Ben Sempai was in charge of the warm up session and the first 45 minutes of the session and after a body warm up that was quite sweaty,we embarked on the techniques which included:
-Morote Dori Kokyu Ho.
-Katatedori Kokyu Nage.
-Ushiro Ryote Dori Ikkyo Omote,Sanyo Omote and Ura(for the more advanced students) respectively.
Douglas Kohai took over the rest of the session and took us through the following:
-Ushiro Ryote Dori Sankyo (Omote and Ura) and Shiho Nage Omote respectively.
-A combination of three techniques in one beginning with Ai Hanmi Katatedori Ikkyo Omote,followed by Sankyo Ura and ending with Kokyu Ho.
-Ai Hanmmi Katatedori Kote Gaeshi Omote.
ATTENDANCE LIST:
-KIYAGA Ben
-OSORO Douglas
-MICHUKI Leon
-MUTHII Joshua
-ORAW John
-MUTINDA David
-OMONDI Steven
-MWAKIO Sammy
NEXT SESSION:TUESDAY, APRIL 1(APRIL FOOLS DAY!)@ THE SAME VENUE
Thursday, March 27, 2014
Tuesday, March 25, 2014
Tuesday, March 25, 2014 session at the JICC conference room
Fresh from attending the inauguration of Aikido in Rwanda,Jason Sempai took us through the whole session with the following attacks/techniques(after a sweaty warm up session):
-Katatedori:Shiho Nage Omote and Kokyu Ho respectively.
-Yokomen Uchi Shiho Nage Omote.
-Ai Hanmi Katatedori Irimi Nage Omote.
-Shomen Uchi Irimi Nage Omote.
The session came to an end with a combination of three techniques in one,i.e. Ai Hanmi Katatedori Ikkyo Omote followed by Shiho Nage Omote and ending with Kokyu Ho.
Furthermore,we held a short discussion and it was decided that an account in the name of the association shall be opened this week and that we shall begin collecting the annual membership fees(Kshs 1,000)from each member of the association any time from now.
We also discussed about inviting Piotr Masztalerz Shidoin to come over for a seminar and we are in the process of raising at least Kshs 100,000 which will serve as his airplane ticket cost.
ATTENDANCE LIST:
-KIBE Jason
-OSORO Douglas
-MICHUKI Leon
-MUTHII Joshua
-ORAW John
-OMONDI Steve
-MUTUNGA Robert
-ABONYO Patrick
-GOGO Rodney
-MWAKIO Sammy
NEXT SESSION:THURSDAY,MARCH 27 @ THE SAME VENUE
-Katatedori:Shiho Nage Omote and Kokyu Ho respectively.
-Yokomen Uchi Shiho Nage Omote.
-Ai Hanmi Katatedori Irimi Nage Omote.
-Shomen Uchi Irimi Nage Omote.
The session came to an end with a combination of three techniques in one,i.e. Ai Hanmi Katatedori Ikkyo Omote followed by Shiho Nage Omote and ending with Kokyu Ho.
Furthermore,we held a short discussion and it was decided that an account in the name of the association shall be opened this week and that we shall begin collecting the annual membership fees(Kshs 1,000)from each member of the association any time from now.
We also discussed about inviting Piotr Masztalerz Shidoin to come over for a seminar and we are in the process of raising at least Kshs 100,000 which will serve as his airplane ticket cost.
ATTENDANCE LIST:
-KIBE Jason
-OSORO Douglas
-MICHUKI Leon
-MUTHII Joshua
-ORAW John
-OMONDI Steve
-MUTUNGA Robert
-ABONYO Patrick
-GOGO Rodney
-MWAKIO Sammy
NEXT SESSION:THURSDAY,MARCH 27 @ THE SAME VENUE
Friday, March 14, 2014
Seminar 1
Today was our first session and unfortunately,we arrived a few minutes late.
After the warm up,Sensei Massimo Ei Villa Dorat focused on Irimi Nage-Aihami,gyakuhami, yoko men uchi and shomen uchi.
