tag:blogger.com,1999:blog-25420533951298328812024-03-21T18:44:42.454-06:00Oyata Te A reflection of the teachings from Taika Seiyu Oyata. Unknownnoreply@blogger.comBlogger8125tag:blogger.com,1999:blog-2542053395129832881.post-8761642725805693792018-01-24T14:56:00.000-06:002018-01-24T14:56:05.952-06:00Arm-Bar Application 5<div align="LEFT" style="margin-bottom: 0in;">
<b><span style="font-size: large;">Arm-Bar
Application</span></b></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">This is the second “combination” technique that we
teach to our student's. This is a <i>simple</i>, but often
<i>miss-</i>applied technique. This combination teaches the student
the <i>correct</i> manor of application and enactment of it's use.
Although many students have seen the technique (and may very well
have utilized forms of it) this will describe the details of it's
application. In this explanation, we will use the uke's Right arm for
the (following) <i>example</i> of it's application.</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><b>Establishing Initial Placement</b>
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">We will start with the tori holding the uke's Right
wrist, while standing slightly behind, and to the Right of the uke,
using the hand <i>furthest</i> from the uke's body (in this example,
the tori's Right hand). It needs to be mentioned, that when the tori
takes hold of the uke's wrist, the tori should make note of the 2
bones of the uke's forearm (the ulnar, and radius). Using the grip
(using only the thumb and fore-finger) of those two bones, allows for
the tori to rotate the arm and then be conscious of the <i>possible</i>
directions that the uke can/can't bend that arm's elbow
(additionally, the tori will then be aware of <i>which</i> direction
is <i>against</i> the elbow and how the Uke is/isn't able to bend
that elbow). The tori's (closer) Left arm, will lay the side/back of
<i>that</i> wrist, against the lower tricep tendon of the held arm
(by placing it <i>slightly</i> above the elbow, on the <i>dorsal</i>
side of the arm). In addition to the forearm's placement, the <i>elbow</i>
of that same arm (the tori's Leftt arm), will lay against the uke's
<i>back</i> to provide additional <i>feed-back</i> (on any <i>resistive</i>
motions the uke may attempt) and/or to apply any required pressure
there.
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<b><span style="font-size: large;">Enacting
the “Break-over”</span></b></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">After taking hold of the uke's wrist, the Tori will
begin with motioning that wrist in a circular (in this instance
"counter-clockwise") action. The motion will first move the
uke's arm <i>forward</i> (to the front of the uke), then motion it
towards the opposite side of the uke, and then be "pulled"
back (in a small <i>circular</i> motion). During this <i>circular</i>
action, when the arm begins to be pulled <i>back</i> (<i>towards</i>
the uke's right side), the tori's Left arm, will <i>roll</i> the
uke's tricep muscle tendon <i>towards the front</i> of the uke. As
this begins to cause the uke to lean forward, the tori will <i>lift</i>
the hand being held with their <i>own</i> Right hand, straight up, in
front of the tori. This lifting action, is pivoted off of the tori's
Left forearm(acting as it's pivot point/fulcrum). The motion should
NOT be attempted to <i>only</i> be accomplished by forcing/striking
with the Left arm (in <i>this </i>example)
down/forward (nor <i>ever</i>, from <i>striking</i> the back of the
uke's arm). The pivot point/fulcrum, is <i>only</i> to act for that
purpose, and not utilized in an attempt to <i>initially</i> force the
person down. The raising of the wrist is what will achieve this
purpose. Once the uke has been <i>bent-over</i> (at the waist), <i>then,
</i>the tori's Left forearm can be used to apply <i>additional</i>
pressure to the uke's tricep tendon (to assist in lowering the uke to
the floor).</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><b>Take-Down</b> Methods</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Once the uke “breaks-over” (and their knee's are
"buckled"), it will be necessary to take them to the
ground. There are several methods to accomplish this. The “first”
(and most obvious) is to apply pressure to the back of the uke's arm
(slightly above the elbow (this is actually applying pressure to the
tendon of the tricep muscle). By varying the angle of that pressure,
it's possible to direct the uke's direction of break down.</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">If the situation necessitates it (if the Tori is
experiencing difficulties), Tori can additionally <i>knee spear</i>
the uke's thigh, in order to achieve the "knee-<i>buckle"</i>
response (by the uke). Once that is done, the tori can apply pressure
to the upper back of the uke's arm while dragging the uke <i>sideways</i>
(to force them off-balance).
