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.

Article 13 - Core development with a twist

I've always found kote gaeshi an interesting technique.  I think that's because like nikkajo, it is easy to rely not only on an over reliance on shoulder engagement, but also pain compliance.  Please don't get me wrong, I think one should expect an element of discomfort and pain when training in a combative system.  But the wealth of power and intensity that can be generated when looking at kote gaeshi not only as an arm lock, but also has a throwing technique that can be delivered with the whole body.

Of course a big part of my kote gaeshi journey started having received this technique (no doubt not at full bore) from Mustard Sensei.  When training with some beginners the weakness in kote gaeshi can become clear, as a focus on wrenching the wrist can only yield the disappointment of the new student simply looking bemused at some mild wrist discomfort.

So, my first analysis will start by unpicking (and destroying) my own technique.

I'd like to start with the part easiest to pick up with a camera which is the final zanshin finish.  This is very revealing, as I can clearly see how my posture lacks width and strength in the back leg.






When compared to infinitely more dedicated aikidoka like Takeno Sensei we can see how much further his weight is forward (jushinmae) and the importance of the locked back leg which results in the full engagement of the hips.  Muscularly an aikidoka should rely far more on latissimus dorsi, to strengthen and lock 'down/shut' the back and retus femoris muscles in the thighs to proved the thrust or power generation.

Whether the movement is irimi or tenkan the technique lives or dies with the core strength and balance provided by key back and leg muscles.  When practising the kihon dosa, the technical focus should be on the relaxed power that can be generated from the knowing use of these two muscles.  Having looked at a range of photographs of my aikido, the one above sadly being characteristic is that I roll my knee (on the back leg) inwards, making it impossible to establish anything like Takeno Sensei's technique.  How can you tell you might ask? Well you can tell from how my hakama lies on my back leg.  With a distinct crease at knee height which is just not present on far better postures like Mustard Sensei.  I realise that I'm setting the bar high, but for me, this basic posture is FUNDAMENTAL to any real power development.

Having spent some time picking apart the final position, it could be argued that uke is well on the way to the mat by then so who cares. But that fact is that the final positioning is a definite reflection of your movement throughout the technique.  So, looking at the some video footage should further confirm the issues I've discussed so far.

http://www.youtube.com/watch?v=o6RwyyBJsrE

During the first tenkan technique the timing between the rear leg and my hips is not right, so uke won't feel the full impact of the pivot.  I was watching Dancing on Ice (bear with me, this is going somewhere) and I was hit with a very interesting and very transferable idea.  When a male dancer was trying to left his rather under-dressed partner above his head, even though he was very muscular he struggled to do so.  But, with some support from a coach he was asked to try and hold a water bottle between his legs whilst doing the lift.  I guess that his gives some mental attachment to your core, and thus with this coordinated strength he was able to perform the movement.

I think this certainly applies to aikido and in particular this technique.  The second attempt, I shift my front foot once I've finished pivoting, suggesting a lack of balance and width in my 80/20 posture.  But sadly the final tenkan indicates a far bigger problem, that is I take my foot off the mat when I pivot which surely must mean that I cannot be generating any hip power.  But the pivot completes which suggests that the power is not from the hips but from the shoulders.  I want to credit Andy Watson (from the BKA) for this epiphany which is the reason why we rush techniques is either:

1. That we have this misunderstanding that we need to move fast to be effective OR/AND
2. That we lack the muscular strength to maintain the form (more appropriate for me)

So what am I going to do about it.  More research about core development exercises to directly develop these core muscles, more kihon dosa in my front room and a really interesting break down of koho ukemi which I'm excited about.  Watch this space.

Train hard and with form.  Osu

Article 12: Shoshin - The Beginners Mind

It's been some time since my last post and I'm eager to reflect on my self discovery over the last few weeks.  

I was lucky enough to be able to train with Sensei Saunders at his dojo in Kent a couple of weeks ago.  Obviously we spent a great deal of time looking at the Kihon Dosa.  It's no secret that I haven't had years of Yoshinkan Kihon Dosa experience, and spending some time focusing on them as a fundamental exercise was really beneficial.

So what's changed?

Having attended some seminars with Mustard Sensei, and obviously Saunders Sensei, kamae is central to progression.  Having spent years practising with and in different styles of Aikido, Yoshinkan does seem (in my humble opinion) to spend more time focusing on shites posture (unlike other systems which may focus more time on breaking ukes posture).  

Kamae and kihon dosa are inseparable, and I found this particularly interesting when looking at how the arms should move forward and back during tai no henko ichi.  I would often stare at Chida Sensei doing these exercises on YouTube, and although I have no delusions of grandeur, he was clearly doing something (or not) that I was (or shouldn't).  So, rather than a large circular movement, where the arm moves outside ones own body line, the lead arm stays the same height as it is in kamae.... economy of movement.  This is also true for tai no henko ni.

