Tenshikei – Study Group Tomiki Aikido

Practical Mushin Mugamae

Mushin Mugamae, a magical phrase used by Kenji Tomiki to highlight the essence of martial arts. He used martial arts as a vehicle to understand the man behind Kenji Tomiki and invited us to do the same, as a passionate person for martial arts.
However, Mushin mugamae means nothing if we forget our deepest feelings. Those deeper feelings are all about “sensitiveness”. Without “sensitivity” our life becomes boring and you will not get any “Kokoro”. The idea of “Kokoro” translates better like our “heart”, not the physical but the emotional heart. If the emotional heart becomes active, our sensitivity goes up and we are fully aware of the world in which we live.

Mushin mugamae and Kokoro are very practical skills and can only be used when implemented in our training.

Someone asked: “I have heard that Taiji Boxing comes from Daoism. The principles of Daoism emphasize non-competition. As Laozi said [Daodejing, chapter 8]: ‘If you do not compete, you will not lose.’ But boxing arts are all about fighting against people. If we say “don’t fight”, doesn’t that contradict what boxing arts are for?”
　　I replied that this is indeed the unique characteristic of Taiji Boxing. It says in the Treatise: “The basic of basics is to forget about your plans and simply respond to the opponent. We often make the mistake of ignoring what is right in front of us in favor of something that has nothing to do with our immediate circumstances.” This is a fundamental Taiji Boxing principle, to let go of your own ego and pay full attention to what the opponent is doing. If you can let go of yourself and follow the opponent, does this does not conform to the concept of non-competing?
運用
ON APPLYING THE ART
施調梅
by Shi Diaomei
[published in Taiwan by the 華新印書館有限公司 Huaxin Publishing Company, June, 1959]

Mushin Mugamae

In the quote above, there is a remarkable sentence: “The basic of basics is to forget about your plans and simply respond to the opponent”.
In my opinion this reflects in simple words the idea of Mushin Mugamae. Theoretically spoken, this is a concept which can be understood easily on an intellectual level. But practically, this is a completely other story.

Action with a “Mushin Mugamae” attitude

Sometimes the perception of Mushin Mugamae is about “no action”, “motionless”. Actually, there can be much action by applying Mushin Mugamae. When our sensitivity is active, we can move without intent to control and/or harm the opponent. That doesn’t mean we don’t have control over the opponent’s actions. The no-intention, action is not recognised as aggressive by the opponent. The skill of “Sen” or ” taking the initiative” are the result of of no-intention in action.
There are plenty of ways to show “no intention”. The following is a non-exclusive list.

Touching the opponent

When you make physical contact with the opponent, you only have ” the intention” to touch. No other thoughts are in your mind. In this case, the opponent is not offended by your action.
Touching is like using a feather to touch the opponent without power. The structure of the feather is not disturbed.

Moving with the opponent

After touching the opponent, we can move with him without using power. Our mind has no intention to change something in our relationship with the opponent.

Borrowing the opponent’s power

This is only possible if you can touch and move along with the opponent.
Borrowing the power is storing the energy in your body. This energy can be used after you have neutralized the power of the opponent which exceeded your storage capacity.
Tenshikei or rotational strength storing and releasing, is such an example.

Neutralizing the opponent’s power

When you borrow the opponent’s power, there is a chance your opponent has much more than you can store. You have to neutralize this energy into the earth. Your body will act as an energy transmitter. You only can do this when your body has a good structure (shizentai). This structure can act in two ways, incoming power and outgoing power.

Pushing the opponent – issuing power

There are a number of ways to push. A basic idea is to use the rebound of the neutralized energy from the opponent and/or release the stored power.
Using pushing power can be done without the use of energy produced by yourself. It gives you an advantage that you don’t waste energy.
Of course, it is also possible to generate strength by using our body smartly and economically. We can find many examples of merging mind and body applications in the field of high-performance sports activities. After all, martial arts can be considered a high level of sport.
Our force can be channelled in different ways and will depend on the circumstances of our relationship with the opponent or training partner.

