Как пишется слово айкидо

Значение слова «айкидо»

Айкидо (яп. 合気道 айкидо) — современное японское боевое искусство, созданное Морихэем Уэсибой как синтез его исследований боевых искусств, философии и религиозных убеждений. Чаще всего айкидо переводят как «путь слияния (с) жизненной энергией» или «путь гармонизации духа.» Целью Уэсибы было создание такого искусства, практики которого смогли бы защитить от травм не только себя, но и нападающего.

Все значения слова «айкидо»

Синонимы к слову «айкидо»

• единоборство
• борьба
• карате
• дзюдо
• кун-фу
• (ещё синонимы…)

Ассоциации к слову «айкидо»

• борьба
• боец
• состязание
• ниндзя
• (ещё ассоциации…)

A version of the «four-direction throw» (shihōnage) with standing attacker (uke) and seated defender (Tori)
Focus	Grappling and softness
Country of origin	Japan
Creator	Morihei Ueshiba
Famous practitioners	Kisshomaru Ueshiba, Moriteru Ueshiba, Koichi Tohei, Christian Tissier, Morihiro Saito, Yoshimitsu Yamada, Mitsunari Kanai, Gozo Shioda, Mitsugi Saotome, Steven Seagal, Takashi Kushida, Kyoichi Inoue, Robert Mustard
Ancestor arts	Daitō-ryū Aiki-jūjutsu

Aikido (Shinjitai: 合気道, Kyūjitai: 合氣道, aikidō, Japanese pronunciation: [aikiꜜdoː]) is a modern Japanese martial art that is split into many different styles, including Iwama Ryu, Iwama Shin Shin Aiki Shuren Kai, Shodokan Aikido, Yoshinkan, Renshinkai, Aikikai and Ki Aikido. Aikido is now practiced in around 140 countries. It was originally developed by Morihei Ueshiba, as a synthesis of his martial studies, philosophy and religious beliefs. Ueshiba’s goal was to create an art that practitioners could use to defend themselves while also protecting their attackers from injury.^[1][2] Aikido is often translated as «the way of unifying (with) life energy»^[3] or as «the way of harmonious spirit».^[4] According to the founder’s philosophy, the primary goal in the practice of aikido is to overcome oneself instead of cultivating violence or aggressiveness.^[5] Morihei Ueshiba used the phrase masakatsu agatsu katsuhayabi» (正勝吾勝勝速日, «true victory, final victory over oneself, here and now») to refer to this principle.^[6]

Aikido’s fundamental principles include: irimi^[7] (entering), atemi,^[8][9] kokyu-ho (breathing control), sankaku-ho (triangular principle) and tenkan (turning) movements that redirect the opponent’s attack momentum. Its curriculum comprises various techniques, primarily throws and joint locks.^[10] It also includes a weapons system encompassing the bokken, tantō and jō.

Aikido derives mainly from the martial art of Daitō-ryū Aiki-jūjutsu, but began to diverge from it in the late 1920s, partly due to Ueshiba’s involvement with the Ōmoto-kyō religion. Ueshiba’s early students’ documents bear the term aiki-jūjutsu.^[11]

Ueshiba’s senior students have different approaches to aikido, depending partly on when they studied with him. Today, aikido is found all over the world in a number of styles, with broad ranges of interpretation and emphasis. However, they all share techniques formulated by Ueshiba and most have concern for the well-being of the attacker.

Etymology and basic philosophy[edit]

The word «aikido» is formed of three kanji:

• 合 – ai – harmony, unifying
• 気 – ki – energy, spirit
• 道 – dō – way, path

The term aiki does not readily appear in the Japanese language outside the scope of budō. This has led to many possible interpretations of the word.

合 (Ai) is mainly used in compounds to mean ‘combine, unite, join together, meet’, examples being 合同 (combined/united), 合成 (composition), 結合 (unite/combine/join together), 連合 (union/alliance/association), 統合 (combine/unify), and 合意 (mutual agreement). There is an idea of reciprocity, 知り合う (to get to know one another), 話し合い (talk/discussion/negotiation), and 待ち合わせる (meet by appointment).

気 (ki) is often used to describe a feeling or emotive action, as in X気がする (‘I feel X’, as in terms of thinking but with less cognitive reasoning), and 気持ち (feeling/sensation); it is used to mean energy or force, as in 電気 (electricity) and 磁気 (magnetism); it can also refer to qualities or aspects of people or things, as in 気質 (spirit/trait/temperament). The characters aeteological history can be traced back to the much older Chinese character of qi (氣) that is used extensively in Traditional Chinese medicine and acupunture.

The term dō in Aikido is found in many other Japanese martial arts such as, judo and kendo, and in various non-martial arts, such as Japanese calligraphy (shodō), flower arranging (kadō) and tea ceremony (chadō or sadō).

Therefore, from a purely literal interpretation, aikido is the «Way of combining forces» or «Way of unifying energy», in which the term aiki refers to the martial arts principle or tactic of blending with an attacker’s movements for the purpose of controlling their actions with minimal effort.^[12] One applies aiki by understanding the rhythm and intent of the attacker to find the optimal position and timing to apply a counter-technique.

History[edit]

Aikido was created by Morihei Ueshiba (植芝 盛平) (1883–1969), referred to by some aikido practitioners as Ōsensei (Great Teacher).^[13] The term aikido was coined in the 20th century.^[14] Ueshiba envisioned aikido not only as the synthesis of his martial training, but as an expression of his personal philosophy of universal peace and reconciliation. During Ueshiba’s lifetime and continuing today, aikido has evolved from the aiki that Ueshiba studied into a variety of expressions by martial artists throughout the world.^[10]

Initial development[edit]

Ueshiba developed aikido primarily during the late 1920s through the 1930s through the synthesis of the older martial arts that he had studied.^[15] The core martial art from which aikido derives is Daitō-ryū Aiki-jūjutsu, which Ueshiba studied directly with Takeda Sōkaku, the reviver of that art. Additionally, Ueshiba is known to have studied Tenjin Shin’yō-ryū with Tozawa Tokusaburō in Tokyo in 1901, Gotōha Yagyū Shingan-ryū under Nakai Masakatsu in Sakai from 1903 to 1908, and judo with Kiyoichi Takagi (高木 喜代市) (1894–1972) in Tanabe in 1911.^[16]

The art of Daitō-ryū is the primary technical influence on aikido. Along with empty-handed throwing and joint-locking techniques, Ueshiba incorporated training movements with weapons, such as those for the spear (yari), short staff (jō), and possibly the bayonet (銃剣, jūken). Aikido also derives much of its technical structure from the art of swordsmanship (kenjutsu).^[4][17]

Ueshiba moved to Hokkaidō in 1912, and began studying under Takeda Sokaku in 1915; His official association with Daitō-ryū continued until 1937.^[15] However, during the latter part of that period, Ueshiba had already begun to distance himself from Takeda and the Daitō-ryū. At that time Ueshiba referred to his martial art as «Aiki Budō«. It is unclear exactly when Ueshiba began using the name «aikido», but it became the official name of the art in 1942 when the Greater Japan Martial Virtue Society (Dai Nippon Butoku Kai) was engaged in a government sponsored reorganization and centralization of Japanese martial arts.^[10]

Religious influences[edit]

After Ueshiba left Hokkaidō in 1919, he met and was profoundly influenced by Onisaburo Deguchi, the spiritual leader of the Ōmoto-kyō religion (a neo-Shinto movement) in Ayabe.^[18] One of the primary features of Ōmoto-kyō is its emphasis on the attainment of utopia during one’s life. This idea was a great influence on Ueshiba’s martial arts philosophy of extending love and compassion especially to those who seek to harm others. Aikido demonstrates this philosophy in its emphasis on mastering martial arts so that one may receive an attack and harmlessly redirect it. In an ideal resolution, not only is the receiver unharmed, but so is the attacker.^[19]

In addition to the effect on his spiritual growth, the connection with Deguchi gave Ueshiba entry to elite political and military circles as a martial artist. As a result of this exposure, he was able to attract not only financial backing but also gifted students. Several of these students would found their own styles of aikido.^[20]

International dissemination[edit]

Aikido was first introduced to the rest of the world in 1951 by Minoru Mochizuki with a visit to France, where he demonstrated aikido techniques to judo students.^[21] He was followed by Tadashi Abe in 1952, who came as the official Aikikai Hombu representative, remaining in France for seven years. Kenji Tomiki toured with a delegation of various martial arts through 15 continental states of the United States in 1953.^[20][22] Later that year, Koichi Tohei was sent by Aikikai Hombu to Hawaii for a full year, where he set up several dōjō. This trip was followed by several subsequent visits and is considered the formal introduction of aikido to the United States. The United Kingdom followed in 1955; Italy in 1964 by Hiroshi Tada; and Germany in 1965 by Katsuaki Asai. Designated the «Official Delegate for Europe and Africa» by Morihei Ueshiba, Masamichi Noro arrived in France in September 1961. Seiichi Sugano was appointed to introduce aikido to Australia in 1965. Today there are aikido dōjō throughout the world.

Proliferation of independent organizations[edit]

The largest aikido organization is the Aikikai Foundation, which remains under the control of the Ueshiba family. However, aikido has developed into many styles, most of which were formed by Morihei Ueshiba’s major students.^[20]

The earliest independent styles to emerge were Yoseikan Aikido, begun by Minoru Mochizuki in 1931,^[21] Yoshinkan Aikido, founded by Gozo Shioda in 1955,^[23] and Shodokan Aikido, founded by Kenji Tomiki in 1967.^[24] The emergence of these styles pre-dated Ueshiba’s death and did not cause any major upheavals when they were formalized. Shodokan Aikido, however, was controversial, since it introduced a unique rule-based competition that some felt was contrary to the spirit of aikido.^[20]

After Ueshiba’s death in 1969, two more major styles emerged. Significant controversy arose with the departure of the Aikikai Hombu Dojo’s chief instructor Koichi Tohei, in 1974. Tohei left as a result of a disagreement with the son of the founder, Kisshomaru Ueshiba, who at that time headed the Aikikai Foundation. The disagreement was over the proper role of ki development in regular aikido training. After Tohei left, he formed his own style, called Shin Shin Toitsu Aikido, and the organization that governs it, the Ki Society (Ki no Kenkyūkai).^[25]

A final major style evolved from Ueshiba’s retirement in Iwama, Ibaraki and the teaching methodology of long term student Morihiro Saito. It is unofficially referred to as the «Iwama style», and at one point a number of its followers formed a loose network of schools they called Iwama Ryu. Although Iwama style practitioners remained part of the Aikikai until Saito’s death in 2002, followers of Saito subsequently split into two groups. One remained with the Aikikai and the other formed the independent Shinshin Aikishuren Kai in 2004 around Saito’s son Hitohiro Saito.

