Wednesday, September 28, 2011


  The first strike (attempt) made by an aggressor, is commonly the one which has the best chance of contacting, and causing damage (to the tori). It's also this strike, that is the most difficult (for the defender) to anticipate, much less prevent from achieving that (first/initial) impact. The majority of that difficulty comes from not knowing which arm the aggressor will choose to utilize to make that initial attempt.
  For that reason, RyuTe has several ambidextrous defensive actions/motions that are taught to student's. I've previously described the 2-handed forearm strike (and it's ambidextrous application). Another of these motions (that can be further expanded upon) is the parry/strike combination.
  This motion (though more involved) offer's greater ability to be modified and/or expanded to include a wider range of application (both defensively, and counter-offensively). Starting hand positions are at the tori's sides.
For simplicity, this description will be for a Right-handed/dominant Tori/individual (Right-side stronger, Left-side weaker).
  The tori's defensive motion begins with the tori motioning both elbow's forward (to slightly in front of the tori). This allows the Tori's Right-arm to motion upward close and parallel to the tori's chest (pivoting at the elbow), until vertical.
  The tori's Left hand/arm will raise straight upward (palm-up). As both arm's attain their vertical positioning, the Left (weak-side) hand will rotate (to palm-down), and motion downward & forward (towards the uke). The tori's Right-hand/arm will motion forward (again, towards the uke) Palm-up (and closed).
  If/when no contact is made with the tori's Left hand, it proceeds forward and down (often performing a downward strike upon the uke's solar-plexus region). If/when the Right-hand makes no contact, then it will usually perform a forward strike upon the uke (often at the neck level).
  Initially, these motions are practiced without including the (tori's) body-motion. This (naturally) makes the motion more difficult, but it also forces the student to focus upon doing their hand/arm motions (more) correctly.
  Assuming the uke initially attempts a Right-handed strike (against the tori), the tori's Left hand will be presented with several methods of neutralizing that attempt. If they (the uke) attempt a straight (from the waist) strike (with no “wind-up”), then the tori's Left-hand will have the more immediate opportunity to prevent it's achieving it's goal. 
  As the tori is raising their Left hand/arm, the hand need only motion across (in front of) the uke's punching arm. Though not always sufficient to “stop” a strike's progression, by continuing with it's originally intended motion/direction (towards the uke's center), the strike will be (both) delayed and diverted (from it's intended target).
  If/when the uke should lift their fist/arm (to “cock” it), the tori's Left-hand should negate it's intended “arc”, and proceed forward with a strike (to either the brachial plexus, or the bicep tendon of the striking Right-arm of the uke).
  If the the uke chooses to perform a “Right-Hook” (towards the tori), the tori can choose to strike the uke's bicep-tendon with (either) their Left or Right arm/hand (depending upon the tori's ability level).
  Tori also has the choice of only parrying the uke's Right-hand strike attempt (to the opposite side of the uke, and/or to either the uke's waist, or the tori's waist, depending upon the desired “follow-up”).
  Should the uke choose to strike with their Left-hand, the most common counter, is to strike the uke's arm using their forward motioning Right hand/arm. This strike is usually made slightly above the elbow (to the medial side). The tori's hand needs to be at the (practiced) 45º angle. If the hand is vertical, it will miss, if it is horizontal, it will also miss (ie. There is a reason we practice with the hand at a 45º angle! LOL).
  Should the uke choose to throw a “hook” with the Left-hand/arm, the tori should still strike the uke's Left arm, but it should be noted that their own Left hand, will also be striking the uke's mid-section (and thus causing an additional reaction by the uke).
  When/if the tori's Left-hand should complete a strike to the mid-section of the uke, the uke's most common reaction is to lean forward. This offer's the opportunity (for the tori) to strike the uke upon the (Right or Left) side of the neck, using their Right-hand).
  The addition of the straight-kick, will change many of the uke's motions and reactions (often slowing their initial punching motion). For this reason, I prefer to delay the kick's inclusion in student practice (I feel learning to deal with not having the kick's added influence to the uke's strike, to be a greater challenge. It also emphasizes greater appreciation for the kick's influence upon the uke's reactions).
  The addition of the tori's body-motion to the technique's application will change much of the uke's ability to impact the tori (as they initially intended). This body motion is accomplished by buckling the knee's and rotating both knee's towards the side that the tori will be kicking with. This motions the tori's head/body towards the opposite side (and repositions the tori's head from being struck).
  This rotation is only of (approximately) 30-45º. Very often student's will rotate excessively (usually to 90º). By over rotating, they slow their response time, and actually place themselves out of position to (effectively) apply their own (defensive) kick/strike.
  The inclusion of rotation with technique motions, will additionally include the rotation of the tori's technique application. This (at first) is a little confusing to the student, but once exampled and explained, it makes more sense. Instead of the technique's motions being directly towards the uke, they are being applied at the 45º angle that the tori has (now) rotated to.
  There are numerous versions of this initial motion. We present the basic version for our student's to build off of (for their own personal defense). Our emphasis is upon the motion's basic execution. The individual limb's motions need to be practiced in their complete form/manner. “Short-cutting” any motions practice, can/will only lead to technique failure. Practice must include the full range of motion for the technique. The fact that (in use) it may end up being shortened, does not equate to it being permissible to allow condensing the motion's practice


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