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">It's also possible to direct the uke <i>upward</i>
(initially) from rolling the uke's tricep muscle towards the uke's
back, and continue <i>circling </i>this pressure around the uke's
arm, until the uke is <i>raising up</i> (to stand on the ball's of
their feet in order to comply with the applied pressure), this should
only be maintained for a (<i>very</i>) short period of time, before
<i>reversing</i> the applied pressure, forcing the uke to the ground.
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">In extream circumstances, the arm-bar's pressure can
be <i>reversed</i> (using the “held” hand as the fulcrum point
and applying pressure to the upper arm to accomplish a take-down.
This method tends to be dependent upon <i>physical strength</i>, so
should ONLY be attempted for <i>comparison</i> reasons (preferably,
only in a class environment).
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<br />
<div align="LEFT" style="margin-bottom: 0in;">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2542053395129832881.post-51609740433415944522018-01-01T20:56:00.000-06:002018-01-01T20:56:03.227-06:00Double Forearm Strike 4<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><b>Double
Forearm Strike/Shoulder Lock </b>
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">This is the first motion (that is <i>initially taught</i>)
as being <i>side dependent</i> (ie. It makes a difference whether the
uke strikes with the <i>Right,</i> or the <i>Left</i> hand). The
description is identical, except the applied technique will
require/consider which of the tori's hands will be considered either
the <i>forward</i>, or <i>rear</i> hand (during technique's
application).
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">For this explanation, the tori's Right hand, will be
considered to be the dominant side, with the Left being the
non-dominant side.</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Practice of the motion begins with the tori and the uke
standing “face to face”, at an arm's length distance from each
other (confirmed, by the tori placing his hand on the shoulder of the
uke to establish proper practice “<i>distance</i>”).</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Practice is began with both parties having their hands
at their sides. When the uke begins their (<i>Right</i> <i>hand</i>,
in this example) strike motion, the tori should motion their
<i>same-side</i> hand <i>straight up</i> , until the forearm is
(<i>essentially</i>) <i>vertical</i>, and continues in an <i>arcing
motion</i> (medially) across and downward ( <i>parrying</i> the uke's
strike with it's motion), towards the opposite side, moving the
striking hand towards waist level. The
tori's<i> other</i> hand, should be raised to strike the uke's
(striking) arm above their elbow.</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Contact is made
slightly above the elbow (causing the uke's arm to <i>bend</i>).
The tori's (initially) "parrying" hand, will motion the
uke's parried hand, towards the uke (thereby moving the uke's
previously <i>parried</i> hand towards themselves) which <i>aids</i>
in bending the uke's arm (using the tori's <i>forward</i> hand as a
<i>fulcrum</i> to do so). The tori's rear (closest to themselves)
hand will continue with it's motion by releasing it's contact with
the parried forearm, then<i> raising</i>, until that hand can <i>wrap</i>
behind, and <i>above</i> the uke's (originally)<i> punching arm's
elbow</i> (enacting an <i>elbow-lock</i> on the punching arm). As
this is accomplished, the tori will withdraw their Right arm (which
can be utilized for various optional (applications). As the tori's
forward hand is <i>withdrawn</i> from the uke's punching elbow (and
<i>replaced </i>by their <i>Left </i>hand),
it will <i>circle</i> the uke's elbow (<i>upward</i>, and being done
on the tori's side of the captured uke's arm) and tori has the <i>option</i>
of <i>either</i> following up with <i>assisting</i> the<i> elbow-lock
</i>(which should <i>now</i> be <i>in place</i> to do so), or with
executing a <i>Neck-strike </i>to
the <i>Right-side</i> of the<i>
now exposed</i> uke's neck.
To enact the "elbow-lock", the tori need only raise their
own left elbow (creating pressure upon the uke's shoulder joint).
This action will cause the uke to bend forward, and allow the uke to
motion their body to cause the uke to colapse (to their knee's).
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Note should be made of the uke's responses (<i>body-motion,
knee-buckle etc</i>.) in <i>reaction</i> to the application of the
technique.
