Shikaku and technique vs. principle

A lot of instructors (including me) like to say that our arts are "principle-based instead of technique-based."  That the ideas behind the techniques are more important than the techniques themselves.  But that can be hard to implement because we all have a deep abiding love for cool techniques.  We want to exert our personal power and "do" our techniques to people so it can be hard to give up the idea of doing techniques in favor of the general idea of "following principles."

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So, how about a more specific objective?  How about something like, "moving behind the other guy always trumps doing a technique to him."

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So, if you see something cool like kotegaeshi about to happen but you are standing in front of uke, forget about doing the technique and move behind uke.  Only execute the technique if you are already standing behind uke.

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Patrick Parker
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The intersection set

Judo and Aikido are related arts - you might even say they are sister arts.  We often go so far as to say they are the same thing (sometimes we qualify that by adding, "but not really.")  This relationship between judo and aikido goes right back to the beginning - both were at least partially derived from Kito-ryu.  The relationship can be seen more recently in that the judo that our group does (1950's Kodokan judo influenced by Kotani and Osawa) is highly-related to the aikido that we do (as taught by Tomiki at Waseda in the 1950's).  It is difficult to examine Kodokan Goshin Jutsu and not see Tomiki/Ohba Koryu no kata and vice versa.

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So, you might say that 1950's judo and Tomiki aikido are different arts with highly-overlapping domains.  In a Venn diagram, they would have a large intersection set, including...

• Basic posture (shizentai) is predominant instead of jigotai or hanmi
• The same ukemi skills are taught and used in both
• Many ukiwaza/tewaza are shared between the two arts

There are, of course elements that find themselves in the domain of one art but not the other (not intersection set).  For instance, the domain of judo includes ...

• ashiwaza
• greater variety of koshiwaza
• sutemiwaza
• shimewaza
• newaza
• kumikata (gripfighting)
• resistive randori

...while the domain of aikido includes more...

• solo exercises (tankdoku undo)
• connection practice (hanasu dosa, musubi renshu)
• suwariwaza
• tekubiwaza
• weapons work
• hand randori

But hang on here for a minute.  There is nothing saying that these things have to be the domain of one art or the other.  Why cant we start (judiciously) moving more of the material into the intersection set such that players of both arts have explicit permission to make use of it.

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For instance...

• Tomiki originally envisioned the tandoku undo of aikido as a "Judo taiso" or a sport-specific warmup.
• Kumikata and Hanasu have the same purpose and a great overlap in skills.
• Suwariwaza and newaza are just different modes of groundwork practice.
• Some aikidoka have had success working with ashiwaza, koshiwaza, and shimewaza
• Roy Dean (BJJ and Judo guy) has had some success with working the tekubiwaza (for instance) into BJJ.

By "judiciously" I mean, we should not necessarily pile all of judo and all of aikido into one pile and do all of it together, because not all of each art fits well with the other.  It might take some time to figure out where each piece of the puzzle fits, but I say we should be working toward shifting more material into the intersection set.

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Spring 2014 ABG preview - kuzushi & tactical aikido

The Spring 2014 Aiki Buddies Gathering is coming up in about a week, and this year the topics of interest are going to include -

• Kuzushi - particularly in the context of the connection exercises we call releases, and with particular emphasis on answering the question, "How can you tell if you have kuzushi or if you have enough kuzushi that you can safely and efficiently execute a technique.
• Bode's Tactical Aikido - some of J.W. Bode's ideas about using releases to enter into techniques from both aikido and judo.
• Merritt Stevens' Tactical Aikido - Ten techniques selected by Sensei Merritt as forming the basis of a quickly-learned, easily-retained self-defense system.

We are also going to be having a pile of rank demos, including...

• Whit will be demonstrating the Yellow- and Green-belt curriculum for both aikido and judo.
• Knox and Quin will be demonstrating the first three sets of Nage no Kata.

Looks to be well-attended, and promises to be a load of fun!  be there or be square!

