Same Same But Different

I've been struggling a bit with koshi nage. Here in Saigon we typically practice eleven versions. Some are easier than others.

Right now I am thinking of those koshi that require a really deep entry, particularly in response to a strike like shomen, yokomen or tsuki. I need to enter deep and quick with at least 180 degrees of turn. When the mat is in rough shape (as it is here) that turn is problematic.

These types of koshi are very fast and simple and it is my goal to incorporate them heavily into randori. But I have to get the turn down. I have to get my feet to where I need them.

I figure judo players as going to be specialists in koshi, so I have been looking at some judo videos. I'm looking at a series by Mike Swain called Complete Judo.

I noticed something. Aside from the fact that there is definitely a different flavor and feel to judo style koshi, I noticed that they classify them very differently.

At my dojo here in Saigon, we practice eleven versions. All of them are simply labeled koshi nage, presumably because they all share a certain set of features, and I have tried to practice them as if they are all ultimately the same. But looking at the judo videos, I saw that while they practice pretty much the same techniques, they classify them quite differently. They are not all lumped in as koshi nage. If I could remember offhand how they did group them, I'd mention that here, but my point is that I can only conclude that they group them separately because they see distinct differences among them.

One thing I saw was that when the judoka employed a koshi like the kind I described above (fast, deep entry with full turn), he achieved the turn by hopping. He hopped in and landed where he needed to be to execute (as opposed to trying to pivot on a disagreeable surface). Almost like a big, loose irimi tenkan. Additionally, he let his momentum carry his hips back and through uke.

Now I have a plan. I want to experiment. I want to take a little more hop so I can plant my foot 180 degrees around and right where I need it. Then, instead of drawing my hip around in a neat little circle and trying to drop my center at the same time, I want to draw my hip straight back following the natural momentum and let it displace uke's center. As the hip goes back, so do the leg and foot attached to it, and my center follows along, dropping naturally without straining the knees.

I've tried the footwork out a few times today. It feels very natural. I'm hoping to put my idea to the test tomorrow.