Since their beginnings in the feudal age of Japan, the classical and traditional budo and bugei of have been transmitted primarily through the practice of formalized kata and waza. Each Japanese martial tradition contains specific kata or waza, organized in progressive sets, catalogues or levels of transmission throughout a system’s curriculum, that are in fact the very “text-books” of the art in which they are found. To the uninitiated observer it may seem that the kata and waza are merely specific techniques to defend against or initiate a specific attack. To those that are on a never-ending quest for the most “realistic” fighting methods, these techniques may appear to be archaic or perhaps even ineffective methods employed against unrealistic and equally ineffective attacks. However, what such observers fail to understand is that the kata are actually methods or “vehicles” that have been developed and refined over the centuries to teach principles and strategies that, when correctly understood and applied, enable a system’s techniques to be effectively and efficiently executed in a fluid martial encounter. While the kata and waza certainly teach the skilled use of various combative techniques such as locks, throws or strikes, it is the principles, or gensoku, that are contained within the kata that make up the actual “operating system” of an art. In turn, it is this operating system that makes the actual techniques martially applicable and moreover, gives rise to potentially limitless possibilities of application.
Each catalogue or level of a system’s curriculum, while often containing a specific category or set of techniques, will usually contain a set of principles that are emphasized within that section of the curriculum. These teachings are then reinforced and progressively built on by further principles and concepts that are introduced in subsequent catalogues within the tradition. In some cases, an art may focus on a central principle or set of principles that is woven through the entire curriculum, reflecting the most important teaching (or teachings) of the art. Ono-ha Itto-ryu Kenjutsu, through the concept of “itto”, one sword (meaning one cut) epitomizes such an art.
Along with the classical Japanese sword arts, Daito-ryu Aiki Jujutsu and Hakko-ryu Jujutsu (itself derived directly from Daito-ryu) exemplify such principle-based methods of transmission. Kokodo Jujutsu and Dentokan Aiki Jujutsu, as recognized branches of Hakko-ryu that closely follow its original curriculum, also apply this progressive, principle-based approach. Those who practice authentic Hakko-ryu based traditions are familiar with the sets of principles that are formally taught in conjunction with a corresponding category of waza, through henka (variations) and oyo (applied technique), to further illustrate or expand on the teachings of that category. As an example, while practicing the waza of Shodan Gi (the first set of waza in the curriculum) the following fundamental principles are studied: Atemi (striking), Nukite (escaping), Kotegaeshi (wrist takedowns), Niho Nage (directional throws), Shodan (shodan wrist bend), Hiji Dori (elbow locks), Aiki Nage (blending throws), Otoshi (dropping throws), Yubi Dori (finger locks), and Shime Waza (chokes). The practice of henka and oyo through the application of these principles results in a potential number of waza well in excess of those listed in Shodan Gi. In fact, approximately 117 waza, including kata, henka and oyo are required for shodan in Dentokan Aiki Jujutsu. Applied throughout the entire curriculum, one finds that the study and practice of gensoku manifests as the ability to create innumerable applied techniques, leading to the expression of the art as a complete and effective system of goshinjutsu.
However, there are additional principles contained with our study that are universal in nature that serve as a foundation for aiki-based arts such as Dentokan Aiki Jujutsu. Not always verbalized, these principles include natural laws that govern or affect motion, physiology, structure, sensory perception and psychology that are all vitally fundamental to aiki based arts. One of the first concepts that we introduce students to in the practice of Dentokan Aiki Jujutsu in my dojo is a principle that I refer to as ‘Non Contention”. This critically important principle lies at the very core of aiki-based systems, including those of the Hakko-ryu lineage, as exemplified in Okuyama, Rhyuho, Shodai Soke’s tenet of “No challenge, No resistance, No injury”. The ability to neutralize an opponent’s power through relaxation and the application of aiki begins with Non-Contention. Non-Contention involves the concepts of not contesting or vying for space; not resisting or “fighting” with an opponent at the location of contact; not directly taking on the opponent’s mass and momentum. In short, it means to not meet force with force. It is the observation of Non-Contention which, coupled with other principles and strategies, enable a defender to overcome the actions of a larger, stronger attacker. Recognizing that the term “martial art” could be explained as a codified system of methods and techniques that enable a small person to defeat a larger, stronger person we can see that Non-Contention is a major contributing factor to the of expression of “art” within the term “martial arts”. As the discussion of principles of applied budo could (and has) been the subject of a full-length book, we will expand on our discussion of Non-Contention and other principles and strategies in future installments of this blog.
To Be Continued….
