History Behind the Art of Karate
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Old Japan Redux 3
Old Japan Redux 3 Edited by X. Jie YANG February 2017 The cover painting is a section from 弱竹物語, National Diet Library. Old Japan Redux 3 Edited by X. Jie YANG, February 2017 Content Poem and Stories The Origins of Japan ……………………………………………… April Grace Petrascu 2 Journal of an Unnamed Samurai ………………………………… Myles Kristalovich 5 Holdout at Yoshino ……………………………………………………… Zachary Adrian 8 Memoirs of Ieyasu ……………………………………………………………… Selena Yu 12 Sword Tales ………………………………………………………………… Adam Cohen 15 Comics Creation of Japan …………………………………………………………… Karla Montilla 19 Yoshitsune & Benkei ………………………………………………………… Alicia Phan 34 The Story of Ashikaga Couple, others …………………… Qianhua Chen, Rui Yan 44 This is a collection of poem, stories and manga comics from the final reports submitted to Japanese Civilization, fall 2016. Please enjoy the young creativity and imagination! P a g e | 2 The Origins of Japan The Mythical History April Grace Petrascu At the beginning Izanagi and Izanami descended The universe was chaos Upon these islands The heavens and earth And began to wander them Just existed side by side Separately, the first time Like a yolk inside an egg When they met again, When heaven rose up Izanami called to him: The kami began to form “How lovely to see Four pairs of beings A man such as yourself here!” After two of genesis The first-time speech was ever used. Creating the shape of earth The male god, upset Izanagi, male That the first use of the tongue Izanami, the female Was used carelessly, Kami divided He once again circled the land By their gender, the only In an attempt to cool down Kami pair to be split so Once they met again, Both of these two gods Izanagi called to her: Emerged from heaven wanting “How lovely to see To build their own thing A woman like yourself here!” Upon the surface of earth The first time their love was matched. -
玄同 Kokusai Budoin, IMAF 2013 Gendo International Martial Arts Federation Newsletter No
国際武道院 国際武道連盟 玄同 Kokusai Budoin, IMAF 2013 Gendo International Martial Arts Federation Newsletter No. 2 The objectives of Kokusai Budoin, IMAF, include the expansion of interest in Japanese Martial Arts; the Upcoming Events establishment of communication, friendship, understanding and harmony among member chapters; the development of the minds and bodies of its members; and the promotion of global understanding 2013 Kokusai Budoin, IMAF and personal growth. European Congress Location: Budapest, Hungary 2013 Kokusai Budoin, IMAF All Japan Budo Exhibition Date: 18 - 20 October Tokyo Information & Reservation details pages 6 - 8 Hirokazu Kanazawa (right-side) receiving his Karatedo Meijin 10th Dan certicate from Kokusai Budoin, IMAF President Yasuhisa Tokugawa at the 35th All Japan Budo Exhibition reception. Contact: [email protected] 2013 Kokusai Budoin, IMAF HQ Autumn Seminar Location: Greater Tokyo Area Date: To Be Announced Contact: [email protected] Featured News 2013 Kokusai Budoin, IMAF All Japan Budo Exhibition Kokusai Budoin, IMAF Portal Site Largest Branch Country Sites International Representatives Multiple Languages, and more... http://kokusaibudoin.com 2013 Shizuya Sato Sensei Memorial Training Tokyo Cidra, Puerto Rico Held May 26th at the Ikegami Kaikan in Tokyo, the 35th All Japan Budo Exhibition featured 25 February 2013 leading Japanese and international practitioners from all Kokusai Budoin, IMAF divisions. Updates for Members Membership Renewals and more... Kokusai Budoin, IMAF sponsors numerous national, regional -
Through the Case of Izumo Taishakyo Mission of Hawaii
