Aikido - Etiquette and Transmission by Nobuyoshi Tamura Translation by J.R. David, 1st Dan, Aikido de la Montagne
Editor's Note: We We are extremely happy to present present for the first time an English translation of Tamura Tamura Sensei's book Aikido - Etiquette and Transmission hi!h has been a"ailable only in #ren!h$ We are grateful to Tamura Tamura Sensei for his permission to produ!e produ!e this "ersion$ %a&or thanks also go to Stephane enedetti( )th *an( +hief ,nstru!tor of %utokukai Europe *o&o %irabeau( and student of Tamura Tamura Sensei( ho translated from .apanese/( edited and published the original "ersion( hi!h as published by 0es Editions du Soleil 0e"ant in 1221$ 3hotos !ourtesy of top to bottom/: 1- N$ Tamura( 4 - %ar! 0etissier( 5 (6 - Akihiro Tamura$ Preamble
The Japanese word shido can be translated as to guide, to orientate, to direct, to show, and to teach. S!" #inger. The character is co$posed o# the ele$ents hand, spoon and $outh. !t%s the hand that takes the tasty #ood to the $outh and thus the #ingers. D&" the character has the sa$e pronunciation as the do in Aikido, 'udo, etc. (ut it%s written with an added hand as i# one would grab so$eone by the hand to guide hi$. !t e)presses the idea o# *giving a direction*. +or$erly, 'udo was called 'u'utsu or yawara kendo, ken'utsu or gekken'utsu budo, bu'utsu There was a ti$e when Aikido was still aiki'utsu. The character 'utsu is co$posed o# to go and $illet. !t represents the course o# one who wanders in the #ields to #ind his way. As in assi$ilating a techni-ue, one has to practice on and on. !t is the sa$e #or any other hu$an activity. Thus, the character 'utsu e)presses the idea o# a $ethod and art very inti$ately tied to learning. At the ti$e when Aikido was still aiki'utsu, it was 'ust a practice #ocused only on onesel#. !t su##iced to $aster it. Today we have Aikido. D& indicates a direction shown by the head. This direction is clear and each and everyone can engage in it. !t is thus i$portant #or all o# us who practice or teach Aikido to engage in this way with the intention to take others by the hand and guide the$ to be able to bring to li#e this ideal, such that the D& o# the way and the D& o# teaching co$plete and enrich each other. To do this, one has to know clearly where to take the students, which $ethod to use and on which point to #ocus attention. This is why ! have let $y pen run on the pages pages that #ollow. Chapter 1
T TA/R !t goes without saying sa ying that the $ain issue iss ue when teaching Aikido is to be a good teacher. The teacher $ust work technically but $ust also strive to progress spiritually and $orally. The teacher $ust correctly open the heart%s eye and thus beco$e a good e)a$ple to his students. ere are so$e
points to ponder" 0ASS!& The technical and spiritual #laws o# one%s students $ust be corrected as i# they were one%s children, as i# they were one%s sel#, help the$ $ove #orward in the right direction and dedicate body and soul to this task. 2now that nothing can be acco$plished without passion. ( & 3!T T ST4DTS !t is i$portant to know the desires o# one%s students, what their needs are and what it is necessary to bring to the$. !t goes without saying that there has to be a deep love #or this state o# $ind to blosso$. &ne $ust unite one%s spirit with one%s students% to i$prove i$prove together while taking good care to practice with 'oy and intensity. D5!/A/6 To teach is to learn but to learn one has to teach sincerely. &ne has to teach with such a delicacy that $akes each person happy and grate#ul to receive this teaching. 7!8 A !DA5 AD S5+9/&+!D/ To teach is to give a technical and spiritual ideal and above all trans$it to everyone the desire to attain it. 7RAT+45SS Re'oice on the technical progress, the physical and spiritual develop$ent o# your students: Re'oice in the #act that the daily training has not brought lots o# in'uries and clashes. (e grate#ul that your role as teacher teac her has allowed you to think, to study, and to progress technically and spirituall y. Thank the students that have $ade your progress possible. D85&0 0&S!T!8SS !t is pre#erable to vary the teaching, however without teaching everything and anything, and to avoid $aking the student #eel either lassitude or boredo$ but instead to continuously $ake the student #ind new #ood. !t is good to give the beginner the desire to practice without disheartening hi$ by the danger o# in'ury or by e)cessive pain but instead by $aking hi$ progressively $ore interested in the practice. 7&&D R5AT!&S AD M4T4A5 SAR/ (T3 TA/RS. Teachers should get together to e)change their e)periences and the result o# their searches, without pre'udice or taking sides. !t is ridiculous that people teaching the way o# har$ony and peace be #euding with each other. 0roble$s o# technical e)ecution or relative strength are o# no interest. 3hat counts is not the strength o# e)ecution but the con#or$ance to the principle. The techni-ue that only a strong $an can e)ecute has no general interest. !t $ust not be #orgotten that to each techni-ue corresponds to $any possible e)ecutions and that the conditions change with the attack o# the opponent. /&RR/T56 7RAS0 AD TRASM!T T 0R!/!05 &+ A!2!D& &ne cannot say that the good teacher $ust only be the one physically strongest or technically best.
!t is by a teaching based on a correct and clear co$prehension o# the principle that one can guide students without wandering. Chapter 2
T +!A5!T6 &+ TA/!7 Aikido is an ascetic discipline that shows hu$ankind the way to per#ect itsel# using ki9iku, toku9iku, tai9iku ;#or$ation and develop$ent o# the essence" ki, o# wisdo$ and virtue" toku and o# the body" tai<. Through this education which includes and unites the $ind and the body, one goes beyond the notion o# race and o# national boundary to #or$ a true hu$an being. D85&0MT &+ T (&D6 The $ove$ents o# Aikido are #le)ible, as are those o# nature, #or they are #ull o# kokyu9rokyu. They enhance physical power, i$prove health and the beauty o# the body. !n the sa$e way, #le)ibility, resistance to e##ort, re#le)es, speed etc. are developed and sharpened. T 5SS&S &+ (4J4TS4 (y steeping one%s sel# in the $ethods o# *li#e preservation*, one ac-uires sel#9con#idence and tran-uility and achieves peace o# $ind. At the sa$e ti$e, the will to undertake things, perseverance and organi=ational skills develop the$selves. MTA5 AS0/T &ne $ust overco$e the greatest ene$ies o# budo" anger, #ear, doubt, hesitation, scorn, and vanity, and develop a #ir$ soul and great courage. &ne $ust be penetrated by the necessity o# victory over onesel#. !t is through the repetition o# daily practice that one van-uishes tiredness, weariness and co$es to know a taste #or e##ort, the i$portance o# perseverance and the 'oy o# winning over di##iculty. T!>4TT A$ongst a society that lends great i$portance to techni-ue, strength and power, the rules o# eti-uette allow one to #eel there are overarching values it is i$portant to respect without e##ort. They are the sine -ua non condition o# a society%s survival. T 0R!/!05 &+ A!2!D& AD !TS A005!/AT!& ! DA!56 5!+ The principle o# Aikido applied through iri$i9tenkan, ki, kokyu, the Me9&pponent duality, the $ultiple attacks, etc. teaches the sense o# unity, har$ony, love and peace. Aikido e)presses with the body the order o# the universe. !# the order o# the universe is applied correctly to the body, techni-ue and health naturally blosso$. !# the order o# the universe is applied correctly to daily li#e, education, work and personality naturally blosso$. !# the order o# the universe is applied to society, social har$ony and relations between onesel# and others naturally blosso$s. u$anity, like one #a$ily, will then work #or the recovery o# the world, whose har$ony is currently troubled.
