Geometry and Aikido

By Howard Pashenz, Suffolk Institute for Eastern Studies
suffolki@aol.com

IRecently I've become interested in seeing Aikido techniques from a geometric viewpoint rather than simply as self defense. This seems consistent with O'Sensei's defining our art as a "way of harmonizing with force".

Trying to block, or stop the force of an attack, and then counterattacking, is the method of most self defense arts. But another approach is to view the attack as meeting one side of a triangle which deflects it and renders it ineffective and harmless. And this can be done using almost no physical strength. The following three pictures, using wooden swords, demonstrate this more clearly.

In picture 1 both attacker and defender are in direct opposition to each other, a disastrous situation where the stronger or faster one will be victorious.

Picture 2 shows the Aikido defender in the foreground having moved slightly to his right and in a position safely off the descending line of attack. His weapon offers a guiding direction as would the side of a "theoretical triangle".

In picture 3 the defending Aikidoist has just slightly rotated his sword "counter clockwise" so the attacker's weapon is guided safely "off the line"; but his own weapon is directed at his attacker's throat.

However, in the art of Aikido, which is non-violent, the defense is not to counterattack after safely avoiding the attack. Instead, the Aikidoist harmonizes with his attacker; literally becoming a "mirror image". From this position the attacker can be easily unbalanced, then thrown or pinned.

Picture 4 shows the defending Aikidoist, in the background, raising his right arm to deflect the attack.

In picture 5 the defender has stepped in and pivoted to a safe position behind his attacker, doing the traditional "ura" exercise.

Picture 6 shows the completion of that movement so the defending Aikidoist is in exact harmony with the direction of attack; almost a mirror image. From here any of the traditional Aikido defense techniques may be done.

As an example, Picture 7 shows the beginning of a traditional irimi nage technique where the Aikidoist's hand, at his attacker's neck, becomes a fulcrum. His right hand can then spin his attacker in a large circle as he steps backward with his left leg.

I have just begun to more fully appreciate the effectiveness of the initial omote and ura movements; the diagonal entering and turning movements we practice at the beginning of every class. They allow the safe entering or turning which leads into perfect harmonizing with the attack. At that moment the attacker and defender become "one" which, surprisingly, is the spiritual goal of many Eastern religions.