AIKI JO’S HIDDEN SECRET: ROKU NO JO.

Big things do come in small packages. While I have been working on the AJNM, I have also been sorting what exactly needs to happen to make Aiki Jo a proper fighting method. I have so far concluded that mastery of the various Kamae is the first part, and understanding how and why the Kamae changes, offensively and defensively. Certain options and variations naturally lend themselves to a particular posture, yet the postures are all fluid and interchangeable. That’s when it hit me that Roku No Jo is just that, a way to practice the various changes from each Kamae. Here’s what Roku No Jo is:

1. Starting in Hidari Tsuki No Kamae, thrust with Choku Tsuki
2. Raise the jo with the Jodan Gaeshi movement
3. Step forward and strike with Migi Uchikomi
4. Draw the jo back to Migi Gedan Gaeshi No Kamam
5. Step forward and strike with Hidari Gedan Gaeshi Uchi
6. Turn the jo with the Chudan Gaeshi movement, which puts you back in Hidari Tsuki No Kamae, and starts the practice again

This is the first stage. Later, you combine the counts of the movements, eventually making this a two count exercise. I find that if you use this as an exercise to practice Kamae, instead of strikes, you will find a key ingredient to using the jo flexibly in a combat situation. Here is what I’m talking about:

1. Start with Hidari Tsuki No Kamae, which is the basic Jo Kamae
2. Prepare to change with Jodan Gaeshi
3. Make Migi Chudan No Kamae, the basic striking posture, same as when holding the Ken
4. Draw the jo back to the rear to make Migi Gedan Gaeshi No Kamae
5. Bring the forward and make Chudan Gaeshi No Kamae
6. Turn the jo with Chudan Gaeshi and return to the first posture

And there it is. Right there in front of me. A drill that teaches you the all of the basic postures: Tsuki No Kamae, Uchi No Kamae, Ushiro No Kamae, Chudan Gaeshi No Kamae. It also teaches the basic jo changes: Jodan Gaeshi, Gedan Gaeshi, and Chudan Gaeshi. Note that there is a definitive high, middle, and low in the Kamae and the jo switches. Think about that.

THE VARIOUS METHODS OF DEFENSE IN AIKI JO.

As a birthday present from me to you, and since I’m not sharing the notebook for now, I’ll at least let you see a bit of what I have been up to.

1. Choku Barai – Direct Parry. Barai is the principle of warding off. Usually with Barai, you will stay on the line, or cross the line in such a way to dominate the line and space. With Choku Barai, the jo is used to ward off thrusts and strikes using a semicircular motion that is controlled with the rear hand holding the jo. When you use this parry, you do not change your kamae. For example, if you were attacked while in the left thrusting stance, you would stay in the the left stance to parry with Choku Barai.
2. Kaeshi Barai – Reversing Parry. With Kaeshi Barai, you take a step away from the attack and bring the rear end of the jo up to ward off strikes and thrusts.
3. Kesa Barai – Diagonal Parry. This parry has the final form of Kaeshi Barai, but does not use a reversing movement. The name comes from the angle that the jo makes when parrying.
4. Kaiten Barai – Rotary Parry. With Kaeshi Barai, you reverse the jo while stepping back to parry, and then rotate the jo a half turn with the right hand. This is practiced on both sides, and no matter which side you practice this on, the right hand is the hand the controls the rotary movement. Plenty of practice with Hachinoji Gaeshi and Hasso Gaeshi will prepare you for this.
5. Age Barai – Rising Parry. Here the jo is raised over the head to parry a strike or thrust. This is usually followed by Maki Waza. Maki Waza means that you use your jo to knock away your attacker’s jo and then finish with your own thrust or strike. There are many instances where instead of hitting your attacker’s jo, you would hit their hands. This is actually the case with most parries and it is worth the time to discover some of these ideas in your practice.
6. Jodan Gaeshi – High Jo Reversing. Jodan Gaeshi is a Nagashi movement. It is not a firm parry, but a way to deflect an attack while moving off of the line. Usually, in a Nagashi movement, you yield the space.
7. Gedan Gaeshi – Low Jo Reversing – After a strike or thrust, the jo can be moved to your rear and swept forward for a parry. This type of parry is done as an
8. Awase Dome. That means that you are parrying a similar attack, such as Gedan Gaeshi Uchi.
9. Chudan Gaeshi – Middle Jo Reversing. This means that you hold the jo with the Gyakute grip, and release with the rear hand while turning the jo with the forward hand. You finish the movement with the Choku grip. As a parry, it can done as a Barai movement or as a Nagashi movement. When done as Chudan Gaeshi Barai, there are several Maki Waza that can be practiced. When done as Nagashi, there are several Kaeshi Waza, or Jo switches, that can be practiced. The final form of Chudan Gaeshi, minus the turning of the jo, is often used as a parry in several of the Kumijo.
10. Uchi Barai – This is the case when a movement such as Uchikomi is used to parry an attack.
11. Uchi Dome – This is the case when an attacker’s strike or thrust is forestalled by a strike or thrust of your own.
12. Nuki Waza – Here, you let your attacker strike or thrust freely, but they miss.

