Anoche se realizaron exámenes de paso de grado de Nihon Taijutsu en el grupo Nihon Kobudo Aragón. Felicitar a todos los aspirantes por el alto nivel demostrado y, como no, a los sufridos ukes que recibieron inmerecidas palizas.
¡Por fin conseguí el segundo kyu de NTJ, después de tantos años! Vamos lento pero creo que estamos en el buen camino. Cómo no, gracias a Miguel Ángel Ibáñez por su santa paciencia con nosotros!
Imperdonable el retraso por mi parte, pero aquí teneis el capítulo 16 de Transmission, Inheritance, Emulation del Profesor Goldsbury.
El día que saque el libro va a ser referencia obligatoria en todas las escuelas de Aikido!
Durante la primera jornada se trabajaron las distintas líneas de Jujutsu englobadas en IMAF Spain, lo que nos sirvió para obtener una más completa visión de diferentes formas de trabajo, unas más tradicionales y otras más modernas. Con cuatro tatamis a nuestra disposición, nos dividimos según el grado de cada uno para estudiar las técnicas correspodientes a nuestro nivel. Todos los maestros pasaron por los cuatro tatamis para que nadie se quedara sin probar ninguno de los sabores del Nihon Jujutsu de la Asociación.
Los maestros Mònica Sánchez, Xavi Teixidó, José Miranda, Juan Antonio Salas, José Manuel Guisado, Miguel Ángel Ibáñez, Marcel del Río, Salvador Arbós... todos mostraron su capacidad técnica y rico conocimiento del arte.
La jornada del domingo sirvió para mostrar el programa técnico hasta primer dan del Nihon Kobudo, exponiendo los trabajos de Tanbo, Hanbo y Suntetsu. Un gran trabajo de rescate de las escuelas clásicas por parte del Maestro Miranda.
Agradecer a la organización y a los maestros el que pasáramos un gran fin de semana.
Programa TAIKAI
El Sábado 14, durante todo el día trabajaremos Jujutsu, en 4 tatami simultáneos
El Domingo 15, durante la mañana trabajaremos Nihon Kobujutsu: Tanbojutsu, Hanbojutsu, Suntetsu/Tenouchijutsu.
Lugar
Pabellón Polideportivo de LLers (3 Km. de Figueres), Girona. www.llers.info
Cuotas
SÁBADO 14, programa.
DOMINGO 15, programa.
Profesorado
Alojamiento
Hotel Sidorme Figueres, a precios muy asequibles.
www.sidorme.com/hotel-economico/sidorme-figueres
Información y reservas en dama@ctv.es, Tel.: 669 55 71 13.
OS ESPERAMOS!!!
Esta es la reseña de la Editorial Alas:
Colección Nihon Jujutsu. Volumen I
Atemi Giho (método de golpeo), es el primero de los 5 volúmenes dedicados a la historia y técnica de las escuelas de Nihon Jujutsu. En este primer texto, el autor nos adentra en los orígenes históricos de estas técnicas en Japón, los detalles de cada escuela, las formas de entrenamiento y series prácticas que muestran su uso en el arte flexible japonés.
Esperamos con mal disimulada ansia el día de su puesta a la venta, que el autor estima sea a mediados de noviembre.
Since I practice both a traditional martial art (aikido) and mixed martial arts, I often get caught up with lots of arguments and discussions about the relative merits of the two. It's a touchy subject, since experienced TMA practitioners are highly invested in their arts, and MMA practitioners often have TMA experience that they "outgrew", so personal bias comes into play a lot.
For me, the two are not competing against each other, they are orthogonal in their attributes, overlap some, and only become antagonistic when someone postulates an either-or scenario. This is very similar to debates about religion vs. science or faith vs. evidence.
First, let's get some definitions out of the way. For me, a traditional martial art is one that emphasizes martial artistry along with cultural and character attributes. They are generally very formal, have a rigid hierarchy (often denoted by titles such as 'master', 'sifu', and 'sensei' and colored belts indicating rank), and tons of splinter groups and off-shoots from "mainlines". Examples of TMAs include the various flavors of aikido; karate-do; judo; tae kwon do; kung fu; wing chun; and Brazilian jiu-jitsu. Most of these arts also claim to be extremely effective in self-defense situations and/or particularly lethal, an assertion based on their heritage and not on evidence.
Related to these are what I call "sporting martial arts". These are combat sports that are generally one-dimensional, have competitions governed by rigid rules, and often lack formal or culturally steeped rules of etiquette. Amateur wrestling, boxing, and, to a lesser degree, Muay Thai kickboxing are examples of this. Ironically these don't really claim to be strong for self-defense due to their one-dimensional nature, but their training methods make them surprisingly effective for that purpose. BJJ is a sporting art as well, but its roots are in self-defense and NHB fights so I don't put it in this classification.
A mixed martial art combines the techniques of multiple combat sports and martial arts, and eschews the rigorous rules of conduct and hierarchies typically seen at a traditional martial art. MMA practitioners train at a gym (not a dojo or kwoon), don't have a belt system, don't practice forms or kata, and work under a coach.
MMA arose in two big steps.
The first was Bruce Lee's introduction of the Jeet Kune Do philosophy, which discarded the dogma of "you train under one style only" in favor of "use those techniques which work, discard the rest". This was a revolutionary concept at the time (if you ignore a couple of the "ancient MMAs" such as aikijujutsu and ancient Greek pankration) and counter to the rigid mindset of so many traditional martial arts.
