Date: Mon, 16 May 1994 10:13 +0000 (WET)
\nTo: izar@cs.huji.ac.il
\nFrom: Duncan Lennox
\nSubject: Aikido FAQ Version 1.1<\/p>\n
Aikido Frequently Asked Questions (FAQ) List
\n ============================================<\/p>\n
Version 1.1 – Released 12th May 1994<\/p>\n
Comments and queries to Duncan Lennox <\/p>\n
Most recent version available via anonymous
\n FTP from cs.ucsd.edu in the pub\/aikido\/ directory<\/p>\n
HTML on-line version available via the following URL:
\n http:\/\/www.ii.uib.no\/~kjartan\/aikido.html
\n HTML version maintained by Kjartan Clausen <\/p>\n
Disclaimer
\n==========<\/p>\n
No warranty of any kind is made in regard to the content of this
\ndocument, including, but not limited to, any implied warranties of
\nmerchantability, or fitness for any particular purpose. The author of,
\nand contributors to, this document shall not be liable for errors
\ncontained in it, or for incidental or consequential damages in
\nconnection with the furnishing of, use of, or reliance upon
\ninformation contained in this document. So there.<\/p>\n
Contents
\n========<\/p>\n
1 – Introduction to Aikido
\n 1.1 What is Aikido?
\n 1.2 What are the different styles in Aikido?
\n 1.3 Can Aikido be used for self-defence?
\n 1.4 Is Aikido better than Karate\/Judo\/any other martial art?
\n 1.5 Does Aikido have competitions?
\n 2 – Principles of Aikido
\n 2.1 Ki
\n 2.2 Entering (irimi)
\n 2.3 Ukemi
\n 2.4 Atemi
\n 2.5 What does it mean to ‘move off the line’?
\n 2.6 Center\/hara\/haragei
\n 2.7 Extension
\n 3 – Dojo Etiquette
\n 3.1 What is the proper before-class ritual?
\n 3.2 Why do we bow and use Japanese at certain times during a class?
\n 3.3 Is talking permitted on the mat?
\n 3.4 What is the system of colored belts?
\n 3.5 What is a hakama and who wears it?
\n 4 – Miscellaneous Aikido Questions
\n 4.1 Why are ancient weapons such as the bokken (wooden sword) used
\n in Aikido?
\n 4.2 How do I find an Aikido dojo near me?
\n 4.3 How do I choose the best dojo?
\n 4.4 Is Steven Seagal really an aikidoka? What is his rank?
\n 4.5 Does Aikido have punches or kicks? Or defences against these?
\n 4.6 What is the unbendable arm and what is it’s value?
\n 5 – Aikido-L Internet Discussion Group
\n 5.1 What is the Aikido-L discussion group?
\n 5.2 How do I subscribe?
\n 5.3 How do I unsubscribe?
\n 5.4 How do I post messages to Aikido-L?
\n 5.5 How do I find out about LISTSERV commands?
\n 5.6 Why did I get dropped from the list?
\n 5.7 What kind of etiquette is required on the list?
\n 6 – Other Internet On-line Resources
\n 6.1 Aikido anonymous ftp site
\n 6.2 Eric Sotnak’s Aikido Primer
\n 6.3 rec.martial-arts
\n 6.4 Brad Appleton’s Stretching Guide
\n 6.5 Martial Arts FAQ
\n 6.6 Sword Arts FAQ
\n 7 – Glossary of Terms
\n 8 – Bibliography
\n 9 – Periodicals
\n10 – Equipment Suppliers
\n11 – Acknowledgements<\/p>\n
Section 1 – Introduction To Aikido
\n —oooo—<\/p>\n
1.1 What is Aikido?<\/p>\n
Aikido is a Japanese martial art developed by Morihei Ueshiba (often
\nreferred to by his title ‘O Sensei’ or ‘Great Teacher’). On a purely
\nphysical level it is an art involving some throws and joint locks that
\nare derived from jiu-jitsu and some throws and other techniques
\nderived from kenjutsu. Aikido focuses not on punching or kicking
\nopponents, but rather on using their own energy to gain control of
\nthem or to throw them away from you. It is not a static art, but
\nplaces great emphasis on motion and the dynamics of movement.<\/p>\n
Upon closer examination, practitioners will find from Aikido what they
\nare looking for, whether it is applicable self-defence technique,
\nspiritual enlightenment, physical health or peace of mind. O Sensei
\nemphasised the moral and spiritual aspects of this art, placing great
\nweight on the development of harmony and peace. “The Way of Harmony of
\nthe Spirit” is one way that “Aikido” may be translated into English.
\nThis is still true of Aikido today, although different styles
\nemphasise the more spiritual aspects to greater or lesser degrees.
\nAlthough the idea of a martial discipline striving for peace and
\nharmony may seem paradoxical, it is the most basic tenet of the art.<\/p>\n
We could attempt to pigeonhole Aikido into a synopsis of X number of
\nwords, but that would not do it justice, so we leave the practitioner
\nof Aikido to find out what Aikido is for themselves without any
\npreconceived notions.<\/p>\n
1.2 What are the different styles in Aikido?<\/p>\n
Aikido was originally developed by one man, O Sensei. Many students who
\ntrained under O Sensei decided to spread their knowledge of Aikido by
\nopening their own dojos. Due, among other things, to the dynamic
\nnature of Aikido, different students of O Sensei interpreted his
\nAikido in different ways. Thus different styles of Aikido were born.
\nThe more common are listed here along with a brief explanation of what
\nis different about the style. Each style has its own strengths and
\nweaknesses, but all are firmly rooted in the basic concepts which make
\nAikido the unique art that it is. None should be considered superior
\nor inferior to any other, but rather an individual must find a style
\nwhich best suits him or her. Outside factors such as geographic
\nlocation may of course limit one’s options.<\/p>\n
Aikikai Also known as Hombu (which actually means headquarters).
