N° 2

11/2004

« L’homme est
fait d’un corps
et d’un esprit
qui par
définition est
brillant. C’est
le corps qui
ternit l’esprit.
L’aïkido
dépoussière le
corps. »
Maître
Morihei
Ueshiba,
fondateur de
l’aïkido.
“Man is made
of one body
and one mind
which is by
definition
brilliant. What
tarnishes the
mind is the
body. Aikido
removes the
dust from the
body.”
Morihei
Ueshiba Sensei,
Founder of
Aikido
 N° 2
11/2004

Novembre 2004, 2e numéro November 2004, 2nd number

Journal Gratuit, reproduction et photocopies Gratis journal, reproduction and photocopies
autorisées pour autant que la source « San are allowed as long as the source « San Shin
Shin Kai Letter » soit citée. Kai Letter » is mentioned.
Eric Graf Eric Graf
Aikido Ikeda-Dojo La Chaux-de-Fonds Aikido Ikeda-Dojo La Chaux-de-Fonds
Ecole d’Aïkido de Neuchâtel Ecole d’Aïkido de Neuchâtel
[Link] [Link]

Un grand merci à Aude Joseph et Dag Ivar Olsen Special thanks to Aude Joseph and Dag Ivar
pour leur aide et leurs conseils dans les Olsen for their help and their advices in the
traductions. translations.
Slika O Senseia na koricama je delo Žarka The ‘O’Sensei’ picture on the cover is from ,
Drinčića, akademskog slikara Žarko Drinčić academic painter.
San Shin Kai Letter N° 2
11/2004

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San Shin Kai Letter N° 2
11/2004

San Shin Kai Letter

Editorial Leader
Je me souviens encore de mes premières impressions I still remember my first impressions when I started
quand j’ai commencé l’Aïkido ; cela m’a frappé Aikido. It struck me like a thunderbolt; I had the solid
comme un coup de foudre : j’avais la ferme intention intention to start practicing some martial art. I decided
de commencer un art martial, j’avais décidé d’aller to visit one Judo-Dojo, one Karate-Dojo and one
visiter un dojo de judo, un de karaté et un d’aïkido. J’ai Aikido-Dojo, I started with the Aikido one… I never
commencé par celui d’aïkido… je ne suis jamais allé went and saw the two others!
voir les deux autres !

Lorsqu’on entre pour la première fois dans un dojo, When one enters a Dojo for the first time it is like
c’est comme entrer dans une nouvelle dimension du entering in a new dimension of the world, the rules of
monde, les règles d’étiquette à respecter et behavior that have to be respected and the learning of
l’apprentissage de techniques inconnues renforcent new techniques reinforce this impression. There is
cette impression. Il y a dans la pratique quelque chose something mysterious and powerful in the practice that
de mystérieux et de puissant qui réveille la curiosité et awakens curiosity and passion. After one or two
la passion. Après un ou deux mois d’entraînement, on months of practice one feels that Aïkido does not only
sent que l’aïkido n’agit pas que sur le corps mais qu’il act on the body but that it induces much more, a
induit bien plus encore, un chemin philosophique et philosophical and spiritual path! You realize that you
spirituel ! On réalise qu’on est vraiment en train de are really discovering a new world. The best is that
découvrir un nouveau monde. Le plus beau, c’est today I still have this impression.
qu’aujourd’hui j’ai toujours cette impression. It’s a world with doors to on some revelations that are
C’est un monde avec des portes sur des révélations qui, mysteries at the beginning. These are special doors
avant qu’elles ne s’ouvrent, sont des mystères. Ces since they are without keys. Some of them open
portes sont un peu spéciales car sans clés ; certaines ne themselves after having shown enough patience, some
s’ouvrent qu’après avoir montré suffisamment de others after long efforts, some discouragements, some
patience, d’autres qu’après de longs efforts, des tests, regularity…
découragements, des épreuves, de la régularité, …

Peu à peu je découvre que ce (ou ces) nouveau(x) Slowly I’m discovering that this (or these) new
monde(s) qui se révèle(nt) à moi à force de world(s) which are revealing themselves to me through
persévérance et d’entraînement ne sont rien d’autre que perseverance and training are nothing else than myself
moi-même avec toutes mes facettes ! with all my facets.

4
San Shin Kai Letter N° 2
11/2004

Chaque chose merveilleuse que l’on découvre nous Every wonderful thing one discovers gives you the
donne l’envie de la partager, ce journal est l’une des wish to share it, this newsletter is one of the
matérialisations de ce vœu. Le numéro 1 du San Shin materialisations of this wish. The first issue of the San
Kaï Letter a été un succès inespéré, il a été distribué Shin Kaï Letter has been an unhoped success. It has
dans une dizaine de pays et lu par des centaines de been distributed in ten countries and read by hundreds
personnes. Maître Ikeda l’a feuilleté page après page en of people. Ikeda Sensei himself went through it page
l’approuvant (voir la suite de l’article sur Gen Kei Ko after page while approving (see the continuation of the
Kyu Nage). En voilà plus qu’il n’en fallait pour trouver article about Genkei Kokyunage). That was more than
l’énergie nécessaire à donner naissance au numéro 2 enough to find the necessary energy to give birth to the
que voici, bonne lecture ! second number, enjoy it!

Octobre 2004, EGR.

5
San Shin Kai Letter N° 2
11/2004

Tables des Matières Table of content

Editorial…………………………………. 5 ..………….……………………...Leader
EGR EGR

Stage de Sadskà 2004 avec Michele Sadskà Seminar 2004 with Michele
Quaranta Sensei………..……………… 9 .……………………. Quaranta Sensei
EGR EGR

Gen Kei Kokyu Nage (suite)………… 18 …………..……..Gen Kei Kokyu Nage

EGR (continuation)
EGR

Kokyu…………………………………… 21 …………………………………Kokyu
Jacques Margairaz Jacques Margairaz

AIKIDO, origin, tradition, principles, Aikido, poreklo, tradicija, principi,

calligraphy and movements, Hojo, 27 kaligrafija i pokreti, Hođo, duh
Spirit of Sensei Masatomi Ikeda’s Senseia Masatomi Ikede
Aikido by Sensei Michele Quaranta... ...Aikido – Sensei Michele Quaranta
Slobodan Nenin Slobodan Nenin

On Aikido training……………………... 33 ..…...…………….Over Aikidotraining

Sander Van Geloven Sander Van Geloven

Aikido Glossary, Sander Van Geloven

34

Comment recevoir le 35 How to receive the

San Shin Kai Letter……………………… ………………...……San Shin Kai Letter

Tables des Matières Table of content

6
San Shin Kai Letter N° 2
11/2004

Quelques règles…
1. Entraîne-toi, entraîne-toi,
entraîne-toi! ☺
2. Pratique, pratique,
pratique ! 1. Train yourself, train
3. Si tu es fatigué, dors ! yourself, and train yourself!
4. Quand tu comprendras ce 2. Practice, practice, practice!
que tu ne comprends pas, 3. If you are tired, sleep!
tu comprendras qu’il n’y a 4. When you will understand
rien à comprendre ! what you don’t understand,
you will understand that
☺ there is nothing to
understand!

Some rules…
EGR

7
San Shin Kai Letter N° 2
11/2004

Stage de Sadskà
Avec / with
Michele Quaranta Sensei
(5° Dan Hombu Dojo)

Nous avons interviewé Maître Quaranta à Prague le We interviewed Sensei Quaranta in Prague on the
vendredi après-midi qui suivit la fin du stage de Sadskà. Friday afternoon following the end of seminar in Sadskà.
Voici mot pour mot notre discussion. Here is a word for word report report of our conversation.
EGR EGR

Q : Le stage de Sadskà a la réputation d’être un Q : The stage (seminar) of Sadskà is known as one
des plus difficiles, est-ce vrai et si oui, pourquoi ? of the hardest, is it true and if yes, why ?
Sensei : Je ne pense pas que ce soit le stage le plus Sensei: I don’t think it is the hardest, it is a stage
dur, c’est un stage qui réunit certains éléments : which brings together some elements:
- une infrastructure idéale dans un endroit - an ideal infrastructure in an ideal place,
idéal, - the concentration of the people is ideal
- la concentration des gens est idéale aussi also since they neither have to think about
car ils ne doivent pas penser ni à trouver finding a place to sleep, nor finding
un endroit pour dormir ni à trouver de something to eat, all this is taken care of.
quoi manger, tout cela est pris en charge. They only have to think about training
Ils ne doivent que penser à s’entraîner, themselves, everything else is organized.
tout le reste est organisé. Ce qui fait que This is increasing the intensity of the
l’intensité des entraînements augmente, il trainings, there are less energy losses.
y a moins de perte d’énergie.
Q: So this is the difference between the Sadskà
seminar and the other seminars you are giving?
Sensei: It is the main difference because even if in

Interview avec Michele Quaranta Senseï Interview with Michele Quaranta Sensei
8
San Shin Kai Letter N° 2
11/2004
other stages there are also 3 trainings per day, the
trainings are always interrupted by the need of
finding a restaurant, of thinking about what one
will eat, of the time one is loosing, etc. In a
seminar like the one of Sadskà there is a greater
concentration during the trainings hours.

