The Marvels of Ki

As aikido enters its sixth decade of existence, many practitioners appear disillusioned with the possibility that it does not offer the tools or training methodologies necessary to reach the level of skill of its illustrious founder, Morihei Ueshiba. It is often touted that no one in the modern aikido community can match the level of expertise attained by Ueshiba because none have undergone the same training or endured the same experiences. This certainly seems a valid argument on the surface, but misses the crucial fact that few people really know what Ueshiba’s capabilities were. The purpose of this article, however, is not to make unfair comparisons of skill level but to dissect the niceties of one of the most often used examples of Ueshiba sensei’s superiority—his apparent ability to resist a horizontal push to a bokken (or jo) held by his outstretched arm.
When I first saw a photo of this remarkable feat, it was used as an illustration of the Japanese concept of ki. As I had just been shown the famous “unbendable arm,” I naturally assumed that this must be, in some form or another, an extension of a similar concept. Perhaps, by “extending ki,” the bokken could be made immovable in the same way that the arm is made unbendable. That notion soon died off, however, with the discovery that the “unbendable arm” was really just efficient usage of musculature. No discussion of ki necessary. Although efficient muscle usage would be of great help in the bokken trick, it certainly isn’t enough to explain how Ueshiba was able to deal with the summative force of three men pushing.
In recent years, a new theory has gained increasing acceptance. Supposedly, the theory goes, Ueshiba was somehow able to “ground” the incoming force so that a push against the bokken (and the resulting torque) would be counteracted by subtle changes of position and peculiar body alignments. This sounded much more promising, at least initially, but I soon had to rule it out as well. Regardless of Ueshiba’s supposed level of strength, no man on earth could possibly “ground” an incoming horizontal force of that magnitude in the manner described. The mechanics involved quickly proved themselves to be nonsense.
There is absolutely no way that Ueshiba would have been able to transmit the entirety of a predominately horizontal force vertically through his body and into the ground, though this is often how the performance is viewed. It is erroneous to think that a static (or even semi-static) structure is capable of converting a horizontal force into a vertical one through specific alignments. Forces simply cannot be redirected through the body in this manner, no matter how it is aligned. The human body can only be made somewhat “immovable” by being held in such a way that an incoming force acts to move the body as a coherent unit in either a horizontal translation or rotation around a vertical axis. In this way, friction will be a major contributing factor to the maintaining of equilibrium. The only possible explanation for the bokken demonstration (at least mechanically), is that Ueshiba simply aligned himself in this manner and, as a result, friction held him place. Unfortunately, to do this he would be forced to depend on the comparatively weak muscles of his shoulders. Regardless of the quality of Ueshiba’s body alignment, he would still have to rely on the strength of his arm to maintain equilibrium. The angle at which his arm is extended in relation to his body completely rules out the possibility of mechanical advantage allowing him to resist the push.
Any structure is only capable of withstanding a force of lesser magnitude than the amount necessary to cause its weakest support to collapse. As I’m sure we are all aware, a chain is only as strong as its weakest link. The human body is no different. In the case of Ueshiba’s demonstration, the “weak link” is the group of muscles responsible for external rotation of the shoulder. Because of the length of the moment arm, and the relative weakness of the muscles involved, little effort is required to move a bokken held in this position. The only way to prevent the arm from moving in relation to the torso is to allow the waist to give way first. The only way to prevent the waist from giving way in relation to the lower body is to allow the hips and legs to move with the force of the push. In any case, the greatest amount of force with which the human body (or any structure, for that matter) is capable of maintaining equilibrium is the amount of force its weakest support is able to apply in the opposite direction. Certainly, the cumulative push of three men would easily be capable of the amount of force necessary to overpower a seventy-year old man’s shoulder. If they were attempting to “fake it”, the force of each man’s push could not possibly be more than a few pounds. A quick glance at the dramatic body positions on the part of the pushers goes a long way in ruling out this possibility. One can easily assume they are exerting a great deal of effort.
Luckily, Ueshiba was filmed performing this feat (with a single uke) on an American television documentary titled Rendezvous with Adventure. When I heard this, I quickly bought a copy and set about trying to decipher what Ueshiba was doing. Of course, it didn’t help much, and I was still left with the vague impression that perhaps there really was something miraculous going on. I just couldn’t seem to figure out how Ueshiba could deal with the great amount of leverage given up to the uke.
Then, it finally hit me. What if Ueshiba wasn’t resisting a push at all? Would we really have any way of knowing? What if the uke was engaging in a push-pull action of both arms simultaneously? What if the instructions to the uke were to move Ueshiba’s hand and not the bokken itself? Because the uke is wearing long sleeves, there is no way for the viewer to see which muscles are contracting and which are relaxing. We assume he is pushing with both hands, but there is no evidence that this is occurring at all.
(As an aside, it should probably be noted that it is possible the uke was instructed to engage in a horizontal translation of the bokken rather than attempt to rotate it around some vertical axis. If this were the case, the action necessary on the part of the uke would still fall under the category of push-pull. Because of the stability of the end of the bokken nearest Ueshiba, the uke would be forced to use his far hand to pull and his near hand to push. A two-handed push would still not be possible under these conditions.)