When performing Hiri no Yosei Ichi and Ni, there should be a strong feeling of cutting.  Which was interesting, as I hoped that my 4 years of iai would help with that movement, however, sadly not.  This was especially apparent when I slide forward and my elbow shoot out to the side when I bring my hands up.  I would typically not do this when I cut in iaido, but I seem to do it when I perform this exercise.

The second point that I got from the session, further confirmed my belief in 'form', which was reassuring.  Weaknesses in your form are hard to expose at the certain level in Aikido, as uke can (and definitely shouldn't) have a pre disposed belief that they should just fall down.  We spent some time looking at the uke for ikkajo ichi and ni (which I'll cover in a bit), and we did some testing.  I covered this before in my ikkajo article, but when you have a strong uke then the need to show jushin mae THROUGHOUT the technique is essential to it's combative success.  Strength in the form allows us to continue to focus on relaxing our arms, and interestingly enough, our knees.  This is important when drawing up the rear leg either into 60/40 or 80/20.  I also now understand how the direction of the technique can be established through the position of ukes shoulders and by following the direction set by the inside corner of the knee (more to follow).

Pedagogically Saunders Sensei Ghost Uke exercise was really useful.  Uke should attack with all the mental and physical dynamism of a usual attack, however, they do not touch shite.  This means that uke can focus on his form and more importantly where he should be during the technique.  I found that I was falling behind during ikkajo ichi and falling too early, and more worryingly pulling away during ikkajo ni, which I think is far more about fear from the impending ukemi that an intentional resistance.

Training with Saunders Sensei and his students was very enlightening and humbling, not just through the exposure of my faults, but their hospitality.

I finally want to discuss an interesting epiphany I had whilst teaching children on Saturday.  Mustard Sensei has this brilliant story (one of many) that he tells about his daughter training with a huge Hungarian guy at his dojo.  At the heart of the message is being soft.  Training with children on Saturday made me consider where the power comes from in the technique, and only by 'listening' with your body though relaxation can we really hear what we should be doing.  I found that using a child as uke was really valuable and something that we should all do from time to time.  Obviously not with the purpose of smashing them around, but so that we can see how power can be applied without the excessive use of shoulder power.

Train hard and with form. Osu.

Article 11: The Hoplology of Aikido - Shite Happens

Ellis Amdur has always been an inspiration to me, I don't believe he still practices Aikido but if you read some of his books you'll realise that he is not short of knowledge on the system or of course on the koryu arts that he so dearly loves.

The one thing I really like about his writing is that he asks difficult questions about Aikido and it's purpose. I want  this article, for me at least, to be the start of an intellectual reflection about why Aikido techniques are the way they are and particularly ukemi, why it is done and whether what is done is fit for purpose.

Shite Happens:

Shite, like Shitachi (in Japanese swordsmanship) is the receiver.  The one who accepts and learners from uke and uchitachi respectively.

Shite waza are the techniques performed by the receiver, the throws and locks that make up the compendium of the Aikido curriculum (with largely transcends ryuha (style)).  But why is that curriculum the way it is?  To understand that I must first try (with my very limited knowledge), to look at the world in which these shite waza were developed.  

Long before Ueshiba Sensei, the amazing world of the Japanese koryu dominated Japan.  These systems contained a wide range of techniques, many different approaches to survival in a brutal world of battlefield combat, assassination and self sacrifice.  The techniques of Aikido, like Judo and Kendo are the modern face of this world.  However, if you search and probe, these schools still exist and allow us, just like a person seeking to understand their family tree, we can find many of the answers about the 'why' of what we do now.

Firstly, many Japanese combative systems were developed for the battlefield which is why we find relatively  few percussive elements with the bare hands.  Simply put, hitting a man with bamboo and leather armour with flesh and bone is likely to reveal only one loser, additionally, kicking techniques are not likely to be a priority to the well armed Samurai.  

What are their priorities likely to be (this did vary depending on the period of pre Tokugawa history)?

1. The Kyu (bow)
2. Steel (tamahegane) based weapons: Yari (spear) and Naginata (halberd)
3. Katana (and its many variations)
4. Kodachi and secondary weapons should your primary one be lost or broken
5. Unarmed techniques suitable against a man in armour

Many see the first port of call when looking at the Hoplology of Aikido as Daito Ryu Aikijujutsu, but Daito Ryu is only one generation older than Aikido and doesn't really offer us much insight, plus it was developed during a time of relative peace in Japan, and certainly far for the world of the Samurai.

I want to mention at this stage that in this article I won't be covering any weapons history.

