New Student Performance

"Wow! That's great! You must have been practicing a lot! Now that's what I want to see! Try it with a slightly smaller step next time and I bet it's even better." The instructor goes to the next student and the smiling student who was the target of the praise continues only with a little more focus and a bit more determination.

You weren't patronizing. You weren't giving false praise. You really were pleased and you really did see the improved performance. But you could have just said, "your steps are too big," and withheld the praise. Or you could have asked, "how can you keep screwing up so much when I have already told you to shorten your steps?"

You have the choice of criticizing or critiquing. You can evaluate the person or the performance. You can be subjective or objective. You can teach for your sake, or for your students' sake. You always have these choices.

The correct choice is obvious, but we don't always make the one obvious choice. Sometimes, we want to be in control. Sometimes, we ant to impress. Sometimes, we just run out of patience or bring our own baggage.

We're human too, so we have to watch for human flaws in our teaching methods. There aren't very many opportunities in life that give us more control over other people than when they ask us to teach them. They give us their mind and body and trust us to help them. They have become vulnerable and we must honor that trust. This is a huge responsibility.

One way of being sure that you're treating students appropriately is to realize that they are the most important resource we have. They are valuable. We need them or our art will wither and die. If we allow our ego or mood to drive even one student (who may have become the next Ueshiba) away, we are all poorer. The greatest opportunity for miscommunication is when we are trying to communicate complex or abstract ideas.

Remember this rule and you will find your criticisms are taken in the way you intend: Always critique the performance, never criticize the person.

Even though the difference between "you're stepping too far again" and "your step is still too long" is slight and would not be noticed by the advanced student, the beginner may still be fragile, afraid of failing. At this point you would achieve even more by a positive suggestion such as "try taking shorter steps." This gives the student something specific to try, shifting the focus from person to performance.

The shift from person to performance also teaches the student to look at performance as an accomplishment. Something that can be displayed and evaluated; a thing apart. Self-evaluation soon follows. Accomplishment is the new goal and you and your student can work on it together.

Next time you are teaching, listen to yourself from the student's point of view. Are you listing mistakes or suggesting changes? Are you describing a personal fault or a performance fault? Do you want to change the performance or the person? Check out your own performance and see how you are doing. Critique yourself. See if you can be a little more clear about your expectations. See if there is room for more student praise and encouragement. See if you are earning the trust and respect of your students (or if they are just respecting your belt). If so, praise yourself. If not, make some personal suggestions on performance improvement.

Chuck Clark

Firt Time of Fall

I am in no position to comment on how good Doshu is but the first time he ever threw me, it changed a large part of my outlook on Aikido. Up till that time I was unsure about what "strong" technique was. I would try to ensure that my technique was clean and crisp, and there was good extension of Ki.

Doshu indicated for a morotetori attack and I complied. As he led me around him, I thought: "Boy, there isn't much strength here. Grabbing him is like grabbing smoke. He isn't really even leading me around." As I was completing the 360 degree turn into the iriminage, I thought: "I guess I should look for a place to land so I can take a good fall for him." At that point, I found myself staring up at the ceiling. I didn't understand how I got there. It was kind of like a time warp. The instant I had thought about falling, I had already fallen, so smoothly and softly that I didn't notice having done so.

Was it a "strong" throw? Was it a quick one? I don't know and I figure it really didn't matter anyway. I was down there where I was supposed to be.

I still try for clean, crisp technique and good extension of Ki but if I can get a person to jump for me, regardless of their initial intent, it saves me a lot of work. I figure, in practice, you should practice for the worst-case scenarios. But reality hardly ever turns out into worst case (not best case either).

A lot of Aikido is about self-defense and self-defense is about your ability to control your own environment. How you control your environment is up to you and the knowledge, skills, and abilities you possess. Aikido provides you with another set of skills and knowledge to help you control your environment. Those skills vary from crash-bang to smoke and mirrors. You use the tools most appropriate for the situation and move on (you might wish to leave a silver tanto).

Rock

Testing in Aikido

A test or ranking is not just for the person taking the rank test. It is as much for the rest of the Dojo, the Sensei, and newbies who don't know the people in the Dojo.

