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玄同 Kokusai Budoin, IMAF 2013 Gendo International Martial Arts Federation Newsletter No
国際武道院 国際武道連盟 玄同 Kokusai Budoin, IMAF 2013 Gendo International Martial Arts Federation Newsletter No. 2 The objectives of Kokusai Budoin, IMAF, include the expansion of interest in Japanese Martial Arts; the Upcoming Events establishment of communication, friendship, understanding and harmony among member chapters; the development of the minds and bodies of its members; and the promotion of global understanding 2013 Kokusai Budoin, IMAF and personal growth. European Congress Location: Budapest, Hungary 2013 Kokusai Budoin, IMAF All Japan Budo Exhibition Date: 18 - 20 October Tokyo Information & Reservation details pages 6 - 8 Hirokazu Kanazawa (right-side) receiving his Karatedo Meijin 10th Dan certicate from Kokusai Budoin, IMAF President Yasuhisa Tokugawa at the 35th All Japan Budo Exhibition reception. Contact: [email protected] 2013 Kokusai Budoin, IMAF HQ Autumn Seminar Location: Greater Tokyo Area Date: To Be Announced Contact: [email protected] Featured News 2013 Kokusai Budoin, IMAF All Japan Budo Exhibition Kokusai Budoin, IMAF Portal Site Largest Branch Country Sites International Representatives Multiple Languages, and more... http://kokusaibudoin.com 2013 Shizuya Sato Sensei Memorial Training Tokyo Cidra, Puerto Rico Held May 26th at the Ikegami Kaikan in Tokyo, the 35th All Japan Budo Exhibition featured 25 February 2013 leading Japanese and international practitioners from all Kokusai Budoin, IMAF divisions. Updates for Members Membership Renewals and more... Kokusai Budoin, IMAF sponsors numerous national, regional -
Campus Shorin-Ryu Karate and Kobudo Club and Also Took Part in Some Clinics at the Saratoga Wyoming Dojo
BUSHIDO - THE WAY OF THE WARRIOR SEIYO no SHORIN-RYU KARATE KOBUDO KAI July, 2011 W. Dan Hausel, Soke & Eric J. Hausel, Soke-Dai v.8, no.7 Newsletter of SEIYO SHORIN-RYU CENTRAL HOMBU “You cannot help people permanently by doing for them, what they could and should do for themselves." Abraham Lincoln Training Calendar PUNJAB KARATE TEAM – July 17th – August 1st, 2011. A group of martial artists from India scheduled to train at the Arizona Hombu. Utah Gassuku – August 6th, 2011. East Canyon Resort, Park City, Utah (August 6th, 2011). Anniversary Clinic University of Wyoming, Laramie, Sept 30th to Oct. 2nd. JULY DOJO KUN Karate ni sente nashi - There is no first attack in karate NAGINATA Naginata is one of many weapons taught at the Arizona School of Traditional Karate (Seiyo Hombu). Many of our members have already been introduced to this weapon. The naginata is rarely seen in most martial arts schools, although it was relatively common on the Japanese battlefields during the reign of the samurai. Certifications (menkyo) in naginata are typically given in Koryu dojo, although there are modern Gendai dojo that offer dan ranks in naginata-jutsu. Rich Mendolia prepares to attack Ryan Harden during naginata training. My introduction to naginata (なぎなた, 薙刀) occurred a few decades ago at the JKI Hombu. When I trained at the JKI Hombu in this art, most wore a white or black uwagi (jacket) or keikogi hakama as naginata is a very traditional Japanese art. For those of you who have not trained in hakama, it is a clumsy piece of clothing particularly for men, as it is bloused, pleated pants that is very easy to trip over until one gets use to it. -
An Exploration of Aikido in the Lives of Women Aikidoka
Edith Cowan University Research Online Theses : Honours Theses 1996 Samurai of Gentle Power : An Exploration of Aikido in the Lives of Women Aikidoka Katie Noad Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Women's Studies Commons Recommended Citation Noad, K. (1996). Samurai of Gentle Power : An Exploration of Aikido in the Lives of Women Aikidoka. https://ro.ecu.edu.au/theses_hons/707 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/707 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
Rules and Options
