Sunday, February 27, 2011

How Do I Read Dimensions On Amazon?

Mike Sigman Workshop in Bremen - to March 2011

Mike Sigman has over 45 years experience in the martial arts. In the last 20 years
he has focused on the body mechanics of the internal
analyze arts (eg, Tai Chi, Ba Gua, Xing Yi, Aikido).
His particular interest is the unusual force that demonstrate the real
Can these arts. He teaches a method that
understand basic principles of the internal force (internal strength)
and training methods to develop them, regardless of the

Mike lives in Colorado (USA). He has his "internal strength workshops"
held around the world and written many magazine articles. He is administrator of the
QiJin list, an internet forum dedicated to the analysis
this internal strength and is also in various other Internet forums

Mike Sigman comes in March 2011 in Bremen:

Sat, 12th and Sunday, 13 March 2011,
from 10:00 to about 17:00 clock

location of the seminar, the Aikido Zen Dojo Association is located in the district with very
good accessibility by public transport. The contents of
Sunday on which logical build from Saturday on, so is the
participation on Sunday, the Saturday ahead.

Cost: 130 € for both days, 70 € for only the Saturday.
night in the dojo is possible, but there are also several hotels and
Hostel in Bremen.

The number of participants is limited. To reserve a place, is
a deposit of 20 € is required.

For details on registration, accommodation etc. please send an e-mail


Tuesday, February 22, 2011

Michelin Wiper Blades Retailers

basic texts of the Heki school

earned Kyudoka Manfred Speidel and Roland Pohl, the final version of the basic texts of the Heki school published.
This compilation of Manfred Speidel and Roland Pohl, in February 2011 based on the written down Hassetsu and the drawings of Professor Genshiro Inagaki, 9 Dan Hanshi, on the occasion of the first Kyudoseminars 1969 in Hamburg, übersetzt by Manfred Speidel, and the pictures table "Archery according to the rules of the Heki Ryu Kyudo school INSAI HA ", 1991, übersetzt Hans Gundermann.

This text must for teaching and study purposes are copied and distributed.

The PDF file can be read here: basic texts


Monday, February 21, 2011

Descargar Pc Game Big Fun Motorcycle Trials

The most dedicated of Kyudo Protect Japan

a note of thanks Hans, I have the video of "Mr. Mudan", "The KyudoProject Blog " found. As an addendum to the topic less ambitious outdoor training here on the article "The most dedicated archers in Japan!" referenced.

The gentlemen are really tough people. As is geschodden all year, even if the snow a meter deep.

to Article Kyudo in the snow.


Friday, February 18, 2011

39 Weeks And Having Alot Of Discharge

Addendum and Addendum: Outdoor Dojo "and" Kurikara and Tanren Uchi "

Here are some links and references to my articles: Outdoor Dojo and Kurikara and Tanren Uchi

One is a really interesting film with O-Sensei, a real-time document:

Also on the side of one of my most loved blog "Life for a Sword" is there an interesting article with beautiful old movies. In articles and in the movies to get them quickly, that the great design Bokken and the whole civilized "Dojotum" are nonsense. The world is bigger than the perimeter of a closed room.

Kyushu 九州 - Where the Wild Things Are

Tanren Uchi Here you can see some fascinating pictures!

The world exists out there in "The Big Blue Room." Remember that the ritual, standardized indoor Budo.


Thursday, February 17, 2011

Female Genatilia Tattoing

why the saying" do not break, not bend, cut and well "?

determining the destructive power and sharpness

separated by a cutting the bone but also meat cuts

A cutting tool with a sharp-angled edge is sharp, an obtuse angle of the blade is more stable. Thus, under the balance between sharpness and quality staff to the intended use of a cutting tool. The angle of the blade of a sharp katana measures about 30 °, the (丁 柳叶 包) of a so-called "Yanagiba Hocho kitchen knife" to 20 °, and a nata-Haumesser (铊) about 35 °. The Yanagiba Hocho has cut through the field to meat, and a nata stability to - as the name suggests - wood to cut into pieces. Say you can split with a Yanagiba Hocho no fire wood and a nata not prepare sashimi.
This was supported by the warriors to arms tachi used to hit with a helmet or armor. There were also shock as in the modern kenpo techniques or techniques to make the arteries, but the main goal was likely to cut through bone. If one now considers this purpose in mind, had to - if we use the previous example of yanagi-Hocho and nata - a serviceable sword to be designed more like the latter, in order for the cut or-break to have enough staff technicality. Now, such a cut is not effective for the soft, fatty tissue containing the abdominal area. Here would be a cutting edge in terms of a Yanagiba Hocho appropriate.

The strength and sharpness improving sori

to describe the characteristics of a Japanese sword is often "do not break, not bend, cut and well" the spell (orezu, magarazu, yoku-kireru, 折れず, 曲がらず, よく 斬 れる used). The stability - that is "not break" and "Do not bend" - with focus, "do well" means to agree with each other, ensures the curvature of the blade (sori, 反り). Rod-shaped objects are longitudinally stable, but vulnerable to lateral loads. Chopsticks, for example, you can easily break in the middle when they bend, but it is almost impossible to crush by hand in the longitudinal direction by pulling or tearing. It's the same with the katana: It is stable at impact, but more sensitive to lateral forces such as cutting. Due to the curvature of a tachi or uchigatana it retains the same cutting force as a straight chokutô, but it reduces the impact force as the cutting angle on the target occurs (see Figure 1). But this is not the only effect of the sori, for he is just as important for the cut. With the same cutting motion - curved sword against a straight chokutô - namely, it increases the "sharpness", ie the average effect (see Figure 2).

