Morihei Ueshiba, Budo and Kamae
“Kamae” from the technical manual “Budo”, Morihei Ueshiba 1938
Why we don’t know how to stand up and walk.
Standing and walking – that’s pretty basic. It’s so basic that it’s really the first thing you learn in most budo, or even in life – if anybody can remember back that far.
Like everybody else, I received basic instructions in how to stand when I started Aikido – point the front foot forward and the back foot out at an angle. Some places break that down into a more detailed description, but that’s usually the gist of it.
Pretty easy right? Anybody can do it – which may be the problem. If anybody can do it, and you’re doing essentially the same thing that you’ve always done…why are you spending all that time on the mat?
“Budo” is a pre-war technical manual published in 1938 by Aikido Founder Morihei Ueshiba. It was originally created for Prince Kaya Tsunenori, member of a collateral branch of the imperial family. Kayanomiya would eventually become Superintendant of the Army Toyama School – where Morihei Ueshiba would act as an instructor before the war.
“Budo” remains the largest and most organized collection of technique from the pre-war period, and an English edition (“Budo: Teachings of the Founder of Aikido“), translated by John Stevens, was published in 1991.
A separate edition, the “Takemusu Aikido Special Edition”, translated by Sonoko Tanaka and Stanley A. Pranin, was published in 1999 (“Budo: Commentary on the 1938 Training Manual of Morihei Ueshiba“). This edition is composed of some excerpts from the Japanese text, along with a commentary by Morihiro Saito, in both English and Japanese.
Here is the original Japanese text, followed first by my English translation, and then by the English translation by John Stevens.
The original Japanese text:
Like everybody else, I received basic instructions in how to stand when I started Aikido – point the front foot forward and the back foot out at an angle. Some places break that down into a more detailed description, but that’s usually the gist of it.
Pretty easy right? Anybody can do it – which may be the problem. If anybody can do it, and you’re doing essentially the same thing that you’ve always done…why are you spending all that time on the mat?
“Budo” is a pre-war technical manual published in 1938 by Aikido Founder Morihei Ueshiba. It was originally created for Prince Kaya Tsunenori, member of a collateral branch of the imperial family. Kayanomiya would eventually become Superintendant of the Army Toyama School – where Morihei Ueshiba would act as an instructor before the war.
“Budo” remains the largest and most organized collection of technique from the pre-war period, and an English edition (“Budo: Teachings of the Founder of Aikido“), translated by John Stevens, was published in 1991.
A separate edition, the “Takemusu Aikido Special Edition”, translated by Sonoko Tanaka and Stanley A. Pranin, was published in 1999 (“Budo: Commentary on the 1938 Training Manual of Morihei Ueshiba“). This edition is composed of some excerpts from the Japanese text, along with a commentary by Morihiro Saito, in both English and Japanese.
Here is the original Japanese text, followed first by my English translation, and then by the English translation by John Stevens.
The original Japanese text:
第二 準備動作
（一）構
氣勢ニヲ充實シ足ヲ六方ニ開キ半身入身合氣ノ姿勢ヲ以テ敵ニ對ス（第一圖）
總テ構ハ時、位置、土地ノ高低、其ノ時ノ勢等ニ因リ惟神ニ起ルモノニシテ常ニ構ハ心ニアルモノトス
足ノ踏ミ方ニハ外六方、内六方及外巴、内巴アリ練習ノ際ニ傅授ス
注意
練習ノ際シテハ敵ノ構、敵トノ間合ヲ考ヘ左或ハ右ノ構ヲ用フ動作ノ終リシ時兩足ハ常ニ六方ニ開キアル如ク練磨スル要ス
敵ニ正對スルハ隙多キヲ以テ不利トス
（一）構
氣勢ニヲ充實シ足ヲ六方ニ開キ半身入身合氣ノ姿勢ヲ以テ敵ニ對ス（第一圖）
總テ構ハ時、位置、土地ノ高低、其ノ時ノ勢等ニ因リ惟神ニ起ルモノニシテ常ニ構ハ心ニアルモノトス
足ノ踏ミ方ニハ外六方、内六方及外巴、内巴アリ練習ノ際ニ傅授ス
注意
練習ノ際シテハ敵ノ構、敵トノ間合ヲ考ヘ左或ハ右ノ構ヲ用フ動作ノ終リシ時兩足ハ常ニ六方ニ開キアル如ク練磨スル要ス
敵ニ正對スルハ隙多キヲ以テ不利トス
My English translation:
Section 2: Preparatory Movements
(1) Kamae
Fill yourself with Ki power, open your legs in six directions and face the enemy in the hanmi irimi posture of Aiki (see Figure 1).
When assuming any stance, align yourself with the principles of the Kami according to your position, the level of the terrain and your spirit at that time, and always keep this stance in your heart.
In footwork there is an external six directions and an internal six directions as well as an outer spiral and an internal spiral, this will be taught in practice.
Caution:
Concerning the stance of the enemy in training.
Be mindful of the distance between you and the enemy and assume a left or right stance. At the end of each movement always open both legs in six directions, it is necessary to train this.
If you face directly towards the enemy there will be many openings and you will be at a disadvantage.
The standard translation, from “Budo: Teachings of the Founder of Aikido” (translated by John Stevens):
2. Basic Movements
(1) Stance
Fill yourself with ki, assume a hanmi stance with your feet apart opened at a sixty-degree angle, and face your opponent with a flexible aiki posture (1).
The exact stance depends upon time, place, and terrain; further, it must arise in accordance with divine principles. A good stance reflects a proper frame of mind.
Both the front foot and the back foot should be open at a sixty-degree angle. The reason for this will become clear in practice.
Note: During practice be ever mindful of your opponent’s stance and his relative distance; assume, accordingly, a left or right stance. When the movement ends, it is essential that your feet should always be open at a sixty-degree angle. If you face your opponent full of openings you will be at a great disadvantage.
Right away you can see some differences. This is normal – no two translations, especially from a language like Japanese, are going to be absolutely the same. Some things are differences in expression, some in how the translator chose or was able to interpret the work, some are just mistakes.
Some phrases in Japanese cannot be translated directly into English without losing their original meaning – and the same for English phrases into Japanese.
Looking at the passages above, there are some minor differences and some not so minor differences.
The title of the section, for example, I translated as “Preparatory Movements”, instead of “Basic Movements”. Mine is a more literal translation of the actual Japanese, but if you compare the two you’ll see that, in the end, the difference is really not very important. Who cares? Not me.
There are some other differences, however, further down.
I translated the first sentence of the passage as:
Fill yourself with Ki power, open your legs in six directions and face the enemy in the hanmi irimi posture of Aiki (see Figure 1).
The John Stevens translation is:
Fill yourself with ki, assume a hanmi stance with your feet apart opened at a sixty-degree angle, and face your opponent with a flexible aiki posture (1).
There are are two big problems here.
First, the word “flexible” appears to have been inserted in the place of “irimi”. This seems a little odd, since most Aikido students ought to be familiar with at least the basic concept of irimi – and I’m not sure exactly how Ueshiba was trying to express “flexibility” with the word in this case (I can imagine some possibilities – but it involves a fair amount of speculation).
Secondly, and probably more importantly, the phrase “open your legs in six directions” is replaced, in the Stevens translation, by “feet apart opened at a sixty-degree angle”, which is completely different than the original Japanese text – which reads as I have represented above.
Does it matter?
Well, let’s look at “roppo”, or “six directions”.
There is another, partial translation of “Budo”, by Sonoko Tanaka and Stanley A. Pranin published as “Budo: Commentary on the 1938 Training Manual of Morihei Ueshiba”. In that text they note that the original Japanese text actually says “six directions”.
Problem solved?
Maybe not, because the assertion given there is that “six directions” is basically another way to say “hanmi”, which was not in common usage at that time.
Now is the problem solved?
Again, maybe not. Oddly enough, the word “hanmi” appears in the first sentence of the original Japanese. If the word “hanmi” was not in common usage at the time then why would Morihei Ueshiba use both that word and “six directions” in the same sentence?
What, then, could “six directions” mean?
Interestingly, “six directions” is a common term in Chinese internal martial arts. Take a look at Liu Mian Mo Li (六面摸力) in Yiquan, for a good example – a force balanced through your body in six directions. In this case we’re talking about basic stability in all directions – something that makes all kinds of sense in terms of standing up and walking in a martial situation.
One more interesting note – in “Budo: Commentary on the 1938 Training Manual of Morihei Ueshiba” they also note that “step from a roppo stance” is used in Kabuki as well. What is not noted, however, is that some traditional Noh schools also use this phrase – in the sense of universal stability and balanced forces that is shared with Chinese internal martial arts.
Now, how about the line:
In footwork there is an external six directions and an internal six directions as well as an outer spiral and an internal spiral, this will be taught in practice.
In the standard translation by John Stevens this line is given as:
Both the front foot and the back foot should be open at a sixty-degree angle. The reason for this will become clear in practice.
Again, we see that the phrase “six directions” has been replaced “sixty-degree angle”, although that is totally at variance with the original Japanese.
Further, the phrase “an outer spiral and an internal spiral” has been completely omitted from the English translation in “Budo: Teachings of the Founder of Aikido”. These spirals are also omitted from “Budo: Commentary on the 1938 Training Manual of Morihei Ueshiba”.
So…does that section of the description really matter?
Well, I suppose that you could argue that, for the sake of historical accuracy alone, it is important to provide as complete a translation as possible.
But there’s more.
Inner and outer spirals through the legs and body are also commonly described in Chinese internal martial arts (there may be a theme developing here!). Here is a diagram and excerpt of text from “Illustrated Explanations of Chen Family Taijiquan” by Chen Xin, the emphasis of the underlined section is mine.
Coiling power (Chan Jin) is all over the body. Putting it most simply, there is coiling inward (Li Chan) and coiling outward (Wai Chan), which both appear once (one) moves. There is one (kind of coiling) when left hand is in front and right hand is behind; (or when) right hand is in front and left hand is behind; this one closes (He) (the hands) with one conforming (Shun) (movement). There is also one (coiling) that closes the inside of the left (side of the body) and the back of the right (side of the body), and another which uses the through-the-back power (Fanbei Jin) and closes towards the back. All of them should be moved naturally according to the (specific) postures.
Once Qi of the hand moves to the back of the foot, then big toe simultaneously closes with the hand and only at this moment (one can) step firmly.
Section 2: Preparatory Movements
(1) Kamae
Fill yourself with Ki power, open your legs in six directions and face the enemy in the hanmi irimi posture of Aiki (see Figure 1).
When assuming any stance, align yourself with the principles of the Kami according to your position, the level of the terrain and your spirit at that time, and always keep this stance in your heart.
In footwork there is an external six directions and an internal six directions as well as an outer spiral and an internal spiral, this will be taught in practice.
Caution:
Concerning the stance of the enemy in training.
Be mindful of the distance between you and the enemy and assume a left or right stance. At the end of each movement always open both legs in six directions, it is necessary to train this.
If you face directly towards the enemy there will be many openings and you will be at a disadvantage.
The standard translation, from “Budo: Teachings of the Founder of Aikido” (translated by John Stevens):
2. Basic Movements
(1) Stance
Fill yourself with ki, assume a hanmi stance with your feet apart opened at a sixty-degree angle, and face your opponent with a flexible aiki posture (1).
The exact stance depends upon time, place, and terrain; further, it must arise in accordance with divine principles. A good stance reflects a proper frame of mind.
Both the front foot and the back foot should be open at a sixty-degree angle. The reason for this will become clear in practice.
Note: During practice be ever mindful of your opponent’s stance and his relative distance; assume, accordingly, a left or right stance. When the movement ends, it is essential that your feet should always be open at a sixty-degree angle. If you face your opponent full of openings you will be at a great disadvantage.
Right away you can see some differences. This is normal – no two translations, especially from a language like Japanese, are going to be absolutely the same. Some things are differences in expression, some in how the translator chose or was able to interpret the work, some are just mistakes.
Some phrases in Japanese cannot be translated directly into English without losing their original meaning – and the same for English phrases into Japanese.
Looking at the passages above, there are some minor differences and some not so minor differences.
The title of the section, for example, I translated as “Preparatory Movements”, instead of “Basic Movements”. Mine is a more literal translation of the actual Japanese, but if you compare the two you’ll see that, in the end, the difference is really not very important. Who cares? Not me.
There are some other differences, however, further down.
I translated the first sentence of the passage as:
Fill yourself with Ki power, open your legs in six directions and face the enemy in the hanmi irimi posture of Aiki (see Figure 1).
The John Stevens translation is:
Fill yourself with ki, assume a hanmi stance with your feet apart opened at a sixty-degree angle, and face your opponent with a flexible aiki posture (1).
There are are two big problems here.
First, the word “flexible” appears to have been inserted in the place of “irimi”. This seems a little odd, since most Aikido students ought to be familiar with at least the basic concept of irimi – and I’m not sure exactly how Ueshiba was trying to express “flexibility” with the word in this case (I can imagine some possibilities – but it involves a fair amount of speculation).
Secondly, and probably more importantly, the phrase “open your legs in six directions” is replaced, in the Stevens translation, by “feet apart opened at a sixty-degree angle”, which is completely different than the original Japanese text – which reads as I have represented above.
Does it matter?
Well, let’s look at “roppo”, or “six directions”.
There is another, partial translation of “Budo”, by Sonoko Tanaka and Stanley A. Pranin published as “Budo: Commentary on the 1938 Training Manual of Morihei Ueshiba”. In that text they note that the original Japanese text actually says “six directions”.
Problem solved?
Maybe not, because the assertion given there is that “six directions” is basically another way to say “hanmi”, which was not in common usage at that time.
Now is the problem solved?
Again, maybe not. Oddly enough, the word “hanmi” appears in the first sentence of the original Japanese. If the word “hanmi” was not in common usage at the time then why would Morihei Ueshiba use both that word and “six directions” in the same sentence?
What, then, could “six directions” mean?
Interestingly, “six directions” is a common term in Chinese internal martial arts. Take a look at Liu Mian Mo Li (六面摸力) in Yiquan, for a good example – a force balanced through your body in six directions. In this case we’re talking about basic stability in all directions – something that makes all kinds of sense in terms of standing up and walking in a martial situation.
One more interesting note – in “Budo: Commentary on the 1938 Training Manual of Morihei Ueshiba” they also note that “step from a roppo stance” is used in Kabuki as well. What is not noted, however, is that some traditional Noh schools also use this phrase – in the sense of universal stability and balanced forces that is shared with Chinese internal martial arts.
Now, how about the line:
In footwork there is an external six directions and an internal six directions as well as an outer spiral and an internal spiral, this will be taught in practice.
In the standard translation by John Stevens this line is given as:
Both the front foot and the back foot should be open at a sixty-degree angle. The reason for this will become clear in practice.
Again, we see that the phrase “six directions” has been replaced “sixty-degree angle”, although that is totally at variance with the original Japanese.
Further, the phrase “an outer spiral and an internal spiral” has been completely omitted from the English translation in “Budo: Teachings of the Founder of Aikido”. These spirals are also omitted from “Budo: Commentary on the 1938 Training Manual of Morihei Ueshiba”.
So…does that section of the description really matter?
Well, I suppose that you could argue that, for the sake of historical accuracy alone, it is important to provide as complete a translation as possible.
But there’s more.
Inner and outer spirals through the legs and body are also commonly described in Chinese internal martial arts (there may be a theme developing here!). Here is a diagram and excerpt of text from “Illustrated Explanations of Chen Family Taijiquan” by Chen Xin, the emphasis of the underlined section is mine.
Coiling power (Chan Jin) is all over the body. Putting it most simply, there is coiling inward (Li Chan) and coiling outward (Wai Chan), which both appear once (one) moves. There is one (kind of coiling) when left hand is in front and right hand is behind; (or when) right hand is in front and left hand is behind; this one closes (He) (the hands) with one conforming (Shun) (movement). There is also one (coiling) that closes the inside of the left (side of the body) and the back of the right (side of the body), and another which uses the through-the-back power (Fanbei Jin) and closes towards the back. All of them should be moved naturally according to the (specific) postures.
Once Qi of the hand moves to the back of the foot, then big toe simultaneously closes with the hand and only at this moment (one can) step firmly.
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Illustrated Explanations of Chen Family Taijiquan
Ever hear of it? I hadn’t – because it doesn’t appear in any of the published English translations.
But what about the Japanese editions?
Well…there are none.
Hard as it is to believe, there has never been a commercial re-publication of the text of “Budo” in Japanese. The only people in Japan who have read “Budo” are those that have gotten hold of the original publication or a homemade copy. The very existence of “Budo” itself was known only to a few people until it was rediscovered by Stan Pranin through Zenzaburo Akazawa (a pre-war student of Ueshiba) around 1979. Even Morihiro Saito, who, it could be argued, spent more time alone with Ueshiba after the war than anybody else, was astonished to learn of this text!
So…just as in the blog post “Kiichi Hogen and the Secret of Aikido“, we once again have Morihei Ueshiba citing a basic concept from the Chinese martial arts as being central to Aikido.
We also have a clear example of the problem with that exists in the transmission of basic information in Aikido – from both the English and Japanese sides.
What don’t we know, and what don’t we know we don’t know?
And why aren’t we examining it more closely?
But what about the Japanese editions?
Well…there are none.
