Sandan as a Weapon

Sandan as a Weapon
by Sean Sheedy, 3rd dan, Multnomah Aikikai

In his letter to the dojo after our most recent set of dan promotions, Fleshler Sensei referred to the metaphor of the student as a sword:  at shodan a block of metal; at nidan a sharpened piece of steel; and at sandan a polished, integrated weapon.  As a new sandan, what does it mean to “be a weapon”?

A dictionary definition is perhaps a place to start.  The Oxford English Dictionary defines “weapon” as:

1. A thing designed or used for inflicting bodily harm or physical damage.
2. A means of gaining an advantage or defending oneself in a conflict or contest.

As an aikidoka seeking to reduce conflict rather than increase it, the first meaning seems problematic.  Although aikido is certainly capable of resulting in bodily harm to an uke unprepared for absorbing and dissipating the power of the techniques, inflicting bodily harm or damage is not a goal of our art.  The second meaning appears more promising, as defending oneself in a conflict by diffusing that conflict is a goal.  One thread that is common to both meanings, however, is that of intent:  in both definitions a weapon is a means of projecting one's intent into a situation of conflict.

In this sense a weapon is a specific form of tool.  Just as a chisel can be used to project one's intent onto a piece of wood, thereby transforming that wood, a weapon can be used to project one's intent into a conflict, thereby transforming that conflict.  The type of transformation actually achieved depends on both the intent of the wielder of the tool and his skill level.  A piece of wood can be transformed into a beautiful carving with proper intent and skill with a chisel.  Conversely, a different intent or the lack of sufficient skill to produce a carving can result in wood chunks only suitable for firewood.  Similarly, a conflict can be transformed into peace with both the intent of diffusing the conflict and skill with a weapon.  Lacking peaceful intent or sufficient skill can result in more conflict and damage.

One consequence of this observation is that a weapon, like a chisel, has no intrinsic morality.  Rather, the morality is derived from the intent of the tool wielder being transmitted through the otherwise inert tool.  Seneca the Younger relayed a similar observation some 2000 years ago:

Quemadmodum gladius neminem occidit: occidentis telum est.
A sword by itself does not slay; it is merely the weapon used by the slayer.

Though necessary, proper or moral intent is not sufficient to successfully project one's will to transform.  Skill acquired through study and regular practice is also required or the result can be indistinguishable from that of bad intent.  This requirement for a constant refining and honing applies to the tool itself as well as the user of the tool.  Chisels and swords must be actually handled to develop the skill of their use, but doing so causes them to nick and dull, and eventually requires them to be sharpened.  Even when sitting unused, chisels and swords must be cleaned and oiled or they may rust and not be ready when required.  Similarly, even if not engaged in their art the artisan and warrior must maintain their basic physical and mental conditioning or risk not being ready to apply their tools when required.  The tool and the tool user are thus inseparably intertwined:  both must continue to develop together in an endless cycle or forfeit the ability to successfully transform their surroundings.

This fundamental inseparability between tool and tool-user is what it means as a martial artist to “be a weapon”.  If I as an aikidoka am a weapon, I am both the intentional agent and the tool to achieve a transformation from conflict to non-conflict.  If I am a weapon, I must consciously and consistently develop my skills, renew my sharpness, and avoid deterioration due to inattention; failure to do so risks producing firewood instead of a carving.

Nonviolence is a powerful and just weapon which cuts without wounding and ennobles the man who wields it.  It is a sword that heals. 
 -- Martin Luther King, Jr.

On the occasion of new dan grades - A Fleshler, 6-dan, Shihan, Birankai North America

On the Occasion of New Dan Grades
May 9, 2014

A Fleshler, 6-dan, Shihan, Birankai North America
Technical Director, Multnomah Aikikai
Portland, Oregon

It has been some years since we’ve had new shodan in our dojo. There is so much expectation and emotion associated with these promotions. They certainly are a marker of some kind in each student’s life, and in the life of the dojo. But what kind of marker?

Very often a new shodan (or nidan, or sandan) feels a mixture of pride and shame: “It’s over, I did it, but I am also completely exposed in my ignorance and incompetence.” In my view, this is completely appropriate. This is a realistic expression of one’s humility, and appreciation of the unending character of the road ahead. One should get used to not knowing, no matter how much you train. This is shoshin, beginner’s mind, the foundation of carrying oneself as a warrior.

