Through the Eyes of Hiroshi Arakawa

1. Coaching Sadaharu Oh

Hitting Home-Runs

July 1, 1962 was the day that Sadaharu Oh first hit a home run with his one-legged batting form. What follows here is some of the story behind that. I was a 31-year-old batting coach at the time, and a certain pitching coach said to me, �gWe lost because our batters just can�ft hit.�h We then began to talk about Oh. I said �gI can have him hitting home-runs any time now.�h And in reply I was told �gOkay, then let�fs see him hit one today.�h That was the day we debuted the one-legged batting form, which we had been practicing regularly, in a regulation game. With Oh�fs nature, I had been seriously thinking that the Triple Crown was not just a dream for him. But from that day forward, hitting home runs came to take precedence over all else.

Born May 20, 1940

1957             As an ace, led Waseda Jitsugyo to victory in the annual spring Koshien high school elimination tournament.

1959   �@Joined the Yomiuri Giants

1962             Perfected the one-legged batting form under the direction of batting coach, Hiroshi Arakawa. Hit 38 home runs in this year, gaining him his first designation as home run king. Through the following years, up to 1977, was home run king for 15 seasons. For two consecutive years from 1973, shone especially bright in earning the triple crown.

1977             Broke Hank Aaron�fs 755 home run record, become world�fs top home run hitter.

1980             Retired

Career record ? 2,786 hits for 9,250 at bats. 868 home runs. 2,170 runs batted in. 301 batting average.

1996             Named as manager of Daiei Hawks

2000             Moved to Chunichi Dragons, leading the team to number one in 1999 and becoming division champions in 2000.

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1.   KAMAE �| Form / Position

An important point as one enters the batting position, is to project with the eyes one�fs �gKI�h (a strongly focused energy or concentration), in order to break down the opponent (pitcher). Rather than one�fs form, what is firstly and most important is to stand in the batter�fs box while projecting a level of concentration and mental power capable of overwhelming the opponent. Checking the term �gKI�h in the dictionary, one finds numerous definitions, such as 1) the mind/spirit working to perceive and judge various objects and phenomena, 2) the mind/spirit directing attention to various objects and phenomena, and 3) something thought of as being the origin of all life, invisible, but filling all of heaven and hearth. For purposes here, however, I would like to the term to be understood as �gthe source which allows for the realization of a very high level of concentration.�h

The key point to one�fs form is the overall standing position. When one stands with the chin pulled in, facing slightly downward and focusing on the area around the pitcher�fs feet, the overall balance within the body position can be preserved.

What is most significant to the one-legged batting form, is that the stance for the position is narrower than the width of the shoulders. The reason for this is that when the stance is more open, it becomes difficult to lift the leg, and at the same time it becomes easier to be thrown off balance with the back swing.

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2.   Grip

It is generally accepted that the grip is formed by lining up the second set of knuckles of both hands. In the case of Oh however, the wrist of the left hand which is placed above, and the second set of knuckles on the right hand below are aligned. With this grip, there is an advantage of greater ease in using the left hand during the swing.

              Also, Oh did not grip the bat at full length, but instead held the bat leaving a small amount of space open at the grip end. It can be said here that there are certainly personal differences between long distance batters, and that the above (grip) is not part of generally accepted theory. The grip was best for Oh, however, because it allowed him to bring the bat head back very quickly and then to come through with a sharp swing.

              As for the location of the grip (with regard to the rest of the body), it is important to keep it slightly above the chest, not allowing it to drop any lower. This is to insure a sharp downswing. In addition, it is important to not open up the left side (underarm) too much. This is because when the left side opens up, the shoulders will tense.

              With regard to the bat position, I always said, �gnear the ear. near the ear.�h In this way, the bat never moves far from the body and a sharp downswing is possible.

