Handbook

INTRODUCTION TO MARTIAL ARTS – AIKIDO HANDBOOK

The following handbook is based on the Aikido of San Leandro Aikido Handbook, written by Pat
Hendricks and used with Permission. Pat Hendricks Sensei is a 6th degree black belt instructor of
Aikido. Pat Hendricks started her Aikido career in Monterey, California in 1975. She founded her
own dojo "Aikido of San Leandro", in 1984 and today attracts students from all over the world.
Since 1977 she has traveled frequently to Japan for extended periods of time to study with her
teacher Morihito Saito Sensei, who holds the highest rank possible in Aikido. Saito Sensei has been
regarded by many has the foremost authority on Aikido as taught by the founder, Osensei. Saito
sensei recently passed away and his presence is missed by all. Pat Sensei is one of the highest-
ranking women in the world for Aikido and respected amongst all types of martial arts. She conducts
seminars in the U.S. and abroad,, works regularly with community service projects and conducts
special training sessions for groups such as the police and secret service. Pat Sensei holds the highest
degree possible in Aikido weapons certification. In addition to Aikido, Pat Sensei is a certified Yoga
instructor and passionately studies nutrition, holistic health, meditation and the mind-body
connection. Pat Sensei allows live-in, or “uchideshi” students at her dojo. For more information
about Pat Sensei or the uchideshi program visit her dojo on the web at:
http://www.entertrain.com/aikido.sanleandro/.

Pat Hendricks Sensei

THE FIVE PRINCIPLES OF AIKIDO

as taught by the founder Morihei Ueshiba

1. Aikido is the path which joins all paths of the universe throughout

eternity; it is the universal mind which contains all things and
unifies all things.

2. Aikido is the truth taught by the universe and must be applied to

our lives on this earth.

3. Aikido is the principle and the path which joins humanity with the

universal consciousness.

4. Aikido will come to completion when each individual, following his

or her true path, becomes one with the universe.

5. Aikido is the path of strength and compassion which leads to the

infinite perfection and ever-increasing glory of God.

(note by J. Sullivan: the reference to “God” by Ueshiba Sensei is not necessarily a
religious reference as much as a spiritual reference, as he believed in many forms of
Gods and did not feel that Aikido belonged to any religion).

Introduction to a History of Aikido

The following text was taken in part from:

http://www.jinjapan.org/museum/aikido/about_ai.html

Aikido is a relatively new Japanese martial art with historic roots. The term “Aikido” can be
translated as “the way of blending with harmony” [“way” refers to the Zen component of Budo].
Aikido concentrates on immobilizing holds and twisting throws, causing the attacker's own
momentum and strength to work against him.

Aikido is derived from Jujutsu, the same system of weaponless self-defense from which Kano Jigoro
developed Judo. However, Aikido is considerably different in its incorporation of manipulative
holds not included in judo by Kano. While judo's main techniques are throwing, grappling, and
attacking vital points, the Aikido student concentrates on deflecting blows and checking offensive
attacks by meeting, rather than blocking, a blow, and redirecting the flow of an opponent's ki
(energy force), dissipating it, and then using joint manipulation (wrists elbows or shoulders) to turn
the opponent's ki against him until he is thrown or pinned.

A martial arts devotee trained in sword and spear techniques named Takeda Sokaku (1860-1943)
was the first to develop the techniques of Aikido’s forerunner, the Daito Aiki system of jujutsu.
Ueshiba Morihei (1883-1969), was considered to be the best student of Takeda and is credited with
the subsequent modern systematization of the martial art known as Aikido. Ueshiba Sensei, know
throughout the Aikido world as “Osensei”, developed Aikido based on Takeda's teaching and his
own extensive martial arts training, as well as religious experiences as a convert to the Omoto Shinto
sect. Osensei used the philosophy of the Omoto religion to add a component of peace and harmony
to a formally brutal martial art. Osensei felt that Aikido was a means to improve one’s spirituality
and promote peace on this earth by learning to blend with one’s opponent. Osensei’s Aikido
received public recognition in 1959, after Waseda University adopted Aikido as part of its physical
education curriculum.

Upon the death of Osensei, Aikido splintered into many different organizations such as Yoshinkai
(Shioda sensei) and Ki society (Tohei sensei). The student to have spent the greatest amount of time
training with Osensei was a man named Morihito Saito sensei. Saito sensei took over the Iwama
dojo and became caretaker of the Aiki Jinja (shrine) adjacent to the dojo upon the death of Osensei.
Osensei’s son, Kishomura, took over the main dojo in Tokyo refered to as headquarters or “Hombu
dojo”. Hombu dojo remains the worldwide headquarters of Aikido and is currently run by Osensei’s
grandson, Moriteru – refered to as “Doshu”. Saito Sensei has recently passed on and the Iwama dojo
is currently run by his son Hitohiro Sensei.

Students training in Aikido practice training forms on an opponent, alternatively taking the roles of
attacker [uke] and defender [nage]. Because of this style, there is fundamentally no competition in
Aikido, only demonstrations. However, ranks are attained in a process similar to Judo.

Aikido is extremely popular both in Japan and overseas since it does not require great physical
strength, and can be practiced equally effectively by women and the elderly.

An Aikido Chronology

1883

Aikido Founder, Morihei Ueshiba is born December 14 in Tanabe, Wakayama
Prefecture, Japan.

1900-1920

Founder studies several schools of traditional martial arts.

