Defining The Perfect Martial Art

Is a Perfect Martial Art possible? I considered this question much back in the 70s

, and there seemed to be no answer. The most I found was students making the claim 'My martial art is the best art.'

I have no problem with people saying that their art is best, because people should believe in what they are doing. I was looking a little deeper, however, and I wanted a martial art that actually was best. Whether a person was squat or big or green-eyed or whatever, the art should be perfect, and should take the martial arts practitioner to perfection.

One day I was in an Aikido class, and the teacher said, "The perfect art cannot be heard." His words impacted on me like an atom bomb. I walked out of the dojo with my head abuzz with new thoughts.

He had been talking about shoulder rolling out of a throw, trying to get us not to make noise. So we pulled in our hips, stopped our foot from flopping, and slowly rounded out the edges of our form. For a while I thought maybe the perfect art was a circle.

But, no, while a circle can be perfect, a circle with no protrusions is not perfection. It had more to do with the creation of sound, and I began to extrapolate the notion. The perfect martial art cannot be heard, cannot be seen, cannot be felt...what else can it not be?

I entered a world which was not measured by rulers and scales. I left the uni verse of physics and began to explore the world of my own self; the perfect art was that art wherein I never had impact with the universe. I would later refine this notion more in the technology of Neutronics.

If there is sound, there is impact, impact can be felt...but the perfect art cannot be felt. If there is sight, there is potential for reaction...so for a martial art to be perfect it must not be seen. If there is perfect alignment of motion within space; if two objects can achieve perfect parallelity, never growing apart and never growing closer...then there can be perfection.

Thus, when I do the Martial Arts these days I seek to execute my techniques without my partner being able to feel what I do, without being able to see my technique or hear it. The line becomes finer, and I approach that appreciation of speed and distancing wherein I am not perceived; I seek to make my martial techniques work without touch, but rather with only the 'sensationless' sensation of thought. It is the perfect Martial Art, and it calls me, and am possessed by it.

by: Al Case

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