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Karate

Sunday, April 10th, 2005

Karate or karate-do (空手道) is a martial art, categorized by some as budo, introduced to the Japanese main islands from Okinawa in 1922. Karate emphasizes striking techniques (i.e. punching and kicking, knee/elbow strikes and open hand techniques) however, grappling, joint manpulations, throwing and vital point striking are inhereint in the finer points of the kata. In general, karate training can be divided into three major areas, kihon,kata and kumite. Kihon (基本) is the study of the fundemental moves, the basic components, required to perform the art. Kata (型) means ‘form’ and is a series of movements and techniques, linked together by the principles that the kata expresses, represented as a fixed sequence of moves. Kumite (組手) means ‘sparring’ and develops from well defined kata to open sparring.
An example of kumite, or competitive sparring
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An example of kumite, or competitive sparring
Contents [showhide]
1 History
2 Styles
3 Karate in the West
4 Karate as a sport
5 See also
6 Notable Practicioners
7 External links

7.1 Federations
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History

Originally, karate was written as 唐手 (“Tang hand” from the Chinese Tang dynasty or by extension, “Chinese hand”) reflecting the Chinese influence on the style. The current way of writing means “empty hand” and karate-do thus means “the way of the empty hand.” The name can be interpreted literally, or as a philosophical reference to the concept of the Void. Karate is a mixture of empty handed Chinese fighting arts, brought to Okinawa by political envoys, merchants and sailors from Fujian Province, with indigenous Okinawan martial arts. The Okinawans called the style “te”, or hand. Early Okinawan styles of karate can be generalized as Shuri-te, Naha-te and Tomari-te, named after the three cities in which they were formed.

In 1820, Sokon Matsumura blended the three styles of te into “Shaolin” (Chinese 少林) or “Shorin-Ryu” (in Japanese) or “Forest Style” (English). Styles per se did not exist, rather, karate was known by the local practicioners’ particular flavor.

Like most martial arts practiced in Japan, karate made its transition from -jutsu to -do at the beginning of the 20th century. The “do” in “karate-do” means “way,” which is analogous to the familiar Chinese concept of tao. Gichin Funakoshi, a student of Anko Itosu, is generally credited with having introduced and popularized karate on the main islands of Japan. In some circles, he is referred to as the “Father of Modern Karate.” This is accurate from the perspective that he worked specifically to introduce modernizations into karate, akin to those employed by Judo’sJigoro Kano and Aikido’s Ueshiba Morihei. However, there were many other Okinawan karate men living and teaching in Japan during this time period. Funakoshi’s peers included such notable figures as Kenwa Mabuni, Miyagi Chojun, Choshin Chibana, Motobu Choki, Kyan Chotoku, Kentsu Yabu and several others. Funakoshi’s karate came from Anko Itosu’s version of Matsumura Shorin-ryu, which is commonly called Shorei-ryu. He was responsible for changing the kanji used for writing the name of the art; he did this to get karate accepted by the Japanese budo organisation Dai Nippon Butokukai. In a time of rising Japanese nationalism (Japan was occupying China), Funakoshi knew that a ‘foreign’ art would not be accepted, thus, the change to ‘way of the empty hand.’ This decision was confirmed at the so-called “Meeting of the Masters” in October of 1936, which included Chojun Miyagi, Chomo Hanashiro, Kentsu Yabu, Chotoku Kyan, Genwa Nakasone, Choshin Chibana, Choryo Maeshiro and Shinpan Shiroma.

As it was adopted into modern Japanese culture, karate was imbued with some elements of the native gendai budo traditions. Classes often begin and end with brief periods of sitting meditation. Also, the repetition of precise, dynamic movements, as in kata, is considered by some to be consistent with zen meditation in that it is intended to maximize a student’s composure, awareness, and physical presence (speed and power), while under stress. It is often referred to as a form of “moving zen.” Karate teachers differ greatly in the way they acknowledge – if at all – the zen influence in karate-do.

The modernization (and systemization) of karate in Japan also included the adoption of the ubiquitous white uniform (dogi or keikogi) – mostly called just gi (pronounced ‘ghee’) – and colored belt ranks. Both of these innovations were originated and popularized by Jigoro Kano, the founder of Judo, one of the men Funakoshi consulted in his efforts to ‘modernize’ karate. The adoption of kyu and dan ranks is a relatively modern development. Ranking systems and values differ greatly from organization to organization, which sometimes leads to confusion when trying to determine a relative standard for karate training and credibility. Photos of early Okinawan practitioners show the masters in the street clothes of the day, or sometimes in briefs. Many modern (Western) practicioners elect to leave ranks or the formailty of a gi out of their training practices, citing the tendency of students to focus too much on rank, which is not always indicitave of skill or ability.

Following its’ introduction, karate was popularized in Japan and introduced into high schools before World War II. Many universities initiated karate club programs, which bred a notoriously violent and competitive setting in which seniors brutalized the junior students, in some cases inflicitng vicious beatings as a final ‘rite’ for those who chose to leave.

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Styles

Within karate there are presently a multitude of different styles or schools. These include:Shobayashi, Kobayashi-ryu, Matsubayashi-ryu, Matsumura Seito, Matsumura Motobu, Chito-ryu, Shorinji-ryu, Shorei-ryu, Shotokan, Shotokai, Goju-ryu (“hard-soft way”), Kyokushin (“ultimate truth”). Other mainstream styles include Shorinjiryu, Seido, Wado-ryu (“way of peace”), Uechi Ryu, Shito-ryu, Shudokan, Bushido Goju-Ryu, Gensei-Ryu and Isshin-ryu (there are at least 3 different styles of isshinryu). Some teachers have created hybrids of karate styles such as the JIKC style.

There is great variance in the outer forms and principles among styles. For example, Shotokan of karate is characterised by deep, long stances and rigid, powerful movements. At the other end of the spectrum, Wado Ryu prefers quick and subtle body movements (known as ‘tai sabaki’) to evade attacks and provide swift counter attacks.

In modern Japan, two main branches of Karate dominate. Traditional karate and sport karate. Styles like Shotokan, Goju-ryu, Wado-ryu and Shito-ryu are labelled as ‘traditional’ because they were founded at or before the turn of the 20th century. Full contact karate includes Kyokushin-kaikan which was founded by Masutatsu Oyama and other offshoots of Kyokushin, so-called because emphasis in matches is placed on the amount of damage done rather than the quality of technique displayed (although this is also important). Most full contact karate styles or organizations have developed from Kyokushin karate.
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Karate in the West

Karate, like jujutsu, judo, aikido, and the koryu, most likely came to America and then to the rest of the world through two primary paths: Japanese immigration to Hawaii and the mainland, where it stayed largely inside the Japanese American community, although to a lesser degree in Hawaii; and by specialized study by members of the police and the military. It would be accurate to say that the biggest boost to the popularization of karate in America came with the American military occupation of Japan after World War II; once American soldiers had assimilated the discipline, they returned to the States and began to disseminate it. Many masters went to the United States to popularize their art. These included Tsutomu Ohshima, a student of Gichin Funakoshi, who founded Shotokan Karate of America (SKA).
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Karate as a sport

Karate may also be practiced as a competitive sport, although unlike other martial arts such as taekwondo or judo it does not possess Olympic status; there is no head organisation for Karate as whole and no uniform rules among all styles. Competition can be in either kumite or kata; competitors may enter either as individuals or as part of a team.