Hard as it is to believe, there has never been a commercial re-publication of the text of “Budo” in Japanese. The only people in Japan who have read “Budo” are those that have gotten hold of the original publication or a homemade copy. The very existence of “Budo” itself was known only to a few people until it was rediscovered by Stan Pranin through Zenzaburo Akazawa (a pre-war student of Ueshiba) around 1979. Even Morihiro Saito, who, it could be argued, spent more time alone with Ueshiba after the war than anybody else, was astonished to learn of this text!
So…just as in the blog post “Kiichi Hogen and the Secret of Aikido“, we once again have Morihei Ueshiba citing a basic concept from the Chinese martial arts as being central to Aikido.
We also have a clear example of the problem with that exists in the transmission of basic information in Aikido – from both the English and Japanese sides.
What don’t we know, and what don’t we know we don’t know?
And why aren’t we examining it more closely?
Morihei Ueshiba, Budo and Kamae Part 2
A note from John StevensThe other day (February 27th 2012) I posted a blog here entitled “Morihei Ueshiba, Budo and Kamae“. In that article I cited a quotation of the John Stevens translation of Budo, “Budo: Teachings of the Founder of Aikido“.
John Stevens has asked that I post a response from here, which I will do, along with my own response.
Note from John Stevens:
I was guided through the entire text of Budo by Shirata Rinjiro. Shirata Sensei demonstrated each technique on me, and gave me his interpretation of the book’s instructions. (In other words, I received kuden “secret transmission.”) I also had access to Shirata Sensei’s annotated copy of Budo. (It was the photocopy. The original that Sensei had received from Morihei disappeared in the chaos of WWII.) Regarding the passage in question, Sensei and I talked at length about the concept of roppo kamae. The term “flexible” was chosen to describe a good stance that is vital and solidly rooted yet at the same time a stance that allows one to respond immediately to any contingency. “Flexible stance” was also meant to include the sense of “whirling,” “swirling,” “twirling.”
Shirata Sensei—who received direct instruction from Morihei on the matter–interpreted a roppo kamae as one where the outer foot and the inner foot are opened at a 60-degree angle, as opposed to a 90-degree front foot and a 45-degree back foot. The roppo kamae is the basic stance that Morihei and Shirata Sensei assumed. It the same kamae I try to assume as I train and teach. This roppo kamae is nearly impossible to explain in words so one has to rely on, as Budo says, “oral instruction.” In fact the entire book needs to be explained by “oral instruction” from a qualified instructor (which Chris certainly is not.) In the final analysis, however, this principle should never be forgotten when discussing kamae: “If your mind is true, your kamae is correct.”
Honestly, reading through this response hasn’t really changed my thoughts as expressed in the original blog posting.
If you have a certain knowledge and background, then I think that his response really only strengthens the arguments that I made originally. If you don’t, then maybe that won’t be the case.
In either event, I hope that everybody will take this as a chance to re-think and re-examine the assumptions that they have held in the past.
John Stevens has asked that I post a response from here, which I will do, along with my own response.
Note from John Stevens:
I was guided through the entire text of Budo by Shirata Rinjiro. Shirata Sensei demonstrated each technique on me, and gave me his interpretation of the book’s instructions. (In other words, I received kuden “secret transmission.”) I also had access to Shirata Sensei’s annotated copy of Budo. (It was the photocopy. The original that Sensei had received from Morihei disappeared in the chaos of WWII.) Regarding the passage in question, Sensei and I talked at length about the concept of roppo kamae. The term “flexible” was chosen to describe a good stance that is vital and solidly rooted yet at the same time a stance that allows one to respond immediately to any contingency. “Flexible stance” was also meant to include the sense of “whirling,” “swirling,” “twirling.”
Shirata Sensei—who received direct instruction from Morihei on the matter–interpreted a roppo kamae as one where the outer foot and the inner foot are opened at a 60-degree angle, as opposed to a 90-degree front foot and a 45-degree back foot. The roppo kamae is the basic stance that Morihei and Shirata Sensei assumed. It the same kamae I try to assume as I train and teach. This roppo kamae is nearly impossible to explain in words so one has to rely on, as Budo says, “oral instruction.” In fact the entire book needs to be explained by “oral instruction” from a qualified instructor (which Chris certainly is not.) In the final analysis, however, this principle should never be forgotten when discussing kamae: “If your mind is true, your kamae is correct.”
Honestly, reading through this response hasn’t really changed my thoughts as expressed in the original blog posting.
If you have a certain knowledge and background, then I think that his response really only strengthens the arguments that I made originally. If you don’t, then maybe that won’t be the case.
In either event, I hope that everybody will take this as a chance to re-think and re-examine the assumptions that they have held in the past.
From “Total Aikido”, by Gozo Shioda and Yasuhisa Shioda
I will make a couple of points:
Feb 28, 2012
Great article. I have long felt that John Stevens is a well intentioned but unreliable translator. My knowledge of Japanese is very low, but when I have heard other interpretations of texts that Stevens has translated, I have always felt there was more depth in the text than Stevens is willing or able to present.
One of the problems is that Stevens is sometimes presenting his own technical interpretation as translation. In other books, he has said that the 60 degree angle stance can be observed in photos and films of Morihei Ueshiba, but this appears to be original research on his part. I see this as presenting ones own teaching as O Sensei’s.
As long as the translators are also prominent teachers or representatives of prominent teachers, these kinds of problems will creep in. The temptation to insert one’s own understanding, often well earned, for the intention of the author is too strong.
Feb 28, 2012
Christopher Li – John’s quite knowledgeable, he’s also a friend of mine and lives (literally) down the street from me, so I’m really not talking smack about him (even though that may appear to be the case).
John has always said that his goal was about providing access to the widest range of people possible. He’s done that so well that there are some sources (“Budo” for example) that are available in English, but not in Japanese!
On the other hand, that means that he’s had to make certain choices in translation to make things more or less understandable for a general audience – a “lite” version, so to speak. That doesn’t mean that the translation is necessarily bad – but that you have to understand the limitations under which it was done.
Any translation is going to be seen through the lens of the translator’s opinion, mine as much as John’s, so what we really need are more translations and more examination rather than acceptance by the population of a single version or versions as canonical.
- The only major Aikido style that I am aware of that still uses the term “Roppo” on a regular basis (the Yoshinkan – whose founder also received direct instruction from Morihei on the matter) actually keeps their feet at a 90 degree angle. Somewhat similar, but more angled, to the 90 degree foot position in “Shumoku no Ashi” which other direct students of Morihei claimed to have seen (enough of that – I’m really not trying to advocate for a particular foot angle).
- Further, Gozo Shioda made a very clear statement about “Roppo” in his book “Total Aikido” (page 30): Originally, there was no position in Aikido that might have been called a “basic stance”. The founder, Morihei Ueshiba Sensei, while saying that the basic stance was “to open your feet to the six directions [north, south, east, west, up, down],” also wrote, “The complete kamae is what arises from where the gods lead you, depending on time, situation, the lie of the land, the spirit of the moment – kamae is what is in your heart.” [from Budo], so that the explanation for the real battle is to adapt to the circumstances that you are in.
- The term as used most commonly in Kabuki (this was actually cited, if you remember, in Morihiro Saito’s commentary on “Budo”), uses it in the sense of six directions of the compass (up, down, east, west, north, south) – not the angle between the feet.
- The response to the issue of “Roppo” is basically that it represents a hanmi of 60 degrees instead of 90. Do people really spend 30 or 40 years training daily in order to condition a difference of 30 degrees? Is that really the “secret” of the Aikido kamae? Might it not be possible that there is a different, deeper, type of conditioning being referred to?
- Morihiro Saito’s commentary on “Budo” has a portion of the original Japanese text, the John Stevens translation of “Budo” has none of the original text at all. I included the complete original text in Japanese – everybody is free to examine it and decide for themselves.
- I don’t know whether I’m a “qualified instructor” or not – and neither does John, who has never seen me teach anything, has never been to our dojo, has never seen our training. We’ve never really even touched hands, except in the pre-arranged uke-nage format of an Aikido class, and even that was really only a few times (I don’t remember exactly, but less than five). I’ve been training in Aikido for more than 30 years, and I’ve had some very fine instructors – I hope that I do them at least some justice.
Feb 28, 2012
Great article. I have long felt that John Stevens is a well intentioned but unreliable translator. My knowledge of Japanese is very low, but when I have heard other interpretations of texts that Stevens has translated, I have always felt there was more depth in the text than Stevens is willing or able to present.
One of the problems is that Stevens is sometimes presenting his own technical interpretation as translation. In other books, he has said that the 60 degree angle stance can be observed in photos and films of Morihei Ueshiba, but this appears to be original research on his part. I see this as presenting ones own teaching as O Sensei’s.
As long as the translators are also prominent teachers or representatives of prominent teachers, these kinds of problems will creep in. The temptation to insert one’s own understanding, often well earned, for the intention of the author is too strong.
Feb 28, 2012
Christopher Li – John’s quite knowledgeable, he’s also a friend of mine and lives (literally) down the street from me, so I’m really not talking smack about him (even though that may appear to be the case).
John has always said that his goal was about providing access to the widest range of people possible. He’s done that so well that there are some sources (“Budo” for example) that are available in English, but not in Japanese!
On the other hand, that means that he’s had to make certain choices in translation to make things more or less understandable for a general audience – a “lite” version, so to speak. That doesn’t mean that the translation is necessarily bad – but that you have to understand the limitations under which it was done.
Any translation is going to be seen through the lens of the translator’s opinion, mine as much as John’s, so what we really need are more translations and more examination rather than acceptance by the population of a single version or versions as canonical.
www.aikidotakemusu.org
Morihei Ueshiba, Budo and Kamae – Part 3
Tai-no-henka to the left and right, from “Budo” 1938
More on six directions…
If you haven’t read “Morihei Ueshiba, Budo and Kamae” yet then you’ll probably want to go back and read that article first.
You may also want to read “Morihei Ueshiba, Budo and Kamae – Part 2“, which contains a response from John Stevens to the original article.
Now, take a look at the section above, “Tai-no-henka to the left and right”, scanned from Morihei Ueshiba O-Sensei’s 1938 technical manual “Budo”.
The Japanese along the right hand side reads:
體ノ變化後両足ヲ六方に開き姿勢ヲ安定セシマルを要ス
After tai-no-henka (“body change”) you must open both legs in six directions (“roppo”) to stabilize your stance.
There are those pesky six directions again, noted in the previous articles. This time note that Aikido Founder Morihei Ueshiba specifies six directions for the purpose of stability.
Of course, “six directions” is commonly used in Asian cultures to mean “all directions” – up/down/forward/back/left/right. In and of itself, you can see that something that is balanced in all directions at the same time is inherently stable.
Exptrapolating further, something that is stable, and balanced in all directions, is also able to move in any direction, or to respond to a force from any direction.
In Taiji (and other Chinese arts, of course) this is manifested as “ward-off eneregy”, or Peng Jin (掤勁), a skilled force moving out in all directions. Here’s an interesting mention of Peng Jin, from “The Matrix of I Liq Chuan” by Sam Chin and Robert Hoffman (I recommend that you read the full article – it’s also available here as a pdf:
“Look! no matter what you do! you can’t touch me!” Master Sam Chin laughed. Continuing, he said “You’re so close, but why can’t you land?”
I had tried many times to move or strike him, but had no success. Kicks, strikes, entering in – they were all useless. After repeated failed attempts! I gave up. Laughing and panting for air, I asked, “What am I missing?” According to Sifu, I was missing an important piece of my foundation . In short. I could not enter his “spheres” – that is to say. I could not penetrate Master Chin’s defensive energy. Since that first encounter I have come to learn that what Master Chin called “the spheres” is closely connected to an energy named peng-jing (掤勁). Literally translated, peng means “ward-off” and jing means applied energy. Although peng-jing can also refer to a particular technique, it more accurately refers to the basic energy of dynamic balance.
Six directions creates a state in which a dynamic stability is achieved through balanced forces, and one is able to move in any direction at any time.
This article by Zhang Yun gives an additional look at Six Direction force, as used in Xingyi Quan, and notes that six directions practice is essential to the development of Jin (勁, a “skilled” force – usually referring to types of internal power).
And here is another perspective on six directions, this time from Yi Quan, expressed as Liu Mian Mo Li (六面摸力), a force equally balanced through your body in six directions. Liu Mian Mo Li (六面摸力) is developed through six directions in three pairs of contradictory directions – up/down, back/forward, left/right. The contradictory directions connected by intent create Mao Dun Zheng Li (矛盾争力, opposing force pairs).
As in Yi Quan, opposing forces around the circle are connected in Aikido. In “Aikido without Peace or Harmony” we saw that Morihei Ueshiba stated that this connection between opposing forces, formed by Ki, forms the basis for “Take Musu”.
Here is another quote from Morihei Ueshiba that brings to mind opposing powers, expressed in a circle or sphere:
合気というものは、初め円を描く。円を描くこと、つまり対象力。相手に指一本ふれないでも相手は跳んでしまう。この一つのものをつくりあげるにも十年ぐらいはかかる。これからは大飛躍をしよう。
In this thing called Aiki, first describe (draw) a circle. Drawing a circle is, in other words, opposing powers. Without touching with even one finger your opponent will be sent flying. Just to be able to do this one thing takes about 10 years. Let’s try to advance quickly.
Of course, we can see the stability in the examples above, but how does six directions (or the lack of them) contribute to being sent flying?
Well, first, take a look at this very interesting video clip of Chen Xiaowang (the 19th Generation Lineage Holder of Chen Family Taijiquan), where he describes human beings as surrounded by the sphere of opposing Yin-Yang forces:
If you haven’t read “Morihei Ueshiba, Budo and Kamae” yet then you’ll probably want to go back and read that article first.
You may also want to read “Morihei Ueshiba, Budo and Kamae – Part 2“, which contains a response from John Stevens to the original article.
Now, take a look at the section above, “Tai-no-henka to the left and right”, scanned from Morihei Ueshiba O-Sensei’s 1938 technical manual “Budo”.
The Japanese along the right hand side reads:
體ノ變化後両足ヲ六方に開き姿勢ヲ安定セシマルを要ス
After tai-no-henka (“body change”) you must open both legs in six directions (“roppo”) to stabilize your stance.
There are those pesky six directions again, noted in the previous articles. This time note that Aikido Founder Morihei Ueshiba specifies six directions for the purpose of stability.
Of course, “six directions” is commonly used in Asian cultures to mean “all directions” – up/down/forward/back/left/right. In and of itself, you can see that something that is balanced in all directions at the same time is inherently stable.
Exptrapolating further, something that is stable, and balanced in all directions, is also able to move in any direction, or to respond to a force from any direction.
In Taiji (and other Chinese arts, of course) this is manifested as “ward-off eneregy”, or Peng Jin (掤勁), a skilled force moving out in all directions. Here’s an interesting mention of Peng Jin, from “The Matrix of I Liq Chuan” by Sam Chin and Robert Hoffman (I recommend that you read the full article – it’s also available here as a pdf:
“Look! no matter what you do! you can’t touch me!” Master Sam Chin laughed. Continuing, he said “You’re so close, but why can’t you land?”
I had tried many times to move or strike him, but had no success. Kicks, strikes, entering in – they were all useless. After repeated failed attempts! I gave up. Laughing and panting for air, I asked, “What am I missing?” According to Sifu, I was missing an important piece of my foundation . In short. I could not enter his “spheres” – that is to say. I could not penetrate Master Chin’s defensive energy. Since that first encounter I have come to learn that what Master Chin called “the spheres” is closely connected to an energy named peng-jing (掤勁). Literally translated, peng means “ward-off” and jing means applied energy. Although peng-jing can also refer to a particular technique, it more accurately refers to the basic energy of dynamic balance.
Six directions creates a state in which a dynamic stability is achieved through balanced forces, and one is able to move in any direction at any time.
This article by Zhang Yun gives an additional look at Six Direction force, as used in Xingyi Quan, and notes that six directions practice is essential to the development of Jin (勁, a “skilled” force – usually referring to types of internal power).
And here is another perspective on six directions, this time from Yi Quan, expressed as Liu Mian Mo Li (六面摸力), a force equally balanced through your body in six directions. Liu Mian Mo Li (六面摸力) is developed through six directions in three pairs of contradictory directions – up/down, back/forward, left/right. The contradictory directions connected by intent create Mao Dun Zheng Li (矛盾争力, opposing force pairs).
As in Yi Quan, opposing forces around the circle are connected in Aikido. In “Aikido without Peace or Harmony” we saw that Morihei Ueshiba stated that this connection between opposing forces, formed by Ki, forms the basis for “Take Musu”.
Here is another quote from Morihei Ueshiba that brings to mind opposing powers, expressed in a circle or sphere:
合気というものは、初め円を描く。円を描くこと、つまり対象力。相手に指一本ふれないでも相手は跳んでしまう。この一つのものをつくりあげるにも十年ぐらいはかかる。これからは大飛躍をしよう。
In this thing called Aiki, first describe (draw) a circle. Drawing a circle is, in other words, opposing powers. Without touching with even one finger your opponent will be sent flying. Just to be able to do this one thing takes about 10 years. Let’s try to advance quickly.
Of course, we can see the stability in the examples above, but how does six directions (or the lack of them) contribute to being sent flying?
