Robert Ekholdt Sensei unleashes a Complex Form in morning training

The Aikibojitsu Short Forms are concise, relatively brief staff movements that comprise the pieces of a universal puzzle of infinite potential (What is Aikibojitsu). Every Short Form is constructed of a formally designed beginning, middle, and end. When several Short Forms are brought together in sequence, the result is called a Kata.

When two or more Short Forms are put in sequence, the manner in which they are brought together comes into play. The end of a prior Short Form has to be matched to the beginning of the succeeding Short Form by way of the Short Form Interface, which can be simple or complex. In some cases, the end of a prior Short Form closely matches the succeeding Short Form's input interface, and only small adjustments need to be made. But often a new, much more complex bridging form must be designed in order to effectively join the end of the first to the beginning of the second.

Bridging forms are one major source of new Short Forms. When a bridging form is designed, if it is of sufficient interest, it will be isolated and given a formal beginning and a formal end, allowing the new Form to be practiced as a discreet unit.

Short Form Interface design involves resolution of the factors of position, momentum, rhythmic pattern, exponential development, and aesthetic content.

Sequencing and Kata Design

As practitioners gain skill and knowledge with respect to a number of defined Aikibojitsu Short Forms, the sequencing and interfacing of Forms starts to become important. Whenever two or more forms are brought into sequence, the interweave of interface factors (the distinct way the output of one form is interwoven with the input of another), has effects upon all forms in the sequence, effects which ripple both forward and backward down the sequential line. Choice of Short Forms and the manner in which they are put together in a designed sequence is a major topic of study in intermediate and advanced Aikibojitsu.

During regular daily classes, Aikibojitsu teachers often focus student training upon variations in how a small number of different Short Forms can be sequenced to create short katas that are not normally retained (that is, they are not added to defined kata list of the Daiki Taiyu.) Such sequencing and interfacing practice is approached carefully and methodically, various bridging forms experimented with, and various timing resolutions approached through rhythmic design changes.

Careful and methodical interfacing is only preliminary work, however. Ultimately, the goal of the Aikibojitsu practitioner is real-time interfacing of Forms, a learned skill that is essential for the full-power free staff work of Aikibojiitsu.

A practitioner well-versed in interfacing methods, who has a large repertoire of optimized Short Forms in hand, is able to regard the martial interaction between nage and uke from a deeper and purer perspective, one that allows real work toward practical and effective implementation of non-resistance as a foundational approach to conflict.