CHUDAN TSUKI

Tsuki (‘thrust’) in Aikido should replicate a knife thrust.

atemi-ikkyo
Not always – just a generalization

We have focused on the high-line (jodan) first because it was a pedagogical thread from kata-dori, but also because a thrust to the face elicits a strong ‘flinch’ response. It is harder to maintain ‘zanshin‘ when pressed with a high-line attack.

This morning we moved down to the mid-line (chudan). The static cognate here is gyaku-hanmi katate-dori – remember gyaku is simply a R/L or L/R orientation. Why start here? Because it is a reference point.

To start the logic-chain, perform gyaku-hanmi katate-dori tenkan with a good lineal entry, not the ‘standard’ half arc where the feet precedes the hand. Remember: weapon, body, hand! On your entry, your free (i.e., back) hand should be able to perform a strike to tori’s throat, carotid, eyes, etc. with a straight blast before any rotation to the shikaku.

Osawa chudan
Yasuno Sensei

Once your body/mind recalls basic geometry that the shortest distance (and therefore the fastest entry) is a straight line, proceed to the punch. From punch, meet with the lead hand: tori attacks right thrust, nage meets with a left hand stop hit. Then move around the point of contact to tenkan (2-beats). Standard technique, standard timing, standard tempo. Now play with the tempo, with a one-beat entry, flow from the stop hit to the quadriceps – this is a flow strike as you enter using only the one hand for contact – a R/L or L/R contact only. Then play with the cross-hand (i.e. ai-hanmi) so from the tsuki we do the standard cut-over (i.e., a R/R or L/L) contact for the ‘standard’ gedan level entry. This sequence requires both hands – cut over, then control with the second hand. From the second hand contact, we establish connection – kimusubi.

The principles we are employing – (1) attack the attack – hit the first thing that moves (2) follow connection back. The first should be obvious, the second requires a good connection. Take kote-gaeshi for example.

Tori attacks chudan tsuki – nage does a flow hit to connect – tori chambers for a second strike – nage must stay connected, follow the flow back (i.e., close the distance to tori’s center) and then perform kote-gaeshi with the free hand.[1] The actual technique can manifest any number of ways (high-dexterity [hand to hand[, gross motor [elbow to hand], etc.) the goal is to learn to connect and more importantly, read the connection to be able to maintain it.

Beats. Playing with tempo. Build a matrix – to help clarify the possibilities from the positional relationships

R/R (L/L) Cut Over [Aihanmi]
BeatsFront HRear HFront HRear HFront H
1flow strike to thigh – destabilize
2Strike Kokyu / kotegaeshi/ irimi nage (direct)
3StrikeTrapIrimi Nage
4StrikeTrapReplaceKokyu
R/L (L/R) Stop hit [Gyakuhanmi]
BeatsFront HRear HFront HRear HFront H
1Stop hit flow to kokyu
2Stop hitKotegaeshi
3Stop hitReplaceKokyu
Conceptual framework

This is not dogma – just a framework (a heuristic) to help your body remember some of the possibilities at each position. And recall – these are all plays from the Outside line – we did not move to the inside today. How would the matrix change it we were playing on the inside?

To avoid a limited tool set, we added the low line kick as an additional or substituting beat. For example, tori attacks R, nage uses the L knee to hit the sciatic and/or muscular branches of the femoral nerve just below the insert of the femur and uses L to perform kokyu.

nerves_of_the_front_leg

This is a pure blend – meaning tori’s attack is avoided, not intercepted. An additional substitution is the low-line kick to the back of tori’s knee. Please note, fundamentally all these are the same technique – kokyu-ho – just ‘weaponized’ and using different beats (one for one, two for one, etc.). However, the presentation may make it appear as if they are ‘different’ – the 4-beat kokyu will (should) resemble a wing chun chain boxing entry for example. But the reason it looks similar is because we are trying to ‘solve’ the same ‘problem.’

I hope it is clear (re-read the very first post) that this blog is not intended to ‘teach’ kihon waza. I presume a high level of knowledge as a starting point. We are exploring the concepts, not technique per se, we are moving from principles: follow contact, fill voids, strike that which moves first, attack the attack, dissolve lines, etc., from the principles reverse engineer the techniques at different ranges and tempos. Add to that the fixed nature of human anatomy and we find there are a delimited number of ways each party can move and therefore there is a circumscribed number of possible patterns of interaction. The combinations are neither infinite nor mysterious.

atemi-shomen-2-2.jpg
Hit that Xiphoid Process!

