DOCSLIB.ORG

The Aiki Dojo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Awarded “Outstanding Cultural Organization” 50th Anniversary Southern California Japanese Chamber of Commerce – Recipient of the Brody Multi-Cultural Arts Grant 1988 Aikido Center of Los Angeles, LLC, 1211 N. Main Street, Los Angeles, CA 90012 – Tel: (323) 225-1424 – www.aikidocenterla.com The Aikido Center of Los Angeles The Aiki Dojo Direct Affiliation: Aikido World Headquarters, 17-18 Wakamatsu-cho, Shinjuku-ku, Tokyo, Japan Los Angeles Sword and Swordsmanship Society Kenshinkai The Furuya Foundation December 2011 Volume XXX Number 12 In This Issue… Letter From the Editor passed away in 2007. Two of our branch by Mark Ehrlich dojos have celebrated significant milestone Letter From the Editor Editor, The Aiki Dojo anniversaries; our children’s class has seen by Mark Ehrlich……….….….Page 1 significant enrollment and a boost in the par- We’ve come to that special time of year, es- ents’ interest in and support of the program; The Heart of Things pecially in Los Angeles, when the air smells we have another crop of candidates earnestly by David Ito ..……….……….Page 2 different and every- preparing for their Japanese Lesson..…….……..Page 3 thing leaves a yudansha tests com- slightly lighter, ing in 2012; our High Into the Sky more hopeful feel- teaching staff has by Naoji Karita………...……..Page 4 ing in its wake. I consistently deliv- The Responsibility to Be a Sensei live in the heart of ered the best Aikido by Santiago Garcia Almaraz..Page 6 the city and so, like instruction in the many of us, I spend tradition of Sensei; On Purity most of my days we’ve built upon old by Rev. Kensho Furuya ……..Page 7 dealing with the friendships and Class Schedule ……...….…. Page 8 traffic and lack of made new ones in parking and the bus- our travels; and our Dojo Map ..…...……...…..... Page 8 tling crowds. These umbrella organiza- things rarely bother tion, the Furuya Upcoming Events me as such; I have Foundation, has accepted them as begun to make head- December 3rd: part of the urban way in planning for ACLA Christmas Party scene, and take the a sustainable future, December 9-10th: rough with the adding new mem- Aikido Renbukai of Arizona smooth. Yet just bers to its board of Beginner’s Workshop Seminar past the middle of directors and a new December, folks Executive Director. December 17th: who may call this (If you’d like to help Dojo year-end clean up place home for the us plan for tomor- December 24-26th: other 11 months re- メリクリスマス row, please reach turn to their roots out. The more, the Christmas Happy holidays from ACLA! Dojo Closed elsewhere, and the merrier!) city and I breathe a December 30th: bit more freely. Traffic seems thinner (even Sensei was fond of quoting an old Zen say- Last practice of the year if it isn’t), the stores and streets have more ing, “Nothing goes the way we think it will.” December 31-January 3rd: room to walk and think, and LA and I both Very true, no doubt; however, if all the effort New Year’s fall into a reverie, recalling all that has come and involvement I’ve witnessed this year Dojo Closed before the nights developed a cold, sharp means anything, I’d say that all signs point to edge, and all the possibilities that spread out a bright future for the ACLA family. And so, January 4th: before us in the time to come. from our family to yours, please enjoy a safe, Hatsu Keiko happy, and healthy holiday season, and a new First practice of the year This year it pleases me to share with you that year bursting with every good thing. Thanks January 7th: we’ve had our best year ever since Sensei for all you do. I’ll see you on the mat! 2nd Doshu Memorial service Aikido Center of Los Angeles www.aikidocenterla.com The Heart of Things your heart. As you look deeper and past the objective use of heart by David Ito, Aikido Chief Instructor as merely a physical structure, you begin to see it as the place where the soul resides and by which all actions originate, thereby As 2011 comes to a close, it feels only natural to reflect back on not allowing those hardships to influence you as a whole. Last the past year. In a previous issue of this newsletter, I wrote that year is last year and this year is untainted by the past. Conversely, the Year of the Rabbit would bring effortless growth and opportu- this goes for good things as well and the Japanese would say nities. I