Category: Geen categorie

Kata, Formal Forms and the Modern Scientific Approach

Dogmatism versus Evolution

Every martial art that respects itself must not cling to dogmatic thinking. Japanese martial arts often use “kata” to practice fundamentals. However, many kata have become so formalized that etiquette and choreography have become more important than the original fundamental principles they intended to convey.

We encounter the same perspective in Western martial arts, which often also employ dogmatic approaches to gain legitimacy. This dogmatic thinking regularly forms a barrier in the evolution of both the martial art and the practitioner.

Modern science has extensively described many elements in the context of sports practice, thereby elevating various sports to a higher level. Take high jumping, for example: the technique used is certainly tested against developments in modern biomechanical science of human movement.

Modern Scientific Concepts

Examples of a modern perspective:

  • Rhythmic and repetitive movements: Natural oscillations
  • The natural adoption of optimal positions and movements: Attractor states

Natural Oscillations

Natural oscillations in martial arts refer to rhythmic, repetitive movements that naturally occur in the human body and in interaction with an opponent. These oscillations are essential for:

  • Efficiency
  • Balance
  • Timing
  • Force generation

They arise from the dynamics of the body, gravity, and interaction with the environment (e.g., the opponent).

The Oscillation versus Cartesian Dilemma

Natural oscillations create movement patterns that are inherently adaptive. Japanese kata or formal forms are an example of this, provided they encompass this concept.

Cartesian patterns, on the other hand, are linear-geometric: straight lines, fixed angles, circles, spirals, or static positions. These create rigid motor programs that are difficult to adapt when the opponent does something unexpected.

The Transfer Paradox

Oscillation-based kata develops dynamic invariants – underlying movement principles that remain stable while surface expression varies. A spiral movement can manifest as a strike, deflection, or evasion, depending on the context.

Cartesian kata teaches specific motor sequences that allow little variability. It becomes a catalog of “if-then” rules instead of fluid adaptation.

Attractor States

In martial arts, “attractor states” refers to a concept from systems theory and movement science. The idea is that the human body and our movements naturally tend toward certain efficient, stable, or optimal patterns. These patterns are called “attractors” because they essentially “attract” and stabilize movements, even with small disturbances.

Attractor States in Tomiki Aikido

In Tomiki Aikido, attractor states are primarily formed through:

Repeated randori: By continuously practicing against resistance, practitioners develop natural, unconscious reactions that are most efficient. These reactions become attractor states: they feel natural and are the result of selection under pressure.

Economy of movement: In randori, you quickly learn which movements cost the least energy and are most effective. These movements become the “attractors” in your repertoire.

Adaptability: Tomiki Aikido encourages adapting techniques to the situation, making attractor states not rigid, but flexible and context-dependent.

Western Martial Arts: La Canne as an Example

La Canne—the French stick fighting art—is an excellent example of a Western martial art where the principles of natural oscillations and attractor states are just as applicable as in Eastern combat sports.

1. Natural Oscillations in La Canne

a. Rhythmic Stick Movements

What: The stick is not handled statically, but in flowing, rhythmic movements (oscillations). This helps maintain momentum, move the stick faster, and mislead the opponent.

How: For example, continuously executing positions between high and low postures or performing brisés (downward stick swings) and enlevés (upward stick swings).

Example: A classic moulinet (windmill) is an oscillation that can be employed both defensively and offensively, helping to keep the stick in motion without interruption.

b. Footwork and Body Movement

What: Footwork in La Canne is often oscillating: small, rhythmic steps forward, backward, and sideways that help maintain balance and quickly change direction.

How: By moving the body and stick in a natural rhythm, the practitioner can react faster and generate power from the hips and shoulders.

Example: Rhythmically shifting weight from front to back leg during attack or defense, making stick movements smoother and more powerful.

c. Timing and Counter-oscillation

What: Using the opponent’s natural oscillation to evade or interrupt their attack. This is comparable to the principle of “kuzushi” in Japanese martial arts.

How: By observing the opponent’s rhythmic movements, a La Canne practitioner can attune their own oscillations to this and strike or deflect at the right moment.

Example: When the opponent makes a large strike, the practitioner can step inside with a small, rhythmic movement and place a quick thrust on an uncovered area.

2. Attractor States in La Canne

a. Natural Postures and Positions

What: The natural adoption of optimal positions and movements that the practitioner automatically returns to. These postures provide balance, protection, and power.

How: Through training, the body develops a preference for certain positions, such as a slight forward lean with the stick in a neutral position, ready to strike or deflect.

Example: The “garde basse” (low guard) is an attractor state: the stick is held low, ready to react quickly to an attack.

b. Automatic Reactions

What: Through repetition, certain deflections and attacks become unconscious, natural reactions—attractor states that are most efficient under pressure.

How: For example, when someone makes a thrust to the head, an experienced La Canne practitioner will automatically make a deflecting movement and immediately launch a counterattack, without having to think about it.

Example: A “parade” (deflection) followed by a “riposte” (counterattack) is a classic attractor state in La Canne.

c. Efficient Movement Patterns

What: Attractor states are also the most efficient movement patterns that cost the least energy and are most effective. These patterns are selected and reinforced through training and sparring.

How: For example, using the hips and shoulders to generate power instead of just the arms, making stick movements more powerful and faster.

Example: A moulinet preceding a brisé strike is an attractor state because it’s a natural, efficient way to generate power with the stick.

Application in Training

  1. Practice rhythmic movements: Begin by rhythmically swinging and rotating the stick, combined with footwork.
  2. Train under pressure: Sparring helps develop attractor states, because only the most efficient movements work under pressure.
  3. Observe and adapt: Pay attention to your opponent’s natural oscillations and use these to improve your own timing and reactions.
  4. Repeat basic techniques: By repeatedly practicing basic techniques, they become attractor states—natural, unconscious reactions.

Adapting Formalized Forms

It is naturally a challenging task to adapt a formalized form, designed by the founder or creator of the martial art, to modern scientific insights. There often exists a form of dogmatic thinking that prohibits questioning the ideas and words of the founder.

In Tomiki Aikido, there exists the basic kata—also called randori-no-kata—which describes the techniques that may be applied during “shiai”. It is remarkable that many practitioners are not creative enough to use other techniques not appearing in the kata as openings for a technique that does appear in the basic kata.

Forward-Looking Questions

Why wouldn’t we design new kata or reform an existing kata into a more profound series adapted to modern scientific findings?

Possible approaches:

  • Biomechanical optimization: Restructuring kata around natural oscillations
  • Variability training: Integrating multiple execution forms per technique
  • Pressure testing: Developing kata that transfer better to free practice
  • Neuromotor principles: Consciously cultivating attractor states in form training

By integrating these modern insights, we can preserve the wisdom of traditional kata while enhancing their effectiveness for modern practitioners.

The Paradox of “Martial Arts” Without Combat

Introduction: Beyond the Mat – Exploring the Deeper Dimensions of Tomiki Aikido

It has been a while since I wrote about my thoughts on martial arts, particularly on Tomiki Aikido. Recent challenges regarding the use of Kenji Tomiki’s books as study tools have forced me to reconsider my involvement in this martial art. I find myself at a crossroads: I could simply disappear from the Tomiki Aikido scene, or I could take a different path—one that explores and articulates the ideas and concepts within Tomiki’s work that extend far beyond its competitive format.

This alternative approach views Tomiki Aikido not merely as a sport, but as a form of “performance art”—a practice that transcends the physical techniques and competitive aspects to touch something deeper about the nature of movement, conflict resolution, and human interaction. In this exploration, I aim to uncover the philosophical and artistic dimensions that make this martial art a vehicle for personal transformation and understanding.

Martial arts without Combat

The term “martial arts” contains an inherent contradiction that becomes increasingly apparent in modern practice. “Martial” derives from Mars, the Roman god of war, explicitly referencing violence and combat. Yet “art” suggests creativity, beauty, and human expression. This tension becomes acute when martial arts are practiced primarily as methods of self-defense, personal development, or artistic expression rather than actual combat preparation.

Does martial art belong to the realm of artistic experience, or is it fundamentally a sporting pursuit? From a purely functional standpoint, terms like “fighting system” or “combat method” might be more accurate, though these carry the negative associations of violence and aggression. However, when the fighting element is removed from “martial arts,” the functional foundation disappears entirely. What then remains of the original practice?

What remains when you remove the fighting:

1. Movement Philosophy

  • Acting without forcing
  • Spatial-temporal harmony
  • Aesthetic and spiritual concepts that transcend the functional origin

2. Physical Culture

  • Codified movement languages
  • Ritual movement forms
  • Aesthetics of precision, power, and grace

3. Philosophical Concepts

  • Ethical codes in movement
  • Contemplation through repetition
  • Meditation in action

The Core of the Question

When you remove the fighting, an abstracted movement language remains – just as abstract painting no longer depicts “things” but becomes pure form.

The Different Approaches

Eastern Traditions

Eastern martial arts often owe their popularity to the abstracted movement language where movement is central and the functional aspect is a vague reflection of the original fighting method. As examples, we can mention Taichi, Aikido and Iaido. These movement forms still retain a vague perception of what was once a deadly fighting method. The functionality that must be characteristic of an efficient fighting method has practically disappeared entirely.

Performance Art

Performance art is a temporal, physical artistic practice in which the artist themselves is the primary medium. The body becomes a living artwork, time becomes material, and the liveness of the moment is essential.

Performance art remains radical because it resists the commodification of art by placing presence and temporality at its center. It is art that only exists in the moment of the encounter between performer and audience.

Demonstration Sport

Characteristics:

  • Competitive but functionally not focused on efficiency in combat
  • Spectacular for the audience through acrobatic actions
  • Technical virtuosity in choreographed sequences
  • Cultural legitimacy by referencing the origin

Sport Logic:

  • Standardized rules and scoring systems
  • Comparable performances
  • Objective measurement systems

The Delusion of Efficiency in Martial Arts

A critical issue emerges when examining the claims of effectiveness made by various martial arts systems. It is important to distinguish dangerous-and-efficient fighting from safe-and-inefficient fighting, so that practitioners can easily understand what kind of activity they are engaging with, and can have realistic expectations about the effectiveness of it.

Many traditional martial arts that have undergone philosophical transformation continue to claim combat effectiveness while simultaneously removing the very elements that made them functional in real conflict. This creates a fundamental contradiction: systems marketed as “self-defense” or “martial arts” that have been systematically stripped of their martial applications.

