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September ’98

The Seidokan Communicator


Aikido for a Modern Way of Life

Kawakami Sensei Visits Northern Minnesota


by Frank Guldbrandsen

For the spring seminar this year in Duluth, we were fortunate to have Dan Kawakami Sensei come from
Southern California. Brad Bergeron and Frank Guldbrandsen had traveled to South Carolina a few
months earlier when Kawakami Sensei was there for a seminar and both quickly realized that as slow
learners they would need an opportunity to listen and observe a second time to what Kawakami Sensei
had just taught. So they invited Sensei to Duluth for another chance at learning.

The essence of the weekend training for the 25-30 students who attended
was efficiency and effectiveness. Kawakami Sensei taught that balance is
the key ingredient in Aikido as it is in all of life for efficiency and
effectiveness. The easiest way to attain balance is to learn to be in
harmony. One of the basic elements of harmony is posture aligned with
gravity. Another basic element of harmony is breath. Most of the
weekend seminar revolved around that simple but profound theme.

So often students see Aikido as throwing and rolling and rather spectacular
movements. Kawakami Sensei taught that Aikido is really involved in
much more subtle, less visible nuances of movement than that. Students
were able to take some of the lessons of the mat to the Saturday night
soiree at Bergeron Sensei's house on Lake Superior. Posture and breath
were practiced while enjoying snacks and beverages. Kawakami Sensei
was also able to experience the beauty and placidity of northern Minnesota
in the spring. For several previous years Kobayashi Sensei always held
seminars in January, often in the midst of 20 below zero weather with snow storms approaching.
Kobayashi Sensei was convinced that weather in Duluth was only of that variety, but now Kawakami
Sensei knows otherwise.

The seminar was voted a great success by all, even though one student was slightly injured taking ukemi
on Sunday. She quickly recovered, utilizing some intense sessions of aiki-ryoho, and we all look
forward to Kawakami Sensei's early return to the Northland.

What Do You Do With Your Yin When The Attack Lacks


Yang?
by Doug Wedell

The concepts of yin and yang (in and yo in Japanese) are ancient terms and reflect the principle
of complementarity. Yang is ascendant, active, strong, full, light, heavenward, whereas yin is
descendant, passive, weak, empty, dark, earthbound. These complementary forces cannot
exist without each other. There is no up without a down, no strength without weakness, no light
without darkness. In applications to Aikido, we must remember that harmony is balance. When
the attacker attempts to strike you down, he is coming at you with yang. We therefore meet the
yang with yin, by stepping off the line and creating an empty space or void, which may be filled
yang with yin, by stepping off the line and creating an empty space or void, which may be filled
with his solid yang attack. When the attacker maintains a strong yang force throughout the
attack, the Aikido movement is minimal. It is as if nage did nothing at all and uke simply fell.
However, no event is completely yin or yang. Nage cannot be passively passive but rather
should be actively passive.

The title of this article poses a question about what happens when
the attacker withdraws his yang. The answer depends in part on
when this happens. The most common case, especially among
beginners, is to attack and then just before the throwing movement
is executed, to withdraw the attack and focus on maintaining one’s
balance and not falling. This sometimes leads to a struggle
between uke and nage, a wrestling match, or contest. The key to
remember in this situation is that if you (as nage) are in a safe
position, you need do nothing. Thus, if you have stepped aside
and have a controlling technique ready to execute, but you feel the
attack completely withdrawn so the uke is no longer throwing
himself, you can simply leave things alone. The object of Aikido is
not to throw the opponent, but rather, it is to establish harmony. The critical feature of this
response is that you are off the line and in a safe place. If uke decides to renew the attack, the
controlling technique will work automatically and so balance is restored.

A different situation occurs when the attacker refuses to attack, but attempts to close distance
until he finds an opening. This is a much more difficult situation. The attacker is stalking you. If
you do not respond, he will eventually place himself in a position of advantage, breaching maia
or proper distance. Clearly, this sophisticated attacker is using yin from the start. The
complementarity principle implies that we must respond with yang. However, it is important that
we do not simply attack the attacker and become the attacker ourselves. This is a tricky line to
walk.

