The Art of Aiki

Breve recordatorio fundamental de la geometría del Aikido.

O Sensei used these three principles to help his students better understand what they were learning. The Circle (marui), the Square (shikaku), and Triangle (sankaku) were used to illustrate the different concepts of movement and technique.

Triangle: O Sensei used the triangle to illustrate the idea of water flowing. He said that water always took the path of least resistance, and this is what Aikidoka should be doing as well. An example of a triangle movement would be the irimi, or entering techniques. As a sword is brought down to strike, the Aikidoka steps in and to the side in order to position him/herself for the defense. If we look at a triangle as having two angles at the bottom and one at point, we can imagine the two lower angles representing a very firm, stable base, and the lead point being the Atemi. The triangle can be compared to the irimi (entering) techniques because it gives the impression of direct movement, without a turn or a Tai-sabaki, just a quick forward technique. Sometimes the direct responses to an attack are very effective, and are excellent for unbalancing your partner.

"The body should be triangular, the mind circular.The triangle represents the generation of energy and is the most stable physical posture. The circle symbolizes serenity and perfection, the source of unlimited techniques. The square stands for solidity, the basis of applied control."

– O Sensei

Circle: Depending on your position and your opponent's balance, any technique can be executed from both the inside and outside of your partner's body. The circle comes from the japanese word Ju, meaning soft or gentle. The concept of Ju is the principle of pulling when pushed and pushing when pulled. We commonly hear the phrase "fight fire with fire", but I always thought that this was the opposite of the philosophy of Aikido. I think a more suitable phrase would be to fight fire with water. As circles we should never hit our opponent, no direct movements can be circles. The idea of the circle is to be like a ball, rolling with the attacks, usually by executing a Tai-sabaki to end up beside the attack. Being beside it effectively paralyzes the attack, because it is very hard to hit someone who is beside you and that close. When fighting directly, face to face, your opponent will have the opportunity to attack multiple times. After the first attack, being a circle, you should be beside him, but only for a moment, continuing his movement but still in control. Before the initial momentum of the attack has been spent, either while he's still committed to the strike, or as he's pulling back, recovering, this is the time to act, leading that movement into a technique. This is why many Aikido techniques look like the person receiving it is cooperating, they seem to be helping the person doing the technique, and in a sense they are. They give the opportunity and the strength, we merely guide them along the path until they are defeated, in effect by themselves. Circles are not stable in the stationary sense like the square, but they are stable in that they never fall. This is because they constantly move. Try to make a ball fall over... An example of the circular principle would be an attack from a sword. If the swordsman is committed to the strike, then the proper movement would be to lead him forward. If the attacker is holding back or recovering from the forward momentum of the attack, than a technique to his rear would be more effective.

Square: But what if the attack is neither forward or backward? The theory behind a neutral attacker is to get him to move, possibly through an atemi (strike). This will destabilize his position and a technique may be performed. When O Sensei drew a square, he often wrote the word go, meaning strength. He said that since a square was made up of four ninety degree angles, the most effective strike would be at a ninety degree angle. The square is a very stable, very strong position, but it is unlike the triangle and circle in that it lacks movement. We often start off in a "square" frame of mind, being very calm and neutral. From here, if an attack comes, we can be very ready, and turn into a triangle and counter by entering, or by becoming a circle, to harmonize with the attack and put him down that way.

These ideas of shape are simply to give the practitioner something easy to think about, a visual aid while practicing. Understand that the three shapes should not be restricting your thinking in any way, and don't worry if you can't identify which shape you should be. Also know that these shapes are constantly changing, never stick to any one. We can start a conflict in a square shape, moving into a triangle for an Atemi, and then into a circle to perform the technique.

Recently I've been thinking a lot of this imagery, and during class I try to envision these shapes in their different states. Even during the warm-up exercises I can see the different shapes, and thinking of these while performing a technique is very helpful. Like an artist who is first told to reduce everything to geometric shapes, so do we. The triangle is very easy to see, usually associated with the stance, a stable yet directioned force. I noticed recently that the point of the triangle is often at one's center, and this makes sense, as this is the origin of all movements. The circle is also easy to see, I find it's usually the movement of the body and arms. Using the circle takes away the partner's chance to resist, because it's impossible to resist a force that can go any way, change instantly, surround you and control you before you really know what's happening. I have a hard time envisioning the square, as it is the most stable of the shapes, and not usually associated with the actual movements. It is the stability needed while in Kamae (ready stance), both physically and mentally. One must be physically grounded in order to produce an effective technique, and without the concentration, no matter how physically correct you are, the technique cannot work.

