Amanda Ambrosio first studied Taekwondo. When she relocated for an internship in Oklahoma, she could not find any Taekwondo schools that she liked and found an aikido dojo that welcomed her. Over the years she learned from Jiyushinkai founder Chuck Clark and his son and current head, Aaron. Ambrosio has since moved to Washington State to learn directly from Aaron and establish her Bothell Aikido. Today, Ambrosio took some time to talk about her time in aikido, the uniqueness of Jiyushinkai, and the transition from father to son. All images provided by Amanda Ambrosio.
Martial Arts of Yesterday, Today, and Tomorrow: Welcome Ambrosio Sensei! Thank you for joining!
Amanda Ambrosio: Thank you for having me!
MAYTT: How did you come to find Jiyushinkai Aikido and what was it about the are that you felt more connected to than Taekwondo?
AA: I started my journey in martial arts because I was interested in learning something that would help me with self-defense and confidence. My mother got me into Taekwondo, and I studied it for about two years. It was fun, but I’m not typically an aggressive person, so it didn’t fully resonate with me. As I finished up college, I had to do an internship, and of all places, I found myself in Enid, Oklahoma. At the time, I was living in Dallas and still studying Taekwondo, but I had to move to Enid. I knew I didn’t want to switch to a different school of Taekwondo while I was there as that might get confusing.
A friend of mine from college had studied aikido at SMU, and he showed me some things that I found really cool. I wanted to learn more about what he did, so I thought I’d study aikido for the six months while I was in Enid. I looked around and happened upon a dojo, watched a class and really liked what I saw. I asked if I could train with them, and they welcomed me.
As I began learning the various aspects of aikido from the teachers there, a seminar was held, and people traveled to Enid for it, including Chuck Clark Sensei, the founder. I was immediately captivated by Chuck Sensei as he was an amazing practitioner, and he always emphasized the idea of “You can’t hurt me, and you can’t make me hurt you.” I loved that philosophy because it resonated with my desire to protect myself without harming others.
Being a musician, I also connected with how he talked about the rhythm and tempo in aikido and how it correlated with music. When I experienced his technique firsthand, I was hooked. After my internship, I moved back to Dallas and continued training, finding a dojo there. I never went back to Taekwondo, though I’m glad I learned how to kick and punch, which has been useful. Ultimately, my heart was in aikido.
MAYTT: What was the name of the dojo and who did you first learn under when you found aikido in Oklahoma?
AA: The 家族 (Kazoku) Dojo with Jay Hines as the head instructor. This was the dojo founded after the second Oka dojo, originally Chuck Clark Sensei’s dojo where Aaron Clark, his son, grew up. This new dojo was now home to Chuck Sensei’s students. There were a number of yudansha (dan graded) instructors and they took turns teaching on different nights. I also had a sempai who worked with me one on one in the beginning to learn the basic moves. I went to every class I could, eager to learn as much as I can.
Chuck Sensei was a former student of Karl Geis Sensei. I never met Geis Sensei, but I knew many people who trained under him. He was an “interesting” guy – there’s even a story that he once took a gun on the mat once. Not sure if it was true, but it was clear to me that he was a bit eccentric, to put it mildly, which led many of his students to leave. A number of them found a home with Clark Sensei, who had started his own organization, Jiyushinkai.
By the time I met Clark Sensei, he had moved from Oklahoma, and eventually ended up in Arizona. The dojo in Enid was filled with his top students. Jay Hines Sensei, 5th dan, was his most senior student, and there were about three or four other black belts, including a couple of nidans and sandans. Jim Moore was another leader there who I recall being very patient and a great teacher. They were all incredibly nice to me.
One of my favorite memories is from the day I started. I was dirt poor and couldn’t pay dues. They offered to let me clean the dojo in exchange for dues and they also gave me a uniform that day. Their kindness continued as I was given a bokken (wood training sword) and one of my sempai gave me his jo (long training stick), which is what I still use today! They really took care of me when I was just a poor student struggling to get by.
