What follows is an article published in the past by Hiden magazine of Japan and translated by Mr. Douglas Walker.
Below I put my relationship with Nakajima sensei into context.
I first met Nakajima Masanori in 1986. I wanted to train in all the area Aikido dojos in Sendai. My uncle arranged for me to first train in Tamate sensei’s dojo since they had taught together in the past. He asked Tamate sensei to look after me. In Tamate sensei’s dojo I met Fujino sensei and Nakajima sensei. As planned I visited other Sendai dojo and Tamate sensei would “happen” to show up at the same time. Eventually, I decided to train at the late Hanzawa sensei’s dojo. Hanzawa sensei and several of his students trained under Saito sensei. We trained hard and my wrists and ankles went from looking like marble to becoming so permanently swollen that I couldn’t wear a watch. My mother-in-law used to show this oddity of to visiting neighbors.
One day Nakajima sensei showed up at Hanzawa sensei’s dojo. He seemed to know everyone and began training in. Every so often, he would pull me off to the side and say, “Try it this way.” The technique would work like magic, and he would look at me knowingly and say, “That is Shirata sensei’s waza!” After practice he invited me and my wife to his apartment for dinner.
His apartment had a wall covered in books, and another set of rolling book shelves in front of that wall. He talked about budo and would intermittently pull books of the shelf to illustrate what he wasa saying. Unfortunately, my Japanese was so poor at the time I didn’t really understand much. Before the evening ended he mentioned that there would be an Embukai in Yamagata on July 20th featuring Shirata Rinjiro. Nakajima suggested that I should attend. Since July 20th is my birthday I had enough leverage to convince my wife to accompany me to Yamagata.
Prior to embukai, we stopped at a store and bought a couple of shikishi (calligraphy boards) and fude pens (brush pens) in the hope of asking Shirata sensei for his autograph. The embukai wasa spectacular and Nakajima, Fujino, and others were invited to participate as well since they trained with Shirata sensei. I videoed the embukai, but unfortunately when I got home to the USA our apartment was broken into and the video was stolen among other items.
After the demo, Nakajima introduced us to Shirata sensei. Sensei invited us into his office, and we made formal introductions and also asked he would write upon the shikishi.
Eventually I returned to the USA and at a certain point received a letter from Nakajima sensei saying that he and his wife were going to visit Disneyland and wondered if they might visit. We answered in the affirmitive. This is how Nakajima came to live in our house for three months in the summer of 1987. I still had to work, but Nakajima sensei and I would train in the mornings, evenings, and over the weekends. At night he we would stay up late writing, which I later found out, was essentially a book he gave to me at his departure. Feeling that their presence was becoming long, he and his wife would clean the house and prepare dinner while we were at work.
In that three month period, Nakajima sensei taught me the tandoku dosa, shiko and other solo exercises. He also introduced me to a large collection of Shirata sensei’s waza, some of Shirata sensei’s ken and jo, and also Saito sensei’s ken and jo. I sought the help of some local Aikido friends David Gross and Ken Brown, and together we video taped much of what Nakajima taught.
On our final night Nakjima and I went out got horribly drunk, and staggered through the streets singing ‘Hey Jude’ at the top of our lungs.
After that, Nakajima moved from Sendai to Uruyasu outside of Tokyo. So, even though I continued to train in Sendai and Yamagata I didn’t get to continue training with Nakajima sensei. Nevertheless, we have stayed in off and on contact over the years.
I stopped traveling to Yamagata and Sendai for Aikido after Shirata sensei passed away, although I continued to visit Japan for funerals and Buddhist priestly training up until about 2001.
As you can see, Nakajima Masanori was essential in, not only introducing me to, but also initially inducing me to begin training under Shirata Rinjiro. And therefore stands out as a personage that had a significant influence on my early training and later training interests, drive, and direction.
If, and when, I return to Japan I hope that I can visit Nakajima sensei and hopefully there will be some old timers still practicing in Yamagata I can train with along with visiting sensei’s grave and Hagurozan.
As is so often the case, there is much to be gained by reading between the lines of Nakajima’s article. Plus, it goes without saying, that the more you know the more you’ll recognize and understand, and of the opposite unfortunately also holds true for all of us.
