Best napoleonic war games pc. Tomas Ohlsson shows all the twelve forms of the Zen Nippon Kendo Renmei Seitei Iai kata. The film starts with a sequence mostly for fun of short closeup clip. ZNKR Seitei Iaido. The following links lead to (heavily) illustrated descriptions of the twelve ZNKR seitei Iai kata. The illustrations are from a demonstration by Miyata Tadayuki sensei, Iaido 8-dan Kyoshi, Kendo 7-dan Kyoshi, during the 8th European Iaido Championships - November 2001 in Brussels.
PDF file Manual Number Information (Asking before using. ) 1st edition ME0271-1B There is danger that 24V power supply is short-circuited when connecting it whith the teaching box and the personal computer when the ERC2,ERC Contrller is used by the plus. A wonderfully, clearly written and superbly illustrated manual for iaido. No book can perform as a substitute for actual training, but this manual is an excellent supplement. It has a good bit of history and clear explanations, making it useful for any martial artist, but the real focus (and where it really shines) is to the iaidoist, who will. App modifier apk. ZNKR Iaido Manual, 2014. The manual is available for $20 + shipping from the CIJF. Contact [email protected]. Funding for Projects. Any member of the CIJF may apply for funding for projects which will: Provide training in iaido or jodo; Promote and define the arts of iaido or jodo to the general public; Increase student numbers in iaido or jodo.
copyright ©2012 Kim Taylor, all rights reserved.The ZNKR iaido manual, otherwise known as 'the book' is thefinal wordon how the ZNKR iaido kata are performed. ZNKR iai is a set ofstandardized (seitei) kata to be used by all kendo federation iaidostudents and 'the book' is the reference for that standard. Within thatbook is a section called the Points for Grading and Refereeing which isa guide to judges on what they should look for in each kata. As such,they represent an instruction (ok think of it as an order) to judges tolook especially closely at these points which the ZNKR iaido committeeconsider to be important enough to look closely at.
I suspect students should consider these points to be the very barestminimum of things they ought to 'get right' if they want to pass theirnext grade. Now when you look at the points for 1 and 2 you'll findthat a lot of the points in 1 are not repeated in 2. I suggest tostudents that this does not mean the points in 1 can be ignored in 2, Isuggest that the intent is for the points to be cumulative. A pointwhich appears earlier in the instructions applies to a later kata ifapplicable. In other words, don't be a jailhouse lawyer about this, ifa movement is looked at earlier, it will be looked at in the same waylater.
Because I have heard for years that 'seitei gata changes every year', Ihave included for your amusement a set of instructions on these samepoints from a publication called 'The Guidance of Referee' created inEnglish by the Buko Dosokai in 1994. A look at the 2009 and the 1994instructions, perhaps by two different translators, will give you someidea of how much these most important and fundamental points havechanged over the 15 years between the publications. Incidentally, 1-10were dated as from 1988 and 11-12 from 2000 so the 1994 notes would notinclude the last two kata.
