Monday, August 27, 2012

Five Elements Exercise


AIKIDO strives truly to understand Nature, to be grateful for her wonderful gifts to us, to make her heart its heart, and to become one with her. This striving for understanding and the practical application of the laws of Nature, expressed in the words Ai and Ki the fundamental concept of the AIKIDO. Indeed, it was the starting point of the founder himself, and it is the reason that although he was nearly 80 years old, he continued his studies to perfect the art he originated.
In this article you can find Katsujinken Dojo exercise how to implement five elements in your Aikido practice.

Ground

The movement style of ground may seem slow but it is actually patient. Try moving your hand in a foot-long arc, and, as your hand moves, feel each inch of that arc. Remain aware of each inch of movement, knowing you are able to stop or reverse the movement at any second.
To practice ground, stand as if your feet are rooted to the earth, like a tree with roots going deep into the soil. Feel the solidity, stability, and security that this stance brings. Now practice moving with this same sense of solidity and stability. Remain aware of your hara, your legs, and your feet. Feel your energy flowing through your legs into the ground. Even as you move, your downward flowing awareness will help you remain firmly rooted in the earth. You are solidly grounded at every point in performing each technique. No matter what you partner might try you cannot be easily unbalanced or countered.

Wind

In contrast to ground, feel your energy rising through your spine and out through the top of your head. This upward flow allows you to move more lightly, easily, and quickly.
There is a theory of the basic principles of wind. It`s taught us that a prerequisite for free and efficient movement is the natural upward lengthening of the spine. A core practice is the following formula: “Let the neck be free to let the head go forward and up, to let the back lengthen and widen.” The forward and up feeling in the head is as though the head is a balloon, floating gently upward toward the ceiling.
Wind teaches us to move lightly and to hold a weapon or a partner with a light, sensitive grip.

Water

The movement quality of ground is down and solid, and the movement of wind is upward and light. The movement of water is circular and also includes a yin backward flowing. One way to practice this is to step forward on your right foot, into a right hanmi position, and focusing your attention on drawing back your left hip. Whenever you move one hip forward, you automatically move the other hip backward. The opposite is also true—whenever you draw one hip back, you are moving the other hip forward. Understanding this relationship imparts a circular quality to your movement.
This quality of flow is that of water. It is also strongly yin. The drawing movement of your back hip will draw out your partner’s attacking movements, and will tend to unbalance them. Entering with an awareness of your back hip will give you a sense of flowing around an obstacle. That obstacle might be a strike, a grab, or some other attack. You can also sense a flowing around your partner’s power, like water flowing around a rock, rather than opposing force with force.

Fire

Fire is much the opposite of water. When you move forward, keep your awareness on your front hip and also on the whole entering side of your body. In practicing Aikido, keeps your attention constantly flowing toward your partner. You will find that fire is like a strongly flowing river that carries you toward your partner. It will enable you to move more swiftly and more powerfully.
Many students learn fire more quickly if they make an exclamation while moving forward. A positive exclamation also balances the tendency to think of fire as only aggressive or violent. Any powerful emotion has a strong fire component.

Void or Emptiness

This is by far the most difficult and most advanced of the elements. It pays to begin with the first four elements and to practice void only after becoming comfortable with them.
In learning to move in void, first balance yourself, and balance the four elements in yourself. Feel your legs and feet, feel a solid downward sense of ground. Feel you’re back relaxed and free, your head light and floating upward, a featherweight, floating sense of wind. In your left side feel yin/water (and the readiness to draw in any possible attack). In your right side feel yang/fire (and the readiness to extend outward or forward). Be aware of all that is in front of you. Balance this with a strong sense of your back and all that is in back of you.
Now, move freely, holding on to the feelings of up and down, right and left, forward and back. One direction may be stronger at times, but even then the more powerful direction is always balanced somewhat by its opposite. Remaining aware of back is particularly helpful. We all tend to draw all our energy forward and out of balance. Void includes a sense that you are surrounded by a sphere of awareness, a sphere that helps you remain balanced, aware, and effective, no matter what happens around you.



Thursday, August 16, 2012

The Fundamental Principle of the Circle by O-sensei


A Lecture by O-Sensei Morihei Ueshiba

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

Wednesday, August 15, 2012

Basic Aikido-Stance and Movements


AIKIDO STANCE
          
HANMI no KAMAE - HALF BODY STANCE
                      
1. ELEMENTS OF HANMI no KAMAE

    An oblique, triangular stance with one foot forward and the other to the rear, body facing about 45⁰.
    Frontal area is reduced and vital spots are turned away from the opponent.
    Knees are slightly flexed, especially the front knee.
    Balance is maintained and centered on the lower abdomen (the tanden, or "one point").
    Mobility is maintained in all directions, ready to perform any of the basic footwork patterns.

                
THE FIVE BASIC KAMAE RELATIONSHIPS

Ideally Aikido has no stance: a natural body posture called shizen-tai is best.  For training purposes, however, we usually employ a stance based on that use in Japanese swordsmanship.  There are both right and left basic stances in a few variations.  There are also two possible relationships between your stance and that of your partner.

THREE BASIC VERSIONS OF HANMI NO KAMAE

 
BASIC RELATIONSHIPS BETWEEN TWO PEOPLE IN HANMI no KAMAE

BASIC AIKIDO MOVEMENTS

ASHI-SABAKI - FIVE BASIC FOOTWORK

There are three types of footwork: IRIMI (Enter), TENKAN (Turn), and TENTAI (Pivot)

ELEMENTS OF IRIMI - Irimi-Isshoku (One-step Entry)

a.Triangular stance
b.Each type is performed as one step.
c.Enter to the "Blind Spot", shikaku
d.Both feet must move during each step!
e.Get off the Line of Attack

Note:  The principle of Irimi-Isshoku implies that you must reach the blind spot behind your partner in a single motion.  In these diagrams, foot movements are numbered; 1, 2, 3....  However, each type of stepping illustrated is nonetheless a single step.  For example, ayumi-ashi is considered one step wherein both feet move.  This principle is important for getting off the line of attack.  This long, straight arrows in the following diagrams represents this attacking movement of your aite.


 
TE-SABAKI - FIVE BASIC HANDWORK 

ELEMENTS OF TE-SABAKI (HANDWORK PATTERNS) 

a.Head erect over relaxed neck and shoulders 
b.Open the hands and extend fingers as if lightly holding a large ball with both hands  
c.The natural curve of arms is maintained during movement  
d.Move up from the thumb and down from the little finger  
e.Get off the Line of Attack 


THE FIVE BASIC HANDWORK PATTERNS (TE-GATANA NO SOSA) 

In Aikido, the hand is often referred to as the "te-gatana" (literally the "hand sword").  We form this "hand-blade" by holding our fingers open and extended so that the heel of the palm and bottom of the arm are elongated while the top of the arm remains relatively relaxed.  In this manner the natural curve of the arm resembles the shape of a Japanese sword, the katana.  Sometimes the basicte-sabaki are referred to as the te-gatana no sosa, or "the use of the hand-blade".