Chapter 2 The Purpose of Teaching Aikido is an ascetic way that shows the direction o# hu$an acco$plish$ent through ki9iku, toku9 iku and tai9iku ;the #or$ation and develop$ent o# the essence" ki, o# wisdo$ and virtue" toku and o# the body" tai.< Through this education, which includes and unites the body and the $ind, we go beyond the notions o# race and boundary to #or$ a true $an. e!elopment of the "ody The $ove$ents o# Aikido are #le)ible like those o# ature because they are #ull o# kokyu9ryoku. They increase physical power and i$prove the health and beauty o# the body. Also, #le)ibility, resistance to e##ort, re#le)es, speed, etc. are developed and sharpened. The #essons of "u$utsu (y beco$ing i$bued in the $ethods o# *li#e preservation*, we ac-uire sel#9con#idence and tran-uility and we reach peace o# $ind. At the sa$e ti$e, the will to undertake things, perseverance an organi=ational skills are developed. %ental Aspect 3e $ust overco$e the greatest ene$ies o# (udo" anger, #ear, dread, doubt, hesitation, conte$pt, vanity and develop a great #ir ness o# the $ind and great courage. 3e $ust be #illed by the necessity o# victory over ourselves. !t is through the repetition o# daily practice that we can overco$e tiredness, weariness and develop a taste #or e##ort, the i$portance o# perseverance and the 'oy o# overco$ing di##iculty. Etiquette !n a society that easily gives i$portance to techni-ue, strength and power, rules o# eti-uette allow us to #eel that there are superior values which are i$portant to respect without any e##ort. They are the sine -ua non condition to the survival o# society. ;See ti-uette chapter< The 0rinciple o# Aikido and its Application in Daily 5i#e. The principle o# Aikido is applied through iri$i9tenkan, ki, kokyu, the Me9&pponent duality and one against $any practice. !t teaches a sense o# unity, har$ony, love and peace.
Aikido e)presses, with the body, the order o# the universe. !# the order o# the universe is correctly applied to the body, techni-ue and health blosso$ naturally. !# the order o# the universe is correctly applied to daily li#e, education, work and personality blosso$ naturally. !# the order o# the universe is correctly applied to society, the relation between onesel# and others blosso$s naturally u$anity, like one #a$ily, will then work to restore the world, whose har$ony is currently troubled. Chapter & Teaching %ethod !n order to achieve the goals stated above, we will develop an e)planation o# the teaching $ethod and divide it in two branches" the $ental aspect and the technical aspect, even though Aikido is a way to $ind9body unity. The intensive practice o# techni-ues #avors spiritual elevation. Spiritual progress #avors technical progress. +or the clarity o# e)planations, the technical and spiritual aspects have been split. o subordination o# one to the other nor a state o# dualist separation should be in#erred. Teaching' Technical Aspect The Teacher(s Attitude !t is certain that the direct relation #ro$ the $aster to the disciple, which is the traditional relation
identical in essence to the relation o# parents to their children, is the best one. !n the $odern world, such a relation has un#ortunately beco$e i$possible. 3e will thus speak o# the current situation in e)isting do'os. 5et us not #orget that the true way to hand down the tradition is through a direct relation. 5et us try not to break this link but to keep its spirit. !n the case o# large classes, one teacher ;or at best a s$all nu$ber o# teachers< has to deal with a large nu$ber o# students. And since one has to teach 'ust one ti$e to these students and ti$e is li$ited, it is i$possible to spend with each person all the ti$e they would need. !t is thus very i$portant to #ocus on the #ollowing points" emonstration E)planation *mitation Analysis Correction +bser!ation ,ygiene • • • • • • •
emonstration The de$onstration should be as clear and precise as possible. !t should e$phasi=e the #unda$ental directions #or the students and $ake the$ want to practice the techni-ue. E)planation The e)planation should give the $eaning and the $ethod o# practice. !t should e$phasi=e the points that need special attention. *mitation very study goes through an i$itation phase. &ne should try, at #irst, to $ake students reproduce the techni-ue as closely as possible to the way it was de$onstrated by the instructor, without -uestionning it. epetition Repetition allows the assi$ilation o# e)planations. 0rogressively, one can develop speed, power and sharpness. Analysis 3hen a techni-ue is di##icult, it is pre#erable to break it down in $any si$ple $ove$ents. Correction !t is not enough to correct the appearance o# a techni-ue. 3e should try to understand and cut the root o# the inco$prehension and o# the error. Depending on the techni-ue, we have to be care#ul o# the use o# breathing, the #ootwork, the $ove$ent and use o# the hands, the change o# hip level, the use o# ki. +bser!ation !t is i$portant to observe well the techni-ues o# the instructors, the senior students and the beginners. 3e $ust help students understand this. 3e $ust bring the$ to co$pare their techni-ue to others?. This will help the$ to i$prove. !# an in'ury or tiredness #orces us to rest #or a while, we can use this ti$e well. These $o$ents o# observation are no di##erent than physical practice. 3e $aintain a #ocussed attitude and keep a sense o# e##ort. ,ygiene !t is i$portant no to #orget that intensive work re-uires -uality rest ti$e. !t is i$portant to sleep enough and eat reasonably, in -uantity as well as in -uality. Athletes tend to abuse alcohol. This
should be avoided. !t is good to eat lightly an hour be#ore training and to wait at least hal# an hour a#ter. Drinking cold while the body is hot should be avoided. &ne should wear a clean keikogi so as not to upset training partners. ands and #eet should be clean and nails cut short. 0ractitioners should be devoid o# any 'ewelry, watch, etc. The do'o $ust be care#ully cleaned and a well ventilated space is pre#erable. The %ental and .piritual Aspect of Teaching *mpro!ing togethe r So$e people train assiduously but re#use to practice with beginners or people they dee$ *bad.* ven i# they i$prove technically, their techni-ue will re$ain a techni-ue prisoner o# techni-ue. 5et us not #orget that aikido is not only the way o# $ind9body unity but $ostly the way o# unity. !# the spirit is stopped in its progression, then everything stops. A spirit who re'ects others, a spirit who doesn?t know how to accept others, a spirit to who$ it is enough that only it progresses, a spirit who brings everything to the narrow real$ o# the ego cannot open itsel# to a state o# unity with the universe.
