Tag: budo

Budo – Moritaka Ueshiba’s 1938 Technical Manual
Ushiro technique – Gozo Shioda and Morihei Ueshiba in “Budo”, 1938
First there was “Budo Renshu” (武道練習) in 1933 (published in English under the name “Budo Training in Aikido“), which was given to select students at Moritaka Ueshiba’s pre-war Kobukan Dojo as a teaching license. This work includes pictures of techniques hand drawn by Takako Kunigoshi and explanatory text assembled and edited primarily by Kenji Tomiki.
Ushiro technique – “Budo Renshu”, 1933
At the time of its publication and through the end of World War II Aikido Founder Morihei Ueshiba used the name “Moritaka” – a name he received through his relationship with Onisaburo Deguchi (出口王仁三郎), from the word “shukou” (“Moritaka” can also be read “shukou”) that appeared in Deguchi Seishi’s Norito (祝詞, “Shinto prayers”).
Don’t worry if you don’t have a copy, the PDF formatted version is freely downloadable from “Aikijujutsu Densho – AKA Budo Renshu, by Moritaka Ueshiba”
Ushiro technique – “Aikido Maki-no-Ichi”, 1954
In 1954 Morihei Ueshiba published “Aikido Maki-no-Ichi”, edited by Ni-Dai Doshu Kisshomaru (Koetsu) Ueshiba. This book duplicated many of the pictures and most of the text of the earlier 1933 manual “Budo Renshu”.
Again, don’t worry if you don’t have a copy, the PDF formatted version is freely downloadable from “Aikido Maki-no-Ichi – O-Sensei’s First Book on Aikido“.
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Chris
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In between the above two works, in 1938, Morihei Ueshiba privately published another book, a technical manual called “Budo”, for Prince Kaya Tsunenori, who was one of his students at the time. This manual was (re) discovered entirely by accident in 1981 when Aikido Journal editor Stanley Pranin was shown a copy by Zenzaburo Akazawa during the course of conducting an interview.
Zenzaburo Akazawa with Aikido Founder Morihei Ueshiba, 1938
Morihei Ueshiba’s wife Hatsu, center
Morihei Ueshiba’s daughter Matsuko, kneeling
Matsuko was once married to Morihei Ueshiba’s
one-time successor Kiyoshi Nakakura
A loose translation of “Budo” was published in English under the name “Budo: Teachings of the Founder of Aikido” by John Stevens. There is also a commentary by Morihiro Saito published under the name “Budo: Commentary on the 1938 Training Manual of Morihei Ueshiba“.
I’ve discussed parts of this book before, in articles such as “Morihei Ueshiba, Budo and Kamae” (if you’re interested, the injunctions about “six directions” in “Budo” are repeated in “Aikido Maki-no-Ichi”) and the following parts two and three.
Strangely enough, “Budo” has never been published in Japanese (wthe Morihiro Saito commentary contains both Japanese and English, but omits much of the original text).
Do I have to say “don’t worry if you don’t have a copy”? Well don’t, because the PDF formatted version of the 1938 technical manual will be freely downloadable below. This is the Japanese version, of course, so you may want to refer to the two editions above with regards to the English translation and commentary. This copy was originally posted by Eric Grousilliat on his French language Budo Shugyosha blog.
Like “Budo Renshu”, “Budo” was often distributed to students as a licensing document.
The Last Page of “Budo”
On the last page of “Budo”, displayed above, we can see that this copy was issued by Moritaka Ueshiba in 1938 as a licensing document. The text on the right confirms that this document certifies the transmission of “Ogi no Koto” (奥義之事 / “Inner Mysteries”). This may likely be in imitation of the Daito-ryu “Hiden Ogi no Koto” scrolls that Morihei Ueshiba both received from his instructor Sokaku Takeda and distributed to students such as Kenji Tomiki and Minoru Mochizuki.
In comparing the three volumes, you will see that the techniques from “Budo Renshu” carry through to “Budo” and then carry through to “Aikido Maki-no-Ichi“.
“Budo Renshu” – 1933

“Budo” – 1938
“Aikido Maki-no-Ichi” – 1954
If you chance to examine and compare the text of the three volumes, which give very detailed and complete explanations of Morihei Ueshiba’s technical principles, you will find something similar – the textual explanations are consistent and continuous across all three volumes.
This is significant because it shows that what Morihei Ueshiba was teaching in 1954 was the same as what he was teaching in 1933 and in 1938. It shows that five years after he told Morihiro Saito in Iwama (in 1949) that he had “completed” Aikido…he was still distributing the same material, containing the same explanations and the same techniques that had given his students in 1933 – when they were firmly students of Daito-ryu Aiki-jujutsu.
Further, we have Morihiro Saito’s repeated testimony that what the Founder taught him in Iwama in the 1960’s most closely resembled what appears in the publication “Budo”, from 1938.
Morihiro Saito references the 1938 teaching manual “Budo”
“I once doubted that Saito Sensei’s methods were closely rooted in O-Sensei’s teachings because of the apparent differences in their execution of techniques. I based myself on the Founder’s demonstrations in the films from his final years where he performed very few techniques, many of them involving little contact with his uke. On the other hand, Saito Sensei’s aikido was precise, martial and technically diverse. However, I was forced to reevaluate my opinion on this key point following the discovery of O-Sensei’s 1938 technical manual “Budo” where photos of several key basic techniques are virtually identical to the aikido forms taught by Saito Sensei in Iwama. My later exposure to the more than 1,000 photos from the Noma Dojo series of 1935 reinforced this change in my thinking.”
