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.