KATA ORIGINS & BACKGROUND a SYNOPSIS by Dr Ed Hudson 6Th
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Philosophy of Karate in Terms of the Dojo-Kun and the Niju-Kun on the Example of Style Shotokan
THE PHILOSOPHY OF KARATE IN TERMS OF THE DOJO-KUN AND THE NIJU-KUN ON THE EXAMPLE OF STYLE SHOTOKAN dr Paweł Adam Piepiora*, dr Zbigniew Norbert Piepiora** Introduction While studying the martial art relationship between the philosophical and mental aspects of art is inevitable. It grows along with the use of the selected art. It is mutual. It is reinforced and developed. The result can be a philosophy of life, for which training is essential. The real karate (the literal translation of karate – the way of the empty hand) is not indicating who is better and who is worse. The karate is a method of self-defense, in which there are not used other weapons outside own body. Systematic training of arms and legs means that they can repel any attack with equal efficiency using real weapon1. In the end, the karate is a martial art serving the character’s development by training in such way that karateka would be able to overcome every obstacle, regardless of its character2. The philosophy of karate is based on knowledge of Okinawan masters of martial arts and close links between the physical and mental aspects of this art, which are derived from Budo (martial way)3. The philosophy of karate can have a huge impact on the daily life of an individual. Each variety of karate specifies the ethical rules. They differ in details, but maintain a certain standard canon, resulting from a common core of the East Asian culture4. In the shotokan style are two codes described by Gichin Funakoshi. They are pillars of shotokan style. -
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. -
Shōtōkan Karate—The Definitive Guide Beginner to Black Belt and Beyond the Official Handbook of the Traditional Association of Shōtōkan Karate (TASK)
Shōtōkan Karate—The Definitive Guide Beginner to Black Belt and Beyond The Official Handbook of the Traditional Association of Shōtōkan Karate (TASK). The most comprehensive book ever written on Shōtōkan Karate. Within its 750 pages lies an absolute wealth of information for the beginner and advanced student alike. It answers in graphic detail and refreshing candidness, the numerous questions posed by generations of students of Karate-dō. Shihan van Weenen has trained with the world’s best over the past 50 years and in this book, he willingly shares his countless experiences and knowledge with the reader. Signed copies by Shihan will be available for all TASK members on the book’s release dates—18th and 19th November at the Olney and Flitwick Gradings at the special price of £14.99. 750 action packed pages of the following: About the Author *A Beginner’s View *A Brief History of Karate *Finding the Right Club *Basic Rules of Etiquette *The Relationship Between Sensei and Student *Rei *Oss *One Man’s Journey *Long-term Injury *Callisthenics *Stances *Basic Techniques (38) *Taikyoku Shodan *5 Heian Kata *Bunkai (116 Applications) *Tekki Shodan *Bassai Dai *Jion *Jitte *Chinte *Tekki Nidan *Tekki Sandan *(230 Advanced Applications) *Self - Defence (31 Defences) *Gohon-Kumite (3 sets) *Sanbon-Kumite (3 sets) *Kiso-Kumite (4 sets) *Kihon-Ippon-Kumite (21 Defences) *Kaeshi-Ippon-Kumite (7 Defences) *Jiyū- Ippon-Kumite (31 Defences) *Children in Karate *Women in Karate *The Mature Student *Preparing for grading *New Grading Syllabus for juniors *New Grading Syllabus for adults *1-100 in Japanese *The Dōjō Kun *Weight Training for the Karateka (22 sets) *Anatomical Charts of Human Musculature *Body Structure and Vital Points *Mind over Matter *Visualisation *Self Hypnosis *Mokuso *Revealing stories of: Hirokazu Kanazawa *Masatoshi Nakayama *Masutatsu Oyama *Gogen Yamaguchi *Morio Higaonna *A Way of Life *Afterword *Karate vs Cancer *Shōtō-Niju Kun. -