Well, first, take a look at this very interesting video clip of Chen Xiaowang (the 19th Generation Lineage Holder of Chen Family Taijiquan), where he describes human beings as surrounded by the sphere of opposing Yin-Yang forces:
Chen Xiaowang & Chen Ziqiang demonstrate basic Taiji principles
Now, let’s look at another quote from Morihei Ueshiba, where he expands on the concept of the circle a little bit:
人の力というものは、人を中心として円を描く、その円内のみが力の及ぶ範囲なのじゃ。いくら腕力のある者でも、この円の外には力がおよばず、無力になってしまうものじゃ。だから、相手をその力のおよばぬ円外に おいて押さえるならば、相手はすでに無力ゆえ、人差し指でも小指でも容易に押さえることができるのじゃ。己は己の円内にいて、相手を相手の円外に出せば、 それですべて は決するのじゃ。
Draw a circle around a person’s power with the person in the center. Inside the circle is the limit of their range of power. No matter how physically strong the person is, outside the circle they will not be able to reach their power and they will become powerless. For that reason, when that power is made unreachable outside the circle and you hold them down your opponent will already be without power, and you can hold them down easily with an index finger or a pinky. If I remain inside my own circle while drawing the opponent outside of my opponent’s circle then it will all be decided (“it will all be over”).
人の力というものは、人を中心として円を描く、その円内のみが力の及ぶ範囲なのじゃ。いくら腕力のある者でも、この円の外には力がおよばず、無力になってしまうものじゃ。だから、相手をその力のおよばぬ円外に おいて押さえるならば、相手はすでに無力ゆえ、人差し指でも小指でも容易に押さえることができるのじゃ。己は己の円内にいて、相手を相手の円外に出せば、 それですべて は決するのじゃ。
Draw a circle around a person’s power with the person in the center. Inside the circle is the limit of their range of power. No matter how physically strong the person is, outside the circle they will not be able to reach their power and they will become powerless. For that reason, when that power is made unreachable outside the circle and you hold them down your opponent will already be without power, and you can hold them down easily with an index finger or a pinky. If I remain inside my own circle while drawing the opponent outside of my opponent’s circle then it will all be decided (“it will all be over”).
Next, let’s take a look at some screen shots from the video above:
“It’s just like a taiji ball divided evenly into black and white.”
“If they go beyond the scope there would be errors in principle.”
From “Aikido Shinzui” by Bansen Tanaka, 1976
Here we see the Taiji ball on the left side – the Kanji at the top right of that diagram read “The Void”. The Kanji on the bottom right read (“the thickness of a single piece of paper”). The Kanji in the right side of that diagram read “Emptiness” and “Matter” (i.e. “Heaven” and “Earth”, In and Yo opposing powers).
In the diagram on the right side we see that the outside of the circle reads “The Void” and shows instances of when the center of gravity is correct and then it isn’t. This reminded me of:
In the diagram on the right side we see that the outside of the circle reads “The Void” and shows instances of when the center of gravity is correct and then it isn’t. This reminded me of:
“Stop: It’s somewhat void here. The center of gravity isn’t quite right here.”
To finish up, here’s an interesting related statement made by Yukiyoshi Sagawa on February 24th 1970, from “Aikido no Ogi”:
合気は円であるとか遠心力、求心力などいろいろいっているがそういうものではない。強いと言えば円を一寸外すことである。円を一寸外し力の終末点を外せば力がなくなる。
A lot of things are said, such as Aiki is a circle, or centrifugal/centripetal force, but it’s nothing like that. If you are speaking of strength, it is a matter of slightly slipping out of the circle. If you slip slightly out of the circle and unfasten the endpoint of their power it will dissappear.
Which contains very clear echoes of the statements from Morihei Ueshiba and Chen Xiaowang, only this time from a Daito-ryu instructor.
合気は円であるとか遠心力、求心力などいろいろいっているがそういうものではない。強いと言えば円を一寸外すことである。円を一寸外し力の終末点を外せば力がなくなる。
A lot of things are said, such as Aiki is a circle, or centrifugal/centripetal force, but it’s nothing like that. If you are speaking of strength, it is a matter of slightly slipping out of the circle. If you slip slightly out of the circle and unfasten the endpoint of their power it will dissappear.
Which contains very clear echoes of the statements from Morihei Ueshiba and Chen Xiaowang, only this time from a Daito-ryu instructor.
Takemusu Aiki Intercontinental
Transmitting an authentic knowledge of Traditional Aikido as founded by Morihei UESHIBA
O Sensei’s movement #1
The six inner directions
The first three inner directions are initiated by the front foot
Inner Direction n°1
The series of articles that begins here is the key to the door that separates the Saito method (the suburi practice of Aikido) and the Founder’s Aikido.
This key is needed to leave the educational framework of the method, when the practitioner has reached the threshold of this new phase, and she/he is finally ready. Attempts can be made in this direction, but without the knowledge of this key, may parasitize the method with elements that are foreign to it, without allowing leaving the field of suburi.
First of all, it is necessary to return to Morihei Ueshiba’s fundamental teaching regarding the guard stance (kamae), which was raised quickly in Kajo #19 but will now find the development it deserves.
We are talking about that famous page 9 of Budo, the book written by Morihei Ueshiba. The English translation of John Stevens has very serious shortcomings, along with the translation French too, which is normal since it was established from the English version.
Christopher Li was the first one in February 2012 (1, 2, 3) to raise this issue immediately followed in March 2012 by, Eric Grousilliat (4, 5, 6). Both made an independent translation of this page 9 directly from the original Japanese text : Christopher Li in English, Eric Grousillat in French.
These two translations, established simultaneously by two different people and in different languages, match perfectly, and they highlight deviation of John Stevens’ translation. One can check that both are rigorously faithful to the text of Morihei Ueshiba.
I thank Chris and Eric who can not imagine how their work has helped me to discover the remarkable system of O Sensei’s movement. Without their efforts, the following series of articles which begins would have never been written.
In this short passage about the kamae, O Sensei provides us with some crucial information for the practice of Aikido :
- ... Open your feet in the six directions, and face the enemy in the hanmi irimi position of Aiki. - O Sensei
John Stevens does not meet the very specific meaning of the Japanese word "Roppo"(six directions). He translates as: "the feet should be opened at an angle of 60 °". But this has nothing to do with the original version, the "60 °" just does not exist in the Japanese text!
Stevens actually gives an interpretation of O sensei’s text, his or Shirata’s. And this interpretation may itself be understood in different ways, the 60 ° angle being defined with respect to nothing. It is therefore a source of confusion. - Regarding the movement, there are six outer directions (soto Roppo) six inner directions (uchi Roppo), and also an outer spiral (soto tomoe) and an inner spiral (uchi tomoe). - O Sensei
As incredible as it may seem, the first part of O sensei’s sentence is translated as: "The front foot, as well as the rear foot should be open at a angle of 60°" ! John Stevens therefore does not only invent an angle of 60 °, he then adds two angles that do not appear in the Founder's text.
These two 60 ° angles become even more incomprehensible since the photos of O Sensei’s kamae, if they show a rear foot that can be seen at 60°, show a front foot in alignment with the leg, and therefore isnever opened at 60 ° (I speak here of hanmi kamae irimi and not hito e mi which is not a guard stance).
As to the second part of the sentence, concerning the outer spiral and inner spirals, well it is very simple, it has not been translated at all, it does not appear in the English version.
All this is very unfortunate, because these three lines of explanation from O Sensei’s hand are extremely valuable. It is them – as we will discover - that will allow finding the Founder’s authentic movement system. Without them, Aikido movement remain sealed, hermetic. - At the end of each movement, always open your feet in the six directions (Roppo), it is necessary to train so / this way. - O Sensei
Unabashed, John Stevens keeps translating "Roppo" the six directions as : "An angle of 60 °".
So I ask here to John Stevens as the translator of Budo under the eminent control his teacher Rinjiro Shirata, the following three questions:
- How is it possible that the Instruction No. 2, which is so important for understanding Aikido movement, has disappeared from the English version ?
- How is it possible that "Roppo" has been systematically translated without any link to the Japanese original text, making O Sensei’s text impossible to understand?
- Is it incompetence or is it a deliberate attempt to conceal a fundamental traditional knowledge?
Is it possible that when delivering the world an unvaluable information enclosed in the only book that O Sensei ever wrote, an act of censorship may have closed the access to knowledge ?
Whatever the facts, we now have the information we previously lacked to understand the authentic movement of Aikido's Founder. And thanks to them, we now can find this movement
So there are six internal and six external directions directions, from the same hanmi position. We will gradually show these twelve directions.
In the inner direction 1, aite, the opponent, just comes frontally:
So there are six internal and six external directions directions, from the same hanmi position. We will gradually show these twelve directions.
In the inner direction 1, aite, the opponent, just comes frontally:
The first inner direction is shown in the photograph of O Sensei we are familiar with (to be translated) Aiki ken #8 :
Philippe Voarino, may 2014
Comments
CommentsSubmitted by GMD on Mon, 05/05/2014 - 11:37 - Permalink
Hi Philip, a question, at the end of a cut, I can thanks to the principle irimi tenkan continue my rotate forward or backward but in the case above, the fact that the right foot is on the side and not in line, I can only rotate to the back !! the solution will be to Happo giri VIEWING my left leg in the axis of the attack if possible otherwise to Happo giri 180 ° as Osensei on the image. very cordially
Submitted by philippevoarino on Mon, 05/05/2014 - 11:31 p.m. - Permalink
Hello Gilles.
Hanmi same position offers 12 different travel options. By virtue of irimi-tenkan, we can at any time from within any of these directions, as required.
Philippe Voarino
Submitted by phil on Mon, 05/05/2014 - 2:57 p.m. - Permalink
Hello Master, needless to say that I am extremely attentive to your latest articles and waiting for those to come.
I try to feel what might happen in the body of this inner input in the light of your last article.
When performing a moving tsugi ashi one puts his conscience in moving the feet.
Unlike what is to illustrate the movement of this inner guidance you show in the article, we need to integrate it's hip that initiates and therefore make the front foot but the rear foot naturally takes his place after a time delay (which corresponds to that of the strike), then pulled passively by the hip action. And without being aware of it almost back foot comes naturally find its place.
This image she found some credit to you?
Submitted by philippevoarino on Mon, 05/05/2014 - 11:48 p.m. - Permalink
Hello Phil.
I agree with your formulation. The end of the shift you specify is quite natural, that is the way to find the hanmi. It is natural, but it does not mean mandatory. And we may as well start irimi-tenkan in another direction if the situation requires, and then finish with hanmi another angle.
Philippe Voarino
Submitted by GMD on Mon, 05/05/2014 - 5:39 p.m. - Permalink
re Hello Philip, CORRECTION, I meant "VIEWING my right leg" and not left as it is already defined in the line of attack by tori. The explanation of PHIL seems fair compared to your explanations (that is hip initiates) but it is this support leg that bothers me.
Sincerely.
Submitted by noumea on Tues, 05/06/2014 - 8:32 p.m. - Permalink
Hello Master; Let me rephrase my understanding of your explanations and I would be grateful if you take my mistakes and correct me if necessary The left foot is considered that back foot in front, to the right hammi consists of the right leg remained at inside and which is then folded. The left foot pushes, is taut and participates in the work of the left hip is rotated and directs the belly and shoulders facing uke, before fading and giving hammi hidari with the inner foot is positioned for a body then profile. With great respect for your work
Submitted by philippevoarino on Thurs, 05/08/2014 - 7:34 - Permalink
Hello Noumea.
I do not believe - or more - that the " position "of irimi, the intermediate position can be characterized as hanmi. This is a problem of angles, and you will understand that with the next series of records.
I put the word position in quotes because it is not strictly speaking a position, it is a passage.
This position is designed to be able to last in time. The only position at the bottom of Aikido is the hanmi guard. Everything else is moving.
Philippe Voarino
Submitted by noumea on Thurs., 08/05/2014 - 9:55 - Permalink
Thank you for your reply .. sincerely
Submitted by GMD on Thurs. 05/08/2014 - 6:39 p.m. - Permalink
Hi Philip, you have the gift to us on the road and then re-encode, but it's still boring as you make us look and I thank you once again. I thought just be me being misled but in fact not at all because "passing" as you say that's where I go and that's why I blocked the explanation. Simply reproduce weapons that we do Taijitsu, my center and the beginning of my cup pass by uke but it is only passing !! therefore my front foot (irimi) becomes almost immediately walk back (supporting foot) is happo giri EXCEPT THAT CUP starts when I place my foot forward at the angle ippo Japanese etc, if I m 'abuse. thank you again very cordially
Hi Philip, a question, at the end of a cut, I can thanks to the principle irimi tenkan continue my rotate forward or backward but in the case above, the fact that the right foot is on the side and not in line, I can only rotate to the back !! the solution will be to Happo giri VIEWING my left leg in the axis of the attack if possible otherwise to Happo giri 180 ° as Osensei on the image. very cordially
Submitted by philippevoarino on Mon, 05/05/2014 - 11:31 p.m. - Permalink
Hello Gilles.
Hanmi same position offers 12 different travel options. By virtue of irimi-tenkan, we can at any time from within any of these directions, as required.
Philippe Voarino
Submitted by phil on Mon, 05/05/2014 - 2:57 p.m. - Permalink
Hello Master, needless to say that I am extremely attentive to your latest articles and waiting for those to come.
I try to feel what might happen in the body of this inner input in the light of your last article.
When performing a moving tsugi ashi one puts his conscience in moving the feet.
Unlike what is to illustrate the movement of this inner guidance you show in the article, we need to integrate it's hip that initiates and therefore make the front foot but the rear foot naturally takes his place after a time delay (which corresponds to that of the strike), then pulled passively by the hip action. And without being aware of it almost back foot comes naturally find its place.
This image she found some credit to you?
Submitted by philippevoarino on Mon, 05/05/2014 - 11:48 p.m. - Permalink
Hello Phil.
I agree with your formulation. The end of the shift you specify is quite natural, that is the way to find the hanmi. It is natural, but it does not mean mandatory. And we may as well start irimi-tenkan in another direction if the situation requires, and then finish with hanmi another angle.
Philippe Voarino
Submitted by GMD on Mon, 05/05/2014 - 5:39 p.m. - Permalink
re Hello Philip, CORRECTION, I meant "VIEWING my right leg" and not left as it is already defined in the line of attack by tori. The explanation of PHIL seems fair compared to your explanations (that is hip initiates) but it is this support leg that bothers me.
Sincerely.
Submitted by noumea on Tues, 05/06/2014 - 8:32 p.m. - Permalink
Hello Master; Let me rephrase my understanding of your explanations and I would be grateful if you take my mistakes and correct me if necessary The left foot is considered that back foot in front, to the right hammi consists of the right leg remained at inside and which is then folded. The left foot pushes, is taut and participates in the work of the left hip is rotated and directs the belly and shoulders facing uke, before fading and giving hammi hidari with the inner foot is positioned for a body then profile. With great respect for your work
Submitted by philippevoarino on Thurs, 05/08/2014 - 7:34 - Permalink
Hello Noumea.
I do not believe - or more - that the " position "of irimi, the intermediate position can be characterized as hanmi. This is a problem of angles, and you will understand that with the next series of records.
I put the word position in quotes because it is not strictly speaking a position, it is a passage.
This position is designed to be able to last in time. The only position at the bottom of Aikido is the hanmi guard. Everything else is moving.
Philippe Voarino
Submitted by noumea on Thurs., 08/05/2014 - 9:55 - Permalink
Thank you for your reply .. sincerely
Submitted by GMD on Thurs. 05/08/2014 - 6:39 p.m. - Permalink
Hi Philip, you have the gift to us on the road and then re-encode, but it's still boring as you make us look and I thank you once again. I thought just be me being misled but in fact not at all because "passing" as you say that's where I go and that's why I blocked the explanation. Simply reproduce weapons that we do Taijitsu, my center and the beginning of my cup pass by uke but it is only passing !! therefore my front foot (irimi) becomes almost immediately walk back (supporting foot) is happo giri EXCEPT THAT CUP starts when I place my foot forward at the angle ippo Japanese etc, if I m 'abuse. thank you again very cordially
The displacement of O Sensei # 2
The six internal directions
3 first inner directions are initiated by the forefoot
Inner direction 2 and 3
Hidari hanmi:
In the inner direction 1, the opponent had face (cf. Moving O Sensei # 1 ).
In the inner direction 2, aite, the opponent has just the right:
In the inner direction 1, the opponent had face (cf. Moving O Sensei # 1 ).
In the inner direction 2, aite, the opponent has just the right:
In the inner direction 3, aite, the opponent comes from behind:
For the first time, are given the angles needed to understand the laws, consistent with the universe plan of the movement system, which is that of man, but which is also greater than man.
" All is number "Pythagoras taught, and movement of Aikido is the number, along with the music.
These angles of respect, are currently supplied without explanation ... in their natural perfection .
They will be discussed in Moving O Sensei # 3.
Think it. We reflect that represents the study of Aikido. We reflect on the true purpose of this study. The martial aspect is, of course, but it is a drop in Takemusu Aiki.
Around the hanmi position, the first three internal directions, taken from the front foot, are:
" All is number "Pythagoras taught, and movement of Aikido is the number, along with the music.
These angles of respect, are currently supplied without explanation ... in their natural perfection .
They will be discussed in Moving O Sensei # 3.
Think it. We reflect that represents the study of Aikido. We reflect on the true purpose of this study. The martial aspect is, of course, but it is a drop in Takemusu Aiki.
