Shirata Rinjiro’s Tandoku Dosa 1-12 movements occur in four sets, while Tandokudosa 0 and 13 are like bookends. Tandokudosa 1 – 3 are the first set, 4 – 6 are the second set, 7 – 10 are the third set, and 11 and 12 are the fourth.
When we look at the Tandoku Dosa collectively we see the following layout. TDD 0 and 13 illustrate movement in stillness. TDD 1-12 illustrate stillness in movement. TDD 1-3 are irimi/tenkan in place. TDD 4-6 are linear Irimi, that is, entering movements from one point on the ground to another. TDD 7-10 are revolving Tenkan , that is turning movements around a single point. And, TDD 11-12 are linear Irimi, and revolving Tenkan movements combined. Thus Shirata Rinjiro’s Tandoku Dosa cover: a) movement in stillness, b) stillness in movement, c) entering and turning in place, d) linear entering, e) revolving turning, and f) linear entering and revolving turning combined.
Of course, the fact is, all of these are essentially the same. They are all expressions of Aiki.
A wheel (Aiki 1&2) can turn in space.
A wheel (Aiki 1&2) can turn and move across a plane.
And a wheel (Aiki 1&2) can turn and revolve around a point.
And if one does any of these while also simultaneously rotating around a secondary internal axis, there is Aiki 1,2, & 3.
Tandoku Dosa 7 – 10
Tandoku Dosa 7 – 10 are all Tenkan movements. Tenkan means to turn and transform. In the “turn and transform” sense, any occurrence of Aiki 2 and/or 3 is by definition Tenkan. So there is Tenkan in TDD sets 1-3, 4-6, 7-10, and 11-12. And, although it cannot be seen, Tenkan must also be present in TDD 0 and 13.
The Tenkan movement of revolving around a single point, while very important as illustrated by its inclusion in Kagura mai, must be founded upon internal Tenkan rotational moments, as visually illustrated by the Mitsu Tomoe. This compound Tenkan movement is what is commonly missing in what most people consider to be Tenkan movement.
That is, the tissue of each limb of the body is tomoe-ing (rotating), while all four tomoe-ing (rotating) limbs (revolving) around one’s tomoe-ing (rotating) hara. This happens because they are all connected and intertwined. This movement follows one’s intent, which ideally, as illustrated by Kagura Mai, should be following the will of the Kami.
This is how our body, with its rotations and revolution follows the will of the Kami, and mirrors the Universe’s rotations and revolutions, which also expresses the intent of the Kami. This allows one to say, “I am the Universe, the Universe is within me.” And, “I am Aiki,” etc.
Which Kami you ask? Why Ame no Minakanushi no O Kami (The Great God of the Very Center) of course!
Tenkan can be expressed as the old saying: “What goes around comes around.” But it is important to note that “what goes around” doesn’t “come around” to the same time, place, or circumstances. This is a description, and the property of a spiral. Spiraling is the result of irmi (entering)/tenkan (turning and transforming) taisabaki (body movement). It is Aiki 3 and is very important in terms of Aiki and martial application. To be done well it must be exist within one’s self before it is expressed outwardly. In fact, it is commonly considered to be a mark of accomplishment to be able to manifest this Aiki without any outwardly visible signs of movement.
This brings us to an interesting aside: There is an interesting Aiki conundrum of “masters” being so good that they look fake, which can easily be confused with fakes looking fake. If one is very familiar with the look and feel of an Aiki body, the probability of one being able to see that look and feel in another goes up considerably. However, of course, most don’t have a strong first hand familiarity with the look and feel of an Aiki body (their own) and so they cannot recognize it in another.
Rather they look for other signs usually relating to techniques or technical execution. One could also look towards uke to try to differentiate a “master” from a fake, since the result of Aiki has a characteristic look to it. But there is a trouble to that. The uke for a fake will necessarily throw, bounce, etc. themselves to make the fake “look” like a “master.” But the uke for a “master” could do the same thinking it is the “correct” thing to do since that actually is taught and considered “correct” so frequently.
They would look the same, but the fake would still be fake and the “master” still a “master.” Ukes “tanking” for “masters” can be perpetuated by the fact that a) the “master” may not really care what uke does since the “master” can do whatever the “master” wants whether or not uke cooperates. And, b) when the “master” throws (etc) the force feedback received by the “master” is nil due to Aiki, and the force feedback is nil when an uke “tanks.”
Shirata Rinjiro’s Tandoku Dosa 7-10 would have one rotating one’s tissues around multiple axis while also revolving one’s entire body around a central axis point. I took the time here to describe the theory behind what is supposed to be going on before sharing in a VLOG since the ideas presented here will be new to many, and all but the grossest of movements will be outwardly visible.
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