IF YOU WANT THE JO NOTEBOOK

It’s in the Box.net widget located on the sidebar of this blog, and it’s titled “Draft 5.” If you have any trouble downloading it, please email me!

THIS MONDAY

Hopefully, if I’m not too lazy, I will have an amazing draft six of the Aiki Jo Notebook and Manual for you all to look over.  Oh yes. Draft Five of course is still available.

200+ AND BARELY A PEEP.

I’ve been checking the stats from my Box.net account, and since uploading it on May 24th, the Jo Manual has been downloaded 187 times.  That doesn’t include those people that were kind enough to email me to request a copy.  All together, that’s over 200 copies out there!  Where’s my feedback!?  I’m getting to the next stage, which is revising the text and illustrating the movements.  As far as text revisions, the main point will be to revise the terminology again so that it is consistent, from Suburi to Kumijo, and then add a glossary.  As far as illustrations, I’m going to illustrate ALL of it.  Then I can get to work on the Aiki Ken and the Ken Jo no Riai books.  So, talk to me people.  Let me know what’s up.

AIKI KEN: HERE WE GO.

Since it’s the 1st of June, I thought I would go over the “Ichi’s” of Aiki Ken, as an introduction to my notes on Aiki Ken.  If you’ve been following my blog at all, you should have seen this coming.

Ichi no Suburi

In Aiki Ken, since there are only seven forms in the suburi, they are simply numbered and not given a descriptive name.  The first suburi is done standing in place in Migi Hanmi.  Raise the ken straight up over the head and slide back a bit, rotating your hips.  Slide forward as you cut back down and be sure to settle your hips as you twist them forward to cut.  This arm, hip, and foot movement is the most basic practice in Aikido, armed or unarmed.

There is a Suburi Awase practice also.  Both partners face each other and practice the suburi together at the same time.  This will develop a very basic skill of moving as your partner moves.

Ichi no Awase

In Aiki Ken, the first awase is a counter to the firsts suburi.

• Uchitachi: From Migi Hanmi, slide forward and strike with Ichi no Suburi, Migi Uchikomi
• Uketachi:  Slide forward in migi hanmi and cut at uchitachi’s left wrist, OR slide to your left while moving to hidari hanmi and cut uchitachi’s right wrist

Moving like this with a partner is the most basic practice in Aiki Ken, and also forms the basis for the Tachidori techniques.

Coming up next: Ichi no Tachi, Henka no tachi, Ninin Awase, and Tachidori.

Take THAT

MY RESPONSE TO A POST ON AIKIDO JOURNAL.

Read it here. Great topic.

SELF DEFENSE CLASS: WE SHALL BARTER.

