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<blogEntries>
<blogEntry id="3492">
	<title><![CDATA[Lee Crawford at AWR]]></title>
	<body><![CDATA[I was fortunate to be able to make two days of the Crawford Sensei seminar hosted by my friends from Great Valley Aikido at Aikido of West Reading this past weekend.  I trained one Friday night last year with them, and watched the Sunday morning class.

This year my body was cooperating, so I got to spend both Friday night and Saturday on the mat.  By the end of the day Saturday, I was definately ready for a break (I haven't been training much recently).  The training was good, the partners were varied and good...men, women, experienced, not experienced, big and strong, small...a good cross section of training partners.

I like her seminars, and her focus on the quality of movement.  I had an opportunity to test some of the things I've been working on, while learning some new things (her waza has a different quality to it than that which I'm used to).  I really like the firm, connected feeling of her students, and it was good to feel them a year after the first experience.  I picked up some exercises I'm going to keep working on, especially the slow back roll to prone, then back to standing.  A real workout for the core when done correctly.

If she's in town again, I highly recommend stopping by and training.

Best,
Ron]]></body>
	<date>05-05-2009</date>
</blogEntry>

<blogEntry id="3489">
	<title><![CDATA[Back to Keiko again]]></title>
	<body><![CDATA[Trained twice last week, once at AKI in North Wales, once at Great Valley Aikido in Downingtown.  Both times were really nice.  I didn't realize just how much I missed the people at both dojo.

I've been back down to the Doshinkan a couple of times as well, should be there on Wed. this week.  

Training with Eric M. was a blast!  He always sharpens my focus.  It was good seeing everyone and especially Utada Sensei.  I need to make more of an effort to be there regularly, now that the job situation is settling down.  VzB is going well, I'm getting used to the tools and the new stuff for the routers.  

Hopefully things keep going well... Lee Crawford seminar at West Reading this weekend.  We'll see how the bod holds up.  Especially my stupid neck! so far...so good.  Hope to take Friday off to make training 2 to 3 days a little easier.  I may not make Sunday though, need some time to spend with M as well.

Best,
Ron]]></body>
	<date>04-27-2009</date>
</blogEntry>

<blogEntry id="3158">
	<title><![CDATA[Sumei to Eibukan]]></title>
	<body><![CDATA[Great training Saturday starting at Sumei, ending at Eibukan.  Dwayne Bolt had his anniversary, and it was really good seeing him teach.  Never was in a class of his before.  He has some really subtle things going on, and I like the way he encourages his students to attack, the frame work of the class, and the way he relates things.  He is also not afraid to miss a waza, and just keep working until it comes out the way he wants.

He picked up something from Gleason's seminar and reviewed that; the idea of hips going one way, hands another.  VERY usefull on some waza, especially ayate mochi / kosa dori.  I still need to work more on the subtle balance break for iriminage after the entry.  Open the heart, send in opposite directions.]]></body>
	<date>03-10-2008</date>
</blogEntry>

<blogEntry id="3157">
	<title><![CDATA[Doshinkan working ki/kokyu]]></title>
	<body><![CDATA[Wed. at the Doshinkan.  We worked a lot of basic movements with partner.  Before class I worked with another yudansha pushing on me, with me grounding and trying to bring the ground to my hands.  I was able to sustain with a really strong push from him, even when I asked him to go to a really hard push.  This was a very straight line push, not with a lot of adjusting to find my weak lines.  I used the type of stance Dan / Akuzawa / Mike showed more than a Yoshinkan stance, but then played with sourcing the ground from the front foot and weighting there as well.  Moving back and forth between front weight and back weight was very interesting...I think I will try to do more of that in the future with a good push.  I also got a very stong mudansha to push after class; he automatically adjusts his push to find any gaps or angles where I am weak, so it's much harder with him.  He can switch the push faster than I can ground it.

[NOTE]  I was doing much the same exercise at another dojo with someone who decided to switch from push to pull suddenly.  Once I knew that he was going to play that, I was able to let him switch back and forth...with the result being in a throw everytime he switched, if I was sensitive to feel what has happening.  Basically, if he was pushing and went to a pull, switching to the obi as the focus point and doing an "open" brought him into me and kicked his legs up in the air.  Doing a pull, with my focus on the back of the obi, when he switched to a push, I didn't have to change the focus, just time the push with an open, and pretty much same result.

The waza were variations on a kokyu nage and kotegaeshi.  Shomen uchi, ude osae; shomen uchi taihenko kotegaeshi, shomen uchi taihenko men nage.  With everything connected, it was fairly easy to perform.

Because of the basic movement with partner I also got to work on grounding a lot during class.  I still find it easier from the back foot, but I seem to be improving on the front foot.  Kancho had us working with 2 to 3 people holding us to work elbow power 1.  I didn't focus enough on doing the "up" once I had the ground, so it was way too physical, and not enough mental.  I have to try to make the most of these opportunities.]]></body>
	<date>03-10-2008</date>
</blogEntry>

<blogEntry id="3155">
	<title><![CDATA[Still adjusting to the changes]]></title>
	<body><![CDATA[I have been trying to continue to push the "squatting" while relaxing my lower back, trying to find this new idea of structure.  It is difficult, but I can feel my body changing!  Trained for 2 hours Sat. in Exton, and while the keiko was powerfull and great, I was a little tweeked afterward.  So when I got home to M's I kind of crashed on the couch after eating.  But then I tried working ten chi jin, the rowing exercise, some breathing, shiko.  Energy level shot through the roof! 

I was tired Sunday, but not sore...did about an hour at my parent's house moving stuff into the crawl space.  

Monday...no issues.  Working the postures while standing, sitting, moving around (trying not to let others see) is extremely fruitfull.  I am coming to the conclusion that I have to just keep letting these postures increase naturally, without forcing too much.  As they seem to take over and happen on their own, the power and connection steps up.]]></body>
	<date>03-03-2008</date>
</blogEntry>

<blogEntry id="3145">
	<title><![CDATA[Progress already]]></title>
	<body><![CDATA[Well, the last time a friend came into town that I train with from time to time, I had just come back from meeting Dan Harden.  I tried to explain what I felt from Dan, and to replicate some of the things he had taught.  Not much success.

This friend and I get together about twice a year with some local guys I know...one of which I have trained with for many years.  He did aikido with me for maybe 10 or 11 years, and now does mostly tai chi.  He and I went to Mike Sigman's seminar together, and we've been comparing notes, and trying to work some of the exercises.  I've also been working some of Akuzawa Sensei's exercises, which I may have a better handle on since going to the seminar in Seattle.

Anyhow, it used to be when I got together with these guys, I got pushed all over the place.  I just couldn't relax properly, my back was stiff, I wasn't used to the format, and I was a klutz.  Last night, for the first time, I kind of held my own...enough to give them a decent workout anyway, and I actually got a few good solid grounded pushes in of my own!  

I've been working the standing exercises, shikko, the breathing exercises, and trying to straigten out my posture.  Really focusing on relaxing the lower back.  Apparently, the effort is beginning to pay off.

Best,
Ron]]></body>
	<date>02-21-2008</date>
</blogEntry>

<blogEntry id="3144">
	<title><![CDATA[Review of Mike Sigman Workshop at Itten dojo,]]></title>
	<body><![CDATA[This will be in a series of blog posts, please forgive.

This past weekend I was fortunate to spend two days trying to get a handle on something that has been kicked around in martial art circles for many eons…and yes, you guessed it…it’s that dreaded KI word!  Mike Sigman, a long time proponent of statements like “no jin, no Taiji”, was kind enough to brave the criticisms of some pretty experienced martial artists, some of them no nonsense military types, and actually show what I’ve long been reading about on the ‘Net.   This is going to be a tough review to write, because I have little to no familiarity with authentic Chinese arts, and because this review will also deal with some much larger issues.

It should be made clear that Mike’s workshop was targeted toward an Aikido audience.  Most (if not all) people attending are in Aikido or closely related arts.  I actually would be especially interested in hearing from participants who disagree with my take on the skills displayed and their usefulness in Aikido.  I believe that the skills Mike displayed and trained us in are crucial to our art, and that a great deal of the issues people have with Aikido are the result of a lack of exposure of people like myself to a solid understanding of at least some of the basics of using ki / aiki / kokyu in our training.  

This is not a simple area for discussion.  There are many political, organizational, and ego related issues surrounding this topic, and there are also many people who dismiss this entire area.  “We already do that”, “It’s just good physics”, “Only the fruitcakes waste time on that”, “let’s see you use it in the UFC” are all favorite responses when this topic comes up.  I am coming to the strong belief that this is just as wrong as over mystifying it.  Mike’s posts on the topic are public record, and I think his approach (if I understand it well) is a good one.  He seems to speak about the ki mentioned in the Chinese classics as a family of related skills / phenomena, and he highlights jin, or access to the ground path, as one member of this family which is of particular use to martial artists.  Mike or others with a more complete understanding will have to take this area of definitions further…I simply am too new to this area to go further than that.]]></body>
	<date>02-19-2008</date>
</blogEntry>

<blogEntry id="3143">
	<title><![CDATA[Starting my blog again]]></title>
	<body><![CDATA[Oi, I am so tired of the bickering on the internal stuff on the net.  As a result, I will be starting my blog again.

I really appreciate Jun's hosting of this site, but at some point, I have to close off the bickering because I simply have no time for it.  I have too many family and work commitments to waste time trying to convert people who aren't interested in going out and getting hands on experience with the folks who have made the nitty gritty details of this exploration what they do.

Bottom line...if you are interested in what I write, and would like to comment, please feel free.  If you have hard questions, that's fine too.  If you want me to prove what I'm trying to learn, in any fashion, show up on a mat, and train.  Better yet, go see some of the people I will discuss, and get it from someone who is much further down the road than I am.

Best,
Ron]]></body>
	<date>02-19-2008</date>
</blogEntry>

<blogEntry id="2621">
	<title><![CDATA[more keiko]]></title>
	<body><![CDATA[Utada Sensei asked me, "did you have a lot of coffee this morning?"  I smiled and said, some, but the yoga is really helping a lot.  And it is.  My body feels better than it has in a long while, which is kind of funny, since I really stink at yoga.  In spite of that, making the effort has produced great results!  Less pain during and after training, greater ability to do the movements without undue stress on the body, able to go slow, medium and fast with similar results, better able to take strong ukemi...I don't think I could have found anything better to yield results from something I do formally once a week for an hour.  Now I have to really try to start doing what little I have learned for about 15 minutes to half an hour every day, along with basic movements.

