Aikido in Stevenage - Wanomichi Takemusu Aiki

07/05/2026

https://wanomichi.uk/program/

Technical Program: The Path of Continuous Improvement The Wanomichi curriculum is a comprehensive system designed to lead the practitioner from foundational mechanics to creative mastery. All instructors follow this standardized program, ensuring a consistent and high-quality transmission of the art...

20/03/2026

22/01/2026

In Wanomichi Aiki and the traditional Aikido system, **Hanmi** is the fundamental oblique or "half-body" stance that forms the basis of all movements [1]. The term literally translates to "half" (*Han*) "body" (*Mi*) [1].

Here is a detailed explanation of its forms, principles, and applications according to the sources:

# # # **1. Basic Types of Hanmi**
* **Migi Hanmi:** A basic stance with the **right foot forward** [1]. This is the standard posture required for **Ken (sword) exercises** [2].
* **Hidari Hanmi:** A basic stance with the **left foot forward** [1]. This posture is typically instrumental in **empty-handed (Taijutsu) exercises** [2].
* **Aihanmi (Equal Position):** When both you and your partner have the **same foot forward** (e.g., both in right hanmi) [1].
* **Gyaku Hanmi (Mirror Position):** When you and your partner have **opposite feet forward** (e.g., you are in right hanmi and your partner is in left hanmi) [1].

# # # **2. The Geometric Principle ($\triangle$)**
Hanmi is characterized by the **triangular pattern (Sankakuho)** of the feet [3]. By assuming an oblique posture, you enter the "sphere of the opponent" in a way that minimizes your own target area—a concept often referred to as **making the body small** (*Hito e mi*) [4-6].

The sources emphasize that even if your foot position is not mathematically precise, you can achieve the necessary control if you **twist your hips (torso) appropriately** to deflect an attack [5].

# # # **3. Relationship to the "Back Triangle" (Hito e mi)**
The most advanced application of hanmi is the **back triangle stance**, also known as **Hito e mi** or **Ura Sankaku** [7, 8].
* **Structure:** In a right hanmi posture, you form a triangle by aligning the **outside of your right foot** with the **inside of your left foot** [7].
* **Purpose:** This alignment is a primary requirement for receiving attacks [9]. It allows you to **execute a strike or thrust without receiving a blow in return** because your body is moved out of the line of attack [7, 10].
* **Mobility:** Keeping the center of your body in line with this stance makes movement in all directions—forward, back, left, and right—significantly easier [11].

# # # **4. Hanmi in Riai (The Combined System)**
The principle of **Riai** dictates that body movements are identical whether you are holding a weapon or not [8, 9].
* **Sword Stance:** The right shoulder is considered the "key" to sword exercises, necessitating a right hanmi [2].
* **Empty-Handed Stance:** Conversely, the left shoulder is considered instrumental for Taijutsu, which is why empty-handed practice often begins in left hanmi [2].
* **Unified Movement:** Regardless of the specific hanmi used, the **rotation of the hips** determines the movement of the feet, and the **movement of the head** determines the movement of the hands [12].

# # # **5. Hanmi Handachi**
You may also encounter **Hanmi Handachi**, which refers to a "half-sitting, half-standing" position [3]. This is used in specific training where the defender (*Tori*) is in a sitting position (*Suwariwaza*) while the attacker (*Uke*) stands, requiring the defender to maintain the principles of hanmi while mobile on their knees [13].

16/01/2026

Feel free to come and join us. Monday and Tuesday 7pm to 9pm. Sunday 10am to midday, Stevenage.

19/11/2025

Kokyu, which literally means "breath" in Japanese, is a fundamental concept in all of Aikido, including the Iwama style.
In the context of Iwama Aikido, and martial arts in general, Kokyu refers to more than just the physical act of inhaling and exhaling. It represents:
* Breath Power : This is often translated as "Abdominal Breath Power." It is a force or feeling that is believed to originate in the hara (the lower abdomen/center of gravity) and flow through the body. It's about generating power through the integration and coordination of your breath, physical movement, and internal energy or intention.
* Timing and Blending: Kokyu also implies correct timing and blending with the opponent's attack. By coordinating your movement and 'breath' with your partner's energy, you can execute techniques with minimal muscular strength, relying instead on structure and leverage to break the opponent's balance.
* The Concept of Kokyu-ho and Kokyu-nage:
Kokyu-ho(breath method/exercise) is a basic sitting exercise practiced frequently in Iwama-style dojos, particularly Suwari-waza Kokyu-ho, where the goal is to unbalance a partner holding your wrists purely through body movement, coordination, and breath power.
Kokyu-nage (breath throw) is a broad term for various throws that primarily rely on good timing, unbalancing, and the principle of Kokyu rather than joint locks or brute force.
Morihiro Saito Shihan, emphasized the importance of this power, reportedly saying, "Aikido without Kokyu-ryoku is not Aikido!"

