Ask Jay Sensei "What is the dojo culture like? Is it competitive? What do you like about it?"

Ask Jay Sensei "How often do I need to come to class, and what are the seminars about?"

My Martial Journey

It was good to be on the mat Saturday after a bit of a hiatus. Spring is finally here and sprung. I like the transition from winter which feels so inward to the renewal of life that spring offers. And the training takes on a different shape during this transition as well.

The keiko practice offered many gifts today. Following our warm up we proceeded into examine kokyu (breath) throws. There is a Japanese method of teaching string instruments to really young kids like age 4 and 5 year olds that is quite popular in the United States called the Suzuki method. And the principle behind this method is that the student is taught how to play the instrument first and then the learning to read music comes down the line. The children learn by imitating the teacher. I have Suzuki experiences in Aikido keiko practice all the time where I am trying to learn the movement but the understanding of what I am doing just about always comes at a later time.

We were practicing a particular throw from katate tori (single hand grab). The spiraled aspect of the shape of the hand as the hand pivots around the thumb or the pinky was such an Oprah “A Ha” moment for me. And how it works with the center was very revealing. These mudras (hand shapes that control the flow of ki) have a very specific movement which in turns affects the ki and hara (source of ki) of uke.

We then applied these mudras to Tenchi Nage (Heaven and Earth Throw) to see how it manifests from a two handed grab. For me the hands help to draw uke into the open space when connected to the center and the movement is generated from the center. Recently a friend mentioned how working with really good ukemi is like you are moving through water. Water offering no resistance and yet there is definitely a connection being made and just the right amount of connection for the moment. The mudras help to create that connection which in turn allows tori to shape the connection.

I always find “writing” about Aikido somewhat frustrating because it really is such an experiential art. One needs to get on the mat and feel it to really begin to understand it. And this goes back to the Suzuki String teaching method that there needs to be a level of faith required of the practitioner. We are guided by Sensei and Sempai that if we keep moving down the correct path in our lives whether it is Aikido, or buying a house or starting a relationship etc eventually an understanding of what we are doing will reveal itself to us in time. But it is up to us to continue to cultivate and work on staying on the “right” path.

Regards sent from Amy and Josh Brown. We had some brunch while I was in Baltimore and they attended my concert afterwards. They miss Shobu (especially the mat space) and wish everyone well.

This is my story and I’m sticking to it.

Peace all,

The Maestro

Ann Arbor Martial Journey

A group of us traveled up north to Ann Arbor Michigan to support our brother in Shobu, Danny Kline’s opening of the Ann Arbor Aikido dojo and to participate in a seminar led by Dan Messisco Sensei (6th Dan). It was a very interesting approach to Aikido. Messisco Sensei has been studying and practicing Aikido for 45 years. The concept of “Aikido techniques” certainly changes into something deeper and more spontaneous after so many years of study. I personally like the idea of "Aikido techniques" but it is great to explore outside of the box which is what we did.

I tried to understand his approach as best I could during our brief encounter. It seemed to center for me around owning one's space, remaining centered and the power that we have when we are grounded in our own center and hara (source of ki). Moving naturally and relaxed in the same way that we do when we make common gestures and expressions with our bodies such as bending down and tying our shoe or rubbing our head. Uke would apply katate tori (wrist grab) and we would do these very spontaneous movements. The object of the expression was for tori (person receiving the attack) to find movement in a centered fashion. It was important for tori not to “stick” their hand out to be grabbed because that creates a sense of attachment. Rather simply present the wrist in a very natural balanced way. Another way of looking at it is that if you have your hand outstretched against a wall and your weight is against the wall and the wall is removed then you will fall. If you outstretch your hand in a balanced way AND you happen to be touching a wall, then it does not matter if the wall is there and you will remain balanced.

For me, Messisco Sensei caused me to think about what I am attached to in my own life. I know sometimes when we practice with the bokken (wooden sword) and I get so fixated on making contact with my partners bokken and we miss I actually lose my balance. The same can certainly be said for matters that we go through in life. We need to have a healthy balanced sense of what is necessary in our lives and to remain grounded in what is important. I love experiencing something and leaving with plenty of questions to marinate on. I’m still workin’ it out! Thanks Danny for sharing Messisco Sensei with the Shobu community and good luck in Ann Arbor. I’ll be on the road for some concerts for a spell but I will be back on the mats in a couple of weeks. See you when I get back.

Peace to you,

The Maestro