The Japanese and Okinawan American Communities and Shintoism in Hawaii: Through the Case of Izumo Taishakyo Mission of Hawaii A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʽI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN AMERICAN STUDIES MAY 2012 By Sawako Kinjo Thesis Committee: Dennis M. Ogawa, Chairperson Katsunori Yamazato Akemi Kikumura Yano Keywords: Japanese American Community, Shintoism in Hawaii, Izumo Taishayo Mission of Hawaii To My Parents, Sonoe and Yoshihiro Kinjo, and My Family in Okinawa and in Hawaii Acknowledgement First and foremost, I would like to express my deep and sincere gratitude to my committee chair, Professor Dennis M. Ogawa, whose guidance, patience, motivation, enthusiasm, and immense knowledge have provided a good basis for the present thesis. I also attribute the completion of my master’s thesis to his encouragement and understanding and without his thoughtful support, this thesis would not have been accomplished or written. I also wish to express my warm and cordial thanks to my committee members, Professor Katsunori Yamazato, an affiliate faculty from the University of the Ryukyus, and Dr. Akemi Kikumura Yano, an affiliate faculty and President and Chief Executive Officer (CEO) of the Japanese American National Museum, for their encouragement, helpful reference, and insightful comments and questions. My sincere thanks also goes to the interviewees, Richard T. Miyao, Robert Nakasone, Vince A. Morikawa, Daniel Chinen, Joseph Peters, and Jikai Yamazato, for kindly offering me opportunities to interview with them. It is a pleasure to thank those who made this thesis possible. -
Your Unpublished Thesis, Submitted for a Degree at Williams College and Administered by the Williams College Libraries, Will Be Made Available for Research Use
WILLIAMS COLLEGE LIBRARIES COPYRIGHT ASSIGNMENT AND INSTRUCTIONS FOR A STUDENT THESIS Your unpublished thesis, submitted for a degree at Williams College and administered by the Williams College Libraries, will be made available for research use. You may, through this form, provide instructions regarding copyright, access, dissemination and reproduction of your thesis. The College has the right in all cases to maintain and preserve theses both in hardcopy and electronic format, and to make such copies as the Libraries require for their research and archival functions. t:;t.. � The faculty advisor/s to the student writing the thesis Claims joint authorship in this work. _ 1/we have included in this thesis copyrighted material for which 1/we have not received permission from the copyright holder/s. If you do not secure copyright permissions by the time your thesis is submitted, you will still be allowed to submit. However, if the necessary copyright permissions are not received, e-posting of your thesis may be affected. Copyrighted material may include images (tables, drawings, photographs, figures, maps, graphs, etc.), sound files, video material, data sets, and large portions of text. l. COPYRIGHT An author by law owns the copyright to his/her work, whether or not a copyright symbol and date are placed on the piece. Please choose one ofthe options below with respect to the copyright in your thesis. _ 1/we choose not to retain the copyright to the thesis, and hereby assign the copyright to Williams College. Selecting this option will assign copyright to the College. If the author/s wishes later to pub! ish the work, he/she/they will need to obtain permission to do so from the Libraries, which will be granted except in unusual circumstances. -
80Th Anniversary Celebration Konko Mission of Wahiawa
80th Anniversary Celebration Konko Mission of Wahiawa Konko Mission of Wahiawa 207 Muliwai Avenue Wahiawa, HI. 96786 Phone & Fax: (808) 621-6667 E-mail: [email protected] “Thank you for the blessings till today” Sunday, March 15, 2020 Konko Mission of Wahiawa 80th Anniversary 60 Konko Mission of Wahiawa 80th Anniversary 1 49) Mansho, Rene 108) Yasutake, Rev. Tetsuro (Waipahu Kyokai) 50) Masaki, Chelsea 109) Yasutake, Rev. Mitsuko (Waipahu Kyokai) 51) Masaki, Hunter 110) Yasutake, Rev. Akinobu (Waipahu Kyokai) 52) Masaki, Judy 111) Yasutake, Rev. Miyoko (Waipahu Kyokai) 53) Masaki, Sean 112) Yasutake, Judy 54) Matsunaga, Tsugumi 113) Yasutake, Rev. Hisayo (Wailuku Kyokai) 55) Matsuoka, Rev. Edna (Wahiawa Kyokai) 114) Yasutake, Rev. Kanae (Wailuku Kyokai) 56) Matsuoka, Clayton 115) Yasutake, Aimee Guests 57) Miyahara, Nolan 116) Yasutake, Rev. Michiyoshi (Amagi Kyokai) 58) Miyasaka, Janet 117) Yasutake, Rev. Sachiko (Amagi Kyokai) 1) Adkison, Bryce 59) Miyashiro, Leong-Courtney 118) Yee, Jeremy 60) Montes, Rie 119) Yip, Fong 2) Adkison, Jason 3) Adkison, Jayden 61) Motosue, Reiko 120) Yip, Paley 62) Newell, Yuka 121) Zhao, Lyndon 4) Adkison, Trisha 5) Arakaki, Terry Jean 63) Nguyen, Chris 122) Zhao, Susan 64) Noguchi, Hugh 6) Esteban, Joyce 65) Oda, Glenn 7) Fukagawa, Rev. Shoryu (Ryusenji Soto Mission) 66) Oda, Claire 8) Fukushima, Dennis 9) Furusho, Alex 67) Ohata, Nancy 68) Ogino, Kiyoteru 10) Furusho, Masumi 11) Furusho, Nicholas 69) Okuno, Loren 70) Okuno, Rev. Setsuko (Hanapepe Kyokai) 12) Furusho, Randy 13) Grange, Evan 71) -
