Senpai and kohai are an essential element of Japanese seniority-based status relationships, similar to the way that family and other relationships are decided based on age, with even twins being divided into elder and younger sibling. Senpai is roughly equivalent to the western concept of mentor, while kohai is roughly equivalent to protégé, though they do not imply as strong a relationship as these words mean in the West. More simply, these may be translated as senior and junior, or as an elder compared with someone younger in the family/company/organization—the terms are used more widely than a true mentor/protégé in the West. There is usually no average separation in age between a senpai and his or her kohai. In the dojo, a junior student will refer to senior students as "senpai". Unlike in a normal school, where age groups are kept together, in the dojo a younger individual may be senpai to an older kohai. Seniority in a dojo is marked by when someone started, and their rank. It is not unheard of for a higher ranking member of a dojo to refer to a lower rank as senpai where the lower rank has been there much longer than the other. This is not very common in the West. Kohai, as the junior, are the ones that do most of the duties around a dojo in regards to upkeep. While this may seem elitest to many Westerners, one should keep in mind that the senpai were once kohai themselves. It should also be noted that a senpai in a dojo often has other duties to attend to, usually in an administrative capacity. Senpai, especially those of dan rank, are expected to assist the sensei, as well as mentor younger or less experienced students. It is also often the senpai that fold sensei’s hakama after class. More than simple seniority, senpai implies a relationship with reciprocal obligations, somewhat similar to a mentoring relationship. A kohai is expected to respect and obey their senpai, and the senpai in turn must guide, protect, and teach their kohai as best they can. Senpai/kohai relationships generally last for as long as the two people concerned stay in contact, even if the original context in which the senpai was senior is no longer relevant. In the dojo it is encouraged for senior students to mentor junior students. Senpai assist their kohai in their test preparations, points of etiquette, and help introduce them to the wider world of Aikido and the many great Sensei and Shihan they have met over the years. While your sensei will do all these things, they simply cannot do this one-on-one with every student in the dojo. It is also often a kohai’s senpai that is their uke during testing.

Note that senpai is often seen Romanized as "sempai" because it is pronounced that way (the Japanese "n" (�) is pronounced as "m" when it comes before bilabials, such as "p").

http://en.wikipedia.org/wiki/%E3%82%93


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Dojo Culture: The Gi and the Hakama Your uniform (do-gi or keiko-gi, but usually referred to simply as a “gi”) is a traditional way to dress for practice. Changing into this uniform serves to further separate your practice from the mundane aspects of daily life. Your gi should be plain white. Some people have their name written on a sleeve or a small, discreet kanji inscription on their gi but large, flashy patches, advertising, flags and other decorations are frowned upon. Most USAF dojo do not award colored belts to adults. (There are exceptions; go along with whatever your dojo requires.) The gi jacket is always worn with the left lapel crossed over the right (unless you are a Shinto priest or the unfortunate subject of a funeral.) Some one will show you the correct way to tie the belt or “obi”. Always make sure that you and your gi are clean and free of odor. (Some folks don’t wash the belt, apparently hoping it will turn black all by itself.) Keep your finger and toe nails clipped and do not wear jewelry on the mat since it might scrape you or your partner. Tape wedding bands or other jewelry which cannot physically be removed. The hakama The divided skirt-like garment you see is called a “hakama”. It is a traditional Japanese article of clothing. In the past, this was not some esoteric training uniform; for the Samurai, it was everyday attire. For most modern Japanese, it will be worn only a few times during a person’s life, usually at very formal occasions such as traditional weddings. The hakama is worn by practitioners of most of the traditional martial arts of Japan (“koryu”- old schools) as well as more modern derivatives such as Kendo, Kyudo and Aikido. In most USAF dojo, the hakama is only worn by students who have achieved the rank of ikkyu or shodan. Again, there are exceptions. Female members are sometimes allowed to wear it (presumably for reasons of modesty) whenever they choose but most modern women prefer to be treated equally with their male counterparts and do not avail themselves of this option. In other schools, those about to receive their black belt or those who are called upon to teach are allowed to wear it. As always, follow the tradition established by your particular Instructor. Black or dark (indigo) blue are the only acceptable colors; this is formal attire, not a costume. You may read or hear elaborate treatises about the symbolism of the number of pleats or the type of knot that is tied or other myths such as that the hakama is worn to hide the footwork of the practitioner. Most of these stories are of somewhat dubious origin and have no basis in the historical record. The elaborate folding that you see black belts engaged in after class is designed to preserve sharp pleats in the hakama and is not some kind of religious ceremony.


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Dojo Culture: Weapons Training In feudal Japan training encompassed a wide array of skills which included strategy, tactics, fortifications and, especially, weapons. Empty hand training was secondary to weapons training. It was considered a last resort to be employed only if something had gone horribly wrong and the soldier found himself weaponless on the battlefield. In the early twentieth century when the modern arts evolved, this emphasis became reversed. Weapons became separate arts in many cases such as Kendo (sport swordsmanship) and Kyudo (Japanese archery). O-Sensei, having studied ancient sword and spear arts, retained some weapons training within the pedagogy of Aikido. The primary weapons practiced in Aikido are the sword (“bokken or bokuto- wooden sword) and the short staff (jo). While many dojo provide some practice weapons for use in class, it is advisable to acquire your own so that you can practice outside of class. Weapons kata are about the only way a student can practice without a partner and training with weapons greatly enhances your empty hand technique. Weapons training fosters a better understanding of proper distance and timing and adds an extra level of mental focus and spiritual intensity to your Aikido experience. Weapons training begins with basic kamae (posture/stance), proceeds to suburi (practicing basic cuts, thrusts and strikes) to kumi-tachi and kumi-jo (partner practice with weapons), and often waza (executing techniques while holding the jo and bokken). You will also practice tori techniques for disarming an attacker who is armed with bokken, jo or tanto (wooden knife) while empty handed. Unlike most other martial arts, weapons training is not reserved for senior students. You will be allowed to participate as soon as you begin.

