The Seidokan Communicator, September 1998

8/14/2019 The Seidokan Communicator, September 1998

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September 98

The Seidokan Communicator

Aikido for a Modern Way of Life

Kawakami Sensei Visits Northern Minnesotaby Frank Guldbrandsen

For the spring seminar this year in Duluth, we were fortunate to have Dan Kawakami Sensei come fromSouthern California. Brad Bergeron and Frank Guldbrandsen had traveled to South Carolina a few

months earlier when Kawakami Sensei was there for a seminar and both quickly realized that as slowlearners they would need an opportunity to listen and observe a second time to what Kawakami Senseihad just taught. So they invited Sensei to Duluth for another chance at learning.

The essence of the weekend training for the 25-30 students who attendedwas efficiency and effectiveness. Kawakami Sensei taught that balance isthe key ingredient in Aikido as it is in all of life for efficiency andeffectiveness. The easiest way to attain balance is to learn to be inharmony. One of the basic elements of harmony is posture aligned withgravity. Another basic element of harmony is breath. Most of theweekend seminar revolved around that simple but profound theme.

So often students see Aikido as throwing and rolling and rather spectacularmovements. Kawakami Sensei taught that Aikido is really involved inmuch more subtle, less visible nuances of movement than that. Studentswere able to take some of the lessons of the mat to the Saturday nightsoiree at Bergeron Sensei's house on Lake Superior. Posture and breathwere practiced while enjoying snacks and beverages. Kawakami Senseiwas also able to experience the beauty and placidity of northern Minnesotain the spring. For several previous years Kobayashi Sensei always held

seminars in January, often in the midst of 20 below zero weather with snow storms approaching.Kobayashi Sensei was convinced that weather in Duluth was only of that variety, but now KawakamiSensei knows otherwise.

The seminar was voted a great success by all, even though one student was slightly injured taking ukemi

on Sunday. She quickly recovered, utilizing some intense sessions of aiki-ryoho, and we all lookforward to Kawakami Sensei's early return to the Northland.

What Do You Do With Your Yin When The Attack LacksYang?

by Doug Wedell

The concepts of yin and yang (in and yo in Japanese) are ancient terms and reflect the principle

of complementarity. Yang is ascendant, active, strong, full, light, heavenward, whereas yin isdescendant, passive, weak, empty, dark, earthbound. These complementary forces cannotexist without each other. There is no up without a down, no strength without weakness, no lightwithout darkness. In applications to Aikido, we must remember that harmony is balance. Whenthe attacker attempts to strike you down, he is coming at you with yang. We therefore meet the


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yang with yin, by stepping off the line and creating an empty space or void, which may be filledwith his solid yang attack. When the attacker maintains a strong yang force throughout theattack, the Aikido movement is minimal. It is as if nage did nothing at all and uke simply fell.However, no event is completely yin or yang. Nage cannot be passively passive but rathershould be actively passive.

The title of this article poses a question about what happens whenthe attacker withdraws his yang. The answer depends in part onwhen this happens. The most common case, especially amongbeginners, is to attack and then just before the throwing movementis executed, to withdraw the attack and focus on maintaining onesbalance and not falling. This sometimes leads to a strugglebetween uke and nage, a wrestling match, or contest. The key toremember in this situation is that if you (as nage) are in a safeposition, you need do nothing. Thus, if you have stepped asideand have a controlling technique ready to execute, but you feel theattack completely withdrawn so the uke is no longer throwinghimself, you can simply leave things alone. The object of Aikido is

not to throw the opponent, but rather, it is to establish harmony. The critical feature of thisresponse is that you are off the line and in a safe place. If uke decides to renew the attack, thecontrolling technique will work automatically and so balance is restored.

A different situation occurs when the attacker refuses to attack, but attempts to close distance

until he finds an opening. This is a much more difficult situation. The attacker is stalking you. Ifyou do not respond, he will eventually place himself in a position of advantage, breaching maiaor proper distance. Clearly, this sophisticated attacker is using yin from the start. Thecomplementarity principle implies that we must respond with yang. However, it is important thatwe do not simply attack the attacker and become the attacker ourselves. This is a tricky line towalk.

