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Theories & Thoughts
Shikaku
Kuzushi
Classical Warriors
Why Test?
Rei Shiki
Just Relax
Changing Horses
Educational Additions
While jujutsu does endorse some linear techniques, the art is best known for its circular defenses. The literal translation of jujutsu implies a giving way or deflection in order to defeat an opponent. Perhaps a better translation than the “gentle art” might be the “art of flexible adaptation.” A trained jujutsuka will momentarily yield to an attack, flowing, absorbing and enveloping aggressive technique to unbalance and thus weaken the attacker. The classic principle of dealing with aggressive force is to push when pulled, pull when pushed or enter when pulled, and turn when pushed. Almost all jujutsu techniques will utilize one or more of these principles.
A fundamental strategy of jujutsu is to avoid a toe-to-toe encounter while striving to create an opening at uke's (the attacker) side or back. By entering the attacker's ma-ai at such an angle, his strength is nullified and his ability to counterattack is greatly diminished. This weak area in uke's defenses is called shikaku, the “dead angle”, a position from which defense is impossible. Shikaku in jujutsu is the perfect example of the theory of jujutsu: fast, practical and decisive. The skill and willingness to end a confrontation by whatever means necessary takes practice and mental preparation to acquire. With sufficient training and the correct attitude, the jujutsuka can handle any style or attack.
You can't be in any Akayama Ryu Dojo for very long without hearing the importance of kuzushi. While each successful throw is comprised of kuzushi (unbalance), tsukuri (fit), and kake (throw), a strong kuzushi can compensate for a weak tsukuri or kake. Kuzushi is what allows the smaller, weaker individual to overcome the larger, stronger opponent. Meeting force head-on will invariably reward the greater force and unless you've got some sort of guarantee that you'll always be the big dog in the yard, you'd better get in the habit of deflecting and redirecting. It's like Soke Marshall used to say: “STRENGTH FADES, TECHNIQUE IS FOREVER.”
The code of chivalry described the ideal European knight. He would be loyal to superiors, benevolent to those under him, knowledgeable of art and science, pious and God-fearing, willing an able to defend those weaker. The knight was cultured and multifaceted, much more than just an armored killing machine.
Bushido, or the Way of the Warrior, was the Japanese equivalent of chivalry. It also served as a guide for proper behavior and set goals for the Samurai. The Samurai was expected to be proficient in a wide variety of weapons as well as empty hand combat, know strategy, history, and philosophy while showing disdain for worldly gain or wealth. He was loyal unto death to his leader, fearless in battle and willing to risk all for victory. But he also displayed talent in poetry, art and song, and a deep appreciation for beauty in all its forms.
Needless to say, the ideal warrior in either culture was seldom found.
Akayama Ryu is a warrior art. Barlow Sensei often describes jujutsu as surgical violence. It is designed to prevent or deflect an attack with a well-placed counter attack or preemptive attack. Much as a surgeon uses a scalpel to excise a tumor, the jujutsuka uses a throw, strike, or lock to stop or redirect violent force aimed at themselves or others. It would be easy to see this violence as the full body of Akayama Ryu, but there is so much more. Students of Akayama Ryu are seeking to become better, wiser, and stronger through the study of jujutsu. We can look about us and see teachers, doctors, lawyers, and artists. Each student has gifts and talents that contribute to success in the dojo but reach far beyond. Akayama Ryu jujutsu attracts people who want to be better than they are. We are seekers on a quest to learn more, know more, do more. While the journey never ends, the final destination is still important and most of the students and teachers of Akayama Ryu realize the goal is perfection, both in and out of the Dojo.
Testing before a board of Black Belt examiners allows the student and the Sensei to gauge ability levels and to become aware of areas requiring attention and correction. While this is obviously stressful, the experience should be used to heighten our focus and create a state of mushin, where mind and body act/react spontaneously, but with direction and purpose. Literally translated as “no mind”, mushin can be thought as a state of cognitive awareness in which everything is observed and acted upon without internal debate or self-doubt.
Any situation that creates stress, whether in or out of the Dojo, can
be used to train the mind and body to relax and deal with the problem
at hand. Public speaking, a visit to the Doctor, dealing with unpleasant
or intimidating people... all of these should be seen as opportunities
to further your ability and focus. Proper breathing, an upright but
relaxed posture, and a positive outlook are all conducive to success
in the study of jujutsu and in life.
jujutsu trai ning requires a high level of concentration
and physical as well as mental exertion. While personal conflict is
to be avoided in or out of the dojo, the atmosphere can become tense.
In order to maintain control of our emotions and to head off potential
misunderstandings, the dojo observes rei shiki (etiquette). All martial
arts observe some rules of behavior before, during and after training.
While bowing is perhaps the most readily apparent display of rei shiki,
rules concerning courtesy and mutual assistance are of equal importance.
