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    M. Saito - Traditional Aikido Vol. 1 - Basic Techniques PDF

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    JohnAiki

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    © All Rights Reserved
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    of 137
    As taught by the Founder bo the Author, Aikido is an extremely efficient and versatile martial art. It does not rely upon # weapon or weapons but shows that the body move- ments are the same whether one holds a weapon or not. The term riai means, literally, a blending of truths. By understanding Aikido through rini, one sees that the taijutsu techniques were developed from movements using the sword. Therefore, training with the sword will develop tuijnstu technique. The Founder said thas a weapon should be used as an extension of the heady. However, he stressed that one should not develop a dependence upon a particular weapon, To build this feeling, one should practice the basic exercises of ken and jo suburi, tai no henko. and kokyu dosa consi: nily. A good understanding of these basic exercises will enable the practitioner to move smoothly and surely with ar without weapons. Explanations have purposely been kept at a minimum to encourage the reader to use the book asa guide to developing under: standing through practice, wee MSE SS So Wes DORN ih ibaraki Prefecture in Mareh of 1928. In July of 1946, he met and became the student of Professor Merihei Ueshiba, the founder of Aikidu, at the Tbaraki Outdoor Dojo in Iwama. — [le lived at the dojo and worked hard for the Founder even though he held a regular job. So complete was his desire to learn Aikido and his devotion to the Founder, that after his marriage, instead of a honeymoon t he left his bride to train with Professor Ueshiba At the New Yeur Celebration in 1959 he hecame an instructor at the Main Headquar- ters Dojo in Tokyo. Through his Sunday morning practices at the Headquarters Dojo, he attracted many students by his personal character and enthusiasm for Aikido He beeame head of the Ibaraki Dojo in April of 1969 afier the death of the Foun- der, ‘Together with his wife. he also cares for the Aiki Shrine next to the dojo, In n, he also regularly instruets at Kana- gawa, Ibaraki, Iwate, and Tohoku Gakuin Universities, the Miyagi Branch Dojo and the Japan Self Defense Force Army Weapons School in Tsuchinra. Other Aikido groups in Japan and from abroad also come to the Tharaki Dojo for instruetion. (1973 by Morihire Saito ISBN | 0—87040—266—8 MINATO RESEARCH & PUBLISHING COMPANY 1 Nishikube Sihurskuwarck Miata‘, Tuya, Apu First Printing : September, 1973 Printed in Japan waive Distributor in US. 4. a Canada JAPAN PUBLICATIONS TRADING CO. pr iaeruiarcws saan euliore - Nid: HA EBT FR dt POUL Te RES Hot saeco r, (2. PAR SSSt mee | ari A HEAL BIEL & Yo 0 Bah tA i oe i Rio cMnte sett, Pee. BAA ae E. TE 7 2S AR a eS TT é eddy: & me tn etal RA PS oN Bee WHEL STL IG. ERI LL a UR ib Se . SL, Babs. SER EICRL Coat, heal Be Ae te ERE OL oes StS FR ORDO aS ab era ko Th AMET. RGR SBA LTS. AME i FOE ROOD RH eh HRI Boe to) Heme ES lS oT 6 BREE La SAMS BaP NL Bort “ah AO, Peep ay ae Lik 7 ee ee WEL TORT. PLCce, + Apis Oo AMAL UID Fb T aH OST. HENS tak FLOR oS, Zo7 13, fesse tL ate Rem RIED, N kAat BAIL HE LC OE eS CT 2 CRS SHEL E+, HORI EN SARE OA, bo MAS tHE Le ee TS Boy, com ARRUNPE e paisa BAM a 2 H4stk» | Poh CUBR hides. OORT MSD Law BRE ch at ay. Atte S TL aS by BLP STR SR CS et ae AAS Cots, AM eR SHO HAE BIGMIC AH 1S, RU a ergata. eas * 1 42 FRETER apg OCA L HHT AGE. 24007 8 PATO SWE FOES | PRCA Op inl ee + ae aS ANAL A Lato hd, Pato A 4 FoR CLE a. APD ba dE Ay HACE lt a WA mMBE eS ra + BORAT OS Ban 14 RUSE se a ES m om Ha Hl Bil maT MAT eRe FOAL SA oA, AAR L Rad, FURBO RBI TE TE kD RD Fe AL. Bia eo BF oo BHP sa 20 a5 a HET EM L. fle GR CLE OM ROR L «Gecko, Be Le tole) COMA, Tei aS ech aT, al. Hehe LC beet Azer HA a Ee A BB RUAN AEE SEM LS Sh eR had ae tS ao z RL Tis RA A ae ASS BP Le ee OF 2 Ui an AL eb a A OCR 6 LOAM bbe oR EET ee tS RIM LCM SAAT . PERFETT S We eR ME ALY LA ot BBA Oo 8 EE LESELCHSAST, SAO AM ER ae Pea Em Tie Bh mee on Seeder Wha tee Me ag ie) ae Se eek SS hee - Sees : SNORE ERA Rs ea = Se : ae ae rn ree en ate Seta tie ct ehatheg Bhuaiie ee Retires Me Pea ee Ae" getter a en ati wb a eo i Seis ate ! 