Sunday, January 29, 2012
Friday, January 13, 2012
This morning I received an email from someone who asked me: “ why are the kata (martial art forms) so important if they are not even that old? Why does so much emphasis get put on something that is meant to later be forgotten? Would it not be easier to just learn how to fight without kata? It seems like kata is the only thing that the Bujinkan has to offer since we don’t spar or compete… but now you said that the forms are not very old and are meant to later be forgotten after passing your 5th degree Black Belt. I don’t get it and I often lately feel that I want to stop training in the Bujinkan. I feel ineffective after study this art for 3 years. Do you have any advice for someone like me?”
This is an all too common bunch of questions. I have been often asked all kinds of questions very similar to these.
I would like to start with the question “Why are the kata (martial art forms) so important if they are not even that old?”
First I would like to say that some forms in some arts are very old. For example the Kukishin Ryu or the Takagi Yoshin Ryu Jutaijutsu forms are at least 200 years old maybe even as old as 400 years. But some forms such as in the Gyokko Ryu or the Koto Ryu are possibly only 100+ years old. One reason for this is the fact that some schools literally trained armies while some only trained a particular family or even a single warrior.
The most important thing to keep in mind is that forms will naturally change over time. Change is not only inevitable, it is essential for survival. The Kuki family is a perfect example of this. They were Japan’s first imperial navy and trained many thousands of samurai and ashigaru in their family martial arts to invade the Korean peninsula, what is now called Taiwan and mainland China. Due to this the Kukishin Ryu became very formalized and ritualistic. This is how they created a unity among the warriors when they went to battle. Kata or forms are an efficient tool to train many people at a single time. Our modern United States military uses forms to train it’s soldiers even to this day. It is how you pump out mass amounts of ready to fight warriors in a short period of time. Other schools of martial arts were taught in secret, high up in the mountains, for various reasons such as seeking spiritual enlightenment, to prepare rebel forces to implement guerrilla warfare on the controlling power holders or to even take on the magical powers of the mountain and learn to harness it’s energy. These types of martial arts were generally passed on in small numbers and two students of the same master may never even meet each other in their lifetime. So there was no need to have forms that each other would recognize. The training was more personalized and fluid. This is only possible when you have a lot of access to your master.
So, my point here is the age of the form is irrelevant other than in historical context. It does not matter when the form was created. The important point is the unseen knowledge that is contained in that form. Has it been passed on to the student completely? Just memorizing a preset series of movements does not mean that anything has been truly learned. It is the “life” behind these movements that needs to be grasped and that can only be accomplished through hard training with an accomplished instructor. Anyone could memorize all of the movements of a particular martial art in only a few weeks or months. But this does not mean that they have learned anything other than how to do a dance. The application of what is contained in the forms takes many years even decades to master.
Next I would like to take on “Why does so much emphasis get put on something that is meant to later be forgotten?"
I think forgotten is not the correct word to use here. It is like walking. First as a child we have to learn how to walk and work real hard at it to walk gracefully. But later in life we do not walk the same as when we were a baby. We walk with pride and swagger, with laziness dragging and scuffing our feet, with an energetic pace at the workplace and with a kind of coolness when we try to impress a beautiful woman. Our ability to walk has improved and kind of become artistic as it is an easy way to express ourselves. When we age we change our way of walking again as our bodies are not able to support ourselves as they did in our youth. So in my own strange way I am trying to say that it is not the way that you walk that is important but rather that you keep on walking. In the martial arts it is the same. Forms help you learn what you can do to protect yourself from an enemy.
After many years the form will itself fade away and what is left is an ability to defend yourself without relying on a static form or technique. Hence the form is forgotten even though it is being used in a multitude of endless variations. It has taken on a life of its own in a sense. This life is what is important and needs to be passed on from master to student. “Would it not be easier to just learn how to fight without kata?” No. Most definitely not. Everyone learns how to fight naturally. It is instinct. But to become a superior fighter…that requires form and training. Without form you would be constantly getting injured or even injuring your opponent. Every martial art including boxing, wrestling, judo, fencing, etc. uses forms to teach the basics to their athletes and warriors.