Aite ;uke< e)ists, thus practice is possible. 0ractice e)ists, thus progress is possible. 3hen there is aite, each partner i$proves and shares his 'oy through $utual e$ulation To ha!e a thankful heart To help a less advanced practitioner re-uires $uch patience and love. To understand the causes hindering this less advanced practitionner, it is necessary to constantly push our own research #orward. 3e $ust not rely on strength !n the world o# bu'utsu where we o#ten #ocus on the e##iciency and power o# the techni-ue, $ore i$portant is the strength allowing to go beyond this stage. The practice o# aikido cannot be narrowed to anting to beco$e strong in the sense o# in'uring the partner or re#using to lose. !n aikido, power is a conse-uence o# applying the principal o# the universe. As strong as he $ight be, the $an who steers away #ro$ this principle cannot win. Aikido is a $ethod #or studying the action o# the principle o# the universe. &ne $ust not pursue everything that one encounters in the course o# this study. /ictory o!er oneself &ne $ust van-uish in hi$sel# the spirit o# anger, la=iness, #ear, etc. The greatest danger is e)cessive pride: Don?t #orget that as soon as the idea that your techni-ue is good appears, all progress stops. !n the constant #low o# the world, to stop but one instant $eans being #orever behind.
Chapter 0 ' Etiquette and iscipline !n Japan we say the alpha and o$ega o# budo are in rei. The #ighting spirits intensi#y i# they are let loose when practicing.
To run a group without it sel#9destructing, rules have been #ound necessary. ti-uette and discipline are probably born #ro$ this need. They allow these rules to work s$oothly. +ighting without ethical rules #alls within the ani$al world, not budo. (ugei ;war techni-ues< and bu'utsu are but the $eans #or war. Rei is si$ply translated by salvation. (ut the notions o# politeness, courtesy, hierarchy, respect and gratitude are included in rei. Reigi ;eti-uette< is the e)pression o# $utual respect in society. !t can also be understood as the way to know one%s position with respect to the other. Thus we can say it is the $eans to beco$e aware o# one%s position. The character #or rei has two ele$ents" shi$esu and yutaka. Shi$esu" the divine spirit that has co$e down to inhabit the altar. 6utaka" the $ountain and the sacri#icial wooden vase containing the #ood" two cobs o# rice, the container over#lowing with #ood, abundance. 4nited, these two ele$ents suggest an altar, well #illed with #ood o##erings, in #ront o# which one waits #or the co$ing down o# the divine #or a celebration. 7i" $an and order. Re#ers to that which is orderly and constitutes a $odel. Reigi is thus originally what governs celebration o# the sacred. This $eaning probably spread to hu$an relations when the cere$ony governing the hierarchical relations between $en has been instituted. &9Sensei never ceased to repeat" *Aikido e)ists so that plants, trees, birds, $a$$als, #ish, insects down to the last #ly have their proper place.* ach being that knows its proper place, knows itsel#. To know onesel# is to know the $ission assigned to onesel# by the heavens. To #ul#ill the heavens% $ission is to con#or$ to the order o# the universe, wherein there is no space #or hesitation nor #or opposition. !t is true peace. 5et Man use this cos$ic order as a $odel #or the structure o# hu$an society and let hi$ $ake it the principle o# his each and every action. This is what is called reigi9=aho. (y abiding by this rule, Man can rise. There is a natural hierarchy in the #a$ily" grand#ather, grand$other, #ather, $other, children, grandchildren. Military organi=ation re-uires rank hierarchy to #unction properly" general, colonel, co$$ander, etc. !t is the sa$e #or churches" 0ope, patriarch, cardinal, bishop. And o# course, it is the sa$e #or (udo" $aster, disciple, se$pai, kohai, dohai , senior students, beginners, older and younger. All o# those relations apply concurrently. 0roper eti-uette $eans to #ind a proper balance, case by case. To preserve order, one $ust observe politeness towards the $aster, correct attitude towards the se$pais, proper eti-uette towards kohais and dohais. The observance o# those rules is, ! believe, the e-uilibriu$ and survival condition o# the societies we 'ust talked about. 3e $entioned earlier the intensi#ication o# the aggressive and #ighting spirits through the practice o# bu'utsu ;let us not #orget that these instincts the$selves are devoid o# any $orality" they e)ist and are necessary #or survival, period<. owever i# those instincts escape proper control, every act beco$es violent and we thus start picking on the weak or despising the$. &r, conversely, we crawl in #ront o# the strongest while hating the$ at the sa$e ti$e. 3hen actions are directed by eti-uette, a space is created which allows one to easily control e$otions. ti-uette controls the *!* and channels the energy in a positive way instead o# letting the ani$al instincts run loose. !n religion, e$otions are naturally brought under control by constant repetition o# rituals trans$itted #ro$ generation to generation. A religious #eeling thus blosso$s. ot only is the believer sensitive to this but also the observer. A $ove$ent e)ecuted according to a rigorous eti-uette rein#orces the spirit%s stability and brings aggressiveness under control. This establishes cal$ness. !t is the sa$e
with what happens in the do'o. The practitioner as well as the observer is aware o# the naturally #lowing e##iciency. At the sa$e ti$e, they are #illed with the at$osphere brought by tradition. Thus we $ust practice without holding back in order to bring under control the e$otions less desirable in budo" #ear, panic, conte$pt #or others, in#lated ego. That way we can $ake progress with our bodies and our $inds. Those who have survived a#ter being on the #rontier between li#e and death not only had good techni-ue $ore i$portant, they had a clear9headed 'udg$ent o# the situation, $ade possible by the cal$ness, serenity and cold9bloodedness that inhabits the$. This allows one to act with the necessary deter$ination. This attitude and the acts o# bravado o# the braggart and his e$otional over9e)cite$ent are e)actly at opposite e)tre$es. To $ake progress, to beco$e truly *strong* depends $uch $ore on developing this cal$ness and internal deter$ination than in ac-uiring a techni-ue. !nso#ar as we are hu$an, shouldn%t we wish to live in a world which cherishes its children@ So$e have wanted to throw away this eti-uette like old #urniture. !t is nevertheless part o# the co$$on heritage o# hu$anity. 3hat would you say i#, in order to build a society based on $utual respect, we brought this eti-uette #orward again@ Take #or e)a$ple the si$ple act o# putting away your shoes. !t teaches us to classi#y and put things in order and $akes us #eel the satis#action resulting #ro$ this as well as the i$portance o# this state o# $ind. To acco$plish an action with care is si$ultaneously to prepare #avorable conditions to acco$plish the ne)t action, and also to practice budo. The world o# rei does not only ai$ to give personal satis#action. The satis#action others #eel is also a part o# it. The develop$ent o# an esthetic conscience creates the need to put away even the shoes o# others i# they are not in their proper place. !