Kime-No-Kata
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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. -
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. -
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. -
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. -
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. -
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. -
How to Enhance Effectiveness of Direct Attack Judo Throws
Attilio Sacripanti How to enhance effectiveness of Direct Attack Judo throws “Dr. Kano’s dream : Judo rotational application” Abstract In this paper it is performed an appraisal of the Olympic Sport “Judo” effectiveness in the optics of Biomechanics, that is the Dr Kano’s dream the rotational application of judo. Kano wasn’t able to develop his dream due to his premature death, but the biomechanical analysis is able to broaden the narrow translational vision of judo that is transmitted us by Kano’s disciples. Really speaking some learned followers of Dr. Kano like Kiuzo Mifune in Japan and Koizumi in England already had some rotational ideas, but few people appreciated their words. To broaden the classical view biomechanics will use a very special field f experimentation. This field of experimentation is obviously the high level competition in which most of these rotational application can be found applied more or less instinctively by high level Athletes. Considering the two biomechanical tools that are the physical basis of judo throws it is possible to obtain such results from the analysis of high competition application: Lever Techniques are enhanced in their effectiveness in three ways : 1. The rotational movements, strictly connected to the Lever techniques mechanics achieving victory (Ippon) in competition, can be extended to the unbalance phase (Kuzushi) 2. The rotational movements can be applied in a totally new way putting away even the unbalance that is basic in the Lever techniques. 3. The Lever tool can be hybridized with the application of a Couple to lower the energy consumption and to overcome some strong defensive resistance. -
BJA Kata Award Scheme
BRITISH JUDO ASSOCIATION KATA AWARD SCHEME 1st June 2020 KATA AWARD SCHEME INTRODUCTION This document comes into effect on 1st June 2020 and supersedes all previously published material. KATA Kata are prearranged and abstract attack/defence choreographic forms, which represent the grammar of judo. The Kodokan Judo Institute define kata as: • Formal movement pattern exercises containing idealised model movements illustrating specific combative principles . Source: Kodokan New Japanese-English Dictionary of Judo THE KATA RECOGNISED KATA The British Judo Association (BJA) recognises and provides certification for the following eight kata: Kata English Translation Heritage Nage-no-Kata Forms of Throwing Kodokan Katame-no-Kata Forms of Control Kodokan Ju-no-Kata Forms of Gentleness and Flexibility Kodokan Kime-no-Kata Forms of Decisive Techniques Kodokan Kodokan Goshin-jutsu Kodokan Skills of Self-defence Kodokan Itsutsu-no-Kata Kodokan Koshiki-no-Kata Forms of Classics Kodokan (BJA) Gonosen-no-Kata (BJA) Forms of Counterattack Non-Kodokan NAGE-NO-KATA FORMS OF THROWING Nage-no-Kata was established to help understanding of the theoretical basis of judo and learn the processes involved in Kuzushi, Tsukuri, Kake that is how to assume the correct position for applying a throwing technique once the opponents balance has been broken, and how to apply and complete a technique. Nage-no-Kata consists of 15 representative throwing techniques as follows, with each technique being executed from both sides. Te-waza (Hand Techniques) • Uki-otoshi (Floating -
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. -
Akja Contest Rules 2015
2015 Australian Kodokan Judo Association Judo Competition Rules 2015 - 2016 Executive Committee Australian Kodokan Judo Association 0 1/1/2015 Contents: Aims 2 Section 1: The arena 3 Section 2: Competition Area 3 Section 3: Judogi 3 Section 4: Hygiene 4 Section 5: Referee 4 Section 6: Time table officials 4 Section 7: Competition rules 4-5 Section 8: Scores and Points 5 Section 9: Osae komi waza 6 Section 10: Shime waza and Kansetsu waza 7 Section 11: Penalties 7 Section 12: Penalty groups 7-9 Section 13: Elements of a Score 9-10 Section 14: Children 10-12 Section 15: Contest Procedure 12-13 Section 16: Bad behaviour 14 Section 17: Referee Director 14 Section 18: Contest time 14 Section 19: Applications 14 Section 20: Medical Attention 15 Section 21: Weight Categories 15 Section 22: Situations not covered by the contest rules 16 Section 23: Hand Signals 16-19 Section 24: Terminology 20 1 Our Aim To practice Traditional Kodokan judo whilst displaying traditional values, etiquette & formalities for a better education. Allow and encourage the integration of groundwork in competitions. Encourage upright judo with normal traditional lapel sleeve hold and Shizen hontai. (Basic natural posture) Encourage the use of “randori no contest” that is to encourage the use of judo techniques, cunningness and skill rather than brute force. Simplify the contest rules of judo, helping the competitor and the referee to further understand the concept of traditional judo. We aim to discourage negative judo. Dissuade holding around the neck, techniques where players have their heads driven into the mat, pulling opponents down onto the mat, and dropping on both knees to execute techniques. -
American Judo Fall 2007
Fall 2007 American Judo Fall 2007 FEATURED ARTICLES USJA Officers James Webb Warm-Up Drills: Where to Start by Gerald Lafon ................................................................... 4 President Judo’s Rank System by Virgil Bowles .......................................................................................... 7 Kuzushi by Richard Riehle ............................................................................................................11 AnnMaria DeMars Vice President Toshikazu Okada Remembers Master Tsunetane Oda edited by Alessio Oltremari and translated by Gary Goltz ...................................................23 George Weers Cartoon Martial Artists by Ronald Allan Charles ..................................................................25 Secretary Lowell Slaven JUDO NEWS and VIEWS Treasurer My Thoughts on Coaching by Gary Goltz .................................................................................. 6 Gary Goltz Judo Brings Out the Best in Players by Ed Carol ....................................................................10 Chief Operating Where in the World is Jim Bregman Going? ..........................................................................21 Officer Glen Nakawaki CLUB NEWS AND VIEWS Corporate Counsel John Ogden by Doug Krikorian ...................................................................................................18 Sensei John Ogden Remembered by Hayward Nishioka ...................................................19 Sharp and Okada Clinic .................................................................................................................22