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by Dave Lowry - The editor of this publication [Bugeisha] was discussing on the phone with me some of the problems in presenting a serious magazine devoted to the martial arts and Ways. In particular, he lamented that there is a great shortage in those who are qualified and willing to write about the koryu, the classical martial arts of Japan which have become, within the past few years, a matter of considerable interest to Westerners. There are people out there who know a lot about these arts, he said, and why, he wanted to know, won't they write articles about them for magazines like this one, which would present such arts in a realistic and dignified way?

Aujourd'hui les arts martiaux et sports de combats sont pratiqués à travers le monde. Mais que différencie ces pratiques aux noms exotiques ?

Les arts de combats sont souvent classés selon le type de technique dominant dans la discipline, les projections pour le Judo, les coups frappés pour le Karaté, etc… Mais cela est surtout valable pour les arts modernes qui se sont spécialisés, les disciplines anciennes ayant généralement eu un éventail technique beaucoup plus large. La différence essentielle tient au but de ces pratiques. Je prendrai ici l'exemple des pratiques martiales japonaises dont les différences sont assez explicites. Je simplifierai en divisant ces disciplines en trois catégories, les Bujutsu, les Budo et les Kakutogi.

Within the art of Iaido, the influence of Hayashizaki Jinsuke can not be understated. This mysterious man could quite easily be considered one the greatest influences on the art. While many people are aware of Hayashizaki, little is known for sure about him or his art. There are many legends, but hard facts are another issue. Regardless, his influence and teachings have been a strong force in a great number of ryuha. Probably the best known would be Muso Jikiden Eishin ryu and Muso Shinden ryu, both of which claim him as their founder. There are also a number of lesser-known ryuha that have felt his influence, either through his direct successors or his other students. Tamiya ryu, along with several Hayashizaki XYZ related ryu, all claim some connection to Hayashizaki's teachings.

Judging by some articles practitioners of the martial arts are beginning to seriously look at their arts and asking the question - is what I am being taught really self-defence or just an oriental art form? What's more, they're asking why you do this a

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

Like many, my first step into the world of iai and traditional Japanese sword arts was through the Zen Ken seitei-gata and for several years my experiences there strongly colored how I viewed iai, koryu arts and budo in general. Now anyone who has spent a

La F.E.I. a pour but la diffusion en Europe de l'IAI (art de couper en dégainant le sabre), discipline morale et physique qui s'inscrit dans le cadre des arts martiaux japonais traditionnels. A ce titre, la F.E.I. se propose de regrouper tous les pratiqua

KIAI is a non-profit association founded to improve the communications among kenjutsu instructors worldwide. Members of KIAI are instructors of Japanese sword arts from various styles, schools and associations, who teach all nihonto-related martial arts,

This is the first in a continuing series of articles on the Japanese art of iaido the modern discipline or way of drawing the sword that was popularized in the 1930's. It was derived from iaijutsu, a sub-specialization of kenjutsu (sword arts) that was pr

Les arts de combats sont souvent classés selon le type de technique dominant dans la discipline, les projections pour le Judo, les coups frappés pour le Karaté, etc… Mais cela est surtout valable pour les arts modernes qui se sont spécialisés, les discipl

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.

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.

The Journal of Japanese Sword Arts began life in 1989 as a monthly newsletter. More than 90 issues and almost ten years later it is still being produced. The Journal contains news, reviews, announcements, and in depth articles concerning all aspects of th

By Uchida Tatsuru Japan Quarterly january-march 2001 volume 48 nr 1 Uchida Tatsuru is a professor of contemporary French philosophy at Kobe College and is a budoka who is a sixth dan in aikido. The ultimate aim of budo Japan's martial arts, such as j

by Nicklaus Suino Sensei

This article appeared in the "SMAA Journal" Volume 14, Issue 2

Few arts present as many challenges of detail as does Japanese swordsmanship. One of the most misunderstood aspects of Eishin Ryu iaido is the proper grip on the handle of the iaito (iaido practice sword), called "te-no-uchi." The grip is crucial because it is the final lynchpin in the transmission of power from the body, through the arms, and into the cutting edge of the sword. A correct grip also provides "feel," which increases awareness of the sword's position and helps guide the edge through the correct path in cutting.

Avec plus de trente ans de pratique martiale, nous avons voulu savoir comment Dominique Pierre (5° dan Aïkido, Karaté Shotokaï et Kuden en Iaïdo) avait commencé dans les arts martiaux. Il nous livre ses souvenirs avec humour, franchise et une chaleur huma

SOMMAIRE: "Le continuer parfaict l'oeuvre" Le sabre et la violence K.G. Durckheim et l'expérience de l'être Socrate et l'assise silencieuse "un art sans plus" "tenteki hasseki": le shomen du BUSHINKAN BU: le sens d'un idéogramme la forme et le coe

embu Iaijutsu, Muso jikiden Eishin ryu , Komei Juku par Jaff RAJI begin_of_the_skype_highlighting end_of_the_skype_highlighting lors de la 4ème nuit des Arts Martiaux Traditionnels le 21 novembre 2010 à PARIS .

Les évolutions des kata(1) sont sans doute ce qui illustre le plus nettement le passage entre les écoles anciennes de bujutsu et les écoles modernes de budo. Afin de comprendre les arts martiaux contemporains, il est nécessaire de regarder d'où ils viennent et ce qu'ils apportent. Ce premier article d'une longue série, va tenter d'ouvrir les yeux et de faire réfléchir les pratiquants des voies martiales d'aujourd'hui.

This section includes, * An Introduction to SMR Jodo Training * Links to the SMR Training Curriculum * A list of key principles common in Martial Arts training * Just when you thought you learned it all (An introduction to Oyogumite