MESTRES Do JAPÃO História E Filosofia

Total Page:16

File Type:pdf, Size:1020Kb

MESTRES Do JAPÃO História E Filosofia Centro Filosófico do Kung Fu - Internacional MESTRES do JAPÃO História e Filosofia Volume 7 www.centrofilosoficodokungfu.com.br “Se atravessarmos a vida convencidos de que a nossa é a única maneira de pensar que existe, vamos acabar perdendo todas as oportunidades que surgem a cada dia” (Akio Morita) Editorial Esta publicação é o 7° volume da coletânea “História e Filosofia das Artes Marciais”, selecionada para cada país que teve destaque na sua formação. Aqui o foco são os Mestres Japoneses. Todo conteúdo é original da “Wikipédia”, editado e fornecido gratuitamente pelo Centro Filosófico do Kung Fu - Internacional. É muito importante divulgar esta coletânea no meio das artes marciais, independente do praticante; pois estaremos contribuindo para a formação de uma classe de artistas marciais de melhor nível que, com certeza, nosso meio estará se enriquecendo. Bom trabalho ! GRANDES MESTRES - JAPÃO Artes Marciais Japonesas Conteúdo 1 Choshin Chibana 1 1.1 Referências .............................................. 1 2 Yoshihide Shinzato 2 2.0.1 A chegada a Santos ...................................... 2 2.0.2 A fundação da Associação Okinawa ............................. 2 2.0.3 Mudanças na Shorin em Okinawa .............................. 3 2.0.4 Visitas do Mestre Miyahira ao Mestre Shinzato ....................... 3 2.0.5 A ligação de Mestre Shinzato ao caratê ............................ 3 2.0.6 O livro Kihon ......................................... 3 2.0.7 Mestre Shinzato e sua família ................................ 4 2.0.8 Shin Shu Kan no exterior ................................... 4 2.0.9 Homenagens ......................................... 4 2.1 Referências .............................................. 4 2.2 Ligações externas ........................................... 4 3 Anko Itosu 5 3.1 Biografia ............................................... 5 3.2 Contribuições ............................................. 5 3.3 Alunos ................................................ 6 3.4 Notas ................................................. 6 3.5 Referências .............................................. 6 4 Sokon Matsumura 7 4.1 Biografia ............................................... 7 4.2 Contribuições ............................................. 8 4.3 Notas ................................................. 8 4.4 Referências .............................................. 8 4.5 Bibliografia .............................................. 9 5 Kosaku Matsumora 10 5.1 Biografia ............................................... 10 5.2 Contribuições ............................................. 10 5.3 Referências .............................................. 11 i ii CONTEÚDO 6 Gichin Funakoshi 12 6.1 Biografia ............................................... 12 6.1.1 Primeiros anos ........................................ 12 6.1.2 Primeiras divulgações abertas do caratê ........................... 12 6.1.3 Divulgação do caratê no Japão ................................ 13 6.1.4 Uma reforma no caratê .................................... 14 6.1.5 As Guerras .......................................... 14 6.1.6 A morte de Yoshitaka .................................... 15 6.1.7 Uma lição para o mundo ................................... 15 6.2 Contribuições ............................................. 15 6.3 Notas ................................................. 16 6.4 Referências .............................................. 16 6.5 Bibliografia .............................................. 16 7 Anko Asato 17 7.1 Notas ................................................. 17 7.2 Referências .............................................. 17 8 Kenwa Mabuni 18 8.1 Biografia ............................................... 18 8.2 Citações ................................................ 19 8.3 Referências .............................................. 19 8.4 Ligações externas ........................................... 19 8.5 Ver também .............................................. 19 9 Karyu Uku 20 9.1 Referências .............................................. 20 10 Kishin Teruya 21 10.1 Referências .............................................. 21 11 Kanryo Higaonna 22 11.1 Biografia ............................................... 22 11.2 Referências .............................................. 22 11.3 Bibliografia .............................................. 22 12 Chojun Miyagi 23 12.1 Breve Biografia ............................................ 23 12.2 Sucessor ................................................ 23 12.3 Notas ................................................. 24 12.4 Referências .............................................. 24 12.5 Bibliografia .............................................. 