# the gratitude towards a kohai is e)pressed by this one thought" *Thank you #or allowing $e to have practiced well today,* the kohai will be happy. !# we thank the se$pai #or his or her teaching, he or she will be happy. 5ike all things, eti-uette $ust be elaborated in onesel# this $eans the spirit $ust #ill every gesture. aving to say, *Respect $e because ! a$ your se$pai* or *0ut $e on a pedestal because ! a$ your $aster* is grotes-ue. Respect towards the se$pai $ust not be provoked, the kohai $ust naturally want to respect the se$pai. !n turn, the se$pai takes care o# the kohai because the kohai occupies hisher own place and deserves to be taken care o#. The spirit o# gratitude, respect and grate#ulness is naturally #elt by the other when it #ills the eti-uette. ti-uette thus governs the $utual relations. ierarchy naturally #alls in place when eti-uette is respected. ti-uette $ust be the e)pression o# the heart%s hu$anity. !t%s not enough to si$ply yield to the #or$. !# respect doesn%t inhabit the heart, the #or$ will be an e$pty shell with no soul. 3e $ust respect the personality o# the other. Actions in accord with the rules o# eti-uette breed a pure heart and a noble attitude. ! tend to think this sense o# co$passion is si$ply linked to har$ony and peace. 3e $ust engrave this in our $inds to trans$it eti-uette and discipline. E)ecuting A "o
There is the standing bow and the seated bow, and the bow with or without a weapon. 3e shall study the$ in detail. .tanding bo ithout eapon
3hile standing and still position, look the person in the eyes, showing your respect. (end #orward slightly #ro$ the waist, then stand back straight. This bow is used, #or e)a$ple, when inviting or leaving a partner. ;See #igures 1 and B< This sa$e bow is done a little $ore deeply when entering or e)iting the do'o as well as when bowing to a se$pai during practice. ;#igure C< !n a still deeper bow, let the #ingers slowly slide down to the knees. This very respect#ul bow is
reserved #or the god%s altar, the #lag or other sy$bols o# the state as well as #or especially noteworthy guests. ;#igure < .tanding bo ith eapon
old the sword lightly, at the waist, with the le#t hand. The thu$b is on the tsuba, the blade is turned upward. The handle is slightly towards the center. The tip o# the sword is kept below the hori=ontal. The base o# the thu$b is resting on the hip bone. +ro$ the resting position, the le#t ar$ leaves the hip and straightens itsel# naturally. The sa$e bow is e)ecuted, whether with the sword or without. ;#igure E< "oing to the altar
3alk up to the altar holding the sword at the hip. Switch the sword to the right side. The right hand holds the sword below the kurikata the blade is now #acing down. The le#t hand returns to the le#t thigh. 5ean #orward while $aintaining the sword at a #i)ed angle. A#ter standing back up straight, let the sword pass in #ront o# the body and grab it with the le#t hand to bring it back to its initial position. ;#igure F< "oing ith a $o
;See #igures G H I< "oing ith a sord
There are two correct #or$s. ;#igure < 9 +irst #or$" switch the handle o# the sword to the right, edge outwards. 9 Second #or$" keep the handle on the le#t in that case the edge is toward you. .eated bos .eia
Sei=a is a seated position peculiar to Japan. Spine straight, ki concentrated in the seika tanden, shoulders and rib cage rela)ed, the hands are high on the thighs with neither #ingers nor elbows apart. 5eave a space o# two #ists between the knees ;one #or wo$en<. The big toes overlap. They say we #eel like we are holding the sky with the head but it $ight be pre#erable to #eel like we are suspended #ro$ the sky. ;#igures 1K to 1C< The eyes are naturally open. The 'aw is closed but not tight, the tongue is on the palate. (reathing is cal$, long and deep. 2i is distributed e-ually in all directions. Sitting down and standing up ;Suwarikata and Tachikata< To sit in sei=a" #ro$ a standing position, #eet together, spread and slightly bend the knees. The right hand pushes the haka$a #olds to the sides ;le#t, then right<. ;#igure 1< 0ut the right knee down, then the le#t. ;#igure 1E< Stretch out the #eet and cross the big toes. The weight co$es down on the heels and #inally sit between the heels. ;#igure 1F< To stand up" #ro$ a sei=a position, the hips rise and the toes take hold. ;#igure 1G< The right #oot co$es #orward at the level o# the le#t #oot. ;#igure 1I< Rise up cal$ly without bending in every direction. The back #oot co$es #orward at the level o# the #ront #oot. ;#igure 1< .eated bo ithout a eapon
+ro$ a sei=a position, lean #orward, letting the hands slide down to the ground le#t hand #irst, then right. ;#igure BK< The thu$bs and #ore#ingers touch one another, #or$ing a triangle. ;#igure B1< 5ean #orward deeply, keeping the elbows close to the knees. Raise back your torso, starting with the right hand. 5ike the standing bow, the depth o# the bow varies . ;#igures BB and BC< This bow is #or the altar, the ka$i=a and the katana. !n that case, slide both hands si$ultaneously.
;#igure B< 3hen bowing to a teacher or a person o# higher rank, lean #orward #irst and wait until this person is back up be#ore rising. (e care#ul not to bow with the head and a curved back. !nstead, lean the head and torso #orward in one $ove$ent. .eated bo ith a eapon
!n the beginning, the sword is held at the le#t hip o# the practitioner seated in sei=a. The sword is then brought #orward to the #ront and center. The right hand holds the sword near the tsuba, by the back and #ro$ under, and brings it to the right side. 0ut it down one #ist away #ro$ the thigh. ;#igures BE to C1< The e)act position varies with di##erent schools" blade inwards or outwards, po$$el ;kashira< or hilt ;tsuba< aligned with the knee. The i$portant thing is to choose one way and stick to it in order to e)ecute these $ove$ents without hesitation. Arrangement +f The o$o
;See #igures CB and CC< ,ierarchy of the seats
Shinden ;altar<, gyoku=a ;i$perial seat<, tokono$a ;elevated space<, shihandai ;seat o# the shihan<, raihinseki ;seats o# the honorary guests< these are against the ka$i=a. The opposite seat is the shi$o=a. !n the cases where there is no special $ark ;#or e)a$ple tokono$a, shinden<, the ka$i=a is opposite the entrance. The #ar end o# the roo$ or the house is one rank above the entrance. The le#t side, viewed #ro$ the ka$i=a, is the $ost honorary. During de$onstrations, the ka$i=a is the seat o# the representative o# the state, o# the #lag or o# the presidence o# the event. !n urope, a picture o# &9Sensei adorns the ka$i=a and sy$boli=es the passing on o# knowledge. /ertain do'os have a peculiar disposition which #orces so$e inversions" gyaku9shiki.
