Sunset Cliffs Aikido
Sunset Cliffs Aikido
5019 Santa Monica Ave
San Diego, CA 92107
Table of Contents
FIVE PRINCIPLES OF AIKIDO
SUNSET CLIFFS AIKIDO DOJO ETIQUETTE
WELCOME TO SUNSET CLIFFS AIKIDO
HELPFUL HINTS FOR BEGINNING STUDENTS
GLOSSARY OF AIKIDO TERMS
GLOSSARY OF AIKIDO TERMS (cont.)
PHRASES OFTEN USED / NUMBERS /
TECHNIQUE NAMES (cont.)
AIKI WEAPONS TECHNIQUES
TEST REQUIREMENTS (6th - 1st Kyu)
ON AIKIDO TRAINING
THE FIVE PRINCIPLES OF AIKIDO
As taught by the founder Morihei Ueshiba
Aikido is the path which joins all paths of the universe through
eternity; it is the universal mind which contains all things and uni-
fies all things.
Aikido is the truth taught by the universe and must be applied to
our lives on this earth.
Aikido is the principle and the path which joins humanity with the
Aikido will come to completion when each individual, following his
or her true path, becomes one with the universe.
Aikido is the path of strength and compassion which leads to the
infinite perfection and ever-increasing glory of God.
Sunset Cliffs Aikido
5019 Santa Monica Avenue
San Diego, CA 92107
Sunset Cliffs Aikido Dojo Etiquette
To benefit by and enjoy your training in Aikido, to create an atmosphere of mutual respect among the students and
teachers, and for safety there are certain rules of etiquette that are followed in the dojo.
Bow toward the shomen (the front of the traihning hall) when entering and leaving the dojo.
Bow in front of your partner when beginning and ending practice.
Bow and thank Sensei when receiving individual instruction during class.
Please be on time or early for class. If you are late perform a formal bow alone.
Bowing is a form of paying homage to Aikido, O’Sensei, the dojo, Sensei, and your training partners. Alone the
bow is but a hollow shell, it is the spirit in which it is done that gives it value and meaning.
A Judo Gi clean and in good repair shall be worn in class.
Yudanshall (Black belts) shall wear black Hakama. It must be clean and pressed.
For the safety of you and your training partners no jewelry of any kind shall be worn in class.
Long hair shall be contained with hair tie and/or headband.
If glasses must be worn, they should be held in place with an elastic band.
Clean feet before stepping on mat. Shoes are not allowed beyond the entrance areas.
Train with a clean body and do not train with any added body scent.
Keep fingernails and toenails clipped short for class.
Maintaining the dojo is the responsibility of all the students.
Mats shall be swept before and after each class.
Dojo premises shall be kept clean at all times. All carpeted areas must be vacuumed. Bathrooms
and dressing rooms should be neat and orderly. Entrance should be kept free of all personal effects
At the beginning and end of class, sit in order of seniority. Sempai (seniors) sit in front and to the
right. Sempai are responsible for lining up students properly before and after class.
Sempai are responsible for all dojo rules being followed.
Kohai (juniors) are responsible for following Sempai’s example.
Inform your instructor before class if you have any injuries or limitations.
Never train under the influence of alcohol or drugs.
Tuition should be paid between the 20th and the 25th for the following month. A $5 late fee is applied
after the 25th.
During class the instructor should be addressed as Sensei. Assistant instructors should be addressed
Literally, “Thank you for what you are about to do.”
DOMO ARIGATO GOZAIMASU SENSEI- Thank you very much Sensei. (usual)
DOMO ARIGATO GOZAIMASHITA SENSEI - ditto (past tense, used at end of training session.)
WELCOME TO SUNSET CLIFFS AIKIDO
HELPFUL HINTS FOR BEGINNING AIKIDO STUDENTS
WELCOME TO AIKIDO
Welcome to Sunset Cliffs Aikido. Congratulations on your membership. You have taken that first
step of being an Aikido student. This manual will serve as your guide into the dojo.
Somethings you are about to learn will be new to you. Open your mind to new possibilities. Empty
your cup so you can be ready to fill it. Come to Aikido ready for new possibilities of expanding your beliefs
so you will find it easier to accept new teaching. Let your mind be empty. Aikido is a very natural art.
Most of your training will be learning to let go of limitations of previous habits and reactions. You will no-
tice maybe even in the first class that when your body starts feeling a natural flow you will learn faster and
easier. Find similarities in the movements. Enjoy the present moment and present technique. The secret to
success is daily training.