1: The incidence of a straight chokutô and a katana with sori :
top figure: results when vertical impact of the cutting edge of a chokutô with
the force A, which also vertically opposing reaction force B .
image below: The curved blade makes an angle onto the target, and so
the recoil force B - spread - with the same output power A. B = b1 + b2.
the blade perpendicular to the recoil force acting b1 is therefore smaller than when the same force
A with a straight blade would chokutô (B).

2: The angle of the blade and the cutting angle:
white triangle: angle of the cutting
yellow triangle: the actual, sharper cutting angle
red arrow: cutting direction
Here we see that the actual cutting angle of the oblique impact with the target
smaller than the angle of the blade, ie the "sharpness" increases.

with a circular movement "drawing cut"

What is the situation now in the actual sword fight. In Figure 3, with the sword from the Jodan position knocked vertical (kiri-oroshi, 斬り 下ろし), and that it will target the peak of the opponent. Depending on the technology of course there are different version, but this can almost be described as the "base-sectional shape. From the moment when the blade hits the top of the opponent to the end point of the blow, the blade takes an imaginary circle with center movement in the left shoulder. In addition, angled from the impact with the ideal impact point three sun (~ 9 cm) behind the sword tip to the final stop of coarseness of the elbow, that is, the handle is pulled to the body. Thus decreases the imaginary circular motion.
This is often called "pull the sword during the cutting or solid-section" means. But this "drawing cut" should ideally not consciously, but automatically run. In the above-mentioned circular motion puts the tip back a longer distance. It is said also "runs the tip" (ga kissaki hashiru, 切先 が 走る). Finally
So one can say that the katana but rather an angle of cutting tasks have a nata, but it achieved through the sori and the "Running the top", the effective sharpness of a Yanagiba Hocho.

3: The circular path at the vertical cut (kiri-oroshi, 斬り 下ろし:
The blow is spent on the drawing force a2 law. outside and outline the overhead
position of coarseness. The arrow shows the position when striking the target, ie it is
Stomp (Fumikomi-ashi, 踏み込み 足) concentrate with lowering of the body
Note the left hand: takes effect from hitting a circular motion
centered in the left shoulder, and angulation of the elbow during
of coarseness is the radius of this circular motion reduced. This entire process
called "drawing cut" or "solid-section".

My special thanks go to Markus SESKO that this text has been translated from Japanese as always very professional and knowledgeable. Mark is a member of Nihonto - Club and author vieler interessanter Bücher zum Thema der japanischen Klingen. Siehe: Neues Buch zum Thema "japanisches Schwert"

Illustrated laminated Japanese weapons - the definitive (group picture series history) [Paperback]

Wednesday, February 16, 2011

Coach Handbags 308-9875

Kurikara and Tanren Uchi

Durch Zufall bin ich auf John Maki Evans gestoßen. Eigentlich war es ein Bild in dem er Kirioroshi, einen vertikalen Schnitt, ausführt. Auf diesem Bild ist der Schnitt in elf Phasen sehr eindrucksvoll dargestellt.

Kirioroshi. Photo: John Maki Evans

Then I found on his website some interesting information. After that it was a short way connect with John making personal contact.

John teaches in his dojo in London and has published a very interesting book

Kurikara: The Sword and the Serpent
John Maki
Evans Paperback: 160 pages
Publisher: Blue Snake Books, 2010
ISBN-10: 1583942440
ISBN-13: 978-1583942444
about EUR 13, -
In Mikkyo - the Japanese esoteric Buddhism - the dragon symbolizes Kurikara the internal energy that is developed through work with the sword. Kurikara is a manifestation of the fierce and passionate Fudo Myoo Bodhisattva (Japanese for "steadfast, clear-headed king"), the patron saint of Japanese ascetics and warriors, who with his sword destroyed the illusion and material attachments and removed. Fudo Myoo fights with his sword of wisdom to the ignorance and the arising therefrom unbridled greed. This leads to the development of internal energy with which we all obstacles on the path to spiritual Freedom "burn" can.

"Kurikara: The Sword and the Serpent" deals with the eight fundamental principles of the sword, which are equal for all Japanese sword schools, and emphasizes the development of energy and concentration. John Evans describes practical examples from his many years of experience in swordsmanship. John was the first foreign student who was allowed to train under Sensei Nakamura Taisaburo and describe how the skills learned there systematic Tanren (exercises which the "inner" and connect "external" force) can be developed. The book is filled with useful anecdotes from John's time in Japan as well as the spiritual foundation of education.
places special emphasis on John "Tanren" training with the Bokken in which is cut to a goal. Tanren Uchi is also known as "the forging of Gesites" means. If you make every day about 100 repetitions of this exercise soon becomes clear what is meant.