stand now amazed, because it did just that; the dojo has “don’t forget” or wasurenai. Wasurenai is more of an admonish- finally been able to stay afloat since Sensei’s passing. I feel truly ment not to forget by making sure to keep something in your heart grateful for the growth, physically and culturally, of not only the so that it can positively influence everything you do. dojo but of all our students as well. Everyone seems to be really improving on their technique and our dojo continues to grow. By not holding on or keeping these hardships in our hearts, we can What was the tipping point? To me, ACLA turned a corner be- make space to remember all the good that we are blessed with and cause of the students and their allow it to permeate into all of efforts to make the dojo a better our actions. I try to remember place through their hard work all the good that Sensei did for on and off the mat. I am very me and to forget all the bad I thankful for this and I know did to him. I try to conduct that Sensei would be proud of myself such that everything he all of you. tried to teach me and all the time and effort he invested in As the holidays approach, I me gets reflected in everything can’t help but think about Sen- I do. He sacrificed so that I sei and everything he must may live more fully and I won’t have endured for his students. forget that. He truly made me a Sensei lived in the dojo on the better person and is in large part second story overlooking the responsible for the person I mats and so the long holiday have become today. closures were always such a lonely time for him. In fact, In the old dojo, the lone lamp that illuminated Sensei’s office As we begin your New Year every day he felt lonely after the and bedroom peeks out the window overlooking the mat. preparations, let’s all try to at- students all went home; he once tend some bonenkai parties and told me, “The loneliest time is when the last student says goodbye forget or forgive all of life’s hardships and the indiscretions of oth- and leaves for the night.” Whether by design or circumstance, ers. Don’t forget that holding on only holds us back; life is too Sensei had no immediate family and invested a large amount time short. Please don’t keep the ill feelings or hardships in your heart. in and with his students. So when there was no practice, the dojo As we celebrate the holidays and spend time with our friends and was this huge empty space. Today, thinking about him feeling loved ones, let’s please take a moment to remember Sensei and all lonely makes me sad. I really wish he didn’t suffer so much and he gave so that we may practice Aikido and Iaido and have a su- that I wasn’t so selfish back then when I ran off into the night to do perb dojo where we can train whenever we please. Sensei used to my own thing. Sensei used say, “Only a thief comes in unan- admonish us by saying, “Always act as if your teacher is watch- nounced and leaves without saying goodbye.” Therefore when ing.” I guess now he is. Let’s remember all the things he tried to practice was over and as we left for the night, our custom was al- teach and the high expectation he had for each one of us. ways to say, “Good night Sensei, thank you and have a good eve- ning, this is. .” We did this to acknowledge Sensei and thank As I forget the trials and tribulations of this year and all the hard- him for his teaching and efforts. Today, some of the old students ships from the past, it clears space for me to appreciate things bet- still keep up this custom. It’s not so much that they are saying ter and focus on all the good now. I feel sincerely honored to have good-night to me but more to him. It’s a nice custom remembering worked with all of you and I appreciate everything you have done him and all he sacrificed for us. for me and the dojo this past year. I also wanted to give a special thanks to all the people who in my past have helped me. I can see Towards the end of the year, Japanese people attend bonenkai (忘 Sensei much clearer now and I am grateful for all he has done for 年 会) or “forget-the-year parties”. The idea is that by going to a me; it was, in all honestly, truly a blessing. I hope you all have a party with the idea to forget the year’s hardships, they will be able great holiday and an even greater New Year.
Recommended publications
  • Through the Case of Izumo Taishakyo Mission of Hawaii