Simple things such as sitting in seiza and waiting to be acknowledged
before enter the workout area late display respect and proper attitude.
For that matter, not being late is also a great way for a student to
show that they think the class, instructor and the other students are
deserving of respect. Bowing before stepping on or off the tatami and
to your partners, addressing Sensei correctly, treating kohai with respect
and consideration and remembering to say “please and thank you”
are all expected and reasonable behaviors. Rei Shiki concerns not just
accepted ritual gestures but such qualities as modesty, compassion,
concern for others and a willingness to share experience and knowledge.
jujutsu is based on the principle of “ju yoku go
o sei suru”, the soft conquers the hard. By redirecting and blending
with an opponent's attack, the jujutsuka can use the opponent's strength
and speed against them.
When Japan was opened to the West in 1854, the effectiveness of jujutsu
was quickly realized by military and police forces from around the world.
Lafcadio Hearn, an educator and author who lived in Japan, wrote in
1891 of his introduction to this dynamic martial art. “I fear
I cannot explain at all, I can only suggest. Everyone knows what a 'counter'
in boxing means. I cannot use it for an exact simile, because the boxer
who counters opposes his whole force to the impetus of the other, while
a jujutsu expert does precisely the contrary. Still, there remains this
resemblance between a counter in boxing and yielding in jujutsu, that
the suffering is in both cases due to the uncontrollable forward impetus
of the man who receives it. I may venture then to say that in jujutsu,
there is a sort of counter for every twist, wrench, pull, push or bend,
only the jujutsu expert does much more than yield to them. he aids them
with a wicked slight that causes the assailant to pull out his own shoulder,
to fracture his own arm or, in a desperate case, even to break his own
neck or back.”
This is an excellent description by an untrained witness of the effect
deflection and redirection have on a determined attacker. Meeting force
with force will always reward the stronger, bigger adversary. By calmly
blending with an attack and turning the force back upon itself, skill
will
overcome size. Rather than a hard block, the jujutsuka will slap the
punch or kick slightly off-line, creating kuzushi and thus an opening
for a throw, joint lock, choke or atemi. The best jujutsuka make it
look easy and that is how it should be.
“There are more things in heaven and earth than are dreamt of in your philosophy.”
Shakespeare may not have been a martial artist but he
obviously knew a thing or two about the importance of diversity and
alternate views.
Pick any well known martial artist and it's probable that they have
studied more than one style. Chuck Norris started in Judo, switched
to Tang Soo Do, studied with Gene LeBell for several years and now trains
with the Machado Brothers. The Machado Brothers focus on their style
of jujutsu but have also studied Aikido and with Gene Sensei as well.
They all realize that no one system has all the answers or is appropriate
for every situation. This is not to say that one system can't provide
an effective means of self defense or teach competitive skills. But
there are different types of competition and different self defense
situations. Judoka would be poorly served by their training competing
under Olympic TKD rules and TKD is less effective for law enforcement
officers than jujutsu. Not a sleight on any art, just different needs
and environments.
Bruce Lee's views of the “classical mess” of traditional
martial arts is often quoted by students who drift from one style to
another. While Lee may be the patron saint of “no way as way”,
he was also a dedicated student of Wing Chun Kung Fu's Yip Man. Even
a cursory examination of Jeet Kune Do will show a great deal of crossover
of theory and application between JKD and Wing Chun. What separates
Lee from the great horde of self-promoted “grand masters”
is his innate ability to train with other gifted martial artists and
incorporated techniques appropriate to JKD. This is at the opposite
end of the spectrum from the 25 year old who trains 6 months in TKD,
six months in Aikido, decides what the best techniques of the art are,
attends a few seminars, buys all the new videos and declares himself
Soke of a “new and improved” system.
All martial arts have something worthwhile to impart, but it is essential
to grasp the basic theory and techniques of a single art or system before
adding new concepts. Establishing this foundation takes time and effort
but no true advancement will occur otherwise. In other words, you got
to build the first floor if you want the second floor to last.
Mr. Marshall made a point of inviting instructors from other styles
and schools to visit and teach. Students were given the opportunity
to explore other styles, discuss the attributes (and weaknesses) of
arts and spar in a friendly atmosphere. While this teacher might demonstrate
an interesting throw or that instructor might show an unfamiliar lock,
Mr. Marshall's students weren't shopping for schools to join, we were
studying these other styles to improve the art we already had. Akayama Ryu's
comprehensive and effective system has enough variation and flexibility
built in that the system can be adapted to any self defense situation
and many competition styles. That doesn't make it the perfect martial
art, rather it demonstrates the wisdom and vision of Alex Marshall in
developing a martial art that a wide cross section of society could
practice and use.
copyright ©2001-2003 Akayama Ryu Jujutsu