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katate HACH NO KEN JI gaeshi

suburi One of the most significant is undoubtedly dell'Aikijo katate Hachi No Ji gaeshi.

katate = hand (literally "hand shape")
eight
Hachi Ji = = = cross
gaeshi response reversal (the situation), controtecnica

Therefore, the translation is " Reply (an attack) with cross-eight motion with his hand ".

One of the most taken for this movement is a response to Renzoku Uchikomi with jo,

Go or no suburi, yokomen consecutive right-left with the bokken.

A clear application of Hachi no ji gaeshi you see in the 10th kumi jo

The reference in that it uses to run suburi this is the number eight, Hachi in Japanese

hachi

From the image you can see the "lines" which resulted in the name of the movement suburi concerned.

As you can see there are different types of styles for rappresentale Hachi. From the most narrow and rigid, and expanded to more harmonious. The writing is very personal, but the movements are.

Aikido is full of symbolism, but the symbols are codes, but should not be taken literally interpreted, most of the time analyzing the hidden meaning. And above all, must have an objective verification of the application in the real

When the wise points at the moon

the fool looks at the finger.

(Zen saying)

goes without saying that the kanji for the number eight does not want to (only) to identify the directions that the jo should go, but (also) the two main points of emphasis of the movement, that is where we will be the impact with the other jo or bokken.

During a slash of the sword (yokomen uchi) we can identify three main points of impact between jo and ken-dependent trajectories of jo 3:

let's see one by one :

A

By Kanji reference to the type A, very closed, the impact on the section of bokken would be at the top (A). Hitting on this point from above give even greater boost to blow that it will continue its downward trajectory with greater force, with the possibility to be addressed toward the body, hitting the legs.

B

Kanji With reference to the type B, more open, the impact would be on the section of bokken diagonally from top to bottom, it diverts the bokken but not to such an extent as to make sure that you do not shoot down on us, if you hit the bokken a bit 'more above its trajectory will not change.

C

Kanji With reference to the type C, very open, the impact on the section of the bokken is the most effective and deflect from the path to safer, even if the impact happen in the highest part of the bokken.

Another curiosity about number eight on its meaning "hidden", the Kanji Hachi, which in Chinese is Ba, depicts a river that divides a two branches, the origin of the sign is hence separation. The number eight, for the Chinese, was also a kind of calculation units, covered the rice field. Rice fields were divided into four parts, eight had two fields. The farmers therefore used the number eight as the basis for the division of the fields in the negotiations.

tian ("field" in Chinese)

This consideration may have to Hachi No Ji gaeshi also means to divide, move, separate.

Master De Compadre insisted on this very special to dismiss asserting that, incidentally, extraordinarily, the directional lines of relevant suburi West also looked like the number 8, reverse, and that is the symbol of infinity, an extension to the right and then left.

At this point is, in slow motion, this suburi performed by Saito Sensei and look at what is the line drawn from the jth, especially at the beginning of the movement, is almost parallel to the ground, and do not pass close to the body.

1st example

Example 2

and into that sequence Miles Kessler where the open and even more pronounced:

3rd example

Contrary to the following video where jo passes close to the body of the practitioner:

4 th example

5 th example

The interpretations and systems for the execution of Hachi no Ji gaeshi of these teachers are different, as is the case generally also for many other techniques of Aikido.

I suburi performed by Saito Sensei and Miles Kessler, in my opinion, are effective in practice as well as representation "philosophy" of Kanji hachi. The fourth and fifth example can also be one of the Kanji above (that of type A), but I have serious doubts and concerns about their successful implementation.

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no Kamae - three positions - three fundamentals of a Witness

techniques, movements and tactics derived from the movements of Aikido Kenjutsu and tactics ... O Sensei has adapted these movements and tactics is that at the Tai Jutsu Buki Waza, in accordance with the principles that he himself has developed ...


