The Art of Aiki

Since I practice both a traditional martial art (aikido) and mixed martial arts, I often get caught up with lots of arguments and discussions about the relative merits of the two. It's a touchy subject, since experienced TMA practitioners are highly invested in their arts, and MMA practitioners often have TMA experience that they "outgrew", so personal bias comes into play a lot.

For me, the two are not competing against each other, they are orthogonal in their attributes, overlap some, and only become antagonistic when someone postulates an either-or scenario. This is very similar to debates about religion vs. science or faith vs. evidence.

First, let's get some definitions out of the way. For me, a traditional martial art is one that emphasizes martial artistry along with cultural and character attributes. They are generally very formal, have a rigid hierarchy (often denoted by titles such as 'master', 'sifu', and 'sensei' and colored belts indicating rank), and tons of splinter groups and off-shoots from "mainlines". Examples of TMAs include the various flavors of aikido; karate-do; judo; tae kwon do; kung fu; wing chun; and Brazilian jiu-jitsu. Most of these arts also claim to be extremely effective in self-defense situations and/or particularly lethal, an assertion based on their heritage and not on evidence.

Related to these are what I call "sporting martial arts". These are combat sports that are generally one-dimensional, have competitions governed by rigid rules, and often lack formal or culturally steeped rules of etiquette. Amateur wrestling, boxing, and, to a lesser degree, Muay Thai kickboxing are examples of this. Ironically these don't really claim to be strong for self-defense due to their one-dimensional nature, but their training methods make them surprisingly effective for that purpose. BJJ is a sporting art as well, but its roots are in self-defense and NHB fights so I don't put it in this classification.

A mixed martial art combines the techniques of multiple combat sports and martial arts, and eschews the rigorous rules of conduct and hierarchies typically seen at a traditional martial art. MMA practitioners train at a gym (not a dojo or kwoon), don't have a belt system, don't practice forms or kata, and work under a coach.

MMA arose in two big steps.

The first was Bruce Lee's introduction of the Jeet Kune Do philosophy, which discarded the dogma of "you train under one style only" in favor of "use those techniques which work, discard the rest". This was a revolutionary concept at the time (if you ignore a couple of the "ancient MMAs" such as aikijujutsu and ancient Greek pankration) and counter to the rigid mindset of so many traditional martial arts.

The second step, and quite possibly the most important, was the arrival of mixed martial arts as a sport, with organizations such as the UFC, Pride, Rings, various K-1 derivatives, IFL, Cage Rage, Rumble on the Rock, and so on providing fight cards and venues. This greatly popularized the sport of MMA and, at the same time, the notion of MMA as a martial art in its own right.

And it was about this time that the TMA crowd freaked the fuck out. To understand why, you need to realize that traditional martial arts typically do not have full contact sparring with "anything goes" type rules. Almost all TMAs require a uniform that is very unlike street clothes. Each style limits the techniques for sparring to emphasize that style's strengths. Almost all striking styles (tae kwon do, kyokushin, goju ryu, et. al.) disallow clinching, throws, or joint locks during sparring; often require heavy padding; and in some cases disallow many types of practical strikes (TKD doesn't allow knees or kicks to the leg; kyokushin does not allow punches or elbows to the face). Almost all grappling styles (judo and Brazilian jiu-jitsu) disallow striking during sparring.

There's nothing particularly wrong with all that, but these limitations mean that a style's effectiveness is a matter of faith. Too often bold claims were made about a particular style's lethality, i.e. "I could use these killer techniques but I'd maim you, so I can't spar". This is, not to put too fine a point on it, bullshit.

Why is it bullshit? Because, as Jigoro Kano (creator of judo) discovered almost 100 years ago, if you do not practice your techniques against a fully resisting opponent, then you have not mastered that technique. That is an absolutely unavoidable reality. If you possess some devastating joint break or nose smash or eye gouge or throat crush that you've never actually used it, then there's no way you can tell if it's effectiven (in absolute terms) and if you've really mastered it.

