Learning To Be Silent

By Maggie Schill

Over the past two years I’ve been experimenting with a rare form of Budo. This art is called “te-pu-do” – The Way of the Tape.

It started out with curiosity, which led to necessity. Pretty soon my every thought was captivated by the tiny white roll that is sports tape!

Only through complete devotion to “The Tape” can one hope to unlock the doors to true enlightenment. It was through vigorous training, experimentation and deep soul searching that I’ve uncovered the Truth…and that truth is “The Tape.”

Now that I’ve uncovered this truth, I’ve become convinced to reveal this art to the world, so all might benefit from my training.

Here I have listed just a sample of the jitsu of power…the true techniques of “The Tape.”

1- Learn who your enemies are:

Tape off wrists, shoulder, feet or toes. Training partners will see the presence of “The Tape” as sign of injury.  No good man will attack what they perceive is an injured joint. However, a bad man will think it’s a target.

2- The road is hard:

Often times the training grounds are damaging to the warrior’s tootsies! Mat burn, cracked calluses and split heals are but a few assaults that await you. Reflect on your sport’s tape firmly in this hour. Apply “The Tape” over these dermal annoyances to extend you training time.

3- Silence is a virtue:

In class does your partner talk more than he trains? With “The Tape” there is an obvious answer!

4- Dress the part:

Hole in your dogi? Knees wearing out on your pants? Tailor not! “The Tape” is all you need to shield these imperfections from the world.

5- Hide your shame:

With much pound cake comes much shame! With much shame comes a larger waist line. All too often the warrior will find himself happy with a few extra poundage, and his belt no longer encompasses his mighty girth! “The Tape” is all one needs to bridge the gap between belt and belly.

6- Top notch top knot:

Elastic bands break. Barrettes bend. The answer to all conceivable hair malfunctions lie in the dojo’s first-aid kit. “The Tape!” Oh, glorious scrunchy of eternal adhesiveness!  Turn every down day into an up-do!

7- Brazilian Sunburn:

Before “The Tape” came to me, I would cower at the site of an opponent’s brawny chest hair. Through diligent training and long meditation I have overcome my fears. With “The Tape” in hand, not even the potency of colossal chest hair can thwart your courage! Apply and pull! Your adversary’s screams will be heard as far as the parking lot.

8-  Ho-Ho-Ho:

The power of “The Tape” can take you to new social heights! Are you feeling inadequate in your dojo because of the lack of a full and puissant beard! “The Tape” has the answer. Cut six strips from its hallowed roll and place firmly to your sleek chin, and then train, dignified before your fellow warriors.

9-  One-Half the Fun:

Sometimes the warrior needs to let loose and have fun. However, the serious warrior must take care not to have too much fun. Take “The Tape” firmly and pull forth from it a two foot strip. Leave that sublime strip attached to the roll. Grasp joyfully (but discretely) to the end of that strip and let the hallowed roll hang. You will then have a (somewhat) functional yo-yo. (Also known as a “yo.”) This contraption is also perfect for when you only need to have half the fun that a conventional yo-yo provides.

This is but a sliver of the amazing possibilities you will have when you set out on “The Way of the Tape.”

By Maggie Schill

On Saturday May 15, Aikido of Orlando held a friendship seminar at the MMAT Academy in Winter Springs, Florida. The event was hosted by Aikido of Orlando’s Ian Phillips Sensei, and consisted of four classes and a fabulous meet and greet luncheon. 

Participating in the seminar were various Aikido schools in Central Florida. The instructors shared their Aikido, and the participants discovered new variations to take home and practice.

The first class was taught by Sand Drift Aikido’s Alan Newton. Newton Sensei taught a great warm-up class that focused on proper extension and balance, from an ushiro opening. He demonstrated fundamental technique, which I’m sure was helpful for the many beginning students visiting that day.

The second class was taught by Aikido of Sarasota’s Barry Tuchfeld Sensei. Tuchfeld Sensei spoke engagingly about Aikido as “a martial art.” He demonstrated and explained in great detail about the complexities of shomenuchi ikkyo. It was a class where you felt a lot of room to practice slowly to work on your own form.

After a two hour lunch break, the seminar resumed. Tom Huffman Sensei from Aikido of Gainesville led the third class. Huffman Sensei spoke about his training in the United States and overseas throughout the class. He also allowed the students to suggest techniques they wished to work on. I enjoyed his lessons on shomenuchi ikkyo ura and sankyo.

The seminar was closed by Grady Lane Shidoin of Brevard Aikikai. Lane Sensei demonstrated techniques from ushiro and morote-tori. He emphasized the importance of fluidity, as well as good extension and balance. I saw in his class expansive movement and centered technique. It was a joy to work on these aspects of my own Aikido.

The seminar was filled with variety and friendship. It was a nurturing experience for all Aikidoka present, and I am thankful to Ian Phillips, Aikido of Orlando, and all the instructors present for helping make it happen.

By Maggie Schill

This Saturday I had the pleasure to attend a fundraiser seminar at Brevard Aikikai. Hosted by Grady Lane Sensei, the seminar featured several amazing instructors, including Peter Bernath Shihan. Each instructor seemed to have a varied style of teaching, and each focused on a particular aspect of their Aikido. This made for both an informative and nurturing learning experience, where the students could focus intently on the lessons.