Today, some schools of Aikido practice little or no study at all Buki waza (weapons techniques). Some schools have even banned weapons from circulation in the name of non-violence, thereby departing from the roots. Others, in contrast, study the technical school of Kendo, Iaido, Jodo ... These arts, not just in my opinion, even if valid, are not completely suited to applications in the movements and principles of Tai Jutsu Aikido (grappling techniques) indeed, some going in opposite directions.
This does not mean they should not be given, but must be considered martial arts, or sports from martial arts, aikido that have little to do.


NO KEN KAMAE
The basic position for the practice of ' Aikiken is Ken No Kamae, in particular the form Chudan . The criteria that govern this position are the basis of ' Hanmi .


When we talk about Ken no Kamae and then we talk of Hanmi.


I Kamae, in ' Aikiken , three, and three of the first three Kamae Suburi: 1 Suburban Chudan no Kamae, 2nd Suburi Jodan-no Kamae and 3 ° suburban Gedan no Kamae.


In the other arts of the sword the guard positions only many more, but we know that O Sensei, took only what, functionally, it served to highlight the principle of Aikido in their actions. And most of all, he has selected and "clean " all movements that potentially could remove the practice of these principles.


So, today we find ourselves practicing aikido techniques without tripping, no mowing, ... sweeps without all those mechanisms that make effective techniques and reduce the efficiency dell'aikidoka. O Sensei has the clean and tell us: " get out all the armor and practiced with the minimum of your maximum potential for exploitation." One senses that he tried not techniques arm ourselves, but let us become " technology" . Aikido strips us completely and compels us to fight our own inner nature.

The three images are related to the three positions of the Katori Shinto Ryu.
Although Buki Waza of O Sensei, developed specifically for Aikido, differs from many schools of Kenjutsu, some points remain common.

Hanmi position, that aikido has maintained, in other martial arts has been replaced for reasons of competition (where the attacks become more important defense) by a more frontal position., And where , since there is no danger of death, you can take daring attitudes.

These three positions, strategically, were those who espoused more fighting in the bush. Each of these positions controlled the other. Steps from one location to another, the tactics of attack or defense


If the first contestant took the position Chudan, Jodan passed to the other, and the first answered by Gedan.


It will deepen further on these mechanisms, for the moment let's enjoy this movie made from "the seven Samura i" Akira Kurosawa, and observe that these steps are intentionally well highlighted by the wonderful director, expert Samurai traditions of her country (see critical film at the end of this article).

E 'superfluous to point out that in the warrior tradition, position control, spirit and emotion are crucial in situations of danger .

Ken no Kamae and stability


Be that as people in everyday life, and as Aikido, studying and learning the martial characteristics, our balance can be compromise in three points.

1. Physical balance
The control point is the center of gravity of the human body, positioned a few inches below the navel

2. Emotional balance

The checkpoint is the heart-lung, organs that express the anxieties materially

3. Mental balance, mental
The checkpoint is our mind, our control center

The disruption of one of these three points has an impact on other points. Control, stability and continuous alignment of these three acts decisively on our state and consequently on our choices and actions.

In Zen posture is of primary importance to meditation.
It takes more than a year to sit properly.
If the three points are well aligned then the senses, thoughts, energy, flow blocks and of course without the clarity and insight will be total.

or senses in meditation

In Aikido we find this formula by three foundations that O Sensei path:

physical equilibrium - Stability - Strength - Earth - Square

Emotional Balance - Running - Fluid - Water - Circle

psychic equilibrium - Anal - Air - Fire - Triangle

In conjunction with the Eastern philosophical tradition, the structure of the pagoda is deeply entrenched. The square is represented by the legs, belly-land, the border is exactly 3 cm below the navel. The circle includes belly-heart zone, the border is the heart. The triangle area includes the heart-mind, the boundary is the highest point.

Ken no Kamae and three sources

particular position of O Sensei Ken no Kamae

position Ken no Kamae aligns the mind and the heart of the basin:

Basin

Stability , physical balance, effective technique ...