Attract the opponent’s power

Everyone knows the power of “seduction”. There is a constant attraction to sugar, alcohol, tobacco and sex.
How to drag in the power of the opponent before a physical manifestation of an attack is an act of seducing the opponent.
Essentially, the art of seduction rests on the creation of an image in the mind. This image will feed an intention, and this intention must be captured with touch skill, as explained above.
It is totally different to force a reaction by means of a physical attack.
Everybody knows the skill of “go-no-sen”. This is a defensive action after the physical appearance of an attack. We can find many examples in the basic kata.
Unfortunately, I think it’s a misunderstanding of the application in the kata. A skillfull attacker will not attack you if there is no gap in your posture. You’re supposed to invite the attack.

Koryu no kata

In Koryu no kata dai Ichi, several examples can be found of the previously mentioned applications of “Mushin Mugamae” performed by Takeshi Inoue and dr Lee ah Loi.

Kyokotsu Control

The concept of “Kyokotsu” is already mentioned in numerous posts on this blog. The Kyokotsu movement is part of the entire body movement and cannot be separated from it. There are several basic kyokotsu movements, and these movements are embedded in different exercises already covered in this blog.

The Kyokotsu control consists of several basic movements:

In and out (horizontally)
Up and down (vertically)
left and right (horizontally)
Figure eight (combination of 1-3 with turning torso
……

Those movements connect Kyokotsu with the abdominal area, the spine and the back muscles, which leads to a whole-body movement.

By controlling the kyokotsu, we control the spinal column and surrounding muscles. Kyokotsu is essentially a part that is hard work to move consciously. If you succeed in doing so, other parts of the skeleton have no alternative but to move with it. An interconnection with the spinal column at the center is created when you succeed after much training. If you try to control your spine directly, you find yourself in tension. We need to use an image of the kyokotsu in motion, and thus the spinal column will have the freedom to move by the surrounding muscles.

Major muscles groups affected by kyokotsu control

Kyokotsu control strengthens the iliac muscle and the major psoas muscle which are attached to the spine. Strengthening these muscles helps the movement of the body to bring power to the hands and legs. Moreover, the intentional movement of Kyokotsu causes the opening of the shoulder blades. This in turn enables the freedom of the upper body, including the ribs, and the suppleness of the arms. In addition, Kyokotsu control affect the movement of the pelvis, which increases the strength and freedom of the lower body.

The latissimus dorsi, which is also connected to the spinal column, is also affected by kyokotsu motion. Especially when the kyokotsu rises with an upward move of the arm.

Of course, the above mentioned muscles are just a part of the necessary muscles needed for the whole body movement.

Kyokotsu Control

Pulling in horizontally

Aikira Hino Budo Theory

The concept of Kyokotsu control is one of the basic elements taught at many seminars of the Study Group Tomiki Aikido in Belgium, Spain, Bulgaria and the UK.

The concept of Kyokotsu Control is an element of Hino’s Budo Theory. Before the Corona crisis, Akira Hino gave several seminars in the countries of Europe. His method is not limited to practicing martial arts. In 2012, he taught a seminar at a cultural center in Antwerp (De Singel). The majority of the participants were performers and dancers. A report is available at Singel website.

Don’t Think, Listen to the Body! Introduction to the Hino Method and Theory of human body and movement control by Akira Hino Translation by Yuko Takeda

This book is available at Amazon Kindle Store

Tenshikei, coiling power

Tenshikei is the Japanese term for chanshijin or silk reeling, a skill in Internal Chinese martial arts. The name derives from the twisting and spiralling movements of the silkworm as it wraps itself in its cocoon and the pulling off the silk from the cocoon. The body is imitating this by winding and unwinding movements. In a Western context, reference is made to “fascial movement”.

What is fascial movement?
Fascia training describes sports activities and movement exercises that attempt to improve the functional properties of the muscular connective tissues in the human body, such as tendons, ligaments, joint capsules………

Tenshikei uses the diagonal tension and releasing of the muscles and tendons in the body and can be regarded as fascial movement.
Kyokotsu or lower part of the breastbone, as a control centre of the tenshikei movement, uses the tanden, koshi and yōbu as the stability platform. Seen from a Western perspective, the pelvic girdle is synonymous for this important body region.

The pelvic girdle or “koshi” can be seen as the origin of power generation and it has to harmonise with the rest of the body to produce efficient movements. Unfortunately, when the focus is too much on the koshi, there is a tendency to freeze this area. To avoid this situation, focus on the kyokotsu is advisable.

In humans, the crotch is the bottom of the pelvis, the region of the body where the legs join the torso, and is often considered to include the groin and genitals. In our study of efficient movement, reference has to be made to the area around the hip-joint. It can also be defined as the lower part of the pelvic girdle.

