DOCSLIB.ORG

Kata of Judo Origin, Principle and Application

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kata of Judo Origin, Principle and Application “ The Katas are the aesthetic principle of Judo. In Katas is found the spirit of Judo, without which, it is impossible to see the goal ”. Kano Jigoro. Kata is the philosophy of the acquisition and the transmission of > Kano Jigoro, knowledge of Japanese Tradition. Its origin is very ancient. Kata, a the Master founder of Judo (1860-1938) philosophical and pedagogue tool, was chosen by the founder of Judo to insure the transmission of his art. KATA OF JUDO ORIGIN, PRINCIPLE AND APPLICATION Ji-Ta-Kyo-Ei Mutual prosperity. Ji : Oneself. Ta : The other. Kyo : Both, All, Mutual. Ei : Prosperity. Master Kondo Mitsuhiro (born 1934), 9th Dan Hanshi of This maxim constitutes – with Judo, 7th Dan Kyoshi of “ Seiryoku-Zen’yo “ : best use Aikido and 6th Dan of of energy – the teaching Karatedo. reference of Master Kano Established professor in Jigoro Founder of Judo Europe from 1957 to Kodokan. 2009. In the Kata this maxim, translates by the will of Uke, to accomplish true attacks so that the technique of Tori can be applied efficiently. So that a technique is successful, it’s real work of collaboration. > Kondo M. > Nage-no-Kata : Kata Guruma The Kata (prearranged form) is : a vector of Japanese culture (conservator of Tradition), a communication tool and reference which weaves an timeless link between generations of those practicing, a means of personal accomplishment. > Dupré P. > Ju-no-Kata : Naname-Uchi PHILOSOPHICAL AND CULTURAL LINK > “ Recitation ” protohistoric of > Master Zen Dogen > Theater Scene No > Tokugawa Ieyasu 12 000 years (1200-1253) (1543-1616) From thought to Origins of Katas thought, in artistic and in Kabuki (the first mention of communication In the learning part of an martial way. the Kabuki theatre coincides All species of animals give art or technique, the Kata Two elements are essential : the year of the founding of out and take in information is an essential element of body and spirit. The Kata the Bakufu of the Tokugawa through their five senses. Japanese culture. is a learning process of in 1603). Already before protohistory, Its origin is very ancient, body (which is primordial) In the domain of martial primitive “ language ” was it is linked to Japanese allowing entrance to certain arts, the need to teach and not only heard but also Buddhism, and more spirituality. The Kata goes transmit techniques out of gestual, tactile and olfactory. precisely to the notion beyond the notion of model, context of war, is at the Body language is probably of “ original waking ” for it must be transcended. origin of the creation of also at the origin of written (Hongaku). Assimilation is done by the Katas. Each school holds expression (pictograms and This element allows us to body but with the spirit. and teaches to a limited writings). establish a link with the In Budo, the importance number of students precious Kata is a form of language, “ Way ” (Do). of the body and the spirit techniques kept in the heart allowing humans to The principle of this waking is often illustrated by the of these schools (Ryu). communicate gestures was based on the following expression “ Shin Gi Tai ” In spite of the development between those transmitting maxim : (spirit, technique, body). of new technologies of and those receiving (called • Form is nothing other than These three elements are information, the Kata remains Tori and Uke in Judo). void (Shiki Soku Zeku) indispensable and must be today an endless source of This form of communication • The void is nothing other mastered to reach a superior reference to Tradition and insures the transmission of than form (Kusoku Ze Shiki) level of competence. the timeless link between human knowledge without • Therefore, the mind has no The expression “ Shin Gi Tai “ generations and those who time and space limits. obstacle (Shinmu Keigei). already exists in the works of practice the art. Since Japanese Middle the No theatre, at the time Ages, the principle of of the Muromachi (1336- original waking has been 1573). impregnated in Japanese It is also a model to follow 2 Development of Judo As for the function and place Kata has in Japanese culture, it’s natural for Kano Jigoro to use Kata in the creation of its teaching in Judo. When he was young, he knew and admired a Jujutsu person who came regularly to his home. The latter showed him a Kata but he refused to teach him Jujutsu. It’s only in 1877, when he was starting university studies in languages at the University of Tokyo, that he began learning Jujutsu of the Tenjinshinyo School. After the death of his teachers he studied the Kito School since 1881. In 1882, Kano created a boarding school to