1919

Meets O. Deguchi of the Omoto Sect in Ayabe, Kyoto.

1921

Kisshomaru Ueshiba (the second Doshu) born on June 27, in Ayabe.

1927

Founder moves to Tokyo with his family and begins teaching the "Way of Aiki" at
Shiba Shirogane, Tokyo.

1931

Opens Kobukan Practice Hall in Wakamatsu-cho, Shinjuku - site of present World
Headquarters.

1940

The Aikikai Foundation officially recognized by the Japanese government.

1940

Construction of outdoor practice facility planned in lwama - machi, Ibaraki
Prefecture.

1942

Name "Aikido" adopted; Kisshomaru Ueshiba named Head of the Kobukai
Foundation.

1943

Aiki Shrine at lwama - machi, Ibaraki Prefecture erected.

1947

Reorganization of the Kobukai Foundation into the Aikikai Foundation.

1948

K. Ueshiba becomes General Director of the Foundation's Headquarters dojo. In this
year the organizational base is laid for Aikido's subsequent growth.

1959

First issue of the Aikido Newspaper published.

1960

Founder receives the Shiju Hosho Medal.

1967

Construction of the new Headquarters Dojo begun; the City of Tokyo recognizes the
Aikido School; the Founder gives a demonstration in celebration of completion of the
new dojo and this proves to be the Founder's last public demonstration.

1969

The Founder passes away on April 26, at the age of 86. He posthumously receives the
Zuihosho Medal; K. Ueshiba assumes the title of Aikido Doshu; commemorative
demonstration given at the Budokan.

1974

International expansion stepped-up with the financial assistance of the Japan
Motorboat Racing Association. Headquarters chief instructor, K. Osawa, tours
Southeast Asian Aikikai organizations on a Friendship Mission; Establishment of
annual mission to Hong Kong, Thailand, Malaysia and Singapore. Establishment of
International Aikido Federation (IAF) and Ueshiba Doshu is named lifetime
President.

1976

Establishment of All Japan Aikido Federation; first General Meeting of the IAF held
in Tokyo-attended by 400 representatives from 29 countries.

1977

15th Annual All Japan Aikido Demonstration held at the Nippon Budokan with more
than 1000 participants -- established as an annual event.

1978

Second General Meeting of the IAF convened in Honolulu. Ueshiba Doshu and 2
others travel to South America. Moriteru Ueshiba and two others dispatched to the
Middle East by the Japan Foundation; thereafter an occasional event.

1979

First All Japan Children's Aikido Session held at the Nippon Budokan established as
an annual event.

1980

Two instructors dispatched to Papua New Guinea by the Japan Overseas Cooperation
Volunteers and annually thereafter. 3rd General Meeting of the IAF held in Paris.

1981

50th Anniversary of the establishment of the Aikido Headquarters celebrated at the
Keio Plaza Hotel.

1983

100th Anniversary of the Founder's birth celebrated at the 2lst All Japan Aikido
Demonstration and the Keio Plaza Hotel.

1984

IAF becomes a member of the GAISF.

1987

The Crown Prince and Princess of Norway visit Hombu Dojo.

1988

5th IAF General Meeting held in Tanabe, Wakayama Prefecture, Japan.

1989

Aikido demonstrated for the first time at the 3rd World Games held in Karlsruhe,
West Germany.

1990

First students from Bulgaria and Soviet Union attend 1-month seminar at Tokyo
Aikikai Headquarters.

1991

50th Anniversary of the Aikikai Foundation and 60th Anniversary of Aikido Hombu
Dojo celebrated at the Keio Plaza Hotel.

1992

6th IAF Congress held in Taipei.

1995

Kisshoumaru Ueshiba Doshu receives the Zui Hosho Medal from the Japanese
government.

1999

Kisshoumaru Ueshiba Doshu passes away on January 4, at the age of 77.

1999

Moriteru Ueshiba assumes the title of Aikido Doshu.

2002

Morihiro Saito Shihan passess away on May 13; son Hitohiro Saito Shihan becomes
director of Ibaraki Aikido and appointed keeper of Iwama dojo and Aiki shrine.

DOJO ETIQUETTE

Dojo etiquette is important for many reasons. Generally etiquette is designed to increase awareness
and maintain safety. Following proper etiquette will allow you to benefit and enjoy training in
Aikido, to create an atmosphere of mutual respect among the students and teachers, and provide
safety. The following are some of the essential rules of etiquette that are followed in the dojo.

Upon entering and leaving the dojo you should do a standing bow towards the shomen.

Bow towards the shomen when stepping on or off the mat.

Class is begun and closed with a formal bow towards the shomen and then the Sensei
(Instructor).

You should be on time for class, preferably early; but if you must be late please bow in
alone.

During the class the instructor should be addressed as Sensei.

Before beginning and after training with your partner, they should be thanked with a
sitting bow or standing bow depending on technique. Traditionally all bows are done
sitting, the same also when the teacher gives you instruction.

Please remove all jewelry and keep your toenails and fingernails short.

Make sure your feet are clean before stepping on the mat.

Wash hands before and after training.

Aikido is more than just a physical form of self-defense. It is a physical, mental and spiritual path for
growth and development; therefore the greatest understanding is gained when each motion is done
with your whole body, mind and spirit.
Bowing is a form of paying homage to Aikido, O' Sensei, the dojo, Sensei and your training partners,
and it is the spirit in which it is done that gives it value and meaning. A bow done simply out of
habit is but a hollow shell.

