I just watched this video on Yoshinkan Aikido and found it quite interesting. Having spent my aikido experience among the ASU crowd, seeing another style of aikido such as Yoshinkan was a lot of fun. Check out the video, I hope you enjoy it as much as I did.
Oct
31
I just watched this video on Yoshinkan Aikido and found it quite interesting. Having spent my aikido experience among the ASU crowd, seeing another style of aikido such as Yoshinkan was a lot of fun. Check out the video, I hope you enjoy it as much as I did.
Oct
30
A very useful little article I came across the other day whilst trying to answer the question "how do I learn a martial art effectively?" By Bruce R. Bethers
Six Step Process to Learning Martial...
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Oct
28
more on the development of iai, part 2...
In the hands of Hayashizaki Jinsuke's successors the Muso Shinden Ryu underwent both technical and philosophical changes to a degree that greatly reduced its original combat effectiveness. These changes are further evidence of the social forces working in the daily lives of Edo-period citizens. These forces were reshaping the role of the warrior in that society, and in fact were challenging his very special social position. With this, the Edo-period warrior was reduced to being a warrior in little more than name.
Two of the technical characteristics of the Muso Shinden Ryu method of sword-drawing indicate that its exponents introduced combatively inane mannerisms. The first of these characteristics shows that the Muso Shinden Ryu teachings included techniques of drawing the sword that were not suited to the battlefield. Seiza, a starting posture for many of the techniques of the ryu, was for the classical bushi of pre-Edo times, a position from which he rarely expected to draw his sword. From the point of view of attacking, seiza is a "dead" posture, as is tate-hiza, in which the swordsman sits on his left foot, which is tucked under his buttocks, and raises his right knee. The pre-Edo warrior much preferred iai-goshi, a low-crouching posture in which right knee was raised; this kept him off damp or soiled surfaces and afforded him instant mobility and great speed in drawing his sword to meet an emergency. But seiza is well-suited to an urban, peaceful way of life, and in the Edo period the warrior, as well as other citizens, frequently used that posture. Thus Hayashizaki Jinsuke’s original teachings led to the establishment of the zashiki (seated etiquette) sword-drawing technique, the produce of a peaceful age.
Related to the seiza posture is the second of the technical characteristics of the Muso Shinden Ryu that indicate that its teachings were primarily intended as a spiritual discipline rather than as an effectual combative form. All exponents of this ryu disregard the fact that even the Edo-period warriors, serving in peacetime, wore the daisho. When seated, the manner of wearing the sword in the Muso Shinden Ryu requires that the odachi (long sword) be positioned in the sash with the cutting edge upward, so that the tsuba, or handguard, is in front of the centerline of the body at the height of the navel; the normal manner of inserting the kodachi (short sword) in the same sash, also cutting edge upward, is thus made impossible. Even if it is considered that the odachi had been removed, as was required of warriors when entering or occupying certain structores, the Muso Shinden Ryu is curious, for it does not train the exponent in the use of his kodachi; in reality, even when the odachi was removed a warrior always retained his kodachi.
In the standing posture adopted by exponents of this ryu, again only the odachi is worn; this too does not conform to the warriors' custom of wearing the daisho. But even if this breach of custom is admitted, the position of the odachi, when the wearer assumes a standing posture, quickly leads to an unpardonable breach of etiquette. Because the wearer's scabbard (saya) just abruptly outward behind him as his left side it will inevitably cause saya-ate, the knocking of the scabbard against some person or object as the swordsman moves. Inadvertently committed saya-ate was a dangerous breach of etiquette and was to be scrupulously avoided. For when say-ate occurred, the warriors code of ethics regarded it as an insult answerable by recourse to the blade. Even before the sound of the saya-ate died away the offended man might draw his sword and cut down the offender from the rear. In the fully combative tactics of the Shinkage Ryu (Bishu yagyu) the technique called "saya-ate" was deliberate act that provided the swordsman with the calculated chance to be "insulted" and to cut down his "offender" with a swift and well-directed stroked of the sword.
