Modern Japanese martial art
Aikido
A version of the "four-direction throw" (
shih?nage
) with standing attacker (
uke
) and seated defender (
Tori
)
|
Focus
| Grappling
and
softness
|
---|
Hardness
| Full contact
|
---|
Country of origin
| Japan
|
---|
Creator
| Morihei Ueshiba
|
---|
Famous practitioners
| Kisshomaru Ueshiba
,
Moriteru Ueshiba
,
Koichi Tohei
,
Christian Tissier
,
Morihiro Saito
,
Yoshimitsu Yamada
,
Mitsunari Kanai
,
Gozo Shioda
,
Mitsugi Saotome
,
Steven Seagal
,
Takashi Kushida
,
Kyoichi Inoue
,
Robert Mustard
|
---|
Ancestor arts
| Dait?-ry? Aiki-j?jutsu
|
---|
Aikido
(
Shinjitai
:
合?道
,
Ky?jitai
:
合氣道
,
aikid?
,
Japanese pronunciation:
[aiki?doː]
) is a
modern Japanese martial art
that is split into many different styles, including
Iwama Ryu
,
Iwama Shin Shin Aiki Shuren Kai
,
Shodokan Aikido
,
Yoshinkan
,
Renshinkai
,
Aikikai
and
Ki Aikido
. Aikido is now practiced in around 140 countries. It was originally developed by
Morihei Ueshiba
, as a synthesis of his martial studies, philosophy and religious beliefs. Ueshiba's goal was to create an art that practitioners could use to defend themselves while also protecting their attackers from injury.
[1]
[2]
Aikido is often translated as "the way of unifying (with)
life energy
"
[3]
or as "the way of harmonious spirit".
[4]
According to the founder's philosophy, the primary goal in the practice of aikido is to overcome oneself instead of cultivating violence or aggressiveness.
[5]
Morihei Ueshiba used the phrase
masakatsu agatsu katsuhayabi"
(
正勝吾勝勝速日
, "true victory, final victory over oneself, here and now")
to refer to this principle.
[6]
Aikido's fundamental principles include:
irimi
[7]
(entering),
atemi
,
[8]
[9]
kokyu-ho
(breathing control),
sankaku-ho
(triangular principle) and
tenkan
(turning) movements that redirect the opponent's attack
momentum
. Its curriculum comprises various techniques, primarily
throws
and
joint locks
.
[10]
It also includes a weapons system encompassing the
bokken
,
tant?
and
j?
. Aikido derives mainly from the martial art of
Dait?-ry? Aiki-j?jutsu
, but began to diverge from it in the late 1920s, partly due to Ueshiba's involvement with the
?moto-ky?
religion. Ueshiba's early students' documents bear the term
aiki-j?jutsu
.
[11]
Ueshiba's senior students have different approaches to aikido, depending partly on when they studied with him. Today, aikido is found all over the world in a number of styles, with broad ranges of interpretation and emphasis. However, they all share techniques formulated by Ueshiba and most have concern for the well-being of the attacker.
Etymology and basic philosophy
[
edit
]
The word "aikido" is formed of three
kanji
:
- 合
?
ai
? harmony, unifying
- ?
?
ki
? energy, spirit
- 道
?
d?
? way, path
The term
aiki
does not readily appear in the Japanese language outside the scope of
bud?
. This has led to many possible interpretations of the word.
合
(
Ai
) is mainly used in compounds to mean 'combine, unite, join together, meet', examples being
合同
(combined/united),
合成
(composition),
結合
(unite/combine/join together),
連合
(union/alliance/association),
統合
(combine/unify), and
合意
(mutual agreement). There is an idea of
reciprocity
,
知り合う
(to get to know one another),
話し合い
(talk/discussion/negotiation), and
待ち合わせる
(meet by appointment).
?
(
ki
) is often used to describe a feeling or emotive action, as in
X?がする
('I feel X', as in terms of thinking but with less cognitive reasoning), and
?持ち
(feeling/sensation); it is used to mean energy or force, as in
電?
(electricity) and
磁?
(magnetism); it can also refer to qualities or aspects of people or things, as in
?質
(spirit/trait/temperament).
The term
d?
in Aikido is found in many other Japanese martial arts such as,
judo
and
kendo
, and in various non-martial arts, such as
Japanese calligraphy
(
shod?