24 13 Choki Motobu 25 CONTEÚDO iii 13.1 Biografia ............................................... 25 13.2 Referências .............................................. 25 13.3 Ligações externas ........................................... 25 14 Jigoro Kano 26 14.1 Biografia ................................................ 26 14.1.1 Infância ............................................ 26 14.1.2 Adolescência ......................................... 26 14.1.3 Kodokan ........................................... 26 14.1.4 Técnicas ............................................ 26 14.1.5 Judô e o Sonho Olímpico ................................... 27 14.1.6 Morte ............................................. 27 14.2 Cronologia ............................................... 27 14.3 Ligações externas ........................................... 28 15 Shiro Saigo 29 15.1 Referências .............................................. 29 16 Mitsuke Harada 30 16.1 Biografia ............................................... 30 16.2 Referências .............................................. 30 17 Seichi Akamine 31 17.1 Notas ................................................. 31 17.2 Referências .............................................. 31 18 Koji Takamatsu 32 18.1 Biografia ............................................... 32 18.2 Referências .............................................. 32 19 Takeo Suzuki 33 19.1 Referências .............................................. 33 20 Michizo Buyo 34 20.1 Dojo .................................................. 34 20.2 Bibliolografia ............................................. 34 20.3 Referências .............................................. 34 21 Akio Yokoyama 35 21.1 Biografia ............................................... 35 21.2 Referências .............................................. 35 22 Masutatsu Oyama 36 22.1 Estilo Kyokushin Kaikan ....................................... 36 22.2 Ligações externas ........................................... 37 iv CONTEÚDO 23 Chojiro Tani 38 23.1 Referências .............................................. 38 23.2 Ver também .............................................. 38 23.3 Ligações externas ........................................... 38 24 Yoshitaka Funakoshi 39 24.1 Contribuições ............................................. 39 24.2 Referências .............................................. 39 25 Juichi Sagara 40 25.1 Biografia ............................................... 40 25.2 Referências .............................................. 40 26 Hirokazu Kanazawa 41 26.1 Biografia ............................................... 41 26.1.1 Brasil ............................................. 42 26.2 Notas ................................................. 42 26.3 Referências .............................................. 42 26.4 Bibliografia .............................................. 42 27 Kanga Sakukawa 43 27.1 Biografia ............................................... 43 27.2 Contribuições ............................................. 43 27.3 Referências .............................................. 43 27.4 Bibliografia .............................................. 43 27.5 Ver também .............................................. 44 28 Taiji Kase 45 28.1 Bibliografia .............................................. 45 28.2 Referências .............................................. 45 28.3 Ligações externas ........................................... 45 29 Kokan Oyadomari 46 29.1 Referências .............................................. 46 30 Kosei Nishihira 47 30.1 Biografia ............................................... 47 30.2 Bibliografia .............................................. 47 30.3 Ligações Externas ........................................... 47 30.4 Referências .............................................. 48 31 Soke Kubota Takayuki 49 31.1 Livros ................................................. 49 31.2 Referências .............................................. 49 CONTEÚDO v 32 Kushanku 50 32.1 Biografia ............................................... 50 32.1.1 Legado ............................................ 50 32.2 Notas ................................................. 50 32.3 Referências .............................................. 50 32.4 Bibliografia .............................................. 51 33 Yoshizo Machida 52 33.1 Feitos de Yoshizo Machida ...................................... 52 33.2 Referências .............................................. 52 34 Masatoshi Nakayama 53 34.1 Livros Publicados ........................................... 53 34.2 Ligações externas ........................................... 53 35 Matsu Higa 54 35.1 Referências .............................................. 54 36 Kenji Midori 55 36.1 Biografia ...............................................