The one question that I have had the hardest time answering is how much I will charge for classes. i have decided that, in the spirit of wanting to share our diminishing resources, that I will accept barter as the primary unit of payment for classes. So if you are interested in classes, please consider what you are willing to barter per hour of instruction wanted.

Here is a list of individual courses that I currently offer:

Aikido, Taijutsu. The unarmed techniques of Aikido
Aikido, Kenjutsu. The sword techniques of Aikido
Aikido, Jojutsu. The staff techniques of Aikido
Kali. A Filipino martial art that teaches you how to use and protect yourself with any weapon, and also includes empty handed techniques.
jeet Kune Do. A set of principles based on your own personal abilities that draws from several martial arts.
CCQT: Civilian Close Quarter Tactics. A system I developed when I was a member of The Guardian Angels to train the volunteers for safety patrols.

Expect to train outdoors and one on one. Expect to train during the day, with some afternoons/evenings available for a slightly higher barter fee. Sundays all day available for a slightly higher barter fee.

As far as what to barter: Be creative and show my your talents as well. We all have resources and talents at our disposal, and I’m willing to listen to any idea you may have.

Spread the word and let me know.

Cheers!

Autrelle Holland

ANOTHER AIKI JO MANUAL UPDATE

It’s up and ready.  Terminology section, 31 Kumijo expanded, Kumijo 1-10 revised somewhat.  Boom! Sleep now.

I have finally found the terms I need to say what it is I need to say as far as some of the terms.  To those of you that I recently sent a copy to: it’s about to be old news.  The new one will have updated terminology and explanations of it as such, complete with rewritten explanations of the Kumijo to follow accordingly.  Also, an expanded explanation of the 31 Kumijo, same as I did for 1-10. Last, I’m going to add a Jo Awase section, and possibly a few more Jo Dori techniques.  I would like to thank everyone that has contributed to my efforts so far.  You know who you are, and you’re getting your honorable mention soon enough.  Cheers.

Joseph Turner demonstrating Jodan Gaeshi

AIKI JO MANUAL UPDATE

I have received some good ideas and feedback from Jason Wotherspoon and Alejandro Villaneuva.  With what I have from them, I’m reworking some of the ideas.  I’m still going to list the curriculum as it, with notes.  I’m working on an extended revision of the 31 Kumijo, and adding the Jo Awase techniques.  I also plan on adding my Ken Tai Jo notes, which will be based on the newer version of the series, as well as  a section detailing some of the various parries used in the Aiki Jo system.  I have them organized as Harai, Nagashi, and Dome.  Until this is done, I only have the second revision to offer to anyone that wants to read it.  Warning to anyone that is already practicing Iwama Aiki Jo with a qualified instructor: you won’t see anything new here at all.  Thank you all for listening!

WHAT IS KUMIJO? PART SEVEN: ROKU NO JO.

This entry is directly from my Aiki Jo Notebook and Manual.  If you find it helpful and want the draft copy, just email me and ask for one.

Roku no Jo

The 6-10 Kumijo all feature jonagewaza, or finishing by throwing uke with a taijutsu movement with the jo.  It is important to always practice the ken and jo with the feeling of taijutsu.  In Roku no Jo, uchi attacks with tsuki hayagaeshi.

“ICHI”

• Uchijo: From Hidari Tsuki no Kamae, Hidari Choku Tsuki
• Ukejo: From Hidari Jo no Kamae, rather than thrust when he can, uke, holding the jo in thirds, lightly presses the jo away to defend.  Here, since uke uses irimi, he can also strike uchi in the face or the body with a thrust from the jo, or with a fist, but does not.  This is perhaps the key feature of this and the Kumijo that follow.  I believe that not striking reflects that attacks can be nullified entirely with proper taijutsu, and that the jo is a tool to foster not just striking techniques, but understanding how moving yourself to the right place is always going to supercede striking or throwing your partner.

