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Ethan
Weisgard is one of the highest-level
direct students of Saito in
Europe. He traveled to Japan
for the first time in 1984 to
live and train as a direct student
of Saito in Iwama. He has returned
more than ten times, including
a stay of more than one year,
to immerse him in training.
Ethan Weisgard was personally
appointed as; Direct Representative
in Denmark by
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Saito Sensei, and he has traveled throughout
the world teaching the aikido taught to him
by his master. He has taught in Denmark, Sweden,
Italy, Germany, America, Russia and even in
the homeland of aikido; Japan. |
Introduction
to Jo
Jo
is one of the traditional weapons found in
Japanese Budo. The jo is very versatile, since
both ends as well as the length of the jo
can be used. Jo techniques are to be found
in many different Ryuha (martial arts schools
or styles), and schools such as Muso Ryu teach
wonderful techniques using this fascinating
weapon.
I
would like to emphasize that the jo techniques
as taught in Aiki Jo differ from the usage
of jo in other styles in certain ways. It
is important to stress the fact that this
does not mean that one way is right and
another wrong, merely that the movements,
body positions and tai sabaki (body evasions)
are connected to the empty handed techniques
of aikido and therefore in certain areas
do not resemble the other jo styles.
The
Lineage of Aiki Jo
The lineage of Aiki Jo is less clear
than that of Aiki Ken.
In my book "Bukiwaza," I have
written:
In the period during his military service
1903-1906 O-Sensei trained in a Yagyu Ryu
school in Osaka, possibly Yagyu
Shingan Ryu.
In 1937 Ueshiba, together with his disciple
Zenzaburo Akazawa, formally enrolled in
the Kashima Shinto-ryu sword school based
in Kashima, Ibaraki prefecture. Ueshiba
invited instructors to come and teach regularly
in Iwama. These sword forms form the foundation
for the Aiki-ken techniques - unique to
Aikido.
In regard to the jo as practiced by O-Sensei,
the technical lineage is not as evident
as with the ken. According to Stanley Pranin
( Aikido historian and editor-in-chief of
Aiki News/Aikido Journal), Aritoshi Murashige
(an early student of Ueshiba) would sometimes
practice the jo at the Kobukan Dojo in the
early 1930s. Murashige had studied Katori
Shinto Ryu within the context of the Kobudo
Kenkyukai at the Kodokan.
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The
jo techniques that O-Sensei compiled
and taught seem to be a creation of
his own, encompassing the movements
of weapons such as yari (spear), juken
(bayonet) and ken (sword), as well as
having a strong influence from the tai
jutsu techniques. Of course there are
similarities to be found in the movements
of aiki jo
and other schools, seeing that there
are
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only
a certain amount of ways to rationally move
when using this weapon. But the rotational
movement of the hips, the connectedness of
the weapon to the body positions and much
more indicate that aiki jo truly is a creation
of O-Sensei's own.
The
Connection between Aiki Jo and Tai Jutsu
My
teacher Morihiro Saito Sensei often quoted
O-Sensei, saying "when doing weapons,
you should have the feeling of tai jutsu,
and when doing tai jutsu you should have the
feeling of doing weapons."
The more one trains in Aiki Ken and Aiki Jo,
the more evident this becomes.
The crossover influence of weapons to one's
tai jutsu - as well as vice versa - is very
evident. Saito Sensei would tell of O-Sensei
often saying "Its all the same!"
meaning weapons and tai jutsu. In traditional
aikido one does not have to use a different
system of body movements, evasions, parries
or techniques depending upon what you are
defending against - it truly is "all
the same!"
The
basic movements of strikes, thrusts, parries,
evasions and more are all to be found in the
Suburi forms. These forms teach you how to
make the jo a part of you, and not just a
stick that you move around with your hands.
Every movement you make with the jo you will
find a hip movement that goes with it. You
never move the jo - and thereby the arms -
without moving the hips. And this is as it
should be in tai jutsu as well. You use suburi
to learn to move the jo in connection with
your seichusen (centerline), both in thrusts
as well as in strikes. Arm movements follow
the centerline, and do not stray off to the
sides of your body. I always think of Saito
Sensei telling people "It's not baseball!"
when seeing them making big swinging movements
when striking with the jo.