The Miare Festival Is an Expression of the Living Faith of Local Fishermen. Chapter 3 Justification for Inscription
The Miare Festival is an expression of the living faith of local fishermen. Chapter 3 Justification for Inscription 3.1.a Brief Synthesis 3.1.b Criteria Under Which Inscription is Proposed 3.1.c Statement of Integrity 3.1.d Statement of Authenticity 3.1.e Protection and Management Requirements 3.2 Comparative Analysis 3.3 Proposed Statement of Outstanding Universal Value The Sacred Island of Okinoshima and Associated Sites in the Munakata Region Chapter 3 Justification for Inscription Justification for Inscription 3.1.a Brief Synthesis The Sacred Island of Okinoshima and Associated Sites in the Munakata Region is located in the western coastal area of Japan. It is a serial cultural property that has eight component parts, all of which are linked to the worship of a sacred island that has continued from the fourth century to the present day. These component parts include Okitsu-miya of Munakata Taisha, which encompasses the entire island of Okinoshima and its three attendant reefs, located in the strait between the Japanese archipelago and the Korean peninsula; Okitsu- miya Yohaisho and Nakatsu-miya of Munakata Taisha, located on the island of Oshima; and Hetsu-miya of Munakata Taisha and the Shimbaru-Nuyama Mounded Tomb Group, located on the main island of Kyushu. Okinoshima has unique archaeological sites that have survived nearly intact, providing a chronological account of how ancient rituals based on nature worship developed from the fourth to the ninth centuries. It is of outstanding archaeological value also because of the number and quality of offerings discovered there, underscoring the great importance of the rituals and serving as evidence of their evolution over a period of 500 years, in the midst of a process of dynamic overseas exchange in East Asia. -
The Story of IZUMO KAGURA What Is Kagura? Distinguishing Features of Izumo Kagura
The Story of IZUMO KAGURA What is Kagura? Distinguishing Features of Izumo Kagura This ritual dance is performed to purify the kagura site, with the performer carrying a Since ancient times, people in Japan have believed torimono (prop) while remaining unmasked. Various props are carried while the dance is that gods inhabit everything in nature such as rocks and History of Izumo Kagura Shichiza performed without wearing any masks. The name shichiza is said to derive from the seven trees. Human beings embodied spirits that resonated The Shimane Prefecture is a region which boasts performance steps that comprise it, but these steps vary by region. and sympathized with nature, thus treasured its a flourishing, nationally renowned kagura scene, aesthetic beauty. with over 200 kagura groups currently active in the The word kagura is believed to refer to festive prefecture. Within Shimane Prefecture, the regions of rituals carried out at kamikura (the seats of gods), Izumo, Iwami, and Oki have their own unique style of and its meaning suggests a “place for calling out and kagura. calming of the gods.” The theory posits that the word Kagura of the Izumo region, known as Izumo kamikuragoto (activity for the seats of gods) was Kagura, is best characterized by three parts: shichiza, shortened to kankura, which subsequently became shikisanba, and shinno. kagura. Shihoken Salt—signifying cleanliness—is used In the first stage, four dancers hold bells and hei (staffs with Shiokiyome paper streamers), followed by swords in the second stage of Sada Shinno (a UNESCO Intangible Cultural (Salt Purification) to purify the site and the attendees. -
