|
|
 |
 |
 |
| Ikkyo,
Nikyo and Sankyo as Geometric Principles |
|
It
is self-evident that the names we
use for our aikido movement forms
are not rigorous or systematic in
any way. Some names are poetic, as
with "tenchinage" (Heaven
and Earth Throw). Some are descriptive,
as with "kotegaeshi" (Forearm
Twist). Some names refer to the morphological
form, for example "jujinage"
(Figure Ten Throw). Still others may
refer to a simple direction of progression,
as with "zenponage" (Forward
Throw).
|
 |
 |
And then there is the numeric sequence of
ikkyo, nikyo, sankyo, and so on (also called
ikkajo, nikajo, sankajo... in some systems).
These translate roughly as "First Teaching,
Second Teaching, Third Teaching..." But
what are the principles behind these teachings,
exactly? Why these forms, in this sequence?
There is not, to my knowledge, a clear historical
explanation as to how these forms acquired
these designations. They all have in common
that they refer to methods of manipulating
the arm, or of a set of postures of the arm.
But kotegaeshi and shihonage (Four Direction
Throw) also suggest arm postures... why are
they not similarly numbered? Some have suggested
that the numbers refer to a possible sequence
of execution, that is, nikyo may follow naturally
from ikkyo, sankyo from nikyo. I have also
heard the suggestion that the numbers refer
to how many joints are being affected. None
of these explanations seem particularly compelling.
The anatomical form of ikkyo is generally
pronation of the entire arm. The wrist and
elbow may or may not be flexed. Nikyo is typically
pronation of the forearm, supination of the
upper arm, and flexion of the wrist and elbow.
Sankyo is mainly pronation of the forearm,
usually manipulated indirectly via the hand
and wrist. Again, there does not seem to be
a logical progression to this ordered sequence.
This being the case, I would like to propose
a new way of looking at these forms and why
we might justify arranging them in this sequence.
I specifically am not claiming any insights
as to the historical reasons. Rather, this
is an a posterori explanation which I find
useful in communicating these teachings.
I propose that ikkyo, nikyo, and sankyo may
be viewed not only as anatomical forms, but
as the geometric principles of the Line, the
Curve, and the Spiral.
Ikkyo
Dr. Stephen McAdam, Chief Instructor of the
University of Texas Aikido Club, observed
that all variations of of ikkyo serve to accomplish
one goal: to move the shoulder forward sufficiently
such that it is no longer supported by the
hips. Once the system has been moved beyond
its support structures, a collapse is inevitable.
This understanding is primary, and underlies
all other attack and defense forms.
We see that gravity implies a straight line
along which things must be arranged if they
are to stand. This same line is the vector
of a fall, where no support is present (and
no other forces are in effect, such as forward
momentum).
We could, if we wished, extend the Principle
of the Line in other ways. For example, when
an attacker has the intent to pursue a target,
a straight line is established between the
aggressor and their goal (regardless of which
path they ultimately take to reach the goal).
Defenders who recognize this line can then
act upon it, before tactile contact has even
been made.
So, the axis of attraction may be viewed as
the first principle. Understanding this forms
the basis for successive principles.
In its simplest variation, ikkyo the defense
form is expressed as a straight arm leading
the shoulder off its support and then straight
down. It is not necessary to twist (pronate)
the arm for this to be successful.
Ikkyo is idealized as aikido in a single dimension.
Nikyo
Nikyo, then, is the Principle of the Curve.
The first perturbation of a line will create
a curve, or a wave pattern. If the principle
of ikkyo is applied, but obstacles or interferences
are introduced along the way, the straight
line is deviated. Water dripping down a window
pane or a leaf falling through air illustrate
this dynamic.
In an attack dynamic, the line of intent may
similarly be manipulated favorably for the
defender. The defender is an "attractive"
force operating on the attacker (though of
course it is really the attacker's motive
and follow-through that are the true forces
in play, the effect is much the same). So,
if the target moves after an attack has been
launched, course corrections must be made
which result in deviations from the original
path of intent. This can serve the purpose
of destabilizing much of the attack, and new
trajectories may be introduced. Again, all
of this may take place before tactile contact.
As a defense form, nikkyo is made manifest
in the arm. The straight arm is now bent into
curves, and the sine wave is almost visible.
Furthermore, nikyo is more easily applied
when moving the arm in a falling leaf pattern,
than when cutting straight down.
Nikyo is aikido expressed in two dimensions.
Sankyo
Sankyo is the Principle of the Spiral. More
specifically, it is the type of spiral known
as the Helix. The line and the curve now have
a rotational component added around the original
axis.
Many aikido dynamics have a whirlpool quality
to them. The attacker follows the line of
Ikkyo attraction toward a goal. The target
is in motion, and so a curvature in space
is in effect created. Like two bodies orbiting
around a common center, an imaginary gravity
well results. When the system is sufficiently
destabilized, one of the bodies will succumb
to actual gravity. In this case, a downward
spiral describes the trajectory.
Sankyo the defense form may be applied as
an upward spiral or a downward spiral, or
both in succession. Pronation or forward twisting
about the axis of the forearm is characteristic.
Sankyo is aikido in three dimensions.
Yonkyo and Beyond
I generally do not try to force yonkyo, gokyo,
and the rest into this particular scheme.
There may be some benefit in the exercise,
however. We could, for example, suggest that
yonkyo is the principle of radial motion,
or kaiten. But this does not fit so nicely
with our progression through one, two, and
three dimensions (and to suggest that yonkyo
is somehow related to the fourth dimension,
time, is to really strain the model).
Mostly I present this paradigm as a deliberate
artificial contrivance. I am told that when
students asked O-Sensei what to call the various
forms, he said "I don't care, call them
what you like!" So any "deep"
significance we find in the names is rightly
what we bring to them.
What we can say for certain is that aikido
is expressed in Matter, Energy, Space, Time,
and Mind. Two or more bodies interacting in
this great field of being will manifest certain
forms, both transitory and eternal. It's natural
that we see repeating patterns and give them
names. Some believe that aikido is what happens
when we do these patterns, while others believe
that these forms are what arise inevitably
and organically when we participate in aikido.
Either way, a deeper appreciation is available
when we look at what lies behind the names,
and what lies at the root of the forms so
named.
 |
|
This
article first appeared on Jun
Akiyama's website www.aikiweb.com
and MI Magazine would like to
thank both Jun Akiyama and Ross
Robertson for giving MI Magazine
readers the chance to read Robertson
Sensei's writings.
Ross
Robertson lives and teaches
aikido in Austin, Texas.
Still Point Aikido Center
www.stillpointaikido.com/index.htm
|
|
|
|
|
|
|
 |
|
|
| |
|
|
|
|
 |
|
Elated
White Pyjamas
by Tony Huges |
 |
|
Kampo
by Carmen Altomonte |
|
|
Kotodama
and Junon
by James Deacon |
|
 |
|
 |
|
