Chinkon Kishin method

1. Stand facing forward with both feet a shoulders width apart. Look down with hands in a prayer form with the fingers pointing down. While breathing in deeply and looking up, slowly raise the hands above the head so that the fingertips are pointing at Heaven. When looking down, feel that you are breathing in the Ki of the entire Earth, and as the hands begin to point upward, feel that you are breathing in the Ki of the Great Universe. As you breathe in the Ki of the Earth, feel it being drawn in through the nose and the mouth. For the upward breath, you must concentrate and imagine that you are breathing in the Ki of the Great Universe, taking it in through the medulla and passing it down the center of the backbone. Do this slowly twice.

2. SHINKOKYU: At the end of part 1, with the hands still over the head, slide the palm of the right hand down so that the fingertips are level with the first knuckles of the left, and clap the hands 4 times. Then slowly bring them down to a point just below the navel, with the fingers and palm of the left over the right, with the tips of the thumbs touching (as in zazen). Silently concentrate on the syllables I-KU-MU-SU-BI. Breathing out on I, in on KU, out on MU, in on SU and out on BI, letting the BI change naturally to I and continue the same pattern. When breathing out, imagine that your breath is extending out and becoming One with the Entire Universe. When breathing in, imagine that your breath is being drawn in to you from the Entire Universe. The eyes should be almost closed.

3. AME NO TORIFUNE: After clapping the hands 4 times, as in 2., step forward into a left hanmi and extend both arms, fists clenched as though clasping a pair of oars. With the KI-AI of E, rapidly draw the hands back, only as far as the hipbone. DO NOT LET THE HANDS GO BEHIND THE HIPBONE. Then with the KI-AI of HO, shoot the hands forward again. When drawing in the hands, imagine that you are grasping and drawing in the entire Earth to your Center, and when extending, you should feel that you are moving the entire Earth forward. The whole movement should be done rapidly as a unit as though it was a yari or bo tsuki.

4. FURUTAMA NO GYO: Return feet to a position a shoulder width apart. Raise hands in a prayer form over the head, and bring straight down, or bring them down inscribing a circle to the point below the navel, hands clasped left over the right. When you are drawing them down, imagine that you are taking in the KI of the Great Universe and forming it into a ball between the clasped hands. Begin shaking them rapidly so that the entire body draws in and is filled with the KI of the Universe, which should collect in the abdomen and pour through the body, just as the blood streams through it. This exercise is done with the eyes closed and during this time, one should attempt to see a white crystal in the center of the forehead. Once fully seen, this crystal should naturally turn to red. Repeat the name of the Sun Goddess AMETERASU-O-MI-KAMI over and over rapidly.

5. Repeat AME NO TORIFUNE, from right hanmi.

6. Repeat FURUTAMA NO GYO, this time repeating the name OHARAIDO-NO-OKAMI (the Kami charged with the Purification of the Earth).

7. Repeat AME NO TORIFUNE, from left hanmi.

8. Repeat FURUTAMA NO GYO, this time repeating the name AME-NO-MINAKA-NUSHI-NO-OKAMI. This is the first Kami whose KOTOTAMA brought the entire universe into being. It means "The Divine August Being Who Stands At the Center of the Universe." This Kami is Pure Consciousness, Pure Act, and Pure Energy and has no form. One of the central aims of Aikido is to unite with this Kami. O’Sensei said that it is the SU point of Creation. In personal terms it is your spiritual and physical center located in the area just below the navel. This is the "golden cauldron where the red blood boils" and where the KOTOTAMA spiral forth. You should always be centered there during the practice of Aikido. (In view of recent discoveries in multfields that we live in muti- omnicentric Universes, each of us may indeed be this Kami. Now realize it.)

9. Repeat #1 and clap 4 times as in #2.

10. (Optional) Again standing with both feet at shoulders width apart, put your thumbs in your belt or obi and raising up on the bass of the feet, come down on the heels solidly, calling out loudly from the Hara:

• IKUMUSUBI

• TARUMUSUBI

• TAMA TSUME MUSUBI

• IKUTAMA

• TARUTAMA

• TARUTOMARI TAMA

• (your own name) followed by TOKOTACHI NO MIKOTO

This is to create the fact and the consciousness that your form and posture have become One with God, and you now take responsibility for being an active participant in Creation. Aikido is Kami Waza. It is a Divine practice transmitted to O’Sensei by the Kami. It’s central purpose is for the person to achieve a state of "KANNAGARA NO MICHI" where you unite with the Kami and act in perfect accord with the Will of the Universe at all times. KANNAGARA NO MICHI is the Divine Blood of the Universe spontaneously welling forth out of the Sacred Heart of the Cosmos. MICHI (which is discussed in the notes) is the Cosmic vitalizing continuum. It is the present biological link between individual man and the Cosmos, including the Kami. The first six chants are related to The Three Fundamental Principles of Aikido in a repeating 1,2,3 pattern and represent the Triangle, the Circle and the Square. (These will be discussed in future notes.) In the final chant above, you are elevating yourself to the level of a Kami. It activates the forces that will allow you to reach your goal. It was this final chant which so totally upset the Japanese students at the time that O’Sensei was forced to make it optional. I know of only two Shihon today who still teach it, even though it is central to this whole practice. It should also be remembered that the very word Kami is KOTOTAMA code for the Union of Fire and Water.

