Professional Documents
Culture Documents
MARIN
AIKIDO
STUDENTS'
RESOURCES
TABLE OF CONTENTS
Page 1
Practice Rules
Page 2-3
Dojo Courtesy Guideline
Page 4
Aikido
The Founder
Page 5
Training Levels
Riai
Page 6
Takemusu Aiki
Aiki Shrine
Page 7-9
Memoirs Of The Founder
Page 10
Helpful Phrases (Japanese/English)
Page 11
Training Methods
Page 12-14
Attacks and Defenses (Japanese/English)
Page 15-17
Examination Requirements
Page 18-25
Glossory of Terms
Page 26-27
Aiki Weapons (Bokken and Jo)
Page 28
Happo Giri(bight directions)
Page 29-35
Thirty One Jo Kata (31 Short Staff Form)
Thirteen Jo Kata (13 Short Staff Form)
BAY MARIN AIKIDO
PRACTICE RULES
4. Polish and perfect each movement so that you can take care of
attackers from any direction. notjul:)l Ule attack in front of you.
-1-
I
DOJO COURTESY GUIDELINE
BOWING (REI<RAY
3. At the end of class repeat the bowing and clapping like the
beginning of class(this is to thank the 'Spirit of Aiki' ). Finally, bow
once more to the instructor and say, uArigato gozaimasul " (8h -ree -
gah-toh--goh-zai-ee-moss).
ATTIRE
3. Hair that is long in the back is best held in place with a hair
tie or a head band . This will help prevent accidental grabbing of the
hair during a technique or haVing the hair get in your eyes.
HYGEJNE
OTHER HINTS
2. When black bclts from othcr places or dojos come to train , all
students, but especially senior students should makc an extra cffort
to train with that person. Look at it as a great opportunity to learn
and train with a senior person. I
All Aikido movements contain circles and SpiralS which echo the hellCal
patterns found in nature. In addition to circular movements, Aikido employs
blending of action between the aggressor and the defender. The attack is
received and redirected into a hold or throw in one continuous movement.
The power for this movement is generated from the lower abdomen and legs. It
does not rely on upper body strength and muscle. As a side benefit , co-
ordination 1Inproves between Ule left and right sides and overall health Is
enhanced.
THE FOUNDER
(1883-1969)
Morthci Ucshiba, callcd O-scnsci (great tcachcr) , had studied the traditional
martial arts of Japan. With mind, body and soul he mastered the sword ,
spear, and Jo (short staff) as well as the empty-handed arts . Yet, even With
this mastery, he was dissatisficd with thc scope and philosophy of thc martial
arts . Master Ueshiba felt that the physical techniques alone were not enough.
With thlS in mind, he isolated himself in Ibaraki Prefecture to search for the
true meanmg of the martial arts . There he founded a shrine dedicated to the
spirtt of Aiki. It was in the shrine that the Master spent long hours practicing
and performing purtfying exercises in the hope of reaching his goaL Through
this arduous period, Master Ueshiba began to evolve the prinCiples of Aikido ,
Rather than focusing on discord and the constant desire to win and dOminate.
the ideas of harmony and peaceful reconciliation began to emerge.
Through a revelation in the mid 1940s, he found the answer he was looking
for --the essence of Budo(the way of the warrior) . That answer was modern
Aikido.
I
TRAINING L~VELS
There are three basic levcls of practice which can be applied to almost every
technique. Through familiarization of these categories , one ~an grasp the
stages of development most Alkldolsts go lhrough.
The flrst is the solid or rigid type. It is the fundamental level of practice, in
which the partner is allowed to get a firm grasp or hold lJefore the technique is
started. The subsequent movement permits onc to practice stable hip
movements, 'ki' extensIon, coordinated body movements, breathing, and other
basics. The solid practice lets one move slowly against strength and power in
order to feel the proper movement.
The second level is the 'fleXible' approach. ThIS IntermedIate .slep allows one to
add timing and movement to the previously mentioned basics. This level is
practiced by having the attacker get close enough to almost grab or hold the
AikidoisL This practice has the defender mOVing slowly but deliberately just
before a complete grip is established.
The third level is the tlowing approach. The attacker is led even before actual
plly.slcal conlC:l.cll.s walle. The attacker's intentions are drawn in and led to a
throw or hold down technique. Rhythm and timing are very important as is
reading the attacker's intentions. It is at thiS level that one can practice 'free
wheeling' technique . The abilily lo perform flowing movements and to
effiCiently rcspond to attacks is quicldy developed.
When one trains and studies these fundamental part.s of Aikido, one can
progress to the art of 'Takemusu Aiki' describcd later.
Riai is a concept unique to the type of Aikido pradi~eri at the Aiki shrine. Its
underlying prinCiple stresses that Aikido techniques and movement remain the
same whether armed or unarmed. If a sword or staff is lost during a
confrontation, the techniques and movements remain the same.
One trains in this method by learning the empty-handed, the sword, and the
staff techniques. With this sort of practice, natural comparisons among the
three will arise. Having thiS knowledge, the Aikidoist Will progress very qUIckly.
-5-
TAKEMUS U AIK!
(SPONTANEOUS AHG)
When the foundation has been laid the Aikido practitioner can look forward to
greater developments in the art. That next step Is 'Takemusu Aiki' (Aiki which
is bound to thc roots of thc way of thc warrior).
AIKI SHRINE
The Aiki shrine in Ibaraki Prefecture,Japan, embodies the spirit of Aikido and
scrvcs as its source of inspiration. It was here at the Ibaraki Shuren Dojo that
O-sensei refined and perfected Aikido. After teaching and traveling throughout
Japan. he would return to the dojo shrine for further refinement and Ml1<iy.
