Kaze Uta Budo Kai Forum Archive

Here's a Tomiki/Nariyama aikido kata I'd never seen before...

this is from the set of 50 or so waza called Goshin-ho which was created by Nariyama and Shishida in the 1990's i think-- it makes extensive use of linking release movments to throwing/locking actions and includes elements from all the koryu katas -- interestingly similar to the development of the randori renzoku waza that we learned after 2000--

we should walk through these sometime (sans the high impact ukemi) and probably ichi and ni kata as well -- betcha we find lots of cool stuff to play with

Coolio. 😄

nick lowry wrote:we should walk through these sometime (sans the high impact ukemi) and probably ichi and ni kata as well -- betcha we find lots of cool stuff to play with

ichikata has become one of my favorite exercises. it is full of intensely cool concepts that either are not seen elsewhere or are seen in a little different form.

neat! will you say more? any pointers from your exposure to it would be most welcome--

Anyone know of any decent videos of koryu dai ichi and/or ni kata online?

I've got some upstairs at the dojo that i can share

I had seen this before and wondered it's origins. Thanks.


The technique at 2:03 makes my butt clench every time I see it. Ouch.

The technique at 2:03 makes my butt clench every time I see it. Ouch.

I have looked into the throw in question--if tori lightens up and has a sharp eye its really a very sweet sumi otoshi --have uke attack yokomen uchi and with mirror side gentle arm palm up (should not feel like a push or a hard motion but casual like passing someone a newspaper) tori inteercepts (lays over in the crook of) ukes swinging elbow --this triggers a pivioting reflex for sumi -- the follow up shomenate is gratuitious if your timing is on (unfortuante and hard if your timing is off) -- i reccomend leaving out the shomenate altogeather until you have the sweet pivot sumi down and you dont really need it otherwise it may become a crutch and confuse the issue

Eric Pearson wrote:I had seen this before and wondered it's origins. Thanks.


The technique at 2:03 makes my butt clench every time I see it. Ouch.

aha - the infamous sphincter lock sumiotoshi!

nick lowry wrote:I've got some upstairs at the dojo that i can share

Are they VHS or DVD? I believe we sold our VHS player in a garage sale not long ago. 🙂

i think i can make you a dvd-- if i remember how to run the dvd making machine

nick lowry wrote:

The technique at 2:03 makes my butt clench every time I see it. Ouch.

I have looked into the throw in question--if tori lightens up and has a sharp eye its really a very sweet sumi otoshi --have uke attack yokomen uchi and with mirror side gentle arm palm up (should not feel like a push or a hard motion but casual like passing someone a newspaper) tori inteercepts (lays over in the crook of) ukes swinging elbow --this triggers a pivioting reflex for sumi -- the follow up shomenate is gratuitious if your timing is on (unfortuante and hard if your timing is off) -- i reccomend leaving out the shomenate altogeather until you have the sweet pivot sumi down and you dont really need it otherwise it may become a crutch and confuse the issue

The technique in question is yokomen uchi aigamae ate from the Goshin ho datotsushu no waza rather than sumiotoshi.

Hi Phil... Thanks for the clarification.. Yes it's being identified by the hand to the face component which makes sense but the part that most interests me is the pivoting action that leads into it which if you isolate it becomes a sumiotoshi

Here is another view of it (fast and slow) - Technique is at 4 min exactly

nick lowry wrote:neat! will you say more? any pointers from your exposure to it would be most welcome--

I missed your request for info when you posted it long ago, so I'll resurrect this thread...

Ichikata is interesting to me because of the 2nd , 3rd, and 4th sections in it. Don't really have anything to say about the suwariwaza - you sort of have to trudge thru that to get to the really cool stuff.

the second set is all about release 1. the set starts with katatedori oshitaoshi but I like to practice it with uke strong and stable so that tori gets to practice that "kuzushi-weaving" idea that mac and henry were always talking about. that is, the ability to seamlessly change directions by 90 or 180 degrees. this has the effect of almost programming uke to resist inappropriately so that the technique is easier for tori. the first technique involves changing directions from across the arm (like release#1) to backing away, then change from backing away to entering.

the second technique, tenkai oshitaoshi, involves changing from entering across uke's arm to tenkan with force applied along the length of uke's arm.

the third technique involves changing from release 1 in the x-y plane to tenkai kotehineri in the z-axis.

the fourth involves uke interfering with your r1 by grabbing your elbow, which allows you to switch from R1 on one arm to kote mawashi on the other arm.

the fifth involves uke interfering by grabbing your collar. you duck your head under the arm, switching from R1 to kotegaeshi on the same arm.

the next involves switching from R1 to R2 to kotegaeshi.

and the last involves switching from R1 to R5 to maeotoshi.

so it is basically a set of things that happen in release#1 when uke interferes in different ways.

the next set is all about release 2. most of the techniques are variations of release#2 into shihonage. the first 4 techniques are R2 into shihonage, hijikime, sukuinage, and an awesome, cool, evil backwards shihonage that gets lots of air under uke.

the fifth technique of this set is R2 to iriminage

the sixth technique is R4 to R2 to iriminage

the last set of ichikata is all about ryotedori. This material is repeated in gokata and we've done several clinics in the past few years with henry on gokata. this ryotedori material also brings in the ideas from owaza jupon, making it really interesting to me.

the first is tenchinage, then a 2-handed sumiotoshi, then a shizumiotoshi, then a shihonage, then something like a large hikiotoshi and finally a large ushirowaza maeotoshi.



As I said in the post months ago, this has become one of my favorite kata because of the interesting variations we get to explore related to R1, R2, shihonage, and ryotedori. The ryotedori work in ichikata provides a nice linkage to owazajupon (my other favorite kata)

I have a couple of students about ready to begin working on nidan material (typically sankata) but one has bum knees and the other has one arm, so much of sankata would have to be modified a good bit for one or the other of them. I'm thinking about requiring these last three sets of ichikata instead of sankata because ichikata will be easier for both of them...

thank you pat -- i think i should fly you out and shoot an Dai Ichi video someday!

nick lowry wrote:thank you pat -- i think i should fly you out and shoot an Dai Ichi video someday!

no problem - i love this stuff, and i'd love to share the direction we've been taking it with y'all whenever you like.

Hi

I love the Dai Ichi, it also has some great Aiki Budo stuff too. I teach it to my Daito class, with plenty of atemi thrown in.

Also for the second Otoshi, left side, when Uke does his bit and tries to avoid the technique by driving his arm forward. Ask them to try and throw a punch over the top with their right arm. If you time your movement, they are completely stuffed.

We have three versions of this kata.

Mark