Theoretical Foundations of Shindoryu Aikijutsu

Transcription

An Essay
on the
2004
By Eric Templet
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In an effort to better understand the techniques of Aikijutsu, it benefits us to first
examine the theoretical underpinning of Aikijutsu and its unique responses to combat. It
is by understanding the theory, that a framework for all techniques can be constructed.
The construction of such an understanding will assist both teacher and student alike in
teaching, learning, and practicing Aikijutsu.
All Aikijutsu students are aware of the exercise performed at the beginning of
training sessions called O kata 大型 (great form), during this exercise students are told
that the four-movement form contains the roots upon which all Aikijutsu techniques are
based. The four parts, or pillars, are: harmonization, deflection, disruption, and
redirection. The practice of O kata is said to aid students in their comprehension about the
underlying principles at work in everything they will learn and practice in their training.
It is difficult for many students to see the value of such an exercise in any immediate
since. It is the intent of this paper to clearly define how the simple movements in O kata
translate to the potent martial arts system of Shindoryu Aikijutsu.
Principle of Dynamic Attack
First, it is important to understand the principle of Dynamic Attack, before moving on
to the approaches to dealing with attack. Notwithstanding the factors and sequence of
events that cause a person to attack another person, for an opponent to attack they must
converge on a point in time and space that is occupied by the defender (Figure 1). If the
attacker does not either entice movement or initiate movement, then there is no attack and
therefore no combat.
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Figure 1. In physical combat, the attacker must move (or cause motion) in a manner as to
initiate a dynamic intersection with the target.
This initiation of attack generally consists of the attacker moving the hand, feet, or other
parts of the body in an effort to strike against the body of the targeted opponent. This
results in damage done to the target, if the attack is carried out with speed and accuracy.
It is the necessary movement that makes any attack a dynamic situation, i.e., a situation
that changes from beginning positions to other positions at the conclusion. Thus the
Principle of Dynamic Combat: For any attack to be successful, a target must be
converged on and intersected. This means that if the target is not where the attacker is
converging, then the attack is nullified, or at the least of diminished effect.
After the initiation of the belligerent intention, on the part of the attacker, forms
the attack must begin to take physical form for physical harm to be accomplished. This
means that an incited person must undertake some physical means of effecting, or
converging, on the intended target’s body. This results in a functional extension of some
weapon whether it is a fist, kick, knife, stick, gun, or other object. It is this physical
extension that any defensive system must be centered upon dealing with.
There are certainly many approaches to dealing with the physical extension of a
dynamic convergence. For instance, there are martial arts based on the principle of
reaction to the extension with an appropriate countermeasure (usually using body parts to
block the extension, or dodging the extension), followed by a physical extension of the
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defender’s body. Examples of this idea of countermeasure-extension are arts such as
Karate, Kung fu, Tae kwon do, Western Boxing, and the like.
Another approach to dealing with the extension of dynamic convergence is
similar to the first, in that the initial attack is met with a similar countermeasure, however
the reaction afterwards is different. The difference is in the exploitation of the human
body’s frailties and its mechanical limitations to cause a throw, joint lock, or pressure on
a sensitive area of the body. Arts that utilize this system include, Jujutsu, Judo,
Kyushujutsu, Wrestling, and others.
Yet another approach to contending with an attack is based on the principle of not
using a direct countermeasure to the physical extension, but rather allowing the extension
to occur unimpeded and removing the target from the point on which the dynamic
convergence is aimed. Following the extension is a resulting subjugation of the force into
defeating the attacker. This, on a basic level, is the principle of aiki 合気, i.e., the
conservation of the extension followed by the use of the extension to defeat the attacker..
This principle is at work in the arts of Aikijutsu, Aikido, Hapkido, and other arts.
Table 1.
Attacking
Extension
Converging on
Target
Æ
Response to Converging Attack
No disruption of
Countermeasure/
extension/
Countermeasure/
Take advantage of
Use of extension on
Extension
Body mechanics
attacker
Jujutsu, Judo,
Karate, Kung Fu,
Aikijutsu, Aikido,
Wrestling, and other
Tae kwon do, and
Hapkido
arts
other striking arts
It is important to note that nearly all of the aforementioned arts utilize to some
extent all three of these principles, but with each one relying more so on only one of
them. It is also necessary to point out that no one approach is better or more effective
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than the others. It is also possible and advantageous to combine and be familiar with
more than one approach. Each approach has advantages and disadvantages under
differing conditions.
