During our recent Fellowship Seminar, it was mentioned by Kubo Shihan that his teachings and message during said seminar were based on a paper that I had written for my yondan test. It was also suggested that this paper be made available to folks who would care to read it. Sorry for the length, but I tend to ramble a bit when writing. I hope this paper helps to explain my stance on Aikido. Thanks for taking the time to read it. -- Sensei Mike
While considering what it takes to be a good Aikidokia, I started thinking of the points that I feel make good Aikido. There are many differing ideas as to what makes one successful or unsuccessful in martial arts, Aikido in particular, and I thought it would be interesting to compare and contrast some of these ideas. I wanted to focus on the pros and cons of the following points as they relate to the practice of Aikido: technical precision, strength, ki development, and atemi.
Starting at a problem that many encounter in the beginning of their Aikido training, strength is a major issue with many newcomers. The idea that “I’m bigger than you so I should be able to do this better” isn’t always the correct one. The more muscular students will find themselves relying on their strength and will struggle with their technique because of this. Not to say that sometimes a size or strength advantage is always a bad thing, but it’s not something that should be depended on. Sometimes we will hear an instructor tell us to be strong, or take a stronger stance. This doesn’t mean use your muscle, but might mean keep your balance, extend your energy, or focus. To say that physical strength has no place in Aikido is not one hundred percent true, the key here is to know your limits, and know what to use, how to use it, and when to use it. Aikido has often been called “The Old Man’s Art” and is at times advertised specifically to women and children as an effective method of self-defense. The average woman or child is unable to rely on any strength advantage so they have to take another path to be effective in their art. This “edge” that Aikido practitioners should seek out is technique, which brings us to our next point.
After the idea of using strength is toned down, students begin to learn that proper technique is more effective than powerhouse tactics. To me, proper technique doesn’t require the student to step with the left foot at a certain angle or a certain sized step, but rather requires the student to step with whatever foot, however deep, and at whatever angle it takes to disrupt his attacker’s balance. Each person’s physical make up is different and the “textbook” technique that you learned may not work on everyone. Knowing the basic moves and how they work, you can modify them to accommodate your situation. After the practitioner learns these basic techniques, the next logical step in many people’s Aikido career is to make those moves more pleasing to the eye. The desire to be flashy and impressive has proven to be the undoing of many a good nage and the results of these actions have been disastrous. There have been many injuries, some ending uke’s Aikido training days for extended periods of time or permanently, caused by showboating for fellow students or an audience. With solid, basic technical knowledge and humble practice these unnecessary risks can be avoided. Only after the foundation is set can you start to expand your Aikido practice.
One thing that many people feel is extremely important to the success of their training is the use of atemi. Atemi are strikes used in conjunction with Aikido techniques to neutralize an attacker by attacking the weak centers of the body with focused force; to control the opponent by using flowing strikes to create a desired reaction; and to distract an opponent with momentary pain while a technique is executed. In my opinion, the best use for atemi is the latter, to distract the attacker from what is actually happening to them or, as Sensei puts it, “take their mind”. The strike does not need to be a powerful or crippling blow, but rather a small piece of the big picture for your uke to examine for a moment. That being said, the atemi should not disrupt your overall technique. Aikido is generally meant to be a flowing art, and your strikes within that art should fit with that flow. Here again, a basic knowledge of strikes, their placement, and their results are helpful in deciding where and when to place atemi. The strikes should be placed where they don’t interrupt your movement and the reaction to these strikes (where uke is going to end up after the strike) should be considered. In most cases, if you connect with a good solid atemi, you won’t need to complete your Aikido technique, as the threat will be neutralized. If the strike merely distracts your attacker, then the opening for your art is provided.
One of the hardest concepts for beginners to grasp is that of ki. Ki is the life energy that all things posses. The degree to which one develops this energy and learns to use it may have a factor on one’s Aikido. As with all my other points, a basic foundation of knowledge is needed before diving off the deep end into ki development. I have seen many prodigies and self taught gurus in this area that didn’t understand the basics ideas behind the flashy show they were attempting to put on. There is a list of common sense basics to ki development that I have learned. These points are breathe, relax, keep weight underside, and extend. While those may not sound like they’re basic common sense ideas, when you look into each one individually, they are.
The first, breathe, is self-explanatory. For any living thing to continue to live, it must breathe. For muscles to work properly they need oxygen for fuel. To prove this one to yourself, try lifting an object that has some weight to it, but not too heavy for you while holding your breath. Then try the same object again while inhaling or exhaling. It should be considerably easier when you breathe.
Relaxing is key to any physical movement. When the body is tense, it becomes much more difficult to move in a smooth, flowing manner. We don’t ask you to relax to the point of limpness, but rather to a supple but giving state. Consider a stalk of bamboo when thinking about this level of relaxation. Bamboo is a strong, supple material, but flexes and gives when need be to avoid being broken. If your body is too rigid, it too may be in danger of being broken. Another form of relaxing to think about is mentally. In certain situations where you may use your Aikido training, high stress levels may accompany the threat. If you go into a mental “freak out” your training goes right out the window. Keeping a cool head during conflicts will keep you in charge of that situation, and may help you avoid the situation to begin with.
Many people don’t understand “keep weight underside” and get confused when discussing it. It doesn’t mean drop into a low stance and become rigid. It simply means move from your center. I explain it to students as following your obi knot. This area is roughly your center of gravity and controlling this point controls balance. If you lead movements with the upper body, you will be easily toppled off balance due to the distribution of weight in the human form. If your weight resides in it’s natural center, and you use this center to move, you will have a strong stance and good balance.
The last of these principals is to extend. Extension is simply blending the previous three points into one and adding some movement. If one breathes, relaxes to a supple but giving state, and keeps good balance then executes their techniques, they almost have no choice but to extend. There is a mental aspect to extending as well, which has to do with a person’s ki force. If you were to imagine a fire hose, firm with water pressure and spraying water out, it maintains it’s supple but giving state, while projecting the water out of the end. Use this image in your mind with the source of the water being your obi knot and the end of the hose being your arms, your hands, your feet, your head, or whatever part of your body you are using at the time. A side note to ki development that I always like to offer is that ki is not magic. It is simply a natural occurrence that takes a little practice to harness. With proper technique, proper relaxing, and strong stance, ki is a nice addition to your Aikido.
Well with all that said and done, have I decided what I feel makes a person’s Aikido successful? I feel that everything I have mentioned has a factor in making a person’s training a success. Depending on what that student walked through the dojo door for, they are the one that has to determine weather their Aikido career is taking the correct path for them. Some enter the art to learn self-defense, some to take up a physical activity, some to learn something new that none of their friends know, and others for the fellowship that a dojo atmosphere provides.
In my honest opinion, what makes someone’s Aikido a success is it’s effectiveness for that person. I don’t focus on precise technical points, but rather on effective, economical movement and end result. What is more effective, a basic kotegaishi that immobilizes an attacker and ends a threat or a flashy, high flying kotegaishi that might draw applause or oohs and aaahs from a gallery or might upset the balance of both uke and nage taking the threat to a new level. I know which one I’d choose if I had to, and that’s what makes my Aikido a success in my eyes.