It is instructive to note that the original version of shomenuchi ikkyo (as documented in books byGozo Shioda Sensei and Morihiro Saito Sensei) has the nage striking shomenuchi at uke. Ukeblocks the attack and nage immediately turns it into ikkyo. This is a yang-to-yin method of selfdefense and I believe it was developed mainly for the purpose of working with the attacker whomay be stalking rather than charging. Note that when executed correctly, the initial yangmovement is there simply to bring out the yang in the attacker. The attacker wishes to attack

and so will meet force with force. At this critical moment, nage switches to yin and executes theikkyo movement. We see a similar principle operating in the tenchi nage (heaven earth throw).With the raised hand, we threaten with yang and focus the attackers mind on the potential yangof the situation. We then lead the attacker off balance with the hand in the shade, the yin hand.

Returning to our stalking situation, we can see that we must meet yin with yang, but have yin inreserve so that we can quickly return to it once we have brought out the attackers yang. Howexactly can we do this? One method would be the use of kiai (harmony shout). The kiai isclearly a yang force and is likely to draw action from our attacker or at least disrupt the attack.Other possibilities include forcing the situation by thrusting a hand forward or moving in stronglytoward the attacker. However, this is only done to draw out the attack so you can blend with it.We must not attack the attacker. This type of sophisticated attack is worthwhile studying atadvanced levels; however, practice of beginning and intermediate students should focusprimarily on situations where there is a clear and continuing attack so that we can illustrate theyin meeting yang aspect of Aikido training.

AIKIDO AND THE BOKKEN AND JO (pt. 1 of 3)By Richard Harnack

Swordmanship in Japan began mainly as a skilled fighting art to be used in battle. The successof any given technique or "style" was ultimately determined in combat, either in battle melees orindividual duels. The early "schools" of swordmanship were most likely associated with aparticular daimyo or geographic locations. During the early Tokugawa period, Musashi's "Book

of Five Rings," Yagyu's "Family Scroll," and, Takuan's "Sword of Taia" were written down. Theattitudes and values reflected in these helped to provide the samurai with a deeper philosophyof the sword. Each of these traditions emphasized that there is more to "swordmanship" thantechniques. It was from these and others that much of the present understanding of the "sword"and ultimate purpose of the martial arts has been developed.


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The sword (Bokken) and staff (Jo or Bo) have been part of Aikido since its inception. Both ofthese "weapons" were viewed by O-Sensei as tools to aid the Aikidoka in developing their largerawareness of and connection to the Universe. O-Sensei was certainly familiar with the writingsmentioned above and drew upon them for inspiration. Roderick Kobayashi, Sensei, in his shortmanual Aiki Kengi and Aiki Jogi, made it clear that the use of the Bokken and Jo in Aikido was toemphasize the underlying principle of Katsu Jinken (Sword to Let Live).

In its simplest terms, Katsujinken means thataikidoka train to preserve harmony and to use theirart only in service to the greater good, not to hurt or

destroy someone. Thus, the Bokken and Jobecome tools to promote harmony, not weapons ofdestruction. This approach underlies all of the Kenand Jo Gi training.From this perspective, training with the Bokken andJo in Seidokan Aikido is conducted differently fromother styles. In Seidokan, we practice the Aiki Kengiand Jogi to learn how to move properly and extendki beyond ourselves. In the paired Bokken and Jopractice, the emphasis is on achieving harmony andcloseness of timing, not engaging in a mock combat.

Initial training in the use of the Jo and Bokken

involves learning proper hand and foot placementand overall posture. Both the Bokken and Jo areheld lightly with the little fingers, while your arms,shoulders, torso, hips, and legs are relaxed. The Joand Bokken are excellent tools to help you acquire amore unified body movement and posture. Thislatter is because when you use your arms only to

move either one, it is immediately obvious. If your posture is not correct, your strikes, thrustsand drops will look and feel strained and awkward. This awkwardness will disappear withproper practice.The Bokken - Wooden Sword - is used to help the Aikidoka discover whether their movementsin the empty handed arts follow the principles. This is done through Suburi (repetitive cuts), theKengi and Ken-Ken Awase. Suburi helps you to perfect particular movements with the Bokkenby learning control and relaxation. The Kengi help you focus on particular sets of movements toimprove your gracefulness and posture. Ken-Ken Awase helps you to perfect your sense ofdistance and timing in relation to others. Seek to practice all of your sword work from the spiritof true defense creating peace with each movement.The Jo - Wooden staff -- Where the Bokken is used to train how to move in response to cutsand slashes, the Jo is used to train the Aikidoka how to move with fluid ease. The Jo has twoends and a middle which can be used. Thus the emphasis in the Jogi is to develop a freedom ofcontinuous movement from one point to another. The Aikidoka move their body behind, aroundand through the Jo, making the Jo an extension of their body. In Jo-Ken Awase, you learn howto apply the movements you trained in the Jogi to distance and timing in relation to a partner.

