objectives as Kata from a number of traditional Japanese Jujutsu submitted the draft of Kata consisted of 20 techniques, 8 Idori and gonddetheppolad.ml - Download as PDF File .pdf), Text File .txt) or view presentation slides online. lent throughout Kendo but especially so in the Nihon Kendo no Kata. .. the classical bujutsu. Although the Japanese arts, such as kenjutsu, iaijutsu, and jojutsu.
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manual Iaido, kenjutsu, battojutsu, bikenjutsu, iaijutsu en pdf. PROGRAM OF KENJUTSU and “GEKKEN”, JAPANESE FENCING. S Y L L A B U S Understanding the principles of kenjutsu. A) ETIQUETTE Kata 1, Jûmonji. the Samurai practiced using real swords or wooden ones in prearranged forms called Kata. Consequently injuries were high. These difficulties were overcome.
A diagram with the footwork for Happo no Giri can be found in one of Saito Sensei's books. That is the starting position described above. In this instance.
Now using the rear foot as a cue as to which direction to step in other words. The sequence when starting in right hanme would thus be: The blade falls virtually under its own power but accelerated by the momentum transmitted to it from the center of a unified body that is "one with the blade".
Once one has this ability it is applied along with an exhale to the completion of any technique. The center is deep allowing one's weight to be drop down from it like a "plumb bob" toward the earth with the weight more or less equally distributed between the feet. The weight shifts slightly to the forward foot via the "spring" in the knees.
The choice of footwork varies slightly but there seems to be agreement on the purpose. There are three variations of the stopping place of the upward movement. The visualization is that one EXTENDS from the internal point ultimately to all directions but you can use the belt knot as a starting cue. The feet slide as if one could almost. The advantage here is that when you pivot degrees to the rear. One teacher told me that if you do all of these things you will BEGIN to notice a real difference after 2 years!
The stance is firm. This movement is timed with an exhale as the center also drops with the blade. This has given you the first 4 directions. This can be initially done by pushing the one point against the knot in the belt. The step should never be longer than a shoulder width so that one maintains a "defensive" posture. After awhile you add the movement of pivoting your relaxed shoulders arms and torso from side to side around this axis. Thus you can practice the initial "aim" in the mirror.
Now this is already quite a bit to practice! Training methods used for these details consist primarily of very slow walking along a line with something like a tsuba. Don't expect quick progress. On top of this foundation one adds the cut. So now step diagonally to the right South East from the starting orientation and repeat all of the above for the next 4 directions. From this position to change direction to give you the final 4 directions. The variations seem to be related to how tight the hanme is e.
The sense is that one's center extends out as the boken rises and then drops as the boken falls. Basically though. The majority opinion seems to be that the step occurs just prior to the cut. At the start and finish of each shomen cut the arms are extended in a natural curve as in they are in "unbending arm" with the hilt extended from one's center and the point aimed at the center of the throat of an opponent your own size.
They are: Then you keep your feet in place and pivot as before to cut behind East from the starting direction. This is more than a visualization. The outline of the kata is as follows. The jitsuka then steps forward with the right foot drawing the sword into a horizontal strike. At the same time drop the sword vertically around your left shoulder until it lies vertically behind your head. You're checking teki's cut at the wrist Reverse the sword position and perform kesa giri Perform noto.
Strike vertically over and down bending the knees a little as you do so. It consists of nine distinct strikes. Outline 1 Drawing the sword The kata begins with a standing rei.
Looking to the right. The strike should be at about neck height. This does not mean quickly.. Knowing the correct foot position and finishing point for each strike takes a great deal of practice. Focusing on the kata allows you to in effect leave the grading. Finally with your left foot followed by the right. Aikido List Sender: Aikido List From: Julian Frost Subject: Chiba sensei's bokken katas To: There are many small points to the kata which takes a long time to perfect.
The tip of the blade for instance should be perfectly still at the end of each strike. Take your time and try to take this opportunity to relax..
