ohyo gumite
a well written article and thoughts on Ohyo gumite, "from form to function", can be found at WadoWorld.com. It has been recently written by Mr. Reg Kear.
ipponme
Position: Ai-hanmi.
torimi 1:
- Body movement: ayumi ashi (forward)
- Technique: junzuki jodan
ukemi 1:
- Body movement: ayumi ashi (backward)
- Technique: nagashi uke
torimi 2:
- Body movement: yori ashi (forward)
- Technique: gyakuzuki chudan
ukemi 2:
- Body movement: remain
torimi 3:
- Body movement: correct ma-ai with the right foot
- Technique: ashibarai
torimi 4:
- Body movement: correct ma-ai with the left foot
- Technique: gyakuzuki chudan
Objective:
The first two techniques are the most important. You have to put pressure
on ukemi from the initial of musubi dachi. When going into kamae,
put pressure and move forward. Keep putting pressure and keep moving
forward from tanden (center of gravity/ center of the body). Since
the first sequence is the objective, or most important of the technique,
the ashibarai and gyakuzuki are secondary to the first movement. This
is to introduce ashibarai technique.
Note:
If you correct the distance for the ashibarai, make sure the tanden/body
keeps moving forward. The ma-ai correction done by the right foot
must not effect the pressure. So, if you pull back the right foot
with the whole body, the body will move back itself and will therefore
loose pressure.
nihonme
Position: Gyaku-hanmi.
torimi 1:
- Body movement: tsugi ashi (forward)
- Technique: gyakuzuki no tsukkomi jodan
ukemi 1:
- Body movement: lean back with the upperbody
- Technique: nagashi uke
torimi 2:
- Body movement: yori ashi (forward)
- Technique: ashi gake
torimi 3:
- Body movement: correct ma-ai with the right foot
- Technique: gyakuzuki (tatezuki) / enpi depending on the distance.
Objective:
This time pressure is used by gyakuzuki no tsukkomi. Ukemi doesn't
defend leaning back with the body because he wants to, but because
torimi is forcing him. You have to enter deeply with the tsukkomi.
Note:
The gyakuzuki no tsukkomi jodan should be straight out of the line
of your shoulder. This means, that the line of your shoulder is in
line with Ukemi's seichusen, while your seichusen just moved off.
All straight forward technique out of line of your shoulder becomes
weak, so don't move to much to the side. Also, If you move to much
to the side you will loose ability to put pressure and the position
of the body will become better for ashibarai, but in this case, just
pass ukemi's body and stay close, maintaining the pressure and having
the correct position the execute the ashi gake. The ashigake on its
turn, will cause ukemi's body to end up in the correct position to
hit a vital point on the side of the body. If you would have done
ashibarai, the back of ukemi would turn to you, making the attack
to the vital areas a lot more difficult. Always practise any technique
with this view in mind.
sanbonme
Position: Gyaku-hanmi.
torimi 1:
- Body movement: ayumi ashi (forward)
- Technique: junzuki jodan
ukemi 1:
- Body movement: ayumi ashi (backward)
- Technique: nagashi uke (or choose not to block and only to increase
the distance)
torimi 2:
- Body movement: yori ashi (forward)
- Technique: gyakuzuki chudan
ukemi 2:
- Body movement: remain
Counter:
- Body movement: tsugi ashi (forward)
- Technique: tobikomizuki jodan
torimi 3:
- Body movement: tsugi ashi (forward, moving into shiko dachi)
- Technique 1: does it have a name? It's like pinan nidan, nukite
movement.
- Technique 2: nage (throw)
- Technique 3: uraken.
Objective:
In this case, the first two techniques are secundary to the last two,
but it sets up the throw. Make sure to draw Ukemi's response, so torimi
has to make ukemi execute tobikomizuki. I have seen the throw in many
variations. I practise it myself as following: Like the kaisetsu of
nukite in pinan nidan, it is an inasu technique. In this case you
should contact the upperbody of and twist your arm into it. Aim for
the face for more mental pressure. (ukemi will automatically lean
back as an instinctive human response). Using the inasu pressure,
unbalance ukemi. So actually the throw has started already. Continue
this kuzushi while dropping the body quickly. Use hiza no nuki to
drop as fast as possible. At the same time, continue the kuzushi moving
the right arm to the right and moving the left arm upward, creating
the throw. Make sure to sit on the left knee having the right knee
and upperleg horizontal. A throw always becomes easier if you are
lower this his center.