I loved the theory part-he was explaining alot and the thing that struck me was that curiosity and enthusiasm are what make us good in Aikido
Curiosity-wanting to know how things work.
Enthusiasm-sharing that curiosity with others in the dojo.
He kept mentioning my favourite word in the dojo-energy and he showed us some techniques to control Uke's energy.Before this,I would have termed what he did as 'magic'
It was a great class and time just flew.
Looking forward to tomorrow.
We also skyped with Sensei Piotr later and hopefully,we'll be seeing him in Nairobi this year.
P.s -Sammy,you'd have loved the seminar.
After the warm up,Sensei Massimo Ei Villa Dorat focused on Irimi Nage-Aihami,gyakuhami, yoko men uchi and shomen uchi.
I loved the theory part-he was explaining alot and the thing that struck me was that curiosity and enthusiasm are what make us good in Aikido
Curiosity-wanting to know how things work.
Enthusiasm-sharing that curiosity with others in the dojo.
He kept mentioning my favourite word in the dojo-energy and he showed us some techniques to control Uke's energy.Before this,I would have termed what he did as 'magic'
It was a great class and time just flew.
Looking forward to tomorrow.
We also skyped with Sensei Piotr later and hopefully,we'll be seeing him in Nairobi this year.
P.s -Sammy,you'd have loved the seminar.
Thursday, March 13, 2014
Thursday, March 13, 2014 session at the JICC conference room
Douglas Kohai was in action again and he took us through the whole session beginning with a sweaty warm up session that featured as you guessed his favourite "wheel barrow push ups".
After warming up the joints,we went through the following techniques:
-Tsuki Kokyu Ho and Kote gaeshi respectively in both instances using an improvised Tanto.
-Hanmi Handachi Waza Shiho Nage.
-Kata Gatame through the opening of Ai Hanmi Katatedori Ikkyo Omote.
Douglas Kohai also informed us that there will be no Aikido session next Thursday (March 20) as the room shall be used for a certain function.
ATTENDANCE LIST:
-OSORO Douglas
-MUTHII Joshua
-MICHUKI Leon
-ORAW John
-ABONYO Patrick
-ABDIRAHIM Ayan
-OSWAGO Alex
-MWAKIO Sammy
NEXT SESSION: TUESDAY, MARCH 18 @ THE SAME VENUE
After warming up the joints,we went through the following techniques:
-Tsuki Kokyu Ho and Kote gaeshi respectively in both instances using an improvised Tanto.
-Hanmi Handachi Waza Shiho Nage.
-Kata Gatame through the opening of Ai Hanmi Katatedori Ikkyo Omote.
Douglas Kohai also informed us that there will be no Aikido session next Thursday (March 20) as the room shall be used for a certain function.
ATTENDANCE LIST:
-OSORO Douglas
-MUTHII Joshua
-MICHUKI Leon
-ORAW John
-ABONYO Patrick
-ABDIRAHIM Ayan
-OSWAGO Alex
-MWAKIO Sammy
NEXT SESSION: TUESDAY, MARCH 18 @ THE SAME VENUE
Wednesday, March 12, 2014
The Road to Kigali
It should have been smooth sailing.....get into bus in Nairobi and 24 hrs later,you arrive in Kigali
We were supposed to leave Nairobi at 10 am.Instead we left close to 1,fueled for about 1hr
in Westlands so we said goodbye to Nairobi at around 2.00pm.
Typical,you say.No,it's not.Thanks to my job,I've been doing a fair amount of travelling and whereas very few buses leave strictly on time,most of them leave at least within the hour.
Trouble struck in Molo,where the bus started smoking.We alighted,hoping it was a small mechanical problem.
Jason and Ben are better placed to give details of what exactly the problem but it was evident it couldn't be fixed and another bus had to be sent.
In an 18hr drama,featuring angry passengers,Kampala Coach staff&management plus the Kenya Police
the bus is almost,about 24 hrs after the mechanical failure,in Eldoret
Hopefully,we will get to the border before the 9.00pm public transport curfew.
