KAESHI WAZA PDF
Kaeshi waza. All the aikido counter techniques listed and explained, with images and videos – by aikido instructor Stefan Stenudd, 7 dan Aikikai Shihan. Irimi Nage No Kaeshi Waza. Sections. Instructions to teachers · Organisation · Editorial · Columns · Principles · Saito sensei’s method · Kajo · O Sensei’s. A recent Howard Foundation Fellow in Poetry, ANDREW ZAWACKI is the author of the poetry books Videotape, Petals of Zero Petals of One.
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Glossary of Judo terminology
More often than not this will make him attack your men at a time when your energy is focussed and you are able to respond immediately with suriage men or kaeshi dou. Create a free website or blog at WordPress.
While these terms sound suitably esoteric, if you rearrange the order and group the techniques that represent these categories, you get a basic common-sense list of which waza work in which circumstances.
To find out more, including how to control cookies, see here: To do this you can select from a menu of debana, suriage, kaeshi and nuki techniques. A Comprehensive Guide to Japanese Swordsmanship. Where to practice Traditional Aikido? As a good trapper you must be able to wait for the right moment and also be fast enough to take advantage of a weak position of the opponent at the right time consistently.
This plus a session that I ran in the dojo this week on ojiwaza invigorated my interest in exploring the subject a little more. The counterpart is the most effective response to an attack, because the actions of the opponent can be converted directly into our own victory.
Very important for the execution of a counter technique is the speed of the opponent’s throw approach. The weapons of Aikido, aiki ken and aiki jo In modern Aikido, weapons are hardly taughtif taught at all. One should not react too late. On a practical level, I teach kenshi of all heights, so I need to know the technique well enough to demonstrate it to people who might find it useful.
So for me, whilst it is unlikely that I will get any taller, using this technique at least acts as a reminder that my feet should be in the right place when I make a strike.
Nevertheless I am going to point out what does not work when making oji techniques: Nevertheless I am going to point out what does not work when making oji techniques:.
Move the shinai slightly to his right and he is likely to attack your kote leaving you set up to make kote suriage men. There is no enemy anymore as such, but an opportunity offered to reach unified ki. The three techniques we practised were men-suriage-men, men-kaeshi-dou and men-kaeshi-men. One effective way is to practice oji waza was taught by Chiba sensei.
The key point is to control the timing of the attack by holding and breaking centre in the way described. In a nutshell this means we learn as much from being hit as we learn from hitting.
A comment wzaa an old post on suriage men arrived yesterday. This decision waaza must always make for a respective opponents and change it during the fight scene. Waza wo korosu — This covers the whole range of oji waza. This last point applies equally to drills and to jigeiko and shiai. Reasons for regularly working on a wide repertoire of techniques are numerous.
Ken wo korosu — kill the sword Waza wo korosu — kill the technique Ki wo korosu — kill the spirit While these terms sound suitably esoteric, if you rearrange the order and group the techniques that represent these categories, you get a basic common-sense list of which waza work in which circumstances. Most kendoka have had the experience when making a well-timed dou strike, of hearing the dull crunch of shinai against muscle and bone instead of the expected crack of bamboo against lacquer, or Yamato material.
If we provide a counter-movement that is in proportion to the speed of the opponent’s throw approach too fast, the opponent has not yet been “put into it” in the throw and could with a relatively safe standing, prevent our counter-technique. By taking such a defensive action, he loses the ability to respond with a technique of his own and whilst my knowledge of orthopaedic surgery is slight to say the least, I imagine that the pain and inconvenience caused by serious elbow injury outweighs the shame of having your dou hit.
I see many kenshi busily blocking attacks to dou, men and kote in their normal keiko as if the objective of their practice is not to be hit, rather than making successful strikes themselves. By continuing to use this website, you agree to their use. Our normal reaction is to blame ourselves for hitting off target, but in many cases it is our opponent who is at fault for pulling his elbows down to his side to avoid being hit.
Waxa takes a turn as motodachi and the wazq of the group are split into two smaller groups one facing him and one behind. Kendo, A Comprehensive Guide. The class forms groups of between five and nine. To perform a counter technique, the opponent must begin with the activities – without an attack of Uke it is not possible counterattack.
You have to practice counter techniques as good as attack techniques.
Kaeshi-Waza – The Elephants
Enter your email address to subscribe to this blog and receive notifications of new posts kaesyi email. The first two techniques are old favourites, probably because raising the shinai to deflect or block a downward cut is relatively easy wsza a smaller person against a taller opponent. Studying them allows the practitioner to understand his place in the universe.
So next time you hit an elbow, give yourself the benefit of the doubt and encourage your keiko partner to worry about your men rather than his own dou.
Ken wo korosu — You break his kamae by moving his shinai with your own. So if you block on omote you return the strike to ura and vice versa.
I also think that we should practise all kendo techniques on a regular basis, whether or not they are our favourites. On the other hand, it is also wrong to start a counter throw as quickly as possible. Skip to main content. In O sensei’s Aikido, on the contrary, aiki ken, aiki jo and tai jutsu are unified and form together a riai, a family of harmonious techniques stemming from one unique principle.
When you raise the shinai to strike, the point goes up and forward rather than up and back.