基本 (KIHON)
Today I practiced the following
five single kihon waza and our basic combination of elbow strikes.
1.
Jodan age uke (heiko
dachi and zenkutsu dachi).
2.
Chudan soto uke (heiko
dachi and zenkutsu dachi).
3.
Chudan choku-zuki
(heiko dachi).
4.
Jodan choku zuki
(heiko dachi).
5.
Chudan mae-geri keage
(heisoku dachi).
6.
Renzokuwaza: Tate enpi
uchi kara ushiro enpi uchi, mae enpi uchi soshite yoko enpi uchi (heiko dachi).
While it would be dishonest to provide the numbers of
repetitions I did, I can say that ‘I did a lot’. For each waza and the final
renzokuwaza. The focus was on high quantity of high-quality techniques. The
focal points were: (a) technical form and trajectory—‘technique within
technique; (b) softness/flexibility/fluidity; (c) fixing of the eyes;
(d) ground power; (e) use of the hips/abdomen/core; (f)
explosive speed; and (g) zanshin with ‘recovery’. All simple, yes… Well,
not really…
型 (KATA):
For
the last couple of days, I’ve been reviewing 浪手 (Roshu), which is one of the five
so-called ‘natural element forms’. Like, many of the others, I was fortunate to
have been taught this kata directly (one-on-one) from Asai Tetsuhiko Sensei.
Consequently, the version I practice and teach, is significantly different.
Technically
speaking, Roshu mimics the motion of waves in both defense and counteroffensive
techniques. Asai Sensei stated that this kata incorporates “…ebbing, flowing,
swirling, rising and crashing down of ocean waves”.
Unfortunately, this aspect of the kata has been lost. The version practiced and taught now probably shouldn’t be called ‘ROshu’ but, rather, ‘ROBOTshu’ as the ‘wave like motion’ has been removed.
Osu, André
© André Bertel. Oita City, Japan (2020).
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