There were two special morning classes. The first morning class started at 10:00 a.m. and was taught by Peter Bernath Sensei of Florida Aikikai. Bernath Sensei focused on body positioning and immediate, unreadable technique. He also emphasized the importance of maintaining your center, as well as keeping extension.

The second morning class was held by Penny Bernath Sensei, also of Florida Aikikai. Starting with deep entrances, and then jyu-waza, the class gradually turned into a dynamic randori lesson. It was structured to help the students build their skills, from the initial movement to the limitless possibilities of jyu-waza.

John Johnson Sensei of Orlando Aikikai began the afternoon session. Johnson Sensei demonstrated various techniques from ryote-tori yonkyo, including several kokyu-nage throws. I learned about the adaptability of yonkyo and the importance of extension. Especially interesting was an anecdote from summer camp thirty years ago, where an instructor, after leading a Shinto chant for several classes, required that the attendees clean the training hall. The significance was not lost on Johnson Sensei: the dojo was a place for serious, committed training.

Following Johnson Sensei, Ed Di Marco Sensei of Lake County Aikikai taught a vigorous and informative class. Demonstrating ushiro movements, Di Marco Sensei spoke about “worst case” scenarios, where uke flanks nage.  Again I learned about balance and extension, and how to turn difficult attacks to my advantage.

After a short break, Youssef Sadkane Sensei of Sadkane Aikido began his class. Demonstrating direct and efficient Aikido movement, Sadkane Sensei emphasized the importance of controlling uke’s center. I saw in his technique the rhythm and feel of swordplay. I really enjoyed it!

Dee Sensei of my school taught next. She opened her class with an ukemi exercise, and continued with ikkyo ura, from katate-tori. She asked nage not to break uke’s grip, which forced uke to maintain close connection. It was as much ukemi training as traditional technique. She then allowed us to train in jiu-waza, again without breaking uke’s hold. Finally, taking a cue from Sugano Sensei, she instructed the attendees to attack anyone on the mat, including her. It was great fun.

Fittingly, the seminar closed with the host, Lane Sensei. He led a high paced, high energy class, from morote-tori. Beginning with kokyu-ho, he demonstrated pins, kote-gaeshi, and finally juji-nage. I learned a great deal about the complexity and possibilities of the morote-tori attack.

In closing, the seminar was high paced and highly informative. I want to thank Lane Sensei, as well as the other instructors present. I learned a lot and had a great time!

By Maggie Schill

At this point in my training, if there is one truth about Aikido I have been able to discover, it would be this: Aikido is circular, not just in movement, but in concept.  Uke is as fundamental to nage, as surely as nage is to uke.  To focus on one is to learn the other.

I’ve heard instructors tell me how important ukemi was to my Aikido.  In the past I thought this meant I should take good ukemi for the sake of my nage.  It was my gift to nage.  I thought ukemi was about helping my nage look good and train more effectively.  However, my experience at Winter Camp 2009 has altered my opinion.

On the last day of Winter Camp 2009, I took Yamada Sensei’s morning class.  There, he demonstrated a throwing technique that required a huge extension and a low cut.  Sensei separated us all into groups and told us to have at it.

Unfortunately, in my group I was the first Aikidoka in line.  There were about fourteen uke waiting for me to throw them, but I just couldn’t figure the movements out.  After about four failed attempts, I was unbearably embarrassed over my 5th kyu inadequacies.  Sensei approached me and grabbed my uke from me.  He demonstrated the technique for me once more and spoke sharply: “Extension! This is why I failed the shodan!”  I was completely embarrassed.

I tried the technique two more times, and failed.  I ran to the back of the line, forgetting to bow the next nage in, feeling utterly defeated.  With my pride crushed, I readied myself to take the best ukemi I could for the nage in my group.  I thought I could prove I’m not a totally useless Aikidoka by taking great ukemi.  Maybe I could win back a little bit of my pride.

As uke, I exaggerated my movements, expended a lot of energy, and did everything in my power to maintain connection.  I’m sure my ukemi wasn’t the best; especially in comparison to all the black belts and deshi present at Winter Camp, but it was my best.

Finally, the line went around until it was my turn as nage again.  I bowed in with great apprehension.  I was sure that my second time up would just be a repeat of the first, and I prayed to God that Sensei wouldn’t be around my group to see me fail again.

My first uke approached me.  I met him, and to my surprise, I knew the movements.  I understood then what Sensei meant about extension in this technique, and I understood why I couldn’t get my uke moving without it.

With my first uke I ran through the movement slowly.  With my second, I got more of my hips into it, and by my fourth uke I felt like I wasn’t a total embarrassment.  My fifth uke was an older black belt.  He grabbed me, moved with me, and said: “There you go girl, you got it.”  His words were encouraging.

This experience has convinced me of the interplay between uke and nage.  The art is circular.  The parts are interconnected.  If you learn one aspect of the art, you are in a sense learning them all.  Not until I was thrown some fourteen odd times did I understand what Sensei was trying to tell me.  Not until I was forced to feel the technique did I understand what I needed to do to make my uke feel the technique.

So in closing, the lesson learned is this: Ukemi is not just a side note, or a means of making nage look great.  Take as much of it as you can, and be grateful every time it is your turn to be thrown.  If you want to be a great nage, become a great uke.