Today, the major styles of aikido are each run by a separate governing organization, have their own headquarters (本部道場, honbu dōjō) in Japan, and are taught throughout the world.^[20]

Ki[edit]

The study of ki is an important component of aikido. The term does not specifically refer to either physical or mental training, as it encompasses both. The kanji for ki was written in its older form as 氣 up until the Japanese governmental writing reforms after World War II, and now is more prevalently seen in its modern form of 気. This form has the removal of the eight directions denoting the pre and post natal energies of genki (元氣) (Chinese – yuán qì) also known in the Art of Aikido as «Source energy».

The character for ki is used in everyday Japanese terms, such as «health» (元気, genki), or «shyness» (内気, uchiki). Ki has many meanings, including «ambience», «mind», «mood», or «intention and action», however, in traditional martial arts and medicine it is often referred to in its more general terminology as «life energy». Gozo Shioda’s Yoshinkan Aikido, considered one of the «hard styles», largely follows Ueshiba’s teachings from before World War II, and surmises that the secret to ki lies in timing and the application of the whole body’s strength to a single point.^[26] In later years, Ueshiba’s application of ki in aikido took on a softer, more gentle feel. This concept was known as Takemusu Aiki, and many of his later students teach about ki from this perspective. Koichi Tohei’s Ki Society centers almost exclusively around the study of the empirical (albeit subjective) experience of ki, with students’ proficiency in aikido techniques and ki development ranked separately.^[27]

Training[edit]

In aikido, as in virtually all Japanese martial arts, there are both physical and mental aspects of training. The physical training in aikido is diverse, covering both general physical fitness and conditioning, as well as specific techniques.^[28] Because a substantial portion of any aikido curriculum consists of throws, beginners learn how to safely fall or roll.^[28] The specific techniques for attack include both strikes and grabs; the techniques for defense consist of throws and pins. After basic techniques are learned, students study freestyle defense against multiple opponents, and techniques with weapons.

Fitness[edit]

Physical training goals pursued in conjunction with aikido include controlled relaxation, correct movement of joints such as hips and shoulders, flexibility, and endurance, with less emphasis on strength training. In aikido, pushing or extending movements are much more common than pulling or contracting movements. This distinction can be applied to general fitness goals for the aikido practitioner.^[4]

In aikido, specific muscles or muscle groups are not isolated and worked to improve tone, mass, or power. Aikido-related training emphasizes the use of coordinated whole-body movement and balance similar to yoga or pilates. For example, many dōjōs begin each class with warm-up exercises (準備体操, junbi taisō), which may include stretching and ukemi (break falls).^[29]

Roles of uke and tori[edit]

Aikido training is based primarily on two partners practicing pre-arranged forms (kata) rather than freestyle practice. The basic pattern is for the receiver of the technique (uke) to initiate an attack against the person who applies the technique—the tori (取り), or shite (仕手) (depending on aikido style), also referred to as nage (投げ) (when applying a throwing technique), who neutralises this attack with an aikido technique.^[30]

Both halves of the technique, that of uke and that of tori, are considered essential to aikido training.^[30] Both are studying aikido principles of blending and adaptation. Tori learns to blend with and control attacking energy, while uke learns to become calm and flexible in the disadvantageous, off-balance positions in which tori places them. This «receiving» of the technique is called ukemi.^[30] Uke continuously seeks to regain balance and cover vulnerabilities (e.g., an exposed side), while tori uses position and timing to keep uke off-balance and vulnerable. In more advanced training, uke will sometimes apply reversal techniques (返し技, kaeshi-waza) to regain balance and pin or throw tori.

Ukemi (受身) refers to the act of receiving a technique. Good ukemi involves attention to the technique, the partner, and the immediate environment—it is considered an active part of the process of learning aikido. The method of falling itself is also important, and is a way for the practitioner to receive an aikido technique safely and minimize risk of injury.

Initial attacks[edit]

Aikido techniques are usually a defense against an attack, so students must learn to deliver various types of attacks to be able to practice aikido with a partner. Although attacks are not studied as thoroughly as in striking-based arts, attacks with intent (such as a strong strike or an immobilizing grab) are needed to study correct and effective application of technique.^[4]

Many of the strikes (打ち, uchi) of aikido resemble cuts from a sword or other grasped object, which indicate its origins in techniques intended for armed combat.^[4] Other techniques, which explicitly appear to be punches (tsuki), are practiced as thrusts with a knife or sword. Kicks are generally reserved for upper-level variations; reasons cited include that falls from kicks are especially dangerous, and that kicks (high kicks in particular) were uncommon during the types of combat prevalent in feudal Japan.

Some basic strikes include:

• Front-of-the-head strike (正面打ち, shōmen’uchi) is a vertical knifehand strike to the head. In training, this is usually directed at the forehead or the crown for safety, but more dangerous versions of this attack target the bridge of the nose and the maxillary sinus.
• Side-of-the-head strike (横面打ち, yokomen’uchi) is a diagonal knifehand strike to the side of the head or neck.
• Chest thrust (胸突き, mune-tsuki) is a punch to the torso. Specific targets include the chest, abdomen, and solar plexus, sometimes referred to as «middle-level thrust» (中段突き, chūdan-tsuki), or «direct thrust» (直突き, choku-tsuki).
• Face thrust (顔面突き, ganmen-tsuki) is a punch to the face, sometimes referred to as «upper-level thrust» (上段突き, jōdan-tsuki).

Beginners in particular often practice techniques from grabs, both because they are safer and because it is easier to feel the energy and the direction of the movement of force of a hold than it is for a strike. Some grabs are historically derived from being held while trying to draw a weapon, whereupon a technique could then be used to free oneself and immobilize or strike the attacker while they are grabbing the defender.^[4] The following are examples of some basic grabs:

• Single-hand grab (片手取り, katate-dori), when one hand grabs one wrist.
• Both-hands grab (諸手取り, morote-dori), when both hands grab one wrist; sometimes referred to as «single hand double-handed grab» (片手両手取り, katateryōte-dori)
• Both-hands grab (両手取り, ryōte-dori), when both hands grab both wrists; sometimes referred to as «double single-handed grab» (両片手取り, ryōkatate-dori).
• Shoulder grab (肩取り, kata-dori) when one shoulder is grabbed.
• Both-shoulders-grab (両肩取り, ryōkata-dori), when both shoulders are grabbed. It is sometimes combined with an overhead strike as shoulder grab face strike (肩取り面打ち, kata-dori men-uchi).
• Chest grab (胸取り, mune-dori or muna-dori), when the lapel is grabbed; sometimes referred to as «collar grab» (襟取り, eri-dori).

Basic techniques[edit]

The following are a sample of the basic or widely practiced throws and pins. Many of these techniques derive from Daitō-ryū Aiki-jūjutsu, but some others were invented by Morihei Ueshiba. The precise terminology for some may vary between organisations and styles; the following are the terms used by the Aikikai Foundation. Note that despite the names of the first five techniques listed, they are not universally taught in numeric order.^[32]

• First technique (一教 (教), ikkyō), a control technique using one hand on the elbow and one hand near the wrist which leverages uke to the ground.^[33] This grip applies pressure into the ulnar nerve at the wrist.
• Second technique (二教, nikyō) is a pronating wristlock that torques the arm and applies painful nerve pressure. (There is an adductive wristlock or Z-lock in the ura version.)
• Third technique (三教, sankyō) is a rotational wristlock that directs upward-spiraling tension throughout the arm, elbow and shoulder.
• Fourth technique (四教, yonkyō) is a shoulder control technique similar to ikkyō, but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient’s radial nerve against the periosteum of the forearm bone.^[34]
• Fifth technique (五教, gokyō)is a technique that is visually similar to ikkyō, but with an inverted grip of the wrist, medial rotation of the arm and shoulder, and downward pressure on the elbow. Common in knife and other weapon take-aways.
• ‘Four-direction throw’ (四方投げ, shihōnage) is a throw during which uke‘s hand is folded back past the shoulder, locking the shoulder joint.
• Forearm return (小手返し, kotegaeshi) is a supinating wristlock-throw that stretches the extensor digitorum.
• Breath throw (呼吸投げ, kokyūnage) is a loosely used umbrella term for various types of mechanically unrelated techniques; kokyūnage generally do not use joint locks like other techniques.^[35]
• Entering throw (入身投げ, iriminage), throws in which tori moves through the space occupied by uke. The classic form superficially resembles a «clothesline» technique.
• Heaven-and-earth throw (天地投げ, tenchinage), a throw in which, beginning with ryōte-dori, moving forward, tori sweeps one hand low («earth») and the other high («heaven»), which unbalances uke so that he or she easily topples over.
• Hip throw (腰投げ, koshinage), aikido’s version of the hip throw; tori drops their hips lower than those of uke, then flips uke over the resultant fulcrum.
• Figure-ten throw (十字投げ, jūjinage) or figure-ten entanglement (十字絡み, jūjigarami), a throw that locks the arms against each other (the kanji for «10» is a cross-shape: 十).^[36]
• Rotary throw (回転投げ, kaitennage) is a throw in which tori sweeps uke‘s arm back until it locks the shoulder joint, then uses forward pressure to throw them.^[37]

Implementations[edit]

Aikido makes use of body movement (tai sabaki) to blend the movement of tori with the movement of uke. For example, an «entering» (irimi) technique consists of movements inward towards uke, while a «turning» (転換, tenkan) technique uses a pivoting motion.^[38]
Additionally, an «inside» (内, uchi) technique takes place in front of uke, whereas an «outside» (外, soto) technique takes place to their side; a «front» (表, omote) technique is applied with motion to the front of uke, and a «rear» (裏, ura) version is applied with motion towards the rear of uke, usually by incorporating a turning or pivoting motion. Finally, most techniques can be performed while in a seated posture (seiza). Techniques where both uke and tori are standing are called tachi-waza, techniques where both start off in seiza are called suwari-waza, and techniques performed with uke standing and tori sitting are called hanmi handachi (半身半立).^[39]

From these few basic techniques, there are numerous of possible implementations. For example, ikkyō can be applied to an opponent moving forward with a strike (perhaps with an ura type of movement to redirect the incoming force), or to an opponent who has already struck and is now moving back to reestablish distance (perhaps an omote-waza version). Specific aikido kata are typically referred to with the formula «attack-technique(-modifier)»; katate-dori ikkyō, for example, refers to any ikkyō technique executed when uke is holding one wrist. This could be further specified as katate-dori ikkyō omote (referring to any forward-moving ikkyō technique from that grab).

