After examining the structure and organisation of a number of technical curricula from other Japanese Martial Arts, I realised that the Aikido Curriculum is arranged, from basic to advanced, in a completely different and unique way to these other arts. There are no secret techniques in Aikido, nor does it draw any distinction between Shoden, Chuden, Hiden and Okuden levels of teaching that the Koryu (Classical) arts do. Instead, Aikido techniques are graded from basic to advanced by levels of technical complexity, both in taijutsu (hand-techniques) and bukiwaza (weapons). While probably not as extensive as the curriculum of Daito Ryu Aiki Jujutsu or other Koryu arts, Iwama Aikido does retain a large number of techniques as compared to other styles of Aikido.
Techniques are divided into three main groups, Aiki Tai-jutsu (body techniques, or empty-hand), Aiki Ken jutsu (sword techniques) and Aiki Jo jutsu (stick techniques). These three major groupings of techniques are inter-related through the innovative concept of Riai that O-Sensei developed during the Iwama period. There are also a number of supplementary groups of techniques, such as Tanto-dori (knife-taking), and Tenugui waza (techniques with a hand towel) both of which are included within tai-jutsu, Juken-dori (bayonetted rifle disarming), which are absorbed into Aiki Jo Jutsu, and Shuriken Jutsu (blade throwing), which was taught separately to uchi-deshi of Saito Sensei and probably did not play a role in O-Sensei's concept of Riai.
Finally there is a collection of movements which fall outside the categorisation of the above groups, but which are essential to all, and they are everyday movements such as rolling etc, which for lack of a better term I call Kyotsu Waza, common techniques shared by all.
A. Aiki Tai-jutsu
This categorisation method shows techniques listed both in progressive order of technical difficulty, within labelled sections that describe each step of an attack/defense movement.
Techniques are named, when applicable, according to the following classification:
a) Posture,
b) Directional Aspect - Attack,
c) Type of attack,
d) Technique being executed,
e) Directional Aspect - Defense,
f) Method of finishing.
Many combinations of these classifications are not possible, due to the nature of the movement of some techniques, however this categorisaion method is a simple and practical way of defining more than 1,000 techniques.
Suwari Waza is regarded as basic training, because it teaches basic principles of body movement, while helping to physically develop the hips and rest of body. Even though it is more difficult to perform than in standing position, it learned first in order to impart the correct principles of movement early in the course of learning.
Although Ushiro Waza techniques are essentially a repeat of all the frontal attacks, it is regarded as more advanced because of the added complexity of dealing with the opponent gripping from the rear. Attacks from the side can be adapted to become frontla attacks by a simple turn of the body. They are all grouped together because they are within the field of view, whereas attacks to the rear are outside the field of view, and so are treated separately to frontal and side attacks.
These attacks are listed in order of progressive difficulty, as well as in order of basic principles being imparted through the training with such attacks. The attacks themselves are not absolute, and the list is not exhaustive, however, these 24 attacks define the full range of possible attacking movements that could be encountered by the Aikido-ka, according to the principles of "Takemusu Aiki".
Ikkyo kara Rokkyo refers to all the elbow taking techniques, Ikkyo, Nikyo, Sankyo, Yonkyo, Gokyo and Rokkyo, which are themselves ordered in a progression of technical complexity. Rokkyo was previously labelled as a separate technique: "hiji-katame", but now appears to be regarded as a progression from Ikkyo. The following techniques have their own classification, but are technically regarded as being variations of the above Movements
This directional aspect is the movement of the defender against the attacker, as opposd to the above, which is a movement of the attacker against the defender. Omote and Ura are treated as being equally as important, rather like two sides of the coin.
These finishes are listed in order of progressive difficulty, however it is Nage and Katame that is usually practiced, because if one in proficient in these, Nuke and Atemi are readily apparent. To make matters clearer, a technique name can be generated by following the path of movement through the above categories, from the beginning of the movement to the end, as seen in the chart below.
For example, to classify a technique where you are attacked from the front by a standing attacker while you are seated, with a grip to your wrist, whereby you perform the 4 directional throw to their rear, finishing with a pin, the technique would be called "Mae hanmi handachi katate-dori shiho-nage, katame". If the technique was practiced as a solid exercise (see below), then you would add "kihon" at the end.
