Iaido

Iaido - the art of drawing the sword. 

Iaido, at first glance, might need clarification as to what purpose it serves. How can one spend a lifetime practicing just drawing the sword without any apparent martial strategy? In fact, Iaido practitioners get insight into the discipline of body, mind, and soul. Aiming for the perfect posture, breathing and timing of a cut is paramount. An efficient clean-cut takes skill and years of practice.  

Devoid of competition or testing one’s ego, it relies on personal discipline, commitment, and integrity. They don’t make a thousand cuts to seek perfection but recognize perfection by practicing a thousand cuts. Once one has mastered the techniques then one can experience the “oneness” as their minds harmonize with the nature of the universe.  For those who wish to pursue the martial nature then there is Iaijutsu, which focuses on speed and accuracy. Kendo offers a sporting and competitive element that encourages traditional and cultural elements.  

Many aikidoka often practice Iaido because the basic stance is based on the way the sword is being held. The “attacks” that Uke uses are also likened to sword cuts and thrusts, so it’s natural to study Iaido as a secondary art. Iaido promotes the warrior spirit and defines the virtues of Bushido. As an art on its own Iaido allows for a sense of centering, peace, and inner well-being. 

One Way or another....

 

No one martial art is better than another, but, some may suit certain individuals. Personalities and character play an important part in the choice of art. More important is what are our perceptions, aims, and goals. Nearly all arts fall into two categories – unarmed or armed but they all relate to one another. Some arts are more appropriate in enhancing another art and may even share some basic principles. Technically, aikido, judo, and jujitsu are very similar yet are perceived to be very different. Judo has evolved into a sport and has to abide by rules and regulations. Aikido and jujitsu have maintained their martial application. However, aikido provides a more spiritual path and comes close to following the bushido essence - yet many techniques are very similar.

Both aikido and jujitsu can be the fundamental structure for pursuing the Way of the Samurai. Using the sword, jo, and bokken, in aikido, is the key to this connection. Most martial arts use a variety of weapons as part of their training, depending on the style, each providing a unique sense of awareness to enhance their philosophies.

Other subtle differences may be found even in Ukemi (break-falling). Aikido rolls tend to be more graceful with the need to rise up to maintain continuity. Jujitsu removes the opportunity to rise up as techniques tend to be applied with an impression of "finality". The same could also be said for judo – as most judo techniques are performed to follow up with groundwork.

However, understanding and accepting that there, are infinite ways to apply martial principles will help individuals to better appreciate the connection between the arts. Different styles and names identify the culture and traditions of martial ways yet with deeper investigation they all share similar or related philosophies. Even those who focus on the sporting and competitive nature try to retain the original essence. 

Iaido and Kendo can also provide an advantage to the previous arts even though they have their own followers. Kendo is basically a sport but has retained the traditional values of budo. Iaido, the “art of drawing the sword”, can also give a better understanding of basic Aikido principles. Whereas, Kenjutsu, tends to promote combatant elements and the martial implications of the sword.

Karate, meaning literally “empty” hands allows one to develop the body as a tool but some schools also allow for a deeper and more profound experience. Many karate schools also allow for weapons training, particularly in Okinawa.

Claiming that one art is better than another, is a sure sign that one has ignored the fundamentals of bushido. The true student of bushido will be accepting without uncompromising on the various facets of budo. Study the path of your choice but don’t deny the wholesomeness of the martial ways. Each art is a jigsaw puzzle, but budo is the perception of an infinite number of "jigsaws" that make up the One.

Choose the arts that shape the spirit and soul to best develop us as individuals. Choose arts that hone the body and mind to merge into “One with the Universe”. Choose the method that releases the heart to harmonize with life and existence. Train and condition the self to explore, all that is around so we can perceive no boundaries in the quest for knowledge and enlightenment.

No one art can provide a complete understanding of Budo or encompass the true virtues of Bushido. Don’t allow vague brashness and overindulgent egos to contaminate the code of bushido with irrational claims. Choose the art that best serves our needs and defines our humanity - accepting the limitations, yet respecting what we cannot understand.