This is where many sporting martial arts (and judo, which is part TMA and part sport), developed a practical advantage, even with huge gaps in their curricula. A practitioner of a sport art competes against others on a regular basis, exposing them to opponents that do not want a technique performed on them. By using only techniques that won't kill someone, combatants can use their full repertoire at full speed and power.

This has a couple benefits. The first is that a student truly learns how to use a technique, under duress, and under less than ideal circumstances. This cannot be emphasized enough. The second is almost entirely intangible -- the student learns to deal with conflict and confrontation at high speed. Many TMAs train students using rote partner drills or unrealistic attack patterns (aikido's randori). The student's mettle is rarely tested against an attacker using skills or strategies outside that TMA's comfort zone.

A boxer may not be great at take downs or kicks, but he's usually very comfortable having someone trying to knock his head off. A wrestler may not have good striking skills, but he's used to someone trying to tackle him and slam him to the ground. Real world experience will trump theoretically dominant skill sets almost every time.

Now, MMA is the polar opposite of a TMA when it comes to the effectiveness of a technique -- it is purely evidence based. Faith doesn't play into it. Techniques are researched, developed, enhanced, and then tested in the crucible of a mat, ring, or cage. Techniques that simply do not work very well eventually fall by the wayside, so you have an accelerated evolutionary mechanism at work.

Over the past 15 years this has been strikingly evident in the MMA world. In the early days of the UFC you had Brazilian jiu-jitsu guys dominate using very rudimentary take downs and almost no striking skills. Over time wrestlers with superior take downs and take down defense, but sub par striking and submission abilities, started to dominate the scene. Then fighters like Fedor, BJ Penn, Wanderlei Silva, and GSP started showing up. They would use Brazilian jiu-jitsu submissions, wrestling take downs and take down defense, boxing punches, and Muay Thai kicks and knees.

MMA practitioners today are much, much different than those of even 10 years ago. An MMA fighter today probably still specializes in one domain, but he will be at least "good enough" in every other facet of the game or he won't be competitive. This is the evolution of MMA today.

MMA techniques and training regimens are based on evidence, not faith. You don't learn a technique with a master scowling at you saying "This will work when you need it, trust me!" If you can't pull off something, you won't use it, and you'll find out soon enough if you can pull it off.

TMAs, on the other hand, don't have the laboratory of no-holds barred competition with which to evolve, which is why, by and large, the goju-ryu or wing chun of today is nearly identical to that of 50 years ago.

TMA practitioners have their counterarguments when it comes to pure combat efficiency. The most common is that a TMA isn't a "sport" and thus is potentially more lethal. But as I discussed earlier, if you have a host of lethal techniques that you've never used against someone trying to beat the crap out of you, it's doubtful that you'll be able to use them when the shit hits the fan. The second most common, and ironic, argument is that a TMA is more effective "for real" since MMA competitions occur inside a regulated ring, wearing protective gear, minimal clothing, no weapons, and a well-defined one-on-one scenario.

This claim of "more realistic" would have a lot more weight if TMAs regularly trained in street clothes, wearing shoes, with weapons, against multiple opponents, and outside on concrete or inside on hardwood floors -- using a wide range of techniques. But they don't, making the argument specious at best.

So all that said, I must be pretty down on TMAs, right? NOT AT ALL! As I said at the beginning, I still practice a TMA (aikido) regularly. And here's why: MMA and TMA offer completely different things.

If you want to learn how to fight, then I do strongly believe than an MMA is going to be far more effective than any TMA in existence. It's faith vs. science -- I have evidence of MMA effectiveness and, more importantly, as I progress with MMA I can test my own abilities. It is true that MMAs are really optimized for fighting against someone who also has training, but I don't consider that a liability. Many TMAs are really setup to fight against others of their own style or against completely untrained opponents.

But not everything is about fighting. TMAs offer a host of valid benefits:

• minimal but real exposure to history and cultural information
  
• a feeling of learning an art form. For many people things like kata, practice drills, etc. are relaxing all on their own.
  
