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Post by RufusScorpius on May 18, 2019 18:21:49 GMT
I am always one to put my money where my mouth is, and it's not always kept me out of trouble This vid is simply to put to a visual my position on the edge vs. flat discussions that we've been having on other threads. I will like to say this is MY technique that I've learned over the years, i'm not claiming it's superior to anybody else's, or that other methods won't work. Obviously, this is a katana technique for two hands. As they say, a picture is worth a thousand words, and it's easier to show than explain. And many thanks to my student, Brett, who has taken time out of his Saturday morning to help me with this vid.
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Post by csills2313 on May 18, 2019 19:29:40 GMT
Very nice video on blocking. Your techniques are very much like the ones I use for blocking. Too bad I don’t have a sparring partner these days
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Post by RufusScorpius on May 18, 2019 19:52:19 GMT
Yes, I would imagine most of my techniques are pretty common- or at least not very groundbreaking. There are only so many ways of doing things, and after 7 or 800 years of use on battlefields and in duels I suspect that the methods have been pretty much optimized by this point. There are variations, and of course, when using different kinds of swords the techniques will match accordingly.
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Post by Deleted on May 18, 2019 23:46:56 GMT
Cool stuff, very nice of your student to help you!
Complicated stuff can be interesting, but the simple things can be sublime. Only real nitpick would be to exercise caution with the left hand. Saw a few points where you could lose the thumb or get your fingers / palm sliced. Very good on you showing the alternative where instead of blocking you just take the offensive and either take his hands or his gut. Love it. You can also get his fingers on the tsuka - I know because I've definitely taken a few hits there and given a few out while trying to get my targeting locked down.
I am going to need my buddy to do a video of a block with the flat, I tried a few ideas out in terms of filming it by myself here and it just wasn't happening. I did get to confirm a suspicion I had with transitioning from one kamae to the other, but it's kind of a different topic.
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Post by RufusScorpius on May 19, 2019 0:11:49 GMT
Very true, Jon. For some reason I get in front of a camera and get all sloppy. I did notice my hand was not in a good position, and I was actually too far away to do that move- it's best to get in close and then it works well. I was trying to make sure the move could be seen by the camera as I was narrating it. It's still not an excuse for bad form. The first free spar I do I'll get my hand/elbow whacked and then I'll remember to correct myself I was told years ago that the best way to learn was to film yourself. That way you can see what you are doing right/wrong. I'm not afraid to make a mistake nor do I fear criticism. From both I can learn to be better. My main focus of teaching is technique. We haven't got to free sparring just yet because I want to be sure that all his "anime" training has been washed away and that he is focusing on proper forms. When that happens, we can throw on the armor and put it to the test. And yes indeed, the basics can be understood in a single day. But to get them right... that takes a LOT of practice... Simple, yet intricately complex...
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Post by RufusScorpius on May 19, 2019 0:40:22 GMT
... Very good on you showing the alternative where instead of blocking you just take the offensive and either take his hands or his gut. Love it. You can also get his fingers on the tsuka - I know because I've definitely taken a few hits there and given a few out while trying to get my targeting locked down... That well runs deep. My preferred way of doing things is to clip the forearms or go underneath and strike the torso with a thrust rather than do an actual block. I can do a ton of vids on that subject alone. You can learn a lot about your opponent by seeing how they respond to such a defensive move. If they respond correctly and with thought they will dodge the strike, then you know you are fighting somebody with good training, if they are sloppy, then the fight is as good as over at that point. As I've stated before in other threads, I was taught to end the fight as quickly as possible. If I see an opening, I'll go for it with whatever will get the job done, and that includes fists, feet, and random blunt objects that happen to be laying around. One of the hardest things to learn is that you can drop your sword if it gets in the way or if you can't use it anymore. At that point it is no longer a force multiplier, but an encumbrance. Maybe next week I'll do a vid on how to drop your sword....(that sounded worse than it should!)
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Post by Deleted on May 19, 2019 1:14:47 GMT
Understood on the difficulties of filming. I usually do my videos on a single take (ichi-go ichi-e, ne?), and a lot of times it shows. While reviewing footage can be good it can also be deceptive as camera angles and position can distort what you're really doing. There's been a few times where I had to deliberately cant myself in a kind of awkward twist in order for the posture to look right on the screen - not always the case but there was one time I spent hours trying to figure out what was going on until it clicked.
No criticism intended, just an honest observation offered without any digs.
Anime is a double edged sword. There's goofy stuff, but it can be a gateway to studying and hopefully he finds a way to enjoy both and understand where one ends and the other begins.
And I read you clear on discarding the weapon when it ceases to be an aid. One of things that gets me interested is the stuff that seems counter intuitive - like how could dropping your sword ever help you in a sword fight?! It sounds unbelievable but there's times when that force multiplier turns into an anchor and if you can realize it happening not get trapped by it.