Even now, practitioners from all over the world come to the shrine to pay
homage to the memory of O 'sensei and to revitalize their training in Aikido .
The current guardian of the shrine is Morihiro Saito, 8th Dan who was left in
charge of the shrine ;;md the roots of Aikido by the Founder, Morihei Ueshiba.
- 6-
{I MEMOIRS OF THE FOUNDER ) 1
~'D\zs) S o f
MORIHEI UESHIBA
1 am never defeated, how~ver taM the enemy may attack. It is not because my
technique 1s faster than thal of lhe enemy. It is not a question of speed. The
fight is finished before it is begun.
When the enemy tries to fight wilh me, the Universe itself, he has to break the
harmony of the Universe. Hence, at the moment he has the mind to fight with
me , he is already defeated . There exists no mN'I.c;llr~ oftast or slow.
Those who have a warped mind, a mind of discord, have been defeated from the
beginning. Then , how can you straighten your warped mind, purify your heart ,
and be harmonized With the activities of all things in Nature? You should first
make God's heart yours . It is a Great Love, Omnipresent in all quarters and in
all times of the Universe. A mind of discord, thinking of the existence of an
~n~my i.e; no more consistent With the Will of God .
Those who do not agree with this cannot be in harmony with the Universe.
Their budo is that of destrnr.tion. It i.e; not constructive budo.
Therefore to compete in techniques, winning and lOSing, is not true budo. True
budo knows no defeat. "Never defeated means nev~r nghting."
This not mere theory. You practice it. Then you will accept the great power of
oneness with Nature.
-7-
Don't look at thc opponcnt's cycs , or your mind Will bc drawn into his cycs.
Don't look at his sword, or you will be slain with his sword. Don't look at him
or your spirit Will be distracted. True budo is the cultivation of attraction With
which to draw the whole opponent to you. All I havc to do is to kccp standing
this way.
Even standin~ With my back toward the opponent is enough. When he attacks ,
hitting, he will injure himself with his own intention to hit. I am one with the
U niverse and I am nothing else. When I stand, he Will be drawn to me.
There is no time and space before Ueshiba of Aikido .. .only the Universe as it is.
There is no enemy for Ueshiba of Aikido. You are mistaken if you think that
budo means to have opponents and enemies and to be strong and fell them.
There are neither opponents nor enemies for true budo. True budo is to be one
with the I Jnlverse; that is, to he united with t he CENTER Of<~ THE UNIVERSE.
A mind to serve for the peace of all human beings in the world is needed in
Aikido ,and not the mind of one who wishes to he strong or who practices on ly
to fell an opponent.
When anybody asks if my Aiki budo principles are taken from r eligion , I say,
~No, my true budo prinCiples enlighten religions and lead them to completion."
I run calm, however, and whenever I am attacked, I have no attachment to life
or death. I leave everything as it is to God. Be apart from attachment to life
and death and have a mind whiCh leaves everything to Him, not only when
your are being attacked but also in your daily lives.
True budo is a work of Love. It is a work of giving life to all beings. and not
killing or struggling with each other. Love is the guardian deity of everything.
Nothing can exist without it. Aikido is the realization of love.
In Aikido we control the opponent's mind before wc face him. That is we draw
him into ourselves . We go forward in life with this attraction of our spirit, and
attempt to command a whole view of the world. We ceaselessly pray that fights
should not occur. For his reason we strictly prohibit matches in Aikido.
-8 -
Understand Aikido first as budo and then as
the way of service to construct the World Family.
Aikido is not for a single country or anyone in particular.
Its only purpose is to perform the work of God.
The "WAY' means to be one with the Will of God and practice it. If we are even
slightly apart from it, it is no longer the Way.
We can say thal Aikido is a way to sweep away devils with the sincerity of our
BREATH instead of a sword. That is to say, to turn the devil-minded world
into the World of the Spirit. This is the mission of Aikido. The deVil-minded
Will go down tn defeat amI Ule Spirit rise up in victory. Then Aikido will bear
fruit in this world.
Without budo a nation goes to ruin , becawse budo is the life of loving
protection and is thc source of the activities of science. Those who seek to
study Aikido should open their minds , list en to the sincerity of God through
AIK!. and practice it. You should underslallli lhe great ablution of AIK!,
practice it and improve without hindrance . Willingly begin the cultivation of
your spirit.
This is AIKIDO .
This is the mission of Aikido and should be your mission.
Th~ uiJuve has beell reprinted herefromAlKIDO, by Kisshomaru Ueshiba, and copyrighted by him.
ThP hnok is published by Hozansha Publishing Co .. Ltd... 1985.
-9-
HELPFUL PHRASES
KOMBANWA DO ITASHIMASHlTE
(Cumu lJollll Woll) (Doe ee tah she mah she teh)
Goorl evening. Don't mention it. You're welcome.
SAYONARA OKAGESAMA DE
(Sigh yoh nab rab) (Oh kab geh sarna deh)
Goodbye. Fine. Thank you.
JAPANESE NUMBERS
rcm EE'-CHEE 1
NT KNF:F: 2
SAN SAlIN 3
SHI SHE 4
GO GOH 5
ROKU ROW-KU 6
SHICHl SHE-CHEE 7
HACm HAH-CHEE 8
KU KOO 9
JU JYU 10
-10-
'lrHm; VA~rrE"lrY AlNJD) ~~~l(J~lN<C~ (Q))F 'lf~ rrw(G lMIli:'lr!r<:r(Q)JD)~
FROM TRADITIONAL AIKIDO BY MORIHIRO SAITO
1. OBSERVATION TRAINING
This method is applip.ri whp.n you are not able physically to participate in
tra1ning for one reason or another. You are req uired to carefully observe
the training to take in the mental and technical aspects of performance.