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3.   Standing Location and Stance

In the beginning, when the one-legged form was first named, I was often told that the previously described stance was too narrow. However, this method was devised to take greatest advantage of the bat�fs momentum with the purpose being the hitting of home runs. Consequently it was necessary to provide an extremely solid and unmoving standing form, unaffected by the lifting of the leg. The narrow stance made this possible.

As for location within the batter�fs box, near home plate and as close to the catcher as possible is considered best. In this way, outer course balls become centered, and all of the balls within the strike zone can be pull-swung to the right.

Also, by standing at the back, there is the advantage of increased distance from the pitcher, making the ball seem to approach more slowly. On the other hand, it is often said that by standing at the front of the batter�fs box, it is possible to hit the ball before its course changes. On this point it is my belief that curve balls do not actually change course to such a great extent and that the phenomenon is rather a kind of illusion.

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4.   Lifting the Leg (1) - Lifting the �gKnee�h

For a baseball player, I am of rather small build, but I was always quite confident when it came to my batting. When I was in college, I always lifted my leg, then stepped and swung. However, I was advised by a coach at the time �gDon�ft lift your leg. It makes it easy to lose your timing.�h Taking that advice, my hits did not fly as far, and my batting lost its drive, becoming uninteresting. It became obvious to me then that raising the leg put vigor into my swing, which made the ball travel further. Also I came to think that it was actually easier to get the timing right this way.

              I often said to Oh, �gwhen the opponent pitcher raises his leg, that�fs when you lift yours.�h With the one-legged form though, the overall body position must not change (move) when the leg is lifted. Furthermore, it is a lifting of only the leg, and actually may be felt more as a �glifting of the knee.�h I might even go as far as to say that lifting only the knee is the real secret, and that nothing else must move. Even more so, the raising of the leg must not be in reflex (recoil) to any other movement.

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5.   Lifting the Leg (2)

When one stands at the position described and goes into the swing after lifting the leg, the position where all balls are met is inside of center making everything an inner course ball. Balls are to be hit as they pass over home plate. No, let me change that. A certain catcher said something once which was quite memorable: �gAt times I think the ball has been overlooked as it passes over the plate, and then at the instant that I think I have it in my glove, it�fs hit.�h

              Incidentally, in the early days of the one-legged method, Oh was number one on the batting order. His stance at the beginning was a bit wide, and because of this the way he lifted his leg was not as described above. He had a bad habit of allowing his hands (grip) to move back when he took his step (movement being in opposite directions). Because of this it was difficult to get the timing right. There often was a problem with accurately meeting the ball and it was difficult to put force into the swing.

              It is not going too far when I say that �ggetting that leg up as much as possible�h was what Oh most strove for. The training was relentless, working on the narrow stance and lifting only the leg (knee), while standing smoothly not allowing the body to tense, and keeping everything else perfectly still.

              It took 2 years, no, I would say more like 4 or 5 years to get the form right. And in my coaching I probably yelled, �gyou moved!�h some hundreds of thousands of times in order to get the form (especially the grip) to remain perfectly still.

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6. Step and Swing

Oh did not take a big step in the direction of the pitcher after raising his leg. I was always saying, �gTake your step in the direction of home plate.�h Even if you are standing very close to home plate in the batter�fs box, the step must be an inward one with relation to the approaching ball.

              An important issue here is how to get the timing at this point. Breathing stops at the instant one moves from the completely still position to go and hit the ball. The batter�fs �gKI�h is focused on the pitcher (ball). What is important is to go into the swing with the feeling that one�fs backside is turned towards the ball. It may not be the most appropriate description, but as you wait for the ball, the upper body is kept still and you hold the position unmoving like a scarecrow (on one leg).

              Simply stated, getting the timing means raising the leg (knee) at the instant the pitcher lifts his. However, in considering how to best deal with fast and slow balls, the difference between victory and defeat lies in just how much the leg can be raised. In other words, �g all that is necessary is to hit the ball that comes to you.�h Wait for the ball until it comes. Practice swinging the bat at an instant becomes quite important. Although this matter of getting the timing and taking the step may appear simple, they are so difficult as to be understood as the true secret to batting.

