Re: Hand Work
I certainly use my hips and legs to position myself properly in both space and time. Timing is obviously a big deal if you want to avoid having to do a bunch of work against the attacker's power. I spend a lot of time working on trying to play with the uke's "targeting system" and then moving to a new line/angle when it seem like the uke is pretty commited to a direction (there is a point in walking/running/etc when you just cannot unstep).
I also tend to recieve the attack with my arms maybe just an inch or two before they "lock" (I need a better word for that!) into a more more obviously connected place with my center, and then almost attack the uke a bit (to an extrememly small degree) with center moving my arms - like in rowing - to get the uke to really apply themselves to the direction I'm about to blend with AS I continue the same overall movement (macro movement) a bit moving almost exclusively from my hips/legs.
Setting up a good blend, where both uke and nage are both feeding energy into the overall movement is critical to my way of thinking. I claim that if you are in the right place, doing the right thing (like setting up the optimal connection/blend) you just don't need to worry so much about being able to do things like resist 3 people pushing on the tip of an extended jo-staff. Of course that much power is cool at parties and would certainly help in a "plan b" situation, but I'd rather concentrate on blending and setting things up well for "plan a". I do accept that this kind of movement to set up the blend might be a similar kokyu type power to resisting the push or many in an almost superhuman way, but I see no point in dwelling on that kind of resistance power. (-- unless you've invested so much time or have established too much ego attactment to one perspective that you can't look at the art clinically as a job that needs to be done right as another has commented.)
I think the "ura" version (I guess) of tenchi nage (where you bring uke around you as opposed to going past them at an angle) demonstrates this point well. In that case, you need to set things up such that the uke doesn't feel they can let go and punch you in the head.
Last edited by rob_liberti : 03-29-2005 at 12:52 PM.