2 . TRAINING BY YOURSELF
(1) Suburi ...This is a swinging exercise using a wooden sword. Use a
mirror to see if your swinging form is right .
(2) Tanren-uch1...This IS a strtking exercise using a wooden sword. An
old tire or a bundle of branches of a tree, fastened at an appropriate
height, is used for the exercise.
(3) SoteHassumptton) ... ThiS is an exercise assuming as if you are wilh
your partncr. Usc your shadow on a moon-lit night or a mirror in the
daytime. This exercise is also practiced in darkness .
3. STANDARD TRAINING
Choose your partner and practice a given technique by turns repeatedly
under the gUidance of an instructor.
-11-
ATTACKS AND DEFENSES
Attacks or Holds
FRONTAL
kata-te (kah -tah -teh) ....... .. . .... .. .. . ... .. .. ... .. one handed grip on wrist
kata(dori) men uchi (kah-tah mehn .. .... ... shoulder grab and with othcr
ooh-chee) hand strike to top of head
l11une (nlOo-neh) . .... .. ..... .... .... ........ . .... . ... . chest or abdomen
.shomen uchi (showmen ooh-chee) ............ hand blade strike to top of head
ryote (rio-teh) . ...... ... ..... ... ... .. .... .... ...... ..... grip on both Wrists
morote (moh -foh-teh) ..... .... ............ .. ....... grip fore arm Wlth two hands
ryote (rio-teh) ...... ....... ... ......... . ... ...... .... ... grip on both wrists
ryo-kata (rio-kah-tah) . .......... .. . ... .... .... ..... grasping both shoulders
eri (eh-ree) ....... .. ... ..... .. .. ...... ...... ... .. ...... ... collar
kata-tc kubcshimc .... ....... .. ....... ... ... ... .. .... grab one wrist and apply choke
-12-
Bay Marin Aikido Rank Requirements: 5th to 3[(1 Kvu - 3/04-
5tb Kyo:
U kerni : furwauj amlu<:il:k lUll::;, abi1ily to do 10 forward rolls
Taj no Henko
M "fOlyUori Kokyl! Ho
Katate dorj:lkl..)'o-Omutt: and Ur~ Shihonage-Omote and Ura
Shornenllch j:lkl..) ,o.omote and ura
Kosadod(gyakytedoril: Kotegaeshi
Ken Sub\lri-7
4th Kyu:
Ia j no Heoko
Morotedorj Kok yu Ho
K atadorj_1kkyo Kosadod -ikkyo;Shihonage
M orotedori _1k kyo Katatedorj-Nikyo
Ryotedori-Nikyo Yokorneollchj -Shihonage
Tsuki -Kotegaeshi ShQmen cb i-Kotegaeshi; lrimlD(lge
Rvotedori-Tenchinage
3rd Kyu:
ra j no Henko
Morotedori Kokyu Ho
Suwariwaza(seated)
Showenucbi-lkkyo- Yo nkyo
Tatewaza(standing)
SbQwenuchi-Ikkyo,Nikyo,Sank)'o, Yoru..),o,Sbihonagc
Katatedori-Kotegaeshi,iriminage, Koshinage, Kokl'unage (5), Kaitennage(2)
Luli-lkkYU,Sttihunagt:,lriII Iirlage
lJsh jroR vote Porj-Ikkyo
Yokornenuchj-Kotegaeshi
Ryot edori -Irminage(3). Koshjnage. Kokyunage( 5),
Moro!edori -Kokylloaee(.i )
Kenl.lo-'70 To suburj
Kokyudosa
Bay Marin Aikido Rank Requirements:2nd Kyu to 1st Kyu-3 /04-
2nd Kyu
Taj no Heoko
Moro ledori KoKYY Ho
Suwa..-iwaza:
Yt IknmenlJch i-Ikkyo-Gokyo
Tatewaza(standin~);
Yokomen!Jchi :fkkyo- Yonkyo, Kokyunagc
MQ[oled(lTi :Nikyu,1rilninage,Koshinage( 5),
Katadorj Menychi:Shihonage, Kotegaeshi, Koshinagt::
I JShj roB yotedorj: Shihonage
Shomen!!cbj'Kokyunage, Kaitennage
I..sJJ..ki; Kokyltn3ge
Ken/Jo:
11.10 Kata)l In Kata
1 Person .JiYUW8Z3
KokYlldm:a(l )
lst Kyu
Tal noHenko
Morotedorj Kokyu Ho
Hanm i Handacbi:
Katatedori-Shihonage
Ryotedori-Shihooage
Tate waza(standing)
Sbomenychj-Iriminage(3), Koshinage, Kosbinage, Ikkyo- Yonkyo
Katadorj Menuchj-Ikkyo
Ushiro RyokntA oori -Ikkyo
Ushiro Ed Iori-Ikk')'o, Shihonage, Kokyunage
Munadori-Ikkyo
Ushiro Ryote Dorj-Nikyo, Sankyo, Yonkyo, Juji Nage,Kotcgaeshi,Iriminage,Koshinage,
lJshjro Kalale K uheshjmeCMunadorj)-Koshinage, Kol...-yunage, Juji Nage
Kcn/Jo:
Kumi tachj
Kurui jQ
] Dan
Iaj IlO Henko
Morotedori Kokyu Ho
Suwariwaza(seated)
Shomenuchi
Yokornenuchi
Isuki BE ABLE IO DO: Ikkyo through vonkvo/ gokvo
Katatedori
Katadori
Munadori
Know:
I suki Kotegaeshi
Shomcnuchi lrimi Nagc
Hanmihandachi(nage sitting/uke standing)
Katatedori-Shihonage
Ryotedori-Shihonage
Shomeuchi-lriminage
Shomcuchi-Kotcgacshi
Ushiro ryokatadori-Kokyunage
Ushiro ryotedori-Ikkyo
Ushiro Ryotedori-Sankyo
Ushiro Ryotedori-Kokyonage
Tatewaza(standing)
Morotedori(5) variations
Shomenuchi Sankyo(3)
lkkyo-Yonkyo; shihonage; kotegaeshi; kaitennage; Jujigarami;
Koshim'lge; KokyuD<lge
Bukiwaza(Bokken/Jo)
Ianto(tanken) dori -Show 5 takeaways
Either the six Kumi Tachi or the ten Kurui Jo(Know each side)
lkkyo (eek -yah). .......................... 1st waza ... control the wrist and
elbow as the arm is
brought down
nikkyo (knee-k'yohJ. ....... . .... ......... 2nd waza .. appl1caUon is similar to
ikkvo but there is more
emphasis~ on wrist pressure
-13-
GENERAL TERMS
-14-
Bay Marin Aikido Kyu Rank Requirements(July, 2003) 6th to 4th Kyu
6K 5K ' 4K
1
ATTENDANCE
.!.r.~ill.i~.~ ..~~y'.s .. _.._..~?~.aX~. . ..l.~.~~~y.s . ?~~~)'~ ...... .
