The Reducing Violent Tendencies

Published Date: 02 Nov 2017

Specific problem: How can Aikido lessen one’s violent tendencies?

Thesis statement: Aikido can lessen one’s violent tendencies through harmonizing rather than confronting, instilling self-defense, and transforming aggression into cooperation.

Here are some background information on martial arts and Aikido.

The media has created a violent image of the martial arts.

Aikido is also known as "the art of peace".

There are three ways on how Aikido can lessen one’s violent tendencies.

Aikido emphasizes harmonizing rather than confronting.

Ki or inner energy is employed in techniques to promote harmony.

Musubi is the ability to blend with the movement and energy of the partner.

Grabs provide physical contact between partners so that energies of the uke and nage can be combined.

Two basic movements in Aikido, the tenkan and the irimi, are maneuvers that have interpretative meanings.

The purpose of training in Aikido is to challenge oneself and improve rather than intimidate or indulge in ego.

It instills self-defense.

The highest level of self-defense ethics is the goal of Aikido.

Techniques involve neutralizing and controlling the attack of an aggressor.

Competition is prohibited since Aikido is geared towards mutual benefit for all involved.

Aikido’s locks and throws are effective tools of self-defense.

Locks and throws are a way of reconciling with the aggressor.

Although locks and throws may appear devastating, their purpose is to prevent injury.

Proper demonstration of techniques is necessary so that both individuals can arrive at a safe conclusion.

It can transform aggression into cooperation.

An Aikido partnership is like a whetstone and a knife.

Mutual respect is paramount in training.

Cooperation means attacking and receiving the attack sincerely.

Techniques utilize the attack as the source of defense.

Aikido can be used not only in situations which require physical self-defense, but also in everyday situations.

Aikido prevents one from reverting to aggression and violence.

Often, when one hears the term "martial arts", images of deadly techniques, flying kicks and power-packed punches come to his mind. Sadly, these violent preconceptions about the martial arts can be largely blamed on the information popularized by the Western media. Bolelli (2008) hypothesized that "the unfortunate aspect of martial arts’ public image is that the media are the main source of information about martial arts for the vast majority of people." Through commercialization, Western media has altered the image of the martial arts and flaunted it as a brutal means of defeating the enemy. As soon as one hears the term "martial arts", the first thing that registers in his mind is ferocious combat skills. However, martial arts, lethal as they may appear, are aimed towards philosophical intentions and not for showing off violent attacks. As a matter of fact, one particular martial art is inclined towards peace and resolution.

Aikido is a Japanese traditional martial art which was founded in 1925. Its founder, Morihei Ueshiba, also known as O’Sensei or the Great Teacher, calls it "’the art of peace’" (Kroll, 2008). Aikido is literally translated as "the way to spiritual harmony" (Ueshiba, 1984). Thus, it is considered as a nonviolent martial art. Aikido took its roots from various martial arts which include traditional sword fighting, spear fighting, jujitsu and aikijutsu but blossomed into a different martial art (Westbrook and Ratti, 1970; Kohn, 2001). It is classified under budo, which "include martial arts that include those martial practices that lead toward personal growth or even self-transcendence by incorporating the additional dimension of spirituality (Brawdy, 2001)." It is also categorized under the internal arts, which are not taught with combat as its goal (Bolelli, 2008).

"Westward from the Orient have come many tales of strange forms of power—of strength like that of ‘massed wind or water’ sweeping everything away before it (Westbrook and Ratti, 1970)." In Japan, this power is called ki, and this originates from the hara (center of gravity), which is an area two inches lower than the belly button.

The use of ki or internal energy allows a practitioner to practice effective technique without resorting to the use of pure muscle strength or becoming tense. Monks, martial arts students, scholars and even some medical men have displayed and talked about ki. Though numerous authors find explaining ki very difficult, it is believed that everyone possesses ki, but only some can intentionally channel it (Westbrook and Ratti, 1970). One of the many goals of Aikido is to unify individual ki with universal ki to attain the highest form of harmony (Fagianelli and Lukoff, 2007).

Musubi, loosely translated as "unity" or "harmonious interaction", is Aikido’s core principle. It is the ability to transform an antagonistic encounter into a peaceful situation. It is practiced in interactions between people, whether recognized or not. In Aikido training, it is practiced through unifying physically and mentally with the partner’s movements. Physical and ethical goals are practiced simultaneously. Each movement is a physical expression of harmony (Kroll, 2008). Musubi leaves a person feeling harmonized with the universe, and in training, makes controlling encounters for the better simple (Saotome, 1989). "Without Musubi, Aikido is not Aikido but just another way of fighting (Saotome, 1989)." This is practiced in grabs, and the two maneuvers, tenkan and irimi.

