Proposed Shintaido Kenjutsu Program Tenshin-Ken
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The Journal of British Shintaido No. 51 • Autumn 2011 the Last German
The journal of British Shintaido no. 51 • Autumn 2011 The last German Gasshuku by Charles Burns Participants in the German daienshu, Wupperfuth, September 2011 It’s a curious fact that in the world of Shintaido very few know much about the German group, and yet for the last 25 years this outpost of European Shinatido has been quietly following its own course, largely with the support of Ito sensei and a handful of enthusiastic German practitioners. I remember reading - or perhaps did I edit? - an account of Ito’s first visit to Germany in some past incarnation of the BS newsletter. For many years this account was all I really knew about them. Then in 2004 I attended the first ESC Forum in France, at which several members of the German group were were among the many new friends to be made there. As that event was also my first attempt to challenge the shodan bo exam, and since several members of the German group were taking the same exam, I had a better chance to get to know them than most. Even now I remember my first sight of German keiko: talking to Conny on the night we all arrived we wandered over to look at the indoor dojo the Frech organisers had arranged for us. This was a huge and unlikely modern sports hall, with a sprung-wooden floor, built by the shores of lake. On seeing such a magificent space Conny’s instinctive reaction was to open her body with explosive energy and perform eiko around the hall. -
Aiki Jujutsu Kobukai Jan Janssens 8º Dan Kyoshi
REVISTA BIMESTRAL DE ARTES MARCIALES Nº31 año VI Aiki Jujutsu Kobukai Jan Janssens 8º Dan Kyoshi Ética y artes marciales Judo. Pere Soler Fontanet Espacio Feng Shui: Año nuevo... Taiwán y artes marciales. 2ª parte Kenbu Tenshin Ryu. Maestro Aoki Hiroyuki III Copa Seishin de Karate Kyokushin Tameshigiri. El momento de la verdad Sumario 104 4 Noticias [email protected] 6 Aiki Jujutsu Kobukai. Entrevista al Maestro Jan Janssens, 8º Dan Kyoshi www.elbudoka.es [Por Miguel A. Ibáñez Espinosa] Dirección, redacción, administración y publicidad: 20 Ética y artes marciales [Por Víctor Fernández] 96 6 24 Actualidad WAMAI [Por el departamento de prensa de WAMAI] Editorial “Alas” Kenbu Tenshin Ryu. El maestro Aoki Hiroyuki C/ Villarroel, 124 26 08011 Barcelona [Por Tomoko Iwata] Telf y Fax: 93 453 75 06 [email protected] 34 Tameshigiri. El momento de la verdad. Entrevista al sensei Cristóbal Gea www.editorial-alas.com [Por el Gabinete de Prensa Zen Nihon Toyama-ryu Iaido Renmei – Filial de España] 48 Espacio Feng Shui: Año nuevo, espacio nuevo, vida nueva La dirección no se responsabiliza de las opiniones [Por Meritxell Interiors & Feng Shui] de sus colaboradores, ni siquiera las comparte. La publicidad insertada en “El Budoka 2.0” es responsa- Taiwán y artes marciales. 2ª parte bilidad única y exclusiva de los anunciantes. 52 No se devuelven originales remitidos [Por Oriol Petit] espontáneamente, ni se mantiene correspondencia sobre los mismos. 58 Historia del Judo catalán. 1955: Hacia la expansión del judo 78 34 [Por I. Punsà, O. Gispert, F. Flores, X. Rubíes y R. DíazJunta Gestora del Judo Barcelona] Director: José Sala Comas 64 JUDO. -
The Journal of British Shintaido No.58 T Autumn 2015 Excerpts from An
The journal of British Shintaido OPt"VUVNO Excerpts from an Interview with Masashi Minagawa talking about the making of Tenshingoso Arrangements DVD translated by Masahiro Minagawa Can you explain simply about Shintaido- Tsuki ? What is the unique point of view about Shintaido- Tsuki ? Egami Shigeru Sensei was searching for an efective tsuki. He discovered that by relaxing the body and changing the angle of the wrist, the tsuki became far more efective. He also discovered that the most powerful tsuki goes through rather than just striking the surface, enters into and through the recipient. He discovered that this type of tsuki was the strongest. Aoki Sensei developed this further and he found that Kaishouken was the most efcient. I think that it was this development which led to the start of Shintaido. In a kumite situation, the important thing is to feel the partner’s ki or energy. Then use that connection or ‘ma’ to gradually synchronise with your partner. We learnt that this should be the frst aim of kumite. This is why, when faced with multiple attackers, if you are only concerned with one person at a time then you lose sight of the fow. By perceiving the tsuki as a big fow of energy, you can go with that fow and become one with your partner, then become one with your surroundings. Keep expanding this concept and become one with the massive cosmic fow of the universe. Through the movements of kumite we can use Shintaido as a method to achieve this image. 5BJNZPt"VUVNO 1 Excerpts from an Interview talking about Tenshingoso Arrangements DVD Shintaido Outreach Trying to start a new class Local classes: Oxford Shintaido Poster A year in the life of an instructor Taimyo editor wanted Coming Events Kangeiko 2016 British Shintaido Examination Report Programme, Contacts & Classes 2 5BJNZPt"VUVNO Continued from page 1 What drew you to Tenshingoso ? Aoki Sensei said that the world of Tenshingoso starts at zero or from nothing and returns to nothing. -
Bodydialogue