Relationship between shoulders and hips

The upper (above the waist) and lower (below the waist) portions of the torso should move in harmony with each other, so the hips and shoulders need to move in conjunction with each other in order to maximize power. The final position for a given movement will often involve the shoulders being directly over the hips as this alignment optimises the strength of the torso. The waist area needs to be strong and flexible for power to be generated in this way, so the waist should be loose and relaxed.

Whether the upper or lower half of the body initiates the movement is not always the same. As an example we can look at “uchi mawashi” movement. Diagonal tension is a main factor in this movement. Hip joint(s) or mata opens and closes in synchronising with the shoulder(s).

Synchronising has been not always at the same time. We have to consider the concept of rendo. The art of linking is a skill to transfer power through the body which will increase the efficiency of the movement.

Relationship between elbows and knees

The relationship between the elbows and knees is similar to that of the hips and shoulders. The elbows are also driven by the shoulders and the knees are driven by the hips.

Relationship between hands and feet

There is the belief that “the foot and the weapon arrive together”. This usually refers to an attack connecting with its target as the practitioner comes into the correct distance to attack.

In reality a tiny (microsecond) delay between the placement of the foot and the attack can occur. The hand should never lead the foot. All movements should flow outwards from the practitioner’s centre to the hands and feet. The hips and shoulders drive the knees and elbows, which in turn, drive the hands and feet. All the movements have to stay in the area of “range of motion”. This area is slightly smaller than the area of peripheral vision.

Solo exercises are performed in the area “range of motion”. The arms are not passing outside this area, otherwise the body structure will be destroyed and power generation is disturbed. The same is true when doing partner exercises, don’t move outside your range of motion.

Range of motion

Tegatana-no-go-dosa, a “winding” exercise

Tegatana-no-go-dosa are solo exercises and can be converted into exercises with internal aspects: Tenshikei = wrapping power – 纏絲勁 – chansigong (chinese).

7-hon-no-kuzushi

In Tomiki’s syllabus, 7-hon-no-kuzushi is a tool to improve the skill of “kuzushi”. A method to disturb the opponent’s balance.

ai-gamae jodan
gyaku-gamae jodan
ai-gamae chudan
gyaku-gamae chudan
ai-gamae gedan
gyaku-gamae gedan
ushiro

Mostly, these exercises are performed with a partner gripping a wrist or both. These skills are executed by moving the arm(s) in accordance with the proper footwork. The use of “mata” is hardly discussed and using efficiently koshi, tanden or yobu are almost forgotten.

The movements of these exercises are based upon “tegatana no go dosa”, the original handblade solo-exercises developed by Kenji Tomiki. By simplifying basic movements, some of the “internal” content is lost. The reason of this loss can be found in the purpose of tandoku undo tegatana dosa. Modern tegatana dosa is used to teach big groups and give the practitioners a simple basic idea of the movements. In the past, university students were taught this set of exercises during their 3 or 4 years of study and focus of the training was on “randori”, a kind of sparring. Of course, after spreading the art of Kenji Tomiki for a broader public outside the Universities, the search for other aspects than randori become more important.

Kata, formal training

The original purpose of kata was to teach external and internal concepts of the martial to the practitioners. This is already discussed in other posts at this blog. The difference between kata and katachi is bringing forward different aspects of the formal training in a martial art.

7-hon-no-kuzushi (omote & ura) is a formal exercise found in koryu-no-kata dai yon. Originally, these exercises were taught as a tool to improve “kuzushi” or balance disturbing.

By omitting some of the internal aspect during the performance of tegatana dosa, the content of 7-hon-no-kuzushi became also simplified and abstracted. The focus is on a kind of balance disturbances, mainly inspired by judo kuzushi of Kodokan Judo. The external concept of “kuzushi” is dominant. The internal aspect, especially the winding and unwinding is not highlighted.

7-hon-no-kuzushi, partner exercises with internal aspects

After studying thoroughly “tegatana dosa”, the internal skill of winding and unwinding becomes a familiar one and can be used efficiently in all the partner exercises.

Using Hara (Koshi, Tanden and Yōbu) and Mata

For all of these methods, the momentum needs to flow freely between the shoulders and hips. The torso needs to undulate in order for power to travel unimpeded throughout the entire body. The final position for a given movement will often involve the shoulders being directly over the hips as this alignment optimises the strength of the torso. The waist area needs to be strong and flexible for power to be generated in this way, so the waist should be loose and relaxed. It is often seen in partner exercises, the shoulders have contracted as a result of using the shoulder muscles as the source of power used by the hand and arm.

