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Assimillation Among Japanese-Americans in Chicago, by Religious Affiliation and by Generation
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1964 Assimillation Among Japanese-Americans in Chicago, by Religious Affiliation andy b Generation Midori Yamaha Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Sociology Commons Recommended Citation Yamaha, Midori, "Assimillation Among Japanese-Americans in Chicago, by Religious Affiliation andy b Generation" (1964). Master's Theses. 1901. https://ecommons.luc.edu/luc_theses/1901 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. Copyright © 1964 Midori Yamaha ASSIMILATION AMONG JAPAN&SE-AHIRICANS IN CHICAGO. BY RELIGIOUS AmLIATtoN AND BY GSNDATlON by M1 dod Yamaha A l'heats Subml tted to the ,aculty of the Graduate School of lo),ola Uat verst t)' tn. Partial lI\sl ft llmeat of the Requirements for the Degree of Master of Arts June 1964 1 am deeply ,rateful to the entire faculty of Sociology Department of Loyola University for their kind guidances and contributions to my studtes here. In Loyola University. 1 wish to express my .peclal gratttude and appreciation to Dr. Clzon. my adviser. for hiS great help and instruction. to this thesta. without which 1 t uould DOt have been completed. it -- - TABLl! or CONTENTS Chapter Pa,e t. GI.NBRAL mJIDa y • • • • • • • • • • • • • • • • • • • • • • • • 1 Coaceptuallzatlon•• A8stmllatlon-.Acculturatlon•• AmerlcanJza tlon and Cultural Plurallam--Worklng Definltlon•• aelated Llterature•• Hypotheala to be lave-tl,ated II. -
Aikido XXXIX
Anno XXXIX(gennaio 2008) Ente Morale D.P.R. 526 del 08/07/1978 Periodico dell’Aikikai d’Italia Associazione di Cultura Tradizionale Giapponese Via Appia Nuova 37 - 00183 Roma ASSOCIAZIONE DI CULTURA TRADIZIONALE GIAPPONESE AIKIKAI D’ITALIA 30 ANNI DI ENTE2008 MORALE 3NOVEMBRE0 Sommario 02 - Editoriale 03 - Comunicati del fondo Hosokawa 04 - Nava, estate 2007... 05 - Ricordi:Giorgio Veneri - Cesare Abis 07 - ..a proposito di Ente Morale 10 - Lezione agli insegnanti dell’Aikikai d’Italia del maestro Hiroshi Tada Composizione dell’Aikikai d’Italia 14 - Le due vie del Budo: Shingaku no michi e Shinpo no michi Presidente 15 - Premessa allo studio dei principi Franco Zoppi - Dojo Nippon La Spezia di base di aikido 23 - La Spezia, Luglio 2007 Vice Presidente 25 - Roma, Novembre 2007 Marino Genovesi - Dojo Fujiyama Pietrasanta 26 - I giardini del Maestro Tada Consiglieri 28 - Nihonshoki Piergiorgio Cocco - Dojo Musubi No Kai Cagliari 29 - Come trasformarsi in un enorme macigno Roberto Foglietta - Aikido Dojo Pesaro Michele Frizzera - Dojo Aikikai Verona 38 - Jikishinkage ryu kenjutsu Cesare Marulli - Dojo Nozomi Roma 39 - Jikishinkageryu: Maestro Terayama Katsujo Alessandro Pistorello - Aikikai Milano 40 - Nuove frontiere: il cinema giapponese Direttore Didattico 52 - Cinema: Harakiri Hiroshi Tada 55 - Cinema: Tatsuya Nakadai Vice Direttori Didattici 58 - Convegno a Salerno “Samurai del terzo millennio” Yoji Fujimoto Hideki Hosokawa 59 - Salute: Qi gong Direzione Didattica 61 - Salute: Tai ji quan- Wu Shu - Aikido Pasquale Aiello - Dojo Jikishinkai -
Kagami Kagami Production: the Newsletter of the Jikishin-Kai International
Kagami Kagami Production: The Newsletter of the Jikishin-Kai International Executive Advisor: Masayuki Shimabu- Kagami - Winter 2008 Volume 2, Issue 4 kuro, Hanshi Advisor: The Logic of Iaijutsu by Masayuki Shimabukuro, Hanshi Carl E. Long, Renshi In this issue of our newsletter, I would like to focus my discussion on the meaning of the waza of Iaijutsu, as Iaijutsu represents the “backbone” of the Jikishin-Kai International. As most of Editor: our members know, Iaijutsu is a unique practice. Many Kenjutsu styles include iai as a compo- nent their training, but there is a difference between styles designated as Kenjutsu, as opposed Erik A. Johnstone to those classified as Iaijutsu, such as Muso Jikiden Eishin-ryu. Kenjutsu refers to sword meth- ods