Atemi (当て身) are strikes (or feints) employed during an aikido technique. Some view atemi as attacks against «vital points» meant to cause damage in and of themselves. For instance, Gozo Shioda described using atemi in a brawl to quickly down a gang’s leader.^[26] Others consider atemi, especially to the face, to be methods of distraction meant to enable other techniques; a strike, even if it is blocked, can startle the target and break their concentration. Additionally, the target may also become unbalanced while attempting to avoid a strike (by jerking the head back, for example) which may allow for an easier throw.^[39] Many sayings about atemi are attributed to Morihei Ueshiba, who considered them an essential element of technique.^[40]

Weapons[edit]

Weapons training in aikido traditionally includes the short staff (jō) (these techniques closely resemble the use of the bayonet, or Jūkendō), the wooden sword (bokken), and the knife (tantō).^[41] Some schools incorporate firearm-disarming techniques, where either weapon-taking and/or weapon-retention may be taught. Some schools, such as the Iwama style of Morihiro Saito, usually spend substantial time practicing with both bokken and jō, under the names of aiki-ken, and aiki-jō, respectively.

The founder developed many of the empty-handed techniques from traditional sword, spear and bayonet movements. Consequently, the practice of the weapons arts gives insight into the origin of techniques and movements, and reinforces the concepts of distance, timing, foot movement, presence and connectedness with one’s training partner(s).^[42]

Multiple attackers and randori[edit]

One feature of aikido is training to defend against multiple attackers, often called taninzudori, or taninzugake. Freestyle practice with multiple attackers called randori (乱取) is a key part of most curricula and is required for the higher-level ranks.^[43] Randori exercises a person’s ability to intuitively perform techniques in an unstructured environment.^[43] Strategic choice of techniques, based on how they reposition the student relative to other attackers, is important in randori training. For instance, an ura technique might be used to neutralise the current attacker while turning to face attackers approaching from behind.^[4]

In Shodokan Aikido, randori differs in that it is not performed with multiple persons with defined roles of defender and attacker, but between two people, where both participants attack, defend, and counter at will. In this respect it resembles judo randori.^[24][44]

Injuries[edit]

In applying a technique during training, it is the responsibility of tori to prevent injury to uke by employing a speed and force of application that is appropriate with their partner’s proficiency in ukemi.^[30] When injuries (especially to the joints) occur, they are often the result of a tori misjudging the ability of uke to receive the throw or pin.^[45][46]

A study of injuries in the martial arts showed that the type of injuries varied considerably from one art to the other.^[47] Soft tissue injuries are one of the most common types of injuries found within aikido,^[47] as well as joint strain and stubbed fingers and toes.^[46] Several deaths from head-and-neck injuries, caused by aggressive shihōnage in a senpai/kōhai hazing context, have been reported.^[45]

Mental training[edit]

Aikido training is mental as well as physical, emphasizing the ability to relax the mind and body even under the stress of dangerous situations.^[48] This is necessary to enable the practitioner to perform the ‘enter-and-blend’ movements that underlie aikido techniques, wherein an attack is met with confidence and directness.^[49] Morihei Ueshiba once remarked that one «must be willing to receive 99% of an opponent’s attack and stare death in the face» in order to execute techniques without hesitation.^[50] As a martial art concerned not only with fighting proficiency but with the betterment of daily life, this mental aspect is of key importance to aikido practitioners.^[51]

Uniforms and ranking[edit]

rank	belt	color	type
kyū		white	mudansha/yūkyūsha
dan		black	yūdansha

Aikido practitioners (commonly called aikidōka outside Japan) generally progress by promotion through a series of «grades» (kyū), followed by a series of «degrees» (dan), pursuant to formal testing procedures. Some aikido organizations use belts to distinguish practitioners’ grades, often simply white and black belts to distinguish kyu and dan grades, although some use various belt colors. Testing requirements vary, so a particular rank in one organization is not comparable or interchangeable with the rank of another.^[4] Some dōjōs have an age requirement before students can take the dan rank exam.^{[citation needed]}

The uniform worn for practicing aikido (aikidōgi) is similar to the training uniform (keikogi) used in most other modern martial arts; simple trousers and a wraparound jacket, usually white. Both thick («judo-style»), and thin («karate-style») cotton tops are used.^[4] Aikido-specific tops are available with shorter sleeves which reach to just below the elbow.^[52]

Most aikido systems add a pair of wide pleated black or indigo trousers known as hakama (used also in Naginatajutsu, kendo, and iaido). In many schools, the wearing of hakama is reserved for practitioners with dan ranks or for instructors, while others allow all practitioners to wear a hakama regardless of rank.^[4]

Aikido styles[edit]

Aikido styles vary in their intention as due to its holistic nature. The most common differences noted in aikido, when observed externally, relate to the intensity and realism of training. Stanley Pranin has observed that some criticism may stem from weak attacks from uke, allowing for a conditioned response from tori, resulting in underdevelopment of the skills needed for the safe and effective practice of both partners.^[53]

To counteract this, some styles allow students to become less compliant over time, but, in keeping with the core philosophies, this is after having demonstrated proficiency in being able to protect themselves and their training partners. Shodokan Aikido addresses the issue by practicing in a competitive format.^[24] Such adaptations are debated between styles, with some maintaining that there is no need to adjust their methods because either the criticisms are unjustified, or that they are not training for self-defense or combat effectiveness, but spiritual, fitness or other reasons.^[54]

Reasons for the difference and diversity of teachings, intention, and forms of aikido can be traced to the shift in training focus after the end of Ueshiba’s seclusion in Iwama from 1942 to the mid-1950s, as he increasingly emphasized the spiritual and philosophical aspects of aikido. As a result, strikes to vital points by tori, entering (irimi) and initiation of techniques by tori, the distinction between omote (front side) and ura (back side) techniques, and the use of weapons, were all de-emphasized or eliminated from practice.^[55]

Conversely, some styles of aikido place less importance on the spiritual practices emphasized by Ueshiba. According to Minoru Shibata of Aikido Journal:

O-Sensei’s aikido was not a continuation and extension of the old and has a distinct discontinuity with past martial and philosophical concepts.^[56]

In other words, aikido practitioners who focus on aikido’s roots in traditional jujutsu or kenjutsu are said to be diverging from what Ueshiba taught, as some critics urge practitioners:

[Ueshiba’s] transcendence to the spiritual and universal reality were the fundamentals of the paradigm that he demonstrated.^[56]

References[edit]

External links[edit]

• AikiWeb Aikido Information site on aikido, with essays, forums, gallery, reviews, columns, wiki and other information.

A version of the «four-direction throw» (shihōnage) with standing attacker (uke) and seated defender (Tori)
Focus	Grappling and softness
Country of origin	Japan
Creator	Morihei Ueshiba
Famous practitioners	Kisshomaru Ueshiba, Moriteru Ueshiba, Koichi Tohei, Christian Tissier, Morihiro Saito, Yoshimitsu Yamada, Mitsunari Kanai, Gozo Shioda, Mitsugi Saotome, Steven Seagal, Takashi Kushida, Kyoichi Inoue, Robert Mustard
Ancestor arts	Daitō-ryū Aiki-jūjutsu

Aikido (Shinjitai: 合気道, Kyūjitai: 合氣道, aikidō, Japanese pronunciation: [aikiꜜdoː]) is a modern Japanese martial art that is split into many different styles, including Iwama Ryu, Iwama Shin Shin Aiki Shuren Kai, Shodokan Aikido, Yoshinkan, Renshinkai, Aikikai and Ki Aikido. Aikido is now practiced in around 140 countries. It was originally developed by Morihei Ueshiba, as a synthesis of his martial studies, philosophy and religious beliefs. Ueshiba’s goal was to create an art that practitioners could use to defend themselves while also protecting their attackers from injury.^[1][2] Aikido is often translated as «the way of unifying (with) life energy»^[3] or as «the way of harmonious spirit».^[4] According to the founder’s philosophy, the primary goal in the practice of aikido is to overcome oneself instead of cultivating violence or aggressiveness.^[5] Morihei Ueshiba used the phrase masakatsu agatsu katsuhayabi» (正勝吾勝勝速日, «true victory, final victory over oneself, here and now») to refer to this principle.^[6]

Aikido’s fundamental principles include: irimi^[7] (entering), atemi,^[8][9] kokyu-ho (breathing control), sankaku-ho (triangular principle) and tenkan (turning) movements that redirect the opponent’s attack momentum. Its curriculum comprises various techniques, primarily throws and joint locks.^[10] It also includes a weapons system encompassing the bokken, tantō and jō.

Aikido derives mainly from the martial art of Daitō-ryū Aiki-jūjutsu, but began to diverge from it in the late 1920s, partly due to Ueshiba’s involvement with the Ōmoto-kyō religion. Ueshiba’s early students’ documents bear the term aiki-jūjutsu.^[11]

Ueshiba’s senior students have different approaches to aikido, depending partly on when they studied with him. Today, aikido is found all over the world in a number of styles, with broad ranges of interpretation and emphasis. However, they all share techniques formulated by Ueshiba and most have concern for the well-being of the attacker.