As we grow up we often compare ourselves with others or with the expectations that we have for
ourselves. You are where you should be as an Aikido student. We have a saying that there are no mis-
takes in Aikido. Everything that you do in class is correct, meaning that your action is simply an expres-
sion of your state of being right now. Don’t hamper yourself by judging whether you are right or wrong.
Strive for perfection, all the time realizing that whatever you can do at the moment is perfectly right.
Aikido is natural, flowing, beautiful and loving. Don’t turn it into work. Enjoy your Aikido prac-
tice and relax. With patience and persistence you will master Aikido. You have the whole of the rest of
your life to train. It’s your responsibility to make every minute of your Aikido training enjoyable.
BE SAFETY CONSCIOUS
Respect your body and protect it from injury. Your consistent daily training is going to guide you
at a controlled rate. Be patient with your body (especially with regard to rolling). You will automatically
learn to do beautiful rolls on the training surface without discomfort. Each person has their own unique
way of mastering a technique. Respect the timing of how you learn and you will be safe.
More people quit Aikido because of injuries than for any other reason!!! Nearly every case the
injuries could have been avoided simply by following the guidelines we will present here.
REMEMBER: Pain is a sign that something is wrong. If you are hurting, stop and consult with
your Sensei. Nobody can feel your pain but you. If you are hurting, stop until you are sure you’ve cor-
rected the problem and you are comfortable about going on.
NEVER practice with nonstudents. Resist the temptation to go home and see if the arts work on
your husband, wife, best friend, worst enemy, etc. In classes the Sensei is very cautious in making sure
that the uke (the attacker) understands his or her part and can flow safely with the art. The first thing a
nonstudent may do is try to resist by flinching or pulling away. This may cause an injury in your hands.
GLOSSARY AIKIDO TERMS
Hanmi Handachi: Techniques executed from a kneeling
The pronunciation of Japanese words is very simple in that position against an attacker who is standing. [Lit. half
there are only about fifty syllables in the entire language. body (hanmi) half (han) standing (dachi)].
Consonants are usually pronounced as those in
Hantai: Opposite or reverse.
English. The vowels are pronounced as follows.
Happo Giri: An exercise with the sword in which you
“ah” as the a in father
practice turning the hips and cutting in at least eight
“eh” as the e in net
directions. [Lit., eight (hachi) direction (po) cutting (giri)].
“ee” as the i in marine
Hara: Lower abdomen: physical and spiritual center.
“oh” as the o in oboe
Henka: Variation [Lit., unusual (han) change (ka)]. For
as the u in rule
example, henka waza are variations on the way a stan-
dard technique is completed.
Aikido: Ai means harmony or coming together: ki is spirit Hidari: Left. For example, hidari hamni is hanmi with the
or energy: do means a way or a path.
left foot forward.
Way of Harmony with the Spirit of the Universe
Iwama: A small town northeast of Tokyo. Also refers to
Aite: One’s training partner [Lit., reciprocal or together
the dojo where Saito Sensei teaches “Iwama-style” aikido.
(ai, hands (te)].
O-Sensei lived and taught in Iwama during much of the
Aiki Jinja: Aiki Shrine. The shrine O’Sensei built in
later part of his life.
Iwama, Japan, honoring the spirit and the deities of
Irimi: To enter; entering
Jiyu: Free; unstructured. For example, jiyu keiki (un-
Atemi: A strike. Striking techniques.
structured training) and jiyu waza (free techniques).
Bokken: Wooden sword. [Lit., wood (boku) sword (ken)]. Jo: A short wooden staff, being about as long as the
Budo: The path or wary of martial arts. [Lit., the way
distance from the floor to just under the armpit.
(do) or neutralizing aggression (bu)].
Jo Dori: Staff (jo) taking (dori) techniques.
Dan: Black belt ranking such as shodan, nidan etc. [Lit.,
Kaeshi Waza: Counter techniques. [Lit., to turn back/
return (kaeshi) techniques (waza)].
Deshi: Student, pupil, disciple.
Kaiten: To revolve or rotate.
Dojo: Training hall for traditional Japanese arts, including Kamae: Stance.
aikido and other martial arts. [Lit., the place (jo) of the
Kata: Prearranged sets of movements either with or
without weapons. In Aikido two jo kata are commonly
Doshu: The official curator of the art of aikido. The title taught. They are called the thirty-one jo kata (sanju ichi
means the master or owner (shu) of the way (do). The
no jo) and the thirteen jo kata (ju san no jo).
present Doshu is Moriteru, the grandson of the founder
Keiko: Training in a traditional Japanese art like aikido,
flower arranging, tea ceremony, etc. [Lit., contemplation/
Dosa: An exercise.
exploration (kei) of the old/traditional (ko)].