These and still other technical weaknesses, from the point of view of combat appear in many of the ryu founded during the Edo period. They are in some measure due to the martial ineptitude of the Edo-period warriors, and also to the great influx of commoners who participated in sword-drawing techniques but knew nothing of the technical aspect of wearing and using the daisho. Thus, whatever the original sword-drawing techniques of Hayashizaki Jinsuke may have been, over the course of years the teachings of the Muso Shinden Ryu and many other ryu became truly only spiritual disciplines. The Muso Shinden Ryu summarizes this kind of discipline as "the attainment of a way through which to cultivate a tranquil mind that will serve the possessor under all circumstances." The Muso Shinden Ryu teaches one to have no enemy in mind when training and to discipline oneself daily so that a new level of mental acuity can be achieved. Spiritual training is first and foremost; this is followed by training for general improvement of the body. The teachings of this ryu are an exemplary classical budo discipline and serve to indicate clearly the differences that separate a -jutsu from a -do form.
CLICK HERE to re-read Part One
Published with permission of Iwakabe, Hideki Sensei
In the hands of Hayashizaki Jinsuke's successors the Muso Shinden Ryu underwent both technical and philosophical changes to a degree that greatly reduced its original combat effectiveness. These changes are further evidence of the social forces working in the daily lives of Edo-period citizens. These forces were reshaping the role of the warrior in that society, and in fact were challenging his very special social position. With this, the Edo-period warrior was reduced to being a warrior in little more than name.
Two of the technical characteristics of the Muso Shinden Ryu method of sword-drawing indicate that its exponents introduced combatively inane mannerisms. The first of these characteristics shows that the Muso Shinden Ryu teachings included techniques of drawing the sword that were not suited to the battlefield. Seiza, a starting posture for many of the techniques of the ryu, was for the classical bushi of pre-Edo times, a position from which he rarely expected to draw his sword. From the point of view of attacking, seiza is a "dead" posture, as is tate-hiza, in which the swordsman sits on his left foot, which is tucked under his buttocks, and raises his right knee. The pre-Edo warrior much preferred iai-goshi, a low-crouching posture in which right knee was raised; this kept him off damp or soiled surfaces and afforded him instant mobility and great speed in drawing his sword to meet an emergency. But seiza is well-suited to an urban, peaceful way of life, and in the Edo period the warrior, as well as other citizens, frequently used that posture. Thus Hayashizaki Jinsuke’s original teachings led to the establishment of the zashiki (seated etiquette) sword-drawing technique, the produce of a peaceful age.
Related to the seiza posture is the second of the technical characteristics of the Muso Shinden Ryu that indicate that its teachings were primarily intended as a spiritual discipline rather than as an effectual combative form. All exponents of this ryu disregard the fact that even the Edo-period warriors, serving in peacetime, wore the daisho. When seated, the manner of wearing the sword in the Muso Shinden Ryu requires that the odachi (long sword) be positioned in the sash with the cutting edge upward, so that the tsuba, or handguard, is in front of the centerline of the body at the height of the navel; the normal manner of inserting the kodachi (short sword) in the same sash, also cutting edge upward, is thus made impossible. Even if it is considered that the odachi had been removed, as was required of warriors when entering or occupying certain structores, the Muso Shinden Ryu is curious, for it does not train the exponent in the use of his kodachi; in reality, even when the odachi was removed a warrior always retained his kodachi.