),
flower arranging
(
kad?
) and
tea ceremony
(
chad?
or
sad?
).
Therefore, from a purely literal interpretation, aikido is the "Way of combining forces" or "Way of unifying energy", in which the term
aiki
refers to the martial arts principle or tactic of blending with an attacker's movements for the purpose of controlling their actions with minimal effort.
[12]
One applies
aiki
by understanding the rhythm and intent of the attacker to find the optimal position and timing to apply a counter-technique.
History
[
edit
]
Aikido was created by
Morihei Ueshiba
(
植芝 盛平
)
(1883?1969), referred to by some aikido practitioners as
?sensei
(
Great Teacher
).
[13]
The term
aikido
was coined in the 20th century.
[14]
Ueshiba envisioned aikido not only as the synthesis of his martial training, but as an expression of his personal philosophy of universal peace and reconciliation. During Ueshiba's lifetime and continuing today, aikido has evolved from the
aiki
that Ueshiba studied into a variety of expressions by martial artists throughout the world.
[10]
Initial development
[
edit
]
Ueshiba developed aikido primarily during the late 1920s through the 1930s through the synthesis of the older martial arts that he had studied.
[15]
The core martial art from which aikido derives is
Dait?-ry? Aiki-j?jutsu
, which Ueshiba studied directly with
Takeda S?kaku
, the reviver of that art. Additionally, Ueshiba is known to have studied
Tenjin Shin'y?-ry?
with Tozawa Tokusabur? in
Tokyo
in 1901,
Got?ha Yagy? Shingan-ry?
under Nakai Masakatsu in
Sakai
from 1903 to 1908, and
judo
with Kiyoichi Takagi
(
高木 喜代市
)
(1894?1972) in
Tanabe
in 1911.
[16]
The art of
Dait?-ry?
is the primary technical influence on aikido. Along with empty-handed throwing and joint-locking techniques, Ueshiba incorporated training movements with weapons, such as those for the
spear
(
yari
), short
staff
(
j?
), and possibly the
bayonet
(
銃?
,
j?ken
)
. Aikido also derives much of its technical structure from the art of swordsmanship (
kenjutsu
).
[4]
[17]
Ueshiba moved to
Hokkaid?
in 1912, and began studying under Takeda Sokaku in 1915; His official association with Dait?-ry? continued until 1937.
[15]
However, during the latter part of that period, Ueshiba had already begun to distance himself from Takeda and the
Dait?-ry?
. At that time Ueshiba referred to his martial art as "
Aiki Bud?
". It is unclear exactly when Ueshiba began using the name "aikido", but it became the official name of the art in 1942 when the Greater Japan Martial Virtue Society (
Dai Nippon Butoku Kai
) was engaged in a government sponsored reorganization and centralization of Japanese martial arts.
[10]
Religious influences
[
edit
]
After Ueshiba left Hokkaid? in 1919, he met and was profoundly influenced by
Onisaburo Deguchi
, the spiritual leader of the
?moto-ky?
religion (a neo-
Shinto
movement) in
Ayabe
.
[18]
One of the primary features of ?moto-ky? is its emphasis on the attainment of
utopia
during one's life. This idea was a great influence on Ueshiba's martial arts philosophy of extending love and compassion especially to those who seek to harm others. Aikido demonstrates this philosophy in its emphasis on mastering martial arts so that one may receive an attack and harmlessly redirect it. In an ideal resolution, not only is the receiver unharmed, but so is the attacker.
[19]
In addition to the effect on his spiritual growth, the connection with Deguchi gave Ueshiba entry to elite political and military circles as a martial artist. As a result of this exposure, he was able to attract not only financial backing but also gifted students. Several of these students would found their own styles of aikido.
[20]
International dissemination
[
edit
]
Aikido was first introduced to the rest of the world in 1951 by
Minoru Mochizuki
with a visit to
France
, where he demonstrated aikido techniques to judo students.
[21]
He was followed by
Tadashi Abe
in 1952, who came as the official
Aikikai
Hombu representative, remaining in France for seven years.
Kenji Tomiki
toured with a delegation of various martial arts through 15 continental states of the United States in 1953.
[20]
[22]
Later that year,
Koichi Tohei
was sent by Aikikai Hombu to
Hawaii
for a full year, where he set up several
d?j?