Thank God night travel is allowed in Uganda.
We were supposed to leave Nairobi at 10 am.Instead we left close to 1,fueled for about 1hr
in Westlands so we said goodbye to Nairobi at around 2.00pm.
Typical,you say.No,it's not.Thanks to my job,I've been doing a fair amount of travelling and whereas very few buses leave strictly on time,most of them leave at least within the hour.
Trouble struck in Molo,where the bus started smoking.We alighted,hoping it was a small mechanical problem.
Jason and Ben are better placed to give details of what exactly the problem but it was evident it couldn't be fixed and another bus had to be sent.
In an 18hr drama,featuring angry passengers,Kampala Coach staff&management plus the Kenya Police
the bus is almost,about 24 hrs after the mechanical failure,in Eldoret
Hopefully,we will get to the border before the 9.00pm public transport curfew.
Thank God night travel is allowed in Uganda.
WHY THE LEFT FOOT IS MORE IMPORTANT IN JAPANESE MARTIAL ARTS
Originally Published in Black Belt ____
Traditional Japanese Martial Arts are often characterized by their attention to detail and sometimes ritualized methods. These details and rituals have been put in place for specific reasons. But how has this ritual and attention to detail affected how we practice martial arts today? Has the importance of the left foot been forgotten?
If you practice a Traditional Japanese Martial Art, you understand how important the details of the art are in producing the perfect technique or kata (form). The placement of the hand or sword at the correct angle makes all the difference in the outcome of the movement. The rituals we practice as a part of our art help to root us to the art's history and develop a proper mindset for training. How has the ritual aspect of our art bled into the actual techniques and practices?
Each style is going to have a different answer for this question, but let it suffice to say that the left foot plays more of an important role than you might think. In the late fourteenth century, a key member of the Ogasawarasamurai family by the name of Ogasawara Nagahide developed the Sangi Itto, a manuscript detailing the importance and techniques of etiquette, horsemanship, and archery. Although this is not the only influence on etiquette in Japan, it had a great reception within the warrior class of the time. With the introduction of the rules of etiquette by the Ogasawara method, samurai would use etiquette to distinguish themselves further from the other classes. Naturally, the Ogasawara method of etiquette was integrated into the different “ways” of the samurai. Everything from the cha ya no (tea ceremony) to education and, of course, bugei/budo (martial arts) were ingrained with this intricate system of etiquette which helped to further separate the warrior class from the rest of society. Because the Ogasawara were also known as great warriors, it should come as no surprise that the etiquette was created with awareness and thus protection from treachery in mind. Each movement has an implied meaning. And with that implication, awareness of someone's intentions could immediately be discerned. This is where the left foot comes in. At the beginning of each and every practice, Traditional Japanese Martial Artists step into the dojo with their left foot. When we kneel into seiza, we do so first with our left foot. When we step onto the mat, we initiate this movement with our left foot. And when we leave the dojo, we leave with our left foot being the last part of our body to leave from the dojo. Is this a coincidence? Surely not. This form of etiquette, with emphasis on the left, shows respect. Moving with the right foot would show aggression. With the swords being worn on the left side of the samurai's body, it was much easier to correctly draw the sword with the right foot forward. Of course, it was possible to draw with the left foot forward, but adjustments had to be made so the sword would actually land a worthy cut. The millisecond it took to make these adjustments could mean the difference between life and death. By ingraining this etiquette into the martial arts of Japan, there were now expectations of a warrior's behavior. And when those expectations were not met, it could be assumed that the warrior had ill intentions.
