Articles - Tokitsu-Ryu1

3/4/2015
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Tokitsu-Ryu
NEWS
SUMMER INTERNSHIP 2015 DR. YAYAMA AND ME TOKITSU IN

BARCELONA
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Dr. Yayama and Sensei Tokitsu in Barcelona

The summer internship 2015 - taichi chuan care - led by Dr T. Yayama and Sensei K. Tokitsu in Barcelona (09/08 / 2015-13 / 08/2015) will take place as the other years
has Sarria residence.
Dr. Yayama & Sensei Kenji Tokitsu
There are 80 places available , registration is open until May 1, 2015.

Those interested can already reserve their place. The residence rooms are planned for 2 people.
Internship and stay 498
Half course and stay 455
The deposit (150 ) is fired before May 1, 2015. The balance before July 20, 2015. Payment by bank transfer to the following account:
Asociacion Tokitsu Ryu Euskadi
BANK - KUTXABANK : Bic BASKES 2BXXX
IBAN ES92 2095 0088 1091 0646 7928
For more information:
Oskar Gutierrez, jiseidoatTokitsu.es
http://www.tokitsuryu.com/articles/
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ARTICLE DRAGON 2014
WHAT PATH, WHAT METHOD?

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The reflection on the martial arts method

Q ual way, what method?
An example: to cultivate and increase the firepower of the fist, we have become used to train in sports with the hitting the bag with dumbbells, bungee ... With these
exercises, we mainly train the muscles that seem directly relevant to stroke production. We believe that this is a rational exercise.
According to ancient wisdom:
"In order to exercise a significant force with the hand, it is not the closest part of the hand should be strengthened, but the farthest. Thus the strength of the hand
must be supplied from the spine by drawing strength from the foot area, legs, buttocks ... ".
The method of tai chi chuan and that of (ritsu-zen) zhuangzhan fit into this register.
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2014 Tokitsu in Ristu-Zen
Even watching a body that seems to be totally relaxed, especially in the arms, that of an expert is capable of deploying an amazing force. This is because it is able to
mobilize a set of forces occurred since the most remote areas of the hand and arm: that of the back, legs ... That muscle activation mode is different from what we are
used design in the sporting sense.
This is not because the expert was able to deploy the power of qi (ki) , but because he was able to deploy the force of a series of little muscles listed in the usual
practice. In theory kiko: when ki increases, increases muscle strength and muscle activation that correspond to activation of qi (ki).
To achieve this level, how should we exercise? This is a major theme of this series of texts.
What path, what method?
I wrote on page 117 of my book:
" The form of tai chi chuan that I practice has evolved from that I learned. By comparing the two, I have no regrets. Fortunately, or unfortunately, I've never had the
opportunity to change my fundamental point of view, I am nevertheless prepared to question, and my practice, if I have a better way, which would be a joy . "
In this sentence, I clarified my position with respect to the research and practice of the "method" of tai chi chuan. It is therefore unnecessary to ask me how current or
which school of tai chi chuan I belong. I practice my method of tai chi chuan considering the relative manner with all forms of practices that I have known.
It is not necessary to repeat what I have already written in this book. I'll just develop some additional thoughts that will further clarification.
In my last book, I stressed the necessity of work force that is apparently absent in most current forms of tai chi chuan.
What is a qualification "authentic"?
The tai chi chuan can mean "boxing (chuan) the principle of Tai Chi (dynamic integration of two complementary elements of yin and yang)."
I think this is the suitable definition of tai chi chuan.
If you ask the question of the authenticity of tai chi chuan you practice, I think it would make more sense to refer to this definition, not your belonging to a certain
school or attachment to name of the master you have seen one or more times, even regularly.
For those seeking the true meaning of the practice, the key should be the achievement of tai chi principle rather than attachment to a group name or any institution.
What really is it not what you managed to make your capabilities with the method you practice? Only your practice quality and level count.
I personally think that the value of a method is expressed by the qualities of those who practice it but also the opportunities it can glimpse everyone: even an
Olympic champion can reach 10 meters jump at once, however, if there is a staircase, each can mount each level one by one to reach the top. The equivalent of the
stairs is the method. Hence the proverb: "Even a journey of thousand miles begins with one step."
If we compare and discuss the various modern forms of tai chi from the old form, we can see that many changes have been made. I mean that would authorize all
forms and technical change have become "authentic" when they were carried out in accordance with Tai Chi principle . The different schools of tai chi chuan have
developed this way.
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We can compare and discuss the various modern forms of tai chi in relation to Tai Chi Chen Chen or boxing. We can see both similarities and differences because
many changes were made compared to the old form.
I mean that would authorize all forms and technical change have become "authentic" when they were carried out in accordance with Tai Chi principle . The different
schools of tai chi chuan have developed this way.
Look closely.
Deformation or Creation?
We have seen in my book that Luchant Yang (1799-1872) formed the Tai Chi Yang from boxing Chen he learned from Chen Changxing (1771-1853).
Chen Changxing (1771-1853)
He reorganized Chen boxing according to a principle that would later become tai chi principle. So he changed the boxing Chen.
Indeed, at that time, in the eyes of the masters of Chen boxing, tai chi Yang was nothing but a distortion of their boxing. What would they think now?
All authenticity is created through deformation, because in this case, one must understand that the deformation means "change the shape retaining the principle."
Thus, according to this logic, almost all modern forms of tai chi chuan that are considered authentic are they not products of these deformations?
Wu Yuxiang (1812-1880) , founder of tai chi chuan Wu School was the first student of Yang Luchant . The Tai Chi Yang and Tai Chi Wu are two different schools with
similarities.
Wuyuxiang (1812-1880)
Wu Yuxiang was close to his master to the point that, as we have seen, it is thanks to him that the tai chi Yang Luchant was known in Beijing, then in the rest of the
world. I guess they had to be very close. So why Wu Yuxian, then so close to his master he is away from him? Why he eventually found his own school instead of
continuing his master?
If he were alive today, he would have to declare itself as the direct disciple and closest to the founder, so the true representative of the Yang school.
However he still founded his own school. Now who can say today that the school Wu is a deformation of the Yang?
I think if Wu Yuxiang had to make changes that Yang Luchant had taught him was that he had personal reasons for doing so, according to his way of understanding
and practicing tai chi principle. This is not a whim he had changed, but according to his way of applying this principle.
It is possible that Wu Yuxiang has thought, "I must do it this way and not otherwise, because I understand the principle of this one way. "According to their
respective ages, Wu had to make the life changes of his master.
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Does this not freedom in the sense of the term fair?

This fact makes me think about how we are imprisoned in a system in the name of "authentic practice."
A precursor is as a solo sailor in ocean where it should nevertheless move following his own rational judgment reinforced by his courage even if he does not see the
horizon. This force is far from being part of those who argue that the path already traced by an institution. They argue with the references already established by
others, while the first advance by establishing his own references and its own rules.
I think there may be several forms of "authentic" "Tai Chi" as long as they apply the same principle of tai chi. In this logic, some technical passages may be different
from a school of tai chi chuan "authentic" to another. This should not cause a problem for those who practice tai chi as its fundamental principle, but obviously this
will pose significant problems to those who practice tai chi only so as to conform to the institution's rules.
This situation shows the dominant trend of the practice of tai chi chuan nowadays, like all other activities.
Practice for the institution or the principle?
Any institution tends to exercise that power to win.
This is where we have problems, because its purpose is not to seek to develop a principle but only to ensure perpetuate it.
For example, we can compare certain sequences of Tai Chi Chen with those of Tai Chi Yang :
Kicking jumping for the first takes place in the second by the succession of two kicks separated by asking each shore feet. A roundhouse kick by jumping for the first
becomes the second two kicks by slowly changing the direction and placing each foot, followed by another kick.
Even those who have studied the two forms are not necessarily able to compare them, for as long as the study and practice it only on the codes or systems of rules
and without crossing the threshold that would allow them to step back for reflection, they can not place them under the eye examiner.
For those who also had this objective distance, the change between the first and the second is very visible, because it is done by following a "logic". We can interpret
this by saying that sometimes "the second is a form of adaptation for the less energetic people" or "the second is a creation of a new technical series."
For those who have neither the knowledge nor the vision, both forms are simply different.
For those who are able to compare these two forms objectively, they can not claim that the second is false from the first, but only say that the second presents
another technical merit.
Insofar as tai chi principle is applied in this change, each new form can become authentic Tai Chi. I think this is a point that may be encountered with respect to the
usual logic we encounter: "if you change an authentic form, it can not be true, so it is false."
In fact, many schools and styles of modern tai chi chuan were formed by modifying the original model to become genuine turn in that they apply the principle of tai
chi. In a way, I would say that all forms of tai chi are genuine, to the extent that they have been modified in accordance with the principle of tai chi.
For thought Tai Chi is alive, so mobile and dynamic. While the Western mind, although it claims to be the paragon of "freedom" and "rationality" often seems to be
partitioned into a rigid system of fixed rules.
Many people practice tai chi chuan placing importance on the form and standardized model or technical rules. Little practice by looking at the principle is the
foundation of the art. The first will be met by a certain conformity to the school system they choose, the latter will be understanding the multiplicity of technical
possibilities related to a principle.
Those who attach importance to technical shell interested in rules, and those who seek essentially attach to the principle, which is the origin of creation.
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NOT RATED
TAI CHI CHUAN: ORIGINS AND POWER OF A MARTIAL ART

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Tai Chi Chuan: Origins and Power of a

