Author: Bret Gordon In the past, we've explored the various explanations of aiki used both in our system of American Yoshinkan Aiki Jujutsu and the internal community at large. In part 2 of the "Is This Aiki?" mini-series (click here to read), I included generalized definitions of common terms such as:
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Author: Bret Gordon My last several articles have been dedicated to defining aiki as we use it in American Yoshinkan Aiki Jujutsu. However, aiki is not a concept unique to the myriad of systems that ultimately stem from Daito Ryu. While Takeda Sokaku (the founder or rejuvenator of Daito Ryu, depending what you believe) may have been the first to attribute this concept to a physical, conditioned state of being, the origins of aiki go back much farther and I'd like to briefly dive into that history. We first see written accounts of aiki, often written 相氣, as early as the late 1600s, and was used to describe the moment in time when two swordsmen would find themselves with the mutual intention of attacking at the identical time and space. It was taught as something to be avoided, as this could only result in mutual death if they proceeded with their attack. Fast forward to the late 1890s, and the book Budo Hiketsu: Aiki No Jutsu was published by Kondo Yoshizu, where aiki was described as the highest level of mastery in Japanese martial arts. It's unclear when and where the shift in perspective happened, with aiki once being something to avoid and now defined as the pinnacle of Budo, but this interpretation would significantly influence the development of the aiki arts. Author: Bret Gordon In my latest mini-series entitled "Is This Aiki?" (click here for part 1), I mentioned a concept in internal martial arts known as the Six Harmonies. Originally derived from Taijiquan, the Six Harmonies are:
The three external harmonies describe how to move the body as a cohesive unit to express coordinated power (集中力 shuchu ryoku). The three internal harmonies describe the relationship between your intent and your actual, physical movement. Together, the Six Harmonies are the key to balancing In (Yin) and Yo (Yang) in the body, and ultimately creating what is known as the aiki body. However, because the Six Harmonies are largely a Chinese concept, practitioners of Japanese internal arts may mistakenly overlook them. In the image above of Takeda Tokimune, son of Takeda Sokaku and the late Soke of mainline Daito Ryu Aiki Jujutsu, we can clearly see the kanji for Jusoku Rikugo 充塞六合, "Fulfill the Six Harmonies" (written in the classical manner of right-to-left). The more I research into the history and training methods of both our system of American Yoshinkan Aiki Jujutsu and our related/parent aiki arts, it has become clear that the development of Chinese and Japanese internal martial arts were more intertwined than we are led to believe. While the scroll displayed in Takeda sensei's dojo is the only written reference I have seen from an official Daito Ryu source to the Six Harmonies, taking into account the ryu's adherence to secrecy and obscurity, it would not surprise me if like the very nature of aiki itself, it was hidden in plain sight. Author: Steven Hatfield In the intricate world of martial arts, understanding Aiki transcends mere physical techniques; it's a philosophy, a principle, and an art that requires profound comprehension. So let's delve into the depths of Aiki shall we? As I share my opinion on correcting and expanding the views and definitions of aiki and its applications. 1) Defining Aiki: Blending, Not Clashing** Aiki encapsulates the idea of oneness or blending amidst combat. In aikido, it elevates the notion of blending rather than clashing, emphasizing harmony over confrontation. Described as "awase" within aikido, blending involves joining with the opponent's rhythm and intent to find the optimal position and timing to apply force. Aiki practitioners understand the nuanced difference between 'blending' and 'giving way,' training to subtly 'take the line' of attack and control it. This principle remains consistent across various Aiki arts, showcasing small variations and adjustments. Author: Bret Gordon Now that we've explored the aiki body (part 1) and defined the various terminology of the aiki arts (part 2), let's get deeper into the actual techniques of Aiki no Jutsu. But didn't I say in my last article that aiki was something you have, not something you do? Like the art itself, it's complicated... There is a subsection of techniques called Aiki no Jutsu, literally "techniques of aiki," that are meant to showcase the practitioner's expression of aiki without relying on the standard skeletal or muscular manipulations of jujutsu. Of these techniques, Aiki Age 合気上げ is the staple of Daito Ryu and its derivatives, to the point where if one cannot demonstrate at least the simplest variation of it, it's safe to say they haven't studied the aiki arts at all. Author: Bret Gordon In part 1 (click here to read), I briefly defined one interpretation of "aiki" as the moment in time when two opposing forces intertwine. I also began touching on Aiki no Rentai (conditioned aiki body), and it's on this subject I'd like to dive deeper. As I previously stated, Aikido founder Ueshiba Morihei functioned on a different plane from what we often see in modern Aikido. By all accounts, Ueshiba had the aiki body which brings me to the next interpretation: Aiki is something you have, not something you do or something that happens. To quote my friend Rob Liberti, "aiki in me makes aiki in thee." When the aiki body is developed, the opposing forces we're talking about no longer refer to two separate entities but rather forces acting within one's own body. Through engaging the connective tissue of the body, we're attempting to create