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">If the tori placed their "wrapped" hand
(instead of being correctly "above" the uke's elbow, has
located it closer to the uke's <i>shoulder</i>, the tori should
utilize their free hand, and drag the hand down closer to the uke's
elbow. Doing so, does several things. First, it correctly positions
the hand, second, the dragging motion activates nerves that assist in
relaxing, and bending the uke's elbow.</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Though initially practiced as a "side-directed"
motion (Left or Right), the motion can remain to be a viable
defensive response.
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">If the uke's arm motion is<i> reversed </i>(and were
<i>mistakenly assumed</i> to be the uke's use of the <i>Right</i>
arm, and they<i> instead</i> utilized their<i> Left arm</i> to
perform the strike), the tori's defensive application is (<i>initially</i>)
executed slightly different.</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">The tori's arm motions <i>begin</i> the same as before,
but (having <i>realized</i> the <i>mistake</i> made) the tori's Left
hand (now) motion's towards the uke's <i>mid-section</i>, performing
a downward (<i>shuto-like/side-slap</i>?) <i>scooping</i> strike to
the the uke's solar plexus region. The tori's Right hand, motions <i>up
and forward </i>(thereby)
creating an fprward<i> parry </i>(to <i>only slightly deflect</i> the
uke's <i>now</i> striking Left hand). The tori's Right hand should
then <i>circle</i> the uke's Left (striking) hand/arm (which will
motion that arm <i>downward</i>, and <i>across </i>the tori's body)
to the tori's Left (lower) side. The tori's Left hand <i>should </i>have
(during this transition) <i>grabbed</i> the uke's <i>Left </i>wrist,
while their Right hand motioned (<i>circled?</i>) to a vertical
attitude (as it was when first beginning <i>the parry</i>), which
should have placed the <i>back</i> of that hand's arm, against the
uke's lower tricep muscle's tendon (into a standard <i>arm-bar
</i>application).
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Once <i>both</i> parties are confident with the actions
being learned, then the tori will include a <i>straight</i> kick in
combination with the beginning motions, or prior to a take-down
attempt.. Doing so, will (often) amplify the effects of the uke's
body motion, and/or the applied technique (depending upon the timing
of the kick's application).
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">There are multiple <i>follow-ups</i> available, and
student's should be encouraged to experiment with discovering “what”
would work best for them (be it <i>Tuite, arm-locks</i> or <i>strikes</i>)
for use in varying circumstances.
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Practice (as always) should begin at a <i>slow</i>
speed, until the tori is confident with the required actions, and the
uke is made <i>aware</i> of the tori's <i>planned actions</i> (to
assist in <i>preventing</i> accidental injury) Practice speed can be
increased, so long as <i>both</i> parties are comfortable with doing
so.
</span></div>
<br />
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">It should be remembered, that the <i>primary goal </i>(of
<i>any</i> defensive action) is to <i>first</i>, prevent the user
(tori) <i>from being struck</i>. We have student's practice these
techniques to familiarize them with the various (<i>options available</i>
for) possible responses and that may be applicable to them. <i>None</i>,
are necessarily any better, than another. Individual circumstance,
and comfort of execution should determine a student's preference. </span>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2542053395129832881.post-11702113786243652402017-12-28T14:40:00.001-06:002017-12-28T14:40:53.050-06:00Raising Hand Parry 2<div style="margin-bottom: 0in;">
<span style="font-size: large;"><b>Raising
Hand Parry</b> (Single and 2-hand)</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">This
motion initially has a single hand raising (Palm-Up) to shoulder
height, rotating to (Palm-Down) motion towards the center-line and
lowering until it is again at waist level, and continuing downward
until once again in-line with the shoulder (though now Palm-Out).
