1. You encountered aikido at
the age of 27. In what way is it different from starting it as a kid. Does one
still have the chance to do performance at aikido even if he/she starts it in
his/her 20 or 30?
When I was 27 I found aikido and
aikido found me. I believe that everything happens for a reason. At 27 I was
ready, very ready, to bring aikido into my life. If I had started sooner it
would have been very different.
I believe starting as a child has
its benefits depending on the child. But unless you have the hunger and
commitment it really doesn't matter when you bring aikido into your life.
2. What
does it take to become a good aikidoist?
It takes finding your teacher,
commitment and the desire to change. You have to allow yourself to see inside
whether you like what you see or not. You also have to open your heart, to give
of yourself and train, train, and train some more.
4. Tell us about the
instructors under whom you studied, and how they gave you inspiration.
I have been very lucky to have such
wonderful teachers and to have found them at a time when they were in their
prime and willing to give to their students. My 1st teacher was Yamada sensei
at New York Aikikai. He was able to give all his students the joy of aikido.
His teaching was clear precise and always caring for the safety of students.
After leaving New York I began studying with Chiba sensei. At this time I
realized I wanted to become a teacher of aikido. In 1989 I moved to San Diego
with my family to begin the kenshusei program with Chiba sensei. This program
lasted for 4 years, training every day. There were weapons classes, meditation,
sword classes, body arts as well as nutrition classes.
There have been many aikido Masters
that have inspired me throughout my career. Yet, my 2 teachers, Yamada sensei
and Chiba sensei have been the people that helped me follow the path, and find
my path with aikido.
5. You are the third aikidoka
I am interviewing who practiced dancing before aikido (the other two are AnneMarie Crisanto Ruschel and Karen de Paola). What is it
that attracts dancers to starting aikido? Do you see any analogy?
I began dancing at the age of 8,
and professionally at the age of 14. I started with ballet, and then went to
modern dance. Dancing took me to many different countries, meeting many
different people. Yet somehow performing to an audience began to feel
superficial.
I'm not sure whether dancers are
drawn to doing aikido in particular. Dancers are drawn to movement, to
creativity and are very curious creatures. For me, I am drawn to movement, to
creativity and am very curious in my aikido as well. I am now more curious
about my students, how their learning and what is important to them.
6. I was much more up in the stratosphere than down on
the earth.— is a quote from an
interview with you where you say you were eager to take any kind of ukemi. Is
this a prerogative to doing good ukemi? How hard is to go beyond the
well-established reflexes and just let yourself be thrown?
When I began aikido I was a
professional dancer. So for me falling, and rolling and following seemed
natural. I was much more willing to fly through the air than being grounded.
This was a hard lesson for me to understand. But with much practice and
understanding partners we can all experience the beautiful connectedness with
another human being. Ukemi has many forms, and being open and sensitive is what
is most important. Not how high you can roll, how many break falls you take,
but how you experience the connection.
7. Have you ever visited the Hombu dojo in Japan? Do you
think it is a necessary step in the development of an
aikidoka to practice in Japan or have Japanese instructors?
Yes I have been to Hombu dojo a few
times. The 1st time was in 1982 when Yamada sensei took some students to Japan.
The 2nd time was in 2006 with Chiba sensei, when he took his newly promoted
shihan to receive their certificates from the Doshu. Both trips were amazing!
Training with other Japanese masters, teachers and students could not have been
better. As serious aikido students finding teachers that have studied with O’Sensei
I believe to be very important. There are not many of these people still
around. Yet many of their students here in this country, have transmitted the
teachings of their teachers.
8.
I shared on tumblr. the following quote by
you: It’s a human
connection, a dialogue, the voice of which is movement. Aikido practice and
teaching stimulates my curiosity about myself, others and life. Do you feel you were able to create deeper human
connections and get to know yourself better with the help of aikido?
With any in-depth study, you become
to know yourself better. If you are open and willing to put in the time there
will be benefits along the way. This has been true for me with aikido, Feldenkrais work and dance. Learning to trust
yourself, your teacher and your partners all contribute to a deep
self-knowledge and growth. Aikido has a way of allowing you to look deep inside,
to expose yourself. It is a very intimate martial art, peeling away layer by
layer and finding your true self.
9. Do you think it is
important in the development of an aikidoka to study the spiritual
side of aikido also?
I believe it is important to study
the spiritual side of aikido. During my time in San Diego with Chiba sensei
Zazen was very important. We would do 3-day meditation retreats a few times a
year. I have continued to keep meditation as part of my life. It is a very
personal decision whether to study aikido with or without meditation practice.
For me it has added a deeper dimension to who I am.
10. O'Sensei's teachings tell
us about the fire and water, male and female balance . How do you see this
applied to gender in aikido?
Whether we are creating a balance
of fire and water, hard and soft, male and female what is important is the
ability to be flexible. Not only having a flexible body, but a flexible mind as
well: being available to change, to learn and to connect to ourselves, to
others and to the world.