Q: Some beginners are sometimes afraid to come

to the summer stages and particularly to the one
of Sadskà, maybe they are afraid not to be able to
provide the level you (Sensei) ask of them? Could
Q : Donc c’est cela la différence entre le stage de you say something to dispel this fear?
Sadskà et d’autres stages que vous donnez ? Sensei: It’s a question which always recurs.
Sensei : C’est la différence la plus importante However we prove exactly the contrary. In Sadskà
parce que même si dans d’autres stages on fait there was one quarter of beginners, it’s a lot, and
aussi trois entraînements par jour, les one quarter of advanced. Every group was
entraînements sont toujours entrecoupés du besoin represented but the beginner group was the most
de trouver un restaurant, de penser à ce qu’on va important one. I think they didn’t have any
manger, du temps qu’on perd et ainsi de suite. difficulty to follow the seminar. It’s a prejudice
Dans un stage comme Sadskà il y a une plus that people have, but it isn’t justified, at least not
grande concentration pendant les heures in my stages. Because I take care of the advanced
d’entraînement. and they help me taking care of the beginners. I
Q : Certains débutants ont parfois peur de venir think that in my seminars this problem is not real.
aux stages d’été et à celui de Sadskà en
particulier, peut-être ont-ils peur de ne pas
pouvoir fournir le niveau que vous (Sensei)
demandez d’eux ? Pouvez-vous dire quelque
chose pour leur enlever cette peur ?
Sensei : C’est une question qui revient toujours.
Pourtant on prouve exactement le contraire. A
Sadskà il y a eu un quart de débutants, ce qui fait
beaucoup, et un quart d’avancés. Tous les groupes
étaient représentés, mais le groupe des débutants
était important. Je pense qu’ils n’ont eu aucune
difficulté à suivre ce stage. C’est un préjugé que
les gens ont, par peur, mais il n’est pas justifié, en
tout cas pas dans mes stages. Parce que je
m’occupe des avancés et ils m’aident à s’occuper
des débutants. Je pense que dans mes stages ce Q: Usually you say there is every year one topic
problème ne se pose pas. for each stage. Can you tell us what the topic was
Q : Souvent vous dites que chaque année chaque for this 5th anniversary stage?
stage a son thème. Pouvez-vous nous dire quel Sensei: All seminars in Sadskà are based on one
était le thème de ce 5e stage jubilé ? part which is Aikido, one which is Aiki-Ken and
Sensei : Tous les stages de Sadskà sont basés sur one which is Hojo. And, in the Aikido without
une partie qui est aïkido, une qui est aiki-ken et weapons we always work on the 4 or 5 basic
une qui est le hojo. Et, dans l’aïkido sans armes, attacks which Ikeda Sensei liked the most; he used
on travaille toujours les quatre ou cinq attaques de to say that all the other attacks where included in
bases que préférait Maître Ikeda, i.e. où il disait these 4 or 5. On this we base the topics. Then
que toutes les autres étaient comprises dedans. progressively in the stage one gives some
C’est sur quoi on base d’abord les thèmes. Puis, corrections about attitudes. One makes it in the
au fur et à mesure qu’on avance dans le stage, on practice of Aiki Ken, Aikido and Jo. One tries to
donne des corrections d’attitude. On le fait dans la show all these parallels.
pratique de l’aiki ken, de l’aïkido et du jo. On Q: Compred with other seminars, the one of
essaie de mettre tous ces parallèles en avant.

Interview avec Michele Quaranta Senseï Interview with Michele Quaranta Sensei
9
San Shin Kai Letter N° 2
11/2004
Q : Comparé à d’autres séminaires, celui de Sadskà is also specific because there is some
Sadskà est aussi spécial parce qu’il y a du hojo. Hojo. In this stage you explained especially
Dans ce stage vous avez expliqué des connexions connections between Hojo and Aikido. Can you
entre le hojo et l’aïkido. Pouvez-vous nous en dire just tell us a little about a few of these connections
un peu plus sur ces connexions à l’attention des for people who have never practised Hojo so far
gens qui n’ont encore jamais pratiqué de hojo in order to get just a little of insight into that?
pour les aider à percevoir un peu mieux cette Sensei: Let’s say that Hojo is a kata, a kata for
vision des choses ? two people and where one can find the basic
Sensei : Disons que le hojo c’est un kata, un kata techniques of Aikido in their attitude, not in their
qui se fait à deux et où on peut retrouver les equal form (not possible). But in their attitude one
techniques de base de l’aïkido dans leur attitude, can find exactly their attitude in its essence like
pas dans leur forme égale (pas possible). Mais Ikeda Sensei brought it, that is spring, summer,
dans leur attitude, on retrouve exactement autumn and winter. In our form or rather, in his
l’essence comme Maître Ikeda l’a apportée, i.e. le form of explaining the systematic of aikido one
printemps, l’été, l’automne et l’hiver. Dans notre can exactly find these elements which correspond
forme, ou plutôt sa forme d’expliquer la to the seasons. For those who have some
systématique de l’aïkido, on retrouve exactement knowledge about the systematic of Ikeda Sensei it
les éléments qui correspondent à ces saisons. Pour is easy to understand these links, for those who
ceux qui ont une connaissance de la systématique haven’t got this knowledge it is more difficult.
de Maître Ikeda c’est facile de comprendre les This is why, between a one week seminar and a
liens, pour ceux qui n’ont pas cette connaissance week-end seminar, in a week-end seminar I don't
c’est plus difficile. C’est pour cela que, entre les talk too much about the Hojo and the parallels
stages d’une semaine et ceux d’un week-end, dans because many people do not practice Hojo and
un stage d’un week-end je ne parle pas trop du they could not understand what I am explaining.
hojo et des parallèles parce que beaucoup de gens
ne pratiquent pas le hojo et ils ne pourraient pas
comprendre ce que j’explique. Q: What can somebody improve in his aikido if
Q : Qu’est ce que les gens peuvent améliorer dans one practices Hojo ?
leur aïkido par la pratique du hojo ? Sensei: The attitude. The attitude. Hojo creates a
Sensei : L’attitude. L’attitude. Le hojo crée une certain concentration before the impact. One
certaine concentration avant l’impact. On a besoin needs this concentration when one starts an
de cette concentration lorsqu’on commence une aikido-technique, that is Ai Awase. If this
technique dans l’aïkido, i.e. Ai Awase. Si cette concentration is missing, or this decision is
concentration manque, ou cette décision manque, missing, all the rest isn’t possible. There must be
tout le reste n’est pas possible. Il faut qu’il y ait this meeting so that one can execute a good
cette rencontre pour pouvoir faire une bonne technique, so that there is no doubt between the
technique, pour qu’il n’y ait pas de doute entre le Tori and the Uke, there must never be any doubts,
Tori et le Uke, il ne faut jamais qu’il y ait de this is Hojo. It is creating some no-doubts-
doutes, le hojo, c’est ça. Il crée des situations de situations, one is not doubting, one must go!
« non-doute », on ne doute pas, on doit y aller ! Q: Last stage was known because of one sentence
Q : Du dernier stage on a retenu une phrase of you, sensei, that “90% is attitude”, can you
fameuse que vous avez dite : « 90% c’est explain this?
l’attitude ! » pouvez-vous l’expliquer ? Sensei: Yes, if the attitude is missing techniques
Sensei : Oui, si l’attitude manque, les techniques are useless. If the attitude is missing, timing is
ne servent à rien. Si l’attitude manque, le timing wrong, presence is missing, all that could make a
est faux, la présence manque, tout ce qui peut technique successful will miss if the attitude is
créer la réussite d’une technique va manquer si bad. What is the use of knowing one thousand
l’attitude est mauvaise. Donc à quoi sert-il de techniques if at the moment of contact with the
savoir mille techniques si au moment de la partner the good attitude is missing?
rencontre avec le partenaire il vous manque la
bonne attitude ? Q: Every summer you give many seminars in the
Q : Chaque été vous donnez des séminaires en Czech Republic, Slovakia, Croatia, Serbia and
République tchèque, Slovaquie, Croatie, Serbie et Montenegro. Are the stages the same in all of
Monténégro. Les stages sont-ils les mêmes dans these countries?
chaque pays ? Sensei: The stage is born at the place itself. I am

Interview avec Michele Quaranta Senseï Interview with Michele Quaranta Sensei
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San Shin Kai Letter N° 2
11/2004
Sensei : Le stage naît à l’endroit même. Je ne vais not going with a program from one country to
pas avec un programme de pays en pays et je another and then do repeat this program in every
répète ce programme dans chaque pays, je ne fais country, I am not doing like this. Ikeda Sensei was
pas comme cela. Maître Ikeda travaillait très very often working like this; it is his style of
souvent comme cela, c’était son style de travail. working. My style of working is to adjust to the
Mon style de travail, c’est de m’adapter à la knowledge and to the point of development of the
connaissance et au point de développement où se people who are present at the seminar. One cannot
trouvent les gens. On ne peut pas créer un create a training before knowing who will be the
entraînement avant de savoir qui est l’élève qui va students who will have to work it out. One can
devoir faire cet entraînement. On peut découvrir discover the level of the students very quickly like
très vite son niveau déjà, comme le dit Maître Hosokawa Sensei says, in his Tai Sabaki.
Hosokawa, à son Taï Sabaki. Q: So the students are the ones who make the
Q : Donc c’est les élèves qui font le niveau d’un level of the stage?
stage ? Sensei: The seminar is created by the students and
Sensei : Le stage, c’est les élèves qui le font, non not by the one who is leading it. The one who
celui qui le donne. Celui qui donne doit pouvoir leads must be able to read in the students in order
lire dans les élèves pour donner un bon stage. to give a good seminar. Otherwise it is not
Sinon c’est pas possible, cela devient comme à possible, it becomes like at school, it’s very dry,
l’école, c’est très sec, c’est pratiquement mort, il there must be that exchange student-master. At
faut que cela vive, il faut qu’il y ait cet échange this moment, like I always say, the master learns
élève-maître. A ce moment-là, comme je dis as much as the students, this is why both parts
toujours, le maître en apprend autant que les bow, otherwise there would be only one side who
élèves, c’est pour cela que chacun salue, sinon il salutes… Both are bowing because one knows
n’y en aurait que un qui saluerait… On salue tous already that one will learn one from each other.
les deux parce qu’on sait déjà que l’un va
apprendre de l’autre. Q: So the student learns from the master and the
Q : Donc les élèves apprennent du maître et le master learns from the student?
maître apprend des élèves ? Sensei: Of course.
Sensei : Bien sûr. Q: Summer seminars are usually close to the
Q : Les stages d’été sont en général près de la nature, not too near to big cities, why do you
nature, éloignés des grandes villes, pourquoi prefer nature? Is there something learn from it, do
préférez-vous la nature ? Y a-t-il quelque chose you think it is giving it gives something to the
que vous apprenez d’elle, pensez-vous que cela people?
apporte quelque chose aux gens ? Sensei: It’s always in order to create that ideal
Sensei : C’est toujours pour créer cette situation situation. Why is Sadskà ideal? Because it is in a
idéale. Sadskà c’est idéal pourquoi ? Parce que forest, there is a student centre, there is some
c’est dans une forêt, il y a un centre pour nature around, there is no other interest that can
étudiants, il y a la nature autour, il n’y a aucun disturb or awaken the lack of concentration. I try
autre intérêt qui peut déranger ou réveiller le to hold seminars in places where, if possible,
manque de concentration. Je cherche à faire des people can keep concentrated during the whole
stages dans un endroit où, si possible, les gens week. That they aren’t disturbed by going to the
peuvent rester concentrés pendant toute la disco or to the restaurant and so on.
semaine. Qu’ils ne soient pas dérangés pour aller
en disco ou au restaurant et ainsi de suite. Q: What do you Sensei think about the
atmosphere of this stage compared with the ones
in the past years?
Sensei: I must say that in Sadskà I have only had
good experiences. But each year was different one
from the other. I cannot say this is better, that is
less good. I believe that every year we joined what
had to be joined, that is a state of harmony in the
practice between the people, what is creating this
seminar a little extraordinary. One must create this
atmosphere, but of course without the people one
cannot do it, they are creating it, and one must