Weapons Etiquette There are specific ways of handling a weapon (particularly the sword). These rituals evolved not just as social formalities, but as ways to make the handling of deadly weapons safer for all concerned. Some dojo place more emphasis on these formalities than others. Always treat weapons with the respect you would show any other deadly weapon. You should not regard these as mere "imitations" of "real" weapons. These are quite real; many people throughout history have been killed in duels with bokken and Japanese police and security forces still use jo for riot control and other duties. Never handle another person’s weapons

without permission. Students should "bow in" their weapons,

essentially dedicating them to O-Sensei before training. Holding it horizontal before you, bow to O-Sensei's picture. When finished, bow it off. Treat all weapons like they are real.

Consider a bokken (wooden sword) as a live blade, with an actual cutting edge. Learn how to carry weapons properly. When beginning the class place weapons

at the side of the mat ensuring the blade edge and tip of your bokken are pointing away from the Kamidana. When watching a demonstration, set your

weapon on your left, blade out. Neither the blade edge or the tip should face the Kamidana, however. When handing a bokken or tanto to

another person, the handle should be in your left hand and the edged part of the blade should face you–the person handing off the sword. This is a courtesy in the highest form. It makes it difficult for you to attack them–(if you notice that your partner isn’t handing the weapon back to you in the same fashion, please appreciate that your partner might be very much higher ranked).


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Aikido Training Points on Safety This is Aikido, not tae kwon do. It is not about speed or strength, and if you make it a practice session of those, serious injury can occur. Aikido requires repetition to refine and perfect each move. When practicing a technique, practice until sensei tells you to stop. Don't do it twice and then stop. Don't chat. Don't try something else. This cheats you, and your partner, and is the primary cause of someone getting hurt (even the chatting, which is a distraction). Do not struggle. If you find your uke is not moving, do not fight it. This is not a competition. Acknowledge that you're doing something wrong and address it. Struggling to force uke to move is not Aikido, and can lead to serious and permanent injury for either uke, or yourself. Get assistance to do the technique properly. At all times, respect your opponent, without exception. Your uke is your partner and deserves to have the same respect and concern for safety as you. It is nage's responsibility to protect uke. This is best done by performing the technique properly. Sometimes by knowing when uke is about to be thrown into a bad direction. Nage must look after uke as uke is in your care and under your control. It is uke's responsibility to protect uke. Know where you are. Know when you are about to roll into a wall or another group. Its self-preservation, nage may have all their concentration on the technique.

Practice Your sensei will impart what wisdom and technical experience they can, but it is only a portion of what you will learn. If you are to master each technique and make it rote, it rests entirely on you, in your earnest practice of the technique, in repetition, and your attention to detail. Every technique we do involves interaction between nage and uke. Nage and uke must connect, even before practicing. Each will learn from the experience, regardless of who is uke, but they will learn more if there is a connection. It is uke's responsibility to help nage to perfect the technique. When practicing, uke should cooperate appropriately for nage to execute the technique and learn. Especially with beginners. As nage becomes more skilled, cooperation will not be necessary. Some techniques may seem strange as we adapt to not injury uke. However, for Aikido to work uke MUST attack with intent. Uke must attack with singular intent. Without intent there is no attack. It's just someone stumbling into nage, defense is not necessary, and sometimes not even possible. Intent is NOT speed. Intent is NOT strength. Intent is moving your body along the actual and proper path of a real attack, regardless of speed. While in class, PRACTICE THE CURRENT TECHNIQUES AS SHOWN BY THE SENSEI. IT IS NOT THE TIME TO DIVERT TO OTHER TECHNIQUES OR VARIATIONS. This confuses less experienced students, often confuses you, cheats both you and your partner from learning properly, and can be distracting to other groups, depriving each of valuable practice time. To become a good nage, you MUST become a good uke. You cannot be one without the other. A good uke follows the lead given, rather than going where he thinks he should go. Even though the initial impetus is supposed to come from uke, from a static position it is nage who leads. It is as difficult to become a good uke as a good nage, and more important to your health.


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Aikido Training: Being Uke by Guy Hagen of Jinonjuku: Aikido Academy of Warrior Spirit, Largo, Florida Ukemi – training as Uke, being the attacker, taking the falls — is probably the most important part of your Aikido experience. 99% of your interaction with your Sensei will be as an uke. More importantly, uke and nage are two sides of the same coin. The way you train as uke will shape the way you perform technique as nage, and in the end how good of a martial artist you will become. Unfortunately, students — and I mean our students too — fall into limiting, destructive patterns as uke. The best way to avoid these patterns is flexibility in our training styles. There is a saying in Tai Chi Chu'an: "train low center, train high center; train strong, train weak; train fast, train slow." The message is that we must learn to "switch on" different ways of moving that best fit the situation and increase our understanding of the art. Based on the different styles and dojo that I've trained in and my own training and teaching, I've categorized a few important "ways of being uke." none of them is really better or "higher level" than the others, and I strongly urge every student to try each style with determination and sincerity. In my own training, I would often try to "be" each of these uke to the best of my ability for a couple weeks or a month at a time. (1) Passive (Empty) Uke This Uke is essentially just "there" for their partner. No real resistance, no aggression, and they just let themselves be thrown. When working with new students that have enough difficulty getting their own hands and feet straightened out, it's often best to "be" this type of uke. However, this doesn't mean you get to sleep through the technique. Now is the chance for uke to practice perfect posture and alignment, and deep, centered breathing without distraction. Don't let your attention wander – you can still get hurt. I had my knee almost destroyed (literally) in Judo when I got confident and sloppy being a "passive uke" for a beginner student.

