Thursday, January 22, 2015

Be like water, My Friend


Hirano was putting this lecture into a physical instead of verbal form when he devised and demonstrated Nanatsu no kata.



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Wednesday, January 21, 2015

Why all the arm waving and spinning!?



Modern judoka, competitive and recreational alike, seem to have about two distinct initial opinions about Tokio Hirano when they see his videos - 
  1. Whoa! This guy has amazing light technique that still gets big amplitude throws!
  2. What the hell is all that arm waving and spinning around nonsense!?
Those were certainly my initial thoughts, but then the question struck me, "how did he get from those crazy practice motions to that amazing skill?" or "What is the meaning and idea behind those unorthodox training motions?"
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I spent most of a year or so obsessed with Hirano and his videos and his crazy kata. I did searches on Google for info about Hirano and the kata. I played with what I could understand of the kata. But it still took a long time for me to get a glimmer of what I think he was getting at.
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Follow me here...
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The name of the kata is Nanatsu no kata, which means something like "seven forms." Not much help there. But then I found somewhere on the net some French practitioners that refer to it as le "kata des vagues" or "The Form of Waves." I like to use my own loose translations, so i call it "Seven Waveforms."
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It seems that Hirano was obsessed with ocean waves and spent a lot of time watching them and thinking about how they behave. He came to see judo throws as similar to the motions of waves. I also think that he was looking at the waves in a naturalistic, non-scientific way - like art, because his Waveforms kata is a work of art and not a Physics thesis.
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Once I started thinking along the lines of "He is demonstrating seven kinds of waves that exemplify judo throws." all of a sudden the pieces fell into order.
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Also note, there is video of Hirano's students on the net doing the kata and they don't always do the arm-waving thing, so apparently that was a teaching or a demonstration or a sometimes-practice sort of thing.
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Hirano was a stranger in a strange land. There was probably a language barrier and there was certainly a skill-level barrier between him and his European students. It must have been hard to communicate advanced ideas like he wished he could. Here's what I think. Here is the monologue that is running in my head as I watch Hirano do Nanatsu...
"Alright, listen up, monstrous, clumsy westerners. I'm about to really lay an idea on you. Judo is like waves..."
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(Imagine Hirano holding a giant paintbrush and painting a huge wave on the wall beside him...)
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"Some waves wash in and subside like this...Some judo is like that... Some waves wash in and cut along the shoreline like this...Some judo is like that... Some waves wash in and hit a rock and splash back like this...Some judo is like that... Some waves come in and become whirlpools like this...Some judo is like that..."
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He was saying the same thing as Bruce Lee in Lee's famous "Be like water, my friend" lecture.
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Hirano was, as literally as practical, painting you a picture of the sort of motion happening in the waves and the judo throws.  Watch it again and let me know if the arm waving thing makes more sense.


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Patrick Parker
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Monday, January 19, 2015

A glimpse into Hirano's head (maybe)


I think watching this instructor makes Hirano's rhythmic work make much more sense. He (Hirano) appears to have been decomposing whole-body motion into its constituent components and drilling each technique with each movement component - the thesis being, if tori is skilled enough at fitting with each of several components then he will be able to fit with chaotic-seeming motion that is made up of those previously-understood components.
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Check out the last 3 throws on the video - tori spazzes out (chaotic motion) and then finds the throw inside the chaos.



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Patrick Parker
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Saturday, January 17, 2015

Tokio Hirano tachiwaza (esp. sumiotoshi)


Watch this video of Hirano sensei with an eye to his rhythmic application of tsukuri.  I think my favorite throw on this video (there are many!) is the superb sumiotoshi at 5:15, but they are all worth studying.  The wealth of Hirano sensei's material that is available on Youtube is an outstanding resource!


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Patrick Parker
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Friday, January 16, 2015

Other examples of Koryu Dai Ni

For the past couple of weeks I've been doing a series on Koryu Dai Ni, featuring Nick Sensei's instructional videos.  I like Nick's ideas about this kata a bunch, but he's certainly not the only guy out there with opinions about how it should be done.  Here are several other examples for compare/contrast...





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Thursday, January 15, 2015

Where does Hirano's magic live?

I am signed up to lead an exploration of Tokio Hirano sensei's cool/crazy rhythmic exercises and training methods at OKC at the Summer 2015 seminar.  Check out this video (The first 2 minutes) of some of what I mean by cool/crazy.