welcome Students (Kano Juku) and he founded his Dojo of Kodokan. In this place he transformed Jujutsu into a new educative practice: Judo. From 1884 and until 1887 Kano perfected the Katas at the base of > Principal Masters of Jujutsu’s schools, gathered around Kano Jigoro, Judo with Nage-no-Kata (then ten movements), the Katame-no- in Dai Nihon Butokukai in 1906 Kata and the Shobu-no-Kata (the future Kime-no-Kata). The others Katas (Ju-no-Kata, Koshiki-no-Kata, etc.) were developed much later, even after the death of Kano (for example the Kodokan Goshinjutsu-no-Kata). The Katame-no-Kata comes from a work is considered as a classic of two Kano students, Nagaoka Hidekazu and Yamashita Yoshitsugu (Yoshiaki), both got their tenth Dan. In 1906, the Katas of Judo Kodokan were fixed in their form at Dai Nihon Butokai (an association of the warlike virtue of Great Japan, founded in 1895, at the heart of which Kano was named negotiator in 1900). > First Kodokan in Eishoji > Mifune Kyuzo (1883-1965) > Nagaoka Hidekazu > Yamashita Yoshitsugu & Kano Jigoro (1860-1938) (1876-1952) (Yoshiaki) (1865-1935) Reasons to study and values. Randori. Katame-no-Kata practice Katas 9. To provide a suitable After World War II, with The Katame-no-Kata is the According Otaki and kind of Judo practice for the development of the Kata of the forms of control. Draeger (cf. Bibliography) all. competition (Shiai), the part It has been elaborated the ten principles objectives 10. To ensure the of Kata in Judoka’s practice, under the direction of Kano, of Kata study and practice preservation of the diminishes greatly, and following Nage-no-Kata are : traditional symbolic often disappear completely. (forms of projection). These 1. To afford a basic values of Judo. The Katas are only studied two Katas make up the training method for Judo. when passing a Dan. This Randori-no-Kata. 2. To develop Evolution of the practice evolution brings about a loss The first series is that body representative basic Judo of Katas of Judo of identity and quality in control (five Osae Waza) techniques. In 1878 Kano began to Judo on a wordly level. The allowing for compensations 3. To ensure harmonious elaborate what was to transformation of Judo (way of the partners actions, technical development become Judo. The Randori of suppleness) into a form of in order to develop ones and wide range of Judo and Kata were not formed Godo (way of hardness) is own actions (and not to techniques. yet. regrettable and a source of immobilise by strength with 4. To ensure harmoniously In 1888, basic Katas problems in health for those opposition). The second developed body. are perfected and clearly practicing the art, also a series is that of strangling 5. To improve mental distinguished from the downfall of the spirit and the (five Shime Waza) and the control. practice of Randori. In order practice of Judo (Ji-Ta-Kyo-Ei). third is that of joint lock (five 6. To display the mechanics to understand the Judo, Those practicing became Kansetsu Waza). and spirit of Judo by the two practices (Kata : fighters who were looking Concerning these three exhibition. “grammar” and Randori for more than domination series, Tori must adapt 7. To promote the “composition” of Judo) they of an opponent, to win by and control Uke’s actions. development of the Judo are inseparable. any means (strength and Constantly, he must have a spirit. Up to Kano’s death (in opposition). dynamic and permanent link 8. To ensure the 1938) the part of Kata will between Uke and Tori. development of self- grow in proportion to the defence principles and part of work consecrated to 3 DIRECTORY OF THE KATAS OF JUDO At the present time, the Kodokan teaches seven forms of codified techniques, called Kata : 1. Randori-no-Kata (codification of free training), divided in : . Nage-no-Kata (forms of projection) . Katame-no-Kata (forms of control) 2. Kime-no-Kata (forms of decision) 3. Kodokan-Goshinjutsu-no-Kata (forms of personal defence of the Kodokan) 4. Ju-no-Kata (forms of suppleness) 5. Itsutsu-no-Kata (the Five forms) 6. Koshiki-no-Kata (ancient forms) > Kanji “ Kata ” 7. Seiryoku-zen’yo-kokumin-taii-no-Kata (Kata based on the principle of maximum Efficiency). But there exists other Katas : Nage-Ura-no-Kata (forms of counter on projections, created by Mifune Kyuzo, co-founder of Kokusai Budoin, International Martial Arts Federation), Nanatsu- no-Kata (form of Seven), Gonosen-no-Kata (forms of counter), Go-no-Kata (forms of hardness), Joshi Judo Goshinho (self defence for ladies), etc. KATAME-NO-KATA Osae-Komi Waza 1. Kuzure Kesa-Gatame TEACHING OF KATAME-NO-KATA : 2. Kata-Gatame 3. Kami-Shio-Gatame APPLICATION OF KUZURE KESA-GATAME 4. Yoko-Shio-Gatame Kuzure Kesa-Gatame takes its name of application by Tori, for control of a long and diagonal 5.
