Рет қаралды 438
From www.rojodojo.com Warmed up with kihon using the hanbo. It is very important with any
hanbo kihon to use the full length of the stick. There is a tendency to
close distance, but the hanbo gives a distance advantage and the kihon
should use it.
I began class with 突き返し tsukikaeshi. This is like a riposte in
fencing. But I don’t parry the attacker’s sword directly. Rather it is
parried while I target specific kyusho. The sword gets caught in the
kukan and removed from the attacker in the process.
The waza starts with a one handed grip. But the second and third
strikes are done two-handed. And the distance advice I gave at the
beginning of class is required for your own survival here.
Next, to echo some ideas I learned from Hatsumi Sensei in Japan last
week, I switched to kusari fundo. Here my focus was on the 間 aida, or
intervals like skipping a stone across water. Because your distance is
critical, kyojitsu plays a large role in protecting you.
Hatsumi Sensei showed a way of striking with flexible weapons that
was new to me. Even after all these years, he still has the capacity to
amaze. Sometimes it is because I finally can see what he is doing, but
often it is just new. He wrote a scroll for me that captures this
quality: he did a play on words from 以心伝心 ishin denshin which is the
transmission of feeling and ideas from mind to mind. But the kanji he
used was a form of 会 to read 会心伝神 eshin denshin (knowing the teachings
of kami) or an encounter between your heart and the numinous.
Most of the students in class tonight just struggled with basic
footwork. Or their minds got caught along with the chain and tangled up
in the space. This is common feeling for all of us in Soke’s classes
too.
I moved back to the hanbo and released it into the aida. I literally
let it go so it was flying free. In this moment, the opponent floats and
can be caught like snatching a feather from the air. Then he falls as
surely as gravity grabs the stick.
Of Note: Heavy night air, light heart