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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. -
The Newsletter of the Jikishin-Kai International
Kagami The Newsletter of the Jikishin-Kai International Kagami Production: Kagami - Summer 2009 Volume 4, Issue 2 Executive Advisor: Ken I Ittai: by Masayuki Shimabukuro, Hanshi Masayuki Shimabukuro, Hanshi Over the last few years, there has been an increasing emphasis on kenjutsu training at Advisor: Jikishin-Kai International (JKI) events and seminars. We have always included a signifi- Carl E. Long, Renshi cant amount of katachi training in the study of Muso Jikiden Eishin-ryu within the JKI. Editor: However, it has been my belief that the study of an additional kenjutsu system within the Erik A. Johnstone JKI will result in a much deeper understanding and higher expression of swordsmanship among the students in the JKI. It is for this Assistant Editor: reason that I have pursued the study of Ono-ha Itto-ryu Kenjutsu and was able to receive per- Adrian Smith mission from Sasamori Takemi, the 17th Soke of Ono-ha Itto-ryu, to establish a kenkyukai within the JKI to oversee the practice of Ono- ha Itto-ryu within our organization. Inside this Issue: One may ask why I believe that there should kenjutsu contain at least some iaijutsu or bat- be such an emphasis on kenjutsu within the tojutsu within their respective curriculums. Ken I Ittai 1 JKI. The answer is actually quite simple: the However, most practitioners of the Japanese sword arts are truly martial arts of the highest sword arts today focus only on iai, engaging in From the Editor’s 2 degree; the pinnacle of traditional Japanese little if any paired practice. -
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. -
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 - Fall 2008 Volume 3, Issue 3 kuro, Hanshi Advisor: Dotoku: The Moral Education of Bushido by Masayuki Shimabukuro, Hanshi Carl E. Long, Renshi With ever increasing access to train- ing, the study of the martial arts has become a widespread activity in our Editor: society. Access to the koryu Japanese sword arts is also becoming more Erik A. Johnstone readily available and we have seen a surging interest in training in these Assistant Editor: traditions. People begin their training in the martial arts for a variety of rea- Adrian Smith sons, including (but certainly not lim- ited to) a concern about self-defense; health and fitness; or an interest in Inside this Issue: Japanese culture, history and tradi- tions. From the Editor’s 2 Desk Whatever the reasons that people be- gin their study of martial arts, it is Seminar with 4 very common for many practitioners Sasamori Soke to focus their practice solely on the polishing of technique. This attention JKI Gasshuku and 6 to the execution of waza is initially as Taikai common in Iaijutsu and Kenjutsu as it is in other martial arts. While the de- Dojo Spotlight: 7 velopment of correct technique is of Nevada Budo vital importance to understanding the deeper principles and philosophy of Latin American 8 the classical sword arts, merely focusing on technique is not enough to realize the value of the Report traditional martial arts in everyday life. If the focus on the cultivation of correct technique represents only a portion of the purpose of News & An- 9 our practice, what are the benefits that we seek through our study of the seemingly antiquated nouncements classical Japanese sword arts? And what do these potential benefits bring to an individual or to today’s society at large? I would like to discuss what I consider to be a very important purpose Upcoming Events 10 for studying the classical sword arts of Japan. -
IAIDO, JODO and NITEN Manual
CLASSICAL MARTIAL ARTS CENTRE IAIDO, JODO AND NITEN Manual Welcome to CMAC.webloc 1 TorontoToronto CentralCentral RegionRegion Hasu Dojo 2 Table of Contents Table of Contents ..................................................................... 3 Belt Tying Procedures ......................... Error! Bookmark not defined. The Care and Use o f the Kobudo Uniform .................................... 6 THE PRACTICE UNIFORM .......................................................................................... 6 PUTTING ON THE UNIFORM ...................................................................................... 6 Folding the Hakama .................................................................. 7 Tying the Obi ........................................................................... 8 Tying t he Hakama ..................................................................... 9 Introduction to Sei Tei Gata Iaido ............................................ 11 Iaido, Kendo, and the Japanese Sword ...................................................................... 11 Brief History of Modern Sword Practice ...................................................................... 11 Father of Modern Swordsmanship .............................................................................. 12 History of the Sei Tei Gata .......................................................................................... 13 Bibliography ............................................................................................................... -