There are several reasons for testing. One of these reasons is to show newer people what they need to learn, to provide a standard for them. Another is to show the Sensei how you perform under stress. Another is to give a belt rank that allows newbies to know what rank you are so that they can go to you for help. These are just a few of the reasons.

Why should someone NOT stop taking tests? Well, it becomes very embarrassing for the people who have taken rank tests to have someone who is lower ranked be technically and conceptually better than them. However, if a person hasn't taken rank when then should have, then the person does not deserve it yet since the person does not yet understand the importance of ranking for the benefit of the whole Dojo. Interesting, if a person will not take rank tests, then they don't deserve the rank yet. I have recently had to deal with this problem here in Hong Kong. The person thought they were being very humble but after looking deeply into his motivations, he realized that rather than being humble, he was being very arrogant. All those of you who are not taking rank test to remain humble, please review your motivations carefully, they may not be as pure as you think. I know since I once looked at things in the same way myself.

In Hong Kong, we give tests in front of a Board. As a member of the Board, I am not concerned only with how the individual performs in the exam, but their long-term performance in day-to-day practice. I think all of us have had instances when we are at seminars and a Sensei is standing next to us watching our technique and there is no way that you can do the technique correctly even though it is normally your favourite and best technique. In fact, you were probably doing it quite well while the Sensei was not looking but you foul up as soon as you feel his or her eyes upon you. This is why our tests are usually at the end of a period of practice during which I have a chance to watch the testees practicing their technique.

Second, the spirit of the Aikidoist is important. Does the person help others? Does the person understand the principles behind the techniques? Does the person have good Dojo Reigi? Will I be embarrassed if this person visits another Dojo? Does the person have good ukemi? Does the person practice vigorously with commitment? Do they have good zanshin? What is their mindset as they test? Will the person keep going even when the chips are down?

Third, what is the person capable of? Are they working to their limits (part of the spirit question maybe)? How is their progress?

Fourth, will conferring the higher rank improve their Aikido through improvement of their confidence? Maybe the person needs some help to stop worrying about the test so they can get on with their practicing and learning?

Fifth, what is their commitment to Aikido? How often do they come to practice? How often do they ask questions? Are they thinking about Aikido all the time.

Sixth, what is their potential? Am I wasting my time on this person? Are they only looking for rank or are they truly interesting in getting a chance to learn more advanced techniques? Why are they testing?

Seventh, how is this person's Aikido relative to the others in the Dojo with whom they practice? This is the equity question relative to others in the Dojo or association or federation. This question should not be answered only in terms of technique but also time spent in Aikido, the amount of work the person does for Aikido (including administrative work), and the visibility of the person in the Dojo.

Eighth, how is the power of this person's techniques? After all, this is a MARTIAL ART! What is the martial competence of the person?

Ninth, will conferring the higher rank do anything for Aikido as a whole or for the Dojo or association/federation? Will the person be a good ambassador for Aikido to outsiders? Will be person help to make Aikido grow?

There are probably a few other issues I have forgotten at present. The list is not in any specific order, especially since depending upon the specific case-by-case circumstances, which issue is most important will differ. All of these issues, though, must be balanced off. No one issue ever disappears off the list. Things just change in weighting and there is no weighting of zero.

Please note that these are my own personal criteria and are not necessarily that of any others.

By the way, these criteria hold whether the ranking is for Mudansha or Yudansha.

Rock

Optimum Training Time

Some years ago, I came across an interesting exercise physiology study -- done at least a decade ago -- concerning the optimum amount of time spent training in any physical discipline.

According to the findings, 3 training sessions (of 1-2 hours duration each) per week is the most productive in terms of both physical conditioning and improving one's skills. Two times per week was found to be the minimum for maintaining oneself, but is not enough to make true progress in skill and strength. Four times per week was found to be not that much more productive than 3X per week.

Allowing time for muscles and joints to heal and rest is an important factor in between workouts. If you're training hard every day, eventually you will acrue more damage and fatigue than your body can handle. People who train more than 3 or 4 times per week should alternate the intensity of their workouts so that there are "light" days in between the "hardcore" ones.

On the psychological side, how many people get "addicted" to MA training mainly because they are fascinated by their martial art and want to drink it all in? And how many get hooked because the martial art discipline fills a social, intellectual, spiritual or emotional void in their lives?