Mata is the connection between the leg and koshi. This connection is also influencing the passing of energy from the ground to the arm and hand. Using koshi and hara is an internal aspect to produce power needed in the art of kuzushi and has to be introduced into 7-hon-no-kuzushi.

“Wave of Power”

Much has been said in the debate on internal and external power. Most martial methods are built around a variety of concepts, including interior and/or exterior components. When a debate is held, we must look at the context of the debate. Basically, we should be aware of the definition of internal or external power given in the martial art we are discussing. We cannot accept a debate on good or bad unless we know the inner and outer aspects of martial art or combat sport.

Martial art built around flexible circular movements is considered as an internal method. While a martial art with a lot of muscular tension is considered an external one. Muscular tension is considered a linear action. The question about internal or external still exist and the linear/rotational answer is not sufficient. There are other aspects to take into account. Having a debate about internal and external will take up a lot of time and space. So we will consider a few creative thoughts.

Taking up space or not

External and internal movement

Very simply, external motion is a movement that takes space to perform. Running is one example of external movement, just like waving your arms or jumping up and down. A body or limb spinning around its center line without going anywhere is an expression of pure internal movement.

In the case of the internal movement of the human body, it can be clearly defined. It refers to rotations of the torso or limbs around their transverse axes, something that can take place with almost no external movement through space.

Linear and rotational movement

Linear: to move the body in space – external movement
Rotational: to turn the body around and axis – internal movement

A paradox?

If the torso turns around its axis, it is called internally, but our arms if outstretched move in space (external?). Our arms itself can turn around its axis, in this case we have an internal movement. All the movements we do with our body have an internal and external aspect. Talking about internal and external has to include both aspects and cannot be separated.

Another thought about the paradox of internal and external

Movement of the arm may be considered as internal and/or external action. If this movement is merely a local action, the effectiveness will be rather low, even if an internal aspect is included. Some people think that internal movements should always be stronger or better than external movements. Unfortunately, this is not true, both concepts need to be balanced to become effective for the task we use it. If the external aspect is performed with too much muscle contraction, the internal aspect will find it difficult to integrate. If the internal aspect depends too much on the relaxed or relaxed posture, the body will have problems to move correctly or perhaps completely frozen or collapse.

Another Creative Thought: Root and target

Everybody is familiar with Darwin’s famous book: The Origin of Species. The title suggests that there is an origin or a source for everything. This is a very simple thought and when one looks at the use of power in our martial art one can discover the same thought behind our source of actions. Of course, we can have a debate about where that source came from. Again, it has to be looked at in the context of this discussion. Where is “the root” as a physical part of our body?

root: source of force for movements
joint segments: transfer of force by using the joints of the body
tip: end of the line of force or the point of transfer into the opponent

Take for example an action with “tegatana”, the so called sword-hand. In a very simplistic way of thinking, the shoulder is the root and tegatana is the tip. Mostly tegatana will be used as a striking weapon in case the arm is not immobilized by opponent. Tegatana is moving in space and this movement can be considered as an external movement. On the other hand, there is an internal movement included if the arm is rotated around the transverse axe.

A wave of power

When power travels from the root to the tip, it takes time to reach the target. Power goes a certain way, and at first sight it moves linearly. But actually, most of these moves are characterized by a wavy motion. Basically, there are 3 types of waveforms in the human body in the context of our martial applications, but also in the context of all human movements, a wave pattern can be discovered. The idea of bodily wave pattern can be found in a book written by Jacques Lecoq: The moving Body.

Undulation and inverse undulation (1&2)

In undulation the wave of movement starts from the feet, goes through the hips, chest, neck and at last, comes to the head. We can see a small undulation for example when a person starts to walk. The power of movement starts from the ground and is dragged through the whole body. Inverse undulation is the same “wave of movement” as undulation but it starts from the head and goes through the body to the feet. The concept of rebound can be found in the inverse undulation.

Walking or running is a good example to illustrate the harmony between undulation and inverse undulation. The integration of external powers like gravity, inertia or others is necessary to use the human body as a whole system.