In kata, points are awarded by five seated judges, according to the quality of the performance, in a manner analogous to gymnastics or ice skating tournaments. A good kata performance must perform all the movements correctly but also show a personal interpretation of the movements through one’s variation in speed. When kata is performed as a team (usually of three), it is also important to match the timing of techniques as closely as possible.

In kumite there are two fighters paired in a timed fight, usually ranging from two to five minutes. Scores are awarded either by technique or hit location. Allowed techniques and hitting locations vary from style to style. Further, kumite can be either half-contact (as in Shotokan) or full contact (as in Kyokushinkai).

In the United States, karate tournaments are a popular part of the sport, ranging in size from small local gatherings to national events. They are typically divided into classes by skill, age and event type ( for example kata, kumite and weapons-kata), and have rules depending on location and the chief style(s) involved.

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Ninjutsu

Sunday, April 10th, 2005

This article is about the Japanese espionage martial arts and techniques known as ninjutsu. Ninjutsu is frequently depicted fancifully in fiction; for these depictions, see the article on ninja.

Ninjutsu (忍術), also called shinobi-jutsu (忍び術), is a collection of techniques originally practiced for espionage purposes. It includes methods of gathering information, nondetection, avoidance, and misdirection techniques. Ninjutsu can also involve training in disguise, escape, concealment, archery, medicine, and explosives. Practitioners of ninjutsu have been seen as assassins for hire, and have been associated in the public imagination with other activities which are considered criminal by modern standards. Even though it was influenced by Chinese spying techniques, ninjutsu is believed by its adherents to be of Japanese origin.

It is properly distinguished from ninpō (忍法) which has its roots in Shintoism and is concerned more with the realms of the mind (noosphere) and spirit.

Although the popular view is that ninjutsu is the art of secrecy or stealth, actual practitioners consider it to mean the art of enduring – enduring all of life’s hardships. The character nin carries both these meanings.
Contents [showhide]
1 A sample curriculum of a ninjutsu school
2 Schools of ninjutsu
3 Other schools
4 External links
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A sample curriculum of a ninjutsu school

This lists the 18 fundamental skills of the Togakure-ryû school of ninjutsu. (忍び術)

1. Seishin-teki kyōyō (spiritual refinement)
2. Taijutsu (unarmed combat)
3. Ninja ken (sword fighting)
4. Bōjutsu (stick and staff fighting)
5. Shurikenjutsu (throwing blades)
6. Sōjutsu (spear fighting)
7. Naginatajutsu (halberd fighting)
8. Kusarigama (chain and sickle weapon)
9. Kayakujutsu (fire and explosives)
10. Hensūjutsu (disguise and impersonation)
11. Shinobi-iri (stealth and infiltration methods)
12. Bajutsu (horsemanship)
13. Sui-ren (training in water)
14. Bōryaku (military strategy)
15. Chōhō (espionage)
16. Intonjutsu (escaping and concealment)
17. Tenmon (meteorology)
18. Chi-mon (geography)

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Schools of ninjutsu

The Bujinkan Dōjō headed by Masaaki Hatsumi is one of three organisations generally accepted as teaching ninjutsu. Hatsumi’s Bujinkan Dōjō consists of nine separate schools of allegedly traditional Japanese martial arts, several of which contain ninjutsu teachings.

There are three other organisations teaching similar martial arts. These are the Genbukan headed by Shoto Tanemura, the Jinenkan headed by Fumio Manaka, and the BBD headed by Brian McCarthy. All three are ex-students of Hatsumi.

Other extant traditional martial arts such as the Katori Shintō-ryū contain some aspects of ninjutsu in their curriculum, but are not ninjutsu schools per se.

The espionage techniques and the like of ninjutsu are rarely focused on these days, since they are strongly bound with the circumstances and culture of feudal Japan.

It must be noted that Mr Hatsumi’s credentials, seriousness and the quality of his teaching have come under attack by various sources – most of the vocal and vicious attacks coming from people that claim to be practitioners of ninjutsu traditions that cannot be found in Japan. Some express doubt of his really having been a student to Takamatsu sensei – despite the certificates he has from Takamatsu, the interview Takamatsu did for Tokyo Sports News naming Hatsumi as his successor and the full DVD of them training together that is available. Others claim it is impossible that Takamatsu would seriously have managed to become sōke to nine different schools, even though most of the schools are closely related and had been transmitted together for generations. More point out the fact that Hatsumi seems overly generous with high ranking titles: he did grant a tenth degree black belt to Stephen K. Hayes after the latter had studied under him for barely 18 years. However, traditional martial arts do not use the dan grading system, and there are accounts of people being granted certificates of full mastery in arts within a few months. The debate is largely conducted overseas. Inside Japan the subject of his authenticity is rarely talked about. Masaaki Hatsumi was invited to join the Nihon Kobudo Kyokai and Nihon Kobudo Shinkokai but he declined. However he is a frequent subject of martial arts articles, books, documentaries and has received a prestigious cultural award from the Imperial Household Agency.
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Other schools

Several other schools of Ninjutsu exist, some of which can be traced back to legitimate Japanese origins. Stephen K. Hayes studied under Masaaki Hatsumi but teaches an americanized system, To-Shin Do, in his Quest Centers.

In Israel, one of the first places where Bujinkan ninjutsu was practiced outside Japan, the A.K.B.A.N organization uses the Bujinkan curriculum the way it was used when Doron Navon, the first foreign Bujinkan shihan, practiced under Hatsumi sensei.

However, there are several persons and organizations claiming to teach “ninjutsu” whose validity and lineage have come under question. Such arts may still be “effective,” but many hold that they should not accurately be named ninjutsu.

For example, Ashida Kim is an American who claims the specifics concerning his teacher (whom he calls Shendai) must remain secret. Another self-proclaimed grandmaster whose authenticity is questioned is Frank Dux.

Other schools, which may or may not directly relate to the genuine Japanese ninja traditions, have different paths. For example, the Temple of the Full Autumn Moon, which teaches Saito Ninjitsu (and defines ninjitsu as something very similar but different from ninjutsu), follows the Wu Shan Fa or “Five Mountain Principle” (a Chinese name). However, there is no independently verifiable proof to back up the claims of the man who suddenly announced he was a master of this system in America. As with many of these schools, there is no documentation in Japan to back up their claims, and no proof of the existence of their instructors has been provided. As with the Temple of the Full Autumn Moon, many of their claims cause people knowledgeable in matters Japanese to raise their eyebrows.

It should also be noted that some historians do not believe that any ninjutsu ryūha that can verify their lineage back to feudal Japan exist today, but not all agree with this view. The fact remains that of all the schools available overseas or mentioned on the internet, the only styles (Bujinkan, Jinenkan, and Genbukan) to be known and practiced or able to show a link to Japan are the systems tracing back to Takamatsu Toshitsugu.
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External links

* Essence of Ninjutsu by Masaaki Hatsumi (ISBN 0809247240)
* Ninjutsu: History and Tradition by Masaaki Hatsumi (ISBN 0865680272)
* Ninpo: Wisdom for Life by Masaaki Hatsumi (http://www.kihon.com/ninpo/)
* Ura & Omote Article Iga Ryu Ninjutsu by Peter Carlsson (http://www.oniko.de/archiv/uraomote/1996/96february.html#igar) February 1996
* Article on Koga ryu ninjutsu [1]

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Kendo

Sunday, April 10th, 2005

Kendō (剣道, 劍道) is the modern martial art of Japanese fencing, developed from traditional techniques of Japanese swordsmanship known as kenjutsu. Since 1975 the goal of Kendo has been stated by the All Japan Kendo Federation as “to discipline the human character through the application of the principles of the katana (the Japanese standard sword)”. However, Kendo combines martial arts values with sport elements, with some practioners stressing the former and others the latter.

