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Examination Program 1st KYU

Prerequisites:
nd
 A minimum of 1 year practice 4 times per week since the last exam (2 KYU)
th th th rd nd
 Knowledge of the techniques and theory required for 6 , 5 , 4 , 3 and 2 KYU exams
 Consent of the dojo’s technical director

The literal translation of some Japanese terms is placed between quotation marks “…“.

The 7 folds the hakama (5 on the front, 2 on the back) have the following symbolic
meaning:
1. yuuki 勇気 : courage, valor, bravery
Dojo behavior 2. jin 仁: humanity, charity, kindness
(Continuation) 3. gi 義: justice, righteousness, integrity
4. rei 礼: etiquette, courtesy, politeness, also obedience
Dojo no kokoroe 5. makoto 誠: sincerity, honesty, truthfulness
“Rules to be followed in the Dojo“
6. chuugi 忠義: loyalty, fidelity, devotion
7. meiyo 誉: honor, merit, glory, dignity, reputation
These are the qualities which an aikidoka constantly maintains and improves.
aki no tachi “sword of autumn"
mizu no kokyu “breathing of water"
Terms, to know and
tsu no kokyu “breathing of earth"
understand
kaze no kokyu “breathing of wind"
hi no kokyu “breathing of fire"
from standing with both feet together, move
Tai / Ashi Sabaki hakobi ashi one foot in front
“Movement of the body / the legs(feet)" from standing with feet apart, bring one foot
yose ashi to the other so that both are together
omote grip ura grip

both thumbs are pointing in the same both thumbs are pointing in the opposite
Holding the Jo direction to the tip of the jo direction to the tip of the jo
han omote grip (“half-omote") han ura grip (“half-ura")

both thumbs pointing outwards both thumbs pointing inwards

These examination programs are built up following the teaching system © Eric Graf, 13/03/2016
th
of Aikido conceived by Shihan Masatomi Ikeda, 7 dan, former
technical Director of the Swiss Aikikai.
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Technical program

Explanatory comments,
Attack Techniques
theoretical elements
SUWARIWAZA “practice on the knees”
1 Ikkyo omote / ura for ura: basic and variation
2 Yonkyo omote / ura
Shomenuchi kiawase for ura: enter with irimi tenkan
Gyakuyonkyo omote /ura
3 Udegarami finish with osae
TACHIWAZA “standing practice”
tori: ushiro ashi irimi tenkan sabaki. Always the
4 Iriminage left foot forward or the right foot forward.
uke: attacks with the right or the left hand
1. sankakutai omote sabaki, basic
enter with
(theory kotegaeshi)
5 Kotegaeshi irimi
2. sankakutai ura sabaki (hitoemi),
tenkan
Shomenuchi variation (theory iriminage)
6 Aikiotoshi maeotoshi (omote), ushirootoshi (ura)
7 Sankyogoshi via ikkyo kuzushi
1. basic
8 Shihonage 2. variation
9 Iriminage taninzutori
intial contact 1. theory nikyo kuzushi
10 Ikkyo omote jodan yang omote 2. theory sankyo kuzushi
Katatetori aihanmi enter with irimi tenkan sabaki,
11 Aikigoshi and kaitennage intial contact chudan yang ura without giving
enter with tenkan sabaki
Katatetori gyakuhanmi 12 Aikigoshi and kaitennage intial contact jodan yang omote
13 Shihonage different forms
Ryotetori 14 Tenchinage 8 forms
15 Genkeikokyunage at least 8 forms
intial contact enter with tenkan
16 Jyujigarami jodan yang omote tenshin
Jyujigarami – kotegaeshi 1. kamihanen
Katate ryotetori 17 renrakuhenka-waza
Jyujigarami – iriminage 2. shimohanen
different forms enter with
18 Kokyunage (ushiroashi) irimi tenkan
19 Sankyo (omote/ura) 1. omote:
yoko ichimonji gedan enter with mae ashi
Ushiro ryotetori 20 Yonkyo (omote/ura) 2. ura: tate ichimonji tenshin, mae ashi irimi
21 Jyujigarami tate ichimonji
22 Ikkyo enter with ushiroashi tenkan tenshin:
Katatori menuchi 23 Iriminage 1. kata no te
2. uchi no te
24 Tenchinage
1. nage
25 Soto kaitennage 2. udegarami nikyo ura osae
Chudantsuki 26 Udegarami sankyonage theory sankyo
27 Udegarami yonkyonage theory yonkyo
28 Shihonage
enter with ushiroashi basic and variation
Yokomenuchi 29 Iriminage irimi tenkan: kiri oroshi
30 Jiyuwaza
Ikkyo, nikyo, 1. omote: enter with irimi tenkan tenshin
Chudantsuki 31 2. ura: enter with maeashi irimi
sankyo, yonkyo
Ikkyo, nikyo, only omote: enter with maeashi irimi,
Katatetori aihanmi 32 intial contact jodan yang omote
sankyo, yonkyo