First Encounter with Iai in Japan, the Days of Sword-Wielding Battles Are A
PROMENADE In Japan, the days of sword-wielding battles are a thing of the past. However, one of the techniques of wielding swords is being passed on from generation to generation. It is iaido (iai for short), the art of drawing a sword in one stroke to cut down the opponent or ward off an attack. “Why use a sword in this peaceful era?” you may ask. However, iai does not train people to kill one another. Iai is being handed down because one of its purposes is to train the soul – a world of great depth. First Encounter with Iai States also participated. I was filled with anticipation because it was hard to imagine how these people, so different in statures and looks, Recently, I had a chance to see a demonstration of iai for the first would perform with a Japanese sword, dressed in traditional formal time. Even in Japan, not so many people watch iai demonstrations Japanese attire – a kimono with a family crest and a full-length, unless they are particularly interested. Even though I took some pleated and divided skirt worn over it. lessons in kendo (Japanese swordsmanship) when I was a child, I I learned that these people practice in five southwestern cities in had nothing to do with iai except that my grandfather, Osamu the United States – Phoenix (Arizona), Lancaster and Austin (both Toyoda, was a master of iai. Kendo and iai are on the same line of California), Las Vegas (Nevada), and El Paso (Texas). And there are Japanese martial arts featuring the use of swords, but a real sword is also many women practitioners. -
The Origins of Japanese Culture Uncovered Using DNA ―What Happens When We Cut Into the World of the Kojiki Myths Using the Latest Science
The Origins of Japanese Culture Uncovered Using DNA ―What happens when we cut into the world of the Kojiki myths using the latest science Miura Sukeyuki – Professor, Rissho University & Shinoda Kenichi – Director, Department of Anthropology, Japanese National Museum of Nature and Science MIURA Sukeyuki: The Kojiki (Records of Ancient Matters) has one distinguishing feature in the fact it includes a mixture of both Southern and Northern style myths. This is proof that Japanese culture was originally not only one culture, but rather came into existence while being influenced by its various surroundings; but when it comes to trying to seek out the origins of that culture, as we would expect, there are limits to how far we can get using only an arts and humanities-based approach. That’s where your (Professor Shinoda’s) area of expertise— molecular anthropology—comes in and corroborates things scientifically for us. Miura Sukeyuki , Professor, Rissho By analyzing the DNA remaining in ancient human skeletal remains, University your research closing in on the origins of the Japanese people is beginning to unravel when the Jomon and Yayoi peoples and so on came to the Japanese archipelago, where they came from, and the course of their movements, isn’t it? In recent times we’ve come to look forward to the possibility that, by watching the latest developments in scientific research, we may be able to newly uncover the origins of Japanese culture. SHINODA Kenichi: Speaking of the Kojiki , during my time as a student my mentor examined the bones of O-no-Yasumaro, who is regarded as being the person who compiled and edited it. -
Martial Arts, Yoga and Their Religions
Amanda Buys’ Spiritual Covering This is a product by Kanaan Ministries, a non-profit ministry under the covering of: River of Life Family Church, Vanderbijlpark Pastor Edward Gibbens (Contact: Sharmain Joubert Personal Assistant to Pastors Edward and Dalene Gibbens) River of Life Family Church Vanderbijlpark South Africa Tel: +27 16 9823022 Fax: +27 16 9822566 Email: [email protected] There is no copyright on this material. However, no part may be reproduced and/or presented for personal gain. All rights to this material are reserved to further the Kingdom of our Lord Jesus Christ ONLY. For further information or to place an order, please