Wednesday, August 30, 2006

August 29, Sempai Cari

Tonight Sempai Cari taught class, which was cool because whenever I work out with sempai she usually drops a few words of wisdom per technique, this time I get the words with every technique.

1. Warm-up
I can't get over that I can do all those crazy pushups now. Hopefully soon i'll be promoted to monster like Cari and Jenny.

2. Kotegaesh from aihanmi katatedori ( same side wrist grab )
As uke grabs slide lateral while turning hand up, ( a long time ago when I studied aikido the sempai there said "serve the platter", this reminds me of the movement ) cradle uke's wrist with opposite hand and cut fingers away from wrist. Drop hips and lock.

As we "serve the platter" turn hand so that way the pinky is facing up, which allows your hand to escape from the clutches of uke.

3. Sankyu from aihanmi katatedori ( same side wrist grab )
When I got home I did some research on Sankyu, it appears that sankyu is the "essence of th spiral." As tori, we enter and lock on a spiral, we takedown on the spiral, we can even pin on the spiral. Just been thinking about that.

4. Katana-nage from aihanmi katatedori ( same side wrist grab )
From grab, motion like sepokaiten, to break balance of uke and turn wrist, tai-sabaki to enter and shoot down, like we were rolling, to point uke to floor.

I noticed that on my left side I would fall back a bit from off balance of tai sabaki, this created a rocking motion that caused uke to rise ( stand back up )...not good.

5. Tenchinage ( Heaven and Earth )
With iremi entering, non lead hand reaches to earth, while lead hand reaches to heaven to (possibly) strike uke.

I noticed on this that though the entry is a straight line, the hip rolls back and forth, one roll for earth, the other for heaven. I don’t know if this makes sense at all.

6. Garuma-Nage
Tai-sabaki entry, guide uke’s arm across your chest for arm bar, step out to shikodachi for drop

I was working with Youval on this, it’s quite a challenge with his height and long arms.

7. Jujitsu and losing weight
So for some reason yesterday was the day everyone started telling me that I’ve lost weight. It’s about time!!!!!!!!!!! Just kidding! Since starting at Eizan-Ryu I’ve gone from 307lbs to 247lbs.( just 27lbs more to go to my next goal! ) I really am amazed that I’ve carried the motivation as long as I’ve had, and I truly could not be on this journey without you all, thank you very much!

Jujitsu + Proper nutrition = weight loss! (maybe a little weights too)

8. Quote of the night
“Do I need to knee you harder?” - Jeannie

Sunday, August 27, 2006

Sunday Sensei Maria

1. Uke Pulldown ( is there another name? )
Hitch Step to enter, as you enter place non-lead hand against uke's shoulder, keep elbow tucked down. As you wrap around uke place other hand on opposite shoulder, pivot and drop.

Sempai Adi pointed out 2 important things to me.
1.) Stay connected to Uke
2.) Keep elbows tucked in
I guess for this technique isn't as much as a pulldown, as it is a let down because when uke is off balance they seem to rely on you holding them for balance.

2. Uke Pulldown Failure into Ippon
In the situation that the pulldown fails ( uke will naturally rotate ) enter into Ippon and throw.

In my quest for the ultimate ippon 2 special notes :
1.) Keep your head up, by looking down it feels like there is a bit of added stress on the lower back & you fall on uke.
2. Serendipity... So I just got this judo book form and i've only skimmed through it, but as i fell on Sensei Steve I realized "Oh this is how you get into Kesa gatame the rest of the night I stated to look at how I could drop into Kesa gatame, or an arm bar. I just started looking.

3. Uki-goshi, Floating Hip Drop
I love, love, love this technique. After I learned that I can grab onto tori for support on my breakfall I love it even more.

Kick to the inside of leg, as uke moves rush in simultaneously pointing lead foot in the direction of throw and clipping uke's forward arm. Pull in backfoot perpendicular to lead foot, load onto hip, pivot and drop.

4. Sasae Tsurikomi Ashi, Lifting Puling Ankle Block
From push, pivot and lead uke's arm away from themselves, place lead side foot against uke's ankle trapping the foot, look away and spin body to pull uke into the fall.

Awesome throw, packs a lot of power in a very effortless feeling throw.

5. Sparring
1. With Adi - The last time I sparred with Adi, I felt, much like with Dixon, that I was too reactionary, so I tried to be as assertive as possible, while keeping my hands up. By the end I was already winded and Adi was like "okay, what next"...I really need more endurance.