According to what I understand Ellis Amdur's work is pointing to, there are a number of combative systems that are shadows in Aikido's past:

1. Inagamu Shinmyo-ryu
2. Yoshin-ryu
3. Tenjin Shinyo-ryu (I read this somewhere, but I can't remember where! AHH!)
4. Yagyu Shingan-ryu

The first three were studied by those before Ueshiba Sensei (and form part of the creation of Daito-ryu) and the fourth was studied directly by him.

What is the difference between Jujutsu and Aikido?  In short, nothing, if we put the 'peace and love' part of the Ueshiba's legend in a box and name it 'wishful thinking' and the whole but 'Aikido doesn't contain dangerous techniques' in a box and name is 'worrying ignorance', combatively there is little difference between many Koryu Jujutsu and Aikido.  It is a method of defeating an armed/unarmed opponent that is possibly in armour by throwing and locking them.

However, just like in Judo, Aikido techniques are based on battlefield combat, thus, many of the techniques are designed to work in and against armour.  

Tenjin Shinyo-ryu

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

Yagyu Shingan-ryu

http://www.youtube.com/watch?v=GzTCQk2KHyQ&feature=related 

When I watch these methods of jujtusu, I don't see them as that alien to me.  Of course I don't understand the ins and outs, the secret of these amazing systems, but I see some of the commonality with what I do week in and week out on the mat.

These systems are clearly part of our combative heritage as Aikidoka, and before we add our own modern interpretations, we must consider whether it would fit in with an older, austere and more intensity efficient world.  

  

Article 10: Irimi Tsuki

Irimi tsuki: The Perfect Synthesis of Ikkajo and Irimi-Nage

When I watch Shioda Sensei, Takeno Sensei and Mustard Sensei do jiyu waza, the movement that always strikes me as amazing is Irimi tsuki.  As a technique it is the essence of simplicity just like Ikkajo and it requires confidence and timing like a well excuted Irimi Nage.

What I want to first communicate how this technique reminds me of studying Iaido, like all things it is so tempting to add to what you're doing.  However, every additional movement, every extravagance only serves to slow down the technique and reduce it's combat effectiveness and moves it further from the principles upon which effective technique can be built.

If I'm perfectly honest I find this technique really intimidating to uke for, and if I know that the shite that I'm practicing with is good at it, I'm aware that they could use it and I slow down my attacks as a result.  This is a total falseness.  You cannot uke with a preconcieved knowledge for what might happen, a combative response should be intuitive and building in these calculating elements serves only to prevent both uke and shite learning.

http://www.youtube.com/watch?v=aqK8p_NQV8U&feature=related (watch at 55 secs for about 10 seconds)

I watched Shioda Sensei do this technique and the impact that it can have on uke like Ando Sensei, and I thought that if I am going to teach this technique in the dojo I absolutely have to start with the ukemi.  It was a lovely opportunity to consult my notes from Mustard Sensei and Thambu Sensei that I made last summer and develop a simplicity to my shite waza and structure to my uke waza.

In the class on Monday night we have a real mix of abilities, however, none of them have ever studied Irimi tsuki and it's ukemi.  Firstly I wanted to impress upon the group that you may not resist. Ever.  Shite would stand in shizentai with his hand out stretched, uke would approach and when their chin hit the palm of shites hand they would bend back and make sure that their feet would pass the back heal of shite.  

I think it is really dangerous when uke attacks, notices the technique and then tries to step back out of it.  This is where the ukemi for Irimi Nage and Irimi Tsuki part, physiologically this is because of the body control difference between these two techniques.  As ukes head is taken so far back and so fast Irimi Tsuki requires a specific ukemi, also Irimi Nage is a body control technique and uke can in part dictate the fall.

Once uke is used to bending their back and still moving foward, we then looked at building in a variation of yoko ukemi.  The leg furtherest from shite would straighten allowing uke to fall to the floor and slap the mat.  Following the same ukemi technical elements involved with hiraku ukemi.

I then moved on to the shite waza.  I was really keen to make sure that everyone understood that you should not add anything to the technique, and infact there are many more technical elements shared with Ikkajo than Irimi Nage.  The foot movement is essential shaku dosa, where shite moves in a cherveron shape so that shite moves off ukes attacking line and approaches uke from a 30 degree angle.

Takeno Sensei demonstrating Irimi Tsuki

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

Each sliding step is into 80/20 and we have to be mindful of the lead hand.  Under no circumstances should shites arm move out their own body line.  Two commen mistakes are bending the arm in the form of a choke slam (although that'd be cool!) or even if the arm is straight it moving out at right angles to shites hips.