Breathing through each movement at a steady rate will help you to calm yourself. In a grading When performing this kata during a grading In fact the kata is one of precise movement.. Performing the kata General notes To perform the kata well..
In this regard. Shidachi evades. In the final three. Both Kendoka then step into chudan no kamae. Although kata are. Uchidachi takes the initiative and attacks with a men strike. It is possible for you to stumble technically in kata demonstration and yet successfully complete the performance through the maintainance of spirit and focus..
Grab a partner. They step in to meet. Unlike the practice in karate. The names of the Kata are as follows: Ipponme This kata illustrates the effectiveness of a nuki technique. Kendo's kata are more prosaically identified by number. The purpose of the "kata" is to demonstrate the relationship between swordwork and the eight variations of shihonage that Chiba Sensei regularly teaches. Nihonme In this kata. It should be invested with a spirit that makes each move seem as if were being executed for real.
Both Kendoka assume chudan no kamae. Uchidachi steps back another half-step and shidachi comes forward into left jodan. Uchidachi cuts at shidachi's kote. Each attack is meant to deliver a decisive blow. In it. Uchidachi steps back a half-step as if to try again.
When a trainee practices kata. Both assume. Kendo's kata are divided into two groups: The seven kata are practiced using only the long sword. They move forward to meet. Shidachi then steps back into the center.. Each defensive move must be executed as if the attack were driven by killing intent. At this point.
Both practitioners assume gedan no kamae. Shidachi then moves to the center. Shidachi then assumes left jodan and dominates the situation. Uchidachi steps forward right and attacks with a thrust to the throat.
They assume hodoku and step back five steps to the starting line. They take three steps forward. Shidachi assumes chudan. Shidachi raises his bokken slightly. Uchidachi steps back in response. They step in and raise swords slowly to chudan. Gohonme This kata utilizes the suriage technique to deflect and simultaneously attack. Shidachi takes a half-step back. The final thrust is not parried. They step in. Exhale and cut L Inhale.
Yohonme At the starting point. With the sword still dominating uchidachi. At the first step. Both are now back in the center. Uchidachi assumes left jodan no kamae. Shidachi slides his bokken upward. Both Kendoka then assume chudan in center.
Shidachi assumes wakigamae. Neho Zenshin Zengo-Kiri. Shidachi steps forward with his right foot. Shidachi parries the thrust by turning his bokken on his side and pointing it to his right.
Their swords clash high and are brought down into chudan. He then begins a series of three more steps. Uchidachi then attacks with a tsuki. Exhale and cut R 3rd Form - Uchidachi attacks men. Sanbonme This kata features the tsuki thrust. Shirata Sword Suburi 1. Shidachi then begins to step back. He then counters with three tsuki. With his sword in uchidachi's face.
Exhale and cut R Inhale. Exhale and step L. Pivot 90 to L. Exhale and cut R 3. Exhale and step R. Pivot to L and cut L 2nd Form - Pivot 45 diagonally to L. Step L. Step R. Yokomen Uchi. R step. Always cut with a relaxed At all times keep the sword within the plane of your centerline. The tip should be just slightly lower than the hilt. Cut down and out with a wringing motion. During this movement your hips should turn from a triangular orientation to a square one.
Finish with the sword in front of your center. From the ready position. A tsuki on any side is a thrust to the midsection with the tip of the bokken. Kendo Basics for new members of GoDaiKen: Third Suburi This suburi starts the same as number 2.
Shuffle forward slightly with the front foot and turn the blade so that it faces the opposite side from the front foot..
Simultaneously rotate the right hip back and the left hip forward.
417459 Toshishiro Obata Naked Blade
Second Suburi From the ready position. New students of GoDaiKen are to look to their sempai to learn proper behavior and techniques. Fourth Suburi From the ready position raise the sword as you bring the right foot back to the left foot.