Although advanced students are seen doing hard throws and strikes, grabs are used in Aikido since the beginner will not feel comfortable with actual attacks like punches and kicks. He will not be able to execute the technique properly and will resort to using brute strength and muscle power. Grabs, however, let the beginner become at ease with the attack and focus on the movements necessary for the technique. Furthermore, partners experience what makes a technique effective through the physical contact provided in grabbing. Musubi is the governing principle in grabbing. Grabbing causes the uke (one who does the attack) and nage (one who receives the attack and performs the technique) to combine energies. Nage absorbs uke’s energy, and through this, he can harness both his and uke’s energy to carry out an effectual technique.

Blending with the attack can also be seen in Aikido’s two basic maneuvers: tenkan and irimi. "Irimi" means "to enter". It is a maneuver for moving outside the line of attack and then entering to perform a strike. "Tenkan", on the other hand, means "to circle away". It is a maneuver that involves stepping to the blind side of the aggressor then pivoting in a circular motion. Tenkan and irimi are the yin and yang of Aikido. Tenkan, the gentler maneuver, is the yin, while irimi, the somewhat harsher movement, is the yang (Kroll, 2008). Like yin and yang, these maneuvers are parts of a whole, and thus called as the irimi-tenkan (Saotome, 1989).

According to Raposa (2003), "tenkan represents…a literal and symbolic turning away from confrontation with the other in order to experience what the other sees (Kroll, 2008)." Thus, harmony is achieved through tenkan as both individuals get a glimpse of each other’s perspectives. In contrast, irimi is somewhat preemptive. For this reason, it is the somewhat harsher movement. For non-practitioners, irimi may appear as a direct clashing of forces; however, it involves tangentially entering the aggressor’s line of attack. This is to put an end to the aggressor’s attack before it gathers its full power. The attacker’s movement is thus redirected using the irimi, and the attacker sees himself in a situation he did not expect to end up (Kroll, 2008).

Through practice, musubi is exercised and the practitioner learns to apply its principles in challenging situations. It trains the mind to retain its calmness and the body to become stable and quick to respond. Thus, mind and body become united through continuous training. A united mind and body working together is a manifestation of musubi.

Aikido training causes the practitioner to concentrate on improving the self physically, mentally and morally. It does not intend to intimidate others or amplify one’s ego. Aikido training, like a fire in a forge, molds raw metal and transforms it into a work of art (Saotome, 1989).

"As a self-defense art, Aikido recognizes that one individual attacked by another has the right…to defend himself against that aggression (Westbrook and Ratti, 1970)." However, the definition of "defense" in Aikido is very different from other martial arts. A unique characteristic of Aikido techniques is that the defender does not start the attack. The highest of self-defense ethics is the goal of Aikido. Aikido’s manner of defense involves neither attacking nor provoking an attack, and defending oneself without causing either death or injury to the aggressor. This is attained through thorough training and a high level of skill and discipline. A violent act can be reduced quickly, efficiently and with evident control through the correct demonstration of Aikido. Through the proper practice of Aikido, defending oneself without the need for imposing severe damage on the attacker becomes achievable (Westbrook and Ratti, 1970).

According to Penrod in 2001, "the term ‘opponent’ is never used in Aikido (Quinn, 2001)." There are no tournaments in Aikido since mutual benefit, the highest form of self-defense ethics, is the ideal outcome. In tournaments, physical strength becomes the sole basis of skill. If this happens, the spirit of Aikido will be lost and will contradict its goal and purpose of refining the human spirit (Ueshiba, 1984). Tournaments lead to inflating one’s ego, and this will never bring about conflict resolution. Real Aikido, however, teaches the strong to aid, lead and foster the weak so that both become stronger in their physical and overall being (O’Connor, 1993).

Through Aikido’s lock and throws, reconciliation with the aggressor is made possible. This is given much emphasis. Nage treats uke’s attack as a gift and uke consents to do a fall that matches the force released in his attack. A student does not pass a belt test if he is not able to do an appropriate pin or lock (Quinn, 2001). Locks allow the defender to inflict on the aggressor a slight amount of pain for a short period of time, or put him in a hold so that keeping him under control would be possible. Pain functions as a warning, makes a person’s body become rigid and, leads to the success of a technique if applied at just the right amount of time (Westbrook and Ratti, 1970). Martin in 2004 declared that "with the pin, nage keeps control until releasing the uke appears safe." Throws, on the other hand, are more applicable in many-to-one combat (randori). These allow the defender to perform techniques on one attacker and then move to the next. Also, throws give the attacker an opening so that he can run away if he wishes to (Martin, 2004).

