Mitori geiko refers to the concept of practicing by watching.  Typically, we practice mitori geiko when we are unable to practice due to an unfortunate injury (often sustained outside of training!) or when we arrive late for class.  We learn by watching the instructor and analyzing his/her movement.  However, there are also other ways to practice mitori geiko.  In fact, technology provides us with more opportunities to practice mitori geiko than was likely true for students in the past.  Before the advent of modern technologies, watching, analyzing and attempting to repeat an instructor’s movement was probably the only way to practice mitori geiko.  All of that started to change with the publication of books with photographs, vhs, dvds, followed by Youtube, Facebook and Instagram.  We are now able to watch, analyze, rewind, and watch again. 

Although useful, I think we should keep in mind that there are limits to this type of training.  Sometimes these limits are purely technical in nature; for instance, the quality of the medium and resolution of the image can make it difficult to make out what is actually happening. Another, more important, limit on mitori geiko has more to do with the individual student and his/her ability to understand what he/she is actually seeing.  It’s as if we have “filters” that limit our ability to see what is literally happening in front of our eyes.  I have often noted during my own mitori geiko how different students on the mats appear to be doing the technique in a different manner despite having received the same instruction and seen the same movements—at the same time! 

One of our “filters” probably derives from the depth of our technical foundation and knowledge of the riai of the techniques.  It is easier to appreciate what one is seeing and “steal” technique when one has a solid technical foundation and a basic understanding of the techniques being demonstrated.  We also need to know where to look—focusing on the upper body and arm/hand movements is often not as effective as focusing on foot, knee and hip movements.  However, even when one accounts for differences in technical foundation and in where one chooses to focus one’s attention, differences in how students perceive the technique still emerge.  I wonder if this not related, in part, to differences in the degree of openness and lack of preconceptions between students.  In other words, perhaps the effectiveness of our practice of mitori geiko increases to the extent that we are able to adopt an attitude of openness and lack of preconceptions toward what we are seeing (shoshin).      

Years ago, when I was practicing Karate, my instructor mentioned to me that it is much easier to see what someone does wrong than to see what they do well.  Mitori geiko is an important part of our practice; however, it is no substitute for actually spending time on the mats training with a qualified instructor.  Ultimately, I think that what we “see” is filtered through our mind; however, what we feel when practicing on the mats with more advanced aikidoka is not so easily put in words or mental categories and is, perhaps, closer to the truth of what we are trying to learn.
 
Contributed by:
Hans DeGroot,
Aikido Yoshinkai Ottawa

Chris Johnston Sensei and Paul Gagliano Sensei (Aikido Shindokan dojo) recently made a trip up to AYC Ottawa to deliver a Kigami Biraki clinic. Although I couldn’t join in the trip to visit Hans De Groot Sensei, the event inspired me to reflect on some of the clinics I've attended, with guest teachers from Vancouver, Spain, Australia, and Japan. I dusted off my notebook to see what I had learned about how to learn at these events.  
 
1. Set your intention: There's often a long stretch between the day you decided to register in a clinic and the moment you step on the mats with a bunch of strangers and old friends. In that moment, it's easy to forget why you signed up in the first place. But there must have been a reason: what was it? Hoping to pick up a spectacular technique you saw on YouTube? Inspired to move the way the guest instructor moves, doing magical throws with crisp precision or a deceptively sleepy posture? Or was it just the opportunity to hang out with new people who love doing what you love doing? Figure out why the clinic matters to you. You can write it down or just carry it in your heart, but decide on a reason for being there. Be specific with yourself about what that intention is.
 
2. Stretch: This is basic, but it matters. In those 10 minutes before the session starts, warm yourself up. Who knows? The dojo you're visiting may have a different warm-up routine than what you're used to and might skip that one stretch your body desperately needs. Or, because time is always tight in a clinic, they may not do a warm-up at all. You’re stuck with your body, so be kind to it. Make sure you target the muscles that you know need the attention. It just might be the difference between you attending all the sessions you paid for and you sitting on the sidelines after the first class.
 
3. Take uke from the guest instructor: Some guest instructors will hand-pick a specific uke to help them demo a particular technique or principle. Often, though, there's a split second where the instructor is ready to go, and anyone can leap into the void. Be that training dummy. Decide ahead of time that you're ready to jump at the chance. It can be a terrifying idea: you’re on display, wondering if you can take whatever twist the instructor will dish out. But even if everyone's speaking the same language, something always gets lost in translation when technique is put into words. Feeling it from the expert is the best way to understand what you should be learning.
 