Eclosion (3)

Eclosion is a movement of opening and closing. It starts from the ground in a closed position and gradually expands towards the open. The movement starts from the center of the body and moves towards the head, hands and feet. The rhythm is important, and hands and legs should arrive in the open position at the same time. The closing movement is the reverse of the opening movement.

The role of kyokotsu

The “kyokotsu” exercise is one of the exercises for generating a waveform pattern. Of course, it takes several months of regular training to feel the wave of power. Most people have no flexible torso, especially at the level of the sternum. The kyokotsu exercise is not only a movement of the lower part of the breastbone, it forces the torso to open en close in different directions. The concept of “eclosion” discussed earlier can be found in this exercise.

When we move our kyokotsu forward or backward, it affects the pelvis by tilting it in both directions. Moving kyokotsu creates an undulatory movement in the body along the spine.

Kyokotsu is not the power generator, but the kyokotsu movement invokes the body to move according a wave pattern. Movement generates power with the help of the floor and gravity.

The better we can connect the different body parts, the more efficient use of power is possible.

A first goal to achieve is the connection between the elbows and the kyokotsu. The muscles in the back can be felt when a connection is made between kyokotsu and elbows. If we move the elbows without the use of the back muscles, there is no connection.

The next goal is connecting kyokotsu and pelvis. Don’t move pelvis without connecting with kyokotsu.

Tenshikei or winding power

The idea of winding power can be illustrated by the squeezing of multiple fibres. It stores power and by unwinding its release the power. By using the correct skill or technique, the power can be used to neutralize the actions of an opponent.

Tenshikei can be seen as a form of using an internal movement to generate power. The key to a successful procedure is the ability to keep the muscles and tendons flexible. When muscles and tendons become stiff and lack mobility, power generation will lack efficiency.

Elbow exercise

This is an exercise to develop a basic idea of tenshikei with a partner. It is an exercise and cannot be seen as a technique for self-defence. Tenshikei skill can be used in different situations if the training allows the study of this kind of power generation.

The elbow exercise can be performed with various concepts and some concepts do not use tenshikei or winding power effectively. If the focus is on the use of leverage, the winding energy will be virtually absent because the production of energy comes from the use of leverage. Below is a sample of an internal movement generating tenshikei taken from a DVD by Hino sensei.

Another view at the 2 types of power

Previous was mentioned external and internal power and its relationship with the surrounding space. But of course, there are different ways of looking at the use of power by the human body. To apply power, a movement is needed to give transport to the strength generated by the body with the help of our main source of power “gravity”.

Open and closed chain movement

In open-chain and closed-chain exercises, the chain referred to is a series of body parts, such as a hip, knee, ankle, and foot. In an open-chain exercise, the body is stationary while the limb moves. In the closed – chain exercise, the limb is stationary while the body moves. For example, a squat is a closed-chain exercise because your feet stay stationary while your quadriceps do the work.

In martial arts open and closed chain movements can be seen during basic training and randori. The open chain movement uses the momentum from the limb accelerated by the body. Closed chain techniques are those that use the ground and the stabilization of the body to produce the power. Open chain techniques depend on motion and speed to build their inertia while closed chain techniques use the ground to brace the body and transmit the force to the target.

In randori, the use of local power is often seen to force a movement on the opponent, or to block a lock on the arm or wrist.. Those manoeuvres belong mostly to the category of a closed chain movement. If the practitioner is more skilled in the use of full body power, the combination of linked chains can give more power. By using an appropriate technique or movement, the game of strategy becomes important.

Rendo, the art of mixing

In the music industry, the art of mixing based upon existing songs is very popular. Mostly it is used during festivals for dance. It is a kind of becoming into trance. Body and mind are becoming one, and the movements of the body can be seen as whole body movements.

The art of Rendo is a similar process where different movements are mixed into one whole body movement. We are not using the word “mixing”, but we use “linking”. Rendo has also a time component, because it takes time power travelling from the source or root to the target. The previous elbow exercise is an example of linking different movements by using winding and unwinding power.

Strategy and power

If the focus is on power, internal or external, it is not “the solution” to win a fight. It is important to have a method “how to use power” in a fight. This method is based on a mix of skills in the range from pure physical to pure spirit. Of course, as usual, the extreme ends have to be avoided, it is better to use a well-balanced method.

One of the most difficult skills in martial art is the use of a wave power pattern. Most practitioners will rely on the power of a closed chain movement, mostly locally executed. For example, only arm power generated by the muscle of the arm and shoulder.