Think of your kata. These movements represent how you would approach an enemy. What foot do you start with? Moving with the right foot first shows aggression or an intention to move into conflict. But that's exactly what kata represents on a practical level: conflict. Kata allows us to practice the fundamental movements of our style through a ritualized, preconceived set of movements. It also should remind us each and every time of what we are practicing. As we recognize the left foot as being put forward in respect, we should also recognize the implications of the right foot being moved first in kata. It is not coincidental. Proper etiquette of the Ogasawara method requires you to step first with your left foot to show respect. Although not all conflict is devoid of respect completely, there is a dissolution of the most important aspect of respect that leads into that conflict. There are other examples of the Ogasawara method in the Japanese budo. Reflect on how you perform your seated bow. Typically, from seiza the left hand is placed first, then the right; reversing the order when coming back up. This allows the right hand, the hand that draws the sword, to be free for as long as possible. This idea of awareness and preparedness is also reflected in the procedure to move into seiza: left leg down first, then right; reversed to stand up. Again, this procedure allows the samurai the greatest opportunity to defend against a potential attack. Lastly, observe the common practice of stepping into the dojo or onto the mat. Although the details may be different from school to school, the basics are the same. Step in first with the left foot (Illus. 1). Bring the feet together and bow (Illus. 2). Move forward with the left foot (Illus. 3). It's interesting to think how influential this concept of the left foot could be when applied to every movement inside the dojo. Think about moving towards a senior student or your sensei in class. What implications could there be if this were implied on a grand scale?
These elements of etiquette aren't the only way in which our left foot is influenced in martial arts. In fact, the integration of this etiquette has forever changed the way our martial arts are practiced. I've already mentioned the reflection of this in kata. The first movement of a typical Japanese kata is with the right foot. But, it isn't just about which foot you move first. The influence of this etiquette has gone beyond that. Strikes and kicks, blocks and parries, sweeps and throws: all have been influenced by the way we use our right and left feet in response to the rules of etiquette. We tend to move first with the right in an act of aggression, allowing the left leg to be used for balance, pivoting, or to otherwise derive power from. In Japanese swordsmanship, the left hand creates the power of the cut while the right simply guides the blade into correct position. The power of the cuts come from the shoulders and hips channeled up through the left leg. The placement of the left foot greatly determines the accuracy, angle, and power of the cut. In Judo, the placement of the left leg greatly determines the outcome of a throw by changing the points of balance on which the throw pivots. In Karate, the sturdiness of the stance and the power of the strike are determined greatly by the location of the left foot. Think about this abstractly. We derive power from the left foot...from the foot that symbolizes respect, gratitude, and honor towards one another. The martial arts we practice today are the product of centuries of refinement. Do you think the fact that we derive our power from the same side that we show respect from is a coincidence? I would suggest that coming from a culture where every movement of one's life, from stepping into the dojo to marriage, is an implication of intentions and direction; this is no coincidence.
The left foot, as we've discussed, is symbolic of respect. Students of all ages come to martial arts for respect. Some come to be given the push they need or to understand on a deeper level how important they are to the world and as a result find self-respect. Some are children who were never taught about discipline and respect and their parents feel that martial arts class is the place to learn about it. Traditional Martial Artists often talk about how things are going down the tubes in the martial arts community because of the type of respect non-traditionalists are teaching under the guise of “martial arts.” A few notable points worth mentioning would include the screaming of “Yes Sir!” or “Hai sensei!” rather than an appropriate volume level to show respect. Certainly, the Ogasawara would never have imagined martial artists slapping their thighs so hard when they bow that it not only becomes audible but could result in bruising. This is no show of respect. Do these children, these martial artists truly respect their instructor, their art, each other? Is it simply the only way they know to show respect in those circumstances? This is why the teachings of the importance of the left foot are so crucial. Etiquette rooted in history and tradition is part of the art for a reason. It isn't just some peripheral element of the art. It is ingrained in everything that IS that art. From the moment one steps inside the dojo to the practice of technique to the time one leaves, all of these movements reflect the importance of the left foot. The highest form of etiquette a martial artist can display is a true respect and honor for his art, his sensei, and his classmates that he feels in his heart. Only then will the methods of the Ogasawara truly come to life. The rituals set forth by the Ogasawara allow us to show others what is in our hearts. Next time you want to start class off on the right foot, step in with your left.