The efficiency paradox manifests in several ways:

  • Traditional forms performed with combat narratives despite having no pressure-testing against resistance
  • Demonstration techniques that work only under choreographed conditions being presented as combat-applicable
  • Philosophical frameworks used to justify the absence of realistic training while maintaining claims of martial effectiveness
  • Cultural authority substituting for empirical verification of techniques

This delusion becomes problematic when practitioners genuinely believe they possess fighting skills that have never been tested under realistic conditions. The transformation from functional fighting system to performance art or personal development practice is legitimate, but the continued claims of combat effectiveness without corresponding training methodologies represents a fundamental misrepresentation of the art’s capabilities.

Do you like testing this way?

Some martial arts advertise a method useful for the street—brutal techniques tested and approved. The question arises in this case: are you ready to perform such a cruel action?

Tanren-shugi and Goraku-shugi in Kenji Tomiki’s Budō Philosophy: A Brief Introduction

In Kenji Tomiki’s comprehensive framework for understanding martial arts in the modern world, two contrasting yet complementary philosophical approaches to physical education emerge: tanren-shugi (鍛錬主義) and goraku-shugi (娯楽主義). These concepts represent different dimensions of how physical activity, particularly martial arts, can be approached in educational settings.

Tanren-shugi (鍛錬主義): The Discipline-Oriented Principle

Tanren-shugi literally translates as “discipline-centered principle” or “forging doctrine.” The term draws on metallurgical imagery—just as metal is tempered through fire to become stronger, the human character is forged through rigorous training.

Key characteristics:

  • Emphasizes rigorous, systematic training that develops mental fortitude alongside physical skills
  • Values the cultivation of perseverance, focus, and self-control through challenging practice
  • Prioritizes long-term character development over immediate enjoyment
  • Maintains the traditional essence of martial arts as paths for self-cultivation
  • Views struggle and difficulty as essential elements of meaningful growth

Goraku-shugi (娯楽主義): The Recreation-Oriented Principle

Goraku-shugi translates as “recreation-centered principle” or “entertainment doctrine.” This approach emphasizes the enjoyment and leisure aspects of physical activity.

Key characteristics:

  • Focuses on making physical activity pleasurable and accessible
  • Emphasizes participation, social interaction, and enjoyment
  • Recognizes the value of physical activity as leisure in modern society
  • Addresses the need for healthy recreational outlets in increasingly mechanized lifestyles
  • Makes physical education more approachable for a broader population

While traditionally some Japanese physical education discourse viewed goraku-shugi with suspicion (associating it with indulgence or frivolity), Tomiki recognized its legitimate place in modern physical education.

Kenji Tomiki’s View


What makes Tomiki’s philosophy noteworthy is his recognition that both approaches have value in modern education. Rather than seeing them as mutually exclusive, he advocated for their integration:
Complementary Functions: Tanren-shugi provides depth and character formation, while goraku-shugi ensures accessibility and sustainability of practice.
Educational Balance: A complete physical education system requires both the discipline to develop character and the enjoyment that makes practice sustainable.
Cultural Bridge: By acknowledging both principles, Tomiki created a conceptual bridge between traditional martial arts values and modern educational needs.
Adaptability to Different Life Stages: The balance can shift throughout a practitioner’s life—perhaps more goraku-shugi elements for beginners and children, with deeper tanren-shugi emphasis for advanced practitioners.


Tomiki argued that school martial arts (gakkō budō) should primarily embody tanren-shugi while incorporating enough goraku-shugi elements to make them accessible in modern educational settings. This balance allowed traditional martial arts to find a place in post-war Japanese education while preserving their essential character-building qualities.
By recognizing both dimensions, Tomiki created a framework that helped martial arts evolve from war techniques into valuable educational tools that contribute to developing well-rounded individuals in a peaceful, democratic society.e.

Professional athletes and recreational athletes

The distinction between “tanren-shugi” (鍛練主義) and “goraku-shugi” (娯楽主義) in Japanese physical education philosophy does closely resemble the Western distinction between elite/professional athletes and recreational athletes.

Top/Elite Athlete ≈ Tanren-shugi Approach

  1. Dedication Level:
    • Rigorous, systematic training regimens
    • Sport as a primary life focus
    • Willing to endure significant hardship and discomfort
  2. Mindset:
    • Pursuit of excellence and mastery
    • Constantly pushing boundaries of performance
    • Development of mental fortitude alongside physical skills
  3. Purpose:
    • Transcends mere enjoyment
    • Embraces challenge and difficulty
    • Views sport as a path for self-development and self-actualization
  4. Philosophical Elements:
    • Character development through discipline
    • Cultivating resilience and determination
    • Striving to reach human potential

Recreational Athlete ≈ Goraku-shugi Approach

  1. Engagement Level:
    • Casual, flexible participation
    • Sport as a supplementary activity
    • Primarily seeks enjoyable experiences
  2. Mindset:
    • Focus on fun and social aspects
    • Maintains comfortable level of challenge
    • Balances sport with other life priorities
  3. Purpose:
    • Primarily for enjoyment and health benefits
    • Social connection and entertainment
    • Stress relief and work-life balance
  4. Philosophical Elements:
    • Sport as a healthy leisure activity
    • Emphasis on participation over performance
    • Physical activity as life enrichment

Key Similarities in the Comparison

  1. Spectrum of Engagement:
    • Both cultural frameworks recognize a spectrum of involvement
    • The same sport can be approached either way
    • Individuals may shift between approaches at different life stages
  2. Societal Value:
    • Both Western and Japanese perspectives recognize value in both approaches
    • Each serves different but complementary functions in society
    • Both contribute to physical and mental wellbeing in different ways
  3. Educational Applications:
    • Both frameworks inform how physical education is structured
    • Schools in both contexts struggle with balancing enjoyment and discipline
    • Both recognize the developmental potential of physical activity

Cultural Nuances

Despite these parallels, there are some cultural nuances that distinguish the Japanese concepts:

  1. Spiritual Dimension:
    • Tanren-shugi often incorporates spiritual and moral development more explicitly than Western elite sport philosophy
    • The concept of “do” (道/道) or “way” emphasizes lifelong pursuit of mastery as a spiritual path
  2. Historical Context:
    • Japanese martial arts tradition brings unique historical context to tanren-shugi
    • The “life force” (生命力) concept mentioned in the text has specific cultural resonance
  3. Philosophical Framing:
    • The Japanese concepts are more explicitly framed as philosophical approaches or “-isms”
    • In Western contexts, the distinction is often described more in terms of participant categories or levels

Bibliography

Kenji Tomiki wrote many books and essays, all in Japanese. He wrote only one in English: Judo and Aikido.
His most famous work is of course Budoron, a collection of essays on Budo, Judo and Aikido.

Please email me if you are interested in his writings and would like more information.

Kenji Tomiki – Early Life (1900-1948): Pioneer of Modern Aikido

Early Life and Education (1900-1929)

Kenji Tomiki was born in March 1900 in Kakunodate, Akita Prefecture in northern Japan. He progressed through Kakunodate Elementary School and Yokote Prefectural Middle School before attending Waseda University’s Second Higher Academy. He ultimately graduated from Waseda University’s Faculty of Political Science and Economics.

Tomiki began practicing judo from elementary school and distinguished himself in Waseda University’s judo club, obtaining his 4th dan rank while still a student. After his university years, he began studying under Morihei Ueshiba, who was establishing himself as independent from Daito-ryu Aiki-jujutsu. This connection with Ueshiba would continue throughout his life.

After graduating from university, Tomiki worked at Tohoku Electric Power and then taught for three years at Kakunodate Middle School. In 1929, he represented Miyagi Prefecture in the Imperial Martial Arts Tournament. Later, to intensively study Ueshiba’s techniques, he moved to Tokyo and lived close to Ueshiba’s dojo, training intensively for two years.

Philosophical Development and Teaching in Manchuria (1930-1945)

In May 1928, Tomiki wrote a letter to Kaizan Nakazato expressing his views on martial arts. He identified shortcomings in Kodokan Judo compared to Daito-ryu, particularly noting that judo practitioners experienced decline in ability after age forty, while Daito-ryu’s subtle breathing power seemed to remain effective into old age. He also observed that Kodokan Judo was extremely limited in scope due to competitive rules, while Daito-ryu was unrestricted and aligned better with swordsmanship and spearmanship principles.

In 1935, Tomiki traveled to Manchuria where he introduced aikibudo to Hideki Tojo, then commander of the Kwantung Military Police. This led to teaching positions at the Kwantung Army Military Police Training Unit, Daido Academy, and the Shinkyo Police Department from 1936. In February 1939, he became an associate professor at Kenkoku University.

On February 11, 1940, Ueshiba implemented a dan ranking system, granting Tomiki the first 8th dan in aikibudo. The following year, in April 1941, Tomiki also received 6th dan in judo. During this period at Kenkoku University, he worked to systematize, theorize, and popularize Aikido, with the goal of eventually making it competitive.

Teaching Style and Philosophy

Tomiki’s teaching approach at Kenkoku University was described as “rationalist” compared to Ueshiba’s “irrationalist” method. While Ueshiba’s teaching emphasized intuition, embodiment, and enlightenment without detailed explanations, Tomiki focused on theoretical and systematic instruction. He explained the mechanics of techniques through principles like shizentai no ri (natural posture), kuzushi no ri (balance breaking), and ju no ri (flexibility).

Students characterized Tomiki as gentle, mild-mannered, with “warm, soft, large hands.” He was described as always smiling, with a solid build but extremely gentle demeanor. Despite sometimes appearing “cold at first glance,” he was surprisingly attentive to his students, even bringing home-cooked meals to hospitalized students.

Tomiki was not only accomplished in martial arts but also in traditional Japanese arts. He enjoyed dancing and would teach students the Sado Okesa dance. He was talented in calligraphy and painting, particularly in creating ink paintings of bamboo. This artistic ability came from training with his uncle, the Japanese painter Hyakuho Hirafuku.

Theoretical Contributions

Tomiki developed a systematic theoretical framework for aikido, connecting it to Jigoro Kano’s achievements in modernizing jujutsu. He named techniques with descriptive terms like “oshi-taoshi” (push down) and “hiki-taoshi” (pull down) rather than using jargon, making the art more accessible. He emphasized the connection between martial arts and other Japanese arts, noting that the principles of body and power were common across disciplines like kabuki, dance, calligraphy, and painting.

In his 1954 book “Judo Taiso,” Tomiki explained his rationale for systematizing aikido techniques. He noted that while judo had successfully reorganized throwing and ground techniques (randori techniques), there was still a need to develop a structured approach to atemi-waza (striking techniques) and kansetsu-waza (joint techniques). Through his 30 years of study, he recognized the deep connection between judo and aiki jujutsu principles.

By 1943, Tomiki had published works exploring the relationship between form and principle in martial arts. He explained that principles could only be understood through techniques and forms, emphasizing the importance of kata training and referencing the Buddhist stages of shu-ha-ri (preserve, break, leave). He connected martial arts principles to Chinese painting theory, particularly the concept of “bone method,” concluding that understanding these principles allows one to “respond to circumstances and changes, and work freely without hindrance.”

