Shishida Shihan Aikido Seminar in Sheffield, UK - March 2007 SEMINAR REPORT by Fumiaki Shishida Shihan The theory and methodology of aikido Kenji Tomiki intended to teach: Key contents which we have been misunderstanding # Instructor: Fumiaki Shishida, Ph.d., Shihan of Japan Aikido Association (NPO) Table of the contents Aims of my seminar? 1. What is the main current problem of Tomiki aikido? 2. What are the subjects that we should tackle? 3. Outline of the seminar Contents Aims of my seminar: 1. What is the main current problem of Tomiki aikido? Circa 1979, I unexpectedly knew that Professor Tomiki was passing away by cancer. I had interviewed Tomiki many times and had developed a new training system for one year before his death. The system was hastily developed by the author with Tomiki's consent by asking his opinions on my preliminary thoughts. The core of the system was tsukuri or breaking balance in both atemi-waza and kansetsu-waza. Shihan Nariyama also supported the development of this new training system. I also composed the Goshin-ho training system with him. These two training systems were introduced in our book Aikido Kyoshitsu in 1985 and adopted into the JAA grading syllabus in 1994. Although they were based on suggestions by Professor Tomiki, I regret my hasty development and admit that the training systems lost plenty of important elements of Tomiki's aikido, because I did not know many of Tomiki's techniques and his theory on aikido and judo. I also neglected Hideo Ohba's opinion because I did not notice how closely the techniques of Ohba and Tomiki were in essence. There were some differences between their techniques superficially because they have different talents and figures. Therefore, I almost ignored what Ohba taught about basics, such as Tegatana-no-Kuzushi, and so on, as I developed the systems. By recent study with Mr Tadayuki Sato, I have understood the real important essence in Tomiki's aikido and what was missing in the system. 2. What are the subjects that we should tackle? A. What is the Rikaku-taisei or the distance of Tegatana-awase in judo? Tomiki Aikido is based on one of Tomiki's studies in 1940 about techniques in Rikaku-taisei or the distance in which practitioners can not apply foot techniques (sweeping). Every technique would lose its essence if it is not applied at the appropriate distance. Therefore the basic techniques in the system should be reconsidered from this point of view. B. Why did Tomiki regard Tegatana-awase as an important training method? This is because Tegatana-awase is related to the Six Tegatana-no-kuzushi. It seems that the Six Tegatana-nokuzushi were originally developed as an extension of Tegatana-awase by Tomiki and Ohba. C. What is the breaking balance of a human body? Please see the monograph by Tadayuki Sato and others. (See, T. Sato, Y. Kawakami and F. Shishida (2006, in Japanese) Methodology of breaking balance in throwing techniques in competition aikido focusing on sumiotoshi and hikiotoshi, Journal of Sport Sciences, 3, 69-77, Waseda University, Japan) 3. Outline of the seminar Kenji Tomiki established the basic seventeen techniques not for Tanto-randori, but for Toshurandori. Toshu-randori is the randori method in which practitioners apply techniques with bare hands. It was developed not only as a randori method of aikido, but also as a new
randori method of judo to develop techniques in the Rikaku-taisei. Rikaku means keeping a distance of Tegatana-awase and Taisei means a situation of fighting. Tomiki thought that aikido techniques should be applied in the distance of Tegatana-awase. That is the point that I neglected when I developed the training system and revised the 17 techniques with Shihan Nariyama to publish the book Aikido Kyoshitsu in 1985. Therefore we should apply techniques and balance breaking whilst keeping distance to avoid aikido technique and basic techniques should be reconsidered from this angle. I believe that the true greatness of Tomiki aikido is in this point. In the late fall of 2005, after I published my main work Educational strength of Japanese martial arts, I started to reconsider the training system from this point, with help from Mr Tadayuki Sato. He was one of my students when I was the chief instructor in Waseda University aikido club. Since around 1990, many strong practitioners had already asked him for his instruction after they heard a rumour that he is a very talented judo and aikido practitioner. So I invited him to Waseda University as a part time aikido instructor. After I carefully watched his instruction as an auditor, I decided to reconsider the problem with him. In 2006, he published a wonderful paper about kuzushi in the online journal of Sport Sciences, published by Waseda University. I started to revise the new training system with Mr.Sato's help. It is very easy to find several differences