Etiquette

Proper observance of etiquette is as much a part of your training as is learning techniques.

1.When entering the dojo please perform a standing bow to the Kamiza. The same when
leaving. Before class begins, approach the mat and perform a kneeling bow toward the
Kamiza, then sit with your fellow students.

2.When sensei demonstrates, sit quietly out of the way and take it in. If there is an extra
partner offer to take turns. The extra (third) person should sit in seiza at the edge of the mat
and observe while their partners are training. At the end of class straighten your kikogi and
line up with your fellow students as before.

3.Please try to arrive on time and help with the set up. If you are late, wait at the side of the
mat until Sensei beckons you on. If you need to leave the mat before class ends just ask
Sensei. Always leave or approach the mat in the same manner as above. There is no shame in
taking a rest if you are tired. Please rest at the edge of the mat in seiza, but do not sit with
your back to the Kamiza. If sitting in seiza is uncomfortable, sit cross-legged.

4.When you step onto the mat leave the world behind and enter into training with a focused
mind and spirit.

5.Approach your uke (attacker) or nage (thrower) with great care and concentration as this
is a martial practice. Train at all times with earnest sincerity and with the utmost of your
ability.

6.Always train within the ability of your partner. Do not practice so as to injure your
partner. You are both responsible for each other.

7.Please be aware at all times of those around you as you take ukemi (falling), or are
throwing your partner. Train to develop awareness in all directions.

8.Monthly dues should be paid at the beginning of the month.

About Aikido Training

Aikido practice begins the moment you enter the dojo. Trainees ought to endeavor to
observe proper etiquette at all times.

The only way to advance in aikido is through regular and continued training. Attendance is
not mandatory, but keep in mind that in order to improve in aikido, one probably needs to
practice at least twice a week. In addition, insofar as aikido provides a way of cultivating self-
discipline, such self-discipline begins with regular attendance.

Your training is your own responsibility. No one is going to take you by the hand and lead
you to proficiency in aikido. In particular, it is not the responsibility of the instructor or senior
students to see to it that you learn anything. Part of aikido training is learning to observe
effectively. Before asking for help, therefore, you should first try to figure the technique out
for yourself by watching others.

Aikido training encompasses more than techniques. Training in aikido includes

observation and modification of both physical and psychological patterns of thought and
behavior. In particular, you must pay attention to the way you react to various sorts of
circumstances. Thus part of aikido training is the cultivation of (self)awareness.

The following point is very important: Aikido training is a cooperative, not competitive,
enterprise. Techniques are learned through training with a partner, not an opponent. You must
always be careful to practice in such a way that you temper the speed and power of your
technique in accordance with the abilities of your partner. Your partner is lending his/her
body to you for you to practice on -- it is not unreasonable to expect you to take good care of
what has been lent you.

Aikido training may sometimes be very frustrating. Learning to cope with this frustration is
also a part of aikido training. Practitioners need to observe themselves in order to determine
the root of their frustration and dissatisfaction with their progress. Sometimes the cause is a
tendency to compare oneself too closely with other trainees. Notice, however, that this is itself
a form of competition. It is a fine thing to admire the talents of others and to strive to emulate
them, but care should be taken not to allow comparisons with others to foster resentment, or
excessive self-criticism.

WEAPONS TRAINING:

The three principal weapons used in aikido training are the JO (staff), TANTO (knife), and
BOKKEN (sword). There are many reasons for weapons training in aikido.

1.Many aikido movements are derived from classical weapons arts. There is thus a
historical rationale for learning weapons movements.

2.Weapons training is helpful for learning proper "MA AI," or distancing.

3.Many advanced aikido techniques involve defenses against weapons. In order to ensure
that such techniques can be practiced safely, it is important for students to know how to attack
properly with weapons, and to defend against such attacks.

4.There are often important principles of aikido movement and technique that may be more
easily demonstrated by the use of weapons than without.

5.Training in weapons kata is a way of facilitating understanding of general principles of

aikido movement.

6.Weapons training can add an element of intensity to aikido practice, especially in

practicing defenses against weapons attacks.