The “Bone Method” Concept in Tomiki’s Martial Arts Philosophy

The concept of “bone method” (骨法) is a profound philosophical principle that Kenji Tomiki incorporated into his martial arts theory, drawing parallels between traditional East Asian painting theory and martial arts practice.

Origins in Chinese Painting Theory

The “bone method” originally comes from traditional Chinese painting theory, specifically from the “Six Laws” (六法) of painting established by Xie He in the 5th century CE . In this classical framework, the Six Laws include principles like “spiritual resonance and life movement” (气韵生动), “bone method and use of brush” (骨法用笔), and other technical aspects of painting.

Tomiki’s Application to Martial Arts

Tomiki adapted this concept to martial arts in his writings on “Form and Principle” published in 1943. In these texts, he explains that the “bone method” in painting parallels the fundamental principles that exist behind martial arts techniques. Just as the “bone method” gives structure and life to a painting, the underlying principles animate martial arts techniques.

According to Tomiki, “spiritual resonance and life movement” represents the life essence of painting, while the other five laws (including bone method) are means to bring this life movement to the painting. He saw a direct parallel to martial arts, where the visible techniques express deeper underlying principles.

Practical Meaning in Martial Arts

In practical terms, the “bone method” in Tomiki’s martial arts philosophy represents:

  1. Essential Structure: Just as the bone structure gives form to a body, the “bone method” provides the essential structure to both painting and martial arts techniques.
  2. Freedom Through Structure: Tomiki concludes that “Only those who understand the bone method can freely express their conceptions on paper. It is like those who understand the principles of martial arts can respond to circumstances and changes, and work freely without hindrance.”
  3. Beyond Mere Technique: The concept suggests that true mastery goes beyond learning shapes or movements, requiring an understanding of the underlying structural principles that give life to technique.

Connection to Tomiki’s Overall Philosophy

This concept reflects Tomiki’s broader approach to martial arts as a systematizer and theorist. By incorporating concepts from Chinese aesthetics into martial arts theory, he demonstrated his intellectual breadth and his commitment to placing martial arts within a larger cultural and philosophical framework.

The “bone method” exemplifies Tomiki’s rationalist approach to martial arts, where understanding the fundamental principles (the “bones”) allows practitioners to express techniques with both structure and freedom, adapting fluidly to changing circumstances.

Post-War Years (1945-1948)

After Japan’s defeat in 1945, Tomiki was detained by Soviet forces at Lake Balkhash in Siberia. This internment lasted three and a half years, during which time Manchukuo collapsed and Kenkoku University closed. Tomiki finally returned to Japan in late 1948.

During his internment, Tomiki continued to refine his understanding of martial arts. In the preface to “Judo Taiso,” he mentioned that his experiences during internment clarified the significance of maintaining traditional techniques while adapting them for practical use. Upon his return to Japan, he would further develop his systematic approach to aikido techniques.

Legacy and Impact

Tomiki’s contribution to martial arts centered on his synthesis of traditional aikijujutsu with modern educational methods. He established a system to teach striking and joint lock techniques rationally, making them accessible within the framework of physical education. His approach created a bridge between the irrationalist, intuitive training methods of traditional martial arts and a more systematic, principle-based approach suitable for modern education.

Tomiki viewed his work as continuing the legacy of Jigoro Kano, who had successfully adapted traditional jujutsu into modern judo. Similarly, Tomiki sought to transform the “aikido techniques” of Morihei Ueshiba into a structured educational system, preserving their essence while making them accessible to contemporary practitioners.

This period from 1900 to 1948 represents the formative years of Tomiki’s development and his initial contributions to systematizing aikido. His later work at Waseda University would further develop his vision of competitive aikido, creating a distinct branch within the aikido world.

Summary of Source Materials on Kenji Tomiki

The materials provide comprehensive documentation of Kenji Tomiki’s life, philosophy, and contributions to martial arts, focusing on his development of a systematic approach to aikido. Here’s a summary of the key documents:

1. “Kenji Tomiki Budoron” (Document 1)

This extensive text appears to be Tomiki’s major philosophical work on martial arts, containing chapters on the uniqueness of Japanese martial arts, modernization of budo, judo principles, and aikido development. The document explores how traditional martial arts can be adapted to modern educational contexts while preserving their essential character. Tomiki articulates principles like shizentai no ri (natural posture), ju no ri (flexibility), and kuzushi no ri (breaking balance) that form the foundation of his technical system .

2. “Judo Taiso” (Document 7)

This translated work from 1954 details Tomiki’s system of “Judo Exercises” that apply judo principles to aikido techniques. He explains how he reorganized striking and joint lock techniques from Daito-ryu Aiki Jujutsu into an educational framework. The document includes detailed instructions for basic movements, postures, and techniques with accompanying illustrations .

3. “Aikido Nyumon” (Document 8)

Published in 1958, this “Introduction to Aikido” provides a rational method for practicing striking and joint lock techniques. The document outlines fifteen basic forms and their applications, continuing Tomiki’s systematic approach to aikido instruction with detailed explanations and illustrations .

4. “Personal Views on Martial Arts” and “Prewar” (Document 9)

This document contains Tomiki’s 1928 letter to Kaizan Nakazato expressing his views on martial arts and criticizing Kodokan Judo from the perspective of Daito-ryu. It also covers Tomiki’s time teaching at Kenkoku University in Manchuria (1939-1945), detailing his relationship with Morihei Ueshiba and his development of a rationalist approach to aikido instruction .

5. Key Terminology (Document 4)

This document provides definitions of essential concepts in Japanese martial arts, including philosophical terms like Bushido, technical concepts like kata and waza, and educational approaches like goraku (entertainment-oriented) and tanren-shugi (discipline-oriented) training methods .

6. Additional Supporting Documents

Several smaller documents provide supporting information about specific aspects of Tomiki’s work, including his views on competition in martial arts (documents 2-3), his approach to school martial arts education (document 5), and philosophical differences between recreation-oriented and discipline-oriented physical education (documents 3, 5) .

Together, these documents present a comprehensive picture of Tomiki’s life work: creating a bridge between traditional martial arts and modern educational methods by applying scientific principles, systematic organization, and rational teaching approaches to the techniques of aikido.

Translating Tomiki’s Budōron

Translating Kenji Tomiki’s “Budōron” (武道論): Critical Concepts Requiring Clarification

The translation of Kenji Tomiki’s “Budōron” (武道論 – “Theory of Martial Arts” or “Discourse on the Martial Way”) presents unique challenges due to its rich philosophical content and historical context. Several critical concepts in this seminal work require careful clarification to preserve their full meaning and significance.

The ultimate goal in translating Budōron should be to make Tomiki’s innovative martial philosophy accessible to non-Japanese readers while preserving the depth and subtlety of his thought. This requires not just translation in the narrow sense but genuine cross-cultural interpretation that builds bridges between Eastern and Western philosophical traditions.

The Significance of “Budōron” as a Text

The title itself—”Budoron” (武道論)—merits examination:

  • 武 (Bu): More than just “martial,” this character encompasses military matters, combat, and the control of violence
  • 道 (Dō): Beyond “way” or “path,” this indicates a life discipline and philosophical approach
  • 論 (Ron): Signifying “theory,” “discourse,” or “treatise,” this indicates a systematic philosophical exploration

This work represents Tomiki’s comprehensive philosophical framework for understanding martial arts in the modern world, bridging traditional practice with contemporary educational values.

Critical Concepts Requiring Clarification

1. Technical-Philosophical Terms with No Direct English Equivalents

Terms like “waza” (技) and “kokoro” (心) appear frequently in Budoron but resist simple translation. “Waza” encompasses technical skill, practical application, and artistic expression simultaneously. “Kokoro” represents the unified heart-mind-spirit complex that Western languages typically separate.

2. Historical Transitional Concepts

Tomiki writes during a pivotal period in Japanese martial arts history. His discussion of the transition from “jutsu” (術) to “dō” (道) marks not merely a terminological shift but a profound reconceptualization of martial practice from battlefield techniques to paths of personal development.

3. Complex Educational Philosophy

Tomiki’s contrast between “tanren-shugi” (鍛錬主義 – discipline-oriented principle) and “goraku-shugi” (娯楽主義 – recreation-oriented principle) requires careful explanation. These aren’t merely opposing approaches to physical education but represent different philosophical orientations toward human development itself.

4. Religious and Ethical Dimensions

The text contains numerous references to Buddhist concepts (無心 – mushin, 不動心 – fudōshin), Confucian ethical principles, and Shinto perspectives. These require contextualization within Japanese religious traditions to be fully understood.

5. Evolution of Technical Systems

Tomiki describes the systematization and differentiation of martial techniques using terms that carry nuanced meanings in martial contexts. His discussion of the standardization of “kata” (型) and development of “randori” (乱取り) reflects not just technical evolution but philosophical adaptation.

6. Socio-Political Context

Written in the post-war period, Budoron engages with the transformation of martial arts from militaristic training to democratic education. Terms like “minshū kyōiku” (民主教育 – democratic education) carry specific historical connotations related to Japan’s post-war reforms.

7. Metaphysical Concepts

Tomiki frequently references East Asian philosophical concepts like “ki” (気 – vital energy or spirit), “wa” (和 – harmony), and the principles of yin-yang and the five elements. These require explanation of their traditional metaphysical foundations.

Translation Approach Needed

Translating Budoron effectively requires more than linguistic conversion—it demands:

  1. Contextual notes: Providing historical, cultural, and philosophical background
  2. Conceptual mapping: Explaining how Japanese concepts relate to Western philosophical frameworks
  3. Terminological consistency: Maintaining consistent translations while acknowledging the limitations of English equivalents
  4. Explanatory expansions: Sometimes expanding one Japanese term into several English phrases to capture its full meaning
  5. Preservation of ambiguity: Where Tomiki intentionally employs terms with multiple meanings, preserving this richness rather than narrowing to one interpretation

The Book: Budōron

The book appears to be organized into three main chapters plus an introduction, conclusion, and commentary sections:

Major Structural Components

  • Introduction: “What is Budō?” (6 subsections)
  • Chapter I: “The Modernization of Budō…Harmony of Tradition and Modernity” (7 major sections)
  • Chapter II: “What is Judo?…From “Waza” to “Michi”” (6 major sections)
  • Chapter III: “Modernization of Aikido…Creation of Competitive Aikido” (4 major sections)
  • Conclusion: “Educational Love and Physical Education” (4 sections)
  • Commentary section

Essay Count Estimate

Counting each major numbered section as a distinct essay (as they appear to be standalone pieces compiled into this volume):

  1. Introduction: Contains 1 comprehensive essay with 6 subsections
  2. Chapter I: Contains 7 distinct essays
  3. Chapter II: Contains 6 distinct essays
  4. Chapter III: Contains 4 distinct essays
  5. Conclusion: Contains 4 distinct essays

Total estimated essays: Approximately 22 separate essays or articles

This estimate is based on the structure visible in the table of contents. The book appears to be a compilation of Tomiki’s writings on martial arts philosophy, likely published over several years and brought together in this volume. Each numbered section has its own title and appears to be a complete piece that could stand alone, suggesting these were originally separate essays or articles that have been organized thematically into chapters.