11. Again standing with both feet at shoulders width apart, raising up on the balls of the feet, clasp the hands over the head with the fingers interlocked, come down on the heels solidly, and bring the hands down to the point below the navel with a KI-AI using the KOTOTAMA "OOOOOOOO" (as in boot). This should come out like "OOOOOOUHT!" When the hands reach the point below the navel, the index fingers should point upwards from the clasped hands and the energy of the final portion of the KI-AI should shoot the hands above the head.

12. With the hands still over the head, slide the palm of the right hand down so that the fingertips are level with the first knuckles of the left, and clap the hands 4 times.

13. Bring the hands down with the left clasped over the right to the level of your heart forming a ball of energy, in which you place all of the Ki generated in this practice. Begin to move the hands in a circular motion first in one direction, then in the opposite direction. Gradually send the energy out in the four directions, increasing it to eventually encompass all directions.

SHINJI CHINDONKISHIN NO HO ideally should be practiced at sunrise (outdoors weather permitting). Ideally it would be performed after morning prayers and a breathing/KOTOTAMA practice of the 75 Aikido KOTOTAMA sounds. Each of the sections from Part 2 through and including Part 8 should be practiced until there is a sense of completion and a natural flow into the next section. This is then followed by the practice O’Sensei describes in the next paragraph. The total practice time for all of the sections would encompass an hour or more. This may be shortened to fifteen minutes or more for use before Aikido Keiko.

"Sit quietly in either seiza or zazen. Close your eyes and place your hands in the cosmic mudra. First contemplate the manifest realm for twenty minutes, i.e., how the world looks and feels. As you settle down, immerse yourself in the hidden and return to the Source of things, i.e. the Void, formless Center of Creation, Pure Consciousness etc. Remain at the Center as long as you can, working to increase the duration with each practice."

Chinkon Kishin

"A practice intended to aid one in joining with the universal spirit and to help one understand the devine mission that is one's life goal to fulfill."

Chinkon is defined as... to settle down and calm the spirit ; Kishin is defined as... returning to the divine or kami, which refers to achieving a profound contemplative state where one is grounded to the divine universe.  Chinkon and kishin are generally practiced together where the first part, chinkon, involves revitalization of the senses and the gathering of spirit, while the second part, kishin, involves an alert meditative state.  It's been said that chinkon and kishin together form a method of achieving unity with the divine, although each has it's own function.  Chinkon is said, by some, to gather the spirits or souls wandering the ether into ones tanden (abdominal center) while kishin activates those spirits.
Chinkon-kishin has ancient roots that are referenced in the old Shinto texts such as the Kojiki.  The shamanistic practice of mystical breathing and meditation of uniting the divine and human spirits was often used in old times in the preparation of waterfall misogi, an ascetic practice of standing under a freezing waterfall for long periods of meditation with the objective of cleansing the mind, body, and spirit.  O-Sensei often practiced this kind of misogi (spiritual cleansing), but to O-Sensei, aikido was his daily misogi practice.  For this reason the founder would prepare for the misogi of his aikido training by performing chinkon-kishin techniques in his warm-ups..
The ancient tradition of chinkon-kishin , historically, had largely fallen out of practice in the Shinto tradition until Onisaburo Deguchi revived the practice, within the Omoto-kyo Shinto religious sect, in the early 1900's.  When O-Sensei met Deguchi and embraced the Omoto religion he also embraced the practice of chinkon-kishin as taught and practiced by the shaman priest.  O-Sensei had embraced the rich traditional Shinto culture and mythology since his childhood.  Omoto-kyo, as a new form of an ancient religion and its charismatic leader, Onisaburo, had a profound impact on O-Sensei's spiritual path.  The founder and another Omoto believer are show here practicing kishin meditation with their hands folded into esoteric mudra or kuji-in; meditative hand postures.
According to Yasuaki Deguchi, grandson of the Omoto leader Onisaburo Deguchi, Onisaburo received his knowledge of chinkon-kishin from a revelation he had while engaging in ascetic practices on Mt. Takakuma.  He also referred to a method of kishin mentioned in the section of the Kojiki (Record of Ancient Matters) regarding Emporor Chuai, and in the Nihon Shoki (Chronicle of Japan) in the record of Empress Jinko .  Chinkon-kishin was practiced for many years in Omoto-kyo which attracted large numbers of new followers who had heard of the reported benefits of chinkon-kishin to cultivate and channel power.  However, in later years the practice of chinkon-kishin was abandoned by the Omoto-kyo because of the profound and often surprising effects it had on its practitioners.  The practice was never abandoned by O-Sensei and is found blended into aikido warm-ups in dojo everywhere today.
There are several forms of chinkon-kishin that O-Sensei integrated into the warm-ups of aikido training.  These exercises, although generally not well understood (even by many of O-Sensei's uchideshi) are still practiced in many aikido dojo around the world.  They are practiced for their obvious physical benefits as well as for their historical significance.  But generally the exercises are practiced because they are considered integral and inseparable from aikido.  The founder's students who retained the practice often differed significantly in the details as well as the level of importance they placed on this practice, and many professed not to understand it.  One student of O-Sensei said... "We practice it because it is very important... Sensei said that we would discover the meaning of these techniques for ourselves."

