My Philosophy
" I started out with nothing and I still have most of it left ."
" The best feint is a real punch ." - Bruce Lee.
I have no more philosophy.

Principles I : It is the principles we should be searching for; they are the same in each art. No art has a monopoly on the principles, although certain arts might be said to emphasise certain principles. The principles determine the form, of which there are many variations. It is therefore strange that it is usually the forms that determine the art. This has to be a mistake. If we research the principles, then there can be no determining the forms. If you search for the principles, and come to understand them, your forms will be limitless. rmja (C)

Principles II : The most important thing I have discovered is that many of the principles within each art are the same and therefore transferable. If it is not transferable, then it is probably not a good principle thus you should question it. I am now collecting these principles and use them as a basis for my teaching. I find it to be a very efficient method. What principles you ask? Well, it's not easy to explain, and I'm still collecting them. I hope that by using my ideas, other students will be able to map out a strategy for their own development and learn efficiently, not wasting time barking up the wrong tree like I did. I have found that I can teach a keen student just about everything I know in just two years. It is up to them to accept it. The twenty-year technique is for idiots (I was one of them). rmja (C)

Principles III : Kata, such as found in Judo or Tomiki Aikido, are better understood in terms of principles than attacks or techniques. Some kata name the attack, others name the technique. Both have useful implications for the way a student learns. Better still is to concentrate on acquiring one principle per technique. For example, in the first technique of the Koryu Dai San of Tomiki Aikido tori initiates the attack. This is the true principle within the technique irrespective of whether it is named shomen-uchi (attack), ikkyo (technique), or shomen-uchi ikkyo (both). Once a true principle has been recognised, it can be applied in many, if not every other technique. Search for the essence. rmja (C)

Principles IV : Change. The basic forms reveal useful principles that can be collected and studied. At first, we have to practice the form repeatedly to get the principle right. If we can not do it, we have to train until we can. However, there comes a time, if the form fails to work, when it is necesary to change to one using a different principle. If the situation changes, then so must you. Accordingly, exercises that account for change are very useful.

Warm-up Exercises : My warm up exercises are for me. All the exercises I do contain an aiki element - coordination, breathing, stretching. By the time I am finished, I have exercised all the main muscle groups, twisted and stretched each limb inside and out, , all the while breathing in rhythm with the movements. Concentrating on breathing in rhythm to movement in the warm-up exercises will eventually, naturally, transfer over to the techniques - but for beginners it needs a certain amount of conscious thinking to get the process started, after which, it is best to forget about it and let it happen naturally.

The Basics : Everyone knows we have to practice the basics, but what does this really mean? Most dojos seem to get them out of the way as soon as possible, moving onto the 'more interesting' stuff. However, it is not until you actually begin to find the basics interesting that you can really begin to learn. Further, it is not easy to practice the basics in a dojo environment since time-wise, all you really get is a brief look at them. What you really need to do is to go over them elsewhere in your own time until you get them right. And by the time you think you have them right they will have become interesting. Of course, it is just when you think you have it that you discover something else that you never realised before - an endless process of mini-enlightenments. A problem in many dojos is that what is learned in the basics does not appearin their techniques. Don't fall into this trap. If your basic training is not useful in your techniques then you are barking up the wrong tree.

The role of uke : For speedy learning in Aikido uke is better regarded as a partner than an aggressor. Uke is not someone you train on, but someone you train with. They are your own mirror. Most importantly, the better you carry out the role of uke the better your own Aikido will become. If you find yourself just waiting for your turn to do the technique you will find it difficult to learn Aikido. When you move, the movement should begin in your center. You should not collapse or fall over without good reason, nor should you jump before being thrown. In the beginning, you should learn to go wherever tori wants you to go, lightly (but firm, not wishy washy) and without any apprehension, then your training can be fun. It must be enjoyable. Next, you have to get past the stage of knowing where you are going to fall. You have to learn to trust tori. In Judo, uke should resist not in a negative way by crouching low (like two rugby players shoving each other ) as many seem to do, but rather by standing up straight and moving lightly. You may be thrown more often, but so what? You'll learn to fall better. You'll learn to throw better. If you stand up straight you will be in a more dominant position, you will get used to it, and then you will like it. You will be closer to your partner and will be able to turn in for a throw quicker. In kata Judo, uke should be upright and firm but when thrown should be as light as a feather, the proverbial empty jacket, but in a controlled aiki kind of way. A good Aikido uke can usually comprehend the role of uke in Judo kata, but the reverse does not seem to happen when a Judoka crosses over to Aikido. The responsiveness that an Aikido uke learns is unique to Aikido and provides students with a better understanding of going with the flow, in my opinion. Contrary to the softness blurb that is written about Judo, all too often it unconsciously teaches one to resist everything one's opponent does - it doesn't have to be that way.

The 'hard' vs 'soft' fallacy : Basically, your energy should be like water; not so simple perhaps, but a reasonable aim. A common analogy is water coming from a hose. Whether it comes out under high or low pressure its essence remains unchanged. The skill then, is to be able to increase or decrease your pressure in your own energy, while maintaining essence, or flexibility. Some people insist on working only at low pressure , others only at high pressure all the time, but this restricts your development. A runner sometimes runs slow and sometimes fast. His aim may be to increase his speed, but running slower will be part of his training. He can't run fast all the time although to be fast remains his objective. In this way, to steal a phrase, you can lengthen your line . In reality, your techniques will all be a never-ending change of hardness and softness as you move through your various positions. To yourself, your aiki could feel soft, to your partner it could feel as hard as nails, but in a polite kind of way. To an onlooker, it may look as though your uke took a dive. Just as there is no hard or soft water, there are no hard or soft styles or techniques, the two are inseparable. There are light and heavy waves, the two flow together.