Etymology and basic philosophy[edit]

The word «aikido» is formed of three kanji:

• 合 – ai – harmony, unifying
• 気 – ki – energy, spirit
• 道 – dō – way, path

The term aiki does not readily appear in the Japanese language outside the scope of budō. This has led to many possible interpretations of the word.

合 (Ai) is mainly used in compounds to mean ‘combine, unite, join together, meet’, examples being 合同 (combined/united), 合成 (composition), 結合 (unite/combine/join together), 連合 (union/alliance/association), 統合 (combine/unify), and 合意 (mutual agreement). There is an idea of reciprocity, 知り合う (to get to know one another), 話し合い (talk/discussion/negotiation), and 待ち合わせる (meet by appointment).

気 (ki) is often used to describe a feeling or emotive action, as in X気がする (‘I feel X’, as in terms of thinking but with less cognitive reasoning), and 気持ち (feeling/sensation); it is used to mean energy or force, as in 電気 (electricity) and 磁気 (magnetism); it can also refer to qualities or aspects of people or things, as in 気質 (spirit/trait/temperament). The characters aeteological history can be traced back to the much older Chinese character of qi (氣) that is used extensively in Traditional Chinese medicine and acupunture.

The term dō in Aikido is found in many other Japanese martial arts such as, judo and kendo, and in various non-martial arts, such as Japanese calligraphy (shodō), flower arranging (kadō) and tea ceremony (chadō or sadō).

Therefore, from a purely literal interpretation, aikido is the «Way of combining forces» or «Way of unifying energy», in which the term aiki refers to the martial arts principle or tactic of blending with an attacker’s movements for the purpose of controlling their actions with minimal effort.^[12] One applies aiki by understanding the rhythm and intent of the attacker to find the optimal position and timing to apply a counter-technique.

History[edit]

Aikido was created by Morihei Ueshiba (植芝 盛平) (1883–1969), referred to by some aikido practitioners as Ōsensei (Great Teacher).^[13] The term aikido was coined in the 20th century.^[14] Ueshiba envisioned aikido not only as the synthesis of his martial training, but as an expression of his personal philosophy of universal peace and reconciliation. During Ueshiba’s lifetime and continuing today, aikido has evolved from the aiki that Ueshiba studied into a variety of expressions by martial artists throughout the world.^[10]

Initial development[edit]

Ueshiba developed aikido primarily during the late 1920s through the 1930s through the synthesis of the older martial arts that he had studied.^[15] The core martial art from which aikido derives is Daitō-ryū Aiki-jūjutsu, which Ueshiba studied directly with Takeda Sōkaku, the reviver of that art. Additionally, Ueshiba is known to have studied Tenjin Shin’yō-ryū with Tozawa Tokusaburō in Tokyo in 1901, Gotōha Yagyū Shingan-ryū under Nakai Masakatsu in Sakai from 1903 to 1908, and judo with Kiyoichi Takagi (高木 喜代市) (1894–1972) in Tanabe in 1911.^[16]

The art of Daitō-ryū is the primary technical influence on aikido. Along with empty-handed throwing and joint-locking techniques, Ueshiba incorporated training movements with weapons, such as those for the spear (yari), short staff (jō), and possibly the bayonet (銃剣, jūken). Aikido also derives much of its technical structure from the art of swordsmanship (kenjutsu).^[4][17]

Ueshiba moved to Hokkaidō in 1912, and began studying under Takeda Sokaku in 1915; His official association with Daitō-ryū continued until 1937.^[15] However, during the latter part of that period, Ueshiba had already begun to distance himself from Takeda and the Daitō-ryū. At that time Ueshiba referred to his martial art as «Aiki Budō«. It is unclear exactly when Ueshiba began using the name «aikido», but it became the official name of the art in 1942 when the Greater Japan Martial Virtue Society (Dai Nippon Butoku Kai) was engaged in a government sponsored reorganization and centralization of Japanese martial arts.^[10]

Religious influences[edit]

After Ueshiba left Hokkaidō in 1919, he met and was profoundly influenced by Onisaburo Deguchi, the spiritual leader of the Ōmoto-kyō religion (a neo-Shinto movement) in Ayabe.^[18] One of the primary features of Ōmoto-kyō is its emphasis on the attainment of utopia during one’s life. This idea was a great influence on Ueshiba’s martial arts philosophy of extending love and compassion especially to those who seek to harm others. Aikido demonstrates this philosophy in its emphasis on mastering martial arts so that one may receive an attack and harmlessly redirect it. In an ideal resolution, not only is the receiver unharmed, but so is the attacker.^[19]

In addition to the effect on his spiritual growth, the connection with Deguchi gave Ueshiba entry to elite political and military circles as a martial artist. As a result of this exposure, he was able to attract not only financial backing but also gifted students. Several of these students would found their own styles of aikido.^[20]

International dissemination[edit]

Aikido was first introduced to the rest of the world in 1951 by Minoru Mochizuki with a visit to France, where he demonstrated aikido techniques to judo students.^[21] He was followed by Tadashi Abe in 1952, who came as the official Aikikai Hombu representative, remaining in France for seven years. Kenji Tomiki toured with a delegation of various martial arts through 15 continental states of the United States in 1953.^[20][22] Later that year, Koichi Tohei was sent by Aikikai Hombu to Hawaii for a full year, where he set up several dōjō. This trip was followed by several subsequent visits and is considered the formal introduction of aikido to the United States. The United Kingdom followed in 1955; Italy in 1964 by Hiroshi Tada; and Germany in 1965 by Katsuaki Asai. Designated the «Official Delegate for Europe and Africa» by Morihei Ueshiba, Masamichi Noro arrived in France in September 1961. Seiichi Sugano was appointed to introduce aikido to Australia in 1965. Today there are aikido dōjō throughout the world.

Proliferation of independent organizations[edit]

The largest aikido organization is the Aikikai Foundation, which remains under the control of the Ueshiba family. However, aikido has developed into many styles, most of which were formed by Morihei Ueshiba’s major students.^[20]

The earliest independent styles to emerge were Yoseikan Aikido, begun by Minoru Mochizuki in 1931,^[21] Yoshinkan Aikido, founded by Gozo Shioda in 1955,^[23] and Shodokan Aikido, founded by Kenji Tomiki in 1967.^[24] The emergence of these styles pre-dated Ueshiba’s death and did not cause any major upheavals when they were formalized. Shodokan Aikido, however, was controversial, since it introduced a unique rule-based competition that some felt was contrary to the spirit of aikido.^[20]

After Ueshiba’s death in 1969, two more major styles emerged. Significant controversy arose with the departure of the Aikikai Hombu Dojo’s chief instructor Koichi Tohei, in 1974. Tohei left as a result of a disagreement with the son of the founder, Kisshomaru Ueshiba, who at that time headed the Aikikai Foundation. The disagreement was over the proper role of ki development in regular aikido training. After Tohei left, he formed his own style, called Shin Shin Toitsu Aikido, and the organization that governs it, the Ki Society (Ki no Kenkyūkai).^[25]

A final major style evolved from Ueshiba’s retirement in Iwama, Ibaraki and the teaching methodology of long term student Morihiro Saito. It is unofficially referred to as the «Iwama style», and at one point a number of its followers formed a loose network of schools they called Iwama Ryu. Although Iwama style practitioners remained part of the Aikikai until Saito’s death in 2002, followers of Saito subsequently split into two groups. One remained with the Aikikai and the other formed the independent Shinshin Aikishuren Kai in 2004 around Saito’s son Hitohiro Saito.

Today, the major styles of aikido are each run by a separate governing organization, have their own headquarters (本部道場, honbu dōjō) in Japan, and are taught throughout the world.^[20]

Ki[edit]

The study of ki is an important component of aikido. The term does not specifically refer to either physical or mental training, as it encompasses both. The kanji for ki was written in its older form as 氣 up until the Japanese governmental writing reforms after World War II, and now is more prevalently seen in its modern form of 気. This form has the removal of the eight directions denoting the pre and post natal energies of genki (元氣) (Chinese – yuán qì) also known in the Art of Aikido as «Source energy».

The character for ki is used in everyday Japanese terms, such as «health» (元気, genki), or «shyness» (内気, uchiki). Ki has many meanings, including «ambience», «mind», «mood», or «intention and action», however, in traditional martial arts and medicine it is often referred to in its more general terminology as «life energy». Gozo Shioda’s Yoshinkan Aikido, considered one of the «hard styles», largely follows Ueshiba’s teachings from before World War II, and surmises that the secret to ki lies in timing and the application of the whole body’s strength to a single point.^[26] In later years, Ueshiba’s application of ki in aikido took on a softer, more gentle feel. This concept was known as Takemusu Aiki, and many of his later students teach about ki from this perspective. Koichi Tohei’s Ki Society centers almost exclusively around the study of the empirical (albeit subjective) experience of ki, with students’ proficiency in aikido techniques and ki development ranked separately.^[27]

Training[edit]

In aikido, as in virtually all Japanese martial arts, there are both physical and mental aspects of training. The physical training in aikido is diverse, covering both general physical fitness and conditioning, as well as specific techniques.^[28] Because a substantial portion of any aikido curriculum consists of throws, beginners learn how to safely fall or roll.^[28] The specific techniques for attack include both strikes and grabs; the techniques for defense consist of throws and pins. After basic techniques are learned, students study freestyle defense against multiple opponents, and techniques with weapons.