228 seg i Sas i meee sia : < 3 ! He « oe iis TE =. = Bie Eat weeeniges Yah eee cay Per cete ore tanh eects a Cale al Ke SAaEHE TOR GAtEKIT_ tTATHS SSE LE LA, PRL. SAREE LA RIE Ie MA Om Fiche ob APSARA CHS IMD LE Ch OE EO ECT Sale b AUGER E Lao ath, IPR ae Pew Liki bo Cito She THAMAR ae eR sy, Mth CLARA EO BM CH BOB ESS ETT oF POET. RPS SrA wen, Smee, PAC OHA CaoreitS Lie Swe LE iGo b S SABO RFS it faa et SHO LOTH ). RRO CS eo ee Be bie Sk RAL. PAE OH CCE so A Ao ean LEW S ba. SHERI h CH at HE A SUSE © tah, aE UE, RRR AMOS A OBS OR et Lode GS BLL EIS be AA PEE To AE Ot Bl MTS EIAML EDEN TT, £08 Ly bw I Oe Tl Po Ra Se mr, AR P44 L RU HEES. BIC cA eS At Fee ery FN ET S41, MOR ISU Bo be RD O@mewe lL coe. heel bik het. Bese ree Haga BL A OW SF OGL De Sa toe PUT a Pd 26 9, WG Ons 222468 rViowyviu This book intends to explain the fundamental relationships between the use of ken, jo, and taijutsu, It was written with the eonsidera- tion that it should be used for actual practice. For this reason, there are many photographs to be used for reference and understan- ding of the techniques. Some explanation about the form of the technique and necessary mental attitude has been used tp augment the photographs. A thorough understanding of basic techniques in the use of ken, jd, and taijutsu is necessary when dealing with many opponents To stress this point, single moyements of the basic Aikidé exercises of tai-no-henko, and kokyu dosa are explained. Therefore, the reader should pay particular attention to these basic exercises, since they are the basis of all dd movements. This book emphasizes basic technique only. A second volume on advaneed technique will be published later. Recently, many foreign students have been coming to the Ibaragi Dojo totrain, For this reason, the [English text has been included. Since space limitations didnot allow a more detailed explanation of the fundamental techniques, the author welcomes, from the reader, opinions based on actual practice. This book is dediented in deep appreciation to the memory of Pro: fessor Morihei Ueshiba, the founder of Aikida. The author would also like to express his gratitude to the second Déshu of Aikido, Sensei Kisshamaru Ueshiha, the instructors and students of Hombu Déjé and Miyagi Branch Dojo, the photographer Mr, Sadao Hirata, Mrs, Takako Alexander who advised on the english translation of the text, and the editors of Minate Research Co, for their kind assi- stance and cooperation. August 3, 1973 Morihiro Saito Tharagi Ken, Nishi Tberagi Gun Iwama Machi, Yoshioka 26 Telenhone ° 020045 —22904 ee ree ae ee Fh BE [Introduction ----e:2ceeeeseeeesiseeeeeecre creer] MAC (The Combined Aikids System }e----e------18 EAA AA IH (Basic Method of Aiki Sword) TRE Pe) HE Sibu) ee ede) —(1)- Fel) —| Fel) (3) Fede ) —(4} See) —5)- ii A. & FKleEntering Method) - Tem] i Ap att SE MAT % AS He WEUR AERO ACHMED Ase 4. {& O> BE fay Tai no Henko} 5. Bl + WTOP A (Sword and Body Relationship) JER A Eg 4 TERY SO ety — Ad a) TEMA 00 Jp BEY — BEC 2) TPH 9 Hae y — Bete GER 7) L TER SF ART Pig fit) 2 PO ay Hei WRMTIT PG Aw Ro 6. OF Dh ee(kokya Ha) a tea a 0) ATRL ) Tl FEARS RUM (Besic Method of Aiki Jo) 1. FEHR VEE 81M AC Suburi and 31 Count Kata} Sleoft (31 Count Katai -8~115 Sik 0G: (Suburi) (4 M88) (Thrusting Movements} FON) (Wrist Movements? (EPR 2. POAd th kiPartner Practice with Je) + 128 ab bel oe 129 aht—ll ~ 130 #89 EE HiPictures donated by Aikidé Headquarters) Sn Al 1,3, 29, 36, 46, 76, &, 131 Aaa 6, 10, 64, 77 ec 9 % 3 HFK (Glossary) PG) los] Poo His A ek THEE RG LE CHANT AN ETA, Zech HAM LOR TORR TRL RAR EA, OL a ieAA eee Chu, HOSA STC HOST, BOM chai Maes bee BRA-Kkt go Ch sikRet, 7EORDE 5 a+, free CHET © bd Ce SAME a % 2 fil OTH. @ Pile, babs eS 2S it oA HLi9. Hie ee, SH CML AH Ane PU ret ae Fe Beg > ACE) 2 Ct. POCA AHUS. EB uss, = Sh SF, SB Let Oo. ATM AHH ee eee ey Riai-The Combined Aikidé System. Generally speaking, Aikidé is known by its taijutsu techniques. However, the taijutsy mevements are based on movements of the ken. Tt is difficult to separate those movements which are based on the ken from thase which are based on taijutsu. Rather it is a harmonious blending of beth that creates a single Aikidé. In other words, hoth systems agree with each other, If one were to mix present forms of Kendo and Judo, for example, and expect the result to be similar to Aikidé one would be ma- king a mistake. Even when using the same ken, Kendo and Aikido are very different even though they may appear tu be similar, It would also be very difficult to explain Kendd in terms of Judo and visa versa, Where then, does the difference exist hetween Aikido and other mar tial arts? Fist it is in the posture, When uke receives an attack , he must be standing in the back triangle. Second, uke must harmonize with the ki of his attacker, The incorporation of these wo concepts makes Aikidé unique. Res Lgao TLC, ee STORY RIPOME Rat 7 tits the ate, Ata tpbvaH WHAM TC Shot BLE tt, Peaniseaut _ RAR ERAT Soot A ET, BLO? wet hone tne nti Mike e CSU, SABE ROAMe EAC EEN ELE I. thik A VE & te Lees emL toss, MALTY RiP eRe, ROAST SLOTS MSH oR BL 5 TAME EONAR CH DET. Lab, tome oA RSREIE & ERED Bae VOL 3. FERIA Pe] He SP SCH 427s eae tet S ee ete tee The back triangle stanee, for instance, in the posture of right hammi, forms a triangle alongside the outside of the right foot with the inside of the left foot. The founder called this stance hito ¢ mi. When standing in hito e mi, it is possible to execute a strike or thrust without receivin: a blowin return. In Aikido, the second concept, the harmonizing of ki, has many possi- bilities. In practice, one tries always to blend one’s ki with that of the attacker. This enables one to respond in a less severe manner, without thrusting or striking, even when it is possible ta do so. Partner blen- ding practices such as kumi-jo and kumi-tachi are done according to basic forms and their purpose is the development of harmony of ki. After basic techniques have been learned, applied techniques can be par- formed at any required time. However, some people feel that for the purpose of testing techniques it would be necessary to have a match of some sort. This is very dangerous because, in AikidO a contest means a fight with a real sword. If a contest is held, rulesmust be made ‘The dangerous techniques would not be allowed and the range of app|ied techniques would be limited, Such a restriction would make the (rue aims FOM HS CRO SEO Boa dy Ma AMO EMEA! my to shai, Hoe EM ssue, UP PEM McLee s) LR ae t. TAA CMM THE Ske “GSA IT 33 & i Met oto ek ee Ho CMS FT, Meteo THe DRIFSDEReSet 0. ERO, e3 ere Weel ke. Bg & A Be yhis “a SW Bol He hE The more present day Budo seeks a real peace and proves the spirit of universal love, the more severe the process should be to attain these goals, That is the world of Budé. Progress along the way (Do) is one of hardship resulting in everlasting joy and cherished human relationships. These are special rights given to students, and it is the duty of the stu- dent to accept the hardships of ken, jd and taijutsu practice to actively further himself along the way. To understand the combined Aikidé system is to realize that one is not dependent upon a ken. j6, or other weapon. Development