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Old 11-24-2006, 09:14 AM   #2
Erick Mead
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Dojo: Big Green Drum (W. Florida Aikikai)
Location: West Florida
Join Date: Jun 2005
Posts: 2,617
Re: Discussion of Summer Camp 2006 on AJ

My 2 cetnts from the other thread::

Dan Harden wrote:
Exerpt from an article in Aikido Journal online-
Aikido Journal wrote:

The kind of power through kokyu that Ushiro sensei has been teaching is completely different from what is usually thought of as kokyu. ... The circular movement of aikido at first glance appears to be soft, but the fact is, that there is still a collision of forces, and anyone who has practiced has felt this collision.
By seeing and experiencing Ushiro shihan's nullifying "zero power" techniques and feeling zero-power in their own techniques when Ushiro shihan extended his ki ... ... Our challenge, then, is to take this inspiration and turn it into action. Isn't this the start of true shugyo (training)?[/i][/b]
Neutralization of opponent, nullifying of power, zero power, (I call it zero balance) floating,
Which is to say that there is a lot of BAAAD kokyu practice out there, a point I fervently agree with. Yes. Fine. What to do about it? One cannot rip and burn Ushiro Sensei's ki for general distribution. We need a more generally applicable condensation of this that can be interpreted properly, and consistently. In other words -- omote.

That is the reason for my approach from my own mechnical background (rotary and vibrational mechanics) to follow the physical intutiions that I have developed in my kokyu practice. It may not be as good or as consistent as some may have developed -- but I know what I am looking for when I feel it, and I can see it in others when it occurs, and it is very much what the article talks about. I am finding concrete (omote) ways of interpreting and communicating it

The following is also from the same article:
Aikido Journal wrote:
Using ki, you can enter into the opponent's center instantly, directing them at will through the hips and knees. In the case of throws, too, it is not an external rotation that breaks the partner's balance, but an internal one. Because it is applied internally, the opponent cannot feel it.
There are two key points made here that I have written about elsewhere in this forum and which I am continuing to work out with greater rigor from an omote physical perspective:

1) gyrodynamics and the relationship of precession to O-Sensei's specific description of the art as "jujido" and

2) using sensation of the gyroscopic internal rotation/vibration of joints according to the principles of virtual work (ie. -- zero-motion).

Mike and others have (well, "derided" is a polite term) my thoughts on these issues -- but the idea of "six-direction springs" is a quintessential model of linear resistance (albeit in three axes) that Ushiro Sensei is very definitely NOT using. Whatever the usefulness of "six-directions" as a visualization tool or for other purposes, it is also and for that reason, most definitely NOT what Ikeda and Ushiro are speaking about and the participants have reported.

Juji presumes that interaction of forces occurs at 90 degree angles -- there is never any component of oppositional force if true juji is maintained. All forces developed by the human body rely on internal joint rotaiton and vibraiton (tone) to function. Even "explosive Okinawan punches" (as discussed in that article) involve necessary internal joint rotations, they are not immune to this approach at all.

That is also why I was intrigued by Master Yao's discussion of vibrations in the joints as a critical aspect of yiquan. Tone in a joint is a function of constant background neuro-muscular "buzz" of that joint's oppositional muscle groups oscilalting against one another. Vibration and rotation are equivalent for gyrodynamic purposes.
A gyro rate sensor can be made on the basis of either form of internal motion, to sense essentially infinitesimal induced precessions by an input force.

I interpret ikkyo (the first principle of aiki) as:

1) a spiraling chain of these physical joint precessions,

2) led by the "ki sense" (in this setting) disclosing by a complementary "virtual work" sensation of precession arising in each of the joints from the instant of connection (musubi) with the opponent's structure -- betraying its state and thus where the attack is prepared to go.

The first is seen (omote) -- the second is hidden (ura).

The overemphasis on omote in aiki practice ( a western prejudice, perhaps) has caused this, but it is also that same omote that has revealed the ura (hidden) problem. There is necessity, as in all things, for both an ura and omote approach, as there is necessity for balance in the binary vibrational tone of the joints

Dan Harden wrote:
I realize it is just a repeat of much that has been said on these boards over the years.
This is what I am trying to depart from. Ikeda and Ushiro are following ura waza (exploring the hidden) in dealing with these issues, and understandably so. Ura is a preferential response of Japanese culture. (not that there is anything wrong with that). But the problem has in part been created from the similiar omote preference of the West. I could be wrong, but I do not think that tendency is going to change any sooner than the ura preference of the Japanese. So, the remedy for us must also partake of something of the same thing as the disease -- the omote approach of the West. I am attempting that from my perspective. So are David, Ledyard Sensei and others.

There is no substitute for the necessary awareness, I agree. For practice purposes, this awareness classically progresses from seated kokyu tanden ho through kihon waza and on through full jiyu or randori application.

This, Dan, in an isometric form, is what I am seeing in the solo and partner practice as you you describe it. It is that similar isometric form that I interpret to operate in Shioda's heavy emphasis on kihon dosa. It is what I see in Akuzawa's demonstrations in a completely different sensiblity.

It is very much what I feel and work for in partnered kokyu tanden ho, techniques and jiyu waza.


Erick Mead
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