Most of all – be true to yourself…

Shiatsu

 

Although the syllabus states the requirements for some form of recognized first aid, it should be a personal responsibility for all to acquire adequate knowledge. St. John and the Red Cross are the more common organizations that make available and promote recognized first-aid courses. Individuals who have aspirations are strongly advised to attain some sort of qualification. No one is suggesting that we have to pursue a degree in medical science but having enough knowledge to deal with emergencies is the teacher's responsibility. It must be emphasized that there are legal liabilities that one is exposed to whether one is a skilled first-aider or not. If a teacher has no first-aid qualifications or knowledge his integrity is questioned and in the event of an emergency, his moral responsibility is questioned. However, if a teacher were to use his knowledge of first-aid he might be praised but he also leaves himself open to legal action if his "casualty" wasn't as appreciative. Having a first aid qualification doesn't guarantee the right to act. The bottom line is, to be prepared but be careful.

Many prefer to study a more traditional method such as shiatsu and katsu. Only recently officially recognized by the BMA but gaining followers, who prefer an alternative medicinal concept. It is not suggested that these should replace conventional first-aid but it is a way of exploring the holistic ideals of budo. Shiatsu, especially has become popular with martial arts, and it is fortunate, that courses are available. Katsu is more of an art of resuscitation which is rarely practiced compared to shiatsu. Shiatsu literally means "finger pressure" and its actions are far from superfluous. One is forgiven to assume it is just a massage at first impression but shiatsu is much more. Shiatsu deals with a plethora of ailments and symptoms but is widely practiced as a preventative course. It is not difficult to learn, the more we give in commitment the more we will understand. Shiatsu can be a lifetime study, however, for those who practice Aikido or similar arts, it is easier to understand its principles in relationship with the martial culture and relationship to budo.

The history of shiatsu is related to ancient Chinese medicine and more profoundly to acupuncture, except no needles are used. The Chinese believed in certain meridians that crisscross the body and by applying pressure at certain tsubo's (points) the flow of energy can be controlled thereby facilitating in balancing this energy to promote good health. These meridians are related to the major organs of the body and by careful diagnosis, symptoms can be isolated and treated with success. From respiratory to heart problems, from emotional to spiritual, the range is diverse but shiatsu has proved successful, time and time again. Fingers, palms, elbows, and even knees are used, to apply appropriate pressure deep into the tissue. Individuals who, have a natural ability soon learn to sense and diagnose issues with confidence, but always work within the limitations of your skill level and knowledge.  

So, what are the requirements -can anyone give shiatsu? the simple answer is YES! Providing one is receptive, willing, and genuine there is no reason why shiatsu can't be done by anyone. The essence of shiatsu is the ability to unselfishly give and build rapport with the receiver (the patient). The person giving shiatsu is known as the giver - for obvious reasons and will be referred to as such from now on. The giver must generate confidence and trust in their receiver and in themselves. 

It is advisable to give shiatsu in a warm comfortable room, free from distractions and ensuring that the receiver is at ease. Some soft music also helps to create the right atmosphere. It is normal for the giver to mentally and physically prepare themselves meditating, and doing warm-up exercises. These exercises stretch and open the giver's meridians allowing for easier harmonizing of energy. The receiver lies down on a blanket or mat for comfort and to be completely receptive and passive. Shiatsu can also be done in other positions, depending on the nature of the circumstances.

The giver might first concentrate on the back or head because these parts normally feel "good" for the receiver and help further prepare both parties to progress. Whenever pressure is required, care must be taken when working with the aged or very young, because bones can either be brittle or too soft. Caution must also taken when working on pregnant women or people with injuries. Pressure must never be such as to cause pain or discomfort. Care must be taken when working on joints like the knees, back, and neck.

The giver will synchronize their breathing with the receiver and there will be an air of controlled intensity as two individuals become one. Every minute movement has a purpose, yet there is an impression of freedom. It is, not uncommon for the giver to become absolutely exhausted or feel drained after a session. It is surprising how much energy is expelled during a consultation!

