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.

Inspiration and creativity

tegatana secret front

In 2010, I wrote a book “Tegatana, the secret weapon of Aikido”. It describes history and technical content of Tomiki Aikido. Since that time my life changed a great deal. I am not going to disturb you with my family life. I like to mention the changes in my “martial art” life.

Since I wrote my book some interesting people came on my road to perfection. They changed completely my understanding of Tomiki Aikido.

Is this understanding the correct way of Tomiki Aikido, I don’t know, but at this moment it feels the best way for me.

Nevertheless, who are those people?

  • Mike Sigman : Internal Strenght & Chinese Martial Arts theory
  • Ilias Calimintzos : Yi-Quan, Chinese boxing
  • Akira Hino : Hino Budo, Japanese Martial Arts theory and practise

They triggered something in me and forced me to walk on a path in an unknown territory. I cannot see the end of the road but I enjoy very much the travelling.

Inspiration and creativity

”To raise new questions, new possibilities, to regard old problems from a new angle, requires creative imagination.”
Albert Einstein

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Inspiration and creativity go hand in hand, but are 2 different things. There is also the “knowledge” component involved.

Inspiration comes at the right time and will be triggered in most cases by external stimulus. It creates new ideas how to solve old problems. The new ideas, of course, have to be concreted by action, in the case of martial arts: practise.

Existing knowledge is necessary, but it cannot interfere directly with new ideas, otherwise creativity will be blocked. Keep your mind open for evaluating the process of problem solving with existing knowledge. Unfortunately knowledge is sometimes hid by bad habits.

How to become creative in your training

First, forget you are a member of a big organisation. The rules of your organisation are blocking your creativity.
Next, study the basic principles of your martial art.
Ask yourself, what is the aim of your training? For yourself or eventually for your students? When you have your answer start with your training and keep in mind the basic principles of your art.

In my case, as I am not interested in competitive randori and certainly not in competitive kata or enbu, my interest goes in the direction “how to move efficiently the body in randori and kata”. I discovered that most of the basic principles in Tomiki Aikido are the same as in most of the other martial arts. My discovery is not based upon conscious thinking and using buzz words. No, my discovery is on the level of subconscious acting.

There are no words to describe how to imply the basic principles into my art. Maybe I can say the art are the basic principles itself.

Another discovery was the concept of “rendo”. The interlinking of all your body and mind movements in relationship with the opponent. Without this interlinking your martial art will be based upon raw muscle power and wrong use of bodyweight.

Once I had a bodily feeling (taikan) of rendo, I started to review basic kata and koryu no kata. Of course my rendo is not optimal and sometimes I am trapped in my old habits.
By reviewing kata, new problems came to the surface. By using the quote of Albert Einstein, some of the problems are solved by using creativity based upon the basic principles.
Besides using the basic principles of the art, you need training in the use of hara (koshi, tanden and yōbu). How to use the mind is another important element in the training. All of those elements are commented in the content of this blog.

Creative randori

creative randori

People asked on several occasions about the skills of my son. There is only 1 answer: practise.
Of course, there is external stimulus. In his case, he had very good training partners. Those men triggered him a lot to find new ways for improving his randori.
Once, a Japanese teacher said: Tim created a system which only suits him.
His ideas are written into a little booklet:

creative-randori

If you had a look at this booklet, you will notice this is not the basic stuff your organisation is providing. It is totally different, but on the other hand it is Tomiki Aikido Randori.

Don’t become trapped in your own structure

When creative movements become fixed movements you will be trapped in your own body and mind structure.
From a physical point of view, reference is made to doubleweight. Your body cannot move anymore. You are ready to be thrown by the opponent.

An example of this problem is called the stiff knee syndrome. Your knees are blocked because you are pushed in a defensive situation and don’t want to fall. The stiff knee syndrome is frequently seen by older people or overweight people.

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