The stable base for the technical implementation, balance and physical imbalance

Heart

Emotions, feelings ...

The heart makes the final decision, balance and emotional imbalance

Mind

conceptualization, formulation, concentration ...

The basic tactical and strategic action and defense, balance and imbalance in the psyche.

If the position is correct, the belly is stable, the breath (kokyu) is normalized and the heart is calm, does not agitate the mind becomes clear and focused but ki flows.

If the position is correct, the belly is unstable, the breath becomes anxious your heart beats strong and stirs the mind (stress), the Ki is blocked.

The stability of the body may be broken causing a serious imbalance of mind. Acting on the mind

Aikido In ethics the above brings us to the following statement

body running the blow
the mind directs the blow
heart decide between life and death

Morihiro Saito Sensei Ken no Kamae

Ken no Kamae and the strategy of control

sword pointed at the eyes of the opponent controls the mind: the alignment (c) directs the stability of your body in line straight to the mind of the opponent which will not be able to find a way to penetrate the guard.


This point is critical to capture the Ki of the aggressor, and it is at this point that Tori can open your channel to watch the attack of Uke.


KAMAE is not just a physical location, a guard for the fight, but a state of physical, psychological, emotional connection between mind, body and spirit. For this reason the position, in a real fight, it was of paramount importance.

Note on Duel of "The Seven Samurai," Akira Kurosawa

has used the advice of the Master of Kendo Yoshio Sugino regarding technical and tactical parts of the film, even if we do not know when it has influenced the plot. The duel over represented a facsimile of a historical episode, though, for obvious reasons, not reconstructed exactly, the main character was the famous master swordsman Yagyu Jubei Mitsutoshi (1607-1650), the Yagyu ryu school. At the time, like today, wooden swords were used for daily training (bokuto or bokken) without the use of guards, the shots had come into contact with a strong proficiency in such a way as not to bring injury. Of course, the incidents were equally frequent, sometimes fatal, and the complaints were of use. Over time the use of shinai, still used in Kendo matches, will bring the hit safely without risk of injury to the opponent.

The masterless samurai (ronin ) were constantly on the road and carry only the bare essentials. In the film sequence the two contenders in the absence of bokken, obtained by cutting the makeshift bamboo swords. The challenger then took an aggressive stance (offensive mind, body pending) warning high (jodan) while the other moves to guard waki Gama (Gedan), with a neutral attitude (mind and body hold).

rattled the challenger attacks to break through the inertia, so impetuous (body and mind in attack), Kyuzo (main character) comes back with perfect timing and his bokken touches the opponent before it touches briefly in turn.

The challenger understands the difference and not declare a tie, but Kyuzo, more aware, says that the victory is his. Inevitably the answer then we try in earnest.

Repeat with real swords follows the pattern of the first assault, and this time the result is fatal for the challenger. Kurosawa with a device that loves very scenic, having exacerbated the tension and the pace of the action, past the crucial moment, shows in slow motion the fall of the victim. Probably a ploy more realistic than they seem: at times of maximum attention, as what the audience should have a duel to the death, the assurance maximize their sensitivity and time seem to expand, the moments become interminable.

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Newaza Judo Tournament in Milan.

4 TROPHY Memorial Ezio Ghiringhelli

when?

March 27 Times - 8.30 weight control - 9:00 am race start

Entries must be received by Thursday, March 24, 2011

weight and age:

Age - Race reserved for all athletes who have reached 16 years of age

Grade - Race reserved for blue belt, Brown and black or in the view of his master

Men: kg 65 / 75 / 85 / + 85

Women: kg 50 / 60 / - 70

type of race

Only Ne Waza (ground fighting)

rounds of competition - based on the number of participants

(as far as possible every athlete will have the chance to take at least 2 fights)

For categories where the female members will not be sufficient (in the opinion of the organization) can be reduced to two or even one!

race time - 3 minutes actual

Awards Medal of contributions by all members.