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">The
2-hand version of this motion has numerous interpretations. It can
represent a 2-hand push defense, a single-hand "trap"
(upon the tori's chest), or as a pre-contact situation where the
aggressor's (single or dual) Pushing hand is "caught" prior
to reaching the defender's chest.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">The
second half of the motion can represent an abdominal "flick"
(causing the aggressor to retreat their hip's) and/or represent the
completion of one of the prior motions.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">When
the student includes rotation with (any of) these actions, it will
modify (as well as include a level of practicality to) those
motions. Footwork and over-all body positioning will effect the
practicality of the instructed motions. There are no techniques that
do not include a degree of "entire body" application to the
instructed motions.</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">Each
of these defensive motions will be individually addressed and
practiced by the student.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="color: black; font-size: large;">
<b>Parry (capture)/Straight
Kick/Neck Strike</b></span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">This technique is another
<i>expansion</i> (variation) of the <i>Rising-Hand</i> <i>Parry/Strike</i>
combination.</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="color: black; font-size: large;"> Practice
of the motion Begins with the tori and the uke standing <i>face to
face</i>, at an arm's length distance from each other (confirmed, by
the tori placing his hand on the shoulder of the uke to establish
distance).</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Practice
is began with both parties having their hands at their sides. When
the uke begins their strike, the tori should motion their <i>weak</i>-side
hand straight up (raising the arm at the shoulder, until the hand is
at the shoulder level, and continues in an arcing motion down
(ideally, <i>parrying</i> the uke's <i>intended </i>strike with it's
motion), and across the tori's body, to the student's center-line and
continuing to tori's waist level. The tori's <i>strong</i>-side
forearm should cross the body <i>low</i> by crossing and raising to
the inside of the <i>weak-side's</i> hand motion.</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">These Two
motions are done <i>together</i> and either in conjunction
with, (or slightly <i>before</i>) performing a <i>Straight</i>
kick. This kick has the potential/probability of causing the uke to
lean <i>forward</i>, which in turn, assists the tori in the follow-up
<i>Neck Strike</i> (done with the tori's <i>Strong</i>-Side Hand).</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">There are
multiple <i>follow-ups</i> available, and student's should be
encouraged to experiment with discovering <i>what </i>would work best
for <i>them</i> (be it <i>Tuite</i>, <i>arm-locks</i> or <i>strikes</i>)
in varying circumstances.</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="color: black;"><span style="font-size: large;"><br /></span></span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="color: black;"><span style="font-size: large;"><br /></span></span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="color: black;"><span style="font-size: large;"><br /></span></span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="color: black;"><span style="font-size: 15pt;"><br /></span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2542053395129832881.post-48734390041406657182017-12-28T14:40:00.000-06:002018-01-01T20:55:36.911-06:00Parry/ Forearm Strike-Neck Strike 3<div align="LEFT" style="margin-bottom: 0in;">
<b><span style="font-size: large;">Parry/
Forearm Strike-Neck Strike</span></b></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">This motion introduces the student to <i>deadening </i>of
an aggressor's <i>striking arm</i> (via an <i>atemi </i>strike)
and additionally includes a <i>neck strike</i>. If the uke has any
preexisting neck <i>injury</i> or <i>soreness</i>, practice of this
technique should not be attempted.
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Practice of this combination (as with the majority of
others) begins with the tori and the uke standing <i>face to face</i>,
at an arms length/distance from each other (this should be <i>confirmed</i>,
by the tori placing his hand on the shoulder of the uke to establish
proper practice <i>distance</i>).</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Technique practice is began with both parties having
their hands at their <i>sides</i>. When the uke begins their strike,
the tori should motion their <i>near-side</i> hand <i>straight up</i>
(bending at the elbow, until the (<i>open</i>) hand is (essentially)
<i>horizontal</i>, and (only) <i>contacts </i>the
aggressor's striking arm (acting as more of a inward/outward
<i>parry </i>than a strike).
This should be done in conjunction with the tori <i>rotating</i>
(their hips and torso) to <i>face</i> the approaching strike attempt.
The tori's <i>counter</i>-side hand motion is performed in
conjunction to the initial hand's parrying action (and <i>additionally</i>,
in case the <i>initial</i> hand's motion should <i>miss</i> the uke's
strike, can provide an additional "cover"), crossing the
groin, waist, chest and face, and continuing until it is <i>vertical</i>.
That hand (once becoming<i> vertical</i>) continues forward, and
downward ,striking the uke's forearm, (with the intent of <i>numbing</i>
it) utilizing the <i>back(dorsal)</i>-side of their forearm to strike
the top of the uke's (striking) forearm with. Should the tori's
same-side hand <i>miss</i> it's initial deflection of the striking
arm, the secondary hand should be in position to strike/deflect the
aggressor's arm, providing a minimal level of deflection itself. When
applicable, the initial forearm strike should be immediately followed
by the tori striking the same side of the uke's neck (i.e. if the
uke's Right arm is struck, then the Right side of the Uke's neck
should be struck).