Recommended publications
  • Ki No Nagare Keiko Aikido Institute of Davis, a Dojo Where You Can Learn the Arts of Aikido and Tai Chi
    Summer / Fall 2017 Newsletter / Aikido Institute Davis Awase Awase is the newsletter of the Ki no Nagare Keiko Aikido Institute of Davis, a dojo where you can learn the arts of Aikido and Tai Chi. By Hoa Newens Sensei The Awase newsletter is published twice yearly in Winter and Summer. Ki no Nagare (気の流れ) Keiko simply means Flowing Ki Training and is one of three ways of Please visit our website at executing techniques during Aikido training. In AikidoDavis.com for information on earlier writings, I have explained the related membership & class times. concepts of Kihon Waza (Basic Techniques) and Yawarakai Waza (Soft Techniques). I have waited until our dojo is more mature and the Sempai group has grown sufficiently to grasp the next level of training, before I lay out the more advanced concept of Ki no Nagare. Now the Sempai group is strong and the time is ripe, so here it is. First, let me point out the change in nomenclature. I refer to Ki no Nagare Keiko (training) rather than Waza (technique) for a reason. In Ki no Nagare (hereafter KNN), technique is no longer the focal point, rather the way the training partners carry themselves while interacting becomes more relevant, that is, KNN is a way of training; therefore, we refer to it as KNN Keiko. It is helpful to remind the reader of the effective order of training in the traditional approach: first, Kihon for many years, then gradually incorporate Yawarakai for several years, culminating naturally with Ki no Nagare. The more solid the Kihon foundation, the easier it is for Yawarakai to lead naturally to Ki no Nagare.
    [Show full text]
  • Texas Aikido Seminar with Mark Larson Sensei (Takuto 匠人) January 13 & 14, 2018
    Texas Aikido Seminar with Mark Larson Sensei (Takuto 匠人) January 13 & 14, 2018 Texas Niwa Aiki Shuren is excited to host Mark Larson Sensei at his first Texas Aikido seminar! Please join us in a fun weekend of sharing Traditional Aikido. All styles and affiliations are welcome. Mark Larson Sensei (Takuto 匠人), 6th Dan Founder and Chief Instructor, Minnesota Aiki Shuren Dojo www.aikido-shuren-dojo.com Mark Sensei was Morihiro Saito’s last long term American Uchideshi and is dedicated to teaching and sharing Traditional Aikido. Saito Sensei entrusted Mark to continue the Iwama Takemusu Aikikai organization in order to preserve and protect the Iwama style Aikido as taught by the Founder and Saito Shihan. Takuto 匠人 – A leader who receives a tradition and “austerely trains, maintains, instructs, and selflessly shares it with great vigor and spirit in order to keep that particular tradition alive”. Seminar Schedule Seminar Fees Saturday, January 13, 2018 Saturday $ 60 Registration 9:00 a.m. – 10:00 a.m. Sunday $ 40 Keiko 10:00 a.m. – Noon Weekend $ 90 Lunch Break Noon – 2:30 p.m. Keiko 2:30 p.m. – 5:00 p.m. Please bring your own jo and ken Dinner Celebration 6:30 p.m. Seminar t-shirts available Sunday, January 14, 2018 Seminar Location Registration 9:00 a.m. – 9:30 a.m. Becerra Judo & Jiu-Jitsu Club Keiko 9:30 a.m. – Noon 3035 S. Shiloh Rd, #175 Garland, TX 75041 View the Flyer and Registration in events on Facebook: https://www.facebook.com/niwaaikishuren/ Texas Niwa Aiki Shuren Dojo Dinner Celebration Saturday, Jan 13, 2018 @ 6:30 p.m.
