Aikido

What is aikidō?

Aikidō is a modern Japanese martial art developed around Morihei Ueshiba during the twentieth century. The name is often explained through the kanji ai, ki, and dō, but translations of ki and aiki have multiple meanings.

Many aikidō schools train with partner exercises in which an attack is met with movement, timing, and control. Throws, joint locks, immobilizations, and ukemi—falling and rolling safely—are often part of the basics. The precise techniques, philosophical emphasis, ranking systems, and training methods vary by organization.

1883–1919: Morihei Ueshiba and his training

Morihei Ueshiba was born in 1883 in Wakayama Prefecture, Japan. He studied various martial arts and was particularly influenced by Daitō-ryū Aiki-jūjutsu, which he studied under Takeda Sōkaku from 1915 onward. He is also associated with Tenjin Shin’yō-ryū, Gotōha Yagyū Shingan-ryū, jūdō, and Japanese weapons training.

From 1919 onward: Ōmoto-kyō and an evolving vision

After leaving Hokkaidō in 1919, Ueshiba came into contact with Onisaburō Deguchi, a spiritual leader within the Ōmoto-kyō movement. This relationship influenced Ueshiba’s religious and philosophical development. In his later vision, harmony, reconciliation, and minimizing harm took on a greater role.

The influence of Ōmoto-kyō is not interpreted in the same way by every modern aikidō school. The historical relationship explains part of Ueshiba’s personal development, but does not make aikidō a single uniform religious practice.

1920s–1942: development of aikidō

In the late 1920s and 1930s, Ueshiba developed his own synthesis of earlier martial arts influences. During this period, his art was referred to, among other names, as Aiki Budō. The technical influence of Daitō-ryū remained important, while Ueshiba’s teaching and philosophical explanations changed over the course of his life.

The name aikidō was officially used in 1942 as part of a reorganization of martial arts supported by the Japanese government. However, the use of the name and the institutional development were part of a longer process, so 1942 should not be regarded without qualification as the art’s sole year of origin.

1942–1969: Later development and transmission

Ueshiba withdrew to Iwama in 1942, where he continued to train and teach. In his later work, philosophical and spiritual themes became more prominent for many students. After his death in 1969, students and successors developed different interpretations and independent lineages.

From 1951: International spread

From 1951 onward, aikidō was demonstrated and taught outside Japan, initially in countries including France. In the following years, it spread through Japanese teachers and international students to the United States, the United Kingdom, Italy, Germany, Australia, and other countries. Sources give varying figures for the number of countries where it is practiced.

After Ueshiba’s death, multiple organizations and styles grew. Aikikai remained connected to the Ueshiba family lineage, while Yoseikan, Yoshinkan, Shōdōkan, Shin Shin Tōitsu, and Iwama-related lineages, among others, developed their own curricula and organizations.

From the 1960s: aikidō in the Netherlands

According to Dutch and international aikidō sources, aikidō was introduced in the Netherlands in the early 1960s. Peter Beljaars was an important early pioneer who established a martial arts school and an aikidō tradition in Tilburg. During the early period, Dutch practitioners also trained abroad, while Japanese teachers visited the Netherlands for classes and seminars.

Dutch development subsequently took place through various federations, foundations, dojos, and style organizations. The precise role of each organization, their affiliations, and the claim that Tilburg was the Netherlands’ only birthplace of aikidō are described differently depending on the source.

Training and ukemi

Aikidō training is usually structured around partner exercises. Uke initiates the agreed-upon attack and receives the technique; tori, also called nage when a throw is performed, executes the technique. Both roles are active and alternate.

Ukemi, falling and rolling safely, is a fundamental skill. The intensity of a throw or control should be adjusted to the partner's experience, fitness, and abilities. A good class includes clear stop agreements, supervision, and a gradual progression.

Many schools train with strikes, punches, and grips as agreed-upon attacks. Other elements may include throws, controls, immobilizations, weapons forms, free-form practice, or training with multiple partners. The balance between these elements varies by style.

Aikidō generally places less emphasis on competition results than many martial arts, but this is not true of every lineage. Shōdōkan or Tomiki aikidō, for example, uses its own form of randori and competition. Mental training, focus, relaxation, and self-control may also be part of the class, without this constituting a single uniform religious practice.