As I mentioned in other blog posts, the concept of a creative mind is one of the cornerstones to become a skilful practitioner.

Ma-ai, a question of space

Budo movement can be understood as communication between two persons mediated by the body, that is usually considered two separate and independent bodies but rather should be considered integrated as one body communication system.
The point where two bodies (in Budo) becomes one body communication system depends upon the condition of the interface between the two bodies or persons. (from: Movement of Budo by : Yosuke YANASE )

A communication system is a moving construction and when communication stops there will be no movement anymore.
During a moving process, the feeling of safety is very important and is expressed by the skill of “rikakutaisei, fighting from a distance”.
Distancing or using the appropriate distance during a confrontation is a skill often used in martial arts but also in other fields of human behaviour.

Ma-ai, a dynamic concept

In Japanese terminology, distancing is ma-ai (ma, spatiotemporal interval 􏰀 ai, harmony). Ma-ai integrates space, time, and rhythm and is the ideal situation to control a confrontation.
Controlling the situation or in other words “controlling the actions of the opponent” is depending on Hyoshi.
Ma-ai is not a fixed distance, it is dynamic. Depending on the situation, distance will change.

Safe and unsafe distance

In another post, ring of power, the concept of a close distance was used to practise posture and power through a grip on opponent. Before we have a proper grip on opponent, we need some skills to gap the distance between you and opponent.
These skills incorporate the concept of safety by using “rikakutaisei” or fighting from a distance.

Basically we can distinguish 3 kinds of distance during a confrontation.

When there is no physical contact it is called To-ma.
Making physical contact but still safe in your own environment it is called Uchi-ma.
Chika-ma is the distance for using power. Without controlling opponent actions it is very unsafe.

Don’t confuse distancing or ma-ai with the 3 kind of distance. In each distance, the skill of ma-ai can be used.

Rikakutaisei, fighting from a distance

Rikakutaisei is a word to describe the expression “fighting from a distance”. In general this is explained as a distance when using “tegatana awase” distance. Of course to attack we have to come closer. The attacking distance is depending on the use of ma-ai or distancing.

We know space is expressed by the word “Ma” and it is not fixed distance. Controlling the actions of opponent can give an opportunity to attack. The example here is from “uchi-ma” entering into “chika-ma” to apply power or in other words “a technique or waza”.

Closing the gap between you and opponent

As with everything in martial art, there are many solutions for 1 problem. It depends on the level of the practitioner which skill is used.
To create such skills, basic training is used to ingrain basic movements into the subconscious mind.

Stepping skills
During unsoku-ho, basic patterns are used to practised stepping skills. In this exercise the skill of tsugi-ashi is practised.
Bridging a long distance uses mainly a ayumi-ashi stepping method and will be practised separately.

Controlling skills
If we only use stepping skills it is possible we can control an opponent without touching. But at a certain point in a confrontation we have to take a decision and use our hand(s) and arm(s) to create a definite solution.
There are many armskills to control an opponent. In the various kata, examples are used to have training in the control of aggression.
To understand the principles of aikido, we use our body as a communication tool.
The example below shows a kind of body turning, an important bodyskill. Uke is grasping the arm, Tori is not changing the interface of the grip. Tori uses the turning of the body and at the end of the turning the power of the turning is entering into the body of Uke. The distancing performed by Tori is necessary to perform the bodyturn and to use “tenshikei”.

Internal and external distancing

Distancing or ma-ai is not only depending on stepping methods, but can also performed when we cannot do stepping skills.
As in the previous example, the body can turn without changing the interface of the grip by Uke.
How is this possible?

If some is twisting your arm, your muscles are wrapping around your skeleton. The power of the twist is stored in your muscles but also in your tendons. Tendons have a great capacity to store energy. This energy can be released. This action is a clever way to use distancing internally.

Some clarification

Most of the material discussed in the blog articles is my interpretation of the various teachings learned and practised during seminars, workshops and long-term training periods with interesting people.
Sometimes I am using material to explain some topics with images found in articles and books. Mostly I provide the source of the images, but sometimes I fail to mention the source. I apologise…..

