I watched the videos and I liked them all. Greg my take on them is that Smurf moved into the front kuzushi and struck the opponent "around" into position. When we were speaking of tai no henko this would be considered ura "spending" the attacker's punch. Your manner of executing the technique would be seen as Omote direct entry to the side. The other "shy" gentleman looked to me to be using a mixture of both relying more on principle than purity of technique which is rather like the way I tend to apply the technique in particular the placement and direction of the right arm. Smurf would that be the teacher? We played around with osoto gari last night and found it to be an excellent follow up technique if we met resistance to other techniques as well as a practical technique in itself. Pity big Bryan was not ther he is 3rd dan judo so we can't wait til his next appearance. thanks for the vids regards koyo
koyo We don't often do O Soto Gari by moving to the front kuzushi position but as you say from there it makes a great changing technique when resistance is counted to your original technique. I did a lot of them in my Nidan changing techniques grading.
Geg Myself I would prefare something like tai otoshi from that entry however when seen as a technique of opportunity osotogari is so direct that it can be executed in an instant. Someone resisting kote gaeshe is very vulnerable to osotogari. Makes me glad that my foundations were in judo. regards koyo
We will do the throw of varied attacks and as counters and combination throws ...I used this one as a demo example to show the principals ... I have been known not to block and just take the uke straight out with the throw... Glad everyone enjoyed the clips and it could be a regular feature on the JJ forum I feel to compare video clips regards Smurf
Koyo the big "shy" one is one of my fellow senior grades .... He is famously listed in the Guiness book of records for the most judo throws "Tai Otoshi" in one hour along with our original Sensei Dale .. I uked and boy was it a good day ... regards Smurf
I always tell the guys at the makotokai down 8 get up 9 THAT is tough more so than the number of guys you can throw.. so here's to you. Well done. There is a famous story regarding Goto Shioda where he uked for O Sensei when O Sensei did not feel well, however when he went on the mat he "suddenly envigorated". Shioda sensei spent the next fortnight in bed recovering. regards koyo
Koyo ....I ache ....good session on the mats but uke'ing for beginners hurts ... I nearly popped my shoulder out tonight and dread to think what pain the morning holds !!! Shall we have an O Goshi thread next ? Smurfn
UKe for beginners?You'll love this. Derek gets tired of a beginner cutting to miss with a bokken and stops in frustration points at the centre of his head and says HERE!! You guessed it crack!! Luckily I was close enough to get to the beginner before Derek. regards koyo
been there .... when you say hit me ...they do ...!!! keeps one on their toes... I was throwing a beginner / white belt in sumi gaesh (spelling ) and tried to ease him over ...hyper extending my shoulder in the process...... should just have let him break fall ... Smurf
After getting a punch in the mouth as I tried to get a students to hit on target I gave that approach a miss. My Sensei got a hit on the head with a stick getting a student to hit correctly after they had consistently missed hitting another student. Their response was "your the instructor". He never tried that approach again. Me either.
Big pendulum motions with the leg tow pointing down and kick it back to try to touch your butt with your heel. Point of contact between both the Tore and Uke's legs is the calf. But like many other techniques (including all the hand strikes), you should try to make your movements shorter and more explosive to prevent opening yourself up to any counter and make your techniques more unexpected.
Making a big pendulum motion with your leg just makes it easy for uke to reverse the throw on you, and calf-to-calf contact doesn't provide any 'lift'....it just knocks out uke's leg and requires superior strength, which you won't always have. 1) By chambering your leg as though for a back kick, you keep your own balance forward and thus make it difficult for uke to break your kuzushi 2) Thigh to thigh contact 'lifts' uke's leg and, combining with the unbalancing, creates a throw rather than a 'trip'. Regards - Jon
UNBALANCING is definately the secret.NEVER attemp to throw until uke is properly unbalanced. regards koyo
Like I said - or rather implied - the pendulum motion is done upon learning the technique to get the dynamics of the sweep. But like many other techniques shortening the motion and chambering the motion is where you want to end up. Good point on the thigh contact though.
Great thread. I like the grip in post # 25. I am guessing most posters use the 1) off balance 2) entrance 3) throw formula. I think that is the formula I am seeing woven into most of these posts. The variations are probably in the grips and the vectors pursued in the entrance. I don't think my school has "a way" we do this but some of my preferred grips and entrances are: Assuming I am reaping the right leg with my right: Right hand on nap of neck left hand on elbow or triceps. Right hand slides down between shoulder blades while elbow raises up. The object is to elevate the head by arm underneath it and lifting my elbow to raises his head. Left hand pulls elbow or triceps in to take out slack and I try to fit my body ribs to ribs my right rib to his right. While elevating his head to bend his back and entering turn my head and body to my left while apply reap. Same grip but put right palm on his right shoulder so that my forearm is under his chin. Same as before elevate elbow and enter same way with same turn as above. Put right palm on his chest and push in. If he resists release palm push and pull him towards with left hand on his elbow and let him move in. Attempt to catch his stepping in foot with reap as he is replanting it from counter movement to push. Reposition right hand under his chin or his right shoulder to push his upper torso back to further compromise his balance during step. From a standing wresting position stiff arm him with right hand if he tries to push in. As he attempts to by-pass stiff arm let him by repositioning right hand on his left cheek. With left hand on his elbow or triceps pull and and turn his head with right hand to his right driving in to reap right leg.
I hope I'm not barging in on a jujutsu forum, but I just got back from teaching this to beginners. This is how I do O soto gari as a judoka; 0: left hand with a tight grip on the point of the elbow. Right hand high on the lapel, to push under the chin later. 1: Step with my left, equal to his right not past. I transfer the weight of my hips dropping with the step into his elbow, pulling him down and towards me. Our right hips are now touching and our chests. 2: Leg swings forward, slightly bent but rigid Toes pointed like a ballerina. 3: Pivot to a NW direction. Sweep to SE, raising my leg (still rigid and pointed) as high as I can. Big toe should graze the mat during its arc. Hand pushes to NW and up under the chin. Head to the mat. Points; I keep my body in a straight line. Make contact achilles to achilles. The pointed toe protects both our achilles and prevents the flat foot from acting as a brake.