Martial Art
Understanding Taichi Chuan in its history

The welfare and combat. Convergence
Taichi chuan is now known worldwide as an energy exercise or gymnastics health or well-being associated with a philosophy of yin and yang. The practice of tai chi is
certainly effective in terms of maintaining and improving health for people with little sport, but it can also give another dimension to the physical practice of those
who are dynamic and sports.
Originally, tai chi chuan is a martial art. Chuan term usually translated as "boxing," attests. If it has become so popular is because it has been among the many
disciplines of Chinese martial arts, acquire its fame for its efficiency in combat from the late 19th century.
But as tai chi chuan we know today, especially that of Yang, we do makes it difficult to conceive how a follower of tai chi chuan can be effective in combat percussion.
The majority of practitioners of tai chi chuan are not interested in the martial aspect and are content to practice the web form for energy practice and well-being.
This aspect certainly positive as physical practice of martial origin.
To be able to practice a martial art long and progress continuously, it is necessary that the method allows an efficiency on two levels: that of the maintenance and
strengthening of health and of the fight. The method of tai chi chuan has this efficiency on both planes.
In this book I will try to highlight the second slope, little known, taichi chuan to reflect on the rich training method. The interest of this research is twofold. Those
seeking quality martial tai chi chuan find a growing interest in the practice because tai chi chuan provides the ability to overcome problems arising from excessive or
unbalanced exercise training in the martial art.
Those who are not interested in the martial aspect of tai chi chuan and aim the pursuit of well-being and health will find concrete support for the exercise of the
shape of the web. The ambiguity of the sequence - posture, gestures, etc. - Is one of the difficulties of learning tai chi chuan. To learn tai chi chuan, many people feel
they move without solid reference. It is difficult to memorize gestures without relying on concrete references. By reading the original meaning of a gesture, that of
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the fight, we can acquire specific and concrete benchmarks, which will allow us to perform a movement more accurately.
One of the problems of teaching taichi chuan is that the web form details vary among teachers. Strictly speaking, if a hundred masters of taichi chuan, there are a
hundred different modes in detail. The main reason is that they perform movements without referring to a concrete situation of combat. Gestures then tend to
become abstract and become difficult to store and transmit accurately. Indeed many gestures seem to evaporate in an ambiguous space, which is a shame because
every action has its energy and technical objective.
For example, if you know that this gesture means a technical clearance of the wrist, the direction of your movement will first determine over the opponent, then the
movements of your wrist will be made so that you can correctly identify you . You can not make any movement. And this movement will be more easily retained and
become concretely communicable.
Where does tai chi chuan?
Taichi chuan became famous in Chinese society from the mid-19th century; is in Beijing Yang Luchan (1799-1872) presented his art and became famous.
If the martial art of Yang Luchan became famous, it is certainly because his practical philosophy has pleased the people of Beijing high society; but above all Luchan
Yang had shown its abilities in martial art against various followers of that time. Otherwise, it is not conceivable that a believer who was not a refined education and
happening province could earn a great prestige in the capital where there was a strong rivalry between a large number of followers of martial arts from different
schools.
Luchan Yang studied the martial art Chenjia Gou village in Henan Province, under the leadership of Chen Changxing (1771-1853). Therefore, the origin of
contemporary tai chi chuan was in the art of Yang Luchan who studied in Chenjia Gou Chen Changxing from. This is a historical fact.
However, there are several theories or interpretations about the birth of tai chi chuan: who founded it, who started, how has he been transmitted, etc. ? There are
two fundamental historical interpretations depending on its origin is located outside or inside the village of Chenjia Gou.
1) In the first interpretation, it is believed that tai chi chuan was invented by Zhang Sanfeng, Taoist hermit who lived in the mountains of Wudang the 14th century.
His art has been practiced for centuries and passed and reached the late 18th century to ZongYue Wang, author of "taichi chuan jing" (canon of taichi chuan). He
passed tai chi chuan in the village of Chenjia Gou Chen Changxing where the learned and transmitted to Yang Luchan.
This interpretation was broadcast in the early 20th century, mainly by the current of the Yang school taichi chuan: taichi chuan Yangshi. This is in reference to
Zhang Sanfeng as tai chi chuan is sometimes called internal school (neijia) or power Wudang. The expression neijia already existed in Ming Dynasty (1368-1662), but
the tendency to qualify tai chi chuan internal school appeared in the 20th century.
In this current interpretation, there are also people who consider Zhang Sanfeng is a fictional character and you do not know the creator of tai chi chuan, but that it
is Wang Zongyue which transmitted tai chi chuan in the village of Chenjia Gou.
According to the second interpretation, the foundation of tai chi chuan was in Chen Wang Ting (1600-1680) of the 9th generation of the Chen clan. It was a great
warrior who developed the basic form of tai chi chuan in the Chen village where the contributions of other martial arts are introduced over time and that the original
form of tai chi chuan was performed. It was sent to Yang by Chen Changxing Luchan.
This interpretation, criticism of the first was presented in 1930 by Tang Hao, historian of Chinese martial arts. Tang Hao Wang Zongyue think has not brought tai
chi chuan in Chenjia Gou, but he has learned and he wrote it "taichi chuan jing".
Kyoji Kasao Japanese scholar of Chinese martial arts, has in recent years another interpretation in connection with the discovery of elements unknown to his
predecessors. After careful consideration of the origin of the term taichi chuan, he argues that neither of these two interpretations is justified. Based on recent
literature findings, the basis for the interpretation of K. Kasao seems most credible. I will present below its reasoning by relying on his book Chugoku Bujutsu-shi
Taikan (Global vision on Chinese martial arts), Ed. Fukushd, Tokyo, 1994.
1) There was no fighting art that was called taichi chuan before Yang Luchan has shed his martial art in Beijing; a martial art called "tai chi chuan" begins to exist
only with the teaching of Yang Luchan to 1870-80.
Luchan Yang (1799 -1872)
The martial art transmitted by the latter is certainly based on what he studied under the direction of Chen Changxing Chenjia Gou, but it also differs in many
regards the technical implementation mode to the philosophy of martial art. Indeed, the traditional martial art Chenjia Gou consisted of technical and fast, powerful
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movements, sometimes trampling with power, sometimes jumping up in the air. The appearance of this martial art is very different from the current image of tai chi
chuan where one runs techniques slowly and smoothly. The original martial art of the village of Chen Yang Luchan studied was a martial art of northern aware of
China, one of the common Shaolin chuan sometimes called "touto shi" sometimes "Shisan shi".
Taichi chuan term is a new term to describe the martial art that began to teach Yang Luchan.
Tai Chi Chuan Tokitsu Vico Corse 2014
2) Wang Songyue is considered the author of " taichi chuan jing "fundamental text of tai chi chuan. But this text was originally part of the text entitled " Yinfu
qiangpu ", the text on the fundamental idea of the strategic art of lanceYinfu. In this text, we find the two ideograms chii tai taichi chuan but the term did not exist
there. In " Yinfu qiangpu "Wang Songyue develops strategic thinking by the consistency with the universal principle and explains his conception of martial arts
with a philosophy of tai chi.
1. Kasao think Wu Yuxiang, an early student of Yang Luchan, found that the text perfectly expressed the subtlety of the martial art taught by his master. He
selected the most important part of this text by adding to it the term taichi chuan and named the " taichi chuan jing "and paid tribute to Wang Zongyue. Thus
appears a false interpretation that Wang Zongyue founded tai chi chuan and forwarded it to the village of Chenjia Gou.
Yang Luchan has designed and developed a personal way the martial art he had learned to Chenja Gou. Technical idea was based on the philosophy of Wang
Zongyue. That is why, according to K. Kasao, the idea and practice of tai chi chuan full born around 1870 with the art of Yang Luchan.
Tai chi chuan Yang Luchan won great fame in the high society of Beijing from the late 19th century. Somehow, tai chi chuan became so famous that the martial art of
Chenjia Gou is also the name of taichi chuan from the early 20th century and says that it is he who is the source of taichi chuan. It is from there also born another
cause of confusion.
Indeed the martial art of Chenjia Gou had until the early 20th century, a slightly different aspect of tai chi chuan Chen current style. In a way, adopting the name
"taichi chuan", he also adopted his philosophy and the idea of flexible practice that allows many to circulate qi. By introducing these practical ideas characteristic of
taichi chuan Yangshi in the dynamic and fast martial art, it has gradually made
its way to "do" to be in Chenshi taichi chuan. More specifically, although the gestural
sequences of "tao lu" are little changed, how to execute turned by introducing flexible and slow movements that seek the flow of qi ( Yunqi ).
Practical reflection
For those looking to advance in the martial arts, the method is as a food. They needed a nourishing and balanced well to progress and evolve well, because life is
never static, there are ups and downs we have to cross. It is not to be well and strong at a time of life, but to continue an upward path evolving positively with life
time. The method of tai chi is one for me. With this in mind I look taichi three perspectives: health through the practice of qi gong, wellness taichi and effective
martial art in the practice of combat. I find it absolutely equal my taichi complies or not "official" style because I do not practice as a code to follow. I practice a
method that makes me move forward, that is to say, that gives me positive THE FINDINGS on these three aspects.
I raised some questions that have previously appeared to me to understand the basic taichi as a method: they boil down to a question: how can we cultivate and
develop capabilities in speed and strength by exercising slowly and smoothly ? These are aspects of efficiency that are directly observable in a relatively short time,
while the "well-being" has a subjective and health over a time of life that is long.
In any case, I think that we can not develop capabilities in speed and strength in older without good health - and taichi, with practical logic, allows to develop and
strengthen more than gymnastics health. By exercising just smoothly and slowly, it is anyway impossible to grow faculties developing speed and strength. There
are specific ways to move slowly and smoothly. What are these subtleties?
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I think a key is expressed by the Chinese concept of " zheng li "I translate by . "simultaneously opposing tensions and complementary" In the bodily practices, verbal
expression is often complex, while the gesture is simple. But verbalization is important to grasp the situation, making the operational and transmitted thereafter.
Here is a simple example of " zheng li " . You raise your hands as if you kiss a tree trunk. Relax well in this posture, and create a special feeling: you want your hands,
while they repel as if they had become positive poles of two magnets; as soon as you want to keep them away, they attract as if they had become the positive and
negative poles of two magnets. Chinese martial art called "zheng li" this type of obstruction sensation and attraction that accompanies our actions and that are
perceived when one is relaxed and slowly movement.
If you are willing to observe the subtleties and intricacies of your actions when you make a slow, smooth movement, you will receive at the very beginning of the
movement through areas whose intensity is rather blurred. Gesture becomes consisting beyond this contour. This is kind of a difficult collectible outline of a
movement without which, however, no action can be achieved: although it appears tiny we could not make a move without crossing the area. Scientific knowledge
of fault, I can only speak personally and empirically. Anyway, have you not had the experience of not being able to make a move without the feeling of be prevented
by force? I think the subtle art of jujutsu and that of taichi uses this area to place the opponent in a situation where it's hard to make a move. We are then
immobilized or projected without feeling to receive a force or impact. What I say is difficult to design for those who have not had this experience.
If resistance exercise with weights work force is a specific area, the practice of tai chi seems to fill the gray areas that are inseparable from the body and moves
essential to achieve a technical movement. The exercise of zhang zhuang (ritsu-zen) you take, for example, the position of embracing a tree, also aims, in my opinion,
to address this inherent gray area of the gesture. Do an experiment. Incumbent zhang zhuang (ritsu-zen) , you close the eyes and made
an imperceptible gesture of
placing the weight forward, then back, the body; you can feel the movements as if they were magnified as if seen through a microscope. This type of expansion
sensation of gestural scale is well known in the exercise of qi gong which says: "While the body hardly moves, you have the feeling of having become a tree that
bends under the effect of a strong wind.
2014 RitsuZen Tokitsu
In my view, taichi method seeks to fill this essential part of the gesture to get a consistency in footwork. In the battle of kendo, we learn to hit upon that appears
empty at the moment when the opponent wants to launch his attack called " debana "now vulnerable. How to delete the empty instant is a technical concern of all
followers. "The striking of a single rate" or "strike not thinking" that explains Miyamoto Musashi in his saber art is impossible without fill this gray area previously
appear to move.
The research area of this subtle gesture Us leads to introspection of our body. Of course, we understand that to intimately feel our body, we must place ourselves in a
particular mental state akin to a kind of meditation. The practice of Qigong is an example.
It receives taichi teaching "moves as if you were in the water"; you make gestures as if you undergo the resistance of the water all around the body. The slow
movement allows us to delve into the subtle feeling that forms our actions. This work allows us gradually to increase the technical consistency. This feeling could
disappear as soon as you make a quick move, or as soon as you contract the muscles as the speed of movement and muscle tension prevent us from taking a step back
to observe and feel the quality of the "zheng li". This is one of the reasons why we practice taichi slowly.
Now to the historical reflection ... ..
Tai Chi Chuan: Origins and Power of a Martial Art
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SEMINAR
THE BUDO ACROSS CULTURAL BARRIERS (1998)

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The Budo beyond cultural barriers

