It was a quiet night tonight -well it was once the spin class and associated music had stopped. There was only sensei and I training. We looked at tai no henko and morote dori kokyu ho before looking at nikyo. So I need to remember to keep my hand in front of me in tai ho henko ki no nagare and to lead with my hand always going forwards in kokyu ho. I had lots of ahhh moments in nikyo. I’m sure poor sensei has told me the same stuff many, many times before but tonight I understood (perhaps again) but the coordination of hands and body felt more natural. I must remember about keeping the flat of my wrist on my chest for the nikyo in ki hon waza.

Then sensei asked if there was anything I wanted to do. Well following encouragement from the ladies when I was away, I am writing questions in a notebook. So I knew instantly there were 4 questions. The first that came to mind was shihonage. I couldn’t really make much of it at all but firstly I wanted to know exactly where the feet went then about the funny bending for the throw. It took a while but I think I understand. I actually felt happy with the ones that I did at the end. It’s rare for me to feel happy with a technique. The whole technique happens much further away from uke than I ever imagined and the unbalancing of uke in the beginning is crucial. Cutting it on my center rather than through ukes center makes a big change and bending whilst cutting just makes it flow so nicely. I’m really happy with it. (For now!). I asked about uke in iriminage and sensei demonstrated that if uke can keep contact with the leading hand then the irimi didn’t disrupt them enough.

My final two questions were about ken suburi so we did the suburi to sort out my questions before going on to the second kumitachi. It was a really productive nights training. I like being able to ask sensei things especially when I can ask and not feel worried to say no, I don’t understand.


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