Wednesday, November 23, 2011
BOMP - Ch 28 - Heaviness
Tuesday, November 22, 2011
BOMP - Ch 27 - Structure
This year we are discussing the Book of Martial Power (BOMP)
Chapter 27 is a sort of a review chapter, but in it he does something remarkable! On the face of things, it is a note that henceforth in the book he will use the word "structure" as a shorthand for five recently-discussed principles...
http://www.mokurendojo.com/2011/08/bomp-ch-19-breathing.html
http://www.mokurendojo.com/2011/10/bomp-ch-24-spinal-alignment.html
http://www.mokurendojo.com/2011/08/bomp-ch-21-triangle-guard.html
http://www.mokurendojo.com/2011/08/bomp-ch-20-posture.html
http://www.mokurendojo.com/2011/10/bomp-ch-25-axis.html
But, more profoundly, and more importantly, Pearlman has managed to boil down much of the vague, pseudo-spiritual, mystical-sounding talk about 'structure' and 'ground-path' and 'root' and different 'energies' and such into a handful of easily-teachable, easily understood (though admittedly, not trivial to ingrain) principles.
Pearlman has gone a long way towards giving us the language we need to discuss the more vague, woo-woo, spooky parts of our arts.
Bravo!
BOMP - Ch 26 - Minor axes
This year we are discussing the Book of Martial Power (BOMP)
So, last BOMP post was about controlling the angulation and movement of the major axis of the body - the long vertical axis through the center.
Chapter 26 is a short little note applying the same principle to the other, minor axes of the body, such as the long axis of the forearm, for instance. Pearlman brings up two points regarding the minor axes of the body...
1. Seek the smallest axis possible for any rotation.
2. Rotate within the width of the rotating limb.
Pretty good points. Don't really have anything to say about those.
Thursday, November 17, 2011
Punctuated equilibrium
Wednesday, November 16, 2011
Lazy is not the kind of slow that you want
I've seen an interesting flaw crop up in some aikidoka's practice.
We are forever preaching efficiency - we spend a lot of time and
effort on trying to get each motion just right, to clean up the
connection and coordination between our minds and bodies such that
when the mind tells the body, "step there," the body executes the most
efficient step and nothing else.
When you look at the highest-ranked practitioners - people who have
been striving at this for years, often their motion is so efficient
that it is deceptive. It almost looks lazy, or careless. This is not
the case.
But when we start preaching "move slowly...be more efficient..." at
students, and they look at the masters who look like they are
lackadaisical in their movements, often the student begins to affect
that lackadaisical motion in an attempt to comply with the "slow but
efficient" instruction.
Slow by means of inefficiency or laziness is not the kind of slow that you want.
What you want is motion that is so efficient that it has nothing
extraneous or incidental or arbitrary in it. This sort of efficiency
gives you so much slack that you can relax and slow down a little. In
turn, the relaxation and slowness will allow you to conserve your
energy and be a bit smarter in your tactics and techniques.
Efficiency begets slack which begets slowness which begets relaxation
which begets aiki.
Getting this out of order by going for "slow" first, you can lose the
prerequisite to slowness (efficiency) as well as getting the wrong
kind of slowness, which prevents you from attaining any of the
subsequent benefits (relaxation and aiki).
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____________________
Patrick Parker
www.mokurendojo.com
Friday, November 11, 2011
Different bullets for different beasts
- I find it easiest to teach beginners to turn into shoulder and hip throws when uke is stepping backward and tori chases him down, stepping across and through, throwing about 90 degrees to the side of uke's path of travel. Not only is this the form of hipthrow that I prefer to teach beginners, but it works nicely against larger folk, because youre throwing them off their heel, which often makes it easier to get larger opponents down.
- As for grips, for an ukigoshi I will often hook his left shoulder with my right elbow (sort of like a hip toss in rasslin), or hook his head with my elbow for a ukigoshi-flavored kubinage. I usually want my left hand as far up his right arm as possible- definitely above the elbow, and maybe as deep as his lapel.