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">A variety of follow-up striking methods are available,
and students are encouraged to experiment with them until they
discover which are more comfortable/practical (depending on
individual situations).</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">In
the event that the uke utilizes the arm<i><b>
</b></i><i>opposite</i><i><b>
</b></i>(from
the tori's <i>parrying</i>
hand/arm), the tori's (initial) parrying hand will not have
sufficient <i>reach</i>
to parry the attacking limb of the uke. For this reason, the tori's
dominant hand will <i>still</i>
perform it's initial (outward) striking action, in conjunction with a
rotation away from the strike. As this strike is being done, the
tori's initial hand <i>modifies</i>
it's motion to be utilized as a <i>downward</i>
(open-handed) strike to the mid-section (solar plexus) of the uke.
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Though <i>able</i> to be used as shown, this strike is<i>
usually</i> done with emphasis being on using the <i>edge</i> of the
hand, and <i>scooping</i> in a forward and downward manner.</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">At the same time, as the Right hand complete <i>it's
outside </i>parry, it will then <i>circle</i> (over the top of) the
uke's striking Left arm, further parrying it (across the tori's
front) forward, which will motion the strike rearward and/or
downward, while the tori rotates his body position towards the
(actual) striking side. The tori's arm should be extended maintaining
<i>consistant</i> contact with the uke's striking arm while doing
this. Once the tori's hand/arm is extended, The tori's arm will
<i>rotate, </i>so as to parry the
uke's arm towards the opposite side. Simultaineously, the tori's
<i>other</i> hand has (if
possible) completed it's strike, it then retracts to grasp the uke's
(striking hand's) wrist (which was motioned to that side, by the
parrying hand (as described above). With the tori holding the wrist
of the uke's striking hand (with the opposite side hand) the tori
will enact an <i>arm-bar</i>
using the near-side's <i>forearm</i>
(placed as defined elsewhere). This motion (the “arm-bar” ) can
be supplemented with either a neck strike (of several <i>optional</i>
forms/locations) or can be utilized to (only) apply <i>controlling</i>
(point) applications.</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<br /></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">These two arm motions (and strikes) must be performed
as quickly as possible (with as little time-lapse as possible between
them). The uke's response (to the initial forearm strike) will cause
them to bend at the waist, towards the impacted arm and withdraw that
stricken arm, turning that side away from the tori (allowing only a
short amount of time to be able to strike that <i>same </i>side of
the uke's neck).
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">If/when the uke chooses to utilize a "high"
(wound up) strike (commonly achieved by initially pulling thier
striking fist up or behind their own shoulder prior to projecting it
forward) for the tori to strike the aggressor's forearm it then
becomes somewhat impractical. This commonly occurs if/when the
aggressor attempts to deliver a "Hay-maker" (or "Hook"ing
punch). In that circumstance it would be more practical to strike
the aggressor's bicep (of their striking arm). The combination of
their upper arm's forward motion in combination with the tori's (own)
forward strike will make this strike more efficient. The previously
practiced "follow-up" strike (to the Uke's neck) can still
be attempted, though the practicality of doing so may be impaired by
the uke's (physical) response from having performed this particular
strike.
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">By (the Tori) having performed a <i>straight</i> punch
(upon the uke's arm), it is easier (for the tori) to have directly
withdrawn their strike, therefor the performance of a
<i>straight-</i>strike/punch (in stead of "sideways"
strike) to the uke's neck would be more practical in that
circumstance. Much of that decision will be based upon what
"footwork" the student will have utilized during the
delivery of the initially used motion.
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Additionally, it is not uncommon for the uke to bend
one, if not <i>both</i> knee's (in an effort to establish their own
stability) The neck strike will slow the uke's rotation, and <i>usually</i>
will cause a <i>knee-buckling response </i>(of it's own), in
conjunction with a retreating action (away from the tori) depending
on the direction of the neck strikes impact. These strikes should
only be done with <i>light</i> to <i>moderate</i> impact during class
practice (to prevent injury to the uke). The result/reaction from
these strikes, amounts to a <i>numb</i> arm and <i>moderate</i> light
headiness (when performed lightly) upon the uke.
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">As the student becomes more adept with this techniques
execution, the addition of a <i>kick</i>, will add/create
modifications that will need to be practiced with, before their
application to/in an <i>actual </i>defensive situation. Depending on
which leg of the aggressor is struck, different reactions, timings,
as well as any possible <i>follow-ups</i> may, or <i>may not</i> be
applicable.
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">Practice (as <i>always</i>) begins at a “slow”
speed, until the tori is confident with the required actions.