Around the hanmi position, the first three internal directions, taken from the front foot, are:
All three are initiated by moving the front foot to the inside of the body, that's why it gives them the inner directions name.
Time to Irimi therefore is not a Hanmi position, this is not a position hito e mi ... It is located between the initial time and the Hanmi Hanmi final time. In reality, this is not strictly speaking a position, but rather atransition . But it is a must.
At this point, feet together form an angle of 30 °, the hips are at their maximum irimi-tenkan rotation, which allows the arm before entering the sphere of uchi, and rear arms to leave simultaneously . the area of attack
This is the time when the energy is released:
Time to Irimi therefore is not a Hanmi position, this is not a position hito e mi ... It is located between the initial time and the Hanmi Hanmi final time. In reality, this is not strictly speaking a position, but rather atransition . But it is a must.
At this point, feet together form an angle of 30 °, the hips are at their maximum irimi-tenkan rotation, which allows the arm before entering the sphere of uchi, and rear arms to leave simultaneously . the area of attack
This is the time when the energy is released:
Philippe Voarino, May 2014
Comments
CommentsSubmitted by rusty 9 on Mon 12/05/2014 - 1:56 - Permalink
Hello Philippe
can dévelloper the aspect the main object of Takemusu Aiki, s please because I see through your articles the opportunity to understand how to stand on the bridge between heaven and earth even if my question seems naive or hasty
Serge thank you
Submitted by philippevoarino on Fri, 05/16/2014 - 8:28 p.m. - Permalink
Hello Serge.
The question is not naive, but it is huge. It would be presumptuous of me to attempt an answer.
But I can give some guidance.
Heaven in Eastern culture is the totality, universality. Nothing can be outside of Heaven. Heaven is in the East that God is to the West.
The essence of heaven is unity. But the procedure of the unit is the complementarity of what, from a certain point of view, may seem otherwise.
The link, the bridge , that man may establish, through its action between seemingly opposing elements, is the manner in its power to achieve unity of Heaven. Aikido techniques are a way to achieve unity of Heaven.
Philippe Voarino
Submitted by Eric on Tues 13/05/2014 - 11:03 p.m. - Permalink
Good evening Philip
O sensei seems "magnificent" in the photo end of the article, just in time, maybe he was first cut from the bottom up, which seems normal, it should be up to the range it up, then it goes down ..... they are really Aikido considerations: up and down the arms, for example ....
my speech is not about the technical aspects of O sensei, but the partner who was often photographed, video with him, namely Tamura Sensei: he is still in the attitudes of real fencer, kendoka full commitment of person .... it seems rare these days to have such aspects of commitments in our courses and respective internships .... ie for Tori can be fully realized in practice O sensei, Uke must- I follow a special education to "real attack" and "to" the consequences .... taiso, inflammation, falls, easing ... "old debate that animates the federations so-called" sport "and our .. ... or do nothing more than the basic gymnastics (Tai no henka, morote dori ....). For practitioners well with you Eric
Submitted by philippevoarino on Fri, 05/16/2014 - 8:38 p.m. - Permalink
Hello Eric.
There are no technical Aikido if there is no real attack. Aite must attack with all his heart. Otherwise everything is distorted.
I do not believe the sincerity of the attack depends on a particular drive. The sincerity of the attack depends on the sincerity of the practitioner, his mind and his understanding of the meaning of the workout.
Philippe Voarino
Submitted by rusty 9 on Fri, 05/16/2014 - 23:59 - Permalink
Good evening Philippe
thank you for your explanations that m is valuable because it comes supplement and clarify a text that I read regularly without entirely understanding .I would like to submit it to your readers:
"For most Westerners, the vacuum means that there is nothing like the vacuum of space. But not in Eastern traditions where the Empty means no detachment or a complete union, where the whole and there are united into one. It is linked to the idea of heavenly paradise. This is the element in which the concept is the most difficult to understand. In Eastern philosophies, the vacuum is one of the great symbols of enlightenment. Once you stop seeing the false posting and illusions, you can see the world as it really is. From there, everything is connected, everything is the same and there is no attachment to one thing or another. Simply, everything. For martial arts action from the void means that you should not come to a battle with preconceived ideas and with an established tactic. The old axiom is that no battle plan survives contact with the enemy, which is true of life in general. Acting on the vacuum means doing things naturally and without thinking. The events are happening and you are no longer tied to the anticipation or expectation, you can ignore the gap between thought and action. You do not think, you and your actions are perfect. This capacity level is almost superhuman.It is the goal that everyone should look following the path of Budo. "
serge
Hello Philippe
can dévelloper the aspect the main object of Takemusu Aiki, s please because I see through your articles the opportunity to understand how to stand on the bridge between heaven and earth even if my question seems naive or hasty
Serge thank you
Submitted by philippevoarino on Fri, 05/16/2014 - 8:28 p.m. - Permalink
Hello Serge.
The question is not naive, but it is huge. It would be presumptuous of me to attempt an answer.
But I can give some guidance.
Heaven in Eastern culture is the totality, universality. Nothing can be outside of Heaven. Heaven is in the East that God is to the West.
The essence of heaven is unity. But the procedure of the unit is the complementarity of what, from a certain point of view, may seem otherwise.
The link, the bridge , that man may establish, through its action between seemingly opposing elements, is the manner in its power to achieve unity of Heaven. Aikido techniques are a way to achieve unity of Heaven.
Philippe Voarino
Submitted by Eric on Tues 13/05/2014 - 11:03 p.m. - Permalink
Good evening Philip
O sensei seems "magnificent" in the photo end of the article, just in time, maybe he was first cut from the bottom up, which seems normal, it should be up to the range it up, then it goes down ..... they are really Aikido considerations: up and down the arms, for example ....
my speech is not about the technical aspects of O sensei, but the partner who was often photographed, video with him, namely Tamura Sensei: he is still in the attitudes of real fencer, kendoka full commitment of person .... it seems rare these days to have such aspects of commitments in our courses and respective internships .... ie for Tori can be fully realized in practice O sensei, Uke must- I follow a special education to "real attack" and "to" the consequences .... taiso, inflammation, falls, easing ... "old debate that animates the federations so-called" sport "and our .. ... or do nothing more than the basic gymnastics (Tai no henka, morote dori ....). For practitioners well with you Eric
Submitted by philippevoarino on Fri, 05/16/2014 - 8:38 p.m. - Permalink
Hello Eric.
There are no technical Aikido if there is no real attack. Aite must attack with all his heart. Otherwise everything is distorted.
I do not believe the sincerity of the attack depends on a particular drive. The sincerity of the attack depends on the sincerity of the practitioner, his mind and his understanding of the meaning of the workout.
Philippe Voarino
Submitted by rusty 9 on Fri, 05/16/2014 - 23:59 - Permalink
Good evening Philippe
thank you for your explanations that m is valuable because it comes supplement and clarify a text that I read regularly without entirely understanding .I would like to submit it to your readers:
"For most Westerners, the vacuum means that there is nothing like the vacuum of space. But not in Eastern traditions where the Empty means no detachment or a complete union, where the whole and there are united into one. It is linked to the idea of heavenly paradise. This is the element in which the concept is the most difficult to understand. In Eastern philosophies, the vacuum is one of the great symbols of enlightenment. Once you stop seeing the false posting and illusions, you can see the world as it really is. From there, everything is connected, everything is the same and there is no attachment to one thing or another. Simply, everything. For martial arts action from the void means that you should not come to a battle with preconceived ideas and with an established tactic. The old axiom is that no battle plan survives contact with the enemy, which is true of life in general. Acting on the vacuum means doing things naturally and without thinking. The events are happening and you are no longer tied to the anticipation or expectation, you can ignore the gap between thought and action. You do not think, you and your actions are perfect. This capacity level is almost superhuman.It is the goal that everyone should look following the path of Budo. "
serge
The displacement of O Sensei # 3
The six internal directions
The last 3 indoor directions are initiated by the back foot
Inner direction 4
We have made an amazing discovery in Moving O Sensei # 2 .
Although Ueshiba Budo that speaks in six directions (Roppo) and ever angle of 60 °, although the translation of John Stevens, supervised by Rinjiro Shirata, introduce a 60 ° angle which however never appears in the original Japanese text (see Moving O Sensei # 1 ), the six directions mentioned by the founder of Aikido are still related to the 60 ° angle .
Indeed, the six directions (internal or external) are related to the rotation of the body around the central point which is the intersection of the cross on the ground. We have already seen the first three directions, and the result of these files will be confirmed.
By this rotation, the body draws a perfect circle in space, during his visit aiki irimi.
The six directions are distributed harmoniously in this virtual circle whose center
is the creator of man.
But there is no other possibility that a circle is divided into six equal parts if not using the 60 ° angle.
This is a geometrical necessity which should normally be understood from the study of Kajo .
That is why hanmi position is so important: it is the origin, the heart of creation, the primordial cell in which is engraved as a genome in terms of everything that needs to be expressed.
To understand, just do not make the classic mistake of thinking that these measure 60 ° angle between the axis of the front foot and the axis of the rear foot.
In fact, 60 ° are not defined by the difference between the front foot and the rear foot, they are defined, in a more complex structure, the angle between the axis of the rear leg with the axis perpendicular to the direction of the body ( see figure below ).
The angle between the front foot and the back foot can not therefore obey the laws of geometry: the sum of the angles of a triangle is 180 °, there is here an angle of 90 ° and a 60 ° angle, the remaining angle is necessarily 30 °.
The two angles 30 ° and 60 °, complementary between them, show the right angle of the right triangle. Now we have seen in Vitruvian Man # 4 , how the circle is literally created by the rotation of the right triangle .
The compliance of moving his feet with the laws of the triangle, allows man to draw a perfect circle with his body, via the six directions from the natural and eternal division of the circle by the angle of 60 ° .
It is the sacred dance that O Sensei speaks: furumai . It comes from sacred geometry.
That is why the position of Aikido (hanmi, Custody, kamae ), and the shape of the movement (hito e mi), are closely related to the angle of 60 °: because this angle is the hyphen between the right triangle and circle.
If it were not, it would not be possible for man to borrow the six directions in accordance with the principle of irimi aiki, that is to say, in harmony with the universe.
Respect for the 60 ° angle in kamae and travel is a fundamental law of Aikido, because it is a law of the universe. This is a message recorded by Leonardo da Vinci in his famous sketch (see Vitruvian Man # 5 ).
Although Ueshiba Budo that speaks in six directions (Roppo) and ever angle of 60 °, although the translation of John Stevens, supervised by Rinjiro Shirata, introduce a 60 ° angle which however never appears in the original Japanese text (see Moving O Sensei # 1 ), the six directions mentioned by the founder of Aikido are still related to the 60 ° angle .
Indeed, the six directions (internal or external) are related to the rotation of the body around the central point which is the intersection of the cross on the ground. We have already seen the first three directions, and the result of these files will be confirmed.
By this rotation, the body draws a perfect circle in space, during his visit aiki irimi.
The six directions are distributed harmoniously in this virtual circle whose center
is the creator of man.
But there is no other possibility that a circle is divided into six equal parts if not using the 60 ° angle.
This is a geometrical necessity which should normally be understood from the study of Kajo .
That is why hanmi position is so important: it is the origin, the heart of creation, the primordial cell in which is engraved as a genome in terms of everything that needs to be expressed.
To understand, just do not make the classic mistake of thinking that these measure 60 ° angle between the axis of the front foot and the axis of the rear foot.
In fact, 60 ° are not defined by the difference between the front foot and the rear foot, they are defined, in a more complex structure, the angle between the axis of the rear leg with the axis perpendicular to the direction of the body ( see figure below ).
The angle between the front foot and the back foot can not therefore obey the laws of geometry: the sum of the angles of a triangle is 180 °, there is here an angle of 90 ° and a 60 ° angle, the remaining angle is necessarily 30 °.
The two angles 30 ° and 60 °, complementary between them, show the right angle of the right triangle. Now we have seen in Vitruvian Man # 4 , how the circle is literally created by the rotation of the right triangle .
The compliance of moving his feet with the laws of the triangle, allows man to draw a perfect circle with his body, via the six directions from the natural and eternal division of the circle by the angle of 60 ° .
It is the sacred dance that O Sensei speaks: furumai . It comes from sacred geometry.
That is why the position of Aikido (hanmi, Custody, kamae ), and the shape of the movement (hito e mi), are closely related to the angle of 60 °: because this angle is the hyphen between the right triangle and circle.
If it were not, it would not be possible for man to borrow the six directions in accordance with the principle of irimi aiki, that is to say, in harmony with the universe.
Respect for the 60 ° angle in kamae and travel is a fundamental law of Aikido, because it is a law of the universe. This is a message recorded by Leonardo da Vinci in his famous sketch (see Vitruvian Man # 5 ).
30 ° is half of 60 °, 90 ° is the sum of 60 ° and 30 °, 120 ° is twice 60 °:
the hanmi guard of Aikido and movements that result are closely related to the angle of 60 ° and dependent.
The 60 ° angle is the geometric key which brings together in a single rotation triangle, square and circle.
The movement of Aikido is based on geometrical laws of absolute rigor. Failure to understand these laws and respect, it is impossible to identify the six directions, and impossible to move properly in these six directions, impossible to realize the principle of irimi impossible therefore to Aikido.
In the inner direction 4, aite, the opponent, has faced:
the hanmi guard of Aikido and movements that result are closely related to the angle of 60 ° and dependent.
The 60 ° angle is the geometric key which brings together in a single rotation triangle, square and circle.
The movement of Aikido is based on geometrical laws of absolute rigor. Failure to understand these laws and respect, it is impossible to identify the six directions, and impossible to move properly in these six directions, impossible to realize the principle of irimi impossible therefore to Aikido.
In the inner direction 4, aite, the opponent, has faced:
This inner direction 4, which is initiated by the back foot is perfectly symmetrical to the internal management 1 (see Moving O Sensei # 1 ), which is initiated it by the front foot. The axis of symmetry passing through the center of the cross in the soil.
Philippe Voarino, May 2014
Comments
CommentsSubmitted by GMD on Sat, 05.17.2014 - 7:52 p.m. - Permalink
Hello Philippe, just a precision surprisingly and of paramount importance to you it seems to me, on your representation (hamni, hitoemi) the pivot foot forward hitoemi seems to be on the heel instead of the ball of the foot. Tell me this is a mistake !!! because my automation will not like at all. very cordially. GILLES
Submitted by rusty 9 on Mon, 05/19/2014 - 12:00 - Permalink
hello,
what name carries this posture of typing time (irmi) in Aikido because it is similar to Sanchin Dachi in karate which is the time of atemi
cdt Serge Tooze
Submitted by philippevoarino on Mon 26/05/2014 - 10:25 p.m. - Permalink
Hello Gilles.
Support is good on the ball of the foot, not the heel. Do not change your automation.
Philippe
Submitted by philippevoarino on Mon 26/05/2014 - 10:45 p.m. - Permalink
Hello Serge.
I do not know the name of this position in Aikido, and I do not know if indeed it has one. In truth, I would not be surprised that it does not have. Because it is not strictly speaking a position . This is a dynamic transition between two hanmi positions. And it is precisely the transience of the moment that we ended up losing sight of, and that is now so well known. We see what is down, but little discerns what is moving.
Philippe Voarino
Hello Philippe, just a precision surprisingly and of paramount importance to you it seems to me, on your representation (hamni, hitoemi) the pivot foot forward hitoemi seems to be on the heel instead of the ball of the foot. Tell me this is a mistake !!! because my automation will not like at all. very cordially. GILLES
Submitted by rusty 9 on Mon, 05/19/2014 - 12:00 - Permalink
hello,
what name carries this posture of typing time (irmi) in Aikido because it is similar to Sanchin Dachi in karate which is the time of atemi
cdt Serge Tooze
Submitted by philippevoarino on Mon 26/05/2014 - 10:25 p.m. - Permalink
Hello Gilles.
Support is good on the ball of the foot, not the heel. Do not change your automation.
Philippe
Submitted by philippevoarino on Mon 26/05/2014 - 10:45 p.m. - Permalink
Hello Serge.
I do not know the name of this position in Aikido, and I do not know if indeed it has one. In truth, I would not be surprised that it does not have. Because it is not strictly speaking a position . This is a dynamic transition between two hanmi positions. And it is precisely the transience of the moment that we ended up losing sight of, and that is now so well known. We see what is down, but little discerns what is moving.
Philippe Voarino
The displacement of O Sensei # 4
The six internal directions
The last 3 indoor directions are initiated by the back foot
Inner direction 5 and 6
In the inner direction No. 5 aite, the opponent has just the right:
This inner guidance No. 5, which is initiated by the back foot is perfectly symmetrical to the internal management 2 (see Moving O Sensei # 2 ), which is initiated it by the front foot. The axis of symmetry passing through the center of the cross in the soil.
In the inner direction 6, aite, the opponent has just left:
In the inner direction 6, aite, the opponent has just left:
This inner direction 6, which is initiated by the back foot is perfectly symmetrical to the internal management 3 (see Moving O Sensei # 2 ), which is initiated it by the front foot. The axis of symmetry passing through the center of the cross in the soil.
Around the hanmi position, so there has 3 indoor directions taken from the front foot, and 3 indoor directions taken from the back foot.
