A $9) 95 20:35 TRADITIONAL ikido As taught by the Founder to the Author, Aikido is an extremely efficient and versatile martial art. It does not rely upon a weapon ‘or weapons but shows that the body move- ments are the same whether one holds a weapon or not. ‘The term riai means, literally, a blending of truths. By understanding Aikido through riai, one sees that the taijutsu. techniques were developed from movements using the sword. Therefore, training with the sword will develop taijustu technique. ‘The Founder said that a weapon should be used as an extension of the body. However, he stressed that one should not develop a dependence upon a particular weapon, To build this feeling, one should practice the basic exercises of ken and jo suburi, tai no henke, and kokyu dosa consistently. A good understanding of these basie exercises will ‘enable the practitioner to move smoothly and surely with or without weapons, Explanations have purposely been kept at 4 minimum to encourage the reader to use the book as a guide to developing under. standing through practiceAbout the Author Mr. Morihiro Saito was born in Tbaral Prefecture in March of 1928. In July of 1946, he met and became the student of Professor Morihei Ueshiba, the founder of Aikido, at the Ibaraki Outdoor Dojo in Iwama, He lived at the dojo and worked hard for the Founder even though he held a regular job. So complete was his desire to learn Aikido and his devotion to the Founder, that after his marriage, instead of a honeymoon trip, he left his bride to train with Professor Ueshiba, At the New Year Celebration in 1959 he became an instructor at the Main Headquar- ters Dojo in Tokyo. ‘Through his Sunday morning practices at the Headquarters Dojo, he attracted many students by his personal character and enthusiasm for Aikido, He became head of the Ibaraki Dojo in April of 1969 after the death of the Foun- der. Together with his wife, he also cares for the Aiki Shrine next to the dojo. In addition, he also regularly instructs at Kana- gawa, Ibaraki, Iwate, and Tohoku Gakuin Universities, the Miyzgi Branch Dojo and the Japan Self Defense Foree Army Weapons School in Tsuchiura. Other Aikido groups in Japan and from abroad also come to the Ibaraki Dojo for instruction. © 1973 by Morihiro Saito ISBN : 0—87040—266—8 MINATO RESEARCH & PUBLISHING COMPANY 1 Nishibe Seterskawa:c, Miato-hy, Toyo, pen ‘rst Printing : September, 1973 ted in Japan Elusive District 8A EG JAPAN PUBLICATIONS TRADING CO. (W.S.A.), INC. 1255 Howard Street, San Francisco, Calif. 94103, U.S.A.Aiki Shrine Ibaraki Ken Nishi Ibar fh FE YoshiokaFET BEL T frat RE AE AL Kee, AIRS AAAS, Rit OMIM eo: KEL CHAMMENS EOS, BAUS Eat 6 BOT BR COROT LO FOIL, MRAM IE, AS A 28 ASMA S & > CMa tA Oe, oe BIEROW TRG CT. WY. BARI FREY, MO DAE BINS LTE SMETAMRH SRT, ORME LG LOMIREAA, ORIOL) MOM EMR LPO MME NS EOS, BS CHIR LIMO FHL PALAIS “MOREA EIST L tb OD EMMOMA Th S..E TNEEOTT MIS "RIS CORRE CIRM MBH MIE OM DHT AS. A AGRLER CHRD abe at: BVPI STS MA, HEE 5 Bo EMER SELY THE BREWER L TORT, MARL I CAMS GROMMET IB Eit MEMO Coons’ so Tost. PBL APHIS HS CHE AT 2 2 ACI MEALS WOH 9 APL 6 ALIS MEA LAMAR HL, MILO HOM TIE BAL SHATOLMAERKO PBIB CH 1, HAL hoe eC, MO SHER S BRED TT, HERE WENN Zeb MALO We Le LH CiRORIL-F SL SRERIQON OREN 8, UAC> RACE BIC DE & ALC ALE UN BRIM “OTT MOA THAR MEME Lee te he, “HORI MORE HL TOR, £2 LOMREL SON, VOM M EMMA LOIN. 2 Bb nt boet. Mike, PAM CHL TVET. AMADROTESADNTHET. Jt ORM, MRR SRO. BAHKACOMOM MT, MOMMA LLTNITBAE DEE i OR T. FOBME, FITHOTASEVED IBC, HMEANFOOMM ot L ik ie aT eT ME Se EL Fb HCO ARIS £0, PLS ML CRY ME RE Me AES TRL Pe fia THERMAL ET. KD RCT HELM HOdT HOA EMM OMMAE NAC, OMS ETM BHO TSK motHEED Tez AGH A an + # Pa ee — MAREE D DARM OR EPA SAMA, ZOEKE LM OMe HIE, AL THF: ERACMEL, UO MIME MSS CANKER OTT AN TH, th zZ OM REMC HORS AMOS TLS IH, CPR) HORI SMILE ORAM do tb WMT) FI Bo CNET ARIE EE AIS Bo CH, Ree, ACHE RAEI 2 ea AUHB OD Hh A HOTEOPAE OTS. AMAA D 200 MS ARAN SMU e ZH RIt , Mie IN 230 BLE, BIE OAM — SL 