Mike Sigman wrote:
But that's more of an after-effect (uke is already going away) and not something he always does, if you look at the other examples in the videoclip I mentioned. Particularly in the chest push. It's pretty obvious, once you know how to do it, how Ueshiba powers his pushes and I think it's up for most people to figure it out (simple is better than angular momentum and helicopters).
OK, I have looked at the chest push.
First of all, note that uke grabs with the gyakku hand, and is coming around. Very poor position for a uke to perform ikkyo munedori kuzushi or munetsuki combination.
You can see uke's free hand seriously lagging his torso, initially, indicating a pronunced uchi turn of the body toward O-Sensei. It seems to me like the intended attack was therefore coming around for the ushiro kubishime with the free hand. Great attack -- choking the opponent out with opposing lapels.
I know if I had been tasked with attacking O-Sensei I would be more than hesitant to make a full frontal charge.
At first glance it seems that has uke has just carried himself into a munedori sumi-otoshi from the barest irimi. However, his fall is not to his right, in front to O-Sensei, which would be expected in sumi-otoshi, but to his left, away. And O-Sensei's body is turning toward his right at the end of the technique, also away from the sumi-otoshi to his front left.
It looks like a very subtle sokumen iriminage movement.
The munedori attack is coming from the belly upward. The attack is in the A/P vertical plane with pitch upward.
What I do see O-Sensei doing is consistent with what I have said about the pendular funatori/funekogi motion.
O-Sensei begins to drop his center into the funatori swing forward of the hips meeting the attack. The irimi connects early, from the right of uke's line. Horizontal plane rotation (clockwise) is induced by the offset of the arm to uke's right. This provokes more angular moment (pitch up) in the A/P plane adding to the rotation of his seigan rotation (pitch up) momentarily, carrying his hips too far forward, and thus dropping his center and beginning the rearward toppling moment.
Uke's outside arm is stil lagging to this point, so his uchi turn has not been disrupted yet. His progress turning clockwise around O-Sensei for the attack has been stalled, but not reversed.
O-Sensei moves in, rising into an abbreviated sokumen turn, so much so that he basically ends up poised on one foot. The rise shifts uke's right shoulder further forward and up, thus shifting his left shoulder back and down, creating a reversal of the turn of the torso from uchi to soto on the horiztonal plane, beginning an ikkyo line rotati of his body. The whipsaw shift of the torso causes his left arm to now swing suddenly forward ahead of the left shoulder, which is being shifted back by the change of direction in torso rotation.
O-Sensei pivots to his right (clockwise) on the right foot, rising into the throw, rotating in the horizontal plane. The rise causes uke to rotate in the M/L plane, cartwheeling to the left. The turn to the right (just like the earlier clockwise turn caused by irimi to the offline right arm) aggravates the rotation in the A/P plane toppling backward. O-Sensei brings his rear leg into the center of the turn (and thus the hip and the balance center) from behind him to center (reducing radius of his rightward turn turn and increasing the energy in the movement), and then finishes with continued ki musubi irimi by settling his weight gently down into the throw that has already begun.
I see too much rotation in and corrrelated resposne in differnet axes to ignore as irrelevant. There is not enough sudden linear movement to create the accleration impulse that uke obviously is experiencing.
The decreasing radius turn is very deceptive in terms of its energy because the smaller it becomes -- the more powerful it is, and the harder it is to see. I hold that this is a truth of techniques recognized almost universally among schools of aikido. I feel firmly convinced by the evidence Mike has given, that this rotational dynamic is a significant part of aikido function.