We did the usual warm up routine of sanshin no kata and stretching. Afterwards we did the ichimonji drill where the uke does a jodan tsuki and the tori moves into a mirrored ichimonji no kamae to the outside of the attack. We then did the same kamae to the inside of the tsuki. From the opposite side kamae we also did musha dori, ganseki nage and muso dori. We also did a transition from musha dori to ganseki nage.
After that we did another kata from the Kukishinden Ryu and a couple of variations of it. The attack was migi jodan tsuki, hidari jodan tsuki, migi zenpo geri, hidari zenpo geri, and finally another hidari jodan tsuki. The tori responded with hidari jodan uke nagashi, migi jodan uke nagashi, migi fudoken tsuki, migi gedan uke nagashi, migi jodan uke nagashi, and finishing with musha dori dropping to the rear knee (in this instance the left knee). One variation was replacing the musha dori with muso dori. The other variation was after the second jodan uke nagashi hang onto the wrist and apply omote gyaku as the first zenpo geri comes. Also do the keri kaeshi that I don't know the actual name of. You can optionally add a fudoken tsuki to the face at this point.
In the kata Doug mentioned the tori's distancing starting large and getting smaller as the attacks progressed.
Good stuff. Congratulations to Dave on receiving godan.
Gambatte kudasai!
Tuesday, October 30, 2007
Sunday, October 28, 2007
Shima Dojo 10/25/2007
The first half of the class followed the same format as the previous one. We started with stretching then sanshin and mixed ukemi among two uke nagashi drills. After that we revisited Chikusei from the Kukishinden Ryu Sabaki Gata followed by some variations. I don't quite remember all the details but here's the gist.
The first variation had the tori apply musha dori against the uke's final tsuki. With musha dori applied grab onto the uke's free wrist with the hand that has musha dori so that one arm controls both of uke's arms. Rotate away from the uke so he falls forward.
The second variation had the uke doing a katamune dori before applying the zenpo geri and final jodan tsuki. I believe the tori did the normal uke nagashi to each attack but after the last uke nagashi you held onto the wrist and with your free hand struck the inside of the uke's knee on the leg opposite the wrist you just grabbed. The idea was to open the uke's hips up and in turn rotate the shoulders. The arm that you are holding you want to rotate/twist so the uke is turning towards you and making it easy for you to extend their arm like an armbar and drop them on their back. Kicks at this point are welcome.
The last variation that I remember was performing a type of keri kaeshi {need to lookup}. When the uke performs the zenpo geri shift to the outside so it moves past you then extend your leg to catch the uke's balance.
Gambatte kudasai!
The first variation had the tori apply musha dori against the uke's final tsuki. With musha dori applied grab onto the uke's free wrist with the hand that has musha dori so that one arm controls both of uke's arms. Rotate away from the uke so he falls forward.
The second variation had the uke doing a katamune dori before applying the zenpo geri and final jodan tsuki. I believe the tori did the normal uke nagashi to each attack but after the last uke nagashi you held onto the wrist and with your free hand struck the inside of the uke's knee on the leg opposite the wrist you just grabbed. The idea was to open the uke's hips up and in turn rotate the shoulders. The arm that you are holding you want to rotate/twist so the uke is turning towards you and making it easy for you to extend their arm like an armbar and drop them on their back. Kicks at this point are welcome.
The last variation that I remember was performing a type of keri kaeshi {need to lookup}. When the uke performs the zenpo geri shift to the outside so it moves past you then extend your leg to catch the uke's balance.
Gambatte kudasai!
Wednesday, October 24, 2007
Shima Dojo 10/23/2007
We began class with sanshin no kata followed by a series a stretching exercises. Doug added a new exercise where you would stand a little more than arms length from a wall, lean forward to put your hands on the wall and then walk down and up the wall with your hands bending your knees as you went down. We repeated that a few times stepping further away from the wall.
Next we lined up and did zenpo kaiten across the dojo in both directions. Then we paired up and did a ichimonji exercise from the last class. Uke would throw a jodan tsuki while the tori would move from shizen no kamae to ichimonji no kamae to gedan ichimonji no kamae.
Then we lined up and did koho kaiten across the dojo in both directions. Then we paired up and did sui no kata with a partner. After that Doug showed a counter. As uke, when tori approaches with the omote shutoken shift back, catch the hand and apply omote gyaku.