Practice speed can be increased so long as <i>both</i> parties are
comfortable with doing so.
</span></div>
<br />
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;">There are multiple <i>follow-ups</i> available, and
student's are encouraged to experiment with discovering what would
work <i>best for them</i> (be it Tuite, arm-locks or strikes) in
varying circumstances.</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br /></span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><br /></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2542053395129832881.post-64575667893535362142017-12-27T18:40:00.000-06:002017-12-27T18:40:44.063-06:00Extended Arm's Defense<div style="margin-bottom: 0in;">
<b><span style="font-size: large;">Extended Arm's Defense </span></b>
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"> This motion entails the
student/defender (Tori) extending the arm on the same side as the
aggressor's (Uke's) arm that is attempting to strike the Tori. The
Tori should raise the arm directly, using the <i>shoulder</i> to
motion the hand (<i>not</i> the elbow). This is the most efficient
(and fastest) way for the Tori's hand to achieve this positioning.
(Initially) whether the Tori's hand is raised to be on the "inside"
or "outside" of the aggressor's (Uke's) striking arm is
irrelevant. In either event, the Tori will "rotate" to face
the threating action (in this case the "striking arm").
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">If/When the Tori's arm is raised to be
on the "outer" (radial) side of the aggressor's striking
arm, the Tori will rotate their (entire) body to "face" the
opposite side of the Uke (the Uke's other/non-striking arm). When
doing so, the Tori will motion their extended arm in conjunction with
that "body-rotation". This means that as the student
rotates, their extended arm remains directly in front of it's
shoulder-joint.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">This will motion the Uke's striking arm
to the middle (if not opposite-side) of their own body.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">This motion is initially practiced
using either side (Left/Right Arm's) in regards to the Uke's striking
arm.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">Once the motion is understood, the
Tori's 2nd arm (initially) is motioned towards the opposite-side of
the student's body (crossing in-front of and thereby protecting the
groin area). Pivoting at the elbow, the forearm is rotated to a
vertical position and is then extended forward (commonly in the
manner of a strike). These 2 motions are practiced in unison to
create a defensive action that can provide protection for the entire
torso. Though initially practiced by either arm being extended (with
the other arm remaining close to the student's body), the student
will commonly find that one-side will become their preferred manor of
performing the defensive motion. The motion can easily be utilized to
protect the Tori from a strike delivered by either of the Uke's arms
(regardless of which arm the Tori prefers to be the extended arm).</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">Once the basic motion is understood
(when utilized in either a Left or Right manner), the student will
practice defending against a strike delivered by the Uke. The student
should initially only use one-side (manner) of motion to practice
until the motions are understood. The student can then practice using
the other-side (arm). This additionally refer's to the Uke's striking
arm (practice against 1 side at a time until that motion/defense
application is understood).
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">Oyata commonly taught the concept of
"Hand's before Feet". This saying becomes relavent when
practicing this application. This is a "natural" occurrence,
<i>not </i>one to strive for. The Tori need only focus on performing
the desired "Foot-Work" (the hands will more commonly move
to their greatest speed on their own). The accuracy of those motions
improve with repeated practice (a "common" theme). When the
Uke begin's their strike, the Tori will perform a "switch-foot"
and step to the desired side (remember that this direction, is to the
side <i>opposite</i> to the performed "Heel-Lift"). This
should be done in conjunction to the Tori performing the Arm-Motions
(simultaneously), though it should be expected for the arm-motions
to be completed <i>prior</i> to the completion of the foot/leg
motions (as this is the more common result).</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">As the Tori positions their forward
(extended) hand at the Uke's "shoulder-level", It's
commonly apparent as to "which" side of the Uke's striking
arm/hand that the Tori's hand/arm has ended-up on. We'll begin with
the response made, when the Tori's hand is raised to be on the
outer-side of the Uke's striking arm. Regardless of where the Tori's
hand initially makes contact, the Tori will begin to rotate their
body so as to orientate to the intercepted limb towards the middle of
the Uke's body. This "rotation" (of the Tori) will
orientate the Tori's entire body (shoulder's and hip's) to "face"
the Uke's non-striking side. This will place the Tori's extended hand
at (approx.) the centerline of the Uke's body. Simultaneously, the
Tori will raise their other (non-extended) hand close to their own
body (crossing in front of the groin as a "cover") and
continuing upward (pivoting at the elbow) until that forearm is
vertical (In line with the shoulder).
