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?

Aikido as a Performance Art: An In-Depth Exploration


A person is identified not just by their name but by the human values they embody. Strip away those values, and the person becomes an object, easily manipulated by dictators, corporations, and social media.
Similarly, a martial art is defined by its name and the human values it imparts. Remove those values, and it becomes vulnerable to exploitation by salespeople, corporations, or worse—it loses its purpose and is discarded as irrelevant.

Introduction

Aikido, a modern Japanese martial art founded by Morihei Ueshiba, is renowned not only for its self-defense techniques but also for its aesthetic and performative qualities. While Aikido maintains its roots in practical combat, it seamlessly integrates elements of performance art, creating a harmonious blend of martial effectiveness and artistic expression. This exploration delves into how Aikido embodies performance art, examining its choreography, theatricality, and the balance between physical technique and mental discipline.

Kata: The Foundation of Aikido’s Performative Aspect

Understanding Kata

At the heart of Aikido’s performative nature lies kata, a collection of structured movements that simulate real combat scenarios. Kata serves as both a training tool and a performance medium, allowing practitioners to internalize techniques while presenting them in a visually engaging manner.

  • Static and Dynamic Structures: Kata comprises static structures (key-pictures) and dynamic structures (transitional movements). Static structures provide a foundational stance or position, while dynamic structures facilitate smooth transitions between these positions. This interplay creates a fluid and aesthetically pleasing sequence of movements.
  • Memetic Naming: Post-World War II, high-ranking students began naming techniques to aid memory retention. These names function as “memes,” triggering mental images and structures that enhance the practitioner’s ability to recall and execute movements with precision.

The Role of Go-Kyo and Basic Techniques

The Go-Kyo system in Kodokan Judo and its counterparts in Tomiki Aikido illustrate the structured approach to teaching and performing techniques.

  • Go-Kyo in Judo: This classification system organizes throwing techniques, providing a systematic framework for learning and demonstration.
  • Basic 15 and Its Evolution: Kenji Tomiki introduced Basic 15, a foundational set of techniques in the 1950s. Although not classified formally as kata, Basic 15 laid the groundwork for subsequent iterations like Basic 17 and Tanto Basic 17, which incorporated more refined and varied movements.
  • Randori no Kata: High-ranking instructors coined Randori no Kata to formalize basic techniques, culminating in its inclusion in the JAA syllabus in 1980. This formalization underscores the performative intent behind kata, emphasizing both technical proficiency and aesthetic presentation.

Theatricality in Aikido

Historical Context of Martial Arts and Theater

The intersection of martial arts and performance art is not unique to Aikido. Historically, martial practices have often been intertwined with theatrical traditions:

  • European Fencing: Once part of theatrical studies, fencing evolved into both a competitive sport and a performative display.
  • Chinese Opera and Kabuki: These traditional art forms heavily incorporate martial choreography, blending combat techniques with dramatic storytelling.

Aikido’s Theatrical Elements

Aikido adopts similar principles, integrating martial techniques with performative choreography to create a captivating spectacle:

  • Choreographed Performances: Aikido demonstrations often showcase the fluidity and grace of techniques, emphasizing the seamless execution of movements. These performances are meticulously choreographed to highlight the harmony between practitioners.
  • Character Development: Modern Budo (Gendai Budo) emphasizes character development alongside technical skill. In Aikido performances, practitioners embody specific roles—Tori (the attacker) and Uke (the defender)—each with distinct movements and intentions, enhancing the narrative aspect of the performance.
  • Social Interaction: Performances are designed to engage spectators, conveying the “truth of action” by simulating realistic combat scenarios. This interaction fosters a connection between practitioners and the audience, elevating the performance beyond mere technique demonstration.

Balancing Combat Effectiveness and Aesthetic Expression

Combat Roots vs. Aesthetic Focus

Aikido’s dual emphasis on combat effectiveness and aesthetic beauty presents both opportunities and challenges:

  • Combat Effectiveness: At its core, Aikido remains a practical martial art aimed at self-defense. Techniques are designed to neutralize opponents efficiently, emphasizing leverage, timing, and precision.
  • Aesthetic Expression: Simultaneously, Aikido values the visual appeal of movements. The flowing, circular motions not only serve practical purposes but also create a visually harmonious performance.

Potential Conflicts and Solutions

The balance between combat utility and aesthetic form can sometimes lead to conflicting priorities:

  • Neglecting Practicality: An overemphasis on aesthetics may result in the neglect of combat effectiveness, leading to the spread of misconceptions about the applicability of techniques in real-world scenarios.
  • Integrating Concepts: The ideal approach integrates combat principles into the performative aspects, ensuring that aesthetic movements retain their practical origins. This synergy enhances both the visual appeal and the functional integrity of Aikido techniques.