2. With Sensei Stephen - So from walking from Adi to Sensei Steve, my whole game changed. I became nervous, and intimidated. But in all I think I handled myself okay, I need to stay relaxed, and keep my hands up. I took a shot from a kick, but this is a very good thing. Getting hit makes me realize "hey i'm not made out of glass" it also makes me reflect "why did I get hit."

3. With Jenny - Jenny ran backwards around me. I became very dizzy. So I just tried to predict where she would be and slowly widdle away at her. I don't think it worked. She smiled the whole time. :)

6. Great quote
Adi - "If you don't move I'm just gonna kick you harder"

Friday, August 25, 2006

Thursday Sensei Maria

1. 1-2 Punch
From a fighting stance jab ( and drop hips ) with lead hand to the solar plexis follow up with a punch from rear hand to the same place.

When performing this drill I really try to give it my all while maintaining form in my wrist and hips, I have a tendency to let my wrist come in at an angle, by keeping it straight it affords me a much more powerful punch. By exerting myself, it gives me an extra workout that I need.

2. 1-2 Punch Block + Kouchi Gari
When recieving the punches, parry the blows and step to the inside to deliver a Kouchi Gari ( small inner reap )
When delivering the sweep, use the bottom of your foot to cup uke's achille's tendon, by moving to the inside uke should already be off balance, the sweep is a garnish. I noticed if the sweep fails there is a straight shot to the groin with the sweeping legs knee.
In Sensei Coleman's class we tend to do this as a combination of 1-2 punch + Kouchi Gari, I learned that in boxing and kickboxing this technique is called "swarming." The ability to deliver attacks to your opponent in a spherical fashion. That sounds super cool.

3. Hitch step + Drop
A shortened from of the drop, hitch step, creep up back, rotate uke to off balance point and drop hips. Elizabeth said she liked working with me because of the thud I made when I dropped. I noticed something funny about this technique, the more I thought about it, the worse it became, I'll speak more of that later.

4. Katana-nage(?)
Hitch step, lead hand is placed above elbow, non-lead is placed on wrist. Hyper extend uke's arm and cut like you were slashing a sword.

5. Kotegaesh
From straight thrust or straight punch, move laterally taking uke off balance, pivot hips and apply lock.
I had a lot of trouble with this movement, I attribute it to me moving back instead of moving to the side. When moving back it seems that the knife went right into my face, ouch.

6. Sparring
I like sparring, but I think I need to be more assertive when sparring. With Dixon everything was reactionary I would see his hips turn and say to myself “hey he’s gonna kick!” but for some reason I have difficulty adding a solution to the problem. On the “Ali” dvd commentary filmmaker Michael Mann said that Muhammad Ali would have conversations with himself while fighting, for example he would say to himself “ ( My opponent’s )Right hip dropped, move left, MOVE!” I wanna get here.

Throughout the class I noticed the more I think of a technique the more I screw it up, probably over complicating it’s simplicity. Who know?.
Maybe it’s being able to move with confidence.

Thursday, August 24, 2006

Tuesday Sensei Steve

Okay, sorry for the delay, here we go.

1. Kata Garuma warm up.I really like this technique, mainly b/c it looks really cool and I bet is pretty destructive. When I was a kid my brother and I used to pick each other up like this. Sensei Stephen said that uke can help by keeping their legs straight when raised.

One thing that I learned from lifting weights is that by looking up, you prevent your back from bending, this is important to protect your lower vertebrae from any
unneccessary pressure. I do this just to prevent any irritation to my sciatic nerve. For most peole they are picking up close to their body weight, for those who are lifting me it's more like 195% of their body weight. I'm sure if a 450 lb. man walked in the dojo i'd have a hard time lifting him.

2. Whole lot of Shihonage goin' on
Shihonage from roundhouse, with a windmill, from a punch, etc etc. Breakfalling out ofshihonage is a new experience for me, other than getting over being intimidated, I thinkanother trick is to break fall straight over as opposed to rolling off the shoulder and taking it at an angle, my arm felt slightly spaghetti-ish like this.

Shihonage break down
a. Entry ( Hitch Step, Tai-sabaki, Tenkan )
b. Turn wrist away from you ( Yonkyo ) and create lever by placing elbow under tori's arm.
c. Raise lever, creating wrist, elbow and shoulder pain ( uke should rise to their tippy toes )
d. Slide head under arm, pivot so uke's elbow is in armpit, cut and drop.