GLOSSARY OF AIKIDO TERMS

PRONUNCIATION KEY

The pronunciation of Japanese words is very simple in that there are only about fifty

syllables in the entire language. Consonants are usually pronounced as those in

English. The vowels are pronounced as follows.

A -

"ah"

as the a in father

E -

"eh"

as the e in net

I -

"ee"

as the i in marine

O - "oh"

as the o in oboe

U -

as the u in rule

AIKIDO -- ai means harmony or coming together; ki is spirit or energy; do means a path or

a way.

AITE -- one's training partner. [Lit., reciprocal or together (ai) hands (te)].
ATEMI -- punches and other sorts of strikes to your partner's unguarded areas, designed to

distract and to weaken the defenses and/or balance. [Lit., a strike (ate) the body (mi)].

AWASE -- to blend or move together. For example, partner practice with weapons may

be done either "stop-start" or awase.

BOKKEN -- a wooden practice sword. There are many different styles of bokken. [Lit.,

wood (boku) sword (ken)].

BUDO -- the path or way of martial arts. [Lit., the way (do) of neutralizing aggression (bu)].
DAN -- a black belt ranking such as shodan, nidan, etc. [Lit., level].
DOJO -- a training hall for traditional Japanese arts, including aikido and other martial arts.

[Lit., the place (jo) of the way (do)].

DOSHU -- the official curator of the art of aikido. The title means the master or owner (shu)

of the way (do). The present Doshu is Moriteru, grandson to Osensei and son of former

Doshu Kisshomaru.

GI -- traditional uniform, usually white, worn during the practice of Japanese and Okinawan

martial arts. Also known as a dogi.

HAKAMA -- a traditional Japanese divided skirt. The traditional Japanese equivalent of

dress pants. More durable types of hakama, usually blue or black, are worn for martial

arts practice. . In aikido the hakama is usually worn only by black-belt holders.

HANMI -- a way of standing in aikido so that the feet form a "T-stance" and the body is

turned at an angle. AI HANMI (harmonious hanmi) is when partners each have the

same foot forward. GYAKU HANMI (opposite hanmi) is when they have different feet

forward. [Lit., half (han) body (mi)].

HANMI HANDACHI -- techniques executed from a kneeling position against an attacker

who is standing. [Lit. half body (hanmi) half (han) standing (dachi)].

HAPPO GIRI -- an exercise with the sword in which you practice turning the hips and

cutting in at least eight directions. [Lit., eight (hachi) direction (po) cutting (giri)].

HENKA -- variation. [Lit., unusual (hen) change (ka)]. For example, henka waza are

variations on the way a standard technique is completed.

HIDARI -- left. For example, hidari hanmi is hanmi with the left foot forward.
IWAMA -- a small town northeast of Tokyo. Also refers to the dojo where Saito Sensei

teaches "Iwama-style" aikido. O-Sensei lived and taught in Iwama during much of the

later part of his life.

JIYU -- free; unstructured. For example, jiyu keiko (unstructured training) and jiyu waza

(free techniques).

JO -- a short staff, being about as long as the distance from the floor to just under the

armpit.

JO DORI -- staff (jo) taking (dori) techniques.
KAESHI WAZA -- counter techniques. [Lit.,. to turn back/return (kaeshi) techniques (waza)].
KATA -- pre-arranged sets of movements either with or without weapons. In aikido two jo

kata are commonly taught. They are called the thirty-one jo kata (sanju ichi no jo) and

the thirteen jo kata (ju san no jo).

KEIKO -- training in a traditional Japanese art like aikido, flower arranging, tea ceremony,

etc. [Lit., contemplation/exploration (kei) of the old/traditional (ko)].

KEN -- a Japanese sword, usually curved. (See also BOKKEN).
KEN TAI JO -- a weapons partner practice involving the sword (ken) against (tai) the short

staff (jo).

KI -- a difficult to define term, roughly translated as spirit, energy, mind, intention, etc. The

character with which it is written is a pictogram representing the vapors rising from

cooked rice, and eventually it came to mean invisible movement/unseen force/spirit etc.

KI is an important concept in much of Chinese and Japanese philosophical thought.

KIAI -- a loud shout accompanying the execution of martial arts techniques. [Lit., the

meeting (ai) of energy/spirit (ki)].

KIHON -- basic techniques, as opposed to flowing techniques or variations.
KI NO NAGARE -- techniques done in motion, as opposed to those done from a static

position. [Lit., the flowing (nagare) of energy (ki)].

KOHAI -- a student of relatively less experience or rank. See also SEMPAI.
KOKYU -- [Lit., breath or respiration]. The power of "breath" arising from the center,

manifesting itself through the body as a movement of the arm in which the blade edge

of the hand is rotated and extended out in a certain way. This sort of movement is a

key principle in aikido. Interestingly, the word KOKYU also has the meaning of "the

secret" or "the knack", and also "timing".

KOKYU DOSA -- one of the three exercises practiced at nearly every aikido class. It

usually involves sitting in front of your partner as they grab you, and upsetting their

balance through the power and technique of kokyu.

KOKYU HO -- one of the three exercises practiced at nearly every aikido class. It involves

moving through - rather than around as in tai no henko - the forces of your partner's

grab. [Lit., breath (kokyu) method (ho)].

KUDEN -- an oral teaching, usually of a more secret nature. For example, "The foot takes

the hand." [Lit., oral (ku) transmission (den)].