Fitness[edit]

Physical training goals pursued in conjunction with aikido include controlled relaxation, correct movement of joints such as hips and shoulders, flexibility, and endurance, with less emphasis on strength training. In aikido, pushing or extending movements are much more common than pulling or contracting movements. This distinction can be applied to general fitness goals for the aikido practitioner.^[4]

In aikido, specific muscles or muscle groups are not isolated and worked to improve tone, mass, or power. Aikido-related training emphasizes the use of coordinated whole-body movement and balance similar to yoga or pilates. For example, many dōjōs begin each class with warm-up exercises (準備体操, junbi taisō), which may include stretching and ukemi (break falls).^[29]

Roles of uke and tori[edit]

Aikido training is based primarily on two partners practicing pre-arranged forms (kata) rather than freestyle practice. The basic pattern is for the receiver of the technique (uke) to initiate an attack against the person who applies the technique—the tori (取り), or shite (仕手) (depending on aikido style), also referred to as nage (投げ) (when applying a throwing technique), who neutralises this attack with an aikido technique.^[30]

Both halves of the technique, that of uke and that of tori, are considered essential to aikido training.^[30] Both are studying aikido principles of blending and adaptation. Tori learns to blend with and control attacking energy, while uke learns to become calm and flexible in the disadvantageous, off-balance positions in which tori places them. This «receiving» of the technique is called ukemi.^[30] Uke continuously seeks to regain balance and cover vulnerabilities (e.g., an exposed side), while tori uses position and timing to keep uke off-balance and vulnerable. In more advanced training, uke will sometimes apply reversal techniques (返し技, kaeshi-waza) to regain balance and pin or throw tori.

Ukemi (受身) refers to the act of receiving a technique. Good ukemi involves attention to the technique, the partner, and the immediate environment—it is considered an active part of the process of learning aikido. The method of falling itself is also important, and is a way for the practitioner to receive an aikido technique safely and minimize risk of injury.

Initial attacks[edit]

Aikido techniques are usually a defense against an attack, so students must learn to deliver various types of attacks to be able to practice aikido with a partner. Although attacks are not studied as thoroughly as in striking-based arts, attacks with intent (such as a strong strike or an immobilizing grab) are needed to study correct and effective application of technique.^[4]

Many of the strikes (打ち, uchi) of aikido resemble cuts from a sword or other grasped object, which indicate its origins in techniques intended for armed combat.^[4] Other techniques, which explicitly appear to be punches (tsuki), are practiced as thrusts with a knife or sword. Kicks are generally reserved for upper-level variations; reasons cited include that falls from kicks are especially dangerous, and that kicks (high kicks in particular) were uncommon during the types of combat prevalent in feudal Japan.

Some basic strikes include:

• Front-of-the-head strike (正面打ち, shōmen’uchi) is a vertical knifehand strike to the head. In training, this is usually directed at the forehead or the crown for safety, but more dangerous versions of this attack target the bridge of the nose and the maxillary sinus.
• Side-of-the-head strike (横面打ち, yokomen’uchi) is a diagonal knifehand strike to the side of the head or neck.
• Chest thrust (胸突き, mune-tsuki) is a punch to the torso. Specific targets include the chest, abdomen, and solar plexus, sometimes referred to as «middle-level thrust» (中段突き, chūdan-tsuki), or «direct thrust» (直突き, choku-tsuki).
• Face thrust (顔面突き, ganmen-tsuki) is a punch to the face, sometimes referred to as «upper-level thrust» (上段突き, jōdan-tsuki).

Beginners in particular often practice techniques from grabs, both because they are safer and because it is easier to feel the energy and the direction of the movement of force of a hold than it is for a strike. Some grabs are historically derived from being held while trying to draw a weapon, whereupon a technique could then be used to free oneself and immobilize or strike the attacker while they are grabbing the defender.^[4] The following are examples of some basic grabs:

• Single-hand grab (片手取り, katate-dori), when one hand grabs one wrist.
• Both-hands grab (諸手取り, morote-dori), when both hands grab one wrist; sometimes referred to as «single hand double-handed grab» (片手両手取り, katateryōte-dori)
• Both-hands grab (両手取り, ryōte-dori), when both hands grab both wrists; sometimes referred to as «double single-handed grab» (両片手取り, ryōkatate-dori).
• Shoulder grab (肩取り, kata-dori) when one shoulder is grabbed.
• Both-shoulders-grab (両肩取り, ryōkata-dori), when both shoulders are grabbed. It is sometimes combined with an overhead strike as shoulder grab face strike (肩取り面打ち, kata-dori men-uchi).
• Chest grab (胸取り, mune-dori or muna-dori), when the lapel is grabbed; sometimes referred to as «collar grab» (襟取り, eri-dori).

Basic techniques[edit]

The following are a sample of the basic or widely practiced throws and pins. Many of these techniques derive from Daitō-ryū Aiki-jūjutsu, but some others were invented by Morihei Ueshiba. The precise terminology for some may vary between organisations and styles; the following are the terms used by the Aikikai Foundation. Note that despite the names of the first five techniques listed, they are not universally taught in numeric order.^[32]

• First technique (一教 (教), ikkyō), a control technique using one hand on the elbow and one hand near the wrist which leverages uke to the ground.^[33] This grip applies pressure into the ulnar nerve at the wrist.
• Second technique (二教, nikyō) is a pronating wristlock that torques the arm and applies painful nerve pressure. (There is an adductive wristlock or Z-lock in the ura version.)
• Third technique (三教, sankyō) is a rotational wristlock that directs upward-spiraling tension throughout the arm, elbow and shoulder.
• Fourth technique (四教, yonkyō) is a shoulder control technique similar to ikkyō, but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient’s radial nerve against the periosteum of the forearm bone.^[34]
• Fifth technique (五教, gokyō)is a technique that is visually similar to ikkyō, but with an inverted grip of the wrist, medial rotation of the arm and shoulder, and downward pressure on the elbow. Common in knife and other weapon take-aways.
• ‘Four-direction throw’ (四方投げ, shihōnage) is a throw during which uke‘s hand is folded back past the shoulder, locking the shoulder joint.
• Forearm return (小手返し, kotegaeshi) is a supinating wristlock-throw that stretches the extensor digitorum.
• Breath throw (呼吸投げ, kokyūnage) is a loosely used umbrella term for various types of mechanically unrelated techniques; kokyūnage generally do not use joint locks like other techniques.^[35]
• Entering throw (入身投げ, iriminage), throws in which tori moves through the space occupied by uke. The classic form superficially resembles a «clothesline» technique.
• Heaven-and-earth throw (天地投げ, tenchinage), a throw in which, beginning with ryōte-dori, moving forward, tori sweeps one hand low («earth») and the other high («heaven»), which unbalances uke so that he or she easily topples over.
• Hip throw (腰投げ, koshinage), aikido’s version of the hip throw; tori drops their hips lower than those of uke, then flips uke over the resultant fulcrum.
• Figure-ten throw (十字投げ, jūjinage) or figure-ten entanglement (十字絡み, jūjigarami), a throw that locks the arms against each other (the kanji for «10» is a cross-shape: 十).^[36]
• Rotary throw (回転投げ, kaitennage) is a throw in which tori sweeps uke‘s arm back until it locks the shoulder joint, then uses forward pressure to throw them.^[37]

Implementations[edit]

Aikido makes use of body movement (tai sabaki) to blend the movement of tori with the movement of uke. For example, an «entering» (irimi) technique consists of movements inward towards uke, while a «turning» (転換, tenkan) technique uses a pivoting motion.^[38]
Additionally, an «inside» (内, uchi) technique takes place in front of uke, whereas an «outside» (外, soto) technique takes place to their side; a «front» (表, omote) technique is applied with motion to the front of uke, and a «rear» (裏, ura) version is applied with motion towards the rear of uke, usually by incorporating a turning or pivoting motion. Finally, most techniques can be performed while in a seated posture (seiza). Techniques where both uke and tori are standing are called tachi-waza, techniques where both start off in seiza are called suwari-waza, and techniques performed with uke standing and tori sitting are called hanmi handachi (半身半立).^[39]

From these few basic techniques, there are numerous of possible implementations. For example, ikkyō can be applied to an opponent moving forward with a strike (perhaps with an ura type of movement to redirect the incoming force), or to an opponent who has already struck and is now moving back to reestablish distance (perhaps an omote-waza version). Specific aikido kata are typically referred to with the formula «attack-technique(-modifier)»; katate-dori ikkyō, for example, refers to any ikkyō technique executed when uke is holding one wrist. This could be further specified as katate-dori ikkyō omote (referring to any forward-moving ikkyō technique from that grab).

Atemi (当て身) are strikes (or feints) employed during an aikido technique. Some view atemi as attacks against «vital points» meant to cause damage in and of themselves. For instance, Gozo Shioda described using atemi in a brawl to quickly down a gang’s leader.^[26] Others consider atemi, especially to the face, to be methods of distraction meant to enable other techniques; a strike, even if it is blocked, can startle the target and break their concentration. Additionally, the target may also become unbalanced while attempting to avoid a strike (by jerking the head back, for example) which may allow for an easier throw.^[39] Many sayings about atemi are attributed to Morihei Ueshiba, who considered them an essential element of technique.^[40]

Weapons[edit]

Weapons training in aikido traditionally includes the short staff (jō) (these techniques closely resemble the use of the bayonet, or Jūkendō), the wooden sword (bokken), and the knife (tantō).^[41] Some schools incorporate firearm-disarming techniques, where either weapon-taking and/or weapon-retention may be taught. Some schools, such as the Iwama style of Morihiro Saito, usually spend substantial time practicing with both bokken and jō, under the names of aiki-ken, and aiki-jō, respectively.

