Shoji Nishio
Template:Short description Template:Infobox martial artist Template:Nihongo was a Japanese aikido practitioner and innovator. He held the rank of 8th dan shihan from the Aikikai. He also achieved high ranking honors in Iaido, Judo, Karate.<ref name=":7">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=":NASoA">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=":1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Nishio developed his style based on his understanding of Aikido founder Morihei Ueshiba's teaching and experience with other martial arts. The uniqueness of his style is the integration of the sword principles and atemi mechanics into Aikido techniques.<ref name=":3">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> His contributions to martial art includes the creation of a new school of iaido, the introduction of aikido koshinage and different mechanical interpretations of classical budo concepts. Some emphases of his Aikido style include the importance of acknowledgement of opposition, weapon techniques, atemi, and natural stance. Nishio played a significant part in the art's international expansion through his teachings, publications, and the propagation of his style. It is taught in 19 countries in Europe, America, Asia, South East Asia and Australia.<ref name=":9">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He was honored by the Japanese Budo Federation with the Budo Kyoryusho award in 2003 for his contribution to Aikido's development and global reach.<ref name=":1" />
Early martial arts training and influences
Judo
Nishio started practicing judo in 1942 in a dojo near the Ministry of Finance in the Japanese Mint, where he was then employed. After the war ended in 1945, he joined the Kodokan Judo Institute.<ref name=":3" /> Kyuzo Mifune, considered to be one of the greatest judo practitioners,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> was Nishio's trainer during this period. He was awarded 6th Dan Kodokan Judo.<ref name=":2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=":1" /> This background created the technical foundation that helps him introduced koshinage into official Aikido throwing repertoire.<ref name=":NASoA" />
Karate
The restriction from judo competition made Nishio felt his martial art growth was inhibited, he switched to practicing karate in 1950.<ref name=":6">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Nishio was trained under Yasuhiro Konishi, the founder of Shindō jinen-ryū (神道自然流) karate.<ref name=":5">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He was awarded 5th Dan Shindō jinen-ryū.<ref name=":2" /><ref name=":1" /> The technical influence of karate in Nishio's Aikido style is significant as he emphasized the importance of atemi (strikes)<ref name=":11">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> as well as the comprehensive range of atemi types in his teaching.<ref name=":15">Template:Cite book</ref>
Encounter with Aikido
Still feeling that karate was limiting,<ref name=":6" /> Nishio kept searching for another martial art. After being told about a ghost-like martial artist whom Nishio's sensei (trainer) at the time couldn’t hit,<ref name=":3" /><ref name=":13">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> he decided to try Aikido. With his karate friends, Nishio went to Nuke Benten to watch Aikido. He signed up after watching two classes.<ref name=":2" /> Changing primary martial art did not stop Nishio from practicing other ones. At the beginning of his Aikido career, he was still practicing judo and karate. It was common for him to train about five hours a day.<ref name=":2" />
Views and philosophy
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Nishio joined Aikikai Hombu Dojo in 1952 after 10 years of practicing other martial arts. At the time, the dojo (martial art training place) was not yet properly repaired after the war<ref name=":2" /> and there were around five people practicing on a good day.<ref name=":6" /> His fellow practitioners included Seigo Yamaguchi and Hiroshi Tada, among others.<ref name=":2" /> He was promoted to shihan (master instructor) and began to teach around 1955.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> As his Aikido developed, he incorporated skills and principles of other martial arts into his own aikido style. In 1976, he was promoted to 8th dan Aikido.<ref name=":NASoA" /> His style is described by its practitioners as dynamic, natural and effective.<ref name=":11" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Philosophy of engagement with oppositions
Nishio believed that one of Aikido's core tenets was about acknowledging the other person.<ref name=":4">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Most Aikido techniques offer 3-4 opportunities to striking down opponents but ultimately choose the least damaging option.<ref name=":12">Template:Cite book</ref> This type of choice materializes the philosophy of acknowledgment, understanding, acceptance and mutual respect of and for others, even as they are opposition. Aikido's philosophy stands in contrast to other martial arts' goal of overcoming other. Nishio believed that this context helped recreating each technique close to the spirit of Ueshiba.<ref name=":12" />
Views on Innovation
Nishio believed that the innovation of Aikido was a requirement Ueshiba had from its practitioners. He also asked practitioners to develop based on on their own background.<ref>{{#invoke:citation/CS1|citation |CitationClass=web
}}</ref> His conclusion based on Ueshiba's words was
Before the Founder passed away thirty-four years ago he told us, “This old man has brought [aikido] this far; all of you must take it from here.” In light of these words, I think it is insufficient—unforgivable, in fact— for us to simply maintain the status quo.<ref>Template:Cite book</ref>
The commitment to this view is reflected by Nishio's technical contributions and distinctions within the martial art world. He is considered as "one of the foremost technical innovators" in Aikido.<ref name=":16" />
Perspective on the relation between Aikido and other martial arts
Nishio believed that other martial arts knowledge was a "nourishment" for one's Aikido development.<ref name=":14">{{#invoke:citation/CS1|citation |CitationClass=web
}}</ref>
All styles of budo (ways of martial art) are continuously struggling in their own fashion to improve. Practitioners of budo must remain aware of and understand the nature of these changes. Arts like karate, judo and kendo all have their good points and these can be used to nourish one's own budo training, taking them into account and making even greater efforts. [...] The only people who condemn other budo are those that do not practice them;.<ref>Template:Cite journal</ref> Shoji Nishio
Indeed, he was still practicing judo and karate for a period even after signing up for Aikido.<ref name=":2" /> He also practiced in-depth iaido (and other weapons to a lesser extend) independently from his aikido training.<ref name=":6" /> His martial art technical application system is clearly influenced by knowledge and experience from other martial arts.