Taught using “swords” made of split bamboo (shinai) and extensive protective armour (Bogu), practitioners are called kendoka. Kendoka also use bokken (wooden swords) to practice set forms known as kata. On formal occasions, real swords or metal swords with a blunt edge, called habiki, can be used. There are 10 basic kata. Kendoka are divided into eight major grades, or dan, with eighth dan, or hachi-dan, currently the highest awarded. In modern kendo, there are two types of attacks – strikes and thrusts. Strikes are allowed against only certain areas on the body – the top of the head, the right and left sides of the body, and the forearms. Thrusts are only allowed to the throat. However, since a wrongly done thrust could injure the neck, thrust techniques are often left out at the starting level and introduced later.

In matches, points are only awarded when the attacks are done firmly and properly to the allowed targets with good control and a yell (in Japanese) corresponding to the part of the opponent that is being targeted. For example, if the opponent’s head is the target, an accompanying cry of “Men” should be bellowed. For an attack to the wrist, “Kote” should be shouted. For an attack to the trunk “Do”, and for a thrust at the opponent’s throat “Tsuki” should be shouted. The first to score two points wins the match.

The International Kendo Federation (IKF) has members in 44 countries. The international championships are held every three years since 1970, when the IKF was founded.
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Karate

Sunday, April 10th, 2005

7.1 Federations
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History

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Styles

Karate in the West

Karate as a sport

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Jujutsu

Sunday, April 10th, 2005

Jujutsu (also jujitsu, ju jitsu, ju jutsu, or jiu jitsu; from the Japanese 柔術 jūjutsu “gentle/yielding/compliant Art”) is a Japanese martial art.

Some define jujutsu and similar arts rather narrowly as “unarmed” close combat systems used to defeat or control an enemy who is similarly unarmed. Basic methods of attack include hitting or striking, thrusting or punching, kicking, throwing, pinning or immobilizing, strangling, and joint-locking. Great pains were also taken by the bushi (classic warriors) to develop effective methods of defense, including parrying or blocking strikes, thrusts and kicks, receiving throws or joint-locking techniques (i.e., falling safely and knowing how to “blend” to neutralize a technique’s effect), releasing oneself from an enemy’s grasp, and changing or shifting one’s position to evade or neutralize an attack.

From a broader point of view, based on the curricula of many of the classical Japanese arts themselves, however, these arts may perhaps be more accurately defined as unarmed methods of dealing with an enemy who was armed, together with methods of using minor weapons such as the jitte (truncheon; also called jutte), tanto (knife), or kakushi buki (hidden weapons), such as the ryofundo kusari (weighted chain) or the bankokuchoki (a type of knuckle-duster), to defeat both armed or unarmed opponents.

Furthermore, the term jujutsu was also sometimes used to refer to tactics for infighting used with the warrior’s major weapons: katana or tachi (sword), yari (spear), naginata (glaive), and jo (short staff), bo (quaterstaff). These closed combat methods were an important part of the different martial systems that were developed for use on the battlefield. They can be generally characterized as either Sengoku Jidai (Sengoku Period, 1467-1603) katchu bujutsu or yoroi kumiuchi (fighting with weapons or grappling while clad in armor), or Edo Jidai (Edo Period, 1603-1867) suhada bujutsu (fighting while dressed in the normal street clothing of the period, kimono and hakama).
Contents [showhide]
1 The beginning
2 The development of close combat systems
3 Heritage
4 Technical characteristics
5 Philosophical dimensions
6 Jujutsu as sport
7 What’s in a name?
8 Father of a large family
9 External link
10 See also
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The beginning

Fighting forms have existed in Japan for centuries. The first references to such unarmed combat arts or systems can be found in the earliest purported historical records of Japan, the Kojiki (Record of Ancient Matters) and the Nihon Shoki (Chronicles of Japan), which relate the mythological creation of the country and the establishment of the Imperial family. Other glimpses can be found in the older records and pictures depicting sumai (or sumo) no sechie, a rite of the Imperial Court in Nara and Kyoto performed for purposes of divination and to help ensure a bountiful harvest.

There is a famous story of a warrior Nomi no Sekuni of Izumo who defeated and killed Tajima no Kehaya in Shimane prefecture while in the presence of Emperor Suinin. Descriptions of the techniques used during this encounter included striking, throwing, restraining and weaponry. These systems of unarmed combat began to be known as Nihon koryu jujutsu (japanese old-style jujutsu), among other related terms, during the Muromachi period (1333-1573), according to densho (transmission scrolls) of the various ryuha (martial traditions) and historical records.

Most of these were battlefield-based systems to be practiced as companion arts to the more common and vital weapon systems. These fighting arts actually used many different names. Kogusoku, yawara, kumiuchi, and hakuda are just a few, but all of these systems fall under the general description of Sengoku jujutsu. In reality, these grappling systems were not really unarmed systems of combat, but are more accurately described as means whereby an unarmed or lightly armed warrior could defeat a heavily armed and armored enemy on the battlefield.

Methods of combat (as just mentioned above) included striking (kicking, punching), throwing (body throws, joint-lock throws, unbalance throws), restraining (pinning, strangulating, grappling, wrestling) and weaponry. Defensive tactics included blocking, evading, off balancing, blending and escaping. Minor weapons such as the tanto (dagger), ryufundo kusari (weighted chain), jitte (helmet smasher), and kakushi buki (secret or disguised weapons) were almost always included in Sengoku jujutsu.

In later times, other koryu developed into systems more familiar to the practitioners of Nihon jujutsu commonly seen today. These are correctly classified as Edo jujutsu (founded during the edo period): systems generally designed to deal with opponents neither wearing armor nor in a battlefield environment. For this reason, most systems of Edo jujutsu include extensive use of atemi waza (vital-striking technique). These tactics would obviously be of little use against an armored opponent on a battlefield. They would, however, be quite valuable to anyone confronting an enemy or opponent during peacetime dressed in normal street attire. Occasionally, inconspicuous weapons such as tanto (daggers) or tessen (iron fans) were included in the curriculum of Edo jujutsu.

Another seldom seen but interesting historical aside is a series of techniques originally included in both Sengoku and Edo jujutsu systems. Referred to as hojo waza (捕縄術 hojojutsu, nawa jutsu and others), it involves the use of a hojo cord, (sometimes the sageo or tasuke) to restrain or strangle an attacker. These techniques have for the most part faded from use in modern times, but Tokyo police units still train in their use today and continue to carry a hojo cord in addition to handcuffs. The very old Takenouchi Ryu is one of the better-recognized systems that continue extensive training in hojo waza.

Many other legitimate Nihon jujutsu ryu exist but are not considered koryu (ancient traditions). These are called either Gendai jujutsu or modern jujutsu. Modern jujutsu traditions are founded after or towards the end of the Tokugawa period (1603-1868). Various traditional ryu and ryuha that are commonly thought of as koryu jujutsu are actually gendai jujutsu. These include Hakko Ryu, Kaze Arashi Ryu, Daito Ryu, and many others. Although modern in formation, gendai jujutsu systems have direct historical links to ancient traditions and are correctly referred to as traditional martial systems or ryu. Their curriculum reflects an obvious bias towards Edo jujutsu systems as opposed to the Sengoku jujutsu systems. The improbability of confronting an armor-clad attacker is the obvious reason for this bias.

