Author Archives: FastSlow

…fallen leaves and lanterns….

Aiki-no-Yugen-no-Kigakudo, Saturday, November 1

Understanding that the mystery of existence is directly related to the ki-connectedness between us all can allow us to learn techniques for influencing an audience, fellow-performers, or an opposing swordsman. And the experience of practising these same techniques enhances our own creative flow and powers of collaboration.

Kigaku – - – the study of ki – - – is a part of most traditional Japanese arts – - – comprising a rich body of practice and wisdom: ki-flow, kizeme, working with our ki-body…

Practising these traditional exercises in the sacred dojo space, constructed according to mikkyo principles, is in itself a powerful and revelatory experience, and a making contact with the roots of Suzuki actor training,  and of many  gendai martial arts.

Practised as a ‘do‘, a Way, kigaku is a gateway to the mysterious: monji yugen kigaku-ho –  A returning to the roots of the ancient (ken-no-michi) to deepen the modern (Suzuki-ho).

“…opened up new opportunity for continuing growth, already reflected by improved engagement in my writing these past two days.” – Heidi Kraay, playwright and theater-practitioner

For performers, artists, and creative practitioners of every tradition. 

First Saturday of the month, 9:00 – 10:30am.

* mat fee $15 *

 

 

The sayings of Hirokazu Kobayashi Shihan (2)

Focus on the idea of being endlessly grateful, whatever might be the thoughts and events to which this applies. Say arigatai till you feel your body full of energy, then yoku naru without limiting this wish in any way… For whomever applies this rule, dekinai koto wa nashi. [there is nothing they cannot do].

[The way of aiki is] a Way for the forgetting of the self.

Every time [be] exactly at the center.

Aiki-ken contains [all] the necessary elements for the expression and understanding of the spiritual dimension of aikido.

Hold on to your partner’s arm the way you hold a baby in your arms, and dandle it [OR: cradle it,  rock it gently,  sooth it].

Never be afraid of not having enough energy, give unceasingly to others, and for as long as you do that, energy will come, still stronger, still more alive and abundant in you.

You’re showing too much [of] what you know. From now on, never display more than thirty per cent of your power…  When you teach, also, you must not show more than thirty per cent.

“Why” is an idiotic question. There is no “why”.

- – - reported by André Cognard Shihan  (So-Shihan of Aikido Kobayashi Ryu and designated successor to Hirokazu Kobayashi Shihan) in Petit manuel d’aikido,  pp. 52-3, 88, 108, 109, 116;   Vivre sans ennemi, pp.33, 37.

…in the dojo(85) in-yo-ho!!!…

InYoHoSenseitothomassanCROP

…”tuning-in to the intent of the attacker”…

I’ve found it to be the case that, for many of the aikido greats, their first books are their best books – or at least the most interesting, because the most marked by O’Sensei’s thinking. We find Nidai Doshu writing: “There is little difference between the movements of Aikido and those of  Japanese swordsmanship…” and talking about “the Realm of No- Self,” and about entering into shikaku. 1)  Koichi Tohei Shihan’s 1960 Aikido the Arts of Self-Defence has introductory sections on ‘Aikido and Nature’ and ‘The Spirit of Loving Protection for All Nature’ and covers 50 techniques – the same number as Budo. As Ellis Amdur points out, 2) the earlier editions of Ki in Daily Life include a – presumably – Omoto-kyo breathing exercise, which is cut from later editions.  Morihiro Saito Shihan’s
wonderful Traditional Aikido series is not only a fascinating window into, we may guess, what tanren and suburi O’Sensei had him do – and in what order – but the Japanese text of, at any rate, the first volume, is written  from a point of view where ki-flow and ki-connection are primary, and the physical movement is embedded in the flow of the ki.

Nevertheless it was a surprise, recently, to re-read in Issue 2 of Aiki News (May, 1974), in the editorial: “The essence of O’Sensei’s genius was his ability to “tune-in” to the intent of the attacker at extraordinarily subtle levels. This hyperawareness enabled him to gather “advance information” regarding the nature and timing of the attack…”

read more:

Peter has a show playing…

with his sound design:   Venus in Fur,    October 8 – November 1,   at Boise Contemporary Theater.venusinfur..

…and he is producing and performing  in the Christmas Interludes production of A Christmas Carol – - – available for your home or office party, December 4th – 24th.

info@christmasinterludes.com

Jeff has an animated mini-series coming out…

…on which he was storyboard supervisor:    Over the Garden Wall,  by Patrick McHale,  airing soon, on the Cartoon Network.
overthegardenwall1

The movie ‘Bluebird Man’ with Rebeca’s music…

…will have a screening at  The MK Nature Center in Boise,  on Monday, January 12th;  and at the Wild And Scenic Film Festival  in Nevada City, CA, January 15th – 18th.Prairie-BBT-9294crop

 

Rebeca’s latest CD, Mostecelo, is…
mostecelo2here …and a preview of the upcoming here!

A change of optic:

Aikido is a gem of many facets – sometimes it seems that every one of O’Sensei’s students remembered a different teacher, and of course, many, many different styles have been preserved and developed – but here is one facet that clicked into focus for me recently:

what if O’Sensei spent his time away from Iwama and Tokyo coherently pursuing what he felt to be his “mission in life”?…

what if he spent his time away from Iwama and Tokyo creating and nurturing a network of dojos run by Omoto-Kyo, ex-Omoto-Kyo and Ko-Shinto believers ( hand-picked deshi,  some of them raised, almost, as members of his family) – - – and ex-Kamikaze pilots, too (!) – often with his own name on the sign -  in places – and close to shrines…

read more:

…peace pole!!!…