    Through the Case of Izumo Taishakyo Mission of Hawaii

    The Japanese and Okinawan American Communities and Shintoism in Hawaii: Through the Case of Izumo Taishakyo Mission of Hawaii A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʽI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN AMERICAN STUDIES MAY 2012 By Sawako Kinjo Thesis Committee: Dennis M. Ogawa, Chairperson Katsunori Yamazato Akemi Kikumura Yano Keywords: Japanese American Community, Shintoism in Hawaii, Izumo Taishayo Mission of Hawaii To My Parents, Sonoe and Yoshihiro Kinjo, and My Family in Okinawa and in Hawaii Acknowledgement First and foremost, I would like to express my deep and sincere gratitude to my committee chair, Professor Dennis M. Ogawa, whose guidance, patience, motivation, enthusiasm, and immense knowledge have provided a good basis for the present thesis. I also attribute the completion of my master’s thesis to his encouragement and understanding and without his thoughtful support, this thesis would not have been accomplished or written. I also wish to express my warm and cordial thanks to my committee members, Professor Katsunori Yamazato, an affiliate faculty from the University of the Ryukyus, and Dr. Akemi Kikumura Yano, an affiliate faculty and President and Chief Executive Officer (CEO) of the Japanese American National Museum, for their encouragement, helpful reference, and insightful comments and questions. My sincere thanks also goes to the interviewees, Richard T. Miyao, Robert Nakasone, Vince A. Morikawa, Daniel Chinen, Joseph Peters, and Jikai Yamazato, for kindly offering me opportunities to interview with them. It is a pleasure to thank those who made this thesis possible.
  • Representations of Pleasure and Worship in Sankei Mandara Talia J

    Representations of Pleasure and Worship in Sankei Mandara Talia J

    Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively).
  • Die Riten Des Yoshida Shinto

    Die Riten Des Yoshida Shinto

    KAPITEL 5 Die Riten des Yoshida Shinto Das Ritualwesen war das am eifersüchtigsten gehütete Geheimnis des Yoshida Shinto, sein wichtigstes Kapital. Nur Auserwählte durften an Yoshida Riten teilhaben oder gar so weit eingeweiht werden, daß sie selbst in der Lage waren, einen Ritus abzuhalten. Diese zentrale Be- deutung hatten die Riten sicher auch schon für Kanetomos Vorfah- ren. Es ist anzunehmen, daß die Urabe, abgesehen von ihren offizi- ellen priesterlichen Aufgaben, wie sie z.B. in den Engi-shiki festgelegt sind, bereits als ietsukasa bei diversen adeligen Familien private Riten vollzogen, die sie natürlich so weit als möglich geheim halten muß- ten, um ihre priesterliche Monopolstellung halten und erblich weiter- geben zu können. Ein Austausch von geheimen, Glück, Wohlstand oder Schutz vor Krankheiten versprechenden Zeremonien gegen ge- sellschaftliche Anerkennung und materielle Privilegien zwischen den Urabe und der höheren Hofaristokratie fand sicher schon in der späten Heian-Zeit statt, wurde allerdings in der Kamakura Zeit, als das offizielle Hofzeremoniell immer stärker reduziert wurde, für den Bestand der Familie umso notwendiger. Dieser Austausch verlief offenbar über lange Zeit in sehr genau festgelegten Bahnen: Eine Handvoll mächtiger Familien, alle aus dem Stammhaus Fujiwara, dürften die einzigen gewesen sein, die in den Genuß von privaten Urabe-Riten gelangen konnten. Bis weit in die Muromachi-Zeit hin- ein existierte die Spitze der Hofgesellschaft als einziger Orientie- rungspunkt der Priesterfamilie. Mit dem Ōnin-Krieg wurde aber auch diese Grundlage in Frage gestellt, da die Mentoren der Familie selbst zu Bedürftigen wurden. Selbst der große Ichijō Kaneyoshi mußte in dieser Zeit sein Über- leben durch Anbieten seines Wissens und seiner Schriften an mächti- ge Kriegsherren wie z.B.
  • University of Nevada, Reno American Shinto Community of Practice