Principle of Maximum Efficiency
The approach that is most appropriate for any given situation should be the one that
requires the minimum effort, yet yields the greatest outcome. Jiguro Kano, the founder of
Judo, best expounded upon this approach in the early twentieth century. O’sensei Kano’s
saying Seiryoku Zenyo 精力善用(maximum efficiency; best use of energy) is a pillar of
judo and many other throwing arts. The principle states that the use of technique should
be done in a way that the most powerful outcome should result from the least amount of
effort. According to this principle it is possible for a smaller weaker person to throw a
much stronger or larger opponent. By using the physical attribute of the opponent’s body
and/or attack the person employing Seiryoku Zenyo will be able to take advantage of
those attributes and, using little of his or her own effort, defend or neutralize the
opponent.
This principle is made evident in the way that judo techniques are employed. When
an opponent pushes, the defending judoka will pull and visa versa. The body of the
judoka is supposed to remain pliant, which allows for greater mobility and faster reaction
to a push or pull. Proper judo techniques, when performed correctly with maximum
efficiency, should seem effortless. This principle will become more compelling with
relation to other principles in this paper.
Principle of Kuzushi
The Japanese word Kuzushi 崩し means “disruption of balance”. In this case,
balance is defined as a state of equilibrium during any static or dynamic movement. If,
for instance, a person walking slips on a banana peel the system of equilibrium will be
disturbed and the person will likely fall, unless they can reestablish equilibrium. During
all human movement there are periods of varying levels of stability. These instances of
instability can be used to topple even the largest of opponents.
Let us take for example a house and a man both standing atop of a pyramid; both
perfectly balanced and in a state of equilibrium. Although both of these systems are
stable, by being balanced on the top of a pyramid they are both going to be easily
disrupted. In fact, even a small unit of force (a push or pull) will topple the system (See
Figure 2.)
Figure 2. Either system can be brought out of equilibrium with a small amount of force.
However, it is obvious that there are differences between a man and a house. It
would be of use to understand why under normal circumstance (i.e., not balanced on top
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of a pyramid) the house tends to be much more stable that a man. These differences will
underscore the five basic laws of stability.
For one, the house is more stable, on flat ground, than a man because a house can
weigh many thousands of pounds, whereas a man weighs much less relative to the house.
It is therefore a law, that the stability of an object is directly proportional to the mass
(weight) of the object. This law explains why it is harder to topple a Sumo player than a
horse jockey, i.e., that the difference between the tow stabilities is a function of mass.
The second law of stability has to do with the area of the base of an object. This
can be illustrated clearly with consideration of two identical houses (Figure 3.)
Area of the Base
Figure 3. Two houses, one right side up and the other up side down, have different
levels of stability, despite having the same mass. The house with a larger base has more
stability that the house stood on its roof, which has a smaller base.
This law clearly establishes the reason a person with a wide base of support with there
feet apart is harder to throw that a person who is standing on one leg.
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The rest of the laws of stability have to do with the principle of the center of
gravity. “The total effect of the force of gravity on a whole body, or system, is as if the
force of gravity were concentrated at a single point called the center of gravity.”
(Kreighbaum & Barthels, 1985) In other words, if we where to represent all objects in the
universe in regards to their motion with a single point in time and space, then this would
be the center of gravity. The center of gravity of a solid object is located in the physical
center of the object around which the mass of the object is evenly distributed. However,
for the human body, an object with movable segments, the center of gravity will relocate
with relation to the position in space (and therefore the distribution of mass) of the body
segments (e.g., head, arms, and legs).
The stability of an object becomes a function of its center of gravity and a number
of other factors. The third cardinal rule for stability to exist is that the center of gravity
must fall with in the area of the base; “ balance exits if the gravity line passes vertically
within the area of support.” (Kreighbaum & Barthels, 1985) Additionally, there are two
additional laws that concern the center of gravity in regards to stability.