of mind, body, and technique dees not rely upon an armoury, but on independence of action. Tf a sword is used, do not realize it as a sword, If using a j6, do not depend on it, but feel the commen harmony in movement. The systemof ken, jd, and taijutsu are explained through the photographs. Their common features can be seen by careful examination. This proves the adaptability of Aikidé to any situation. True understanding comes only through study and practice. It should be the desire of all who practice Aikidd to develop ki, body. and mind without neglec daily practice. In this way, one can develop Sitting Bow AAR RATE Basic Method of Aiki Sword He PE VKL ARMOR oh 4ntenite bon, BER os e—i2 a AMPK L AFH TAS IL, MOTOR LYE Moa a! AHS, its no IE OSL bee LETHE, FHA. MMA Hic BL =O, WEA 8 2 WHMIGEOTHA, JRbatyeitis Hinge. Rtgs oe Suburi recneeees The suburi techniques must be performed according to basic Aikidé theory and philosophy. It is important that all suburi must he done with full — ex- tension of ki. Several suburi done with full ki extention than thousands done lightly. are much better The beginning posture must be in accordance with the back triangle {refer to figures on pages 25 and 49). The pommel of the sword ig in line with the navel. This alignment makes movement forth and back and right and left easier. mi 4 Standing Bow RY —(1) AA ici LU, BoB ecgqpsatrtra Roca s, Bice wk Cle, METS TEACH SE, First Suburi It is important that the sword be raised overhead and brought down in exactly a vertical line. As in all Aikido suburi, during the downward stroke of the sword, the hips must be solidly based. HRES TALE mee BhIiRTS. YC ar iz HR A 3 —(3) 0 Hommes. AE SALEM TAC PH Se, Beh Third Suburi MEM hit, -RoOR PA tN — Wie BUA This is one of the kokyu, or breath, techniques. As the right foot steps back, the sward is raised directly overhead. This alignment allows the The right foot steps back as the sword is raised overhead. At the same time twist your hips to move your body out of the line of attack. As the strike is made, a step is taken with the right foot, and the right hip is thrust forward. universal ki ta enter the tip of the sword and fill your whole body. As the sword is lowered hackwards, hold your breath and settle your body in the side stance. The strike is made with a single exhalation of your breath. Fei) —(4) Bae PA Ret b da) as Teelnids thal & OU Ch S. Fourth Suburi This is a practice of bi movement, The strike may be mad either a right or left ste ward, As the strike is comple leading hip must be well forward, FRG PORTA Aes ee The Founder, Professor Morihei Ueshiba during practice 3m |) —(5) FEATS SET LE RICE ak Fifth Suburi Movement to either the right or left out of the line of attack is accompa- nied by a covering of the head and side with your sword. As the mation is terminated, the sword is brought down in a vertical strike and a step for- ward is taken. Meera fee paseo Sixth Suburi No matter which foot is forwa an instant thrust is A strike with the right, for stance, is followed by a thrust Rik |) —(7) ALCHSAACHEE BH ERL REL TRS. Seventh Suburi A strike is made stepping forward with the right foot, This is followed by a step forward with the left foot accompanied by a thrust, Dey gee a ee aa me oe Peecegase ts BEST Se STEM SROR TER Eo} PERDR EER ISS SSeS eo a sae eas SEePP RT ePGRe RTO ones one rss Eseahrorhewe eae EGEUHG CAE OUL EGE ee seas ees Peete cree prea eer ees PEGS EEE cS ea RS * s es = & Babee Sara Seencerssee Soa eee aes oes ch ae peers ieee ee ty : Seer eee TEA FT Ce ee % SMBRS Gee AR fl 8 The Founder, Professor Morihei Ueshiba instructing a group of dancing teachers of the Hanayagi School at the old head quarters Dajo of Aikidé, 1933. LUO LM SRAe TS, ASM) BMKot tT bn tes. HNP odes RL Ree SOIR. RAHM SGT EAA 6.0KM) Holding the Sword Practice gripping the sword according to the