![]() I then follow with a lecture on the subject.I like the exercise notion. I start teaching it at about 5th to 4th Kyu - where I concentrate on it, having randori sessions where tori attacks and uki can only use tai-sabaki to evade and explain how after. Here they call it "go" and "ju"-shen tai-sabaki where one has to demonstrate using about 8-10 throws the different ways of "hard" and "soft" tai-sabaki. My question: does anyone teach taisabaki fundamentals as part of an integrated judo introductory level course? If so, how? Do you you materials you could share?ĭavaro wrote:We only start getting into it when testing for Shodan. In fact, I've said for some time if I had full control of a dojo curricula, I would start with walking lessons, even before ukemi. So, it's sort of second nature to me, but doesn't seem to be taught as a basic in most judo classes I see. In fact, the series in "A Detailed Exposition of Judo" seems very close to a Tomiki sensei exposition and some of his prewar writings. ![]() Taisabaki is very basic to my primary martial art, Nihon den Jujutsu Nihon Jujutsu homepage, and its later cousin, Shodokan Aikido (AKA 'Tomiki aikido'), and practice always starts with taisabaki drills (pretty simple in NJJ, very complex in Shodokan Aikido) and integrated hand movements, releases, strikes, kicks, etc. But after watching me deconstruct techniques and kata movements starting with taisabki, and often resolving problems that their instruction often did not address, I think I've made a couple of converts. ![]() I practice with a number of senior Japanese judo sensei - 7, 8 dans - and they, too, tend to teach focusing on hands and gross body movements instead of starting with the steps. Newbies tend to focus on their hands, and get their steps all wrong. This is incidental to my private discovery over years that many problems in judo and kata can be addressed by first starting with, literally, first steps. It starts immediately after the formalities of bowing in, before ukemi, and it is cited as fundamental to judo, something that must be mastered to learn judo. Even when being wrestled, a competent practitioner of Kururunfa will be able to use kakate (grabbing techniques) combined with a swift shifting of the body to take control of an opponent’s centre of gravity.I was reading a portion of the 1941 "A Detailed Exposition of Judo" 柔道精義 and noticed that there is a very detailed section on taisabaki 体捌き. Kururunfa’s senjutsu of tai-sabaki works equally at close range while defending against a grab or hold. This backs up the predominant philosophy throughout of being calm and holding still while awaiting for a committed attack to emerge, then to quickly evade and counter by way of kicks to the knee, kakate (hooking, grabbing techniques), palms strikes, arm breaks and takedowns. Another translation is ‘Hold patiently, suddenly destroy’. As a total entity, it is often depicted as ‘Always still, suddenly striking’. The first ‘Ku’ is translated ‘long’ (or always), the second ‘ru’ as ‘hold’ (or still), the third ‘run’ as ‘sudden’ and its fourth ‘fa’ is translated as ‘tear’ (or break – similar to the ‘fa’ in Saifa). Kururunfa’s kanji is made up of four characters. This is likely because of his senjutsu (combat strategies) that focus on being light and evasive, using ample tai-sabaki (translated as whole body movement) rather than standing strong and blocking. When we compare Kururunfa with the other kata Higaonna learned under his instructor (Ryu Ru Ko Sensei ) in China you will note that Kururunfa is performed relatively quick and fast. ![]() Kururunfa is an advanced kata brought back from China by way of Kanryo Higaonna.
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