martes, 3 de julio de 2012
limites
Cuando estaba en el Karate en la universidad un día Trigo dirigió el entrenamiento. Al final de la practica la rutina normal era hacer una serie de ejercicios incluyendo lagartijas. Trigo simplemente dijo que hiciéramos la rutina y alguien pregunto ¿Cuantas lagartijas? A Trigo le pareció curiosa la pregunta y dijo que las que pudiéramos hacer. En el grupo habíamos blancas y verdes pero también cafés. Los principiantes hacíamos normalmente 20 o 30 pero sabíamos que la rutina de los cafés era 100 o más y con buena forma. Los cafés hicieron unas 200 y fueron los primeros en terminar pero los principiantes tomamos otro ritmo y sin hacer tantas tratábamos simplemente de no terminar mucho antes de los cafés. Algunos hicieron unas 60 y tal vez hubo quien se acercara al rendimiento de los cafés. Pero al final quedo solo uno que ya contaba algo como 320, 321, 340, ... y como uno minuto después de que todos habíamos terminado se detuvo.
Trigo se rió y le comento a uno que estaba a su lado
- ese que quedo al ultimo fue el que menos hizo de todos.
El significado de katatedori (片手取り)
Aunque completamente fuera del contexto de 合気道 (Aunque por lo mismo dentro del esquema mental de los de la teoría del 受け mala onda) un claro ejemplo del significado de gyakuhanmikatatedori (逆半身片手取り)
空手道
Video demostrativo a cerca de los métodos de entrenamiento del Goju Ryu Karate-Do, interpretado por el Shihan Morio Higaonna.
Video demonstration about the training methods of Goju Ryu Karate-Do, played by Shihan Morio Higaonna.
師範守男が演じる剛柔流空手道、のトレーニング方法についてのデモビデオ。
YouTube - Way of the Warrior - Karate, Way of the Empty Hand
lunes, 2 de julio de 2012
domingo, 1 de julio de 2012
雨あがる
In the beginning of the Eighteenth Century, in the transition period between the luxurious Genroku Era (1688-1703) and the simple Kyocho Era (1716-1735), the ronin – a samurai without a master – Ihei Misawa (Akira Terao) and his sweet wife Tayo Misawa (Yoshiko Miyazaki) are trapped in a very humble inn with very poor guests. The rain does not stop, and the group is unable to follow their journeys, once the water level of the river is too high to be crossed.
sábado, 30 de junio de 2012
Vocabulario básico de Aikido
Vocabulario
* AGATSU Victoria sobre uno mismo. De acuerdo con el fundador, victoria verdadera. (MASAKATSU) es AGATSU, entonces MASAKATSU AGATSU
* AIKIDO Ai armonía, Ki vitalidad, Do camino
* AIKIDOKA Persona que practica AIKIDO, tiene la connotación de experto y por lo tanto no se debe usar para referirse a uno mismo.
* AIKIKAI Asociación de Aikido creada por Morihei Ueshiba
* AI HANMI Guardias iguales para UKE y NAGE
* AI NUKE Escape mutuo. Nadie sale lastimado
* AI UCHI Muerte mutua, los dos AITEs mueren. Tradicionalmente en las artes marciales se consideraba el estado ideal. Espíritu de IKKYO OMOTE por ejemplo.
* ASHI SABAKI Desplazamientos de pies
* ATEMI Golpe con el propósito de distraer
* BOKKEN o BOKUTO Espada de madera
* BUDO El camino de las artes marciales
* CHOKUSEN Directo, eg. CHOKUSEN NO IRIMI
* CHUDAN Nivel medio
* CHUSHIN Centro
* DAN Grado de cinta negra
* DO camino
* DOJO El lugar de practica
* DOJO CHO Director técnico
* DOMO ARIGATO GOZAIMASHITA Muchas gracias por lo que hiciste.
* DOSHU Máxima autoridad del IAF, Kisshomaru Ueshiba.