2-weeks seminar with Andre Nocquet – La Baule/France 1972

Fibonacci, tenshikei, meguri

Practising for health purposes is an assumption often made by marketeers for a martial art like aikido, based upon a balance between soft and hard. Movements are created following a spiral pattern. It gives a perception of harmony which is another assumption.
When aikido is promoted as a competitive sport, other factors become also important. Fitness, stamina and muscle power come to the foreground.
Although it is said “sport is healthy”, we cannot deny the many injuries of competitors. These injuries come mostly from abusing the body with the purpose to win a game.
On the other side, self-defense is also built upon using our body as a weapon against an opponent. It takes time to internalize aikido patterns in the brain. Fitness, stamina and muscle power are a solution to work around the long term vision of aikido training. Of course fitness and stamina are necessary in order to carry on the training of aikido.
Harmony during movements is a sign of aikido skills and it takes time to become skillful.

If we look around in nature, harmony can be seen in everything where human kind is not involved. Even the eruption of a volcano has harmony in the movements of the lava.
Is there a secret formula in nature for harmony?

Fibonacci sequence or spiral

The Fibonacci spiral based upon the sequence is already mentioned in another blog post, namely The Switch.
But as your read more about these magic numbers more confusion will come into your mind.

The Fibonacci sequence is one of the most famous formulas in mathematics.
Each number in the sequence is the sum of the two numbers that precede it. So, the sequence goes: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, and so on.
It’s true that the Fibonacci sequence is tightly connected to what’s now known as the golden ratio. Simply put, the ratio of the numbers in the sequence, as the sequence goes to infinity, approaches the golden ratio, which is 1.6180339887498948482… From there, mathematicians can calculate what’s called the golden spiral, or a logarithmic spiral whose growth factor equals the golden ratio.
more Fibonacci

The Fibonacci sequence and human movement

Can we use mathematics to create a better movement? Some consider that there is a relation between our movements and the Fibonacci sequence.
Unfortunately there has not been much research on this matter.
In the field of dance and performance art Fibonacci sequence is utilized to make an image of harmony for the spectator.

Some research is done in the field of athletic sprint.

And Martial Arts?

In karate tsuki ( straight punch), some practitioners are alluding to the Fibonacci ratio. The fist is turning at the end of the trajectory following the Fibonacci ratio.
And what about Aikido, especially Tomiki’s method.
There is no real research in Tomiki Aikido to explain some movements according to the Fibonacci sequence.
Why should we use of Fibonacci formula?

How to transport “force”

The source of power under the best conditions is the ground, the body with all the elements – skeleton,muscles,tendons,fascia,….) are the tools to transport the force to the target.
Internal constructions are spiral force pathways and can be used to change the direction of the force. As we see above in the runner picture, there is a possibility to add a Fibonacci spiral. The picture at left is from the article “athletic sprint” mentioned earlier.
Eventually we can use kyokotsu to trigger a kind of internal Fibonacci spiral like the runners spiral.

The power at the target

The power at the target can be optimized with the Fibonacci formula. Think about “meguri” or spiral action when applying a technique. Or what about tenshikei or rotational power. Spiral power will be generated most efficiently when our structure is optimized. The Fibonacci spiral is not powered by itself, but is a tool to increase the acceleration during the transport of the force from the ground.

The power at the target can be compared to the power of the waves at the sea

An example how to adjust with a Fibonacce spiral

The picture above at the left gives shows a Fibonacci spiral in “uchi mawashi” movement. The picture at the right is from an old Tomiki book “Goshin Jutsu” and the Fibonacci sequence cannot be seen in this drawing.

Tenshikei and Fibonacci

Using the concept of tenshikei and the Fibonacci sequence will increase the power of acceleration due the longer distance. See further about Tenshikei.
Uchi mawashi will become more efficient together with the appropriate displacement of the feet. See “Tsugi Ashi“.

Tenshikei or the rotational power is generated by rotation of the body internally and is expressed by the movement of the arms or legs.
Using the spiral construction of the body, the length of the transport from the floor to the hand can be compared with the bullet in the barrel of a rifle. The construction of the riffle’s barrel creates a spiral action on the bullet and increases the acceleration of the bullet.

Leg spirals can also make the force at the target more powerful.

Final solution?

There is no final answer for the problems we encounter during martial arts training. Our body is a very complicated construction and many movements facets will influence our way of moving around. Also the mind has an influence on the body movements.