O'Sensei's Lectures On the Philosophy Of Aikido

Aikido is the realization of Love.
If you think that ``martial art'' means to have opponents and enemies and to be strong and defeat them, you are mistaken. The true spirit of the martial arts is to be one with the universe and have no enemies. The essence of the martial arts is the spirit of loving protection of all beings in the universe.
Never defeated means never fighting. This is not mere theory. You practice it. Then you will accept the great power of Oneness with Nature.
As the words for ``harmony'' and ``love'' can be pronounced ai, I decided to name my unique budo (martial art) Aikido, although the word aiki is an old one. The word which was used by the warriors in the past is fundamentally different from that of mine.
Aiki is not a technique to fight or defeat an enemy. It is the way to reconcile the world and make human beings one family.
The secret of Aikido is to harmonize ourselves with the movement of the universe and bring ourselves into accord with the universe itself.
Aikido is non-resistance. As it is non-resistant, it is always victorious. Those who have a warped mind, a mind of discord, have been defeated from the beginning.
There is no conflict in love. A mind of conflict, thinking of the existence of an enemy, is not consistent with the spirit of the universe. Those who do not agree with this cannot be in harmony with the universe.
Don't look in the opponent's eyes, or your mind will be drawn into his eyes. Don't look at his sword, or you will be slain with his sword. Don't look at him, or your spirit will be distracted. True budo is the cultivation of attraction with which to draw the whole opponent to you.
A mind to serve for the peace of all human beings in the world is needed in Aikido, and not the mind of one who wishes to be strong or who practices only to defeat an opponent.
When anybody asks if my Aiki budo principles are taken from religion, I say, ``No.'' My true budo principles enlighten religions and lead them to completion.
I am calm however and whenever I am attacked. I have no attachment to life or death. I leave everything as it is to the spirit of the universe. Be apart from attachment to life and death and have a mind which leaves everything to that spirit, not only when you are being attacked but also in your daily lives.
The source of Bu is divine love. It is the spirit of love and protection for all things. The training of Budo is the forging in our minds and bodies the power of divine love, which produces, protects, and nurtures all things in the Universe. The techniques of budo are signposts pointing the way which leads to this.
Aikido is love. You make this great love of the universe your heart, and then you must make your own mission the protection and love of all things. To accomplish this mission must be the true budo.
Even though our Path is completely different from warrior arts of the past, it is not necessary to abandon the old ways totally. Absorb venerable traditions in Aikido by clothing them with fresh garments, and build on the classic styles to create better forms.
Our techniques employ four qualities that reflect the nature of our world. Depending on the circumstance, you should be: hard as a diamond, flexible as a willow, smooth-flowing like water, or as empty as space.
The body should be triangular, the mind circular. The triangular represents the generation of energy and is the most stable physical posture, The circle symbolizes serenity and perfection, the source of unlimited techniques. The square stands for solidity, the basis for applied control.
A good stance and posture reflect a proper state of mind. The key to good technique is to keep your hands, feet, and hips straight and centered. If you are centered, you can move freely. The physical center is your belly; if your mind is set there as well, you are assured of victory in any endeavor.
Do not stare into the eyes of your opponent: he may mesmerize you. Do not fix your gaze on his sword: he may intimidate you. Do not focus on your opponent at all: he may absorb your energy. The essence of technique is to bring your opponent completely into your sphere. Then you can stand just where you like, in a safe and unassaiable position.
When an opponent comes forward, move in and greet him; if he wants to pull back, send him on his way.

The Fundamental Principle of the Circle

Aikido technique is structured on circular movement, for harmony is brought about and all conflict resolved through the spirit of the circle. The response of the body, mind and spirit to the principle of the circle is vital to the creation of technique. A circle encloses space, and it is from the perfect freedom of this emptiness that ki is born. From the center of this birthplace, the creative processes of life are joined with the infinite, immeasurable universe by the spirit. The spirit is the Creator, the eternal parent giving birth to all things.
The Budo of Aikido springs from the mastery of the spirit of the circle. The essence if this Budo is to embrace the complementary action of cause and effect and to draw into yourself all things as if they were held within the palm of your hand. You have a spirit, therefore you must realize that each person has a spirit. When the life processes are connected with the spirit and the fundamental principle of the circle is given birth in Aiki, all things are led to completion through the circle. All things are freely created by the circle. The secret of the circle is to create technique by piercing the very center of Space.