4. Play "Uke Bingo": No one wants to be the last kid on the wall when teams are picked. So don't wait. Tap someone on the shoulder and get to work. Play a little "Uke Bingo" by changing partners with each new technique, trying to hit all of these squares before the session is over:

• Work with a stranger: your dojo-mates might have been letting you slide with some sloppy habits. Someone who isn't used to working with you won't be in the habit of letting you cut those corners.

• Work with someone of the same rank: the higher you climb, the harder it is to find other people at your level in your own backyard. If you're a nidan or sandan, lower belt students might have been vulnerable to the “halo effect,” making you think you’re better than you are. Another nidan or sandan won’t be impressed by the black in your belt. The same principle holds true if you're still in the earlier kyu stages. It's not a competition, but you should test yourself by seeing if you really earned the same shade of green as a student from somewhere else.

• Work with someone whose rank is way different than yours: If you're of a higher rank, work with a "colour belt" for a technique or two. A beginning student won't fully grasp the principle being taught--which means they aren't just "going along with it." It's also a way to ensure that lower-ranked students are made to feel truly welcome at the event. And this cuts both ways. If you're still wearing a "colour belt," share your enthusiasm by asking a black belt if they mind working with you for a round. You might pick up something that you hadn't noticed when the guest instructor showed it. If the teacher really wants to separate the seniors and the juniors, they will.

• Work with different body types: unlike sport martial arts, aikido doesn't have weight classes or separation by gender. That's not by accident. Working with as many different shapes and sizes as you can lets you figure out the common denominators. It is these common denominators that make techniques consistent and reliable. This variability brings out the best in aikido: it prepares you for self-defense against a variety of attackers and, more importantly, reminds you how to get along with people who are different from you.  

5. Train, Don't Teach: In his clinics, Robert Mustard Sensei likes to ruffle his hakama and announce, "Unless you're the one wearing a skirt today, you're here to learn, not teach. So don't talk. Train." We're all going to bump up against partners who do things a little different than us, but unless you're the guest instructor, your partner didn't pay to get a clinic from you. Yoshinkan guest instructors are famous for taking a close interest in how everyone is doing. If you think your partner is doing something a little off, keep it to yourself. Either they'll called out or they won't. Instead of playing teacher, ask yourself, "Do they know something I don't? If maybe-yes, what can I learn? If maybe-no, how can I see what not to do?" There's nothing more embarrassing than correcting a partner and then having the guest instructor correct you.
 
6. Ask Questions: Some people say that there are no stupid questions. They're wrong. There are stupid questions. But we don't really know which questions are stupid and which are useful until we start exploring the answers. And sometimes even the stupid questions lead to the best insights. Just remember, like everything in aikido, it's all about timing. Never interrupt a lesson. But if a teacher is giving you a personal correction and you don't quite get it, try asking for clarification. If that feels too bold, park your question. Most instructors make time at the end of a session or at the end of a clinic for anyone to ask about anything. And you may never have that chance again. So go ahead and look stupid. It may be the smartest thing you do in the whole clinic.
 
7. Reflect: Experts have plotted out the "forgetting curve," a graph that measures how quickly we forget what we've learned. When we don't review, that curve is scary-steep. Without review, we tend to forget 50% of what we learned over the next day or two. We forget another 48% or so the week after that. What good is a clinic if you don't learn anything? It's a waste of your money and disrespectful to the teacher who shared their wisdom. As soon as a session is over, before you even peel off that sweat-soaked gi, jot down some notes. It can be keywords or scribbled sentences, point-form or mind-maps. Then look at it the next day and fill in some of the gaps. Even if you never come back to the notes, the fact that you made them means that you've coded the ideas into your long-term memory. My own teacher makes notes at the start of class, during class, and at the end. And when the notebooks are full? He throws them away. It's the act of writing, not the written record, that encodes it in your mind.
 
Bonus Tip: Have fun. Yoshinkan Aikidoka don’t do tournaments, and most of us in the global community can’t travel to the annual demonstrations in Japan. A clinic is rare chance to reinvent yourself. So pick up something new, whether it’s a technique, an explanation, or a friend.

