The Seidokan Communicator, March 1998

8/14/2019 The Seidokan Communicator, March 1998

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March 98

The Seidokan CommunicatorAikido for a Modern Way of Life

The Budo ofKano and Ueshiba

by Dr. Mark Crapo

Editors note: I asked Mark Crapo to write an article describing how Judo and Aikido relate. Mark is a

long time Judoka and has extensive knowledge of the martial arts. I feel it is useful to see how Aikido

relates to other types of training in Budo.

The traditional Bujutsu of ancient Japan were the martial techniques used in combat. Theyevolved over the centuries and became very specialized. There were both armed and unarmedryu, or traditional schools, as well as those dealing with auxiliary arts such the proper way to tie

up an enemy or to swim in full armor. Even such things as flower arranging, poetry, the teaceremony and calligraphy were often linked to rounded training. Thesejutsu, or techniques, canbe likened to the roots of a tree. These deep and powerful roots gave rise to not only the trunkbut also the branches.

As time passed and Japan entered "the modern age" the techniques of combat gave way to "theway," or the ways of fighting, Budo. Modern Budo are those branches and the very fruits of thetree. While Budo came from the fields of battle, it evolved into something more than how to killan opponent, more than a way to control an enemy. It became a method (or methods) to controlones self, betterment of the individual and thus society. We would say that thejutsuarts

emphasized Satsujin-Ken, or the sword to kill while the do arts became Katsujin-Ken, or thesword to give life.

Professor Jigoro Kano was the epitome of a "modern man" in turn of the century Japan. He ledthe charge from one age, the age ofwaza or pure technique, the way

of power, into the modern age of do or the way. Specifically, he founded the Way of Gentleness or the

Yielding Way, Judo. While thejutsu arts focused on how to survive in combat, the do arts focused on

how to survive in the world around us; to survive in harmony and with dignity in a modern age, amodern way of life. He also served as a sort of ambassador to the world, making almost 15 trips tocountries around the globe.


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Jigoro Kano Sensei, Founder ofJudo

Kano Sensei was born in Mikage on October 28, 1860. As a young man he studied the ancientways of combat. He particularly focused on two styles of Jujutsu, Tenshin Shinyo Ryu and KitoRyu. While both were methods of primarily unarmed combat, Tenshin Shinyo Ryu dealt morewith atemi(striking vital points) and ne-waza (ground techniques), what we now refer to asgrappling. Kito Ryu was an art that concentrated more on tachi-waza (standing arts) and randori(free practice). Kano Sensei combined the best, most scientific arts in them to form what was tobecome modern Judo.

Jigoro Kano also earned his degree as a teacher. He became the headmaster of small school,but because of his innovations in education was soon promoted. After several posts he finallybecame the headmaster of one of the finest and most elite schools in Japan and an advisor tothe government in the area of not only education but sports. In addition to Japanese he spokeEnglish, German, and some Spanish. He applied an educators skill and knowledge of learninginto the formation of his modern art of Judo. He was also known to apply the stern discipline ofthe martial arts to his classroom students.

As an educator, Kano Sensei saw that the disciplines of the past could be used for disciplineand betterment in the changing generation. But modifications would have to be made if the artsof self defense were to be broadly and safely practiced by the youth of the day. Eventually hecombined the best elements of tachi-waza and ne-waza into one art. He eliminated the moredangerous atemi-waza and limited joint locks (kansetsu-waza) to just the elbow. Shime-waza

(choking arts) were also allowed. Thus in 1882 Judo was born. (It should be noted that whileKano Sensei eliminated the more dangerous arts from what is now called sport Judo, he didretain them in kata and the methods of self defense.)

While 1882 is the official "birthday" of Judo, the by-laws werent written until two years later. Itwas in 1882 that Kano Sensei started his first dojo (at a Zen temple) but at that time what hewas teaching was mostly jujitsu. His Kito ryu teacher, Iikubo Sensei, came a couple times aweek to instruct at his new dojo. This continued throughout 82 and part of 83. At this time Kanoearned his first teaching license (in Kito Ryu), after founding Judo!

In the early years of Judo, many Jujitsu masters were recruited into the Kodokan (the JudoHombu Dojo). They brought with them skills from the various ryu they represented and therepertoire of the Judoka grew. The legitimacy of the Kodokan itself was questioned early on,and a challenge match was fought against a combined jujitsu team (several different schools).The winner would go on to become officially sanctioned instructors to the police force. While


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Judo won the match, it was the efforts of these newly recruited Jujitsu practitioners that turnedthe tide.