5 Kumi Tachi-Go no Tachi (The 5th Kumi-tachi)

Go no Tachi (The 5th Kumi-tachi)

 “He (uchi-tachi) takes a large step forward to attack. I step off to the left side, bringing my right leg to the rear. My role changes from that of the attacker to that of the defender. After parrying, he again steps forward with his right foot to strike. I step backward and enter in the manner of a tachi-dori movement. Basically speaking, in Aikido we never lock swords. If he pushes with his sword, we turn. Therefore, as soon as I approach him, he turns to the left, entering, and attacks my leg. Then, I change my position to receive his attack. Next, he comes to strike my forehead. At that moment I match his sword and deflect it downward.” – Morihiro Saito Sensei“He (uchi-tachi) takes a large step forward to attack. I step off to the left side, bringing my right leg to the rear. My role changes from that of the attacker to that of the defender. After parrying, he again steps forward with his right foot to strike. I step backward and enter in the manner of a tachi-dori movement. Basically speaking, in Aikido we never lock swords. If he pushes with his sword, we turn. Therefore, as soon as I approach him, he turns to the left, entering, and attacks my leg. Then, I change my position to receive his attack. Next, he comes to strike my forehead. At that moment I match his sword and deflect it downward.” – Morihiro Saito Sensei

5 Kumi Tachi-Yon no Tachi (The 4th Kumi-tachi)

Yon no Tachi (The 4th Kumi-tachi)

“If we were to perform this kata at close range, it would be dangerous and injuries would be likely to occur. We both move forward, executing irimi or entering thrusts. Therefore, for safety’s sake during training we both take one step back. He thrusts straight forward and I thrust him, using an irimi movement. If he raises his shoulder and strikes too high, he will injure my face, so please execute the proper basic thrust without raising the shoulder. I too must execute a proper irimi thrust to his chest. Next, I deflect his sword downward. He then enters to thrust as in the 7th suburi and I parry. We control his next attack in the same manner as in the first suburi.” – Morihiro Saito Sensei

5 Kumi Tachi-San no Tachi (The 3rd Kumi-tachi)

San no Tachi (The 3rd Kumi-tachi)

“We parry our partner’s sword and counter-strike. Or, I check his intention and direct his mind downward. For example, when he strikes the kumi-tachi changes, in the manner of the fifth suburi. Immediately, I parry his sword and withdraw. Then, he again tries to strike me, and I parry, finishing in the horizontal position.” – Morihiro Saito Sensei

5 Kumi Tachi-Ni no Tachi (The 2nd Kumi-tachi)

Ni no Tachi (The 2nd Kumi-tachi)

“He, the uchi-tachi, or attacking sword, slowly raises his weapon and I, the uke-tachi, or receiving sword, slowly match his movement. He attempts to attack my leg since he cannot attack my forehead and I parry. As I attempt to cut his wrist, he thrusts using the movement contained in the seventh suburi. Then, I take a step back, twisting my hips to parry his sword. He steps forward to strike me and I take another step backward and I again parry and press his sword downward. He again uses the thrusting movement from the seventh suburi and again I parry. I counter his final strike by bringing my sword to the horizontal position to execute the decisive movement.” – Morihiro Saito Sensei

Notes

1. In the dan-kai form you execute three movements for the ichi count, the first of which is performed together by uchi-tachi and uke-tachi, and three movements for the ni count; uchi-tachi moves on the line.

5 Kumi Tachi-Ichi no Tachi (The 1st Kumi-tachi)

Ichi no Tachi (The 1st Kumi-tachi)

“As I raise my sword, intending to strike, he blends with me and thrusts at my chest. I step back, dodging his sword to protect my body, and cut downward. He steps forward with his left leg to strike me. I step backward and parry him from the left hanmi. He comes to attack me in the right hanmi. Stepping back from the left hanmi to the right hanmi I strike downward to the parallel position parrying him and then thrust. It is important that we do not end up in a mutual kill situation. This is an important sword principle.” – Morihiro Saito Sensei

Notes

1. In the dan-kai form you execute three movements for the ichi count.
2. In the dan-kai form uchi-tachi strikes yokomen-uchi targetting uke-tachi’s right elbow.
3. Uchi-tachi moves on the line.

5 Kumi Tachi

The kumi-tachi (kumi: to unite, group; tachi: sword) refers to advanced partner practice with the sword, encompassing 5 basic forms plus variations. The kumi exercises and their variations are the respective beginnings and the in-depth study of the martial applications of the basic training exercises. Associated with these exercises are strict rules of engagement based upon traditional fighting methods developed over centuries of use and refinement in a feudal society, and because they have a great practical basis they therefore dictate many of the reasons behind the movements. There is a great collection of variations that stem from these kihon (basics), due to the variables of combat, and the creativity of instructors. Once these exercises are properly learnt through slow, controlled and relaxed training, the movements can be performed more quickly and strongly, with the timing and flow varied to enable the student to experience a wide variety of possibilities in attack and defence.

Starting in shizen-tai and moving together with your partner, perform a standing rei (bow) towards your partner and say the name of the series outloud: “kumi-tachi-gohon”. The movement to draw the ken is called nuki-tsuke in Japanese. Moving together with your partner, grab the handle below the tsuba with the right hand and at the same time advance with the right foot, moving into ken-no-kamae-migi, in which the left hand grabs the ken at the end of the handle (tsuka), while the right hand grabs above, just below the tsuba; the feet are in migi-hanmi (right foot forward). The end of the sword handle, or hilt (called the tsuka-kashira) is in front of your hara, while the tip (kissaki) is pointed at your partner’s throat in front of you.

Then, say the name of the kumi-tachi being practiced.