It is instructive to note that the original version of shomenuchi ikkyo (as documented in books by
Gozo Shioda Sensei and Morihiro Saito Sensei) has the nage striking shomenuchi at uke. Uke
blocks the attack and nage immediately turns it into ikkyo. This is a yang-to-yin method of self
defense and I believe it was developed mainly for the purpose of working with the attacker who
may be stalking rather than charging. Note that when executed correctly, the initial yang
movement is there simply to bring out the yang in the attacker. The attacker wishes to attack
and so will meet force with force. At this critical moment, nage switches to yin and executes the
ikkyo movement. We see a similar principle operating in the tenchi nage (heaven earth throw).
With the raised hand, we threaten with yang and focus the attacker’s mind on the potential yang
of the situation. We then lead the attacker off balance with the hand in the shade, the yin hand.

Returning to our stalking situation, we can see that we must meet yin with yang, but have yin in
reserve so that we can quickly return to it once we have brought out the attacker’s yang. How
exactly can we do this? One method would be the use of kiai (harmony shout). The kiai is
clearly a yang force and is likely to draw action from our attacker or at least disrupt the attack.
Other possibilities include forcing the situation by thrusting a hand forward or moving in strongly
toward the attacker. However, this is only done to draw out the attack so you can blend with it.
We must not attack the attacker. This type of sophisticated attack is worthwhile studying at
advanced levels; however, practice of beginning and intermediate students should focus
primarily on situations where there is a clear and continuing attack so that we can illustrate the
yin meeting yang aspect of Aikido training.

AIKIDO AND THE BOKKEN AND JO (pt. 1 of 3)


By Richard Harnack

Swordmanship in Japan began mainly as a skilled fighting art to be used in battle. The success
of any given technique or "style" was ultimately determined in combat, either in battle melees or
individual duels. The early "schools" of swordmanship were most likely associated with a
particular daimyo or geographic locations. During the early Tokugawa period, Musashi's "Book
of Five Rings," Yagyu's "Family Scroll," and, Takuan's "Sword of Taia" were written down. The
attitudes and values reflected in these helped to provide the samurai with a deeper philosophy
of the sword. Each of these traditions emphasized that there is more to "swordmanship" than
techniques. It was from these and others that much of the present understanding of the "sword"
and ultimate purpose of the martial arts has been developed.
The sword (Bokken) and staff (Jo or Bo) have been part of Aikido since its inception. Both of
these "weapons" were viewed by O-Sensei as tools to aid the Aikidoka in developing their larger
awareness of and connection to the Universe. O-Sensei was certainly familiar with the writings
mentioned above and drew upon them for inspiration. Roderick Kobayashi, Sensei, in his short
manual Aiki Kengi and Aiki Jogi, made it clear that the use of the Bokken and Jo in Aikido was to
emphasize the underlying principle of Katsu Jinken (Sword to Let Live).

In its simplest terms, Katsujinken means that


aikidoka train to preserve harmony and to use their
art only in service to the greater good, not to hurt or
destroy someone. Thus, the Bokken and Jo
become tools to promote harmony, not weapons of
destruction. This approach underlies all of the Ken
and Jo Gi training.
From this perspective, training with the Bokken and
Jo in Seidokan Aikido is conducted differently from
other styles. In Seidokan, we practice the Aiki Kengi
and Jogi to learn how to move properly and extend
ki beyond ourselves. In the paired Bokken and Jo
practice, the emphasis is on achieving harmony and
closeness of timing, not engaging in a mock combat.

Initial training in the use of the Jo and Bokken


involves learning proper hand and foot placement
and overall posture. Both the Bokken and Jo are
held lightly with the little fingers, while your arms,
shoulders, torso, hips, and legs are relaxed. The Jo
and Bokken are excellent tools to help you acquire a
more unified body movement and posture. This
latter is because when you use your arms only to
move either one, it is immediately obvious. If your posture is not correct, your strikes, thrusts
and drops will look and feel strained and awkward. This awkwardness will disappear with
proper practice.
The Bokken - Wooden Sword - is used to help the Aikidoka discover whether their movements
in the empty handed arts follow the principles. This is done through Suburi (repetitive cuts), the
Kengi and Ken-Ken Awase. Suburi helps you to perfect particular movements with the Bokken
by learning control and relaxation. The Kengi help you focus on particular sets of movements to
improve your gracefulness and posture. Ken-Ken Awase helps you to perfect your sense of
distance and timing in relation to others. Seek to practice all of your sword work from the spirit
of true defense creating peace with each movement.
The Jo - Wooden staff -- Where the Bokken is used to train how to move in response to cuts
and slashes, the Jo is used to train the Aikidoka how to move with fluid ease. The Jo has two
ends and a middle which can be used. Thus the emphasis in the Jogi is to develop a freedom of
continuous movement from one point to another. The Aikidoka move their body behind, around
and through the Jo, making the Jo an extension of their body. In Jo-Ken Awase, you learn how
to apply the movements you trained in the Jogi to distance and timing in relation to a partner.