Judogi the best judoka of the event (prize awarded at the discretion of the organization according to number of ippon, technical excellence, originality of the steps on the ground) Art

Users to top 3 in addition to the following awards: 1st place

• . : Hooded Judo
• 2nd Class: Bag Sports
• 3 rd Class Book of Alfredo Vismara.

Adhesions - It is confirmed the participation of the team Catalana (Spain)

€ 10 registration fee to be paid at the time of the weight.

Contact:

Straight to Maestro Valter Scolari e-mail valter.scolari1 @ tin.it - \u200b\u200btel. 3319702921

For more info http://www.grappling-italia.com/14566/2011/torneo-di-judo-newaza-a-milano.html

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seppuku

In 1868 an English gentleman, Lord Redesdale, acting secretary of the British Consulate in Japan, had the opportunity to attend at the invitation and as a witness, as in fact involved as a representative of the British the ceremony of seppuku, ritual suicide of the noble Samurai and Japanese.

In February 1868 the case that a group of Japanese soldiers, orders Zenzaburo Taki, a Samurai in the service of the Prince of Bizen, shot against a camp of strangers, of mixed nationalities. In those years, going on foreign soil that interfere in disputes between the Japanese shogun (supreme head of the army) and the Emperor of Japan. For unclear circumstances Taki Zenzaburo ordered to fire on the group of foreigners causing the death of some. This happened near the city of Kobe (then called Hiogo). He was therefore ordered to Seppuku.

Lord Redesdale was the first foreigner ever to attend a ritual suicide and recounts the episode in his book "Tales from Japan".

I carry the main points:

Preparations

As a witness to a ceremony Hara Kiri (Seppuku to define the popular term), we can describe the performance. The convicted person was Taki-Zenzaburo, an officer of the Samurai Daimyo (prince) of Bizen. The Samurai was ordered held responsible for the slaughter against a foreign camp in February 1868.

The ceremony, ordered by the Mikado himself, took place at 22.30 in the Temple of Seifukuji in the army headquarters in Hiogo of Satsuma (now Kobe).

Each foreign delegation was represented by an alien for a total of seven foreign witnesses. Samurai were accompanied by the Princess of Satsuma and Choshu. The ceremony took place in private. At the gates of the Temple, however, is crowded a large crowd.

The courtyard of the Temple was very picturesque, many soldiers stationed inside around big fires that lit the caves located in the holy place.

We were placed in a room where be waiting for along with senior Japanese officials.

After a long period of time, made even longer by the silence that reigned, came-Shunsuke Ito, Hiogo deputy governor, who took our names and informed us that they would present seven Samurai "Kenshi" (Japanese inspectors from the body), an amount equal to the foreign witnesses.

The vice-governor Shunsuke Ito then asked if anyone would like any questions you wish to pay, but no request made. After another long wait we were invited to follow in the main hall Kenshi "Hondo" of the Temple, where the ceremony would take place.

was a large room with wooden pillars and a high ceiling in wood, with large golden lamps, on the one hand was placed an altar with the floor covered with beautiful white carpets, while the altar was covered with a red felt. Many candles were placed in the room and shed a dim light, just enough to illuminate the environment. The seven Kenshi settled to the left of the steps of the altar, the foreign witnesses on the right. There were no other persons as witnesses or spectators.

Foreplay

few minutes later came a vigorous man of about 32 years old, noble-looking, covered by a great white coat, I knew it was used only for special occasions. This was the Taki-Zenzaburo Samurai, the condemned man.

He was accompanied by a "Kaishaku" and three Samurai clothing War in dresses, cloth gilt.

The "kaishaku" should not be considered as the Executioner Europe. He was charged with cutting off the head of the condemned immediately after cutting the abdomen. He was considered a great honor to be required for that function, and many times more expensive than it was the friend of the convicted person or a relative.

