Standing Up for Kokyu Dosa by "The Mirror"
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Happy new year to all our readers, and many thanks for your feedback
and support for almost two years!
Al, Janet, Katherine and Susan would like to introduce our new
collaborator, Pauliina Lievonen. Pauliina has been an active part of
the Aikido-L community for many years. She teaches the Alexander
Technique, and recorder and traverso playing, in Utrecht, the
Netherlands. She started aikido in 1999 and trains at the Jiki Shin
Kan dojo under Piet Lagerwaard sensei, 5th dan. We look forward to her
voice adding to this mix as 2006 proceeds.
This column was written by Janet Rosen.
I've had to do standing version of kokyu dosa for some years now. A
key challenge posed by the standard version is how to move from the
seated center. Standing, it seems like the challenge is how not to
simply revert to "doing technique." In one dojo where I used to train,
folks with knee injuries tended to do the moving version of
ryokatetori kokyunage you see in multiple attacker randori. In other
dojo, partners who have not worked with a standing version often just
try to do tenchinage.
Now, kokyunage and tenchinage are certainly worthwhile practice! But I
like to retain kokyu dosa as an exercise in centering and connection
and breathing, and over the years have found three different ways to
play with it from standing.
Number one is basic, the form I'll always start with. It starts static
and mimics the kneeling form. I aim to be centered and low enough to
displace uke up and then back as I exhale and extend from the
core. I'm pleased if I we stay connected, breathing together, and
uke's elbows come up while he rises from his center. I don't care if
it results in a fall or not.
Number two is a dynamic version. I stand in hamni and invite uke to
grab my extended wrists. As the grab comes in, I absorb it and then
take it back out into uke. It took quite a long while of experimenting
to figure out how to approach this. My initial model was the rowing
exercise. At first I would simply go back and then forward. Not
surprisingly, this course of action resulted in a direct clash with
uke. Somehow I needed to "get off the line" without footwork. I began
to play with the idea of a circle.
From a visualization/energy perspective, incoming energy flows onto my
back hip. It continues in two paths, one across my sacrum and one
down via my back foot into and across the ground. Thence it flows out
from both the front hip and the front foot, connecting back to uke via
my continually extended hands. From a physical perspective, the
process is a circular rocking motion of the body that can be quite
large or quite small.
Written out this way, it reads like a "how-to" procedure, but in
practice of course there is no one-size-fits all solution to the
puzzles posed by various partners and variables of time and space! So
I offer it as a conceptual approach that has proved useful in starting
to investigate the question of how one gets off the line and enters
without footwork. As I find physical limitations accruing with time,
this becomes an increasingly valuable line of experimentation.
The third way in which I do standing kokyu dosa can start from either
a static or a dynamic situation, and involves two partners willing to
surrender the idea of "nage/uke." We feel for openings and energy in a
slow "push hands" version. To me this is true aiki, and I love the
practice, but it takes the rare partner comfortable with just being
there with a very intimate and patient connection. The greatest
internal barrier I've been up against is learning to find and stay
with my partner with my eyes open. For reasons unclear, if I'm
receiving visual stimulus, it is difficult and sometimes impossible
for my body to feel with the sensitivity needed to keep this
going.
It's nice to know that whoever my partner is, there is a way for me to
participate in this "simple" exercise, and no matter which form it
takes, there is some puzzle to solve, something to learn, and greater
depths of understanding to plumb about myself and this wonderful
art.
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