The Fibonacci sequence can be used as a proportion rule in our movements. Sometimes we start with a small circular movement which grows to a big one. In another situation we go from big to small. A perfect movement can happen but we cannot copy because the circumstances are always different.
By keeping to the principles, our body will react with the best solution at the right moment if we don’t interfere with the conscious mind, let the unconscious mind do the job. Nature will do it’s job.

Tenshikei or coiling power

Coiling movements

In Aikido, many movements have a “coiling”** effect. Mostly we speak about tenshikei, but of course not all body rotation will create tenshikei or coiling power. Some of the body rotations will create angular momentum.

Tenshi is an internal method to create coiling power. Angular momentum is more an external method to create power. Sometimes both systems are overlapping and create a hybrid power – external and internal. To create tenshikei or coiling power, we need space for our winding and unwinding. For angular momentum we use mostly a method of footwork called demawari and hikimawari.

**coiling : arrange or wind (something long and flexible) in a joined sequence of concentric circles or rings.

If you understand “tenshi” or internal body rotation you will understand the concept of coiling power. In fact, this is a basic skill and everybody can learn how to use tenshikei (coiling power). There is of course, as usual, a problem.
We rely on training to improve on our actions, but we have to leave entirely to faith that our system will make the right connections to recruit and align the body internally. Even with hard practice, we can sometimes hit a wall, unable to progress. Some talented people have no problems with controlling the body. Other have to rely on training and creating patterns in the brain. The difficulty is in the stubbornness of the muscles set by bad habits.

Slow movement

By doing a correct movement in a slow manner, we can overcome bad habits with a lot of training and focus.
Is this true?
Slow movement is mostly done with the conscious mind. We know our goal is to move with the subconscious mind. Why then we have to move slowly with our conscious mind?
The objective is not to master how slowly we can execute a movement, but to create body-skills and storing them in the subconscious mind.
The body tends to recruit muscles immediately to the action, namely, the muscles of the arm and shoulders to do the work, not incorporating those of the other parts of the body and not coordinating between the left and the right. This is for non-trained people mostly the work of the subconscious mind. The conscious mind has to make a pattern which can be stored in the subconscious mind, ready for immediate action with full body movement.

Slow movement creates body-skills and by storing them in the subconscious mind, they are available for immediate action when necessary

Coiling movement exercises

There are numerous exercises for creating the skill of tenshi.
7-hon no kuzush (omote & ura) can be used to create “tenshikei or coiling power”. This power can be used after the creation of balance disturbing. Throwing or controlling an opponent is the skill of tenshikei.

The kyokotsu exercises are a start to create the skill for using coiling power. It takes at least 2-3 years on a daily basis to feel the existence of coiling power into your body. After this feeling experience, it takes countless training hours to use it for throwing or controlling an opponent in a structured training environment.

Tenshi is winding the tissue (muscles, tendons, fascia…) around the skeletal bones. Tenshikei is unwinding or releasing the power stored in the tissue.

The fascia is a kind of connective tissue where a lot of power can be stored and released. The fascia network is enveloping the entire body and is an important body network for developing “rendo”.

Info on fascia consult Wikipedia

https://en.wikipedia.org/wiki/Fascia

* The picture is from Akira Hino’s book “Don’t think, listen to the body!”

7-hon no kuzushi as a coiling movement exercise

To understand fully this exercise, you need an understanding of tandoku undo (tegatana dosa). Tegatana dosa solo-exercises give you the necessary body skills to perform the balance disturbing.
Tandoku undo can be practised by 2 ways

using kyokotsu for controlling the spine
or without using kyokotsu

With kyokotsu as the control centre, the coiling power can be stored into the connective tissue around the spine, the torso, arms and legs. The control of the kyokotsu is needed to create an internal movement.

Without the kyokotsu control, the body movement is depending on local muscle power or locomotive power generated by foot movement. Locomotive power is not always possible by the lack of space. Using local muscle power is easily detected by an opponent.

The complete 7-hon no kuzushi (omote & ura) will be covered in a separate article. Here an example to introduce the coiling movement mechanism.

Using “uchi gaeshi” movement (tandoku undo movement), turn upper body slightly in the direction of uchi gaeshi. Put power in the tanden by pushing koshi down and forward. The curve of the lower back becomes more straight. This is necessary for pushing power. Use the waist (yōbu) for more turning. At the end of the turning, you have a lot of “tenshikei” to release.

The “basics” for using yōbu is studied in yōbu-walking. The “basics” for tenshikei is studied in kyokotsu exercises.