As it is, the article stands as one more data point of evidence testifying to the fact that, while it is common to state that nobody “got it,” or conversely “my sensei” (or anyone who happened to be present while Ueshiba taught) “got it,” a few actually did, could “come with the goods,” and even knew the jargon and could teach.
As always, the proof of the pudding is in the eating. Enjoy!
~ Allen Beebe
Studying “Pre-War Aikidō” from the Aikidōka,
Shirata Rinjirō shihan, who was said to have “One Strike Aiki”
Urayasu Aikidō Dōjō Nakajima Masanori shihan presents
The Martial Pride of Aikidō
What is the “Power” of Aikidō?
At 16 years of age, Doi Anna, who holds the woman’s high school record of 11.43 seconds in the 100 meters (Saitama Sakae High School), is the post-war Japanese track and field world’s youngest record holder. In interviews she answers that the number one secret of her speed is the body posture she studied in karate as a child.
What is called, “Making a posture that has a steady axis.[ii]” is not limited to budō and is discussed in many traditional performing arts.[iii] When interviewed for this article, sixth dan Nakajima Masanori shihan of Urayasu Aikidō Dōjō also advocated this steady body.
Nakajima shihan practiced at Aikikai shihan Seino Yūzō’s[iv] Anagawa Dōjō[v] from the age of about 17 until he attained the rank of fourth dan.
Looking back at those days Nakajima shihan says, “At that time, I worried that the leadership of various Chiba University aikidō groups couldn’t do anything about being held strongly. Just, if we continued training someday it would be possible to resolve it and we continued practicing.” In styles that have competition like jūdō, it is possible to consistently measure strength or power. But in things like aikidō that don’t have contests, we are not able to easily measure our power. Having these concerns, a turning point was coming for Nakajima shihan.
Chance meeting with Shirata Rinjirō shihan
Akazawa Zenzaburō shihan[vi], who entered the Aikidō Honbu Dōjō, the“Kōbukan,[vii]” in about Shōwa 8 (1933) as an uchideshi, led aikidō training at the Naval Academy[viii] during the war, and also contributed to the building of the AikiShrine,[ix] said in a previous interview, “At that time, in spite of only training for about three months, Ōsensei (the venerable Ueshiba)[x] said to go and teach what we had learned in those three months. It was like that for all of the people of that time, everyone.” Because they were going as leaders, losing in jūdō or kendō like contests during their travels was not permitted. Early aikidō had short intensive training that would be unthinkable in the present day and also the power that made that possible.
While Nakajima shihan continued to speculate he arrived at the idea that, “It seems that Ueshiba sensei was strong because he didn’t clatter about noisily.”[xi] that is to say, “He didn’t make excessive movements.”[xii] While pursuing an aikidō without “excessive movement” and with a “steady axis,” he decided to move to Sendai for his work. It was there that Nakajima shihan happened to encounter Shirata Rinjirō shihan.
Shirata Rinjirō shihan was the equal of the shihan Tōhei Kōichi[xiii], Ōsawa Kisaburō[xiv], Hikitsuchi Michio[xv], and Abe Kenseki[xvi]. Although these are the only five people to hold the aikidō 10th Dan rank (9th Dan at that time) in the lineage of the venerable Morihei Ueshiba, his existence wasn’t really known even among aikidō fans. This is because there wasn’t anything written about him and after the war the base of Shirata 10th Dan’s activities was centered in his home town of Yamagata. But this Shirata 10th Dan became an uchideshi at the age of 19 at the Kōbukan Dōjō, nicknamed the “Uchigome Hell Dōjō” and established by the venerable Ueshiba Morihei in Shōwa 6 (1931). In the following years he was one of the really strong ones and nicknamed “Kōbukan Prodigy[xvii]” because he crushed all of the opponents from other styles who came for dōjō yaburi.[xviii]
In Nakajima shihan’s story, “The area called Sendai is divided between the Tōhoku University group[xix] and the Tōhoku Gakuin University group[xx]. Exercise, course of study, and especially work are very different. And aikidō too, the Gakuin University group mainly uses the waza of Iwama’s Saitō Morihiro shihan[xxi] and the Tōhoku University group uses Honbu Dōjō’s waza.”