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Examination program 1 KYU
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Buki waza
1 Explanatory comments,
“weapons katas
theoretical elements
practice”
Kumi tachi “work with bokken"
1 Ichi no tachi “father” & “son” 1st bokken kata
2 Ni no tachi “father” & “son” 2nd bokken kata
3 San no tachi “father” & “son” 3rd bokken kata
4 Yon no tachi “father” & “son” 4th bokken kata
5 Go no tachi “father” & “son” 5th bokken kata

Kumi jo “work with jo"

st
6 1 kata of Ikeda Sensei omote kata
nd
7 2 kata of Ikeda Sensei ura kata
rd
8 3 kata of Ikeda Sensei hiki otoshi kata
th
9 4 kata of Ikeda Sensei mae otoshi kata
10 Kata 38 without partner
Hojo From Kashima Shinden Jikishinkage-ryū
11 haru no tachi “father” & “son”
2
“spring sword”
12 natsu no tachi “father” & “son” “summer sword”
13 Aki no tachi “father” & “son” “autumn sword”

Genki waza
Explanatory comments,
“techniques Forms3
theoretical elements
for health"
Kokyu ho Breathing “breathing forms”
1 Mizu no kokyu “breathing of water"
2 Tsu no kokyu “breathing of earth"
3 Kaze no kokyu “breathing of wind"
4 Hi no kokyu “breathing of fire"

Genkikai Ground exercises “health system”

Yodo ho “Method to nurture, develop and
5
動 法 refine movement"
Mo kan undo
6 “Exercise for the capillary"
毛管 運動
Gassho gasseki undo “Exercise of the joined palms of the hands and
7
合掌 合蹠 運動 soles of feet"
Kingyo undo
8 “Fish exercise (goldfish)"
金魚 運動

1
The exact detailed descriptions of the katas required in the exam are described in the book “Aikido Sanshinkai: Buki Waza,
the practice of weapons in Aikido". This book can be obtained directly from Dojo de Neuchâtel - Espace Culturel or ordered
over the internet.
2
This kata is the subject of an article in the SSKL N°7 in which it is detailed step by step. This article can be downloaded free of
charge on the site www.dojo-ne.ch in section San Shin Kai Letter.
3
All the health exercises are described in details in the book “Regenerative Gymnastics Genkikai”. This book can be obtained
directly from Dojo de Neuchâtel - Espace Culturel or ordered over the internet.

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Examination program 1 KYU
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Wearing the hakama (袴)

The hakama is a pair of wide pleated trousers (seven folds, five on the front and two on the rear) with
a stiff back (koshi ita). Traditionally they were worn by the nobility in medieval Japan, the samurai in
particular. The current form was developed during the Edo period. Both men and women are permitted
to wear them.
The hakama, which is also a type of ceremonial garment, is worn in various martial arts, including
Aikido. In our school, they can be worn only by students who have attained a certain technical level
st
(1 kyu). Students must be able to train without being hindered in their movements. The decision
when a student is allowed to wear the hakama, lies with the director of the school. In fact, the hakama
has become a symbol of personal commitment to the discipline and technical level. Traditionally this is
not the case.
Wearing the hakama symbolizes that the person who wears it can shoulder responsibility transferred
to him/her within the dojo. It is a sign of consistency on the Aikido path.
In seminars held elsewhere than in one’s own dojo, hakama is in general only worn by students who
st
have achieved the 1 dan.

