There is a word in Japanese, “ma” [a space between things – a pause, gap, room, span, interval, opening, relationship].
If “ma” is captured correctly, we say “ma ga yoi“ (“ma” is good), and if captured incorrectly, we say “ma ga warui” (“ma” is bad). There are various expressions that use the word “ma”, such as “ma ni au” (to make it in time), “ma ga nukeru” (to be out of tune, timing is off, someone’s mind is off), and “ma ga motenai” (one feels at a loss as to what to do/say when stuck on a topic with someone).
The meaning of “ma” can be broadly divided into physical, temporal, and psychological. “Ma” basically means “there is nothing in between”, but it doesn’t mean there is no meaning. It is this “ma” that makes the whole thing work.
Physical “ma” is “empty space”. When appropriate spaces are arranged in the room, our life becomes easier and comfortable. Conversely, life becomes difficult and inconvenient if there are no appropriate spaces in the room. Old Japanese architecture had few fixed walls and was divided by fusuma (sliding doors) and shoji (paper sliding doors), so the space could be freely changed for ease of use according to the environment or the purpose of use. It was the “ma” that made this possible.
Temporal “ma” is “empty time”. When there is an appropriate amount of time between sounds, the sound feels more expansive. Conversely, without proper amount of time in between, it would sound and feel more stagnant/stuck. Sound is a wave, and once it is emitted, it quiets down infinitely over time. “Ma” is necessary in this quieting process. The same is true when giving lectures and speeches. [Having an appropriate amount of “empty time” within the speech,] our voice becomes easier for the listeners to hear and understand.
Psychological “ma” is “the distance of kokoro (mindheart) that exists between people”. Relationships become smooth when we treat one another with appropriate kokoro distance [mental/emotional/spiritual distance]. Conversely, inappropriate distance can lead to various relationship issues. Even when we are with the same, proactive person, we may feel, “I don’t like this person because he/she is pushy, “ or we may feel “This person is positive and wonderful.” This all depends on whether we are accurately perceiving the kokoro distance with the other person and acting accordingly.
“Ma” is not something we think about using our head, but we capture it with our whole body through the five senses. “Ma” has no form, and we are trying to accurately grasp space and time that is empty, so this is generally not easy to learn and requires many years to master.
This “ma” is also important when we practice Shinshin Toitsu Aikido techniques. We have to practice all aspects of “ma”: physical, temporal, and psychological.
From beginning to intermediate levels, we improve ourselves by practicing correct postures, and the forms and basic movements of techniques over time, so the progress is [generally] proportional to the amount of time spent training. When we become more advanced, we then need to understand “ma”, and the speed of our progress becomes varied greatly from person to person. The main focus of the training becomes paying attention not to “do something”, but to “do nothing”, and grasping “ma” in relation to our opponent.
There is a technique called “Kokyu Dosa” which is practice by beginners and advanced students alike. Nage and Uke both sit in seiza position, facing each other, and Uke holds Nage’s wrists in place where offered.
For the beginners, Uke is supposed to hold Nage’s wrists in place with full physical strength. Uke has physical tension/stress in the body, so Uke’s body is not well balanced and can be moved easily. It is a different story, however, when Uke’s posture is correct, meaning Uke is maintaining Toitsutai [a state in which our body and mind are unified]. When this happens, Nage cannot easily move Uke.
“Kokyu” [breathing, timing] becomes the key here. Kokyu in this case does not mean exhaling or inhaling. It is the Kokyu when we say, “Sono Kokyu da!” (That’s the timing!) in Japanese, which is like a subtle “kotsu” (hint) when we do things.
For our opponent’s mind and body to move with us, there is a proper kokyu, and this kokyu is created by accurately capturing the “ma”. If we move hastily/too quickly, it becomes “ma chigai” (“different ma” = mistake), and when we move indecisively/while our mind is wondering, it becomes “ma nobi” (“ma is stretching out/loose” = slow, sluggish, lazy, dull, a slack in space/time). By paying attention to “ma”, we can understand the depth of training we get with Kokyu Dosa.
I suddenly remembered my childhood. My father, Koichi Tohei sensei, who was studying Suibokuga (ink painting), often practiced at home. Watching him practicing, I wanted to do it, too, so I asked him to let me pick up the brush. Then I drew a picture of bamboos with the ink, filling up the entire white paper.
My father said to me gently,
“In ink painting, blank space is important. Blank space does not mean there is nothing. The empty space makes the whole picture come alive.”
This is another example of “ma”.
Translated by Mayumi Case
Edited by David Shaner
Eastern Ki Federation
https://easternkifederation.org/
Original article in Japanese: 間とは何か(Ma towa nanika)
August1, 2024
https://shinichitohei.com/japanese/04-%e3%83%a1%e3%83%bc%e3%83%ab%e3%83%9e%e3%82%ac%e3%82%b8%e3%83%b3/35024/