* FUDO SHIN Mente inmovible
* FUKUSHIDOIN Instructor asistente
* FURI KABURI Movimiento de levantar la espada, IKKYO
* GEDAN posición baja GEDAN NO KAMAE
* GI, DOGI, KEIKOGI Ropa para practica
* GYAKU HANMI Posturas opuestas
* HAKAMA faldón usualmente para grados DAN
* HANMI Postura triangular
* HANMI HANDACHI NAGE sentado, UKE de pie
* HAPPO 8, ejemplo:. HAPPOUNDO, HAPPOGIRI
* HARA Centro donde se concentra la energía y masa en el cuerpo, fuente de Ki
* HASSONOKAMAE Postura del 8
* HENKA WAZA Variaciones de técnicas y combinaciones
* HOMBU DOJO DOJO central
* HIDARI Izquierda
* Hiji Codo
* IRIMI Entrar al cuerpo
* JINJA Templo AIKI JINJA templo en IWAMA
* JIYU WAZA Forma libre
* JO Palo
* JODAN Posición alta, ejemplo: JODANNOKAMAE
* KACHIHAYABI Victoria a la velocidad de la luz. Cuando se a logrado estado de control total sobre uno mismo y perfecta armonía con el universo AGATSU se es uno con el universo y la mera intención de alguien de romper el estado de armonía es suficiente para vencer, instantáneamente. La vida humana es una vida de amor AI y el amor no tiene enemigos
* KAESHI WAZA Contra técnica. Forma avanzada de entrenamiento
* KAISO Fundador
* KAMAE guardia
* KAMI Dios o fuerza divina
* KAMIZA Altar
* KANSETSU WAZA Técnica de control sobre coyunturas
* KATA hombro o forma predeterminada
* KATAME WAZA técnicas de control
* KATSU JIN KEN Espada salvadora. Técnicas desarrolladas con la intención de no lastimar al AITE
* KEIKO Practica
* KEN espada
* KENSHO Iluminación
* KI Vitalidad
* KIAI Concentración de energía con voz
* KIHON básico
* KI MUSUBI KI NO MUSUBI Liga de KI con el AITE
* KOHAI Estudiante con menos experiencia
* KOKORO Corazón o espíritu
* KOKYU Respiración, ejemplo: KOKYU HO, KOKYU RYOKU
* KOTODAMA Practica religiosa usando sonidos
* KU vacío
* KUMIJO Practica de parejas con JO
* KUMITACHI Practica de parejas con BOKKEN
* KUZUSHI Romper el balance del AITE
* KYU Rango de principiante
* MA AI Distancia correcta
* MAE frente
* MASAKATSU Victoria verdadera
* MIGI Derecha
* MISOGI Ritual de purificación
* MOCHI Agarre
* MOKUSO Meditación
* MUDANSHA Estudiante no cinta negra
* Mune, muna Pecho, solapa
* MUSHIN Mente limpia o en blanco; sin mente
* NAGARE fluido
* OBI cinta
* OMOTE Frente
* OMOTOKYO Grupo religioso al que perteneció Morihei Ueshiba
* ONEGAI SHIMASU Por favor
* OSAE WAZA Técnica de control
* OSENSEI Gran maestro Morihei Ueshiba
* RANDORI Estilo libre. Ataques múltiples
* REIGI Etiqueta
* SATORI Iluminación
* SENSEI Maestro
* SEIZA Posición sentado
* SEMPAI Estudiante mas avanzado
* SETSU NIN TO Espada que mata
* SHIHAN Maestro de maestros
* SHIKAKU Angulo muerto, punto ciego
* SHIKKO Caminar de rodillas
* SHINKENSHOBU Duelo con espadas afiladas
* SHINTO Religión japonesa
* SHODAN Cinta negra
* SHOMEN frente de la cabeza, frente del DOJO
* Sode Manga
* SOTO Fuera
* SUBURI Practica individual con JO o BOKKEN
* SUKASHIWAZA Técnicas de anticipación
* SUKI Abertura o falta de concentración.
* SUTEMI Abandono del cuerpo para realizar una técnica
* SUWARI WAZA Técnica sentado
* TACHI Espada o posición de parado
* TACHIWAZA Técnica parado
* TAIJITSU Practica sin armas
* TAINOHENKO TAI NO TENKAN Vuelta 180 grados con AITE
* TAI SABAKI Desplazamiento
* TAKEMUSU AIKI AIKIDO
* TANINSUGAKE Practica contra ataques múltiples
* TANTO cuchillo
* TE Mano
* TEGATANA Mano de espada
* TENKAN vuelta
* TENSHIN salida a 45 grados
* TSUKI Golpe recto
* UCHI Dentro
* UCHIDESHI Estudiante que vivió con Ueshiba
* UESHIBA KISSHOMARU DOSHU Hijo del fundador
* UESHIBA MORIHEI KAISO
* UESHIBA MORITERU DOJOCHO Nieto del fundador
* UKE Persona que recibe la técnica
* UKEMI Técnica de recibir sin lastimarse y manteniendo contacto con NAGE
* URA atrás
* USHIRO Hacia atrás, ejemplo: USHIRO UKEMI
* WAZA Técnica
* TORI o DORI agarre
* YOKO Lado
* YOKOMEN Lado de la cabeza
* YUDANSHA Cinta negra
* ZANSHIN Concentración; continuar la técnica mentalmente
* ZEN Budismo
* ZORI sandalias
* AGATSU Victoria sobre uno mismo. De acuerdo con el fundador, victoria verdadera. (MASAKATSU) es AGATSU, entonces MASAKATSU AGATSU
* AIKIDO Ai armonía, Ki vitalidad, Do camino
* AIKIDOKA Persona que practica AIKIDO, tiene la connotación de experto y por lo tanto no se debe usar para referirse a uno mismo.
