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I’ll try to join you whenvever I can.
Still been bedbug free, but we’re getting more spraying done, and want to wait a month more of no bed bugs before we go back to normal.
“Think Sanchin – base fighting position we end up in most times as we transition.”
This one i can see lots, for obvious reasons.
“Think sideways horse stance as dropping in deep to sink.”
Where i see this most often is a penetration into your opponent’s balance(usually a form of taking JMC) or hitting someone and stepping into them for JMC. Which is a scenario that is not uncommon in violence, and the opportunities for this are plenty.
“Think Cat Stance – a draw in as we slip back before exploding forward.”
I see this as an absorption for sure, sucking and spitting out as you taught, especially when attacked from the side and a wauke is performed to take a piece of them. But….I also see it as a reference of keeping your cordination with your hands as they flinch or move when attacked, in a way where you’re never tangled up. And if you’re thinking duel, a sort of bait if someone squares off with you.
The second most common position is a sideways horse stance.
This is more than transitional when in the clinch, you get a grip and drop into that stance to provide pressure for long segments of standing grappling.
Not something to do when you don’t have an attachment though.
I’m busier than I was when we last trained, but I can come as much as I can if you need bodies and ‘play’ before developing the book.
Click on the twitter link. THe thread breaks down every moment where Cruz was caught was him being off balance with his footwork.
It would truly piss me off if someone reviewed work of mine, and left no feedback while shitting on it.
Marcus brought up shearing, and I think that’s a good way to simplify the timing to pass something over instead of crashing or smashing.
Because the same instinct, the same ‘flinch’, the same “I fucked up and now I have to clash” instinct basically works for a shear.
But when shear is done on the limb, instead of directly clashing it rolls off, which makes passing very easy to transition too.
Without the shear, passing something by requires much better timing.
And while timing is the essence of martial arts, making timing easier to hit is preferable to me.
Yeah I see it Rick , I had a theory that kinda of fits
I saw Sachin as a grappling Kata , dealing with being seized , inside outside neutral , arm drags , underhooks sprawls straight it wrestling and counter grappling. Throws and pushing.
Seisan at bridging distance and more Thai style clinching, knees elbows , legs groin attacks the things you get to teach with just a bit more distance
Sanseiryu a bit more movement and timing, small joint manipulation, and your practicing to reveal your inner Adesanya
Patterns and positions extrapolated through the ranges
Agree it’s good in close, but I teach a kickboxing system with Sanchin as a base, had success teaching mid range fighting with it as well, not just close quarters.
Another Learning from: Sanchin, Seisan, Sanserui
Rick B and I were discussing these three Kata this morning.
Sanchin: Sanchin is the foundation kata and (from our view) it focuses on the one knee up one knee down or Two Leg Power Generation. That is the foundation for our use of the spirals in Uechi for all things and thus it is indeed the foundation kata for us. If you image, as I was always taught, that Uechi is for fighting in a phone booth or a very restricted area then this is the power generation you need in very close quarters.
Seisan: Is the next step and clearly also focuses on the Two Leg Power Generation but now you add in the emptying of the foot and coming out of stance. We see this on a few moves including the elbow strikes and the slide back after the knee to the triple Shokens. This brings in the concepts of release and momentum.
Sanseirui: The last of the big three certainly also has the Two Leg Power Generation because that is the foundation but the emptying of the foot and coming out of stance is now very prevalent, so much so Rick B calls this the momentum kata. Here you learn how to use gravity to be quick and cover distance.
That is a brief synopsis of our discussion.
Good stuff. I never thought of distinguishing them like that.
I remember trying to empty the foot in sanchin with every movement possible, but it’s awkward.
However in other kata especially sanseiryu it is much more prevalent.
I like how you’re able to see where the different kata point to a different focus/princple.
Posting to bump this so I can read the whole thing later, and read parts of it.
Where I am now, I tend to see Kata less as applications and more as ways to move and coordinate the body, or if you look deeper, movement principles.
I find for techniques and applications you just better off using videos or more importantly partners.
But with Kata, you can explore something with an awareness and a focus that is difficult to do with partners and cannot be captured in videos, far beyond applications or techniques.
I’m not saying my interpretation is right since many people before me have stated Kata is a library of applications and potential applications.
But with video technology that isn’t needed, so what makes them relevant?
The movement, the mechanics, and the explorations of relationships in your body are what make it relevant in a post-video world.
Posting to bump this so I can read the whole thing later, and read parts of it.
Where I am now, I tend to see Kata less as applications and more as ways to move and coordinate the body, or if you look deeper, movement principles.
I find for techniques and applications you just better off using videos or more importantly partners.
But with Kata, you can explore something with an awareness and a focus that is difficult to do with partners and cannot be captured in videos, far beyond applications or techniques.
I’m not saying my interpretation is right since many people before me have stated Kata is a library of applications and potential applications.
But with video technology that isn’t needed, so what makes them relevant?
The movement, the mechanics, and the explorations of relationships in your body are what make it relevant in a post-video world.
