In the early 1940s, with war on the horizon, the Founder left Tokyo and moved to a rural town about two hours north by train called Iwama, and built a farm-dojo and a shrine to the gods of aiki.  It was at this time that Ueshiba-sensei –referred to as ‘O-Sensei’ by many in the west– crystalized everything he had learned and formalized a new ‘way’, calling it the way of aiki, or Aikido.

While the Aikikai organization and headquarters dojo was formed and nourished by his son in Tokyo, the Founder took to rural life and continued to refine his art with Iwama locals; his dedicated students from Tokyo also took the train trip to Iwama to stay and train with him whenever they could.

One of the local young men in Iwama was an 18-year old named Morihiro Saito who, upon joining Ueshiba's dojo, began a life-long, close, student-teacher relationship with the Founder.

included the Founder giving him land for his home right next to him, and he and his wife being caretakers for the Founder and his wife in their older age.

When the Founder passed away in 1969, he left his Iwama dojo and the aiki-shrine in the care of Saito-sensei, who went on to become a 9th dan in Aikido known worldwide for his large collection of techniques including wooden weapon practices that the Founder only practiced in Iwama. The Aikido that Saito-sensei taught, which he noted was exactly how the Founder trained with him, became known as Iwama Aikido or Iwama-ryu to some.

IWAMA & UESHIBA 

O-Sensei started teaching in Iwama at the end of the 2nd World War and continued giving classes there up to his death in 1969. In actual fact he gave his last course at the University of Ibaraki on the 1st of February 1969. [1]

[in the old days] everyone had to work very hard after the war and had no leisure time to practice martial arts. But in your case, Sensei, since you worked for Japan National Railways you had many opportunities to be with O-Sensei.
The happiest thing for me was the Founder coming to live in Iwama. The Akazawa family was somehow involved in the Founder acquiring the land. He and the family knew each other through the Omoto religion. Mr. Seiichi Seko and several others collected funds. Ueshiba Sensei’s achievement in making the Aikikai this large was great but you won’t be able to write a true history of Aikido without studying those financiers who supported him in his efforts. The true history involves more than techniques. To my knowledge the most important supporter of Ueshiba Sensei was Mr. Kinya Fujita. Then there was Mr. Seko. He will be able to tell you many interesting things. [2]

...he didn’t have many students in Iwama. Actually, O-Sensei’s students came from all over Japan, even from places as far away as Kyushu, Akita and Osaka. They went on to become well renowned teachers such as Koichi Tohei Sensei and Tadashi Abe Sensei. [1]

Who were the uchideshi in those days?
​Mr. Abe, Mr. Tohei, Mr. Kasuga, Mr. Ishihara who is presently the head of Ishihara Sangyo, and some others came and went. Kisshomaru Sensei, Tohei Sensei and Mr. Abe all practiced the ken and jo. Mr. Yamaguchi also came to Iwama. That was around 1951 or 52. Mr. Tohei brought his students along carrying rice from Tochigi Prefecture and stayed in the dojo to practice. He used to come to the dojo by bicycle in the beginning. It takes 50 minutes by car today! So it was very hard to commute from Tochigi. [2]

O-Sensei lived on the other side of the shrine. The house was about 200 meters away from the dojo but it no longer exists. We would hit that stand in the morning. If we didn’t kiai loud enough, he would scold us. Since there were only one or two neighbors, we had no problem. While we were practicing, some of the deshi would tire out and stop striking and only shout. O-Sensei could hear their shouting and this sounded like they were training as usual. Some ended up shouting from their beds. (Laughter). It sounds like a joke but it was really true. [2]

[University students] began to come [to Iwama] while O-Sensei was still active. Students of Kanagawa University, Tohoku Gakuin and Ibaragi University came to Iwama every year while O-Sensei and his wife were still well. [2]

In the last years, I was taught by Sensei almost privately. Mr. Tohei got married and returned home and Kisshomaru Sensei also married and went to Tokyo. The other uchideshi also went home. [2]

Did O-Sensei keep an “eimeiroku” (student enrollment book) like Sokaku Takeda Sensei did when you entered the dojo?
​Yes, I remember he kept one. O-Sensei told me often about the period when he trained in Daito-ryu. When he and I would work in the fields, were drinking tea or took meals together or sometimes when I would massage his shoulders or tap his legs he would tell me various stories.
Did he also talk about techniques?
​No, not much. Other subjects came out naturally. O-Sensei had a deep relationship with Daito-ryu.