After that we lined up for the last ukemi: zenpo kaiten followed by koho kaiten. Then we paired up and did ka no kata with a partner. After that we did another counter where the uke receives the uke nagashi atemi such that you can move that arm over to catch the incoming ura shutoken on the outside and apply muso dori.
Next we practiced a basic ura gyaku followed by a basic counter. The counter was when the tori would begin to apply the ura gyaku you stepped behind the tori's foot and forced your hand behind and around the tori's head.
We wrapped up the class with a kata from the Kukishinden Ryu. I believe it was Chikusei from the Sabaki Gata. Uke throws a jodan tsuki, a jodan tsuki, a zenpo geri and another jodan tsuki. Tori performs an uke nagashi on the first two attacks, holding onto the wrist after the second attack. When the zenpo geri comes tori applies omote gyaku to the uke's forearm while at the same time performing a gedan uke nagashi to ensure the attack is defeated. A jodan uke is applied with the same hand to the final tsuki. After that fudoken to the uke's face as you reach over to setup ura gyaku. If the uke resists the omote gyaku this should come easily. Apply ura gyaku as you strike the uke's ribs with a fudoken or happaken. Grab flesh and apply a simple sweep to drop the uke face first.
There were two variations on this. With the first one the tori would apply a musha dori like gyaku instead of ura gyaku. The hand that would do the ura gyaku does the musha dori as you step behind the uke and control him. With the second one the tori would move in and apply a simple sweep to the uke to drop him on his back instead of the ura gyaku. This would occur after the last uke nagashi when the tori would strike the uke in the face.
That was a lot of material covered in one class.
Gambatte kudasai!
Next we lined up and did zenpo kaiten across the dojo in both directions. Then we paired up and did a ichimonji exercise from the last class. Uke would throw a jodan tsuki while the tori would move from shizen no kamae to ichimonji no kamae to gedan ichimonji no kamae.
Then we lined up and did koho kaiten across the dojo in both directions. Then we paired up and did sui no kata with a partner. After that Doug showed a counter. As uke, when tori approaches with the omote shutoken shift back, catch the hand and apply omote gyaku.
After that we lined up for the last ukemi: zenpo kaiten followed by koho kaiten. Then we paired up and did ka no kata with a partner. After that we did another counter where the uke receives the uke nagashi atemi such that you can move that arm over to catch the incoming ura shutoken on the outside and apply muso dori.
Next we practiced a basic ura gyaku followed by a basic counter. The counter was when the tori would begin to apply the ura gyaku you stepped behind the tori's foot and forced your hand behind and around the tori's head.
We wrapped up the class with a kata from the Kukishinden Ryu. I believe it was Chikusei from the Sabaki Gata. Uke throws a jodan tsuki, a jodan tsuki, a zenpo geri and another jodan tsuki. Tori performs an uke nagashi on the first two attacks, holding onto the wrist after the second attack. When the zenpo geri comes tori applies omote gyaku to the uke's forearm while at the same time performing a gedan uke nagashi to ensure the attack is defeated. A jodan uke is applied with the same hand to the final tsuki. After that fudoken to the uke's face as you reach over to setup ura gyaku. If the uke resists the omote gyaku this should come easily. Apply ura gyaku as you strike the uke's ribs with a fudoken or happaken. Grab flesh and apply a simple sweep to drop the uke face first.
There were two variations on this. With the first one the tori would apply a musha dori like gyaku instead of ura gyaku. The hand that would do the ura gyaku does the musha dori as you step behind the uke and control him. With the second one the tori would move in and apply a simple sweep to the uke to drop him on his back instead of the ura gyaku. This would occur after the last uke nagashi when the tori would strike the uke in the face.
That was a lot of material covered in one class.
Gambatte kudasai!
Wednesday, October 17, 2007
Shima Dojo 10/16/2007
This class was much like a typical Kihon Shibu class. We started out with sanshin no kata to get the blood flowing. We followed that with a few stretches targeted at the hips. Then we worked on zenpo kaiten. Zenpo kaiten should be performed just like you were going to do zenpo ukemi. From shizen no kamae kneel onto one knee while turning it inward some, place the same side arm down as in zenpo ukemi and propel yourself with the opposite side foot. Next was koho kaiten. From a seated posture extend one leg and bend the other. Perform the kaiten by rolling over the shoulder opposite the extended leg. Then we strung the two together by performing zenpo kaiten, rotating in place, then performing koho kaiten.
