Tenkei Aikido Dojo

by Dennis Hooker

To begin to understand the “IN” and “YO” (Yin and Yang) of Aikido interaction, we must first view the art of Aikido not as a soft art, but as one both soft, and hard. It is customary to think of Aikido as a soft art. Often, when compared to other forms of budo, Aikido is characterized as such. However, soft is a relative term. I have friends that practice soft forms of Chinese arts. They think Aikido is quite hard.
One of the reasons Aikido is perceived as a soft art, is because of the way we employ the attack. The attack in Aikido is usually perceived as a hard attack, and the opposite of hard is soft. In the spirit of aiki, the response to a hard action, is a soft reaction. This is not to be confused with weak. To view Aikido as a soft art only, would be to say it does not have symmetry. If this is true, then Aikido would not be an art of balance and harmony.

If I remember my physics correctly, to every action there is an opposite, but equal reaction. So, if we have a hard fast attack, (offering, or “YO”), the opposite but equal reaction, would be a soft fast acceptance, (taking, or “IN”). Balance must be created before harmony is achieved. Countering hard with hard, and soft with soft, is not in the spirit of Aiki. Hard must be balanced with soft, and soft with hard. “In” and “Yo” must exist in every technique, otherwise we have disharmony and confusion. Negative energy must be countered with positive energy, and when brought together, balance is created. Through balance we find harmony.
The harmony of Aikido is a strong, and resolute harmony. It is the harmony that exist after nature has balanced it’s self. At times this process of balancing brings about extraordinary beauty. At other times, the result is a terribly violent eruption of equalizing forces. For much more information on this, please see Saotome Sensei’s book, Aikido and The Harmony of Nature.
During the interaction of shomenuchi iriminagi, a strong downward cut, is balanced by a softer upward cut. Uke is demonstrating “YO,” earth, or down force, with Ki on the underside. This is balanced by Nage, demonstrating “IN”, heaven, or upward force, with Ki on the upside. When Nage has brought “YO” into balance with “IN” harmony is created, and Nage may now lead Uke where desired. Nage can do this because he is now the center of the technique. “IN” and “YO” flow around Nage, as the positive and negative electrons flow around a nucleus. Nage is now the center of Uke’s universe. Uke has relinquished control to Nage.
The stronger the attack, and the softer the response, the greater the control. At a high level, this type of interaction is very dynamic, and powerful. The power comes, not from necessarily being soft, but by completing the circle. Creating harmony, where none existed before. Controlling the energy, that is a natural result of that creation, is the essence of aiki interaction.
Creating balance and harmony, in place of asymmetry and discord, can be destructive to certain elements of the interaction. To bring balance and harmony into a sick body, one must kill, totally control, or bring back into balance that which is unstable.
There are times when it is necessary to balance soft, with hard. To some people this is repugnant. To respond hard, to a soft attack is viewed as non-Aikido like. Nevertheless, “IN” and “YO” must exist in every technique, in order for balance to exist. A soft attack, and soft response is not balance, and harmony will not be the consequence of such an action. Two centers, will be contending for one space in time. Disorder, and confusion will be the outcome. To become the center, we must bring our partner into balance. We can only do this with a counter balance. Positive counters negative, soft counters hard, “IN” is the converse of “YO”. Again, to every action, there is a opposite, but equal reaction.
Using the example above, of shomenuchi iriminage, let us assume that Uke and Nage have come into balance just a “IN” and “YO” converge. At this point Uke reverses “YO” to “IN”. Downward hard energy, becomes upward soft energy. If Nage is to maintain control, then Nage must reverses “IN”. Upward soft energy, must become downward hard energy. Nage uses hard, to counter soft, and keeps balance in the interaction, thereby maintaining harmony.
In one of the Doka by O Sensei he wrote: “Assume gedan and see the spirit of the positive (yo) as in the shadow (in). Recognize the cuts and thrusts of the enemy’s blade, As merely seigan”.
In another he wrote: “With jodan you trample down the enemy’s spirit. But you must see his passive (in) attitude as active (yo)”.
In the taijutsu, kinjutsu, or jojutsu of Aikido this may happen in the space of a heart beat. However, it may also take time. Uke and Nage may change from “IN” to “YO” and back, many times before one assumes center, and controls the other.
