Aikido: A Martial Way
To understand Aikido Aikido and its benefits, it must be said that as a traditional Japanese martial art, Aikido is more than simply an efficient method of self-defense. It is a form of Budo - a "martial way". The word do in Japanese is the same as the Chinese word tao. It denotes a path of understandin, a way of life, and the !ay of the unierse itself. In Japanese history, history, as in many cultures, the warrior arts were considered uni#uely suited not only for practical use durin times of war, but for the r efinement and deelopment deelopment of the human character. character. The #ualities and principles of the ideal warrior - courae, decisieness, strenth, clarity of mind, compassion - are also the ideal #ualities of the human bein. In this way, the Japanese martial tradition, like $uropean chialry, has always stressed the applicability of martial principles to daily life. This understandin is the meanin of budo. A related word, Bushido %"the way of the warrior"& also e'presses this. A warrior(s way of life is not simply fihtin, but is the constant striin for self-perfection in all thins. The knihtly ideal in $uropean cultures was that of a powerful warrior who also possessed sensitiity and mercy. mercy. )ikewise, the ideal of the samurai, the warriors of Japan, was not a simple fihter. It was a balanced human bein, a warrior embodyin the motto Bun Bu *yodo+ "The martial and the intellectual ways as one." Balanced in this way, way, one could truly trul y be useful and of serice to others. These traditions today are carried on in the martial ways like Aikido. $erythin in Aikido trainin is meant to deelop not only a stron indiidual, but one with the wisdom and enery to positiely benefit society. A true martial artist iews conflict not merely as a contest with others, but as an opportunity to fore oneself and oercome our true enemies, which are within. A life lied fully full y in this manner naturally becomes shuyo+ the deepest possible spiritual trainin. A faorite sayin of orihei eshiba -/ensei, the founder of Aikido, was asakatsu, Aatsu+ Aatsu+ "True ictory is self-ictory." self-ictory." This truly is the spirit of Aikido. Physical Benefits
f course, the philosophy and internal benefits of Aikido are accompanied by concrete physical benefits. Aikido Aikido trainin is an e'cellent proram for all-around physical fitness, fle'ibility, fle'ibility, and rela'ation. The human body in eneral can e'ert power in two ways+ contractie and e'pansie. any fitness actiities, for e'ample weiht-liftin, emphasi0e the former, which means that specific muscles or muscle roups are isolated and worked to improe tone, mass, and power. power. The disadantae of this, howeer, is that whole body moement and coordination are rarely stressed. Thus, while muscle si0e and power may increase, there is no teamin of the ways in which to use those muscles toether most efficiently. efficiently. Also, this sort of trainin tends to increase tension, decrease fle'ibility, fle'ibility, and stress the 1oints. The result may be aesthetically pleasin, but when done to e'cess it is ultimately useless, and actually detrimental to oerall health. The second type of power, e'pansie, is mostly stressed in actiities such as dance or ymnastics. In these actiities, the body must learn to moe in a coordinated manner and with rela'ation. Aikido, Aikido, also, mostly stresses this sort of trainin. !hile both types of power are important, it is interestin to note that a person who masters the second type of power can, in a martial conte't, often oercome a person who is much bier or stroner. The reason for this is that the contractie power which most persons know is only as reat as the mass and power of your indiidual muscles. $'pansie power, power, howeer, as
used in Aikido, can be much reater than your si0e may lead you to beliee. This is because you moe with your whole body. *ather than stressin and tensin only a few muscles, you learn to rela' and moe from the center of your body, where you are most powerful. 2ower is then e'tended out naturally throuh the rela'ed limbs, which become almost whip like in their motion. /o Aikido deelops the body in a uni#ue manner. Aerobic Aerobic fitness is obtained throuh iorous trainin. 3le'ibility of the 1oints and connectie tissues is deeloped throuh arious stretchin e'ercises and throuh the techni#ues themseles. *ela'ation is learned automatically, automatically, since without it the techni#ues will not function. And a balanced use of contractie and e'pansie power is mastered, enablin een a small person to enerate enormous enery and self-defense skill. Psychological Benefits
Aikido trainin does not iew the body and mind as separate. The condition of one will affect the other. 3or this reason, the physical rela'ation learned in Aikido naturally becomes mental rela'ation. )ikewise, the perseerance and confidence that deelop mentally are manifested in a body that moes and holds itself confidently and stronly. stronly. Any psycholoical or spiritual insiht must be reflected in the body, or else it tends to be little more than intellectuali0ation4 under pressure, such insihts disappear, disappear, and the person reerts r eerts to preiously inrained habits and patterns. Aikido trainin re#uires the student to s#uarely face conflict, not to run away from it. Throuh this ery concrete, physical e'perience, an Aikido practitioner learns to face the situations of life in a proactie, constructie manner. manner. 2atterns of aoidance and fear are broken. The tense, defensie reactions to pressure and conflict which so often only create more iolence are reconi0ed and deconstructed. A new person - straihtforward, brae yet humble, able to be both stron and yieldin as circumstances re#uire - can emere from this trainin. Today, Aikido has become known in psycholoical and business circles as a hihly useful metaphor in deisin conflict resolution strateies. 2eople eerywhere are usin Aikido philosophy to improe the #uality of their lies. Self Defense
In Japan, a nation of many martial arts, Aikido is the one chosen for instruction to the elite Tokyo etropolitan *iot 2olice and /ecret 2olice. The reason for this may be the e'treme fle'ibility inherent in the art. nlike other arts, Aikido techni#ue can be applied at ar yin leels of seerity, in a continuum from the most entle controllin techni#ues to the most seere countermeasures. Aikido is therefore ideal for application to a wide rane of defensie situations, includin includin lawenforcement5security5corrections, enforcement5security5corrections, medical5mental-health enironments, ciilian self-defense, women(s self-defense, and children(s self- defense. Aikido can be fle'ibly adapted to whateer situation arises4 this is the leacy of the samurai, who deised these techni#ues to face a bewilderin array of assaults by sinle or multiple attackers. Today Today,, we continue this tradition by instructin Aikido and speciali0ed Aikido-deried techni#ue to a wide-rane of orani0ations which need decisie, effectie defensie skills. Aikido in Daily Life
The practice of Aikido ultimately must become the practice of our daily lies, moment to
used in Aikido, can be much reater than your si0e may lead you to beliee. This is because you moe with your whole body. *ather than stressin and tensin only a few muscles, you learn to rela' and moe from the center of your body, where you are most powerful. 2ower is then e'tended out naturally throuh the rela'ed limbs, which become almost whip like in their motion. /o Aikido deelops the body in a uni#ue manner. Aerobic Aerobic fitness is obtained throuh iorous trainin. 3le'ibility of the 1oints and connectie tissues is deeloped throuh arious stretchin e'ercises and throuh the techni#ues themseles. *ela'ation is learned automatically, automatically, since without it the techni#ues will not function. And a balanced use of contractie and e'pansie power is mastered, enablin een a small person to enerate enormous enery and self-defense skill. Psychological Benefits
Aikido trainin does not iew the body and mind as separate. The condition of one will affect the other. 3or this reason, the physical rela'ation learned in Aikido naturally becomes mental rela'ation. )ikewise, the perseerance and confidence that deelop mentally are manifested in a body that moes and holds itself confidently and stronly. stronly. Any psycholoical or spiritual insiht must be reflected in the body, or else it tends to be little more than intellectuali0ation4 under pressure, such insihts disappear, disappear, and the person reerts r eerts to preiously inrained habits and patterns. Aikido trainin re#uires the student to s#uarely face conflict, not to run away from it. Throuh this ery concrete, physical e'perience, an Aikido practitioner learns to face the situations of life in a proactie, constructie manner. manner. 2atterns of aoidance and fear are broken. The tense, defensie reactions to pressure and conflict which so often only create more iolence are reconi0ed and deconstructed. A new person - straihtforward, brae yet humble, able to be both stron and yieldin as circumstances re#uire - can emere from this trainin. Today, Aikido has become known in psycholoical and business circles as a hihly useful metaphor in deisin conflict resolution strateies. 2eople eerywhere are usin Aikido philosophy to improe the #uality of their lies. Self Defense
In Japan, a nation of many martial arts, Aikido is the one chosen for instruction to the elite Tokyo etropolitan *iot 2olice and /ecret 2olice. The reason for this may be the e'treme fle'ibility inherent in the art. nlike other arts, Aikido techni#ue can be applied at ar yin leels of seerity, in a continuum from the most entle controllin techni#ues to the most seere countermeasures. Aikido is therefore ideal for application to a wide rane of defensie situations, includin includin lawenforcement5security5corrections, enforcement5security5corrections, medical5mental-health enironments, ciilian self-defense, women(s self-defense, and children(s self- defense. Aikido can be fle'ibly adapted to whateer situation arises4 this is the leacy of the samurai, who deised these techni#ues to face a bewilderin array of assaults by sinle or multiple attackers. Today Today,, we continue this tradition by instructin Aikido and speciali0ed Aikido-deried techni#ue to a wide-rane of orani0ations which need decisie, effectie defensie skills. Aikido in Daily Life
The practice of Aikido ultimately must become the practice of our daily lies, moment to
moment. $ery moment of life inoles some sort of conflict - with others, with our enironments, with our bodies, with ourseles. And yet, it is our choice to see this conflict as somethin to be aoided and struled with, or as the creatie force of chane which makes true rowth and learnin possible. In order to deelop the true human potential, some sort of discipline and refinement is necessary. necessary. In order to deelop awareness, decisieness, decisieness, inner power and compassion, we must e'perience the hardship and work of facin life s#uarely. s#uarely. )ife itself i tself must be used to fore ourseles. This philosophy of Aikido Aikido means that, ultimately, our do1o %trainin hall& is much more than a buildin where we practice. ur true do1o is our life itself. And, Aikido consists of a unified trainin methodoloy desined to brin about this reali0ation and put it to ood use. 6iewed 6iewed in this way, way, life becomes rich and filled with meanin. $ery situation is used as a sprinboard to reater rowth. !e learn to open ourseles to e'perience, rather than shunnin unpleasant aspects of life. ur minds e'pand, and we become stron. This is the leacy of the martial ways, and the true alue of Aikido trainin. The The dream of /ensei was of all the peoples of the world, trainin toether in peace for mutual benefit. /tressin the positie alues of the martial ways, Aikido continues to row and spread across the lobe, fulfillin this ision. Aikido+ A !ay artial ntuk memahami Aikido dan manfaatnya, harus dikatakan bahwa sebaai seni bela diri tradisional Jepan, Aikido Aikido adalah lebih dari sekedar metode yan efisien untuk membela diri. Ini adalah bentuk Budo - "1alan bela diri". 7ata yan dalam bahasa Jepan adalah sama denan kata tao Cina. Ini menun1ukkan 1alan pemahaman, pemahaman, cara hidup, dan Jalan alam semesta itu sendiri. 8alam se1arah Jepan, seperti dalam banyak budaya, seni pra1urit dianap unik cocok tidak hanya untuk penunaan praktis selama masa peran, tetapi untuk perbaikan dan penembanan penembanan karakter manusia. 7ualitas dan prinsip-prinsip dari pra1urit yan ideal keberanian, keteasan, keteasan, kekuatan, ke1ernihan pikiran, kasih sayan - 1ua kualitas ideal dari manusia. 8enan cara ini, tradisi bela diri Jepan, seperti ksatria $ropa, selalu menekankan penerapan prinsip-prinsip bela diri untuk kehidupan sehari-hari. 2emahaman ini adalah makna dari budo. /ebuah kata yan berhubunan, Bushido %"1alan pra1urit"& 1 ua menunkapkan menunkapkan hal ini. /ebuah cara pe1uan kehidupan yan tidak hanya ber1uan, tetapi konstan ber1uan untuk kesempurnaan diri dalam seala hal. Cita-cita ksatria dalam budaya $ropa adalah bahwa seoran pe1uan yan kuat yan 1ua memiliki sensitiitas dan belas kasihan. 8emikian 1ua, cita-cita samurai, para pra1urit Jepan, bukanlah seoran pe1uan yan sederhana. Itu adalah manusia yan seimban, seoran pra1urit mewu1udkan moto Bun Bu *yodo+ *yodo+ ". The bela diri dan cara-cara intelektual sebaai salah satu" /eimban denan cara ini, seseoran benar-benar dapat beruna dan melayani oran lain. Tradisi-tradisi saat ini di1alankan di cara bela diri seperti Aikido. /emuanya dalam pelatihan Aikido dimaksudkan untuk menembankan tidak hanya indiidu yan kuat, tapi denan kebi1aksanaan dan eneri untuk positif menuntunkan menuntunkan masyarakat. /eoran seniman se1ati konflik pandanan bela diri bukan hanya sebaai kontes denan oran lain, tetapi sebaai kesempatan untuk menempa diri dan menatasi musuh se1ati kita, yan berada dalam. /ebuah kehidupan yan di1alani penuh denan cara ini secara alami men1adi shuyo+ pelatihan spiritual terdalam munkin. /ebuah pepatah faorit orihei eshiba -/ensei, pendiri
Aikido, adalah asakatsu, Aatsu+ "kemenanan "kemenanan yan se1ati adalah diri kemenanan." Ini benar-benar benar-benar adalah semanat Aikido. 3isik anfaat Tentu sa1a, manfaat filsafat f ilsafat dan internal Aikido yan disertai denan manfaat fisik beton. 2elatihan Aikido merupakan proram yan sanat baik untuk semua-sekitar fisik, fleksibilitas relaksasi kebuaran, dan. Tubuh manusia secara umum dapat menerahkan kekuatan dalam dua cara+ kontraktif dan ekspansif. Banyak keiatan kebuaran, misalnya ankat berat, menekankan mantan, yan berarti bahwa otot-otot tertentu atau kelompok otot yan terisolasi dan beker1a untuk meninkatkan nada, massa, dan kekuasaan. 7eruian ini, baaimanapun, baaimanapun, adalah bahwa seluruh erakan tubuh dan koordinasi 1aran stres. Jadi, sementara ukuran otot dan kekuatan dapat meninkatkan, tidak ada teamin satu cara di mana untuk menunakan otot-otot bersama-sama yan palin efisien. Jua, ini semacam pelatihan cenderun meninkatkan keteanan, menurani menurani fleksibilitas, dan stres sendi. 9asilnya munkin estetis, tetapi bila dilakukan secara berlebihan itu akhirnya sia-sia, dan benar-benar meruikan kesehatan secara keseluruhan. Tipe kedua kekuasaan, ekspansif, sebaian besar ditekankan dalam keiatan seperti menari atau senam. 8alam keiatan ini, tubuh harus bela1ar untuk bererak secara terkoordinasi dan denan relaksasi. Aikido, 1ua, sebaian besar menekankan pelatihan semacam ini. /ementara kedua 1enis kekuasaan yan pentin, menarik untuk dicatat bahwa oran yan menuasai kedua 1enis kekuasaan dapat, dalam konteks bela diri, serin menatasi oran yan 1auh lebih besar atau atau lebih kuat. Alasan untuk ini ini adalah bahwa kekuatan kontraktif kontraktif yan kebanyakan oran tahu adalah hanya sebaai besar sebaai massa dan kekuatan otot pribadi Anda. 7ekuatan ekspansif, namun, seperti yan diunakan dalam Aikido, bisa 1auh lebih besar dari ukuran Anda dapat menarahkan Anda untuk percaya. 9al ini karena Anda bererak bererak denan seluruh tubuh Anda. 8aripada menekankan dan tean hanya beberapa otot, Anda bela1ar untuk rileks dan bererak dari pusat tubuh Anda, di mana Anda palin kuat. 2ower kemudian diperpan1an keluar secara alami melalui anota badan rileks, yan men1adi hampir cambuk seperti dalam erakan mereka. Jadi Aikido menembankan menembankan tubuh denan cara yan unik. 7ebuaran aerobik diperoleh melalui pelatihan yan kuat. 3leksibilitas sendi dan 1arinan ikat dikembankan dikembankan melalui latihan pereanan berbaai melalui teknik sendiri. *elaksasi yan dipela1ari secara otomatis, karena tanpa itu teknik tidak akan berfunsi. 8an penunaan kekuatan yan seimban kontraktif dan ekspansif dikuasai, memunkinkan memunkinkan bahkan oran kecil untuk menhasilkan eneri yan sanat besar dan pertahanan diri keterampilan. 2sikolois anfaat 2elatihan aikido tidak melihat tubuh dan pikiran secara terpisah. 7ondisi satu akan mempenaruhi yan lain. ntuk alasan ini, relaksasi fisik yan dipela1ari di Aikido secara alami men1adi relaksasi mental. 8emikian 1ua, ketekunan dan keyakinan yan berkemban secara mental diwu1udkan dalam tubuh yan bererak dan memean sendiri percaya diri dan kuat. /etiap wawasan psikolois atau spiritual harus tercermin dalam tubuh, atau yan lain itu cenderun sedikit lebih dari intelektualisasi, di bawah tekanan, wawasan tersebut menhilan, dan oran itu kembali kepada kebiasaan sebelumnya tertanam dan pola.
Aikido pelatihan menharuskan mahasiswa untuk 1u1ur menhadapi konflik, bukan untuk melarikan diri dari itu. elalui penalaman ini, sanat konkret fisik, seoran praktisi Aikido bela1ar untuk menhadapi situasi kehidupan denan cara, proaktif konstruktif. 2ola penhindaran dan ketakutan yan rusak. The, tean r eaksi defensif terhadap tekanan dan konflik yan beitu serin hanya menciptakan lebih banyak kekerasan diakui dan didekonstruksi. /eseoran baru - lansun, berani namun rendah hati, mampu untuk men1adi kuat dan menhasilkan sebaai kondisi yan membutuhkan - dapat muncul dari pelatihan ini. 9ari ini, Aikido telah men1adi dikenal di kalanan psikoloi dan bisnis sebaai metafora yan sanat beruna dalam merumuskan stratei penyelesaian konflik. ran-oran di mana-mana menunakan filosofi Aikido untuk meninkatkan kualitas hidup mereka. 8iri 2ertahanan 8i Jepan, sebuah neara seni bela diri banyak, Aikido adalah salah satu yan dipilih untuk instruksi kepada 7epolisian Tokyo etropolitan elit 7erusuhan dan 2olisi *ahasia. Alasan untuk ini munkin fleksibilitas ekstrim yan melekat dalam seni. Tidak seperti seni lainnya, Aikido Teknik dapat diterapkan pada berbaai tinkat keparahan, dalam sebuah kontinum dari teknik penendalian yan palin lembut untuk penanulanan yan palin parah. Aikido karena itu ideal untuk aplikasi untuk berbaai macam situasi defensif, termasuk law-enforcement5security5corrections, medis 5 kesehatan mental linkunan, sipil pertahanan diri, perempuan membela diri, dan anak-anak membela diri. Aikido dapat secara fleksibel disesuaikan denan situasi apa pun muncul, ini adalah warisan dari samurai, yan merancan teknik ini untuk menhadapi membinunkan seranan oleh penyeran tunal atau anda. 9ari ini, kami melan1utkan tradisi ini denan meninstruksikan Aikido Aikido dan khusus yan diturunkan teknik untuk berbaai-oranisasi yan perlu menentukan, keterampilan defensif yan efektif. Aikido di 7ehidupan /ehari-hari 2raktek Aikido akhirnya harus men1adi praktek kehidupan sehari-hari, saat ke saat. /etiap saat dalam kehidupan melibatkan semacam konflik - denan oran lain, denan linkunan kita, denan tubuh kita, denan diri kita sendiri. :amun, itu adalah pilihan kita untuk melihat konflik ini sebaai sesuatu yan harus dihindari dan ber1uan denan, atau sebaai kekuatan kreatif dari perubahan yan membuat pertumbuhan se1ati dan bela1ar munkin. 8alam ranka menembankan potensi manusia yan se1ati, semacam disiplin dan perbaikan yan diperlukan. 8alam ranka untuk menembankan kesadaran, keteasan, kekuatan batin dan kasih sayan, kita harus menalami kesulitan dan ker1a menhadapi hidup 1u1ur. 9idup itu sendiri harus diunakan untuk menempa diri kita sendiri. Ini filosofi Aikido berarti bahwa, pada akhirnya, do1o kami %trainin hall& 1auh lebih dari sebuah banunan di mana kita berlatih. 8o1o se1ati kita adalah hidup kita sendiri. 8an, Aikido terdiri dari metodoloi pelatihan terpadu yan dirancan untuk membawa tentan realisasi ini dan meletakkannya untuk diunakan baik. 8ilihat denan cara ini, hidup men1adi kaya dan penuh denan makna. /etiap situasi diunakan sebaai batu loncatan untuk pertumbuhan yan lebih besar. 7ita bela1ar untuk membuka diri untuk menalami, daripada menhindari aspek kehidupan yan tidak menyenankan. 2ikiran kita berkemban, dan kami men1adi kuat. Ini adalah warisan dari cara bela diri, dan nilai sebenarnya dari pelatihan Aikido. impi /ensei adalah semua bansa di dunia, pelatihan bersama dalam damai untuk salin menuntunkan. enekankan nilai-nilai positif dari cara bela diri, Aikido terus tumbuh dan menyebar di seluruh dunia, memenuhi isi ini
Basic Treatment For Aikido Related In!ries: by Charles T. Taft
First and Foremost" the Disclaimer: I am not a medical doctor, I am a licensed massae therapist and a certified neuromuscular therapist in the /tate of 3la. The information I ie here is intended as #asic treatment for common martial arts in1uries. If the in1ury causes any immediate swellin and bruisin, causes a 1oint to be obiously dislocated, shows any eidence of a broken bone then immediately seek medical attention. If you r e not sure of what is wron seek medical attention. It is your body, it s your choice.
The Br!ise" or the re$ard for a regretf!l moment of !nskillf!llness: Bruises come in all si0es, shapes and colors, 1ust like people. 3rom the small, perfectly round, uni#uely brown yonkyo bruise to the rapefruit si0e, multicolored lump in your thih caused when an elbow came from the sky and landed point first in your le, like people, some are 1ust a pain and others can be danerous. 3irst Aid for bruises is, % remember this, you will see it aain &, *.I.C.$., *est-Ice-Compression$leation. Rest: I shouldn(t hae to e'plain this one. Ice: A wonderful thin for all types of soft tissue problems. It penetrates the body #uickly, the application of cold to the body causes the blood esicles to constrict, slowin the leakae of fluid, blood etc., into the surroundin tissue. It s primary use is to control swellin. %om&ression: Time for the old ace bandae you keep in your doi ba. !rap from the side of the bruise farthest from your heart first workin toward the heart. ake the wrap as tiht as is almost comfortable, if the body parts below the bruise start to o numb or turn blue, IT / too tiht, loosen it alittle. 'le(ation: This is pretty simple, try to keep the affected part raised aboe the heart. This helps the return flow of blood to the heart and helps control swellin. 2lease remember that a bruise the si0e of your fist, think in ;8, can be ery serious. The rule of thumb is, that si0e bruise means about a pint of blood has leaked into the muscle tissue.
S&rains"Strains and o(er)ealo!s nages: S&rain: !hen a 1oint is e'tended beyond it s normal rane of motion, without any dislocation of the affected 1oint. There will be soft tissue damae, this can be on a microscopic leel or look like a ood bruise. The only ood bruises I can think of are...oh well, back to the reality of this. Treatment for sprains is the same as for bruises, *.I.C.$.. Add to that massae, when you can rub the area without too much discomfort, rub the entire area. !hy, you may ask = The tissue that was damaed consists of tendon and liament tissue. This tissue doesn(t hae a blood supply of it s own, it must absorb o'yenated blood and nutrients then ie off their waste products throuh the cell walls. If this sounds like a slow way to recoery, your riht, but it s nature s way. /o, if it feels ood to rub it,
rub it.
Strain: This is a serious one. There are ; classes of strains. :um.>4 the 1oint is dislocated but returns to normal position. There will be tissue damae and swellin the tissue damae, in this class, is moderate normally oer stretchin the liaments and tendons. The interity of the 1oint has been compromised and there may be damae to the 1oint capsule. Compression and ice are ery important and should be applied as soon as possible to control the swellin. *emember *.I.C.$., in these in1uries the more you can control the swellin the #uicker you will heal. After the swellin is oer and you can apply pressure to the area, rub hell out of it, it will need all the circulation it can et. As you can put weiht on it make sure you don(t feel any rindin sensations as you moe it, like the feelin of bone on bone, if you do see your doctor. If after the swellin is one the 1oint feels locked in place and you can tell it s not muscle related, see your doctor. If there is any thin you are uncomfortable with, see your doctor. The remainin two, class ? and ;, re#uire a doctors attention. They are, ?. the 1oint remains in an un- natural position, tendon and liament damae is seere. There may be detached tendons and liaments but normally 1ust some fibers are torn. ;. the 1oint remains at an un-natural anle and the liaments and5or tendons are torn from their attachments. Treatment+ /ecure the affected 1oint in the position it is found in. 8o :T moe it to try to straihten it. !hen it is secure. Apply ice and transport to the appropriate medical facility.
Reha#ilitation of soft tiss!e in!ries" ac!te and chronic* I know, I know, this isn(t about crunchin calcium. I reali0ed that I was ettin ahead of what I wanted. /ince most in1uries associated with Aikido are soft tissue, I should spend more time here. There is little anyone can do for broken bones in the do1o, unless you are a board certified rthopedic sureon with your insurance paid up you don(t eer want to tr y to set broken bones at home. I hae coered acute, fresh, in1uries in the preious te't. *emember *.I.C.$. There is somethin I need to coer about ice. As was said preiously, ice penetrates the body #uickly. Therefore some uidelines are necessary, apply ice for a ma'imum of twenty minutes at a time.
What ca!ses chronic &ain" $hy does it come and go+ In,!iring minds $ant to kno$* Any time a muscle is damaed it sends a sinal to the spinal cord, tellin it that the muscle is in trouble. The nerous system, in it s infinite wisdom, sends a sinal back causin the muscle to contract. This is to protect it from bein oer stretched and torn. !hat happens in the muscle tissue is4 The blood supply to the tissue is restricted due to the contracted tissue around the eins, capillaries, etc. As a result, the einous return is restricted. This causes the bodies ability to clean the tissue of dead cells and waste products to be reatly impaired. As a result the muscle tissue is irritated, causin a sinal to the spinal cord, oer the same nere path as the oriinal, tellin it that the muscle is in trouble. The spinal cord sends back a messae to contract the muscle to protect it. And the whole process starts all oer aain. If nothin is done about the problem, i.e.+ stretchin and5or massae, eentually the discomfort will
drop below your bodies pain threshold and it won(t bother you aain. ntil, somethin causes more stimulus to affect the muscle then normal. This will push the irritation back oer the bodies pain threshold and it will hurt aain. This cycle will continue, each time it will take less and less stimulus to return the discomfort. As you can see, makin the muscle contract more, by strenthenin techni#ues, will perpetuate the problem. The first thin that must be done to repair the problem is to et the muscle fiber back to its normal anatomical lenth. /tretchin and massae work ery well, the most important thin is to return the muscle its normal lenth, what eer works for you. !hen eerythin is back to normal and there is no more discomfort, then start to rehabilitate the muscle how eer you choose to do it. Just start slowly. I know, this kind of says that you shouldn(t train when you r e in1ured. aybe you shouldn(t, it s all up to you. If you choose to train the recoery will take loner, you will most likely fi' the problem but it will take loner. !hile I e been writin this section I hae decided not to o ahead with the first aid for broken bones. If anyone has any #uestions about that or anythin about this post please $mail me direct and I will try to help as much as I can.