    University of Nevada, Reno American Shinto Community of Practice

    University of Nevada, Reno American Shinto Community of Practice: Community formation outside original context A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology By Craig E. Rodrigue Jr. Dr. Erin E. Stiles/Thesis Advisor May, 2017 THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by CRAIG E. RODRIGUE JR. Entitled American Shinto Community Of Practice: Community Formation Outside Original Context be accepted in partial fulfillment of the requirements for the degree of MASTER OF ARTS Erin E. Stiles, Advisor Jenanne K. Ferguson, Committee Member Meredith Oda, Graduate School Representative David W. Zeh, Ph.D., Dean, Graduate School May, 2017 i Abstract Shinto is a native Japanese religion with a history that goes back thousands of years. Because of its close ties to Japanese culture, and Shinto’s strong emphasis on place in its practice, it does not seem to be the kind of religion that would migrate to other areas of the world and convert new practitioners. However, not only are there examples of Shinto being practiced outside of Japan, the people doing the practice are not always of Japanese heritage. The Tsubaki Grand Shrine of America is one of the only fully functional Shinto shrines in the United States and is run by the first non-Japanese Shinto priest. This thesis looks at the community of practice that surrounds this American shrine and examines how membership is negotiated through action. There are three main practices that form the larger community: language use, rituals, and Aikido. Through participation in these activities members engage with an American Shinto community of practice.
  • Harai-Kiyome Di Kuil Takekoma Takekoma Jinja De No Harai

    Harai-Kiyome Di Kuil Takekoma Takekoma Jinja De No Harai

    HARAI-KIYOME DI KUIL TAKEKOMA TAKEKOMA JINJA DE NO HARAI-KIYOME SKRIPSI Skripsi ini diajukan kepada panitia ujian Fakultas Ilmu Budaya Universitas Sumatera Utara Medan untuk melengkapi salah satu syarat ujian Sarjana dalam Bidang Ilmu Sastra Jepang Oleh: M. BRAWIJAYA NIM: 140708100 PROGRAM STUDI SASTRA JEPANG FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA KATA PENGANTAR Puji dan syukur penulis ucapkan kepada Allah SWT karena dengan rahmat dan hidayah-Nya penulis diberikan kesehatan selama mengikuti perkuliahan hingga penulis dapat menyelesaikan skripsi ini. Usaha yang diiringi dengan doa merupakan dua hal yang membuat penulis mampu menyelesaikan skripsi ini. Penulisan skripsi yang berjudul “HARAI-KIYOME DI KUIL TAKEKOMA” ini penulis susun sebagai salah satu syarat untuk meraih gelar sarjana pada Departemen Sastra Jepang Fakultas Ilmu Budaya Universitas Sumatera Utara. Dalam penulisan skripsi ini penulis tidak terlepas dari bimbingan, dukungan, dorongan serta bantuan dari berbagai pihak. Oleh karena itu, pada kesempatan ini penulis ingin menyampaikan rasa terima kasih yang sebesar- besarnya kepada: 1. Bapak Dr. Budi Agustono, M.S selaku Dekan Fakultas Ilmu Budaya Universitas Sumatera Utara. 2. Bapak Prof. Hamzon Situmorang, M.S, Ph.D., selaku ketua Program Studi Sastra Jepang Fakultas Ilmu Budaya Universitas Sumatera Utara. 3. Bapak Drs. Amin Sihombing.,M.Si selaku dosen pembimbing sekaligus Dosen Penasehat Akademik, yang telah ikhlas memberikan dorongan dan meluangkan banyak waktu, pikiran, serta tenaga dalam membimbing penulis sehingga skripsi ini dapat penulis selesaikan dengan baik. 4. Bapak Alimansyar, SS,M.A.,Ph.D selaku dosen Bahasa Jepang yang bersedia membimbing, meluangkan waktu, pikiran serta memberikan i UNIVERSITAS SUMATERA UTARA sumber-sumber data untuk penulis sehingga skripsi ini dapat penulis selesaikan dengan baik.
  • UNIVERSITY of CALIFORNIA, IRVINE Soteriology in the Female