On the question of morality, there should be no problem. Giving shiatsu has no sexual overtones and can be performed through clothing. No physical or mental harm can be caused, providing a few simple rules are adhered to. Again, it is not claimed that shiatsu or other forms of natural health care should be a replacement for modern medicine but it goes without saying that we have grown to be dependent on drugs which in the long term can only prove to be harmful. It is in the interest of all Budoka, to attend shiatsu courses, whenever available. There are plenty of manuals available and these publications are quite comprehensive but the student is reminded that there is nothing like practical experience to enhance one knowledge.

Uke - Friend or Foe

 

Through "martial arts", we strive for the ultimate truth, enlightenment, or personal goals. We seek equilibrium, tranquillity, and wisdom. We yearn to experience harmony and unity - the beauties of life. However, although all these things are active and dynamic, you can't "do" any of them, they are states. Through the practice of Budo, we begin to acquire these states by understanding its principles.

So how does Budo fit in, what are we doing in the dojo? Many people see martial arts as a way of keeping fit with the added bonus of learning self-defense. Of course, physical activity promotes fitness and one is only too familiar with that "end of session" sensation that the force of gravity has doubled! As much as Budo has exercised and stretched the muscles, it pales in comparison to the extremes of the emotional spectrum that one travels, through practicing the martial arts.

What we feel, our opinions, and our attitudes make us the individual that we are. Being in touch with ourselves is a primary requisite to relate to others, and genuinely follow the Way of Kushin, Aiki (or as Shakespeare almost said - a mountain top by any other name still has a pretty good view!)

Ironically, forever analyzing oneself and searching inwardly tends to be unrewarding and frustrating. "Seek and you shall find!", it is through others that we learn to find ourselves. It is no cliche to say that those who give the most of themselves gain the most from Budo.

The process begins the first time we step on the tatami. The first time we bow to a partner, giving ourselves to them despite the fact we cannot even break-fall to save ourselves. Both Uke and Nage "give" all of the time, both roles carry a tremendous responsibility and reach deep down into the souls of those who practice bringing forth, via our emotions, the ultimate truth of who we really are. During training, individuals have a genuine desire to share and experience unity. If this desire is lacking in one partner, training can prove to be a rather traumatic experience for the other. We meditate at the start of the session to liberate ourselves from the day's trials and tribulations so that we may train with integrity and receptive minds.

As a Uke, we may have felt a great "high" when we performed our first break-fall. This sense of achievement continues as our break-falls for example become more spectacular, giving rise to a tremendous sense of freedom as we literally fly through the air without fear of a painful landing. It is important to trust Nage to have the compassion and perception to know if the movement is "right" to execute a full projection or whether it is better to hold back and let Uke take control of the break-fall. A generous Nage will tune into his Uke's mood and rapidly assess how far to push them (generosity does not come with experience alone). It is this attitude, that creates the atmosphere where growth and self-confidence can develop. This is where the virtues of bushido, and the essence of humanity come together in mutual harmony, perpetually evolving. 

A selfish or ignorant Nage who ignores the fact that his partner is anxious or off, from that day can leave his Uke feeling physically abused and emotionally battered. Trust is lost and self-confidence plummets.

Unfortunately, people may be unaware they are doing this. It is easy to assume that one is alone in this feeling of utter violation though in time one understands that this is not, sometimes at the risk of sounding arrogant, these people are treated as ignorant in that they know no better. We trust that it is not their intention to "trash" their uke but difficult to say. "For some, that is a horrendous experience, feeling used and abused". Likewise, Tori can feel that Uke is being deliberately difficult, yet how can he say, " Are you trying to help me or are you just showing me how strong you are?". Theoretically, it is possible to say this to somebody of the same grade or below. In practice, though people get upset, and feel criticized, becoming defensive of themselves and their teachers. The discipline or protocol prevents one from saying anything like this to a higher grade as it can be construed as showing disrespect and a lack of humility.

A helpful Uke can enable his partner to develop the ability to read the energy flow of an opposing force and experience the exhilaration that occurs when two spirits merge. Some can judge if resistance at any given time will be constructive. If a technique isn't executed there is no blending and Nage learns nothing (except maybe how not to be a Uke), and leaves the Dojo feeling useless and demoralized.

