Aikido

Aikido (Shinjitai: 合気道, Kyūjitai: 合氣道, aikidō, Japanese pronunciation: [aikiꜜdoː]) is a modern

Japanese martial art that is split into many different styles, including Iwama Ryu, Iwama Shin
Shin Aiki Shuren Kai, Shodokan Aikido, Yoshinkan, Aikikai and Ki Aikido. Aikido is now practiced
in around 140 countries. It was originally developed by Morihei Ueshiba, as a synthesis of his
martial studies, philosophy and religious beliefs. Ueshiba's goal was to create an art that
practitioners could use to defend themselves while also protecting their attackers from
injury.[1][2] Aikido is often translated as "the way of unifying (with) life energy"[3] or as "the way of
harmonious spirit".[4] According to the founder's philosophy, the primary goal in the practice of
aikido is to overcome oneself instead of cultivating violence or aggressiveness.[5] Morihei
Ueshiba used the phrase masakatsu agatsu katsuhayabi" ( 正勝吾勝勝速日, "true victory, final
victory over oneself, here and now") to refer to this principle.[6]
 Aikido

A version of the "four-direction throw" (shihōnage) with standing attacker (uke) and seated defender
(nage)

Focus Grappling and softness

Country of origin Japan

Creator Morihei Ueshiba

Famous practitioners Kisshomaru Ueshiba, Moriteru Ueshiba, Koichi

Tohei, Christian Tissier, Morihiro Saito, Yoshimitsu
Yamada, Mitsunari Kanai, Gozo Shioda, Mitsugi
Saotome, Steven Seagal, Tenko Chabashira,
Takashi Kushida, Kyoichi Inoue

Ancestor arts Daitō-ryū Aiki-jūjutsu

Play media

Mitsuteru Ueshiba at the 55th All Japan Aikido Demonstration held at the Nippon Budokan (May 2017)
Aikido's fundamental principles include: irimi[7] (entering), atemi,[8][9] kokyu-ho (breathing control),
sankaku-ho (triangular principle) and tenkan (turning) movements that redirect the opponent's
attack momentum. Its curriculum comprises various techniques, primarily throws and joint
locks.[10] It also includes a weapons system encompassing the bokken, tantō and jō.

Aikido derives mainly from the martial art of Daitō-ryū Aiki-jūjutsu, but began to diverge from it in
the late 1920s, partly due to Ueshiba's involvement with the Ōmoto-kyō religion. Ueshiba's early
students' documents bear the term aiki-jūjutsu.[11]

Ueshiba's senior students have different approaches to aikido, depending partly on when they
studied with him. Today, aikido is found all over the world in a number of styles, with broad
ranges of interpretation and emphasis. However, they all share techniques formulated by
Ueshiba and most have concern for the well-being of the attacker.

Etymology and basic philosophy

"Aikidō" written with "ki" in its old character form

The word "aikido" is formed of three kanji:

合 – ai – harmony, unifying

 気 – ki – energy, spirit
道 – dō – way, path
The term aiki does not readily appear in the Japanese language outside the scope of budō. This
has led to many possible interpretations of the word.

合 (Ai) is mainly used in compounds to mean 'combine, unite, join together, meet', examples
being 合同 (combined/united), 合成 (composition), 結合 (unite/combine/join together), 連合
(union/alliance/association), 統合 (combine/unify), and 合意 (mutual agreement). There is an
idea of reciprocity, 知り合う (to get to know one another), 話し合い (talk/discussion/negotiation),
and 待ち合わせる (meet by appointment).

気 (ki) is often used to describe a feeling or emotive action, as in X気がする ('I feel X', as in terms
of thinking but with less cognitive reasoning), and 気持ち (feeling/sensation); it is used to mean
energy or force, as in 電気 (electricity) and 磁気 (magnetism); it can also refer to qualities or
aspects of people or things, as in 気質 (spirit/trait/temperament). The characters aeteological
history can be traced back to the much older Chinese character of qi (氣) that is used extensively
in Traditional Chinese medicine and acupunture.