\n This is ‘classical’ Aikido as taught by the Ueshiba
\n family. Today it is governed by the Aikikai Foundation
\n which is run by O Sensei’s son, Doshu Kisshomaru Ueshiba.
\n There are several different organisations which teach
\n this style of Aikido such as USAF and ASU (in the United
\n States) and BAF (in the United Kingdom).
\nIwama As taught in the town of Iwama by Morihiro Saito, a close
\n student of O Sensei. Includes an emphasis on the
\n relationship among taijutsu, ken and jo movements. This
\n style of aikido reflects the art of the Founder as taught
\n approximately between the years of 1946-1955 and the
\n number of techniques is more numerous than those presently
\n taught at the Aikikai Hombu Dojo.
\nKi Society Also known as Shin Shin Toitsu Aikido (Aikido with
\n Mind & Body Coordinated), founded in 1971 by Koichi
\n Tohei a 10th dan student of O Sensei who, at O Sensei’s
\n request, brought Aikido to the U.S. in 1953. Ki Society
\n stresses the use of Ki not only in technique but in daily
\n life to remain calm & relaxed in stressful situations.
\nKokikai A style founded by Shuji Maruyama Sensei. It is a
\n particularly soft style that emphasizes ‘minimum
\n effort for maximum effect.’
\nTomiki Tomiki Ryu Aikido was founded by Kenji Tomiki, a high
\n ranking judoka, whom Jigoro Kano (the founder of
\n Judo) sent to Ueshiba to learn Aikido. The primary focus
\n of Tomiki Aikido is kata (forms) that strive to teach and
\n capture the fundamentals of Aikido. Tomiki deemphasized
\n the concept and importance of ki, and instead decided to
\n concentrate on the physiological side of Aikido.
\nYoshinkan Places emphasis on the use of Aikido as a method
\n of self defence and less on the more esoteric and
\n philosophical elements.<\/p>\n
1.3 Can Aikido be used for self-defence?<\/p>\n
Yes, Aikido can be a very effective form of self-defence. However, it
\ncan take considerable time and effort before Aikido (or any martial
\nart) can be used effectively in a self-defence situation.<\/p>\n
1.4 Is Aikido better than karate\/judo\/any other martial art?<\/p>\n
This is an extremely controversial question and has generated much
\nheated debate in forums such as the rec.martial-arts newsgroup (see
\nsection 6 for more info on this newsgroup).<\/p>\n
The answer to this question is very subjective – students of any
\nparticular martial art tend to favour that one over any other
\n(otherwise they would probably be studying the other martial art).<\/p>\n
There are many different but equally valid reasons for studying any
\nmartial art, such as for self defence, for spiritual growth or
\nenlightenment, for general physical health, for self-confidence and
\nmore. Different martial arts, and even different styles within a
\nparticular martial art, emphasise different aspects.<\/p>\n
Hence ‘better’ really depends on what it is you want out of a martial
\nart. Even given this distinction, it is still a very subjective
\nquestion so perhaps a better one would be ‘Is Aikido better than any
\nother martial art *for me*?’<\/p>\n
This can only be answered by the individual asking the question. The
\nrest of this FAQ may help you in some way towards finding that
\nanswer.<\/p>\n
An alternative way to answer this question is to simply say, ‘No,
\nAikido is not ‘better’ or ‘worse’ than any other martial art. It is
\nsimply different.’<\/p>\n
1.5 Does Aikido have competitions?<\/p>\n
It is often said that Aikido does not have any competitions. It is
\ntrue that the founder of Aikido (Morihei Ueshiba, or O Sensei) felt
\nthat competition was incompatible with Aikido, but that does not mean
\nthat everyone agrees.<\/p>\n
One popular style, Tomiki Aikido, does have competition. It is not
\nhowever considered to be a fundamental part of the style. On the other
\nhand, the majority of Aikido schools do not have any competition.<\/p>\n
Most Aikido training, even in schools with competitions, is of a
\nco-operative rather than antagonistic nature, with both thrower (nage)
\nand throwee (uke) working as partners and trying to optimise the
\nexperience of the other.<\/p>\n
This “working partnership” is also necessary to a) minimize the chance
\nof injury from practicing (potentially dangerous) aikido techniques,
\nand b) to develop both partners’ capacity to “take ukemi” – to be
\nrelaxed and able to take care of oneself when responding to “falling”
\nor being thrown in a martial situation.<\/p>\n
Section 2 – Principles Of Aikido
\n —oooo—<\/p>\n
It is not possible to cover here, or perhaps even in any number of
\nbooks, all the principles of Aikido or even give great detail on what
\nis mentioned. The interested reader is directed to the bibliography
\n(section 7) for more information or for informed, respectful,
\ndiscussion, to the Aikido-L discussion list (section 5)<\/p>\n
2.1 Ki<\/p>\n
Aikido makes extensive use of the concept of ki. Aikido is one of the
\nmore spiritual martial arts and has been referred to as ‘moving zen’.
\nThe name Aikido can be translated as ‘the way of harmony of ki’.
\nExactly what ki ‘is’ is a somewhat controversial issue. <\/p>\n
Some believe that the physical entity ki simply does not exist.