Note:
Avoid the tobikomizuki at the last instant. If you move te early ukemi
will follow you with his attack, also since you are entering, his
forward bodymovement may 'stop' making the kuzushi by the inasu movement
less effective.
yonhonme
Position: Ai-hanmi.
torimi 1:
- Body movement: ayumi ashi (forward)
- Technique: uraken jodan
ukemi 1:
- Body movement: remain
- Technique: soto uke (cover) looks like kihon gumite defense.
torimi 2:
- Body movement: remain
- Technique: gyakuzuki chudan
torimi 3:
- Body movement: ayumi ashi (forward)
- Technique: hiza geri
torimi 4:
- Body movement: like kette junzuki, use the downward momentum to
power the enpi.
- Technique: otoshi enpi. attack the spine, use caution.
Objective:
This kumite focusess on 2 things, but the primary objective is the
first sequence. The uraken to gyakuzuki should flow without a stop.
It is important to use the uraken to position the body for gyakuzuki
and you should be able to move from there in one line when you execute
hizageri and enpi.
Note:
After uraken, control ukemi with your left shuto, not to loose the
contact untill the end of the kumite. Some grab ukemi at the dogi
at the left shoulder to control him, but I prefer behind the neck.
You never know wheter he is wearing a strong jacket and in the neck
you can manipulate ukemi with a pressure point in the neck (tsubo)
Shihan N. Ishikawa during seminar in Sliedrecht, 2008.
note: Mr. Ishikawa clearly puts attention of the objective of this
kumite
gohonme
Position: Ai-hanmi.
ukemi 1:
- Body movement: ayumi ashi (forward)
- Technique: gyakuzuki chudan
torimi 1:
- Body movement: ayumi ashi (backward)
- Technique: uchi uke
ukemi 2:
- Body movement: surikomi ashi
- Technique: maegeri chudan
torimi 2:
- Body movement: ayumi ashi (backward)
- Technique: uchi harai uke
torimi 3:
- Body movement: lower the body
- Technique: haito uchi
torimi 4:
- Body movement: raise the body
- Technique: uraken/haishu
torimi 5:
- Body movement: lower the body
- Technique: hiki otoshi (pull down) shuto in the knee cavity, follow
with shuto to hana (nose)
Objective:
This kumite focusses on dropping the body. The haito should be performed
fluidly after the harai uke, thus prepare for the haito in time. raise
the body for the uraken/haishu and drop the body again for the throw.
Note:
The point is that you lower the body quickly and that you pull ukemi
down and backwards. If you sit down on the knee and start pulling
then you will be pulling with your arm, so, when you drop take
hold of the opponents dogi already. Obviously and naturally ukemi
tries to regain his balance. Since you are pulling at his right shoulder,
that is the right part of his body, his right foot will try to regain
the balance, thus hit the right leg just below the knee cavity.
ropponme
Position: Ai-hanmi.
torimi 1:
- Body movement: surikomi ashi (forward)
- Technique: maegeri chudan
ukemi 1:
- Body movement: ayumi ashi (backward) (tsugi ashi maybe added if
the ma-ai becomes to short, that is if you were still about to be
hit)
- Technique: kamae
torimi 2:
- Body movement: tsugi ashi
- Technique: gyakuzuki no tsukkomi jodan
ukemi 2:
- Body movement: lean back like ohyo gumite nihonme "ukemi 1".
- Technique: nagashi uke
torimi 3:
- Body movement: yori ashi or remain (correct ma-ai if needed)
- Technique: ashi barai.
torimi 4:
- Body movement: correct ma-ai with the left foot
- Technique: mawashigeri
Objective:
As all ohyo gumite are fast and fluid, ohyo ropponme's primairy function is to fluidly connect the surkomi maegeri and gyakuzuki no tsukkomi. The same pressure as in nihonme is present, but in ohyo ropponme it becomes more difficult due to the surikomi maegeri. So the point is to be able to "stop" the body when the gyakuzuki is executed. In other words, the hiza no nuki facilitates the forward movement which continues thoughout surikomi maegeri untill the gyakuzuki, so - from the kamae till the energytransfer - the body was continuously accelerating. The higher the speed of the moving body the increasingly difficult it becomes to "stop" the body from moving forward. The ashibarai on its turn followed by mawashigeri are secundary. However, the ashibarai is such a change of direction from the first sequence that this can be used to check whether the body was/has "stopped" properly.
Note:
Don't jump from ashibarai to mawashigeri.