8asar 2erawatan ntuk Cedera Aikido Terkait+ oleh Charles T. Taft 2ertama dan palin utama, 2enyanahan+ /aya bukan seoran dokter, saya seoran terapis pi1at berlisensi dan terapis bersertifikat neuromuskuler di :eara Baian 3lorida Informasi yan saya berikan di sini dimaksudkan sebaai penobatan dasar untuk umum cedera seni bela diri. Jika cedera menyebabkan setiap pembenkakan dan memar lansun, menyebabkan sendi men1adi 1elas terkilir, menun1ukkan bukti patah tulan kemudian seera mencari perhatian medis. Jika Anda tidak yakin apa yan salah mencari perhatian medis. Ini adalah tubuh Anda, itu s pilihan Anda. The Bekam, atau hadiah untuk saat menyesal dari unskillfullness+ emar datan dalam semua, bentuk ukuran dan warna, seperti manusia. 8ari kecil, bulat sempurna, memar unik yonkyo coklat denan ukuran 1eruk, ben1olan warna-warni di paha Anda disebabkan ketika siku datan dari lanit dan mendarat titik pertama di kaki Anda, seperti oran-oran, sebaian lai hanya rasa sakit dan lain-lain bisa berbahaya . 2ertolonan 2ertama untuk memar adalah, %inat ini, Anda akan melihatnya lai&, B$*A/, *estIce-Compression-$leation. Istirahat+ /aya tidak perlu men1elaskan satu ini. Ice+ /ebuah hal yan luar biasa untuk semua 1enis masalah 1arinan lunak. Ini menembus tubuh denan cepat, penerapan dinin ke tubuh menyebabkan esikel darah menyempit, memperlambat kebocoran cairan, dll darah, ke dalam 1arinan di sekitarnya. 2enunaan utama itu adalah untuk menendalikan pembenkakan. 7ompresi+ !aktu untuk perban ace lama Anda menyimpan dalam tas doi Anda. Bunkus dari sisi memar ter1auh dari hati Anda pertama kali beker1a menu1u 1antun. Buatlah bunkus sekencan hampir nyaman, 1ika baian tubuh bawah memar mulai peri mati rasa atau membiru, itu s terlalu ketat, tidak lenket alittle. $leation+ Ini sanat sederhana, cobalah untuk men1aa baian yan terkena dinaikkan di atas 1antun. Ini membantu aliran kembalinya darah ke 1antun dan membantu pembenkakan kontrol.
9arap diinat bahwa memar ukuran kepalan tanan Anda, berpikir dalam ;8, bisa sanat serius. Aturan praktis adalah, bahwa memar ukuran berarti sekitar setenah liter darah telah bocor ke dalam 1arinan otot. Anda hanya memiliki beberapa elas, mendapatkan perhatian medis untuk yan satu ini. sia dan kondisi medis 1ua memainkan peranan pentin dalam penobatan brusies. asalah pembekuan darah di 1arinan memasuki aliran darah dan penyumbatan yan menyebabkan pembuluh di baian pentin lain dari tubuh, seperti 1antun atau otak, adalah masalah serius bai oran tua dan oran denan lainnya 1antun 5 peredaran darah problems.If Anda membaca ini sebaai pemilik atau instruktur do1o, TA9 se1arah siswa di daerah ini. /ilakan, unakan akal sehat. Jika Anda memiliki memar di lenan Anda, dan Anda tidak dapat membuka atau menutup 1ari-1ari Anda, itu s bukan hal yan baik. 7erusakan yan menyebabkan memar 1ua dapat menyebabkan kerusakan pada saraf-saraf di daerah itu 1ua. Jauhkan menyadari tubuh Anda, 1ika Anda memiliki masalah yan menanu Anda denan cara apapun, dokter Anda. 7eseleo, /train dan :aes terlalu bersemanat+ 7eseleo+ 7etika sendi diperpan1an di luar 1ankauan normal s erak, tanpa dislokasi sendi yan terkena. Akan ada kerusakan 1arinan lunak, hal ini dapat berada pada tinkat mikroskopis atau terlihat seperti memar yan baik. /atu-satunya memar yan baik saya bisa pikirkan adalah ... oh well, kembali ke realitas ini. 2enobatan untuk keseleo adalah sama seperti untuk memar, B$*A/. Tambahkan untuk pi1at itu, ketika Anda dapat menosok daerah tanpa terlalu banyak ketidaknyamanan, menosok seluruh area. enapa, Anda munkin bertanya= Jarinan yan rusak terdiri dari tendon dan 1arinan liamen. Jarinan ini tidak memiliki suplai darah itu sendiri, harus menyerap darah beroksien dan nutrisi kemudian melepaskan produk limbah mereka melalui dindin sel. Jika ini terdenar seperti cara yan lambat untuk pemulihan, hak Anda, tapi s alam s cara. Jadi, 1ika rasanya enak untuk menosok, osok. /train+ Ini adalah salah satu yan serius. Ada ; kelas strain. :um.>, sendi terkilir namun kembali ke posisi normal. Akan ada kerusakan 1arinan dan pembenkakan kerusakan 1arinan, di kelas ini, adalah moderat biasanya lebih pereanan liamen dan tendon. Interitas sendi telah dianu dan munkin ada kerusakan pada kapsul sendi. 7ompresi dan es yan sanat pentin dan harus diterapkan seseera munkin untuk menontrol pembenkakan. Inat B$*A/, dalam luka semakin Anda dapat menontrol pembenkakan semakin cepat Anda akan sembuh. /etelah pembenkakan selesai dan Anda dapat menerapkan tekanan ke daerah, osok neraka keluar dari itu, ia akan membutuhkan semua sirkulasi itu bisa. /eperti yan Anda dapat menempatkan beban di atasnya pastikan Anda tidak merasakan sensasi rindin saat Anda memindahkannya, seperti perasaan tulan pada tulan, 1ika Anda melihat dokter Anda. Jika setelah pembenkakan hilan sendi terasa terkunci di tempatnya dan Anda dapat memberitahu itu s bukan otot yan terkait, lihat dokter Anda. Jika ada hal yan Anda merasa tidak nyaman denan, dokter Anda. 8ua sisanya, kelas ? dan ;, membutuhkan perhatian dokter. ereka adalah, ?. sendi tetap dalam posisi un-alami, tendon dan liamen kerusakan parah. unkin ada tendon dan liamen terpisah tetapi biasanya hanya beberapa serat yan robek. ;. sendi tetap pada sudut un-alami dan liamen dan 5 atau tendon yan robek dari lampiran mereka. 2enobatan+ Amankan sendi yan terkena dalam posisi itu ditemukan masuk JA:@A: memindahkannya untuk mencoba meluruskannya. 7etika itu aman. Terapkan es dan transportasi ke fasilitas medis yan sesuai. *ehabilitasi cedera 1arinan lunak, akut dan kronis. /aya tahu, saya tahu, ini bukan tentan berderak kalsium. /aya menyadari bahwa saya mendapatkan
depan apa yan saya ininkan. 7arena cedera yan palin terkait denan Aikido adalah 1arinan lunak, saya harus menhabiskan lebih banyak waktu di sini. Ada oran kecil bisa lakukan untuk patah tulan di do1o, kecuali Anda adalah seoran ahli bedah ortopedi papan bersertifikat denan asuransi Anda disetor Anda tidak pernah inin mencoba untuk menatur patah tulan di rumah. /aya telah tertutup akut, sear, cedera dalam teks sebelumnya. Inat *.I.C.$. Ada sesuatu yan harus saya untuk menutupi tentan es. /eperti dikatakan sebelumnya, es menembus tubuh denan cepat. leh karena itu beberapa panduan yan diperlukan, unakan es selama maksimal dua puluh menit pada suatu waktu. Anda munkin telah menyadari, 1ika Anda menunakan terapi es, bahwa tubuh melewati ; tahapan, dinin pertama, kemudian panas, kemudian mati rasa. 7etika daerah men1adi mati rasa, waktu itu s untuk menhapus es untuk sementara membiarkan kulit pemanasan. 7enapa= 7arena tahap selan1utnya adalah es-iitan, hal ini akan memperlambat membaikan pelatihan Anda. Ada beberapa nasihat yan baik pada daftar tentan masalah bahu dan siku. /ebaian besar telah tentan pereanan dan fleksibilitas dan yan palin pentin. Ada 1ua telah beberapa saran tentan memperkuat otot-otot yan menimpa nyeri sendi dalam upaya untuk merinankan ketidaknyamanan. 9al ini perlu klirin beberapa up. Apa yan menyebabkan sakit kronis, menapa hal itu datan dan peri= Bertanya pikiran inin tahu. /etiap kali otot rusak menirimkan sinyal ke sumsum tulan belakan, menatakan bahwa otot adalah dalam kesulitan. /istem saraf, dalam kebi1aksanaan yan tak terbatas itu s, menirim sinyal kembali menyebabkan otot berkontraksi. 9al ini untuk melinduninya dari yan lebih meneliat dan robek. Apa yan ter1adi dalam 1arinan otot adalah4 /uplai darah ke 1arinan dibatasi karena 1arinan dikontrak sekitar pembuluh darah, kapiler, dll Akibatnya, penembalian einous dibatasi. 9al ini menyebabkan kemampuan tubuh untuk membersihkan 1arinan dari sel-sel mati dan produk limbah yan akan sanat teranu. Akibatnya 1arinan otot teriritasi, menyebabkan sinyal ke sumsum tulan belakan, melalui 1alur saraf yan sama seperti aslinya, menatakan bahwa otot adalah dalam kesulitan. The sumsum tulan belakan menirim kembali pesan untuk kontrak otot untuk melinduninya. 8an seluruh proses dimulai lai. Jika tidak ada yan dilakukan tentan masalah, yaitu+ pereanan dan 5 atau pi1at, akhirnya ketidaknyamanan ini akan turun di bawah amban nyeri tubuh Anda dan tidak akan menanu Anda lai. 9ina, sesuatu yan menyebabkan stimulus lebih untuk mempenaruhi otot maka normal. 9al ini akan mendoron iritasi kembali atas amban nyeri tubuh dan akan terluka lai. /iklus ini akan terus berlan1ut, setiap kali akan menambil stimulus kuran dan kuran untuk kembali ketidaknyamanan. /eperti yan Anda lihat, membuat kontrak otot, denan memperkuat teknik, akan melanenkan masalah. 9al pertama yan harus dilakukan untuk memperbaiki masalah ini adalah untuk mendapatkan serat otot kembali ke pan1an anatomi normal. 2ereanan dan ker1a pi1at sanat baik, hal yan palin pentin adalah untuk menembalikan otot pan1an normal, apa yan pernah beker1a untuk Anda. 7etika semuanya kembali normal dan tidak ada ketidaknyamanan lebih, kemudian mulai merehabilitasi otot baaimana pernah Anda memilih untuk melakukannya. 9anya mulai perlahanlahan. /aya tahu, ini 1enis menatakan bahwa Anda tidak harus melatih ketika Anda sedan terluka.
unkin Anda tidak boleh, itu s semua terserah Anda. Jika Anda memilih untuk melatih pemulihan akan memakan waktu lebih lama, Anda kemunkinan besar akan memperbaiki masalah tetapi akan memakan waktu lebih lama. /ementara saya sudah pernah menulis baian ini saya telah memutuskan untuk tidak peri ke depan denan bantuan pertama untuk patah tulan. Jika seseoran memiliki pertanyaan tentan itu atau apa-apa tentan postin ini silahkan $mail saya lansun dan saya akan mencoba untuk membantu sebanyak yan saya bisa.
Aikido in the Training of Psychothera&ists #y Da(id L!koff and Beth Ta#akin
The moon does not think to be reflected nor does the water think to reflect in the Hirowasa Pond. --Tesshu any of us who are psycholoists hae found that our Aikido trainin increases our ability to "read" bodies and improes our sensitiity to social5emotional issues that are embodies in our students and clients. Aikido is also inaluable to our attempts to re-balance ourseles physically, spiritually, and emotionally. !hile most raduate prorams in psycholoy %and other mental health disciplines& do not incorporate trainin in mind-body practices, a few do. /ome well-respected Aikido senseis are also prominent psycholoists who hae discussed the application of Aikido techni#ues in therapy. This article e'plores how Aikido has been incorporated into psychotherapy trainin prorams and how it is used in psychotherapy.
Aikido in Thera&ist Training As a mind-body-spirit discipline, Aikido cultiates many of the core attributes of a somatically based therapy. ind and body must be coordinated in Aikido. This trains the attention and brins about other chanes in conscousness central to creatin the healin presence that is important in therapy. A therapist who can maintain a calm state of mind, free from fears and illusions of the past and of an imaed future, can relate to others emphathetically. But psychotherapists cannot simply adopt rela'ation, blendin, and sensitiity as items of philosophy. They must also train the body. Aikido(s widespread influence on the trainin of therapists has been particularly prominent in the field of transpersonal psycholoy+ *obert 3raer, who studied Aikido with -/ensei, later founded the Institute of Transpersonal 2sycholoy %IT2& where students spend two years practicin Aikido four times a week as part of a mind-body healin course. Charles Tart has also incorporated some of the concepts and practices of Aikido into his influential theoretical work. @eore )eonard(s prorams at $salen and his books %such as The !ay of Aikido+ )ife )essons from an American /ensei& hae sered to brin discourse about Aikido to therapists, as hae !endy 2almer(s books %such an Intuitie Body+ Aikido As a Clairsentient 2ractice& and her classes at J37 and workshops usin principles drawn from Aikido. ne of us--8aid )ukoff--has tauht Aikido techni#ues at /aybrook @raduate /chool to proide trainin in the psychospiritual dimensions of psychotherapy.
!hat makes Aikido ideal for therapist trainin= It inoles a mind-body-spirit practice that is usually performed with a partner, and its interactions often mimic therapist-client interactions. 3or e'ample, issues of pro1ection and transference, as well as ways of dealin with conflict and closeness, arise in Aikido. 3or therapists, particularly durin trainin, this proides an opportunity for self-e'amination, skill deelopment, and rowth. 9umanistic therapists hae emphasi0ed the importance of bein fully present in the e'istential encounter of therapy. 3or e'ample, James Buental describes the therapist(s need to be "totally in the situation--in body, in emotions, in relatin, in thouhts, in eery way." This is an e'cellent description of bein centered in Aikido. It also resembles *ollo ay(s "total relationship," Carl *oers( "bein present," and 3reud(s "eenly suspended attention"--which hae been identified as fundamental to psychotherapy. 2atrick 3aianelli interiewed eiht adanced Aikidoists who were also therapists for his doctoral dissertation at /aybrook @raduate /chool+ Aikido and psychotherapy: A study of psychotherapists who are Aikido practitioners. 3aianelli found that these therapists brouht e'periences from their trainin on the mat into their consultin rooms. "The participants reported that Aikido practice has powerfully affected their ability to be present and effectie in therapy," he reports. The therapists in 3aianelli(s study described how they apply the key Aikido concept of "blendin with the attack" to the resistance of clients durin therapy. ne therapist described "ettin off the line" %out of the way of the attack& when a client had an emotional outburst not meant for him. "It needs to come out," he said. "I can step aside emotionally and 1ust witness the emotion oin by." Another theme that emered in 3aianelli(s study relates to the Aikido concept of takemusu, which inoles spontaneously dealin effectiely, safely, and compassionately with conflict. The therapists reported that takemusu "transfers directly to the ability to be rela'ed, present, fle'ible, and spontaneous in therapy."
Aikido and S&irit!ality /pirituality is now accepted as an important component of cultural competence for mental health professionals. But it is also an area that mental health trainin prorams hae difficulty incorporatin. 9ere aain Aikido can help. Aikido can be described as "moin meditation"4 it re#uires stillin of the mind een as the body is in action. As with meditation, the practice of Aikido can lead to the e'perience of hiher states of consciousness. The physical practices in Aikido induce states of harmony % ai& and spirit %ki& that can be described as flow or sometimes peak e'periences. Thus, as !endy 2almer points out, Aikido can proide therapists with an e'periential roundin in spirituality+ "I hae found the body to be the most reealin and rewardin focal point for e'plorin the ecumenical nature of the spiritual path, for it is throuh the body that an indiidual manifests the ideas or inspirations of this path" %from The Practice of Freedom: Aikido Principles as a Spiritual Guide &. The therapists in 3aianelli(s study reported that "Aikido has proided an embodied, practical, and spiritually-based model for them to conte'tuali0e and understand their own e'perience."
%linical A&&lications of Aikido At times, Aikido can be directly applied in clinical situations. *ichard 9eckler used Aikido in his work with children dianosed as emotionally disturbed. 9e worked with their issues somatically-teachin them how to moe and e'perience their bodies differently. 9e bean by teachin them to stand in an Aikido way to find a position that is balanced, solid, and rela'ed. The Aikido moements themseles were used to create chane. As 9eckler(s youn people learned Aikido, their ability to feel and sense was awakened. "I beliee this work is as aluable, if not more aluable than traditional talkin therapy," 9eckler writes. "Throuh the Aikido trainin these children deal with issues of competition, aression, intimacy and contact while they learn to unify their minds and bodies."
9eckler(s book Aikido and the New arrior contains other e'amples of Aikido techni#ues used with people in a coma, in family therapy, and in other therapeutic conte'ts. $'periencin the difference between bein off balance and in balance and the en1oyment of learnin to "roll with the punches" and return to a centered stance is a practice of resilience and learned optimism. Think about it -- we pay money and, at times, drie lon distances for the opportunity to be thrown to the round and et up aain so that we can learn to respond to an attack in a way that maintains safety for both the attacker and the attacked. The same concern for safety and stillness is re#uired from all therapists. !e need to become the 9irowasa 2ond in order to reflect accurately and empathetically the many moons and moods of our clients.
Therapists interested in e'plorin the interface of Aikido and therapy can contact Aiki-$'tensions %www.aiki-e'tensions.or &.
8aid )ukoff is a 2rofessor of 2sycholoy at /aybrook @raduate /chool, co-president of the Association for Transpersonal 2sycholoy, and a director of Aiki-$'tensions. 9e maintains a website of resources on spirituality at www.spiritualcompetency.com . Beth Tabakin, a psycholoist and *eiki aster in arin, California, is 8irector of Clinical 2sycholoy at Briht inds Institute in /an 3rancisco and founder of )ife After Breakfast, which incorporates a mind-body-spirit approach to healthy weiht loss. Aikido dalam 2elatihan psikoterapis oleh 8aid )ukoff dan Beth Tabakin
Bulan tidak berpikir akan tercermin 1ua tidak berpikir air untuk mencerminkan di 7olam 9irowasa. - Tesshu Banyak dari kita yan psikolo telah menemukan bahwa kami pelatihan Aikido meninkatkan kemampuan kita untuk "membaca" tubuh dan meninkatkan kepekaan kita terhadap isu-isu sosial 5 emosional yan mewu1udkan pada siswa kami dan klien. Aikido 1ua berhara bai upaya kita untuk kembali menyeimbankan diri kita secara fisik, spiritual, dan emosional. /ementara sebaian besar proram pascasar1ana dalam psikoloi %dan disiplin kesehatan mental& tidak memasukkan pelatihan dalam pikiran-tubuh praktik, beberapa lakukan. Beberapa dihormati Aikido senseis 1ua psikolo terkemuka yan telah membahas penerapan teknik Aikido dalam terapi. Artikel ini meneksplorasi baaimana Aikido telah dimasukkan ke dalam proram pelatihan psikoterapi dan baaimana ia diunakan dalam psikoterapi. Aikido dalam 2elatihan Therapist
/ebaai suatu disiplin pikiran-tubuh-1iwa, Aikido memupuk banyak atribut inti dari terapi berbasis somatically. 2ikiran dan tubuh harus dikoordinasikan di Aikido. Ini melatih perhatian dan membawa perubahan lain dalam conscousness pusat untuk menciptakan kehadiran penyembuhan yan pentin dalam terapi. /eoran terapis yan bisa mempertahankan ketenanan pikiran, bebas dari ketakutan dan ilusi masa lalu dan masa depan yan dicitrakan, dapat berhubunan denan oran lain emphathetically. :amun psikoterapis tidak bisa hanya menadopsi relaksasi, blendin, dan sensitiitas sebaai item filsafat. ereka 1ua harus melatih tubuh. 2enaruh luas Aikido pada pelatihan terapis telah sanat menon1ol di bidan psikoloi transpersonal+ *obert 3raer, yan mempela1ari Aikido denan -/ensei, kemudian mendirikan Institute of Transpersonal 2sycholoy %IT2& di mana siswa menhabiskan dua tahun berlatih Aikido empat kali minu sebaai baian dari kursus penyembuhan pikiran-tubuh. Charles Tart telah 1ua dimasukkan beberapa konsep dan praktek Aikido ke dalam peker1aan berpenaruh teoretisnya. 2roram @eore )eonard di $salen dan buku-bukunya %seperti The !ay of Aikido+ 9idup 2ela1aran dari /ensei Amerika& telah melayani untuk membawa wacana tentan Aikido ke terapis, karena memiliki buku-buku !endy 2almer %seperti Badan Intuitif+ Aikido /ebaai 2raktek Clairsentient& dan dia kelas di J37 dan lokakarya denan menunakan prinsip-prinsip yan diambil dari Aikido. /alah satu dari kami - 8aid )ukoff - telah dia1arkan teknik Aikido di @raduate /chool /aybrook untuk memberikan pelatihan dalam dimensi psychospiritual psikoterapi. Apa yan membuat Aikido yan ideal untuk pelatihan terapis= Ini melibatkan praktik pikiran-tubuhroh yan biasanya dilakukan denan pasanan, dan interaksi yan serin meniru terapis-klien interaksi. isalnya, masalah proyeksi dan transferensi, serta cara menanani konflik dan kedekatan, muncul dalam Aikido. ntuk terapis, terutama selama pelatihan, ini memberikan kesempatan bai pemeriksaan diri, penembanan keterampilan, dan pertumbuhan. Terapis humanistik telah menekankan pentinnya sepenuhnya hadir dalam pertemuan terapi eksistensial. isalnya, James Buental menambarkan kebutuhan terapis untuk men1adi "benarbenar dalam situasi -. 8alam tubuh, emosi, dalam berhubunan, dalam pikiran, dalam seala hal" Ini merupakan pen1elasan yan sanat baik yan berpusat di Aikido. 9al ini 1 ua menyerupai "hubunan total," *ollo ay Carl *oers ("yan hadir," dan 3reud "perhatian merata ditanuhkan" - yan telah diidentifikasi sebaai dasar untuk psikoterapi. 2atrick 3aianelli mewawancarai delapan aikidoists canih yan 1ua terapis untuk disertasi doktoralnya di /aybrook @raduate /chool+ Aikido dan psikoterapi+ /ebuah studi psikoterapis yan praktisi Aikido. 3aianelli menemukan bahwa terapis membawa penalaman dari pelatihan mereka di tikar ke kamar konsultasi mereka. "2ara peserta melaporkan bahwa praktek Aikido telah kuat mempenaruhi kemampuan mereka untuk hadir dan efektif dalam terapi," lapornya. 2ara terapis dalam studi 3aianelli menambarkan baaimana mereka menerapkan konsep Aikido kunci dari "pencampuran denan seranan" untuk perlawanan dari klien selama terapi. /atu terapis di1elaskan "turun aris" %keluar dari 1alan dari seranan& ketika klien memiliki ledakan emosi tidak berarti bainya. "Ini perlu untuk keluar," katanya. "/aya bisa menyinkir emosional dan hanya menyaksikan emosi yan akan." Tema lain yan muncul dalam studi 3aianelli ini berkaitan denan konsep Aikido dari takemusu, yan melibatkan spontan berurusan secara efektif, aman, dan penuh kasih denan konflik. 2ara terapis melaporkan bahwa takemusu "transfer lansun ke kemampuan untuk men1adi santai, hadir, fleksibel, dan spontan dalam terapi."
Aikido dan /piritualitas /piritualitas kini diterima sebaai komponen pentin dari kompetensi budaya bai para profesional kesehatan mental. Tapi itu 1ua merupakan daerah bahwa proram kesehatan mental pelatihan menalami kesulitan menabunkan. 8i sini sekali lai Aikido dapat membantu. Aikido dapat diambarkan sebaai "meditasi bererak", membutuhkan stillin pikiran bahkan seperti tubuh itu dalam tindakan. /eperti denan meditasi, praktek Aikido dapat menarah pada penalaman neara-neara kesadaran yan lebih tini. 2raktek-praktek fisik di Aikido mendoron neara harmoni %ai& dan roh %ki& yan dapat diambarkan sebaai aliran atau penalaman terkadan puncak. 8enan demikian, seperti !endy 2almer menun1ukkan, Aikido dapat memberikan terapis denan landasan penalaman dalam spiritualitas+ "/aya telah menemukan tubuh men1adi titik fokus palin menunkapkan dan bermanfaat untuk men1ela1ahi sifat ekumenis dari 1alan spiritual, untuk itu adalah melalui tubuh bahwa seseoran memanifestasikan ide-ide atau inspirasi dari 1alan ini "%dari The 2ractice of 3reedom+ Aikido 2rinsip sebaai 2anduan /piritual&. 2ara terapis dalam studi 3aianelli melaporkan bahwa "Aikido telah memberikan diwu1udkan, praktis, dan model berbasis spiritual bai mereka untuk menontekstualisasikan dan memahami penalaman mereka sendiri." Aplikasi 7linis dari Aikido 7adan-kadan, Aikido dapat lansun diterapkan dalam situasi klinis. *ichard 9eckler diunakan Aikido dalam karyanya denan anak-anak didianosis sebaai anuan emosional. 8ia beker1a denan isu-isu mereka somatically - mena1ar mereka baaimana untuk bererak dan menalami tubuh mereka berbeda. 8ia mulai denan mena1arkan mereka untuk berdiri denan cara Aikido untuk menemukan posisi yan seimban, kuat, dan santai. @erakan Aikido itu sendiri diunakan untuk membuat perubahan. /ebaai oran muda yan bela1ar Aikido 9eckler, kemampuan mereka untuk merasakan dan rasa terbanun. "/aya percaya peker1aan ini adalah sebaai berhara, 1ika tidak lebih berhara daripada terapi bicara tradisional," tulis 9eckler. "elalui pelatihan Aikido anak-anak ini menhadapi masalah persainan, keintiman aresi, dan kontak sementara mereka bela1ar untuk menyatukan pikiran dan tubuh mereka." Buku 9eckler ini Aikido dan !arrior :ew menandun contoh-contoh lain dari teknik Aikido diunakan denan oran-oran dalam keadaan koma, dalam terapi keluara, dan dalam konteks terapi lainnya. enalami perbedaan antara men1adi kehilanan keseimbanan dan keseimbanan dan kenikmatan bela1ar untuk "roll denan pukulan" dan kembali ke sikap berpusat merupakan praktek ketahanan dan optimisme bela1ar. 2ikirkan tentan hal ini - kami membayar uan dan, di kali, berkendara 1arak 1auh untuk kesempatan yan akan dilempar ke tanah dan banun lai sehina kita dapat bela1ar untuk menanapi seranan denan cara yan mempertahankan keamanan untuk kedua penyeran dan yan diseran. 2erhatian yan sama untuk keamanan dan ketenanan yan diperlukan dari semua terapis. 7ita perlu men1adi 2ond 9irowasa untuk mencerminkan secara akurat dan empati yan banyak bulan dan suasana hati dari klien kami.
Terapis tertarik untuk men1ela1ahi antarmuka Aikido dan terapi dapat menhubuni Aiki-$kstensi %www.aiki-e'tensions.or&.
8aid )ukoff adalah 2rofesor 2sikoloi di /aybrook @raduate /chool, co-presiden dari Asosiasi 2sikoloi Transpersonal, dan direktur Aiki-$'tensions. 8ia memelihara website sumber daya pada spiritualitas di www.spiritualcompetency.com. Beth Tabakin, seoran psikolo dan *eiki aster di arin, California, adalah 8irektur 7linis 2sikoloi di Institut inds cerah di /an 3rancisco dan pendiri 7ehidupan /etelah sarapan, yan menabunkan pendekatan pikiran-tubuh-semanat untuk penurunan berat badan yan sehat. http+55ari0onaenery.or5Aikido5aikidointhetraininofpsycho.htm
An Introduction to Aikido Beginning the -o!rney
Ta#le of %ontents Table of Contents A 2ersonal :ote Introduction 9istory of Aikido Trainin Aikido and Combat $ffectieness !eapons Trainin About Bowin Trainin the ind in Aikido A :ote on !i *ankin in Aikido Basic Aikido 6ocabulary Common Attacks Basic Techni#ues Throws 2ronunciation Countin The $ssence of Aikido A Brief 9istory of Japan Aikido 7an1i 8ictionary
Iaido5Iai1utsu 8o1o $ti#uette
A Personal .ote uch of this document was oriinally The Aikido Primer by $ric /otnak %http+55home.neo.lrun.com5sotnak5primer.html&. The followin is r. /otnaks introduction+ "ntroductory notice: 2lease feel free to copy and distribute this primer to fellow aikidoists, non-aikidoists, friends, enemies, or people who 1ust need somethin to put them to sleep. /hould you wish to customi0e it for your own do1o, you may do so, but do, please, endeaor to make any chanes commensurate with the oerall spirit of the thin. If you want to aoid bein blamed for any mistakes in this document or for the content, you could include this introductory notice or attach my name somewhere else within the document. I hereby disclaim any responsibility for the content or for errors within any ersions of this document not modified by myself. I hae adopted the !estern conention for personal names in this document, i.e., first name first, family name second. This ersion is dated /eptember >.
ost of the remainder of this document was culled from resources on the Internet. 2articular thanks to Jun Akiyama for his wonderful website, Aiki!eb % http+55www.aikiweb.com &. All photoraphs herein contained are the copyrihted property of their respectie copyriht holders. And there is a ery small part of this document that comes from my personal e'perience as an Aikidoka. I do plan to update5rewrite this document fre#uently to include more of my personal obserations. I also plan to eentually add diarams of techni#ues. @ood luck, and may you find peace and happiness on your 1ourney.