(2) Sincerity Uke This type of uke also gets to focus on posture and clarity — and ferocity of attacks. A sincere uke strikes or grabs with all their intent, focus and energy. This should be an intentional overcoming of laziness and fatigue (which we all experience). The attacks should never be sneaky, or have the hidden purpose of making you look good or your partner look bad. A sincere attack prepares your partner for realistic situations. You may have to "tone down" the force of your attack to what your partner can handle; but too many "soft pitches" will give your partner a false sense of confidence and rob them of the growth that comes from being challenged. After your sincere attack, continue your force and effort into the original direction of your attack (upon contact, press toward your partner's center) until you are thrown or pinned. Sincere attacks are characteristic of all good uke. Practice your punches! Practice ferocity! Don't telegraph your attacks! Break up your timing! (3) Acrobatic Uke Believe it or not, it's beneficial to exaggerate your attacks and falls sometimes. Attack fast, throwing all your center into your strike or grab. Abandon safety. When you are thrown or pinned, fling yourself as dramatically as you can ahead of the attack. Learn to feel what it's like to accelerate out of your partner's technique (by speeding up your center, not using force), and let your partner feel what it's like to have done a technique masterfully. This type of uke will make you a popular training partner, and teach you to make big, pretty falls. If it's all you ever do, however, you will never develop any real center, or learn how to "change your mind" mid-attack to protect yourself or change to a different attack. It definitely puts you at the mercy of your nage, and if they step it up or act cruelly, you may suffer for it. (4) Resistance (Static) Uke This type of uke attacks with clarity and force, but actively resists when their partner begins a technique. This type of training builds strong centers, and reveals the flaws in your partner's technique. For it to be honest, however, you must


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erase your memory before each technique, always attack honestly, and never begin countering a technique early just because you know it's coming. This is important! It's easy to block almost any technique if you know it's coming, and the "You can't throw me" game gets old really quickly. It also rapidly results in pointless struggling, no real learning, and crappy technique. If you and your partner begin "butting heads" this way, it just gets ugly and nothing more. However, this type of uke is also one of the more common and dangerous traps, to my observation. Many students somehow get the idea that being able to resist a senior partner's technique demonstrates how good they are. Real resistance destroys any sensitivity and subtlety you may have, so you are unable to feel your partner's technique — they may be trying to show you something, and you may be leaving them no resort but smack you on the head! Do this enough, and all your technique as nage will look exactly like this – straining, forceful, ungraceful and violent, with a grimace on your face and every muscle in your body tense. Learn to recognize these symptoms in yourself before your growth becomes stunted. If your partner brings out these reactions in you, switch to being another type of uke. Too much of this is the antithesis of Aiki. (5) Reversal (Kaishi) Uke If you have become sensitive and skillful enough, you will begin to sense moments of weakness in your partner's technique. If you can take advantage of that opening with a small, subtle and clean reversal, this is good training. Done correctly, this "kaishi" will flow naturally and spontaneously without force or struggle. It should never be situation where you overpower or yank away from your opponent's technique — if both you and your partner can maintain this mindset, one reversal might simultaneously flow into another, and you both may experience continuation training, which I believe is one of the higher levels of training in Aikido.

(6) Guiding Uke Usually when our partner is having difficulty, we all like to give spoken advice – to teach (often after our "bad uke" caused the difficulty to begin with). Sometimes this is OK — but remember, this is Sensei's class, not yours, and people generally want advice from you less often than you think. What you can try instead is to let your partner do the technique, while practicing the opposite of resistance. Without grabbing your partner or becoming nage, shape and off-balance your body so that your partner performs the technique correctly. In a sense — uke does the technique from start to finish, and nage sort of "holds on." While reading this, you've probably told yourself several times "Oh, I already practice that way" or "yeah, I see others having problems with that." Well, I think there's only a handful of people in our dojo who are truly proficient in ‘being' all of these types of uke — and they are all yudansha. I personally look to improve myself in each of these, all the time… and maybe in a couple other ways too. I believe that becoming the type of martial artist that people admire requires determination and discipline. It also requires constant self-examination and adjustment. I've been told that students in our dojo sometimes joke, "what kind of uke is Guy going to be today? The sweetheart or the son-of-a-bitch?" Frankly, I take this as evidence my flexibility in training styles is clear enough that others can easily recognize it. Don't be afraid to ask for feedback from your nage — "Am I resisting too much? Was my attack good enough?" Remember, 50% of your training is as Uke, so you should be using that time to improve and practice every bit as much as when you are doing the technique! Use your time as uke to focus on the things that you aren't able to focus on as nage. Learn to switch from an invisible center to a powerhouse center as needed. Learn when to pour on your power, and learn when to be super-sensitive in your training. All these characteristics are important to being a well-rounded Aikidoka.


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Aikido Training: Appropriate Ukemi by George Ledyard of Aikido Eastside, Bellevue (Seatle), Washington The incident to which Mr. Ledyard is referring to is, in summary, one 6th kyu student was working with another 6th kyu student who seemed to want to prove to the first that his aikido didn't "work" by giving very strong attacks that the first student could not deal with. Regarding the incident in question... There are several issues here that need to be covered separately. First, the issue described is one between two sixth kyus. At that level neither one of them knows enough to be resisting each other. Uke doesn't have the ukemi required to protect himself if nage pulls off a technique that he is resisting. Nage doesn't know enough technique to make the adjustments necessary to do technique against an uncooperative partner. It is inappropriate for the seniors / Sensei to allow this at this level of training. Neither one of them is training correctly if this is what is taking place. Uke at this level needs to be focusing on how to take the ukemi. His desire to take good ukemi facilitates the development of the understanding of how a technique should be done. Now let's make the assumption that these fellows aren't sixth kyus any longer but more like shodans... The idea that being resistant is somehow more honest is incorrect. It is essentially martially unsound. One should never resist a technique since that simply creates a suki or opening. The partner will simply change the technique or apply the appropriate atemi. If one is striving for reality in training from a martial standpoint one should never resist a technique but rather reverse it. I have had partners sitting there congratulating themselves on being able to stop my technique who were completely open to a head butt or knee to the groin.

