Seminar with M. Sekiya at Northeast Aikikai

May 4-5, 1991

Mark J. Norton


This is the forth year (1991) that Sekiya sensei has visited the northeast part of the US to teach Aikido. In the past, he was a guest of Northeast Aikikai. This year, he stayed in Rockport, MA, and visited the Shodokan Dojo, Brookline, and the Providence Aikikai in RI. In addition to weekly classes, seminars were held in Salem and Providence.

Correct posture

Of all of the things sensei had to teach at the seminar, good posture was at the very top. On two separate occasions, he had everyone in the class assume a low posture while he went around and corrected everyone. Correct posture, according to Sekiya sensei consists of the following:

A low center
Back is straight (see vertical axis below)
Knees are bent
Stomach is thrust out
Bottom is also out
Shoulders back
Chest is open
This posture allows quick movement or stability when needed. It lowers the center of gravity, improving balance. In fact, it is difficult to accomplish. A great strain on the lower back, calves, thighs and knees is noticed by anyone not used to it. At one point I tried so hard to achieve the proper positioning of my body that I suffered a very bad cramp in my lower back. Sensei says that this posture must be practiced every day until the aikidoka can relax into it and it becomes second nature.

One exercise designed to improve posture is shiko. This exercise starts in a wide (horse) stance with both feet flat on the ground. One leg (or the other) is lift sideways (not to the front) as high as possible. When the leg comes down, weight is shifted to it and the body drops to a wide stance with very low center. Sumo wrestlers use this exercise a lot.

Vertical axis and practice

In addition to a low posture, Sekiya sensei place a great deal of importance on keeping a straight, vertical posture. He compared it to an axle which runs from the top of the head to the bottom of the spine. Bending the spine or neck while erect leads to a loss of balance.

An old wooden tsuba in the dojo served as a practice device. With it balanced on the top of the head, sensei had me walk around, knee into seiza, and stand again. I also tried several techniques (shihonage, kokyunage, etc.) with the tsuba on my head. Balancing it is hard, but really causes you to be aware of your posture since bending even slightly will cause it to fall.

Batto and Notto (drawing and sheathing with the hips)

Drawing (Batto) and sheathing (Notto) the sword in Kashima Ryu sword style is done with a hip movement. In the draw, the sword is taken out of the scabbard to withing 4 inches of the end. At this point, the left hip is drawn back, causing the sword to come out the rest of the way. The sword is brought to an initial ready position held horizontally, blade pointing left.

Notto is the opposite. The sword is drawn across the opening of the scabbard until the end is neared. At this point the left hip is thrown back and the point slipped inside. The rest of the blade follows.

Kesa-giri in eight directions

Sensi showed the Kashima Ryu approach to 'Eight Directions Cutting' (Happo Giri). A low and relaxed posture is assumed. Starting on the right foot, a cut is made forward. Then, turning to the left, a cut is made to the rear (this is opposite to Saito's demonstration, where the student steps forward onto the left foot, cuts, then turns to the right to make the second cut). For the third cut, the rear foot is drawn up to the other, before a step is made to the right for the third cut. Cuts only are made, no thrusts. Sensei indicated that cuts could be shomenuchi or kesa-giri.

Tsuba zuri-ai (or zari-ai)

Sensei described a common occurance in a sword exchange where both blades become locked at the sword-guards (tsuba). It is important to maintain a high degree of flexibility here, moving with the sword, blending with pressures. If you are not, the opponent will use it as an opening to cut. A common way out of this situation is for both swordsmen to step forward at the same time, tenkan and withdraw.

Yari demonstration

Sekiya Sensei demonstrated Kashima Ryu spear techniques along with Diane Zingale as his student. Posture again was empahsized as fundamental. Although the trust (tsuki) is the main attack of the spear, various slashing and sweeping movements where shown which take advantage of the edged sides of the Japanese spear (Yari). The practice spear is a pole of oak, about 8 feet long, perhaps 1.25 inches in diameter. It is fairly heavy and has a much different feel than Naginata.