我々は強くなるべきなのか、それともそのままでよくて、そのままの強さを効率的に引き出すべきなのか、はたまたその両方なのか。人によって考え方は違う。そもそも一定以上の年齢になってくると強くなることは難しく、侵襲と超回復という強化の過程を繰り返す能力自体が落ちてしまう。ではどうするべきか、そのままの強さを引き出し、超回復できる能力をあげ、小さく継続することで侵襲を小さくする。これがおそらく長く運動機能を維持する最適解だと思う。そんなことを考えながら、老若男女で楽しめる合気道について勉強している。
遊び稽古
１体操
２熊歩き、蜘蛛歩き
３膝行
４杖になれる
５ 昇級審査技
本稽古
１合気体操
２足捌き
３受け身
４逆半身片手取り転換法
５逆半身片手取り呼吸投げ（小さい足捌き）
６逆半身片手取り外回転投げ表
７逆半身片手取り外回転投げ裏
８肩取り二教表裏
９逆半身肩手取り内回転投げ表
１０逆半身片手取り内回転投げ裏
１１両手取り天地投げ裏
合気道の結びという要素はとても面白い感覚だ。繋がると手が離せない感覚がある。それは技のポイント的にどう腰をつかってどこにポジションを取ってということよりも、始まりから終わりまで相手と結びを作る意識が大切だと思う。面白いと同時に、それつまり結びがなければ、全く正しい動きができない。それを如何に作るか、その感覚を少しずつ伝えられるような稽古をしたいと思う。
Should we become stronger, or is it enough to remain as we are and simply learn to draw out our existing strength more efficiently—or is it both? People differ in how they think about this. In the first place, once we reach a certain age, becoming “stronger” in the conventional sense becomes difficult. Our capacity to repeat the strengthening process of stress and supercompensation itself declines. So what should we do? Draw out the strength we already have, improve our ability to recover, and keep the stress small by continuing in modest, sustainable ways. I believe this is probably the optimal solution for maintaining physical function over the long term. With such thoughts in mind, I continue to study Aikido as a practice that people of all ages and genders can enjoy together.
Playful practice
- Warm-up exercises
- Bear walk, spider walk
- Shikko (knee walking)
- Getting accustomed to the jo
- Techniques for promotion examination
Regular practice
- Aiki exercises
- Footwork
- Ukemi
- Gyaku-hanmi katate-dori tenkan-ho
- Gyaku-hanmi katate-dori kokyu-nage (small footwork)
- Gyaku-hanmi katate-dori soto-kaiten-nage, omote
- Gyaku-hanmi katate-dori soto-kaiten-nage, ura
- Kata-dori nikyo, omote and ura
- Gyaku-hanmi kata-te-dori uchi-kaiten-nage, omote
- Gyaku-hanmi katate-dori uchi-kaiten-nage, ura
- Ryote-dori tenchi-nage, ura
The element of musubi in Aikido is a very fascinating sensation. When a connection is made, there is a feeling that the hands cannot separate. More than specific technical points—such as how to use the hips or where to take position—I believe it is essential to maintain an awareness of creating musubi with the partner from beginning to end. It is fascinating, and at the same time, without musubi, correct movement cannot exist at all. I would like to conduct practice that gradually conveys how to create this connection and helps others sense it for themselves.
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