“NI”

• Uchijo: Steps forward and raises the jo to strike with Migi Hayagaeshi
• Ukejo: Rather than thrust uchi in the face, uke slides forward and controls the movement of uchi’s left elbow with the left third portion of the jo.  Uke is still is left hanmi, sliding toward uchi’s left.  Here, once again, uchi is controlled by uke’s taijutsu and the threat of being struck.  Uke does not actually strike uchi at all, even though he can, with the jo or empty hand.  At every point in the kumijo, uke can finish with a jo strike, empty hand strike, or throw, whenever he decides to do so.

“SAN”

• Uchijo: Migi Hayagaeshi
• Ukejo: Stepping forward with the right foot and swinging the left leg around, uke brings the right third portion of the jo down between uchi’s arms, and presses on uchi’s jo.  This is instead of hitting uchi’s face or body with the jo.
• * Ukejo: Insert the right third portion of the jo between uchi’s jo and uchi’s right and raise it toward uchi’s left shoulder.  Turning the hips, this will entwine uchi’s arms for jonage garamiwaza.  Uke should be in migi hanmi when throwing.   This clearly illustrates the concept of Riai, or blending of truths.  There should be no distinction between body movement that strikes or throws an opponent, whether armed or not.  Musashi talks about this in a slightly different manner in Go Rin no Sho in the Wind book.  He states that in combat, you do not resolve to cut the enemy one particular way or another, you only resolve to kill him.  In context to Aikido, we do not strive to move in some particular fashion with some particular goal in mind, armed or unarmed.  We don’t talk about killing or hurting our opponents in Aikido, but Aikido is a martial art, with its origins coming from some of the most bloody and severe martial arts.  O’Sensei often said that life and death is decided in an instant in Aikido.  Without a proper understanding of this, your practice will be dubious, indeed.

SADA DESIGN HAS MY BACK

SADA Design is going to handle all of the design elements of my book.  With their support, I plan to write notebook manuals on Aiki Ken, Ken Jo no Riai, and Tanto Jutsu for Aikidoka.  It’s going to be a very productive 2009 for your truly!

I’M STILL HERE, EVERYONE.

I have been keeping myself busy writing my first draft of my Jo manual. It’s truly become a labor of love. Writing it has forced me to not be satisfied with just “kind of” knowing the proper Jo movements. I’m currently working on the second revision and the videos for the illustration. Keep your eyes peeled.

AIKI JO NOTEBOOK AND MANUAL AVAILABLE FOR FREE.

I have recently compiled a notebook and manual for Aiki Jo practice.  It is a compilation of the material that appears on my blog, with additional notes.  The contents are 20 Jo Suburi, 31 Jo Kata, 31 Kumijo, 13 Jo Kata, 13 Jo Awase, Kumijo 1-10, Jo Dori. Jo Dori Kaeshi Waza, and Jo Nage. These are a draft copy of a .pdf document that I am making with illustrative photos and embedded video demonstration.  If you want a free copy of the current notebook, you only have to do two things:

1. Email me at autrelle at gmail dot com so that I can send the file to you
2. Post a comment here in the form of feedback on my blog

Thanks to you all.

WHAT IS AIKIDO? PART ONE.

I get asked that one all of the time. People understand what Karate, Judo, and Kung Fu are, but most martial artists don’t know what to expect when they come across Aikido. I suspect that the biggest reason is that Aikido has so many expressions. I won’t even go into those people that don’t actually do Aikido, but call whatever it is that they do, Aikido. Aikido, even at it’s purest form, is still a very individual expression. I would like to start from a personal expression as well, and talk about what I think Aikido is. For this article, I will discuss some of the things that I think make up Aikido, that is to say, without these things, there is no Aikido.

Aikido is the creation of Morihel Ueshiba. Aikido is the unique creation of Morihei Ueshiba.  No matter what style of Aikido, the lineage should end up with Ueshiba at the top.  It is through his hard work and ingenuity that we have Aikido to practice today.

