Thursday, May 25, 2006


1. shoulder roll - hitch step to outside of uke, stay low, outside arm is on uke shoulder whose arm just punched, roll shoulder as u twist hip down to take off balance

2. prey mantis thing - hitch step to outside of uke as soon as they step, inside arm/hand rolls shoulder, step across/behind uke as other hand is on other shoulder, both hands should be closer to centerline of uke than outside edge of shoulders bring back leg around, hips turn, roll both shoulders as you bring your weight down, uke takes back fall. can lock up by stepping over uke torso, putting back of uke elbow on knee, pulling uke hand/wrist. sensei stephen showed you could repeated hit uke in the head, if that was not enough.

3. sankyu from inside back leg steps into uke's center at same time uke steps + strikes. w/ hands in prayer position, rising up, hand on same side as leg that stepped strikes uke's neck, other hand parries/catches uke striking arm. option of taking lead leg + kicking uke inner thigh + an elbow strike to uke face and gut. after hand strikes, it lifts uke's striking arm @ biceps to create window to pass thru for a sankyu setup. pin uke's striking hand to shoulder with both hands as u step thru. twist body + bring following leg behind + out of way. let whole body create pain in lock, remember to be behind uke when doing this lock. outside hand then grabs uke elbow, brings it down and stuffs it into arm pit, then sneaks under uke's forearm, grabs your other wrist, and bring your shoulders back, creates another lock. then u take down by leading uke wrist down, then placing uke hand on knee. turn knee with uke's hand on knee, and is another lock.

4. elbow take down from inside - back leg steps into uke's center at same time uke steps + strikes. maybe step slightly before + take uke off balance. this time, instead of striking neck, you point elbow to uke's shoulder, fist like listening a phone call, bicep parallel to floor, and you bring body weight down. should not feel forced, as it actually seems very fluid

5a. hitch step in, parry with hands, step across uke underneath striking arm w/ both hands on uke wrist, have uke arm stretched across centerline for an off balance, be sure to be out of ukes way, then bring uke arm down as you put knee to floor. this was very fun. uke takes roll or break fall

6. variation in that you throw arm like a sword, which was very fun. step across uke, but really catch under uke elbow and twist wrist and lift arm up - it creates an off balance, then throw uke.

7. do a strike w/ thumb side of hand to uke's gut as you hitch step, step behind, shoulder to uke bum, both hands on uke ankles, push into bum and pull @ ankles = uke does face fall. then neuter kick + lock with uke foot in crook of other knee and grab uke gi. it seems easier to do face fall when you bend your knees and bring your weight down. it feels scary to do face fall with legs locked and tori is pulling your ankles out from underneath.

* Sensei Steven showed that when uke hits to head 1) hitch step & duck 2) hitting solar plexus with thumb side edge of hand 3) stepping a bit behind uke and grabbing both ankles 4) placing shoulder into the uke's bum 5) leaning into uke and pulling up ankles and causing a face fall 6) neuter uke after fall (groin kick) 7) cross one leg and put foot into crook of other leg and bend that leg over the foot 8) push down on shin/foot and grab gi or hair for lock

8. Lead leg cross behind following leg, while parry from inside, following hops across ukes legs, blocks uke’s ankle as you twist hips down like you’re going to kneel and face faces direction uke is going to roll, but body is perpendicular, blocking leg is stretched out and is perpendicular to uke. Breathe out and you bring arm straight down.
Stay low.

9. Step in and parry with both hands (and following leg step behind and cross, and then twist hips going down to kneel, and leg blocks uke’s leg and they roll perpendicularly to the direction they initially came. I think I’m fuzzy on this one.

10. throw head to ground: taisabaki (?), parry with both hands, arm closest to uke shoulder goes under uke's punching arm + crosses ukes center line and up around ear furthest from tori, other hand does same except goes to uke ear closest to tori, bring head straight to ground w/ weight, lock

11. face punch - ikkyu - inside wrist/hand/arm parries just enough to let punch pass to side of face, other hand goes up center line then onto uke's arm, other hand now brushes/follows uke's striking arm down to wrist, when arriving at uke's striking hand then catch uke's hand w/ little fingers, rotate uke wrist/arm so uke thumb down + bring to opposite hip, inside/lead hand on elbow, apply ikkyu

* sensei said to barbara stand above uke and get them onside by pulling up on arm and standing right behind uke. that way free arm and legs can not hit u

12. face punch - nikkyu, do above, but this time, step a little to side, create bend at elbow, do nikkyu

Monday, May 22, 2006

ATTACK: pushing from behind - take weapon

1st ex/
pushed from behind by uke
- didn't resist, rise or lose balance when pushed
- let push move us forward while staying in balance

2nd ex/
- let push swing body around
so you ended behind uke

3rd ex/
- take closest/inside hand to uke and wipe uke face for take down

4th ex/
take forward roll and get up in defensive stance

ground lock detail:
if uke has weapon in hand with palm facing down, sensei maria showed to put your
arm perpendicular over uke elbow
(whose arm is flat and stretched out on ground)
and then lift arm at wrist
pain causes uke to let go of weapon

Secrets of Sensei Klopp

I went to class on Saturday, and worked with Sensei Klopp on two things. First was the standard hitch step and pivot entry to a straight punch that we always do at the beginning of class. Without fail, Senseio Klopp would hit me squarely on the stomach whenever I entered on my right side. I kept thinking, do I angle my body first when I move in or does that make it too easy for him to track me. Of course, Sensei Klopp gave me advice that had nothing to do with that. He said to image cutting across uke with your hand diagonally starting from the top of uke's punching side to the hip on the other side. It helps if you actually draw a line with your hand. I don't know why it works, but my solar plexus was safe for another turn.