/teen . 3ellwock )incoln, :ebraska /eptember ?DDD
An Introd!ction to Aikido
Introd!ction Althouh Aikido is a relatiely recent innoation within the world of martial arts, it is heir to a rich cultural and philosophical backround. orihei eshiba %>EE;->F& created Aikido in Japan. Before creatin Aikido, eshiba trained e'tensiely in seeral arieties of 1u1itsu, as well as sword and spear fihtin. eshiba also immersed himself in reliious studies and deeloped an ideoloy deoted to uniersal socio-political harmony. Incorporatin these principles into his martial art, eshiba deeloped many aspects of Aikido in concert with his philosophical and reliious ideoloy. Aikido is not primarily a system of combat, but rather a means of self-cultiation and improement. Aikido has no tournaments, competitions, contests, or Gsparrin.H Instead, all Aikido techni#ues are learned cooperatiely at a pace commensurate with the abilities of each trainee. Accordin to the founder, the oal of Aikido is not the defeat of others, but the defeat of the neatie characteristics which inhabit ones own mind and inhibit its functionin. At the same time, the potential of Aikido as a means of self-defense should not be inored. ne reason for the prohibition of competition in Aikido is that many Aikido techni#ues would hae to be e'cluded because of their potential to cause serious in1ury. By trainin cooperatiely, een potentially lethal techni#ues can be practiced without substantial risk. It must be emphasi0ed that there are no shortcuts to proficiency in Aikido %or in anythin else, for that matter&. Conse#uently, attainin proficiency in Aikido is simply a matter of sustained and dedicated trainin. :o one becomes an e'pert in 1ust a few months or years.
An Introd!ction to Aikido
/istory of Aikido Aikidos founder, orihei eshiba, was born in Japan on 8ecember >, >EE;. As a boy, he often saw local thus beat up his father for political reasons. 9e set out to make himself stron so that he could take reene. 9e deoted himself to hard physical conditionin and eentually to the practice of martial arts, receiin certificates of mastery in seeral styles of 1u1itsu, fencin, and spear fihtin. In spite of his impressie physical and martial capabilities, howeer, he felt ery dissatisfied. 9e bean delin into reliions in hopes of findin a deeper sinificance to life, all the while continuin to pursue his studies of budo, or the martial arts. By combinin his martial trainin with his reliious and political ideoloies, he created the modern martial art of Aikido. eshiba decided on the name GAikidoH in >? %before that he called his martial art GaikibudoH and GaikinomichiH&. n the technical side, Aikido is rooted in seeral styles of 1u1itsu %from which modern 1udo is also deried&, in particular daitoryu%aiki&1u1itsu, as well as sword and spear fihtin arts. ersimplifyin somewhat, we may say that Aikido takes the 1oint locks and throws from 1u1itsu and combines them with the body moements of sword and spear fihtin. 9oweer, we must also reali0e that many Aikido techni#ues are the result of aster eshibas own innoation. n the reliious side, eshiba was a deotee of one of Japans so-called Gnew reliions,H moto 7yo. moto 7yo was %and is& part neo-/hintoism, and part socio-political idealism. ne oal of moto 7yo has been the unification of all humanity in a sinle Gheaenly kindom on earthH where all reliions would be united under the banner of moto 7yo. It is impossible sufficiently to understand many of -/enseis writins and sayins without keepin the influence of moto 7yo firmly in mind. 8espite what many people think or claim, there is no unified philosophy of Aikido. !hat there is, instead, is a disorani0ed and only partially coherent collection of reliious, 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. /ome e'amples+ GAikido is not a way to fiht with or defeat enemies4 it is a way to reconcile the world and make all human beins one family.H GThe essence of Aikido is the cultiation of ki a ital force, internal power, mental5spiritual eneryK.H GThe secret of Aikido is to become one with the unierse.H GAikido is primarily a way to achiee physical and psycholoical self-mastery.H GThe body is the concrete unification of the physical and spiritual created by the unierse.H And so forth. At the core of almost all philosophical interpretations of Aikido, howeer, we may identify at least two fundamental threads+ %>& A commitment to peaceful resolution of conflict wheneer possible. %?& A commitment to self-improement throuh Aikido trainin.
Training Aikido practice beins the moment you enter the do1oL Trainees ouht to endeaor to obsere proper eti#uette at all times. It is proper to bow when enterin and leain the do1o, and when comin onto and leain the mat. Appro'imately ;-M minutes before the official start of class, trainees should line up and sit #uietly in sei0a %kneelin& or with les crossed. The only way to adance in Aikido is throuh reular and continued trainin. Attendance is not mandatory, but keep in mind that in order to improe in Aikido, one probably needs to practice at least twice a week. In addition, insofar as Aikido proides a way of cultiatin self-discipline, such self-discipline beins with reular attendance.
Aikido and %om#at 'ffecti(eness any practitioners of Aikido %from beinners to adanced students& hae concerns about the practical self-defense alue of Aikido as a martial art. The attacks as practiced in the do1o are fre#uently unrealistic and may be deliered without much speed or power. The concerns here are leitimate, but may, perhaps, be redressed. In the first place, it is important to reali0e that Aikido techni#ues are usually practiced aainst styli0ed and ideali0ed attacks. This makes it easier for students to learn the eneral patterns of Aikido moement. As students become more adanced, the speed and power of attacks should be increased, and students should learn to adapt the basic strateies of Aikido moement to a broader ariety of attacks. any Aikido techni#ues cannot be performed effectiely without the concomitant application of atemi %a strike deliered to the attacker for the purpose of facilitatin the subse#uent application of the techni#ue&. 3or safetys sake, atemi is often omitted durin practice. It is important, howeer, to study atemi carefully and perhaps to deote some time to practicin application of atemi so that one will be able to apply it effectiely when necessary. Aikido is sometimes held up for comparison to other martial arts, and Aikido students are fre#uently curious about how well a person trained in Aikido would stand up aainst someone of comparable si0e and strenth who has trained in another martial art such as karate, 1udo, 1u 1utsu, or bo'in. It is natural to hope that the martial art one has chosen to train in has effectie combat applications. 9oweer, it is also important to reali0e that the founder of Aikido deliberately chose to deelop his martial art into somethin other than the most deadly fihtin art on the planet, and it may ery well be true that other martial arts are more combat effectie than Aikido. This is not to say that Aikido techni#ues cannot be combat effectie N there are numerous practitioners of Aikido who hae applied Aikido techni#ues successfully to defend themseles in a ariety of life-threatenin situations. :o martial art can uarantee ictory in eery possible circumstance. All martial arts, includin Aikido, consist in sets of strateies for manain conflict. The best anyone can hope for from their martial arts trainin is that the odds of manain the conflict successfully are improed. There are many different types of conflict, and many different parameters that may define a conflict. /ome martial arts may be better suited to some types of conflict than others. Aikido may be ill suited to conflicts inolin deliberate proocation of an adersary to fiht. !hile there are some who iew this as a shortcomin or a liability, there are others who see this as demonstratin the foolhardiness of prookin fihts. /ince conflicts are not restricted to situations that result in physical combat, it may be that a martial art which encodes strateies for manain other types of conflict will sere its practitioners better in their daily lies than a more combat-oriented art. any teachers of Aikido treat it as 1ust such a martial art. ne is more commonly confronted with conflicts inolin coworkers, sinificant others, or family members than with assailants bent on all-out physical iolence. Also, een where physical iolence is a enuine daner, many people seek strateies for dealin with such situations, which do not re#uire doin in1ury. 3or e'ample, someone workin with mentally disturbed indiiduals may find it less than ideal to respond to aression by knockin the indiidual to the
round and pummelin him or her into submission. any people find that Aikido is an effectie martial art for dealin with situations similar to this. In the final analysis, each person must decide indiidually whether or not Aikido is suited to his or her needs, interests, and oals.
Wea&ons Training /ome do1o hold classes which are deoted almost e'clusiely to trainin with to 1o %staff&, tanto %knife&, and bokken %sword&4 the three principal weapons used in Aikido. 9oweer, since the oal of Aikido is not primarily to learn how to use weapons, trainees are adised to attend a minimum of two non-weapons classes per week if they plan to attend weapons classes. There are seeral reasons for weapons trainin in Aikido. 3irst, many Aikido moements are deried from classical weapons arts. There is thus a historical rationale for learnin weapons moements. 3or e'ample, all strikin attacks in Aikido are deried from sword strikes. Because of this, empty-handed strikin techni#ues in Aikido appear ery inefficient and lackin in speed and power, especially if one has tr ained in a strikin art such as karate or bo'in. /econd, weapons trainin is helpful for learnin proper ma ai, or distancin. *epeatedly moin in and out of the strikin rane of a weapon fosters an intuitie sense of distance and timin N somethin which is crucial to empty-hand trainin as well. Third, many adanced Aikido techni#ues inole defenses aainst weapons. In order to ensure that such techni#ues can be practiced safely, it is important for students to know how to attack properly with weapons, and to defend aainst such attacks. 3ourth, there are often important principles of Aikido moement and techni#ue that may be profitably demonstrated by the use of weapons. 3ifth, trainin in weapons kata is a way of facilitatin understandin of eneral principles of Aikido moement. /i'th, weapons trainin can add an element of intensity to Aikido practice, especially in practicin defenses aainst weapons attacks. /eenth, trainin with weapons proides Aikidoka with an opportunity to deelop a kind of responsieness and sensitiity to the moements and actions of others within a format that is usually hihly structured. In addition, it is often easier to discard competitie mindsets when enaed in weapons trainin, makin it easier to focus on conitie deelopment. 3inally, weapons trainin is an e'cellent way to learn principles oernin lines of attack and defense. All Aikido techni#ues bein with the defender moin off the line of attack and then creatin a new line %often a non-straiht line& for application of an Aikido techni#ue.
A#o!t Bo$ing It is common for people to ask about the practice
of bowin in Aikido. In particular, many people are concerned that bowin may hae some reliious sinificance. It does not. In !estern culture, it is considered proper to shake hands when reetin someone for the first time, to say GpleaseH when makin a re#uest, and to say Gthank youH to e'press ratitude. In Japanese culture, bowin %at least partly& may fulfill all these functions. Bear in mind, too, that in $uropean society only a few hundred years ao a courtly bow was a conentional form of reetin. Incorporatin this particular aspect of Japanese culture into our Aikido practice seres seeral purposes+
It inculcates a familiarity with an important aspect of Japanese culture in Aikido practitioners. This is especially important for anyone who may wish, at some time, to trael to Japan to practice Aikido. There is also a case to be made for simply broadenin ones cultural hori0ons.
Bowin may be an e'pression of respect. As such, it indicates an open-minded attitude and a willinness to learn from ones teachers and fellow students.
Bowin to a partner may sere to remind you that your partner is a person N not a practice dummy. Always train within the limits of your partners abilities.
The initial bow, which sinifies the beinnin of formal practice, is much like a Gready, bein,H uttered at the beinnin of an e'amination. /o lon as class is in session, you should behae in accordance with certain standards of deportment. Aikido class should be somewhat like a world unto itself. !hile in this Gworld,H your attention should be focused on the practice of Aikido. Bowin out is like sinalin a return to the GordinaryH world. !hen bowin either to the instructor at the beinnin of practice or to ones partner at the beinnin of a techni#ue it is considered proper to say Goneai shimasuH %lit. GI re#uest a faorH& and when bowin either to the instructor at the end of class or to ones partner at the end of a techni#ue it is considered proper to say Gdomo ariato o0aimashitaH %Gthank youH&.
Training the Mind in Aikido The founder %orihei eshiba& intended Aikido to be far more than a system of techni#ues for selfdefense. 9is intention was to fuse his martial art to a set of ethical, social, and dispositional ideals. eshiba hoped that by trainin in Aikido, people would perfect themseles spiritually as well as physically. It is not immediately obious, howeer, 1ust how practicin Aikido is supposed to result in any spiritual %O psycho-physical& transformation. 3urthermore, many other arts hae claimed to be ehicles for carryin their practitioners to enlihtenment or psychophysical transformation. !e may leitimately wonder, then, whether, or how, Aikido differs from other arts in respect of transformatie effect. It should be clear that any transformatie power of Aikido, if such e'ists at all, cannot reside in the performance of physical techni#ues alone. *ather, if Aikido is to proide a ehicle for selfimproement and psychophysical transformation alon the lines enisioned by the founder, the practitioner of Aikido must adopt certain attitudes toward Aikido trainin and must strie to cultiate certain sorts of conitie dispositions. Classically, those arts, which claim to proide a transformatie framework for their practitioners, are rooted in reliious and philosophical traditions such as Buddhism and Taoism %the influence of /hinto on Japanese arts is usually comparatiely small&. In Japan, Pen Buddhism e'ercised the stronest influence on the deelopment of transformatie arts. Althouh orihei eshiba was far less influenced by Taoism and Pen than by the Gnew reliion,H moto 7yo, it is certainly possible to incorporate aspects of Pen and Taoist philosophy and practice into Aikido. oreoer, moto 7yo is larely rooted in a comple' structure of neo-/hinto mystical concepts and beliefs. It would
be wildly implausible to suppose that adoption of this structure is a necessary condition for psychophysical transformation throuh Aikido. /o far as the incorporation of Pen and Taoist practices and philosophies into Aikido is concerned, psychophysical transformation throuh the practice of Aikido will be little different from psychophysical transformation throuh the practice of arts such as karate, kyudo, and tea ceremony. All these arts hae in common the oal of instillin in their practitioners conitie e#uanimity, spontaneity of action5response, and receptiity to the character of thins #ust as they are %shinnyo&. The primary means for producin these sorts of dispositions in trainees is a two-fold focus on repetition of the fundamental moements and positions of the art, and on preserin mindfulness in practice. The fact that Aikido trainin is always cooperatie proides another locus for construin personal transformation throuh Aikido. Cooperatie trainin facilitates the abandonment of a competitie mind-set that reinforces the perception of self-other dichotomies. Cooperatie trainin also instills a reard for the safety and well bein of ones partner. This attitude of concern for others is then to be e'tended to other situations than the practice of Aikido. In other words, the cooperatie framework for Aikido practice is supposed to translate directly into a framework for ethical behaior in ones daily life. 3urthermore, it should be clear that if personal transformation is possible throuh Aikido trainin, it is not an automatic process. This should be apparent by noticin the fact that there are Aikido practitioners with many years of e'perience who still commit both moral and leal infractions. Technical proficiency and broad e'perience in the martial arts is by no means a uarantee of ethical or personal adancement. This fact often comes as a reat disappointment to students of Aikido, especially if they should discoer that their own instructors still suffer from a ariety of shortcomins. In fact, howeer, this itself constitutes a aluable lesson+ Technical proficiency is an easier oal to attain than that of personal improement. Althouh both of these oals may re#uire a lifetime of commitment, it is considerably easier to make the sort of sacrifices and efforts re#uired for technical proficiency than it is to make the sacrifices and efforts re#uired for substantie personal transformation and improement. The path to self-improement and personal transformation must bein somewhere, howeer. 2erhaps the most important %and easily forotten& startin point for both students and teachers of Aikido is to bear constantly in mind that the people one is trainin with are one and all human beins like oneself, each with a uni#ue perspectie, and capable of feelin pain, frustration and happiness, and each with his or her own oals of trainin. If one takes seriously the notion that part of ones Aikido trainin should aim towards selfimproement, one may sometimes hae to consider how one will be iewed by others. /omeone may hae superb technical ability and yet be iewed by others as a self-centered and inconsiderate bully.
A .ote on Ki The concept of ki is one of the most difficult associated with the philosophy and practice of Aikido. /ince the word GAikidoH means somethin like Gthe way of harmony with ki,H it is hardly surprisin that many Aikidoka are interested in understandin 1ust what ki is supposed to be. $tymoloically, the word GkiH deries from the Chinese Gchi.H In Chinese philosophy, chi was a concept inoked to differentiate liin from non-liin thins. But as Chinese philosophy deeloped, the concept of chi took on a wider rane of meanins and interpretations. n some iews, chi was held to be the most basic e'planatory material principle N the
metaphysical GeneryH out of which all thins were made. The differences between thins depended not on some thins hain chi and others not, but rather on a principle %li, Japanese O ri& which determined how the chi was orani0ed and functioned %the iew here bears some similarity to the ancient @reek matter-form metaphysic&. odern Aikidoka are less concerned with the historioraphy of the concept of ki than with the #uestion of whether or not the term GkiH denotes anythin real, and, if so, 1ust what it does denote. There hae been some attempts to demonstrate the ob1ectie e'istence of ki as a kind of GeneryH or GstuffH that flows within the body %especially alon certain channels, called GmeridiansH&. /o far, howeer, there are no reputable studies that conclusiely demonstrate the e'istence of ki. Traditional Chinese medicine appeals to ki5chi as a theoretical entity, and some therapies based on this framework hae been shown to produce more positie benefit than placebo, but it is entirely possible that the success of such therapies is better e'plained in ways other than supposin the truth of ki5chi theory. any people claim that certain forms of e'ercise or concentration enable them to feel ki flowin throuh their bodies. /ince such reports are sub1ectie, they cannot constitute ob1ectie eidence for ki as Gstuff.H :or do anecdotal accounts of therapeutic effects of arious ki practices constitute eidence for the ob1ectie e'istence of ki N anecdotal eidence does not hae the same eidential status as eidence resultin from reputable double-blind e'periments inolin strict controls. Aain, it may be that ki does e'ist as an ob1ectie phenomenon, but reliable eidence to support such a iew is so far lackin. There are a number of Aikidoka who claim to be able to demonstrate the %ob1ectie& e'istence of ki by performin arious sorts of feats. ne such feat, which is ery popular, is the so-called Gunbendable arm.H In this e'ercise, one person e'tends her arm while another person tries to bend the arm. 3irst, she makes a fist and tihtens the muscles in her arm. The other person is usually able to bend the arm. :e't, she rela'es her arm %but leaes it e'tended& and Ge'tends kiH %since Ge'tendin kiH is not somethin most newcomers to Aikido know precisely how to do, is often simply adised to think of her arm as a fire-hose ushin water, or some such similar metaphor&. This time, the other person finds it far more difficult to bend the arm. The conclusion is supposed to be that it is the force5actiity of ki that accounts for the difference. 9oweer, there are alternatie e'planations e'pressible within the ocabulary or scope of physics %or, perhaps, psycholoy& that are fully capable of accountin for the phenomenon here %subtle chanes in body positionin, for e'ample&. In addition, the fact that it is difficult to filter out the biases and e'pectations of the participants in such demonstrations makes it all the more #uestionable whether they proide reliable eidence for the ob1ectie e'istence of ki. :ot all Aikidoka beliee that ki is a kind of GstuffH or enery. 3or some Aikidoka, ki is an e'pedient concept N a blanket-concept that coers intentions, momentum, will, and attention. If one eschews the iew that ki is an enery that can literally be e'tended, to e'tend ki is to adopt a physically and psycholoically positie bearin. This ma'imi0es the efficiency and adaptability of ones moement, resultin in stroner techni#ue and a feelin of affirmation both of oneself and ones partner. Irrespectie of whether one chooses to take a realist or an anti-realist stance with respect to the ob1ectie e'istence of ki, there can be little doubt that there is more to Aikido than the mere physical manipulation of another persons body. Aikido re#uires sensitiity to such dierse ariables as timin, momentum, balance, the speed and power of an attack, and especially to the psycholoical state of ones partner %or of an attacker&. In addition, to the e'tent that Aikido is not a system for ainin physical control oer others, but rather a ehicle for self-improement %or een enlihtenment see satoriK&, there can be little doubt that cultiation of a positie physical and psycholoical bearin is an important part of Aikido. Aain, one may or may not wish to describe the cultiation of this positie bearin in terms of ki.
Ranking in Aikido 2olicies oernin rank promotions may ary, sometimes dramatically, from one Aikido do1o or orani0ation to another. Accordin to the standard set by the International Aikido 3ederation %IA3& and the nited /tates Aikido 3ederation %/A3&, there are F ranks below black belt. These ranks are called kyu ranks. In the IA3 and /A3, colored belts do not usually distinuish kyu ranks. ther orani0ations %and some indiidual do1o& may use some s ystem of colored belts to sinify kyu ranks, howeer. There are a rowin number of Aikido orani0ations and each has its own set of standards for rankin. $liibility for testin depends primarily %thouh not e'clusiely& upon accumulation of practice hours. ther releant factors may include a trainees attitude with respect to others, reularity of attendance, and, in some orani0ations, contribution to the maintenance of the do1o or dissemination of Aikido. !hateer the criteria for rank promotion, it is important to keep in mind that rank promotion does not necessarily translate into ability. The most important accomplishments in Aikido or any other martial art are not e'ternal assessments of proress, but rather the benefits of your trainin to yourself.
Basic Aikido 0oca#!lary Agats! N G/elf ictory.H Accordin to the founder, true ictory %masakatsu& is the ictory one achiees oer oneself %aatsu&. Thus one of the founder s GsloansH was masakatsu aatsu N GThe true ictory of self-mastery.H Aikido N The word GAikidoH is made up of three Japanese characters+ ai O harmony, ki O spirit, mind, or uniersal enery, do O the !ay. Thus Aikido is Gthe !ay of 9armony with niersal
$nery.H 9oweer, aiki may also be interpreted as Gaccommodation to circumstances.H This latter interpretation is somewhat nonstandard, but it aoids certain undesirable metaphysical commitments and also epitomi0es #uite well both the physical and psycholoical facets of Aikido.
Aikidoka N A practitioner of Aikido. Aikikai N GAiki association.H A term used to desinate the orani0ation created by the founder for the dissemination of Aikido. Ai hanmi N utual stance where uke and nae each hae the same foot forward %riht-riht, leftleft&. Ai n!ke N Gutual escape.H An outcome of a duel where each participant escapes harm. This corresponds to the ideal of Aikido accordin to which a conflict is resoled without in1ury to any party inoled. Ai !chi N Gutual kill.H An outcome of a duel where each participant kills the other. In classical Japanese swordsmanship, practitioners were often encouraed to enter a duel with the oal of achiein at least an ai uchi. The resolution to win the duel een at the cost of ones own life was thouht to aid in cultiatin an attitude of sinle-minded focus on the task of cuttin down ones opponent. This sinle-minded focus is e'emplified in Aikido in the techni#ue, ikkyo, where one enters into an attackers rane in order to affect the techni#ue. Ashi sa#aki N 3ootwork. 2roper footwork is essential in Aikido for deelopin stron balance and for facilitatin ease of moement.
Atemi N %lit. /trikin the Body.& /trike directed at the attacker for purposes of unbalancin or distraction. Atemi is often ital for bypassin or Gshort-circuitinH an attackers natural responses to Aikido techni#ues. The first thin most people will do when they feel their body bein manipulated in an unfamiliar way is to retract their limbs and drop their center of mass down and away from the person performin the techni#ue. By 1udicious application of atemi, it is possible to create a Gwindow of opportunityH in the attackers natural defenses, facilitatin the application of an Aikido techni#ue. Bokken 1 #ok!to N !ooden sword. any Aikido moements are deried from traditional Japanese fencin. In adanced practice, weapons such as the bokken are used in learnin subtleties of certain moements, the relationships obtainin between armed and unarmed techni#ues, defenses aainst weapons, and the like. B!do N Gartial way.H The Japanese character for GbuH %martial& is deried from characters meanin GstopH and %a weapon like a& Ghalberd.H In con1unction, then, GbuH may hae the connotation Gto stop the halberd.H In Aikido, there is an assumption that the best way to preent iolent conflict is to emphasi0e the cultiation of indiidual character. The way %do& of aiki is thus e#uialent to the way of bu, taken in this sense of preentin or aoidin iolence so far as possible. %hi#!ri N G/hake off blood.H A sword moement where the sword is #uickly drawn to one side at the end of a strike. Thus chiburi mii O shake off blood to the riht. %hok!sen N 8irect. Thus chokusen no irimi O direct entry. %h!dan N Giddle position.H Thus chudan no kamae O a stance characteri0ed by hain ones hands or sword in a central position with respect to ones body. %h!shin N Center. $specially, the center of ones moement or balance. Dan N Black belt rank. In IA3 Aikido, the hihest rank it is now possible to obtain is th dan. There are some Aikidoka who hold ranks of >Dth dan. These ranks were awarded by the founder prior to his death, and cannot be rescinded. !hite belt ranks are called kyu ranks. Do N !ay5path. The Japanese character for GdoH is the same as the Chinese character for Tao %as in GTaoismH&. In aiki-do, the connotation is that of a way of attainin enlihtenment or a way of improin ones character throuh aiki. Doo N )iterally Gplace of the !ay.H Also Gplace of enlihtenment.H The place where we practice Aikido. Traditional eti#uette prescribes bowin in the direction of the shrine %kami0a& or the desinated front of the do1o %shomen& wheneer enterin or leain the do1o. Doo cho N The head of the do1o. A title. Currently, oriteru eshiba %randson of the founder& is do1o cho at !orld Aikido 9ead#uarters %hombu do1o& in Tokyo, Japan. Domo arigato go)aimas2ta N Japanese for Gthank you ery muchH %for somethin that has already taken place&. At the end of each class, it is proper to bow and thank the instructor and those with whom youe trained. Domo arigato go)aimas! N Japanese for Gthank you ery muchH %for somethin that is currently takin place&. Dosh! N 9ead of the way %currently oriteru eshiba, randson of Aikidos founder, orihei eshiba&. The hihest official authority in IA3 Aikido. Do!itashimashite N Japanese for Gyou are welcome.H 'ngi N Interdependent oriination %/anskrit O pratityasamutpada&. In Buddhist philosophy, phenomena hae no unchanin essences. *ather, they oriinate and e'ist only in irtue of material and causal conditions. !ithout these material and causal conditions, there would be no phenomena. 3urthermore, since the material and causal conditions upon which all phenomena depend are continually in flu', phenomena themseles are one and all impermanent. /ince whateer is
impermanent and dependent for e'istence on conditions has no absolute status %or is not absolutely real&, it follows that phenomena %what are ordinarily called GthinsH& are hae no absolute or independent e'istential status, i.e., they are empty. To cultiate a conitie state in which the empty status of thins is manifest is to reali0e or attain enlihtenment. The reali0ation of enlihtenment, in turn, confers a deree of conitie freedom and spontaneity that, amon other %and aruably more important& benefits, facilitates the performance of martial techni#ues in response to rapidly chanin circumstances. %/ee ku.&
F!do shin N GImmoable mind.H A state of mental e#uanimity or imperturbability. The mind, in this state, is calm and undistracted %metaphorically, therefore, GimmoableH&. 3udomyo is a Buddhist uardian deity who carries a sword in one hand %to destroy enemies of the Buddhist doctrine&, and a rope in the other %to rescue sentient beins from the pit of delusion, or from Buddhist hell-states&. 9e therefore embodies the two-fold Buddhist ideal of wisdom %the sword& and compassion %the rope&. To cultiate fudo shin is thus to cultiate a mind which can accommodate itself to chanin circumstances without compromise of principles. F!k!shidoin N A formal title whose connotation is somethin appro'imatin Gassistant instructor.H F!ri ka#!ri N /word-raisin moement. This moement in found especially in ikkyo, irimi-nae, and shiho-nae. 3edan N )ower position. @edan no kamae is thus a stance with the hands or a weapon held in a lower position. 3i 4dogi5 4keiko gi5 N Trainin costume. $ither 1udo-style or karate-style i is acceptable in most do1o, but they should be white and cotton. %:o black satin i with embroidered draons, please.& 3omen nasai N Japanese for G$'cuse me, I am sorry.H 3yak! hanmi N pposin stance %if uke has the riht foot forward, nae has the left foot forward, if uke has the left foot forward, nae has the riht foot forward&. /akama N 8iided skirt usually worn by black-belt ranks in Aikido and 7endo. In some do1o, the hakama is also worn by women of all ranks, and in some do1o by all practitioners. The hakama has seen pleats. GThe seen pleats symboli0e the seen irtues of budo,H -/ensei said. GThese are 1in %beneolence&, i %honor or 1ustice&, rei %courtesy and eti#uette&, chi %wisdom and intellience&, shin %sincerity&, chu %loyalty&, and koh %piety&. !e find these #ualities in the distinuished samurai of the past. The hakama prompts us to reflect on the nature of true bushido. !earin it symboli0es traditions that hae been passed down to us from eneration to eneration. Aikido is born of the bushido spirit of Japan, and in our practice we must strie to polish the seen traditional irtues.H /anmi N Trianular stance. ost often Aikido techni#ues are practiced with uke and nae in pre-determined stances. This is to facilitate learnin the techni#ues and certain principles of positionin with respect to an attack. At hiher leels, specific hanmi cease to be of importance. /anmi handachi N 2osition with nae sittin, uke standin. Trainin in hanmi handachi wa0a is a ood way of practicin techni#ues as thouh with a sinificantly larer5taller opponent. This type of trainin also emphasi0es moement from ones center of mass %hara&.