MAYTT: How would you describe the training you experienced while you were at the Oklahoma dojo?
AA: The teaching approach was very personalized as it was one on one initially. I was paired with a sempai who helped me learn the basic movements, tandoku undo, and how to fall, ukemi. Once I learned the basic movements and ukemi, I was then incorporated into class. Later, I learned a paired practice called musubi renshu which is a paired practice that teaches you basic principles then I started to learn kata. Each class, after warming up, we would practice ukemi, review the basic movements and then do our paired practice, musubi Renshu and 17 basic kata called Junanahon Kihon no kata. When I learned new techniques, Sensei would work one on one with me to help me get an understanding of the kata, ensuring I understood how to take my partners’ balance, then fit, and finally cause them to fall down. Sensei would calmly offer support and tailor the instruction to my learning needs. I progressed as quickly as I was able, and I have nothing but good things to say about the teaching style – it worked really well for me.
MAYTT: Did you experience the same teaching style when you attended the seminar with Chuck or was it a bit different because it was a seminar?
AA: It was definitely more of a seminar, and it was a long time ago. I remember one thing Chuck Sensei did that made me laugh because I struggled so much to do it – it was hilarious. There were a few of us white and green belts attending the seminar, and Chuck Sensei would touch you somewhere on your body, like your shoulder, hip, or knee, and you just couldn’t stand up. His kuzushi was so good, and he knew exactly the right direction to apply force. I really wanted to learn that, but no matter how much I tried, I couldn’t get it. He would come over and show us, but we just couldn’t do it the way he did. It was like magic!
During the seminar, Chuck Sensei was inspirational. He would do demos, and then we would try it but often struggled to do the technique as effectively. There were also a lot more people so Sensei could not get hands on everyone. Seminars are a different learning style and not only about doing techniques. Chuck Sensei often talked about various martial arts concepts and shared his philosophies. He was quite eloquent about life, drawing from his vast life experiences, including serving two tours in Vietnam as a Marine. He had a way of drawing people to him, and nearly everyone who met or talked with Clark Sensei felt inspired. He was the kind of person who could help bring out the best in people and you felt special if he spent time with you.
MAYTT: How have you seen Jiyushinkai training change and evolve since you first began, or has it stayed consistent since then?
AA: Yes, but that’s a deep conversation. I’ll try to summarize. It has to do with our school and its progression, which is a bit different from mainstream aikido because it was founded by Clark Sensei. He was an artist, while Aaron Sensei is more of a scientist. To explain, imagine that the perfect aikido is at the top of a mountain. Clark Sensei took a meandering path up, exploring various disciplines like tai chi, karate, aikido, and judo. Jiyushinkai, our school, is a combination of everything Clark Sensei learned over the years. As an artist, he couldn’t always articulate his methods clearly – he could get you to do it, but the student might not fully own the knowledge.
When Clark Sensei began to retire, Aaron Sensei stepped in, bringing a more scientific approach and filled in the gaps. There’s also a different experience between being an away student and training in a home dojo. I was an away student for a long time before moving to Seattle and joining Aaron Sensei’s dojo. When I joined, there were holes in my knowledge – Aaron Sensei described it as having Swiss cheese knowledge. I knew many good things, but some pieces were missing, and Aaron Sensei worked hard to help fill in those gaps, making me a more complete aikido martial artist.
With Clark Sensei’s health decline and recent passing, Aaron Sensei leads our school. This has caused some shifts, as Chuck Sensei was a galvanizing figure, and his students had to accept the change and align with Aaron Sensei. The transition has been difficult for some because Aaron Sensei approaches things differently. He is a more collaborative leader and inspires us to take ownership of our school’s system versus following one inspirational leader. Despite the challenges, it is an important shift and will allow our school to live on as a system and not due to the person in leadership.
Jiyushinkai differs from mainstream aikido in some key ways, especially with our structured syllabus. It’s a traditional art where you start with basic movements, then move on to paired practice, followed by kata. The progression is very structured. Only after becoming competent at a kata do you move to the next, without venturing into other techniques prematurely. This structured approach sets Jiyushinkai apart from mainstream aikido.