Rules and Options The author has attempted to draw as much as possible from the guidelines provided in the 5th edition Players Handbooks and Dungeon Master's Guide. Statistics for weapons listed in the Dungeon Master's Guide were used to develop the damage scales used in this book. Interestingly, these scales correspond fairly well with the values listed in the d20 Modern books. Game masters should feel free to modify any of the statistics or optional rules in this book as necessary. It is important to remember that Dungeons and Dragons abstracts combat to a degree, and does so more than many other game systems, in the name of playability. For this reason, the subtle differences that exist between many firearms will often drop below what might be called a "horizon of granularity." In D&D, for example, two pistols that real world shooters could spend hours discussing, debating how a few extra ounces of weight or different barrel lengths might affect accuracy, or how different kinds of ammunition (soft-nosed, armor-piercing, etc.) might affect damage, may be, in game terms, almost identical. This is neither good nor bad; it is just the way Dungeons and Dragons handles such things. Who can use firearms? Firearms are assumed to be martial ranged weapons. Characters from worlds where firearms are common and who can use martial ranged weapons will be proficient in them. Anyone else will have to train to gain proficiency— the specifics are left to individual game masters. Optionally, the game master may also allow characters with individual weapon proficiencies to trade one proficiency for an equivalent one at the time of character creation (e.g., monks can trade shortswords for one specific martial melee weapon like a war scythe, rogues can trade hand crossbows for one kind of firearm like a Glock 17 pistol, etc.). -
Shōtōkan Karate—The Definitive Guide Beginner to Black Belt and Beyond the Official Handbook of the Traditional Association of Shōtōkan Karate (TASK)
Shōtōkan Karate—The Definitive Guide Beginner to Black Belt and Beyond The Official Handbook of the Traditional Association of Shōtōkan Karate (TASK). The most comprehensive book ever written on Shōtōkan Karate. Within its 750 pages lies an absolute wealth of information for the beginner and advanced student alike. It answers in graphic detail and refreshing candidness, the numerous questions posed by generations of students of Karate-dō. Shihan van Weenen has trained with the world’s best over the past 50 years and in this book, he willingly shares his countless experiences and knowledge with the reader. Signed copies by Shihan will be available for all TASK members on the book’s release dates—18th and 19th November at the Olney and Flitwick Gradings at the special price of £14.99. 750 action packed pages of the following: About the Author *A Beginner’s View *A Brief History of Karate *Finding the Right Club *Basic Rules of Etiquette *The Relationship Between Sensei and Student *Rei *Oss *One Man’s Journey *Long-term Injury *Callisthenics *Stances *Basic Techniques (38) *Taikyoku Shodan *5 Heian Kata *Bunkai (116 Applications) *Tekki Shodan *Bassai Dai *Jion *Jitte *Chinte *Tekki Nidan *Tekki Sandan *(230 Advanced Applications) *Self - Defence (31 Defences) *Gohon-Kumite (3 sets) *Sanbon-Kumite (3 sets) *Kiso-Kumite (4 sets) *Kihon-Ippon-Kumite (21 Defences) *Kaeshi-Ippon-Kumite (7 Defences) *Jiyū- Ippon-Kumite (31 Defences) *Children in Karate *Women in Karate *The Mature Student *Preparing for grading *New Grading Syllabus for juniors *New Grading Syllabus for adults *1-100 in Japanese *The Dōjō Kun *Weight Training for the Karateka (22 sets) *Anatomical Charts of Human Musculature *Body Structure and Vital Points *Mind over Matter *Visualisation *Self Hypnosis *Mokuso *Revealing stories of: Hirokazu Kanazawa *Masatoshi Nakayama *Masutatsu Oyama *Gogen Yamaguchi *Morio Higaonna *A Way of Life *Afterword *Karate vs Cancer *Shōtō-Niju Kun. -
JSSUS Tosho Article For
Overview and Development of Tsuba made by Japanese Swordsmiths By David Stiles Introduction I will introduce new Japanese language terms with an English, non-italicized explanation followed by the standard italicized Romaji and Kanji if possible. The italicized Japanese terms are not punctuated or pluralized like normal English words. To begin, I would like to introduce the topic of my essay: the handguards of Japanese swords referred to as tsuba (鍔) made by professional Swordsmiths, Tôshô (刀匠 ), or their apprentices. In part one of the essay I will present a historical background to the early swordsmith handguards Ko-Tôshô tsuba (古刀匠鍔 ) as well as characteristics that define them as a group. In part two of the essay I will present Tôshô tsuba (刀匠鍔 ) and the characteristics that define them as a group. There is an important caveat that must be stated in regards to this article. The reference material used for this introduction to Tôshô tsuba were written in English or were translated at some point from Japanese to English and are of a secondary nature. New historical or contemporary primary references were not translated and used for the basis of the article. Historical Background of Ko-Tôshô Tsuba The earliest Tôshô tsuba are referred to in Japanese as Ko- Tôshô ( 古刀匠 ) and date from the Genpei War ( Genpei kassen 源平合戦 ) (1180–1185) to middle Muromachi Period ( 室町時代 ) (1400- 1500). The Genpei War was the legendary conflict between the Taira ( 平氏 ) and Minamoto ( 源氏 ) clans during the late Heian Period ( 平安時代 ) (794-1185). There are references in historical documents of the Genpei War to the hand guards and blade collars made by professional swordsmiths or their apprentices. -