Contributed by John Corr,
Aikido Yoshinkai Canada
Hamilton, ON

Members of Aikido Yoshinkai Canada who have been with Kimeda Sensei over the years know that until 2017 one of the hallmarks of his teaching was his weekly Kenshu class. Kenshu are intensive study and training classes and while we did not always leave these classes sweating from physical exertion, we did leave them mentally exhausted.

Kimeda Sensei’s lectures in these classes always offered something “more” — more than a simple physical explanation or application of technique. They provided us with additional historical, philosophical or cultural insights that gave us a more complete understanding of our art. In this way, Sensei gave us a way to contextualize our Aikido, a way to better comprehend the practice of Aikido in the modern world.
Over the last few weeks at the Shindokan we have had a particular focus on jiyu-waza training and throughout this time one of Kimeda Sensei’s teachings from his Kenshu classes has repeatedly come to mind — Heijoshin.
This term refers to a mind that is in a natural, calm state — a mind unperturbed by the goings-on that swirl around it. We would say that someone who had achieved Heijoshin had a certain “presence of mind.”
Literally translated Hei-jo-shin means “peaceful-ordinary-mind.” Takuan Soho referred to it as “Fudoshin,” meaning “immoveable mind.” Miyamoto Musashi called this state “Iwa no Mi,” to have a mind (body) like an immoveable rock. Finally, Yagyu Munenori used the term “Suigetsu,” to refer to a state in which the mind is as calm as the still water which reflects the moon.
From a developmental perspective, one can be said to have achieved Hei-jo-shin when they have overcome the 4 Sicknesses (shi-kai) of the martial arts. These are: surprise, fear, doubt and hesitation (kyo-ku-gi-waku). It is not a far stretch to realize how falling into any one of these states of mind could cause turmoil, confusion and an inability to interact effectively with one’s surroundings..
While at first the idea of Heijoshin seems simple enough, at least in terms of daily living, it is a far more difficult concept to achieve in practice and even more so under pressure. In the dojo, one way we add this pressure is in through jiyu-waza training.
In Yohsinkan Aikido practice, jiyu-waza presents shite with a unique experience from at least two perspectives. The first is in the application of their technique and the second is in the experience of their art.
In terms of application, jiyu-waza is unlike any other practice that we do. In performing kihon waza, for example, shite and uke interact in a mutually agreed upon manner, each performing movements known to the other. This style of training is called kata-geiko — the practice of forms. While we can, and do, attempt to mimic the application of jiyu-waza techniques through various renzoku (continuation) drills, these do not really approximate the intensity of actual jiyu-waza. These renzoku waza are certainly beneficial, but jiyu-waza includes an element of randomness that frustrates any effort at pre-planning.
From the perspective of experience as well, jiyu-waza is unlike anything else in our training. In jiyu-waza, the comfort zone provided by the “prior knowledge” of our kata-geiko is no longer present. And while the manner of attack is generally known, little else is. Shite has no knowledge of other key variables such as speed, intensity or direction. Add to this the fact that there may be multiple attackers and you have what amounts to a pressure cooker for many practitioners.
So, in this way, jiyu-waza propels shite into new and unfamiliar situations and asks them to deal with unknown variables. The result? Typically? Confusion.
Here we can start to gain insight into the often quoted adage by Gozo Shioda, the founder of Yoshinkan Aikido. He said: “Aiki soku seikatsu.” Aikido and life are one. Aikido training mimics experiences in life and it is through our practice that we can acquire the skills to deal with similar experiences in our daily lives.
Learning to cope with confusion on the mats through the practice of jiyu-waza is extremely useful to us. Most of us are confronted by confusion in varying degrees of intensity everyday, in both our personal and our professional lives. Staying calm, understanding the variables and responding appropriately are competencies we gain through jiyu-waza. Born of our training, these skills can help us to become more stable in our approach to potentially disruptive people and situations.
So the real question then, is; How do we acquire Heijoshin — that unperturbed always calm state of mind? Well, fortunately, there are no shortcuts. Shortcuts rob us of experience. They rob us of the very quality and depth of learning we are seeking. So get ready to work. You certainly will not achieve Hei-jo-shin by philosophizing over your tea or joining a book club. Achieving Hei-jo-shin in Aikido requires that you get on the mats. Practice. Sweat. Find out who you are. Learn to welcome the unfamiliar. Overcome the 4 sicknesses. Maintain control of your ‘self.’ When the world slows down around you, you will have it.
Practice well!
OSU!
Chris Johnston

