Peace Week

Peace Week Lesson Plan
Date: September 21, 2010
Instructor: Sharratt

1. International Peace Day
•The International Day of Peace ("Peace Day") provides an opportunity for individuals, organizations and nations to create practical acts of peace on a shared date. It was established by a United Nations resolution in 1981 to coincide with the opening of the General Assembly. The first Peace Day was celebrated in September 1982.
•In 2002 the General Assembly officially declared September 21 as the permanent date for the International Day of Peace.
•By creating the International Day of Peace, the UN devoted itself to worldwide peace and encouraged all of mankind to work in cooperation for this goal. During the discussion of the U.N. Resolution that established the International Day of Peace, it was suggested that:
•"Peace Day should be devoted to commemorating and strengthening the ideals of peace both within and among all nations and peoples…This day will serve as a reminder to all peoples that our organization, with all its limitations, is a living instrument in the service of peace and should serve all of us here within the organization as a constantly pealing bell reminding us that our permanent commitment, above all interests or differences of any kind, is to peace."
•Since its inception, Peace Day has marked our personal and planetary progress toward peace. It has grown to include millions of people in all parts of the world, and each year events are organized to commemorate and celebrate this day. Events range in scale from private gatherings to public concerts and forums where hundreds of thousands of people participate.

2. Music and Techniques
Where is the Love? by the Black Eyed Peas
•Technique: Review Conscious Embodiment by Wendy Palmer
oBoth Wrists Grasp by both Partners – pushing
oBoth Wrist Grasp All Direction Throw #2

Pray for me Brother by A.R. Rahman
•Technique: Both Elbow Grasp Breath Throw
A Sense of Wonder by Van Morrison
•Technique: Front Strike Front Step-in Throw #2
oImagine practicing this in a field in Japan, in a favela (slum area) outside São Paulo, Brazil, in a hot, smelly dojo in Detroit, a Southern California beach in January, or at the Shuharikan in St. Paul, what do they hold in common?
oWhat do you perceive these individuals think about when they are common to or leaving the dojo?
oUsing a definition of Aikido as "the Way of harmonious spirit," how do you integrate your study into your everyday life?

Changes in Latitudes, Changes in Attitudes by Jimmy Buffett
•Technique: One Wrist Grasp Side Step-in Throw #1
oWhenever I train and study this technique, I envision training with Alistair Thomson sensei in the early 1990’s. His technical explanation and performing of the technique was a wonderful experience, but more so the time spent with him and talking about the Shodan grading I was about to undertake with Gordie and his openness about the continuity of training and what one gains made a greater and deeper impression on me.
oWhat is a memory that you share about your training?
oDoes this affect or impact your life outside of Aikido? If so, in what ways?

Days like this by Van Morrison
“You won’t repay me directly, but you will do things for others, just as I have done for you.” With that statement she showed me a path that I have taken-a lifetime of mentoring and friendship with young people, many of whom were foreign students in America, as I had once been in Munich. (pg. 19) East toward Dawn: A Woman’s Solo Journey Around the World by Nan Watkins.
•How do you envision Aikido affecting your life in the future?
•How can it be a vehicle or mechanism for you to impact those in your life and those less fortunate that you?

Sacred Space

"Your sacred space is where you can find yourself again and again."
-Joseph Campbell

What a fabulous quote from The Guru - Joseph Campbell!

What or where is your sacred space?

If you are looking for a "sacred space" to train, come to visit the Shuharikan in St. Paul.

Dawn toward East and Fred Haynes sensei

When I tested for San Dan (3rd degree Black Belt) I stayed with Fred Haynes sensei and his family in Toronto. During my stay we had many great training sessions and some even better conversations of his travels and views of what a senior instructor needs to do and was following the direction from Kancho sensei as his role is helping others find their Aikido and help “grow instructors.” (Photo: http://aikidoikeda.com.br)

This memory came back to me when I read East toward Dawn: A Woman’s Solo Journey Around the World by Nan Watkins. The first quote below struck me with the wonderful hospitality I experienced staying with Fred sensei and the ideal of tradition and passing down what you’ve learned to the next generation.

