- Upon principle, tori does not want to bend his arm
- Tori can’t tell if uke will bend his arm from this position
- Tori cannot force uke to bend his arm form this position
Incidently, The following video is very nice. Well put-together demonstration video.
We have gone too far; we do not know how to stop; impetus
Is all we have. And we share it with the pushed Inert.
We are clever, -- we are as clever as monkeys; and some of us
Have intellect, which is our danger, for we lack intelligence
And have forgotten instinct.
Progress -- progress is the dirtiest word in the language--who ever told us --
And made us believe it - - that to take a step forward was necessarily, was always
A good idea? In this unlighted cave, one step forward
That step can be the down-step into the Abyss.
But we, we have no sense of direction; impetus
Is all we have; we do not proceed, we only
Roll down the mountain,
Like disbalanced boulders, crushing before us many
Delicate springing things, whose plan it was to grow.
Clever, we are, and inventive, -- but not creative;
For, to create, one must decide -- the cells must decide -- what
What colour, what sex, how many petals, five, or more than five,
Or less than five.
But we, we decide nothing: the bland Opportunity
Presents itself, and we embrace it, -- we are so grateful
When something happens which is not directly War;
For we think -- although of course, now we very seldom
That the other side of War is Peace.
We have no sense; we only roll downhill. Peace
Is the temporary beautiful ignorance that War
It has been a long time since I have read this in its entirety. I remembered phrases of it, but not in Millay's crisp, precise, beautiful language. Something in Tegatana no kata made me think of this poem the other day and I had to look it up. This poem speaks volumes about war and peace, which is what aikido is really about anyway. This poem speaks about aikido on the spiritual/philisophical level but also on the physical, tactical level.
Whenever we take a step, there is a part of the step that is ballistic. By that, I mean we can't take it back. We are committed to stepping. "Impetus is all we have - and we share it with the pushed Inert." However, in tegatana no kata we work on minimizing this ballistic phase of stepping by taking smaller steps, walking on the balls of the feet, etc... What this does for us is makes us more neutral and gives us more options - more choices."
Consider this quote from another 20th century mastermind, C.S. Lewis, in juxtaposition to Millay's poem about progress:
We all want progress, but if you're on the wrong road, progress means doing an about-turn and walking back to the right road; in that case, the man who turns back soonest is the most progressive.
That brings up another, related aspect of tegatana. You want your progress to be reversible. As a general rule of thumb you don't want to make ballistic (irreversible) actions because you end up (in Millay's words) "rolling down the mountain like disbalanced boulders, crushing before you many delicate springing things whose plan it was to grow." You lose the capacity to make intelligent choice, which is what makes us human. You lose opportunity. Moishe Feldenkrais mentions this in his book, Awareness through Movement - reversibility is the mark of voluntary [good] movement.
So, in tegatana we learn to make small, conservative steps, minimizing our disbalanced nature while also minimizing the ballistic nature of our motions. Working on this in your kata will bring Progress (with a captial P).
We spun through hanasu and played for a while with #2, emphasizing not premeditating the technique - starting off as in #1 and letting uke force you into #2. From there we got to experiment with shihonage and sumiotoshi as uke responses to the motion of #2.
Andy's uke was unable to attend today, so we did his sankyu demonstration by way of each of us doing about a million repetitions of oshitaoshi, udegaeshi, hikitaoshi, udehineri, and both flavors of wakigatame. These we did in kata mode with the pins on the end. Andy has perfectionist tendencies, so I was concerned that he would feel cheated or inferior for not having done a formal rank demo with folks watching and etc... But, talking to him afterwards, he seemed to handle it well. He has the proper amount of time in grade, is improving (dramatically) on his gokyu and yonkyu requirements, and is able to reproduce the sankyu techniques without much trouble - and those are the requirements for the rank. The formal rank demo is mostly gravy. The things that Andy especially needs more work on are the same things that plague me these days - gedanate and udehineri. But, we're going forward together!