Tanren Uchi is a very traditional training method that helps the proper use of the entire body when cutting, especially to learn of the hips.

tires are issued on major tire brands for free. At least I have my since her (pit stop). But do not just dump in the open!

One of the biggest advantages of the Tanren is that you get when cutting an immediate kinesthetic feedback provided by the bokken. If a cut has been performed incorrectly, the feeling is transmitted through the Bokken completely different from a correct cut. Of course, also lies precisely in this response is dangerous. If you have this kind of training without expert guidance "wild" runs itself, the disc or the joint report long ago and it can cause serious and permanent damage.

traditionally has not Tanren Uchi as now conducted with a car tire, but with a bunch of green, fresh branches (even now in early spring) on a wooden block. This can also set up today on a training course in the open.

The exercises can be customized with a "normal" Bokken or perform with a much thicker and heavier bokken. However, those who exercise outdoors, which can carve their way simply does not have a club and spend big money on expensive exercise equipment. This method is also quite common in Japan. To develop a reasonable Tenouchi there is nothing better than Uchi Tanren daily with 100 reps.

Uchikomi goals. Photo: John Maki read Evans

know more about these interesting and useful training methods would like to be recommended the book of John.


Tuesday, February 15, 2011

Alberta Silverado Ss Sale

Outdoor Dojo

Budobegeisterte Many unfortunately do not have the luck a dojo or a gym near their place of residence to have. Often also offers her own apartment no way the Iaito Bokken or swing without severe material damage to anything. But that has no reason not to practice. There certainly are examples that show that can be realized without "fixed abode" effective training possible and even enjoyable.

The "River City Aikido " club from Richmond, Virginia, and specifically trained all year in the wild. I thank Brian Hill Sensei for their support.

O-Sensei Morihei Ueshiba trained a lot in the wild.

There are so many reasons why outdoor exercise. You have no regard for walls and furnishings company. You can practice with a Jo large area without any fear to hurt another sportsman.

However, one of the truly decisive reasons for which this is a kind of primitive, traditional, original and archetypal training method. When you think of all the generations of people for thousands of years before us have martial arts in the open air, in dusty clearings, practiced surrounded by old trees, so this is a very different scene than one would want in a floor wax and old sweat after smelling gym. After the film "Last Samurai" with Tom Cruise was in theaters, and similar associations were Iaido immense popularity. Not least because of the really appealing images of practicing under the open sky warriors. It will not tell me that he has not addressed. This archetypal feeling is what many look for in Budo, and unfortunately can not find.

There is a kind of genetic memory that Under these circumstances, wakes up and tells you that there is a reason just to train Sun The first time you hold a sword or bokken in hand and in the direction of the rising sun intersects with a beating heart from hard training, can begin to feel that you are connected to an old tradition.
Another reason for outdoor training is to want to just be out. How many people still go into nature and spend time outdoors? For this I am not counting the time on a bicycle or motorcycle. We spend our time in isolation from the real world and the elements.

It's just fun! If we are out Remember how we play as children one or two hours spent in the rain, or even better, playing in the snow!

Mike Smith, a Kyudo students & teachers
- he is also the owner of the Trident Booksellers & Cafe -
a Kyudo Kyudo ceremony at the dojo out in Boulder, Colorado before.

outdoor training gives one the hardcore martial arts, warriors an excuse to "go outside and play!" Finally back completely eingesaut, wet, sweaty and dirty to be!
Many people go jogging every foul weather, so why not martial arts training outdoors? The alternative is jogging on the treadmill with an MP3 player and TV.

The group of Sensei Brian Hill in the snow

In Japan, trains have always been outdoors. Especially after the war when the weapons training was banned by the occupying power, many Budoka met outside the villages or towns, and practiced in the open, protected by small forest, far from the watchful eyes of the henchmen of General MacArthur.

Sandals, there are others in Dick .
This is also suitable socks.

Or Waraji 草鞋
Tabi 足 袋

What, however, when outdoor training should be given the right clothes.

There are basically two ways, either you wear ONLY functional clothing you wear or traditional clothing (with or without functional underwear). Cotton is OK in the summer there is the old advice to dress in layers. What can I take with you, what can not you wear one does not sit well, but do not tighten again.

footwear is advisable. You can either traditional sandals worn with or without Tabi, Geta with one or two teeth or Japanese Zimmermann Tabi with rubber sole, which I myself prefer (here, the luxury version ). If you have broken the little toe almost time because the ground was uneven ....

comes out to play!

. held

Monday, February 14, 2011

Corelle Nre Square Dishes

Another impressive Iaido Seminar, this time in Syubukan Dojo Oberhausen (English)

again held René van Amersfoort an Iaido seminar in Germany from this time in Oberhausen.
Here is that article in the English language (writers, our Dutch friends), which describes another very beautiful as a didactically well designed and should look for modern teaching methods shall Iaido seminar.

Every reader is now finally gone to the taste a eyquisit run seminar to visit, I can only Iaido seminar with Jock Hopson & René van Amersfoort on Friday 11 March to Sunday 13 March in the "Lion Dojo" recommended in Brunswick!