Load more

Recommended publications
  • BA Thesis an Overview of Stereotyped Portrayals of LGBT+ People In
    BA thesis in Japanese Language and Culture An Overview of Stereotyped Portrayals of LGBT+ People in Japanese Fiction and Literature Analysis of the historical evolution and commercialization of BL and yuri genres, and social practice of its consumer culture Bára B.S. Jóhannesdóttir Supervisor Kristín Ingvarsdóttir May 2021 FACULTY OF LANGUAGES AND CULTURES Háskóli Íslands Hugvísindasvið Japanskt Mál og Menning An Overview of Stereotyped Portrayals of LGBT+ People in Japanese Fiction and Literature Analysis of the historical evolution and commercialization of BL and yuri genres, and social practice of its consumer culture Ritgerð til BA-prófs 10 ECTS Bára B.S. Jóhannesdóttir Kt.: 210496-2039 Leiðbeinandi: Kristín Ingvarsdóttir Maí 2021 1 Abstract This essay will explore the history of the portrayal of LGBT+ people in Japanese fiction, starting from The Tale of Genji, a novel from the early 11th century that is widely considered to be the first classic in history, and to the proper establishment of what is known as the BL (boys’ love) and yuri genres. BL, as the name suggests, is a genre that features the relationship between two male characters, usually in a romantic and/or sexual nature, while yuri is between two female characters. There will be a short examination of LGBT+ portrayal in historical literary works and art before moving onto a more detailed recounting of modern fiction and television. Some ancient literature will be reviewed, comparing real-life societal norms to their fictional counterparts. The focus will mainly be on the introduction of the BL genre, the historical evolution of it, the commercial start of it, the main components that make up the genre, and why it is as popular as it is, a well as an examination of the culture surrounding the fans of the genre.
    [Show full text]
  • Japanese - English a Age, Rising
    Japanese - English A Age, Rising. Age tsuki, Rising punch. Age uke, Rising block. Ashi, Foot/leg. Ashi guruma, Leg wheel. Ashi hishigi, Leg crush. Ashi kubi, Ankle. Ashi kubi hishigi, Ankle crush. Ashi waza, Foot techniques. Atemi, Striking. Atemi waza, Striking techniques. B Bo, Staff (long). Bojitsu, Staff techniques (long). Bunkai, Application of form. Bushi, Warrior class of Japan. Bushido, Way of the warrior. Bujutsu, Fighting arts of the warrior class of Japan. C Choku tsuki, Straight punch. Chudan, Middle (of body, i.e. torso). D Dachi, Stance. Dan, Rank of black belt; 1st dan is the lowest, 10th the highest. De ashi barai, Forward foot sweep. Denzook, No count. Do, The way. Dojo, Exercise hall, the place where one practices the martial arts. E Eku Oar, used as a weapon in Okinawan Karate. Empi 1. Elbow. 2. Name of a kata. Empi uchi, Elbow strike. F Fudo dachi, Rooted stance. Fumikomi, Stamping kick. Funakoshi, Gichin Father of Japanese Karate. G Ganmen, Face. Ganmen, shuto Face knife-hand. Gari, Reap. Gatame, Hold arm bar. Geashi, Reversal. Gedan, Lower waist or below. Gedan barai, Low block. Gedan juji uke, Lower X-block. Gedan shuto uke, Lower knife-hand block. Geri, Kick. Gi, Uniform for practicing martial arts. Go Five. Goshin Jutsu, Body defence. Gohon, Five-finger strike. Goshi, Hip throw. Guruma, Wheel-like throw. Gyaku, Reverse, reversal. Gyaku tsuki, Reverse punch (opposite hand and leg). Gyaky juji jime, Reverse cross choke. H Hachi Eight, See also numerals. Hachiji dachi, Open leg stance. Hachimachi, Towel used as a headband. Hadake, Naked. Hadake jime, Naked choke/strangle.