/a&&o N E directions, as in happo-undo %E direction e'ercise& or happo-iri %E direction cuttin with the sword&. The connotation here is really moement in all directions. In Aikido, one must be prepared to turn in any direction in an instant. /ara N nes center of mass, located about ?H below the nael. Traditionally this was thouht to be the location of the spirit5mind5source of ki. Aikido techni#ues should be e'ecuted as much as possible from or throuh ones hara. /asso no kamae N G3iure-eihtH stance. The fiure eiht does not correspond to the Arabic numeral GE,H but rather to the Chinese5Japanese character which looks more like the roof of a house. In hasso no kamae, the sword is held up beside ones head, so that the elbows spread down and out from the sword in a pattern resemblin this fiure-eiht character. /eioshin N GAbidin peace of mind.H Conitie e#uanimity. ne oal of trainin in Aikido is the cultiation of a mind that is able to meet arious types of adersity without becomin perturbed. A mind that is not easily flustered is a mind that will facilitate effectie response to physical or psycholoical threats. /enka $a)a N 6aried techni#ue. $specially beinnin one techni#ue and chanin to another in mid-e'ecution. $'. beinnin ikkyo but chanin to irimi-nae. /om#! Doo N A term used to refer to the central do1o of an orani0ation. Thus this usually desinates Aikido !orld 9ead#uarters. %/ee Aikikai.& /idari N )eft. Irimi N %lit. G$nterin the Body.H& $nterin moement. any Aikidoka think that the irimi moement e'presses the ery essence of Aikido. The idea behind irimi is to place oneself in relation to an attacker in such a way that the attacker is unable to continue to attack effectiely, and in such a way that one is able to control effectiely the attackers balance. %/ee shikaku.& -ina N A %/hinto& shrine. There is an aiki 1 in1a located in Iwama, Ibaraki prefecture, Japan. -iy! $a)a N 3ree-style practice of techni#ues. This usually inoles more than one attacker who may attack nae in any way desired. -o N !ooden staff about -M in lenth. The 1o oriinated as a walkin stick. It is unclear how it became incorporated into Aikido. any 1o moements come from traditional Japanese spear fihtin, others may hae come from 1o1utsu, but many seem to hae been innoated by the founder. The 1o is usually used in adanced practice. -odan N pper position. Jodan no kamae is thus a stance with the hands or a weapon held in a hih position. 6achihaya#i N G6ictory at the speed of sunliht.H Accordin to the founder, when one has achieed total self-mastery %aatsu& and perfect accord with the fundamental principles oernin the unierse %especially principles coerin ethical interaction&, one will hae the power of the entire unierse at ones disposal, there no loner bein any real difference between oneself and the unierse. At this stae of spiritual adancement, ictory is instantaneous. The ery intention of an attacker to perpetrate an act of iolence breaks harmony with the fundamental principles of the unierse, and no one can compete successfully aainst such principles. Also, the e'pression of the fundamental principles of the unierse in human life is loe %ai&, and loe, accordin to the founder, has no enemies. 9ain no enemies, one has no need to fiht, and thus always emeres ictorious. %/ee aatsu and masakatsu.& 6aeshi $a)a N Techni#ue reersal %uke becomes nae and ice-ersa&. This is usually a ery adanced form of practice. 7aeshi wa0a practice helps to instill a sensitiity to shifts in resistance or direction in the moements of ones partner. Trainin so as to anticipate and preent the application of kaeshi wa0a aainst ones own techni#ues reatly sharpens Aikido skills.
6aiso N The founder of Aikido %i.e., orihei eshiba&. 6amae N A posture or stance either with or without a weapon. 7amae may also connote proper distance %ma ai& with respect to ones partner. Althouh GkamaeH enerally refers to a physical stance, there is an important parallel in Aikido between ones physical and ones psycholoical bearin. Adoptin a stron physical stance helps to promote the correlatie adoption of a stron psycholoical attitude. It is important to try so far as possible to maintain a positie and stron mental bearin in Aikido. 6ami N A diinity, liin force, or spirit. Accordin to /hinto, the natural world is full of kami, which are often sensitie or responsie to the actions of human beins. 6ami)a N A small shrine, fre#uently located at the front of a do1o, and often housin a picture of the founder, or some calliraphy. ne enerally bows in the direction of the kami0a when enterin or leain the do1o, or the mat. 6ansets! $a)a N Joint manipulation techni#ues. 6ata N A GformH or prescribed pattern of moement, especially with the 1o in Aikido. %But also Gshoulder.H& 6atame $a)a N G9old-downH %pinnin& techni#ues. 6atana N !hat is ularly called a Gsamurai sword.H 6ats! in ken N GThe sword that saes life.H 2ractitioners became increasinly interested in incorporatin ethical principles into their discipline as Japanese swordsmanship became more and more influenced by Buddhism %especially Pen Buddhism& and Taoism. The consummate master of swordsmanship, accordin to some such practitioners, should be able not only to use the sword to kill, but also to sae life. The concept of katsu 1in ken found some e'plicit application in the deelopment of techni#ues which would use non-cuttin parts of the sword to strike or control ones opponent, rather than to kill him5her. The influence of some of these techni#ues can sometimes be seen in Aikido. ther techni#ues were deeloped by which an unarmed person %or a person unwillin to draw a weapon& could disarm an attacker. These techni#ues are fre#uently practiced in Aikido. %/ee setsu nin to.& 6eiko N Trainin. The only secret to success in Aikido. 6en N /word. 6ensho N $nlihtenment. %/ee mokuso and satori.& 6i N ind. /pirit. $nery. 6ital force. Intention. %Chinese O C hi& 3or many Aikidoka, the primary oal of trainin in Aikido is to learn how to Ge'tendH ki, or to learn how to control or redirect the ki of others. There are both GrealistH and anti-realist interpretations of ki. The ki-realist takes ki to be, literally, a kind of enery, or life force, which flows within the body. 8eelopin or increasin ones own ki, accordin to the ki-realist, thus confers upon the Aikidoka reater power and control oer his5her own body, and may also hae the added benefits of improed health and loneity. Accordin to the ki-anti-realist, ki is a concept which coers a wide rane of psycho-physical phenomena, but which does not denote any ob1ectiely e'istin enery. The ki-anti-realist beliees, for e'ample, that to Ge'tend kiH is 1ust to adopt a certain kind of positie psycholoical disposition and to correlate that psycholoical disposition with 1ust the riht combination of balance, rela'ation, and 1udicious application of physical force. /ince the description Ge'tend kiH is somewhat more manaeable, the concept of ki has a class of well-defined uses for the ki-anti-realist, but does not carry with it any ontoloical commitments beyond the scope of mainstream scientific theories. 6iai N A shout deliered for the purpose of focusin all of ones enery into a sinle moement. $en when audible kiai are absent, one should try to presere the feelin of kiai at certain crucial points within Aikido techni#ues.
6ihon N %/omethin which is& fundamental. There are often many seeminly ery different ways of performin the same techni#ue in Aikido. To see beneath the surface features of the techni#ue and rasp the core common is to comprehend the kihon. 6i m!s!#i 7 ki no m!s!#i N )iterally Gknottin5tyin-up ki.H The act5->DDprocess of matchin ones partners moement5intention at its inception, and maintainin a connection to ones partner throuhout the application of an Aikido techni#ue. 2roper ki musubi re#uires a mind that is clear, fle'ible, and attentie. %/ee setsu0oku.& 6ohai N A student 1unior to oneself. 6okoro N G9eartH or Gmind.H Japanese folk psycholoy does not distinuish clearly between the seat of intellect and the seat of emotion, as does !estern folk psycholoy. 6oky! N Breath. 2art of Aikido is the deelopment of Gkokyu ryoku,H or Gbreath power.H This is the coordination of breath with moement. A prosaic e'ample+ !hen liftin a heay ob1ect, it is enerally easier when breathin out. Also breath control may facilitate reater concentration and the elimination of stress. In many traditional forms of meditation, focus on the breath is used as a method for deelopin heihtened concentration or mental e#uanimity. This is also the case in Aikido. A number of e'ercises in Aikido are called Gkokyu ho,H or Gbreath e'ercises.H These e'ercises are meant to help one deelop kokyu ryoku. 6otodama N A practice of intonin arious sounds %phonetic components of the Japanese lanuae& for the purpose of producin mystical states. The founder of Aikido was reatly interested in /hinto and neo-/hinto mystical practices, and he incorporated a number of them into his personal Aikido practice. 6! N $mptiness. Accordin to Buddhism, the fundamental character of thins is absence %or emptiness& of indiidual unchanin essences. The reali0ation of the essenceless-ness of thins is what permits the cultiation of psycholoical non-attachment, and thus conitie e#uanimity. The direct reali0ation of %or e'perience of insiht into& emptiness is enlihtenment. This shows up in Aikido in the ideal of deelopin a state of conitie openness, permittin one to respond immediately and intuitiely to chanin circumstances. %/ee mokuso.& 6!mio N 1o matchin e'ercise or partner practice. 6!mitachi N /word matchin e'ercise or partner practice. 6!)!shi N The principle of destroyin ones partners balance. In Aikido, a techni#ue cannot be properly applied unless one first unbalances ones partner. To achiee proper ku0ushi, in Aikido, one should rely primarily on position and timin, rather than merely on physical force. 6y! N !hite belt rank. %r any rank below shodan.& Ma ai N 2roper distancin or timin with respect to ones partner. /ince Aikido techni#ues always ary accordin to circumstances, it is important to understand how differences in initial position affect the timin and application of techni#ues. Mae N 3ront. Thus mae ukemi O Gforward fall5roll.H Masakats! N GTrue ictory.H %/ee aatsu and kachihayabi.& Michi#iki N An aspect of Aikido moement that inoles leadin, rather than pushin or pullin, ones partner. As with many other concepts in Aikido, there are both physical and conitie dimensions to michibiki. 2hysically, one may lead ones partner throuh subtle uidin or redirection of the attackin motion. 2sycholoically, one may lead ones partner throuh GbaitinH %presentin apparent opportunities for attack&. 3re#uently both physical and conitie elements are employed in concert. 3or e'ample, if uke reaches for naes wrist, nae may moe the wrist 1ust slihtly ahead of ukes rasp, at such a pace that uke is fooled into thinkin s5he will be able to sei0e it, thus continuin the attempt to rab and followin the lead where nae wishes.
Migi N *iht. Misogi N *itual purification. Aikido trainin may be looked upon as a means of purifyin oneself4 eliminatin defilin characteristics from ones mind or personality. Althouh there are some specific e'ercises for misoi practice, such as breathin e'ercises, in point of fact, eery aspect of Aikido trainin may be looked upon as misoi. This, howeer, is a matter of ones attitude or approach to trainin, rather than an ob1ectie feature of the trainin itself. Mok!so N editation. 2ractice often beins or ends with a brief period of meditation. The purpose of meditation is to clear ones mind and to deelop conitie e#uanimity. 2erhaps more importantly, meditation is an opportunity to become aware of conditioned patterns of thouht and behaior so that such patterns can be modified, eliminated or more efficiently put to use. In addition, meditation may occasion e'periences of insiht into arious aspects of Aikido %or, if one accepts certain Buddhist claims, into the ery structure of reality&. Ideally, the sort of conitie awareness and focus that one cultiates in meditation should carry oer into the rest of ones practice, so that the distinction between the Gmeditatie mindH and the Gnormal mindH collapses. M!dansha N /tudents without black-belt rankin. M!shin N )iterally Gno mind.H A state of conitie awareness characteri0ed by the absence of discursie thouht. A state of mind in which the mind acts5reacts without hypostati0ation of concepts. ushin is often erroneously taken to be a state of mere spontaneity. Althouh spontaneity is a feature of mushin, it is not straihtforwardly identical with it. It miht be said that when in a state of mushin, one is free to use concepts and distinctions without bein$ used by them. M!s!#i N GTyin upH or GunitinH. ne of the strateic ob1ecties in applyin Aikido techni#ues in to mere with %O musubi& and redirect the aressie impulse %O ki& of an attacker in order to ain control of it. Thus Gki musubiH or Gki no musubiH is one of the oals of Aikido. There is a conitie as well as a physical dimension to musubi. Ideally, at the most adanced leels of Aikido, one learns to detect sins of aression in a potential attacker before a physical assault has been initiated. If one learns to identify aressie intent and defuse or redirect it before the attack is launched, one may achiee ictory without physical confrontation. Also, by deelopin heihtened sensitiity to the cues that may precede a physical attack, one thereby ains a strateic adantae, makin possible pre-emptie action or, perhaps, escape. This heihtened sensitiity to aressie cues is only possible as a result of trainin ones awareness as well as ones technical abilities. .agare N 3lowin. ne oal of Aikido practice is to learn not to oppose physical force with physical force. *ather, one stries to flow alon with physical force, redirectin it to ones adantae. .age N The thrower. 8#i N A belt. 8mote N GThe front,H thus, a class of moements in Aikido in which nae enters in front of uke. 8moto 6yo N ne of the so-called Gnew-reliionsH of Japan. moto 7yo is a syncretic amalam of /hintoism, neo-/hinto mysticism, Christianity, and Japanese folk reliion. The f ounder of Aikido was a deotee of moto 7yo and incorporated some elements from it into his Aikido practice. The founder insisted, howeer, that one need not be a deotee of moto 7yo in order to study Aikido or to comprehend the purpose or philosophy of Aikido. 8negai shimas! N GI welcome you to train with me,H or literally, GI make a re#uest.H This is said to ones partner when initiatin practice. 8sae$a)a N 2innin techni#ues. 89Sensei N )iterally, G@reat Teacher,H i.e., orihei eshiba, the founder of Aikido. Randori N 3ree-style Gall-outH trainin. /ometimes used as a synonym for 1iyu wa0a. Althouh
Aikido techni#ues are usually practiced with a sinle partner, it is important to keep in mind the possibility that one may be attacked by multiple aressors. any of the body moements of Aikido %tai sabaki& are meant to facilitate defense aainst multiple attackers.
Reigi N $ti#uette. bserance of proper eti#uette at all times %but especially obserance of proper do1o eti#uette& is as much a part of ones trainin as the practice of techni#ues. bseration of reii indicates ones sincerity, ones willinness to learn, and ones reconition of the rihts and interests of others. Satori N $nlihtenment. In Buddhism, enlihtenment is characteri0ed by a direct reali0ation or apprehension of the absence of unchanin essences behind phenomena. *ather, phenomena are seen to be empty of such essences N phenomena e'ist in thorouhoin interdependence %eni&. As characteri0ed by the founder of Aikido, enlihtenment consists in reali0in a fundamental unity between oneself and the %principles oernin& the unierse. The most important ethical principle the Aikidoist should ain insiht into is that one should cultiate a spirit of loin protection for all thins. %/ee ku and shinnyo.& Sensei N Teacher. It is usually considered proper to address the instructor durin practice as G/enseiH rather than by his5her name. If the instructor is a permanent instructor for ones do1o or for an orani0ation, it is proper to address him5her as G/enseiH off the mat as well. Sei)a N /ittin on ones knees. /ittin this way re#uires acclimati0ation, but proides both a stable base and reater ease of moement than sittin cross-leed. Sem&ai N A student senior to oneself. Sets! nin to N GThe sword that kills.H Althouh this would seem to indicate a purely neatie concept, there is, in fact, a positie connotation to this term. Apart from the common assumption that killin may sometimes be a Gnecessary eilH which may sere to preent an een reater eil, the concept of killin has a wide ariety of metaphorical applications. ne may, for e'ample, strie to GkillH such harmful character traits as inorance, selfishness, or %e'cessie& competitieness. /ome misoi sword e'ercises in Aikido, for e'ample, inole imainin that each cut of the sword destroys some neatie aspect of ones personality. In this way, setsu nin to and katsu 1in ken %the sword that saes& coalesce. Sets!)ok! N Connection. Aikido techni#ues are enerally rendered more efficient by preserin a connection between ones center of mass %hara& and the outer limits of the moement, or between ones own center of mass and that of ones partner. Also, setsu0oku may connote fluidity and continuity in techni#ue. n a psycholoical leel, setsu0oku may connote the r elationship of actionresponse that e'ists between oneself and ones partner, such that successful performance of Aikido techni#ues depends crucially upon timin ones own actions and responses to accord with those of ones partner. 2hysically, setsu0oku correlates with leerae and with the most efficient application of force to the task of controllin ones partners balance and mobility. Shidoin N A formal title meanin, appro'imately, Ginstructor.H Shihan N A formal title meanin, appro'imately, Gmaster instructor.H A Gteacher of teachers.H Shikak! N )iterally Gdead anle.H A position relatie to ones partner where it is difficult for him5her to %continue to& attack, and from which it is relatiely easy to control ones partners balance and moement. The first phase of an Aikido techni#ue is often to establish shikaku. Shikko N /amurai walkin %Gknee walkinH&. /hikko is ery important for deelopin a stron awareness of ones center of mass %hara&. It also deelops strenth in ones hips and les. Shinkensho#! N )it. G8uel with lie swords.H This e'presses the attitude one should hae about Aikido trainin, i.e., one should treat the practice session as thouh it were, in some respects, a lifeor-death duel with lie swords. In particular, ones attention durin Aikido trainin should be sinlemindedly focused on Aikido, 1ust as, durin a life-or-death duel, ones attention is entirely focused
on the duel.
Shinnyo N GThusnessH or Gsuchness.H A term commonly used in Buddhist philosophy %and especially in Pen Buddhism& to denote the character of thins, as they are e'perienced without filterin the e'periences throuh an oert conceptual framework. There is some #uestion whether GpureH uninterpreted e'perience %independent of all conceptuali0ation5cateori0ation& is possible ien the neuroloical5conitie makeup of human beins. 9oweer, shinnyo can also be taken to sinify e'perience of thins as empty of indiidual essences %see GkuH&. Shinto N GThe way of the ods.H The indienous reliion of Japan. The founder of Aikido was deeply influenced by moto 7yo, a reliion larely rounded in /hinto mysticism. %/ee kami.& Shodan N 3irst deree black belt. %:idan O second deree black belt, followed by sandan, yondan, odan, rokudan, nanadan, hachidan, kyudan, 1udan.& Shomen N 3ront or top of head. Also the desinated front of a do1o. Shoshin N Beinners mind. 2roress in Aikido trainin re#uires that one approach ones trainin with a mind that is free from unfounded bias. Althouh we can say in one respect that we fre#uently practice the same techni#ues oer and oer aain, often aainst the same attack, there is another sense in which no attack is eer the same, and no application of techni#ue is eer the same. There are subtle ariations in the circumstances of eery interaction between attacker and defender. These small differences may sometimes translate into larer differences. To assume that one already knows a techni#ue constitutes a Glockin inH of the mind to a pre-set dispositional pattern of response, resultin in a correspondin loss of adaptability. 2re1udment also may deprie one of the opportunity to learn new principles of moement. 3or e'ample, it is common for people upon seein a different way of performin a techni#ue to 1ude it to be wron. This 1udment is fre#uently based on a superficial obseration of the techni#ue, rather than an appreciation of the underlyin principles upon which the techni#ue is based. Sh!gyo N 8iscipline. Traelin in pursuit of Truth. To pursue Aikido, or any martial art, as a path to self-improement inoles more than trainin. The word GshuyoH connotes a continual striin for technical and personal e'cellence. 7eiko, or trainin, is only one component of such striin. To pursue Aikido as a !ay re#uires a continual ree'amination and correction of oneself, ones attitudes, reactions, dispositions to like or dislike, etc. Soto N Gutside.H Thus, a class of Aikido moements e'ecuted, especially, outside the attackers arm%s&. %/ee uchi.& S!#!ri N *epetitie practice in strikin and thrustin with 1o or bokken. /uch repetitie practice trains not only ones facility with the weapon, but also eneral fluidity of body moement that is applicable to empty-hand trainin. S!kashi $a)a N Techni#ues performed without allowin the attacker to complete a rab or to initiate a strike. Ideally, one should be sensitie enouh to the posture and moements of an attacker %or would-be attacker& that the attack is neutrali0ed before it is fully e'ecuted. A reat deal of both physical and conitie trainin is re#uired in order to attain this ideal. S!ki N An openin or ap where one is ulnerable to attack or application of a techni#ue, or where ones techni#ue is otherwise flawed. /uki may be either physical or psycholoical. ne oal of trainin is to be sensitie to suki within ones own moement or position, as well as to detect suki in the moement or position of ones partner. Ideally, a master of Aikido will hae deeloped his5her skill to such an e'tent that he5she no loner has any true suki. S!temi N )iterally Gto throw-away the body.H The attitude of abandonin oneself to the e'ecution of a techni#ue %in 1udo, a class of techni#ues where one sacrifices ones own balance5position in order to throw ones partner&. %/ee aiuchi.& In Aikido, sutemi may connote an attitude of fearlessness by which one enters into an attackers space with no thouht of preserin ones own safety. 3ar from bein simple recklessness, howeer, sutemi is based upon an absolute commitment
to a stratey for neutrali0in the attack. Techni#ues in Aikido cannot be applied tentatiely if they are to be effectie. *ather, one must respond instantly to a threat and take decisie action. Thus, in a manner of speakin, sutemi re#uires not onl y throwin away the body, but throwin away the self as well.
S!$ari $a)a N Techni#ues e'ecuted with both uke and nae in a seated position. These techni#ues hae their historical oriin %in part& in the practice of re#uirin all samurai to sit and moe about on their knees while in the presence of a daimyo %feudal lord&. In theory, this made it more difficult for anyone to attack the daimyo. But this was also a position in which one receied uests %not all of whom were always trustworthy&. In contemporary Aikido, suwari wa0a is important for learnin to use ones hips and les. Tachi N A type of Japanese sword %thus tachi-tori O sword-takin&. %Also Gstandin position.H& Tachi $a)a N /tandin techni#ues. Tai!ts! N GBody arts,H i.e., unarmed practice. Tai no henko 7 tai no tenkan N Basic blendin practice inolin turnin >ED derees. Tai sa#aki N Body moement. Takem!s! aiki N A GsloanH of the founders meanin Ginfinitely eneratie martial art of aiki.H Thus, a synonym for Aikido. The scope of Aikido is not limited only to the standard, named techni#ues one studies reularly in practice. *ather, these standard techni#ues sere as r epositories of more fundamental principles %kihon&. nce one has internali0ed the kihon, it is possible to enerate a irtually infinite ariety of new Aikido techni#ues in accordance with noel conditions. Tanins!gake N Trainin aainst multiple attackers, usually from rabbin attacks. Tanto N A daer. Tegatana N G9and sword,H i.e. the ede of the hand. any Aikido moements emphasi0e e'tension GthrouhH ones teatana. Also, there are important similarities obtainin between Aikido sword techni#ues, and the principles of teatana application. Tenkan N Turnin moement, esp. turnin the body >ED derees. %/ee tai no tenkan.& Tenshin N A moement where nae retreats M derees away from the attack %esp. to ukes open side&. Ts!ki N A punch or thrust %esp. an attack to the midsection&. chi N GInside.H A class of techni#ues where nae moes, especially, inside %under& the attackers arm%s&. %But also a strike, e.$.% shomen uchi.& chi deshi N A lie-in student. A student who lies in a do1o and deotes him5herself both to trainin and to the maintenance of the do1o %and sometimes to personal serice to the sensei of the do1o&. eshi#a 6isshomar! N The son of the founder of Aikido and second Aikido doshu. eshi#a Morihei N The founder of Aikido. %/ee -/ensei and kaiso.& eshi#a Moriter! N The randson of the founder and current Aikido doshu. ke N 2erson bein thrown %receiin the techni#ue&. At hih leels of practice, the distinction between uke and nae becomes blurred. In part, this is because it becomes unclear who initiates the techni#ue, and also because, from a certain perspectie, uke and nae are thorouhly interdependent. kemi N )iterally Greceiin with5throuhK the body,H thus, the art of fallin in response to a techni#ue. ae ukemi are front roll-falls, ushiro ukemi are back roll-falls. Ideally, one should be able to e'ecute ukemi from any position and in any direction. The deelopment of proper ukemi
skills is 1ust as important as the deelopment of throwin skills and is no less deserin of attention and effort. In the course of practicin ukemi, one has the opportunity to monitor the way one is bein moed so as to ain a clearer understandin of the principles of Aikido techni#ues. Just as standard Aikido techni#ues proide strateies for defendin aainst physical attacks, so does ukemi practice proide strateies for defendin aainst fallin %or een aainst the application of an Aikido or Aikido-like techni#ue&.
ra N G*ear.H A class of Aikido techni#ues e'ecuted by moin behind the attacker and turnin. /ometimes ura techni#ues are called tenkan %turnin& techni#ues. shiro N Backwards or behind, as in ushiro ukemi or fallin backwards. Wa)a N Techni#ues. Althouh in Aikido we hae to practice specific techni#ues, Aikido as it miht manifest itself in self-defense may not resemble any particular, standard Aikido techni#ue. This is because Aikido techni#ues encode strateies and types of moement that are modified in accordance with chanin conditions. %/ee kihon.& 9tori 49dori5 N Takin away , e.. tanto-tori %knife-takin&. ;oko N /ide. ;okomen N /ide of the head. ;!dansha N Black belt holder %any rank&.
%ommon Attacks 6atate tori %also katate mochi& N ne hand holdin one hand. 6osa dori %also naname mochi& N ne hand holdin one hand, cross-body. Morote tori N Two hands holdin one hand. 6ata tori N /houlder hold. Ryokata tori N @rabbin both shoulders. Ryote tori N Two hands holdin two hands.
M!ne dori N ne or two hand lapel hold. /ii tori N $lbow rab. shiro tek!#i tori %ushiro ryote tori 5 ushiro ryokatate tori& N !rist rab from the back. shiro ryokata tori N As aboe from the back. shiro k!#i shime N *ear choke. Shomen !chi N erhead strike to the head. ;okomen !chi N 8iaonal strike to the side of the head. Ts!ki N /traiht thrust %punch&, esp. to the midsection.
Basic Techni,!es Ikkyo %ikka1o 5 ude osae& N omote and ura %irimi and tenkan&4 arm pin .ikyo %nika1o 5 kote mawashi& N omote and ura % irimi and tenkan&4 wrist turn Sankyo %sanka1o 5 kote hineri& N omote and ura %irimi and tenkan&4 wrist twist ;onkyo %yonka1o 5 tekubi osae& N omote and ura %iri mi and tenkan&4 wrist pin 3okyo %ude nobashi& N omote and ura %irimi and tenkan&4 arm stretchin
Thro$s Irimi nage %also koky! nage& N $nterin throw %G?D yearH techni#ue&. -!i nage %1u1i arami& N Arm entwinin throw. 6aiten nage N *otary throw. chi and soto, omote and ura %irimi and tenkan&. 6oky! nage N Breath throws. 6oshi nage N 9ip throw. 6ote gaeshi N !rist turn-out. Shiho nage N G3our directionH throw. S!miotoshi N GCorner drop.H mote and ura %irimi and tenkan&. Tenchi nage N G9eaen and earthH throw. mote and ura %iri mi and tenkan&.
