Protective Arts

KIAI

Kiai (気合)

I have mused openly in the past about the disappearance of the kiai from Aikido. O’Sensei was reported to have a very powerful kiai that could be heard from miles away. Traditional arts continue to employ kiai, so why the downplay in Aikido?

O Sensei kiai and kotodama video

Kiai is ‘simply a shout,’ the forceful inner and outer projection of kokyu (controlled breathing), but it has applications, physical and mental, and spiritual. Kiai is generated by using fukushiki kokyu, deep abdominal breathing, and ki ryoku indicates the level of the practitioner’s coordination of body and mind. It is a perfectly concentrated burst of energy, only part of which is audible. It is, therefore, very easy to find mystical nonsense regarding kiai (video and narrative) that extol kiai as if it were an end unto itself. Nevertheless, for an American pragmatist, kiai can remain a critical aspect of training.

Traditionally, kiai is uttered when performing an attacking move.

O’Sensei in the “Secret Teachings of Budo”

#33 Master the voice that shouts “Yah” / See through to reality / Remain unmoved by the enemy ploys

This is tradition codifying sound physiology and psychology.

Physiology first: striking power is maximized through fluid motion combined with tension at the proper moment. Fluid because it will increase speed and tension because your fist/sword must convey the force effectively. Look to that sweet science of modern boxing. Note the timed short sharp exhales on the strikes. Power is amplified when breathing out. Simply try punching a heavy bag on an inhale cycle. Then try again with an exhale. Nothing mystical, just an acknowledgement of human physiology. It is an important skill – just like controlled breathing when taking that long-range rifle shot. So the kiai at the moment of maximum exertion reflects the kill stroke in the kata – a denotation: “this is when it happened.” This is exemplified in modern kendo which requires a good kiai for scoring.

Traditionally, this use of kiai is chu kiai, also called kakegoe or a kiai at the moment of impact, is deployed during the attack. Physiologically, the body is tensed against impact (exhalation). The kiai tightens the lower abdomen, diaphragm and intercostal muscles. The actual moment of focus is called kime and the attack at this time is called kimete, or deciding blow. The sound associated with chu kiai is ‘Sa!’ The culmination of many traditional forms conclude with a go kiai. This kiai is given after a technique to signify the intention of continuing combat if necessary, as well as continued intimidation of an opponent. The sound associated with go kiai is ‘To!’

But for me it isn’t the proper spirit that is primary, rather good physiology and logic: you must breathe out during strikes and throws and during movement. Try another simple experiment: try moving laterally quickly while breathing out, easier to do breathing in. In class with the sword I remind people, breath in while raising the weapon, out while striking. Punch the same way.

As an observation, even a well condition athlete who is new to training a martial art can easily find himself ‘winded’ during class. Why? It isn’t lack of cardio conditioning. It is that the pattern of breathing is wrong. Under stress people hold their breath or fail to breathe. One needs learn how to breathe properly to remain relaxed and also prevent oxygen deprivation. Therefore, incorporate kiai as a reminder to breathe properly. (And by showing exactly when to strike and breathe out, it forces the next cycle of breathing in.)

And what about the psychological impact? No matter how muddle-headed marketing wants to portray it, these are combative motions we train. As such, we need to recognize that combat is traumatic and scary. If you do not agree I submit you are either (1) a psychopath or (2) deluding yourself.

Therefore, the primal reason for kiai is a battle cry. A rebel yell. A galvanizing tool to simultaneously invoke uncertainty or fear in your enemy and instill moral courage in yourself and comrades. The initial kiai, is the sho kiai. Sho kiai is given before an attack to startle the opponent and to bolster one’s courage. The sound associated with sho kiai is ‘Ei!’

So what to make of those stories of the mystical power attributed to the shout of any given martial artist in the past?[1] I believe them insofar as I too have been out-psyched by teachers. Some of it is an artifact of training (in this context, the well-documented phenomena that humans attribute more perceived power to those in a position of hierarchical authority), but some of it is genuine recognition that this other person has more force of will. The Importance of Winning is real. A kiai is a simple vocalization of will. And sound has a powerful impact on us as humans. Think of the power of music. There is a great deal of literature out there on the reasons – go back and read Pythagoras to delve the mystery if you like, but suffice to say that sound can be weaponized. Have you paid attention to what happened in the US embassy in Cuba?

To continue with heretical thoughts: so why no kiai in modern Aikido? Marketing. The older instructors still used kiai, but the generation taught by Kisshomaru Ueshiba less so. Much like shedding kotodama and the more esoteric aspects of O’Sensei’s training, I think it was done to make Aikido more accessible to a wider audience: layer in old-school misogi training, add a dash of Oomoto religion and the attendance rate drops and your cult status rises. Frankly I think it was a shrewd business decision to help expand Aikido’s appeal to an international (and largely non-Japanese) audience.

