Category Archives: Dojocho Talks

Kimbal Anderson-Sensei: Audio, video and essay

Sensing the habits of Nature… Sensing where you are…

– – –  by Kimbal Anderson Sensei

Sometimes, in a more internal kind of practice, we start talking about how directions have meanings…  I think of it more in terms of “properties”.

And I’ve heard different explanations, but let’s start with: magnetic North creates an orientation that we experience through the seasons.

A little wobble away from the North Star. And understanding that allows us to have some idea of where we are in the habits of nature, whether it be Spring or whatever…

So imagine that people have observed this phenomenon and then one of them discovered that there were invisible energies, not visible to your normal senses, until you know what you’re looking for, that were indicating where that magnetic North is, even in the daylight.

So… the ancients’ world may have been a little more interesting and plastic …

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Omoto-kyo version, Tokyo version, Iwama version…

August15CROPCOLORIZETIGHTER– – – by Kimbal Anderson Sensei

…I think we had O’Sensei’s  Omoto-kyo version and his Tokyo version and his Iwama version and we don’t understand that:  but his Omoto-kyo version was actually about penetrating the universe.  And people in Tokyo,  recovering from being utterly bombed  out by American B-29’s… well,  it’s tricky to get them interested, because they’re trying to eat. And the guys in Iwama are out in the country, going “I’m so glad we’re out here!” and most of them are high school kids…  But Omoto-kyo folks would have been ready to start setting the whole world aright, and to start raising people up…   They would have remembered what Deguchi said: “everything happens first to Omoto-kyo, then to Japan, and finally to the whole world…”   And they would have understood the aikido that O’Sensei was showing them to be a part of this…

calligraphy by Onisaburo Deguchi: “August 15th DAY” – being the date of Japan’s surrender, the character for “DAY” being drawn in the archaic style that also means “GOD”,  and,  with a variant center:  “SU” – that is: AME-NO-MINAKA-NUSHI – that is: a new beginning.SUcrop

 

-~-~-~-~-~-~HOW TO BE A GOOD UKE~-~-~-~-~-~-

– – – by Kimbal Anderson Sensei

  • You have to be trying to get nage‘s center.  And then you have to let nage  get YOUR center. Depending on who you’re training with, you may have back off just enough so that they can get your center.

*

So.  The reason that we train the way we train is to help each other learn. So training has to be absolutely honest.  Honest is not being brutal, and over-coming the other person so that they can never do anything. Honest is not exerting an inappropriate amount of force for the level the other person’s at.

Being honest, you need to always take their center, or at least make a good attempt – and NOT with any stiffness – and we always want to get that little shift in balance – if not kuzushi, then the beginning of kuzushi – no matter what role we’re in. Because aiki doesn’t function,  in fact: no martial art functions,  unless you can do that.

So: if you’re uke and you’re working with someone who’s not as  experienced,  we use the correct grip,  so that it’s easy to take their center… so that it takes very little physical force to unbalance nage –  and then you hold that so that nage gets the feeling of “how do I work with that?…” “How do I restore, or avoid…?” or “How do I completely absorb this attack?” And then, hopefully,  their reflection back takes uke‘s center.

And that’s like the essence of benevolent but true training. And then you can increase the intensity as time goes on.

*

So, for instance, today we were working on the idea of what ura and omote are, and how omote might suddenly become very present with a certain kind of attack…

So: setting up to do suwari-waza-kokyu-ho, if we both do ura, then we have this balanced thing.  If uke and nage are both doing the same thing, then it’s all very balanced, the system harmonizes, and no-one gets thrown. Then it’s only when uke is tempted to extend –  only when uke pushes and tries harder to play their designated role in kokyu-dosa – only when uke puts their omote into it – and nage maintains their sense of ura, that the system absorbs it all and throws uke. Because that’s the nature of what we’re doing.

That’s the fun experiment we do a million, million, million times…

On Torifune and Furitama…

TORIFUNE

 I’ve heard it called  “the rowing exercise” and “bird-boat of heaven”… all these different names for it,  and I’ve heard it explained as being like the single oar Japanese style of rowing…but for me, thinking of aiki on a yogic level, it’s like winds and  channels:  you need to understand Heaven and Earth,  and the idea of the exercise is to create a really harmonic connection between heaven and earth:  and then you can understand kotodama.

The body itself is like an Aeolian harp – and in this vibrational  understanding of the body, the strings of the harp have to be correctly tuned.

So when we set it up, I really focus on softening the feet.  I think in earlier times,  when people farmed and lived on mountains, this was just the way you were – because you’d fall down if you weren’t.  And I learned a lot of this because I had a farm, and although I’m not a huge person,  I can still pick up a couple of hundred pounds and haul  it around because I knew how to receive energy….  and so for us, the idea of relaxing and getting  the feet to open up:  that connects us to  chi no kokyu  “the breath of the Earth”.  Just as the palms open,  the feet can open, and when you move your feet, the soles of the feet should open, then the ankles flex, then the knees flex, and then the hara moves – so it’s like a kinetic chain.

I always teach that if you walk on a crust of snow,…

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…there are some things I want to talk about (1)…

Real aiki is difficult to see unless you already know what it is.  If you don’t know, you tend to take your own personal view of it and put it on top.

Now,  I’ve spent most of my life studying aiki,  so there are some things I’d like to record – they are not new, they are not something I made up: they are my own understandings, taught to me through the very same process you’re involved in: doing movements a million times, and learning to understand the physics of the world, and then the larger forms of physics… which is to say:  how things work.

Once you see it,  and someone explains what’s going on, it’s possible for you to explore it.  Otherwise it looks pretty magical,  and you either think,  “that person’s full of shit,” or you understand that something’s going on that you don’t get – and you want to get it…

So I thought to show you – and hopefully we may some time add video – some of the things I’ve learned.

And the first thing, right off,  is this…and I always use this metaphor…
when you learn to drive, you do not drive into the other cars – you learn to drive in the spaces. So, in the same way, if we think about Samuel’s structure as having spaces in it, and fullness in it, like traffic…

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…there are some things I want to talk about (2)…

– – – – – – – – – – The Importance of Ki-Waza – – – – – – – – – –

…there are some things I want to talk about (3)…

– – – – – – – – – – How to Grip and Take Hold – – – – – – – – – –

…there are some things I want to talk about (4)…

– – – – – – – – – – Moving with the jo – and without – – – – – – – – – –

…there are some things I want to talk about (5)…

– – – – – – – – – – proper stance and good grounding  – – – – – – – – – –

 

…there are some things I want to talk about (6)…

– – – – – – – – – – basics of go-no-sen irimi  – – – – – – – – – –