In France, a considerable number of people is interested in martial arts, including Japanese Budo. However, the practice of budo knows no sufficient diffusion as it is
located on the fringes of the sport dominated the competition.
More interestingly, either in research or in higher education, not even in the context of the Studies Society Japanese, Budo seems to be a subject of serious study. Yet,
if one seeks to deepen the knowledge of traditional Japanese culture, it seems to me moved to dismiss the Budo and the study of the warrior tradition. Indeed, the
Warriors scored early history of Japan and Japanese society governed during seven centuries until the Meiji Restoration, there is a little over a century. Culture
warriors has played an important socio-cultural role that lasted even after the end of their political domination. If culture warriors is present today as a definite form
in Budo, it is still present a broader way deep into the behavior of the Japanese.
I will not say that as some Japanese economic boom after World War II due to the application of the warrior behavior in the economic field because the reality seems
to me much more complex. However, it does not seem wrong to say that the warrior tradition remains deep in the Japanese leadership styles.
The feudal period left a large number of literary and artistic works and exposed in many modern cultural works. Under these conditions, how can we approach the
traditional Japanese culture disregarding elements warriors?
The no theater, tea ceremony, haiku, bunraku, kabuki ... have been developed in a society dominated by the sword. This means a conception of life and death that
differs from our time. The sensitivity of these cultural works has been shaped by those who lived in the time when the sword was playing an effective role.
In France, in-depth studies on Japanese culture seem to be limited to the literary and artistic fields disregarding the conceptions of the body and death, however,
were fundamental to all in traditional society.
The fact that the Budo be excluded from the intellectual reflection is probably due to the French cultural trend where the intellectual model tends to exclude the
problems of the body. I will not repeat here already known this question. Simply, this seems unfortunate and I hope that the Budo gets an honorable place and just
in the French studies on Japanese culture. For this it is essential that the French practitioners of Budo act to Budo cultural practice in itself. Qu'estce the Budo?
I spoke of Budo Budo but what? Contrary to its image popularized Budo is not a direct reversal of the warrior martial arts. It is a modern design that is
comprehensive training human, intellectual and physical, through traditional combat disciplines. Budo is a general term that covers all of these disciplines.
In Japan, when discussing the spirit of practicing kendo, judo or karate, one often uses the expression "as". For example, kendo "as" competitive sport or kendo "As"
Budo.
Budo evokes serious pictures, severity, ritual, respect for elders and the master of silent meditation ... For these images, budo gives the impression of a conservative
practice and austere attitude. The dojo evokes the serene image of a dark space, the smooth floor, and it is opposed to that of the sport in the bright light of a gym or
outdoors. Indeed, when we say sport, the image is free and somewhat sunnier.
In Japan, when we talk about Budo karate, it is sometimes a hard practice in which n 'not avoid fighting in "KO", sometimes of an austere practice that deviates from
the idea of competition. Some people associate an ascetic mountain training. The confrontation with violence is characteristic.
In other disciplines such as archery, the emphasis is on the spiritual aspect and harmony in ceremonial practice to the point that the idea of combat is excluded.
There is therefore, in Japan, a tendency to define Budo by its austerity appearance and hardness. But it's more emotional than theoretical definition that can not
take us far. Regarding the severity and hardness of the risks in practice, there is in sports disciplines where the risk is much greater, taken to the extreme in
mountaineering or races sailboats. What while the Budo?
The notion of do
It is therefore inappropriate to define the Budo its austerity traits and severity, or the spirituality of asceticism. Budo literally means martial way. It is necessary to
consider the technical practice martial arts (bu) in relation to the way of concept (do).
In Japan today, modernity is highly valued and some young people have an allergic reaction almost as soon as we talk about do. I think the way is neither archaic nor
mysticism. This is the time of life, from birth to death,
which is the way. It includes ascending and descending slopes. Everyone goes through this route but it is not necessary to consciousness and it is easy to disperse in
the passing time. From the moment one speaks of the way, there has a direction or goal.
If in this time of life, is associated with the practice of martial arts a
voltage to improve oneself is ie the whole person, the idea of Budo was born. The self improvement idea is present in all cultures.
But what is meant by that the Japanese seems to be very different from what is meant Europeans. But masked by the idea of progress, the difference does not
appear at first. If a Westerner wants to practice wholly Budo, one of the major problems seems to be the practice of the design of track (do).
It is clear that the issue of Budo does not arise in the same Terms for Japanese and Westerners. Mutual understanding must overcome a number of problems I'll try
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to clarify.
Transmission by the Japanese Budo

Let's start with the difficulties or problems encountered by Japanese masters seeking to convey the Budo to foreigners who want to build their practice of Budo.
What are the explicit and implicit problems these Japanese masters of Budo?
For Japanese masters, one of the biggest challenges is communication physical techniques of Budo linked to spiritual aspects. For if they really want to be
understood, they are forced into perspective a bit their conception of life, which leads them to some questioning of their own worldview. This is not an easy thing.
To advance in the practice of Budo, everyone knows that it takes concentration, commitment, conviction or an unchanging mind ... in order to persevere through
years of training . For most of them, the teachers draw the energy needed to feed the practice of Budo in the sensation of a search for perfection. But that feeling,
even when it is not aware, is based on an approach to approach the state of perfection represented by the syncretism of the Buddha image and that of Shinto gods
present value
deep in Japanese society. She has a hunch that merges the human world and the cosmic universe. This is why the Japanese tend to regard it as a universal value and
assume that it is present in those they serve, even if they belong to another culture. That is the problem.
This tendency to universalism can be expressed by generosity in a comfortable situation but note that it was one of the justifications of the ideology of world
domination during World War II. It is no coincidence that, during the wars, Budo was easily confused with a nationalism which excluded indeed all life value other
than that of Imperial Japan.
The consistency and the tension of the effort required by the Budo tend to reinforce the vision of the universality of the value of life brought through because having
several visions may result in "Mayoi" (loss of direction to follow). Budo forge the strength to go directly to the objective, even sometimes at the expense of critical
thinking.
However, the opportunity to practice budo with the objective human training, with a circulation of its disciplines to global scale, is a current topic of discussion in
Japan. From my point of view, this makes sense only if we find another way to capture the essence of Budo, releasing the Japanese cosmogony. It is this dimension of
the Japanese Budo I attach myself to define. Alone would communicate in Western culture which does most of Budo.
To go further, I think that there is no single Budo but multiple possibilities in the practice and appreciation of Budo . In this situation, I dare say that most Japanese
masters, especially those who are elderly, are unaware of the plurality of visions of life which the Budo faces today. This is mainly because of their education and also
language barriers and lack of communication experience with foreign ...
Admittedly, few teachers are willing to understand thought systems other than Japanese, especially regarding the practice of Budo. For most of the older masters,
Budo is unique and, therefore, the communication of Budo can not be unilateral: the master students and Japanese to foreigners. It is unthinkable for them that the
concept of Budo be reviewed and may be modified or clarified by cultural contact with foreigners.
However, at present, I think it is time to re-examine and clarify the concept of Budo, since the practice of Budo has now become a global practice and that this seems
to strengthen.
The Japanese are masters often very generous to strangers in that their view is not shaken. I think this is mainly because of the illusion of understanding
qu'entretient insufficient linguistic communication.
When the latter dissipates and the misunderstanding is revealed, they may seem selfish, incomprehensible, sealed their European students. I think some fans have
this kind of experience.
I dare say these positive and negative aspects since they seem to me to reflect fundamental problems that we must overcome to budo of the future.
But if the Japanese masters are not able to guide or communicate properly budo outdoors, outside Japan Budo may take an unrecognizable face losing what makes
its specific quality.
Especially for kendo, the Japanese masters responsibility is even heavier than in Japan high-level masters are incomparably more numerous than in other countries.
Their responsibility is multiple and cumbersome because, in my opinion, this is the only discipline where the current budo is preserved the idea of
Budo in its full
meaning through the practice of combat.
While other disciplines of Budo for each merge with combat sports or other are limited almost exclusively to the practice of kata, giving, although false impression
of folk practices. It must be recognized today as the value of kendo is threatened to render delicate its foundation.
In this situation, the responsibility of teachers and Japanese fans is primarily to preserve and develop the cultural heritage, kendo and budo; second to communicate
and transmit it to others. For this it is necessary to have a broad vision of the world of Budo to analyze and understand the current situation in Japan and other
countries and to develop a theory and method of communication of Budo that can respond fully.
For these reasons, I believe that evolution and progress of teachers and Japanese researchers is needed and it is crucial for the future of Budo.
Budo problem for foreign fans

Now we will see some problems that are likely to encounter foreign followers, especially in Western.
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The path (DO) to the Japanese regards the duration of life. The notion of Budo includes a voltage to improve oneself, that is, the whole person through martial
practice. This expression is understandable to Westerners, but they do not give him the same direction as the Japanese.
How to raise the human quality through the practice of Budo proceeds, we have seen, Buddhist and Shinto designs. Men can attain Buddhahood, divine state, and
can be confused with a god of a sanctuary. We can cite, for example, HayashizakiJinja sanctuary where the school founder Iai, Hayashizaki JinsukeShigenobu, is
revered as the god of iai. There are many shrines that worship a person like god. This idea presupposes that a man can, by his efforts, reach a state of perfection in his
life.
Every human being has the possibility, raising her human value, change the quality of his being, to reach a value that is confused with a form of the absolute. The
difference is obvious with the Christian culture where the distance between man and God is impassable.
Philosophical discourse and ethics of Japanese budo or martial arts are fundamentally based on the Buddhist and Shinto worldview and the universe in which there
is no absolute since nothing exists without being on other. The universe is not based on the concept of God absolu.Je know some Japanese martial arts masters who
are Christians. If their faith is Christian, this does not prevent them from being sensitive to the universal energy to Shinto and Buddhist way.
Leaning on this worldview and this form of sensibility, the idea of self is central to budo. Develop in the perspective of other cultures would somehow extend the
generosity of the logic of Buddhism, giving birth to a work by erasing oneself.
Every man is assumed to be able to aspire to move towards perfection walking in the way.
Some Western researchers define Budo, noting common traits to disciplines of martial arts of various origins. But the fundamental characteristic of Budo is rather in
the design of a human formation in the body language of special disciplines.
In this way, the practice of Budo led Western followers, like the Japanese masters to some form of questioning of their way of being. It is not a question for
Westerners to play the Japonisme. Some Europeans seem to live in a more Japanese than the Japanese way. I think that we should not thereby lose its identity or
render ambiguous but, on the contrary, we must strengthen its identity by living intensely, here and now, at every moment.
Access to the achievement of Budo designed a planetary manner raises this point of view an issue of differentiation.
I think this is the fundamental difficulty for fans of Budo.
A key for Budo

