Sunday, March 6, 2011

Chinto and Aikido 3

Since I began looking at the relationship between the movement of Chinto Kata and the art of Aikido last week a number of interesting relationships have been emerging.

I have been a long time supporter of the mutual inter-relationship of many arts. The more I look the more I make the case in my mind.

Today I'd like to look at the 180 degree turn close to the opening of Kata Chinto. Please cross reference Nagamine Shoshin's "The Essence of Okinawan Karate-Do" page 220, photographs 9, 10 and 11.

This is the section where you throw a right reverse punch, then turn back with a right low block while executing a left high block to the other side of the body (the term block's being basic descriptions and not necessarily definitive answers as to what's happening). Finally you spin 180 degrees to the right and
complete the movement with a left low block.

[Before I begin this, have any of you noticed a correlation between the hip motion in Nihanchi kata when you step across your own leg and the movement of the hips during this turn?]

First I'd like to refer to Usheiba Morihei's "Budo", in the section on Kokyu-nage page 94. Usheiba Sensei demonstrates a very interesting projection which parallels the movement of this section of Chinto. He does this as a defense out of seated (Seiza) position.

The Kokyu-nage refer to 'Breath Throws', and I would hasten to add I interpret this to mean that the timing of the breathing process as well as full body commitment are required to sell these movements completely.

I don't doubt that I am pushing the point that there is a parallel to Chinto Kata with his movements, but it is worthy of consideration. I would hasten to add, I don't believe I am capable of executing this technique myself, nor am I intending to add it to my student curriculum anytime soon. {footnote 1]

Second is my better example.

In "Aikido and the Dynamic Sphere" by A. Westbrook and O.Ratti, the Projection No. 10 - Sumi Otoshi ' or "corner drop" is based on the semi-curcular extension of your arms positioned beneath one…. Of the arms of Uke, as you guide him up and then whip him down onto the mat.' Page 277. The example on page 281 comes close to my idea how this may be applied.

In "Total Aikido - The Master Course" by Shioda Gozo I would refer you to page 156 the "Katate-mochi hiji-ate kokyu-nage ichi One-Hand Grasp, Hitting-Elbow Breath Throw" as descriptive of what I see in this section of Chinto.

In Omiya Shiro's "The Hidden Roots of Aikido - Aiki Jujutsu Daitoryu" on page 94 he describes and demonstrates the Tsuki-uke gyakujiji-nage.

To attempt to put all of this into my own words,

Uke's is attacking with a right punch while stepping forward with his right foot.

1. I step out to my left side into a horse stance and block down across uke's arm with my right low block, while striking back to my rear with a left high strike (for complementary power).
2. My right hand then rotates counter-clockwise and grasps uke's right wrist.
3. My right hand rotates uke's arm clockwise (bottom of the wrist up) as I step in
4. As I execute my spin, my left hand comes up under and stops in front of uke's arm to press it against my chest as the left hand chambers alongside my ear.
5. I continue the spin and execute the projection with my left arm pressing against the back of their attacking arm.

I strongly caution to either be light with the execution of this technique to avoid hyper-extending the elbow and damaging your partner's arm, or have an uke who will project themselves forward into a roll to avoid taking the damage.

Other Aikido applications suggest themselves here too, such as at 4. Bringing the left arm up on top of uke's right arm and using the turn and subsequent left low strike as an arm bar variation (in most Aikido terminology as an Ik-kyu locking movement). I'm not quoting the examples on this one at this time.

Study of many Aikido texts shows that there are many different way to enter an attack and still execute various versions of the same technique. If anything, this makes acquisition of multiple Aikido texts, as case study in themselves to demonstrate this point.

I hope this will stimulate further thinking on the possible inter-relationship of Chinto Kata and Aikido.

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