Aikido
From Gottsupedia
Aikido (合気道), often translated as "the way of harmony", is a Japanese martial art developed by Ueshiba Morihei (植芝 盛平, 14 December 1883 - 26 April 1969) as a synthesis of his martial studies, philosophy, and religious beliefs. Ueshiba's goal (post-war) was to create an art that would put an end to conflict. The idea of a combat art as a road to peace is a paradox that many modern forms of bujutsu, or martial arts (more recently called budo, or "martial ways"), have in common. It is particularly striking in aikido because of the religous beliefs Ueshiba espoused at a time when Japan had undergone a dramatic change from military ferver to utter defeat and destruction in World War II. To this day the idea of what constitutes "real" aikido is an issue that is hotly debated in the community. Although aikido underwent many changes over a long evolution, it is generally thought of in terms of its pre-war "harder" forms of "Aiki Budo" or "Aikijutsu", and the relatively softer, more flowing techniques of post-war aikido.
Aikido emphasizes joining or blending with an attack and redirecting and/or controlling the attacker's energy, as opposed to meeting force with force. Aikido consists primarily of throws, control techniques in the form of joint-locking, and pins. Training is sometimes augmented by weapons training. In addition to techniques, mental conditioning (state of mind aspects such as awareness), controlled relaxation, and the development of focused power and "spirit" are emphasized in aikido training.
Contents |
Spirit of aikido
The word aikido is formed of three Japanese characters,
- 合 - ai - joining, meeting
- 気 - ki - spirit, energy, life force
- 道 - dō - way, path
Aiki is a martial arts principle or tactic. Because the term is not commonly used in Japanese outside of the martial arts, it can be difficult to convey it's meaning, even in Japanese. Aiki describes the concept of joining with the flow, rhythm, or 'energy' in the midst of combat to take control of it, as opposed to meeting force with force. This principle finds expression in such lethal concepts as the ai-uchi (相撃ち), but in aikido it generally describes the elevated notion of moving with or redirecting force. However, it can be argued that "harmonizing," "blending" or "moving as one" are just preludes to "seizing control" or "manipulation," as it is obviously not the intention of the attacker to be thrown or pinned by their target in a real-life situation. At some point "control" has shifted from one side to the other. The idea of blending or harmonizing may be thought of as a sort of "Trojan Horse" to get inside and take control, particularly where the one gives away size or strength. However, these points are debatable and depend somewhat on individual ideology and approach to aikido. The techniques of aikido can, when applied judiciously, divert or immobilize rather than injure or kill. As a result, some consider aikido to be a practical symbol of meeting aggression (physical, verbal, etc.) with an effective but merciful response, and finding harmony in conflict. Ueshiba Morihei declared, "To control aggression without inflicting injury is the Art of Peace."
At the same time however, aikido is an evolution of combat arts designed to kill, and aikido techniques are capable of crippling or killing an opponent, especially one unfamiliar with ukemi (i.e. how to receive the techniques). A throw that an experienced training partner in the dojo can easily take, could cause serious injury or death to the untrained. This point is arguably something that many aikidoka often overlook, thinking they can gently immobilize a real attacker with, for example, a joint lock, when in actuality an attacker would not respond as a training partner in the dojo would and may end up seriously injured. By the same token, an aikido throw that an experienced practitioner can roll or flip out of, could be fatal to the untrained (for example by landing on their head).
History
Ueshiba, often referred to by aikido practitioners, particularly in the West, as Ōsensei ("Great Teacher"), developed the techniques of aikido primarily during the late 1920s through the 1930s through the synthesis of the older martial arts that he had studied. Aikido went through multiple names and varying forms before WWII, but the technical core remained largely the same. The core martial art from which aikido derives is Daitō-ryū aiki-jūjutsu, which Ueshiba studied directly under Takeda Sokaku (武田 惣角 Takeda Sōkaku, 1859-1943). Additionally, Ueshiba is known to have studied Tenjin Shin'yō-ryū with Tozawa Tokusaburō (戸沢 徳三郎, 1848-1912) in Tokyo in 1901, Gotōha Yagyū Shingan-ryū under Nakai Masakatsu (中井 正勝, fl. 1891-1908) in Sakai from 1903 to 1908, and judo with Takagi Kiyoichi (高木 喜代子 Takagi Kiyoichi, 1894-1972) in Tanabe in 1911.