“You won’t repay me directly, but you will do things for others, just as I have done for you.” With that statement she showed me a path that I have taken-a lifetime of mentoring and friendship with young people, many of whom were foreign students in America, as I had once been in Munich. (pg. 19)

The next ideal was of how one evolves and grows in the medium they’ve chosen to express oneself. Having known Fred sensei for more than 15 years now and countless training sessions, clinics and conversations, it is always a pleasure to see his evolution as an Aikidoka, but more importantly as a wonderful mentor, friend, supporter and human being.

I think of the role of the artist in society, of how the artist stands outside the mainstream, exiled as recorder of human experience, critic of human behavior, town crier, visionary…No matter when, no matter where, each of us is on a journey, day by day, year by year, whether we are conscious of it or not. The artist’s journey is purposeful; the artist may not be a tidy citizen, but the artist knows why he or she is here: to tell a story, to awaken our minds and hearts to the bigger story of the universe beyond. I admire the artist, who with heightened ability of expression is able to articulate the pain and joy of the human journey through writing, painting, sculpture or music. (pgs. 29-30)

During my trip in 1999 I also had the great privilege and honor of training and testing with Jim Murray sensei. His home and dojo are located at Base Borden and it reminded me of my family’s retreat in northern Minnesota. One has the opportunity to smell the fresh air during the day, see the stars on a clear evening and hear the call of a loon as the moon reflects across the lake.

I look out the window at the sky and know that though I am in a foreign country on the other side of the earth, the sun, moon and stars are still there as my familiars. (pg. 49)
Taking time each day to retreat from the spoken word brings us in touch with the natural world and with the universal spirit. Perhaps I am able to live so easily among these people on the other side of the world because we are communicating at a level beyond our surface differences. I am with people whose greeting and farewell refer to the divine qualities within each of us. It is in that divine spirit beyond words, beyond language, that we have much to share. (pg. 61)

As I reflect back on the training in Toronto two key themes arose: where was I training that day and where were we going to eat, followed by some cold beverages. I trained with Fred sensei, Alister Thomson sensei, Tim Webb and Rod Rhem sensei, Seibukan Dojo, Jim Murray sensei, Base Borden, Mark Handley-Derry sensei, Shinseikan Aikido Club, David Stinson sensei, Seidokan and the many Aikidoka training at each of the respective dojos.

Throughout history, enlightened souls have shown us in their words and actions how to live in harmony with fellow humans and with all life on earth. Iris Murdoch, the British philosopher and novelist, said it well in one of her essays: “Love is the imaginative recognition of, that is respect for, the otherness of another person.” Respect for the otherness-a beautiful and necessary aspect of love, of understanding and relating to all kinds of people. One of my childhood heroes, Albert Schweitzer, took this thought one step further. He taught “reverence for life,” extending respect beyond humankind to include all forms of life. (pg. 75)

The final thought I had was how far the Shuharikan and Aikido in St. Paul has come in the last 10 years: scores of people who've trained at the dojo, the number of individuals who tested for Kyu and Dan ranking, hosting Kancho sensei and the many wonderful people we've hosted and met during our travels. The greatest treasures have been the deepening of friendships with Gordie, Glen, Jim and Maggie and with all those we've trained with and have been able to share the mat and celebrate with over cold beverages.

…so have I traversed in this last decade of my life the world of emotion-from deepest sorrow to profound joy. I made the journey, step by step, day by day. (pg. 174)
Developing my talents and moving out into the greater world, I learn that the diversity of people-and all forms of life-is to be cherished: the differences between us are insignificant in light of what we hold in common. (pg. 175)
I’m in travel mode, and it’s a wonderful gear to be in. It’s an entirely separate state of mind from that of being rooted in a particular spot. The essence is movement. The challenge is confronting the new. There is no boredom of routine, no daily job to go to, no responsibilities other than myself. (pg. 177)

Peripheral Vision, Metsuke and Shuchu-Ryoku

My mentor and friend, Mary Texer, shared a wonderful book with me: Peripheral Vision: Detecting the Weak Signals that Will Make or Break Your Company by George S. Day and Paul J. H. Schoemaker.

The business principles in the book are directly applicable to one's study of Aikido.

A concept in the martial arts is Metsuke or "soft-focus;" and is sometimes referred to as "seeing-eye" or the "mind's-eye." It is seeing without focusing on a single point and yet permits awareness of the total field of vision or peripheral vision.

