Not sure if this is the right forum for this (!), but I figure they don’t call them “martial arts” for nothing
I recently started Aikido, and it’s largely what I expected. If you’ve seen any Steven Seagal movies, you’ve seen some Aikido. It has a distinctive look, with practitioners flowing smoothly through opponents who flip and roll seamlessly back to a ready stance. The flow results from two facts that I can tell so far:
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Aikido is a grappling art. I’m still a beginner, but even observing high ranked students, I haven’t seen any emphasis on striking (punching, kicking, etc). Instead, the focus is on grabs, locks, arm bars, and throws. A result of this is that there are few natural stopping points: techniques they can turned into a pin, but they are often left as throws or take-downs that leave the practitioner in a stance to keep moving.
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Though I’ve been incorrectly referring to the person doing the throw as the “practitioner,” both the thrower and the person being thrown are practicing Aikido. A big part of the early education is learning to fall and roll. This adds to the flowiness, because demonstrations will involve people who are practiced in turning a throw into a roll and returning quickly to a ready position.
This second point can be problematic. The rationale behind it is solid: the twists and locks that Aikido employs can seriously damage a person’s joints, so the person being locked needs to be equipped to respond to them safely. But it can, and often does, lead to your partner either 1) rolling out before the technique has been applied correctly, or 2) expecting you to roll out when you know that what they’re doing is ineffective (when either of these happen, I think to myself, “Aikido: the way of the wilting flower”). The techniques do work, and when a black-belt demonstrates them on you, you can feel how vulnerable you would be if they wanted to hurt you. Still, Aikido is particularly vulnerable to “fantasy fighting,” i.e. techniques that look or feel cool and involve some sort of ‘magic’ aspect that makes them work, when in the real world they wouldn’t be very effective.
I’ve taken a few other martial arts, and it’s been interesting to see how Aikido compares. As I said, Aikido is a grappling art, and my other experience has been predominantly with striking arts, so that has been a big change. But many other aspects are common to other arts. In particular, much of the footwork is taken wholesale from Shotokan Karate, which makes sense because the founder of Aikido was a black belt in Shotokan. Both Shotokan and Aikido are very linear, with most movements happening on a straight line.
However, Aikido uses many more circular movements than Shotokan. Though the engagement is linear, many of the techniques involve spinning the opponent and corkscrewing them into a lock or pin. In this respect, it has elements common to Ba Gua Zhang (a style of kung fu), which is entirely circular (one of its core teaching is that you should never, ever move in a line). Aikido and Ba Gua also share their emphasis on forward motion, moving into and around an attack, rather than blocking or backing up.
These similarities are intriguing because Shotokan and Ba Gua are very different, the former being an “external” art, and the latter being an “internal” art (these terms are usually only applied to Chinese martial arts, and Aikido and Shotokan are Japanese, but the distinction is still there: Shotokan focuses more on strength, on explosion, on putting the whole body into throwing a punch, whereas Ba Gua focuses on pushing fists, stretching through a target, ideas like tensegrity and the famous “one-inch punch”). Aikido combines both into a useful package, and that’s interesting. Ultimately, I’d say it’s more internal, because using an opponent’s energy is emphasized over strength. But the mapping is difficult without any strikes to compare.
Probably my favorite part of Aikido is its focus on practice and improvisation. Where other arts have used mostly solitary shadow-boxing and forms, Aikido is all partner work, applying techniques in turns. We’re also encouraged to improvise: if we screw up the start of a technique, we should look for another option that flows out of it. This is good practice for a real fight, and tends to train avoiding the rigid application of a set technique. Plus, getting thrown around for an hour is a surprisingly good workout.