\nInstead, the spirit, the intention, the bio-physico-psychological
\ncoordination through relaxation and awareness are concepts being used
\nin the teaching. These aikidoka sometimes tend to frown upon the
\nphilosophical\/spiritual aspect of ki.<\/p>\n
Other aikidoka believe that ki does exist as a physical entity and can
\nbe transmitted through space. They, on the other hand, make use of
\nconcepts such as ki of the universe, extending ki etc. <\/p>\n
The fact of the matter is that there is a large portion of aikidoka who
\nare still, and no doubt will continue be, on their ‘quest for ki’.<\/p>\n
Without doubt, this has been the most difficult question to write any
\nkind of reasonably fair answer to. On the subject of the nature of ki,
\nperhaps more than in any other area of Aikido, the aikidoka must find
\nhis or her own answer, whatever that may be. The last word on this
\nsubject will be left to the Doshu, Kisshomaru Ueshiba, the son of O
\nSensei:<\/p>\n
“We may hear students say that `It is a feeling of some kind of energy
\ncoming forth from mind and body in harmony.’ Or `It is a strange,
\nvital power which appears unexpectedly at times from an unknown
\nsource.’ Or `It is the sense of perfect timing and matched breathing
\nexperienced in practising aikido.’ Or `It is a spontaneous,
\nunconscious movement which refreshes mind and body after a good
\nworkout,’ and so forth.<\/p>\n
Each answer is valid in the sense that it is a true reaction gained
\nthrough actual personal experience. And being a direct expression of a
\nfelt condition, it contains a certitude that cannot be denied. If this
\nis so, the differences in responses is negligible, and the great
\nvariety attests to not only the difficulty in precisely defining ki
\nbut shows that the depth and breadth of ki defy coverage by a single
\ndefinition.”
\n\t — from “The Spirit of Aikido”<\/p>\n
2.2 Entering (irimi)<\/p>\n
Entering, or “irimi” is one of the basic techniques of aikido and is
\nclosely related to “blending” with an attacker. At a basic level,
\nirimi is a movement which looks like a slidestep toward or into an
\nopponent’s attack. Aikido thinks of most movement as being circular or
\nspiralling in nature; irimi brings a person “into” the circle of
\nmovement, so that the energy of the attack can be directed along the
\ncircular plane – much like catching a frisbee on your finger, letting
\nthe circular energy ‘spin’ around the finger and then sending it on
\nits way in the same, or an alternate direction, with a minimum of
\neffort.<\/p>\n
The concept of entering emphasises the importance of placing oneself
\ninside the “danger radius” of a partner’s attack. Imagine a boxer’s
\npunch. The punch has gathered most of its power and effectiveness at
\nor near the full extent of the boxer’s arm. Beyond the reach of the
\narm there is little danger or threat. Similarly, inside the full
\nextent of the arm the moving fist has developed very litte energy, and
\nagain poses little or no threat. Several things may be substituted for
\nthe boxer’s punch: any strike with a hand, knife, sword or staff, for
\nexample.<\/p>\n
2.3 Ukemi<\/p>\n
Ukemi may be described as the art of receiving a technique. The
\npractice of ukemi involves rolls and other breakfalls. Here are a few
\nreasons why we practice ukemi in Aikido, and why it is such an
\nimportant part of our Aikido training:<\/p>\n
1. To stay safe. That is, not only to avoid injury in that
\nconfrontation, but to be aware of what is going on throughout the
\nwhole confrontation (encounter) and therefore be able to find and
\nrespond to openings and, perhaps, to escape.<\/p>\n
2. To experience the throw. Part of the learning process must be to
\nunderstand what the *other* side of the encounter is – what does it
\nfeel like to be tied up in a particular technique? Also, to observe
\nthe other person’s technique, particularly if nage is a senior student
\nor teacher. Being able to take ukemi means allowing the detachment
\nnecessary to “observe” (with the body and mind).<\/p>\n
2.a. To learn to listen with your body. To throw well requires
\nsensitivity to your partner. Often we are so caught up in the active
\nrole of nage that we forget to be receptive to our partner and move in
\na way that harmonizes with uke. By being uke we get a chance to
\nemphasize the receptive aspects of body movement (though that is not
\nall there is to it). Hopefully, by emphasizing receptivity half of
\nthe time you improve your receptivity the other half of the time.<\/p>\n
3. To assist your partner to learn. Being a good uke means maintaining
\nthe connection with nage, and allowing nage to experience that
\nconnection and to really experience the technique. Being a good uke
\nallows nage to perform the technique without worrying about uke being
\ninjured.<\/p>\n
4. To condition the body. Taking good ukemi requires a lot of work;
\nmuch emphasis is placed on staying connected, staying flexible and
\nstaying aware.<\/p>\n
2.4 Atemi<\/p>\n
Atemi, literally, means to strike the body. A simple explanation of
\natemi is that they are strikes. Some people insist on more rigorous
\ndefinitions such as only strikes to pressure points. One purpose of
\natemi is to distract your partner, so that they focus on your hand, or
\ntheir pain, rather than their grasp. This can make it easier to move.