Regul arity Recent 1 month !Recent 1 month Recent 2 months
Seminar I Dojo in past 12 mo.
TECHNICAL
1_ .............. ,... ......................- ..- .._.. _.._.. _ .................................................................................................................................................. -.
~
OTHER i minumum age of L6 : Essay showing an ; Essay showing an Essay exploring an [Uchi desshi ill Iwama; : Teach or assist in
i, years 1 understanding of Aikido' understanding of Aikido' aspect of Aikido; Assist! Essay exploring in ' leaching a seminar or
: teduuques or about : principles and their in organizing a seminar.: depth any aspect of : class.
; personal involvement in; applications(700-1000 !Aikido;teach or assist in
1 Aikido (500-700 words) : words) i teaching a seminar or
.. ............... .
~ ... ........ _.:............. ... . ....................................... ..................................... ................ ...... . .......L<?l~.s.s:.......................... . ...... ... ... ....... ... ......... .
: : :
A GLO~~Ol<.Y OF TERMS USED IN AIKIDO
ABUNAI
DANGEROUS
AIKIDO
AI=HARMO Y,Kl=SPII<IT,t::: tl<.e.;Y,DO=THEWAYORPATH
'THF WAY OF UNIVERSAL HARMONY'
AlKIDOKA
ONE WHO PRACTICES AlKlDO
AIKITAlSO
AIKIDO STRETCHES OR EXERCISES
AIHANMI
SAME STANCE, UKC AND NAGE HAVE THE RIGHT FOOT FORWARD, ETC.
AIuan
EQUAL STRIKE, MUTUAL KILL
ASHI
rOOT, rEET
ASHlYUBI
TOE, TOES
ATAMA
I lEAD
ATEMI
A STRIKETOA OPEN I G, STRlKE TOACCUFU C! un FOINI(S) 10 Wl:AK.tN AN ATTACK
AWASE
TO BLEND OR HARlVlONIZE WITH A MOVEMENT OR ATTACK
BaKKEN (80KUTO)
A WOODE PRACTICE SWORD
BUDO
Ijt. THE WAY OF STOPPINC WAR, THE WAY OF BU
BUJUTSU
f-le.;H nNe.; ItCH IQUES
BUSHI
WARRIOR
BUSHIDO
IHE WAY OJ:< IHt WARRIOR
CHUDAN
MIDDLE POSITION
CHUSHIN
ONE'S Ct:::N'IER
DAN
BLACK BELT RA K, GRADE
DESHI
STUDE T, DISCIPLE
DOGr
CLOTTTES USED IN PRACTICE
UUJU
TRAINING HALL. lit. THE PLACE OF THE WA Y
DOJO CHO
CI lIEf' INSTRUCTOR OF THE DOJO
-18-
UOSHU
HEAD OF AIKIDO. AS Or JANUARY OF 1999, IT IS MORITERU UESHIBA, THE FOUNDER'S GRA DSO
FUKU SIDOOIN
FIRST INSTRUCTOR'S RANK (2ND OR 3RD DAN)USAF, ASSISTANT I STR_
G E DAN
LOW, LOWER POSITION
CYAKUHANMI
OPPOSITE HA Ml, FOR EXAMPLE, NACE HAS THE RIGHT FOOT FORW ART) AND UKE HAS THE LEFT FOOT
FORWARD
HAl
YES ,OK
IlAKAMA
SKIRT-UKE PANTS
BANTAI
OPPOSITE
HARA
LOWER ADDOM[ ,ONE'S CENTER, THE SEAT OF LIFE'S E ERGY
HAYAI
FAST, QUICKLY
HESO
BELLY BUTTON
HIDAKI
LEFf(DTRECTIO
HIJI
EU30W
IDTUEMI
A REVERSE TRIANGULAR ENTRY
HO
METIIOD
HUNIW UOJO
lNTERNA nONAL HEADQUARTERS Of' AIKIDO I TOKYO JAPAN
ICID
ONE
INAZUMA
LIGHT INC
IPPAI
FULL, PULLY