The six directions are symmetrical interior and rotate in two opposite directions to two:
Around the hanmi position, so there has 3 indoor directions taken from the front foot, and 3 indoor directions taken from the back foot.
The six directions are symmetrical interior and rotate in two opposite directions to two:
From the hanmi position, the human body can access three sectors of the circle in four directions through the interior with either the front foot or with the back foot. But none of the six inner directions only allows access to the area that is in the back. To access the latter, we will see in the next few records he must have recourse to external directions.
In the position hanmi:
Inward, and less of jumping, the human body can not be rotated 360 °, it can not rotate at most 270 °.
Man can not rotate 270 ° to the inside with the front foot. It can rotate 270 ° to the inside with the back foot.
Shiho and uchi kaiten are the only movements that use the internal management 6, which forces the body to rotate to the third sector. That's why O Sensei taught in kuden it was necessary to turn 270 ° to achieve shiho nage.
It should also be rotated 270 ° to uchi uchi kaiten kaiten nage or sankyo.
In such a circumstance, because of the magnitude of the 270 ° rotation, the front foot must always open (by the effect of hip rotation) to let the back foot. It is this openness needed and characteristic of the front foot called hito e mi . This form of opening two feet to 60 ° (see Moving O Sensei # 3 ) exists in Aikido, as in the movement. This is not a position, a passage. Here too it is a must.
Hito e mi therefore exists in the case where the rotation of the body reaches the end point of 270 °. It does not need in all other cases.
In the position hanmi:
Inward, and less of jumping, the human body can not be rotated 360 °, it can not rotate at most 270 °.
Man can not rotate 270 ° to the inside with the front foot. It can rotate 270 ° to the inside with the back foot.
Shiho and uchi kaiten are the only movements that use the internal management 6, which forces the body to rotate to the third sector. That's why O Sensei taught in kuden it was necessary to turn 270 ° to achieve shiho nage.
It should also be rotated 270 ° to uchi uchi kaiten kaiten nage or sankyo.
In such a circumstance, because of the magnitude of the 270 ° rotation, the front foot must always open (by the effect of hip rotation) to let the back foot. It is this openness needed and characteristic of the front foot called hito e mi . This form of opening two feet to 60 ° (see Moving O Sensei # 3 ) exists in Aikido, as in the movement. This is not a position, a passage. Here too it is a must.
Hito e mi therefore exists in the case where the rotation of the body reaches the end point of 270 °. It does not need in all other cases.
Philippe Voarino, May 2014
Comments
Comments
Submitted by phil on Sat, 05.24.2014 - 3:37 p.m. - Permalink
Hello Master,
For shiho nage the pivot 270 ° is it for both forms omote ie the basic form (I) and advanced form (III) or only for the basic shape?
I have the impression that the extended form, due to the form in which the commitment we end up closer to a pivot say halfway between 180 and 270 °.
Submitted by philippevoarino on Mon 26/05/2014 - 11:03 p.m. - Permalink
Hello Phil.
That is how we see things.
From the hanmi position, man has access to four sections: the first 90 ° sector, the second sector that goes up to 180 °, the third sector to 270 °, and the fourth area that the loop 360 ° circle. When O Sensei talks about 270 °, it indicates the area in which you have to turn, not the measure of the angle of the body. This angle adopted by the body will be good in sector 3 (270 °), but its extent will range somewhere between 180 and 270 °.
Philippe Voarino
Submitted by GMD on Tues., 05/27/2014 - 2:54 p.m. - Permalink
Hello Philippe. When you say Hito e mi therefore exists in the case where the rotation of the body reaches the end point of 270 °. It does not need in all other cases . you mean to reach the third 180 to 270 ° sector (No 270 360 °) cordially. gilles
Submitted by philippevoarino the Tues 05/27/2014 - 10:57 p.m. - Permalink
Hello Gilles.
Yes, that's right. In fact, we must speak by sector. The area 270/360 ° is not accessible through domestic directions, it is only through external directions. The next technical specifications will understand.
Philippe Voarino
Submitted by phil on Sat, 05.24.2014 - 3:37 p.m. - Permalink
Hello Master,
For shiho nage the pivot 270 ° is it for both forms omote ie the basic form (I) and advanced form (III) or only for the basic shape?
I have the impression that the extended form, due to the form in which the commitment we end up closer to a pivot say halfway between 180 and 270 °.
Submitted by philippevoarino on Mon 26/05/2014 - 11:03 p.m. - Permalink
Hello Phil.
That is how we see things.
From the hanmi position, man has access to four sections: the first 90 ° sector, the second sector that goes up to 180 °, the third sector to 270 °, and the fourth area that the loop 360 ° circle. When O Sensei talks about 270 °, it indicates the area in which you have to turn, not the measure of the angle of the body. This angle adopted by the body will be good in sector 3 (270 °), but its extent will range somewhere between 180 and 270 °.
Philippe Voarino
Submitted by GMD on Tues., 05/27/2014 - 2:54 p.m. - Permalink
Hello Philippe. When you say Hito e mi therefore exists in the case where the rotation of the body reaches the end point of 270 °. It does not need in all other cases . you mean to reach the third 180 to 270 ° sector (No 270 360 °) cordially. gilles
Submitted by philippevoarino the Tues 05/27/2014 - 10:57 p.m. - Permalink
Hello Gilles.
Yes, that's right. In fact, we must speak by sector. The area 270/360 ° is not accessible through domestic directions, it is only through external directions. The next technical specifications will understand.
Philippe Voarino
Roppo # 1 (MAJ)
After discovering the 12 directions (6 internal departments and external 6 directions) which Ueshiba explicit reference in his book "Budo", after - I think - how these geometrically demonstrated his trips organized from the hanmi position and after and have helped to understand - I hope - why this position was hanmi appeléeeRoppo (six directions) O Sensei, I felt something in the order of what had experience of Heinrich Schliemann on the mound after Hissarlik the first shots shovel and the first archaeological finds: there was no doubt the city of Troy was there, but in how many meters of earth yet?
I was in the presence of a fundamental key to understanding the Founder of Aikido. But the key was still largely hidden, my body could not absorb this knowledge satisfactorily and intellectual vision that I had seemed incomplete without my knowing really say why. Something was missing that I could not define.
So I decided not to write anything before you see more clearly, and I worked in recent months intensively to try to really understand what I had found. The goal was to better perceive the universe - new to me - that was beginning to take shape before my eyes, however, the O Sensei familiar world, very different from Aikidopropaedeutic that had occupied my exclusive horizon these past 35 years. For a long time, and without his suspecting, preparing for Aikido Aikido hides the eyes of the practitioner, the linear multi Aikido Aikido hides.
I did nothing to change the 2 x 6 = 12 directions which have been described in detail in the technical specifications. They are the indispensable foundation of knowledge, and I refer to the study of these issues. It is only from this basis that may become visible and intelligible wonderful Aikido movement system which I will now try to give an idea. Summarize these first 12 positions recalling the most essential point: these 12 possibilities arise from the hanmi position, and the position hanmi only .
Let us start from the position ken no kamae, migi hanmi (hanmi law), as the picture of O Sensei:
I was in the presence of a fundamental key to understanding the Founder of Aikido. But the key was still largely hidden, my body could not absorb this knowledge satisfactorily and intellectual vision that I had seemed incomplete without my knowing really say why. Something was missing that I could not define.
So I decided not to write anything before you see more clearly, and I worked in recent months intensively to try to really understand what I had found. The goal was to better perceive the universe - new to me - that was beginning to take shape before my eyes, however, the O Sensei familiar world, very different from Aikidopropaedeutic that had occupied my exclusive horizon these past 35 years. For a long time, and without his suspecting, preparing for Aikido Aikido hides the eyes of the practitioner, the linear multi Aikido Aikido hides.
I did nothing to change the 2 x 6 = 12 directions which have been described in detail in the technical specifications. They are the indispensable foundation of knowledge, and I refer to the study of these issues. It is only from this basis that may become visible and intelligible wonderful Aikido movement system which I will now try to give an idea. Summarize these first 12 positions recalling the most essential point: these 12 possibilities arise from the hanmi position, and the position hanmi only .
Let us start from the position ken no kamae, migi hanmi (hanmi law), as the picture of O Sensei:
|
|
Sketch 1
Each foot has two choices: he can turn in the direction of clockwise or counterclockwise to clockwise.
If the right foot turns in the opposite direction clockwise, it turns to the human belly to belly if you will, to the inside of the human sphere is rotated to inside. The right foot can be interested in the direction B, direction C and the direction A. But he can not go to the direction D that is out of range of its rotation.
Directions B, C, and A that reaches through this inward rotation are known for this reason, and in this context, internal directions.
If the right foot turns in the opposite direction clockwise, it turns to the back of the man, to the outside of the human sphere is rotated outward. The right foot can be interested in the direction D, direction A, and management C. But he can not go to the direction B, which is out of range of its rotation.
Directions D, A, C and that this achieved by rotation outwards are called for that reason, and in this context outward directions.
The left foot turns in the direction of clockwise, it turns to the human stomach to the navel to the inside of the human sphere is rotated inward. The left foot can be interested in the direction C, direction B and the direction D. But it can not go to the A direction that is out of range of its rotation.
Directions C, B, and D that achieved by this inward rotation are called for that reason, and in this context, internal directions.
If the left foot rotates the contrary in the opposite direction of the clockwise, it turns to the back of the man, outwardly of the human sphere is rotated outwardly. The left foot can be interested in the direction A, direction D, and management B. But it can not go to the direction C that is out of range of its rotation.
Directions A, D, and B by this rotation it reaches outwards are called for that reason, and in this context outward directions.
One can verify that there has in this way six outer directions (DAC and ADB), six indoor directions (BCA and CBD), an inner spiral, and an outdoor spiral, and taught and wrote O Sensei :
On the move, there are six external directions (soto Roppo), six indoor directions (uchi Roppo) and also an outdoor spiral (soto tomoe) and an inner spiral (uchi tomoe). - Morihei Ueshiba, "Budo", 1938, page 9 of the Japanese version.
Nota bene : this sentence is directly translated from the Japanese version and can be found either in the English translation or in the French translation is incomplete (see on this point " Moving O Sensei # 1 ").
Rule
Whenever a foot moves he does not alone, of course, it is naturally followed by the second foot according to the following rule, which is a necessary consequence of the rotation that carries the name of Aikido irimi-tenkan:
When the first foot, whatever it is, moves inward, the second foot, always necessarily move outward. When the first foot, whatever it is, moves outward, the second leg will always move necessarily inward.
4 x 3 = 12 directions and allow to strike an opponent where it comes within 360 ° circle, doing irimi, that is to say, by penetrating into the opponent's guard while leaving in the same time , the position where the converging attacks at the previous time.
But something is missing though: applied in this way, these directions will allow 12 to hit one opponent at a time .
Now the irimi Aikido is more comprehensive than that, he has a remarkable virtue that has been overlooked since the death of O Sensei: the irimi Aikido is designed to hit two opponents in the same rotation and this regardless of the initial direction chosen from 12 possible directions .
This result can not be achieved without the full understanding of the displacement system used by O Sensei.We will try to explain.
A Jeannine, to everything that the development of Aikido in Europe needs it, since the late 1950. It has given generously, she asked for nothing in return, she gave meaning to the word friendship.
thank you.
This Nov. 19, 2014.
Philippe Voarino
Each foot has two choices: he can turn in the direction of clockwise or counterclockwise to clockwise.
If the right foot turns in the opposite direction clockwise, it turns to the human belly to belly if you will, to the inside of the human sphere is rotated to inside. The right foot can be interested in the direction B, direction C and the direction A. But he can not go to the direction D that is out of range of its rotation.
Directions B, C, and A that reaches through this inward rotation are known for this reason, and in this context, internal directions.
If the right foot turns in the opposite direction clockwise, it turns to the back of the man, to the outside of the human sphere is rotated outward. The right foot can be interested in the direction D, direction A, and management C. But he can not go to the direction B, which is out of range of its rotation.
Directions D, A, C and that this achieved by rotation outwards are called for that reason, and in this context outward directions.
The left foot turns in the direction of clockwise, it turns to the human stomach to the navel to the inside of the human sphere is rotated inward. The left foot can be interested in the direction C, direction B and the direction D. But it can not go to the A direction that is out of range of its rotation.
Directions C, B, and D that achieved by this inward rotation are called for that reason, and in this context, internal directions.
If the left foot rotates the contrary in the opposite direction of the clockwise, it turns to the back of the man, outwardly of the human sphere is rotated outwardly. The left foot can be interested in the direction A, direction D, and management B. But it can not go to the direction C that is out of range of its rotation.
Directions A, D, and B by this rotation it reaches outwards are called for that reason, and in this context outward directions.
One can verify that there has in this way six outer directions (DAC and ADB), six indoor directions (BCA and CBD), an inner spiral, and an outdoor spiral, and taught and wrote O Sensei :
On the move, there are six external directions (soto Roppo), six indoor directions (uchi Roppo) and also an outdoor spiral (soto tomoe) and an inner spiral (uchi tomoe). - Morihei Ueshiba, "Budo", 1938, page 9 of the Japanese version.
Nota bene : this sentence is directly translated from the Japanese version and can be found either in the English translation or in the French translation is incomplete (see on this point " Moving O Sensei # 1 ").
Rule
Whenever a foot moves he does not alone, of course, it is naturally followed by the second foot according to the following rule, which is a necessary consequence of the rotation that carries the name of Aikido irimi-tenkan:
When the first foot, whatever it is, moves inward, the second foot, always necessarily move outward. When the first foot, whatever it is, moves outward, the second leg will always move necessarily inward.
4 x 3 = 12 directions and allow to strike an opponent where it comes within 360 ° circle, doing irimi, that is to say, by penetrating into the opponent's guard while leaving in the same time , the position where the converging attacks at the previous time.
But something is missing though: applied in this way, these directions will allow 12 to hit one opponent at a time .
Now the irimi Aikido is more comprehensive than that, he has a remarkable virtue that has been overlooked since the death of O Sensei: the irimi Aikido is designed to hit two opponents in the same rotation and this regardless of the initial direction chosen from 12 possible directions .
This result can not be achieved without the full understanding of the displacement system used by O Sensei.We will try to explain.
A Jeannine, to everything that the development of Aikido in Europe needs it, since the late 1950. It has given generously, she asked for nothing in return, she gave meaning to the word friendship.
thank you.
This Nov. 19, 2014.
Philippe Voarino
Roppo # 2
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Hanmi (Roppo) is at the start and the end of the action, but not at the time of the action.
NB : For the moving system of O Sensei can be understood holistically, moving the feet has not been detailed here every time, which would have considerably increased this folder, and prevented an overview . The feet of the path can be studied in detail in the series " The displacement of O Sensei ", and we also will return in"Roppo # 3 ". |
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There are two symmetrical ways to move from Hanmi to Irimi 1:
- - The right foot moves first in the industry to hit 1 S (inner direction), the left foot follows in sector 2 to hit O (outer direction).
- - The left foot moves first in the industry to hit 2 O (inner direction), the right foot follows the one in the sector to hit S (outer direction).
There are two symmetrical ways to move from Hanmi to Irimi 2:
- - The right foot ** first moves in the industry to hit 7 E (inner direction), the left foot follows the sector 8 to hit S (outer direction).
- - The left foot moves first in the industry to hit 8 S (inner direction), the right foot follows in sector 7 to hit E (outer direction).
There are two symmetrical ways to move from Hanmi to Irimi 3:
For the first three irimi we have just seen: 1 (South West), 2 (Southeast), and 3 (North East), each of the six movements is initiated by an inner direction (see Roppo # 1 for explanation of this concept). The reason is simple: these three areas are within action before the body.
Please note : we check the rule in Roppo # 1 : " When the first foot, whatever it is, moves inward, the second foot, always necessarily move outward. "
For the last sector (Northwest), the situation is different: this sector is indeed in the back of tori, and it is out of scope of internal directions (either right foot or left foot) . The irimi can be achieved by starting at the back , towards the back. Only the outer directions allow this movement:
- - The right foot moves first in the industry to hit 5 N (inner direction), the left foot follows in sector 6 to hit E (outer direction).
- - The left foot moves first in the industry to hit 6 E (inner direction), the right foot follows in Sector 5 to hit N (outer direction).
For the first three irimi we have just seen: 1 (South West), 2 (Southeast), and 3 (North East), each of the six movements is initiated by an inner direction (see Roppo # 1 for explanation of this concept). The reason is simple: these three areas are within action before the body.
Please note : we check the rule in Roppo # 1 : " When the first foot, whatever it is, moves inward, the second foot, always necessarily move outward. "
For the last sector (Northwest), the situation is different: this sector is indeed in the back of tori, and it is out of scope of internal directions (either right foot or left foot) . The irimi can be achieved by starting at the back , towards the back. Only the outer directions allow this movement:
There are two symmetrical ways to move from Hanmi to Irimi 4:
Please note : we check the rule in Roppo # 1 : When the first foot, whatever it is, moves outward, the second foot is always necessarily move inward .
Some examples of the position of O Sensei feet at the time of the action, never hanmi :
- - The right foot moves first in the industry to hit 4 O (outward direction), the left foot follows in sector 3 to hit N (inner direction).
- - The left foot moves first in the industry to hit 3 N (outward direction), the right foot follows in sector 4 to hit O (inner direction).
Please note : we check the rule in Roppo # 1 : When the first foot, whatever it is, moves outward, the second foot is always necessarily move inward .