MAYTT: You mentioned that the structured curriculum is one of the aspects that makes Jiyushinkai unique. What other aspects make the art unique compared to other aikido styles?
AA: Our school incorporates a lot of judo, as Kenji Tomiki, who founded Tomiki-ryu who was part of the lineage of our school, was a student of Jigoro Kano, the founder of Judo. Many of our senior teachers, including Clark Sensei, studied judo as their first martial art. We incorporate Kodokan ukemi as our principle system of ukemi. This emphasis on ukemi is incredibly important to our school, and we’re known for having really good ukemi. When I’ve visited other aikido (and judo schools), they’ve often been impressed by this aspect of our training. Ukemi is a fundamental aspect of our curriculum, and it’s the first art you learn when you join and we practice ukemi every class, which sets us apart.
Another key aspect of our school is a focus on taking the opponent’s balance at the first touch. For example, in our Musubi Renshu, the first paired practice, we grab the wrist and direct energy through the opponent’s center to the back of their heel, forcing them to take a step. In kata, our attacks come straight up to the face, taking balance through the spine. Also this attack is unique to our school and has many purposes. Attacks from below are hard to see, so you develop a holistic awareness and since this attack is the hardest to deal with, by practicing it a student becomes better equipped to handle any other attack. It also helps desensitize practitioners to having hands in their face, which can initially be intimidating but becomes manageable over time.
Our school also emphasizes testing the attacks. We test to ensure that when we are attacking, we validate that there is a strong effect which takes our opponent’s balance, causing them to fall. Students are encouraged to test periodically without telling our opponent when, providing direct feedback on the effectiveness of their technique. This creates a quality check within our school that allows us to maintain high levels of effectiveness. I’ve tested high-ranking practitioners in other arts before, and they were sometimes irritated by our approach. However, this quality check is integral to our training, offering a clear understanding of how well your technique is performing. It is expected that students will test both junior and senior students, including Sensei at any time, even during a demo. I think that is pretty unique in the Japanese martial arts world.
MAYTT: In going to Aikikai seminars, how have you seen your understanding of aikido translating in that type of environment?
AA: There are many ways to address that. About ten years ago in Seattle, Jun Akiyama organized a friendship seminar, and our practitioners did just fine training with everyone. Typically, our people adjust well to other schools of aikido techniques, but it seems more challenging for those from other schools to adjust to our school. For example, our ukemi is different – we never roll backward because it’s risky, as someone could fall on top of you, which has led to injuries in the past in other schools. We always roll forward, and that’s just one small example of the differences.
A broader conversation around aikido and its founder, Morihei Ueshiba, might be helpful here. Ueshiba was an artist, and aikido often reflects that artistic nature. It’s less about structure and more about concepts like “ki” or energy. In contrast, in my classes, we focus heavily on technical details like bone structure, muscle alignment, and posture. We provide very specific tools on how to connect to someone’s posture and maintain correct posture ourselves, with a lot of physical concepts and tools around it.
In my view, but I am definitely biased here, we offer better tools for martial artists to adapt to other schools. However, I’m not sure that other aikido lineages provide the same tools to adapt to ours. Our style is distinct enough that we often refer to it as Aikibudo rather than aikido. We incorporate judo techniques, grappling, and big throws, which are elements that other schools might not be accustomed to. Their ukemi often isn’t sufficient for some of these techniques. We can help them bridge that gap to be successful in our school. It’s not an insignificant gap, but it’s manageable with the right approach. We have had a number of former aikido or judo practitioners join our school who have been able to adapt.
MAYTT: How does Jiyushinkai talk about its lineage and its teachers to others?
