Well, here it is, Bryan Dukas Sensei's comment on Unsu and some of his commments on the session, hot out the Dojo in SA...
"Here are just some of the main tips I feel we could mention. To try put all down on blog would be just too much.
Wednesday night and after about 40 min basics, Yahara Sensei called me up to do Unsu in front of him. (Now to do Unsu in front of Yahara Sensei is like being asked to play the piano for Beethoven.) My heart fell to the floor and between my nerves and the slippery sweaty floor, probably did the worst Unsu ever!! This is a good thing as no bad movements could be hidden.
(PKU note- the floor was like a rink)
To see Yahara Sensei do some of Unsu movements just makes you remember that we are still so far off being able to do Unsu (or even just KWF karate) correctly! It was one of the highlights of my 25-year karate career.
Yahara Sensei = Unsu .
To see Yahara Sensei in action gives you goose bumps and leaves you with your jaw hanging open. It is unbelievable that a person can move his body in such a dynamic way!
Unsu must have soul!
Start movement from back foot, leg and hip. Not arm!
Unsu must have soul!
On ippon strike, make it big. NO SMALL MOVEMENTS
Unsu must have soul!
Shuto strike more important than gyaku zuki punch on the four direction movements.
Unsu must have soul!
Always remember Isaka Sensei feeling (standing up and moving out).
Unsu must have soul!
After standing up the next two movements must have back feeling, not just front hand.
Unsu must have soul!
Haito uchi must have 2 meter forward feeling.
Unsu must have soul!
Twist with hip!!!
Unsu must have soul!
Always have maximum compression to sharp expansion. Solid body on finish of movements.
Unsu must have soul!
Even if you tired must jump high with meaning!!!
Unsu must have soul!
I showed Sensei Mike the jump training we did on Thursday. He was smiling ear to ear and then decided to make me do it over and over and over again.
Got to love it.
Hope this is what you were looking for. There is alot more but to try explain move for move is an overkill for the blog."
PKU Comment:
Well as far as we were concerned, with YS, you get what you deserve. In Bryan Sensei's case it turned out to be a masterclass to turn a great Unsu into an awe-inspiring Unsu.
One thing YS emphasised is that technically his Unsu may not be 100.000% precise in execution, but every single movement is pushed to the envelope when speed and power is switched on, and every pause and lull carries its own meaning, i.e. a Yahara Unsu has great big rollocking cojones and fine artistry all packed into one performance.
One of the key points about it all was if you never sacrifice taking your opponent's head off in going for a high jump- to see what I mean, please go to the video page on the KWF website.
Training for a high jump means having to leap up over a belt strung up between someone standing behind you and where your opponent is at about high waist hight. You have to propell both legs up and over- get that lift first and ker-thump your opponents head with both feet as you are twisting round without loosing momentum and then have the energy to complete the high arc.
As Sensei Bryan says, arm movment in the KWF comes from the back, which is difficult to explain if you have not encountered the concept before, but you can soon get the inkling of the idea by attending a session on it under Isaka Senei.
The best way to see this, along with Unsu, for example, are the first blocks in Kanku-Dai. Do you just whip your arms out, or are you peforming a swathing arc that is a real block? Does what you do look thin and fast, or powerful and impressive...
I'll ask myself that question again and again and come up wanting. But that's the fun isn't it?
Yoroshiku,
Paul.
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