In the next article, I will discuss the use of the Bokken and the Ken - Ken Awase in greater
detail. In the third article, the focus will be on the Jo. Until then:

Let your sword train your spirit as well as your body. Let your staff increase the flow of your
spirit and body. Let every cut of the sword cut through your illusions; let every thrust of the staff
move you from within yourself toward the heart of the universe.

OPEN HOUSE AT NEW HEADQUARTERS DOJO


by Mark Prince

On Saturday, September 19th at 1p.m., the new Seidokan World Headquarters hosted its open
house for the new opening of its dojo in "Eagle Rock," California! It looked as though at least
fifty people attended and it included taiko drumming demonstrations out in the front parking lot,
a warm welcome by our Kancho Stewart Chan, where he also gave a talk on the four principles
of the mind-body with a practice session involving the audience. We were happy to watch the
children's class demonstrate, followed by the adults where some of the sensei and students
children's class demonstrate, followed by the adults where some of the sensei and students
demonstrated empty hand techniques as well as waza against tanto, jo, and bokken. Wadahara
Sensei also demonstrated a couple of techniques against the pistol! (No it wasn't loaded... and
neither was his attacker!)

Chan Sensei ended with a short history of Seidokan and listed most of our dojos located all over
the world. Quite an accomplishment! He then introduced Mrs. Kobayashi and thanked her and
her daughter Michiyo for their efforts in administration. Sensei Chan than asked if there were
any questions and one of the children asked "when do we get to eat?" He gave a big smile and
invited everyone to join in a large very nicely presented pot luck! From a new student's view of
only three months, I was made very welcome by everyone and hope our new world
headquarters is very well received by all! Domo Arigato.

New location:

Seidokan World Headquarters


c/o Aikido Institute of America
2615 Colorado Blvd
Los Angeles, CA 90041

Technical Corner
Futari Ryotedori
Doug Wedell

Much of our Aikido practice is focused on the


situation in which one person is attacking and
we must blend with that attack. However, O-
Sensei taught that in Aikido we must practice as
if we are defending ourselves against multiple
attackers. He also taught that when facing
multiple attackers, we must move as if they
were but one.

Two ways in which we train with multiple


attackers are randori and futari ryotedori (two
persons holding both wrists). In randori, we
move fluently through the attackers so that we
essentially face one attacker at a time. In futari
ryotedori, however, we are held firmly by two
attackers. How then can we move as if they
were but one?
In most of his seminars at South Carolina,
Kobayashi Sensei would spend some of the
time working on this problem. He would first
teach us to reframe the problem so that it is not
two attackers against the one nage, but rather,
it is nage who can team up with the energy of
the attackers. In this exercise, nage imagines
one of the uke’s is on his side and so he can
easily move the other uke toward him with a
slight movement of his arm (generated from the
one point). To emphasize that it is really the ki
that is being used, Sensei would have us use
the energy from a person who was not actually
holding, but merely touching our fingertip with
his or her fingertip. Indeed, we can gain help by
just touching the gi or obi of the other person.
Somehow, we use that person’s ki to ground
ourselves and more easily blend with the other
attacker. Thus, the each attacker is really
helping us control the other.
There are several basic techniques one can
execute from futari ryotemochi. All of these
require that nage remain calm, maintain a
strong center, blend with rather than fight
against the attackers’ strength, and move
fluidly. In sayu kaeshi-ikkyo, it is important that
nage continue to lead both attackers throughout
the movement. By turning away and dipping
down, nage leads the first uke off balance. After
he reverses directions, the ikkyo movement on
this first uke is executed at the same time nage
is leading the second uke off balance. In
zenpo-nage, nage must drop his center to draw
in both uke. As they fall in toward nage, nage
must shift his weight forward and lead them in
the forward direction. In Ohnami, nage must
bring the attackers together as in the cresting of
a wave and then let the wave wash over them,
taking away their balance.

I find that one of the most challenging of the


furtari ryotedori movements is makikomi, which
is pictured on this page. One reason that this
movement is so challenging is that there is
simply no way to force it. The technique
requires that nage move fluidly in such a way as
to get both attackers moving together around
nage’s center. Nage then drops his center and
the attackers feel as though a trap door has
opened up beneath them, and they simply fall
down. As with so many movements, we can
think of makikomi as a puzzle or koan that
Kobayashi Sensei has left us to work on in order
to gain deeper insights into the Aikido
movements.