Indeed, it seems that this is where the real beauty of the trick lies—as a simple demonstration of our innate ability to fool ourselves and see what we choose to see based on our assumptions. Close inspection of the film reveals a number of clues as to what may really be happening:
1. The uke switches foot position with each exertion of force. While I initially thought this may have just been theatrics, it makes much more sense if the position change is to provide the uke with greater mechanical advantage to twist the bokken back and forth with a push-pull action.
2. During the second repetition of the “push,” Ueshiba takes a small step back to the weak point in his stance after the uke switches to put his right leg forward. This is significant because if the uke’s action were a strict push, Ueshiba would have no need to bring his left foot back. If we think of the uke’s action as a push-pull, however, the reason for this step becomes clear. The direction of the force applied to the bokken changes and Ueshiba must compensate by bringing support to the weak point of his stance. So, either Ueshiba just stumbled during the “grounding” of an incoming horizontal force or the uke’s action was a push-pull.
3. The uke’s front foot never becomes “unweighted.” Try this: stand in front of a wall in a forward-weighted stance (one leg back) and push against the wall as hard as you can. What do you notice about your front leg? You should be able to easily lift it off the ground while pushing into the wall with all of your strength. In this position (one leg forward, one leg back, hips square), the amount of force you can push with decreases as the weight on your front leg increases. Now watch the film, paying particular attention to the uke’s front leg. As the front leg never becomes “unweighted,” we can assume that he is either not pushing very hard or is engaging in a push-pull type action. While it would be possible to engage in a push-pull motion with all of one’s weight on the rear leg, this weight distribution is an absolute requirement when executing a full-force two-handed push on an immovable object.
4. With each exertion of force on the part of the uke, a slight movement of the shoulders is seen which matches what would occur if the action was a push-pull rather than a push. The shoulders do not remain completely parallel to the bokken, which is what one would expect if the action were strictly a two-handed push.
5. During the final “throw phase” of the performance, Ueshiba is seen to rotate the bokken with a counterclockwise (from the camera’s perspective) movement of his right hand. What stands out here is that the uke’s right hand remains relatively stationary while Ueshiba begins the release. If the uke was engaging in a two-handed push, one would expect both arms to move forward at this point. This, however, is not the case, and the uke is clearly seen to stumble forward as the push with his left hand brings him off balance and to the ground. The uke’s right hand maintains a grip on the bokken throughout much of the release. The whole movement is consistent with the assumption that the action employed by the uke is one of push-pull rather than a strict push. The uke was most likely not pushing forward with both hands to begin with.
It is important to note that although each of these effects is apparent when the trick is performed with a single uke, the same cannot be said of a performance involving multiple uke. The reason for this is that when multiple people are involved, they will inevitably get in each other’s way to some degree. Each person will most likely attempt to rotate the bokken around a different axis than the others and may even be attempting to do so in the opposite direction. Thus, the force Ueshiba must contend with in the case of multiple uke is actually less than the amount of force that would be contributed by a single uke. For this reason, the performance in Rendezvous with Adventure provides the greatest insight into what may actually be occurring.
Obviously, none of this completely rules out the usage of an unknown force. That is still a possibility, unlikely though it may be. It is important to realize that any mystical explanation, no matter how unlikely, cannot be completely disproven. One can only suggest more likely possibilities. In light of the evidence shown by the photographic and film records, no other possibility seems nearly as likely as the use of a push-pull action on the part of the uke. Unfortunately, it is impossible to prove what exactly is occurring. Instead, we can only ask, “Which seems a more likely explanation?”
Some of you may be saying at this point, “But that isn’t even a good demonstration” or “Even I could do that!” I would definitely have to agree. It isn’t a good demonstration, and, yes, you certainly could do it. The uke doesn’t have nearly the amount of leverage necessary in this situation to move Ueshiba’s hand. The trick doesn’t demonstrate anything other than how not to use a lever. It isn’t really a viable presentation of any kind of skill, but that most definitely does not mean this isn’t what Ueshiba was doing. Again, you have to ask yourself, “What is more likely?” Things are not always what they seem.
There is absolutely no evidence to support the common assumption of a strict two-handed push being executed by the uke. On the contrary, objective viewing of the photographic and film records reveals subtle body movements consistent with what would occur if the motion itself were of a push-pull type. As the human body is utterly incapable of supporting the forceful push of a grown man (let alone three) in the manner often described, this push-pull explanation seems most likely. While, by all accounts, Ueshiba was an amazing budoka, he certainly was not capable of operating beyond the bounds of human potential.
As aikido continues to grow and develop in the hands of today’s practitioners, perhaps it is best that apocryphal anecdotes of superhuman powers be left at the wayside. In this way, the modern generation of students and teachers can devote their full energies to personal development and the rational explanation and expansion of the full range of technique. While history has its place and must obviously be respected, only in looking toward the future can aikido develop to its full potential. Aikido’s greatness cannot be realized by viewing the art as a vast repository of lost knowledge that can only be rediscovered through unquestioning adherence to tradition.