This categorisation method defines the above techniques in a particular training method according to the type of martial principles being taught. Certain of the above techniques can be regarded as teaching basic principles, while others only appear in special circumstances, and all of the above techniques can be defined in terms of one of these training methods.
These methods are listed in order of progressive difficulty and complexity, which is consistent with an increasing depth of martial principle.
This categorisation method defines the level of intensity in physical movement and amount of intention in the mind of both the attacker and the defender when performing the movements.
This list shows the training method in order of progressive difficulty, which is consistent with an increasing development in performance. Ko Tai and Ju tai have come to be known as "Kihon" and "Ki-no-nagare" respectively, while Ryu Tai and Ki Tai have become grouped together to form what is known as "Ki-musubi". A distinction should be made between Ryu Tai and Ki Tai however, as Ki Tai is performed with the same physical movement as Ryu Tai, but with the most intense level of intention that borders on fully-intended attack.
B. Aiki Ken Jutsu.
C. Aiki Jo Jutsu
D. Tanto Dori
a) Tanto Dori - 10 techniques, disarming knife, based upon Tai-jutsu
E. Tenugui Waza
These techniques utilise the traditional Japanese cotton hand-towel (tenugui), and involve trapping the attackers arm and throwing. They are based upon taijutsu movements and are performed rarely, usually in a Demonstration setting. It is possible they derived from manriki-gusari (double weighted chain weapon) arts of the 19th Century and earlier.
F. Juken Dori
These are pre-War bayonetted rifle techniques that the founder trained in and taught while in the army, and have become absorbed into the Jo-Jutsu curriculum, however they still appear occasionally in Demonstration settings.
G. Shuriken Jutsu
While O-Sensei is not known to have studied, or even mentioned Shuriken Jutsu, the founder's teacher Sokaku Takeda and Morihiro Saito Sensei both were masters of this art, Negishi Ryu Shuriken Jutsu. Saito Sensei taught Shuriken to uchi-deshi after they had signed a "keppan" or oath of sincerity.
F. Kyotsu Waza
These are not really techniques as such, but movements and understandings that students need to learn to enable safe participation in traditional Japanese dojo life. Kyotsu means "shared by all" and simply refers to the common sense things that one should know when ina dojo.
a) Shikko - moving around while kneeling
b) Ukemi - falls, rolls, and high falls (tobu-ukemi)
c) Osoji - cleaning
d) Rei - Etiquette
G. Kuden
Kuden is the oral teachings and written material produced by O-Sensei over his almost 70 year martial career. It consists of calligraphy, poems, oral teachings, poems and writings, all of which contain further information and detail about the art the the founder taught. It is not all collected and kept in a single place, rather, it is spread out over private collections, reproductions in publications, on display in dojo around the world, and held in the memories of the remaining students of O-Sensei and their deshi.
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Nube de etiquetas
sábado 4 de agosto de 2007
The technical curriculum of Iwama Aikido
Descripción de kata de jo
31-count jo kata and kumi-jo
by Jonathan Diesch
For this transcription, I have tried to avoid using japanese terms for various techniques, partly because I can never remember them all, and mostly because it will limit the number of ppl who can follow what I'm saying. This is only a description of the kata as I know it, and may bear no relation whatsoever to anything your sensei has taught you.
Throughout this transcription YOU are 'doing' the kata side, HE is 'doing' the "anti-kata". numbers 1-31 are you, numbers 1a-30a are him!
1a: starting L posture, he makes a straight thrust to your chest.
1: Starting L posture, you step off the line to your L and make a reverse thrust over his jo, to the chest.
2a: stepping back, and slightly left, he rotates his jo to cause a deflection of yours, taking your balance to your rear L, and then makes a straight thrust to your face.
2: Stepping to your R, you raise your jo to protect your face, and block upwards, cocking your wrists as you do so, to keep contact, and stop his jo flying off into space. From here rotate your jo from under his to on top, and strike it down, taking his balance to his front R, and...
3: Thust to his L floating ribs.
3a: keeping the end of his jo low, he steps back into R posture, and turns his hips towards you, blocking your strike with his jo vertical. From here he makes a spiral movement with his jo, that brings on-line with your face, and takes your jo, and your balance, to your rear L. Then he makes a straight thrust at your face.