The art of Daitō-ryū is the primary technical influence on aikido. Along with empty-handed throwing and joint-locking techniques, Ueshiba incorporated training movements with weapons, such as those for the spear (yari), short staff (jō), and dagger (tanto). However, aikido basic movements are thought to derive much of their technical structure from kenjutsu (not to be confused with kendo, which is a modern sport and evolved into something quite different from traditional swordsmanship schools).
In 1912, Ueshiba moved to Hokkaidō and began studying under Takeda Sokaku in 1915. His official association with Daitō-ryū continued until 1937. However, during the latter part of that period, Ueshiba had already begun to distance himself from Takeda and Daitō-ryū. At that time, Ueshiba was referring to his martial art as "Aiki Budō". It is unclear exactly when Ueshiba began using the name "aikido", but it became the official name of the art in 1942, when the Greater Japan Martial Virtue Society (Dai Nippon Butoku Kai) was engaged in a government sponsored reorganization and centralization of Japanese martial arts.
After Ueshiba left Hokkaidō in 1919, he met and was profoundly influenced by Onisaburo Deguchi (出口 王仁三郎 Deguchi Ōnisaburo, 1871–1948), the spiritual leader of the Ōmoto-kyō religion (a neo-Shinto movement) in Ayabe. One of the primary features of Ōmoto-kyō is its emphasis on the attainment of utopia during one's life. This was a great influence on Ueshiba's martial arts philosophy of extending love and compassion, especially to those who seek to harm others. Aikido demonstrates this philosophy in its emphasis upon mastering martial arts so that one may receive an attack and harmlessly redirect it. In an ideal resolution, not only is the receiver unharmed, but so is the attacker.
In addition to the effect on his spiritual growth, the connection with Deguchi gave Ueshiba entry to elite political and military circles as a martial artist, seemingly a contradiction given the beliefs espoused by the Omoto-kyo religion but also not uncommon at that time in Japan. As a result of this exposure he was able to attract not only financial backing but also gifted students. Several of these students would found their own styles of aikido (see infra, Styles).
Aikido was first brought to the West in 1951 by Mochizuki Minoru (望月 稔 Mōchizuki Minoru, 1907-2003) with a visit to France where he introduced aikido techniques to judo students. He was followed by Abe Tadashi (阿部 正 Abe Tadashi, 1926–1984) in 1952 who came as the official Aikikai Hombu representative, remaining in France for seven years. Tomiki Kenji (富木 謙治 Tomiki Kenji, 1900–1979) toured with a delegation of various martial arts through fifteen continental states of the United States in 1953.[1] Subsequently in that year, Tohei Koichi (藤平 光一 Tōhei Kōichi, born 1920) was sent by Aikikai Hombu to Hawaii for a full year, where he set up several dojo. This was backed up by several further visits and is considered the formal introduction of aikido to the United States. The United Kingdom followed in 1955; Italy in 1964; Germany and Australia in 1965. Today there are aikido dojo available to train at throughout the world.
Physical training
In aikido, as in virtually all Japanese martial arts, there are both physical and mental aspects of training, the balance of which will vary depending on the dojo and the instructor. The physical training in aikido is diverse. Some schools cover both general physical fitness and conditioning as well as specific techniques, whereas other schools train in technique only with physical fitness benefits being a natural positve side-effect (such as Yoshinkan). Other schools, such as the Ki Society, emphasis "ki" training and breathing.
Because a substantial portion of any aikido curriculum consists of throws, and one of the first things most students learn is how to safely fall or roll.[2] After basic techniques are learned, students study advanced techniques and freestyle defense against single and, at ever more advanced levels, multiple opponents. In certain styles, techniques with weapons are also practised.
Training Methods
Physical training goals pursued in conjunction with aikido include controlled relaxation, flexibility, and endurance, with less emphasis on muscular strength.
