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Old 05-30-2002, 04:49 PM   #43
akiy's Avatar
Join Date: Jun 2000
Posts: 5,996
Hi Ted,

Originally posted by tedehara

You're correct, if you look at this holistically. What I usually do is try and break down the technique into components. Therefore, if I atemi and then perform a sankyo, I have two components: Atemi and Sankyo. I examine both components to see how they work individually. Then I try and put them back together in the actual technique. So my approach is more analysis and sythesis.
Interesting! I find myself looking through techniques (both empty-handed and weapons) thinking, "Now, how does this work?" at each step. It's kind of like looking at the notes and the spaces in between the notes if we were talking about music, I guess...
The one problem I've noticed is that you can lose the lead after initially gaining it. You might initially gain the lead/blend with your partner, but during the performance of the technique, the lead can be lost through in attention or technical mistakes. If you're working with someone who can notice this, they might be able to reverse the technique and counter. Why not? After all, they now have the lead/initiative.
I think this kind of practice where each side recognizes the opportunity to take the initiative (sente) is one of the most interesting. As Chuck Clark has said before, it's a lot like playing chess...

I've noticed some people give me some quizzical looks when I "give" my balance as nage to uke, almost as though they think I'm "losing" or something. They often say, "Once again?" and offer another "try" at the technique in hand as though I didn't learn something from not getting my partner to fall down that time. I find such feedback of uke letting me know when I've given back the initiative, recognizing that I've given away the initiative, and accepting it to be very, very important, too.

-- Jun

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