Some examples of the position of O Sensei feet at the time of the action, never hanmi :
The irimi-tenkan principle, which is the origin of the movement, causes the following result, major and necessary: hanmi is absolutely essential at the start and at the end of the action, but hanmi can exist anywhere in the time of Action .
Synoptic view of travel :
Synoptic view of travel :
The four powers (shi kon) West, North, East and South, offer to man two input options (irimi) in each district, are in all eight powers (hachi riki). These eight powers are born four times three origins (san gen): 3 indoor directions with the front foot, 3 outdoor directions with the back foot, 3 outdoor directions with the front foot, 3 indoor directions with the back foot. The Great Spirit, the spirit one (ichi rei), made possible the perfect cohesion of this plan and its process.
The man is the center and he looks to the south. From the triangle of his position hanmi (cf.sur this " Moving O Sensei # 3 "), it moves on the circle sacred visiting in turn the four quarters of the earth. On this circle, moving thus delimits together a square . Here we invite you to read or reread " Vitruvian Man "
The man is the center and he looks to the south. From the triangle of his position hanmi (cf.sur this " Moving O Sensei # 3 "), it moves on the circle sacred visiting in turn the four quarters of the earth. On this circle, moving thus delimits together a square . Here we invite you to read or reread " Vitruvian Man "
The man who moves in respect of this model does not just make a smart move, and incidentally effective: it conforms to the plan desired by the universe, he prays with his body .
Which then protects the heart of the danger is not any shield, this is not the strength and speed of youth, it is not more experience and skill of age ripe, all things contingent, transitory and limited. No, which then protects, bringing it into the palm of his hand, it is the entire universe, which has woven these laws in the frame in which the stars themselves are made.
That these laws are recognized and are observed - on earth as in heaven, by men of good will , it pleases the gods. Because these laws bind man to all that walking, anything that flies, everything that swims, everything that lives in the great outdoors, and they connect people to each other.
It is this connection that all religions speak of the Earth (relegare = link) and it is this link that speaks takemusu.It is this link (musubi) Aikido offers to preserve, by teaching it to those who want to explore with their body, their mind, and with all their heart.
Aikido is not a sport.
Philippe Voarino, December 2014
Which then protects the heart of the danger is not any shield, this is not the strength and speed of youth, it is not more experience and skill of age ripe, all things contingent, transitory and limited. No, which then protects, bringing it into the palm of his hand, it is the entire universe, which has woven these laws in the frame in which the stars themselves are made.
That these laws are recognized and are observed - on earth as in heaven, by men of good will , it pleases the gods. Because these laws bind man to all that walking, anything that flies, everything that swims, everything that lives in the great outdoors, and they connect people to each other.
It is this connection that all religions speak of the Earth (relegare = link) and it is this link that speaks takemusu.It is this link (musubi) Aikido offers to preserve, by teaching it to those who want to explore with their body, their mind, and with all their heart.
Aikido is not a sport.
Philippe Voarino, December 2014
Comments
Comments
Submitted by GMD on Sun 14/12/2014 - 5:53 p.m. - Permalink
HELLO Philippe, superb demonstration but I did not manage to chain the two cuts successively as your demonstrations by cons I can make a cut in the first displacement (during rotation) and I can make a cut after restoration in a position hanmi but this cut is static and therefore the principle of kokyu (breathing) .In IRIMI 3 HOW can you achieve N starting inwards? I get after me irimi tenkan but my cup is in position so hamni my rotation is passée.D'ailleurs I do this for all your demo and it works, so I have a cup rotation followed by a cut hanmi . cordialement.gilles
Submitted by philippevoarino the Tues 16/12/2014 - 6:51 p.m. - Permalink
Bonour Gilles.
It is essential to understand this: there is no real cut hanmi. Hanmi is a position and a startingposition of arrival. The actual cut is a time that is between these two positions for which, by definition, the position of the feet can not be hanmi.
Certainly the irimi-tenkan hip rotation is only possible from the hanmi position, but this irimi-tenkan rotation is impossible in hanmi position. Therefore the cut in hanmi position can not be anything other than arm movement without the participation of the hips.
Philippe Voarino
Submitted by Thomas on Mon, 15/12/2014 - 3:35 p.m. - Permalink
Hello Philip,
Would it not be wiser to also talk sector for cuts rather than direction? For example Irimi 1: Area 1, then cut 2 and vice versa. The cut is up or down (depending on the starting Kamae ...
Also, in view of the position of the feet on the diagrams, why the second cuts do not end up in the center and the area between 3 and 4 for 4 irmi?
Submitted by philippevoarino the Tues 16/12/2014 - 7:51 p.m. - Permalink
Hello Thomas.
These are not areas that are cut, it is the opponents who are represented by the cardinal points. But the sectors are important of course, it is they who determine the placement of the feet. You have to imagine the game of hopscotch : you can not put his feet in any case or in any order, if you want to go from Earth to Heaven and to return. You have to respect certain rules.
Philippe Voarino
Submitted by Thomas on Thurs, 18/12/2014 - 11:31 - Permalink
Hello Philip,
In this case, these positions with designated targets are conducted in OJ only (and tsuki), right? How to cut right or left KEN feet with this position that forms the triangle without twisting the spine? And how to integrate technology in these movements?
Best regards,
Submitted by philippevoarino on Thurs., 12/18/2014 - 11:42 - Permalink
Hello Thomas.
No, ken, jo and tai jutsu, everything is identical. But here we reach the limits of explanations on a computer screen. Roppo 3 further clarify this rotation job, and I hope you will understand it. But nothing will replace good course explanations I can give on a tatami.
Philippe Voarino
Submitted by Thomas on Thurs, 18/12/2014 - 12:24 - Permalink
I have no doubt I will wait Roppo 3 if it can enlighten me. And perhaps find the opportunity to see this on the mat. After all, I do not call me Thomas for nothing! :)
Submitted by philippevoarino on Thurs., 12/18/2014 - 9:59 p.m. - Permalink
You're welcome, Thomas.
Philippe Voarino
Submitted by rusty 9 on Tues., 16/12/2014 - 6:34 p.m. - Permalink
Hello Philip,
for me the answer lies in the fact that I do not pay attention to UKE, Uais on the following which I am facing leaving the center
Serge cdt
Submitted by rusty 9 on Tues., 16/12/2014 - 6:49 p.m. - Permalink
For one simple reason; Mi hn of departure for your example remains the same (right foot) by Han against the mid-end may end in each diagram of the sector, which is for me the evidence that I position myself and is not facing the Uke "school" but the following. otherwise I will not bother to move me
Submitted by rusty 9 on Tues., 16/12/2014 - 7:04 p.m. - Permalink
he prays with his body: what s call TRANSCENDING
but is it possible Mr Voarino with a school dedicated practice until the 3 rd, 4 th, 5 th Dan ...
this calling into question the very being deeply spirit and practice
Submitted by philippevoarino the Tues 16/12/2014 - 8:25 p.m. - Permalink
Hello Serge.
I can choose to cut the first opponent in front of me, as well as any of those who attack in four directions. There is not, in the four directions of irimi preferred irimi or impossible. The choice of irimi is a matter of circumstances. However, whatever the choice, moving always continue on the same plane, and two opponents will be cut in the same movement.
To answer your second question, Serge, I will say that school practice is useful but it is not made to last forever. Modern Aikido has lost sight of the end, and that end is now confused with the means necessary to achieve it. Repeat a million times a school shiho nage never will understand why this movement is called projection according to the four directions. The displacement of O Sensei is the sacred dance of Aikido, as well as the sacred dance of the whirling dervishes in Sufism.
Philippe Voarino
Submitted by rusty 9 on Fri, 12/26/2014 - 0:35 - Permalink
Philip,
First of all, thank you for the answer, I ponder the subject. M can locate or explain the practice of Iai-Do me O Sensei's life, I meant by what is the role of the Iai Jutsu Ken (or more precisememnt how to use or adapt to this pattern of displacement)
Best Regards
Submitted by philippevoarino on Mon, 29/12/2014 - 8:24 p.m. - Permalink
Hello Serge.
The IAI is drawing the sword by cutting an opponent, ken jutsu to fight with the sword. O Sensei studied some schools ken jutsu. He probably also studied the techniques of iai, at least by itself.These episodes of his life are little known, and I have no qualified opinion.
It may be recalled that even when contemporary budo masters of O Sensei were his unorthodox technique saber, suggesting that he had traveled a path that was far from the common schools he had been able to study before creation of Aikido, to the point that his technique did not look like anything known. I think the movement I have tried to describe played a very important role in this evolution.
Philippe Voarino
Submitted by rusty 9 on Mon, 12/29/2014 - 11:06 p.m. - Permalink
Hello Philip,
the answer, even though I do not understand all the aspects that it involves, which is what I m expecting, thank you Philip J try to figure this out over time. But you, that it occupies the site Iai in your practice, usefulness or weaknesses
Serge
Submitted by rusty 9 on Wed, 31/12/2014 - 0:58 - Permalink
Hello,
why and how Leonard Devinci consciously placed the feet of the Vitruvian Man by Han Mi, s please?serge
Submitted by GMD on Sun 14/12/2014 - 5:53 p.m. - Permalink
HELLO Philippe, superb demonstration but I did not manage to chain the two cuts successively as your demonstrations by cons I can make a cut in the first displacement (during rotation) and I can make a cut after restoration in a position hanmi but this cut is static and therefore the principle of kokyu (breathing) .In IRIMI 3 HOW can you achieve N starting inwards? I get after me irimi tenkan but my cup is in position so hamni my rotation is passée.D'ailleurs I do this for all your demo and it works, so I have a cup rotation followed by a cut hanmi . cordialement.gilles
Submitted by philippevoarino the Tues 16/12/2014 - 6:51 p.m. - Permalink
Bonour Gilles.
It is essential to understand this: there is no real cut hanmi. Hanmi is a position and a startingposition of arrival. The actual cut is a time that is between these two positions for which, by definition, the position of the feet can not be hanmi.
Certainly the irimi-tenkan hip rotation is only possible from the hanmi position, but this irimi-tenkan rotation is impossible in hanmi position. Therefore the cut in hanmi position can not be anything other than arm movement without the participation of the hips.
Philippe Voarino
Submitted by Thomas on Mon, 15/12/2014 - 3:35 p.m. - Permalink
Hello Philip,
Would it not be wiser to also talk sector for cuts rather than direction? For example Irimi 1: Area 1, then cut 2 and vice versa. The cut is up or down (depending on the starting Kamae ...
Also, in view of the position of the feet on the diagrams, why the second cuts do not end up in the center and the area between 3 and 4 for 4 irmi?
Submitted by philippevoarino the Tues 16/12/2014 - 7:51 p.m. - Permalink
Hello Thomas.
These are not areas that are cut, it is the opponents who are represented by the cardinal points. But the sectors are important of course, it is they who determine the placement of the feet. You have to imagine the game of hopscotch : you can not put his feet in any case or in any order, if you want to go from Earth to Heaven and to return. You have to respect certain rules.
Philippe Voarino
Submitted by Thomas on Thurs, 18/12/2014 - 11:31 - Permalink
Hello Philip,
In this case, these positions with designated targets are conducted in OJ only (and tsuki), right? How to cut right or left KEN feet with this position that forms the triangle without twisting the spine? And how to integrate technology in these movements?
Best regards,
Submitted by philippevoarino on Thurs., 12/18/2014 - 11:42 - Permalink
Hello Thomas.
No, ken, jo and tai jutsu, everything is identical. But here we reach the limits of explanations on a computer screen. Roppo 3 further clarify this rotation job, and I hope you will understand it. But nothing will replace good course explanations I can give on a tatami.
Philippe Voarino
Submitted by Thomas on Thurs, 18/12/2014 - 12:24 - Permalink
I have no doubt I will wait Roppo 3 if it can enlighten me. And perhaps find the opportunity to see this on the mat. After all, I do not call me Thomas for nothing! :)
Submitted by philippevoarino on Thurs., 12/18/2014 - 9:59 p.m. - Permalink
You're welcome, Thomas.
Philippe Voarino
Submitted by rusty 9 on Tues., 16/12/2014 - 6:34 p.m. - Permalink
Hello Philip,
for me the answer lies in the fact that I do not pay attention to UKE, Uais on the following which I am facing leaving the center
Serge cdt
Submitted by rusty 9 on Tues., 16/12/2014 - 6:49 p.m. - Permalink
For one simple reason; Mi hn of departure for your example remains the same (right foot) by Han against the mid-end may end in each diagram of the sector, which is for me the evidence that I position myself and is not facing the Uke "school" but the following. otherwise I will not bother to move me
Submitted by rusty 9 on Tues., 16/12/2014 - 7:04 p.m. - Permalink
he prays with his body: what s call TRANSCENDING
but is it possible Mr Voarino with a school dedicated practice until the 3 rd, 4 th, 5 th Dan ...
this calling into question the very being deeply spirit and practice
Submitted by philippevoarino the Tues 16/12/2014 - 8:25 p.m. - Permalink
Hello Serge.
I can choose to cut the first opponent in front of me, as well as any of those who attack in four directions. There is not, in the four directions of irimi preferred irimi or impossible. The choice of irimi is a matter of circumstances. However, whatever the choice, moving always continue on the same plane, and two opponents will be cut in the same movement.
To answer your second question, Serge, I will say that school practice is useful but it is not made to last forever. Modern Aikido has lost sight of the end, and that end is now confused with the means necessary to achieve it. Repeat a million times a school shiho nage never will understand why this movement is called projection according to the four directions. The displacement of O Sensei is the sacred dance of Aikido, as well as the sacred dance of the whirling dervishes in Sufism.
Philippe Voarino
Submitted by rusty 9 on Fri, 12/26/2014 - 0:35 - Permalink
Philip,
First of all, thank you for the answer, I ponder the subject. M can locate or explain the practice of Iai-Do me O Sensei's life, I meant by what is the role of the Iai Jutsu Ken (or more precisememnt how to use or adapt to this pattern of displacement)
Best Regards
Submitted by philippevoarino on Mon, 29/12/2014 - 8:24 p.m. - Permalink
Hello Serge.
The IAI is drawing the sword by cutting an opponent, ken jutsu to fight with the sword. O Sensei studied some schools ken jutsu. He probably also studied the techniques of iai, at least by itself.These episodes of his life are little known, and I have no qualified opinion.
It may be recalled that even when contemporary budo masters of O Sensei were his unorthodox technique saber, suggesting that he had traveled a path that was far from the common schools he had been able to study before creation of Aikido, to the point that his technique did not look like anything known. I think the movement I have tried to describe played a very important role in this evolution.
Philippe Voarino
Submitted by rusty 9 on Mon, 12/29/2014 - 11:06 p.m. - Permalink
Hello Philip,
the answer, even though I do not understand all the aspects that it involves, which is what I m expecting, thank you Philip J try to figure this out over time. But you, that it occupies the site Iai in your practice, usefulness or weaknesses
Serge
Submitted by rusty 9 on Wed, 31/12/2014 - 0:58 - Permalink
Hello,
why and how Leonard Devinci consciously placed the feet of the Vitruvian Man by Han Mi, s please?serge
Roppo #3
The principle of displacement that has been exposed in Roppo # 2 is identical to itself in all cases, that is to say, in the four areas. We could apply the maxim that Jacques Bernoulli chosen for the spira mirabilis " eadem mutata resurgo "(I am reborn, changed to the same).
I will limit myself, therefore, to understand a little better this movement, please detail in one of the districts (South East). It being understood that what is there is everywhere else.
Opposite direction of clockwise , hip right is Director and hits E and S in its rotation:
I will limit myself, therefore, to understand a little better this movement, please detail in one of the districts (South East). It being understood that what is there is everywhere else.
Opposite direction of clockwise , hip right is Director and hits E and S in its rotation:
Clock- wise , hip left is director and hits S and E in its rotation:
We repeat here what has been explained in " Roppo # 2 : there are two symmetrical ways to move from Hanmi to Irimi 2:
Nota bene:
When the chosen strike to the initial direction is ue kara made shita (top down) - yokomen uchi for example - additional hits will be done from the bottom up (shita kara ue made) - gyaku yokomen so. In contrast, when the initial strike is made shita kara ue (bottom up), the additional hits will be performed from the top down (ue kara shita made).
It is essential that this condition is met for two opponents can be beaten in one motion.
This Aikido movement system allows that - with each rotation - cut two opponents in one motion , entering each time resolutely in any of the four quarters of the circle.
But that's not all : this double cut is at the same time for uke tachi, the most rational and most effective way to get away with optimal safety of the place of convergence of multiple attacks he is the target. This distance from danger by typing and penetration of enemy circle is what is referred to in Aikido by the term irimi. We can understand why there is not Aikido protection dodge type parade, blocking etc .: it is cut, and it alone, which places uke tachi safety position, far enough away from its initial position . The unique uke tachi protection is its cut . That's why Master Saito was able to write this sentence that otherwise would remain incomprehensible:
Aikido, in its true Ki form, is a fierce art piercing straight through the center of opposition. The nature of art is such that you're not supposed to adjust to your partner through a wide detour from your body, but it is required otherwise you find your way before you, through rotating your hips. - Morihiro Saito, "Traditional Aikido", volume 5, page 36
I add the following consideration which falls this time of personal intuition born of my practice sword as moving as I just explained. I gained through the experience of such a practice, feeling that the katana was designed, and shaped through the ages, in knowledge and in compliance with this rigorous movement and that its shape and blade were adapted progressively adjusted by the Japanese blacksmiths, the perfect nature of displacement in question. I think therefore that the Japanese sword can not deliver its full potential, and be handled at full capacity and efficiency, to the extent that comply with the appropriate laws of motion, as they have just been described, and in harmony with which it was created.
