What is Zen ?

The word Zen is Japanese. It is their pronunciation of the Chinese word ch'an which in turn comes from the Sanskrit word dhyana, meaning wisdom-meditation.

The Founder

Bodhidharma (b. 450 CE) is the Indian master who is credited with having brought the form of Buddhism emphasizing meditation to the Far East. He was from Kanchi, renowned as the site of the Great Stupa, in what was then the Pallava kingdom of South India. When his spiritual mentor, Prajnatara, advised him to go to China, he left by ship and arrived in the south of that country in about 475. According to his devotees, he is considered the 28th master in a direct line from Buddha Shakyamuni. Shi Da Yang is one Chinese form of his name. In Japanese, he is called Daruma Taishi.The 15th-century Japanese image by Bokkei [above] is courtesy Buddhanet. Here, as in many other scroll paintings, he is portrayed as a fiercely wild-eyed monk. One traditional explanation for this extraordinary appearance is that he sat in meditation in a cave facing a blank wall for nine years. So as not to succumb to sleep before attaining enlightenment, he cut off his own eyelids. Legend says that tea-plants sprang from the place where his eyelids fell. The site of his 9-year meditation is a cave in China not far from the site of the Shaolin Temple. A few years after his death, which is conservatively given as 528, a Chinese official reported encountering Bodhidharma in the mountains of Central Asia. He was described as walking with a staff from which hung a single sandal, and told the official that he was on his way back to the land of his birth. Legend also says that when this account reached India, the monks opened Bodhidharma's tomb only to find a single sandal. Near the end of The Life of Milarepa, we learn that the great Tibetan yogi had met "Dharma Bodhi, the Indian saint," but that would place his life some 500 years later. Also, some think that Bodhidharma and Padampa Sangye, Machig Labdron's teacher, are one and the same person.

The Method

Tao-husan's Further Lives of Exemplary Monks, dating from 645, mentions the collected sermons of Bodhidharma. In the 20th-century, T'ang dynasty manuscript copies were found in China's Tunhuan caves that were in use from the 7th through the 8th centuries. Previously, only 14th-century copies were known.

In the collection known as The Zen Teachings of Bodhidharma, the master says:

The only reason I've come to China is to transmit the instantaneous teaching of the Mahayana: This mind is the Buddha. I don't talk about precepts, devotions or ascetic practices such as immersing yourself in water and fire, treading a wheel of knives, eating one meal a day, or never lying down. These are fanatical, provisional teachings. Once you recognize your moving, miraculously aware nature, yours is the Mind of all Buddhas.

The two Sutras that formed the basic texts of early Ch'an, the Lankavatara and the Diamond, are shared with Vajrayana Buddhism.During his life he had few disciples, only the names of three are known. Bodhidharma transmitted his line age to Hui-k'o, who reportedly cut off his own arm to show he had got the transmission.

In Japan

As we have seen, Zen is the Japanese pronunciation of Ch'an. It developed in Japan in the Kamakura period when, in 1191, a monk named Eisai brought the Ch'an method to Kyoto. Ch'an or Zen is like Mahamudra [Kagyu method] and Dzogchen [Nyingma method] in that it is direct and immediate. Therefore, Zen has always stressed meditation over study and theory, and has been known as "the transmission that does not depend on teaching" or in Japanese: kyoge betsuden.

What is the sound of one hand . . . ?

A koan (in Korean kong-an) is puzzling proposition or phrase, but it is not merely a paradox designed to shock the mind. It is an integral part of a system honed over centuries to help bring a student to a direct realization of ultimate reality. From the Japanese ko meaning public, and an meaning proposition, koans can be questions, excerpts from sutras, episodes in the life of a master, or just a word from a famous dialogue (Jap.: mondo) or teaching. There are about 1,700 traditional koans in existence.

from http://www.khandro.net/Bud_paths_Zen.htm

What is Kyudo (Japenese Archery)

Kyudo, which literally means The Way of the Bow, is considered by many to be the purest of all the martial ways. In the past, the Japanese bow was used for hunting, war, court ceremonies, games, and contests of skill. The original word for Japanese archery was kyujutsu (bow technique) which encompassed the skills and techniques of the warrior archer. Some of the ancient schools, known as ryu, survive today, along with the ancient ceremonies and games, but the days where the Japanese bow was used as a weapon are long past. Modern kyudo is practiced primarily as a method of physical, moral, and spiritual development.

No one knows exactly when the term kyudo came into being but it was not until the late nineteenth century when practice centered almost exclusively around individual practice that the term gained general acceptance. The essence of modern kyudo is said to be synonymous with the pursuit of truth, goodness, and beauty.

Truth in kyudo is manifested in shooting that is pure and right-minded, where the three elements of attitude, movement, and technique unite in a state of perfect harmony. A true shot in kyudo is not just one that hits the center of the target, but one where the arrow can be said to exist in the target before its release.