between Tomiki's atemi-waza techniques and the current way revised by Nariyama and Shishida, if you look at pictures of Tomiki and Oba's demonstration on the poster of the 2005 Katsura International Festival. We changed their way and believed that it was a progress. To tell the truth, however, I did not verify the truth of our revised version or the apparent faults of Tomiki and Oba's way at all. I regret that we also did not understand enough the assumption in Toshu-randori of that A should attack with bare hands against not B's belly but to the face of B. In particular, this seminar will introduce the real meanings and newly developed methodologies of the following techniques. A. Basic exercises a. Unsoku (Syumoku-ashi 3 bacics, Chidori-ashi, Denden-daiko) b. Quick posture change from natural posture c. Tegatana-awase (including the principle of Japanese swordsmanship) d. Shotei-awase (Skill to stop the partner. It was omitted) e. Applications (Table Balance breaking with chidori-ashi, Relaxation from a hand sword) B. General Theory in balance breaking of a standing person Six Tegatana-no-kuzushi a. Jo-dan (Ai-gamae: breaking the uke's balance while bending an elbow) b. Jo-dan (Gyaku-gamae: breaking the uke's balance while bending an elbow / Stopping the uke's attack) c. Chu-dan (Ai-gamae: Stopping the uke's attack) d. Chu-dan (Gyaku-gamae: Stopping the uke's attack) e. Ge-dan (Ai-gamae. It was omitted.) f. Ge-dan (Gyaku-gamae. It was omitted.) g. Kakari-geiko with some kuzushi above (Learning the principle of Tsuba-zeriai (close contest) in Japanese swordsmanship) h. Ushiro-ryote dori (Core part of the technique. It was omitted) C. Basic seventeen (Around ten techniques based on Tomiki theory were introduced compared with his photos) D. Tomiki's remarks
SALIENT POINTS FROM THE SEMINAR FOR BASIC 17 TECHNIQUES Notes from the seminar by Adrian Tyndale Tegatana-awase The correct distance is very important, all techniques start from here. Uke cannot sweep away Tori's feet. Uke must get around the tegatana hand in order to start an attack; the same applies to Tori. Shomen ate - Front Attack This is a classic image of this technique, however the balance breaking action is not shown. The initial avoidance with Atemi-action ensures that Uke cannot move or recover his balance once the main part of the technique is executed. Aigamae ate - Regular Attack The picture shows the continued breaking of Uke's balance. The initial balance breaking action is achieved by "tipping" him towards the direction of the little toe. This is implemented by moving Uke's right-angled arm to outside his "safety-zone". A hip action and "Modified Unsoku" ensures success.
Gyakugamae ate - Reverse attack Once more a classic mid-point through the technique is shown. The initial balance breaking is achieved in a similar way to Aigamae ate, but the foot work is in regular posture. Gedan ate - Low Attack Here Tomiki is seen demonstrating Gedan ate in an unorthodox fashion. Oba's posture was broken prior to the moment captured in the picture. This was achieved by an attempted Gyakumen strike. Ushiro ate - Rear Attack In the kata form this classic form looks effective, however, in a free environment it is difficult to achieve. Tomiki (Tori) shows how Oba (Uke) cannot move his feet in order to escape the technique. He is pinned on his heels.
Oshitaoshi - Push Down Balance breaking is achieved by moving Uke's elbow to outside his "Safety Zone". This is not seen in the picture. This point is felt by Uke when his elbow is moved towards and then outside the little toe of his foot below the elbow. Udegaeshi - Arm Turn Use the reaction to Oshitaoshi to initiate balance breaking. Hikitaoshi - Pull Down Continue balance break toward the little toe of Uke's leading foot. Having first initiating the movement using elements of Syumoku-ashi, Chidori-ashi, Denden-daiko. Udehineri - Entangled arm Main points are to maintain control of the elbow so that Uke cannot stand up. Avoid Uke's leading foot. The picture shows the technique almost at the end of the movement. But it is clear that Uke was unable to stand.
Wakigatame - Side control The main point was to grip Uke's wrist from below using the left hand first, then the right hand joins to reinforce the rotation of the elbow joint. The tegatana direction of Tori's right hand is directed towards his own chest in the picture. However, this was suggested a variation to directing the hand blade forward. Kotehineri - Wrist Twist Kotegaeshi - Wrist Turn The shape shown in the picture was emphasised. This is formed when the balance is broken. Curving the fingers towards the shoulder, whilst turning the wrist towards the direction of Uke's little toe. Tenkai Kotehineri - Turning Wrist Twist
Tenkai Kotegaeshi - Turning Wrist Turn Maeotoshi - Front Drop Sumiotoshi - Corner Drop Hikiotoshi - Pulling Drop To be completed in due course