Be Cla ge OR Lg ee aeDC $9.95 20°38 TRADITIONAL As taught by the Founder to the Author, Aikido is an extremely efficient and versatile martial art. Tt 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 A good understanding of these basic exercises will enable the practitioner, to move smoothly henko, and kokyu dosa consistently. 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 Ibaraki 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 Kar gawa, Ibaraki, Iwate, and Tohoku Gakuin Universities, the Miyagi Branch Dojo and the Japan Self Defense Force 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 2 Nihitsbo Sslarsiawa: sho, Minto, Toye Japan First Printing : September, 1873 Printed in Japan Buelsive Distributor in U.S.A. 8 Canada JAPAN PUBLICATIONS TRADING CO. (U.S.A), INC. 1255 Howard Street, San Francisco, Calif. 94103, U.S.A.Aiki Shrine Ibaraki Ken Hea i 25 Ibaraki Gun Iwama Machi Yoshioka AH ELihei_Ueshiba, the Founder of Aikido 41st 7RNB T anne HE AL BOS, RS AMARA, SAUL OME Ee HE LTR IMMENSE OG. BA MHES Ed EBT BRETT EOI OR, BARROMR. ARE Ae BICALE & > THR MeO, ORE HERO THRO STH. RO, BEL AHR’ HOR DRG eBNe LTRS BERGADBH STH, FORME AD LOMIREAM, SUMO ED ROME EELS MME NS EOI, Be GRUMRHO LICMUAEE ES TL ED BAH MOME SKCRL RE & OMERMOMS THE. .cEAELOTT. BIS “AKAT CARR AIL RS, MI EHO SMCS, SRY Tho PWT COMM ERLE S HI, SRE FICS. EERE OE LOTR SHrBS REL TOET. MEGAMI RY T—MNK SROMMIEH ET SBS, MEMOS OL Lo TOS Te RL, ARP CME RET SRA CASE CT, ARIS PRARIS HBF O EBD EAICM EMA HME, MOM A GROMTIEBAE BoA CME RR OAM CMON, MAE AONE LC. HOMEMMS SHEVA TH. WIC Aid ANY MH 6 fia Hae Lak Lae IS BAAD L AE 2 fe HEAT 208 HOMIE EB ik, MAM OES CHE SI OAS HES MNS BLD OREOTT. MAL OIE CRIM ORE LTO EAM, “PLOMCAMORELH LTS. HS COMEL TIO, MOMMEMMTSEY SAM ROEM, LEDNALOTT. REE, SSHRC THRU TOES, SRADRWELSRENTOET, I ORE. CRESMO RO BMEOMOMT, MOM ee THIEBATwIOe BSOMRTT. TOHAL, TI CHeCALHVEVIRT, ARE AOFOOMM (2. (SSI LER RE BME STOEL ED. BA AIS 0, BALM L TRONS BET eID Y Ba, BO dt DEAMR 2 TREROELET. HOR EVAR OMM ALOR. LOR MMAR E THEO S BH OT EK Rot.HEBD = tig ARBRE Oe _ < ee Ba ke WRX ARF O ARROW ESA IRA SARA, TOBA LLMOMSS phic, EL CEFIS Y MEMEE LL. SHORE RSH EoD THA, SA, Marzo REMC BOWKSAMOSTLE Dd. (7m) LEW, LOM MGB AA eos AMT) FFB THIET FIC AAMT UAE LE) hoe BOTH, BE, CABS EIR 2 MTERBO HC B2CEOMAE Bo TB. FMGEM D BOCA SASEALIONT SMU d Z OMEREIS , MERA SMO, GE, BIC ARERB—TL 2. TORRE ATMS Ee Hi, RL HK EAM MRMCOMME RIC SHS LE TVEL. Mit, PHC PRAPKC UR, RECMMLET SG MBOMMNEGLET RO, MARIO Sic, RG, BH ASM e TORO CRE SAOABERREH THR a, it ORL EPEORAMOA LIE, SAUER WHO =e MEM ERT 2 6 MOWCH. KORDA’ DARE E MO DTS, BRIM tO OER REFORCL IG, AO, RAMP OL CRON, Mens es s5 CHO TH BETA, (WA) SES FE e o£ 1h A a = HEATH M2 MAE SATO AS BEE | Oe DRAM L LET, MSA MA E DMD EU THE Lo NR, MROM OME F WMO W EERE HLL, WH ORCL EOMBOBMERL (BRAMTH. BAL MMe eR Oe REDD FOAM, MAREMMES LODAD AT. TI EMO THROWER DM, KEEKE LCOREOREMMS ASME TH OOK L ROBE Re RAEN SEAM ICORMRLC SAMRTROG EUR MEEOET. 