The second technique Sensei Klopp helped me with was katanage. The one were uke attacks cross hand grab, tori hitch steps and takes uke forward (and to the angle). So you are taking uke forward. Sensei Klopp kept telling me how stiff I was (of course), and I said I was having trouble with the concept of keeping my arm in my center, extended and alive so uke doesn't push my arm into me, yet not stiff. Sensei Klopp's answer (so to paraphrase, I know I'm not doing it
justice) is upon initial contact the arm should be extended and alive, but once that happens the key isn't the arm. The arm needs to stay alive to keep the connection and to feel uke, but body position is critical in the technique. I interpreted that to mean not to concentrate so much about keeping the arms out, because if I move out of the way properly and position myself correctly against uke's shoulder area-ish I'll be okay. Okay, not sure exactly what, but my technique did improve....

Monday, May 15, 2006


1. close the window - hitch step and block with two hands, do not rise up, but bring uke arm immediately down - hip turning to corner not straight back. one continuous mvmt. move as soon as you sense uke will move to get good timing.

2. if uke doesn't go down, can do osoto gari with bum behind uke's bum and sweeping through. foot does not touch floor till after sweep, lock and make sure take club with you.

3. if osotogari is not going to cut it, try tiger lock. after entry, hip turn and face uke. don't let outside hand wrap around in big circular motion, but snake immediately under elbow to grab other wrist whose hand is rolling shoulder joint. lock with back straight, shoulders down. then hip turn (loosen grip for uke safety) and take down and apply another lock. tell uke to drop weapon. then let go by rolling uke away from body and take weapon

* to be a good uke: don't swing club so big with arm. strike straight to uke's temple (side of head) sensei maria said it was ok if we accidentally bonk sempais' head.


pressure points
1. above the chest bone, between clavicles, into that little crook
2. trachea
3. under both the ears/jaw -zhenya showed that press up like in an "x"
4. two pressure points near top of elbows
5. inside knee, above joint
6. between big toe and other toe (between metatarsals) using knuckle
7. in armpits
8. above clavicle where zhenya hits me often
9. on shin somewhere where i got kick really hard

yellow belt stuff;
kotegaeshi 1-3
1 - when applying lock, keep hand low and close hand to forearm like box lid and end by standing above/close to uke
2 - keep uke's hand in your center, and when stepping out to shko dachi, let your body go to that direction
3. step back to shiko dachi and always keep hand in center

a new lock
a heel kick when
uke is on back, and you have one of uke's hand. then you step across uke's torso with elbow against knee and let that uke elbow on knee and stepping across body cause all of uke to roll over and create lock

taisabaki kata
on 9,10 keep guard hands active and alive
on 4,5 when stepping out to shiko dachi
when heel kicking, really pivot on ball of other foot
on 1-2 make elbow go to side of body
7,8 make sure fist above knee and weight really over knee

Thursday, May 11, 2006

EXERCISE: punching drills

when striking with forward punch, let hand sink into pad.
nonstrking hand is extended forward. step straight, bend knee, weight forward, body square to pad, back straight, nonstrking hand touches pad and rechambers as hip turns to power punch

it's important to keep wrist straight and in a line (like cari's)
and hit with two first knuckles

need to be careful and not turn shoulders too much

another drill was to do two punches and foot sweep. it's important to turn hips as second hip turn apparently is helpful in setting up foot sweep when legs are brought together

* on the extension roll - it is not so much throwing arms forward as it is tied to hips and more graceful

* smaller vs taller with gearoid - i forgot how the drill began, but i think it went like: uke went for lapel grab, you catch from inside and step back, and then you wrap your blocking hand over top of attacking hand and direct straight down, your other hand grabs it and leads forward, you step back in, shoulder into armpit (or in my case gearoids gut) and lead uke into roll.
i remember had to grab gearoids hand bring it immediately to the floor

Tuesday, May 09, 2006

reorganizing blog

currently combining notes for easier reading/referencing...

QUOTES: Favorite quotes from the sempais

1. you want to "flow like water" - cari to barbara before her test, barbara much later to jeannie
2. "no that's good, keep going! don't say sorry!" barbara to jeannie (as i accidentally nicked her forhead with wooden knife, barbara bleeding with a small bandaid on forehead)

QUOTES: Favorite quotes from the senseis

1. "show some enthusiasm on the mat!" (and kiai!) - mvd
2."lock 'em up!" -mvd
3. "breath is spirit and brings unity to all the different movements of each technique" -sensei coleman

kotogaeshi 10

1. kotogaeshi 10. we did this with punch and knife stab. taisabaki entry, catch arm with hooking of arm, keep arm low (don't raise uke arm) and be in hamni, keep moving as front leg steps back at an angle away from uke, twist hips and apply lock. uke may take breakfall. always point knife to uke and take it away after ground lock.

2. when breakfalling for kotogaeshi 10, think height in breakfall as a good thing.


1. parry with 2 hands, take step back, lead uke into roll, bring uke's arm down pushing arm down your center line as lead leg steps back to shiko dachi. keep chin tucked or head down and not looking up. back straight.

2. back leg steps in, twisting hip as you do hammer punch to stomach. twisting hip allows push to pass through you and not take you down (like opening a door?). step in and punch almost before uke has weight on uke lead leg for an easy take down. step straight, and not swing leg around in circle. take uke down at angle b/c it's easier. cari said to punch and then shoulder roll at angle almost immediately on same side, and do foot sweep with front leg

* drill: tori pushes w/ one hand, fall, roll over on side while keeping eye on tori