The comprehensive nature of the collection, spanning from fundamental questions about the nature of budō to specific discussions of judo and aikido techniques, indicates this is a substantial compilation of Tomiki’s philosophical and technical writings on martial arts.

Mushin Mugamae? What huh?

Mushin Mugamae is a Japanese expression often used in the context of Tomiki’s Aikido. It is usually translated as ’empty mind, no posture’. 

But is this really the case? We need to understand and describe this expression in a much broader context.

A summary of the comments made by Kenji Tomiki regarding Mushin Mugamae


“No mind” (“mushin” 無心) represents the highest mental state in human cultivation. It must be the ultimate goal of martial arts, which reaches the “path” (“michi” 道) through “technique” (“waza” 技). Making martial arts competitive and establishing an arena for winning and losing is an educational “place” to learn “no mind” by transcending victory and defeat. However, competition comes with limitations. One tends to fixate on stances, drift toward specialized techniques, and forget the ideal of “no stance” (“mukamae” 無構). To learn “no stance,” one must repeatedly train in the correct “kata” (形) that emphasize self-defense.Emphasizing kata practice not only approaches the essence of martial arts and avoids the pitfalls of competition but also meets the needs of lifelong physical education in the coming era and greatly benefits the maintenance and promotion of national health through martial arts.

When we read and translate texts by Kenji Tomiki, we will certainly notice that he often uses the same parts of texts in different essays on Japanese martial arts. It is important for us to understand the purpose of the frequent repetition of an explanation of his concepts. Some of the texts (in Japanese) are available at:

(https://www.jstage.jst.go.jp/static/pages/JstageOverview/-char/en)

Translation and understanding confusion

When translating and trying to understand “mushin mugamae”, there is confusion when trying to understand this expression without the necessary background.

Mushin

In the context of martial arts, “無心” (mushin) is a profound concept that translates to “no-mindedness” or “no-mind.” It represents a mental state where the mind is free from distractions, fears, and ego, allowing for instinctive and fluid reactions. This state is highly valued in martial arts because it enables practitioners to respond naturally and effectively to any situation without hesitation or overthinking.

In Martial Arts:

  • Focus and Clarity: Mushin allows martial artists to act with complete focus and clarity, unhindered by conscious thought or emotion. This state is often achieved through rigorous training and meditation, where the practitioner learns to quiet the mind and trust their instincts.
  • Spontaneity: In combat or sparring, mushin enables spontaneous and intuitive movements, making the practitioner more adaptable and unpredictable to opponents.
  • Unity of Mind and Body: It signifies a harmonious unity between the mind and body, where actions flow naturally without conscious interference.

In a Broader Context:

  • Mindfulness and Presence: Beyond martial arts, mushin can be applied to daily life as a state of mindfulness and presence. It encourages living in the moment, fully engaged with the current task or experience without being distracted by past regrets or future anxieties.
  • Flow State: Mushin is akin to the concept of “flow” in psychology, where a person is fully immersed and focused on an activity, leading to a sense of effortless concentration and enjoyment.
  • Creativity and Problem-Solving: In creative endeavors or problem-solving, mushin can help individuals approach challenges with an open and uncluttered mind, leading to innovative solutions and expressions.
  • Emotional Balance: It promotes emotional balance and resilience, helping individuals manage stress and maintain composure in challenging situations.

In essence, mushin is a state of mental clarity and readiness that transcends the boundaries of martial arts, offering valuable insights and benefits for personal growth, creativity, and overall well-being.

Mugamae – Mukamae – Mukō

The term “無構” (mukamae) is composed of two kanji characters:

  1. 無 (Mu): This character means “nothingness,” “none,” or “without.” It represents the absence of something or a state of emptiness.
  2. 構 (Kamae): This character means “posture” or “stance.” In martial arts, “kamae” refers to the physical and mental readiness or posture that a practitioner adopts.

Together, “無構” (mukamae) can be interpreted as a state of “no posture” or “no fixed stance.” This concept is rooted in Japanese martial arts and Zen philosophy, emphasizing a mental and physical state of readiness without preconceived notions or rigid positions. It signifies being prepared for any situation without being confined to a specific form or expectation, allowing for fluid and adaptive responses.

But here is where the confusion comes in:

In martial arts contexts, the term 無構 can be read as either “mukamae” or “mukō”, depending on the specific tradition and context:

  1. “Mukamae” (無構え) – This reading is more commonly used in martial arts discussions about posture and stance. It literally means “no stance” or “no posture” and refers to a state where the practitioner has transcended formal stances, achieving a natural readiness that isn’t fixed in any particular form. In this context, it’s often written with the final え (e) as 無構え to clarify the pronunciation.
  2. “Mukō” (無構) – This alternate reading is sometimes used in more philosophical contexts, particularly in certain traditions of kenjutsu (sword techniques). It maintains the same fundamental meaning of “no predetermined form” but might be emphasized differently depending on the school.

無構 or 無構え

In his texts, Tomiki often uses the abbreviated form 無構 rather than the more explicitly pronounced 無構え when discussing this concept.

This is significant because:

  1. Tomiki is deliberately using the classical, condensed form 無構 that appears in traditional martial arts texts, particularly those from sword schools like the “Book of Five Rings” (五輪書, Gorin no Sho) which he references. This connects his ideas directly to historical martial traditions.
  2. Despite the abbreviated written form, the concept should still be understood as “mukamae” in pronunciation and meaning – referring to the state of “no stance” or transcending fixed postures.
  3. This writing choice reflects Tomiki’s deep connection to traditional martial arts literature while developing his modern perspective on martial arts education.

When Tomiki discusses 無構 (mukamae), he’s emphasizing the paradoxical nature of martial arts mastery – that the highest level of technique appears to have no technique, and the most effective stance appears to have no stance. This aligns with his broader philosophy of moving from form to formlessness, and from technique (waza) to way (michi).

The abbreviated writing style also reflects classical Japanese scholarly tradition, where concepts were often written in condensed form with the understanding that practitioners would know the proper reading and full implications. This approach is consistent with Tomiki’s position as both an innovator and a preserver of traditional martial arts knowledge.

Tomiki Aikidō and La Canne

European Martial Arts Through Time

European martial arts have a rich history that spans thousands of years, with distinct traditions developing across different regions and time periods. Unlike Asian martial arts, which often maintained continuous traditions, European martial arts experienced periods of evolution, transformation, and sometimes discontinuity. Here’s how they can be traced and catalogued through different historical periods:

Ancient Period (800 BCE – 500 CE)

  • Greek Pankration and Wrestling: Documented in pottery, sculptures, and texts like Homer’s works
  • Roman Gladiatorial Combat: Detailed in mosaics, reliefs, and writings by Suetonius and others
  • Celtic and Germanic Tribal Combat: Primarily known through archaeological finds and Roman accounts

Early Medieval Period (500-1000 CE)

  • Viking Combat Styles: Evidenced in sagas, archaeological finds, and burial goods
  • Early Knights and Mounted Combat: Beginning of formalized mounted warfare techniques
  • Byzantine Military Traditions: Preserved much of Roman military knowledge in manuals like the Strategikon

High Middle Ages (1000-1300 CE)

  • Development of Knightly Combat: Formalization of armored combat with lance, sword, and shield
  • Tournament Fighting: Evolution from chaotic melees to more structured combat sports
  • Early Fencing Traditions: Beginning of systematic swordsmanship outside of battlefield contexts

Late Medieval Period (1300-1500 CE)

  • Fechtbücher Tradition: First systematic martial arts manuals appear (I.33 Manuscript, ~1300)
  • Prominent Masters: Johannes Liechtenauer, Fiore dei Liberi, Hans Talhoffer created influential systems
  • Guild Systems: Formation of fighting guilds like the Brotherhood of St. Mark (Marxbrüder)

Renaissance Period (1500-1700 CE)

  • Rapier Fighting: Evolution toward civilian dueling and self-defense
  • National Schools: Development of distinct Italian, Spanish, German, and English styles
  • Scientific Approach: Application of geometric principles and mechanics to fencing (Camillo Agrippa)

Enlightenment to Modern Era (1700-1900 CE)

  • Smallsword and Dueling: Refinement of lighter weapons and emphasis on precision
  • Military Saber Systems: Formalized cavalry combat systems
  • Sport Evolution: Transition toward modern fencing with protective equipment
  • Boxing and Wrestling Codification: Formalization of rules for unarmed combat sports

Modern Period (1900-Present)

  • Olympic Fencing: Standardization of foil, épée, and saber as sport disciplines
  • HEMA Revival: Historical European Martial Arts reconstruction movement based on historical texts
  • Military Combatives: Development of military hand-to-hand combat systems

What makes the study of European martial arts particularly fascinating is the rich documentation through fighting manuals (fechtbücher), artwork, and literary sources that allow modern practitioners to reconstruct these historical fighting systems with considerable accuracy.

La Canne: Walkingstick Fencing

La Canne (or Canne de Combat) would primarily be placed in the 19th and early 20th century European martial arts timeline, though it has roots in earlier periods and continues as a modern sport today.

Historical Placement

Origins (18th Century)

  • La Canne evolved from earlier stick fighting methods used throughout Europe
  • Influenced by French naval tradition where sailors used sticks for training and self-defense

Formalization (19th Century)

  • Primary Development Period: Mid-to-late 19th century France
  • Context: Urban self-defense during a period when gentlemen regularly carried walking sticks
  • Connection to Savate: Often taught alongside French kickboxing (Savate) in the same academies
  • Defensive Focus: Developed as a practical civilian self-defense method, not primarily a sport

Belle Époque Peak (1880-1914)

  • Reached peak popularity during this period
  • Became an integral part of French martial culture
  • Featured in physical education and military training

La Canne represents an interesting transition between traditional European martial arts and modern combat sports, bridging aristocratic fencing traditions with practical civilian self-defense during a time of changing social norms and weapons technology.

Charles Charlemont: Key Figure in French Martial Arts

Charles Charlemont (1862-1944) should be placed in the late 19th to early 20th century period of European martial arts development, specifically within the French martial arts tradition. He was a pivotal figure in both Savate (French kickboxing) and La Canne de Combat (French stick fighting).

