Οι επτά πιέτες (πτυχώσεις) της hakama

H hakama έχει επτά βαθιές πτυχώσεις, δύο στο πίσω μέρος και πέντε στο μπροστινό μέρος. Οι πιέτες, αναφέρονται στις επτά αρετές του Bushido, που θεωρούνται ουσιαστικής σημασίας για τους σαμουράι. Αν και φαίνεται ισορροπημένη η διάταξη των μπροστινών πτυχώσεων (τρεις στα δεξιά και δύο στα αριστερά) εντούτοις είναι ασύμμετρη και αποτελεί ένα παράδειγμα της ασυμμετρίας στην ιαπωνική αισθητική.

Οι επτά αρετές:   
Chu: πίστη
Ko: ευσέβεια
Jin: φιλανθρωπία, συμπόνια
Gi: τιμή ή δικαιοσύνη
Rei: σεβασμός, ευγένεια και ευπρέπεια

Chi: σοφία, εξυπνάδα
Shin: ειλικρίνεια

Οι πέντε πιέτες στο μπροστινό μέρος είναι οι πέντε αρετές Gotoku, της ιαπωνικής παραδοσιακής κοινωνίας (οι πέντε πρώτες αρετές). Όλες μαζί αντιπροσωπεύουν την ολοκλήρωση του ανθρώπου.

Naginata

The Naginata is a weapon with a rich history, utilized and refined from the Nara Period (710-784 A.D.) to today. Employed initially by the Bushi, it later found itself the specific weapon of the Sohei or Buddhist monks. It is the school of the spear and, as such, is a shafted weapon. The length of its oval shaft varied, from 5' to 8', depending on battle conditions and personal requests. The most striking feature, however, was the blade; it could be anywhere from 10 inches to more than 2 feet, and was sharpened on a single side, fashioned in the manner of either Sakizori or Uchizori. As with most shafted weapons, it was most devastating when utilizing sweeping, circular motions. However, thrusts with the blade and also the heavy ishizuki on the butt end were acceptable tactical alternatives.

The naginata is a halberd-like weapon that was used extensively in feudal Japan. Described by some as simply "a sword on the end of a long pole", the naginata was actually a sophisticated weapon which required considerable skill and stamina to use effectively in battle. It consisted of a curved blade, 1 to 2 feet in length, mounted onto an oak shaft that was usually 5 to 9 feet long. The actual dimensions of a naginata were primarily dependent on personal preferences and battle conditions. Attached to the butt end of the shaft was a sharp end-cap, or ishizuki, which was used to pierce between the plates of an attacker's armor.

Although the exact origin of the naginata is not known, three theories are prominent today. The first states that the naginata evolved from a simple farming tool used for chopping. In the early part of the third century BC, farmers attached sharp stones to the end of long wooden shafts. Later, metal was used in place of the stones.

The second theory is that the naginata evolved directly as a weapon. The first prototype blades were most likely made of bronze, followed later by steel. This theory sets the development of the naginata well after the introduction of metal to Japan from the Asian continents (after 200 BC).

The third theory is that Chinese halberds were carried to Japan during early migrations, sometime around 200 BC. By the Han and Wei Dynasties (approximately 200 AD) these weapons closely resembled the type of naginata eventually used by Japanese warriors. Some historians believe that, although the Chinese may have invented the weapon, it was later developed, utilized, and refined by the Japanese.

Despite the uncertainty surrounding its origin, it is a well-known fact that the naginata was being fully utilized in battle by the 10th century. Cavalry battles had become more important by this time, and it was difficult to repel mounted warriors simply by means of the bow, arrow, and sword. The naginata proved to be a superb weapon for close-up fighting; it's sweeping arcs of destruction were used to cut a horse's legs and kill its rider once the horse fell to the ground. During the Gempei War (1180), in which the Taira clan was pitted against the Minamoto, the naginata rose to a position of particularly high esteem. Because of its extensive use at that time, changes were made in the type of armor worn by warriors. The addition of "sune-ate", or shin guards, came into use directly because of injuries inflicted by naginata-bearing warriors. The naginata was also used extensively by women warriors. It is a common misconception that women of that era were submissive and subdued. In reality, they were highly trained warriors who were well versed in the use of the naginata as well as many hand to hand fighting techniques. One of the most famous women warriors was Itagaki. Famous for her naginata skills, Itagaki was in charge of a garrison of 3,000 warriors at the Torizakayama castle. The Hojo shogunate dispatched over 10,000 warriors to crush them. Itagaki led her troops out of the castle directly into the Hojo warriors, killing a significant number of them before finally being overpowered. Off of the battlefield, the naginata was also used by women as a means of protecting themselves and their children while the men were away in battle or working in the fields. Because of the size and reach of the weapon, a woman could keep an attacker at a safe distance.