\n In this context, you could regard atemi as a “ki disturbance”.<\/p>\n
Atemi, on some interpretations, need not be an actual strike, since
\nwhat matters is the effect on uke, that is, the upsetting of uke’s
\nphysical and psychological balance, facilitating the application of
\ntechnique. Some claim that the best way to ensure such unbalancing is
\nto deliver a real strike, especially where there is potential for
\nstrong resistance.<\/p>\n
Still others claim that atemi involves “projecting ki” toward uke, where
\nthis involves something above and beyond merely provoking a sort of startle
\nreflex or response to the physical strike (or threat thereof).<\/p>\n
Some feel atemi is important in the actual accomplishment of waza
\nrather than being independent waza in and of itself. This is a
\npersonal feeling. This distinguishes aikido (in the opinion of some)
\nfrom striking arts where the atemi is the focus.<\/p>\n
2.5 What does it mean to ‘move off the line’?<\/p>\n
The energy of any attack flows from one point to another, usually from
\nan attacker to his or her intended victim. The line that connects
\nthese two points is called the line of attack. For example, the energy
\nin the boxer’s punch flows (via his fist) outwardly from his body
\ntowards his opponent. This is the line of attack. Once an attack is
\ncommitted, it is very difficult, if not impossible, to change the
\ncourse of the attack. (An excellent example of this is the flying kick
\nin Karate: once the attacker has left the ground, there is very little
\nthat can be done to change the course of the attack.) To ‘move off the
\nline’ is to move off of the line of attack at or after the point at
\nwhich the attack is committed, into an area or zone of safety.<\/p>\n
2.6 Center\/hara\/haragei<\/p>\n
One’s center is just that – the physical and martial-arts “middle” of
\nthe body. Located in the abdomen (“hara”), it serves as the
\nsource\/focus of ki\/energy and as one’s balance point when executing
\ntechniques. Try lifting something directly in front of you, then try
\nlifting the same object when it’s off to one side – it’s much easier
\nwhen it’s “centered,” right? Maintaining an awareness of (and
\n“connection” to) your and your training partner’s centers makes just
\nthat kind of difference in the ease and flow of aikido.<\/p>\n
2.7 Extension<\/p>\n
Just as it is important to “remain centered,” it is important to
\n“extend” in aikido. Many techniques are facilitated by “extending ki”
\nor “extending energy” during their execution. Physically and
\npsychologically, this helps counter the tendency of many people to
\ncontract and keep their arms and legs close to their bodies, because
\naikido is generally practiced with large, sweeping movements.<\/p>\n
Section 3 – Dojo Etiquette & Dress
\n —oooo—<\/p>\n
NOTE: The precise etiquette and dress code followed at any given dojo
\nmay vary from the general information given here. This derives from
\nthe fact that O Sensei had a very long career, and his students who
\nwent on to teach aikido and have students of their own learned from
\nhim at different times, as well as incorporating their own ideas into
\nthe forms observed in their dojo. When training at a new dojo, either
\nas a beginning student or when visiting fellow aikidoka elsewhere, be
\nsure to respect local traditions. If you are unsure of the required
\netiquette, follow the lead of the more senior aikidoka present. Feel
\nfree to ask if you haven’t had a chance to observe them yourself.<\/p>\n
For a general etiquette outline, refer to Kisshomaru Ueshiba’s rules of
\nconduct, found in _Spirit of Aikido_.
\n[May be reprinted here in the future]<\/p>\n
3.1 What is the proper before-class ritual?<\/p>\n
Basically this involves the students kneeling in one or more lines
\nparallel to the front of the dojo, or shomen. The sensei enters and
\nkneels. All present bow toward the shomen (where a picture of O Sensei
\n[or a piece of calligraphy representing the kanji for “ki” in the case
\nof Ki Society aikido] is traditionally on display). Then a further
\nbow, sensei to class and class to sensei. There may or may not be
\nclapping or words uttered.<\/p>\n
3.2 Why do we bow and use Japanese at certain times during a class?<\/p>\n
Many Aikidoka feel that it is important to maintain the traditions of
\nthe art in order to preserve its integrity and also as a mark of
\nrespect to both its founder and its history.<\/p>\n
The extent to which these customs are adhered to depends on the dojo.
\nSome customs are almost universally observed: showing respect to your
\nteacher by bowing and saying “Onegai shimasu” [lit. “I make a
\nrequest”] before class and “Domo arigato gozaimashita (sensei)”
\n[“Thank you very much (teacher)”] after class, as well as to your
\ntraining partner(s) (before and after each technique in some dojos,
\nonly before and after class in others) is arguably the most important.
\nSome dojos insist on using the Japanese terms, others allow English
\nversions.<\/p>\n
The bowing is meant as a mark of respect to O Sensei, the instructor or
\nyour partner – it does not have any religious significance and is in
\nfact more akin to a handshake in Western society. It does not
\nsymbolise worship of any sort.<\/p>\n
Another reason for bowing is as a safety measure – a physical pause
\nthat is used to put aside extraneous thoughts and consider the
\nlimitations of your training partner (among other things).<\/p>\n
3.3 Is talking permitted on the mat?<\/p>\n
This depends on the policy of the dojo at which you train; some frown
\non any talking on the mat at all, while others are quite permissive.
\nGenerally, it is best if one observes the etiquette of the dojo they
\nare at, not the one that they usually train in. In no case should
\nanything other than the technique at hand be discussed, however. One
\nline of reasoning behind the no talking rule is to test the
\nobservational skills needed by martial artists. Another is that while
\nin class one should concentrate exclusively on aikido and that talking
\nwith others around you serves only to break that concentration.<\/p>\n
3.4 What is the system of colored belts?<\/p>\n
Traditionally, white belts are worn by all mudansha (kyu-ranked i.e.
\nbelow black belt) aikidoka, and black belts by yudansha (dan-ranked).
\nWhile some dojos adhere to this policy, others have adopted systems
\ninvolving the use of different-colored belts for mudansha, with each
\ncolor signifying one or two kyu ranks. There are naturally proponents
\nfor each system.<\/p>\n
3.5 What is a hakama and who wears it?<\/p>\n
A hakama is the skirt-like pants that some aikidoka wear. It is a
\ntraditional piece of samurai clothing. The standard gi worn in aikido
\nas well as in other martial arts such as Judo or Karate was originally
\nunderclothes. Wearing it is part of the tradition of (some schools of)
\naikido.<\/p>\n
In many schools, only the black belts wear hakama, in others everyone
\ndoes. In some places women can start wearing it earlier than men
\n(generally modesty of women is the explanation – remember, a gi was
\noriginally underwear).<\/p>\n
Section 4 – Miscellaneous Questions About Aikido
\n —oooo—<\/p>\n
4.1 Why are ancient weapons such as the bokken (wooden sword) used in
\n Aikido?<\/p>\n
A lot of aikido motions and footwork are based on weapons motions. The
\nbokken and jo allow aikidoka to practice a number of the physical
\nmovements that are present in aikido taijitsu (“body” or weaponless
\ntechniques).<\/p>\n
Chiba Sensei says that we use weapons to learn (1) precision and (2)
\neconomy of movement. It is also important to note that much of aikido
\nderives from battlefield arts and much of the taisabaki (body
\nmovements) come from kenjitsu. Hence, we study the weapons forms to
\nbetter understand the empty-handed forms.<\/p>\n
4.2 How do I find an Aikido dojo near me?<\/p>\n
There are several options available to you (not listed in any
\nparticular order):
\n– A list of dojo from around the world is available
\n at the Aikido anonymous ftp site (Discussed in section 6.1).