* AIKIKAI Asociación de Aikido creada por Morihei Ueshiba
* AI HANMI Guardias iguales para UKE y NAGE
* AI NUKE Escape mutuo. Nadie sale lastimado
* AI UCHI Muerte mutua, los dos AITEs mueren. Tradicionalmente en las artes marciales se consideraba el estado ideal. Espíritu de IKKYO OMOTE por ejemplo.
* ASHI SABAKI Desplazamientos de pies
* ATEMI Golpe con el propósito de distraer
* BOKKEN o BOKUTO Espada de madera
* BUDO El camino de las artes marciales
* CHOKUSEN Directo, eg. CHOKUSEN NO IRIMI
* CHUDAN Nivel medio
* CHUSHIN Centro
* DAN Grado de cinta negra
* DO camino
* DOJO El lugar de practica
* DOJO CHO Director técnico
* DOMO ARIGATO GOZAIMASHITA Muchas gracias por lo que hiciste.
* DOSHU Máxima autoridad del IAF, Kisshomaru Ueshiba.
* FUDO SHIN Mente inmovible
* FUKUSHIDOIN Instructor asistente
* FURI KABURI Movimiento de levantar la espada, IKKYO
* GEDAN posición baja GEDAN NO KAMAE
* GI, DOGI, KEIKOGI Ropa para practica
* GYAKU HANMI Posturas opuestas
* HAKAMA faldón usualmente para grados DAN
* HANMI Postura triangular
* HANMI HANDACHI NAGE sentado, UKE de pie
* HAPPO 8, ejemplo:. HAPPOUNDO, HAPPOGIRI
* HARA Centro donde se concentra la energía y masa en el cuerpo, fuente de Ki
* HASSONOKAMAE Postura del 8
* HENKA WAZA Variaciones de técnicas y combinaciones
* HOMBU DOJO DOJO central
* HIDARI Izquierda
* Hiji Codo
* IRIMI Entrar al cuerpo
* JINJA Templo AIKI JINJA templo en IWAMA
* JIYU WAZA Forma libre
* JO Palo
* JODAN Posición alta, ejemplo: JODANNOKAMAE
* KACHIHAYABI Victoria a la velocidad de la luz. Cuando se a logrado estado de control total sobre uno mismo y perfecta armonía con el universo AGATSU se es uno con el universo y la mera intención de alguien de romper el estado de armonía es suficiente para vencer, instantáneamente. La vida humana es una vida de amor AI y el amor no tiene enemigos
* KAESHI WAZA Contra técnica. Forma avanzada de entrenamiento
* KAISO Fundador
* KAMAE guardia
* KAMI Dios o fuerza divina
* KAMIZA Altar
* KANSETSU WAZA Técnica de control sobre coyunturas
* KATA hombro o forma predeterminada
* KATAME WAZA técnicas de control
* KATSU JIN KEN Espada salvadora. Técnicas desarrolladas con la intención de no lastimar al AITE
* KEIKO Practica
* KEN espada
* KENSHO Iluminación
* KI Vitalidad
* KIAI Concentración de energía con voz
* KIHON básico
* KI MUSUBI KI NO MUSUBI Liga de KI con el AITE
* KOHAI Estudiante con menos experiencia
* KOKORO Corazón o espíritu
* KOKYU Respiración, ejemplo: KOKYU HO, KOKYU RYOKU
* KOTODAMA Practica religiosa usando sonidos
* KU vacío
* KUMIJO Practica de parejas con JO
* KUMITACHI Practica de parejas con BOKKEN
* KUZUSHI Romper el balance del AITE
* KYU Rango de principiante
* MA AI Distancia correcta
* MAE frente
* MASAKATSU Victoria verdadera
* MIGI Derecha
* MISOGI Ritual de purificación
* MOCHI Agarre
* MOKUSO Meditación
* MUDANSHA Estudiante no cinta negra
* Mune, muna Pecho, solapa
* MUSHIN Mente limpia o en blanco; sin mente
* NAGARE fluido
* OBI cinta
* OMOTE Frente
* OMOTOKYO Grupo religioso al que perteneció Morihei Ueshiba
* ONEGAI SHIMASU Por favor
* OSAE WAZA Técnica de control
* OSENSEI Gran maestro Morihei Ueshiba
* RANDORI Estilo libre. Ataques múltiples
* REIGI Etiqueta
* SATORI Iluminación
* SENSEI Maestro
* SEIZA Posición sentado
* SEMPAI Estudiante mas avanzado
* SETSU NIN TO Espada que mata
* SHIHAN Maestro de maestros
* SHIKAKU Angulo muerto, punto ciego
* SHIKKO Caminar de rodillas
* SHINKENSHOBU Duelo con espadas afiladas
* SHINTO Religión japonesa
* SHODAN Cinta negra
* SHOMEN frente de la cabeza, frente del DOJO
* Sode Manga
* SOTO Fuera
* SUBURI Practica individual con JO o BOKKEN
* SUKASHIWAZA Técnicas de anticipación
* SUKI Abertura o falta de concentración.