“It seems like kata is the only thing that the Bujinkan has to offer since we don’t spar or compete… but now you said that the forms are not very old and are meant to later be forgotten after passing your 5th degree Black Belt. I don’t get it and I often lately feel that I want to stop training in the Bujinkan. I feel ineffective after study this art for 3 years. Do you have any advice for someone like me?”
I will tackle this last portion all at once. As Soke always says… “keep going!” If you pay attention and watch very closely you will notice that Soke very rarely ever teaches kata. He is always teaching at a higher level than that. If you want to attend Soke’s training sessions and truly understand, in my opinion, you must have already gone through many years of training under an accomplished instructor. This is how it should be. He can not always be teaching simple basics anymore. It would bore him to death.
This is the job of the Shidoshi. The problem is that too many of us Shidoshi keep trying to act, move and be like Soke. We do not spend enough time working on the basics nor teaching our students these essential foundations. Keep in mind that with Soke’s way of giving out ranks you must find another way to make a decision on which instructor you will choose. To make your decision based on rank would be a big mistake in this art.
As for sparring and competition…that is for each individual to decide for themselves. Depending on your goals in martial arts, sparring and competition may or may not be needed. If you intend to be able to perform physical combat at a high intensity level, such as in the UFC or in battle duty, you must spar and competition is the tool to judge your progress. If you study martial arts simply because you love it….then no there is no need for such training. Martial arts are for everyone. Not just fighters. It is an art and art is not to be taken too seriously. Even though a form may not be old it still contains a lesson. Each master needs to give many lessons to a student. Forms are the way to bring you to a higher level. When you get there you don’t really forget them…you just don’t think about them anymore. As for not getting it…..DONT SWEAT IT!!!!!!! I don’t want to sound like a braggart or anything but I have been doing this a long time, lived in China and Japan for two decades, am fluent in Japanese and have a good relationship with the headmaster of our art and I still often don’t get it. You don’t have to get it. It is a path and you have a lifetime to walk it. Just enjoy it. If you do not enjoy our art.. you are free to let go at any time. There is no reason to hold on. But if you love it… I promise you will have an adventure. Although I am by no means an enlightened man I enjoy the pursuit of it very much. We need to have something in our lives that gives us meaning. Who doesn’t want to be enlightened???
“I feel ineffective after study this art for 3 years. Do you have any advice for someone like me?”
Yes. If you still feel ineffective after 3 years there is two possible reasons. 1 – You are naturally not suited for martial arts. It is sad but not everyone can be good at martial arts just like any other physical activity. Maybe another activity is better for you such as firearms training. 2 – Your instructor is no good. This is also a very real possibility. As with religion, medicine and politics our art is full of the good, the bad and the ugly. I hope my thoughts have helped some of you. Many of you are long time practitioners and what I have said is nothing new to you but I know there is a whole new generation of new Bujinkan members who want to improve themselves and I hope I have been a help in some small way.
Sean Askew January 12, 2012
This is an all too common bunch of questions. I have been often asked all kinds of questions very similar to these.
I would like to start with the question “Why are the kata (martial art forms) so important if they are not even that old?”
First I would like to say that some forms in some arts are very old. For example the Kukishin Ryu or the Takagi Yoshin Ryu Jutaijutsu forms are at least 200 years old maybe even as old as 400 years. But some forms such as in the Gyokko Ryu or the Koto Ryu are possibly only 100+ years old. One reason for this is the fact that some schools literally trained armies while some only trained a particular family or even a single warrior.
The most important thing to keep in mind is that forms will naturally change over time. Change is not only inevitable, it is essential for survival. The Kuki family is a perfect example of this. They were Japan’s first imperial navy and trained many thousands of samurai and ashigaru in their family martial arts to invade the Korean peninsula, what is now called Taiwan and mainland China. Due to this the Kukishin Ryu became very formalized and ritualistic. This is how they created a unity among the warriors when they went to battle. Kata or forms are an efficient tool to train many people at a single time. Our modern United States military uses forms to train it’s soldiers even to this day. It is how you pump out mass amounts of ready to fight warriors in a short period of time. Other schools of martial arts were taught in secret, high up in the mountains, for various reasons such as seeking spiritual enlightenment, to prepare rebel forces to implement guerrilla warfare on the controlling power holders or to even take on the magical powers of the mountain and learn to harness it’s energy. These types of martial arts were generally passed on in small numbers and two students of the same master may never even meet each other in their lifetime. So there was no need to have forms that each other would recognize. The training was more personalized and fluid. This is only possible when you have a lot of access to your master.