Chapter 3' Places and %ethods of Practice Places
(udo is nor$ally practiced in a do'o however it is also a good thing to practice in di##erent places, #or e)a$ple in a house, in #ields, in the woods, by the sea or in the snow. The practice o# Aikido is an asceticis$ o# every instant, which is like saying all daily activities are perceived as the study and practice o# the principles o# Aikido. !t is useless to look #or co$plications. !t is enough to rela) the shoulders, to keep the ki in the seika tanden and to have the right attitude. The techni-ues o# Aikido do not oppose the opponent?s strength. !t is the sa$e on the $ental plane. Start by doing what you canL &ne can practice sitting at a table, while walking, at work, in the restroo$sLeven while sleeping. !# one%s position and breathing are correct, one cannot but sleep well. 3hen one doesn?t know how to behave, one $ust invoke the $aster one respects or one?s 7od and identi#y onesel# to hi$. +or e)a$ple, i# &9Sensei is the $aster you respect you $ust ask yoursel#" *!# ! was &9Sensei, what would ! do@* The answer will surely co$e. Then si$ply act in the sa$e spirit, thinking &9Sensei is acting. %ethods
A#ter having brie#ly treated the places o# practice, ! would like to e)pand a little on the $ethods. !t is possible to train alone, in pairs or with $ultiple partners. 3hen training one?s students, it is desirable to use di##erent $ethods to evaluate their progress. ,itori-geiko
3hen alone, it is enough to have a little ti$e and space. &ne way to practice alone has been e)plained in the preceding chapter. !t is also possible to do breathing e)ercises linked to Aikido $ove$ents, suburi, and tanren9uchi. !n the #orest, one can use the trees as partners. Try your own e)peri$entsL!$agine and teachL *ppan-geiko
This is the regular practice in the do'o. The teacher proposes a $odel and the practitioners repeat it at will. 3e will try to give a $ore precise analysis o# this training. 4utsu-geiko
0ractitioners o# all levels alternatively repeat the techni-ue proposed by the teacher. 5chikomi-geiko
This is the way to practice with a $ore advanced partner or a teacher. 5et?s take, #or e)a$ple, ryote tori tenchi nage or the way to take position #or a koshi nage. The student will start the techni-ue and stop 'ust be#ore the throw. e or she will then repeat this on both sides, without stopping, until he or she is out o# breath. The role o# the teacher is then to allow the student to develop his or her #le)ibility, precision and speed o# $ove$ent. The advantages o# this $ethod are as #ollows" • • • • • •
!t helps to $ake technical progress. !t helps breathing. !t helps the -uality o# body $ove$ents. !t helps balance. !t stabili=es the ki in the seika tanden. !t develops kokyu ryo9ku.
,ikitate-geiko
This is another #or$ o# training by which the higher ranked help the lower ranked $ake progress. 3hen the lower ranked practitioner e)erts useless or con#used strength, the higher ranked practitioner cancels, without blocking, the e##ects o# this #orce and does not #orce hi$sel# to #all. This $ethod ai$s at correcting the errors and weak points with benevolence. 3hen the e)ecution o# the $ove$ent is satis#actory, one $ust #all si$ply, in a way that allows a good e)tension and a good rela)ation in the practice as well as getting pleasure. !# you #all well, you create the conditions #or a better understanding and you support the technical blosso$ing o# your partner. &ne $ust never overwhel$ a lower ranked partner with #orce or knowledge, at the risk o# killing the ger$ o# progress in hi$. Students and kohai are our own $irror. All our de#ects and weak points can be #ound in their $ove$ents. !t is thus very i$portant to devote the greatest attention to correcting onesel#. The lower ranked students $ust accept advice #ro$ the higher ranked si$ply in order to correct their practice and i$prove. The responsibility o# the se$pai or the teacher is to #oster an open9 $inded attitude in the beginners instead o# an a priori critical attitude. 6okaku-geiko
This #or$ is practiced between people o# e-ual technical and physical skill. !t is i$portant to avoid $utual co$placency, #rivolity or syste$atic blocking. This is a ti$e to study techni-ues that are taught less o#ten, that are di##icult and, o# course, any techni-ue whose e)ecution poses proble$s. 7akari-geiko
0ractitioners o# the sa$e level successively and without interruption attack one practitioner who repeats the techni-ue. Since there are $any ukes, they do not tire as #ast. This adds to the advantages o# uchiko$i9geiko" • • •
Develop$ent o# kiryoku ;power o# the will< 7ood visual perception e)ercise Develop$ent o# the #eelings
8yu-geiko
As its na$e indicates, 'yu9geiko ;'yu #reedo$< $eans to practice #reely" to choose the the$e o# one?s study and then practice and study. Jyu9wa=a $eans #ree t echni-ue. &ne then looks #or the techni-ue that is the best response to an attack, or even renders it i$possible. This type o# training #avors #reedo$ o# $ove$ent. /on#usion between 'yu9geiko and 'yu9wa=a is #re-uent but it is desirable to clearly distinguish the$. %itori-geiko
!t so$eti$es happens that we are physically unable to practice, which doesn?t $ean it is i$possible to work and i$prove. &ne can then take advantage o# those $o$ents to study, by watching class, the physical and $ental aspects o# techni-ues. &ne can take advantage o# the position o# observer to put into perspective what is di##icult to grasp when physically involved. 9agai-geiko
Training in the do'o is done while i$agining a real situation, but the do'o has its li$its. !t is thus use#ul to get out o# this conte)t and practice outside and train the eye, the #eet, the hands and the body in di##erent environ$ents. eedless to say nature presents irregularities that $ats don?t. There are holes and bu$ps certain soils ;like $ud or ice< are $ore slippery than others. &ther soils, like wet sand or clay, stick to the #eet. Thick grass $ay hide obstacles. &ne $ust beware o# hard sur#aces such as rocks, concrete or loose stones on which it is easy to get hurt. !t then beco$es i$portant to adapt one%s way o# walking by $aking s$all steps and sliding the #eet
lightly. The direction o# a slope, the orientation o# the sun and wind as well as shade, light, darkness, the surrounding vegetation, the trees, the branches and the bushes $ust all be taken into account to deter$ine the choice o# an advantageous position relative to the opponent. To take only the e)a$ple o# uke$i, one $ust think and e)peri$ent to adapt uke$i practice to the outdoors. The choice o# weapons $ust be adapted to the environ$ent and one $ust train in order to #eel the criteria guiding this choice. This is why it is desirable, i# we have the necessary ti$e and space, to train outside in nature where, as opposed to the do'o, we breath pure and #resh air in the sunlight in the $iddle o# a #ree space. Such an e)ercise #eels good and is also good #or the body. 3e bath in the ki o# the sky and earth. This allows an e)pansive and rela)ed practice. !# we practice in a pretty #orest a$idst tall and beauti#ul trees we will be #illed with a vigorous ki: ature provides $any occasions to practice alone" suburi with boken or 'o, tanren uchiL !t is also possible to practice ku$itachi $ore #reely than inside a do'o. There is also night training, in nature, during the #ull or new $oon. As a re$inder, the (ugei'uhappan ;the eighteen branches o# the art o# war< included swi$$ing, which $akes it possible to conceive o# variations on training in water. !n conclusion, let?s add that practice changes with the seasons. The body and spirit are #orti#ied in the hottest ti$e o# su$$er ;shochu9geiko< or in the coldest ti$e o# winter ;kan9geiko<. tsunen9geiko is the e)ercise done during the ew 6ear period. Taking advantage o# the holiday period, we can *live* together during the gasshuku9geiko.
