From: RTK Seidokan <seidokan1981@gmail.com>
Date: Tue, Jul 10, 2018 at 4:36 PM
Subject: Notes from Camp 2018
To:
Aikido Camp Class Summaries:
Doug Wedell Unlocking the Mysteries of Kotegaeshi
Mario Fonda-Bonardi Arcs, Circles and Spirals
Steve McAdam Work on the Periphery
Sal Hernandez Aiki Kengi #3
Mike Miller Bokuto to enkei no musubime
Richard Harnack From Complex to Simple
Chris Koprowski Finding Circles in the Dan Arts
Chaim Noy En no Hongi and the Speaking Centers
Tony Mahoney Ki Flows Regardless, Let's Not Hinder It
Aurora Hernandez Blending with Ki
Doug Wedell AIki Ryoho
Andreas Hessing Developing spirals, centripetal and centrifugal force
Instructor Panel Workshop Q & A
Doug Wedell Unlocking the Mysteries of Kotegaeshi
The key idea of this class was to create a connection with uke and then move lightly on the surface of uke's body to unlock the attack and lead him or her to fall.
Hand to hand Kotegaeshi
1. Begins with a connection: hand to hand. Centered, feel uke's entire being through the connection. Pivot and switch hands maintaining the connection but off the line of force.
2. Realigning via arcs in a new plane. Dip and let the ki flow out uke's thumb side, but mostly the dip is for you. As you rise, Step back and draw your fingertips toward your chest as if praying
3. Finish the movement with a bow. Go slowly and softly, feeling the different circles generated.
4. In motion – now just connect and flow with no gripping.
Hand to Fist Kotegaeshi
1. Begins with a tight fist and nage connecting lightly. Twisting and manipulating is futile. Instead dip for yourself and lightly touch the knuckle as you rise in the diagonal plane. If you have difficulty, you can tap the knuckle or press and release. You should end up with the fist rotated.
2. To finish, follow the circle into the fist very gently. Move along the skin and not through it.
3. Motion 1: do the same thing but in motion. The first dip is for you. The touch takes away his center.
4. Motion 2: inside every big circle is a small circle. Use your free hand to cut ahead and then back at uke. Your kotegaeshi hand follows your other hands motions but in miniature.
Retracted Fist Kotegaeshi
1. Often the attacker may bring the fist back close to the body.
2. Follow from the elbow to the fist. When the fist is close to the body, do not attempt to move it, but rather lightly touch the index knuckle and feel the energy pour out the elbow. Follow the elbow down for a short effective kotegaeshi
3. A similar movement occurs when the attack is a jab to the face.
4. This can also be used when moving to the hot side and finding the hand that is not striking. This very small kotegaeshi is unique to Seidokan Aikido and is extremely versatile and useful in short punches as well as kicks.
Mario Fonda-Bonardi Arcs Circles and Spirals
This class was about circular motion and why it's important to Aikido.
ALL CIRCLES HAVE THREE PARTS which sometimes are given different names
A. A center which may move in the course of an art
B. A radius with a centripetal force pulling toward the center or centrifugal force pulling away from the center.
C. A tangent force which can be visualized as the tip speed on the outer edge of the circle.
Simply put when we have two forces at right angles to each other, all things being equal, the path these forces describe is a circle. In aikido we change the relationships between these three circle parts to throw our partners. Usually the changes are subtle so our partner doesn't realize the relationships are changing and thus altering their balance until it is "too late".
EXAMPLE 1 Ryotetori Tenchi Nage (moving the center of uke's arm)
In this example we are using the shifting downward of the center of the uke's shoulder of their lower swinging arm. If we don't drop that center slightly either nothing happens (uke easily keeps their balance) or nage's other hand (aiming toward heaven) has to do all the "work" in upsetting the uke's balance. We can lower the center of the uke's shoulder as we slide inward by lowering our wrist slightly in relation the arc the uke's arm would follow naturally if we weren't there (see bottom of page 2) Even a small shift of the shoulder's center tilts the uke's body slightly, loads their front foot (so they can't step back easily) and this motion does not really require a change in tip speed or radius length which might activate the uke's defensive reactions.