AA: When we have new students, we start by discussing our lineage. First, we mention Jigoro Kano Sensei, the founder of Judo and Morihei Ueshiba the founder of Aikido. Then, we discuss their mutual student Kenji Tomiki. After becoming a 4th dan in Judo, Kano Sensei encouraged Tomiki to study Aikido with Morihei Ueshiba Sensei, the founder of Aikido. He became the first 8th dan black belt awarded by Ueshiba Sensei. Tomiki Sensei had a number of notable students including Tsunako Miyake Sensei and Karl Geis Sensei. Chuck Clark Sensei considered both of them his teachers and very influential in his practice. Our system and kata largely came from this lineage.
One aspect to share is that we don’t follow the competition aspect of Tomiki ryu; we have moved away from that as the “sport” aspect can diminish the essence of being a martial art with the emphasis on scoring points over self defense.
MAYTT: How does the discussion of your lineage affect your curriculum?
AA: We explain our techniques in relation to who contributed what to our school. Tomiki Sensei gave us the junana kihon no kata, the 17 basic techniques, which form our primary set, and the six koryu no katas. The O-Waza, which we call the “Big 10” was brought into the system in the 1950s by Hiroaki (Riki) Kogure Sensei. Kogure sensei spent some time teaching at Karl Geis’s dojo in Houston. Miyake Sensei contributed to our solo movement practice called, Aiki tandoku undo, which forms the fundamental basis of our movements. We discuss these contributions in the context of how our training evolved over the years. We also have koryu kata, which originated from Daito-ryu, and some of these kata include jo and bokken. Aaron and Chuck Sensei had special permission to assimilate the Aikiken and Aikijo kata from Roderick Kobayashi sensei from Seidokan, They are a set of three solo jo and three solo bokken kata to provide us with some basic sword and jo movements and handling skills.
Weapons skills are essential because the koryu kata include both jo and bokken, so knowing how to handle weapons is crucial for success in our school and also teaches us many lessons that can be applied to open handed techniques. Many of our practitioners also study Shinto Muso Ryu jo, under Phil Relnick Sensei, including myself, as a way to learn weapons handling and gaining a broader perspective of martial arts. Overall, we discuss how each aspect of our training connects back to its origins, helping to bring the whole school together.
MAYTT: When Chuck broke away from Geis, was there any real explanation as to why Jiyushinkai was formed?
AA: There were many stories about Geis Sensei being emotionally abusive and his actions were often troubling for his senior students. We suspect he may have had a personality disorder. He had quite a temper and I heard that he once got very angry and hurt someone, which led Chuck and the other senior students to distance themselves from him. Chuck Sensei wanted to continue to practice but could no longer stay as a student of Karl Geis Sensei. He decided to establish Jiyushinkai as a place where practitioners would have the freedom of heart, mind, and spirit which is what inspired the name, “Jiyushinkai.” This is what he felt he did not have under Geis Sensei. Many of Geis’ senior students felt similarly and joined Jiyushinkai or formed their own organizations.
I will add that the stories about Geis’ seminars are quite vivid and legendary; they were known for being lively fun events with skits and a party-like atmosphere. He was a remarkable martial artist and studied aikido and judo extensively.
MAYTT: I talked with Nick Lowry of Kaze Uta Budo Kai. Did Jiyushinkai and him have any communication since both of them were former Geis students?
AA: Yes, I believe he’s in Oklahoma City. We haven’t been in touch for a long time, though. Aaron Sensei knows a lot of those people, but I wouldn’t say he talks to them regularly. Chuck Sensei was more social as he was essentially retired the last few decades or so of his life and was active in various aikido social circles, whereas Aaron Sensei has not had the time with a growing family and a full time job. Chuck sensei had some contact with Nick and conversations over some years. With Chuck Sensei’s decline, the last five years or so, Aaron Sensei and our group haven’t had much presence in those social circles.
It seems like there used to be more of a connection in the aikido world, but it appears less so especially since Covid, although, I might not be as aware since I also have a family and a full time job myself.
MAYTT: I have seen modern aikido become more isolated than in the past, where people have said there was more of an openness to aikido – any aikido.
