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Post by Deleted on Aug 17, 2015 11:56:33 GMT
Blackthorn, ZNKR iaido is combative imo. Most of the kata are very closely related to koryu iai. Inasfar as it is a martial art, yes, and that elements are drawn from koryu iai, but it is put together for a different purpose to its parent arts as Google has explained.
I can't see the issue with ZNKR iaido being designed as a system to popularise iaido and to make it easier for kendo practitioners to learn iaido as opposed to a military training system of swordsmanship. It's not a negative reflection on ZNKR compared to military koryu, why does it have to compete with military koryu anyway, it doesn't, it's not supposed to, it's a system that stands on its own and has its place. It may not be what every JSA practitioner is looking for, and there's nothing wrong with that.
Only really young people get caught up in the ego contest of whose martial art is 'more bad ass', and that's just silly.
My point is that sword training needs more than kata, it's the same in the Chinese martial arts, my teacher explained that if you don't do partnered drills you won't learn to use a sword properly. When I trained in koryu, we practised kenjutsu for this purpose. In my current CSA training, we only do forms (kata), which may have a wider application than iaido kata, as they cover all situations and defense/attack against many other types of weapons, and learn the martial application of the techniques but still, it's mainly kata training as you do in iaido. I will be looking to do lots of partnered drill training outside of class to address this shortcoming. If my goal is not combat effectiveness then the training which is mainly kata is enough on its own.
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Post by Derzis on Aug 17, 2015 11:58:51 GMT
Ok, you want to talk on point? Good. Who told you to do it high speed? Jo-ha-kyu says something to you? Ki-ken-tai-ichi?
Ki ken tai ichi can be easily performed at high speed. I don't think jo ha kyu as taught today is a good rythm for real fighting. Again, it is too slow. I've seen many iaijutsu who perform at very high speed, and I can't see how jo-ha-kyu can defeat them. Man, you are right. Doesn't matter if you go on youtube to check a hachidan doing kata you don't see high speed. You see all you want but rushing a technic - because high speed for me = rushing. I stop here since it is worthless. Jo-ha-kyu can't defeat nothing. It is the way you achieve speed without being robot or stumbling on your own saia
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Post by Derzis on Aug 17, 2015 12:00:37 GMT
Blackthorn, ZNKR iaido is combative imo. Most of the kata are very closely related to koryu iai. Inasfar as it is a martial art, yes, and that elements are drawn from koryu iai, but it is put together for a different purpose to its parent arts as Google has explained.
I can't see the issue with ZNKR iaido being designed as a system to popularise iaido and to make it easier for kendo practitioners to learn iaido as opposed to a military training system of swordsmanship. It's not a negative reflection on ZNKR compared to military koryu, why does it have to compete with military koryu anyway, it doesn't, it's not supposed to, it's a system that stands on its own and has its place. It may not be what every JSA practitioner is looking for, and there's nothing wrong with that.
Only really young people get caught up in the ego contest of whose martial art is 'more bad ass', and that's just silly.
My point is that sword training needs more than kata, it's the same in the Chinese martial arts, my teacher explained that if you don't do partnered drills you won't learn to use a sword properly. When I trained in koryu, we practised kenjutsu for this purpose. In my current CSA training, we only do forms (kata), which may have a wider application than iaido kata, as they cover all situations and defense/attack against many other types of weapons, and learn the martial application of the techniques but still, it's mainly kata training as you do in iaido. I will be looking to do lots of partnered drill training outside of class to address this shortcoming. If my goal is not combat effectiveness then the training which is mainly kata is enough on its own.
Your point is out of the subject on this topic. It is the single thing you post when the subject is iai.
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Post by Deleted on Aug 17, 2015 12:09:56 GMT
I'm having a poke at you, gosh, it's a joke! Hence the emojis!!! O_o BTW, I was addressing the kids who just finished watching their latest obscure anime where the characters have really big eyes and draw their katana really fast lol! :)
Maybe some references or source material about the combative nature of ZNKR, or is this more speculation? Sounds like you're pi$$sing in our pockets and telling us it's really just raining...