Pron!nciation A N aardark I
N pi00a
N blue $ N e N bone
%o!nting In order to count up to , all you need to know is the Japanese terms for > throuh >D. one O ichi two O ni three O san four O yon %or shi& fie O o si' O roku seen O nana %or shichi& eiht O hachi nine O kyu ten O 1yu Aboe ten, we would say somethin to the effect of G>D and ?H to stand for G>?.H Therefore, >> O Gten %and& oneH O G1yu ichiH >? O Gten %and& twoH O G1yu niH >; O Gten %and& threeH O G1yu sanH > O Gten %and& fourH O G1yu shiH or G1yu yonH >M O Gten %and& fieH O G1yu oH >F O Gten %and& si'H O G1yu rokuH >Q O Gten %and& seenH O G1yu nanaH or G1yu shichiH >E O Gten %and& eihtH O G1yu hachiH > O Gten %and& nineH O G1yu kyuH 3or numbers from ?D throuh , you would say somethin like G; tens and FH to mean G;F.H ;F O G; tens and FH O Gsan 1yu rokuH ; O G tens and ;H O Gyon 1yu sanH Q> O GQ tens and >H O Gnana 1yu ichiH O G tens and H O Gkyu 1yu kyuH Countin hiher is basically the same. >DD O GhyakuH >DDD O GsenH >DDDD O GmanH /o, >D> O Ghundred %and& oneH O Ghyaku ichiH ?D> O Gtwo hundred %and& oneH O Gni hyaku ichiH MF O Gfie hundred %and& four tens %and& si'H O Go hyaku yon 1yu rokuH ;?Q O Gsan 0en yon hyaku ni 1yu nana %or shichi&H %note that GsenH becomes G0enH after a oiced
consonant line GnH& ?;MF O Gni man san 0en yon hyaku o 1yu rokuH /ome anomalies+ se GshiH for GfourH only in the sinle diit column. /o, you can use GshiH or GyonH in ;FM, but use GyonH for D, DD, DDD, etc. se GshichiH for GseenH only in the sinle diit column. /o, you can use GshichiH or GnanaH in FDQ, but use GnanaH for QD, QDD, QDDD, etc. FDD O GroppyakuH %not Groku hyakuH& EDD O GhappyakuH %not Ghachi hyakuH&4 EDDD O GhassenH %not Ghachi senH&
The 'ssence of Aikido The following are some of O-Sensei Ueshiba’s teachings concerning the essence of Aikido: Aikido is a manifestation of a way to r eorder the world of humanity as thouh eeryone were of one family. Its purpose is to build a paradise riht here on earth. Aikido is nothin but an e'pression of the spirit of )oe for all liin thins. It is important not to be concerned with thouhts of ictory and defeat. *ather, you should let the ki of your thouhts and feelins blend with the niersal. Aikido is not an art to fiht with enemies and defeat them. It is a way to lead all human beins to lie in harmony with each other as thouh eeryone were one famil y. The secret of Aikido is to make yourself become one with the unierse and to o alon with its natural moements. ne who has attained this secret holds the unierse in him5herself and can say, GI am the unierse.H If anyone tries to fiht me, it means that s5he is oin to break harmony with the unierse, because I am the unierse. At the instant when s5he conceies the desire to fiht with me, s5he is defeated. :onresistance is one of the principles of Aikido. Because there is no resistance, you hae won before een startin. 2eople whose minds are eil or who en1oy fihtin are defeated without a fiht. The secret of Aikido is to cultiate a spirit of loin protection for all thins. I do not think badly of others when they treat me unkindly. *ather, I feel ratitude towards them for iin me the opportunity to train myself to handle adersity.
A Brief /istory of -a&an odern knowlede about the first peoples to inhabit the Japanese archipelao has been pieced toether from the findins of archaeoloists and anthropoloists and from the myths of ancient Japan. Althouh the date of the first human habitation is not known, anthropoloists hae identified one of the earliest cultures in Japan as the Jomon culture, which dates from about EDDD BC. A huntin and atherin culture, it used stone and bone tools and made pottery of distinctie desin. In the ;rd century BC, a new people, known as
'arly /istorical Period The earliest written Japanese histories, the 7o1iki %*ecord of Ancient atters, Q>?& and the :ihon /hoki %Chronicles of Japan, Q?D&, include leends about the oriins of the Japanese people and attribute the foundation of the state to a mytholoical emperor Jimmu in FFD BC. Another leend concerns the empress Jino %A8 c.>F-?F&, who alleedly con#uered 7orea. These records proide more reliable chronicles of Japanese history from the Mth century.
;amato Period Beinnin in the ;rd or th century A8 a new culture appeared N either from within Q-article constitution based on the Chinese political theory of centrali0ed imperial oernment, redefinin the soereins position in Chinese terms. Imperial authority was further asserted by the Taika reforms of FF, by which, followin Chinese precedent, the emperor claimed all land and an elaborate ta'ation system was initiated. In QD? the Taiho )aws, comprisin new ciil and penal codes, were promulated.
.ara Period The first permanent capital was built at :ara in Q>D. In the followin century a hereditary court aristocracy replaced tribal elites, and status became the basis for official influence. Japan was thus transformed from a tribal into an aristocratic culture. Court patronae made Buddhism a ma1or force, which in turn reinforced state power. :ara was the center not only of oernment but also of the ma1or Buddhist temples4 in QM? the statue of the @reat Buddha %8aibutsu& was dedicated there. Buddhist priestly intrusion in state affairs prooked a reaction, howeer. 3inally, $mperor 7ammu %r. QE>-EDF& asserted imperial independence and established a new capital at 9eian %modern 7yoto& in Q.
/eian and the F!i$aras In 9eian, safe from Buddhist interference, imperial authority increased4 howeer, the simplification of oernment that accompanied the moe to 9eian allowed the 3u1iwara family to assert reat influence. The 3u1iwara had the priilee of intermarriae with the imperial house, and many emperors were married to 3u1iwara women or were their sons. 3u1iwara men proed capable administrators, and they used their family ties to dominate the oernment. In EME, 3u1iwara >th century the 3u1iwara used the position of reent to dominate the emperors, adults as well as children. nder imperial patronae two new Buddhist sects emered in 9eian. Tendai and /hinon, more
Japanese in spirit than earlier Buddhist sects, ended the monopoly of the :ara Buddhist establishment. A reassertion of tribal, or clan, authority also accompanied the moe to 9eian. The imperial land system established by the Taika reforms decayed, and land increasinly fell into priate hands. Aristocrats and reliious institutions assembled hue ta'-free estates %shoen&. 2riate armies were created, and a class of rural warriors %/amurai& emered. :otable amon the samurai class were the Taira and inamoto families. Initially local military leaders, both clans were drawn into court politics. In >>MF they applied military force to settle a court dispute, and a war in >>M-FD left the Taira as the effectie rulers. The Taira dominated court politics by force and by marital ties with the imperial line. In >>ED, Taira 7iyomori placed his randson Antoku on the throne, briefly reiin the 3u1iwara practice of usin the reency to dominate the oernment.
The Shog!nates In >>ED the inamoto reolted aainst the Taira and in the @empei !ar %>>ED-EM& defeated them and established the 7amakura shounate, the first of the military oernments that would rule Japan until >EFE.
6amak!ra Period The shoun inamoto >?-& assined military oernors and military land stewards to supplement the ciil oernors and estate officials. !hile establishin military authority, howeer, ?D; held the position of shikken %shounal reent&. After >??>, when the retired emperor @o-Toba failed in his attempt to oerthrow the shounate, military authority was increased. !arriors, while larely illiterate and unskilled in administration, proed effectie oernors. The 9o1o upheld the military irtues on which the shounate had been founded and proed apt successors to ?Q and >?E> the shounate was tested by two onol inasions. The Japanese warriors, assisted by storms that came to be described as diine winds %kamika0e&, droe away the inaders. The 7amakura period was also one of spiritual awakenin. Buddhism was simplified, and new sects N 2ure )and Buddhism, True 2ure )and, and )otus N uaranteed salation to all belieers. By the early >th century, howeer, political and social stability were breakin down. I n >;; the 7amakura shounate was destroyed when $mperor @o-8aio reasserted imperial authority %the 7emmu *estoration&. any powerful military families such as the Ashikaa flocked to assist the emperor. 9e failed to reward them properly, howeer, and in >;;F he was drien from 7yoto and replaced by another puppet emperor. @o-8aio established a rial court in
Ashikaga Period In >;;E, Ashikaa Takau1i was made shoun, creatin the Ashikaa shounate. The Ashikaa reached the heiht of their power under the third shoun, ;FE-&. 9e controlled the military aspirations of his subordinates and ended %>;?& the schism within the imperial house. The shounate rested on an alliance with local military leaders %shuo&, who radually became powerful reional rulers. The reat shuo, howeer, became increasinly inoled in the politics of the shounate, and by the mid->Mth century many had lost control of their proincial bases. Their weakness became apparent in the nin !ar of >FQ-QQ. Beinnin as a dispute oer the shounal succession, it turned into a eneral ciil war in which the reat shuo e'hausted themseles fihtin
in and around 7yoto, while the proinces fell into the hands of other shuo and eentually under the control of new lords called daimyo. The war effectiely destroyed Ashikaa authority. The shoun D-Q;& simply turned his back on the troubles4 he retired %>Q;& to his estate on the outskirts of 7yoto, where he built the /iler 2ailion %@inkaku& and became the patron of a remarkable artistic flowerin. The nin !ar marked the beinnin of a century of warfare called the G$poch of the !arrin Country.H In the proinces new feudal lords, the daimyo, arose. Independent of imperial or shounal authority, their power was based on military strenth. They defined their domains as the area that could be defended from military rials. Ties were fi'ed by assalae, and land holdins were uaranteed in return for military serice. The daimyo concentrated their assals in castle towns and left the illaers to administer themseles and pay ta'es. The castle towns became market and handicraft industrial centers, and a new style of urban life bean to deelop. This was the Japan found by the $uropeans who bean to isit the country after >M;. The 2ortuuese bean trade in >MM, and in >M the Jesuit missionary /aint 3rancis Raier introduced *oman Catholicism. Christianity conflicted with feudal loyalties, howeer, and was completely banned after >F;. At that point all $uropeans, e'cept the 8utch, were also e'cluded from Japan.
Period of nification Between >MFD and >FDD, Japan was reunified by a succession of three reat daimyo+ da :obunaa, Toyotomi 9ideyoshi, and Tokuawa Ieyasu. :obunaa bean the military process in >MFD and by >MFE had e'tended his influence to 7yoto. 9e set up a puppet shoun and established control oer central Japan. After :obunaas death %>ME?& durin a rebellion, 9ideyoshi continued the military unification of the country, completin the process in >MD. The use of firearms %supplied initially by the $uropeans&, the construction of fortified castles, the disarmament of the peasants, and a ma1or land surey were the chief tools of pacification. !hen 9ideyoshi died in >ME, centrali0ed authority was secure, and the warrior class had been sereated from other members of society. The third reat unifier, Tokuawa Ieyasu, was a military leader who emered as the uarantor of 9ideyoshis youn heir, 9ideyori. In >FDD, Ieyasu defeated his military rials at /ekiahara and asserted his predominance. 9e was appointed shoun in >FD;, but in >FDM he turned that office oer to his son and deoted the rest of his life to consolidatin Tokuawa control. In >F>M, 9ideyori was attacked and finally eliminated, and when Ieyasu died the followin year, the Tokuawa held unchallened feudal supremacy oer the whole country.
Tok!ga$a Period 3rom their castle town of $do %modern Tokyo&, the Tokuawa ruled Japan as shouns until >EFQ. A careful distribution of land amon their assal daimyo, relaties, and outside daimyo ensured their control of the ma1or cities N 7yoto, saka, and :aasaki N and the chief mines. Thus they controlled the main economic centers and strateic milit ary points, while unrelated daimyo administered some ?MD autonomous domains. The daimyo spent half their time in $do attendin the shoun and left their families as hostaes when they returned to their domains. The Tokuawa period saw the flowerin of urban culture and a moneti0ed commodity economy. $do had a population of oer > million, and both 7yoto and saka had more than DD,DDD people. The samurai stood at the top of a leally established four-class system. 3rom illiterate warriors they were transformed into military bureaucrats who sered both the shounal and daimyo oernments. Below them were the peasants, artisans, and merchants. Althouh despised, merchants became essential to urban life. A national market system deeloped for te'tiles, food products, handicrafts, books, and other oods. saka was the center of the national rice market, where daimyo e'chaned their rice for cash to support their $do residences and the traelin back and forth to their domains.
After >F; the Tokuawa pursued a policy of almost total seclusion from the outside world. :aasaki, where the Chinese and the 8utch were allowed tradin #uarters %the 8utch on an offshore island&, was the only point of contact with forein countries. By the >th century considerable ferment e'isted in Japanese society. 2easant uprisins had become commonplace, and the samurai and een the daimyo were badly indebted to the merchant class. Thus the old socioeconomic system had irtually collapsed, while the shounal oernment displayed increasin e'traaance and inefficiency. In the early >EDs the national oernment attempted a series of reforms to improe economic conditions, but they were larely ineffectual. The shounate, therefore, was already in a discredited position when ./. Commodore atthew 2erry forced Japan to abandon its seclusionist policy in >EM. !ith the arrial of 2errys ships the Tokuawa shoun turned to the daimyo for adice and thereby undermined shounal control oer forein policy. The imperial house, lon e'cluded from politics, was drawn into the controersy, and the sloan Greere the emperor, e'pel the barbariansH was soon heard in the e'pandin political debate. In >EME the shoun sined disadantaeous commercial treaties with the nited /tates and seeral $uropean countries. Tokuawa leadership was #uestioned, and numerous samurai attacks were made on the foreiners now allowed to enter Japan. By >EF most actiists reali0ed that the foreiners military power preented their e'clusion, and they turned aainst the Tokuawa instead. /amurai from the domains of /atsuma, Choshu, Tosa, and 9i0en played ma1or roles in pushin for reforms. In >EFQ they finally forced the resination of the shoun, and imperial oernment was restored under the youn ei1i emperor in >EFE.
The Meii Period In less than half a century Japan was transformed from a secluded feudal society into an industriali0ed world power. 8urin the ei1i period, correspondin to the rein %>EFE->>?& of $mperor ei1i, centrali0ed bureaucracy replaced the balance of power between the Tokuawa and the autonomous domains. A conscript army replaced the military authority of the samurai. *estrictions on residence and employment were abolished, and people flocked to $do, now renamed Tokyo and adopted as the imperial capital. The oernment imported forein adisors and technoloy for industrial, commercial, and educational purposes. fficial missions were sent to e'amine modern !estern societies. Adoptin the sloan Grich country, stron army,H Japan determined to ain a position of e#uality with the !est. @oernment stability was crucial to this ob1ectie. In >EQ; a new ta' system proided a secure reenue base and abolished the feudal land system. In >EQQ the conscript army defeated a ma1or samurai reolt led by /aio Takamori, a leadin fiure in the imperial restoration. Inflation reduced the alue of oernment reenues, and between >EE> and >EEM a riorous deflation policy initiated by atsukata asayoshi stabili0ed the currency. $ducation was basic to Japans emerence. Beinnin with D percent male and >M percent female literacy, the ei1i oernment re#uired primary education for all children and established %>EQ?& a centrali0ed school system. In >EE> domestic political pressure forced the oliarchical oernment to promise a constitution by >EE and representatie oernment by >ED. The statesman Ito 9irobumi took chare of draftin the new constitution. A cabinet was established in >EEM, a peerae was created, and in >EE the constitution was promulated as a ift from the emperor. Japan thus became a constitutional monarchy, with a bicameral leislature %8iet& composed of a house of peers and an elected lower house. /uffrae was ery limited, howeer4 only > percent of the population was eliible to ote in the >ED election. oreoer, the prime minister and cabinet were responsible only to the emperor, who was still rearded as a diine fiure. *epresentatie oernment eoled slowly, but the 8iet had some control of the budet and radually increased its authority. Conflict between the 8iet and the oernment leaders ceased durin the /ino-Japanese !ar of
>E-M, in which Japan displayed its military superiority oer the Chinese and secured control of 7orea. The ictory added to Japanese prestie, and in >D?, Japan concluded an alliance with Britain as an e#ual power. In >D-DM, Japan and *ussia fouht oer anchuria and 7orea. 6ictorious in this *usso-Japanese !ar, the Japanese added southern /akhalin to their empire of Taiwan and the *yukyu Islands4 and in >>D they formally anne'ed 7orea. By >DM, therefore, Japan was a ma1or military power in $ast Asia and an industriali0ed nation. !hen Japan entered !orld !ar I as an ally of Britain, the strains of industriali0ation were apparent in Japanese society.
World War I and the Inter$ar ;ears 8urin !orld !ar I, Japan sei0ed seeral of the @erman holdins in $ast Asia, includin Chinese territory on the /handon peninsula. !hen the Chinese demanded its return, the Japanese oernment responded with the Twenty-one 8emands of January >>M, forcin Chinese acceptance of e'tended Japanese influence in China. In >>Q, Japan e'tracted f urther concessions of rihts in anchuria and Inner onolia, settin the stae for its later open aression aainst China. In >>E, 9ara Takashi became prime minister in the first cabinet based on a party ma1ority in the 8iet. Althouh the political parties were essentially controlled by business interests, they were a ma1or step toward more democratic forms of oernment N a trend that was continued by the e'pansion of the electorate in >?M to include all males oer ?M. Althouh repressie toward the rowin labor moement, the party oernments of the >?Ds and after attempted modest reforms, cuttin back the army and enactin some social leislation. They also pursued a less aressie forein policy than that of prewar Japan. At the !ashinton Conference of >?>-??, Japan sined a naal arms li mitation treaty that replaced the AnloJapanese alliance and established a balance of power in the 2acific. In >;D further naal limitations were areed to at the )ondon :aal Conference. The Japanese military felt, howeer, that the politicians were compromisin the nations security and the emperors riht to supreme command. As the !orld 8epression of the >;Ds set in, the discontented bean to rally to the cry of the militarists that the ciilian oernments were corrupt and that military e'pansion and the ac#uisition of new markets and sources of raw materials would cure Japans economic ills. *iht-win terrorism increased %; of Japans >> prime ministers between >>E and >;? were assassinated&, and in >;> Japanese officers in anchuria acted without oernment authori0ation in precipitatin the ukden Incident and occupyin anchuria. nable to stop the army, the ciilian oernment accepted the establishment of the puppet state of anchukuo in 3ebruary >;?. Three months later military and ciilian bureaucrats replaced party politicians in leadin the oernment. 3rom then until Auust >M, the succession of cabinets and the youn emperor 9irohito, who had succeeded to the throne in >?F, were essentially the tools of the military e'tremists.
World War II Japanese economic and political penetration of northern China proceeded aainst minimal Chinese resistance until >;Q. In July >;Q, howeer, the /econd /ino-Japanese !ar bean with a clash at the arco 2olo Bride near Bei1in %2ekin&. By >D the Japanese controlled eastern China and had established a puppet reime at :an1in %:ankin&. In the same year Japan allied with the A'is powers of @ermany and Italy, which were already at war in $urope. 9ain occupied the northern part of 3rench Indochina in >D, Japanese troops moed into southern Indochina in July >>. The nited /tates and Britain reacted to this moe by imposin a total trade embaro on Japan. 3aced with economic stranulation, Japan had the choice of withdrawin from Indochina, and possibly China, or continuin its e'pansion in order to secure oil
supplies from the 8utch $ast Indies. The latter alternatie would mean war with the nited /tates, and 2rime inister 7onoe 3umimaro neotiated to aoid that continency. In ctober >>, howeer, the more militant @en. To1o 9ideki replaced 7onoe. n 8ec. Q, >>, Japanese forces launched simultaneous attacks on 2earl 9arbor in 9awaii, the 2hilippines, 9on 7on, and alaya. The nited /tates immediately declared war, and !orld !ar II entered its worldwide phase. At first the Japanese forces achieed reat success, con#uerin the 2hilippines, the 8utch $ast Indies, alaya and /inapore, and Burma. The tide turned in June >?, howeer, with the defeat of a Japanese fleet by the ./. :ay at idway Island in the 2acific. A war of attrition now bean to force the Japanese back to their home islands. Japanese merchant shippin was disrupted, and industrial production declined as industries and cities were sub1ected to Allied bombin raids. /hortaes of food and supplies increased alon with military defeats. The atomic bombins of 9iroshima on Auust F, >M and :aasaki on Auust , >M, and the /oiet declaration of war on Au. E, >M, were the final blows. $mperor 9irohito interened and ordered the army to surrender unconditionally on Au. >, >M.
Post$ar -a&an The Allied occupation, under the command of ./. @en. 8oulas acarthur, lasted from >M to >M? and resulted in political, social, and economic reforms. The emperor denied his diinity and was placed in a symbolic role. @oernment was democrati0ed, and a new constitution with a bill of rihts went into effect in >Q. !omen receied the ote and rihts to property and diorce. The peerae was abolished, war criminals punished, and a massie pure of r iht-win e'tremists %and later of Communists& conducted. The reat 0aibatsu concentrations of economic power were broken up, a ma1or land reform was carried out, and education was liberali0ed. Article of the constitution renounced the riht to use force in forein policy. As millions of soldiers and ciilians were repatriated from oerseas, the deastated country e'perienced acute shortaes of food, housin, clothin, and other oods and serices. The oernment under MD-M;& aided that recoery by increasin Japanese e'ports. It also prompted the nited /tates to press for rapid conclusion of a Japanese peace treaty. In >M>, Japan sined not only a peace treaty but also a mutual defense treaty with the nited /tates. It resumed full soereinty in >M? but continued to be ery much under ./. protection. 3rom >M until >Q? the Japanese economy e'panded rapidly4 the ross national product increased at a rate of oer >D percent annually. Buildin on its prewar industrial base, Japan imported modern technoloy and machinery. 3actories were replaced, and economic deelopment was the main focus of national policy. Central plannin helped the oernment control the structure of the economy. )abor, resources, and capital were used where the rowth potential was reatest, and by the early >QDs Japan was the worlds larest producer of ships and a leader in the production of cars, steel, and electronic e#uipment. The >Q? return to Japan of kinawa, which had been under ./. occupation since >M, sinaled the end of Japanese subordination to the nited /tates. Japan handled the ./. rapprochement with Communist China by establishin its own diplomatic ties with that lon-time enemy in >Q?. 9ihly dependent on imported petroleum, Japan also weathered the crisis caused by Arab cutbacks in oil e'ports in the >QDs. The )iberal-8emocrats, the conseratie party that has dominated Japanese politics since >M, has emphasi0ed economic rowth. /candals led to the resinations of 2rime inisters Tanaka 7akuei %in >Q& and Takeshita :oboru and no /osuki %in >E&. The party lost its ma1ority in the upper house of parliament in July >E, althouh it reained control in 3ebruary >D elections under 2rime inister 7aifu Toshiki. In ctober >>, after 7aifu lost the support of Takeshita, iya0awa 7iichi replaced him as party leader and prime minister. The death of lon-reinin 9irohito in
January >E marked the end of an era4 his son Akihito succeeded him. In the >EDs and into the >Ds, Japan played an increasinly isible role in lobal affairs, becomin the worlds larest proider of deelopment aid in >EE. It has been the leadin e'porter of manufactured oods since >EM. Japan has close links to the nited /tates and !estern $urope and is more dependent on iddle $astern oil than any other country. It ae financial aid to the anti-Ira# coalition in the 2ersian @ulf !ar in >>. In >?, Japan areed to send troops abroad for the first time since !orld !ar II as part of : peacekeepin operations.
Aikido 6ani Dictionary ord
!an#i
&efinition Striking:
Atemi
/trike to a ital point
Chudan-0uki
A punch to the abdominal reion
@edan-0uki
8ownward punch
@yaku-uchi
Any reerse strike
@yaku-0uki
2unchin with the rear hand
Jodan-0uki
pper strike
7aeshi-0uki
Counter thrust
7atate-uchi
ne-handed strike
en-uchi
/trike to head
une tsuki
Thrust toward knot on obi
i-0uki
A step-punch
/homen uchi
erhead strike to the head.
Tsuki
In Aikido, usually a Chudan i-0uki
chi
Inside4 strike
8iaonal strike to the side of the head.
A sideward strike
/olds: @yakute-dori
To rasp with one(s hand reersed4 to rasp and opponents riht wrist with your left hand
7atate dori
ne hand holdin one hand.
7osadori
hand rab %katatedori ai-hanmi&
orote dori
Two hands holdin one hand.
7ata dori
/houlder hold
*yokata dori
@rabbin both shoulders.
*yote dori
Two hands holdin two hands.
une dori
ne or two hand lapel hold.
9i1i dori
$lbow rab
/ode dori
/leee rab
shiro eri-dori
:eck rab from the back %usually the collar +-&
shiro tekubi dori
!rist rab from the back.
shiro ryote dori
As aboe from the back.
shiro ryokata dori
As aboe from the back.
shiro kubi shime
*ear choke.
Body Parts: 9ara
The abdomen, stomach
Abara
The ribs
Ao
Jaw
Ashi
)e
Ashikubi
Ankle
Atama
9ead
Chototsu
Atemi point between the eyes
8aitai
The thih
8enko
Atemi point at the floatin ribs
8okko
2ressure point behind the ear
$mpi
The elbow
$ri
)apel4 collar
3ukuto
Atemi point 1ust aboe inside of knee
@anmen
The face
@ekon
2ressure point below lower lip
@okoku
2ressure point in fleshy area between thumb and forefiner
9aishu
Back of the hand
9aito
*idehand
9aiwan
Back of forearm
9i1i
$lbow
9i1i-0ume
Atemi point on inside of elbow
9itai
3orehead
Ippon-ken
An one-knuckle fist
Jinchu
2ressure point on upper lip below nose
Jintai
The body
Jinkai-kyusho
6ital points on the human body
Jui0o
The kidney area
Junchu
Atemi point on the upper lip
7akato
The heel of the foot
7akuto
Back of the wrist %for a strike&
7ashi
)es
7atate
ne hand
7eichu
Atemi point on back of neck
7enkokotsu
/houlder blades
7ikan
Trachea
7oko
Area between thumb and forefiner
7ote
!rist
7ubi
:eck
7ubi-naka
Atemi point at base of skull
7yusho
6ital point on body
ata
The thih4 the roin
en
9ead
ika0uki
Atemi at corner of 1aw
imi
$ars
orote
Both hands
uko0une
Atemi point in middle of shin
une
Chest
urasame
2ressure points on each side of neck behind collar bone
:aike
2ressure point on inside of ankle
:ukite
$nds of stiffened finers
/eika-tanden
)ower abdomen
/eiken
3ront of fist
/eikichu
The spine
/enaka
The back of the body
/hintai
The body
/hita hara
)ower abdomen
/homen
3ace
/huhai
Back of the hand
/huto
$de of hand
/ode
/leee
/okei
@roin
/okuso
Tips of toes %for kickin&
/okutei
Bottom of heel
/okuto
$de of foot
Tanden
Abdomen
Teatana
The arm as sword
Teisho
9eel of the hand
Tekubi
!rist
Te-no-hira
2alm of hand
Tento
Atemi point on top of head
Tettsui
9ammer fist
Te-ura
Inside of wrist
de
The arm
raken
Back of fist
!aki
/ide4 armpit
!akikae
Atemi point in armpit
/ide of the head
3iner
Penaku
3orehead
Penshin
The entire body
Penwan
3orearm
%ommands in the doo: Ato
oe back
9a1ime
/tart
9ayaku
Suickly
7iyotsukete
Be careful
7outai
Chane
ate
!ait
awatte
Turn around
okuso
Close the eyes, meditation
/uwatte
/it down
Tatte
*aise
/top
*eady
/low
/mooth
/hin0en ni rei
Bow to shrine
/ensei ni rei
Bow to sensei
Joseki ni rei
Bow to the hih section of the do1o
7ami0a ni rei
Bow to kami0a %ods&
taai ni rei
Bow to each other
*ei
Bow
Words: Ariato
Thank you %informal&
8omo
Thanks %informal&
8omo ariato
Thank you %formal&
8omo ariato o0aimasu
Thank you ery much %ery formal& %for somethin that is happenin&
8omo ariato o0aimas(ta
Thank you ery much %ery formal& %for somethin that has 1ust ended&
8o0o
2lease o ahead
8ouitashimashite
@omen nasai
$'cuse me, I(m sorry
neaishimasu
2lease %when askin for somethin, usually as in 2lease lets practice toether&
/umimasen
$'cuse me %to attract attention&
9ai
Iie
:o
!akarimasu
I understand
Directions: ae
3orward
ii
*iht
9idari
)eft
shiro
*earward, behind
mote
3ront
ra
Back
chi
Inside
/oto
utside
Jodan
9ih
Chudan
iddle
@edan
)ow
Chokkaku
*iht anles
9eiko
2arallel
assuu
/traiht ahead
:aname
8iaonal
toshi
8roppin
/homen
/traiht ahead
e
p
9ori0ontal, to the side
Asoko
er there
@yaku
*eerse, opposite, inerted
9antai
The other way around
7iku
)ower
7omi
Comin close or drawin near.