llUMl
E TER
JIN
BE EVOLE cn
TINTA
SHRI E
JIYU
FREE STYLE; SPONTANEOUS ATTACKS AND RESPO SES
jIYUMIH -IAISO
WARM UP EXERCISES
JO
SHORT STAfF, APPROXIMATELY FIVE FEET LO G
-19-
JODAN
UPPER PosmON
KAMAE
FORM, POSTURE
KAMI
SPIRITS. GODS
KARADA
BODY
KATA
SHOULUcl<.; AN AL'ltl<.NAlE MEA G IS A SET FORM
KATAI
HARD, STIFF, NOT FLEXIBLE
KENDO
10DERN ART OFlAPA ESE fE U G
KENJUTSU
SWORD TECHNIQUES
KI
Urt t bf<GY, U lY ERSAL EN ERGY
KIHON
BASIC(S)
KIMOCHI
rttLlN(J(S)
KI MUSUBI OR KI 0 MUSUBU
TO UNIFY KT OR 'TIE ' 0 E'S KI TO THE OTHER PERSON
KI NOBASU OR KI 0 NOBASU
TO EXTEND OR POUR OUT KT
KI NO NAG ARE
FLUID FORM OF A TECHNiQUE
KOGEKI
ATTACKER, TO ATTACK
KORAl
JU lOR STUDENT
KOKYU
BREATH OR BREATHI G AS CYCLICAL E ERGY (ABDOMI AL)
KOKYU nOSA
KOKYU EXERCISE OR A METHOD OF TRAlNI G KOKYU
KOKYU NAGE
KOK Y U TH ROW
KOSHI
HIP
KOTAI
SWiTCH OR CHANGE PLACES
KlffiI
NECK
-20-
KYU
GRADES OR RA .KS Fl<ECED1NG BLACK BELT RA KS
MAAT
DISTANCE OR TIMINC
MARUI
CIRCULAK
ME
EYE
MIGI
RIGHT (DIRECTION)
MIMI
EAR
MISOGI
PURIFICATION, CLEA S1 G
METSUKE
EYF, FOlliS, & DTRECTIO
MOKUSO
MEDITATE
MUNE
ABDOMEN, CHEST
MUSUBI
or D1 GTOGETHER, U ITY, HARMONIOUS CO Nl:CnON
NAGE
THROWER, THROW
NOBASU
EXTE D, LENGTHEN
NUDO
THROAT
NINCEN
lIUMAN BEl G
U
AN HONORIFIC: PREFIX
OBI
OELT
UMOTE
ENTERT C; OR A MOVEME T TO THE FRONT OF liKE
o SENSEI
GREAT TEACHER
RANDORI
MULTIPl.F PERSON ATTACK PRACTICE
REI
BOW, COURTESY
REIGI
FTIQUETTE, COURTESY
RIAl
UNIFIED APPROACH TO WEAPON AND EMF 1 Y HA D PRACTICE
SAMURAI
o E WHO SERVES, WARRIOR
-21-
SATUKI
ENLIGHTENMENT, FPJPHANY
SAT5U J IN KEN
DeSTRUCTION OR KILLING OF ONE'S ENEMIES
~"'ZA
TRADITIONAL JAPANESE MANNER OF SmlNG WITH THE KNEES FOLDED
AND THE LOWER I Fr. UNDFR THF THIr.H
SEMrAI
SENIOR STUDENT
SEN S EI
TIOACHFR; ONE WHO C,IVES (;UlnANCF AI.oNr. THF WAY
SI-IIDOlN
CERTIFIED INSTRUCTOR(4TH OR 5TH DAN), USAF
5HIHAN
MASTFR TFACHFR
SHlKO
KNEE WALKING
SHINTO
WA Y OFTHE GODS; TRADITIONAL RELIGION OF JAPAN
S III ZEN
NATURE, NATURALLY
SHODAN
1ST DEGREE BLACK BELT
SHOMEN
THE FRONT, FROl\'T OF THE HEAD
SUBURI
RFPETITION OF A MOTION DONF TO PFRFFrT PFRFORMANCE
SUKJ
OPENING, WEAK POINTS
~U T EMI
'SACRIFICE' FALL
S U WARI WAZA
TECHNIQUE DONE FROM SEIZA, SH1KKO
IACHI
JAPANESE SWORD (ORIQ AS IN DAlTO OR SHOTO)
TACHI DORI
WEAPONLESS peRSON TAKING AWAY THE SWORD OR BOKKEN
IAt:HI WAZA
STANDINGTECHNJQUfS
TAlJl.IT$U
WEAPONLESS ARTS, BODY ARTS
IAI NU Hl:NKO
BASIC BODY TURNING EXERCI5F
TAISA8AKl
DODY POSITION
TANTO
KNIFE. IN AIKJOO A WOODEN KNIFE
TANTO DORI
WEAPONLESS PERSON TAKING AWAY THE KNIFE
TATAMI
WOVEN JAPANESE MATS APPROX. J INClle!} TIIICK &: 3X6 n:rr
IAIt.