5, FO AEE Oe WH RE MLO MBE Ric |r Lie el id, HEH ACEI te, ARM TR EAT Bc MEO MN HE EBLE, Lis et Ril, EP. eM eM CLO CHL ERO IGE LENO TB Oe Ie DRLEPEORREO A LIMO PAGNE RE EMD = +, Hari AERA SH LW BOTH, EOROA CI WHA ERENT) A ARBRE — oe DONE aE REF SBCL 25. AMA, MONTE emake, MATOS ES ABA (IM) 20H Se SEAN fi eH EL EAE i BO AE EME SAI eM SAI, ore 4 MART L bet WOO 2 DMG Ae BIE HE EO Ls DLC fe Lib eR, ROTA oo OL Lt 2) ih IS HE EI A OD HAL, MERCH EOMBORMERL PRACT. Bee 6 RE It 208 HD REM DTM A, TASC HN Sb OAD ET, We THER DG & 1S DM, HERE L COMBO EMIS LS HI CF HOI FOUTS tL ESRREE 1B GML RCRA ie PAE ROH REE Me, ALY OE DINE Ed SHO AA HEM HL ES AB TH. neat Fe He OK Bh eR GTUM LAE MEE HE He ERE OMY EL Ch oH Pe Be RIN ETL KANT, HEOMA ELI CLOARHEMS N, SMA D ME Pe cee Ce a ee a Bait, LE BREE Tie AID AIRE L TEMS TES, Mao EVA CLIT SREY LEMME NERA TLE, HD CHL, OHMIC Le eo AMEE MEN cTHeHEt. BEC WEMEL TH SIE CH M, COME. HAE SILT MEER > AE LE © UREA A HA CO BADE CHR LEjeLtBENSt, AMG TMD LU EMRE TBO ET, ROM, EOFs ROMA STOSALELAMEVRMLAE ET. K¢ Mahowi sp pH LST. =p©) Rega etapa > ¥eSeR Meedere Ar =e PAN o He Cre eC es | BVLEEW Ries g en Pombo Re 7 Setar Ke Woe KE Se pce ABMSRARTE AB Mementos of the founder on exhibition at Aikido Headquarters Dojo.Eh Ris SOAR + HRM OMIM & A A OIE CH, CRS EE SADE TSR LTR RG SEI AML EOL TH, EOwHlE BREE LTRCNS EDEL, MLE Oly TIE OBE em 2 SILELALAL WL, SAMEMPE LMSC E.R MMe Tie Oe AM DAU TCHS EMBO CHO ETH BOM EMM SHE’ HME LEIA OTM, WIS Few hI bo CHR Ok THRU RES EO EMO ET, RUE Ce COMO CTE ERO ER Th OMI B NMS BATS FECES. SALE SERN 2 B12 CPA SHAOH ABS SHEBIE, HAI URL CUMS SFI RCEWRU LALA, WMS LSMMOAED Sa, = MEI SETH te CRN EOC DFR ORE IO RATA OE HEBMOT SABC. RANCMEL PAS THC CH So UNM A OORT IS — Ret WL EIS ESRI, SM o ACE TE UIE @ 12 ba, ARS ER, AU OPES A BAGS SHIA Lae SIC BALL i +2 th, MRE EY LIL ES, HRI SI ERA TRE ORT Le WLI GY PRA (PFS A), MIR ITP So tHE F(R) OBI COME BALL EMSAM CT, Wine 8H on Ar OR SF aL le eo 25 AY A 26 ‘Wak 029945— 22 2 4Foreword This book intends to explain the fundamental relationships between the use of ken, jd, and taijutsu. It was written with the considera- tion that it should be used for actual practice. For this reason, there are many photographs to be used for reference and understan- ding of the techniques. Some explanation about the form of the technique and necessary mental attitude has been used to augment the photographs. A thorough understanding of basic techniques in the use of ken, jo, and taijutsu is necessary when dealing with many opponents. To stress this point, single movements of the basic Aikidé exercises of taino-henko, and kokyu dosa are explained. Therefore, the reader should pay particular attention to these basic exercises, since they are the basis of all Aikido movements. This book emphasizes basic technique only. A second volume on advanced technique will be published later. Recently, many foreign students have been coming to the Ibaragi Dojo to train, For this reason, the English text has been included. Since space limitations did not allow a more detailed explanation of the fundamental techniques, the author welcomes, from the reader, opinions based on actual practice. This book is dedicated in deep appreciation to the memory of Pro- fessor Morihei Ueshiba, the founder of Aikido. The author would also like to express his gratitude to the second Doshu of Aikido, Sensei Kisshomaru Ueshiba, the instructors and students of Hombu Dojo and Miyagi Branch Dojo, the photographer Mr, Sadao Hirata, Mrs, Takako Alexander who advised on the english translation of the text, and the editors of Minato Research Co. for their kind assi- stance and cooperation, August 3, 1973 Morihiro Saito Ibaragi Ken, Nishi Ibaragi Gun Iwama Machi, Yoshioka 26 Telephone : 029945 —2224Re e—*% B R XX (Introduction ) ve (The Combined Aikids System)» FEA ABH (Basic Method of Aiki Sword) 3% §% \) 3&(Suburi) Heth) —(7)- HOE SUH RDB ttiK (Partner Practice with Sword) &be—(1) bt) &be—(3) bt). #bt—(5) tbt—(6)- frbae—(7): Hoe A & jlentering