In Yoshinkan Aikido a key principle is "Shuchu-Ryoku" or focused or concentrated power. The development of this power is done through the training and alignment of the body.

Some high-lights below from the book wonderful describe Metsuke and Shuchin-Ryoku in practical real-world examples.

Splatter Vision: Seeing the Forest and the Trees

Some combination of directed and undirected search may be ideal. The FBI, for example, trains its agents to use a scanning approach called “splatter vision.” This involves scanning a crowd for would-be assassins by looking into the distance and not focusing on anyone in particular. Once the agent fixes a general gaze, he or she looks for deviation or change. Is someone restless, looking around too much, slowly putting a hand into a coat pocket? From among hundreds of faces, the agent seeks a lone assassin; suspicious activity then triggers a more intense focus. By balancing directed and undirected scanning, a single agent can spot signs of trouble across a fairly large area. (p. 52)

Guidelines for Scanning
Many parts of the periphery may be important to scan. Once you have identified an area as important, you can then choose among approaches to investigate that zone.

A few general principles can guide this process:
• Actively manage the process. This can help to focus attention and resources on those areas of the periphery that are most important.
• Use multiple methods. The key to active scanning is to avoid overreliance on the methods and information sources that everyone else uses. To gain fresh insights, we must go beyond seeing what others see.
• Treat scanning as an iterative process. The results of your scanning may suggest a larger or lesser scope. Each scan offers new insights that inform the next scan.
The meaning of any weak signal detected at the periphery will depend on the position and strategy of the company viewing it. The diverse signals identified through scanning might fit together into many different coherent pictures. (pgs. 70-72)
The process of making sense is even more complex when it relates to peripheral vision. The images are, by definition, muddied and imprecise. They are distorted like the edges of a fish-eye lens, and there is a high noise-to-signal ratio. In human vision, the periphery lacks detail and color. The mind can easily jump to the wrong conclusions about something that is seen out of the “corner of one’s eye.”
Many times, when it relates to the periphery, we jump to the wrong conclusions about what we are seeing. In other cases, we fail to understand a real threat or opportunity and don’t see it until too late. (p.74)

Conclusion: The Quick and the Dead
Learning quickly and efficiently is vital in responding to the periphery. Organizations [or individuals] that can gain clarity about what is happening before their rivals will be in a better position to act on opportunities in the periphery or respond to threats.

…learning can be improved and accelerated by the following approaches:
• Use scenarios to learn. Scenarios not only help interpret the future but they can also help in probing and learning. They organize signals that may seem to be random noise into a pattern. They show where knowledge and insights are needed…
• Fail fast and cheap to accelerate learning. Experiments can be the best way to learn about the periphery. Keep them as small as possible to extract the most learning with the least risk. While good peripheral vision is important peripheral vision is important in identifying opportunities, the real value of the periphery is to explore mistakes.
• Use real options. One of the best ways to increase the learning-to-risk ratio is to use real options. Options can turn small investments into powerful learning opportunities. They can help to reduce uncertainty before major investments are required. The idea is to keep the upfront investment low while learning and preserving the upside potential. (p. 116)

Focus Attention on Specific Challenges

The problem with a broad periphery is that the organization [or individual] can easily become overwhelmed and its attention can become diffuse. There is a vital need for prioritization and focus to direct attention to specific areas while continuing to promote a broad awareness. (p. 165)