– Stanley Pranin, Aikido Journal editor
“The Iwama Aikido Conundrum“
There is another important person, Takuma HIsa, who had a chance to compare the teachings of his two instructors – Daito-ryu Chuku-no-so Sokaku Takeda and Aikido Founder Morihei Ueshiba:
Takeda’s instruction gave Hisa the chance to compare the techniques that he had been taught for the previous three years (1933-1936) by Ueshiba with those taught by Takeda. His conclusion was that they were the same—meaning that Ueshiba had not by that time significantly modified or evolved what he had been taught by Takeda. In later years, Hisa was adamant about Ueshiba’s and Takeda’s techniques being identical. He stated this clearly at a round table talk, “When Tomiki came to Osaka to teach aiki-bujutsu to the Asahi people, the techniques that both master Ueshiba and Takeda taught were the same. Definitely the same. Master Ueshiba should say that he was taught them by master Takeda. He should say that it was Daitoryu. But he never said that. Mr. Tomiki (who also traveled from Tokyo to Osaka to teach Ueshiba’s system at the Asahi dojo) knows this, doesn’t he. But Ueshiba never said it.” And Tomiki answered, “Definitely not. ‘I [Ueshiba] established everything…[smiling mysteriously]’. However old martial artists would often do that way.” [Shishida (Ed.), 1982, p.1]
“The Process of Forming Aikido and Japanese Imperial Navy Admiral Isamu Takeshita: Through the analysis of Takeshita’s diary from 1925 to 1931”
– Fumiaki Shishida (Waseda University, Tokyo, Japan)
The explanations of principle and technique showing what Takuma HIsa learned in 1933 (“Budo Renshu”) are repeated in 1938 (“Budo”), which Morihiro Saito testified was what Morihei Ueshiba was teaching in Iwama in the 1950’s and 1960’s. This is supported by the fact that the identical explanations and techniques appear in 1954 (“Aikido Maki-no-ichi”), in a volume distributed by Morihei Ueshiba long after the war.
All of this lends further support to the argument that the radical phase change to the technical core of Aikido that is so commonly accepted to have occurred after the war…never happened. Or perhaps, it happened, but not at the behest of Morihei Ueshiba.
There is a discussion of this issue in “The Ueshiba Legacy, by Mark Murray” which you may like to read if you find this interesting.
One last tidbit before we proceed to the download…
“Kannagara no Budo – Daito-ryu Aiki Budo Hiden”, 1942
Here we have the same technique appearing in Takuma HIsa’s “Kannagara no Budo – Daito-ryu Aiki Budo Hiden”, published in 1942. Takuma Hisa received Menkyo Kaiden in Daito-ryu from Sokaku Takeda in 1939. Interestingly, he gives there the same exact explanation (word for word) about Shomenuchi in this book about Daito-ryu that Morihei Ueshiba gave in “Budo Renshu” in 1933…which is also the same exact word for word explanation that appears in “Aikido Maki-no-Ichi” in 1954.
“Strike while exercising the technique of the unity of opposites (陰陽合致) in the hand-sword.”

The “opposites” above are, translated more literally, “In” and “Yo”, “Yin” and “Yang”, the core principles that suffuse so much of Morihei Ueshiba’s explanations, and form the basis for Chinese martial arts and cosmology. Interesting in and of itself, but it is also interesting that the bulk of the explanation of principle and technique through this entire book about Daito-ryu…duplicates the text in Morihei Ueshiba’s 1933 and 1938 manuals, and that the same explanations that appear in Morihei Ueshiba’s 1954 manual.
And now, the full scanned PDF version of the 1938 technical manual “Budo”, by Aikido Founder Morihei Ueshiba:
- “Budo – 1938” (Dropbox – PDF format / 12.8 MB)
- “Budo – 1938” (Aikido Sangenkai Server – PDF format / 12.8 MB)
Enjoy!
Published by: Christopher Li – Honolulu, HI
July 24, 2016
Aikijujutsu Densho – AKA Budo Renshu, by Moritaka Ueshiba
Aikido Founder Morihei (Moritaka) Ueshiba
“Aikijujutsu Densho” AKA “Budo Renshu”, 1934
From the early 1920’s through the end of World War II Aikido Founder Morihei Ueshiba used the name “Moritaka” – a name he received through his relationship with Onisaburo Deguchi (出口王仁三郎), from the word “shukou” (“Moritaka” can also be read “shukou”) that appeared in Deguchi Seishi’s Norito (祝詞, “Shinto prayers”).
The actual voice of Onisaburo Deguchi chanting Shinto prayers
It was during this time period that he published the books “Budo” (1938) and “Budo Renshu” (1933), which both appeared under the name “Moritaka Ueshiba” (植芝守高).
The last page of “Aikijujutsu Densho” (“Budo Renshu”) showing its
status as a licensing document, issued in Showa year 9 (1934).
Signed “Ueshiba Moritaka” and stamped (top right) “Aikijujutsu”.
“Budo” was originally created for Prince Kaya Tsunenori, a member of a collateral branch of the imperial family. Kayanomiya would eventually become Superintendant of the Army Toyama School – where Morihei Ueshiba would act as an instructor before the war. An English edition (“Budo: Teachings of the Founder of Aikido“), translated by John Stevens, was published in 1991, and a separate edition -“Budo: Commentary on the 1938 Training Manual of Morihei Ueshiba“, translated by Sonoko Tanaka and Stanley Pranin, was published in 1999.
“Budo Renshu” (published in English under the name “Budo Training in Aikido“), published in 1933, was given to select students as a teaching license. Unlike “Budo”, which is composed of still photographs of Morihei Ueshiba demonstrating technique, “Budo Renshu” is composed of pictures hand drawn by Takako Kunigoshi, a student at Morihei Ueshiba’s Kobukan Dojo who began training shortly before her graduation from Japan Women’s Fine Arts University. This was also discussed in the article “Three Doka and the Aiki O-Kami“.
“Budo Renshu” also contains detailed written explanations of the forms and principles of Morihei Ueshiba’s art that were largely complied and edited by Kenji Tomiki, one of Morihei Ueshiba’s senior students who began training at the Kobukan Dojo in Tokyo around 1926.
More information about Tomiki Sensei is available in the articles “Kenji Tomiki: Judo Taiso – a method of training Aiki no Jutsu through Judo principles” and “Aikido Shihan Kenji Tomiki’s Goshinjutsu“.
In 1954 Morihei Ueshiba published “Aikido Maki-no-Ichi”, edited by Ni-Dai Doshu Kisshomaru (Koetsu) Ueshiba. This book, which was not publicly distributed (but is available here), duplicates most of the text and many of the drawings that first appeared in the 1933 publication “Budo Renshu”. That is to say – this book demonstrates that the technical explanations, both written and graphical, and the descriptions of principles that Morihei Ueshiba taught were the same in 1954 as they were in 1933, when the art was called “Daito-ryu Aikijujutsu”.
The document that will be available for download below, as well as the rest of the content on this site, is provided free of charge as a service to the community, and will continue to remain free of charge. You can help support this project by contributing a little bit to help support our efforts. Every donation (even $1) is greatly appreciated and helps to cover our server and bandwidth costs, and the time involved. The more support that we get the more interesting new content we can get out there!