12/11/2025

Transition from Kihon (basic/static) to Ki no Nagare (flowing/advanced) is a major step.
In essence, you are moving from learning the rigid structure and form of a technique to applying the underlying principle in continuous movement.
Here are the key points and concepts for this transition:
🥋 The Levels of Practice
Iwama Aikido (often called Takemusu Aikido) typically categorizes the training progression into four main levels, with Kihon and Ki-no-Nagare being the foundational and advanced goals:
* Kihon (Kotai - Solid/Rigid Body):
* Focus on stable stance (Hanmi), precise footwork, and body mechanics.
* Techniques are often practiced from a static, strong grip or attack, and movement is broken down into distinct, clear steps with pauses.
* The goal is to establish an unshakeable center and understand the basic angle and structure of the technique.
* Yawarakai (Jutai - Soft/Flexible Body):
* An intermediate step where you begin to "soften the edges" of the Kihon forms.
* Techniques are done as one movement from a static start (no pauses), emphasizing dropping the center and coordinating the whole body.
* Ki no Nagare (Ryutai - Flowing Body):
* Focus shifts to blending with Uke's attack as it happens or even before full contact.
* Movements are continuous, dynamic, and faster, emphasizing leading Uke's energy and creating an immediate imbalance. The physical contact may be minimal.
* The goal is to apply the technique principles while both Nage (you) and Uke (partner) are in motion.
* Kitai (Ki - Spirit/Energy):
* The highest, most subtle level, reached after decades of practice, where technique becomes almost imperceptible, utilizing pure intention and spirit.
🔑 Key Transition Principles
To move effectively from the static form of Kihon to the flow of Ki no Nagare, focus on these changes:
1. Timing and Contact
* Kihon: You receive the attack (strong grip/strike) first, establish your structure, then execute the technique.
* Ki no Nagare: You anticipate and enter (Irimi) or turn/blend (Tenkan) at the instant or before Uke's energy is fully committed, leading their movement forward. The timing shifts from after contact to during the attack.
2. Leading (Dōsa)
* Kihon: Focuses on the precise movement for your body (Nage).
* Ki no Nagare: You must lead Uke forward and create their imbalance as the primary focus. The movement must be expansive, drawing Uke's energy out to commit them to the flow.
3. Footwork and Center
* Kihon: Footwork is often broken down and precise, with a strong focus on aligning the feet and hips at the finish.
* Ki no Nagare: Footwork becomes more flexible and continuous, adapting to Uke's moving position. The emphasis is on maintaining a connected, mobile center (Hara) while the rest of the body is free to flow.
4. Practice Method
* Continue to practice Kihon techniques rigorously, but now you bring the fluidity of Ki no Nagare back into your basic forms to generate a flow even from a static start.
* The transition often starts with the Yawarakai approach—doing the entire Kihon technique without pausing, as one continuous motion, even from a static grip.
The transition is not about abandoning the basic form, but about internalizing the structure so deeply that the technique's principle can be expressed spontaneously and continuously.

