Seigyo Iaido

Le Hakama est donc principalement réalisé à partir de deux pièces de tissu rectangulaires, dont les proportions H x L sont approximativement de 1,63 (rappelons que le "nombre d'or" est d'environ 1,618). L'ouverture de l'entrejambe est placée de manière assymétrique. A ces deux pièces s'ajoutent le koshiita (dosseret), les deux ceintures et les différents renforts.

Pour traiter de ce sujet, je vous propose la traduction de "Training Hard And Training Well Are Not The Same Thing" du site The Budo Bum. Peter Boylan est un pratiquant de koryu et aussi un adepte de longue date du judo.

Mikhail Ryabko - Exploring Vectors and Trajectories #1 (with a sword - shashka). Part of the "Internal Work Seminar" by Mikhail Ryabko - April 13-14, 2013.

Introduction: Many good teachers are able to plan on the spot and pull together whatever is at hand to make their lessons work, sometimes 'picking and mixing' seemingly disparate approaches, methods, techniques and activities to aid learning. However, for this 'eclectic fusion' to be effective, rather than it being unplanned, random and confused, it needs to be underpinned by a clear and sound understanding of the fundamental principles behind various teaching practices. Unfortunately, most people who find themselves in the position of being a teacher of Iaido or indeed any type of Budo; regardless of their nationality be it Japanese, British, North American or other, are untrained as teachers and have a questionable grasp of the methodology involved in effective pedagogy. As a result this can lead to dull, confused, repetitive and unplanned lessons that are often lacking coherence or cohesion.

Introduction: Many good teachers are able to plan on the spot and pull together whatever is at hand to make their lessons work, sometimes 'picking and mixing' seemingly disparate approaches, methods, techniques and activities to aid learning. However, for this 'eclectic fusion' to be effective, rather than it being unplanned, random and confused, it needs to be underpinned by a clear and sound understanding of the fundamental principles behind various teaching practices. Unfortunately, most people who find themselves in the position of being a teacher of Iaido or indeed any type of Budo; regardless of their nationality be it Japanese, British, North American or other, are untrained as teachers and have a questionable grasp of the methodology involved in effective pedagogy. As a result this can lead to dull, confused, repetitive and unplanned lessons that are often lacking coherence or cohesion.

An English language online bi-monthly magazine for the serious student of the Japanese sword and related budo arts and Japanese culture. Articles include: interviews profiles history philosophy cultural arts reviews injury issues and more.

Une technique doit fonctionner, sinon ce n'est pas une technique. Une technique qui fonctionne grâce à la force n'est pas une technique, c'est de la force. Une technique qui fonctionne grâce à la souplesse n'est pas une technique, c'est de la souplesse. Une technique doit fonctionner grâce à la technique. Le problème n'est pas de savoir si une technique est susceptible de fonctionner, le problème est parvenir à la faire fonctionner. Si on est incapable de la faire fonctionner, cela ne veut pas dire que la technique ne vaut rien, cela veut uniquement dire que l'on est incapable de la faire fonctionner. Et ce n'est pas parce que c'est difficile qu'il ne faut pas retourner travailler.

Certain forgerons d'armes étaient si habiles qu'on attribuait à certains sabres des pouvoirs surnaturels, et parfois même un nom. Leur fabrication impliqué non seulement beaucoup d'habilité et de connaissances techniques, mais aussi tout un rituel. Les forgerons priaient, se baignaient et se purifiaient avant de fabriquer certaines lames.

Battodo Camp Tameshigiri Collection)

The Beauty of the Japanese Sword

History and Traditional Technology

by

Michihiro Tanobe 田野邉道宏

Senior Managing Director

Nippon Bijutsu Tôken Hozon Kyôkai 日本美術刀剣保存協会

The Japanese Sword Museum 刀剣博物館

S. Alexander Takeuchi, Ph.D.- Department of Sociology - University of North Alabama - June 30, 2003 The term "tameshi-giri" as a martial art jargon imported from Japan has already been used widely in the Western world. However, except for some highly advanced and traditional JSA practitioners outside of Japan who may understand the historic meanings and purposes of "tameshi-giri" as it was used by samurai in the old days of Japan, most JSA practitioners in America (both advanced and less advanced) seem to be using this term more loosely.

Takano Sasaburō (1862-1950) and Nakayama Hakudō (1872-1958) were two of the most important figures in the development of modern kendo (see this article for more information). Practitioners of both classical swordsmanship and the more modern forms of shinai keiko, their ways of thinking shaped the sword arts that we practise today. As such their opinions on kendo and swordsmanship in general are quite pertinent to those studying both modern and koryu arts. The following is a translation of their respective thoughts on tameshigiri.

Mugai Ryu Iaihyoudo Kumitachi / Kenjutsu A list of our Kumitachi forms

While the great diversity of cutting and thrusting swords around the world testify to the importance of both cutting and thrusting in fencing, there is something of a pervasive myth of a supposed "superiority" of point over edge in swordplay, and predominantly in European swordplay. Yet, with only a few minor exceptions, prior to the early 18th century there was no "cut versus thrust" debate among Western swordsmen.

La différence entre l'entraînement maladroit (heta na keïko) et l'entraînement faux (dame na keïko) est un point extrêmement important. Dans les disciplines et écoles dont l'efficacité est basée sur une modification de l'utilisation du corps, comme c'était probablement le cas de tous les ryu dans le passé, la pratique était basée sur le travail des kata. Ces formes contiennent des gestes qui ne peuvent être réalisées efficacement que si certains principes ont été maîtrisés. Sans cela elles restent totalement inefficaces.

Le sabre Le katana, sabre long, est porté à la ceinture. Il est l'âme du samouraï. Avec le wakizashi, sabre court, il compose le daïshō. Les deux sabres étaient les signes distinctifs de la caste des samouraïs. Certains senseïs proposent une définition très intéressante du sabre : il doit devenir l'extension de notre main.

Kaminoda Tsunemori demonstrate Muso Shinden Ryu Iaido.

Welcome to SHIBUI SWORDS, my name is Elliott Long. I became involved with Antique Japanese Swords (Nihon-To) in 2004.

Publiée le 16 août 2012 Kendo Iai-batto - Ekko Masamichi (5 Dan) and Tanaka Kazuhige (4 Dan) Japanese Budo Demonstration for the Tokyo Budokan on August 11, 2012.