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Thanks,

Chris
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The edition of “Budo Renshu” that will be available for download below is presented courtesy of Scott Burke, who lives in Fukuoka, but often comes to Hawaii to join the local Sangenkai workshops. He was also generous enough to provide scanned copies of “Aikido Maki-no-Ichi” and “Kenji Tomiki: Judo Taiso – a method of training Aiki no Jutsu through Judo principles“. It was issued by Morihei (Moritaka) Ueshiba in Showa year 9 – 1934.
The cover of “Aikijujutsu Densho”
As you may have noted above, the actual title on the cover of the book is not “Budo Renshu” (武道練習), but rather “Aikijujutsu Densho” (合気柔術伝書).
The book opens with a formal portrait of the founder (above) and includes photos of Morihei Ueshiba demonstrating Happo Bunshin (八方分身) at the Kobukan Dojo in Ushigome (Wakamatsu-vho) that opened in 1931. The technique he was showing was included in the Daito-ryu scrolls issued in that same year.
If you look closely, the person the second from the right in both photographs is none other than Aikido 9th Dan Rinjiro Shirata, who was known as the “Kobukan Prodigy”.
Happo bunshin – second from right in both photos:
Rinjiro Shirata Sensei (白田林次郎)
Shirata Sensei was one of the few post-war Aikido instructors to have received copies of both “Budo Renshu” and “Budo” directly from Morihei Ueshiba before the war.
Here’s a little interlude about Ichiro Shibata’s experiences when he encountered Rinjiro Shirata in 1977 (from “It Had To Be Felt #21: Shibata Ichiro: A Lean and Hungry Look“, by Ellis Amdur: ):
Another day that I vividly recall was during the first International Aikido Federation consolidation in, I believe, 1977. That morning, instead of Doshu, Shirata Rinjiro sensei taught class. There were easily one hundred and fifty people on the mat. Shirata sensei was allotted one and one-half hours. The majority of the students were foreign, with a particularly numerous French contingent, many of whom had high dan rankings. Shirata sensei had a very quiet demeanor, very gentle, very humble. The manners of French students were particularly appalling. Shirata sensei bowed in and started warm-ups. Many of these high-ranking Europeans started engaging in conversations, ignoring the warm-ups (these were not the dojo regulars — these were representatives of national organizations, many of whom ranked each other, who behaved with all the uncouth gaucherie of a United Nations bureaucrat with diplomatic immunity). After fifteen minutes (this was one of those “hidden in plain sight” moments — he did some solo exercises that, as poorly as I remember, I’d never seen before), Shirata sensei took a bokken. He started speaking about shihonage, underscoring what an important technique it was, and demonstrated shihogiri with the bokken. With surely a chuckle — well aware that the majority of those in the class were dismissing him merely because he was unknown to them – he said, “I’m sorry, I don’t know much about the sword. Osensei developed a lot of things after I studied with him.” The French kept talking, something that Shirata sensei ignored. I made a small mark at this point, because two of these six dans were standing, conversing in front of me, in the front row of the serried ranks of students <yes, standing!> while he was teaching, and enraged, I grabbed both of them by the koshiita of their hakama and slammed them into seiza, like cracking a whip. They whirled around and I said, “Shut the f**k up.” Cross-cultural communication — they understood my English! — and they turned around, bustling like a couple of broody hens on their knees. I suddenly felt a hard poke in my back. I turned around, ready for some kind of Gallic expostulations, and there was Waka-sensei (Moriteru), giggling with a big grin on his face.
Then Shirata sensei called Shibata-san out for ukemi. It didn’t start out well. The class was over one-half hour old, the old man had just done warm-ups and a “simple” set of sword swings, and he hadn’t exerted any authority over the class. Shibata-san, perhaps, can be forgiven, in that he reached out, in bored fashion, to take what he apparently assumed was a nice, apparently ineffectual old guy’s arm. I should mention that Shirata sensei’s hands were huge, like rhododendron bushes hanging from massive wrists. Imagine Shibata-san sticking out an arm towards the west. Shirata-sensei went further west. And further. I believe he covered one 1/3 the width of the Aikikai’s mat. Shibata-san’s face was like that of Wiley Coyote in the Roadrunner cartoons when he realizes that the rope he took hold of was attached to an anvil that had just been dropped off a cliff. The final cut of Shirata sensei’s shihonage was like Itto-ryu’s primordial cut: perfectly centered, from sky to ground, except he was cutting with a human being in his hands instead of a sword. Shibata-san made one of the most magnificent recoveries I’ve ever seen. I truly thought his arm was going to be ripped off his body, but he managed, with two huge strides and a dive to get around in time to take a thunderous breakfall. Shirata sensei threw him three more times, Shibata-san taking impeccable ukemi now, and he got up, a man in love. Others of us felt the same, both for the deserved come-uppance of our well-liked, but feared sempai, and also for this unknown-to-us, titanically powerful old man. Unbelievably, though, many of the French were still talking, casually strolling off the mat, even as Shirata sensei demonstrated another technique. Shibata-san, who, I’m sure, had been fuming at their behavior already, launched himself like an out-of-orbit comet managing a multiple attack of the entire Western world. Well, actually, he attacked the entire Western world. He was sweeping around the mat, jumping in to a pair of practicing foreigners, and grabbing one after another, launching them through the air, off the mat onto the wooden runway, or literally splattering them against the walls, then moving on to another pale-skinned pair and doing the same. It was like watching a fin-nipper in an aquarium, with all the guppies swirling away every time he drew near, one after another caught and mangled. Then, all of a sudden, he grabbed me, and spinning, wound up to throw me right into a wall. I managed to step inside him and turn, an inward tai-no-henko, spun him another half turn, and with our momentum, his back slammed against the wall. His eyes were blank and he raised a fist, but before he knocked me out, I grabbed his shoulders and yelled, “Shibata-san, Ore da! Ore da!” (It’s me! It’s me!). He shook himself like a wolf throwing off water, patted me on the shoulder and in English, said in a merry tone, “Oh, I’m sorry!” and spun away, grabbed another Frenchman and sent him flying.
The last half-hour of the class was much better behaved, I must say. Shirata sensei simply continued, unperturbed throughout the entire time, as if to say, “I’m simply here doing what I’m doing. If you want to pay attention, you are welcome.”
Just one more interesting note before we get to the download…..it is immediately apparent from comparing the post-war versions of “Budo Renshu” that were published by the Aikikai and Ni-Dai Doshu Kisshomaru Ueshiba (published in English under the name “Budo Training in Aikido“) to the original edition that in the post-war version many of the drawings have been re-traced. This is most-likely because they were working from photocopies or other low quality copies of the original work. What is interesting, is that many of the people in the post-war drawings appear to be….happier!