Once you have completed the series, the movement to sheath the sword is called noto-tsuke in Japanese. Moving together with your partner, while stepping back with the right foot and aligning it with the left, release the ken with the left hand and with the right bring the ken to your left side with the blade turned up; then, grab the ken in the middle with the left hand and return your right hand to your right side, thereby returning to shizen-tai.

From the shizen-tai position and moving together with your partner, perform a standing rei (bow) towards your partner to complete the exercise.

Tanden-Breathing, Meditation, Self-Realization

Center Breathing

To use one’s center properly, it should also be the center of one’s breathing. Of course, breathing is done by the lungs, but there are different techniques of inhaling and exhaling. The one used in aikido and all budo is what by western terminology goes as diaphragm breathing, often called belly breathing. It feels like you are breathing with your belly. What way the air actually goes is another matter.

Belly breathing is a good start, but it should at length be done as if the center is at the core of it, a breathing into and out of the center.

A focused belly breathing is easy enough to see – the belly is moving, but the chest not at all. Most people find it much more difficult to do than to observe, though.

One has to have a good posture in order to learn a deep belly breathing. That’s why it is difficult to do in a chair, where the posture tends to be bent. Sitting in seiza, the Japanese style of sitting on the floor, works better. In this position the back is more straight. The same is true for standing up or lying down on one’s back.

When in a good posture, you can exercise belly breathing by putting your hand on the belly and making your breathing push at the hand. When you inhale, this is easy enough, but you should try also to push at your hand when exhaling. You can put your other hand on your chest, to check that it doesn’t move much.


If you find it hard to push at the hand when breathing out, a similar exercise might do the trick. You make a short and sudden exhalation, trying to make your belly push distinctly at the hand – sort of like coughing. It’s quite Ok if you make a sound, too. Actually, that is how a proper kiai is done.

Do not make the mistake of breathing in to your center by pushing air from the chest downwards. A hand on your chest would reveal that. It should feel like you actually breathe with your belly, like that is where the lungs are.

You should practice belly breathing daily, in order to make it a habit. It may take a year or so, before it becomes automatic.

The more you get comfortable with belly breathing, the more you should try to focus it to a center breathing. Try to make the breathing feel like you suck air all the way into your center when breathing in, and out from your center when breathing out. The whole belly keeps on moving, of course, but the center should be at the core of your breathing, as if it is the actual organ of breath.

Breath is a physical sibling of ki. They behave similarly. Therefore, focusing on breathing increases the ki flow. What you actually inhale and exhale with your center is ki.

Because it is ki, and not air, you can “inhale” it and “exhale” it through any part of your body. For example, when you do tsuki, you “exhale” ki from your center through your fist – specifically through the base knuckles of the index and middle finger. When you pull someone or something to you, it helps if you “inhale” ki through your grip.

Normally, but not always, a movement away from you is done best with exhalation, and a movement towards you with inhalation. It is important that you exercise the feeling of breathing all the way to and all the way from inside your center. 

Meditation

Tanden is also a center of meditation. This you can see clearly by the posture used when meditating, whether it is seiza or with crossed legs. The back is straight, the belly is accentuated, and the hands form a figure right in front of the center.      When you meditate, it helps a lot if you focus on your center and try to remain in it. When this is automatic, you don’t need to focus on it anymore, but just let you mind go blank – not an easy thing, either... 

Self-realization

People in mental confusion lose the sense of rooting, of stability, which would give them a chance to recover after emotional storms. They must learn to get deep down within themselves, peel off all mental pollution and confusion until they reach a pure and steady sensation of who they fundamentally are. We need to get rid of all distractions to find and remain ourselves, through the turmoil of living.

Man’s center in Eastern thinking is a similar thing. In the core of my being, there is no doubt – I am and I remain, through all the dramatic events in life. Contrary to psychiatry, though, this center is not just a mental therapy gadget or an object for concentration exercises. Tanden is something quite concrete – a nucleus in the bottom om the stomach, as palpable as the heart’s beating in the chest.

The center is as real as anything else in the physical world, and therefore accessible through physical means – such as deep breathing and aikido exercises.

Look at small kids who have just learned to walk. They push their bellies forward like sumo wrestlers, and walk with just as heavy steps, just as much concentration on their center. Unfortunately, many people lose contact with their center when they grow up. The immediate effect is bad balance and weakness in movements, but an increasing confusion of the mind must also follow. Sadly, many live their whole lives that way.

  If you exercise sensing your center in the bottom of the stomach, and use it for support whatever you do, then your certainty about your own being will grow. You regain contact with yourself, the security in both knowing that you exist and learning more and more who you are. The way to self-realization goes through tanden. 

In aikido training you should always focus on your center. This physical exercise of your tanden gets a mental counterpart. The more you familiarize yourself with your center in training, the more you get in touch with a center of your mind. You get rooted in life, and run less of a risk of losing your physical or your mental balance.      It is through one’s center that one grows whole and becomes self-assured, independent of success and victories – therefore unharmed by failure and defeat. 

This self-assured state of mind is simply: I am who I am. 

Tanden-the Center

If I am to point out one single thing as the most important aspect in aikido, it is tanden, the center. You have to find, develop and express your center. That is true about all budo, not just aikido.