Iaido Manual
For the photos below I'd like to thank my student Pam Morgan for herwillingness to model the points, any inaccuracies you spot are my faultnot hers. And they'd better not show up in your own practice.. if yousee them fix them.Manuale Iaido Pdf
Kata | 2009 instruction, | 1994 instruction, | Photographs |
Reiho | Ensure performers are executingthe correct manners as stated in the criteria. | Is the correct etiquette shown? | (Read the book.) |
1. Mae | a. Does the performer do enoughSayabiki when they cut the opponent's face with Nukitsuke? | Is sufficient sayabiki shown during nukitsuke? | |
b. Is the sword taken intoFurikaburi with a feeling of thrusting to behind the left ear? | Is the furikaburi made with a backwardsthrusting movement past the left ear? | ||
c. Is the tip of the sword abovethe horizontal position when in Furikaburi? | Does the kissaki drop below the horizontalwhen the sword is above the head? | ||
d. Is the sword brought downwithout hesitation during Kirioroshi? | Is the cut executed withoutpause? | (Do not stop at the aboveposition) | |
e. Is the tip of the swordslightly below horizontal at the end of Kirioroshi? | Does the cut finish a littlelower than horizontal? | ||
f. Is the shape and form ofChiburi correct? | Is the posture correct during chiburi? | ||
g. Is Noto performed correctly? | Is the noto executed correctly? | (According to your koryu style.) | |
Muso Jikiden Eishin Ryu and Muso Shinden Ryu (below) | |||
2. Ushiro | a. When the turn is made, is theleft foot moved sufficiently to the left? | Is the player drawing the swordas he is turning and is the left foot being placed a little to the lefton the nukitsuke? | |
b. Is the horizontal cut made tothe opponent's temple? | Is the player cutting correctlyto the temple of the opponent? | ||
3. Ukenagashi | a. When the parry is made, doesit protect the upper body? | Is the upper half of the bodycovered by the sword in the ukenagashiposition? | |
b. Is the left foot brought backbehind the right foot and the cut made along the Kesa line? | Is the left foot drawn backbehind the right and is the cut diagonal? | ||
c. After the cut has been made,is the left hand in front of the navel and the sword tip a little belowhorizontal? | Is the left fist in front of thenavel and is the kissakislightly down on completion of the cut? | ||
4. Tsuka-Ate | a. Is the Tsukakashira surelypointed at the opponent's solar plexus? | Is the player aiming the tsuka correctly at the solar plexusof the opponent? | |
b. When the rear opponent isthrust, is this done with the right elbow extended fully and does theleft hand bring the Koiguchi to the navel? | On the thrust to the rear, isthe left hand holding the sayaturned inwards in front of the navel and is the right elbow extended onmaking the thrust? | ||
c. When the cut is made, is iton the vertical centerline and from the correct position above thehead? | As the body is again turned tothe front, is there a pulling movement as the sword is raised above thehead, and is the cut itself vertical? | ||
5. Kesagiri | a. When the initial upper cut ismade, is the right hand above the right shoulder when the sword isrotated? | Is the right hand above theshoulder as the sword is turned on the initial cut? | |
b. When Chiburi is performed, isit at the correct angle while the person steps back with the left footat the same time when their left hand takes hold of the Koiguchi? | Is the left hand gripping the saya as the left foot is moved backon the chiburui action? | ||
6. Morotezuki | a. Is the initial cut correctlymade from the opponent's temple down to their chin when making NukiUchi? | On the initial diagonal cut,does the cut stop at chin height? | |
b. Does the performer bringtheir left foot up behind their right? Is Chudan No Kamae correctlymade and the sword thrust into the correct target of the body? Is thethrust made with certainty? | Is the rear foot tsugiasi as the chudan kamae is adopted and is thethrust made accurately to the opponent solar plexus? | ||
c. Does the performer bringtheir sword above their head in a parrying action when pulling it outfrom the first opponent? | As the sword is drawn out, isthere a feeling of ukenagashias the sword is raised above the head? | ||
7. Sanpogiri | a. Is the initial cut to thefirst opponent made through the correct diagonal angle from the topright side of the head down to the base of the chin? | When making the first cut to theright, does the cut stop at chin height? | |
b. Is the cut to the opponent onthe left performed without hesitation? | After turning to the opponent onthe left, is the vertical cut made without pausing? | ||
c. Is the sword brought up toFurikaburi with a parrying action? | Is the sword raised above thehead with the feeling of ukenagashi before the final cut? | ||
d. Does the last cut finish atthe horizontal? | |||
8. Ganmen-Ate | a. Is the initial strike withthe Tsukagashira made between the eyes? | Is the tsuka-gashira aimed correctly atthe point between the eyes? | |
b. When turning to face theopposite direction, is the right hand placed on the hip? | Is the right fist placedcorrectly on the top of the ilium when facing the opponent at the rear? | ||
c. When facing the rearopponent, is the body turned completely to the rear with the rear heelslightly raised and in a straight line? | In this position, does the bodyturn round perfectly, and is the rear heel held a little off the floor? | ||
