genetic judoka wrote:in the video I was doing osoto guruma (or at least trying to), and my partner was doing osoto gari.
my uke is my same weight, but as you can see somewhat shorter than me. hey, I'll take what I can get. I had to modify my throw a bit to make up for the height difference, but that's no excuse if I'm doing something way wrong.
I'm posting this because I want to know where I can improve. and I have pretty thick skin, so don't hold back, I can take the criticism. if you've got advice for my partner I'll pass that along as well. my specific goal in doing these throws, since we were doing it with the minimum resistance possible without jumping, was to do it with the bare minimum amount of muscle possible.
I tried to play with the slow motion stuff as well, frankly I did that just because I think it looks kinda cool.
I'll kind of reiterate what Hanon wrote, maybe a little different emphasis though.
The Osoto Guruma you are doing is to me a borderline Osoto Gari, sometimes what I would all a Nidan Osoto Gari (cutting both legs). At times you are appear to be reaping (sometimes an abbreviated reap) rather than "wheeling" uke over you outstretched leg.
I've been told one can do Harai Goshi to uke rear. I'll let Hanon et al comment on that.
So you end up doing to my eye some sort of hybrid throw. I personally find the balance for both O Guruma and Osoto Guruma difficult to do, but admittedly I practice neither very often.
Related to the balance issues, though, you don't have to look down at uke when you finish the throw. Both you and your partner keep kind of hunching up you shoulders and looking back at uke in an apparent effort to maintain control and exhibit "zanshin".
You need to keep your head up instead of looking down. To adjust to uke fall (to of course help him take a nicer fall), use your legs more and you can adjust your final pull up with a more erect posture.
Especially in the O Soto Gari, I would have uke work on following through more, maintaining his balance on one leg as uke falls rather than trying to recover to both feet right away. Tori body can make a nice stretched out shape, with his head turned. There is a place of dynamic tension between uke and tori (tori using the twist of his body in conjunction with the control of hikite and tsurite) where tori can find his balance and control uke properly as well.
Here is a video of Y. Yamashita that gives an idea of what I'm talking about.
Nice video, thanks for sharing,