Recent Promotions
Terry Gaham, Shodan, Seidokan Aikido de Santa Fe, August 2, 1998

Congratulations!

Calendar of Upcoming Events


October 24, 1998: The Seidokan Aikido Club of South Carolina will hold a one day Seminar on
Jo and Bokken Training with Doug Wedell Sensei. Location: Columbia, South Carolina. No cost
for Seidokan Members. For more information, call Doug at (803) 777-4258 or (803) 781-9242.

November 6-8, 1998: The Aikido Institute of MidAmerica will sponsor a workshop by Joe Crotty
Sensei. Location: Aikido Institute of MidAmerica, Maplewood, Missouri. Costs: $45 full seminar,
$20 single session, $30 Saturday. For more information, contact Richard Harnack (314) 647-
0903; FAX (314) 644-2927.

November 13-15, 1998: The Michigan Seiwa dojo will host a workshop featuring Ross
Robertson Sensei. Seminar will be held in Battle Creek Michigan. Cost: will be $30 for the
entire weekend, $20 for any part of the weekend. Additional sessions will be taught by Mr.
James Thompson and Dr. Mark Crapo. For further information contact Janean Crapo at 616-
965-5500, 616-963-6699, or Fax 616-969-0424

November 27-28, 1998: Thanksgiving Workshop. Stewart Chan, Dan Kawakami, Joe Crotty,
and Larry Wadahara will be instructors at this two day workshop held at the Headquarters dojo
(Aikido Institute of America, 2615 Colorado Blvd., Los Angeles, CA 90041). Classes will be
held Friday, November 27, 1-3:30 pm and 7-9:30 p.m. and Saturday, November 28, 10am-
held Friday, November 27, 1-3:30 pm and 7-9:30 p.m. and Saturday, November 28, 10am-
12:30 pm and 1:30-4 pm. Cost: Seidokan members $20 per session or $60 for all four
sessions . Non-Seidokan members: $25 per session or $85 for all four sessions. For further
information call (323) 254-3372 or (562) 861-0043.

January 1999: AIA Beginning Year Activities. The tentative date for New Year’s Misogi is
Saturday, January 2, 1999 and for the New Year’s pot luck party is Saturday, January 9, 1999.

June 1999: Summer Camp 1999 in Hawaii. Plans are being made for the next Aikido Summer
Camp to be held for a 5-7 day period near the end of June in Hawaii. We should have the
details by next Communicator. Accommodations for individuals, couples and families will be
available. Thus, the camp can be part of a family vacation. Dr. Mark Crapo is organizing this
camp (616-965-5500).

Aiki Poetry
Poppy

In the rarefied air of a high plateau


Along a thin and winding track.
At the mid-point between East and West,
Far beyond the carbon light and metallic noise of cities
A cool wind jostles the petals of an extravagant and careless flower.

It raises its one great signal-orange blossom above earth and stone;
Defying physics, it floats for me in the distance.
It shakes the dust from its disheveled skirts, now waves haughtily to me,
Now genuflects without self-consciousness to the vastness it is part of.

Supported - or tethered, by that impossibly slender stalk?


A stem that looks as if it too has wound its way up to find this flower
Floating in the sky, open to the sun,
Willfully turning in every breeze,
And I bow down to know it better.

A few fibrous roots and spiky leaves provide temporary sustenance,


But this transitory life is dedicated to pure joy.
Suspended between the richness of earth and beauty of heavens,
It blows full to the world, bares its purple heart and lives.

The stuff of dreams,


I reach and gently pull petals from the blossom,
Roll them between my fingertips, letting their fragrance envelop me.
Sweet, now sharp, the corners of my mouth moisten, nostrils flare.
I lift wet fingers to my lips and taste life, subtle and unique.
And suddenly I recall hearing of the aroma of such a flower,
Of its flavors and textures.
All, abstract and meaningless until I climbed the dusty path and sat
Humbled before the beauty of This flower.

Now, with one eye open, and a lingering taste upon my lips
I whisper to you...
You do not know My flower;
You will never know My flower.
But you can know Your flower,
In the rarefied air of a high plateau
Along a thin and winding track
At the mid-point between East and West.
Where a signal-orange blossom floats above earth and stone.