********************************************* *********************


Saturday and Sunday 12 and 13 February 2011 dojo Syubukan led by Thomas Machozcek organized an iaido seminar with René van Amersfoort 7th dan iaido renshi. Approximately 25 students attended coming from Braunschweig (Löwen Dojo), Düsseldorf (Hakushinkai Dojo), Bremen, Dortmund, Hamburg, België and The Netherlands. Actually the main group are the same students seeing each other regularly at these seminars, keeping their iaido keiko continuously active and at the same time learning new things. Yes, learning new things is a must at seminars. New things that the students and their teachers can take back with them to their own dojos to research further and deeper. Especially for sandan, yondan, godan and runner ups for rokudan it’s important to learn new things and to change old habits. Sometimes it’s very difficult to change your own iaido, because the issue at a higher level is all about small, very small points. Which are so difficult to at first understand and secondly to implement in your training during and after these seminars. How to learn to use calmness in your iaido or how to learn to bring energy through your hands on the hilt into the point of the sword? That are two examples which needs extreme caution at a higher level. Thus need continuously tuition by a experienced iaido teacher. Everybody uses the sword during executing of kata. But although the movements externally look all the same, internally there are many differences in skill. So many differences that it takes a life time or even more to gain control over your own swordmanship. Just as it takes time in daily life to put something on the map and to keep it on the map, like the GASOMETER in Oberhausen ☺.


How do you gain control? That’s a mutual polishing between teacher and students. It’s a mutual benefit. Both learn during the process. That’s why it’s of no real importance to have a video of your teacher from ten years ago. Of course it has a historical value and it’s your iaido memory, but because of the ongoing learning process, students as well as the teacher should develop during their lifetime (keiko) training. A teacher needs students and students need an experienced teacher. Experienced in skill and teachings methods. The experienced teacher also must be able to teach students: FIGHTING SPIRIT. That means that the teacher must have experience himself in competition and vigorous training. To bring the students during the years into a fighting spirit mode is only possible if the students visit the dojo or the seminars very regularly and the teacher provides within the given lessons the elements necessary to reach this fighting spirit mode. One method is trying to fight as hard as possible lacking all other things such as calmness, technical points, balance and correctness. This sounds strange but to gain a certain more higher feeling of fighting deep inside, you have to step out of your own circle of daily routine. If you can’t rise your level of movements and heathen up inside to be ready for a fight, then you aren’t able to visualize your imaginary opponent (KASSO TEKI) during the fight. Bring your heartbeat above 180. Feel how your body and mind react and what kind of influences this has on the executing of your iaido techniques. Thus on you taking decisions during your fight. Decisions where your life depends on. Of course don’t use this training method all the time, but after a few kata executed in this way, try to come back into correctness and calmness etcetera but with an extra load called FIGHTING SPIRIT. For some students this is very difficult to do, that’s why they need constant tuition by a experienced teacher. Training on the sharpness of the edge!

After quite many basic exercises with a focus on ENZAN NO METSUKE and RHYTHM we learned that most of the students still find it difficult to use their eyes correctly and to observe seriously. Actually the teacher has to remind the students to use those skills over and over again, until it’s a common thing to do for them. Basic exercises construct the fundament on which experienced iaido skills are built on. Without understanding of the iaido techniques there is only copying. Without knowing how and where to look consciously, there is only unconsciously copying. Hollow iaido instead of nice - with inner techniques filled - iaido. Like you bought a Bounty chocaltebar expecting fine chocolate with a filling of tasteful coconut, but instead there is only the chocolate shell without the coconut.

From basics we went one time through the ZNKR seitei iaido gata (12 kata). Then we stayed for a long time at ipponme MAE. What we did this time, was that the teacher wasn’t showing so many kata classical, but the students were told to do this. During the ENBU (demonstration) of the students, the teacher used the students to correct their iaido on the spot at the same time heighten the ENZAN NO METSUKE and the OBSERVATIONAL SKILLS of the students looking at this type of ‘master class’. Because every student is different in skills, physics, rhythm and coordination etcetera, this type of teaching provides the class an enormous amount of points to think about and to correct and to be absorbed.
At the end of the day the students brains where almost overcooked because of the load of information. That’s also a skill: to be able to remember the given correction points during seminars. It’s learning all the way. It’s not a holiday. It’s not training one day only on two or three points. That would be good sometimes, but training too much repeatedly single techniques without profound skills is like repeating the wrong techniques over and over again, and in that way killing the correctness.

We also repeated the seven main points of MAE:
  • Is there enough SAYABIKI
  • Is the tip of the sword during FURIKABURI taken up high with a feeling of pointing to somebody who stands left diagonally behind you
  • Is the tip of the sword when above the head not under horizontal
  • Is the cutting – KIRIOROSHI - done without hesitation (is furikaburi and kirioroshi done in one rhythm)
  • Is the tip of the sword after kirioroshi slightly below horizontal
  • Is the CHIBURI executed correctly and
  • Is the NOTO executed correctly
We not only repeated them in a practical manner, but also repeatedly rehearsed it theoretically by letting different students of different levels repeating the points loudly and classically.