Aikido training is based primarily on pre-arranged forms (kata), practiced by two persons together rather than freestyle practice. The general pattern is for the receiver of the technique, the uke (receiver) to initiate an attack against the person who will excecute the technique, or shite (also called nage or tori depending the school), who neutralises this attack with a technique. Contrary to popular belief, aikido also traditionally includes attacking techniques and in some styles, such as Yoshinkan and Iwama-style, these are still practised and considered essential. Yoshinkan, for example, also includes techniques in which uke initiates. Other styles, however, appear to have done away with and all attacking techniques, including atemi (strikes), feeling that agressive moves intended to inflict pain and injury are contrary to the essence of aikido. The issue of whether atemi should be part of aikido or not is also considered a touch point in debates on aikido practise and philosophy.
In recent times, some schools, such as Homma Gaku's Nipponkan dojo, are doing away with suwariwaza (seated techniques) as well, arguing that they are archaic and hard on the knees and hip joints, particularly for those not conditioned to sitting in seiza (even most Japanese are not conditioned to sit in seiza in modern times), the formal Japanese sitting position, which can become quite painful after only a short time. On the contrary, traditional schools argue that suwariwaza are essential to training and the best way to build to the lower body strength that is vital to technique, both sitting and standing.
Both sides of aikido techniques, that of uke and that of shite aka tori, are considered essential to aikido training. Both involve studying aikido principles of blending, adaptation and improvisation. Shite learns to control the attacking energy, while uke learns to become relaxed and flexible in the disadvantageous, off-balance positions in which shite places them. This "receiving" of the technique is called ukemi. Uke continuously seeks to regain balance and cover vulnerabilities, while shite uses position and timing to keep uke off-balance and vulnerable until the completion of the technique. In more advanced training, reversal techniques (kaeshi-waza) may be taught, in which uke will reverse or escape a technique and pin or throw shite. Uke is considered by some to be one of the keys to truly understanding aikido technique (i.e. You have to feel it to understand it).
Ukemi (受身), means literally means, "receiving body". Ukemi involves breakfalls, rolls and sometimes blocks to avoid pain or injury. In applying a technique, it is the responsibility of shite to prevent injury to uke by employing a speed and force of application that is commensurate with their partner's proficiency and their own proficiency in the technique they are performing. Techniques such as hijishime (elbow lock) can cause serious injury when performed with force by or on an inexperienced practitioner.
Techniques
Students learn the various fundamental techniques based on defending against certain attacks. From there training expands to more advanced techniques and applied techniques in various situations and against multiple attackers. Although attacks are not studied as thoroughly as in striking-based arts, honest attacks (a strong strike or an immobilizing grab) are required to study correct and effective application of technique, the idea being that half-hearted attacks lead to half-hearted aikido, making practise nothing more than a prearranged dance.
Many of the uchi (打ち: strike) in aikido are often said to resemble blows from a sword or other grasped objects, which may suggest origins in techniques intended for armed combat. Other techniques which appear to explicitly be punches (突き: tsuki), are also practiced as thrusts with a knife or sword. Depending on the school, kicks are generally reserved for upper-level variations. The reasons cited for this include the fact that falls from kicks are especially dangerous and difficult for the uke to learn until they reach a certain level of proficiency, and that kicks, high kicks in particular, were uncommon during the types of combat prevalent in feudal Japan. Kicking was also not practical because of the clothing and armour worn in feudal Japan, and the fact that the potential benefit of a successful kick is not worth the risk of being taken off your feet, which would likely result in death; a fact that (according to Shioda Gozo in his book Shugyo) Ueshiba Morihei has pointed out.
Some basic strikes include:
- Front-of-the-head (overhead) strike (正面打ち shomen uchi) a vertical knife-hand or weapon strike to the head.
- Side-of-the-head strike (横面打ち yokomen uchi) a diagonal knife-hand strike to the side of the head or neck.
- Front thrust (正面突き: Shomen-tsuki) a punch or thrust to the torso, generally the abdomen area.
- Face thrust (顔面突き ganmen-tsuki) a punch to the face. Similar to "upper-level thrust" (上段突き jōdan-tsuki).