Training Methods and Their Performative Implications

Static and Dynamic Structures in Training

Aikido training incorporates both static and dynamic structures, each contributing to the performative quality of the art:

  • Static Structures: These are foundational stances and positions that provide stability and serve as reference points for movements.
  • Dynamic Structures: These involve transitions and fluid movements between static structures, creating a seamless flow that is both practical and visually engaging.

Role of Instructors and Advanced Practitioners

Guidance from experienced instructors is crucial in bridging the gap between technical proficiency and performative execution:

  • Choreographic Guidance: Instructors help practitioners refine their movements, ensuring that techniques are executed with both precision and grace.
  • Mental Discipline: Beyond physical training, practitioners cultivate mental structures that underpin their movements, enhancing the authenticity and fluidity of their performance.

Use of Media in Enhancing Performative Skills

Modern training methods leverage various media to augment the learning and performative aspects of Aikido:

  • Visual Aids: Books, videos, and digital platforms provide visual representations of techniques, aiding in the comprehension and execution of complex movements.
  • 3D Insights: Video demonstrations offer three-dimensional perspectives, allowing practitioners to observe and emulate the intricacies of dynamic structures.

The Aikido Syllabus: A Blueprint for Structured Performance

Memetic Collection of Techniques

The Aikido syllabus functions as a structured collection of “memes,” each representing a technique’s underlying structure:

  • Memory Aids: Technique names act as mental triggers, facilitating the recall and execution of movements through associated images and structures.
  • Structured Learning: The syllabus organizes techniques in a logical sequence, promoting progressive mastery and enabling practitioners to build upon foundational skills.

Impact on Performative Demonstrations

A well-structured syllabus enhances the performative aspect by ensuring that practitioners have a comprehensive understanding of each technique’s nuances:

  • Consistency in Performance: Standardized techniques allow for uniformity in demonstrations, making performances more coherent and impactful.
  • Depth of Understanding: A thorough grasp of the syllabus ensures that performances are not merely superficial displays but reflect a deep understanding of the art’s principles.

Static and Dynamic Structures Training: Enhancing Performative Excellence

Technique Demonstration and Perception

When demonstrating techniques without specifying the initial action, practitioners reveal their personal interpretation and understanding of the movement:

  • Individual Interpretation: Each practitioner’s unique perception influences how they execute and present a technique, adding diversity to performances.
  • Visual Representation: The balance between static and dynamic structures in demonstrations creates a visually engaging narrative that captivates audiences.

Skill Development: Athletic vs. Martial Skills

Aikido distinguishes between athletic skills (physical prowess) and martial skills (combat effectiveness), both of which contribute to performative excellence:

  • Athletic Skills: These enable practitioners to execute movements with agility and strength, enhancing the visual appeal of performances.
  • Martial Skills: These ensure that techniques retain their combat effectiveness, maintaining the art’s practical integrity.

Integration in Competitive and Performative Contexts

Tomiki Aikido’s emphasis on competitive formats like Randori and Kata illustrates the dual application of techniques in both combative and performative settings:

  • Randori: A free-form practice that emphasizes adaptability and combat readiness, showcasing martial prowess.
  • Kata: A structured form that highlights the aesthetic and choreographic aspects of techniques, emphasizing grace and precision.

Theatricality and Character Development in Aikido

Expressing Narrative Through Movement

Aikido performances often convey a narrative, portraying the interaction between Tori (the attacker) and Uke (the defender):

  • Role Embodiment: Practitioners embody their roles, infusing movements with intention and purpose that narrate a story of conflict and resolution.
  • Emotional Expression: Beyond physical movements, Aikido performances express emotions and psychological states, adding depth to the portrayal.

Character Development Through Practice

Modern Budo emphasizes character development as a fundamental aspect of martial arts training:

  • Discipline and Respect: Practitioners cultivate qualities like discipline, respect, and humility through rigorous training and performative practice.
  • Social Interaction: Engaging in synchronized movements and coordinated techniques fosters social bonds and mutual understanding among practitioners.

Challenges and Solutions in Balancing Aesthetics and Practicality

Risk of Aesthetic Overemphasis

An excessive focus on aesthetic elements can compromise the martial effectiveness of techniques:

  • Misconceptions: Overly stylized performances may lead to misunderstandings about the practical application of Aikido techniques in real-world scenarios.
  • Technique Dilution: The essence of techniques may be diluted if aesthetic considerations overshadow functional execution.