4: You avoid this thrust by making a BIG step to your R, across the line, raising the jo to protect your face, NOT blocking him! As you bring the jo up, allow your back hand to slide into the middle of the stick, then let go with your front hand so that you can rotate the jo through 180 deg. catch the end again, step forward and...
5: make a straight cut (shomen).
5a: stepping back, he absorbs your cut by making an identical cut to yours, in mirror-image.
6: So drop the end of the jo to your R, step forward, around the end of his jo, and cut again. You should now be in L hanmi.
6a: he makes another identical cut, but is a little slow with it, this time you catch his jo, and send him off-balance to his rear L. He should now be in L hanmi.
7: You now pivot to face the opposite direction, and make a straight cut to an imaginary persons' head.
7a: he recovers his balance, and attempts a straight thrust at your back.
8: You step forward, making shomen again.
8a: he raises his jo to hit you on the head, stepping forward into R posture.
9: You are in L posture, L hand forward on the jo. You raise the end of your jo to your front L, and then make (kaiten-ashi) by pivoting on the balls of you feet through 180 deg. then stepping FORWARD with your L foot. As you do this swing the jo round, and down diagonally, to strike at his knees. Ensure that you turn your wrists over so that you PUSH the jo round not pull it. If you pull you cannot stop the jo easily. Do not allow the jo to go further than 90 deg past his knees.
9a: with his jo still raised he steps back (quickly!) then steps in again to strike your head.
10: Step forward on your L foot, bringing the jo up horizontally under his elbows, to prevent him cutting you, IRL you go under his chin, or put the tip straight in his throat.
11: now drop the end of your jo, allowing him to finish his cut, stepping round to your L, and making shomen.
11a: he avoids being hit by drawing back, and meeting your strike,
12: You are now in L posture, so is he. This is a neutral position. Release the jo with your L (back) hand, uncross your hands and grip the jo firmly, pointing towards him maintaining zanshin.
12a: he does the same as 12.
13: Step forward, L posture, and thrust to his chest.
13a: he steps to his R, and spirals under your jo, as in no 2a, then thrusts at your face.
14: Step across to your R, and avoid the jo as in no 4
15: Make shomen as no 5.
15a: he steps back, and makes a mirror image shomen, as no 5a. He is now in R posture, with the R hand forward.
16: To avoid having the end of your jo smashed by his shomen, pull the jo back along your L side. Pull the jo with your back hand, through the front until the end of the jo is in your front hand, then push the jo through the back hand with your front. If you do this in reverse you will get your hand broken! Keep the jo in close to your body, with the front R hand at about chest height. You should be in R hanmi.
17: Now step forward with your L foot, around his jo, and punch it forwards to strike his R knee.
17a: he steps back into L posture, and simultaneously turns his hand over, allowing the end of the jo to drop, he puts his left hand in front of the R, and slides the R hand to the back of the jo. This blocks the knee strike, and exposes you to...
18a: he draws his jo back, and makes a straight thrust at your knee/thigh
18: you step forward and to the R, turn to face him, and rotate your jo through 180 deg. to strike his stick down with the back end, being carefull to keep the jo at an upward angle so that he is knocked down and away from you. This also exposes his leg, so...
19: Draw back slightly, and thrust at his ANKLE.
19a: he steps back, drawing his L foot out of the way, and turning to face you, as he does this he lifts the back end of his jo, so that is vertical, and blocks your ankle thrust to the side. At this point he thinks he can hit you on the head, so raises his jo for shomen uchi.
20: You raise your jo to protect your head, but then realise that you can hit his R knee, so step forward and to your R, turning L to face him, and strike to the back of his knee, dropping onto one knee as you do so.
20a: having raised his jo above his head for shomen, he sees you going instead for his knee, so steps back to withdraw the leg, and swings the jo back down to block your strike vertically.
21: You pull you jo back against your side, to avoid it being hit, as in no 16.
22a: he raises the jo to make a straight strike to your head.
22: You are in R posture, sitting on your L leg, you stand up and step forward, bringing the back end of the jo forward, to thrust at his chest.
23a: to avoid this thrust he pivots his lead foot, turning off the line, and facing you. the jo is still raised. He then slides the jo though his hands to thrust downwards at your chest, over the top of your jo.