Chapter : - elations ith other %artial Arts
Aiki ;as distinct #ro$ Aikido< is the origin o# all $artial arts. This is what the +ounder o# Aikido wished to e)press when he na$ed his art take$usuaiki. owever, it is i$portant to note that the pri$ordial nature o# Aiki doesn%t i$ply that Aikido is the best $artial art, but only that it is one way towards aiki. (eing able to develop the $ultiple #acets o# Aikido re-uires one to integrate the principle o# Aiki. Aiki consists in uniting onesel# with the ki o# the heavens and the earth. Aiki is not e)clusive to budo but is part o# all hu$an activity. Applying the principle o# Aikido to events will help us understand the$ better acting in accord with this principle will $ake our actions easier. This principle applies to daily li#e, to social relations and to $odern science. (u'utsu and (udo were created by $en who lived on the edge o# li#e and death. Driven by an unshakable will, such $en built up layers o# e)perience, invoked the gods and prayed beneath water#alls. (u'utsu and (udo are not $erely techni-ues. Their value co$es #ro$ using asceticis$ to go beyond techni-ue. The techni-ues originated #ro$ the speci#ic circu$stances o# their creator%s li#e" the place, the era, the hu$an situation. Thus i# you are given a chance, widen your hori=ons and practice or watch techni-ues anyti$e an occasion presents itsel#. /o$pare and see what you can integrate in your own practice o# Aikido. (ut beware the idea is not to copy the other arts nor to $i) the$ together: Chapter ; - Cleaning
2nowing what to $ove when cleaning, and knowing how to put things back in their places is a si$ple act which educates our awareness. Deciding what to keep and what to throw away develops decision9$aking skills. Mopping the #loor is an e)cellent leg and hip e)ercise. ven i# a spot appears clean, si$ply wiping it with a da$p cloth will convince us that it isn%t. /hanging the water, cleaning the rags and cleaning the #loor $akes us #eel like we%re re#reshing our own $ind and spirit. To be able to dip one%s hands in cold water on winter $ornings re-uires courage" overco$ing slovenliness is an integral part o# training. 3hen bokutos, 'os, sandals, etc. are in their proper place, things have a pleasant appearance and are easy to use. This isn%t only #or the sake o# *esthetics* it is also a natural education which develops an awareness o# the i$portance o# preparation. The ti$e one spends training is li$ited. The $o$ents preceding and #ollowing it are brie#. !t is there#ore i$portant to deter$ine the best way to use this ti$e in order to clean up. This enables us to train our organi=ational and planning skills. Deciding where to start, how to continue and where to #inish trains our 'udg$ent and ability to $ake decisions. /leaning is not only ai$ed at puri#ying the e)terior. Another purpose is the puri#ication o# our own being. This purpose helps us understand why it is necessity to clean over and over again even places that appear to be clean. otwithstanding his relatively greater knowledge, the teacher $ust not only leave cleaning entirely to his students it is necessary that he encourage people to do things by being an e)a$ple. ! would like you to ponder this idea o# &9Sensei" *Aikido is the cleansing o# the body. Dust and dirt $ust be eli$inated #ro$ the body and the soul.* 3hen you enter a clean and polished do'o, your heart i$$ediately #eels at ease. ! believe it is good #or the daily training should include o# e)ercising body and $ind through such activities. To do this correctly, each person should clean the do'o o# his or her own #ree will. /leaning allows one to put things in their place, to classi#y the$ and to tidy the$ up. 3hat%s $ore, cleaning up is a good $ental as well as a physical practice. 3hen ! was an uchi deshi, we and the other students together would clean not only the do'o but also the entrance, the corridors, the bathroo$s, the dressing roo$s, the uchi deshi sleeping area and the street in #ront o# the do'o. /leaning teaches us a great deal. To take a si$ple e)a$ple, when using a broo$, one $ust hold it lightly and, using it with strength, lightness and agility, send ki all the way to the tip o# the bristles. The sa$e principle applies to the sword or the stick. !t is an e)ercise which, by sweeping every re$ote corner, teaches one to see the hidden side o# things.