So, my point here is the age of the form is irrelevant other than in historical context. It does not matter when the form was created. The important point is the unseen knowledge that is contained in that form. Has it been passed on to the student completely? Just memorizing a preset series of movements does not mean that anything has been truly learned. It is the “life” behind these movements that needs to be grasped and that can only be accomplished through hard training with an accomplished instructor. Anyone could memorize all of the movements of a particular martial art in only a few weeks or months. But this does not mean that they have learned anything other than how to do a dance. The application of what is contained in the forms takes many years even decades to master.
Next I would like to take on “Why does so much emphasis get put on something that is meant to later be forgotten?"
I think forgotten is not the correct word to use here. It is like walking. First as a child we have to learn how to walk and work real hard at it to walk gracefully. But later in life we do not walk the same as when we were a baby. We walk with pride and swagger, with laziness dragging and scuffing our feet, with an energetic pace at the workplace and with a kind of coolness when we try to impress a beautiful woman. Our ability to walk has improved and kind of become artistic as it is an easy way to express ourselves. When we age we change our way of walking again as our bodies are not able to support ourselves as they did in our youth. So in my own strange way I am trying to say that it is not the way that you walk that is important but rather that you keep on walking. In the martial arts it is the same. Forms help you learn what you can do to protect yourself from an enemy.
After many years the form will itself fade away and what is left is an ability to defend yourself without relying on a static form or technique. Hence the form is forgotten even though it is being used in a multitude of endless variations. It has taken on a life of its own in a sense. This life is what is important and needs to be passed on from master to student. “Would it not be easier to just learn how to fight without kata?” No. Most definitely not. Everyone learns how to fight naturally. It is instinct. But to become a superior fighter…that requires form and training. Without form you would be constantly getting injured or even injuring your opponent. Every martial art including boxing, wrestling, judo, fencing, etc. uses forms to teach the basics to their athletes and warriors.
“It seems like kata is the only thing that the Bujinkan has to offer since we don’t spar or compete… but now you said that the forms are not very old and are meant to later be forgotten after passing your 5th degree Black Belt. I don’t get it and I often lately feel that I want to stop training in the Bujinkan. I feel ineffective after study this art for 3 years. Do you have any advice for someone like me?”
I will tackle this last portion all at once. As Soke always says… “keep going!” If you pay attention and watch very closely you will notice that Soke very rarely ever teaches kata. He is always teaching at a higher level than that. If you want to attend Soke’s training sessions and truly understand, in my opinion, you must have already gone through many years of training under an accomplished instructor. This is how it should be. He can not always be teaching simple basics anymore. It would bore him to death.
This is the job of the Shidoshi. The problem is that too many of us Shidoshi keep trying to act, move and be like Soke. We do not spend enough time working on the basics nor teaching our students these essential foundations. Keep in mind that with Soke’s way of giving out ranks you must find another way to make a decision on which instructor you will choose. To make your decision based on rank would be a big mistake in this art.
As for sparring and competition…that is for each individual to decide for themselves. Depending on your goals in martial arts, sparring and competition may or may not be needed. If you intend to be able to perform physical combat at a high intensity level, such as in the UFC or in battle duty, you must spar and competition is the tool to judge your progress. If you study martial arts simply because you love it….then no there is no need for such training. Martial arts are for everyone. Not just fighters. It is an art and art is not to be taken too seriously. Even though a form may not be old it still contains a lesson. Each master needs to give many lessons to a student. Forms are the way to bring you to a higher level. When you get there you don’t really forget them…you just don’t think about them anymore. As for not getting it…..DONT SWEAT IT!!!!!!! I don’t want to sound like a braggart or anything but I have been doing this a long time, lived in China and Japan for two decades, am fluent in Japanese and have a good relationship with the headmaster of our art and I still often don’t get it. You don’t have to get it. It is a path and you have a lifetime to walk it. Just enjoy it. If you do not enjoy our art.. you are free to let go at any time. There is no reason to hold on. But if you love it… I promise you will have an adventure. Although I am by no means an enlightened man I enjoy the pursuit of it very much. We need to have something in our lives that gives us meaning. Who doesn’t want to be enlightened???