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Patrick Parker
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Rory Miller hints on toshu randori

Rory Miller has a pretty cool book about Drills...

In which he gives some of the best description and hints for a drill that he calls "One Step," but which we call "toshu randori."  Hints that we don't hear every day...

This is my most basic drill. I find it useful and versatile on many levels. At it’s most basic it is very simple: one partner initiates a move in slow motion and the other partner at equal speed makes one motion to respond. The partners continue this without resetting, winding up wherever they wind up and finding solutions.

• To reinforce that this drill is about self teaching I break every few minutes when we first start and have the students tell me what they’ve noticed and what they’ve learned. One of the first ones that come up is “You can’t win on defense.”

• If you block an incoming strike, your opponent is free to make another attack.

• If someone gets in an untenable position, have the partners maintain position, have them ease up any pressure causing pain and have them think of options. Bad guys don’t give do-overs; don’t practice them here.

• Do not practice dying, either. Students will have a tendency to reset and start over when they feel a decisive blow has landed. This is a bad habit. You may be knocked out in real life, but you might not. If a man can take ten bullets to the chest and head and keep fighting it seems a little delusional (and a terrible habit) to give up over a slow-motion strike.

• It’s hard to stick to one-step on the ground because so many grapplers practice a flow of motion. Try to restrict them anyway. Limiting it to one move you often find an efficient strike that is missed when people go into grappling mode.

• Most locks are relatively complicated and take several moves to get, and thus usually fail on moving people in real life. Show how locks in real life are based on ‘gifts’ where the threat puts himself in the lock position. By just applying power to one point, efficiently, you can make a lock work. Same goes for many take-downs.

• If two students are starting to spar, have them start with the initial attack coming from behind or on the flank.

• When a student gets stuck, have them freeze and brainstorm; then ask their partner for ideas, then other students, then the instructor. I haven’t seen any position so hopeless that a room full of people couldn’t come up with something.

• Watch for people who are moving arms but not feet.Show that striking and off-balancing are both good options.

• It’s okay to run away.

• After they have practiced for a while, explain that they are on a quest for the golden move. The golden move is anything that prevents damage to you, causes damage to the threat, puts you in a better position and puts the threat in a worse position. If every action does all four things, you will win.

• In a seminar situation, encurage everyone to play with people they do not know and to switch partners each time.Use foam ‘bricks’ and scatter them around the training area. When a group or pair go to the ground, they can use the brick as an equalizer. It tends to change the ground game quite a bit.

• Stop action critique: Straight-up coaching for the one-step is dead simple: “Freeze. Go back one move. Why didn’t you…” when you see an opportunity for something more efficient than whatever the student used. Don’t overdo it, though, or you’ll be stopping them every move. Let them play.

• Let the rounds go for a minute or longer. At the end ask, “What did you notice, what did you learn?” And get the students to evaluate their own learning process and milk the experience for themselves. This is critical!

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Tachiwaza principles or heuristics

Proudly stolen from Nick Lowry - stuff to work on in standing judo - I love lists of hints like this...

• Be offensively oriented
• Every time a foot moves you have a chance
• Get religious with the line conditions: on, down and ,across the line
• Point your foot in the direction of the throw
• Keep weight on the ball of the foot, knees slightly bent—cat like
• Keep posture upright (don’t get sucked into jigotai) 
• Grip with little fingers-loose upper fingers
• Grip lapel at shoulder level
• Grip sleeve with wrist down and elbow in 
• Turning causes two pulls- elbow up and elbow in
• Elbow in is locked to your ribs using the pecs and lats
• Eyes at the heart/chest
• Never block for defense, always counter with movement-- dance out
• Work with graduated resistance
• For sweeps and reaps: point the toe and flex from the knee-not upperleg
• At the intermediate stage work all ashiwaza from progressively smaller steps
• Hip throws are crack of the butt on the lead thigh (posture may distort to accomadate) 
• Fulcrum of hip throw is the HIP
• Shoulder throws , fulcrum is shoulder—posture stays straight
• At the intermediate stage, work all big throws from all stepping conditions
• Hands stay light –dont hang weight on the grip
• Hands always support foot actions
• Stay in step (mostly)
• Work with continuous movement
• Throw on the move – dont stop the center to throw
• Work for kuzushi on the step
• In beginning stage-- lots of nagekomi (no resistance --trading throws) 
• Intermediate to advanced stage –renraku waza -- esp. footsweep to control drill including allashiwaza on both sides 
• Advanced and for competitors: stugeiko and renzoku (consistant consecuative attack against conditions of resistance within prescribed rules)

