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.
No comments:
Post a Comment