7.Training with weapons provides aikidoka with an opportunity to develop a kind of

responsiveness and sensitivity to the movements and actions of others within a format that is
usually highly structured. In addition, it is often easier to discard competitive mindsets when
engaged in weapons training, making it easier to focus on cognitive development.

8.Weapons training is an excellent way to learn principles governing lines of attack and
defense. All aikido techniques begin with the defender moving off the line of attack and then
creating a new line (often a non-straight line) for application of an aikido technique.

Weapons Training
Some dojo hold classes which are devoted almost exclusively to training with to jo (staff),
tanto (knife), and bokken (sword); the three principal weapons used in aikido. However, since
the goal of aikido is not primarily to learn how to use weapons, trainees are advised to attend
a minimum of two non-weapons classes per week if they plan to attend weapons classes.

There are several reasons for weapons training in aikido. First, many aikido movements are
derived from classical weapons arts. There is thus a historical rationale for learning weapons
movements. For example, all striking attacks in aikido are derived from sword strikes.
Because of this, empty-handed striking techniques in aikido appear very inefficient and
lacking in speed and power, especially if one has trained in a striking art such as karate or
boxing.

Second, weapons training is helpful for learning proper ma ai, or distancing. Repeatedly
moving in and out of the striking range of a weapon fosters an intuitive sense of distance and
timing - something which is crucial to empty-hand training as well.

Third, many advanced aikido techniques involve defenses against weapons. In order to
ensure that such techniques can be practiced safely, it is important for students to know how
to attack properly with weapons, and to defend against such attacks.

Fourth, there are often important principles of aikido movement and technique that may be
profitably demonstrated by the use of weapons.

Fifth, training in weapons kata is a way of facilitating understanding of general principles

of aikido movement.

Sixth, weapons training can add an element of intensity to aikido practice, especially in
practicing defenses against weapons attacks.

Seventh, training with weapons provides aikidoka with an opportunity to develop a kind of
responsiveness and sensitivity to the movements and actions of others within a format that is
usually highly structured. In addition, it is often easier to discard competitive mindsets when
engaged in weapons training, making it easier to focus on cognitive development.

Finally, weapons training is an excellent way to learn principles governing lines of attack
and defense. All aikido techniques begin with the defender moving off the line of attack and
then creating a new line (often a non-straight line) for application of an aikido technique.
 Saito Sensei's Jo Suburi, Detailed

Each of the following twenty suburi should be practised carefully and with feeling.
Breathing is very important and you should inhale before you start the movements, allowing
your breath to pass out of your lungs as you perform the suburi, and exhaling sharply as you
finish the final thrust or strike of the suburi. Always check your posture at the beginning and
end of each suburi to ensure that you have started and finished correctly. Good posture before
and after performance goes a long way towards correct posture during the suburi.

TSUKI SERIES

1 Choku tsuki :Direct (front) thrust

This is the basic thrusting movement which is featured in many of the jo waza (jo
techniques). Commence in basic posture, hidari hanmi, with the jo resting on one end
vertically on the mat immediately in front of your left foot. Hold the jo with your left hand.
Reach down with your right hand to grasp the jo near its base. Your left hand should lift the jo
as you do this. Slide your right hand down to the end as you bring the jo to a horizontal
position, tsuki no kame. Slide the jo through your left hand back and then forwards, swinging
your right hand up to the front of your centre. Both feet slide forwards as you lower your
posture during this forward thrust.

2 Kaeshi Tsuki : Return (spiral) thrust

This is actually a counter to a thrust from your opponent. Commence in left posture as for
the first jo suburi. Grasp the top of the jo with your right hand, thumb downwards. Bring the
jo up in a circular motion as you move to your left with your left foot, bringing your right foot
around to remain in hidari hanmi. As you move, thrust the jo forwards to your opponents
centre, your left hand on top of the jo. Expel your breath explosively as the thrust is
performed.