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Merritt Stevens Aikido

Once upon a time (about 30 years ago) in a land far, far away (Ohio) there was an aikido teacher named Merritt Stevens.  Stevens sensei had a major influence on the development and spread of aikido in the Midwest.  Merritt's son, Moe still teaches in Ohio - look him up.

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Merritt's work appears to have dealt largely with self-defense and perhaps tactical police application of aikido.  One piece of Stevens' work that is still referenced fairly often in the Texas and Oklahoma aikido crowd is what they call "The Merritt Stevens System," which was intended to be a rapidly teachable (hours-not-months) and applicable condensation of Tomiki's work.  The Merritt Stevens system is remarkably elegant while being technically minimal (only 10 techniques vs. 3 attack forms) and based on gross motor skills (like sidestep, raise your hands, and push forward).  It also answers the 2-3 most common Habitual Acts of Physical Violence.

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The Merritt Stevens System (as I've seen it) includes -

Defenses against an overhand right punch to the head (most common street attack) -

• tenkai oshitaoshi
• kotegaeshi 
• gyakugamae ate
• aigamaeate
• tenkai kotehineri
• wakigatame

Defenses against a left jab or overhand punch (in case you sidestep wrong or they throw a left punch) -

• shomenate
• shihonage
• kubiguruma

Defense against a shoulder/chest/lapel push/grab (#2 most common street attack) -

• kotemawashi udegatame

Good 3-part instructional on Merritt Stevens System -




3-part video of Stevens teaching Tomiki's Junana -




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Nanatsu no kata speaks to the gokyo

When scholars try to figure out how dead languages sounded when spoken by native speakers long ago, it is largely guess-work unless they have access to a body of poetry written in that language.  This is because the poetry provides clues as to how words sounded - what things rhyme with what other things and how the rhythm of the language went.

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I've been contemplating Tokio Hirano sensei's Nanatsu no kata a bit lately.  I personally think Nanatsu is poetry - high art.  And looking at the technical range of Nanatsu provides some clues about the organization of the grammar and syntax of the art (the gokyo).

Nanatsu no kata

Omote

1. osotogari (1st kyo)
2. osotootoshi (4th kyo of the habukareta waza)
3. haraigoshi (2nd kyo)
4. ouchigari(1st kyo)
5. tsurikomigoshi(2nd kyo)
6. uchimata(2nd kyo)
7. taiotoshi(2nd kyo)

Ura

1. osotogari X ukiotoshi (4th kyo)
2. osotootoshi X yoko wakare (5th kyo)
3. haraigoshi X utsuri goshi (4th kyo)
4. ouchigari X ushiro goshi (5th kyo)
5. tsurikomigoshi X taniotoshi (4th kyo)
6. uchimata X sukashi (shinmeisho no waza)
7. taiotoshi X yokoguruma (5th kyo)

I find the selection of techniques interesting.  This kata - basically a record of how Hirano did the amazing things he did  - a record of "his system" - is composed of...

• two large ashiwaza from the 1st kyo
• four techniques from 2nd kyo
• one technique from the old preserved set (habukareta waza)
• six counters, all from the 4th and 5th kyo
• and one counter from the new set (shinmeisho no waza)

So, one might characterize Nanatsu as  mostly fundamentals (1 and 2 kyo) and counters (4 and 5 kyo).  Interesting that there is nothing from 3rd kyo in there. 