    [Show full text]
  • Guide Nage No Kata
    SOMMAIRE Qu’est ce que le Nage No Kata ? 4 Illustrations et commentaires du guide 5 Généralités sur le Nage No Kata 6 Le Nage No Kata 7 Tableau « le Nage No Kata et son intérêt pour la pratique du Judo » 24 Conclusion 28 Lexique 29 Planche Nage No Kata Ont participé à la réalisation de cet ouvrage : Michel Algisi : 7e dan, cadre technique, responsable national des katas Patrice Berthoux : 6e dan, cadre technique André Boutin : 7e dan, cadre technique Laurent Dosne : 5e dan, professeur de judo Michèle Lionnet : 6e dan, cadre technique, coordonnatrice de l’ouvrage André Parent : 5e dan, professeur de judo Louis Renelleau : 7e dan, professeur de judo Ce document a été validé par la Direction Technique Nationale et pour la Commission des Hauts Gradés : Frédérico Sanchis. L’ouvrage s’est inspiré de la cassette vidéo fédérale sur le Nage No Kata et des commentaires de Georges Beaudot. Il vient en complément de la planche du Nage No Kata (coopérative de documents FFJudo). Conception et réalisation - Boulogne-Billancourt - © FFJUDO Mars 2007 2 Crédit photo : D. Boulanger - Kodokan - D. Chowanek (Lines-Art) - R. Danis - DPPI. PRÉFACE Ce guide est destiné à tous les judokas, jeunes ou moins jeunes, qui souhaitent apprendre le Nage No Kata ou se perfectionner dans sa pratique. Le choix du format permettra à chacun de pouvoir le glisser facilement dans son sac de judo, et ainsi, l’avoir toujours à portée de main. Cet ouvrage, qui fait suite à la planche du Nage No Kata, vous apportera des précisions techniques et des conseils vous permettant de mieux effectuer le kata.
    [Show full text]
  • The Dynamic Nature of Kata an Interview with Steven R
    The Dynamic Nature of Kata An Interview with Steven R. Cunningham 6th Dan, Kodokan Judo 7th Dan, Takagi Ryu Jujutsu 6th Dan, Mugen Ryu Karate by Linda Yiannakis 3rd Dan, USJA © 1998 Linda Yiannakis All Rights Reserved Steve Cunningham is a respected authority on martial arts and on Classical Judo in particular. Cunningham began his study of Judo at the age of 6 with Taizo Sone, who was a direct student of Jigoro Kano and uchideshi to Hidekazu Nagaoka (10th dan). Cunningham was trained in all aspects of traditional Judo and was uke and uchideshi to Sone Sensei. He is well versed in Japanese history, philosophy, language and culture, and is an expert with the sword and jo as well as other battlefield weapons. Cunningham Sensei teaches Classical Judo and Takagi-Ryu Jujutsu at Ju Nan Shin Martial Arts Academy in Manchester, Connecticut. The Kodokan today recognizes a number of official kata. What are the origins of each of these kata and what does each contribute to the complete syllabus of Judo? How many kata there are depends on how you count. The first two kata that are typically taught and learned are the so-called Randori no Kata. These are Nage no Kata and Katame no Kata. Nage no Kata is the Form of Throwing, and Katame no Kata is the Form of Grappling. The kata are not specifically kata to teach you how to do randori, but rather they are kata made up of techniques that are also used in randori. The old Kodokan used to differentiate between randori waza and goshin waza.