3. Shihonage counter
While being put in a shihonage, as tori pivots to drop hips, grab lapel with opposite
hand, and fall perpendicular to their body to create vacuum for fall.

Pretty cool counter.

4. Kotegaesh
For the breakfall my left side seems to be really stupid. I need to focus on getting my breakfall correct on my left side.

5. A technique like shihonage, but a straight cut down.
I worked out with jenny on this, it's a sword technique she said, anyone know what I am talking about?

6. Tai-otoshi
Body drop, using tenkan entry, rotate uke, place lead hand on wrist, non-lead hand on forearm, block foot with corresponding foot, pivot and drop. Sempai Adi said to me that it is important for the knee to straight down, because at an angle the knee could break.

For some reason tonight my mind was all over the place. Everytime I tried to reign it in, it fluttered away.I guess that happens sometimes. I have been working a lot lately and making sure that everything fits is a bit overwhelming.

A few weeks ago, Sensei Coleman was talking about how in the end jujitsu is about you and your spirit to carry you along your journey. I have been learning some latin phrases and came across "soluse ipse,"I alone but that day as I was fondling for change, I remembered the mighty penny "e plurbus unum", out of many, one. I think as far as phrases go this really made me think about jujitsu, because though we are singular, we are plural. Or maybe i'm just crazy.

Sunday, August 20, 2006

Happy birthday Sensei Coleman

Happy birthday Sensei Coleman!!!!

Okay tonight's session was particular brutal for me, ( in a good way! ) here's the break down.

1. Ukemi practice
During breakfall in ukemi practice, I've wondered where the senseis and sempais get their height. I think it may be from the direct thrust of simultaneously springing off the front foot and kicking up the back. On my second attempt of my left side, I deliberately tried to hammer my foot into the ground as hard as I could. The fall felt better, and I slapped harder form what seemed to be a slightly higher fall.

2. Close the Window x 50, Ikkyu from Backhand x 50

Close the window : Hitch step at an angel, roll shoulder, DROP!
Ikkyu from Backhand : Hitch step at an angle. Place closest hand above elbow to control upper arm, place far hand onto wrist, roll & drop.

So for Sensei Coleman's 50th birthday we were all greeted by doing 50 techniques over and over. Close the window is simple enough, hitch step at angle, roll the shoulder and let uke drop...but ukeing 50 times was the battle for me. Below are the three main things I picked up :
a. Endurance
My endurance is terrible, and embarrassing because once I am tired my energy takes forever to reclaim. As class progressed I felt myself widdling down to what felt like nothing.
b. Breathing
The times that I was felt like I was nothing, I noticed my breathing was out of control,( Adi pointed this out to me and motioned for me to control my breathing, because he's a good sempai like that ) a few long ( 5 count ) breaths seemed to pull me back together.
c. Keeping it together
It's difficult to hold a positive mental attitude when you are exhausted from doing what others seem to be doing so well at. I found that very negative thoughts started creeping in when my breath was out of control. By breathing it helped me recenter myself.

The main thing I picked up here wasn't so much that working soft is a way to conserve energy, ( though I did get that point! ) but breathing and staying centered is a way to conserve energy and preventing chaos from your mind when you are exhausted.

3. Roll shoulder from stepping inside ( real name? )
Forgive the above description. I like this technique.
Hitch step to the inside of uke, checking their knee and rolling shoulder to drop. As when rolling shoulder be sure to take uke off at an angle.
When working with Jeannie she asked "Is there a sweep?" It was then that I noticed we were set up for Kouchi-gari, sweet!

4. Windmill to irimi-nage
From roundhouse parry to windmill, when uke has turned atemi chin upwards and drop uke. I noticed by dropping your hips the windmill has a whipping effect.

5. Boom Boom Sweep ( Ko Soto Gari )
I was happy to work with Cari again b/c her "boom boom sweep" leaves me on the floor without knowing how I got there.

From straight punch, parry punch ( Boom ), roll shoulder ( Boom ) and sweep. Follow up with atemi. *I noticed that the face is exposed for a nice knee, or heel, HOORAY!

6. Shihonage
So by this time I was completely gassed and my first round as tori found myself doing stupid things, e.g. not keeping contact with uke. So I slowed down and made everything as precise as possible.