“Therefor, under the auspices of the Miyagi Prefecture Aikidō Federation[xxii], Shirata sensei was invited in the spring and Saitō sensei was invited in the fall to teach the instructor’s course. [xxiii] To begin, the first instructor’s course was organized by Tamate Michio[xxiv] sensei, who was the founding captain of the Tōhoku University aikidō group. I participated as well. During a break Tamate sensei asked, ‘Shirata sensei has been watching you, do you know him?’ When I replied, ‘No, just the name…’ he said, ‘Because Shirata sensei seems to like you, after this would you help look after him.[xxv]’ Even though we took care of him, it was only while he was in Sendai. (laughs) At that point I asked, ‘May I come to train?’ and received the pleasant answer, ‘Of course, be my guest.” That was the beginning.”
And so Nakajima shihan began to visit Shirata shihan. He said that practice in Yamagata was twice a week and it took more than two and a half hours to cross the city of Sendai [and get to Yamagata] by car. He continued to make the five hour round trip for eight years.
A short time after I started photographs were taken of sensei because they said John Stevens was writing a book called, “Way of Harmony.” In relation to that, an enbu[xxvi] demonstration was held in Yamagata. I took a keikogi just in case.
When the normal enbu was over, Shirata sensei said, “You should demonstrate too.” After it was over I asked briefly, “How was my demonstration?” When I asked he shouted, “Your techniques were not aikidō!!”[xxvii] I was really shocked, but because I continued to go there I guess I learned a lot. Shirata sensei was a person who didn’t say anything to people without promise.
Years later I asked people in Yamagata and they said that was like an entrance exam. I didn’t especially intend to formally enroll, but eight years passed… It was very snowy day. After practice Shirata sensei took me to a soba shop in his neighborhood and at that time he said, “ If you are asked, ‘Who’s student are you?’ please answer, ‘I am Shirata sensei’sstudent.’”
Lost In an “Unknown” Aikidō
Nakajima shihan said, “The first three years were really difficult. Because the movements were completely different…” Well, what kind of training, specifically? “To start with, when I went we always did ken or jō for 30 minutes to an hour. I think we did that every time, but I asked later and was told no we didn’t. (laughs) Techniques too, sensei always did different things.”
“Because it wasn’t really one to one training, I would go and the local people would watch with curiosity[xxviii] because I would do techniques they hadn’t ever seen. The only time sensei taught me privately was when I was taught nikkyōvariations.[xxix] I don’t know if these were techniques Shirata sensei used in taryūjiai,[xxx] but some were things like otome waza[xxxi] that I learned in his office which he said, ‘Shouldn’t be shown outside.’”
Nevertheless, based on this story alone, it appears that things like weapon skills, henka waza[xxxii] and a large number of techniques were features [of Shrata’s aikidō] and it is hard to connect “not clattering about noisily” and “making use of a steady body”[xxxiii] that was brought up earlier.
While asking about these matters it was possible to ask about a story of great interest regarding what is called straight line movement[xxxiv] that is different from what most people call a circular movement aikidō.[xxxv]
“Shirata sensei often said, ‘Step firmly and steadily with the feet.’[xxxvi] Among the students there were also people who were researching Hida Harumitsu of the Hida Shiki Health and Strength System.[xxxvii] I think there is a story about Hida Harumitsu stomping through the floorboards. Sensei said to stomp that strongly.
At the same time as that, he would often say, “Do it clearly.”[xxxviii] In his 60s Shirata sensei’s back became a little rounded. Actually, as he reached 70 or 80 years old he became straight as a pole.[xxxix] When he was 70, if he was asked, “Sensei, although posture is bad in old people…” he would say, “Because of that, you should correct and straighten the posture.” And in relation to waza he said, “If it isn’t done cleanly and beautifully it is not waza.”[xl] Therefore (even when speaking about real combat) as far as I know, hiji kiwame (what is called “waki gatame”[xli]) wasn’t done. We were told, “It is because it causes bad posture.” They are easily thrown in hanza shihōnage[xlii] and for a counter to men uchi they are completely controlled with ikkyō.
Shirata sensei did what he called called, “Capturing the attacking hand.”[xliii] His favorite kind of thing to say was, “Stand and sit cleanly with a straight back. Study this thoroughly.”[xliv] He said that spinning around was no good.[xlv]
I called it a rotary engine, but it was moving like hitting the points of a triangle. It wasn’t circular movement. Because the opponent was what turned, not yourself. The vector was different for circular and straight. The feeling was also different. Therefore by depending on the feeling of capturing uke and repeating waza, the waza went wrong. It was hard.