The founder developed many of the empty-handed techniques from traditional sword, spear and bayonet movements. Consequently, the practice of the weapons arts gives insight into the origin of techniques and movements, and reinforces the concepts of distance, timing, foot movement, presence and connectedness with one’s training partner(s).^[42]

Multiple attackers and randori[edit]

One feature of aikido is training to defend against multiple attackers, often called taninzudori, or taninzugake. Freestyle practice with multiple attackers called randori (乱取) is a key part of most curricula and is required for the higher-level ranks.^[43] Randori exercises a person’s ability to intuitively perform techniques in an unstructured environment.^[43] Strategic choice of techniques, based on how they reposition the student relative to other attackers, is important in randori training. For instance, an ura technique might be used to neutralise the current attacker while turning to face attackers approaching from behind.^[4]

In Shodokan Aikido, randori differs in that it is not performed with multiple persons with defined roles of defender and attacker, but between two people, where both participants attack, defend, and counter at will. In this respect it resembles judo randori.^[24][44]

Injuries[edit]

In applying a technique during training, it is the responsibility of tori to prevent injury to uke by employing a speed and force of application that is appropriate with their partner’s proficiency in ukemi.^[30] When injuries (especially to the joints) occur, they are often the result of a tori misjudging the ability of uke to receive the throw or pin.^[45][46]

A study of injuries in the martial arts showed that the type of injuries varied considerably from one art to the other.^[47] Soft tissue injuries are one of the most common types of injuries found within aikido,^[47] as well as joint strain and stubbed fingers and toes.^[46] Several deaths from head-and-neck injuries, caused by aggressive shihōnage in a senpai/kōhai hazing context, have been reported.^[45]

Mental training[edit]

Aikido training is mental as well as physical, emphasizing the ability to relax the mind and body even under the stress of dangerous situations.^[48] This is necessary to enable the practitioner to perform the ‘enter-and-blend’ movements that underlie aikido techniques, wherein an attack is met with confidence and directness.^[49] Morihei Ueshiba once remarked that one «must be willing to receive 99% of an opponent’s attack and stare death in the face» in order to execute techniques without hesitation.^[50] As a martial art concerned not only with fighting proficiency but with the betterment of daily life, this mental aspect is of key importance to aikido practitioners.^[51]

Uniforms and ranking[edit]

rank	belt	color	type
kyū		white	mudansha/yūkyūsha
dan		black	yūdansha

Aikido practitioners (commonly called aikidōka outside Japan) generally progress by promotion through a series of «grades» (kyū), followed by a series of «degrees» (dan), pursuant to formal testing procedures. Some aikido organizations use belts to distinguish practitioners’ grades, often simply white and black belts to distinguish kyu and dan grades, although some use various belt colors. Testing requirements vary, so a particular rank in one organization is not comparable or interchangeable with the rank of another.^[4] Some dōjōs have an age requirement before students can take the dan rank exam.^{[citation needed]}

The uniform worn for practicing aikido (aikidōgi) is similar to the training uniform (keikogi) used in most other modern martial arts; simple trousers and a wraparound jacket, usually white. Both thick («judo-style»), and thin («karate-style») cotton tops are used.^[4] Aikido-specific tops are available with shorter sleeves which reach to just below the elbow.^[52]

Most aikido systems add a pair of wide pleated black or indigo trousers known as hakama (used also in Naginatajutsu, kendo, and iaido). In many schools, the wearing of hakama is reserved for practitioners with dan ranks or for instructors, while others allow all practitioners to wear a hakama regardless of rank.^[4]

Aikido styles[edit]

Aikido styles vary in their intention as due to its holistic nature. The most common differences noted in aikido, when observed externally, relate to the intensity and realism of training. Stanley Pranin has observed that some criticism may stem from weak attacks from uke, allowing for a conditioned response from tori, resulting in underdevelopment of the skills needed for the safe and effective practice of both partners.^[53]

To counteract this, some styles allow students to become less compliant over time, but, in keeping with the core philosophies, this is after having demonstrated proficiency in being able to protect themselves and their training partners. Shodokan Aikido addresses the issue by practicing in a competitive format.^[24] Such adaptations are debated between styles, with some maintaining that there is no need to adjust their methods because either the criticisms are unjustified, or that they are not training for self-defense or combat effectiveness, but spiritual, fitness or other reasons.^[54]

Reasons for the difference and diversity of teachings, intention, and forms of aikido can be traced to the shift in training focus after the end of Ueshiba’s seclusion in Iwama from 1942 to the mid-1950s, as he increasingly emphasized the spiritual and philosophical aspects of aikido. As a result, strikes to vital points by tori, entering (irimi) and initiation of techniques by tori, the distinction between omote (front side) and ura (back side) techniques, and the use of weapons, were all de-emphasized or eliminated from practice.^[55]

Conversely, some styles of aikido place less importance on the spiritual practices emphasized by Ueshiba. According to Minoru Shibata of Aikido Journal:

O-Sensei’s aikido was not a continuation and extension of the old and has a distinct discontinuity with past martial and philosophical concepts.^[56]

In other words, aikido practitioners who focus on aikido’s roots in traditional jujutsu or kenjutsu are said to be diverging from what Ueshiba taught, as some critics urge practitioners:

[Ueshiba’s] transcendence to the spiritual and universal reality were the fundamentals of the paradigm that he demonstrated.^[56]

References[edit]

External links[edit]

• AikiWeb Aikido Information site on aikido, with essays, forums, gallery, reviews, columns, wiki and other information.

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Морфологические и синтаксические свойства[править]

ай—ки—до́

Существительное, неодушевлённое, средний род, несклоняемое (тип склонения 0 по классификации А. А. Зализняка).

Корень: -айкидо-.

Произношение[править]

• МФА: [ɐɪ̯kʲɪˈdo]

Семантические свойства[править]

Значение[править]

1. японское боевое искусство, созданное Морихеем Уэсибой на основе Дайто-рю Айкидзюдзюцу ◆ Ассоциация айкидо и каратэ Будокан-кай (Айки-центр при Государственном центральном ордена Ленина институте физической культуры и Центральная школа айкидо), представляющая интересы 19 международных центров, объявляет конкурсный набор в группы айкидо и каратэ. // «Техника — молодежи», 1991 г. [НКРЯ] ◆ Впервые за всю историю развития этого вида единоборств из Токио на берега Байкала приедут представители Всемирного центра айкидо ― Айкикай Хомбу Додзё, старейшего в Японии места по изучению айкидо. Роман Кузнецов, «Айкидо ― искусство созидания» // «Восточно-Сибирская правда», 11 июля 1998 г. [НКРЯ]

Синонимы[править]

1. ?

Антонимы[править]

1. —

Гиперонимы[править]

1. будо, борьба, единоборство

Гипонимы[править]

1. Айкидо Айкикай, Айкидо Ёсинкан

Родственные слова[править]

Этимология[править]

Происходит от яп. 合気道 （あいきどう） «путь гармонии ки», где:

• Ай (合) — 1. «гармония»^[1]; 2. «совпадать, соединяться, согласовываться»; 3. «быть правильным»; 4. «быть выгодным»; 5. «подходить для чего-либо».
• Ки (気) — «энергия духа, жизненная энергия, дыхание, движение пара, сила»;
• До (道) — «дорога, путь, способ».

«Айки» означает «соединиться с силой; стать одним целым с силой универсальной энергии; стать одним целым с энергией жизненной силы»^[2]. Совместно все три иероглифа примерно означают «путь к гармонии духа». Морихэй Уэсиба говорил о названии следующее:

Ввиду того, что слова «гармония» и «любовь» (иероглиф «ай») по-японски пишутся по-разному, а звучат одинаково, я решил назвать свой вид уникального будо — айкидо, хотя само слово «айки» известно с древних времен. Однако смысл, который вкладывали бойцы будо в это слово раньше, принципиально отличается от моего.

Фразеологизмы и устойчивые сочетания[править]

Перевод[править]

Библиография[править]

• Новые слова и значения. Словарь-справочник по материалам прессы и литературы 80-х годов / Под ред. Е. А. Левашова. — СПб. : Дмитрий Буланин, 1997.

История и философия айкидо

Айкидо (яп. 合気道 айкидо) — японская система физических и духовных практик, созданная Морихэем Уэсибой как синтез его исследований боевых искусств, философии и религиозных убеждений.
Чаще всего айкидо переводят как «путь слияния (с) жизненной энергией» или «путь гармонизации духа». Название айкидо состоит из трёх иероглифов (яп.): ай (合) — соединение, гармония; ки (気) — духовная сила; до: (道) — путь.

Морихэй Уэсиба (14 декабря 1883 года — 26 апреля 1969 года) — создатель боевого искусства айкидо. Родился в городе Танабе в Японии. Последователи также его называют Основатель или Великий учитель (О:сэнсэй).

Айкидо создано Уэсибой на основе элементов традиционных японских единоборств Дайто-рю Айки-дзюцу, кэн-дзюцу и дзё-дзюцу.

Основной принцип айкидо как системы самообороны— использование силы (Ки) противника против него самого. В айкидо используются броски (нагэ-вадза), болевые удержания (осаэ-вадза), удары (атэми). Также характерной чертой айкидо являются круговые движения при уходе с линии атаки и выведение противника из равновесия (кудзуси).

Своё начало айкидо берёт в Дайто-рю Айкидзюцу, но начинает расходиться с ним уже в конце 1920-х, отчасти из-за влияния учения Оомото на Уэсибу. В записях его первых учеников регулярно используется термин айки-дзюдзюцу.

Морихей Уэсиба считается создателем айкидо в его современном виде. Он превратил это секретное боевое искусство в массовый вид спорта. Система Уэсибы представляет собой комплекс из нескольких тысяч приемов, использующих в основном болевые захваты и «замки» рук с последующим броском. Наряду с приемами айкидзюцу в основу разработанной Уэсибой системы было также положено искусство джиу-джитсу в традициях школ боевого искусства дайторю и киторю. Уэсиба успешно синтезировал достижения этих школ, творчески обобщил многовековой опыт боевых искусств Японии, усовершенствовал многие известные приемы, сведя их в стройную систему, создал философию, психологию и этику айкидо на основе синтеза ряда религиозных учений – синтоизма, буддизма и др.

Уэсиба подчеркивал миролюбивый характер искусства самозащиты и утверждал, что подлинное боевое искусство не должно опираться на грубую силу, способную только разрушать, что истинны лишь те виды единоборства, которые облагораживают самого мастера. Подход к этой системе как к определенному «пути» морального и психофизического совершенствования человека отразился в самом названии основанной Уэсибой системы, в котором традиционное обозначение боевых искусств – «дзюцу» (искусство, техника) – было заменено на «до» (путь).

