Update: create flow with neurostimulation – Radiolab 9-Volt Nirvana
Mihaly Csikszentmihalyi’s concept of flow is a good short-hand for what we should experience in moments of optimal performance. Moving-zen where the self dissolves. Aikido as an art aspires to the demonstration of effortless power – a visual presentation of flow. Resist teaching to the goal rather than to the logic of the necessary effects, otherwise empty choreography will result. This is a grave danger. First and foremost this is, and should remain, a martial art. Flow results from function and expert execution. Flow is not a goal per se but the consequence of dedicated practice.
Open Culture
However, in order to experience a fluid continuity – a progression of discrete iterations presented sequentially – we will explore the basic numerical progression of Aikido’s kihon: Ikkyo through yonkyo (#1 to #4). The very prosaic numbering implies a sequence, each technique is the back up plan for the other in a logical chain.
Ikkyo to Nikkyo (#1 to #2)
First technique – ikkyo – is a primary move and has been discussed in earlier posts. But as a reminder, it is first and foremost an interception. The emphasis on the interception needs be the triceps brachii and humerus. Because the triceps are used primarily for extension of the elbow, controlling the joint above the elbow is the key to locking the upper body and controlling a long weapon. However, the second hand must maintain contact at the wrist (and often it is the wrist-to-wrist contact that appears primary to beginners), but the contact is required because the biceps facilitate elbow contraction – allowing uke to escape ikkyo. Wing Chun practitioners may recognize this as a lap sao exercise.[1}
As uke retracts from the wrist-to-wrist contact, nage needs follow the action and keep contact. Resist the idea of maintaining ikkyo by grasping uke’s hand or forearm – this is a flow exercise and uke is feeding nage the sensory information to follow and inform the action. By maintaining connection, nage will take nikkyo. Often nikkyo is demonstrated by nage ‘rolling’ his wrist around uke’s hand. This is a beginner’s error.
When uke attempts to escape ikkyo, nage should slide his forearm toward uke while maintaining contact then with the back of the thumb acting as the trap (not a fook sao but rather silat #3) to capture uke’s thumb and then execute nikkyo. Nage’s arm pistons along the center line to execute the trap. Please note the hand controlling the humerus has never left uke’s triceps.
Nikkyo to Sankyo (#2 to #3)
Before nage can perfect the nikkyo lock – uke slides his thumb down nage’s chest to escape. Again, nage must forget the original goal of nikkyo and smoothly transition hands to snatch uke’s fleeing hand. This necessitates nage taking the hand that was controlling uke’s triceps, acting as the bracing hand in nikkyo, to then become the new control hand for sankyo.
Sankyo is a helical spiral. Starting with the small bones, nage must compress the fingers/metacarpal bones, then corkscrew them to lock the wrist, and once the hand/wrist lock is perfected, control the forearm bones to the elbow. Once the elbow is controlled then the shoulder and body can be controlled. It must be done sequentially because any failure to lock uke’s range of motion will allow a counter. As a training exercise by keeping your index finger extended it will show the direction your blade should flow – first bill sao to the eyes, then a quick rotation down to sever the femoral artery. If you are not properly targeting anatomy you aren’t doing a martial art. I would suggest however, that the proper lock in sankyo is a skeletal lock and not just a wrist lock – the original set up appears to have been a set up for a more devastating atemi (photo above) but then was debased into a wrist lock that may be painful to the uninitiated, but would not be a ‘master play’ since it will fail to immobilize the opponent’s full range of motion.
Trained opponents will flow the elbow as a counter to this type of partial impingement. But when done properly, the helical lock will allow nage to control uke’s entire body and then by focusing on using uke’s elbow as a sword to cut down as if severing the leg in a fluid motion. Without the full body lock this sankyo is impossible to execute. In the photo below note that nage is ready to use uke’s arm as a sword – in this instance one-handed. Practice this! A swordsman will have the hand strength necessary to execute this technique – do not allow other’s to judge you by their own dismal standards and abilities. Should you need to, grasp uke with both hands as if in hasso and cut.
Sankyo to Yonkyo (#3 to #4)
However, the flow sequence presumes uke drops his elbow before nage can perfect the lock. So, as uke drops the elbow and breaks nage’s grasp, once again nage must forget his original goal but continue to maintain contact with uke’s forearm in order to transition his hands to the yonkyo position.
This requires deft hand control and a fluid connection – uke must feel free to move so nage must hold firmly but, as was described to me, like holding a bird in your hands – you cannot let it go, but you do not want to crush it either. In the flow exercise we are exploring the contact is primary, but to execute the technique one needs to hit either the radial nerve (nerve impingement – pain control) or the flexor tendons (muscle control). Depending on the opponent’s size, strength, pain threshold, etc., nage must be adaptive in which manner yonkyo should be executed. But the terminal pin is typically done as shown below.
Note that the position will lead to a belly down position and uke could pull his arm back toward his own center – thereby starting the sequence over: nage can counter the escape with ikkyo. And thus the sequence begins anew.
Do not mistake this as a kaeshiwaza or henkawaza training – primarily it is a flow exercise to keep nage and uke connected. It is a sensitivity drill which should also teaches reference points – to allow both uke and nage sense when kaeshi– or henka-waza is possible. For that too implies an ouroboros regenerative cycle: kaeshi forces henka leading to kaeshi …
[I did not demonstrate in class, but one could also move from yonkyo to gokyo and gokyo to rokyo and then rokyo back to ikkyo.]
_________________________
[1] For Wing Chun terminology see >here< which is also copied below to ensure that the content is available
[2] I recall Chiba Sensei telling the story that O’Sensei changed his positional stance because a judoka once nearly swept his lead leg when doing nikkyo in this manner. New information informing technique and execution. This single photo serves to admonish the astute: the moment you think you know something coincides with the moment you cease to learn. Find out how to make it work – not why it won’t.
Protective Arts 
8 thoughts on “FLOW SEQUENCE”