*adopted from Richard Garrelts is a martial artist and physics major at the University of Nebraska--Kearney

Phrase Aikido.....

Suatu waktu pernah ada orang bertanya kepadaku..."Kamu mau latian apa sih?"Trus ku jawab"Mo latian Aikido?"Dengan mengerutkan dahi orang tersebut berkata dan salah lagi..."Aikindo,apaan tuh???""Kubalas aja dengan lantang "BALETT!!!!"(hahahahaha.......)Orang tersebut sampe melongo...tapi akhirnya kujelaskan apa itu Aikido.....

Menurut riset dan pengalamanku,banyak orang masih awam tentang Aikido,dari 10 orang yg ditanya....hanya 8 orang yg tau itu apa...tau nya pun cuman..."Itu yang kayak Steven Seagal kan..(I must say Seagal Sensei...:))Sebenarnya apa sih aikido itu....???Mari kita telaah...(kalo gw salah dikoreksi yah....=)) )

Aikido itu kan dari bahasa Jepang dari kata Ai,Ki,dan Do
Ai = berarti luas,lebar,tak berbentuk
Ki = berarti tenaga/power
Do= berarti jalan
berarti kalo dalam Bahasa Jepang kita diartikan dalam bahasa Indonesia menjadi "sesuatu jalan tenaga yang lebar luas dan tak terbentuk"(kalo salah lagi...mohon koreksi algi yah.....)
Mungkin pada bingung yah...artinya apa sih....???
Menurutku Aikido itu bukan hanya sekedar beladiri aja sih,tapi juga gabungan dari berbagai bentuk seni.....yaitu seni beladiri,seni gerak,seni perang,dan filosofi.dari semua seni tersebut dicampur mejadi satu tehnik (waza) sehingga jadilah suatu bentuk yg sangat indah dan berisi.Tehnik Aikido bukan hanya mengadalkan satu faktor dari anggota tubuh,tapi merupakan suatu koordinasi badan yg baik dari pikiran,tubuh,dan hati, seorang Aikidoka membutuhkan hati yg tulus baik menjadi "uke/tori"(korban) or "nage"(eksekutor),jadi setiap gerakan dalam Aikido itu harus berdasarkan pada prinsip "ketulusan hati"kita harus "Focus in one point and mind"

Kira kira itulah arti "Aikido"........