Chapter < - "eginners
3hen a new student co$es to enroll in the do'o, the teacher should study his or her #ace, language, attitude and appearance. The teacher should also #ind out why the new student wishes to practice Aikido, whether he intends to practice #or a long ti$e and regularly and deter$ine whether he or she will integrate well with the other students. !t see$s to $e $ore than desirable to $ake at least such a cursory e)a$ination be#ore accepting a new student. Accepting as a student anyone who shows up at the do'o only because he or she pays his dues re#lects a narrow9$inded attitude. Moreover, it is dis-uieting that so$eone who bears the responsibility to guide others in the *way* would be so oriented and would behave in such a #ashion. (e#ore entering the do'o, a beginner should be shown how to wear a gi and haka$a, and how to #old the$. The beginner should also be taught how to behave when entering or leaving the do'o, and how to bow to the teacher, the se$pais and his partners. !t is i$portant that the teacher introduces the newco$er to the other students. !t is only a#ter a student has been introduced to the other $e$bers o# the do'o that he or she should be considered as a student in good standing o# the do'o. Today it is o#ten the do'o secretary who is responsible #or controlling ad$issions. And yet the secretary should only be responsible #or ad$inistrative issues. The decision9$aking power should be in the hands o# the teacher 99 at least in $atters regarding teaching. 0racticing budo is i$possible in a do'o where beginners get on the $at without #irst introducing the$selves to the teacher, and where $ore senior students allow this to happen as i# it didn%t concern the$. (eginners should start learning Aikido through basic practice such as tai no henko, uke$i, etc. !n order that they co$e to understand the nature and $eaning o# Aikido, beginners should be handled with patience, kindness, attention and precision. This will progressively bring the$ to a $ore intense level o# practice. At #irst, beginners #eel lost and don%t know what to do. The teacher%s role is to avoid this situation. A beginner who is sitting alone on the side o# the $at without a partner is proo# that the education o# the older students in the do'o is lacking. !# this situation occurs, it indicates that the do'o $e$bers lack awareness regarding how to $aintain a general har$ony a$ong hu$an beings during practice. They are not sensitive to the #eelings o# others. The teacher $ust strive to create a working at$osphere o# $utual respect and har$ony so that the students to are highly attentive and behave in this way even when the teacher is absent. This education $ust take place on a daily basis. !n #act, such an at$osphere should be established without e)plicit intervention. veryone should know these rules and put the$ into practice. (eginners will then e##ortlessly be integrated, thanks to the at$osphere in the do'o.
Chapter = - anks
istory
The 'udo and Aikido rank called *dan* is written with the Japanese character which signi#ies *degree* or *step.* &ne cli$bs a stairwell step by step. !t cannot be ascended or descended in one big step as with an escalator or an elevator. This single word contains the idea o# separation, and it illustrates the $ethod re-uired to achieve a goal. !n $y opinion, this is why it was chosen to sy$boli=e rank. This grading syste$ is relatively new in the budo world. 2ano Jigoro, the #ounder o# 'udo, is said to have instituted this syste$ during the Mei'i era ;1IFI9 11B.< !n the older bu'utsus, the ranking titles were inka, $enkyo, etc. These syste$s still survive in the bu'utsus and classic budo ;budoka<, still practiced today. This older syste$ was co$posed o# the #ollowing classi#ication" 9 shoden 9 chuden 9 okuden 9 $enkyo kaiden 9 $okuroku, inka !ertifi!ates or titles aarded by the traditional s!hools( hi!h are equi"alents of menkyo kaiden/
This syste$ ensured the trans$ission o# the art%s secrets to the disciples. The $eaning o# each classi#ication is as #ollows" Shoden" initial trans$ission, that which is trans$itted #irst. /huden" $edian trans$ission that ensures one has traveled over hal# the path. &kuden" deep trans$ission o# the essential teachings and those with hidden $eaning ;okugi, higi.< Menkyo kaiden" certi#icate or title o# one to who$ all secrets have been taught without reservation.
The student who had been awarded the rank o# $enkyo kaiden could be called on to succeed to his $aster or to #ound a branch o# his $aster%s school. The two syste$s o# inka or $enkyo kaiden ;trans$ission certi#icates< or dan are each intricately tied to the $ethod o# teaching. The progressive certi#icate syste$, which leads #ro$ si$ple to co$ple) techni-ues, $ay appear logical. owever, #ro$ the perspective o# bu'utsu, which has the power to decide between li#e and death, the $aster, who there#ore e)ercises so$e caution, will have not have taught every techni-ue or all o# each techni-ue%s content at once. This is true even though we are speaking o# disciples, since in this syste$ the personality o# the student is directly involved in the teaching process. &ver years o# teaching, the $aster can observe his student%s techni-ue, attitudes and actions. e then possesses #ull knowledge to award a degree to the deserving student and to hi$ only ;okugi, inka, $enkyo kaiden.< !t is worth pondering the #act that kuden ;oral trans$ission<, i%shisoden ;trans$ission to one son
only< as well as the prohibition on accepting or provoking inter9school challenges all see$ to indicate the teachings were not entirely trans$itted. Modern budo is the #ruit o# a period o# peace. This $akes it tend towards spiritual and physical evolution as opposed to per#ection o# techni-ue. Today, every techni-ue is taught #ro$ the outset. othing actually changes in the techni-ues aside #ro$ an evolution in e)ecution as the trainee re#ines and trans#or$s hi$sel#. The progression is structured so that the $ind and the body evolve together. Dan ranks are the $ilestones o# this evolution. 4p until the end o# 3orld 3ar !!, the (utokukai 9 the Japanese budo university 9 awarded teaching ranks and titles. These titles are renshi, kyoshi, hanshi. Dan grades go #ro$ #irst to tenth. !t is worthwhile to dwell a little on what hanshi represents" 1. A $ini$u$ rank o# #i#th dan, a correct social li#e and a great knowledge o# budo are the necessary conditions to obtain the title o# kyoshi. B. A#ter seven years and past the age o# si)ty, the subse-uent rank o# hanshi beco$es possible. Technical knowledge has then reached per#ection. Also, the practitioner is a $odel to others through an irreproachable social li#e. C. The result o# actions undertaken to #oster budo $ani#est the$selves at all levels. The title o# hanshi is thus the co$bination o# the #ollowing ele$ents" techni-ue, spirit, contribution to the discipline. The 'usti#ication o# the kyu9dan ranking syste$ is to help evaluate the level o# one%s work as well as its #inal goal, and each person $ust #ind his own place within this syste$. 5ike the steps o# a stairwell, dan ranks $ust be earned one by one with an unending desire #or progress. !n Japan today these ranks are awarded according to the #ollowing three criteria" 1. techni-ue B. personality and acco$plish$ents C. how $uch the practitioner devotes back to his art. ven with per#ect techni-ue, a practitioner with an unsettled li#estyle or a troubled nature will not have access to the higher ranks. &n the other hand, a practitioner with less than per#ect techni-ue but who de$onstrates other great -ualities, and who $ay have rendered great service to his discipline $ay be awarded a high rank, whether as an honorary rank or a standard one. ven though honorary ranks $ay be awarded without any speci#ic $ention o# its speci#ic character, it is i$portant to keep it in $ind. The recipient o# such a rank should not $ake the $istake o# considering such an award as so$ething it isn%t. owadays so$e countries, such as +rance, award ranks at the national level. owever, usually each school, #ederation or chie# instructor awards his own ranks.