\n You should _definitely_ check here first before even dreaming of
\n posting a request to the Aikido-L list. \ud83d\ude09
\n– Check the Yellow Pages under Martial Arts or Karate
\n (I know, I know!)
\n– Ask fellow local martial artists
\n– Ask at martial arts stores
\n– Ask at commercial dojos (it doesn’t have to teach the art you
\n wish to study)
\n– Ask at general fitness places, especially the YMCA.
\n– Ask at any universities or colleges about clubs or classes<\/p>\n
4.3 How do I choose the best dojo?<\/p>\n
The choice of a dojo is a very personal one. Everyone has their own
\npath of learning, their own goals and expectations. The “best” dojo for
\none person is likely not the same as the “best” dojo for the next person.<\/p>\n
If one is lucky enough to live in an area that has several, visit all
\nof them. Get permission to watch some classes and observe how classes
\nare taught, and how the students and instrutors relate to each other.
\nIs there a sense of mutual respect? Is there tension and fear? Does
\nthe atmosphere seem to promote growth? Most importantly, are you
\ncomfortable there? Try to visit while the chief instructor is
\nteaching, but also try to get a feel for other people who may be
\nteaching. See if the teacher appears to respect the students, and
\nthat they respect him\/her.<\/p>\n
Talk to various students and ask their opinions meanwhile noting their
\ndemeanor. A good sign is if either before or after a class which you
\nare observing, a senior student or instructor comes over and talks to
\nyou. If you are ignored, it may not be the kind of dojo you are
\nlooking for.<\/p>\n
Remember, this is where you hope to be spending a fair amount of time,
\nand you want it to be a positive and rewarding experience. One final
\nquestion, also very important, is simply “Do I like this dojo and
\nthese people?”<\/p>\n
Beware of any dojo that tries to pressure you into a quick decision or
\nis averse to letting you watch a few classes.<\/p>\n
While the chief instructor’s rank may be somewhat important, be
\nwary of inflated qualifications. Although an affiliation with a
\nnational or international organization is no guarantee of quality
\n(and some teachers, such as Gaku Homma Sensei are not affiliated
\nat all), it can be a useful indication. Promotions given by
\nnon-affiliated dojos are not likely to be recognized anywhere else,
\nand this may well be a consideration.<\/p>\n
Once a dojo has been selected, sign up and attend a beginner’s session
\nand complete it, attending all of the classes. At the end of this
\nintroductory period you should have a good sense of whether it is the
\nright place for you.<\/p>\n
There is an informative posting which appears periodically in the
\nrec.arts.martial-arts newsgroup called _The Newbie Guide to Martial
\nArts Training_. It is written by Jeff Pipkins and is well worth a
\nlook. If you cannot find it in rec.martial-arts or have no access to
\nthis newsgroup then copies may be requested from the author at the
\nfollowing address: Pipkins@bangate.compaq.com. It is also be
\navailable at the same ftp site as the rec.m-a FAQ (see section 6.3).<\/p>\n
4.4 Is Steven Seagal really an aikidoka? What is his rank?<\/p>\n
Steven Seagal really is an Aikido instructor (or was, until his movie
\ncareer got in the way). He has a rank of sixth dan and has run his
\nown dojo in both Japan and the United States. Most of what you see in
\nthe movies, however, is not Aikido as it is practised in the dojo.
\nSome argue that it is not Aikido at all.<\/p>\n
4.5 Does Aikido have punches or kicks? Or defences against these?<\/p>\n
There are strikes in Aikido (see section 2.4 – Atemi), but they are
\nnever more than supplementary to a particular technique: no technique
\nin Aikido ever has striking one’s opponent as its aim. That said,
\nthere are numerous counters to striking attacks (punches, thrusts,
\nroundhouses, etc.) delivered by others. Kicks are not often used in
\nAikido, and although specific responses exist, they are not often
\npracticed. Most of the strikes and kicks have been toned down, but
\nthey are still there. Aikido, while it can be studied simply as an
\narray of effective techniques, should not be thought of as limited in
\nthis way. Even if you’ve never studied a specific response to being
\nattacked by a three-legged, five-armed alien, Aikido should enable you
\nto defend yourself even in novel situations.<\/p>\n
4.6 What is the unbendable arm and what is its value?<\/p>\n
Variously described as an impressive display of the power of ki, all
\nthe way down to a simple parlor trick, the unbendable arm is a
\ndemonstration wherein the demonstrator extends his arm and challenges
\nothers to bend it. Simple. Ostensibly by “extending ki” through his
\narm, the demonstrator can make it impossible for anyone to bend it.