While Judo is often translated as Gentle Way, these early years were anything but gentle.These were rough and tumble years with many injuries. (Speaking of rough and tumble, ourPresident, Teddy Roosevelt, had a portion of the White House converted into a dojo, and arepresentative of the Kodokan taught Judo classes for a short time. After the White Houseinstruction ended, the teacher, Maeda Sensei, traveled the US engaging in challenge matches.He later settled in Brazil and became the teacher to the Gracies.) Yielding Wayis probably amore accurate translation of Judo. The basic Judo philosophy is: when pushed, pull; whenpulled, push. If you and your partner each have 10 units of strength a contest would result in astalemate. But if your partner pushes with 8 of his units of strength and you pull with only 3 ofyours, that equals 11 units - more than either of you alone possess and your partner can notwin. That is also Seiryoku Zenyo or Maximum Efficiency With Minimum Effort, one of the twomaxims of Judo. (In Aikido this is simply called Aiki or blending.) The other is Jita Koya, MutualWelfare and Benefit. (In Aikido we would call this the Spirit of Loving Protection for All Things.)

It was Jigoro Kano that developed the present belt ranking system used by most Japanese andKorean systems today. There are two basic groups: Mudansha or the beginning ranks and

Yudansha, the black belt ranks. You start as a white belt Mudansha with a rank of 6th kyu andprogress up to the 1st kyu. You then start all over again in the Yudansha ranks as a shodan (1stdegree and move up towards 10th.) The color changes resemble a white belt graduallybecoming old and worn, white/brown/black. Originally there were 3 white belt levels and 3 brownbelt levels. While this is still seen in some dojo most have expanded into what is called therainbow belt system with blue, red, purple, green, yellow, orange, and even camouflage belts.Today it is also common that while adults still start out as 6th kyu, children start as 10th.

Jigoro Kanos interests were not limited to only Judo, but encompassed all Budo. He had manyprominent teachers from other styles teach at the Kodokan. He was even responsible forFunakoshi Sensei staying in Japan to teach Karate - later to become the Father of JapaneseKarate.

It was Kano Senseis wish that Judo become an Olympic sport. He worked to spread Judoaround the world, even visiting the US. He also worked as a member of the Olympic committee.It was after a visit to the Olympic committee in Cairo in 1938 that he died (he was actually on hisship, returning to Japan). He had hoped that Judo would be accepted as an Olympic event in1940 (and this was accepted), but because of the war this was not realized until 1960 whenJudo was an exhibition event. In 1964 it gained status as a regular event.


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Morihei Ueshiba (O-Sensei)Founder of Aikido

The Judo we see today is not exactly what Jigoro Kano would have hoped for. While it hasachieved world wide status and is part not only of the Olympic games but of many Worldcompetitions, changes have been made that Kano Sensei would not be entirely happy with.First, Kano Sensei believed in open tournaments -- no weight classes. After his death, Judostarted having competitive divisions, light weight, middle weight and heavy weight in response tointernational pressure. Today it has basically the same weight divisions as collegiate wrestling.However, many tournaments will take the winners of the individual weight classes and pit themagainst one another to determine a grand champion.There are basically two ways to win a Judo match. One is by submission. You place yourpartner in a choke, joint lock, or hold down and they give up or submit. If they dont, they maylegally be choked into unconsciousness or you can break their elbow which usually ends the

match. You may also win by points. Up until the 1970s, you could win by or 1 point. Youwere awarded ippon (1 point) for successfully throwing your partner with a recognizabletechnique, with force, largely on his back. If one of those elements was missing, you could beawarded wazari ( point). Two wazari did equal an ippon. You could also hold your partnerdown, in a recognizable hold for 30 seconds and be awarded an ippon. For less than 30seconds but at least 25, you would be awarded a wazari.

In the mid 70s, in an effort to make Judo more of a spectator sport new points were added; yuko( point) and koka (1/8 point). However, these points do not add up. That is while two wazari or points equal ippon, four yuko () dont equal ippon and two yuko dont add up to one wazari.

You can have 10 or 15 yuko or koka. One wazari beats any number of lesser points and oneyuko beats any number of koka. While the intention was that this was to encourage moreJudoka to become less defensive and liven the action up, it often results in them attempting verycrude techniques, trying to trip or force their opponent down anyway possible, and results insome very sloppy Judo. Im sure Kano Sensei would not be pleased.