“If the gravity line passes close to the base edge, which will be the axis, a
relatively small impulse will cause it to tip and fall.” (Kreighbaum & Barthels, 1985)
This means that the horizontal distance from the edge of rotation to the center of gravity
is a function of stability (See Figure 4.) This would be an explanation of why a person
will fall forward if they bend at the waist too deeply.
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Center of Gravity
Figure 4. Between these two blocks, the block on the left is less stable than the block on the right
because of its smaller magnitude of distance from the center of gravity to the edge of rotation. This
example assumes that equal off center application of force is being applied to both blocks and that
they are equal in weight and dimensions.
Finally, stability is a function of the height of the center of gravity to the base.
Consider that when a person bends their knees and squats they are more stable that when
they stand with their legs straight. The lower the center of gravity the greater the stability
(See Figure 5).
Less Stable
More Stable
Figure5. This figure demonstrates the difference between the heights of the centers of gravity of
the two bodies. The body on the right is more stable than the body on the left, provided that all
other factors (i.e., weight, area of the base, no rotation) are equal other than the height of the
center of gravity.
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According to the above laws concerning stability, several relationships can be defined as
a linear function of stability. The relationships are presented graphically in the following
Figure 6.
Magnatude of Function
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Height of the CG
6
5
Area of the Base
4
3
Mass of the
Object
2
1
0
1
2
3
4
Magnatude of Stability
5
Horiz. dist. from
edge of rotation
to the CG
Figure 6. These graphs demonstrate the relationship between the magnitude of stability
in relation to the magnitude of 1) area of the base of an object [directly proportional], 2)
height of the center of gravity [inversely proportional], 3) mass of the object [directly
proportional], and 4) horizontal distance from the edge of rotation to the center of gravity
[directly proportional].
The Four Pillars of Aikijutsu
As previously stated, Aikijutsu is a specialization of combat that utilizes the
conservation of energy (ki 気) of an attack, using it to nullify the attack and ultimately
nullify the attacker. There are four major methodologies, or pillars, that Shindoryu, in
particular, is based upon (Figure 7.)
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Figure 7. Graphic representation of the four major “pillars” of Shindoryu Aikijutsu.
Each individual pillar is a key type of strategy. Each one can be used alone or in
conjunction with any number of the other pillars.
The nature of each pillar is that they each have two dynamics, that is to say that
each one is expressed in a way similar to the way numbers are expressed as positive and
negative. Each pillar has two polar ends, or anchor points, with any number of varying
degrees of the extremes in between. Again each of these need not be mutually exclusive
of the other. They can, therefore, be combined in 64 possible combinations with only the
polar ends taken into account. Consequently, because of the many gradients in between
each end the resulting possible combinations are astronomical. A further discourse on
each pillar follows.
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Pillar I: Harmonization
Pull (hiku) 引く
Push (osu) 押す
Harmonization is based upon the recognition of the futility of resisting a much
larger or stronger opponent. In other words, if Person A, of 20 units of strength,
pushes (or pulls) against another Person B, of 10 units of strength, the result will be
that Person B will be overwhelmed by 10 units of strength. However, if Person B
were to harmonize (i.e., push or pull in the same direction that Person A is pushing or
pulling) then the total energy of the system in that direction is 30 units of strength
(see figure 8).
Figure 8. In scenario 1 the results are unfavorable for Person B, but more so in scenario 2.
Owing to the non-resistive force applied by harmonizing an opponent can be
subjugated for a few critical moments. Thus, Aikijutsu utilizes this principle of
yielding to the force applied by an opponent in the hopes of causing the opponent to
become unstable from the sudden increase in energy of the system.
This pillar takes on two extremes—a push or a pull in the same direction the
opponent is pushing or pulling. This means that the opponent and the Aikijutsuka are
cooperating, albeit not voluntarily so on the part of the opponent.
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Pillar II: Deflection
Outside (soto) 外
Inside (naka) 中
The mechanics behind the second pillar, Deflection, are that given the direction of
a force (vector) and the angle of impact on a surface will determine the angle of
incidence. Although these principles more closely describe elastic collisions (e.g., a
tennis ball hitting a wall), they do describe what occurs in this second category of
techniques, even if it is in more manipulated terms than a true deflection. The use of a
parry to evade a strike is at the heart of techniques based on this pillar. Deflections are
useful for any number of attacks, but are especially useful for high-velocity punches and
kicks.
