******************************************************************************** WEAPONS IN AIKIDO ****************************************************************** CONTENTS 1. Ken Makiwara 2. tsuba on bokkens 3. uke tachi and uchi tachi 4. Yokomen and kessa strikes ************************************************************************* KEN MAKIWARA ============== From: Doug Barnard ------------------------------------------- > Does anyone practice sword strikes aginst a makiwara??? > Tell me about it! > I have seen photos of OSensei and Saito practicing against trees, >and also bundles of bamboo, as well as video of Chiba sensei using one >made from a car tyre. > Whats the best method/materials for making one? Is it really worth >the bother? Would you reccomend building one asap? whats the meaning >of Life? does God exist? Why am I asking pointless questions? > We've got one made out of an old motorcycle tire, in a basic 2X4 frame. Whoops! I noticed from your address that you're from acroos the pond. That would be 40mm X 90mm true, but 2X4s are sort of an ubiquitous kind of framing lumber that's available for cheap from any hardware/lumber store. Sort of looks like a capital "H", with two legs for back/front stability. The center bar of the H intersects the center of the tire. You can tune the thing by how much you squish the tire in from the sides. With ours, you can almost, but not quite, bottom out the tire on the crossbar with a particularily mighty strike. This greatly increases the vigor of practice, as a seemingly simple goal is close, yet ellusive. I've been known to whack away at the thing to the point of exhaustion, thinking each time that I'll finally get it! We use this oversize bokken (can't remember the name right off hand) that really pumps up the workout. Not recommended before taijitsu training starts... you're a limp noodle after a session of "hurting the tire." ************************************************************************* TSUBA ======== > I was asked last night by a student of another martial > art why it is that aikidoka generally use bokken > without tsuba. Any opinions on why this is so? > > Charles Yeomans > From: Kevin Jones ------------------------------------ Perhaps because most tsuba on bokken are of very poor quality and so tend to be an annoyance. Since very little of the bokken work done in most schools of Aikido benefits from a tsuba, it's more convenient to remove it - especially since there are no serious consequences from mistaking where the blade begins in most bokken practice :-). The ugly rubber band fixing for most bokken tsuba just doesn't work. I notice that some schools (like Chiba-sensei's) always seem to have a tsuba and even wear heavy padded gloves for some of their bokken practice, so it's probably dependent on what precisely one does with the bokken. I heard of a few places that *require* the removal of the tsuba to make the bokken look less like a sword ("weapon" - something I gather they consider bad) and more like a tool. The other reason may be that O-sensei's fell off one day and he never got around to replacing it and some students said "ah ha, to be like O-sensei, we must remove our tsuba" and decided they had found one of the secrets of Aikido ... oops - cynicism attack :-) From: patrick collins -------------------------------------------- I asked my Sensei this a few years ago. He said that it is easier to stick a few of them in a weapons case that way. Now how is that for a deeply philosophical answer eh? From: "Julian M. Frost" ----------------------------------------------- Interestingly enough, the use of Tsuba and gloves in Chiba Sensei's weapons classes is quite a new occurrance. The sword- and jo- techniques that we do often target the hands, and sensei used to say that wearing protective gloves and having a tsuba made us rely too much on those "aides" and gave us the mindset that if we got hit, it didn't really matter. It is interesting to see those students who were around during the no-gloves, no-tsuba days and compare their weapons technique (especially their *ukemi* when using weapons) to those "newer" students! From: Jeff Frane ---------------------------------------- As Kevin notes, in those dojos affiliated with the USAF-WR, we do a lot of bokken work that does benefit from a tsuba, and most advanced students have them. The plastic ones are crappy, but they do better than nothing (in our dojo we don't use gloves at all, as Sensei feels this leads to sloppy ukemi). Chiba Sensei has taken to making laminated leather tsuba, very beautiful, which are much thicker, more solid, and more useful than the plastic ones. I was fortunate enough to be given one for a gift, and it fit perfectly on my birthday bokken. Part of Chiba Sensei's curriculum includes kumi-tachi in which nage's bokken slides down uke's and cuts the wrist. At speed, it's very easy to get your fingers bashed -- the tsuba is most helpful, but the most important thing is ukemi. From: This space intentionally left blank -------------------------------------- >What is a tsuba? I'm not absolutely certain, but I believe it's the "blade guard"...that roundish bit that circles the place where the blade and the grip meet. In a european sword it would be called the "gaurd", "cross-guard" or "quilions" (though the last is really only the parts that stick out, not the whole guard...and a tsuba doesn't stick out that way anyway, it's pretty close to being a disk, though some are squarish, or have a scalloped edge, etc.). In short, it's the thing that keeps your hands from sliding onto the blade when you stab, or other blades from sliding down into your hands when you block or are blocked...when the primary defense