Hari Sabtu tgl 17 September 2005,seharian aku merenung mengenai masa pelatihan ku di aikido,semua kebingungan,kepedihan hati,dan rasa geram menyelimuti ku....uugghhhh...(F***** edited)sampe2x tidak konsen ikut and jadi"BT"ama yayank,kasian deh yayank ku jadi pelampiasan amarahku....(sori yah sayank....)tapi akhirnya malamnya udah ngak "BT" lagi kok,soalnye yayank pandai "merayu"sih....(hahahahha......)
Tapi aku bukan mo curhatin masalah ama yayank ku......tapi....ini lah curahan hati seorang murid.....
Aku ini emang belajar Aikido dari salah satu organisasi yg berinisial "K"aku blajar dari tahun 1997,yup....it was 8 years ago....long timeee ago......tetapi sekitar tahun 2000 an terasa ada yg berubah banyak para petingginya yang “hijrah”ke organisasi tetangga or jadi”watcher”,buat diriku sendiri,aku pada saat itu juga sudah luamyan agak mendekati ujian tingkat terakhir….banyak teman2x yg telah mempunyai plot sendiri untuk segera “hengkang”setelah ujian internasional….aku pun jujur punya rencana seperti itu…..tapi apa daya aku tidak mempunyai dana sebesar itu (sktr 20 ribuan yen berarti dulu skitar 1.5 jeti….)waktu itu maklum masih kuliah…..akhirnya aku tidak ikut ujian tersebut dan aku hanya mampu ikut ujian yag tidak “resmi “aja…..tetapi tidak mengurangi semangatku untuk blajar Aikido…..aku pun pernah pindah organisasi ke “Y”yang merupakan pecahan dari “K”tetapi kemudian bubar karena adanya tekanan2x dari Sensei “F”,buyarlah harapan ku untuk ikut ujian “resmi”(saat itu aku dah kerja dan udah bener2x terkumpul uang untuk ujian)bener2x malang deh nasibku….tetapi aku tetap bersemangat buat latian….akhirnya terakhir aku pindah lagi ke organisasi “Y”dan aku dibawa naungan Sensei “H” disini bener2x aku mengalami perubahan tehnik dari dulu yg suka “kunci mengunci dan banting banting an”…waza ku menjadi halus dan lebih mengalir…disini aku benar2x belajar filosofi dan arti dari aikido itu sendiri……tetapiiii…….dari dalam lubuk hatiku….aku berasa ada yg salah….ada perasaan aku telah mengkhianati semua guruku di “K” gak tau kenapa perasaan itu muncul sendirinya…ada perasaan bersalah….terutama terhadap Sensei “J” dan semua sensei lainnya yg telah mengajariku,dan banyakan mereka sekarang menjadi “watcher” aku berasa menjadi seorang “traitor” karena baik buruknya Sensei “F” tak bias dipungkiri bahwa beliau juga Sensei ku,karena bila beliau tak ada…berarti tak ada sensei sensei yang menjariku…..aku bingung???…… sekitar 6 bulan latian dibawah naungan Sensei “H”....dan emang sesuatu dari diriku ada yg berubah….tehnik ku menjadi lebih “smooth” dan lebih tidak “melukaiku”,singkat kata lagi..akhirnya aku lebih baik tidak latian lagi di bawah naungan sensei “H”…dan kemudian aku menjadi “watcher” saja dan berlatih secara “underground” bersama dengan anak2x “B” (slamat yah….udah berpindah ke “Y”),Posisiku pun masih terombang ambing…tidak lagi di “K” tetapi tidak tahu masih ada tidak aku di “Y”,aku juga salah sih aku keluar begitu saja dari Sensei “H” ,hanya alasan aku ingin “vakum” dulu….alasan sebenarya pun aku tidak beritahu ke sensei “H”….mungkin ada perasaan takut waktu itu…..bodohnya diriku waktu itu….jadi sepertinya aku keluar karena aku “bemasalah”….Maaf yah Sensei"H"…..tapi aku berusaha untuk tetap latian kok………..

Akhir2x ini juga semangat latian ku agak menurun….mungkin aku udah mulai jenuh dengan Aikido…mungkin kah ini saatnya aku untuk “turn back”ikut latihan lagi di bawah naungan Sensei “H”,tetapi gimana dengan organisasi “K”perasaan bersalah dan “pengkhianatan”tetap saja ada…mungkin inilah semangat “BUDO”aku dibesarkan di “K”tidak mungkin begitu saja aku kluar dan bergabung dengan “Y” aku selalu menghormati sensei sensei ku…..mungkin aku terlalu idealis..tetapi inilah aku…..KEBINGUNGAN TETAP MENYELIMUTI DIRIKU……

Me.....always me.....!!!!!