The term dō in Aikido is found in many other Japanese martial arts such as, judo and kendo, and
in various non-martial arts, such as Japanese calligraphy (shodō), flower arranging (kadō) and
tea ceremony (chadō or sadō).

Therefore, from a purely literal interpretation, aikido is the "Way of combining forces" or "Way of
unifying energy", in which the term aiki refers to the martial arts principle or tactic of blending
with an attacker's movements for the purpose of controlling their actions with minimal effort.[12]
One applies aiki by understanding the rhythm and intent of the attacker to find the optimal
position and timing to apply a counter-technique.

History
Ueshiba in Tokyo in 1939

Aikido was created by Morihei Ueshiba ( 植芝 盛平) (1883–1969), referred to by some aikido
practitioners as Ōsensei (Great Teacher).[13] The term aikido was coined in the 20th century.[14]
Ueshiba envisioned aikido not only as the synthesis of his martial training, but as an expression
of his personal philosophy of universal peace and reconciliation. During Ueshiba's lifetime and
continuing today, aikido has evolved from the aiki that Ueshiba studied into a variety of
expressions by martial artists throughout the world.[10]

Initial development

Takeda Sōkaku

Ueshiba developed aikido primarily during the late 1920s through the 1930s through the
synthesis of the older martial arts that he had studied.[15] The core martial art from which aikido
derives is Daitō-ryū Aiki-jūjutsu, which Ueshiba studied directly with Takeda Sōkaku, the reviver
of that art. Additionally, Ueshiba is known to have studied Tenjin Shin'yō-ryū with Tozawa
Tokusaburō in Tokyo in 1901, Gotōha Yagyū Shingan-ryū under Nakai Masakatsu in Sakai from
1903 to 1908, and judo with Kiyoichi Takagi ( 高木 喜代市) (1894–1972) in Tanabe in 1911. [16]

The art of Daitō-ryū is the primary technical influence on aikido. Along with empty-handed
throwing and joint-locking techniques, Ueshiba incorporated training movements with weapons,
銃剣, jūken). Aikido
such as those for the spear (yari), short staff (jō), and possibly the bayonet (
also derives much of its technical structure from the art of swordsmanship (kenjutsu).[4][17]

Ueshiba moved to Hokkaidō in 1912, and began studying under Takeda Sokaku in 1915; His
official association with Daitō-ryū continued until 1937.[15] However, during the latter part of that
period, Ueshiba had already begun to distance himself from Takeda and the Daitō-ryū. At that
time Ueshiba referred to his martial art as "Aiki Budō". It is unclear exactly when Ueshiba began
using the name "aikido", but it became the official name of the art in 1942 when the Greater
Japan Martial Virtue Society (Dai Nippon Butoku Kai) was engaged in a government sponsored
reorganization and centralization of Japanese martial arts.[10]

Religious influences

Onisaburo Deguchi

After Ueshiba left Hokkaidō in 1919, he met and was profoundly influenced by Onisaburo
Deguchi, the spiritual leader of the Ōmoto-kyō religion (a neo-Shinto movement) in Ayabe.[18] One
of the primary features of Ōmoto-kyō is its emphasis on the attainment of utopia during one's
life. This idea was a great influence on Ueshiba's martial arts philosophy of extending love and
compassion especially to those who seek to harm others. Aikido demonstrates this philosophy
in its emphasis on mastering martial arts so that one may receive an attack and harmlessly
redirect it. In an ideal resolution, not only is the receiver unharmed, but so is the attacker.[19]

In addition to the effect on his spiritual growth, the connection with Deguchi gave Ueshiba entry
to elite political and military circles as a martial artist. As a result of this exposure, he was able
to attract not only financial backing but also gifted students. Several of these students would
found their own styles of aikido.[20]

International dissemination

Aikido was first introduced to the rest of the world in 1951 by Minoru Mochizuki with a visit to
France, where he demonstrated aikido techniques to judo students.[21] He was followed by
Tadashi Abe in 1952, who came as the official Aikikai Hombu representative, remaining in France
for seven years. Kenji Tomiki toured with a delegation of various martial arts through 15
continental states of the United States in 1953.[20][22] Later that year, Koichi Tohei was sent by
Aikikai Hombu to Hawaii for a full year, where he set up several dōjō. This trip was followed by
several subsequent visits and is considered the formal introduction of aikido to the United
States. The United Kingdom followed in 1955; Italy in 1964 by Hiroshi Tada; and Germany in
1965 by Katsuaki Asai. Designated the "Official Delegate for Europe and Africa" by Morihei
Ueshiba, Masamichi Noro arrived in France in September 1961. Seiichi Sugano was appointed to
introduce aikido to Australia in 1965. Today there are aikido dōjō throughout the world.