Disponible el capítulo 15 de Transmission, Inheritance, Emulation de Peter Goldsbury Sensei.

Este hombre no para de escribir. Deseando que lo depure y lo ponga todo juntito en un libro YA!

This is to announce the publication of “The Art of Ju-jutsu,” the most comprehensive volume on Yoseikan Budo ever produced in the English language.

Subtitled “the legacy of Minoru Mochizuki’s yoseikan sogo budo, a dynamic synthesis of modern and traditional martial arts,” this book gives the most detailed and authoritative review available of the unique art created by Minoru Mochizuki, one of the earliest uchi deshi of aikido founder Morihei Ueshiba, in his home dojo in Shizuoka City, Japan. It also gives extensive detail on the modern yoseikan budo of Hiroo Mochizuki, current international head of yoseikan budo, allowing the reader to find the commonalities and striking differences between the approaches of a father and son devoted to budo. Earning the following ranks since his beginning in budo at age 13 (turning forty this month), Edgar Kruyning is well-qualified, both physically and intellectually, to present the essence of Japanese martial arts:

• 6th dan Judo
• 6th dan Yoseikan-Aikido
• 6th dan Ju Jutsu
• 5th dan Yoseikan-Budo
• 5th dan Iaido
• 5th dan Aikibudo
• 5th dan Kobudo
• 2nd dan Karate

“The Art of Ju-jutsu” reflects Minoru Mochizuki’s teaching that aikido is a form of ju-jutsu, which he considered a unique expression of Japanese culture to be preserved, developed and given to the world. “The Art of Ju-jutsu” is the best English resource available on the arts of yoseikan.

Published by lulu.com, available on Amazon and elsewhere, “The Art of Ju-jutsu” will be a valued addition to any serious martial artist’s library. Densely illustrated with hundreds of high-quality photographs, the text provides rare insight into this important martial arts tradition. Preface by Patrick McCarthy.

Un rápido apunte para avisar que ya tenemos el capítulo 14 de la serie Transmission, Inheritance, Emulation de Peter Goldsbury Sensei.

Quien busque lectura ligera, esta no es su serie. Aviso.

I recently read a post which includes an oft-used phrase - “get off the line and enter.” Not only does this phrase not do full justice to the concept of irimi (I confess I’ve used it myself), it leads to a mistaken understanding of aikido technique. This mistake is not only intellectual, but expressed physically, probably lies at the root of the technical deficiencies that are, allegedly, so rife in aikido.

“Getting off the line,” at least as most people I’ve observed excute it, is reactive. We side-step, get out of the way of the attack, etc. Irimi is then imagined to be a counter-attack on an angle - martial arts as the application of geometry, so to speak.

In Japanese, reactive counters are often called “go no sen,” which is a counter to the other’s initiative, but even this is not accurate. In fact, reactive counters are commemorated with tombstones.

In Go no sen, one takes the initiative away from the other and rules him. Imagine a conversation in which someone raises his voice, and in the middle of his tirade, I hold my hand up and out and say, “Not one more word. Be still.” And they are silent. An argument is reactive, as in, “I don’t like your tone of voice! And you are wrong,” to which they reply again, and I respond to that. An argument is often referred to as verbal sparring or verbal fencing. Go no sen is dominant - one cut, one life.

One place we see this is in kenjutsu, and an exemplar of it is in Itto-ryu (remember the deep ties that Itto-ryu has with Daito-ryu). As the enemy cuts, so, too, do I cut. Not “along” the same path. ON THE SAME PATH. Two objects cannot occupy the same space, and I, with greater power/speed/timing/postural stability, etc, take that space. The enemy is, ostensibly, deflected, but they are NOT knocked away. They are simply not allowed to occupy that space. And often there is no tai-sabaki (body displacement, getting off line). There might be. If there is, it is simultaneous - not one following the other. But even beyond that, tai-sabaki is not part of the fundamental definition of irimi, simply an elaboration of it.

Irimi in aikido occupies space the same way. This, by the way, is the true essence of atemi - not pugilism - but using the body (particularly the limbs) to take space the opponent is trying to occupy. Sometimes one steps off line, but sometimes one steps across line or even in line. Like a swimmer diving right in the belly of a breaking wave. Like Shioda Gozo in one of his favorite techniqes where, in respond to a two-hand grasp, he steps in with suddenly rigid downward arms and the opponent, bounces upwards and away. Like Nishio Shoji in that subtle little twist he did with his wrist at the moment he was grasped, creating a small but inexorable wave of recoil (kuzushi) into his partner. Like Kuwamori Yasunori used to do with his hips, taking the place right where your advancing thigh was about to occupy in his wonderful koshinage. Like Chuck Clark in the way he puts that meaty fist right where your head is about to be. All irimi with no moving off line whatsoever.