. This trip was followed by several subsequent visits and is considered the formal introduction of aikido to the United States. The United Kingdom followed in 1955; Italy in 1964 by
Hiroshi Tada
; and Germany in 1965 by
Katsuaki Asai
. Designated the "Official Delegate for Europe and Africa" by Morihei Ueshiba,
Masamichi Noro
arrived in France in September 1961.
Seiichi Sugano
was appointed to introduce aikido to Australia in 1965. Today there are aikido d?j? throughout the world.
Steven Seagal
's film debut
Above the Law
(1988) is regarded as the first American film to feature aikido in fight sequences.
[23]
[24]
Proliferation of independent organizations
[
edit
]
The largest aikido organization is the
Aikikai Foundation
, which remains under the control of the Ueshiba family. However, aikido has developed into many styles, most of which were formed by Morihei Ueshiba's major students.
[20]
The earliest independent styles to emerge were
Yoseikan Aikido
, begun by
Minoru Mochizuki
in 1931,
[21]
Yoshinkan
Aikido, founded by
Gozo Shioda
in 1955,
[25]
and
Shodokan Aikido
, founded by
Kenji Tomiki
in 1967.
[26]
The emergence of these styles pre-dated Ueshiba's death and did not cause any major upheavals when they were formalized. Shodokan Aikido, however, was controversial, since it introduced a unique rule-based competition that some felt was contrary to the spirit of aikido.
[20]
After Ueshiba's death in 1969, two more major styles emerged. Significant controversy arose with the departure of the
Aikikai Hombu Dojo
's chief instructor
Koichi Tohei
, in 1974. Tohei left as a result of a disagreement with the son of the founder,
Kisshomaru Ueshiba
, who at that time headed the Aikikai Foundation. The disagreement was over the proper role of
ki
development in regular aikido training. After Tohei left, he formed his own style, called
Shin Shin Toitsu Aikido
, and the organization that governs it, the
Ki Society
(
Ki no Kenky?kai
).
[27]
A final major style evolved from Ueshiba's retirement in
Iwama, Ibaraki
and the teaching methodology of long term student
Morihiro Saito
. It is unofficially referred to as the "
Iwama style
", and at one point a number of its followers formed a loose network of schools they called
Iwama Ryu
. Although Iwama style practitioners remained part of the Aikikai until Saito's death in 2002, followers of Saito subsequently split into two groups. One remained with the Aikikai and the other formed the independent
Shinshin Aikishuren Kai
in 2004 around Saito's son
Hitohiro Saito
.
Today, the major styles of aikido are each run by a separate governing organization, have their own headquarters
(
本部道場
,
honbu d?j?
)
in Japan, and are taught throughout the world.
[20]
The study of
ki
is an important component of aikido. The term does not specifically refer to either physical or mental training, as it encompasses both. The
kanji
for
ki
was written in its older form as
氣
up until the Japanese governmental
writing reforms after World War II
, and now is more prevalently seen in its modern form of
?
. This form has the removal of the eight directions denoting the pre and post natal energies of
genki
(
元氣
)
(Chinese ?
yuan qi
) also known in the Art of Aikido as "Source energy".
The character for
ki
is used in everyday Japanese terms, such as "health"
(
元?
,
genki
)
, or "shyness"
(
??
,
uchiki
)
.
Ki
has many meanings, including "ambience", "mind", "mood", or "intention and action", however, in traditional martial arts and medicine it is often referred to in its more general terminology as "life energy".
Gozo Shioda
's
Yoshinkan
Aikido, considered one of the "hard styles", largely follows Ueshiba's teachings from before World War II, and surmises that the secret to
ki
lies in timing and the application of the whole body's strength to a single point.
[28]
In later years, Ueshiba's application of
ki
in aikido took on a softer, more gentle feel. This concept was known as
Takemusu
Aiki, and many of his later students teach about
ki
from this perspective.
Koichi Tohei
's
Ki Society
centers almost exclusively around the study of the
empirical
(albeit subjective) experience of
ki
, with students' proficiency in aikido techniques and
ki
development ranked separately.
[29]
Training
[
edit
]
In aikido, as in virtually all Japanese
martial arts
, there are both physical and mental aspects of training. The physical training in aikido is diverse, covering both general physical fitness and
conditioning
, as well as specific techniques.