Proliferation of independent organizations

The largest aikido organization is the Aikikai Foundation, which remains under the control of the
Ueshiba family. However, aikido has developed into many styles, most of which were formed by
Morihei Ueshiba's major students.[20]

The earliest independent styles to emerge were Yoseikan Aikido, begun by Minoru Mochizuki in
1931,[21] Yoshinkan Aikido, founded by Gozo Shioda in 1955,[23] and Shodokan Aikido, founded
by Kenji Tomiki in 1967.[24] The emergence of these styles pre-dated Ueshiba's death and did not
cause any major upheavals when they were formalized. Shodokan Aikido, however, was
controversial, since it introduced a unique rule-based competition that some felt was contrary to
the spirit of aikido.[20]

After Ueshiba's death in 1969, two more major styles emerged. Significant controversy arose
with the departure of the Aikikai Hombu Dojo's chief instructor Koichi Tohei, in 1974. Tohei left
as a result of a disagreement with the son of the founder, Kisshomaru Ueshiba, who at that time
headed the Aikikai Foundation. The disagreement was over the proper role of ki development in
regular aikido training. After Tohei left, he formed his own style, called Shin Shin Toitsu Aikido,
and the organization that governs it, the Ki Society (Ki no Kenkyūkai).[25]

A final major style evolved from Ueshiba's retirement in Iwama, Ibaraki and the teaching
methodology of long term student Morihiro Saito. It is unofficially referred to as the "Iwama
style", and at one point a number of its followers formed a loose network of schools they called
Iwama Ryu. Although Iwama style practitioners remained part of the Aikikai until Saito's death in
2002, followers of Saito subsequently split into two groups. One remained with the Aikikai and
the other formed the independent Shinshin Aikishuren Kai in 2004 around Saito's son Hitohiro
Saito.

Today, the major styles of aikido are each run by a separate governing organization, have their
own headquarters ( 本部道場, honbu dōjō) in Japan, and are taught throughout the world. [20]

Ki

This was the kanji for ki until 1946, when it was changed to 気.

The study of ki is an important component of aikido. The term does not specifically refer to
either physical or mental training, as it encompasses both. The kanji for ki was written in its
older form as 氣 up until the Japanese governmental writing reforms after World War II, and now
is more prevalently seen in its modern form of 気. This form has the removal of the eight
directions denoting the pre and post natal energies of genki ( 元氣) (Chinese – yuán qì) also
known in the Art of Aikido as "Source energy".

The character for ki is used in everyday Japanese terms, such as "health" ( 元気, genki), or
"shyness" ( 内気, uchiki). Ki has many meanings, including "ambience", "mind", "mood", or
"intention and action", however, in traditional martial arts and medicine it is often referred to in
its more general terminology as "life energy". Gozo Shioda's Yoshinkan Aikido, considered one of
the "hard styles", largely follows Ueshiba's teachings from before World War II, and surmises that
the secret to ki lies in timing and the application of the whole body's strength to a single point.[26]
In later years, Ueshiba's application of ki in aikido took on a softer, more gentle feel. This concept
was known as Takemusu Aiki, and many of his later students teach about ki from this
perspective. Koichi Tohei's Ki Society centers almost exclusively around the study of the
empirical (albeit subjective) experience of ki, with students' proficiency in aikido techniques and
ki development ranked separately.[27]

Training

（稽古 Keiko). Ukemi (受け身) is very important for safe practice.