23: You step to your R side, turning to face him, and rotate the jo vertically through 180 deg. to strike his jo downwards and away from you, exposing his side.
24: You make a straight thrust at his L side.
24a: he pivots to his R, avoiding the thrust, then back to his original position, at the same time he drops the end of his jo under yours, and spirals it over the top, knocking you off balance to your front and L, this is similar to nos 2a and 13a, only upside down.
25: You draw your jo back to regain your posture, and make another straight thrust to his ribs.
25a: he turns to his L again, this time rotating the jo through 180 deg. vertically to strike your stick down. He then makes a straight thrust to your face.
26: You make a BIG step back and slightly off the line to your R pulling the stick back to your R side, as in no 16
27: Now step forward, punching the jo forwards to strike his knee as in no 17. You are now in R posture.
27a: he steps back, dropping the front end of his jo to block
28: Step forward, and to your L, moving past the end of his jo, and raise your jo ABOVE your head, so that you can thrust downwards at his chest/neck, with the lower end.
28a: he lifts the front end of his jo to vertical, and steps back, avoiding the thrust. As he does so, he strikes the end of your jo sideways, and he finishes with the jo held vertically, to side of his head (hasso no kamae (?))
29: When your jo is stuck sideways, allow it to rotate HORIZONTALLY through 180 deg. then drop the jo down to a mid-level position, and...
30: thust at his chest (chudan tsuki).
30a: he steps off the line to his R, and makes a straight strike to the end of your jo.
31: Absorb the force of his strike, letting the jo travel naturally around your body, step forward and to your L, turning to face him, and strike him powerfully across the back of his head, caving in his skull, and finally finishing the whole business!
You should finish in L posture, with your right hand forward on the jo. He should be flat on the floor, bleeding, or alternativley in R posture, with his R hand forward on the jo.
This is not a perfect transcription, many of the techniques are really hard to explain in words, as you have probably seen(!) So dont take this as gospel! (also dont leap down my throat for getting it all wrong!) I am intending to put a pamphlet together with a full set of photos to illustrate this kata at some point, perhaps then it might make some sense :)
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Entrenamiento militar con bayoneta
En el proceso de indoctrinamiento militar el entrenamiento con bayoneta es escencial por su caracteristicas de inmediatez con el asesinar y luchar en condiciones de vida o muerte.
Muy distinto del entrenamiento de los responsables de realizar asesinatos masivos como pilotos, donde se abstrae el proceso de matar y se usan eufemismos sin carga emotiva para referirse al proceso de masacrar personas.The Marine Corps Martial Arts Bayonet System
Every Marine is a rifleman.
This is the enduring credo of the United States Marine Corps. Whether it has become more ideal than reality in recent years is not as important as the concept behind it: Every Marine is a combat Marine; every Marine is trained for combat.
Recently, the Marine Corps has been engaged in developing a new close combat program, the Marine Corps Martial Arts. A major portion of the new program is a revamped bayonet system. Working with the ICS, the developers of the program have derived the new bayonet system from previous, proven bayonet systems, research into spear use around the world, and input from those with modern real world experience in close combat and bayonet fighting.
The aim of system is twofold. First, there is the goal of developing the capability within individual Marines to effectively use the bayonet to dominate in close personal combat. In spite of a tendency among many to claim that there is no need for the bayonet in modern warfare with modern weapons, vast amounts of anecdotal evidence proves otherwise. From World War II through Korea to Vietnam, from the Falklands to Somalia, infantry troops have time and again had to resort to this oldest of weapons. There is no argument that the bayonet is the deciding factor on the modern battlefield, but in too many cases to list it has been (and will be again) the deciding factor for individuals on who lives or dies. The Marine bayonet system is designed to ensure that it is the Marine who dominates.
Secondly, though not in importance, is the fact that there is growing evidence that bayonet and close combat training is the most effective means of training the Marine with the combat mindset necessary for success on the battlefield, whether with bayonet at 20 feet or fire at 200 meters.
