Bridging the Aikiko Rift, Part 4

This is the article that's gonna tick everyone off.

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Everyone who writes about aikido, whether on a professional or amateur level, quotes Morihei Ueshiba at some point, and I’m no different. We may not really know what he meant when he said these things, because we usually don’t know the context (unless we were there, which narrows down the number of people who can quote the Founder, with absolute accuracy, down to about three).

What we know for sure is that O-Sensei saw aikido as “A way to reconcile the world.”

In reading his spiritual writings, we see that the essence of aikido is described again and again, in words like “Ame” (pronounced like “ah-may”), meaning heaven. The way O-Sensei wrote it, though, points to underlying, deeper meanings. For example, he writes “Ame” by combining the characters meaning “self” and “rotation”[1].

If I take the liberty to apply this important teaching from the Founder to our study of the current state of aikido in this place and time, I find myself wondering what he would think about what we’ve got going on. Technically, I don’t think aikido has ever been healthier. But if he intended his art to become a means by which to reconcile the world by combining self and rotation to find heaven, I’d say we’ve missed the mark by a far piece.

I know, I know. For some people, especially American Christians in the 21^st century, some of these principles – some of these spiritual concepts written by O-Sensei – can be a bit much. After all, we’re not adherents of the Shinto religion, and we’re not Buddhists (well, most of us aren’t – I am, but that’s not the point). So, let’s replace these more out there writings with what Kisshomaru Ueshiba, the second doshu and son of the Founder, wrote. He said that all budo, not just aikido, is dedicated to perfecting the human self by integrating mind, body and spirit. He pointed out that the truly egoless self (the essence of the bugeisha, the self-actualized martial artist) identifies with all things and all people, seeing them not from its self-centered perspective, but from their own respective centers. He goes on to discuss the realization of universal love through rigorous training of the body, the formation of the ideal human self, and the realization of absolute victory through the unification of the universe.[2]

Okay, but we see the trend in the highest writings about aikido. We see how the Founder and the second doshu wrote so much about things like unification, integration, actualization and realization.

I have to admit that I haven’t read everything ever written on the subject, but in what I have read, I’m not seeing a lot about segregation, seclusion, exclusion, or animosity.

I haven’t seen anything about suspicion or mistrust.

What does it say about us as aikido practitioners, if we can’t even get that right? O-Sensei gave us this gift, this lifestyle, and implored us to use it to the reconcilement of the universe – he asked us to find ways to bring all people together through aikido – and we can’t keep aikido itself together.

We’ve explored some of the reasons for our difficulty in this area. We’ve talked about how both competition and the absence of competition in Tomiki aikido have served to drive us away from each other. We’ve seen how a school in one country can allow egos and attitudes to flare, alienating students in a school on the other side of the world.

I know there are a few long-time aikido teachers reading this. And you know all the names of the people involved in these little incidents. The thing is, you have the power to change all this. We – those of us who are on the mat right now, today – have the ability to close the credibility gap that prior generations imposed on us.

So what are you gonna do?

Here’s my recommendation. One thing international aikido sorely needs is a single, unified governing body. For many (millions, actually), the Aikikai Foundation serves in this capacity. But for me, that’s only effective when the Aikikai Foundation begins recognizing accomplishments in Tomiki aikido. For others, the governing body is the Japan Aikido Association, which oversees schools training in the competitive Tomiki method. But again, what about those not brought up in Tomiki schools?

Back to the original problem, then. Are we practicing different arts? No, aikido is aikido is aikido. So why not have one unified voice in its governance?

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I can hear some of you laughing, but I’m serious. You know that Tomiki’s method was originally meant to explain that area in which judo and aikido meet. You know how close judo’s nage-no-waza (“the 15” kata) is to the Tomiki 17, at least in principle (center, distance, timing, happo-no-kuzushi, etc). Some of you teach judo in addition to aikido in your schools.

 

Remember that Tomiki sensei was a shihan in the Aikikai. In fact, he was one of the original shihan in the Aikikai. Why can’t we include the principles, processes and techniques found in other aikido styles to our curriculum? We can find powerful examples of the aiki principle at work in the hard stances and sharp movements of Yoshinkan aikido; the flowing, easy-looking power of modern American Aikikai schools like ASU and the USAF. It sounds farfetched, I know, but this is the way I intend to teach aikido, once I get the details hammered out (I have several years to put it together, as I’m only a shodan now).