What make up the essential modifications that O-Sensei brought to his Aikido in Iwama?
O-Sensei changed many things. He adapted the old techniques to make them more rational. He gave equal priority to the relationships between the Ken, the Jo and unarmed techniques. It was at this time that O-Sensei finally created the Aikido that he had always hoped to realise. [1]

What was the most profound thing about O-Sensei’s teaching in Iwama?
O-Sensei mastered many different techniques that he had learnt from the ancient schools of Jujitsu and the traditional Japanese martial arts. He took the principal elements of these arts, classified the techniques and accomplished the martial art of which he had always dreamed. [1]

Were there many kuden (oral teachings) when O-Sensei taught taijutsu?
​Yes, there were. I consider any point he made while teaching a kuden. In the book by O-Sensei entitled Budo, he uses the term “kojutsu” which means “to transmit or instruct through words.” [2]

He demonstrated his techniques before us in kata. So I could understand what O-Sensei was trying to say when I read that book. I didn’t know at all about the book until Aiki News discovered it. I was surprised and pleased to see it because the basic techniques described are exactly what we are doing. Through this book you can understand what great improvements O-Sensei made, the extent to which he researched his techniques and the historical progression of O-Sensei’s technique. I understood for the first time how he changed each technique rationally and also what he meant when he said that true Aikido techniques were developed after the war in Iwama and that those which existed before that were not Aikido. The techniques before the war were also splendid but he continued improving the art and created the wonderful Aikido we know. I can clearly say that the Iwama period was the time when Aikido was perfected. I can tell that by looking at the book Budo. It is important as a document from the pre-war period. There is much we have to learn from it. The book is also important for purposes of instruction, research and the development of Aikido. My viewpoint is that I must preserve this tradition. I became more confident after seeing the book Budo. I had been criticized a lot but it validated the things I had been doing. Surprisingly enough, I found out that these techniques are quite rational after carefully studying them. I am deeply grateful to O-Sensei. [2]

Did O-Sensei show techniques in series?
​He devoted himself to his own study of the art rather than thinking of his students. He would suddenly come up with a logical idea and have us put it to the test. As I look back on it, the brain of the Founder was like a computer. We learned techniques in series. When a two-hand grab technique was introduced the following techniques would all begin with the same grab. There were many practices like that. [2]

Was the term “ikkajo” still in use when you entered the dojo in 1946?
O-Sensei would use the term “ikkyo” sometimes. It became “ikkyo” without my realizing it. I think it’s fine to use this term since Aikido itself entered a new phase

Did O-Sensei travel to teach in other Dojos?
Yes, O-Sensei went to other Dojos, these were The Hombu Dojo in Tokyo and a Dojo in the district of Kansai.
Was the teaching that O’Sensei gave during these trips away different from that which he gave in Iwama?
His teaching was no different at these other Dojos. Except that, in Iwama, he took the time to correct the errors made by his disciples. When O-Sensei travelled to teach he only went for short periods, in the order of three days. This is why he could only show most techniques once and didn’t have the possibility of correcting the students.. They could not learn the techniques completely. It was impossible for them to learn the techniques in so short a time! In response to your question however O-Sensei’s teaching was exactly the same.
What did the Dojo in Iwama mean to Master Ueshiba?
The Dojo in Iwama was the place where O-Sensei continued his own training in Aikido. O-Sensei built the Aiki Jinja (temple dedicated to Aikido) in front of the Dojo. It is there that he dedicated his life to the study of the Way of Aikido.  ​[1]

KIHON TRAINING

Saito Sensei, in faithfully preserving the teachings of O’Sensei, you insist much on the practice of “Kihon” and “Ki No Nagare“. Could you speak to us about these two aspects of the practice of Aikido?
With “Kihon” one starts on being held, one must not start to execute the technique before having let the grip of the partner close. All the basic techniques must be practiced slowly, sincerely and with precision. “Ki No Nagare” is the logical progression on “Kihon“. Thus, continuing with holds, the technique must be started before the partner can grip solidly. In executing the technique it is fundamental that ones movements be fluid. [1]

For taijutsu we practice ki flow techniques only after practicing the basics. You cannot call what we do a martial art if you practice only ki flow techniques while ignoring basics. [2]

In comparison with other dojo, a larger number of techniques are practiced in the Iwama Dojo even excluding ken and jo practice.
​The techniques are more numerous here. If oyowaza (applied techniques) and henkawaza (varied techniques) are included the number of techniques increases several-fold. There are upward, downward, inward, outward, right and left techniques. The Founder taught me that the number of techniques was to be increased this way.

