Topic Three: Anchored Reverse Throw (also Eri Seoi Age)
Anchored Reverse Throw is also known as Gyakuwaza.
Of the four throws introduced in this Seminar, this is my favorite throw and is an excellent tournament response to Uke's refusal to engage (or to allow you to secure a proper grip). This throw is detailed with more precision below.
Session One: Practice Sotomakikomi (as noted before, this series of seminars is for advanced students who can safely execute the techniques listed). After a review of Sotomakikomi, practice it with Tori responding to Uke's stiff arming Tori. ALLOW UKE TO FREE UKE'S LEFT ARM (you want to avoid injuring anyone in club play and Sotomakikomi against a double arm stiff arm is a very brisk, sharp throw that can cause serious harm to Uke if Uke's arm becomes trapped).
Session Two: Tsurikumigoshi (Lifting Hip Throw) with an emphasis on dropping under the straight arm (this is a variant on Tsurikumigoshi used to respond to a straight arm). Then practice Dropping Ippon Seoinage against a stiff arm (Tori's right arm takes a dropping deep circle as Tori drops into Uke rather than stepping into Uke).
Session Three: Variant Tomoenage (Stomach Throw/Back Sacrifice Throw). This is executed against Uke as Uke pushes with a straight arm against movement by Tori. Tori drops down hard, rather than stepping, but Tori drops between Uke's legs with vigor.
Session Four: Honshi Morote Seoinage, executed from a standard right handed grip (rather than with a left handed grip). Review concept of reversed throws from right handed grip (rather than mirror throws from left handed grip). Students should have experienced this before.
Session Five and Six: Practice Honshi Osotogari (from standard grip, not as a mirror image throw), Hanemakikomi, Hanegoshi, and Ogoshi. Work these four reversed throws solidly, take one and a half sessions, then work Honsi Ipponseoinage. Students should appreciate why reverse throws are not as often used as either the standard throw or the mirror throw.
Session Seven: Work on Kuzushi and front Osotogari and Kosutogake (these are similar throws in many ways when executed from the front for Osotogari rather than stepping with Osotogari). Then focus on Oguruma (Major Wheel) and Ashiguruma (Leg Wheel) (in Ashiguruma Tori's working leg is lower -- near the ankle/lower shin rather than just under or on the knee as in Oguruma).
Session Eight: Work front Osotogari, Oguruma and Ashiguruma as a response to Uke "sagging" with Uke's arms.
Session Nine: discuss tournament grips, straight arm/stiff arm, sagging arms, refusal to engage (i.e. Uke's only allowing Tori a lapel grip while withholding Uke's arm and Uke grasping Tori's lapel only when Uke is executing a throw) and responses to various improper grips.
Session Ten: Introduce the Anchored Reverse Throw. Tori takes a lapel grip. Uke refuses to engage properly. Tori steps in with his left arm going under his grip (the grip is the "anchor") and throws using Tori's grip as the focal point.
The throw is very similar to a reversed Ippon Seoinage except instead of throwing against Uke's arm, the anchor or throwing connection is Tori's lapel grip. A refusal to engage invites this throw, as does laxity in responding to engagement. It is a very powerful throw.
Session Eleven: Practice dropping through Uke rather than stepping to Uke. Engage and wrap into Uke. Review Makikomi and dropping to the knees with power throws. Students want movement without bouncing up, kicking back or other retrograde action.
Session Twelve: Review counter throws vs. telegraphing and movement (focus on throwing without warning.
Final Session: Work Anchored Reverse Throw (Gyakuwaza, jokingly called Bengoshiwaza), Randori with Anchored Reverse Throw. General Review (following the last sesson on the three topics.
>full use of hips and legs in Pendulum Leg.
>full use of hands, feet and weight in Outer Wheel.
>full use of hips, back and shoulders in Anchored Reverse Throw.
>full kuzushi (Oguruma, Ashiguruma).
>Unreserved power and precision of execution without setting up or telegraphing.
>full force of the body and commitment on every throw.
|Ashibari||Tegurumaotoshi||Eri Seoi Age||Copyright 1997
Stephen R. Marsh