Next we worked on ichimonji no kamae. With a partner one would assume ichimonji no kamae while the other would look for any openings and check our footwork. Then from ichimonji no kamae we practiced a jodan tsuki. Again our partner would check for errors.
The following exercises were applications of ichimonji no kamae. Before beginning there was a short talk about the role of the uke. The uke is training just as much as the tori. Therefore the attacks the uke performs must be sincere, otherwise, what are you really defending against?
Good stuff.
Gambatte kudasai!
Next we worked on ichimonji no kamae. With a partner one would assume ichimonji no kamae while the other would look for any openings and check our footwork. Then from ichimonji no kamae we practiced a jodan tsuki. Again our partner would check for errors.
The following exercises were applications of ichimonji no kamae. Before beginning there was a short talk about the role of the uke. The uke is training just as much as the tori. Therefore the attacks the uke performs must be sincere, otherwise, what are you really defending against?
- Uke: Ichimonji no kamae, jodan tsuki.
Tori: Shizen no kamae. When the uke performs the jodan tsuki you assume ichimonji no kamae. The kamae is the same side as the tsuki with your front hand to the inside of the uke and the rear hand to the outside of the tsuki. From there drop into gedan ichimonji no kamae toppling the uke. A variety of atemi may be applied with the most obvious being omote shuto. - Muso Dori
Uke: Cross katate dori.
Tori: As soon as the uke has you step back into ichimonji no kamae so that the hand that was grabbed is the rear hand. Then pivot on your front foot around 90 degrees to the outside. Your front knee and the uke's front knee should line up. Drop into gedan ichimonji no kamae. - Omote Gyaku (Kukishinden)
Uke: Katamune dori.
Tori: Grasp the wrist and step back into ichimonji no kamae (same side). - Omote Gyaku (Classic)
Uke: Katamune dori.
Tori: Step back into ichimonji no kamae (opposite side) as your front hand pushes against the uke's wrist away from your body. Use the rear hand to force the uke's grip free by pushing it upward and away. Step back with your front foot into another ichimonji no kamae as you apply omote gyaku. - Muto Dori
We did three of these. The first was from shomen giri. The tori just rotated on one foot to evade the cut. The second was from migi kesa giri. The tori kneels and rotates hidari towards the cut. The third was from hidari kesa giri. The tori kneels and rotates migi towards the cut.
Good stuff.
Gambatte kudasai!
Tuesday, October 09, 2007
Kihon Shibu - 10/08/2007
We're finally back on our regular schedule and it's about time. With the change in season our whole training session is in the dark. And with the lack of rain our training spot has turned into a dirt pit. With all the grass gone the rocks, sticks and other debris have made themselves known.
We started the night out with combinations of three types of ukemi. After that we practiced zenpo kaiten from a more upright position as opposed to getting low to the ground first. Then I introduced tobi kaiten. Or at least tried to. We didn't have anything to really roll over and it was dark so that may have made it harder.
After that we did our first "applications of ukemi" exercise. All that amounted to was me doing the kihon torite gata with Johnny as uke. Now that the ice is broken we'll probably do this during every session.
Next was an uke nagashi drill. We started from shizen no kamae in front of each other with about an arms length distance between us. We both assumed ichimonji no kamae. The uke would throw a jodan tsuki and the tori would just evade. We focused on starting in good kamae, throwing a proper tsuki and evading with good kamae. We alternated left and right sides and uke/tori roles. After doing that for a while we added the uke nagashi and continued the drill until it was about time to go. With the last ten minutes or so we went through the sanshin no kata to clear up any questions.
This time we got a bit more dirty and were a bit more physical but had a great time. Things are moving along well.
Gambatte kudasai.
We started the night out with combinations of three types of ukemi. After that we practiced zenpo kaiten from a more upright position as opposed to getting low to the ground first. Then I introduced tobi kaiten. Or at least tried to. We didn't have anything to really roll over and it was dark so that may have made it harder.
After that we did our first "applications of ukemi" exercise. All that amounted to was me doing the kihon torite gata with Johnny as uke. Now that the ice is broken we'll probably do this during every session.
Next was an uke nagashi drill. We started from shizen no kamae in front of each other with about an arms length distance between us. We both assumed ichimonji no kamae. The uke would throw a jodan tsuki and the tori would just evade. We focused on starting in good kamae, throwing a proper tsuki and evading with good kamae. We alternated left and right sides and uke/tori roles. After doing that for a while we added the uke nagashi and continued the drill until it was about time to go. With the last ten minutes or so we went through the sanshin no kata to clear up any questions.