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[1] Second strikes. In the standard presentation, tori performs a single committed attack that nage must contend with. What is rarely presented is the multiple attack sequence, meaning – if tori’s first attack fails it will be followed by a second or third attack. The marketing failure for Aikido as an art is that it has not adapted to ‘reality-based’ training presumes a committed and persistent assailant. In short, tori will (and should) press every attack and opening.

IMG_0132
Gyaku yokomen

I have only infrequently and inconsistently presented multiple attack sequences (yokomen gyaku yokomen; tsuki, followed with a second tsuki, etc) but I would suggest it is imperative to train with the multiple or compound attacks in mind. The combative arts always teach multiple and compound attacks (there is no one-step kata)

Review Tactics and Stealing From the Masters

Xiphoid Process – diaphragm – know what you are hitting and why

xiphoid process
Diaphragm.gif

JODAN

Funes the Memorious by Borges, for me, is a poignant reminder of the dangers of specificity – missing the forest for the trees. Funes focuses only on the details to the point that everything is unique – he has no ability to form connections to extrapolate a general pattern. There is a deep lesson here. Concentrate too heavily on each and every datum and analysis paralysis results.

As a student of Aikido we learn the names of techniques – labeled in Japanese. In some ways this may be useful, to have an arbitrary (because in a foreign language) linguistic cue to frame a physical movement. This may help build a mental-physical lexicon wherein we can collect an ever expanding number of discrete techniques. I do not think that I was unique in collecting ‘cool’ techniques: this variant from this teacher, that one from another. Like a reference library, the more I collected, the more I knew. Or so it may seem to the lexiographically inclined. But each new ‘technique’ remained discrete, even if it were a variation on a prior form, which leads to an ever deepening specialization. And then I recalled a quote from Robert Heinlein (Time Enough For Love):

“A human being should be able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyze a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly. Specialization is for insects.” [1]

We cannot become too enamored with the specialized techniques – a matching of if this, then that logic, where a presentation of the wrist up is one technique whereas wrist down is a different one. This would lead to a loss of adaptability and increase processing speed – the idea one must first recognize the attack, then categorize it, then select the correct response, then execute that technique.[2] For me this ties back to OODA loops, cognitive linguistics, and Funes.[3]

This is the fragility[4] of specialization. I contend, we are meant to be bricoleurs – generalists – pattern finders – connection makers. Build your lexicon, gather the variants, collect broadly, but then reflect and refine. Like a good alchemist, distill the universals.

How does this relate to this morning’s class? In the post title, I dropped the Tsuki purposefully because jodan tsuki is too specific. This morning I attempted to present a more general reference frame – some might label it a heuristic – to simplify and better explore the physiological potential (Michael Janich) of our responses to any highline attack.

First a reminder of the lexical specificity you know already: shomen, yokomen, gyaku yokomen, kata dori, kata menuchi, kubi-shime, jodan tsuki, etc. but these are all highline attacks.

So let’s simplify and define: The centerline bisects your body, left and right. The midline separates the body on the high and low-lines. In general anything above your elbow line is the high-line and anything below your elbows is low-line. The anatomical quadrants[5] illustrate some of the target organs available in each quadrant.

Combat anatomy

The classical sword posture of seigan-no-kaimae further illustrates the four quadrants:

Kamae
Protect your center

Upper left, upper right, lower left, lower right. Revisit the basic 8 cuts and the doce pares diagrams. Now look at it again.

Master Keating diagram

Rather than defining the strike (i.e., angle 1) look at it as a defensive zone (zone 1). To your assailant, a “1 strike” is a specific attack. For you it is a zone to protect (i.e., left side of your head).

We have been working from a very specific attack to explore the concept. Jodan Tsuki is angle 5 (a straight thrust) but please recall that any thrust (point) can also define a line – shomen-uchi. This was done purposefully because the #5 is a common way to along the #11/12 line (the centerline). It also sets up the reference matrix discussed in the previous post.

Form your own matrix

The specific training was R/R and L/L outside line – therefore nage delivered a back-knuckle rather than a palm deflection. We therefore played this as irimi-nage, but that is just one possible dynamic. It could just as easily have been kokyuho.

From there we moved  to the inside line – R/L and L/R thereby dictating a palm deflection, which was presented as a deflection to carotid strike to kokyu-nage.  Expanding this line of play, this transforms to shiho-nage. But rather than encountering this at Aikido’s typical maai where tori’s attack is picked up at its terminal position (i.e., at full extension) this morning we moved to trapping range to make sure that the deflection, re-direction and capture were all nage-induced movements. Meaning nage was the primary causal agent in the encounter. Foot work was minimal, torsional power was arm and hip driven. Why play at close range? To ensure that you can do it. No intelligent assailant would commit as fully at largo mano range – it is a training fiction.  So, to use the metaphor of the morning: take off the training wheels.