Here's a hint as to my line of thinking/exploration on this stuff. Notice in the title at the beginning of the film what he calls this material - kumikata - "forms of gripping!" This strange, rhythmic thing that he is doing that we think of as kuzushi or tsukuri - he is calling that gripping.
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With that in mind, check out this excerpt from JudoInfo's essay of Hirano...
Traditional nage-waza (throwing techniques) were taught in the following sequence: kumu (gripping), tsukuru (the entry and proper fitting of your body into position taken just before the movement required for completion of your throwing technique), kakeru (completing), and nageru (throwing). 
Hirano revolutionized the order to tsukuru, kumu, kakeru and nageru. This is the current European style Judo. This is a proven method to defeat bigger opponents, as demonstrated by Hirano's stunning success.
The magic that he is doing seems to live within the "fit-in-and-grip" stages of the conflict.  That makes sense, because it is much harder to induce a useful vibe into uke if you have already set your grips (like in the Classical Kodokan approach above) because your grips tend to damp out that vibration (like holding a bell while trying to ring it).  But on the other hand, uke should be more susceptible to that vibe-induction thing as you are coming to grips, while he still has freedom to oscillate.
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So it seems we're going to be studying how to come to grips with gentle, facile hands while inducing a vibe into uke and/or matching yourself to uke's oscillation.



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Patrick Parker
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Wednesday, January 14, 2015

KDN #12-16 - The Final Five

The Final five techniques of Nikata are yokomen attacks - that is, uke is striking downward diagonally at tori's head.  The five responses are...

Ukiotoshi

Kokyunage
 

Shomenate

Sukashi nage

and Hikiotoshi


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Monday, January 12, 2015

KDN #10-11 - ushirojime

Uke is continuing with the same idea - the previous attacks didn't work because he couldn't control tori's center, so uke attacks with perhaps the ultimate rear attack - ushirojime.  So tori responds with oshitaoshi...

...or with jujigatame or tenkai kotehineri or kotegaeshi...


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Sunday, January 11, 2015

More balance training with balls

It's what it says - Ronda balancing on some balls.  Some interesting games to add to your balance practice routines.


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Patrick Parker
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Saturday, January 10, 2015

KDN #8-9 - ushiro ryokata dori

For the next pair, uke seeks to get still-tighter control over tori's center.  Instead of a wrist-and-collar grab, uke moves to secure both shoulders in an ushiroate-like attack.  The problem with this is the time between uke letting go of the wrist and grabbing the shoulder.  Check out a couple of techniques that can fit in that space, like tenkai kotehineri...


or kotegaeshi...


Interestingly in this pair, tori is using the same strategy - use the hand that uke just let go of to reach and grab uke's hand off his opposite shoulder.  What differentiates these two techniques is how tori's hand happens to fall upon uke's.


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Patrick Parker
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Friday, January 09, 2015

Rener shows how to stand on a ball

Rener Gracie talking about and demonstrating some of the things that core strength and balance training with an exercise ball has done for him.


And a great little lesson on how to get up to standing on a ball (starts at 7:30)




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Patrick Parker
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Thursday, January 08, 2015

KDN #6-7 - ushiro katate-eri dori

Next in Koryu Dai Ni comes another pair of rear attacks.  As we progress through this set uke gets tighter and tighter control over uke's center - last time uke had both wrists, leaving uke a great deal of freedom.  This time uke gets a wrist and the back of uke's collar, giving him much better control of tori's center and preventing the previous techniques.  But uke exposes a different weakness - clutching a wrist convulsively to prevent it from moving makes it almost trivial for tori to turn his wrist out of the grasp, especially when offbalanced...

The second technique of this pair occurs when tori is not able to shake off the wrist grip.  Often when this happens, it is because of the other hand - the one that has the collar control, so we deal with that controlling hand by ducking under it and peeling it off into kotemawashi oshitaoshi.



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Patrick Parker
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Tuesday, January 06, 2015

KDN #4-5 - ushiro ryotedori

The second set of Koryu Dai Ni, consisting of techniques #4-11 are ushirowaza - defenses against attacks from the rear.  They are organized into complementary pairs, similar to Koshiki no Kata and parts of Junana Hon Kata.
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In the first pair, #4 and #5, uke grasps both of tori's wrists from behind, as if trying to hold him for another attacker or to stop tori from deploying a weapon.  The first technique (kotegaeshi) is distinctive because tori stands his ground and offbalances uke so decisively that uke is forced to move in front of tori.
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When I first saw this demonstrated several years ago, I thought it was incredibly stupid.  I interpreted it as tori obstinately standing his ground and forcing uke to run around - sort of like showing off by running the table."  Then at some point I realized it was a n exercise - sort of a game to see if tori can develop sufficient internal structure to offbalance uke sufficiently while holding the foot movement in reserve.  That is, it is an exercise of making the techniques more challenging by constraining tori's movement.

Next is jujigarame nage.  Uke's attack is the same, except tori is unable to do the previous technique because of uke's resistance, so tori slips under, crossing uke's arms.  Because jujigarame is often an onerous fall for older and heavier ukes, some toris like to release the second hand, turning the technique into kotegaeshi.  Honestly, once you get uke off-balanced and his arms tied up, you should be able to think up something nasty to do to him.



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Patrick Parker
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Monday, January 05, 2015

Judo newaza movement with a ball


Sensei Greg Ables at the recent Winter Intensive in OKC was hyping balance drills using balls, BOSU boards, and other stability training devices.  This is valuable because there is relatively little sport-specific solo exercise that we can do to improve our martial arts, and this is (I think) some of the best. 
 Stay tuned for some more examples...



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Patrick Parker
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