Kobayashi Shihan - haraikata

Kobayashi Sensei explains 5 katatedori haraikata. I was previously only aware of 3, but thought only 2 were ‘allowed’.

1. 上から払う
2. 下から払う
3. 持って払う (this is great!)
4. Precursor to shihonage
5. Precursor to kaitennage sotomawari
6. 単に外す(disallowed)

I’ve gotten in trouble for experimenting with these in the past. Now that I’ve found samples of Kobayashi Shihan demonstrating them as kihon haraikata, I’m comfortable doing them when needed (as variations).¹

1. Source: Private video titled ‘#16′ [↩]

正面打ちを受ける際、表の場合は裏のときより受けから離れた位置に立つ事で、ひじをしっかりと捉えて伸ばす事が出来る。その後肘をスリ上げるようにしながら、押さえて行くと相手が抵抗しても腕を固める事が出来る様な気がする。

Kokyunage

Variation 1

Nage generates momentum as Uke grabs the leading hand and reaches around the back for the second hand. Nage first steps to the side out of the way, then back to where he initially stood as Uke comes around and finishes with a catapulting-like throw forward. Excellent timing is required to accomplish the throw effectively.

Variation 2

Nage ducks-under and takes a small step, throwing by entering diagonally and upwards to the neck and throwing Uke backwards.

Jujinage

Offer the hands palm-down, otherwise it is difficult to capture Uke’s rear arm in the ‘Y’ of the thumb and forefinger. The other arm is kept low and an outward circular hand motion is required to smoothly grasp Uke’s other wrist and torque properly to maximize the armbar control. Step through with arms straight.

Ikkyo

After ducking under Uke’s arm, take control of his elbow in the usual way. If Uke’s arm is bent at the elbow, with wrist higher than elbow, it is easier to take him to the mat via omote or ura.

Nikyo

Same as Ikkyo, but the nikyo osae is done by generating a circular motion at Uke’s elbow, rather than trying to do everything at the wrist. For ura, remember the transitional nikyo pin before rotating Uke to the mat.

Sankyo

Remember to apply the ‘bokken cut’ to Uke’s captured hand prior to the takedown for both omote and ura.

Kotegaeshi

Two forms are possible with soto-mawari (throwing down and away from Uke) and uchi-mawari (stepping through). Take care to maintain safe mai to avoid a counter strike by Uke. After moving to the side and ducking-under Uke’s arm a full tenkan movement is required to get the necessary arm extension prior to the throw.

Note: If Nage steps forward before ducking under the arm then it becomes extremely difficult to achieve arm extension without adjusting your feet because ma-ai is compromised.

Shihonage

Rotate hands correctly to captured wrists.

Tenbin-Nage

Similar to shihonage hand rotation but instead of performing tenkan/throw, extend and torque at the wrist and secure the elbow for the armbar.

Iriminage

After ducking under Uke’s arm, the hand that was grabbed first sweeps down behind Uke’s backside while simultaneously performing tenkan. Do not cut directly down to the waist.

From shikko roll forwards, tenkan 180 degrees, roll backwards, tenkan 180 degrees, roll forwards. Repeat. This helps establish balance, hip strength and transitions between forward/backward movement.

From standing Uke grabs the wrist. Nage, in seated position, takes hold of the grabbing wrist with his free hand, and with the forearm of his held wrist pushes upwards to create an arm bar. Uke’s locked arm causes him to raise upwards on his toes at which time Nage brings him around his head and forwards into a kokyunage throw.

Footwork is particularly important in Aikido. Sometimes we need to rapidly switch stance in a way that avoids “shuffling” both feet. It is best to keep the rear leg in position and step back with the front leg (rather than forward with the rear leg) because this increases the ma-ai between Uke/Nage. Uke will need to adjust his attack slightly to bridge the extra gap.

初め、体の変更の際に曲げた手首に向かって踏み込むように教わったのだけれど、それは丹田や気の流れが分かりにくい

初心者向けの簡易的な説明だったそう。

改めて、言われた通り曲げた手首を腹の前に保ったまま、転換をしようとすると中々上手く行かない。

手首がぶれないよう、腹の前からずれないように保つことが、まず一点重要。

後は、受けの力の流れをどうやって変えるかが、次に重要な点。

一回だけだけど、（偶然か？）この方法で上手く行った時は、初心者向けのやり方でやった時よりもずっと効果的

で力強い体の変更が、自分の力をあまり使わないで出来た。

それは、すごく面白い瞬間だった。

Some clips of Steven Seagal in his heyday. Pay close attention to his iriminage.

ポイント１：手首と肘を腹の方に曲げ、転換。

ポイント２：上の動作の際、受けの肘を曲げるように押し付ける感じ。

ポイント３：受けはなるべくミニマムなステップを心がけ、即座に正面に回り込む。取りは即座に腕を差し出し、流れるように左右交互の動作を繰り返す。

ノーム先輩からの指摘。受けを投げる方向は、横スタンスに立っている自分のつま先方向。もし、その方向に投げられない場合（人にぶつかるとか）、自分のスタンスを少し後ろにアジャストして、その後にやはりつま先方向に投げる事。

何でかというと、無理矢理後ろに投げようとすると自分のバランスが崩れちゃうんですね。。。。言われてみれば本当にそうなのですが。

腕はまっすぐ伸ばす事と投げた後腕が下に向いてないように。呼吸投げはあくまで横に動く感じかな。

ジャーナルエントリーが一週間遅れたけど、この一週間頭の中で復習はしていたので、これは復習の文章化みたいなものですね。忘れないうちにすぐ書くのもいいけど、復習のまとめとして書くのも良いかもしれない。（と日記を書かなかった言い訳をする。）