AA: I agree as I feel this is true as well having heard this from some of my friends who are in different aikido schools. Back in the 70’s, 80’s and 90’s, a lot of Americans lived and studied martial arts together in Japan and there was a lot of conversation, friendship and collaboration. When these individuals returned to the States, there was a rich exchange of ideas and a well-structured network, with regular “friendship seminars.” Additionally, American leaders emerged like Stanley Pranin, who established a great publication like the Aikido Journal.
With the advent of the internet, the focus shifted from print to online platforms. Initially, online forums provided a great space for discussions. For example, Jun Akiyama created the AikiWeb.com which did a lot to foster communication. Sadly, it seems there are fewer forums and less interest in connecting online or in person. The Aiki Expo is another example of those wonderful in-person events that haven’t happened in a long time.
MAYTT: Was that the Aiki Expo with Stanley Pranin?
AA: Yes, I haven’t seen that kind of activity in the aikido world for a long while. From my understanding, and maybe I’m just unaware, but I don’t hear about those friendship seminars or expos anymore. They do require a lot of work, and I don’t know of anyone who is currently spearheading such efforts. It seems like there’s a lack of energy to organize these events. Maybe you could take on that role if you’re interested.
MAYTT: Another way to think of it too is that many of those practitioners from Japan have retired or passed and that leaves very big shoes to fill. It is a giant learning curve without these monolithic people leading.
AA: Yes, there have been many shifts and changes as that generation passes on. The younger generation needs to step up, and there’s an ongoing issue with attracting young people to aikido. We have many older practitioners, but we need to encourage younger participants. There’s a lot of room for improvement and growth for the younger generation to fill those shoes and create new structures and forums.
Additionally, we are becoming more removed from Japan. Many current practitioners have never spent significant time in Japan or are first- or second-generation students who lack that direct connection. Leadership and continuity within the aikido community can be difficult, and the impact of COVID-19 exacerbated these issues. Sadly, COVID-19 significantly affected our ability to practice aikido and led to a loss of many students.
MAYTT: Since you bring up covid and we are still recovering from it, in the next ten years, where do you think aikido will be here in the United States?
AA: I can’t really speak to other schools, so I will focus on Jiyushinkai. Our school has a lot of room to grow as we navigate this transition to Aaron Sensei’s leadership. Chuck Sensei was the founder, and Aaron Sensei is his son. I’m about the same age as Aaron Sensei and we aren’t getting any younger, so we need to identify and cultivate the next generation to carry on our art. This is a very hands-on practice, and effective transmission requires direct involvement with senior teachers. Over the next ten years, it’s crucial to build a solid group of younger students to ensure that the Jiyushinkai art is preserved and passed on.
Our goal is to pass on the art to as many people as possible and hopefully find at least one or two individuals who will make it their mission to continue its transmission. Without this, the art could be lost, which would be a shame as it’s an incredible and transformative system.
Chuck Sensei, inspired through his personal presence, Aaron Sensei focuses on making the system work and building people up within it. The goal is to grow within the system and to pass on the system, rather than just becoming a leader like Chuck Sensei. We are still in the midst of this transition, and I hope that in ten years, more of my juniors will grow to become senior leaders in our school, growing a deep understanding of the system and be able to transmit it effectively.
MAYTT: Have there been any talk or plans about putting the system on tape, so to speak, to preserve it?
AA: We would love to have more documentation of our system. We have a lot, but it’s not publicly available. Chuck Sensei was working on a book for years, but it was never published. Unfortunately, it got lost due to changes in computers and other issues.
We do want more documentation, but we must balance this with the fact that our system relies heavily on hands-on experience. You can’t transmit our system effectively through videos or books alone. The experience of learning from someone who truly knows what they’re doing is crucial. For example, when Chuck Sensei threw me with kote gaeshi, I was a shodan at the time. It was the most incredible fall I had ever experienced; I felt as though I fell from six feet up but landed on a pillow. The whole dojo went silent, and then I just started giggling because it was such an amazing fall. Chuck Sensei’s posture and execution were perfect, and it was an experience that can’t be put into words and I hope to give that same experience to my students so they realize that through correct movement, you can protect yourself and take care of your opponent. You can’t capture that in a book.