Shihonage is the basic techinique this month.  Wednesday was great, Saturday even better.]]></body>
	<date>05-08-2006</date>
</blogEntry>

<blogEntry id="2617">
	<title><![CDATA[Review of a Keiko with Patricia Guerri Sensei]]></title>
	<body><![CDATA[Review of a Keiko with Patricia Guerri Sensei
6th Dan under Morihiro Saito Sensei
Holder of 5 Mokuroku of Aiki Buki

While I was in Paris for 10 days, I had the pleasure of training one night with Guerri Sensei and her students at the Asahi dojo of the Aiki Bukikai.   I have only trained once before with a school affiliated with Iwama Aikido, and the experience in that case was very mixed.  While the Aikido I saw then was strong, the lack of control of the instructor and his attitude toward and badmouthing of other styles and instructors left a bad taste in my mouth.  I later discovered that that school’s connection to Iwama was somewhat tenuous, and not something to be taken as representative.  In spite of the fact that Philadelphia has a wide variety of Aikido styles, Iwama is not well represented in the area.  People should keep in mind that I was very new to Aikido then, and view my judgment accordingly.  So when I learned I was going to France, and I knew that Europe is a hotbed for Iwama training well connected to both Saito Sr. and his son, I decided that the opportunity was not to be missed.

In my search for a place to train, Nicolas Delalondre and Olivier Ledru on www.aikiweb.com recommended the Asahi dojo.  I had read about Guerri Sensei on www.aikidojournal.com, as well.   One of the posters there was wondering why she was not more well known.  Guerri Sensei mentioned that she had run a public dojo for sometime, but got frustrated with always trying to solicit students and keep enrollments up, and I assume some other things as well.  Now she basically runs a private dojo, one that is obviously open to visitors though.  I believe that is why she is rather less well known than some other Iwama stylists of similar rank and credentials.  From what I saw, I have to say I think she made the right choice.  Her students show the results of focused, dedicated training under someone who does not tolerate any nonsense.  While not completely familiar with the setup in France, I can see obvious benefits of Guerri Sensei being true to herself and to the legacy that Saito Sensei gave her.

Finding the dojo was a challenge…my girlfriend hadn’t driven in Paris for some time, and we were coming from a day of site seeing in another section of the city, which included the 750 stairs up (and back down) Notre Dame.  My bad knee did not appreciate all of those stairs!  The GPS kept losing satellite connection, so it took us a while to get to the dojo.  My girlfriend let me jump out at the dojo sign to get changed while she parked the car about 15 minutes away.  The actual entrance is back off the street in an alley, and I wasn’t sure just where to enter…but I could hear sounds like children practicing aikido, so I asked a woman waiting for her child, and she pointed me to the right door.  I ran in, introduced myself (gratefully finding some English speakers), changed and got on the mat.  

Keiko

We started right off with Katetori Tenkan, and right away the differences in posture, Atemi, and the feel of the technique showed.  I believe because of the focus on developing Kokyu Ryoku, the first thing you notice is the way they tilt the hips.  It’s as if when standing with your tailbone tucked so that it goes toward your front, you then tilt the pelvis, which brings the tailbone back, but lowers your center.  Unlike the Yoshinkan, which also does a similar tilt, there seems to be a more bent over posture of the upper body, while we seem to try to keep one line from the heel of the back foot to the top of the head.  Instead of the hip tilt being in line with the whole body, they seem to have a break in the upper body.  I’m not sure why this is…perhaps with more Iwama based training I’ll be able to figure it out.   It may be the difference between keeping our weight forward in the Yoshinkan, while in the Iwama style; the weight seems to be more on the back foot.

When this posture is combined with the movement of the fingers toward your own center during the pivot, fingers slightly higher than the palm, it seems to transfer the weight of your body down into Uke in a very powerful way.  That, combined with an Atemi with the middle knuckle to the temple/face, really serves well to off-balance Uke.  This exercise is done without Uke pushing or pulling.  Static grabs seemed to be the norm for the training that night, and, as I understand it, for most of the basic (Kihon) training.  The power of the exercises and Waza stood out throughout the training that evening.  

Most of the Te-Waza we did that night I recognized in one fashion or another.  The Katatetori attack was common throughout, again, focusing on strong static grabs as opposed to pushing or pulling.  Katatetori Kokyunage was done more as an exercise than a throw, giving me a good chance to stretch out a bit.  Katatetori Iriminage was done in two ways; one stripping the grip by turning the fingers away from Uke, palm down, and cutting with the free hand, then pulling Uke toward you as you enter, then cutting at the base of the spine with the throw.  The other version was done by entering and taking a Shiho grip with the hand that was seized, and throwing Irimi with the other hand.  I was working with a smaller, female Uke, and her power on the throws was superb, along with her control.  I’m sure she must have been with Guerri Sensei a long time, perhaps her senior student.  She really models her teacher’s posture and power well.  

Shihonage Omote and Ura (Ichi and Ni) were next up, and followed the basic patterns I am familiar with.  One thing I really liked was the emphasis on cutting out, then throwing with a shuffle forward.  For safety (I believe), it was always done in two separate movements, but done as one movement it would be a very powerful way to throw with Shiho.  

One treat was to try one version of their style of Koshinage.  From Katatetori on Shite’s right hand, they entered with Atemi to their right, then stepped between Uke’s legs and made a cross with the body bent from the hips, the free hand almost touching the floor, and the grasped hand held high.  To throw, they simply turned the hips and switched the hands.  Very nice, and again very powerful, though I’m not sure I did it very well, not being used to that particular version.  One interesting note … a lot of styles I’ve seen have Uke grab the Dogi at the chest on this throw.  They grab the sleeve instead, which removes the concern I always have when grabbing female partners in the chest area.  Mistakes here can be very embarrassing for both partners, as well as somewhat painful in a few cases.  Hint: Never annoy your Shite just before Koshinage!  

I also liked the series taught on Kotegaishi.  It was done in several stages, a throw straight down, turn Uke for a standing pin, then finish with a kneeling Nikkyo / Nikkajo pin.  I think I’m forgetting one Waza that I can’t quite place my finger on…oh well.  Wait…got it!  My favorite Waza for the night is one I don’t know the name for.  It was an Irimi technique, where instead of throwing you enter behind Uke and seize the neck in a wrap around choke, shift your hips forward for a tap, then step back bringing Uke to your knee to complete the choke.  It is a very powerful standing and kneeling pin for submissions.  I really like this one.

Buki Waza

I don’t have as much detail on the weapons work, because even though the Doshinkan retains the emphasis on Buki Waza, it’s still not my strong point.  But I was really impressed by the form and detail, as well as the power development from what I saw.  The Buki Waza class was on the Jo.  The postures I saw in the empty hand forms were the same with the Buki Waza.  The practice (about 1/3 of the total class time) focused first on basic strikes and thrusts, with great attention to detail on the hand position, movement off the line, Hasuji, Awase and power generation.  On many of the movements, Sensei would call the senior student up and show the application with a partner so that we knew why certain movements were important when training with a partner.  Proper control was stressed through out this practice, even before paired practice.  This stress on safety and control was very impressive.  Even during the empty hand practice (which contained very powerful throws) safety was repeatedly stressed.  In the Buki Waza, safety was stressed even more.  From my girl friend’s translation, Sensei emphasized that lack of control and injuries resulting from it would not be tolerated AT ALL.  This stands in direct contradiction to an earlier experience that I mentioned before, where I saw an instructor strike a student in the chest with a full power Tsuki that took Uke off of his feet.

The Suburi we did was very interesting.  I have read before about the way that Iwama stylists vibrate the Bokken at the tip when cutting.  I had always heard that this was incorrect according to classical weapons work, and even the weapons work in Doshinkan Aikido.  Even though we were working with the Jo (and perhaps emphasized because of it), I could see how the power generation of the Kokyu posture was creating a shaking power at the tip of the Jo.  The neat thing was that even though I could not control this shaking power to the extent that the seniors there did, I could generate it.  I believe I will begin to practice on my own to build this power and the control of it during Suburi with the Jo (being mindful not to let any non-standard habits creep into my training at the Doshinkan).  I also noticed that we indeed did take the Jo all the way behind the back during the Suburi.  I had always been taught this was bad form in partnered weapons practiced, as it leaves a huge Suki (opening).  But in the context of Suburi, it was obvious that this was intended to build the range of motion and power.  I will have to ask Ellis Amdur to be sure, but I believe even some Koryu schools practice Suburi this way.  I think I remember us doing this with the bokken in the beginning of his six hours of Toda Ha Buko Ryu Keiko.  People often speak of the differences between Aikido Buki Waza and Koryu training.  In this case, I could truly see the link between the Suburi power generation and the empty hand Waza.  It reminded me to a great extent of the idea of Riai that John Stevens mentions when talking about the connection of the Bokken and Jo to Aikido.

The Jo Awase paired kata we did after the Kihon practice was fantastic.  The power on the strikes and thrusts felt really good, and my partners were safe and controlled.  I had a hard time not moving away from some of the thrusts where one side or another ‘won’ … even with the emphasis on safety, when working with new partners, it’s hard to accept the Tsuki without moving just out of range.  But Sensei insisted on it, and I finally got my body to comply.  Not one person missed and struck their partner, but all of the Tsuki were powerful, focused, and targeted properly.  This was fantastic training, and I could have continued for another half hour just to polish it enough to remember in detail.  Unfortunately, even when trying to write it down several hours after class, I was unable to recall it in enough detail.

After bowing out, I was fortunate to spend some time doing Kokyu Ho Dosa with one of the Yudansha.  We shared some of the differences in the methods from the Yoshinkan and Iwama styles, and some of the similarities as well.  In the Yoshinkan we have a series of 10 Kokyu Ho Dosa.  The first three methods are with a pull, a push, and a hold.  Apparently the Iwama schools use static holds only for their Kokyu Ho Dosa, and it was interesting to see components of our number three against a hold in their work.  

I would like to thank Patricia Guerri Sensei for allowing me to share training with the Asahi dojo that night, to thank the students who trained with me, and especially her senior student who partnered with me and helped me through out the night (if any of you can tell me her name, please do).  I was treated like a true guest, and a welcome member of the Aikido family.  In all my time visiting other dojo, it is remarkably rare that they specifically ask me for criticism when they hear that I write reviews of my training.  Guerri Sensei did this, and I wish I could have some positive criticism for her.  But to be truthful, there really isn’t any.  Her students show her dedication to the Aikido she learned from Saito Sensei.  There can be no greater recognition to her teacher than that.  While I might have a different focus for my own training, and preferences that result from that focus, it says nothing negative about the training I saw that night.  I do personally like to “romp” a bit more freely, but there is always at least a small sacrifice of power and form when I do that…for safety reasons and because that’s what often happens in a more free form environment.  In my mind, staying with the Kihon in her dojo is worth it.  And perhaps they do more of that in regular training when they don’t have a visitor new to their style.  I give my best regards to Guerri Sensei and her students.  If any of you ever come to the States, please come and visit Philadelphia, and train with me at the Doshinkan Dojo.