You may have heard the metaphor of the student as a sword: at shodan, a block of metal, forged for resilience and strength; at nidan, a sharp sword, with a clear edge for cutting; at sandan, a polished, integrated weapon. The process continues for the rest of life, for the rest of training, of course.

Another metaphor: at first, the training reaches only the skin; then the muscles; then the bone; then the marrow; then a slender line of energy through the center of the bones. Again, a suggestion of a very long process, one which cannot be hurried.

Both metaphors speak to deepening integration and increasing naturalness of movement, of interaction, of perception. However, this is literally a superficial understanding, because it separates the body from the mind and spirit. What is required is the penetration of the art into one’s character, personality, and approach to life in all its challenge and complexity. Think of the Five Pillars expressed by Chiba Sensei: Centered, Whole, Open, Connected, Lively. Do you think he is talking only about the technical practice we study in our classes? Do you think you can continue to strengthen these Five Pillars in the dojo without challenging yourself to grow outside the dojo?

The end stage as described by O’Sensei is something called “Take Musu Aiki”. For now, let’s just say this means a completely natural, spontaneous, and appropriate manifestation of the art, with no imposition of will and ego, with no detachment and escaping from the reality which presents itself — so much so that the violence of a confrontation dissipates without any effort, and without any winning or losing.

O Sensei also spoke of “Standing on the Rainbow Bridge”. Simply put, your insides are connected to your outsides; the source of your being is completely connected to your manifestation. (This is a piece of a his very elaborate spirituality, but we can extract this jewel for our purpose here.)

In the face of such a vision, in the face of such a challenging road, humility is a completely appropriate emotion. There is an old Zen expression: “Before Enlightenment: Chop Wood, Carry Water; After Enlightenment: Chop Wood, Carry Water.”  Let’s begin again.

Gassho,
==AF

New format for testing and rank promotion deemed sucessful

They say necessity is the mother of invention. As our dojo approached the time for students to test, it became clear that a single night testing format was not going to serve the membership.

We had people, ripe for promotion, who were practicing with injuries.  The teachers and teacher candidates who needed to observe testing had divergent work schedules. We were scarce on available ukes. We had potential rank promotions ranging from 5th kyu to yudansha. One night just wasn't going to work.

I've seen other martial arts schools implement a testing period of several days. Candidates are observed over a period of time and promotions may or may not come out at the end of the period. I haven't seen that format employed in aikido dojos. Of course as teachers we watch students over time and the testing night is a culmination of a longer period of test preparation. You can't "cram" for an aikido test! However, I've always seen aikido dojo testing conducted in one session; usually in the course of one evening.

At our dojo I proposed we hold a multiple evening, all-dojo evaluation and testing event. Teachers and teacher candidates discussed schedule and we agreed upon three consecutive nights. Students preparing for tests agreed to clear their schedules and come all three nights. Middle and younger ranks came to the days that they could.

Over the three nights, a large percentage of the Birankai curriculum was called. A mix of standing, sitting and hanmi handachi techniques were covered each night as well as weapons forms. Candidates had a chance to serve as both uke and nage. If a fundamental form was performed weakly on one night, there was a chance to do better in the next night.  When one candidate surpassed expectations, I had the chance to raise the bar on the following night and give him a chance to perform at a level above the rank he was testing for.

As the three nights came to conclusion we clearly had come through the fire together as a group. Tension had dropped, shoulders had melted and we announced 6 new promotions.* Individuals not testing for specific rank were offered a challenge  and invitation to prepare for the next testing opportunity. Teachers and teaching candidates had the opportunity to evaluate where we are as a dojo and what material the members need to study in regular weekly classes.

Listening to students after the event, it was clear that this format was a good experiment. One member mentioned it felt like the end of summer camp; no tension left. Just continuous movement, washed in sweat, revolving around and within ones center.

photo provided by Terese Scollard

*Promoted April 3, 2014

Sandan: Sean Sheedy, Jon Paul Oliva

Shodan: Kevin Greenwood, Sanders Anderson

Nikyu: James Murray

Gokyu: Troy Wilson




Article written by by Suzane Van Amburgh

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