The introduction of firearms into Japan in the mid-17th century significantly altered battlefield strategies, and the naginata gradually became a weapon used solely by women for protection in their homes. Naginata training was also used as a means of exercise and character development. During the Edo period, a time of relative peace in feudal Japan, all Japanese women were required to master the naginata by age 18. By this time, naginata were usually ornately decorated, and were considered an essential part of a woman's dowry.

By http://www.scnf.org/

What is Jōdō?

Jōdō (杖道) is a Japanese martial art in which we study the use of a stick (jō) against a sword (katana).
It is told to be created by Muso Gonnosuke who saw the techniques in a dream after he was defeated by Miyamoto Musashi. On their second meeting, Muso Gonnosuke won by using the new skills he had developed.

This is how Shintō Muso ryū Jōjutsu was founded.

Today we are practising the standardised form of All Japan Kendo Federation. It was initialised by Shimizu Takaji of the original style founded by Muso Gonnosuke after the second World War. This became known as Seitei Jō. Similar path has happened to Kendō, Iaidō and Naginatadō.

The standardised Jōdō consists of twelve basic techniques and of twelve basic katas. The basic techniques, called kihon waza, are executed alone (tandoku dosa) or against a swordsman (sōtai dosa).

The stick used in Jōdō is 128 centimetres (4 shaku, 2 sun and 1 bu) of length and 2.8 centimetres (8 bu) in diameter.

Jōdō is practised against a swordsman but for safety, the sword is made of wood, thus bokken is used by the opponent. The person using the stick is called Shijō, the person with sword called Uchidachi.
The techniques used by the swordsman are similar to the ones used in Kendō kata.

As a discipline of Budō, Jōdō cultivates its practitioners mental skills. A Jōdōka learns etiquette, manners and well controlled behaviour which helps in everyday situations.

The 12 names of the Zen Ken Ren Jōdō:

1. Tsukizue
2. Suigetsu
3. Hissage
4. Shamen
5. Sakan
6. Monomi
7. Kasumi
8. Tachi otoshi
9. Rai uchi
10. Seigan
11. Midare dome
12. Ran ai

by http://paazio.nanbudo.fi/martial-arts/jodo/what-is-jodo-and-other-yudansha-questions

Iaido Kata

Iaido Kata (Tomas Ohlsson)
Iaido kata level 1 oomori : Jun-To (Kaishaku)
Iaido kata level 1 oomori : In-Yo-Shin-Tai (Yaegaki)
Iaido kata level 1 oomori : Koran-To (Oikaze)
Iaido kata level 1 oomori : Shohat To (Mae)
Iaido kata level 1 oomori : Ryu-To (Ukenagasi)
Iaido kata level 1 oomori : Gyaku-To (Tukekomi or Oikiri)
Iaido kata level 1 oomori : Atari-To (Usiro (Back)
Iaido kata level 1 oomori : In-Yo-Shin-Tai Kaete
Iaido kata level 1 oomori : U-To Right
Iaido kata. Mae geri.
Iaido kata. Ushiro geri.

Iaido- Japanese Traditional Budo

What is Iaido?

Iaido is one of the Japanese traditional Budo concerned with drawing the blade and cutting in the same motion. (Budo means martial arts or military arts in Japan). A typical form consists of the draw and cut, a finishing cut, cleaning the blade and returning it to the scabbard, all without looking away from the imaginary opponent.

Most practice is solo, eventually with shin-ken (a real blade). In contrast with Kendo, Iaido is performed without protective coverings of any kind. Students must strive to achieve power, precision and perfection in their form. Along the way they learn balance, grace, and control both of the body and the mind.

Iaido dealt more with everyday situation rather than those on the battlefield. The term "Iai" is taken from the Japanese phrase: "Tsune ni ite, kyu ni awasu". The meaning of this is, whatever we may be doing or wherever we may be, we must always be prepared from any eventually.

The techniques themselves dealt with many situations such as a sudden attack by several opponents, a surprise attack while bowing to someone, an enemy lying in wait behind a sliding door or an attack in a darkened room. The permutations (suppositions) were countless.

Concept

"Iai to ha, Hito ni kirarezu Hito kirazu,
Tada uketomete Tairaka no kachi" -- Unknown

Saya-no-uchi -- the essence of Iaido

"Saya no uchi" is a truncated phrase. A full-length phrase is "Saya no uchi de katsu", those of which meaning is: Victory in the scabbard of the sword. The real intention is: One must obtain victory while the sword is un-drawn.