Koryu Bujutsu As a Transformative Learning Experience
Koryu Bujutsu as a Transformative Learning Experience RON MOTTERN Ashford University Abstract The purpose of this study is to examine koryu bujutsu, primarily through the lens of Japanese swordsmanship, as a transformative learning experience through the archival study of 1) the scant information available to outsiders on the teaching scroll of the Katori Shinto-ryu as part of an obscure pedagogical tradition that is sensitive to facilitating learning through egalitarian instruction and acknowledgement of different types of learners, and 2) other historical texts on Japanese swordsmanship. The study provides insights into the transformational states achievable through educational experiences. A considerable amount of information on the Katori Shinto-ryu, specifically, will be presented as a means to understanding koryu bujutsu, generally, and how koryu has survived into the modern age. While this study is not limited to Katori Shinto-ryu, it is used as a representative model of the workings of a koryu. Keywords: koryu bujutsu, transformative learning, Katori Shinto-ryu, swordsmanship Understanding Koryu Kendo (the Way of the sword) is a subject of cursory popular interest. Cursory, in that while many are enthralled by the techniques of swordsmanship, very few go beyond Walter Mitty-esque fantasizing and actually enroll in a dojo (a school for studying a particular Way) and begin the study required to learn the techniques of Japanese fencing. To learn the proper handling of the sword requires more than finding a collegiate kendo club and learning to strike with a shinai (a bamboo sword). This sort of kendo is a sport that is as divorced from practical swordsmanship as Olympic fencing is from dueling with an epee. -
Fresno Aiki-Jujutsu
Fresno Aiki-Jujutsu LINEAGE & INSTRUCTORS The head of our system, James Williams Sensei (Encinitas, CA), is a 50-year martial practitioner and internationally renown teacher. His experience ranges from professional kickboxing to teaching self-defense, the intensive study of martial disciplines including Yoshida family arts, and instructing armed civilian and top-tier military professionals around the world. Williams Sensei has been featured in Black Belt Magazine and was awarded 2015 Weapons Instructor of the Year. He has appeared on TV shows for both Japanese sword and police/military training, including National Geographic's “Force Recon”, Outdoor Channel's “Shooting Gallery", and Discovery channel's “10 Greatest Weapons”, “Weapons Master”, and “Time Warp.” Randy George Sensei, Fresno Aiki-Jujutsu head instructor of Nishi A Certified Nami ryu Aiki Heiho school of no Kaze Dojo, has trained classical Jujutsu, Japanese Swordsmanship in martial arts since 1984, including Shotokan Karate and Personal Defense (under Robert Halliburton Sensei of Fresno) and over For training times and locations visit 20 years Iwama Ryu Aikido. www.FresnoAikiJujutsu.com He has trained in Nami Ryu [email protected] exclusively under Williams Sensei since 2008 and teaches personal defense courses to groups and individuals. Fresno Aikijujutsu, Nishi no Kaze Dojo is CURRICULUM WHY LEARN JAPANESE a Nami Ryu Aiki Heiho school in Fresno, CA, Our curriculum covers a wide range of bugei SWORDSMANSHIP TODAY? dedicated to the study of Samurai arts. (Japanese martial arts), which encompass skills The most unique aspect of Nami ryu is that our Whether your desire is to avoid danger, learn that were once necessary for the Samurai Jujutsu training comes directly from the sword. -
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 .................................................................................................................. -
Martial Arts Anthropology”, Vol