This principle of displacement is a result of the rotation of the body-Irimi tenkan, which is the origin of movement. For this reason, and has in his hands a sword, a jo, a fan, or that his hands are empty, tori always move in the same way, and invariably hits with the same body movement.
This is what we call in the Aikido riai .
Philippe Voarino, December 2014
- - The right foot moves first in the industry to hit 7 E (inner direction), the left foot follows the sector 8 to hit S (outer direction).
- - The left foot moves first in the industry to hit 8 S (inner direction), the right foot follows in sector 7 to hit E (outer direction).
Nota bene:
When the chosen strike to the initial direction is ue kara made shita (top down) - yokomen uchi for example - additional hits will be done from the bottom up (shita kara ue made) - gyaku yokomen so. In contrast, when the initial strike is made shita kara ue (bottom up), the additional hits will be performed from the top down (ue kara shita made).
It is essential that this condition is met for two opponents can be beaten in one motion.
This Aikido movement system allows that - with each rotation - cut two opponents in one motion , entering each time resolutely in any of the four quarters of the circle.
But that's not all : this double cut is at the same time for uke tachi, the most rational and most effective way to get away with optimal safety of the place of convergence of multiple attacks he is the target. This distance from danger by typing and penetration of enemy circle is what is referred to in Aikido by the term irimi. We can understand why there is not Aikido protection dodge type parade, blocking etc .: it is cut, and it alone, which places uke tachi safety position, far enough away from its initial position . The unique uke tachi protection is its cut . That's why Master Saito was able to write this sentence that otherwise would remain incomprehensible:
Aikido, in its true Ki form, is a fierce art piercing straight through the center of opposition. The nature of art is such that you're not supposed to adjust to your partner through a wide detour from your body, but it is required otherwise you find your way before you, through rotating your hips. - Morihiro Saito, "Traditional Aikido", volume 5, page 36
I add the following consideration which falls this time of personal intuition born of my practice sword as moving as I just explained. I gained through the experience of such a practice, feeling that the katana was designed, and shaped through the ages, in knowledge and in compliance with this rigorous movement and that its shape and blade were adapted progressively adjusted by the Japanese blacksmiths, the perfect nature of displacement in question. I think therefore that the Japanese sword can not deliver its full potential, and be handled at full capacity and efficiency, to the extent that comply with the appropriate laws of motion, as they have just been described, and in harmony with which it was created.
This principle of displacement is a result of the rotation of the body-Irimi tenkan, which is the origin of movement. For this reason, and has in his hands a sword, a jo, a fan, or that his hands are empty, tori always move in the same way, and invariably hits with the same body movement.
This is what we call in the Aikido riai .
Philippe Voarino, December 2014
Roppo #4
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he identification of six inner branches and six outer branches under O Sensei talks led us to the discovery that a man standing in the position hanmi (Roppo) has eight separate irimi to it, grouped two by two, and all built from a single logic (see " Roppo # 2 and # 3 ").
These eight irimi are related to the eight basic trigrams Fuxi (which are themselves the cause of the 64 hexagrams of the I Ching). Moving physical Aikido practitioner is in connection with the terms of the manifestation of Heaven and Earth, such as the Chinese tradition teaches: |
As we saw in " Roppo # 2 and # 3 , " each of these eight irimi cut two opponents into a single movement , it is the response of the Aiki attacks from all directions.
But four of the eight irimi (one in each district) can cut three opponents in a single movement , it is the response of the Aiki to attacks from the eight directions.
To understand the movement so allows cutting several opponents into a single movement, we must actively lead to practice rotation propels the body like a top in the heart of the enemy attack, in this position characteristic feet the Action aiki, which is not at all, it must be repeated here again, hanmi position (see on this point " Moving O Sensei "):
But four of the eight irimi (one in each district) can cut three opponents in a single movement , it is the response of the Aiki to attacks from the eight directions.
To understand the movement so allows cutting several opponents into a single movement, we must actively lead to practice rotation propels the body like a top in the heart of the enemy attack, in this position characteristic feet the Action aiki, which is not at all, it must be repeated here again, hanmi position (see on this point " Moving O Sensei "):
Learning moving harmoniously in such a rotation, which allows to cut in a single movement, obviously requires the example and support of a physical demonstration, and nothing will ever replace the instructions on a tatami by a teacher aware of these things.
I would just like to draw attention here to the fact that it is possible to account for the order of the strikes by the reading grid trigrams Fuxi:
I would just like to draw attention here to the fact that it is possible to account for the order of the strikes by the reading grid trigrams Fuxi:
At the elementary stage where now stands is my understanding of trigrams me it is not possible to draw conclusions from the relationship that unites the movements of Aikido.
But I believe that a future interpretation could be organized around the following idea: the trigrams do not talk about the essence of things, a fundamental truth that is hidden in the heart of things, they talk about the process of movement of these things in their transformation, they are signs of changing transition states on a regular and immutable law, this law is complex in its effects, but remarkably simple in principle.
But the movement of Aikido is quite similar: it transforms physical and martial report of several human body in space, passing the report of a previous state to a later state, the new order (Sabaki) is established according to a single, constant law and simple, achievable ideal movement by the body (Tai Sabaki) of man need to leave the place of convergence of multiple attacks.
8 irimi that represent the man of action options in this situation are at the origin of the infinity of technical forms of Aikido, like 8 trigrams are, for the archaic China, the origin of the infinity of the world process. And this organization around the number 8 strongly suggests the eight powers (hachi riki) which were a constant concern of the founder of Aikido, both in speeches and in his writings:
But I believe that a future interpretation could be organized around the following idea: the trigrams do not talk about the essence of things, a fundamental truth that is hidden in the heart of things, they talk about the process of movement of these things in their transformation, they are signs of changing transition states on a regular and immutable law, this law is complex in its effects, but remarkably simple in principle.
But the movement of Aikido is quite similar: it transforms physical and martial report of several human body in space, passing the report of a previous state to a later state, the new order (Sabaki) is established according to a single, constant law and simple, achievable ideal movement by the body (Tai Sabaki) of man need to leave the place of convergence of multiple attacks.
8 irimi that represent the man of action options in this situation are at the origin of the infinity of technical forms of Aikido, like 8 trigrams are, for the archaic China, the origin of the infinity of the world process. And this organization around the number 8 strongly suggests the eight powers (hachi riki) which were a constant concern of the founder of Aikido, both in speeches and in his writings:
There is no more chance for the existence of irimi 8 of Aikido that there is to that of the 8 trigrams Fuxi.
Philippe Voarino, Cape Clear, 25 December 2014.
Philippe Voarino, Cape Clear, 25 December 2014.
CommentsSubmitted by rusty 9 on Wed, 31/12/2014 - 0:45 - Permalink
Good Evening,
First of all, thank you Philip for your work, can you explain why irimi m of March 4 K'UN K'AN area is differnet from others? Serge
Submitted by rusty 9 on Wed, 31/12/2014 - 0:48 - Permalink
Although I understand that this area is accessible only by n the back of Tori, but that's what does it mean in relation to the "plan"?
Submitted by philippevoarino on Thurs, 01/01/2015 - 10:25 p.m. - Permalink
Hello Serge.
The movement of the feet in aikido irimi has something to do with the game of hopscotch. There is a principle of regularity, and there is a reversal necessitated, as you mean identical that this area is in the back of tori. Good visualization of the circular checkerboard floors and commute feet will help a lot in understanding the movement of O Sensei.
I did a lot of iai at a time when I did not understand much about Aikido. It happens from time to time now to practice some moves, but now the feelings are those of the aiki, the rules of a particular school have disappeared. Aikido teaches that the diligent practitioner, it is not a movement, it is the principle of movement . The principle of movement is one, and it applies equally well to Aikido any art in which man must travel.
Philippe Voarino
Submitted by rusty 9 on Fri 01/02/2015 - 1:26 p.m. - Permalink
Hello Philip,
thank you I understand the notion of movement, nothing is static in the universe. regarding sector 3 4; paradoxallement c is the best and I visualize the capabilities of 3 cuts in sector 7 8.6 5.3 4 or 1 2, 3, 4, 6 5 browsing this turning 180 degrees in half the interior and exterior area 380 degrees (since the one from the center in this context)
Serge Philippe good year
Submitted by rusty 9 on Fri 01/02/2015 - 1:27 p.m. - Permalink
Forgiveness 360 degrees
Submitted by rusty 9 on Fri 01/02/2015 - 2:54 p.m. - Permalink
An atom of oxygen (that is assimilated "vacuum" on earth and the divine) is surrounded by 8 electrons and 8 protons, knowing that once again an atom consists of empty (which is paradoxical for us)
Serge
Submitted by rusty 9 on Fri 01/02/2015 - 3:44 p.m. - Permalink
Besides Svatika the Christian cross, René Guenon sees as movement, just curious octopus to do their displacement in their aquatic Elements have 8 arms (tentacles)
Cdt
Submitted by Thomas on Sat, 03/01/2015 - 11:28 p.m. - Permalink
Good evening Philip
Allow me to take this opportunity to wish you a Happy New Year 2015!
On reading your articles, I seem to have understood your reasoning.
But we can consider the cut in 8 directions and therefore eight opponents? It would seem logical to me since the movement is one, he loses no energy during its execution (unless the unfortunate opponents in the path of the blade).
To go further and stay on the subject of Riai, we can show that at each level where the blade touches the opponent, there is a technique that is revealed. 8 techniques that work in pairs.
Aikido becomes so simple and complex at once and like many we know that it is so complicated to make things simple in the eyes of all.
Best regards,
Good Evening,
First of all, thank you Philip for your work, can you explain why irimi m of March 4 K'UN K'AN area is differnet from others? Serge
Submitted by rusty 9 on Wed, 31/12/2014 - 0:48 - Permalink
Although I understand that this area is accessible only by n the back of Tori, but that's what does it mean in relation to the "plan"?
Submitted by philippevoarino on Thurs, 01/01/2015 - 10:25 p.m. - Permalink
Hello Serge.
The movement of the feet in aikido irimi has something to do with the game of hopscotch. There is a principle of regularity, and there is a reversal necessitated, as you mean identical that this area is in the back of tori. Good visualization of the circular checkerboard floors and commute feet will help a lot in understanding the movement of O Sensei.
I did a lot of iai at a time when I did not understand much about Aikido. It happens from time to time now to practice some moves, but now the feelings are those of the aiki, the rules of a particular school have disappeared. Aikido teaches that the diligent practitioner, it is not a movement, it is the principle of movement . The principle of movement is one, and it applies equally well to Aikido any art in which man must travel.
Philippe Voarino
Submitted by rusty 9 on Fri 01/02/2015 - 1:26 p.m. - Permalink
Hello Philip,
thank you I understand the notion of movement, nothing is static in the universe. regarding sector 3 4; paradoxallement c is the best and I visualize the capabilities of 3 cuts in sector 7 8.6 5.3 4 or 1 2, 3, 4, 6 5 browsing this turning 180 degrees in half the interior and exterior area 380 degrees (since the one from the center in this context)
Serge Philippe good year
Submitted by rusty 9 on Fri 01/02/2015 - 1:27 p.m. - Permalink
Forgiveness 360 degrees
Submitted by rusty 9 on Fri 01/02/2015 - 2:54 p.m. - Permalink
An atom of oxygen (that is assimilated "vacuum" on earth and the divine) is surrounded by 8 electrons and 8 protons, knowing that once again an atom consists of empty (which is paradoxical for us)
Serge
Submitted by rusty 9 on Fri 01/02/2015 - 3:44 p.m. - Permalink
Besides Svatika the Christian cross, René Guenon sees as movement, just curious octopus to do their displacement in their aquatic Elements have 8 arms (tentacles)
Cdt
Submitted by Thomas on Sat, 03/01/2015 - 11:28 p.m. - Permalink
Good evening Philip
Allow me to take this opportunity to wish you a Happy New Year 2015!
On reading your articles, I seem to have understood your reasoning.
But we can consider the cut in 8 directions and therefore eight opponents? It would seem logical to me since the movement is one, he loses no energy during its execution (unless the unfortunate opponents in the path of the blade).
To go further and stay on the subject of Riai, we can show that at each level where the blade touches the opponent, there is a technique that is revealed. 8 techniques that work in pairs.
Aikido becomes so simple and complex at once and like many we know that it is so complicated to make things simple in the eyes of all.
Best regards,
Roppo # 5
Omote-ura, things hidden from the foundation of Aikido
The martial art is an art in which we use the one to strike the multitude. Practise always in the consciousness of opponents from the four and eight directions. - O Sensei Budo 1938
The consequence of this teaching of O Sensei - and I can testify that it was also the master of education Saito - is that we do not change technique, Aikido, as we have an adversary or that we are many. An Aikido technique, whatever , must function without changes against four opponents as well as it works against one.Unlike a boxing ring, the battlefield requires the management of a space 360. Aikido is not a fight, it is a budo.
This remarkable quality of Aikido technique is demonstrated by the following example of uchi kaiten nage, caught in Traditional Aikido Vol. 5 (see # 2 Roppo , Irimi 1 blue arrows, for the explanation of the movement)
The consequence of this teaching of O Sensei - and I can testify that it was also the master of education Saito - is that we do not change technique, Aikido, as we have an adversary or that we are many. An Aikido technique, whatever , must function without changes against four opponents as well as it works against one.Unlike a boxing ring, the battlefield requires the management of a space 360. Aikido is not a fight, it is a budo.
This remarkable quality of Aikido technique is demonstrated by the following example of uchi kaiten nage, caught in Traditional Aikido Vol. 5 (see # 2 Roppo , Irimi 1 blue arrows, for the explanation of the movement)
It is clear that the movement entirely conventional uchi kaiten nage performed against a single opponent works perfectly, and without it changes nothing , as part of this group attack. The irimi Master Saito is such that it allows him to leave the danger zone by the same process technology it employs, and to face the danger by this action that arose in his back.
But unlike this example, many Aikido techniques that are commonly taught against a single opponent, would be dangerous in the event of a group attack. This is the case for example of the swimming irimi executed by Ueshiba an attack yokomen uchi:
But unlike this example, many Aikido techniques that are commonly taught against a single opponent, would be dangerous in the event of a group attack. This is the case for example of the swimming irimi executed by Ueshiba an attack yokomen uchi:
We clearly see that this way of doing things, although it is effective against a single opponent, leave the back of O Sensei vulnerable if it was originally surrounded by four opponents.
It is the same for swimming Tenchi caught in Traditional Aikido vol 3 Again the master back Saito would be dangerously exposed in the case of an initial encirclement by several opponents.:
It is the same for swimming Tenchi caught in Traditional Aikido vol 3 Again the master back Saito would be dangerously exposed in the case of an initial encirclement by several opponents.:
Not hard to find many other examples. What is the meaning of these anomalies? Why techniques that only work with one opponent they are taught as technical
Aikido so that O Sensei itself indicates that any action real Aiki must take into account the four and eight directions?
The answer to this question requires an understanding of omote and ura that has little to do with the simplified version of these concepts, each has learned starting Aikido: ikkyo omote when I pass, ikkyo ura when I go back, nikyo omote when I pass, nikyo ura when I go back, etc . As if there were two ikkyo two nikyo two sankyo etc. interchangeable depending on the situation, positive and negative as we used to say.
Things are not that simple.
The finding needs to be done first is that no technical omote is only effective in the context of attacks from the four and eight directions. The effectiveness of omote is limited to its use against a single opponent. It is obvious that anyone can check the dojo.
We all know that there is " another way "to perform the technique. The other way is called ura. But this name ura not given him only because tori goes behind uke: it bears the name above all and foremost, because it is hidden .
Let us be clear: ura is not hidden in that you do not teach, ura is widely taught in each dojo, everyone agrees on that, but ura is hidden in the sense that understood and presented only as " another way "to do as the natural complement of omote. It is placed on an equal footing with omote, as a technical alternative if you want. It is the veil that hides the reality ura is actually the only possible technique for the major reason given by the Founder himself as a fundamental criterion: only ura is effective both in the case of a single attack that in the case of an attack group, only ura is effective on the battlefield . Ura is actually the true Aikido technique, concealed by a general misunderstanding in the interpretation of omote.
Ura technique is not however always hidden. The example shows uchi kaiten nage good. If there is indeed a ikkyo omote and ura ikkyo, everyone knows that there is no other hand uchi kaiten nage omote and ura uchi kaiten nage. Since the concept of omote does not exist in this case (even then, let us note, that this technique passes uke), the concept of ura can not appear - by definition - to the extent that these two concepts have meaning relative to the other. This is uchi kaiten nage is the authentic technique that works well in the case of an encirclement opponents with a single opponent. It just happens that it is shown without any mask, from the beginning.
The technical omote passes , it is obvious, and that is precisely what prevents to see it for what it truly is. For it is not only because it passes it is called omote: it is first and foremost because it is given in the light, because it is apparent .