/oko
There, that position
9antai-ni
In the opposite direction
9appo
The eiht sides4 in all directions
Ichimon1i
A straiht line
Chokusen
A straiht line
:aka
Center
:aka ni
To the center
!aki
/ide4 armpit
Penpo
3ront
3eneral: chi deshi
A lie-in student
Budo
artial way
Aikido
The way of harmony with ki
8o1o
)it. Gway placeH
Panshin
lit. Gremainin spiritH, balanced and aware state
7iai
A shout deliered for the purpose of focusin all of one(s enery
/atori
$nlihtenment
isoi
purification ceremony
usubi
$ndin, conclusion, union
/huyo
Trainin, pursuit of knowlede
Tatami
at
ke
*eceier of the techni#ue %attacker&
:ae
8oer of the techni#ue %defender&
Bokken
!ooden sword
Bokuto
!ooden sword
Jo
/hort staff %>;D cm lenth&
/hinai
Bamboo sword
$nten-1i0ui
oin and turnin freely
@enshin
Intuition
@iri
8uty4 !hat you hae to do
9appo-baraki
To be totally aware of ones surroundins
9iki
2ull4 tu
9ineri
A twist
9ito-e-mi
Blendin with motion of attack
Ido
oement
Idori
Techni#ues practiced from sei0a
Ikki-ni
In one breath4 instantly
Ima
:ow
Irimi
$nterin
7aiten
*otation
7aiten-1uki
The a'is of rotation of a techni#ue
7an
Intuition
7arame
To tie up4 to arrest
7arami
An entanlement
7arui-eiko
)iht, easy practice
7ashaki-uchi
Continuous attack
7ihon
3undamental
7okoro
/pirit, will, heart, intuition, mood
7okoro-amae
ental attitude
7okutsu
Backward leanin
7oryu
ld style
7u1iki
/train
7ushin
/prinin in to attack
7usshinuke
To dode an attack
aai
Combat enaement distance
ae-no-sen
Takin the initiatie4 Attackin the instant your opponent thinks about it
aki
!rapped around
awashi
A turn4 a rotation
oku roku
A catalo of techni#ues
okuso
editation
unen mushin
/trikin without conscience
unen muso
The oal of 0a0en
:aashi
3low
:in1o
!hat you hae to do
:o
2ossessie particle of speech
:obashi
/tretched out
:uki
2ull
1i
A response
sae
2ress4 push4 to immoboli0e
*andori
3ree style
*eii
$ti#uette4 also reishiki
*enshu
9ard work on basics
*itsurei
A standin bow
/abaki
Body motion
/aho
The left direction
/ankaku
Trianle
/eme-uchi
An openin for an attack
/emete
Attacker
/en
The initiatie4 also >DDD
/en1utsu
Tactics
/en-no-sen
/ei0in initiatie 1ust as opponents initiates attack
/ente
The person who takes the initiatie
/hi
A %samurai& person
/hiki
Ceremony, style, form
/hikko
n one(s knees
/hinshin
ind and body
/hinshin shuyo
ind and body trainin
/hinshin toitsu
ind and body unified
/hita
8own
/hita-no
f the lower part
/hi0oku
/afe spot
/ho
/mall
/hoshin
Beinners mind
/huchu
Concentration
/hueki
Attack
/udori
omentum
/ukui
/coopin
Tai-atari
Body contact
Tai-chikara
$'ternal power %muscle&
Taisabaki
Body motion
Tai1utsu
Body art
Tai-no-henko
*eersin the body(s position
Tanin-eiko
2racticin with multiple attackers
Taoshi
To tip oer
Tateki
ultiple attackers
Tateki-eiko
2racticin with multiple attackers
Tateki-uchi
3ihtin with multiple attackers
Tenkan
2iot
Tsukami
To sei0e %and immobili0e&
chima
8istance where you can strike by takin a sinle step
chimata
The inside of the throw
chite
The attacker
ki
3loatin
2ositie principle of nature
/ideward motion
A bow %archery&
Pentai
Total
3ukushiki-kokyu
Abdominal breathin
Ibuki
A breathin method featurin a lon e'halation, followed by a short couh to clear luns
In-ibuki
Internal %#uiet& breathin
:oare
Breathin method featurin lon e'halation with sharp asp
*itsu0en
/tandin meditiation
$'ternal %power& breathin
Post!res: 9anmi
9alf forward stance.
9itoemi
$#ual stance, feet parallel forward
Iai oshi
9ips lowered, stable position.
Iai hi0a, Tate hi0a
7neelin on one calf.
7amae
2osture, stance.
7i0a
7neelin, but up on the toes.
/ei0a
7neelin on both cales.
Tachi
/tandin.
Chudan
iddle kamae, sword in middle, seian is a chudan amae.
@edan
)ower leel, sword pointed down.
9asso amae
3iure E stance, sword by side of head. sually hasso hidari, sword on riht, left foot forward.
Jodan
pper leel, sword aboe head. sually hidari 1odan, left foot forward.
7aruma
like waki amae, blade hori0ontal.
7asumi
Arms crossed oer to hide techni#ue %mountain mist&.
7ono
Blade ertical in front of face.
/eian
:atural step, fundamental kamae.
!aki amae
/word pointed down and back, for a sutemi %sacrifice& wa0a. sually sword on riht side %mii waki amae&, left foot forward. ther purpose - hidin lenth of sword, especially in case of a broken one.
Princi&les: Ikkyo
>. principle O oshi taoshi, ude osae
:ikyo
?. principle O kote mawashi, kotemaki
/ankyo
;. principle O kote hineri, shibori-kime
. principle O tekubi osae
@okyo
M. principle O ku1i-osae
*okkyo
F. principle O hi1i-kime-osae or waki-katame or ude-hishii.
:anakyo
Q. principle O
9akyo
E. principle O kote-ori-kakae-kimi, ku1i-dori O :ikyo in which his elbow is in your armpit and his hand is pulled forward4 2innin their hand with your foot
7ukyo
. principle O Inerted nanakyo
Thro$s: Irimi nae
$nterin throw %G?D year techni#ueH&
Ju1i nae, 1u1i arami
Arm entwinin throw %G:o. >D throwH, since the arms form the Japanese sin for >D GUH. arms crossed, elbows locked&
7aiten nae
*otary throw. uchi-kaiten nae and soto-kaiten nae %inside and outside&
7okyu ho
morotetori kokyu nae or ryotemochi kokynae ude-oroshi irimi
7okyu nae
Breath throw %There are a 0illion of these in Aikido. ost of them 1ust ariations of the basic techni#ues&
7oshi nae
9ip throw
7ote aeshi
!rist turn-out
/hiho nae
3our direction throw
Tenchi nae
9eaen and earth throw
Aiki otoshi
enterin more deeply and pickin up uke(s off-side le
aki otoshi
nae ends up down on one knee, hain thrown uke oer nae(s shoulder
/umi aeshi
corner throw
/umi otoshi
Corner drop
Tai-atari uchi otoshi
from yokomen-uchi, enterin and blockin, uke ets thrown backwards
shiro udoroshi
pull down from behind
7okyu dosa
Breath-power moement %from sei0a&
@anseki otoshi
Arm bar with elbow braced oer shoulder
7ataatame
A ariation of 7aiten nae where you lock your opponents shoulder and brin him directly to the round in a lock
Ranks and titles: 7ohai
Junior student
/empai
/enior student
/ensei
Instructor
/hihan
A senior teacher, properly used within the school only, when outside, use sensei /tudent rade, from >D up to >, the hihest+ 1ukyu, kukyu,
7yu
hachikyu, nanakyu, rokyu sankyu
, nikkyu
, okyu
, yonkyu
, ikkyu
ore adanced rades, from > to >D+ shodan 8an
, sandan
, yondan
, nanadan
,
, hachidan
, odan
, nidan , rokudan
, kudan
, 1udan
embers with dan rades
udansha
embers with kyu rades
9anshi
9ihest title from P:7*, must be MM or older and E dan.
7yoshi
iddle title from P:7*, must be Qth dan.
*enshi
Title bestowed from P:7* in addition to 8an ranks.
/oke
9ead of style %actually head of family, unifier of ods and lineae&
8oshu
9ead of the way %currently oriteru eshiba, randson of /ensei&
7aicho
GwnerH of school %orani0ation& e. /ei 8o 7ai
7ancho
GwnerH of school %buildin, hall& e.
8o1o-cho
G)eaderH of a do1o
/ensei
@reat Teacher %eshiba, orihei&
Techni,!es: kemi
)it. Greceiin with the bodyH
7umitachi
/word partnership practice
7umi1o
/taff partnership practices
Tachi dori
/word takeaways
Tanto dori
7nife takeaways
Atemi-wa0a
Techni#ues to strike a ital point
9anashi-wa0a
Techni#ues from escapin from holds4 also known as ha0ushiwa0a
9anmi-handachi wa0a
ne person standin, one person sittin techni#ues
9enka wa0a
6aried techni#ue. $specially beinnin one techni#ue and chanin to another in mid-e'ecution
9itori wa0a
Ginisible partner practiceH
Ji1u wa0a
3ree-style practice of techni#ues. sually a set of attacks or techni#ues. It is different from *andori where eerythin is allowed.
7aeshi-wa0a
Counter techni#ues
7ansetsu-wa0a
8islocation techni#ues
7atame-wa0a
@rapplin techni#ues4 consistin of osae wa0a, kensetsu wa0a, and shime wa0a
7ihon-wa0a
3undamental techni#ues
:aashi wa0a
3lowin from one techni#ue to ne't
:e wa0a
@rapplin techni#ues
1i wa0a
To block and then counterattack
mote wa0a
Techni#ues that are reealed to the public
sae wa0a
2innin techni#ues.
/hi wa0a
A counter techni#ue
/ukashi wa0a
Techni#ues performed without allowin the attacker to complete a rab or to initiate a strike.
/utemi wa0a
a techni#ue accomplished by sacrificin your body
/uwari wa0a
Techni#ues e'ecuted with both uke and nae in a seated position.
Tachi wa0a
/tandin techni#ues.
Te-wa0a
9and techni#ues %as opposed to weapons&
chi-wa0a
/trikin techni#ues
shiro-wa0a
Techni#ues from rear attacks
ke-wa0a
Blockin techni#ues
The !niform: Tenuui
/mall hand cloth to wipe face. Also worn under the helmet in kendo.
7eiko i, do i, i
2ractice uniform.
$mbu i
8emonstration top 5 uniform.
7esa
)apel 5 part of monk(s costume hanin from left shoulder.
on
3amily crests on uniform
ontsuki
!ide sleeed top with mon on chest, sleee and back.
/ode
/leee, on practice top.
Tanomo
)are sleees on formal tops.
wa i
2ractice top.
Pekken
Chest patch embroidered with own name and do1o name.
bi
Belt %!hite belt
9akama
/plit skirt, wide leed pants.
9era
2e in back of hakama.
atadachi
/plit in side of hakama.
7oshiita
Back plate on hakama.
Tabi
Japanese sock-slippers used in do1o.
Pori
Japanese sandals for use outside do1o.
, Black belt
Iaido=Iai!ts! The Ten Formal 6ata of Iaido: The Seitei 3ata Techni,!es >.
ae :uki-chi %3ront nuki-uchi cut&+ A draw directed at a forward opponent from a seated posture %the opponent is also seated&.
?.
shiro :uki-chi %*earward nuki-uchi cut&+ A draw directed at an opponent seated behind the swordsman, who is also in sei0a %seated&.
;.
ke :aashi %8eflection. )iterally means "to receie and wash away"&+ A risin block followed by a kesairi cut.
.
Tsuka-ate %/trikin with the butt end of the sword&+ A strike with the butt end of the sword hilt %the kashira& to a facin opponent followed by a thrust to a rearward opponent followed by a kiri otoshi cut aainst the front opponent.
M.
7esairi %Cuttin on a diaonal&+ named after the cut, a kata inolin both a kesairi cut and a aku %reersed& kesairi cut. $'ecuted in tachi %standin&.
F.
orote-tsuki %Two-handed thrust&+ A forward kasume iri cut, followed by a thrust forward, after which a kiri otoshi cut is made aainst opponents located first to the rear and then to the front.
Q.
/ampo @iri %Three-directional cuttin&+ Inoles cuts directed at opponents located to the riht, left, and front of the swordsman.
E.
@ammen-ate %3ace strike&+ A forward strike with the butt end %kashira& of the katana, followed by a rearward thrust and then a forward kiri otoshi.
.
/oete Tsuki %Joined hands thrust&+ pponent attacks from the left with an oerhead cut which is aoided and responded to b y a one-handed kesairi cut and a forward thrust.
>D.
/hiho @iri %3our directional cuttin&+ A kata that deals with opponents at four anles of attack.
Doo 'ti,!ette In Aikido, as well as all other forms of martial arts, there are certain forms of eti#uette that are important to follow. The purpose of these GritualsH is to show respect, not only for your instructors and fellow students, but also to show your commitment to the path that you hae decided to follow, the path of Aikido. Althouh some of these Japanese forms may be unfamiliar at first they will, oer time, become comfortable e'pressions of courtesy and help each student to reach a hiher leel of understandin. It is important to reali0e that there are likely to be sliht ariations on these forms in each do1o, but the followin is an oeriew of the most common forms of eti#uette that should be obsered. If you are new to your do1o, or traelin to another part of the country or world, you will be fine as lon as you pay close attention and obsere what the other people around you are doin. The most important form of Japanese eti#uette is the bow. This is the most basic form of respect and ratitude, whether it is directed towards an indiidual or an ob1ect. There are a number of times in practice when you should bow in Aikido and the first is upon enterin %and leain& the do1o. At this time make a standin bow towards the picture of -/ensei, which is located at the front of the practice mat. This shows your respect to the founder of Aikido. •
Before moin into the do1o take off your shoes at the door and place them on the shoe rack if one is proided, if not, place them to the side of the door so that they are out of the way of those enterin behind you. •
ut of respect to your fellow students make sure that your trainin clothes are freshly laundered for each session. If you are attendin a seminar remember to brin alon seeral chanes of doi. Also, remoe all 1ewelry and make sure that your finernails and toenails are kept short and well manicured. •
!hen steppin on and off the mat, always make a bow from sei'a toward the picture of /ensei4 aain, this is a show of respect and confirms your commitment to your studies. In some do1o a standin bow is made. •
Always try to arrie early so that you can be ready and waitin on the mat, about M minutes before the scheduled beinnin of practice. This will allow you to sit and meditate and clear your mind of the distractions of the outside world and prepare for your trainin. It is important to be completely focused on your studies, as this is the only way to fully absorb all that you are bein tauht. •
nce the class is ready to start you should be sittin with your fellow students in sei'a in a straiht line. 3ollow the custom of your do1o or host do1o with reard to possible ranked seatin. "t is important ne(er to sit with your back to the shomen% or pass between the shomen and instructor. •
The bowin-in ceremony will then take place, usually consistin of a bow, two handclaps, a second bow, and a mutual bow between the instructor and the students. This ceremony can (ary from do#o to do#o so always follow the e)ample of the instructor and other students. •
The correct way to be seated on the mat is in sei'a. A cross-leed tailor s position is acceptable if sei'a is impossible due to in1ury. •
If for some unaoidable reason you are late, do not immediately 1oin the practice session. Instead sit in sei'a on the ede of the mat until acknowleded by the instructor, and then perform a seated bow toward the shomen. !ait until an appropriate time to find a partner and then 1oin in the trainin. nce you hae entered onto the mat, it is important to clear your mind of the outside world. !ithout this it can be difficult to concentrate on your studies. •
!hen the instructor is demonstratin a techni#ue you should sit in sei'a and listen and watch attentiely. nce the demonstration is completed, bow to the instructor and your partner, and then bein to practice. 8urin the demonstration of a techni#ue, no one should enter or leae the mat. •
Talkin should be kept to a minimum - learn throuh e'perience. If neither you nor your partner understands a techni#ue, sit in sei'a and watch the other students or wait until the instructor offers you assistance. :eer call out for assistance. •
*emember to follow the instructors directions #uickly and precisely. In1uries can occur with hesitation or delay. •
If the instructor is personally instructin students nearby, sit and watch in order to allow enouh room for the techni#ue to be demonstrated effectiely and safely. If the techni#ue is bein demonstrated to you and your partner, bow to the instructor before resumin practice. •
utual respect is a keystone of trainin. *espect those more e'perienced than you and learn from them. *espect those less e'perienced than you and learn from them. 8o not press your ideas on others. •
The most important thin to remember is to en1oy what you are learnin. All of your e'periences and knowlede can be used outside of the do1o to make your life, and the lies of those you touch, more rewardin and fulfillin. •
/ebuah 2enantar Aikido Awal Journey 8aftar Isi 8aftar Isi /ebuah Catatan 2ribadi 2enantar /e1arah Aikido )atihan Aikido dan $fektiitas Tempur /en1ata 2elatihan Tentan embunkuk 2elatihan ind di Aikido /ebuah Catatan tentan 7i 2erinkat di Aikido
8asar Aikido 7osakata /eranan mum 8asar Teknik elempar 2enucapan 2erhitunan The $ssence of Aikido /e1arah /inkat Jepan Aikido 7an1i 8ictionary Iaido 5 Iai1utsu 8o1o $tiket
/ebuah Catatan 2ribadi /ebaian dari dokumen ini awalnya The 2rimer Aikido oleh $ric /otnak %http+55home.neo.lrun.com5sotnak5primer.html&. Berikut ini adalah penenalan r /otnak ini+ 2enantar pemberitahuan+ /ilahkan untuk menyalin dan mendistribusikan primer ini untuk aikidoists sesama, non-aikidoists, teman, musuh, atau oran-oran yan hanya perlu sesuatu untuk menempatkan mereka untuk tidur. Jika Anda inin menyesuaikannya untuk do1o sendiri, Anda dapat melakukannya, tapi 1anan, tolon, berusaha untuk membuat perubahan sepadan denan semanat keseluruhan hal. Jika Anda inin menhindari disalahkan untuk setiap kesalahan dalam dokumen ini atau untuk konten, Anda dapat menyertakan pemberitahuan penantar atau melampirkan nama saya di tempat lain dalam dokumen. /aya denan ini tidak bertanun 1awab atas isi atau kesalahan dalam setiap ersi dari dokumen ini tidak dimodifikasi sendiri. /aya telah menadopsi konensi Barat untuk nama pribadi dalam dokumen ini, yaitu, nama pertama, nama keluara kedua. 6ersi ini tanal /eptember >. /ebaian besar dari sisa dokumen ini diambil dari sumber di Internet. 7husus terima kasih ke Jun Akiyama untuk website indah nya, Aiki!eb %http+55www.aikiweb.com&. /emua foto yan terkandun di sini adalah milik hak cipta dari masin-masin pemean hak cipta. 8an ada baian yan sanat kecil dari dokumen ini yan berasal dari penalaman pribadi saya sebaai seoran Aikidoka. /aya berencana untuk memperbarui 5 menulis ulan dokumen ini serin untuk mencakup lebih dari penamatan pribadi saya. /aya 1ua berencana untuk akhirnya
menambahkan diaram teknik. @ood luck, dan munkin Anda menemukan kedamaian dan kebahaiaan dalam per1alanan Anda.
/teen . 3ellwock )incoln, :ebraska /eptember ?DDD
An Introduction to Aikido 2enantar eskipun Aikido adalah inoasi yan relatif baru dalam dunia seni bela diri, itu adalah pewaris latar belakan budaya dan filosofis yan kaya. orihei eshiba %>EE;->F& menciptakan Aikido di Jepan. /ebelum membuat Aikido, eshiba dilatih secara ekstensif dalam beberapa arietas 1u1itsu, serta pedan dan tombak pertempuran. eshiba 1ua menenelamkan diri dalam studi aama dan menembankan sebuah ideoloi yan ditu1ukan untuk umum sosio-politik harmoni. emasukkan prinsip-prinsip ini men1adi seni bela diri, eshiba menembankan banyak aspek dari Aikido dalam konser denan ideoloinya filsafat dan aama. Aikido tidak terutama sistem tempur, melainkan sarana budidaya diri dan perbaikan. Aikido tidak memiliki turnamen, kompetisi, kontes, atau /ebaliknya, semua teknik Aikido dipela1ari kooperatif pada kecepatan sepadan denan kemampuan masin-masin peserta pelatihan "sparrin.". enurut pendiri, tu1uan Aikido bukanlah kekalahan dari oran lain, tetapi kekalahan dari karakteristik neatif yan menhuni pikiran seseoran dan menhambat funsinya. 2ada saat yan sama, potensi Aikido sebaai alat pertahanan diri tidak boleh diabaikan. /alah satu alasan untuk laranan persainan di Aikido Aikido adalah bahwa banyak teknik harus dikeluarkan karena potensi mereka untuk menyebabkan cedera serius. 8enan pelatihan kooperatif, teknik bahkan berpotensi mematikan dapat dipraktekkan tanpa risiko yan besar. 9arus ditekankan bahwa tidak ada 1alan pintas untuk kemahiran dalam Aikido %atau dalam hal lain, dalam hal ini&. Akibatnya, mencapai kemahiran dalam Aikido adalah hanya masalah pelatihan berkelan1utan dan berdedikasi. Tidak ada yan men1adi seoran ahli hanya dalam beberapa bulan atau tahun. An Introduction to Aikido /e1arah Aikido 2endiri Aikido itu, orihei eshiba, lahir di Jepan pada tanal > 8esember >EE;. /ebaai anak laki-laki, ia serin melihat preman memukuli ayahnya karena alasan politik. 8ia berankat untuk membuat dirinya kuat sehina ia bisa membalas dendam. Ia menabdikan dirinya untuk penkondisian fisik yan berat dan akhirnya ke praktek seni bela diri, menerima sertifikat
penuasaan dalam beberapa aya 1u1itsu, paar, dan pertempuran tombak. eskipun kemampuan menesankan fisik dan bela diri, baaimanapun, ia merasa sanat tidak puas. 8ia mulai menali aama denan harapan akan menemukan arti hidup yan lebih dalam, sambil terus melan1utkan studinya dari budo, atau seni bela diri. 8enan menabunkan pelatihan bela diri denan ideoloi politik dan aama, ia menciptakan seni bela diri Aikido modern. eshiba memutuskan nama "Aikido" pada tahun >? %sebelum itu ia disebut seni bela diri "aikibudo" dan "aikinomichi"&. 8i sisi teknis, Aikido berakar pada beberapa aya 1u1itsu %dari mana 1udo modern 1ua berasal&, khususnya daitoryu-%aiki& 1u1itsu, serta seni pedan dan tombak pertempuran. enyederhanakan aak, kita dapat menatakan bahwa Aikido menambil kunci bersama dan lemparan dari 1u1itsu dan menabunkan mereka denan erakan tubuh pedan dan tombak pertempuran. :amun, kita 1ua harus menyadari bahwa teknik Aikido banyak hasil inoasi sendiri @uru eshiba. 8i sisi reliius, eshiba adalah pemu1a salah satu dari apa yan disebut Jepan "aama baru," moto 7yo. moto 7yo adalah %dan& baian neo-/hinto, dan baian sosial politik idealisme. /alah satu tu1uan dari moto 7 yo telah penyatuan seluruh umat manusia di "kera1aan surawi di bumi" tunal di mana semua aama akan bersatu di bawah pan1i moto 7yo. Tidak munkin cukup untuk memahami banyak tulisan -/ensei dan ucapan tanpa men1aa penaruh moto 7yo teas dalam pikiran. eskipun apa yan banyak oran berpikir atau klaim, tidak ada filosofi Aikido terpadu. Apa yan ada, sebaliknya, adalah kumpulan teroranisir dan hanya sebaian koheren aama, keyakinan etis, dan metafisik yan hanya lebih atau kuran dimiliki oleh Aikidoka, dan yan baik ditularkan dari mulut ke mulut atau ditemukan dalam publikasi yan tersebar tentan Aikido. Beberapa contoh+ ". Aikido bukanlah cara untuk melawan denan atau menalahkan musuh, itu adalah cara untuk mendamaikan dunia dan membuat semua manusia satu keluara" "adalah $sensi dari Aikido budidaya ki kekuatan ital, daya internal , mental 5 spiritual eneriK "." adalah *ahasia Aikido untuk men1adi satu denan alam semesta. "" Aikido terutama cara untuk mencapai fisik dan psikolois penuasaan diri. "" Tubuh adalah penyatuan konkret dari 1asmani dan rohani diciptakan oleh alam semesta "8an. sebaainya. 2ada inti dari hampir semua interpretasi filosofis Aikido, namun, kami dapat menidentifikasi setidaknya dua benan dasar+ %>& /uatu komitmen untuk penyelesaian damai konflik bila memunkinkan. %?& 7omitmen untuk perbaikan diri melalui pelatihan Aikido. )atihan 2raktek Aikido dimulai saat Anda memasukkan do1oL Trainee harus berusaha untuk menamati etiket yan tepat setiap saat. 9al ini tepat untuk membunkuk ketika memasuki dan meninalkan do1o, dan ketika datan ke dan meninalkan tikar. /ekitar ;-M menit sebelum memulai resmi kelas, peserta harus berbaris dan duduk diam di /ei0a %berlutut& atau denan kaki disilankan. /atu-satunya cara untuk ma1u dalam Aikido adalah melalui pelatihan rutin dan berkelan1utan. 7ehadiran tidak wa1ib, namun perlu diinat bahwa dalam ranka meninkatkan di Aikido, salah satu munkin perlu berlatih setidaknya dua kali seminu. /elain itu, se1auh Aikido menyediakan cara budidaya disiplin diri, disiplin diri tersebut dimulai denan pertemuan rutin. 2elatihan Anda adalah tanun 1awab Anda sendiri. Tidak ada yan akan membawa Anda denan tanan dan menuntun Anda untuk kemahiran dalam Aikido. /ecara khusus, itu bukan tanun 1awab instruktur atau siswa senior untuk memastikan bahwa Anda bela1ar sesuatu. Baian dari pelatihan Aikido adalah bela1ar untuk menamati secara efektif. /ebelum meminta bantuan, karena itu, Anda harus terlebih dahulu mencoba untuk mencari teknik untuk diri sendiri denan menonton
oran lain. 2elatihan Aikido mencakup lebih dari teknik. 2elatihan Aikido meliputi penamatan dan modifikasi pola baik fisik dan psikolois pemikiran dan perilaku. /ecara khusus, Anda harus memperhatikan cara Anda bereaksi terhadap berbaai macam keadaan. Jadi baian dari pelatihan Aikido adalah budidaya %self-& kesadaran. Titik berikut ini sanat pentin+ pelatihan Aikido adalah, koperasi tidak kompetitif, perusahaan. Teknik yan dipela1ari melalui pelatihan denan mitra, bukan lawan. Anda harus selalu berhati-hati untuk berlatih sedemikian rupa sehina Anda meredam kecepatan dan kekuatan teknik Anda sesuai denan kemampuan dari pasanan Anda. 2asanan Anda memin1amkan 5 badannya untuk Anda bai Anda untuk berlatih - itu tidak masuk akal untuk menharapkan Anda untuk merawat apa yan telah dipin1amkan Anda. 2elatihan Aikido kadan-kadan 1adi sanat frustasi. Bela1ar untuk menatasi frustrasi ini 1ua merupakan baian dari pelatihan Aikido. 2raktisi perlu menamati diri mereka dalam ranka untuk menentukan akar frustrasi dan ketidakpuasan denan kema1uan mereka. 7adan-kadan penyebabnya adalah kecenderunan untuk membandinkan diri terlalu dekat denan trainee lainnya. 2erhatikan, baaimanapun, bahwa ini sendiri merupakan bentuk kompetisi. Ini adalah hal yan baik untuk menaumi bakat oran lain dan berusaha untuk meniru mereka, tapi harus berhati-hati untuk tidak memunkinkan perbandinan denan oran lain untuk mendoron kebencian, atau berlebihan kritik-diri. Jika setiap saat selama pelatihan Aikido Anda men1adi terlalu lelah untuk melan1utkan atau 1ika cedera menceah Anda melakukan beberapa erakan atau teknik Aikido, diperbolehkan untuk menundurkan diri dari praktek sementara sampai Anda merasa mampu untuk melan1utkan. Jika Anda harus meninalkan tikar, meminta instruktur i0in. eskipun Aikido palin baik dipela1ari denan pasanan, ada se1umlah cara untuk mene1ar pelatihan solo di Aikido. 2ertama, seseoran dapat berlatih bentuk solo %kata& denan 1o atau bokken. 7edua, seseoran dapat "bayanan" teknik denan hanya melakukan erakan teknik Aikido denan mitra ima1iner. Bahkan latihan mental murni teknik Aikido dapat berfunsi sebaai bentuk efektif dari pelatihan solo. 8isarankan untuk berlatih minimal dua 1am per minu untuk kema1uan dalam Aikido. Aikido dan $fektiitas Tempur Banyak praktisi Aikido %dari pemula hina mahasiswa tinkat lan1ut& memiliki keprihatinan tentan nilai pertahanan diri praktis Aikido sebaai seni bela diri. /eranan seperti yan dilakukan di do1o serin tidak realistis dan dapat disampaikan tanpa banyak kecepatan atau kekuasaan. 7ekhawatiran di sini adalah sah, tetapi munkin, munkin, bisa diatasi. 2ada tempat pertama, adalah pentin untuk menyadari bahwa teknik Aikido biasanya dilakukan terhadap seranan beraya dan ideal. 9al ini membuat lebih mudah bai siswa untuk mempela1ari pola-pola umum dari erakan Aikido. /ebaai siswa men1adi lebih ma1u, kecepatan dan kekuatan seranan harus ditinkatkan, dan siswa harus bela1ar untuk menyesuaikan stratei dasar erakan Aikido untuk berbaai luas seranan. Banyak teknik Aikido tidak dapat dilakukan secara efektif tanpa aplikasi seirin atemi %seranan dikirim ke penyeran untuk tu1uan memfasilitasi penerapan selan1utnya teknik&. 8emi keamanan, atemi serin diabaikan selama latihan. 9al ini pentin, namun, untuk mempela1ari atemi hati-hati
dan munkin untuk mencurahkan waktu untuk berlatih penerapan atemi sehina seseoran akan mampu menerapkan secara efektif bila diperlukan. Aikido kadan-kadan diadakan untuk dibandinkan denan seni bela diri lainnya, dan Aikido siswa serin penasaran tentan seberapa baik seseoran terlatih dalam Aikido akan berdiri melawan seseoran denan ukuran yan sebandin dan kekuatan yan telah terlatih dalam seni bela diri lain seperti karate, 1udo, 1u 1utsu, atau tin1u. Adalah wa1ar untuk berharap bahwa salah satu seni bela diri telah memilih untuk melatih di memiliki aplikasi tempur yan efektif. :amun, 1ua pentin untuk menyadari bahwa pendiri Aikido sena1a memilih untuk menembankan seni bela diri ke dalam sesuatu selain seni pertempuran palin mematikan di planet ini, dan munkin sanat baik men1adi benar bahwa seni bela diri lain yan lebih efektif daripada memerani Aikido . Ini bukan untuk menatakan bahwa teknik Aikido tidak bisa tempur efektif - ada banyak praktisi Aikido yan telah menerapkan teknik Aikido berhasil mempertahankan diri dalam berbaai situasi yan membahayakan 1iwa. Tidak ada seni bela diri dapat men1amin kemenanan dalam setiap keadaan yan munkin. /emua seni bela diri, termasuk Aikido, terdiri dalam set stratei untuk menelola konflik.