I would also like to thank Yukio Utada Sensei of the Doshinkan for having prepared me so well that I can train with so many different styles without problems.]]></body>
	<date>05-03-2006</date>
</blogEntry>

<blogEntry id="2584">
	<title><![CDATA[more on pivots, kokyu dosa]]></title>
	<body><![CDATA[More info on Pivots 8 and 9 on Saturday.  For both, make sure the kamae is proper after the pivot. Start with pivoting hand going level in the first part of figure 8, then lower and lower the hips for 2nd part...hand should go from level to lower.  On 1st part, never take hand past center.

8 starts gyaku, 180 dpivot, figure 8 with hand, as you break the shoulder line, xstep in back pivot. Palm up, then down.

9 starts aihamne, front pivot, back pivot, figure 8 with hand, as you break the shoulder line, front pivot. Palm down the whole time. 

9 has much more of a ki-no-nagare feel to it, but uke's part is hard in that you have to time taking the hand offered and pushing. 

When pinning at end of kokyu dosa, heel of palm down, fingers up.  On number 10, shift forward after throwing, number 4, right side, right hand in front, right hand on top, open forward and to the right.

1 -- pulling
2 -- pushing
3 -- holding
4 -- atemi
5 -- cover knee and retreat knee
6 -- tenchinage ichi
7 -- tenchinage ni, uke must make big ukemi, get all the way around, big cross-step.
8 -- keep hand tighter to small of back, palm up, palm down, enter on palm up side.
9 -- don't enter, just pivot on knee, 45 degree angle ok for throw.
10 -- shite kneeling uke standing -- over shoulder

On gamentsuki, iminage ichi (under the arm), thumb up just like shomenuchi when you cut down and back. DO NOT GRAB.

Test techniques, remember to have your book.  Good training, and the yoga is helping!]]></body>
	<date>04-10-2006</date>
</blogEntry>

<blogEntry id="2574">
	<title><![CDATA[Interesting week of keiko]]></title>
	<body><![CDATA[Started a class in yoga on Tuesday, an interesting mix of Ashtanga and other methods.  Exhausting! but exhilerating at the same time.  

Keiko on Wed. night was good.  I started out tired from the yoga the night before, but as class progressed, my energy awoke.  We worked the 10 pivots, first solo, then with partner, then with applied technique.  Kancho gave the best explanation yet for the difference between pivots 8 and 9.  

8 starts gyaku, 180 dpivot, figure 8 with hand, as you break the shoulder line, xstep in back pivot.  Palm up, then down.

9 starts aihamne, front pivot, back pivot, figure 8 with hand, as you break the shoulder line, front pivot.  Palm down the whole time.  

9 has much more of a ki-no-nagare feel to it, but uke's part is hard in that you have to time taking the hand offered and pushing.  

Free style afterward felt really nice, I had some trouble managing the ma ai from ryote mochi for iriminage, but was able to figure it out after a couple failures.  I could feel the relaxation in form the best yet during some of those throws...I could feel uke's weight going, feel the focus in the hips, and the power of the throw from the stance.  Felt like what I see when people *really* do yoshinkan.  Probably won't happen again for a while...but I'm used to that. ;)

Found this really nice article at Aikido Journal.

http://www.aikidojournal.com/article.php?articleID=558

I would have loved to spend some time with this guy on the mat.  Ellis is really lucky to have known him.

RT]]></body>
	<date>04-06-2006</date>
</blogEntry>

<blogEntry id="2562">
	<title><![CDATA[Back again]]></title>
	<body><![CDATA[Well, I was back on the mat again after an enforced 2 week layoff due to tendonitis in my shoulders.  Here's hoping that I don't get a re-occurance.  The left side was bad enough I almost went to the emergency room.  It had me really down for a while, I missed training, and I wasn't sure what to do about all these stupid joint issues (knees, shoulders, what's next?).  Enough whining.

After a layoff, I often feel pretty good about getting back in the mix, and last night was no exception.  Jui waza for the last part of class and afterward felt pretty good, but I blocked on different waza during class time...so I trained some of the ones I wished I had done before.  They worked well...surprised it was so hard to do them during class.

I need to stop diddling about and get in a full yoga class, at least once a week, and do portions of a routine every day.  If I'm going to keep training, it's time to step up and take care of the bod.

Best,
Ron]]></body>
	<date>03-30-2006</date>
</blogEntry>

<blogEntry id="2497">
	<title><![CDATA[This past saturday's classses at the Doshinkan]]></title>
	<body><![CDATA[Posted this in a forum, but decided to add to journal as well.

1st 1 hour Class:
quick warm ups, ukemi (ushiro, backward rolls, about 50), united basic movements (7 of them) interspersed with the ukemi (about 6 times), Jo stances (8).

Waza for first hour; katate mochi, nikajo, osae ichi (one hand grasp, 2nd control, pin # 1).

I can't remember if there was much of a break between 1st and 2nd class, but then the techniques were:

2nd class:
katate mochi, nikajo, osae ichi / katate mochi, nikajo nage (throw) / katate mochi, nikajo, kaeshi waza into kotegaeshi nage. Ushiro ukemi as a class to finish, about 50 I think.

Both classes were fast paced, 1st class is basic, 2nd class intermediate.

3rd class (advanced):
kihon dosa to kanren waza (united basic movements and applied technique) with partner which is six basic movements and six techiniques (sokomen iriminage, hijiate kokyunage, kokyunage, nikajo osae, shihonage ichi (omote), shihonage ni (ura) osae).

tanto tachi waza - hiza giri hichu giri
tanto with partner, 10 waza, 4 kneeling, 6 standing.
randori (it was a small class, so one person in the middle, all the others doing katate mochi attacks)

I haven't done 3 classes in a row for a while, so as you can imagine, I was rather tired by the end of this. I may have forgotten a thing or two...

Best,
Ron]]></body>
	<date>02-14-2006</date>
</blogEntry>

<blogEntry id="2482">
	<title><![CDATA[Review: Ellis Amdur in Maryland Jan. 28 - 29]]></title>
	<body><![CDATA[I had the pleasure this past weekend of training with Ellis Amdur at the hombu dojo of the Itto Tenshin-ryu / Yamate-ryu in Maryland, hosted by Aikido of Northern Virginia and Jim Sorrentino. We trained for six hours each day Saturday (open hand) and Sunday (buki waza). Both days were absolutely fantastic, and definitely eye-opening. The purpose for this review, however, is not to give a blow-by-blow account of the techniques taught. Something much more important is going on here. Ellis is now working with the Itten dojo on their aikido curriculum, and is shaping their program in a very positive way, which I believe can have a huge impact on the way aikido is practiced and viewed as a martial art. 

Revived Sword Kata of Toda-Ha Buko-Ryu

While the empty hand training is definitely my main motivation for writing this piece, I do want to spend some time speaking about the weapon training on Sunday, simply because it was so unusual. Ellis has full transmission in the classical martial art of Toda-Ha Buko-Ryu Naginatajutsu. He has revived some of their sword forms that have been lost to the membership of the ryu, and it was one of these forms that he taught on Sunday. He and Fred Little went through the forms as they exist now (tachi vs naginata, tachi vs bo), and then the sword form. But before we started working the kata, Ellis took us through a detailed set of suburi to establish the form for proper cutting (in terms of the Toda-Ha Buko-ryu). This set the platform for the rest of the day.

Step by step demonstration, keiko, correction, demonstration, keiko was the order of the day. What I liked most is that we had six hours to constantly refine and rework the one kata. Because of the high level of many of the participants in various martial arts, I was never even close to being bored. When people attack correctly and with true intent, you must be mentally present to move correctly and not get wacked. Some of us had that down better than others, but the best raised everyone's level, so things worked out fine. One important point that Ellis constantly stressed was to **slow down**. I believe in almost every answer to a question I had, Ellis reiterated that phrase. By slowing down, we were able to work the basics that he taught in the beginning back into the kata, and constantly improve while adding new sections. 

To have access to such classical training is a rarity. To have access to such a competent and methodical teacher is even more so. Ellis not only imparted some of the physical movements of the ryu, but some of the mindset as well. Even the lessons on kiai were worth the price of the seminar.

Open Hand Aikido Keiko

The focus on Saturday was basic aikido movement and atemi, but in a free flowing randori setting that went way beyond the standard forms practice I have seen almost everywhere I have ever trained. I haven't had exposure to Shodokan aikido yet except through books and the Internet, so I can't compare what we did at the seminar to that. But the ability to enter into the waza from katate mochi / dori iriminage, and to have uke respond with counters, and then shite respond to any openings presented, and back and forth…it was a treat. Ellis kept reminding us to be careful, and to be aware of who we were working with, and I am sure his close supervision had a lot to do with the lack of injuries. But what really made the difference was the willingness of the participants to simply tap, smile, and say "that was yours"; to acknowledge superior position, posture, and technique in a given situation, and start again. 

The techniques demonstrated varied from iriminage, ikkyo, nikyo, shihonage, and others, but each pair explored many more options, always (in my experience) working on the basic ideas of positional and postural integrity, and the ability to place atemi from any position. Because of the free flowing nature of the keiko, sometimes techniques from other arts crept in to a certain extent. But that too flowed well into yet other aikido variations. The end result was that the aikido we brought to the seminar with us was sharpened and made alive again in ways that I rarely see in even the best of formalized aikido keiko. 

Conclusion

Someone asked a person who was at the seminar this weekend "what rank is he?" Personally, I think this shows a fundamental flaw in how we often look at aikido and it's instructors. Ellis's seminar was simply beyond issues of rank. It was beyond issues of style. It was beyond the sort of formulaic training we see and participate in 90% of the time. He worked on showing us how to organize our bodies, how to flow from one technique to another, how to work with resistance, how to place atemi, how to power atemi, all while putting what we've learned from our own styles into practice in a free form environment. With people that in many cases, barely knew each other, if at all. With no injuries that I am aware of, and no bad feelings (even when I had a brown belt kicking my butt  ).

I am beginning to think that people like David Valedez, Bob Wolfe, Ellis Amdur and other independents are often more on the forward edge of aikido than some of us stuck in the mud of organization, affiliation, and rank. It would be to the detriment of Aikido and each and every person who practices it, if these perspectives are not seen, trained and included in some fashion in the mainstreams of aikido. It's not that the forms taught in the mainstreams are not correct, or even that they are ‘dead'. It's more a case of a need to step outside the box, to look deeper, and to really find what works on more than just the kata level, more than just the form level, so that we can return to the kata with more than we had when we left it. I do know that there are probably others out there doing this type of training…I think we all need to look for ways like this to innovate and enliven our keiko. When I say this I mean no disrespect for my teachers; each of them keeps aikido alive every day on the mat. But we the students sometimes forget to really learn what they teach us, and to make it our own.