STAND. STANDING
TE
1!A.'l'O
Hi KUtJJ
WRIST
TECATANA
HANDBLADE
TENKAN
TURN ING TECHNIQUE (SEE.u.&A)
TSUKI
TIIRUST OR I"UNCH
UCH! KOMI
TO MOVE FORWARD AND STRIKE
UOE
ARM
Ut.~I'lltJA, MORIHEI
FOUNDER OF AIKIDO (1883-1%9)
UESHlBA, KISSHOMARU
CURRCNT IIEADor AIKIOOAT IIOMBU DOJO, SON or MORH 1[1 U[51IIBA,TII[ rOUNDeR
UESHl8A, MORITERU
HONBU ooJ0'5 iJOJO-CHO. SON OF KISSHOMARU. GRANDSON OF THE FOUNDER
UKE
ONe WI [0 IS TI [ROWN; R(C(IVt:R or T[CIINIQU(
UK,E Ml
THE ART OF BEING AN UKE; ROLLING, FALLING OR RECEIVING TECHNIQUES
URA
1>.'IOVEMENT TO THE REAR OFTIIE ATTACK[R
URA SANKAKU
REvERSE TRIANGLE
USHIRO
BEHIND
)'AMA8IKO
ECHO; REFERS TO THE METHOD OF 'CALLING OUT' THE ATTACKER'S KI
YAWARAKAI
sorr,
rLCxIl3Lr:
YUUANSHA
THOSE '''HO HAVE ACHIEVED DAN OR BLACK BELT RANK IN AN ART
WAZA
T[CIINIQU[!}
LANSH1N
THE CDtI.'IPLETE AND CONTINUOUS AWARENESS OF ONF'S SURROI I NOINr.S
ZAZEN
MEDITATION
ZEN
~IYSTICSEcr OF RUOOHIS\1
-Z3-
AIKI KEN AND JO
KEN
SUBURI(basics)
KAMAE (posture or baste stance)
SUBURIS; 1 THROUGH 7
1. Straight overhead(shomen) strike
~. Ove.rhe.;:trl Uorlan) strike. Step back with right leg . hip
turned La Slue , tliell step forward wiLh the same leg and
strike streight down.
3 . A kokyu strike. Step back with the right legUn a big
stance).brlnglng the bokken up and back before striking.
Be sure to inhale deeply as the bokkcn is raised, hold the
breath as the bokken is brought to the rear(sink the hips)
and kt-aHexhale wtth a nOise) whlle strik1ng forward and
down.
4. Shamen striking while walking forward
5. Cover rhe head Wlth the hilt of tlle bokken while
walking forward and striking: first on one side t h e n on
the other.
6. Stnklng from the Jodan postuon{#2 above ) ann then
quickly thrusting with the tip of the lJukken; first from
one side then the other.
7 .Starting from the jodan posiUon(#2 above) strike as the
light [uut ~leJ-lS awl tllen tllru.st willI the tIp of the
bokken as the left foot steps. Repeut.
AWASE(blenrllng :::Inri IImtng practices)
-26-
AIKI KEN AND JO
JO
SUBURI
KAMAE(stance or posture)
Defensive or neutral stance with JO vertical(shizen no
kamae).
Attack stan ce (tsukt 00 kamae) with the Jo horizuntaL
FORMS I THROUGH 20
TSUKJ NOBU(thrustiog or piercing motton gro1lp)
Choko tsuki (forward thrust)
Kaeshi tsuk! (rotating thrust)
Ushiro tsuki (thrust 1'0 rear)
Tsukt jodan gaeshi (thrust then strtke [rom above)
Tsu ki gedan gaeshi (thrust then sweep the legs)
SHOME N UCHIKOMI NOBU (straight overhead strike
groupl
Shomen uchikoml(overhead strIke)
Renzoku uchlkoml(contlnuous stIike)
Shome.n Ilc.hl 1lshlro tsukJ(strike-thrust to rear)
Shumell ul.:l1t geuall gaeshl(stnke-sweep legs)
Gyalm yoltomen ushiro tsukl(covcr and 3trikC with
the left foot forward then thnlst to rear)
KATATE NOBU(one hand group)
Toma ucht (distant 3trike)
Gedan gaeshi(striklng from low to high)
Hacht jl no gaeshHfigure 8 turning movementJ
HASSO NO[3UUo is held vertically by head)
Hasso gaeshi shomen uchl(straight strike)
Hasso gaesht mae tsukt(forward thrust)
I Ia~~ gac~hl u~hlro t~uk.1(rcar thru!lt)
Hasso gaesh i ush1ro uchl(rear strike)
Hasse gaeshl ushlro barat(rear sweep)
NAGARE GAESHI NOBU(continuous movCIllt::lIl group)
Htdart nagare gaesht uch1(shomen strike then
turning to the left.strike a shomcn to the rear)
Mi~l na~afe gaeshl tsukl(shomen strike wlth the left
foot fo rward. then step back with fight foot and
cover head with the jO, finally drop the jO into
position and thrust.
no name move-combines thc two above movements.
+ JO KATAS
31 ceuntJo (san-jU-lcht nOJo)
13 count jo Uu-san no jO)
JO AWASE(blendlng and timing practices)
,
1
6 7
Empty
V
4 3 h . n~
4
3
se q" enoe
8
/ /".
2
7 5
2
The outer circle is the bokken sequence
Starting position
K(mme Start from a left hanmi with the jo verti c,,1 in
front of rhe left foor and held with the left hand.
