(Takamatsu Soke, 33rd Grandmaster)
Hello to all –
The kihon happo we did was within the scope of distancing, angling and timing. Before class I ask everyone to practice exactly the way I was moving without any variation. I explain how important it was to understand the feeling of what I was showning, by doing such would lead them further down the path and present many revelations. We did ichimonji no kamae & waza with being mindful of multiple people being involved. This left food for thought.
Point being (legs) has to be involved in order to get the proper distance and hit the right angle. My opponent while showing this form was totally taken by surprise of my ability to use kyojitsu while moving from the space he created to a place (were just consider to be the void) and control him.
Omote gyaku was shown the way Nagato sensei demostrates. Focus and discussion mainy was on the right distance, guarding and openings (widely what nagato sensei talks about often) and moving beyond the confinement your opponent sets for you. When my opponent went to grab me, slightly I stepped back into(ichimonji), this involuntary cause uke to extend his arm – at the same time lightly (intently not giving him any mental stimuli) grabbing his hand in motion, applying the gyaku. If done correctly, you’re see how your opponents body reacts (off balance) just by moving effortlessly like I discribed. There is more of the kata from this single action for which I’m not going to get into. Hopefully you get the point!
Omote Tsuki gyaku – same as above. Moving back off line (ichimonji no kamae) at the same time applying uke nagashi. Distance, angle, timing and being aware of the space between two forces (uke & tori). The gyaku is not possible if any of the latter is not present.
Ganseki nage was also shown. We revisit how Nagato sensei showed it previously from our last two trips to Japan. I asked everyone (ukes/opponents) to grab their partners at the elbow purposely. A few things of importantence were the stepping back slightly (ichimonji) when grabbed, looping the grabbing arm to the shoulders / neck area. You have to use your legs in order to get the loop (arm bar) to work. I have seen many people, once taking the arm-bar enter straight in unguarded to complete the nage. Whatever works. For me and my people we avoided entering straight unguarded where the space potentially is a mirror of self imposed trap. I showed how easy it is to be read while projecting your intentions with such preempted thought. So from this observation I clearly saw how Nagato sensei moved about to perform the nage. Once the arm-bar was taken, I enter through the un-used or unforseen portion of the space and excute the nage. To many surprise, this was not expected from any of my opponents. Sensei once said that we have to be the past, present and future, this is also kyojitsu. The future persay, how so? Easy, setting your opponent up to respond exactly the way you want them to. To often I do things from a perspective future) so to speak knowing the outcome as a result (past) to wait for my opponent in the present to arrive.
Ura gyaku & omote gyaku combination – was the ending technique of the evening. Consoildation is the word. Haha! Anyway I uses the same recipe (legs, body and foot placement) to express this joint technique. I showed it with the intention of emphasising some key points. One was the slightly stepping back (ichimonji & guarding) yourself while at the same time uke is falling as if being pushed from behind. From this I took ura gyaku making it a visible effort to show where I paused to lock uke in transit, stepping slightly back and off in the opposite direction taking omote gyaku while moving in the reverse direction. Got the point? if not, oh well – feel free to visit.
Inryoku & jiryoku (magnet & attraction) allowing this concepts to manifest themselves between the interaction of uke and tori was the point I stressed upon for the most part of the night. I was granted entry through space to perform whatever task necessary to create this effect, sometimes cause. haha! Hiding in the movement, hiding in technique, disabling intent, not being read. Moving in the shadow of the kukan, witnessing the fear of uke as he/she would fall in the space, etc.
Cool quote for the evening – “The voice is in your taijutsu” – Author unknown.
In the space of time –
Anthony Lucas, Dojo Cho