These seminars are important events, and I hope to see more of us there at some point. I give my thanks to Jim Sorrentino, Ellis Amdur, and our hosts for such a fine venue (the dojo was truly a work of art itself). And to my training partners as well. Any errors or things I mis-remember are totally my own fault.

Best Regards,
Ron Tisdale
]]></body>
	<date>02-02-2006</date>
</blogEntry>

<blogEntry id="643">
	<title><![CDATA[Doshinkan After Class exercise 1 and 2 with sword]]></title>
	<body><![CDATA[Last night Utada Sensei taught an excellent version of ACE1&2...first we did it with a partner in the usual fashion, and then with both partners using the bokken.  The point (I believe) was to focus on maintain connection with your partner through the bokken during the movements of shihonage ichi and ni (omote and ura), while also maintaining focus, balance, form and breathing.  It gave me a very special feeling almost right away...and once I was used to the movements in that context, I found it very meditative yet focused.  One interesting thing was that I got to work with a brown belt I don't remember training with before, so it was like meeting someone for the first time, yet doing something very personal with them.  

The exercise deffinately enhanced the feeling of connection during the randori style portion of the class for me.  This is one I want to do more often.
Ron ]]></body>
	<date>05-19-2004</date>
</blogEntry>

<blogEntry id="642">
	<title><![CDATA[Daito ryu with Kondo Sensei]]></title>
	<body><![CDATA[Spent Friday night, Saturday and Sunday training with Kondo Sensei at John Goss's study group in Maryland.  Great training, with great people, and lot's of corrections from Kondo Sensei himself.

Friday night focused on applied technique from the goshin no te.  Still trying to come up with some descriptions of the techniques.  I believe we will have dvd available with the techniques eventually.

Saturday and Sunday were almost completely devoted to the Nikkajo techniques, tachi waza, ushiro waza, hanza handachi and idori.  Sunday included some review of rising aiki with shiho from Ikkajo, and in a 3rd control based technique from the idori set in nikkajo.  Kondo sensei stressed the aiki in ikkajo, as opposed to nikkajo being primarily jujutsu based, with aiki in certain places.  

I'm still working on putting together my notes, but it was a fantastic opportunity to see the basis of the techniques in aikido.  I had some very good revelations about sokomen iriminage that I need to explore more deeply.  Also got to work koshi garuma off of yokomenuchi, very difficult but wonderful technique!  

Also got to see kyu and dan testing...now that was a treat!

I'll either add another entry or edit this one as I get my thoughts together.  I still have to write a review of Nizam Taleb Sensei's seminar, and I'd like to write my first full review of a yoshinkan seminar...Chida Sensei is in Phila. at the Doshinkan for 3 days this week!  Not to be missed...I'm hoping I won't get called in over the weekend.

My thanks to the great folks in Maryland and from all over who worked with me this past weekend.  

Ron

 ]]></body>
	<date>05-19-2004</date>
</blogEntry>

<blogEntry id="594">
	<title><![CDATA[keiko with friends, keiko at home]]></title>
	<body><![CDATA[Two really good training sessions this week.

The first was with Kirisawa Sensei and the Kenkyukai folks on thursday.  Really good practice, hard, non-stop.  The softer stuff is coming more naturally now, but I'm still not relaxed enough, and you can still tell that I don't maintain connection as uke enough when they do stuff I'm not familiar with.  A lot of tenkan as opposed to the kaiten they often do, shomenuchi iriminage ura, really waiting for uke to 'lose their hips', katatedori kotegaishi, turning the hand back into the arm instead of the angle I'm used to.  The suwari waza shomenuchi ikkyo went very well for me, and the knee only hurt a tiny bit, and not much swelling at all.  Because they keep such a good connection as uke, it felt really powerfull on both ura and omote...but I could feel a bad habit of not controlling the elbow creeping in too.  Gotta watch that.  The jiyu waza went exceptionally well...even when exhausted!  

And the liquid bandage stuff works like a charm...someone's toenail cut my little toe, and I bled like crazy...but after putting that stuff on, I didn't even have to bandage my toe for my Saturday 3 1/2 hour session.  That was a really good practice.  I spent most of the last two classes working with one of the Doshinkan forth dans;  learned a heck of a lot.  Gotta get in better shape though...my breath control is not where it should be.  I did manage to forget some stupid stuff that should be habit by now, but I'll just keep working on it.  Yokomenuchi yonkajo osae ichi and ni for tachi waza, awase yokomen for buki waza.  I need to work the shuffle back better.  This showed up in the #3 kumitachi later that day.

The buki waza is coming along...jo kata # 2 is getting closer and I've had lots of help from almost all the seniors.  I've got to get the 3 part kumi tachi down better, especially 1 and 3.  3 I know the movements for, but the timing and placement/distance is all different from how the Homeikan does it, and one or two of the angles are off.  1 is totally new to me...got to get it written down.  

Must work on pivoting more in the jiyu waza...and feeling the push/pull from uke sooner.  I'm still deciding on specific waza too early...I'll have to get myself really tired, and then get a strong uke to not give me a break so I do what is appropriate, not what is in my mind.  I seem to be able to get away with that too much with other groups, but not at the Doshinkan (at least not with the 4th and 3rd dans).  Even they say I'm still too tense...this relaxation thing is hard for me.  I need some more mat time with Masa...he'll set me straight!

And I think I've found my partner for the hard keiko!  Someone I definately can't push around!

If I can improve on this schedule a little bit, I should be ready for the DRAJJ in May.  Three days of Kondo Sensei...I hurt already just thinking about it.

Ron ]]></body>
	<date>04-19-2004</date>
</blogEntry>

<blogEntry id="549">
	<title><![CDATA[Seiichi Sugano Seminar]]></title>
	<body><![CDATA[I had the great pleasure of attending a seminar given by Seiichi Sugano Shihan this weekend.  The seminar was hosted by the Philadelphia Aikikai dojo of Henry Smith Sensei.  There have been some very good threads on the Aikido Journal website about seminars recently, and I think that my experiences at this seminar spoke to some of the points under discussion.  I also found this seminar unusual because of Sugano Sensei's recent history.  Many of you already know that just less than a year ago (April 2nd, 2003), Sugano Sensei underwent surgery to amputate a foot due to complications from diabetes. He is now teaching with the aid of prosthesis.  Seeing a part of this remarkable recovery was probably the most inspirational thing I have seen in my aikido career.  I often say that my teacher shows me the true meaning of budo.  Now I have another person who has shown this to me as well.  I’ve started to review Sugano Sensei’s DVD, and while his recovery is not yet complete, you can see just how far he has come.

I was only able to attend Saturday's classes this time...I will certainly try to make all available sessions the next time Sugano Sensei is in town.  Henry Smith Sensei taught the first of the morning classes, and it was an excellent class in which to warm-up, start moving with a partner, and get to know some of the participants through Aikido.  I especially enjoyed the warm welcome Smith Sensei, his students and the other participants gave me.  Smith Sensei did some very interesting variations of kotegaishi that I hadn't done before.  They were particularly useful in light of the more static ushiro waza techniques that I am used to from Daito ryu and Yoshinkan Aikido. 

[b]Katate dori, nikyo, yonkyo, ushiro, iriminage[/b]
This technique gave an excellent opportunity for us to practice transition from one control to another.  It also stressed moving offline, atemi, how to enter without giving your back, keeping your hands in your center...all good aikido basics, but in a flowing manner.  Having Smith Sensei take the time to correct me and work with me made all the difference.  Even though I am not the most flowing person out there!  It began by moving off on the same side of uke as the hand grab, using that movement and an atemi for unbalancing.  Then the application of nikyo, and when uke responded by being compressed, yonkyo to keep them unbalanced as shite entered under uke's arm (with atemi if desired, the elbow atemi worked nicely).  To end, switch the hand controlling uke's arm, and do iriminage ura.  

[b]Katate dori, ushiro kotegaishi nage osae (pardon any mixing of aikikai and yoshinkan nomenclature)[/b]
Another chance to work ushiro, a topic that is also current on Aikido Journal, and a technique that is both similar to and completely different from a Yoshinkan variation I know.  Here shite used a hand blade from the free hand when moving forward and offline to free the hand and cut it behind to grip for kotegaishi.  The ura version of the throw flowed best here, since uke's movement from the initial cut already had them moving in the proper direction.  Here ma ai seemed crucial...too close and uke was all over you, too far and it seemed like there was no control.  But when the distance was just right...everything fell right into place, even if uke should use the free hand to strike.  They found themselves striking right into the throw.

[b]Katate dori, ushiro kokyu nage[/b]
And for when uke was too close...kokyu nage.  This technique is an excellent partner to the one above, for obvious reasons. I had a real fun time with this one...my partner and I experimented with tossing uke in different ways.  My thanks to the unknown uke that tolerated my Aikido! 

Sugano Sensei's class had a very different start for me...the focus on breathing exercises was pretty neat.  I now have his DVD, Between Heaven and Earth, so I hope to be able to go back and fine-tune my limited understanding of what we were doing.  I did recognize several elements of chinkon kishin, and as always, found it both settling and invigorating at the same time.  

To watch Sugano Sensei move so soon after his surgery was just plain amazing.  While I wouldn't say his recovery is complete yet, to see how far he has come in such a short period of time...unbelievable.  The strength of spirit this must have taken is really something to imagine.  His movement was smooth, connected, and efficient.  The techniques he showed were difficult for me, as there was a flow (ki no nagare, as one participant noted) that I still am working on.  But what a great place to learn!  Unlike tatami, this was a canvas mat, and I felt like I could glide across the mat.  Sometimes on proper tatami, my feet stick a bit.

[b]Katate dori, kokyu nage[/b]
We practiced both the exercise and the throw.  This is standard enough that I don't really need to describe it.

[b]Shomenuchi, iriminage (ura)[/b]
Again, a standard.

[b]Ushiro waza -- ryote dori kokyunage (2 versions)[/b]
This technique was a hallmark of the seminar for me.  I gained in several ways...cooperation and learning with my partners, having a 5th Dan to help me with the technique, understanding how to flow into ushiro waza without giving my back to uke (I'm used to a more static variant of ushiro waza).  What was crucial for me to get was the initial leading of uke to the outside.  I've never been comfortable with that lead, but by the end of the class I was at least getting passable.  The technique started with an ayate dori meeting of the tegatana, with uke cutting down for the initial grab.  Shite would then lead uke out and around, then enter in and turn to offer the other hand.  It gave a feeling more like the entry under the arm in kaiten nage, rather than 'letting uke behind you'.  When done well, it was beautiful to do, feel, and watch.  My partner and I (a mudansha) were able to trade tips, and I think I learned more from him than he from me.  