Budo is not self-defense, it is the preservation of life, and those who need a "technique" to prove themselves have lost sight of the fundamental principles and ethics of Bushido. By giving everything, to enhance the Budo of our partners an atmosphere of creativity and light embraces all those who train within it. To remain calm when surrounded by aggression, and to harmonize with the opposition is not a natural ability, it has to be learned and a dojo is supposed to be the place to learn it.

At its best, a Dojo introduces us to ourselves. We recognize our faults and lessen them by developing our redeeming features. We become more positive in our dealing with life. We learn to like ourselves so others may love us, we learn to love our world so that it may thrive and prosper.

Unfortunately, at its worst, a Dojo is an arena where the strongest "wins", until someone stronger still, comes along. Those left at the wayside feel inadequate and small, losing their confidence to face all that life may throw at them.

It is up to us to make our Dojo great, havens of peace where open hearts and minds can experience the pleasure of sharing the Way of

Kyushin.

Shiho nage

 

The sword has influenced and formed the basis of many Japanese martial arts, for example, Kendo, Iaido, and the use of the Jo. However, the sword has also played a major part in formulating Aikido. It may not seem obvious, that Aikido with its circular movements and deep philosophical approach to life and the promotion of peace, love, and harmony, could be influenced by the sword in so profound a ways.

Many of the postures, body movements, and principles do have a direct relationship to the sword in one way or another. The most obvious of these movements is Shiho-nage - the four-directional cut technique. The movement of Shiho-nage clearly displays this relationship by its fundamental principles and the way, it is executed.

The classical "textbook" Shiho-nage only gives the student the basic technical requirements for a Shiho-nage take-down, making them aware that direction can be changed by controlling the arm. As the student progresses and his experience increases, he will be capable of projecting or "spilling" his partner, in a dynamic manner.

However, we have all experienced the pain and discomfort when we have felt our arm separated from the rest of our body when an over-zealous or inconsiderate pertinence has applied Shiho-Nage. Uke becomes passive and accepts the Shiho nage developing the ability to take a "dive". Problems begin when there has been a communication breakdown in movements and feelings. Students should be adventurous and learn to experience the movement of Shiho-nage and not just perform the technique of Shiho-nage.

The student is advised to regularly practice Shiho-giri, with and without a bokken. The practice of Shiho-giri with a bokken reminds us of the relationship of the sword but also helps to isolate and recognize certain principles of Shiho-Nage. It emphasizes the importance of the hips and the effect of correct breathing. It refines our Tai-sabaki so our balance and posture are maintained.

When practicing with a partner experiment with movement. Take into account the circumstances prevailing at the time and adjust your approach. Shiho-nage doesn't have to be restricted to a method of take-down but allows it to be integrated into other movements of Aikido rather than using it purely as a defensive technique against a particular "attack". Its variations are infinite and allow Uke to be moved with absolute control. Discover how subtle movements of the hips can create openings and generate energy for projections. It is worth remembering that knowledge of "hip techniques" or Koshi-waza will help the student to perform and execute the more advanced Shiho-Nages.

Aiki techniques that they are potentially excruciatingly painful and dangerous. This most certainly applies to Shiho-Nage. Due to the possible damage that can be done to the wrist, elbow or shoulder certain "rules" are laid down when teaching beginners, such as when taking down, the arm is taken straight back over the shoulder and down the center of the body so that the wrist and elbow bend in a natural direction as Uke falls with a back break-fall.

All too frequently the learning process slithers to a standstill at this point. However, there is still much to be learned, at some stage in an individual's training he must learn control, not only how to control Uke but also self-control. Uke, if he can perform uninhibited flowing Aiki will want to learn bigger break-falls. During this period, confidence can be shattered and the seeds, of "Uke syndrome" are planted.

It means that without using strength we can neutralize an attack, working in harmony, a Nage will immediately sense the point at which pain will be caused, and shift in energy direction when Uke "bottles" out of a break-fall and immediately reacts to these changes with disciplined self-control.