There was a reason that O-Sensei used the high level students as ukes. They knew how to attack appropriately to the techniques he was attempting to demonstrate. The idea that your technique should be strong enough to work regardless of the manner in which the attacker delivers his attack is silly. If that were true there would not be any aiki. One would simply force his technique using his strength. Actually, it doesn't matter how good you are (Shihan included) if the other fellow knows what the technique is, he can make the energy of his attack inappropriate for that defense. In other words, I could do a yokomen uchi that NO ONE could do a shihonage on. This happens all the time in training. The Sensei demonstrates a technique and then your partner attacks in a way in which that technique would clearly not work. But since you are trying to do what the Sensei did, you keep straining to make the uke fit the technique. At a certain point in your training it's not so easy to do this to you any more. You have enough techniques in the repertoire to shift appropriately when the energy of the uke shifts. And you aren't so concerned with doing exactly what the Sensei just did. That's fine for YOUR training but the fact still remains that the uke is not training correctly. He isn't learning anything (aside from the fact that if he contracts his arm strongly enough to stop your shihonage he gets an elbow in the head that he can't block). An exception to this is training with a peer when you have a mutual understanding that giving each other a hard time is for your mutual benefit. It's a kind of Aiki weight lifting. Your partner supplies resistance so that you can get stronger and then you do the same for him. This is never done from the standpoint of showing up your partner but rather from the desire that both of you get stronger in your technique. You agree to resist in order to show your partner the weaknesses in his technique and he agrees not to do the myriad atemi that present themselves when you resist. It is important that neither one of these people think


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that this resistance is anything more than a training aid between consenting partners. If the uke trains this way all of the time he is not learning proper ukemi. He might get to the point at which he can take any fall you dish out after he begins resisting but that isn't real ukemi. In a real martial a situation you are striving to not be thrown, not survive the throws when they occur. Real ukemi training is simply the preparation for kaeshi waza. You learn to move so completely in concert with the technique that there becomes no separation between you and the nage. Once your ukemi gets to the point at which you can stay connected with your partner through the fastest and most complex techniques, then in a situation requiring martial application, you can sense any small openings in the technique of the opponent and apply a reversal. Kaeshi waza is Aikido at its most martial. It is the way in which a person perceives the suki in the partner's technique and takes full advantage of it. While this is the real deal as far as martial practice goes you can't have a class in which everybody is is hell-bent on making the technique the Sensei has just demonstrated impossible for his partner. Each pair would be executing some technique or other and no one would be practicing the actual technique the Sensei wished to teach. This would be chaotic and dangerous. So there is a reason that we structure our training the way we do. Part of the structure is taking the ukemi in such a way that it challenges the partner but doesn't defeat the technique being practiced (unless the partner simply blows the execution). This is taken to the point at which it is happening at

full speed and power. At this point (higher level yudansha) it is appropriate, even necessary, to start reversing the partner if he doesn't have the technique. This trains the proper perception and responses. But this isn't meant to be emulated by the whole class. It is something that the seniors engage in when they train with each other but is not meant to be emulated by the whole class. Finally, ukemi is never about showing up your partner. That kind of ego is dangerous. Years ago I had a nemesis in the dojo who for my first year never let me do a technique on him. He always let me know that if he fell down it was because he was being nice, not because I had actually thrown him. Well at one point he had to have an operation and was gone for three or four months. I kept training steadily and when he returned to the dojo he thought to reestablish the same relationship we had had before. But I had been training and was somewhat better at that point and he was weaker due to his operation. We were training and I went to do a shihonage, he resisted as usual, but this time I realized that I had it! Not pretty or artistic but I had it. And I ripped his elbow out and put him back off the mat. Now this guy was a very skilled yudansha and I was still a white belt. He could have taken the ukemi at any point and been fine. But he needed to show me he was superior and that was his downfall. He hurt himself, I didn't do it. That's why the type of resistance the partner described above was doing is not to be encouraged. He might be able to stop you now. But he isn't doing anything to prepare for the day when your technique has gotten better and stronger. And on that day he will get creamed.


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Aikido Training: When Aikido Gets Tough “It is important to train consistently, but even more important is the belief that you will continue to train. Strong determination is important, but that doesn’t mean no flexibility. If something comes up in your life, you must take care of it. But know that you will come back. Some people always seem to be at the dojo. Maybe their physical skills are good, but they forget their responsibility. There is no balance in their lives. They are always looking to prove something. That’s why they call it DOJO: do - “way” and jo - “place”, the place where you find out about yourself, about what is missing. So training is part of your life. If you feel it’s just self defense (or exercise) then it’s easy to give up. But you’re more likely to continue if you feel it is important: that it helps you in every part of your life.”

—quote of unknown origin carried in the wallet of a senior student for over 10 years Crisis of Commitment The practice of Aikido often develops into a commitment but like all commitments there are moments of discouragement. The members of Central Aikido are here to support you through those difficult phases of your training because each of us has experienced such moments. Your sensei and the senior students are aware of the occasional need to wrestle with such challenges to your original choice to begin your training and will work with you if you seek them out. Injuries of the Spirit On occasion you may feel discouraged because of apparent lack of progress. There are many plateaus in Aikido, even regressions. These are natural stages and should not be discouraging. For example regressions often occur as you discover new, subtle elements of basic techniques and must “go back” to master them. If you feel frustrated or disappointed in your progress, talk to your sensei and the senior students. They will be glad to listen and share their experiences with you.

Injuries, Aches & Pains Pain is not bad. It is nature’s way of saying “this is as far as you can bend or stretch this part today”. It signals your limitations in a healthy way. While students should expect the development & strengthening of joints to be accompanied by occasional pain, injuries are another matter. With respect to injuries, we have one very important bit of advice: If you are injured, HEAL in Aikido with the support of the dojo. Please consult with your sensei or one of the senior students if you are injured, whether during your training or outside the dojo. Several students have both personal and professional experience dealing with pain caused by sports injuries and are willing to discuss your injuries and suggest how to handle them. Most are not professionals, however, and you are ultimately responsible for how you take care of your injuries. There are many creative ways that you can safely continue your

training working around whatever physical (or emotional) circumstances you are facing. There is one basic set of tools we’ve found to be incredibly helpful for the treatment of most injuries:

“R.I.C.E.” Rest. Ice. Compression. Elevation.