There are sound reasons to incorporate kiai into training. But blind tradition is not among them.

LEONIDAS yelling — μολὼν λαβέ – best battle-cry ever!

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[1] Of course I go back to the Ancient Greeks for inspiration and provenance: Diomedes in the Illiad was know to have a powerful war cry and both the Hellenes and Akkadians entered battle shouting “Alala” (Ἀλαλά “battle-” or “war-cry”) which is reported to mimic the sound of an owl, but also refers to the goddess Alala who is the battle-cry personified and is the daughter of Polemos – a minor god of war. In T he Western Way of War, Hanson describes the sounds of battle, the limitations imposed by the Corinthian helmet on hearing and makes only a brief mention of the war-cries that he transcribes as elelelen (1989:149).

As a research suggestion, it seems that Western tradition might be at a higher pitch – be far shriller – than the Eastern traditions. If the ancient Greeks sounded like owls, and if Confederate soldiers yelped like coyote – it appears the eastern kiai is a low resonance, lower frequency shout. The high-lung vs low belly sourcing of sound?

A discussion with Master James Keating on this topic:

“Kiai that goes high note (bird sounds, screechs) cause the opponent to lighten, to rise, float even. Done close, right in the ear perhaps. Kiai that go low, bass growl w/ gesture low, cause enemy to sink, become heavy, induce fear (Infra-sound, tigers growl, vibrate). Face on – Don Angier knew a lot of this stuff. He knew my teacher David Harris, and Bernie Lau as well.

In silat, in some healing cults and animal training magicians = a shared trait – the breath is used as would a ki-ai. I mean like blowing out a candle or blowing a kiss to someone. Quiet. / IE: Air – a puff of air. Oddly enuff this is rarely spoken about. But it works well, beyond just some asshole blowing their breath in yer face, when seen metaphysically it is magic in a pure form. The breath – goes right in them, they feel it. It carries your mental command(s). Air, sometimes from a powerful blow which is deliberately held back a little and just the wind (force wave) hits the enemy in the face – so different it catches one off guard. They stop, daze-up and re-consider. An act of power, without power it’s just air and shall do nothing, personal power is a must in this game – the force behind the flow, the flow within the force.”

Further reflections from Master Keating:

The Voice is a martial power unto itself. To use the voice in training has always been a big piece of many martial arts. From cadence count to kiai-jitsu it is an element of training that not many approach in today’s MMA dominated world. Kiai is no longer used as much as it once was. Kiai not only serves as a ‘spirit shout‘ but as a form of breathing as well. This type of breathing can be done in a variety of ways. Kiai can be of a hissing nature, a sharp bark, a high pitched whistle, a low animal growl.

Some kiai cause a drop in the arterial blood pressure. Others can make a man go physically weak for a few moments in time. Of course we all know that a sudden noise can startle. But kiai can go beyond that mere effect. A kiai can help tighten muscles and deaden the force of a blow. Threat and faking can be produced from the kiai (spirit shout) as well. This is a sound based illusion, a seemingly real attack, but only sound. Physical attack first, retreat and use the voice as a fake, then attack with physical force and kiai together. A one, a-two, a-three type of setup. Force, confusion, illusion, sound and threat. Get’em now mate! Kiai is valuable when used right. When used poorly or over-used, it becomes cheesy and beginner-ish. Kiai controls pain too. Why do you think they teach women to breathe in certain ways during the birthing process? Pain control is why. Muscle control and concentration too. Stamina!

Weak kiai is also worthless, half hearted grunts & oinks simply won’t cut it. It invites a beating – learn to hiss and roar, breath fire and shit burning coals. Kiai gives many men courage. Breathing in the correct manner during actual combat sounds demonic to the untrained ear and mind. Chilling & threatening. And yes, if some loud noise surprises you or if someone uses a kiai against you, be sure that you immediately kiai (scream) back – fast and strong. Counter the effects of their shout by mirroring them, scream back even louder than their shout! Back at ya dude! Voice and kiai can become a sonic attack. Do some actual damage. This requires years of training the voice. Start slowly, you can fuck your voice up by over doing it. Slow and easy, build your voice power. It was said that the Aikido Master Tohei Sensei practiced his kiai in the mornings. Just as he would practice any technique. Intonation, kiai, mantra and chant – all equal breath & voice power. Some out there will point out that real Tai Chi doesn’t use any spirit shouts, just silent breathing. Ok, but then explain Tai Chi’s “hen and ha” sounds – yes, important elements many tai chi players today leave out. But why? What about each organ having a sound, tonification is the idea. Sound – vibration. Vibration is just about everything that exists!