Our school emphasizes how to achieve that level of skill – through good ukemi, aligned posture, clean connection, and correct body movement. It feels like magic, but it’s the result of excellent practice of the system.
MAYTT: What factors ultimately led you to establish your Bothell Aikido and how has teaching furthered your understanding of the art?
AA: Good question. Our home dojo, Aaron Sensei’s dojo, is located in Monroe, about thirty minutes away. Due to life changes and covid, he has reduced his classes to just one time a week. I wanted to train more and also had a strong desire to teach and grow in our school. Although I had taught before, I hadn’t done so recently and was eager for more opportunities.
Since Aaron Sensei was dealing with his father’s declining health and had family commitments, he couldn’t maintain a dojo, so I decided to start Bothell Aikido. My dojo is currently in my home, but we’re building a dedicated dojo space on our property. We expect to move into the new dojo in a few months.
I might need to reconsider the name since we’re technically in Woodinville, not Bothell, but that’s a minor detail. Having students has really made a difference for me, helping me articulate everything I’ve learned over the past sixteen years in Seattle. It has given me a systematic approach, thanks to Aaron Sensei. Teaching has been incredibly valuable, allowing me to refine my martial art and learn a lot from the system.
MAYTT: Best of luck getting your house dojo together. That is every martial artist’s dream!
AA: Yes, we’re really looking forward to it; it’s going to be a wonderful space. My husband teaches Shinto Muso Ryu jo and I’ll be teaching aikido. It will be a very family-based environment with emphasis on quality of students not quantity. We’re not looking to use this to make ends meet; it’s not our career. Our goal is to share this art as a gift and ensure that the next generation has the opportunity to learn it. We need students to train with us and ensure that this great legacy continues into the next generation.
MAYTT: Final question: in speaking with previous women, they have mentioned a difference in experiences compared to their male counterparts. From a woman’s perspective, what have been your experiences as an aikido practitioner?
AA: I’ll limit my comments to aikido since I also study other koryu, which has its own complexities. As a woman, I’ve had really positive experiences in Jiyushinkai. I haven’t felt treated any differently, in fact, Clark Sensei always mentioned that women can be just as effective as men in our system. He was proud to have raised many senior women in our school.
I know some other women have had rough experiences elsewhere, but my own experience has been largely positive. With that being said, I have encountered a senior leader who was very inappropriate. I know that this was not an uncommon experience for women with male leaders making inappropriate advances.
Thankfully, my experience with this was quite some time ago, and they are no longer practicing. These days our teachers, now including myself, take any such issue like this very seriously and we address it immediately.
Overall, I feel I’ve been treated fairly in Jiyushinkai, but I’ve heard that women sometimes also face higher levels of “correction” and even get corrected from their juniors. I don’t believe I have experienced that. Also, some schools focus on using power to apply techniques which women complain about, and rightly so, that it hurts. Then they get told that they are weak or “whiney.” Many women either learn to “take it” or leave. This is very unfortunate. In our school, my seniors believe that women could perform just as well as men because the art relies on skill and posture, not muscle, and that techniques should never rely on pain. It is as simple as controlling your opponent’s body through proper connection of your bones to their bones and taking the slack out of the tendons, such that when you move, they have no choice but to move to a place where they are unable to stand up.
Chuck Sensei always encouraged women to excel and reach their full potential in our school. I’m very grateful for the teaching I’ve received. Aaron Sensei also emphasizes that all students should take ownership of their art and strive for success. While there are challenges that come with being a woman in the martial arts world, I feel fortunate to have had mostly positive experiences overall.
MAYTT: Thank you for this great conversation, Ambrosio Sensei!
AA: It was a great experience! Thank you for speaking with me and sharing my story and the story of our school.
To learn more about aikido and its history in America, click here.
Martial Arts of Yesterday, Today and Tomorrow 