Senior Student When I was first beginning, one of my seniors taught me an important lesson: the classes that are often the most powerful are those that I go to when I feel most like not going.

Senior Student I see this as a most important aspect of the idea of self defense. When I get injured, it is usually because I have failed to ask for what I need from my partner. I have a very hard time asking for my partner to go slowly, or to put minimum pressure on a particular joint because I think I’m supposed to be tough & strong and always pushing myself. For me, the way to defend myself against injury is to pay attention to my body and speak up, unabashedly about what I need. When my ego gets in the way, and I get injured, then it is important that I keep working out at a reduced rate and direct my attention to self-defense: asking my partner for what I need.


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Tips for Avoiding Injuries & Enjoying Practice: Leave your worries off the mat. Practice with respect and enthusiasm. Practice often. Stretching both before & after class helps educe soreness in

addition to increasing flexibility. Pay attention to your body and stop when it says “enough”. Get to know other students off the mat. If you can, join them for

social activities after class. Talk with other students about your experiences. Chances are,

they have experienced the same thing you are struggling with and can offer their experience in overcoming those struggles. Speak up if your partner is going too fast or too rough with you.

This is not only part of your self-defense, it is helpful to your partner to get this feedback so they become more sensitive to their partners and increase their ability to blend. Tell your partners when you are injured (you may also use a visual reminder such as wearing a wrist

band on the injured arm or by rolling up your sleeve). If you are too injured to practice, observe the class. Avoid heavy meals for at least a few hours before practice—especially spicy ones. Abstain from drugs or alcohol before practice. Drink water before classes during summertime. Begin to use Meditation & Visualizations to enhance both your physical practice and your spiritual

development. Enjoy your practice! Remember why . . . When you first joined you came with some purpose in mind. Sometimes the challenges obscure the vision. Your vision is important whether you pursue it in Aikido or elsewhere.

Agatsu. Victory over the Self.

Senior Student I occasionally will “tweak” this or that muscle (nothing major). For me it is always a sign that I am going too fast with techniques I know too little about. The “tweak” is my body’s way of telling my ego to back off. I look at these times as opportunities to go slowly & further develop my style, and to work on the thousands of details with each technique. Invariably I come away from these periods better off than before.


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Aikido Training: Some Common Problems "Oh, he's just falling down for her." An Aikido throw can look so improbably smooth and effortless that it is easy to believe that it is faked. It isn't – its physics. The laws of physics are as strictly enforced at Aikido schools as they are at ski slopes. If you have ever been a beginning skier, you know from painful experience just how devastating those forces can be. Saying that the attacker fell down "for" the Aikidoist is like saying that the beginning skier fell down "for" the mountain. The advanced skier has learned to use these forces; a small shift in weight or position determines whether the skier crashes into a tree or swooshes effortlessly through a turn and down the slope. An accomplished skier flying across the snow is as improbable to the frustrated beginner as an accomplished Aikidoist flying across the mat – but neither one is faking. "It's too much like dancing – it would never work." What is dancing? It is controlled motion. Watch Fred Astaire and Ginger Rogers, the two moving in harmony, whirling around the floor in perfect control. What would have happened if Fred had let go of Ginger at a critical moment, she would have gone flying across the room and fallen. What happens when the Aikidoist lets go of an attacker at a critical moment? The attacker goes flying across the room and falls. Yes, it is like dancing. Yes, it works. "It didn't work." It is useful to define what you mean by "it worked" or "it didn't work." If someone grabs you and you prefer that he not do that, you have many options. Some techniques (especially those known as kokyunages) depend on the attacker (uke) holding on to the defender (nage); he is in danger of being thrown only so long as he does so. If he lets go, you have no throw. But if your purpose was to persuade uke to let go and he did, then the technique "worked." You do not have to put him on the ground to achieve that purpose. On the other hand, if you purpose is to learn a technique, there are other considerations. Some students are afraid of falling. Others may see doing the throw as "winning" and falling as "losing." Consequently many beginners counter every move or let go as soon as they fell themselves in danger of falling -- then confuse the cessation or change of their own attack with failure of nage's technique. In Aikido there is no losing. We learn to give the appropriate attack and we learn to fall so that we can help others to learn. They will do the same for you. You "win" by being a good teacher. "But instead he could..." Yes. But don't worry about it. The possibilities of attack and defense are unlimited. Beginning Aikido is like beginning arithmetic: we stage a particular attack with a particular energy in order to practice a particular response or its variations. Calculus, with multiple variables, comes later. For now, give the appropriate energy, respond with the appropriate response. This is how we learn.

I think [aikido] is the most difficult of all the martial arts to learn. Its demands for skill, grace and timing rival those of classical ballet.

- Physicist Jearl Walker

The genius of Aikido is to transform the most violent attack, by embracing it, into a dance.

- George Leonard

Winning means winning over the discord in yourself. Those who have a warped mind, a mind of discord, have been defeated from the beginning.

