KINOMICHI Kinomichi is a new martial art, which comes from the experience of the master Masamichi Noro, who was a direct pupil or Uchi-deshi, of Morihei Ueshiba, the founder of Aikido. That is why this new practice belongs to the tradition of budo. Kinomichi transforms the martial art into a search which is unique in itself and which uses a code and a logic which derive fundamentally from Aikido. The movements of Kinomichi have been classified and divided differently than in Aikido so as to simplify its nomenclature for us, Europeans. Another new aspect of it is the teaching methodology of the movements and the pedagogy used to approach them. The trainees get prepared to the study of the body spirals, first on their own and then in couples, thus integrating practices deriving from Eutonia (a technique of somatic education) or from the Ehrenfriede method (holistic gymnastic) or even from osteopathy. Then the search goes further into more complex and dynamic techniques, using arms: the Jo (a wooden stick), the Boken (Japanese spade made of wood) or the Tanto (a wooden knife). After the phase of contact, the two trainees: the Uke and the Tori, start studying and applying the functional principles of the joint levers to reach an immobilization or a protection, as for example, the rolling down called ukemi, the role of which is to protect the body from the impact with the ground. At the beginning of the practice, the movements are done slowly. The objective of this phase is to unlock the rigidities which prevent the fluidity of the Ki to circulate freely. This can be done sitting as well as standing. We often insist on the relationship with the partner in the search of the quality of the contact, trying to reach, through the encounter in the movement, harmony and fluidity, using as much space as possible. When you look at it, it could be a dance without music, an approach of the sensation of the rhythm produced together, as a director of the movement, neither attack nor defense, only encounter and joy. A practice adapted to all ages. It is an art refined and essential, which has now been officially recognized by the French Minister of Sports as a sport of universal value. KI CONTACT The name Ki Contact comes from the union of the Japanese word ki (internal energy or vital creative breath) with the western word Contact (famous practice of dance). This search process has been inspired by the use of the Jo, the wooden stick usually used in martial arts and more unusually as a pedagogic instrument for dancers. We propose a series of exercises done on your own, in couples or in groups: Techniques of manipulation of the Jo in its various axes of rotation in space, Techniques of projections or immobilizations, Techniques of attacks and defense deriving from the Jo dori practice. We have also been thinking of a series of preparatory exercises to Dance Contact to investigate: Passage, loading, counter weight, Change of directions or of dynamic, Limits and counter techniques of the joints, Flexibility of the body, Reflexes Several improvised and playful exercises. These different technical elements are being learned at the beginning through a game of roles meant to determine who does what and when. Once the movements and the roles have been integrated, the practice relieves itself from the mechanics, reaching a greater freedom, which is at the same time more complex and unexpected, and thus, amusing.