Common Sense in Aikido

Since there are no matches in Aikido we should give careful thought to the nature of our practice. The spiritual side of practice is also important, but if we overemphasize it our training becomes idealistic in nature and the realistic aspect is neglected. "Kata" (form) and "waza" (technique) must be correctly recognized in practice.
Kata to Waza
Kata should be practiced according to a certain order or prearranged method which is based on a rational relationship (riai). Thus, we are not falling because we are being thrown but rather we are practicing a kata designed for us to be thrown. When we master a rational movement (kata), it is expressed as a natural movement (waza). That is, if you become able to execute a kata spontaneously as a result of repeated practice, you are no longer performing a kata but are executing a waza. We learn through kata and become unconscious of the fact. In other words, as long as movements require our attention they are kata, when the kata become spontaneous they become waza.
We first practice basic kata (kihon waza, basic techniques) to learn the movements of Aikido. The basics are the standards (the way of seeing and thinking) and a common sense perspective for correctly observing things. We must understand the essence of kata, not their outer appearance.
For example, in a puzzle involving interlocking wooden pieces, one knows the placement (stability) of each piece by understanding its form and nature. In the same way, we can express kata which are common to all people by showing the basic common parts of the structure of the human body (for example, points like the elbows bend only inward) and we should use these basic parts rationally. It may seem exaggerated to use the terms "rational" or "logical" but these concepts are just a matter of common sense and need no explanation.
As long as we persist in viewing kata superficially, we will begin to think that they are of special importance. One cannot systematically or rationally explain any kata merely by learning in a repetitive manner without an understanding of why certain kata are considered to be basic. What we acquire by learning only repetitively is the preservation of form (the transmission of external form) and not the ability to create (understanding of the essence of kata). In other words, one does not understand what he is doing.
Basics are not something to be practiced but to be understood. What they demonstrate are the mechanics of how to unbalance an opponent and create an opportunity for the application of a technique. If you misunderstand this to mean leading and guiding it will give rise to the belief that one can lead his opponent circularly. This happens because one is unaware that leading a partner circularly implies separation and doesn't notice that practice is an expression of yin and the use of power in Aiki involves pushing.


Kata: A Training Tool
In training we practice many techniques but they are all variations of a single stance. Therefore, ikkyo, shihonage and other techniques are the same. The reason they appear different is only because their outer appearance is seen. Kata are the expression of a number of variations through movements from a single stance and are nothing more than a tool for training the body to move freely. The idea that one is all and all are one is not just a spiritual matter. It is true for our bodies as well.
It is not that there is a different method depending on the technique, for example, saying that ikkyo is practiced in one way and such and such a technique in another way. They are all manifestations of a single movement. That is to say, we practice various kata in order to understand an original single movement. It is not that ikkyo and shihonage are of value as basic techniques. We practice them only as a convenient means to understand the yin and yang of a (fundamental) stance.
Aikido practice is a yin practice. Using Judo as an example, it is like partner practice rather than randori (free practice). Yin practice represents primarily an agreed-upon practice sequence. Thus, the changeover in training from the reception of the attack to the application of the technique is only possible where a difference in ability exists. When the ability of one's opponent is superior this is not possible. This is a key point in practice.
Waza (natural movement) are expressed according to one's level and their substance (techniques) is manifested differently each time. This is because what one naturally possesses (one's ability as brought out through repeated practice) is expressed through certain relations (forms).
Ability is Substance of Technique
For example, suppose we have an expensive, well-crafted fountain pen. No matter how well it is made, its final value depends on the person using it. Someone with poor handwriting cannot write well even when using a good pen. A skilled calli-grapher, however, can write beautifully even when using an inexpensive pen. It is not that the pen he uses is good, but rather that the writer's ability as a result of his long experience is excellent. One's ability itself is the substance of the technique. Only those who possess ability can make good use of a well-crafted pen. If we fail to understand this, we will begin to attach excessive importance to techniques (waza) considering them to be secret which is tantamount to our believing that an expensive fountain pen enables us to write skillfully. It is important that we understand that techniques are tools for us to feel "something". This "something" is one's feeling of satisfaction derived when he is able to freely express his natural ability through his body in the form of technique.