Goodness encompasses such qualities as courtesy, compassion, morality, and non-aggression. In kyudo, goodness is shown by displaying proper attitude and behavior in all situations. A good kyudo archer is a person who maintains his or her composure and grace even in times of great stress or conflict.

Beauty both enhances life and stimulates the spirit. In kyudo, truth and goodness, themselves, are considered beautiful. Beauty can also be found in the exquisite grace and artistry of the Japanese bow and the elegance of the traditional archer's attire. It is also present in the refined etiquette that surrounds the kyudo ceremony. Etiquette, which is simply common courtesy and respect for others, is an essential element of kyudo practice.

Much has been written about the philosophical connections of kyudo. Perhaps most known is the book Zen in the Art of Archery by Eugen Herrigel. In his book Mr. Herrigel sets forth his experiences with kyudo in the 1930's. It was a beautifully written account that has been translated into many languages, giving people worldwide their first glimpse of the art. Unfortunately, the book was very one-sided in its description of kyudo as a Zen art and is responsible for a lot of the current misconception surrounding the practice of kyudo as a religious activity.
While kyudo is not a religion it has been influenced by two schools of Eastern philosophy: The previously mentioned Zen, a form of Buddhism imported from China, and Shintoism, the indigenous faith of Japan. Of the two, the influence of Shintoism is much older. Ritualistic use of the bow and arrows have been a part of Shintoism for over two thousand years. Much of the kyudo ceremony, the attire worn by the archers, and the ritual respect shown for the equipment and shooting place are derived from ancient Shinto practice.
The influence of Zen, on the other hand, is more recent, dating back to the Kamakura Period (1185-1333) when the warrior archers adopted Zen as their preferred method of moral training. Zen's influence on kyudo became even greater in the seventeenth and eighteenth centuries when Japan, as a whole, experienced a period of civil peace. During that time the practice of kyudo took on a definite philosophical leaning. This is the period when sayings like "one shot, one life" and "shooting should be like flowing water" were associated with the teaching of kyudo. Because of its long and varied past, modern Japanese archery will exhibit a wide variety of influences. Today, at any given kyudojo (practice hall), one can find people practicing ancient kyujutsu, ceremonial court games, rituals with religious connections, and contests of skill. The key to understanding kyudo is to keep an open mind and realize that any style of kyudo you see or practice is but a small part of a greater whole, and that each style has its own history and philosophical underpinnings which make them all equally interesting and important.

The Spirit of Kyudo

Hideharu Onuma sensei, believed that one's spirit was like a great oak tree, and in order for it to realize its greatest potential the seeds had to be planted early. He, of course, recognized the importance of technique; teaching that technique was the gateway to the spiritual level. But more often, he liked to echo the sayings of past kyudo masters and teach that "shooting with technique improves the shooting, but shooting with spirit improves the man."

Because the practice of kyudo involves little in the way of hard physical activity, spirit is extremely important. When the spirit is weak the shooting becomes dull and lifeless. Onuma sensei taught that if the spirit is strong one will appear like a deep-flowing river, calm on the surface but with tremendous power hidden in the depths. Compare that to someone whose internal spirit is weak. Like a small stream, they may appear powerful because of all their noise and turbulence, but underneath they are shallow and devoid of any real power.
Strict self-control and emotional stability are crucial to the development of one's spirit and to the practice of kyudo. But some are unwilling to adhere to the strict ceremonial procedures that the practice of kyudo requires. These people argue that any attempt at self-control stifles creativity. Attitudes such as this, however, are usually little more than an attempt to use unorthodox methods as a cover for insufficient skill or knowledge. True creativity is sister to the spirit and both are born of simplicity. They are not a product of the intellect, but surface only when the rational mind is quieted and the intuitive thought process takes over. The guidelines and procedures established for the practice of kyudo have been borrowed from generations of past teachers, and are designed to put the analytical mind to rest and allow the practitioner to move into a state of consciousness known as mushin (literally, no mind). And while some may associate a state of no mind with unconsciousness or even death, it is in truth a state where the remnants of thought are eliminated and only pure thought remains.
It is important to mention here that kyudo, by itself, cannot solve our problems nor add anything to our lives; at least not in the beginning. Kyudo may look simple but it is deceptively complex. Onuma sensei liked to tell us that the practice of kyudo made him feel like "A blind turtle in the middle of the ocean searching for a log." It is that complexity, however, that makes kyudo such a rewarding instrument for self-discovery. Its practice peels away the protective layers of ego that we all hide behind and allows our true nature to be revealed. It is then our responsibility to examine the results and balance our character accordingly. Perhaps the best way to explain the spirit of kyudo is to put it in Onuma sensei's words: "When shooting, sometimes we will hit the target but miss the self. At other times we will miss the target but hit the self. Our purpose, though, is to hit the target as the self and hope that the sharp sound of arrow penetrating paper will awaken us from the so-called 'dream of life' and give us real insight into the ultimate state of being."

