Tag: health

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.

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