The track thought appears spontaneously when the tension towards self-formation is associated with the practice of the martial art to progression over time. In
other words, as long as the voltage does not appear, a practice can not have thought of the way and therefore it is not in Budo. In the strict sense of the term, budo
does not designate specific disciplines but the quality and content of a practical discipline. So it's not because you practice seriously kendo, Karatedo, Jodo, kyudo ...
you practice
budo. It is when your practice includes voltage to spontaneously self-study of the whole person, that of the way, your practice becomes budo.
Budo is not therefore a kind among combat disciplines but the way you engage in a discipline of martial art seeking efficiency.
The tension towards self-training, in the sense that I have explained above, does not appear in the abstract but is based on concrete bodily sensation. This is a bodily
sensation that all human beings can design whatever their cultural background. In other words, this bodily sensation is the key that allows to practice wholly Budo
overcoming cultural barriers.
What is this bodily sensation?
In Japanese, it is expressed by the notion of "ki". I think the bodily sensation of "ki" is commonly present in the human experience. But the form of interpretation of
this sensation varies according to culture. For example, the logical character is much more developed in Western languages
than in the Japanese language. But there
is no in Western languages, and it is a major difficulty translations, equivalent word "ki".
This term covers Japanese feelings and impressions mysterious, vague, intangible that touch something inside of our being, part of a probably archaic or repressed
acuity. This set of easily definable word impressions is present in everyday experience, literature and Japanese arts when must the name, it says "ki". The exclusion of
these sensations and impressions of the surface of the words correlative seems logical character of the development of Western languages. Rational thought has
likely developed by repressing this sensitivity.
Therefore in practice, the sensation of "ki" must be captured as "ki" without a translation system with equivalent words. I think the key for Budo overcoming cultural
barriers, it is necessary to cultivate the sharpness to the feeling of ki and be guided in scope and depth that feeling, using the technical plant and the fight .
In kendo, the adept learns early on what the "ki" in a simple way, the expression "kikenta." Over the years, he learned the importance of "causing" for combat. We
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can not describe in a simple way what the "Seme". But it is clear that the level of the follower is directly reflected in the quality of the "
Seme ". Usually the "Seme" involves attitudes or gestures that communicate your fighting spirit to the opponent. The "Seme" is more than feints are used in karate
fight. Even if you make feints, if these actions fail to react to the enemy, they are not the "Seme". By cons, it is the "Seme" when your gesture, however small soitil,
manages to disturb the mind of the opponent and at a more advanced level, when you can move the spirit of the opponent without making explicit sign. When you
manage to disturb the opponent's "ki" from your person without an apparent gesture, the "kism".
This is why it is not correct to define "Seme" by describing the movements. The gesture of "causing" is one that communicates something essential. If this essential
thing is not communicated, no gesture can not be the "Seme". That is, if this thing is communicated without apparent gesture, this transmission constitutes the
"Seme". This essential thing is the "ki".
During the fighting kendo that will take place from this afternoon, the followers of other martial arts kendo need to focus on how the fighters cross their shinai. You
will see that when the points intersect, they make subtle movements, sometimes quietly, sometimes lightly and quickly.
This is the struggle of spikes, the implicit fight where the followers are fighting to occupy the center line of the opponent his lifeline, to impose their initiative to
attack, to create an opportunity where their shot can succeed without fault. The most important battle is taking place in this exchange sluggish appearance.
This is the meaning of the famous instruction: "Do not win after hitting but after winning hits. ".
"After winning," it is precisely after winning in combat spikes and "causing".
When the two opponents face begins interference "ki". Gestures "causing" are a way to project the "ki" on the opponent. If the act of "causing" affects the attitude of
the opponent is because this act touches and moves the perception Director of the opponent. I would say the interference of "ki". This is why we can say that, even at
a stage where the token is performed without awareness
of "ki", most of the "Seme" is in the "ki".
I think that combat level is unknown in many disciplines (judo, karate, boxing ...) in which the consciousness of followers is limited to the most directly perceptible
elements: speed, strength, aggression ... It is very difficult to stabilize in perception combat percussion like karate.
Personally, my main concern is the identification and application of this form of combat in karate.
It is therefore in kendo we can see, in the most concrete way, the role of the so-called "ki". On this point, kendo is a unique discipline.
However, it is not to make an unconditional praise of kendo. Because, formerly, kendo seems to have behaved much richer body techniques with a wider technical
register. Reported to its tradition, the model of the current kendo seems to be incomplete, especially in regard to the general education of the body and the rules of
combat. I think these are points which contemporary followers can only be sensitive if they deepen the value of kendo "as Budo."
In any case, we can say that this is when the fan starts keenly felt in the role of "ki" that its practice of combat tends to be in one channel and appears a real
awareness of Budo.
Why?
Feel strongly the role of "ki" implies that a follower practice the fight by trying to "strike after winning." It does not seek to overcome in dealing a blow at any cost
but to carry it out with certainty. It is therefore to build a fight in which the correctness of the sensation is confirmed by an insured strike. When it reaches this level,
the practitioner attaches great importance to the underside of combat, that is, the struggle of "ki", the one that takes place before the exchange number of strikes.
If, sown or the offensive of "ki" of the opponent, you're troubled and sketch a defense motion in the void is that you have acted against explicit what is implicit. For
this, you have made
a mistake in the discernment of reality. If you realize you instantly in, you feel the same you dissociation because your mind can not retain the
body as a wrong move. If you sketch a useless gesture, it's because the opponent was able to get you moving in spite of you. So you lost at that moment the
possibility of taking the initiative and therefore lost before receiving a shot.
When your perception is open to the interference of "ki" , lose this way is as important as receiving an effective blow . Your problem then becomes:. How to discern
right from wrong, how to remain undisturbed offensive against the opponent by the gesture or the "ki"
When looking for an opportunity to attack the opponent, you lead the sows to win the fight on points so that the opponent deflects the tip of the sword its
centerline, her lifeline. The opponent that yields an opening despite himself becomes vulnerable. At this point, you wear it a shot, it's a clear victory.
When you touch luckily you will not be satisfied if the opponent remains undeterred despite the blow. You then say, I hit, but my typing fails to disturb his mind.
Your problem will be how to move the spirit of the time by your "ki"?
In this way, the target of an adept moves progressively from a technical concern mere gesture towards a state of mind. Do not be troubled before the seeded and
distinguish the false from the true acts of another, this amounts to gain insight supported by strength of mind ... But it would be wrong to say that there is a stage
where the 'one spirit dominates because without body technique there is no combat arts.
Budo The structure is twofold, one must at all times be ready to deploy its violence but we must maintain lucidity where the mind can with scale capture what is
happening around. Lucidity can turn your own aggression potential in a
state of tranquility. A poem by Miyamoto Musashi communicates this provision:
"The rapid winter torrent, clear water and the calm surface like a mirror
reflecting the moon.
Reaching into ice and fast water evokes a cold sharp as the sword blade. The speed is also the dynamism of combat. At the same time, the surface of the water gives
the image of purity and calm. If the surface is disturbed, the moon will be fragmented. This poem, often cited to describe the state of mind of the sword, in fact shows
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the double component of violence and calm.

At the primary level of the fight, one that acts by aggression and violence is likely to get a victory. But the level that we must aim at Budo is a better technical
mastery and self. This is where the spirit is reflected in
the sharpest way. In this case, as soon as one thinks hitting wanting to hurt his opponent, the superego whispers somewhere deep in the awareness that this is not
good. This whisper, so minimal soitil, is important enough to curb the
spontaneity of the act. I think it is in this sense that we say:
"If the spirit is right, the sword is just, if the mind is not right, the sword is not right.
This teaching is often designed as a moral but it is the technical origin. The martial art is a pragmatic art. I would say that morality arises here pragmatism pushed to
the limit. It is the peculiarity of Budo. It is not the combination of moral values
to the practice of arms.
If we try to act spontaneously and precisely, we must free the mind from the shackles of conscience, here comes the teaching of empty mind.
At this level, the search for efficiency leads to a paradoxical form because if we want to defeat the opponent (which means kill the technical sense) of the safest way,
do not want to win ( killing) must come off the victory, if we want to get it. Which approximates the maxim: "We must be ready to die, if we want to survive. ".
In this way the act of combat leads us to introspection and a questioning that pushes us towards the reorganization of our people to be more perceptive, able not to
get upset, act spontaneously, precisely, to deploy its maximum capacity ... The process of this reorganization is the drive that has a tension towards self-study.
This is where comes the practice of Budo.
If we fly this way the evolution of consciousness of a follower, we can understand that from the moment he became aware of the importance of what is usually
hidden his subjective training begins. That something is the key of Budo, the "ki". In other words, as long as a person does not realize that feeling of "ki" in the
martial arts and it fails to build his practice by challenging her being, she can not just continue the way self-study, lighting fault in a
dark way. In this sense also that I think the "ki" is the key of Budo.
Ki and Japanese culture

In the Japanese language many expressions have the word "ki" and others assume the "ki". I translated, in 1993, Miyamoto Musashi text ("Treaty of the 5 elements")
in my thesis, University Paris VII and I came to realize the following fact:
Musashi uses in its text many times the word "kokoro" , which is usually translated as "spirit". But the meaning of this word is untranslatable by one word.
Depending on the situation this word should be translated as mind, feeling, sensation,
sense, thought, idea, meaning, essentially, heart, center, core ... However, even after using these words to translate the word "kokoro" , he still an empty feeling in
the translation. I have long sought to understand why before the following: Musashi by using words
based on a feeling that the Japanese of the time and especially martial artists commonly owned and lived. He filed somehow all his experience in this medium of
expression. (I use the medium term to mean "medium for painting"). Therefore, as long as we do not are picking the nature of this medium, the terms of Musashi
remain incomplete, blind somehow, leaving an ambiguous impression. And if we understand the presence
of this medium implied, expressions become substantial.
What is this medium?
This is also the "ki". Indeed, when I read his text by supplementing it with the underlying feeling of ki, the meaning has become much clearer. But how can this be
reflected nondit in French? This is the fundamental problem of the translation of Japanese texts, especially ancient texts.
We must also understand that the meaning of the writing was different among the Japanese at the time of Musashi. For example, in an act of transmission, both the
side of the master who grants that the side of the disciple who receives it, we often find the phrase "if I happen to betray the trust I have to be punished as such, such
and such a
god. " Mention this way the names of several gods to certify its most serious commitment. Write the name of the god worth engaging with the weight of life.
The Japanese lived in an atmosphere that linked to the presence of the divine sensation in nature. This atmosphere creates attention to the sensation of "ki".
Until recently, the Japanese people living in attaching importance to what is not visible. Even in my childhood memories in the country, we lived steeped in this form
of sensations.
Through "ki" of sensation, the Japanese seem to have captured the natural phenomena without trying to explain them. They were not excluded from the scope of the
language vague sensations. I think this is one reason why there are a lot of onomatopoeia in the Japanese language. When they needed to verbalize through the
medium corresponded to certain vague sensations, they used the word "ki".
So feel of the "ki" seems to lie deeper and more archaically as those that have become objects of knowledge.
One of the peculiarities of Japanese culture and society seems to have given me an important place for this type of perceptions while developing modern logic.
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Conventional methods of development of ki

It goes without saying that the battle of Budo is not an abstraction. It aims to seek efficiency. The deepening of the struggle by the "ki" allows one hand to increase
efficiency and, secondly, to practice in the long term or even throughout life. In kendo it is not unusual to find teachers who practice until the day of their death while
deploying large capacities. In martial art with bare hands, such as karate, it is very rare to find a teacher who practice the fight after 60 years.
However, in a discipline such as takiken where the exercise of "ki" is in the center, the late K. Sawai practiced empty hand fighting strength with very high capacity
to almost 80 years.
I think that the work on the "ki" is present, explicitly or implicitly, in the disciplines of Budo where followers can go a long way while improving their abilities. In
kendo, the work on the ki becomes effective from a certain level
and takiken from the start. In some schools of jujutsu and kenjutsu, we do not insist on the work of "ki" but celuici
is present implicitly.
In the tradition of Budo, we can distinguish two methods of development of "ki", distinct in appearance and further to the bottom.
Achieving ki by the kata method

The first method is based on technical training and its application by repetition.
It is that which is most commonly used.
For example, to learn kendo, you start from the correct handling of shinai; to learn karate, you start by learning the precise form of punches and kicks. It is not about
hitting any way. In
combat, you can not get a "ippon" if you do not hit properly.
You train for the ability to conduct superior fighting with wonderful technique.
If today you analyze advocated kendo techniques, you can rank a number of technical models to deepen. These models represent a kind of ideal technical and looking
to assimilate them. We can say that in reality the kendokas exerted to jigeko having those models which serve as criteria on the right or wrong way to fight a battle.
It's the same for karate.
Although kendo these models are not classified as kata, we can consider that it is implicit in combat kendo kata. They are very different from "Nihon Kendo gata."
Similarly, in karate, you exercise to combat techniques used directly: the technical sequences, movements ... You can almost codify a set of useful and necessary
actions to combat forms you do daily. You can almost form kata with these gestures, but you will come to different kata kata "traditional". We can say the same for
judo.
In any case, you do not exercise you combat any way. You exercise by having a model that approaches a certain perfection. If you thousand suburi is thousand times
the repetition in trying to get close to a perfect post.
In this way, when exercised by repeating a technique with its idealized model, it is the method kata in the broad sense of the term. The reason why we do not say
that this is the kata method is usually attributed kata tradition. But when you analyze the inherent dynamism in the genesis of kata, it turned out that when a kata
was born, each kata was practiced as you practice today useful techniques necessary, indeed essential for Training your technical abilities in combat. It is by no
means a ceremonial gesture that must justify the discrepancy with the practice of actual combat. So without that you should appoint, it is indeed the method of kata
in the broad sense of the term that you apply in kendo and karate.
It is not enough to make one a perfect movement, it must be done in a situation of fight with the opponent. The jigeko is a process of assimilation of the elements
required to achieve the most perfect fight. You can not make good fights by luck.
When you manage to make satisfactory fights, it is because you have a kind of fullness puressentir marking the "ippon". In this situation you created, before you
type, a vulnerable moment in the opponent because you managed to disturb his guard and his mind. Your attack supported just about empty opponent while you
were full of energy, which is produced by just moving your body posture your sword in a just way. In combat karate, you can understand this by replacing the sword
by the blow with the fist or foot.
It is in this situation that you may experience fullness. In this case, it is because, even without realizing it, you have been guided by the sensation of something you
have done by giving you that feeling. At the time of the strike, you had a fusion feel with that something. It is the feeling of "ki". Celleci is present in the sensation of
perfect technical execution during the battle. It is not only present but it is modulated technically.
In exercising the kata, we bathe in this modulated sensation in technical form.
When you study the classical kata, they include the elements necessary to achieve a higher state of combat.
Many kata were distorted during transmission. But a kata, when it is formed, shows an idealized state of
actual combat training techniques. The idealized state of the art is the highest level of technical, where the merged body technique and mindset. The "ki" it must
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flow naturally. We can say that the exercise of this

technology corresponds to an energy principle. If a technical movement is perfect, it is because it is in harmony with the principle of efficiency which modulates the
"ki" in technical form. The perfect form of technical efficiency without no sense, as there is not a great sword that does not settle. In a way, any technical perfection is
a container of the principle of effectiveness.
We have seen that the word "ki" covers very broad and vague sensations. We use the Budo "ki" in modulating the technical form.
About a teacher is saying, "Whatever his gestures, they are a perfect technique. . " It is precisely that he was able to follow the "ki" non-formal but deeply technical
way. He was so well-integrated technology that his actions were consistent with the principle underlying techniques, the broad sense of kata. It's called learning
beyond the form the form: beyond the kata by penetrating deep into the kata. The kata shows a technical model of combat developed to a form of perfection that
invites us to and we guide climb to the top. The kata is therefore based on a system where knowledge is high and followers seek to climb. The technical platform is a
way to climb because it is not the end in itself. The goal is to exceed the kata kata. When you look at what is going on in your mind for a hard training you are looking
to acquire the best technique, you have the image of your master, of the one who has shown you or taught. Your actions are not attached to the image of perfection
represented by your master, especially when you exercise alone? In the training process, you strive to do as well as your elders, the master, then you want overtake,
overcome. More image is heavy, the more persecute you. To fight against this, the training process: repetition. This psychological sequence is characteristic of the
application of the kata method. A better understanding of the logic inherent in the kata method and its connection with the "ki" allows us to advance in the practice
of Budo. For this it is essential to know how to look and treat katas from a different angle. The kata is not just a technical codification, it is neither mold nor ceremony
or imaginary fight ...
The kata is a method that requires some keys to trigger full. I will develop this idea later.
The energy method

