Article 19: Tenkan Waza

Morning all,

It's my last day of work today before the wonderful summer holiday,my marriage and honeymoon.  So, as a little reward to myself I brought myself an Iwata dogi lovely (but beware customs) and thought I'd write an article before I go do work.

In reaction to my last article, I've been spending time just doing the tenkan henka of my tehodoki waza.  To zoom in even further, in the main I've been breaking down the Osae Waza.



Shomen Ichi Ikkajo Osae Ni:

Smoothness is the main element that I need to build into this technique.  After the initial blocking movement I don't try and grab the arm anymore, and my control looks pretty light.  Much lighter than is did previously, unlike the Yoshinkan Kihon waza I have to make a small 60/40 step before the pivot.  I am sure than I can make that much more coordinated.  Interestingly enough after training with Ekel Sensei over the weekend, I learnt the value of 'just passing' uke. There is no need to fight them, or push back at them during the form.

The most important target for all the Osae Ni techniques has to be the tenkan, shift and drop.  I'm going to drill in this movement whilst I am away on honeymoon and hopefully I'll get back to you in August with some new problems.

Katate Mochi Nikkajo Osae Ni:

I'm going to change the form here slightly, because I wanted to build a tenkan into the start of the movement. I've tried it the last few weeks and if I make a 140 degree pivot rather than 180, I can go straight for the Nikkajo rather than stepping off the line to do the atemi (which works so much better in the Ichi version).

When I pivot I really 'load up' the front leg in an effort to maintain Jushinmae. Sadly,my back foot peels off the floor this is something I must stop.

Just saw this guy doing the Ikkajo Osae Ichi..... excellent.

And on that note I've gotta do some work.

Train hard and with form.

Osu.

Article 18: Review of Tehodoki Waza

Having not checked my blog in a while I was hit by how few days remain, especially with my up and coming wedding and honeymoon (which, ofcourse, I am really excited about).

A few months ago, and after some serious reflection, I decided on what I thought were the key waza and attacks that I want to display as part of my grading.  These I named the tehodoki waza (taken from Tenjin Shinyo Ryu - it literally means FUNDAMENTAL TECHNIQUES).  As I said in that article, the principles and movements that form the basis of these techniques are based on what I have been taught by Mustard Sensei and Saunders Sensei and also the help that Phil Sensei has gienme, but as I mentioned before the difference between these techniques and the Yoshinkan Kihon Waza largely lies in how uke attacks, which in some movements requires a taisabaki movement rather than a tenkan.

Shomen Uch (Ai)i:

Ikkajo has become a little better, I am finding stillness in the movement and I am drawing up the rear leg as I drop into the Osae Waza itself.  In the tenkan version I am far less confident, I feel that I am pulling uke along for the ride and the timing of the knee drop is less in concert than the irimi.

Greater stillness is required in the Shiho Nage, but the practice of Hiriki no Yosei Ni is paying off as the shift feels more in tune with uke.  I also think I need to develop a sense of Sasoi and lure my partner in more. 

Katate Mochi (Gyaku):

On a more advanced level I think I am building in a feeling of chikara o nuku, like Mustard Sensei said strong grip training means you can let the timing seep under your skin.  Just as uke applies their power you move and trap them in the movement, which I think turns your waza from something you do WITH uke to something you do TO uke.

Nikkajo is good, except for the tenkan.  I still feel that I move uke away from me which makes it hard to drop into the right place, if I manage to nail Ikkajo this problem (and the one with Yonkajo) should disappear.  I’ve been thinking about not dropping the arm back when I advance to apply the tachi waza, it seems to make a massive difference.

Irimi nage has been interesting, having reviewed the Yoshinkan technical manual (DVD) the style of doing the irimi version of Irimi Nage is different to how I've done if before.  But I do really like there being no ridatsu ho (grip breaking), it’s one less thing to worry about.  The tenkan version has come on well surprisingly, again, I think I have been focusing too much on the pivot and to little on the shift.  I think the shift at the end of the tenkan allows Shite to absorb the forward momentum of uke from the pivot.  As far as the irimi nage itself I’m finding a great joy from a solid control of the thorax with the elbow on the chest, it also gives you a large surface area to plant your power when you move in for the final movement.

I’ve always liked kote gaeshi, and I particularly like it from this attack.  Building in the hiriki no yosei ni movement is the only area that I still think isn’t as ingrained as I’d like.  Since last time, I’ve worked on the pin itself.  I can move Uke onto their belly fairly effectively using the circular movement of the elbow.

Katate Mochi Hantai (Ai):

The Sankajo hand change on the irimi version is far better, the tenkan is far smoother than the other 3 osae waza.

Sokumen Irimi Nage

Hmm... it’s ok.  I need to work on the irimi shirt which seems unique to this technique.  My hips tend to dive behind uke leaving my arms behind.  I guess it’s better than them being tense.