- Brad Bergeron,
June 10, 1998

CALLIGRAPHY CORNER
This issue we continue sharing the calligraphy lessons that Kobayashi Sensei conducted while
visiting the at Seidokan Aikido of South Carolina for seminars. The calligraphy and diagrams
are from lectures by Kobayashi Sensei. This installment focuses on the character for “Do.” The
term do is the same as the term tao found in Chinese. The portion in the middle represents a
person’s head, symbolizing the person himself, and the long curving line symbolizes a road or
path. Thus, do is translated as way of life or spiritual path toward enlightenment.

The first strokes are criss-crosses and a longer left to right stroke which might be thought of as
the hat on the head of the person. The head is then represented by a box like structure. Begin
with a vertical stroke down. Then, back at the top of the vertical stroke, stroke to the right and
down again. Complete this part of the figure with three short strokes from left to right, filling and
closing the box.

Finally, one completes the kanji with the “road.” There is a very short stroke to the left of the
figure, followed by the complicated 5-part stroke of the road. Begin with a stroke to the right,
then turn down to the left, down to the right, down to the left and finish with a long flowing
stroke to the right. This must be one fluid motion without lifting the brush from the paper.
Combine this character with the first three lessons to write Aikido.

Doug Wedell

SEIDOKAN AIKIDO VIDEO TAPES


Basic techniques in accordance
with Aikido principles

In this video series, the late Seidokan Kancho, Rod Kobayashi, shares his experience of over
35 years in the Way of Harmony With Nature. Each waza, or art, is not only clearly
demonstrated before an actual class, but he offers an explanation as to why each movement
was made.
BASIC ARTS

Part 1

Detailed explanations of Aiki-taiso


Basic examination arts

Part 2

Basic examination arts


Aiki-kengi and Aiki-jogi

DAN ARTS

Part 1

Advanced arts required for shodan and above

Part 2

Continuation of Aikido arts for all yudansha.

Tapes were produced and directed by Dr Mark R. Crapo and Vince Soo.

Copyright and all rights reserved by:


Aikido Institute of America
Seidokan Aikido World Headquarters

Mailing address:
Seidokan Aikido World Headquarters
c/o Aikido Institute of America
2615 Colorado Blvd, Los Angeles, CA 90041
(323) 254-3372 (if no answer, call (562) 861-0043)

To order, send check or money order to Aikido Institute of America and include the following information:

Name_______________________________________________
(Last) (First)

Phone: _________________

Address: ____________________________________________
(Street)

___________________________________________________
(City) (State) (Country) (Zip Code)

Qty ____sets Basic Arts(Part 1 & 2) $75.00/set $________


Qty ____sets Dan Arts(Part 1 & 2) $75.00/set $________
subtotal $________
Include $6.00/set Shipping and Handling $________
California residents add 8.25% sales tax $________
TOTAL $________

EDITOR’S NOTE
The Seidokan Communicator is published quarterly. Please remember, your submissions make
this newsletter possible. Send articles about your dojo, your instructor, a recent seminar,
philosophical insights, technical descriptions, and other Aikido related materials to me so we can
philosophical insights, technical descriptions, and other Aikido related materials to me so we can
keep up communication in Seidokan Aikido. Send materials to Doug Wedell, 501 Doncaster Dr.,
Irmo, SC 29063. Email submissions are welcome at wedell@sc.edu. Deadline for next
Communicator is December 15, 1998.

SEIDOKAN WEB SITE


Don’t forget to check out the Seidokan Web Site at : http://www.seidokan.org/

It features previous issues of the Communicator, a dojo directory, links to other Seidokan dojos,
announcements about upcoming events, and much more.

Closing Words:
The Beauty of Aikido Practitioners
Feven Afewerki

Every day when I go to practice Aikido at Cal State Long Beach or AIA, I am always inspired by
the instructors who teach Aikido. They always seem to shower me with understanding, respect,
compassion and a sense of humor. One of the instructors that comes to mind when I think of
the beauty of Aikido is Larry Wadahara. Larry always seems to have the time to be a kid and
play, to express his frustration and anger whenever he experiences it, to show and tell about
things he has seen and done, and to help heal whenever someone gets injured. I want to thank
all the Aikido instructors who took the time to develop themselves and share with me the beauty
of Aikido.
Where is my Key (KI)?
Have you seen my key?
Where is it?
Is it in the book?
Is it under the ground?
Who has it?