Initiative, Timing, and Spacing (Part II of II) by George S. Ledyard
[Discuss this article (0 replies)]
[Download this article in PDF format]
One cannot talk about timing and spacing as separate concepts. From a
martial arts standpoint they are interchangeable; more space = more
time, less space = less time. Size is just another way to talk about
space and the same thing holds true: larger movement takes more time
(slower), smaller movement takes less time (faster). In addition to
being able to understand time in the sense of duration (as above) we
need to utilize the concept of relative time or rhythm. There is the
rhythm of ones own movement, there is the rhythm of the opponent's
movement.
Awase is a term which refers to the relative rhythm of the attacker
and defender. It describes the basic rhythm of normal Aikido practice
when the emphasis is on mutual connection. When we practice there is
no intention to defeat our partner. If we are training properly the
uke initiates with an attack, pre-arranged or not, which he executes
with intention and clarity. It is his purpose to provide his partner
with good, clear energy with which to investigate the principles of
the art. His job is to maintain connection with his partner's center
until he is either thrown or pinned. The nage in turn establishes a
connection with the attacker which he maintains until the energy of
the attack reaches fruition, in a throw or pin as mentioned. At the
beginner level this practice requires awase. The rhythms of the two
partners are in sync. If one can use the oscilloscope as an example,
awase is when the two waves on the screen are "in phase" (they raise
and fall at the same time).
At higher levels of the art one recognizes that awase is a form of
collusion between the partners in which they cooperate to produce a
result. For instance, in a sword kata each person executes his
movement in such a way as to allow the partner to respond with his own
designated movement. This is quite different from a martial encounter
in which every move in the form would be done as a potential finishing
move. No one goes into a fight thinking he is the uke... These are
artificial concepts created to make practice safer and more
comprehensible.
The problem with awase is that both partners are equally connected. A
movement from one can produce a timely response on the part of the
other. Sometimes this simply means that the partner responds according
to his assigned role in the practice. But if we are talking of a
martial encounter it would mean that an attempt to apply a given
technique on a partner who was in the same rhythm as the defender
would result in a reversal or kaeshiwaza. In reality technique will
only be successful if it breaks with the opponent's rhythm. The
defender must put the attacker "out of phase" (the waves on the scope
rise and fall out of sync).
Since most Aikido practitioners train in the basics extensively, it is
often the case that they do not consciously utilize this concept of
being "out of phase". For instance, atemi waza is the
most common way to put the opponent "out of phase". Any given
technique has a rhythm or beat. I often use dance rhythms to describe
the beats in a given technique. 1-2-3, 1-2-3 is waltz time, 1-2,1-2-3
is cha cha, etc. The proper use atemi is to put the attacker
"out of phase" with the defender. The mistake that many practitioners
make when they apply atemi is that they add the atemi as
an additional full beat. If the partner is in rhythm (awase) he
is able to add his own response and still stay with the rhythm of the
defender. This does not put him "out of phase".
It is much more effective to apply the atemi on a "half beat" that
doesn't alter the essential rhythm of the technique being executed. A
simple example would be the atemi required to successfully go under
the partner's arm from the front for a technique like katate-tori
sankyo without being struck by the partner's opposite hand. The atemi
here is crucial to the movement; no matter how fast one tries to move
he will be struck by the opposite hand unless there is an atemi to put
the partner "out of phase". Execution of this atemi is often done in
such a way that it cannot possibly accomplish its purpose, namely, to
cause a defensive reaction on the part of the opponent which gives one
enough time to pass under his arm without being struck. One typically
sees the nage attempt to pass under the partner's arm while holding a
rigid arm extended towards the opponent's face. This has a number of
problems: a) there's no power in a "strike" like this; in fact it's
not a strike at all. b) the opponent will almost certainly parry the
arm. The rigid nature of the extension will allow the opponent to
parry the strike with power causing uke's forward momentum to decrease
making the under the arm movement difficult. c) the "rhythm" of the
atemi is incorrect; the atemi must be executed as a half beat, not
added as a full beat. Most Aikido folks throw the atemi before they
make the step under the arm. Their idea is that their atemi will make
the space they wish to pass through "safe" for them. This is
fundamentally incorrect unless they can actually land the atemi to a
vulnerable point and cause some level of incapacitation on the part of
the uke. If that is accomplished, there may be no need to move under
the arm at all for the technique. It is better to throw the atemi with
the assumption that it will be parried and a counter strike
launched. For nage to be successful in this he must throw the atemi
just as he begins the step to go under the arm. Since the mass of the
arm is less than the body, it is easier to accelerate it and although
it was thrown at the same instant, as the step, it will reach its
point of focus just ahead of the moving body. The atemi should be
thrown correctly, not as a rigid extension, but as a lightning strike
which will retract the instant after it reaches its focal point. If
done well, the opponent will not even touch the strike as he attempts
to parry due to the reactive gap. By the time he realizes he has not
been able to parry and counter strike, the nage is already under the
arm. Getting people to understand this is quite easy, actually. Simply
ask the uke to parry and counter strike rather than simply parry when
the partner attempts to go under the arm. If the atemi is done ahead
of the step under the arm it will be parried and the nage will be
struck. If the atemi is done just as nage commits to the step, it will
reach its focal point on the half beat and the opponent will be unable
to parry and strike back, even if he just manages to parry.