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MM ioe Tne Tbe ABEVAMCH SI LAMBODLTHOAT A, ZOMEMMTSBIED Has LRINS KORA, HRS LSM bo Conc ee TEER Cake Rost, AYA CS TURACRAE BY Ra Ch BIB ENMARAT OTE THEO RT. HURIUM 2 hia CT 8 SHADH AWS, THEME, HAR ERA CHRKGS ETEK EMMURL ELA. MME SRMOREGE Bo MHEG SACL EC RNALOTH), SOW LAER OME REBT SABCH. SACL, FAS CH CCR S > cE se RN RE PLES CR, CHER bo HONE MME AES bb, RES AS, BM RB OBS ANSE S OMBIOM Law OM ¢ BALL ES +. Hh. BR eR LP AREER RC CMD RS ATES ORT LR YT Fa Cy ERA BTS A), ASI BOTT PS 2 EY FER) DRM LT OIE 6 BALA LELU SAE CT, ra 404e% 8 i 38 AR aL ‘eA Te A TW 20 ‘Was 02995-2224Foreword This book intends to explain the fundamental relationships between the use of ken, j6, 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 formof 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 taimo-henko, and kokyu dosa are explained. Therefore, the reader should pay particular attention to these basic exercises, since they are the basis of all Aikidé 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 Dojé 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 Déshu of Aikido, Sensei Kisshomaru Ueshiba, the instructors and students of Hombu Dsjé 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 Tbaragi Ken, Nishi Ibaragi Gun Iwama Machi, Yoshioka 26 Telephone : 029945—2224e—# B R FR 3X (Introduction) ----------- HAI OVC (The Combined Aikido System)------ FLA AAIIE Basic Method of Aiki Sword) 1. 38 HEY F(Suburi) sei —(0) Hei» —(2)- 2. MOH tK(Partner Practice with Sword) bel} 3. A FKlEntering Method). SEIT + Ag RY SET & A Se IY (aoe) 54 BRIT (AT ATR OABR 4. 4% MO B [Tai no Henko) 5. Sil + AAFOIBS(Sword and Body Relationship) EWM + RT — BA MOD 65 TERY OH RIF — Beth (12) “66, ERT + WG -BR (MOH) 66. WFR) HRT — Bee 68 wae.SETH % Fi L (1 DB) « EMT 4b FiRL (ATI )~ JEMST 5 FB L (ROB) ‘RAAT & LALIT (HOR) AH 6 HRT (AOR) 6. DF OR i (Kokya Ho) pO (MEE) - Tl ASABE asic method of Aiki Yo) 1. SRY HL 81M #L(Suburi and 31 Count Kata) 31a (31 Count Kata). 8 ~115 3640 (Suburi) (3% O%8) (Thrusting Movements) (ie & (23a La (Dik EIT BIA (8) aT 4 Fea L (OVHAT BRE (Oseerpem se & CHEORS) (WM OAS FBR CDR aT OSA OF (AA8E LOM) (Figure Eight Movements) Wai LAT + OS AHBE LR 8» (6) AH L238 t Movements) (itt. LOEB) (Flowing Movements) (Sar Bit 3 LAT OA RHI LR2, BOAbteH (Partner Practice with Js) HBR Pictures donated by Aikido Headquarters) ee POEL: 1, 3, 29, 36, 46, 76, 82, 131 IhAwes: 4, 6, 10, 64, 77 it Re 8,9 f % RH (Glossary) =is—HSL IT APLAR ER CH BCBG LETHE NTH RTO ZOHKT ORANeMAMED ETHEL RCHLRLADECA, UL ARH ME THY, HORRMEACARM TH DRT. MOMe AMM SRST BHA-RE Po TOBRTEF. DS ORAOMAI—-UTSEEI © Ew Bd. 2b Bo CRT ONT SMILE RM SMB REA be Te ARCHSEMBCKSOST, MEME TLAAMOMMS CM THSS VOTH), WHERE VFNPS LMAERMT SOE RAMETH D BLEG. RED TEMMOCEwEASF. ZNATIRMBOREOMEEI TLE kDa, BW MEL THSIL, BIEMEH SES. LRG DIMI EERE CREE LP BEDTHVET. MBRCBIMA, MALSRS MIL AEAOMADES, SEO RSS OWRSMERREE RCCL EROST. LEIS HED AHH BE Seiceo ad. = Riai- The Combined Aikids System. Generally speaking, Aikidé 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 Aikidd. 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 Aikido 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 Kendé in terms of Jud 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.RHEGMic— He t beh OnELA. —HHoOFla, HFHRe Tat VATE CETOMEMS HT, RCE RMTOCL MHC TSAR HVE Vo BIORESHESEEI OL TH A, SMM RRO ML RE ET DIRE GTA Hie ME RSLS HES DET. @btik, MKD, MRA Ho THE STH BNTCREA DTA BETH. SEARO |S OU EM OM Ste & AISI OT CREO EBLENT OES. CART AM CREE CEH CT, Me eniremitl KBATREER IS! RAMA ERRT SY StH RT, BLED De EIR ETI CE EIS, RE MON SRGBH ONTED MRRTE CCI, ARUMRROAMEEARITELeIELIG. THIER, AX—y~MRECSLESOMARL TET. PRR PM