3 Ushiro tsuki : Thrust to the rear

This is a thrust against an opponent who is behind you. Commence in basic posture as for
the previous suburi, bringing your right hand to the top of the jo, thumb upwards. Lift the jo
placing it along the underside of your left forearm while sliding your left foot back beside
your right. Step back with your left foot, thrusting the jo straight to your rear and turning your
body to your left as you do this.

4 Tsuki gedan gaeshi : Thrust with low return strike/sweep

This is the first of two combinations of movements which incorporate the first jo suburi.
Commence in hidari tsuki no kamae, holding the jo horizontally in your left hand with your
right hand at its base, your feet in left posture. Swing back with your right hand to make
choku tsuki (first jo suburi), sliding your feet forwards. Slide your left hand towards the front
of the jo, and step backwards and to the right, remaining in left posture as you push the jo
back past your right side through the right hand. Turn your hips to the left, stepping forwards
with your right foot, and bring the jo around at knee level to strike at your opponents lower
legs. Your right hand should be behind the jo pushing it round to make contact.

5 Tsuki jodan gaeshi : Thrust with high return strike/sweep

This combination introduces the striking techniques which are to follow in the next five
suburi. You commence in hidari tsuki no kamae. Swing back with your right hand to perform
choku tsuki, sliding your feet forwards. Move backwards and to the right, still in hidari hanmi,
bringing the jo up to protect your head (sliding your right hand up to your left). Turn it over
your head to the striking position in preparation for shomen uchi strike (right wrist twists, left
hand moves to end of Jo). The strike is performed by swinging the jo in an arc over your head
and down onto your opponent as you step forwards with your right foot.

UCHIKOMI SERIES

6 Shomen uchikomi : Front strike, with stepping back

Commence in right posture holding the jo in front of you with your left hand at the end of
the jo and your right hand a quarter of the way up. Step back with your right foot, raising the
jo above your head, pointing it towards the ceiling and angled slightly back. As you step
forwards with your right foot, bring your hands down and forwards, striking with the jo to
your opponents centre.

7 Renzoku uchikomi : Continuous front strikes

Commence in right posture and perform shomen uchi komi (sixth jo suburi). Having
performed the strike in right posture, move your weight forwards on to your right foot and
bring your hands up to the front of, and just above, your head with the jo pointing to your
right. Step forwards with your left foot, turning your hips into left posture. Bring the jo round
to extend behind you and make hidari shomen uchi to complete the suburi.

8 Menuchi gedan gaeshi : Front strike, low return strike/sweep

Commence in right posture and perform shomen uchi komi. When the strike is completed,
extend your right hand to the end of the jo, sweep it back to your left side and move back and
to your left. Step forwards with your left foot. Bring the jo round in a strike to your opponent's
knee, keeping your left hand behind the jo to give power to the strike.

9 Menuchi ushiro tsuki : Front strike, thrust to the rear

Commence in right posture and perform shomen uchi komi. As the strike is completed,
slide your right hand to the forward end of the jo, turn your hips into left posture and perform
a thrust to the rear as in ushiro tsuki.

10 Gyaku yokomen ushiro tsuki : Reverse side head strike, thrust to the rear
Commence in right posture as if you had just completed shomen uchi komi, bringing your
hands up to the front of, and just above, your head with the jo pointing to your right. Step
forwards with your left foot and perform hidari shomen uchi. Slide your left hand to the front
end of the jo, turning your hips further into left posture and perform ushiro tsuki to your right
side at chest level.

KATATE SERIES

11 Katate gedan gaeshi : One handed, low to high strike/sweep

This is the first of the suburi which features one-hand grip and uses wrist movement for
successful completion. Commence in hidari tsuki no kamae, sliding your left hand to the
forward end of the jo. Push the jo back through your right hand, bringing your body back and
to the right as in the fourth suburi. Both hands should now be at the forward end of the jo.
Take a long step forward with your right foot, sweeping the jo forwards across an imaginary
opponent's face, holding it with your right hand only and catching it with your left hand over
your head on the left side after the sweep is complete, finishing in a defensive position.
12 Katate toma uchi : One handed far-reaching strike
This movement is used to extend the jo forwards to reach a considerable distance past your
normal fighting range. Commence in hidari tsuki no kamae and draw the jo back over your
head to your left with your right hand, resting the forward end of the jo on your left
forefinger/thumb cleft. Draw your weight back onto your right foot. As you start to swing the
jo around with your right wrist, commence stepping forwards with your right foot, swinging
the jo at your opponent's head and around to be caught by your left hand down by your left
hip.