Integrating Combat Principles into Performance

To maintain the integrity of Aikido as both a martial art and a performance medium, it is essential to balance aesthetics with combat principles:

  • Functional Choreography: Choreograph movements in a way that preserves their combat effectiveness, ensuring that performances remain authentic and practical.
  • Educative Performances: Use performances as opportunities to educate audiences about the underlying principles and practical applications of techniques, bridging the gap between art and combat.

Self-defence or self-development

Without self-development, there will be no self-defence

Many people start a martial art with the intention to study self-defence. This is not wrong in itself, but before you can survive in a confrontation, you must study yourself.

  • physical
  • mentally

As long you cannot control yourself, you will be not able to defend yourself.
Fear, for example, creeps up in your body and freezes all flexible movements.
Anger can give you a wrong answer to solve a physical or mental confrontation.

Can we find an answer for fear, anger or other mental situations in martial arts?

This was of course also a problem for famous Japanese swordsmen and they also tried to find answers.
In Japanese swordsmen literature are many stories about this problem. Do they find a direct answer? Lets have a look at some stories.

Yamaoka Tesshu

Yamaoka-TessuYamaoka Tesshu (1836-1888), a famous swordsman from the end of the Tokugawa era through the beginning of Meiji era, wrote an essay about martial arts.
In this essay there is a story of Katsu Kaisu (Japanese statesman, end of the Tokugawa era through the beginning of Meiji era) recalling his encounter with Shirai Toru (1782-1843).
Even after a long period of training, Katsu Kaisu was afraid of the eldery Shirai Toru and his sword.
Shirai Toru gave an interesting explanation about his fear to Katsu Kaisu.

You feel fear towards my sword because you have some knowledge and experience in the art of sword fighting. A person without ego and no thoughts has no fear. That is the secret of the art of sword fighting.

Fear and anger

After the age of 40, most of the people’s physical power will deteriorate. When we don’t take enough attention to our self-development, fear and anger will come more apparent in a physical confrontation and this will kill you. It is not the opponent who is killing you, you kill yourself, because you cannot control your fear or anger.
Young people are compensating their fear by muscular power, but as we said before, power will deteriorate after a certain age.

There is another  story of Shirai Toru (mentioned higher) and his teacher Terrada Muneari (1745-1825, founder of Tenshin-Itto-Ryu). Shirai (28yrs) thought he could easily handle the elder Terrada (63yrs). But he didn’t have one chance to hit Terrada. Later Terrada said:

Self-awareness and spiritual enlightenment is the only way

Self-development

Self-development is closely related to self-awareness. How you see and feel yourself. Can you accept yourself, with your quality and your human weaknesses?

Martial arts are a mirror for you. Very soon in your training, your weaknesses are coming to the surface. This is the moment to become consciously aware of these weaknesses, to know yourself is the first step in self-development.

A practical example:

When an opponent (your training-partner) is attacking your face. How are you avoiding or handling this attack? Jumping away, freeze, panic,…..

Just ask your partner to slow down, and perform your defensive action also in a slow manner. From the moment you feel comfortable, ask your partner to add more speed and power. Can you handle? Maybe you have to go back to a slower performance, maybe you have more confidence and you can ask for more speed and power. From very structured training, you can evolve to unstructured training. If you are fortunate you will never use your skill in the real outside world. But you can test yourself in some kind of “competition” set? Not to become a champion, but just to test yourself.

Self-defence

Self-defence is a practical application of martial arts, and are mostly performed with a partner. Remember this model from an earlier post:

autopietic system

Your movement is always the result of a communication with the opponent. This is only possible if you have developped the skill of awareness, physically and mentally.

Having confidence in your abilities and knowing your shortcomings will create the perfect strategy for you in a confrontation, hostile or friendly.

The last words of Musashi Miyamoto

Abstract: The “Dokkôdô” is the last handwritten manuscript by Miyamoto Musashi. Due to its apho- ristic style it is often quoted and used to illustrate his thinking as well as his way of life, it has however until now not been intensively, thematically dealt with, so that the interpretation of several verses is still contradictory, which often leads to misunderstandings. In order to improve this situation we have ini- tially tried to interpret all words in each verse as literally as possible, then from here to form a sentence under consideration of its grammatical as well as its historical context and finally to present the entire translation of the “Dokkôdô”. The author hopes that this small contribution may become an inspiration for further discussion, which could lead us to a deeper understanding of Musashi’s truth.