Interview avec Michele Quaranta Senseï Interview with Michele Quaranta Sensei
11
San Shin Kai Letter N° 2
11/2004
exactly bring them on that line and then be able to
Q : Sensei, que pensez-vous de l’atmosphère qui a keep them on that line, this is my job after all. But
régné dans ce stage comparée à celle qu’il y avait of course there must be some interest, one must be
les années passées ? able to awaken it, many things are necessary. It
Sensei : Je dois dire qu’à Sadskà je n’ai fait que like cooking a good soup, it’s not enough to have
de bonnes expériences. Mais chaque année était beans, one must also have many ingredients to
différente l’une de l’autre. Je ne peux pas dire ceci add, sometimes one must taste it, like this one
est mieux, cela est moins bon. Je crois que chaque succeeds in preparing a good meal.
année on a rejoint ce qu’il fallait rejoindre, i.e. un
état d’harmonie dans la pratique et entre les gens Q: So what is for you a successful stage?
qui crée ce stage un petit peu hors du commun. Il Sensei: I don’t like this word, I don’t like the
faut créer cette atmosphère, mais bien sûr sans les word “success”, because people think according
gens on ne peut pas le faire, c’est eux-mêmes qui to the number of participants, according to the
la créent, et il faut justement les mener sur cette money which comes in, but one doesn’t care
ligne et il faut savoir les garder sur cette ligne, about this.
c’est cela mon job en fin de compte. Mais bien sûr Q: But to you ?
il faut qu’il y ait de l’intérêt, il faut savoir Sensei: That’s why, I just wanted to precise that
l’éveiller, il faut plein de choses. C’est comme this is not the success. Success is that the people
faire une bonne soupe, il ne suffit pas d’avoir des after each hour, after each training stay on the
haricots, il faut avoir plein d’ingrédients qu’il faut tatami and continue to ask questions to themselves
ajouter, de temps en temps goûter, et ainsi on and to seek for answers, for me, this is success. If
réussit un bon dîner. after each training people would run out of the
Q : Ce stage a donc été un succès ? tatami I would ask questions to myself.
Sensei : Je n’aime pas ce mot, je n’aime pas le
mot « succès », parce que les gens pensent par
rapport au nombre de participants, à l’argent qui
rentre, mais on se fiche de cela.

Q : Mais pour vous ?

Sensei : Justement, je voulais quand même
préciser que ce n’est pas cela le succès. Le succès
c’est que les gens après chaque heure, chaque
entraînement restent sur le tatami et continuent à
se poser des questions et à chercher des réponses.
Pour moi, ça c’est le succès. Si après chaque
entraînement les gens fuyaient le tatamis je me
poserais des questions.
Q : Sensei, que pensez-vous de l’idée d’avoir un Q: Sensei, what do you think about having one
entraînement de nuit pendant le stage de Sadskà ? night training in the stage of Sadskà or about
Ou de faire durer le stage quelques jours de plus making the stage last a few days longer?
encore ? Sensei: To have trainings by night, this can be
Sensei : D’avoir des entraînements de nuit cela done even in town, in the usual dojo. To practice
peut se faire même en ville, dans le dojo habituel. in half darkness is very interesting because it is
De s’entraîner dans une semi obscurité est developing the senses since the eyes still see only
intéressant parce que cela développe les sens 30 to 40%. So all senses are increasing.
puisque les yeux ne voient plus que 30, 40%.
Donc tous les sens augmentent.
Q : Vous voulez dire que les yeux voient plus ou
moins ? Q: You Do you mean that the eyes see more or
Sensei : Plus. C’est-à-dire la faculté de voir less?
augmente. Ce qui est encore plus important ce Sensei: More. The faculty of seeing is increasing.
serait d’avoir un stage qui dépasse le stade de What would be even more important would be to
fatigue, qui va dans le stade où on ne sent plus le have a seminar which goes over the status state of
corps et qui nous mène dans un état de tiredness, which goes into the status state where
conscience. Donc il faudrait que cela dure au one doesn’t feels the body anymore and leads us

Interview avec Michele Quaranta Senseï Interview with Michele Quaranta Sensei
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San Shin Kai Letter N° 2
11/2004
minimum 8 jours, idéalement 2 semaines. La to a state of consciousness. So it would mean that
première semaine on est seulement là pour it would have to last for at least 8 days, ideally 2
combattre l’état de fatigue, de douleur. Dans la weeks. The first week one is only here to fight
deuxième, pour celles/ceux qui passent la against the status of tiredness, of pain. In the
première semaine, on va dans les humeurs, le second, for those who passed the first week, one
psychique, « je suis fatigué, pourquoi cela, goes in the humors, the psychic, “I am tired, why
pourquoi ceci, j’en peux plus », on se pose des this, why that, I cannot anymore”, one asks
questions, on recherche en soi, une fois cela passé, questions to him/herself, one is seeking inside of
c’est la conscience. Et si les gens font him/herself, once this is overcome, it is
l’expérience de cette conscience, ils n’auront plus consciousness. And the people who do the
jamais besoin qu’on les motive pour un experience of that consciousness, they will never
entraînement, ils sauront se mettre eux-mêmes have to be motivated anymore, they will know
dans l’état juste, ici et maintenant. La fatigue n’a how to put themselves alone in the right status,
pas d’importance, cela n’a pas d’importance, rien here and now. Tiredness has no importance, that
n’a d’importance. Cette présence. Je ne sais pas, has no importance. This presence. I don’t know,
les gens n’ont peut être pas fait cette expérience. maybe people haven’t done this experience. I was
J’ai eu la chance de la faire avec Maître Ikeda. lucky enough to have it with Ikeda Sensei.
Parce que j’ai voulu la faire, il ne m’a pas forcé. Because I wanted to do it, he didn’t forced me. To
Donner aux gens la possibilité de faire cette give to the people the possibility to do this
expérience, oui, pourquoi pas, mais c’est toujours experience, yes, why not, but it is always linked to
lié à plein de choses, l’infrastructure, le temps, many things, infrastructure, time, money… As for
l’argent… Moi je suis prêt à le faire, mais ce n’est me I am ready to do it, but it is not easy to
pas facile de motiver les gens. motivate the people.
Q : Les gens disent préférer les stages d’une
semaine à ceux d’un week-end. Serait-il possible Q: People say they prefer week seminars to those
d’avoir par exemple un stage par saison, une of one week-end. Would it be possible to have, for
semaine en automne, une en hiver, etc. ? example, one stage per season, a week in autumn,
Sensei : Pour moi ce serait idéal. one in winter, etc.?
Q. Est-ce possible ? Sensei: For me it would be ideal.
Sensei : Ce serait idéal, seulement, comment créer Q: Is it possible?
cela ? Parce que les gens n’ont pas de temps, ils Sensei: It would be ideal, only and yet, how to
sont dans une vie quotidienne où ils travaillent, ils create this? Because people don’t have time, they
ont la famille, plein de choses, et sacrifier -pour have a daily life where they work, they have a
eux c’est sacrifier- pour moi ce serait le contraire, family, many things, and to sacrifice –because for
sacrifier deux semaines de leur vacances pour them it is scarifying- for me it would be the
faire un stage d’aïkido. C’est là une décision que contrary, to scarify two weeks of their holydays to
chacun doit prendre pour soi, mais je ne pense pas make an aikido seminar. This is a decision that
qu’il y aurait beaucoup de gens qui pourraient le each one has to take personally, but I don’t think
faire… that there would be many people who could do
Q : Je pense que beaucoup de gens viendraient. it…
C’est long à chaque fois d’attendre jusqu’à l’été Q: I think many people would do it. It is long to
suivant pour avoir des stages d’une semaine always wait until the next summer to have a full
complète. week seminar again.
Sensei : Le problème c’est aussi qu’il y a
beaucoup de stages, les gens ne veulent pas que Sensei: The problem is also that there are many
voir Michele, ils veulent aussi voir Maître Tada, seminars, people do not want to go only to see
Maître Hosokawa, il y a plein de maîtres et c’est Michele, they also want to see Tada Sensei,
compréhensible. Si je parle d’un petit rêve, petit Hosokawa Sensei, there are many masters and it is
mais qui est réalisable, c’est d’avoir un endroit où understandable. If I now speak of a small dream,
les gens viennent et qu’ils restent pendant deux ou small but realizable, it is to have a place where
trois ans, et ils font un vrai apprentissage, de A à people come and stay for two or three years, the
Z, en ce qui concerne l’aïkido. Et après ils make a learning, from A to Z for what concerns
peuvent dire après trois ans « j’ai fini et je vais Aikido. And after they can say after 3 years “I am
exercer cela dans mon dojo ou n’importe où ». done and I will train this either in my dojo or
Voilà, c’est encore mieux que quatre stages d’une wherever”. That’s it, it would be even better than