[30]
Because a substantial portion of any aikido curriculum consists of
throws
, beginners learn how to safely fall or roll.
[30]
The specific techniques for attack include both strikes and grabs; the techniques for defense consist of throws and
pins
. After basic techniques are learned, students study freestyle defense against multiple opponents, and techniques with weapons.
Fitness
[
edit
]
Physical training goals pursued in conjunction with aikido include controlled
relaxation
, correct movement of joints such as hips and shoulders,
flexibility
, and
endurance
, with less emphasis on
strength training
. In aikido, pushing or extending movements are much more common than pulling or contracting movements. This distinction can be applied to general fitness goals for the aikido practitioner.
[4]
In aikido, specific muscles or muscle groups are not isolated and worked to improve tone, mass, or power. Aikido-related training emphasizes the use of coordinated whole-body movement and balance similar to
yoga
or
pilates
. For example, many d?j?s begin each class with warm-up exercises
(
準備?操
,
junbi tais?
)
, which may include
stretching
and
ukemi
(break falls).
[31]
Roles of
uke
and
tori
[
edit
]
Aikido training is based primarily on two partners practicing pre-arranged forms (
kata
) rather than freestyle practice. The basic pattern is for the receiver of the technique (
uke
) to initiate an attack against the person who applies the technique?the
tori
(
取り
)
, or
shite
(
仕手
)
(depending on aikido style), also referred to as
nage
(
投げ
)
(when applying a throwing technique), who neutralises this attack with an aikido technique.
[32]
Both halves of the technique, that of
uke
and that of
tori
, are considered essential to aikido training.
[32]
Both are studying aikido principles of blending and adaptation.
Tori
learns to blend with and control attacking energy, while
uke
learns to become calm and flexible in the disadvantageous, off-balance positions in which
tori
places them. This "receiving" of the technique is called
ukemi
.
[32]
Uke
continuously seeks to regain balance and cover vulnerabilities (e.g., an exposed side), while
tori
uses position and timing to keep
uke
off-balance and vulnerable. In more advanced training,
uke
will sometimes apply reversal techniques
(
返し技
,
kaeshi-waza
)
to regain balance and pin or throw
tori
.
Ukemi
(
受身
)
refers to the act of receiving a technique. Good
ukemi
involves attention to the technique, the partner, and the immediate environment?it is considered an active part of the process of learning aikido. The method of falling itself is also important, and is a way for the practitioner to receive an aikido technique safely and minimize risk of injury.
Initial attacks
[
edit
]
Aikido techniques are usually a defense against an attack, so students must learn to deliver various types of attacks to be able to practice aikido with a partner. Although attacks are not studied as thoroughly as in striking-based arts, attacks with intent (such as a strong strike or an immobilizing grab) are needed to study correct and effective application of technique.
[4]
Many of the strikes
(
打ち
,
uchi
)
of aikido resemble cuts from a
sword
or other grasped object, which indicate its origins in techniques intended for
armed
combat.
[4]
Other techniques, which explicitly appear to be punches (
tsuki
), are practiced as thrusts with a
knife
or sword.
Kicks
are generally reserved for upper-level variations; reasons cited include that falls from kicks are especially dangerous, and that kicks (high kicks in particular) were uncommon during the types of combat prevalent in feudal Japan.
Some basic strikes include:
- Front-of-the-head strike
(
正面打ち
,
sh?men'uchi
)
is a vertical
knifehand strike
to the head. In training, this is usually directed at the forehead or the
crown
for safety, but more dangerous versions of this attack target the bridge of the nose and the
maxillary sinus
.
- Side-of-the-head strike
(
?面打ち
,
yokomen'uchi
)
is a diagonal knifehand strike to the side of the head or neck.
- Chest thrust
(
胸突き
,
mune-tsuki
)
is a
punch
to the
torso
. Specific targets include the
chest
,
abdomen
, and
solar plexus
, sometimes referred to as "middle-level thrust"
(
中段突き
,
ch?dan-tsuki
)
, or "direct thrust"
(
直突き
,
choku-tsuki
)
.
- Face thrust
(
顔面突き
,
ganmen-tsuki
)
is a punch to the
face
, sometimes referred to as "upper-level thrust"
(
上段突き
,
j?dan-tsuki
)
.