The two extremes that Deflection can take on are inside and outside. Upon the
forward movement of the opponent the defender moves his or her arms or body in such a
way as to divert the attacking energy in a natural direction as shown in Figure 9 below.
Figure 9. As force is directed toward the defender it is deflected either to the inside (the
anatomical anterior of the body of the attacker), or outside (the anatomical posterior of the body of
the attacker).
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It is should be made clear here that an Aikijutsuka must not only deflect the
oncoming energy of an attack, but also maneuver him or herself out of the direct line of
attack in case the deflection is timed wrong or misses the attacking weapon of the
opponent.
Pillar III: Disruption
The third major principle of Aikijutsu is the use of techniques to off-balance, or
disrupt the balance of an opponent—kuzushi. Previous examination of the laws that
govern the stability of an object have demonstrated suggestions that could be used to
accomplish this pillar. For instance, an opponent with a small base of support can be
easily toppled with only a slight push.
Kuzushi is accomplished in any vector of force application with the two anchor
points being a push or pull in the vertical direction (either toward the ground or away
from it) and a push or pull along the horizontal axis.
Vertical (suichoku) 垂直
Horizontal (suihei) 水平
The kuzushi is, however, much more complicated in real situations of off-balancing
an opponent. It usually is the use of pushes and/or pulls in all three dimensions of space,
i.e., x, y, and z-axes. The use of the body to cause disruption of an opponent’s stability
also takes on any number of degrees between vertical and horizontal anchor points. This
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is why kuzushi is both the most difficult to defeat and the most difficult to learn to
perform correctly.
It is natural, if one watches beginners, for a person to attempt to maintain stability
when engaged in hand-to-hand combat. For instance, most people understand enough
about stability to move their feet apart (widening the area of their base), lowering their
waist (center of gravity), and will usually instinctively try to move their center of gravity
away from the edge of rotation. It is therefore crucial to break their posture when they are
in transition from these attempts at moving states of stability. When the opponent pushes
or pulls, then using other pillars of Aikijutsu, one creates (or allows the creation) of a
force that momentarily produces instability within the opponent, this is the time to apply
kuzushi, upon the application of which a technique applied with even minimal strength is
successful.
Pillar IV: Redirection
This principle is unique to the throwing arts. It is based on the idea of subjugating an
attack in its original direction, and then by guiding the energy into a completely new
direction. The main difference between the pillar of Redirection and the previous pillars
is that Redirection can have a multitude of outcomes. More specifically, the principle of
Redirection is the multitude of mathematical (calculus – derivatives of a curve) outcomes
that can result in revolution around the center (see Figure 10).
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Possible
Outcomes
Figure 10. By rotating around the hara a defender can theoretically take attacking
energy and redirect it to any number of directions or degrees around the circumference of
the circle created by the defender.
No description of the way Aikijutsu techniques work could be complete without
an examination of how the hara 腹, or center is being used. For the Japanese the hara is
considered the location or embodiment of the soul. Its location would be equivalent to the
locations of the aforementioned center of gravity of the human body; approximately two
inches below the belly button, in the middle of the body’s interior. Through
biomechanical description, all interactions between defender and opponent could be
described in regards to the centers of gravity of both bodies. An understanding of this
level of Aikijutsu is not only an academic pursuit, but also essential to truly mastering
this pillar, even more so than the previous pillars.
Aikijutsuka must come to an understanding of this synthetic view of technique.
Recognition of the roles played by the hara, or center of gravity respectively, will unlock
the correct movements needed to accomplish all of the varying number uses of
Redirection. This understanding will reveal to the Aikijutsuka the requirement of
keeping the hara stable and in proper location during the technique. If a student bends at
the waist, they will change the location of the center of gravity, and therefore a technique
requiring a straight alignment of shoulders and hips, will become reduced in effectiveness
if not nullified. It is crucial for an Aikijutsuka to become familiar with these fundamental
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aspects of technique, which might not be readily registered by the mind as important, and
seek to establish consistent performance of them as demonstrated.
Redirection can, like the previous pillars, take on any number of variation
between two extremes; these extremes being the allowance of progression of original
direction into an eventual new direction, and the instantaneous reversal of direction of
attacking energy.