Six Lessons from the Periphery

Lesson 1: Peripheral vision is more about anticipation and alertness than prediction.
One of the overriding principles of effective peripheral vision is that it will always be less clear than focal vision. The periphery is blurry; it is not in color. Weak signals are by definition faint. The future is basically unknowable. Even with these limitations, however, peripheral vision enables two kinds of anticipation: preparing in the face of uncertainty and acting before anyone else can. By the time a clear prediction or forecast can be made, it is probably too late.
Lesson 2: The problem is not a lack of data but a lack of good questions.
…unless one focuses this [information] gathering on expanding the field of vision, no matter how carefully they look, they won’t see opportunities and threats unless their scope is broad enough.
Lesson 3: Scan actively but with an open mind because the periphery won’t always come to you.
Don’t wait for the periphery to come to you; often, you must explore it. While passive scanning plays an important role in peripheral vision, you also must explore the periphery actively through directed hypotheses and undirected journeys into the unknown. Active scanning is not a one-time or annual event. It must be a real-time process that draws on a broad repertoire of techniques and approaches.
Lesson 4: Use triangulation to better understand the periphery.
Just as the eye uses triangulation to provide depth and meaning, multiple perspectives on the periphery are needed to comprehend it. If the periphery is confusing, look at it from different angles. This is most easily done by bringing different people with diverse views into the process and by using multiple methods or techniques. This is especially important because the periphery is inherently blurry and incomplete. The conflicts and differences in viewpoints, as well as multiple hypotheses, can help illuminate different parts of the picture.
Lesson 5: When catching glimpses from the periphery, it is wise to probe before jumping.
Don't always trust what you see out of the corner of eye. It is important not to jump to conclusions but to take time to learn more about the periphery. We must amplify the weak signals with directed probes. We also must act prudently through a portfolio of real options and experiments to maintain flexibility until the uncertainty is more tolerable.
Lesson 6: Balancing peripheral and focal vision is a central leadership challenge.
The resources and attention devoted to the periphery are often taken away from investments in the focal area. Organizations [and individuals] must strike the right balance between focal and peripheral vision. The eye works its wondrous way by combining inputs from the rod cells that are scanning the periphery and the cone cells that are used for focal vision in good lighting conditions. (pgs. 168-170)

Survival of the Most Responsive

All of us have limits-individually and in our organizations-in how far we can see and in our ability to detect and act on weak signals at the periphery. We also must recognize that peripheral vision is different than focal vision. The process of peripheral vision requires different capabilities and approaches than focal vision. Like being aware that a sudden outflow of the tide is a sign of a coming tsunami, recognizing these warning signs early can mean life or death. [Individuals] can recognize and act on opportunities more quickly. [Individuals] can avoid being blindsided by the market, technology, regulations, and competitors. It takes skill to do this well, but as the environment moves more quickly and becomes more uncertain, the payoffs from strong peripheral vision will be greater than ever. As Charles Darwin observed, "It's not the strongest of the species who survive, nor the most intelligent, but the ones most responsive to change." (p. 179)

Kenshu: Chushin Ryoku

The outline below is the basis for the class I taught on March 1, as part of the Kenshu series: Kihon and Beyond.

Opening idea: “If you don’t believe that the martial arts have anything to do with American Indian rituals, surfing, globalization, Tom Robbins’ novels, the destiny of the world, the beauty of nature, and our way of perceiving reality, call my bluff-read on.”
On the Warrior’s Path: Philosophy, Fighting, and Martial Arts Mythology by Daniele Bolelli

A. Lecture component: Chushin-Ryoku (The Power of the Center Line)
1. Fundamental principle of Aikido – all by Gozo Shioda

• Keeping your center line straight
• If we are able to maintain a strong center line whatever direction we move in, we have focused power. By forging this focused power, we are also promoting strong posture, concentration, and breath power.
• Real strength consists of a straight but flexible mind and a body tempered by hard practice.

2. What is center?

• the middle of something; the place in the middle; a place that is the main point

3. What is a line?

• an infinitely-extending one-dimensional figure that has no curvature

4. What is center line?

• a real or imaginary line passing through the center of something and dividing it into two equal parts
• a line that bisects a plane figure

5. What is a Straight Line?

• a line which lies evenly with the points on itself

6. What is a Curved Line?

• a line that deviates from straightness in a smooth, continuous fashion

7. Boy Scout Oath or Promise

On my honor I will do my best
To do my duty to God and my country
and to obey the Scout Law;
To help other people at all times;
To keep myself physically strong, mentally awake, and morally straight.

• What does “morally straight” mean?
BSA defines it as:
"To be a person of strong character, your relationships with others should be honest and open. You should respect and defend the rights of all people. Be clean in your speech and actions, and remain faithful in your religious beliefs. The values you practice as a Scout will help you shape a life of virtue and self-reliance."

[Question: How is this similar in ideals to the pleats of a hakama?]