Let the tip of the bokken drop and continue around behind you in a circular motion as you step forward with the left foot and perform a shomen cut. The sword should be directly overhead and your feet should be together. The senior students are relied upon as role Seventh Suburi This suburi starts from the ready position with a right shomen cut. Included in this is the Sempai-Kouhai senior-junior relationship. Continue this process while alternating feet.
Perform a left parry and step forward with the right foot int a right shomen cut. Sixth Suburi This suburi is the same as number 5. Rotate the blade counterclockwise until the edge is up while raising the hilt to your forehead.
Move forward with the left foot and perform a left tsuki. Rotate the blade clockwise until the edge is up while raising the hilt to your forehead. Alternate left and right in this way. Let the tip of the bokken drop and continue around behind you in a circular motion as you step forward with the right foot and perform a shomen cut. Now raise the sword as you bring the left foot back to the right foot.
Simultaneously rotate the left hip back and the right hip forward. Step forward with the right foot and perform a shomen cut.
Your arms should end up in a crossed position. Fifth Suburi Do a shomen strike as in number 1. Step forward with the left foot and perform a shomen cut.
When bowing to the teacher and each other. Treat every shinai and bokken as if it were a real sword. Reigi Every keiko starts and finishes with a kneeling bow zarei. Check your equipment frequently for safety purposes-NEVER practice with a splintered or cracked shinai! NEVER lounge around in the dojo. After a brief warm-up. Here are some basic standards of behavior that should be obeyed at all times: Perform a standing bow before entering or leaving the training area.
The Sensei. Students line up according to rank. Kihon Basic practice kihon consists of old and carefully refined drills to establish the basic elements necessary to face an opponent: Posture shisei Stance kamae.
Three bows are performed: One to the shomen. Before practice Before practice begins. NEVER miss practice without letting the captain know ahead of time.
Students may consider the bow to shomen an acknowledgment of something they personally consider to be worthy of honor. The second and third bow to the teacher and each other is both a show of respect. NEVER use a damaged shinai in practice. Remove all jewelry. Inspect your shinai closely for cracks and splinters. Start and finish each practice drill with a bow. If you're not sure what to do. Remove your shoes and socks before stepping on the dojo floor. Kiai Distance and timing ma-ai Striking uchi.
Suburi exercise combines a basic swing with a rhythmic back-and-forth footwork. For directions on shinai care. Always obey the instructor's commands immediately. Suburi All of your armor and your uniform should be clean and in good repair. Even the most experienced teacher of Kendo will not neglect these fundamental drills. Continue walking forward and cutting. Move your centre forward and bring the bokken up to the centered position. Raise the bokken straight up.
Thus the exercise becomes: The bokken is a wooden sword traditionally made from white oak and weighing around g. The receiver makes a target available to the student. Kirikaeshi Kirikaeshi is a drill done with a partner that involves a succession of strikes to the men. Step across the attack line and forward with the left foot and tsuki. Move your centre back slightly and bring the bokken down so that both hands are by the right side and the bokken is pointing backwards and slightly down.
Step forward with the back foot and cut straight down. Uchikomi geiko Uchikomi single-step striking practice is designed to allow students to attack a passive receiver. Cut toward the side of the opponents head and at the same time clear the back foot. It is in uchikomi practice that the student perfects the coordination of sword stroke.
Training with the bokken is important because many of the empty hand or tai jutsu techniques are derived from sword techniques developed over centuries. Step forward with the left foot and center the bokken. Kirikaeshi was established as a basic exercise around the end of the Meiji era It teaches a number of important principles including proper distance and timing. Wind up as in go no suburi and cut yokomen on the right side. Remember to clear the back foot. The goal is to bring all one's physical and mental powers to bear upon the target at a precise moment in time.
Another important goal of suburi is to establish the proper posture at the moment one's sword contacts the target. Step forward with the front footand cut straight down. Look forward past the inside of the left elbow. Suburi combines the basic overhead swing with forward and backward movement. Extend the left arm up so that the bokken ends up centered down the spine. Finish by clearing the back foot as in ichi no suburi. Raise the bokken again. Repeat the exercise: To cut on the opposite side.