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semaine par année. Mais bon, là on parle de 4 seminars of one week per year. But ok, here we
choses idéales. are speaking of ideal things.
Q : Certaines personnes disent même être prêtes à
sacrifier les deux ou trois stages de week-end Q: Some people say they would agree to sacrifice
dans leur pays si à la place on pouvait avoir un the 2 or 3 weekend seminars they have in their
stage d’une semaine par saison… country if instead of those could be one week
Sensei : Il suffit que ces gens parlent ! Pour moi il stage per season…
n’y a pas de problème, mais il faut aussi trouver Sensei: It suffices if these people speak! For me
les infrastructures ce qui n’est pas facile. Il faut there is no problem, but one must also find the
trouver un dojo, un bon endroit, il faut que ce soit infrastructures, which is not easy. One must find a
retiré car en ville cela ne sert à rien, les gens dojo, a good place, it must be a calm place, in
rentrent chez eux et retrouvent leurs problèmes town it’s useless because people go back home
quotidiens… and find their daily problems…
Q : Sensei, vous avez dit que vous inviterez un
autre maître pour le stage de Sadskà de l’année Q: Sensei, you said that next year you will invite
prochaine, pourriez-vous nous parler un peu de another Sensei here for the Sadskà seminar, could
cette personne ? you please tell us a bit more about this person?
Sensei : Pour moi c’est une grande personne, Sensei: For me it is a big person, someone
quelqu’un de hors du commun qui est dans ce exceptional who is in the circle from which I was
cercle auquel j’ai fait allusion avant. C’est un speaking before. It is a student of Ikeda Sensei as
élève de Maître Ikeda ainsi que de Maître Tada, il well as of Tada Sensei, he received his 6th dan
a reçu le 6e dan de Maître Tada. Il respecte et from Tada Sensei. He very much respects and
admire beaucoup le travail de Maître Ikeda. Il admires the work of Ikeda Sensei. He teaches both
enseigne les deux formes, comme il les a forms, as he understood them, without having a
comprises, sans avoir une vraie connaissance de la real knowledge of the systematic of Ikeda Sensei.
systématique de Maître Ikeda. Mais il a assimilé But he has mastered the techniques. It’s a real big
les techniques. C’est une grande personne à tous person at many levels, not only in Aikido, bokken,
les niveaux, pas seulement en aïkido, bokken, jo, jo,… at all the levels a person who I respect
… à tous les niveaux une personne que je respecte enormously. Automatically a person that you
énormément. Automatiquement une personne respect enormously has a lot to teach to you, and
qu’on respecte énormément a beaucoup à vous if he has what to teach to me I think that other also
apprendre, et si elle a à m’apprendre à moi, je can take advantage of his knowledges, this is why
pense que d’autres peuvent aussi en profiter, c’est I would like him to come to Sadskà. It is
pour cela que j’aimerais le faire venir ici à Sadskà. somebody who doesn’t want to travel anymore so
C’est quelqu’un qui ne veut plus voyager alors s’il if he accepted to come to Sadskà it’s really for…
a accepté de venir à Sadskà c’est vraiment pour… for me. I would really like to spend one week with
pour moi. J’aimerais beaucoup passer une him, it would be wonderful. He could answer to
semaine avec lui, ce serait merveilleux. Il pourrait many of your questions where I do not have the
répondre à beaucoup de vos questions où je n’ai know-how or knowledge to answer; concerning
pas la connaissance ou le savoir pour y répondre ; many things, Genki Kai, Seitai, Katsugen Undo,
en ce qui concerne plein de choses, le Genki Kai, etc. or for the regenerating movement which is
Seitai, Katsugen Undo, etc. ou le mouvement very useful, I would even say extraordinary, this
régénérateur qui est très utile, je dirais même can help you, so, a good reason for having him in
extraordinaire, cela peut vous aider, donc, une Sadskà. Later on we will also make a stage at his
bonne raison pour l’avoir à Sadskà. Par la suite place (in Italy), together.
nous ferons aussi un stage chez lui (en Italie),
ensemble.
J’ai dit son nom ?
Q : Non. Did I mention his name?
Sensei : Pasquale Aiello. Q: No.
Q : Avez-vous certaines critiques pour vos Sensei: Pasquale Aiello.
élèves ? Q: Do you have some kinds of critics towards
Sensei : Non, il n’y a pas de critiques. your students?
Q : Quelque chose que vous aimeriez qu’ils Sensei: No there aren’t any critics.
changent, un conseil que vous aimeriez leur Q: Something you would like that they change or

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San Shin Kai Letter N° 2
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donner ? something you would like to give them as an
Sensei : Ça je peux le dire seulement pendant le advice?
stage parce que alors cela correspond exactement Sensei: I can only say this during the seminar
à ce que je vois et à ce qu’ils expriment. « En because at this moment it corresponds exactly to
général », on ne peut pas faire de généralités, elles what I am seeing and what they are expressing.
sont souvent dangereuses parce que les gens les “Generally”, one cannot make any generalities;
prennent pour une loi. Tandis qu’une phrase pour they are often dangerous because people take
une personne ou un groupe qui est en train de them as a law. While a sentence for one person or
travailler est juste à ce moment-là. Elle n’est plus a group who is working is only correct at this
juste le lendemain. On peut s’exprimer moment. It isn’t right anymore the day after. One
différemment le lendemain pour la même chose can express him/herself differently the following
peut-être, mais les mots de hier ne sont plus day about the same thing maybe, but the words of
justes. C’est pour cela que je dis qu’on ne peut pas yesterday are not right anymore. This is why I say
créer un stage en avance, on doit le créer à that one cannot create a stage in advance, one
l’instant. On ne peut pas dire les élèves doivent must create at the moment. One cannot say the
faire ceci ou ne pas faire cela, parce que s’ils le students must do this or that, because if they do it,
font, c’est qu’ils devaient le faire ! … pour it is because they had to do it! …to be able to
pouvoir le changer après, peut-être. C’est comme change after, maybe. It like saying to a child
dire à un enfant « ne touche pas le feu ! », tu peux “don’t touch the fire”, you can say it to him, but if
le lui dire, mais s’il veut toucher le feu, il le he wants to touch it he will do so! After he won’t
touche ! Après il ne le touchera plus, parce qu’il a touch it anymore because he will have felt while
senti en s’approchant que c’est chaud. Parfois il coming near it that it is hot. Sometimes it’s
faut seulement être là et leur dire au bon moment enough to be here and to tell them at the right
ce qu’il ne faut pas faire… moment what must not be done…
Q : Y a-t-il quelque chose que vous aimeriez
ajouter ? Q: Do you have anything else you would like to
Sensei : Non, je pense qu’il n’y a rien à dire, say ?
comme je l’ai dit, tout doit être dit en un instant, Sensei: No, I think there is nothing to say, as I
tout doit se créer à l’instant. Peut-être qu’il y a said, everything must be said at the moment,
une chose que je peux dire, je l’ai déjà dite, everything must be created at the moment. Maybe
« posez-vous des questions et donnez-vous des there is one thing I can say, I have already said it,
réponses. ». Posez-vous à vous-même des “ask yourself questions and give yourself
questions et donnez-vous à vous-même des answers”. Ask yourself to yourself questions and
réponses…. Avant de demander à d’autres. give yourself to yourself answers… before you
Q : Merci, merci beaucoup Sensei. ask to others.
Q: Thank you, thank you very much Sensei.

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AIKIDÓ SADSKÁ 2005

Michele Quaranta, 5. dan Aikikai
2. 7. – 9. 7. 2005
This year – one day more !!! (till Saturday)

Dear Aikido Friends!

We would like to invite you for the 6th summer stage of AIKIDÓ and HOJO
in Sadska, Czech Republic.

Stage details:

Arrivals of participants: Saturday 2.7. 2005, 10:00 a.m. – 2:30 p.m. It is possible to
organise lodging already for the night before, but we would need to
know this in advance.

Stage beginning: Saturday 2.7. 2005, 4:00 - 6:00 p.m., dinner at 7 p.m.
Daily programme: 7:00 – 8:30 hojo, 10:00 – 12:00, 4:00 - 6:00 p.m. – aikido
Stage end: Saturday 9. 7. 2005 at 12:00 a.m., after the morning training.

Price of the stage: will be given at the beginning of the 2005 in leaflet
The price includes: lodging, boarding – full pension, stage (three trainings a day)

PLEASE NOTE:

It is necessary to register for the stage in advance, by e-mail to Halka Balackova.

The registration starts 1. 2. 2005. It is necessary also to pay in advance to the bank account of the
organisers or directly to Michele Quaranta.

The number of people of this stage is limited to 80 and we cannot guarantee any places without prior
registration. We will not accept any late registrations this year.

STAGE will take place at the same location as in the last years:

Secondary Professional School, Sadská (near Nymburk), Lázeňská 826, Czech Republic.

For those, who have not been here yet, we can send a map. The place will be marked with arrows for
those arriving by car or by train.

We are looking forward to meeting you in Sadska in 2005!

For all information about the stage, pls., contact:

Halka Baláčková, hbalackova@[Link], tel.: + 420 603 25 61 35

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Gen Kei Ko Kyu Nage

suite - continuation
Eric Graf

J’ai eu la chance de pouvoir montrer le premier I have had the chance to show the first number of the
numéro du San Shin Kai Letter à Maître Ikeda. Il San Shin Kai Letter to Ikeda Sensei. He looked at
l’a feuilleté page après page en approuvant de la tête et it page after nodding his approval and making some
faisant quelques commentaires. Lorsqu’il est arrivé à comments.
l’article de Gen Kei Ko Kyu Nage qu’il avait écrit lui- When he arrived on the article about Gen Kei Ko Kyu
même il y a 11 ans, il a dit que c’était vraiment une Nage that he wrote himself 11 years ago he said that it
technique très importante et que dans le prochain is really a very important technique and that in the next
numéro du journal je devais illustrer cette technique issue of the journal I should illustrate this technique
avec des images. Selon lui, les gens ont toujours de la with some images. According to him people always
peine à se la représenter et c’est pour cela qu’il faut have difficulties figuring this technique out. This is
qu’ils la voient en même temps qu’ils en entendent why it is necessary that they see it at the same time
parler ou voient son nom. they hear about it or see its name.
Donc voici des dessins que j’ai fait de Gen Kei Ko So here are a few drawings I did about Gen Kei Ko
Kyu Nage, la plus profonde de toutes les techniques, Kyu Nage, the most profound of all techniques, the
l’ura-no-wasa de Tenchinage ura-no-wasa of Tenchinage
(voir SSKL n°1). (see SSKL N°1).
Pour qu’on voie mieux les positions des jambes, mes So that one can better see the positions of the legs I
bonshommes n’ont pas de hakama. took out the hakama of my catches.