Often, people recovering from a broken relationship, career disappointment, lost religious faith, loneliness and other ills will train obsessively. Sometimes they end up mellowing out over the years and come to love the art for itself, but too often an individual will turn his entire life over to the dojo because it has become the surrogate for a healthy home and family life, job satisfaction, or whatever.

It's one thing to find something absolutely riveting and to devote your life to exploring all its nooks and crannies, and quite another to become obsessed to the point of burnout.

Just a few ramblin' thoughts on the subject.

Cady Goldfield

About Ukemi

So many people think that ukemi is about falling down, how to fall down, about being thrown. Well, of course it is, but it is also about so much more.

It is about engagement, both physical and energetic (which starts way before the physical and lasts way after). It is about intent, about attack and continuation of the attack. It is about looking for the opening to take back control after you have been unbalanced. It is about keeping up the attack while keeping yourself safe. It is about sticking in there as long as possible to try to find a hole, so if nage makes some mistake, you haven't bailed out and are no longer around. It's about separating from the other person when it becomes futile to continue, so that you can live to come back and attack again. It's about constant awareness of all that is around you. I see so many people just taking cool looking falls. Yeah, it's fun, and some people may think it looks cool, but many times (not always) it's not ukemi. And often after the big jump the person either lies there or gets up but without awareness, so that the person who just threw uke could in fact step on uke or attack from behind. This awareness, this connection with your surroundings is what I find missing in most practice. I took ukemi for a shihan at an embu [public demonstration] recently. Afterwards, a guy came up to me and told me "Your ukemi- You never took your eyes off of him." Of course I never took my eyes off the the person I am engaged with. If I did, I would have a large opening and he would kill me.

Sometimes it is necessary to take a breakfall or some "spectacular" ukemi like that. So for those few instances, we must practice such falls. But we must be clear about this. And even when practicing these types of falls, not get sucked into the "I wanna take cool looking falls" trap.

Uke and nage -- both are always attacking each other's center, both must keep themselves safe, both must find a way to take the other's balance, to keep the connection. Always engaged, always connected. This is budo training.

Lisa Tomoleoni

Weapons

Weapons training in aikido traditionally includes the short staff (jō), wooden sword (bokken), and knife (tantō). Today, some schools also incorporate firearm-disarming techniques. Both weapon-taking and weapon-retention are sometimes taught, to integrate armed and unarmed aspects, although some schools of aikido do not train with weapons at all. Others, such as the Iwama style of Morihiro Saito, usually spend substantial time with bokken and jō, practised under the names aiki-ken, and aiki-jō, respectively. The founder developed much of empty handed aikido from traditional sword and spear movements, so the practice of these movements is generally for the purpose of giving insight into the origin of techniques and movements, as well as vital practice of these basic building blocks.

Implemantations

Aikido makes use of body movement (tai sabaki) to blend with uke. For example, an "entering" (irimi) technique consists of movements inward towards uke, while a "turning" (転換 tenkan) technique uses a pivoting motion. Additionally, an "inside" (内uchi) technique takes place in front of uke, whereas an "outside" (外 soto) technique takes place to his side; a "front" (表 omote) technique is applied with motion to the front of uke, and a "rear" (裏 ura) version is applied with motion towards the rear ofuke, usually by incorporating a turning or pivoting motion. Finally, most techniques can be performed while in a seated posture (seiza). Techniques where both uke and nage are sitting are called suwari-waza, and techniques performed with uke standing and nage sitting are called hanmi handachi.

Thus, from fewer than twenty basic techniques, there are thousands of possible implementations. For instance, ikkyō can be applied to an opponent moving forward with a strike (perhaps with an ura type of movement to redirect the incoming force), or to an opponent who has already struck and is now moving back to reestablish distance (perhaps an omote-waza version). Specific aikido kata are typically referred to with the formula "attack-technique(-modifier)". For instance, katate-dori ikkyō refers to any ikkyō technique executed when uke is holding one wrist. This could be further specified as katate-dori ikkyō omote, referring to any forward-moving ikkyō technique from that grab.