Roundhouse punch, parry to windmill, with lead hand turn uke's wrist and use your elbow to raise uke, with uke raised duck head, pivot, and curl uke's hand to touch shoulder blade, drop hips

7. Roll Shoulder - Pivot Hip
I was doing this technique with Jenny, I was in la la land, could someone please advise.

8. Eat cake
Since I have a black belt in cake eating I am qualified to instruct. Cut cake, plunge fork in cake, stick fork in mouth...repeat.

See ya tuesday!

Saturday, August 19, 2006

Be in the throw ( Saturday class )

Hey all, while Jeannie's taking a break I'll be bloggin' on the classes. I hope you enjoy the format!

1. Drills for Ippon Seionage
a. Kuzushi
b. Clip + Load
c. Throw ( "weeeeee" )
d. Note on ukemi
a. Kuzushi
Before we began our throws, Sensei Coleman engaged us in a series of drills breaking down the finer points of Ippon Seionage, the first drill was of Kuzushi, or breaking the balance of uke, a very important thing that was said by Sensei was that "if you're shorter raise the arm high, if you are taller drop your hips," I found this immensely beneficial because by dropping ( even though I may be an 1/8" taller ) not only does it take uke off balance, it also positions your hips underneath uke's hips, making for a more efficient throw. As you "Check your watch, answer the phone" make sure your watch checking arm has the pinky facing up to insure proper off-balance.( Thanks Sensei Steve )
b. Clip and Load
After breaking balance ( "Check your watch, answer the phone ") clip uke's arm with bicep. While working with Dixon I noticed when he clipped the arm deep into the armpit it seemed to give the most efficient method of trapping the arm, it also set up a nice ramp to slide off his back for ukemi. For loading slide feet together and rise slightly, by dropping my hips loading feels very effortless. ( "i've been doing modified squats at the gym to reference this throw so watch out! " )
c. Throw
Two main things I picked up, keep your knees bent and focus on touching your throwing shoulder to your opposite knee.
d. Note on Ukemi
I noticed today that the breakfall of Ippon seems to work in a 1-2-3 combination, meaning 1- First shoulder goes over tori 2- Second shoulder 3- Slap the mat ( as second shoulder goes over slap immediately ) using this method gave me a nice slap and i didn't fell any stress on my body.

2. De Ashi Harai (?) Ankle Throw
With kuzushi from Ippon ( "Check watch, answer the phone" ) place lead side foot against uke's ankle trapping the foot, look away and spin body to pull uke into the fall.
*Note on ukemi - take the fall as soon as the spin happens, if not you will land on your knee
The throw is awesome, btw

3. Atemi drills
Atemi wears me out, but I noticed by pulling my elbows into my sides, my arms rest on my lats keeping them up for me...hooray!

4. Tenchi-Nage
I like this throw, but today it didn't like me.
From a push, hitch step ( not a regular step, and make sure you drop you hips! ) , raise non-lead arm while guiding lead arm to the ground, and wee!
2 big things with me were, entering deeper ( this is a challenge for me ) and dropping.
*Note on Ukemi - don't give what you can't take, if you can't take a 100% throw, don't give 100% ukemi-ship, also you may think you're at 80% when you are really at 98%, be a mindful uke Woody!

5. Tenchi-nage Ikkyu
From a push, hitch step ( not a regular step, and make sure you drop you hips! ) , raise non-lead arm, atemi and move into ikkyu ( you can also move into sankyu )

6. Multiples
I like doing multiples, it's a real challenge to keep myself calm, I can feel my heart in my throat when it begins. As we were doing multiples I was too far from Dixon when throwing him and used a lot of strength, I need to not get too excited, but I did notice as I was struggling I had an uki-goshi...maybe next time.

Oh! and by moving forward no one can push you from behind. MOVE FORWARD!

7. Closing Thoughts of Sensei Coleman.
I really love when we close class. A main reason is that my water bottle is ready for me next to the mat, another is reflecting on what we did. This week it was discussed that this art was created 100-200-500-1000 years ago, and when we practice our art we are in the same place that they were in. Just like when a poet writes, we can be in the same place by writing a poem ourselves. When we throw, be in the throw.