d. Is the thrust performedwithout too much bend in the knees? | Is the thrust made with the feetpointing forwards? | ||
9. Soete Zuki | a. When the initial diagonal cutis made from the opponent's right shoulder down through to the waist,is the right hand at the height of the navel and the sword tip slightlyabove the horizontal level? | When making the initial diagonalcut is the right fist at navel height and is the kissaki slightly higher than thefist? | |
b. Is the sword held securelybetween the left thumb and forefinger with the right hand near the hip? | Is the blade gripped between thethumb and index finger of left hand at around its centre point, and isthe right fist on the right hip? | ||
c. Does the right hand finish infront of the navel after making the thrust and does the thrustingaction adequately reach the opponent's body? | When making the thrust, does theright fist stop in front of the navel? | ||
d. When showing Zanshin, is theright elbow naturally straight and the right hand no higher or lowerthan the chest level? | When showing zanshin is the right arm straightand is the right fist no higher than the nipple? | ||
10. Shihogiri | a. Is the strike to the firstopponent's hand done firmly and effectively with the flat side of theTsuka? | Is the tsuka ate made strongly and withthe side of the tsuka? | |
b. In making Sayabiki, is theMune near the Monouchi of the sword on the chest and is the thrust madesurely into the solar plexus of the opponent? | When doing the sayabiki, is theridge of the sword near the monouchi touching the left chest and is theright hand held away from the body? | ||
c. When the thrust is made, isthe left hand brought to the center of the navel and both arms aid thetechnique with the correct tension? | When making the thrust, is thesaya pulled in front of the navel, and are the left and right handsmove towards each other? | ||
Square view | |||
d. Is the final cut made bygoing through Waki Gamae without hesitation or pause? | Is the sword raised above thehead for the final cut as part of the wakigamaeaction and not after wakigamae? | ||
11. Sougiri | a. When the sword is drawn up,is it in a correct position to parry an attack? | ||
b. When moving forwards, doesthe performer use Okuri Ashi footwork? | Image from kendo-guide.com | ||
c. When making the horizontalcut, is it performed horizontally with the correct angle of the blade? | |||
12: Nuki Uchi | a. When the sword is drawn upand out, have both feet moved back adequately to evade the downward cutof the opponent? | ||
b. When the right hand is takenupwards, is it in the center line of the body? | |||
c. Is the step forwards with theright foot sufficient to enable the sword to reach the target? | |||
Aikido consists mainly of throwing techniques and pins that rely on joint locking. It is almost wholly defensive in nature. Most of the skills involve responding to an opponent's attack and redirecting the offensive energy in such a way as to unbalance and topple the attacker to the ground. Many of the techniques involve circular motions that first take you out of harm's way, then cause the attacker to lose balance. Practice can be very gentle, especially in schools that emphasize the idea of using ki ('intrinsic energy') over physical strength. The main philosophical premise of aikido is harmony with the opponent, both in body and spirit. Older people or people who are not in top physical condition can usually practice this art safely, at least at the beginning levels.
Seitei Iaido Manual
Ueshiba Morihei created aikido by modifying many earlier Japanese jujutsu techniques and adding to them the idea of harmonizing with the opponent's movements. Ueshiba was a religious man who stressed spiritual development as much or more than physical development, an emphasis that some of his successors have adopted and reinforced. Today, there are three major schools of aikido: Hombu (headquarters) style, Aikikai (probably the softest style), and Yoshinkai (the most regimented of the three).
Seitei Iaido Manual Pdf
The benefits of studying aikido are many. Its relatively gentle physical exercise builds strength gradually. The cooperative practice means there are few injuries, and it allows people with a wide range of abilities to practice together. The movement drills can transform a clumsy person into someone who moves with grace and good balance. The dojo is usually a pleasant social environment where students cooperate to get things done, and the principles of the art can be a good tool for learning how to manage conflict.
Znkr Iaido Manual Pdf
The drawbacks of the art are mostly the converse sides of its unique strengths. Because training involves cooperation, it is possible to practice for many years without ever knowing if your techniques would actually work in self-defense. It is generally a less strenuous workout than other martial arts such as judo or karate, though two people who want to train hard can easily add power and speed to their training. Finally, there is a disturbing trend in many schools to remove all traces of realism from their training, using light, compliant attacks and jumping or falling before the technique can actually be applied. This type of practice, while almost totally safe, is closer to dance than to a real martial art, and bankrupts aikido of many of its most valuable qualities. Need for speed rivals mac os x download.