- Somebody in the thread mentioned understanding teaching ukigoshi as a concept, but had problems doing it in randori. I think that's okay - to sort of categorize ukigoshi in your head as a theoretical sort of thing that you have to learn before you get to the cool stuff, because a lot of the later cool throws are just variations of ukigoshi that are created when you can't quite get ukigoshi, or when uke resists certain ways - throws like haraigoshi and hanegoshi.
Monday, October 31, 2011
Misc thoughts on ukiwaza
Some miscellaneous thoughts on Tomiki's floating throws...
Our Ikkyu requirement is Junana #15, 16, and 17. You can sort of throw #14 into that group as well, but youve already done that one at nikkyu.
These 3 or 4 throws are classified as 'floating throws,' which is sort of a misnomer, because all the techniques of junana can be done as floating throws. Its just that these three (4) techniques exemplify the floating throw principle well, and all the other stuff in junana is usually done with a different focus.
What does 'floating throw' mean anyway? Basically two things...
There is a loose, airy, void sort of lack-of-feeling between uke and tori. You are not mashing on an elbow or twisting on a wrist to make the throw happen. It is a subtle connection, light-touch type of thing that is executed through exquisite synchronization and footwork.
Like all of junana, these throws are done on otoshi timing - on a footfall - but in these three (4), there is an emphasis on exaggerating the preceeding rise in order to make the timing window for the otoshi more obvious. You literally throw uke up in the air, wait for him to come down, and when he does, exaggerate his drop so that he hits the ground.
In the kata, all of these are done entering to the inside, capturing the wrist, making a golf swing through the offbalance hole, and tweaking the wrist and the elbow just a bit on the rise in order to exaggerate their rise.
Then, each of these throws is differentiated from the others by how uke tries to get down off of point...
in #14 - shihonage, uke retracts his arm by bending the elbow. Tori turns and follows and exaggerates that retraction
in #15 - maeotoshi - uke tries to take a step away. tori catches uke's far-footfall, and extends his step, pushing uke away.
in #16 - sumiotoshi - uke pulls his hand back, as if chambering a punch. tori follows that retraction and exaggerates it, pushing uke into the back corner on a near footfall
in #17 - hikiotoshi - the footwork is confused and uke somehow managed to foul #16 for you and ends up facing you, about to come down on you. Tweak the elbow again to get a bit of rise, then drop backward away from tori as he comes in and down.
Any of that make sense?
--
____________________
Patrick Parker
www.mokurendojo.com
Friday, October 28, 2011
BOMP - Ch. 25 - Axis
- vertical axis (upright posture) promotes easier, faster, cleaner rotation
- smaller footwork creates a narrower axis, which promotes faster and easier rotation.
Thursday, October 27, 2011
Jim Elliot was a judo master
- Kano gave up on the 'unsafe techniques' of jujitsu that he couldnt get really good at anyway because they couldn't be safely randori-tested, and because they were socially unacceptable at the time. In exchange, this allowed Kano and his students to perfect a smaller set of techniques, to thoroughly randori-test everything, and to get so good at what they did that Kano-ryu (Kodokan judo) became the predominant form of jujitsu in Japan and throughout the world.
- Strength and speed are fleeting. They are subject to inexorably diminishing returns as one ages. Sure, you can (and should) exercise and eat right and take care of yourself, but that's just pushing that decline a little bit down the road. True-ju classical judo holds these ephemeral physical attributes in reserve, so that the judoka can get better at timing, mobility, and strategy - qualities that tend to persist better well into advanced age. (Note that I'm not saying 'no strenghth and speed' - I'm saying 'timing, mobility, and strategy first')
- Static balance is an illusion in the context of the human body. You cannot ever be in a condition of static balance (standing strong and immovable in jigotai, for instance), so give up on that in favor of mobility - dynamic balance. This will make you quite hard to throw and it will destroy your opponent's ability to try to balance themselves.
Wednesday, October 26, 2011
BOMP - Ch. 24 - Spinal Alignment
Wednesday, October 19, 2011
Balance is mostly in the mind
Tuesday, October 18, 2011
Why is it...
Monday, October 17, 2011
Goshin jutsu as randori starters
Friday, October 14, 2011
BOMP - Ch. 23 - The Primary Gate
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____________________
Patrick Parker
www.mokurendojo.com
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