1. ichi fcct- The left foo l slides diagonally to the left and the right
foot follow s so thallht:. ft:.elllun ' ( gt:.t lOu wide apart.
hands/jo The right hand gmsps the jo thumb down and pushes it
forward and even with till: kft hanll. Tht: left hand rises
until the jo is level and then lets the jo slide through the
hand. (kaeshi f~iUki)
2. ni fect The right foot steps baek and to the right rear. The
left foot follows.
hnnds/jo Both hands rise. The right hand rises above the head
while the left hand stays about chest high. (cover)
3. son feet The left foot advances diagonally to the left.and the
right follows.
hands/jo The right hand roUs down and both hands move
forward to thrust the jo. (kaeshi fsuki)
4. -'"hi or feet The right foot moves to the right rear, the left follows.
yon hands/jo The left hand lifts up and hack to cover the top of the
head. The right hand slides and meets the other hand in
the middle of the jo.(cover)
5. go fcct Pivot 011 the left foot and advanct:: with tht:: righl foot.
hands/jo When the two hands meet, reverse the position of lht! jo
front to back. The right hand will now be ill frunt uf
the left. The left hand should s lide to the front end of
the jo then grasp it. Strike with the jo. The right hand
should also be able to slide a little on the jo. (:!ihnmel1
/fchi komi)
-2Y -
The Thilty-One Jo Kata
Sonju ichi no )0
Bay Marin Aikido P.2 1997
6. roku feet Advance with the left fOOl, right foot follows.
hands/jo Lift the left hand towards the back of the head as the
right hand rises above the forehead. Push the left hand
upwards as the hands switch back to front. When the
hands are lined lip, strike. (ren:akll IIchi komi)
7. shi,.hi. feet Pivot 180 0 to the right. The right foot is now in front.
nona hands/jo Raise the hands over the head as you pivot. When you
have changed directions. strike with the jo. (shamen
uchi komi)
9. ku feet Step to the right 180 0 around with the right foot.
hands/jo Sweep the jo from the striking position downward
toward the right knee. (ushiro harm)
J2.jllni feet The right foot withdraws a small step and the left fnnt
follows.
hafll.ls/ju The left hand releases the jo and slides past the right
to the middle of the jo. Once there, the left h(lnd grasps
the jo and the right slides back until it reaches the very
back of the jo. (tsuki flO kamae)
13. jusoll feet The left foot moves forward, the right follows.
hands/jo Push the jo through the left hand with the right in a
thrust. (dlOko tsuki)
-30-
The Thirty-one Jo KaLa
Sanjll ieh; no jo
Bey Marin Aikido P.3
1997
I5.jugu
feet Step forward with the right fool.
handsijo Reverse the position of the jo(the front and back switch)
When the jo has reversed. open the len hand and slide
it to the bottom of the jo. letting the right hand slide
about two hand holds above the left as you strike with
the jo. (slwnum /leI!; knmO
16. jllrokll
feet Step to the left rear with the left foot, the right follows.
hands/jo The jo is pulled back to the left rear. Right hand is in
front. (gedol1 gaeslii)
17 . jIJshi('/7i or jUJ10l1fl
reet Pivoting on the ri g ht foot ,step forward with the left
foot.
hands/ju The left hand pushes forward in a sweeping mOTion.
(~edal1 gaeshi)
18 . juliaclii
feet The left foot slides a li ttle 10 rhe right to allow the Idt
hip to dip.
hands/jo The left hand tlips to a palm up posit ion while holding
the jo. The right hand rotates to a p<tlrn down position
and catches the end of the jo.
J9.jukll
feet The left foot steps diagonally forward; the right follows.
hands/jo Thrust the jo dow nward toward the knee.(gedan Isuki)
-31-
The Thirty-One .10 Kata
SOllja ielli no jn
Bay Marin Aikido P.4
1997
20. nijll
feet The right foot steps forward, then drop down to the
left knee.
hands/jo Cover and strike at knee leve l. (s imilar to # 14)
21.nijllichi
feet No movement.
hanrls/jo Pull thejo back to the lower Icft sidc.(similar to #16)
22. nijuni
feet While standing up , step forward with the left foot.
hands/jo The right hand moves the the jo from the left hip to the
right shoulder. When the left hand is in front and the jo
is pctralld tu tht: ground, move bOlh hands 10 poke the
jo forward.
23.niju:i(lJ1
feet The left foot slides a little to the right as the hip dips.
(like #18).
hands/jo Flip thejo over like #18.
24.nijushi or nijl/yon
feet The left foot steps diagonally forward, the right follows.
hands/jo Thrust the jo forward. (choko 1suki)
25.nijllgo
feet The left foot advances again, the right follows.
hands/jo Rolling the jo slightl y left to right , thrust again.
26.nijl-lro kll
recl The right foot steps diagonally back, left follows.
hands/jo The jo is pulled back to the lower right (geritm gaeshi)
-32-
The Thirty-O ne Jo Kala
Sanju iehi 110 jo
Hay Marin A ikido P.5
1997
27.mjrlshi nr nijllnrJJ1f1
reet The left leg steps hack while pivoting on the ri ght foot.
hands/jo The jo is brought up to a bout waist height. (gerfn.n gaeshi
28.niju/wc/Ji
feel The feet don't move,
hauds/jo The jo is brought about neck high am! wilh bOlh hands
poke the jo forward. (like 1122)
29. nijuku
feet The right foot slides a little to the left to let the right hip
to dip.
hnnds/jo The right hand turns palm up and the left ha nd turns
palm down to catch the end of the jo.
30. sanjll
r t The right foot ste ps forward diago nally.
hands/jo Thrust the jo fo rwa rd. (Right hanmi choko Isuki)
1 1. wmjl.lirhi
feet The left foot steps forw:m1 , lh~ ri g ht fo llows
hands/jo Strike with the jo. (r en: oku IIchiknmi)
-33-
The 13 Jo Kata
J" san 11t) jn kafa
Bay Marin Aikido 1997
STARTING: The feel arc in a left hanmi position. The jo is held vertically
in the left hand. Both the body and the face are relaxed. but
the eyes and spirit slay alert and alive.