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7 - 8. Getting the Timing

The ball cannot be thrown without the pitcher lifting his leg, and for this reason, we can say that lifting one�fs leg (knee) at that instant, as described previously, is a logical way for the batter to time his movement. However because of that, the pitcher may act to throw the batter�fs timing off, consciously lifting his leg very slowly or throwing very quickly. Also the pitcher may use the normal pitching form and arm movements, but throw a fast or slow ball. Naturally, in Oh�fs case as well, when the pitcher threw very quickly, he had less space (time) to get his leg up.

By the way, there was a period when Oh was agonized by fast and slow pitching, ranging from 150 to 70 kilometers per hour, of Shoichi Kaneda who pitched 400 winning games in his career. We became quite troubled in understanding the �gMA�h (timing). At that time I received some advice from my Aikido instructor who said, �gThere is �gMA�h only because your opponent exists. The ball will come, whether fast or slowly. All that you have to do is wait until it comes.�h

After that, the pitcher Kaneda came to say, �gOh�fs batting is an art.�h

Even though one might think to �gjust wait until the ball comes,�h the matters of waiting and hitting are actually not simple. Also, the necessity to direct one�fs energy or �gKI�h in the direction of the pitcher and ball must not be forgotten. The superior level of concentration, which Oh attained at the height of his career, was directly related to his being able to properly time himself regardless of the opposing pitcher. In order to break Oh�fs �gKI�h (concentration), the famous pitcher Yutaka Enatsu went as far as to devise a strategy whereby he would not actually consider the competition until he had the count at 0 strikes and 3 balls, at which point he was able to get the batter to concentrate on the fourth ball.

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9 - 10. Step

At this point, the raised leg is facing the ball, and we are readying for the inside step. First, the batter prepares to meet the ball from his backside. At this point, the grip and upper body must not come out of form. I believe that Oh�fs form, at this instant where he judges the ball, is a work of art. In the terminology of archery, it is the state of having the bow pulled taught and ready.

             I know that I am repeating myself here, but in baseball there are all kinds of �gMA�h (timing). Also, I do not think it is going too far, when I say that players who are able to understand and get into the hitting �gMA�h are superior batters. Tetsuharu Kawakami, who was once called the god of batting, said �gTo me, the ball appears as if stopped in mid-air.�h And Oh also said once that he could �gsee the seams on the ball.�h It may be that the only professional baseball player today, possessing such a high level of hitting �gMA�h is Ichiro.

              With the leg raised and holding the �gMA�h like this, Oh is concentrating only on the ball. Also, just as described, he is going into the inside step while facing toward the ball. Once, I was told with regard to beating Oh�fs one-legged method, �gHis one flaw is his knee. Just throw directly at that raised knee.�h But in Oh�fs case this had exactly the opposite effect. Thie reason for this was, that he would make �gcenter balls�h of those which came in the direction of his knee. And for him, these were the prime home run balls. I would also like to add that around that time Oh and I had an agreement, which said, �gUp to a count of two strikes, do not swing at anything but a home run ball.�h

              Also, when it came to the point where Oh was hitting home runs in quantity, it was natural that some pitchers threw balls bordering on the dangerous. I must say however, that with the balanced mental state fostered by regular daily training came a high level of concentration, and with this there was never any consideration of fear with regard to the ball.

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11 - 12. From the Step into the Swing

              This is the point where the foot returns to the ground after being raised, facing the ball, and taking the inside step. There must be some room allowed for the knee at this time. This is because when the knee has some leeway, the batter is able to swing the bat with full strength.

              Incidentally, it is not possible to see in these pictures, but when the leg taking the step returns to the ground, the foot in back moves. This is because it is important to position oneself in relation to the ball (point of contact), so as to form a triangle (linking both hips and the ball). As for myself, I believe that the top of the triangle, out in front of my navel, is the point where I can deliver the most force. Furthermore, in order to deal with such pitches as slow balls, the leg in back often moves toward the front after the other foot returns to the ground.

