October '97

The Seidokan Communicator

Aikido for a Modern Way of Life
Shoshin Ni Kaeru
by Minoru Kobayashi

Hello everyone! It has already been two years since my husband passed away. I have been able to rise
again by "some incident," while everyone in Seidokan Aikido has extended me warm support. In my
communications with the Seidokan dojos, I feel strongly that Rod is still here with us. I regret that I
could not attend the summer camp in Michigan and spend time with everyone. This was mainly because
I have had my own struggle coming back from shock and sorrow in the last two years. I'm sorry about
not being able to send this message earlier although I have tried several times.

I mentioned earlier "some incident" that has helped me through this time. What comes to mind is
Katatetori Tenkan Undo. Rod always guided us to "walk forward." As you know, every technique has its
own deep meaning. I am truly thankful to this meaning of "walking forward," as it has helped me to
regain confidence in my life.

It is important to live your life in accordance with what you believe in. Rod always wished that everyone
would share knowledge with others and apply Aikido in daily life. I sincerely hope all of you who
practiced with him continue training and progressing through "Shoshin ni kaeru" or "Returning to the
beginning."

At this time, I would like to share with you, the Seidokan motto which Rod used (the first quote). The
second quote was taken from one of O-sensei's poems.

Hyakuman Isshin, Hyakudai Isshin

Million, One Mind,

Spreading Aiki Forever

Aiki towa yorozu

wago no chikara nari, tayumazumigake michino hitobito

Aiki is the power of all things working together,

Constantly improve yourselves students of Aikido

 Control
by Larry Wadahara

As with many things in Aikido, you can't have one without the other two. Specifically, Blend, Lead, and
Control. I personally feel that too many people place too much emphasis on contol while practicing in the
dojo and in daily life. To blend and harmonize is to control oneself and then to become part of another. I
was once asked how can you become a friend to one who intends to harm you? My answer is that if we
do not become one with the attacker, the technique may work, but not with much efficiency. Many of the
techniques have come from marital arts and so they may be applied in a way that relies on pain and
leverage. This, to me, is not Seidokan Aikido. To those of you whom I have hurt during practice and are
wondering about my writing this article in this fashion, I apologize again. I'm still working on practicing
what I preach!

Prior to Kobayashi Sensei's death, I felt that his techniques had developed to a point where there was no
feeling. I would end up taking ukemi that would blow the breath out of my lungs. When I did this, Sensei
would always say that I threw myself too hard. I'm sure we all know the feeling. I would probably argue
about who had the control at that point.

Both uke and nage have a great deal of control in any technique. They both have the ability to make or
break the technique. I'm sure we have all had a similar experience where the technique would not work
because the person attacking did not feel that it would. It is very hard to control a person who knows
what you are going to do without relying on pain. As an uke, we must all learn to attack with Mushin (no
mind) and allow the nage to harmonize with us. I am very grateful to all my teachers, friends, and
students who have allowed me to do this as both uke and nage.

The word control can mean many things to different people. In my opinion, I would consider getting out
of a dangerous conflict without lifting a hand as the ultimate control. By practicing the four basic
principles, we should be able to see a way out of the conflict. To me, practicing the principles of Aikido
is hardest when there is a spouse or sibling involved. To those of you who do this, I give you my
applause. I think that in this sense, we can not seek to control, but rather only to harmonize.

Oh well! Let us get back to the principle of control. I would like to describe to you a technique as an
example of what I feel is proper control. Have the uke stand closer to the nage than usual. Instruct the
uke to throw a slow punch to the nage's chin, then have the nage step off the line. Next have the nage
place both hands on the forearm of the uke, have him grip tightly. Instruct the uke to throw another
punch at nage. There should be a real time lag between the uke's punch and the nage's reaction. Try the
same thing with the nage holding light enough to feel the uke's pulse through the forearm. The results
should be dramatic.

The explanation is simple: By squeezing the uke's forearm you allowed him to have control of you. By
being able to feel the uke's pulse, you practiced the four basic principles and became one with yourself
and then the uke. The reason why I used the punch to the chin is that we don't practice this very much
and you can feel the difference easier. When you are one with a person, the person's moves become your
moves. In so doing, you can control the situation by controlling yourself. Once again, we follow the
principle of circularity.

An Aikido Journey
by Emily Dolan
(University of Texas & Still Point Dojos)
Occasionally, in order to truly understand a path, one must stray from it.

Unable to pursue Aikido in a manner satisfactory to me after a moderate shoulder injury in August 1995,
I pursued several other martial arts. In these arts (more punching/kicking and some aikijujutsu) aiki was
either used as ground for manipulation or eschewed as "martial vegetarianism." Both positions were
consistent with my philosophy at the time (and may in fact have been my own projection) which was for
the most part corrective rather than based on compassion for the Other as an extension of the Self. Why
shouldn't I hurt a person who hurts me or tries to hurt me, or at least let them run into the ground in the
attempt?

