PUBLIC MARKS from Takwann

by Hunter Armstrong Sensei This article first appeared in the Winter 1996 issue of the SMAA Newsletter. Hunter B. Armstrong Sensei is one of a small number of non-Japanese to have legitimately studied the koryu, or ancient Japanese martial arts, in detail. He lived in Japan for quite a few years practicing directly under the soke, or headmasters, of more than one koryu. (Armstrong Sensei personally believes that koryu bujutsu can be defined as "traditions of fighting arts originating no later than the early Tokugawa era, and whose functional aims were the development of combat effectiveness, discipline, and morality, in that order.") A close associate of the late Donn Draeger Sensei, one of the world's foremost budo/bujutsu authors and historians, Armstrong Sensei succeeded Mr. Draeger as the Director of the International Hoplology Society.

by Nicklaus Suino Sensei This article appeared in the "SMAA Journal" Volume 14, Issue 2 Few arts present as many challenges of detail as does Japanese swordsmanship. One of the most misunderstood aspects of Eishin Ryu iaido is the proper grip on the handle of the iaito (iaido practice sword), called “te-no-uchi.” The grip is crucial because it is the final lynchpin in the transmission of power from the body, through the arms, and into the cutting edge of the sword. A correct grip also provides “feel,” which increases awareness of the sword’s position and helps guide the edge through the correct path in cutting.

“In Iaido we always win against enemies” performing a kata slowly or quickly, result is the same … We win. Of course we are alone fighting against imaginary opponents and the scenario (Riai) says we win. How could we loose ? I did not deeply thought about this but writing it down suddenly gave me a strange feeling. Why should we be so sure (reassured) of the encounter result if we really live the kata, if we really live in the moment ?

n many iaido ryuha, chiburi is a fundamental part of kata. Chiburi, usually written 血振 in Japanese, literally means “shaking off blood,” and the image presented is that of flinging the blood of a defeated enemy off the blade with a deft movement before resheathing. Perhaps mainly due to the prevalence of Muso Shinden-ryu and Muso Jikiden Eishin-ryu, some people believe that chiburi is a universal aspect of iai. However, many ryuha do not practice chiburi, and there is the opinion – which has become more widespread recently, thanks to the sharing of knowledge via the internet – that shaking off blood in this way is in fact impossible. If this is the case, then what purpose does chiburi serve? Is it pointless? Why do some ryuha practice it? And was it really ever intended to remove blood from a blade?

As I noted on facebook, in a dojo of 10 sensei you will get 10 different methods of striking men. I know this through experience. Although kendo does have a general ‘set’ method (defined by the ZNKR) it does – in fact – allow for a breadth of style. To exclaim that this or that is ‘wrong’ shows, I believe, not only inflexibility of mind, but potentially of method also. So, even if you don’t adhere to the method explained here, at least realise that many people actually do. What would be nice, however, would be that the people who don’t use this method to actually try it… a bit of research and self study (called KUFU in Japanese) is required in budo after all. As implied by the above, please realise that this is not some ‘how to do kendo properly’ article at all, but is presented for your (and my) study purposes. One of the well-known kendo phrases is: 我以外皆師 ‘Everybody but myself is my teacher’

The prerequisite of beautiful kendo is a beautiful kamae The importance of developing a good kamae is stressed by every kendo instructor that you meet: without a correct kamae, many sensei state categorically, you cannot do correct kendo. Only once your kamae is correct can this lead to execution of correct technique (and thus “beautiful” kendo). It naturally follows, then, that a kamae that is flawed can only lead to flawed strikes, even if the execution is fast and strong.

Ce site a pour but de parler du sabre japonais . Oui , je sais, un de plus ! Alors , pourquoi l'avoir fait , me direz-vous? Je pense avoir réalisé ce site , non seulement pour tous les amateurs , mais aussi pour moi .

Extrait Revue TORANOMAKI 2010 KAWAGUCHI senseï 8° Dan Hanshi Traduction : Corinne Marie dit Moisson et Tomoko Shimomura Je vais présenter kirirosu à partir de la position debout (tate), debout sur les genoux( irijiki ) et position à genoux( saeza). Aussi bien dans posture saeza et les autres, nous devons pouvoir couper dans n’importe quelles directions, d’où l’importance de couper avec le hasuji (tranchant) bien dirigé, d’utiliser correctement la main gauche, les hanches et le hara pendant la coupe. les iaidoka qui ne pratiquent pas le kendo ont du mal à utiliser correctement leurs pieds, comme okuri ashi (le pied qui avance) et hippari ashi (le pied qui suit).

Dés que l'on commence à apprivoiser un kata, de nombreuses intrusions nous empêchent de nous concentrer : on s'aperçoit que l'absence de conscience est partout.

La rentrée A cette époque de rentrée, il y aura comme chaque année dans tous les dojos d'anciens élèves qui reviendront et de nouveaux élèves qui arriveront. Il n'est pas facile même pour un débutant d'avoir le shoshin. Mais c'est encore plus difficile pour un ancien.

Le corps a une mémoire différente de celle du cerveau, il a aussi une façon personnelle d' accéder à la connaissance.

In this series of articles, I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. In this article, I will be looking at the tanka for the ninth technique, Takiotoshi. This is the final tanka translation in this series. I hope to follow it up with a short article looking at the poems as a group, the similarities between them, and how they relate to each other.

In this series of articles, I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. In this article, I will be looking at the tanka for the eighth technique, Namigaeshi.

In this series of articles, I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. In this article, I will be looking at the tanka for the seventh technique, Urokogaeshi.

In this series of articles, I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. This article covers the tanka for the sixth technique, Iwanami.

In this series of articles, I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. This article covers the tanka for the fifth technique, Oroshi.

In this series of articles, I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. This article covers the tanka for the fourth technique, Ukigumo.

This is the third in a series of articles in which I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. This article covers the tanka for the third technique, Inazuma.

This is the second in a series of articles in which I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. This article covers the tanka for the second technique, Tora no Issoku.

Musō Jikiden Eishin-ryū and Musō Shinden-ryū are the two most widely-studied schools of iaido in the world. Both were derived from Hasegawa Eishin-ryū, which was founded by Hasegawa Chikaranosuke Eishin during the Edo period. Two generations later, the ryūha moved to Tosa, where it was transmitted until the modern era. Eishin, the seventh-generation shihan of Hayashizaki Jinsuke’s Shinmei Musō-ryū, was responsible for adapting that school’s battō techniques for the uchigatana, as well as creating a number of waza himself. The waza he created are today collected in both Musō Jikiden Eishin-ryū and Musō Shinden-ryū at the Chūden level, in the set of techniques known as Tatehiza no Bu. This set may also be referred to simply as ‘Eishin-ryū’ or ‘Hasegawa Eishin-ryū.’

Une belle presentation du Me Hitohiro Saito fils et successeur du grand morihiro Saito .. la ligné des heritiers du TRADITIONNEL AIKIDO Takemusu Aiki...

Shûren-Tanren Ces deux termes signifient "entrainement", mais avec des nuances d'intensité et de dévotion.

Beaucoup s'interrogent sur la façon d'introduire le ishigami dans le tsukamaki. Voici la réponse en images.