When Noro Masamichi entered Ueshiba Morihei sensei’s dojo, he was a young medical student. This was a new world to him. He often described how he aimed at becoming Ueshiba’s closest student. He wanted to become “Chouchou“, the beloved disciple, the one who endorses the expectations of his master. Before he came to the dojo, it was Tamura Nobuyoshi sensei who was in this position. Soon after his arrival, a semester or a year, I do not recall the detail, Noro Masamichi was the one who was to receive the techniques his master .
These first steps of Noro sensei were to set the road for Noro sensei and Tamura sensei for the next decades. To please his master, Noro sensei had to become the best student to receive techniques, the best Uke among his comrades. He studied the art of Uke, the one who recieves the technique, the one who strikes, sends the energy, pushes forward his intent.
When I read that Tamura sensei was teaching that there is no such art to be studied as the art of Uke, I was at first surprised comparing to the teaching of Noro sensei but soon undertstood the different standing points of these masters in regard of how they had come to meet in the dojo. Once Noro sensei had become the demonstration partner of Ueshiba sensei, Tamura sensei was left with the study of the art of Tori, the study of the art of Uke being bestowed on to Noro sensei.
On creating the Ringenkai Aikido to host my study of the art of Noro sensei and through him of the art of Ueshiba sensei, I have come to examine closely the intent of my master. When at first I did not think much of the ambition of becoming the beloved disciple, I have now come to grasp what was at stake in the path of my master on approaching Ueshiba sensei. To understand my point of view, lets go back to film photography, where the film is the negative and the picture on paper is the positive. Uke as Noro sensei studied directly from Ueshiba sensei is the reverse, the negative of his master’s action. It is the exact replica of the art of the founder of Aikido. It is as close to him as the image in the mirror. Studying the art of Uke is then as walking through the looking glass and setting one’s body and mind in the exact pace of our master’s. This is one meaning of “The master is the mirror of the student” in which the student is invited to walk through the looking glass to reach his master.
I in turn studied the art of Uke before the art of Tori. I was in my first years the Uke of my teacher who himself was the Uke of Noro sensei. I later entered the dojo of Noro sensei to experience directly Uke in his hands. I have set on the path opened by my master to join the standing point of his own master. I am now opening once more this study within Ringenkai Aikido and sharing it with my students. I have kept silent so long about this study because it is a journey one walks in silence, in the shadow of the technique, with no space in between the master and the student, between Uke and Tori.
I will present my study of the art of Uke at the May 13th and 14th workshop at John Luijten’s dojo in Brunssum, Netherlands.
To those who regularly invite me abroad, please understand that I concentrate on study before teaching. So I do limit my journeys. If you wish to study with me, please come to John’s workshop. I will be very happy to present my latest research.