    [Show full text]
  • JUDO Under the Authority of the Bakersfield Judo Club
    JUDO Under the Authority of the Bakersfield Judo Club Time: Tuesdays and Thursdays, 6:30 -8:00 PM Location: CSUB Wrestling Room Instructors: Michael Flachmann (4th Dan) Phone: 661-654-2121 Steve Walsh (1st Dan) Guest Instructors: Dale Kinoshita (5th Dan) Phone: (work) 834-7570 (home) 837-0152 Brett Sakamoto (4th Dan) Gustavo Sanchez (1st Dan) The Bakersfield Judo Club rd meets twice a week on 23 St / Hwy 178 Mondays and Thursdays from 7:00 to 9:00 PM. JUDO Club They practice under the 2207 ‘N’ Authority of Kinya th 22nd St Sakamoto, Rokudan (6 Degree Black Belt), at 2207 N St. ’ St Q ‘N’ St ‘ Chester Ave Truxtun Ave Etiquette: Salutations: Pronunciation: Ritsurei Standing Bow a = ah (baa) Zarei Sitting Bow e = eh (kettle) Seiza Sitting on Knees i = e (key) o = oh (hole) When to Bow: u = oo (cool) Upon entering or exiting the dojo. Upon entering or exiting the tatami. Definitions: Before class begins and after class ends. Judo “The Gentle Way” Before and after working with a partner. Judoka Judo Practitioner Sensei Instructor Where to sit: Dojo Practice Hall Kamiza (Upper Seat) for senseis. Kiotsuke ATTENTION! Shimoza (Lower Seat) for students. Rei Command to Bow Joseki – Right side of Shimoza Randori Free practice Shimoseki – Left side of Shimoza Uchi Komi “Fitting in” or “turning in” practice Judo Gi: Students must learn the proper Tatami Judo mat way to war the gi and obi. Students should Kiai Yell also wear zoris when not on the mat. Hajime Begin Matte STOP! Kata Fromal Exercises Tori Person practicing Students must have technique Uke Person being their own personal practiced on health and injury O Big or Major insurance.
    [Show full text]
  • WPB Judo Academy Parents and Judoka Handbook
    WPB Judo Academy 2008 Parents and Judoka Handbook Nage-Waza - Throwing Techniques O-soto-otoshi O-soto-gari Ippon-seio-nage De-ashi-barai Tai-otoshi Major Outer Drop Major Outer One Arm Shoulder Advancing Foot Body Drop Throw Sweep O-uchi-gari Ko-uchi-gari Ko-uchi-gake Ko-soto-gake Ko-soto-gari Major Inner Reaping Minor Inner Reaping Minor Inner Hook Minor Outer Hook Minor Outer Reap Uki-goshi O-goshi Tsuri-goshi Floating Hip Throw Major Hip Throw Lifting Hip Throw Osae-Waza - Holding Techniques Kesa-gatame Yoko-shiho-gatame Kuzure-kesa-gatme Scarf Hold Side 4 Quarters Broken Scarf Hold Nage-Waza - Throwing Techniques Morote-seio-nage O-goshi Uki-goshi Tsuri-goshi Koshi-guruma Two Arm Shoulder Major Hip Throw Floating Hip Throw Lifting Hip Throw Hip Whirl Throw Sode-tsuri-komi-goshi Tsuri-komi-goshi Sasae-tsuri-komi-ashi Tsubame-gaeshi Okuri-ashi-barai Sleeve Lifting Pulling Lifting Pulling Hip Lifting Pulling Ankle Swallow’s Counter Following Foot Hip Throw Throw Block Sweep Shime-Waza - Strangulations Nami-juji-jime Normal Cross Choke Ko-soto-gake Ko-soto-gari Ko-uchi-gari Ko-uchi-gake Minor Outer Hook Minor Outer Reap Minor Inner Reap Minor Inner Hook Osae-Waza - Holding Techniques Kansetsu-Waza - Joint Locks Gyaku-juji-jime Reverse Cross Choke Kami-shiho-gatame Kuzure-kami-shiho-gatame Upper 4 Quarters Hold Broken Upper 4 Quarters Hold Ude-hishigi-juji-gatme Cross Arm Lock Tate-shiho-gatame Kata-juji-jime Mounted Hold Half Cross Choke Nage-Waza - Throwing Techniques Harai-goshi Kata-guruma Uki-otoshi Tsuri-komi-goshi Sode-tsuri-komi-goshi
    [Show full text]
  • Kodomo-No-Kata – Forms for Children Llŷr Jones July 2020
    Issue No. 45 Kodomo-no-kata – Forms for Children Llŷr Jones July 2020 Introduction Contents Kodomo means “child/children” in Japanese, so the literal translation of Kodomo- • Kodomo-no-kata – Forms for Chil- no-kata 子どもの形 is “Forms for children”. The exercise has been created as the dren by Llyr̂ Jones result of a concentrated and cooperative effort by the Kodokan Judo Institute, the • Yukichi Fukuzawa (1835–1901) by International Judo Federation (IJF) and the French Judo Federation to help children Brian Watson; learn the basics of judo in a safe and progressive manner. Kodomo-no-kata sys- • The Essence of Judo: Turning Nega- temises what children should learn first when they begin practicing judo and one of tives into Positives by Brian Watson; the specific motivations behind its creation