Which technique are you currently on?

[Yari]

Originally posted by theletch1
Opal Dragon, great to hear that you went to the doc and got some piece of mind (no pun intended).

Back to the original topic of the thread. I was watching a video by Sensei Robert MacEwen jr. the other day and saw him do a combination of techs together that actually worked well for me in class that night. The techs were kodaigashi (sp) into shihonage. The premise is that you may encounter someone who is VERY flexible and a front wrist throw won't work. Simply remove the top hand from ukes hand and come from beneath his wrist with that hand, grasp the hand of uke and execute shihonage. Even the most flexible of ukes will go over on this one.

Sound good! I think I'll wokr on that one.

Annother one is a sankyo, that doesn't work. You release, and "push the arm down, going over to a shihonage.

Just as an input. In our style of Aikido the entrance for irimi-nage, kotegaishi, ude-kiminage, shihonage and higikiminage are the same for omote entrance. So you can "change" between them depending upon uke.

/Yari

 

[Nick Ellerton]

Five swords and loving it

 

[Yari]

Originally posted by Nick Ellerton
Five swords and loving it

Could you explain what "five swords" is?

/Yari

 

[theletch1]

Five swords is a kenpo technique against a punch. It begins by stepping into uke (irimi) with a double outward block to the punching arm. Shuto edge to the throat, rake the eyes as you cross step backwards, shuto to the back of the neck and upward shuto to the throat. If I remember my kenpo correctly from a year or so ago that is five swords. There is also a seven swords technique which is the same with a couple extra strikes... two more spear hands I think,,,, one to the eyes and one to the solar plexus.

 

[Nick Ellerton]

Jeff sorry mate but looking at the description you gave of Five swords there are a few things u said that are a little different to the way i was taught and the way it is written.

Straigt right or round right stepthrough punch. Right neutral bow stepping in. Double inward block. outward right hand sword, into right forward bow left finger strike to the eye. unwind into right neutral bow executing an uppercut to the solarplexus. rounding off the circle as you step to 4 30 and executing a left outward hand sword hoocking the back of the neck after the strike has landed fulcruming their head down as you utelise rotational torque executing a downward hand sword to the back of your opponents neck.

Thats howi was taught five swords briefly. But yeah it really does depend on who you were taught by. take care guys.

 

[Yari]

Sound pretty sound to me, but the termanology isn't known for me, which makes it difficult to understand(visualize).

/Yari

 

[MisterMike]

Five Swords is not an Aikido technique, which may explain a lot too

As for me, my last class was on Shiho-Nage variations. I never used to like that throw, but now I've seen just how many throws it can be -- OK, a sampling of the infinite number.

We primarily train in the Jutsu fashion, and for many of the variations, there is no ukemi, the arm is just broken where it is, or is broken when the uke is in flight.

 

[theletch1]

Five Swords is not an Aikido technique, which may explain a lot too

As for me, my last class was on Shiho-Nage variations. I never used to like that throw, but now I've seen just how many throws it can be -- OK, a sampling of the infinite number.

We primarily train in the Jutsu fashion, and for many of the variations, there is no ukemi, the arm is just broken where it is, or is broken when the uke is in flight.

I love this technique for just that reason...the flexibility of it's uses. If uke were to put up the same resistance in the dojo that you can expect on the street I suspect that quite a few of the techniques in aikido would turn into breaks right then and there. I had the impression that aikido was this gentle, meditative art and not any good for self defense until I began the study of the art first hand. I have to say that my impression was wrong. This can be a very devastating art when applied with force and intention.

I posted in my earlier post that the tech I was working was kodegaishi into shihonage when I should have posted that it was nikkyo into shihonage. Sorry for the mix up. We don't use japanese names for the techniques in NGA so I have to refer to a list that I have when discussing this with folks from the traditional styles. My apologies for any confusion. :asian:

 

[MisterMike]

I agree. Many people do not know the roots of Aikido as most Aikido schools are just that, -Do schools. If you ever get to practice Aiki-Jujutsu, or Ju-Jutsu, you will see the similarities and family groupings between the two arts and learn how Aikido can become a "hard-style" art.
:asian:

 

[theletch1]

I agree. Many people do not know the roots of Aikido as most Aikido schools are just that, -Do schools. If you ever get to practice Aiki-Jujutsu, or Ju-Jutsu, you will see the similarities and family groupings between the two arts and learn how Aikido can become a "hard-style" art.
:asian:

I practice Nihon Goshin Aikido and was having the discussion with my sensei after class the other night that often times this art does seem to be a bit more of a -jutsu than a -do. This was very evident the other night during the multiple attackers lines that we were doing. I have a kenpo background and a lot of times that just kinda pops out during multiples as I will engage one uke and while sending a kick to the seconds kneecap or add in some other bit of atemi that you don't usually associate with aikido. The NGA style derives from daito ryu instead of traditional style aikido and as such may indeed be something of a misnomer as a -do vice -jutsu. I'm gonna have to dig a little deeper with some of the seniors in the art now to figure out why we went with the -do. I'm fine with others thinking the way I thought in the beginning though. I enjoy being underestimated.

 

[babaker]

Hey Robyn ... don't mess around with your head, if an injury causes dizzyness, something is not right.