In many ways the founder of Aikido, Morihei Ueshiba, was the direct opposite of Jigoro Kano.While Kano Sensei was the modern gentleman, Ueshiba Sensei was the ancient mystic. JigoroKano studied modern literature and politics. Morihei Ueshiba studied the ancient classics andreligion.

Morihei Ueshiba was born in Tanabe on December 14, 1883. He did enjoy some of the samewealth and privilege that the young Kano grew up with. His father, Yoroku Ueshiba was a towncouncilman and businessman. As a youngster Morihei demonstrated some affinity for numbersand studied the abacus and accounting. However his real love was the martial arts. He was


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drawn to them and studied them with a passion that many found to border on the obsessive. Heis known to have spent some time studying various ryu of bojutsu (staff arts) and kenjutsu(sword arts) along with sojitsu or yarijutsu (use of the spear). While he did become quiteproficient in these, eventually teaching bayonet techniques in the military, he spent most of hisefforts learning jujutsu.

While he may have studied more than one jutsu style, he was mostly influenced by Daito-ryu.This is also called Daito-ryu Jujitsu and today even known as Daito-ryu Aikijujitsu. He met histeacher, Sokaku Takada, in 1915 and studied with him, on and off for the next 7 years. Todaywhen we think ofstudying an art, we often think of attending a class at the dojo lasting an hour,an hour and a half or in some dojo, two hours. While it is common for some students to attendclasses three times a week, others may only go once or twice. It was not uncommon for UeshibaSensei (and many other students of his era) to study for 8 hours a day, for days on end.Practicing 6 or 7 days a week was more the rule than the exception. It was not uncommon forsomeone to rack up more practice hours in a week than some of todays students earn in 3 or 4months. Progress came rapidly. (Former Hombu Chief Instructor Koichi Toheis first promotion in

Aikido was to Godan - 5th degree black belt.)

In 1922 Ueshiba Sensei earned his Menkyo or teaching license in Daito-ryu. In his early years

of teaching he started blending his knowledge of other arts, sword, staff, and spear, into hisempty hand techniques. He was gradually developing his own "style." Such experimentation andevolution was very common among instructors of that era. Even though Takeda Sensei wouldvisit and teach at his student Moriheis dojo, gradually a split occurred between the two men.This may have been a split more for philosophical reasons than any other. The art UeshibaSensei was teaching gradually became known as Ueshiba-ryu and Aikijujitsu.

The early years, of what was to become Aikido, were as rough and tumble as those of Judo.The Aikijujitsu dojo became known as Hell Dojo. Workouts were often brutal. My experience inthe martial arts 25 to 30 years ago was that you were not so much taught a technique as you

"stole" it. Instructors werent much at "instructing" as we would know it today. Rather theydemonstrated a technique several times, at best, and you were expected to copy it. You learnedover time to take in everything you could of the short demonstration and tried to "steal" what theteacher showed. Ukemi was taught in much the same manner. Let someone throw you a fewhundred times and eventually you get the idea. . . or you quit.

In the early 30s Jigoro Kano visited Ueshiba Senseis dojo to observe his young art. Afterwatching his techniques Kano declared that Ueshibas art was the true Judo, the best martialart. In the following years Kano Sensei sent many of his finest students to study Aikido. Some

switched completely, others continued to study both. Professor Tomiki, who I believe was an 8th

dan in Judo, became an Aikido Instructor at Waseda University. Much against the wishes of O-Sensei he combined elements of the two arts and started Tomiki Aikido, a style that includescompetition. This was done because of pressure from the college. They demanded some sort ofcompetitive sport. Today this style is little known in Japan, but it is still popular in England andthere are a handful of dojo in the US. Another such student was Mochizuki Sensei. He went onto combine elements of Karate, Judo, and Aikido to form Yoseikan Budo. This style is also littleknown in Japan today but is still popular in France and has a small number of dojo in the US.

The art O-Sensei taught underwent a transformation during World War II. Rod KobayashiShihan was fond of pointing out that the name Aikido was formally adopted in 1942, prior toJapans defeat. This signified a shift; Aikido became an art of timing and finesse and less of one

that concentrated on power as Ueshiba-ryu or Aikijujitsu had. The transformation was notinstantaneous though. Even today, the slow evolution of technique continues. O-Sensei wasquick to point out the he was still a student following a path, continuing to learn. The art hetaught became softer and yet more powerful as he aged. Unfortunately there are those


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instructors today that forget the living art Ueshiba Sensei taught was still growing. They attemptto fix the techniques in time. They teach the arts he taught in the 30s, 40s, 50s, or 60s. Oneteacher shows a waza as he learned it in 1954 saying, "This is the way." Another says, "No,Sensei showed it this way. . . in 1967." The true practitioner says, "He was leading in thisdirection. Let us follow."