ERD, LOMMEMRTS LO THAI SAB, BUL CHEE IEE be SRO TH DET. LOO. ZORLEO PIERO RL OAM EME SU, BRE SA ONL ER ORS 5. EPMACRS TR - eho kBH, toMLES—BBASE BTAAI. ‘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 hitoe mi. When standing in hito e mi, it is possible to execute a strike or thrust without receiving a blowin return. In Aikids, 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 aless severe manner, without thrusting or striking, even when it is possible to do so, Partner blen- ding practices such as kumi. 6 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 érue aims of Aikidé difficult to understand and Aikidé would become a sport. —19—Bil H+ HAD — 2 OB l2 Ve TBI Shs eat, MRM RITE TOMER E CBM REUSEOLAO ST. Mh KOEN END ote Ae b ore Mb nik, OFECME HX THML TS) LE Gree totlL eat, SU SHSAT AR CHRME EME NSO LEMME RLAT. SRM BY TH MEROS EI, LER T SRM E MSRM, “A ETH bY, Heo TKEBML A" RAIS FS RE WD EGSCERSSLME ST, —HOMALEL LBS EMCST, ME MO, REMY, LEM, SRUMMMSERL TO ERO ESRTSAATT. The more present day Budd 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 Buds. Progress along the way(Dé) 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 way. To understand the combined Aikidd 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, j6, and taijutsu are explained through the photographs. Their common features can be seen by careful examination. This proves the adaptability of Aikidé to any situation. True understanding comes only through study and practice. Tt should be the desire of all who practice Aikids to develop ki, body, and mind without neglecting daily practice. In this way, one can develop the true Aikidé Spirit. —20 —areht NH Sitting Bow1. AAR RANE Basic Method of Aiki Sword 1. Rie FARO RAAABOMEM Dh UNTEUNET SE, BLEI OHM ORBLE RRR) ChS 2k, BRE) 100A) ROA REY A ORO, BIH SS sik (WA EMSM) eb oThanigeben CECHS. TOMA, MOMMPBC BRM LEeS. REITSCEK £9, MREAOMEASRLEOTHS, Suburi Techniques The suburi techniques must be performed according to basic Aikidé 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 3m) —(1) BoB CRE, RoR CCA SBATCLHAMTHS. BEARD FRY Ti, MEMS TLAMCBEKPTLEELBU SN THS. 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.ACME) Kamae(Refer to page 49)35% ) —(2) BRESO CKEBIIRY PS. COMCFIME US. WHLARET FTHRLEIETS. SHR (3) Hom CHS. GEE SMEM ERMC, SHOR SAE BC TRALEE SS, Bebo TMBML CH) —MEMSRLSE. Third Suburi This is one of the kokya, or breath, techniques. As the right foot steps back, the sword is raised directly overhead. This alignment allo. rt OL N\ \\ \\ ws the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.SR) —(4) RAOTAO RMT, Boe BIB THEGNEL SED, iil & OBIE TH So Fourth Suburi ‘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.RoPOMH Bears The Founder, Professor Morihei Ueshiba during practice388) —(5) ABCEVRT EMP CAT SIA CE, Fifth Suburi Movement to either the right or left out of the line of attack is accomp: 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.3) —(6) EAVFTRORAWT OAD, BE WHITH Bo (AiR CH SLAG CRC) 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, eg3B) —(7) BRCHEAARBEL SHEL THEREMLTRS ofes| fojsa! ls 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.TEL HST OR PETS Seu IB Bm 8 e The Founder, Professor Morihei Ueshiba instructing a group of dancing teachers of the Hanayagi School at the old head quarters Dojo of Aikido, 