Oriental Adventures James Wyatt
620_T12015 OrientalAdvCh1b.qxd 8/9/01 10:44 AM Page 2 ® ORIENTAL ADVENTURES JAMES WYATT EDITORS: GWENDOLYN F. M. KESTREL PLAYTESTERS: BILL E. ANDERSON, FRANK ARMENANTE, RICHARD BAKER, EIRIK BULL-HANSEN, ERIC CAGLE, BRAIN MICHELE CARTER CAMPBELL, JASON CARL, MICHELE CARTER, MAC CHAMBERS, TOM KRISTENSEN JENNIFER CLARKE WILKES, MONTE COOK , DANIEL COOPER, BRUCE R. CORDELL, LILY A. DOUGLAS, CHRISTIAN DUUS, TROY ADDITIONAL EDITING: DUANE MAXWELL D. ELLIS, ROBERT N. EMERSON, ANDREW FINCH , LEWIS A. FLEAK, HELGE FURUSETH, ROB HEINSOO, CORY J. HERNDON, MANAGING EDITOR: KIM MOHAN WILLIAM H. HEZELTINE, ROBERT HOBART, STEVE HORVATH, OLAV B. HOVET, TYLER T. HURST, RHONDA L. HUTCHESON, CREATIVE DIRECTOR: RICHARD BAKER JEFFREY IBACH, BRIAN JENKINS, GWENDOLYN F.M. KESTREL, TOM KRISTENSEN, CATIE A. MARTOLIN, DUANE MAXWELL, ART DIRECTOR: DAWN MURIN ANGEL LEIGH MCCOY, DANEEN MCDERMOTT, BRANDON H. MCKEE, ROBERT MOORE, DAVID NOONAN, SHERRY L. O’NEAL- GRAPHIC DESIGNER: CYNTHIA FLIEGE HANCOCK, TAMMY R. OVERSTREET, JOHN D. RATELIFF, RICH REDMAN, THOMAS REFSDAL, THOMAS M. REID, SEAN K COVER ARTIST: RAVEN MIMURA REYNOLDS, TIM RHOADES, MIKE SELINKER, JAMES B. SHARKEY, JR., STAN!, ED STARK, CHRISTIAN STENERUD, OWEN K.C. INTERIOR ARTISTS: MATT CAVOTTA STEPHENS, SCOTT B. THOMAS, CHERYL A. VANMATER-MINER, LARRY DIXON PHILIPS R. VANMATER-MINER, ALLEN WILKINS, PENNY WILLIAMS, SKIP WILLIAMS CRIS DORNAUS PRONUNCIATION HELP: DAVID MARTIN RON FOSTER, MOE MURAYAMA, CHRIS PASCUAL, STAN! RAVEN MIMURA ADDITIONAL THANKS: WAYNE REYNOLDS ED BOLME, ANDY HECKT, LUKE PETERSCHMIDT, REE SOESBEE, PAUL TIMM DARRELL RICHE RICHARD SARDINHA Dedication: To the people who have taught me about the cultures of Asia—Knight Biggerstaff, Paula Richman, and my father, RIAN NODDY B S David K. -
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. -
First Encounter with Iai in Japan, the Days of Sword-Wielding Battles Are A
PROMENADE In Japan, the days of sword-wielding battles are a thing of the past. However, one of the techniques of wielding swords is being passed on from generation to generation. It is iaido (iai for short), the art of drawing a sword in one stroke to cut down the opponent or ward off an attack. “Why use a sword in this peaceful era?” you may ask. However, iai does not train people to kill one another. Iai is being handed down because one of its purposes is to train the soul – a world of great depth. First Encounter with Iai States also participated. I was filled with anticipation because it was hard to imagine how these people, so different in statures and looks, Recently, I had a chance to see a demonstration of iai for the first would perform with a Japanese sword, dressed in traditional formal time. Even in Japan, not so many people watch iai demonstrations Japanese attire – a kimono with a family crest and a full-length, unless they are particularly interested. Even though I took some pleated and divided skirt worn over it. lessons in kendo (Japanese swordsmanship) when I was a child, I I learned that these people practice in five southwestern cities in had nothing to do with iai except that my grandfather, Osamu the United States – Phoenix (Arizona), Lancaster and Austin (both Toyoda, was a master of iai. Kendo and iai are on the same line of California), Las Vegas (Nevada), and El Paso (Texas). And there are Japanese martial arts featuring the use of swords, but a real sword is also many women practitioners. -
Asian Traditions of Wellness