- Morihei Ueshiba


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"What is Ki? Do you really believe it's real?" Aikidoists think of Ki as the universal energy or spirit present in all things -- often a difficult concept for Westerners. If the idea of extending a beam of energy from your fingers out to the edge of the cosmos violates your sense of reality, then think of it as "attention" or "mind" and use the ideas as a tool, like Einstein riding his hypothetical beam of light; if it were true, what would you see? What would happen? Did Einstein "really" go riding on a beam of light? Not in the usual sense, but the thought was "real" in that it produced "real" results -- he was able to see using this image and what he saw is now considered very real indeed. If you begin a ki test by imagining yourself nestled at the center of the earth, are you physically attached of billions of tons of water and rock? Not "really" -- but if your thought results in stability and power, what, then, is "real?" Use the concept of Ki as a working hypothesis. Soon you may develop your own ideas of what it is and how it works for you. "Have you ever had to use your Aikido?" This answer is different for everyone. In the usual sense of a physical attack, for some of our students and the instructors, the answer is yes. In the larger sense most of our members use it every day. Budo, the "way" or "path" of the Japanese samurai, is usually translated as the "way of the sword." The characters, however, actually mean "the way to cease using the sword." Aikido emphasizes control of the situation -- and of yourself. Self defense is a side effect of something far more profound. Aikido, the Way of Harmony, is a path well worth following. And it can be followed for a lifetime.

If you pit negative force against negative force, there will always be a collision; even if you win, you still lose. So I always go out of my way to avoid an altercation. Having this attitude is probably the reason why, to this day, I have never had to use karate in an aggressive manner off the mat.

- Chuck Norris


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The Path of Promotion Rank in USAF Aikido is not easily or quickly attained. Unlike some more commercial Martial Arts organizations, promotions in the USAF are not looked upon primarily as a source of revenue. There are six Kyu ranks preceding Black Belt. In most USAF dojo, there are no colored belts associated with these ranks; practitioners wear the white belt until achieving Shodan (again, there are notable exceptions). The USAF supports and encourages children’s programs but does not oversee the testing regulations. This is left to the discretion of each dojo. Since there is no Black Belt for children in Aikido, once a child moves up through their dojo’s program and their maturity level permits, he/she will start the Kyu ranking system regulated by the USAF. The Technical Committee has established 16 as the youngest age a person may be tested for Black Belt. Each rank requires a specific minimum of training days (counted from the last test) to be eligible for testing. It should be emphasized that this is a minimum and does not automatically confer the right to test. That right is solely at the discretion of the Instructor and it is considered extremely bad form to request a promotion. After moving up through the six Kyu ranks, you may enter into the Dan or Black Belt ranks. Theoretically, there are ten Dan ranks. However, tenth Dan is considered unattainable since to achieve such rank would imply that one has learned all there is to know about Aikido, an impossibility! The path to Shodan (1st degree Black Belt) takes, on average, approximately six or seven years of serious, frequent practice. While this may seem a long time in our fast track, short attention span culture, it represents a commitment to the art which goes beyond mere technical proficiency. Testing of Kyu ranks are overseen by Shidoin and Fukushidoin at the local level. All Kyu rankings are recorded, and for each, a Kyu Certificate is issued by the USAF administration. Upon passing your first test you will receive a Yukyusha book. You should maintain good records and remember to present your book when attending seminars as this record will impact your fulfilling some future Kyu rank testing requirements. Bring your Yukyusha book along with you when visiting other dojo. Yudansha (Black Belt) testing is conducted most often by Shihan members of the Technical Committee, usually at one of the major annual Camps or Seminars. You are encouraged to attend testing even if you are not eligible so that you can observe the level of training that is expected at each rank. Testing provides an opportunity for students to demonstrate their ability to perform under pressure. As one moves up in rank, the tests become more free-form, meaning you are not told in advance what to expect. The Yudansha tests are physically and emotionally exhausting, often taking place in front of hundreds of spectators and fellow students. Suffice it to say, when you achieve rank in the USAF you know you have earned it. (Sometimes when a person has a physical or age related handicap and they have practiced sincerely to the fullest extent of their ability, the test may be modified or waived based on the person’s commitment and positive contribution to the art.) Upper Dan ranks are granted by the Technical Committee based on the individual’s long term commitment and continuing progress in Aikido. All Dan ranks are registered and approved by Hombu dojo, Aikido World Headquarters. Upon receiving a Yudansha book, you should continue to maintain good records and remember to present your book when attending seminars as this record will impact your fulfilling future Dan rank testing requirements. When visiting other dojo, it never hurts to have your book with you.

Testing Eligibility Each level of testing requires a minimum of classes attended since the last test. This does not include watching videos, reading books, or even training on your own at home. A day at a seminar is counted as one day. Reaching this minimum does not guarantee you may test. Not making the minimum does not completely remove you ability to test, either. In some rare cases sensei may wave a few classes for the student who clearly is ready.


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The Path of Promotion: Examination Etiquette Most dojo conduct Kyu examinations several times per year. Sometimes different dojo will gather together to conduct exams. There is no fee for the sixth Kyu exam but members are expected to join the USAF at this time. The protocol of the test are as follows: Those eligible will be called individually to the front of the dojo by the examining committee. You and your partner will sit in seiza in front of the Kamiza and, when told to begin, will bow first to O-Sensei, next to the examiners and finally to your partner. After the test is concluded repeat this process. The Instructors will call out specific techniques for you to perform, left side, right side, ura and omote. Keep performing the technique until the examiner calls out for a change in request or indicates that it is your partner’s turn to demonstrate. If you mess up (and you might!) do not stop in the middle of your technique. Rather, complete the (wrong) technique and then perform the correct one next time. The examiners are of course looking for technical proficiency consistent with the level for which you are testing. They are also looking for your ability to take proper ukemi and demonstrate proper focus while maintaining a state of calm alertness while under pressure. (This is when those breathing exercises really pay off!) A final word on promotions: Aikido does not lend itself to a "ten easy lessons" approach. Do not be in a hurry to achieve rank. Use testing as a motivator to "ratchet up" your training but stay focused on the day to day, long term pace of your training and you will eventually achieve a deeper understanding of the art (and yourself) which no belt or certificate can adequately represent.