Careless Use of "Ki"
Whether technique is expressed as something mysterious or common depends on what each teacher feels, but this should be of no consequence to those who are learning. Someone who attempts to make his actions mysterious for no reason is like a person performing meaningless movements (lit., "octopus dance) without comprehension. As the old saying goes, we must understand that we may lead a horse to water but it is for the horse to choose whether or not he drinks. To treat lightly the results of enlightenment (in Aikido, "ki") based on the ascetic practices of the forerunners who preceeded us is like practicing a self-styled Aiki with a deluded mind which is equivalent to a self-styled zen philosophy. It is impossible to understand "ki" so easily. Through daily practice we will one day suddenly come to understand, each according to our levels, the abilities and flexibility that man naturally possesses.
Training must be scientific and rational. It is a mistake to carelessly use religious philosophy. The martial practitioners of olden times improved themselves through their experiences (non-philosophical) and then found something in common with the world of religion. If one can understand the culmination of a master's enlightenment from the beginning, he needs no effort at all. By using the word "ki" carelessly teachers introduce complications which make it difficult for students to understand Aikido. The purpose of practice is to allow one to experience Aikido step by step. Therefore, it is meaningless to carelessly speak of the culmination of the i-deal. It is similar to a university student who tries to make himself look intelligent by bragging to an elementary student about his higher education without an understanding of its value. If one really understands the highest teachings of his predecessors, he can actually lead a horse to the water without bandying about such principles. We should not blindly follow our forerunners but should try to discover the causes, effects and processes of things and their similarities and differences through experience. Aiki is a means permitting us to observe things correctly. It is not the goal of Aiki to create an ideological, know-it-all type person.
The Yin and Yang of Aiki
All things have two aspects, yin and yang. We must recognize that practice represents an expression of yin emphasizing the uke (the person taking ukemi). Thus, practice is yin and reality (actual fighting and matches) is yang. In a real situation, we need practice plus something more. One is free to permit a certain amount of intellectualization in yin practice since it does not involve actual fighting. However, if we fail to reempha-size the yang element (realistic and utilitarian value) of training and continue to think of it as yin practice, misunderstandings (illusion) will arise. In particular, it is dangerous to carelessly infuse idealism and philosophy to students. The various teachings and principles of our forerunners are the forms of expression they used after having understood yang. So for ordinary people like us they represent the culmination of an ideal. I think the purpose of our training is to approach this state. We will not be able to experience awakening in a single jump even if we advocate an ideology. There are still more steps we have to take on a lower level. Understanding something means actually being able to do that thing. Thus, a mere mental understanding is meaningless.
Pitfalls of Idealism
Since all things have two aspects, yin and yang, it is a big mistake to come to think you understand everything just by seeing yin parts. Kata are expressed in the form of yin. By understanding this you can also express kata in the form of yang. Therefore to understand yin correctly we must understand yang parts. You have no choice but to become idealistic if you are convinced of everything without noticing the existence of yang parts. In other words, one tries to make up for the dissatisfaction he feels being unaware of yang by advocating idealism. To make matters worse, one even begins to deceive oneself by believing he has found answers to questions. Taking baseball as an example, one comes to feel as if he can hit a home run just by practicing swinging a bat while spouting the technical theory and words of famous baseball players of all eras. The reality is that you cannot hit a home run in actuality. The reason is that the practice of swinging a bat is yin while baseball games are yang. We must realize that practice is only yin. Ways of thinking (theory) exist for personal practice. No theory can be separated from practical aspects. It is all over for you if your theory turns into idealism.
Uke Central To Practice
Yin practice is the expression of "shackled" form. Thus, it is first necessary to be shackled. It is important in training to correctly understand the roles of "uke" and "tori". Uke's role is to adjust himself/herself to the movement of tori and tori learns his/her movement with the cooperation of uke. Failure to understand this will lead to the misunderstanding that uke was thorwn or pinned because tori's technique was excellent. Uke absorbs the movement of tori with his body by taking a pure fall. In other words, uke is not thrown but rather is practicing a form in which his role is to be thrown. Thus, the central character in practice is uke.
Usually, in the case of fighting match, the first requirement is not to succumb to your opponent's attempt to break your balance. To have lost one's balance means to have been defeated. In the practice of Aiki, as uke we unconsciously assume that having our balance taken is a good thing. Here exists an important principle and a danger of yin practice. Unless one understands this (ie., uke and tori are aware of this), practice is meaningless. Practice is possible only due to the existence of a tacit agreement and failure to understand this is a tragic mistake. A certain
degree of Intellectualization is possible after recognition of this agreement. Otherwise, this merely leads to conceptual games and self-satisfaction,
Yin: Practice, Yang: Matches
One is free to conceptualize anything. It is because one is free to do so that we must know the meaning of freedom. However, it is not a boundless freedom. Yin is opposed to yang. Yang today implies matches. In competition we test our strength according to certain rules. Fights in olden times were fought at one's own pace and are never possible or necessary at present. However, if you absolutely had to fight, not in a match, I think you would fight in the old way. In such a case, unless you had actually experienced yang practice, your efforts spent on yin practice would be wasted. This is because yin practice is for developing harmony, not for actual fighting. For this reason, it is inappropriate to talk about winning and losing or strength and weakness in the practice of Aiki. In yin practice, both tori and uke are yin. In yin and yang practice, tori is yang and uke is yin (as in randori in Judo). In actual competition both become yang. Yin practice is a metaphysical practice which unfolds in a world of harmony. Yin and yang practice takes place in a world of partial harmony. Yang practice, that is, actual competition, is the actual world where no harmony exists. Yin practice unfolds in a world shackled by form whereas yang practice takes place in a world where one is free of such forms. It would be nonsense to think that yin practice is what Aikido is all about. However, at the present time, a yin world is what is needed. Unless we fully understand the meaning of yin practice, the achievement of world peace through Aiki as advocated by the Founder will not be possible.
It is easy to believe that Aikido and religion share common points in their ways of thinking. Unless one understands religion correctly, the result will be the same as in the case of Aikido the creation of persons caught in a world of illusion. Since one is not aware that Aiki practice is yin, it is easy to find things in common with the illusion resulting from a shallow knowledge of religion. We must see that religion and Aiki are ways through which we let go of our preconceptions. Knowledge of religion and yin practice are only one step of the process of learning the truth. We need to act in a common sense way while realizing that this in itself is a very difficult task