This becomes important as Uke begins learning to do the big "Shiho-nage" break-fall because it cannot be learned easily from the classic safe Shiho-nage take-down. To give Uke the space to roll his arm will put him in a position that makes him vulnerable but if Nage doesn't project and allows his partner to take his breakfall Uke comes to no harm but can learn the mechanics of the breakfall. As his ability increases Uke will not need to throw himself but will "go" with the technique. If Uke is subject to brutality or incompetence during the learning process his confidence will break down, and he will be stiff, tense, and prone to launching himself to avoid the pain anticipated. This is not conducive to free-flowing dynamic Aikido, it looks ungainly and jagged instead of elegant and smooth, and both parties will feel frustrated unless they are sadly unaware that things can be different.

Koshi waza

 

Koshi-waza is a technique when properly executed creates an air of dynamic movement but also symbolizes the principles of Yin and Yang. It's a technique that requires accurate timing and spatial awareness to work efficiently. It is not the easiest technique to use immediately from an "attack" except perhaps, as a combination movement. The most common "attack" where Koshi-waza can be directly applied is Shomen -uchi where the movements of Uke and Nage are natural enough to blend for the successful execution of the technique.

So, what makes Koshi-waza work? Certain fundamental principles have to be aware of, principles give the technique that extra bit of polish and allow both parties the chance, to experience the move. Timing and distance are crucial and have been covered adequately in other articles on this site. The point to remember is, that even though Koshi-waza is recognized as a "hip-technique", in reality, it is more of a "back-carrying" movement. This point will make it easier to understand the technique. In Judo, the hip plays an important part in performing the many variations of hip throws. Certainly, the judoka will find it easier to lift someone, however, the conditions that prevail in judo do differ in Aikido, but in essence, the principles are the same. Usually in Judo, Uke is held on for follow-up ground techniques whereas in Aikido, Uke is projected. 

In Judo the contestants are required to hold making it easier to draw one's "opponent" off balance and to control the position required, to lift and effect a throw. This physical contact may not be present in an Aikido "attack", yet the principal has to be present. Both arts require a committed response, however, in Aikido, Nage needs to create a void without physical contact. By instantly moving in with Atemi, Uke will respond, and if the timing is right Uke will not only be drawn off balance but also in a position to allow Nage to perform Koshi-waza. It should become effortless because the execution of the technique depends on posture, balance, and applying the Laws of the Universe.

Once Uke's balance is broken, Nage can apply the Laws of Physics and Gravity through certain mechanical movements. Nage needs to get his center point just below of Uke's (this center point is known as the "Tanden" - it is also the center of our Ki energy). Nage does this by bending his knees until he feels Uke's body across his back. Without stopping he straightens his legs and allows Uke's movement to carry him into the created "void".

The position of the legs will depend on the nature of the attack and the physical build of the Uke, (in Judo the feet tend to be placed between Uke's to get the maximum power in the lift and maintain balance. Learn to lift with the legs rather than with the back. Attempting to lift with the legs rather than the back, which is not designed to cope with this sort of lift can lead to injury. Using the correct procedure to lift retains stability while weight, even of twice the body weight of Nage can be held for long periods. There is no reason why even a small person or someone of lighter build, should not be able to lift anybody to perform Koshi-waza, or any other variation of hip-throw.

The movement must be smooth from the start of the "attack" to Uke's completion of his fall, which must not appear hard or aggressive. Uke is projected in such a way that allows him to rise up and continue his action unlike Judo, where Uke is thrown in such a manner to restrict his movements so that he can be held down on his back. The Koshi-waza in both arts are correct, it's just the objectives are different; hence the methods are different.

As mentioned, Koshi-waza's are not easy to perform in Aikido, except perhaps with the Shomen-uchi type "attacks". However, Koshi-waza's are perfect when used as an “accompanying” technique or follow-up to other Aikido movements. Performing Kakari Keiko and Taninzu waza helps to create the unbroken flow of movement and Ki energy required in Aikido. Koshi-waza can be described as a "link-up" technique because it can change the plane of the circular movements that are so familiar in Aikido.

The most common mistake made when practicing Koshi-waza is that it is usually practiced as a "static technique" causing one to rely on strength or Uke taking a natural "dive". No one actually learns anything and restricting oneself to this form of training deprives, both Uke and Nage, of experiencing something unique. The student is advised to experiment with movement and incorporate the Koshi-waza technique into their training. Practice slowly so that every aspect of the Aikido movement can be experienced. Be aware of breathing and of course timing and distance.