Training

In aikido, as in virtually all Japanese martial arts, there are both physical and mental aspects of
training. The physical training in aikido is diverse, covering both general physical fitness and
conditioning, as well as specific techniques.[28] Because a substantial portion of any aikido
curriculum consists of throws, beginners learn how to safely fall or roll.[28] The specific
techniques for attack include both strikes and grabs; the techniques for defense consist of
throws and pins. After basic techniques are learned, students study freestyle defense against
multiple opponents, and techniques with weapons.

Fitness

Physical training goals pursued in conjunction with aikido include controlled relaxation, correct
movement of joints such as hips and shoulders, flexibility, and endurance, with less emphasis on
strength training. In aikido, pushing or extending movements are much more common than
pulling or contracting movements. This distinction can be applied to general fitness goals for the
aikido practitioner.[4]

In aikido, specific muscles or muscle groups are not isolated and worked to improve tone, mass,
or power. Aikido-related training emphasizes the use of coordinated whole-body movement and
balance similar to yoga or pilates. For example, many dōjōs begin each class with warm-up
exercises ( 準備体操, junbi taisō), which may include stretching and ukemi (break falls). [29]

Roles of uke and tori

"Shite" (Nage), in this case, is the person on the right. He is doing Kokyu-Nage ( 呼吸投げ).

"Uke", in this case on the left, is doing rolling Ukemi. (France, 2002)

Aikido training is based primarily on two partners practicing pre-arranged forms (kata) rather
than freestyle practice. The basic pattern is for the receiver of the technique (uke) to initiate an
attack against the person who applies the technique—the tori ( 取り), or shite (仕手) (depending
on aikido style), also referred to as nage ( 投げ) (when applying a throwing technique), who
neutralises this attack with an aikido technique.[30]
Both halves of the technique, that of uke and that of tori, are considered essential to aikido
training.[30] Both are studying aikido principles of blending and adaptation. Tori learns to blend
with and control attacking energy, while uke learns to become calm and flexible in the
disadvantageous, off-balance positions in which tori places them. This "receiving" of the
technique is called ukemi.[30] Uke continuously seeks to regain balance and cover vulnerabilities
(e.g., an exposed side), while tori uses position and timing to keep uke off-balance and
vulnerable. In more advanced training, uke will sometimes apply reversal techniques ( 返し技,
kaeshi-waza) to regain balance and pin or throw tori.

Ukemi (受身) refers to the act of receiving a technique. Good ukemi involves attention to the
technique, the partner, and the immediate environment—it is considered an active part of the
process of learning aikido. The method of falling itself is also important, and is a way for the
practitioner to receive an aikido technique safely and minimize risk of injury.

Initial attacks

Aikido techniques are usually a defense against an attack, so students must learn to deliver
various types of attacks to be able to practice aikido with a partner. Although attacks are not
studied as thoroughly as in striking-based arts, attacks with intent (such as a strong strike or an
immobilizing grab) are needed to study correct and effective application of technique.[4]

Many of the strikes ( 打ち, uchi) of aikido resemble cuts from a sword or other grasped object,
which indicate its origins in techniques intended for armed combat.[4] Other techniques, which
explicitly appear to be punches (tsuki), are practiced as thrusts with a knife or sword. Kicks are
generally reserved for upper-level variations; reasons cited include that falls from kicks are
especially dangerous, and that kicks (high kicks in particular) were uncommon during the types
of combat prevalent in feudal Japan.

Some basic strikes include:

Front-of-the-head strike ( 正面打ち, shōmen'uchi) is a vertical knifehand strike to the head. In

training, this is usually directed at the forehead or the crown for safety, but more dangerous
versions of this attack target the bridge of the nose and the maxillary sinus.

Side-of-the-head strike ( 横面打ち, yokomen'uchi) is a diagonal knifehand strike to the side of

the head or neck.

胸突き, mune-tsuki) is a punch to the torso. Specific targets include the chest,
Chest thrust (
abdomen, and solar plexus, sometimes referred to as "middle-level thrust" (中段突き, chūdan-
 tsuki), or "direct thrust" ( 直突き, choku-tsuki).
Face thrust ( 顔面突き, ganmen-tsuki) is a punch to the face, sometimes referred to as "upper-
level thrust" (上段突き, jōdan-tsuki).