Curahan Hati seorang "Old Poor Aikidoka"

Agustus 1997...terdapatlah seorang pemuda dengan 3 temannya melewati suatu dojo di kawasan "perilmuan" terkenal....3 orang pemuda ini langsung tertarik dengan apa yg terjadi di dojo tersebut.....singkat cerita 3 orang pemuda ini bergabung dengan dojo tersebut....dan akhirnya berlatih dengan rajin dan giat......akhirnya setelah beberapa bulan dari 3 orang pemuda ini.....2 orang temannya terkena "seleksi alam",mereka tidak tahan terhadap latian yg begitu beratnya....akhirnya tinggal seorang pemuda ini yg terus rajin berlatih.....ampir setiap hari dia berlatih dan berlatih......akhirnya bertahun tahun telah dilalui...dan tibalah saatnya untuk mengikuti suatu acara internasional...yang mana akan dikukuhkan kedudukannya dan diakui oleh seantero dunia sebagai "Aikidoka",tetapi apa yg terjadi pemuda tersebut tidak dapat mengikuti acara pengukuhan tersebut karena acara tersebut memutuhkan sesuatu yg bersifat duniawi yg tidak dapat dipunyai oleh pemuda tersebut.....akhirnya dengan tekat giat berusaha...pemuda tersebut berusaha mencapai sesuatu yg bersifat"duniawi"itu dan tak lupa untuk terus berlatih dari "dojo"satu ke "dojo"lain kadang pula dia berlatih "sendiri", walaupun teman temannya telah berubah menjadi seorang "Aikidoka"bahkan para junior nya pun telah menjadi seorang "Aikidoka",walupun kadang si pemuda harus merelakan dirinya untuk berlatih di bawah pengawasan juniornya....tetap dengan spirit "BUDO"dia trus berlatih......kemudian diadakan lagi lah acara pertajukan "Internasional"tersebut dan pemuda ini telah berhasil mengumpulkan sesuatu yg "duniawi"itu dan kemudian ia meminta izin untuk mengikuti pertajukan tersebut.....tapiii.......apa yg terjadiiiii....?????pemuda tersebut tetap tak bisa mengikuti pertajukan tersebut...dengan alasan terlalu tua dan terlalu banyak berlatih di dojo dojo lain dan berlatih "sendiri" tertunduk lah sang pemuda tersebut dengan langkah gontai,dia berjalan tanpa tujuan dengan tatapan mata menerawang jauh menembus pekatnya malam menghitam,kemudian sang pemuda berpikir apakah ini akhir dari semuanya....akhir yg sedih tanpa berujung....dimana balasan dari perlatihan yg bertahun tahun...melewati suka duka perlatihan.....semua itu sirna ditelan waktu....sekejap saja "budo" di jiwanya langsung pupus di tengah jalan.......sekarang sang pemuda masih mencari dan terus mencari "seseorang"yg mengakui dirinya sebagai "Aikidoka".....dan sang pemuda masih berjalan tanpa tujuan dan tanpa akhir,matanya masih menerawang jauh menembus langit biru dan awan menghitam malam,tuk menunggu jawab dari sang KUASA di atas sana atas apa yg terjadi selama ini.....sungguh tragis perjalanan pemuda tersbut....sang pemuda tersebut trus berjalan dengan gontai....terussss...terusssss...dan terusss.....serasa tiada akhir berujung..... Mungkin biarlah waktu yang menentukan..........

