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Uchi — Inside —
内 Inside
At the beginning of practice, the junomichika deploys gestures with little relation to the body. Gradually, awareness of the existence and functioning of the hara emerges.It is then considered that the practitioner enters into uchi, opening themselves to an inner work. Just as there is an uchi proper to the practitioner, there is also an uchi proper to junomichi itself. This interior of the practice lies in the five principles that guide the study. From them radiates the execution of exercises and techniques. |
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Soto — Outside —
外 Outside
The notion of soto corresponds to the inverse of uchi.As soon as uchi begins to be felt and experienced in the body, it becomes possible to animate the head and the limbs. The whole forms a body through which, by means of techniques, the practitioner can engage in a real relationship with a partner. Without uchi, there can be no soto. |
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Migi — Right —
右 Right
It is essential for the practitioner to develop a clear awareness of the right and left sides of the body, as well as an awareness of the space beyond the body.It is by fully establishing the distinction between right and left that junomichi constitutes a complete body and space. Thus, to engage the whole body in a right-sided action, the practitioner must also master the left side. |
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Hidari — Left —
左 Left
Hidari expresses the notion of the left, inseparably linked to migi.Work on the left is essential to provide a global sensation of the body and space, and to ensure proper mastery of the right. |
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Mae — Forward —
前 Front
Mae is a fundamental notion, as it refers to the direction towards which the human body is oriented.In junomichi, actions are always directed forward, even when they appear to move sideways or backwards. In attack, in falling, or in movement, the body continues to go forward. Igor Correa expressed this through the formula: “Moving back while advancing.” |
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Ushiro — Back —
後 Back
Ushiro is defined only in relation to mae.Its integration is nonetheless essential: posture, attitude and control depend on a specific organisation of the back of the body. In partner work, especially through kumi kata, tension passes through the back of the body. Ushiro is therefore decisive in the relationship established between practitioners. Ground work is particularly suited to experiencing ushiro, as contact with the ground provides a concrete sensation of gravity and support. |
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Tate — Vertical —
縦 Vertical
Tate is the axis of the body connecting the feet to the head, passing through the hara.To act with accuracy and minimum energy, it is essential to maintain this axis throughout the technique. Any deviation from tate leads to inefficiency or opposition. |
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Yoko — Horizontal —
横 Side / horizontal
An action in junomichi unfolds both vertically and horizontally. Yoko is this horizontal plane.Even when directed downward, a technique maintains a horizontal direction, giving practitioners a sensation of floating (uki), allowing the movement to continue without interruption. |
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Omote — Front, visible side —
表 Surface / visible side
Omote designates what is visible and perceptible by all. It is associated with what is broad, open, relatively slow and demonstrative.It is linked to education. In the koshiki no kata, omote is the first series: Tori demonstrates control gently, allowing Uke time to deploy movement and escape. |
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Ura — Hidden side —
裏 Reverse / hidden side
Ura designates what is not visible, what remains hidden, consciously or unconsciously. It refers to what is short, internal and directly felt.It is transmitted more than it is explained. In the koshiki no kata, ura is the second series: the control becomes immediate and decisive. Igor Correa summarised this dimension with the expression: “Now, immediately.” |