Kaishaku In this case, was a pupil of Taki-Zenzaburo, who was chosen by friends of the convicted for his skill and precision in the use of the sword.

Taki-Zenzaburo, with Kaishaku to his left, he turned towards the Japanese witnesses with a respectful bow and solemn sitting, the Kenshi responded with a solemn bow, then turned to us and greeted us in the same way.

Slowly the prisoner ascended the steps before the altar and bowed twice, clapped his hands folded three times and bowed, then turned and made a goodbye to us. The Kaishaku was left behind the noble-Taki Zenzaburo.

One of the three dressed in Samurai warfare advanced placing a pillow in front of the gold used to pay the big deals, over the pillow rested a short sword called Wakizashi (companion sword), sharp as a razor.

This sword was delivered with many bows and accepted by the convicted person with great respect, that led to the front bowing several times, then put it down to the ground before him.

declaration

At this point Zenzaburo Taki-spoke, his voice betraying some emotion as indeed one would expect given the situation, but nothing on the outer appearance is not apparent in the state of 'mood.

"I and I alone, I gave the order without having the power to fire on foreigners in Kobe, as they tried to escape. For this horrendous crime I kill you, and please let me the honor of being present as witnesses "

Then he bowed deeply to the witnesses and took off part of his remaining clothes, shirtless, to the wall, and using the clothes ripiengandoli removed carefully and placed them under its own knees so that, thus, could not fall back as a Samurai should always fall forward. Then, deliberately, with the steady hand he took the short sword that had placed before him. He looked at her long, almost fondly, as if to set their own thoughts for the last time.

Seppuku

then sticks his sword in his left side, pulling then up toward the right side. During this operation, certainly very painful, the warrior's face betrayed no sign of pain.

while extracting the sword from his belly leaned forward and stretched out her neck. For the first time I noticed he had a look of pain but did not issue any complaint.

Kaishaku At that moment, that was up to her knees, stood up abruptly, raised his long sword above his head, then severe blow with his head separated from the body blow with equity.

"in which other part of the world teaches us that the last tribute of affection that can make the best friend is to be the executor of his death? "

Kaishaku The Samurai and all present and then bowed. Then the Kaishaku put his sword on a large sheet of paper and handed it to one of the Samurai because these were carried away in a solemn manner and were shown to the crowd as proof of execution.

Grils Getting Pierced

Domo Arigato Sensei Gozaimashita Fausto

KA (fire) and MI (water) have merged, giving rise to life. Their merger created the KAMI word which in Japanese means divine.

If KAMI divides returns fire and water in the universe then find the union in another KAMI. Our existence is made up of a body (matter) and soul (spirit). Their presence raises the man to the ground. When the body and soul divide man becomes again part of the universe, is transformed, but still.

A man is judged by what he has done (body-subject) and ethics (soul and spirit). One thing fills the other, Yin and Yang, Ka and Mi. When a man leaves us, his body (the one that has materially, and can not continue to do) creates a vacuum that fills the spirit (the one that left us as a sign, and that we can grow).

Fausto De Compadre was a man, every man is me and Ka. In recent years his practice and his teaching have wanted the union, seeking to restore what other men had shared.

What I was looking through Aikido was the union, beyond any form or style.

Fausto, within herself, and had combined KA and MI.

Domo Arigato Sensei Gozaimashita Fausto

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ikkyo for a life

Ikkyo is the technique of Katame Waza (control techniques), which increasingly attracts me. At first it was not so in the early years of practice I could not understand why O Sensei attributed so much importance to this technique.

I seemed much more effective techniques such as Niky or Sankyo for Not to mention the Nage (throws, projections) which, practicing Judo, I had my preference. Even now I think Niky, Sankyo Nage ... and the most effective, practical self-defense. But
Ikkyo is different, has another kind of efficiency.

Ikkyo is the technique that makes all other effective techniques Katame Waza: Niky, Sankyo, yonkyo, Gokyo . And not only.