Aikidō’s Kata Practice
“Further, Shirata sensei’s teaching was very exact with the number of steps and the angles. If you were bringing [them] down with ikkyō it was two steps forward, but when it was a cross hand grab it finished in one step.[xlvi]Because the number of steps were set, naturally their length was also set and the angle was fixed too. In sword especially, he would often say, “This is two steps.” “That is one step.” (laughs) When you aren’t used to it, the body doesn’t obey…
Ueshiba sensei always said, “There are no kata in aikidō.”[xlvii] but I believe the Kōbukan Dōjō era uchi deshinoticed from sensei’s movement that the number of steps was set and the angles were strict.
Shirata sensei was probably able to teach this to us because he actually saw Ueshiba sensei’s movement. Because it seems that Ueshiba sensei focused on “showing” and not so much on “teaching,” the uchideshi gathered together and reviewed things when practice was over. I think the theory of things like the number of steps would arise naturally at that time?
There were probably people who were not doing this, but Shirata sensei would also say, “People who weren’t able to make kata weren’t able to become strong were they?”[xlviii]
In the performing arts there are terms like “mollycoddled son”[xlix] or “acolyte.” It’s good to be known for “performance that fits kata,” but these are terms that indicate a level of ability at which only things that are prearranged are possible and an inflexibility in practical application. Even though a pretty enbu is possible with prearranged sequences, the situation when you are facing something like an opponent from a different style or an opponent who is a person with a little more power will suddenly fall apart.[l]
Because of freedom oriented postwar teaching, there was an increasing tendency to say that things based on kata were evil and to mistakenly overuse “mollycoddled son.” Originally, because Japanese performing arts were what is called kataculture, each detail properly learned, it was expected that the acquisition of practical ability was built upon those basic skills, but when someone starts by moving freely it is considered “not based on kata.”[lii] One cannot deny the impression that this very different movement ends up degenerated compared to the original movement.
It is said that, “If you can’t sit properly with good posture, standing will be impossible and if you can’t stand, you can’t move.”[liii]
Nakajima shihan:
In kata practice the body must not wobble. If the body wobbles the usable force is weak because it is just raw strength. For example, even in something like aikidō’s kokyūhō, in my dōjō we move to gain control from the time our hands are pinned on the knees. I have heard that at the Kōbukan Ueshiba sensei also strictly taught, “When you send the hands into emptiness you will be kicked and pulled over. Definitely place your hands properly on the knees.” Doing kokyūhō was extremely important for Shirata sensei. Shirata sensei bequeathed this form and because of this I think that the old time Kōbukan uchideshi had heavy hands.[liv] Even so, it isn’t practice until you can’t raise your hands.
I think that kokyūhō comes from that practice. The foundation of kokyūhō is learning to sink the hara and lower the shoulders.[lv] As I just showed, when your partner holds you down, no matter how hard, poof you lift them up and you have the feeling that a ball inside your body is dropping.[lvi]
Because there is balance in the world, if there is something that rises, there must be something that falls, right? This falling is “Chi no Kokyū.”[lvii] Boom, it goes into the earth. I feel a lot of falling. The feeling makes waza for me.[lviii] Shirata sensei always taught to, “Have them hold firmly.”
Although the venerable Ueshiba’s teaching and presentation gives one the feeling of a lot of abstractions because of his deep study of things like Shintō, Nakajima shihan’s explanation really feels very systematic when asked for it.
When we say things like, “Hold on firmly…” it produces the impression of hard Iwama (Saitō shihan) training but, Shirata sensei said, “Saitō san’s waza is post-war waza, isn’t it?”
