Many people view Aikido as an art solely concerning itself with circular flowing joint locks, throws and pins. In fact, Aikido also contains methods of striking to the vital points of the human body, as can be seen through any examination of O-Sensei's technique and his own roots within Daito Ryu Aikijujitsu. He considered striking arts or 'atemi' vital, as to him Aikido was nothing less than forging oneself into a literal sword of the soul - the human incarnation of the bushido blade.

At a technical level, atemi is used for three specific reasons in Aikido - to neutralise an opponent by attacking the weak centers of the body with focused force; to control the opponent by using flowing strikes to create predictable exploitable reactions; and to distract an opponent with momentary pain while a complete technique is executed. But the question many ask of atemi relating to Aikido is not how or why, but should?

There have been a number of ethical arguments relating to the use of atemi within Aikido practice. Many modern Aikidoka feel that atemi defies the principles of harmony and universal love upon which Aikido is founded. But if this is the case why was O Sensei himself - even in his later years when he was a spiritually enlightened individual - such a strong proponent of their use?

On one hand many (usually non-Aikidoka) point to the lack of atemi within many Aikido schools of today as an indicator of its lack of effectiveness as a true martial arts system, but in Japan both the Hombu and the Yoshinkan vigorously train in practical applications.

Even so, there are those who argue that atemi is not Aikido. Certainly, the nature of harmony might preclude the use of such linear hammer blows as are found in Karate, yet in the flowing unending lines and circles drawn within Aikido movement, striking techniques with the various hand weapons become almost inevitable. Consider the following:

1. Each atemi can flow into and out of every other Aikido technique in line with the concepts of the infinite circle and the dynamic sphere. Atemi occur so naturally within these harmonious natural motions that, executed well, they are as much a representation of O-Sensei's philosophy of non-resistance as shihonage.

2. The essence of true atemi is that of lightning fast, penetrating power that is both strong yet flexible. It is thrown into its target with all possible speed powered by the hips and the control of one's breath in much the same way as Aikido techniques themselves are powered.

3. The common thread of technique in Aikido is knowledge and understanding - controls and projections are applied to those parts of the body where there can be no resistance while atemi are delivered to the nerve cavities of the body - the places where there can be no resistance.

The boundaries perceived by many in Aikido are not a result of Aikido itself, but of an individual's understanding of it. To say atemi are not Aikido is nonsense. It is a conceit reinforced by instructors (both consciously and through ignorance) to try and maintain some sort of rigid fence within a system.

It is much easier for us to say this is Karate that is Aikido - than to be able to accept an understanding that all systems are simply an expression of the same basic philosophies of movement and ultimately self-awareness and understanding, the boundaries are imposed by us.

In a sense, understanding atemi within Aikido could be a pathway forward - a bridge to search for the similarities between Aikido and other martial arts. From this point of view, atemi could be the truest representation of harmony of all.

As well as being an Aikidoka, Phil Buck has trained in many martial arts, teaches self-defence, Kempo and Kung-Fu.

© Phil Buck