that take place once the sword has already been drawn, with oppo- Assistant Editor: nents facing each other from kamae. Iaijutsu is face to face combat; a Adrian Smith response to an attack or combative situation while the sword is still in the saya. Iaijutsu imparts methods of Inside this Issue: instantaneously defending against an attack, often from a disadvanta- From the Editor’s 2 geous position. Desk There are obviously many waza in Instructors’ Semi- 4 Iaijutsu. The waza recreate possible nar Report combative scenarios, but it is a mis- take to think of a waza as a single European Report 5 method of dealing with a specific attack. Instead, one should think of the curriculum of waza as an alpha- Dojo Spotlight 6 bet, with each technique represent- ing a letter. However, just knowing the alphabet is not enough. -
About Zen Bu Kan
About Zen Bu Kan Zen Bu Kan is an iaido dojo of the Muso Jikiden Eishin Ryu lineage located in Salt Lake City, Utah. Zen Bu Kan was started by Jules Harris Sensei. Having studied in New York, Harris Sensei moved to Utah to study Zen at the renowned Kanzeon Zen Center in Salt Lake City. A scholar, warrior, and spiritual leader; Harris Sensei taught without thought of personal gain, only to pass on the lineage. He moved back East, to Pennsylvania, to further his spiritual studies. Zen Bu Kan is now led by his students Jason Hankins Sensei and Dick Beckstead Sensei. More recently, Zen Bu Kan has begun to teach kendo under the direction of Robert Stroud Sensei, 7th dan renshi. Stroud Sensei leads a dojo in Boise, Idaho, and serves as a kendo mentor and instructor to Zen Bu Kan’s sensei. Iaido students at Zen Bu Kan begin by learning the basic fundamentals of iaido. Having learned the fundamentals, students then begin to learn the twelve Seitei kata. The Seitei kata are the standard by which iaido practitioners (iaidoka) world-wide begin their training and upon which they are tested. Eventually, students move on to learn the Omori-Ryu and Muso Jikiden Eishin Ryu kata. Zen Bu Kan does not operate for profit and is solely supported by its students at cost. This allows the school to keep the price of tuition to a minimum, but it also means that the school is heavily dependant upon its students to remain in operation. The students form both the body and the support staff of the school. -
Boys Love Comics As a Representation of Homosexuality in Japan
Háskóli Íslands Hugvísindasvið Japanskt mál og menning Boys love Comics as a Representation of Homosexuality in Japan Ritgerð til BA-prófs í japönsku máli og menningu Brynhildur Mörk Herbertsdóttir Kt.: 190994-2019 Leiðbeinandi: Gunnella Þorgeirsdóttir Maí 2018 1 Abstract This thesis will focus on a genre of manga and anime called boys love, and compare it to the history of homosexuality in Japan and the homosexual culture in modern Japanese society. The boys love genre itself will be closely examined to find out which tropes are prevalent and why, as well as what its main demographic is. The thesis will then describe the long history of homosexuality in Japan and the similarities that are found between the traditions of the past and the tropes used in today’s boys love. Lastly, the modern homosexual culture in Japan will be examined, to again compare and contrast it to boys love. 2 Table of Contents Introduction ......................................................................................................................................... 4 Boys love: History, tropes, and common controversies ....................................................................... 6 Stylistic appearance and Seme Uke in boys love ............................................................................ 8 Boys love Readers‘ Demography .................................................................................................... 9 History of male homosexual relationships in Japan and the modern boys love genre ...................... 12 -
Budo Q&A 2021
