All AIKIDO techniques, regardless of their level, have
fundamental principles in common that should not be neglected, or taken for
granted. For a technique to have proper progression and be performed within Aikido
concepts, these fundamentals must remain a constant.
These fundamental principles are:
- Aiki - Spirit or energy unification.
- Kokyu - Proper Breathing.
- Kuzushi - Breaking the opponent's balance.
- Ma-ai - Distance between opponents.
- Metsuke - Meeting or focus of the eyes.
- Zanshin - Staying attentive at the end of a technique.
Aiki
Aiki, is divided into three levels: Shoden, Chuden, and
Okuden/Hiogi levels. Aiki at the shoden level is finding the opening
to apply the technique, by kuzushi, by entering at exactly the precise moment
by using a deceptive maneuver to weaken his defense. Hence, Aiki at shoden level
can be defined almost as a mechanical skill that requires endless practice.
Aiki at the chuden level comes more from a
"sixth sense" than a technical skill, although the techniques and
this "sense" interrelate, creating what teachers refer to as
"secret power". The name uses the Kanji in the word himitsu
(secret), a point emphasized by most teachers, for the chuden level of
Aiki is achieved only after much training in a selfless way, and as a secret,
it is revealed only to those deserving of it. It is a consequence of technical
skill and quality of spirit, that conveys proficiency and inner strength.
Aiki at okuden level is not only, one of true spirit
and strong techniques, but also of returning to the initial state of training,
to the basics, the fundamentals. At okuden, the mastery of techniques is
superior, but once again insight must be a priority and metsuke fulfills its
role, which is that of defusing the attack whenever possible, with the highest
skill being that of benevolence and compassion. Thus the circle becomes
complete.
Kokyu
This term means "breathing method" or
"breathing power". When explaining kokyu, most often refer to the
Kanji characters of the word, which mean "exhaling" and
"inhaling". The breathing pattern of ah and un is the
same one depicted in the Nio guardians of the old temples, specially the two
statues at Kaminari Mon (the Gate of Senso-Ji). Ah un breathing is
composed of three stages: ah, un and cin.
- A (first stage): One inhales through the mouth as if
pronouncing the letter "a". With the diaphragm lowered, one breathes
with their "stomach" (actually the lower part of the lungs). If one
accidentally breathes with the upper part of the lungs only, the shoulders
would rise and if one inhales too deeply, the shoulders would tense and one's
movements would be slowed.
- Un (second stage): One holds their breath as if pronouncing un,
concentrating one's energy into the tandem. This stage is called Shisei
Mosoku ("whole-heartedness stops one's breath").
- Cin (third stage): As the tandem strains, one should exhale as
if pronouncing "cin". When surprised or shocked, people draw in thier
breath. One is comparatively calm when breathing out. When holding your breath
(un) one can release energy while concentrating on the tandem, creating
a brief period of readiness.
An attack will be more effective when the opponent is about
to exhale. Taken aback, he will draw in breath, and his mental state might be
broken by his inability to exhale. This causes his rhythm to break making him
vulnerable. It is wise to take sharp, quick breaths and exhale with soft, long
breaths while training.
For training purposes, inhaling is Yin (in) and
exhaling is Yang (yo). Although kokyu strategy is not the same in every
martial art, we should remind ourselves that kokyu ho is also part of Sado[the
Way of Tea], Shodo (the Way of Calligraphy), and Kyudo (the Way
of the Bow), among others. Proper breathing methods are conducive to overall
good health and a proper mental and spiritual state.
Kuzushi
Kuzushi is defined as breaking or disturbing the balance of
an opponent (often related to the concepts of rakka, sankakuke, etc.)
creating an opening in which the technique and our full strength should be
applied. The critical point of kuzushi is a minute fragment of time. It can not
be rationalized, but only felt or sensed. Regardless of how timely and
effective our entry was, if the taking advantage of kuzushi was not adequate,
our technique would be a failure.
Maai
This can be defined as the distance between an attacker and
defender. For Aikido techniques, the concept of distance is similar to the
ma-ai used in swordsmanship. Although the exact distance is a variable when it
comes to the individual biotype and other factors, a common denominator exists,
and that is that the initial ma-ai was conceived with the sword in mind. The
techniques were designed for situations where the attacker is armed with a
sword. The swordsman's confidence rises because he feels comfortable with the
distance held by the unarmed Aikido student, and he assumes that he is in an
advantageous position (swordsmanship's ma-ai). The assumption is incorrect
because Aikido ma-ai is similar and no such advantage exists.
Following this same concept, Aikido techniques often use
ma-ai as a deceptive tactic against an armed attacker. The studying of ma-ai
and timing is of vital importance.
Metsuke
This can be described in many ways. One way to explain metsuke
would be the point of focusing the eyes and the mind so not to be drawn in by
the opponent's attack. It may be explained as perception that eventually should
develop into pre-perception which enables us to sense an attack, or
aggressiveness in the form of impending danger, before it actually occurs.
Metsuke also means insight into the human soul, which can inhibit an attack by
the expression in the eyes, or defuse it with benevolence or compassion.
Masters of insight were Tanomo Saigo, Sokaku Takeda, and Morihei Ueshiba, whose
eyes were capable of conveying love or creating great fear.
Zanshin
The direct translation for the Kanji characters of the word
zanshin would be "the body remains" or "the mind remains".
After executing a technique, a state of alertness or awareness, should remain
in us. It might look like a brief cause, a moment of stillness to others, but
to the student it is a condition of calm readiness. It is not contemplation,
nor is it a feeling of 'basking" in the perfection or effectiveness of the
last technique. Zanshin is a functional state, based on the need for self-protection.
A period of carelessness after a successfully executed technique may create the
opening (suki) needed by an opponent to strike. Zanshin should act as a
sensorial shield.
