CHAPTiR Sxtend Ki

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If Id is defined as "mind" or "attention" then "extending ki" refers to a (greeting of mind or attention to a thing, to a point of focus, to a goal. The phrase "extend ki" seems to suggest that there is a starting point, a time wheat ki is not being extended. Actually ki should be extended all the time. In Aikido and in daily life, waiting until an attack occurs, and then toying i© extend, attend, or set a goal, is too late. Hence a slightly

"Ki is extending."

Why do you have to "extend ki"? Well, you don't. You can also think of your body Med with light. But the concept of something going out of your body is easier to grasp. The next step, learning to align with the extension of energy from your partner and dealing with it appropriately, is the beginning of Aikido technique.

Tliere is sometimes discussion of the power of mechanics versus ki. Actually there is no "versus" — the two work in harmony. Ki helps the mechanics to work more effectively while proper mechanics allow the ki to flow. We aU extend ki ("mind" or "attention") when driving a car or riding a bicycle. Remember aligning the hood ornament or fender with the side of the road when learning to drive? The task would be danger-

  • if we limited attention to the few inches of road just
  • eath the tires. How youry°U an Aikido technique depends on where you place
  • tnind. ^ you do not extend ki during a technique or while under you will tend to let your mind stop at the hand (just as you pro-nage y0Ur Peer's mind to stop at a green light (see page 12). A up in cuts a technique short tends to push into uke's power, ending out^ ^^^ 311(1 weight contest. A nage who leads mind and body magiCaj e s Power can drop uke to the mat with seemingly impossible,

Extending ki involves not only extending your own ki, but perceivi as extended in others and aligning with that flow, that energy, that 1 tion. You do not extend ki at the same instant that you step onto a m*^ escalator. You first find one that is going the way you want to g0 with it, evaluating and matching speed and direction, then so a« ®

6 yonr way.

Tenkan ("turning") appears to be a physical technique, but it is based internal attitude and direction, blending and flow. It can also be done v® bally and emotionally — and must be practiced in these ways to be trul understood.

I once worked in a technical reports unit responsible for turning the engineers ' reports into meaningful English. A certain engineer had a reputation of being hard to deal with, difficult, cantankerous, and sometimes downright abusive; he had even threatened to kick one arrogant young editor down the stairs if he ever touched his stuff again. There was simply no working with him, went the report, and as the New Kid on the Block, the next sacrificial lamb, I was sent down to "try to deal with him."

He glared ferociously as I walked in. As this did not seem to be the time to launch into a lecture on technical style, I asked him instead to tell me about his project.

And he did, with enthusiasm and passion. He made the circuits and wires and pins and the rationale behind the design fascinating.

"And right now," I said, "this report does not do your work justice."

He blinked.

"Oh," he said. "Can you please help me?"

Because I meant what I said and because there was no "technique involved I didn't understand quite what had happened. Nor did I understand why this supposedly fierce and ferocious man turned 0Ut be a gracious, courtly, and delightful gentleman.

Now I have a name for it.

Blending, seeing things from the other person's point of view. Tenkan.

Ms is a basic image for visualizing flow ofki

1- imgincs a water pump at One-Point with from the Cosmos, through the One-Point and o *** WhooshinS up 2. Draw lines on the opposite wall with a fin °Ut thr°Ugh the hose (arm), a Uke test fbr Uhbendable Arm.

Working Groups

Rolling With a Goal

Working in groups of three,

  1. Nage rolls forward and back (koho-tento-undo).
  2. Uke test by standing behind nage and pulling back from shoulders linage's mind is on the test and the tester, nage will topple backward
  3. With uke in the same position and offering the same test, have nage explain the process to a third partner sitting several feet away and faci nage. ^^
  4. Uke test while nage is extending his mind in explaining the exercise.
Steven Covey

What you learn today, you can teach another tomorrow. If you know one thing, teach one tiling.

__ Koichi Tohti

Steven R. Covey, author of the highly successful series The of Highly Successful People, insists that it is not enough to the habits—you must teach them to another. Changing role from sW" to teacher changes you.

hasic expl&nati°n of Unbendable Arm, refer to "Unbendable Fof i naffe 18. Also experiment with the following. Arm* onF^


Extend arm tense, tight, "strong." Observe effort required by nage to

  • bend it; by uke to keep it straight.
  • Extend arm tense and tight, then relax into Unbendable Arm.
  • Unbendable Arm in any position from straight to bent.
  • Unbendable Arm with the fingers bent up.

Here nage must think of extending ki out the wrist rather than the fingertips. (Uke bend fingers gently!)

Once Unbendable Arm has been mastered it is easy to keep an Unbendable Arm separate from the rest of the body. In Shin-Shin Toitsu Aikido we look not only for "mind-body" coordination but also for "body-body" coordination — "Unbendable Body." Coordination between arm and body does not necessarily exist if nage thinks only of sending a stream of Id out the arm. Uke can detect this disassociation easily: instead of trying to bend the arm, lift the arm.

Nage, instead of concentrating on sending ki through the arm only, must imagined streaming out from the One-Point, an expanding bubble of ki that includes the arm — but is not limited to it.

See also the comments under testing for "Unliftable Hand*" on page 95. Jne idea is that uke may lift the hand be he will have to lift the entire Ny along with it psychology, Unbendable Arm is considered a sign of deep hypnosis; Aikido^Bnt iS Convinced by the practitioner that the arm is unbendable. In <w 11)6 81111 may te unbendable but is under the control of the Aiki-

^ not someone else.

Walking with Unbendabie Arm*

Walking with Unbendabie Arm can change nage's point of view * simply trying to pass the test to providing a definite goal towards wv ki or attention can be extended. ch

  1. Nage makes an Unbendabie Arm,
  2. Nage walks forward.
  3. Uke, standing to the side, attempts to halt nage by pushing against the chest (not an arm across the throat, please).

If nage extends ki — attention, purpose, and goal — out beyond uke'$ focus, uke will be unable to stop the motion. If uke has fixed attention and energy on nage's arm, no energy is left over to resist forward movement and uke is irresistibly drawn along with nage.

4. Repeat with a bearhug from behind.

Unbendable Arm Push Hands

Always give the attacker what he wants, with a little bit more want the hand? Then give him the hand; that is his battlefield Ut have his battlefield.

Now you move the earth.

: and Fire Hoses

WW teth7Ue- imagine light or eneigy streaming ou,

^6,8« U» water from a fire hose. If you can't q»ite mZ^f ^ Jrttiag water dnp into an imaginary bucket worts too.

MW doing » technique, do it with a light sword, whether you are hold

W • «*" or n°<- We use in our practice inpanbeca tbey aw * «Ktaonal weapon and in Iatger part becau« ft.,, f "extending kT visible. So would a fire hose ey make

Fire Hose Practice

Shaking Hands ^

What is it that is so different between a limp handshake, a firm 0n "hand buster"?

In groups of four,

  1. Two nages shake hands.
  2. Two ukes test for Unbendable Arm.
Shake Hand Aikido

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  • emmie
    Why does unbendable arm work?
    9 years ago

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