8. Aldo Nadi: Fencing Academy

• “ A Salle d’Armes is always noisy: do not make it noisier with useless talk. If you must talk, do so sotto voce. Except for calling the touches you receive from your opponents in combat – and these must be called – do not talk under the mask. Loud talk shall not be tolerated, let alone shouting and yelling under the mask. If you cannot control yourself, baseball bleachers are suggested. It shall be clearly understood that Fencing is the sport of gentlemen…and that the fencing strip has its own ethics…Any offender of such ethics shall be called to order – repeatedly, if necessary. But if the recidivist is unable to mend his or her ways, he or she shall be temporarily suspended from the Academy; or even, in cases of grave offenses, such as want of respect towards the Fencing Master, expelled altogether. It is the Fencing Master’s strict moral duty towards his artistic ancestors to see it that centuries-old traditions are respected, honored, and enforced."

(Nadi, Aldo (1995). The Living Sword: A Fencer’s Autobiography. Laureate Press: Sunrise, Florida)

[Question: How does this concept of centerline relate to ‘centuries-old traditions?']

9. Yamada Jirokichi: technique and spirit

• Sword and mind must be united. Technique by itself is insufficient, and spirit alone is not enough.

10. Ed Parker: Improve and strengthen your own line

• “It is always better to improve and strengthen your own line or knowledge than to try and cut your opponent’s line.”

11. Iru: Entering by Dave Lowry, Sword and Brush: The Spirit of the Martial Arts

• “The bugeisha begins to learn technique typically as a solo exercise. When he has familiarized himself with various movements, he commences exercising them against [or with] a partner. At this point, he may be frustrated to find that the techniques he thought he’d learned well by himself are, when performed against another, weak and ineffective, even when his partner is cooperating.”
• “Often the problem is that the methods the bugeisha has learned are directed against specific targets, with no attention given to controlling the opponent’s center, his core of stability.”

[Question: How does this relate to ri-ai or Jushin-no-ido?]

12. Kukei, 8th century Zen Master, Poem “Singing Images of Fire”

A hand moves, and the fire’s whirling takes different shapes.
…all things change when we do.
The first word, Ah, blossomed into all others.
Each of them is true.
• “'Just move your hand and fan the flames; with this one movement the whole universe moves with you.' This may sound all too simple to our ears, but it is an assertion that the modern science of complexity would gladly second. Scientists now know that tiny movements have large cumulative effects on even vast systems.”
–Jane Hirschfield translation, pg. 93, insight from David Whyte, The Heart Aroused: Poetry and the Preservation of the Soul in Corporate America

13. The Four Spatial Dimensions

• Classical physics theories describe three physical dimensions: from a particular point in space, the basic directions in which we can move are (1) up/down, (2) left/right, and (3) forward/backward. Movement in any other direction can be expressed in terms of just these three. Moving down is the same as moving up a negative distance. (4) Moving diagonally upward and forward is just as the name of the direction implies; i.e., moving in a linear combination of up and forward.
• In its simplest form: a line describes one dimension, a plane describes two dimensions, and a cube describes three dimensions.
http://en.wikipedia.org/wiki/Spatial_dimensions

14. Question: why do you need technique and spirit together?

B. Kihon component
1. Stationary Kamae

• “Through training in kamae, we learn to maintain a straight balance, keep our hands, feet and hips on a center line of the body, maintain correct posture without having to make an effort and extend our spirit forward. In Yoshinkan, in order to learn the stance that is necessary to develop breath power, we introduce kamae as the most ‘BASIC’ part of our training.” -Gozo Shioda

2. Heavy Power Kamae

• “…to develop strong ‘center power’…the key lies in the big toe of the back foot. The power comes up from the big toe of the back foot and is transmitted into the hips and lower back.” -Gozo Shioda

3. Kamae in basic movements

• “Once you have attained a stable center in your kamae, you will be able to maintain it in your techniques.” -Gozo Shioda
• “…learn how to maintain a stable posture…develop a sense of connecting with the partner’s energy…learn how to use a partner’s weak line in order to unbalance him.” -Gozo Shioda

4. Suri-ashi

• Training “tool”
 Toes, feet and ankles
 Knees
 Hips
 Body core/trunk
 Arms
 Head and eyes

5. Tai No Henko Ichi (Cross Step in Body Change or Body Change Movement I)

• Review the foot positionings

6. Katate-mochi Sokumen Irimi Nage Ichi (One Wrist Grasp Side Step In Throw #1)

• Think about your body positioning

C. Beyond-Kihon component
1. Side Strike (Arm Raise) Side Step In Throw #1
2. Side Strike (Arm Raise) Side Step In Throw (Leg Sweep) #1

Closing idea: Ken to kento fumu (step into the sword) – meet challenges head-on, don’t make excuses and never turn away from an attack.