Ikkyo not effective because it makes me fail to implement technically, but it makes me efficient because they can not apply any painful lever action with no tripping, no power ... I have to use all of my sensibility and master my own body becomes Ikkyo . The movements, stability, nagare which involves Ikkyo become part of ' Aikido, and not a peculiarity of the effectiveness of the technique. In a certain sense Ikkyo reduces the whole principle of Aikido. Perhaps this was intended, or Sensei with its famous kuden "Ikkyo for a living" .

The practice of Ikkyo continue to refine my sensibilities in the monitoring and channel the forces. Once you have mastered the basic movements ( Ki Hon), with all the tricks and attacks, it must be practice in Ki no Nagare Randori and . Its construction lines, in Randori, they always be correct, complete and different reactions to situations.

Being a very clean technique, all attention is paid to the principles and effectiveness of the result.


I think O Sensei has included the principle of Aikido techniques to make effective the other techniques derived from it. And it is precisely the case in regard to all the Ikkyo Katame waza .

Ikkyo become the greatest "teacher" in Randori, where I do not have to force my partner to surrender with levers, projections, tripping ... I have to do with control of single movement. In Randori there is never a Ikkyo same, but all with the same principle. And if you use force, a lever, any pressure to land my partner is not Ikkyo.

To practice properly you should not consider the Randori as a fight for applying a technique or, worse, to beat your partner. The Randori is the battle for purity. In Randori I apply the principles with a partner in the movement that will try to make things more difficult.
In traditional Judo that type is called Randori fighting to improve their technique, and Shia fighting in order to demonstrate the effectiveness of their technique.

Ikkyo has a "simple construction, so it is difficult to" say Saito Shihan.

The first form of Ikkyo that O Sensei taught in Iwama, Saito said the Maestro, it was Shomen Uchi by Ikkyo Omote .


For many who aikidoka consult the manual for the first time Budo O Sensei, is a controversial phrase:
"Tori ... begins to hit in shomen uchi ...". "What? It is always said that Aikido is the ultimate non-violence, Aikido that does not stick. There must be something wrong in the translation ...", but then there are the pictures to confirm it.

1 - Uke has a clenched fist, index an attempt of aggression, in fact, the physical attack is not yet happened, but it is the mental act. Tori (O Sensei) takes the initiative and raising his right hand for a blow to the head (Shomen Uchi )

2 - Uke abandons the attack to defend . Tori (O Sensei) and blocks grabs Uke's elbow.


In this first step O Sensei tells us "... Go and get his energy, his spirit, his mind ..." "... go straight to the heart of the action (Irimi )...". We may add, in a more ethical, "prevention is better than cure". In a tactical vision "... the best defense is attack ...".


But it is also very logical to the principle of Aikido: capture the energy. It 'is perfectly in line with the tactics of self: do not give him space and time to our attackers to mount such an attack. And it is' in line with ethics: take the initiative and make the aggressor harmless procuring less damage as possible.


At this point, in fact, the attack would stop, but there could be a reaction of the aggressor to continue the offensive, then force him to the ground, controlling it.

3 - Tori (O Sensei) stabilizes the body while maintaining the imbalance of Uke

4 - In this frame we pass directly the stage of penetration, irimi in the direction of Uke's head that will force him to put his hand on the ground and then move restraining (photo 5).

It should be said that O Sensei, in the long years of study and adjustments, has increasingly refined the technique to the principles of Aikido, adding that both actions and raising movements.

Morihiro Saito Sensei was perhaps the closest witness to the evolution of Aikido last. He is the disciple who, over time, it was as close to O Sensei ... is a historical fact (see the article by Stanley Pranin the home page).

The following sequence is the same technique performed by Morihiro Saito Sensei

I take this opportunity also to bring attention to how this sequence of technical highlights the tactical aspect of a spiritual battle.

