For all its elegance, Aikido is not a Ryū -流, – a complete art. Its formal curriculum lacks a full set of techniques at every range – maai “interval.” This is a simple observation, a discussion of fact, not a normative evaluation of its merits.
Like most traditional martial arts we are discussing contact range – close quarters combat. Meaning, the combatants are within the orbit of the human body. A true Ryuha would need to have all battle field ranges, and therefore include training in the use of rifle, bow and arrow, javelin and other skirmisher weapons; training for different terrains; siege weapons; in short the art of warfare. Modern martial arts specialize in monomachy (L. monomachia < Gk. monomakhia, from monos ‘alone’ + –makhia ‘fighting’).
As a generalization, Aikido at its most dynamic specializes in the kicking range. Ironically, Aikido has a paucity of organic tools at kicking range because of history. The metaphor in Aikido is that the techniques are ‘like’ or ‘based upon’ sword and spear, therefore the presumptive range of engagement is greater than that of a ‘naturally’ unarmed art. The beauty and flow of the Aikido derives from its origin from older arts that assume armored and weaponized engagements. Battlefield engagements assumed a spear, katana, or tanto. As such, the specific angles of attack, targets, and ranges are circumscribed by the history of the art. This is not an indictment, but rather an explanation of the techniques in the curriculum.
However, sticking to a sclerotic understanding of the art – an assumption that the art is the compendium of its techniques only results in a self-imposed (and limited) understanding of the principles of motion. For our purposes, at close-quarters-combat there are the general four ranges to consider with the tools at each range:
| Range | Tools – body / [augmented] |
| Kicking Range | Foot / [sword] |
| Boxing Range | Hands, fingers / [dagger] |
| Trapping Range | Head, teeth, shoulder, elbows, forearm, hand, knees, shins, feet / [folder] |
| Grappling Range | Teeth, arms, legs / [folder] |
Please remember these are concepts and therefore generalizations. As a general rule – the longer the range, the fewer organic tools available. As the range closes, more elements of the body can be deployed, until we get to grappling range, when the possibilities again begin to diminish.
One can quibble over the specifics, but in broad strokes there are arts that specialize at each range (e.g., Tae Kwon Do at ‘kicking’, Western boxing at ‘boxing,’ etc.). This is not to circumscribe an art but rather acknowledge a tendency to specificity. Hence the need to look to those arts that more readily express a systemization across all ranges – or more simply to look for universal lines of motion that work at any and all ranges and across multiple types of mechanical tools (aka weapons).
This morning we continued to explore kata dori. Starting with the kihon presentation of kata-dori ikkyo‘s entry to practice the ‘box step’ pattern of in (atemi), flank (draw), enter. This is the beginner’s range – teaching precise movements and eliminating variables. Please note, however, that this presumes a static encounter – starting a grappling range where the expression of movement is at its greatest number of possibilities, but we select a very specific (delimited) response for ease of training.
We then moved to kicking range – the ‘advanced’ presentation where the grab is intercepted before contact is made. The elegance of Aikido is expressed here because the range allows us to focus on ki-musubi – the harmonizing of action between uke and nage. As uke enters for the shoulder/lapel grab, nage can perform a leading ushiro-tenkan movement while deploying a palm strike that flows naturally down to the grabbing hand’s elbow as a control point. Last class we worked the nuances of the shuyto and the camming action – and all those lessons still apply. From this basic line, we then started to explore a five-count response.
As tori approaches for the kata-dori (or jo-dan tsuki) attack, nage executes an ushiro-tenkan movement while (1) executing a palm strike to elbow control (2) then a back knuckle with the same hand, which will cause tori to react – as the head moves away, tori’s grabbing arm will naturally raise, allowing (3) nage’s free hand to move from low-line to control tori’s elbow and then a quick 2-beat where nage then (4) replaces his hand control on the elbow and (5) the newly freed hand then performs a femoral strike. (A great visual reminder of the principle as shown by Tissier sensei on a three-beat at about 2:35)
We then moved back to a trapping range presentation. This time, as tori approaches for the grab, nage enters irimi – a step with the back foot into the approaching arm. The challenge is to continue to face tori with your torso while the lower body (waist down) enters at an angle – this is a brisk move – a stop-hit. I also showed this irimi action as a kick with the advancing leg to tori’s lead leg. Done properly it is invisible to tori and highly effective: done forcefully, it will destroy tori’s knee while you simultaneously execute a cut to tori’s arm or neck (whichever is closest). This pattern is really no different from the five-count at kicking range. Merely an advance to close and ensure effective trapping vs the ushiro tenkan to absorb at kicking range.
Master Keating made the following observations about knife fighting specifically but it applies to ranges in general:
Most styles of knife fighting have some sort of footwork as part of their overall instructional format. For the most part knife men are ambitious, active and always on the move. It’s the nature of the game. To some observers a knife man’s footwork when seen in action can appear to be “nervous” or “flinchy”. Well, duh… it IS a knife fight after all! So indeed one gets a little jumpy and reactionary in such a situation. The price for being too complacent could be serious injury or death! We hear such ancient axioms as “a moving target is harder to hit” and “attacks made while in motion are harder to detect by the opponent”. Yes, all true. Most men fight this way because it comes naturally, it is all they know, instinct and fear are their mentors! It keeps them alive and that’s what counts. The trained knife man uses advanced principles along with his natural instincts! This makes a truly impressive package of defense.
The footwork and body mechanics of the long range methods are different from the footwork and body mechanics of the close range fighter. Long range is mostly a side-fighting method like fencing (little physical pressure). Close range is head on, squared up to the opponent like a football player (American football) (heavy physical pressure). Learn to shift in and out of ranges. Adjust body mechanics and footwork accordingly. Be able to click in and out of the “killer instinct” mode that Vu used to speak about. He wrote a book too. Be able to adjust to that path of behavior as part of the range changes.
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Vu = Paul Vunak
Protective Arts 