Method) ---- JEMET & A ae SEDI 4 AALS (Mey PURELY ACTIN) ATV DAMA 1 D FB [é(Tai no Henko) Bl) + FEATDIBRA (Sword and Body R TEGHIT % WY 5 BEIT — Bek ($e) 0B) SEGHAT & WO HALT — ese (th BE) TEGWEAT & DUG BLL — BEAR (41) 3B) WF Y WU HIF — Petes suiL (ATID ) JET Fi L (1k) ‘IME & UY AF BEI (Fl 9581) WEMRIAT % DY LIT (KOHL) 6. OF MR F(Kokya Ho) PR (MBs: Tl SAS MBGK Basic Method of Aiki Jo) 1. FAIRY E 31M PBL Suburi B1a4t (31 Count Kata 4B (Suburi) (& OBB) (Thrusting Movements) (Lift &- (2) LR 8 (3) & (4) 8 FBG (5)22 & bBeiK L- (GQTSiAAMEB) (Striking Movements) (6); IAT + iA (TMT A 2 (8) dT 5 FBG L~ (Sif #87 ind 31 Count Kata) +8 115 (Ose fC HF CR FOB) (Wrist Movements) (DHF FB OOsseH ET (9 ERO FHL (A#%E L O88) (Figure Eight Movements) (O/H LAT 108 (SA Hi LR 8 + - 110 (OAH L ie +112 OO 7 L 54TH ~ 4 (974i L tA tv - 116 (GittiE L 8B) (Flowing Movements) (SAC HEA I LAT OA tet i Le ig2. BORK (Partner Practice with Jo) &be—() 122 &bt—{2)- 123 bt) 124 fbt—4) 125 &b+—5) 127 fbe—(6) 128 Sb 129 fbtt—(8) 130 #8MFA(Pictures donated py Aikidd Headquarters) ZG “1,3, 29, 36, 46, 76, 8, 131 “RE “4, 6, 10, 64, 77 “8, 9 36 FR WAIK(Glossary) --- Ke© ~BStsoUec PEASE ALI RUT AER TH B CH NTE NEDO OKT OMA SHAM EDS TOSEMTHLRZAN SHA, LA PROTA MDE THY, HOSMER EIRMTT HO ET, MBL E itr IELS A MEE Ie 35 OT HES TUBRTE, DEO MAHOMET SLBI = E ATE $4. Rb EB COMETS bt Ts BONN YI MIME: ILA eT BH LEGSEMMOE LOST, MEME Th GRIM MMS EW CIES LOCH), Git eH EX, PL ab BM SRM S = ELE HY FL 25, Mic UMMM S ba ET ANTRMMANS OPLBI CLES TH B— LMHRE LeTWSIL. MIEME HHS, LHI IMR, a= RULER bLASLOTHNET, WSGEERI OS, ALFAREM CNL EPEOMAOMBE, OAM WO WS ii ees Ce en ET ro ig ORB SE kt, =. Riai- The Combined Aikido System. Generally speaking, Aikido is known by its taijutsu techniques. However, the taijutsu movements are based on movements of the ken. It is difficult to separate those movements which are based on the ken from those which are based on taijutsu. Rather it is a harmonious blending of both that creates a single Aikido. In other words, both systems agree with each other. If one were to mix present forms of Kendo and Judo, for example, and expect the result to be similar to Aikidé one would be ma- king a mistake, Even when using the same ken, Kendo and Aikido are very different even though they may appear to be similar, It would also be very difficult to explain Kendo in terms of Judo and visa versa, Where then, does the difference exist between Aikidé and other mar- tial arts? Fist it is in the posture.When uke receives an attack , he must be standing in the back triangle. Second, uke must harmonize with the ki of his attacker. The incorporation of these two concepts makes Aikidé unique.PANS He > bRoCHON ELA, —MHOAIt, MFMROTAT Bo TR TEAOMIDM od, RODE SOL oH TS os Fo MIMAESHESLBIZE CEA, PRIMER SMLROT, WT BURIE L ITE Hie ME Abe MA RTS Pbtik, HAT. MUIR RIB Ho THE ETO STM ER DESH HET. MATA (= OM TMM OM A= & ARITA T CBE DE BA DHT HET. CREMP AM TRAST I OL IRMI ERT. Ee iE Aitt EBOTRAED IMPS, MUA ERAT SS CHI ST. BLED WR ERURPEATI MERLE SIS, CREM SNSREBH SATO WHS k GY, SAMAKOAMELMAICLECNEL YF. EHR, AX VME SOLA LMMRL TORT, BUR AGM ASFA ERD, ROME MATS LOCH ITH oR. SOL VBRARECIIEE b EO DARMOERTADET. Lob, ZORL ED HUST So SEL AMM © ET 2 IS NERA HAS RPE & 2 WHE I, PEP ICMLS TM Leo KAA, FORL S S—MIMKS StHAI. The back triangle stance, for instance, in the posture of right hammi, forms a triangle alongside the outside of the right foot with the inside of the left foot. The founder called this stance hito e mi, When standing in hito emi, it is possible to execute a strike or thrust without receiving a blowin return. In Aikid6, the second concept, the harmonizing of ki, has many possi- bilities. In practice, one tries always to blend one’s ki with that of the attacker. This enables one to respond in a less severe manner, without thrusting or striking, even when it is possible to do so. Partner blen- ding practices such as kumi-jo and kumi-tachi are done according to basic forms and their purpose is the development