Of
course finger tip thrusts to the throat, and technique making the neck revolve
are dangerous. That does not mean they can be used with care.
Originally
kata were never used for application studies. Things have changed greatly since
those days.
I
first heard of ‘bunkai’ from a Shotokan instructor. Who schooled me in his
training. Of course his use of the term, form his fathers studies in Japan in
the 1930s was a very different paradigm from what is used today, He also shared
his fathers aikido studies and family tjimande training in part. Not that I was
an expert but he did a serious job showing what was possible from his
teachings.
In
the aikido studies there were flowing thrusts into the throat as stop hits, to
make the opponent cease forward momentum, an opening for the aikido to follow.
I once used it on a skilled beginner. I invited him to attack me with his
spinning jumping crescent kick which he had been playing on his friends who
were novice beginners. I explained that I had been showing the principle that
night that could readily defeat him. He took the challenge and came at me with
that combination. I just moved into his
attack, and used the fingertip flowinsertion into his throat.
I
did not hurt him but he went flying backwards 20 feet to end up slamming into
the wall.
Had
I chosen to use a karate thrusting nukite, the result could have been quite
difficult, but I and my students learn the difference.
Now
working the neck is dangerous. For one thing I have a whole study of neck
choking/restraint techniques. Those from karate and those from the aikido
studies. Many of the aikido technique studies I use end with the neck being
immobilized. It is just a question of degree, if it was to be more.
Even
more efficient are the indonisian answers I have from tjimande. Care must be
used for training. But that does not mean we have to go soft. Rather we need to
recognize how we are applying the technique.
I
do not teach such things to beginners. Such studies only begin after Sho Dan,
as beginners have more important things to learn.
That
some movements are dangerous is part of the arts we study.
Knowing
when and how to teach them is part of the art involved.
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