[b]Ushiro waza -- ryote dori shihonage[/b]
This was led into from the techniques above...and when uke’s other hand went for the grab, shite would use it for shihonage.  Very nice, and plenty of opportunity for technically sound ura movements.

[b]Buki Waza[/b]
I'm not going to try to describe the bokken work we did.  Sugano Sensei's style of buki-waza is very different from what I'm used to, and I'm not all that good at what it is I do.  But there were some very important lessons in aihamne kamae, ma ai, and the roles of partners in teaching each other while training.  Perhaps one of the other participants with more experience in this area will add a note to this thread.  

I must take a moment to extend my sincere thanks to a participant, Nizam Taleb Sensei from Mays Landing, NJ.  It was my privilege to have him coach me through this seminar (one of the points in the seminar threads was having someone to interpret for you the movement of the shihan).  Taleb Sensei worked with me off and on the entire day, both during class and in between classes.  His teaching made this seminar such a pleasure and moment of growth for me.  I really don't think there's any way to thank him properly (except maybe to show him that I have retained what he taught me the next time we meet). I also saw him receive his Godan at this seminar...well deserved.  He took an obstinate klutz like me, and gave me a clue.  

Henry Smith Sensei and his dojo put on an excellent seminar, even hiring a jazz band to play afterward Saturday night.  Thanks to all who helped prepare the dojo for Sugano Shihan and the participants.  My very best wishes to Sugano Sensei as he continues his recovery.  I hope I have done some justice to the quality of the seminar, and that my unfamiliarity with the techniques and Aikikai naming conventions is not confusing.

Ron Tisdale
 ]]></body>
	<date>03-16-2004</date>
</blogEntry>

<blogEntry id="496">
	<title><![CDATA[more keiko, more keiko, more...]]></title>
	<body><![CDATA[Now training two days per week, two classes each time, and sometimes freestyle training afterward.  Still not nearly relaxed enough, but it is improving.  I did pretty well staying relaxed for sotai dosa and ukemi Tuesday night, but not even close as shite.  The knee is not swelling at all, though sometimes it is painfull during and afterward.  When I first started, couldn't really do a sliding breakfall #2 on that side, now its not so much of a problem.  

We're working nikajo this month, so the wrists are getting a good workout.  I'm still blocking the best part of the energy at my shoulders.  Its getting a little better, but I haven't quite gotten to the next stage yet.  Gotta try to make more classes to get the mat time in to fix that.  My kamae is relatively weak and my posture isn't straight enough while cutting.  I'll try to work on that while doing suburi.  

Last saturday I trained without the brace to see how it felt.  It was like being freed!  I'd forgotten what its like to move unrestricted.  There was too much pain afterward, so its not quite ready yet...but in another month I'll try without the brace again to see how it goes.

Everyone is being very helpfull.

Ron ]]></body>
	<date>02-13-2004</date>
</blogEntry>

<blogEntry id="466">
	<title><![CDATA[Seminar Review]]></title>
	<body><![CDATA[This past weekend I had the great pleasure of attending an Aikido seminar at Bucks County Aikido with George Lyons Sensei (Bucks County Aikido), Juba Nour Sensei (Aikido of Manhattan), and Michael Sidebottom Sensei (Connecticut Aikikai).  It was an all day Saturday seminar, and there was a fantastic (and large) group of students to train with from all three locations, plus some others as well, I believe.  All three teachers are members of the USAF Western Region, and all are students of T.K. Chiba Shihan.  I believe that Chiba Shihan is often mentioned as an Aikido instructor who emphasizes the martial aspects of Aikido, and that is certainly what I experienced Saturday.  While the practice was very safe (I am unaware of any real injuries), it was certainly very vigorous, correct, and martial.  Having heard so much on the net about Chiba Shihan and his students, I had been very eager to have an opportunity to train with them.

George Lyons Sensei opened with warm-ups that concentrated on more stretching than I'm used to (but not quite as much as I remember with Donovan Waite Sensei).  Since I haven't been able to train as much lately, due to a knee injury, the extra stretching was much appreciated.  Many of Aikido's standards were part of his sessions that day, including Ikkyo, Nikyo, Shiho and Irimi.  The Tenkan exercises that he started off with gave me a little of the feeling of the differences between the USAF West, East, and the Yoshinkan style that I am used to.  I was very lucky in that throughout the day, Lyons Sensei moved around and trained with many different students, myself included.  This gave me an excellent opportunity to feel his movement, how he connected with me, and to try to pattern my own movement during technique.  His poise and grace combined so well with his ability to control me in both basic movement and technique, that I came away very impressed.  I would not have been as successful trying to emulate their technique without his kind assistance.

Juba Nour Sensei seemed to concentrate on the martial aspects in a lot of his technique, stressing the need for strong, sincere attacks as well as strong Atemi.  He even tricked his Uke into popping him on the head once to stress his point, and remarked that if we don't know how to attack, we should work outside of class to build up skills in hitting, and getting hit! The look on his Uke's face was priceless, as was the lesson Nour Sensei was imparting.  So many Aikidoka, as well as other martial artists look askance at some of the attacks in Aikido.  It is a popular (yet contentious) topic on almost every Aikido discussion site on the Internet.  I think Nour Sensei's approach goes a long way to bringing some much-needed vitality into our training.  While many of us do pick up this experience in one way or another, I sometimes find myself forgetting the need to really focus on the attack as Uke.  Correct and vigorous attacks lead to correct and vigorous technique.  I shouldn't neglect offering my partner my best effort. Nour Sensei's focus on this seemed to push the whole class to a higher level of commitment.  I know that it did this for me.  I also liked the focus on Suwari Waza in Nour Sensei's class.  Even though kneeling is still very hard for me due to an injury, I felt a strong difference in my balance and my overall technique when doing Tachi Waza afterwards.  I'd actually forgotten just how much I like suwari waza, and its benefits to my technique.

Michael Sidebottom Sensei also demonstrated very strong technique, and selected a range of shoulder grasp techniques to teach.  He was also very helpful to me during an earlier class, especially on an Ikkyo variation that I wasn't as familiar with.  He also used some of Chiba Sensei's Buki Waza to illustrate a shoulder grasp Kokyunage technique that I had not seen before.  The Buki Waza technique was a cross-step back cut, cross-step in thrust, body change, cross-step in cut, and his form made his dedication to the weapons portion of Chiba Shihan's syllabus obvious.  The technique (from a should grasp, gyakuhamne), was cross-step back, atemi to the face, cross-step in under Uke's arm, body change, place the close hand against Uke's ribs, and shuffle thrust for the throw. I was amazed at the amount of power generated on this throw.  Uke was so unbalanced by the movement when done correctly that even a small shuffle produced an enormous amount of power.  It was good to see the relation of the precise movements of Buki Waza applied to technique, and to see the direct benefits of that association.

As a Yoshinkan practitioner, I am always glad to see precise movement and technique, and I had loads of it this past Saturday.  On top of this, in a dojo where strong technique is obviously the norm, I did not see any bullying or inappropriate throws.  All of my partners knew I was not familiar with the style in which we were training, and all helped me to figure out any things I was unsure of, from the highest ranked instructor (6th Dan) to the lowest Kyu rank.  I was able to take Ukemi at some point from each of the instructors, and learned a great deal.  If anyone were looking for strong technique and a good instructor in Bucks County, Manhattan, or Connecticut, I would highly recommend any these instructors.  My one regret is that my knee had enough before the classes ended, so I wasn’t able to train for two of the sessions.  I would like to extend my sincere thanks to Bucks County Aikido and Lyons Sensei for hosting a fantastic seminar!  

Ron Tisdale

 ]]></body>
	<date>01-19-2004</date>
</blogEntry>

<blogEntry id="439">
	<title><![CDATA[Knee seems ready for romping!]]></title>
	<body><![CDATA[Well, after close to six months of pain, rehab, no practice...I think I'm ready for some steady mat time.  I'm starting off with one practice per week, then building up from there.  I trained before the new year at the Boulder Aikikai (that was a great time), at the Doshinkan Hombu New Year's celebration (got to teach a little and do a little free-style demo) and did a thousand sword cuts last night to open the New Year at the Homeikan.  So far, the knee gets better every time I practice, so I think its ready for some more sustained exercise.  

Did some freestyle after class last night with one of the strong karate guys...now that was fun!  Miss training with my buds there.  The training in Boulder was great, but my smokey lungs had trouble the last hour and a half handling the thin air.  whew!  But I had great partners, and would love to train there again.  I'm really looking forward to training there again sometime.  If any of the folks I trained with there see me online, I hope they'll drop an email so we can get to know each other better.  Thanks to Jun for getting me situated!

Best wishes to all for a happy and healthy New Year!

Osu!
Ron ]]></body>
	<date>01-07-2004</date>
</blogEntry>

<blogEntry id="352">
	<title><![CDATA[more keiko]]></title>
	<body><![CDATA[Well, got some more keiko in before my next self enforced layoff.  The knee held up well for two friendship seminars.  There was a little swelling, but not much pain, and inspite of increasingly vigorous practice as I got used to romping again, no serious problems.  I am carefull not to land with the bad knee bent, switching sides for the ukemi mid-air when needed (quite tricky sometimes, when being thrown by a 5th dan).  

The aikido kenkyukai group here has Kirisawa Sensei in town for eight months!  good training, good beer, fun all around!  They had us participate in a embu to welcome him into town.  Looking forward to training with them much more.  

Here's an abbreviated review of the Utada/Ikeda Friendship Seminar:

at the Friendship seminar given by Utada and Ikeda Sensei this past weekend, both instructors focused on breaking the uke's balance at first contact. 

Ikeda Sensei stressed relaxation and using your center to capture uke, even if uke didn't know it, and maintaining that off balance through-out the waza. Ikeda Sensei was clearly a master at sensing uke's balance, and obtaining kazushi without uke even knowing it. He would have you grab his hand powerfully, even 4th and 5th dans, and then when you were sure you were in control, he would say 'nope', and throw his uke effortlessly. You could actually see uke's knees buckle, and then they were done. At one point, he demonstrated how by using his center to move uke, he could make uke look like they were having a fit. With almost no perceptable motion from his hand, he had uke twitching and jumping, all from unbalancing them with his center. His sense of humor was excellent!