Today the Aikikai is returning to the ancient tradition o# not awarding ranks over Ith dan to living practitioners. !t is i$portant to keep in $ind that the indicated levels o# co$petence are $ini$al criteria one $ust $eet. An appro)i$ate knowledge o# those $ini$a is not su##icient to clai$ any kind o# right to a rank. 3e shall e)plain the Aikikai rank syste$ below. >aidan ,o$in Aikikai +fficial instructions regarding ranks
Article ! 9 7eneral re$arks Ranks range #ro$ 1st to Ith dan. They take into account technical ability, e)perience and services rendered to the discipline. Ranks are awarded by the Aikido Doshu. Ranks can be awarded by one o# two $odes" e)a$ination or reco$$endation. Article !! 9 Re-uired -uali#ications All candidates postulating #or a dan rank $ust co$ply with the two #ollowing re-uire$ents" N be a $e$ber o# the Aikikai N $eet the #ollowing conditions" N to apply #or a 1st to th dan e)a$, the applicant $ust $eet the conditions e)pounded in the table ;see below<
an
%inimum 9ears of Practice
%inimum Age
1st
B years a#ter beginning
BK
4 nd
B years a#ter
ate of Aard
1st dan 5 rd
C years a#ter
!n principle, one
Bnd dan 6 th
years a#ter
ti$e per year,
Crd dan ) th
E years a#ter
at 2aga$ibiraki
th dan 7 th
F years a#ter
CC
;ew 6ear%s<
Eth dan 8 th
1B years a#ter
E
Fth dan 9 th
1E years a#ter
FK
Gth dan N rank reco$$endation #ro$ 1st to Ith" $ini$u$ -uali#ication conditions. Special cases The Aikikai can $odi#y the application conditions o# Article !! a #ter deliberations or by proposal o# the ranking co$$ittee ;c#. Article !!!<, in the #ollowing cases" N to award a rank to a con#ir$ed teacher based on a recogni=ed need N to a diligent student with an e)ceptional knowledge o# Aikido. Article !!! 9 Ranking co$$ittee 0ersons with the right to put #orward candidates ;by e)a$ination or reco$$endation<. The 'uries are no$inated #or #ive years or $ultiple $andates. The co$$ittee is co$posed o# high9 ranking $e$bers ;at least seventh dan< who are $e$bers o# the Aikikai or o# organi=ations tied to the Aikikai and designated by it. Article !8 +ro$ 1 st to th Dan O These grades can be awarded by the higher ranking co$$ittee or by an e)a$ination 'ury. E th to F th Dan O These grades can be awarded by the higher ranking co$$ittee. All o# these grades $ust be sub$itted to the approval o# the Aikikai. G th Dan and I th Dan O These grades are decided by the Aikikai, under the direction and authori=ation o# Doshu. Special /ases O !n the case o# e)ceptional $erit, Doshu $ay, notwithstanding Article 1, award th or 1K th Dan. Article 8 !# a dispute arises, the candidate $ay be brought #orward to represent a grade. Article 8! 9 onorary 7rades These grades are awarded according to the speci#ic criteria below, without taking into account Article !!. They are awarded by Doshu. 0osthu$ous grades $ay be awarded by e)ceptional cases by suggestion o# the Aikikai and with the #inal decision $ade by Doshu.
an
C
9ears
9999
More than #ive years
E
More than #ive years
F
More than ten years
G
&n the no$ination o# the Aikikai and
I
with #inal approval o# Doshu
Article 8!! 2okusai 6udan9sha !nternational 6udansha card Anyone possessing 1st Dan and above $ust possess an !nternational 6udansha card Article 8!!! Registration and rules #or )a$inations" The e)a$ination rules, and registration regulations and other details are su$$ari=ed in the table. >aidan ,o$in Aikikai .chedule of requirements for 7yu and an E)aminations ank
%inimum duration of practice
Techniques
Eth kyu More than CK days Sho$enuchi !kkyo 2atate tori Shihonage Sho$enuchi !ri$inage Suwari wa=a 2okyu o th kyu More than K days Sho$en uchi 2iiyo 2ata dori ikyo 6oko$en uchi Shihonage Sho$en uchi !r$i$inage Suwari wa=a 2okyu o Crd kyu
More than EK days Sho$enuchi !kkyo, ikyo, Sankyo, 6onkyo ;Swari wa=a and Tachi wa=a<
Ryote dori Shihonage Sho$en uchi and Tsuki !ri$inage H 2aitenage Ryote dori Techninage Suwari wa=a 2okyu o Bnd kyu
More than EK days Sho$en uchi and 2ata dori !kkyo, ikyo, Sankyo, 6onkyo ;Swari wa=a and Tachi wa=a< an$i andachi 2atate tori Shihonage Sho$en uchi, Tsuki H 2atatedori !ri$inage, 2otegaeshi H 2aitennage Ryote dori Techinage 2atate dori Jiyu 3a=a Suwari wa=a 2okyu o
1st kyu More than FK days Sho$en uchi, 6oko$en uchi, 2ata dori !kkyo, ikyo, Sankyo, 6onkyo, Suwari wa=a and Tachi wa=a 4shiro Ryote Dori !kkyo, ikyo, Sankyo, 6onkyo 6oko$enuchi 7okyo, Tachi 3a=a 2atatedori, Ryote dori Shihonage ;an$i handachi and Tachi wa=a< Sho$enuchi Tuski H 2atate dori !ri$inage, 2otegaeshi, 2aitenage Ryote dori Techinage 2atate dori, Ryote dori H Morote dori Jiyu 3a=a
Suwari 3a=a H Tachi wa=a 2okyu o 1st Dan
More than GK hours
All above techni-ues without weapons, suwari wa=a and an$i andachi Tachiwa=a" Sho$enuchi, 6oko$enuchi, 2ta dori, Mune dori, Ji'i dori, Te ushiro dori
Bnd Dan
More than one year
All o# the above plus Tanto dori, +utari 7ake, and &ral e)a$ination on the sub'ect P!$pressions o# AikidoQ
Crd Dan
More than two years
All o# the above plus Tachi dori Jo dori, Tanin=u gake &ral e)a$ination on a sub'ect to be deter$ined.
th Dan
More than two years and $orer than BB years o# practice.
All o# the above plus Jiyu wa=a, and an ssay.
otes
&ne day one day o# e##ective practice. &ne year at least BKK days o# e##ective practice. Two 6ears at least CKK days o# e##ective practice. At the ti$e o# the e)a$ination, the partner $ust be, ideally, o# a grade identical to the candidate. The candidates should co$plete the sa$e techni-ue on both right and le#t sides, and both o$ote and ura, until told to stop.