Atemi (当て身) are strikes (or feints) employed during an aikido technique. Some view atemi as attacks against "vital points" meant to cause damage in and of themselves. For instance, Gōzō Shioda described using atemi in a brawl to quickly down a gang's leader. Others consider atemi, especially to the face, to be methods of distraction meant to enable other techniques. A strike, whether or not it is blocked, can startle the target and break his or her concentration. The target may also become unbalanced in attempting to avoid the blow, for example by jerking the head back, which may allow for an easier throw. Many sayings about atemi are attributed to Morihei Ueshiba, who considered them an essential element of technique.

Basic Techniques

The following are a sample of the basic or widely practiced throws and pins. Many of these techniques derive from Daitō-ryū Aiki-jūjutsu, but some others were invented by Morihei Ueshiba. The precise terminology for some may vary between organisations and styles, so what follows are the terms used by the Aikikai Foundation. Note that despite the names of the first five techniques listed, they are not universally taught in numeric order.

• First technique (一教 ikkyō) a control using one hand on the elbow and one hand near the wrist which leverages uke to the ground. This grip also applies pressure into the ulnar nerve at the wrist.
• Second technique (二教 nikyō) a pronating wristlock that torques the arm and applies painful nerve pressure. (There is an adductive wristlock or Z-lock in ura version.)
• Third technique (三教 sankyō) a rotational wristlock that directs upward-spiraling tension throughout the arm, elbow and shoulder.
• Fourth technique (四教 yonkyō) a shoulder control similar to ikkyō, but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient's radial nerve against the periosteum of the forearm bone.
• Fifth technique (五教 gokyō) visually similar to ikkyō, but with an inverted grip of the wrist, medial rotation of the arm and shoulder, and downward pressure on the elbow. Common in knife and other weapon take-aways.
• Four-direction throw (四方投げ shihōnage) The hand is folded back past the shoulder, locking the shoulder joint.
• Forearm return (小手返し kotegaeshi) a supinating wristlock-throw that stretches the extensor digitorum.
• Breath throw (呼吸投げ kokyūnage) a loosely used term for various types of mechanically unrelated techniques, although they generally do not use joint locks like other techniques.
• Entering throw (入身投げ iriminage) throws in which nage moves through the space occupied by uke. The classic form superficially resembles a "clothesline" technique.
• Heaven-and-earth throw (天地投げ tenchinage) beginning with ryōte-dori; moving forward, nage sweeps one hand low ("earth") and the other high ("heaven"), which unbalances uke so that he or she easily topples over.
• Hip throw (腰投げ koshinage) aikido's version of the hip throw. Nage drops his or her hips lower than those of uke, then flips uke over the resultant fulcrum.
• Figure-ten throw (十字投げ jūjinage) or figure-ten entanglement (十字絡み jūjigarami) a throw that locks the arms against each other (The kanji for "10" is a cross-shape: 十).
• Rotary throw (回転投げ kaitennage) nage sweeps the arm back until it locks the shoulder joint, then uses forward pressure to throw.

Initial Attacks

Aikido techniques are usually a defense against an attack; therefore, to practice aikido with their partner, students must learn to deliver various types of attacks. Although attacks are not studied as thoroughly as in striking-based arts, "honest" attacks (a strong strike or an immobilizing grab) are needed to study correct and effective application of technique.

Many of the strikes (打ち uchi) of aikido are often said to resemble cuts from a sword or other grasped object, which indicates its origins in techniques intended for armed combat. Other techniques, which appear to explicitly be punches (tsuki), are also practiced as thrusts with a knife or sword.Kicks are generally reserved for upper-level variations; reasons cited include that falls from kicks are especially dangerous, and that kicks (high kicks in particular) were uncommon during the types of combat prevalent in feudal Japan. Some basic strikes include:

• Front-of-the-head strike (正面打ち shōmen'uchi) a vertical knifehand strike to the head. In training, this is usually directed at the forehead or the crown for safety, but more dangerous versions of this attack target the bridge of the nose and the maxillary sinus.
• Side-of-the-head strike (横面打ち yokomen'uchi) a diagonal knifehand strike to the side of the head or neck.
• Chest thrust (胸突き mune-tsuki) a punch to the torso. Specific targets include the chest, abdomen, and solar plexus. Same as "middle-level thrust" (中段突き chūdan-tsuki), and "direct thrust" (直突き choku-tsuki).
• Face thrust (顔面突き ganmen-tsuki) a punch to the face. Same as "upper-level thrust" (上段突き jōdan-tsuki).