Beginners in particular often practice techniques from grabs, both because they are safer and
because it is easier to feel the energy and the direction of the movement of force of a hold than
it is for a strike. Some grabs are historically derived from being held while trying to draw a
weapon, whereupon a technique could then be used to free oneself and immobilize or strike the
attacker while they are grabbing the defender.[4] The following are examples of some basic
grabs:

Single-hand grab ( 片手取り, katate-dori), when one hand grabs one wrist.
Both-hands grab (諸手取り, morote-dori), when both hands grab one wrist; sometimes referred
to as "single hand double-handed grab" (片手両手取り, katateryōte-dori)

Both-hands grab (両手取り, ryōte-dori), when both hands grab both wrists; sometimes referred
to as "double single-handed grab" (両片手取り, ryōkatate-dori).

Shoulder grab (肩取り, kata-dori) when one shoulder is grabbed.

Both-shoulders-grab (両肩取り, ryōkata-dori), when both shoulders are grabbed. It is

sometimes combined with an overhead strike as shoulder grab face strike (肩取り面打ち,
kata-dori men-uchi).

Chest grab ( 胸取り, mune-dori or muna-dori), when the lapel is grabbed; sometimes referred to
as "collar grab" (襟取り, eri-dori).

Basic techniques

植芝 盛平) (December 14, 1883 – April 26,

Ikkyo, first principle established between the founder Sensei Morihei Ueshiba (
1969) and André Nocquet (30 July 1914 – 12 March 1999)[31] disciple.

Diagram of ikkyō, or "first technique."

The following are a sample of the basic or widely practiced throws and pins. Many of these
techniques derive from Daitō-ryū Aiki-jūjutsu, but some others were invented by Morihei Ueshiba.
The precise terminology for some may vary between organisations and styles; the following are
the terms used by the Aikikai Foundation. Note that despite the names of the first five
techniques listed, they are not universally taught in numeric order.[32]

First technique ( 一教 (教), ikkyō), a control technique using one hand on the elbow and one
hand near the wrist which leverages uke to the ground.[33] This grip applies pressure into the
ulnar nerve at the wrist.

Second technique ( 二教, nikyō) is a pronating wristlock that torques the arm and applies
painful nerve pressure. (There is an adductive wristlock or Z-lock in the ura version.)

Third technique ( 三教, sankyō) is a rotational wristlock that directs upward-spiraling tension
throughout the arm, elbow and shoulder.

Fourth technique ( 四教, yonkyō) is a shoulder control technique similar to ikkyō, but with both
hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient's
radial nerve against the periosteum of the forearm bone.[34]

Fifth technique ( 五教, gokyō)is a technique that is visually similar to ikkyō, but with an inverted
grip of the wrist, medial rotation of the arm and shoulder, and downward pressure on the
elbow. Common in knife and other weapon take-aways.

'Four-direction throw' ( 四方投げ, shihōnage) is a throw during which uke's hand is folded back
past the shoulder, locking the shoulder joint.
 Forearm return ( 小手返し, kotegaeshi) is a supinating wristlock-throw that stretches the
extensor digitorum.

Breath throw ( 呼吸投げ, kokyūnage) is a loosely used umbrella term for various types of
mechanically unrelated techniques; kokyūnage generally do not use joint locks like other
techniques.[35]

Entering throw ( 入身投げ, iriminage), throws in which tori moves through the space occupied
by uke. The classic form superficially resembles a "clothesline" technique.

Heaven-and-earth throw ( 天地投げ, tenchinage), a throw in which, beginning with ryōte-dori,

moving forward, tori sweeps one hand low ("earth") and the other high ("heaven"), which
unbalances uke so that he or she easily topples over.

Hip throw ( 腰投げ, koshinage), aikido's version of the hip throw; tori drops their hips lower than
those of uke, then flips uke over the resultant fulcrum.