\nIts value depends on the viewer.<\/p>\n
Section 5 – The Aikido-L Internet Discussion Group
\n —oooo—<\/p>\n
5.1 What is the Aikido-L discussion group?<\/p>\n
This is a discussion list for anyone interested in the Japanese martial
\nart of Aikido. It is a public, open list that welcomes novices and
\nthe curious as well as seasoned instructors.<\/p>\n
If you need more information than is given here you should contact the
\nlist owner, Gerry Santoro at gms@psuvm (bitnet) or gms@psuvm.psu.edu
\n(internet).<\/p>\n
5.2 How do I subscribe?<\/p>\n
The easiest way to subscribe is to send electronic mail to the address
\nLISTSERV@PSUVM.PSU.EDU (Internet) or LISTSERV@PSUVM (Bitnet). The
\nsubject line is ignored. In the body of the message, put the LISTSERV
\ncommand you want to issue.<\/p>\n
To subscribe, use the SUBSCRIBE command. For example, if Alfred E.
\nNeuman wanted to subscribe, he would send the following:<\/p>\n
SUBSCRIBE AIKIDO-L Alfred E. Neuman<\/p>\n
Once subscribed you will start getting a lot of electronic mail from
\nAikido-L. <\/p>\n
5.3 How do I unsubscribe?<\/p>\n
Send an electronic mail message with the line ‘unsubscribe aikido-l’ in
\nthe message _body_ to the address LISTSERV@PSUVM.PSU.EDU (Internet) or
\nLISTSERV@PSUVM (Bitnet).<\/p>\n
Note: Do *_NOT_* send unsubscribe or other commands to the Aikido-L
\nlist. Commands can only be processed if they are sent to the LISTSERV.<\/p>\n
5.4 How do I post messages to Aikido-L?<\/p>\n
You post by sending electronic mail to either Aikido-L@PSUVM.PSU.EDU
\n(Internet) or Aikido-L@PSUVM (Bitnet).<\/p>\n
5.5 How do I find out about LISTSERV commands?<\/p>\n
Send the HELP command to the LISTSERV (As discussed in 5.1).<\/p>\n
5.6 Why did I get dropped from the list?<\/p>\n
LISTSERV conferences are based on electronic mail. There are dozens of
\nnetworks with hundreds of mailer programs and gateways. Occasionally
\nsomething goes wrong and Aikido-L cannot send mail to a particular
\nperson. When that happens the conference owner (GMS@PSUVM.PSU.EDU)
\ngets hundreds of error reports and the conference can hang until
\nsomething is done.<\/p>\n
When this happens the only option is to delete the person whose mail
\naddress is causing the problem.<\/p>\n
If this happens to you please understand that it was done for technical
\nreasons and we encourage you to resubscribe once your mailer is again
\nworking. Nobody has ever been intentionally dropped from Aikido-L
\nexcept for this reason.<\/p>\n
5.7 What kind of etiquette is required when taking part in discussions on the
\n list? <\/p>\n
We do ask that participation in AIKIDO-L adhere to common courtesy and
\nmutual respect. Share information and opinions but please avoid
\nflaming and “my style is better than your style” types of postings.
\nPractice the same etiquette you would employ if you were in the dojo.<\/p>\n
We do ask you to try to adhere to the following guidelines:<\/p>\n
Me toos:
\nIn those cases where people simply want to say “Me too!” to a previous
\npost, whether in agreement with a point well-made or to ask for a copy
\nof requested info, please use an editor to strip away unnecessary
\ntext. In addition, send the “Me too!” to the original poster, not the
\nlist.<\/p>\n
Quoting text:
\nPlease try and edit quoted text down even when you have substantive
\ncomments, as most of us who read what you have to say will have read
\nthe previous entries in the thread as well. On the other hand please
\n*do* include *some* minimal text to give the rest of us a clue as to
\nwhat you mean by an otherwise cryptic post consisting solely of: “Yes,
\nbut only with nikkyo, never sankyo” (or whatever). The subject heading
\nis seldom not enough to understand.<\/p>\n
Directing replies:
\nRemember to direct your replies appropriately. Most of us have made the
\nmistake of sending to the list something intended as a direct reply,
\nbut please take a moment to check that a direct response is being sent
\nwhere you want it to go. Most mailers will send replies back to the
\nlist if you simply “reply” to a posting without intervening to change
\nthe recipient address.<\/p>\n
Updating subjects:
\nLong lasting subject titles are no longer relevant after a while
\nbecause the actual content has drifted into something entirely
\ndifferent. A subject title like this is a suggestion: Subject:
\nnew_subject was Re: old_subject<\/p>\n
AIKIDO-L will be unmoderated. However, the list owner reserves the
\nright to exclude (i.e. unsubscribe) any person who violates the spirit
\nof mutual respect.<\/p>\n
Section 6 – Other Internet On-line Resources
\n —oooo—<\/p>\n
NOTE: Many of the resources listed here are available on the World Wide
\nWeb using client software such as NCSA Mosaic which is available free
\nvia anonymous FTP from ftp.ncsa.uiuc.edu. Currently it is available
\nfor Macintosh, Windows and X Windows systems.<\/p>\n
The World Wide Web provides a hypertext interactive environment and
\nmakes it much easier to access and use these resources. Besides, its a
\nlot more fun.<\/p>\n
The Universal Resource Locators (URLs) (a method of accessing a
\nspecific resource on the World Wide Web) which are known to the author
\nfor the following resources are given in square brackets at the end of
\neach subsection.<\/p>\n
6.1 Aikido Anonymous FTP Site<\/p>\n
Aikido dojo lists and other aikido information is archived at
\ncs.ucsd.edu (132.239.51.3) for retrieval via anonymous FTP and
\nemail in directory pub\/aikido.<\/p>\n
There are two ways to obtain files from the archives: (1) anonymous FTP
\nor (2) e-mail.<\/p>\n
(1) Obtaining files via anonymous FTP<\/p>\n
% ftp cs.ucsd.edu
\n User: anonymous
\n Password: joe@cs.podunk.edu cd pub\/aikido
\n ftp> binary
\n ftp> get aikido-North-America.Z
\n ftp> quit
\n %<\/p>\n
Use the “uncompress” command (or gunzip) to change the file into a
\nreadable format:<\/p>\n
% uncompress aikido-North-America.Z<\/p>\n
For those without access to uncompress or gunzip, request the file _without_ th
\ne
\n.Z extension i.e. type ‘get aikido-North-America’.<\/p>\n
Your domain must have a working nameserver in order to use anonymous
\nFTP at cs.ucsd.edu, otherwise FTP access will be denied if the
\nIP address for your site cannot be resolved to a hostname. (Contact
\nyour local system\/network administrator.) To obtain files, you may use
\nan FTP mailer (ftpmail@decwrl.dec.com or bitftp@pucc.princeton.edu) as
\ndescribed below.<\/p>\n
(2) Obtaining files via e-mail<\/p>\n
This method works for people who do not have direct access to the
\nInternet. It involves sending FTP commands to an FTP mailer, which
\nwill send acknowledgement of your request, and then execute the commands.