Budo Q&A 2021 March/April/May/June By Louis Vitalis Introduction • Budo is more than techniques training; • Shape your character, knowledge, position within (budo)society • A pandemic shouldn’t stop us from training those other aspects • So let’s ask our highest grade European sensei! Louis Vitalis sensei – kyoshi 7th dan kendo, -- kyoshi 7th dan jodo, -- kyoshi 7th dan iaido Guidelines for the Q&A • MUTE! So we can all enjoy Vitalis sensei’s talk • Questions: • Put them in the Google Form so we add them to the list for Vitalis sensei • Slides will be shared after the meeting, please handle with care Enjoy, learn, train! KATEI ENMAN 家庭円満 • Katei = Household, Ones home • Enman = Peaceful • Although this is not specific Budo terminology, it’s the first concept that my Kendo teacher Edo Kokichi taught me in 1979, during my second visit to Japan. • Wether your target in Budo is winning gold medals or obtaining higher dan grades, you will not be successful unless your home situation is stable. Additional stress will make it more difficult to focus on Budo. GEI NI ASOBU 藝於游 Kodokan building in Mito City, Ibaraki Ken GEI NI ASOBU 藝於游 • Gei = Art (as in Martial Art) • Asobu = Enjoy • The Kodokan was a kind of General University, where Samurai of the Region received Education in both Martial Arts and other arts and sciences. This saying was favoured by the 9th Daimyo of the Mito Han, Tokugawa Nariaki (1800-1860). • By this time, Martial Arts were no longer needed to kill an enemy, but it was already shifting from Jutsu to Do as we now know it. -
The Composition of Decomposition : the Kusōzu Images of Matsui Fuyuko and Itō Seiu, and Buddhism in Erotic Grotesque Modernity
九州大学学術情報リポジトリ Kyushu University Institutional Repository The Composition of Decomposition : The Kusōzu Images of Matsui Fuyuko and Itō Seiu, and Buddhism in Erotic Grotesque Modernity Tinsley, Elizabeth Metropolitan Museum of Art : Andrew W. Mellon Art History Fellow | Department of religion, Columbia University : Doctoral Candidate http://hdl.handle.net/2324/1806128 出版情報:Journal of Asian Humanities at Kyushu University. 2, pp.15-45, 2017-03. Kyushu University, School of Letters, Graduate School of Humanities, Faculty of Humanities バージョン: 権利関係: The Composition of Decomposition: The Kusōzu Images of Matsui Fuyuko and Itō eiu and uddism in Erotic Grotesque Modernity eliZaBeTh TinSleY “What looks like meaningful, divine suffering to one person ofen looks like brutal, preventable violence to another.” 1 Intodution the genre as it is generally understood by presenting the nine states of decomposition as the results of nine N Buddhist culture, the young and beautiful female motives for suicide. Tis, in addition to a number of as corpse has ofen been presented as a sight of sote- other aspects of her work, makes the series consider- riological potential, a demonstration of the illusions ably diferent from its purported model, and links it to Iof beauty, permanence, and identity coherence. A series an alternative cultural genealogy. To show this, I will of paintings2 by Matsui Fuyuko 松井冬子 (b. 1974) is summarize the general understanding of kusōzu as it only the most recent example of the genre known as has been presented so far in scholarship, and will dis- “kusōzu” 九相[想]図 (Pictures of the Nine Stages [of a cuss the erotic and grotesque aspects of kusōzu, before decaying corpse]) (henceforth kusōzu),3 which depicts introducing the works of Seiu, with a brief explanation the subject. -
Special Events & Money Earning (SEME)