Aikido technique - that which we practice so much, and seems so open to criticism by folks who recommend adding a touch of boxing and a tad of judo - is the EFFECT, not the essence of aikido. Properly, technique drops in one’s hands after the aikido’s already been done.

And tenkan? I’ve written on this elsewhere, but in brief. Tenkan imagined as spinning away/finesse/leading into a circular path is not part of aikido. Merely part of fantasy played out on the mat. Tenkan is always preceded by irimi. The opponent is so skilled or powerful that even as irimi takes his space, he is wrapping around it/taking the space back, and so one wraps them in a circular motion/technique. Because irimi did take their center - if only momentarily -he’s got to “go around.” The circular motion starts with him. Tenkan is like taking hold of a planet and adding speed and some ellipse or spiral or tangent to its circular revolution. Aikido ura techniques (tenkan) take the person on a tangent - inward or outward - to their circular path. Tenkan should be described as spiral, not circular - it is the permutations of an initial circle once we have taken it over. But if irimi had not already won half or more of the battle, there would be no tenkan to accomplish. You would simply be defeated.

Ya se encuentra disponible el capítulo 13 de la serie Transmission, Inheritance, Emulation de Peter Goldsbury Sensei.

¡Y cada vez se pone más difícil...!

Extraigo lo siguiente del blog de Enrique Oliva, excelente aikidoka y amigo. Dedicado especialmente a quienes dicen que el Atemi no tiene cabida en el Aikido.

Stanley Pranin entrevistando a Saito Shihan en Marzo de 1991, le preguntó entre otras cosas lo siguiente:

Desde un punto de vista histórico, pienso que el aikido evolucionó de situaciones en las que los samurái no podían hacer uso de su espada. Algunos críticos dicen que el aikido no funcionaría contra sistemas de pelea modernos, como el karate. ¿Qué opina usted?

El aikido incluye tanto dori (técnicas para apoderarse de la espada corta), tachi dori (técnicas para apoderarse de la espada) y jo dori (técnicas para apoderarse del bastón). Durante esas técnicas, si tú permites que el filo de un arma llegue a tocar tu cuerpo podrías morir, mientras que un puñetazo o una patada no te matarán excepto que golpeen en algún punto vital. La espada sólo necesita hacer un ligero contacto para herir seriamente o matar; aún así, practicamos cómo defendernos contra la espada con nuestras manos vacías. Si siempre tenemos esto en mente, será un entrenamiento valioso.

¿Considera usted que el aikido sin atemi puede ser efectivo contra un ataque fuerte?

El aikido incluye al atemi, aunque, por supuesto, el entrenamiento no es igual que la realidad, así que no aplicamos atemi por completo en el dojo. En el taijutsu, el atemi es un elemento vital que enfatizamos en nuestro dojo.

En el aikido el atemi es empleado contra el ataque con un arma, así pues, ¿cree usted que es deseable para un aikidoka aprender cómo hacer frente a las patadas de karate, ahora que los ataques de este tipo son empleados a menudo?

Sí, creo que deberían aprenderse. No es algo que se deba evitar. Existen muchas técnicas básicas que nos permiten enfrentar al karate, como el tsuki y el yokomen uchi.

Un grupo establecido por uno de mis estudiantes realiza un tipo de defensa contra los ataques del karate, y es muy interesante. Un hombre con 4º dan —tanto en aikido como en judo— esquiva los ataques de karate y avanza para proyectar o controlar a su atacante en una espléndida demostración de técnicas de aikido. También recomendaría una práctica abundante en técnicas como yokomen uchi y tachi dori.

Pone usted un fuerte énfasis en las armas y basa sus enseñanzas en los principios de la espada. ¿Qué opina usted de la actual situación del aikido en otras partes?

No conozco otro aikido que no sea el de O-Sensei. Recibí enseñanza de O-Sensei desde los 18 y hasta los 41 años, y le serví del mismo modo que lo hace un discípulo interno (uchideshi), así que no conozco ningún otro maestro. Muchos shihan crean nuevas técnicas y creo que esto es algo maravilloso, pero después de analizarlas todavía estoy convencido que nadie puede superar a O-Sensei. Creo que es mejor seguir la forma que nos dejó.

En estos tiempos la gente se inclina a tomar su propio camino pero, mientras yo siga involucrado, voy a continuar ejecutando las técnicas y formas que O-Sensei nos dejó.