13 Katate hachi no ji gaeshi : One handed figure "eight" strike

This incorporates a double wrist action to loosen your wrist and serves as the precursor to
the hasso techniques that will follow. Commence in left posture. Hold the jo in your right
hand on your right side, the end resting on the mat. Turn your wrist forwards, raising the jo
and, while stepping forwards with the right foot, sweep the jo across your imaginary
opponent's face. catch the jo high on your left side in your open left hand. Swing your hips
back to the right, changing posture into hidari hanmi while stepping back with your right foot
as you push the jo across to your right with your left hand. Spin it around your right wrist,
catching the short end in your left hand, beside your head on your right side.

HASSO GAESHI SERIES

14 Hasso gaeshi uchi : Eight direction return, front strike

The next five suburi all incorporate the hasso technique which consists of rapidly twirling
the jo from a forward position under your wrist and up to above your right shoulder beside
your head, as you do to complete the thirteenth suburi. Commence in ken no kamae, sliding
your right foot back as you extend your left hand forwards and upwards, letting your right
hand slide a little further towards the centre of the jo. As you step back with your right foot,
push sharply down with your left hand on the jo to swing it down and up to your rear. Grasp
the bottom end with your left hand as it comes to a vertical position at the right side of your
head in hasso no kamae. Start to step forwards with your right foot as you bring the jo up to
your head changing the grip with your right hand, and complete your step forwards as you
strike with shomen uchi in right posture.

15 Hasso gaeshi tsuki : Eight direcion return, front thrust

Commence as in the previous suburi twirling the jo to assume hasso no kamae. From this
point, extend your left foot forwards, bringing the jo down to perform a straight thrust to your
front. Slide your right hand forwards and perform hasso gaeshi once more, bringing your left
foot back a little to finish in hasso no kamae.

16 Hasso gaeshi ushiro tsuki : Eight direction return, thrust to the rear
Commence as in the previous suburi by twirling your jo to assume hasso no kamae. From
the vertical, drop the top of the jo forwards, extending your left hand to its front end and
thrusting the jo to your right rear (migi ushiro tsuki). Finish with your hips facing to the right.

17 Hasso gaeshi ushiro uchi : Eight direction return, strike to the rear
Commence as in the sixteenth suburi assuming hasso no kamae. Turn your hips further to
your right and strike down and around to your rear with a round sweeping blow, keeping your
feet in the same position as they were in hasso no kamae.
18 Hasso gaeshi ushiro harai : Eight direction return, sweep to the rear
Commence as in the previous suburi assuming hasso no kamae. Turn your whole body to
the rear, sweeping your right foot back and round whilst swinging the jo in a sweeping strike
to an imaginary opponent who is standing behind you.

NAGARE SERIES

19 Hidari nagare gaeshi uchi : Flowing to the left, front strike

These final two suburi are designed to help improve your body movement as they
incorporate a flowing combination of strikes. Commence in ken no kamae (right posture),
stepping back with your right foot to perform shomen uchi komi (sixth suburi). As the strike
is made turn to your left, bringing the jo around as you extend your left hand forwards to
catch it. From here, take the jo back over your head. You should now be facing your rear as
you perform right shomen uchi strike to the imaginary opponent who is now standing in front
of you.

20 Migi nagare gaeshi tsuki : Flowing to the right, front thrust

Commence in ken no kamae, stepping forwards to perform hidari shomen uchi. As you
complete the strike, step back and round with your right foot, turning to your rear to block
across your head Lower your hands into hidari tsuki no kamae and perform hidari choku tsuki
to deal with the imaginary adversary behind you.