05/11/2025

The 31 Jo Kata (San-Ju-Ichi No Jo Kata) is a fundamental and highly respected solo form in the Iwama Ryu style of Aikido, as codified and taught by Morihiro Saito Shihan, a direct and long-time student of Aikido's Founder, Morihei Ueshiba O-Sensei.
Here is a detailed discussion of its context, structure, and significance:
🥋 Context and History
1. Lineage and Codification
* Founder's Teachings: The movements within the 31 Jo Kata originated from the weapons teachings (known as Bukiwaza) of Morihei Ueshiba O-Sensei during his time in Iwama. O-Sensei taught the principles of Aiki-jo (staff) and Aiki-ken (sword) to demonstrate the core principles of Aikido body techniques (taijutsu).
* Saito Sensei's Role: While O-Sensei taught the movements, it was Morihiro Saito Sensei (who served as caretaker of the Founder and his dojo in Iwama for many years) who formally codified and numbered the movements into the 31-count kata. This systematic approach made the art accessible for structured learning, especially in large classes.
* Distinction from Kumi Jo: Saito Sensei emphasized that the kata itself is a solo form designed for mastering body movement, posture, and weapon handling (jo sabaki). The applications of the movements are found in the 31 Kumi Jo, which is a set of paired exercises.
2. Purpose and Meaning
The kata serves several crucial purposes in Iwama Aikido:
* Principle Integration: It teaches the physical and philosophical principles of Aikido—such as entering (irimi), turning (tenkan), blending (awase), and breath power (kokyu)—through the medium of the wooden staff (jo).
* Body Mechanics: Practicing the kata drills essential footwork (ashi sabaki), hip rotation (koshi no kaiten), and the correct alignment of the body and weapon.
* Technical Basis: The kata links many of the 20 Jo Suburi (basic single-movement drills) together in a flowing sequence, showing how fundamental strikes and thrusts can be combined defensively and offensively.
🎯 Structure and Key Elements
The 31 Jo Kata is a continuous sequence of 31 distinct movements, beginning and ending in the same position (hidari hanmi, or left fighting stance). The count is based on every major movement of the weapon and the body.
1. Movement Breakdown (General Themes)
While discussing all 31 movements in detail is extensive, the kata can be viewed in sections that focus on key themes:
* Opening: Typically involves a series of thrusts (tsuki) and rising blocks (jodan gaeshi) that establish the foundation of movement and hand-position changes.
* Strikes and Blocks: Includes the foundational shomen uchi (vertical head strike) and yokomen uchi (side-of-the-head strike), combined with defensive movements and transitions.
* Sweeps and Rear Strikes: Incorporates movements like ushiro barai (rear sweep) and strikes to the rear or low targets, emphasizing 360-degree awareness and turning principles.
* Tsuki (Thrusts): Various thrusts are practiced—to the chest (mune tsuki), head (jodan tsuki), and low targets (gedan tsuki). According to one analysis, the kata contains 8 distinct thrusting movements.
* Flow and Connection: The essence of the kata lies in the transitions between the numbered movements, focusing on a continuous, flowing line of energy rather than 31 discrete stops.
2. The Relationship to Kumi Jo
The greatest practical significance of the 31 Jo Kata is its direct link to the 31 Kumi Jo—the corresponding partner exercises.
* Kata as Blueprints: The kata movements are the solo blueprints for the paired interactions in the Kumi Jo. For instance, a downward block in the kata corresponds to a partner's attack that must be parried or blocked in the Kumi Jo.
* Movement vs. Application: Saito Sensei noted that in the solo kata, certain movements (e.g., transitions 15/16, 20/21, 25/26) are counted separately to maintain the flow back to the starting point. However, in the Kumi Jo, these may be executed as a single, combined application against a partner's movement.
3. Key Technical Considerations
* Same Start, Same End: A core principle is that the practitioner starts and ends in the exact same position and orientation, demonstrating control and balance throughout the complex movements.
* Hips Lead: The movement must be generated from the hips and center (hara), with the jo following the body's momentum, not the arms leading the weapon.
* Continuous Flow: Despite the 31-count structure, the ideal ex*****on is a single, uninterrupted flow of energy, focusing on rhythm and breath coordination (kokyu).
🚀 Conclusion
The 31 Jo Kata is more than just a sequence of strikes; it is a portable system for learning the fundamental body movements, principles, and weapon control techniques of Iwama Aikido. It acts as the solo preparation for the dynamic, combative applications found in the paired Kumi Jo drills, thus forming a complete system for Aiki-jo training.