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">The extended Left hand/arm will
continue it's "parry" of the aggressor's arm in a downward
direction (with the Tori's arm ceasing it's progression when it
reaches the waist level of the Uke). The (now vertical) opposite arm
will extend forward and can be used to (either) stike the Uke's neck,
defend against the Uke's <i>other</i> arm (should it be utilized to
attempt an additional strike), or used to aid in the
capture/manipulation of the (originally) diverted (Uke's) arm.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">The Tori's "primary"
(extended) hand/arm can optionally be used to then control the Uke's
extended "striking" arm, or be utilized to engage in
another manner of technique application.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">This motion should be practiced until
the Student is comfortable with it's execution. At a later time (and
once the student is comfortable with the motion, and has determined
which side they are likely to utilize most often) the student can
begin including a "Straight" kick with the execution of
this motion.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">Should the Tori's hand be raised to
engage the Uke's striking arm on the "Medial" side, the
Tori need only rotate their body (more so) towards the striking arm.
The Tori's extended arm then begins motioning (slightly) more towards
the outer-side and then begins lowering the Uke's (striking) arm. As
was done in the previous example, the Tori's other arm will perform
the same (basic) motions that were described for that example
(circling upward until becoming vertical, then extending if/when
necessary). The Tori's extended arm will continue it's downward
progression (motioning the Uke's striking arm with it) and rotating
their body (carrying the Uke's striking arm with it) until the Tori
is (again) facing the Uke's non-striking side.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">It should be noted that within both of
these examples, the Tori's body is orientated to align the front of
the body with the Tori's performed actions. At no time should (either
of) the Tori's arm's be extended into the region "outside"
of the shoulder's width. Arm motion performed in this region is
noticeably "weaker/less efficient" and should generally be
avoided.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">Within any performed motion/action the
student should (minimally) strive to utilize both arm's. Although the
leg's should additionally be included with those motions, one should
not attempt to perform "single/lone" limb application of a
technique. There are numerous reasons for following this rule, but
the student need only understand that it will allow the student to
motion "faster" (if/when they do).
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<br />
<div style="margin-bottom: 0in;">
<span style="font-size: large;">The orientation of one's body (at any
given time) should become a conscious awareness that is steadily
maintained. The alignment of the shoulder's and the hip's are what is
commonly utilized for establishing the body's orientation at any
given time. When this alignment is "off", the subject is
"twisted", and is then considered to be in an <i>unstable</i>
(and therefor susceptible) position. </span></div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2542053395129832881.post-65604611507494205362017-12-26T20:52:00.001-06:002017-12-26T20:52:25.736-06:00Fundamental Arm Motion 1<div style="margin-bottom: 0in;">
<span style="font-size: large;">One<b>
</b>our fundamental principles is
that motions remain (naturally) side-orientated. This means that the
Left arm deals with motions on the Left side of the body, and the
Right hand/arm deals with those motions on the Right-side of the
body. Though sounding "simplistic" it (evidently) is a
foreign concept to most individuals. Inevitably when an aggressor
delivers a punch (with either hand) student's will (initially) use
their dominant hand (regardless of which side the Uke's strike is
being delivered from) to respond to that strike. .
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">Oyata believed and
taught that we should use the arm that is on the side that the strike
is being delivered from (right arm for the aggressor's left-hand
strike and vice versa). Aside from being faster, it is a more
practical way to deal with one's defense. This principle is ingrained
into our student's via their practice of the shown techniques.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div style="margin-bottom: 0in;">
<b><span style="font-size: large;">Initial Arm Motion Practice</span></b></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">This practice introduces the student to
the defensive principle of "Off-Body" (defensive) motion.
The practice of this motion instills the concept of the defensive
action occurring at a distance (away) from the student.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">This motion begins with the hand
motioning forward (at the motioning arm's shoulder) forward, and
rising to shoulder height "Palm-Up". The hand then rotates
(Palm-Inward) and moving to the student's center-line, and rotating
to Palm-Down (bending at the arm's elbow to do so). When the hand
reaches the center-line of the body, The hand and elbow are lowered
to waist level. The hand then motions towards the outside of the
student's body, stopping when again aligned with the shoulder
(Palm-Out).