Lagom

Lagom is a Swedish word with no direct English translation, but loosely translates to mean "just the right amount."

Wikipedia has great background including:

The Lexin-Swedish-English Dictionary defines Lagom as "enough, sufficient, adequate, just right."

It is also widely used as a state of living that is "in moderation, in balance, optimal, suitable and average."

When I came across this word it reminded me of the ideal of Fudo Shin. This is often used in martial arts training as the state of stable or unmoving mind" or unmoving heart."

An old definition that I have in my training notebooks of Fudoshin is:

A spirit of unshakable calm and determination, courage without recklessness, rooted stability in both mental and physical realms.
Like a willow tree, powerful roots deep in the ground and a soft, yielding resistance against the winds that blow through it.

Stan Wrobel, Ph.D. wrote in Aikido for Self Discovery: Blueprint for an Enlightened Life

"Too often we try to hard or do too much. There is little trust in riding the flow, in effortlessly staying in touch and on top of the situation. Without effort it seems like we're not participating, we're not doing, and we're without self-image that we can relate to. Effort, tensions, and impatience characterize our being."

The Power of People

Today Jim Sensei and I attended the 2009 Youth Intervention Conference, in St. Paul and represented the Shuharikan.

There were a great number of speakers at each of the break-out sessions ranging from Safe and Healthy Schools presented by Edward Marsman and Michael Coyne of the MN Institute of Public Health.

Their presentation's key message was:

The principal objective of school violence reduction strategies should be to create cultures and climates of safety, respect, and emotional support within educational institutions.

Dr. Marc Mannes who presented Sparks: It Starts with a Single Spark, his presentation highlighted that a "Spark" is something that gives your life meaning and purpose. It's an interest, a passion, or a gift. He asked the question: What do you bring to the world that is good, beautiful, and useful?

The keynote speaker was Dr. Verna Cornelia Price who spoke on The Power of People: Four Kinds of People Who Can Change A Youth's Life.

Her presentation asked the questions:

What is your calling or what were you born to do?
What have you learned working with kids or children?

All were excellent presentations and clearly expressed the conference themes of "promoting effective and efficient early intervention services for youth."

Personal Safety for Children

Safety - a condition of being or feeling safe; freedom from danger, risk, or injury.

As individuals, we should all have the feeling of safety. Be it safety at home, at school, or playing in the neighborhood; children most of all should have this feeling.

Unfortunately this is not always the case. The Shuharikan strives to provide students skills to deal with physical dangers as well as a number of ways to deal with conflict from others, often verbal in nature.

The National Center for Missing & Exploited Children created a wonderful resource guide, Personal Safety for Children, for parents to share and discuss concepts with their children.

SAFETY

Dear! of all happy in the hour, most blest
He who has found our hid security,
Assured in the dark tides of the world that rest,
And heard our word, "Who is so safe as we?"
We have found safety with all things undying,
The winds, and morning, tears of men and mirth,
The deep night, and birds singing, and clouds flying,
And sleep, and freedom, and the autumnal earth.

We have built a house that is not for Time's throwing.
We have gained a peace unshaken by pain for ever.
War knows no power. Safe shall be my going,
Secretly armed against all death's endeavour;
Safe though all safety's lost; safe where men fall;
And if these poor limbs die, safest of all.
-Rupert Brooke

How many dojo have you trained at?

Recently a young student at the Shuharikan asked me "How many dojo have you trained at during your time in the martial arts?"

Wow - what a great question! I don't know the actual number, but what I remember most is the variety and specialness in each one.

As I reflected more on the question, two wonderful descriptions come to mind, no matter the art style.

The first is from Richard Strozzi Heckler in his book Holding the Center: Sanctuary in a Time of Confusion.