Utada Sensei stressed various methods of focusing on particular joints throughout the body to effect off balancing your opponant at contact. An example might be shomen uchi iriminage ichi. At the moment of contact with the strike, shite uses the angle of the wrist and hand to redirect and off balance uke through the shoulder joint to the side and front. On stepping in with the left foot (from aihamne) and meeting uke's face, one method might be to focus on your elbow joint, control the back of uke's neck with the other hand, and off balance them further by controlling their neck. Done properly, uke's hips actually move forward, while the head and neck remain in place, virtually causing uke to throw himself. Utada Sensei chose uke from the lowest student to the highest, as did Ikeda Sensei, and demonstrated how various joints such as the waist, knees, shoulder and neck could be the particular focus of kazushi for various techniques. Utada Sensei taught the entire weekend with a severe cold, actually loosing his voice for part of the seminar. But he continued to teach excellent sessions all weekend, performing at his best for the conditions at hand. As always, he continues to teach us the true meaning of Budo.

My thanks to the members of the Doshinkan dojo who hosted us, as well as to Utada and Ikeda Sensei, for showing us how different schools of aikido can come together and train in friendship. 

Ron Tisdale
Homeikan Dojo
Doshinkan Aikido
 ]]></body>
	<date>10-27-2003</date>
</blogEntry>

<blogEntry id="333">
	<title><![CDATA[No Surgery, first night back to keiko]]></title>
	<body><![CDATA[It felt sooooooo good to be back on the mat.  The knee is holding up well, I won't train on thursday, so I can rest it well for the seminar this weekend.  I hope to have a good review sometime monday.  

It didn't feel like the month and a half or so layoff caused much harm.  It was a light practice, so I didn't put much strain on the knee at all.  I think I'll be able to get in a couple of good sessions this weekend.  Then I'll try once a week until rehap on the knee is done.  So far so good...
 ]]></body>
	<date>10-15-2003</date>
</blogEntry>

<blogEntry id="279">
	<title><![CDATA[more on the knee]]></title>
	<body><![CDATA[Well, my knee is pretty well hosed for now...I'm going to look at surgery vs traditional medicine.  Torn meniscus and a sprained mcl.  I'll have to see just how long I'll be sidelined.  I'm considering not posting till I'm back training again, but I haven't decided on that yet.  I guess I'll just have to find some other ways to train...

RT ]]></body>
	<date>09-18-2003</date>
</blogEntry>

<blogEntry id="229">
	<title><![CDATA[new level of dealing with pain]]></title>
	<body><![CDATA[It turns out I've got arthritis pretty bad in one knee.  I'm fairly used to training with pain, but its gotten so I can't even kneel or sit in seiza.  Its going to be interesting to see how I deal with this.  The first medication prescribed is already out...turns out Vioxx causes anxiety and depression in some people, and I'm one of them.  It got bad enough where now I have to do some damage control...

I've heard others talk pretty extensivly about training with chronic problems.  Now its my turn at the wheel...

Ron ]]></body>
	<date>08-25-2003</date>
</blogEntry>

<blogEntry id="176">
	<title><![CDATA[Review of John Stevens’ 2003 East Coast Classical]]></title>
	<body><![CDATA[This year we were fortunate to have John Stevens Sensei for four days of training, lectures, and informal sessions.  Once again, he impressed me with his knowledge of aikido, his practice of Rinjiro Shirata’s waza, and his poise.  His topics ranged from Aikido’s philosophy and history, to Aikido’s techniques.  We were fortunate this year to be able to share Stevens Sensei with the Aikido Schools of New Jersey (under Rick Stickles Sensei).  Stevens Sensei lectured, gave a demo, answered questions, and signed books for over 70 students of aikido, in an absolutely wonderful venue provided by Stickles Sensei.  I would be remiss if I did not thank Stickles Sensei for his hospitality.  It is our sincere hope to continue to provide greater exposure of Stevens Sensei’s Classical Aikido throughout the North East in the coming years.  

One of the most interesting facets of Classical Aikido to me is the fusion of Rinjiro Shirata’s early training at the Kobukan, and the philosophy of Ueshiba Sensei’s later years.  While many schools whose lineage springs from the Kobukan days eschew Kotodama and any connections with the Omoto-kyo religion, I find that Classical Aikido has a good link to those traditions, and that Stevens Sensei is able to express that in his classes and lectures.  The Kotodama sessions before practice helped me to relax and to focus, enabling me to train with a renewed energy each day, and strengthening the feeling of connection with the founder of Aikido.  The practice of Aiki-Taiso (pictured in the video Budo) also strengthened the connection to the pre-war period of Aikido.  

The major focus of Classical Aikido has always been the relationship of the sword to the empty hand techniques.  In many schools, this relationship is illustrated by a few exercises with the sword, some paired practice with the sword, and perhaps an occasional illustration of a sword technique like Shihonage.  But in Classical Aikido, the fundamental principles (Riai) of the techniques are all taught from day one both with sword and empty hand.  This is accomplished by forms such as the Aiki Kihon no Ken (basics of the sword) which illustrate the fundamental footwork, positioning, angles and power of techniques like Shihonage, Iriminage, Kaitenage, Kokyu Nage, Ushiro Nage, Tenchinage and Osae Waza.  The Aiki Kihon no Ken contains at least four versions of each of these techniques, 31 in all (as best I can remember), and we practiced it each day.  In Shiho, for instance, entering, turning, redirecting Uke forward, and redirecting Uke to the side are all part of the sequence of cutting and moving with the sword.  In no other style of Aikido that I have practiced have I seen such reliance on the use of the sword as in the Classical Aikido of John Stevens.  

We also practiced the Misogi no Ken (Cleansing or Purification with the Sword), both as a sword form and as a sequence of paired standing Waza with a partner.  What gives meaning to this form is the understanding that each movement is really done in relation to a partner, and that without that knowledge, the form can seem more like just a bunch of pretty movements.  Once you go through the techniques contained within the form, suddenly all of the movements gain a much deeper meaning, and they are no longer just cut here, or cut there, in any style of movement you please.  The Misogi no Ken partnered practice contains throws like Shihonage, Iriminage, Kokyunage, as well as evasions, pressure points and Atemi.  Many of the techniques were versions that I have never seen in any other style of Aikido, and yet the roots in Ueshiba Sensei’s early days in the kobukan are easily visible.  To see it done well is to really begin to appreciate it.  The Misogi no Jo is also not an exercise that we should think of as if it were a solo form.  There are actually paired sequences of Kumi Jo that cover the entire form.  While we mostly practiced the first 15 movements of the Kumi Jo sequence, once again it changed the way in which I think about and practice the Misogi no Jo movements.

A highlight for me in the last two seminars was the time we spent on the Sho, Chiku, Bai (pine, bamboo, plum blossom) partner practice with sword.  This seminar was no exception.  I actually feel like I almost have the first 3 sequences, and I’m getting closer to the last 3.  Stevens Sensei refers to Sho, Chiku, Bai as Aiki Ken Po, or Aikido Sword Play (a more direct translation is Aikido Sword Law).  I believe it has its root in Ueshiba Sensei’s pre-war practice (see The Essence of Aikido; by John Stevens).  It also includes a continuous group practice where we alternated partners going from one to the other with complete attention. It is this group practice which was inspired by Stevens Sensei’s training with the followers of the Tesshu school of swordsmanship that he took many years ago with some highly ranked kendo players.  The pine represents the shomen attack, the bamboo the Yokomen attack, and the plum blossom the tsuki.  In the first three sequences, Uke is attacking with Shomenuchi, and Shite/Nage is controlling the centerline and responding with their own Shomen, Yokomen, or Tsuki.  The partners pause after each section and reset their Maai.  In the last 3 sequences, Shite/Nage and Uke move through all 3 without a pause, highlighting the give and take, as well as the rhythm of an engagement.  The roles of attacker and defender quickly become blurred, and great attention is paid to distance, targeting, openings and Zanshin (remaining/continuing mind).  Even the Aiki Ken Po was related to our empty hand practice:  Uke grasps Shite’s wrist with pine, Shite responds with bamboo, and the plum blossom corresponds to Shite’s Atemi.  

The Seminar wrapped up Sunday afternoon and evening with a tour of the George Nakashima Wood Workshop and Museum, and a party held on the grounds there.  The Nakashimas presented an excellent tour, and we even got to see a Meiji era katana (an absolutely fantastic piece of work, even the saya was magnificent).  All donations for the tour went to the George Nakashima Peace Foundation.   Highlights of the tour included the viewing of George Nakashima’s architecture (he was a contemporary of Frank Lloyd Wright), furniture designs, and bowls and utensils.  All of his work presents an interesting fusion of western and eastern influences.  Information on the foundation can be found on the following web page: http://www.nakashimafoundation.org.  Some examples of George Nakashima’s work can be found on this web page: http://www.modernegallery.com/pages/nakashima/nakashima_bio.html.  Our thanks go out to Mira and Kevin Nakashima for their support of the Homeikan dojo and John Stevens Sensei.  What great hosts!  I would also like to thank Gary Ohama Sensei and Joe Sperduto Sempai for their hard work on the seminar.  I must thank John Zenkewich as well for hosting the information about the seminar on his Classical Aikido web page.

I hope that this year’s seminar is just a taste of things to come…we had participants from all over the Philadelphia area, Virginia, New Jersey, Washington State, and New York.  A sincere thank-you to all who participated, and I hope to see you again next year.  It was good to train again with old friends like Andrew Grochowski, John Zenkewich, and Mei Sempai.  If pictures become available shortly, I will post them with this article.

Ron Tisdale
 ]]></body>
	<date>07-18-2003</date>
</blogEntry>

<blogEntry id="164">
	<title><![CDATA[Masakatsu Agatsu, Katsuhayabi]]></title>
	<body><![CDATA[I'm not really sure how to express this recent experience, but I'll give it a shot. I have an 80 something year old great aunt who lives in North Philly (about 20 blocks west of Broad street). Its a neighborhood that has been in great distress, but it is slowly comming back due to improved housing efforts by developers and the city. The kind of lawlessness you regularly see there is armed gangs riding three wheeled off road vehicles down the streets at all times of the night and day, popping wheelies. Somehow, they evade any cops interested in stopping them .

I was taking my aunt back home after dark on the forth (she's always either in a wheel chair or walking for *very* brief periods with a cane on one side and me on the other). While I was helping her out of my car, about 3 to 4 thugs began to approach us from the other side of the street. She started to get upset, so I propped her up against the car, and started telling her it was ok, there was no problem. I continued to help her, while angling my body so that I could watch the leader without looking directly at him. Just enough so he knew I could see him, but not enough to confront him. He got to within about 4 or 5 feet, then veered off and went on past us down the street with his buddies. I told my aunt "see, its just attitude", and took her on inside. 