“I feel ineffective after study this art for 3 years. Do you have any advice for someone like me?”
Yes. If you still feel ineffective after 3 years there is two possible reasons. 1 – You are naturally not suited for martial arts. It is sad but not everyone can be good at martial arts just like any other physical activity. Maybe another activity is better for you such as firearms training. 2 – Your instructor is no good. This is also a very real possibility. As with religion, medicine and politics our art is full of the good, the bad and the ugly. I hope my thoughts have helped some of you. Many of you are long time practitioners and what I have said is nothing new to you but I know there is a whole new generation of new Bujinkan members who want to improve themselves and I hope I have been a help in some small way.
Sean Askew January 12, 2012
Wednesday, July 20, 2011
Selfdefensy stuff:
- Uke right punch
- Tori moves inside sideways and down(not turn)
- Tori right (=cross) open hand to face, (can also be left hand)
- Shift back left (break balance)
- then sneak right leg behind Uke and drop
- Uke right punch
- Tori ichimonji, get off line, go LOW
- Front hand shuto in middle of face
- Cross shuto (no step) or whatever
- Both in shizen
- Uke moves back for strike
- Tori forward to Jumonji (take space)
- Punch
- Tori back (right) into ichimonji, punch up into biceps with left
- Left hand again boshi to atemi, neck whatever
- cross hand to face (other hand behind head if you are luck
. Takedown as above
Saturday, May 21, 2011
Friday, July 10, 2009
1)
- Uke straight punch
- Tori shizen 90 degrees outside (helps if you start high and go low)
- right hand slides along over punch, extends, then lowers (with body)
- final twist to throw
3)
- Uke straight punch
- Tori shizen 90 degrees outside (helps if you start high and go low)
- Left elbow "let run into"
- 90/180 turn back into, "behind" right elbow to solar plexus
- Lower arm vertical for shuto to neck
4)
- Uke straight punch
- Tori shizen 90 degrees inside
- Right elbow "let run into"
- shoulder lock?
5)
- Uke straight punch
- Tori ichimonji, nice hard block (more sidaways than backwards)
- 2nd punch
- capture arm similar to 1, with full 180 twist/uke hand to hip
- kick to upper bod, from bottum up
- uke leans backwards/takedown
6) similar to one but inside
boy do you fly
- Uke straight punch
- Tori shizen 90 degrees outside (helps if you start high and go low)
- right hand slides along over punch, extends, then lowers (with body)
- final twist to throw
3)
- Uke straight punch
- Tori shizen 90 degrees outside (helps if you start high and go low)
- Left elbow "let run into"
- 90/180 turn back into, "behind" right elbow to solar plexus
- Lower arm vertical for shuto to neck
4)
- Uke straight punch
- Tori shizen 90 degrees inside
- Right elbow "let run into"
- shoulder lock?
5)
- Uke straight punch
- Tori ichimonji, nice hard block (more sidaways than backwards)
- 2nd punch
- capture arm similar to 1, with full 180 twist/uke hand to hip
- kick to upper bod, from bottum up
- uke leans backwards/takedown
6) similar to one but inside
boy do you fly
Wednesday, May 13, 2009
1)
- Uke straight punch
- Hoko inside (dive, watch for the low kick),
- right hand controls guarding elbow, if you can do it sanshin it from under/crossed forearm
- reverse yoko aruki left back, stretch the guard arm (dont force it open), optional shuto
- Then throw by pushing on stretched arm
2)
- Uke straight punch
- Hoko inside (dive, watch for the low kick),
- Left step across, right shuto to temple
- right step wiggle in, takedown
3)
- Judo stance
- 90 degree ichimonji to right, left hand twists elbow, right hand boshiken to throat (1 movement, sanshin, twist all the way)
- right step across, keeps hand where they are
- Kick + happa ken
4)
- Judo stance
- 90 degree ichimonji to right, left hand twists elbow, right hand boshiken to throat (1 movement, sanshin, twist all the way)
- Step across and go for elbow lock on opposite arm, twist all the way so parallel to Uke
5) Bokken
- Uke Daijudan + tori segan
- Drop blade to invite straight cut
- step left, blade around left and over onto uke blade (stopping the flow - side/back of blade)
- step right, blade under and around, clear the space
- another cut if you feel like it
6) Bokken
- Uke Daijudan + tori reverse segan
- Drop blade or move left to invite diagonal cut
- Step right and block blade
- Step left and hit front leg
- Uke straight punch
- Hoko inside (dive, watch for the low kick),