The second step, and quite possibly the most important, was the arrival of mixed martial arts as a sport, with organizations such as the UFC, Pride, Rings, various K-1 derivatives, IFL, Cage Rage, Rumble on the Rock, and so on providing fight cards and venues. This greatly popularized the sport of MMA and, at the same time, the notion of MMA as a martial art in its own right.
And it was about this time that the TMA crowd freaked the fuck out. To understand why, you need to realize that traditional martial arts typically do not have full contact sparring with "anything goes" type rules. Almost all TMAs require a uniform that is very unlike street clothes. Each style limits the techniques for sparring to emphasize that style's strengths. Almost all striking styles (tae kwon do, kyokushin, goju ryu, et. al.) disallow clinching, throws, or joint locks during sparring; often require heavy padding; and in some cases disallow many types of practical strikes (TKD doesn't allow knees or kicks to the leg; kyokushin does not allow punches or elbows to the face). Almost all grappling styles (judo and Brazilian jiu-jitsu) disallow striking during sparring.
There's nothing particularly wrong with all that, but these limitations mean that a style's effectiveness is a matter of faith. Too often bold claims were made about a particular style's lethality, i.e. "I could use these killer techniques but I'd maim you, so I can't spar". This is, not to put too fine a point on it, bullshit.
Why is it bullshit? Because, as Jigoro Kano (creator of judo) discovered almost 100 years ago, if you do not practice your techniques against a fully resisting opponent, then you have not mastered that technique. That is an absolutely unavoidable reality. If you possess some devastating joint break or nose smash or eye gouge or throat crush that you've never actually used it, then there's no way you can tell if it's effectiven (in absolute terms) and if you've really mastered it.
This is where many sporting martial arts (and judo, which is part TMA and part sport), developed a practical advantage, even with huge gaps in their curricula. A practitioner of a sport art competes against others on a regular basis, exposing them to opponents that do not want a technique performed on them. By using only techniques that won't kill someone, combatants can use their full repertoire at full speed and power.
This has a couple benefits. The first is that a student truly learns how to use a technique, under duress, and under less than ideal circumstances. This cannot be emphasized enough. The second is almost entirely intangible -- the student learns to deal with conflict and confrontation at high speed. Many TMAs train students using rote partner drills or unrealistic attack patterns (aikido's randori). The student's mettle is rarely tested against an attacker using skills or strategies outside that TMA's comfort zone.
A boxer may not be great at take downs or kicks, but he's usually very comfortable having someone trying to knock his head off. A wrestler may not have good striking skills, but he's used to someone trying to tackle him and slam him to the ground. Real world experience will trump theoretically dominant skill sets almost every time.
Now, MMA is the polar opposite of a TMA when it comes to the effectiveness of a technique -- it is purely evidence based. Faith doesn't play into it. Techniques are researched, developed, enhanced, and then tested in the crucible of a mat, ring, or cage. Techniques that simply do not work very well eventually fall by the wayside, so you have an accelerated evolutionary mechanism at work.
Over the past 15 years this has been strikingly evident in the MMA world. In the early days of the UFC you had Brazilian jiu-jitsu guys dominate using very rudimentary take downs and almost no striking skills. Over time wrestlers with superior take downs and take down defense, but sub par striking and submission abilities, started to dominate the scene. Then fighters like Fedor, BJ Penn, Wanderlei Silva, and GSP started showing up. They would use Brazilian jiu-jitsu submissions, wrestling take downs and take down defense, boxing punches, and Muay Thai kicks and knees.
MMA practitioners today are much, much different than those of even 10 years ago. An MMA fighter today probably still specializes in one domain, but he will be at least "good enough" in every other facet of the game or he won't be competitive. This is the evolution of MMA today.
MMA techniques and training regimens are based on evidence, not faith. You don't learn a technique with a master scowling at you saying "This will work when you need it, trust me!" If you can't pull off something, you won't use it, and you'll find out soon enough if you can pull it off.
TMAs, on the other hand, don't have the laboratory of no-holds barred competition with which to evolve, which is why, by and large, the goju-ryu or wing chun of today is nearly identical to that of 50 years ago.
TMA practitioners have their counterarguments when it comes to pure combat efficiency. The most common is that a TMA isn't a "sport" and thus is potentially more lethal. But as I discussed earlier, if you have a host of lethal techniques that you've never used against someone trying to beat the crap out of you, it's doubtful that you'll be able to use them when the shit hits the fan. The second most common, and ironic, argument is that a TMA is more effective "for real" since MMA competitions occur inside a regulated ring, wearing protective gear, minimal clothing, no weapons, and a well-defined one-on-one scenario.
This claim of "more realistic" would have a lot more weight if TMAs regularly trained in street clothes, wearing shoes, with weapons, against multiple opponents, and outside on concrete or inside on hardwood floors -- using a wide range of techniques. But they don't, making the argument specious at best.
So all that said, I must be pretty down on TMAs, right? NOT AT ALL! As I said at the beginning, I still practice a TMA (aikido) regularly. And here's why: MMA and TMA offer completely different things.
If you want to learn how to fight, then I do strongly believe than an MMA is going to be far more effective than any TMA in existence. It's faith vs. science -- I have evidence of MMA effectiveness and, more importantly, as I progress with MMA I can test my own abilities. It is true that MMAs are really optimized for fighting against someone who also has training, but I don't consider that a liability. Many TMAs are really setup to fight against others of their own style or against completely untrained opponents.