Aikido is a Martial Art. This may seem redundant, but there are those who would disagree.  Aikido is a severe martial that decides life or death in an instant, whether armed or unarmed, whether you are facing one attacker or many.  Aikido is popularly referred to the “art of peace.”  Since  Aikido is a martial art, it is proper to understand the violence first.  My favorite quote from the movie Redbelt: “Whoever controls the war controls the peace.”  The art of peace means that first we learn to make ourselves unassailable to attackers.  After that is learned, only then can we begin to talk about taking care of the enemy.  Aikido contains severe techniques that have bloody origins, but the goal is not to dominate others, neither the oppressor nor the victim.

Aikido is based on use of weapons. The main weapon that influences Aikido is the sword, which is referred to as the soul of Japan.  Every Aikido technique can be demonstrated with the sword, jo, short stick, or knife.  Aikido is a Japanese art, and Japan is a sword culture.  When faced with an oppenent, weapons were drawn immediately.  Whipping though a crowd with a more than razor sharp sword was the easiest way to deal with multiple attackers.  When the weapon was damaged or lost, similar modes of action were required so that the warrior did not have to learn several different arts to be effective.  Aikido without serious study of weapons is a dubious practice, indeed.

Aikido is Atemi. Since Aikido is based on the use of the sword, which cuts, and the staff, which thrusts, naturally, the empty hand expression of Aikido is Atemi.  Atemi is used to stop any fight before it starts.  Atemi is used to unbalance the opponent.  Atemi can be a distraction, mere skin to skin contact, or a spearhand thrust to the eye.  Atemi is about control of space, time, and rhythm.  There is lethal Atemi in every Aikido technique, just as any slash from a sword or thrust from a staff is lethal.  Atemi teaches you to be aware of your own openings as well as your opponent’s.

Aikido is Irimi. Irimi is the method by which all other methods in Aikido are made possible.  Along with Atemi, Irimi about fierce entry into the opponent’s space.  Not merely moving off the line of attack, but dominating it, physically and spiritually.  Irimi is the method that allows the Aikidoka to effortless contend with larger and multiple attackers.  Closing in with the enemy, that’s what the warrior does, that’s what Irimi is.

Aikido is Awase. Coordination and fitting in with the movements of your partner in class, with your opponent in actual fighting.  Aikido does not contend with force.  Aikido exerts full power in a direction that is impossible to resist.  Aikido moves in a way that cannot be restrained by mere strength.  That is why Aikido works easily against stronger and multiple opponents.  The Aikidoka moves the body in a coordinated fashion, in coordination with whatever an opponent may try.

Aikido is Ukemi. While people agree that Aikido is 99% Atemi, I would go further and say that Aikido is 99% Ukemi.  The art is literally the Ukemi.  Ellis Amdur has written at length about this already.  Anyone that really wants to understand the power of Aikido should strive to be the best Uke possible.  Ukemi is not only the best way the learn Aikido, it is the best way to teach it.  If there is such a thing as a short cut to becoming great as an Aikidoka, it is through Ukemi.  Ukemi is more than taking falls.  Everything that Uke does creates Aikido.

Aikido is a tool for self perfection. If you are only trying to be an effective fighter, you will miss the point of Aikido.  Aikido teaches self-control first.  If there are rules of engagement in Aikido, I would say that the first rule is to treat people well, and the second rule is to try to understand the other person’s point of view.  After that, we are supposed to show compassion whenever possible.  The proper use of the martial techniques of Aikido is to neutralize the attacker’s aggression, rather than the attacker.  An Aikidoka would only injure someone in order to protect others from evil, never out of fear or animosity.  That’s why self perfection is key.  Bruce Lee said that “no one can ever hurt you, unless you let them.”  Miles Kessler, in an interview, said that his spiritual teacher told him “if you have spiritual protection, you don’t need martial protection.”  These two thoughts should be pondered over well.

Coming up next: What is Ikkyo?