Historical Context for Charlemont

Late 19th Century French Martial Arts (1870s-1910s)

  • Period of Systematization: When traditional street fighting methods were being formalized into structured combat systems
  • Belle Époque Paris: Urban setting where martial arts were becoming both combat systems and spectator sports
  • Transition Era: Between purely practical combat methods and modern sport forms

Historical Significance

Charlemont represents a critical juncture in martial arts history when traditional European fighting systems were being preserved through sportification during a period when firearms and changing social norms were making many traditional combat skills obsolete for practical self-defense.

He bridges the gap between the older, more combat-oriented traditions of stick fighting and the modern sport version of La Canne that continues today, making him an important figure in the late period of traditional European martial arts development and the early period of modern European combat sports.Retry

Comparing Tomiki Aikido with La Canne

La Canne (or Canne de Combat) offers a fascinating parallel to Tomiki Aikido when examining Asian and European martial arts systems. La Canne merits specific attention due to its formalized structure and sporting aspects that make it particularly comparable to Tomiki’s approach.

Historical Context and Development

Tomiki Aikido:

  • Developed in the mid-20th century by Kenji Tomiki (1900-1979)
  • Built upon traditional Daito-ryu Aiki Jujutsu and Kodokan Judo principles
  • Systematized for modern educational purposes after WWII
  • Emphasizes both traditional forms and competitive practice

La Canne:

  • Formalized in 19th century France, though with older roots in European stick arts
  • Refined by fencing masters like Charles Charlemont and Joseph Charlemont
  • Developed alongside savate (French kickboxing) as a self-defense system
  • Modernized in the 20th century as a competitive sport through the Fédération Française de Savate et Canne

Both arts underwent significant modernization processes that transformed traditional combat techniques into formalized systems suitable for sporting contexts and physical education.

Technical Characteristics

Tomiki Aikido:

  • Circular movements using the tegatana (hand blade)
  • Techniques categorized into atemi-waza (striking) and kansetsu-waza (joint techniques)
  • Emphasis on ma-ai (distance control) and kuzushi (breaking balance)
  • Techniques flow from a separated stance (rikaku)

La Canne:

  • Linear and circular strikes with a cane
  • Techniques categorized into strikes (coups), parries (parades), feints (feintes) and counter attacks (ripostes)
  • Strong emphasis on distance management and footwork derived from fencing

Competitive Frameworks

Tomiki Aikido:

  • Randori competition with tanto (knife) and empty-handed formats
  • Scoring based on successful application of techniques and control
  • Emphasis on proper form and execution rather than power
  • Rules designed to preserve traditional principles while allowing for objective testing

La Canne:

  • Modern competition (since 1970s) conducted in a marked area
  • Points awarded for clean strikes to valid target areas (head, flanks, legs)
  • Techniques must demonstrate extension, commitment, and control
  • Protective equipment (mask, gloves, padded vest) allows for dynamic exchanges

Both systems developed competitive frameworks that allow practitioners to test skills while maintaining safety. However, La Canne competition more closely resembles fencing with its emphasis on scoring hits, while Tomiki Aikido competition focuses on successful application of controlling techniques.

Educational Philosophy

Tomiki Aikido:

  • Progression from kata (forms) to randori (free practice) to shiai (competition)
  • Techniques taught through “Basic Forms” and “Applied Techniques”
  • Emphasis on understanding principles of balance and body mechanics
  • Goal of personal development through technical mastery

La Canne:

  • Progressive training from basic strikes to combinations to tactical applications
  • Techniques taught through set drills and partner exercises
  • Strong emphasis on athleticism, coordination, and precision
  • Traditionally viewed as complementary to savate training

Cultural Integration

Tomiki Aikido:

  • Explicitly connects practice to concepts like wa (harmony) and mushin (no-mind)
  • Distinguishes between buryoku (military force) and bōryoku (violence)
  • Incorporates traditional etiquette and dojo culture
  • Progression follows shu-ha-ri model of traditional martial learning

La Canne:

  • Embodies values of French physical culture and sporting tradition
  • Less explicit philosophical framework beyond sporting ethics
  • Maintains some traditional salutes and protocols derived from fencing

Methodological Similarities

Despite their different origins and techniques, both Tomiki Aikido and La Canne share significant methodological similarities:

  1. Systematization: Both were organized into coherent systems by educators seeking to preserve and transmit martial knowledge
  2. Pedagogical Structure: Both feature progressive teaching methods that build from fundamentals to advanced applications
  3. Competition as Tool: Both utilize competitive formats as educational tools while preserving technical standards
  4. Distance Management: Both place strong emphasis on proper distancing and timing
  5. Control over Power: Both prioritize precision and control over raw power or force

Conclusion

Tomiki Aikido and La Canne represent fascinating parallels in martial arts development across different cultural contexts. While developed independently and with different technical focuses, both systems demonstrate how traditional combat arts can be systematized, modernized, and adapted for contemporary educational and sporting purposes.

The primary difference lies in their philosophical underpinnings: Tomiki Aikido maintains stronger connections to traditional Japanese martial philosophy with concepts like harmony, balance, and spiritual development, while La Canne evolved more explicitly as a sporting practice with less emphasis on philosophical cultivation.

Both arts, however, successfully balance tradition with innovation, creating systems that preserve martial knowledge while making it accessible and relevant to modern practitioners—a testament to the universal impulse to develop, refine, and transmit martial arts across cultures and generations.

Budoron, Kenji Tomiki’s Masterpiece

Kenji Tomiki was a prominent Japanese martial artist known for his contributions to both judo and aikido. He was also a pedagogue of martial arts theory, known as “Budoron” in Japanese. This term refers to the study and philosophy of martial arts, encompassing the principles, ethics, and educational methods associated with these disciplines.

Tomiki’s work in Budoron focused on integrating the philosophical and practical aspects of martial arts to create a comprehensive system of training and personal development. He believed in the importance of blending physical techniques with mental discipline and ethical considerations, reflecting the broader goals of budo, which emphasizes self-cultivation and personal growth through martial arts practice

Tomiki’s approach to Budoron influenced the development of Kyogi Aikido, which incorporates elements of both aikido and judo. This system emphasizes the importance of randori (free-style practice) and includes a competitive element, setting it apart from other aikido styles. Tomiki’s contributions to martial arts theory and practice continue to influence practitioners and educators in the field.

Budoron

This book is a collection of martial arts theories put together from the writings of Kenji Tomiki (1900-1979), who was totally devoted to the practice and research of martial arts from before to after the war, pouring his passion into martial arts education and developing outstanding martial arts theories.

His take on martial arts is both deep and wide-ranging, exploring the philosophy and practical use of Japanese martial arts. If you want to get his writing, you need to know about the key concepts of Japanese Budō.

Key Terminology Review

Budō (武道) and Bujutsu (武術)

In the Budoron texts, both terms are translated simply as “martial arts,” but it’s important to distinguish between them:

  • Budō refers to the “martial way” with emphasis on personal development and spiritual cultivation
  • Bujutsu refers to practical “martial techniques” focused on combat effectiveness

The text moves between discussing traditional martial skills (bujutsu) and their evolution into modern martial ways (budō). For instance, when discussing the historical development in the Edo period, the text is primarily referring to bujutsu, while the post-Meiji educational focus is more aligned with budō.

Kata (形) vs. Katachi (形)

The translation correctly conveys kata as prescribed training forms or patterns, but could more explicitly note that kata in martial arts refers to the structured sequence of movements that embody technical principles rather than merely external shapes.

Kyogi (競技)

The translation accurately renders kyogi as “competition,” but could emphasize that this specifically refers to the structured, rule-based competitive format that allows for the testing of skills in a controlled environment.

Wa (和)

The concept of wa (harmony) is central to the text and is properly translated. This concept represents not just peaceful coexistence but an active state of balanced interaction, particularly important in the martial arts context where it refers to achieving resolution without unnecessary conflict.

Buryoku (武力) vs. Bōryoku (暴力)

The distinction between these terms is well-translated:

  • Buryoku (military/martial power) is controlled force with proper rules
  • Bōryoku (violence) is uncontrolled, rule-less force

This distinction forms a central argument in the text about the ethical core of martial arts.

Randori (乱取り)

While mentioned in the text, randori could be more explicitly defined as “free practice” or “free sparring” – a training method that allows practitioners to apply techniques in more dynamic, unscripted situations than kata practice permits. The author mentions randori as a crucial innovation in judo that allows for testing techniques without the mortal danger of older “matches.”

Content Accuracy

The translation effectively captures the author’s key arguments:

  1. The historical evolution from battlefield techniques to self-defense arts and finally to educational disciplines
  2. The ethical progression from combat effectiveness to spiritual cultivation
  3. The balanced approach that values both competitive practice (kyogi) and formal patterns (kata)
  4. The central distinction between controlled martial power (buryoku) and unrestrained violence (bōryoku)
  5. The concept of “the way” (道/michi) as the integration of technique and spiritual development

Overall, the translation accurately conveys both the technical terminology and the philosophical depth of the original text, emphasizing the author’s argument that Japanese martial arts represent a unique cultural heritage that balances practical effectiveness with ethical and spiritual development. The key contribution of the text is its explanation of how traditional martial arts can be modernized through competition while preserving their essential characteristics through continued kata practice.

Understanding Randori and Kyogi in Japanese Martial Arts

Randori (乱取り)

Randori literally means “chaos taking” or “free seizing” and represents a fundamental training method in several Japanese martial arts, particularly judo and aikido.

Key Characteristics of Randori:

  1. Unscripted Practice: Unlike kata (predetermined forms), randori involves spontaneous, dynamic interaction between practitioners.
  2. Controlled Resistance: Partners provide genuine resistance, but within parameters that maintain safety while allowing techniques to be applied with realistic effort.
  3. Learning Application: Randori bridges the gap between kata (theory) and actual combat by teaching practitioners how to apply techniques against an actively resisting opponent.
  4. Development Focus: It develops timing, reflexes, adaptability, and situational awareness that cannot be cultivated through kata alone.
  5. Safety Framework: Unlike historical duels or challenges, randori provides a framework for testing techniques without mortal danger.

As Kenji Tomiki explains in his texts, randori was a crucial innovation in martial arts pedagogy. In traditional martial schools, practitioners would learn through kata but then might immediately test their skills in potentially lethal duels or challenges. Randori created an intermediate practice space where techniques could be tested against resistance without the life-threatening consequences.

In judo, Jigoro Kano systematized randori as a core training method, allowing practitioners to develop and test throwing and grappling skills through free practice. Tomiki later applied similar principles to aikido, developing a randori system for practicing aikido techniques safely against resistance.