1933.BU "SHRAT it OWED Lote t oS. 47H SM) CORES BORO CHT bi TS. HED EPO ME EBC LL, HS PRTC RAEN EMABF ERA 4. (KK) 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 with 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 F (HBR) Gripping the Sword AOSHtH SREOMO SHE, MOLE, BVSLEC LS dNHEO CALA HE, MELMMELSLILT SIL HKMTAS, Mental Attitude of Partner Practice withSwords. In Aikidé 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, —33—2. MOGDRME Sbet—(i) POT BAA THEA, ACRES TECHN BAT. COREEET Bape + SMCAREBRORC BHT 3. 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 back triangle stance with the right side of the body.fbt—(2) Re ty bes REI RE CS Partner Practice No.2 A's your opponent thrusts, rotate the hips and slide the body to the side striking in return.&bt—(3) FSIS NHIGES DT RE ALS (RAS), BEAD DANIETOR KAbETASNTHS. KDR OB fa, MOLAR L OMOAMETA 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 “Otonashinoxken”-the sword of no sound.fbt—(4) WHS thd HRA, Horn EL TRC.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. Shit —(5) FERALEL PDL, BERD DE BHF OLFOMSESSETH EAS. Partner Practice No.5 Your opponent attacks with a straight strike. You move to the left. As he ri his sword to attack again, you match his movement and strike, Sige.fbt—(6) MEOAOW ELE HHS, WA RU OKT Partner Practice No.6 ‘A complete blending of Ki must be maintained with your opponent. Another name for this technique is Kimusubino-tachi, or the sword of uniting Ki. fbt-(7) OPK SMEOMBLE Fa bi L, KEM A OBH IAS THS.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. | Partner Practice No.7 | j“ESET 5. firme —4—Bw A ARNCRERIVEATAS. COMA SOMMER, MRKAAHEET bd, KAOSEM, MHAHAOHEOMTS 3. (O%) ME)omsrw@e 50, MOMs RMTics 9. AL. MEVRSLEC LV REMO TOL, RRTERML TEES Boia) RHFORS EP HLSBETHNITAY. Kamae In Aikidé, 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 head 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,— 8S BAD SOME Hito e mi The typical movements (Basie Stance) from Kamae. =o8.A RK FESO Mer DTH SETH S. WA WB OI, CBvr, LHAMEBT TL BOM < ho RAE filo THB. WL, TOME IH HF ORAL Uo THEDTH be (Df) ADRS Hi dsr eMvRS, MOBIC RA WS) 1} (Atk) MSBREMIAT KESeS Anke Borers 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, I am already standing. (Oral Instruction) Many enemies Surround me In attack. ‘Thinking of them as one, I do battle.=59—ERWSA SRY MEOA CHO LE CAL FORHCAVMFE SH BRS, MOM DAAOR PCH E Uta THT S, 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.EMT SAS (BR) Pe RTE EC THB. Shomen Uchi Irimi Nage (Sitting Technique) Same as the standing technique.BURA, EMITS OR MBOR IT 8 Hil S of Body movements when confronted by an op- 1 ponent who is continuously attacking with yokomen uchi and shomen uchi. [ale Ee Is4 clipeBRT OPORIET (ATID ) Reebet, UTEP LEMEOKNI ERY WFO FOC EL THD PaO, SPST. Kokyi 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,WPREAT (KT )(B8 2) Kokyi Nage (Tachi dori) (Tsuki)ATR!) Oi A MEOKRE RMT SE RUAUD IED LCS. ULATRES LIER $96 CHFORE ROM ICBC OTH, The Mental Attitude of Sword Taking Tf you let your opponent influence you, it will be 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. 