Fourth Anniversary

When I moved south of the border into the U.S., Kawahara Sensei asked me to study with the USAF.  I was in Yamada Sensei's domain, now living by a USAF dojo and had a long time girlfriend (now my wife) who studied with Yamada Sensei, and Kawahara Sensei knew this.

A few years back, the USAF revised their test requirements to include Tenchinage Omote and Ura, Jujinage Omote and Ura, Kotegaeshi Omote and Ura, and Kaitenage Omote and Ura.  I had never heard these names.  I started to look into it, and several blog entries later I've finally reached where I started:  Yukio Kawhara Sensei.

Coming up through the ranks, all of my tests except for one had been in front of Kawahara Sensei.  He was always generous (if somewhat terrifying) with his feedback.  He could be at times very clear about what he wanted.  Other times, we'd be sweating and gasping, our brains would be turning to mush and he would calmly, quietly say, "another way."  He would be silent through several variations, then maybe say, "No idea, huh?"  Or, "Another way" again.  Or, purse his lips and shake his head "No" with his eyes boring through the student.  

Ikkyo through Yonkyo, Omote and Ura was part of every test, as was Shihonage Omote and Ura.  The variations and attacks would change, and he would be often specific about what he was after.  Suwari Waza Shomenuchi Nikyo and Sankyo, Omote and Ura appeared on three tests in a row (Gokyu, Yonkyu, Sankyu), but how the technique was done would change.  He would note that techniques like Suwari Waza Gokyo did not have an Omote or Ura.  Sometimes, he would say a version of a basic technique like Sankyo was "neither."  Or, he would show something that looked like nothing I had ever seen, and still call it Sankyo.  I was never aware of anything else having an Omote or Ura, though I knew multiple variations for most movements.

Morote Dori Ikkyo to Yonkyo was not just Omote and Ura, but also the Ura was done circling Gedan with the Omote circling Jodan.  Hanmi Handachi Kaitenage Uchi and Soto had specific variations that also demonstrated what I now hear differentiated as Omote and Ura.  Kotegaeshi was at least two ways, and these variations are sometimes what I now have been told are Omote and Ura.  Did he call for Omote and Ura for these other techniques?  Maybe he did, and I was just not listening or I've forgotten.  What I remember is often he would say, "do this" while showing us a technique.  We would practice and drill "this" for months.  Then, he would come back, and say, "do this (showing something very different.)". No explanation, just a change.

His Katate Dori Tai no Henka practice was at first frustrating, and then mind blowing.  While Tenkan is a strictly defined thing in some dojo, a couple of times a year he would change the practice.  Did Uke push, follow, hold stiff, come around?  Did Nage end up behind or slightly in front of Uke?  How far was the turn?  Did Nage step in front or behind?  Hands together at the same height and distance from my center, or apart?  Hips straight or turned?  Hands Up or Down?  Uchi or Soto?  Both Uke and Nage starting from Hanmi, or both starting by stepping out toward each other?  Weight forward or backward?  Shifting before the turn or after the turn?  Lead, blend?  It was a very - varied - practice.  I haven't come anywhere close to the depth he did.

I've come to think he was right.  Asking what is the one way to always do a movement correctly for all situations is like asking what color, or what spice, or what number is going to get me through every situation in my life.  He was always clear there were many right ways, just that there were many, many more wrong ways.    

If he did break down to specific variations, this is a good example from my memory.  More than other techniques, I remember him teaching these two for Jo Dori.  Entire classes were devoted to just these two:

#1

Tsuki type movement by Nage

My thumbs face to Uke

Start Ai Hamni

Issue through the end furthest away from me

Move Inside, 

move facing forward

Circle Gedan (underneath)

Cross Uke's arms

Nage and Uke Face to face

Linear - throw with structure

#2

 

Hasso Gaeshi/Uchi movement

My thumbs face away from Uke

Start Gyaku Hamni

Issue through the closest end to me

Move Outside 

Move Turning away from Uke

Circle Jodan (overtop)

Open Uke up

Nage and Uke Back to back

Full Tenkan and pendulum - throw with momentum. 

Eventually, he'd say, "Yudansha, do what you will."  I never heard him refer to these two Jo Dori techniques as a pair, nor did I ever hear the names he gave these techniques.  He just seemed to treat these two as a pair, and they are the opposite in several variables.  Change any single one of the variables above, and you'll still have a good technique (ie Circle Jodan instead of Gedan on #1).  These two form a very good base to discover new techniques.  I have no idea what any of those names are either.