Goshin Jutsu (Kodokan )

The Kodokan Goshin Jutsu was created in 1956 by a Kodokan working group to update the older kata with more modern forms of self-defense. It also shows the influence of Kenji Tomiki, one of Professor Kano's students, who also studied Aikido under the founder of Aikido. It consists of 21 techniques against an unarmed, as well as armed, attacker. It is divided into two unarmed sets (toshu no bu) and three sets with weapons (buki no bu). The first seven techniques are against an attack close in. The next five are against attacks from strikes and kicks. Then there are three attacks with a knife, three with a stick and three with a gun. The techniques here cannot be used in free exercise practice or in competition, but only in kata. Never-the-less, as one practices this kata, the attack speed increases and one's reflexes and reactions sharpen to meet the attack. Eventually, this kata can be practiced with real weapons. The intent in this kata is different than with normal Judo practice, in that this is a self-defense kata, the intent on the part of both participants is to hurt the other. While the actions are controlled, so that the attacker is not hurt, the defender's actions can easily be modified to disable the attacker. It is important to realize that all of the techniques in this kata are consistant with the principles of "Judo", the way of gentleness or yielding.

Unarmed Close-in Attacks by Holding

Ryote dori - two hand hold

Stepping forward with the left foot, the attacker grabs both wrists and attempts a right knee kick to the groin. Defender avoids the kick by stepping back with the left foot, forces his right hand against attacker's weak thumb releasing the grip, and continues his motion into a right knife edge strike to the temple. Defender then uses the right hand to grab the attacker's right wrist from the top and twists to the right, and ends with an armlock and wrist lock forcing the attacker to submit or have his arm broken.

Hidari eri dori - left lapel hold

Using the right hand the attacker grabs the left lapel and pushes defender back while stepping forward with the right foot. Defender holds attacker's hand with his left hand as he steps back with his left foot, pulling attacker off balance, and strikes attacker's eyes with the back of his right hand. He immediately grabs the attacker's right wrist from the top with his right hand, placing his left hand on the attacker's right elbow and stepping back with the right foot. He ends the attack by forcing the attacker to the ground with a wrist and elbow joint lock, controlling his body with his left knee.

Migi eri dori - right lapel hold

As attacker grabs across to the right lapel and pulls defender forward by stepping back with his left foot, defender steps forward with the right foot and delivers a right uppercut to the chin of the attacker. He then grabs the wrist with the left hand from the top, steps back with the left foot, adds the right hand, and turns forcing the attacker to be thrown with the wrist lock.

Kata ude dori - single hand hold

Attacker approaches from the right rear and grabs the right arm lifting defender to his toes and attempts to take defender with him. As they walk, defender delivers a right kick to the left knee and uses the unbalance position of the defender to apply the armlock to the right arm forcing submission.

Ushiro eri dori - back collar hold

As they are walking forward the attacker grabs collar from behind, steps back with the left foot, and pulls. Defender turns and blocks the arm with his left hand and delivers a punch to the solar plexus with the right hand using the turning motion. He then applies the ude gatame armlock, forcing the attacker's elbow down.

Ushiro jime - rear choke

Attacker puts his right arm around the defender's neck from the rear to apply hadaka jime. Defender tucks in his chin and pulls the arm down from his throat. He then steps forward with the right foot, turns to the left ducking under the choke, forcing attacker's arm into the te gatame armlock with his right hand on the attacker's elbow and left hand grasping the wrist.

Kakae dori - rear seizure

Attacker steps forward with his right foot and grasps the body and arms from behind as in a bear hug. Defender counters by raising shoulders and arms and simultaneously stomping on attacker's foot with a forceful downward kick. This causes attacker to release grip. Defender then turns to the right to grab the right wrist with his left hand, bringing the right arm up behind the elbow pushing attacker's arm into a forceful throw which is applied by continuing the turning motion.

Unarmed Attack at a Distance

Naname uchi - slanting strike

Advancing with his right foot attacker attempts to strike the left side of defender's head with his right hand. Strike is parried by stepping outside attacker's right foot with the left and turning to the right pushing the arm down as it misses it's target. It is countered with a right uppercut to the chin and a throat grab forcing attacker off balance backwards as defender applies right osotogari to the attacker's rear.

Ago tsuki - uppercut

Attacker attempts a right uppercut that is parried by defender as he steps back with his left foot. Attacker's arm motion is redirected by grabbing the wrist with the blocking right hand. The left hand applies pressure against his elbow upward as the wrist is pulled down and defender steps forward with the left foot pushing on the elbow and wrist to throw by this action.

