水手
Asai Tetsuhiko Sensei also called this kata 水の手 (ミズノテ
) or ‘Mizunote‘. His official description is as follows: “This bujutsu kata
incorporates movements of water into taijutsu. A jutsu for mastering the
concept of water, which is expressed in ‘the change of speed and strength’ in
the various waza (sometimes intense, sometimes gentle) . Accordingly, Suishu
mimics the flow of water. It is one of five ‘natural energy’ kata, which
function to perfect fluidity, adaptability, and the optimal use of power to transcend
muscular strength”. — Andre Bertel.
[58 movements with kiai applied on the actions 27 and 58]
Kata overview:
Rei: (Musubi-dachi).
Yoi: Ryoken daitai mae (Shizentai).
1. Step back
diagonally rightward into migi ashi mae fudo-dachi with sasho jodan
sotonagashi-uke following into migi te osae-uke. Asai Sensei also taught this
as Hidari kokutsu-dachi; however, that for higher grades, the less distribution
of weight to the rear leg is more effective. Thus, Fudo dachi should be used by
higher grades in this action.
2. Change into migi zenkutsu with migi gedan uke-zuki.
3. Hidari chudan oi-zuki.
4. Draw in the right foot and face diagonally to the right
in heiko dachi with migi haishu/haiwan uchinagashi-uke
5. Move back diagonally into hidari ashi mae fudo-dachi with
usho jodan sotonagashi-uke flowing into hidari te osae-uke.
6/7. Repeat steps two and three on the opposite side.
8. Execute hidari jodan uchi-uke diagonally to the left.
9. Step diagonally on the line of the previous uke into
hidari zenkutsu-dachi with hidari uraken jodan tatemawashi uchi.
10. Hidari ashi soto-uke and at the same time make hidari
jodan soto-uke.
11. Migi chudan gyaku-zuki (hidari zenkutsu-dachi).
12-15. Repeat movements 8–11 on the opposite side.
16. From where you are deliver hidari jodan uchi-uke.
17. Pivoting into hidari zenkutsu make migi jodan uchi-uke.
18. Advance on the centerline into migi zenkutsu-dachi with
hidari chudan gyaku-zuki.
19. Turn 90 degrees leftward into hidari ashi mae nekoashi-dachi
with hidari jodan soto-uke flowing into sasho gedan-barai and a simultaneous
usho hitai-gamae, then counterattack with migi shuto jodan sotomawashi uchi
(saken hidari koshi). Complete this action, by expanding from hidari ashi nekoashi-dachi into hidari zenkutsu-dachi; thereby, utilizing the transfer of weight into zenkutsu-dachi to make your impact with your 'shuto' both relaxed and heavy.
20. Turn 180 degrees and repeat movement 19 on the opposite
side.
21. Pivot into hidari ashi mae hiza-kutsu with migi shuto
sokumen harai-uke.
22. Okuriashi by drawing the left foot half way to the right
with migi shuto jodan age-uke/kamae.
23. Advance into hidari zenkutsu-dachi with hidari chudan
mae enpi-uchi.
24. Migi teisho chudan gyaku-zuki.
25. Turn 180 degrees into migi ashi mae neko ashi dachi with
migi shuto gedan-barai.
26. Migi kizami mae-geri.
27. Without returning to neko ashi advance directly into
migi zenkutsu-dachi with hidari chudan gyaku-zuki (KIAI).
28. Yori-ashi rearward and slightly leftward into hidari
ashi mae neko ashi, turning to face the left side, with hidari shuto gedan
sotomawashi uchi/uke.
29. Hidari chudan kizami mae-geri.
30–31. Repeat movements 28-29 on the opposite side.
32. Kosa-aiyumibashi to the left simultaneously loading both
shuto diagonally rearward at the right lower waist.
33. Move into hidari ashi mae fudo-dachi with a slow hidari
shuto jodan uchimawashi uchi doji ni usho sokumen hitai gamae.
34. Kaiten shinagara migi jodan shuto uchimawashi uchi in
kiba-dachi.
35. Turn leftward into hidari ashi mae neko ashi dachi and
make ryo sho jodan age-uke.
36. Move into hidari zenkutsu-dachi with shuto hasami-uchi.
37. Step forward into migi zenkutsu-dachi with ryo ken gedan
uke-zuki flowing into tateken chudan morote-zuki.
38. Turn clockwise to face ura shomen in kiba-dachi with
migi tekubi jodan kake-uke diagonally to the right.
39. Transfer into migi zenkutsu-dachi with hidari chudan
gyaku-zuki.
40. Migi teisho jodan age-zuki. A stationary and subtle
switch into migi ashi mae fudo-dachi is utilized here. Asai Sensei also taught a return to
kiba-dachi.
41-43. Repeat movements 38-40 on the opposite side.
44. Step forward with the right foot into migi
zenkutsu-dachi. When doing this defend with hidari hidari te sotonagashi uke
flowing into migi haishu jodan age uke. Note — the wind up for migi haishu
jodan age uke is from behind your back whilst making the hidari te sotonagashi
uke. In actuality this is a Kamae for striking the eyes and, when used in
defense, is applied as kamae then usho osae uke.
45. From this position make a migi enpi-uchi (keep the hand
of the striking arm open with the shuto formation).
46. Step forward into hidari zenkutsu-dachi with a
pressing/pushing migi shuto jodan uchimawashi uchi. Asai Sensei emphasized t me
that this is a press, opening the neck and off balancing, to attack with the
next two waza.
47. Hidari koko jodan oi-zuki.
48. Migi koko jodan gyaku zuki. Movements 47 and 48 are
ren-zuki both impacting with the ‘tiger mouth’.
49. Turn 270 degrees into migi ashi mae neko ashi dachi with
migi shuto jodan tatemawashi uchi
50. Migi uraken jodan tatemawashi uchi moving into migi
zenkutsu-dachi. Note, this is done with a large
scale rolling action like a wave coming on to a beach.
51. Hidari chudan oi-zuki. Asai Sensei stresses that
movements 50 and 51 (and 53/54) are continuous.
52-54. Turn 180 degrees and repeat movements 47-49 on the
opposite side.
55. Stepping 90 degrees to the right into Kiba-dachi make a
big clockwise circle with the arms (ryo sho jodan-uke) that immediately flows
into a large circular migi shuto jodan sokumen uchimawashi uchi. Note, hidari
shuto suigetsu kamae is utilized here.
56. Kaiten shinagara counterclockwise into kiba-dachi with
hidari yoko enpi-uchi. Note, the striking elbows hand is in the shuto
formation.
56. Mawari
nagara sagatte with both shuto raised up high—then slowly make ryo sho gedan te
osaeuke—whilst simultaneously moving into migi ashi mae neko ashi dachi.
58. Drive forward
into migi zenkutsu-dachi with ryo sho shuto jodan uchikomi (KIAI). Asai Sensei taught me that this waza is to impact with boshiken on both sides of the carotid artery.
Naore: Ryoken daitai mae (Shizentai).
Rei: (Musubi-dachi).
© André Bertel. Oita City, Japan (2023).
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