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Images
and text bellow from the book "Aikido & the
City of Iwama" written by Carlos Nogueira. |
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| AT
THE PRACTICE OF |
| AIKI-KEN
& AIKI-JO |
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| WE
FIND |
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| CENTRIFUGAL
FORCE
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| Centraliztion
& Equilibrium
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| CIRCULARITY |
| Internalization
& Expansion |
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| IRIMI
= Entering & Passage |
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AWASE = Encounter & Displacement |
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MAI-AI = Proper distance |
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| Since
I started studying AIKIDO, I have always tried to understand
the directional lines that create and are created by its movements,
observing the feeling of "timing" and trying to
harmonize with those movements, following and guiding my partner
into the manifested technique without counteracting those
lines. Thus, attempting to find AWASE and enter into a state
of AIKI. |
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| Whenever
I had the privilege to participate in one of MORIHIRO SAITO
SENSEI’s classes, especially of JO and BOKEN, I had a
better vision of those directional lines. Saito-sensei used
to say that we should always think of TAI-JUTSU whenever we
practice with JO and BOKEN, and in fact, once we have spent
some time training with them we can see why and we start perceiving
their importance for the development of our personal study
of AIKIDO. |
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This
importance becomes even more evident as our comprehension
of AIKI-KEN, AIKI-JO and TAI-JUTSU correlation is enhanced
by the training. We should also remember that these three
points of our Art were developed by O-Sensei and are part
of the AIKI creation process itself.
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| AIKI-KEN,
AIKI-JO and TAI-JUTSU are INTERRELATED. |
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The AIKI-KEN and AIKI-JO training can not be thought as a
complement for our TAI-JUTSU training or an Art apart that
helps us to understand AIKIDO. |
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| Could
we possibly think of IKKYO, NIKKYO or SHIRO-NAGE as auxiliary
movements for our study? |
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| I
do not believe that any student of AIKIDO, with significant
time in the Art would be able to do so, and that is because
we know that these characteristics are fundamental for our
learning process. Excluding them from the practice would make
the process incomplete. |
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| The
same occurs with AIKI-KEN and AIKI-JO!
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| The
more we include them in our daily training, more visible their
importance in our Art becomes. |
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The training of AIKI-KEN and AIKI-JO is an important part
of our basic structure of training (KIHON) and having a good
basic training, for certain we will have a better chance to
develop an excellent flux of movements (KI-NO-NAGARE). |
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| ENTERING
IN THE SPHERE OF |
| AIKI-KEN
& AIKI-JO |
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WE
WILL FIND
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| MORIHIRO
SAITO SENSEI |
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AND
WITH HIM |
| The
AIKIDO of IWAMA |
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| Even
though the Aiki of Iwama is denominated IWAMA-RYU, that is
Style of Iwama, I see Iwama-Ryu not as a style apart but as
a base, a structure that can be the foundation for the development
of any personal style. |
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| Aiki
is a tool, an instrument of expression through which the practitioner
have a better view of whom he or she is. |
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| Style
is the representation of our character, our philosophy of
thought and a physical manifestation of our spiritual presence. |
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| I
believe that when we create a good base the style flows freely. |
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| Since
the first time I came in contact with MORIHIRO SAITO SENSEI
at Iwama, the time has done what it does best, it has been
passing, and I have been training and through my daily training
my appreciation for Saito-sensei’s work has only increased.
I get more and more impressed and convinced of the importance
of studying the form of IWAMA. |
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| The
training of AIKI-JO and AIKI-KEN shows us sensitive details
of hand position, elevation of elbows and shoulders, body
stability and weight variation, use of the hips, etc... |
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| These
details affect three basic elements of our good performance; |
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| POSTURE,
DISPLACEMENT and POSITION. |
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