How did you come to teach in [the way that you do]? 
O-Sensei used to say that those teachers who were produced in the Iwama Dojo were the best in Japan. The Iwama Dojo was traditionally the Dojo where outstanding teachers were formed. Tohei Sensei and Kisshomaru Sensei trained here and Shioda Sensei also came here with his family. So given this tradition it would be embarrassing if those who are trained at this dojo don’t become top teachers. Thus I want my students to do their best to preserve this tradition. How can they teach techniques unless they themselves learn them correctly? I instruct them strictly because they are going to become teachers. If they practice the art only for themselves that’s up to them, but in order to become a teacher you have to divide and organize the techniques correctly. I am doing my best using the limited intelligence I have. [2]

So your method of teaching in series came from [O-Sensei doing techniques in a series]?
​Of course O-Sensei’s way of teaching was extremely helpful. I thought that in order to have students quickly understand, teaching techniques in series would be better. There are various ways. For example, for ikkyo there are techniques such as shomen ikkyo, yokomen ikkyo, munadori ikkyo, ryokata ikkyo, etc. There are many nikyo techniques too like shomen nikyo, yokomen nikyo, and so forth. Or from the shomen attack you can do ikkyo, nikyo, sankyo, and yonkyo. It is easier for students to understand in this way and it also will help them execute variations if I teach techniques in series from various angles. I can also teach parts of many techniques. I have tried a lot of different ways. I try to find ways which work well for students. In any event, since people are busy nowadays not like it was in the old days, I have them learn techniques quickly.

AIKI-KEN & AIKI-JO

I believe that you are stating then that there is an Aiki Ken and an Aiki Jo. Would you elaborate on that please?
​Aikido consists of taijutsu (body or weaponless techniques) and bukiwaza (weapon techniques) so we have to practice both. I have to teach at least the basic techniques from those the Founder left us. I am doing this because it is my duty to do so. It is more understandable for students if I explain multiple-attack techniques through the sword rather than taijutsu. I cannot explain and have them understand true Aikido well unless I explain the sword through taijutsu.

How did O-Sensei teach jo and ken in Iwama after the war? We understand that you entered the Iwama Dojo in the summer of 1946. Did you practice Jo and Ken as well as taijutsu immediately after you entered the dojo?
Yes, we practiced both of them. Since we could not practice them in the evening, we did them during morning practice. After we got up we sat down in front of the kamisama in seiza for 40 minutes and then practice began. The practice was for uchideshi only but an exception was made and I was allowed to join in. [2]

When O-Sensei explained Aikido he always said that taijutsu (body techniques) and ken and jo techniques were all the same. He always started out his explanation of Aikido using the ken as you see in his films. In the early stage of our ken practice, O-Sensei just told us to come to strike. That’s all. [2]

When O-Sensei would give explanations he would just say, “The jo is like this!” or “The ken is like that!” and so I think that there were only a few occasions that he actually taught weapons. I think he taught them in Osaka and Shingu. He probably taught them also in Hombu Dojo on some special occasions. [2]

Did O-Sensei show the movements of the jo and ken only in Iwama?
​He showed the movements wherever he went. But I imagine there were few places where he taught them properly from the basics. Showing movements and teaching them are different. I was taught first how to swing a sword. I organized what I learned and devised these kumijo and suburi for the sword. O-Sensei’s method may have been good for private lessons but not for teaching groups. In his method, there were no names for techniques, no words. He just told us to come to strike him. This was why I organized the movements into tsuki (thrusts), uchikomi (strikes) and kaeshi (turning movements) and gave them names. [2]