of harmony of ki. After basic techniques have been learned, applied techniques can be par- formed at any required time. However, some people feel that for the purpose of testing techniques it would be necessary to have a match of some sort. This is very dangerous because, in Aikidé a contest means a fight with a real sword. If a contest is held, rulesmust be made. The dangerous techniques would not be allowed and the range of applied techniques would be limited. Such a restriction would make the true aims of Aikidé difficult to understand and Aikido would become a sport. —19—BY BL RMD — 2 OMG EID Ds TIE ICICAA SABIE OA, MOM ETE FOMNEMM E CMM EES EDE MOST, Me tk AMDEN ELM PISMO SP EM dHIe, OPPS WX CHML TH’, EH Freee T LE Et. ED THAAD AY CHIC t MS Sot ee BRIE OTH EROS EME, DEST ER Eto TRIM GT. ME > OME TEAL Oe” RRR MS BBA K+ KE HV EFSCERSSLGEET. —HDMALBALEBATMIEET, ME MO ERD DEM. PRM EME L TO ROE SMT SABTT. The more present day Budo seeks a real peace and proves the spirit of universal love, the more severe the process should be to attain these goals, That is the world of Budé. Progress along the way(D6) is one of hardship resulting in everlasting joy and cherished human relationships. These are special rights given to students, and it is the duty of the stu- dent to accept the hardships of ken, j6 and taijutsu practice to actively further himself along the wa: To understand the combined Aikidé system is to realize that one is not dependent upon a ken, j6, or other weapon, Development of mind, body, and technique does not rely upon an armory, but on independence of action. If a sword is used, do not realize it as a sword, If using a jo, do not depend on it, but feel the common harmony in movement. The systemof ken, jo, and taijutsu are explained through the photographs. Their common features can be seen by careful examination. This proves the adaptability of Aikido to any situation. True understanding comes only through study and practice. It should be the desire of all who practice Aikidé to develop ki, body, and mind without neglecting daily practice. In this way, one can develop the true Aikidd Spirit.cf oe Sitting Bow1. FAR ARNE Basic Method of Aiki Sword 1. Rie Ow FRO REARHOBEMoLLOTHUNTE Et, MEDI MEB-EA NORE ARR THEIL, WEI) 1000 9 ROA > EIA) BE ORAR, PICA HVS HHH LMSM) ee otoeithnigeb ew CETHS, TOMA, MOMMISHI Mee cC Lies. KEIFSOLK EY, HREAOM A HEBIEGENTH S. Suburi Techniques The suburi techniques must be performed according to basic Aikido theory and philosophy. It is important that all suburi must be done with full ex- tension of ki. Several suburi done with full ki extention are much better than thousands done lightly. ‘The beginning posture must be in accordance with the back triangle (refer to figures on pages 25 and 49). The pommel of the sword is in line with the navel. This alignment makes movement forth and back and right and left easier.mx 4 Standing Bow 3a) —(1) Ao CRY ET, MoM CRITE BATILAKWTHS. HEARED HRY TH, MITE FLAME MEAP CHD MISO TCHS. First Suburi It is important that the sword be raised overhead and brought down in exactly a vertical line. As in all Aikido suburi, during the downward stroke of the sword, the hips must be solidly based.MAGMA Kamae(Refer to page 49)JER!) —(2) BEG CERISE D280 COMA ISBES Uta, FT HIAAIEMET a WHAvS Fle Jez) —(8) MORGRCHS, GRENSMEM ELEM, THOR ERUSE £5 CHRP FEMS ES. kT CE) MAT AG = Third Suburi This is one of the kokyd, or breath, techniqu back, the sword is raised directly overhead. This alignment allows the As the right foot stepsSecond Suburi The right foot steps back as the sword is raised overhead. At the same time,twist your hips to move your body out of the line of attack. As the strike is made, a step is taken with the right foot, and the right hip is thrust forward. universal ki to enter the tip of the sword and fill your whole body. As the sword is lowered backwards, hold your breath and settle your body in the side stance. The strike is made with a single exhalation of your