    [Show full text]
  • Spring 1997 Newsletter
    Volume 1 Issue 1 Spring 1997 CASK first New association to join Wado-Kai to govern Wado Canada The Canadian Associated Welcome to the first edi- Schools of Karate-do is tion of Wado-Kai Canada the first organization to newsletter. join Wado-Kai Canada. The purpose of this From its inception in a newsletter is to introduce small church hall in Victo- you to the Wado-Kai ria, BC, in 1982, CASK Karate Association of has grown to more than Canada, a federally- and 300 students in 10 loca- provincially-incorporated tions around British non-profit association. Columbia. It was formed in February Founder is Sensei Greg 1996 with the blessings of Reid, Shichidan (7th de- Master Masaru Shintani . gree), who has worked in close co-operation with The mandate of Wado-Kai Sensei Robert Reid, Go- Canada is to continue to dan (5th degree). promote and teach the traditional values and SENIOR STUDENT techniques of Wado-Kai Master Shintani and Sensei Greg Reid demonstrate finer karate as was founded by points of technique during Victoria seminar Sensei Greg is the most Master Hironori Otsuka senior student of Master and passed forward Masaru Shintani, who is through Master Shintani. head of Wado-Kai in North America. Shintani Sensei has au- thorized the association to CASK, which represented hold gradings at all ranks Canada in the 1994 All- and to issue certificates Sensei Les Bowers was elected the first president of the Japan Wado-Kai National for these ranks. Wado-Kai Karate Association of Canada at the Championships and the association's first annual general meeting Feb.
    [Show full text]
  • =SAMPLE= U.S.A., Three Okinawan Karatedoka Moved to the Mainland
    =SAMPLE= ┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉┉ TRACING KARATEDO’S NAME In its earliest stages, the martial art we know as Karate was called “Ti” ( 手 ---pronounced “Tea” in the Okinawan language, Japanese pronounce it “Te”).------------------------------------- -------------------------------- Now I must introduce one Karatedoka whose name is Kanga Sakugawa, also called “Tudi” (唐手) Sakugawa----------------------------------------- Its Kanji “ 唐手” which began to be pronounced as “Karate” later,-------------------- ------------------ KENTSU YABU (9/23/1866-8/27/1937) AND U.S.A. In 1921, Kentsu Yabu was the first person recognized as a Karatedoka in Okinawa to visit America. Yabu had another distinctive “first” in his life. Rikugun Kyododan (12/1871- 11/1899---Army Instructor Teams) educated non-commissioned officers for the Japanese military.------------------------------- ---------------- Ironically, his first son, Kenden Yabu (1888- 1939), was a person to become a conscientious objector. As a result, Kentsu and Kenden had a very difficult time communicating. Kenden had two younger brothers, Kenyu and Kenshin. Kenden’s solution was to go to America to find a better environment.------- ----------------------------------------When Yabu went to the U.S.A., three Okinawan Karatedoka moved to the mainland of Japan within a few years. It became important to Karatedo history later. They were Choki Motobu who moved to Osaka in 1921, Gichin Funakoshi to Tokyo in 1922, and Kanbun Uechi to Wakayama in 1924. THE HISTORY OF KARATEDO IN JAPAN Gichin Funakoshi gave a Karate demonstration (Kusanku-Dai) in Kyoto, Japan, in 1916 with Shinko Matayoshi (page 197), who demonstrated weapons (Tonfa and Kama).-------------------- Later, Kano invited Funakoshi, on behalf of “the Japanese government, to give a demonstration in the first Kobudo Taiiku Tenrankai” (Kobudo Physical Education Exhibition---May 4 - 6, 1922).
    [Show full text]
  • Premier Karate Course, Leigh Sports Village, 18 Th October 2009
    Premier Karate Course, Leigh Sports Village, 18 th October 2009 Mention of the town of Leigh –if it is known at all– suggests images of old Lancashire. Situated to the west of Manchester, coal, Rugby League, cloth caps and cotton are the dominant images. All these motifs remain in the modern Leigh, but in a form that would be far from familiar to the town’s inhabitants from its industrial past. As one approaches the town on the A579, its undulating rollercoaster surface is testament to the subsidence of earlier mining activity. Rugby league continues to wield an important influence, but with a very contemporary feel. The old rugby club has undergone a dramatic facelift in the form of the brown-signed “Sports Village” with modern facilities, not only for the 13-man game, but also for racquet sports, swimming, aerobics and, of course martial arts. My first sight of a flat hat then was not on a middle aged man with a whippet, head bowed against the Lancashire rain. In fact as I pulled into the car park of the Sports Village the dapper figure of 9-time World Karate Champion Wayne Otto, replete with stylish corduroy flat cap, was disembarking from his car. As for cotton, the sight of 150-odd white canvas karategi greeted me as I entered the main sports hall. English National Coach Otto was one of four instructors teaching on the inaugural Premier Karate Seminar. A student of Terry Daly from the Okinawan style of Uechi Ryu, Wayne was joined by three other luminaries, each from a very different style and background.