KUMI JO -- partner practice with short staves. [Lit., to cross/entwine (kumi) staves (jo)].
KUMI TACHI -- partner practice with swords. [Lit., to cross/entwine (kumi) swords (tachi)].
KYU -- a system of ranking before one attains black-belt level.
MAAI -- the relationship between you and your partner(s) in terms of space and time. [Lit.,

interval (ma) relationship (ai)].

MAE -- forward; front.
MIGI -- right. For example, migi hanmi (right hanmi).
NAGE -- the partner who executes the technique. [Lit., throw; thrower].
OBI -- belt or sash.
OMOTE -- front. Moving in front of your partner. See also URA.
O-SENSEI -- [Lit., the Great (O) Teacher (Sensei)]. Used to refer to the Founder of aikido,

Morihei Ueshiba (1883-1969).

RANDORI -- a movement exercise used to develop calm and efficient blending with the

power and movements of multiple attacks. [Lit., principle (ri) of a confused (ran) melee

or fight (do)].

SAITO SENSEI -- One of the longest practicing direct disciples of Ueshiba O-Sensei. He is

a ninth degree black-belt and teaches in Iwama, Japan.

SASOU -- to draw out your partners; for example, to make them raise their arms or move

forward, and so on. [Lit., to invite, call forth, lure, etc].

SEIZA -- a formal sitting position with the knees and legs folded under the body. Sitting

cross-legged is called AGURA and is considered more informal. [Lit., correct (sei)

sitting (za)].

SEMPAI/KOHAI -- a pair of terms describing the relationship between people with more

and less experience. Senior (sempai)/Junior (kohai) is a good English rendering. In

Japan, how one behaves towards others is dictated largely by one's status in terms of

seniority, from martial arts dojos to schools to workplaces.

SENSEI -- in Japan, a title used to address or refer to a teacher. [Lit., born (sei) before

(sen)].

SHOMEN -- the alcove at the front of the dojo, considered a sacred space, to which we pay

respect in aikido-practice . [Lit., correct (sho) side (men)].

SOTO DESHI -- students who do not live at the dojo. [Lit., outside (soto) apprentice

(deshi)]. See also UCHI DESHI.

SUWARI WAZA -- sitting techniques. [Lit., sitting (suwari) techniques (waza)].
TACHI DORI -- sword (tachi) taking (dori) techniques.
TACHI WAZA -- standing techniques. [Lit., standing (tachi) techniques (waza)].
TAIJUTSU -- empty handed martial arts techniques which do not involve the use of

weapons. [Lit., body (tai) technique (jutsu)].

TAI NO HENKO -- one of the three exercises practiced at nearly every aikido class. Your

partner grabs your wrist and you practice blending with the force of the grab and moving

off to the side. [Lit., the changing of direction (henko) of the body (tai)].

TAKEMUSU -- The martial technique that emerges spontaneously after years and years of

repetitive training. The aikido that springs forth without preconception or intellectual

thought. [Lit., martial art (take) and birth/production (musu)].

TANTO DORI -- knife (tanto) taking (dori) techniques.
UCHI DESHI -- students who live at the dojo and train intensively. [Lit., inside (uchi)

apprentice (deshi)]. See also SOTO DESHI.

UKE -- the partner who is thrown or receives the technique. See also NAGE.
UKEMI -- the art and skill of rolling, falling, etc. as a means of protecting the body from

injury during the execution of aikido techniques. [Lit., to receive (uke) through the body

(mi)].

URA -- back; behind. Moving around or behind your partner. See also OMOTE.
WAZA -- technique or skill.
YUDANSHA -- a black-belt holder. [Lit., have (yu) rank (dan) person (sha)].

Saito Sensei executing throwing technique against sword.

PHRASES COMMONLY USED IN THE DOJO

DAME -- "Bad!" or "Wrong!" or "Mistake!"
DOMO ARIGATO GOZAIMASHITA -- "Thank you very much." [Lit., Somehow a difficulty

has been honorably overcome and I appreciate it].

HAI -- "Yes." A convenient answer to use when Sensei gives you a correction or asks you

to perform some task.

HAJIME -- "Begin!"
MATTE -- "Wait!"
MAWATTE -- "Turn around!" or "About face!"
ONEGAI SHIMASU -- A phrase used to ask a favor of someone, in this case, "Will you

please train with me?". [Lit., I humbly request].

REI -- "Bow!"
SUWATTE -- "Sit down!"
TATTE -- "Stand up!"
YAME -- "Stop!"
YOROSHIKU ONEGAI SHIMASU -- A more formal version of onegai shimasu, used as

the equivalent of "Welcome to the dojo."

NUMBERS IN JAPANESE

ichi one
ni two
san three
shi/yon four
go five
roku six
shichi/nana seven
hachi eight
ku/kyu nine
ju ten
niju

twenty (sanju, yonju, etc.)

hyaku

one hundred (nihyaku, sanhyaku, etc.)

sen

one thousand (nisen, sanzen, etc.)

example:

3574 =

san-sen go-hyaku nana-ju yon

TECHNIQUE NAMES

After demonstrating a technique, Sensei will often say the name of the technique in

Japanese. It is essential to memorize which name goes with which technique. Aikido

students usually pick up these terms naturally over time. But, in order to make it a little

easier and more rational, we offer the following analysis of the Japanese words used to

name techniques.
Generally technique names are composed of two main parts: The first part describes the
type of attack, and the second part indicates the method by which the attack is
neutralized.

