7/03/2014 1:33pm, #11
7/03/2014 1:54pm, #12
***Edit*** To clarify, bending your neck/head forward is what I"m talking about, as in tucking your chin.
In Osoto Gari, you would turn your head as you finish. For a RH throw, that would be to your left, as you reap and rotate your shoulders. That facilitates to maintain upper body contact and apply rotational force to uke, although it's primarily a "down throw", in that you are throwing uke as straight down as possible (in the end).
If you end up with more of an Osoto Otoshi action, then it's pretty much straight down, although you would still turn your head.
For example of head turning, look at about 1 minute mark. Osoto Otoshi at about 1:16.
Osoto something at 2:15; note when he rotates his shoulders a bit. Sometimes it looks like he is looking to the ref for the score (which he is, LOL).
Falling for Judo since 1980
7/03/2014 2:09pm, #13
I also don't grip the gi during the throw. I believe I adopted that because of MMA but it's been working for me so well that I've never gone back to the traditional lapel or jacket grabs.
7/03/2014 2:10pm, #14
7/03/2014 3:04pm, #15
7/03/2014 3:08pm, #16
2.) More head control is better, especially for non-experts at the throw (like me). Ono manages to throw without around the head control, but, he's an expert obviously. I had a Japanese sensei who was able to to the same thing...it was his favorite technique...he called it "hooking Osoto Gari".
Which heel ?Falling for Judo since 1980
7/03/2014 5:48pm, #17
7/04/2014 2:59pm, #18
In the Pedro video, he advocates pulling the sleeve grip into the hip, like the back-pocket kuzushi that a lot of Eastern European players use.
Is that something you guys do, as well?
I did some speed drills with o soto last night, and some of those throws were thunderous. I'll work on it some more this weekend and pay careful attention to the direction I'm looking.
7/04/2014 6:10pm, #19
O soto gari is my tokuiwaza, so here's my two penneth.
The classical practicing entry is usually done wrong, it's done wrong because people line up so tori's left foot is opposite uke's right and vice versa, tori then steps diagonally left or right, depending on which is their dominant hand to start the technique. This sends their body off in the wrong direction and ruins hand action.
When practicing standard O soto uchikomi always start offset from your partner, so your entry step is pretty much straight forward
This also applies to randori. It is almost impossible to throw a competent opponent with uke and tori both having standard sleeve and lapel grips when you're face on.
If you're offset from uke then a canonical O soto gari can work, but is best done using action re-action as a follow up to a strong and genuie Ko uchi gari or Sasae tsuri komi ashi attack
The most common competition and randori entry is done from kenka yotsu when tori has his right hand in a controlling position on uke's collar and left hand in a controlling position on uke's sleeve end.
From this position the key points are to keep uke's sleeve pinned towards the ground, maintain hopping momentum at a rugh 45 degree angle from their right leg from tori's perspective and a strong driving tsurite action to break their balance over their right leg, which is pinned to the mat by the combination of the downward pressure on the sleeve and the driving/reaping action of the leg/tsurite hand.
The sleeve is probably the most important aspect in this situation, if you don't have that sleeve control your hopping driving O soto is not going to be as effective. Uke will either turn out for a lower score, break the technique or at worst counter for a score.
If you can't get dominant control of the sleeve, if for example, you have double lapel or your opponent doesn't have a sleeve or gripping rules don't allow your to achieve a dominant sleeve grip. Then the attacking methodology changes.
In this scenario emphasis needs to be on controlling uke's head and using your lapel/collar grip to drive them over the reaped leg thus pinning their weight on it, whilst hopping/driving into the canonical position at which point sleeve control becomes less important and the control over the head and upper body becomes paramount.
Note when I say emphasis it is meant to mean that the two different approaches require more on one than the other, not that sleeve control is less important than head control. For a really good O soto sleeve control and head control should be equally important, but in the slightly different contest versions the weighting of the emphasis tends to shift slightly.
7/04/2014 6:19pm, #20