was to provide a tool for judo teachers working in countries where there are very few experienced instructors [1]. • The Richard Bowen Collection. In This Edition This edition of “The Bulletin” features an article on the new children’s kata – Kodomo-no-kata by Llyr̂ Jones; one on the Japanese author, educator, and pub- lisher, Yukichi Fukuzawa by Brian Wat- son; and one reflecting on the essence of judo and turning negatives into positives, again by Brian Watson. Thank you both. Publisher’s Comments As this issue of “The Bulletin” (produced by guest editor Llyr̂ Jones) is published, the Covid-19 public health crisis contin- ues to upend all aspects of our lives. It has brought a major hiatus to the physi- cal practice of judo in almost every coun- try in the world and even when re- strictions start to be eased, a return to how practice was at the start of 2020 is undoubtedly still some way off.
    [Show full text]
  • Martial Arts from Wikipedia, the Free Encyclopedia for Other Uses, See Martial Arts (Disambiguation)
    Martial arts From Wikipedia, the free encyclopedia For other uses, see Martial arts (disambiguation). This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2011) Martial arts are extensive systems of codified practices and traditions of combat, practiced for a variety of reasons, including self-defense, competition, physical health and fitness, as well as mental and spiritual development. The term martial art has become heavily associated with the fighting arts of eastern Asia, but was originally used in regard to the combat systems of Europe as early as the 1550s. An English fencing manual of 1639 used the term in reference specifically to the "Science and Art" of swordplay. The term is ultimately derived from Latin, martial arts being the "Arts of Mars," the Roman god of war.[1] Some martial arts are considered 'traditional' and tied to an ethnic, cultural or religious background, while others are modern systems developed either by a founder or an association. Contents [hide] • 1 Variation and scope ○ 1.1 By technical focus ○ 1.2 By application or intent • 2 History ○ 2.1 Historical martial arts ○ 2.2 Folk styles ○ 2.3 Modern history • 3 Testing and competition ○ 3.1 Light- and medium-contact ○ 3.2 Full-contact ○ 3.3 Martial Sport • 4 Health and fitness benefits • 5 Self-defense, military and law enforcement applications • 6 Martial arts industry • 7 See also ○ 7.1 Equipment • 8 References • 9 External links [edit] Variation and scope Martial arts may be categorized along a variety of criteria, including: • Traditional or historical arts and contemporary styles of folk wrestling vs.
    [Show full text]
  • Ukemi in Aikido
    Edinburgh Aikido Ukemi in Aikido The word uke in Japanese translates as “to receive” which is at odds with many people’s assumption that taking ukemi primarily involves acting out the losing role of an attacker. “Receiving the technique” evokes a more active and collaborative role for uke within the kata execution, where the attack and subsequent breakfall are used as a learning experience1 for both tori and uke. Those that train in aikido will quickly realize that half of their time training is spent receiving the aikido techniques and taking ukemi. When we first start aikido training, it is while being uke that we feel stiff and clumsy. Later as we progress in aikido, it is often while working with a good uke – one who is able to adapt their movements to maintain a feeling of connection and lightness throughout the technique – that we often improve our understanding of the aikido techniques. When watching aikido, it will often be a good uke that gives the movements the dynamism and flair that characterize a good aikido demonstration. With so much of our training time on the tatami taken up carrying out the role of uke, it is important that this aspect of training is also developed as a learning tool. However, in many dojos around the world, it is still very common to see a practice where the emphasis on ukemi is very small or, in some cases, completely absent. There are several good reasons to work hard to improve our ukemi. First and foremost, ukemi abilities are developed so we are able to safely receive the locks and throws seen in aikido.