The second method draws an almost opposite. It is designed from the start to build the vehicle the principle of efficiency: "ki". I would say that this method aims to
reorganize the sensory system for the body to function spontaneously with better energy regulation. If the first is based on techniques developed forms to
perfection, the second is based directly on the sensory system inherent gestural techniques of higher efficiency.
Therefore, according to this method, the technique should appear spontaneously from the sensation of "ki". It does not rely on specific learning techniques such as
kata method. If there is a technical development, it will come after mastering enough the principle of effectiveness: the "ki". The takiken,
which comes from the Chinese method of yi chuan, is a typical example.
Saber, even for a method which is the opposite of the kata method is direct combat training by acquiring a critical mind and energy component, a minimum of
technical skill is required to know how to use
edge of the sword.
The method of Hirayama Gyozo (17591828) is a good example, technical learning is limited to the minimum. The method consists of a single technique. One year to
two where one attack with a long shinai an opponent who carries a protection on the head and is armed with a shinai short of 40 cm. It must attack to deal a blow to
the chest first, with the spirit of the spear, this, whatever blows he receives approaching.
Hirayama Gyozo wrote in one of his books Kensetsu (Explanation sword): "The goal of the sword art is to kill the enemy. The key is to get your murderous spirit
through the chest of the opponent.
The school is called Hirayama Gyozo Sinkanryu
or Shinnukiryu (school crossing through the mind or school crossing with the basics, as ideograms).
According Gyozo Hirayama, if your mind through the opponent, you win and that's the most safe and effective method in real sword fighting. I see energy work
which aims to strengthen the spirit of the most direct way. The simplicity of this training is the repetition of a single movement, which is comparable to the
seemingly simple exercise of standing motionless in "ritsuzen" (Zen standing).
Yet with the immobile posture ritsuzen, you exercise your mind to form a mental and physical readiness to crush the enemy whatsoever. In combat sword, you must
properly use the sword, so the simple exercise of suburi was the basis of the method of Hirayama Gyozo. His method is to this simple gesture and strengthen what is
most fundamental in combat. I therefore characterized as a method that aims to strengthen directly and simply most energy. The "ki" of the fight
in the tradition of the sword, an energy method is most often applied in parallel to the kata method or following celleci.
I will take the example of two famous masters of the nineteenth century, Shirai Toru (1783 to 1845) and Yamaoka Tesshu (18,361,888) that followed this approach.
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The problems faced by these followers are essential for any reflection on the martial arts method Japanese. During the second half of his life, Shirai Toru dominated
their opponents with the strange power that emanated from his sword. It is reported that the tip of his bokken gave off a bright circle. Before reaching this level, he
met an impasse that could exceed that price long years of training and ascetic meditation. This method, the "rentan" is based mainly on energy work that largely
corresponds to qi gong martial today. According Shirai Toru, the "rentan" is the only practical method to reach the top level of the path of the sword.
Tesshu Yamaoka also reached him an extraordinary level saber, he relied on the practice of Zen. He was poor and, at the age of thirty, was living in a house in poor
condition. He was nicknamed Tetsu dressed in rags, or as Tetsu dojo the devil. Several of his friends say that at night the ceiling of the house resounded with the
noise of mice. But as soon as Tesshu began zazen, his "ki" filled the space and mice stopped making noise and it also happened that some falling beams on which they
ran. Several years later, when Tesshu began zazen, the mice stopped running and playing down around him. I do not know the authenticity of this anecdote.
In any case, there are many testimonials on the strength of "ki" of Tesshu. Sazaburo Takano (18621950) , one of the greatest masters of kendo turn of the century
testifies: "When coaching, master was hitting his students, but they may never have the sensation of touching really. When I tried to give him a powerful blow, I
always found the tip of the master shinai on my throat ... The attitude of the Master was like a balloon that you can not drop. He had an unfathomable flexibility
because this flexibility contained a steel power. Thus, in practice, even striking the heart of men, I could never feel that I had hit. Everyone was repulsed by his ki ...
even the tip of his shinai came a foot in front of me, a small movement point, I always had the impression of having received a tsuki. The master does not wielded the
sword with hands but with his energy center ... It happened to me one day to receive a very light stroke of tsuki and the moment I do not feel anything. But the way
home I was seized with a strange feeling as if my throat had been pierced and the air circulating them. This strange sensation persisted for two days. " If these two
great masters could radically transform the quality of their swords, one by rentan, the other by zazen, we can think that these practices have helped to reorganize
how to feel and act that underlies the technique of the sword. From a practical point of view, the person who performs this method does not necessarily think that it
is engaged in a reorganization. Subjectively, it will feel a moral improvement or as his belief illumination or purification of body and mind ... But what is common is
probably the thrill of "ki".
If Zen influenced the practice of Japanese sword, it is not as speculative philosophy, but basically through the physical practice of zazen. I think that, at least initially,
Zen has attracted the warriors of the period of feudal wars by its pragmatic aspect.
As I said above, a special feature of Budo is the fact that by pushing the pragmatic background, one begins to be confused with morality and philosophy. Although
the philosophy of Budo is intriguing intellectually, discussing his philosophy will not understand the Budo.
The method of "rentan" like the Zen aims to develop most of Budo without going through the learning of specific techniques. But in the art of the sword that
requires handling and fair trips, this method is only applicable after having mastered
a technical minimum. Because even if you have acquired an energy control and an accurate perception of the combat in action, your actions can not be transferred
with efficiency if your sword does not follow the righteous path. Even with great force, the sword does not cut if the blade is not pointed in the correct direction.
While in the art of fighting with bare hands, it is a blow, not slay with a blade, you can give an effective blow without the required accuracy with saber blade. To the
extent you can produce a sufficient impact, typing is effective regardless of the angle of attack.
Conclusion
To develop qualitative practice of Budo overcoming cultural barriers, I think we must have an open mind that allows us to understand that there are other systems
of thought in other cultures. We must at the same time, of course, deal with the technical Budo. We need to see one of the essential elements by which Budo was
formed. I am convinced that the key to Budo is in our body, which means it is beyond cultural barriers. I think that this is the "ki" but it is not a question of "ki" in
general. In the practice of Budo, we are facing the "ki" modulated in technical form, without
which the Budo can not exist.
I briefly analyzed and presented two conventional methods that aim to develop the "ki" or by practice kata at large, either directly through energy exercise.
The history of Budo, especially kendo, shows that the two methods converge.
To highlight the work on the "ki" allows not only to realize the practical Budo, but also to open the possibility of a long-term practice. Budo can thus contribute to the
bientreet the vital capacity. According to my analysis, the sensation of "ki" is the foundation of Budo. It can be felt beyond the
cultural barriers and opening up opportunities available outside of Buddhist and Shinto Japanese culture, while preserving what makes the specificity of Budo.
Kenji Tokitsu
archive document written in March 1998 by Kenji Tokitsu published
in special issue of the Bulletin ShaolinMon
ISSN 1261758
X Text Transcript issued March 14

, 1998 to Taikai in Paris by Mr. Kenji Tokitsu
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SEMINAR
STUDY OF THE LOGIC OF THE BODY (1995)

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Archive document written in 1995 by Kenji Tokitsu published in Japan plural, proceedings of the first
conference of the French Society of Japanese Studies.
Study of the logic of the body, the example of Japanese martial arts
Kata, gestural sequences codified, play an essential role in the transmission and the study of Japanese arts. In these systems of signals given by the movement, it is
to transmit and receive significations by the body. It is also to provide a special meaning to people chosen concealing the eyes of others. Decryption of the system is
more complex than it first appears. Indeed, the risk is taken into account the form of gestures, without understanding the meaning, without grasping the principles
on which the dynamics is based. All the more so that these elements have not been explained and are often overlooked in contemporary embodiments of the
gesture.
The practical and theoretical study of the art of classic sword and comparison with the Japanese dances led me to the assumption that the body art which we can
trace the tradition fell under different gestural principles of those who are for
us obvious .
Japanese culture is strongly marked by the presence of the body and, in the arts, the body often has the lead role. The written language is and the body disappears
leaving the kata. A study based only on the written word can cover serious shortcomings. For men of the Edo era, death was much more concrete and anchored in the
reality of everyday actions than it is for us. How to enjoy Ihara Saikaku or Chikamatsu Monzaemon if we stick to contemporary values, if the body remains an
abstraction described in death? The risk of having a watered idealized vision of culture warriors fault deepen what were for them the body and physical presence of
death, nodal elements of their concerns.
"If you want to go to the ultimate level of the sword, draw the sword every morning putting the blade in front of your face and meditate on the fact that it is with this
that the opponent will attack you" (Matsuura Seizan, 1810) .
This phrase embodies how the Warriors received a death education, which is expressed as the Hagakure: "The way of the warrior is that of death." It also shows how
death was a heavy weight to bear for the warriors. It would be wrong to say that they were not afraid. We find everywhere traces of a struggle for freedom from fear
of death by facing that fear. The traditional practice of the art of the sword shows concretely: When get over the fear of death, the essence of the art of sword is
reached.
How to walk
To achieve this culture of the body, I'll start with the example in the most banal appearance, that of walking. When we study the text and graphic documents dealing
with technical body during the Edo period, it appears that the then Japanese had a way of walking and more broadly a differentiated body language in different
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social groups. Cellesci

made
sense. We know the words hyakushoaruki, choninaruki, shokuninaruki, bushiaruki, but the content of these words is almost forgotten today. The
development of tangible attitudes in history has been neglected in most Japanese contemporary films, and more in the television movies, which helps give strength
to fictitious images, and we have the illusion that farmers , traders walked like our contemporaries and the warriors walked like those who practice martial arts
today. However, the films of the first half of the century is a directory of fixed attitudes that sheds light on the dynamic movement of which we find still images in
the iconography. Furthermore, movements
transmitted in the traditional arts kata retain the dynamic gestures of the past and allow to reconstruct, however, if we take the precaution of changing from a
limited certainly, but those who transmit the art have no conscience.
As an example, as a general rule, before the Meiji era Japanese walked without swinging the arms, and even after the war, one could find this approach among
farmers and in some families old tradition of traders. Japanese warriors marched without completely unfold the knees, lowering the center of gravity and placing
their hand on the handle of the sword.
For them, learning the footwork was in the continuity of this way of walking that analysis of kata allowed me to reconstruct with some accuracy. Today, most
martial arts practitioners work like athletes: they walk in flyer good legs, torso upright, swinging the arms diagonally, in short, they walk to the most usual way
here. But in the practice of their art, they use a learned approach, based on older models. My hypothesis is that insidious rupture occurred and that, while believing
respect the old form, they move in the exercise of their art by following a different principle.
Here are the reasons that led me to this analysis. According to a summary investigation, more than 20% of modern kendo masters had a ruptured Achilles tendon .
Since the practice of the sword was more intense in the era of warriors, we can think that this type of accident was more frequent traces and remains of concern to
avoid it and also because the surgery was not advanced its aftermath. But I have not found any record containing such accidents or precautions to take to avoid
them. Furthermore, kenjutsu dojos (classical sword) were much smaller than today and, according to the overlap of different descriptions, space was densely
occupied, who were training were very close and movements were numerous and fast but their magnitude was lower than today.
These two findings show that the quality movement was different. First I made
the assumption that the difference was due to a different use of the shinai as Edo
warriors used the shinai as a substitute they handled the sword.
Today the use of the sword handling is absent and instead of seeking to slay their opponent, the kendokas use shinai to touch quickly. Using a lighter weapon, they
have increased the scope of the gesture. This explanation accounts for the longer trips but not the frequency of accidents. It is by practicing myself kenjutsu and
kendo as I was led to the hypothesis that these differences in the quality movement held the same principle of displacement.
The two principles of displacement

