In Levels of Training, I used the three levels of Shoden – Chuden – Okuden as the framework. In Japanese, there are other terms of distinction that describe a progression of waza through a hierarchical framework would be: kihon, ki no nagare, oyo, henka, kanren, and kaeshi-waza. I prefer to collapse these distinctions and call them complex encounters. But first let us explicate the traditional terms.
Kihon – these constitute the “basic” techniques of the curriculum. In class the presentation of kihon is often done from static to eliminate variables that can limit learning.
Ki No Nagare – the “flowing” deployment of techniques executed from motion. The flow requires blending with an opponent’s ki (energy) which means the variables increase: time, distance and speed now come into play.
Oyo – is the “applied” technique which isn’t emphasized often because we train with a variety of body-types. Oyo is learning how to adapt the kihon to make it “work” with that particular opponent (who may be taller/smaller, stronger/weaker than you). Oyo can quickly lead to Henka.
Henka – are the “variations” because the technique changes during its execution. Henka are the expression of the principles of the technique.
Kanren – means “linking” because the first deployment of a technique to its near completion doesn’t achieve its goal – uke gets back up and nage must then execute another (perhaps different) technique to control uke.[1] Because this linking implies uke is trying to be nage, we have “role reversal” which makes kanren very similar to:
Kaeshi – “turning” or “countering” techniques that are executed because uke has begun a reversal, necessitating nage‘s change to a different technique to counter uke.
The more I train the more these terms are distinctions without differences. They are useful to help build a categorical framework, but my goal is to find the universals, so I simplify these distinctions to “complex” encounters when sensitivity is paramount. Energetic arts. Many martial artists talk about (around) energy which is a convenient short hand for a multitude of physical attributes: intention, pressure, tension, acceleration, which when taken as a whole is the energy that the players bring to the encounter.
Henka-waza – variations are always a response to a change the other player makes – as such they are not ‘techniques’ because you are responding in time to a new stimulus – a variable changed so you must adapt and overcome. Nevertheless, we must present henka as set pieces, otherwise the only instruction is “do the best thing you can in the moment to prevail.” Sound advice, poor instruction. So, a progressive class outline:
Starting from ai-hanmi-katate dori we execute ikkyo omote.
Ikkyo is stopped – so flow under, elbow strike the opponent’s chin and throw kokyu nage. Note your hands never change from the initial ikkyo omote response.
Ikkyo is beginning to be countered ikkyo – so push uke‘s elbow down and past for kokyu-ho. Again, your initial hand position and contact doesn’t change – you are “rolling” over your opponent’s arm until the final throw.
Ikkyo to kokyu-ho is resisted – so do a bone-lock shihonage (remember the wrist twist form, not the forearm as unit [2] form is more efficacious for this variation).
If the opponent contracts the elbow ahead of the throw, then move briskly to ude-kimi nage.
Ikkyo is stopped at the top – this time release the elbow to punch under the open gate, this forces the opponent to turn away which rotates the controlled hand, facilitating a rip-strip and feed to sankyo. This is a direct transition that plays all on the high plane (above the waist).
The outline is simple. Practicing effectively requires sincerity from all players. Sincerity: only intention differentiates between an actual attack/technique and training. If we attack with the intention of doing serious harm, we have committed assault. In the dojo, we need to train with the spirit of sincerity which closely approximates a killing strike, but without the intent to kill. That spirit is critical but understandably difficult to maintain for the duration of a practice session. Make it a goal!
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[1] For an outline of a class illustrating kanren – see Flow.
[2] An exemplar to study, emulate and aspire to – but the shihonage >here< isn’t what I am describing (this time). Watch the entire video: an excellent seminar.
Protective Arts 