    [Show full text]
  • ミシガン大学 剣道部 the University of Michigan Kendo Club FAQ (Ver. 2.00)
    ミシガン大学 剣道部 The University of Michigan Kendo Club FAQ (ver. 2.00) What is Kendo? - Kendo is a Japanese martial art which literally translates to “The Way of the Sword”. -An athletic sport which is played by means of one-on-one striking between opponents using shinai (sword made from bamboo slats) while wearing kendo-gu (protective armor). -A form of martial art which aims to train the mind and body while cultivating one’s character through continuing practice. Kendo was formally known as gekken and kenjutsu. Where are practices? -Our club practices at the CCRB (Central Campus Recreational Building) in Dance room (3275). The CCRB is located in Ann Arbor, Michigan. When are practices? -For the Fall semester, our practices are Saturdays staring at 8:30 AM to 10:00. The CCRB generally opens at 8:00 AM, so we strongly encourage everyone to arrive early enough to have time to change and to be ready well before the practice starts. How much does it cost to join? -Since we are a student organization, the active student members elect annual officers who administer the club and collect semester dues to be able to rent our practice space. In order to accomplish this, all students contribute a semester fee of $50 in order for us to be able to pay for our practice space from the university. Our instructors teach us as volunteers to the club with no financial support for their time in training our club members. So please come consistently to show your appreciation of their time and teaching efforts.
    [Show full text]
  • Lockdown Submission Grappling Series Rules & Regulations
    LOCKDOWN SUBMISSION GRAPPLING SERIES RULES & REGULATIONS Dress & Equipment » All competitors must wear a mouthguard. » Groin guards are compulsory for kids and colts - optional for adults. MEN » Shorts or lycra elastic pants - without pockets or with pockets entirely stitched shut and reaching at least halfway down the thigh and at most to the knee. Attached metal or plastic of any kind that may hurt the opponent is expressly forbidden on the board shorts. » Rashguard or a shirt of elastic fabric (clings to body). WOMEN » Shorts or lycra elastic pants - without pockets or with pockets entirely stitched shut and reaching at least halfway down the thigh and at most to the knee. Attached metal or plastic of any kind that may hurt the opponent is expressly forbidden on the board shorts. » Rashguard or a shirt of elastic fabric (clings to body). FORBIDDEN » Any hard or rigid strapping which could cause injury or harm during a match » Joint protectors (knee, elbow braces, etc.) that increase body volume to the point of making it harder for an opponent to grip or lock (submit) » Full length compression training pants, tops or similiar » Board shorts or pants with pockets » Loose shirts of any kind » No gloves of any kind » Grease, liniments, oils or other similar substances » Foot gear (including wrestling boots) » Head gear » Hair pins » Jewellery and piercings Hygiene » Athletes’ finger and toe nails should be trimmed and short » Long hair should be tied up so as not to cause opponents any discomfort » Athletes will be disqualified if they are wearing hair dye that stains » Athletes presenting skin lesions or any other skin condition shall be directed to the tournament medical staff.
    [Show full text]
  • Good Uke, Bad Uke
    Good Uke, Bad Uke Troy Shehorn To Uke or not to Uke? That is the question. When we use the Japanese word Uke a few common thoughts come to mind. The word has several meanings, depending on the Kanji and how it is used. The most common meaning to us would be a person on whom an art is being done, and that is the subject of this article. Being in the martial arts realm for a while now, I have heard the terms “Uke arts” and “Ukeing”. We hear lines such as “Who is your Uke?” and “Are you going to Uke?” And “We need Ukes.” When we go to the dojo we like working out with our favorite Uke. When we test, we always pick the Uke who will “be just right for me”. This Uke will almost always be our size and hopefully weighs a bit or a whole lot less, than we do. I have also heard and seen Ukes than can make or break an art or an exam, for that matter. There seems to be a fine line between what an Uke should do so Tori can properly demonstrate an art and what extremes Uke may go to so Tori “looks good.” In a classroom or clinic, when instructors demonstrate an art, they often call out their favorite Uke, one that goes flying across the room and/or pats out like a wild screaming set of Taiko drums. After all, they want to look good. I have seen a few times when an instructor demonstrates an art “perfectly” and tells the students to practice, then none of the students can do the art or they just go along with the phony motions knowing it’s not working as specified.
    [Show full text]