Class update!

Hello friends! I didn't hold class last week in light of the Easter/Spring Break holiday week. The family and I took a much needed vacation and spent several days camping at the coast. *sigh* That was nice...

Last night's class was the first class since before the break. I was told some of my guys got together last week anyway and practiced together without me. I like it when they take responsibility for their training like that and keep things going even when I'm not there. This is part of my own philosophy, but I believe the martial path is a personal journey - even though we need to have partners to practice with. At times, it can be lonely and other times you can really feel the connection to the greater family of fellow budoka. But, in the end, it's all about our individual selves and only we are accountable to our own success and failure. So, you can never expect to have another person lead you, or hold your hand, or spoon feed you. You have to take the initiative, get out and do it for yourself. Ok, off my soapbox!

Last night was a great class! I decided to look at the Omote and Ura Gyaku Waza from the Torite Goho portion of our Kihon Happo, which is one of the foundational parts of our whole taijutsu training. Beginners understand the Omote and Ura Gyaku Waza to be the basic outside and inside wrist twists/throws, but they really are much more than that.

I used the Kukishinden Ryu feeling of wearing yoroi (armor) and showed how this affects these kinds of grappling techniques. Because the wrists and hands are hard to hold when wearing armor, the main emphasis then becomes controlling the elbow and spine of the opponent. Once control of the uke's spine and kukan (space) is achieved, then the appropriate 'taking' of the motion to either outside or inside (omote or ura) can be done. Throws are difficult in armor, so the finality actually is more of a takedown, often with a well placed foot behind the uke's extended leg or kick to their knee. Also, since it is normal to have weapons, special considerations are taken in regards to controlling the uke's ability to draw theirs (or even yours).

Another important factor in last night's class was getting the uke to move their own body, then using that movement to provide the energy to complete the technique. This is important because armor is heavy and, when properly postured, can create a solid foundation. However, if that foundation is broken, then the weight of armor becomes a liability, since the off balanced distribution of the weight can be difficult to correct. In addition, having to move a weighted opponent requires energy, which will wear you out. But, if you do certain things which cause the armored uke to move himself, then you've caused the necessary movement needed without expending your own energy to do it. I demonstrated several examples of how to make this happen, showing that it is all about the timing and capturing that critical moment in the flow of motions to capitalize on the shift in the uke's balance.

Once they 'got it', then the gyaku waza took on a life of its own. Uke were flying around, crumpling in a pile of moans and cringes as the pain of extended elbows and twisted wrist joints caused pain and broke balance. They were happy with how easy it was to accomplish this effect once the movement and timing concepts were utilized.

I added some variations to the techniques by implimenting a kubotan (small stick) into the techniques, using pressure points under the armpit to make the uke raise up.

I decided to end class with a little 'aliveness', by having each uke put on a boxing glove on their right hand. They did a left lapel grab and right punch, either as a cross punch or step through. The tori would do an Omote Gyaku in the fashion previously explored, but would switch halfway and do an Ura Gyaku. As they switched, the uke would have opportunity to launch a second punch, which they did. Since they were wearing gloves, I encouraged them to actually attempt to hit their tori with reasonable force. This was a good exercise, since it gave the tori something more realistic to worry about, plus it gave them more energy in the technique to work with. That really had a great effect in the intensity, which added all the more to the taking of balance and eventual throw or takedown.

By the end, everybody was exhausted and well pleased with the progress of the evening. After some final words, we bowed out and left for home.

In reflection, this class was one of those where I had only a small idea of what I was going to teach, but found myself on a virtual explosion of concepts and high intensity techniques. It seemed I was moving well, capturing timing almost effortlessly and just being in the right spots at every point. Maybe it was luck or maybe I was just feeding on my enthusiasm for my Japan trip in June. Maybe it was one of those times when I just 'got it' and was in the moment. Whatever the reason, I needed to feel that again. I needed to feel my own inner budo express itself well.