Mind - BodyPrinciples - Techniques

by Dan Kawakami

Aikido training focuses on both techniques and principles. Techniques are bodily movements designed todefend against and control physical attack. Typically, an instructor demonstrates a technique of self-defense against a specified attack, and the student learns by imitating the instructors movements. Furtherrefinements are made under the guidance of the instructor, and the movements become established with

repetitive practice with a partner.

Teaching of principles is somewhat more problematic. O-Sensei stated that the principles of Aikidocome from nature. Nature is presumed to be an infinite field of energy (ki), constantly flowing andchanging, and like water, essentially formless. It is also presumed to be more of a process than an entity,and the principles refer to consistent patterns within this formless process.

It may also be said that reality at this level is beyond our ordinary senses, and principles areidentified, not through direct perception, but by observing or experiencing their effects.

Despite their differing nature, techniques and principles are intricately related. Principles withouttechniques cannot be expressed. Techniques without principles tend to be mechanical,

insensitive, and lacking creativity. The capacity to adapt to changing conditions is diminished,and without humane values and principles to guide their expression, techniques can becomepotentially dangerous and destructive. Moreover, techniques in and of themselves have limitedapplicability in the sense that they are generally appropriate only to situations of combat or onthe Aikido mat.

Principles, on the other hand, have unlimited applicability. However, because they are formless,they need a means to be expressed. In a circumscribed field of activity, such as Aikido,techniques provide the means of expression. Like a bowl gives shape to water, techniques giveform to the formless principles of nature. When techniques and principles are one, asdemonstrated in old film clips of O-Senseis performances, the execution of techniquesbecomes spontaneous, flowing, effortless and yet very powerful, even magical. O-Senseiattained this level of development after many years of intense training in the martial arts andvarious religious practices, and his declaration "I am the Universe," following his enlightenmentprovides the defining statement for Aikido, the art he created. O-Sensei had indeed unified mindand body (principles and technique) and realized the oneness of the universe. It is from thisrealization that the ethic of nourishing life and promoting peace which characterizes Aikidoemerged.

Change and Perceptionby Dale (Brad) Bergeron

In practicing Aikido, each student works at an individual pace to understand the principles and purposesof introducing change into systems of energy. Initially students must focus their attention on the


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"method" of applying techniques. This denotes a procedure or specification of steps that must be taken inorder to achieve a given end (the throw). However, once this understanding of "method" begins to gel, asecond level of awareness must develop around the "methodology" of the application of technique; aconcept that now deals with the plurality of methods applied in specific circumstances. Method and

methodology are not the same thing. Method deals with how a specific goal is achieved, andmethodology deals with the use of systems to acquire or impart knowledge.

In Aikido the throw, although important, is not the ultimate goal. In the ideal situation, the blend andapplication of an appropriate technique becomes a metaphorical lesson which imparts new knowledge or

awareness to both Uke (the person being thrown) and Nage (the person making the throw). To dominatean individual in the moment is only of limited value, but if we begin to change the awareness ofparticipants, the need for further physical intervention may vanish. We are not trying to developawareness and strong Ki (energy) for the sake of power; we are trying to learn to listen carefully andobserve keenly so we can apply appropriate Ki and step completely outside the immediate situation of

aggression, inviting Uke into a world of possibility where both of us will discover new alternatives.

A simple example might be a car with a manual shift. If you want to change the power or acceleration,you simply step on the gas (energy), but this has its limitations within a defined range. Eventually youwill be forced to shift gears to achieve your desired results. Using more gas is a first-order change,

shifting gears is a second-order change that redefines your options within a given range (allowing you toincrease power or speed while saving fuel). To accomplish this shift requires a jump or transformation --a change that in Aikido must begin with Nage, who opens a new door of possibility through which Ukeis then invited. The goal then, is not to throw Uke, but to invite Uke successfully into a new systemwhere aggressive energy can be avoided and dissipated without injury to any of the parties involved.

Figure A: The 9-dots problem. Without lifting your pencil,draw four straight lines that connect all 9 dots.