To my way of thinking, the only reason a Tomiki student doesn’t know how to do a proper ikkyo (the premier technique in mainstream Aikikai-style aikido) is that the personality conflicts of some previous generation wouldn’t allow that much cooperation between the schools. But I see no reason why it shouldn’t be taught in our schools today; in fact, it’s essential. In not teaching these techniques, which for some reason have been left out of the Tomiki curriculum (at least at the ge and chu levels), we’re effectively perpetuating the legacy of outcasts  - the aikido rift. And what’s worse, we’re alienating our own students from the greater aikido world.

The first step is to let go of outdated and incorrect ideas like “This is the only style of aikido that does randori” or “We’re the only ones with any real self-defense techniques”. And then the next step is to begin integrating the techniques of other styles of aikido into our lessons. I’m not saying we need to learn everything under the sun, but every style has a lot to offer, and if we’re missing out, then we’re missing out.

When I tested for ikkyu, I performed the 16 Double Releases, some randori, a few tanto-waza and some basic ne-waza. I’m putting together a curriculum right now that will add, at the ikkyu level, an understanding of tenchi-nage, irimi-nage and shiho-nage, specifically as thrown in the AIkikai.

This doesn’t change Tomiki sensei’s method one bit, but compliments it. I admit it’s a lot to learn. In addition to the Walk, the 8 Releases, the 16 Double Releases, the 17 and the Big 10, a black belt in this re-integrated aikido will be basically proficient in four Aikikai-style pinning techniques: ikkyo, nikyo, sankyo and yonkyo; and five specifically Aikikai-style throws: shiho-nage, irimi-nage, tenchi-nage, kaiten-nage and koshi-nage. He will be able to demo these techniques forward and backward (omote and ura), against five different attacks. He’ll also have a working understanding of kokyu-ho and the kokyu-tanden principle.

OK, this is the kind of thing that ticks off everyone. But I'm willing to go out on a limb and discuss whatever differences we're going to have about it. The problem has always been that certain selfish attitudes and paranoid mindsets haven't allowed us to train as a unified body of aikido deshi. Exclusionary tactics have been the norm for a long time, but we have an opportunity to change all that, beginning now. It will take time, but we can make some exciting moves toward a reunification of O-Sensei's aikido, if we get started on it right now.

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[1] John Stevens, The Essence of Aikido, p. 16

[2] Kisshomaru Ueshiba, The Spirit of Aikido, pp. 7-12

Comments

[nick lowry]

ticked off?
not really.
i think becoming more inclusive and well rounded are excellent goals--i agree that there should be no technical boundry markers between styles-- working and intergrating waza across systems is both smart and valuable once you know what youre lookin at --once you have the foundation you can build all sorts of structures.
I also think its wonderful that you are giving such consideration to your own place in the scheme of things as a teacher and looking deeply as to what and how you what to teach aiki. Bravo!
I think on the whole i can support much of your thesis-- but when you call for "reunification" i think perhaps you miss the mark--
Reunification into one political entity begs the question of when was it ever really unified? Under Ueshaiba Sensei, in his own lifetime the propogation of the art on the world stage required the development of diverse organizational structures-- such structures have continued to diversify and spread -- memes in a culture--natural and evolutionary-- in my read on the history of the art it looks like one governing body unifying the art went out the window when the founder took off to Iwama and left Jr. to run the Honbu--from that point on, branches like Yoseikan, Yoshinkai, Shodokan, Ki Society and a hand full of others were inevitable. If it was ever so, Aikido was only unified when it was a small, local entity being taught by M. Ueshiba in the pre war period.

So while I can agree that yes we are unified as aikido students/teachers, i can also note that we are also unified as human beings on planet earth, and so far no one has manged to reunify us under a single govering body -- and if we tried, whose myth shall we "re"-unite under exactly?

for my self --I like making aiki-friends where ever i find them -- reguardless of system, style,or political affiliation. I like to learn and grow where ever possible, and i aim to foster these attitudes in my students (though i note that remaining encrusted with the "one true right way" mentality is perhaps more comfortable for them -- i have confidence--they will get over it) Lots to be learned across the spectrum just keep an eye on principle and stay keen on the difference between what will dilute versus what will refine.
As to Aiki unifing all mankind i say give it about 500 years or so and then check for progress.