Kyogi (競技)

Kyogi means “competition” or “sport” and refers to the structured, rule-governed competitive format of martial arts.

Key Characteristics of Kyogi:

  1. Formalized Rules: Clear regulations that define permissible techniques, scoring methods, and victory conditions.
  2. Safety Considerations: Restrictions on dangerous techniques to prevent injury while maintaining the essence of the art.
  3. Objective Evaluation: Provides a framework for measuring skill development and technical proficiency.
  4. Educational Purpose: Transforms the “place of victory” into a “place of education” where practitioners can develop moral qualities like fairness, respect, and self-control.
  5. Cultural Adaptation: Represents the adaptation of martial arts to modern educational values and social contexts.

Tomiki viewed kyogi as essential for modernizing martial arts, particularly for:

  • Making techniques objectively testable
  • Developing practitioners’ ability to perform under pressure
  • Creating a framework for martial arts as physical education
  • Preserving the martial arts’ educational value in a democratic society

The Relationship Between Randori and Kyogi

While closely related, randori and kyogi serve different functions:

  • Randori is a training method focused on learning through free practice
  • Kyogi is a competitive format focused on testing skills in a formalized environment

In Tomiki’s vision, both elements are necessary for complete martial arts education:

  1. Kata provides the theoretical foundation and preserves comprehensive technical principles
  2. Randori develops application skills through free practice
  3. Kyogi tests these skills in a structured competitive format

Tomiki’s significant contribution was recognizing that neither approach alone was sufficient. Traditional schools that focused solely on kata risked developing techniques that couldn’t be applied against resistance (what he calls “flower-style swordsmanship”). Conversely, focusing only on competition risked losing the comprehensive technical curriculum and deeper principles preserved in traditional forms.

By integrating both approaches—competition-based training for dynamic application and kata-based training for comprehensive technical study—Tomiki sought to preserve what he saw as the essence of Japanese martial arts while adapting them to modern educational contexts.

Kenji Tomiki’s Aikido

Kenji Tomiki wrote several books about Japanese martial arts. In his books he describes his view of Aikido as an integral part of Kodokan Judo. Especially in his earlier books he described the necessity of preserving the old Aiki-no-jutsu in a modern educational system.

His earlier work is less focused on the competitive format for which Tomiki’s Aikido is known worldwide. One of his early students is Senta Yamada, who introduced Aikido to the UK and also expressed Tomiki’s view of Aikido as a complement to Kodokan Judo.

Senta Yamada came to the UK to teach judo between 1960 and 1965 and introduced Tomiki’s Aikido to some of his judo students. At the end of the 20th century he returned to the UK on several occasions and expressed the view of some benefit of Aikido Tanto randori.

Kenji Tomiki’s books are written in Japanese, with the exception of “Judo & Aikido”, a book published by the Japan Travel Bureau.
Here is a short summary of his early books on Aikido.
I have translated these books, but unfortunately there is still a copyright on his books. There is some discussion with the copyright holders to use some parts as an English translation as an educational tool.

Short summary of the books:

Both texts represent Tomiki’s pioneering effort to create a rational, systematic approach to martial arts training that preserves traditional techniques while making them accessible through modern educational methods. His work bridges the gap between Judo and Aikido, emphasizing their shared principles and complementary techniques.

Judo Taiso (1954)

This work introduces Tomiki’s innovative “Judo exercises” system, designed to:

  • Systematize atemi-waza and kansetsu-waza (striking and joint techniques) that weren’t emphasized in competition-oriented Judo
  • Create a structured training method accessible to a broader range of practitioners
  • Establish a bridge between traditional Aikido techniques and modern Judo principles
  • Develop solo and paired movements as foundational exercises for self-defense
  • Provide comprehensive instruction on arm and wrist techniques for practical application

Aikido Nyumon (1958)

This introductory text presents Tomiki’s systematic approach to Aikido, emphasizing its relation to Judo principles. Key aspects include:

  • Historical context positioning Aikido as an evolution of traditional Daito-ryu Aiki Jujutsu
  • Philosophical framework integrating Aikido techniques into modern physical education
  • Detailed explanation of fundamental principles: natural posture (shizentai), flexibility/yielding (ju), and balance breaking (kuzushi)
  • Fifteen basic forms focusing on atemi-waza (striking techniques) and kansetsu-waza (joint techniques)
  • Technical applications for both unarmed scenarios and defense against weapons
  • Introduction of “rikaku” (distance) educational system for practicing techniques from a separated stance rather than grappling

Bending over

Gedan Ate

This is a technique typical of Tomiki Aikido practitioners.
There are many versions and of course you will find this technique in other martial arts as well.

The skill of bending over

Bending over the body is a skill that is often used in Tomiki’s Aikido, especially in the Gedan Ate technique.
Unfortunately, when you get older or lazy, bending over becomes more difficult. This sometimes leads to using the body in the wrong way.

Use the body as a harmonica and not as a lever when bending over.

Picture 1 shows where in the body to focus.
Picture 2 shows the correct use as a kind of harmonice, using the waist to bend over.
Picture 3 shows us the use of the hip joints as the focus, which creates a much less efficient use of the body.

Cross-training in Martial Arts

There has been a lot of controversy surrounding the idea of cross-training in martial arts. Cross-training is rejected by traditionalists in particular. Nonetheless, cross-training can provide valuable insight into the art of fighting.
When talking about cross-training in martial arts, grappling arts are frequently mentioned. But we can also cross-train in combat systems with weapons.

Fencing


The origins of contemporary fencing must be found in Antiquity and medieval fighting methods. The swords used then were suitable as impact weapons and less so as stabbing weapons. The use of a shield to absorb the blow of a sword was widely accepted. Therefore, the warriors of the time were probably physically very strong. One cannot speak of true fencing.
During the Renaissance, the use of stabbing weapons came more to the foreround. Probably because firearms made their appearance and heavy armour was replaced by lighter clothing. With the change in clothing, the way of body-to-body combat was also adapted. Impact weapons were replaced by stabbing weapons.

We do need to distinguish between civilian and military weaponry. The origins of modern fencing and the resulting stick fencing must be sought in civilian weaponry.
Civilian weaponry served 2 purposes:

  • Duel, an arranged engagement in combat between two people with matched weapons
  • Self-defense, about protecting yourself and your family against the hostile actions of criminals.

Dueling remained highly popular in European society, despite various attempts at banning the practice. From 1841 to 2000, Belgium had a criminal law on duelling.It offered reduced sentences for those who injured or killed someone during a duel.
The concept of ‘dueling’ can be found in numerous competitive martial arts styles.
Today’s competitive fencing is largely based on a stabbing technique. Three types of weapons are promoted. Floret and epee are stabbing weapons, a sabre is a stabbing and impact weapon.


Stick fencing – La Canne

Stick fencing became popular in the 19th century as a result of the ban on carrying a sabre for civilians. Although a stick doesn’t have a sharp point or cutting edge, it still has the potential to kill or injure an adversary through its striking technique.

Stick fencing has several tendencies that can be derived from the different European fencing traditions. We distinguish between the German tradition, the Italian tradition, the Spanish tradition, and the French tradition. Despite regional distinctions, there have been many transfers between traditions in terms of technique and philosophy.
By the end of the 19th century, French traditions were the most prevalent methods. La Canne, as the French called their method, was part of a self-defence system that included French boxing. Outside the French language area, stick fencing can also be found.


A popular version is the “Bartitsu stick fencing system”, an English method that gained fame thanks to Conan Doyle’s books featuring Sherlock Holmes as the main character. The stick fencing component has its origins in La Canne’s Vigny system, a method from the French-speaking region of Europe.

An upside-down world

Of course, we cannot forget the Eastern traditions that found their way into the Western world of martial arts and martial arts in the 20th century. Despite the European influence in Tanjo Jutsu being denied by some Jojutsu practitioners, stances and striking technique share similarities.
One notable tradition is Japanese Shindo Muso Ryu Jo-jutsu. This tradition promotes a form of stick fighting using as its central weapon the Jo, a stick about 130 cm long. In this tradition one finds the Uchida-Ryu Tanjo Jutsu, a method based on European walking stick fencing from the 19th century.

The link with Aikido

hdr

Aikido was created by Morihei Ueshiba’s students after the war. In most modern aikido systems, weapons are used in training. A cane or a walking stick belongs not to the traditional weaponry in aikido.
Nonetheless, a short stick was employed by a few of Ueshiba’s students in their training methods.

Kenji Tomiki, who created competitive aikido, also played a role in the creation of Goshi-jutsu no kata, which is a formal exercise in Kodokan Judo that has a self-defense section that involves the use of a short stick.

In the Tomiki Aikido training syllabus, a “Softo”, a short stick is used for example to practise “avoidance”.

Integrating a walking stick into your training requires a lot of study to determine which elements you would like to incorporate into your training. If your training is focusing on the sports side of Tomiki Aikido, practicing with a walking stick is a waste of time. As usual, there are no absolutes.
Le Combat de la Canne is a French competitive system with a stick that originated from the ‘La Canne’ methods for self-defense.

“La Canne” or the French Stick Fighting system

If the purpose of your training is to study practical elements for self-defense or aikido weapons training, practising with a walking stick can be very rewarding training supplement.
La Canne is build upon a more than 500 years experience of sword masters. Their knowledge is equal to that of the famous Japanese Swordmen.

Most of the La Canne methods have a similar syllabus that contains the following items.

  • Guards / Postures
  • Moulinets – Circling of the cane
  • Footwork
  • Striking, thrusting, ….
  • Parries
  • Combinations
  • Freeplay

A lot of attention is paid to:

  • Distance – 3 basic distances
  • Timing – 3 basic timings

The concepts of distance and timing are integral to Eastern martial arts. It can be said that they are the ‘essential concepts’ of all martial arts.


This concept can be practiced at different levels, with beginners generally moving slowly and not using powerful actions.

Are you intrigued?

The internet is a great place to find a lot of information. But fundamentally, practicing is the best solution.
For those who are interested, our group offers introductionary sessions.

Using a “walking” stick in Aikido

Historically, the majority of bladed weapons were used for military or police interventions. Of course, those who like to walk on the wild side are also using bladed weapons.
While bladed weapons are not allowed to be carried by civilians in most countries, they can carry a walking stick and use it as a weapon if needed.

The Western walking stick or cane became a popular item in Japan at the beginning of the 20th century. Some martial art experts transferred the Western method of using the self-defence “Cane” into a Japanese style of martial art method called “sutekki-jutsu” or “tanjo-jutsu”. The length of a “cane” or “tanjo” is about 3 shaku and the diameter is about 10 bu.
Shaku, sun, and bu are traditional Japanese measures of length, with a shaku measuring approximately one foot. One shaku equals ten suns, and one sun equals ten bu. One bu is equivalent to 3.03022 mm. Today, the shaku-sun-bu unit system is almost exclusively used for old-fashioned measurements such as measuring the length of swords and other traditional weapons, such as the roku-shaku bo.