 

     The center is far from only a center of balance, or the focus point of breathing. It is a fail-safe compass within, the birthplace of the aikido techniques and of one’s own expression of aikido. You need to be true to your center. Then the rest of the progress in your do, the path of your self-realization, is ascertained. Without it, you are unable to go beyond the mere techniques of it all. 

It is from the center that the aikido techniques emerge, as if born out of it. And the essence of the techniques is the relation between the center of tori, the defender, and uke, the attacker. Aikido is not primarily done with the partner’s arms or wrists, but with the partner’s center, and the energy emanating from it. To regard aikido in this way is to open for unlimited development of it.

That’s why nothing is more important in aikido, than working with one’s center and that of the partner.

O-sensei once said:

     – To make a circle, you must have a center.

Techniques born in the center

The aikido techniques with their complexity give the impression of a labyrinth. Arms go this way, legs that way, hands involve in intricate movements, the body turns and twists. Just to steer one’s body into the right pattern of movement seems as difficult as the trickiest koan. Adding to this the guiding of another person into these patterns, or several attackers at once - then, overload is imminent. This must be too much to control.

Yes it is. If man were a machine that had to be programmed and tuned to each task, aikido would quickly be too much of a challenge. But man is no machine and aikido is not a random combination of tricky movements. Aikido is natural and man is rooted in the natural, from the moment of his emergence in this world.

We need only to be receptive of our inner voice, our inner certainty, to be able to do the aikido movements as easily as if we had invented them ourselves. If we can’t feel this instict for what is the correct way, if this inner compass does not show any directions – then we’re on the wrong track, and perseverance can’t compensate for it. 

Kikai tanden, seika no itten

Man’s inner compass and root in the natural is his center. It is called tanden in Japanese (dantian in Chinese). It is also called seika no itten, seika tanden or kikai tanden. It is inside the body, in the middle of it, at least three fingerwidths down from the bellybutton. It is also the body’s center of gravity.
 
     Indian tradition speaks about seven main chakra, points of power in man’s body – from the groin up to the top of the head. Chakra really means “wheel”, and each of them has its own characteristics. Tanden is the second point from below in this scheme, with the Indian name svadhisthana. 

The Chinese/Japanese signs for the center mean “the red rice field”. Since rice is the prime nutrition in their part of the world, it is a symbol of life energy. A whole field of it – and red at that, as if glowing – expresses a vast amount of powerful life energy. Kikai means “ ocean of ki”, life energy, so kikai tanden points out that there is an ocean of ki in the center.

Seika means “below the navel”, so seika tanden specifies which center it is, since some Eastern traditions have several. Seika no itten means “the one point below the navel”, stressing the importance of always sticking to it, making it the center of all one’s doing. The Indian word svadhisthana can be translated to “the dwelling of the Self”.

To the beginner, this center is equally hard to imagine and to feel. Yet, it is essential that the aikido student from the start tries to stimulate his or her ki and sense of center – the two lead to each other. Tanden is the endless source of ki, from which it comes and to which it flows. The more you focus on your ki flow, the clearer you sense your center, and the more you focus on your center, the stronger your ki flow gets.

The sword cut

 

In aikido (as in all budo) this center is firstly the starting point for your balance and stability, being the body’s point of gravity, and also the source from which most of your ki flows. When you concentrate on your center, you become stable, your movements get powerful and accurate, and ki flows through your whole body, as well as far out of it. Of course, this comes gradually, by time. All aikido movements start in the tanden and return there in curves and spirals.

This is the most evident in the sword cut. The Japanese sword, katana, is grabbed by both hands. In the basic position, chudan kamae, middle guard, you hold the sword at the distance of about one fist from your body, on the level of your center. When you cut, you lift the sword over your head – by pushing it forward – and then cut in an extended curve back to your initial position – again by pushing forward.

Both in the draw and in the cut the sword moves the same way – from the center, and then back to the center, in an extended curve forward. At the draw you breathe in to your center, at the cut you breathe out from it.

So, the sword cut is basically two directions – from your center, and to your center. Because you do not bend your arms at all in the movement, the sword will move in a forward curve. This from and to, out and in, is the base of all budo. From your center, to your center. There is nothing else.
You can try the same with shihonage, since this technique is very near to a sword cut. Of course, you can also try it with any other aikido technique, but few are as clear in this as shihonage and the sword cut.

You should also apply it to how you do as uke, the attacker. When you grab your partner’s wrist, do it in front of your center and hold the wrist in a similar way as to how you grip your sword – with the most force in your little finger, and a feeling of gripping with your center. When you do shomenuchi or yokomenuchi you should do pretty much the same as with the sword cut, since these attacks are meant as sword forms.
When you do tsuki, the straight punch, you can actually start with the fist in front of your center, and draw it back to that position after the strike. Even if you hold your hand higher before the punch, hitting should feel like extending from your center.
If you lose the connection to your center when you do a technique, it becomes weak and insecure, often failing completely. In this way, tanden is a continuous guiding principle for the aikido techniques.