Figure-ten throw (十字投げ, jūjinage) or figure-ten entanglement (十字絡み, jūjigarami), a throw

that locks the arms against each other (the kanji for "10" is a cross-shape: 十). [36]

Rotary throw (回転投げ, kaitennage) is a throw in which tori sweeps uke's arm back until it
locks the shoulder joint, then uses forward pressure to throw them.[37]

Implementations

Diagram showing two versions of the ikkyō technique: one moving forward (the omote version) and one moving backward
(the ura version).

Aikido makes use of body movement (tai sabaki) to blend the movement of tori with the
movement of uke. For example, an "entering" (irimi) technique consists of movements inward
towards uke, while a "turning" ( 転換, tenkan) technique uses a pivoting motion.
Additionally, an
[38]

"inside" (内, uchi) technique takes place in front of uke, whereas an "outside" (外, soto) technique
takes place to their side; a "front" (表, omote) technique is applied with motion to the front of uke,
 裏
and a "rear" ( , ura) version is applied with motion towards the rear of uke, usually by
incorporating a turning or pivoting motion. Finally, most techniques can be performed while in a
seated posture (seiza). Techniques where both uke and tori are standing are called tachi-waza,
techniques where both start off in seiza are called suwari-waza, and techniques performed with
uke standing and tori sitting are called hanmi handachi ( 半身半立). [39]

From these few basic techniques, there are numerous of possible implementations. For
example, ikkyō can be applied to an opponent moving forward with a strike (perhaps with an ura
type of movement to redirect the incoming force), or to an opponent who has already struck and
is now moving back to reestablish distance (perhaps an omote-waza version). Specific aikido
kata are typically referred to with the formula "attack-technique(-modifier)"; katate-dori ikkyō, for
example, refers to any ikkyō technique executed when uke is holding one wrist. This could be
further specified as katate-dori ikkyō omote (referring to any forward-moving ikkyō technique
from that grab).

Atemi (当て身) are strikes (or feints) employed during an aikido technique. Some view atemi as
attacks against "vital points" meant to cause damage in and of themselves. For instance, Gozo
Shioda described using atemi in a brawl to quickly down a gang's leader.[26] Others consider
atemi, especially to the face, to be methods of distraction meant to enable other techniques; a
strike, even if it is blocked, can startle the target and break their concentration. Additionally, the
target may also become unbalanced while attempting to avoid a strike (by jerking the head back,
for example) which may allow for an easier throw.[39] Many sayings about atemi are attributed to
Morihei Ueshiba, who considered them an essential element of technique.[40]

Weapons
 太刀取り, tachi-dori) technique
Disarming an attacker using a "sword taking" (

Weapons training in aikido traditionally includes the short staff (jō) (these techniques closely
resemble the use of the bayonet, or Jūkendō), the wooden sword (bokken), and the knife
(tantō).[41] Some schools incorporate firearm-disarming techniques, where either weapon-taking
and/or weapon-retention may be taught. Some schools, such as the Iwama style of Morihiro
Saito, usually spend substantial time practicing with both bokken and jō, under the names of aiki-
ken, and aiki-jō, respectively.

The founder developed many of the empty-handed techniques from traditional sword, spear and
bayonet movements. Consequently, the practice of the weapons arts gives insight into the origin
of techniques and movements, and reinforces the concepts of distance, timing, foot movement,
presence and connectedness with one's training partner(s).[42]

Multiple attackers and randori

One feature of aikido is training to defend against multiple attackers, often called taninzudori, or
taninzugake. Freestyle practice with multiple attackers called randori ( 乱取) is a key part of most
[43]
curricula and is required for the higher-level ranks. Randori exercises a person's ability to
intuitively perform techniques in an unstructured environment.[43] Strategic choice of techniques,
based on how they reposition the student relative to other attackers, is important in randori
training. For instance, an ura technique might be used to neutralise the current attacker while
turning to face attackers approaching from behind.[4]

In Shodokan Aikido, randori differs in that it is not performed with multiple persons with defined
roles of defender and attacker, but between two people, where both participants attack, defend,
and counter at will. In this respect it resembles judo randori.[24][44]

