_______
Kihon: My kihon training has gone full circle, so I’m finally back to what really matters the most, the core fundamental techniques. These foundational techniques are those which make up the major
How I’m practicing my kihon routine: Presently I’m treating my kihon-keiko like weight-training. On days one, three and five I focus on tewaza (ukewaza and tsukiwaza), and on days two, four, and six, I’m focused on ashiwaza (keriwaza). To supplement this practice I’m doing relevant calisthenics to
Kata: I want to have four Shotokan forms, which I can seriously call tokui (favourite/specialized) kata, however, at present, I only have three, Jion, Empi and Unsu. I’m trying to choose from Gankaku, Kanku-Sho, Bassai-Sho, Sochin, Nijushiho, Gojushiho-Dai and Gojushiho-Sho but are admittedly still undecided. I know that if any of my former longtime students (or my mum back in New Zealand) read this, they will laugh, as over the years they have seen me go through 'big phases (usually several) with all of the Shotokan-ryu kata', but I’m sure this is the same story for all karate-do instructors. In addition to the standard Shotokan kata I’m currently working on, I'm also practicing the Asai-ryuha kata ‘Hakkaishu’.
Kumite: Ippon kumite is dominating my self-training at present, both kihon ippon and jiyu ippon kumite. However, at the dojo I’ve mainly been doing jiyu-kumite as that has been required of me. Regardless, my personal target has been to tune up my one-step sparring. I won’t go into too much depth here, except to say that my kihon ippon kumite is focused on koshi no kaiten (consistent with my kihon-keiko); and my jiyu ippon kumite simply adds tai sabaki and extreme tai no shinshuku to the equation. In both sparring drills I’m trying to retain precise technical form, and have optimal maai to achieve ichigeki-hissho.
________
I’d like to leave you with some words of wisdom. “Whether kihon, kata or kumite one must harmoniously apply the maximum torque, and maximum propulsion of t
________
© André Bertel, Japan (2009).
© André Bertel, Japan (2009).
No comments:
Post a Comment