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Rokukyu – Your First Test The 6th Kyu examinations are sometimes held as part of the class, but more commonly as part of a seminar. Testing is not structured around competition, you are graded on: Your understanding of basic technique appropriate to your level. Your spontaneous movement and response appropriate for the attack. Your ability to adapt your movement to the force of the attack. The concentration and awareness you maintain throughout the examination. Continuity of movement is important, not speed. Confidence and courage are important, not ego. Be prepared to act as uke for someone else of your same level during the examination period. You will be graded on your ukemi. A technique should be demonstrated continuously on both sides until there is a signal to stop. Both irimi and tenkan movement should be used whenever applicable. You will be expected to know and respond to the Japanese terms. It may not seem so now, but you will come to know these terms in short order. Rokukyu Testing Requirements:

Hitori Waza (solo techniques)

Kumi Waza (partner techniques)

Seiza & Seiza Rei Hanmi (ai and gyaku) Shikko* Atemi (shomenuchi, yokomenuchi & tsuki) Hanmi (migi and hidari) Tai No Henko Ukemi* (back fall, back roll & front roll) Kokyu dosa Funekogi undo Ikkyo undo Irimi (two ways) Tenshin Tenkan

*Instructor’s option depending on age and ability


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Gokyu through Ikkyu Exams Testing is not structured around competition, you are graded on: Your understanding of basic technique appropriate to your level. Your spontaneous movement and response appropriate for the attack. Your ability to adapt your movement to the force of the attack. The concentration and awareness you maintain throughout the examination. Continuity of movement is important, not speed. Confidence and courage are important, not ego. Be prepared to act as uke for someone else of your same level during the examination period. You will be graded on your ukemi.

Gokyu (5th Kyu) Shomenuchi Ikkyo (omote & ura) Shomenuchi Iriminage Katatetori Shihonage (omote & ura) Ryotetori Tenchinage (omote & ura) Tsuki Kotegaeshi (tenkan) Ushiro Tekubitori Kotegaeshi (omote & ura) Morotetori Kokyuho (omote & ura)

Yonkyu (4th Kyu) Shomenuchi Nikkyo (omote & ura) Yokomenuchi Shihonage (omote & ura) Tsuki Iriminage Ushiro Tekubitori Sankyo (omote & ura) Ushiro Ryokatatori Kotegaeshi (omote & ura) Suwari waza: Shomenuchi Ikkyo (omote & ura) Katatori Nikkyo (omote & ura) Katatori Sankyo (omote & ura)

Sankyu (3rd Kyu) Yokomenuchi Iriminage (3 variations) Yokomenuchi Kotegaeshi (omote & ura) Tsuki Kaitennage (omote & ura) Ushiro Ryokatatori Sankyo (omote & ura) Morotetori Iriminage (2 variations) Shomenuchi Sankyo (omote & ura) Suwari waza: Shomenuchi Iriminage Shomenuchi Nikkyo (omote & ura) Hanmi handachi: Katatetori Shihonage (omote & ura) Katatetori Kaitennage (uchi & soto)

Nikyu (2nd Kyu) seminar attendance is encouraged Shomenuchi Shihonage (omote & ura) Shomenuchi Kaitennage (omote & ura) Yokomenuchi Gokyo (omote & ura) Ushiro Tekubitori Shihonage (omote & ura) Ushiro Tekubitori Jujinage (omote & ura) Ushiro Kubishime Koshinage (2 variations) Morotetori Nikkyo (omote & ura) Hanmi handanchi: Shomenuchi Iriminage Katatetori Nikkyo (omote & ura) Yokomenuchi Kotegaeshi (omote & ura) Jiyu waza & Randori: 2 attackers

Ikkyu (1st Kyu) Must attend two seminars per year Katatori menuchi - 5 techniques Yokomenuchi - 5 techniques Morotetori - 5 techniques Shomenuchi - 5 techniques Ryotetori - 5 techniques Koshinage - 5 techniques Hanmi handachi Ushiro Waza - 5 techniques Tantotori Jiyu waza & randori: 3 attackers

Testing Eligibility Minimum test requirements: 5th kyu – 40 classes 4th kyu – 80 classes 3rd kyu – 100 classes 2nd kyu – 200 classes 1st kyu – 300 classes


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Dan Level Exams The next level, Dan grades – black belts, are a whole new playing field. It’s about more than technique, it’s about understanding, performing, and application of technique. Weapons come into play, as well as your ability to understand technique with such things as Henka waza (switching midstream from one technique to another) and kaeshi waza (countering techniques). And it’s about proving yourself against multiple attackers all at once.

Shodan (1st Dan) Must attend two seminars per year All Ikkyu Requirements Katatori menuchi - 5 techniques Yokomenuchi - 5 techniques Morotetori - 5 techniques Shomenuchi - 5 techniques Ryotetori - 5 techniques Koshinage - 5 techniques Hanmi handachi Ushiro Waza - 5 techniques Tantotori Jiyu waza & randori: 3 attackers Tachitori & Bokuto waza Jotori & Jo waza Henka Waza Jiyu waza & randori: 4 attackers

Nidan (2nd Dan) Must attend two seminars per year All of Shodan requirements Tachitori: 2 attackers Kaeshi Waza (counter techniques) Jiyu waza & randori: 5 attackers

Sandan (3rd Dan) Must attend two seminars per year Subject of examination to be determined by examiner at the time of examination.

What’s Next? So, what’s after Sandan? What are the requirements for those tests? The answer seems to surprise most people. After Sandan is Yondan, Godan, and so forth. But there are no more tests. Even getting to Sandan is sometimes not tested. At this level in your training, at this point of your journey, going through rote techniques will not help you advance. Unlike other martial arts, Aikido has no kata to learn to advance. It is about the art, about your growth, not about if you can remember a 37 step form to which you can’t figure a purpose. At this stage, advancement is through teaching and a deeper mastery of the art. Your advancement is by recommendation, either from your sensei, the head of the USAF, or even your peers in other dojo. It comes from your dedication to the art, the dojo, and the USAF.