breath.Feig) —(4) EMOTUMRAWTE, HOY AIA THe Riee thi & Dit Fourth Suburi aM, bb. This is a practice of body movement. The strike may be made with either a right or left step for- ward. As the strike is completed, the leading hip must be well turned forward.RoPOME Wears The Founder, Professor Morihei Ueshiba during practice 293ei& +) —(5) i VUE & MIBPRAT bik te Fifth Suburi Movement to either the right or left out of the line of attack is accompa- nied by a covering of the head and side with your sword. As the motion is terminated, the sword is brought down in a vertical strike and a step for- ward is taken,38, Sixth Suburi No matter which foot is forward, an instant thrust is possible. A strike with the right, for in stance, is followed by a thrust moving the right foot forward accompaning the thrust,sR!) —(7) BETH BIA TMB BE HEL THREW LTR Seventh Suburi A strike is made stepping forward with the right foot. This is followed by a step forward with the left foot accompanied by a thrust. 4 —TEMA MT OM MEP KR SMM BT BA 8 The Founder, Professor Morihei Ueshiba instructing a group of dancing teachers of the Hanayagi School at the old head quarters Dojo of Aikido, 1933.WYK "SMT tit HE Lae oie +S, A7NSM) = GENS BUOY CH DITO So HEY APO RAeKSHiFe ( . RS Holding the Sword Practice gripping the sword according to the strike exercise (Refer to page 45). This exercise is yonkyo, The sword is gripped strongly the little finger of the left hand. The fourth finger of the left hand holds firmly also. The other fingers of the left hand hold loosely. The right hand holds the sword in a loose manner.#0 BG SHR) Gripping the Sword MOSHE ted, Mental Attitude of Partner Practice withSwords. In Aikido sword practice with a partner, it does not matter whether you are the attacker or defender but how you blend your ki. The most impor- tant thing is to harmonize with your opponent.2. WORD AE HMPAE IAA CE RM G SETS COI ST. COMALHT BEE SAKE te BH EAEDRICBMT Partner Practice No.1 As your opponent performs a straight strike, slide your body to the right out of his line of attack and strike down, At the same time,move the left foot behind the right adopting the hack triangle stance with the right side of the body.Bbt—(2) Ret bt SAMRIME SIL Partner Practice No.2 As your opponent thrusts, rotate the hips and slide the body to the side striking in return,tk & WS Lz OM (LEAS), MFAGY drach CAbETASO TAS. KNM OW f&, Mv Ne LAD IEE ds 3 Partner Practice No, 3 When your opponent strikes, rotate the hips and slide the body out of the line of attack (or step forward). As the opponent lifts his sword to strike again, step forward blending with his Ki flow. This is the secret of “Tachi- dori’, or sword taking, and the basis of “Otonashino-ken”-the sword of no sound. “aBbt—(4) HAT 5 4h tu7 MLTR. ~ 42,Partner Practice No.4 As you strike your opponent, he attempts to sweep your sword down, Using his force, slide your sword under his, step forward, and thrust. bt —(5) Hewaezelab L, HY dar A, BMF OAFOM ACD TH HAS. Partner Practice No.5 Your opponent attacks with a straight strike. You move to the left. As he raises his sword to attack again, you match i his movement and strike.Bb+t—(6) HF OROM SE BLS WA AMOOAT Partner Practice No.6 A complete blending of Ki must be maintained with your opponent. Another name for this technique is Kimusubi-no.tachi, or the sword of uniting Ki. Bbt—(7) RODS EMEOMBE TO SM, HERA DORA As TMSPartner Practice No.7 As your opponent raises his sword to strike, restrain him from striking by projecting your sword against the underside of his forearms. Enter deeply to his rear, face him, and strike down.47(Rae 1) THERLARATAS, COMMS DBRS, WHT OM 2 OTH OMS MRI H), MOMS SMFS Wit, WATT HIE HEC (te) MHWL. MeVHSc cick heme doe. REGEMML Tee MOVBY)RHMFORS to bt SHETH LIZA Kamae In Aikido, Figure 1 is the basic posture, In this posture, movement to front and rear or right and left is possible. The photographs on the next page show two possible movements toward the front on the right and left side. (Oral Instruction) ‘The rotation of the hips determines the movement of both feet, The movement of the bead determines the movement of both hands. However, the hips move before the feet. Do not be aware of only moving the feet. It is good practice to rotate the hips to evade an opponent's thrust. 