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If you look at the 3rd kyo, I think you'll find mostly a pile of miscellaneous minor actions that fill in the corners of the system.  Sure there have been some notable examples of folks that have used tsurigoshi, and you'll sometimes (rarely) see hanegoshi or tomoenage in a tournament, but I think it's fair to say that the 3rd kyo is largely ignored as irrelevant to the modern (post-Hirano) competition crowd.

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What you do see a bunch in tournaments - the place that almost everyone's tokuiwaza comes from - 1st and 2nd kyo.  Foundations.

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So, looking at how Hirano used the techniques of the gokyo in his kata suggests (to me) that the gokyo is basically...

• foundations (1-2)
• miscellany/trivia (3)
• counters (4-5)

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Where we've been - where we're going

Lately I've been thinking about where I've come in the last 30 years or so, and where I'll be going in the next few - so I started putting together this timeline...

30 years ago

• In High School
• Didn't know karate or any other martial arts existed. Didn't even know who Bruce Lee was.
• A friend invited me to the dojo and I've been there ever since

25 years ago

• In college
• Karate guy, pretty good competitor - ranked 2nd in Mississippi and 3rd in Louisiana. Specialties included reverse counterpunch and an incredibly sneaky arcing outside crescent kick.
• Beginning to get an idea of diminishing returns with modern karate (at least for me)
• Beginning to try out aikido, judo, and hapkido

20 years ago

• Graduating from college
• Soon to start my first dojo in Southwest MS.
• Met two major influences on my aikido and judo - Karl Geis and Mac McNease

15 years ago

• Back at college, teaching aikido and judo there

10 years ago

• newly married
• young children
• back teaching in Southwest MS
• after Katrina - moved the dojo to my home and started mokurendojo.com blog
• starting to work with my oldest son on some judo falling

5 years ago

• getting ready to switch organizations
• starting to travel to teach seminars

NOW

• About to graduate oldest son from kids' class to adult class
• Over the last 18 or so years or so I've had about a dozen of my students make it to black belt
• This summer I expect to promote my first sandan (3rd degree black belt) student in judo
• Need to get a new mat surface for the dojo - soon

5 years from now (ca 2020)

• oldest son graduating High school - He should be shodan
• next 2 sons should be well into the adult class
• next 2 girls should be in the kids' class

10 years from now (ca 2025)

• All my sons will be graduated from High School, oldest may be graduated from college!
• 3 sons should be black belt and older daughter should be approaching shodan
• Younger daughter should be getting ready to graduate into adult class

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Uke-centric kata and subtle patterns

Slight changes in nagenokata (as compared to the standardized form they came up with in the 1980's and 90's) reveal interesting patterns in the kata.  Here's what happened...

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We have been working nagenokata with our 8-12-year old kids.  For simplicity we are doing it one-sided instead of alternating between both sides.  Also, they are all very proficient at ukemi but to reduce the mat-banging, we threw a crashpad in the middle of the mat and we are landing uke on that pad.

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Then all of a sudden last night, Knox pointed out a pattern that I'd never seen in the kata...

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To land uke on the pad, you have to shift the line of the kata slightly to one side for the first throw.  Then for the second you have to shift the line to the center of the crash pad.  Then for the third throw, you have to shift the line to the other side of the crash pad.  Then for the fourth, you're back in the middle of the pad and the fifth is back on the original side of the pad and the sixth is back in the middle.

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The kata (at least the first 6) is ordered (if you are only doing right side) to alternate throwing uke to the right side of the kata line, straight down the kata line, and to the left of the kata line...

• ukiotoshi - throws uke to his right
• seoinage - straight ahead
• kataguruma - to uke's left
• ukigoshi - straight ahead
• haraigoshi - to uke's right
• tsurikomigoshi - straight ahead

An instructor once told me that in judo and aikido, "nothing is random."  That is, there are no patterns in the kata that are just accidental - they were all designed that way.  I have no way of verifying or disproving that, but it feels true - nothing is random in judo.