The Path of Aikido

Aikido is as individual as the individual who takes on the journey. On the surface aikido is a Japanese martial art designed to defend one’s self against on coming aggression--achieved by moving out of the way of an attack and absorbing that energy as part of our own--becoming one to diffuse the situation. This takes years of diligent and self-disciplined training under the proper guidance. While at the same time we condition our bodies to be well-oiled machines ready to take on any physical challenge set before us. There is no training like aikido training some may say. Over time as we meet one physical challenge after another, we find our technique grows stronger. We come to understand the use of proper center. Center being the area of a person’s being that possesses great strength and balance. We learn to control our bodies and move with minimal effort while producing maximum effects. Our mind and body become one and our spirit is unbreakable.
But aikido is more than just a parlor trick filled with physical feats. For many practitioners it takes on a deeper meaning. It becomes a new way of finding yourself--a new way of interacting with others and our surroundings. It is a life-changing experience that opens our hearts and minds to the wonders of the world. This aspect of aikido training is much more difficult to achieve. It is a life-long journey that challenges us every minute of every day. We must take the teachings we learn in the dojo, a setting designed for formal physical training, and apply them to everyday life and beyond the physical sense.
As a beginner student of aikido, we are not aware of the hidden positive effects aikido has on us. We are consumed with learning what the sensei demonstrated and work hard to imitate what we have seen, practicing it over and over again--pushing the physical boundaries. But all the while we are learning conflict resolution techniques that change our perspectives and behavior on human relations. As we train in aikido we experience the role as both the attacker and defender. This allows us to learn how to react from both sides--learning to see what the other sees. This role reversal training affords us the opportunity to see the other side of a situation. When we take the time to find out where others are coming from we learn something of ourselves. We learn to be patient, tolerant, understanding and compassionate. We focus on the similarities and not the differences. And by focusing on the similarities we learn to expound on the benefits and what they have to offer and the changes they can make. Far too often what is really important gets lost in an effort to be dominant or in control--only by what we say or do. Aikido teaches us to give way because all has something to offer even though it may be different. And through understanding what is different we can find what is the same in us all.
Aikido is more than a way to defend one’s self. Aikido is more than a Japanese art form. Aikido is a way of being--a way of living--a way to express one’s self and a way of thinking. Aikido takes on a personal meaning unique to all involved. It becomes an expression of life, a journey leading to better understanding through open communication, which allows us to think and react with others in a positive and nurturing light. We find that we learn from one another, thus, we grow together, bridging the conflict of differences through a mutual acceptance of each other and what we have to offer.

Legaaaa.............

Yup...isi lagi nih blog.....setelah terakhir kutinggalkan.....
mo sisi opo yeh....???
oo iye...pas liburan kmaren ke sarangan samo my yayank...skalian liet kota madiun.....ampir idak pulang karena ndak dapet tiket nah....(hahahahha.....) tapi untung ado wong dalem nah.....jadi balek deh....pas balik tuh hari senin...males nien nak masuk kantor....tapi terpak so nah...karena banyak gawean......(kekekekkee.....)

Underground Aikido jugo dak do sia2x...akhirnya berhasil komporin anak2x binus buat masuk ke YIA (hahahahha.....)no offense KBAI(hahahha.....)tapi me dewek sih bingungg nah.....mo latian dimano nih....masak underground slamonyo....pusssiinnnkkkkkk....sempet pikir mo vakum dulu sih....tapi sayang nah....badan pasti sakit2x....dduuuhhhhh...repot nien kalo berada di tengah jurang nih......di tengah pergolakan politik 2 organisasi yg suck.......(wweeekssszzzzz.....)
tapi smua serahin yg di "Pucuk"lah.....me sih ikutin flow aja.....yg penting masih ado latian walau cuman seminggu sekali ........

Aikido for me is Philosophy,how you do in this life....that's the pure Aikido of all,not for the technique.....

Isi lagi nih.....

Well..welll....blog....dah lamo nah idak kuisi....
Isi apo yeh......???
Bingung nah.....Nothing special lah....just ordinary me and ayu.....
and aikido...????still freelance......

:))

Aca..Aca....Fighting !!!!!

Yupeeee.....pertengahan Juni ini mau mulai fighting alias bedagang nah....buat masa depan....(kakakaka......)buat pertamo kito jual stun gun dulu...and seterusnyo jual apo bae yg biso jual...untung dak usah besak2x dulu..yg penting untung dan nutup.....(kakakkaak.....)LEmak jugo nah bedagang.....ampe hari in ilah untung 200 ribu lumayan lah buat makan bareng amo yayank aku nah (hahahahha....) so JIAO YOU......tapi pasti aku dak akanlupo slalu latian Aikido and tentunya Ngapel yayank ku si TAnte AYU...... (kakakakka......)

Jia You.......GAnbate............

Another saturday....

Hei...hei...saturday has come.....today 18 june 2005 ,It has been 4 months ago since I met my honey on warteg...(kakakak.....)Nothing special today......just another ordinary day....I passed it with browsing and chatting...nothing els...(uuuggghh.....so bore.....)Please Mr "Timey"be quick I want meet her....goshhhh.....everyday I just miss her....ang I really Love her.....Now...Go Home.....(hahahahhaha.....)