But not everything is about fighting. TMAs offer a host of valid benefits:
[Fuente: mma-journey.blogspot.com]
September 15, 2009
To Whom It May Concern,
The purpose of this statement is to announce that after Master Minoru Mochizuki, founder of Yoseikan Budo, passed away, the Kokusai Budo Seifukai (International Budo Seifukai) was formed for the purpose of continuing and developing his ideals of education. These ideals are: to inherit and promote the principles of “Maximum Efficiency” and “Mutual Welfare and Prosperity” and to apply these concepts to the cultivation of character; to help youth develop physical and mental qualities; and to contribute to the improvement of quality in martial arts through the promotion of mutual friendship among its members, while deepening one’s appreciation of Budo.
Consequently, we divided the organization into three (3) regions. The directors of these regions are:
In particular, all requests from overseas, such as notification of results of ranking examinations, applications for rank certificates and arrangements for seminars or training in Japan should first be made through Patrick Augé Shihan (auge@yoseikanbudo.com) who will inform the Hombu. Please understand that this procedure is for the purpose of maintaining the quality of ranks and the integrity of the organization.
Moreover, the Yoseikan Hombu (main office) was moved to France and, the former Hombu Dojo in Shizuoka, Japan, was purchased by a third party. Consequently, the Seifukai is no longer practicing in that location. Also, please note that Mr. Terumi Washizu, from whom we could not get cooperation in regard to our requests, resigned from Seifukai.
The present location of the Seifukai Hombu is the residence of Tetsuma Mochizuki Saiko Shihan, second son of Master Minoru Mochizuki.
Hiroaki Kenmotsu, Shihan 8th dan was appointed Hombu Secretary.
International Budo Seifukai
Kyouichi Murai, 10th Dan, Chairman
Tetsuma Mochizuki, Saiko Shihan
Left to right: H. Kenmotsu; P. Augé; T. Sugiyama; T. Mochizuki: N. Yoshida; K. Koga.
¡Que os aproveche!
Breve recordatorio fundamental de la geometría del Aikido.
O Sensei used these three principles to help his students better understand what they were learning. The Circle (marui), the Square (shikaku), and Triangle (sankaku) were used to illustrate the different concepts of movement and technique.
Triangle: O Sensei used the triangle to illustrate the idea of water flowing. He said that water always took the path of least resistance, and this is what Aikidoka should be doing as well. An example of a triangle movement would be the irimi, or entering techniques. As a sword is brought down to strike, the Aikidoka steps in and to the side in order to position him/herself for the defense. If we look at a triangle as having two angles at the bottom and one at point, we can imagine the two lower angles representing a very firm, stable base, and the lead point being the Atemi. The triangle can be compared to the irimi (entering) techniques because it gives the impression of direct movement, without a turn or a Tai-sabaki, just a quick forward technique. Sometimes the direct responses to an attack are very effective, and are excellent for unbalancing your partner.
Circle: Depending on your position and your opponent's balance, any technique can be executed from both the inside and outside of your partner's body. The circle comes from the japanese word Ju, meaning soft or gentle. The concept of Ju is the principle of pulling when pushed and pushing when pulled. We commonly hear the phrase "fight fire with fire", but I always thought that this was the opposite of the philosophy of Aikido. I think a more suitable phrase would be to fight fire with water. As circles we should never hit our opponent, no direct movements can be circles. The idea of the circle is to be like a ball, rolling with the attacks, usually by executing a Tai-sabaki to end up beside the attack. Being beside it effectively paralyzes the attack, because it is very hard to hit someone who is beside you and that close. When fighting directly, face to face, your opponent will have the opportunity to attack multiple times. After the first attack, being a circle, you should be beside him, but only for a moment, continuing his movement but still in control. Before the initial momentum of the attack has been spent, either while he's still committed to the strike, or as he's pulling back, recovering, this is the time to act, leading that movement into a technique. This is why many Aikido techniques look like the person receiving it is cooperating, they seem to be helping the person doing the technique, and in a sense they are. They give the opportunity and the strength, we merely guide them along the path until they are defeated, in effect by themselves. Circles are not stable in the stationary sense like the square, but they are stable in that they never fall. This is because they constantly move. Try to make a ball fall over... An example of the circular principle would be an attack from a sword. If the swordsman is committed to the strike, then the proper movement would be to lead him forward. If the attacker is holding back or recovering from the forward momentum of the attack, than a technique to his rear would be more effective."The body should be triangular, the mind circular.The triangle represents the generation of energy and is the most stable physical posture. The circle symbolizes serenity and perfection, the source of unlimited techniques. The square stands for solidity, the basis of applied control."
– O Sensei
Square: But what if the attack is neither forward or backward? The theory behind a neutral attacker is to get him to move, possibly through an atemi (strike). This will destabilize his position and a technique may be performed. When O Sensei drew a square, he often wrote the word go, meaning strength. He said that since a square was made up of four ninety degree angles, the most effective strike would be at a ninety degree angle. The square is a very stable, very strong position, but it is unlike the triangle and circle in that it lacks movement. We often start off in a "square" frame of mind, being very calm and neutral. From here, if an attack comes, we can be very ready, and turn into a triangle and counter by entering, or by becoming a circle, to harmonize with the attack and put him down that way.
These ideas of shape are simply to give the practitioner something easy to think about, a visual aid while practicing. Understand that the three shapes should not be restricting your thinking in any way, and don't worry if you can't identify which shape you should be. Also know that these shapes are constantly changing, never stick to any one. We can start a conflict in a square shape, moving into a triangle for an Atemi, and then into a circle to perform the technique.