EXAMPLE 2 Any Shihonage or Makiotoshi (changing the radius of uke's arm)
In this case we are changing the radius of the uke's arm until it gets virtually to "zero" e.g. all slack is out. At that point the radial force is gone and all that's left is the tangential force which resolves itself downward. Likewise in makiotoshi arts when the uke's hand is finally behind their neck, all that's left is the tangential force which spins the uke to the ground. This is very common: when there is no. radius force left, the remaining tangential force is still powering on usually in Aikido downward.
EXAMPLE 3 Yokomenuchi irimi zemponage (changing the uke's attacking tip speed)
See the attached sketch which shows how the tip speed of uke's attacking hand slows down when the nage defensively protects them self, speeds up as the nage swings the uke's attacking hand between the two partners, slows down again when the uke's hand has circled to the top (inflection point) where it speeds up again in the final zenpo nage drop (throw). This oscillation of the tip speed makes it hard for uke to react appropriately to the changing dynamics of the throw.
EXAMPLE 4 Katatetori (changing all three: center position radius length, and tip speed)
Almost all aikido arts involve changing all three parts: the center moves, the radius changes and the tip speed varies as in the art unfolds.
All these shifting variables makes it so the uke does not realizing what is happening, or if they do, it is usually too late to manage a coherent response.
SOME GENERAL OBSERVATIONS ABOUT CIRCLES IN AIKIDO
Rarely do we use full circles in Aikido (an exception might be shihonage arts). Most of the time we use arcs (a part of a circle) or spirals (circles of changing radiuses)
Most of our circles are never perfect circles but rather changing shape as the art unfolds because of the differing resistance, flexibility, shifting centers, changing radiuses, changing tip speed etc. etc. of the uke and nage. This "squishiness" of our circles makes them very good for harmonizing because of their intrinsic flexibility.
Generally speaking most people are not very sensitive to their shoulder's angular or vertical position but are very sensitive to any pull or push that changes their arm (radius) length so if the art requires changing the arm's radius we can best change their arm's radius only when we are either outside their range of effectiveness (enkei example) or have already positioned the arm where it cannot easily resist being folded (shihonage example).
Most people cannot draw a perfect circle. This tells you we are either unaware or cannot typically quickly self-correct when our pencil is wandering off our idealized circle. Analogously in aikido we can take advantage of this weakness. Most of the time the uke does not realize the center or whole body has shifted because the center of their arm(s) has been subtly shifted by the nage (see Last EXAMPLE ONE EXPLAINED). This is another way of saying most people are not very sensitive to something changing in what they initially believe is a simple non-threatening circle.
Many arts in Aikido start with one radius revolving around one center and then "flip" the center to the other side of the arc. This creates an inflection point where the arc then swings in the opposite direction. This capacity of circles to "flip" their center is very beneficial in self-defense for obvious reasons: just when the uke think they have figured out what's happening rotation wise, the arc turns into its opposite.
Finally notice that many of these arts conclude slightly outside the ukes immediate vision. For example ryotetori tenchinage resolves itself behind the uke, shihonage arts resolve themselves by the uke's ear, makiotoshi arts finish behind the uke's neck. In other words we are using circles to get to places where the uke has even less positional awareness and therefore is less capable of mounting a coherent defense.
Steve McAdam Work on the Periphery
My class was concerned with working on the periphery of uke's power, and stressed some subtleties. We began with discussing that the way you touch uke should be the same way you touch a friend. We began by standing next to uke, with our arm around their shoulder, and saw how a small movement of our hips could be transmitted through our arm and used to unbalance uke, a key point being that we only needed to move the skin of their shoulder and back (i.e., the periphery of their body), since the movement of their skin would move their muscles, and that in turn would move their bones. We then examined a common mistake made when applying kotegaeshi: when turning uke's wrist, nage will often move the wrist in closer to uke, hence piercing the periphery of uke's power, and thus making them stronger. Instead we should stay on uke's periphery and put the wrist straight down. Finally, we explored how uke's shoulder should move when sankyo is applied, and experimented with producing that movement without unnecessary gripping our twisting of uke's arm.