9 февраля 1948 Министерство образования Японии дало разрешение Уэсибе на создание международной организации «Айкикай». Тогда же главный додзе (помещение для занятий; дословно – место, где следуют пути) в Токио был переименован во Всемирный центр айкидо.

Старшие ученики Уэсибы используют разные подходы к практике айкидо, в немалой степени зависящие от их времени обучения у него. Сегодня айкидо встречается во всём мире в виде нескольких стилей, с широким диапазоном толкования техник и смещением акцента к разным его областям. Однако все их объединяют принципы, сформулированные ещё Уэсибой, включающие заботу о нападающем и уделение основного внимания духовному, а не физическому развитию.

«Айкидо – это не боевое искусство для борьбы с врагом, это не техника для уничтожения противника. Это путь, по которому мир придет к гармонии и человечество станет единым»
«Путь Айкидо не имеет предела. Я сам ощущаю себя каждый день всего лишь учеником».
М. Уэсиба

Айкидо не просто искусство самозащиты, его техника и движения пронизаны элементами философии и психологии, законами динамики. Поэтому, овладевая приемами, ученики тренируют разум, укрепляют и поддерживают здоровье и развивают доверие к себе. В айкидо чисто физическая сила не работает, она всегда контролируется сознанием. Поняв и освоив искусство манипуляции чужим сознанием, можно управлять соперником, используя его силу. Поэтому высокое мастерство айкидо позволяет женщине и даже ребенку нейтрализовать физически крепкого мужчину.

Практика и техники Айкидо

Традиционно айкидо относится к боевым видам искусства, но по своей сути оно есть шаг в развитии будо в сторону воцарения в мире гармонии и рассматривания конфликта, который является неотъемлемой частью жизни, в качестве дисбаланса, который необходимо разрешать на основе доброй воли. Айкидо уважает право каждого человека на безопасность и здоровье и исключает наказание и месть.

Айкидо базируется на ряде принципов, одним из которых является принцип несопротивления, поскольку чем сильнее сопротивление, тем агрессивнее нападение. На него опираются в различных боевых искусствах наряду с положением, что каждое прямолинейное воздействие на человека обязательно встречает ответную реакцию. Айкидо предлагает двигаться по траектории атаки («Позвольте противнику идти и поворачиваться, когда он хочет, помогите ему согнуться в том направлении, в каком он хочет, а потом дайте ему возможность упасть там, куда он стремится»).

В айкидо принято, что любой человек обладает жизненной энергией (Ки), которую можно направить в нужную сторону, если сосредоточить ее в хара (центре). В соответствии с этим в айкидо единый для разных боевых искусств принцип несопротивления трансформируется в принцип ведущего контроля («Не препятствуйте движению своего противника в любом направлении, дайте ему возможность двигаться туда, куда он хочет, но любое его движение должно происходить под вашим контролем. Нельзя расслаблять внимание»).
Айкидо – это прежде всего гармония, без нее оно становится обычным спором для выяснения того, кто сильнее или быстрее. При атаке гармония нарушается, айкидо преследует цель ее восстановления. Принцип ведущего контроля и есть первый шаг на пути решения этой задачи. С его помощью можно переориентировать действие в нужное направление и контролировать его.

Айкидо активно использует энергию Ки, которая концентрируется в хара и распространяется вовне. Эти два принципа (сосредоточения и выброса Ки в нужном направлении) предполагают кругообразность и сферичность действия. Атака направляется по многочисленным кругам, центром нейтрализации которых является хара. Поэтому многие приемы в айкидо строятся на вращении, бросках в круг, еще раз подтверждая, что прямолинейный (поэтому и самый короткий) путь не всегда самый действенный и эффективный.

В основе айкидо лежат плавные движения, которые похожи на поток воды, которая, несмотря на свою мягкость и податливость, может быть и разрушительной. Мастер, как водой, заполняет пространство, в котором нападающее и защищающееся действия сливаются и далее управляемые защитой направляются против агрессора. Принцип слияния – еще один принцип айкидо. Являясь фактором обороны, он, кроме того, содержит и психологический аспект: мастер как будто видит сознание соперника и чувствует, что тот хочет сделать. В обыденной жизни мы бы сказали, что мастер айкидо может поставить себя на место другого, способен к сопереживанию («В айкидо мы контролируем разум противника прежде, чем видим его, т. е. мы как бы поглощаем его»).

Морихей Уэсиба О Сэнсэй-Редкая Демонстрация Айкидо (1957)

Базовая практика

Используя технику базовой практики, практикующие айкидо фокусируются на выбранных по физическим признакам точках отсчета: на дыхании, балансе поля и ощущении земного притяжения.
Дыхание – длинный выдох, направленный вниз по направлению к хара или к центру Земли.
Баланс поля исследуется с помощью вопроса: «Равна ли передняя сторона моего поля задней?»
А ощущение земного притяжения – с помощью вопроса: «Могу ли я почувствовать ощущение земного притяжения в собственном теле?»

Использование дыхания

Многие медитативные практики и техники расслабления используют дыхание, чтобы сосредоточить внимание. В рамках базовой практики айкидо сосредотачиваются на выдохе. Выдох используют, чтобы направлять желание вниз по направлению к хара, точке в центре живота, на пару сантиметров ниже пупка.

Балансировка энергетического поля

Каждое тело окружено энергетическим полем. С научной точки зрения поле может быть измерено как некоторое количество тепла, излучаемого телом, и оно представляет наши энергетические отношения с окружающим миром.
Чтобы ощутить поле, необходимо начать с переключения внимания на тело. В самом поле собрано много личного опыта, более того, размер поля может существенно варьироваться. Мы располагаемся в энергетическом поле по большей части фронтально, поскольку зрение – доминантная форма нашего восприятия. Ограниченная перспектива также может сказаться на энергетическом видении себя: мы ощущаем только плоскую, поверхностную, фронтальную часть поля, игнорируя заднюю и нижнюю составляющие тела. Для получения более однородного самоощущения в практике айкидо используется вопрос: «Равна ли передняя сторона моего поля задней?» При постановке такого вопроса внимание переключается на заднюю сторону, и в какой-то момент туда идет больше энергии. 

Ощущение земного притяжения

Энергетическое поле и взгляд

Наше поле посылает внешнему миру определенное сообщение.  Можно обнаружить, что то, что люди говорят на вербальном уровне, и то, что они передают с помощью поля, не всегда соответствует друг другу. Такое несоответствие порождает смущение и стресс в отношениях. Другой человек должен решить, будет ли он полагаться на то, что мы говорим, или на то, что выражает поле. Наши глаза – это ворота к ошеломительному количеству энергии ки.

Не смотри в глаза противника, или его глаза притянут твой разум. Не смотри на его меч, или ты будешь убит этим мечом. Не смотри на него, или твой дух растворится. Настоящее будо – это культивирование внимания… таким образом мы втянем противника в себя. 
Морихэй Уэсиба

В этом видеоролике из фильма «Ame agaru» (После дождя) отражена сущность айкидо и его корни, связанные с боккеном и катаной. Оставаться спокойным, чтобы противостоять атаке и сражаться только тогда, когда нет выбора, стараясь нанести как можно меньше урона.

Стили айкидо

В настоящее время в мире практикуют тридцать стилей айкидо, основная часть которых разработана учениками и последователями Морихеи Уесибы в разное время, причем они отличаются некоторыми особенностями и в плане техники, и в методике обучения.

В бытность основателя айкидо – О’Сэнсэя Уесибы, который через призму созданного им нового боевого искусства видел Будо («путь воина») – разделение на стили отсутствовало.
Но в ходе жизни великого мастера его понимание и, соответственно, подходы к тренировкам и техникам претерпевали изменения. Если первоначально большее значение придавалось высокой физической подготовке, акцентировалась практическая направленность айкидо, то в последующие годы стали отдавать приоритет философским, этическим и метафизическим мировоззрениям и концепциям.

Ученики, которые проходили обучение непосредственно у Морихеи Уесибы в разные периоды его жизни, неодинаково воспринимали айкидо и передавали своим ученикам собственное его понимание. В настоящее время появились стили айкидо, которые сформировали и практикуют не прямые ученики О’Сэнсея, а мастера, учившиеся у его учеников. Поэтому между стилями могут отмечаться очень существенные различия.

Самые популярные стили Айкидо

1) Айкикай
Направление, официально признанное в 1940 году, и продолжаемое семьей Уэсиба. Это наиболее распространенный стиль айкидо, который более всего соответствует тому боевому искусству, которое создал М. Уесиба. Помимо внука Уесибы, Моритэру Уесибы, возглавляющего федерацию, в этом стиле работают Сэйсиро Эндо, Сэйсэки Абэ и др.;

2) Ёсикан
Силь, созданный сыном основателя дзюдо Годзо Сиодой еще при жизни великого мастера. Характерной особенностью этого стиля является жесткость техник Кобукана (додзё Уесибы), в котором Уесиба проводил свои занятии до Второй мировой войны. Поэтому техники стиля Ёсикан более всего похожи на техники Айки-дзюцу, на которых основано айкидо;

3) Син-син-тоицу айкидо (Ки-айкидо)
Стиль появился в 1974 г., разработан Коичи Тохэем, который в свое время был главным инструктором в Федерации Айкикай и который оставил ее и основал собственную школу. В ней значительное внимание уделяется философии и этике айкидо, заложенные Уесибой;

4) Томики-рю
Основатель стиля – Томики Кэндзи. Стиль представляет собой синтез айкидо и дзюдо, в котором на разных дистанциях используются разные приемы (на ближних – дзюдо, на дальних – айки-дзюцу). Как и в стиле Ёсинкан, в Томири-рю упор делается на жесткости техник, на физическую подготовку – общую и специальную. Кроме того, этот стиль отличает от большинства других организация соревнований как главного критерия оценки степени владения айкидо.

