Baltimore Aikido

09/24/2026

When performing aikido techniques, try not to float, lift, pull, or push uke.
Often we are spiraling through a grasped limb, progressively connecting to uke’s center.
Exteriorly focused, it helps to identify the path, the kinetic chain, the chain of motion and mechanics that will disorganize uke’s stable structure.

Note that the movement does not actually start with the arms, the movement comes up from the ground and is directed by the hip turn.
The arms and “kokyuing” hands support, facilitate and express.
Our posture and alignment is crucial as we
internally maintain essential integrity, integrating, while driving into the lower body. We extend, lengthen and expand taking uke’s structure and balance.

Becoming aware of exactly how movement begins shifts perspective. At first, we physically react moving segmented, using strength. This serves us well initially. Later we modify, refining from what might seem visually obvious to revealing multiple layers of what actually underlies.
We strive to identify and highlight potential that is not yet active or visible.

The teaching is infinite as we endeavor to continue our study one layer at a time.
Through the decades we modify our teaching as we continually enhance and improve our capacity, approach and ability to learn.
Practice to increase perspective, bring greater and greater awareness to our process and pursuit.

G. Breeland, 6th dan

09/14/2026

09/02/2026

Starting 9/6/2027
Sunday afternoon Aikido Class will run
4:00-5:00PM

09/01/2026

Are you developing "Arm Power?"

"Arms and Elbows: Morihei Ueshiba, Lost in Translation" - small errors make a big difference, and how it all relates to Aiki:

https://www.aikidosangenkai.org/blog/arms-and-elbows-morihei-ueshiba-lost-in-translation/

08/16/2026

"The Art of Peace begins with you. Work on yourself and your appointed task in the Art of Peace."

Here is a popular quotation from "The Art of Peace", translated by John Stevens:

"The Art of Peace begins with you. Work on yourself and your appointed task in the Art of Peace."

Here is the original Japanese quotation, from "Aiki Shinzui" (合気神髄):

合気はまず己れから始まる。己れを磨き、己れに与えられた天命を果たせ。

Here is a direct translation of the Japanese above:

"Aiki begins with oneself. Polish yourself and fulfill the heavenly mission that has been given to you."

If you noticed - "The Art of Peace" does not exist in the original Japanese, as it does not appear in in any of the original Japanese quotations from which these quotations were drawn, since... it's not really a phrase that Morihei Ueshiba even used.

What John Stevens did was to replace the words "Aiki" and "Aikido" where they appeared in the original Japanese text with "The Art of Peace", significantly altering the nuance and context of the quotations.

Actually,this was done at the request of the publisher, for marketing purposes - hoping to profit off of the enormous commerical success of "The Art of War" by producing a "companion volume".

It worked fairly well commercially, but at the cost of altering and rearranging the original meanings and, particularly in the case of the "The Art of Peace" which consists entirely of out of context quotations, eliminating the context of the statements that would actually give them meaning.

Here are some thoughts on that from Stan Pranin:

"Recently, due to the publication of a series of books whose authorship has been attributed to Morihei Ueshiba, founder of aikido, I have felt compelled to weigh in on the subject of what O-Sensei actually did write during his career as a martial artist. The answer is in brief, 'almost nothing.'
..the published books containing quotations attributed to Morihei Ueshiba available in various Western languages are based on “sanitized” Japanese versions of Morihei’s words. They have been edited and simplified with an eye to presenting text accesible to modern readers, but are devoid of many of those terms and metaphors actually used by the founder of aikido which failed to match the tenor of the times."

"O-Sensei's Spiritual Writings: Where did they really come from?" by Stanley Pranin
(link in comments)

07/29/2026

We're back to our full schedule: https://www.baltimoreaikido.com/class-schedule
😎

07/22/2026

PARTS OF A BOKKEN AND DETAILED KATANA NOMENCLATURE

Understanding the anatomy of a bokken and katana is one of the foundations of traditional Japanese martial arts. Whether you practice Aikido, Kenjutsu, Iaido, Kendo, or simply appreciate Japanese sword craftsmanship, learning the proper names of each component helps build respect for the weapon and the traditions behind it.

The Tsuka is the handle of the sword. It provides grip, control, and balance during cutting and training. Wrapped carefully with braided cord over ray skin, the tsuka is designed to maximize comfort and prevent slipping.

The Tsuba is the hand guard positioned between the handle and the blade. Besides protecting the hand from sliding onto the blade, it often serves as a beautiful artistic element featuring intricate Japanese designs.

The Ha is the sharpened cutting edge. It is the functional side of the blade responsible for precise and efficient cutting. A properly maintained ha reflects the skill of both the swordsmith and the swordsman.

The Mune is the back or spine of the blade. Although not sharpened, it contributes to the blade's structural strength and balance.

The Shinogi is the raised ridge running along the blade. This important feature increases rigidity while keeping the sword relatively lightweight, making it ideal for both cutting performance and durability.

Near the tip lies the Monouchi, traditionally considered the most effective striking portion of the blade. Most cutting techniques aim to make contact with this section because it delivers optimal power and precision.

The Kissaki is the sword's point. It requires exceptional craftsmanship and polishing, playing an important role in thrusting techniques and precise targeting.

Beyond these primary components, a katana contains many specialized parts including the Saya (scabbard), Koiguchi (scabbard mouth), Sageo (cord), Kurikata, Fuchi, Kashira, Menuki, Mekugi, Hamon, Nakago, and Mei. Every component serves a specific purpose, combining beauty, functionality, and centuries of Japanese sword-making tradition.

Japanese sword terminology is more than vocabulary—it represents a deep understanding of craftsmanship, discipline, and martial philosophy. Every name reflects generations of refinement and respect for precision.

For martial artists, studying these terms improves communication during training and strengthens appreciation for traditional techniques. For collectors and history enthusiasts, knowing each part allows a deeper understanding of authentic Japanese swords and their construction.

A sword is more than a weapon; it is a symbol of discipline, responsibility, and continuous self-improvement. By learning its anatomy, we also learn the values of patience, precision, and respect that define the spirit of Bushidō.