Recently I've been thinking a lot of this imagery, and during class I try to envision these shapes in their different states. Even during the warm-up exercises I can see the different shapes, and thinking of these while performing a technique is very helpful. Like an artist who is first told to reduce everything to geometric shapes, so do we. The triangle is very easy to see, usually associated with the stance, a stable yet directioned force. I noticed recently that the point of the triangle is often at one's center, and this makes sense, as this is the origin of all movements. The circle is also easy to see, I find it's usually the movement of the body and arms. Using the circle takes away the partner's chance to resist, because it's impossible to resist a force that can go any way, change instantly, surround you and control you before you really know what's happening. I have a hard time envisioning the square, as it is the most stable of the shapes, and not usually associated with the actual movements. It is the stability needed while in Kamae (ready stance), both physically and mentally. One must be physically grounded in order to produce an effective technique, and without the concentration, no matter how physically correct you are, the technique cannot work.
Disponible el capítulo 15 de Transmission, Inheritance, Emulation de Peter Goldsbury Sensei.
Este hombre no para de escribir. Deseando que lo depure y lo ponga todo juntito en un libro YA!
Subtitled “the legacy of Minoru Mochizuki’s yoseikan sogo budo, a dynamic synthesis of modern and traditional martial arts,” this book gives the most detailed and authoritative review available of the unique art created by Minoru Mochizuki, one of the earliest uchi deshi of aikido founder Morihei Ueshiba, in his home dojo in Shizuoka City, Japan. It also gives extensive detail on the modern yoseikan budo of Hiroo Mochizuki, current international head of yoseikan budo, allowing the reader to find the commonalities and striking differences between the approaches of a father and son devoted to budo. Earning the following ranks since his beginning in budo at age 13 (turning forty this month), Edgar Kruyning is well-qualified, both physically and intellectually, to present the essence of Japanese martial arts:
“The Art of Ju-jutsu” reflects Minoru Mochizuki’s teaching that aikido is a form of ju-jutsu, which he considered a unique expression of Japanese culture to be preserved, developed and given to the world. “The Art of Ju-jutsu” is the best English resource available on the arts of yoseikan.
Published by lulu.com, available on Amazon and elsewhere, “The Art of Ju-jutsu” will be a valued addition to any serious martial artist’s library. Densely illustrated with hundreds of high-quality photographs, the text provides rare insight into this important martial arts tradition. Preface by Patrick McCarthy.
Un rápido apunte para avisar que ya tenemos el capítulo 14 de la serie Transmission, Inheritance, Emulation de Peter Goldsbury Sensei.
Quien busque lectura ligera, esta no es su serie. Aviso.
“Getting off the line,” at least as most people I’ve observed excute it, is reactive. We side-step, get out of the way of the attack, etc. Irimi is then imagined to be a counter-attack on an angle - martial arts as the application of geometry, so to speak.
In Japanese, reactive counters are often called “go no sen,” which is a counter to the other’s initiative, but even this is not accurate. In fact, reactive counters are commemorated with tombstones.
In Go no sen, one takes the initiative away from the other and rules him. Imagine a conversation in which someone raises his voice, and in the middle of his tirade, I hold my hand up and out and say, “Not one more word. Be still.” And they are silent. An argument is reactive, as in, “I don’t like your tone of voice! And you are wrong,” to which they reply again, and I respond to that. An argument is often referred to as verbal sparring or verbal fencing. Go no sen is dominant - one cut, one life.
One place we see this is in kenjutsu, and an exemplar of it is in Itto-ryu (remember the deep ties that Itto-ryu has with Daito-ryu). As the enemy cuts, so, too, do I cut. Not “along” the same path. ON THE SAME PATH. Two objects cannot occupy the same space, and I, with greater power/speed/timing/postural stability, etc, take that space. The enemy is, ostensibly, deflected, but they are NOT knocked away. They are simply not allowed to occupy that space. And often there is no tai-sabaki (body displacement, getting off line). There might be. If there is, it is simultaneous - not one following the other. But even beyond that, tai-sabaki is not part of the fundamental definition of irimi, simply an elaboration of it.
Irimi in aikido occupies space the same way. This, by the way, is the true essence of atemi - not pugilism - but using the body (particularly the limbs) to take space the opponent is trying to occupy. Sometimes one steps off line, but sometimes one steps across line or even in line. Like a swimmer diving right in the belly of a breaking wave. Like Shioda Gozo in one of his favorite techniqes where, in respond to a two-hand grasp, he steps in with suddenly rigid downward arms and the opponent, bounces upwards and away. Like Nishio Shoji in that subtle little twist he did with his wrist at the moment he was grasped, creating a small but inexorable wave of recoil (kuzushi) into his partner. Like Kuwamori Yasunori used to do with his hips, taking the place right where your advancing thigh was about to occupy in his wonderful koshinage. Like Chuck Clark in the way he puts that meaty fist right where your head is about to be. All irimi with no moving off line whatsoever.
Aikido technique - that which we practice so much, and seems so open to criticism by folks who recommend adding a touch of boxing and a tad of judo - is the EFFECT, not the essence of aikido. Properly, technique drops in one’s hands after the aikido’s already been done.
And tenkan? I’ve written on this elsewhere, but in brief. Tenkan imagined as spinning away/finesse/leading into a circular path is not part of aikido. Merely part of fantasy played out on the mat. Tenkan is always preceded by irimi. The opponent is so skilled or powerful that even as irimi takes his space, he is wrapping around it/taking the space back, and so one wraps them in a circular motion/technique. Because irimi did take their center - if only momentarily -he’s got to “go around.” The circular motion starts with him. Tenkan is like taking hold of a planet and adding speed and some ellipse or spiral or tangent to its circular revolution. Aikido ura techniques (tenkan) take the person on a tangent - inward or outward - to their circular path. Tenkan should be described as spiral, not circular - it is the permutations of an initial circle once we have taken it over. But if irimi had not already won half or more of the battle, there would be no tenkan to accomplish. You would simply be defeated.