Over time, Gendai jujutsu has been embraced by law enforcement officials worldwide and continues to be the foundation for many specialized systems used by police. Perhaps the most famous of these specialized police systems is the Keisatsujutsu (police art) Taiho jutsu (arresting art) system formulated and employed by the Tokyo Police Department.

If a Japanese based martial system is formulated in modern times (post Tokugawa) but is only partially influenced by traditional Nihon jujutsu, it may be correctly referred to as goshin (self defense) jujutsu. Goshin jujutsu is usually formulated outside Japan and may include influences from other martial traditions. The popular Gracie jujutsu system, (heavily influenced by modern judo) and Brazilian jujutsu in general are excellent examples of Goshin Jujutsu.
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The development of close combat systems

Regardless of where they live, people spend a great deal of time developing and perfecting methods of using weapons for hunting and fighting. If successful, personal experiences and insights (often gained on the battlefield) help individuals to establish particular “styles,” “schools,” or “traditions” — in Japanese, the bujutsu ryu-ha.

Compared with the empty-handed fighting arts of neighboring China and Korea, Japanese jujutsu systems place more emphasis on throwing, immobilizing and pinning, jointlocking, and strangling techniques. Atemiwaza (striking techniques) are of secondary importance in most Japanese systems, whereas the Chinese ch’uan-fa (kempo) emphasize punching, striking, and kicking.

It is generally felt that the Japanese systems of hakuda, kempo, and shubaku display some degree of Chinese influence in their particular emphasis on atemiwaza, while systems that are derived from a more purely Japanese source do not show any special preference for such techniques, but will use them as and when appropriate.

The way an opponent is dealt with is also dependent on the philosophy of the teacher with regard to combat. This translates also in different styles or schools of jujutsu. Because in jujutsu every conceivable technique, including biting, hairpulling, eyegouging etc. is allowed (unlike for instance judo, which does not place emphasis on punching or kicking tactics, or karate, which does not emphasize grappling and throwing) practitioners have an unlimited choice of techniques.

Some teachers will favor taking an opponent out as fast and hard as possible, while others will favor taking an opponent down in a controlled way and then keeping them under control with jointlocks. Others, like the Gracie jujutsu system, stress the importance on ground work since most fights end up on the ground anyway, while other teachers find it important to avoid a groundfight at all cost, since it can be very dangerous when faced with multiple opponents.

Although there were and are many ryuha or systems of Japanese jujutsu, there are features that are characteristic of most (if not all) of them. Since there are a number of relatively new martial systems identifying themselves as jujutsu, it is appropriate to look at those characteristics which distinguish a style as traditional Japanese jujutsu.
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Heritage

All Nihon jujutsu have cultural indicators which help give a sense of the traditional character of a school, and include:

* An atmosphere of courtesy and respect, a context intended to help cultivate the appropriate kokoro, or “heart”.
* The type of gi or training suit worn, which is usually plain white, often with a dark hakama (the most colorful uniform might be plain black or the traditional blue of quilted keikogi; you are not likely to see stars and stripes or camouflage uniforms).
* Lack of ostentatious display, with an attempt to achieve or express the sense of rustic simplicity (expressed in such concepts as sabi and wabi in Japanese) common in many of Japan’s traditional arts.
* The use of the traditional (e.g., Shoden, Chuden, Okuden, and Menkyo Kaiden levels) ranking system, perhaps as a parallel track to the more contemporary and increasingly common dani (kyu/dan) ranking.
* There is the lack of tournament trophies, long-term contracts, tags and emblems, rows of badges or any other superficial distractions.

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Technical characteristics

Although there is some diversity in the actual look and techniques of the various traditional jujutsu systems, there are significant technical similarities:

* Students learn traditional jujutsu primarily by observation and imitation as patterned by the ryu’s kata (prearranged forms).
* Most kata emphasize joint-locking techniques, that is threatening a joint’s integrity by placing pressure on it in a direction contrary to its normal function, or take-down or throwing techniques, or a combination of take-downs and joint-locks.
* Very occasionally an atemi (strike) targeted to some particularly vulnerable area will be used to help create kuzushi (break in balance) or otherwise set-up the opponent for a lock, take-down or throw.
* Force essentially never meets force directly, nor should techniques need to be strong-armed to be effective: rather, there is great emphasis placed on flow (which follows from the art’s name, in which ju connotes pliability and suppleness) and technical mastery.
* Movements tend to emphasize circularity, and capitalize on an attacker’s momentum and openings in order to place a joint in a compromised position or to break balance as preparatory for a take-down or throw.
* The defender’s own body is positioned so as to take optimal advantage of the attacker’s weaknesses while simultaneously presenting as few openings or weaknesses of its own.
* The common inclusion in the ryu of cognate weapons training (also using kata as a primary instructional method), stemming from the historical development of jujutsu and other koryu when active battles were waged. Weapons might include, for example, the roku shaku bo (long staff), han bo (short staff), katana (long sword), Wakizashi or kodachi (short sword), and tanto (knife), some of the main repertoire of traditional weaponry.

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Philosophical dimensions

Although jujutsu and the ancient arts in general often do not have the suffix -do or “way” to designate them as paths toward spiritual liberation and inner development, there are some philosophical and mental components, which have significance and application in these systems, at least because of their value in developing the actual combat effectiveness of the practitioner.

These include: an all-encompassing awareness, zanshin (literally “remaining spirit”), in which the practitioner is ready for anything, at any time; the spontaneity of mushin (literally “no mind”) which allows immediate action without conscious thought; and a state of equanimity or imperturbability known as fudoshin.

Together, these states of mind tremendously strengthen the jujutsu practitioner, allowing him the utmost potential for effective action. Such effectiveness and the technical competence and mental mastery on which it stands, however, is possible only after a considerable period of serious and devoted training.

These various characteristics or components, taken together, largely describe the principal elements of traditional Japanese jujutsu. If most or all of these characteristics are not noticeable in a so-called jujutsu system, then the legitimacy of the system as bona fide Nihon jujutsu would be highly suspect. This is not to say that the system or school in question does not offer a good training program or effective techniques. It simply suggests that such a system may be more accurately labeled with some other term.
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Jujutsu as sport

Jujutsu as a competitive sport is somewhat controversial. According to some practitioners, what makes jujutsu jujutsu, is the fact that every conceivable technique to win in combat is allowed – there are no rules or limitations, surviving the fight is what counts.

This includes some very dangerous techniques, such as throwing a person from a standing position while having an arm in a jointlock, which can result in serious injuries. In order to safely compete in jujutsu, rules have to be made and techniques limited. According to many, this takes away the very heart of what jujutsu is. They claim this would turn jujutsu into a combination of judo and karate, while it is so much more.

The most popular competition method is called ‘fighting system’. This system consists of one round of combat with different phases. In the first phase, only atemi (striking) are allowed. In the next phase, grappling and throwing are added, but continuing on the ground (newaza) is not allowed. In the last phase, groundfighting is allowed, including chokeholds.

There is only what is called ‘half-contact’ between opponents, which means it is allowed to actually hit your opponent, but you’re not supposed to hit for a knockout (like boxing). Judges award points for techniques used and the fighter with the most points wins.