Gaeshi: To reverse, turn
Ken: Japanese sword, usually curved. (See also Bokken).
Gi: Traditional uniform, usually white, worn during the
Ken Tai Jo: A weapons partner practice involving the
practice of Japanese and Okinawan martial arts. Also
sword (ken) against (tai) the short staff (jo).
known as a dogi.
Ki: A difficult to define term, roughly translated as spirit,
Hakama: A traditional Japanese divided skirt. The
energy, mind, intention, etc. The character with which
traditional Japanese equivalent of dress pants. More
it is written is a pictogram representing the vapors rising
durable types of hakama, usually blue or black, are worn
from cooked rice, and eventually it came to mean invisible
for martial arts practice. In aikido the hakama is usually
movement/unseen force/spirit etc. Ki is an important
worn only by black belt holders.
concept in much of Chinese and Japanese philosophical
Hanmi: A way of standing in aikido so that the feet
form a “T-stance” and the body is turned at an angle. Ai Kiai: A loud shot accompanying the execution of martial
Hamni (harmonious hamni) is when partners each have
arts techniques. [Lit., the meeting (ai) of energy/spirit
the same foot forward. Gyaku Hamni (opposite hamni)
is when they have different feet forward. [Lit., half (han)
Kihon: Basic techniques, as opposed to flowing tech-
niques or variations.
Ki-no-nagare: Techniques done in motion, as opposed
Rondori: A movement exercise used to develop calm and
to those done from a static position. [Lit., the flowing
efficient blending with the power and movements of mul-
(nagare) of energy (ki).
tiple attacks. [Lit., practice (ri) of a confused (ran) melee
Kohai: A student of relatively less experience or rank.
or fight (do)].
See also Sempai.
Saito Sensei: One of the longest practicing direct disciples
Kokyu: [Lit., breath or respiration]. The power of
of Ueshiba O-Sensei. He is a ninth degree black-belt and
“breath” arising from the center, manifesting itself
teaches in Iwama, Japan.
through the body as a movement of the arm in which the Samurai: Military retainer (feudal period).
blade edge of the hand is rotated and extended out in
Sasou: To draw out your partners; for example, to make
a certain way. This sort of movement is a key principle
them raise their arms or move forward, and so on. [Lit.,
in aikido. Interestingly, the word Kokyu also has the
to invite, call forth, lure, etc.].
meaning of the “the secret” or the “the knack”, and also Sempai: Senior student.
Sensei: Teacher, instructor.
Kokyu Dosa: One of the three exercises practiced at
Seiza: A formal sitting position with the knees and legs
nearly every aikido class. It usually involves sitting in
folded under the body. Sitting cross legged is called
front of your partner as they grag you and upsetting their Aguara and is considered more informal [Lit., correct (sei)
balance through the power and technique of kokyu.
Kokyu Ho: One of the three exercises practiced at nearly
Shiho: Four directions.
every aikido class. It involves moving through - rather
Shomen: The alcove at the front of the dojo, considered a
than around as in tai no henko - the forces of your part-
sacred space, to which we pay respect in aikido practice.
ners grab. [Lit., breath (kokyu) method (ho)].
[Lit., correct (sho) side (men)].
Kuden: An oral teaching, usually of a more secret nature. Soto Deshi: Students who do not live at the dojo. (Lit.,
For example “The foot takes the hand.” [ Lit., oral (ku)
outside (soto) apprentice (deshi). See also Uchi Deshi.
Suburi: A single movement using the ken or jo, done as a
Kumi-jo: Partner practice with short wooden staffs. [Lit., solo practice.
to cross/entwine (kumi) staff (jo)].
Suwari Waza: Sitting techniques. [Lit., sitting (suwari)
Kumi-tachi: Partner practice with wooden swords. [Lit.,
to cross/entwine (kumi) swords (tachi)].
Tachi-dori: Sword (tachi) taking (dori) techniques.
Kyu: A system of ranking before one attains black-belt
Tachi Waza: Standing techniques. [Lit., standing (tachi)
Ma-ai: The relationship between you and your partner(s)
Taijutsu: Empty handed martial arts techniques which do
in terms of space and time. [Lit., interval (ma) relation-
not involve the use of weapons. ([Lit., body (tai) tech-
Mae: Forward, front.
Tai No Henko: One of the three exercises practiced at
Men: Face, head.
nearly every aikido class. Your partner grabs your wrist
Migi: Right. for example, migi hanmi (right hanmi).
and you practice blending with the force of the grab and
Musubi: Uniting, bonding.
moving off to the side . [Lit., the changing of direction
Nage: The partner who executes the technique. [Lit.,
(henko) of the body (tai)].