31/10/2025

The practice of kata (pre-arranged forms or sequences) is extremely important and foundational in Iwama Aikido (often associated with the teachings of Morihiro Saito Sensei, a long-time student of Aikido Founder Morihei Ueshiba).
Unlike some other styles of Aikido that emphasize randori (free-style practice) early on, Iwama Aikido uses kata extensively to build a comprehensive and martial foundation.
Here are the key reasons for the importance of kata practice in Iwama Aikido:
🗡️ Integrated Weapons and Empty-Hand Technique
* Riai (Unity of Principles): Iwama Aikido emphasizes the unity (riai) between empty-handed techniques (taijutsu) and weapons techniques (bukiwaza), specifically Aiki-Ken (sword) and Aiki-Jo (staff).
* Weapons Kata: A large part of the Iwama curriculum involves detailed solo and paired weapons kata (like the 31-Jo Kata and various Kumi-Jo - paired staff forms). These forms teach the correct body movement, footwork, and stances that are directly applied to the empty-handed techniques. Practicing the weapons kata is practicing the core principles of the taijutsu.
🏗️ Building a Strong Foundation (Kihon)
* Static/Basic Practice (Kihon or Katai): Iwama Aikido begins with kihon (basic) or katai (rigid/static) practice. In this stage, techniques are practiced from a solid, static grab with the partner offering resistance. This methodical approach (which is essentially a form of kata practice) is critical for:
* Developing proper body mechanics and center of gravity.
* Learning to generate power from the hips/core (hara) rather than just the arms and legs.
* Ensuring the technique is effective even against a strong, resistant grip.
* Structured Progression: Saito Sensei structured the training in clear levels:
* Kihon/Katai (Basic, static form)
* Yawaraka (Soft/flexible, intermediate flow)
* Ki-no-nagare (Flowing technique)
🧠 Developing Muscle Memory and Precision
* Repetition and Refinement: Kata provides a prescribed sequence for consistent repetition. This builds muscle memory so that movements become automated reflexes, allowing the practitioner to execute them naturally without conscious thought.
* Precision: By slowing down and focusing on the exact movements in a kata, students can refine their technique, footwork, and timing to achieve speed, precision, and explosiveness.
In summary, in Iwama Aikido, kata practice (especially the numerous taijutsu and bukiwaza forms) is the primary tool for embedding the foundational, martial principles and integrated body movements necessary for all aspects of the art.
Would you like to know more about a specific kata, such as the 31-Jo Kata, or the progression from kihon to ki-no-nagare?

22/10/2025

The principles of Juji Nage (Cross Arm Throw) in Iwama Aikido are rooted in the overall philosophy and technical emphasis of the Iwama style, which stresses the faithful preservation of O-Sensei Morihei Ueshiba's teachings as passed down by Morihiro Saito Sensei.
While the fundamental mechanics of Juji Nage are generally similar across many Aikido styles (crossing the opponent's arms to create an elbow lock and leverage for a throw), the principles and application in Iwama Aikido highlight several key aspects:
* Strong, Stable Basics (Kihon): Iwama Aikido places a high value on learning and practicing basic techniques (Kihon-waza) precisely and from a strong, stable stance (Hanmi). For Juji Nage, this means strict attention to the proper body movement (Tai Sabaki), hand grip (Te Sabaki), and initial unbalancing.
* Unbalancing (Kuzushi) and Blending (Aiki):
* The technique begins with blending (Aiki) with the attack, often using circular movement (Tenkan) to get out of the line of force.
* Kuzushi (unbalancing) is crucial. In Iwama-style, this is often achieved not just by force, but by a cohesive, single movement of the entire body, using the movement of the attack to extend and break the opponent's balance forward before the final throw. The goal is to avoid collapsing and merely pushing.
* Use of the Whole Body (Irimi): The throw is generated from the center (Seika Tanden) and through the forward entering movement (Irimi). As you cross the opponent's arms, you step in and move your entire body behind the extension, pushing the lower hand against the top elbow to apply the lock and pressure. The power comes from the movement of your hips and core, not just the arms.
* Integration of Weapons (Riai): A core principle of Iwama Aikido is the unified study of empty-handed techniques (Taijutsu) and weapons (Bukiwaza - Aiki Ken and Aiki Jo). While Juji Nage is a Taijutsu technique, the principles of centering, posture, and extension used in weapons practice are directly applied to the empty-handed techniques.
* Martial Effectiveness (Budo): Iwama Aikido focuses on the techniques as martial applications (Budo). This often results in techniques being practiced from strong, static grabs (especially in the basic stage) to ensure the technique is effective against a committed attack, with a clear focus on the lock (Juji-Garami or Juji-Dori) that precedes the throw. The technique is a strong arm-lock that becomes a throw.