- right hand controls guarding elbow, if you can do it sanshin it from under/crossed forearm
- reverse yoko aruki left back, stretch the guard arm (dont force it open), optional shuto
- Then throw by pushing on stretched arm
2)
- Uke straight punch
- Hoko inside (dive, watch for the low kick),
- Left step across, right shuto to temple
- right step wiggle in, takedown
3)
- Judo stance
- 90 degree ichimonji to right, left hand twists elbow, right hand boshiken to throat (1 movement, sanshin, twist all the way)
- right step across, keeps hand where they are
- Kick + happa ken
4)
- Judo stance
- 90 degree ichimonji to right, left hand twists elbow, right hand boshiken to throat (1 movement, sanshin, twist all the way)
- Step across and go for elbow lock on opposite arm, twist all the way so parallel to Uke
5) Bokken
- Uke Daijudan + tori segan
- Drop blade to invite straight cut
- step left, blade around left and over onto uke blade (stopping the flow - side/back of blade)
- step right, blade under and around, clear the space
- another cut if you feel like it
6) Bokken
- Uke Daijudan + tori reverse segan
- Drop blade or move left to invite diagonal cut
- Step right and block blade
- Step left and hit front leg
Tuesday, May 05, 2009
1)
- Right Punch
- Yoko aruki right foot across to left, raise right arm, contact striking arm with back of hand
- right foot back across into L shape in front of uke (keep left arm down for practise), striking arm is across front of chest
- do not push arm down!
- want to come from behind
- Then throw
2)
- Right punch
- Yoko aruki right foot across to left, raise right arm, contact striking arm with back of hand
- Right elbow to ribs
+
- right foot back across into L shape behind uke
- Right Elbow from underneath arm to face
- shuto/throw backwards
3)
- 2 punches
- 1st punch back right into segan (long/shoulders in line)
- 2nd punch yoko aruki right foot all the way across to left, fingerstrike to throat
- 180degree reverse twist in doko right arm covers, left arm to leg
4)
- Sword Dai Judan
- 90 degree shizen with left foot towards uke, left hand on sword hand
- left foot forward across
- control with elbows and ....
5)
- Sword Dai Judan
- Sanshin right fooot/armDive under left uke arm
- hand under elbow (waiter)
- Throw
- Right Punch
- Yoko aruki right foot across to left, raise right arm, contact striking arm with back of hand
- right foot back across into L shape in front of uke (keep left arm down for practise), striking arm is across front of chest
- do not push arm down!
- want to come from behind
- Then throw
2)
- Right punch
- Yoko aruki right foot across to left, raise right arm, contact striking arm with back of hand
- Right elbow to ribs
+
- right foot back across into L shape behind uke
- Right Elbow from underneath arm to face
- shuto/throw backwards
3)
- 2 punches
- 1st punch back right into segan (long/shoulders in line)
- 2nd punch yoko aruki right foot all the way across to left, fingerstrike to throat
- 180degree reverse twist in doko right arm covers, left arm to leg
4)
- Sword Dai Judan
- 90 degree shizen with left foot towards uke, left hand on sword hand
- left foot forward across
- control with elbows and ....
5)
- Sword Dai Judan
- Sanshin right fooot/armDive under left uke arm
- hand under elbow (waiter)
- Throw
Tuesday, January 13, 2009
Name?
1)
Uke Straight punch (right)
Evade shift left, perpendicular to punch, make contact (light) with arm
Shift right taking uke arm across, then up, then step past left and takedown
3-dimensional movements - left to right, around/over, then diagonal down
2)
Uke Straight punch (right)
Tori evade outside, right foot exactly 90 degrees reverse turn, "extend" the punch (not(!) downwards)
feet hips, shoulders exactly parallel to punch, as close as possible to chest (left hand optional for training)
left foot forward at precisely 90° to punch, push with left shoulder, ideally upwards
3)
Uke Straight punch (right)
Tori inside, past uke (within range of left punch), feet together! (hobanize)
Hicho, right kick to uke left hip shoot back, set foot down a bit forward
Shitanken to neck, with extra by reverse left yoko aruki, shooting head backwards
if you can catch him, throw
4) Uke Straight punch (right)
Tori 45 degrees inside back, hicho
Left kick to ribs/achselhöhle (kicking foot nice and crosswise, standing foot perpendicular)
Left step/left arm taking attackers arm behind him, past out of punch range
Takedown with crossed arm lcok (name?)