\nTwo primary FTP mailers are ftpmail@decwrl.dec.com and
\nbitftp@pucc.princeton.edu.<\/p>\n
% mail ftpmail@decwrl.dec.com (or bitftp@pucc.princeton.edu)
\n connect cs.ucsd.edu
\n ascii
\n chdir \/pub\/aikido
\n get aikido-North-America
\n quit
\n %<\/p>\n
(For more info on FTP mailer usage, send the message HELP to the
\nmailer.) The requested file is sent back via email. If the file is
\nlarge, the mailer will break up the file into smaller parts.<\/p>\n
Dojo updates, new dojo listings, and information about aikido seminars
\nand camps are welcomed! Please send e-mail to: aikido@cs.ucsd.edu<\/p>\n
[ftp:\/\/cs.ucsd.edu\/pub\/aikido\/]<\/p>\n
6.2 Eric Sotnak’s Aikido Primer<\/p>\n
An excellent introduction to Aikido, this primer is available in text
\nformat from the Aikido anonymous ftp site (Discussed in 6.1). Copies
\nare also available in postscript format on request from the author at<\/p>\n
[http:\/\/www-cse.ucsd.edu\/users\/paloma\/primer.l.html]<\/p>\n
6.3 rec.martial-arts<\/p>\n
rec.martial-arts is an unmoderated USENET newsgroup which discusses
\nissues related to many different martial arts, including Aikido.<\/p>\n
6.4 Brad Appleton’s Stretching Guide<\/p>\n
Brad Appleton’s stretching faq is a very good guide to stretching. It
\ngives information on the biomechanics of stretching, the types of
\nstretches and some suggested stretches. It also has references for
\nother books on stretching. It is available in ascii, postscript, and
\ndvi format. It is available via anonymous FTP from cs.huji.ac.il in
\nthe directory pub\/doc\/faq\/rec\/martial.arts. The file name is
\nstretching.FORMAT.gz, where FORMAT is one of ascii, ps or dvi
\ndepending on the format you want.<\/p>\n
[http:\/\/archie.ac.il:8001\/papers\/rma\/stretching.html]<\/p>\n
6.5 Martial Arts FAQ<\/p>\n
A more general FAQ dealing with introductory issues for the
\nrec.martial-arts newsgroup. This FAQ is not intended to be a Martial
\nArts Bible, but to give some help to those that are looking for a
\nplace to start, or those more experienced that would like to know more
\nabout some different style, have a particular doubt, etc.<\/p>\n
It is posted periodically to rec.martial-arts and is also available by
\nanonymous FTP from cs.huji.ac.il (132.65.16.10) in the directory
\n\/pub\/doc\/faq\/rec\/martial-arts. The file name is FAQ-rma.gz.<\/p>\n
[http:\/\/archie.ac.il:8001\/papers\/rma\/FAQ-rma.html]<\/p>\n
6.6 Sword Arts FAQ<\/p>\n
This FAQ is intended to cover all aspects of Japanese swordsmanship. It
\nis periodically posted to rec.martial-arts and rec.sports.fencing. It
\nis also available by anonymous FTP from cs.huji.ac.il (132.65.16.10)
\nin the directory \/pub\/doc\/faq\/rec\/martial-arts. The file name is
\nsword.art.faq.gz.<\/p>\n
[http:\/\/archie.ac.il:8001\/papers\/rma\/sword.art.faq]<\/p>\n
Section 7 – Glossary of Terms
\n —oooo—<\/p>\n
The following is a short list of some of the Japanese terms you will
\nfind in Aikido, and in particular used in the Aikido-L discussion
\nlist. For a more detailed glossary, please refer to the Aikido Primer
\n(discussed in section 6.2).<\/p>\n
Ai Harmony or unification
\nAiki Blending or harmonising of ki
\nAikido The way of harmony with ki
\nAikidoka Aikido practitioner
\nAtemi Strike (often to a vital point)
\nBo Wooden staff about 6 feet in length
\nBokken Wooden practice sword
\nDan Black belt rank
\nDo Way or path
\nDojo Training area (lit. the way place)
\nDoshu Grandmaster
\nFukushidoin Certified junior instructor
\nGaeshi (kaeshi) Outward turning movement or counter
\nGi Cotton uniform worn by practitioners of many martial arts
\nHakama Traditional pleated skirt-like trousers
\nHanmi Stance. Posture
\nIrimi Entering movement
\nJo Wooden staff about 4.5 feet in length
\nKamiza Seat of honor
\nKata A form or sequence of predetermined techniques
\nKeikogi More formal name for a gi (see above)
\nKi Vital force. Energy. Spirit
\nKiai A loud yell, or sound, projected from one’s center
\n during an attack
\nKohai One’s junior
\nKokyu Breath
\nKyu Any rank below black belt
\nMaai Proper safety or combat distance maintained between uke
\n and nage
\nMudansha A kyu-ranked person
\nNage 1. Throw. 2. Performer of technique 3. The thrower
\nNidan Second dan
\nObi Belt
\nO Sensei Honorific for Aikido’s founder, Morihei Ueshiba
\nOmote Forward movement; Front of the body
\nRei Bow
\nSabaki Movement
\nSandan Third dan
\nSeiza Formal sitting posture (legs folded under yourself,
\n sitting on knees)
\nSempai One’s senior
\nSensei Teacher
\nShidoin Certified senior instructor
\nShihan Master instructor; Exemplary teacher; a technical
\n rank, issued by World HQ
\nShikko Knee walking
\nShodan First dan (lit. beginning dan)
\nShomen Front
\nSuburi Sword cut (often preformed repeatedly)
\nSuwari Seated
\nTaijitsu Body or weaponless techniques
\nTaisabaki Body movements
\nTanto Knife
\nTenkan Turning movement
\nTori Performer of technique. Another name for nage.