Ya se encuentra disponible el capítulo 13 de la serie Transmission, Inheritance, Emulation de Peter Goldsbury Sensei.
¡Y cada vez se pone más difícil...!
Extraigo lo siguiente del blog de Enrique Oliva, excelente aikidoka y amigo. Dedicado especialmente a quienes dicen que el Atemi no tiene cabida en el Aikido.
Desde un punto de vista histórico, pienso que el aikido evolucionó de situaciones en las que los samurái no podían hacer uso de su espada. Algunos críticos dicen que el aikido no funcionaría contra sistemas de pelea modernos, como el karate. ¿Qué opina usted?
El aikido incluye tanto dori (técnicas para apoderarse de la espada corta), tachi dori (técnicas para apoderarse de la espada) y jo dori (técnicas para apoderarse del bastón). Durante esas técnicas, si tú permites que el filo de un arma llegue a tocar tu cuerpo podrías morir, mientras que un puñetazo o una patada no te matarán excepto que golpeen en algún punto vital. La espada sólo necesita hacer un ligero contacto para herir seriamente o matar; aún así, practicamos cómo defendernos contra la espada con nuestras manos vacías. Si siempre tenemos esto en mente, será un entrenamiento valioso.
¿Considera usted que el aikido sin atemi puede ser efectivo contra un ataque fuerte?
El aikido incluye al atemi, aunque, por supuesto, el entrenamiento no es igual que la realidad, así que no aplicamos atemi por completo en el dojo. En el taijutsu, el atemi es un elemento vital que enfatizamos en nuestro dojo.
En el aikido el atemi es empleado contra el ataque con un arma, así pues, ¿cree usted que es deseable para un aikidoka aprender cómo hacer frente a las patadas de karate, ahora que los ataques de este tipo son empleados a menudo?
Sí, creo que deberían aprenderse. No es algo que se deba evitar. Existen muchas técnicas básicas que nos permiten enfrentar al karate, como el tsuki y el yokomen uchi.
Un grupo establecido por uno de mis estudiantes realiza un tipo de defensa contra los ataques del karate, y es muy interesante. Un hombre con 4º dan —tanto en aikido como en judo— esquiva los ataques de karate y avanza para proyectar o controlar a su atacante en una espléndida demostración de técnicas de aikido. También recomendaría una práctica abundante en técnicas como yokomen uchi y tachi dori.
Pone usted un fuerte énfasis en las armas y basa sus enseñanzas en los principios de la espada. ¿Qué opina usted de la actual situación del aikido en otras partes?
No conozco otro aikido que no sea el de O-Sensei. Recibí enseñanza de O-Sensei desde los 18 y hasta los 41 años, y le serví del mismo modo que lo hace un discípulo interno (uchideshi), así que no conozco ningún otro maestro. Muchos shihan crean nuevas técnicas y creo que esto es algo maravilloso, pero después de analizarlas todavía estoy convencido que nadie puede superar a O-Sensei. Creo que es mejor seguir la forma que nos dejó.
En estos tiempos la gente se inclina a tomar su propio camino pero, mientras yo siga involucrado, voy a continuar ejecutando las técnicas y formas que O-Sensei nos dejó.
¿Qué opinión os merecen estas simples técnicas? ¿Debería ikkyo funcionar sobre un perro tanto como sobre una persona, o considerais ridícula la mera idea de aplicar los "principios universales" a estos simpáticos (casi siempre) compañeros?
I think it's pretty clear that "true and correct transmission" is basically a myth. If you still don't believe me, take a look at old films of any martial art you can find. It's almost certain that there are significant differences between the way they are done now, and the way they used to be done. Many times, these films (perhaps of 400-year-old arts) are only 50 years old. We, at least, have the benefit of viewing these films, where previous generations had only drawings or written descriptions. Surely even greater changes were introduced within the first 350 years.
So, if it's safe to say that what we're doing bears only a vague resemblance to what the founders set down, what is the meaning of "authenticity"?
Para leer más: ejmas.com.
For many of us the most time consuming and costly part of starting a dojo will be our mat. The “mat” is the central focus of our physical Dojo, so it’s important that we have a robust mat we can be proud of. However for most of us, cost is an issue. Many start their schools out of their garages, basements, or inexpensive warehouse space. While a mat is deffinatly something we don’t want to “skimp” on, a really nice “store bought” mat can be staggeringly expensive. This is especially true if you are fortunate enough to have a large space.
Para leer más: aikidostudent.com.
Lewis Bernaldo de Quiros and Carolina van Haperen perform morote dori kokyu ho with 4 variations as taught by Morihiro Saito Sensei.
Many believe that sutemi waza has no place in Aikido. Well, Mochizuki Sensei didn't quite think like that, and incorporated a series of sutemi from his experience in Gyokushin Ryu Jujutsu into his Yoseikan. The result is a very nice blend of the sutemi with the aiki and ju principles of the art.
The following are just two examples of Yoseikan sutemi waza. Hope you enjoy!
Para leer más: koryu.com.
Dear Tori,
Today I will start by attacking you with a Yokomenuchi aimed to your right side, I will also use a Shomenuchi but I’ll let you know about it in advance, see you later at the dojo.