[scruffysmileyface]

Not you, but there are others (we both know them, or know of them) who will crap in their hats at the notion a call for greater unity in the aikido world, because such unity would pose a perceived threat to their personal little empires.

I see what you mean; I guess it's less important that we have a politically unified governing body, than that we, as aikido-ka, come to a more unified understanding of what our art is.

But it's still important to avoid the pitfalls of one-side-ism (new word).

The first time I walked into a non-Tomiki dojo (just this February, by the way), I couldn't believe my eyes. Here's this art, it's the same art I do - I have a black belt in this art, so while I'm still a beginner I should at least be able to do most of what they're doing. But they had some techniques I'd never seen before, never heard of before, operating on a principle I'd never imagined before. Kokyu tanden ho? Never heard of it. Hanmi? Never tried it. Kote gaeshi? Done lots of 'em, but never saw one that looked like this. Likewise, when I talked about the principles I knew and considered important (happo-no-kuzushi, for examlple), they looked at me like I was talking about Chinese music.

One major problem, as I see it, is that I was always told that our school teaches the one true aikido, and that I should never go to anyone else's dojo, for fear of polluting the purity of what I'd learned so far. But later, it was only after going to an Aikikai-affiliated school, that I discovered how much I'd been missing.

If we could take steps toward some kind of unity in curriculum, and forget about the politics of it all, I would be a happy mat-slapper. If the politics were to eventually follow suit and become more united across the aiki spectrum, well that would be great too. And my proposal is that unity in curriculum - the first goal - can achieved by adding "their" techniques to "ours", which I believe is the way it used to be, in pre-war aiki.

[nick lowry]

yes one-side-ism certainly is comfortable but it can certainly also lead to myopia-- will you expand on the varitions you site -- some of it just sounds like language barrier stuff -- but what new principles and waza have you explored?

[scruffysmileyface]

Some of it is language barrier, ie what one style calls mae-otoshi another calls kokyu-nage. But some of it represents a shift in the way the body moves, fundamentally. The beginning stance is substantially different between Tomiki aikido and other styles, for example. And when your stance is different, your starting point is different - you have to move your hips in a whole different way.

Kokyu-ho is something that I never saw in Tomiki. Not saying it's not there, but I never saw it until I went to this Aikikai dojo. Charles Harris sensei (6dan Fugakukai) said it's there and showed it to me, but what he showed me isn't what they're doing, it's something different.

These things are different because of fundamental differences in philosophy. Wider, more circular movements and more sweeping breath throws are common in the aikikai stuff that I've seen so far, while in my experience Tomiki aikido is more direct and straight forward.

This is why I feel like we're limiting ourselves if we only study one style of aikido. It's all aikido, yes, but it's different enough that I think we should work it in together.

[nick lowry]

can you say more about what the diference is specifically-- i buy you are feeling different things -- i just am seeking clarity as to whats going on differently in your hip for instance? or what was it that was diffent in Charle's application vs the kokyu-ho from the shudokan?
circular movment i get (tomiki forms do get abit stuck on lineraity) -- but would you say more on "sweeping breath throws" please.

[scruffysmileyface]

Hips:
In a Tomiki heel-to-toe stance, both feet are pointing forward. This gives you the freedom of movement in all directions evenly, and gives you the ability to use both arms equally because your hips are straight (the hips, waist, chest and shoulders are straight, perpendicular to the line of attack, making both arms "the same length"). Very little hip rotation is necessary.
In a hamni stance, such as that practiced in Aikikai schools, the trailing foot is turned, not facing completely forward. This has the effect of turning the hips and limiting how you move. Watch video of Doshu doing ikkyo, you see subtle rotation of the hips, first outward then inward (toward the outside of the movement, then toward the inside). Hiroshi Kato sensei (8dan Aikikai) shows very prominent hip rotation during most movements. From a hanmi position, just doing a tsugi-ashi requires some hip movement, rotating from side to side. This is even more pronounced in cases wherein the aikidoist stands with his forward foot pointed outward a little (more common in Yoshinkan than in Aikikai, but you still see it sometimes).