Sensei you taught Sunday morning classes at Hombu Dojo for quite a long time. When did you start teaching there?
Around 1961 when O-Sensei went to Hawaii I was already teaching there. For a time I taught on Mondays and Wednesdays but later it was only on Sundays. I think I stopped teaching there shortly after O-Sensei passed away. I would teach the ken and jo for about 15 minutes at the end of the Sunday class.
I believe there were no other teachers who taught the ken and jo at Hombu Dojo.
​O-Sensei would scold anyone attempting to teach them and demand from whom they got permission to do so. He let nobody teach them. [2]

O-Sensei scolded his students at Hombu Dojo if they used the jo or ken but he would watch me teaching the students these weapons in front of the shrine in the morning with a smile on his face. I don’t know what distinction he made between us but one was certainly made. [2]

What importance did O’Sensei place on the study of weapons techniques in Iwama?
O’Sensei said that weapons techniques are identical to those of Taijutsu (unarmed). The form and the movements are the same. In Aikido the movements don’t change whether one is holding a weapon or not. [1]

In the Aikido world, there are some people who say that taijutsu originated from the ken or on the contrary that the ken originated from taijutsu.
​O-Sensei clearly said that Aikido taijutsu techniques were modified from the ken. I was always taught that way. So you cannot call the art real taijutsu unless you practice taijutsu with sword movements in mind. You can’t call your art Aikido unless you think of taijutsu movements when practicing the ken. The kumitachi can always be transformed into taijutsu movements. When practicing taijutsu, if you don’t move as if dealing with a sword you won’t be able to handle a sword attack. O-Sensei wrote in the manual called Budo in 1938 that when executing shihonage you must move considering the hand of your opponent as a sword. Shihonage came from a ken movement. [2]

There are shomen (frontal) attacks in Aikido. Do they come from sword techniques?
​They existed in the old jujutsu schools. If you do taijutsu in Aikido from these attacks you can also handle the sword in the same way. Although I don’t know where they originated from, there are shomenuchi, yokomenuchi, and tsuki (thrusts) in both sword and jujutsu techniques.

Can you explain the relationship between ken and taijutsu with forms such as ikkyo, nikyo, sankyo, and yonkyo?
​It’s not possible to try to relate all techniques to the sword. The feeling of awase or blending is important. This awase is the same as that for the ken. In Aikido, everything starts with awase: taijutsu, jo, and ken. The forms are different but the feeling of blending is all the same. [2]

Did O-Sensei himself have any preference between the jo and ken?
​No. I never felt he did. He always said that everything is the same. [2]

[What was] the reasoning behind the Kata taught by O’Sensei?
Everything that is used in the Kata is based on the logic of Aikido. Aikido was completed after the union of the Ken, the Jo and the Taijutsu. If one removes one of these elements the Aikido one achieves is incomplete. All the time that one follows the basic teachings of O’Sensei there is no problem. [1]

Weren’t there any tsuki (thrusting) attacks with the bokken?
​No, not at all. He just told us to come to strike him. Ken practice began from there. Since I had practiced Kendo when I was little, I somehow managed to cope with the situation. Then he told me to prepare a stand for tan-renuchi (striking training). So I gathered some wood and made the stand with them. However, Sensei got angry and broke it with his bokken. He said to me, “This kind of thin wood is useless!” After that, I had to think of something. I cut two big pieces of wood and drove nails into them and tied them together. When I made that, Sensei praised me. However, even that lasted less than one week. So we hit at different places to save the wood. Then after one week I went out again to cut wood in order to make another one. There were a lot of trees in the hills in those days. We used this setup for training in striking with the bokken. It is training for the hips and arms and also for uchikomi (power striking). I named this “tan-renuchi” myself. [2]

If we use the thin jo or bokken you find in shops in Tokyo, they all break since we strike hard. Therefore, I order a special size. O-Sensei’s bokken was thick. Everybody imitated him and ordered thick ones. He had a professional make his. But when he traveled he gave them away since everybody asked for one. I made a good one for myself but when I left it with him he gave it away too. (Laughter) [2]

Did O-Sensei do tanrenuchi practice often?
​Yes, he did. He would say, “Strike another 100 times.” [2]

...As training advanced, we were taught what we now call “Ichi no Tachi” (first paired sword practice). He taught us only this for three or four years and nothing else. The only thing we did was to go and strike until we were completely exhausted and had become unsteady. When we came to the point where we were unable to move he would signal that that was enough and let us go. That was the only thing we did for morning practice every day. [2]​