Краткий справочник по Айкидо

Краткий словарь

Ай — гармония, любовь, согласованность
Айкидока — человек, занимающийся айкидо.
Атэми — защитный удар, создающий возможность для контратаки или нарушающий равновесие противника.
Боккэн — учебный меч из дерева.
Будзюцу — воинское искусство
Будо — путь воина
Дзё — деревянный шест длиной примерно 150 см.
Дзюцу — умение, искусство
До — Путь
Додзё — тренировочный зал.
Ирими — движение, предваряющее осуществление приёма.
Кай — общество
Кан — стиль, клуб
Ки (яп.; кит. ци) — жизненная энергия.
Кобудо — традиционные воинские искусства
Кокю — жизненное дыхание
Кокю-доса — упражнение для координации дыхания и «расширения».
Ма-ай — дистанция между обороняющимся и атакующим.
Нагэ — обороняющийся, следующий принципам и использующий приёмы айкидо.
Рандори — свободный спарринг; бой с несколькими противниками.
Сэйдза — поза сидя на пятках со слегка разведёнными коленями; классическое сидячее положение в боевых искусствах.
Сэнсей — учитель.
Тэнкан — круговое движение, разворот тела, один из методов проникновения внутрь защиты противника.
Укэ — атакующий.
Укэми — техника страховки при падении с использованием кувырков и перекатов.
Хакама — юбка-штаны, традиционная форма для занятий айкидо.
Шихо-нагэ — бросок в одном из четырёх направлений.

Иерархия в айкидо 

О-Сенсей — Основатель Айкидо Уэсиба Морихей (буквально «Великий Учитель»)
Дошу — Глава школы
Шихан — Инструктор-руководитель (от 6-го Дана и выше)
Сэнсэй — Учитель (4 — 5 Дан)
Сэмпай — Старший ученик
Кохай — Младший ученик
Дохай — Равные между собой ученики
Юданча — Обладатель степени Дан
Додзё чё — Старший в додзё
Учи деши — Ученик, живущий в доме мастера (приближённый ученик)
Дан — Высшие ученические и мастерские разряды
Кю — Начальные ученические разряды

Основатель и дошу     

Уэсиба Морихей
(14.12.1883 — 26.04.1969)
Основатель Айкидо.

Уэсиба Кисёмару
(27.06.1921 — 04.01.1999)
Второй Дошу.

Уэсиба Моритеру
(род. 02.04.1951)
Третий Дошу

Высшие ученические и мастерские разряды

Степеней «Дан» в Айкидо 10. В отличие от «кю», уровень «Дана» растет согласно его порядковому номеру; самый младший «Дан» — первый, самый старший – десятый.

Шо-дан — 1 Дан
Ни-дан — 2 Дан
Сан-дан — 3 Дан
Ён-дан — 4 Дан
Го-дан — 5 Дан
Року-дан — 6 Дан
Шичи — дан — 7 Дан
Хачи-дан — 8 Дан
Ку-дан — 9 Дан
Дзю-дан — 10 Дан

Начальные ученические разряды

Степеней «кю» в Айкидо всего 6 для взрослых и 8 для детей. Самая младшая степень «кю» — восьмая, самая старшая — первая. Каждая степень имеет свое название.

Хачи-кю — 8 кю
Шичи-кю — 7 кю
Рок-кю — 6 кю
Го-кю — 5 кю
Ён-кю — 4 кю
Сан-кю — 3 кю
Ни-кю — 2 кю
Ик-кю — 1 кю

Занятия айкидо

Обучение Айкидо происходит в додзё:
Додзё — место проведения занятий по боевым искусствам (буквально: «Место постижения пути»)
Татами — традиционно — мат из рисовой соломы примерно 1м х 2м (в настоящее время, как правило, из вспененного поролона).

На татами, из соображений гигиены, безопасности и комфорта, все носят специальную одежду:

Кэйкоги (Доги) — тренировочный костюм (широко распространенное название «кимоно» является ошибочным и относится к другой разновидности одежды)
Оби — пояс
Хакама — широкие штаны (как правило, для занимающихся от 1-го Дана и выше)

Команды, применяемые на занятиях

Кирицу — Встать!
Маттэ — Ждите!
Мокусо — Команда для создания внутреннего настроя в начале и в конце тренировки
Рэй — Поклон!
Сэйза — Сесть прямо!
Хаджимэ — Начинайте!
Ямэ — Стоп!

Техники и приемы

Страховки

Укэми ваза — Техника страховки
Маэ укэми — Страховка кувырком вперед через руку
Уширо укэми — Страховка кувырком назад
Еко укеми — Страховка кувырком через руку в бок 

Направления, стороны и уровни:

Хидари — Левый
Миги — Правый
Маэ — Передний
Уширо — Задний
Джёдан — Верхний уровень (над плечами)
Чюдан — Средний уровень (от плеч до пояса)
Гедан — Нижний уровень (ниже пояса)
Ирими — Вхождение, вход
Тэнкан — Вращение
Омотэ — Лицевой, передний
Ура — Обратный, задний
Сото — Снаружи
Учи — Внутри  

Положения тела и стойки:

Камаэ — Позиция готовности: ноги слегка согнуты, руки перед собой
Ханми — Расположение тела в полоборота (45°) по направлению к атаке
Миги ханми — Правосторонняя стойка
Хидари ханми — Левосторонняя стойка
Айханми — Противники находятся по отношению друг к другу в одноименной стойке
Гякуханми — Противники находятся по отношению друг к другу в разноименной (зеркальной) стойке
Маай — Расстояние в пространстве и во времени. Упрощенно можно сказать — дистанция между противниками

Перемещения в пространстве:

Тай сабаки — Способы изменения положения тела
Цуги аши — Приставной шаг
Аюми аши — Шаг со сменой ноги
Тэнкай — Разворот на 180° на месте
Тэнкан — Уход с линии атаки и поворот на 180° с шагом назад
Ирими тэнкан — Состоит из двух движений — ирими (вхождение с шагом вперед) и тэнкан
Шикко — Перемещение на коленях

Захваты

Дори ката — Техника захватов
Кататэ дори — Захват одной рукой запястья соперника
Айханми кататэ дори — Захват за одноименную руку
Гяку ханми кататэ дори — Захват за разноименную руку (зеркальный захват)
Рётэ дори — Захват двумя руками двух рук спереди
Ката дори — Захват за плечо
Рёката дори — Захват за два плеча спереди
Какаэ дори — Захват за тело (обхват двумя руками спереди)
Моротэ дори — Захват одной руки двумя руками
Хиджи дори — Захват за локоть
Муна дори — Захват за отворот куртки
Эри дори — Захват за ворот 
Сода дори — Захват за рукав (в области локтя)
Куби шимэ — Захват за горло (удушение)
Уширо дори — Захваты сзади  

Удары:

Атэми ваза – Техника ударов
Атэми – Отвлекающий удар, как правило, наносится перед или во время исполнения техники
Цки (цуки) – Прямые тычковые, колющие удары рукой
Джёдан цки – Удар рукой в верхний уровень (в голову)
Чюдан цки – Удар рукой на среднем уровне (в туловище)
Учи – Рубящие удары рукой
Шёмэн учи – Удар рукой сверху вниз
Ёкомэн учи – Удар рукой сбоку
Сухеи учи – Удар рукой через грудь
Гери – Удары ногой
Маэ гери – Удары ногой вперед
Еко гери – Удары ногой в сторону
Уширо гери – Удар ногой назад
Маваши гери – Удар ногой сбоку

Техники Айкидо:

Наге ваза – Бросковые приемы
Джуджи-гарами наге – Бросок сплетением рук
Ирими наге – Бросок, выполненный на встречном движении
Кайтэн наге – Бросок круговым вращением
Кокю наге – Бросок скоординированный с движениями партнера, «дыхательный бросок»
Котэ гаэши наге – Бросок скручиванием кисти
Коши наге – Бросок вдоль поясницы
Тэнчи наге – Бросок «небо-земля»
Удэкиме наге – Бросок воздействием на локоть
Шихо наге – Бросок на «Четыре стороны света»

Разновидности техник:

Ваза – Техника, работа, способ, раздел
Кихон но ваза – Базовые техники
Хенка ваза – Дополнительные техники
Тачи ваза – Приемы, проводимые в положении стоя (оба противника стоят)
Сувари ваза – Приемы, проводимые на коленях (оба противника на коленях)
Ханми хандачи ваза – Приемы, проводимые сидящим против атак стоящего
Джю ваза – Произвольное выполнение различных приемов от одной специально оговоренной атаки
Буки ваза – Один из партнеров вооружен
Рандори – Произвольная работа против одного или нескольких противников, когда способы атаки и защиты заранее не оговариваются
Ката – Выполнение приема строго по классической схеме
Тори (Наге) – Проводящий прием, бросающий
Укэ – Подвергнутый приему, бросаемый

Способы удержания и контроля противника:

Осаэ ваза – Приемы удержания
Иккё (удэ осаэ) – Первый контроль или контроль прижатием руки
Никё (котэ маваши) – Второй контроль или контроль вращением предплечия
Санкё (котэ хинэри) – Третий контроль или контроль выкручиванием предплечья
Ёнкё (тэкуби) – Четвертый контроль или контроль прижатием запястья
Гокё (удэ нобаши) – Пятый контроль или контроль растягиванием руки
Хиджикиме осаэ – Удержание локтя

Работа с оружием:

Буки ваза – Техника работы с оружием
Боккен – Деревянный меч
Танто – Кинжал, нож
Дзё – Палка, длиной до подмышечной впадины
Кумитачи – Техника парной работы на мечах
Кумидзё – Техника парной работы с дзё
Тачи дори ваза – Техника работы против противника, вооруженного мечом
Танто дори ваза – Техника работы против противника, вооруженного ножом
Дзё дори ваза – Техника работы против противника, вооруженного дзё
Дзён аге ваза – Техника защиты с дзё против атак (захватов за дзё) безоружного нападающего

ВИДЕОКАНАЛЫ 

Aikido & Daito-ryu Aiki-jujutsu

www.youtube.com

Документальные фильмы и интервью с мастерами айкидо, а также видеоролики о других боевых искусствах из Японии. 

Aikido Journal

www.youtube.com

Официальный ютуб канал журнала «Айкидо» 

Aikidoflow

www.youtube.com

Короткие видеоролики на тему айкидо. Применение айкидо на практике для самообороны