"...layers of memory that take me through thirty years of training in dojos spread over a dozen countries. They've ranged from the traditional dojos of Japan with meticulously hand-crafted designs and highly polished wood to converted garages that were so small you had to wait against the wall for your turn. Dojos whose surfaces ranged from the classical fiber tatami mats to wooden floors, tire filings under canvas covers, rugs over cement, straw mattresses, and one that was laid out on hard-packed dirt beneath a flowering mango tree.

There were dojos dedicated to preserving the traditions of ancient fighting systems with the air of formality and erudition that one finds in the archives of great universities. Others were word-of-mouth dojos that collected tough guys and those in the profession of arms-special operations soldiers, secret service agents, bodyguards, law enforcement tactical units, street fighters looking to test themselves. In the small changing rooms you could hear the sound of boot knives handguns being unstrapped.

In one particular dojo I was unexpectedly gripped at the entrance by the luminosity that emanated from it. It was a work of art in its physical beauty but it was visceral feeling of the sacred that moved me. That evening a profound mood of reverence was present in the training. I felt like a small child holding a rare and priceless vase, and an emotionally charged sense of responsibility guided me. As I bowed out at the end of class, tears filled my eyes. I felt connected not only to those who had made this place possible, but to something weightless and eternal. In this dojo I understood the words of the poet, John Keats, when he said, 'Beauty is truth and truth is beauty.' And there was everything in between."

The second is from Dave Lowry in his book Persimmon Wind: A Martial Artist's Journey in Japan.

"The community dojo nearest Sensei's house was called the Genyokan. It was about four miles away by foot or car, along a narrow prefectural road, then another three-quarters of a mile after that by a seriously vertical hike. The first time I visited it, before I'd even reached the dojo itself I had already decided that if any martial artist came to Japan looking for the ideal training hall, the dojo of his dreams, there would be no way he could be disappointed in the Genyokan.

More gracefully rendered in Japanese than in an English translation, the kanji characters for 'Genyokan' mean 'the hall of the source of evening's twilight.' It was an entirely appropriate name if ever there was one. I am certain that only the most determined or lucky or badly strayed beams of sunlight could ever have filtered their way through the evergreen canopy that enveloped the dojo. The forest around it was so intense that it was quite invisible from no more than fifty feet away from its front gate. At that distance, there were only the great round pillars of cryptomeria trunks, their piney scent tinting the shadowy, motionless air. The dojo was approached by a path of set stones that ran through the gate, its wood whitened with age. There was no fence, only this gate with its thick oak panels and above it, a Shinto torii arch. When the gates were closed, so was the dojo. Opened, they signalled that training was going on and members passed through them to the dojo structure itself.

The Genyokan was built in the shindenzukuri style of architecture, as are most traditional dojo in Japan. The walls were low, topped with wide-eaved roofs. The roof was hipped and fluted upward at the corners where it met the underhang. Roof-tiles, once shiny blue were now a rich azure that showed through here and there where the moss and fallen rusty cryptomeria needles had not completely covered it. The outer walls were creamy plaster and supported by a framework of dark, age-stained wood. There were no windows, just ventilation openings set high up on the walls and covered with wooden shutters. When the shutters were slid back, there were thin slats that protected the windows and kept birds out. These openings were also far up enough along the walls to frustrate any view in from the outside. In the old days, matters in the dojo were private. It would not do for an outsider, possibly a spy or enemy, to learn the secrets of the arts being taught within. This concern for secrecy is reflected in the architecture of all traditional dojo."

What is the best memory you have of training or the most unique dojo you've trained at?

Future

Today was fun watching the kids in class as Glen Sensei taught.

The many smiles and sense of accomplishment in learning something is extremely rewarding to realize we are continuing a tradition.

As the Shuharikan, in St. Paul, we are teaching what we learned and sharing what came first from Japan and with these students; will continue the lineage of Aikido into the future.

What was past, becomes present and the present becomes the future. The idea brings to mind part of TS Eliot's Four Quartets poem Burnt Norton

"Time present and time past
Are both perhaps present in time future,
And time future contained in time past."

Dave Lowry wrote in Permission Wind: A Martial Artist's Journey in Japan

"The way of the bugeisha culminates only at the conclusion of his life. All else is a journey to ever-receding destinations. There can be no final lesson, no ultimate secret to reveal."

It reminds one that the journey as a student and teacher is never done.