    UNIVERSITY of CALIFORNIA, IRVINE Soteriology in the Female

    UNIVERSITY OF CALIFORNIA, IRVINE Soteriology in the Female-Spirit Noh Plays of Konparu Zenchiku DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSPHY in East Asian Languages and Literatures by Matthew Chudnow Dissertation Committee: Associate Professor Susan Blakeley Klein, Chair Professor Emerita Anne Walthall Professor Michael Fuller 2017 © 2017 Matthew Chudnow DEDICATION To my Grandmother and my friend Kristen オンバサラダルマキリソワカ Windows rattle with contempt, Peeling back a ring of dead roses. Soon it will rain blue landscapes, Leading us to suffocation. The walls structured high in a circle of oiled brick And legs of tin- Stonehenge tumbles. Rozz Williams Electra Descending ii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv CURRICULUM VITAE v ABSTRACT OF DISSERTATION vi INTRODUCTION 1 CHAPTER 1: Soteriological Conflict and 14 Defining Female-Spirit Noh Plays CHAPTER 2: Combinatory Religious Systems and 32 Their Influence on Female-Spirit Noh CHAPTER 3: The Kōfukuji-Kasuga Complex- Institutional 61 History, the Daijōin Political Dispute and Its Impact on Zenchiku’s Patronage and Worldview CHAPTER 4: Stasis, Realization, and Ambiguity: The Dynamics 95 of Nyonin Jōbutsu in Yōkihi, Tamakazura, and Nonomiya CONCLUSION 155 BIBLIOGRAPHY 163 iii ACKNOWLEDGEMENTS This dissertation is the culmination of years of research supported by the department of East Asian Languages & Literatures at the University of California, Irvine. It would not have been possible without the support and dedication of a group of tireless individuals. I would like to acknowledge the University of California, Irvine’s School of Humanities support for my research through a Summer Dissertation Fellowship. I would also like to extend a special thanks to Professor Joan Piggot of the University of Southern California for facilitating my enrollment in sessions of her Summer Kanbun Workshop, which provided me with linguistic and research skills towards the completion of my dissertation.
  • Der Reisbau Und Seine Rituale in Japan

    Der Reisbau Und Seine Rituale in Japan

    10 Feature Der Reisbau und seine Rituale in Japan Ulrich Pauly Abb.1: Bauer pflügt mit einem auch in Japan jahrhundertelang verwendeten Pflugtyp. Der Weg des Reises nach Japan – Der Reis ist mit rund 50% weltweit und mit 80% in Asien das wichtigste Getreide. Auch in Japan ist er nach wie vor das wichtigste Grund- nahrungsmittel und das wird der Reis trotz des in den letzten Jahrzehnten stark ge- stiegenen Weizenkonsums vermutlich auch bleiben, weil Japan mit seinen Klimazo- nen zwar gut für den Reisbau, aber für den Weizenanbau nur sehr bedingt geeignet ist. Im Unterschied zum feinkörnigen, länglichen indischen Reis (lat. Oryza sativa indi- ca) ist der in Japan bevorzugte japanische Reis (lat. Oryza sativa japonica) rundkörnig und wegen seines hohen Stärkeanteils klebrig. In China wurde der Reis in den frucht- baren Ebenen entlang des Jangtse (ch. Yangzi) schon ab etwa 8000 v. Chr. kultiviert und auf bewässerten Feldern angebaut. Dieser ostasiatische Reis gelangte später auch nach Japan und wuchs dort vermutlich ab 2000 v. Chr. auf vereinzelten Trockenfeldern. Er wird heute meist kurz „Japonica“ genannt. In der Yayoi-Zeit (300 v. – 300 n.Chr.) OAG Notizen 11 brachten politische Wirren chinesisch-stämmige sowie koreanische Einwanderer von der koreanischen Halbinsel auf die Insel Kyūshū in Südjapan. Neben fortschrittlichen Trockenfeldbau-Technologien hatten die Einwanderer die für den Nassreisbau erfor- derlichen Bewässerungstechniken und Technologien sowie mit ihm verbundene chine- sisch-koreanische Glaubensvorstellungen im Gepäck (Abb.1). Von Kyūshū aus breitete sich der Nassreisbau im Laufe der Jahrhunderte langsam bis nach Nordjapan aus, wo er schließlich 1865 auf der Insel Hokkaidō anlangte.
  • A POPULAR DICTIONARY of Shinto