49-HS MADSOME Hito e mi The typical movements (Basie Stance) from Kamae.3.A 5 & SBD He CUTS METH SE. WB WB 50), MMR ERT AIL ED Ml ¢ He B96 SASHA EA Oth Hh Bente (Af) ANAS Ble b ome Mrowes, RO RI Ris se 9 (Aft) MmSBREHIAT HeSeEL “ADE Berner Irimi_ Technique This was considered to be is a secret technique to escape from multiple attackers. The other nane for this is “Yamabiko-no- michi", the path of an echo. As you extend your Ki, the Ki of your opponent will return to you like an echo. However, you do not receive your opponent's Ki because you have instantly moved past him to his rear. (Oral instruction-an old poem taught to the student) Brandishing his sword, My enemy in front Prepares to attack. But behind him, 1 am already standing. (Oral Instruction) Many enemies Surround me In attack. Thinking of them as one, I do battle. s1——6—ERT SARK FU LOR CH FOB AY ® BI PM SA, MOET HAM PCM Uta Shomen Uchi Irimi Nage Draw out your opponent's Ki and enter deeply to his rear. Having close contact with your opponent, throw him by rotating the hip as when striking with the | sword.JEDIT A SHR (BK) Hil B (SRE Ae HORE Shomen Uchi Irimi Nage (Sitting Technique) Same as the standing technique.BRIT, TENTED ME BCMEIS AE} Pht & Ras Body movements when confronted by an op- ponent who is continuously attacking with yokomen uchi and shomen uchi. S[efe Tes]= O[2T3 pO OKT Re hbe, TS FLLMFOAT EH . HFOE to WL THY Bae), THT Kokyu Nage (Tachi dori) Let your Ki blend with that of your opponent. As his strike is beginning down, grasp his sword hilt and lock his left elbow over your right arm. Lift your arms as if raising a sword and then strike down,OPRF (ATHY (RA) Kokyu Nage (Tachi dori) (Tsuki) BEEADB OMA HF ORRE TMT SERVIC MED LCS. ULAMKES EIGER fet CHE OMS BO 9 KC OTHS, The Mental Attitude of Sword Taking If you let your opponent influence you, it will he difficult to respond easily to his attack. Ratherlet him feel that he can attack you nd then lead his Ki in any direction you wish.4. th D ZB ny Tai no Henko(Method of the Sword) OE ie WEG RFE & OAR b MIE OEE, (FOB) (Method of the Body) —6a(FRY ) 7 (Katate Tori) Tai no Henko If you are gripped by your left hand, do not let it cross over your oppo- nent’s center line as you turn or you will receive his strike. (MOB) (Method of the Sword) 1} 2]}35. Mi) « ARANDA Sword and Body Relationship EMTS OBR — KK (SDH) WR LOKRED dL, MR CHREWS. Shomen Uchi Shi-ho-nage Omote waza (The Method of the Sword) Evade attacks from front and rear. Cut Your opponents in front and rear in one breath.rt eet EMT SOARS —Kik (kh BE) “aH “VN, MERI O23 PRICHIT ENP RATAS EBT SOAR — Be (KF) =a Shomen Uchi Shi-ho-Nage—Omote waza (Method of the Body) Do not throw your opponent by passing under his arms which are holding you. Throw him by raising the sword up Shomen Uchi Shi-ho-nage—Ura waza (Method of the Sword) —er—WFR) BRAT — Fete Ryo te Tori Shi-Ho-Nage—Omote waza WY (SMIHFRY)EMTS FKL (KOE) AU PRIIRY AAT TR ME. Hi RE BY Se He BS WWI OE iff) # oy, BES Shomen Uchi Kote Gaeshi (The Method of the Sword) In the case of being attacked from front and rear, the right foot takes a sweeping step to your rear, ,and you cut your opponent, who was at your rear, across the abdomen, ‘Take a large sweeping step with the left foot and strike the wrist(or face) of the opponent now in front of you. 70DEDBLA How to Turn the Wrist eR 4F» Lt | Begin closing your grip geLoeniey Lx» | With the little fingers of us esoke = | each hand. Your right 6. HFM FOE hand blends with the back Oise ct opal nmJEM HT 45k L (ho EE) Shomen Uchi Kote Gaeshi (Method of the Body) 2PMAIT SOAR (fH) Yokomen Uchi Shi-Hé-Nage (Method of the Sword) —%MET SOAR eA L CHF FEMABTBAKI, HECRYAAB REA SS TOBE, MHS