Make sure you do not retract the bokken between the cut and the tsuki. Start in migi kamae. This position is known as centering the weapon. Step forward with the right foot.
The whole body should now be off the attack line. The goal is to cultivate a smooth. Clear the back foot. Bring the hands up to just in front of the face while keeping the bokken pointing forward and slightly to the right NB the bokken is angled toward the side of the front foot.
Step forward thrust. Pivot shomen. Each movement is done twice. If both movements were done correctly you will always end with the right foot forward. Aikido and Bokken Bokken Parts Tsuka handle of the bokken Kissaki tip of the bokken Tsuba handguard that is sometimes slipped over the bokken Weight is centered evenly over both feet and both hands are near the level of your navel.
The kissaki is at your opponent's throat. The sword is brought down in exactly a vertical line. The left hand is on the butt end of the bokken about one fist width away from your body. Jodan-no-kamae Stand in right or left hanmi and raise your arms until your left hand is in front of your forehead. Your weight is slightly forward. Waki-no-kamae Left hanmi bokken lowered on the right hand side. Look directly to the front.
Do this for both with the right foot stepping and without. Shomenuchi Same as above but slide step forward while striking. Strike to the head with good focus then slowly subside to chudan-no-kamae. Bokken Suburi Shomenuchi The sword is raised overhead as you step back with the right foot. This provides an opening for your opponent to attack. Gedan-no-kamae Lower the kissaki from chudan-no-kamae. The bokken is raised vertically with the hands at the levels of your left chest and left shoulder.
The blade is tilted slightly to the right to take advantage of the natural curvature of the blade. The tsubo is at the level of your mouth. Yokomenuchi Move the left foot off the line of attack. Be ready to step off the line of attack by keeping your weight evenly distributed on both feet. The kissaki is directly above your head to protect those behind you.
Your hands are above your eyes and your elbows are out to afford vision to the front. Hasso-no-kamae Stand in left hanmi. Slide step back again after subsiding. Facing north initially n. Then step back with the right foot into jodan-no kamae. Then step back with leftfoot and return to seigan n Aiki Kengi 3 by R. They are practices. Uchitachi Attacker and Uketachi Defender The kumitachi are not to be considered competition.
If practice is done everyday on the kumitachi and partner practices. They were modified to include the concept of Aiki by the Founder. It was felt that this was the proper way to learn.
These variations are naturally used with the ken but are soon adapted to taijutsu. Professor Morihei Ueshiba. There are many possible variations of the kumitachi. If one does not have a good understanding of suburi. The Founder. Therefore begin each practice session with the suburi as shown in Volume I. It was said that one should be uchitachi for 10 years before being allowed to become uketachi. Defend by stepping back with the left foot. Take one step back with left foot and strike down Cut obliquely up.
Defend by moving into hitoemi with the left foot aim at the opponent's leg and strike down 5. Hold the opponent's ken wodn with your own Do not let the body cant at this 9. Uketachi Uchitachi 1. Raise ken above head Step forward with the left foot and strike.
Right hanmi Right hanmi 2. Defend by adopting the attitude of tsuki. Do not resist uke's bokken. Settle the hips. During blending of ki. Defend by cutting down. Intending to cut the opponent's wrist. Right yokomen kiai Defend by cutting down. Follow with a trust stepping with right foot 8. When the thrust comes. Follow uke's ken briskly from below as if 6. Strike again with renzoku uchikomi Second kumitachi Uketachi Uchitachi Chudan no kamae Chudan no kamae Jodan no kamae.
Settle the hips and adopt the attitude of a tsuki. Hold your opponent's bokken down. Hold opponent's bokken down lightly 3. Strike again with renzoku uchikomi Fourth kumitachi Uketachi Uchitachi Chudan no kamae Chudan no kamae Slide step tsuki Step off the line and slap bokken down Retreat Step through and tsuki Guard. Do a thrust Right hanmi Right hanmi Step forward on the right foot and tsuki. Saito's description follows until the last exchange.