Best regards… Uke
Based on my limited experience I’ve always felt that strikes as attacks in Aikido were not studied as thoroughly as in striking based arts (with the exception of some schools i.e. Yoseikan and Tenshin just to name a few). As a result I started to explore and try out other ways of practice focusing on strikes as “unannounced attacks” and subsequently my study group at the time and I adapted “sparring” as part of training. However, we did not start with a “full out” spar, we only and specifically practiced our reaction to Shomen, Yokomen and mid-section thrusts and we only did this for what we called the “engagement” of an attack, meaning the parry and deflection of an attack and continuing as far as unbalancing uke, unless the technique was suitable for finishing up with a degree of safety (for instance Irimi nage as opposed to something like Shiho nage). Obviously we didn’t communicate in advance what attack was going to launch although we did agree on using either a straight right or left punch, circular strikes (Yokomen type) and straight to the mid section to start. This practice implicated the use of sparring gear. Some people might think that this will hinder the flow of the technique, but like I indicated before it was just an addition to our regular practice.
Para leer más: aikidojournal.com.
Hoy dejo aquí un vídeo que he encontrado en el blog de mi amigo Enrique Oliva. Se trata de un video de contratécnicas (kaeshi waza) de Nemoto Sensei, 6ºDan Iwama Ryu y alumno de O'Sensei y de Morihiro Saito Shihan.
Sometimes the Founder would raise his arms high up or even leap into the air as he approached his partner leaving the latter virtually helpless as he tried in vain to muster an attack.
Para leer más: aikidojournal.com.
Para leer más: aikidojournal.com.
First, I am a big proponent of ukemi practice. It has a lot of benefits within and beyond the dojo. We practice ukemi in every single class and I am always preaching to take the technique all the way to the ground – nagekomi instead of uchikomi. But with that said, does uke really have to take all those falls?
Para leer más: www.mokurendojo.com.
Para aquellos locos que se quieren hacer una armadura japonesa, Sengoku Daimyo contiene toda la información necesaria.
La página, propiedad de Anthony J. Bryant, contiene también información sobre la historia de la indumentaria japonesa, una introducción al japonés clásico y otra información siempre interesante para perturbados como nosotros.
Definitivamente recomendada.
Rescato de YouTube un interesante (y vetusto) vídeo de Aikiken de Tamura Sensei.
¡Qué irimi! ¡Qué acoso! ¡Qué paliza! ¿Quién se anima a discutirlo? Awase, irimi, otonashi no ken, tachi dori, nage waza... A mí me ha gustado mucho.
Just Yell Fire is a 46 minute instructional film, created for girls 11 to 19, which demonstrates 10 street fighting techniques to get away from attack and date rape situations, shares a Dating Bill of Rights, and includes stay-safe strategies from law enforcement agencies. The film was created by volunteers to keep girls safe and to teach them to fight back against assault or abduction. It is Free online and was one of the most downloaded production-length films of 2007. Schools, law enforcement agencies, shelters, and other groups are using it to keep their girls safe in 44 countries.
Hundreds of thousands of teen girls have seen the film Just Yell Fire, since it went online for free. Over 325,000 free DVDs have been given out, mailed, or downloaded. From 20 to hundreds of emails and letters arrive daily applauding the effort and telling us that parents, police, teachers, coaches, doctors, group leaders of all sorts, and others are using the film to make sure their girls won’t become a statistic.
Watch it at http://justyellfire.com
The following was published on Budo Free Talk on June 2002 (issue #26). It's author is Yoshimine Yasuo, a student of Sagawa Sensei.
There aren't many words which are misunderstood to the extent of the world Aiki. It is quite unfortunate that many dubious martial artist use this term purely for their promotional purpose. As of current state, as far as magazine or books are concered, thre are very few which provide correct information about aiki. If there are ten articles about aiki, probably at least eight of them are incorrect.
The reason why the matter has fallen to such sorry state is because aiki is very difficult to master. So only external forms have been transmitted and it is very rare to encounter genuine aiki techniques. Accordingly, even among people who call themselves Shinan (instructor), unfortunately, only few know it. When someone asks "what is aiki?", often, answers are like "This is beyond the description by words" or even "It's transcendent ability". (You may not believe me but true). Hopefully, I think more open and modern/enlightened attitude will slowly change this and make aiki easier to learn.
Then, what is aiki? I will write technical or methodological detail in my book so pardon me if I'm brief. But anyway, stuff like magazine tend to describe aiki as something mysterious but in reality, aiki is very scientific. To cut the long story short, if you seek the origin of the word aiki, answer will reveal itself.
I wrote this few time in the magazine "Hiden" but aiki is originally kenjutu (Japanese sword arts) term and it describe a state where you and your opponentís seichu (central) line is face to face. (This word is used even in modern kendo as in original meaning). Easiest way to see it is to just pick up swords with your partner, hold it in the middle until the tip of the sword face each other. Obviously, this situation is stalemate. So you have to diver your opponent's tip of the sword. To do this is called "Divert Aiki". It's not even incorrect to state that entire koryu kenjutu techniques are based on methodology of diverting aiki. For example, in case of Shinkage ryu (shin=true kage=shadow ryu=style), they often use technique to enter diagonally to divert aiki. In case of Onoha Ittoryu (Ono branch of one blade style.), it's characteristic is in how to divert tip of the sword by central breakthrough. Aiki of Daitoryu is application of this principle of central breakthrough of Onoha Ittoryu into taijutu. That is, you deliberately force the state of aiki as in sword fight then proceed to break this state through penetrating into centreline of your opponent. Accordingly, the basic stance use the same one as Onoha Ittoryu. And in aiki, attack target are neck and hip (and occasionally chest) and this is, in fact, same as the thrust targets of Onoha Ittoryu.
Therefore, there are broader definition and narrower definition of the term aiki. The broader definition of aiki is the entire methodology of crushing opponent's attack stance through central penetration. This includes atemi (strike) into upper part of the body. Narrower aiki means techniques of neutralising attack from the contact, exemplified in technique, aiki age (aiki lift).
