Aikido as an Echo

John J. Montes (New York Aikikai)

The source of this article's title comes from a phrase uttered by Sugano Sensei during one of his classes at the New York Aikikai. Sugano Sensei states that O Sensei relayed this philosophy about how Aikido should be practiced during one of his classes when Sugano Sensei was an uchi deshi at Hombu Dojo. The philosophy stems from Japanese swordsmanship; Aikido being an extension of that art.

One day in late October 2003, during an afternoon class at the New York Aikikai, Sugano Sensei made a chance comment while executing shomen uchi ikkyo. that it came and went without many people taking notice; I would dare say that even he did not realize the powerful image that his words created. The comment was made during an explanation of ma ai in relation to irimi nage and ikkyo.

Sugano Sensei said "Aikido is not static...O Sensei said that Aikido is like an echo...as you act there is a reaction...uke's hand comes up because you are constantly moving, breaking the ma ai". He further went on to state that "you should not wait for uke to come into contact with you...remember your ma ai... Aikido comes from swordsmanship..."

This concept of "the echo" is something Sugano Sensei feels the students of the New York Aikikai as well as all other students, who want to advance their understanding of the theories behind Aikido, should start to incorporate into their training. This is only possible once a comprehension of the intricacies of Aikido have been grasped, usually after three to five years. For Sugano Sensei, this idea is the next step in the evolution of training for all aikidoka. The following paragraphs endeavor to explain to the reader the general framework behind these thoughts.

According to Sugano Sensei, in the beginning phases of training, it is necessary for both uk e and nag e to take their time and have patience while trying to execute a technique. In this manner of training, it is perfectly acceptable for contact between uke and nage to be static and stiff in appearance e.g. such as katate tori waza. In this mode, both students can begin to feel and understand the concepts behind the techniques, eventually making that technique a part of their repertoire. For Sugano Sensei, this is the "attack/defense" model of training. "Attack/defense" or "action/reaction", represents the first level of training.

After a few years of consistent training have passed in the "attack/defense" style, it now becomes necessary for the aikidoka to move to the next evolution of training - the level of constant and unconditional movement. This next level of training is where Aikido starts to resemble master class swordsmanship.

At this level of training, the concept of physical engagement radically changes into a more advanced realm where intention, commitment and combative distance comprise the extra, unseen part of Aikido. On this path, the aikidok a must start to realize that any engagement begins when one of the two opponents breaks the ma ai .

Although a singular idea, ma ai encompasses two factors. It can best be described as the phenomena of combative distance and timing between uke and nage. It's an idea that can be most readily found in the terminology of Japanese swordsmanship. Mai ai is not a static concept; it varies depending on the method of combat involved. For instance, the ma ai between two unarmed persons (usually considered to be both people's arms extended tip to tip) is fundamentally different than two people armed with swords. Likewise the combative distance is different with the use of the jo. At this higher level of training, the aikidoka must start to perceive when the aggressor's intention begins to manifest itself into a committed attack, thereby leading to a break in the ma ai .

For Sugano Sensei, Aikido begins at the phase of intention. Once the intention to attack is manifest, he moves toward uke presenting what appears to be an attack on his part but which in reality is only the bait on the hook. Uke, realizing that his initiative has just been stolen from him, must now change his offensive (yang/penetrative) posture to a half-hearted, defensive (yin/receptive) posture. At this point, nage can appear to be a puppet master where uke's response is known due to nage' s presentation of an "attack".

For a concrete example, let us examine shomen uchi ikkyo . In the entry level "attack/defense" mode of training, uke begins by raising his arm in the traditional shomen uchi form and attempts to strike nage at the upper forehead region with a downward force. Nage responds by raising his arm to meet uke's strike, and either choosing omot e or ura versions, executes ikkyo, the "first principle". It is a concrete example of uke acting and nage reacting by conducting a defensive maneuver.

In the "unconditional movement" level of Aikido, uke also raises his hand to attack in the shomen uchi fashion; however nage's response is essentially different. Nag e moves in a preemptive fashion - at the time of uke' rising of his sword arm; entering into uke's space, effectively breaking the ma ai. Nage's raised hand moves toward uke's face, causing uke to realize a new danger. Uke must now choose between continuing with the attack and risk getting hit in the face with an atemi or switch to a defensive position. At this point, the dangerous scenario which nage originally faced has changed to a favorable one; either choice allows nage to avoid being hit. The atemi scenario is obvious. The defensive change in mid-attack allows nage to execute ikkoy faster and with much less "hard" contact. However, make no mistake, this change in nage's attitude allows for a much more devastating response to the perceived threat. This change can be likened to a kaeshi waza, "on the fly", so to speak.

The swordsman's attitude in this next level of training is not just seen in the one on one application - this bearing is also relevant to the randori aspect of Aikido. Sugano Sensei goes further in applying this philosophy by stating that in randori, advanced aikidoka should always look to initiate the engagement between the various ukes. However, this initiation can be deceptive; it does not always mean moving towards the threat. The beauty of this strategic type of thinking is that waiting, or the act of being patient, can offer a false target for uke to attack. This reverts back to the idea of "the bait on the hook" causing uke to mistake immovability for fear and/or inability. In either stance, the ukes can be lead to act in accordance with nage's prearranged, tactical strategy. As Sugano Sensei is fond of saying, "Nage should always be in control of the engagement".

In closing, Sugano Sensei reiterates that the "attack/defense" model of training has its place in the overall scheme of learning. Without this type of education, Aikido would take years upon years to learn even the most basic of waza. However, as the aikidoka becomes more advanced, it becomes necessary for the next evolution to take place; however this next step is totally dependent on the conscious desire of the student to evolve. It entails a desire to break away from the need of hard, static contact to a process of constant movement based on the principles of ma ai, timing, and commitment.

The figurative concept of an echo is a phenomenon that lends itself quite well to the martial arts. An echo has no concrete form, yet we understand the idea through our sense of hearing and recognize its existence.

As with many of the internal martial arts, the goal is to eventually move away from static form to a free flowing movement.

This static form represents our growth years in Aikido. As the aikidoka matures the movement becomes more unbridled, signifying a new level of growth. Just as an echo is not fenced in by walls surrounding it, so too must the aikidoka move towards this formlessness, away from the fixedness of physical contact, to the releasing experience of ma ai , and timing. This is an interesting paradox, since this swordsmanship-like quality of next-level Aikido is born from everyone's static beginnings.

This is one of the more fantastic realities of Aikido. The educational aspect of Aikido does not stop after some golden number of years spent training. As the aikidoka marches forward, different aspects of the art unfold in front of the trainee's mental eye. For some, the esoteric aspects, the intangibles, become a goal. For others, the desire to communicate these skills as a teacher grabs hold. Nevertheless, there is something for everyone; this experience perhaps explains why so many aikidoka find themselves still training after ten, twenty and even thirty years. Within this art that we call ours, the practitioner can always be challenged to grow, moving like that unrestrained echo through the valley.

The author would like to thank Sugano Sensei for his time and patience while enduring questions in an attempt to understand his mastery of our art. Any and all mistakes are the author's alone.