Beginners in particular often practice techniques from grabs, both because they are safer and because it is easier to feel the energy and the direction of the movement of force of a hold than it is for a strike. Some grabs are historically derived from being held while trying to draw a
weapon
, whereupon a technique could then be used to free oneself and immobilize or strike the attacker while they are grabbing the defender.
[4]
The following are examples of some basic grabs:
- Single-hand grab
(
片手取り
,
katate-dori
)
, when one hand grabs one wrist.
- Both-hands grab
(
諸手取り
,
morote-dori
)
, when both hands grab one wrist; sometimes referred to as "single hand double-handed grab"
(
片手?手取り
,
katatery?te-dori
)
- Both-hands grab
(
?手取り
,
ry?te-dori
)
, when both hands grab both wrists; sometimes referred to as "double single-handed grab"
(
?片手取り
,
ry?katate-dori
)
.
- Shoulder grab
(
肩取り
,
kata-dori
)
when one shoulder is grabbed.
- Both-shoulders-grab
(
?肩取り
,
ry?kata-dori
)
, when both shoulders are grabbed. It is sometimes combined with an overhead strike as
shoulder grab face strike
(
肩取り面打ち
,
kata-dori men-uchi
)
.
- Chest grab
(
胸取り
,
mune-dori or muna-dori
)
, when the lapel is grabbed; sometimes referred to as "collar grab"
(
襟取り
,
eri-dori
)
.
Basic techniques
[
edit
]
The following are a sample of the basic or widely practiced throws and pins. Many of these techniques derive from Dait?-ry? Aiki-j?jutsu, but some others were invented by Morihei Ueshiba. The precise terminology for some may vary between organisations and styles; the following are the terms used by the Aikikai Foundation. Despite the names of the first five techniques listed, they are not universally taught in numeric order.
[33]
- First technique
(
一? (
?
)
,
ikky?
)
, a control technique using one hand on the elbow and one hand near the wrist which leverages
uke
to the ground.
[34]
This grip applies pressure into the
ulnar nerve
at the wrist.
- Second technique
(
二?
,
niky?
)
is a
pronating wristlock
that torques the arm and applies painful nerve pressure. (There is an
adductive wristlock
or Z-lock in the
ura
version.)
- Third technique
(
三?
,
sanky?
)
is a
rotational wristlock
that directs upward-spiraling tension throughout the arm, elbow and shoulder.
- Fourth technique
(
四?
,
yonky?
)
is a shoulder control technique similar to
ikky?
, but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient's
radial nerve
against the
periosteum
of the forearm bone.
[35]
- Fifth technique
(
五?
,
goky?
)
is a technique that is visually similar to
ikky?
, but with an inverted grip of the wrist,
medial rotation
of the arm and shoulder, and downward pressure on the elbow. Common in
knife
and other weapon take-aways.
- '
Four-direction throw'
(
四方投げ
,
shih?nage
)
is a throw during which
uke
's hand is folded back past the shoulder, locking the shoulder joint.
- Forearm return
(
小手返し
,
kotegaeshi
)
is a
supinating
wristlock-throw that stretches the
extensor digitorum
.
- Breath throw
(
呼吸投げ
,
koky?nage
)
is a loosely used umbrella term for various types of mechanically unrelated techniques;
koky?nage
generally do not use joint locks like other techniques.
[36]
- Entering throw
(
入身投げ
,
iriminage
)
, throws in which
tori
moves through the space occupied by
uke
. The classic form superficially resembles a "clothesline" technique.
- Heaven-and-earth throw
(
天地投げ
,
tenchinage
)
, a throw in which, beginning with
ry?te-dori
, moving forward,
tori
sweeps one hand low ("earth") and the other high ("heaven"), which unbalances
uke
so that they easily topple over.
- Hip throw
(
腰投げ
,
koshinage
)
, aikido's version of the
hip throw
;
tori
drops their hips lower than those of
uke
, then flips
uke
over the resultant
fulcrum
.
- Figure-ten throw
(
十字投げ
,
j?jinage
)
, a throw that locks the arms against each other (the
kanji
for "10" is a cross-shape:
十
).
[37]
- Rotary throw
(
回?投げ
,
kaitennage
)
is a throw in which
tori
sweeps
uke
's arm back until it locks the shoulder joint, then uses forward pressure to throw them.