strike exercise (Refer to page 45). This exercise is yonkyo. The sword is gripped strongly with the little finger of the left hand. The fourth finger of the left hand holds firmly also. The other fingers of the left hand hold loosely. The right hand holds the sword in a loose manner. #4 5 CH A SS) Gripping the Sword AOSH tik FIO BI EF APRN eat Hid, 47 SIT SC Mental Attitude of Partner Practice withSwords, In Aikido sword practice with a partner, it does not matter whether you are the attacker or defender but how you blend your ki. The most impor- tant thing is to harmonize with your opponent. eee A ee Nee ee ACER AERA FAC BAT, SOME SERRE HA ik ic HIT 2. Partner Practice No. | As your opponent performs a straight strike, slide your bedy to the right out of his line of attack and strike down. At the same time, move the left foot behind the right adopting the back triangle stance with the right side of the hodv. Re pht SMW eonslk Partner Practice No. 2 As your apponent thrusts, rotate the hips and slide the body to the side striking in retarn. at —(3) FeAs HME Fiche AA (RisAS), PAG barre 95H, ebethenthe, ATM of ait eM ogo aT AS. . Partner Practice No.3 i Teh Leee When your opponent strikes, rotate die hipe and slide the body ont of the line of attack (or step forward). As the opponent lifts his sword to strike again, step forward blending with his Ki flow. This is the secret of “Tachi- dori” or sword taking, and the basis of “Otonashino-ken™-the sword of no sound, SPOR eS See acs eae SRS eRE ER SEES itt —(4) MTS Sib AIBA, ths? a it Partner Practice No. 4 As you strike your opponent, he attempts to sweep your sword down. Using his foree, shde your sword under his, step forward, and thrust. Partner Practice No. 5 Your opponent attacks with a straight strike, You move to the left. As he rais his sword to attack again. you mab FIP O WAM E LES Gh S. A Fadi 7] Partner Practice No.6 A complete blending of Ki must be maintained with your opponent. Anothe name for this technique is Kimusubi-no-tachi, or the sword of uniting Ki. @b+t—i7) MOPS SHAT OMRE At RS VR AS THUS. Partner Practice No.7 As your opponent raises his sword to strike, restrain him from striking by projecting your sword against the underside of his forearms. Enter deeply w his rear, fare him, and strike down. (Soar ai sees oS ee eepeee ee oe Sane So suetee pee iee Eapee A127 mo ml 31k MAE He MAES (The t {WL Meeyrereic Hove) HSos Kamae In Aikid6. igure 1 is the basic posture. In this posture, movement to front and rear or right and left is possible. The photographs on the next page show two possible movements toward the front on the right and left side, (Oral Instruction; The rotation of the hips determines the movement of both feet, The movement of the head determines the movement of both hands. However, the hips move before the feet. Do not be aware of only moving he feet, It is pood practice to rotate the hips to evade an opponent's ADS OMS iban (a Gu lrimi Technique This was considered to be is a secret technique escape from multiple attackers, The other nane- this is “Yamabike-no- michi®, the path of an echo. . yeu edterd your Ki, she Kk of yourepooneat wil return to you like an eche. However, you do not receive your upponent’s Ki because you have instar moved past him to his rear, (Oral Instruction-an old poem taught to the student Brandishing his sword, My enemy in front Prepares to attack. But behind him, I am already standing. (Oral Instruction} Many enemies Surround me In attack. Thinking of them as one, I do battle. HP EE OL POR BS A TAF Sab, fle deo THUS tk 6 Bike Shomen Uchi [rimi Naj Draw out your opponen Ki and enter deeply to h rear. Having close conta with your opponent, thro him by rotating the hip a when striking with the sword. } bo, o < ‘oo a A ss a = = ml = al “= an ae ES Same as the standing technique. (Sitting Technique SERIST 5 A