Sunday, March 6, 2011

Chinto & Aikido 1

Note: This is literally a time trip how I tried to share what I was seeing 10 years ago. It may not be easy to follow but as a reference I believe it retains value.

Chinto and Aikido 1

I thought I'd begin my thoughts on Chinto and Aikido by looking at one technique.

It is my belief that referring you to available 'Chinto' texts and to 'Aikido' texts, we shorten this process.

[Language disclaimer. After a quarter of century of practice, I will mostly utilize English in my discourse, except where specific terms are discussed in a text. I most assuredly know nothing about how Japanese/Okinawan or other Oriental languages are used correctly. Especially after Joe Swift of Kanazawa
Japan graciously explained how I don't practice Gerri Wazza but instead practice Kerri wazza. I'm sure if I attempt otherwise you would find a lot of Gerri in my attempt. I strongly admire those whose practice includes strong language ties to their original instructors. [Mine was a former U.S. Marine so I am being traditional.] but as I look forward, I truly see English being the strongest future in my students studies.]

If you look at Nagamine (my choice as the kata source for this review) or Long and Wheeler (a standard Isshinryu (cheap) reference) for Kata Chinto you'll find the section I'm chosing.

Essence of Okinawan Karate-Do - Nagamine Shoshin Chinto Kata Pgs 223 and 222 pictures 23 - 26

Dynamics of Isshinryu - Long Howard and Wheeler Allen Chinto Kata Pg 81 pictures 19, 20 and 21

Beginning after the Elbow Strike, Nagamine shifts back into a back cat stance with both hands up before him. He then strikes back with both hands into two descending knife hand strikes. [in my Isshinryu Version, I drop back into horse stance with the two descending knife hand strikes]. Next Nagamine
steps forward with his right foot and as he pulls his two knife hands alongside his head..

This is enough of the kata movement to compare to one Aikido concept.

[Another of my notes. This is an incredibly rich section of Chinto Kata to find Aikido comparison, IMVVVHO.]

Of course comparing static Nagamine photographs to my own Chinto practice, I don't doubt there may be difference in timing, flow, etc, and the comparison to the Isshinryu Chinto (even though both are from Kyan traditions) may be only incidental, I still feel they may be overlaid with Aikido techniques.

To do this I'm offering a number of possible Aikido texts which I believe are showing the same technique. To do this wide open (not sticking to one text) you find different authors have different naming classification systems for what appear to be the same technique.

Rather than attempt a complicated explanation at this time, I'd like to suggest some of you check an example out, and we can begin discussing from that point. I believe you will find different movement in how the Aikidoka uses the Chinto movement, but with work I look forward to your observation in the

[Note on practice. Linking techniques from books is ok, but the practice floor is where you prove or disprove them. Many times it takes more work than it looks to put some of this into practice. Sometimes you don't like the results, sometimes you do.

Aikido Sources to Consider

Budo Usheiba Morihei Page 78 Yokomen-uchi

This text is difficult to use, as much isn't photographed and you have to supply a great deal of intrim movement to the demonstarted examples. In this one Usheiba Morihei is performing the technique from Seiza (on his knees), but I think it captures the essence of this discussion.

Aikido - Usheiba Kisshomaru
Page 48 - Irimi-nage (Entering Throw)

A good 'standard' example.

Aikido and the Dymanic Sphere - A. Westbroor and O. Ratti Page 241 Projection No. 1 - Kokyu Nage (20 year technique) Projection No 1 against attack No. 13

Note the difference in terminology. A good example.

Total Aikido Shioda Gozo Page 126 Shomen-uchi shomen irimi-nage ni (front strike: front entering
throw 2)

In my opinion this might be the best photographed Aikido text, clearly showing great detail I each technique. The photograph from above, captures the turning movement being demonstrated well.

Omiys Shiro - The Hidden Roots of Aikido - Aiki Jujutsu Diatoryu Page 62 Irimi-nage

This is such an interesting work I'm including his text for his irmi-nage for your consideration. Of course out of kindness to the author for drawing on this work, I suggsest you all purchase copies to repay him . You will note this text refers to a pressure point on the neck being worked, and it also defines that point further.

"Uke attemps a shomen blow to tori's head. Tori steps in with his left leg, receives the blow with his right hand -sword and then sweeps around to uke's right as shown. Tori raises his right hand and cradles uke's head in both his arms while pressing on the dokko pressure point on uke's neck (dokko den). Tori then steps forward on his right leg while bringing his right arm downward toward the ground to effect the throw."

"Dokko den
In the execution of irimi-nage it is important to control your opponent's entire body, and not just his head and neck. Pressing on the dokko pressure point on the neck just below the ear weakens uke's entire body, which means that he can be controlled and thrown."

- - -

Further Chinto / Aikido thoughts for Nagamine Chinto pictures 23 - 25

Aikido by Usheiba Kisshomaru Page 98 Tenchi-Nage (Heaven and Earth Throw)

The Principles of Aikido by Saotome Mitsugi Numerous examples such as page 65 Shomenuchi iriminage

A very good text with examples against many attacks

Takemusu Aikido by Saito Morihiro (Translated by Kimura I and Pranlin S) All of the Iriminage from pages 124 through 170

Incredible depth of variations

Finally I would like to try to explain the Sutrisno Tris example.

His Aikido training format was against the Right Foot Forward Right Lunge Punch. As part of his kyu karate training, the student would stand in the middle of a circle of attackers, who would attack one after another with focused punches toward the student.

The defender would shift, redirect the energy of the attacker and control or project them as the technique required.

[After years of practice and teaching the technique, one of my dans remarked how false the attack was. All of us could easily shift away, regardless of how hard the punch was. This caused me to reflect on his true statement. What I realized was most likely the real attack would be a likely grab (with a punch following). Training with punches forced us to work against a higher level of skill for better technique acquisition. Several years after this we realized all of
these defenses were most likely training against tanto (knife) thrusts. The shifting and style of energy re-direction really was keeping the knife away from one's body. All of which forces one to work harder. ]

Further update: everyone has to start somewhere. The opening technique study hs a great deal of additional work for realization.

Against the 5th attacker in the circle, the defense was to step forward, with your foot in front of their foot (to end up behind/outside their foot) and sweep both arms up and to your right rear as you were stepping in (just as in Chinto). Your left arm swept up rolling their punching hand over to the left side. Your right arm strikes into their neck (going from front to the back) which rolls their head counter-clockwise.

This head rolling, your leg beside/behind their leg, and your completing the turn counter-clockwise, robs their center and drops them on the floor, where you ride them down to your right knee.

In affect they throw the punch and finish looking up to the sky., and you flow through them. There are many variations of speed and angle of insertion of the body and arms. Fastest was a tjimande variation with a very flat double circular arm motion and body spin (all counter-clockwise). As In all of his techniques, correct use of the hip during turning was the key to selling the technique.

To show you how slow I am, I've been running these techniques for almost 20 years, and only last weekend did I see the cross-association with Chinto kata. IMVHO.

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