1)
Uke Straight punch (right)
Evade shift left, perpendicular to punch, make contact (light) with arm
Shift right taking uke arm across, then up, then step past left and takedown
3-dimensional movements - left to right, around/over, then diagonal down
2)
Uke Straight punch (right)
Tori evade outside, right foot exactly 90 degrees reverse turn, "extend" the punch (not(!) downwards)
feet hips, shoulders exactly parallel to punch, as close as possible to chest (left hand optional for training)
left foot forward at precisely 90° to punch, push with left shoulder, ideally upwards
3)
Uke Straight punch (right)
Tori inside, past uke (within range of left punch), feet together! (hobanize)
Hicho, right kick to uke left hip shoot back, set foot down a bit forward
Shitanken to neck, with extra by reverse left yoko aruki, shooting head backwards
if you can catch him, throw
4) Uke Straight punch (right)
Tori 45 degrees inside back, hicho
Left kick to ribs/achselhöhle (kicking foot nice and crosswise, standing foot perpendicular)
Left step/left arm taking attackers arm behind him, past out of punch range
Takedown with crossed arm lcok (name?)
Tuesday, January 06, 2009
Osoto Nage, Osote Geri, Osoto Gake
1) Judo position
Left foot + right arm forward, twist to have uke in front
Sneak right foot past
- Nage = throw
- Geri = sweep (?)
- Gake = Hook
-> with right foot
Kosoto = with left (outside foot)
2) Judo position
right to right, left to left,
hip twist + right hand up brings off balance
then step to (tori's) right
3) right punch
tori left step, catch with left arm
right shuto to neck
block foot (right with right), hold shoulder with right hand, hold arm with left hand
Takedown with left reverse yoko aruki kneel, facedown
1) Judo position
Left foot + right arm forward, twist to have uke in front
Sneak right foot past
- Nage = throw
- Geri = sweep (?)
- Gake = Hook
-> with right foot
Kosoto = with left (outside foot)
2) Judo position
right to right, left to left,
hip twist + right hand up brings off balance
then step to (tori's) right
3) right punch
tori left step, catch with left arm
right shuto to neck
block foot (right with right), hold shoulder with right hand, hold arm with left hand
Takedown with left reverse yoko aruki kneel, facedown
Tuesday, May 13, 2008
1)
- Uke straight punch
- Tori slight step left (outside) forward, in hoko (keep elbows down and close)
- Uke keeps moving, steal balance
- Step past, throw/sweep/...
2)
- Uke comes towards
- Tori provoke attack with jumonji step left (outside) forward
- when punch comes right left punch,
- right punch with tep
3)
similar to 2) but go inside
Uppercut to arm onetwo
punch to ribs one two
4)
- shizen
- Tobi (?)
- Hoko
- Hicko
- Kick
- Uke straight punch
- Tori slight step left (outside) forward, in hoko (keep elbows down and close)
- Uke keeps moving, steal balance
- Step past, throw/sweep/...
2)
- Uke comes towards
- Tori provoke attack with jumonji step left (outside) forward
- when punch comes right left punch,
- right punch with tep
3)
similar to 2) but go inside
Uppercut to arm onetwo
punch to ribs one two
4)
- shizen
- Tobi (?)