Gammen tsuki - thrust punch or jab

Attacker steps forward with his left foot and punches the face with the left fist. The punch is again parried as defender steps forward with the right foot and a counter attack is made by a punch to attacker's floating ribs. Defender then applies a rear choke (hadaka jime) with the right arm forcing submission or unconsciousness.

Mae geri - front kick

Defender parries a right kick by turning the body to the right and stepping back with the right foot. He then grabs the foot of attacker's raised leg with both hands, twisting the ankle, breaking it, and then forcing attacker backward and down.

Yoko geri - side kick

Walking towards each other, attacker attempts a side kick as he passes defender, who parries the kick, turns and pulls attacker down onto his back dropping onto his left knee. While this technique in the kata looks harmless enough, in actuality, the defender would leave his right knee in place behind the attacker so that he falls with his lower back on the knee, which would no doubt break the attacker's back.

Armed Attack - Knife

Tsukkake - close in thrust

As attacker steps back with his right foot and turns his body to withdraw knife, which is hidden from defender's view, defender steps in with the right foot, grabs the left elbow with the right hand, and blinds attacker with a left backhand to the eyes. Defender grabs the left wrist and twists it away to raise the elbow as the right hand applies pressure on the elbow. Attacker is taken down by application of pressure to the elbow.

Choku zuki - straight thrust

Attacker steps forward with the left foot, takes out a dagger with his right hand then steps forward with his right foot and attempts a lunge with the knife. Defender steps forward with the left foot turning to the right and grabs the attacking arm at the elbow with the left hand. At the same time defender strikes above the nose with a punch. Defender grabs the right wrist from below with the right hand, turns and applies an armlock (waki gatame) to the arm with the knife forcing submission or a broken elbow.

Naname zuki - slanting stab

Attacker steps forward with his left foot, takes out a dagger with his right hand and attempts a downward stab to the chest as he steps forward with the right foot. Defender steps back with his right foot, turns to the right, parries by grabbing the right wrist from the top with the left hand. Using both hands on the wrist, defender controls the wrist and arm up into a throw or takedown (kote gaeshi). He then locks the arm (ude garame) and takes the knife away and holds it against attacker's throat. Variations of this technique, force attacker to cut his own throat while being thrown.

Armed Attack - Stick

Furiage - upswing against a stick

Attacker steps back with his right foot, raises the stick with the right hand preparing to deliver a blow. As attacker brings the stick back to strike, defender steps in, blocking the attacking arm with the left hand, delivering a palm strike to the chin and throwing attacker backward with right osotogari.

Furioroshi - downswing against a stick

Attacker steps forward with his right foot, raises the stick with the right hand and attempts to strike the left side of defender's head. Stick is avoided by a turning action and stepping back with the right foot. Defender immediately steps in with a left backfist strike to the bridge of the nose. He then controls the stick, steps in again with the left foot behind the attakcer and strikes again below the nose with the knife edge of his hand forcing the attacker down.

Morote zuke - two hand thrust

Attacker thrusts stick to abdomen stepping forward with the left foot. Defender steps forward with the right foot, turns to the left and parries with the right hand. He then grabs the stick from the top with the left hand and pulls attacker forward and steps in to grab the stick between the attacker's hands with the right hand. The right arm is placed against the back of the attacker's left elbow applying pressure forwards. Attacker not wanting to let go of the stick, pulls back and defender steps forward throwing attacker with his own stick.

Armed Attack - Gun

Shomen zuke - pistol held to abdomen

Attacker steps forward with his right foot and holds gun against abdomen, says te o age (or hands up), and searches for wallet with other hand. Defender raises hands slowly, watching attacker's eyes, and at the key moment, turns to the right stepping forward with the left foot. Defender grabs the gun with his left hand, thumb on top, and his wrist with the right hand from the top, forcing it to the side and up into attacker's armpit and a release of the weapon. Defender then strikes attacker with weapon.

Koshi gamae - pistol at side

Attacker approaches with his left foot. Pistol is held away from defender towards the side aimed at the stomach and the defender raises his hands after the command of te o age (or hands up). As attacker reaches for wallet, defender turns, grabs the gun from the top with the right hand, forces it to point away, and with the aid of the other hand, forces gun up and pulls it away to the right. Attacker's finger is locked into the trigger guard and is broken off. Defender ends the attack with an upward strike to the chin of the attacker with the gun. See the video.

Haimen zuke - pistol against the back

Attacker steps forward with the right foot. As gun is placed against the back as the attacker says te o age (or hands up). The defender glances to see what arm is raised. As attacker reaches for wallet, defender turns to the right, drops the right hand under the gun hand, raising it up to lock the gun arm against his chest. He then grabs the gun with other hand disarming attacker and striking him with it or applying kote gaeshi to throw him.

By http://judoinfo.com/katagosh.htm