In the standing posture adopted by exponents of this ryu, again only the odachi is worn; this too does not conform to the warriors' custom of wearing the daisho. But even if this breach of custom is admitted, the position of the odachi, when the wearer assumes a standing posture, quickly leads to an unpardonable breach of etiquette. Because the wearer's scabbard (saya) just abruptly outward behind him as his left side it will inevitably cause saya-ate, the knocking of the scabbard against some person or object as the swordsman moves. Inadvertently committed saya-ate was a dangerous breach of etiquette and was to be scrupulously avoided. For when say-ate occurred, the warriors code of ethics regarded it as an insult answerable by recourse to the blade. Even before the sound of the saya-ate died away the offended man might draw his sword and cut down the offender from the rear. In the fully combative tactics of the Shinkage Ryu (Bishu yagyu) the technique called "saya-ate" was deliberate act that provided the swordsman with the calculated chance to be "insulted" and to cut down his "offender" with a swift and well-directed stroked of the sword.
These and still other technical weaknesses, from the point of view of combat appear in many of the ryu founded during the Edo period. They are in some measure due to the martial ineptitude of the Edo-period warriors, and also to the great influx of commoners who participated in sword-drawing techniques but knew nothing of the technical aspect of wearing and using the daisho. Thus, whatever the original sword-drawing techniques of Hayashizaki Jinsuke may have been, over the course of years the teachings of the Muso Shinden Ryu and many other ryu became truly only spiritual disciplines. The Muso Shinden Ryu summarizes this kind of discipline as "the attainment of a way through which to cultivate a tranquil mind that will serve the possessor under all circumstances." The Muso Shinden Ryu teaches one to have no enemy in mind when training and to discipline oneself daily so that a new level of mental acuity can be achieved. Spiritual training is first and foremost; this is followed by training for general improvement of the body. The teachings of this ryu are an exemplary classical budo discipline and serve to indicate clearly the differences that separate a -jutsu from a -do form.
CLICK HERE to re-read Part One
Published with permission of Iwakabe, Hideki Sensei
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Oct
27
Anyhow, as I perusing the Accor hotel list I saw that they're offering a one hundred and twelve dollar (US) per night rate on a hotel room! That seems quite affordable to me, I would love to visit hombu dojo, maybe even take a class! I'd also, on my dream vacation, love to just see Japan. Destinations such as Edo Castle, Mount Fuji, and SENGAKUJI - Shrine of the 47 Ronin - would have to be on the queue of places to visit! Especially if I could actually afford to stay for a short period of time.
If you're thinking about traveling abroad, check out the Accor 3 day deals, it might make your trip a bit more affordable.
Oct
27
Q: Will I hold back an advanced student if we train together?
A: I have often observed in my many years of training, practicing, and teaching Aikido that many beginner or inexperienced Aikido students seem to be intimidated when training with a more advanced student. At seminars and large classes, I often see less experienced students (perhaps subconsciously) pairing themselves with other less experienced students, and conversely more advanced aikidoka pairing themselves with others of the same level. This is very unfortunate, as both beginners and more advanced students can learn from each other.
A less experienced student can learn much from experiencing first-hand how more advanced students move and perform a particular technique. A more advanced student with the proper attitude should have the desire to impart his or her Aikido knowledge and help less experienced students learn and become more proficient. Hopefully every seminar, class or practice of a particular technique is a learning experience for both partners in their role of Nage or Uke.
That being said however, it is true that many more advanced Aikido students (a.k.a. Aikidoka) prefer to practice with others of the same level - especially when practicing more advanced techniques - because then they can do it faster and more advanced method. It is also probably true that many less experienced students feel more comfortable practicing with others of the same level. However, sometimes two inexperienced students trying to understand the mechanics of a technique is like a "blind-man-leading-blind-man" situation. Neither understands clearly the mechanics of the situation without more instruction from the Sensei. A good Sensei will usually overcome this propensity to pair up with others of the same level by periodically asking students to change partners.
So, getting back to the question; a less experienced student should not feel they are holding back a more advanced student by asking them to practice with them. OSensei said, "Failure is the key to success; each mistake teaches us something." He also said, "Progress comes to those who train and train..." Beginner and advanced aikidoka training together is a win-win learning situation for both.