This seems to be inconsistent for the reason which a disciplinant wields his blade, but it is agreeable as the ultimate aim of the real swordmanship. The essence of Iaido is a non-combative discipline engaged in for the individual's spiritual cultivation. Through the blade we seek to improve our spirit and become better people, to promote peace and good feeling beyond the walls of the Do-Jo and into out daily lives.

Readiness on the occasion of practice

One must bear in mind the higher goals to achieve and take each steps and overcome each obstacle, but at the same time, one must relish and enjoy his challenges, though the path may be a difficult one to follow.

If one studies the classical Budo for fun or through a whim, no true understanding is possible. The goal of self-perfection requires time and effort, and direction is always more important than haste. The classical Budo disclose their meaning only to those who are dedicated and who exert their minds and bodies in rigorous training.

There are many styles of Iaido, many ways to cut, to move, and as one learns one improves technically. However, we train not only to learn techniques, but also to cultivate the heart and spirit. With this respect all "styles" will lead to the same goal.

History and School

Founder

Iaido began in the mid-1500's. Hayashizaki Jinsuke Shigenobu (1542 - 1621) is widely accepted as the founder of Iaido.

There were many (probably several thousand of) Koryu ( traditional schools), though only a small proportion remain today. Almost all of them also study older school established during 16-17th century, like Muso-Shinden-ryu, Hoki-ryu, Muso-Jikiden-Eishin-ryu, Shinto-Munen-ryu, Tamiya-ryu, Yagyu-Shinkage-ryu, Mugai-ryu, Sekiguchi-ryu, and so on.

The role of Iaido in modern Kendo

Even though the points of attack in modern Kendo are strictly limited, the strikes and attacks are performed with a freedom of will that inevitably leads to an element of competition. If this spirit of competition is given fuller reign, Kendo degenerates into a contest carried out solely for the sake of winning and loosing. When this happens, the purity of Kendo techniques is lost.

In comparison with shinai Kendo, Iaido concentrate on training to develop correct movements. For this reason, in terms of technical purity it occupies a level much higher than that of shinai Kendo. In short, Iaido can serve to improve and maintain technical purity in shinai Kendo. Iaido helps ensure that body movements are logical and effective because they are natural, accurate, and agile.

Basic Points

Zanshin

This is a word which does not translate at all into English. It is often translated as awareness, but this is not quite right. Awareness of what is around, potential threats, potential dangers etc. is a part of it. It is more concerned with the state of mind after an action has been made. It is characterized by kamae or shisei after cutting, by seme after cutting, by projection of ki and continuation of breathing (or kiai where appropriate) after cutting.

Ma (Maai)

Attack intervals. One must keep the proper attack intervals.

Metsuke

Gazing at the distant mountains. This means to focus the eyes at a distance.

Te-no-uchi

Grip the handle of the blade. One must grip rightly for the effective nukitsuke and kirioroshi. Iaido master can easily distinguish an sword-craft of trainee only at a glance over his Te-no-uchi.

Technical Points

No matter what style was practiced, the procedure always comprised four separate parts: the drawing of the blade to meet a sudden encounter (nukituke), the cut or cuts used to despatch the enemy (kirioroshi), the shaking of the blood from the blade (chiburi), and the re-sheathing of the sword (noto).

Nukitsuke (Nukiuchi)

The first strike, though single handed, should be effective. It should make kirioroshi unnecessary. The angle, timing, control will all be watched. Keep good posture here. Make sure the cut lands with the front foot and that the body weight is giving power to cut.

Kirioroshi (Kiritsuke)

Strike to the imaginary enemy.

There are some aphorism about Kiriososhi: If trainee disturbs himself, it would be a wicked swordplay. If trainee doesn't have a fighting spirit, it would be only a sword dance. If trainee doesn't strain, it would be only a fun.

Chiburi (Chiburui)

Shaking the enemy's blood. One must bear in mind Zanshin during the chiburi and noto.

Noto

The discipline of swordmanship in Iaido fashion provides an easily understood example of the intense concentration demanded by Budo techniques.

The trainee must, in the final stage of wielding the sword, return its razor-sharp blade to the scabbard he wears at his left hip. The action used in accomplishing this brings the operator's left hand within a fraction of an inch of the keen edge, in itself an unnerving maneuver for the untrained, but one made infinitely more delicate by the fact that the action must be performed without once looking at the scabbard.

Zen Nihon Kendo Renmei Seitei Iaido

All students perhaps study a standard Iaido, commonly known as the Seitei Iai, which is established by the All Japan Kendo Federation (Zen Nihon Kendo Renmei, hereafter ZNKR).