 

 

Shichi No Suburi (The 7th Suburi)

“The seventh suburi is used in the second and fourth kumi-tachi. In this movement our strike is parried downward and we free the sword circularly and then counter with a thrust. When the enemy blocks or parries the sword downward, we always use this counter against his block or parry.” – Morihiro Saito Sensei

Start this exercise by executing the second suburi. Assume the hito-e-mi position and cut with a shomen-uchi on the central line of attack.

In the sixth suburi you turn the blade to the left and then to the right, but when you execute the seventh suburi always turn the blade to the right and thrust, stepping forward with your left foot, moving slightly out of the central line.

Perform a yokomen-uchi on the opposite side of central line, stepping forward with your right foot; turn the blade to the right, keeping the tsuka-kashira in front of your centre, step forward with your left foot and tsuki.

To change direction, bring the sword over your head and cut with yokomen-uchi, ensuring not to shift your weight backward too much when you strike.

Wait two seconds at the end of each strike.

You usually perform 2 strikes in one direction and 2 in the opposite direction. These are just a guide and you can decide how many strikes should be performed depending on the space available around you.

When executing this exercise your front foot, your line-of-sight and the blade of your ken are all pointing in the same direction, on the same line.

Roku No Suburi (The 6th Suburi)

“In the sixth suburi we blend with the sword being raised and then thrust. It is one of the movements included in the ki-musubi-no-tachi exercise. We dodge the oncoming shomen-uchi attack to the right and immediately, when our opponent attempts to attack, we execute a thrust.” – Morihiro Saito Sensei

When practising the sixth and seventh suburi, first execute ni-no-suburi. Start by stepping back with your right foot, assuming the hito-e-mi position and lifting the sword above your head; then, cut with a shomen-uchi on the central line, exactly as in the second suburi.

Now, turn the blade to the left and thrust at your opponent’s stomach, executing a small kaiten movement to move out of the central line of attack.
Cut with a gyaku-yokomen, stepping forward with the left foot, moving out of the central line, and turn the blade to the right, thrusting at your partner’s stomach with a tsuki.

Turn as in the fifth suburi and cut with a yokomen-uchi at the opposite side of your partner’s head. Then, turn the blade to the left and thrust at your opponent’s stomach, executing a small kaiten movement to move out of the central line of attack.

Cut with a gyaku-yokomen moving out of the central line to the opposite side, and turn the blade to the right, thrusting at your partner’s stomach with a tsuki.
Wait two seconds at the end of each strike.

You usually perform 2 strikes in one direction and 2 in the opposite direction. These are just a guide and you can decide how many strikes should be performed depending on the space available around you.
When executing this suburi, remember that the tsuka-kashira, the hilt of the sword, should always be in front of your centre.

Go No Suburi (The 5th Suburi)

“The fifth suburi is the movement most often used in the kumi-tachi. From the right hanmi we raise the sword from the right, in such a way so as to protect our bodies and strike downward, ending up in the left hanmi. From the left hanmi we move the sword to the left, protecting our body and then step forward with the right foot to strike, finishing in the right hanmi. We move our bodies fully to the right and left in the kumi-tachi. In the suburi we practice adjusting our positions to the right and left hanmi as appropriate.” – Morihiro Saito Sensei

In the fifth suburi, perform only yokomen and gyaku-yokomen strikes, that is to say diagonal cuts at your opponent’s temples, executed alternately to the right and to the left of the central line, moving out from it just a little.

Start the exercise by immediately stepping forward with your back foot and lifting the sword above your head, beginning to turn it a little; correct your hanmi and cut your opponent’s right temple. The first movement is a gyaku-yokomen cut.

Execute four strikes (or more if you would like), then start changing direction. At this moment lift your ken up above your head and turn your hips. Now strike the opposite temple of your opponent that you struck in the previous cut. In this example you would strike the left temple, turn and cut the right temple. Take a step forward to continue the exercise.

You should always perform a small kaiten movement to stay out of the central line.

Usually, to finish in ken-no-kamae-migi, you should execute only 3 cuts in the second direction. At any rate, the number of strikes is not set. The most important detail to pay attention to is to step immediately forward and out of the central line with your back foot without moving your front foot at all. It is a mistake to move the front foot first.

To perform the repeated strikes correctly, shift your weight directly on the appropriate leg, immediately step forward and cut your opponent’s temple.

Another important point to emphasize is that when you execute yokomen and gyaku-yokomen you should not cut by turning the blade slantwise. These movements are too large and noticeable, easily blocked by your opponent. Instead, lift your sword above your head, then cut diagonally following a shallow curve.

Always keep the blade above the level of your ear and never at a lower level. Don’t prepare your cut by lowering the blade, but rather lift the tip of the sword from behind your back. Repeat the same movement on the other side, paying attention to lift the tip of your ken before your hands.

Wait two seconds at the end of each strike.

Yon No Suburi (The 4th Suburi)

“In Aikido we make no distinction between right and left. Whether we are in the right or left hanmi, we practice using the sword so that it and the body function as a single unit.” – Morihiro Saito Sensei

The first movement in yon-no-suburi is the same as the first suburi: slide your front foot back just a little and turn your hips; then cut down with shomen-uchi on the starting point.

Staying on the central line, continue performing the subsequent shomen-uchi cuts, lifting the kissaki (the tip) before the tsuka (the hilt) and simultaneously move your back foot. Make sure you turn your hips to the appropriate side during each strike.