FOR EXAMPLE: SHOMENUCHI SHIHONAGE

In addition, most techniques can be executed by moving either to the front or around

behind your partner. Techniques moving to the front are called OMOTE (front) WAZA

(technique). Techniques moving to the rear are called URA (back) WAZA (technique).

Thus, the full name of a typical technique might go something like this:

SHOMENUCHI SHIHONAGE URA WAZA

On the following pages you will find two lists, one of Attacks and one of Neutralizations.

Please refer to these when searching for the meaning of a technique.

NAMES OF ATTACKS

Striking Attacks (UCHI, TSUKI)
SHOMEN UCHI -- straight on attacks to the front, usually the head. Like a downward

strike with a sword. [shomen means front of the face/mask].
YOKOMEN UCHI -- attacks coming from a direction slightly to one side or the other,

usually as a "chop" to the side of the head. [yokomen means the side of the face/mask].
MUNE TSUKI -- a horizontal attack such as a straight punch or a straight thrust with a

knife, sword, staff, etc. [mune means chest; tsuki means a thrust or stab].
Grabbing or Seizing Attacks (DORI, TORI, SHIME)
KATA TE TORI -- grabbing the wrist on the same side, i.e. facing your partner and

grabbing their right wrist with your left hand. [kata means on one side; te means hand].
GYAKU TE TORI -- grabbing the wrist opposite your partner's body, i.e. grabbing their

right hand with your right hand. [gyaku means opposite or diagonal. te means hand].
RYO TE TORI -- grabbing both wrists, one in each hand. [ryo means both or two; te

means hand].
MORO TE TORI -- using two hands to grab one wrist. [moro means many, multiple, or

two; te means hand].
KATA DORI -- a grab to the same side shoulder. [kata means shoulder].
RYO KATA DORI -- grabbing both shoulders, one with each hand. [ryo means two or

both. kata means shoulder].
KATA MENUCHI -- grabbing the shoulder with the same side hand and striking the face.

[kata means shoulder; men means face or mask].
MUNE DORI -- grabbing the clothing in the chest area. [mune means chest].
ERI DORI -- grabbing the collar, usually from behind. [eri means collar].
HIJI DORI -- grabbing the arm at the elbows. [hiji means elbow].
KUBI SHIME -- attempting to strangle a person's throat from behind while holding on to

one of their hands. [kubi means neck; shime means to tighten, strangle, or wring].
Additionally, many of these attacks may be done from behind. These are called USHIRO

(behind) WAZA (techniques). For example, USHIRO RYO KATA DORI or USHIRO KUBI

SHIME.

NAMES OF NEUTRALIZATIONS (TECHNIQUES)

IKKYO -- Involves controlling your partner's center through the arm, as well as pinning the

arm flat on the mat. [Literally, first teaching or first principle.
NIKYO -- Involves manipulating the wrist and pinning the arm vertically.. [Lit., second

teaching or second principle].
SANKYO -- Involves twisting the wrist and arm in a third way, pinning the arm vertically,

and torquing the hand and wrist. [Lit., third teaching or third principle].
YONKYO -- An arm pin involving leverage on the underside of the arm and elbow, while

attacking the nerve points there. [Lit., fourth teaching or fourth principle].
GOKYO -- Similar to IKKYO but with a change in the position of the hands. [Lit., fifth

teaching or fifth principle].
KOTE GAESHI -- involves throwing partner by folding the hand back over the wrist. [Lit.,

small hand (kote) turn over (gaeshi)].
SHIHO NAGE -- a throw in which partner may be thrown in any direction. [Lit., four (shi)

direction (ho) throw (nage).
IRIMI NAGE -- a throw involving entering through an attack to get behind your partner and

take their balance. [Lit., to enter (iri) body (mi) throw (nage)].
KOSHI NAGE -- throwing your partner by rotating their body over the back of your hips.

[Lit., hips (koshi) throw (nage)].
KAITEN NAGE -- throwing partner as if they were a big wheel. [Lit., rotation (kaiten) throw

(nage)].
JUJI NAGE -- throwing your partner by using leverage on their crossed arms. [Lit., cross

(juji) throw (nage)].
TENCHI NAGE -- throwing by extending your arms around and behind your partner's

body, one down towards the mat, the other up towards the ceiling. [Lit., heaven (ten) earth

(chi) throw (nage)].
KOKYU NAGE -- any sort of throw that relies essentially on blending and flowing with your

partner's movement and upsetting their balance, rather than any specific movement. Often

used for throws that have no specific name. [Lit., breath (kokyu) throw (nage)].

REQUIREMENTS SKILL TEST

1. Forward

roll

2. Backward

roll

Tae no henko

Tae no henko ki no nagare

Morote dori kokyu ho

Shomen uchi ikkyo omote waza

Shomen uchi ikkyo ura waza

Munetsuki kotegaeshi

Katate dori shihonage

10. Yoko menuchi iriminage

11. Kokyu

dosa

Osensei demonstrating Tai no henko.