Kata Mochi (Gyaku):

Yonkajo (see Ikkajo and Nikkajo)

With the tenkan version is hiji shime I’m not getting bullied off the line anymore, also the pivot feels far ‘flatter’ rather than me having to destabilise my posture in order to pivot.

Ryote Mochi (Ai):

This technique collapsed a for me on Monday, I lost any shuchu ryoku I had especially (you guessed it) in the tenkan.

Friday session with videos will ONLY focus on tenkan movements.

Finally clicked

I feel strong. Finally.

Article 17: Jutsu or Do?

I was going to post a blog about koshi waza, but as I so bitterly disappointed with my performance that I'll try to produce some videos worth sharing and discuss them next week.

Something that has been knocking around in my head recently has been more philosophical.  Jutsu or Do?  Other than the stylised distinctions between Jutsu and Do combative systems, I think the truth is that two are not so easily parted.


To quickly address the point about Aikijutsu/Aikijujutsu and Aikido.  From what I can gather only Daito Ryu was occasionally referred to a aikijutsu/aikijujutsu rather jujutsu and it seems to me like it was some sort of marketing ploy.  No other school (ryu) of classical melee combative system was referred to with the suffix.  Sometimes I think that this aikijutsu name gives Aikidoka  a false sense of the sophistication and power of our art.  The reality is that many amazing melee systems existed, like all the systems Sokaku Takeda studied and others like Kito Ryu, Yagyu Shingan Ryu (pictured) and Yoshin Ryu all carried the suffix Jujutsu.

After that small digression, when we look at the definitions jutsu means technique.  Many modern creators of Japanese combative systems wanted to distance themselves with the cruel techniques of the Japanese warriors commonly called Samurai.  However, does this mean we should practice blindly and without focus on the original purpose of the techniques that we are learning.

I've covered in previous articles my belief that Aikido techniques are like living archaeology, and with focused study we can see how the techniques we practice have medieval roots.  If we distance ourselves from these truths do we do ourselves a disservice?  Arguably Ueshiba Sensei, especially in his later years rarely discussed (from what I've read) the combative nature/hertiage of Aikido. But is it because he knew those foundations the he could become to powerful. I believe so.

Ueshiba Sensei's understanding of Jutsu, not just the Do (or self perfection/which he focused on later) allowed him to access the true power of each and every technique he developed.

However, in our modern society can we allow ourselves to just focus on Jutsu?  Is Aikido just an archaic combative system from a medieval age which has no bearing place in the 21st century?  We all have the luxury of perfecting our throws and pins, our body movement and balance, a luxury rarely afforded in more unstable times.  But I do believe that if we follow the Do path, then we must understand the movements we make or we are on a path to nowhere. Jutsu is the car and Do is the road, and if we want to make this journey then we need both. 

Train with form.

Osu.

Article 16: Why is moving my feet so hard?

With the counter on my blog continually ticking downwards I wanted to think about a few bits I could remedy in time for the Gasshuku in October.

Although my last article was rather short, and initially out of guilt that I hadn't written a blog in a while, the point I was trying to make is clearly something that I have a problem with in my form.

So, let us begin with Shomen Uchi Shiho Nage Ichi.

With this technique being so fundamental and should, if the miss fortune to occur, be any good Aikidoka's desert island technique, I wanted to get it right.

So I've started studying my foot form.  I have spoken with Mustard Sensei about this, and he has given me some of the root causes of my problems which I will discuss now.

I have, what I am now going to refer to a tippy tappy feet.  This is especially apparent in this technique when I move off the line to pass by uke in the transitional movement before I shift and irimi for the throw itself.  Other than simply saying that it's because I've lost balance, you can clearly see that:

1. I commit the terrible sin of not having my rear foot totally planted on the mat, this means that the power is on the inside of my legs which lessens the impact on uke and also reduces my ability to move quickly.
2. Although I am really glad that I'm moving wider and lower now, I slide forwards with the lead leg and then due to my lack of balance move my rear leg back slightly, which means I'm not moving with Jushinmae.
3. I'm letting uke bully my off the line slightly, and in this instance a bit of Fudoshin wouldn't go amiss.

That being said, I realise that the way I manufacture the throw itself is different from the Yoshinkan Kihon Waza, I'm really happy with how I make the final movement. Except, that I pop my hips up slightly which I shouldn't do and right at the end of the video you see me lower them again.

Shomen Ichi Ikkajo Osae Ichi

You can learn so much from getting techniques wrong (which is fairly lucky for me), so I wanted to look at this blooper first.  As I shift in the after the first irimi movement, I obviously lose some structural movement ability and crash out of the technique.  Simply, my foot glues itself to the mat.  Mustard Sensei commented on the importance of a relaxed knee on the lead leg, which is going to be my focus from when I get back from half term until my wedding.  I realise this is very specific, but I figure that with a concentrated effort on this technical element and keeping my rear foot flat on the mat I should be able to make some big gains before October.