"This brings us to the final portion of the action, what might be termed the climax in Western literature. The iaidoka has arrived at the moment of “kyu.” The finish of the kata is the final kirioroshi. Teki has been driven back, and in this moment when he is open, the iaidoka finishes the action. This kirioroshi must be powerful, containing all of the energy and tension that has developed through the jo and kyu sections of the kata. This is culmination of the entire kata. Everything in the kata has to drive to this point, with the energy and intention of the iaidoka leaving no room for any other resolution once teki has fully committed to the attack. Following kyu the kata is not over, but the tension and drive have been resolved. The iaidoka cannot allow himself to become inattentive because his foe has been defeated, but must maintain zanshin, awareness until conditions change, and the kata is truly complete." -http://ejmas.com/tin/2007tin/tinart_boylan_0703.html That's quite interesting to read, thanks for that, it explains a lot about the internal state which the iaidoka seeks, and the progression of internal processes. That's exactly the internal state and process in tai chi forms, the equivalent of kata. In tai chi competition, the judges look for this process, and they can spot it, especially since the execution of the movements are slow and purposeful, without this internal process it's just physical movement. I've heard of intances of judges in iaido competition calling out competitors on the same point. Once properly trained, the movements of the form/kata happen almost autonomously, that's the technique part, if the practitioner can do what you've outlined in the text, in my mind that is the essence of iaido and internal styles such as tai chi. Great post!
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Post by Google on Aug 17, 2015 12:16:48 GMT
Ki ken tai ichi can be easily performed at high speed. I don't think jo ha kyu as taught today is a good rythm for real fighting. Again, it is too slow. I've seen many iaijutsu who perform at very high speed, and I can't see how jo-ha-kyu can defeat them. Man, you are right. Doesn't matter if you go on youtube to check a hachidan doing kata you don't see high speed. You see all you want but rushing a technic - because high speed for me = rushing. I stop here since it is worthless. Jo-ha-kyu can't defeat nothing. It is the way you achieve speed without being robot or stumbling on your own saia
If you think high speed is rushing, then this discussion is really hopeless. Try doing some sparring, or even to hit a partner with your sword before he touches you, and without giving him the time to dodge. You can't attack slowly, and thus you can't react slowly. I agree jo-ha-kyu is a method to polish technique in order to achieve the necessary speed, but if you don't practice said speed (after time, obviously), what is it good for? Check the "samurai spirit" episode on iaido, where Pettas asks Kishimoto sensei asks for the application. Kishimoto don't use jo-ha-kyu then.
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Post by Deleted on Aug 17, 2015 12:16:59 GMT
Inasfar as it is a martial art, yes, and that elements are drawn from koryu iai, but it is put together for a different purpose to its parent arts as Google has explained.
I can't see the issue with ZNKR iaido being designed as a system to popularise iaido and to make it easier for kendo practitioners to learn iaido as opposed to a military training system of swordsmanship. It's not a negative reflection on ZNKR compared to military koryu, why does it have to compete with military koryu anyway, it doesn't, it's not supposed to, it's a system that stands on its own and has its place. It may not be what every JSA practitioner is looking for, and there's nothing wrong with that.
Only really young people get caught up in the ego contest of whose martial art is 'more bad ass', and that's just silly.
My point is that sword training needs more than kata, it's the same in the Chinese martial arts, my teacher explained that if you don't do partnered drills you won't learn to use a sword properly. When I trained in koryu, we practised kenjutsu for this purpose. In my current CSA training, we only do forms (kata), which may have a wider application than iaido kata, as they cover all situations and defense/attack against many other types of weapons, and learn the martial application of the techniques but still, it's mainly kata training as you do in iaido. I will be looking to do lots of partnered drill training outside of class to address this shortcoming. If my goal is not combat effectiveness then the training which is mainly kata is enough on its own.
Your point is out of the subject on this topic. It is the single thing you post when the subject is iai.
Derzis, you've missed the point again, I was replying to something to jam said... I think you mean the subject is off topic, well not really, the point being it's hard for a system to be combative when it doesn't have all the elements of combat training, hope that clears things up. Everything in the martial arts world doesn't have to be purely combat oriented and it's not inferior if it isn't, we're not all training to be medieval soldiers!
