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Professor Kenji Tomiki, 9th
Dan Judo, 8th Dan Aikido (1900 - 1979)
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(click on video clip to see the full
version)
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THE CONCEPT OF LOVE IN AIKIDO
In seeking the Truth, both master and
disciple must be modest in their Heart and also must love the Truth.
The Way starts from the original
precepts set down by the founder and reaches the final goal through
the achievement of the successors.
To treat those achievements of the
founder as the base and go beyond it:
this is Creation.
To improve upon the achievements of the
master and take them to a higher level by disciple's successive works
though master's works sometimes being succeeded or denied:
this is Advancement.
Mutual Respect and Love exist here. To
respect master and love disciple is no doubt to respect Love and
Truth.
KENJI TOMIKI
(Translated by Mr Itsuo Haba)
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EL
CONCEPTO DE AMOR EN AIKIDO
En
la busqueda por la verdad, ambos, maestro y discipulo, deben ser
humildes de Corazon y tambien deben amar la verdad.
El
camino comienza desde el precepto original establecido por el fundador
y alcanza su meta final atraves del exito de sus sucesores
Trantando
esos exitos del fundador como base y llegar a sobrepasarlos.
eso
es Creacion.
Mejorar
los alcaces del maestro y llevarlos a un nivel mas alto atraves del
sucesivo trabajo de los discipulos, asi sea el trabajo del maestro
logrado o negado.
eso
es avance.
Mutou
Respeto y Amor existe alli. El respeto al maestro y amor hacia el
discipulo es sin duda respetar el amor y la verdad.
KENJI
TOMIKI
(Translated by Mr Carlos Ruiz)
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A brief history of Professor Tomiki
and those originally associated with him.
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Jigoro Kano
(1860-1938)
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Morihei
Ueshiba
(1883-1969)
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| Ichiro
Hatta
(1906-1983)
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Hideo
Oba
(1910-1986)
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| Hideo
Yamamoto
(1911-1991)
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Fusae
Tomiki
(1913-2001)
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| Den
Nagamitsu
(1913-1975)
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Masayoshi
Wazaki
(1916- )
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| Yoshimi
Osawa
(1926- )
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Masaharu
Uchiyama
(1923-2006)
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| Shouji
Tsunoda
(1927- )
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Senta
Yamada
(1924- )
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| Hirokazu
Kobayashi
(1929-1998)
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Tsunako
Miyake
(1926- )
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1900 Nacido en Kakunodate, Akita prefecture
1914 Entra en Yokote Junior High School
1919 Alcanza su 1ro Dan en Judo
1922 Entra curso prepararorio en la Universidad de Waseda
y se une al club de judo.
1926 Conoce a Morihei Ueshiba.
1927 Alcanza su 5to Dan en Judo. Se casa con Shigeko Naba
(quien fallece en 1942)
1929 Entra en una comptetencia de judo organisada en presencia del
emperador.
1931 Comienza a enseñar en Kakunodate high school.
1936 Viaja a Daido Gakuin en Manchuria.
1938 Profesor asistente en la Universidad de Kenkoku en Manchuria.
1940 Recibe su 8vo Dan en Aikido de Morihei Ueshiba.
1941 Professor en la Universidad de Kenkoku en Manchuria.
1943 Se casa con Fusae Yanagi.
1945 Exilado a siberia.
1948 Regresa a Japon.
1949 Maestro a medio tiempo en la Univesidad de Waseda
A cargo del Kodokan a tiempo completo.
1951 Maestro a tiempo completo en la Universidad de Waseda.
Shihan del club de judo de Waseda.
1953 Visita los Estados Unidos como miembro de una mission de judo.
1954 Professor en la Universidad de Waseda.
1958 Comienza un club de Aikido en a Universidad de Waseda.
1969 Alcanza su 8vo Dan en judo.
1970 Se jubila de la Universida de Waseda.
Comienza el 1ro tornamento nacional estudialtil de Aikido.
1974 Establece la Asociacion Japonesa de Aikido
y es su primer dirigente.
1975 Vice dirigente de Nihon Budo Gakkai
1979 Fallece debido a cance de colón.
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MU
SHIN, MU
GAMAE
MUSHIN La
mente en blanco, sin pensar, sin conciente,
sin emociones despreocupado,
sin fin, sin presencia
MUGAMAE Sin
postura, sin posicion,
no postura , no actitud
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A
philosophical concept that lies in the heart of Tomiki's
Budo, "Mushin Mugamae." "Mushin" is a
state in which the mind lets go from itself, no longer
seeing things as "this and that, good and bad, right
and wrong, gain and loss, life and death-all which must be
seen as a oneness." "Mushin" is a mind
undisturbed by effects of any kind from which proceeds a
"flowing mind and body" and making possible the
performance of skilful technique without "conscious
efforts made to generate and sustain it."
Mushin is the Zen concept of “no mindedness,” a
state in which there is no preconceived thought that
interrupts the flow of physical action.
