Re: Correct Feeling
The tricky thing with determining what correct feeling is the biased analysis (us as nage) that comes with it.
When you're doing a technique for example, you're thinking to yourself that you are relaxed, calm and doing the technique correctly. Yet when you ask your ukes or sensei, they would beg to differ. For them, you are still stiff, muscling through and forcing the technique. So what is "relaxed" to you, others would disagree. It leaves you confused and disillusioned. I still struggle with the concept of relaxation but have just started to understand how it works.
The simplest analogy I can think of is that the body is like a line of falling dominoes with one end of the line as a body extremity (eg wrists, head, etc) and the other extremity as the center or hara. As with the falling dominoes game, you should not have broken links in the line otherwise, the end tile won't topple. A technique is similar to the game of falling dominoes where the challenge is to "connect" a body extremity to the hara. Any broken link in the technique will make it useless.
You can use the above concept for both nage and uke but in opposite ways (yin-yang).
Nage's objective is the connection generated from his hara to the extremity when initiating the technique. On the other hand nage is also trying to connect with uke from uke's attacking extremity to the hara (uke). You need to complete the "circuit" to make the technique work, hara to hara.
Although the concept of relaxation is still vague to me, the above is my guiding principle. I will therefore not be "relaxed" if there are "broken links/broken circuit" in the technique. We may have been told a million times not to use the shoulder since this will force the technique. This is because we need to initiate movement from the center first which is the broken link. What this means is that we initiate the technique from the shoulder when it should be from the hara. What's comforting is that broken links do manifest themselves in nage and uke's responses to the techniques so its easier to analyze. So probably understanding correct feeling is to understand the "circuit" by observing uke's responses.
Probably a strong evidence for you getting "correct feeling" is if you can do the technique with almost any body morphology getting the same response from ukes, from the strongest, tall, short, sturdy, flimsy to the clumsiest but it will take a lot of time to validate this. If you can do this you are starting to make progress IMHO.
Last edited by Mario Tobias : 10-08-2011 at 05:43 AM.