- Hoko
- Hicko
- Kick
Tuesday, April 22, 2008
1)
- Start Shizen facing each other
- Uke goes back preparing for strike
- Tori Ichimonji, fairly crosswise
- Uke strike
- Tori "Pull" uke, back, switch sides (skate), down
- By switching sides, Tori is outside striking arm,
- reach for tori opposite shoulder and steal balance
2) Alternative ending
- when going back, contact striking hand with own hand
- extend striking hand (dont grab)
- walk across (yoko aruki)
- ura gyakko (also hon possible)
3) Alternative ending
- when going back, ensure your arms stay inside
- shift forward (ihen no kame)
- now hand can go outside striking arm,
- switch ichimoni sides again
- Ganseki nage (also onikudaki etc etc)
- Start Shizen facing each other
- Uke goes back preparing for strike
- Tori Ichimonji, fairly crosswise
- Uke strike
- Tori "Pull" uke, back, switch sides (skate), down
- By switching sides, Tori is outside striking arm,
- reach for tori opposite shoulder and steal balance
2) Alternative ending
- when going back, contact striking hand with own hand
- extend striking hand (dont grab)
- walk across (yoko aruki)
- ura gyakko (also hon possible)
3) Alternative ending
- when going back, ensure your arms stay inside
- shift forward (ihen no kame)
- now hand can go outside striking arm,
- switch ichimoni sides again
- Ganseki nage (also onikudaki etc etc)
Tuesday, March 13, 2007
1)
- uke grab both sides
- Tori start omotegyaku on uke lapel hand, front side in middle area
- Tori goes for mushadori on other hand
2)
- uke grab both sides
- Tori moves sideways on long arm, shoulder back to stretch arm, arm in front of chest
- Capture elbow/stratch arm/down
- Musodori (lautloses einfangen eines Kriegers)
3)
- Uke straight punch
- "stroke" punch, extend,
- Tori move shoulder/upper arm under uke arm + arm circle around until behind uke
- Tori move around and under arm (can be back to back)
4)
- Uke straight punch
- Tori tilt back, then step right forward(far)/rotating,
- then something.....
5) anti choke
- lift shoulders,
- tilt spine forward (one foot back)
-
- uke grab both sides
- Tori start omotegyaku on uke lapel hand, front side in middle area
- Tori goes for mushadori on other hand
2)
- uke grab both sides
- Tori moves sideways on long arm, shoulder back to stretch arm, arm in front of chest
- Capture elbow/stratch arm/down
- Musodori (lautloses einfangen eines Kriegers)
3)
- Uke straight punch
- "stroke" punch, extend,
- Tori move shoulder/upper arm under uke arm + arm circle around until behind uke
- Tori move around and under arm (can be back to back)
4)
- Uke straight punch
- Tori tilt back, then step right forward(far)/rotating,
- then something.....
5) anti choke
- lift shoulders,
- tilt spine forward (one foot back)
-
Tuesday, March 06, 2007
No grab, orientation, point at opponent
1) Omote Gyakku
Ichimonji across
Ichimonjy back
fingers should point at uke
2) Ura Gyakku
no grab, ready for shuto
3) Erde technik
Elbow horizontal, Kotoryu "bone tchnique"
dont work against him
4) Erde against roundhouse, dive, touch opposite shoulder
Shizen... drift into philosopyh
Kata = nergiy in motion/emotion
1) Omote Gyakku
Ichimonji across
Ichimonjy back
fingers should point at uke
2) Ura Gyakku
no grab, ready for shuto
3) Erde technik
Elbow horizontal, Kotoryu "bone tchnique"
dont work against him
4) Erde against roundhouse, dive, touch opposite shoulder
Shizen... drift into philosopyh
Kata = nergiy in motion/emotion
Tuesday, January 23, 2007
1) Umote Gyakku (soft - look Tori in the yes to roll smooth))
2) Ura Gyakku (ditto), if low only roll over near shoulder
3) ganseki nage (?) with big over step for sideways roll
4) Onikudaki (?) "hände ineinanderlaufen" from grab
4a) start with rockabillymove
twist hips, hit shoulder, face forward
kick across stomach, takedown
5)
- Tori: Jumonji with reverse fist
- Uke straight punch
- Tori down
- onikudaki
5a) straighten arm to block unkuaki
5b) try to do shoulder throw with arm
5c) counter shoulder throw by arm behind head, fall down back
alternative with choke?
bonus
str8 punch, big step forward reach around to belt at lower back, reverse pull takedown
bonus
massive right slap
twist clockwise 360/go down
go 4 the legs
2) Ura Gyakku (ditto), if low only roll over near shoulder
3) ganseki nage (?) with big over step for sideways roll
4) Onikudaki (?) "hände ineinanderlaufen" from grab
4a) start with rockabillymove
twist hips, hit shoulder, face forward
kick across stomach, takedown
5)
- Tori: Jumonji with reverse fist
- Uke straight punch
- Tori down
- onikudaki
5a) straighten arm to block unkuaki
5b) try to do shoulder throw with arm
5c) counter shoulder throw by arm behind head, fall down back
alternative with choke?