What kind of explanation did O-Sensei offer for the jo and ken?
​For jo practice, he would just swing his jo in a flash in front of us. We just imitated him. When we couldn’t do it he would say, “If you watch carefully you’ll understand!” Then he would show the movement once more but faster this time. It was even harder to understand. Then he would say again, “If you watch carefully you’ll understand!” and he would do it still faster. We ended up not understanding anything after all (Laughter). He wielded the jo in various ways while showing us movements. He offered us an explanation of how a technique was used depending on the type of attack. This was different from the awase or partner practices. He did it without a partner. He just imagined that he had an enemy in front of him and quickly showed techniques for various situations such as when you are attacked in a given manner, whether by a thrust or a strike. [2]

When O-Sensei taught the 31 jo movements, did he show them consecutively from beginning to end?
Yes. He would never break them down in partial fragments. This made his teaching method consistent, which made it easier for us to understand. [2]

If you call them the 31-kata O-Sensei would get mad at you. He would say, “You fool!” For example, take the movements 19, 20 and 21. They really should be done in one movement. However, if you practice that way it is difficult to learn. Therefore, you have to practice individual movements and then learn complete movements. ​[2]

Did O-Sensei give you any explanation about how he himself studied the ken and jo or where these arts originated?
He once showed me a copy of a scroll written about kata. I don’t remember what school it was but there was a person who had been researching this art and he came to see O-Sensei with a copy of the scroll. By copy I mean a hand-copied document. The Founder talked to him about the art and he returned home satisfied leaving the copy he brought at the dojo. He showed me this copy when he was arranging his personal belongings in the old house. He told me to look at it. You know that I do variations of the five kumitachi. Well in the copy there were terms such as “riari” and “tokuari” which were written with sumi ink. These riari and tokuari are the variations I am doing. Sensei showed me this copy and explained to me that this riari means this and this tokuari is a variation of this form. However, once the Founder performed these movements they became “aiki-like” or Ueshiba style.
It would be interesting to find out more about this predecessor art.
​I don’t know what it was nor does Kisshomaru Sensei seem to know about it. You know that I have a series of photos taken by Kodansha at the old Noma dojo. I found those photos which were half-destroyed and looked like trash when I was putting things in order in a storeroom. Their color had changed. When I told O-Sensei about the photos he said that he would not need them and gave them to me. [2]

Although Tohei Sensei and Hikitsuchi Sensei of Shingu are teaching weapons they are clearly different from yours.
​Yes, that’s because O-Sensei would teach differently depending on how he felt.
Do you think that your method and those of Tohei Sensei and Hikitsuchi Sensei are representative of O-Sensei in different periods?You could say that. It’s useful to note the differences. However, you won’t understand these forms just by swinging the weapons. You have to work in pairs when practicing. For example, you realize that you should react in a given way when your opponent attacks you...[2]

Did O-Sensei give any names to the jo movements?
​No, no names. He just told us to do this or that. Names came to be used much later. When I starting teaching myself I realized O-Sensei’s way of teaching would not be appropriate so I classified and arranged his jo techniques. I rearranged everything into 20 basic movements I called “suburi” which included tsuki (thrusting), uchikomi (striking), hassogaeshi (figure-eight movements) and so on so it would be easier for students to practice them. [2]

​I naturally developed this system. For example, I decided to call one movement “gedangaeshi” because I turn the jo at the lower level or another “jodangaeshi” because I execute the turn at the upper level. I used natural names. In the old days, people used names such as “kasumi,” “ukigumo,” or “murakumo.” These were terms with mysterious meanings which may have been impressive because of some kind of literary value. But the samurai used such names in order to make them look good. Their purpose was to give the impression that their techniques were special or that they had secret sword techniques. [2]

You use names for techniques when you teach the jo and ken. Did O-Sensei do that as well?
​No, he never used any names for weapons techniques. There weren’t that many names for taijutsu either. Hombu Dojo created many names after the war. It’s all right to assign names to techniques but if the system is too complicated it creates problems. I guess that if you teach in a school system you come to need names. I think the system Hombu Dojo is using now is the most appropriate for them. But we don’t use terms such as “kotehineri” (wrist twist) or “kotemawashi” (wrist turn) at all.