Another, less known system, is called ‘practical’. In this system, 2 defenders will take their places in the center of the mat (tatami), surrounded by 4 attackers, 1 on each corner of the mat. The attackers will choose who and how to attack. A defender can therefore be faced with 0 to 4 opponents. Attacks must be straightforward, without feints. This is also ‘half-contact’. Combat is one round of 2 minutes. There are 3 judges who will indicate at the end of the round which defender did the best job of defending himself.

The judges watch not only for effectiveness of individual techniques, but also how the defender keeps oversight and control of the situation when faced with multiple attackers. Taking down one opponent with a difficult technique but leaving yourself open for the other attackers will not score very well, while using a simple one throwing your attacker in the way of the other(s) will.

A third competition method is called ‘duo system’. During such a competition, a couple of fighters (same sex or mixed) has to present defences for different predetermined attacks. These defences can be freely chosen and are awarded with points from judges. The attacks are divided into 4 groups of 5 attacks each. The 4 attack groups are gripping, embracing/neck locks, punches/kicks and weapons.
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What’s in a name?

Jujutsu, jujitsu, jiu jitsu — there are a wide range of spellings used in English for this Japanese martial art. In the native Japanese, jūjutsu is written in kanji (Chinese ideograms) as 柔術, but the romanization of the Japanese word into the English language has been performed several times using several different systems since Japan was forced out of isolation in 1854 by the United States.

Jujutsu, the current standard, is derived using the Hepburn romanization system. Before the first half of the 20th century, however, jiu-jitsu and then jujitsu were preferred. Since this corresponded to a period of time when Japanese martial arts first became widely known of in the West, these earlier spellings are still common in many places, though the romanization of the second kanji as jitsu is unfaithful to the Japanese pronunciation, especially since jujitsu means “military preparedness”.

The Chinese character 柔 (Mandarin: róu; Japanese: jū) is the same as the first one in 柔道 (Mandarin: róudào; Japanese: judo). The Chinese character 術 (Mandarin: shù; Japanese: jutsu) is the same as the second one in 武術 (Mandarin: wǔshù)

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Father of a large family

Because jujutsu is both so encompassing and has its origin hundreds of years ago, it has become the foundation for a variety of styles and derivations today. As each instructor incorporated new techniques and tactics to what was taught to him originally, he could codify and create his own ryu or school. Some of these schools modified the source material so much that they no longer considered themselves a breed of jujutsu. Modern judo is the classic example of an ‘art’ which was derived from jujutsu but is today distinct. Another layer removed, some popular arts had instructors who studied one of these jujutsu-derivatives and made their own derivative on top. This creates an extensive family of martial arts and sports which can trace their lineage to jujutsu in some part.

Dano Shen Ryu is a jujitsu created by Master Hughes. It is the only school of jujitsu practicing Dharma, the old ways in which self awareness through meditation is an advanced requirement of the instructors. Grand Master Hughes is famous for his Humanitarian work. Dano Shen Ryu is associated with the National Meditation Center for World Peace located in Jacksonville, Texas, USA.

The following are a few different schools of jujitsu:

* Dano Shen Ryu
* Araki Ryu Kogusoku
* Danzan Ryu
* Daito Ryu Aiki Jujutsu (sometimes considered distinct, and the ancestor of modern Aikido)
* Hontai Yoshin Ryu
* Fudoshin Ryu
* Hakko Ryu
* Koppo Ryu
* Takenouchi Ryu
* Saigo Ryu Aiki Jujutsu
* Sekiguchi Shinshin Ryu
* Shin No Shindo Ryu
* Sosuishitsu Ryu
* Takeuchi Ryu
* Tasumi Ryu Heiho
* Tenji Shinyo Ryu
* Yagyu Shingan Ryu
* Yoshin Ryu

After the transplantation of traditional Japanese jujitsu to the US, many of these more traditional styles underwent a process of adaptation at the hands of their American practitioners, molding the arts of jujitsu to better mesh with American culture in its myriad varieties. There are today many distinctly American styles of jujitsu, a defining characteristic of which is their constant, continued refinement and adaptation at the hands of their advanced practitioners. The following are a few examples.

* Sanuces Ryu
* Small Circle Jujitsu
* Vee-Arnis-Jitsu
* Yoshitsune Jujitsu

The following martial arts and sports either do not always classify themselves as jujutsu or have founding instructors that studied a derivative of jujutsu.

* Aikido
* Brazilian Jiu-Jitsu
* Judo
* Hapkido
* Krav Maga
* Hagana
* Shootfighting

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External link

* http://www.planetjitsu.com – website containing list of dojos world wide as well as a forum with high dans (within certain organisations) contributing to training tips etc.
* http://www.senshiryu.com – website containing information and links to sites relating to the art of ju jitsu.
* http://www.jujutsu.org.uk – a traditional jujutsu group in the UK
* http://www.jitsufoundation.org – an organisation of jitsu clubs based mainly in the UK but with international links
* http://www.fullcirclejujitsu.com – a modern style of jujitsu practiced in Los Angeles, San Francisco, and New York City

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Judo

Sunday, April 10th, 2005

Judo (Japanese: 柔道 Jūdō) is a martial art, a sport and a philosophy which originated in Japan. Judo was developed from Jujutsu, and was founded by Jigoro Kano (嘉納治五郎) in 1882. The sport became the model of the modern Japanese martial arts, gendai budo, developed from old koryu schools.
Judo practitioner throws his opponent.
Enlarge
Judo practitioner Kosei Inoue throws his opponent.
Contents [showhide]
1 History and philosophy
2 Uniform
3 Techniques
4 Grading
5 Styles
6 Sport
7 Sport and beyond
8 Related topics
9 External links
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History and philosophy

The early history of Judo and that of its founder, Japanese polymath and educator Kano Jigoro (surname first in Japanese) (1860-1938), are inseparable. Kano was born into a well-to-do Japanese family. His grandfather was a self-made man, a sake brewer from Shiga prefecture in central Japan; however, Kano’s father was not the eldest son and did not inherit the business, but instead became a Shinto priest and government official, with enough influence for his son to enter the second incoming class of Tokyo Imperial University.

Kano was a small, frail boy, who, even in his twenties, did not weigh more than a hundred pounds, and was often picked on by bullies. He first started pursuing jujitsu (柔術), at that time a flourishing art, at the age of 17, but met with little success—in part due to difficulties finding a teacher who would take him on as a serious student. When he went off to the University to study literature at the age of 18, he continued his martial efforts, eventually gaining a referral to Hachinosuke Fukuda, a master of the Tenjin Shinyo Ryu (天神真楊流) and ancestor of noted Japanese/American judoist Keiko Fukuda, who is one of Kano’s oldest surviving students. Fukuda is said to have emphasized technique over formal exercise, sowing the seeds of Kano’s emphasis of randori (乱取り), or free practice, in Judo.

Little more than a year after Kano joined Fukuda’s school, Fukuda took ill and died. Kano then became a student in another Tenjin Shinyo school, that of Masatomo Iso, who put more emphasis on formal kata than did Fukuda. Through dedication, Kano quickly earned the title “shihan”, or master, and became assistant instructor to Iso at the age of 21. Iso, too, took ill, and Kano, feeling that he still had much to learn, took up another style, becoming a student of Tsunetoshi Iikubo of Kito Ryu. Like Fukuda, Iikubo placed much emphasis on free practice; on the other hand, Kito Ryu emphasized ground techniques (matwork) to a much greater degree than Tenjin Shinyo Ryu.