* SUTEMI Abandono del cuerpo para realizar una técnica
* SUWARI WAZA Técnica sentado
* TACHI Espada o posición de parado
* TACHIWAZA Técnica parado
* TAIJITSU Practica sin armas
* TAINOHENKO TAI NO TENKAN Vuelta 180 grados con AITE
* TAI SABAKI Desplazamiento
* TAKEMUSU AIKI AIKIDO
* TANINSUGAKE Practica contra ataques múltiples
* TANTO cuchillo
* TE Mano
* TEGATANA Mano de espada
* TENKAN vuelta
* TENSHIN salida a 45 grados
* TSUKI Golpe recto
* UCHI Dentro
* UCHIDESHI Estudiante que vivió con Ueshiba
* UESHIBA KISSHOMARU DOSHU Hijo del fundador
* UESHIBA MORIHEI KAISO
* UESHIBA MORITERU DOJOCHO Nieto del fundador
* UKE Persona que recibe la técnica
* UKEMI Técnica de recibir sin lastimarse y manteniendo contacto con NAGE
* URA atrás
* USHIRO Hacia atrás, ejemplo: USHIRO UKEMI
* WAZA Técnica
* TORI o DORI agarre
* YOKO Lado
* YOKOMEN Lado de la cabeza
* YUDANSHA Cinta negra
* ZANSHIN Concentración; continuar la técnica mentalmente
* ZEN Budismo
* ZORI sandalias
Cancer
DESPUÉS DE MUCHOS AÑOS DE DECIRLE A LA GENTE QUE LA QUIMIOTERAPIA ES LA ÚNICA MANERA DE TRATAR (tratar literalmente) Y ELIMINAR EL CANCER, EL HOSPITAL JOHN HOPKINS ESTA FINALMENTE EMPEZANDO A DECIR A LA GENTE QUE HAY ALTERNATIVAS:
tomar agua en la hora correcta
- 2 vasos de agua después de despertar ayuda a activar los órganos internos.
- 1 vaso de agua 30 minutos antes de comer ayuda a la digestión.
- 1 vaso de agua antes de bañarse ayuda a bajar la presión sanguínea.
- 1 vaso de agua antes de irse a dormir evita apoplejías o ataques al corazón.
- 1 vaso de agua antes de hacer el sexo ayuda al relajamiento del organo femenino
- 2 vasos de agua ante de ingerir bebidas alcoholicas ayuda al higado
- 1 vaso antes de enojarse ayuda a tomar las cosas con calma
The technical curriculum of Iwama Aikido
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
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.
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
- Categorisation method 1.
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.- Posture - 3 possible combinations of postures that attacker and defender can take
- Suwari Waza - both seated
- Hanmi Handachi - nage seated, uke standing
- Tachi Waza - both standing
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. - Directional Aspect - Attack - 2 possible directions from which an attack may come.
- Mae Waza - frontal attacks (including from side)
- Ushiro Waza - rear attacks
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.