Even in relation to irimi, Shirata sensei enters directly forward while Iwama shifts slightly to the side. Iwama waza is actually rational. Our waza isn’t rational at that point. (laughs)
How do you move using that irrational movement? The reason it is irrational is because it appears like I cannot move. So I move internally and make the opponent move.[lix]
The technique moves my own inside for me, that is the formula so to speak. My own inside begins to move and then the opponent begins to move for me.[lx]
Ueshiba sensei entered the faith of Ōmoto kyō, right? And so, because Ōmoto kyō’s idea of form was, “Japan is a microcosm of the world. Therefore the renewal of the world comes from the reshaping of Japan,” the following idea probably occurred to him. “Not knocking the opponent down, the change which occurred in my body is transferred to the opponent and it becomes technique…”[lxi]
Also, in Ōmoto kyō they write the characters for water and fire [水 火] and they read them as “Iki” [イキ meaning“breath”].[lxii] The interplay[lxiii] between water and fire creates change. And so I think that’s probably why Ueshiba sensei attached the name “kokyū hō” to this (waza/technique). What this means is that what I am now doesn’t throw down the opponent, rather it is technique that controls the opponent through change of the self.
You could consider that what transforms the self was concealed in the old pre-war Kōbukan techniques.
Page from Budō containing the quote about Ashi no Fumi Hō.
Nakajima shihan said that, while studying the large number of pre-war aikidō, Kōbukan era techniques from Shirata shihan, a copy of Budō[lxiv] that had been discovered around that time arrived from Saito shihan. Budō is a unique technical book that the venerable Ueshiba published himself (Showa 13). It originated as a textbook produced during the period when the venerable Ueshiba was providing teaching to Kayanomiya sama.[lxv] All of the 119 photographs are of the venerable Ueshiba personally demonstrating and he also supervised the explanations.
It is a valuable book that helps one to understand things that were taught like the following: “Ashi no Fumi Hō [Stepping with the feet], there is the outer roppō [six directions] and the inner roppō as well as the outer tomoe [comma shape] and the inner tomoe, this is transmitted during training.”[lxvi] Nowadays roppō is called irimi, tomoe is called tenkan, and “Ki Ryoku no Yōsei [Ki power development]” is named “Kokyū Ryoku no Yōsei [breath power development].”[lxvii]
“Because Shirata sensei said that this was an important text, it was distributed to everyone. But nobody understood it.”(laughs) I said, “Sensei, I have received a copy but, even though I look at it, I can’t understand it.” and he said, “Well, please come a little early because I’ll teach you one or two.” After that we did all of the techniques like a workshop. We did two workshops of four hours, eight hours total. Shirata sensei didn’t just start saying, “This is this one.” but showed us related techniques one after another. Then right there on the spot he would say, “Ah, this is the one.” My thoughts were, “Indeed, because Shirata sensei was a person who saw (Ueshiba sensei’s waza) with his own eyes, he was really amazing.”
The Kōbukan era techniques that were taught in this way to Nakajima shihan by Shirata shihan included things like Nihon Dori, Ōtenkan, Rokkyō[lxviii] (While the Rokkyō taught by Tanaka Bansen shihan in the Jūnikkyō is different, this is a violent one that entangles using the legs.) and a lot of techniques that have disappeared in contemporary training.
I wonder if anyone can become strong by practicing techniques. Nakajima shihan told me:
The ikkyō I showed today is the technique which is the most difficult osae kata. Ueshiba sensei said, “If you can do a difficult thing, you can easily do a simple thing.” So, how do you do those difficult things? I think that everything needed to make one strong is present in the life of Ueshiba sensei. Of course there are things that cover stuff like tanren for the legs and torso[lxix] that are hidden in the history, but if you think about it, you will naturally begin to see them. I expect that anyone can become strong by thinking about the purpose of the techniques rather than setting up an encyclopedia of Ueshiba sensei’s technique.
◼︎
Translation by Douglas Walker
Shirata Rinjirō shihan swinging a bokutō in days gone by. (top photo) He learned in the pre-war aikidō honbu dōjō, “Kōbukan,” and later he was employed as substitute teacher for the venerable Ueshiba at Ōmoto Kyō Headquarters in Ayabe. He was one of the strongest who repelled many attempts to smash the dōjō [道場破り] and after the war demonstrated things like the jō at events like the All Japan Aikidō Demonstrations. In the lower photograph (right) with Shioda Gōzō shihan at the 1984 meeting of the International Martial Arts Federation. Compared to the small statured Shioda shihan, you can understand how the physique of a man who was strong in his youth is brought to mind.