A: I have often observed in my many years of training, practicing, and teaching Aikido that many beginner or inexperienced Aikido students seem to be intimidated when training with a more advanced student. At seminars and large classes, I often see less experienced students (perhaps subconsciously) pairing themselves with other less experienced students, and conversely more advanced aikidoka pairing themselves with others of the same level. This is very unfortunate, as both beginners and more advanced students can learn from each other.
A less experienced student can learn much from experiencing first-hand how more advanced students move and perform a particular technique. A more advanced student with the proper attitude should have the desire to impart his or her Aikido knowledge and help less experienced students learn and become more proficient. Hopefully every seminar, class or practice of a particular technique is a learning experience for both partners in their role of Nage or Uke.
That being said however, it is true that many more advanced Aikido students (a.k.a. Aikidoka) prefer to practice with others of the same level - especially when practicing more advanced techniques - because then they can do it faster and more advanced method. It is also probably true that many less experienced students feel more comfortable practicing with others of the same level. However, sometimes two inexperienced students trying to understand the mechanics of a technique is like a "blind-man-leading-blind-man" situation. Neither understands clearly the mechanics of the situation without more instruction from the Sensei. A good Sensei will usually overcome this propensity to pair up with others of the same level by periodically asking students to change partners.
So, getting back to the question; a less experienced student should not feel they are holding back a more advanced student by asking them to practice with them. OSensei said, "Failure is the key to success; each mistake teaches us something." He also said, "Progress comes to those who train and train..." Beginner and advanced aikidoka training together is a win-win learning situation for both.
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Oct
26
I wanted to share this video after I tried wearing two swords during kata in ken Jutsu. Two sword practice is something that is very rarely performed, at least in the dojo I have been a part of. Wearing a wakizashi changes noto and the body mechanics of cutting. Hopefully you'll enjoy the video as much as I did.
Oct
26
Without a doubt, The Void Book is the most ambiguous, esoteric, and perhaps the most perplexing of the five books in The Book of 5 Rings. It is also the shortest of all the other books, perhaps because how does one endlessly elaborate on something called the void? Nonetheless, I'll give it a shot.
Knowing what Musashi calls "the void" provides contrast for knowing what "is." Without knowledge, acceptance and awareness of the void Musashi asserts that there is confusion. What "is" and the void (what "is not") produce clear contrast. Not acknowledging the void produces camouflage and ambiguity.
I summarize this book simply as: humility. I believe that it is important that we all be consciously competent of that which we do not know. That is, we should all be humbled by the fact that no matter how hard we train and no matter how much we learn there will always be a vast universe of things we do not know and do not understand. In light of this great ignorance, we will still need to be able to function in this collective sea of the unknown. Therefore, we, as Musashi suggests, should embrace the void, merge with the void, blend with the void, so as to successfully live within the void.
"The Void is where there is nothing or any form. Man cannot have knowledge of the Void because it is nothing. Since we have knowledge of what is, we therefore know what is not. That is the void."
After reading the opening paragraphs of the Void Book several times and trying to wrap my head around this concept, I kept hearing Vizzini from the movie, The Princess Bride in my mind say, "So, clearly I cannot choose the wine in front of me!"
In my opinion, the void is much like the sub-conscious mind. It is not located anywhere because the mind is intangible and we can't see or definitively say the subconscious exists because if we could then it wouldn't be sub-conscious, it would be conscious. But, we can theorize and deduce that the sub-conscious exists, and, therefore, it does exist, at least as far as a discussional device. Similarly, we know what "is not" through contrast and deduction. Acknowledging the void, by deducing its existence, allows us to make subjective decisions that otherwise cannot be made without some kind of arbitrary value. When we can tell what is from what is not, perhaps then we stand the best chance to know ourselves. For now we can, in our own estimation, "definitively" say who we are and who we are not; what we are and what we are not.
"Make sure you base your practice on a wide foundation, and learn a large number of martial arts. This way, you will understand the Void as the Way, and you will see the Way as the Void."