By this time, Kano was devising new techniques, such as the kata guruma (fireman’s carry) and uki goshi (floating hip toss). His thoughts were already on doing more than expanding the canons of Kito and Tenjin Shinyo Ryu; full of new ideas, in part as a result of his education, Kano had in mind a major reformation of jujitsu, with techniques based on sound scientific principles, and with focus on development of the body, mind, and character of young men in addition to development of martial prowess. At the age of 22, just about to finish his degree at the University, Kano took 9 students from Iikubo’s school to study jujitsu under him at the Eishoji Temple. Although two years would pass before it would be called by that name, and Kano had not yet been accorded the title of “master” in the Kito ryu (起倒流) — Iikubo would come to the temple to help teach three days per week, this was the founding of the Kodokan (講道館) or “place for learning the way.”

The word Judo is comprised of two kanji: “ju” (柔), which means gentleness or giving way, and “do” (道), meaning way of life (the same character as the Chinese “tao”.) Thus Judo literally means “the gentle way” or “the way of giving way”. Judo takes from jujutsu (“gentle art”) the principle of using one’s opponent’s strength against him. Kano saw jujutsu as a disconnected bag of tricks, and sought to unify it according to some principle: he found it in the notion of “maximum efficiency”. Jujitsu techniques which relied solely on superior strength were discarded or adapted in favor of those which involved redirecting the opponent’s force, off-balancing the opponent, or making use of superior leverage.
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Uniform

Judoka (Judo practitioners) wear white cotton uniforms called Judogi (which means Judo uniform in Japanese) for practicing Judo. The judogi consists of cotton drawstring slacks and a quilted cotton jacket fastened by a belt indicative of kyu or dan rank. The jacket is intended to withstand the stresses of throwing and grappling, and is resultedly much thicker than that of a karateka. Before competition, a blue judogi is assigned to one judoka per match for ease of distinction by judges and referee.
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Techniques

The focus in judo is on throwing techniques (nage-waza, 投げ技), with groundwork (katame-waza, 固技) also a major component. Nage-waza is divided in two groups of techniques, standing techniques (tachi-waza, 立技) and sacrifice techniques (sutemi-waza, 捨身技). Standing techniques are divided in hand techniques (te-waza, 手技), hip techniques (koshi-waza, 腰技) and foot/leg techniques (ashi-waza, 足技). Sacrifice techniques are divided into those in which the thrower falls directly backwards (ma-sutemi-waza, 真捨身技) and those in which he falls onto his side (yoko-sutemi-waza, 橫捨身技).

The groundwork techniques are divided into: attacks against the joints (kansetsu-waza, 関節技) known in English-speaking countries as “leg-” and “armbars”, stranglehold (shime-waza, 絞技), and holding techniques (osaekomi-waza, 押込技).

A kind of sparring is practiced in judo, known as randori (乱取り), meaning “free practice”. In randori, players (known as judoka) may attack each other with any judo throw or grappling technique. Striking techniques (called atemi-waza) such as kicking and punching, along with knife and sword techniques are retained in the katas taught to higher ranking judoka (for instance, in the kime-no-kata), but are forbidden in contest (and usually prohibited in randori), for reasons of safety. Also for reasons of safety, chokeholds, jointlocking – and the sacrifice (sutemi) techniques, which can be very spectacular, are often subject to age and/or rank restrictions; in the United States, one must be 13 or older to use chokeholds and 17 to use armbars.

In randori and shiai (tournament) practice, when an opponent successfully executes a chokehold or jointlock, one “taps out” by gently tapping the mat or one’s opponent. When this occurs, the match is over, and the tapping player has lost, but the chokehold or jointlock ceases. Because this allows a merciful exit to the match, injuries related to these holds are quite rare.
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Grading

Judoka are ranked according to skill and knowledge of judo, that grade being reflected in the color of his belt: There are two divisions of grades, the student grades (kyu, 級), and the master grades (dan, 段). In the west, the kyu colors run from white through yellow, orange, green, blue, and brown. Some European countries additionally use a red belt to signify a complete beginner. In Japan, all adult kyu grades wear either white or brown belts. All dan grades may wear the black belt; sixth- through eighth- dans may alternately wear a red-and-white belt, while those ranked ninth- dan and above may wear a solid red belt. Protocol provides for a double-width white belt to be worn by someone who achieves the twelfth-”dan” but so far no one has been promoted beyond the tenth-”dan.” A women’s belt still has a white stripe at its center in some countries,while in most of them this habit has been recently discontinued. Jigoro Kano was the inventor of the kyu – dan grading system, that soon got adapted by other martial arts such as karate.

In competition one judoka wears a blue suit while the other wears white. In some competitions the older system whereby one competitor wears a white sash and the other a blue sash remains in place. In both cases this does not indicate their rank, but is to enable the judges and spectators to tell the opponents apart during a fight. Points are also awarded to white or blue. Assistant judges on the corners of the mat also have a white and blue flag to indicate to which competitor a point should go when it is unclear who it should be awarded to.

In most Western countries, grades up to the brown belt are awarded by the dojo where the student trains, while the first dan (black belt) is awarded after doing an exam supervised by independent judges of the national judo association. Second to fifth dan can be achieved by taking similar exams.
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Styles

Jigoro Kano’s Kodokan Judo (講道館) is the most widespread style of judo. A sub-style of Kodokan Judo that developed in Japanese inter-scholastic competition is known as Kosen judo (高專柔道), with the same range of techniques but greater latitude permitted for Ne-waza (ground techniques).
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Sport

Although a fully-featured martial art, judo has also developed as a sport. Judo became an Olympic sport for men in 1964 and, with the persistence of a woman by the name of Rusty Kanokogi, a sport for women as well in 1992. In the west, the sport aspect of judo probably is the most commonly taught. Men and women compete separately (although they often train together), and there are several weight divisions including an open-weight category which anyone may enter.

The object in a judo-match is to throw your opponent to the ground. This will score an ippon (一本), a full point that wins the match. Anything else, such as landing your opponent on the hip or shoulder, will be waza-ari (技有), yuko (有効) or koka (効果) (waza-ari being the highest of the 3, koka the lowest) or even no score. Technically speaking, a waza-ari is a half-point, two of which will earn the match. Yukos and kokas are not fractional points in that they do not accumulate to equal a waza-ari or ippon– in fact a waza-ari beats any number of yukos and a yuko beats any number of kokas. Rather, they are used as tie-breakers if the match ends before an ippon is scored. At match end, if one player has scored a waza-ari and the other has not, the player with the waza-ari wins, but if they are equal in that regard (both with zero or one) yukos are used to break the tie. If they are also equal in yukos, kokas break the tie. Finally, if both players have identical scores, the match is resolved by the decision (majority vote) of the referee and two corner judges.

After the throw occurs and is scored, combat may continue on the ground. Pinning an opponent, with both shoulders on the mat, for 25 seconds (20 if you previously scored a waza-ari, since two half-points will complete your whole) results in an ippon. An automatic ippon is also granted when one’s opponent submits (which frequently occurs when choke holds are used). If there is no ippon or submission, the one with the most points wins. Groundfights are of relatively short duration in most high-level competition. The referee normally stops it when no clear progress is being made. Penalties may be given by the judges for being inactive during the match or using illegal techniques and fighting must be stopped if both of the participants are outside the designated area on the mat (tatami).
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Sport and beyond

Despite the literal meaning of judo being “the gentle way”, competition judo is one the roughest and most demanding of sports. A World Championship or Olympic match lasts only 5 minutes, but will leave participants exhausted.