Development and Training Principles of Traditional Japanese

Karate

By Jim Sullivan,

Ph.D. Exercise Physiology

and Sensei Shojiro Sugiyama,

Chief Instructor JKA Great Lakes Region

Preface

Contemporary—Traditional Sotokan Style
The fundamental principles of contemporary Shotokan karate envelop the scientific disciplines
of kinesiology, physics and physiology, although he origins of traditional karate go back over
two thousand years. Unlike some “contemporary” martial arts that attempt only to mimic
ancient movements and uncover “secrets” of the past, contemporary Shotokan karate is based
on sound scientific principles. Because our understanding of physics, physiology, kinesiology,
biomechanics and psychology is continuously evolving, there is always room for improving
the understanding and execution of karate techniques. However, the traditional concept of
“finishing blow” technique must always be embodied in contemporary karate training. It for
this reason that the term “traditional contemporary karate” has been coined by members of the
Japanese Karate Association (JKA). Increasing one's understanding of the scientific principles
of karate will allow one to gain further insight into karate, and will provide an important
adjunct to training. However, it is important to note that an understanding of the scientific
principles of karate alone will not produce great karate skill. There is no substitute for years of
regular training and good coaching. Furthermore, an emphasis on producing karate
techniques is only one aspect of karate. In order for karate techniques to be effective in
practice, tournament and combat situations, the student must also understand the concepts of
timing and distancing in the application of karate technique. Finally, for one to completely
understand karate the spiritual aspects of perfecting one’s character and living in harmony
with others must be developed.

“Today is conquering yourself of yesterday,

and your enemies of tomorrow”.

– Miamoto Musashi

History and Development of Shotokan Karate

What is Karate

The original characters for Karate literally translated into “empty hand”. The

fundamental precept of traditional karate is Ikken Hisetsu – to destroy with one technique. At
all times karate maintains its role as a form of self-defense and as a martial art. However,
karate is not meant to be a form of aggression nor a method for dominating others. Ultimately
karate is a method for learning to integrate and focus the mind, body and spirit. An emphasis
on this concept and the influence of Zen Buddhism prompted revising of the Japanese
characters of Karate–Do to conceptually translate into “the way of empty technique”.

Origin of Karate

Around 1400 years ago a man name Daruma Taishi journeyed from India to China in

order to teach Buddhism. This was an incredibly arduous task since at the time there were no
roads or bridges for much of this journey. During the Cheng Kuang era [A.D. 520-4] Daruma
was invited by Emperor Hsiao Ming to teach at the Shoalin monastery in the Hunan Province.
However, he soon found that his students did not have the physical fitness necessary to keep
up with his lessons. Because Daruma felt the body and the soul were inseparable, he set forth a
method of physical training designed to improve the body and mind. It is thought that this
method of training eventually led to the evolution of many martial arts. Because weapons
were not allowed to be carried by monks, martial arts flourished amongst monasteries both for
physical and mental conditioning and for self defense. Some of these arts became called
Chinese Kempo, Tai’Chi, Kung Fu and ToDe.

Karate in the Ryukus

It is thought that through the course of trading goods with the Ryuku Islands, Chinese

sailors introduced ToDe to Okinawa, the largest island of the Ryuku Island chain. This art
blended with the similar indigenous art called Okinawa-Te. Throughout the past 500 years or
so these martial arts flourished, largely due to the imposed bans on all weapons. The first of
these bans was self-imposed by the king Sho Hashi [1372-1439]. In 1609 a second was imposed
by the Shimazu clan of the Satsuma fief in southern Kyushu, Japan when they conquered
Okinawa.

Karate in Mainland Japan

Karate continued to be trained in complete secrecy by Okinawans until 1917, and again

in 1922, when karate was publicly demonstrated in mainland Japan by a man named Gichen
Funokoshi. Funokoshi was a student of instructors Azato and Itosu, and eventually became
president of the Okinawan Martial Arts Association. The demonstration by Funokoshi was so
well received that he was asked by many groups to stay in Japan and teach karate. Funokoshi
blended what he thought were the best aspects of Okinawa-Te, ToDe and Chinese Karate. In
addition, many great instructors of other martial arts such as Judo, Kendo, and Jujitsu studied
under Funokoshi and added techniques of their own such as leg sweeping, variations in
footwork, and joint locks.

Funokoshi also changed the way of writing the term Karate. Karate literally means

“open hand [kara – te]”, and the Chinese characters used to traditionally denote Karate meant
“Chinese open hand ”. Funokoshi adopted the term “Karate-do” and changed the characters
so the Japanese characters (kanji) implied “the way of the empty technique”. Thus, Funokoshi
added the Japanese philosophy of Zen Buddhism (empty mind) and of the Samurai path (way
or “Do”) to the meaning of Karate-do. Funokoshi also systematized the teaching of karate into
three aspects: basics (kihon), forms (kata) and fighting (kumite). Prior to this time karate was
taught exclusively through the use of kata. Funokoshi expanded the teaching of karate to
improve learning and to increase the use karate as a means of improving physical fitness (after
all, Funokoshi was a physical education teacher). Because Funokoshi’s pen name was “Shoto”
his students began to call his style of karate Shotokan Karate. Shotokan literally means “school
of Shoto”. As a result of his introduction and modifications of Karate-do Funokoshi became
known as the “Father of modern karate”.