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Post by Deleted on Aug 17, 2015 12:22:28 GMT
Man, you are right. Doesn't matter if you go on youtube to check a hachidan doing kata you don't see high speed. You see all you want but rushing a technic - because high speed for me = rushing. I stop here since it is worthless. Jo-ha-kyu can't defeat nothing. It is the way you achieve speed without being robot or stumbling on your own saia
If you think high speed is rushing, then this discussion is really hopeless. Try doing some sparring, or even to hit a partner with your sword before he touches you, and without giving him the time to dodge. You can't attack slowly, and thus you can't react slowly. I agree jo-ha-kyu is a method to polish technique in order to achieve the necessary speed, but if you don't practice said speed (after time, obviously), what is it good for? Check the "samurai spirit" episode on iaido, where Pettas asks Kishimoto sensei asks for the application. Kishimoto don't use jo-ha-kyu then. Kenjutsu is practised full speed, full force, it has to be. Derzis is confusing that with the questionable practising of kata really fast, where some iaido posers think that speed is everything as a status symbol of the dojo hotshot and all proper form goes out the window. That perspective that downplays the importance of speed (with proper form) comes from only practising kata and not doing any high speed partner drills that will knock the bokken out of your hands if you're doing light fast fairy sings for show.
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Post by Deleted on Aug 17, 2015 12:32:03 GMT
Humour me here guys, in koryu we trained both iai and kenjutsu, so we could defend and counter with sword in saya or sword drawn. What does an iaidoka do if their sword is already drawn and more opponents arrive on the scene? Putting the sword back in the saya would be suicide...
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Post by Derzis on Aug 17, 2015 12:32:26 GMT
That's quite interesting to read, thanks for that, it explains a lot about the internal state which the iaidoka seeks, and the progression of internal processes. That's exactly the internal state and process in tai chi forms, the equivalent of kata. In tai chi competition, the judges look for this process, and they can spot it, especially since the execution of the movements are slow and purposeful, without this internal process it's just physical movement. I've heard of intances of judges in iaido competition calling out competitors on the same point. Once properly trained, the movements of the form/kata happen almost autonomously, that's the technique part, if the practitioner can do what you've outlined in the text, in my mind that is the essence of iaido and internal styles such as tai chi. Great post! I have no idea what internal thing is doing for you, but in a real fight you better run instead giving your lazy punch. And if right after the guy is down you just turn your back, you are in big sht. But this is me and how interpret 'internal' meanings.
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Post by Google on Aug 17, 2015 12:32:33 GMT
If you think high speed is rushing, then this discussion is really hopeless. Try doing some sparring, or even to hit a partner with your sword before he touches you, and without giving him the time to dodge. You can't attack slowly, and thus you can't react slowly. I agree jo-ha-kyu is a method to polish technique in order to achieve the necessary speed, but if you don't practice said speed (after time, obviously), what is it good for? Check the "samurai spirit" episode on iaido, where Pettas asks Kishimoto sensei asks for the application. Kishimoto don't use jo-ha-kyu then. Kenjutsu is practised full speed, full force, it has to be. Derzis is confusing that with the questionable practising of kata really fast, where some iaido posers think that speed is everything as a status symbol of the dojo hotshot and all proper form goes out the window. That perspective that downplays the importance of speed (with proper form) comes from only practising kata and not doing any high speed partner drills that will knock the bokken out of your hands if you're doing light fast fairy sings for show. I've seen some iaijutsu of various ryu done at full speed, with proper form and nobody died. I've also seen modern iaido incorporate long-pauses, which are so long they stop any flow you develop. And I think we should let Derzis speak for Derzis and what he means.
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Post by Derzis on Aug 17, 2015 12:39:25 GMT
We talk for the sake of talking. Jo-ha-kyu means a lot of things. One can be this: being relaxed when you grab the tsuka, starting to involve the muscles until the moment you hit the target when the muscles are tightened. And if you are telling me kishimoto is not using this I really don't know what to say. This is the way you achieve speed in any MA. And next time, when you write full speed about a kata, please say who told you that.