Circular movement:
In Tomiki aikido, I learned that some techniques are done straight forward, while some are done in a sweeping, circular movement that involves a deep pivot. Tenkai-kote-gaeshi is one of these pivoting waza, also I think #8 in the Double Releases is one (the name escapes me at the moment). But in the AIkikai, every waza is taught both straight forward and circular. We think of them as omote and ura; generally, omote is irimi, while ura is tenkai (or tenkan). So that kote-gaeshi, while basically the same technique, can be done either straight forward (omote, irimi) or in a sweeping, circular movement (ura, tenkan).

I'm presently working on an article about kokyu-nage. It's a subject all its own.

[scruffysmileyface]

Kokyu-ho:
This is a breathing exercise - or more accurately, an exercise by which one learns to control physical movement by applying the principle of breath control. It's most frequently done in suwari-waza, and I understand that O-Sensei closed his classes with it. In extending the arms upward and toward uke's shoulders, we find that we're powerless against uke's arm strength, until we properly control our breathing, and learn to use it as an additional dimension of our body movement. Once we reach this point, uke is powerless, and must go where we send him.
The principle is found in a number of throws, most notably tenchi-nage. I can't pretend to fully understand it yet, but I have felt it applied by someone who learned it personally from O-Sensei, and it is powerful.
I'm told that it does exist in Tomiki, but what was demonstrated to me wasn't it. That was a wrist release movement, wherein uke grabs both your wrists and you twist them inward against the weak part of his grip, and he has to let go. Different thing (cool, by the way, but different). I don't mean to imply that it's not part of Tomiki aikido, but it must be in some kata that I never saw yet. You could write another book with just the stuff I don't know about aikido, so there ya go...:)
Chris DeBoisblanc, LF sensei's top guy, tried to show it to me once while helping me with my tenchi-nage from the Double Releases. But I failed to grasp the concept, and never saw it again until recently, at this other school. I don't know if he got it from his Aikikai training or from LF sensei, or elsewhere.
But even in the tenchi-nage that we learned in Tomiki, there's no kokyu movement. It's all off-balance, achieved in the same manner as in the 17: step off the line in body fall, drawing uke into a recovery in body rise.

[nick lowry]

Interesting -- the opening of the hip of the trailing foot is a notable feature of the style of "walking kata" (of couse not by that name) that is demostrated by Tadiyuki Sato, current sensei of Waseda U. Aikido club-- he notes that the walking style that is more familiar to us, with hips squareing up what is a marked influence of judo application -- (the squareing of the hips makes all the ashiwaza easily deployable) the more classical aiki hanmi i find more reminds me of sword forms and stance work -- how has the different hip opening affected your waza or randori?

as to the strong preference for straight line moving forward application-- i think this tendancy also shows up in the other aiki-budo pre WW2 forms most notably in Yoshinkan- I agree of course omote/ura or tenkan/irimi or even otoshi/garuma (depending on your model) are all terrific forms to explore and include. The tomiki tendancy to lock down patterns of direction etc (ie this technique goes forward, while this one goes roundy round) probaly goes along with the inheirent narrowing of focus concominant with producing setei kata -- by reducing the numbers of variations down to a tight set, the tomiki program was able to produce a really efficnent method of teaching --so folks get really really good at some very central technical skills in a realitivly short period of time but it is often with the common side effect of taking the myopic view that this particular way is "right or best" -- looking forward to your kokyu discussion

[nick lowry]

you may be right -- there are after all a handful of what i would call truly distinctive features in each system -- kokyu ho may in fact not be part of the set pieces transmitted through kata- though i have seen some work by Nettles in the JAA that is reminnicent of what you are describing ( then again it maybe the same stuff revolving around wrist engagment and not involve breath work-- withoutfirst hand experience it is hard to say) -- would you say more about what you are specifically doing with the breath to effect the uke?

as an aside --another notable absence in the formal cirriculumn is koshi waza-- though many teachers sneak it in anyway (i suspect this had something to do with trying to keep the competitive game distict from judo)

Interestingly enough one of the strong distictive features of Tomiki's work and one that actually kicked off disagreement with Honbu was the walking kata -- long before competition became a thing--apparently the powers that be at aikikai really disliked the walk being identified as aikido at all (perhaps it was seeen as competition to their own one man methods)