7edua, sen1ata pelatihan sanat membantu untuk pembela1aran yan tepat ma ai, atau men1auhkan. Berulan kali bererak masuk dan keluar dari 1ankauan mencolok dari sen1ata menumbuhkan rasa intuitif 1arak dan waktu - sesuatu yan sanat pentin untuk tanan koson pelatihan 1ua. 7etia, banyak ma1u Aikido teknik melibatkan pertahanan terhadap sen1ata. 8alam ranka untuk memastikan bahwa teknik tersebut dapat dilakukan denan aman, pentin bai siswa untuk menetahui baaimana menyeran denan baik denan sen1ata, dan untuk mempertahankan terhadap seranan tersebut. 7eempat, ada prinsip-prinsip yan serin pentin dari erakan Aikido dan teknik yan munkin menuntunkan ditun1ukkan oleh penunaan sen1ata. 7elima, pelatihan sen1ata kata adalah cara memfasilitasi pemahaman tentan prinsip-prinsip umum dari erakan Aikido. 7eenam, sen1ata pelatihan dapat menambahkan elemen intensitas praktek Aikido, terutama dalam berlatih pertahanan terhadap seranan sen1ata. 7etu1uh, pelatihan denan sen1ata menyediakan Aikidoka denan kesempatan untuk menembankan 1enis respon dan kepekaan terhadap erakan dan tindakan oran lain dalam format yan biasanya sanat terstruktur. /elain itu, serin lebih mudah untuk membuan pola pikir kompetitif ketika terlibat dalam pelatihan sen1ata, sehina lebih mudah untuk fokus pada penembanan konitif. Akhirnya, sen1ata pelatihan adalah cara terbaik untuk mempela1ari prinsip-prinsip yan menatur aris seranan dan pertahanan. /emua teknik Aikido dimulai denan bek bererak dari aris seranan dan kemudian membuat baris baru %serin aris non-lurus& untuk aplikasi dari teknik Aikido. Tentan embunkuk 9al ini umum bai oran untuk bertanya tentan praktek membunkuk di Aikido. /ecara khusus, banyak oran khawatir bahwa membunkuk munkin memiliki beberapa makna keaamaan. Ini tidak. 8alam budaya Barat, itu dianap tepat untuk ber1abat tanan saat menyapa seseoran untuk pertama kalinya, untuk menatakan "tolon" ketika membuat permintaan, dan untuk menatakan "terima kasih" untuk menucapkan terima kasih. 8alam budaya Jepan, membunkuk %setidaknya sebaian& dapat memenuhi semua funsi tersebut. Inatlah 1ua, bahwa dalam masyarakat $ropa hanya beberapa ratus tahun yan lalu busur santun adalah bentuk konensional ucapan. enabunkan aspek tertentu dari budaya Jepan dalam praktek Aikido kami melayani beberapa tu1uan+ Ini menanamkan keakraban denan aspek pentin dari budaya Jepan dalam praktisi Aikido. 9al ini terutama pentin bai siapa sa1a yan munkin inin, pada suatu waktu, melakukan per1alanan ke Jepan untuk berlatih Aikido. Ada 1ua kasus yan harus dibuat untuk sekedar memperluas cakrawala budaya seseoran. embunkuk munkin merupakan ekspresi hormat. 8enan demikian, itu menun1ukkan sikap terbuka dan kemauan untuk bela1ar dari uru seseoran dan sesama siswa. Tunduk pada pasanan dapat berfunsi untuk meninatkan Anda bahwa pasanan Anda adalah oran - bukan boneka praktek. /elalu melatih dalam batas-batas kemampuan pasanan Anda. Busur awal, yan menandakan awal dari praktik formal, 1auh seperti "siap, dimulai," diucapkan pada awal pemeriksaan. /elama kelas sedan berlansun, Anda harus bersikap sesuai denan
standar tertentu laku. Aikido kelas harus aak seperti dunia tersendiri. /ementara dalam "dunia," perhatian Anda harus difokuskan pada praktek Aikido. embunkuk keluar adalah seperti sinyal kembali ke dunia "biasa". 7etika membunkuk baik kepada instruktur di awal praktik atau salah satu pasanan di awal teknik dianap tepat untuk menatakan "neai shimasu" %lit. "/aya meminta bantuan"& dan ketika membunkuk baik kepada instruktur di akhir kelas atau pada pasanan seseoran di akhir teknik dianap tepat untuk menatakan "domo ariato o0aimashita" %"terima kasih"&. 2elatihan ind di Aikido 2endiri %orihei eshiba& dimaksudkan Aikido men1adi 1auh lebih dari sebuah sistem teknik untuk membela diri. Tu1uannya adalah untuk memadukan seni bela diri untuk satu set cita-cita etika, sosial, dan disposisional. eshiba berharap bahwa denan pelatihan Aikido, oran akan menyempurnakan diri secara rohani maupun fisik. 9al ini tidak seera 1elas, :amun, betapa berlatih Aikido seharusnya menhasilkan apapun transformasi %O psiko-fisik& spiritual. /elain itu, seni lain telah diklaim sebaai kendaraan untuk membawa mereka ke praktisi pencerahan atau transformasi psikofisik. 7ami sah munkin bertanya-tanya, kemudian, apakah, atau baaimana, Aikido berbeda dari seni lainnya sehubunan denan efek transformatif. 9arus 1elas bahwa setiap kekuatan transformatif Aikido, 1ika seperti itu ada sama sekali, tidak bisa berada dalam kiner1a teknik fisik semata. /ebaliknya, 1ika Aikido adalah untuk menyediakan kendaraan untuk perbaikan diri dan transformasi psikofisik sepan1an aris dibayankan oleh pendiri, para praktisi Aikido harus menadopsi sikap tertentu terhadap pelatihan Aikido dan harus berusaha untuk menumbuhkan 1enis tertentu disposisi konitif. 7lasik, oran-oran seni, yan menklaim untuk menyediakan keranka ker1a transformatif bai para praktisi mereka, yan berakar dalam tradisi aama dan filsafat seperti Buddhisme dan Taoisme %penaruh /hinto di Jepan seni biasanya relatif kecil&. 8i Jepan, Pen Buddhisme dilaksanakan penaruh kuat pada perkembanan seni transformatif. eskipun orihei eshiba adalah 1auh lebih sedikit dipenaruhi oleh Taoisme dan Pen dibandinkan denan "aama baru," moto 7yo, tentu sa1a munkin untuk menabunkan aspek filosofi Pen dan Taoisme dan praktek dalam Aikido. /elain itu, moto 7yo sebaian besar berakar pada struktur kompleks neo-/hinto konsep mistik dan kepercayaan. Ini akan men1adi liar tidak masuk akal untuk menanap bahwa adopsi struktur ini adalah kondisi yan diperlukan untuk transformasi psikofisik melalui Aikido. /e1auh penabunan praktek Pen dan Taoisme dan filosofi Aikido ke yan bersankutan, transformasi psikofisik melalui praktek Aikido akan sedikit berbeda dari transformasi psikofisik melalui praktek seni seperti karate, k yudo, dan upacara minum teh. /emua seni memiliki kesamaan tu1uan menanamkan dalam praktisi mereka keseimbanan konitif, spontanitas aksi 5 respon, dan penerimaan terhadap karakter hal-hal seperti mereka %/hinnyo&. Cara utama untuk memproduksi semacam ini di disposisi trainee adalah fokus dua kali lipat pada penulanan erakan-erakan dasar dan posisi seni, dan men1aa kesadaran dalam praktek. 3akta bahwa pelatihan Aikido selalu kooperatif memberikan sebuah lokus lain untuk menafsirkan transformasi pribadi melalui Aikido. 2elatihan 7operasi memfasilitasi ditinalkannya kompetitif mind-set yan memperkuat persepsi diri lainnya dikotomi. 2elatihan 7operasi 1ua menanamkan memperhatikan keselamatan dan kese1ahteraan pasanannya. /ikap kepedulian terhadap oran lain ini kemudian akan diperluas ke situasi selain praktek Aikido. 8enan kata lain, keranka ker1a sama untuk praktek Aikido seharusnya mener1emahkan lansun ke keranka ker1a bai perilaku etis dalam kehidupan sehari-hari. /elain itu, harus 1elas bahwa 1ika transformasi pribadi yan munkin melalui pelatihan Aikido, itu
bukan suatu proses otomatis. Ini harus 1elas denan memperhatikan fakta bahwa ada praktisi Aikido denan penalaman bertahun-tahun yan masih melakukan pelanaran baik moral dan hukum. 7emampuan teknis dan penalaman yan luas dalam seni bela diri ini tidak berarti 1aminan kema1uan etis atau pribadi. 7enyataan ini serin datan sebaai kekecewaan besar kepada siswa Aikido, terutama 1ika mereka harus menemukan bahwa instruktur mereka sendiri masih menderita dari berbaai kekuranan. 2ada kenyataannya, baaimanapun, ini sendiri merupakan sebuah pela1aran berhara+ kemahiran teknis adalah tu1uan lebih mudah untuk mencapai daripada perbaikan pribadi. !alaupun kedua tu1uan munkin memerlukan masa komitmen, itu 1auh lebih mudah untuk membuat semacam penorbanan dan upaya yan diperlukan untuk kemampuan teknis daripada untuk membuat penorbanan dan upaya yan diperlukan untuk transformasi pribadi substantif dan perbaikan. Jalan menu1u perbaikan diri dan transformasi pribadi harus dimulai di suatu tempat, namun. unkin yan palin pentin %dan mudah lupa& mulai bai siswa dan uru Aikido adalah untuk menanun selalu diinat bahwa oran-oran yan satu denan pelatihan adalah satu dan semua manusia seperti diri sendiri, masin-masin denan perspektif yan unik, dan mampu merasakan sakit, frustrasi dan kebahaiaan, dan masin-masin denan tu1uan sendiri pelatihan. Jika seseoran menambil serius aasan bahwa baian dari pelatihan Aikido seseoran harus bertu1uan menu1u perbaikan diri, satu kadan-kadan munkin harus mempertimbankan baaimana seseoran akan dilihat oleh oran lain. /eseoran munkin memiliki kemampuan teknis yan luar biasa dan belum dilihat oleh oran lain sebaai penanu yan eois dan tidak penertian. /ebuah Catatan tentan 7i 7onsep ki adalah salah satu yan palin sulit terkait denan filosofi dan praktek Aikido. 7arena kata "Aikido" berarti sesuatu seperti "1alan harmoni denan ki," itu tidak menherankan bahwa Aikidoka banyak tertarik untuk memahami apa ki seharusnya. /ecara etimolois, kata "ki" berasal dari Cina 8alam filsafat Cina "chi.", Chi adalah sebuah konsep yan dipanil untuk membedakan hidup dari non-makhluk hidup. Tapi seperti filsafat Cina berkemban, konsep chi menambil lebih luas makna dan interpretasi. 2ada beberapa pandanan, chi diadakan sebaai prinsip palin dasar materi 1elas - metafisik "eneri" dari mana seala sesuatu diciptakan. 2erbedaan antara hal-hal yan tidak berantun pada beberapa hal memiliki chi dan yan lain tidak, tetapi lebih pada prinsip %li, Jepan O ri& yan ditentukan baaimana chi diselenarakan dan berfunsi %pandanan di sini beruan beberapa kesamaan denan
seperti itu se1auh kuran. Ada beberapa Aikidoka yan menklaim dapat menun1ukkan keberadaan %tu1uan& dari ki denan melakukan berbaai macam prestasi. /alah satu prestasi tersebut, yan sanat populer, adalah apa yan disebut "lenan unbendable." 8alam latihan ini, satu oran meluas lenannya sementara oran lain mencoba untuk menekuk lenan. 2ertama, dia membuat kepalan tanan dan menencankan otot-otot di lenannya. ran lain biasanya mampu menekuk lenan. /elan1utnya, dia melemaskan lenannya %tapi daun itu diperpan1an& dan "meluas ki" %karena "memperluas ki" bukanlah sesuatu yan pendatan baru palin Aikido tahu persis baaimana melakukannya, serinkali hanya disarankan untuk memikirkan lenannya sebaai selan kebakaran- tercurah air, atau metafora serupa seperti&. 7ali ini, oran lain menemukan itu 1auh lebih sulit untuk menekuk lenan. 7esimpulannya seharusnya bahwa itu adalah kekuatan 5 aktiitas ki yan bertanun 1awab atas perbedaan. :amun, ada pen1elasan alternatif dinyatakan dalam kosakata atau ruan linkup fisika %atau, barankali, psikoloi& yan sepenuhnya mampu akuntansi untuk fenomena sini %perubahan halus dalam posisi tubuh, misalnya&. /elain itu, fakta bahwa sulit untuk menyarin bias dan harapan dari para peserta dalam demonstrasi tersebut membuat semua lebih dipertanyakan apakah mereka memberikan bukti yan dapat diandalkan untuk keberadaan tu1uan ki. Tidak semua Aikidoka percaya bahwa ki adalah semacam "baran" atau eneri. ntuk beberapa Aikidoka, ki adalah konsep bi1aksana - selimut-konsep yan mencakup niat, momentum, akan, dan perhatian. Jika salah satu menorbankan yan pandanan bahwa ki adalah eneri yan benar-benar dapat diperpan1an, untuk memperpan1an ki adalah denan menerapkan bantalan fisik dan psikolois positif. Ini memaksimalkan efisiensi dan kemampuan beradaptasi erakan seseoran, sehina teknik yan kuat dan perasaan peneasan baik dari diri sendiri dan pasanan seseoran. Terlepas dari apakah seseoran memilih untuk menambil realis atau sikap anti-realis sehubunan denan adanya tu1uan ki, bisa ada sedikit kerauan bahwa ada lebih banyak Aikido daripada manipulasi fisik belaka dari tubuh oran lain. Aikido membutuhkan kepekaan terhadap ariabel yan beraam seperti waktu, momentum, keseimbanan, kecepatan dan kekuatan seranan, dan terutama ke neara mitra psikolois seseoran %atau seoran penyeran&. /elain itu, sampai-sampai Aikido bukanlah sebuah sistem untuk mendapatkan kontrol fisik atas oran lain, melainkan sebuah kendaraan untuk perbaikan diri, bisa ada sedikit kerauan bahwa %atau bahkan pencerahan lihat satoriK& budidaya positif fisik dan psikolois bantalan adalah baian pentin dari Aikido. /ekali lai, oran munkin atau munkin tidak inin menambarkan budidaya ini bantalan positif dalam hal ki. 2erinkat di Aikido 7ebi1akan yan menatur promosi pankat dapat berariasi, kadan-kadan secara dramatis, dari satu Aikido do1o atau oranisasi yan lain. enurut standar yan ditetapkan oleh International Aikido 3ederation %IA3& dan Amerika /erikat Aikido 3ederation %/A3&, ada F perinkat bawah sabuk hitam. 2erinkat ini disebut barisan k yu. 8alam IA3 dan /A3, sabuk berwarna biasanya tidak membedakan perinkat kyu. ranisasi-oranisasi lain %dan beberapa do1o indiidual& dapat menunakan beberapa sistem sabuk berwarna untuk menandakan perinkat kyu, namun. Ada semakin banyak oranisasi Aikido dan masin-masin telah menetapkan sendiri standar untuk perinkat. 2ersyaratan untuk penu1ian terantun terutama %meskipun tidak secara eksklusif& pada akumulasi 1am praktek. 3aktor-faktor yan relean lain munkin termasuk sikap trainee denan hormat kepada oran lain, keteraturan kehadiran, dan, dalam beberapa oranisasi, kontribusi terhadap pemeliharaan do1o atau penyebaran Aikido.
Apapun kriteria kenaikan pankat, pentin untuk diinat bahwa kenaikan pankat tidak selalu diter1emahkan ke dalam kemampuan. 2encapaian palin pentin dalam Aikido atau seni bela diri lain yan tidak penilaian eksternal kema1uan, melainkan manfaat dari pelatihan Anda kepada diri sendiri. 8asar Aikido 7osakata Aatsu - ". 7emenanan 8iri" enurut pendiri, kemenanan se1ati %asakatsu& adalah kemenanan yan mencapai lebih dari diri sendiri %aatsu&. 8emikian salah satu pendiri "sloan" adalah asakatsu aatsu - "7emenanan se1ati penuasaan diri." Aikido - 7ata "Aikido" terdiri dari tia karakter Jepan+ ai O harmoni, ki O 1iwa, pikiran, atau eneri uniersal, lakukan O Jalan. Jadi Aikido adalah "Jalan 9armony denan $neri niersal." :amun, aiki 1ua dapat diartikan sebaai tafsiran kedua ini aak tidak standar "akomodasi denan keadaan.", Tapi menhindari komitmen tertentu metafisik yan tidak diininkan dan 1ua melambankan cukup baik baik aspek fisik dan psikolois dari Aikido. Aikidoka - /eoran praktisi Aikido. Aikikai - "Aiki asosiasi." /uatu istilah yan diunakan untuk menun1uk oranisasi diciptakan oleh pendiri untuk penyebaran Aikido. Ai hanmi - sikap *eksa mana uke dan :ae masin-masin memiliki kaki yan sama ke depan %kanan-kanan, kiri-kiri&. Ai nuke - "melarikan diri utual." /ebuah hasil dari duel di mana setiap peserta lolos bahaya. 9al ini sesuai denan cita-cita Aikido sesuai denan yan konflik diselesaikan tanpa cedera kepada pihak yan terlibat. Ai uchi - "/alin bunuh." /ebuah hasil dari duel di mana setiap peserta membunuh yan lain. 8alam ilmu pedan Jepan klasik, praktisi serin didoron untuk masuk duel denan tu1uan mencapai setidaknya uchi ai. *esolusi untuk memenankan duel bahkan denan biaya hidup sendiri diperkirakan untuk membantu dalam memupuk sikap sinle-minded fokus pada tuas meneban lawan. Ini fokus tunal berpikiran dicontohkan di Aikido dalam teknik, ikkyo, di mana seseoran memasuki ke kisaran penyeran untuk mempenaruhi teknik. Ashi sabaki - 3ootwork. 3ootwork yan tepat sanat pentin dalam Aikido untuk menembankan keseimbanan yan kuat dan untuk memfasilitasi kemudahan erakan. Atemi - %lit. encolok Tubuh.& ook diarahkan pada penyeran untuk tu1uan ketidakseimbanan atau anuan. Atemi serin pentin untuk melewati atau "hubunan arus pendek" respon alami penyeran untuk teknik Aikido. 9al pertama yan kebanyakan oran akan lakukan ketika mereka merasa tubuh mereka dimanipulasi denan cara yan asin adalah untuk menarik kembali anota badan mereka dan men1atuhkan mereka pusat massa turun dan men1auh dari oran yan melakukan teknik ini. 8enan aplikasi bi1aksana atemi, adalah munkin untuk menciptakan sebuah "1endela kesempatan" di pertahanan alami penyeran, memfasilitasi penerapan teknik Aikido. Bokken O bokuto - pedan kayu. Banyak erakan Aikido berasal dari paar tradisional Jepan. 8alam praktek canih, sen1ata seperti bokken diunakan dalam bela1ar seluk-beluk erakan tertentu, hubunan antara teknik memperoleh bersen1ata dan tidak bersen1ata, pertahanan terhadap sen1ata, dan se1enisnya. Budo - ". Cara artial" 7arakter Jepan untuk "bu" %bela diri& berasal dari karakter yan berarti
"berhenti" dan %sen1ata seperti& ". Tombak" Tombak" 8alam hubunannya, hubunannya, kemudian, "bu" munkin memiliki konotasi "untuk menhentikan tombak "8alam Aikido., ada asumsi bahwa cara terbaik untuk menceah konflik kekerasan adalah untuk menekankan budidaya karakter indiidu. Cara %lakukan& dari aiki demikian setara denan 1alan bu, diambil dalam arti menceah atau menhindari kekerasan se1auh munkin. Chiburi - "enyinkirkan darah." /ebuah erakan pedan mana pedan denan cepat ditarik ke satu sisi pada akhir pemookan. pemookan. Jadi chiburi mii O melepaskan darah ke kanan. Chokusen - )ansun. Jadi chokusen no Irimi O lansun masuk. Chudan - "2osisi Tenah." Tenah." Jadi chudan no kamae O sikap ditandai denan memiliki satu tanan atau pedan dalam posisi sentral sehubunan denan tubuh seseoran. Chushin - 2usat. Terutama, pusat erakan seseoran atau keseimbanan. 8an - 9itam perinkat sabuk. 8alam IA3 Aikido, pankat tertini sekaran munkin untuk mendapatkan adalah dan. Ada beberapa Aikidoka yan memean 1a1aran 8an >D. 2erinkat ini diberikan oleh pendiri sebelum kematiannya, dan tidak dapat dibatalkan. 2utih perinkat sabuk disebut 1a1aran kyu. 8o - !ay 5 path. 7arakter Jepan untuk "melakukan" adalah sama denan karakter Cina untuk Tao %seperti dalam "Taoisme"&. 8alam aiki-do, konotasi adalah bahwa cara mencapai pencerahan atau cara untuk meninkatkan karakter seseoran melalui aiki. 8o1o - /ecara harfiah ". Tempat Jalan" Jua "tempat pencerahan." Tempat Tempat di mana kita berlatih Aikido. $tiket tradisional menatur membunkuk ke arah kuil %kami0a& atau baian depan ditun1uk %shomen& do1o setiap kali memasuki atau meninalkan do1o. 8o1o cho - 7epala do1o. Judul. /aat ini, oriteru eshiba %cucu pendiri& adalah do1o cho di 8unia Aikido arkas Besar %9ombu do1o& di Tokyo, Jepan. 8omo ariato o0aimas(ta - Jepan untuk "terima kasih banyak" %untuk sesuatu yan sudah ter1adi&. 2ada akhir masin-masin kelas, itu layak untuk tunduk dan terima kasih kepada instruktur dan oran-oran denan siapa Anda sudah terlatih. 8omo ariato o0aimasu - Jepan untuk "terima kasih banyak" %untuk sesuatu yan sedan berlansun&. 8oshu - 7epala cara %saat oriteru eshiba, cucu pendiri Aikido itu, orihei eshiba&. toritas resmi tertini di IA3 Aikido. 8ouitashimashite - Jepan untuk "Anda dipersilakan." $ni - salin oriinasi %/ansekerta O pratityasamutpada&. 8alam filsafat Buddha, fenomena tidak memiliki esensi yan tidak berubah. /ebaliknya, mereka berasal dan hanya ada dalam keba1ikan material dan kondisi kausal. Tanpa Tanpa kondisi material dan kausal, tidak akan ada fenomena. /elain itu, karena material dan kondisi kausal di mana semua fenomena berantun berantun secara terus menerus dalam fluks, fenomena itu sendiri adalah satu dan tidak kekal semua. 7arena apa pun yan tidak kekal dan terantun pada kondisi untuk eksistensi tidak memiliki status absolut %atau tidak benarbenar nyata&, berikut bahwa fenomena %apa yan biasanya disebut "hal-hal"& yan tidak memiliki status eksistensial mutlak atau independen, yaitu, mereka koson. ntuk menumbuhkan keadaan
konitif di mana status koson hal terwu1ud adalah untuk mewu1udkan atau mencapai pencerahan. *ealisasi pencerahan, pada ilirannya, menanuerahkan elar kebebasan konitif dan spontanitas yan, antara lain %dan bisa dibilan lebih pentin& manfaat, memfasilitasi kiner1a teknik bela diri dalam menanapi situasi yan berubah denan cepat. %)ihat ku.& 3udo shin - "pikiran Teuh." Teuh." /ebuah keadaan ketenanan mental atau ketenanan. 2ikiran, di neara ini, tenan dan tanpa anuan %kiasan, oleh karena itu, "tak teroyahkan"&. 3udomyo 3udomyo adalah Buddha wali dewa yan membawa pedan di satu tanan %untuk menhancurkan musuh dari doktrin Buddha&, dan tali yan lain %untuk menyelamatkan makhluk hidup dari 1uran kebodohan, atau dari Buddha neraka-neara&. 7arena itu ia mewu1udkan cita-cita dua kali lipat Buddha kebi1aksanaan kebi1aksanaan %pedan& dan kasih sayan %tali&. ntuk membudidayakan 3udo shin demikian untuk menumbuhkan pikiran yan dapat menakomodasi sendiri untuk menubah keadaan tanpa kompromi prinsip. 3ukushidoin - /ebuah 1udul resmi yan konotasi adalah sesuatu yan mendekati "instruktur asisten." 3uri kaburi - 2edan-erakan 2edan-erakan penalanan. @erakan ini ditemukan terutama di ikkyo, Irimi-nae, dan /hiho-nae. @edan - posisi yan lebih rendah. @edan no kamae demikian sikap denan tanan atau sen1ata dipean dalam posisi yan lebih rendah. @i %doi& %keiko i& - 2elatihan kostum. $ntah i 1udo-aya atau karate-aya karate-aya diterima di do1o kebanyakan, kebanyakan, tetapi mereka harus putih dan kapas. %Tidak ada i satin hitam denan bordir naa, please.& @omen nasai - Jepan untuk "2ermisi, saya minta maaf." @yaku hanmi - sikap yan bertentanan %1ika uke memiliki kaki kanan ke depan, nae memiliki kaki kiri ke depan, 1ika uke memiliki kaki kiri ke depan, nae memiliki kaki kanan ke depan&. 9akama - rok 8ibai biasanya dipakai oleh black-belt 1a1aran di Aikido dan 7endo. 8i do1o tertentu, hakama 1ua dipakai oleh perempuan dari semua tinkatan, dan dalam beberapa do1o oleh semua praktisi. The hakama memiliki tu1uh lipatannya. "7etu1uh lipatan melambankan tu1uh keba1ikan budo," kata -/ensei. "Ini adalah 1in %keba1ikan&, i %kehormatan atau keadilan&, rei %kesopanan dan etika&, chi %kebi1aksanaan %kebi1aksanaan dan kecerdasan&, kecerdasan&, shin %ketulusan&, chu %loyalitas&, dan koh %kesalehan&. 7ami menemukan kualitas ini dalam samurai dibedakan dari masa lalu. The hakama mendoron kita untuk merenunkan sifat bushido se1ati. emakainya melambankan tradisi yan telah diwariskan kepada kita dari enerasi ke enerasi. Aikido Aikido lahir dari semanat bushido Jepan, dan dalam prakteknya kita harus berusaha untuk memoles keba1ikan tradisional tu1uh. " 9anmi - sikap Trianular. Trianular. 2alin serin teknik Aikido dipraktekkan denan uke dan :ae dalam pra-ditentukan sikap. 9al ini untuk memfasilitasi bela1ar teknik dan prinsip-prinsip tertentu posisi sehubunan denan denan seranan. 2ada tinkat yan lebih tini, hanmi spesifik berhenti men1adi pentin. 9anmi handachi - 2osisi duduk denan :ae, berdiri uke. 2elatihan hanmi handachi wa0a adalah cara yan baik untuk berlatih teknik seolah-olah denan lawan secara sinifikan lebih besar 5 tini. Jenis pelatihan 1ua menekankan erakan dari satu pusat massa %hara&.
