Wednesday, May 18, 2011

Significance of position within the Gokyo

The original syllabus of the Kodokan was called the Gokyo no Waza (five sets of techniques).  Originally (in 1895), the five kyo consisted of various numbers of techniques ranging from seven to eleven.  Then in 1920, the gokyo was re-thought, and re-arranged so that each set had eight techniques.
Even the kyo that stayed mostly the same were re-arranged.  For instance, deashibarai was the 6th technique of the 1st kyo in the 1995 gokyo, but it was the first technique of the first kyo of the 1920 gokyo.
I've been trying for a while to figure out if there is any significance to the techniques that were selected for each kyo, and more specifically, if there is any significance to the position of each technique.  For instance, are the techniques in the first position of each kyo related in some way?
What do the following groups of techniques have in common?
  • pos 1 - deashi-kosotogari-kosotogake-sumigaeshi-osotoguruma
  • pos 2 - hiza-kouchi-tsurigoshi-taniotoshi-ukiwaza
  • pos 3 - sasae-koshiguruma-yokootoshi-hanemakikomi-yokowakare
  • pos 4 - ukigoshi-TKgoshi-ashiguruma-sukuinage-yokoguruma
  • pos 5 - osotogari-okuriashi-hanegoshi-sukuinage-ushirogoshi
  • pos 6 - ogoshi-taiotoshi-haraiTKashi-oguruma-uranage
  • pos 7 - ouchi-haraigoshi-tomoe-sotomakikomi-sumiotoshi
  • pos 8 - seoinage-uchimata-kataguruma-ukiotoshi-yokogake
Why were the techniques selected for each kyo the way they were?
Why were they placed in the order they were?
Patrick Parker
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