There are two basic types of change, one that occurs within a given system, leaving the originalsystem unchanged, and one that actually changes the system and the relationships of all theindividuals within. It is the latter kind of change the Aikidoist should strive to make, for theseeffects expand like ripples in a pond long after the event causing them has passed. In our dailypractice we should try to consciously step outside of our standard assumptions which often

make solutions to our problems or conflicts seem impossible. Our failures do not lie in theimpossibility of the tasks at hand, but in our attempted solutions. A fun example is "the problemof the nine-dots." These dots form a square with three dots in each of three rows (see fig. A).The goal is to connect ALL the dots using only four lines. Very few people manage to solve the


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nine-dot problem by themselves. Those who fail and give up are usually surprised at thesimplicity of the solution. Give this puzzle a try and then go to page 5 for the conclusion of thearticle.

Figure B: Solution to the 9-dots problem.

The metaphor of the nine-dot puzzle serves the Aikidoist in better understanding why they beginto perceive time and space differently than the average individual, and how they can use thisshift in perception to direct and control the events around them- or even to better discern whennot to get involved in the first place. When we view the "form" of the puzzle most of us will drawan imaginary figure, seeing the dots as a boundary which cannot be broken, this is what theAikidoist gets when they meet aggression with a win-lose mind-set. However, when we step

outside our self-imposed boundaries the answer comes immediately and seems simple

Through this simple puzzle we are illuminated by recognizing that there are always alternatives ifwe just take responsibility for expanding our vision, and we can only do this if we truly knowwhere we are as individuals. In Aikido our practice leads us to recognize that the rules of realityexist only to the extent that we have created them. This we share with Uke in the throw, andeven if it cannot be articulated or defined, our ability to step "outside the box" is communicatedto those around us, offering alternatives to violent confrontation and hope for the development ofpeaceful resolutions. As you practice your Aikido remember that the method of accomplishing athrow is a first step as we try to discover the methodology that allows us to step outside the

standard definitions of aggression, taking Uke with us to a world of new possibility.

EDITORS NOTE

The Seidokan Communicator is published quarterly. Please remember, your submissions make thisnewsletter possible. Send articles about your dojo, your instructor, a recent seminar, philosophicalinsights, technical descriptions, and other Aikido related materials to me so we can keep upcommunication in Seidokan Aikido. Send materials to Doug Wedell, 501 Doncaster Dr., Irmo, SC 29063.

Email submissions are welcome at [email protected].


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Calendar of Upcoming Events

April 3, 4, & 5:Aikido Institute of Michigan presents a seminar with Ross Robertson, Sensei. Forinformation contact Dr. Mark Crapo, 616-965-5500.

May 15, 16, 17, 1998:Ahsa Aikido presents a workshop with Kancho Stewart Chan Senseii. 1478Santiago, #21, Salt Lake City, Utah 84121. For more information call 801-942-0487.

June 12-14, 1998: Summer Camp hosted by Cal State Long Beach Aikido Club. Summer Campincludes instruction from many Seidokan Instructors from Headquarters and around the nation.This is an excellent opportunity to train and share friendships with other Seidokan Aikidoka.

Seidokan member fees for camp:

$160 by April 1$170 by May 1$180 after May 2

For further information, contact Michiyo Kobayashi at :

[email protected], or

667-2428 (if no answer, call (562) 861-0043).

CALLIGRAPHY CORNER

Kobayashi Sensei visited our dojo in South Carolina four times between 1991 and 1994 to giveseminars. During that period, I asked him to hold calligraphy classes so that my students and I

could learn some of the basic kanji (characters) related to Aikido and its principles. In thisfeature of the Communicator, I would like to share with Seidokan members Senseis lessons.Each installment will detail how to write a character. The first three installments will focus on Ai,Ki, and Do.

Many aspects of calligraphy cannot be gleaned from the diagrams provided here. For instance,learning the correct consistency of the ink, how the brush enters and leaves the paper, and theki extension involved requires practice and observation of someone who is skilled at calligraphy.I always enjoyed watching Kobayashi Sensei write the characters and describe how a series ofstrokes might relate to a series of sword cuts. Naturally, he related the basic principles andmovements in calligraphy to basic principles and movements in Aikido. We are fortunate that he

left us some diagrams from which we could practice. In these diagrams, he outlined thesequential order of the strokes making up each kanji.

I hope everyone will try their hand at learning these basic characters and enriching their study ofthe cultural background of Aikido. We begin with the character Ai, which means harmony,oneness or agreement.