How to fold hakama?

As an elegant and symbolic garment, the hakama must be properly maintained. Just like the kimono
(aikido-gi), the hakama should always be clean and kept in good condition. The pleats must be
maintained each time it is folded. The drawings above illustrate how to fold the hakama properly.
Before starting Step 1, first turn the hakama to the opposite side of what is shown in Step 1 in order to
correctly align the rear pleats. Then turn the hakama back to the same side as can be seen in Step 1.
To ensure the pleats stay flat, you must stretch the material well before you begin with the folding.

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Examination program 1 KYU
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Theoretical knowledge: Aikido system

Aikido Sanshinkai (合気道 三心会)

Ikeda Sensei taught Genkikai as a complement to Aikido in order to help himself and his students to
maintain good health. His Dojo in Zurich was called “Aikido Ikeda-Dojo Sanshinkai”.The expression
Sanshinkai means three arts taught in the Dojo: Aikido, Kashima Shinden Jikishinkage-ryu (鹿島 神傳
直心影 流) hojo no kata (法定 之 形) and Genkikai (元気会). Hojo and Genkikai are taught to students
to help them progress more efficiently in Aikido.
Like a stool supported by three legs, sustainable balance is reached among the large and solid leg of
Aikido and the other two stabilizing legs, Hojo and Genkikai. Whoever wants to explore the mysteries
and the genius of Ikeda Sensei’s teaching must thoroughly study and practice Hojo and Genkikai. This
rd
is why Hojo and Genkikai are integrated step by step into the examination programs, from 3 kyu for
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Hojo and from 1 kyu for Genkikai.

Breathing (kokyu 呼吸)

Breathing exercises are of vital importance to the beginning of any practice, whether it is Genkikai,
Aikido or any other (martial) art. In Hojo, the breathing determines the rhythm of all acts/movements.

At the beginning of an Aikido-training session, the breathing exercises facilitate us to switch our foucs
from daily life outside the Dojo to trainings in the Dojo. They stimulate the return to oneself and
increase the ability to concentrate
Breathing is life. Our first action at birth is a deep inhalation, and the last action at death of the body, is
a deep exhalation. In between, along our whole life, we breathe in and out. Symbolically you can say
that each inhale is a small birth and each exhale is a small death. The control of the breath is the key
to the doors of yoga, Aikido, Genkikai, Hojo, etc. Visualization is another essential point not to be
neglected during practicing. Without visualization, all breathing exercises, which are practiced in our
school, lose their beneficial "powers". Each learning or training consists of the following stages:
 Breathing (cleaning),
 Concentration,
 Visualization,
 Meditation.
A rule of thumb for all forms of breathing is that, breathing in should always be shorter than breathing
out. The various types of breathing practiced in Aikido are listed in Table 1.

Breathing form Symbol Related Aikido-technique

Su no kokyu origin furizuki kokyunage
Yo no te kokyu yang tenchinage
In no te kokyu yin genkei kokyunage
Kimussubi no te kokyu The Whole uchi kaiten nage
AUN no kokyu union ikkyo (principle)
Mizu no kokyu water element ikkyo ura
Tsu no kokyu earth element kotegaeshi
Kaze no kokyu air or wind iriminage
element
Hi no kokyu fire element shihonage
Exercices of
cleansing aikido!
kokyu soren
Table 1: relation and symbol of the breathing forms.
Detailed description of all breathing forms listed in Table 1, their symbolism, and the accompanying
visualizations can be found in the book "Regenerative Gymnastic Genkikai".