Saito Sensei would say that we should always
be in a good stable position when using the
jo, so that one could use the jo to throw
oneøs opponent if necessary. He would
also stress that one should be able to go
change into a tai jutsu application, such
as a jo dori or a takedown or pin, at any
point in our technique, hereby further emphasizing
the importance of always using stable natural
stances and movements in our weapons work.
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The
position of the hands also reflects
the connection to tai jutsu:
the use of tegatana (the handblade
or sword-edge of the hand) is
the basic foundation for the
way we use our hands in aikido.
It should be that when we open
our grip when holding in aikido
our hand opens up into the tegatana
position (there are of course
certain exceptions to this rule).
The same
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the case when holding the jo: our hands should
be holding in a natural, strong position,
without excess rotating or bending of the
wrist. Our arms are also held in the slight
arc that constitutes the extension of the
tegatana hand position, clearly exemplified
in the Kokyu Ho tai jutsu forms. The arms
should be neither too straight (overextended)
nor too bent, thereby creating a 90 degree
angle at the elbow. The 90 degree angle weakens
the arm.
We
also learn to move to a 45 degree angle
when performing many of the suburi movements.
In the old days, Saito Sensei used to teach
the tsuki (thrusts) and uchi komi (strikes)
of the suburi with a large 45 degree body
movement to the off the line of attack.
He later emphasized a more straightforward
attacking form in the suburi, and introduced
the tai sabaki when practicing the paired
forms of jo awase. This was to emphasize
the difference of the roles of uchi (attacker)
- moving in a more straight line for the
attack, and uke ( defender), using the defensive,
off-the-line tai sabaki forms.
Way
to Improve in Aiki Jo
When
practicing jo (or ken for that matter),
Saito Sensei would always emphasize the
benefits of training in front of a mirror.
He would always say "The mirror is
the strictest sensei!" Using the mirror
also teaches you to focus outwards - to
see yourself from the outside, so to speak.
Look at your posture to make sure you are
in balance in all directions. Seen from
the front, when performing strikes, your
head should be in a nice straight line with
your centerline. Oftentimes when practicing
weapons, people tend to tilt their head
in the direction of the movement of the
weapon. In striking movements this is not
necessary. When performing tsuki (thrusts),
the body is in a more sideways position
(hito-e-mi), with the hips sideways as well.
This makes keeping the head pointing completely
straight forward a bit too much of a strain
on the neck. The head may be turned slightly,
and this will bring the head more in line
with the centerline of your body, and also
loosen the tension in the neck.
Give
yourself time in "Zanshin." Zanshin
means "continuing spirit." It
refers to the final position of your technique.
You should have a feeling of your energy
surging outwards even after the actual physical
movement is finished. While holding your
final form, let your energy continue outwards,
and at the same time listen to what your
body is telling you. You will, if you keep
the position for several seconds, feel if
you are off balance or are out of line.
Doing this in front of a mirror will greatly
improve your weapons work very quickly.
But you must give yourself time to look
and listen to your body.
When training aikido, or any other martial
art for that matter, we must be able to
do our techniques with confidence and conviction,
yet at the same time always keep ourselves
open to sensing where we need to better
ourselves. We need to do each technique
as if it were the first and last. And at
the same time, be able to sense and register
our weaknesses, to make our next "first
and last" execution even better!
Gambarimasho!
(Let's do our best!)
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Copenhagen
Aiki
Shuren Dojo
v/Seidokan - Baghuset,
Valbygårdsvej 36.
DK-2500 Valby.
Dojo-Cho: Ethan Monnot Weisgard
www.aiki-shuren-dojo.com
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By
Ethan Monnot Weisgard
Copenhagen Aiki Shuren Dojo
Date: May 05, 2005

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Interview
with Student Scott Clark
by Paul Swainson |
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Spotlight
on Your Dojo
by Paul Swainson |
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Taukauns
Letter to Yagyu
by Paul Swainson |
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Reiki
- Healing with Love
by Annie
Livings, MICHT |
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Last
Months Martial Arts Quiz
Results
Thank
you to all those who participated
in last months quiz. Click
here to view
the answers to the quiz. |
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ZEN Garden
Desktop Wallpaper
This wallpaper features a"poem",
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in the Kodai Temple in Kyoto,
Japan. Click
here |
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