How to make a step in commuting is self-evident: you head forward center of gravity and at the same time you propel with the rear leg. This model seems so obvious
that it is in Japan as elsewhere, the basis of modern techniques of body and serves as explanatory model in the analysis of traditional techniques. With differences in
performance and intensity, this type of displacement is present in all activities
sports.
By practicing kata of kenjutsu and iai of jujutsu, it occurred to me that this principle was inadequate to understand their internal logic . I made
the assumption that
this gesture fell another principle that can be considered a source of efficiency on the level of aesthetics, speed and energy in Japanese body art. The analysis, based
on this hypothesis, a set of kata, texts and other documents staggered in the history of martial arts since the seventeenth century allowed me to highlight a mode of
travel that I called the "principle of immersion" as opposed to "the principle of propulsion." I think this principle is connected with the conception of the person and
provides a key to decrypt various forms of traditional Japanese arts kata.
In moving propulsion you give impetus with legs against the ground to move forward. According to the most simple scheme, the strength of the horizontal
displacement is achieved by the two vectors of the effect of the blow given to the ground and the weight of the body. The characteristic is that, to produce
movement, you have a force that goes against that of gravitation.
A different principle generally unknown, is used in certain techniques of the art of Japanese fighting. Some schools sword (kenjutsu) and jujutsu transmit another
principle of effectiveness which is often the secret teaching of the school. Celuici improves the speed of travel and increase the strength of the technical execution. To
the observer, the implementation of this principle is masked by the speed and the difference is hard to see, but once understood, it is simple to state. To move,
instead of giving an impulse against the ground, you "remove" the strength of the legs to let gravity do you transform the force in a horizontal movement by
controlling the center of gravity. You then print to immerse yourself in gravity, which is why I speak of "immersion displacement" as opposed to "displacement
propulsion" . It is actually to find the sensation of gravity as an existing force can be used and not, as usual, to fight against it.
Teaching immersion trip

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By studying classical art of Japanese sword, I understood how this principle underlying some lessons are not clearly expressed. I then analyzed from this principle,
the content of various disciplines of Japanese and Chinese martial arts and found how to use the energy of gravity intervened in a very subtle way. This principle is
easy to state but difficult to apply. In fact, its implementation is detectable in advanced from different schools but it is communicated techniques, in the manner of a
secret efficiency through the implementation of certain techniques.
In my analysis, the immersion movement was discovered and deepened in the art of Japanese sword from three directions:
The effort to overcome the impasse in each seeking a dynamic based on spontaneous trips (propulsion);
The research techniques that suppress demonstrations prior to the gesture that allow the adversary to predict an attack (Kehai)
The search for greater energy in the technical implementation.
I will cite two examples. In the classic sword school Kashinryu (Kuroda 1992), all techniques are based on the "principle of non-use (of force) legs" (musoku no ho). In
this school, the immersion movement is associated with rotational movements, the axis is given by the center line of the body and the strike of the sword is
characterized by speed and dazzling power. However, this technique is not physically prouvante because all chuterotation combines the energy of the body parts
that drives the arm. How the force is distributed in this type of technique deserve a specific study. The most recent application of the principle of immersion, which
however is not explicit, is the form of movement developed to increase efficiency, the master of karate Sigeru Egami , as the "principle of rapprochement with earth "
( shukuchiho ) ( Egami, 1970 ).
Enrollment in one body design

In traditional Japanese representation of the person, the hara (belly) is the central part of the body, the seat of the mind. In practice the sword hara (or Tanden, a
term of Chinese origin) designates specifically the lower abdomen which is physically located the center of the body. The build is one of the bases of body practice.
The implementation of immersion movement in the combat technique involves work centered on the hara. We learn first of all to situate its own center of gravity, to
get the feel of the center line of the body at the bottom of which lies the hara and refine the feeling. The objective of this movement is to move with ease during the
fight, guiding, from the hara, the energy obtained by "removing" muscle tension legs. Instead of giving a blow on the ground, the leg muscles absorb the descent of
the body, instead of taking off at the time of travel, approaches the earth. The importance attributed to the hara comes not just mythical beliefs celuici has a real role
in the search for efficiency. If the principle of immersion could be applied and transmitted without being explicit, it is probably largely because the concept of hara
possible to achieve it.
As I have been able to demonstrate, by immersion displacement is mainly used for the execution of a technique or a few sequences. It provides the speed with little
muscular effort. An elderly person can make a very fast moving, powerful and effective. I see one of the major reasons for maintaining combat effectiveness in later
life that characterizes the practice sword.
But the question I have been studying for several years is very complex and is part of a bundle of explanations. Moreover, some items still to deepen suggest to me
that the scope of the immersion movement is much broader. I have had communication of oral transmission of Kaishinryu School in which there is a walking
technique over a long distance. Celleci is to vary the length of not breaking the equal displacement of both feet. The length of the right foot is not systematically
different from the left, in a proportion, 60/40, or 70/30, with periodic reversal. It is advisable to always perform the walk "without using force feet" (musoku), I
explained as a form of immersion trip. Highlighting the immersion movement suggests several research directions related to each conditions for the emergence of
body models, others to their mode of dissemination of Japanese society.
EGAMI Shigeru , nor Okuru Senmonka Karate Do (The Way of Karate for use by specialists) Tokyo, Rakutenkai 1970
Matsuura Seizan , Joseishi Kendan (Speech saber Joseishi) 1810 Reed. Jinbutsu Oraisha Tokyo 1968
Kuroda Tetsuzan , Kenjutsu Seigi (Summary of the art of the sword) Saitama, Sojinsha 1992
Glossary:
bushiaruki: way of walking warriors. Chikamatsu Monzaemon: (16531724) writer. choninaruki: way of walking in cities. hara: belly. hyakushoaruki: how to walk
peasants. Ihara Saikaku: (16421693) writer. Kashinryu : School classic sword. kata : codified gestural sequence role in the transmission and learning in the
traditional arts. Kehai . emanation of the presence or the will to action of someone kenjutsu : classic sword art. musoku no ho : method or principle of not using force
feet, to perform fast, powerful movements, but they are predictable. shinai : Drive bamboo sword. shokuninaruki : how to walk artisans. shukuchiho : method or
principle that one approaches the earth, to make quick movements. Tanden : literally "cinnabar field" means the lower part of the stomach.
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SEMINAR
NOT RATED
ETHICS AND COMBAT SPORTS - INTERNATIONAL SYMPOSIUM TOULOUSE UNIVERSITY

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The 11th International Symposium JORRESCAM took place on 16 March 2012 at the University of Toulouse 1
Capitol whose general theme: Ethics and combat sports .
On this occasion, I made a conference that would interest my students.
I put the contents of this conference to them in my column this month.
Ethics in sports games or martial arts?
I think we need to address the concept of ethics in combat sports and martial arts on two perspectives: the ritual and awareness in relation to the level of practice of
the person.
If the practice of ethics has a uniform ritual aspect, the ethical conscience is variable depending on the degree of progression of the person. A beginner will learn
ethics form of ritual or rule associated with the discipline. During its progression, its ethical conscience will naturally go beyond the formal framework of the ritual
and rule. For an expert, this ethic should be able to be confused with his lifestyle. It is only at this stage that we can talk about the philosophy of martial arts.
In this sense, it seems to me that we would be at odds if we were talking about ethics in martial art as if it was essentially a uniform rule, since ethics has been a
qualitative change depending on the level person.
If the frame of ethics remains the same, the awareness of the ethics of a person will change according to the vision she will practice in relation to its own degree of
progression. This can be comparable to climbing a mountain by a climber.
Let me explain.
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If you climb Mont Blanc, your vision will change relative to the altitude. The vision you had when you were the top at the foot of Mont Blanc, has nothing to do with
the one you kiss when you arrive at the top. You are the same person, yet, now embrace a totally different way than you had when you were down.
If there is no ascension, no mountaineering. Similarly, if there is no progress, there is no sense to speak of the practice of a martial art that uses d suffix the way. The
concept of change in practice is clearly expressed it. Advancing in the way, your vision will change. If it does not change, it means that there is no progress in the way,
but only the practice of a system.
Each discipline has its particularity although it is a similar direction. Strictly speaking, ethics in its ritual form is specific to each discipline and applies to all
practitioners. Indeed, the distinction exists in every discipline such as kendo, karate, the iai-do, Aiki-do, judo, sumo (d) ... It is both how to prepare for the clash of
battle, and both how to practice the technique and the need to respect the opponent.
If ethical frameworks necessary rituals of an almost uniformly for all who are involved in a discipline, ethics in martial arts is another aspect that needs to be formed
and consolidated with the evolution of the person in its technical progress. Because the technical progression involves changing a person upward way, if we draw
and we do a little bit under the concept of d, route. Because the way is one on which we walk and advance; it implies evolution. Vision on the road should not be the
same between that of a beginner and the expert, although part of ethics remains the same.
I think this evolutionary aspect of ethics is often omitted in the concept of ethics in martial arts.
I would like us to consider it from a few examples of the practical aspect of combat sports and martial arts.
To be precise, I will base myself on the disciplines of the origin of Japanese martial arts. I will mention no names of people or the year of the events that inspired me
this reflection.
Here is the first example
In the final of a combat judo at the Olympic Games, the Japanese fighter was injured his ankle. Despite his disability, he fought bravely dragging his leg and he ended
up winning. It was a moving sight. Everyone congratulated him for his courage and for his fighting qualities. His opponent has faded from the scene. Obviously, it is
not the subject of congratulations. Because he lost against an injured opponent. Both the Japanese winner will be placed under the light, as his opponent will fade
into the shadows. We can understand the reason for that is very simple and clear.
However, if we examine this combat situation from a different angle, the loser would have to fight the winner using sweeping or mowing techniques which are
permitted under sports games techniques directed by rules. But in doing so, he would certainly damaged to the already injured leg of his opponent. Yet it would have
been able to lead the fight to his advantage and most likely would have been the winner. But he did not and he lost.
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If the Japanese had a disability because of his injury, his opponent was also a handicap by voluntarily undergoing major moral constraint because his opponent is
hurt, and fear of hurting him more, he preferred not to enjoy a technique which would have allowed him to win. In a way, we can say that it has agreed to assume
this moral handicap. For a skilled fighter must spontaneously find the weak point of his opponent. If he follows the logic of the fight, he should be able to take the
opportunity to increase his advantage, which goes against his ethics. By prohibiting the right to benefit, he voluntarily assumed a disability that led to defeat.
Personally, I think that's what fighter who deserved praise.
A question arises: what should be the role of ethics in sports rules?
Here is the second example.
I initiated in kendo at the age of 10 years in Japan and I stopped practicing after a year. I resumed training of kendo there twenty years in France. My teacher was
French. At the time, I was living in Paris and my teacher was moving up my own dojo to train with me. After each training session, we talked a lot about kendo. It
was each time a privileged moment of kendo lessons for me.
Here is what touched me most about teaching.
One day after training, while drinking tea, he said:
" I saw the most beautiful Coubertin fight of my life. A Japanese fighter took the high guard (Jodan) and pushes his opponent with his ki, forcing it to retreat. He
advances slowly, the opponent back gently until it is forced out of the battle mat. The opponent receives a "Chui" warning. The fight resumes. The same situation is
repeated three times. Hence, the opponent has lost the fight by disqualification. In this way, the Japanese fighter won out without wearing a sudden. It was the
most magnificent fight I have ever seen so far. ... "
I was very happy to hear this story of my teacher, especially from a French.
The following example will better understand this situation.
At that time, I continued to exercise myself in kendo while practicing karate. I have read many books and articles on kendo. I read among others the following
article.
This is the third example.
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Two kendoka 7th dan, A and B, are fighting. The A fighter pushes his opponent with his kizm B (ki offensive). With the energy or desire offensive A, B has to fight
back to the wall of the dojo and he could therefore go back. In the previous example, the fighter B felt compelled to get out of the limit. In the case before us now, the
fighter B can not go back. It is immobilized for a moment during which the fighter Door him a magnificent blow to the head (men) and takes the win.
This is a perfect victory.
After the fight, the Master of both kendoka told the fighter A:
" Just when you pushed your opponent to the wall, you'd already won the fight. Despite this obvious situation you have him still a blow. This strike was unnecessary,
and it reports an act of cruelty. This is not what we research kendo ... "
What lessons can we draw from these three examples?
Regarding ethics in practice, the examples we have seen show that we can not talk about ethics without taking into account the relative consciousness of the
person's level of practice. Ethics in martial arts is not comparable to the traffic rules that everyone must follow the same way. Ethics in martial art involves a level of
advancement of the practitioner in the discipline. In a way, the ethical knowledge is combined with the level of human practice.
There is no sense to ask a beginner, first to understand then to go in the same direction as what we saw in the third example.
This is a difficult aspect to systematize the form of rules. Which is a certain difficulty to practice at Western way which seems to have a tendency to want everything
systematize the form of rules.
For example, in the first case, the one who took the loss could have been the winner bottom fighter following established rules without worrying about the health of
his opponent. He lost because he was sufficiently advanced to the point that he was able to realize the state of his injury, and his conscience prevented him from
attitudes employ techniques that would have allowed him to win but go against ethics.
In the second case, the winner did not need to wear the shot to win, since his opponent had been pushed beyond the limits of the fight. Those who were sufficiently
advanced in practice were able to appreciate the quality of this fight and could say, "it was a magnificent battle!
But I wonder how the audience would have reacted if this type of fight could take place in a place where you basically just to see the show !!! It would be likely that
we hear hissing, because there would have been no blow struck.
The third example makes clear the situation and the quality of the fight through the words of the Master which is why it should not strike. When he says "this strike
was unnecessary and it points to an act of cruelty. "This word expresses not only the quality of the fight to find, but the ethics underlying the kendo. But this ethic is
far from obvious for a beginner who should persevere to learn to hit with all his energy.
I think these three examples can make us think about what we mean by "ethical" in Japanese martial art. Ethics in martial art but also combat sport can not be
compared to the Highway Code as a fighting discipline not only includes cultural roots; the ethics of conscience must also evolve with the level of the practitioner as
we demonstrate these examples kendo.
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Reflection on the cultural frameworks of ethics.