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Post by Derzis on Aug 17, 2015 12:43:12 GMT
Humour me here guys, in koryu we trained both iai and kenjutsu, so we could defend and counter with sword in saya or sword drawn. What does an iaidoka do if their sword is already drawn and more opponents arrive on the scene? Putting the sword back in the saya would be suicide... Waits to see if there are no others coming after him. And if he puts it in he is still ready for any other attack until he is alone. This what he is doing. What you do after you had your duel? You go to a beer with sword in hand? Again, Blackthorn, I give you this: You have the guts to talk about iai when you know nothing about it. I can't do that about CSA or Hema. And I will never do. But this is me, not you
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Post by Deleted on Aug 17, 2015 12:45:59 GMT
I have no idea what internal thing is doing for you, but in a real fight you better run instead giving your lazy punch. And if right after the guy is down you just turn your back, you are in big sht. But this is me and how interpret 'internal' meanings. Sound like you're missing the whole internal psychological state, this is drawn from esoteric Shinto practices, the Chinese equivalent has Daoist origins, the point is it's not a real fight, iaido is moving meditation, that stuff about self improvement in every iaido description is not a feel-good statement to welcome westerners to Japanese culture, it's the WHOLE point of iaido and why it was created. This isn't simple expedient street fighting wisdom of keeping your wits about you, it's more than that. It wouldn't make sense to practice a subset or small portion of greater art that simply is concerned with responding to a surprise attack with a sheathed sword, while ignoring the rest of the art that it came from, if it was about learning to kill. You have very liberal interpretations of the paragraph you posted, but my opinion is irrelevant, I suggest you ask your sensei for his interpretation rather than make assumptions. If you assume you already know all about it then there's no room to learn so it's kind of pointless having a teacher, so best use the resources your paying for to get the most value for your dollar.
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Post by Deleted on Aug 17, 2015 12:55:34 GMT
Humour me here guys, in koryu we trained both iai and kenjutsu, so we could defend and counter with sword in saya or sword drawn. What does an iaidoka do if their sword is already drawn and more opponents arrive on the scene? Putting the sword back in the saya would be suicide... Waits to see if there are no others coming after him. And if he puts it in he is still ready for any other attack until he is alone. This what he is doing. What you do after you had your duel? You go to a beer with sword in hand? Again, Blackthorn, I give you this: You have the guts to talk about iai when you know nothing about it. I can't do that about CSA or Hema. And I will never do. But this is me, not you
Derzis, with koryu kenjutsu, since it's about being on a battlefield, there is no great emphasis on iai, which idiot goes forward into battle after he's lost his primary weapon, spear or naginata, with sword in saya? Once you defeat one opponent, they don't stop, they keep coming, that's how battle works. You've probably thrown away your saya if it hasn't been smashed to pieces between your armour and your opponents weapon. You engage opponents with sword drawn. Do you train for that in ZNKR iaido? How about combat against yari? Wakizashi against katana? There's no place to stop for a beer (nor a warm saki rice wine) on the battlefields of ancient Japan :)
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Post by Deleted on Aug 17, 2015 13:11:26 GMT
I have no idea what internal thing is doing for you, but in a real fight you better run instead giving your lazy punch. And if right after the guy is down you just turn your back, you are in big sht. But this is me and how interpret 'internal' meanings. Sound like you're missing the whole internal psychological state, this is drawn from esoteric Shinto practices, the Chinese equivalent has Daoist origins, the point is it's not a real fight, iaido is moving meditation, that stuff about self improvement in every iaido description is not a feel-good statement to welcome westerners to Japanese culture, it's the WHOLE point of iaido and why it was created. This isn't simple expedient street fighting wisdom of keeping your wits about you, it's more than that. It wouldn't make sense to practice a subset or small portion of greater art that simply is concerned with responding to a surprise attack with a sheathed sword, while ignoring the rest of the art that it came from, if it was about learning to kill. You have very liberal interpretations of the paragraph you posted, but my opinion is irrelevant, I suggest you ask your sensei for his interpretation rather than make assumptions. If you assume you already know all about it then there's no room to learn so it's kind of pointless having a teacher, so best use the resources your paying for to get the most value for your dollar. This might help give a deeper insight into the inner state sought in iaido, by Kawaguchi Toshihiko Hanshi, Kawaguchi Sensei won the All Japan Iaido Taikai in the Godan, Rokudan and Nanadan classes and was also victorious in the First and Fifth All Japan Hakone Taikai for Iaido Hachidan. Kawaguchi Sensei is Vice President of the Yamagata Prefecture Kendo Renmei and holds the rank of Kyoshi Nanadan in Kendo. Kawaguchi Sensei was awarded Hachidan Iaido in 1989 and Iaido Hanshi in 1998. Kawaguchi Sensei is currently Chair of the All Japan Kendo Renmei’s Iaido Research
Source: www.britishkendoassociation.com/wp-content/uploads/2015/03/Kawaguchi-sensei-_2.pdf
Article taken from the book The Eyes of the Iaido Grading Panelist (Iaido Shinsa -in no Me)
This book is compiled from a series of articles originally published in Kendo Jidai magazine.