Defend as if cutting down with the bokken. Point your bokken at opponent's centr line. Defend in the position of hito e mi. Flow with uke's movement. Move the left foot into the position of hito e mi. Defend by stepping back with the right Step forward with the left foot to the left and foot.
In practice step back with the left foot. Uchi komi. Blending ki. Sixth kumitachi Ki Musubi no Tachi Saito's description. Move into left hanmi. Raise opponent's bokken and move forward to grasp hi bokken.
Stand in left hanmi and defend with a tsuki. Turn the body into left hanmi and defend. Step back with the left foot. Step widely to the left with the left foot and strike down Shomen uchi komi 5. Without resisting. Do not grasp his bokken but flow moving to the opponent's back and strike his leg. Uketachi Uchitachi From below. The knuckle of the left hand index finger of the should be halfway between the top and the side of the weapon.
The bokken should be held out in front of the tanden or center with a feeling of extension. The middle and index fingers should be relaxed and tucked under the bokken. The right hand should be one fist's width above the left hand and it should mirror the left hand grip in all respects.
Make a flowing strike to the left. The grip is primarily between the thumb. Holding the Bokken Begin by standing in right hanmi. Return to initial stance. Lower bokken to your right side Same movement as uke Step forward with the right foot and strike with shomen uchi. Always cut with a relaxed motion. The bokken is held by placing the left hand at the bottom of the hilt with the little finger almost falling off the very end of the hilt.
This will be referred to as a basic ready position. Thrust as the opponent raises his bokken. Introduction The seven suburi are an integral part of our style of aikido. It is important to grip with a wringing motion and to keep the arms and shoulders as relaxed as possible. Point the Shomen uchi komi.
In preparation for another strike. Be sure to strike down Shomen uchi komi fully. This little document is an attempt to get the beginner's arms and legs moving in roughly the correct form. It is in no way definitive.
The orientation of the blade is rotated slightly clockwise from the vertical. Suburi All of these exercises start from right hanmi with the bokken held as described above. The single arrows represent a Shomenuchi strike. When performing the Shomenuchi strikes you will not step forward.
In the following diagram the double arrows represent a Shomenuchi strike followed by a Menutsuki thrust. Shuffle forward slightly with the front foot and turn the blade so that it faces the opposite side from the front foot.
Let the tip of the bokken drop and continue around behind you in a circular motion as you step forward with the left foot and perform a shomen cut..
When raising the bokken into Jodan-no Kamae you will not step backward. Bokken Kata I Bokken Kata 1 is a basic exercise where the attackers are approaching from eight directions.
Step forward with the left leg and turn degrees. Raise bokken to Jodan-no Kamae. Raise bokken into Jodan-no Kamae. Turn bokken blade to the right.
Recover to the initial ready position. Strike Shomenuchi. Turn bokken blade to left. Extend the bokken to you left rear by stretching your right arm across your chest. Release your left hand from the bokken and allow it to drop to your side. Ready Position: Sword in triangular guard position. Cut the opponent's right wrist. Perform an "area clearing" by cutting from left to right as you spin degrees. Here's how I've learned it which is not necessarily how it was taught!
Without pausing. Flag for inappropriate content. Related titles. Jump to Page. Search inside document.
Swords In the modern world it is not common at least not where I live to encounter someone armed with a sword. The Wakizashi 1 The wakizashi is a shorter sword than the katana and is of a similar construction.
Introduction 3 Step back with your left foot. Krzysztof Walla. Luc Lefebvre. Varun Sharma. Jitaru Wilkins. Napoleon Fernandez. More From Ana Bastan. Ana Bastan. Madz Bu. Zbigniew Baran. Juan Manuel Luzuriaga. Carlos Bonadeo. Enyaw Droffats. Semillas y Germinados - Dr. Stefan Lakovic. Felipe Andra. Lorenlay Fraile. Kodachi seiho. Because this is the last kata.