Original version – stern and focused Kobukan practitioners
Note the downturned eyebrows
Post-war version – happy Aikikai practitioners
And now, the full scanned PDF version of the 1934 “Aikijujutsu Densho” AKA “Budo Renshu”:
- “Aikijujutsu Densho” AKA “Budo Renshu” (Dropbox – PDF format / 11.8 MB)
- “Aikijujutsu Densho” AKA “Budo Renshu” (Aikido Sangenkai Server – PDF format / 11.8 MB)
Enjoy!
Published by: Christopher Li – Honolulu, HI
July 17, 2016
Aikido Maki-no-Ichi – O-Sensei’s First Book on Aikido
The cover of “Aikido Maki-no-Ichi” (1954) and the first page of the technical explanations
This page is identical to the first page of “Budo Renshu” (1933)
The 1933 training manual “Budo Renshu” (published in English under the name “Budo Training in Aikido“) was initially given to the students of Aikido Founder Morihei Ueshiba as a kind of a teaching license. It was hand illustrated by Takako Kunigoshi, a student at Morihei Ueshiba’s Kobukan Dojo who began training shortly before her graduation from Japan Women’s Fine Arts University. This was also discussed in the article “Three Doka and the Aiki O-Kami“.
Women’s self-defense demonstration.
Fujiko Suzuki (鈴木富治子 or 富士子), founder of Yamato Goshinjutsu (大和流護身術)、 left
Sokaku Takeda and Morihei Ueshiba student Admiral Isamu Takeshita on the right.
The book “Yamato Ryu Goshinjutsu” was published in 1937 and illustrated by Takako Kunigoshi.
In 1938 Morihei Ueshiba privately published another book, a technical manual called “Budo”, for Prince Tsunenori Kaya, who was one of his students at the time. This manual was (re) discovered entirely by chance by Aikido Journal editor Stanley Pranin during an interview with Zenzaburo Akazawa.
A loose translation of “Budo” was published in English under the name “Budo: Teachings of the Founder of Aikido” by John Stevens. There is also a commentary by Morihiro Saito published under the name “Budo: Commentary on the 1938 Training Manual of Morihei Ueshiba“. Oddly, “Budo” has never been published in Japanese (with the exception that the Morihiro Saito commentary contains both Japanese and English).
I’ve discussed parts of this book before, in articles such as “Morihei Ueshiba, Budo and Kamae” and the following parts two and three.
In 1954 a book called “Aikido Maki-no-Ichi” was privately published by the Aikikai Foundation – this book was mentioned by Aikido 10th Dan Michio Hikitsuchi during the course of this interview:
Is our current style of practice different from that when you started?
Yes, the waza were done differently. You know, the other day I pulled out a book, Maki-no-Uchi. That was O-Sensei’s first book. We practised along the lines described in Maki-no-Uchi. ‘
Did O-Sensei distribute that book?
No. To have it, you had to have O-Sensei’s permission. For me, that was when I reached what would now be called shodan.
Was it a secret book, something that was never shown around?
Well, I don’t know whether I would call it “secret”. It was, after aIl, a book, and there probably are people who can learn just by reading. But it would have been very hard for someone to read the book end understand what it was about unless that person were practising Aikido. Unless you were shodan or higher, you wouldn’t know what to make of it. I think that is still true today. It’s not as if you can tell someone, “Here, do it as the book shows.” Aikido is something that becomes a part of you – something that comes through the spiritual training [shugyo] of physical practice [keiko].
Now, you don’t have to be too sharp to note that Aikido Maki-no-Ichi was not Morihei Ueshiba’s first book, since it was preceded by (at least) both “Budo Renshu” and “Budo”, but it is the first book by the Founder that contains “Aikido” in the title and was published after World War II and the formal adoption of the name “Aikido” for Morihei Ueshiba’s art.
So what is it? This book was privately published and distributed in 1954 by the Aikikai Foundation in mimeographed bound format, and was edited by Koetsu Ueshiba (Ni-Dai Doshu Kisshomaru Ueshiba’s birth name).
The back pages of Aikido Maki-no-Ichi
On the left – the signature of Koetsu Ueshiba, dated April 8th Showa 31 (1956)
On the right – published April 1st of Showa 29 (1954) by the Aikikai Foundation
and authored by Koetsu Ueshiba, Wakamatsu-cho, Shinjuku-ku, Tokyo
The material will be familiar to you if you are already familiar with Morihei Ueshiba’s pre-war publications. The text is mostly a combination of text from both “Budo Renshu” and “Budo” (cleansed of most of the pre-war imperial language), with the bulk of the book (which totals some 150 pages) consisting primarily of hand illustrated techniques from “Budo Renshu”.
Why does this matter, except as a curiosity? Well, this work is significant because it shows that what Morihei Ueshiba was teaching in 1954 was the same as what he was teaching in 1933. That five years after he told Morihiro Saito in Iwama that he had “completed” Aikido…he was still distributing the same material, containing the same explanations and the same techniques that had given his students in 1933 – when they were firmly students of Daito-ryu Aiki-jujutsu.
Atemi
“Budo Renshu”, 1933 on the left / “Aikido Maki-no-Ichi“, 1954 on the right
In other words, the idea of a radical phase change in the technical core of Aikido after the war that is so commonly accepted…never happened.
This supports what Yasuo Kobayashi said about what he practiced during the early 1950’s at Aikikai Hombu Dojo in Tokyo:
Moderator: There were two books published before the war, “Budo” and “Budo Renshu”, was it only those techniques?
Kobayashi: Yes, that’s right. Of course, we did not do staff (jo) or sword (ken).
There is a discussion of this issue in “The Ueshiba Legacy, by Mark Murray” which you may like to read if you find this issue interesting.
This won’t be news to everybody, of course, Morihiro Saito used to carry a copy of the 1938 technical manual “Budo” with him while he was teaching so that he could show people that what O-Sensei had taught him in Iwama after the war most closely resembled what was represented in that manual published before the war, and not necessarily what was commonly being taught in other places.

Aikido Founder Morihei Ueshiba demonstrates Kamae in “Budo”, 1938
“In footwork there is an external six directions and an internal six directions as well as an outer spiral and an internal spiral, this will be taught in practice.”
– From “Morihei Ueshiba, Budo and Kamae“
The identical instructions appear in the Kamae section of “Aikido Maki-no-Ichi”, 1954
What is news is that, for the first time, this 1954 work presents hard evidence that what Aikido Founder Morihei Ueshiba was teaching and distributing after the war in the 1950’s was essentially the same material that he was teaching and distributing before the war. That, while some things changed, of course, there was no phase shift in core technology, or radical invention of new martial technology.
