Kinesthetic Skill

I never expected to fall in love again. For several months, my wife Adele had been taking tai chi at the community college. After class, her teacher slipped out of his Chinese garb, donned a black hakama over a white gi, and taught aikido. Adele watched a class, thought I might be interested, and suggested that I come check it out.

Aikido VIII by Reid Crosby

Taking up a martial art had never entered my mind. At 38, it seemed a little late to start. Somewhat reluctantly I decided to go, expecting that it might be mildly interesting. But when I walked into the gym and laid eyes on aikido, I was astonished. I saw the beautiful, circular movements and thought, “This is the Tao in motion.”

It was love at first sight.

I immediately threw myself into learning the art, attending every available class. I soon realized that I possessed no trace of the ability to watch a movement and mimic it (which I have come to call, for want of a term that flows more trippingly off the tongue, “kinesthetic skill”). In those early days, I worked often with an uber-patient shodan named Rob. “Put your right foot forward,” he would say, while showing me the basics of a technique. –Dramatic pause– “No, your other right foot.”

Why had I not learned this skill as I was growing up? Had no one thought to teach me? Or had I just been oblivious to their efforts?

When I was young, I was famous among my friends for my clumsiness. I recall sitting in the bathtub as a little kid, looking at the bruises that covered my legs. My mother would tell me, “I hope we don’t ever have to take you to the doctor. He’ll think we beat you.”

For the first few months, I often left class devastated. I loved aikido so much, but I really sucked at it.

I did have another skill, however, that pulled me through. I call it by its scientific name: “pig-headed tenacity.” Before each class, the black belts gathered at one end of the mat, often breaking into spontaneous free-form practice, playfully tossing each other around with the greatest of ease. I longed to be able to move so gracefully. So–though feeling for the longest time like an utter failure–I kept coming back.

Slowly I got better at this skill of mimicking movement. And as I did, I found that as my body came more into balance, so did my mind. In some subtle way I was becoming a little saner, a little happier.

A few years ago, a friend whom I hadn’t seen since college came to visit. Once, alone with Adele, he asked, “What happened to Philip? He’s not clumsy anymore.”

Sky Yudron and I co-teach a children’s aikido class. The kids arrive in a wide variety of ages, sizes, and kinesthetic skill levels. Some have already taken a martial art—usually tae kwon do or karate. Some have studied gymnastics or dance. Those with experience learning movement quickly grasp the basic aikido moves. Some students have a natural kinesthetic skill. And some remind me of myself when I was starting.

As a kid I loved baseball. I remember for years hearing the phrase, “Keep your eye on the ball.” It wasn’t until I was in my early 20’s and had taken up racquetball that I finally understood what that meant. Once, as the ball came screaming off the back wall, I watched it intently as it came into my racquet. Time slowed down, and I saw the ball spin in slo-mo, compressing the racquet’s strings, the ball itself compressing, then reversing direction and expanding as it bounded from my racquet across the court.

Oh. “Keep your eye on the ball.” Was that what they were trying to tell me? Why hadn’t they said so?

Now, as I teach, I try to remember that lesson. Am I really getting through to a student, or am I just repeating a phrase?

Black Belt by Alex de Haas

But I’m even more excited when someone with the “no, the other right foot” syndrome appears. You can lose that clumsiness, I think. You can learn to become more balanced in body and mind; a little saner, a little happier.

“If you stick with aikido,” I tell them, “it will change your life.”

 

 