I know, because I have been diagnosed with something called Meniere's disease, but in finding the causes of this deteriorating balance, head ringing noise, and malaise, I have let it go for way too long and now I must modify everything the moment I lose what little balance I have. It really makes it a pain to not be able to let people throw me, or do a complete technique, but it sure saves on the mileage. Sometimes is it just better to sit and watch until the injury heals before something else causes an even more severe injury.

I have had three or four MRI's and they say there is nothing in my head, or at least no disease or injured parts that can be seen in the pictures, so nerve damage and organ damage is the cause of my dilemma. Which brings to mind liver damage that might also be the cause of dizzyness, and head ringing, something overlooked in western medicine.

Don't be afraid to ask questions about all and any other causes for dizzyness. Many cases of meniere's are treated by not just diet, but by proper nutrients and additional herbs or additional vitamins, but salt seems to be a big factor, as does water retension.

As for the thread subject ... hmmm ... we usually stick with a them that uses the omote or ura versions of a technique, and if the students are not all beginners, we get some kneeling/ waza going also.

For the most part, when the beginners get some confidence in irimi/entering throws, and kokyunage/ breaththrows we move on to kotegaeshi/ wrist twist, ikikyu for beginners and nikkyu into a pin and arm bar for the more experience practitioners.

Lately though, we have been doing more Sankyo and Yonkyo, not much Gonkyo as not everbody can do the pressure points right.

Still, somehow, we work in Bokken and Jo, but that too depends on how the class is doing with safely practicing the hand to hand, but ya never know for sure when we will do five or six variations on the same technique, or just start from one position keeping a theme for the class.

Personally ... I would like to get a group together and work on the pressure point knockouts/ submissions already in Aikido but selfdom used, or known.

Anybody want to work on this aspect of Aikido hidden right out in the open?

 

[theletch1]

Pressure points are something that I worked a good bit while doing kenpo but haven't seen much of in my aikido training. It may simply be that I haven't reached that stage in my training. I've used some of them that I learned during kenpo in attack lines during aikido training and they work well. Throw some info out here so that we can all enjoy it and so I can try a little bit of it out during training.

 

[Aikikitty]

Thanks for your concern Babaker. I think I'm okay now. I've been back in class like normal for 2 weeks now and everything seems to be okay. I'm sorry that you have that disease!!!! It sounds like a big pain but I admire you for continuing your training! :asian:

Pressure points is something that 2 of my senseis (and another student who's a black belt in another art who knows a lot about it) has been working on trying to teach me lately. There are so many to remember so they're only starting me out with a few. I think they are neat and I like them but I need a lot more practice because I still forget exactly where they are. We do use atemis while practicing--not too hard but enough to get used to doing it with the motion and for uke to feel it. I'm trying to remember to use atemis but also to try to do them in the right (point) places that I'm working on.

There must be a good website somewhere with a pressure point diagram. I know they are books about it but I don't want to spend my money. If anybody knew of one, please post it as I would be interested in seeing it.

Robyn :asian:

 

[Yari]

There are many pressure points in Aikido.

But most schools doen't teach them, and I think it's because a lot of theacher say that Aikido should be felt, and when you put in a pressure point, the flow gets disrupted, and you have to change your technique. So in that sense you would never be able to do your basics if you do your pressure point.

But coming from Jujitsu, I find that the pressure points are easliy found. But hard to administrate.

/Yari

 

[theletch1]

Hit the proper pressure point and uke will most certainly "feel" the aikido. :uhyeah: There are so many pressure points on the human body that using them in conjunction with technique should not really be a huge problem if enough time and effort is put into the idea. Manipulation of the elbow is significantly easier if you tag the pressure point along the inside bend of the elbow, so there's one. Some applications require a somewhat hard outward block to ukes punching arm, strike the radial nerve during that block and the hand can (if hit hard enough) no numb for a moment, so there's another. What others have ya'll encountered that just seem to fall into place?

 

[Chicago Green Dragon]

Jeff

Have you ever looked at George Dillmans Pressure Point work.

In one of his tapes. I think it might be his 75 fav pressure points. He has an aikido practitioner perform a pressure point knockout.

Chicago Green Dragon

:asian:

Hit the proper pressure point and uke will most certainly "feel" the aikido. :uhyeah: There are so many pressure points on the human body that using them in conjunction with technique should not really be a huge problem if enough time and effort is put into the idea. Manipulation of the elbow is significantly easier if you tag the pressure point along the inside bend of the elbow, so there's one. Some applications require a somewhat hard outward block to ukes punching arm, strike the radial nerve during that block and the hand can (if hit hard enough) no numb for a moment, so there's another. What others have ya'll encountered that just seem to fall into place?

 

[Yari]

What other pressure points.

In Irimi-nage, pressure pints in the neck/under the ear.
There's always yonkyo, both on the wrist, or leg.

Then theres shihonage, were you can set pressure on with the tumb in the elbow.

THere are alot, one has just to remember that pressing the point has to emphesize the movement, and not work against it.

/Yari

 

[Shogun]

Should the foot turn a once, or is there a slight movement forward first? Right now I believe the later....

As far as I know, you are correct. I practice it with a slight forward movement, followed by a foreward step, then the almighty tenkan.

for Technique, I am working with Ai Hanmi Katate Tori Irimi Ura Nage