Shindo Muso Ryu Jo-jutsu, one of the Japanese traditional Jo or staff schools contains a kata or sequence with a walking stick length weapon: Uchida Ryu Tanjo Jutsu

The picture above clearly shows a technique commonly used in Aikido. Of course, the question arises whether we can incorporate the “Shindo Muso Ryu Tanjo-jutsu” kata into our Aikido training.
The Tanjo-jutsu kata is basically a formalized training sequence based on the use of the ‘Jo’, a 4-shaku, 2-sun (about 128cm) staff against a swordsman. Jodo is a specialized martial art that requires many years of training to become proficient in the use of the Jo and other weapons like the tanjo.

Introducing “suteki” into Aikido

There has been a few efforts to incorporate suteki, tanjo, or walking sticks into the practice of Aikido. One of the AikiKai teachers who uses a walking stick as a training tool is Kurowai Yoshio.

Kuroiwa Yoshio was a unique figure within the Aikikai. Although one of the senior postwar shihan, he refused rank past sixth dan. In fact, he simply refused rank all the way up the ladder until Ueshiba Kisshomaru (Nidai Doshu) personally requested that he accept a sixth dan, because dispatching him to teach in dojos without any rank was getting embarrassing. Kuroiwa was provocative, almost rebellious, but he remained within the organization — functioning at times like a grain of sand underneath an otherwise smooth mantle, but otherwise, largely ignored. He was technically original, with an utterly unique style of movement. Had he been a different man, and perhaps, if his health had been better, he could have started his own aikido group independently, like Shioda or Tomiki. Instead, he remained within the fold – but just barely.

In Memory of Kuroiwa Yoshio — 1932- 2010
by Ellis Amdur

The “stick” in Kuroiwa’s method has 2 main applications:

  • using the stick as an attacking tool in combination with “atemi” based upon boxing theory
  • using the stick to explain “basic techniques”, fundamentally the stick is used to visualise the traject of the movement.

Tambo or short stick

Another type of stick that can be used during Aikido training is the Tambo. The length of the ‘Tambo’ is 1 shaku 2 sun, approximately 37 cm, and is of course too short to use as a walking stick.

Jean Zin’s study with Tadashi Abe, known as a pioneer of Aikido in France, resulted in his writing two books about using a tambo.

Tadashi Abe

NameDimension (Jap)Dimension (Eur)Equivalent (bladed) weapon (Eur)
Hassaku-bo8 shaku±240cmSpear
Rokushaku-bo6 shaku±180cmHalberd (axe)
Jo4 shaku 2 sun±128cmSaber sword
Ham-bo/Tan-jo3 shaku±95cmSaber/Canne
Tam-bo/Tant-to1 shaku 2 sun or more±37cm/±45cmDagger

The wrist movement

Using a stick with wrist movements requires the correct grip. When the thumb is on top of the stick, it serves as a support for wrist movement. The wrist movement is more initiated by squeezing the 3 fingers (little finger, ring, and middle finger) when the thumb is folded. Usually, the thumb will be held in a folded position.

Manipulation of a tambo is almost the same as using a tanjo and a walking stick.

In order to impart the most kinetic energy into the target, you have to hit at a right angle (1). Anything else, the energy will dissipate in different directions.

As usual, every action has 2 sides. When you want to deflect an incoming force with your stick, you must change the angle, there will be a lesser impact (2). The kinetic energy of the attack can be used when you strike or stab the opponent.

Range of efficiency with “suteki”

The range of efficiency is similar to the kind of ranges used in traditional Japanese martial arts The efficiency range is comparable to those used in traditional Japanese martial arts, particularly sword fighting.
Generally speaking, there are three levels of fighting distance: toma, issoku-itto, chikama.

  • Toma is the far distance when one’s sword is not touching the opponent’s sword in any way.
  • Issoku-itto is the distance from which one can strike correctly with a single large step.
  • Chikama is the close distance when the swords are crossed near, but not at, the tsuba.

In reality there is a fourth distance. Tsubazeriai is the extreme close distance when the tsubas are pressed together. You can compare it with clinching in boxing.

Offensive and defensive footwork

Footwork is an important element in training to optimize the efficiency of techniques.
Offensive footwork is mostly done when stepping forward towards the opponent and using an offensive technique, such as striking or stabbing with a stick.
To avoid an incoming attack, defensive footwork is usually done by stepping back with one or both feet. Defensive footwork can be used to practice different types of blocking with a stick. But certainly, defensive footwork can be used to us offensive striking or stabbing.
These are just some basic formats, of course. Various formats can be explored during the training.

The footwork can be practiced using an isolated method. Tomiki’s basic footwork pattern demonstrates both offensive and defensive footwork.

Striking and stabbing

A stick can be used to perform basic arm and hand movements. Tomiki’s Tegatana Dosa is a training method that can be applied with a stick or other weapon.

  • Shomen uchi – vertical striking with the weapon
  • Shomen tsuki – stabbing with the weapon
  • Uchi mawashi – circular inside striking
  • Soto mawashi – circular outside striking
  • Uchi gaeshi – circular inside blocking
  • Soto gaeshi – circular outside blocking

These movements can be practiced in a variety of formats. Here is a sample.

Partner training

This type of training can be done after someone has sufficient skill in manipulating a stick. Different types of training can be used depending on the goal you want to achieve with such training.

Using a ‘chambara’ stick is an ideal method for practicing without the danger of inflicting an injury on the opponent.

Discovering the flow of strength

Our major commitment … is to discover ourselves before discovering scientific truth, to mold ourselves before molding nature. To fashion a strong brain, an original mind that is ours alone — this is the preliminary work that is absolutely essential.

The Founding Father of Neuroscience on Solitude – Santiago Ramón y Cajal (May 1, 1852–October 17, 1934)

Tenshikei – Using a linear motion to rotate.

Tenshikei can be described as “energy boosting”. These bodymovement makes the use of your strength more efficient because you will use all the resources of your body.

Diagonal Tenshikei Exercise

The diagonal tenshikei exercise is an entry to rotating diagonal movement.
The motion is straight ahead and takes place between the lines on the side of the body.
The first is to raise your elbow. Don’t drop the other elbow.
When the body is stretched upwards, the forward elbow moves downwards and backwards. The rear elbow travels straight forward.
This exercise is very hard to do, the shoulder and chest must be very flexible. The lower part of the body remains “comparatively” in the same position.

Application of a straight motion

In a previous blog about kinetic energy, I used the phrase “Using a straight line to rotate”. After some reflection on tenshikei, I rather use “linear motion”.
A linear motion is a one-dimentional motion along a straight line. A linear motion is the most basic of all motion if there are no external powers acting on this motion.
But as we all know, Aïkidō has a complicated simplistic label.
Body movement is a linear motion with rotational elements.

Lifting the arm into an attacking position. The legs and feet are the support of the torso and are not used to generate strength activily in this example.

  • Picture 1 – A linear motion from the hip to the shoulder, to initiate arm lifting
  • Picture 2 – Lifting the arm with a forward movement
  • Picture 3- Initiating from the hara to the opposite armpit following a diagonal course. Using the back to let the flow to the arm
  • Picture 4 – Adding the rotation of the waist and adopting a hanmi posture

A rotating linear motion

Ukimi – The floating body

A lightness of the body, a feeling of complete weightlessness, hovering sensation of the body that is established by koshi-mawari.

Koshi-mawari is mostly translated as hipturning, but it is better to describe it as initiating movements by using the pelvis.

When we practise with our without a partner, we must always be ready to use both legs or feet to move. The skill of taijū no dendō is putting the weight in the koshi, not in the legs or feet. If the weight is in the koshi and we move with koshi-mawari and/or unsoku, a feeling of weightlessness will fill the body. An eventually partner will feel almost nothing.

Ai game ate is the result of “Ukimi” and “Kuzushi”

Evolution and Innovation

If we look at humanity’s slow rise from prehistory, there have been three waves ofevolutionary acceleration. The first was the transition from hunting-gathering to the development of the agricultural age. This happened roughly a few thousand years ago. The second was the industrial revolution, propelled by the invention of automation and standardization. This happened a few hundred years ago. And the third is the “digital” revolution and this started a few decades ago.

One of the dificulties in the process of Evolution is the concept of Conservatisme. This is not always to be bad, but to keep going on and to improve your way of life we need the concept of Evolutionary Innovation.

Evolutionary innovation focuses on orientation TOWARDS today’s way of life and improving it.. To use this concept we have to accept the idea that we sometimes have to leave the “fixed” path of our predecessors.

“Revolutionary ideas rely on evolution to survive”

It is a fact, most people cannot surpass the concept of a fixed or so -called standard form. Although we need a fixed form to pass on the concepts and techniques of a martial art, it is important at a certain moment in our training to forget the fixed form and start your own method based upon movements stored in your subconscious mind. This is already discussed in blog posts concerning “katachi” and “kata”. Also the post about “Matrix Aikido” can give you some insight.

Using equipment from other disciplines

When we don’t have a partner to practise our waza, we can use a tool to mimic a body-part of the opponent. The tool in my mind has to mimic the fore-arm of an opponent and the idea is to practise arm and wrist techniques. This is not a new idea because other Aikidō sensei are also using such a tool. For example a “Neribō”.

Neribō (neri:to knead & bō:wooden stick)

The Neribō stick was introduced in Aikidō by Hiroshi Tada (Aiki-Kai)

The neribô is a tool that can be used in the practice of aikido solo; it is a wooden cylinder with a variable diameter and a length of around half a meter, with rounded edges to avoid hassle in operating it. Simulates the uke’s forearm , so you can train with neribô to perfect mainly the basic or gokyo techniques ( ikkyo , nikyo , sankyo , yonkyo , gokyo), to keep the level of execution unchanged, or simply when you have the pleasure. Its use is useful especially when you consider training time on the tatami insufficient to achieve your goals , but also when you want to intensify the study of a technique, nikyo for example, which is unthinkable to replicate for dozens or even hundreds of times on an unfortunate human uke .

Because the arm of an opponent is not so stiff as the wooden Neribō, an alternative can be found in the use of a TheraBand FlexBar Resistance Bar.

TheraBand FlexBar® to improves grip strength in the arm, hand and shoulder. The resistance level are: yellow (6lbs. of force), red (10 lbs. of force), green (15 lbs. of force), or blue (25 lbs. of force).