So, I went at the technique again trying to make sure that my foot didn't stick.  I am really happy that I am drawing in the rear leg  in the moment just before the actual Osae Waza, meaning that all my weight bares down on ukes shoulder making a difficult technique a lot more combatively effective.  My uke tests the pin and Saunders Sensei's advice about that seems to be working really well, I totally get the strength that can be found from the lower back and the feeling of having a poo.  If I am perfectly honest I still worry about this technique on the day, and that this one more than any other needs to be spot on!

Like mentioned in my Ikkajo article and must not move my arms back in and just like Benge Sensei says the movement must be like a shopping trolley.

Kote Gaeshi

The only reason I filmed this technique is because I feel it is the one I am best at.  I wanted to make sure that what I did have confidence in was actually good.  On reflection I think it's ok, it suffers from many of the problems that Shiho Nage does.

In addition to those issues the ridatsu ho (breaking away) isn't great, I cleaner break of ukes grip and a deeper initial irimi.  When I move about to perform the atemi I'm off posture and listing like a sinking ship to my right.  Mustard Sensei mentioned a problem with the turn over, when I reviewed the video I think he might be getting at how I am not using the elbow to get uke on to his belly.

To summarise,

1. I'm a little happier than I thought I'd be with this technical review
2. Relax front knee
3. Back foot totally depressed into the mat

Thanks all,

Train hard and with form.

Article 15: Connection and Disconnection

This will only be a short article, but recently I was watching some DVDs of Mustard Sensei and it hit me that we always talk about how the hips should connect with the arms and hands in order to execute a well performed technique.

http://www.youtube.com/watch?v=0cmSuIxJMhs

Take for instance the selection in this short video.  I think at the highest levels the upper body sits aligned on the hips, the feet move without pre-emptive twitching, or post movement recovery.  This gives the upper body the freedom to move as it wants without making up for the lack of balance below the waist causing tension.

So perhaps when performing the kihon dosa rather than focusing on the body moving in unity, perhaps the focus should be twitching and recovery. Thus leading to freer movement and better technique.

Train with form and intensity.

Osu!

Article 14: Developing a curriculum

As the reality of my grading approaches I've started to think about what I want to form the core part of what I do during it.  So I want to make sure that I cover all the key Osae and Nage waza that I have studied, not only with Mustard and Saunders Sensei, but with Benge (Phil) Sensei on a weekly basis.

Recently I have been reading about the curriculum of Tenjin Shinyo Ryu, which is one of the Jujutsu schools that Ueshiba Sensei studied.  The first level of their school is a set of techniques called the tehodoki waza, which are a set of fundamental techniques. I wanted to think about what in my opinion would be the tehodoki waza of Aikido.  Obviously the expectation of the quality of these techniques would be very high, especially when attempting to do my sandan.

Here is what I have so far:

*I am purposefully using the Yoshinkan nomenclature (is most cases) as this is the one I will adopt eventually.  However, there is one technical different between what I will be doing and typical Yoshinkan attacks, as uke can grip the wrist/elbow/shoulder or even strike on different sides depending one whether the nage waza is ichi or ni.  As far as my curriculum is concerned I'll fall more in line with attacks being on the same side regardless of irimi or tenkan, which does mean than an additional step needs to be taken on some techniques to perform an adequate irimi or tenkan movement.

Shomen Uchi (ai-hanmai R/R or L/L)
Ikkajo
Shiho nage

Katate Mochi (gyaku-hanmai R/L or L/R)
Nikkajo
Shomeni riminage
Kote gaeshi

Katate Mochi Hantai (ai-hanmai R/R or L/L)
Sankajo
Sokumen Irimi nage

Kata Mochi (gyaku-hanmai R/L or L/R)
Yonkajo
Hijishime

Ryote Mochi (ai-hanmai R/R or L/L)
Tenchi nage

So, these are the tehodoki waza which I want to form a key part of the grading.  I have at this stage purposefully omitted kokyu nages, as the foundation of this technique is grounded in an understanding of those above.  In addition to this I need to include some ushiro waza, ninindori, sannindori and possibly a tanto jiyu waza..... I need to speak more with those grading me to establish this.

Over the next two months I will break down each of these techniques, in an effort move on from principle to application.

Having looked at some pictures of me doing irimi nage in the past I was leaving my arm behind when sliding forward behind uke. This is something I think I have now got the better of, plus I have a much better connection with ukes sternum, so when I do slide forward there is a more certain effect on uke.

http://www.youtube.com/watch?v=NnhwhFkkK6c

Similarly I have spoken about irimitsuki before, especially as it is very valuable technique in any convincing jiyu waza.  I've been working on it a little, I've purposefully turned ukes head to the side to make the ukemi easier (I think).  However, I am at least a little happy with my kamae and my practice of tai no henko ichi is finally paying off.

http://www.youtube.com/watch?v=Op9YuRd_jHM

That's all for now.