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24.01.2022 TRADITIONAL JAPANESE CULTURE: "The tale of Urashima Taro" Second Episode A vast square, wider than the whole of the fisher's village, led to a sweeping stairway that took the travelers to the door of a majestic palace. Servants stood aside and bowed low as the turtle led his guest into the throne-room.... The turtle and the fisher knelt and bowed before the richly-robed king. "Is this the fisher who saved you?" asked the king. The turtle raised his head and replied, "Yes, Majesty." "Come, fisher," said the king. "We have prepared a great entertainment for you." Urashima Taro raised his eyes. The king turned to his right and said, "My daughter." A beautiful young princess rose from the throne below and to the right of the king. Her many kimonos blended the colors of all the fish of the coral reefs. Her sleeves reached the tatami. Her long hair like black silk was crowned by a royal headdress. She bowed as she turned to Urashima Taro. He, in turn, fell to his knees and pressed his forehead to the tatami. "My daughter will be your guide," continued the king. The princess said, "Fisher, helper of the wise turtle, follow me." The princess and the fisher ate delicacies from the best chefs, Urashima Taro rose and followed the princess. Together they visited the sea creatures, both those the fisher knew from home and others more wonderful than he had ever imagined. Together the princess and the fisher banqueted on delicacies brought from the seven seas and prepared by the best chefs. Together they read from the old scrolls. Every day lobsters and crabs played the biwa and the koto. An octopus played the taiko drums. Dolphins, whales, and squid danced while tuna fanned the princess and her guest. The sights, sounds, and tastes were beyond any the fisher had ever experienced in his life above the waves. He lost track of time as he listened to strange music, ate royal delicacies, and read the tales of the old ones from the sea. TO BE CONTINUED...

24.01.2022 THE PRINCIPLE OF KI First part Who would learn Aikido must first know. To go through the motions of Aikido without knowing Ki is like a dish prepared without seasoning: it has form and appearance but is neither salty nor sweet. There can be no true understanding of Aikido without Ki. ... The name Aikido itself means the way of coordinating with Ki, and in daily Aikido practice, such expressions as, "pour forth Ki," "leading your opponent's Ki," "do not draw your Ki inward," or "do not stop the flow of Ki," are used constantly. In Oriental thought, the idea of Ki is not difficult to understand, but in the English language, the equivalent word is hard to discover. It begins with the Ki of all nature and permeates our daily lives right down to the veriest trifle. Let us here take up the principles of Ki. The sun has been burning for a long, long time. If it is burning now, it must have begun burning at a certain time. If we are asked, what was there before that, we can answer only that there was nothing there. Now we know that something cannot come out of nothing. We must conclude that although there was seemingly nothing there, there must have been indications of the presence of something from which came the sun. The same way with the earth, the moon and stars. In the beginning, the heavens and the earth must have been in a state of extreme fluidity, without color or form. There was nothing there yet there was something there, you might say. This state we call Ki. Many call it God; others call it Buddha. And still others by other names depending on where they live. Take a piece of some substance and divide it into two. Continue dividing the halves into two indefinitely. Theoretically, you can continue the process and you will never reach zero. There will always be something to cut into two. 0 X 1 equals 0. 0 X 100 equals 0. If you reach zero, there is no way to return to your original 1. But as long as there is that submicroscopic piece of matter that is almost but not quite nothing, there is the possibility that it can join endlessly with like submicroscopic pieces of matter to form something. If we accept this line of reasoning, we can accept the theory that the heavens and the earth were formed by the endless joining together of infinitesimally tiny pieces of matter. TO BE CONTINUED...

23.01.2022 Aikido techniques are based on spherical movement. Harmonization of ones movement with universal movement is the essence of Aikido, and the display of that harmony can be extremely beautiful. lrimi coupled with clean, smooth movement lies at the core of Aikido techniques.