Sal Hernandez Aiki Kengi #3
At the Seidokan Aikido Summer Camp 2018 which was held in South Carolina I had the opportunity to lead the instruction of Kengi #3 in a scenic outdoor picnic area under the shade of trees.
One focus during the Kengi was to maintain balance and posture during each movement/cut and direct your Ki towards the intended targets. Movements were added in groups of three or so with a large amount of repetition. Some targets (not all) are shown below.
• For movements 2, 5, 17 (thrusts) the target is the throat of someone your own height. The blade is slightly angled in the direction that your shoulders are turned.
• For strikes 1, 4, 9, and 12 the target is the forehead (Shomenuchi)
• For strikes 3, 15, 16, 20, and 21 the target is the side of the head, either right (Migi Yokomenuchi) or left (Hidari Yokomenuchi) depending on the count.
• For strikes 6, 8, 23, and 24: Strike to the shoulder, either right (Migi Kesagake) or left (Hidari Kesagake)
• For strikes 13 and 14: Strike the torso/ribs, either right (Migi Do-uchi) or left (Hidari Do-uchi).
You should also follow the principle of circular motion during the Kengi with arms and body following natural arcs as the bokken rises, falls, and changes direction.
Thank you to those who attended this session for your time and attention.
Mike Miller Bokuto to enkei no musubime
Richard Harnack From Complex to Simple
Chris Koprowski Finding Circles in the Dan Arts
In this class we emphasized finding circular movements to find harmony. A circular blend is often followed up with a cut or projection in order to control uke and achieve resolution.
1. Udefuri Choyaku undo exercise with a partner.
• Blend past each other. Stay close. Keep your center. Feel the blend.
• One person strikes yokomenuchi, the other continues to blend with Udefuri Choyaku undo.
• Yokomenuchi Makiotoshi. Same but nage now adds a cut (or drop) to drop uke to mat.
2. Yokomenuchi tenkan zenponage
• Uke strikes yokomenuchi, nage turns off line to inside of strike and drops attacker's elbow with one hand. At the same time, the other hand cuts up at uke's opposite armpit, drawing uke shoulder close.
• Nage turns tenkan and steps through to project uke into zenponage (forward throw).
3. Yokomenuchi irimi sankyo
• Uke strikes yokomenuchi; nage enters straight in and past uke's opposite arm, turning tenkan towards uke.
• Turning, nage hooks behind uke's elbow from outside, drawing elbow to chest.
• Nage controls/holds uke's fingers of same hand (either during turn or when first entering).
• Continuing to turn nage slides hand down from elbow to find sankyo. Brings uke to the mat.
4. Yokomenuchi hiji gatame
• Uke strikes yokomenuchi
• Nage enters straight in to uke's opposite elbow; and hooks elbow from inside.
• Turning tenkan towards uke, nage draws elbow to chest.
• Continuing to turn tenkan, nage covers uke's elbow with other hand. Drop your body as you turn to bring uke to ground.
Note: for questions or clarifications please email me at dojo@tokyoseidokan.com
Chaim Noy En no Hongi and the Speaking Centers
In this class I worked on how uke's and nage's centers can be connected and sensitized to on another, an idea which lies at the heart of Aikido. I taught two techniques (waza), but I began with an exercise I call the "glue" exercise, which is focused on leading. Uke's hand goes on the hand of the nage and must stay in the exact shape as nage moves the hand. The "glue" exercise is effective in helping uke be completely focused on nage's movements (by following nage) as well as on uke's own body movements (not focusing on anything else, such as thoughts, anxieties, tiredness, etc.).
Then we did a basic defense-blending movement from kata-dori, where we find ourselves in the 'in'-side of the attack. We do then a shomen-uchi basic defense movement, which should feel as though we are raising a sword ever so lightly, and letting uke's reaching hand glide on the outside of our hand/sword. This then becomes the point of connection of our Ki and bodies. If the attack is energetic and the basic defense is performed effortlessly, there will be a connection that will make uke lose balance (without even a need to 'drop' uke). Voilà.