As we train and study a diversity of martial studies, we are constantly humbled and directed to the Void by acknowledging how much we still do not know. In this context, again, conscious ignorance, then, may, in fact, be the true Way. Perhaps another way of expressing this would be to say that at one time we may have been consciously ignorant. That is, we were fully aware of how much we did not know. Perhaps then, knowing the true Way, as Musashi articulates it, means that we become consciously, humbly ignorant, in that we are now aware and in awe of how much we do not know and smile at that fact because it means that we never have to experience boredom, we never are "finished" with our studies.
"The void is good. It contains no evil."
Musashi closes this book with the notion that the void is good and contains no evil. This, of course, is a common human condition: the reconciliation between the known and unknown. Most people fear the unknown and find certainty and safety in the known. But, of course, too much of the known can lead to boredom, which many people call a prison. Others choose to embrace the unknown as freedom and find comfort in the variety the unknown brings to life. I believe Musashi is asking us to reconsider our dependence on the known and to embrace the unknown – the void – as a source of freedom. The Void is freedom. The Void is good. The Way is good. From Musashi's perspective, the Way and the Void are two sides of the same coin. And, to know the Way and not to know the Void, is to not really know the Way at all.
Is your head spinning yet? Mine is. I've got to sit down now.
If you enjoyed these articles on The Book of Five Rings, then you'd probably also enjoy our new series on the classic Japanese text Bushido: The Soul of Japan.
Read Part One - Introduction to Book of 5 Rings
Read Part Two - The Earth Book
Read Part Three - The Water Book
Read Part Four - The Fire Book
Read Part Five - The Wind Book
Read Part Six - The Void Book
Ready to Try Aikido?
Knowing what Musashi calls "the void" provides contrast for knowing what "is." Without knowledge, acceptance and awareness of the void Musashi asserts that there is confusion. What "is" and the void (what "is not") produce clear contrast. Not acknowledging the void produces camouflage and ambiguity.
I summarize this book simply as: humility. I believe that it is important that we all be consciously competent of that which we do not know. That is, we should all be humbled by the fact that no matter how hard we train and no matter how much we learn there will always be a vast universe of things we do not know and do not understand. In light of this great ignorance, we will still need to be able to function in this collective sea of the unknown. Therefore, we, as Musashi suggests, should embrace the void, merge with the void, blend with the void, so as to successfully live within the void.
"The Void is where there is nothing or any form. Man cannot have knowledge of the Void because it is nothing. Since we have knowledge of what is, we therefore know what is not. That is the void."
After reading the opening paragraphs of the Void Book several times and trying to wrap my head around this concept, I kept hearing Vizzini from the movie, The Princess Bride in my mind say, "So, clearly I cannot choose the wine in front of me!"
In my opinion, the void is much like the sub-conscious mind. It is not located anywhere because the mind is intangible and we can't see or definitively say the subconscious exists because if we could then it wouldn't be sub-conscious, it would be conscious. But, we can theorize and deduce that the sub-conscious exists, and, therefore, it does exist, at least as far as a discussional device. Similarly, we know what "is not" through contrast and deduction. Acknowledging the void, by deducing its existence, allows us to make subjective decisions that otherwise cannot be made without some kind of arbitrary value. When we can tell what is from what is not, perhaps then we stand the best chance to know ourselves. For now we can, in our own estimation, "definitively" say who we are and who we are not; what we are and what we are not.
"Make sure you base your practice on a wide foundation, and learn a large number of martial arts. This way, you will understand the Void as the Way, and you will see the Way as the Void."
As we train and study a diversity of martial studies, we are constantly humbled and directed to the Void by acknowledging how much we still do not know. In this context, again, conscious ignorance, then, may, in fact, be the true Way. Perhaps another way of expressing this would be to say that at one time we may have been consciously ignorant. That is, we were fully aware of how much we did not know. Perhaps then, knowing the true Way, as Musashi articulates it, means that we become consciously, humbly ignorant, in that we are now aware and in awe of how much we do not know and smile at that fact because it means that we never have to experience boredom, we never are "finished" with our studies.