To perform this technique so effective (also in the sense of effectiveness compared to learning), we examine these aspects of attitude, essential to understand fund as is the control of aggression. We begin by analyzing the 4 states of harmony between body and mind and spirit.

mind waiting - waiting Body

(neutral attitude and relaxed but full attention)

mind waiting - body attack

(representing the state of attack or defense to exploit the performance of partners)

Mind attack - Body pending

(representing the state aggressive, but controlled)

attack in Mind - Body attack

(representing the total was aggressive at times impulsive)

This is also a topic which I will soon. For the moment we know that the right attitude is essential to analyze the technique correctly, otherwise it becomes only exercise impersonation attack-defense.

Uke has tegatana hand, his body is pending , but his mind already in attack. Tori is relaxed, his mind and his body are waiting .

Tori immediately switches to the attack body and mind waiting . Tori goes to stop immediately the intention of Uke, with her shomen uchi strikes Uke's body, but his mind. Uke instinctively protects itself. Tori's mind was waiting for the reaction of Uke, who raises his arm. Tori then locks the elbow.

From now until the end of Tori's body will always be in action and his mind in a state of waiting to pick up all the reactions of Uke.

must be careful not to pursue immediately the left leg: Uke is not completely neutralized, and has the ability to grasp the leg of Tori.
This step is especially important during Ki Hon, pausing a moment to see if the stability has been reached. While the shift in Ki no Nagare is faster, but there must always be.

In the previous sequence, the one with O Sensei, this step is missing (there is a direct passage from the frame of this sequence from 2 to 4) as for other techniques represented in the book Budo, photographic steps are very low, perhaps due to the high cost of photographs of the time. It may be that O Sensei has just added this step in the evolution of technology since the publication of Budo. I have a feeling that the practice of this technique, without this step has been passed down through the various styles of many disciples of O Sensei who have been separated early from their teacher, bringing along models do not fully matured.

Many times it happens that Tori leftovers immediately to complete the technique in the shortest time, without assurance of the state of unbalance Uke (in other words pass from the position of the frame in the frame 2 to 4 too soon). In doing so, as we have said, if Uke is not sufficiently unbalanced can attach the front leg of Tori.

Ikkyo is the ultimate control technique, there is no need to take impetuousness of the movement. The check must be on the body of Uke, but also on your own.

trial and error, looking even older models of Daito Ryu Aiki Jutsu ... I came to my interpretation: the model represented in Budo is sound in fast combat action, speed of action 'attack is also focusing on physical performance (power and speed) that, in many cases, can solve the problem of a counter-attack. In view of the defense have to worry about, first of all, not to suffer damage. Got to make sure that during every stage of execution technique, Uke can not attack or counter-hitting.

This difference is also noticeable in the last frame of both sequences: O Sensei Budo in the manual ends with a more effective control in terms of "martial", blocking the arm up and sitting down, ordering the surrender by raising his arm in tegatana. In this sequence ends with a check instead of symbolic efficiency principle "does not affect who attacks you."

To further break the balance of Uke Tori enter at this point (irimi) with the hip and the whole left leg toward the center of Uke, in order not to fall, her left hand resting on the ground, trying to redress the balance.
Tori opens, advancing along the right hand and the right leg, and falls to the ground with full control. (This part is missing in the frames, but appears clearly in the video below)

In this movie running from Shomen Uchi Ikkyo Omote performed by Maestro Fausto De Compadre

(note as the movements follow each other in line with previous images of Saito Sensei)

Another testimony comes to us from another well-known disciple of O Sensei, Gozo Shioda, in his book "Dynamic Aikido" he writes: Tori sticks up his hand ... Uke blocks the attack with his arm ... "

Aikido is alive, as is the nature of all things , in continuous movement and change, but a rose is a rose, the petals and the thorns are arranged differently and with slightly different forms, but is easily distinguishable from other flowers. I think so should also be Aikido, in constant motion and change, but his techniques and principles clear and distinguishable in line with what O Sensei path. "In the tradition of progress" was the motion of Jigoro Kano, the creator of Judo method.