Shomen Uchi Body movements when confronted by an op- ponent who is continuously attacking with yokamen uchi and shomen uchi. =e], > a DPOB IF (RTA YD Kokyu Nage (Tachi dori) Let your Ki blend with that of your opponent. As his strike is heginning down, grasp his sword hilt and lock his left elbow oyer your right arm. Lift your arms as if raising a sword and then strike down. OPS KokyG Nage (Tachi dori)}(Tsuki) IN AER EAS TT A MEOMMEGATS RUA mite Loe, LAWS toes He CH POMS Ree 0 i OCA a, The Mental Attitude of Sword Taking If you let your opponent influence you, it will be difficult to respond easily to his attack. Ratherlet him feel that he can attack you nd then lead his Ki in any direction you wish, oa 2 aaitenieess son mite aie eee eee Hie ea fey Bein (DE) ‘Method of the Sword) FOE wy TRG fae Pidde FE ee ts Wide, (OH) (Method of the Body} CH FE) ) (Ratate Tari) Tai no Henko Hf you are gripped by your left hand, do not let it crass over your oppo nent’s center line as you turn or you will receive his strike. (PID EE) (Method of the S word) we AS OE JI YY 4 oe A Sword and Body Relationship EM 6B ARI Rix (| OEE) BBS LORS Pb L, IU CHE SUS. Shomen Uchi Shi-hé-nage Omote waza (The Method of the Sword) Evade attacks from front and rear. Cut Your opponents in front and rear in one breath. EMT SARI — RIX (fkOEE) PCik wit ERT SOAR — He (ROFL) Shomen Uchi Shi-hd-Nage—Omote waza (Method of the Body} Do not throw your opponent by passing under his arms which are holding you. Throw him by raising the sword up. Shomen Uchi Shi-ho-nage—Ura waza (Method of the Sword) se eee 4 a MFR! OARS — stk Ryo te Tori Shi-Ho-Nage—Omote waza HWA (SACMER) ae aed Soph ears Docu TER BFL (SHE) FDR RR AT oC OR ee Ar LEB eee Shomen Uchi Kote Gaeshi (The Method of the Sword) In the case of being attacked from front and rear, the right foot takes a sweeping step to your rear, and you cut your opponent, who was at your rear, across the abdomen. Take a large sweeping step with the left foot and strike the wrist(or face} of the opponent now in front of you, See DEFOE LA How to Turn the Wrist PS - at trefs Begin closing your grip rl oP NHN LA with the little fingers of Ee ai each hand. Your right SIME OEE | hand blends’ with the hack Hisqrat S. | of thavopnewenter MIT SOARS (Ho DE) Yokomen Uchi Shi-Hé-Nage {Method of the Sward) HFT SPAY BRL LTMPORFEMART BS, ECR #7) ¢ BE < SOA. HEE CAFORF EN SEL, RCNP OPFOR HOR SWIRSL. TAPTCHMPORPAEOPARESR EB. Alt kite cH ACA RACR Oo a) RAN STR S. fee, RE Bl, GREG CHI TRO H eh Yokomen Uchi Shi-he-Nage In the basic technique, as the opponent strikes with his right hand, your right foot slides to the right side, and your left foot takes a large sweeping step back. At the same tine, your left hand comes down on his right hand, and your right hand cuts down at an angle from his shoulder grasping his wrist. As you twist your hips,the left hand grasps your opponent's and you advance your left leg forward, The hands are raised as if lifting a sword straight up, the hedy is turned,and the throw is accom plished by cutting down as with the sword. The left leg is swung alongside his body. Do not throw by withdrawing the right foot. AH MSR ES The Founder, Professor Morihei Ceshiba Professer Kisshimaru Ueshiba) (Aiki-déshu, SSR HS HL See Kekyuhd (Standard) This is the same technique as raising a sword over the head. a Sr re ROE) & kpc ACH S, Th. MUDGEE] 2 His ARS fe Odes | RU eG Kokyu-ho (Sitting) As if you are holding a sword, part your hands, and lift both arms up forming a half circle. This develops your breath power. 2 ABNF (AEH) Il FARA Basic Method of Aiki-J6 1. pate DR COLOR (Suburi and §1 Gount Kata) B31 0 Ko The 3) count Kata Bik Suburi [RAM] (i) ® & Thrusting Movements BPanwrena Choku tsuki eta Sa: This is the basic thrusting movement. Sire a Heese SERRCAIETE Bees bees

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