I never really considered the opponant defeated...I considered us safer once he made clear by his change in direction that he had reconsidered his choice. I considered us safe once he and his little gang rounded the corner, and my aunt was inside. I guess if it had come to physical violence then the idea of victory or defeat would have entered into it. But I clearly was not in a good position to fight (had to protect my aunt, and I was outnumbered, and possibly out-armed). So the only real choice was to connect strongly with the opponant, not be confrontational, and do what I was there for. 

This is the only time I felt like my aikido training (connecting to the opponant before the attack, presense of mind, no fear) has been used to avoid actual violence. The sense of calm was astounding. Being focused on my aunt and the opponant at the same time was really kool, and I felt no adrenelin rush, and no shakiness after the incident. I guess you could say that I felt the opponant was defeated from the moment I saw him start to cross the street.

Masakatsu Agatsu, Katsuhayabi
True victory is victory over self, victory at the speed of light

And a sincere thanks to my teachers, 
Utada Sensei, Ohama Sensei, Stevens Sensei and many others.

Ron Tisdale

 ]]></body>
	<date>07-07-2003</date>
</blogEntry>

<blogEntry id="124">
	<title><![CDATA[Donovan Waite Sensei at Lower Providence Aikido]]></title>
	<body><![CDATA[5/20/03 -- review of seminar with Donovan Waite Sensei

This past Saturday I had the pleasure of training with the Lower Providence Aikido dojo when they hosted Donovan Waite Sensei.  Jeff Bowden Sensei was an excellent host (as always), and it was great to get to train with him again.  I first trained with him when he was a brown belt many years ago, and it is always a pleasure to feel his technique again.  

Waite Sensei is probably one of the most flexible men of my age I've ever met.  His warm-ups had a very large stretching component.  I believe his flexibility adds a lot to the power of his technique; his throws have a whip like tensile power that is strongly focused and controlled.  Flexibility always being a weakness of mine, the warm-ups stressed the importance of working on improving in this area.  Since Waite sensei did not hurry through the stretching portion, even someone as tight as I am was able to feel significant improvement just from that relatively brief session.  Combined with this were many breathing exercises, some of which strongly reminded me of the Eight Brocade breathing exercises from the Chinese arts.  The standard aikido warm-ups were not neglected either.  

A highlight for me in this seminar was the ukemi.  So much has been said about Waite Sensei's system of ukemi, that I don't know how much I can add.  Although the style of ukemi I practice is quite different, it was easy to see the advantages to Waite Sensei's style.  It was very relaxed, and stressed moving across the shoulders, along the side down to the hips, and then brought uke up in a very ready position to move or attack again.  While it was difficult at first to do, repeated sincere efforts did yield some progress, and I would definitely consider purchasing Waite Sensei’s tapes now to study these ukemi some more.  I think they provide a dynamic, safe method for responding to the throws we practice in aikido.  While I might not adopt this style myself (I have another style of ukemi very engrained in my mind and body now), for anyone having trouble with their ukemi or especially anyone just starting out, I would highly recommend it.

As a Yoshinkan Aikido practitioner, it was gratifying to see Waite Sensei's strong commitment to basics.  During the seminar, it took a little while to adjust to the slightly different format of the class, the different naming conventions, and the different composition and timing of some of the techniques, but once I settled down enough to pay close attention, the same basics stressed in Yoshinkan schools were readily apparent.  Cross-step in body change, shuffle step in body change, 45 degree pivot, 180 degree pivot, elbow power one and two...all were there in Waite Sensei's technique, and in the technique of his uke as well.  The use of the kaiten movement is a little different from our taihenko (body change), but it was an easy adaptation to make.  While the nature of the basics might have been a little different here and there, or while the way they were put together to form technique might have been slightly unfamiliar, their presence was as clear as day. This is what made it possible for me to relax and pay attention to the details taught.  I was able to let my body move as its been trained, watch Sensei and the other students closely, and adopt the details they used to make the techniques efficient.

Waite Sensei stressed not opposing uke's power (kind of a "duh" you would think), but it was surprising (as always) how subtle changes in movement and position made a major difference in whether or not the technique would work on Waite Sensei's rather large uke.  I believe the first technique taught was katate dori, kokyunage omote [one hand grasp, breath throw, number one].  At first I found the movement used to enter a little unusual.  But within minutes, I recognized a slightly different focus from the Yoshinkan basic technique of katate mochi, sokumen iriminage ichi.  One of the things Waite Sensei repeated often was "back foot moves first", and this was one of those times.  From katate mochi, gyakuhamne stance, Waite Sensei entered with the back foot to uke's inside, while turning the front hand palm down and into his center to bring uke off balance and lower him.  He then used a classic cross-step in body change to throw his uke, but with an almost whip like movement that hurled uke quite a distance.  It was *very* impressive.  The Yoshinkan method for this technique has always been described to me as making a "T" with uke's forward foot, but Waite Sensei seemed to be using slightly different principles in where he would move with the initial step.  Perhaps after practicing this version of the technique a little more, it will be more obvious why the technique works so well the way he taught it.  

This was just one example of many techniques that were easily recognizable.  There were also some variations that were completely new to me, and not just an adjustment to waza I was already familiar with.  In particular, there was a very interesting version of kaiten nage ni (pivoting) that I really liked.  Shomenuchi was the attack, and shite entered cutting with two hands in standard ikkajo fashion.  The hand closest to uke cut uke's elbow into his body, with uke kind of rolled up into himself.  The hand furthest from uke came to shite's hip during the initial cut, and then did atemi to uke's neck (exposed from being bent over and kind of folded into himself from the initial cut).  Then shite's back foot moved behind uke's back foot, and a pivot and shuffle threw uke into a tight, very controlled yet forceful throw.  I was actually tossed into a wall on this throw by a slightly enthusiastic partner (I was ok; the wall lost, my apologies to Lower Providence Aikido about the needed repair work).  

Another fascinating topic covered was hand deflections of both grabbing and striking attacks.  These ranged from the fairly standard 45-degree pivot, front hand (palm down) leads grabbing hand just past you, back hand cuts it away, then iriminage, to some very interesting deflections I don't remember seeing before.  One of these was from a yokomenuchi attack in gyakuhamne off of uke's front hand.  Shite did a 45-degree pivot (back foot moves first again), and shite's lead arm cut out in a parry to uke's strike.  But instead of blocking the strike, once contact was made the strike was brought in front of shite, where the back hand could cross over the attacking arm, control it, and lead uke into a nice snug position against shite's body.  From there, kaiten, then body change, and kokyunage was sitting in shite's lap.  It was a wonderful version of kokyunage (step in throw), with a fairly sophisticated use of a parry.  Of course, being from the Yoshinkan mindset, I think I almost broke my uke's arm with a strong block the first time I tried it.  Fortunately, all of my uke were very patient with me as I adjusted to new or different material.

Each session of the seminar ended in kokyu-ho dosa, which gave everyone a chance to relax (even more), and calm down a little after an invigorating keiko.  Then Waite Sensei led the class in an even longer session of breathing exercises than in the beginning.  I really felt the affects of this, as my back was feeling the ukemi and some of the unfamiliar methods of throwing.  I strongly believe that these breathing exercises were responsible for how good I felt the next day, even after such a fantastic 4 hours of throwing and being thrown.  I would like to thank Waite Sensei for the time and effort he invested in us on Saturday.  I learned a lot, made a lot of connections, trained with old friends, and had a wonderful time.  And thanks again to Jeff Bowden Sensei and Lower Providence Aikido for hosting the event.

List of techniques (as best as I can remember in the aikikai naming conventions):

Katate dori kokyunage omote

Ryokatate dori kokyunage ura

Katate dori kokyunage combination with shiho on one side and with shiho only

Shomenuchi Kaiten nage ura

Katate dori kaiten nage omote

Katate dori Sumi Otoshi omote

Many variations of Tenshinage

Shomenuchi kokyu nage

Yokomenuchi kokyu nage

I am sure there were many other techniques that I have already forgotten.

Ron Tisdale




 ]]></body>
	<date>05-20-2003</date>
</blogEntry>

<blogEntry id="120">
	<title><![CDATA[Off the cuff]]></title>
	<body><![CDATA[Last nights practise was really gratifying.  In the midst of being very disappointed with myself about how I've handled two different situations (one work related, one personal) I taught one of the best classes I've ever had.  Ohama Sensei has been out this last week due to a friend (someone we used to train with) being back in town for a few days.  So I asked if I could take thursdays class.  

I had spent a fair amount of time preparing to teach two hours of basics for the new students we've been getting.  One of my worries is that we have not prepared them in the way we were prepared.  The classes are often more oriented at this point to the seniors because we've had very few new people joining.  Now that they are, it will give all of us a good opportunity to review the basics more. That said, none of the new people showed up last night, so I scrapped the entire class (it was going to be sankajo), and flew by the seat of my pants.  

After warmups, breakfalls and basic movements with partner, I taught Utada Sensei's jo kumi kata from tsune no kamae.  Its a short kata, but with some nice powerfull direct attacks and uke's part is pretty aggressive.  Star number one:  nobody got smacked by accident.  Joe and I performed the kata, then I taught uke to everyone in a line, then shite.  Then we paired up and walked through the kata together, then I let one side be shite for a while.  Once they were comfortable with their roles, shite and uke switched.  Once both were comfortable with both roles, we went to switching each time.  I had some problems conveying some points about the kata:

The blocks here are close to the body.  The strikes target mostly the ribs, and the jo is held alongside the body so the arms and wrists aren't getting jarred absorbing the power of the blows.  A lot of people want to hold the jo out away from themselves, which changes the ma-ai, and inteferes with performing the next movement.  When you hold the jo next to your body to block the side strikes, the kata "cleans right up", and its no problem aborbing the energy of a powerfull strike.  

The opening sequence is where uke grasps the end of the jo with the left hand, and steps in striking vertically up under the jaw, then thrusts straight in to the face.  Shite's first movement is a simple evasion by xsteping back and turning the stance hand palm up, which brings the back end of the jo to the non-stance hand.  A lot of people had trouble getting the evasion down, or tried to block the first strike under the chin, rather than just evading it.  Shite actually only blocks the thrust **after** evading the strike under the chin.

shite's last xstep back to avoid the shuffle side strike of uke often had people turning the jo (held across the body) end over end.  For some reason, when people step back they just naturally seem to switch the position of the jo.  When I first learned the kata, I did exactly the same thing.  The actual movement is to step back and block in one movement, without moving the jo.  This sets up the honte strike to uke's face that ends the kata.  If you reverse the jo there is an opening for uke's strike, and shite has to lift the back hand before striking, which gives uke time to block.  With the hand already up, the strike is way too fast to for uke to block.  The look in uke's eyes when they hear the whistle of the jo is priceless!  Not to mention focusing on that peice of wood about an inch from your face...

