After S.W. warmed us up, Sensei started off with a variation on a katate kosadori shihonage entrance, or rather, retreat. Nage steps back leading uke forward and attaching to uke's wrist with the off hand. Then nage does an internal tenkan step, stepping under uke's extended arm and ending up with a neat shihonage. Everything this evening proceded from this taisabaki: sokomen iriminage, kokyunage, iriminage. After every version Sensei demonstrated (and we practiced) the jo-nage version of the same technique. Jo art informs the body art and vice versa. Very interesting and enlightening. It helps (me, anyway) to switch between the two because the differences in working with a jo - the ultimate extended, unbendable arm - teach me how the technique should feel when done with my own less-than-perfectly extended, unbendable arm.
Other things that this made me aware of:
- Stay closer to uke - spinning out too far saps my strenth by taking my center away
- Don't collapse my arm to get closer to uke - I lose strength that way, too
- Don't bend over - loss of strength, vulnerable to getting kicked - bend my knees, squat
- Don't back up - this prevents or interferes with proper extension and I can't create "a throwing condition". This is especially noticeable when doing iriminage.
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