In the next article, I will discuss the use of the Bokken and the Ken - Ken Awase in greater

detail. In the third article, the focus will be on the Jo. Until then:

Let your sword train your spirit as well as your body. Let your staff increase the flow of yourspirit and body. Let every cut of the sword cut through your illusions; let every thrust of the staff

move you from within yourself toward the heart of the universe.

OPEN HOUSE AT NEW HEADQUARTERS DOJOby Mark Prince

On Saturday, September 19th at 1p.m., the new Seidokan World Headquarters hosted its openhouse for the new opening of its dojo in "Eagle Rock," California! It looked as though at leastfifty people attended and it included taiko drumming demonstrations out in the front parking lot,a warm welcome by our Kancho Stewart Chan, where he also gave a talk on the four principlesof the mind-body with a practice session involving the audience. We were happy to watch the


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children's class demonstrate, followed by the adults where some of the sensei and studentsdemonstrated empty hand techniques as well as waza against tanto, jo, and bokken. WadaharaSensei also demonstrated a couple of techniques against the pistol! (No it wasn't loaded... andneither was his attacker!)

Chan Sensei ended with a short history of Seidokan and listed most of our dojos located all overthe world. Quite an accomplishment! He then introduced Mrs. Kobayashi and thanked her andher daughter Michiyo for their efforts in administration. Sensei Chan than asked if there wereany questions and one of the children asked "when do we get to eat?" He gave a big smile andinvited everyone to join in a large very nicely presented pot luck! From a new student's view ofonly three months, I was made very welcome by everyone and hope our new worldheadquarters is very well received by all! Domo Arigato.

New location:

Seidokan World Headquartersc/o Aikido Institute of America2615 Colorado BlvdLos Angeles, CA 90041

Technical Corner

Futari RyotedoriDoug Wedell

Much of our Aikido practice is focused on thesituation in which one person is attacking andwe must blend with that attack. However, O-Sensei taught that in Aikido we must practice asif we are defending ourselves against multipleattackers. He also taught that when facingmultiple attackers, we must move as if theywere but one.

Two ways in which we train with multipleattackers are randori and futari ryotedori (twopersons holding both wrists). In randori, wemove fluently through the attackers so that weessentially face one attacker at a time. In futariryotedori, however, we are held firmly by twoattackers. How then can we move as if theywere but one?In most of his seminars at South Carolina,Kobayashi Sensei would spend some of thetime working on this problem. He would firstteach us to reframe the problem so that it is not

two attackers against the one nage, but rather,it is nage who can team up with the energy ofthe attackers. In this exercise, nage imaginesone of the ukes is on his side and so he caneasily move the other uke toward him with aslight movement of his arm (generated from theone point). To emphasize that it is really the kithat is being used, Sensei would have us usethe energy from a person who was not actuallyholding, but merely touching our fingertip withhis or her fingertip. Indeed, we can gain help byjust touching the gi or obi of the other person.

Somehow, we use that persons ki to groundourselves and more easily blend with the otherattacker. Thus, the each attacker is reallyhelping us control the other.


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There are several basic techniques one canexecute from futari ryotemochi. All of theserequire that nage remain calm, maintain astrong center, blend with rather than fightagainst the attackers strength, and movefluidly. In sayu kaeshi-ikkyo, it is important thatnage continue to lead both attackers throughoutthe movement. By turning away and dippingdown, nage leads the first uke off balance. Afterhe reverses directions, the ikkyo movement onthis first uke is executed at the same time nageis leading the second uke off balance. Inzenpo-nage, nage must drop his center to drawin both uke. As they fall in toward nage, nagemust shift his weight forward and lead them inthe forward direction. In Ohnami, nage mustbring the attackers together as in the cresting ofa wave and then let the wave wash over them,taking away their balance.

