He Have

. ^orflrgrWsofth«*> \jke seizes na^'s wrist Leaving wrist in place,

1 v , takes inventory of what uke does not control. 2. iWs pbf exafflpl®» the «A» who seizes nage's shoulder does not control nage's

■j^ uke who seizes nage's hand does not control nage's hips, foot, other hand, or shoulders, unless of course, nage stiffens or gets stuck on his own skin» clothing, or perceptions.

Compare with "Letting Go" (page 84) an exercise in which you will consider that uke does not control your elbow.

GoldÂV^^ enforcement training program, one participant, a former tfaf kw c^iamP*on> hoà a pistol in one hand. His instructor pinned pourvu??? ^ any point, this champion boxer could have co With i^d* but ¿M noU because all his attention to an °n trying to make thatP^l work> his M**1*1 was dosed other tools and options at his command.

— George Simcox 83

Letting Go

Every child is told the story of the Monkey Trap, a box with a hole nuts or fruit inside. A monkey can reach through the hole to the g0rJJ? inside, but cannot withdraw the full, clenched fist. We often undersS this tale as a parable or laugh at the foolishness of these "lower" creatu when, in fact, it describes a standard human response. Here uke's finZ! form the opening and nage's fist is a fist, whether it holds nuts — or ^ air.

  1. Uke holds nage's wrist in a firm grasp. Nage attempts to pull away but will be stopped by his own fist.
  2. Nage relaxes, imagines hand shrinking smaller and smaller, then, extending ki from fingers and elbow, pulls away.
  3. Uke and nage compare effort and success of pulling away.

Often when we think we arc pulling away we aren't — we're actually holding OH. k first case> ^two ^ held tightly together by na^'s own ri# fi^ which ^ves »** something to hold on to. In the second C3S&) uke simply goes away. Completely.

please note that this is a ki exercise, not an exercise in "breaking a hold " We rarely break holds or grabs — because in Aikido a hold is actually an advantage.

Keeping the hold means uke has just committed (tied up) up at least one of his weapons. The hold tells nage exactly where uke is, and presents nage with a gift of energy while limiting uke's options.

Braking the hold means starting over at the point where uke has not vet committed to any particular attack and so has all options open Nage no longer know where uke is, and has no physical energy or inertia to play with. * J

Yin-Yang, In-Yo

The yin-yang symbol comes from Chinese philosophy and represent» opposing forces of the universe,

Yang is thought of as male, positive, light, dry, hard, powerful and strong.

Yin is thought of as female, negative, dark, wet, soft, and gentle.

Humans being human tend to assign value judgements to these characteristics ("positive/negative") although they are merely extremes of a continuum. Hence the unifying circle is divided by a curved line suggesting that the characteristics of each opposite are invariably contained within the other.

It is a beautiful illustration of the relationship strength and softness, between nage and uke.

Many people begin martial arts with the idea of forcing and slamming a partner to the mat only to find that while power and strength has its uses, it works best combined with softness and fluidity.

Think of the tiny delicate tendril, the root hair that splits the hardest rod

Think of developing the strength and endurance to keep doing that.

The Japanese1 version of the yin-yang is the in-yo symbol, a small daric circle (in, dark) within a larger lighter one (yo, light). Wheels within wheels within wheels.

It is a beautiful illustration of the mechanics of Aikido.

Look for the in-yo symbol in the "The Goldfish Bowl" on page 45, throughout Aikido movements — and elsewhere.

it fro"1

1. The in-vo Is used by many Japanese karate organizations which claim deS.j2»j|e two Okinawan karate schools: the Shortn, which practised light, yielding,TI0A1 movements; and the Shorel, which emphasized strength and power.

Keep Wei g Underside

K* in jAikida

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