HEOAFE MSR L, MAE CHE OID 5 he EM0SSL, EOFTMEOEEMEWARFERLS,. ERED TAD A IAPR) 2 » RAM) FATIH ZONE, AREAS $<. BRSG OTH TIZOH EL,34 Yokomen Uchi Shi-ho-Nage In the basic technique, as the opponent strikes with his right hand, your right foot slides to the right side, and your left foot takes a large sweeping step back, At the same tim, your left hand comes down on his right hand, and your right hand cuts down at an angle from his shoulder grasping his wrist. As you twist your hips,the left hand grasps your opponent's and you advance your left leg forward. The hands are raised as if lifting a sword straight up, the body is turned,and the throw is accom plished by cutting down as with the sword. The left leg is swung alongside his body. Do not throw by withdrawing the right foot.MHS RH The Founder, Professor Morihei Ueshiba ="§—MGM HERA GEA — Aikidoshu, Professer Kisshomaru Ueshiba6. FF mh KH MOR) 230 LEMMAS Kokyu-ho (Standard) This is the same technique as raising a sword over the head. 79 —OR i (MH) POW SAAT UY, OEE EY Hh CHIC HE de as NTHS » DAUR & He 5 Kokyitha (Sitting) As if you are holding a sword, part your hands, and lift both arms up forming a half circle. This develops your breath power.81Il RARE Basic Method of Aiki-Jo1. RENE L31OM (Suburi and $1 Count Kata) M31 > te The 31 count Kata B Xin EO [R&D (1)m@ ea Thrusting Movements RADKATHD Choku tsuki This is the basic thrusting movement.(2) RL RS MEDORA EH HL {. (1K. FAOSM) Kaeshi Tsuki When your opponent thrusts, you step to the side and bring the jo up in a cireular thrust. (1ST movement of the 31 count kata)Ushiro Tsuki Place the jo along the underside of your forearm and then thrust straight to the rear.Count (4) R& FRGEL MHI LIEFS, Tsuki Gedan Gaeshi It is important that the mavement be made oa with a strong hip turn, 88(5) R& EBHEL (F4@, OFM Tsuki Jodan Gaeshi (4* and 5t movement)3 & © ® Count [LT bAADE] Striking Movements (6) EMITS As 8) OHA) —(2) SIR Shomen Uchikomi This movement is identical to the second suburi with the sword. 92—os —BR ees ceases cern geteessosrne dec eee oO Count (7) BRUT SAA (F4 ©, ©, ©, ©FH3 @ Q Count Renzoku Uchikomi (5%, 6t, 7%, 8 movements)(8) HITS FBGRL ($4 ®, ©, OSE) Menuchi Gedan Gaeshi (15, 16", 17° movements) —962 & @- Count (9) MIT SRRS (BR smCount Menuchi Ushiro Tsuki Refer to ushiro tsuki—100(10) whHRT Re & MRAM CHS Gyaku Yokomen Ushiro Tsuki The rear thrust is the same when done from either right or left sides, (Refer to ushiro tsuki) 401 —i ee reriee ceerentetsertteteeseruenet ster snseer ce cong Count [HF ORB] Wrist Movements () HF FBGEL EIR COM, BREAKS (MLOO FH OMNES 102Katate Gedan Gaeshi Draw the jo fully to the rear. Take a large step forward with your right foot and sweep from below to up over the head. 108(2 SMA FITS HES UI SBORT Bo Toma Katate Uchi This is used when it is necessary to strike at a great distance. 104Count (3) HFADSEL AOI IAA, PME RSD (TSE Katate Hachi no Ji Gaeshi This strike is shaped like the number eight. It's purpose is to develop limber wrists in training.107Be gta Gi eeseateie fs t¥erreesste rsh teneeeh Tasty patch gecnesehOn a = Count DAE LBB] Figure Eight Movements (4) A#8iR LIT ea LC ALS 2 IE IT 2. [Hasso no kamae 108Hasso Gaeshi Uchi Turn the j6, assume Hass0 no Kamae and then strike your opponent's face. 109 —Hasso Gaeshi Tsuki From Hassé no Kamae thrust to the front. —10HORE RH ERC Hasso Gaeshi Ushiro Tsuki From Hassé no Kamae thrust to the rear. (Refer to ushiro tsuki) 2BA @. Count (7) ABE LRATS MEOW D bkKe OY, ETO, Hasso Gaeshi Ushiro Uchi From Hass6 no Kamae turn the hips and strike to the rear. Do not move your feet. ~neCount BOM (2 BS Return to the beginning stance 15 —(18) AGEL ABIL MHOWEL D DIKERITIS UB, HEEKE CD Hasso Gaeshi Ushiro Harai From Hassé no Kamae turn the body, take a large sweeping step with the right foot, and make a sweeping strike. 6(iit LOB] Flowing Movements (19) AE sta LTS Hels Wa) S HIN A OBE Th B. Hidari Nagare Gaeshi Uchi Turn to the left and strike. This is an exercise for improving body movement. 