--See you tomorrow!

blog break

fyi-am working on a spreadsheet of techniques (will upload later), so will be taking a break from bloggin for a while

Wednesday, August 16, 2006

MULTIPLE ATTACKS: notes on strategy

1. if sensei s is first uke, better to project away from body + get out of circle, than try to throw and stay inside circle
2. as uke, get ready to attack, but not in position of having the uke before you thrown onto you

ATTACK: front kick

1. mae geri - heel palm/swipe w/ hand + foot sweep: heel of palm strike leg down, back straight when shift to back foot, swip leg across center line, just before uke sets foot down - step to side, let stepping to side drive foot sweep of uke foot (before weight is set, can roll shoulder too at same time, lock

2. mae geri - hitch step in + strike thru w/ lead hand + twist hip down
hitch step straight into kick, avoid by going to shiko dachi, lead hand ready and up + strikes thru uke + non lead hand swipes under to catch uke @ under knee, no need to hold uke up by knee if shortie like me, twist hips, uke takes back fall, lock

ATTACK: full nelson

1. full nelson - catch hands+ finger pain + ikkyu: as soon as you feel uke going for full nelson, catch uke arms by squeezing arms to side - preventing uke to finish lock, grab a pinky and bend (be very very careful! it's easy to hurt uke this way), step around w/ leg not on same side as finger bend + do ikkyu - catch uke elbow crook with other arm as finger bending arm continues downward motion, stretching uke out + off balance, take down, lock

ATTACK: grab and punch

1. grab label + round house punch: side step and move away from punch, deflect w/ same side, catch w/ opp. hand, same side hand bends uke arm @ elbow, apply nikkyu, take down

2. grab lapel + round house punch: ippon seionage

ATTACK: being grabbed from side

1. hip throw, sideways step to uke, block hip, feet make a t, catch punch from inside, other arm makes diagnol across back of uke + keeps moving, load onto hip, keep pulling on arm to help with throw, twist hips

Sunday, August 13, 2006

super quick notes

super quick notes - to organize later

straight punch
like ippon entry, but pull uke forward, hip 2 in below uke waist, feet in t, shoulder not behind you, arm diagnol behind uke, twist and throw
hitchstep, parry,grab punching arm, pull a little forward, other arm strikes below noes, bridge of nose, cut down, uke takes back fall
hitchstep, parry, strike thru face and place arm across uke collarbone, neck, hip twist down, uke takes back fall

double heel palm strikes, sweep inside, then push
don't be afraid to throw hip forward
lead hand strikes with power of hip + snaps back, slightly rotate wrist so u strike more of hand/not fingers, as snap back stirke with other hand as u protect face, snap hand back, lead leg moves forward catch uke ankle pull forward, then push, don't be between ukes leg then punch uke on ground, don't push when doing heel palm strikes, just strike and snap back

double heel palm strike, sweep outside, and strike down
1 st strike, then 2nd strike directs uke at angle away from center and to corner, then backleg comes forward to sweep uke lead leg from outside, 2nd strike helps w/ off balance

katana nage, hitchstep, arm in shoulder + pivot + step through
strike thru, get in early, cut thru uke

round house
like close window entry, can add strike, still look at uke, use circle motion on entry + back of arm parries, same side of arm cuts through uke

1,2 step round house - ippon seionage, catch punch from inside
hand on shoulder to forward punch, extend arm step to side at angle facing uke, roll shoulder to corner

judo style grab
like ippon entry, but pull uke forward, hip 2 in below uke waist, feet in t, shoulder not behind you, arm diagnol behind uke, twist and throw

side grab
hip throw, step to uke, block hip, feet make a t, catch punch from inside, other arm makes diagnol across back of uke, load onto hip, keep pulling on arm to help with throw, twist hips

uke does rough double lapel grab, pitches tori weight forward, tori should go with pull and stay standing straight than bent forward

hitch step, one arm up, one arm down, when one arm up, notice creates sort of lock against chest
doing this but doing an ikkyu with arm up, trick is to be behind uke and drive shoulder down, kinda like a corksrew downward motion around body as you apply ikkyu and pult shoulder to floor

lots of punching

lots of smacking + foot sweeping + falling on back - thank god for ukemi

need to tuck chin earlier on rolls, breakfalls

in punching to face - extend arm more to parry punch, step back deep + skip more since I'm small? - shiko dachi

Thursday, August 10, 2006

How to prepare for a test

I just took a test in aikido, and have been thinking over what I did right in preparing for it and what I neglected. This has led me to think about tests and about preparing for them.

Tests are to help you take inventory of your skills and to improve the ones that are lagging. They are part of the learning process, not what the learning process is about. Even the test itself should be treated as a class in which one is fortunate enough to have the teachers' undivided attention.

To prepare, first, read the requirements. Make sure you understand what it is you are being tested on. If possible, watch someone else test for the rank.

