PUBLIC MARKS with tags iaido & kata

“In Iaido we always win against enemies” performing a kata slowly or quickly, result is the same … We win. Of course we are alone fighting against imaginary opponents and the scenario (Riai) says we win. How could we loose ? I did not deeply thought about this but writing it down suddenly gave me a strange feeling. Why should we be so sure (reassured) of the encounter result if we really live the kata, if we really live in the moment ?

Some kata from Omori Ryu and Katori Shinto Ryu. Shot by a friend with a Sony Cybershot. For more info go to www.doshikai.org

Ajoutée par TheTigrou44 le 30 mai 2009

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

By Deborah Klens-Bigman, Ph.D. "Bound flow" refers to movement which is held in check by certain parameters, for example ballet or other highly codified choreography. Since I study both martial arts and Japanese classical dance, "bound flow" has a great deal of significance for me. To the untrained eye, both iaido and Japanese classical dance forms look much more "bound," than "flowing," or you might say, more like work than self-expression.

Iaido is a difficult art to practice because we have no opponent, or rather, our opponent is imaginary and invisible. In this article I will discuss the concept of maai in relation to our impression of personal space and I will examine the interpretation of iaido kata in relation to this awareness of space.

What a pleasure it was to attend the 2009 CKF iaido and jodo gradings at the Etobicoke Olympium in Ontario, Canada. The day began with an over-subscribed iaido seminar featuring instruction by Ohmi Goyo sensei, Asaoka Mitsuru sensei, Stephen Cruise sensei, David Green sensei (and myself). That's four nanadan and a rokudan for the 50 to 60 students who attended. The seminar began with a group run-through of Zen Ken Ren iai (seitei gata) and then the students were split into their challenge groups, ikkyu, shodan, nidan and sandan, and yondan up to receive some specific training.

We are a strange people. Us western iaidoka, that is. We are all part of a rich culture that goes back to Ancient Greece and to the Roman Empire. Were we only interested in the martial arts of the sword, we would still find a number of Western ones teaching European, Italian, and Scottish swordsmanship, and even more. Yet we have instead opted to study arts which come from the far east, from a land and a culture that is foreign to most of us. We try to understand the culture and philosophy of those who came before us through our practice. One way to help this along is through the study of the Japanese language, and I hope here to perhaps enlighten some of our practice through understanding the names of our kata. By 'our', I mean here the kata commonly practiced in Muso Jikiden Eishin Ryu and the Zen Nihon Kendo Renmei. Let's get to it, shall we?

GUELPH SPRING SEMINAR NOTES - MAY 1999 by Jacques Van Alsenoy, Belguim. The purpose of these notes is only to note what specific points were emphasised (or struck me) - they are not intended at all to be full descriptions of the different katas (I am not that smart, yet. Maybe one day... who knows!).

These are the standard Japanese sword (katana) drawing techniques. The Seitei gata were standardized by a formal comity of Japanese traditional martial artists in the late 20th century. Clicking on the links leads to a description and fine points of executing the techniques and to an embedded video of these Iaido kata.

I would like to briefly touch on the idea of how “fixed” kata is and why such views are often mistaken. While I am approaching this from an iai practitioners point of view, the points will remain true across the board.

By Chris Gilham Copyright © 2000. Among teachers of iaido there are various approaches, two of them main, to when the head and eyes turn to meet an opponent when a form involves unsheathing the sword to turn and attack.

L’histoire du Iaidō et des différents koryū (écoles anciennes) est assez complexe.

These Iai arts were performed by NAGAE Matasaburo, in his sixties (guess). He was born and lived in Nagasaki, received the 7th grade of Kendo and 8th grade of Iai from Zen-Nippon Kendo Renmei (All-Japan Kendo Federation). He also practiced Shinto Munen style Iai. The original movies were recorded in 8mm films, then edited in a VHS tape. It's not known who took and maintained these films (maybe one of Matasaburo's disciples did). They were converted to DV (digital video) format, stored in HDD, finally created QuickTime H.263 format (360x240, 15fps, compressed).

This essay will examine the meaning of the term “johakyu” (序 破 急) and how the concept is expressed in iaido kata. I will first examine the term’s history, application and meaning; and following this, the expression of examining johakyu in Ipponme Mae of the Zen Nihon Kendo Renmei Seitei Iai.

The origin of the forms of Zen Nippon Kendo Renmei Seitei Kata started in 1967 when it was realised that the majority of modern Kendo practitioners in the ZNKR had little or no experience of the techniques of using a real or live sword. And had realised that Kendo had become the way of the shinia . A committee was set up, comprising of the following members (...).

The 12 basic forms are called Seitei-Iai (Standard-Iai). They were created by the the Zen Nihon Kendo Renmei (ZNKR = All Japan Kendo Federation or IKF). They are training forms, which include all important sword technics. Seitei-Iai forms will provide the basic education (Kihon).

This is the first in a continuing series of articles on the Japanese art of iaido the modern discipline or way of drawing the sword that was popularized in the 1930's. It was derived from iaijutsu, a sub-specialization of kenjutsu (sword arts) that was practiced by professional (samurai) warriors and involved methods of drawing the sword and cutting as a single motion. Future articles will focus on concepts that relate to practice and then on specific analyses of kata and basic techniques.

Musō shinden ryū (夢想神伝流) est une branche de l'iaidō qui peut avoir comme origine le fondateur de l'iaidō, un samouraï du nom de Hayashizaki Jinsuke Minamoto no Shigenobu. Cette école unique d'escrime (iai) qui naquit pendant la période Edo, a été préservé dans une ligne continue de maîtres à travers les siècles. Elle a été codifiée par maître Nakayama Hakudo (1869 - 1958), et enseigné à travers le monde par maître Takeshi Mitsuzuka et d'autres comme Malcom Tiki Shewan par exemple. Des styles modernes de shinden ryū ont divisés le curriculum en de nombreuses sections.