We also have this very interesting study by John Driscoll, originally published on AikiWeb, the almost exact correlation between the techniques taught by Morihei Ueshiba and the techniques of the Daito-ryu Hiden Mokuroku shows the continuing technical links between the two arts.
And this good visual comparison of the pre-war and post-war technique of Morihei Ueshiba that illustrates this point quite clearly:
So..how did “Aikido Maki-no-Ichi” come to see the light of day (and the light of the internet!)?
Last year I was talking to Scott Burke, who lives in Fukuoka, but often comes to Hawaii to join the Sangenkai workshops with Dan Harden.
Scott Burke, left, in Hawaii – December 2013
Aiki-age at the Sangenkai workshop with Dan Harden
We got to talking about how riffling through old library archives led me to what I believe to be the oldest recorded interview with Morihei Ueshiba – the one contained in the article “A Leap of the Spirit – Moritaka (Morihei) Ueshiba in 1932“.
We talked about doing more of that kind of research (easier for Scott, since he’s actually in Japan), and Dan Harden encouraged the idea enthusiastically.
“Kannagara no Budo – Daito-ryu Aiki Budo Hiden”, by Takuma Hisa – 1942
After returning to Japan he started frequenting the prefectural library and accessing the university library catalogs, and things started moving. In addition to things like “Kannagara no Budo – Daito-ryu Aiki Budo Hiden”, published in 1942 by Takuma Hisa (which he published about Daito-ryu, as a menkyo kaiden in the art, but duplicates large sections of the text in “Budo Renshu” and “Budo”), he also came across….”Aikido Maki-no-Ichi”.
And now you have too – here is the 150 page complete scanned edition of “Aikido Maki-no-ichi” in PDF format. Published in 1954 and edited by Koetsu Ueshiba. There is only one alteration, the name to whom this particular volume was dedicated has been omitted for reasons of personal privacy.
- Download (Dropbox) “Aikido Maki-no-Ichi” (PDF format / 14 MB)
- Download (Aikido Sangenkai server) “Aikido Maki-no-Ichi” (PDF format / 14 MB)
Enjoy!
Published by: Christopher Li – Honolulu, HI
May 15, 2016
Three Doka and the Aiki O-Kami
“The Secret Teachings of Budo (Poems)” – From “Budo Renshu” – 1933
The 1933 training manual “Budo Renshu” (published in English under the name “Budo Training in Aikido“) was initially given to the students of Aikido Founder Morihei Ueshiba as a kind of a teaching license.
It was filled with illustrations depicting techniques (such as the one above) taught at the Kobukan Dojo which were drawn by Takako Kunigoshi, a student at the Kobukan who began training shortly before her graduation from Japan Women’s Fine Arts University.
Takako Kunigoshi and Shigemi Yonekawa
It is believed that the sections of text were assembled by Kenji Tomiki, under the direction of Morihei Ueshiba.
Among the text that precedes the technical portion of the manual is a section entitled “The Secret Teachings of Budo (Poems)” that contains many of the Doka (“Poems of the Way”) written by O-Sensei.
There is a similar collection in the 1938 technical manual “Budo”. A loose translation of “Budo” was published in English under the name “Budo: Teachings of the Founder of Aikido” by John Stevens. There is also a commentary by Morihiro Saito published under the name “Budo: Commentary on the 1938 Training Manual of Morihei Ueshiba“, but if memory serves that edition did not include the Doka.
Together, those two collections make up the bulk of the pre-war Doka that exist today. There are also a number of Doka that appear in the post-war works of Morihei Ueshiba such as “Takemusu Aiki” (a highly abridged version of which was published by John Stevens as “The Heart of Aikido: The Philosophy of Takemusu Aiki“).
The Doka are often quoted without context or explanation (for example, as they appear in John Stevens’ “The Art of Peace: Teachings of the Founder of Aikido“, or in various internet memes).
Why are they important?
Just like the man said – these are “The Secret Teachings of Budo (Poems)” – Morihei Ueshiba encoded many of the inner teachings of his art in these short poems.
Actually, it was/is a very common practice in China and Japan to preserve knowledge (particularly martial knowledge) in the form of poems or “songs” for future generations – and Morihei Ueshiba was no exception.
For example, here is one that was quoted by Morihei Ueshiba, who often stated that it contains the secret of Aikido:
来たれば即ち迎え、去れば即ち送り、
対すれば即ち和す。
五五の十
二八の十
一九の十
是を以て和すべし。
虚実を察し、陰伏を知り、
大は方処を絶ち、細は微塵に入る。
殺活機にあり、変化時に応ず。
事に臨んで心を動ずること莫(なかれ)や。
If it comes, then meet it, if it leaves, then send it away.
If it resists, than harmonize it.
5 and 5 are 10.
2 and 8 are 10.
1 and 9 are 10.
You should harmonize like this.
Intuit true and false, know what is hidden,
The large suppresses all, the small enters the microscopic.
There are chances for life and death, without reacting to changes.
Approach things without moving your heart (without being disturbed).
The above is a passage from a Chinese text on strategy that is more than 900 years old – for a more detailed discussion about that you may want to read “Kiichi Hogen and the Secret of Aikido“.
For some some other examples, let’s take a look at a few of Morihei Ueshiba’s classic Doka here, and then take a brief look at how he further encoded his training method for future generations.
Here is the first Doka…
Doka and calligraphy by Aikido Founder Morihei Ueshiba
主之御親至愛
之心大壺空
世の営み之本と
生りぬる
“The spirit of the great love of the divine parent Su-,
vast and limitless.
It is the origin of the workings of the world“
“Su-” (主) has one of those layered meanings that the Founder was so fond of using. While it is sometimes translated as “Lord” (we’ll see a place where that happened later on in this article), according to Seiseki Abe, the Founder’s calligraphy teacher (the original of the calligraphy above belonged to Abe Sensei), it represents two things – “breath” and Amenominakanushi (天御中主).
Let’s start with Amenominakanushi – the “Diety at the Absolute Center of Heaven” – the Founder said that this diety represents you, yourself.
Amenominakanushi was the first Kami to come into being on the “High Plain of Heaven” (“Takamagahara” / 高天原).
Where is the High Plain of Heaven?
Here’s what Masahisa Goi had to say about it:
高天原がここにあるんですよ。みんなの体ですよ。
Takamagahara is right here. It’s everyone’s body.