Another place in which the timing and intention issue can clearly be
seen in the kata menuchi techniques (the attack is a shoulder grab
accompanied by a strike with the opposite hand to the head). I watched
students from my class training the other evening as they worked on a
series of techniques from this attack. Although the outer form of the
technique looked fine in most cases, the actual core of the technique
on an energetic level had been turned upside down. I stopped class and
called up several of the students and I took the role of uke,
initiating the attack. In all cases I struck the student in the head
before he could block my strike (the atemi on kata menuchi is usually
done with the same hand as the shoulder which is grabbed by the
attacker thereby forcing him to block rather than strike with his
other hand).
As I tried to analyze why the students were uniformly late in their
movements I realized that they didn't understand who actually had the
initiative in the technique. But the real problem was that they got
away with this misunderstanding when training with each other because
no one actually attacked with the intention of actually striking his
partner. Having trained for some time already in their Aikido careers
and being familiar with how this series of techniques works, they had
no actual expectation that their strike to the head would actually
connect. After all, they were imitating my techniques as I had shown
it and my partner hadn't hit me... They actually threw the atemi with
the idea that the defender would block it, not with the intention to
strike. This in turn allowed the nage to "react" by throwing his own
atemi and forcing the uke to protect his face by blocking.
This is a disastrous occurrence when this happens in training. The
entire interaction becomes energetically false. Students construct
their understanding of timing and spacing based on false energy from
uke and go forward thinking that what they are doing actually works
when in fact their technique only worked because there was no actual
attack to begin with. When I attacked, I put intention into my
strike. I did not strike with the idea of facilitating my partner's
technique. I simply executed the strongest grab and strike I could
do. The students were, of course, shocked when they realized that what
they thought had been working wasn't really working. After all they
were training quite energetically, every body sweating up a storm,
moving strongly and with power... They had allowed developed habit and
their expectation of what was to happen to shift their intention.
Once the uke actually attacked with the intention to really strike his
partner, it became immediately apparent that at this distance, the
nage couldn't throw his atemi as a "reaction" to the incoming strike,
instead he had to seize the initiative by striking the uke just as uke
committed to the grab. This forced the uke to convert his intention to
strike to a defensive block in order not to be struck. At the moment
of contact between nage's atemi and uke's defensive block nage was
able to use the energy of the contact to set up his technique. So
instead of the false assumption that uke would attack with a grab
followed by a strike at which time nage would respond and somehow take
back the initiative and execute a technique, we see that although the
uke intended to attack with kata menuchi, his strike is precluded by
the strike delivered by nage. At this range if nage waits until there
is a strike he is too late to deal with it effectively. This is a very
good example of how a shift in intention allowed an action to take
place at a distance when it should not have been possible. Once again,
because Aikido students so seldom actually hit each other, they can
easily develop the expectation that their strikes won't connect and
they unconsciously stop attempting to do so.
I believe that we need to address the components of our Aikido
practice. We have an array of grabs and several strikes in our kihon
waza. I think that students should be made aware of exactly what they
are attempting to do with a "wrist grab", what is the precise target
for a tsuki attack. Each component has an essential meaning or
purpose. In order to have clear intention in ones technique, one must
be absolutely clear about how one goes about "creating" this essential
component. In other words, in order for a shomen uchi to fulfill its
definition it must have several elements. If a shomen uchi is to be a
strike to the front of the head it must have proper maai. It must have
enough speed that it has some real hope of striking the opponent. And
finally, if it does strike the opponent, it is important that it have
enough power to do what it needs to do in the martial interaction,
namely create physical dysfunction or break the attacker's rhythm.
This is true of every component whether it is a grab or a strike. The
movement will have a purpose and it cannot be considered an adequate
expression of what it is meant to be if it lacks any of the essential
components. And if it is not an adequate expression of itself it is
energetically false. Training with an attack that is energetically
false is not only not worth while, it is actively detrimental to one's
training.
It is one thing to do shomen uchi ikkyo as a beginner with a partner
who has purposely chosen to back off on the speed and power of the
attack in order to allow the beginner to figure out the movement. It
is quite another to see a group of experienced practitioners training
and realize that none of them can actually do the attack
adequately. Every time you do a technique in practice you are
imprinting a complex set of elements such as timing, spacing, rhythm,
intention, etc. If one trains using energetically false attacks, one
is imprinting a whole series of relationships which aren't true. Then
when one actually encounters a partner who has effective technique and
strong intention one is completely unable to perform the techniques
that seemed to so accessible in normal training.
An understanding of the issues concerning timing, spacing, intention,
etc is one of the things which allows someone to take his training up
to the higher levels. I have only just briefly touched on these issues
as they relate to Aikido practice. I think that once one becomes aware
of how these different elements effect ones technique and how ones
actions and intention actually effect ones partner, then a virtually
infinite area for study opens up before you. If one aspires to take
ones technique from the merely physical to the realm of aiki, it is an
understanding of these elements that begins to get one started.
[Discuss this article (0 replies)]
[Download this article in PDF format]
|