Again cool video. I'll see if I can get something done up involving the use of the flat and see if there's anything you like. Again it will require a second person. It will probably be a while.
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Post by bruntson on May 19, 2019 1:39:43 GMT
Thanks for the great leason. It may look simple but I know it takes lots of practice to make it look so easy. Thanks for sharing your talent.
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Post by RufusScorpius on May 19, 2019 1:57:08 GMT
No worries, Jon. The problem with the written word is that can lack the correct inflections and emotions that are intended, but not communicated. I am quite open minded with sword techniques and I am very intensely interested in observing and learning other styles. I will admit that when it comes to sabers I am near totally ignorant. Shoot, the more I practice my own style, the more I realize how ignorant I am of that... I made this video because I felt I wasn't being clear on the other thread and I didn't want to appear as either a know it all or that my methods were inherently better than anybody else's. Better to show than explain.
Brunston: A great deal of learning involves un-learning what you think you know, and learning things that are counter intuitive and counter reflexive until they become both intuitive and reflexive. Then you can start learning things that are useful. Yes, it is indeed simple, but they MUST be second nature or it simply won't work. And that takes a good many years of practice and study. I am at the point now where I am realizing that "fast" isn't really "fast" but rather it's just knowing what to do, and some of the most "amazing" moves are really wooden block simple.
I have no particular skill or talent that anybody else can't achieve if they so desire.
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Post by zabazagobo on May 22, 2019 23:45:25 GMT
Thanks for posting! Some thoughts below
For the first 'high parry' (0:30), wouldn't it flow better to use the flat near the edge rather than the edge itself since you don't want to immobilize the blade? The edges may just bite each other and the blades may bind that way, whereas the flat near the edge will let the edge of the opponent's sword glide off. It's something I've noticed from messing around that allowing the edge to pass on the flat helps it slide, whereas meeting edge on edge seems to facilitate binding. As well, since the wrist will be subtly more slack, I think that would further help the sliding motion for the deflection and retaliation. The demonstration of the flat parry (1:00) showcases my critique of parrying on the full flat closer to the shinogi than the ha/edge, it often is a very weak structure mechanically.
As Jon mentioned, at the low strike parry where you outstretch your hand to boost leverage in the foible (1:45), it looked like there was a very high chance you might loose a finger or two, as you admit. A trick I try when 'half swording' (to borrow yet another European term) is to use the fingertips rather than the palm so that the fingers aren't as compromised. Although that makes it next to impossible to loop around the opponents mune to assist the bind, so completely different application. That mune grab is a sly technique, isn't it?
I really enjoyed the "high block" sequence in the first half of the second minute of footage. Something I learned while sparring is that it's pretty easy to just do a tip strike (cut or thrust) to the opponents hand or forearm when they wind up for an overhead strike. I'm a big fan of such expedient means, and you seem to be as well.
I also like how you're such an enthusiast of using the kashira for 'pommel' strikes and pins, very useful techniques when used to immobilize the wrist/forearm. At first when I was starting out it never occurred to me that handles were useful for things other than, well, handling the sword, but after the copious amounts of pommel jokes I learned the butt end of the handle/tsuka really has some fun uses. Particularly when it's a solid piece of iron.
Also love the sign off line "What works is the proper way, because it's not stupid if it works". Wonderful line, might become a new motto.
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Post by RufusScorpius on May 23, 2019 0:59:55 GMT
In actual full speed contact, it's not exactly a 90 degree edge to edge, but more or less about 60 or so. The objective is to get the deflection- sort of your sword acting as a shield. Overall, lifting the hands to block with the tip of the sword downwards is one of those concepts where you have to unlearn what you think you know and do something that is counter-intuitive because it's actually correct.
As I stated earlier, in making the vid I am standing further away than I normally would be, and I am about 20 degrees off center. I was trying to make sure the move would be picked up. So yes, my fingers are in a very bad spot, but during a "normal" positioning they wouldn't be. You can kind of see the difference in the strike at 2:55 which was about full speed- it flows from block directly into a strike in one motion. In an actual fight, I would take the low block/bind directly into a chest to chest push with a fist to the face- otherwise you end up like in the vid where not only are the fingers exposed, but your opponent has multiple opening from which to either escape or strike back. The idea is to immobilize your opponent's sword and maybe deliver a cut to the neck in the process. I like those "alternative" techniques (and that is why my sword of choice is the Oniyuri with the 3 hand tsuka) I am thinking of doing another vid with just those sorts of things- how to bind, when to drop your sword, and basic theory of ending a sword fight with a fist.
My final thoughts on the topic is not to worry about it. If you spend your time thinking about edge/flat etc, then you've spent the time thinking about something that doesn't matter instead of doing something that does. Too much thinking isn't good- no time for it. I think of sword training and fighting a bit like a box of Legos: learn each block, learn it's color, it's number of pegs, and how it attaches to other blocks. Then, when you have enough blocks, you can assemble them however you see fit. This is how you develop your own style that is right for you.
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