Featured image: Baseball by Isabella Vidigal

Exploring the Principles: Relax Completely

Martial arts require practicing new ways of moving, thinking, and interacting with others. Aikido relies on several key principles that take time and exploration to understand. The more deeply I explore the art, the more a bottomless well of vocabulary roils beneath, enough to drown in if I take it all on at once.
When I first started aikido someone suggested choosing one of the four key principles and practicing it for a month or two until I had some feel for it. Then move to the next principle. I’ve followed that advice, so in any class I am working on what sensei is teaching and trying to apply an internal principle as well.
Recently I have been practicing what it means to “Relax Completely.”
Art by Nate B. Copyrighted 2017.
When uke grabs, can I relax my wrist, then elbow, then shoulder, then stand with my spine relaxed and straight? Can I do all of that before contact?
What has really transformed daily life is what happens from the one-point down. Are my hips and pelvic muscles relaxed? Can I settle my weight down into the floor without tensing my hips, without twisting my knees out of alignment with my feet?
I noticed a lot of internal tension in my hips and legs. I started focusing on that in practice, cooking in the kitchen, standing to stretch. It started to make it easier to stand up straight.
I’ve always enjoyed running but for the past few years have been hindered by old injuries. I decided to start up again and run only as long as I could keep my lower body relaxed. If my posture started to cave in or my stride hobbled in any way, I would stop. If my old injuries flared up–as they have so many times–I would stop and preserve my joints.
In three months, my old complaints haven’t acted up, I’ve had no injuries, and I’m running twice as far as I ever have and slowly adding to the distance. And it doesn’t hurt. Sure, it takes a lot of effort and sometimes my cardio rises to high and I have to slow down. Sure, sometimes I bite off a bigger climb than my legs can handle and I have to dial it back. But I can tell the difference now between discomfort from asking my body to push and the pain of demanding too much.
Applying aikido principles creates a feedback loop. When I put my focus on listening to the cues from my body (Are you relaxed? Feeling good? Want to keep going?) I find running to be much more joyful. Instead of demanding from my body (Three miles at this pace, I don’t care if you’re sore. I’m Mind and you’ll do what I say, Body!), I relax and listen. I haven’t been injured because the goal is not to achieve, but to participate.
Now on the mat, I work to let go of achievement. I try to listen and participate.

A Choice in the Matter

I could have gone blind the light was so bright. It blazed so abruptly. I didn’t have time to take cover and shield my eyes.

This luminous assault happened a few nights ago in class as we picked apart kata toris, shoulder grabs. Sensei Mark demonstrated some of the atemis, or strikes, available to the person executing the throw (nage). He then showed how these strikes invited realignment between the two bodies involved in the technique; that is, a chance for nage to recalibrate and make sure she is connected to the person being thrown (uke).

Atemis can be infinite, coming from all directions, but they ultimately lead nage to uke’s center. “Centre” by Piyushgiri Revagar

Indeed, Sensei revealed an almost infinite number of strike options. Essentially, from the moment uke attacks, reaching for nage’s gi at the shoulder, nage can instantly atemi or strike towards uke’s face. Elsewhere in the technique, nage can strike for uke’s chest, ribcage, gut—wherever.

However, instead of striking, nage directs that same energetic intent squarely on (even through) uke’s center which creates a more robust and unified connection. Two bodies effectively mesh into one and move together harmoniously to resolve the attack.

At this point, Sensei casually paraphrased Saotome Sensei (via George Ledyard Sensei): aikido’s techniques arise from the strike or strikes one chooses not to apply.

Ka-chink! The blinding light bulb clicked on in my head and I was squinny as a mole.

Of course the principle resonates with the unconventional, counter instinctual philosophy of universal love and harmony at the crux of aikido’s discipline. Rather than participating in a fist-fight, the aikidoka initiates a dance. The strike is there not as a fist to the face, but rather as a ghostly, ephemeral, energetic incarnation.

But what really waylaid me was the notion of choice.

When confronted with retaliation, aikidoka train to choose peace. “Aikido” by Javier Montano

Time and again, our practice partners confront us with an attack, some violent intent, and time and again we choose—or try to choose—a skillful, peaceful response. I say “try” because the ape-and-lizard impulses are so ingrained, so ready to disrupt the flowing connection with push-meets-shove or danger-get-the-eff-outta-here reactions. Rather than succumb to these instinctual habits without thinking, we train so that kindness in nonviolence becomes the go-to response.

But there were even more startling choices embedded in Saotome’s tenet. Those of us on the mat had to, at one point, choose to practice aikido in the first place. The realization was so bald, so obvious, and yet so sobering and stark. One day, almost a decade ago, I chose aikido. I had seen it before lots of times (oh, look what a lovely dancing way to do fast tai chi…), but I had other after-work pursuits and activities. Until one day, I chose beyond my normal habit. I chose to practice aikido. I have since realized that this one choice completely altered my life and how I live it.

I could, as I’d always done, strike out against obstacles and shove them aside; I could lash out at others to protect myself; or, I could recalibrate—realign myself with compassion. The choice was all mine.