[38]
Implementations
[
edit
]
Aikido makes use of body movement (
tai sabaki or ?捌き
) to blend the movement of
tori
with the movement of
uke
. For example, an "entering" (
irimi
) technique consists of movements inward towards
uke
, while a "turning"
(
?換
,
tenkan
)
technique uses a pivoting motion.
[39]
Additionally, an "inside"
(
?
,
uchi
)
technique takes place in front of
uke
, whereas an "outside"
(
外
,
soto
)
technique takes place to their side; a "front"
(
表
,
omote
)
technique is applied with motion to the front of
uke
, and a "rear"
(
裏
,
ura
)
version is applied with motion towards the rear of
uke
, usually by incorporating a turning or pivoting motion. Finally, most techniques can be performed while in a seated posture (
seiza
). Techniques where both
uke
and
tori
are standing are called
tachi-waza
, techniques where both start off in
seiza
are called
suwari-waza
, and techniques performed with
uke
standing and
tori
sitting are called
hanmi handachi
(
半身半立
).
[40]
From these few basic techniques, there are numerous of possible implementations. For example,
ikky?
can be applied to an opponent moving forward with a strike (perhaps with an
ura
type of movement to redirect the incoming force), or to an opponent who has already struck and is now moving back to reestablish distance (perhaps an
omote-waza
version). Specific aikido
kata
are typically referred to with the formula "attack-technique(-modifier)";
katate-dori ikky?
, for example, refers to any
ikky?
technique executed when
uke
is holding one wrist. This could be further specified as
katate-dori ikky? omote
(referring to any forward-moving
ikky?
technique from that grab).
Atemi
(
?て身
)
are strikes (or
feints
) employed during an aikido technique. Some view
atemi
as attacks against "
vital points
" meant to cause damage in and of themselves. For instance,
Gozo Shioda
described using
atemi
in a brawl to quickly down a gang's leader.
[28]
Others consider
atemi
, especially to the face, to be methods of distraction meant to enable other techniques; a strike, even if it is blocked, can startle the target and break their concentration. Additionally, the target may also become unbalanced while attempting to avoid a strike (by jerking the head back, for example) which may allow for an easier throw.
[40]
Many sayings about
atemi
are attributed to Morihei Ueshiba, who considered them an essential element of technique.
[41]
Weapons
[
edit
]
Weapons training in aikido traditionally includes the short staff (
j?
) (these techniques closely resemble the use of the bayonet, or
J?kend?
), the wooden sword (
bokken
), and the knife (
tant?
).
[42]
Some schools incorporate firearm-disarming techniques, where either weapon-taking and/or weapon-retention may be taught. Some schools, such as the
Iwama style
of
Morihiro Saito
, usually spend substantial time practicing with both
bokken
and
j?
, under the names of
aiki-ken
, and
aiki-j?
, respectively.
The founder developed many of the empty-handed techniques from traditional sword, spear and bayonet movements. Consequently, the practice of the weapons arts gives insight into the origin of techniques and movements, and reinforces the concepts of distance, timing, foot movement, presence and connectedness with one's training partner(s).
[43]
Multiple attackers and
randori
[
edit
]
One feature of aikido is training to defend against multiple attackers, often called
taninzudori
, or
taninzugake
. Freestyle practice with multiple attackers called
randori
(
?取
)
is a key part of most curricula and is required for the higher-level ranks.
[44]
Randori
exercises a person's ability to intuitively perform techniques in an unstructured environment.
[44]
Strategic choice of techniques, based on how they reposition the student relative to other attackers, is important in
randori
training. For instance, an
ura
technique might be used to neutralise the current attacker while turning to face attackers approaching from behind.
[4]
In
Shodokan Aikido
,
randori
differs in that it is not performed with multiple persons with defined roles of defender and attacker, but between two people, where both participants attack, defend, and counter at will. In this respect it resembles judo
randori
.
[26]
[45]
Injuries
[
edit
]
In applying a technique during training, it is the responsibility of
tori
to prevent injury to
uke
by employing a speed and force of application that is appropriate with their partner's proficiency in
ukemi
.
[32]
When injuries (especially to the joints) occur, they are often the result of a
tori
misjudging the ability of
uke
to receive the throw or pin.
[46]
[47]
A study of injuries in the martial arts showed that the type of injuries varied considerably from one art to the other.