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">While performing this motion (with one
arm), the student's other arm will perform a separate action.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">That arm (what will be referred to as
being the "near/close" arm) will motion across the body
(providing a "groin cover" while doing so) and then raise
(bending at the elbow to do so). That hand continues to rise until
achieving a vertical positioning (again) "in-line" with
it's own shoulder. The elbow and forearm will then be extended
forward (as if/when "striking" with that forearm).
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">For the practice of "this"
initial action, the arm is not extended. This practice is only
intended to acclimate the student to the combined action performed by
both arm's.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">The student should focus on the
extended arm performing it's motions off/away from the student's
body. The secondary hand/arm's motions are (initially) performed
"close" to the student's body.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">When this basic motion is understood,
the student will include the rotation of their body (to both the Left
and Right) in conjunction with the performed actions. That "rotation"
should be made so the student assumes a "back-stance"
(initially).
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">Once the student is comfortable with
the (entire) motion(s), they will begin practice of the motions in
response to an aggressor (uke) performing "Striking"
actions (1 of the 4 possible).</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">This practice represents the First
<b>Defensive Action Set.</b></span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"><br />
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"><b>Windmill/Bicycle Application</b>
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">When the student begins their practice
of the primary motions, they will commonly perform them in such a way
as the motion fails to achieve the desired responses/positions being
done by the uke. This is often compensated for by the tori repeating
the action. This can occur <i>several</i> times, prior to the tori
reversing the action/motion (and the repositioning of the tori) to
then apply the defensive action.
</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;">This concept can be applied in either a
sideways, or a forward manner. when performed sideways, it is
referred to as being a "windmill"(as a Right/Left) action.
When done as a forward/backward motion, it is called a "bicycle"
motion.
</span></div>
<br />
<div style="margin-bottom: 0in;">
<span style="font-size: large;">It is most easily
demonstrated with a Left inside parry followed by a Right outside
parry (followed by another Left inside parry, and another Right
outside parry, etc.). At an appropriate time, the motion is reversed,
and the technique/application is again attempted. Exactly when the
technique is reversed, is up to the tori (dictated by the
circumstances). </span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: large;"><br /></span></div>
<div style="margin-bottom: 0in;">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2542053395129832881.post-39599199169012485912017-12-25T22:33:00.000-06:002017-12-25T22:33:24.337-06:00Oyata Te System Objective<div align="LEFT" style="margin-bottom: 0in;">
<span style="color: black; font-size: x-large;">Oyata Te System Objective(s)</span><span style="color: black; font-size: xx-small;"> </span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="color: black; font-size: xx-small;"><br /></span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><span style="color: black;"> The
members/practitioner's of the Oyata Te System strive to continue with
the further development of Taika Seiyu Oyata's Life-Protection
System. This encompasses the refinement of the instructional methods
and the procedures for conveying that information to the (other and
additional) student's (Mudansha and Yudansha alike) of that
methodology. </span>
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="font-size: large;"><span style="color: black;">Member's
shall seek to (mainly) increase their own knowledge of, and their
understanding for, the art being practiced. </span>
</span></div>
<div align="LEFT" style="margin-bottom: 0in;">
<span style="color: black;"><span style="font-size: large;">Those with
greater understandings will share and convey that information (along
with any concerns) so that it may be contested and/or confirmed by
the other members.</span></span></div>
<br />
<div align="LEFT" style="margin-bottom: 0in;">
<span style="color: black;"><span style="font-size: large;">In
addition to the "Kyu" ranks, Oyata Te only recognizes the
General Rank of "Yudansha" (For those member's who have
graded within the catagory of "Black-Belt"). The system
does not recognize individual "level's" of that grading.
Every Yudansha will have equal consideration. Individual abilities
are commonly recognized, so additional "ornaments" (I.E.
"Ranks") are considered unnessessary, and are not utilized.
The only differences between Yudansha is commonly with the amount of
experience that the individual has with the other Yudansha within the
system. There are no special "titles" utilized by anyone
within this methodology.</span><span style="font-size: 11pt;"> </span></span>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2542053395129832881.post-50148146153370953432017-12-18T11:21:00.000-06:002017-12-18T11:22:04.569-06:00Notice: Video releases coming after 1st of the YearFYI, We are presently in the<i> production</i> phase for the release of several "videos" (for release and sale) that will address the Oyata Te art.Unknownnoreply@blogger.com0