Beginners in particular often practice techniques from grabs, both because they are safer and because it is easier to feel the energy and lines of force of a hold than a strike, because with a strike the line of force must be determined partially through perception and partially instantly upon impact. Some grabs are historically derived from being held while trying to draw a weapon; a technique could then be used to free oneself and immobilize or strike the grabbing person. The following are examples of some basic grabs. Note that the below terminology is modern Aikikai terminology. (Yoshinkan distincively uses the old terminology, probably derived from Daito-ryu Aikijujutsu).
- Single-hand grasp (片手取り katate-dori) one hand grasps one wrist.
- Both-hands grasp (諸手取り morote-dori) both hands grasps one wrist.
- Both-hands grab (両手取り ryōte-dori) both hands grab both wrists. Same as "double single-handed grab" (両片手取り ryōkatate-dori).
- Shoulder grab (肩取り kata-dori) a shoulder grab. "Both-shoulders-grab" is ryōkata-dori(両肩取).
- Chest grab (胸取り mune-dori) grabbing the (clothing of the) chest. Similar to "collar grab" (襟取り eri-dori).
The following is a sample of the basic or widely practiced throws and pins. The precise terminology for some may vary between organisations and styles, so what follows are the terms used by the Aikikai Foundation. Note that despite the names of the first five techniques listed, they are not universally taught in numeric order. Fifth technique is not included in the Yoshinkan school of Aikido, and the terminology is often translated into English as "First Control," Second control," etc., rather than "technique."
- First technique (一教 ikkyō) a control using one hand on the elbow and one on near the wrist which leverages uke to the ground. This grip also applies pressure into the ulnar nerve on the medial side of the arm.
- Second technique 二教 nikyō) an adductive wristlock that torques the arm and applies nerve pressure which may can be painful depending on how it is applied.
- Third technique (三教 sankyō) a pronating technique applied to uke's hand that directs upward-spiraling tension throughout the wrist, arm, elbow and shoulder.
- Fourth technique (四教 yonkyō) an arm control similar to ikkyō, but with both hands gripping the inner side of the forearm as one would grip a sword. The knuckles (from the palm side) are applied to the recipient's radial nerve against the periosteum of the forearm bone. This also is potentially an extremely painful techniques depending on how it is applied.
- Fifth technique (五教 gokyō) a variant of ikkyō in which the hand gripping the wrist is inverted. Common in tantō and other weapon take-aways.
- Four-direction throw (四方投げ shihōnage) The hand is folded back past the shoulder, locking the shoulder joint.
- Wrist reverse or Reverse hand (小手返し:kotegaeshi) a supinating wristlock-throw that stretches the extensor digitorum.
- Breath throw (呼吸投げ:kokyunage) a term for various types of flowing "timing throws".
- Entering throw (入身投げ:iriminage) throws in which shite moves through the space occupied by uke. The classic form superficially resembles a "clothesline" technique and was used often by Steven Seagal in his early movies.
- Heaven-and-earth throw (天地投げ:tenchinage) beginning with ryōte-dori; moving forward, nage sweeps one hand low ("earth") and the other high ("heaven"), which unbalances uke so that he or she easily topples over.
- Hip throw (腰投げ:koshinage) aikido's version of the hip throw. Timing is the most improtant element in this throw as Nage drops his or her hips lower than those of uke, then flips uke over the resultant fulcrum.
- Cross-arm throw (十字投げ:jūjinage - literally "character ten throw" because the arms of the receiver are crossed in the shape of the Chinese character for the number ten, or 十) a throw that locks the arms against each other.
- Rotation throw (回転投げ:kaitennage) nage sweeps the arm back until it locks the shoulder joint, then uses forward pressure to throw.