The second technique I taught, where connection between bodies was at the center, used the familiar katatedori enkei-nage to emphasize connection. The point was that enkei (literally: round shape) is essentially relational; it is a form of connecting one (nage) to the other (uke). If there's an attack coming in, then a proper enkei will modify it before there is any actual physical touch and without the awareness/control of the uke. That's why enkei-undo is so valuable: it's not about me and about improving myself and my waza, but about us together, connecting. Connected.
Tony Mahoney Ki Flows Regardless, Let's Not Hinder It
My class was ki flows regardless let's not hinder it. What I was sharing is most people hinder ki long before we as nage come into contact with uke. If we can teach new people to blend with one's heart and center, then they can deal with an attack in the proper time before we touch. It is hard to get offline after contact is made. Controlling the first move should be leading from first indication of conflict to be effective. Most of early learning is from static position. I feel we must find a way to help those we teach move out of the way before they get stuck. I guess being the best uke at any level may be the answer. I think that is what Chaim Noy was trying to show also. We hear uke and we still hear nage. Good uke makes good nage. But good nage seldom makes good uke.
Doug Wedell AIki Ryoho
In Aiki ryoho we join our ki with our partner's ki to bring natural healing to our partner's body. It is like priming the pump, where pouring in some ki to the affected area results in the natural circulation of ki in that area as the body rebalances itself.
It is important to achieve the correct touch and so our fingers should feel refreshed and not stiff and tired. Therefore se started out with working on each other's forearms and hands. We did this by working down the muscles from the elbow to wrist on the inside and outside. Then working down the carpals, metacarpals and phalanges of the hand, especially the meaty part below the thumb. Each partner got this treatment for about 5 minutes.
Then we worked in groups of three, with one partner lying face down, one above the head and working the shoulders and upper back, and one over the legs working the middle back, lower back and hips. When pressing, one starts slowly adding pressure, feeling a connection, coordinating with breathing out and applying pressure from the one-point. After about 10 minutes, we stimulated the body surface with light tapping or cupped hands and traded positions. This was a great way to end our mat time for the day.
Andreas Hessing Developing spirals, centripetal and centrifugal force
For our recent camp I taught, "Developing spirals, centripetal and centrifugal force". I chose two spiral path arts, one working primarily around a vertical axis and one working primarily around a horizontal axis. The main points covered were the terms used in the title as well as Range of Effectiveness.
We started with Katatetori Sumiotoshi. Nage slides to the side, across uke's path, and describes a horizontal circle with the hand being grabbed causing uke to turnaround and end up hip to hip with nage. Nage then throws using zenponage. To accomplish this nage's one-point describes a 'u' shape as seen from above. Nage's hand stays on the plane of nage's one-point to describe that circle. The connection with uke's hand and movement across uke's line of force begins the spiral, using centripetal force to bring uke out of their range of effectiveness and well within nage's range. Nage continues the spiral and uses centrifugal force to send uke tumbling. I used the image of nage wiping the inside of a cauldron with their active hand to bring uke into their Range of Effectiveness.
The second art demonstrated was Ushiro Tekubitori Kotai Sankyo.
Nage begins the spiral by curling their fingers, beginning with the little one, and turning the forearm on a vertical axis to bring uke out of their Range. Of Effectiveness. and against nage's back. To do this with minimal effort nage needs to keep their arm against their side and not scoop forward with the hand or try to lift the hands. Once uke is well within nage's Range. Of Effectiveness. nage steps to the side and hops back using the Kotai-undo. With his movement nage initiates another spiral, on a horizontal axis, ending with uke bent over and finally completing the spiral by applying the sankyo as uke falls face first to the mat. Emphasis was on the Kotai-undo, keeping the arms at the side and turning them around the vertical and the square motion of stepping to the side and hopping back to get uke to bend over.
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