against these occurances fails. The primary defense is not letting the problem occur in the first place of course. :^) From: Jim Walters -------------------------------------- A tsuba is a large brass musical instrument which weighs 20-30 lbs. Typically the tsuba is used to play bass in both orchestras and marching bands. In combat, the tsuba is used with techniques first developed for guitar by El Kabong. While the tsuba is a much slower weapon than the guitar, the impact is much deadlier. The deadliness of the tsuba has led some to attach a tsuba to their bokken, but this is usually frowned upon. As has already been noted, bokken without tsuba are much easier to carry, and it is not really used in aiki-ken anyway. From: Krystal Locke ----------------------------------------- Because they really hurt and get in the way doing tachidori?? That's my reason. From: "J.P. DIESCH" ---------------------------------------------------------> Its the ****ing useless plastic guard that bokken manufactureres think will stop you getting broken fingers. ALternatively it is also a proper guard made of something a little stronger, that WILL stop you getting broken/(cut) fingers, in theory at least!! ;> From pam Thu Sep 14 11:48:18 1995 ---------------------------------- re tsuba I dont have a tsuba on my bokken but I do have a leather cord wrapped around at about the location where the tsuba would be - Partly because it offers some protection when I go to play with Chiba-Sensei's students in Durham (although I run off to join the beginners) but mainly because it means I can find the end of the handle - now all I need to do it paint the top a different colour so that I can see which way up teh damn thing is ........ From: doug johnson -------------------------------------------- I got a very good chuckle from your description of the development of the tsuba (I've worked with tsuba players and they are deadly). Your statement about a tsuba not contributing to aiki-ken, however, I must take exception to. Using a bokken with or without tsuba is a minor and insignificant point. Ultimately it does not matter one way or the other. What matters is the use of the weapon. Having said that, however, I believe the use of tsuba helps to give a closer approximation the the feel of a real sword. All bokken exercises and uses can be done with a real sword and are in fact designed for use with a real sword. I don't recommend it until one has developed considerable competency with a bokken however. Tachi-tori is in fact to be done with a sword (the term after all is not bokken-tori). Using a tsuba in these techniques helps to get the correct feel for doing them with a real sword (and I really don't want to get into that thread again). Good Training From: Jeff Frane ------------------------------------- For my birthday this spring I was given a lovely new bokken, with kanji down one side ("long life; good fortune"). Not only is it beautiful, but I *always* know which side is up! (the kanji is on the left!). Helpful for those late-night weapons' classes. From: doug johnson ----------------------------------------------- Many Aikidoka use tsuba with bokken. I do and I think it is a good idea since it is one more thing that makes the bokken more like a real sword. I don't think it is absolutely necessary and many Aikidoka don't use a tsuba with great success. I use one 'cause I like it, I don't know why those who don't, don't. **************************************************************************** UCHI TACHI AND UKE TACHI ======================== Tricia wrote: >What is the equivalent of uke and nage when you are talking about >bokken awase or kumitachi? I think the 'reciever' of the technique >is called uke tachi or soemthing like that but whats the attacker called? > >Secondly how do you define who is which? Is it the same as in body technique >that the person who looses/falls/recieves the technique is uke? > From: Keith Fink ----------------------------------- The two partners in a paired weapons exercise (bokken) are uke-tachi and uchi-tachi. I believe you are correct to assume that the recipient of the first strike is uke-tachi. But then again, I get confused on this myself from time to time :-) From: "J.P. DIESCH" ----------------------------------------------------------- Uchi as in shome-uchi, not as in uchi-kaiten etc. so its the one who strikes, hopefully winning AAR. From: Dave Stevenson --------------------------------------------------- regarding uchi and uchi - our ex resident Japanese Nidan explained this to me as "same sound - same write in English but different meaning write different in Japan" if that helps! Think uchi is strike in this context (cp kesa uchi) rather than inner as uchi kaiten nage etc. This must be a naive and incomplete understanding but it was enough for me and enabled me to get on with the aikido :-) no doubt a better explanation will be forthcoming from a japanese speaking member of the list. From: "John R. Murray" ---------------------------------------------------- Understanding Japanese by looking at the English letters seems to be a pretty hopeless task. Between "same sound, different kanji" (e.g. "ju" in ju-do = soft (soft-way) and "ju" in ju-ji-nage = ten (ten-character- throw - the Japanese character for ten, of course)) and doubled vowels which disappear in English ("sayonara" has 5 syllables - sa-yo-o-na-ra. Same with shi-ho-o-na-ge), we've got it pretty rough on this side of the language barrier. From: kannagara --------------------------------- > Kieth said: > > The two partners in a paired weapons exercise (bokken) are uke-tachi and > uchi-tachi. I believe you are correct to assume that the recipient of the > first strike is