I find that one of the most challenging of thefurtari ryotedori movements is makikomi, whichis pictured on this page. One reason that this

movement is so challenging is that there issimply no way to force it. The techniquerequires that nage move fluidly in such a way asto get both attackers moving together aroundnages center. Nage then drops his center andthe attackers feel as though a trap door hasopened up beneath them, and they simply falldown. As with so many movements, we canthink of makikomi as a puzzle or koan thatKobayashi Sensei has left us to work on in orderto gain deeper insights into the Aikidomovements.

Recent Promotions

Terry Gaham, Shodan, Seidokan Aikido de Santa Fe, August 2, 1998

Congratulations!

Calendar of Upcoming Events

October 24, 1998: The Seidokan Aikido Club of South Carolina will hold a one day Seminar onJo and Bokken Training with Doug Wedell Sensei. Location: Columbia, South Carolina. No costfor Seidokan Members. For more information, call Doug at (803) 777-4258 or (803) 781-9242.

November 6-8, 1998: The Aikido Institute of MidAmerica will sponsor a workshop by Joe CrottySensei. Location: Aikido Institute of MidAmerica, Maplewood, Missouri. Costs: $45 full seminar,$20 single session, $30 Saturday. For more information, contact Richard Harnack (314) 647-0903; FAX (314) 644-2927.

November 13-15, 1998: The Michigan Seiwa dojo will host a workshop featuring RossRobertson Sensei. Seminar will be held in Battle Creek Michigan. Cost: will be $30 for theentire weekend, $20 for any part of the weekend. Additional sessions will be taught by Mr.James Thompson and Dr. Mark Crapo. For further information contact Janean Crapo at 616-965-5500, 616-963-6699, or Fax 616-969-0424

November 27-28, 1998: Thanksgiving Workshop. Stewart Chan, Dan Kawakami, Joe Crotty,and Larry Wadahara will be instructors at this two day workshop held at the Headquarters dojo(Aikido Institute of America, 2615 Colorado Blvd., Los Angeles, CA 90041). Classes will be


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held Friday, November 27, 1-3:30 pm and 7-9:30 p.m. and Saturday, November 28, 10am-12:30 pm and 1:30-4 pm. Cost: Seidokan members $20 per session or $60 for all foursessions . Non-Seidokan members: $25 per session or $85 for all four sessions. For furtherinformation call (323) 254-3372 or (562) 861-0043.

January 1999: AIA Beginning Year Activities. The tentative date for New Years Misogi isSaturday, January 2, 1999 and for the New Years pot luck party is Saturday, January 9, 1999.

June 1999: Summer Camp 1999 in Hawaii. Plans are being made for the next Aikido SummerCamp to be held for a 5-7 day period near the end of June in Hawaii. We should have thedetails by next Communicator. Accommodations for individuals, couples and families will be

available. Thus, the camp can be part of a family vacation. Dr. Mark Crapo is organizing thiscamp (616-965-5500).

Aiki Poetry

Poppy

In the rarefied air of a high plateauAlong a thin and winding track.At the mid-point between East and West,

Far beyond the carbon light and metallic noise of citiesA cool wind jostles the petals of an extravagant and careless flower.

It raises its one great signal-orange blossom above earth and stone;Defying physics, it floats for me in the distance.It shakes the dust from its disheveled skirts, now waves haughtily to me,Now genuflects without self-consciousness to the vastness it is part of.

Supported - or tethered, by that impossibly slender stalk?A stem that looks as if it too has wound its way up to find this flowerFloating in the sky, open to the sun, Willfully turning in every breeze,And I bow down to know it better.

A few fibrous roots and spiky leaves provide temporary sustenance,But this transitory life is dedicated to pure joy.Suspended between the richness of earth and beauty of heavens,It blows full to the world, bares its purple heart and lives.

The stuff of dreams,I reach and gently pull petals from the blossom,Roll them between my fingertips, letting their fragrance envelop me.Sweet, now sharp, the corners of my mouth moisten, nostrils flare.I lift wet fingers to my lips and taste life, subtle and unique.And suddenly I recall hearing of the aroma of such a flower,Of its flavors and textures.