Kiawase (front view) Kiawase (back view)

Kiawase (de face) Kiawase (vu de derrière)

Gen Kei Ko Kyu Nage, suite Gen Kei Ko Kyu Nage, continuation
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San Shin Kai Letter N° 2
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Gyaku Hamni (front view), 5th Kyu Ai Hamni (front view)

Gyaku Hamni (de face), 5e Kyu Ai Hamni (de face)

Ryote Dori (front view), 6th, 5th, 4th, 1st Kyu

Ryote Dori (de face), 6e, 5e, 4e, 1er Kyu

Katate Ryote Dori (front view), 3rd Kyu Katate Ryote Dori (back view), 3rd Kyu

Katate Ryote Dori (de face), 3e Kyu Katate Ryote Dori (vu de derrière), 3e Kyu

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Ushiro Ryote Dori (front view) , 3rd Kyu Ushiro Ryote Dori (back view) , 3rd Kyu

Ushiro Ryote Dori (de face), 3e Kyu Ushiro Ryote Dori (vu de derrière), 3e Kyu

Dans le 2e Kyu la technique est demandée sur Katatori In the 2nd Kyu exam the technique is requested on
Menuchi. Je me suis arrêté au premier Kyu, mais on Katatori Menuchi. I stopped with the 1st Kyu, but one
voit clairement à quel point Maître Ikeda a insisté sur can clearly see how much Ikeda Sensei insisted on Gen
Gen Kei Ko Kyu Nage dans l’élaboration de ses Kei Ko Kyu Nage in the elaboration of his exams
programmes d’examens jusqu’au 1er Dan. programs to the 1st Dan.

EGR, le 21 août 2004

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Kokyu
By Jacques Margairaz

1. Breathing 1. Respiration

The exercises of breathing break up into three phases: Les exercices de respiration se décomposent en trois
• the first comprises three movements; phases:
• the second one movement ; • La première comporte trois mouvements
• The third a sequence aiming to stimulate the • La deuxième un mouvement
respiratory, blood and vegetative-nervous • La troisième une séquence visant à stimuler
systems. les systèmes respiratoire, sanguin et
neurovégétatif.
1.1 First phase : Su no Kokyū
1.1 Première phase : Su no Kokyū
The purpose of this first phase, made up of 3
movements, is to centre oneself towards a new Cette première phase, composée de trois
situation or environment. Thus one carries out a cut mouvements, a pour but de se recentrer par rapport à
between the past moment and the moment to come une nouvelle situation ou un nouvel environnement.
which becomes present and centered. Ainsi on effectue une coupure entre le moment passé
et celui à venir qui devient présent et centré.

Kokyu Kokyu
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1st movement of breathing. 2nd movement of 3rd movement.

Can be carried out with the emission of a sound in breathing. Right hand placed under
the back of the throat, at the time of the expiration, Same movement as the navel, left hand over.
involving a vibration. The sounds used are drawn for the inspiration of Focus on the "ball" of
from "the Japanese alphabet" (Hiragana) a, i, u the first movement of energy which inflates and
(ou), e, o and "mmm". breathing. Once the deflates at the rhythm of
arms are on top, the expiration and
These sounds are carried out at the time of the describe a circle inspiration. By closing
expiration with the tongue stuck under the palate. while expiring. the eyes, feel, visualize
The sound “mmm” is adapted to the first this ball. Tanden no
movement. To inspire while raising up the arms kokyū
and to expire while letting them go down again.
Imaging yourself as a bellows inflating and
deflating.

1er mouvement de respiration. 2e mouvement de 3e mouvement (Tanden

Peut s’effectuer avec l’émission d’un son dans respiration. neru no kokyu).
l’arrière-gorge, lors de l’expiration, entraînant une Même mouvement Main droite posée sous le
vibration. Les sons utilisés sont tirés de que lors de nombril, main gauche
« l’alphabet » japonais (Hiragana) a, i, u (ou), e, o l’inspiration du par-dessus. Se concentrer
ainsi que « mmm ». premier mouvement sur la « boule » d’énergie
de respiration. qui se gonfle et se
Ces sons s’effectuent lors de l’expiration avec la Une fois les bras en dégonfle au rythme de
langue collée sous le palais. Le son « mmm » est haut, décrire un l’expiration et de
adapté au premier mouvement. cercle en expirant. l’inspiration. En fermant
Inspirer en montant les bras et expirer en les les yeux, ressentir,
redescendant. visualiser cette boule.
S’imaginer comme un soufflet se gonflant et se Tanden no kokyū
dégonflant.

1.2 Second phase : Kokyū-Awase 1.2 Deuxième phase : Kokyū-Awase

This second phase of breathing is practiced in the Cette deuxième phase de respiration se pratique
position known as "hamni", namely first with the dans la position dite « hamni », à savoir d’abord le
left foot ahead. Like a wave, the movement is pied gauche en avant. Tel une vague, le
carried out at the rhythm of breathing by describing mouvement s’effectue au rythme de la respiration
an ellipse with the arms, starting from the hips. The en décrivant une ellipse avec les bras, en partant
breathing is comparable to the flow and backward des hanches. La respiration est comparable au flux
flow of a wave. The weight of the body swings et reflux d’une vague. Le poids du corps balance
between the left leg and the right leg, while entre la jambe gauche et la jambe droite, tout en
keeping the shoulders at the same height. gardant les épaules à la même hauteur.

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San Shin Kai Letter N° 2
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The emission of a sound "mmm" coming from the L’émission d’un son « mmm »provenant de
back of the throat is carried out at the time of the l’arrière-gorge s’effectue lors de l’expiration. Au
expiration. At the beginning this sound can be début, ce son est audible pour ne devenir plus
heard, then it becomes only a vibration than one can qu’une vibration que l’on peut s’imaginer.
imagine.

Beginning Breath out Breath in Breath in End

Début Expirer Inspirer Inspirer Fin

1.3 Third phase 1.3 Troisième phase

This phase, called "kokyu Soren", is drawn from the Cette phase, appelée « kokyu Soren », est tirée de
teaching of Master Tada 9th dan Shihan based in l’enseignement de Maître Tada 9e Dan Shihan basé à
Tokyo (Gesuoji Dojo). Other variations are taught Tokyo (Gesuoji Dojo). D’autres variations y sont
there, but we focus on this form. enseignées, mais nous nous concentrons sur cette
forme.

1. Begining position (Jiritsu shinkei wo kappatsu suru Kokyū)

Tight hands joined at sternum Feet joined out of V, inspire Breath out while going down
level 5 to 10 seconds, mi-clos while going up on the point of
eyes. (Gashō) the feet.

1. Position de départ (Jiritsu shinkei wo kappatsu suru Kokyū)

Mains jointes serrées à la Pieds joints en V, inspirer en Expirer en descendant.

hauteur du sternum cinq à dix montant sur la pointe des pieds.
secondes, yeux mi-clos.
(Gashō)

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2. Stimulation of the nervous system (Zenshin no shinkei wo kappatsu suru Kokyū)

Breath in while Release at one go by Breath out while Inspire once, expire
descending the arms opening the fingers going down again by closing the anus.
and closing the fists, and tightening the with the arms. IBUKI increase in
to block. arms. the vital force

2. Stimulation du système nerveux (Zenshin no shinkei wo kappatsu suru Kokyū)

Inspirer en Relâcher d’un coup Expirer en Inspirer une fois,

descendant les bras en ouvrant les doigts redescendant les expirer en fermant
et en refermant les et en tendant les bras. l’anus. IBUKI
poings, bloquer. bras. augmenter la force
vitale.

3. Stimulation of the respiratory system (Hai no hataraki wo yoku suru Kokyū)

Raise up the arms on the Block breathing, to tap Raise up the arms. Expire while describing a
chest, make circles while with the fingers. circle.
inspiring.

3. Stimulation du système respiratoire (Hai no hataraki wo yoku suru Kokyū)

Remonter les bras sur la Bloquer la respiration, Monter les bras. Expirer en décrivant un
poitrine, faire des cercles tapoter avec les doigts. cercle.
tout en inspirant.

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4. Stimulation of the respiratory system (Niban)

Raise up the arms on the Block the breathing, hit Raise up the arms. Expire while going down
chest, enlarge the top of the top of the chest with again with the arms.
the chest while inspiring, the hands opened flat, 3
tap with the fingers while times.
inspiring.

4. Stimulation du système respiratoire (Niban)

Remonter les bras sur la Bloquer la respiration, Monter les bras. Expirer en redescendant
poitrine, élargir le dessus taper le haut de la les bras.
de la poitrine tout en poitrine avec les mains
inspirant, tapoter avec les ouvertes à plat, trois fois.
doigts en inspirant.

[Link] of the respiratory muscles (Rokkotsukin wo kyōka suru Kokyū)

Put the inches on both By going up along the Arrive under the Bring back the hands Go down again the
sides of the vertebral column stress with the armpits. in front by joining hands while expiring.
column starting from inches a pressure them.
the bottom. between each vertebra.

5. Renforcement des muscles respiratoires (Rokkotsukin wo kyōka suru Kokyū)

Mettre les pouces de Remonter le long de la Arriver sous les Ramener les mains Redescendre les mains
part et d’autre de la colonne vertébrale en aisselles. devant en les joignant. en expirant.
colonne en partant du exerçant une pression
bas. entre chaque vertèbre.

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6. Stimulation of the respiratory system (Mune wo 7. Stimulation of the blood system (Ketsuekijunkan wo
hirogeru) kappatsu suru Kokyū)
Raise the arms to the height Open the arms by drawing Bring back the arms and Block the breathing and
of the shoulders. Slacken them aside, while legs together (arms on the then reopen while expiring.
the shoulders and turn the slackening the wrists. joined knees) while bending
fists one against the other. Return, open at the level of the knees.
the solar plexus. Carry out 3
times.

6. Stimulation du système respiratoire (Mune wo 7. Stimulation du système sanguin (Ketsuekijunkan wo

hirogeru) kappatsu suru Kokyū)

Lever les bras jusqu’à la Ouvrir les bras en les Ramener bras et jambes Bloquer la respiration puis
hauteur des épaules. écartant, tout en relâchant ensemble (bras sur les rouvrir en expirant.
Relâcher les épaules et les poignets. Revenir, ouvrir genoux joints) tout en
tourner les poings fermés au niveau du plexus solaire. fléchissant les genoux.
l’un contre l’autre. Effectuer cela trois fois.