    [Show full text]
  • Ash's Okinawan Karate
    ASH’S OKINAWAN KARATE LOCATION: 610 Professional Drive, Suite 1, Bozeman, Montana 59718 PHONE: 406-994-9194 EMAIL: [email protected] WEBSITE: www.ashsokinawankarate.com INSTRUCTORS: Brian Ash – Roku dan (6th degree Black Belt) Lisa Ash – Yon dan (4th degree Black Belt) Kaitlyn Ash – San dan (3rd degree Black Belt) Karate is an individual endeavor. Each person is taught and advanced according to his/her own ability. Initially, you will learn a basic foundation of karate techniques on which to build. Fundamentals of actual street and sport karate are later incorporated into your training as well as the Isshinryu kata. All classes include stretching and calisthenics. To be effective in karate, you must be in optimum shape. This book lists the minimal testing criteria for each belt level. Your sensei will decide when you are ready for testing, even if you have met the listed criteria. The rank criteria are simply a guide for the student. Practice is very important to prepare yourself for learning and advancement. To be a true black belt, you must not rush through the kyu ranks. Take advantage of that time to practice and improve all techniques and kata. We can never stop learning or improving ourselves. The secret of martial arts success is practice. Like uniforms are required during class representing tradition and equality in students. The main objective of Isshinryu is the perfection of oneself through both physical and mental development. Ash’s Karate combines teaching Isshinryu karate with a well- rounded exercise program. MISSION STATEMENT: To instill confidence, courtesy, and respect while building mental and physical strength, self discipline, balance, focus, endurance and perseverance in students so that they may empower themselves to overcome physical and mental obstacles, build character and unify mind, body and spirit.
    [Show full text]
  • WAKACJE Z AIKIDO Zasady Właściwej Etykiety W Dojo Hakama
    Październik/Listopad 2004 Numer 1 Zasady właściwej etykiety w Dojo Hakama – Symbol tradycji Relacja z obchodów 40 rocznicy istnienia NY Aikikai WAKACJE Z AIKIDO Od redakcji Mamy przyjemność oddać w wasze ręce pierwszy numer nowej gazetki MUSUBI. Na łamach naszego małego czasopisma będziemy starali się przybliżyć Wam tematykę związa- ną z aikido, a także zagadnienia dotyczące historii, kultury i sztuki Kraju Kwitnącej Wiśni. Na zajęciach nie ma czasu na omawianie strony teoretycznej dotyczącej treningu, czy problemów związanych z obyczajowością charakterystyczną dla japończyków. Pozycja, którą Wam pro- ponujemy ma za zadanie uzupełnić tę lukę. Co miesiąc postaramy się oddawać Wam do rąk te kilka stron, na których znajdować się będą artykuły, mamy nadzieję, redagowane przez Was samych. Nie zabraknie też aktualności, wywiadów i sprawozdań z najważniejszych dla nas imprez. Już w tym numerze znajduje się obszerna relacja z największego obozu na świecie, w którym wzięło udział trzech członków naszej sekcji. Życzeniem naszym jest aby pismo to spełniało Wasze oczekiwania, aby było redago- wane przez Was samych. Jeśli chcecie napisać na ciekawy temat, podzielić się swoją opinią na temat aikido – napiszcie o tym. Mile widziane będą prace graficzne, jeśli rysowanie jest czyjąś pasją. Mamy nadzieję iż artykuły zamieszczane na łamach MUSUBI będą na wysokim pozio- mie merytorycznym. Chcemy dotrzeć do tych tematów, które najbardziej Was nurtują, a nie można ich odnaleźć w dostępnych na rynku pozycjach. Pod koniec każdego numeru znajdzie- cie dwie stałe