Dialogue Journal of the U.S. Shintaido Movement Issue No. 13, 2003 BODYJourney to the Shintaido and Autism West (a very personal view) (part II) by Charles Burns Charles Burns practices Shintaido in Great Britain. Far Side of Beijing They say children grow in the image of their parents. In my case this simple observation has led me on a particular jour- by David Franklin ney of self discovery which I could never have expected to make, and which still leaves me staggering under its implica- When H.F. Ito, master Shintaido instructor, generously offered tions! me a frequent flier ticket to Beijing if I would come as translator Nicholas was born to Kazumi & me in 1991, and right from and logistics and travel assistant, I knew it was a rare opportu- the start he seemed to be subtly different in some indefinable nity. My interest in Chinese culture started in high school when way. He was, in fact, an ideal baby. Quiet and self-contained I was studying Tai Ji (T’ai Chi), and I am close to fluent in spo- (except when hungry!), he adapted easily to our routine and ken Mandarin. An old friend of Ito-sensei’s from the Shotokai then kept us to it. Left alone in a cot he would lie awake and Karate days, Mr. Miyamoto, had been in Beijing for about a stare for hours, as though mesmerized, by the pattern on the year, researching Tai Ji and the origins of some Shotokai kata inside of the hood. Always smiling, always happy, and yet (forms), and teaching Shotokai at Qing Hua University. -
Bodydialogue
Dialogue Journal of the U.S. Shintaido MovementBODY Issue No. 12, 2002 Why Are These Shintaido History: People Smiling? Origins of Some Forms Discovering Shintaido: a personal account An interview with H.F. Ito by Eva Thaddeus (Part 1 of a 2-part series) I wanted to conduct this interview in order to find out more by Paul Gordon about the origins of some of our Shintaido movements. Although I know that the roots of Shintaido are in Karate and sword prac- tice, I have always wondered about some specific forms we prac- 1984— An Important Gift tice, and their connections with ancient forms. Along the way, My Shintaido story starts at the age of twelve. It is Christmas, over my seventeen years of study, I’ve been told things about the and under the tree is a large hardcover book called The Martial origin of these movements, but I’ve never seen these things in Arts. It’s one of those books that are displayed in the front of print, or had a chance to shopping mall book stores arranged in pyramid fashion with Kazu Yanagi check them with some- big SALE stickers all over them. A Perfect Christmas Gift for one who was there when parents who know nothing about Japanese fighting arts, but Shintaido was first have a son who, unlike his friends, is trying to perfect a hip developed. So I sched- throw instead of a curve ball. uled a phone conversa- A striking series of pictures in the Karate chapter catch my tion with H.F. -
Dialogue with “Jet”
Journal of the U.S. Shintaido Movement Issue No. 18, 2006 Shintaido--a Body Practice for Dialogue with “Jet” Harmonizing with Nature and Interview between Ito and Ishii the Universe (The following is a recording of a question and answer session between Master Instructor Ito and Toshimitsu Ishii, visiting by Hiroyuki Aoki, Founder of Shintaido Instructor from Japan, after the one day workshop in Northampton, translated by Tomoko Yoshida Massachusetts on May 28, 2005. [BD Editor] edited by David Franklin Ito: First of all, thank you for your contributions to the Shintaido movement in New England, and also for helping [Editor's note: The following is based on the introduction Mr. Aoki Jennifer Wilkov promote Shintaido in New York City for the wrote for his book, titled simply Shintaido, and published by last eleven months. For the record, I will start with a few Shunjusha in Japan in 1997. The book was originally published by basic questions. What is your name, birth date, and where the Shintaido Association of Japan as Hikari ni Mau, and then did you come from? revised and published for the general public. Mr. Aoki added some additional comments that did not appear in the published introduc- Ishii: My name is Toshimitsu Ishii. I was born March 3rd, tion. 1971. I come from Machida City, a suburb of Tokyo in Japan. In order to fit into Body Dialogue, this version of the article is Ito: What kind of social atmosphere did you grow up in? abridged from the original translation by Tomoko Yoshida as edited Ishii: In junior high school, there was a kind of violent situa- by David Franklin. -
What Is Shintaido (Book 1982)
A New Art of Movement and Life Expression by Hiroyuki Aoki Chapter One What is Shintaido? Shintaido is the light in the shade and the sun in the shadow. People who have been constitutionally weak and depressed from birth can discover extraordinary strength and ability through Shintaido. People who have lacked the will power or determination to express even a tenth of their talent can grow and develop in Shintaido. People who have never been aware of their true value will realize the dignity of being. Those who are too self-conscious by nature to express their ideas will find new confidence and conviction. Those whose spirits are closed and stagnant will be inspired with a new faith and purpose. Those who have become private and isolated will be able to communicate a new joy of life to others. Those who are downtrodden or oppressed will understand that all human beings are equal before God and free to express their being. This is why we call our movement Shintaido — "new body way." As a mood or feeling, Shintaido is more religious and artistic than scientific. It is more emotional and primitive than rational. It involves cooperation more than competition in its movements. But it is cooperation that emphasizes individual expression, rather than passive group enjoyment or acquiescence. Shintaido was researched, developed and programmed through the concerted efforts of thirty professional martial artists. It is a unique system of body movement based upon martial art expression, which begins and culminates with two basic techniques called Eiko and Tenshingoso*. Shintaido cannot be understood by trying to pigeon-hole it into traditional or popular categories such as martial arts, gymnastics, health fads or religion.