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Appendix I Useful Phrases & Lexicon Names of Techniques: It will help to know that most Aikido techniques are named in three parts, such as Shomenuchi Kaitennage Ura. The first word is uke’s attack (shomenuchi = front strike to head); the second word is the Aikido technique to be performed by nage (kaitennage = arm-rotary throw); the third word is the direction in which the technique is performed (ura = behind). Aikikai – Organizational name for Aikido Headquarters. Dan – Black belt level. Dojo Cho – The operational head of the dojo. A title. Domo Arigato Gozaimasu – Formal thank you. Domo Arigato Gozaimashita – Formal thank you for what has been received. Past tense. Doshu – Head of the Way. A title. Dozo – Please. Go ahead, please continue. Hakama – Skirt-like pants worn over gi pants. Henka waza – Switching from one technique to another. Hombu (Dojo) – Aikido World Headquarters, Japan Kaeshi waza – Counter techniques. Ki – Spirit, energy. Kohai – A junior to one who has trained longer and comes before. A matter of seniority but also an intangible awareness of place in the martial group. Kokyu – Breath power. Kyu – All ranks below Dan level. Maai – Spacing, proper distancing. Misogi (purification) – rites of breathing or water used to purify body and mind; to remove various impurities and restore our true image. O-Sensei considered all Aikido techniques to be forms of misogi Mukyusha – Those not yet having attained kyu rank. A.K.A. "nokyu". Nage – Throw, or the one who throws. Omote – Movement toward the front of uke. Onegaishimasu – May I be of service or please grant me this favor. Randori – Free style, random multiple attackers. Rei – Formal bow. Reigi – Etiquette or courtesy. Senpai – Student/Instructor above your rank. A person may be sempai to other kohai but they are also kohai or a junior student to someone else. Sensei – Teacher. Shihan – Senior Instructor. "Teacher of Teachers". Shikaku – Dead corner–uke’s blind spot. Shikko – Knee walking. Suwari waza – Kneeling techniques. Tai Sabaki – Body movement. Tanto – Knife. Uke – The person receiving the technique (attacker). Ukemi – The knack or art of falling. Ura – Towards the back. Waza – Techniques. Yudansha – Dan, black belt rank. Yukyusha – Kyu, not yet having attained black belt rank.

Aikido concepts Masakatsu – Victory of correctness, precision, righteousness. Agatsu – Victory over self. Katsuhayahi – Victory over light, over speed.

Japanese numbers Ichi – One. Ni – Two. San – Three. Yon, shi – Four. Go – Five. Roku – Six. Shichi, nana – Seven. Hachi – Eight. Kyu, ku – Nine. Ju – Ten.

Aikido foundation techniques Ikkyo – First form. Nikyo – Second form. Sankyo – Third form. Yonkyo – Fourth form. Gokyo – Fifth form.


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Appendix II Central Aikido Constitution

Article I Name

The name of this organization shall be known as the Central Aikido

Article II Purpose

The purpose of this organization is to practice the art of aikido. Through this practice, promote the ideal of harmonious interaction with others. Provide an aerobic work out which fosters healthy mind body integration.

Article III Active membership of this organization shall be extended to anyone who: Is a student, faculty, staff of UCM or family member of the aforementioned, and has the desire to practice aikido.

Article IV Section 1: Officers The officers of this organization shall be president, vice president, and treasurer. Other office positions may be created as needed. Section 2: Qualifications of officers Active members who have good standing within the organization shall be eligible to hold a position of office. Nominees must adhere to UCM officer qualifications, if applicable. Any office positions not defined in the constitution may be held by non-UCM members. Section 3: Election of officers The election of officers shall be as follows: Candidates are nominated by a member in good standing. Candidates elected by a majority of the members who are present at the meeting. Election of the officers shall be held every year in April, or as needed to fill vacant offices. Office positions not defined by the constitution may be filled wither by election or by appointment. Section 4: Term of office The term of office shall begin in full at the onset of fall classes, and lasting until the onset of fall classes the following year. Exceptions are for when an officer graduates and/or leaves their office early. Elected officers will work with existing officers to learn their duties until their term begins. Section 5: Duties of officers Duties of the president:

• To represent the organization, its ideals, and its members. • To inform the members of the organization of any affairs concerning the organization. • To insure that the duties of the organization's officers are carried out.

Duties of the vice president: • To carry out the aforementioned in the absence of the president. • To see to the publicity of the organization. • To keep attendance of the practice sessions, and record the techniques. • To keep a list of members.

Duties of treasurer: • To receive and disburse all money of the organization and be responsible for its account. • To carry out duties as the primary advisor and chapter may specify.


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Section 6: Officer approval and reassignment As a part of UCM, and associated with the United States Aikido Federation, continuity and competency are important in officers. Therefore, to maintain quality operations, the primary faculty advisor and approved instructors of the advisor may block or reject an office nomination, and retain the right to remove an officer for lack of competency or conduct reflecting poorly on the organization.

Article V Primary Faculty Advisor

Duties of the primary faculty advisor: To teach aikido, or to designate someone to teach, such as in his absence. To support the organization, and with the chapter members work toward fulfilling the organization's purpose.

Article VI Practices

The organization shall practice at such a time as decided by the membership for each semester. The practice time may be changed due to the primary faculty advisor's schedule. And in accordance with a majority vote by the members, assuming room availability. Special practices may be called by the primary faculty advisor with member's approval. A member may be asked not to come to practice by the primary faculty advisor if the member in harmful to other members, or to UCM or the Warrensburg community.

Article VII Dues

There will be no dues at this time. Members will have the option to pay yearly dues to a national aikido organization (United States Aikido Federation). Members may vote to collect dues for special occasions, or aikido events.

Article VIII Amendments

This constitution shall be amended by a two-thirds vote of the active members present at any given meeting. The amendment in question must have been introduced at the previous meeting.

Documents

Student Handbook - Central Aikidocentralaikido.org/resources/handbook.pdf · Central Aikido Student Handbook 3 What Is Aikido? The name “Aikido” is composed of three Japanese