uke-tachi. But then again, I get confused on this myself > from time to time :-) > > > Why is the 'other' one called uchi tachi? I though uchi was 'inside'? > Can anyone explain? > > Tricia > > > > Okay, on our dojo's glossary of terms it says: > "Uchitachi: one who attacks (strikes) with weapon" > "Uketachi : one who defends against armed attacker" > > As for why it is called uchi tachi, I don't know. From: Keith Fink --------------------------------------- Well, if we break down the word Uchitachi, one might get "inside-sword" or "house-sword." If we go with the latter definition, it could be argued that the house-sword (attacker) now is an agent of the dojo, testing the knowledge of the defender (Uketachi). This is the same for Uchi-deschi, who are live-in mat fodder for all comers to the dojo. Maybe my definition is a bit of a stretch, but it is how I remember the difference. Hope it helps... From: Jun Akiyama ----------------------------------- On Wed, 20 Sep 1995, John R. Murray wrote: > >regarding uchi and uchi - our ex resident Japanese Nidan explained > >this to me as "same sound - same write in English but different meaning > >write different in Japan" if that helps! > > Understanding Japanese by looking at the English letters seems to be > a pretty hopeless task. Between "same sound, different kanji" Well, actually, the "resident Japanese nidan" was speaking of tonal/accent differences in pronouncing the word. Uchi as in "inside" or "house" places the accent on the second syllable. If you're speaking tonal differences, it goes from low to high. Uchi as in "shomen uchi" places the accent on the first syllable. The tone goes from high to low instead. ************************************************************************* Yokomen and kessa ================== From: Jeff Frane ------------------------------------------ Red Sonia (er) Patrica Matthews wrote: >How much variation is there in the way that people do Yokomen uchi? We're > taught to do it as a fairly straight cut that curves at the end of the blow >to strike uke on the side of the head. I've notice that as people get tireder >the 'swing' becomes more wilder and rounder (guilty!) > >We use a similar strike in some of the ken and jo stuff but theres also the >kesa (sp?) cut that seems to cut diagonally across the body (I think this >is meant to follow the line of a sash or something similar). Generally, our taijitsu and jo strikes (yokomen and kesa) are similar: emphasis is on coming straight up the center and striking from the top of the head. Sounds much like what you describe. The biggest problem is people's tendency to do a kind of sidearm strike that leaves the front of the body completely exposed. (You know, the waiter with the tray approach.) With the bokken, there is a kesa strike that comes from the shoulder, with the arms very close together (elbows touching). As I understand it, "kesa" is the line replicating the sash of a Buddhist priest, which is at a slightly different angle than that drawn by the lapel of a dogi. The kesa strike, though, can be made at many points on the body, not just the shoulder (the kumijo series includes a kesa to the knee). From pam Thu Aug 10 08:50:47 1995 ------------------------------- Question, is kesa giri used as an attack in Tai jitsu and if so can you treat it the same as yokoman uchi? When practicing with tired ukes and the yokomen uchi's start getting a little less controlled and more diagonal I have problems deflecting/blocking them becasue they are coming more diagonally.... Any suggestions/comments? From: Jeff Frane ---------------------------------------- I would say kesa giri *could* be used as a taijitsu attack -- you would be striking a the collarbone -- but what you're describing is more a case of sloppiness. The odd thing is that the flatter the strike, generally the simpler it is to deal with: shomenuchi is inherently more difficult to respond to than yokomenuchi. Could be that the problem is in thinking "deflecting/blocking" rather than blending -- or in focusing too much on the striking hand and not enough on uke's center. Try thinking of your response as *sticking* to uke's proffered hand ("Oh, thank you very much for that hand! How's *this* direction?"). Draw uke out along the length of his/her arm, pulling your partner off-balance. If you're entering to the striking side (big positive irimi), those flat cuts can slip in under your hand unless you really cut down and enter with good timing. But, once again, don't think of whapping at the hand or trying to snatch it -- extend your own hand out there and just let it stick. Don't you just love these cyber tips? Aren't they useless as hell? From: Krystal Locke --------------------------------------- Umm, can't tell from here, but are your elbows relaxed and dropped enough that the funky attacks slide down into less harmful regions if you miss the pickup? If someone is throwing a diagonal blow, kesa, or lazy yokomen, maybe an alternative blend is in order? A stepping back variation? Lots of space is a good plan for sloppy attacks, let them expend themselves. Am I high? From pam Fri Aug 11 08:49:30 1995 ---------------------------------- That's the one! the attack slides down my arm and ends up in the side of my body/ armpit (and not a nice place to be at the end of practice ;-)), expecially if I'm practicing with someone my height or shorter. [!!!!Join the campaign for the standard size uke for all kyu grades!!!!] I usually end up in an embrace with uke which makes doing the intended technique (think it was shio nage) er, interesting! From: Roger Plomish S------------------------------------------- Nice points. Regarding "kesa" cuts. True, it could just be a sloppy yokomen, but