• flexibility, strength, and cardiovascular improvement
  
• relaxed environments where you can hang out and have a good time without feeling competitive pressure
  
• a feeling of accomplishment based on your own advancement, not on your competitive ability

For some these benefits are absolutely massive. There are people that would be woefully uncomfortable wearing board shorts, rashguard, and mouthpiece while getting the shit kicked out of them. For your average house wife or mid-40s executive, something like tai-chi or wing chun or shotokan may be just what they're looking for.

An MMA practitioner poo-pooing those elements is missing the point entirely -- those features of a TMA aren't meant to appeal to an MMA practitioner hell bent on crushing the opposition.

If you want to learn how to fight, then MMA is the answer. But MMA training would leave a lot of people empty and cold, people who would otherwise find deep satisfaction with a TMA.

The analogy is religion vs. science. Religion doesn't make a lot of sense to a lot of people, and it may not be practical as a cure for cancer or your financial problems, but it's a source of wonderment, comfort, and camaraderie with like minded individuals. And this is what TMAs are like.

Science won't comfort you or tell you what you want to hear, but it will provide data in a measureble, repeatable format based on experiments and observed behaviour. It is up to you to draw what you can from MMA, but it cares not for your own needs. But you can rely on it to be fairly objective or, more callously, uncaring.

And as in the modern world, religion and science are not mutually exclusive, unless you choose to put them at odds with each other. TMAs and MMAs can coexist as long as you understand their roles and accept their limitations. And if you choose not to do both, that's great, but don't disparage the other because you're projecting your values onto something that isn't a good fit for you.

[Fuente: mma-journey.blogspot.com]

[The text below has been submitted by Patrick Augé Shihan]

September 15, 2009

To Whom It May Concern,

The purpose of this statement is to announce that after Master Minoru Mochizuki, founder of Yoseikan Budo, passed away, the Kokusai Budo Seifukai (International Budo Seifukai) was formed for the purpose of continuing and developing his ideals of education. These ideals are: to inherit and promote the principles of “Maximum Efficiency” and “Mutual Welfare and Prosperity” and to apply these concepts to the cultivation of character; to help youth develop physical and mental qualities; and to contribute to the improvement of quality in martial arts through the promotion of mutual friendship among its members, while deepening one’s appreciation of Budo.

Consequently, we divided the organization into three (3) regions. The directors of these regions are:

East Japan Operations Director, Nobumasa Yoshida Shihan, 9th dan

West Japan Operations Director, Tadashi Sugiyama Shihan, 9th dan

and International Operations Director, Patrick Augé Shihan, 8th dan

In particular, all requests from overseas, such as notification of results of ranking examinations, applications for rank certificates and arrangements for seminars or training in Japan should first be made through Patrick Augé Shihan (auge@yoseikanbudo.com) who will inform the Hombu. Please understand that this procedure is for the purpose of maintaining the quality of ranks and the integrity of the organization.

Moreover, the Yoseikan Hombu (main office) was moved to France and, the former Hombu Dojo in Shizuoka, Japan, was purchased by a third party. Consequently, the Seifukai is no longer practicing in that location. Also, please note that Mr. Terumi Washizu, from whom we could not get cooperation in regard to our requests, resigned from Seifukai.

The present location of the Seifukai Hombu is the residence of Tetsuma Mochizuki Saiko Shihan, second son of Master Minoru Mochizuki.

Hiroaki Kenmotsu, Shihan 8th dan was appointed Hombu Secretary.

International Budo Seifukai
Kyouichi Murai, 10th Dan, Chairman
Tetsuma Mochizuki, Saiko Shihan

Left to right: H. Kenmotsu; P. Augé; T. Sugiyama; T. Mochizuki: N. Yoshida; K. Koga.

Anoche me topé con una wiki sobre Aikido Shodokan, alias Tomiki Ryu, que no conocía (http://tomiki-aikido.wikispaces.com). Lo que me hizo entretenerme un poco más en ella es que tiene un apartado sobre "Books & Media" desde el que te puedes descargar una edición privada en seis volúmenes de los 70. Sin duda rica información a tener en cuenta (y a descargar).

¡Que os aproveche!

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.