There are 10 established forms of ZNKR Seitei Iaido (hereafter Seitei Iai) which were developed during 1960's and 70's by a panel appointed by ZNKR for that purpose. The original intentions in creating Seitei Iai was to produce a standard that could used for gradings nationally and later internationally.

These ten forms belong to three sections. The first to third forms belong to Seiza no bu, which performed from seiza posture. The fourth form belongs to Tatehiza no bu, which performed from tatehiza (low-crouching posture). And the fifth to tenth forms belong to Tachi no bu, which performed from a standing posture.

Ippon me (The first): Mae (Front)

Cut kirioroshi an opponent front in seiza.

Nihon me (The second): Ushiro (Rear)

Cut kirioroshi an opponent to the rear in seiza.

Sanhon me (The third): Uke nagashi (Catch and slide off)

Block ukenagashi (fend, parry) and cut to kesa an opponent in the left standing and approaching.

Yonhon me (The fourth): Tsuka ate (Strike with the tsuka)

Cut and thrust two opponents, one sitting in front, the other behind in seiza.

Gohon me (The fifth): Kesa giri (Cut to kesa)

Cut to kesa an opponent approaching from front.

Roppon me (The sixth): Morote tsuki (Thrust with both hands)

Cut and thrust two opponents, one approaching from front, the other following behind.

Nanahon me (The seventh): Sanpo kiri (Cut in three directions)

Cut three opponents, one approaching from front, the others from left and right.

Hachihon me (The eighth): Ganmen ate (Strike to center of face)

Cut and thrust two opponents, one approaching from front, the other following behind.

Kyuhon me (The ninth): Soete tsuki (Thrust with hand alongside the blade)

Thrust an opponent in right with hand alongside the blade.

Jyuppon me (The tenth): Shiho kiri (Cut in four directions)

Cut and thrust four opponents.

In the fall of 2000, ZNKR newly added two forms named "Sou giri" and "Nuki uchi". So now Seitei Iai consists of twelve forms.

Jyu-ippon me (The eleventh): Sou giri

Cut an opponent many times over, who is standing in front. It is taken after "Sou-makuri" of Muso-Shinden-ryu and Muso-Jikiden-Eishin-ryu.

Jyu-nihon me (The twelfth): Nuki uchi

Leave space and cut an opponent standing in front. It is taken after "Gyokkou" of Mugai-ryu.

Hoki ryu - one of the oldest Koryu

Hoki ryu is one of the most oldest koryus.

The founder of Hoki ryu is Katayama Hoki-no-kami Hisayasu (1575-1650). In 1610 he was called to the Palace and he showed the Isono-nami, the secret of fencing, in front of the Emperor Goyouzei. For this distinguished services he was rendered Jyu-Goi-Ge (the conferment of a court rank).

The original name for Hisayasu's tradition was Ikkan ryu. Later the name was changed to Katayama Hoki ryu. At present day the tradition is generally refereed to as just Hoki ryu.

According to Isono-nami the secret in Hoki ryu, he and his disciples developed and established over one hundred forms. But in present, we mainly study the fifteen basic forms as follows. These fifteen forms are divided to two sections, Omote and Chu-dan. In Omote, there are six forms. All forms are started from seiza posture. In Chu-dan, there are nine forms.

Omote (initial set)

Osae nuki

Thrust an opponent in left with hand alongside the blade with seiza posture.

Kote giri

Thrust an opponent in left with hand alongside the blade with seiza posture.

Kiri tuke

Thrust an opponent in right with hand alongside the blade with seiza posture.

Nuki dome

Block nukidome an attack from right, and cut an opponent.

Tsuki dome

Block tsukidome an attack from front, and cut an opponent.

Shiho kanakiri

Cut four opponents with seiza posture.

Chu-dan (middle level)

Hiza dume

Nuketsuke to kesa and cut an opponent from front, with seiza posture.

Mune no katana

Strike aside the attack of an enemy, and cut, with seiza posture.

Okkake nuki

Nuketsuke to kesa and cut an opponent from front, with standing posture.

Kaeri nuki

Nuketsuke to kesa and cut an opponent from rear, with standing posture.

Issa soku

Jump-up and block ukenagashi from seiza posture, and cut an opponent in the front standing and approaching.

Mukou dume

Block ukenagashi from standing posture, and cut an opponent in the front.

Naga rouka

Strike aside the attack of an enemy, and cut.

Kissaki gaeshi

Block ukenagashi, strike a face of an opponent in the front and thrust.

Shiho dume

Cut four opponents with standing posture.

from http://www.kusastro.kyoto-u.ac.jp/~baba/iaido/index.html#history