This time we got a bit more dirty and were a bit more physical but had a great time. Things are moving along well.
Gambatte kudasai.
Friday, October 05, 2007
Shima Dojo 10/04/2007
It's always refreshing to resume training after a break. I wasn't the only one either because Tim showed up and we trained together for the first time since Daryl moved in June.
Class started with sanshin no kata. Then we broke off into pairs and practiced insdie jodan uke nagashi followed by a tsuki with the same hand, back and forth across the dojo, very similar to jumonji no kata. Next was the same exercise but to the outside. Next we did gedan uke nagashi followed by a jodan uke nagashi in response to uke's zenpo keri and tsuki. The jodan uke nagashi was performed with the rear arm in a jumonji like position. We've done this before. The last exercise was a zenpo keri and tsuki with the tori performing a gedan uke nagashi to the inside then a jodan uke nagashi to the outside.
After these exercises Doug had one person demonstrate a kihon happo or sanshin technique and everyone practiced that for a bit before Doug showed a henka or shinkin version.
Next Doug showed the following technique. Uke performs jodan tsuki and tori step forward and to the inside with a ura shuto. This was expanded with an additional tsuki with the rear hand to the uke's ribs. This was done either simultaneously or just before the shuto ken atemi.
Class was finished with a kata from Kukishinden Ryu, the name of which escapes me. Uke performs migi tsuki, hidari tsuki, migi zenpo keri and migi tsuki. Tori performs inside uke nagashi for each except for the last one which is to the outside. Hanging onto the uke's wrist move into the uke to apply hon jime (I believe that's the one). The uke will resist with a shoulder shrug in which the tori will move the arm to strike with a shukiken to the ribs followed by stepping over the uke's leg to apply a throw whose name I don't know but it went like so. Maintaining control of the wrist rotate the arm upward as you step over the uke's leg. Hold the uke's arm close to your body as you drop to the knee on the leg that stepped over the uke's leg. The uke's knee should be locked out. Apply the throw. Two additional things: you can trap the uke's foot by bringing your foot around like a gedan ichimonji no kamae or apply the throw with your other shoulder.
It's been really slow getting back into the swing of things but next week I intend on resuming the regular training schedule.
Gambatte kudasai!
Class started with sanshin no kata. Then we broke off into pairs and practiced insdie jodan uke nagashi followed by a tsuki with the same hand, back and forth across the dojo, very similar to jumonji no kata. Next was the same exercise but to the outside. Next we did gedan uke nagashi followed by a jodan uke nagashi in response to uke's zenpo keri and tsuki. The jodan uke nagashi was performed with the rear arm in a jumonji like position. We've done this before. The last exercise was a zenpo keri and tsuki with the tori performing a gedan uke nagashi to the inside then a jodan uke nagashi to the outside.
After these exercises Doug had one person demonstrate a kihon happo or sanshin technique and everyone practiced that for a bit before Doug showed a henka or shinkin version.
- Chi no kata. The henka/shinkin was from a one hand cross grab.
- Jumonji no kata. The henka/shinkin was from a boxing style posture with a cross punch.
- Oni kudaki. The henka was ura oni kudaki aka onu kudaki.
Next Doug showed the following technique. Uke performs jodan tsuki and tori step forward and to the inside with a ura shuto. This was expanded with an additional tsuki with the rear hand to the uke's ribs. This was done either simultaneously or just before the shuto ken atemi.
Class was finished with a kata from Kukishinden Ryu, the name of which escapes me. Uke performs migi tsuki, hidari tsuki, migi zenpo keri and migi tsuki. Tori performs inside uke nagashi for each except for the last one which is to the outside. Hanging onto the uke's wrist move into the uke to apply hon jime (I believe that's the one). The uke will resist with a shoulder shrug in which the tori will move the arm to strike with a shukiken to the ribs followed by stepping over the uke's leg to apply a throw whose name I don't know but it went like so. Maintaining control of the wrist rotate the arm upward as you step over the uke's leg. Hold the uke's arm close to your body as you drop to the knee on the leg that stepped over the uke's leg. The uke's knee should be locked out. Apply the throw. Two additional things: you can trap the uke's foot by bringing your foot around like a gedan ichimonji no kamae or apply the throw with your other shoulder.
It's been really slow getting back into the swing of things but next week I intend on resuming the regular training schedule.
Gambatte kudasai!
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