Takemusuaiki: The martial technique that emerges
Obi: Belt or sash.
spontaneously after years and years of repetitive train-
Omote: Front. Moving in front of your partner. See also ing. The aikido that springs forth without preconception
or intellectual thought. [Lit., martial art (take) and birth/
O’Sensei: [Lit., the Great (O) Teacher (Sensei)]. Used to
refer to the Founder of aikido, Morihei Ueshiba (1883-
Tanto Dori: Knife (tanto) taking (dori) techniques.
Uchi Deshi: Students who live at the dojo and train inten-
Oyo-waza: Variations on basic technique.
sively. [Lit., inside (uchi) apprentice (deshi). See also Soto
Rei: Salutation, bow.
Uke: The partner who is thrown or receives the tech-
nique. See also Nage.
Ukemi: The art and skill of rolling, falling, etc, as a
means of protecting the body from injury during the
execution of aikido techniques. [Lit., to receive (uke)
After demonstrating a technique, Sensei will often say
through the body (mi)].
the name of the technique in Japanese. It is essential to
Ura: Back; behind. Moving around or behind your part-
memorize which name goes with which technique. Aikido
ner. See also Omote.
students usually pick up those terms naturally over time.
Waza: Technique or skill.
But, in order to make it a little easier and more rational,
Yudansha: A black-belt holder. [Lit., have (yu) rank (dan) we offer the following analysis of the Japanese words
used to name techniques.
Zanshin: Unbroken spirit. The concentrated connection
that remains with one’s partner even after the throw has Generally technique names are composed of two main
parts: The first part describes the type of attack, and the
second part indicates the method by which the attack is
PHRASES OFTEN USED IN THE DOJO
FOR EXAMPLE: SHOMENUCHI SHIHONAGE
Dame: “Bad!” or “Wrong!” or “Mistake!”
Domo Arigato Gozaimashita: “Thank you very much.”
[Lit., Somehow a difficulty has been honorably overcome
and I appreciate it.]
Hai: “Yes.” A convenient answer to use when Sensei
gives you a correction or asks you to perform some task.
In addition, most techniques can be executed by moving
either to the front or around behind your partner. Tech-
Mawatte: “Turn around!” or “About face!”
niques moving to the front are called Omote (front) Waza
Onegai Shimasu: A phase used to ask a favor of some-
(technique). Techniques moving to the rear are called
one, in this case, “Will you please train with me?” [Lit., I
Ura (back) Waza (technique). Thus, the full name of a
typical technique might go something like this:
Suwatte: “Sit down!”
SHOMENUCHI SHIHONAGE URA WAZA
Tatte: “Stand up!”
front-on strike 4-direction throw rear technique
Yoroshiku Onegai Shimasu: A more formal version of
On the following page you will find two lists, one of At-
onegai shimasu, used as the equivalent of “Welcome to
tacks and one of Neutralizations. Please refer to these
when searching for the meaning of a technique.
NUMBERS IN JAPANESE
sanhyaku tree hundred
Example: 3574 = san-sen go-hyaku nana-ju yon
NAMES OF NEUTRALIZATIONS
Striking Attacks (Uchi , Tsuki)
Shomen Uchi: Straight on attacks to the front, usually
Ikkyo: Involves controlling your partner’s center through
the head. Like a downward strike with a sword. [shomen the arm, as well as pinning the arm flat on the mat. [Lit-
means front of the face/mask].
erally, first teaching or first principle.]
Yokomen Uchi: Attacks coming from a direction slightly
Nikkyo: Involves manipulating the wrist and pinning the
to one side or the other, usually as a “chop” to the side
arm vertically. [Lit., second teaching or second principle.]
of the head. [yokomen means the side of the face/mask].
Sankyo: Involves twisting the wrist and arm in a third
Mune Tsuki: A horizontal attack such as a straight
way, pinning the arm vertically, and torquing the hand
punch or a straight trust with a knife, staff, etc. [mune
and wrist. [Lit., third teaching or third principle.]
means chest; tsuki means a trust or stab].
Yonkyo: An arm pin involving leverage on the underside
of the arm and elbow, while attacking the nerve points
Grabbing or Seizing Attacks (Dori, Tori, Shime)
there. [Lit., fourth teaching or fourth principle.]
Kata Te Tori: Grabbing the wrist on the same side, i.e.