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. -
Aikido: Filosofía Y Práctica
Aikido: Filosofía y Práctica. INDICE 1. Historia de Japón 1.1. El Período temprano histórico 1.2. El Período Yamato 1.3. El Período Nara 1.4. Los Heian y los Fujiwara 1.5. Los Shogunatos 1.5.1. El Período Kamakura 1.5.2. El Periodo Ashikaga 1.6. El Período de Unificación 1.7. El Período Tokugawa 1.8. El Japón moderno 1.8.1. El Período Meiji 1.8.2. La I Guerra Mundial y los años de entreguerras 1.8.3. La II Guerra Mundial 1.8.4. El Japón de la postguerra 2. Biografía del Fundador del Aikido: Morihei Ueshiba. 2.1. Morihei Ueshiba & Sokaku Takeda 2.2. Morihei Ueshiba & Onisaburo Deguchi 2.3. Morihei Ueshiba & Kisshomaru Ueshiba 2.4. Morihei Ueshiba & Isamu Takeshita 3. Introducción al Aikido 3.1. ¿Qué es Aikido? 3.2 La teoría del Aikido 3.3. Los diferentes estilos en Aikido 3.4. Las competiciones y el Aikido 3.5. La práctica en seiza 3.6. La hakama 3.7. La escala de grados 3.8. ¿Requiere el Aikido más tiempo para dominarlo y aplicarlo que otras artes marciales? 3.9. ¿Aikido u otras artes marciales? 4. Principios de Aikido 4.1. Proyección del Ki 1 4.2. Conoce la mente de tu oponente 4.3. Respeta el Ki de tu oponente 4.4. Ponte en el lugar de tu adversario 4.5. Actúa con confianza 4.6. Centro/ hara 5. Reglas de comportamiento en clase 5.1. El ritual antes de la clase 5.2. El saludo y el uso de los términos japoneses 5.3. -
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. -
School of Traditional Martial Arts
School of Traditional Martial Arts ANCIENT THEORY, MODERN PRACTICE Kenshinryu — 3-5 Briggs St Palmwoods Qld — Ph:(6107) 5457 3716 – www.kenshin.com.au Contents LETTER FROM THE HEAD TEACHER ........................................................................................................ 1 KENSHINRYU.................................................................................................................................................. 2 DOJO PHILOSOPHY ....................................................................................................................................... 4 AIKIDO HISTORY ........................................................................................................................................... 5 SHINTO MUSO RYU HISTORY..................................................................................................................... 6 AIKIDO CLASSES ........................................................................................................................................... 7 SHINTO MUSO RYU CLASSES ..................................................................................................................... 7 JUNIOR AIKIDO .............................................................................................................................................. 7 DOJO ETIQUETTE........................................................................................................................................... 8 PRECAUTIONS FOR TRAINING .................................................................................................................. -
No.226 June 2014 AIKIDO YOSHINKAN BRISBANE DOJO Dojo: Facebook: Twitter
No.226 June 2014 AIKIDO YOSHINKAN BRISBANE DOJO Dojo: http://yoshinkan.info Facebook: http://bit.ly/dojofb Twitter: http://twitter.com/YoshinkanAikido May Report New members 3 Total number of adults training 66 Total number of children training 42 Results of Getsurei Shinsa on 30th & 31st May Jun-3rd Kyu Christian McFarland 8th Kyu Andrew Crampton Y2 step Emmanuel Economidis 4th Kyu Roland Thompson 9th Kyu Sai Kiao 4Y8 step Lawrence Monforte 5th Kyu Niklas Casaril Ross Macpherson S5 step Vladimir Roudakov Jared Mifsud Sandy Lokas Janna Malikova 7th Kyu Charles Delaporte Pol O Sleibhin S4 step Lu Jiang Daniel Tagg Pedro Gouvea 8th Kyu Victor Ovcharenko Lily Crampton Janna Malikova Events