1K DB iq Tai no Henko =@re;(81032) (Method of the Sword) DEA WON ERGAEL OH LARD b THIS WCEMZ ie, : (OH) (Method of the Body)OF ERY) 12f3] (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. (OEE) (Method of the Sword)eee ench- 5. Hi) + PMN OBEE Sword and Body Relationship ERT + OAR RK (RIE) Bithir b OSE nb L, IPL CHRE DS. Shomen Uchi Shi-hé-nage Omote waza (The Method of the Sword) Evade attacks from front and rear. Cut your opponents in front and rear in one breath. —6—EMN SOAR — (KOR) Ho TY BHF OMMD Te ¢ CSRERU TEV IT EO, MER Pao TH ENTHS. EW] SMART —RR (ROB) “al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-hé-nage—Ura waza (Method of the Sword)WFR) BBS — RX Ry6 te Tori Shi-Hd-Nage—Omote waza BWIA (FMIHFR ) eeeERT 65K L (ROH) RRM CIT > TERRE A REMSRHOMELY, ARE SATA -hF(H) eT 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 eut 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. —10—ENS FKL (ATR) DEOELA RF BFE BA He L oP 0B LH 3. BF RHEOGE NBS btS. How to Turn the Wrist Begin closing your grip with the little fingers of each hand. Your right hand blends with the back of the opponent’s. agePed ees EMTS FRC (1h BB) Shomen Uchi Kote Gaeshi (Method of the Body) PET eTT?| Pees] i! 12) ay | S25) olo|sfo [eo Is]MET SOAR (MOH) Yokomen Uchi Shi-Hé-Nage (Method of the Sword) —B—RET SAAR HARE LCHPFORFEMSETHSC, BRCRUASER EA (BAC. OME, KASEF CAFORF EMAL, MBCEFCHEO AD FD RO BSAL, CORCHFOREHEOMARFERLS, ERC TAD PAC ALRIMED OD, RHLMOTSTRMERS, TOR KEIRA Y 51, BRE TRFTEG EO.Yokomen Ushi 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 time, 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. aBh hs eS The Founder, Professor Morihei Ueshiba =SUE WME ARA FA — Aikidoshu, Professer Kisshomaru Ueshiba)=a6. FF Wk MOM) PHD LEC MRTH So Kokyd-hé (Standard) This is the same technique as raising a sword over the head.FOR Ge (Meu) ROBY RAP, MBAR EH < BECHRY ds 9 WERE HED NCHS. Kokyitho (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.2 AHS (rd)Tl AAR RIE Basic Method of Aiki-J6 —s3—1. FHM e 31 OA (Suburi and 31 Count Kata) B31) Xe The 31 count Kate Bs) LO ‘Suburi [2 & Oi] ) me & ‘Thrusting Movements Choku tsuki BENEKTHS, This is the basic thrusting movement.(2)BLRSA MERE EPL. (21M, FADS) Kaeshi Tsuki When your opponent thrusts, you step to the side and bring the jo up in a circular thrust. (1ST movement of the 31 count kata)Qa ® & HEUVLMPRVBHERAMT. Ushiro Tsuki Place the j6 along the underside of your forearm and then thrust straight to the rear.-87—(4) R&S FRGBL CHI EIETS. Tsuki Gedan Gaeshi It is important that the mgvement be made with a strong hip turn.(5) RS LEEL (S4@, OFM) Tsuki Jodan Gaeshi (4% and 5 movement) =tr—=—9=—[FT bAAMM] Striking Movements (6) EMIT 5A (Sos) —(2) BEB) Shomen Uchikomi This movement is identical to the second suburi with the sword, imeeS(7) BiuT Sas (B®, ©. ©, OFM)Renzoku Uchikomi (5, 6, 7%, 8th movements) gg(8) HITS FRR (44 ®, 8, BFR) Menuchi Gedan Gaeshi (13%, 16", 17° movements)(9) HIT SRRES (RRESR) ==Menuchi Ushiro Tsuki (Refer to ushiro tsuki)—100 —(10) se ame ee Be & RSGEEML TH S.