There is a classic breakdown of a Judo throw into three categories. Typically, a basic technique such as a hip throw, once grips are established (Kumi Kata), flows through 1: breaking balance (Kuzushi), 2. body fitting in position (Tsukuri), and 3. execution of throw (Kake). Historically, there has been a discussion and question if the application of kuzushi occurs first before tsukuri or if tsukuri occurs during kuzushi. This point will be expanded on in this writing.
The famous Japanese Budoka Shoji Nishio Sensei (1927 – 2005) saw the order explored above much differently. Nishio Sensei was a man of many talents in Budo with high ranks and titles in Aikido, 8th dan; Iaido, 7th dan; Judo, 6th dan; Karate, 5th dan; Kenjutsu, Spear, Jodo, and other disciplines. Nishio Sensei was more evolved than the limitations of Judo structures as he presented a curriculum understanding of:
- Tsukuri – You are already in the environment.
- Kuzushi- Breaking balance physically and even mentally by use of atemi.
- Kake – The execution of Waza (technique).
According to Nishio Sensei, tsukuri goes beyond simply positioning oneself to throw an opponent. It involves presenting oneself in a way that avoids creating a confrontation. This strategy includes how one stands, holds a weapon such as a sword, spear, or staff, or stands without any weapon.
Where does someone come to this idea of presenting yourself as already in tsukuri before a conflict begins? Nishio Sensei believed that sword practice improved posture, alignment, and movement, which could be transferred to empty-handed techniques in Aikido. His approach emphasized the connection between the sword, body, and mind, focusing on fluidity and control as a means of purification and technique development, setting his style apart from other Aikido approaches where sword training is often seen as separate and specialized.
It is well documented that over the years in Martial Arts, this writer has been fortunate enough to have excellent teachers and mentors. Every Friday for the last two years, he has been learning Aikido, Iaido, and Jo curriculum from Ichiro Shishiya Sensei, Aikido, 7th dan. Shishiya Sensei is one of Nishio Sensei’s top students and uke’s when alive, dating back to the 60s. It is simple enough to say that Shishiya Sensei is one of the authorities of Nishio Sensei’s expression of Budo.
Classes begin at 1930; the writer arrives at 1830 because of the distance needed to travel to central Tokyo. With this extra time before the official lesson, if the writer could only record our conversations and the techniques and ideas we’ve explored, books could be written from now until the end of a lifetime.
Sometimes, the writer asks about books read on Budo topics. Other times, there are discussions on Judo, Kendo, Jiu Jitsu, and other arts in one conversation while moving on the tatami or the open floor. Empty-handed, wooden sword and the four-foot wooden staff, the talks and ideas are shared.
Just the other night, Shishiya Sensei and the writer were discussing Kendo and how Nishio Sensei viewed concepts of the sword in one of the most basic of stances, the Chudan no kamae. Interestingly, Nishio Sensei held the sword, if ever in Chudan, lightly off the center, almost like protecting his wrist (kote). The writer immediately saw Shishiya Sensei do this and ran to grab my bokken to do Harai waza. Think of simply smacking your stick across someone’s stick to take the centerline and hit them in the head. Right when the writer went to do this with an exhale of the breath, Shishiya Sensei protected his center stepping with an enter step or classic Nishio Sensei irimi half-step to stop the writer with his blade to the ribs. He said that he did this on his inhalation right before the writer’s exhalation breath. Both soon after started exploring the Budo’s concept of okori.
In most Martial Arts and self-defense studies, the focus is usually on attacking and defending late in the conflict. For example, Judo emphasizes grappling while Brazilian Jiu-Jitsu puts more emphasis on ground fighting. However, in Kendo, the technique of Okori is incredibly fast, and the situation is already over before it begins. If it’s a contest, you have already lost. Similarly, in Aikido, as expressed by Nishio Sensei, the blade is already at your throat or rib, the jo is under your chin, and the atemi strike is already at your eyes during the inhale. The superior positioning is already established, and you can reconsider your decision and inhale your breath. The next-level expression is attacking or taking the initiative on the opponent’s breathing. Doing it only to allow your opponent to correct their action is in the spirit of Nishio Sensei’s Budo.
Shoji Nishio Sensei’s unique perspective on the traditional breakdown of a Judo throw into three categories: Kuzushi, Tsukuri, and Kake. Nishio believed in a different order, emphasizing Tsukuri as positioning oneself in a non-confrontational manner before a conflict begins and the use of okori, followed by Kuzushi to break balance physically and mentally with atemi, grappling, or with a weapon, and then the execution of technique. He believed that sword practice was integral to developing posture, alignment, and movement that could be applied to Aikido techniques. From the writer’s experience in sharing insights from learning Aikido, Iaido, and Jo from Nishio Sensei’s top student, Ichiro Shishiya Sensei, and their discussions on Budo concepts such as Okori and the importance of superior positioning and timing in martial arts have been a welcome change to thinking of approaching Budo training differently. Nishio Sensei’s practice valued presenting oneself in a way that already establishes an advantageous position, allowing for potential redirection of the opponents’ actions in the spirit of Budo.
Below is Nishio Sensei’s approach to atemi in Budo:
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