    A POPULAR DICTIONARY of Shinto

    A POPULAR DICTIONARY OF Shinto A POPULAR DICTIONARY OF Shinto BRIAN BOCKING Curzon First published by Curzon Press 15 The Quadrant, Richmond Surrey, TW9 1BP This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to http://www.ebookstore.tandf.co.uk/.” Copyright © 1995 by Brian Bocking Revised edition 1997 Cover photograph by Sharon Hoogstraten Cover design by Kim Bartko All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 0-203-98627-X Master e-book ISBN ISBN 0-7007-1051-5 (Print Edition) To Shelagh INTRODUCTION How to use this dictionary A Popular Dictionary of Shintō lists in alphabetical order more than a thousand terms relating to Shintō. Almost all are Japanese terms. The dictionary can be used in the ordinary way if the Shintō term you want to look up is already in Japanese (e.g. kami rather than ‘deity’) and has a main entry in the dictionary. If, as is very likely, the concept or word you want is in English such as ‘pollution’, ‘children’, ‘shrine’, etc., or perhaps a place-name like ‘Kyōto’ or ‘Akita’ which does not have a main entry, then consult the comprehensive Thematic Index of English and Japanese terms at the end of the Dictionary first.
  • Masterarbeit

    Masterarbeit

    MASTERARBEIT Titel der Masterarbeit „Mythology, Ritual and Female Empowerment: A Comparative Study of Shamanism in Korea and Japan“ Verfasser Jürgen Ritzmann, BA angestrebter akademischer Grad Master of Arts (MA) Wien, 2015 Studienkennzahl lt. Studienblatt: A 066 864 Studienrichtung lt. Studienblatt: Masterstudium Wirtschaft und Gesellschaft Ostasiens Betreuer: Dr. Bernhard Scheid Table of Contents 1 Introduction .......................................................................................................................................... 4 1.1 Shamanism in Northern and Central Asia, according to Eliade ........................................................ 4 1.2 Receiving a Vocation and Training ................................................................................................... 7 1.3 Tasks and Functions .......................................................................................................................... 8 1.4 Trance and Possession, Lewis’ Concept of Shamanism.................................................................... 9 1.5 Relationship between Shamans and Spirits ..................................................................................... 13 1.6 Concepts of Shamanism in Japan and Korea .................................................................................. 14 1.7 Conclusion ....................................................................................................................................... 16 2 Korean Shamanism............................................................................................................................
  • Smaa Journal

    Smaa Journal

    Vol. 23, Issue 4 2018 SMAA JOURNAL Shudokan Martial Arts Association ▪ PO Box 6022, Ann Arbor, MI 48106-6022 http://smaa-hq.com/ ▪ [email protected] ▪ 1-734-645-6441 ANNOUNCEMENTS OBJECTIVES OF THE SMAA 2019 SMAA DUES 1. To promote and aid in the growth of Japan’s Membership fees are due on January 1, 2019. traditional arts and ways. Please be sure to pay your SMAA dues on time. You 2. To assist the public in achieving spiritual can either send a check to our headquarters or pay growthand physical development through online at http://www.smaa-hq.com/payments. budo/bujutsu. php. We accept Visa, MasterCard, and PayPal. This 3. To further friendship and understanding is a quick and safe way to make your annual SMAA between Asian and Western martial artists. membership payment. 4. To establish goodwill and harmony among We appreciate our members paying dues promptly. martial artists of various systems. It makes life easier for the SMAA staff of 5. To offer Western martial artists access to volunteers, and it is representative of the type of legitimate budo/bujutsu organizations and self-discipline we are cultivating through the study teachers in Japan. of traditional Japanese martial arts. 6. To give practitioners of authentic DONATIONS & TAX DEDUCTIONS budo/bujutsu recognition for their years of devotion to these arts. The SMAA is a federally tax-exempt, nonprofit corporation. As such, your donations to our BOARD OF DIRECTORS association are tax deductible. Send your ▪ Karl Scott Sensei donations, in the form of a check or money order ▪ Nicklaus Suino Sensei (made out to SMAA), to our headquarters in ▪ H.
  • SRKHIA Newsletter 1/04