There are some universal breathing forms out there. Iron thread set, san chin, tensho, go cho kuen, yogas praniyama and more. I’ll say again, voice and breath are partners. Some think that Sanchin kata is a form which only certain types of Okinawan karate use. But, Kung fu also uses the Sanchin form. Here is an interesting comparison between Kung Fu, Karate and its variations. I have done Sanchin & Go Cho-Kuen since I was a boy. White Crane as well. So these sets and the breathing they teach are my friends. I could go on and on about how they develop you. How they change your physical body – similar to the I-chin-ching muscle change classic.

Here are some further insights you may find helpful. Then again, some will not, they will mock this stuff as the fools they are. So be it then, no offense taken.

KATADORI MENUCHI

Kata dori menuchi must start with a proper grab >review< to set the logic of the encounter. Uke initiates the action by grabbing the nage’s lead shoulder (because it is closest) and performs an overhead strike (shomen uchi) with the back hand.

Although nage’s shoulder is grasped, the arm remains free to move. Watch Yamada sensei >here< as a good reminder on immediate responses (starts at 0:55), but for pedagogical simplicity, we explored only the direct intercept where nage receives uke’s strike by raising the grabbed arm so that the encounter is a RvR encounter.

The timing and sequence of actions is important. As a training exercise simply being able to remain stable and balanced as uke grabs the shoulder and draws nage forward and down is an invaluable lesson. Nage must be well-connected to the ground and have a tight hara to resist the grab attack. Next as the overhead strike is delivered, nage must intercept the arm by shooting in. There are three basic times for nage’s response. In superior time, nage strikes uke as soon as uke grasps the shoulder – this forces uke to block nage’s strike. In proper time (the kihon presentation), nage will anticipate the strike and be able to execute ikkyo omote. With inferior time, nage is responding to uke’s descending strike and must turn ura to escape the hit.

Starting with tanren geiko to develop proper grounding, uke starts with the grab and both players match the strikes to ensure good dynamic tension. Uke should be applying two vectors of force – a downward descending draw on the shoulder and then a constant vertical force toward nage’s head. To resist those forces, nage’s raised arm needs replicate a sword (the unbendable arm concept). This locks the players into dynamic tension. From that state of tension both players are engaging good kokyu.

By starting from a point of tension, both players can start to feel how and where the axis of the encounter is created. Nage will have to adjust his arm to keep tension without allowing uke to dominate and collapse the structure. Both players will have to use shinkokyu movements, shifting their centers slightly forward and back and rotationally through their hips to keep good dynamic tension. Each equally is responsible to better develop each other’s center (hara).

After establishing a good base contact, the first exercise. Nage will need to shift forward to destabilize uke (take their center) creating a rebounding energy when uke then comes forward again. At that moment, nage turns his hips in place and drops to one knee

kata menuchi 3.jpg — Kata dori menuchi kokyu nage

while keeping the arc of his arm to throw uke forward.

Kokyunage is foundational because it forces a constant dynamic tension throughout the entire encounter. Should uke release tension, nage should immediately strike either throat or groin (bunkai). Should nage release tension, uke will strike men (the head) because that was always uke’s intent.

kata menuchi 1.jpg — Shomen or atemi – same problem to solve

The in-place hip rotation forces nage to learn to avoid the strike with a tight arc of movement. This use of the hips will allow for more subtle responses in ikkyo.

Katadori menuchi ikkyo is the progression. With kokyunage, nage learns to receive the pressure of uke’s attack. With ikkyo, nage must control the encounter. The subtle rotation of the hips can lead uke forward (receiving), or shinkokyu entry can shift uke back (dominate), or nage can soften his knees (breaking plane), or all simultaneously to disrupt uke’s attack. These refinements of response can only be learned through time on the mat. For ikkyo, nage should receive uke’s strike with the flat of the blade (the back of the forearm) and only after nage disrupts uke’s balance should nage return uke’s cut with the shyuto (edge out). The combination of a horizontal dissipation/return with the hips plus the camming action on the arm creates the power of ikkyo.

The ‘ura‘ variants are nothing more than a continuity of motion created by uke’s superior pressure or speed. Nage must absorb the energy by moving with the strike to avoid being hit.