Especially for the higher grades attention was drawn to balance themselves during executing their techniques. Balance in combination with KI KEN TAI ITCHI. A soft and smooth approach was recommended and it was noticed by the teacher because of the reaction of the students that this approach is very difficult. Power is not needed. During the process of executing the techniques power is developed naturally. That’s more efficient than when students apply power in the wrong way. It’s a FINGERSPITZENGEFÜHL. It’s difficult, so it needs to be studied more.

Also special attention to USHIRO: the second seitei kata. Two types: basic (for beginners so up to sandan level) and advanced (sandan and higher). The difference is that the advanced type stresses to turn immediately without coming up first. Looking and keep on looking during turn is important to make the flow and stay smoothly. Then the teacher explained about FUMI KAI (not to execute it this way) and FUMI KOMI (correct way to execute in this kata). And holding the left knee into a steady position after the turn while executing nukiuchi.

Then on to executing many repetition of the standing UKENAGASHI exercise with one and two hands. During all three seitei kata also the way of executing the NOTO was looked at. Again being in balance, with your left and right arm is important. Without balance their can’t be a notion of keeping the centre. Especially for yondan level it’s of great importance how to control your centre by all means.

Slowly we went into KORYU and we trained quite a few forms of the OMORI RYU. With at the end focus on SHOHATTO and also on INYO SHINTAI. During the whole seminar there was a nice balance between technical approach and periods of hard work.

At a certain point we went silently into training whole OMORI RYU, whole HASEGAWA EISHIN RYU and whole SUWARI WAZA OKUDEN. A small group of experienced students went as a kind of example (enbu) into executing HAYA NUKI also ones with KATATE WAZA. This is only a training method to be used in the dojo after many years of practising the koryu kata. Again be sure first to make the fundament before moving on to higher skilled technical training.

To learn a nice rhythm four kata were choosen from the TACHI WAZA OKUDEN which were well and a long time trained. Especially the attention of the yondan and godan iaidoka was drawn to executing those kata with a nice flow, learning moving without stopping. Learning how to use the principles of KANKYU KYOJAKU meaning the relationship between slow and fast & strong and weak.

Literally KANKYU KYOJAKU means: slow ( KAN ), fast ( KYU ), strong ( KYO ) and weak ( JAKU ). During training of iaido kata it’s important to learn on which moments you have to move fast or slow and to learn which movements relaxed or at the contrary has to be executed strongly. Not all movements of an iaido kata must be executed as fast as possible or as strong as possible. KIRIOROSHI must be of course a strong movement, but CHIBURI must be executed very relaxed.

To learn the rhythm of a kata, TANAYA Sensei advised the following trainingmethod:
  • Start executing a kata in SLOW MOTION . Execute all movements as slow as possible. Repeat this approximately five times.
  • Then execute the same kata with MORE SPEED then normally necessary. All movements have to be executed as fast as possible maintaining the correctness of the movements. Repeat also this approximately five times.
  • At last execute the kata with the CORRECT RHYTHM with EMPHASIZING on FAST-SLOW and STRONG-WEAK .
Especially when you as a student has nobody in your dojo who can correct you, this trainingmethod mentioned above is an excellent way to learn yourself the rhythm of a kata and to learn how to understand the rhythm of a kata.

More at the end of the seminar we went through the whole ZNKR seitei kata (12 forms) again but this time with more explanation. After one break we started with a technical approach of executing nanahonme SANPO GIRI paying again much attention to KANKYU KYOJAKU.

During the seminar there were several demonstrations:
  • A KORYU JODO demonstration in which the CHUDAN serie was shown fully.
  • An UCHIDA RYU TANJO JUTSU demonstration (12 kata) was shown in which timing and coordination is important. TANJO JUTSU belongs to the so called FUZOKU BUDO (the techniques belonging to the curriculum of the SHINDO MUSO RYU JODO)

At the end of the seminar the students in several groups made some ENBU of a set of kata in which they could show the other students and the teacher what was learned during the seminar. You saw all performers do their utmost to show the points learned this weekend.
Also one student who is preparing for his yondan examination had to perform alone a set of five kata (one koryu and four seitei). His task was to keep the centre and keep his head straight up in the meanwhile using KANKYU KYOJAKU. A difficult task, that’s why the above mentioned trainingmethod is written down once again in order to be of help to this student. Gambatte kudasai.

When the iaido seminar was finished, there was one hour JODO given by the teacher to eight students. Again KANKYU KYOJAKU with special attention to relaxation was stressed.

At the end of the JODO lesson the organizer of the OBERHAUSEN seminar Thomas Machozcek had to execute the twelfth seitei jo gata RANAI several times with Marjan de Block, which gave some nice fights and a display of the right use of fighting spirit.
Although the distance could be better both students learned a lot of this way of training.

The iaido seminar was ended with a group photo. All students were exhausted and technically refreshed. For the teacher it’s nice to notice that when looking to the last two years many students improved because of their continuous training. This means hope for the future and thus a good development towards the challenges of a higher iaido examination. The coming three years the teacher will be focusing more and more on the higher grade students in order to help them to reach that higher level. Moving without stopping. Go with the flow. Until next time.