I found making uke and shite for this technique really enlightening and further illustrates to me two things; one, shite much move into 80/20 with a strong feeling of jushinmae (always forward) and two that you shouldn't engage the shoulder to try and topple/tip/slam uke into the mat.  If you adhire to these elements then you will throw uke through the cracks in the mat, and if you can uke for this technique then you can be virtually fearless.

Happy training. Osu!

Article 9: What happens once uke posture is broken?

Kuzushi or the removal of uke basal support is a key part of Aikido and what appears to be it's effortless grace. I've been wanting to write about the elements of this explicitly for some time, and it really needs more preparation on my part with some photographic resources so that I can communicate accurately what it is I'm trying to say.  But I'll have a go anyway.

How is uke posture broken?

In the human body weight centres around the pelvic cradle, and Aikido techniques (as I'm sure all combative systems do)  make use of this to throw or immobilize our attacker.  Shiho nage and Ikkajo illustrate the two key lines that can be broken in uke, to the real and front respectively.  Different to many Judo techniques, which break balance in a direction parallel to the shoulders.

How can uke respond to this posture break?

I am a big believer in the 'form' and that uke has the most important job to do, which is to help shite learn.  Uke should approach the technique without ego, it is not a competition.  However, asking the question above does allow us to develop more of understanding of the reason why techniques are the way they are.  One of the great benefits I think of practising (even in some small part) the Yoshinkan Aikido type techniques, is that they are some of the least changed from O Sensei and thus a better link to the world for which they were originally designed.  Anyway, I digress, in my view, uke can only do three things once his posture is broken.

1. Fall over
2. Power up from the broken position
3. Step back

Having practised a with a variety of Aikido styles (and this is only in my experience and view), the Yoshinkan Shiho nage helps us understand this kuzushi process really well.

Obviously uke falling over is our goal and desirable. But uke does have two other options.

When holding uke for Shiho nage (just before the final slide forward for the throw), if we refer back to the core posture (kamae), shite should hold their centre line (chushin) strong.  At this stage uke should test upwards strongly in other to see if shite will be forced back.  It should also be noted that shite should not be engaging his shoulders in this maintenance of the posture break.  If this happens, then the technique is as good as failed, and shite will have to make up with his lack of technique with shoulder muscles and possibly speed to cover over the cracks.

How far should you slide behind uke?

When we move forwards it is essential that we do three things, firstly, slide into 80/20 with our weight forward, secondly maintain relaxed shoulders and a strong centre line.  But we must also slide forwards further than uke can step back.  If uke can step back further than the entrance movement from shite, then uke will be able to regain their posture and stop the technique from being effective.  

Article 8: Jiyu Waza, a chance to practice free techniques or become mindlessly tense?

Friday was our first session back after a break that felt like a life time and with the almost Arctic weather, it became nearly impossible to do any useful training other than 360 tenkans in walking boots.  So obviously I did the next best thing, watched Takeno and Mustard Sensei on DVD and ate.... lots.

I'm very aware of how time is trickling away now and that the counter on the top of the web page seems to be moving faster and faster.  I put my game face on as soon as I got into the dojo, and other than the odd hello and new year hug, I was focused on training hard.

Luckily enough I had a good uke for sumi otoshi kokyu nage and I felt good.... surprisingly.  My ukemi was light (for me) and my hiyaku ukemi was better than usual, my shite waza felt relaxed and I could put a lot into the throw without engaging my shoulders.

However, at the end of the lesson Sensei asked all the instructors to do a short demonstration with the uke of our choice.  Naturally I chose the individual who'd I spent the most time and understood  my technique the best.

As I sit and writing this blog, I could think of 7 or 8 techniques that are ideal for this:

1. Sumi otoshi kokyu nage
2. Hiji ate kokyu nage
3. The unnamed kokyu nages
4. Kote gaeshi
5. Shiho nage kuzushi
6. Ikkajo nage
7. Irimi Tsuki
8. Irimi Nage

Of course there are others, but these are the ones I like to think I'd use, especially after watching Takeno Sensei apply them so beautifully on YouTube.

That is not what happened, my first mistake was that, especially with an audience and I think the attraction of Jiyu Waza is that you can really go for it, I let the tension creep into my shoulders.  It had an unexpected effect where I felt very top heavy, so that every time I slid forward I felt that I was tipping.  Additionally, rather than sliding a good distance forward to generate power for the technique, my foot dug into the mat further distablising my kamae.  Which in turn caused me to make up for my lack of form with my arms and shoulders.

Next problem was me getting stuck on one technique which was sumi otoshi kokyu nage.  Normally, I think this is due to my job as a teacher, I am pretty good at recalling lists of items.  In this instance I was frustratingly limited on what I could do.  

So in addition to my other posted targets I want to start thinking about my Jiyu Waza and making sure that at the very least I can work through the 8 techniques above from any form of attack.

A short post, more thorough articles to follow.