Shirata shihan method “Shomenuchi Rokkyō”
Probably a representative example of strict prewar technique taught by Shirata shihan is “rokkyō,” which is also a technique that is rarely seen at all nowadays. It is being presented using shōmenuchi, but naturally it can be applied to various attacks. Knock the shōmenuchi down from above while moving, catch the wrist with the left hand and the arm with the right hand, step perpendicular to the opponents line of attack with the right leg and draw the arm to the floor. (1—3) Twist their wrist and front arm in the exact direction used for shihōnage. Then, without changing the inward curve of the wrist, pin it with the knee and then seize the arm on the other side and immobilize them by twisting it up and to their rear. (4—6) Finally, like gokkyō, which pins the wrist to take a tantō away, the first arm is in the same twisted shape. (7) The shape of the pin is close to the Daitō ryu technique which is the original form.
[no # photo] We are shown a different method that uses the knee to hold down the arm that was twisted down. Even in pre-war aikidō there were many variations of the final pin.
Shirata shihan method “Kokyū hō”
End Notes:
“一撃の合気”と言われた合気道家白田林二郎師範 lit. aikidōka Shirata Rinjirō shihan, who was called,
“One Strike Aiki”
[ii] ”姿勢、ぶれない軸を作る”
[iii] 芸事 geigoto traditional performing arts or accomplishments
[iv] 清野裕三師範
[v] 穴川道場
[vi] 赤沢善三郎
[vii] 皇武館 the pre-war name of the honbu dōjō in Tōkyō
[viii] 海軍兵学校 Kaigun Heigakkō
[ix] 合気神社 an Ōmoto shrine located near Ueshiba’s house and dōjō in Iwama. First erected c.1942
it was expanded and rebuilt in the early 1960s.
[x] 大先生（植芝翁）Ōsensei (Ueshiba okina)
[xi] 「植芝先生があれだけ強かったのは、バタバタ動かなかったのではないか」
[xii] ”余分な動きをしない”
[xiii] 藤平光一
[xiv] 大澤喜三郎
[xv] 引土道雄
[xvi] 阿部醒石 (furigana in article is けんせき) actually Abe Seiseki
[xvii] 皇武館麒麟児 Kōbukan Kirinji
[xviii] 道場破りto challenge a different training group and defeat each member
[xix] 東北大系
[xx] 東北学院大系
[xxi] 岩間の齊藤守弘師範の業
[xxii] 宮城県合気道連盟
[xxiii] 指導者講習会 shidōsha kōshūkai
[xxiv] 玉手美智夫
[xxv] これから白田先生のお世話をするように [しなさい] lit. from now on please take care of Shirata sensei
i.e. serve as his host while he is visiting and teaching the seminar
[xxvi] 演武 martial arts demonstration, often performed at a shrine, temple, or festival or for important persons
[xxvii] 「お前の業は、合気道じゃない！！」
[xxviii] 不思議そうに見ていました
[xxix] ニ教のバリエーション
[xxx] 他流試合matches with challengers of an different style
[xxxi] 御留業のようなもの secret or private techniques kept within a select group e.g. hiden, okuden, etc.
[xxxii] 武器術や業の変化
[xxxiii] 『バタバタ動かない』『ぶれない身体運用』
[xxxiv] 直線的な動き
[xxxv] 「丸く動く」と云う合気道
[xxxvi] 「足をしっかり、踏みしめる」
[xxxvii] 肥田式強健術 hida shiki kyōkenjutsu
[xxxviii] 「綺麗に」kirei ni, clearly, cleanly, purely, beautifully, completely,
[xxxix] 七十歳、八十歳となるにつれてピーンと。
[xl] 『綺麗に掛からなければ業ではない』
[xli] 肘極 hijikiwame 脇固め wakigatame
http://www.judo-tao.com/gokyo/KATAME-WAZA/KANSETSU-WAZA/Waki-gatame.gif
[xlii] 半座の四方投でスポンと投げられる probably hanza handachi shihōnage
[xliii] 白田先生は『反対の手を捕る』ということは、随分、やられていましたね。
hantai no te could mean attacking or opposite hand
[xliv] 『綺麗に立って座って、背筋真っ直ぐ。これをしっかりと憶えなさい』と、口癖のように仰っていました。
[xlv] 回っていてはダメだと云うんです。
[xlvi] 一教でしたら、下に落せば二歩前進ですが、交差捕りになると、一歩出ておしまいなんです。
[xlvii] 『合気道に型はない』
[xlviii] 『型を作れなかった方は強くなれませんでしたね』
[xlix] 箱入息子 kakoirimusuko lit. a son who is put in a box ie. sheltered
[l] 途端にバタバタ……といった具合
[lii] “型にはまらない”
[liii] ”キチンと姿勢を正し座れなければ、立つことはできない、立てなければ動けない”
[liv] （手が）重たかった
[lv] 呼吸法の基本として、肚を沈めて、肩を落すことを学びます。
[lvi] 身体の中の玉が下に落ちる感覚なんです。
[lvii] 『地の呼吸』”Breath Power of the Earth”
[lviii] 感覚が、業を作ってくれるんです。
[lix] 内部を動かして相手を動かすしかないんです。
[lx] 自分の内部が動き始めると、はじめて相手が動いてくれるんです。
[lxi] ”相手を倒すのではなく、自分の身体に起きた変化、それを相手に伝えることが、業になるのでは…”
[lxii] また、大本教では『水と火』と書いて『イキ（水火）と読ませます。
The quote implies that there is a connection between the Ōmoto kyō concept of change arising from the opposing forces of fire and water and that this is somehow linked to breath because of their unique reading of the two character compound of “water” plus “fire.”