BACKGROUND PAPER Asian Traditions of Wellness Gerard Bodeker DISCLAIMER This background paper was prepared for the report Asian Development Outlook 2020 Update: Wellness in Worrying Times. It is made available here to communicate the results of the underlying research work with the least possible delay. The manuscript of this paper therefore has not been prepared in accordance with the procedures appropriate to formally-edited texts. The findings, interpretations, and conclusions expressed in this paper do not necessarily reflect the views of the Asian Development Bank (ADB), its Board of Governors, or the governments they represent. The ADB does not guarantee the accuracy of the data included in this document and accepts no responsibility for any consequence of their use. The mention of specific companies or products of manufacturers does not imply that they are endorsed or recommended by ADB in preference to others of a similar nature that are not mentioned. Any designation of or reference to a particular territory or geographic area, or use of the term “country” in this document, is not intended to make any judgments as to the legal or other status of any territory or area. Boundaries, colors, denominations, and other information shown on any map in this document do not imply any judgment on the part of the ADB concerning the legal status of any territory or the endorsement or acceptance of such boundaries. ASIAN TRADITIONS OF WELLNESS Gerard Bodeker, PhD Contents I. INTRODUCTION .............................................................................................................................. -
Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L
SWORD OF THE SAMURAI Computer Game MICROPROSE SOFTWARE INC. 180 Lakefront Drive, Hunt Valley, MD 2 1030 (410) 771-I 151 All rights reserved Copyright 0 I989 by MicroProse Software, inc. This bk may not be reproduced in whole or in part by any means without permission, except the quotation of brief passages for reviews. PRINTING HISTORY First printing 1989 Printing: 9 8 7 6 5 4 3 2 1 Sword of the Samurai is MicroProse Software’s trademark for its computer game of feudal Japan. SWORD OF THE SAMURAI Game Design/Project Leader Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L. BRIGGS JIM SYNOSKI Print Media Director Role-Playing Program IRIS IDOKOCI JIM SYNOSKI Full-Page Illustrations with SID MEIER RONNIE ORDANZA and MARCELL CIOLA Melee Program Spot Illustrations JOHN KENNEDY OSCAR RATTI* Battle Program Layout DAVID McKlBBlN MICHAEL HAIRE and MURRAY TAYLOR with DAN CHANG Paper Map Graphics Duel Program MARCELL CIOLA SID MEIER MURRAY TAYLOR and MICHAEL REIS Music and Sound Quality Assurance KEN LAGACE and JIM McCONKEY ALAN ROIREAU, CHRIS TAORMINO, Music by JEFFERY L. BRIGGS and RUSS COONEY Computer Graphics Packaging Design MICHAEL HAIRE MARK CIOLA and JOHN EMORY with JACKIE ROSS Type Fonts by BARBARA BENTS *(from Secrets of the Samurai by Oscar Ratti and Adele Westbrook; used by permission of the publisher, the Charles E. Tuttle Company, Inc.) CONTENTS INTRODUCTION THE LIFE OF A SAMURAI General Overview: Another Time, Another Culture 3 Quickstart: On the -
How Religion and Belief Influenced the Way of the Samurai
Sword and Spirit: Bushido in Practice from the Late Sengoku Era through the Edo Period Joe Lovatt Seminar Paper Presented to the Department of History Western Oregon University in partial fulfillment of the requirements for the degree of Bachelor of Arts in History Spring 2009 Approved Date Approved Date Hst 499: Prof. Max Geier & Prof. Narasingha Sil 2 Sword and Spirit: Bushido in Practice from the late Sengoku era through the Edo period By Joe Lovatt The Samurai possessed a strict code of ethics known as Bushido (the way of the warrior), which allowed them to become some of the greatest warrior the world has ever known. However, there were different embodiments of this system, personifications that two Samurai themselves have documented in two of the most well known books ever written by Samurai; The Book of Five Rings by Miyamoto Musashi and Hagakure, by Yamamoto Tsunetomo. Bushido has usually been considered an ethical code that was set to a certain standard, just as the ten commandments are. This analysis suggests that it was in fact not a set of moral laws, but that bushido was embodied differently by every Samurai. Bushido was ultimately a guideline, just like rules in religion. It was a path that one was to adhere to as well as they could, but history has made it clear that it depended upon the circumstances in which a Samurai lived; the life of a Samurai in the twelfth century would filled with fighting for their master and practical use of the code; far different from that of a Samurai living during the first half of the 1800’s, who would be keeping track of the business operations of their master instead of fighting.