SPECIAL EVENTS & MONEY-EARNING MANUAL Troop 3415 Journey Workshop Date of Special Events & Money-Earning Training Adult Educator(s) Name(s) Contact Information: 10/09/2020 1 What is new in SEME 1. Virtual Events including Zoom tips. Page 26 2. Updated and revised Refund Policy. Page 38 3. Event Flier Checklist has been updated for virtual events. Page 60 My Notes 2 TABLE OF CONTENTS ADDITIONAL REFERENCES ...............................................................................................................................................................................5 GIRL SCOUT FUNDAMENTALS .........................................................................................................................................................................6 THE BENEFITS OF GIRL SCOUT EVENTS .....................................................................................................................................................6 WHAT IS A SPECIAL EVENT? ............................................................................................................................................................................7 DEVELOPING QUALITY GIRL SCOUT PROGRAM ACTIVITIES .............................................................................................................7 EVENT PLANNING STEPS ...................................................................................................................................................................................8 EVENT PLANNING TIMELINE/CHECKLIST -
Ono Ha Ittō Ryū (小野派一刀流)
Ono Ha Ittō Ryū (小野派一刀流) Guy Buyens Introduction In August 2011, in San Diego, I had the chance to participate in an Ono Ha Itto-ryu seminar with Sasamori Takemi, 17th Soke, and Hirata Tomihiko, his assistant. The host group was the "Kokusai Nippon Budokai", headed by Participants at the Ono ha Itto Ryu seminar (San Shimabukuro Masayuki Sensei (Jikishinkai). Diego, 2011) with Sasamori soke and Hirata Tomihiko I had seen demonstrations of Ono Ha Itto-ryu with Sasamori Takemi Soke before (their school also participated in the 32th event of The Nihon Kobudo Kyokai held in Tokyo in 2009, where we also had the chance to demonstrate with our soke and members of the sohonbu dojo of Hontai Yoshin Ryu). I was convinced that studying and understanding a kenjutsu school like Ono Ha Itto-ryu, could be beneficial in order to improve sword skills and bring the kumidachi in our bojutsu to a higher level, so I decided to follow a seminar with Sasamori Soke. Although a seminar of 3 days is not enough to get introduced into a system, it was certainly the ideal forum to get inspired. The time spent on the basis (kihon, etiquette) was highly appreciated and made this seminar very exceptional. Back in Europe, together with 2 friends (both involved in iai-do and kendo), I started to train techniques from the seminar in the hope to preserve what I learned from the seminar and always looking forward to meet Sasamori soke again. In the meantime we also had the chance to train with André Feik, who trained several years in the Reigakudo (the dojio of Sasamori soke) in Tokyo, but who now lives in Germany again. -
André Cognard | Petit Manuel D'aikido
Couverture et maquette Sylvain Huet Matthieu Chambet-Rosset © Centon Éditions, 2005 ISBN : 2-915384-01-0 André Cognard | Petit manuel d'aikido Du même auteur : Civilisation et arts martiaux, Albin Michel, Question de Le corps conscient, Éditions Dervy Le disciple, Éditions Dervy L'esprit des arts martiaux, Albin Michel Le corps philosophe, Centon éditions Le maître, Éditions Dervy Vivre sans ennemi, Éditions du Relié SEUL BOUDDHA CONNAIT BOUDDHA " Quand la couleur d'une fleur, quand la lune, se reflètent dans votre esprit, vous pensez que ce qui ne peut être à vous est à vous. Vous considérez comme étant à vous ce qui n'est pas en vous. " Dogen 1 1 Dogen : Shôbôgenzô - Encre marine éditeur. 7 Petit manuel d’aikido MA RENCONTRE AVEC KOBAYASHI SENSEI 2 Kobayashi Sensei et l'auteur André Cognard 2 Sensei : de " sen " avant, devant, " sei " mot honorifique pour désigner une personne. Il s'agit d'une évolution de l'expres - sion chinoise " frère né avant moi " que l'on utilise pour désigner quelqu'un que l'on place au-dessus de soi. 8 Mes débuts dans l'aikido remontent à mon enfance. Mes souvenirs à ce propos sont nombreux. Je me souviens cependant très clairement d'une chose. J'avais toujours été bien déterminé à pratiquer les arts martiaux qui se résu - maient pour moi, à l'époque, à ces deux mots : judo et karaté. Un jour, un de mes camarades de classe me dit qu'il avait commencé le judo. Après quelques minutes de conversation à propos de cet art, il m'expliqua l'émer - veillement qu'il avait ressenti en assistant à une démons - tration d'aikido. -