[lxiii] 相克 lit. rivalry
[lxiv] 『武道』Budō, published in 1938 and distributed to senior students and supporters, was rediscovered in the postwar period due to the efforts of Stanley Pranin who brought it to the attention of his teacher Saito shihan. It has since been translated by John Stevens and published in English as Budō: Teachings of the Founder of Aikido, Kodansha 1991. Nakajima sensei seems to be unaware of the fact that Shirata sensei owned a signed copy of Budō presented to him by Ueshiba Morihei sensei.
[lxv] 賀陽宮恒憲 Tsunenori Kayanomiya (1900-1978). First son of Prince Kuninori Kayanomiya. First cousin of Nagako Kuninomiya who married the Showa Emperor in 1924. Studied at Army Central Preparatory School at age 14 in preparation for a military career. Attended the Army Officers’ School and Army College. As an army officer he held the following posts: Commanding Officer of the Cavalry Regiment, Superintendent of the Army Toyama School (1942-43), and Superintendent of the Army College. Rose to the rank of Lieutenant-General and awarded the Grand Order of the Chrysantemum, Third Rank.
Studied aiki budō under Morihei Ueshiba for brief period c.1937-38.
http://members.aikidojournal.com/encyclopedia/tsunenori-kayanomiya/
[lxvi] 『足ノ踏ミ方ハ外六方、内六方及外巴、内巴アリ 練習ノ際ニ傳授ス』As highlighted in the text this is a very difficult passage from a language perspective. Roppō is literally “six direction” and thus may make reference to one or another of the following: six direction stability (dynamic oppositional stability, pulling silk, heaven earth man), the cardinal directions plus heaven and earth or even Front, Back, Left, Right, Up and Down in classical Chinese learning, or to a stylized type of exit in kabuki theater performance. Added to that is the notion of “inside” and “outside” which may refer to inside/outside the body or to moving to the inside i.e. front verses moving to the outside i.e. rear of an opponant. It is all the more complicated because the author is discussing both “move my inside” and irimi tenkan which are movements that can be performed by moving to the front or back side of an opponent. Many times in such situations it is best to allow for “both and” rather than “either or” interpretations. Further the subject of the sentence is “ashi no fumi hō” or “ashi no fumi kata” and might refer to either “method(s) of stepping with the feet” or “direction(s) of stepping with the feet.” Finally, tomoe is the ubiquitous and important Japanese comma shape ❜ of which two together resemble a Chinese yin yang figure without the dots ☯ and is commonly seen in a circular group of three called mitsudomoe.
Those wishing to read further might best start here:
Morihei Ueshiba, Budo and Kamae
Morihei Ueshiba, Budo and Kamae – Part 3
[lxvii] 『呼吸力の養成』は『気力ノ養成』という名称
[lxviii] 二本捕、横転換、六教
[lxix] 足腰の鍛錬等 ashikoshi no tanren nado
2 Comments
fred veer · June 30, 2021 at 9:48 am
Hi Allen, great read, i hope you are surviving the heat. What was in the book Nakajima shihan wrote for you ?
Allen Dean Beebe · July 3, 2021 at 11:43 pm
Wouldn’t you like to know! R..