- Type of Attack - 24 different attacks, upon which the full range of possible attacks are based
- Shomen-uchi - palm strike to centre-line, raising
- Shomen-uchi-komi - edge of the hand strike to centreline from above
- Yokomen-uchi - edge of hand strike to side of body
- Katate-dori - wrist being grabbed by one hand of attacker
- Sode-dori - cuff below / shirt at elbow grabbed by one hand of attacker
- Sode-guchi-dori - inside cuff held
- Kata-dori - one shoulder grabbed by one hand of attacker
- Muna-dori - one hand grab/strike to centre-line, chest level
- Kosa-dori - wrist grabbed in reverse grip by one hand of attacker
- Tsuki - punch to centre line
- Ryote-dori - both wrists grabbed by both hands of attacker
- Ryo-sode-dori - both elbows grabbed by both hands of attacker
- Ryo-kata-dori - both shoulders grabbed by both hands of attacker
- Ryo-muna-dori - two-handed grab to centre-line, chest level
- Morote-dori - both attackers hands grab one arm
- Kata-dori/shomen-uchi (or tsuki) - shoulder grab and strike with other hand
- Muna-dori/shomen-uchi (or tsuki) - chest grab and strike with other hand
- Ushiro-eri-dori - neck lapel gripped by one hand from behind
- Ushiro-ryo-kata-dori - shoulders grabbed by attacker from behind
- Ushiro-ryote-dori - both wrists grabbed from behind
- Ushiro-eri/katate-dori - neck lapel and wrist grabbed from behind
- Ushiro-katate-muna-dori - wrist/collar at front grabbed from behind
- Ni-nin/san-nin gake - 2 or more persons grabbing
- Geri - variations on hand techniques against a variety of kicks
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". - Technique being executed - 6 core techniques, with a further 4 regarded as variations of these techniques, and a further 3 regarded as specialised techniques.
- Ikkyo kara Rokkyo - 1st teaching to 6th teaching
- Shiho Nage - four directional throw
- Kote-gaeshi - wrist turning
- Irimi nage - entering throw
- Kokyu Nage - abdominal breath power throw
- Koshi Nage - hip throw
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
- Kaiten Nage - rotary throw (variation of sankyo)
- Tenchi Nage - "heaven and earth throw" (mixture of irimi & kokyu nage)
- Ganseki Otoshi - big rock drop (variation of irimi nage)
- Sumi Otoshi - corner drop (vaitaion of kokyu nage)
- Juji Nage - cross-shaped or cross-twine throw (specialised technique)
- Kubi Nage - neck throw (specialised technique)
- Aiki Nage - throwing with energy (specialised technique)
- Directional Aspect - Defense - 2 possible directions the defender can move against the attackers force
- Omote - entering across the front
- Ura - turning to the rear
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. - Method of Finishing the techniques - 4 methods of dealing with the attacker.
- Nuke - escaping
- Atemi - striking
- Nage - throwing
- Katame, or Osae - pinning, or controling
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. - Posture - 3 possible combinations of postures that attacker and defender can take
- Categorisation Method 2.
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.- Kihon Waza - basic techniques
- Henka Waza - variation of basic techniques
- Oyo Waza - applied techniques
- Sutemi Waza - sacrifice techniques
- Kaeshi Waza - reversal, or counter techniques
- Iko Waza - techniques to deal with counter techniques
- Jiyu Waza - free techniques
These methods are listed in order of progressive difficulty and complexity, which is consistent with an increasing depth of martial principle. - Categorisation Method 3.
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.- Ko Tai - "hard body" or solid,
- Ju Tai - "soft body" or flexible,
- Ryu Tai - "flowing body"
- Ki Tai - "energy body"
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.
- Ken Suburi - 7 techniques - basic cuts and steps from ken kamae, starting from right hanmi
- Suburi Awase - 7 techniques, as above, but in conjunction with a partner
- Happo giri - 5 techniques - 8 directional cut from ken kamae
- Ken awase - 7 techniques - sword blending patterns with a partner, each with several variations
- Ki-musubi-no-tachi 1 technique - a 3 step pattern to practice awase, and introduce kumi-tachi)
- Kumi-tachi - 25 techniques, with partner, 5 kihon, each with 2 set sword and 2 set body variations, further variations
- Tachi-dori - 10 Techniques - sword disarming
- Ken/Tai Jutsu No Riai - 10? techniques, with 2 partners, showing relationship between sword and body movement
- Tanren Uchi - supplemental training, heavy striking
- Suburito Keiko -supplemental training with a heavy sword
C. Aiki Jo Jutsu
- Jo Suburi - 20 techniques, basic strikes and blocks
- Roku no jo - 3 techniques, a 6 step combination of suburi that condenses to 4 step, with variations
- Tenkan Waza - 6 techniques, 180 and 360 deg. turning movements based on suburi
- Sanjuichi-no-Jo - 31 step kata
- Jusan-no-Jo - 13 step kata
- Jo Awase - 8 techniques, stick blending patterns with a partner
- Kumi-Jo - 10 techniques, applied techniques with a partner
- Sanjuichi-no-Kumi-Jo - partner practice to the 31 step kata (kata bunkai)
- Jusan-no-jo Awase - partner practice to the 13 step kata (kata bunkai)
- Jo Dori - 11 techniques, stick disarming
- Jo/Tai Jutsu No Riai, or Jo Nage - 10 techniques, throwing attacker who grabs stick
- Ken-Jo-no Riai (or Ken-Tai Jo) - 10? techniques, stick defence against sword
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.