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The first stroke is a cut down and to the left. The second stroke cuts to the right, trailing furtherright. Then comes the single stroke completing the "triangle." Notice how there is a hint ofmoving back down and to the left. Sensei emphasized that as one left the paper, one shouldalready be preparing for the next stroke. This adds continuity to the calligraphy. Note how this issimilar to happo undo, where we turn to face the next direction at the end of the currentdirection.

The "square" is begun with the vertical cut down, again ending in the direction of the beginningof the next stroke. The top and right sides of the square are joined together, starting out at 1,slowing at 2 where one changes direction, and cutting down and slightly back to the left. Then

comes the final stroke.

Note how the last sequence of brush strokes is not unlike the movements in the tsubagaeshisword stroke. Remember that all of the strokes should be generated from the one point andzanshin should be evident in each stroke. By the way, if you have any questions about thesemovements, please direct them to Mrs. Minoru Kobayashi. I am only relating here what I recalland am truly a shoshinka in this regard.

Doug Wedell

SEIDOKAN AIKIDO VIDEO TAPESBasic techniques in accordance

with Aikido principles

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

BASIC ARTS

Part 1


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Detailed explanations of Aiki-taisoBasic examination arts

Part 2

Basic examination arts

Aiki-kengi and Aiki-jogi

DAN ARTS

Part 1

Advanced arts required for shodan and above

Part 2

Continuation of Aikido arts for all yudansha.

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

Copyright and all rights reserved by: Aikido Institute of AmericaSeidokan Aikido World Headquarters

2235 Hyperion Ave.

Los Angeles, CA 90027(562) 861-0043 or (213) 667-2428

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

Name_______________________________________________(Last) (First)

Phone: _________________

Address: ____________________________________________(Street)

___________________________________________________

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

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

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

subtotal $________

Include $6.00/set Shipping and Handling $________

California residents add 8.25% sales tax $________

TOTAL $________

Recent Promotions:


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Congratulations to:

Nicholas Doubleday, (Aikido Institute of Michigan, Seiwa Dojo, Junior Shodan,8/14/97)

Eli Landau, (Ramat-Sharet Seidokan Dojo/AIA, Sandan, 10/12/97)

Joe Crotty in Tokyoby Chris Koprowski

In November 1997, Seidokan Aikido of Tokyo hosted Joe Crotty Sensei (Co-chief Instructor ofAIA) for a weekend workshop. This was a very special and significant event for everyone whoattended. It was our dojo's very first guest instructor (not including a surprise visit in October byRon Havilio, Chief Instructor of Aikido Institute of Jerusalem), and was also Joe's first visit to thebirthplace of aikido.

On the first morning, Crotty Sensei emphasized proper movements of the aiki-taiso as well as

testing for ki flow and centering. Students reviewed several basic arts including variations ofenkei nage, shomenuchi kokyunage, and shomenuchi ikkyo irimi. Joe broke down eachtechnique and clearly explained and demonstrated each movement for us. His easygoingmanner and chatty teaching style put us all at ease, and his instruction was chock-full ofamusing anecdotes and personal insights gained from his many of years of training under ourlate founder, Rod Kobayashi Sensei.

In the afternoon session (following a light lunch: Korean barbecue?!), Joe taught a few morebasic arts and then introduced movements from aiki jogi #2. Rather than demonstrating all 22movements in succession, he focused on a few specific movements, explaining them in context

against a bokken-wielding opponent, as well as showing their applications for jonage. For manyof the students, it was their first time to experience blends and throws using a weapon.

On the final day of the workshop, Joe started class with several fun, dance-like, partnerexercises that helped warm us up and prepare us for techniques. We then spent considerable(and much needed) time on tenchinage, both irimi and tenkan. Next, Joe showed us severalblends and throws from Doug Wedell's Systems Approach to Aikido Training which aims atgradually introducing students to greater degrees of freedom in the type of attacks and defensesused. Joe would teach a blend and then demonstrate how the same blend could be used inresponse to a number of different attacks. We really enjoyed this new way of training which lefteveryone exhausted. The workshop closed with detailed instruction on kokyuho and ki

breathing.

Joe Crotty stayed in Tokyo for a week and many ofus were eager to show him around the city:Asakusa, Ueno, Shibuya, central Tokyo, andShinjuku (including a a visit to the Aikikaiheadquarters). Joe also visited historical Kamakura,outside of Tokyo. We'd like to thank Joe again forhis visit and for conducting a very successful

seminar.

Documents

The Seidokan Communicator, March 1998