11800 Awetie LS Ail Mal } fea A OAc Migi Nagare Gaeshi Tsuki Turn to the right and thrust. This is an exercise for improving body movement.i 2 ais E2. MORSE (Partner Practice with the Jo) Bbt—(1) Fa®@. @. ©: Partner Practice No.1 (3°, 44, 5! movements) —199 —Sb+t—(2) (F4O, @. OFM) Partner Practice No.2 (1", 2", 3° movements) 193 —Bht—(3) REF RELSH Partner Practice No.3 (Refer to Tsuki Gedan Gaeshi)fbt—(4) (iHiAT FPR L SHR) Partner Practice No.4 (Refer to Menuchi Gedan Gaeshi) 195MFO E oR SC Partner PracticeNo. 5 As your partner thrusts, slide your body to the right, sweep his jo down strongly, and thrust.Bhbt—(6) ($40, DSM) Partner Practice No.6 (10, 11 movements) 138 —Sbt—(7) MPORE LMCI TRS. As your partner|thrusts, move to your left side sweep his j6 down and thrust.Sbt—(8) Abt Partner Practice No.8 When your jo is swept down, flow with the movement, come up from under your opponent's j6 and thrust. 130 —RA MERC A The Founder, Professor Morihei Ueshiba with his wife. —181Glossary of Japanese Words Used in the Text ~~Harmonizing of Ki Training hall Gedan Gaeshi “A circular movement with the j6 aimed at the lower part of the opponent's body. Gyaku Yokomen «+--+ Aside strike at the right side of the opponent's head. Hachi no j ~ A movement based on the shape of the Japanese chara- cter for eight. A movement intended to sweep an opponent's sword or j@ away or down, Also applied to a movement of sweeping the opponent's legs from under him. Hass6« ‘A posture where the j6 or sword is held vertically at the right shoulder. Hasso Gaeshi ~A movement from the basic stance to the hasso posture. Hidari -~ ~ Left. Hito e mi -- Same as Ura Sankaku. It literally means making the body small. Ho » Method. Irimi -- “Entering technique. Jodan Gaeshi +++ A circular movement with the j Part of the opponent's body. aimed at the upper eshaAround stick usually of oak about 50-in.long and 1-in. in diameter. Kamae posture Kata - “ Aseries of movements designed to teach form and basic movement. Katate Tori --++Wrist grab. Ken ~ Japanese sword. Also bokken —a wooden sword used in practice. + The vital force of the body. Through Aikids train- ing, the ki of a person can be drawn in increasing amounts from the universe. In practice, ki is dire- cted before body movement takes place. Ki Musubi- ‘The uniting of one’s own ki with that of the opponent. Kogeki ~ Attack, Kokyi + Breath power. ‘The coordination of ki flow with breathing. Kote ~ + Wrist. Kote Gaeshi « ‘Athrow made by an outward turn of the opponent's wrist. Migi ~ Right. Moro Te Dori Agrasp of the wrist by both hands of and opponent. Nagare Gaeshi--*++--+ To make a strike to the front and then @ strike or thrust to the rear in one flowing movement. Nage- “A throw. Omote- “The attacker's front. Renzoku - -Continuous. —133 —Riai- The relationship between methods of using the ken, 0, and taijutsu. Sensei Teacher. Shomen uchi “Also called men uchi, Astraight strike at the head with the hand or ken. Suburi “Asingle movement using the ken or j6 done as a solo practice. Tachi - “The japanese sword. Tachi dori ++ Techniques of taking an opponent’s sword and throw: ing him. Tai Body. Taijutsu” “Body Arts, The techniques of Aikidé done without weapons. Tai no Henko -----+The basic blending practice. Tanren Uchi +A practice for developing the hips. Usually done by hitting a bundle of branches with a bokken. See page 47. Toma + ~-Agreat distance. Tuski ° Uchi: Uchikomi «--ssee---0+4 To take a step forward and strike. Uke « ““Aperson who receives an attack. The opposite of Kogeki. Ura - ‘The attacker's back. Ura Sankaku:-- “+The back triangle, stance, see hito ¢ mi and page 49, Ushiro. Uke's back. Waza ~ «Technique.[mm] |e ae | SM AH «th - home (H—-%) ser WUBI HT I MAO O 1 SR 8 AE aLORe- mein) R % William F. Witt, prom OF A ol RE ae IRIS NM) Rit FM Ke Rim e+ — + KS tt MOAB HE SM AOR Me NT ae HW 03(501)92468% = SEM 105 Ae MCL 83028 eh | is eee RAK RD O17 MORIMROSAITO — WT -ATOMUBMY RAVE LET, (om) 007s (3) soa