in June Lu Jiang 1. Sogo Shinsa 2. This Month’s Holiday of Adults’ class th Training starts, Friday 13th 7:15pm~ Queen’s Birthday –Monday 9 June th Steps, Friday 27th June 7:15pm~ Dojo Holiday –Monday 30 June Shinsa, Saturday 28th June 1:00pm~ Coffee Break My excuse –differences in culture A few years ago, a partner of an acquaintance of mine began training at our dojo. She happened to be right next to me during the warming-up at the second or third lesson. When Koho-ukemi practice started she was struggling to get up herself as is very normal for a lot of beginners. Had I not known her personally I would not have paid any attention but because she was someone I knew, I tried to encourage her with the intention of making her feel more enjoyment, feeling sorry for her dealing with the hard exercises. -
Pencak Silat Sebagai Hasil Budaya Indonesia Yang Mendunia
Prosiding SENASBASA http://researchreport.umm.ac.id/index.php/SENASBASA (Seminar Nasional Bahasa dan Sastra) Edisi 3 Tahun 2018 Halaman 264-270 E-ISSN 2599-0519 PENCAK SILAT SEBAGAI HASIL BUDAYA INDONESIA YANG MENDUNIA Muhammad Mizanudin, Andri Sugiyanto, Saryanto Program Studi Pendidikan Bahasa dan Sastra Indonesia Fakultas Keguruan dan Ilmu Pendidikan Universitas Veteran Bangun Nusantara Sukoharjo [email protected], [email protected], [email protected] Abstrak Artikel ini mengangkat tema pencak silat yang menjadi budaya bangsa indonesia, Pencak silat adalah suatu seni bela diri Asia yang berakar dari budaya Melayu. Di Indonesia, pencak silat sudah di kenal sejak berabad-abad yang lalu. Pakar dan para pendekar pencak silat meyakini bahwa masyarakat melayu menciptakan dan menggunakan ilmu bela diri ini sejak masa prasejarah, karena pada masa itu manusia harus menghdapi alam yang keras dan liar. Pencak silat ini pada zaman itu bertujuan untuk bertahan hidup dengan melawan binatang buas. Teori yang ada pada pencaksilat yaitu diantaranya harus menguasai pernapasan, gerakan, jurus, dan materi. Di Indonesia sendiri terdapat induk organisasi pencak silat yang diberi nama Ikatan Pencak Silat Indonesia atau yang lebih dikenal dengan IPSI.Pencak silat ini sekarang sudah menjadi ajang lomba antar Negara yaitu ASEAN GAMES yang diadakan setiap 4 tahun sekali. Beberapa organisasi silat nasional maupun internasional mulai tumbuh dengan pesat. Seperti di Asia, Amerika Serikat dan Eropa. Silat kini telah secara resmi masuk sebagai cabang olah raga dalam pertandingan internasional, khususnya dipertandingkan dalam SEA Games. Kata Kunci : Pencak Silat, IPSI, ASEAN GAMES Abstract This article raises the theme of pencak silat which is the Indonesian culture, Pencak silat is an Asian martial art rooted in Malay culture. -
Addition to SKDUN Rules of Competition (2013 Third Revision) For
Addition to SKDUN rules of Competition (2013 third revision) JIYU IPPON KUMITE PERFORMANCE AND JUDGING CRITERIA For grading examiners, Instructors, referees and judges, coaches and those who wish to study karate and not just do karate Preamble: The need for students to learn how to fight is implicit in the art of Karate, it is not possible to go straight to Jiyu Kumite because the necessary skills required to be a competent, knowledgeable and competent Kumite Karate-ka are found in the building blocks of the grading syllabus, 1st Gohon Kumite, 2nd Sanbon Kumite, 3rd Kihon Ippon Kumite then Jiyu Ippon Kumite (the “bridges” to knowledgeable Jiyu Kumite). No protective equipment is allowed. There are several aspects to consider, listed below are some of the main points. 1) The attacker is the instigator of movement and of course the attack, if their Maai is incorrect or the intention to make a determined attack is missing then the attack is non existent, the attack must be accompanied by a kiai. 2) The attacker must not chase the defender but focus and impact on the target “where it is” not where it is going to be, for example, if the distance, timing, seeing the moment and speed are correct then success is virtually guaranteed. 3) The attacks should be determined but absolute control should be demonstrated in the event of the defenders unsuccessful block. 4) The correct use of shomen and hanmi must exist throughout from both competitors. 5) The defender must not retreat or run away, they must demonstrate their ability to control the attacker’s distance (maai) and allow the attacker to close the distance and attack. -