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Examination program 1 KYU
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The tantien
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The tantien (tanden 丹田 in Japanese, dantian in Chinese) are energy centers, but different from the
main chakras; however, the first three chakras correspond to the lower tantien, the fourth and the fifth
chakra correspond to the middle tantien and the sixth and seventh chakras correspond to the upper
tantien.
You can count as many (secondary) tantien as the cells in our body. The
major-tantien are located on the centreline between left and right and
between front and back of our body. The lower tantien reflects the
connection between the consciousness and the physical body. The
middle tantien reflects the connection of consciousness with the soul. The
upper tantien reflects the connection between consciousness and the
mind. Through meditation and the practice of Aikido we aim to develop
the tantiens to go beyond our attachment to the physical body. Locations
of the major-tantiens:
 The first tantien, the lower tantien, also known as seika tanden
臍下丹田 or kikai tanden 気海丹田, can be found three finger
widths down from the belly button and corresponds with the
position of hara;
 The second tantien, the middle tantien or chudan tanden 中段丹
田 is at the height of the solar plexus (sternum)
 The third tantien, the upper tantien or jodan tanden 上段丹田, is Fig 1: Position of the
located at the height of the third eye. major-tantien.

Tori fune undo: the activation of tantien

th
In Aikido the first series of tori fune undo (see 6 kyu) are accompanied by the kiai “HEI-HOO” (“HEI”
while the hands are thrust to the front; “HOO” while the hands are withdrawn to the hips). In this way
the upper tantien (with the matching resonance level “iii” and “eee“) and the lower tantien (with the
matching resonance level “uuu", “mhh" or “ooo") are activated and connected. This rowing exercise
ends with “HEII".
Next, you join (gassho) the palms of both hands together, raised them straight towards the sky above
your head, touch the top of your head and move your hands upwards again with the head tilted back.
Then locate both hands upright above the third eye (upper tantien). After that keep your hands joint,
move them down by the front of your throat to the lower tantien and then shake them vertically
(furitama) in the direction of hara (lower tantien). While doing furitama, you shake your whole body to
the end of your heel (slightly lean your body forward). By doing so, you distribute all over your body
the energy which is previously generated by kiai “HOO” and stored in the lower body (lower
tantien).From the perspective of distributing energy, this series of exercises can be seen as a warm-up
for your body. Note that furitama is also practiced by monks in order to disperse the sexual desire.
The second series of tori fune are accompanied by the kiai “HEI-SAA" ("HEI" while the hands are
thrust forward “SAA” while the hands are withdrawn to the hips). In this way the upper tantien (with the
matching resonance level “iii” and “eee“) and the middle tantien (with the matching resonance level
“ooo” or “aaa”) are activated and connected. This rowing ends with “HEII”.
Afterwards, move your hands that are initially facing the earth by the front of your body, join them in
gassho in front of the solar plexus at the middle tantien and bring them upwards to the level of the
third eye (the upper tantien). Then move your hands down to the level of your heart (middle tantien)
and diagonal to this direction of movement begin to vibrate (furitama). This vibrates the whole body
(slightly lean your body backward). In this way the accumulated energy created by kiai “SAA“ in the
(middle tantien) is distributed over the whole body.
The third part of tori fune (optional) is accompanied by the kiai "HEI-HEI“. The upper tantien is
activated in this part. After rowing movements join your hands over your head in the gassho position
and then directly move them down (sky-earth axis, the seven chakras are connected) in order to
repeat the movement furitama (body is neither leaning forward nor backward).
After this ritual exercise we are centered, here and now, ready to practice.

4
Literally “cinnabar field”. Cinnabarit is the most common and widely used form of Mercury ore. During the last millennia, native
cinnabar deposit was used either as a pigment or, after extraction in pure vein, roasted to extract mercury by thermal
decomposition. Taoists used cinnabar as a drug to achieve condition of bliss. Cinnabar was considered to be the most effective
natural substance to achieve immortality, or at least to extend life and youthfulness.

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Examination program 1 KYU