(121 posts)
Jul 20, 2013 4:49 pm
gokata notes
My notes for the summer 2013 gokata shindig...Koryu Dai Go
23 techniques divided into 4 sets – suwariwaza, ryotemochi, tachiwaza, and yokomenuchi. Gokata is a re-examination of Ichi, Ni, and Yon katas from another perspective – and it is an invitation to re-examine all of our aikido.
Gokata is an emphasis on continuous pressure – no slack – one engagement – zanshin. Uke pressurizes tori by re-attacking from where he falls instead of moving back to the starting point after each technique. Tori pressurizes uke by moving forward into each technique instead of waiting or retreating.
Tori controls when uke enters ma-ai by moving forward through ma-ai when he chooses to instead of waiting for uke to come forward through ma-ai.
Suwari-waza (7)
First 3 are repeat of Ichikata. #4 is new. #5 is a condensation of Ichikata #4-5
r oshitaoshi (provocative timing)
Responding to shomenate with a rising block is a faux pas. In #1 we are trying to provoke/trick uke into wasting his first move by blocking. In #2 we are trying to condition ourselves to receive properly instead of blocking.
l tenkai oshitaoshi
No seated coil armbars on any of these suwariwaza. Regular udeosae pins, perhaps de-emphasized a bit.
r tebubiosae
l kotemawashi tenkai oshitaoshi
Not sure why this new technique is added in the middle of this section that is mostly a repeat from ichikata.
ryotemochi kokyunage
Tori starts knee-walking forward into the next 3 techniques. These 3 present brush-offs for when you don't have time to deal with uke – like in owaza.
ryotemochi kotegaeshi (r) do the throw but let uke have his arm to roll out with
ryotemochi tekubikime (l)
These first two sets blend together – this last tekubikime could be considered part of the next set (b/c it is ryotemochi) or the next tenchinage could be considered part of this set (b/c it is essentially a hanmi handachi technique. This shows the continuity of the engagement from suwari to hanmi to tachiwaza.
Ryotemochi (5)
This section is a direct repeat of part of Ichikata. It is also quite similar to Owaza Jupon. In this first technique, tori starts moving forward on his knees and rises from his knees into the tenchinage.
ryotemochi tenchinage (straight through)
ryotemochi tekubikime
ryotemochi sukashinage
ryotemochi shihonage
ryotemochi kotegaeshi
Tachi-waza (6)
These 4 techniques are a repeat from the last section of Yonkata.
r ushiro katate-eri gyakugamaeate 1 (break grip and chop)
l ushiro katate-eri gyakugamaeate 2 (head and free arm thru hole)
r katatemochi kaitennage (r4, kaitennage)
l katatemochi sukuinage (r4 scoop back leg)
These next two yokomenuchi are usually done at the beginning of this set, but if placed here at the end, they make this set blend with the next one better and illustrate the continuity of the engagement better.
r yokomen iriminage 1 (r2, iriminage)
l yokomen iriminage 2 (r4, iriminage)
Tachi-waza (5)
This section is a repeat of part of Nikata
r yokomen ukiotoshi (enter left, r4, hot potato, otoshi)
l yokomen kokyunage (enter right, pivot, flywheel, otoshi like in owaza)
r yokomen shomenate (evade left, enter same-footed, shomenate)
l yokomen sukashinage (begin to enter left, drop at back knee)
r yokomen hikiotoshi (enter left, switch feet, retreat same-footed)
Putting Gokata ideas into practice
Practice all of your techniques (releases, junana, etc...) in continuous sets sometimes.
Practice all of your techniques with tori moving forward sometimes.
We have what we feel are natural pairings and pauses in all of our kata. For instance J6 and J7 go together, and there is a feeling of pausing and doing something different between J5 and J6. Try the kata with different tempo, rhythm, pairings, or pauses. Try the kata as renzoku chains.
In randori, agree with your partner that if someone falls they can continue the attack from there
Strange's see-saw and tandem rolling – the engagement is not done just because uke has fallen.