For if ethics should be in the quality of practice combat sport and martial arts, it is also expressed in gestural framework as models of salvation.
On this point, there is a big misunderstanding regarding the martial arts of Japanese origin.
Usually in serious clubs before training, by order of the older student who pronounced "seiza" it aligns all facing the teacher and facing the wall where the founder of
the photo is often displayed a school karate, judo, or Aiki-do. Everyone greets him on the order of "Shmen ni Rei".
Then, the teacher confronts the students and the order of "Sensei ni rei" teacher and students greet each other.
And sometimes on the order of "Otaga ni Rei" all students greet each other.
This ritual is considered "traditional", so serious practitioners apply it as the basis of ethics in martial arts. Somehow, they live the traditional authenticity of the
Japanese martial art.
However, much of this 'traditional' ritual is not considered traditional. The Japanese martial arts continued to be transmitted in the framework of strict social
samurai until the 19th century. So if we talk about the traditional aspect of ethics, we can not not refer to the culture and tradition of the samurai.
However, the samurai did not practice this type of salvation.
For brevity and come to the point, this form of salvation comes from Western military system, not the Japanese tradition.
If students line up on the order of "seiza" which is a Japanese word, it is because this act is a transposition of the alignment of the soldiers on the order of "care of
yourself." The samurai were not aligned in this way before or after their martial arts training. They lined up before their Lord, but not for their training.
The salvation before the founding master of the photo is a transposition of the military hello to the National Flag. The samurai did not practice at all this kind of
salvation. They greeted all their Lord, but the salvation of their martial arts master was more individual character.
The collective action model is part of military effectiveness, while the Japanese samurai only learned very late. We can say that they have learned to end their
existence as a samurai, since this model will become effective at the time of the samurai class will be replaced by modern military force from the European model.
These models than you think "traditional" were introduced to Japan from Europe in the years 1860-1870 with the military system.
In the 1850s, several hundred saber schools (kenjutsu) were recorded in Japan and each school had some peculiarities in their practice of ritual. It would therefore be
wrong to think that the model of salvation that we have seen above would be unique.
I raise just one question in conclusion.
Why should we refer to when practicing traditional martial arts tradition says, the content and manner of practice have evolved considerably yet? Why not think
about ethics from the quality and form of contemporary practice have largely evolved both in technique in order sought in the sports world?
PHD THESIS
PHD THESIS ON MIYAMOTO MUSASHI (1996)

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Presentation of a PhD thesis in language and culture of East Asia

"Miyamoto Musashi Japanese sword master of the seventeenth century, the myth and reality, the work and influence" by Kenji Tokitsu.
(Thesis 17 June 1993 at the University of Paris VII , Thesis supervisor Jean - Robert Nol).
Miyamoto Musashi, the legendary sword warrior and master of the seventeenth century Japanese is the author of a strategy treatise written about the art of the
sword, the Gorin- no- sho (Written on the five elements) which, despite the many difficulties of interpretation contained therein, is still one of the main references of
the study and practice of martial arts in Japan.
I present this book and all of the written work of Musashi and his students a translation, widely commented in an attempt to approach, in the most faithful way the
content. Like any translation, this work has raised questions philological but in addition, I was faced with the difficulty of making clear technical explanations for
students around Musashi and bodily attitudes within a foreign technique most readers. Make intelligible the technique was a crucial issue since it is through celle- it
Musashi develops its strategy design and wider life. To illuminate the text, I relied on a comparison between the various interpretations of this work in modern
Japanese and also on my practice and my studies karate and art of Japanese sword.
I was 20 when I read for the first time the main work of Musashi, the Gorin- no- sho. Musashi reading, I was looking mainly at the beginning of the technical
elements for the practice of karate. After a few years, I had the impression of having exhausted the technical thought Musashi because the field under his karate was
limited. However, I opened regularly Gorin- no- sho and I found later that the interest of the text changed over the years. Indeed, this book is more than a practical
manual sword because it deals with a conception of life and the strategy developed through the practice of the sword. Even in technical passages, Musashi does not
attach to detail but only the essential features of the technique. He often refers to the practice and real understanding, swords in hand. That is why the interest of
this work varies according to the degree of understanding, changing with the level of followers. This is a writing indicating the experience of one who has reached
the summit of his art. It can be understood by those who approach but it is not a guide for those who are at the starting point.
I first read Musashi seeking a method of martial arts that allows to practice all my life, as did Musashi. Since I was guided by Musashi in the way of karate, I should be
able to express my art with the sword, to hold a sword like an extension of my hands. I took the kendo that I practiced in my childhood. One of the specificities of the
School of Musashi is nito (simultaneous use of two swords), I so interested in the practice of kendo using both swords. I found that if in the middle of kendo, often
referred to Musashi text for technique and mindset to look in combat, practice nito however marginal and sometimes considered a deviant practice . I see this gap
between practice and referents which also exists in other respects one of the major problems of the modern kendo. With practice kendo, I started to read the Gorinotherwise no- sho and also other documents concerning Musashi and swordsmanship in general. I then proceeded historical and cultural study of the work of
Musashi seeking to arrive at a scientific rigor.
The usefulness of a synthetic work on Musashi struck me in reading Japanese books on the subject. There are several books that present original Gorin- no- sho with
a transcription in modern Japanese language, but it occurred to me that what we call modern Japanese language transcript contains many passages rendered by
circumlocutions that often match interpretations. These are, of course, the passages whose meaning is obscure and which I was wondering. By performing careful
comparisons and returning to the original text, I found some transcription errors and, to many, circumlocutions, distortions of meaning.
In addition, studies on Musashi Japanese have been very partial. Most are limited to the interpretation of Gorin- no- sho, quelques- each address technical and a large
number of small studies deepen discussions on the place of his birth and his relatives. Knowledge about Musashi and his ideas seem to be fragmented. So it seemed
useful to conduct a comprehensive study on Musashi by placing it in a vision of the history of Japanese sword and, more broadly, of Budo.
I started translating the Gorin- no- sho. For the reasons I just mentioned, it is hard work. Sometimes I frequently go back to my first translation after performing
several tests. I am aware that my final translation is far from perfect, but perfect actual translation is, it possible when the languages
are so different? If I pushed the
requirement, I would never have finished the translation because I can always find shortcomings. I understand now why Japanese authors used so frequently
paraphrases. Nevertheless, in French translation allowed me to explore a number of ideas that seemed self-evident in the Japanese text of which I discovered,
translating, they were imprecise. I tried to be as faithful as possible to the original text. And to inform the dual relation of thinking Musashi in swordsmanship and
thought of his time, I completed the translation of many comments.
To complete understanding of the major work of Musashi, the Gorin- no- sho, I compared with Hyoho sanjugo- ka jo treated saber he had written two years earlier,
the text overlaps extensively that of Gorin- no- sho. I have translated the passages where he expresses different ideas. I also translated the texts written by his
disciples and followers who continued his school, in order to better understand the ideas of Musashi and the influence they have had thereafter. I noticed, bringing
these texts, as Musashi was incomparably clearer and more beautiful though it is difficult. I see evidence of the extent of the culture of Musashi.
I also give a translation of the other writings of Musashi, some early texts, and a major work, the Dokkodo (The way forward only) wrote a few days before his death
when, for his disciples, he condenses his thought in twenty-one precepts.
The study of the life of Mr. Musashi was conducted with the objective to show the specificity of his sword art and try to identify the origins. I'm an update on the
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biographical material known to date and discussions to which they gave rise, for example, the date and place of his birth, there are several conflicting documents.
Musashi is often regarded as a self-taught but this study gave me the belief that he received a serious traditional training on which he was able to build its new
technical ideas and special, and I looked for the sources. One of them is the art of jitte transmitted in his family for the generation of its rear- grand- father and that
he would have learned very young under the direction of his father. The jitte is handled with one hand holding a large sword on the other. I hypothesize that this
technique was later an important support for the development of its technology by replacing the two swords jitte a short sword.
Musashi's life has led to controversial interpretations. True, he managed to acquire a reputation as a great follower of the sword, but it is often assumed that his life
is a warrior of failures. He could not get it, as he wished, Shogun master of the place or one of the three largest Lords. Now it seems that Musashi felt its value
sufficient to refuse to enter the service of the Lord of lesser rank. He refused the compromise and preferred to live without God. This allowed him to freely deepen its
swordsmanship and strategy. So I do not think Musashi has failed in his life as a warrior went through his art. He assured the succession of his name and the
continuity of the family through his adopted son Iori was a great warrior and administrator who has fully assumed its role.
Over and beyond the biographical episodes, I have sought to situate the work of Musashi in the history of the Japanese sword art and to show the influence and
continuity to the modern era in the technical and in a battle of the art design that revolves around the concept of "defeat without passing shot."
In Gorin- no- sho, Musashi defines the major phases of its evolution: "I trained in the way of strategy since my youth and, at the age of 13, I fought for the first time in
duel. ... At the age of 21, I went up to Kyoto and have fought a duel with several followers of the famous schools saber but I never lost. Then I traveled to several
lordships and regions to meet the followers of different schools. I fought over sixty times but not once have I been defeated. All this happened between my
thirteenth and my twenty- eighth or my twenty- ninth year. At the age of thirty, I thought, and I realized that if I had won, I had done without having reached the
final stage of the strategy. May be because my natural disposition for channel had prevented me to depart universal principles might be because my opponents
lacked capacity strategy. I continued to train and look at the morning night to reach a deeper reason. Arrived at fifty, I naturally found myself in the way of strategy.
Since that day, I saw no need to seek the path further. When I apply the rationale of the strategy to the path of various arts and crafts, I do not need to master in any
field.
Read this summary of Musashi's life involves a risk of ignorance of the human dimension of the Japanese culture of his time. I feel a kind of break between the
subject of study and intellectual attitude with which we approach today a culture where the weight of words was important because they are used little, with an
obvious presence of the body. The intellectual approach we make the perfect abstract death. Studying the culture of Japanese warriors through the filters and the
language of French culture instilled in me violent interrogations and I sometimes wonder if the feeling of being connected with the past by the words is not
fictitious. With its singularities, Musashi reflects the sensitivity of the sixteenth and seventeenth centuries. The design of the body, death and the world are different
from ours. How can we approach the feelings of the time without trying to take this dimension?
Reading the papers on modern Musashi, I had the feeling that our contemporaries tend to appreciate his writings from the standpoint of literature, aesthetics or
ethics, from a strictly modern design performing a movement of ideas of death and the body, the fundamental basis of the work of Musashi. I had the sensation of
acute read Musashi designs related explicitations on the body and death made by authors whose interest lies elsewhere, framed by their experiences of intellectuals.
I wondered how even staying on the literary level, it was possible to appreciate this work without reference to the practice is based.
To overcome this problem, in the interpretation of technical aspects, I tried to approach as much as possible, the physical sensations evoked in the Musashi text by
immersing myself more in the practice of karate and kendo. When I manage to implement its technical and I have the feeling that his words impregnate me, I feel
physical sensations community. However, when I realize the design of the inherent died in his words, I feel that there is an unbridgeable gulf between modern
humans and saber followers of the seventeenth century. The physical sensation attests to experience community and at the same time heightens the feeling of
being abroad.
In the battles of his youth, losing means dying, sword there is death. A single misconduct and it is irreparable. The experience is unique, it is too late to learn a lesson
from his defeat to a later hand. Musashi forged his art in these conditions. It is inappropriate to wear on him a judgment from the sports battle criteria as do several
Japanese authors. We can roughly calculate that fought with the frequency of a fight every two months for ten years after the fighting was usually fatal. What
voltage this life a- t- it involved! Subsequently, after the age of 30, he entered a period of introspection and I think that's when it started to become familiar with the
practice of Zen. From the time of maturity, Musashi built a form of combat where it dominates his opponent without causing it to blow.
What is remarkable is that Musashi, at this time the duel was often fatal, conducted towards the end of his life fights where he defeated his opponent without
hurting even without wearing stroke. We need to see an extraordinary level rise of his art and also a radical change in his thinking about the sword. During a duel, he
now seeks to advance his opponent. After the fight, celui- it knows it would be death if Musashi had extended his gesture and that experience leads to introspection.
He faces technical failure, which refers to its way of living the moment of combat, in short, the failure in his way of being. He was in a position to die but lives. He sees
his life through the phase of death and life phenomena then appear in their relativity, on the dark background. This experience embodies the Buddhist idea that
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death is already apparent in the birth, the separation in the encounter, the light in the darkness. When the shape of the battle requires this attitude, the sword
ceases to be the weapon which kills and turns into sword that gives life.
I see in this example an original form of the ideal of the current kendo. Indeed, in kendo at the highest level, before all the footwork, the followers compete in the
interference of their vital energy called ki. The remarkable point of kendo, which distinguishes it from other disciplines, is to have preserved this area of
confrontation by placing it as the highest goal. It is here that the battle of kendo is designed as a human formation means. It is also by this that distinguishes combat
sports and serves as a model for other disciplines of Japanese martial arts. I think this achievement is an embodiment of traditional Japanese culture. At the same
time, it gives content to the formation of man that carries the contemporary notion of Budo. For it is from a tension towards human training that budo is defined.
This approach conceals, in my view, the possibility of developing certain human capacities currently left in the background. By cultivating this legacy we can find
through the contemporary budo teaching a way of life.
The study of the work of Musashi shows that the original form of the idea of the modern Budo is clearly present in his approach. I have sought to clarify how his work
influenced the art of the sword, how it is, even today, recovery and interpreted by contemporary Budokas. I have tried to define the type of relationship between the
opponents and the different sub-concepts underlying physical combat experience that open to the possibility of formation of both mental and physical. Musashi is
unique, but in the history of the Japanese sword, it is not the only one to have reached this level of awareness and technique. The study of Budo takes us through the
physical practice, to a broader question about the Japanese culture and, in particular, on the transformation of relationships with others, and I propose to continue
the development practical and theoretical.
Archive document written in November 1996 by Kenji Tokitsu - published in Cahiers Cipango Japanese Studies 5. INALCO
University Centre Dauphine, Paris
PHD THESIS
NEWS OF THE THOUGHT OF MIYAMOTO MUSASHI (1994)