Technical approach and contributions
Nishio's approach to aikido can be elementally described as aikido spirit and techniques perform in atemi rhythm following the sword's direction and purpose with judo tweak.
Shizentai
Nishio believed that shizentai - natural stance (自然体, shizen = natural, tai = body/posture) was the way to face an opponent, adversary, or training partner.
“Taking a stance” becomes a foundation upon which conflict can be built. - Shoji Nishio<ref name=":10">Template:Cite book</ref>
Stance Form
In Nishio's style, the shizentai stance takes form of hand, hip straight down naturally.<ref name=":10" /> Both feet should also be straight with one slightly higher than the other.<ref name=":0">Template:Cite book</ref> This feet position let the practitioner face his opposition directly and acknowledge him (a core tenet in Nishio-style).<ref name=":10" /> Practitioners of the Nishio style believe this stance is physical manifestation of humanity in Aikido.<ref name=":4" /> Shizentai is the same when practitioner use a sword or a jo (a wooden stick). With the sword, the tip of the sword lie down near front foot in front of the holder.<ref name=":17">Template:Cite book</ref> With the jo, the direction of the jo intersect with opposition's eyes.<ref name=":8" />
Activity
Physically, these form a "no stance" stance; however, the practitioner should already taking a mental stance of acceptance, awareness, preparation. The hand is then offered to the opposition. Entering technique starts at the moment of contact.<ref name=":10" /> In comparison, most other Aikido styles' stance is in kamae position (roughly means preparing stance before the fight). Practitioner's body is in triangle shape (feet spread out back and front, straight body) and having one hand or both hands extended forward, usually with extended fingers.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Tsukuri
Tsukuri (作り, "set-up") is the first of three stages in Nishio-style Aikido technique execution, followed by kuzushi (breaking balance) and waza/kake (technique execution).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The term combines tsuku (to create) with the noun-forming suffix ri. In budo context, tsukuri refers to creating advantageous positioning that can be converted into technique within one or two moves.<ref name=":18">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Application
Nishio teaching emphasizes taking initiative to elicit opponent reactions rather than passive response. Practitioners must adapt their setup to match personal body mechanics and intended technique.<ref name=":8" /> In weapons training, tsukuri involves either moving the weapon off the combat line <ref name=":8" /> or adopting shizentai (natural stance) without raising to defensive position.<ref>Template:Cite book</ref><ref>Template:Cite book</ref>
Origins
The three-stage system likely derives from Nishio's judo background, though timing and application differ between the arts.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=":18" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> This explicit three-stage framework is unique to Nishio style and not found in mainstream Aikido schools.<ref>Template:Cite book</ref><ref>Template:Cite book</ref><ref>Template:Cite book</ref><ref>Template:Cite book</ref>
Irimi interpretation
In budo, irimi (入り身, iri = enter, mi = body) is essentially the movement to obtain an opponent's "dead angle." This refers to a strategic position offering effective strike and control opportunities while it is significantly harder/slower for the opposition to do so.<ref name=":20" /> In Nishio's style, in front-facing position, irimi is taken as a half-step<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> instead of a one-step in other Aikido schools.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The step is to the right and slightly forward, create a direction of about 30 degree compare to the shoulder's initial position.<ref name=":20">Template:Cite book</ref> Nishio style practitioners believe by taking half-step instead of full step, one stays connected to the opposition thereby maintaining effective control of the situation.<ref name=":4" />
