PUBLIC MARKS from Takwann

In our striving to learn Jujitsu there is a spoken and unspoken truth that we all desire to perform a technique with grace and fluidity, perfect motion. To also have a state of mind in harmony and awareness. Past Masters say that Martial Arts can be felt both internally and externally perfect movement. For instance, Ueshiba always referred to his Aikido as a path to perfect Harmony in motion! The desire to be able to perform a movement with ``Shibumi'' I see as a natural drive inherent in all people. It seems innate to express whatever we are doing in a way that is as the Japanese say full of ``Shibumi'' or ``Effortless Perfection.''

Kuroda sensei qui est à mon sens le maitre de sabre le plus impressionnant qu'il m'ait été donné de voir à l'heure actuelle, rédige quasi-mensuellement une chronique dans la revue Hiden, et participe de temps en temps à divers dossiers en rapport avec la pratique martiale des guerriers d'antan. C'est le cas de l'article qui suit, issu du dossier sur le sabre japonais, du numéro de septembre 2010 de Hiden. Kuroda sensei y présente les différentes facettes du travail que l"on nomme Iaijutsu, c'est-à-dire l'utilisation du sabre à partir de son placement dans le fourreau.

In the process of learning in budo, we learn by forms. This entails imitating the “signposts” created by those who came before us. Another way to consider forms is as the language, the letters, words, and grammar, that ultimately open the door for the practitioner to see the world the way the predecessors did, and describe it in the same way and more.

“(When you are silent,) you see it” or “You find it”. What struck me was that this “it” made it sound like a person experiences or practices silence and the result is immediate or even immediately visible. Of course, I think that it’s presumed by the speaker that it isn’t actually so simple. It’s just that the language is not sufficient so we rely on the presumption that the listener understands that there’s more beyond the words. Two things come up for me: one is the use and handling of form, in this case words or language; the other is the tendency, or danger, for people to not notice that they are handling a form at all.

There are many ways of practicing including hard and soft approaches, training where injury never occurs or training with the idea that injuries sometimes occur since aikido is a budo. What is your opinion regarding this matter, Sensei?

Quatrième volet de la suite de posts sur Sagawa sensei. Les premiers articles tombaient sous le sens, en suivant le plan du livre: la "définition" de l'aiki, l'entraînement shugyo sont les deux pans majeurs du livre. Un des aspects un peu caché de ce livre réside dans de toutes petites phrases qui misent bout à bout deviennent intéressantes (à moins qu'elles ne trouvent un écho dans mes préoccupations du moment ;-) et qui concernent l'enseignement et le combat, deux thèmes d'apparence éloignés mais intimement liés.

The above history of kendo/jutsu applies also to iaido/jutsu. In the latter half of the 15th century, Iizasa Ienao (also known as Iizasa Choisai) founded the Tenshin Shoden Katori Shinto Ryu. This ryu, and in the early part of the 16th century, the Tatsumi Ryu and Takenouchi Ryu all taught drawing as a formal part of their curriculum. These ryu all claim to be among the earliest to develop such skills.

The term “Iai” is taken from the Japanese phrase: “Tsune ni itte, kyu ni awasu”. The kanji (character) “I” can also be read as “itte” and “ai” as “awasu”. The meaning of this is “whatever we may be doing or wherever we may be, we must always be prepared for any eventuality”.

book called “Iaido shinsahin no me”. This book edited by the “Kendo Jidai” publisher is a compilation of 15x ZNKR 8th Dan Hanshi sensei’s opinions on what are the important points needed for shinsa, embu and taikai. It is of course written in Japanese and will probably not be translated, so we decided to start a very rough translation of some parts. The book is separated into fifteen parts, one for each sensei and each part separated into a 2 points and three chapters …

This treatise provides a glimpse into our approach to its study but is by no means a comprehensive treatment of the topic. Angular attack theory serves as a bridge to understanding and communicating strategic and tactical concepts in various martial traditions. An understanding of angular attack theory will help to ensure that applied aikido techniques possess martial integrity and are truly effective.

"Leadership is setting a new direction or vision for a group that they follow. Management directs people/resources in a group according to principles or values that have already been established. Leadership combined with management sets a new direction and manages the resources to achieve it."

I went on a search to become a leader. I searched high and low. I spoke with authority, people listened, but alas, there was one who was wiser than I and they followed her. I sought to inspire confidence, but the crowd responded, "Why should we trust you?"

Cet homme se nommait Yamaoka Tesshu, et plus encore que l'expert en sabre, c'est l'être humain qui est resté dans la légende. On raconte que la veille de sa mort, ses élèves avaient renoncés à s'entraîner pour être à ses côtés dans ses dernieres heures. Il leur déclara simplement, " l'entraînement est la seule façon de m'honorer".

Hineri maki, Tsumami maki, Hira maki, katate maki.

While viewing a Japanese sword, it is often the beautiful and very impressive blades that we remember best. We usually recognize that along with the swordsmith, there was the polisher, the saya maker, the lacquerer, the tsuba maker, and the many artists who make each of the other metal fittings. But we sometimes forget that it is the hilt wrapper who completes the sword. Tsukamaki is the art of wrapping a silk braid (tsukaito or simply ito) around the hilt of the Japanese sword. And it is this task that completes the creation of the art of the Japanese sword.

To create an excellent cold weapon, a swordsmith is to achieve two goals: the blade must be sharp but, simultaneously, it should not be brittle. However, these two ends contradict each other. The higher is the carbon content of the steel, the sharper is the sword that is produced from it, but high carbon content also makes the blade fragile. Using ductile steel allows to achieve durability, but the swords made from soft, malleable steel grow blunt very soon.

Un sabre, qu'est-ce ? Pour un spécialiste du Nippon-to, c'est une lame. Le reste que l'on appelle « monture » porte plusieurs noms selon l'usage que l'on réserve à la lame : le shirasaya ou le koshirae. De même que l'on n'est pas ses vêtements, un sabre n'est pas une monture. C'est ce qui explique que l'on puisse changer aisément de monture comme on change de vêtement.

Whatever their name, there seem to be quite a lot of bizarre opinions floating around as to the intended function of fullers on swordblades, and how this function is achieved. In this article, I want to focus on the effect of a fuller on the weight and stiffness of a swordblade.

Le jour de Pâques 1984, un grand maître s’est éteint à l’age de quatre-vingt-douze ans, après avoir réalisé tous ses rêves de budoka.

Pascal Krieger est né le 9 avril 1945 à La Tour-de-Peilz, dans le canton de Vaud, en Suisse.

http://www.streetfightsecrets.com "Reality of trying to defend against a committed Knife Attack"- if they are committed and you recieve a frenzied shanking attack you better run or knock them out before they get going because otherwise you are f.c.u.k.d.

"Je remercie infiniment Pascal Krieger pour son aimable autorisation et pour la richesse de ses textes qui restent pour moi une référence." Francisco Campelo