Note 2:
I practise this kata in 2 types. One is to fluidly continue and "stop" after gyakuzuki, so to use the maegeri for the gyakuzuki, as in kette gyakuzuki. Second is to "stop" after maegeri, this is also difficult since you are used to move forward in ido kihon. This is also to observe the enemy and feel what to do next. Also, this can be used to effect the enemies expectation. Try this when you are training hard and using the first approach the whole time. Then suddenly stop after maegeri and observe Ukemi's response. Ukemi should be looking towards you in kamae. Most will hang backwards, hand already in shuto. Some might even defend. To effect ukemi's expectation is explained at: Principles - techniques - itsuki.
nanahonme
Position: Ai-hanmi.
torimi 1:
- Body movement: tsugi ashi (forward)
- Technique: tobikomizuki jodan (twice)
ukemi 1:
- Body movement: tsugi ashi (backward)
- Technique: nagashi uke, use the back hand (twice)
ukemi 2:
- Body movement: ayumi ashi
- Technique: maegeri chudan
torimi 2:
- Body movement: tsugi ashi (backward)
- Technique: uchi harai uke
torimi 3:
- Body movement: remain
- Technique: tatezuki
torimi 4:
- Body movement: correct ma-ai with the left foot. Make sure to be
straight behind ukemi.
- Technique: hiki otoshi. Pull ukemi down at the shoulder (dogi) and
do a kekomi strike in the right knee cavity. Finish with gyakuzuki.
Possibility is to control ukemi by pushing your knee into his chest/ribs,
put more weight on it to cause more pain.
Objective:
The most important of this kumite is the transition from defense to
counter. Once you have started moving backwards, it is very difficult
to change this. This kumite is a training for that.
Note:
Ukemi has to correct the ma-ai in the 2nd nagashi uke, then ukemi
can immediately counter with maegeri without interruption. If not,
he has to correct it when countering with maegeri. This is also possible.
If you correct it during maegeri, make sure the center of gravity
and thus the body keeps moving forward while adjusting the left foot
to the correct ma-ai. Like the ashibarai ma-ai correction in ipponme,
don't move back with the whole body, because you will loose pressure
allowing an opportunity for torimi to follow again.
nanahonme
- variation
Position: Ai-hanmi.
ukemi 1:
- Body movement: tsugi ashi (forward)
- Technique: tobikomizuki jodan (twice)
torimi 1:
- Body movement: tsugi ashi (backward)
- Technique: nagashi uke, use the back hand (twice)
ukemi 2:
- Body movement: ayumi ashi
- Technique: maegeri chudan
torimi 2:
- Body movement: tsugi ashi (sideways)
- Technique: uchi harai uke
torimi 3:
- Body movement: remain
- Technique: tatezuki
torimi 4:
- Body movement: correct ma-ai with the left foot. Make sure to be
straight behind ukemi.
- Technique: hiki otoshi. Pull ukemi down at the shoulder (dogi) and
do a kekomi strike in the right knee cavity. Finish with gyakuzuki.
Possibility is to control ukemi by pushing your knee into his chest/ribs,
put more weight on it to cause more pain.
Objective:
The most important of this kumite is the transition from moving backwards
to sideways. Once you have started moving backwards, it is very difficult
to change this. This kumite is a training for that.
Note:
Torimi has to correct the ma-ai in the 2nd nagashi uke, allowing enough
space for ukemi to follow with maegeri. This means, that torimi is
drawing ukemi's technique.
hachihonme
Position: Gyaku-hanmi.
torimi 1:
- Body movement: yori ashi (forward)
- Technique: ashibarai
ukemi 1:
- Body movement: ayumi ashi (backward)
- Technique: kamae, lift the front foot to avoid the ashibarai if
necessary.
torimi 2:
- Body movement: ayumi ashi
- Technique: ashibarai
ukemi 2:
- Body movement: ayumi ashi (backward)
- Technique: kamae, lift the front foot to avoid the ashibarai if
necessary.
torimi 3:
- Body movement: ayumi ashi (towards ukemi)
- Technique: ushirogeri
torimi 4:
- Body movement: continue the body rotation, control ukemi's left
kamae.
- Technique: gyakuzuki chudan
Objective:
The rotation of the whole body is the key bodymovement to be practised
in this kumite. Remember that in wadoryu, technique is always secondary
to the bodymovement. This means that ashibarai, ushirogeri and gyakuzuki
are logic consequences of the bodymovement.
Ohyo hachihonme is like ropponme. The control of the body and mastering the balance is important. Off course this applies to all karate, but as I have said before kata focussus on typical principles of movement, to isolate. In ropponme the movement is directed foward. In hachihonme the movement is foward as well as rotational. The transition from the second ashibarai to ushirogeri is a level of difficulty and check if the ushirogeri is unbalanced. This can occur because one can't "stop" the body. If you follow the rotation the kick morphs into a sort of ushiro mawashi sokuto . ? . After ushirogeri, use nuki and continue moving the body forward, turn and execute gyakuzuki.
Note:
Make sure to continue rotating the body after the 2nd ashibarai. If
you put it down on the ground you should already be turned in order
to do ushirogeri. There is a slight stop here. This is to maintain
the correct balance and to check if you are in correct balance. Therefore
ushirogeri is used. If there wouldn't be a short stop, then ushiro
mawashigeri would have been more proper to do so.
TECHNIQUES
- KUMITE