Shidachi moves in with the right foot and strikes a 2-handed men. Then thrust to the throat from hip level while placing the feet together. Shidachi starts from gedan with the right foot. The 3rd step is sideways to the left while shidachi lowers the shoto to avoid a strike to the wrist. The right foot is placed next to the left. The left arm is extended backwards. Uchidachi takes 4 steps and strikes shomen on the 5th after shidachi has slightly lowered the shoto.
It's a real snap from the cut to the block. Uchidachi moves back to hasso. Shidachi blocks with the hi and strikes away the sword to the right. The blade is vertical at the left shoulder. Shidachi brings the feet together and strikes down the sword to the left. The feet come together if necessary to make up the distance.
Shidachi steps forward with the left foot. This is similar to kazuki. Shidachi pushes the sword to his left and cuts to the neck. The tip of the shoto is somewhat pointing back. Shidachi grabs the arm and as soon as uchidachi tries to move back. It truly is a "throw your life away" kata.
Uchidachi should overcommit a bit in his strikes for shidachi to be able to do these things. Shidachi starts with the right foot. Shidachi returns to shizentai gedan. The people in the pictures are practicing. Nito seiho. The right foot is forward during the stab. The mune is up. Timing is everything. Uchidachi attacks again. This is a truly terrifying kata from shidachi's side of things.
You MUST have the will to take a hit to the head to do this one. From gedan the right hand is held slightly higher so both tips are on the same height. Both take 3 steps forward. When uchidachi strikes on the 3rd step.
Shidachi evades as before and quickly raises both swords ha pointing in direction of movement crosses them over his head shoto is on top. Haruna sensei was showing us the natural walking pattern this year so left foot passes the right. Uchidachi moves back and raises the sword again to hasso.
Daito goes up first. Back on all but the final strike where you step forward to attack.
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In this kata. The shoto is used to block this strike. The daito points upward. There are two ways of moving. Second strike down is to the swords again. Shoto moves fast. Right foot forward. Shidachi followed a bit in chudan. Uchidachi moves back to hasso and attacks again. The shoto.
During the blocks the feet are together. Uchidachi strikes to the shoto. Uchidachi steps back with the right foot. Repeat as uchidachi moves back a bit and strikes again. This is like nuki tsuke. The hips should move with the daito strike. Just two attacks from uchidachi's side. Shidachi steps forward. The 2nd attack is then pushed down to the left while the daito cuts kesa upwards.
So uchidachi moves back to hasso at the moment of the double cut. Do this on one knee rather than sticking your butt in the air. Uchidachi doesn't move back now. Shidachi now stands in shizentai gedan. To switching from itto to kodachi. This can be really weak unless shidachi is fully committed to thrusting through the throat and then cutting the wrists.
Uchidachi comes over to strike down the shoto. You have to make uchidachi pull the wrists back. To switch uchidachi-shidachi roles you could simply meet in the centre. Make sure you hand them over tip down.
Flag for inappropriate content. Related titles. Jump to Page. Search inside document. Patrik Lach. Andrei Alexandru Potra. Chris Gordon. Junsei Ryu Bujutsu Renmei. Gavin Barton. David Priestley. Mma Best Sport. Jason Steeves. Javier Tovar M. More From Rodderick. Wallace Fosten D. Maciej Schwarz. Gonzalo Carrillo Correa. Jeff Radford. Popular in Culture.Chiba Sensei and by extension. Ameya Mungale. Kendo examinations typically consist of jitsugi, a demonstration of the skill of the applicants, Nihon Kendo Kata and a written exam.
Commence in right posture and perform shomen uchi komI. Then passing it forward and upwardsover the front of the scabbard. Instruction is given in differentgroups according to rank. Covering bothe hands, the jitsuka should be able to continue the movement of the thrust going and use it against the attacker to then take them into a wrist lock. Happo-Girl The Eight Basics 2.
There are 12 daito techniques, uchidachi always starts in hasso: from tate zen the sword is brought to chudan, then to hasso.