As you can see, the FlexBar is a flexible tool with a resistance degree depending on the kind of FlexBar. You can bend the FlexBar, but you also can twist the tool. The moment when you loose the bending or twisting power, the FlexBar returns to the original shape.

Of course it has not the same feeling as the arm of the opponent, but playing with the bending or twisting power will improve your grip on the arm of an eventually opponent. The control of you power is increasing when practising often with the FlexBar.

Tomiki-Aikidō waza with FlexBar

These are some examples how to use FlexBar with Tomiki Aikido waza. Use your imagination to develop other methods to use FlexBar. Have fun…

Oshi-taoshi

Gyakute Kote Hineri

Junte Kote Hineri

Tenkai Kote Hineri

Meditative Movements: Fusion between Mind & Body

We learn not to move, but to be moved
Sometimes people ask me about my passion for martial arts. The answer is straightforward: to become better than yesterday.
Of course ageing is a factor to take into account and which is “a game breaker”. What you can do when you are 20 will be not the same when you are 50.
The search for a method to become better than yesterday is a path full of obstacles and the end is for everybody the same.
Becoming better than yesterday?
Maybe the answer is at the end of this blog post…….Maybe other questions will be asked…….Who cares…..

I “feel better” than yesterday.

Eddy Wolput

Meditative Martial* movements and Mushin Mugamae
When we speak about Meditative Martial Movements, we are talking about body and mind movements. In general the body is for movement and the mind is for thinking. But what about a “thinking body” or a “non-thinking mind”?
Our Aikido as a kind of meditative movement is a method where mind and body make a fusion. Both becomes one unit and both are equal with a different function.
We have to look at the body and mind in a different way.
The body operates according natural laws, the mind guides according natural laws. There is no interference from the ego.
This is called “Mushin mugamae”: No mind, no posture.
Which means, the body is not rigid, the mind is not fixed.

The mind as an observer
Commonly spoken, body movements are mostly based upon using power generated by muscles. But as said previously, ageing is a game breaker.
The answer to this problem is the use of natural forces of our environment.
Mostly our movements are inspired by reflexes or inborn actions and also by learned movement patterns stored in the brain.
To learn a new pattern or overwrite a wrong pattern, we have to practise the “new” pattern according natural laws. To become succesful we cannot allow the conscious brain and ego to interfere. Mind in this context means “awareness”. The mind is neither engaged in conceptual activity nor focused on a future goal, but instead is focused on bodily experience.

“Don’t think, listen to the body”

Akira Hino – Budo Researcher

Relaxing & acceptance, a skill called zanshin
Zanshin is in general defined as a state of alertness or awareness. When you are alert, it means you can start a movement immediately. This only can happen when you are in a state of relaxation.
To define relaxation in the context of our training in Western language is very difficult. Some therapeutic systems use the word “eutony” to define this state of being.

The term eutony comes from Greek Eu: good, – and of Latin Tonus: tension, the grade of tension or elasticity of muscle fibers. It was coined to express the idea of a harmoniously balanced “tonicity in constant adaptation to the state or activity of the moment”. 

Essentially, accepting “the truth” causes less suffering than struggling vainly against it. In many cases, we have a choice. We can either accept or reject, and much of the time rejecting doesn’t change our reality, it just causes mental pain.

Acceptance is an active process. It must be practiced.
It can require effort most of the time, at least initially. It can be frustrating at times. By acceptance you create and strengthen the neural pathways in your brain, facilitating ease in the future. It is no defeat, it is a gate to victory. Because there is no frustation, no pain, you can use your energy to keep your awareness and start an action without delay.
Relaxing and acceptance go hand in hand and cannot be separated. Excessive tension physically and mentally is a barrier between your body and mind.

Relaxing is no collapse

a balance between tension & un-tension

Acceptance is no defeat

finding a way out of the impasse of losing

How to practice relaxing and acceptance?

Using natural laws is a principle wellknown in internal martial arts and can be very practical explained.
Take for example gravity. On Earth, gravity gives weight to physical objects, and everybody is influenced by the forces of gravity. Old bodies undergo the same influences as young bodies. Of course, strong muscle can give you some advantage as more body weight.
The point here is, gravity is not influenced by age. By using gravity as a source of power, even old bodies can put forward a powerful presentation.
Relax your body, especially your shoulders is a common problem. We know the expression: drop your shoulders. In fact you have to accept gravity on your body. Shoulders go down as the rest of the body, but you are not collapsing. The fear of collapsing doesn’t exist, it is a delusion. But your mind need acceptance.

Musoku no hô*** , a principle packed in a practical example.
Musoku no hô,a method or principle in which one does not use the force of the feet, aiming to make fast and powerful movements, without being predictable.
To demonstrate this principle we will look into 2 ways of moving around.

Displacement by propulsion
The first is the principle of displacement by propulsion we use spontaneously in all kinds of sports activities. With each stride, a sprinter gives a powerful blow to the ground to obtain a force of propulsion. With differences in degree of performance and intensity, this type of displacement is present in all sports activities. The characteristic is that you exert a force that goes against that of gravitation to produce a movement.
Don’t confuse this with the rebound of power during accepting an attack from opponent.

Displacement by immersion**
One of the keys to understanding longevity in budo is what called the immersion principle.
Although little known, this principle is in Japan transmitted in some kenjutsu and jûjutsu schools as a secret teaching. It makes it possible to increase the speed of displacements and the strength of the technical execution. The perception of this principle is masked by speed, and the difference is difficult to perceive. To move, instead of giving an impulse against the ground, you “remove” the force of the legs to let act the gravity of which you will transform the force in a horizontal movement by a control of the center of gravity. You have the impression of immersing yourself in gravity, which is about “displacement by immersion” as opposed to “displacement by propulsion”. It is in fact to find the sensation of gravitation as an existing force that can be used and no longer, as usual, as a force against which we must fight.

With the principle of displacement by immersion, you can engage the total weight of the body in the technical execution, which considerably increases the efficiency. Because you can use the energy of the descent of the body due to gravitation. This descent movement is absorbed by the flexible muscular contraction of the legs. This process is the opposite of the ordinary movement where you first propel yourself by muscle contraction and then absorb the fall.

How to do?
The first step in teaching is to properly place your weight in the lower body and use the force of the fall in a shift. In the second step, you learn to transfer this fall force to your hand, your fist, or your sword.

In kenjutsu this is associated with a rotation around the central axis of the body. Monjuro Morita described this action in one of his books:
To hit properly from the tanden and koshi, we must use a perfect structured body and a perfect handling of the sword. This is a gesture that is produced in accordance with the two forces that go diagonally right leg left arm, left leg and right arm.
The perfect handling of the sword is produced by the integration of three elements: the rotation of koshi, diagonal tension produced by this rotation and displacement of the body.

Only displacement?
In martial arts methods, the application of the immersion principle is not limited to displacement but can be extended to other physical movements.
The realization of the principle of immersion first requires a physical relaxation.
To apply the principle of immersion in the hand movements, it is essential to locate the center of gravity, which brings out the sensation of the center of the body, in other words “hara” and “tanden” and also the central line (seichusen) of the body.

Non-predictable start
The merit of this type of displacement consists firstly not to express the start of the gesture, which is essential in combat technique. Even if you can move with a great speed, if you express beforehand a start-up gesture, so small, your movement loses its technical efficiency. On the other hand, even if your movement is not very fast in appearance, if there is no prior expression of the start, it can be fast from a moving point of view. To act after making a setup for a technique, is missing the chance to become successful. This is why in all schools of Japanese sword, one seeks the “strike of non-thought”. This is the goal of the musoku technique.

Speed and gravity
An important aspect of the immersion principle is the ability to maintain the speed in the movement as you get older. Since the principle is not to use the force of the legs to propel the body, this type of movement keeps the speed of technical execution and serves as a basis for the practice of a long-term martial art.
Speed ​​is maintained by immersion in gravity and respiration. In the martial arts, this aspect is related to the channeling of the physical force, since it is to use the gravitation to move and to execute a technique. By using the weight of your body in the most rational way to be effective, it is concentrated in every attacking movement.

Sources
*Meditative movement: is a “Western” term used in medical articles about qi-gong and other Eastern Movement methods.

**Displacement by immersion: is a term used by Kenji Tokitsu. He published many sociological articles on Eastern Martial Arts.

***Gravity and displacement: Akira Hino, a Budo researcher, quoted the term Musoku no hô in his writings and seminars to explain the concepts of Taiju no dendo and taiju no ido.

Creative copying

 

copy copying

Japan is well-known for the skill of copying. In the West, copying has a bad flavor, but what about creative copying.

“The original doesn’t exist!”

When a performance is done, the kata or randori doesn’t exist anymore. Even if it is on videotape, the original doesn”t exist…….the videotape is a copy.

Next time we try to perform again the same kata or randori, it will be a copy …… or a new original if we don’t try to copy. But once the kata or randori is finished, the original doesn’t exist anymore.
When a student performs a kata or randori based upon your previous performance, it is a copy. Sometimes it is a copy of a copy if the student uses a videotape.
Copying is a skill and as learning all skills it takes time and perseverance.

Using videotape

Can we learn from a videotape? The answer is “yes”. But you have to understand the limitations of a videotape.

  • A videotape offers a fixed form, it is only 1 performance. A teacher has no “fixed form” or “standard form”. The dynamics of adaptation to the changing situations can only be seen when we have several videotapes performed during different demonstrations or other performances.
  • It is difficult to understand which gesture is important or not important. Sometimes people are using a kind of mannerism or non-essential gesture which is done over-exaggerated. The reason for this a non-understanding what happens.
  • A videotape contains mistakes. Everybody makes mistakes, also the teacher.

Creative copying

Creative copying is based upon basic patterns learned through basic training. Learning basic patterns is not the act of memorizing the visual recognition, but by repeating the patterns until the body has learned them, so that the practitioner or performer can use them without thinking. Using your creativity is the same for kata and randori, although this is only possible when your level is sufficient to do basic patterns without conscious thoughts.

The essence of kata and randori

Randori and kata has to be performed with the essence and not with the mind. But the attention to detail and accuracy cannot be omitted.
When using creative copying, there is a danger to perform a parody or travesty of the reworked material, with or without the intention to use an ironic process.

Putting the essence of kata and randori in words is an impossible task, because adaptation to the many situations is only possible by practising a multitude of variations with a skillfull practitioner or teacher. This is another explanation of ” it has to be felt”. The task of the teacher is to transmit the “essence” of kata and randori, not to show the spectators how good he is.

The 1st lesson

When someone start with a martial art having roots in a traditional school, the way of teaching can be frustating.

There is no verbal explanation, no movement instruction. The expectation is to follow or copy the teacher.

“Stepping into the footsteps of the teacher.”

Learning an art or a skill is done by body to body transmission, not through the mind.