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 :)
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 :)
Como una piedra
Uno de los aspectos sorprendentes y fundamentales del Aikido, 合気道, es la proyección de energía vital, 気.
Se pude ver en videos de Ueshiba como con una mano sostiene un jo, 杖, contra el que empujan 8 o 10 personas y no lo pueden mover.
En mis años de práctica una vez y solo una vez he experimentado algo parecido a eso. Después de que salí del ITESM, por algún tiempo continué yendo durante la mañana temprano a practicar. Iba de 6:30 a 8:00 en la mañana y regularmente solo asistía un estudiante. Era tranquilo, de baja estatura y robusto. Practicaba con entusiasmo y los ataques, cuando le tocaba hacer de aite (uke), 相手, los hacia con mucha fuerza e intensidad, entre probándose, probándome, y tratando de ser honesto. Siempre terminábamos con kokyu-hô, 呼吸法.
Al practicar kokyu-ho, cuando me toca hacer de uke, 受け, normalmente hago un truco o trampa que consiste en mantenerme relajado y ofrecer resistencia solo cuando tori, 取り, trata de moverme. En aquel memorable día me senté relajado, en la actitud que los chinos llaman de los ojos suaves y tome las muñecas de mi compañero sin verme las manos y empecé a esperar a que tratara de moverme. Paso más tiempo de lo normal sin que sintiera ningún intento por parte del estudiante por moverme y caí en la cuenta de que estaba dando su 100 % por moverme y yo ni siquiera lo sentía. Justo en el momento en que me di cuenta de lo que estaba pasando, perdí mi concentración de la sorpresa y tori pudo moverme. Ni antes, ni después he logrado ese estado mental de ser inamovible.
Cabe aclarar que la proyección de energía no es puramente mental sino que por supuesto se manifiesta en lo físico. En ocasiones en que me toman muestras de sangre puedo controlar el flujo de sangre por mi brazo proyectando mentalmente energía a través de mis dedos.
Se pude ver en videos de Ueshiba como con una mano sostiene un jo, 杖, contra el que empujan 8 o 10 personas y no lo pueden mover.
En mis años de práctica una vez y solo una vez he experimentado algo parecido a eso. Después de que salí del ITESM, por algún tiempo continué yendo durante la mañana temprano a practicar. Iba de 6:30 a 8:00 en la mañana y regularmente solo asistía un estudiante. Era tranquilo, de baja estatura y robusto. Practicaba con entusiasmo y los ataques, cuando le tocaba hacer de aite (uke), 相手, los hacia con mucha fuerza e intensidad, entre probándose, probándome, y tratando de ser honesto. Siempre terminábamos con kokyu-hô, 呼吸法.
Al practicar kokyu-ho, cuando me toca hacer de uke, 受け, normalmente hago un truco o trampa que consiste en mantenerme relajado y ofrecer resistencia solo cuando tori, 取り, trata de moverme. En aquel memorable día me senté relajado, en la actitud que los chinos llaman de los ojos suaves y tome las muñecas de mi compañero sin verme las manos y empecé a esperar a que tratara de moverme. Paso más tiempo de lo normal sin que sintiera ningún intento por parte del estudiante por moverme y caí en la cuenta de que estaba dando su 100 % por moverme y yo ni siquiera lo sentía. Justo en el momento en que me di cuenta de lo que estaba pasando, perdí mi concentración de la sorpresa y tori pudo moverme. Ni antes, ni después he logrado ese estado mental de ser inamovible.
Cabe aclarar que la proyección de energía no es puramente mental sino que por supuesto se manifiesta en lo físico. En ocasiones en que me toman muestras de sangre puedo controlar el flujo de sangre por mi brazo proyectando mentalmente energía a través de mis dedos.
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