© Idōkan Poland Association “IDO MOVEMENT FOR CULTURE. Journal of Martial Arts Anthropology”, Vol. 15, no. 4 (2015), pp. 13–25 DOI: 10.14589/ido.15.4.2 Lothar Sieber1(ADFG), Renata Grzywacz2(BDEF) 1 Sport School L. Sieber, Munich (Germany) 2 Faculty of Physical Education, University of Rzeszow, Rzeszów (Poland) e-mail: [email protected] Jubilee of Shibu Kobudo in Poland 1995–2015 Submission: 18.03.2015; acceptance: 11.07.2015 Key words: martial arts, Katorishinto-ryu, shibu, activity of the organization Abstract Aim. The aim of the research material was to provide a factual description and explanation of the functioning of the organization of martial arts, according to the 15th century tradition of Japanese fencing. This is Shibu Kobudo that has been operating in Poland for 20 years. A theoretical perspective was used for analysis and reflection and included: the history of physical culture, the soci- ology of culture, the humanistic theory of martial arts and the haplology and anthropology of martial arts. Methods. Analysis of sources and the content of the existing studies and literature on the subject was applied in the manuscript. This includes, among other things content analysis of documents, photographs, popular magazines and direct participation in the events described in this paper. In addition, the authors used the participatory observation method – as they are both participants in and direct observers of the described events. Results. Improved and supplemented factual descriptions (in relation to the subject matter of literature) are presented. The activities of pioneers and leaders, activists, organizers and teachers are set out. This is a particular asset for the classic martial arts (kenjutsu, kobudo) that may attract enthusiasts for the next meeting for practical studies. -
Impossible Bodies in Motion: the Representation of Martial Arts on the American Stage
Impossible Bodies in Motion: The Representation of Martial Arts on the American Stage A dissertation submitted by Meron Langsner In partial fulfillment of the requirements for the degree of Doctor of Philosophy in Drama TUFTS UNIVERSITY August 2011 © 2011 Meron Langsner ADVISER: Dr. Downing Cless Abstract This dissertation explores and interprets the representation of martial arts on the American stage as a specific manifestation of stylized stage violence. These appearances of simulated physical conflict relate to the larger embodied practices of both stage combat and martial arts, as well as how this phenomenon reflects societal understanding of the potentialities of the human body in motion. Chapter One is an analysis of the semiotics of simulated violence. Chapter Two is a series of case studies of mainstream plays and musicals that involve martial arts, and concerns both dramaturgical and production issues of staging simulations of advanced physical agency. Chapter Three concerns contemporary adaptations of Macbeth set in feudal Japan and the production and dramaturgical concerns of having samurai characters on the stage. Chapter Four discusses the Vampire Cowboys Theater Company, an award winning troupe based in New York City that is famous in part for their martial arts based action sequences. The term “Impossible Body” is used throughout this study to describe those movements that represent events that are in violation of Newtonian mechanics. The Impossible Body is often one with exaggerated agency and physical prowess, and is a phenomenon that often appears in various forms of entertainment when a character is written as a martial artist. These elements are placed in context by contemporary writings on violence and self-defense, existing scholarship on stage combat, martial arts history, humor, and critical theory. -
An Outline of Budō History
CHAPTER I AN OUTLINE OF BUDō HISTORY Uozumi Takashi AN OUTLINE OF BUDō HISTORY INTRODUCTioN The term budō“ ” was in use before the Tokugawa period (1600–1868), although it originally meant “the way of the life of a samurai”, or “bushidō”, and did not refer to bujutsu (martial techniques) or bugei (martial arts). Nowadays the word budō is used as generic term for modern martial arts such as jūdō, kendō and kyūdō, and came into widespread usage at the end of the Taishō era (1918–25). Nowadays, the disciplines referred to as budō, include the nine arts of jūdō, kendō, kyūdō, sumō, karate- dō, aikidō, shōrinji kempō, naginata and jūkendō. The national federations representing the nine budō arts are affiliated members of the Japanese Budō Association, which was founded in 1977. The various disciplines differ in history and content, and although some did not even originate in Japan, they all share common features. In budō, “character development” is emphasized more than competitive aspects. Moreover, the practitioner is not training, but engaging in “keiko” (literally “to study the past”) and practice is not conducted in a gymnasium, but in a dōjō (literally: “a place to study the Way”). Also, the practice and demonstration of kata (prearranged formal patterns of movements) is an important element of all budō, as are forms of propriety and etiquette (reihō), and all utilize a dan grading system to encourage and mark progress. We can thus consider these nine disciplines, each represented by their own federation, as modern Japanese budō. Schools representing traditions which developed before the modern era are called kobudō.