    SRKHIA Newsletter 1/04

    SHOTOKAN RYU KASE HA INSTRUCTORS ACADEMY SRKHIA Newsletter 1/04 Dear karateka Ake Mashite o Medeto Gozaimasu, The New Year 2004 is already here. A circle in life has again closed, a new one has started. A continous movement in time, in space, which signifies life. Life is connected with movement, death is connected with standstill. What is important is that this movement should be always forward, always upward, always towards progress. Otherwise there is degradation, decadence; something that is not affiliated with budo. And the recipe to progress and to life is sincere and diligent practice, is strive for excellence. Through this type pf practice you may discover yourself. Know your self before know others. Win over yourself before you win over others. Reach the higher levels in life and discover its true meanings. Practice, practice, practice. Kase sensei illness: The good news is that Kase sensei left the hospital, in Paris to return at his home on December 20, 2003. He will continue his therapy at home. This is undoubtedly a good evolution; however he has to rest for some time before he will resume instruction. You may be kept informed by looking in Pascal Petrella’s dojo site on SRKHIA www.shotokan-ryu-kase-ha.de (this is a new address, the old one being www.shotokan-ryu-kase-ha.karate-muellheim.de ). Budo Themes: In every country and culture, the arrival of the New Year is associated with different customs and traditions to celebrate this significant event. All parts of society are influenced by these customs, so is the budo world.
  • General Introduction

    General Introduction

    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2004 Male characters in the Japanese fairy tale : classification and analysis Petrova, Gergana Abstract: Diese Forschung untersucht die maennliche dramatis personae, die in Keigo Sekis Sammlung ”Nihon Mukashi-banashi Shusei” erscheinen. Die Forschung konzentriert sich auf maennlichen Figuren und andere Figuren mit maennlichen Funktionen (Protagonisten, Antagonisten und Nebenfiguren inklu- siv), die sich mit sich selbst, mit anderen maennlcihen oder weiblichen Figuren, Tieren oder uebernatuer- lichen Wesen konfrontieren. Die Forschung untersucht auch deren Benehmen in und ihre Interaktion mit der Maerchenumgebung in drei Gruppen - der Mann in der Familie, der Mann in der Gesellschaft und der Mann in der Natur. Als Methoden werden Literatur-analyse, Textstruktur-analyse, vergleichende Volk- skunde, Anthropologie, Gender Studies und Psychologie verwendet; Interpretationen von japanischer Kultur, sozio-historische Realitaet, Philosophie, Religion, Aesthetik und Volksglauben sind auch inbe- griffen. Das Ziel dieser Arbeit ist eine einheitliche Klassifikation und eine vielseitige Interpretation der maennlichen Figuren und ist vorgesehen fuer eine grosse Leserschaft - von Spezialisten unterschiedlicher wissenschaflichen Richtungen, bus zum breiten Publikum. The present research offers a study ofmale dramatis personae appearing in the collection of Japanese ordinary tales ”Nihon Mukashi-banashi Shu- sei”, compiled by Keigo Seki in the years 1950 - 1958. Key interest is taken in male figures or other figures with male functions, be them protagonists, antagonists or bit players, in other words - on the character of ”man” defined by his masculine role and seen in conflict with himself, other male and female characters, animal figures and representatives of the supernatural; as well as his actions in and interaction withthe tale environment.