Second, consider what techniques you have from the given attacks. You should have a variety of different kinds of technique. Even if one knows ten different ways to knock the uke back, uke will eventually begin to lean forward. Even if one has many wicked joint locks, uke will eventually resist them. It is best to have enough variety that uke never quite knows what is coming.

Adi actually makes a spreadsheet of attacks and what techniques he has from them, and then looks for gaps or for too many uses of the same technique. This seems to me to be a good study aid, though a list on paper would do as well. (Consulting the list during one's test is right out, though.)

Third, show up for a whole lot of classes. This should go without saying.

Fourth, grab people before and after class, and ask to practice. Grab a variety of people, not just your favorites. Remember, don't just practice particular techniques. Also practice a variety of techniques against a single attack. One of the most common troubles one sees on tests is people suddenly forgetting all but one technique. Practice can prevent that. Also, remember that on more advanced tests, Sensei Maria will often just say "Grabs" or "Punches," so practice against mixed grabs and punches too.

Fifth, practice the techniques in the air. You want to know exactly what your body is supposed to do. Using uke's body as a reference point is risky; different people move differently. You want to know what your own stance, posture, and footwork should be at any given point in the technique.

Sixth, work your breathing. Five minutes a day sitting and following your breath with your mind can save you a lot of misery on test night. In my experience, the waiting is the hardest part, and finally getting to move makes everything better. Focusing on your breathing keeps you moving inside even while you are waiting for the word to go. Also, right breathing makes the techniques flow and keeps you from getting tired.

How much of any one of these things you should do is up to you to discover. Everyone learns differently. These are some tools I have found useful.

Tuesday, August 08, 2006


i left my notes of japanese names somewhere in my bag
need to find it, will update later

double wrist grab
1. palms up, step to outside, inside hand shows pretty picture to uke, outside hand drops low w/ body weight, this is key for off balance, nice to step deeply, uke takes back fall
2. same above except uke doesn't fall, so inside hand grabs collar, bring head down, outside hand aids in keeping uke hand behind (create bend at elbow), inside leg steps across + behind lead leg, pivot hips while bring head down and around, breathe out and project uke away into fwd roll

round house
1. similar close window, but outside hand blocks + brings punching arm down and inside hand drapes over uke's non attacking side shoulder, bring uke head to u, think dropping weight first and imagine finishing technique that way - like close window, but to finish w/ projection, grab gi w/ arm draped over uke, (sensei c pushes attacking arm behind uke somehow), inside leg steps across, pivot hips + project
2. like ippon seionage, but no clipping of shoulder, step to inside, catch punch, opp side arm under uke's punching arm, pivot, drop to one knee (side opp of uke's attacking arm)
3. kotogaeshi - once do windmill mvmet immediately apply lock, dont' bring uke hand up

wrist grab - shihonage
1. "god made me small so that i could fit underneath [armpit] of uke" says sensei c, when uke grabs wrist offer thumb edge side of forearm for easier grab + immediately go for shihonage
2. when switching up to make uke do breakfall - outside hand cups over other to aid in wrist twist, uke elbow firmly pinned to body, bend knee, don't bend head down or body forward, uke takes breakfall

Thursday, August 03, 2006

being human

personal thoughts:

i try to be optimistic. i try to be glad that my wrist injury is not as bad. but the yoyo of getting better, getting worse just cracked me. the return of pain today was too much for me to continue practice. i just could not focus...

... frustration and pain was enough to for me to hyperventilate and cry -man, i have not cried in YEARS. and for a moment i had to figure out what all this wet stuff on my cheeks.

i guess everyone deals with injuries differently, everyone has their own history.

maybe down the road, i'll look back at this as a "learning phase" to get past

Tuesday, August 01, 2006

sensei stephen's class

same side wrist grab- hitch step a little oustide, turn wrist to center line and bend @ wrist, non lead hand catches attacking hand + twists to create a little pain, there is a nerve you can get w/ thumb, you move to make shihonage but uke won't let you, so do a 1/2 taisabaki, inside arm rests in crook of elbow + bring down w/ weight of body + hitch step?

same side wrist grab- same above -sorta - but don't grab attacking hand, just hitch step forward bring attacking hand down, uke takes fwd roll

grab label + round house punch: side step and move away from punch, deflect w/ same side, catch w/ opp. hand, same side hand bends uke arm @ elbow, apply nikkyu, take down

grab lapel + round house punch: ippon seionage