Were you teaching the university students the kata you developed?
No. That happened later on. O-Sensei would get angry if we practiced in a one-two-three manner. His way of teaching might be good for private instruction but when you have to teach 30 or 40 students all together the one-two-three method is the only one effective. This was why I gave each of the suburi movements a number. Later this developed into the 31-movement jo kata. In later years I was visited by one of the alumni from that period. I think he was a student of Miyagi Education University. He said, “Sensei, wasn’t it the 24-movement jo kata?” I replied “Now we have 31!” (Laughter). In those days we had 24 movements. Perhaps we included some of the jo movements in hayagaeshi and this added up to 24 movements. However, this was not easy enough to learn and so I divided the movements into 31. People came to call it the “31-movement jo kata” without my realizing it. [2]

I naturally created the 31 kumijo (movements in response to the 31-jo kata) while practicing with a partner. When I was instructing the students of Tohoku Gakuin University in Sendai by the Hirose river, I was asked by the students what they should do in a demonstration. I suggested some kata and this was the beginning of the kumijo. The kata I created as a practice method remained. The 31 kumijo were created just recently. With these kumijo you can understand the jo of O-Sensei. You have to understand O-Sensei’s technique in order to study his art. [2]

it took five or six years for me to become able to practice them properly. I’m referring to the 31-movement jo kata. I cannot change these forms. However, it was necessary to create a method to enable students to practice in pairs even though the movements are not logical because they are not really related to each other. We have to work on them partially to devise responses if the opponent comes with specific attacks. O-Sensei imagined all kinds of enemies and showed us partial movements in sequence. Since all of those movements are to be quickly executed in succession they are difficult to do well. But they are wonderful. When we show the 31 jo kata and kumijo to other martial art masters they praise them. [2]​

Did you also do kumijo-like practices with O-Sensei?
​Partially, yes. There is a photo of us doing one. He only told me to strike or thrust at him and so it was not really a kumijo. He used me for explanations and for showing forms. I created the 31 jo movements from this. A certain budo expert told me that in the Aiki jo there are movements of the sword, jo, spear, and naginata. I think this is fine because it is Aikido. [2]

When O-Sensei showed the ken and jo movements, he seems to have done them quite rapidly. I imagine that is the case with the 31 jo kata too.
​Although he didn’t use a one-two-three method, he always taught us patiently and explained in detail what we should do. Mr. Tohei’s kata has a lower number count and so people say that he was taught in one way while I was taught in another way. But I’m not sure about that. O-Sensei also showed me different kata. However, I only remember half of them. The “13-movement jo kata” is one I created by imitating these kata I remembered. [2]

​When I was taught the sword suburi, I had a habit of swinging kendo-style. O-Sensei said that wasn’t good and had me do partial suburi practice. You must first practice the suburi in order to be able to practice the kumitachi. It is the same as learning how to catch a ball first before being able to play baseball. The basics to be learned for the kumijo and kumitachi are the suburi. This was why I made the seven sword suburi. You should not practice the kumitachi before you master these seven. It is not possible to do so and you are also likely to be injured. If you move on to kumitachi practice after learning the suburi and awase (matched partner practices), you will learn good form and also you won’t be injured. [2]

For the kumijo you should first learn the 31-movement kata and 20 suburi properly. This is the correct order of practice. ​[2]

It seems that the 31-movement kata really forms the basis for your jo practice.
​Yes, but since this is a form the Founder left for us we should not call it the “31-movement kata.” As a student of the Founder, I cannot make any changes to the kumitachi or the 31-kata. Others are free to make changes but as long as I am in charge of O-Sensei’s dojo I have to do exactly what I learned from Sensei. For example, the second kumitachi is more difficult than the third one. Some suggested that I should replace the second with the third because nobody could tell the difference. But I told him that I wouldn’t do that because I would know the difference. [2]

Did O-Sensei also teach ken and jo in his later years?
​He only gave explanations in the period when he often went to Tokyo toward the end of his life. When he didn’t go to Tokyo often he would teach us every morning, though. [2]

AIKI-KEN & AIKI-JO

AIKI-KEN & AIKI-JO

1. Arts et Combats, n. 30 – Jun 1996

2. Aikido Journal. Interview by S. Pranin. Rome, Italy on June 24, 1986. Part 1 link. Part 2 link.

3.