“For whoever wants to study karate, one must first

provide an understanding of the essence of karate,

then follow with an understanding of its correct use"

– Gichin Funokoshi

Karate Today

After W.W. II many great Karate students and instructors had been killed, wounded or

relocated. In an attempt to improve the organization of Karate in Japan the JKA (Japanese
Karate Organization) was formed around 1950. The formation of the JKA was accomplished
primarily by M. Nakayama and H. Nishiyama, and Funokoshi was appointed head instructor.
Shotokan Karate is the official style of the JKA and is the most popular form of karate in the
world today. Upon the death of Funokoshi Sensei in 1957, Nakayama Sensei became the head
instructor. Nishiyama Sensei has helped form the American Amateur Karate Federation
(AAKF) and the International Traditional Karate Federation (ITKF). The instructor of your
class is a student of Sensei S. Sugiyama. Sugiyama came from Japan to Chicago in 1962 in
order to teach karate. Sugiyama is a unique, innovative instructor who continues to teache
karate to adults and children at his Dojo at 803 W. Belmont, Chicago, IL.

Sugiyama Sensei and Nishiyama Sensei with Tiger and Phoenix logo of JKA Chicago

Method of karate ranking and training

The ranking system of karate involves 9 colored belt ranks (kyu ranks) and 9 black belt

ranks (dan ranks). On the average, a student can attain the rank of first degree black belt
(Shodan) within five years. Of course, the amount of time required to reach the black belt rank
varies greatly depending on the student’s natural ability, motivation, and quality of
instruction. There are three essential aspects of karate training: kihon (basics), kata (forms) and
kumite (fighting). Kihon training involves repeatedly performing separate basic techniques.
Kata are formalized movement patterns which generally contain twenty to fifty movements
and require 30 to 60 seconds to complete. Kata contain both defensive and offensive
movements against one or several imaginary opponents. Since kihon and kata training do not
require equipment or partners, a great deal of karate skill can be developed by practicing
alone. However, in order to effectively understand the use of timing and distancing, and instill
the spirit necessary to face an actual opponent, the karateka must also practice kumite. Kumite
practice may vary from highly controlled, pre–arranged techniques to “free-style”.

Rules for proper Karate Dojo etiquette
1. In order to maintain a clean and healthy floor, shoes must be removed prior to entering

Dojo.

2. To show respect for the Dojo, other students and oneself, students must always bow upon

entering and leaving the Dojo. Furthermore, the bow should be directed towards the
instructor, or the highest ranking person if the instructor is not present.

3. Students must be properly dressed to participate.
4. Chewing gum, jewelry (e.g. watches, bracelets, rings, earrings, etc.) are not allowed

because they can interfere with training and cause injury to oneself or others.

5. At all times students must be respectful of the instructor and other students. The instructor

is referred to as Sensei (teacher).

6. Questions to the instructor should be welcomed and encouraged at all times. However, in

the Dojo talking amongst students is not permitted during class and should be kept to a
minimum prior and following class.

7. Free fighting in the Dojo is not allowed
8. The misuse of any karate skill inside or outside of the Dojo will result in expulsion from

class.

9. The student must have an open mind and a serious attitude.
10. Always show respect for your Dojo by keeping it clean and neat.

“When the body is weak, the mind must be
strong”.

– Miamoto Musashi

Karate Class Format

: class begins and ends with either formal or informal procedures.

Formal procedure:

1. Line up (according to rank).

2. Sezan (assume meditating position).

3. Mokuso (begin meditation).

4. Mokuso Yame (end meditation).

5. Shomeni rae (bow to the school).

6. Sensei-ni rae (bow to the instructor).

7. Otogai-ni rae (bow to each other).

8. Kuritsu (stand up).

Informal procedure (performed standing, with no meditation):

1. Line up (according to rank).

2. Shomeni rae (bow to the school).

3. Sensei-ni rae (bow to the instructor).

4. Otogai-ni rae (bow to each other).

Performing Karate Techniques

Karate techniques contain three main general aspects:

1) Reaction force to floor.
2) Ballistic movement.
3) Physical support of technique upon impact.

Karate techniques must be developed sequentially according to the following six steps: (note:
these are specific aspects of technique as taught by Sugiyama Sensei).

1. KI
2. Fumikomi
3. Ibuki
4. Sae
5. Kime
6. Zanshin

KI—The term Ki has many similar yet different connotations. KI may refer to the “vital
energy” inherent to the body and universe, called CHI by the Chinese. Some people contend
that CHI is a unique form of energy within our bodies; more scientifically-minded people
explain CHI as simply a heightened awareness of the natural electrochemical processes of the
human body. Regardless of the explanation, becoming aware of CHI improves one’s health
and well being. When you learn to manipulate your CHI you will improve control of your
body and emotions. In addition, you will better understand others’ emotions. With respect to
karate technique, KI means “mind before impact”. It is essential to have a feeling of
confidence and success in order to relax and fully focus on executing a karate technique. A

person’s KI is easily perceived by others; albeit this usually occurs on an unconscious level.
With training it is possible to consciously perceive another persons intent, or Ki.

Fumikomi—“Reaction force”. All body movements begin from a reaction to a force to the body
or floor. Reactions should be made from large muscles close to the spine.

Ibuki – means “forcefull exhalation”. Vigorous exhalation helps to contract the mass of the
body by first contracting the torso muscles of the abdominals, back and side.

Sae—After a movement is initiated, the mind and limbs msut stay relaxed and allow the hand
or foot to travel toward the target unhindered by the muscles. The hand or foot should be
thrown towards the target much like a bullet is propelled from the barrel of a gun by the
explosion of the cartridge. Braking muscles contract to reconnect the limb to the body.

Kime — “Total body connection”. Beginning with the tanden area, the body completely
contracts for a split second upon impact of the technique. If the contraction occurs too soon,
the technique is slowed; too late and the body is distorted by the force of the blow.

