An excellent response. I shall take great care in future to avoid suggesting any assumptions on your part with or without my tongue fimly in cheek.
Larry Camejo wrote:
Back to kotegaeshi and kuzushi - I've encountered schools where the kotegaeshi starts with the normal forward kuzushi bringing Uke off balance forward to one side, and the twist is done taking the arm back towards the shoulder of Uke and past it to effect the throw, so his hand goes back in the direction from which his body just came, along the same line. Seagal did this in his "Aikido demo" at the beginning of Nico. Imo when one brings the wrist back towards and in line with the shoulder of Uke he infact negates the effect of the kuzushi that takes Uke off balance while moving forward. During the interval when the wrist is taken back towards Uke's shoulder and body Tori actually restores Uke's posture after having broken it a split second earlier. At this point Uke can effectively negate the technique by tai sabaki or muscular tension.
What do you folks think? The way we do it is to constantly move our body in the direction of the kuzushi while twisting the wrist, so the effect of the wrist twist on Uke's body is maintained but Uke is not restored to balance in the midst of it by Tori.
Just some thoughts.
I've also encountered issues where kotagaeshi is too linear and thus restores ukes balance.
Our methodology to cover this is to draw the wrist away from ukes centred position towards toris centre, drawing it down to the side, as we turn back to uke (assuming ura technique) we keep the wrist outside of ukes centre line and continue our spiral back to an imaginary third point behind uke rather than 'in line with the shoulder'.
We also keep the level of the kotagaehi at chudan/gaedan level to reduce risk of returning uke to upright posture.
For those that think in terms of spiralling energy the wrist/hand follows a spiral down and out of ukes centre then spirals up again before spiralling back down to the third point.
By using the spiral the control of balance is maintained and the opportunity for uke to lock up against a straight movement is reduced.
I think this is similar to your final suggestion?
Thanks again for reply.