Class Log: Existing Intervals in Budo & Life.

Another week has flown by – yet another approaches. Talking about time travel, how awesome. Friday past was no exception in terms of travelling from one point to another in successions within the interval of time. LOL

                                                        Anthony L.

Friday 13^th – We worked on the concept of the ‘interval’ and the timing of moving…

 

Using O Gyaku and Ganseki nage  as the core techniques we explored. The idea of moving to create a space, taking the opponent down and then as they progress to the end state (face down on the mat!) almost intercepting them in that time interval to apply another lock…

 

As uke grabs one arm, by stepping back from grab you first create the space, drawing back the arm and moving out to side, then taking their balance and gaining control by placing your hand on  the outside of their arm and moving in:

 

• Moving into musha dori and reaching across to grab the pectoral muscle
• Locking arm, moving in to throw (soto gake) and lock hand as they fall
• Placing elbow on their hand, dropping down on one knee to draw them down
• Spinning under arm and turning to lock shoulder and throw

 

The second part of the class we explored the idea of timing your movement and the difference it makes to the technique. For any of the sword cuts you can move before, during or afterwards.  In this class, we explored the idea of moving afterwards – there is a space between when the cut is initiated and when it makes contact, that’s the interval you are seeking to move in. How you decide which to use depends greatly on your opponent and how they move,  moving between the different timings and knowing when to switch takes a great deal of practise and experience.

 

From Jodan no Kamae, uke does tento kiri (blade moving downwards focusing on the point) tori in Hasso no kamae,  moving just in time to avoid the cut, dropping the sword downwards first and cutting upwards and diagonal (omote kesa kiri) to cut under arm (armpit). The key element of this technique is the waiting, moving just enough after the cut has been made and entering under the cut.

 

A Henka is to try the technique without the sword; as Uke does tento kiri, waiting until the cut has been committed to, stepping in to first avoid the cut, then turning to place the hands to take possession of the sword.

 

The first three techniques from Biken Jutsu (Tsuki Komi, Kiri Age and Tsuki Kake) each explore the idea or feeling of moving after opponent has committed to the cut.

Give yourself the patience, discipline and courage to wait until after the cut has been made. Legs move first to complete the counter strike.

 

It’s hard to grasp all of these ideas from just one night, you need to see them, feel them, practise and practise again. Don’t get frustrated that you can’t get them the first time.

 

The motto from the night’s training should come from the Chumbawamba song as personified by Luis’s demonstration of a good uke;  ‘I get knocked down, But I get up again, You’re never going to keep me down’.

 

                                   Blaise Barron, Yondan.

 

 

 

Class Log: Vision of Budo in Ones Life

Natural born leaders are coming through my doors to learn the fundamental concepts and principles of budo, life and most importantly a human being.  All the students of the koteki dojo has intergrity and determination to carry the teachings of Hatsumi sensei art through their lives and the lives of others. I like to call it bleed throughs. haha!

Our next reveiw is by a really cool cat that has only been training with us for two months and has the kokoro that is essential to train.

                                                                             Anthony L.

When the opportunity was presented to be a part of the Dojo blog, my first thought was “Cool, but what do I know I’m just a white belt…” but fearlessly I decided to write about my experience thus far in Budo Taijutsu…
From the moment I first stepped into class at the Koteki Dojo it was obvious this was serious business, in more ways than one. The theories, philosophies, and eastern way of thinking about space (Kukan) and so much more, began to quickly translate into my life. Even though I would leave class feeling as though I had not mastered the techniques, I began to understand the concepts. At times Anthony would go into explaining things in a very cool “spiritual” way, and Larry would break things down mysteriously practical. Every time I entered the Dojo with more respect for the art and I left with a new appreciation for it as well as everyone I trained with. Its funny how physically sharpening your skills and working on your DAT (distance, angle, and timing) can cause you to view the way you move in life differently, this is what fascinates me with Taijutsu.  We are reading the book Outliers, chapter 2 discusses that if you spend 10,000 hours at anything, by investing that much time, you will inevitably be good at it. This concept along with all the intricate techniques to learn can be a bit over whelming as a white belt.  I just take it day by day and Merridith and Blaise are great and patient instructors. This past Friday’s class was one of my favorites, not because it was the most painful, ha ha but because I felt connected to the art in a way that is still with me now.

I’ll kindly add this quote for Derek that’s relevant –

           ” Don’t play what’s there, play what’s not there”  – Miles Davis
                                                                     

                                      Derek Coleman-white belt (mukyu)

Class Log: Theme A Matter of Time & Yume.

Flash – recap of friday past.  I found our new location to be alittle smaller then our previous room but, with more intimate space for better communication.  Our group is more then a dojo, we’re a family, the atmosphere clearly expresses that.  I’m not going to take up much space and time here. I would like to clear something up. There is NO theme in the Bujinka per say, what I meant by theme on the header next to class log is  every friday I’ve choosen to give our evening a theme, direction.  What does it mean “yume” to dream as in sleep? dream as in the dream world, what? you figure it out.  