Distributed by the British Kendo Association with the kind permission of Taiiku and Sports Publishing Ltd.
Is the Kokoro (Spirit) of the candidate as strong as the one of the shinsain (Judge) by Kawaguchi Toshihiko Hanshi
During examinations I put myself into a combat situation against the candidates. This was already the case when I was judging competitions, and it is maybe a habit I kept from my competitor’s life. I spiritually fight candidates. This state allows you to see the spirit (Kokoro) of the embu of the candidates. In fact in this state you can even see the candidates waiting at the rear. I think that this way of judging is not only unique to me but that all the judges do the same. That’s why the major question is : Are you ready to win against the jury, Do you have enough self-assurance and thus training to do so ? I am convinced that it is by accumulating keiko with that in mind, that one will be able to show Fûkaku and Hin-i. That is also why it is important to prepare his Kokorogamae for the encounter …
What about Kokorogamae ?
Try to not mix up your reasons/goal (Mokuteki) with objectives (Mokuhyô) ? The reason/goal of your practice is “The evolution of your human behaviour through the practice (Shûren) and respect of the sword principles”. The final goal should not be replaced by objectives like passing an examination or winning a competition. All those objectives are only steps you have to go through (milestones) to reach the bigger goal/reason. If you establish objectives as goal then you miss the point. Within the same idea, for an examination, it is the way one approaches the self examination that is important and not the final result.
Change your keiko’s spirit, your kokorogamae. It is by understanding this that one can express the kokorogamae in Iaido. The kokorogamae will be different for each of us. In fact it depends on what has brought you to Iaido, what gave you the urge to master Iaido. It is good to go back to the origins and remind yourself why and with what goal you started Iaido. For example for me I started Iaido to improve my kendo and I always try to keep kendo fighting situation in mind while practising.
You should be ready and open for remarks and criticism, to be able to do that you have to become an idiot and by idiot I mean that you have to sincerely dive into the received teachings. Sincerity will allow you to receive entirely and will motivate the sensei to teach you more points. This sincerity will also allow you to keep heijôshin, calm the spirit and facilitates the creation of the kasôteki. Even more important, humility linked to the desire to constantly learn is crucial. Learning from your shi (Shyushô/shishoo=Main teacher), learning from others, learning from yourself and the location. Those 4 sources of learning should stay clear in your head while training.
For examinations, sahô (ceremonial) and clothing are crucial points. It is necessary for them to be perfect and are inseparable from the Kokorogamae. If there is a correct kokorogamae there will be from the sahô to reihô a sense of self perfection. Sahô and reihô are not a succession of predefined movements, it will also show how much you involves your spirit/heart. The Torei totally changes if your heart/spirit says “onegai shimasu, arigatô gozaimashita” or not. Your depth of practice is also reflected by how you move in the dojo and is something essential for 8th dan candidates. Judges want to see attitude and movements that are crowned with hinkaku (dignity).
Are your eyes watching the kasôteki ?
It is obvious that technique should reflect the practitioner’s grade. It is out of question to think having reached a level once a dan has been awarded. If a 6th dan is not close to 7th dan, it would be impossible to consider the 7th dan examination as a crossing point. There should be a difference of execution in movements like nukitsuke, kiritsuke, chiburi, nôtô between a beginner, mid and higher grade. Basic movements, foundations should be acquired by 3rd dan. It is impossible to build something if the foundations are not solid/strong. From the nukitsuke to the nôtô everything starts from the left. If we want to perform an “explosive” nukitsuke you need to perform a strong sayabiki. When the left hand grips the koiguchi, the little finger should push strongly following the Obi, pushing the koiguchi backward and not on the side. The kirioroshi should not scratch the ceiling but rather sweep it in order to use the monouchi correctly. The hasuji should be correct and the kirioroshi should be using the left hand tenouchi. The chiburi should of course have a correct angle but in addition it should be performed with the spirit “If you move I pierce you” towards your opponent, you have to move your ki and your kissaki together with this intention. The nôtô should be performed at tsubamoto displaying seme, protection and calmness. It is important to practice a keiko without suki/opening.
