(3 posts)
Nov 2, 2009 9:04 am
Tegatana Dosa
Hello everyone. Can someone explain what the hand and foot movements in Tegatana Dosa teaches? Thanks in advance for any answers.Tegatana Dosa
Started by Randy Hiles · Nov 2, 2009 · 4 posts
(583 posts)
Nov 2, 2009 9:30 pm
a little excerpt from my book:
Tegatana no Kata (Tegatana Dosa aka. "the walk" or walking kata ) is the most important kata for building a sound structure for all aikido movements. Generally speaking, the walk contains all the fundamental movements that will be applied in later katas and randori. By learning to coordinate the actions of the center, hands, and feet in this distilled and purified form, you will have all the components in place for your aikido practice. Some Sensei have called the walk the fundamental alphabet and vocabulary out of which the “language” of aikido is constructed. From this simple set of rules and basic elements, the virtually infinite possibilities of aikido become manifest. The walking kata itself builds from the simplest movements toward the more complex, and it is an excellent kata for solitary study. By simply attempting to apply all the aikido principles consistently, you can find many years worth of work in this single kata. For many years, the author practiced this kata daily on his own; Shihan Caldwell made it his practice to do the walk for up to an hour a day for several years, and another high ranked sensei well known for exraordinary hand randori skill has remarked that the real secret to his advanced toshu randori skill was that he could walk more efficiently than the other advanced players.
To refine our study, we should practice this kata by constantly paring it down to its most simple form. Try to constantly eliminate unnecessary movements and adjustments. Become acutely aware of the weight distribution on your feet. Learn to control even the smallest of bodily actions. Focus your eyes on a single point at eye level in the distance. Concentrate on the turning actions of the hand, hips, and feet. Keep unbendable arm. Let the center fall into each step. Move your center where you want it, and let the feet line up under it. Try to stay completely level. Learn to completely open and close your hips. Begin and end each step with the weight even on both feet. Keep your weight off your heels. Explore how large you can make each action and how small. Concentrate on breathing actions and how they relate to pushing actions. Try the kata as fast as possible and as slow. When practicing with the class, try to move in perfect synchronicity in time with the person leading the count. Try to end on the exact spot you began.
These are only a few of the points to concentrate on and explore when practicing the walking kata, and over time, you will find just as many for yourself as you study this great kata. Above all, don’t get discouraged; Shihan Caldwell once asked Shihan Tsunako Miyake, who was instrumental in creating our particular form of the kata, how long it took her to perfect the walking kata, and she replied that she didn’t know because she had only been doing it for thirty years! With that as an learning example, we can rest assured that we will all have alot of work on this “basic” kata ahead of us.
Technical notes on Tegatana no kata
* Points to keep in mind with the walking kata *
When a primary hand action is taking place, the secondary hand should engage also but on the plane of the hips as an action to protect the groin. This secondary action helps to establish a balanced physiological symmetry as the wrist and hand action mirror the larger, primary action.
With all the turning actions of the feet, don’t allow the second foot to splay out behind, but rather bring the secondary foot back to shoulder width, nearly square, and weight 50/50 on both feet.
Tegatana no Kata (Tegatana Dosa aka. "the walk" or walking kata ) is the most important kata for building a sound structure for all aikido movements. Generally speaking, the walk contains all the fundamental movements that will be applied in later katas and randori. By learning to coordinate the actions of the center, hands, and feet in this distilled and purified form, you will have all the components in place for your aikido practice. Some Sensei have called the walk the fundamental alphabet and vocabulary out of which the “language” of aikido is constructed. From this simple set of rules and basic elements, the virtually infinite possibilities of aikido become manifest. The walking kata itself builds from the simplest movements toward the more complex, and it is an excellent kata for solitary study. By simply attempting to apply all the aikido principles consistently, you can find many years worth of work in this single kata. For many years, the author practiced this kata daily on his own; Shihan Caldwell made it his practice to do the walk for up to an hour a day for several years, and another high ranked sensei well known for exraordinary hand randori skill has remarked that the real secret to his advanced toshu randori skill was that he could walk more efficiently than the other advanced players.
To refine our study, we should practice this kata by constantly paring it down to its most simple form. Try to constantly eliminate unnecessary movements and adjustments. Become acutely aware of the weight distribution on your feet. Learn to control even the smallest of bodily actions. Focus your eyes on a single point at eye level in the distance. Concentrate on the turning actions of the hand, hips, and feet. Keep unbendable arm. Let the center fall into each step. Move your center where you want it, and let the feet line up under it. Try to stay completely level. Learn to completely open and close your hips. Begin and end each step with the weight even on both feet. Keep your weight off your heels. Explore how large you can make each action and how small. Concentrate on breathing actions and how they relate to pushing actions. Try the kata as fast as possible and as slow. When practicing with the class, try to move in perfect synchronicity in time with the person leading the count. Try to end on the exact spot you began.
These are only a few of the points to concentrate on and explore when practicing the walking kata, and over time, you will find just as many for yourself as you study this great kata. Above all, don’t get discouraged; Shihan Caldwell once asked Shihan Tsunako Miyake, who was instrumental in creating our particular form of the kata, how long it took her to perfect the walking kata, and she replied that she didn’t know because she had only been doing it for thirty years! With that as an learning example, we can rest assured that we will all have alot of work on this “basic” kata ahead of us.
Technical notes on Tegatana no kata
* Points to keep in mind with the walking kata *
When a primary hand action is taking place, the secondary hand should engage also but on the plane of the hips as an action to protect the groin. This secondary action helps to establish a balanced physiological symmetry as the wrist and hand action mirror the larger, primary action.
With all the turning actions of the feet, don’t allow the second foot to splay out behind, but rather bring the secondary foot back to shoulder width, nearly square, and weight 50/50 on both feet.
(3 posts)
Nov 3, 2009 6:02 pm
Sensei Lowry,
Many thanks for the indepth explaination. I am a Ni-dan in Kachido Aikijitsu and have been taught the "walks" which were taught by Merritt Stevens. I love your website and the video clips with your explaination of the techniques. Did you study directly under Msster Stevens?
Respectfully,
Randy Hiles
Many thanks for the indepth explaination. I am a Ni-dan in Kachido Aikijitsu and have been taught the "walks" which were taught by Merritt Stevens. I love your website and the video clips with your explaination of the techniques. Did you study directly under Msster Stevens?
Respectfully,
Randy Hiles
(583 posts)
Nov 3, 2009 6:26 pm
Hi Randy -- I only had that good fortune once back in the early 80's for 6 days or so -- it was wonderful--Merritt's work was direct and empowering-- some of it is foundational to my approach