On metsuke, maai, and ma
By Michael Shane
On the surface, metsuke (目付け), maai (間合い), and ma (間) may appear to refer to distinct ideas, but in fact they are connected concepts that relate to the level of one’s perception (and one’s ability to manipulate the perception of another) when using the sword.
Metsuke is one’s gaze. The visual sense is powerful and easily distracts the mind, which can lead the body astray. And so the first element of good metsuke is the basic discipline of where the eyes fall and how they rest during simple actions like walking, drawing the sword, and cutting. The eyes should not wander or dart around. They should be soft and relaxed as they take information in from one’s surroundings. For beginner students the adage “eyes, body, sword,” reminds them that where the eyes go the body and sword will follow — for better or worse. This is why it is essential to demonstrate clear metsuke when identifying and choosing to engage targets during kata or when cutting among multiple targets as in the practice of happo giri (八方切り).
Good metsuke also leads to accurate perception of maai, the physical distance (or more literally interval) between oneself and the opponent. From the moment an engagement begins, even at a distance (tōma / 遠間), one must be able to judge the maai in order to manipulate their opponent as they close to engagement range (issoku ittō no ma / 一足一刀の間) or even the decisive moment (chikama / 近間). And this is where ma comes into play.
Ma refers to a different kind of interval, one rooted in space and time, which is not the same as speed. In fact Musashi tells us that “speed is not part of the true Way of Strategy. When you say ‘fast,’ this means a lag has occurred in relation to the cadence of things; that is what is meant by ‘fast’ or ‘slow.’” The use of the word cadence here is important because it reveals Musashi’s deeper meaning. Musashi was accomplished in many arts and would have chosen these words carefully. In music, cadence (rhythm) is “correct” relative to tempo, the overall “speed” or pace of the piece. Musashi is saying that one key to victory in combat with the sword is to disrupt the opponent’s rhythm — not to try to play the music faster than they can.
“Speed is not part of the true Way of Strategy.”
He continues, “If your adversaries act too fast, you apply the opposite approach, you calm yourself and avoid imitating them. You must train yourself well in developing this state of mind.”
Working with ma teaches us to create and be sensitive to openings in the cadence of our opponent, and we must show this capability whenever we practice — in kata, kumitachi, and even shizan. Victory does not come from greater speed, but from manipulating the cadence of an encounter (and therefore the opponent himself) to create opportunities for a decisive advantage. Only then does one have the choice not to kill — to practice katsujinken (活人剣), the life giving sword. If one acts based on a desire for speed alone then katsujinken is impossible.
Put another way, katsujinken begins with metsuke, maai, and ma.