For mid level 4th and 5th dan it is required to have placid spirit and improvements on metsuke, kihaki (energy/determination) and the kikentai no itchi. “The eye speak more than the mouth” this saying is so true. It is really a pity to see a wonderful technique wasted by a blink of an eye loosing contact with the opponent or a metsuke following the kissaki or worst looking where the enemy is not. You have to be able to create a real opponent and your eyes should be consistently following him. It is the only way to have a living iaido. The eyes are reflecting the kokoro (hearth/spirit) state. It is only when your eyes will follow the opponent that we will sense/understand the power of your waza. It you present yourself without self-assurance, nervous, anxious, we will see it in your eyes.
The 5 requirements for higher grades (Jokyusha)
Riai, Fuukaku, Hinkaku is what is asked to higher grade. The accumulation of experience and knowledge. That is what we as judges are looking for while assessing the depth and understanding of your practice. It is not only acquired through keiko but should also be filled with day to day life experiences. The wazamae should of course reflect enough riai understanding and one should be dedicated/devoted to the correct teaching and transmission of Iaido’s traditional culture.
Based on my experience I deliver you my thoughts about kokorogamae and embu for examination candidates.
1. Is the state of mind mushin ?
Mushin is very important for kokorogamae and something that should be present entering the examination hall. The spirit should be cleaned of any personal interests. It is most probably mushin that leads to a good enzan no metsuke.
2. Is the Wazamae embu(do) (martial technique performance) and not embu(yo) (dance) ?
The waza should be a martial art demonstration and not dance. The ma, maai, kensabaki, taisabaki, ashisabaki, tenouchi, the sword becoming one with the body, all those elements should fit together. The kirioshi is not separated from the furikaburi, we do the furikaburi with the purpose of cutting, that’s why we should not stop (tome) after the furikaburi, but we do it with tame (accumulation). Tome and tame should not be confused.
3. Are Kankyûkyôjaku and johakyu visible ?
In the waza there should be shikan(relaxation)/kinchô(tension)/stength(Kyô)/softeness(Jyaku) but also rhythm. In a waza there are peaks and valleys, peaks only exist because there are valleys. The beginning of kata should done with the saya no uchi no shôbu spirit, followed by violent moments such as nukitsuke and kirioroshi interspersed by seme, zanshin phases and calmness during chiburi and nôto.
4. Are the shoulder relaxed ?
Stopping breath and tension in the shoulder should be avoided. I would like high grades to study/work on their breathing using the hara with abdominal muscles contractions. Breathing in to accumulate it in the hara and breathing out slowly will relieve tension in the shoulder. Of course performing a long kata only breathing out is difficult. It is through practice that you will be able to find your way to efficiently link breathing in and breathing out moments. I remember watching my sensei during cold winter to see (steam coming out of his mouth) when and how he was breathing.
5. Do not commit unforgiving mistakes
Nothing can save you from a shiteiwaza or overtime. It is also very hard to be forgiven for a missed noto or inner kata mistake. Sometimes the problem is also the attitude following a mistake. A lenient thought such as “The err is human” is absolutely not acceptable. An error such as overtime can be avoided by training properly. Do not take too much time for hajime no tôrei and owari no tôrei, you have to start your waza after maximum 1 minute. I remember the time it was 5 kata in 5 minutes, this was not impossible. Prepare yourself for a clean and rapid reihô, adjust your keiko in order to have enough time for zanshin.
To finish, I give you some keiko examples and methodologies I use to improve the wazamae:
- Kihon shûren: fundamentals training including sitting/standing nukitsuke, kiritsuke, chiburi, noto
- Suburi: oshigiri (advanced), hikigiri (backward), seizasuburi (cutting with the hara)
- Kirikaeshi: Mae kirioroshi changing alternating feet without yokochiburi
- Kendo kihon waza keikohô: understanding of the ma and maai, okuriashi and taisabaki
- Hayanuki: Improving body posture by practising ZKR Iai with 4 speed levels: normal, a bit faster, very speed, finally -ittônyûkon- putting all your spirit into the cut)
- Aikakarigeiko: face to face with a partner, performing waza without being late and not being overwhelmed by the opponent’s ki. Keeping eye contact and combat seriousness with the true spirit of a shinken shobu
The teachings I just mentioned come from my sempai and sensei’s whom I humbly ask forgiveness. I wish success to all senior grade candidates. I hope they will become good teachers and take care of the development of Iaido.
There is no retirement for challenges.