Without the kicking and punching so common to other martial arts, judo is often portrayed as friendlier than, for instance, karate. Proponents believe this contributes to judo being underrated as a method of self-defense. For instance, while throws executed with proper breakfalls on soft mats can seem light and graceful, their more practical application on a hard surface (and potentially with greater intent to harm) could be very dangerous. Even in the controlled environments of a match or dojo training session, injuries can easily occur due to a lapse in focus or overzealous application of a technique.
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Aikido

Sunday, April 10th, 2005

Aikido (合気道 Aikidō, also 合氣道 using an older style of kanji), literally meaning “harmony energy way”, or with some poetic license, “way of the harmonious spirit”) is a gendai budo — a modern Japanese martial art. Practitioners of aikido are known as aikidoka. It was developed by Morihei Ueshiba (植芝盛平) (also known by aikidoka as o-sensei (大先生)) over the period of the 1930s to the 1960s. Technically, the major parts of aikido are derived from Daitō-ryū Aiki-jūjutsu (大東流合気柔術), a form of jujutsu with many joint techniques, and kenjutsu　(剣術), or Japanese sword technique. Aikido is also considered to contain a significant spiritual component.
Contents [showhide]
1 History
2 Technique

2.1 Training

2.1.1 Defense
2.1.2 Attacks
2.1.3 Weapons

2.2 Clothing
3 Spirituality

3.1 Ki
4 Styles
5 Aikidoka
6 External links
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History
Tachi waza nikyo omotei.e. standing technique, second principle, front form
Enlarge
Tachi waza nikyo omote
i.e. standing technique, second principle, front form

The name aikido is formed of three Japanese characters, 合気道, usually romanised as ai, ki and do. These are often translated as meaning harmony, energy and way, so aikido can be translated as “the way of harmony through energy”. Another common interpretation of the characters is harmony, spirit and way, so aikido can also mean “the way of spiritual harmony”. Both interpretations draw attention to the fact that aikido’s techniques are designed to control an attacker by controlling and redirecting their energy instead of blocking it. An analogy is often made of the way a flexible willow bends with the storm whereas the stout oak will break if the wind blows too hard. (The Korean martial art commonly known as hapkido uses the same three characters: some suggest a historical link through Daito Ryu, the main origin of aikido).

Morihei Ueshiba developed aikido mainly from Daito Ryu aikijutsu, incorporating training movements such as those for the yari (spear), jo (a short quarterstaff), and perhaps also juken (bayonet). But arguably the strongest influence is that of the katana (sword). In many ways, an aikido practitioner moves as an empty handed swordsman. The aikido strikes shomenuchi and yokomenuchi originate from weapon attacks, and resultant techniques likewise from weapon take-aways. Some schools of aikido do no weapons training at all; others, such as Iwama Ryu usually spend substantial time with bokken (wooden sword), jo, and tanto (knife). In some lines of aikido, all techniques can be performed with a sword as well as unarmed.

Aikido was brought to the West in 1951 to France by Minoru Mochizuki. It was introduced to the United Kingdom in 1955, the United States in the 1960s, to Australia in 1965 and to many other countries. Today there are many aikido dojos available to train at throughout the world.
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Technique

Aikido incorporates a wide range of techniques which use principles of energy and motion to redirect, neutralize and control attackers. Because aikido techniques allow practitioners to move considerably during their execution, as well as for other reasons, some believe aikido is particularly suited to multiple-attacker circumstances. However, like all martial arts claims, this is debated. At its highest level, aikido can be used to defend oneself without causing serious injury to either the aggressor or the defender. If performed correctly, size and strength are not important for efficency in the techniques. Aikido is considered one of the most difficult of the Japanese martial arts to gain proficiency in.
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Training

The methods of training vary from organization to organization and indeed even between different dojo in a single organization but typically, a class basically means that the teacher shows techniques or principles and the students imitate. Training is done through mutual technique, not by sparring. Uke, the receiver of the technique, usually initiates an attack against nage or tori, who neutralizes it with an aikido technique. The uke and the nage have equally important roles. Students must practice both positions in order to learn to defend against an attack and to safely receive the defense. When o-sensei taught, all his students were uke until he deemed them knowledgeable enough of the technique to be nage. Movement, awareness, precision and timing are all important to the execution of techniques as students progress from rigidly defined exercises to more fluid and adaptable applications. Eventually, students take part in jiyu-waza and/or randori, where the attacks are less predictable. Some schools, such as Shodokan Aikido, employ training methods wherein uke actively attempts to employ counter-techniques, or kaeshi-waza.

O-Sensei didn’t allow competition in training because some techniques are considered too dangerous and because he believed that competition didn’t develop good character in students. Most styles of aikido continue this tradition although Shodokan Aikido (see #Styles) started with competitions early on. In the Ki Society there are forms (taigi) competitions held, in a small scale.
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Defense

Aikido techniques are mostly based on keeping the attacker out of balance and locking joints. Much of aikido’s repertoire of defenses can be performed either as throwing techniques (nage-waza) or as controls (katame-waza), depending on the situation. Entering, irimi, and turning, tenkan, are widely used Aikido concepts, as is striking, atemi, although this is mostly performed as distraction rather than to hurt. Manipulation of uke’s balance by entering is often referred to as “taking uke’s center”. It is sometimes said that aikido contains only defense, and the attacks that are performed are not really aikido. From a historical perspective this claim is questionable, but many if not most aikidoka have the defense techniques as the focus of their training.
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Attacks

Although attacks seldom are studied to the same extent as in arts of more aggressive nature, good attacks are needed to study correct and effective application of technique. “Honest” attacks are considered important, although the opinions of how an honest attack looks varies in different schools.

Aikido attacks used in normal training include various stylized strikes and grabs such as shomenuchi (a vertical strike to the head), yokomenuchi (a lateral strike to the side of the head and/or neck), munetsuki (a straight punch), ryotedori (a two handed grab) or katadori (a shoulder grab). Many of the -uchi strikes resemble blows from a sword or other weapon. Kicks are sometimes used, but are not usually part of basic curricula. Most aikido techniques can also be applied to a response to an attack, e.g. to a block, and some schools use this as the “basic” form of a given class of technique. Beginners also tend to work with techniques executed in response to a grab. Grabs are considered good for basic practice because the connection with uke is very clear and strong, and it is easier to “feel out” body mechanics and lines of force.

There is also the matter of atemi, or strikes employed during an aikido technique. The role and importance of atemi is a matter of some debate in aikido. Some view atemi as strikes to “vital points” that can be delivered during the course of a technique’s application, to increase effectiveness. Others consider atemi to be methods of distraction, particularly when aimed at the face. For instance, if a movement would expose the aikido practitioner to a counter-blow, he or she may deliver a quick strike to distract the attacker or occupy the threatening limb. Atemi can be interpreted as not only punches or kicks but also, for instance, striking with a shoulder or a large part of the arm. Some throws are arguably effected through an unbalancing or abrupt application of atemi. Many sayings about atemi (http://www.tsuki-kage.com/ueshiba.html) are attributed to Morihei Ueshiba, although their precise content varies considerably based on the one doing the telling.
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Weapons

Weapons training in aikido usually consists of jo (staff) and bokken (sword) and/or tanto (knife). Both weapons-taking and weapons-retention are sometimes taught, to integrate the armed and unarmed aspects of aikido. For example, a technique done with a straight punch may be done with a tanto or jo thrust instead, or a grab technique may be illustrated as a way to draw/strike with a weapon while being grabbed.