Weapons training in aikido traditionally includes the short staff (jō 杖), wooden sword (bokutō 木刀), and knife (tantō 短刀). Today, some modern schools also incorporate firearms-disarming techniques. Both weapon-taking and weapon-retention are sometimes taught, to integrate armed and unarmed aspects, although some schools of aikido do not train with weapons at all. In the Yoshinkan school of aikido, weapons forms are generally only taught to uchideshi and instructors. Others, such as the Iwama style of Saito Morihiro, usually spend substantial time with bokuto and jo, practised under the names aiki-ken, and aiki-jo, respectively. The founder developed much of empty handed aikido from traditional sword and staff movements, so the practice of these movements is generally for the purpose of giving insight into the origin of techniques and movements, as well as vital practice of these basic building blocks. [3]
Implementations
Aikido makes use of body movement (tai sabaki) to blend with uke. For example, an "entering" (入身:irimi) technique consists of movements inward towards uke, while a "turning" (転換:tenkan) technique uses a pivoting motion. Additionally, an "inside" (内:uchi) technique takes place in front of uke, whereas an "outside" (外:soto) technique takes place to his side; a "front" (表:omote) technique is applied with motion to the front of uke, and a "rear" (裏:ura) version is applied with motion towards the rear of uke, usually by incorporating a turning or pivoting motion. Finally, most techniques can be performed while in a seated posture (seiza). Seated techniques are called suwari-waza.
Thus, from fewer than twenty basic techniques, there are thousands of possible implementations. For instance, ikkyō can be applied to an opponent moving forward with a strike (perhaps with an ura type of movement to redirect the incoming force), or to an opponent who has already struck and is now moving back to reestablish distance (perhaps an omote-waza version). Specific aikido kata are typically referred to with the formula "attack-technique(-modifier)". For instance, katate-dori ikkyō refers to any ikkyō technique executed when uke is holding one wrist. This could be further specified as katate-dori ikkyō omote, referring to any forward-moving ikkyō technique from that grab.
Atemi (当て身) are strikes (or feints) employed during an aikido technique. Some view atemi as attacks against "vital points" meant to cause damage in and of themselves. For instance, Shioda Gozo described using atemi in a brawl to quickly down a gang's leader. [4] Others consider atemi, especially to the face, to be methods of distraction meant to enable other techniques. A strike, whether or not it is blocked, can startle the target and break his or her concentration. The target may also become unbalanced in attempting to avoid the blow, for example by jerking the head back, which may allow for an easier throw. [5]
Many sayings about atemi are attributed to Morihei Ueshiba, who considered them an essential element of technique. [6] One feature of aikido is training to defend oneself against multiple attackers. Freestyle (randori, or jiyūwaza) practice with multiple attackers is a key part of most curriculae and is required for the higher level ranks. Randori exercises a person's ability to intuitively perform techniques in an unstructured environment. Strategic choice of techniques, based upon how they reposition the student relative to other attackers, is important in randori training. For instance, an ura technique might be used to neutralise the current attacker while turning to face attackers approaching from behind.
In Shodokan Aikido, randori differs in that it is not performed with multiple persons with defined roles of defender and attacker, but between two people, where both participants attack, defend, and counter at will. In this respect it resembles judo randori. [7]
Mental training
Aikido training is mental as well as physical, emphasizing the ability to relax the mind and body even under the stress of dangerous situations. [8] This is necessary in order to enable the practitioner to perform the bold enter-and-blend movements that underlie aikido techniques, wherein an attack is met with confidence and directness. [9] Ueshiba Morihei once remarked that one "must be willing to receive 99% of an opponent's attack and stare death in the face" in order to execute techniques without hesitation. As a martial art concerned not only with fighting proficiency but also with the betterment of daily life, this mental aspect is of key importance to aikido practitioners. [10]
Ki
The study of ki is considered by many a critical component of aikido, and its study defies categorization as either "physical" or "mental" training, as it encompasses both. The original kanji for ki was 氣 (shown left), and is a symbolic representation of a lid covering a pot full of rice; the "nourishing vapors" contained within are ki.[11]
The character "ki" is used in everyday Japanese terms, such as "health" (元気: genki), "shyness" (内気: uchiki), and "illness" (病気: byōki) . Ki is most often understood as unified physical and mental intention. Shioda Gozo's Yoshinkan Aikido, considered one of the 'hard styles', largely follows Ueshiba's teachings from before World War II, and surmises that the secret to ki lies in timing and the application of the entire body's strength to a single point (集中力 "shuuchuuryoku" or concentrated power).[12] In later years, Ueshiba's application of ki in Aikido took on a softer, more gentle feel, and many of his later students teach about ki from this perspective. Tohei Koichi's Ki Society centers almost exclusively around the study of the empirical (albeit subjective) experience of ki. Students are even ranked separately in aikido techniques and ki development.
