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.

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.

Pause as a moving factor

Conscious and unconscious movement

Moving around is part of the most enjoyable activities in humans life and when our movements stop, our life is also stopping. But sometimes we need a rest, sleeping, relaxing, ….. Taking a rest or relaxing is part of our movement and at first sight there is no outward movement. It is no wonder to find out there is a lot of movement inside. These movements are unconscious movements. Our consciousness has no control.
Conscious internal movements concern mostly musculoskeletal alignment and connectedness. They are in many cases not visible externally.
During human moving activities, a pause is often used to give a dramatic performance. Pause is a part of a movement or performance.
The conscious brain is reacting to action or pause with a delayed time. This can be utilized to change strategy or movement (switch) during martial arts performance.

0.5 seconds for the mind to recognise what has occurred

Benjamin Libet states in his book, “Mind Time: The Temporal Factor in Consciousness (Perspectives in Cognitive Neuroscience),” that it takes 0.5 seconds for the mind to recognise what has occurred.

Benjamin Libet is known worldwide for the experiments he has conducted over a long career (his first experiences date back to 1957-1958) on how the human brain produces conscious awareness.
The brain will have a recognisable sensation coming from the skin or some other body structure only if the stimulus continues for at least 500 msec: shorter durations do not elicit any awareness of the sensation.
There is an actual delay of 500 msec for sensory awareness even when the sensation is generated by a single pulse applied to normal sources at the skin.

Pause, a part of our movements

During switching of movements, we need a pause to reset our muscles. Resetting the muscles is changing the tone, or in other words “more or lesser tension” to create a better efficiency movement.
Switching without detection by the opponent is only possible if we can perform this during the 0,5sec mentioned earlier.
We can make the delay longer by using “kuzushi”. This situation sets up a pause in the defense against an attack. Regaining stability is triggered by some survival instinct and will take over the actions learned during martial arts training.
Basically, kuzushi is a kind of switch with hakkei or sudden power. When practising kuzushi slowly and with bigger movements, we cannot consider this as a part of the strategy to make opponents “brain delay” longer.

Pause, an educational tool

This kind of pause is longer than the pause during movements. Practitioners without experience need some time to make decisions how to do a movement. By integrating “pause” into movement sequences, the brain will detect the changes in the sequences and make the appropriate adjustments.
Most of the “kuzushi” demonstrations use such a method to make clear the mechanism of kuzushi. This is an artificial situation, and will always fail in “randori” because it is going beyond the delayed time.

Different types of training

Solo-training

Solo-training is an integral part of a martial art training program. Solo-training is a simple method to introduce martial art movements. There is a perception of “no-resistance”, but this is a delusion. Beginners are not aware of gravity or excessive tension. When we discover gravity and relaxation, partner training is the next step. Nevertheless, keep in your mind: There is relaxation in tension – there is tension in relaxation.
Solo-training start with big movements and done slowly. Remember, we need time to recognize what is happening.
After some time, we can start to make the movements smaller and eventually faster, but not fast.
When you can observe your movements without making any comments in your head, it is time to start to partner exercises.
From a practical view on how to keep students or trainees enthusiastic, sotai dosa or partner exercises are introduced before proper body movements are ingrained. But avoid “tanren” training.

Practical training concepts
Practical concepts depends largerly on ingrained basics in the subconscious mind. Mostly these ingrained concepts will be tested during all kinds of randori, ranging from kakari geiko through hikitate geiko to randori geiko.
During basic training, the concept of pause is mostly considered as an educational tool.
Pause as a practical tool during randori is build upon the skill of relaxation/tension and diverse strategy concepts.

Sensitivity training

Training with a partner, trainer or teacher should led trainee to follow by “sticking” at the contact points and learns to listen (chokei in Hino Budo terms).

Resistance training

Sensitivity training with light resistance. Testing the body/mind integrity of the trainees. Cultivating internal muscoskeletal alignment and connectedness. Using sufficient force (tension) to overcome resistance.

There must be relaxation within tension and tension within relaxation/tension exchange. Avoid rigidity and stiffness.

Technical training

Solo-training of basic movements is an entry to ingrain whole-body neuromuscular movements. Mind-body control is necessary to obtain coordinated whole-body neuromuscular movement.
Partner training has to be seen as an extension of solo-training

Randori training

Randori training is an exercise with a build-in unknown factor. Timing, distance or interval, speed….are unknown factors. Starting with low-intensity resistance and adding proportionally unknown factors cannot emphasized enough. When we start too soon with “hakkei” or sudden power, succes in randori will be far away.

Tanren – The art of repetition

Do not cultivate sequential patterns of response as a solution to the problems of fighting. If you use conscious procedural thinking (sequential processing) to observe, analyze, and then react, you will lose most of your hand-to-hand encounters or confrontations. You cannot predict/anticipate when and from where an attack is coming, and then take appropriate action.
Therefore, instead of wasting time and energy memorizing sequential patterns of movements also called “kata choreography”, let your sub-conscious reflexes automatically execute the proper actions at the proper time without conscious mind- intent.

Kata performed as ‘Tanren’, or repetitive slow drilling is highly regarded as a method of power building

The art of repetition

quote by Akira Hino

You cannot really learn and understand the meaning by copying something over and over just because someone told you that there is a significance in doing so.
There is a fine line there… between a genuine motivation to learn and just an intellectual amusement.
If you think the meaning of repetition is just a piece of knowledge given by somebody else. You will not able to learn anything worthwhile on your own.

Kata must be simple if we like to use it as Tanren. If kata is too complicated it will be a waste of time. It is better to practise 1 or 2 linked movements with low resitance at slow speed. The mind need time to listen to the body and absorb the principle or concept behind the movement(s).
For example during static postures in standing meditation (ritsuzen) isometric activity of the major leg muscles is a motionless movement to practise drilling the feet to generate power with the support of the floor.
Dynamic examples can be found in koryu no kata. Some kata are complicated sequences and are build upon linking simple basic movements.
Of course, kata training offers more than power building exercises.

Something to take into consideration

The Relative Tempo of Techniques: some techniques are performed quickly, while others are done more slowly. Tempo can be so slow that there is no visible external movement, it is a pause in the external movement.

The Relative Force of Power: The power of a technique derives from the proper balance between strength and relaxation. Power is a balance between ju (soft/strong) and go (hard/strong). Power can be dynamic (ido ryoku) but also static (isometric tension). Isometric tension has no visible external movement, it is a pause in the external movement.

The Control of Breathing: The correct timing during breathing (inhaling and exhaling). After inhaling we need sometimes a pause, to have a better absorbtion of the oxygen. This is a pause in the breathing.

By using these 3 concepts and through concentration, dedication and practice, a higher level of power skills may be achieved, where the movements are so ingrained in the subconscious mind that no conscious attention is needed.  This is what we call Mushin 無心, or “no mind.” The conscious, rational thought practice is not used at all – what was once memorized is now spontaneous.