Many schools, also others than those who are his students in lineage, train versions of Morihiro Saito’s weapons system: aiki-jo and aiki-ken. It contains solo kata with jo, and paired exercises with jo and bokken. In other lines of aikido, paired training with bokken in kata derived from old sword schools is common. Quite a few aikido teachers have also developed weapons systems on their own, such as Mitsugi Saotome’s “two sword aikido.”
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Clothing

Aikido uses a keikogi similar to most other modern budo arts; simple trousers and a wraparound jacket, usually white. In some places a keikogi of karate cut is preferred, in others most people use judo keikogis. Keikogi made specially for aikido exist, but usually not in the lower price ranges.

To the keikogi adds the traditional garment hakama, wide pleated trousers. The hakama is usually black or dark blue. In most dojos around the world, the hakama is reserved for practitioners with dan (black belt) ranks, but some dojos ask everyone to wear a hakama. Systems also exist where hakama is never worn, worn from a specific kyu rank, and others where women are allowed to wear it earlier than the men.

The belt, obi is wrapped twice around the body similar to in karate or judo. Although some systems use many belt colours similar to the system in judo, the most common version is that dan ranks wear black belt, and kyu ranks white – sometimes with an additional brown belt for the highest kyu ranks.
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Spirituality

The ending “do” in the word aikido indicates a spiritual path, unlike the ending “jitsu” in the word aikijujitsu, which indicates an art of war. Many people see this difference as important as well as regarding iaijitsu and iaido, jujitsu and judo, and kenjutsu and kendo. Others see this distinction as a historically incorrect and somewhat unnatural division.

Ueshiba taught that, while it was important to become proficient in physical technique, this is not the ultimate purpose of training. He taught that the principles learned through training in physical technique are universal and are to be applied to all aspects of one’s life. He once commented that he was teaching students not how to move their feet but, rather, how to move their minds.

Many agree that Ueshiba’s style became softer, more fluid, and effortless as he grew older. Some suggest this was due to a shift in focus to the spiritual aspects of the art, while others suggest that this was simply a natural result of Ueshiba becoming more proficent in physical technique. Various interpretations have arisen since Ueshiba’s death.

A range of aikido schools can be found, each placing a different emphasis on physical techniques, underlying principles, and spirtual concepts. This is largely a result of at what point the founder of each of these schools trained with Ueshiba–earlier or later in Ueshiba’s life. The former tend to focus more on physical technique, while the latter tend to focus more on spiritual concepts. However, this should not be overstated, especially since there is considerable variance from sensei to sensei, and an “aikido continuum” is quite problematic to actually construct. Some aikidoka view “physical vs. spiritual” as a false separation, or a failed attempt to stereotype branches of aikido.

Ki Society is an example of a school that focuses heavily on the spiritual concepts of aikido, rather than physical technique.
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Ki
Ki kanji

The ability to harness one’s Ki is an essential part of mastering Aikido techniques. Ki is often translated by aikidoka as ‘breath power’, ‘power’, ‘energy’, or sometimes even as ‘soul’. This ‘ki’ is the same as the ‘qi’ in qi-gong, but not the same as the ‘chi’ in t’ai chi. When aikidoka say that someone (usually a high ranking teacher) is training with a lot of ki, they usually want to express that the person in question has developed a high level of harmony in the execution of his technique. Timing, a sense for the correct distance and a centered (undisturbed) mind and body are particularly important. Most teachers claim to locate ki in the hara, which might be loosely defined as the body’s center of gravity, situated in the lower abdomen, about two inches below and behind the navel. In training it is constantly emphasized that one should keep one’s hara — that is, remain centered — in order not to lose the ki. Very high ranking teachers sometimes reach a level of coordination that enables them to execute techniques with very little apparent movement, sometimes even without seeming to touch their opponent’s body.

Essentially, ki corresponds to the physical concepts of center of gravity, center of momentum, and center of force. However, these centers are not necessarily the same, so Ki also encompasses the biological and mental aspect of training oneself to have exquisite control over motion. Finally, there is a spiritual aspect of how exactly to achieve harmony over these centers.

Of course, the spiritual interpretation of ki depends very much on what school of aikido you study, as some emphasize it more than others. Aikikai dojos, for example, tend to spend much more time on ki-related training activities than do, for example, Yoshinkan dojos. The importance of ki in Aikido cannot be denied — the name of the martial art, after all, can be loosely translated as “The way of cooperation with the ki”, or “The way of harmony with the ki”. But what ki is is debated by many within the discipline. O-Sensei himself appears to have changed his views over time — for example, Yoshinkan Aikido, which largely follows O-Sensei’s teachings from before the war, is considerably more martial in nature, reflecting a younger, more violent and less spiritual O-Sensei. Within this school, ki perhaps could be better thought of as having its original Chinese meaning of breath, and aikido as coordination of movement with breath to maximize power. As O-Sensei evolved and his views changed, his teachings took on a much more spiritual feel, and many of his later students (almost all now high ranking senseis within the Aikikai) teach about ki from a much more spiritual perspective.
Obsolete form of the ki kanji

Regardless, this quote (from the Aikido FAQ) puts it plainly: “you may not believe in Ki, but you sure as hell cultivate it.” Whether you think of ki as breath, spirit, or simply refrain from analyzing it too much, it is clear to any student of Aikido that the martial art makes extensive use of ki. Because of this, and because ki is often associated with spirituality, aikido is considered one of the more spiritual martial arts and has been referred to as “moving zen”.

Some believe that the physical entity ki does not exist, but rather is a concept used to teach spirit, intention, and coordination of the physical and psychological through relaxation and control. These aikidoka tend to frown on the overemphasis of the philosophical and spiritual aspects of ki. On the other side of the spectrum, some spiritually oriented aikidoka believe that ki does exist as a physical entity and can be transmitted through space. These tend to make use of concepts like “the ki of the universe”, “extending ki”, and so on. While the zealous in each group find the existence of interpretations other than their own frustrating, most middle-of-the-road aikidoka consider the disagreement to be a productive one for the greater Aikido community. Some people are turned off by spirituality, but nonetheless appreciate the martial art’s beauty; the existence of non-spiritually minded schools allows these types of people to enjoy Aikido and benefit from it. Similarly, some people are not at all attracted by the physical/martial nature of Aikido, and consider its spirituality to be its most important quality — these definitely benefit from dojos emphasizing spirituality.

Regardless, aikidoka will no doubt continue their ‘quest for ki’. O-sensei famously said that he was just an aikidoka like all of his students, and that he was only beginning to learn.

Ninjitsu

Sunday, April 10th, 2005

Ninjutsu
From Wikipedia, the free encyclopedia.

This article is about the Japanese espionage martial arts and techniques known as ninjutsu. Ninjutsu is frequently depicted fancifully in fiction; for these depictions, see the article on ninja.

It is properly distinguished from ninpō (忍法) which has its roots in Shintoism and is concerned more with the realms of the mind (noosphere) and spirit.

A sample curriculum of a ninjutsu school

This lists the 18 fundamental skills of the Togakure-ryû school of ninjutsu. (忍び術)

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Schools of ninjutsu

Other extant traditional martial arts such as the Katori Shintō-ryū contain some aspects of ninjutsu in their curriculum, but are not ninjutsu schools per se.

The espionage techniques and the like of ninjutsu are rarely focused on these days, since they are strongly bound with the circumstances and culture of feudal Japan.

Other schools

External links

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