Uniforms and ranking
In the West, Aikido practitioners commonly refer to themselves by the Japanese term Aikidoka. In Japan, this term would be used to describe only professionals who make a living teaching the art, or apprentices in training to become professionals. In terms of ranking, most schools generally adhere to the post-war system of promotion through a series of "grades" (kyū), which start at a given number and count back to 1, followed by a series of "degrees" (dan), the first of which is black belt. Systems are generally pursuant to formal testing procedures. This grading system is generally consistent with most modern martial arts and some traditional Japanese arts which have modernized. Most Aikido organisations use only white and black belts, and sometimes also brown for advanced students who are not yet black belts. Some styles use various belt colours, particularly outside of Japan and with children's class (Children's classes in Japan also now tend to use various coloured belts). Testing requirements vary, so a particular rank in one organization is not always comparable or interchangeable with the rank of another.
The uniform worn for practicing aikido is similar to the training uniform (keikogi) used in most other modern martial arts; simple trousers and a wraparound jacket, usually white. Both thick ("judo-style") and thin ("karate-style") cotton tops are used, however judo-style uniforms (judogi) are generally favored because of their durablilty. Most aikido systems also add a pair of wide pleated black or indigo trousers called a hakama. In many styles its use is reserved for practitioners with black belt ranks, while others allow all practitioners or female practitioners to wear a hakama regardless of rank.
Styles and schools of aikido
Aikido has many styles, mostly formed by Morihei Ueshiba's major students. Independent styles began after the Second World War and proliferated with the death of the founder in 1969. Today, the major styles of aikido are each run by separate governing organizations, have their own headquarters (honbu dōjō) in Japan, and have international breadth. The largest aikido organisation is the Aikikai, which is the main organization under the Ueshiba family.
Other prominent 1st generation (meaning founded by direct students of Ueshiba) Aikido organisations not affiliated with the Aikikai are:
- Yoshinkan, founded by Shioda Gozo. Formed when Ueshiba was in semi-retirement in Iwama following WWII and largely credited with sparking the resurgence of aikido after the war. Yoshinkan's style is considered "pre-war aikido" for its resemblance to the Aikibudo or Aikijutsu of the 1930's when Shioda Gozo trained under Ueshiba at the Kobukan dojo.
- Yoseikan, founded by Mochizuki Minoru, who blended other arts he studied with aikido.
- Shodokan or Tomiki aikido, founded by Tomiki Kenji.
- Ki Aikido or Shin Shin Toitsu Aikido, founded by Tohei Koichi, a former chief instructor of Aikikai, who broke away over a dispute about teaching methods after the founder's death.
References
- ↑ Cite error: Invalid
<ref>tag; no text was provided for refs namedStyles - ↑ Template:Cite book
- ↑ "Secrets of the Samurai: The Martial Arts of Feudal Japan" by Oscar Ratti, & Adele Westbrook. Castle Books, 1973, pages 23, 356-359.
- ↑ "Aikido Shugyo: Harmony in Confrontation" translated by Payet, Jacques, and Johnston, Christopher. Shindokan Books.
- ↑ Template:Cite book
- ↑ Template:Cite web
- ↑ Template:Cite book
- ↑ Template:Cite book
- ↑ Template:Cite book
- ↑ Template:Cite book
- ↑ "The Conceptual Scheme of Chinese Philosophical Thinking - Qi" by Bing f. YeYoung. Literati Tradition. http://www.literati-tradition.com/qi_breath.html accessdate = 2007-02-12
- ↑ Cite error: Invalid
<ref>tag; no text was provided for refs namedShugyo
External links
- Aikido Journal Website — an extensive source of aikido historical information.
- AikiWeb Aikido Information — a comprehensive site on aikido with essays, forums, product reviews, columns, an aikido wiki and other information.