[48]
Soft tissue injuries are one of the most common types of injuries found within aikido,
[48]
as well as joint strain and stubbed fingers and toes.
[47]
Several deaths from head-and-neck injuries, caused by aggressive
shih?nage
in a
senpai/k?hai
hazing context, have been reported.
[46]
Mental training
[
edit
]
Aikido training is mental as well as physical, emphasizing the ability to relax the mind and body even under the stress of dangerous situations.
[49]
This is necessary to enable the practitioner to perform the 'enter-and-blend' movements that underlie aikido techniques, wherein an attack is met with confidence and directness.
[50]
Morihei Ueshiba once remarked that one "must be willing to receive 99% of an opponent's attack and stare death in the face" in order to execute techniques without hesitation.
[51]
As a martial art concerned not only with fighting proficiency but with the betterment of daily life, this mental aspect is of key importance to aikido practitioners.
[52]
Uniforms and ranking
[
edit
]
rank
|
belt
|
color
|
type
|
ky?
|
|
white
|
mudansha
/
y?ky?sha
|
dan
|
|
black
|
y?dansha
|
Aikido practitioners (commonly called
aikid?ka
outside Japan) generally progress by promotion through a series of "grades" (
ky?
), followed by a series of "degrees" (
dan
), pursuant to formal testing procedures. Some aikido organizations use belts to distinguish practitioners' grades, often simply white and
black belts
to distinguish
kyu
and
dan
grades, although some use various belt colors. Testing requirements vary, so a particular rank in one organization is not comparable or interchangeable with the rank of another.
[4]
Some d?j?s have an age requirement before students can take the
dan
rank exam.
[
citation needed
]
The uniform worn for practicing aikido (
aikid?gi
) is similar to the training uniform (
keikogi
) used in most other modern martial arts; simple trousers and a wraparound jacket, usually white. Both thick ("
judo
-style"), and thin ("
karate
-style") cotton tops are used.
[4]
Aikido-specific tops are available with shorter sleeves which reach to just below the elbow.
[53]
Most aikido systems add a pair of wide pleated black or
indigo
trousers known as
hakama
(used also in
Naginatajutsu
,
kendo
, and
iaido
). In many schools, the wearing of
hakama
is reserved for practitioners with
dan
ranks or for instructors, while others allow all practitioners to wear a
hakama
regardless of rank.
[4]
Aikido styles
[
edit
]
Aikido styles
vary in their intention as due to its holistic nature. The most common differences noted in aikido, when observed externally, relate to the intensity and realism of training.
Stanley Pranin
has observed that some criticism may stem from weak attacks from
uke
, allowing for a conditioned response from
tori
, resulting in underdevelopment of the skills needed for the safe and effective practice of both partners.
[54]
To counteract this, some styles allow students to become less compliant over time, but, in keeping with the core philosophies, this is after having demonstrated proficiency in being able to protect themselves and their training partners.
Shodokan Aikido
addresses the issue by practicing in a competitive format.
[26]
Such adaptations are debated between styles, with some maintaining that there is no need to adjust their methods because either the criticisms are unjustified, or that they are not training for self-defense or combat effectiveness, but spiritual, fitness or other reasons.
[55]
Reasons for the difference and diversity of teachings, intention, and forms of aikido can be traced to the shift in training focus after the end of Ueshiba's seclusion in Iwama from 1942 to the mid-1950s, as he increasingly emphasized the spiritual and philosophical aspects of aikido. As a result, strikes to vital points by
tori
, entering (
irimi
) and initiation of techniques by
tori
, the distinction between
omote
(front side) and
ura
(back side) techniques, and the use of weapons, were all de-emphasized or eliminated from practice.
[56]
Conversely, some styles of aikido place less importance on the spiritual practices emphasized by Ueshiba. According to Minoru Shibata of
Aikido Journal
:
O-Sensei's aikido was not a continuation and extension of the old and has a distinct discontinuity with past martial and philosophical concepts.
[57]
In other words, aikido practitioners who focus on aikido's roots in traditional
jujutsu
or
kenjutsu
are said to be diverging from what Ueshiba taught, as some critics urge practitioners:
[Ueshiba's] transcendence to the spiritual and universal reality were the fundamentals of the paradigm that he demonstrated.
[57]
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External links
[
edit
]
Articles and topics related to aikido
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Styles
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Organizations
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