The article above can be accessed by copying and pasting the following link in your browser:
http://www.orlandomartialartsguy.com/index.php/martial-arts/45-why-the-left-foot-is-more-important-in-japanese-martial-arts
Traditional Japanese Martial Arts are often characterized by their attention to detail and sometimes ritualized methods. These details and rituals have been put in place for specific reasons. But how has this ritual and attention to detail affected how we practice martial arts today? Has the importance of the left foot been forgotten?
If you practice a Traditional Japanese Martial Art, you understand how important the details of the art are in producing the perfect technique or kata (form). The placement of the hand or sword at the correct angle makes all the difference in the outcome of the movement. The rituals we practice as a part of our art help to root us to the art's history and develop a proper mindset for training. How has the ritual aspect of our art bled into the actual techniques and practices?
Each style is going to have a different answer for this question, but let it suffice to say that the left foot plays more of an important role than you might think. In the late fourteenth century, a key member of the Ogasawarasamurai family by the name of Ogasawara Nagahide developed the Sangi Itto, a manuscript detailing the importance and techniques of etiquette, horsemanship, and archery. Although this is not the only influence on etiquette in Japan, it had a great reception within the warrior class of the time. With the introduction of the rules of etiquette by the Ogasawara method, samurai would use etiquette to distinguish themselves further from the other classes. Naturally, the Ogasawara method of etiquette was integrated into the different “ways” of the samurai. Everything from the cha ya no (tea ceremony) to education and, of course, bugei/budo (martial arts) were ingrained with this intricate system of etiquette which helped to further separate the warrior class from the rest of society. Because the Ogasawara were also known as great warriors, it should come as no surprise that the etiquette was created with awareness and thus protection from treachery in mind. Each movement has an implied meaning. And with that implication, awareness of someone's intentions could immediately be discerned. This is where the left foot comes in. At the beginning of each and every practice, Traditional Japanese Martial Artists step into the dojo with their left foot. When we kneel into seiza, we do so first with our left foot. When we step onto the mat, we initiate this movement with our left foot. And when we leave the dojo, we leave with our left foot being the last part of our body to leave from the dojo. Is this a coincidence? Surely not. This form of etiquette, with emphasis on the left, shows respect. Moving with the right foot would show aggression. With the swords being worn on the left side of the samurai's body, it was much easier to correctly draw the sword with the right foot forward. Of course, it was possible to draw with the left foot forward, but adjustments had to be made so the sword would actually land a worthy cut. The millisecond it took to make these adjustments could mean the difference between life and death. By ingraining this etiquette into the martial arts of Japan, there were now expectations of a warrior's behavior. And when those expectations were not met, it could be assumed that the warrior had ill intentions.
Think of your kata. These movements represent how you would approach an enemy. What foot do you start with? Moving with the right foot first shows aggression or an intention to move into conflict. But that's exactly what kata represents on a practical level: conflict. Kata allows us to practice the fundamental movements of our style through a ritualized, preconceived set of movements. It also should remind us each and every time of what we are practicing. As we recognize the left foot as being put forward in respect, we should also recognize the implications of the right foot being moved first in kata. It is not coincidental. Proper etiquette of the Ogasawara method requires you to step first with your left foot to show respect. Although not all conflict is devoid of respect completely, there is a dissolution of the most important aspect of respect that leads into that conflict. There are other examples of the Ogasawara method in the Japanese budo. Reflect on how you perform your seated bow. Typically, from seiza the left hand is placed first, then the right; reversing the order when coming back up. This allows the right hand, the hand that draws the sword, to be free for as long as possible. This idea of awareness and preparedness is also reflected in the procedure to move into seiza: left leg down first, then right; reversed to stand up. Again, this procedure allows the samurai the greatest opportunity to defend against a potential attack. Lastly, observe the common practice of stepping into the dojo or onto the mat. Although the details may be different from school to school, the basics are the same. Step in first with the left foot (Illus. 1). Bring the feet together and bow (Illus. 2). Move forward with the left foot (Illus. 3). It's interesting to think how influential this concept of the left foot could be when applied to every movement inside the dojo. Think about moving towards a senior student or your sensei in class. What implications could there be if this were implied on a grand scale?