Profile of Kawaguchi Toshihiko Hanshi
Kawaguchi Sensei was born in 1939in Iwakuni City, Yamaguchi Prefecture.
After Shimomatsu Kogyo High School he joined the Higashi Sou Co. Ltd.
At the age of 21, through his connection with Shikuma Sumio Sensei, he was able to study under Okihara Isao Hanshi. Later he went on to study under Kamimito Eiichi, Tomigahara Tomiyoshi and Kumida Hajime Sensei.
Kawaguchi Sensei won the All Japan Iaido Taikai in the Godan, Rokudan and Nanadan classes and was also victorious in the First and Fifth All Japan Hakone Taikai for Iaido Hachidan.
Kawaguchi Sensei is Vice President of the Yamagata Prefecture Kendo Renmei and holds the rank of Kyoshi Nanadan in Kendo. Kawaguchi Sensei was awarded Hachidan Iaido in 1989 and Iaido Hanshi in 1998.
Kawaguchi Sensei is currently Chair of the All Japan Kendo Renmei’s Iaido Research Group
Translation provided by Yuki Kanto and Michael Simonini
No part of this article may be used for commercial purposes
Our grateful thanks to Taiiku and Sports Co.
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Post by Google on Aug 17, 2015 13:15:01 GMT
We talk for the sake of talking. Jo-ha-kyu means a lot of things. One can be this: being relaxed when you grab the tsuka, starting to involve the muscles until the moment you hit the target when the muscles are tightened. And if you are telling me kishimoto is not using this I really don't know what to say. This is the way you achieve speed in any MA. And next time, when you write full speed about a kata, please say who told you that. Did you look at the segment I referred to, or would you like me to share it here? The application Kishimoto shows uses completely different rhythm than common znkr iai. This is the way you achieve speed, but how do you practice at that speed? How do you practice reacting to a quick opponent? Surely you don't think someone will attack slowly and lightly.
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ZNKR Kata
Aug 17, 2015 13:22:58 GMT
via mobile
Post by Deleted on Aug 17, 2015 13:22:58 GMT
This works better when we discuss the subject instead of try to win an argument.
Rhythm and timing I s important. It isn't just a matter of hitting harder and moving faster than the other guy, otherwise there wouldn't be a reason to do anything besides cardio and weight training.
Going faster is less important than having psychological and mechanical superiority. It doesn't matter if I go faster than the other guy if he can get where he needs to be first - and that is going to be a universal that applies regardless of what village, nation, or continent your system was developed in.
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ZNKR Kata
Aug 17, 2015 13:25:46 GMT
via mobile
Post by Derzis on Aug 17, 2015 13:25:46 GMT
We talk for the sake of talking. Jo-ha-kyu means a lot of things. One can be this: being relaxed when you grab the tsuka, starting to involve the muscles until the moment you hit the target when the muscles are tightened. And if you are telling me kishimoto is not using this I really don't know what to say. This is the way you achieve speed in any MA. And next time, when you write full speed about a kata, please say who told you that. Did you look at the segment I referred to, or would you like me to share it here? The application Kishimoto shows uses completely different rhythm than common znkr iai. This is the way you achieve speed, but how do you practice at that speed? How do you practice reacting to a quick opponent? Surely you don't think someone will attack slowly and lightly. I know that vid for years. There is no common znkr iai practice. Are levels of understanding that will give different rhythms. You can practice reaction with those katas. 5 m apart 2 face 2 face doing let's say Mae. Or one kesa and other ukenagashi trying to parry the downward cut. Or any other pair that a Sensei see fit. You can practice speed in the system, you just need to have a good teacher. And kendo katas are good to practice too. Iai is limited by the one who practices only.
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Post by Deleted on Aug 17, 2015 13:34:53 GMT
Denial is not a river in Egypt... :)
From "An Introduction to Iaido: Its Purpose and Benefits" (ejmas.com/tin/2010tin/tinart_thibedeau_1005.html)
"First of all, Iaido isn't about sword fighting in the sense that the purpose of training is to become better at using the sword for its original purpose. That is not to say that a skilled Iaido practitioner cannot competently wield a sword but facility in using the sword isn’t the ultimate objective since there is no practical use for the sword in modern society. To fill this void there needs to be some other reason for practicing this art. The sword and the skills to employ it effectively are instead used as a vehicle for physical conditioning and personal development. How does using the sword effect these goals?"
...