Dojo Kiryoku
February 2011


Sunday, February 13, 2011

Closeout Baseball Gloves

The shot on the subjects

Eines der berühmtesten Events of Japanese archery happened during the Genpei War (1180-1185). At the Battle of Yashima, the Heike went back after their defeat on their boats at Yashima, the pursuing Genji were stopped by the sea. As the Heike waited near the shore for a favorable wind, they hung a fan to the mast of the ships and urged the Genji, shoot him down.

The general of the Genji, Yoshitsune, looked left and right to its people, whether it was someone among them who could shoot down these subjects. The boat swayed in the stürmischen Wind and strong waves up and down. The meeting therefore called for the highest technology. None of his people came forward, but someone was among the officers of Nasu no Yoichi suggested, saying: "This man shoots so masterfully that it simultaneously on the hunt with an arrow three birds killed."

Nasu no Yoichi Munetaka

Yoshitsune was Nasu no Yoichi Munetaka call to him and ordered him to shoot down the fan from the bow of the ship. Although Yoichi persistently refused, Yoshitsune ordered him again, under all also to shoot the fan. In keeping with this strict command Munetaka drove his horse into the sea from the shore. He rode on and on, and as the distance only 50 was big step, he lay at rest on a swan feather arrow and turned his gaze to the target.
swayed like a leaf on the high seas the boat. The fan was stuck on the pole at the bow, stopped not to the right and left to fluctuate up and down. Well this is where Munetaka took a heart and drawing the bow altogether. The maximum point he blew up and the arrow shot from a masterful way, the hinge of the fan so that it flew high into the air.
This story is told since time immemorial among the warriors, and future generations the story was one of the most famous events überliefert the Genpei War.

This power is still sought by some Japanese archers. The construction can be either as shown in the historical record in a boat with mast, but this means the loss of arrows, or by a structure on land.

This is fixed in a distance of 60 meters for protecting a fan of three meters.

reminds This type of shooting at the popular in Belgium, France and parts of the Netherlands version of the traditional European archery, or the Popinjay Papingo.

In this variant shot vertically upwards on a series of spring ball. She has developed directly from the practice of the ships lying at anchor in the harbor stationed longbow. To keep fit while they were in the harbor, were birds (usually Jays and parrots) or, alternatively, spring pads on the yards and on top of the mast set. In another variant, where space was lacking for target shooting, conducted a flag pole horizontally from the church steeple. The meeting of the top goals brought the most points. The objectives below brought the fewest points.

This type of shooting to a high post is still practiced today in England. A wooden parrot or a rooster that is represented by a cylinder of 5 "x 2" (12.5x5cm) is placed at the top of the mast or post. On cross-ties including the following 4 hens 4 " x 1.5 "(10x3.8cm), then including the 24 chicks 2" x 1 "(5x2.5cm). All with Federnbeklebt. Results are worth 5 points for Hahn, 3 points for every hen and 1 point for each chick. You must move away from their perch among shot at and when the tap is taken by the rod to be put back again all in place.

Popinjay is in northern France and the Flemish-speaking Belgium very popular. The capital of the Popinjay, Bruges, where there is on the outskirts shot an old place. Also in northern France Popinjay is widespread, particularly in the regions of Nord / Pas de Calais (Artois), where most events between Hazebrouck to the southwest of Lille held. Outside England use the followers of this kind of shooting but not usually the longbow recurve bow. Even quite small towns have their own "perche" (fattening) of up to 85 feet (26m) high.


Monday, February 7, 2011

Thebottomless Party Kumar

Report from the "Tachi Uchi no Kurai course (kata with bokken)" in Dusseldorf

weekend 5 / 6 February 2011 was from Dusseldorf Hakushinkai the annual "Tachi Uchi no Kurai 太 刀 打 之 位" seminar. In 1988 the Hakushinkai Dusseldorf eV Iaido are taught.
Under the expert guidance of Sensei Horst Ehrhardt and support by Udo Snow White Sensei, two Days Tachi Uchi no Kurai the ten kata, the place of exchange and the necessary coordination exercises trained.