\nUchi-deshi Resident apprentice
\nUke Receiver of technique
\nUkemi The art of receiving technique
\nUndo Exercise or drill
\nUra Backward movement; Rear of the body
\nUshiro Behind. To The rear.
\nWaza Technique
\nYoko Side
\nYudansha A dan-ranked person
\nZanshin Awareness<\/p>\n
Section 8 – Bibliography
\n —oooo—<\/p>\n
The following is a short list of books on introductory and general
\naspects of Aikido. This is certainly not an exhaustive list and is
\nmeant only as a guide. In the near future we hope to be able to direct
\nthe interested reader to a far more detailed bibliography, which is
\ncurrently being compiled.<\/p>\n
_Aikido_ by Kisshomaru Ueshiba
\n_Aikido and the Dynamic Sphere_ by Westbrook & Ratti
\n_Aikido for Beginners_ by Larry Reynosa
\n_Aikido for Life_ by Gaku Homma
\n_Budo_ by Morihei Ueshiba
\n_Dynamic Aikido_ by Gozo Shioda
\n_Principles of Aikido_ by Mitsugi Saotome
\n_Traditional Aikido_ by Morihiro Saito
\n_The Spirit of Aikido_ by Kisshomaru Ueshiba<\/p>\n
Section 9 – Periodicals
\n —oooo—<\/p>\n
There are currently (to my knowledge) 2 magazines devoted to Aikido.
\nNote that many dojos and\/or associations also produce their own
\nnewsletters.<\/p>\n
Aiki News (Edited by Stanley A. Pranin)
\n“Aikido and Daito-ryu Aikijujutsu”
\n $25\/year (4 issues)
\n (Canada & Mexico, US $30; Foreign surface mail – US $35)
\n US$ checks drawn on US banks only; money orders, eurocheques,
\n cheques bancaires accepted. Checks payable to:
\n\tAiki News
\n\tTamagawa Gakuen 5-11-25-204
\n\tMachida-shi, Tokyo-to 194
\n\tJapan
\n Phone orders (AMEX, Visa, MasterCard accepted):
\n\t1-800-877-2693 (US)
\n\t514-436-9686 (outside US)
\n\t81-427-24-9119 (Japan, phone and FAX)<\/p>\n
Aikido Today Magazine (Edited by Susan Perry)
\n“A Non-partisan Journal of the Art of Aikido”
\n $22.50\/year (6 issues)
\n (Outside US, $27\/year, checks drawn on a US bank)
\n Checks payable to:
\n Arete’ Press
\n \t1420 N. Claremont Blvd. #111B
\n \tClaremont, CA 91711
\n Phone orders (VISA or MasterCard): (714) 624-7770<\/p>\n
[This information courtesy of the Aikido ftp site at UCSD]<\/p>\n
Section 10 – Equipment Suppliers
\n —oooo—<\/p>\n
Note: Inclusion of company information here in no way implies the
\nendorsement of that company by either the author or any of the
\ncontributors to this list. It is provided for information only.<\/p>\n
There is a file maintained at the aikido Anonymous FTP site (see
\nsection 6.1) which lists various suppliers in the United States, Japan
\nand other areas.<\/p>\n
Section 11 – Suggestions & Acknowledgements
\n —oooo—<\/p>\n
In the course of preparing this FAQ there have been several excellent
\nsuggestions for interesting and useful information which could be
\nincluded. However, I felt that this document was already long enough
\nand that these items really belonged elsewhere. <\/p>\n
So if anyone is willing to have a go at putting any or all of the
\nfollowing documents together, please feel free! Please let me know who
\nyou are and what you’re doing and I’ll note it in the FAQ so others
\ndon’t duplicate your efforts. Suggestions for other documents also
\nwelcome.<\/p>\n
Suggestions<\/p>\n
* A comprehensive Aikido bibliography
\n* Short biographies of the uchi-deshi of O Sensei<\/p>\n
Thanks<\/p>\n
This FAQ would not have been possible without the willingness of the
\nmembers of the Aikido-L discussion group to share their knowledge with
\nothers. The following people were particularly helpful and
\ncontinuously responded to my pleas for help and remained patient with
\nme throughout:<\/p>\n
Mike Burke
\nRick Clark
\nMichael Denton
\nKent Enfield
\nPaul Findley
\nJeff Frane
\nCharles Gervais
\nPhil Gullion
\nMichael Hirsch
\nMinhhuy Ho
\nDave Huang
\nChris Jones
\nKevin Jones
\nCarlisle Landel
\nAndrew E Laska
\nJohn Murray
\nCindy Paloma
\nC. Hobart Perry
\nTerry Roberts
\nGerry Santoro
\nEric Sotnak
\nBob Truel
\nBill Upton-Knittle
\nSteve Zimmerman <\/p>\n
Domo arigato gozaimashita!<\/p>\n