One of the most basic techniques of Aikido, is Katatdori Tenkan. This is often done as a formality, in warm up exercise. However, it is also one of the finest techniques for developing a feel for the, “IN” and “YO”, of aiki interaction. If Uke grasps the wrist strongly, with a proper grip, then a strong tenkan movement on Nage’s part will be unsuccessful. At best, Nage will succeed in breaking the grip. This does not balance the positive and negative energy. It simply creates two negative forces that repel one another, until the next clash accrues. The repercussion of this action is added conflict.
A softer movement will succeed, bringing “IN,” and YO” into balance, and Nage will be in control of Uke. The same result will be created if Uke’s grasp is soft. A strong tenkan movement will bring “IN” and “YO” into balance, with Nage as the center of control. There is a tendency to move through this technique as though it were an aerobic exercise. It is much more than that!
The one technique that, to me, is the epitome of the “IN” and “YO” of Aikido interaction is, Tenchinage. Unlike Ikkyo, Nikyo, Sankyo, and Yonkyo (principles, 1, 2, 3, & 4) the name itself implies “IN” and “YO”, Tenchinage (heaven and earth). Not only do we have the name itself to point out “IN” and “YO”, but every aspect of the technique points this out. Heaven and earth, hard and soft, open and closed, positive and negative. All of these combinations are easily seen, in the physical interaction of the technique. Many times, this is viewed as just another technique for downing a partner. However, if you and your partner embody all this technique has to offer, the result is quite extraordinary.
In another of the Doka of O Sensei he wrote: “Put the active principle (yo) into the right hand, Turn the left hand into the passive (in) and so guide the adversary.”
Bringing all these forces to bear at one time, Nage has astonishing power over Uke. The remarkable thing is that this control, of “IN” and “YO”, leads mostly to compassion. Many instructors end their classes with this technique. It leaves everyone with a sense of balance. If any mishap occurred during class this balance restores harmony.
At times, the use of atemi (striking), in conjunction with an applied technique, also helps bringing “IN” and “YO” into balance. There are three basic reasons for using atemi in conjunction with a techniques. One is to destroy. This is not an option to be totally ruled out. Another is to enter the mind through the body, and the third, is to enter the body through the mind. All of these involve the balancing of “IN” and “YO” to restore harmony.
In the first case atemi is used to physically destroy the antagonist, or some bodily portion thereof. As mentioned above, sometimes, it may be necessary to kill the disease, in order that balance and harmony be restored to the host. “IN” and “YO” can also represent life and death as a means of balance and harmony. Indeed, it is the absolute balance to ones life. It is a completion to the harmonious act of nature none of us can escape.
In another of then Doka of O Sensei he wrote: “Causing the perverted enemy to attack, I must then stand behind his form, and so cut the enemy down”.
The second method of atemi is to enter the mind through the body. At times, Uke will be out of touch with self, and the environment. This situation is often dangerous. More so to Nage, than Uke. In order to keep Uke from harm, Nage will oftentimes suffer needless and unintentional injury. This is because Uke’s mind and body are not acting as a single unit.
Internally Uke has no balance of “IN” and “YO”. Nage can accomplish to goals by the use of atemi in this circumstance. First, he can reunite Uke’s mind and body, by issuing a wake up call. When the body feels the impact, it sends a message to the mind. The mind is then drawn to that point of the body being impacted, and unity accrues. Now that Nage has established unification of mind and body for Uke, balance and harmony can be achieved between Uke and Nage.
The third method of atemi is to enter the body through the mind. In this situation Uke’s mind and body are in balance. Uke is aware of Nage and the situation. As Uke attacks, Nage parries, inters, turns or unifies with Uke’s initial attack. At this point Nage should be in a superior position and able to strike Uke at will. Uke being conscious of the situation realizes an opening “IN” exists. Feeling Nages intent, Uke attempts to close “YO” the opening. Nage is now controlling Uke’s body through the mind. A physical impact of hand to body was unnecessary. Uke is now opening and closing, attacking and defending with Nage as the center of the technique. Now that Nage has control of Uke, harmony can be achieved.
In another of the Doka O Sensei writes: “The time is now, make straight the bonds that link Heaven, Fire, Water and Earth. Let me stand as your guide”.