Oizuki
by Master Kawanabe
by Master Kawanabe
In short, the settlement of the waist is essential. When you can feel both sides of the waist, the front side, and the rear side, settled equally, you must first feel easy and then comfortably punch ”Oizuki” in a relaxed way. Punch as if you are using the breath of your waist without exerting strength on the rest of the body. The settlement of the waist can be originated using the basic method of correct walking, the footwork in relation to the ankles, knees, and waist. Every joint and muscle under the waist must work harmoniously in a relaxed way, with the upper body fixed on it rightly.
The Oizuki can be done by the clever working of the heel. Of course, this limber movement can be accomplished when helped with the waist movement directly linked to the heel. You can feel your feet and waist move like the law of inertia, although it is slightly different. Both heels and waist become full (solid) at the same time.
In making “Oizuki”, the rear foot must step with “JITSU NO ASHI” or, in my interpretation, a well-controlled foot. Integral movement between the joints, waist, knee, and ankle is essential. The knee and waist are rightly placed over the ankle or heel, and or other words, the ankle supports the knee, and the knee supports the waist just or vice versa. Each joint is connected to each other.
Here let me describe a little on the outline of the ”Oizuki,” as this is the source or origin of all techniques. The first thing to keep in mind is that all the physical techniques of Budo are attributable to the waist and distributed from the waist. You must imagine and actually feel the waist settling satisfactorily over the feet.
“Kosi ga dekireba oizuki wa dekimasu, Kosi ga dekireba tano waza mo yoku narimasu”
(1) Without hardening the joints and the muscles around them below the waist, fold each joint deep enough so that each joint and especially the waist can store sufficient power as if they can make activated breathing
(2) At this attitude, maintain the knees over the toes with the kneecap upright as well as the waist located over the heels. Then the center weight of the body is balanced rightly on the flat of the feet, and the heel is filled with ”ki”.
(3) When you move your rear foot forward, step naturally, imagining water in the tank of your stomach not being disturbed as you move. This body movement, accompanied together with the breath, makes various rhythms and strong flows of ”ki”.
The Oizuki can be done by the clever working of the heel. Of course, this limber movement can be accomplished when helped with the waist movement directly linked to the heel. You can feel your feet and waist move like the law of inertia, although it is slightly different. Both heels and waist become full (solid) at the same time.
In making “Oizuki”, the rear foot must step with “JITSU NO ASHI” or, in my interpretation, a well-controlled foot. Integral movement between the joints, waist, knee, and ankle is essential. The knee and waist are rightly placed over the ankle or heel, and or other words, the ankle supports the knee, and the knee supports the waist just or vice versa. Each joint is connected to each other.
Here let me describe a little on the outline of the ”Oizuki,” as this is the source or origin of all techniques. The first thing to keep in mind is that all the physical techniques of Budo are attributable to the waist and distributed from the waist. You must imagine and actually feel the waist settling satisfactorily over the feet.
“Kosi ga dekireba oizuki wa dekimasu, Kosi ga dekireba tano waza mo yoku narimasu”
(1) Without hardening the joints and the muscles around them below the waist, fold each joint deep enough so that each joint and especially the waist can store sufficient power as if they can make activated breathing
(2) At this attitude, maintain the knees over the toes with the kneecap upright as well as the waist located over the heels. Then the center weight of the body is balanced rightly on the flat of the feet, and the heel is filled with ”ki”.
(3) When you move your rear foot forward, step naturally, imagining water in the tank of your stomach not being disturbed as you move. This body movement, accompanied together with the breath, makes various rhythms and strong flows of ”ki”.