Injuries

In applying a technique during training, it is the responsibility of tori to prevent injury to uke by
employing a speed and force of application that is appropriate with their partner's proficiency in
ukemi.[30] When injuries (especially to the joints) occur, they are often the result of a tori
misjudging the ability of uke to receive the throw or pin.[45][46]
A study of injuries in the martial arts showed that the type of injuries varied considerably from
one art to the other.[47] Soft tissue injuries are one of the most common types of injuries found
within aikido,[47] as well as joint strain and stubbed fingers and toes.[46] Several deaths from
head-and-neck injuries, caused by aggressive shihōnage in a senpai/kōhai hazing context, have
been reported.[45]

Mental training

Aikido training is mental as well as physical, emphasizing the ability to relax the mind and body
even under the stress of dangerous situations.[48] This is necessary to enable the practitioner to
perform the 'enter-and-blend' movements that underlie aikido techniques, wherein an attack is
met with confidence and directness.[49] Morihei Ueshiba once remarked that one "must be
willing to receive 99% of an opponent's attack and stare death in the face" in order to execute
techniques without hesitation.[50] As a martial art concerned not only with fighting proficiency
but with the betterment of daily life, this mental aspect is of key importance to aikido
practitioners.[51]

Uniforms and ranking

Hakama are folded after practice to preserve the pleats.

rank belt color type

kyū white mudansha/yūkyūsha

dan black yūdansha

Aikido practitioners (commonly called aikidōka outside Japan) generally progress by promotion
through a series of "grades" (kyū), followed by a series of "degrees" (dan), pursuant to formal
testing procedures. Some aikido organizations use belts to distinguish practitioners' grades,
often simply white and black belts to distinguish kyu and dan grades, although some use various
belt colors. Testing requirements vary, so a particular rank in one organization is not comparable
or interchangeable with the rank of another.[4] Some dōjōs have an age requirement before
students can take the dan rank exam.

The uniform worn for practicing aikido (aikidōgi) is similar to the training uniform (keikogi) used
in most other modern martial arts; simple trousers and a wraparound jacket, usually white. Both
thick ("judo-style"), and thin ("karate-style") cotton tops are used.[4] Aikido-specific tops are
available with shorter sleeves which reach to just below the elbow.

Most aikido systems add a pair of wide pleated black or indigo trousers known as hakama (used
also in Naginatajutsu, kendo, and iaido). In many schools, the wear of hakama is reserved for
practitioners with dan ranks or for instructors, while others allow all practitioners to wear a
hakama regardless of rank.[4]

Aikido styles

Aikido styles vary in their intention as due to its holistic nature. The most common differences
noted in aikido, when observed externally, relate to the intensity and realism of training. Stanley
Pranin has observed that some criticism may stem from weak attacks from uke, allowing for a
conditioned response from tori, resulting in underdevelopment of the skills needed for the safe
and effective practice of both partners.[52]

To counteract this, some styles allow students to become less compliant over time, but, in
keeping with the core philosophies, this is after having demonstrated proficiency in being able to
protect themselves and their training partners. Shodokan Aikido addresses the issue by
practicing in a competitive format.[24] Conversely other post-war styles emphasis spiritual
development, enlightenment, peace studies, or the study of traditional medicine for health
studies.[53]

Reasons for the difference and diversity of teachings, intention, and forms of aikido can be
traced to the shift in training focus after the end of Ueshiba's seclusion in Iwama from 1942 to
the mid-1950s, as he increasingly emphasized the spiritual and philosophical aspects of aikido.
As a result, strikes to vital points by tori, entering (irimi) and initiation of techniques by tori, the
distinction between omote (front side) and ura (back side) techniques, and the use of weapons,
were all de-emphasized or eliminated from practice.[54]

Conversely, some styles of aikido place less importance on the spiritual practices emphasized
by Ueshiba. According to Minoru Shibata of Aikido Journal:

O-Sensei's aikido was not a continuation and extension of the old and has
a distinct discontinuity with past martial and philosophical concepts.[55]

In other words, aikido practitioners who focus on aikido's roots in traditional jujutsu or kenjutsu
are said to be diverging from what Ueshiba taught, as some critics urge practitioners:

[Ueshiba's] transcendence to the spiritual and universal reality were the

fundamentals [sic] of the paradigm that he demonstrated.[55]

References

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