Atemi
In budo, atemi means strike or blow to the body (当て身, ate = strike, mi = body).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web
}}</ref> In aikido, atemis are often used to take off balance and focus rather than delivering decisive blow.<ref name=":21">Template:Cite book</ref>
Aikido is forty percent throwing and sixty percent pinning. [...] Further, in all of the techniques there is atemi. [...] In the aikido I learned (and that I now teach), we do throws and pins with the rhythm and feeling of atemi.<ref>{{#invoke:citation/CS1|citation
|CitationClass=web
}}</ref> Shoij Nishio
In mainstream Aikido styles, atemi are demonstrated infrequently, and felt into disuse.<ref name=":16">{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref> In Nishio's style, atemis are everywhere and numerous (his teaching list at least 10 different hand strikes, 5 elbow strikes).<ref name=":15" /> Almost all Aikido techniques demonstrated by Nishio have multiple atemis at the beginning and during techniques.<ref>Template:Cite AV media</ref> More than strikes, atemis in his style determine the rhythm and timing of techniques.<ref>Template:Cite book</ref>
Introduction of Koshinage
In Japansese, koshinage means hip throw (腰投げ, koshi = hip, nage = throw). The "hip throw" which is now commonly performed during promotion examinations at Aikikai dojos, was not a well-known technique at first. Aikido's throwing repertoire was limited to iriminage, shihonage, and kotegaeshi.<ref name=":19" /> Koshiwaza was independently researched and developed by Nishio (utilizing his judo background)<ref name=":NASoA" /> and Yoshio Kuroiwa when they were young instructors at the headquarters, and it is said to have spread to other Aikido practitioners.<ref>Template:Cite book</ref>
Approach toward weapons usage
In 1955, due to the lack of explanation regarding sword and jo techniques from Ueshiba (and other instructors),<ref name=":6" /> Nishio started to study iaido under Shigenori Sano (10th dan Muso Jikiden Eishin-ryu).<ref name=":3" /> He was awarded 7th Dan Nihon Zenkoku Iaido Renmei.<ref name=":2" /><ref name=":1" />
In iaido, Nishio practiced a number of different styles and consolidated what he believed to be useful.<ref name=":13" /> By 2001, numerous addition and revision of kata were introduced in Nishio's iaido system. At one point, the number of kata were over 30. By the end, he finalized his iaido system to 15 katas, most of which correlated to specific Aikido movements.<ref name=":11" /> His new iaido system is called Aiki Toho Iai or Nishio-ryu Iai.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In 1957 or 1958, Nishio trained in jōdō with Takaji Shimizu (headmaster of Shintō Musō-ryū jōjutsu)<ref name=":19">{{#invoke:citation/CS1|citation |CitationClass=web }} Alt URL</ref> and Yari or art of the spear (Hōzōin-ryū sōjutsu).<ref name=":NASoA" />
Underlying principles
In Nishio's style, all techniques can be performed with the wooden sword bokken, wooden stick jo in hand as well as without weapons.<ref>Template:Cite book</ref> His applications of the ken and jo are known to be fast and subtle.<ref>{{#invoke:citation/CS1|citation |CitationClass=web
}}</ref>
I have experience in karate and judo, and feel the way of the sword is central, so I reflect empty-hand techniques and throws in my sword and jo movements. O-sensei said, "If your hands hold a sword, then aikido is a sword; if your hands hold a jo, then aikido is a jo."<ref name=":14" /> - Shoji Nishio
In weapon training, he believes, practitioners should try to be "on the edge". That means avoid being struck, deliver an effective final strike and stop within hair's breadth of contact.<ref name=":14" />
Sword Techniques: The Concept of Misogi no Ken
The sword of Aikido [...] as an ideal tool for rectifying that which is wrong in the world, for cutting a path by which humanity can live, and for perfecting the self.<ref name=":22">Template:Cite book</ref> - Shoji Nishio
Nishio's approach on sword work departed from Ueshiba's characterization of the "radiant sword of pacification".<ref>Template:Cite book</ref> Nishio's sword utilization style can be described as the silent sword of purification.