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I'm not sure what the significance (if any) is to this right-center-left-center-right-center pattern - but it sure was interesting - and it was cool that my 10-year old pointed that out to me!  I'm growing a new crop of sensei to teach me judo!

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Techniques in uke-centric nagenokata

Typically in nagenokata, we give the techniques names based on what tori is doing (floating hip throw, sliding foot sweep, etc...), and this is okay, but in our uke-centric exploration of this kata it is sort of counter-productive because it can lead back to that ego thing I mentioned in the previous post - that is, it can make everyone think that tori is the star of the show.
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Try watching the above standard demo of NNK but try thinking of uke as the star of the show and tori as a supporting actor.  That can be quite a stretch for some folks.  The kata seems to be set up to suggest to the viewer that tori is the leading man and uke is a bit role.

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So, lately we've been starting to nickname the techniques based on uke's perspective.  The techniques of nagenokata become...

Tewaza (hand techniques)

• 3-step attack - forward roll (tori looks like ukiotoshi)
• step&konk attack - forward airfall (tori looks like seoinage)
• 3-step attack - wrong-sided roll (tori looks nominally like kataguruma)

Koshiwaza (hip techniques)

• step&konk attack - other-sided airfall (tori looks like ukigoshi)
• 3-step attack - skipping back forward airfall (tori looks like haraigoshi)
• 3-step attack - the big airfall (tori looks like TKgoshi)

Ashiwaza (leg techniques)

• 3-sidestep attack - slipping side-fall (tori looks like okuriashi)
• 3-step attack - tripping forward airfall (tori looks like sasae TK ashi)
• 3-circling attack - slipping forward airfall (tori looks like uchimata)

We haven't gotten beyond that point yet, so we haven't come up with nicknames for the sacrifice falls.  But it looks like the major variable in the next 2 sets from an uke-POV is tori is either not supporting uke during the fall, or uke is having to derive support from tori's falling mass in a different way.


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Uke-centric kata and personality issues

Working with children on nagenokata has given me some interesting insights about kata in general and about teaching kata to adults.  I'm not sure that kids are any less capable or intelligent than adults.  In fact, I think that adults often have many of the same personality issues as kids - it's just that kids are more transparent about their issues.

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For instance, kata is a paired event - a 2-man sport if you will.  It is both partner's responsibility to make the kata work properly - but it is SUPER easy to get into a tori-centric frame of mind, in which uke's role is to attack properly and be the fall guy.  In this tori-centric mode, uke is relatively passive, like a throwing dummy, and tori's job is to do 15 amazing, terrible things to uke (the evil attacker).

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With kids especially (and I suspect this plays a part in adult kata too), tori-centric mode makes for piss-poor kata.  It makes sense - no kid wants to be physically coerced into taking a beating 15 different ways, even if the child is easily capable of doing the ukemi safely.  It is the interaction of the coercion upon uke's and tori's minds that makes the kata difficult and onerous.

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As soon as the "Uke vs. Tori" idea enters their mind, they become unable to do kata because they become unable to work together to demonstrate a physical idea.

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This is compounded by the fear factor.  As soon as a competitive wedge is driven between uke and tori - as soon as uke begins to think that tori's job is to "do martial things to me," the falls in nagenokata become a terrible, fearsome thing.  

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But when you strip out the part of the kata that seems to magnify tori's ego (that is, the formality of the kata that is designed to make tori look like the centerpiece) - and when you re-focus both partner's minds in a uke-centric frame in which tori's role is to help uke demonstrate 15 kinds of ukemi properly, all of a sudden much of the fear factor and ego magnification seems to dissolve.

[photo courtesy of Wikipedia]

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Uke-centric Tsurikomi Goshi

The last of the three hip throws in Nagenokata, tsurikomigoshi, is another bear to teach kids, partly because it is such a large-amplitude throw.