"After an initial phase of one’s training in Iaido, where the focus is on learning physical actions, greater insight into the less tangible components can start to be developed. Iaido can be somewhat simplistically described as a moving meditation. One is not, however, disengaged from the surrounding world. Much of the training revolves around technical analysis and mental focus to recreate the feeling of a real encounter. Sometimes the technical aspects, while important, can cloud the mind by becoming too much of a distraction during the execution of a kata. There is a place for careful attention to details of movement but an Iaido practitioner must also be attentive to the mental side of the coin. The kata need to be more than a dance. One must recreate the intensity of a hostile encounter by recreating the sense of danger and the focus that that instills. This must be done while maintaining a calm spirit that is unperturbed by outside distractions or one's own failings. These mental skills can be taken out of the dojo and used in one’s daily life. The higher philosophical precepts can be summed up by the Iaido maxim saya no uchi no kachi - Achieve victory with the sword inside the saya (scabbard). One's goal in the end is to use peace as a means of bettering yourself and the people you interact with."
Purpose of iaido (Source: en.wikipedia.org/wiki/Iaido#Purpose_of_iaido )
Iaido encompasses hundreds of styles of swordsmanship, all of which subscribe to non-combative aims and purposes. Iaido is an intrinsic form of Japanese modern budo.
Iaido is a reflection of the morals of the classical warrior and to build a spiritually harmonious person possessed of high intellect, sensitivity, and resolute will.
Iaido, The Art of Japanese Swordsmanship By Paul J.O'Brien (www.way-of-the-samurai.com/Iaido.html )
Although the techniques practised by students of Iai are based on the combat methods of feudal Japan, the purpose of Iaido training is the development of the self, not only in physical but also in moral and spiritual terms. Even during the early stages in the history of the various ryu, it was recognised that these moral and spiritual effects of training in swordsmanship were beneficial not merely to the individual swordsman, but to society as a whole. As military and political conditions in Japan changed, particularly in the mid – 20th century, the philosophical and moral aspects of training gained more emphasis.
(www.iaido.com/Iaido.html )
Iaido is a type of Japanese swordsmanship. Practice is made up almost entirely of kata, or pre-arranged sets of motion designed to respond to a particular attack by another swordsman. A kata typically consists of a draw, a parry, a major cut, a blade-cleaning motion, and a resheathing. Practice is calm and quiet, since the most important feature of iaido is the development of zanshin (a calm, reflective mind), and the major difficulty to overcome is the extraordinary attention to detail required. This is another art that is popular with older people and non-athletes, since the relatively slow movements are not as taxing to the cardiovascular system as are the more active arts (though it is still extremely challenging).
What is iaido? (www.kjartan.org/swordfaq/section02.html )
Iaidoka (and kendoka) wield a sword not to control their opponent, but to control themselves. Iaido is mostly performed solo as a series of kata, executing varied techniques against single or multiple imaginary opponents. Each kata begins and ends with the sword sheathed. In addition to sword technique, it requires imagination and concentration in order to maintain the feeling of a real fight and to keep the kata fresh. Iaidoka are often recommended to practice kendo to preserve that fighting feel; it is common for high ranking kendoka to hold high rank in iaido and vice versa.
It just keeps going and going and going, and I'm up too late and I'm now going too :)
Parting thought - understand what you practice, know why you're at the dojo, be honest with yourself and your sensei as to why you're there.
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Post by Google on Aug 17, 2015 13:57:45 GMT
This works better when we discuss the subject instead of try to win an argument. Rhythm and timing I s important. It isn't just a matter of hitting harder and moving faster than the other guy, otherwise there wouldn't be a reason to do anything besides cardio and weight training. Going faster is less important than having psychological and mechanical superiority. It doesn't matter if I go faster than the other guy if he can get where he needs to be first - and that is going to be a universal that applies regardless of what village, nation, or continent your system was developed in. Jon, you are both correct and wrong. Mechanical superiority (technique) is key, that is why we have endless repetition of kata at various speeds. However, for REALISTIC fighting one must understand that speed and power are parts of training. What good is my iai if I can't react in time? What good is my cut if it can't actually hit the opponent easily, or if I can't regroup when it misses? Only full-speed contact drills can teach that. If it's the situation for empty hand systems, so it is for weapons. If a complementary drill is needed, the znkr should mention it, and not hope that some sensei has the wits to do it by chance.
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