These elements of etiquette aren't the only way in which our left foot is influenced in martial arts. In fact, the integration of this etiquette has forever changed the way our martial arts are practiced. I've already mentioned the reflection of this in kata. The first movement of a typical Japanese kata is with the right foot. But, it isn't just about which foot you move first. The influence of this etiquette has gone beyond that. Strikes and kicks, blocks and parries, sweeps and throws: all have been influenced by the way we use our right and left feet in response to the rules of etiquette. We tend to move first with the right in an act of aggression, allowing the left leg to be used for balance, pivoting, or to otherwise derive power from. In Japanese swordsmanship, the left hand creates the power of the cut while the right simply guides the blade into correct position. The power of the cuts come from the shoulders and hips channeled up through the left leg. The placement of the left foot greatly determines the accuracy, angle, and power of the cut. In Judo, the placement of the left leg greatly determines the outcome of a throw by changing the points of balance on which the throw pivots. In Karate, the sturdiness of the stance and the power of the strike are determined greatly by the location of the left foot. Think about this abstractly. We derive power from the left foot...from the foot that symbolizes respect, gratitude, and honor towards one another. The martial arts we practice today are the product of centuries of refinement. Do you think the fact that we derive our power from the same side that we show respect from is a coincidence? I would suggest that coming from a culture where every movement of one's life, from stepping into the dojo to marriage, is an implication of intentions and direction; this is no coincidence.
The left foot, as we've discussed, is symbolic of respect. Students of all ages come to martial arts for respect. Some come to be given the push they need or to understand on a deeper level how important they are to the world and as a result find self-respect. Some are children who were never taught about discipline and respect and their parents feel that martial arts class is the place to learn about it. Traditional Martial Artists often talk about how things are going down the tubes in the martial arts community because of the type of respect non-traditionalists are teaching under the guise of “martial arts.” A few notable points worth mentioning would include the screaming of “Yes Sir!” or “Hai sensei!” rather than an appropriate volume level to show respect. Certainly, the Ogasawara would never have imagined martial artists slapping their thighs so hard when they bow that it not only becomes audible but could result in bruising. This is no show of respect. Do these children, these martial artists truly respect their instructor, their art, each other? Is it simply the only way they know to show respect in those circumstances? This is why the teachings of the importance of the left foot are so crucial. Etiquette rooted in history and tradition is part of the art for a reason. It isn't just some peripheral element of the art. It is ingrained in everything that IS that art. From the moment one steps inside the dojo to the practice of technique to the time one leaves, all of these movements reflect the importance of the left foot. The highest form of etiquette a martial artist can display is a true respect and honor for his art, his sensei, and his classmates that he feels in his heart. Only then will the methods of the Ogasawara truly come to life. The rituals set forth by the Ogasawara allow us to show others what is in our hearts. Next time you want to start class off on the right foot, step in with your left.
The article above can be accessed by copying and pasting the following link in your browser:
http://www.orlandomartialartsguy.com/index.php/martial-arts/45-why-the-left-foot-is-more-important-in-japanese-martial-arts
Tuesday, March 11, 2014
Tuesday, March 11, 2014 session at the JICC conference room
Douglas Kohai is back after MIA due to professional duties and he was eager to sharpen up his Aikido skills and he did not disappoint.
After a great body workout that featured his favourite-the 'wheelbarrow pushups',we kicked off the practise session with the following techniques:
-Katatedori Kokyu Nage and Shiho Nage respectively.
-Reverse Kote Gaeshi.
-Ai Hanmi Katatedori Sankyo Omote.
The session ended with Kokyu Ho Kokyu Dosa followed by Haishin Undo.
ATTENDANCE LIST:
-OSORO Douglas
-MICHUKI leon
-MUTHII Joshua
-OLE KIMINTA Edwards
-MAMOU Tracy
-ORAW John
-ABONYO Patrick
-MUEMA Roy
-GOGO Rodney
-MUTUA Robert
-MWAKIO Sammy
NEXT SESSION: THURSDAY, MARCH 13 @ THE SAME VENUE
After a great body workout that featured his favourite-the 'wheelbarrow pushups',we kicked off the practise session with the following techniques:
-Katatedori Kokyu Nage and Shiho Nage respectively.