8. Purification of the lungs (Kyōme) 9. Stimulation of the vital force (Kiai)

Inspire and retain the air Expire to the point of Inspire and retain the air, Finish while bringing
2 to 3 seconds. emptying completely the expire while emitting a back the two hands
lungs. cry (KIAI) “viiiieeeeee”. joined at sternum level.
(Gashō)

8. Purification des poumons (Kyōme) 9. Stimulation de la force vitale (Kiai)

Inspirer et retenir l’air Expirer jusqu’à vider Inspirer et retenir, expirer Finir en ramenant les
deux à trois secondes. complètement les tout en émettant un cri deux mains jointes à la
poumons. (KIAI) « viiiieeeeee ». hauteur du sternum.
(Gashō)

Fin – The End

Kokyu Kokyu
25
San Shin Kai Letter N° 2
11/2004

AIKIDO, origin, tradition, principles,

calligraphy and movements, Hojo, Spirit of
Sensei Masatomi Ikeda’s Aikido by Sensei
Michele Quaranta
By Slobodan Nenin

This is the spoken text of a documentary movie realized by Slobodan Nenin from Novi Sad (Serbia and
Montenegro). You can order DVD or DIVIX of that movie if you are interested. For more details
write to ericgraf@[Link]

It is hard to believe that these are the drawings done by Teško je poverovati da su ovo crteži najboljeg
the best swordsman of Japan. Easiness and simplicity mačevaoca Japana. Lakoća i jednostavnost pokreta
of brush strokes are obviously the consequence of long četkicom očito su posledica dugotrajnog i napornog
term and hard training. The same was with the sword. vežbanja. Isto je bilo i s mačem. Mijamoto Musaši je
Mijamoto Musashi started to fight to survive, only to počeo da se bori ne bi li sačuvao glavu, da bi tek kada
try to improve the gained experience, plan well known. je bio već poprilično poznat pokušao da usavrši stečena
iskustva, da osmisli i uvežba vlastitu školu mačevanja.

All the techniques he developed, he had to test in Sve tehnike koje je razvijao morao je da proverava u
practice, but only if he believed that his life was in praksi, ali samo ako je smatrao da mu je život u
danger or that his opponent might be better than him. opasnosti ili da je protivnik možda bolji od njega. Na
He disregarded the challenges of those for whom he izazove onih za koje je znao da će ih lako poseći nije se
knew that he could cut them down easily. He would obazirao. Bio je spreman da otrpi uvrede i da se, čak, i
swallow an insult or apologize to those for whom he izvinjava onima za koje je znao da će ih lako pobediti.
believed that he could easily beat them.

An orphan of unknown and irrelevant origin more Siroče nepoznatog i sigurno beznačajnog porekla, u
readily followed, in everyday life, the teaching of Zen svakodnevnom životu radije je sledio učenje zen
monk Takuan, who taught him to write and paint and kaluđera Takuana, koji ga je naučio da piše, slika i da
who made him the master of tea ceremony, than the postane majstor čajne ceremonije, nego krut kodeks
rigid samurai codex where each challenge had to be samuraja koji je zahtevao da se odgovori na svaki
met and where each insult had to be punished or paid izazov i da se svaka uvreda kažnjava ili plaća smrću.
by life. When, in addition to this, we mention that he Kada se tome doda da se nije uzdržavao da pokazuje
did not abstain from showing his emotions, from crying osećanja, da plače zbog tuđe nesreće ili se veseli dobroj
over someone else’s misfortune or laughing at a good šali, nije teško razumeti zašto nije uspeo da dobije
joke, it is not difficult to understand why he was not mesto učitelja borenja na šogunovom dvoru premda su
appointed as a combat teacher on shogun’s court svi znali da je najbolji. Do tridesete godine poubijao je
although everyone knew he was the best. Till the age of sve svoje protivnike i nestao s javne scene. Iz tog
thirty he killed all his rivals and disappeared from the vremena datira njegova preporuka da se mač ne poteže
public scene. His advice that one should not pull the olako, ali da kad se već potegne kraj borbe može biti
sword too easily, and when one has already pulled it jedino smrt.
out, the battle could be ended only by someone’s death
dates back from that time.

He ended his life in 1645, at the age of 61, vainly Život je završio 1645-te, u 61-voj godini, uzalud
trying to convey his techniques to his disciples. nastojeći da učenicima prenese svoje tehnike.
Simply, there was no one who was mature enough to Jednostavno, nije bilo nikoga doraslog da nauči i
learn and improve the techniques he was using to beat unapređuje tehnike kojima je pobeđivao doslovno

Aikido origin, traditions principles (…) Aikido origin, traditions principles (…)
26
San Shin Kai Letter N° 2
11/2004
literally everyone, regardless of the number or strength svakog, bez obzira na broj i snagu protivnika. Zato je
of his opponents. This is why he spent his last days in a poslednje dane proveo u pećini jednog velmože,
cave of an landowner, thanks to whose grace he was zahvaljujući čijoj milosti je spokojno stario, pišući
calmly growing old, writing “The Book of Five «Knjigu pet krugova» u kojoj je opisao suštinu svoje
Circles” in which he described the core of his fencing- škole mačevanja. Umro je dan kasnije, pošto je rukopis
school. He died the day after the manuscript was završen.
finished.

Despite this, he would be forgotten in Japanese Uprkos tome, u japanskoj tradiciji bio bi zaboravljen,
tradition, or known only to a narrow circle of the ili poznat samo uskom krugu zainteresovanih, da
interested parties, had the principles of his school not principi njegove škole nisu privukli pažnju Moriheji
engrossed Morihei Ueshiba, the creator of Aikido. Uješibe, tvorca Aikidoa. Musaši je svoja pravila sledio
Musashi followed his rules primarily in his everyday najpre u svakodnevnom životu, a tek potom i s mačem
life, and only then with a sword in his hands. u ruci.

They are as follows: Ona glase :

− Do not have wicked thoughts. − Ne imaj zle misli.
− Diligently follow the path of my school. − Marljivo sledi put moje škole.
− Foster in yourself broad interest in art. − Gaji u sebi široko interesovanje za umetnost.
− Learn as much as you can about various − Nauči što više možeš o različitim
professions. zanimanjima.
− Discern advantages and disadvantages, profits − Shvataj prednosti i manjkavosti, dobitak i
and losses in all things. gubitak u svim stvarima.
− Develop ability to understand the truth in all − Razvijaj sposobnost da shvatiš istinu o svim
the things. stvarima.
− Observe what cannot be seen with the naked − Zapažaj ono što se okom ne može videti.
eye. − Ne budi nemaran, čak ni u beznačajnim
− Do not be negligent, even in insignificant stvarima.
matters. − Ne upuštaj se u beskorisne aktivnosti.
− Do not indulge in useless activities.

Morihei Ueshiba, “O Sensei”, master of martial arts, Moriheji Uješiba, «O Sensei», i sam majstor borilačkih
bore those rules in his mind when he was creating veština, imao je ta pravila na umu kada je stvarao
Aikido, a combination of jiujitsu, karate and kendo Aikido, kombinaciju tehnika džiudžicua, karatea i
techniques. Still, the basis is what is the essence of kendoa. Ipak, osnova je ono što je suština Musašijeve
Musashi`s school, and that is fencing with two swords. škole, a to je mačevanje s dva mača. Te tehnike niko
Those techniques could not be mastered by anyone nije uspeo da savlada pre O Senseia, pa se može reći da
before O Sensei, so it could be said that Aikido is je Aikido mačevanje s dva mača, bez mačeva.
fencing with two swords, without swords. However, Međutim, ono što je bitno, i što se da naslutiti iz
the thing that is important and that could be perceived Musašijevih pravila, je uticaj budizma, zapravo
in Musashi`s rules, is the influence of Buddhism, that njegove zen forme kojoj ga je veliki učitelj Takuan
is, Zen which his great teacher Takuan had been godinama podučavao. Budizam osuđuje svako nasilje,
teaching him for years. Buddhism condemns all sorts a naročito ubistvo, posebno i samoubistvo koje je
of violence, especially murder, and specifically suicide najveći greh. Moriheji Uješiba je to čitavog života
which is the utmost sin. Morihei Ueshiba had that in imao na umu. Povrediti ili čak i ubiti protivnika mnogo
his mind his whole life. To hurt or even kill the je lakše nego ga kontrolisati, a upravo na tome je O
opponent is much easier than to control him, and this is Sensei i insistirao. Suština aikidoa je upravo u tome da
what O Sensei insisted on. The essence of Aikido is pre svega kontrolišete sebe. «Onaj koji prvi udari», reći
primarily to control yourself. “The one who strikes će, « izgubio je kontrolu i upravo to je vaša prednost,
first”, they will say, “lost control and that is your ukoliko niste dozvolili da vas iznenadi i nadasve
advantage, if you did not let him surprise you and if ukoliko uspete da i u najtežim situacijama vladate
you succeeded to control yourself even in the most sobom.
difficult situation.”

This is the basic difference between Aikido and other U tome je osnovna razlika između Aikidoa i ostalih
martial arts. It lies in the fact that its creator regarded borilačkih veština, u tome što je njegov tvorac na
Aikido primarily as the art of spiritual development. vežbanje aikidoa gledao pre svega kao na usavršavanje
Since, the aim is not to kill or hurt the opponent but to duha. Jer, nije cilj ubiti i povrediti već izbeći borbu ili

Aikido origin, traditions principles (…) Aikido origin, traditions principles (…)
27
San Shin Kai Letter N° 2
11/2004
avoid fight or apply techniques in such a way that the tako primenjivati tehnike da protivnik bude savladan,
opponent is overwhelmed or gives up unhurt. Brutality ili da sam odustane, nepovređen. Surovost ostalih
of other martial arts is unacceptable for Aikido. This is borilačkih veština za Aikido je neprihvatljiva. Zato se
why Aikido is practiced literally as Miamoto Musashi aikido vežba doslovno onako kako je to Mijamoto
advised “If during the training your body is fully Musaši savetovao «Ako ti je, trenirajući, telo pod
controlled by your spirit, then you can be superior both potpunom kontrolom duha, onda možeš i psihički i
physically and psychologically. If you attain this, how psihološki da budeš nadmoćan. Ako to postigneš, kako
can you lose.” možeš da izgubiš «.