Goi Sensei was a close friend of Aikido Founder Morihei Ueshiba. The Founder once said that Goi was the only person who truly “knew his heart”. He was also the inventor of the Peace Prayer.
But there’s more about that, the Founder himself was quite specific:
タカマガハラも自分にあるのであります。天や地をさがしてもタカマガハラはありません。それが自己のうちにあることを悟ることであります。
“Takamagahara is within yourself. If you search for Takamagahara you will not find it on Heaven or Earth. That is when you will become enlightened to the fact that it exists within yourself.”
Morihei Ueshiba
from “Aikido and the Structure of the Universe“
Amenominakanushi manifests in a triumvirate with Takamimusubi (representing “Yang” or “Heaven”) and Kamimusubi (representing “Yin” or “Earth”).
In other words, “Heaven-Earth-Man”, a.k.a. the “Sangen” (“Three Origins”) in “Sangenkai“. Yin and Yang opposing forces matched inside the body, inside oneself.
Further, these forces are bound together by “great love”. Here’s how that works out:
1. Love is “Ai” = 愛 or “A”+”i”.
2. “A”+”i” = 天 + 意, or the “intent of Heaven”
The technical reading here is that Yin and Yang are manifested as opposing forces through intent, and this is the source of the “workings of the world” – this is how things move, how things work.
Now, before somebody says “well, what about the love part?” – there’s a multilayered meaning here that makes everything work out!
1. According to Morihei Ueshiba’s teacher Onisaburo Deguchi there is selfish (“bad”) love and unselfish (“good”) love, and the love of the Kami is unselfish (“good”) love.
2. Kami is written “K+a” and “M+i”. In other words, “Kami” is “Ai”, which is both “love” (the good kind!) and “heavenly intent”.
So we see that when Morihei Ueshiba said “Aiki is the study of intent” (合気は魂の学びである) and when he said “Aiki is love” (合気は愛なり) that he was referring to intertwined concepts in a phrase with multi-layered imagery.
That crossover between “intent” and “love” is actually key concept for Morihei Ueshiba, but that’s deep enough in that direction for the time being. Moving back on track…here’s a note about Heaven-Earth-Man in the Chinese arts before we move on to fire and water:
Heaven-Earth-Man – from “Illustrated Explanations of Chen Family Taijiquan”
From this fundamental triad, many other triads can be developed to explain internal arts and internal training. Heaven’s energy (yang qi) flows downward and is received by Earth. Earth’s energy (yin) flows upward. The two interact and co-mingle in living things.
Tom Bisio: “What is an Internal Art?“
Now, let’s get to the “breath” part – if you remember, that was the second element represented by Su-, according to Seiseki Abe.
“Su is the beginning of universal breath, movement and power.
“The Spiritual Foundations of Aikido“, by William Gleason
Breath” is “Iki” – which is commonly written 息, but that the Founder said was composed of the characters for “water” and “fire” (水火). According to Seiseki Abe what is being referred to in this Doka is the breathing in which fire and water are concentrated and mixed in the tanden (丹田).
火・水（カ・ミ）の動きによって中心ができる。中心ができるから万物の生「イキ」がある。これが水火の恵みという。
It is through the movement of Fire and Water (“Ka” + “Mi”) that the center is created. It is because the center is created that the life (“Iki”) of all things exists. This is called the blessing of Water and Fire (“Iki”).
Aikido Founder Morihei Ueshiba
Oral transmission to Bansen Tanaka
As seen above, “Fire and water” were often spoken about as “Kami” by the Founder (adding more layers to the multilayered encodings that the Founder delighted in using). “Kami” also means “God”, and of course the Founder often spoke of the Shinto gods as well, which illustrates the importance of background knowledge when attempting to put the speeches and writings of the Founder in context.
Fire and water, by the way, didn’t originate with Morihei Ueshiba, they came from China – and from India before that. In China they are an integral part of the internal martial arts (as they were integral to Aikido for Morihei Ueshiba):
On the most basic level, internal martial arts and internal exercises focus on engaging with the two fundamental forces in the body, water and fire, the archetypal expressions of Heaven (yang) Earth (yin) which move within human beings. These forces have a relationship with the kidneys (water) and the heart (fire).
Tom Bisio: “What is an Internal Art?“
There is a more detailed discussion of this internal process in Tom Bisio’s article “Daoist Meditation Lesson Seven Theory: Three Treasures and the Circulation of Water and Fire“. Also, there is more about Morihei Ueshiba’s thoughts on the matter in “Morihei Ueshiba and the Way of the Cross“.
In any case, now we can see that the original Doka refers to the basic Chinese cosmology of the world – Heaven and Earth, Water and Fire, Heaven-Earth-Man, and we see from the context provided that this cosmology is presented in the context of internal training, martial internal training.
Yin and Yang manifested as opposing forces through intent within one’s own body.
For reference, here is a translation of the same Doka translated by John Stevens, that appeared in “The Essence of Aikido: Spiritual Teachings of Morihei Ueshiba”:
SU, Exalted Father
with a heart of love
as vast as the sky–
it is the source of all that
functions in this world.
Actually, the differences in translation here are not that large, but perhaps you can see that it is difficult to divine the meaning represented by the Doka from a stand alone reading.
Moving on to the second Doka…
Doka and calligraphy by Aikido Founder Morihei Ueshiba
「世の仕組國
の御親の命
もて勝速日立
つ天の浮き橋」
“Take the life given to you by the divine parents
of the nation and the structure of the world,
and swiftly
stand on the Floating Bridge of Heaven”
According to Seiseki Abe (the original of this calligraphy belonged to Abe Sensei as well), the “divine parents of the nation” are the three creator gods of the Kojiki that we saw in the first Doka – Amenominakanushi (representing “Man” – or oneself), Takamimusubi (representing “Yang” or “Heaven”) and Kamimusubi (representing “Yin” or “Earth”), the foundation of the “Aiki O-Kami” – the “Great Gods of Aiki” (along with the five generations of earthly deities / 地神五代 and the seven generations of heavenly deities / 神代七代).
Once again – the Heaven-Earth-Man model that we saw above.
This may be of interest to Aikido folks, since one of the definitions of Aikido given by the Founder in the first chapter of “Takemusu Aiki” is 「合気道は天地人和合の道と理なり。」 – “Aikido is the Way and Principle of harmonizing Heaven, Earth and Man.”
The mini-diagram of Heaven-Earth-Man that we see here was expressed by the Founder as the “Ame no Uki Hashi”, the “Floating Bridge of Heaven” (also mentioned above).