Now, as of aiki age, presently, even this technique are often misunderstood. Many people confuse this with Kokyuho in aikido. They looks alike but their purpose is completely different. That is Kokyuhou or Tenchinage in akido originally meant atemi into jaw with palm. In Daitoryu, there are no concept to push someone down with charge like in sumo. The correct concept is to uplift your opponent or smash opponent directly below and the techniques which exemplify this fundamental principle are aiki age (aiki lift) and aiki sage (aiki takedown). These two use entire body and are not mere hand techniques. Hence by looking at even one photo, one could tell whether someone has managed to do it or not. Extremely bad example is when one push someone down just by using body weight . If one do aiki age from kneeling position, if someone standing losing balance on top of you even if your back is straight and your haven't broken your keeling, then it is the real deal. And if you have opportunity to experience aiki age, pay close attention to the feeling when you grab this person's arm. With someone who can really do this, there are rarely any sensation of grip because there is no collision of power. Accordingly, anyone who push back with force are out of question. And the biggest difference between correct aiki age and the incorrect one are whether one can make the movement smaller and smaller through training. If one try to push back with force or using body weight, one will never be able to do it. That is, true purpose of aiki is to utilise aiki in every taijutu technique by making it smaller and shaper through polishing your technique. That is why I mentioned in other place that if you got wrong teacher, you never make it.
As of side note, it is often said that the secret of aiki age is to "Open palms as in Asagao (morning face, common Japanese flower)" but this is often transmitted incorrectly. "Open palms as in Asagao" in fact point to the entire arm movement in aiki age and not pointing to how one open palm. The reason this theory has spread is probably due either to do with teacher intentionally hid it or someone who hasn't learned it properly spread it. Once you get used to aikiage, you can do it with your hands closed and the reason one have to open palm is only because it is easier to learn. An important point when you open palm is not to put too much force into your finger. This is bit difficult to get unless demonstrated in practice but in beginner's level, you open your palm like when you do paper in stone/paper/scissors. When expert do Aikiage, especially little fingers are very relaxed. And often this technique are split between Aiki of Kote, when someone grab your writs, and Aiki of Mune (chest) or Aiki of Karada (Body), when someone grab your collar or other such places but these two are the same. This is also easier to understand in demonstration but if you know the gist of it, the latter one is much easier one to do it.
Daturiki (Relaxlation) is another equally misunderstood word like aiki, and this world is also uttered in sort of aspiration as in the word aiki so I mention about it here just in case. Daturiki doesn't mean you don't use muscle. Even in aiki, one is of course using muscle. "To relax" simply means "use only necessarily muscle". The phrase "To issue ki" is same with this principle.
To add further, when he was alive, Sagawa Sohan swung steel training staff every days and someone said "That is just muscle work". This is like making speech with your pants down without understanding the fact that aiki as well as koryu kenjutu use entire body movement. In fact, it is natural to arrive at this kind of training if one think about what is needed in Daitoryu. (However, unless one learned proper way to swing sword, one could damage oneís body so I wonít recommend it.)
As stated, aiki is in practice, very scientific. It is true it is based on rather sophisticated principle but it has nothing to do with mysterious transcendantalism. Therefore, to describe aiki mesteriously or even religiously is self evident sign that one hasn't got proper transmission. It is like someone wondering in amazement at magician's work because he doesn't know that magic is a trick. For magician, trick is easy to perform. And the fact that aiki is scientific mean that everyone, as long as they practice seriously can master it. To add further, in some part of Daitoryu, it is said that one can master aiki even if you can't lift anything heavier than chopsticks as long as you receive oral transmission but that is nonsense. This is because the effect of aiki differs according to individuals. Once you got the gist of movement, then you have to reduce the margin of error by applying aiki many many times to various different persons. That is to aim perfection through repetition of movements based on logic. This is the same in any martial arts.
That is it. This time it was rather metaphysical but as I said, I clarify more practical description of technique or theory in detail in my book. So pardon me for that. The next topic will be "utilisation and paradox in form".
Ya está disponible el capítulo 12 de Transmission, Inheritance, Emulation de Peter Goldsbury Sensei.
¡A disfrutarla!
Una bonita demostración de Aikido por parte de Takeji Tomita Sensei, 7º dan del Aikikai y creador de la Takemusi Aiki Tomita Academy. Fue alumno de Morihiro Saito en Iwama, quien lo envío a Suecia a difundir el Aikido de O'Sensei, y maestro de aikidokas consagrados como Ulf Evenås Sensei.
El profesor Peter A. Goldsbury acaba de publicar el undécimo capítulo de su serie Transmission, Inheritance, Emulation.
Como de costumbre no tiene ningún desperdicio, aunque se hace especialmente ardua para quien no pueda leer japonés.
Dejo aquí un ilustrativo vídeo sobre la importancia de atacar correctamente. Son muchos los maestros que defienden este punto día a día en sus clases, y es que es un punto muy a tener en cuenta para ser un buen uke y poder progresar en las artes.
Cierto como la vida misma.
Directamente prestado del blog de mi amigo Enrique Oliva, un curioso e ilustrativo vídeo sobre tai biiru no riai. Disfrútenlo.
Este conjunto de técnicas que apenas se vislumbran en el vídeo son de gran utilidad durante la clase teórica que realizamos realizábamos día tras día en el bar tras el entrenamiento. Imprescindible dada la coyuntura económica en la que nos han metido.
Directamente de AikiWeb un interesante post de Chris Hein, de Central Valley Aikido, sobre la tan difusa diferencia entre Aiki (合気) y Ju (柔). Disfrútenlo.