(KRESM) Gyaku Yokomen Ushiro Tsuki The rear thrust is the same when done from either right or left sides, (Refer to ushiro tsuki)[H¥ FOR] Wrist Movements (1) AF FBGRL METI CEE, AREKE (LOOP RSG EMD, —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. — 103 —Count (2 SMARTS HRS RUG EBAET 3. Toma Katate Uchi This is used when it is necessary to strike at a great distance. —104 —AODPCA SIA, FHERS Ye TOMTHETAS. Katate Hachi no Ji Gaeshi This strike is shaped like the number eight. It’s purpose is to develop limber wrists in training. —106 ——107[AMEE L #8] Figure Eight Movements (1) AGE LTS REGAL CBI HEA TE E4T >. (Hasso no kamae) ine —Hasso Gaeshi Uchi Turn the j6, assume Hassé no Kamae and then strike your opponent’s face. =e —Peery Count (3) AMIEL RS OWE ® RM Hassd Gaeshi Tsuki From Hassé no Kamae thrust to the front. —10——1m—Count (0 AME L RRS AMOW A DEH ER Hass6 Gaeshi Ushiro Tsuki From Hasso no Kamae thrust to the rear. (Refer to ushiro tsuki) —12—Hasso Gaeshi Ushiro Uchi From Hass no Kamae turn the hips and strike to the rear. Do not move your feet. —14—Count FEM OMA IRS Return to the beginning stance(18) AASB L BAILS MOWL POKER ODI, HREAE (OBO THEI. 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. —116 —(iiitak LOEB] Flowing Movements (9 Zeit LTS AILS (RIMS OMETH 3. Hidari Nagare Gaeshi Uchi Turn to the left and strike, This is an exercise for improving body movement. ==00) Atri LS BES KMS OBRETA S. Migi Nagare Gaeshi Tsuki Turn to the right and thrust. This is an exercise for improving body movement.2. MOR d aE (Partner Practice with the Jo) Partner Practice No.1 (3°, 4%, 5 movements) —12—ht—(2) G4®. ©. OF") Partner Practice No.2 (1*, 2", 3*4 movements)Sbt—(3) RETHRELSR Partner Practice No.3 (Refer to Tsuki Gedan Gaeshi)Sbt—(4) (HiT 5 FEL SR) Partner Practice No.4 (Refer to Menuchi Gedan Gaeshi) iefbet—(5) AEE DL HEOIKE Bh ¢ HOBELTRE. Partner PracticeNo. 5 As your partner thrusts, slide your body to the right, sweep his jo down strongly, and thrust. 197 —fbt—(6) (340, OF") Partner Practice No.6 (10%, 11 movements)Bbt—(7) MFORE ERM ISH TRS Partner Practice No.7 As your partner|thrusts, move to your left side sweep his jo down and thrust.bt —(8) Boro ETRL TRO ERK. Partner Practice No.8 When your j5 is swept down, flow with the movement, come up from under your opponent’s jo and thrust. —190—HA MERA t RR The Founder, Professor Morihei Ueshiba with his wife.Glossary of Japanese Words Used in the Text Aiki “Harmonizing of Ki Doj 6+----++-Training hall Gedan Gaeshi--- + A circular movement with the jo 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 ji“ A movement based on the shape of the Japanese chara- cter for eight. Harai +A movement intended to sweep an opponent's sword or j6 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. Hass6 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. He + Method, Trimi « Entering technique. Jodan Gaeshi --- - Acircular movement with the jd aimed at the upper Part of the opponent’s body. 132 —“Around stick usually of oak about 50-in.long and 1-in. in diameter. posture - 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 Aikidé 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. Kokya - + Breath power. The coordination of ki flow with breathing. Kote « - Wrist. Kote Gaeshi ° ‘A throw 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 a strike or thrust to the rear in one flowing movement. Nage- +A throw. Omote - +The attacker’s front. Renzoku -* --Continuous.‘The relationship between methods of using the ken, 6, 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 jo 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. ~-Agreat distance. --Athrust. + A strike. Uchikomi “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 e mi and page 49. Ushiro -Uke’s back. Waza -- Technique.