Due to the both the nature of the weapon and the time restraints in training, the basic premise of the Marine Corps bayonet system to "keep it simple," and is aimed entirely at bayonet combat; there is no fencing, sparring, or concepts of lengthy exchanges of blows in this system. Following the geometric principle of "the shortest distance between two points is a straight line," the emphasis on the weapon's use is in the thrust. Slashes and butt strokes are used secondarily, and mainly in situations where the Marine is "tied up" with an opponent. Even here, the slash or butt stroke is mainly used to regain the distance from which a killing thrust can be delivered. An important consideration in the ascendancy of the thrust over the slash or butt stroke is the type of military apparel and armor worn in modern combat. In tests conducted with the various types of strikes, only the bayonet thrust was found to effectively penetrate the modern armor vest worn by most troops today. Even simple web gear and helmets were found to be fairly effective at preventing disabling wounds from the slash or butt stroke.The Training System
In learning to use the bayonet, the Marine is first taught the basic posture, commonly called the "basic warrior stance" by the Marines (the ICS "stalking posture"). The Marine is taught to effectively and firmly tie to the weapon to the body, by locking the rear hand to the hip/waist area. The Marine is taught to thrust the weapon by using the force of the body and rear hand/arm. The front arm is used to control the length of extension and direction of the point. The weapon and arms should not be overextended. The power of the thrust comes from the body, and is extended through and by the arms. One of the most important elements for the Marine to learn is the ability to keep his arms and weapon strongly tied to the body.
After basic thrusting practice the Marine is taught to move with the weapon. This is an important element, as moving with the weapon is 2/3 of bayonet fight.
Initially the Marine practices the basics of movement and thrusting as a solo exercise, using either a real weapon or wooden rifle-bayonets similar to the Japanese mokuju used in the Japanese bayonet fighting system, jukendo. However, very quickly, the Marine is introduced to adversary training, where the main training tool is the mokuju.
Training against an adversary is where the Marine learns the most important elements in the combat against an enemy. Working with an adversary (usually an instructor), the Marine and his opponent will start roughly 20 feet apart. Generally, for the first attack, the adversary will close on the Marine to make a slash attack to either side of the Marine's weapon. As the adversary lifts his weapon for the slash, the Marine must initiate his thrust attack, beating his opponent to "the punch." In this exercise, the Marine is taught to not react to the adversary's weapon, but to carry through his own attack. At the same time, he experiences how much more effective in range and power the thrust is over the slash. A similar drill is done with the adversary initiating a butt stroke attack.
After gaining some competence and confidence thrusting against a slash or butt stroke, the Marine then learns to work against a thrust. Again starting at around 20 feet apart, the instructor-adversary and the Marine will start towards each other. At the appropriate distance, the adversary will initiate a thrust attack to a pre-designated side of the Marine's weapon. Here the Marine, again must learn to ignore the adversary's weapon, and concentrate on making an effective thrust with his own. It is important for the Marine to learn to avoid the tendency to unnecessarily "block" or "parry" the adversary's weapon, but only use enough disrupting movement of his own weapon against his adversary's to create an opening for him to carry his own thrust home. Here, it is vital that the instructor help bring the student along in learning to have full intent in carrying through his attack. In this regard, those in charge of the Marine Corps Martial Arts program are going to great lengths to ensure that the instructors understand that their jobs are not to prove how good they are, but to develop the capability of their student Marines.
The average Marine quickly develops to the point where he can be brought to the next level of training. At the next level, the Marine is introduced to working with a partner against single and then multiple opponents. Due to the immense amount of teamwork training Marines do in their normal training, they generally excel in this area.
After the initial two-man team training, the Marines begin training in four-man teams (similar to their normal fire team configuration). Here they can work both the basics of individual bayonet combat along with team tactics. In this training the Marine team will face opposition from two up to six adversaries. Even though the emphasis at this stage is on team work combat, the Marines are periodically forced to engage at the individual level again to maintain their individual competence.
The Marine Corps Martial Arts program is still its infancy, but has come a long way in a short while. In particular, the bayonet system portion of the training, arguably the most likely to be utilized component, has reached a high level of development and acceptance.
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Referencia basica
martes 17 de julio de 2007
Demostración de Shioda
lunes 16 de julio de 2007
Rendez-Vous with Adventure
Motobu Ryu Karate Uehara
Un anciano de casi un siglo moviendose con naturalidad y un sentido de tiempo y distancia extraordinario
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