Mu means “nothing, empty, or no.”
Shin means “mind or heart” in both the physical
and in the spiritual sense. Thus in terms of Zen, there is
no separation between thought and emotion.
To feel it is to think it; to think it is to feel it.
The
corollary of "Mushin" is "Mugamae", the
body adopting the posture or stance appropriate to any
situation without the conscious direction of the mind.
With
no preconceived thought or emotion, action will be one with
thought and emotion. Thus
to think it and to feel it is to do it.
A circle is always balanced.
There is no distinguishing top or bottom, left or
right. It has
no point or goal but to be a circle.
The planet Saturn represents the eternal rotation of
the solar system. Should
the planet cease to rotate, it will be destroyed, and
harmony will cease in the universe.
The planets affect the tides, the never-ending flow
of water. Should
the oceans cease to flow, stagnation will occur.
Stagnation in the physical world and in our personal
lives will bring about defeat in martial arts and in life.
The planet Saturn is bound by its rings, which
represent constraint and control.
The planet Saturn in harmony with the universe and
its own self-contained cosmos, therefore, represents the
mindless circle. Training
in martial arts is meaningless unless it leads to the
continual perfection of the practitioner, despite the
outside forces of negativity and darkness that constantly
work in opposition to spirituality and the light of hope.
Thus the way of Mushin Mugamae is “the way of the
mindless (endlessness) circle.”
There is not always a specific goal in a martial arts
technique or in life. In
most martial arts systems, the techniques have an “end in
mind.” Too
often the goal is to hurt or maim an opponent.
These techniques can also be easily countered,
leaving the practitioner with no options.
The circle stops.
But a technique designed to be a means of achieving
harmony with an opponent’s flow has many options.
Since the technique has not been predetermined, it
will be difficult to defend against.
Because the end is not in the martial artist’s
mind, it does not exist until created in response to the
flow of combat. Also
in reaction to an opponent’s attack, a strike can become a
block; a block can become a strike, with or without power.
A strike can even turn into a pat on a potential
opponent’s back should the moment of conflict be
eliminated prior to a physical confrontation.
The correct technique will occur when the martial
artist is in the flow of the mindless circle.
A momentary defeat is only a chance to create another
artistic endeavour based upon achieving the harmony
contained in the mindless circle.
Even in defeat if a martial artist is in the flow of
the endless circle, the defeat can become a means to
spiritual and physical regeneration.
The defeat becomes a victory, and the circle is
completed.
Even
in life’s every day endeavours, many individuals always
look for ends or achievements and often lose sight of the
means necessary to attain those goals.
A missed opportunity in life is merely a chance for
those individuals to aspire to another—perhaps more
exciting—achievement that would never have been realized
had their original goals been attained.
Thus no antagonist and no political or social force
can prevail in an attempt to thwart their attainment.
But the problem is that many times those same
individuals have looked only forward to that far off goal,
and they failed to create the short-term means that would
help them achieve that end.
Unless they develop the skills necessary to achieve
that goal, the goal will never come.
If the perfection of a particular martial arts
technique is a goal, it is first necessary to develop the
timing, balance, speed, and power needed for proper
execution.
A
Zen proverb states something to this effect:
“Those who wish to attain certain goals must first
become certain men or women; once they have attained that
state-- become those certain men or women-- the attainment
of that certain goal will no longer concern them.”
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THE
DEVELOPMENT OF A RANDORI SYSTEM FOR AIKIDO
In the early
part of this century Morihei Ueshiba (Founder if Aikido)
practised AIKI JUJUTSU and from this he derived his original
form "AIKI BUJUTSU".
By 1942, "AlKIDO", as it was then to be named,
was officially recognised and was know as the way of harmony.
Originally
the AIKI JUJUTSU form had no simple learning process and there
were many hundreds of techniques many of which were deadly and
violent. Morihei
Ueshiba's AIKIDO reduced the number to some 2664 variations on
30 basic movements and using safer techniques.
Students could then repeatedly practice without the fear
of permanent injury, but still keeping in mind the origins of
the techniques. Kenji
Tomiki, a student of Morihei Ueshiba and like his master he too
was an expert in Judo. He
took this a stage further and devised a simpler and more
systematic method of teaching Aikido efficiently from the
knowledge and correct application of far fewer techniques.
One of his aims was to introduce the element of
competition or free-play (Randori), something not previously
acknowledged by Aikidoka. By
the mid 1960's he had achieved this and several colleges took
part in a competition. The
analogy being similar to that of Judo, which was developed by
Kano for younger players with a competitive and sporting element
in mind.
The “BUDO
MAN” diagram shows the origins and refinements of AIKIDO
and how it relates to other disciplines.
It shows how the techniques are grouped and how they
overlap with Judo. Furthermore
it highlights the key elements for safe and effective
application of Randori.
SOFTNESS
/ MOVEMENT, BALANCE & POSTURE

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