Zanshin — “Keep mind”. It is important to have mental follow–through, in case another
technique is required. More symbolically, Zanshin means to completey finish what you
started. In addition to KI, Zanshin is a principle that should be applied to all aspects of life.

Karate Kata

There are over 50 kata in the Shotokan system, though 25-26 are generally considered to
comprise the main kata. A karate student generally studies one kata per rank, and all 25 kata
should be known at san-dan rank (3

degree black belt. There is an initial series of kata called

the “Heian kata”. The term Heian translates generally into “peaceful mind”, and is the name of
a famous shrine in Kyoto. Prior to learning the Heian kata some instructors teach the
“Teikyoku” kata to learn preliminary techniques and movement.

All kata should start and finish in the same spot if movements are correct. If you do not end up
exactly where you started, pay careful attension to the length and width of stance, direction of
movement and method of turning. Inconsistency in stance will often cause one to end slightly
off of where on started. Kata follow a prescribe pattern called an “imbussen”. Being able to
visualize the pattern helps learn the kata. When initially learning kata be concerned simply
with the techniques and direction of movement. Over time while performing kata one should
demonstrate correctness of: movement, breathing, eye focus, speed, power, timing, and mental
focus.

First Kata — Teikyoku Shodan (note: this is not technically considered "first kata", but was
created after the Heian series for ease of teaching beginners).

Teikyoku Shodan Kata movements:
1. Begin in yoi position after bowing to shomen and announcing kata name. Turn left, step

forward with the left foot and perform left downward block.

2.  Step forward with the right foot and execute front punch.
3.  Look to your right shoulder and turn 180º right and execute right downward block
4.  Step forward with left front punch.
5.  Turn 90º left, step forward with the left foot and execute left downward block
6.  Step forward and execute right rising block.
7.  Step forward and execute left rising block.
8.  Step forward and execute right rising block with Kia!
9.  Look to the right but turn 270º counter–clockwise and downward block with left hand.
10. Step forward and right front punch.
11. Turn 180º right and downward block with right hand.
12. Step forward and left front punch.
13. turn 90º left and left downward block.
14. Step forward and execute right front punch.
15. Step forward and execute left front punch.
16. Step forward and execute right front punch with Kia!
17. Turn 270º counter–clockwise and left downward block.
18. Step forward with the right foot and execute right front punch.
19. Turn 180º right and execute right downward block
20. Step forward with the left foot and execute left front punch. Draw the front leg into yoi

position, then yame.

starting and finishing position

20 movements altogether

techniques: downward block, rising

block; front punch; front stance.

Imbusen (pattern of movements)

Heian Shodan Kata movements:

1. Begin in yoi position after bowing to shomen and announcing kata name. Turn left, step

forward with the left foot and perform left downward block.

2.  Step forward with the right foot and execute front punch.
3.  Look to your right shoulder and turn 180º right and execute right downward block
4.  Draw the right fist in with the right foot to escape a grab to your right wrist and execute a

circular hammer fist strike to opponent’s face.

5.  Step forward with the left foot and execute front punch.
6.  Turn 90º left, step forward with the left foot and execute left downward block
7.  Raise the left hand up as if grabbing opponent’s wrist. Step forward and execute right

rising block with the feeling of breaking the elbow.

8. Open the right hand to grab and step forward with left rising block to break elbow.
9. Raise the left hand up to grab and Kia as you step forward with right rising block to break

elbow.

10. Look over the right shoulder and turn counter-clockwise ant execute left downward block
11. Step forward and right front punch.
12. Turn 180º to the right and perform right downward block.
13. Step forward and perform left front punch.
14. Look over left shoulder and turn 90º left and execute left downward block.
15. Step forward and right front punch.
16. Step forward and left front punch.
17. Step forward and right front punch with loud Kia!.
18. Look over the right shoulder and turn 270º counter–clockwise and execute right back

stance with knife-hand strike (right leg is in back),

19. Angle to the right and excecute left back stance with knife hand stride.
20. Look over the right shoulder and turn right to perform left back stance with knife-hand

block.

21. Angle to the left and execute right back stance with knife hand block. Hold for a few

seconds to demonstrate “zanshin”, then draw the left leg in to yoi, then bow and yame.

starting and finishing position

21 movements altogether

techniques: downward, rising, knife hand

block; front punch; front and back stance.

Imbusen (pattern of movements)

PUTTING IT ALL TOGETHER

In addition to the six phases of a karate technique, when performing karate against another
person, there are three concepts to be aware of: metsuke (or messen), maai, and sen. The term
metsuke referes to “eye vector”. Look to the triangle formed between your opponents eyes and
shoulders. As Ueshiba Sensei said, “do not look into your opponents eyes, your soul will be
drawn into his; do not look at your opponents sword, or your body will be drawn into his
technique”. Maai and sen refer to “distance” and “timing”, respectively. These are advanced
concepts and must be studied in depth.

Try to blend with the universal timing, distance, and energy of all things.

Eventually, there will be no distinction between Karate and Aikido movements; there will
simply be correct movements for the given situation.

Remember all movements stem from awareness and are controlled by breathing.

In time develop the sequence of awareness, reaction, action.

Try to blend with your opponent and surroundings on a physical, mental, emotional,
intellectual and spiritual level.

As O’sensei defines the concept of “Take-musu Aikido”, there are no mistakes in Aikido,
When I am touched a technique is born”.

“Between two swords lies hell,

You have only to step inside to find heaven”

– Unknow Samurai Saying

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