For starters, let me say there are no definite rules on this and many teachers teach different things. But, for this post I am going to strip away all the extra 'stuff' and just look at the hinging aspect.
Take the Tsuki no Kata for instance. The old form way of doing it involves moving a great distance, extending the body as far forward as possible while dropping the weight down and flattening the posture. The legs are open, the hips open, the spine straight, the shoulders open over the hips and the head in line with the spine. The punching hand is extended out from the shoulders to the target.
It really is a very difficult technique unless one has the flexibility and committed taijutsu to propel their body forward like a spear to pierce the target. In fact, this kind of movement is so universal, it's been a foundational technique in European fencing for hundreds of years!
Without getting into the different ways people have changed this technique over the years in the Bujinkan, I want to just focus on a key point of it all. What is important is that when you move forward, the entire body must move forward. Any percent of the body that doesn't move forward is less energy going into the penetration and force of the attack. Further, any part of the body that pulls away actually steals energy from the attack!
By "any part of the body", I am not necessarily including the limbs, as there are counter moves designed to keep balance (like the back motion of the arm in Chi no Kata from the Gogyo/Sanshin no Kata) or simply when you walk.
Rather, I am particularly focusing on the shape of the capital "I" that represents the shoulders, spine and hips. Or, more specifically, the shoulders and hips.
When I see people launch a Tsuki, often I see energy or force being stripped or inhibited by counter or dead movement in these parts of the body. For instance, take a look at this example of a good Tsuki:
This is a good example of a Tsuki, showing how the body projects the weapon through the target in a forward and downward motion, using a body posture of the spine, hips and shoulders that support the action. What is not shown, however, is the action, the kinetics of how this happens.
If you look at how a person stands, each foot planted at a point that best supports the balance of the body, you'll see how each connecting point to the ground (i.e. the foot) is a post. When the body moves, often weight is lifted off the moving leg to raise it up and move it forward, then weight is brought back onto the leg as it posts to a new location and supports the body transition over it. However, in Tsuki no Kata, this is incorrect. The back and forth shifting of weight is telegraphing and, in the case of moving under a sword cut or thrust, you would be moving back across the attack line as the projected foot lands and posts. In a nutshell, you would be struck as you move forward.
Instead, find how you can shift weight down and forward onto the foot you want to move and raise it just as weight is starting to move into it. This involves a softening of the knees and slight turn of the hips, spine and shoulders towards the direction of motion. If you wait too long, the weight will lock your foot down, so you have to find the right timing. In this manner, you are transferring your body to the side you are moving forward, taking you off the attack line and staying off of it.
Ok, so we got that part, right? Staying off the line of attack and sending your body along the line of movement instead of shifting weight back and forth. It's plain economics of kinetic energy, motion and balance.
Now for my focus.
As you execute your movement, be aware of the other half of your body. Particularly your rear foot and hip. Do you push them away from your movement? Does your rear foot turn outward away from the direction of motion? Does your rear hip push back and turn away? These are the things I am writing about.
As you transfer weight off of your posted foot onto the moving foot, your body is moving forward. The posted foot becomes the rear foot and pushes your body forward onto the front foot as it posts. This line of support, the rear foot, leg, hip and shoulder is like the hinge on a door. It pivots around a singular line. Some people will move and teach that the spine is the singular line and some people will teach the center line (also known as Chusen) is the singular line from which motion is hinged or pivots on.
This last part is actually true in some regards and at times the spine can be the center line of the hinge. But, remember that I am writing about Tsuki no Kata, the committed action of going in a forward attacking direction. If anything, the chusen and spine actually move around and forward of the pivot line of the rear foot, hip and shoulder. As the lead foot, hip and shoulder move forward, the spine/chusen follow around like a train, linked together in a string of action.
Does this make sense?
What is key here is in knowing what is moving forward, what is moving back, what is pivoting in a singular point and what is just dead. There are times maybe you need to shorten range but still need the correct body alignment and, in order to achieve that, you must pull back the rear half of the body or your posture won't support the impact of the strike. You need to adapt to your situation, but do it with economical, balanced and powerful motion.
As you explore these technical details and see how you can improve your own natural motion, you'll quickly find this to be true when moving in any direction. So, see how you can apply this hinging idea as you move, whether it is forwards, backwards, sideways, and diagonally.
Then, find the parallels to how you move when lunging from Fudoza no Kamae or Seiza no Kamae. Hint: Your ground or posted knee is the pivot point connecting your spine and skull to the ground.
Hope this helps! Whether you agree or have different ideas is fine. If you are at least made aware of these things and make a point in your training to take a look at them, then my article has served it's purpose.
Happy training!
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