Uke is very aggressive in this kata, actually pushing shite back.  With the initial movement of hips, hands and knees moving first on the xstep and shuffle strikes, uke can generate a lot of power...shite needs to do very clean, simple movement to evade and block, which sets uke up for the powerfull honte strike at the end.

While we were practising the kata, Ohama Sensei came in with our friend and they watched the practise.  He gave me some really great suggestions on how to address the problems above, and low and behold, everyone seemed to really improve.  Then he asked if we could do some freestyle for our friend, who hasn't seen us train for a long time.

What we did was to form a line, senior person in front, and then they handle attacks from each person in the line, one after the other, both sides.  Sometimes we have uke use any attack, but this time I limited it to one type of attack, all the way through the line, both sides.  We did shomen, yokomen, tsuki, ryote mochi, ushiro off of front strike, and gamen tsuki.  When I saw people start to do the same technique over and over, I stepped in and took a turn as shite, stressing that from each of the attacks, all of the basic techniques (ikkajo, nikajo, sankajo, shiho, irimi, etc.) are available, plus the usual host of aiki-nage and kokyu-nage.  It was a really good workout!  We ended the class with about 10 minutes of kokyu-ho dosa, a really nice way to settle down after a lot of freestyle.  Our friend said she was really impressed by the improvement since she'd left us.  

Ohama Sensei seems to be able to walk in, toss out his lesson plan, and teach fantastic classes right off the cuff.  I never thought I'd be able to do this, but paying attention is slowly paying off.  I also thought that my disappointment in myself would ruin the class and my technique.  But for some reason, all thoughts about the conflicts disappeared during warmups, and I did some of the best technique I've ever done.  Go figure.  Now if I can just get a handle on the rest of my life...
 ]]></body>
	<date>05-16-2003</date>
</blogEntry>

<blogEntry id="75">
	<title><![CDATA[hips back, demo over]]></title>
	<body><![CDATA[I need to remember...never climb down the rocks backward...

Slipped and threw my lower back out when I landed on an incline with my tailbone.  Ouch.  Then from having to hobble around I threw my hip out.  I think everythings back in place now, so its back to practise tonight.  

The demo we were preparing for went very well.  The instructors who were visiting seemed to like it alot, and we hope some of the local ones will be bringing some of their students by.  No one got hurt, the throws were reasonably crisp and hard, and we seem to have pulled it off.  Now its back to basics, and getting ready for the seminars in May and July.   ]]></body>
	<date>04-03-2003</date>
</blogEntry>

<blogEntry id="34">
	<title><![CDATA[sat, 2, 22, 03]]></title>
	<body><![CDATA[Taught one of my best classes yet...at least as far as demonstrating technique, and being able to explain what I do.  Only two students, but what a blast!  And I was still feeling sick, too.

1st

Covered shiho and happo giri, stressed doshinkan movement leading with the front knee, pushing with the back knee through the kata, along with keeping the hips square.  Was able to get one student cutting more with the hips, and another smoothing out the transitions from stance to stance, and increased his speed by about double.

2nd

Demonstrated six to eight types of kaiten nage from one hand grasp, gyaku or aihamne.  Taught 3 to the outside of uke with shuffle or xstep in pivot, 3 to the inside of uke with shuffle or xstep in under your/uke's wrist, body change.  

Changed the atemi to the body, shoulder or arm for the class so we could actually feel the unbalancing effect, instead of to the face where we can't really land the strike.  Stressed locking the shoulder with the open step / xstep hand over the knee, then aligning the bones on the atemi, so that it could be almost placed in contact, then very small movement to yeild strong unbalancing.  Used what I learned from Okabayashi Sensei to intensify the atemi.

Open step or xstep in body change, atemi, leading hand over the knee, was off-balancing uke almost immediately.  I was able to throw the larger, better trained uke from that point if needed, or continue on with the technique.  Using the basic movement elbow power 1 to maintain the off balance before the pivot/body change, keeping the hand in front of my face, then [hand to foot] and [foot and hand move together] on the classic xstep back kaiten worked well.  Using Kondo Sensei's stess on the hand shape and the realationship of thumb to little finger made a huge difference on maintaining the connection during the initial pivot after elbow power 1.

1st -- breath throw after entry
2nd -- pivot breath throw after entry
3rd -- classic kaiten with xstep throw 
4th -- classic kaiten with pivot, shuffle throw.  Works both outside of uke and inside.

3rd

kokyuho dosa -- from seiza ho and standing.

Tenshinage ichi and ni, and included the new one with atemi to side of neck...worked like a charm.  Sumi otoshi / ude osae.  kokyuho 8 and 9.  Used 10 as well from standing in freestyle.  Was able to maintain the connection and off balance Norman!  Felt really weird to be so relaxed, yet everything seemed to be working. ]]></body>
	<date>02-25-2003</date>
</blogEntry>

<blogEntry id="27">
	<title><![CDATA[Feb 19 -- post snow...]]></title>
	<body><![CDATA[Well, the attention to the basics and the connection to uke is paying off.  We worked a lot of muto dori(?), (boken take aways) and it really seems to be coming together.  The presense of the boken seems to highten the focus, and the basic movements (especially the initial movement) seem to 

1) provide the power for the techniques

2) postion shite appropriately

3) initiate the correct response from uke (as in leading for the attack).

I also used elements from a paired kata (awase yokomen) for a defense against a knee attack.  Worked like a charm, and the transition to empty hand was almost seemless.

I've always been rather hesitant about the aikido weapons stuff...but Ohama Sensei has been able to prove the value of the buki for empty hand.  And the zanshin is becoming totally different...flowing from one technique into the next.  I still have some reservations about demonstrating this stuff though...its not like I'd pull it off against a real swordsman.  But I do see the value of its practise, at least as long as the understanding of its place in the curriculum is correct.

I still miss working with Utada Sensei's buki waza...I need to go back to working the 3 new jo kata he gave us.  And doing more paired boken work.

Missed the sunday practise due to the snow...have to try to make up for that this week.  The demo at the end of march is not that far away. ]]></body>
	<date>02-19-2003</date>
</blogEntry>

<blogEntry id="18">
	<title><![CDATA[Tuesday, Feb 11]]></title>
	<body><![CDATA[Should be an interesting practice tonight.  I'll be trying to go back to the doshinkan basic movements in each technique, but hopefully invigorated by the information I've gained from the last few monthes of practice with other styles.  Leading up to the demo in March, I hope to have a whole new base from going deeper into the basics (once again).  I've got to really try to do these movements with a whole new commitment, and connection to uke.  Slowing down and paying attention to how the movement affects uke should really be the focus. ]]></body>
	<date>02-11-2003</date>
</blogEntry>

<blogEntry id="17">
	<title><![CDATA[Wednesday February 5, 2003]]></title>
	<body><![CDATA[Went back to ACNJ Tuesday night, hope to go tonight but work might prevent.  Really good class last night.  Worked some new versions of shihonage, kaitennage, a lot of tenshin nage, iriminage some kokyu nage.  Also did one hand grasp, face thrust.  Felt much more relaxed and comfortable.  Again, everyone was very welcoming.   The one hand grasp face thrust was with a yudansha who provided really great shite/uke training time.  I was able to concentrate on form and focus, and he picked right up on what I was doing and came back with the same.  It was a really good feeling.

Ryote mochi, kaiten nage was pretty interesting, xstep or shuffle step in – stepping side hand goes high, other hand to uke’s thigh, xstep in, body change, xstep back, etc.

Ryote mochi shihonage, 45 degree pivot, off stance hand cuts up on inside of uke’s wrist, shuffle xstep or pivot for shiho.  I remember doing something similar in yoshinkan, but this was more of a retreating hip movement than a 45 degree pivot.

Ryote mochi, sumi otoshi ichi.   Small forward evasion, cut to the wrist and elbow of the side you evade to.  Have to be really carefull on the power with this throw for people who can't handle forward ukemi.  Nice technique.  Must be sure to enter and not just move to the side.

Got thrown with a nice combo osoto gari and koshinage.  Start tenshinage, uke blocks, then kokyu nage, uke blocks, then body change again, xstep behind uke for reap, then throw over hip.  Works well with our style body change koshinage.  The shite was excellent!  

Had one really perfect tenshinage during randori…uke did this wonderfull high flying ukemi as I entered strongly…probably the closest I’ll ever get to doing anything like Utada sensei does.  Instead of just turning palm down against the wrist for the top hand, I then moved to a soft but firm atemi to the side of the neck while maintaining connection with both hands.  Uke rotated all the way around the bottom hand like it was a pivot point, going completely over the top.  WOW.  It’ll never happen like that again…zanshin was a kick!
 ]]></body>
	<date>02-11-2003</date>
</blogEntry>

<blogEntry id="16">
	<title><![CDATA[Tuesday February 4, 2003]]></title>
	<body><![CDATA[On Monday night, trained with ACNJ.  Arrived a little late, but they were very welcoming.  A yudansha named Scott helped get me acclimated and take care of the mat fee.  Got to train with him most of the night and was invited back for as much of the week as I can make.  I was tense from the travel, being in a strange place, and searching for the dojo, so I never really felt like I settled down and relaxed, but it didn’t interfere as much as I thought it might.  My hamstrings tightened up and caused some pain, so seiza was no fun, but other than that it was a good session.  Scott was really fun to train with, and some of the mudansha were a lot of fun too.

Techniques: 
cross-hand grasp, ikkajo osae
cross hand grasp, iriminage several variants including some koshinage.  Also did an interesting ikkajo throw (pull uke in vertical elbows, back pivot with elbow atemi, (body change), control elbow, ikkajo nage.  
Kokyu ho at the end of practice with Scott was really nice.

Should go back Tuesday night and Wednesday night.

My thanks to Gregg O'Conner Sensei and all of his students for such a warm welcome. ]]></body>
	<date>02-11-2003</date>
</blogEntry>

<blogEntry id="15">
	<title><![CDATA[Sokomen entry for shihonage and ikkajo]]></title>
	<body><![CDATA[Learned a kool entry for shiho and ikkajo this past weekend.  Ellis Amdur was teaching, and showed the sokomen step for both.  As much as I've always liked sokomen, I don't think I've ever used it as an entry for these techniques.  Way kool.  Works like a charm, nice hip check atemi built in, negates the need to torque the heck out of uke's arm to "fix" them for the turning movement in shiho.   ]]></body>
	<date>01-31-2003</date>
</blogEntry>


</blogEntries>