Chief Instructor, Shindokan Dojo
Aikido Yoshinkai Canada

The following is from Sensei Chris Johnston, Shindokan Dojo

In Yoshinkan Aikido, the Kihon Dosa are considered to be a distillation of the key physical skills and principles inherent in everything we do.  They include:  Tai no Henko, Hiriki no Yosei, and Shumatsu Dosa.  Each of these has a #1 and a #2, so this gives 6 movements altogether.  They can be performed solo or in pairs.  The #1 techniques emphasize entering (irimi) and the #2 techniques focus on pivoting (tenkan).  All of the exercises train us to use smooth, centred and unified movements.

As an aside, I find the English name “Basic Movements” a little misleading.  I prefer to translate the Japanese phrase — Kihon Dosa — as “Foundational Movements.”  It seems to me that this gives a better transmission of the phrase’s full meaning.

Tai no Henko (Body Change) movements include cross-stepping in as you change directions, as well as guiding as you pivot.  In the #1 movement — Cross-Step In Body Change — the hips are key in the change of directions as you step forward from your back foot.  In the #2 — 95 Degree Pivot — the hips are used again to generate a stable guiding movement that pivots on the front foot.  The use of the hips in both cases is the source of power and stability for the movements.  The practice of these hips movements helps us to move in a stable, centred and, at the same time, circular manner.  Tai no Henko movements also teach us to co-ordinate the movements of our arms, legs and body.  When practicing these, be sure to move in a unified manner.

Tai no Henko teaches us that “going with the flow” from a position of strength can result in our success.  Irimi (entering) and tenkan (pivoting) used at the appropriate times result in our strong position vis-a-vis the opponent.  Give the opponent what they want . . . but win in the end.

The Hiriki no Yosei (Elbow Power) movements are said to come from the raising and cutting of a sword.  In Yoshinkan Aikido, Hiriki no Yosei is a basic practice of moving your centre of gravity.  Forward and backward is called #1 and shifting is called #2.  It is important to keep in mind that this set is not called “Shoulder Power” or “Arm Power.”  Keep the shoulders down and do not use the strength of your arms.  Move with the power of your lower body as it is transferred from your feet through your knees and hips and along the lower part of your arms (triceps).  Keep your weight on the balls of your feet and keep your back leg straight.  Don’t fall down.

One of the things that Hiriki no Yosei teaches us is that aikido does not use muscle power.  It uses unified and centred body power.  The more we can focus the power of the entire body the more effective our technique will be.  The more we can bring our entire beings to bear on a project or problem in life, the more effective we will be.

The final set, Shumatsu Dosa (Finishing Movement, After Class Exercise), are movements drawn from the Ryotemochi Shihonage technique.  In the #1, the movement reinforces blending, entering, shifting, extending and the transfer of body power to the hands.  The #2 movement emphasizes guiding and pivoting along with shifting, extending and power transfer.  This set is the most complicated of the Kihon Dosa group both in terms of physical movement as well as integration of key principles.  In the practice of Shumatsu Dosa you must bring all of these key concepts to bear.  Make big movements, move sharply, step deeply and smoothly.

The lesson?  In aikido, find a position that is at the same time strong for you and weak for the opponent.  This is not achieved through confrontation and muscle, but rather through blending and guiding.

As I alluded to above, the Kihon Dosa are anything but basic.  They are really the foundation of everything we study.  Pay attention to every detail of these and your aikido will become extremely effective.  I believe it is Robert Mustard Shihan who always says:  “The way you do your basic movements is the way you will do you basic techniques.  The way you do your basic techniques is the way you will do your freestyle.”

Seems basic enough.
Practice well!
OSU!

Chris Johnston
Chief Instructor, Shindokan Dojo
Aikido Yoshinkai Canada

From Sensei Jason Moore, Aikido Durham:

Meditation is about relaxing the mind and the body, so that you can tune in to what is going on internally by tuning out the external stimuli of the outside world. Breath and your internal energy flow through the body like water through a garden hose.  It is this flow that allows the body to heal and generate internal power. Kink the hose in any section and you reduce or potentially shut down the flow.
There are many methods and areas of focus for meditation, all with tons of detail to explore.  For the purposes of this blog, I would like to explore some basic meditation principles.  Then in subsequent blogs we will look at how to incorporate these principles into our Aikido training.