contact us at: P.O. Box 15253 27 John Vorster Avenue Panorama Plattekloof Ext. 1 7506 Panorama 7500 Cape Town Cape Town South Africa South Africa Tel: (+27) (21) 930 7577 Chapter 1 Fax: 086 681 9458 E-mail: [email protected] Website: www.kanaanministries.org Office hours: Monday to Friday, 9 am to 3 pm. Kanaan in Europe - Basel: Larwin and Silvia Nickelson Oikos International Church Reinacherstrasse 3 CH-4142 Münchenstein Basel, Switzerland Co-ordinator: Lydia Wenger Office hours: Monday, Tuesday and Thursday from 8 – 12. Telephone: +41(0)61 332 15 40 Email: [email protected] Website: www.kanaanministries.org 2 CONTENTS INTRODUCTION 4 PART A: Inner Core 13 Brief Description 14 I. Soft Internal 15 II. Hard External 17 PART B: Religions of Martial Arts Introduction 26 I. Relgious Roots 28 II. Branches 30 III. Yin and Yang 47 IV. WU WEI and Nothingness 51 V. Chi – The ‘vital energy’ 52 VI. -
The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’S Subjugation of Silla
Japanese Journal of Religious Studies 1993 20/2-3 The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’s Subjugation of Silla Akima Toshio In prewar Japan, the mythical tale of Empress Jingii’s 神功皇后 conquest of the Korean kingdoms comprised an important part of elementary school history education, and was utilized to justify Japan5s coloniza tion of Korea. After the war the same story came to be interpreted by some Japanese historians—most prominently Egami Namio— as proof or the exact opposite, namely, as evidence of a conquest of Japan by a people of nomadic origin who came from Korea. This theory, known as the horse-rider theory, has found more than a few enthusiastic sup porters amone Korean historians and the Japanese reading public, as well as some Western scholars. There are also several Japanese spe cialists in Japanese history and Japan-Korea relations who have been influenced by the theory, although most have not accepted the idea (Egami himself started as a specialist in the history of northeast Asia).1 * The first draft of this essay was written during my fellowship with the International Research Center for Japanese Studies, and was read in a seminar organized by the institu tion on 31 January 199丄. 1 am indebted to all researchers at the center who participated in the seminar for their many valuable suggestions. I would also like to express my gratitude to Umehara Takeshi, the director general of the center, and Nakanism Susumu, also of the center, who made my research there possible. -
Smaa Journal
Vol. 22, Issue 2 2017 SMAA JOURNAL Shudokan Martial Arts Association ▪ PO Box 6022, Ann Arbor, MI 48106-6022 http://smaa-hq.com/ ▪ [email protected] ▪ 1-734-645-6441 ANNOUNCEMENTS OBJECTIVES OF THE SMAA 2017 SMAA DUES 1. To promote and aid in the growth of Japan’s traditional arts and ways. Membership fees were due on January 1, 2017. Please be sure to pay your SMAA dues on time. You 2. To assist the public in achieving spiritual can either send a check to our headquarters or pay growthand physical development through online at http://www.smaa-hq.com/payments. budo/bujutsu. php. We accept Visa, MasterCard, and PayPal. This 3. To further friendship and understanding is a quick and safe way to make your annual SMAA between Asian and Western martial artists. membership payment. 4. To establish goodwill and harmony among We appreciate our members paying dues promptly. martial artists of various systems. It makes life easier for the SMAA staff of 5. To offer Western martial artists access to volunteers, and it is representative of the type of legitimate budo/bujutsu organizations and self-discipline we are cultivating through the study teachers in Japan. of traditional Japanese martial arts. 6. To give practitioners of authentic budo/bujutsu recognition for their years of DONATIONS & TAX DEDUCTIONS devotion to these arts. The SMAA is a federally tax-exempt, nonprofit corporation. As such, your donations to our BOARD OF DIRECTORS association are tax deductible. Send your ▪ Karl Scott Sensei donations, in the form of a check or money order ▪ Nicklaus Suino Sensei (made out to SMAA), to our headquarters in ▪ H.