20.01.2022 TRADITIONAL JAPANESE CULTURE: "The Mirror of Matsuyama" First part In ancient days there lived in a remote part of Japan a man and his wife, and they were blessed with a little girl, who was the pet and idol of her parents. On one occasion the man was called away on business in distant Kyoto. Before he went he told his daughter that if she were good and dutiful to her mother he would bring her back a present she would prize very highly. Then the good man took his departure, m...other and daughter watching him go. At last he returned to his home, and after his wife and child had taken off his large hat and sandals he sat down upon the white mats and opened a bamboo basket, watching the eager gaze of his little child. He took out a wonderful doll and a lacquer box of cakes and put them into her outstretched hands. Once more he dived into his basket, and presented his wife with a metal mirror. Its convex surface shone brightly, while upon its back there was a design of pine trees and storks. TO BE CONTINUED... See more

19.01.2022 TECHNICAL NOTEBOOK: YOKOMENUCHI IKKYO URA As your partner executes a yokomenuchi strike, step diagonally forward with your left foot, assuming gyaku hanmi to parry his strike. Extend your left arm against his lower forearm to block his forward advance, and simultaneously execute an atemi to his face with your right hand. Align the toes of your left foot with the toes of his right foot.... Grab your partner’s right elbow with your left hand and his wrist with your right hand. Place your left hand on his elbow and pivot swiftly to the right rear, applying even pressure on his arm with both hands. Pin his arm at a right angle to his body. In ura techniques, parry the strike from the gyaku hanmi position. In this way, you will be able to execute a rapid and effective technique. If your partner is strong, do not parry his attack, but rather let it flow past you. You must use basic movements in order to control him well. You won’t be able to blend with your partner if you stray from the basic movement. You must adopt the proper distance and position with respect to your partner and practice correct basic techniques. If you do the technique rapidly, you will be able to sweep the power of a strong partner past you. Foot positioning is essential to the basic ura form.

19.01.2022 THE GREAT MASTERS: FUKIKO SUNADOMARI SENSEI First Episode Fukiko SUNADOMARI ( ) was born on May 9, 1914. She was also called Fukiko Sunadomari Sensei, the only woman who personally received the 6th Dan from the Founder; Fukiko was the sister of Kanshu Sunadomari Sensei and the monk Kagemoto Sunadomari.... Born into a family of faithful followers of the Omoto religion , she is the younger sister of Kanemoto SUNADOMARI , monk and student of Morihei UESHIBA from 1928 and elder sister of Kanshu SUNADOMARI , uchi deshi of the founder from 1941. Towards the end of the 1930s, Fukiko began practicing martial arts by studying the naginata Jikishingake-ryu, a weapon similar to a spear with a curved blade. The study led by Hideo Sonobe , considered the greatest expert on Japan and naginata n ommée Shihan in 1926 by Dai Nippon Butoku Kai . SONOBE Sensei had met Master UESHIBA in 1939 , during a demonstration in Manchuria and had been enthusiastic about his art. She ran a private school and a dojo in the setagaya district of Tokyo and granted special permission to her students who wished to take aikido classes. TO BE CONTINUED...

19.01.2022 THE GREAT MASTERS: FUKIKO SUNADOMARI SENSEI Last Episode In the mid-1950s, the first female practitioners joined the Aikikai Hombu Dojo. Fukiko is one of the first to occasionally live with boarding students (uchi deshi).... In addition, Fukiko Sunadomari sensei held the role of Fujin Bucho ( / Head of the Women’s Section) of the Aikikai and was responsible for the inner workings of the dojo and in the affairs of the Ueshiba family. Fukiko becomes the confidant and personal assistant of Master UESHIBA. The latter personally assigns him the grade of 6th dan. In 1969, after the Founder's death, Fukiko carried outextensive research to help his brother Kanemoto write the first authorized biography of Master UESHIBA entitled " Aikido Kaiso Morihei Ueshiba ". In the mid-1980s, Fukiko wanted to pay homage to the memory of the Founder. To this end, she sells some calligraphy that O Sensei had given her to finance a small votive temple in her memory in the city of Kumamoto. Fukiko SUNADOMARI passed away on May 1, 2006 in Fujisawa, at the age of 92. Although little known to the general public, Fukiko SUNADOMARI is an important figure in the history of Aikido. She was one of the first instructors of the Hombu Dojo and the only woman who received the rank of 6th dan directly from the Founder.