Locks and throws may appear lethal, but they are practiced to prevent injury. A student practicing Aikido for the first time said that once he was put in a lock, he realized that he was not at risk of being harmed (Kroll, 2008). Following the body’s typical movement is the principle governing all the techniques. Twisting the joints within their typical extent of motion breaks the aggressor’s balance, causing him to fall, but without imposing damage on the joint. Locks are also governed by the same concept, and these techniques can, with minimal effort, be applied to anyone regardless of size (O’Connor, 1993). Nevertheless, the safety of the techniques still depends largely upon the doer. Practicing without inflicting physical damage to a person is a moral obligation, since damaging a person will have terrible ramifications. For instance, fracturing a surgeon’s fingers would mean destroying his means to make a living (Saotome, 1989).

Homma (1990) writes that "an Aikido partnership is like a whetstone and a knife". One should become not a rival or dummy, but an instrument for the improvement of the other. This can be achieved through exercising mutual respect and cooperation.

Mutual respect is paramount in Aikido; thus, practicing with different types of people can prevent students from forming unpleasant opinions about others. For this reason, the frequent changing of partners can be readily observed in Aikido classes (Homma, 1990). Partners come from different age groups, build, occupations and personalities. It is therefore necessary that one remembers to respect his partner’s capabilities and restrictions (Saotome, 1989). Both individuals should take turns becoming uke and nage so that both can experience doing each technique and fall.

Mutual respect is also shown in bowing. A practitioner bows before entering the dojo or practice hall, before stepping onto the mat, before the class starts, after the instructor presents a technique, before practicing with a partner, after practicing with a partner, after the class ends, and before stepping off the mat (O’Connor, 1993). In many religions, bowing is a sign of adoration. However, Japanese culture regards bowing as a sign of respect (Young, 2009); thus in Aikido, it should not be treated as a sign of worship (Levine, 1989).

Since the instructor (sensei) cannot personally guide each individual student especially in a large dojo, the senpai (senior student) must assist the kohai (junior student) in doing the techniques properly. Junior students must never oppose his senior, and must remain attentive to what his senior teaches him (Saotome, 1989). He must maintain a "beginner’s mind" (shoshin), a modest yet inquisitive state, so that he remains receptive to countless possibilities (Liu, 2003; O’Connor, 1993). In contrast, it is the senior’s responsibility to guide the beginners in their first days of training and give them a positive experience (O’Connor, 1993). Senior students must make use of their rank to gain the respect of his juniors, and not to use it as a way to embarrass, intimidate or behave haughtily towards his juniors. The hierarchy prevailing in the dojo is not a license to overlook the indispensable respect you should give each person (Saotome, 1989).

Cooperation is likewise one of the key factors in an Aikido partnership. In an Aikido dojo, an environment of cooperation is essential. Cooperation means working together. This, however, does not necessarily suggest submitting to the inclination of the partner. Cooperation is essential for the reason that the techniques may cause serious damage to oneself, to the partner, or to fellow practitioners if one is not careful. Techniques should thus be performed with honesty and attentiveness (O’Connor, 1993). Saotome in 1989 expressed that "partners provide each other with the chance to face a hypothetical attack and resolve its problems. Uke’s attack must be sincere and without malicious intent—just pure. Nage, in turn, must never inflict injury or show disrespect to uke, who has put himself in nage’s power."

Through exercising this type of cooperation and respect, each student becomes a tool for his partner’s progression. He, in turn, develops self-confidence and becomes very capable of adjusting to his partner’s movement, however fast and powerful they may be. Thus, he has more opportunities to refine his movements and cope with whatever attack done to him.

An Aikido technique utilizes the aggressor’s momentum produced by the speed and direction of his starting movement to break his balance. The swifter the movement of the aggressor, the less control he has over his movements and the less difficult it is to put him out of balance (Westbrook and Ratti, 1970).

Though Aikido is more known to be used in circumstances which require physical self-defense, its principles can also be used in more familiar situations. In Conflict Resolution Using Transactional Analysis and Aikido, Martin (2004) shares his friend Bob’s most memorable Aikido experience. Bob was talking to his friend, Joe, about Aikido. Suddenly, Joe pointed his gun at Bob and asked, "And how does Aikido help with this, Bob?" Although taken aback, Bob reacted calmly by going to a safe spot while smiling to Joe and saying, "Nice gun, Joe. Can I have a look at it?" Though Joe was surprised, he handed the gun to Bob and began talking about it. Bob emptied the magazine while Joe was unaware. After a while, Bob handed Joe the gun and both of them went back to work.

Bob’s approach to the situation embodied the principles of Aikido. He did not respond to Joe’s challenge in an aggressive manner, which could have caused harm to either or both parties. Instead, he used the confrontation as a gift and tried to find his way around it. Furthermore, his response resulted to mutual benefit, which is the goal of Aikido. Joe’s desire for attention was remedied, and Bob avoided getting into trouble (Martin, 2004).

