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Old 10-18-2004, 03:59 PM   #4
KPatton
Location: houston
Join Date: Oct 2004
Posts: 9
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Re: Different names for techniques

John:

I study at the Houston dojo under Shihan Karl Geis. I am Shodan, and my advice to you is don't get too bogged down with your comparison. I have a shelf full of books and am no clearer to understanding similarities between styles. There is a direct correlation with Tomiki, but a very tenuous correlation with other styles. For instance, Shiho-nage is the first throw
traditional Ueshiba style teaches because they employ about
a gazillion variations of it. We on the other hand don't teach it till well into the 23, (or 17 for you Tomiki people). I have found that Shihan Geis's method of teaching, that is, stressing that everything is dictated by Uke and that as Tori you need only blend and wait for a technique to present itself
so long as you keep the Uke unbalanced, is the key. Trying to force a technique like many other styles do, will only present Uke an opportunity to release off of your movement and change roles with you. You will find this out as you proceed into Randori. Remeber that the "techniques" you learn in class, the 23 or 17, are only the tools. A toolbox does not a house make. It provides you the means to build the house. The individual techniques provide you a basis of understanding how to execute a technique in it's strictest form, but in a fight nothing is ever so pretty. Ude-gaeshi can easily be performed with one hand if you out walk Uke and keep him off balance. Another warning, trying to execute techniques as described by other styles will play havoc with your Kihara. As Shihan Geis says, he who walks best will win. In many styles that use brute strength, amply illustrated in this forum by the ubuquitous use of such adverbs as "cranking" ones opponent, the Tori must stop and plant in order to deliver the requisite strength. This runs completely counter to Fugakukai, where kihara (constant movement) and kuzushi (off balance) are gospel. So careful not to retard your progression by exploring too far afield until you have sufficient understanding of those concepts to adapt techniques to them rather than ignore kihara and kuzushi in an attempt to bring them into your repetiore too soon.

Keith
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