To change direction, raise the sword above your head and prepare the next shomen-uchi. Immediately turn your hips, keeping your elbows closed from the beginning. Keep your ken straight up when you turn and strike with a shomen-uchi in the opposite direction.

When performing this suburi, imagine that the tip of the sword and the toe of your back foot are linked together by a string, so when you lift the sword up you step with the back foot. Avoid shifting your weight backward when preparing the strike. Keep your weight centered all the time and maintain the kamae position.Wait two seconds at the end of each strike.

You usually perform 4 strikes in one direction and 4 in the opposite direction. These are just a guide and you can decide how many strikes should be performed depending on the space available around you.

San No Suburi (The 3rd Suburi)

“The third suburi is used in the kumi-tachi and ki-musubi-no-tachi. The founder explained that we should perform this movement with the feeling of assimilating ourselves into the universe by inhaling universal ki through the tip of the sword, passing through the nose and arriving at the seika-tanden.” – Morihiro Saito Sensei

Start as in the second suburi, assuming the hito-e-mi position, taking a step back with your right foot. Breathe in, lifting the tip of the sword as in the second suburi, but this time lift the sword straight up over your head. Don’t keep it too close to your head; rather extend your arms and your whole body upward. In performing this suburi you can extend your body upward and not keep your centre at the same level. Try to extend yourself as much as possible.

Now, go into waki-kamae by lowering your sword and your body very slowly, bringing the ken to rest on your back (right) thigh. This movement should be executed on the central line, so don’t move out from it and don’t move forward. Always look in front of you, at your opponent, resting the sword on your back thigh and executing this movement without breathing. Avoid letting your opponent see your sword by keeping it on the line.

You are still holding your breath. From this position start preparing your cutting strike by turning your hips from right to left and closing your elbows. Step forward with your right foot, without lifting your shoulders or the sword, but rather lowering the hips and relaxing the shoulders; exhale forcefully and strike shomen-uchi directly over your head.

After the strike, wait two seconds, breathe out and return to ken-no-kamae-migi. Repeat the exercise.

Ni No Suburi (The 2nd Suburi)

“The hips are engaged fully to finish in the hanmi position in the second suburi in such a way so as to avoid an ai-uchi or mutual kill situation with the sword. This is a characteristic of Aikido. If our hips were left in a straight forward position, this will result in a mutual kill situation with the sword. This distinction can be seen in the photographs of the founder using the sword.” – Morihiro Saito Sensei

Starting in ken-no-kamae-migi, prepare the strike by taking a step back with your right foot and assuming the hito-e-mi posture, in which your back toe is on the same line as your front heel. In this way you move slightly out from the central line and lift the sword above your head. Remember to always lift up the tip (kissaki) of your ken before the hilt (tsuka).

When you are in the hito-e-mi position, your front elbow should be at the correct distance from your head in order to have unobstructed line-of-site. The sword should be slanted slightly backwards. Keep your hips low and avoid lifting your centre.

From this position start turning your hips to prepare your strike, close your elbows without obstructing your line-of-sight in front of you, keep your centre at the same level and maintain a solid grip on your sword.

Prepare the cutting strike in the same way as the first suburi, bringing your ken to rest on one spot on your back. Take a step forward with your right foot and cut down in front of you (shomen-uchi on the line of attack). Avoid completing the strike moving the front foot outside the line of the sword. Your foot and your ken should always be on the same line, directed toward your target. End the movement by turning your hips and returning to hanmi stance, relaxing your arms.

After the strike, wait two seconds, breathe out and return to ken-no-kamae-migi. Repeat the exercise.

Ichi No Suburi (The 1st Suburi)

“All of the kumi-tachi start with the sword held at the centre level in a horizontal position in order to execute a decisive movement. The first suburi represents an important exercise for learning the decisive movement in sword practices.” – Morihiro Saito Sensei

Starting in ken-no-kamae-migi, lift the sword by the kissaki (the tip), simultaneously turn your hips from left to right, close your elbows for protection without obstructing your line-of-site and slide your right foot backward just a little without shifting your weight backward as well.

When you raise the sword above your head, your hips should be in a frontal position and your elbows closed. In preparing your strike, bring your sword back, resting it on only one point in the middle of your back. When you complete the strike, cutting down with shomen-uchi, end the movement by turning your hips and returning to hanmi stance, relaxing your arms.

After the strike, wait two seconds and return to ken-no-kamae-migi.

As in all sword exercises the tsuka-kashira (the end of the hilt or handle), must always be in front of your hara, or your navel or the knot of your obi (belt).

There are some common mistakes to be avoided:

• Avoid lifting your centre when you prepare your strike. Try to execute this movement with your koshi (hips) at the same level.
• Avoid opening your grip too much, especially when you lift the sword. You should only slacken the control on your ken, but maintain a solid grip.
• Avoid cutting too far from your body because you will be unbalanced forward, out of your centre.
  Avoid starting the movement bending your head forward or sideways. Try to keep your head straight and aligned with your body.
• When finishing your strike, avoid turning your head to the side. Look in front of you and only turn your body.