The Kumitachi Kata, which include Tachi Uchi no Kurai 太 刀 打 之 位, are a collection of partner exercises. Their primary function of the exercise of the sword movements, improve coordination, timing and spacing, they are not a combat training! The uniqueness of the pulses and counter-movements, the alertness of the partners and the accuracy of the movements are in the exercises in the foreground.
Initially practiced slowly and in time the processes can be very fast. The The goal is to "fuse" with the movements of the partner. Kumitachi is an important part of the Muso Shinden Ryu, as well as some other old schools. Concentration, mental sharpness, overcoming fear and understanding of distance are some of the things that are promoted during the Kumitachi, but also the understanding of space and time and their own position within these coordinates are constructed. The understanding of their own central axis of its own position and timing are crucial for winning a fight. Therefore should not be practiced Kumitachi with beginners. In the individual stages as well as in real combat, often several techniques such as "Daito and Shoto against Tachi" or Jujutsu and Kenjutsu techniques together.
In the Tachi Uchi no Kurai Kata there is no real commitment to teachers (Uchidachi - 打 太 刀) and students (Shidachi - 受 太 刀) as to be replaced after some pre-agreed repeats the "roles" and contrary to every kata the trainees the clockwise each move one place to the right. This ensures that training is not always the same partner each other. However, are the "teacher" (superior graduate) at the beginning of the Kamiza page, so the last form, which is actually no real Kata, also called "Place Change". The "space shift" is in a controlled form of struggle of the place if necessary as changed, so that at the end of the exercise of the higher-graded back to the Kamiza-side is that at the end of the exercise to avoid running around uncontrolled.
The teacher will always, always have the first beat and offers out of the openings on superiority and control the action. The student always executes the last shot, who then declared the "winner". The teacher "lost" forever, "gives himself to" the student. It is used in the Kata but not on the "winning", but a clean and smooth as possible execution of the techniques. Again, "Practice slowly lerne schnell. Übe schnell, lerne langsam! "
Tachi Uchi no Kurai place 太刀打 Department
(10 Kata stehend Daito gehen Daito)
  1. Deai Deai erste Begegnung
  2. Tsukekomi Provisions included Vorteil ziehen
  3. Ukenagashi empfangen und abfließen lassen
  4. Ukekomi 請流 請込 empfangen und reingehen
  5. Tsukikage Mondschatten
  6. Suigetsutō moon sword Suigetsu Stich in den Solarplexus
  7. Zetsumyoken exquisite sword vortreffliches Schwert (unvergleichliches Schwert)
  8. Dokumyoken strange sword Doku Sword of unique splendor (wondrous sword)
  9. Shinmyoken 心 明 剣 the sword of the clear spirit
  10. Uchikomi 打 込 battle for the center
  11. to job
However, before the Kumitachi forms can be started must feel for the distance and control of the Bokken be trained. Given before each Kumitachi some special training exercises are performed.
is usually started with the "18 sections"

The 18 sections

The Bokken is (in contrast to ZNKR-Iai) carried horizontally to the left.

The distance between the two practitioners is another "no maai Issoku itto" ("One-Step / A-sword distance." This is the distance that can be taken from the enemy with a step or a step but its impact can be avoided.)

Mutual bowing.

Both draw their swords with simultaneous action with the right leg and take Chudan no kamae (middle position, Tsuka in about navel height, the tip (Ken) is aimed at the throat of the opponent) a. Intersect with the blade in the upper third.

The (passive) Practitioners picks up the Chudan no Kamae, brings his sword down from the side over the right shoulder and goes in a similar position Waki no kamae.
The (active practitioners) remains in Chudan no Kamae.
Hidari (left) and migi (right) is always on the side of the body with passive exerciser, so the partner is "cut" is.

applies for all sections that the active practitioner in the right leg has Hidari and Migi are front left leg.

When slide back, "Suri ashi (sliding foot - movement) remain the feet of one another at the same distance.

is now out of this position Migi (ie right at the opponent) cut is the left leg forward. After the cut is zurückgeglitten that both feet back in the same distance from each other.

The first and the last section Shomen Tsuki are not traditionally counted, so there are 16 sections and 18 are not.
  1. Shomen - Shomen to Vertical section.
  2. Hidari Men - cut to the right temple.
  3. Migi Men - cut to the left temple.
  4. Hidari Kubi - cut to the right upper neck.
  5. Migi Kubi - cut to the upper left side of the neck.
  6. Hidari Yoko Kubi - cut right side of the neck, through horizontal neck.
  7. Migi Yoko Kubi - cut left side of the neck horizontally through the neck.
  8. Kesa Giri Hidari
  9. - Section through the Kesa.
    From top to bottom.
    Migi Kesa Giri
  10. - Section through the Kesa.
    From top to bottom.
  11. Kesa Giri Hidari Yoko - Section through the Kesa, the same section of the bottom to the top back.
    The right foot comes first and it is cut from top to bottom through the Kesa. Then the left foot is in the amount of the right foot (Parallel) and at the back of the right foot from the bottom to cut up by the Kesa.
  12. Kesa Giri Migi Yoko (Migi Kiriage) - section of the Kesa, the same section of the bottom to the top back.
    The left foot is paramount and it is cut from top to bottom, by the Kesa. Then the right foot is in the amount of the left foot (parallel) and at the back of his left foot from the bottom to cut up by the Kesa.
    From here goes the passive exerciser in Jodan no kamae (upper management). The blade is held above the head, with about 40 - 50 degrees backward inclined tip).
  13. Hidari kote - Cutting left Wrist.
  14. Migi Kote - cut right wrist.
  15. Hidari do - cut below the left armpit of the passive student.
  16. Migi do - cut below the right armpit of the passive student.
  17. Hidari Suihei Do - Horizontal section below the belly button through the beginning (as in ZNKR Sogiri) of the left side of the passive student.
  18. Migi Suihei Do - Horizontal section below the belly button through the beginning (as in ZNKR Sogiri) of the right side of the passive student.
  19. Tsuki - The Suigetsu (solar plexus) with passive Kiai and immediate correction by the Practitioners.
Both practitioners go Chudan no Kamae and cross swords. Both run Yoko Chiburi, Noto and then bow.