Chris Hein Sensei
What is Aiki, how is it different then Jiu?
It's pretty common knowledge that Aikido is the study of Aiki; but what is Aiki? Do people other then martial artists use Aiki? Is Aiki magic? Is Aiki science? Does Aiki exist? These are all very important questions to which many never get fulfilling answers.
What is Aiki. Well first, lets look at the root words that make up Aiki. The first is Ai (合). Ai is the Japanese word for Accord, or meeting. It basically means to be in sync or come together with. The second word is Ki (気). Ki is the Japanese word for energy. Many people attach some mystical meaning to ki, but that will take us away from where we are trying to get to in this article. If for now you simply understand Ki as energy, the same as we use the word here in the west it will serve us well. By looking at these two words in conjunction we will get a very direct translation for aiki, of: in sync with energy.
For myself, I look at Aiki like music. Several musicians playing music together must use Aiki. The energy is the sound they are producing, and the accord is them working together to produce a cohesive piece of music. Music is a very good example to use because there is no physical interaction, it is simply and directly related to the harmony of the energy produced (the sound).
In my opinion an abstract example like this, is the clearest example of what Aiki is. Not to say that you cannot have Aiki when there is physical connection, but with physical interaction many other things may be things happening other then Aiki. This can cloud our understanding of what we will come to understand as Aiki.
Do people other then martial artists use Aiki? Well as we have seen in our example above, yes, certainly musicians use Aiki, but others do as well. Another clear example of someone using Aiki would be an American Football running back. The running back is the guy often given the ball behind the line of scrimmage (where all the other players are fighting to get to the ball) his job is to run past all the other players on the line and try and make forward progress. Oftentimes you will see one or several players from the other team brake the line and attempt to tackle the running back. However a good running back, with just his intent and a slight move of his hips is often able to make the other players miss him, and even fall in the process.
This is a "real life" example of what we in Aikido would call a "no touch" throw. The other players are trying so hard to get him, he convinces them that he will be in the place they suspect. Once he knows they are fully committed, he changes his direction and with out even touching them they will lose their balance and fall to the ground. This is not unique to Football, it can also be seen in soccer, basketball, and many other contact sports.
In our two examples above Aiki is being used in different ways. One is using Aiki to make a perfect harmony with the other musicians, and the other is using Aiki for a more personally beneficial end, however both are allowing their actions to come in sync with another energy; Aiki.
So how does one make Aiki? Active Aiki can only be achieved by allowing your mind to open to what is going on around you. Aiki is not a solitary practice, you must have something to harmonize with. What you harmonize with can be conscious or not, either way you can still achieve Aiki with it. However you can only "trick" an aware entity. For example if you are catching a ball, you will likely use Aiki. You will see the ball coming, and match the motion of the ball, so it lands softly in your hand. The ball is not conscious, however you still achieved an Aiki interaction with it. But the ball cannot be tricked, if you don't make contact with the ball it will follow it's natural path no matter what you do. Conscious entities can be tricked However. A bull for example, during a bull fight; the Matador can trick the bull into thinking things that are not true, and make the bull follow a new path. This is also Aiki, but used differently.
The Aikidoka must allow his mind to open to his surroundings, and seek to blend with what is going on around him. He must seek to be in harmony with his environment by detecting not only the physical motion of random objects, but also the intentions of his fellow man and beast. Truly beautiful Aiki (for us who study Aikido) starts with understanding your partner's intentions, and what motivates his action. After this is understood, you must choose actions, yourself that coincide with his desires, and blend with him to make a perfect Aiki interaction.
What is the difference between Aiki and Jiu? Depending on who you ask (particularly in relation to the styles that accompany the principals) you will get a multitude of different answers. These will range from the very mislead "Aikido is gentle and Jiu-jitsu is hard", to the overly simplistic, "they are basically the same thing".
Personally I've always hated the translation of Jiu (柔) as soft. Soft is what I would call a cotton ball. Jiu is like an inflated beach ball. I wouldn't call a beach ball soft per say, but it's not hard either. It has give, but also structure; it's springy. It's not without resistance. A bow (as in bow and arrow) is another good example of Jiu, it has flexibility, but it's certainly not soft, a good bow takes plenty of force to pull. While Jiu is yielding, it is also stable and strong, like the branches of a healthy tree.
Many people confuse the concept of Jiu and Aiki. While in physical interaction it's hard to tell the difference, they are still distinct principals, unique to themselves. Personally I would say the hard and fast rules are: Aiki is best used when you are not touching, and Jiu is best used with physical contact. In fact Jiu must have physical contact in order to be used. If you set a black inflatable ball next to a bowling ball, so they look identical, you would never know which one has Jiu (the inflatable ball) unless a physical force acted on it. Jiu is more receptive, and Aiki is more proactive.
While it's not impossible to use Aiki while in physical contact it's less clearly seen, and harder to understand. If you watch film of Judo great Kyuzo Mifune, you can see he often use's Aiki to throw instead of Jiu. He will strike a rhythm with his partner, by beginning to prance a bit, and the second his partner falls into his rhythm, Mifune will throw him. This is a great example of using Aiki in physical interaction, but hard for someone with little experience to see.
Aiki and Jiu are both present in Aikido as it is practiced today. While we call our art Aikido, it is not completely devoted to only the study of Aiki, but Jiu also. The deeper and more clearly we can understand the differences the more profound we can make our practice.
Casualmente me he encontrado esto por youtube. Un vídeo de Daito Ryu de principios de los 90 del que no se sabe quién está a cargo de la demostración. Disfruten...
The Art of Aiki es la más completa fuente de información sobre el Aikido en Español. | Leer más