Peter King Class Review

July 26, 2007

Peter spoke a lot about the  feeling of a technique rather than what it should look like. At the same time he mentioned owning your training, going through your movement on your own in your own time “reconfirming” the things picked up in class.  So we can see that there’s a world of training in between  these things – watching, feeling, doing, absorbing and integrating. It’s  about getting an internal sense of it all and that boils down to diligent training under quality instruction. All of this was expressed last night in what was essentially an advanced Kihon Happo class although it wasn’t overtly defined as that.  (A  good thing at the time perhaps, as defining it may have prohibited the freedom of expression Peter was expounding)

Here’s a reminder:

Ichimonji No Kata:

 As uke – punching with feints, using boshi ken, breaking the tori’s kamae with strikes and deflections (oh wait, tori is now uke – imagine that!).  We also looked at footwork and gaining distance. The punching was encouraged to be  natural with the response of the targets body-reaction as opposed to being of  a fixed form that can’t adapt. Again however,  it was mentioned that form is a good place to start. Slightly off angle approaches were used to upset uke’s ability to respond as well.

Hicho No Kata:

We looked at applications of the  transitory nature of hicho No kamae in response to leg attacks, back-against-the wall multiple atacks, gaining distance, covering vital areas etc. I’ve personally found hicho no kamae one of the most useful and natural things to move into when moved against. Don’t forget  its usefullness too in aiding punching by allowing greater movement of the hip. We saw this too with strikes with the jo at the last major seminar in Dubln with Peter this year. 

Jumonji No kata:

Aspects of this kata appeared last night in terms of some of the striking in it and using it as  a mean of closing the weaknesses of ichimonjo no kamae. You could argue too that uke’s role in Jumonji no kata was explored indirectly if you think about it.

Omote Gyaku Kote Dori:

Actually the class started with this technique and we looked at many variations using particular footwork to stay safe and apply the lock. Peter talked about the striking that can be done with the angling and space used  so we did  particualr shuto’s and kicks that made sense with the rest of the movement.  Once on the ground there were various things that could be done to control uke.

Ura Gyaku Kote Dori:

Peter used this technque to emphasise that techniques are not always what they seem to be visually. I hope that everyone had  a go at feeling this lock from Peter. Again footwork was important but most of all it was how the whole thing stacks up with  one complete response, that was emphasised.


In between doing these things Peter showed us and had us practice some forward rolling  that showed us how the head and hands, along with the  whole body,  could be used to control our relationship with the environment to stay safe and vigilant. 

– Ali Martinez


One comment

  1. Nice write up Ali!

    Good stuff.

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