    [Show full text]
  • Contemporary Seniors 1: Similar but Different
    Contemporary Seniors 1: Similar but Different Over 50 years of training in budo, I have been lucky enough to meet or train under many notable martial artists. This year, I want to share my impressions, some deep set, some fleeting, about the men and women I met on the way. There are several senior martial artists who I have trained with, beside, or under, albeit for a short time, separate articles about whom I have not as yet created. That is not a judgment of their worthiness or my respect for them, but that, since they are still active, I hope I can still train with or beside them. In Aiki, Miguel Ibarra and Roy Goldberg, two former partners have taken different paths, the first toward street-style ju-jutsu and aiki-ju-jutsu, the second toward a very refined and difficult aiki-no- jutsu. Both were former students of Anton Pereira. Having done seminars with them and having invited them to teach at my dojo, I can say that each represents his branch of aiki skillfully. Chronologically and in terms of time in the art, they are technically my juniors, but in their fields, their skills set a standard to which I aspire. I still reference Bruce Juchnik in a lot of the things I teach because we have found ourselves taking similar paths over the years even though he comes from a kempo and arnis background and I come from a karate and aiki background. He gets more relaxed and more effective every time I see him. If I can discover the details of a subtle movement he does—usually unconsciously—often it helps me refine some movements I am already doing consciously.
    [Show full text]
  • Zkušební Řád Trenérsko-Metodické Komise
    ČESKÝ SVAZ KARATE Zkušební řád Trenérsko-metodické komise 2017 Platnost od 10. 4. 2017 TECHNICKÁ USTANOVENÍ ( 0 1 / 2 0 1 7 ) VŠEOBECNÁ ČÁST A. Technická část zkušebního řádu určuje rozsah znalostí, vyžadovaných na jednotlivé STV Kyu a DAN. Zkušební komisař je oprávněn prověřit cvičence nejen z vědomostí vyžadovaných na příslušný STV, ale i z náplně kteréhokoliv předcházejícího STV. B. Dále může zkušební komisař upřesnit techniky, aplikace a akce, které umožní komplexně zhodnotit jeho předvedený výkon. Upřesňující techniky, aplikace a akce však musí být v souladu s nároky požadovanými na příslušný STV. Zkoušený musí znát (zpaměti) všechny techniky na dané STV Kyu nebo Dan C. Všeobecný průběh zkoušky STV Kyu a DAN: 1. KIHON: (technika - zkušební komisař náhodně vybere minimálně 1/3 technik) Každou techniku cvičenec vykonává na povel zkušebního komisaře opakovaně za sebou a s maximální koncentrací do doby, než dá zkušební komisař povel na ukončení cvičení. 2. KIHON IDO: (základní techniky v kombinacích - zkušební komisař může vybrat určité kombinace minimálně však 2/3) Každou techniku, resp. kombinaci vykonává cvičenec opakovaně za sebou v jednom směru 5x. Poslední zakončí s KIAI. Po páté technice pokračuje stejnou techniku VZAD 5x do výchozího postavení. (pokud není ve zkušebním řádu jinak např. MAWATE) Takto cvičenec vykoná všechny kombinace technik jdoucí za sebou v daném směru bez zastavení. 3. OYO IDO: (bojové kamae s technikou v kombinacích - zkušební komisař může vybrat kombinace minimálně však 2/3) Každou techniku, resp. kombinaci vykonává cvičenec s KAMAE opakovaně 2 za sebou v jednom směru 5x. Poslední zakončí s KIAI. Po páté technice pokračuje a vykoná MAWATE a pokračuje 5x do výchozího postoje.