Beginners in particular often practice techniques from grabs, both because they are safer and because it is easier to feel the energy and lines of force of a hold than a strike. Some grabs are historically derived from being held while trying to draw a weapon; a technique could then be used to free oneself and immobilize or strike the attacker who is grabbing the defender. The following are examples of some basic grabs:

• Single-hand grab (片手取り katate-dori) one hand grabs one wrist.
• Both-hands grab (諸手取り morote-dori) both hands grab one wrist. Same as "single hand double-handed grab" (片手両手取り katateryōte-dori)
• Both-hands grab (両手取り ryōte-dori) both hands grab both wrists. Same as "double single-handed grab" (両片手取り ryōkatate-dori).
• Shoulder grab (肩取り kata-dori) a shoulder grab. "Both-shoulders-grab" is ryōkata-dori (両肩取り). It is sometimes combined with an overhead strike as Shoulder grab face strike (肩取り面打ち kata-dori men-uchi).
• Chest grab (胸取り mune-dori or muna-dori) grabbing the (clothing of the) chest. Same as "collar grab" (襟取り eri-dori).

Roles of Uke and Nage

Aikido training is based primarily on two partners practicing pre-arranged forms (kata) rather than freestyle practice. The basic pattern is for the receiver of the technique (uke) to initiate an attack against the person who applies the technique—the 取り tori, orshite 仕手 (depending on aikido style), also referred to as 投げ nage (when applying a throwing technique), who neutralises this attack with an aikido technique.

Both halves of the technique, that of uke and that of nage, are considered essential to aikido training. Both are studying aikido principles of blending and adaptation. Nage learns to blend with and control attacking energy, while uke learns to become calm and flexible in the disadvantageous, off-balance positions in which nage places them. This "receiving" of the technique is called ukemi. Uke continuously seeks to regain balance and cover vulnerabilities (e.g., an exposed side), while nage uses position and timing to keep uke off-balance and vulnerable. In more advanced training, uke will sometimes apply reversal techniques (返し技 kaeshi-waza) to regain balance and pin or throw nage.

Ukemi (受身) refers to the act of receiving a technique. Good ukemi involves attention to the technique, the partner and the immediate environment - it is an active rather than a passive receiving of Aikido. The fall itself is part of Aikido, and is a way for the practitioner to receive, safely, what would otherwise be a devastating strike or throw and return to a vertical position in one fluid movement. Thus the concept of a "breakfall", common to other martial arts, is out of place in Aikido, as a fall in Aikido is not broken, but chosen by the receiver.

Training in Aikido and Basic Techniques

Aikido techniques are frequently referred to as waza 技 . Aikido training is based primarily on two partners practicing pre-arranged forms (kata) rather than freestyle practice. The basic pattern is for the receiver of the technique (uke) to initiate an attack against the person who applies the technique—the 取り tori, or shite 仕手, (depending on aikido style) also referred to as (投げ nage (when applying a throwing technique), who neutralises this attack with an aikido technique.

Both halves of the technique, that of uke and that of tori, are considered essential to aikido training. Both are studying aikido principles of blending and adaptation. Tori learns to blend with and control attacking energy, while uke learns to become calm and flexible in the disadvantageous, off-balance positions in which tori places him. This "receiving" of the technique is called ukemi. Uke continuously seeks to regain balance and cover vulnerabilities (e.g., an exposed side), while tori uses position and timing to keep uke off-balance and vulnerable. In more advanced training, uke may apply reversal techniques (返し技 kaeshi-waza) to regain balance and pin or throw tori.

Ukemi (受身) refers to the act of receiving a technique. Good ukemi involves attention to the technique, the partner and the immediate environment - it is an active rather than a passive "receiving" of Aikido. The fall itself is part of Aikido, and is a way for the practitioner to receive, safely, what would otherwise be a devastating strike or throw and return to a standing position in one fluid movement. The person throwing must take into account the ukemi ability of his partner, as well as the physical space: walls, weapons (wooden tantō, bokken, jō) on the tatami, and the aikido practitioners nearby. Uke must attack with a strength and speed appropriate to the aikido skill level of the tori; in the case of beginner women and children, this means an attack of far less severity than would be encountered in a real-life self-defense situation.