The Socio-Historical Evolution of Japanese Swordsmanship and Its Correlation with Cultural Nationalism
The Cultural Politics of Proprietorship: The Socio-historical Evolution of Japanese Swordsmanship and its Correlation with Cultural Nationalism Alexander C. Bennett Ph.D. Dissertation (Senior Supervisor – Dr. Kenneth Henshall) University of Canterbury School of Languages, Cultures and Linguistics (JAPA) 2012 i ii COPYRIGHT Alexander C. Bennett 2012 iii iv Acknowledgements Although I started writing this thesis six years ago, I have been involved in kendō itself for over two decades. Guidance from the many wonderful teachers and friends I have met on this journey provided me with the knowledge to undertake the project. There are far too many people to name here, but I would like to especially thank the following people and organisations for their assistance and support. First, Professor Kenneth Henshall has been an incredibly patient supervisor, and has always given me wonderful advice enabling me to overcome many hurdles along the way. I feel greatly honoured to have had such an illustrious scholar as him for my supervisor. Professor Edwina Palmer was also involved at the start of my studies, but has since taken up a position outside the University of Canterbury. Her comments were invaluable in the completion of my earlier chapters. I am also indebted to Dr. Chigusa Kimura-Steven, and the other staff members in the School of Languages, Cultures and Linguistics (Japanese) at the University of Canterbury. I would also like to thank the Nippon Budokan and the All Japan Kendo Federation for their on-going support and willingness to provide me with many of the documents quoted in this thesis. I have also had considerable help from Professor Uozumi Takashi at the International Budo University, Professor Nakajima Takeshi of Kokushikan University, and numerous tantalising conversations about the state of kendō today with Professor Sakudō Masao and Professor Kanzaki Hiroshi at the Osaka University for Sport and Health Science. -
Sumotreenerite Tasemekoolituse Õppematerjal
EESTI SUMOLIIT SUMOTREENERITE ETTEVALMISTUSE KOOITUSMATERJALID SUMO on sündinud vaatemänguna, mis Jaapani tavades on seotud põllumajanduslike tseremooniate ja pühade rituaalidega, mida juba üle 2000 aasta tähistatakse sügisese saagikoristuse lõppedes. Tänapäeval nauditakse sumot puhtalt spordialana, mis on emotsionaalne ja ka lõbus. Sisukord 1. Sumo tunnusjooned lk. 1 2. Sumo ajalugu lk. 2 3. Sumo tänapäeval lk. 3 3.1. Ozumo (elukutseliste sumo) lk. 3 3.2. Amatööride sumo lk. 3 4. Sumo reeglite lühikokkuvõte lk. 3 4.1. Sumotorid lk. 3 4.2. Gyoji lk. 4 4.3. Otsus matši võitja kohta lk. 4 4.4. Keelatud võtted (Kinji-te) lk. 4 4.5. Shikiri lk. 5 4.6. Shiko lk. 5 4.7. Mawashi lk. 6 5. Dohyo (sumoareen) lk. 7 5.1.Jaapani Sumoföderatsiooni dohyo mõõtmed lk. 8 5.2. Savist dohyo ehitamine lk. 8 6. Kaalukategooriate süsteem sumos ja kehakaalu reguleerimine lk. 10 6.1. Kaalukategooriate süsteem lk. 10 6.2. Kehakaalu reguleerimine lk. 11 6.3.Chanko-nabe lk. 12 7. Sumo tervistavad harjutused lk. 13 I. Kishizume-no-kata /keskendumisharjutused/ lk. 14 II. Chiri Chozu-no-kata /peopesade hõõrumine ning plaksutamine/ lk. 14 III. Shiko-no-kata /trampimine/ lk. 15 IV. Shinkyaku-no-kata /jala sirutamine – venitamine/ lk. 15 V. Matawari /spagaat/ lk. 16 VI. Shikiri-no-kata /võitluseks valmistumine/ lk. 17 VII. Seme-no-kata /rünnaku harjutus/ lk. 17 VIII. Fusegi-no-kata /kaitseharjutus/ lk. 18 IX. Yotsu-mi-no-kata /vööst haaramise harjutus/ lk. 18 X. Sori-no-kata /tahapoole painutamine/ lk. 18 XI. Kinsei-no-kata /tasakaaluharjutused/ lk. 19 XII. Dohyo-iri-no-kata /ringi sisenemine/ lk.