               Even at the very instant before he begins his swing, Oh�fs bat is just at his helmet. It was said before, but keeping the bat always near the body, or as I say �gNear the ear! Near the ear!�h is the key to a sharp downswing.

              Looking at these photographs however, I think that the bat might actually be just a bit low. During the slump at the end of his career, I often saw him twisted at the hips with his body appearing somewhat shrunken. It is important, with the one-legged batting form, that the backbone is fully extended. This is because when the backbone is not straight, lifting of the leg becomes difficult, the position of the grip also becomes lower. All of this makes execution of a sharp downswing impossible.

At any rate, when it is possible to be in a position as when a bow is pulled taught and ready with the bat somewhere between 12 and 1, the angle of the bat, which is nearly touching the helmet, is superior. Let us call it the �gultimate batting form.�h

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13 - 14. From the Swing to the Meet

              Now we are at the beginning of the swing. At this point, the bat has yet to drop or come out at all. The training for this hitting from above (downswing) really got a lot of attention from the mass media. We hung a piece of newspaper from the ceiling, and after causing it to flutter somewhat, practiced cutting into it sharply with a sword (actually, you might call this something more like ascetic training.) When the sword entered the newspaper from the bottom, it was not possible to make a sharp, clean cut. In terms of batting, when the bat enters from the bottom, it is being somewhat turned over which makes it impossible to apply full force. Also, we did a lot of practice standing with the spine extended against the wall, waving the bat up and down but not allowing it to touch the wall. Because these are extreme forms of practice, they should obviously not be attempted by those of beginner or intermediate skill levels. Furthermore, in order to develop an even sharper swing, we practiced swinging the bat vigorously while running.

              Now, in order to accomplish a sharp downswing, it is important to not open up with the stepping foot, and also to rotate quickly with the pivoting (left) foot. The best batting occurs when the energy, which has been building up before the swing, is directed at the point where the ball is met, and then is used explosively at the instant of contact. Especially with Oh�fs one-legged batting form, at the moment the ball is met, the left arm is extended and the triangle is formed. If the core of the ball could be reached at that point out in front of his navel, there was enough power to make it a home run, even with just a light touch of the bat. That is to say, when the bat comes out naturally and meets precisely with the ball, with the arm extended and straight, it is possible to have at that moment a very forceful impact. It may be easier if you think of the ball meeting the bat, in the same way as you consider picking up some small object with chopsticks.

              In going into the swing, one must be very careful that the bat head is not in a lowered position. Also, it must not be forgotten that the ball must be hit out in front of the leg which has taken the step. A sharp downswing, with one�fs �gKI�h focused on the core of the bat and with a heightened level concentration, is most basic to batting.

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From the Meet to the Follow Through

              In Aikido, the triangle and circle logically become the basis for putting forth energy. From the instant when the ball is sharply met at the high point of the triangle, the end of the bat goes into a wide circular movement. It might be likened to sending off the ball with a hammer throw. In the hammer throw, at the instant when the hammer is released, there is the sensation that the body will be carried off in the same direction. However, one must keep control and hold the body firmly in place. In order to accomplish this, the lower body must compensate and as such it moves in a rather unstable manner. It is the same case with batting.

              As in the picture, a big follow through is very important to batting. When the batter swings so as the bat seems to be wrapping around the body, from the point where the ball is met both arms are extended and it is as if the head is being wrapped in the middle. However, the eyes remain and continue to follow the ball, even after the swing. This is nearly the same pose as that attained at the instant when the newspaper, hanging from the ceiling, is cut with the sword, as mentioned before.

              One more important point to remember is that it is not right to say that the ball is hit (bat is swung) after the stepping foot returns to the ground. It is quite difficult to explain the timing, but let us say that the key to accurately meeting the ball and a big follow through, is the batter�fs sensation that the bat is being swung before the foot meets the ground.