It has been particularly slow to clean and techniques, and on safety. As in the "normal training mode" weekly Friday Kumitachi is practiced, most of the participants were familiar with the processes. But the visitors were quickly into the processes, there is always an "advanced" students as partners to the side. In two Sensei and ten students were ensured that any adjustment could be immediately applied and verified.
There were always co-ordination and editing exercises to strengthen the sensory understanding. Since
here Bokken Bokken meets it is important to learn to deal with this resistance. Also, both partners have to learn both their physical strength and with the pressure of the bokken handle consciously. Of course, this also keeping the correct Reiho. Right here in
Kumitachi, where suddenly a physically present "enemy" is present, show the "little quirks" that stand for Iaido training not so. Yes, the evil crooked hip because someone tipped sideways, forward or backward, the hands and / or arms too close to the body or too far from ... There was much to observe, learn and learn.
the end of the last day was be the performance of the individual Kata by participants. This was to then realize that trained the participants for the first time Kumitachi had learned a lot.
Semme and Maai will have changed significantly in the regular Iaido training. to miss an experience that none of the participants liked.

Both in Muso Shinden Ryu (MSR) and in Muso Jikiden Eishin Ryu (MJER) there are two rows of the Kata "Tachi Uchi no Kurai" and "Tsumiai no Kurai" is named be. Both series consist of ten Kata. In some of They must defend themselves Shidachi by dragging, blocking or running a counter-attack, while the opponents in relation to other kata with drawn blades are available.
There are marked differences between the two ryuha in the implementation. The MJER forms are older and more combat oriented, while the MSR forms, apart from some technical refinements, are focusing more on the mental / psychological side. Both are very different from the Kendo Kata, which is not surprising, considering its roots.
The forms practiced today are probably relatively recent origin. Probably originally existed much longer form, which also Ju Jutsu Elements contained. The two rows of the MSF-Kata are about two hundred years old when they appear already in the Iai MJER. They are called "Tachi Uchi no Kurai" and "Tsumiai no Kurai", and carried out with partners. "Tachi Uchi no Kurai" is a series of ten Standkata and Tsumiai no Kurai "a series of ten Sitzkata
From the last row of seating technology" Tsumiai no Kurai "is known to be of Oe Masamichi Shikei (1852-1927), 6th Master of the Tanimura Ha have been introduced.
The MSR does finally a set of ten Kata, who under the name "Dai Ken Dori" is known. This set consists of six to Tachi Tachi Tachi and four against Kodachi Kata.
In the lineage des MSR von Nakayama Sensei finden sich ebenfalls einige Kumitachi Reihen, wobei es heutzutage sehr wenige Menschen gibt die sie noch ausüben. Zu den heute noch viel seltener ausgeführten Kumitachi Kata gehören neben "Tachi Uchi no Kurai place 太刀打 Department" noch: Kurai dori scale , Tsume iai no kurai National Iaido place packed, Daishō tsume small filling, Daishō tachi tsume 小立 large filling, Tsume no kurai place packed Department, Daiken dori take great search.

Weiterführende Informationen:

Link zu Artikel : Kumitachi - "Tachi Uchi no Kurai "&" Tsumeai no Kurai "

Some pages from a Japanese Qriginal the MSR variants of the" Tachi Uchi no Kurai "太 刀 打 之 位, and" Tsume no Kurai "诘 之 位 Kata.

link to Article: There Muso Shinden Ryu with Kumitachi Kata

Here there are links to two recordings of an introductory course in "Tachi Uchi no Kurai", from the 2007 performers are also here. Horst Erhard and Udo Snow White from Hakushinkai Dusseldorf:

Hakushinkai Dusseldorf eV
Frank Willems
E-mail: @ frank.wi
Phone: 02182-5785506

The "Tachi Uchi no Kurai" course is conducted annually. Upon request and with sufficient number of participants, a further date is possible. This requires the agreement.

Robert, Thanks for your help!

Thursday, February 3, 2011

Watch Free Cherokee #### Movies

creative training methods from a not quite new book

In the February issue of the Sword Buyers Digest "which is published by" Sword Buyers , was among other things, the long ago (1998) published book "THE MODERN SWORDSMAN - Realistic Training for Serious Self-Defense by Fred Hutchinson discussed. Fred Hutchinson is now a quite controversial person use the "sword scene" and the idea of a sword for self-defense is now something more unusual and legally questionable. But, as pointed
the author of the Book Review praised the true value of the book lies in the description of the training methods, although one must admit that the tips for self-defense in the first chapter should be read very entertaining.
The training methods are discussed in detail in several chapters and are a real gold mine. In part, the methods rather enjoyable, such as the use of a suspended table tennis ball, or the "bubble" method.

here blows a partner soap bubbles into the air and the trainee tried this one after exactly with cuts or bites, but to also meet with the hand or kicking.

THE MODERN SWORDSMAN - Realistic Training for Serious Self-Defense e
Fred Hutchinson
paperback, 80 pages
Publisher: Paladin Press (1998)
ISBN-10: 0873649958
ISBN -13: 978-0873649957
EUR 17.99