Omote is what is taught from the start to the beginner. And he is there to Aikido, how could he imagine that we do not give him what he immediately picked? How could he suspect that this technique offered to him in the study, could act on it as a decoy? We know, however, because it does not work with multiple opponents, qu'omote can not be the authentic Aikido technique.
Why then omote and what then qu'omote? Why practice so long movements that do not match the criteria of Aikido defined by O'Sensei? Because qu'omote is indeed preparing for Aikido. Omote is the preparatory gymnastics Aikido . This is a required course gymnastics, but it is only a gym, it is not Aikido.
In the 1980s, during a meal in Iwama, one of our uchi deshi asked comrades Master Saito why takemusu practice started by tai no henka and kokyu ho, and why there was not a gymnastics d temperature rise at the beginning of the course. The master response Saito, incomprehensible to all those around the table that day seems a great evidence today:
The movements you do during the course ikkyo, nikyo, etc., is the preparatory gymnastics Aikido.
He spoke omote course, but we could not understand, because none of us could have imagined for a second to qu'omote this time was not yet Aikido. We believe staunchly in our Aikido omote.
Aikido is not taught to beginners, it is taught that from the higher grades, and only even when the knowledge of what is to be transmitted has not been lost. Aikido is a secret teaching, hidden, esoteric.
I will give two examples of this relationship between omote and ura.
We have seen that the swimming Tenchi shown above would be ineffective if Saito sensei was surrounded by several opponents. This is quite normal since it is the omote release. But what is then the cached version, version ura, one that works well with an opponent with several? This:
Aikido so that O Sensei itself indicates that any action real Aiki must take into account the four and eight directions?
The answer to this question requires an understanding of omote and ura that has little to do with the simplified version of these concepts, each has learned starting Aikido: ikkyo omote when I pass, ikkyo ura when I go back, nikyo omote when I pass, nikyo ura when I go back, etc . As if there were two ikkyo two nikyo two sankyo etc. interchangeable depending on the situation, positive and negative as we used to say.
Things are not that simple.
The finding needs to be done first is that no technical omote is only effective in the context of attacks from the four and eight directions. The effectiveness of omote is limited to its use against a single opponent. It is obvious that anyone can check the dojo.
We all know that there is " another way "to perform the technique. The other way is called ura. But this name ura not given him only because tori goes behind uke: it bears the name above all and foremost, because it is hidden .
Let us be clear: ura is not hidden in that you do not teach, ura is widely taught in each dojo, everyone agrees on that, but ura is hidden in the sense that understood and presented only as " another way "to do as the natural complement of omote. It is placed on an equal footing with omote, as a technical alternative if you want. It is the veil that hides the reality ura is actually the only possible technique for the major reason given by the Founder himself as a fundamental criterion: only ura is effective both in the case of a single attack that in the case of an attack group, only ura is effective on the battlefield . Ura is actually the true Aikido technique, concealed by a general misunderstanding in the interpretation of omote.
Ura technique is not however always hidden. The example shows uchi kaiten nage good. If there is indeed a ikkyo omote and ura ikkyo, everyone knows that there is no other hand uchi kaiten nage omote and ura uchi kaiten nage. Since the concept of omote does not exist in this case (even then, let us note, that this technique passes uke), the concept of ura can not appear - by definition - to the extent that these two concepts have meaning relative to the other. This is uchi kaiten nage is the authentic technique that works well in the case of an encirclement opponents with a single opponent. It just happens that it is shown without any mask, from the beginning.
The technical omote passes , it is obvious, and that is precisely what prevents to see it for what it truly is. For it is not only because it passes it is called omote: it is first and foremost because it is given in the light, because it is apparent .
Omote is what is taught from the start to the beginner. And he is there to Aikido, how could he imagine that we do not give him what he immediately picked? How could he suspect that this technique offered to him in the study, could act on it as a decoy? We know, however, because it does not work with multiple opponents, qu'omote can not be the authentic Aikido technique.
Why then omote and what then qu'omote? Why practice so long movements that do not match the criteria of Aikido defined by O'Sensei? Because qu'omote is indeed preparing for Aikido. Omote is the preparatory gymnastics Aikido . This is a required course gymnastics, but it is only a gym, it is not Aikido.
In the 1980s, during a meal in Iwama, one of our uchi deshi asked comrades Master Saito why takemusu practice started by tai no henka and kokyu ho, and why there was not a gymnastics d temperature rise at the beginning of the course. The master response Saito, incomprehensible to all those around the table that day seems a great evidence today:
The movements you do during the course ikkyo, nikyo, etc., is the preparatory gymnastics Aikido.
He spoke omote course, but we could not understand, because none of us could have imagined for a second to qu'omote this time was not yet Aikido. We believe staunchly in our Aikido omote.
Aikido is not taught to beginners, it is taught that from the higher grades, and only even when the knowledge of what is to be transmitted has not been lost. Aikido is a secret teaching, hidden, esoteric.
I will give two examples of this relationship between omote and ura.
We have seen that the swimming Tenchi shown above would be ineffective if Saito sensei was surrounded by several opponents. This is quite normal since it is the omote release. But what is then the cached version, version ura, one that works well with an opponent with several? This:
Good look at these two photos: they follow, contrary to that too quick glance might suggest. From time 1 O Sensei will launch his right leg backwards, using for this rotation one of the two irimi of the quarter circle on the back of his body (to understand this movement see Roppo # 2 , Irimi 4).
Irimi This has two major consequences:
The following two boards sankyo demonstrate an attack yokomen uchi (Traditional Aikido Vol. 5)
Irimi This has two major consequences:
- - O Sensei leaves the point of convergence of multiple attacks by penetration of the circle of potential aggressors, now it no longer turns his back on them, he faces them.
- - Uke is drawn forward as a result of the energy generated by the rotation tori (obviously non-existent energy in the Tenchi nage omote is executed without rotation). Uke thus finds itself at the time of fall, the dangerous place occupied by Tori just before rotation.
The following two boards sankyo demonstrate an attack yokomen uchi (Traditional Aikido Vol. 5)
The first presents the classic board omote work that everyone knows ( you pass ... ). The second board has ura classic work that each also knows ( it passes behind ... ). Yet, if we pay attention, we see that Master Saito speaks at any time of omote and ura in his commentary. For technical omote he talks about basic exercise (basic exercise ) for technical ura speaks exercise ki ( ki exercise ).
This shows quite clearly two things to me it seems in his mind:
Ura is the only real movement, one that takes into account four and eight directions, and respects the rule of the battlefield: attacks from the back are the most dangerous, the back must not be exposed . But this teaching is hidden. Ura is the heart of Aikido hidden opposed to omote which is the visible part of the visible part, and basically the appearance at all.
It may be recalled here with interest the title of the first book written by Master Saito in the early 1970s: "Aikido, it's heart and appearance "(Aikido, his heart and his appearance).
Everything is there, and always, simply read. The secret things are not as immense weakness of how we look on them. Master Saito knew the hidden heart of Aikido, he hinted, but his mission was not to disclose it, his mission was to consolidate the contrary omote. He has fulfilled this mission with a rigor that commands respect. And I can say with regard to me, that if he had not shown the determination to enforce omote me, I would perhaps never be found ura.
Philippe Voarino, Cape Clear, 31 December 2014.
This shows quite clearly two things to me it seems in his mind:
- Omote is not as referable to pass, that the idea that the way to realize the technique is an educational exercise, a kind of labor agreement.
- Ura relates not so much to going behind the idea that the only way is the only possible in a real situation, especially with multiple opponents.
- the sankyo " omote "effective with an opponent, however, leaves it vulnerable back in the case of encirclement by several opponents,
- the sankyo " ura "allows tori leaving the point of convergence of multiple attacks on entering the circle of his opponents, and facing forwards arising in his back, just like we have seen for Tenchi ura nage.
Ura is the only real movement, one that takes into account four and eight directions, and respects the rule of the battlefield: attacks from the back are the most dangerous, the back must not be exposed . But this teaching is hidden. Ura is the heart of Aikido hidden opposed to omote which is the visible part of the visible part, and basically the appearance at all.
It may be recalled here with interest the title of the first book written by Master Saito in the early 1970s: "Aikido, it's heart and appearance "(Aikido, his heart and his appearance).
Everything is there, and always, simply read. The secret things are not as immense weakness of how we look on them. Master Saito knew the hidden heart of Aikido, he hinted, but his mission was not to disclose it, his mission was to consolidate the contrary omote. He has fulfilled this mission with a rigor that commands respect. And I can say with regard to me, that if he had not shown the determination to enforce omote me, I would perhaps never be found ura.
Philippe Voarino, Cape Clear, 31 December 2014.
CommentsSubmitted by GMD on Sun 01/04/2015 - 3:01 p.m. - Permalink
Philippe hello and best wishes for this new year. Sometimes I have doubts sometimes some of your, as the demonstration, for once I agree entirely with vous.Depuis some weeks I'm working on this idea and particularly Tenchi swimming URA but n 'was not in vain at the sight of this. However, I have a question submit: Even if ura is an answer that works if you are in the center of the attack, little omote be used in some cases, for example, two attackers in single file, the rotated 180 ° place myself in a dangerous situation or the use of a technique omote. best regards. Gilles PS: happy new year to all readers
Submitted by rusty 9 on Sun, 01/04/2015 - 4:55 p.m. - Permalink
Hello Philip,
my reading, thanks to your explanation shows that what is departing back passes, which is before going back al, so only the harmony of the movement is generated. By the same natural shield creates (a bit like not believing in vacuum), only the blind belief of the plan is to place man in space (which may as well forget all notions of time: departure or arrival) in addition result has Roppo3; I see that the cut of the sword comes not only from the hip but is placed on a horizontal axis, thus capturing the opponents in their horizontality (Ura) and not in their verticality (omote), with a slight angle up then down, and vice versa . But: as I had said on the forum (a right or wrong), the spiritual degrees related to this displacement, n is to my eyes as possible a "live" only in a "real" context, every believer acquires the Faith in the "adversity". Maj Serge
Submitted by Thomas on Sun, 04/01/2015 - 10:22 p.m. - Permalink
Philippe greetings,
At first I remained incredulous to your arguments, unable to consider Omote and Ura as pedagogy and truth. I see it more as a unit divided into two complementary parts. A bit like the yin and yang.Aikido is the combination of the two.
Then I confess that second part with proof by the image of Mr. Saito, I began to doubt to rebound in the moment such a Kaiten Soto who returns to the head (I find the picture very figurative :)) I digress ... short ...
Why not interpreted in the following way since it uses neither Omote and Ura terms? :
The first layer shows the technical and purely educational way to show Sankyo. Omote nor nor Ura. It leaves on the outside up to the interior. Second, what should look like in réalité.Il Sankyo is less and line out excess since the irimi allows simultaneous attack action. I say "should" because how to photograph, clearly and especially at this time, which it did in the moment without decomposing and thus still schematically. Because it is the last photo that still bother me following your reasoning on why the lines and go while the descent is inevitable? Is it a safety issue for Uke? Thus we can also implement the same security Tori, where misunderstandings about Attack and Protection in Aikido? ..
We know that this last picture, Saito could have (the) Uke has to show with the ground. The first board with a "control". The second board with input and Atemi. Thus avoiding that it is included on the line of the potential attacker that is left of it. Is Saito would he showed so, because he thought that this version allows you to use Uke as a shield while allowing to inflict serious damage to the unfortunate opponent. He's alive that's something ... although if those friends did not retain their attacks, it is less safe :). Was he still trying to find a way to convey?
I must stay a septic ...
Best regards,
Submitted by phil on Mon, 05.01.2015 - 6:20 p.m. - Permalink
Hello Master and happy new year to you.
I once again followed your demonstration with fascination, but one thing concerns me and I agree hence the remark of GMD (Good year too GMD) on the answer to a multiple attack on the same direction:
What may well then be the meaning of shiho nage ura which replacerai Tori back to other potential opponents after the pivot, if not destabilize a second opponent from the same direction?
Submitted by rusty 9 on Mon 01/05/2015 - 7:37 p.m. - Permalink
Philip,
why you speak of "budo" Aikido is the way of harmony, of balance: no war. everyone speaks of harmony, of Fulfillment sprituel, fighting has no place. Moreover bout of what truth (martiality? c is a term too obscure in this new year) Srg
Submitted by rusty 9 on Fri, 09/01/2015 - 2:22 p.m. - Permalink
Hello Philip,
I'm not a great Aikidoka but in fact kata Iai take direction (be careful I do diminish this art is for me except) when applying the (out of the danger zone) following just d it even and saber is no longer run by the hands or arms, but he almost mouvoit him even in directions that you name and indeed by swinging on the top finishing down and vice versa. J mean by that Iai implies (in the kata at least) to track back and front axles prependiculaire are in the heart, and this has a working arm to control the weight of the sword PERMITTED IF you change your pin to the same title that Embusen Karate Do, which is not the case in the plan. More interested than I ca n, m but I had always wondered why people had a large advantage in the technical preparatory omote al aikido now j agrees to be small and my technical ura, "do not require me to be largest, on the contrary - :)
Happy New Year to all of you serge
Philippe hello and best wishes for this new year. Sometimes I have doubts sometimes some of your, as the demonstration, for once I agree entirely with vous.Depuis some weeks I'm working on this idea and particularly Tenchi swimming URA but n 'was not in vain at the sight of this. However, I have a question submit: Even if ura is an answer that works if you are in the center of the attack, little omote be used in some cases, for example, two attackers in single file, the rotated 180 ° place myself in a dangerous situation or the use of a technique omote. best regards. Gilles PS: happy new year to all readers
Submitted by rusty 9 on Sun, 01/04/2015 - 4:55 p.m. - Permalink
Hello Philip,
my reading, thanks to your explanation shows that what is departing back passes, which is before going back al, so only the harmony of the movement is generated. By the same natural shield creates (a bit like not believing in vacuum), only the blind belief of the plan is to place man in space (which may as well forget all notions of time: departure or arrival) in addition result has Roppo3; I see that the cut of the sword comes not only from the hip but is placed on a horizontal axis, thus capturing the opponents in their horizontality (Ura) and not in their verticality (omote), with a slight angle up then down, and vice versa . But: as I had said on the forum (a right or wrong), the spiritual degrees related to this displacement, n is to my eyes as possible a "live" only in a "real" context, every believer acquires the Faith in the "adversity". Maj Serge
Submitted by Thomas on Sun, 04/01/2015 - 10:22 p.m. - Permalink
Philippe greetings,
At first I remained incredulous to your arguments, unable to consider Omote and Ura as pedagogy and truth. I see it more as a unit divided into two complementary parts. A bit like the yin and yang.Aikido is the combination of the two.
Then I confess that second part with proof by the image of Mr. Saito, I began to doubt to rebound in the moment such a Kaiten Soto who returns to the head (I find the picture very figurative :)) I digress ... short ...
Why not interpreted in the following way since it uses neither Omote and Ura terms? :
The first layer shows the technical and purely educational way to show Sankyo. Omote nor nor Ura. It leaves on the outside up to the interior. Second, what should look like in réalité.Il Sankyo is less and line out excess since the irimi allows simultaneous attack action. I say "should" because how to photograph, clearly and especially at this time, which it did in the moment without decomposing and thus still schematically. Because it is the last photo that still bother me following your reasoning on why the lines and go while the descent is inevitable? Is it a safety issue for Uke? Thus we can also implement the same security Tori, where misunderstandings about Attack and Protection in Aikido? ..
We know that this last picture, Saito could have (the) Uke has to show with the ground. The first board with a "control". The second board with input and Atemi. Thus avoiding that it is included on the line of the potential attacker that is left of it. Is Saito would he showed so, because he thought that this version allows you to use Uke as a shield while allowing to inflict serious damage to the unfortunate opponent. He's alive that's something ... although if those friends did not retain their attacks, it is less safe :). Was he still trying to find a way to convey?
I must stay a septic ...
Best regards,
Submitted by phil on Mon, 05.01.2015 - 6:20 p.m. - Permalink
Hello Master and happy new year to you.
I once again followed your demonstration with fascination, but one thing concerns me and I agree hence the remark of GMD (Good year too GMD) on the answer to a multiple attack on the same direction:
What may well then be the meaning of shiho nage ura which replacerai Tori back to other potential opponents after the pivot, if not destabilize a second opponent from the same direction?
Submitted by rusty 9 on Mon 01/05/2015 - 7:37 p.m. - Permalink
Philip,
why you speak of "budo" Aikido is the way of harmony, of balance: no war. everyone speaks of harmony, of Fulfillment sprituel, fighting has no place. Moreover bout of what truth (martiality? c is a term too obscure in this new year) Srg
Submitted by rusty 9 on Fri, 09/01/2015 - 2:22 p.m. - Permalink
Hello Philip,
I'm not a great Aikidoka but in fact kata Iai take direction (be careful I do diminish this art is for me except) when applying the (out of the danger zone) following just d it even and saber is no longer run by the hands or arms, but he almost mouvoit him even in directions that you name and indeed by swinging on the top finishing down and vice versa. J mean by that Iai implies (in the kata at least) to track back and front axles prependiculaire are in the heart, and this has a working arm to control the weight of the sword PERMITTED IF you change your pin to the same title that Embusen Karate Do, which is not the case in the plan. More interested than I ca n, m but I had always wondered why people had a large advantage in the technical preparatory omote al aikido now j agrees to be small and my technical ura, "do not require me to be largest, on the contrary - :)
Happy New Year to all of you serge
