How many of us have friends who are martial artists, but not necessarily aikidoka? I for one have many, and the above question comes up often. No one grabs Randy Couture’s wrist… no one grabs Steven Seagal’s wrist… who the HELL goes around grabbing wrists?

The wrist grab question at first, assumes that kata or waza proceeding from a wrist grab are always meant to teach a katatedori defense. I’d like to believe, in the same way we train with jo and bokken to learn proper distance and timing, that the primary purpose of wrist grabs is to put one in the correct ma-ai for the application of kata/waza in a basic setting. Once an actual situation happens, nothing requires one to wait for a particular type of attack, right? The idea that every self defense waza MUST start with a defensive maneuver (tai-sabaki) and thus, must have an actual attack is  assumptive. Some kata teach us that their waza equivalents are proactive.

The next assumption is that wrist grabs are ALWAYS unrealistic. Now, this is certainly the case in boxing, MMA, and other similar controlled ‘ring’ sports, however, I would like to posit my own assumption: In the initial moments of conflict, I’m assuming that women are more likely to be grabbed at and “man-handled” and men are more likely to be swung at and struck with blows. I’d hazard a guess that most leading ‘self-defense’ experts would agree with me (I could be wrong, and accept that possibility). If we can agree with my above assumption, then the wrist is just as realistic a target as shoulders, the neck, bear-hugging, and the like.

The final assumption is that all kata/waza must be realistic and ‘combat-ready’ in order to have a purpose. This is like saying since no one really uses “print” when writing, that we should not teach it to children… we should simply go straight to cursive. Different stages and styles of learning require different strategies to achieve a successful result. Most ‘grab’ kata/waza afford the student the opportunity to focus on tai-sabaki, proper angles, strong footwork, and all around cleanliness and crispness of their own movement. Once able to apply the principles of defense in this ‘controlled’ situation, an aikidoka can branch out to more direct and stronger attacks. You need to learn your alphabet before you learn words… and words before sentences, paragraphs, stories, novels, etc…

In closing, grabs of all sorts (including wrist grabs) happen in combat: take a short moment and explore TaijiChuan ‘sticky-hands’ or the similar practice in WingChun. Most of these systems have trapping, wrapping, and wrist controlling techniques. As an ever developing and growing art, I’m sure that Ueshiba O-sensei, Saito Shihan, Tohei Shihan, and HUNDREDS of other aikido innovators and teachers would have removed katatedori if they for a moment thought the practice of it was without merit.

Ego and Aikido

The founder of Aikido, O-Sensei Morihei Ueshiba, developed this art with the idea to create harmony and peace within humanity. Aikido, being a true budo and only for self defense, has no competitions or tournaments. The only way for practitioners to gauge their ability and skill level is through seminars; gatherings, great and small, with aikidoka from many different regions of the world. Through these gatherings, master instructors come to share what they have learned and honed through incessant training. Aikidoka are then able to enhance their own skills and understandings of the art. Sometimes innovations and evolutions within the art are shared at these events; all in the name of continual progress in the art and developing individuals into better people overall, achieving this harmony and peace which it’s based on.

Unfortunately, along the way this message is sometimes lost and forgotten, creating an environment which I can only describe as similar to children bickering over who has the better toy or which of the participants has a better set of rules for monopoly. Can we not all share this brand-spanking new toy (technique) or learn someone else’s rules to play monopoly (technical application of the art)? We seem to forget that the purpose for these gatherings is to PLAY (TRAIN)! Not using our ego to control these urges (not wanting to share how you were able to learn a particular technique or imposing upon everyone you meet on the mat that your understanding of the master instructor’s style is the one and only correct way) becomes detrimental to the development and ultimate enjoyment of training for everyone involved.

These conflicts can simply be avoided by using the ego to get around these obstacles. Recognize that, as you have the right to your opinion and point of view, so does everyone else and there is no need to become determined to defend your position to the death. Use the opportunity to learn from those differences joyfully. Let go of the need to draw attention and recognition your way. Recognition will come on its own if you focus completely on your training and give it your best as you are bound to get better. In the end, the only important thing is to keep training, so just train!

After giving some thought to Homma Sensei’s jo kata, I wondered where my hang-up on style authenticity comes from? I mean if it meant THAT much to me, I’d be driving to Boulder and training with Ikeda Sensei at the Boulder Aikikai (an ASU/Aikikai sanctioned school) instead of at Nippon Kan (an independent dojo with no ties to the Aikikai, but strong ties to Iwama and the Saito lineage).

Homma Sensei has all the markings of a true aikido man… he’s a dreamer and altruist, he travels the world feeding people, opening schools, delivering computers… all born form the spirit of aikido. His organization is volunteer based, no one gets paid except the folks from the restaurant, which is the only part of the Nippon Kan organization that is for profit. Homma Sensei does not charge money for his travels, seminars, and other aikido based journeys. My question is: does it matter if his aikido (which is solid and amazing, strong and delicate, inspired and inspiring) is not blessed by doshu?

When O-Sensei brought his diverse martial studies together, had a divinely inspired “squishy moment”, and gave birth to aikido, was he concerned with the organizational structure, money-making ability, and sanctioned “quality control” of his art? While I can’t be certain of the absolute answer, I’d have to postulate that he was, for the most part, unconcerned about the secular elements of the art. Didn’t Ueshiba O-Sensei wanted to create/synthesize an art that saw no difference between the “opponent” and the “defender”, that saw them as equal parts of the in/yo (yin/yang) base of aikido?

I have every intention of studying as much and as many forms of aikido in my lifetime, however, at this point, to base my core doctrine in the inspired example of Homma Sensei, would be more than any aikidoka could ask for.

In shopping for a sturdy bokken for keiko, I was bombarded with so many options my head felt as if it were trapped in the dizzying spinning just prior to a great iriminage. I knew I wasn’t interested in straight oak; while sturdy enough, I can’t say I had faith in a traditional oak bokken (seeing so many fall by the wayside or into a fireplace as kindling). Eventually, and after much research, my quest led me to the cyber-doorstep of Kingfisher Woodworks (www.KingfisherWoodworks.com)

Brad, and the team at Kingfisher, hand crafts each weapon, whether it be a perfectly sized Jo, or one of 8 (or more) bokken. With 5 grades of American Hickory (a wood that actually TEMPERS and strengthens over time), there is a strong, resilient, and unique weapon for every practitioner of aikido, kenjitsu, iaido, or any other stick-swinger out there.

Once my bokken and jo arrived, I couldn’t wait to get them into my home dojo. Aside from the myriad of compliments on the beauty of the weapons, their performance was outstanding. Having used traditional white oak, and many other woods for my training weapons over the years, these actually felt different. While having a solid heft and weight, the jo glided through my hands as if it were a smooth sanded pool cue, and the bokken was, simply put, a work of art.

If you’ve never heard of these folks, check out their site (listed above) or watch The Last Samurai. All the bokken you see in the movie were fashioned by Brad and the Kingfisher team.

While the cost may be a bit higher than traditional bokken, the quality you’re receiving is beyond compare. My personal recommendation would be for any 3rd-1st kyu to get one of the entry level woods (grades 3 or 4), 1st-3rd dan, a grade “5″, and 4th dan and higher, invest in a gorgeous hand-cut and carved (no sandpaper) weapon of grade “6 or 7″.