With the correct approach, there is no reason why beginners cannot work with the experienced in learning this technique, without them feeling inadequate or suffering unnecessary anxiety. Koshi-waza which is performed, without regard to our partners, can be painful and devastate a person's self-confidence. For someone who has never gone over from a Koshi-waza, it can be quite an unnerving experience so it is important to remember our partner's limitations and initial fears. Koshi-waza should be performed without rigid awkwardness but with the creative expression of individual perceptiveness that the technique deserves.

Ikkyo

The First Principle

O’Sensei left us the legacy of Ikkyo, a legacy that has in some ways never been fully understood. Ikkyo as a technique is quite unique, normally introduced to beginners from Ai-hanmi katate-dori (oblique stance with single hand grasp). Its apparent simpleness allows the newcomer to understand the basic requirements of Aikido. But Ikkyo is much more subtle that this. For those who want more from Ikkyo must look deeper into actions, past the superficial movements that make the technique and discover its true relationship to Aikido.

I'm sure Ikkyo is a familiar technique to practitioners of Aikido and its effectiveness as a self-defence movement is acknowledged, but there are elements in Ikkyo which we cannot see but can only experience. There are countless ways of performing Ikkyo - and we should risk becoming criticaster just because someone is doing it differently from ourselves. Ikkyo may be performed in a particular way to emphasize a certain element and we must recognize this purpose before we condemn any method that is alien to us.

The laws of Physics, Nature and Philosophy are all inter-related and when applied to Ikkyo offers the student infinite ways of practicing the technique. Too often, we take Ikkyo for granted and under-estimate it's potential. To condemn ourselves to only believe what we visually see in the technique is total and utter ignorance - It's like claiming to see because our eyes are open but forgetting to remove the blindfold.

The laws that govern the Universe manifests itself in the principles and techniques of Aikido. Ikkyo and the other techniques we learn in the dojo are all part of Aiki but they don't represent fully what Aikido really is. They are merely the "tools" to be utilized to further one's knowledge in Aki and life. If we haven't excepted the true meaning of Aikido, then our understanding of Ikkyo will also be limited and misguided.

Ikkyo is the foundation off our learning and if that foundation is weak or incomplete then the rest of the Aikido techniques will also become meaningless. Understanding Ikkyo will bring into perspective the other techniques because they all share the principles of Aikido.

When practicing Ikkyo in the dojo we are constantly being made aware of our partners distance and the importance of constant movement but we also have to look at the relationship of time and space. These elements are forever changing, just as the Universe is in constant change. We have to recognize the Universe within ourselves and adapt to these changes. Our conscious selves are elements which also play a part in the first principle. For these things effect our moods, attitudes and the people around us.

We could do a thousand Ikkyos with a partner and each Ikkyo will be different because, quite simply, time has moved on and the space we occupy has changed. Only by retaining the balance between Uke and Nage, without conflict or total passiveness but by constantly giving and receiving, can we explore the limits of Ikkyo. Uke and Nage are like Yin and Yang, contrasting elements but needing each other to be complete - to be one.

If we want to be one with ourselves then we have to recognize our responsibility to ourselves, our partners and life. Being egotistical and self-righteous allows the ego to over-develop, bringing out the arrogance and selfishness of our human nature. Through Ikkyo we learn to be compassionate and to respect life. We, the Universe are the manifestation of the laws of nature and it our responsibility to fulfil our debt to life. The difficulty lies in the fact that we have to rethink who and what we are. We have to get away from what we perceive we are and the conditioning process we have undergone. We must take responsibility for what is happening in our world by seeing the sickness and flaws in ourselves. We cannot afford to become complacent if we are to seek the peace within ourselves.

There is so much more to Ikkyo that cannot be put in words. The only way is to practice and to experience - there are no short-cuts. Your sensei doesn't just teach you but is sharing is experiences with you. He too would have learnt through the first principle the skills and the methods to explore the needs of individuals. No Sensei will deny that feeling of mutual excitement and satisfaction when a student has grasped the fundamentals of the first principle. The inspiration and the motivation of the student is the responsibility of the Sensei as he nurtures the student to self-discovery and awareness.