To make the connection back to a weaponized presentation, I showed that the R/L-L/R dynamic off the #5 is the same pattern as the “generic” opening for a 2 dagger or Espada y Daga opening. R slash, L thrust, R thrust & clear, L thrust. Follow the logic chain and you will see that this was the same pattern as the jodan tsuki kokyu nage throw we did.  Or, if you want a different “kata” think of the Kali sequence, this is #2 to #3. Same pattern – different methods of presentation.

Perhaps a plethora of examples only adds to confusion. The intent is the opposite – by showing the similarities among the ‘systems’ I hope to build linkages. Momentarily ignore the myriad of details and look only to the broader global body motions and the similarities emerge. Suddenly, one need not remember the multitude, and the universal becomes manifest. We pare to the minimal movements with maximal efficacity.  At least that is the goal as I see it.

jodan
Jodan – the power of 12

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[1] Polymaths aren’t generalists

[2] In Heretics of Dune (1984) Frank Herbert introduced the Honored Matres whose Prana-bindu and Hormu fighting culminated with the logical (if fantastical) conclusion that to minimize response time one must bypass the brain.  Their kicking speed is reflexive and processed locally rather than through the central nervous system.

[3] Cognitive Linguistics:  I am not trying to make an academic argument, merely point out that there are interesting connections to make.  Boyd’s OODA loop was discussed in an earlier post as have the different types of speed (Bruce Lee).  The idea of mental constructs hindering or amplifying reactionary speed may be a testable hypothesis, but I am not aware of anyone conducting one.  Despite it being out of favor, the Sapir-Whorf hypothesis remains a valuable insight – our linguistic constructs (lexicon, grammar, etc.) produce perceptual blinders.  [I think of the Dragon of the North scene in Eric the Viking, where the Christian priest cannot see the dragon the Vikings fight – it simply doesn’t exist as a mental construct, therefore has no instantiated reality.]  But such broad generalities are out of favor – small-minded specialists lauding the primacy of individual experience always provide the exception to the rule.  It seems the academic-insects have won – hypertrophied specialist decrying the applicability of a general rule.  Back to heuristics again?  Perhaps I betray my intellectual age, but having read with David French and Gail Kelly, I find broad connections valuable and seminal.

Gail M. Kelly was something of a legend at Reed and once earned the dubious honor of being named “scariest college professor” by a local weekly paper. Often intimidating, she nevertheless earned undying respect and admiration because her standards of excellence forced students to strive for depth and cogency. She spoke her mind with wit and without regard to “political correctness.” In a 1973 public lecture, “The Economics of Dropping Out,” she noted that “hippieism is what hedonism would be like, if it had been invented by Puritans. What could be more ascetic, bleak, and sensually uninformed than living on inadequate food, drugs chosen for their cheapness, and hand-me-down clothing?” Something Reed students still aspired to while I was confined there.

After I graduated, when I would happen upon her at a bus stop (she never drove herself) and offer her a ride, she usually accepted with a chiding, Oxford-stutter “Mr. Barker, are you in the habit of rescuing damsels?”

[4] Antifragile. I like the phrase as a concept better than the book, although I respect Nassim Taleb’s intellect and his conclusion(s).

[5] Anatomy. The reminder of anatomical targets in each quadrant should not be lost on advance practitioners. The natural “body armor” of the sternum and ribs protects the vital targets (lungs and heart) but the secondary organs are available and more exposed.

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SIZE EQUALS DISPARITY OF FORCE

Defensive Tactics With Flashlights” by John Peters (1982) pp. 156-158.

p 156, 157

The chart is from Juste David Myers – the work cited was an unpublished manuscript (“Close Quarter Combat” 1982), which doesn’t appear to have ever gone to print. Nevertheless, the matrix shows a presumptive survival ratio based on physical size.

Peter’s book primarily is an instructional manual on the tactical use of a large Maglite style flashlight. However, in his MAG 20 class, Massad Ayoob referenced this book for the Size = Disparity of Force matrix, which is linked above for your reference and self-defense library to augment your understanding of the use of force – AOJ.

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There is no substitute for expert instruction – seek it out.

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David and Goliath: The classic size – disparity of force confrontation. Goliath clearly demonstrated ample ability, opportunity and threatened jeopardy. David armed himself with an effective range weapon and stopped the threat.

Osmar_Schindler_David_und_Goliath
Philistines fail to adopt the latest technology

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