Purpose
He believed the purpose of the Aikido sword was to purify, as he called it the "sword of purification".<ref name=":8" /> Some of Nishio's views regarding the sword in Aikido are as follow:
- The sword of Aikido is not for cutting others. "Cutting is superseded by mutual coexistence". Rather, it is a tool to control the attack, even before its occurrence.<ref name=":22" /> The sword is used to redirect opponent's energy, voiding the need of physical strike.<ref name=":8">Template:Cite book</ref> This approach emphasizes the focus on control, the removal of conflict and unnecessary of damaging others. Thereby using in this way, it will forge the sword's controller out of mental "impurities" (the desire to hurt and creation of conflict).<ref name=":8" />
- The sword techniques in Aikido aim to find unified direction.<ref name=":8" /> Therefore it is a tool to guide both persons toward new understanding and mutual respect. This aspect shows the "purification" of intention of the opposition.<ref name=":21" />
- The swords also help practitioners understand the core physical mechanics of empty-handed Aikido techniques.<ref>Template:Cite book</ref> This view of utility emphasizes striving for perfection of bodily movements, hence "purifying".
Characteristic
The sword of Aikido makes no sound.<ref name=":8" /> - Shoji Nishio
Described as otonashi, or "silent," which means sword techniques produces almost no harsh sound. It is the result of Nishio's sword work relies on minimal blade contact with opposition's sword. His sword techniques anticipate and exploit gaps in opponent's attacks, turning defense into offense usually in one single precisely timed movements.<ref name=":NASoA" /> This approach differs from the teaching of Morihito Saito (who is well-known for close adherence to Ueshiba's approach<ref>{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref>), where the significant part of controls are achieved through impact with the other sword, resulting in clashing of the swords heard throughout.<ref>Template:Cite AV media</ref>
Criticism
Nishio's departure in approach (on development of techniques and application) was not always get approval from some other senior practitioners. Koichi Tohei was notably critical, reportedly stated that Nishio's methods were not Aikido.<ref name=":16" />
Impact and influence
Nishio's impact on Aikido went beyond the Japanese border and transcended techniques. He contributed to the international development of Aikido throughout the world by teaching, holding seminars and help establishing dojos of his Aikido style. The regions teaching Nishio-style Aikido include Central and Northern Europe, the United States, Mexico, France and Germany<ref name=":9" /> as well as Vietnam, Iran, Australia. In 2003, Nishio received the Budo Kyoryusho award from Japanese Budo Federation for his lifetime contribution to development and worldwide propagation of Aikido.<ref name=":1" />
Senior practitioners
Nishio cultivated a following in many countries. Some senior practitioners of his style includes:
| Name | Aikido Ranking | Other dan ranking | Practice country | |
|---|---|---|---|---|
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8th Dan | 7th Dan Nishio-ryu Iaido | Japan, Denmark |
| citation | CitationClass=web
}}</ref> |
7th Dan | 6th Renshi in Musoshinden-ryu Iaido, 7th in Nishio-ryu Toho Iaido | Japan, USA, France, Czech Republic |
| citation | CitationClass=web
}}</ref> |
7th Dan | 5th Dan Aikido Toho Iai | Japan |
| citation | CitationClass=web
}}</ref> |
7th Dan | 5th Dan Iaido | |
| citation | CitationClass=web
}}</ref> |
7th Dan | 5th Dan Aikido Toho Iai | France |
| citation | CitationClass=web
}}</ref> |
6th Dan | 7th Dan Aïki-Toho-Ïaïdo | France, Germany, Czech Republic |
| citation | CitationClass=web
}}</ref> |
6th Dan | 5th Dan Iaido | USA |
Personal life
Nishio was born in Aomori Prefecture of Japan in 1927. Occupationally, he mostly worked for the Ministry of Finance in the Japanese Mint for his entire career from 1942 to 1980.<ref name=":11" /> He is known for being mild-mannered and frequent smiling.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He died in March 2005 from prostate cancer.<ref name=":9" />
Published works
Books
- Shoji Nishio, Aikido – Yurusu Budo. The Irimi-Issoku Principle, Dou Publishing, 2004. Template:ISBN.
- “The Path to Forgiving Martial Arts” (Interview) “Definitive Edition Morihei Ueshiba and Aikido 2 - Direct Disciples Talking About the Founder” edited by Aiki News Editorial Department, Dou Publishing, 2006 , Template:ISBN .
DVDs
- "Shoji Nishio's Aikido Volume 1: Reverse half body one-handed/Aihan body one-handed edition", Dou Publishing, 2004 , Template:ISBN .
- "Shoji Nishio's Aikido Volume 2: Sho-uchi Edition", Dou Publishing, 2004 , Template:ISBN .
- "Shoji Nishio's Aikido Volume 3: Yokomen-uchi/Ryote-dori/Sode-dori/Shoulder-men-uchi edition", Dou Publishing, 2004 , Template:ISBN .
- "Shoji Nishio's Aikido Volume 4: Aikido Toho Iai Edition", Dou Publishing, 2004 , Template:ISBN .