Here’s a fun fact – “Takemusu Aiki” is the largest and most reliable collection of the Founder’s lectures. The most common phrase in “Takemusu Aiki” is not “Takemusu Aiki”, not “Love”, not “Harmony”, not even “Aiki” – it’s “Ame no Uki Hashi”, which may tell you a bit about it’s importance as a model of Morihei Ueshiba’s method:
合気道はまず天の浮橋に立たなければならないと言われる。天の浮橋とは火と水の交流という。丁度十字の姿、火と水の調和のとれた世界である。つまり高御産巣日、神産巣日二神が、右に螺旋して舞い昇り、左に螺旋して舞い降り、この二つの流れの御振舞によって世界が出来たという。火と水でカミになり、このカミ（火と水）の根源は一元に帰るが、一元から霊魂の源、物質の根源が生まれる。
It is said that Aikido must first stand on the Floating Bridge of Heaven. It is said that the Floating Bridge of Heaven is the exchange of Fire and Water. Precisely in the form of a cross, it is the world of Fire and Water in harmony. In other words, it is said the this world is created through the two actions of the twin gods Takami-Musubi and Kami-Musubi winding up in a spiral on the right and winding down in a spiral on the left. Fire (“Ka”) and Water (“mi”) become “Kami”, the source of this “Kami” (Fire and Water) returns to the one, but the one becomes the source of the physical and the spiritual.
Even those who trained with the Founder directly had a hard time dissecting this. A direct student of Morihei Ueshiba O-Sensei once expressed it to me this way:
The Founder told us that we would be unable to practice martial arts if we did not stand on the Floating Bridge of Heaven. We were told that if we could not stand on the Floating Bridge of Heaven then our training would not bring forth Aikido technique, so it was essential that we do so at all costs.
However, we didn’t understand anything about where this Floating Bridge of Heaven was. Since we didn’t understand where it was there was no way that we could stand on it, so the reality was that we just put on a good face and kept on applying techniques to each other.
I’ll leave a detailed discussion of the Floating Bridge of Heaven alone for now, except to say that he was essentially talking about the basic model of Yin-Yang (in-Yo) matched opposing forces. You can find out more about the Floating Bridge of Heaven in these articles:
So…the Doka above is describing the basic structure of Yin-Yang forces at work, the classical Chinese structure that moves from the structure of the world to the structure of the nation to the structure of the individual (the “life”).
Then, it instructs you to “stand on the Floating Bridge of Heaven”, which as we saw above, the Founder stated as an absolute requirement for producing “Aiki”.
For the Founder, as in the classical Chinese model, the structure of the universe was linked and mirrored in the government and the individual.
Note that the Founder states above that this model is the source of both the physical and the spiritual..
In other words, the physical practice of Aiki is linked to, and inseparable from, both spiritual and cosmological Aiki.
For reference, here is the commonly published translation of the same Doka. This is the one that is part of a list edited by Seiseki Abe – but not translated by him:
“Build up the world”
This command he did grasp
Received from the honored mother of the nation
Thus stands Katsuhayabi
On the Floating Bridge of the Heavens
That there are some differences in translation ought to be immediately apparent. Note that this translation misses some of the references, making some of the implications quite different.
Moving on to the third Doka…
Stone monument at the Aiki Jinja in Iwama
The inscribed Doka is by Aikido Founder Morihei Ueshiba
calligraphy by Seiseki Abe
「美しき
この天地の御姿は
主の作りし
一家なりけり」
“So beautiful,
the form of this Heaven and Earth
created by Su-
to be a member of the one family”
As noted above, “Su-” is “breath”, composed of fire and water, which represents Amenominakanushi – whom the Founder identified as representing oneself.
In other words, the Founder is again talking about “Heaven-Earth-Man”, here as a method of internal training that creates a unification of opposing forces (Heaven and Earth, Yin and Yang) inside Man, inside oneself, and that this process is a path to creating better human beings – those who have the capability to form the world family.
So here we have a model for Morihei Ueshiba’s training in a nutshell – a technical method driven by internal training that crosses into personal development and refinement that drives a potential societal transformation. All of that makes sense in the light of the second Doka, which shows that all of the various systems are actually linked and inseparable.
For reference, here is a translation of the same Doka translated by John Stevens, that appeared in “The Essence of Aikido: Spiritual Teachings of Morihei Ueshiba”:
How beautiful,
this form of
heaven and earth—-
all created by the Lord,
we are members of one family.
Once again, that there are some differences in translation ought to be immediately apparent. Note that “Su-” is translated here as “Lord” (if you recall, this was mentioned above). The translation is not incorrect because of that, but it does make determining the meaning of the Doka much more difficult.
A version of the Iwama monument Doka
from the Hawaii Aiki Kai dojo on Waialae Avenue
calligraphy by Aikido Founder Morihei Ueshiba
Moving on – here’s a photo of the Shomen at the Hawaii Aiki Kai dojo on Waialae Avenue, this is the original Hawaii Aiki “Kwai” dojo that was built in 1961. It was the first dojo in the United States to be built specifically for Aikido, and when the Founder came to dedicate the dojo it was the one and only time that he ever taught Aikido in the United States.
The Shomen at the Hawaii Aiki Kai dojo on Waialae Avenue
When O-Sensei came to Hawaii in 1961 he said:
“I have come to Hawaii in order to build a “silver bridge.” Until now, I have remained in Japan, building a “golden bridge” to unite Japan, but henceforward, I wish to build a bridge to bring the different countries of the world together through the harmony and love contained in Aikido. I think that Aiki, offspring of the martial arts, can unite the people of the world in harmony, in the true spirit of Budo, enveloping the world in unchanging love.”
There’s that bridge reference again – remember it, because it will come up again a little bit later.
Detail of the Hawaii Aiki Kai dojo scroll
As noted previously, the “Aiki O-Kami” (“Great Gods of Aiki”) in the center of this scroll are expressing the foundation formed by the three creator gods of the Kojiki – representing here the basic Yin-Yang model of paired opposing forces embodied in the Floating Bridge of Heaven mentioned above.
On the top left the kanji reads “Sarutahiko-O-Kami” – a monkey god (luckily, this is being written in the Year of the Monkey!), this god is particularly associated with Misogi, and was one of Morihei Ueshiba’s guardian deities.
The Founder often told Bansen Tanaka 「猿田彦大神の化身じゃ」 – “I am the incarnation of Sarutahiko-O-Kami”.