17.01.2022 TECHNICAL NOTEBOOK: SODEDORI IKKYO OMOTE From gyaku hanmi, when your partner grabs the sleeve of your training gi at the elbow, step off the line of attack to the left while executing an atemi. Grab his right hand with your right hand ... and twist your hips towards your partner. This will cause him to release his grip. Place your left tegatana against your partner’s elbow and twist your hips, taking care to keep your elbow low. Unbalance your partner by bringing his arm in front of your abdomen. Take a large step diagonally forward with your left foot, moving his arm forward and down. Pin his arm at a right angle to his body. In sodedori, since you are not able to grab your partner’s hand, place your tegatana againsthis elbow and twist your hips fully. Then grab his hand.

15.01.2022 In Aikido, employment of the hand-swords is primary. Based on the principle that the sword is an extension of the body, when a technique is applied the hand-swords move in unison with the body. In Aikido, breath-power manifested through the hand-swords is very important. Functioning as one, breath-power and hand-swords give life to all the Aikido techniques.

09.01.2022 THE GREAT MASTERS: NOBUYUKI WATANABE SENSEI Last Episode This is a part of an interview that was published in a collection of interviews with students of the Founder published in Japanese as (Profiles of the Founder) in 2009. It originally appeared in the August 2007 issue of Gekkan Hiden ( / Secret Teachings Monthly), a well known martial arts magazine in Japan....Continue reading

08.01.2022 THE PRINCIPLE OF KI Second Part Whence came man'? He was born of human parents. If we continue to ask, "And before that?" "And before that?" we conclude that man, too, is part of the creative process of the universe, the endless joining together of infinitesimally tiny pieces of matter. So we call this state Ki. And the heavens and the earth, man and all substance of every kind was born of Ki, and returns to Ki. Even if it did not return to Ki, in itself it is part of the ... universal Ki. We might say that man himself is a mass of Ki surrounded by his body. It is as though a man in the ocean surrounds water with his arms and says, "This is my water." Since he has surrounded the water with his arms, he may be right about owning the water but from the viewpoint of the water, it is always in a state of fluidity and it is the ocean's water. Man might claim that he is leading his own life yet it is well for him to remember that his life is a part of the universal life. If this truth becomes truly a part of a man's conscious being, then only can he claim to be at one with the universal Ki, and then only will he have attained the eternal life that is beyond mortal life and death. So long as a man is alive, he must continue to receive universal Ki in a smooth, ever-flowing stream. When Ki flows smoothly, you feel alive and strong. When it is sluggish, you begin to feel indisposed and even ill. As the flow of Ki becomes progressively more sluggish and finally ceases altogether. the body faces death and disintegration. One who receives universal Ki and lives can improve the stream of Ki he receives by himself sending out Ki into the universe. This keeps up the constant intake and outflow of Ki. In Aikido, the training at all times stresses the pouring forth of Ki, never of drawing it in or stopping its flow. Let your Ki flow out at all times and you will not only be active but your health will improve and you will feel alive and grow stronger. How does one bring forth Ki? Since one's own Ki is part of the universal Ki, one has only to let nature take its course, allowing Ki to flow constantly in and out, so that one's Ki is at one with that of the universe. This sounds simple but we have all become so accustomed to stopping our Ki or pulling our Ki in that it is extremely difficult to let nature take its course. It becomes necessary to change our habits so that we may at all times be able to pour forth Ki at will. TO BE CONTINUED...

05.01.2022 TECHNICAL NOTEBOOK: KATATEDORI GYAKU HANMI IKKYO OMOTE From gyaku hanmi, when your partner grabs your left hand, open your fingers and step to the side with your left foot while simultaneously executing an atemi to his face with your right hand. Change to right hanmi. Place your right hand on top of your partner’s wrist and begin to twist your hips powerfully to the right.... Bring your left hand to his elbow and complete your pivot to unbalance him by bringing his arm in front of your abdomen. Enter diagonally to the left to take down your partner. Lower into a seated position and pin your partner’s arm at a right angle to his body. When your partner grabs your left hand with his right hand, open your fingertips and move your left hand and left foot together to the left. Draw your right foot into a right hanmi and simultaneously execute an atemi to your partner’s face. Use your atemi hand to grab his right hand from above and bring your left hand to his elbow, twisting your hips. As in ikkyo omote, thrust your left foot forward in a large motion to unbalance your partner for the pin. It is not necessary to apply nikyo pressure since the technique is ikkyo. Simply pin so that your partner cannot move. Instructors should clearly make this distinction between ikkyo and nikyo.