All, abstract and meaningless until I climbed the dusty path and satHumbled before the beauty of This flower.

Now, with one eye open, and a lingering taste upon my lipsI whisper to you...You do not know My flower;You will never know My flower.But you can know Your flower,In the rarefied air of a high plateauAlong a thin and winding trackAt the mid-point between East and West.Where a signal-orange blossom floats above earth and stone.

- Brad Bergeron,June 10, 1998

CALLIGRAPHY CORNER


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This issue we continue sharing the calligraphy lessons that Kobayashi Sensei conducted whilevisiting the at Seidokan Aikido of South Carolina for seminars. The calligraphy and diagramsare from lectures by Kobayashi Sensei. This installment focuses on the character for Do. Theterm do is the same as the term tao found in Chinese. The portion in the middle represents apersons head, symbolizing the person himself, and the long curving line symbolizes a road orpath. Thus, do is translated as way of life or spiritual path toward enlightenment.

The first strokes are criss-crosses and a longer left to right stroke which might be thought of asthe hat on the head of the person. The head is then represented by a box like structure. Beginwith a vertical stroke down. Then, back at the top of the vertical stroke, stroke to the right anddown again. Complete this part of the figure with three short strokes from left to right, filling andclosing the box.

Finally, one completes the kanji with the road. There is a very short stroke to the left of thefigure, followed by the complicated 5-part stroke of the road. Begin with a stroke to the right,then turn down to the left, down to the right, down to the left and finish with a long flowingstroke to the right. This must be one fluid motion without lifting the brush from the paper.Combine this character with the first three lessons to write Aikido.

Doug Wedell

SEIDOKAN AIKIDO VIDEO TAPESBasic techniques in accordance

with Aikido principles

In this video series, the late Seidokan Kancho, Rod Kobayashi, shares his experience of over35 years in the Way of Harmony With Nature. Each waza, or art, is not only clearlydemonstrated before an actual class, but he offers an explanation as to why each movementwas made.


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BASIC ARTS

Part 1

Detailed explanations of Aiki-taisoBasic examination arts

Part 2

Basic examination artsAiki-kengi and Aiki-jogi

DAN ARTS

Part 1

Advanced arts required for shodan and above

Part 2

Continuation of Aikido arts for all yudansha.

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

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

Mailing address:Seidokan Aikido World Headquartersc/o Aikido Institute of America2615 Colorado Blvd, Los Angeles, CA 90041 (323) 254-3372 (if no answer, call (562) 861-0043)

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

Name_______________________________________________(Last) (First)

Phone: _________________

Address: ____________________________________________(Street)

___________________________________________________

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

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

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

subtotal $________

Include $6.00/set Shipping and Handling $________

California residents add 8.25% sales tax $________

TOTAL $________

EDITORS NOTE

The Seidokan Communicator is published quarterly. Please remember, your submissions makethis newsletter possible. Send articles about your dojo, your instructor, a recent seminar,


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philosophical insights, technical descriptions, and other Aikido related materials to me so we cankeep up communication in Seidokan Aikido. Send materials to Doug Wedell, 501 Doncaster Dr.,Irmo, SC 29063. Email submissions are welcome at [email protected]. Deadline for nextCommunicator is December 15, 1998.

SEIDOKAN WEB SITE

Dont forget to check out the Seidokan Web Site at : http://www.seidokan.org/

It features previous issues of the Communicator, a dojo directory, links to other Seidokan dojos,announcements about upcoming events, and much more.

Closing Words:The Beauty of Aikido Practitioners

Feven Afewerki

Every day when I go to practice Aikido at Cal State Long Beach or AIA, I am always inspired bythe instructors who teach Aikido. They always seem to shower me with understanding, respect,compassion and a sense of humor. One of the instructors that comes to mind when I think ofthe beauty of Aikido is Larry Wadahara. Larry always seems to have the time to be a kid andplay, to express his frustration and anger whenever he experiences it, to show and tell aboutthings he has seen and done, and to help heal whenever someone gets injured. I want to thankall the Aikido instructors who took the time to develop themselves and share with me the beautyof Aikido.

Where is my Key (KI)?Have you seen my key?

Where is it?Is it in the book?

Is it under the ground?Who has it?
http://www.seidokan.org/mailto:[email protected]

The Seidokan Communicator, September 1998

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