Using the bokken or jo : Nothing amazes me more than to see people being taught complicated partner forms before they even get the hang of the basics. This is a problem everywhere I have been. What is learned in the beginning sticks like glue, and if you learn it wrong, then it will stay wrong for a long time. It is very hard to recognise, let alone undo, a bad habit. I think long weapon forms are a waste of time. They might improve something, like your memory, but I think that short sharper forms are far more realistic for training purposes. With short sharp forms, one can concentrate on the details far easier and thus improve at a faster rate. Two or three movements concentrating on one detail should suffice. Long Erol Flynn like duels are silly. That being said, Erol Flynn looked much better than most of the Aikidoka I see. Once the basic form is memorised, try doing it faster, switch the feet, use different beginnings, try a different finish - expand on the basic form and make it your own. Another problem is that many people carry themselves differently when using Aiki weapons. For myself, the way I do things with a bokken or jo must correspond exactly to what happens in ordinary Aikido practice. If what you're doing doesn't match, then something is wrong and you will develop contrary bodily movement habits that will serve only towards confusion and even if you train for fifty years you will never know what you are doing. From my point of view, many people seem to be doing three separate arts, namely, jo, bokken, and Aikido - and the longer they do them, the more separate they become.

Kokyu-ho / kokyu-nage : The principle of kokyu appears unique to Aikido. It is not that other arts don't have it, rather, Aikido names it, and aims to develop it. I have, on occasion, seen practitioners of other arts who appear to have it, but they do not know they have it, and as a consequence, have no means to easily pass it on. Therefore, it is apparent that kokyu can be acquired with no knowledge through extensive practice - but not always, it depends upon the person. Further, what I have experienced is, if you have training in kokyu , you will learn other arts more rapidly - which of course signifies its importance.

Coordination : In Aikido, we practice everything equally on the left and right sides. While this can be very confusing in the beginning, it leads to improved coordination of mind and body alike, and allows one to see more clearly what others are doing; it makes one more dextrous, and balances out unevenness in the mind and body. I know some schools emphasise one side only and that in terms of the reality of self defence it can be a practical method, but I want more than that.

The Inner Eye : Being able to visualise your self is very important. First you see the teacher demonstrate something, next you have to do it. Of course, in the beginning you watch very carefully, which foot is forward, which hand was grabbed with which etc., but after a while, you will find it easier to place yourself in the teacher's 'shoes' and go through the technique in your mind, as though your were doing it yourself at the same time the teacher demonstrates it. Further, if the teacher corrects your posture, you should try to imagine what it looks like to a third person, and change it accordingly. Of course, you need to maintain this new attitude while you do your technique. In terms of responding to an attack, you will find that if you visualise uke attacking before he does so, you will be ready when he 'arrives.' In fact, you will soon find yourself starting your technique before he 'arrives'. To practice this, tell you uke to wait while you get ready. Later, it will become automatic - but only if you think about it and practice accordingly.

Faster than a flying fist : Despite being a common sight in Aikido, catching a flying fist is almost impossible in reality. Aikido movement originates in one's centre and as such, a moving body can not easily match the speed of a fist from someone whose art initiates movement in the hand. In Judo you control the body and move out towards the arm. In Aikido, "they" say you should control the mind of your opponent first, and then their body - distracting their attention takes the mind, giving you an opportunity to control the head, body, arm, hand, or whatever becomes available in the moment.

Takemusu : Once you learn the basic techniques you can begin to develop your Aiki by practising Kokyu-ho and Kokyu-nage techniques. After a while, you will find that you are able to create your techniques on the spot, and endless variations. While people often say there are thousands of Aikido techniques, you can not go out, learn, and remember them all. The only way forward is to rediscover them for yourself by following your intuition according to the principles you have learned. (C)

Take a look out of your window into the garden. All those millions of insects are part of one great struggle, every day until their death. This cycle of life and death - takemusu - is inescapable - but humans have created society and have mostly overcome it, or rather, in the martial sense, lost it. So, in order to improve our minds in martial arts we must consider what we have come to lose. If we are to survive we must fight ceaselessly, we can not be passive even for a moment or we will die (lose). All creatures follow this cycle. In fighting for survival, it is best to harmonise with "nature" rather than fight against it. In fact, this is nature's way - all is in harmony - what is not will cease to exist. Accordingly, to harmonise is to offer a greater chance of survival. (C)

The money principle : What I have observed over the years is that usually, the cheaper the training, the better the training. High prices often signify nothing less than a rip off. Don't buy it. I wasted a fortune to discover this.

Finding a good teacher : The teacher must still be an active student of the way. Also, check out their students - if they are good, it might rub off on you!

There are many more tips - not easy to explain in words, ... so they remain for my students. I am also in the midst of writing a book - full of learning ideas. You might find a few more tips in Yupado below. Also, check out the links (below) for old European arts where you can find some old literary works that deal with real fighting strategy. The so called secrets are all there ...