-Reverse Kote Gaeshi.
-Ai Hanmi Katatedori Sankyo Omote.
The session ended with Kokyu Ho Kokyu Dosa followed by Haishin Undo.
ATTENDANCE LIST:
-OSORO Douglas
-MICHUKI leon
-MUTHII Joshua
-OLE KIMINTA Edwards
-MAMOU Tracy
-ORAW John
-ABONYO Patrick
-MUEMA Roy
-GOGO Rodney
-MUTUA Robert
-MWAKIO Sammy
NEXT SESSION: THURSDAY, MARCH 13 @ THE SAME VENUE
Thursday, March 6, 2014
Thursday, March 6, 2014 session at the JICC conference room
Having arrived late by over 20 minutes, I missed out on the warm up session and the technique that opened the session thus,I will only highlight the techniques we went through while I was present.
Ben Sempai took over the first part of the session with Katatedori Soto Kaiten Nage followed by Ai Hanmi Katatedori Irimi Nage while the following are the attacks/techniques we went through during the remainder of the session:
-Katatedori Shiho Nage Ura.
-Yokomen Uchi Shiho Nage Omote.
-Hanmi Handachi Shiho Nage.
-Kata Dori Rokkyo.
ATTENDANCE LIST:
-KIYAGA Ben
-MICHUKI Leon
-MUTHII Joshua
-MUTINDA David
-OMONDI Steven
-ABONYO Patrick
-MWAKIO Sammy
NEXT SESSION: TUESDAY, MARCH 11 @ THE SAME VENUE
Ben Sempai took over the first part of the session with Katatedori Soto Kaiten Nage followed by Ai Hanmi Katatedori Irimi Nage while the following are the attacks/techniques we went through during the remainder of the session:
-Katatedori Shiho Nage Ura.
-Yokomen Uchi Shiho Nage Omote.
-Hanmi Handachi Shiho Nage.
-Kata Dori Rokkyo.
ATTENDANCE LIST:
-KIYAGA Ben
-MICHUKI Leon
-MUTHII Joshua
-MUTINDA David
-OMONDI Steven
-ABONYO Patrick
-MWAKIO Sammy
NEXT SESSION: TUESDAY, MARCH 11 @ THE SAME VENUE
Tuesday, March 4, 2014
Tuesday, March 4, 2014 session at the JICC conference room
Mohseen Kohai took us through the warm up session that included Mae and Ushiro Ukemi from Suwari Waza followed by Ikkyo,Sankyo and Nikyo Undo after which we embarked on the following techniques:
-Katatedori Uchi Kaiten Nage and Kokyu Nage respectively.
-Ryote Dori Kiri Otoshi.
-Ai Hanmi katatedori Ikkyo Omote from Suwari Waza.
The session ended with Kokyu Ho Kokyu Dosa followed by Haishin Undo.
ATTENDANCE LIST:
-LALA Mohseen
-OLE KIMINTA Edwards
-GOGO Rodney
-Tracy
-ABONYO Patrick
-MUTINDA David
-ORAW John
-GATHIRIMU
-MUTUA
NEXT SESSION: THURSDAY, MARCH 6 @ THE SAME VENUE.
-Katatedori Uchi Kaiten Nage and Kokyu Nage respectively.
-Ryote Dori Kiri Otoshi.
-Ai Hanmi katatedori Ikkyo Omote from Suwari Waza.
The session ended with Kokyu Ho Kokyu Dosa followed by Haishin Undo.
ATTENDANCE LIST:
-LALA Mohseen
-OLE KIMINTA Edwards
-GOGO Rodney
-Tracy
-ABONYO Patrick
-MUTINDA David
-ORAW John
-GATHIRIMU
-MUTUA
NEXT SESSION: THURSDAY, MARCH 6 @ THE SAME VENUE.
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