Friday past review:

     Anthony said something very interesting during class. He spoke abut finding our way through the technique, of finding the truth of the technique rather than concentrating on executing the perfect technique. I’ve been watching and learning from the sidelines these past few weeks and its amazing how much I can actually learn without actually being able to put it into practice. By watching the way that everyone else executes the same technique I am able to grasp the small nuances that might have otherwise escaped me. The reason for this is because everyone has their own subtle way of performing the techniques and in watching this I feel that I am able to grasp the concept, visualize it and realize the mistakes I might have made had I actually been performing the technique.

 

     The concept of the night (at least how I saw it) was to feel the technique. Learn to apply the technique properly, without rushing and applying it effectively, communicating too much information to your uke. It is only in moving slowly through technique that you can find the truth and be able to absurd this truth unto yourself. It is only then that we can begin to change/adjust the technique to better fit our interpretation- henka.

 

     The other concept of the night was itami (strangulation, pain). Here there was a lot of pain. By picking one muscle/pressure point and strangulating this point you pretty much paralyze your uke.

Who is going to make a move when they are in absolute pain? The result was controlling the movement through isolating pain.

 

     Finally we explored a form of making your uke feel insecure, like they’ve got nothing. Uke is in daijodan no kame and you are in seigan no kamae. As uke comes in for a strike, you (again always using you basic DAT) kneel down and point your sword right in their face. If the uke is coming in with enough force they will walk right into your sword and struggle is over if they don’t the surprise effect of this technique will give you that “second” needed to find another opening or weakness on your uke to exploit.

 

 

Let me end my blog by giving you what i think is a fitting quote to live by.

 

“Ability is what you are capable of doing. Motivation determines what you do. Attitude determines how well you do it” – Lou Holtz

                                                      

                                                           *Karla Pascual, 8th Kyu*

 

 

 

 

 

Seminar Announcement – NYC

The Bujinkan Koteki Dojo presents :
                      

                    A Bujinkan Budo Taijutsu seminar
                              With Alex Meehan Shidoshi,
                       Judan Suigyo Happo Biken Menkyo

May 2 & 3rd 2009
New York City

On the topics of the Bujinkan theme for 2009 ‘Sainou, Kokoro & Utsuwa,’ Ken and ‘Kobudo no Kihon’.

Training times:
Saturday, May 2nd – 12pm to 6pm
Sunday, May 3rd – 10am to 3pm

Cost: $100 for both days, $75 for one day
Location: Room 3G, 440 Studios, 440 Lafayette St. New York
For more information, visit www.kotekidojo.com or contact anthony@kotekidojo.com

Class Log: Kasumi no Ho + Shingitai + Budo

I’ve decided a couple of weeks ago that I was no longer going to regularly update this blog and turn over this responsibility to other buyu. Part of training is sharing. A good way to contribute to ones growth.

                                                                                      *Anthony Lucas*

 

This past Friday our focus was precision along with DAT (distance, timing, angle) work.  We covered a lot of basic material, and our effectiveness really came down to a tiny change or small shift in our movement.  We also explored interrupting uke’s flow as he is traveling through space. And finally we used all of that to try to have a continuous flow while practicing.

Here there was a sanshin.  The beginning of class was about training the body to precisely execute one technique.  We did this over and over again.  Then we explored different aspects of time and space, then we left it behind and tried to flow.  It was both kasumi no ho and shin gi tai themes at work.  At the end of class, we began some very basic biken jutsu, and Anthony spoke to us about our training. 

He stressed the importance of practice, of diligence, of having the will to continue. (Those aren’t his exact words, they’re mine).  And he spoke about what we all need to be doing, what we should be doing, what we aren’t doing.  This type of thing is always frustrating, at least to me.  I’ve been thinking about it all week in fact.  What is the reason for our frustration in training?  I think it has to do with frustration of the self and not being to be open to change.  These things were said with good intentions but sometimes they are as painful as the physical training.  I’ve had to step back and remember things like; ‘shinken haramitsu daikomyo.’ Every moment is an opportunity for enlightenment.  And the thing Nagato Sensei said about learning; that it doesn’t always feel good.  But then again it shouldn’t, right?  Anthony also reminded me of this story he once told me;

There once were three monks traveling together in the woods.  After going a long way they came to a river, wide and deep.  There by the river was a woman looking across to the other side, with tears in her eyes.  She told the monks she couldn’t swim and couldn’t get across the river, and then she asked each of them if they would help her.  The first monk ignored her completely.  His vows prohibited him from speaking with anyone outside of his brother monks.  The second one shook his head at the woman and ran to catch up with the first.  But the third monk smiled at the woman and hoisted her up on his shoulders.  He carried her all the way across the river and left her to continue her journey without taking anything from her in return.  When the last monk finally caught up with his two brothers, the first one reprimanded him, “You shouldn’t have done that!” He said, “It’s against our vows and you will be in a great trouble if anyone finds out.”  The second monk said nothing, but shrugged his shoulders standing between the two men.  To the second monk, the third monk shook his head and to the first monk he said, “My brother, I left that woman miles back by the river.  Why are you still carrying her with you?”

I know this probably wasn’t the exact story.  I couldn’t remember the small details.  But stories are like our techniques.  They change every time they are told, as is natural.  It’s the message, the feeling, the yugen of the tale that is the important thing.  And here the message is pretty clear. 

I will close with a quote I think is appropriate for this week.

“Treat a man as he is, and he will remain so.  Treat a man the way he can be and ought to be, and he will become what he can and should be.” – Goethe

                                                            *Merridith Allen, Yondan*