During Tegatana this morning, we focused on which part of our arms were the points of contact in the pushing motions. That made the floating throws, especially maiotoshi, apparent in the kata.
Next we worked on Releases. I swear sometimes it's like I'm going backwards. I think as I learn more about the techniques and principles, they keep blowing my mind. Shorting it out and resetting it. Of course 6 and 8 were perplexing as always. Now 2 and 4 are also getting to me, haha. We worked on staying in synch (footwork), maintaining connection, and a couple releases from yon kata. Maintaining the connection seems contrary to what my brain wants. It's tough to override the "Oh crap, he's got you, get out of his grip!" instinct. We talked about how it seems like the art is constantly being broken down and rebuilt / rethought as you progress, and that was certainly the case today.
We worked on Junana #11, kotehineri. My footwork is better on my strong side, so I don't have to compensate with my arm as much as I do on the weak side. I need to remember to let uke react; not to try to force the technique or underestimate his evilness or capabilities.
We took a look at the Aikikai version of kotegaeshi, and Pat showed me a version that's sort of a Tomiki/Aikikai hybrid that was pretty neat. We played with it in the context of not being able to get around uke's arm in release 1, and getting this kotagaeshi in the other direction.
No comments:
Post a Comment