O Sensei, Morihei Ueshiba, therefore said “Being calm O Sensei, Moriheji Uješiba, je zato rekao «Biti smiren
means be adapted to the opponent, bring into znači prilagoditi se protivniku, uskladiti svoje pokrete,
accordance your movements, body and spirit, direct its telo i duh, s njegovim, upiti njegovu energiju, slediti je
energy, follow it and react on the attack in the most i odgovoriti na napad na najprirodniji način». Znači,
natural way”. This means, live, work and fight, if živite, radite i borite se, ako je neophodno, u skladu s
necessary, in accordance with correlations between the odnosima Neba i Zemlje. Pošto je sve u stalnom
Sky and the Earth. Since everything is in constant pokretu, vođeno božanskom promisli koja teži
motion, guided by God’s providence which aspires to skladnom prožimanju svega na putu ka sjedinjenju, a
harmonious pervasion of all the things on their way to ne sukobljavanju i uništavanju, O Sensei je insistirao
unification, and not confrontation and destruction, O na tome da ono što svojim postojanjem baštinimo od
Sensei insisted that we should convey to the others and Univerzuma razvijamo i prenosimo drugima. To su
develop what we received by inheritance from the ljubav, uzajamno poštovanje, skladni odnosi sa sobom i
Universe. That is love, mutual respect, harmonious drugima, sa svim bićima i stvarima. «Ako ste pravi
attitude towards ourselves and harmonious relationship majstor», rekao je, «do borbe neće ni doći».
with others, with all the things and beings. “If you
really are a master”, he said, “there will be no fight”.

Each one of us receives by inheritance a bit of divine Svako od nas baštini delić božanske prirode i zato smo
nature and that is why we are all equal. However, man svi jednaki. Ali, čovek ima i slobodnu volju,
has free will, and possibility to choose. The problem is mogućnost da bira. Nevolja je ako umesto njega biraju
if others make choices instead of him, if circumstances drugi, ako okolnosti diktiraju način života i
dictate how he is going to live or what he should think, razmišljanja, ako o onome što je nabitnije, a to je
if something from the outside, makes decisions about izvorna ljudska priroda, odlučuje nešto spoljašnje, a ne
the true human nature, which is the most important pojedinac. Nije stvar u tome šta vam se događa već
things, and not the individual. It ain’t about what is kako gledate na to. Ako, prisetimo se Musašija, shvataš
happening, but about the way you regard it. Let`s call istinu o svim stvarima i zapažaš ono što se okom ne da
to mind Musashi`s teachings, if you comprehend the videti, ako biraš u skladu sa svojom izvornom
truth about all the things and perceive what cannot be ljudskom prirodom, a ona je dobra, ona je ljubav,
seen with the naked eye, if you choose in accordance razumevanje, saosećanje, opraštanje i milosrđe, onda,
with your true human nature, and this is good, this is dakle, ne možeš omašiti.
love, understanding, sympathy, forgiving and mercy,
then, you cannot fail.

To attain this it is necessary, of course, to train. It is not Da bi se to postiglo neophodno je, naravno, vežbati.
important what you train nor what you do, if you do Nije važno šta vežbate niti čime se bavite, ako svaki
each job like it is the only and most important one in posao radite kao da je jedini i najvažniji na svetu, ne
the world, not thinking about the profit. When one misleći na korist. Kada se ovo zna, postaje razumljivo
know this, it becomes understandable how Miamoto kako je Mijamoto Musaši mogao da bude vrhunski
Musashi could be the top-level swordsman and painter mačevalac i crtač istovremeno. Jednaka prirodnost i
at the same time. The naturalness, and easiness of lakoća pokrteta, jednostavnost.., neophodni su
strokes of the same quality, simplicity…, are preduslov za svako uspešno postignuće. Prirodnost...
indispensable precondition for each successful Postoje mnogi drugi putevi, osim aikidoa, kaligrafije,
achievement. Naturalness… There are many other mačevanja.., od lepih umetnosti, kuvanja, vožnje
ways, wxcept Aikido, caliography, fencing…, from automobila.., do nauke. Zato nije samo aikido umeće
fine arts, cooking, cruising…, to science. This is why ljubavi, kako ga je Moriheji Uješiba nazvao, veština
Aikido is not only the knowledge of love, as Morihei sklada, Put harmonije, jedinstva s univerzalnom
Ueshiba called it, the art of accordance, the path of energijom.., već sve što činimo...
harmony, unity with universal energy…, but it is

Aikido origin, traditions principles (…) Aikido origin, traditions principles (…)
28
San Shin Kai Letter N° 2
11/2004
everything we do…

It is not easy to walk down this road, but.. O Sensei Nije lako ići tim putem, ali...O Sensei o tome kaže i
also said the following “Learning of Aikido can never sledeće «Aikido se ne može naučiti. On se stalno uči.
be finished. It has to be learned all the time. However, Ali, premda je univerzum beskrajan, sprečava li nas to
although the universe is infinite, does this keep us from da razmišljamo o njemu«.
thinking about it”.

Aikido is the art of peace, perhaps. The art of Aikido je umetnost mira, možda. Umetnost opraštanja,
forgiving, certainly. What’s the difference? sigurno. U čemu je razlika?

It is impossible to adjust to the beginner’s rhythm, Nemoguće je uskladiti se s početnikovim ritmom, zato
hence you have to teach him. It is imposible to adjust ga moraš podučavati. Nemoguće je uskladiti se s
to the teacher’s rhythm, this is why you have to learn učiteljevim ritmom, zato ga moraš slediti. Tako, nemoj
from him. Hence, do not strive to adjust your rhythm to nastojati da svoj ritam uskladiš s njihovim već da
theirs, but to adjust their rhythm to yours. njihove prilagodiš svom.
Miamoto Musashi said the following about this “Do Mijamoto Musaši o tome kaže «Ne dozvoli da ti um
not allow your mind overbalance your body, nor your poremeti ravnotežu tela, niti telo ravnotežu uma.
body overbalance your mind. Pay attention to your own Pažnju obrati na sopstveni um, na telo zaboravi».
mind, forget about your body”. He would also tell to Takođe je, onima koji su pokušavali da uče od njega,
those who tried to learn from him, to keep broadening govorio da stalno proširuju svoja znanja, da poznaju
their knowledge, so that they could identify the justice pravdu i nepravdu u svetu, da znaju šta je dobro, a šta
and injustice in the world, and distinguish what is zlo. Učio ih je da upoznaju puteve različitih umetnosti i
good, and what is evil. He taught them to get to know veština. Sve to da bi došli u stanje kada ljudi više ne
the paths of different arts and skills. He taught them all mogu da ih obmanu, što je prvi uslov da se shvati
this so that they would reach the state in which they suština mudrosti njegove vojne doktrine.
could not be deceived by people, which is the first
condition for understanding the essence of wisdom of
his military doctrine.

Briefly, for Musashi the training of fencing was the Jednom rečju, za Musašija je vežbanje mačevanja bilo
way of life. And the training of aikido is the way of način života. I vežbanje aikidoa je način života. Oni
life. Those who in the training court cannot forget koji u sali za vežbanje ne mogu da zaborave na
everyday problems are wasting their time. The same is svakodnevne probleme gube vreme. Isto važi i za one
true for those who in everyday life forget what they koji u svakodnevnom životu zaboravljaju šta uče u sali
have learned on the training court. za vežbanje.

Those who were striving to learn from Musashi noted Oni koji su nastojali da uče od Musašija zabeležili su
down some of the principles in which he believed and neke od principa kojih se držao i od njih ošekivao to
expected from them to do the same. isto.

Do not stray off the road. Ne skreći sa svog puta.

Do not be selfish. Ne budi sebičan.
Do not repent for the things you’ve done. Ne kaj se zbog učinjenog.
Do not envy others. Ne zavidi drugima.
Do not be sad when you part with people. Ne tuguj kad se rastaješ s ljudima.
Do not fall for fine speeches. Ne nasedaj lepim pričama.
Do not wish for luxury, nor attach to things. Ne poželi raskoš, niti se vezuj za stvari.
Do not aspire to glory or respect. Ne teži za slavom i počastima.
Do not be afraid of death and do not think about it. Ne plaši se smrti i ne misli na nju.
Worship gods, but do not demand anything from them. Poštuj bogove, ali ne traži ništa od njih.
Think only about how you will fight. Misli samo na to kako ćeš se boriti.

Aikido origin, traditions principles (…) Aikido origin, traditions principles (…)
29
San Shin Kai Letter N° 2
11/2004
Judging on the base of the facts we know about Sudeći po onome što se o Musašiju zna, ni njemu
Musashi, we could say that he did not manage not to samom nije uvek uspevalo da ne prekrši bar neki od
infringe at least one of the principles he proclaimed. principa koje je proklamovao. Ali, setimo se O Senseia,
However, let’s recall O Sensei, Morihei Ueshiba, who Moriheji Uješibe, koji je stalno naglašavao da se aikido
always emphasized that the learning of aikido can ne može naučiti već samo neprestano učiti. To je
never be finished, but it has to be learned all the time. ostavio u amanet svojim naslednicima, da aikido stalno
He imposed a duty to his heiress, to constantly improve unapređuju, da smišljaju nove tehnike i usavršavaju
aikido, to plan new techniques and perfection old ones, stare, a naročito je naglašavao da aikido, kao umeće
and he specifically emphasized that aikido, as the art of ljubavi, ne pripada njemu, niti samo japancima već
love, does not belong only to him, nor only to Japanese celom ljudskom rodu...
people, but to the whole mankind…

Michele Quaranta… Michele Quaranta....

Sensei Michele Quaranta says that the essence of Sensei Michele Quaranta kaže da je suština
teaching of aikido is in constant giving. “Do not podučavanja aikidoa u stalnom davanju. »Ne skrivajte
conceal what you know, the knowledge is gained and ono što znate. Znanje se stiče i neprestano uvećava
constantly being broadened through giving. Hoe much davanjem. Koliko dajete, toliko dobijate. Koliko vaši
you give, that much you will get. How much your učenici napreduju, toliko napredujete i vi. Jednom
disciples make progress, that much you make progress rečju, ne čuvajte ništa već dajte drugima. Koliko date,
yourself. Briefly, do not keep anything just for toliko ćete dobiti.
yourself, but give it to the others. How much you give,
that much you will get.

HOJO HOĐO

Inseparable part of aikido, “fencing without swords” is Neodvojiv deo aikidoa, «mačevanja bez mačeva» je
hojo. This is a specific way of fencing developed six hođ[Link] je poseban način mačevanja razvijen pre šest
hundred years ago. It is a combination of understanding stotina godina. On je kombinacija shvatanja
of unique correlation between all the beings and things jedinstvene povezanosti svih stvari i bića na takav
in a sense that we are all part of one harmonious whole, način da smo svi deo jedne skladne celine, zatim
traditional technique of fencing and Zen Buddhism. tradicionalnih tehnika mačevanja i Zen budizma. Hođo
Hojo is, in fact, the art in which the ideas such as the je, u stvari, umetnost u kojoj ideje kao što su snaga ili
strength or weakness, victory or defeat do not have slabost, pobeda ili poraz nemaju značaja. Njegov cilj je
importance. Its purpose is to get to know, to reveal, our da upoznamo, ili otkrijemo, onu svoju izvornu ljudsku
true human nature on which Miamoto Musashi and O prirodu na kojoj su insistirali Mijamoto Musaši i O
Sensei Morihei Ueshiba insisted. Although its creator, Sensei Moriheji Uješiba. Iako nije njegov tvorac, O
O Sensei was well aware of the importance of hojo. Sensei je duboko bio svestan značaja hođoa.