Gokyo: Similar to Ikkyo but with a change in the position
facing your partner and grabbing their right wrist with
of the hands. [Lit., fifth teaching or fifth principle.]
your left hand. [kata means on one side; te means
Kote Gaeshi: involves throwing partner by folding the
hand back over the wrist. [Lit., small hand (kote) turn
Gyaku Te Tori: Grabbing the wrist opposite your part-
ner’s body, i.e. grabbing their right hand with your right
Shiho Nage: A throw in which partner may be thrown
hand. [gyaku means opposite or diagonal; te means
in any direction. [Lit., four (shi) direction (ho) throw
Ryo Te Tori: Grabbing both wrists, one in each hand.
Irimi Nage: A throw involving entering through an attack
[ryo means both or two; te means hand].
to get behind your partner and take their balance. [Lit.,
Moro Te Tori: Using two hands to grab one wrist. [moro to enter (iri) body (mi) throw (nage)].
means many, multiple, or two; te means hand].
Koshi Nage: Throwing your partner by rotating their
Kata Dori: A grab to the same side shoulder. [kata
body over the back of your hips. [Lit., hips (koshi) throw
Ryo Kata Dori: Grabbing both shoulders, one with each
Kaiten Nage: throwing partner as if they were a big
hand. [ryo means two or both. kata means shoulder].
wheel. [Lit., rotation (kaiten) throw (nage)].
Kata Menuchi: Grabbing the shoulder with the same side Juji Nage: Throwing your partner by using leverage on
hand and striking the face. [kata means shoulder; men
their crossed arms. [Lit., cross (juji) throw (nage)].
means face or mask].
Tenchi Nage: Throwing by extending your arms around
Mune Dori; Grabbing the clothing in the chest area.
and behind your partner’s body, one down towards the
[mune means chest].
mat, the other up towards the ceiling. [Lit., heaven (ten)
Eri Dori: Grabbing the collar, usually from behind. [eri
earth (chi) throw (nage)].
Kokyu Nage: Any sort of throw that relies essentially on
Hiji Dori: Grabbing the arm at the elbows. [hiji means
blending and flowing with your partner’s movement and
upsetting their balance, rather than any specific move-
Kubi Shime: Attempting to strangle a person’s throat
ment. Often used for throws that have no specific name.
from behind while holding on to one of their hands. [kubi [Lit., breath (kokyu) throw (nage)].
means neck; shime means to tighten, strangle, or wring).
Additionally, many of these attacks may be done from be-
hind. These are called Ushiro (behind) Waza (techniques).
For example, Ushiro Ryo Kata Dori or Ushiro Kubi shime.
TSUKI NO BU
1. CHOKU TSUKI
2. KAESHI TSUKI
3. USHIRO TSUKI
4. TSUKI GEDAN GAESHI
THRUST LOW LEVEL TURN
5. TSUKI JODAN GAESHI UCHI
THRUST HIGH LEVEL STRIKE
SHOMEN NO BU
FRONT STRIKE PART
1. SHOMEN UCHI KOMI
FRONT STRIKE HIT
2. RENZOKU UCHI KOMI
CONTINUOUS STRIKE HIT
3. MEN UCHI GEDAN GAESHI
FRONT STIKE HIGH LEVEL TURN
4. MEN UCHI USHIRO TSUKI
FRONT STRIKE REAR THRUST
5. GYAKU YOKOMEN USHIRO TSUKI REVERSE SIDE FRONT STRIKE
KATATE NO BU
SINGLE HAND PART
1. KATATE GEDAN GAESHI
SINGLE HAND LOW LEVEL TURN
2. KATATE TOMA UCHI
FAR REACH. SINGLE HAND STRIKE
3. KATATE HACHI NO JI GAESHI
SINGLE HAND FIGURE EIGHT TURN
HASSO GAESHI NO BU
FIGURE EIGHT TURN PART
1. HASSO GAESHI UCHI
FIGURE EIGHT TURN STRIKE
2. HASSO GAESHI TSUKI
FIGURE EIGHT TURN THRUST
3. HASSO GAESHI USHIRO TSUKI
FIGURE EIGHT TURN REAR THRUST
4. HASSO GEAESHI USHIRO UCHI
FIGURE EIGHT TURN REAR STRIKE
5. HASSO GEAESHI USHIRO HARAI
FIGURE EIGHT TURN REAR SWEEP
NAGARE GAESHI NO BU
FLOWING TURNING PART
1. HIDARI NAGARE GAESHI UCHI
LEFT FLOWING TURNING STRIKE
2. MIGI NAGARE GAESHI TSUKI
RIGHT FLOWING TURNING THRUST