Styles and organizations

Aikidō consists of multiple styles and organization-specific curricula. The best-known lineages include Aikikai, Yoshinkan, Shōdōkan or Tomiki, Yoseikan, Shin Shin Tōitsu, and Iwama-related schools. The names are not used in exactly the same way everywhere, and some groups are organizationally or technically connected to multiple lineages.

Aikikai is associated with the Aikikai Foundation and the Ueshiba family lineage. Yoshinkan often places greater emphasis on set basic forms, structure, and powerful execution. Shōdōkan/Tomiki has its own approach to randori and competition. Shin Shin Tōitsu places greater emphasis on ki, coordination, and the relationship between mind and body. Iwama-related schools often emphasize a strong connection between weapons forms and empty-hand techniques.

These descriptions are general points of reference, not a complete description of every dojo. Training intensity, level of contact, philosophy, grading rules, and the role of weapons vary within and between organizations.

Techniques and forms of execution

Commonly used terms include irimi, entering; tenkan, turning or redirecting; omote and ura, different directions or variations of execution; tachi-waza, standing techniques; suwari-waza, techniques performed from seiza; and hanmi handachi, in which tori begins seated and uke is standing.

Examples of well-known techniques include ikkyo, nikyo, sankyo, yonkyo, gokyo, shihōnage, kotegaeshi, iriminage, tenchinage, koshinage, jūjinage, and kaitennage. Terminology and technical execution may vary by organization.

Aikidō in the Netherlands

According to Dutch aikidō sources, aikidō was introduced in the Netherlands in the early 1960s. Peter Beljaars is regarded as an important early pioneer. He established a martial arts school and aikidō tradition in Tilburg, making the city an important early center in the history of the art in the Netherlands.

In the early period, Dutch pioneers also trained in Belgium, France, and Germany. Japanese teachers, including Hirokazu Kobayashi and Nobuyoshi Tamura according to the historical sources provided, visited the Netherlands for lessons and seminars. Historical sources also mention the influence of judoka and the early relationship with the Dutch Judo Federation.

The Netherlands has various federations, foundations, style organizations, and independent dojos. The sources provided mention, among others, Aikido Bond Nederland, Aikido Federatie Nederland, Culturele Aikido Bond Nederland, Dutch Aikikai Foundation, and Tomiki/Shōdōkan Aikido Nederland. Their recognition, memberships, and relationships with one another should be checked for each organization and kept up to date.

Dojo directories and organization websites list classes for adults and children. Trial lessons, costs, style, contact level, hakama policies, and examination requirements vary by location. Ask a dojo which lineage it follows and how safety and guidance for beginners are arranged.

Aikidō and self-defense

Aikidō includes techniques for dealing with grabs, strikes, punches, and sometimes weapon forms. This does not mean that every aikidō school primarily teaches self-defense or that training automatically prepares you for a real violent situation.

Those who choose aikidō for self-defense would do well to ask how much resistance, timing, scenarios, and realistic attacks are included in the lessons. De-escalation, creating distance, and seeking help remain sensible choices whenever possible.

Safety and injury prevention

There is a risk of injury in every martial art. In aikidō, injuries can include those to soft tissue, joints, fingers, and toes. Responsible training requires a suitable mat, proper ukemi, appropriate speed and force, communication between partners, and an instructor who intervenes when necessary.

Hazing, deliberately forcing techniques, and reckless throws have no place in safe training. A technique must be stopped immediately when a partner taps out, indicates pain, or loses control.

What can you expect from a class?

A class often begins with greetings, a warm-up, and exercises for posture, footwork, or ukemi. Partners then practice an agreed-upon attack and technique, switching roles. Depending on the dojo, the class may end with repetition, free-form exercises, or meditation-like relaxation.

Aikidō is suitable for people of different ages and skill levels, but the intensity and type of contact should be appropriate for the participant. Ask in advance about trial classes, clothing, injuries, level of contact, exam rules, and how beginners are supported.

Bron-critical summary

Aikidō is not a single uniform system worldwide. The history, kanji explanations, philosophical interpretations, training objectives, and organizational claims come from different types of sources. Ueshiba’s own vision, an organization’s tradition, and the current practice of a Dutch dojo must therefore be distinguished from one another.

In this entry, historical claims about Ueshiba, the Dutch pioneers, and international dissemination are phrased cautiously. It is not claimed that aikidō is practiced the same way everywhere, that every school is free of competition, or that the art is automatically effective for every form of self-defense.