Progress (hatten) 発展
Reverse (gyaku) 逆
In both cases, the results are the same, i.e., the attacking energy is redirected through
some roundness and projected in a new direction.
Breakdown of Techniques into Categories
The culmination of the above theory lies in the actual breakdown of the basic
techniques of Shindoryu Aikijutsu into their respective pillars and subdivisions (Table 2).
By understanding the classification of a particular technique the teaching, correcting, and
implementation of techniques is enhanced.
These classifications are not concrete in that several of their classifications could
be argued to lie in different pillars or subdivisions. This is the result of there being more
than one way to view these techniques and the actual use of this pillar or that pillar is
more so a function of the individual’s preference and body type. Although not discussed
thoroughly, the size of the individual performing the technique and the size of the
opponent receiving the technique causes literally thousands of modifications in order to
accomplish the goal of the technique. Nonetheless, the same principles that allow one
size person to use Aikijutsu will allow any other size person to do the same.
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Table 2. Shindoryu Aikijutsu Technique Breakdown
Technique
O Guruma
O Soto Guruma
Waki Gatame
Tenchi Nage
Ude Garami
Uki Goshi
Seoi Nage
Koshi Guruma
Irimi Nage
Ikkeru Nage
Ikkyo Jo
Nikyo Jo
Kote Gaishi
Harai Goshi
Kata Guruma
De Ashi Barai
Sankyo Jo
Nikeru Nage
Kaiten Nage
Hiji Oru Waza
Kata Oru Waza
Koete Oru Waza
Tomoe Nage
Sukui Nage
Shiho Nage
Juji Oru Waza
Sankeru Nage
Yonkyo Jo
Gokyo Jo
Osai Itami
Rokkotsu Oru Waza
Aiki Otoshi
Tataku Guruma
Jime Waza
Rokkyo Jo
Ni Nin Kokyuho
Atama Oshi
Yonkeru Nage
Gyaku Hiji Nage
Yumi Nage
Ura Nage
Aiki Nage
Raimei Nage
Gokeru Nage
Waikyoku Waza
Shinkei Atemi
San Nin Kokyuho
Pillar
Harmonization
Harmonization
Deflection
Deflection
Disruption
Disruption
Disruption
Disruption
Harmonization/Redirection
Disruption
Disruption
Disruption
Redirection
Disruption
Harmonization
Disruption
Deflection
Disruption
Redirection
Anatomical
Anatomical
Anatomical
Harmonization/Disruption
Harmonization
Redirection
Anatomical
Disruption
Deflection
Deflection
Anatomical
Anatomical
Disruption
Harmonization
Anatomical
Redirection/Harmonization
Various
Redirection
Disruption
Redirection
Redirection
Disruption
Deflection/Redirection
Disruption
Disruption
Deflection/Anatomical
Anatomical
Various
Subdivision
Pull
Push
Outside
Inside
Vertical
Diagonal
Diagonal
Diagonal
Pull/Reversal
Vertical
Vertical/Horizontal
Vertical/Horizontal
Reversal
Diagonal
Pull
Horizontal
Inside
Horizontal
Progression
Pull/Vertical
Push/Pull
Reversal
Horizontal
Outside
Outside/Inside
Vertical
Push/Pull
Progressive/Pull
Reversal
Horizontal
Progressive/Reversal
Reversal
Horizontal
Inside/Progressive
Horizontal
Horizontal/Vertical
Outside
-
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In conclusion, it was the purpose of this essay to further develop the
understanding of Aikijutsu in general and specifically to the stylistic foundations of
Shindoryu. “Shindoryu” translated means, “the flow (tradition) of the new way”,
which is why these mysteries of technique are revealed in such a way. The “new
way” is the path of knowledge instead of secrecy. The principles revealed here are
universal to all. By practicing O kata with the understanding of these principals, a
student can gain greater skill in techniques and therefore self-defense.
Kreighbaum, E. & Barthels, K. M. (1985). Biomechanics a qualitative approach for
studying human movement (2nd ed.). New York: Macmillan Publishing.

Theoretical Foundations of Shindoryu Aikijutsu

Transcription

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