From katadori menuchi ikkyo ura, we flowed to iriminage. In terms of levels of training, the kihon presentation should show large arcs of motion. In and up to receive the initial strike, rotate and down precipitously to draw the response, up again as uke recovers, then nage rolls over the arm to reverse the direction. As nage develops sensitivity and control, the arcs become smaller and less perceptible – with only enough changes in pressure to elicit a response from uke which dictates the responses to lead to the conclusion of the throw.

But all these distinctions are necessary fictions of pedagogy. Each lexical marker (ikkyo, ura, irmi, etc.) is trying to provide a framework to better understand a logic chain. The ultimate goal is to respond ‘appropriately’ which means dictating the encounter from the start.

SHIHONAGE

The opening move of san no tachi begins with both players connecting their ken near the kissaki. Keeping the connection flat to flat, the initial move is to snappily turn uke’s blade off-line and cut the thumb while simultaneously sliding to the flank. Nage’s right hand started vertical (seigan no kamai) and now has turned nails down to cut ‘do.’ Done properly this is all that is necessary to win: either uke has lost a thumb or was eviscerated, or both. So it is with sword fighting – maximum results with minimal movement.

RvR (ai hanmi) is the primary set up but RvL (gyaku hanmi) is a potential. The technique is the same just done on the opposite side of the sword. The movement pattern is simple, but it does require proper timing, pressure, distance, and speed: all the messy variables that we are learning to control and control for.

And because things that can go wrong will, we need a back-up plan. In this situation, continuity of motion is the plan. Nage follows the do cut by stepping through (across and in front of uke) while raising the sword jodan to pivot quickly 180-degrees and deliver a shomen strike to finish off uke. Of course, if uke was incapacitated by the first strike, the secondary flow cut could be delivered to any of nage’s four primary quadrants (front, left, right, back) hence shi-ho-nage (4 direction throw).

We have covered shihonage as a technique and this elaboration is to tie back to the foundation in weapon play.

The sword play correlates directly with aihanmi and gyakuhanmi shihonage. In a RvR/LvL situation nage must counter grasp with the thumb acting as primary control. With uke’s arm controlled by nage’s firm grasp, uke’s arm becomes nage’s sword, uke’s elbow is the kissaki which nage draws across uke’s belly. Gyakuhanmi as a RvL/LvR simply changes nage’s initial control from his thumb to the shyuto (hand blade). The gross body motions remain the same – control uke’s arm by treating it as if it were a sword while flanking.

The details of effecting the throw depend upon which part of uke’s body nage controls better. The kihon version focuses on a wrist control. Nage must forcefully fold uke’s wrist down and drop precipitously – this is a tight cut which would, if done with a sword, result is the tip snapping down and the hilt rising, a battle field cut. Kihon is a wrist lock to ensure that uke’s elbow remains close to vertical, preventing a counter.

The throw typically taught as advanced is an applied lever. In this version rather than nage forcing uke’s wrist into a bent lock, nage allows uke to maintain a straight wrist. Nage can execute this version of the throw one-handed. The elbow is the fulcrum and the force of the cut is delivered when nage extends his hand out and down while raising his elbow – this is an extending or arcing cut. It works on a larger surface area than the kihon version which is an isolation lock: entire arm vs distal wrist.

These details, just like the examination of any variables are best explored in the dojo.

So the contact exercise of katatedori mimics the initial blade to blade contact. Stepping back in time to the point before contact is made becomes tsuki. We must now work to establish contact. Chudan tsuki is the first variable to defeat. The two primary means are a traditional ge-dan-uke karate block (back hand cut-over / aihanmi) or a front-hand brush block (gyaku hanmi). Which method is used is contextual based on the initial starting position and rate of approach. This cannot be a ‘block’ that deflects uke’s strike too far off line but rather is a means of establishing contact to gain connection that leads to control.

From tsuki the initial response is not immediately to shihonage, but rather udekiminage. With contact established nage must execute two beats in linked succession to trap uke’s elbow hyper-extension in order to break it. That is the combative goal (defang the snake). The challenge of executing a three-beat counter to a single beat attack is that uke will have time to react. Done brilliantly, nage will disable uke’s elbow before uke can react, but uke will attempt to preserve his elbow by contracting it. As soon as uke contracts the elbow, nage will be able to execute shihonage as a back-up. Always have a back-up plan.

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Developmental exercises from Chiba sensei – gyaku hanmi shihonage

Study how tight the turn and use of the forehead as axis

Chiba sensei told the story on how a judo expert attempted to sweep O’Sensei’s lead leg while he threw shihonage, so O’Sensei changed how he entered for the throw:

An absorbing footwork rather than a direct entry. (Chiba sensei, nevertheless did not often present the entry in that manner…)