I. ichi
feet; The left foot steps forward.
hands/jo; The top of the jo points straight forward and thrusts
(clwko tsuki)
2. ni
feet: Continuing to move forward step with the right foot
h/j: Cover the head and stri ke (haya gaeshi)
3. sail
feet: Step back diagonally to the left with the left foot; the
right slides to follow.
h/j: Roth hand~ rise ahove the head , until the jo is over head
and parallel to the grollnd.
4. shi or yon
feet: The right foot slides forward.
h/j: Both hands drop to waist level and poke forward with
the jo.
5. XO
feet: Do the two step. Initiate the move with the left foot.
h/j: After finishing the two step, spin the jo in the right hand
to has.\'{} kamae (hasso pos iti on).
6. roku
feet: The right foot steps forward.
h/j: Strike shomen Nehi from the hasso position.
7 . shichi or l1U1a
feet: Pivoting on the right foot,step backward 1800 with the
Ie.ft fool.
h/j: From the finished strike in #6 (about waist high) , move
the right h,md towards the left shoulder as the Jeft hand
moves to the left hip.
-34-
BukiWaza
Saito Sensei's Kumi Jo
Jo Partner Forms (Kata)
Bay Marin Aikido 1997 p.1
Fonn 1 Kumt Jo no Icht
Form 2. Kumt Jo no Nt
I. "J'suld to throat (choko tsukt). 2. Slight step left, cant left. bloc,;k l.!5uki,
two handed thrust back to kogeJd's
throat.
3 . Step under thmst ,raisin g the right hand
over head-lIlt!1I strike to the lead leg. 4. Pivot left, dropping the left hand and
raising the right to forehead, block.
5. TSllkt (right hand le::lns) to min section. 6. Step left. tsukt to fibs.
Fonn:S. Kumt Jo no Go
KoqektlUchl Uke
Tsukt no Kamae Shtzen no Kamae
l{oaektlUchl (Ike
Tsuki no Kamae Tsukl no Kamae
I. Tsukt to mld-sedton. 2_ Roll and press w1th the left hand side.
5. When the pressure Is reiea:scd, o. P1vottng around uchi's left upper arm,
finish the striking motion. Rollmg the jO over the top. move the
JO clockwise to unbalance or thmw
uchl.
KooekilUchl !Ike
TsukJ no Kam;:te Sh1zcn no Kamae
1. Cover nnd strike towards the left leg. 2. The left leg ste.ps back. The right
hand attaches to Ule jo below the
the left hand to hold the jO vertical
and block t.hp. strike
3. From the rtght hand. right foot forwa rd 4. Move fOlWard with the right foot as
posItion. tsuki. the right hand raises the Jo to the left
shoulder and the left hand drOpS to
the left hlp to block the thrust.
5. Covering. step with the left foot to strike. u. a) Extend upward W1th both arms
until ucht is off balance or thrown
b) As uch! strikes. slip to the left and
with the right hanel steip. of the. jo.
catch the crease of the Ught knee
to unbalance or throw uchl.
Buki Waza
Saito Sensei's Kumi Jo
Jo Partner Forms (Kata)
Bay Marin Aikido 1997 p. 4
Form 8 Kuml. Jo no Hachi
Kooeki I Uchi llkp
Tsuki no Kamae Tsukl no Kamae
1. Cover the hCC1U IJrt:partng to strike. 2 . Tsuld. towards the head to stop the
mollon.
3. When Uke releases Ule tsuld. strtke. 4 . While uchi is striking , step back and
and to the right to get off the line of
attack. Bring the Jo overhead with the
fight hand slightly higher than the
left hane:l. TSlIld between the anus
to\vards the mId-section. After the
thrust. circle the JO clockwise
captllring the wriSts to unbalance or
to lhww uchl.
Form 9 Kuml Jo no Ku
3. Cover the head to strike. 4. QUickly step forward with the right
foot and the rIght hand to aim the JO
towards the uchfs fnce. stopping the
movement.
Form. 10 Kuml Jo no J u
KQgeldL.l!tJ1 Ukc
Tsukt no Kamae K~n no Kamae (chudan)
1. Tsuki to the midse.r.tlnn . (choko tsuld) 2. Stepping forward and to the It:fi. do
hassogaeshf to knock the thrust
away.
3. RJdlng the motion , step With the right lP.g 4. In a figure 8 pattern continue the
and str ike. hasso motion to knock the strike
away with JO palm down.
5. Again . riding the motion, step willJ th e left 6. Contin n ing the hasso motion, wit h
leg a nd strike. the h e lJJ ur the left hand, put the
top end of the JO ncar the left side of
the np.r.k and the bottom near the
r ight wr1:sl. Torque the Ja in a cou nt-
er clockwise motion to unbalance or
tn throw uchl.
Fo rm 1 Kumtcachl no Ichl
Form 2 Kumltachi no N t
Kuuekt (Uchttachl
UchltacllllKooekl
Step back. stay in right hanmi Step lxu.:k. stay 1n right hanmt
1 . Step with the right foot. tsukl. 2 . Step slightly to the right. turning the
hipS, thrust back to the chest. Roll
the kogeld's sword to the left and
nown .
3. Step with the left foot and tsukJ. 4. Steppmg back W1th the nght toot ,
parry the thrust.
5. Cover and strike. 6. Step back with the left foot and
pany with a down'Wo'lrn stroke. Zanshln
Buki Waza
Saito Sensei's Kumitachi
Bakken Partner Forms (Kata)
Bay Marin Aikido 1997 p. 4
Form 5 Kumltachi no Go
Uchttachl l Kooeki
Thlrrt sllburi(step forward, left foot) Third suburt (step hackward. right foot)