Ikkyo will serve each individual differently as each one will interpret the technique to suit their personal and emotional needs. Dialogue between the students and certainly with the Sensei is recommended to appreciate a better understanding of not only Ikkyo but other techniques.

"The race is not for the swift, nor the battle to the strong" [Ecclesiastes 9:11]

Irimi nage

Irimi-nage (entering technique) is one of the more popular techniques or principles taught to beginners. The action of Irimi introduces the novice to the circular movements that are so characteristic of Aikido. But as in all Aikido techniques, we must look past the obvious an break down each movement into various elements.

Circular movements, through the laws of physics, create forces such as centrifugal and its effect known as centripetal, which when come together can be quite dynamic. Centrifugal forces tend to move away from the center, for example, if an object were to spin on its axis it would generate energy radiating from its center. However, this gives rise to the opposing effect known as centripetal which causes an opposite reaction, that is if a force is applied in a circular movement, the energy that is generated is drawn towards the center.

Irimi is the manifestation of these energies. By controlling our partner's flow of Ki and redirecting it back to its point of origin, we can administer the technique of Irimi. Uke and Nage create these forces when they break their position of neutrality by acting and reacting to each other's movements. Uke's intention to "attack" will set in motion these forces. Nage will meet these forces by entering at an angle, pivoting, and blending with Uke's force. Nage harnesses this force and direction and returns it towards Uke's center.

However, performing Irimi Nage is not simple. Breathing, distance, and timing are just as important. Uke and Nage's breathing should be in harmony because it can affect the stability of both, their movements and posture. Spatial awareness is determined by correct distance and proper timing and can vary from person to person. Experimenting with distance makes us aware of the importance of its effect on timing.

Speed is another aspect worth mentioning. When Irimi-nage is performed with speed it gives an impression of superficial dynamic strength. Speed can hide a lot of fundamental mistakes and stop individuals from progressing. The power, generated by Irimi-nage, is easily abused by extrovert displays of speed and there is a real risk of injury. Irimi should be practiced with purpose, slowly at first, exploring all the possibilities and potential available through the principles contained in the technique.

Avoid "clothes-lining" or "decapitating" your partners.....that is not the purpose of Irimi-nage! Don't try to "body-check" or power into your partners as this could prove quite painful and lead to the demise of training partners! Uke's should not resist or appear rigid as this can be a painful experience and is certainly a quick way of losing one's friends! A Uke must be responsive to the action of Nage without necessarily being passive. Both Uke and Nage must be responsible for making the technique work and by mutual corporation to experience the full potential of the movement.

Students should be aware of the Hara, the storage of our Ki energy which we draw upon in conjunction with Kokyo when performing Aikido techniques. This energy can also be utilized by subtle movements of Nage's hips, which can control the direction and intensity of Uke's projection. Uke should receive Irimi-nage by confidently "rolling" backward taking the full Nage dynamic projection.

Although Irimi-nage can be applied as a technique on its own, it is a method to apply to other Aikido techniques. What we recognize as an Irimi-nage technique can also be a Kokyo-Nage. Both these techniques are closely related by the principles they share and we must be careful not to isolate them. The "principles" of Irimi-nage are required to enhance the other principles represented by the Ikkyo's Nikkyo's, etc. It is easy to label a movement because it emphasizes certain points and forgets that Aikido movements contain elements from different techniques.

Beginners sometimes, find it hard to appreciate the full meaning of Irimi-nage but as they gain the necessary experience they will understand its importance. The variations of Irimi-nage are limitless, but very often just practicing the simplest movements can satisfy most people's needs and is always a joy to watch to people, totally engrossed, entwining and weaving in a space that generates so much raw energy. For those who don't understand Aikido, Irimi-nage will become a boring exercise, just to be performed because it is a requirement of the discipline.

"It is the function of creative men to perceive the relations between thoughts, or things, or forms of expressions that may seem utterly different, and to be able to combine them into some new force - the power to connect the seemingly unconnected." [William Plomer]