Because it is predictable, you have to force yourself to wait until you have to move, but it works pretty well.Īlso, one thing that i feel is irreplaceable for developing these sorts of skills is a controlled environment. Then you swing it and practice your timing and movement away from it. When you move, you then check to see if upon completion of the movement that your whole body is off the centre line without sacrificing your posture.Īlternatively, if you have a tree nearby I tend to tie a squash bottle with a fair bit of water to a bit of string and tie it to a branch so the bottle dangles around upper chest height. The line should go through your own centre line, which should be the same line that people will attack you with. You treat that as the centre line, the line of attack for your standard karate uchi/tsuki/keri waza that you stand over. Barely sticky white tape/line of shoes/line in the pavement/gaps between paving slabs (as it is in my case)/chalk line - you get the idea. What I tend to do is, if I don't have a partner, to mark a line on the ground. Has anyone taught you about a concept called "nagasu" (used as "nagashi" when in combinations of other words) or what naname is? It's my personal preference, but I find my ippon kumite is a little more efficient for it, especially as I can be pretty slow and don't want to move more than I have to. You either float or are utterly destroyed in a tide of puzzle horror. It's a bit like telling some to be careful with building a puzzle, but not giving them any points in what to look for. The downside is that most students blank and then fail to appreciate the importance of tai sabaki/ashi sabaki. The upside to that kind of training is that it causes the student to think if they're training honestly. Once you can do these fluidly and quickly (which is quite difficult), add them together and practice switching between them.Ĭlick to expand.I always have mixed feelings about this kind of attitude, personally. Or step your right leg out so it's parallel to the side of your left and twist your hips so you're facing at 45 degrees to the right of your opponent. Or step your left leg to your right and your right leg out so you're to the right of your opponent. Or step diagonally forward with your right leg, past your left, then rotate your body around to the left so you're facing where the back of your opponent would be. Or start by pivoting your right leg behind your left to end up at 45 degrees. Say, with your standard left-leg-forward zenkutsu dachi, practice stepping your left foot sideways then using your hips to fire your right leg behind you back into zenkutsu at 45 degrees from where you started. ![]() Practice all the ways you could step to circle an opponent. ![]() ![]() However, it only works once you've actually got some techniques in your arsenal to draw upon.Īs to your original question, it's quite hard to practice tai sabaki without someone to avoid, but you can focus on footwork without a parner. ![]() I prefer it to the "this is set 1: gedan barai, gyaku zuki this is set 2: soto uke, empi.etc" way of learning because it encourages you to think on your feet a bit more and not always be relying on your memory of fixed routines. Click to expand.I quite like this more freeform way of training.
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