bonus
str8 punch, big step forward reach around to belt at lower back, reverse pull takedown
bonus
massive right slap
twist clockwise 360/go down
go 4 the legs
Tuesday, January 16, 2007
1)
- Uke kick to stomach (right) (Tori kann "Offer" and shift a bit to right)
- Tori hicho standing left foot "bow" with raised knee
- Tori right hand to shoulder/neck, takedown
2)
- Uke right punch
- Tori ichimonji back inside (right), with rear right hand contacting striking hand
- Cross to left side, swapping stance, right shuto to neck, takedown
3)
as above, but with front kick (left foot, keep foot horizontal)
3b)
- Uke right Kick to stomach
- Tori step back right, catch footr with hand/knee
- break/strike above the knee with lift hand
OUCH
4)
- Uke grableft arm
- Tori move right, arm in front of chest, NO touch, NO intention
- Tori only approaches hand to Uke elbow AFTER move
- Tori richt hand punch
- Shuto to elbow
- Shuto to neck
- reach over with shuto arm, Omote gyaku start, but keep arm straight
- Uke kick to stomach (right) (Tori kann "Offer" and shift a bit to right)
- Tori hicho standing left foot "bow" with raised knee
- Tori right hand to shoulder/neck, takedown
2)
- Uke right punch
- Tori ichimonji back inside (right), with rear right hand contacting striking hand
- Cross to left side, swapping stance, right shuto to neck, takedown
3)
as above, but with front kick (left foot, keep foot horizontal)
3b)
- Uke right Kick to stomach
- Tori step back right, catch footr with hand/knee
- break/strike above the knee with lift hand
OUCH
4)
- Uke grableft arm
- Tori move right, arm in front of chest, NO touch, NO intention
- Tori only approaches hand to Uke elbow AFTER move
- Tori richt hand punch
- Shuto to elbow
- Shuto to neck
- reach over with shuto arm, Omote gyaku start, but keep arm straight
Tuesday, January 09, 2007
1) Ichimonji outside
- from Shisen... feet together
- down, then back
2) ???
From above then:
- Dive under arm (back inside)
- Leading elbow to Uke head
- Somehwo step behind and takedown
Te Hokido (?) Hand Liberation
3)
- Uke grab wrist mirror, Uke right hand to Tori left
- First move is down, open feet "ichimonji"
- Tori small sideways step inside (left) out of the center... no feeling/energy in hand arm
- right foot back/reverse yoko aruki into ichimonji
- left (front) hand is above tori hand/arm
4)
- Uke grab wrist cross, Uke right hand to Tori rightoss
- First move is down, open feet "ichimonji"
- Tori yoko aruki to left foot to right side, arms cross, no feeling/energy in hand arm
- right foot resolves into ichimonji
- left (front) hand is above tori hand/arm
5)
- Uke grab both wrists
- Tori yoko aruki to left foot to right side, arms cross
- right hand grabs uke hand in weird reverse lock
- left (front) hand is above tori hand/arm
thats it
- from Shisen... feet together
- down, then back
2) ???
From above then:
- Dive under arm (back inside)
- Leading elbow to Uke head
- Somehwo step behind and takedown
Te Hokido (?) Hand Liberation
3)
- Uke grab wrist mirror, Uke right hand to Tori left
- First move is down, open feet "ichimonji"
- Tori small sideways step inside (left) out of the center... no feeling/energy in hand arm
- right foot back/reverse yoko aruki into ichimonji
- left (front) hand is above tori hand/arm
4)
- Uke grab wrist cross, Uke right hand to Tori rightoss
- First move is down, open feet "ichimonji"
- Tori yoko aruki to left foot to right side, arms cross, no feeling/energy in hand arm
- right foot resolves into ichimonji
- left (front) hand is above tori hand/arm
5)
- Uke grab both wrists
- Tori yoko aruki to left foot to right side, arms cross
- right hand grabs uke hand in weird reverse lock
- left (front) hand is above tori hand/arm
thats it
Subscribe to:
Posts (Atom)