The debate between aikido as complicit gymnastics or effective combat often ignores the middle ground where art and utility merge. Granted, some schools (mostly those later in the geneology) concentrate more on grace and spirituality as apologia to O-Sensei’s religious universalism. But others (Yoshinkani, Birankai) strain to retain some connection the the martial, and deadly, roots of the art. In the latter, uke’s role as agressor is encouraged, and discussions of ki are consciously metaphorical and exceedingly more rare. The ideal of pure non-violence is seen as an elusive exageration: in actual conflict a broken elbow may be preferable to an ultimately lethal resolution.A rare balance between martial effectiveness and impecable grace is exemplified in the style of Christian Tissier Shihan. His techniques, whether gentle or explosive, consistently retain a precision of form and movement that makes uke practically immaterial. At a recent seminar at the Suginami Aikido, he remarked that “in the beginning you move around uke; later you make uke move around you.”I’ve long enjoyed watching videos of Tissier Sensei on YouTube with a mix of inspiration that such powerful grace is physically possible, and despondency that I myself will never attain it. Having now experienced his aikido firsthand as uke I have added another emotion: affection toward a man who, while undeniably preeminent, is still friendly and approachable: yet another example of well balanced extremes.