    [Show full text]
  • World Karate Federation
    WORLD KARATE FEDERATION Version 6 Amended July 2009 VERSION 6 KOI A MENDED J ULY 2009 CONTENTS KUMITE RULES............................................................................................................................ 3 ARTICLE 1: KUMITE COMPETITION AREA............................................................................... 3 ARTICLE 2: OFFICIAL DRESS .................................................................................................... 4 ARTICLE 3: ORGANISATION OF KUMITE COMPETITIONS ...................................................... 6 ARTICLE 4: THE REFEREE PANEL ............................................................................................. 7 ARTICLE 5: DURATION OF BOUT ............................................................................................ 8 ARTICLE 6: SCORING ............................................................................................................... 8 ARTICLE 7: CRITERIA FOR DECISION..................................................................................... 12 ARTICLE 8: PROHIBITED BEHAVIOUR ................................................................................... 13 ARTICLE 9: PENALTIES........................................................................................................... 16 ARTICLE 10: INJURIES AND ACCIDENTS IN COMPETITION ................................................ 18 ARTICLE 11: OFFICIAL PROTEST ......................................................................................... 19 ARTICLE
    [Show full text]
  • Aikido at the 2013 World Combat Games
    IAF Aikido at the 2013 World Combat Games Aikido at the 2013 World Combat Games Mitsuteru Ueshiba, Aikido Ambassador. Photo by Sonobe Photo Studio. International Aikido Federation 1 IAF Aikido at the 2013 World Combat Games Aikido at the 2013 World Combat Games IAF and the Demonstrations Aikido IAF, the International Aikido Federation Aikido in the World Combat Games Aikido Demonstrations Participants Officials: Mitsuteru Ueshiba, Aikido Ambassador Peter A. Goldsbury, IAF Chairman Kei Izawa, IAF General Secretary Tony Smibert, Narrator Wilko Vriesman, Technical Delegate Master Level Instructors: Ulf Evenås, Shihan Christian Tissier, Shihan Tsuruzo Miyamoto, Shihan Athletes by country (32 countries): Argentina Australia Belgium Brazil Chile Chinese Taipei Estonia Finland France Germany Hong Kong Indonesia Ireland Japan Lebanon Luxembourg Malaysia Mexico Netherlands Norway Poland Portugal Romania Russia Slovakia Slovenia South Africa South Korea Sweden Switzerland Uruguay Venezuela 2 IAF Aikido at the 2013 World Combat Games Aikido Aikido is a Japanese budo (martial way) founded by Morihei Ueshiba (1883-1969). It consists of pinning and throwing techniques, practiced against grabbing and striking attacks. All aikido techniques are defensive in nature and there are no matches in aikido, nor any other kind of competition. Practice is done by taking turns defending against attacks, in the strife to master the curriculum. The techniques are also applied against armed attacks: knife, sword and staff. In practice, wooden replicas of those weapons are used. The throwing and pinning techniques of aikido use the power and direction of the attack, instead of any blocking or resistance. The attack is avoided by initial evasive steps and the force of the attack is redirected into the aikido techniques.
    [Show full text]
  • The Naihanchi Enigma by Tim Shaw Web Version At
    The Naihanchi Enigma by Tim Shaw Web version at: http://www.wadoryu.org.uk/naihanchi.html Introduction Naihanchi kata within Wado Ryu Within the Wado Ryu style of Japanese karate the kata Naihanchi holds a special place, positioned as it is as a gateway to the complexities of Seishan and Chinto. But as a gateway it presents its own mysteries and contradictions. Through Naihanchi Wado stylists are directed to study the subtleties of body movements and develop particular ways of generating energy found primarily in this kata. They are taught that the essence of this ancient Form is to be found in the stance and that the inherent principles are applied directly to the Wado Ryu Kumite (the pairs exercises) and to achieve a stage where these principles become part of the practitioners body and natural movements involves countless repetitions of this particular form. The following tantalizing quote from the founder of Wado Ryu Karate Hironori Ohtsuka, gives intriguing clues as to the value and influence that this particular kata holds. "Every technique (in Naihanchi) has its own purpose. I personally favour Naihanchi. It is not interesting to the eye, but it is extremely difficult to use. Naihanchi increases in difficulty with more time spent practicing it, however, there is something "deep" about it. It is fundamental to any move that requires reaction. Some people may call me foolish for my belief. However, I prefer this kata over all else and hence incorporate it into my movement."1 Many Wado karate-ka practice Naihanchi diligently, while remaining largely unaware of the background and long history of this unusual kata.
    [Show full text]