Principals of Kata Training Through Seiuchin
Principals of Kata Training Marvin Labbate Central New York Karate & Kobudo Schools International Headquarters, Okinawan Seibukai Association This is the fourth in a sequence of articles that describe the core principals of Okinawan Karatedo in the Goju Ryu system. Previous articles have focused on hard principles of structure, movement, and breathing [Labbate1999], intermediate principals associated with building, controlling, and transferring internal energy [Labbate2000], and soft principals associated with making contact, following, and controlling an opponent [Labbate2001]. This article builds upon these ideas and incorporates them into a general set of Kata training principals. Kata are stylized fighting forms, or sequences, developed over the centuries and based on actual combat experience. Here the ideas are illustrated through the study of Seiunchin Kata, however, each Kata in the Goju Ryu system can be developed with the same ideas. Every kata exists at many levels of sophistication and can be studied from a broad variety of viewpoints. At the most basic level, a kata is simply a pattern of movements that train typical fighting scenarios. At the most advanced level, a Kata is a sequence of dangerous vital point strikes that can cause paralysis, unconsciousness, or death. Between these extremes are levels of development to which the masters of old tightly controlled access. The highest levels were transmitted orally to only a chosen son, or in the absence of a son, to a top student. This control was not simply to provide an advantage in combat; it provided safeguards to ensure that the information was transmitted to only those who proved to be of the appropriate spiritual and moral background; people who would exercise social responsibility in their teaching and use of the ideas. -
Jo: 9-Count Kata ______
Cheltenham & Bloomsbury Aikido Notes for Students Jo: 9-Count Kata _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Acknowledgements: Following the teaching of Sensei Mike Smith, Go Shin Kai Principal. The teaching lineage is through Sensei Mr William Smith, MBE and T.K. Chiba Sensei. References: Morihiro Saito, 20 Jo Suburi in Aikido Vol.1, Sword, Stick, Body Arts, 1973. https://www.youtube.com/watch?v=O9U04EU_Qp8 _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ RH: Right Hanmi. LH: Left Hanmi. Jo: 9-Count Kata (K) Counter-Kata (CK) Start: LH Hidari hanmi. Jo held vertically by L hand, resting on ground in Start: LH Hidari hanmi, L hand forwards, as with Kata. front. 1K.ATTACK Choku tsuki, chudan, front (L) foot irimi (i.e. tsugiashi). LH. NB. Sequence Start -1K is Saito’s Jo Suburi No. 1 “Chokku Tsuki” 1CK.DEFEND Move off-line to R side, covering head and body to protect from chudan tsuki. LH. Both knees bent, low posture, feet close with L foot in front. 2CK.ATTACK Chudan tsuki, moving off-line to L, L foot tsugiashi. LH. 2K.DEFEND Move off-line to R, covering head and body to protect from chudan tsuki. LH. Both knees bent, low posture, feet close with L foot in front. 3K.ATTACK Chudan tsuki, moving off-line to L, L foot tsugiashi. LH. 3CK. DEFEND Move off-line to R side, covering head and body to protect from chudan tsuki. LH. Both knees bent, low posture, feet close with L foot in front. 4CK. ATTACK Chudan tsuki, moving off-line to L, L foot tsugiashi. LH. 4K. DEFEND Move off-line to R, covering head and body to protect from chudan tsuki.