Further, in 1958 Morihei Ueshiba visited Tsubaki Grand Shrine and said:
“These are the basics of Aikido. Moves which unite the being with the great nature, all of them given by Sarutahiko-no-O-Kami.” He continued, “Aikido is misogi. Misogi of ourselves. Aikido is the way of misogi itself, the way to become Sarutahiko-no-O-Kami and stand on the Ame- no-Ukihashi (the bridge between heaven and earth). In other words, the skills of misogi are Aiki, the way of uniting heaven and earth, the way of world peace, the way of trying to perfect humanity, the way of the Kami, the way of the universe.
There’s that bridge again – which makes sense, since Sarutahiko-O-Kami is, classically – the guardian of the Floating Bridge of Heaven.
So….that’s a second reference to the Floating Bridge.
The kanji in the top right of the scroll reads “Ame-no-murakumo Kuki Samuhara Ryu-ō” ( 天の村雲九鬼さむはら竜王). This phrase, which Morihei Ueshiba stated contains “all the techniques of Aikido” contains quite a lot of information, but we’ll leave a detailed dissection for a later time.
In simple terms – the Founder stated that “Ame-no-murakumo Kuki Samuhara” represents the divine sword whose edges unite Heaven and Earth. In some places he would refer to this sword as 天地人合気の御剣 – “The Divine Sword of Heaven-Earth-Man Aiki”. Once again representing the basic Yin-Yang model of paired opposing forces embodied in the Floating Bridge of Heaven mentioned above.
The last “Ryu-ō” (“Dragon King”) section is important as well, pointing back to Sokaku Takeda, China and India – but we’ll leave that discussion for another time.
“Aiki” – calligraphy by Aikido Founder Morihei Ueshiba
from the Hawaii Aiki Kai dojo (originally Hawaii Aiki Kwai)
If it sounds repetitive – it is. Morihei Ueshiba was so repetitive on the basic themes of his method that at times it seems hard to believe that we have had so much difficulty noticing the patterns….
So….three references to the Floating Bridge.
Last kanji – the set at the bottom left of the scroll reads “Takemusu Aiki”. Most people have heard of this one….
There’s a more detailed discussion of this phrase in “Aikido without Peace or Harmony” (and in some of the other articles), but here is the short version:
1. “Aiki” was defined by Morihei Ueshiba as matched opposing forces (Yin-Yang forces) – 「合気というものは、初め円を描く。円を描くこと、つまり対象力。」 “In this thing called Aiki, first describe (draw) a circle. Drawing a circle is, in other words, opposing powers.“.
2. “Takemusu” was defined by Morihei Ueshiba as the training of attractive force – 「武産とは引力の錬磨であります。」 “Take Musu is the training of Attractive Force.”
3. According to Morihei Ueshiba, attractive force is generated when opposing forces are joined by Ki – 「上にア下にオ声と対照で気を結び、そこに引力が発生するのである。」” Above the sound “A” and below the sound “O” – opposites connected with Ki, there Attractive Force (“Inryoku”) is created.“. This is the “unification of opposites” that is so common in Chinese internal martial arts. An interesting note here is that the Founder actually used the phrase “unification of opposites” (陰陽合致) in the 1933 technical manual “Budo Renshu”. Takuma Hisa also used this phrase in “Kannagara no Budo – Daito-ryu Aiki Budo Hiden” (惟神の武道 : 大東流合気武道秘伝) in 1942, published after receiving Menkyo Kaiden in Daito-ryu from Sokaku Takeda.
4. According to Kanemoto Sunadomari, Morihei Ueshiba’s biographer, “intent” makes “ki” work – giving us the same basic model that forms the Chinese internal harmonies – the basis of the Chinese internal martial arts: 心と意の合、意と気の合、気と力の合 – “Heart/mind leads intent, intent leads Ki, Ki leads strength/power”.
“The connection of intent and the body is the beginning of Aiki.”
– Kanemoto Sunadomari
So…more Yin and Yang (or perhaps, In and Yo, if we’re speaking Japanese) – the basic model represented by the Floating Bridge of Heaven. There is much, much more layered depth and meaning in the scroll, but one way of summarizing would be to say that it expresses Yin and Yang four ways. O-Sensei hammering the basic model of his method and training over and over – kind of a “cheat sheet” of the basic principles of the Silver Bridge that he brought to Hawaii.
Over the years I’ve made a habit of surveying people about this particular calligraphy whenever I stop by the Hawaii Aiki Kai dojo on Waialae Avenue.
Perhaps not surprisingly, I have found that very few people are able to even read the kanji of the scroll that they bow to at the beginning and end of each class. The scroll that they have bowed to (in some cases) for forty or fifty years.
It’s common for instructors from Aikikai Hombu Dojo to visit each year as well, from the junior instructors on their first trips abroad all the way up to Moriteru Ueshiba Doshu and Mitsuteru Ueshiba Waka-sensei (and Kisshomaru Ueshiba Doshu before them).
Of course, the Japanese instructors can generally read the kanji, but discussions with many of these instructors over the years have revealed that, in a reflection of the non-Japanese speakers mentioned above, the number who are able to discuss the meaning of the scroll in any depth is quite small.
I’ll end here with a few thoughts from Masatake Fujita Sensei concerning the importance of the Founder’s words:
I thought that if O-Sensei’s words were preserved than there might be somebody who would be able to follow after them.……..Even among those of high rank, those who don’t understand don’t understand. There are many people who are practicing Aikido today but have never even read a single book about O-Sensei.
Published by: Christopher Li – Honolulu, HI
April 24, 2016
Aikido Shihan Hiroshi Tada – the Yachimata Lecture, Part 5
Hiroshi Tada taking ukemi for Morihei Ueshiba O-Sensei
Rooftop of the Self-defense Forces Dojo in Ichigaya
Hiroshi Tada (多田宏) sensei is currently the Aikikai’s only living 9th dan – at 83 years old he has been called a “Geriatric Genius” by Aikido Journal Editor Stan Pranin. Certainly he remains active and dynamic to this day, some sixty-five years after he entered Ueshiba Dojo in 1948.
If this lecture series has interested you then you may also be interested in this eight part interview with Tada sensei conducted by Tatsuro Uchida, who is a well known Japanese author and a long-time student of Hiroshi Tada:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8
This is the fifth and final section of the English translation of a lecture given by Hiroshi Tada sensei at the 15th anniversary of the Yachimata Aikido Association on September 26th 2004. You may wish to read Part 1, Part 2, Part 3 and Part 4 before reading this section. Tada sensei’s comments in this final section may be of particular interest to those researching internal power and solo training.
(more…)
October 5, 2013