9appo - E arah, seperti di 9appo-undo %E latihan arah& atau 9appo-iri %E arah memoton denan pedan&. 7onotasi sini benar-benar erakan ke seala arah. 8alam Aikido, salah satu harus siap untuk menubah arah manapun dalam seke1ap. 9ara - pusat ne massa, terletak sekitar ? "di bawah pusar. pusar. /ecara tradisional ini dianap lokasi semanat 5 pikiran 5 sumber ki. Teknik Aikido harus dieksekusi sebanyak munkin dari atau melalui hara seseoran. 9asso no kamae - "@ambar-delapan" "@ambar-delapan" sikap. Anka delapan tidak sesuai denan anka Arab "E," melainkan karakter Cina 5 Jepan yan tampak lebih seperti atap rumah. 8alam 9asso no kamae, pedan diadakan di sampin kepala seseoran, sehina siku menyebar menyebar ke bawah dan keluar dari pedan dalam pola menyerupai ini anka delapan karakter. karakter. 9ei1oshin - "Tinal ketenanan pikiran." Conitie keseimbanan keseimbanan batin. /alah satu tu1uan dari pelatihan di Aikido adalah budidaya pikiran yan mampu memenuhi berbaai 1enis kesulitan tanpa men1adi teranu. 2ikiran yan tidak mudah binun adalah pikiran yan akan memfasilitasi respon yan efektif terhadap ancaman fisik atau psikolois. 9enka wa0a - Teknik berariasi. Terutama mulai satu teknik dan perubahan lain pada pertenahaneksekusi. $'. mulai ikkyo tapi berubah untuk Ir imi-nae. 9ombu 8o1o - /ebuah istilah yan diunakan untuk meru1uk pada do1o pusat oranisasi. Jadi ini biasanya menun1uk Aikido !orld 9ead#uarters. %)ihat Aikikai.& 9idari - 7iri. Irimi - %lit. "emasuki Tubuh."& emasuki erakan. Aikidoka Banyak berpikir bahwa erakan Irimi menunkapkan esensi dari Aikido. Aikido. Ide dibalik Irimi adalah untuk menempatkan diri dalam kaitannya denan penyeran sedemikian rupa sehina penyeran tidak dapat terus menyeran secara efektif, dan sedemikian rupa sehina seseoran dapat menendalikan secara efektif keseimbanan keseimbanan penyeran. %)ihat shikaku.& Jin1a - /ebuah kuil %/hinto&. Ada 1in1a aiki terletak di Iwama, Ibaraki prefektur, Jepan. Jiyu wa0a - 3ree aya praktek teknik. 9al ini biasanya melibatkan lebih dari satu penyeran yan dapat menyeran nae denan cara apapun yan diininkan. Jo - /taf !ooden !ooden sekitar (-M (pan1an. The 1o berasal sebaai tonkat ber1alan. Tidak 1elas baaimana men1adi dimasukkan ke dalam Aikido. Banyak 1o erakan berasal dari pertempuran tombak tradisional Jepan, oran lain munkin berasal dari 1 o1utsu, tetapi banyak tampaknya telah inoasi oleh pendiri. The 1o biasanya diunakan dalam praktek canih. Jodan - posisi atas. Jodan no kamae demikian sikap denan tanan atau sen1ata dipean dalam posisi tini. 7achihayabi - ". 7emenanan denan kecepatan sinar matahari" enurut pendiri, ketika salah satu telah mencapai kesepakatan penuasaan diri %aatsu& dan sempurna total denan prinsip-prinsip dasar yan menatur alam semesta %terutama prinsip yan meliputi interaksi etika&, seseoran akan memiliki kekuatan dari seluruh alam semesta di pembuanan seseoran, seseoran, tidak ada lai men1adi perbedaan nyata antara diri sendiri dan alam semesta. 2ada tahap ini kema1uan spiritual, kemenanan seketika. Tu1uan Tu1uan sanat penyeran untuk memperbuat tindakan kekerasan istirahat selaras denan prinsip-prinsip mendasar dari alam semesta, dan tidak ada yan bisa bersain denan
sukses melawan prinsip-prinsip tersebut. Jua, ekspresi dari prinsip-prinsip dasar alam semesta dalam kehidupan manusia adalah kasih %ai&, dan cinta, menurut pendiri, tidak memiliki musuh. 7arena tidak ada musuh, seseoran tidak perlu untuk melawan, dan denan demikian selalu muncul menan. %)ihat aatsu dan asakatsu.& 7aeshi wa0a - Teknik reersal %uke men1adi nae dan sebaliknya&. Ini biasanya merupakan bentuk yan sanat ma1u praktek. 7aeshi praktek wa0a membantu untuk menanamkan menanamkan kepekaan terhadap perubahan dalam perlawanan atau arah erakan pasanannya. pasanannya. 2elatihan sehina dapat menantisipasi dan menceah penerapan kaeshi wa0a terhadap teknik sendiri sanat memperta1am keterampilan Aikido. 7aiso - 2endiri Aikido %yaitu, orihei eshiba&. 7amae - /ebuah postur atau sikap baik denan atau tanpa sen1ata. 7amae 1ua dapat berkonotasi 1arak yan tepat tepat %ma ai& sehubunan sehubunan denan pasanannya. pasanannya. eskipun eskipun "kamae" biasanya meru1uk kepada sikap fisik, ada paralel pentin dalam Aikido antara satu fisik dan bantalan psikolois seseoran. enadopsi enadopsi sikap fisik yan kuat membantu untuk mempromosikan adopsi korelatif dari sikap psikolois yan kuat. 9al ini pentin untuk mencoba se1auh munkin untuk mempertahankan mempertahankan bantalan mental yan positif dan kuat dalam Aikido. 7ami - /ebuah keilahian, aya hidup, atau roh. enurut /hinto, dunia alam penuh 7ami, yan serin sensitif atau responsif terhadap tindakan manusia. 7ami0a - /ebuah kuil kecil, serin terletak di depan do1o, dan serin perumahan ambar pendiri, atau kalirafi. /atu umumnya busur dalam arah kami0a ketika memasuki atau meninalkan do1o, atau tikar. 7ansetsu wa0a - teknik manipulasi Bersama. 7ata - sebuah "bentuk" atau pola pererakan pererakan diresepkan, terutama denan 1o di Aikido. %Tapi %Tapi 1ua "bahu."& 7atame wa0a - "Tahan-down" "Tahan-down" %men1epit& teknik. 7atana - ". /amurai pedan" Apa Apa yan disebut ular 7atsu 1in ken - "2edan yan menyelamatkan menyelamatkan hidup." 2raktisi men1adi semakin tertarik untuk menabunkan menabunkan prinsip-prinsip etika dalam disiplin mereka sebaai pedan Jepan men1adi lebih dan lebih dipenaruhi oleh aama Buddha %terutama Pen Buddhisme& dan Taoisme. Taoisme. aster sempurna dari pedan, menurut beberapa praktisi tersebut, harus mampu tidak hanya menunakan pedan untuk membunuh, tetapi 1ua untuk menyelamatkan hidup. 7onsep katsu 1in ken menemukan beberapa aplikasi eksplisit dalam penembanan teknik yan akan menunakan nonpemotonan baian pedan untuk menyeran atau menendalikan lawan seseoran, bukan untuk membunuhnya membunuhnya 5 nya. 2enaruh beberapa teknik kadan-kadan kadan-kadan dapat dilihat dalam Aikido. Teknik Teknik lainnya yan dikembankan oleh oran bersen1ata %atau oran tidak mau untuk menarik sen1ata& bisa melucuti penyeran. Teknik Teknik ini serin dipraktekkan di Aikido. %)ihat setsu nin ke.& 7eiko - 2elatihan. /atu-satunya rahasia untuk sukses dalam Aikido. 7en - 2edan. 7ensho - 2encerahan. %)ihat mokuso dan satori.&
7i - 2ikiran. *oh. $neri. 6ital kekuatan. :iat. %Chinese O Chi& ntuk Aikidoka banyak, tu1uan utama dari pelatihan Aikido adalah bela1ar baaimana untuk "memperpan1an" ki, atau untuk bela1ar baaimana menontrol atau menarahkan ki oran lain. Ada baik "realis" dan anti-realis interpretasi ki. The ki-realis menambil ki men1adi, secara harfiah, semacam eneri, atau kekuatan hidup, yan menalir dalam tubuh. enembankan atau meninkatkan ki sendiri, menurut kirealis, sehina diberikannya pada kekuatan Aikidoka yan lebih besar dan kontrol atas 5 nya tubuhnya sendiri, dan munkin 1ua memiliki manfaat tambahan dari perbaikan kesehatan dan umur pan1an. enurut ki-anti-realis, ki adalah sebuah konsep yan mencakup berbaai fenomena psikofisik, tetapi tidak menun1ukkan setiap eneri obyektif yan ada. The ki-anti-realis percaya, misalnya, bahwa untuk "memperpan1an ki" hanya untuk menadopsi 1enis tertentu disposisi psikolois yan positif dan untuk menkorelasikan bahwa disposisi psikolois denan kombinasi yan tepat keseimbanan, relaksasi, dan aplikasi bi1aksana kekuatan fisik . 7arena deskripsi "memperpan1an ki" aak lebih mudah dikelola, konsep ki memiliki kelas yan terdefinisi denan baik untuk menunakan ki-anti-realis, tetapi tidak membawa denan itu setiap komitmen ontolois luar linkup teori-teori ilmiah mainstream. 7iai - /ebuah berteriak disampaikan untuk tu1uan memfokuskan semua eneri seseoran men1adi erakan tunal. Bahkan ketika terdenar kiai yan hadir, seseoran harus mencoba untuk men1aa perasaan kiai pada titik-titik pentin tertentu dalam teknik Aikido. 7ihon - %/esuatu yan& mendasar. Ada banyak cara yan tampaknya sanat berbeda serin banyak melakukan teknik yan sama di Aikido. ntuk melihat di bawah permukaan fitur t eknik dan memahami inti umum adalah untuk memahami kihon tersebut. 7i musubi - ki no musubi - /ecara harfiah "knottin 5 menikat-up ki." The act5->DDprocess pencocokan erakan salah satu pasanan s 5 niat di awal, dan mempertahankan koneksi ke salah satu mitra di seluruh penerapan teknik Aikido. Tepat ki musubi membutuhkan pikiran yan 1ernih, fleksibel, dan penuh perhatian. %)ihat setsu0oku.& 7ohai - /eoran mahasiswa 1unior untuk diri sendiri. 7okoro - "9ati" atau "pikiran." 2sikoloi rakyat Jepan tidak membedakan secara 1elas antara 1ok intelek dan kursi emosi, seperti halnya psikoloi rakyat Barat. 7okyu - :afas. Baian dari Aikido adalah penembanan "kokyu *yoku," atau ini adalah koordinasi napas denan erakan "kekuatan napas.". Contoh prosaik+ 7etika menankat benda berat, umumnya lebih mudah saat bernapas keluar. Jua kontrol napas dapat memfasilitasi konsentrasi yan lebih besar dan penhapusan stres. 8alam bentuk tradisional meditasi, fokus pada nafas diunakan sebaai metode untuk menembankan konsentrasi tini atau keseimbanan batin mental. Ini 1ua ter1adi di Aikido. /e1umlah latihan di Aikido disebut "kokyu ho," atau )atihanlatihan ini dimaksudkan untuk membantu seseoran menembankan kokyu *yoku "latihan napas.". 7otodama - /ebuah praktek melantunkan berbaai suara %komponen fonetik dari bahasa Jepan& untuk tu1uan memproduksi neara mistis. 2endiri Aikido adalah sanat tertarik pada /hinto dan neo-praktik mistis /hinto, dan ia memasukkan se1umlah mereka dalam praktek pribadinya Aikido nya. 7u - 7ekosonan. enurut Buddhisme, karakter dasar hal adalah tidak adanya %atau kekosonan& esensi berubah indiidu. *ealisasi ness essenceless-hal inilah yan memunkinkan budidaya nonlampiran psikolois, dan keseimbanan batin sehina konitif. *ealisasi lansun %atau
penalaman wawasan& kekosonan pencerahan. 9al ini muncul dalam Aikido dalam ideal menembankan keadaan keterbukaan konitif, memunkinkan seseoran untuk seera merespon dan intuitif denan perubahan kondisi. %)ihat mokuso.& 7umi1o - 1o pencocokan latihan atau praktek mitra. 7umitachi - 2edan pencocokan latihan atau praktek mitra. 7u0ushi - 2rinsip menhancurkan keseimbanan salah satu pasanan itu. 8alam Aikido, teknik tidak dapat diterapkan denan benar kecuali mitra pertama unbalances seseoran. ntuk mencapai ku0ushi yan tepat, di Aikido, kita harus menandalkan terutama pada posisi dan waktu, bukan hanya pada kekuatan fisik. 7yu - 2utih sabuk perinkat. %Atau perinkat bawah /hodan.& a ai - distancin tepat atau waktu sehubunan denan pasanannya. /e1ak Aikido teknik selalu berariasi sesuai denan keadaan, adalah pentin untuk memahami baaimana perbedaan dalam posisi awal mempenaruhi waktu dan penerapan teknik. ae - 3ront. Jadi mae ukemi O "ma1u 1atuh 5 roll." asakatsu - "kemenanan yan se1ati." % )ihat aatsu dan kachihayabi.& ichibiki - /ebuah aspek dari erakan Aikido yan melibatkan terkemuka, daripada mendoron atau menarik, salah satu pasanan. /eperti konsep lain di Aikido, ada dimensi fisik dan konitif untuk michibiki. /ecara fisik, seseoran dapat menyebabkan pasanan seseoran melalui membimbin halus atau penalihan erakan menyeran. /ecara psikolois, seseoran dapat menyebabkan pasanan seseoran melalui "umpan" %menya1ikan peluan 1elas untuk seranan&. /erin kedua elemen fisik dan konitif beker1a di konser. isalnya, 1ika uke meraih perelanan tanan nae itu, nae dapat menerakkan perelanan tanan hanya sedikit men1elan enaman uke ini, di seperti kecepatan yan uke yan tertipu dan berpikir s 5 dia akan mampu meraihnya, sehina melan1utkan upaya untuk merebut dan menikuti memimpin di mana keininan nae. ii - Benar. isoi - pemurnian *itual. Aikido pelatihan dapat dipandan sebaai sarana untuk memurnikan diri, menhilankan karakteristik mencemarkan dari pikiran seseoran atau kepribadian. eskipun ada beberapa latihan khusus untuk praktek misoi, seperti latihan pernapasan, dalam kenyataannya, setiap aspek dari pelatihan Aikido dapat dipandan sebaai misoi. 9al ini, baaimanapun, adalah soal sikap seseoran atau pendekatan untuk pelatihan, bukan fitur Tu1uan pelatihan itu sendiri. okuso - editasi. 2raktek serin dimulai atau diakhiri denan periode sinkat meditasi. Tu1uan meditasi adalah untuk men1ernihkan pikiran seseoran dan untuk menembankan keseimbanan batin konitif. unkin lebih pentin lai, meditasi adalah kesempatan untuk menyadari pola AC pemikiran dan perilaku sehina pola tersebut dapat diubah, dihilankan atau lebih efisien dimanfaatkan. /elain itu, meditasi dapat Acara penalaman wawasan berbaai aspek Aikido %atau, 1ika seseoran menerima klaim tertentu Buddha, ke dalam struktur yan sanat realitas&. Idealnya, 1enis kesadaran konitif dan fokus yan satu memupuk dalam meditasi harus terbawa ke seluruh praktik seseoran, sehina perbedaan antara "pikiran meditatif" dan "normal pikiran" runtuh. udansha - /iswa tanpa black-belt perinkat.
ushin - /ecara harfiah /ebuah keadaan kesadaran konitif yan ditandai denan tidak adanya pemikiran diskursif "tidak ada pikiran.". /ebuah keadaan pikiran di mana pikiran bertindak 5 bereaksi tanpa hypostati0ation konsep. ushin serin keliru dianap sebaai keadaan spontanitas belaka. eskipun spontanitas adalah fitur ushin, tidak teden alin-alin identik denan itu. Ini bisa dikatakan bahwa ketika dalam keadaan ushin, ia bebas untuk menunakan konsep dan perbedaan tanpa diunakan oleh mereka. usubi - "enikat" atau "menyatukan". /alah satu tu1uan strateis dalam menerapkan teknik Aikido untuk berabun denan %O musubi& dan menarahkan impuls aresif %O ki& dari penyeran untuk mendapatkan kontrol itu. Jadi "ki musubi" atau "ki no musubi" merupakan salah satu tu1uan dari Aikido. Ada konitif serta dimensi fisik musubi. Idealnya, pada tinkat palin ma1u dari Aikido, kita bela1ar untuk mendeteksi tanda-tanda aresi dalam penyeran potensial sebelum seranan fisik telah dimulai. Jika seseoran bela1ar untuk menidentifikasi maksud aresif dan meredakan atau redirect sebelum seranan diluncurkan, seseoran dapat meraih kemenanan tanpa konfrontasi fisik. Jua, denan menembankan kepekaan yan meninkat terhadap isyarat yan dapat mendahului seranan fisik, salah satu sehina memperoleh keuntunan strateis, yan memunkinkan tindakan penceahan atau, barankali, melarikan diri. Ini kepekaan yan meninkat terhadap isyarat aresif hanya munkin sebaai hasil dari pelatihan kesadaran seseoran serta kemampuan teknis seseoran. :aare - enalir. /alah satu tu1uan dari praktek Aikido adalah bela1ar untuk tidak menentan kekuatan fisik denan kekuatan fisik. /ebaliknya, seseoran berusaha untuk menalir bersama denan kekuatan fisik, menarahkan untuk keuntunan seseoran. :ae - The pelempar. bi - belt A. mote - "Baian depan," demikian, kelas erakan di Aikido di mana nae masuk di depan uke. moto 7yo - /alah satu dari apa yan disebut "baru-aama" dari Jepan. moto 7yo adalah amalam sinkretis mistisisme /hinto, neo-/hinto, 7risten, dan aama rakyat Jepan. 2endiri Aikido adalah pemu1a moto 7yo dan dimasukkan beberapa elemen dari itu dalam praktek Aikido nya. 2endiri bersikeras, baaimanapun, bahwa oran tidak perlu men1adi pemu1a moto 7yo untuk mempela1ari Aikido atau untuk memahami tu1uan atau filosofi Aikido. neai shimasu - "/aya menyambut Anda untuk berlatih denan saya," atau secara harfiah, ". /aya membuat permintaan" ini dikatakan salah satu pasanan ketika memulai latihan. saewa0a - teknik menyematkan. -/ensei - /ecara harfiah, "@uru Besar," yaitu, orihei eshiba, pendiri Aikido. *andori - 3ree-style "habis-habisan" pelatihan. 7adan-kadan diunakan sebaai sinonim untuk 1iyu wa0a. eskipun teknik Aikido biasanya dilakukan denan mitra tunal, pentin untuk diinat kemunkinan bahwa seseoran dapat diseran oleh aresor beberapa. Banyak dari erakan tubuh Aikido %tai sabaki& dimaksudkan untuk memfasilitasi pertahanan terhadap beberapa penyeran. *eii - $tiket. 7epatuhan pada etiket yan tepat setiap saat %tapi terutama memperhatikan etiket do1o yan tepat& adalah men1adi baian dari pelatihan seseoran sebaai praktek teknik. 2enamatan menun1ukkan ketulusan reii seseoran, keininan seseoran untuk bela1ar, dan penakuan seseoran hak dan kepentinan oran lain.
/atori - 2encerahan. 8alam Buddhisme, pencerahan ditandai denan realisasi lansun atau kekhawatiran tidak adanya esensi berubah balik fenomena. /ebaliknya, fenomena yan dianap koson dari esensi tersebut - fenomena yan ada di salin keterantunan menyeluruh %insinyur&. /eperti ditandai oleh pendiri Aikido, pencerahan terdiri dalam mewu1udkan kesatuan mendasar antara diri sendiri dan alam semesta %prinsip yan menatur& tersebut. 2rinsip etika yan palin pentin Aikidoist harus mendapatkan wawasan adalah bahwa seseoran harus menumbuhkan semanat perlindunan penuh kasih untuk semua hal. %)ihat ku dan /hinnyo.& /ensei - @uru. 9al ini biasanya dianap tepat untuk menatasi instruktur selama latihan sebaai "/ensei" bukan oleh 5 nya namanya. Jika instruktur adalah instruktur permanen untuk do1o seseoran atau suatu oranisasi, itu adalah tepat untuk menatasi dia 5 sebaai "/ensei" off tikar 1ua. /ei0a - 8uduk di lutut seseoran. 8uduk cara ini memerlukan aklimatisasi, tetapi memberikan baik dasar stabil dan lebih mudah erakan daripada duduk bersila. /empai - /eoran mahasiswa senior untuk diri sendiri. /etsu nin ke - "2edan yan membunuh." eskipun hal ini tampaknya menun1ukkan sebuah konsep murni neatif, ada, pada kenyataannya, konotasi positif untuk istilah ini. Terlepas dari asumsi umum bahwa pembunuhan terkadan men1adi "ke1ahatan yan diperlukan" yan dapat berfunsi untuk menceah ke1ahatan yan lebih besar, konsep pembunuhan memiliki berbaai macam aplikasi metafora. /atu munkin, misalnya, berusaha untuk "membunuh" karakter seperti berbahaya sebaai kebodohan, keeoisan, atau %berlebihan& sain. Beberapa latihan pedan misoi di Aikido, misalnya, melibatkan membayankan bahwa setiap potonan pedan menhancurkan beberapa aspek neatif dari kepribadian seseoran. 8enan cara ini, setsu nin ke dan katsu 1in ken %pedan yan menyelamatkan& menyatu. /etsu0oku - 7oneksi. Teknik Aikido umumnya diberikan lebih efisien denan men1aa hubunan antara pusat seseoran massa %hara& dan batas luar erakan, atau antara pusat sendiri massa dan bahwa dari satu pasanan. Jua, setsu0oku dapat berkonotasi fluiditas dan kontinuitas dalam teknik. 2ada tinkat psikolois, setsu0oku dapat berkonotasi hubunan tindakan-respon yan ada antara diri sendiri dan pasanan seseoran, sehina kiner1a yan sukses dari teknik Aikido sanat berantun pada tindakan sendiri waktu seseoran dan tanapan aar sesuai denan oran-oran dari satu pasanan. /ecara fisik, setsu0oku berkorelasi denan leerae dan denan aplikasi yan palin efisien kekuatan untuk tuas menendalikan keseimbanan salah satu pasanan dan mobilitas. /hidoin - Arti elar formal, kira-kira, "instruktur." /hihan - Arti elar formal, kira-kira, "master instruktur." A "uru uru." /hikaku - /ecara harfiah "dead anle." 2osisi relatif terhadap salah satu pasanan di mana sulit bainya 5 untuk %terus& menyeran dirinya, dan dari yan relatif mudah untuk menontrol keseimbanan mitra seseoran dan erakan. Tahap pertama dari teknik Aikido serin untuk membanun shikaku. /hikko - /amurai ber1alan %"ber1alan l utut"&. /hikko sanat pentin untuk menembankan kesadaran yan kuat dari satu pusat massa %hara&. 9al ini 1ua menembankan kekuatan dalam pinul seseoran dan kaki. /hinkenshobu - )it. "8uel denan pedan hidup." Ini menunkapkan sikap seseoran harus
memiliki tentan pelatihan Aikido, yaitu, oran harus memperlakukan sesi latihan seolah-olah, dalam beberapa hal, duel hidup-atau-mati denan pedan hidup. /ecara khusus, perhatian seseoran selama pelatihan Aikido harus mindedly tunal terfokus pada Aikido, seperti, saat duel hidup atau mati, oran yan perhatian sepenuhnya berfokus pada duel. /hinnyo - "hakiki" atau "suchness." /uatu istilah yan umum diunakan dalam filsafat Buddhis %dan terutama dalam Pen Buddhisme& untuk menun1ukkan karakter hal, karena mereka berpenalaman tanpa menyarin penalaman melalui suatu keranka konseptual yan 1elas. Ada beberapa pertanyaan apakah "murni" 2enalaman ditafsirkan %independen dari semua konseptualisasi 5 kateorisasi& yan munkin diberikan makeup neurolois 5 konitif manusia. :amun, /hinnyo 1ua dapat diambil untuk menandakan penalaman hal-hal sebaai koson dari esensi indiidual %lihat "ku"&. /hinto - "Cara para dewa." Aama asli Jepan. 2endiri Aikido sanat dipenaruhi oleh moto 7yo, aama yan sebaian besar didasarkan pada mistisisme /hinto. %)ihat 7ami.& /hodan - @elar sabuk hitam pertama. %:idan O kedua elar sabuk hitam, diikuti oleh /andan, yondan, @odan, *okudan, nanadan, 9achidan, k yudan, 1udan.& /homen - 3ront atau atas kepala. Jua baian depan yan ditun1uk dari sebuah do1o. /hoshin - pikiran 2emula. 7ema1uan dalam pelatihan Aikido mensyaratkan bahwa pelatihan satu pendekatan seseoran denan pikiran yan bebas dari bias berdasar. eskipun kita dapat menatakan dalam satu hal bahwa kita serin berlatih teknik yan sama berulan-ulan, serin melawan seranan yan sama, ada arti lain di mana seranan tidak ada yan pernah sama, dan tidak ada penerapan teknik yan pernah sama. Ada ariasi halus dalam keadaan setiap interaksi antara penyeran dan bek. 2erbedaan-perbedaan kecil kadan-kadan dapat diter1emahkan ke dalam perbedaan yan lebih besar. ntuk menanap bahwa seseoran sudah tahu teknik merupakan "penuncian dalam" pikiran untuk pola pre-set disposisional respon, menakibatkan hilannya sesuai kemampuan beradaptasi. 2rasanka 1ua dapat menhilankan salah satu kesempatan untuk mempela1ari prinsip-prinsip baru erakan. /ebaai contoh, adalah umum bai oran-oran saat melihat cara yan berbeda untuk melakukan teknik untuk menilai itu salah. 2enilaian ini serin didasarkan pada penamatan dankal teknik, bukan apresiasi terhadap prinsip-prinsip mendasar dari teknik ini didasarkan. /huyo - 8isiplin. 2er1alanan dalam mene1ar 7ebenaran. ntuk mene1ar Aikido, atau seni bela diri, sebaai 1alan menu1u perbaikan diri melibatkan lebih dari pelatihan. 7ata "shuyo" berkonotasi terus-menerus ber1uan untuk keunulan teknis dan personal. 7eiko, atau pelatihan, hanya salah satu komponen tersebut ber1uan. ntuk mene1ar Aikido sebaai !ay membutuhkan pemeriksaan ulan terus menerus dan koreksi diri sendiri, seseoran sikap, reaksi, disposisi untuk suka atau tidak suka, dll /oto - "luar." 8enan demikian, kelas erakan Aikido dieksekusi, khususnya, di luar lenan penyeran %s&. %)ihat uchi.& /uburi - praktik berulan dalam mencolok dan menyodorkan denan 1o atau bokken. 2raktik berulan seperti kereta tidak hanya fasilitas seseoran denan sen1ata, tetapi 1ua fluiditas umum dari erakan tubuh yan berlaku untuk tanan koson pelatihan. /ukashi wa0a - Teknik yan dilakukan tanpa membiarkan penyeran untuk menyelesaikan ambil atau untuk memulai pemookan. Idealnya, oran harus cukup sensitif terhadap postur dan pererakan penyeran %atau calon penyeran& bahwa seranan dinetralkan sebelum sepenuhnya