"The void is good. It contains no evil."
Musashi closes this book with the notion that the void is good and contains no evil. This, of course, is a common human condition: the reconciliation between the known and unknown. Most people fear the unknown and find certainty and safety in the known. But, of course, too much of the known can lead to boredom, which many people call a prison. Others choose to embrace the unknown as freedom and find comfort in the variety the unknown brings to life. I believe Musashi is asking us to reconsider our dependence on the known and to embrace the unknown – the void – as a source of freedom. The Void is freedom. The Void is good. The Way is good. From Musashi's perspective, the Way and the Void are two sides of the same coin. And, to know the Way and not to know the Void, is to not really know the Way at all.
Is your head spinning yet? Mine is. I've got to sit down now.
If you enjoyed these articles on The Book of Five Rings, then you'd probably also enjoy our new series on the classic Japanese text Bushido: The Soul of Japan.
Read Part One - Introduction to Book of 5 Rings
Read Part Two - The Earth Book
Read Part Three - The Water Book
Read Part Four - The Fire Book
Read Part Five - The Wind Book
Read Part Six - The Void Book
Ready to Try Aikido?
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Oct
21
A very nicely put together article I discovered on the International Hapkido Federation website. Worth checking out."Ki" (body and mind coordination) If the origins of nearly every traditional...
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[[ This is a content summary only. Visit my website for full links, other content, and more! ]]
Oct
20
Japanese family crests, or Kamon, came into existence around the 12th century. Coincidentally, this was about the same time as the advent of European Coat of Arms. In Japanese, 'Ka' is one of several words connoting family and 'mon' is short for 'monshou' or crest. Japanese kamon have gone through significant evolution in terms of their use and social significance over the centuries. Initially, only members of the imperial family, lords, and samurai were permitted use of kamon. Between the 1300s and 1500s kamon began to take on a more military context and were used as battle insignia, again, much like the European Coat of Arms. However, by the time of the peaceful Edo period (1600-1868) use of kamon was widespread and evolved to civilian use.
Whereas European heraldry tended to be elaborate and utilize more violent and predatory animals such as lions and eagles, Japanese kamon were usually monochromatic and would commonly utilize less pretentious elements of nature such as flowers, plants, fish and insects. The choice of these kinds of symbols may perhaps suggest thought-provoking differences between Japanese and European cultures at the time.
Today there are more than 10,000 different kamon in use today in Japan based on about 350 basic patterns. Typically, use of a family kamon is passed from father to first-born son. Second and third-born sons would commonly modify the family emblem to one degree or another. Kamon were/are frequently displayed on the center of the back of a kimono garment, just below the nape of the neck. Kamon are also frequently displayed on lanterns outside of residences.
Whereas European heraldry tended to be elaborate and utilize more violent and predatory animals such as lions and eagles, Japanese kamon were usually monochromatic and would commonly utilize less pretentious elements of nature such as flowers, plants, fish and insects. The choice of these kinds of symbols may perhaps suggest thought-provoking differences between Japanese and European cultures at the time.
Today there are more than 10,000 different kamon in use today in Japan based on about 350 basic patterns. Typically, use of a family kamon is passed from father to first-born son. Second and third-born sons would commonly modify the family emblem to one degree or another. Kamon were/are frequently displayed on the center of the back of a kimono garment, just below the nape of the neck. Kamon are also frequently displayed on lanterns outside of residences.
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Oct
14
I great article I came across recently by Tom Muzila.
A COMPARISON OF TWO TRADITIONAL, YET SEEMINGLY DIFFERENT, JAPANESE STYLES. Karate-do and Aikido by Tom Muzila. (excerpts) Aikido and...
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[[ This is a content summary only. Visit my website for full links, other content, and more! ]]