Here is a basic exercise you can do to help tune in to the central channel of your body.  Running from the crown of the head down the spine to the tanda (energy centre) two inches below your navel.  The central channel is the core of balance and awareness and is the source from which all other energy channels derive.
Let’s begin in a chair with your back straight, your feet flat on the floor and your hands placed on your lap.  Close your mouth and eyes and breathe in through your nose.  Follow the breath down your throat and let it fill your belly like a balloon. Let your stomach expand, but don’t hold your breath.  Once the air feels like it should exhale, let it go back up your spine and out your nose.  Continue this in and out process for a few breaths just working to have a nice even in and out rhythm.

Now, the first place people build tension when breathing is in their chest (your first kink in the hose!).  On your next inhale, take one hand and place it on your chest and the other on your stomach.  Just notice as you inhale and you follow the breath down into the belly, does your chest move.  Ideally, your chest should remain still.  Spend the next few breaths in and out, relaxing your chest as you breathe. Just let the chest relax and feel heavy as your breathe in and out.

Once you can breathe easily with a relaxed chest, follow your breath in through your nose and down your body towards your belly, and just take notice of any smaller areas that might be holding tension.  As you breathe in, is your neck tense?  If it is, let the breath relax your neck.  Are you holding tension in your shoulder blades? Let them relax and round away from the spine.  Continue this process down your spine to your hips, just scanning for any places you might find tension. Slowing removing the kinks from the hose, and letting the blood flow more openly through the body.

Now let’s observe the breath as it returns up from the stomach.  Follow your breath down as before, and now as the breath begins to flow back up the spine follow the flow up to the crown of your head and let the breath wash over your head towards your forehead.  Then down and out your nose.  This flow will create a circuit of energy that you can follow along with your breath.  Through the nose, down the throat, relaxing the chest and into the stomach.  Then filling the belly and returning up the spine, relaxing the shoulder blades, up to the crown of the head and over the head to return out the nose. Practicing relaxing your breath and body through this circuit will help to open your central channel, from which all other energy channels of the body are fed.
The benefits of meditation can be realized at any age.  Becoming aware of your breath gives the mind a much needed reprieve from the busyness of our day to day worlds.  In an age where we are all inundated with screens and external demands, taking time to reflect on what is going on inside is critical.  I believe, this process is an essential step to bringing our martial arts training to the next level, which we will explore in the next article.

This article was written by Sensei Jason Moore, Aikido Durham
For more from this author, visit: aikidodurham.ca.

I began aikido for the same reason that many others do. To learn self-defence.

As a kid, I wasn't really drawn to fighting. But being a kid is tough, and sometimes the fight comes to you. The idea of being vulnerable to bullies stayed with me. When I grew up and saw aikido in the movies, I loved the idea of being able to protect myself without having to hit first.
 
It was an easy decision to start training in aikido. But traditional aikido is pretty formal. I had to use my imagination to see how it could be adapted for attacks “on the street.” The moves were all there. I’d just have to strip away the respect, compassion, and care that defined how we trained in every aikido class.
 
Luckily for me, attacks “on the street” never really materialized.
 
But kids did.
 
I became a parent. Becoming a parent didn’t erase the possibility of conflict. If anything, it sunk me in it! There are conflicts with your kids, conflicts with your partner, conflicts with other kids, teachers, and other parents.
 
Thankfully, aikido teaches us how to be in conflict without destroying our opponents. It teaches how to be open without being weak. How to be assertive without being aggressive. It teaches me when to stand my ground, when to move in, and when to turn aside. 
 
Conflict is inevitable. But aikido has given me tools to handle it. I don't really think about stripping away respect, compassion, and care to make aikido practical. These qualities are what make it practical. I call upon these qualities every time I train, and I practice them every day off the mats. This is what puts the "do" in "aikido." This is what makes it a way of life.
 
But villains, beware! If I ever do find myself in a dark alley facing off against machetes, lead pipes, and pool cues, I’ve got a few moves in my back pocket...just like in the movies!

John Corr,
Aikido Yoshinkai Canada
Hamilton, Ontario

This blog post is the first in a shared series. For more insights into this topic, check out:

Shindokan Martial Arts School
Aikido Durham