omnidirectional force by expanding in all (six) directions: up, down, forward, back, left, and right. The body, constantly being pulled in all directions, develops a tensile strength that neutralizes force acting upon it (often referred to as rooting or grounding). With that, an elasticity is also created that allows force to travel through the body without obstruction. Author: Bret Gordon Few things in the martial arts have caused more controversy than the discussion of aiki. The general public, and majority of the martial arts community, dismisses aiki as some form of mystical "chi" power akin to the "no-touch knockouts" of George Dillman (with just as much effectiveness). Even those in the aiki arts, however, struggle to come to a consensus of what aiki is... And they're the ones that teach it! In this article, I'll attempt to break through the shroud of mystery and disinformation (more on that later) surrounding the world of aiki. Let me apologize now, as this won't be a quick read. In order to understand what aiki is, we first must translate it into laymen's terms. The kanji which comprise it, 合気, are often translated as "harmonizing energy," but of course that doesn't say a whole lot. The first character, 合, is itself three kanji: 人 (person), 一 (one), and 口 (mouth). One of the best breakdowns I've heard for this character is "two people speaking through one mouth," referring to the instant that two opposing forces come together. This is also the inspiration for the Taiji (often called the yinyang or inyo symbol). It is not two objects crashing into and destroying each other, but rather dual opposing spirals whose paths intertwine. The second character, 気, is the simplified version of 氣, which is essentially a drawing of boiling rice. "Where the translation of Ki as energy comes from is the fact that the energy from the fire below the stove boils the water which produces energy from the steam. This type of combustion is the basis for steam engines. However, it is not just the energy that causes the lid of the pot to lift. It is the relationship between the fire, the stove, the pot, the water, the steam, and the lid that makes it all work together. To this end, Ki is best translated as 'relationship' as opposed to 'energy.'"[1] Don't confuse kata for applications! Too many people see aiki connection drills and assume that is what we're teaching as self defense or combative techniques. Instead, they are biomechanical exercises meant to isolate and develop various principles. In this video, headmaster Bret Gordon shows those principles can translate into real fighting techniques... Author: Bret Gordon Since becoming the headmaster of American Yoshinkan Aiki Jujutsu on January 12, 2020, I have posted several pictures of Steven Hatfield sensei and I where we are listed as "Sendai Soke and Soke." Of course, this is not a very common term so several people have asked what the term "Sendai Soke" means, does this mean we are both Soke, and if so then who is the head of family for the system? Sendai Soke 先代宗家 is the retired headmaster of the system, a title used while that person is still living. When Hatfield sensei stepped down as headmaster, this became his position. I have also officially named him as a Komon 顧問 (advisor), but his title in the hierarchy of the ryu is Sendai Soke. This is not a title we came up with on our own, and has been used in several other ryuha as well when the previous headmaster is still alive yet the art is completely passed down to another. The title is used in both gendai arts, such as Enshin Itto Ryu Bujutsu (Machida Kenshinsai is the Sendai Soke now that his son Machida Fudoshin runs the art), and koryu arts such as Hokushin Itto Ryu Hyoho, which is currently under the leadership of Otsuka Ryunosuke (born Lösch Markus) who first studied the art in 2010 and was named the 7th Soke in 2016. From the official Hokushin Itto Ryu website (click here): "On the 26th of March 2016 Ōtsuka Yōichirō appointed his dōjō-yōshi (foster-son) and menkyo-kaiden, Ōtsuka Ryūnosuke Taira no Masatomo as his successor, and made him the 7th sōke of the Hokushin Ittō-ryū Hyōhō. Since that time, Ōtsuka Yōichirō officially retired and became sendai-sōke (previous headmaster). Despite his retirement, he still actively supports and advices the several keikojō in Tōkyō and also visits the honbu-dōjō from time to time. Nowadays, the Hokushin Ittō-ryū Hyōhō is solely led by Ōtsuka Ryūnosuke, the 7th sōke, in Japan and abroad."
Author: Bret Gordon
Yesterday, my instructor Steven Hatfield and I put out a video together showcasing various aiki and jujutsu techniques taught in American Yoshinkan Aiki Jujutsu. It's nothing spectacular, just a one-minute highlight clip, but it's special because it's the first time we've put anything out together for public consumption regarding aiki. I'll include the video at the end of this article. True to form, our personal press corps took less than 2 hours to share the video and offer some constructive criticism.
One of the most consistent criticisms of demonstrations like this, in addition to the assumption that aiki is fake, is that the responses of the uke do not match the physical output of the tori. They are used to large, external movements being required to throw someone. The very foundation of internal martial arts, Aiki Jujutsu being one of them, is that power is generated in a subtle manner that is imperceptible to the untrained eye. There's nothing esoteric about it. It's not based on magic or anything mystical like chi. It's just a different way of transmitting force through the body (and into another person through physical touch) that is generated through cohesive body movement rather than segregating a limb from the rest of the core. I'll write more articles on the subject in greater detail, but here I'd like to focus on the uke. |