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In my work with my kids on Nagenokata, I've been emphasizing the role of uke to the point of almost making the main purpose of the kata to demonstrate uke's ukemi skills.  This does not relegate tori to the role of passive by-stander.  It forces tori develop the ability to position and support uke properly so that uke can demonstrate the ukemi properly.  So, tori is the spotter.

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So, how does this idea apply to TKgoshi?

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By this point in the kata, uke and tori are pretty familiar with the 3-push attack and the tsugiashi stepping.  In the previous 3-pushes, tori adjusted his left hand (in kataguruma) and his right hand (in haraigoshi) during the middle of the 3-step attack.  This time, tori adjusts his footwork right at the end, by sliding his forward foot sideways to right beside uke's right foot at the end of step 3.  Then tori turns back in with his hips against uke's thighs and pushes up on the collar grip.

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From here, uke is positioned to take a regular forward rolling breakfall ro airfall (albeit a slightly larger than usual one). 

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So, from uke's POV this is not really a unusual thing.  From a uke-centric POV you can say that this technique is in the kata just to allow uke to demonstrate a slightly larger than usual forward roll.  The interesting part of this kata movement is how tori/spotter adjusts his footwork to position uke for his fall.

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Uke-centric haraigoshi

We do an ukemi exercise starting about the time students get a good handle on forward rolls from standing.  We have the student stand in the starting posture for the forward roll, with his weight leaned forward onto the front foot, then instead of pushing forward into the roll, the student hops his forward standing foot backward 2-3 inches, which immediately disrupts their equilibrium and forces a forward roll.  This is a great exercise for getting beyond the beginner stage where the uke has to be in complete control of when the fall happens toward the stage where uke can safely roll out of sudden, unexpected balance disruptions (like sasae for instance).

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In our kids' uke-centric Nagenokata, where the focus is on uke and tori is mostly just a spotter, we are using haraigoshi as a similar exercise.

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The approach is the same as in Kodokan Nagenokata - three tsugiashi steps with tori switching his hand to uke's shoulderblade on step-2 and using that hand to tilt uke forward onto his front foot on step-3.  But we are using that action by the spotter as an excuse for uke to demonstrate the hop-back ukemi.

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Tori/spotter takes 3 steps with uke, adjusts his grip and tilts uke forward on step-3, fitting his hip and leg against uke as in haraigoshi.  Then uke hops backward 2-3 inches, tori follows that hop with his leg, and uke executes his forward rol/airfall using tori for support.

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This has turned out to be a good simulation of the mechanism and the ukemi for haraigoshi, and the kids caught onto it right away! 

[photo courtesy of Wikipedia]

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The dreaded rank demo

When I was coming up through the ranks - particularly when I got to about the shodan-nidan range, our instructors liked to make their rank candidates go test in front of a pile of highly-ranked examiners. The rank demos would be at the end of a week-long grueling seminar, and often as not, by the middle of the rank demos there would be 2-3 of the  10-15 examiners either barely awake or just flat-out snoring!

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I remember a couple of candy-striped belts joking one time that they's seen so many new shodans screw up Owaza Jupon (a kata called "The Big Ten") in so many creative ways that they'd started calling it "The bigger 11" or "the lesser 9."

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I used to think those guys were real jerks for not being able to stay awake and respectful during such a big deal, but since then my role has been reversed and I've had ample opportunity to watch shodan rank demos and while, to my credit, I haven't ever fallen asleep in one, they do get monotonous after a while.

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Why does that have to be?  Where is it written that there is one list of things that all up&coming shodans have to do to get their rank?  What if there were some flexibility in how the demonstrations were done?  I'm not talking about dancing velociraptors or backflips through flaming rings or anything.  You don't even have to change the rank requirements - just demonstrate something besides the same 20 techniques in the same order that the 100 people before you did. 

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I've heard it said that any instructor worth anything can watch you do whatever you want to do for about 3-4 minutes and know what level you are.  So, how about we inject some creativity into the rank demo process.

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I bet it'd be fun for the students, and I bet more of the geriatric candy-stripers would stay awake longer ;-)

[photo courtesy of Wikipedia]

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