Aikido encourages harmony, self-control, cooperation and respect (Levine, 2010; Hackney 2010). It allows a person to operate interpersonally and teaches a person to concentrate and approach problems in a positive manner. Moreover, it has been proven to raise self-confidence and self-esteem (Morand, 2004). Martial arts, in general, provide a "tradition of discipline and self-control….It allows adolescents to see various ways of dealing with aggression when frustrated or under duress (Burt, 2012). Therefore, it is no question that it can be used as a movement-based therapy for aggressive youth (Twemlow, Sacco and Fonagy, 2008).

The continuation of Aikido lies in the hands of its practitioners. Thus, each practitioner must uphold its goals, namely: (1) enrichment of the human spirit and promotion of peace, and (2) avoidance or end of conflict by stopping one from relapsing into aggression and violence (Saotome, 1989). If Aikido is practiced without these goals in mind, then one is not practicing O’Sensei’s art, but simply copying meaningless self-defense movements.

Hackney, C. Ph.D. (2010). Martial virtues: Lessons in wisdom, courage and compassion from the world’s greatest warriors. Hong Kong: Tuttle Publishing.

Homma, G. (1990). Aikido for life. California: Blue Snake Books and Nippon Kan.

Bolelli, D. (2008). On the warrior’s path: Fighting, philosophy and martial arts mythology. California: Blue Snake Books.

Saotome, M. (1989). The principles of Aikido I. Wellington, (Ed.). USA: Shambhala Publications, Inc.

Burt, I. (2012). An innovative approach to working with angry adolescents using therapeutic principles and martial arts. Ideas and Research You Can Use: VISTAS 2012, 1.2, 1-10. Retrieved from http://www.counseling.org/resources/library/vistas/vistas12/Article_55.pdf

Kroll, B. (2008). Arguing with adversaries: Aikido, rhetoric and the art of peace. College Composition and Communication, 59.3, 451-472. Retrieved from search.proquest.com/docview/220691431?accountid=141440.

Levine, D.N. (1989). Martial arts as a resource for liberal education: The case of Aikido. Featherstone, M., M. Hepworth & B. S. Turner (Eds.), The body: Social processes and cultural theory (pp.209-224). London: SAGE.

Fagianelli, P., Ph.D. & D. Lukoff, Ph.D. (2007). Aikido and psychotherapy: A study of psychotherapists who are Aikido practitioners. The Journal of Transpersonal Psychology, 38.2, 159-178. Retrieved from http://www.sofia.edu/aikido/jtpaikido.pdf.

Martin, P. (2004). Conflict resolution using transactional analysis and Aikido. Transactional Analysis Journal, 34.3, 229-242. Retrieved from http://search.proquest.com/docview/207373416?accountid=141440.

Westbrook, A. & O. Ratti. (1970). Aikido and the dynamic sphere. Hong Kong: Tuttle Publishing.

Brawdy, P. (2001). Exploring human kindness through the pedagogy of Aikido. Paper presented at the Annual Meeting of the American Educational Research Association, W. A., Seattle. Retrieved from http://www.eric.ed.gov/PDFS/ED451451.pdf

Kohn, D. (2001, July/August). The kabbalah of Aikido. Tikkun, 16, 53-56. Retrieved from http://search.proquest.com/docview/212271979?accountid=141440.

Liu, K. (2003). Making meaning through a martial art. Leadership in Action, 23.5, 22-23. Retrieved from http://search.proquest.com/docview/215549230?accountid=141440.

O’Connor, G. (1993). The Aikido student handbook: A guide to the philosophy, spirit, etiquette and training methods of Aikido. California: Blue Snake Books.

Twemlow, S.W., M.D., F.C. Sacco, Ph.D. & P. Fonagy, Ph.D., F.B.A. (2008). Embodying the mind: Movement as a container for destructive aggression. American Journal of Psychotherapy, 62.1, 1-33. Retrieved from http://search.proquest.com/docview/213112136?accountid=141440.

Young, D.A. (2009). Bowing to your enemies: Coutesy, Budo and Japan. University of Hawaii Press. 59.2, 188-215. Retrieved from http://search.proquest.com/docview/216886926?accountid=141440.

Levine, D.N. (2010). The Aiki way to therapeutic and creative human interaction. Aiki waza michi shirube. The University of Chicago. Retrieved from http://www.donlevine.com/uploads/1/1/3/8/11384462/aiki_waza_8-9-12.pdf.

Ueshiba, K. (1984). The spirit of Aikido. (T. Unno, Trans.). Tokyo, Japan: Kodansha International, Ltd.

Quinn, T. (2001). Japanese art of Aikido answers conflict with balance. The Oregonian. Retrieved from http://search.proquest.com/docview/419169044?accountid=141440.

Morand, M.K. (2004). The effects of martial arts on behavior of male children with attention deficit hyperactivity disorder. Unpublished doctoral dissertation. Hofstra University, New York.