then again, the target may really be the collarbone. The way uke holds his/her hand initially, for my money, usually decides (understanding, of course, nothing is written in stone--religinons excepted). One way you might try to avoid uke's arm "sliiping" down and striking other points of your body from a "flat" yokomen is not to cut uke's hand down: block the strike with your elbow forward of your wrist. In this fashion, even if uke's arm begins to slide, it has nowhere to go and is stopped by great friction. Here, as you so aptly stated in your posting, it is then quite easy to "stick" to uke's arm and blend it, if you will to a dissipated position. From pam Fri Aug 11 13:29:20 1995 --------------------------------- I've had problems doing it this way too, if my elbows are forward of my wrists then I tend to end up 'under' the striking arm ('specially with tall uke's) and my arms crumple (err, fold might be a better term!). Usually this deflects the yokoman over my head and I end up behind uke, useful but its not what I'm trying to do From: "Roger Plomish" ------------------------------------------------ I've often seen the same thing happen. You might, if you wish, try only rotating your wrist upwards and outwards at the poing of impact. If you have the time, try it, and please let me know how it works for you. From: Jeff Frane ---------------------------------------- So, my own suggestion would be to increase your irimi movement and improve your timing. In other words, you should be able to reach and cut down uke's strike virtually at the moment of origin. It won't matter, then, whether uke's strike is flat or not. From pam Fri Aug 11 17:37:00 1995 -------------------------------- yes, and keep my back foot on the floor, use my hips, move from my centre, bend my knees (*sigh*) - and I always remember the atemi ;-) mind you that can cause problems too if uke is some kind of gibbon with mile long arms - if I'm close enough to connect with the atemi I loose the extension (dont get off line enough). We have some very funny shaped people in our dojo ;-) From: Walter Peterson -------------------------------------- My current understanding of yokomen uchi derives from the theory that shomen uchi is stronger by far; so I rarely experiment with flat yokomen uchi and point it out to kohai when they do it that way. The tegatana comes up the centerline as for shomen, then as part of the flanking motion needed to deliver yokomen, I tilt my torso so as to minimize the deviation of the downward stroke from the centerline yet still working on a diagonal with respect to my partner's centerline with the target being the clavicle, base of neck, base of skull, or temple. With the bokken, I distinguish yokomen from kesa giri by how my posture and the ken end up: a typical yokomen ends at about chuuden height with pretty much upright posture (tilted as result of the flanking move needed for the yokomen entry -- accomplished by bending the forward knee); kesa ends at gedan height with a slight bow from the hips to prevent the 'breaking' of the wrists in the grip on the ken (forward knee also bent, blade headed past, but stopped before, the back leg). Apparently kesa can also be delivered gyaku? Also, if kesa returns up, it has another name? From: Chung Jayson C ---------------- Interesting point about tilting your torso, Walt, but I don't think it works for me. I feel like the transfer of power from my legs to my upper body is obstructed if my torso is tilted to the side. pam ----- Is this tilting the torso that comes from dropping the hip rather than leaning to the side ? In which case does it mean the same sort of deflection that you get (aggh, late afternoon japanese terminology failure) when you do that boken partner exercise where you both cut shomen but nage ends up deflecting the opponents blade? From: "K. Kim" --------------------------------------- When kesagiri returns up, it then becomes kiriage. From what I understand of Japanese swordsmanship, kiriage was developed for easier penetration of armor. The armor was developed to protect against heaven to earth strikes. and YES Kesagiri can be delivered in gyakyu. From: Dennis Hooker -------------------------------------------------- To get a feel for Yokomen take an old boken and split it 1/3 the way down from the tip. Place a peace of wide cardboard in the boken. Do yokomen until you feel no resistance to the card board. The body posture will differ a little from person to person but the essence of the technique will remain. From: Walter Peterson ----------------------------------------- For me, there's a bit of a tilt in the torso already as a result of the lunge I need to "out-flank" nage as I move off the line and in diagonally to the side I'm attacking. By bending the forward knee as I plant from the lunge and continuing the torque needed to point my bellybutton toward nage, I feel a rhythmic unity with the kime of the yokomen uchi. The tilt of torso and bend of knee are modest: the angle from the verticle that allows a "shomen" blow to hit the side of the head is not large. My opinion that this is a viable option for yokomen was strengthened a few years ago when Nonaka Sensei (from Hawai'i) was a guest instructor at summer camp. He confessed that he no longer saw much value in the covering motion typically preceding yokomen uchi in the (Ki Society) ken-tai-jo. He stated his belief that a sufficiently strong kiai (nonverbal) would ensure the absence of suki and that an 'optimal' yokomen uchi could delivered by slipping off the line and penetrating with a with what I have interpreted as a slightly tilted "shomen". I don't mean to imply that my kiai is that strong, but I have been researching this approach.