I reached a turning point in late March 1996 when I attended the Awasu ("Blending") seminar at Sensei
Ross Robertson's (Yondan, Seidokan Aikido) Still Point dojo in Austin, Texas. Robertson Sensei used a
variety of teaching techniques focusing on awareness and sensitivity that allowed me a far greater
understanding of the importance of blending throughout an attack, from intention to resolution. His
questions for the participants went far beyond the standard rhetorical, "what is ki", delving into human
psychology and spirituality. The interactivity of the seminar was an espresso antidote to the standard
"teacher tell" methods I have occasionally experienced. I discovered ways to analyze the art without
taking the heart out of it. The following are some of my conclusions based on meditations after the
seminar, months later.

Aiki must imply a connection. Some psychologists theorize that any pain or antagonism in the Self is
acted out on the Other. Likewise, any pain given to the Other is pain experienced by the Self. Therefore,
the concept of blending, of unity, in Aikido applies. It extends boundlessly, in a philosophical sense.

To make others an extension of my Self causes me to extend my sensitivity and compassion further in
both directions, healing me, and, I hope, those I touch.

Calendar of Upcoming Events

Nov. 28 - 29, 1997: AIA Annual Thanksgiving Seminar, Los Angeles. Fri. 3-5: Chan Sensei, 7-9
Wadahara Sensei. Sat 9-11: Kawakami Sensei, 1-3 Crotty Sensei. For information call 213 667-2428.

March 6, 7, 8, 1998: St. Louis Seminar with Doug Wedell, Sensei. This Aikido workshop is sponsored
by the Aikido Institute of Mid-America. For information contact Richard Harnack, 314-647-0903.

June 12-14, 1998. Summer Camp hosted by Cal State Long Beach Aikido Club. Mark your calendars!

TECHNICAL CORNER
More than one way to kokyunage
by Doug Wedell

Kokyu refers to breath and is closely related to

the concept of ki. Kokyunage, or "breath throw,"
embodies the idea that the timing, flow, and
connection of the moment is all that is needed to
unbalance the attacker. In traditional Aikido,
only a few techniques have specific names and
the rest are known collectively as kokyunage.
For example, what we call hijiotoshi (elbow
drop), makiotoshi (spiral drop), and zenponage
(forward throw) would all be called kokyunage
(forward throw) would all be called kokyunage
in traditional schools.

In Seidokan Aikido, we have reserved the name

kokyunage for the specific art in which we step
aside to the weak side of the opponent and cut
down the elbow and neck. This technique is
illustrated in the first set of pictures. I am
attacking munetsuki (chest punch) and
Kobayashi Sensei is stepping aside, connecting,
and dropping me down using kokyunage. In
many ways, kokyunage is the simplest of our
techniques and is founded on the Hitoashi
Yokete Doka of O-sensei. When the opponent
attacks strongly, we take one step aside and
apply the simplest technique. The basic version
of kokyunage illustrated represents years of
paring down and simplification of the standard
irimi nage technique of traditional Aikido.
Instead of entering, turning, cutting down,
raising up, entering again and cutting down - the
movement becomes step aside and cut
immediately "Hitoashi yokete suguni kirubeshi."

In the first set of pictures I fell forward.

However, how uke falls is largely up to uke. In
the next series of photos Kobayashi Sensei
illustrates what he called the banyo aigo version
of kokyunage. Here the attacker has braced
himself so that he does not want to fall down
forward. Rather than force uke to fall in a way
he does not wish to, Kobayashi Sensei instructed
us to embrace the attacker with the spirit of
loving protection. Once this is done, the attacker
will fall as nage turns his body. Banyu Aigo
means the "spirit of loving protection." The
movement is still kokyunage, but it is simply
finished differently to follow the flow of the
situation.

Indeed, there are an infinite number of variations

for any Aikido technique as each application
must take into account the unique aspects of the
moment. Kokyunage is readily identifiable
within these varied forms. When done properly,
it reflects the principles of both hitoashi yokete
and banyo aigo.

(Note: These pictures were taken in the Fall of

1993 at a seminar conducted at the University of
South Carolina).

Aiki Poetry
 Aiki Poetry
Aiki

Stillness
in turbulence.
Clarity
in confusion.
A force of motion
the eternal circle
lifedeathbirthbecoming
all one.
Open hands receiving force
water and stone, redirecting.
The open spirit perceives all
conscious of nothing
in this art
of the open heart.

- Emily Dolan

Oneness
Standing calmly amidst a sea of chaos,
An opponent comes running to strike...

I step aside and let him drop to the ground...

I capture him within my circle...
I show him the heavens and then return him to
earth...
I let him ride on a wave of ki...

"I" disappear.
Now there is no opponent,
There is only peace,
Only oneness.

- Doug Wedell

EDITOR'S NOTE
The Seidokan Communicator is published
quarterly. I will also be editing the next issue
(due out at the end of December). Please
remember, your submissions make this
newsletter possible. Send articles about your
dojo, your instructor, a recent seminar,
philosophical insights, technical descriptions,
and other Aikido related materials to me so we
can keep up communication in Seidokan Aikido.
Send materials to
Doug Wedell

501 Doncaster Dr.

Irmo, SC 29063.

Email submissions are welcome at

wedell@sc.edu. Questions? Call me at 803-781-
9242 or 803-777-4258

Doug