Although, paradoxically, it is not based on victory, Premda, paradoksalno, nije baziran na pobedi, slavi niti
glory or any kind of competition the essence of hojo is na bilo kom obliku takmičenja suština hođoa je da je
that one is constantly in danger. Essentially, it is a on stalna pretnja. Suštinski, to je ritual u kome otac
ritual in which father teaches his son, but father does podučava sina, ali otac ne dopušta ni najmanju
not allow himself the slightest error, and son is ready to pogrešku, a sin je spreman da svaku njegovu iskoristi.
take advantage of each one he makes. However, hojo Međutim, hođo ipak ne uči opreznosti. Niko ne može
still does not teach us cautiousness. No one can always biti neprestano oprezan. Biti oprezan, u suštini znači
be cautious. Being cautious, basically means, stalno misliti na druge, a stalno misliti na druge ima za
constantly think about the others, and constantly posledicu da zaboravljamo sebe. Kad zaboravimo na
thinking about the others has as consequence that we sebe, u suštini i ne postojimo pa je svako pregnuće
forget about ourselves. When we forget about osuđeno na propast, ne samo borba. Stvar je u tome da
ourselves, we basically do not exist, so each effort is hođo zapravo uči pažnji. Uči da stalno budemo svesni
fateful, not only the fight. Hojo actually teaches us to sebe i sveta koji nas okružuje, da smo deo svoje
constantly observe with dedicated attention. It teaches okoline umesto usamljenog, izdvojenog, ranjivog
us to constantly be aware of ourselves and the world pojedinca. Ne. Hođo izoštrava sva čula, naročito
around us, that we are part of our environment and not gledanje onim duhovnim očima o kojima je Moriheji
solitary, separated, vulnerable individuals. No, we are Uješiba govorio, slušanje, koncentraciju i ispravno
not. Hojo sharpens all our senses, especially our disanje. On uči umetnosti otkrivanja jedinstva duše i

Aikido origin, traditions principles (…) Aikido origin, traditions principles (…)
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San Shin Kai Letter N° 2
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spiritual eyes Morihei Ueshiba was talking about, tela i njihovom povezivanju s prirodnim ritmovima. Uz
hearing, concentration and teaches us regular breathing. to, već sam po sebi, vežbanje hođoa je izuzetno zdravo.
It teaches us the art of revealing of mind and body Za razliku od starih grka, koji su govorili «U zdravom
unity and their interrelation with natural rhythms. telu zdrav duh», hođo uči nečemu što bi se sažeto dalo
Besides, training of hojo is, simply in itself, extremely opisati rečima da «zdrav duh okružuje zdravo telo».
healthy. Unlike the old Greeks, which used to say “in
health body healthy spirit”, hojo teaches us something
that could be shortly conveyed in words as “healthy
spirits surrounds healthy body”.

In essence, hojo teaches us to blissfully doze of tiger’s U suštini, hođo nas uči da blaženo dremamo na leđima
back without being woken up by his wiggling in a tigra i da nas njegovo meškoljenje u snu ne probudi,
dream, or without disturbing him in his dreams by our niti da mi svojm meškoljenjem uznemirimo njegove
wiggling. snove.

This is also the purpose of aikido, to blissfully fall To je i cilj aikidoa, da blaženo usnimo na leđima čak i
asleep on the back of a hungry tiger, without thinking gladnog tigra, bez primisli da bi mogli biti pojedeni.
that we could be devoured.

Aikido origin, traditions principles (…) Aikido origin, traditions principles (…)
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San Shin Kai Letter N° 2
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On Aikido training
From Sander Van Geloven

On aikido training Over aikidotraining

Aikido can determine life or death with a single blow; Bij aikido kan een enkele beweging het verschil tussen
therefore, when training, observe the directions of the leven en dood bepalen; daarom is het belangrijk om
instructor and do not engage in contests of strength. tijdens het trainen de aanwijzingen van de instructeur
te volgen en geen krachtmeting aan te gaan.
Aikido is a way that makes one person the equivalent
of thousands; therefore, when training, always be Aikido is een weg die één persoon het equivalent van
mindful not only of the space in front of you, but also duizenden andere mensen maakt; daarom is het
what is happening in all directions. belangrijk om tijdens de training altijd bewust te zijn
van niet alleen de ruimte recht voor je maar ook van
Training should always be an enjoyable experience. wat er gebeurt in alle richtingen.

An instructor can only impart a portion of the De training zou altijd een aangename ervaring moeten
teachings. To be able to use a technique, you must zijn.
learn it through diligent and ceaseless training. Only
then will you begin to remember with your body. It is Een instructeur kan slechts een gedeelte van de leer
pointless to desire to learn many techniques. To master uitdragen. Om een techniek te kunnen toepassen, moet
a technique, you must make it your own. je deze leren door toegeweide en onophoudelijke
training. Alleen dan leer je met je lichaam onthouden.
Daily training begins with tai no henko. Gradually Het is nutteloos om veel technieken te wilen leren. Om
increase the intensity of your training. Make sure not to een techniek te leren moet je je die eigen maken.
overexert your body. Even older persons should not
injure themselves. Continue to train enjoyably and Dagelijkse training begint met tai no henko. Laat de
strive to realize the purpose of training. intensiteit van je training geleidelijk toenemen. Zorg
dat je je lichaam niet overbelast. Zelfs oudere mensen
Aikido is training of the mind and body. Its purpose is zouden zich niet hoeven te blesseren. Train met plezier
to produce sincere people. Since all techniques are en probeer het doel van de training te realiseren.
entirely secret, you should not reveal them
indiscriminately to the public. The improper use of any Aikido is training van het verstand en het lichaam. Het
technique by ill-mannered persons is to be avoided. doel ervan is om oprechte mensen te produceren.
Omdat alle technieken strikt geheim zijn moet je ze
niet zomaar in het openbaar onthullen. Voorkomen
On aikido training moet worden dat ongemanierde mensen van de
Source: Budo , author: Morihei Ueshiba, 1938 technieken gebruik maken.
translation Japanese English: Mark L. Larson, 3 March 2001
On aikido training
Bron: Budo, Auteur: Morihei Ueshiba, 1938
vertaling Japans Engels: Mark L. Larson, 3 maart 2001
vertaling Engels Nederlands: Sander van Geloven, 16
oktober 2001, svgeloven@[Link]

On Aikido training Over Aikidotraining

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11/2004

Aikido glossary
Sander van Geloven
svgeloven@[Link]

Introduction

Why make new aikido glossaries when there are already so many aikido glossaries available in books and on the
internet? Well, I started a glossary for our dojo in the Dutch language a while back because their are many
specific terms which are only used by people studying aikido according to the system of Ikeda sensei. This
glossary proved to be helpful in our dojo as an extra aid in understanding the system, giving lessons, studying
aikido and preparing for exams.

Later I started labelling one-technique aikido movies from stages. They were labelled via glossary to make it
possible to automatically search for certain movies and sort on categories like technique, attack, etc. This aikido
movie labelling and searching computer program which uses this glossary will also be available soon. This
computer program is designed so that anybody can easily label and share aikido movies with each other, but that
is another story.

Again some time later one of the students in our dojo, which is very well educated in the Japanese language,
translated the exam program of the system of Ikeda sensei to kanji. From that moment I thought I should
combine all the work and make it available to a wider audience in multiple languages.

However, what is most important is that I would like to position this glossary in such a way that is for
everybody but also by everybody. This means that to have a lot of people use this as their own glossary there
should be a simple way for people to have influence on the glossary. Therefore the glossary end products in
HTML and PDF and in different languages are automatically generated from one master document. This master
document is in a simple data format which contains translations in different languages for each Japanese term,
when you see it you will understand it very quickly. It also provides the possibility to hold kanji next to the
romaji.

The glossaries presented here are still in draft version and not complete at all. I announce these incomplete
glossaries at this time on purpose to find people that would like to participate in this project and contribute in
terms of reviews or translations. The end result will be the combined efforts of aikidoka from all over Europa
which all have the opportunity to contribute to it.

Glossaries

The glossaries presented here contain extra terms which are used in the teaching system of Ikeda sensei. Because
aikidoka of many nationalities study according to this system, the glossaries found below in HTML and PDF are
identical but differ in languages:

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San Shin Kai Letter N° 2
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Contribution

In order to provide one proper glossary in several languages for at least all aikidoka studying the teaching system
of Ikeda sensei, I am searching for some people that would like to contribute. There are still some languages to
which this glossary has to be translated. At the moment translations for the following languages would make it
possible to reach most nationalities:

I'm also looking for people that would like to contribute kanji to this glossary or that would like to provide
pronunciation tables for the above languages for the Hepburn transcription of Japanese which is used in this
glossary.

If you you have any improvements, suggestions or would like to contribute a translation, please send me an
email. If you want to start right away, simply add your contribution to [Link] and send it to me so I can
automatically merge it with the original.

In the future I would like to link word processor kanji macros, pictures, movies and theory to these glossaries.
But as said before, that is an entire other story.

Technical

These glossaries are all generated automatically from one single XML file, [Link]. It is
formatted according to [Link] and processed by Java, Castor and LaTeX. The software is
available if you would like to contribute to it

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San Shin Kai Letter N° 2
11/2004

Comment recevoir le
How to receive the
San Shin Kai Letter
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gratuity. Si vous désirez être tenu au courant If you wish to receive its announcement and
de la sortie d’un numéro et recevoir le lien a link to the latest issue per e-mail please
pour le télécharger, veuillez envoyer un contact
courriel à

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Aïkido Ikeda-Dojo La Chaux-de-Fonds
(Rue Alexis-Marie-Piaget 73, 2300 La Chaux-de-Fonds)
Ecole d’Aïkido de Neuchâtel
(Rue de Maillefer 11d, 2000 Neuchâtel-Serrières)

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EGR

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San Shin Kai

Letter
See you in the next issue in 2007…