ASU Winter Intensive with Shihan Mitsugi Saotome and Hiroshi Ikeda
Aikido Shobukan Dojo, December 26 - December 31, 2000

Contributed by Kay Sandacz*

Apparently, it's not just about technique.

Or so I might think after attending the ASU Winter Camp in Washington DC, with instructors Mitsugi Saotome shihan and Hiroshi Ikeda shihan. Aikidoka attended from Peru, Portugal and Turkey as well as Canada and all areas of the United States. Some could count their previous experience in months, others in decades. We were all there to learn more about this art we practice.

Saotome sensei began the week by pointing out that technique is not just a response to an attack. Rather, technique responds to the initial attack and prevents further attack as well. During the week, we practiced being attacked with a shoulder grab followed by a punch. Committing too expansively to dealing with the shoulder grab would leave one unable to deal with the punch that follows. Instead, we practiced "contracting our energy" or extending within small physical confines, allowing for further response as needed.

Ikeda sensei emphasized the distinction between movement and technique. We all begin to learn something new by haltingly stepping through the rough movement over and over. With time, we needn't be so consciously aware of which foot is where. It's a long way from there to technique, though. As we continue to practice the same movement, we have to add more if the movement is to become technique: move faster, move with better balance, understand our partner's response to our movement.

Further, a response to an attack should somehow change the situation if technique, rather than movement, is the goal; the attacker's balance must be taken, or his attention distracted. The aikido concept of not fighting can be interpreted as minimizing your partner's ability to fight by moving him to a position where he's unable to attack effectively. Often, we support our attacker's balance rather than disrupting it. Ikeda sensei points out that it's easy to balance on a moving train if you hold an upright post, but if the post were twisting or rotating, you'd be sitting on the floor much more often. By subtly shifting the orientation of his body relative to the attack, he takes control of the situation.

We also unbalance ourselves. Saotome sensei took us through a series of responses to kicks or foot sweeps, using a leg to block the attack. Lifting the knee for the block is almost impossible if we're bent over to watch the attacking foot. Instead, good posture allows both a greater field of view to perceive the next attack and the balance to respond to it. Ikeda sensei noted that we often use the arms exclusively to try to move the attacker once we've broken his balance. Extending the arms too far breaks our own balance. Using power from our center, so that the whole body moves as one unit, effectively controls the attacker without leaving us unbalanced.

Ultimately, the proof of technique is whether it works. Ikeda sensei taught an entire class of reversals: an attack, an attempt at technique, and the attacker finds the opening in the technique that lets him control his partner. The initial technique must be attempted sincerely, so that the attacker learns to feel the openings and take advantage of his partner's movement. As his sensitivity increases, he can be aware of these openings even when the practice isn't specifically focused on reversals. And eventually he can feel the openings in his own technique and close them.

Saotome Sensei spoke of the moment when both uke and nage are open; martial perception, our awareness of the situation, is our shield. Perception is more than visual. Saotome sensei refers to our skin as another brain, sensing contact, speed and intent better than our eyes might. The attacker's body language can tell us much about his intent even before the attack is initiated. These are the signals that allow us to be always prepared to defend ourselves without seeing an attack where it doesn't exist.

As a happy respite from restructuring my thoughts on technique, we had a party Saturday evening, with excellent and abundant food, great company and the musical stylings of Chris Royal (DC) on horn, Martin Aucoin (Nashville and Toronto) on keyboard, Jay Weik (Boston) on guitar, Bhagwan Khalsa (DC) on bass and Francis Thompson (not practicing aikido -- yet) on drums. The party was the ultimate example of the Aikido Shobukan Dojo members taking excellent care of their guests and I thank them for their efforts.

*Kay has trained for going on two decades, with the latest decade being at Inaka Dojo in Beecher, Il.