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News of the thought of Miyamoto Musashi (1994)

Miyamoto Musashi (1584- 1,642)
Miyamoto Musashi is probably the most famous sword master in the West. It is the same in Japan at a much larger scale. People who are not interested in martial
arts, children, women, young ... they all know.
Musashi is known primarily by his book "Gorin- no- sho "(Written on five elements). In addition, since the eighteenth century, several popular dramas were inspired
by the story of Musashi and were often represented, which made
him popular but at the same time highlighted the distortions of historical facts and his personality.
But what is definitely a legendary master Musashi in Japan Eiji Yoshikawa's novel published on the eve of World War II. This novel entitled "Miyamoto Musashi,"
was translated into French under the title "The stone and the sword." It must be recognized that there is a lag between the translation and the original book by E.
Yoshikawa. The Japanese found in the image Musashi presented by the pen of Yoshikawa, a perfect representation of man: that which, with its strengths and
weaknesses, to move beyond feelings and persevere in the effort to improve, enhance and who manages to understand the deeper meaning of life through a
deepening of the art, the art of fight ... Some call Yoshikawa Musashi Musashi's character described by Yoshikawa writer who touched and thrilled sensitive fibers of
the heart of the Japanese.
The Musashi image in Japanese
Of all the Japanese sword master Miyamoto Musashi is probably best known in the West. It is the same in Japan at a much larger scale. People who are not
interested in martial arts, children, women, young ... they all know. Musashi has long been known in Japan, mainly through his book "Gorin- no- sho "(Written on five
elements). In addition, since the seventeenth century, several popular dramas were inspired by the story of Musashi and were often represented, which made
him
popular at the same time highlighted the distortions of historical facts and personality . But what is definitely a legendary master Musashi in Japan Eiji Yoshikawa's
novel published on the eve of World War II. This novel entitled "Miyamoto Musashi," was translated into French under the title "The stone and the sword." It must be
recognized that there is a lag between the translation and the original book by E. Yoshikawa. The Japanese found in the image Musashi presented by the pen of
Yoshikawa an ideal representation of man: that which, with its strengths and weaknesses, to move beyond feelings and persevere in the effort to improve, develop
and who manages to understand the deeper meaning of life through a deepening of the art, the art of fighting ... Some call Yoshikawa Musashi Musashi's character
described by Yoshikawa writer who touched and thrilled fiber sensitive heart of the Japanese. A few years before World War I, a controversy developed about
Musashi among writers dealing with historical subjects. While some appreciated the quality and value of his works, level saber and personality, others belittled
them. Yoshikawa was involved in this wave of controversy over Musashi but he preferred not to make his views in a clear way at the time, saying, "I will express my
thoughts later. ". Indeed, some time after, he began to publish a series of operas entitled "Miyamoto Musashi" in the largest daily. The series lasted several years and
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caused the public passion. The controversy died out gradually washed away by Musashi image prepared by Yoshikawa. Thus was born the modern legend of
Musashi. Based on the novel of Yoshikawa, many films on Musashi was shot with the most famous actors, especially the late Toshiro Mifune. More than twenty
contemporary authors have written a fictionalized life of Musashi.
Best- seller in the USA and Japan.
During the last two decades, strategic thinking Musashi had another vogue with the "Gorin- no- sho ", the main work of Musashi. This trend began when the
Japanese knew that Gorin- no- sho became a best seller in the United States because American businessmen seem to have enjoyed, finding strategic ideas for wars
International economic. Americans auraient- there they found some secrets of the efficiency of the Japanese economy for years 70- 90? When this news spread in
Japan, the Japanese discovered the work of Musashi. Indeed, if all Japanese know the name of Musashi, few knew his work. More than a dozen books on the Gorinno- sho economic and political point of view have been published. The Japanese appreciate again Musashi considering that his book certainly contains important
lessons for economic strategy since American businessmen have so highly of. Thus, in books on Japan Musashi again become best- sellers.
Economic Strategy
What secrets therefore contains the book? I have read several books that have strategic thinking Musashi from Gorin- no- sho but the way economists interpret it
seemed to me not only crude and banal but sometimes wrong from a literary point of view. Subsequently, I corrected my judgment, wondering if it is not just these
banal and rudimentary principles that are lacking in the economic activities of today. Musashi always understand the phenomenon of the fight with two sides: the
individual and the collective. For him, the capacity that is developed by individual combat training must be transposed in collective struggles and overall military
strategy, hence the possibility of transposition in politics and economics. Faced with the reality of economic activity, we tend to be taken in details tangles of
immediate interest and, therefore, to lose sight of the overall situation. Sometimes we do a lot of savings to a level, while wasting a larger scale. Teaching Musashi is
on strategy in these two dimensions and he describes the way of sharp sword blade. This is probably the cause of the apparent simplicity of the text. But it is true
that businessmen do not attach great importance to the rigor of the text; they just need to get a background of education. Anyway, I think the American translation
of this text contains a lot of mistakes because in the French translation made
from the American book, I noted more than three hundred more or less serious errors
on the meaning of words and sentence construction, which distorts the original meaning of the text. This will not matter so much for those who are content to know
the outline but not suitable for serious reading. That's why I started to translate into French the full text of Gorin- no- sho rigorous way because I wanted this suvre
dear to me is known in its full sense. This momentum led me to the translation of other documents relating to art and Musashi's life and I decided to write a thesis. I
drew from this thesis at the University of Paris VII in Language and Civilization Far East, a book that was recently published (1998). Personally, for thirty years, I
regularly read the Gorin- no- sho by finding important lessons for my karate. This is for me an essential book.
The fighting Musashi
Musashi has delivered sixty duels in his youth, before reaching the age of 30. Most of his opponents have died. If we calculate approximately, he fought in a deadly
duel every two months for ten years. What voltage a- t- he lived! It's not that he stopped fighting for 30 years. It continues the way of the sword and battle many
times now seeking to meet the challenges of teaching. The quality of his fight turns after 40 years. When fighting against the followers of other schools, it kills any
more. He wins without a mortal blow. He wins sometimes breaking the bokuto (wooden sword) of the opponent, sometimes by dropping the sword by a stroke of
bokuto. Towards the end of his life, he seems to have acquired the ability to dominate the opponent by the emanation of a strange energy: ki. It gives some indication
of the state in the fight "Gorin- no- sho "because he wrote on the eve of his death, however, the meaning does not appear without careful consideration of its text.
Teaching and transmission
is often said that Musashi was self-taught because that's what Yoshikawa wrote in his novel. Some followers of Japanese martial arts think. But the reality is
different. He received a traditional education sword that was sent to his family. His father was a master Miyamoto Munisai saber and excelled in several other
disciplines such as jujutsu, spear ... His grand father Hirata Shokan had founded a fencing school O- ryu. It is based on the family learning Musashi developed later
personal techniques. The peculiarity of his sword is known as the nito: Technical two swords. But it is not the first to use the two swords. On the battlefield, when a
warrior was surrounded by enemies, it often spontaneously used the two swords. Musashi has systematized this use in his school. We tend to think that, in the
school of the two swords, one fights using two swords, sometimes to deal, sometimes to slay. In modern kendo, short sword is used only to counter or to move the
sword of the enemy. When you give the opponent a blow with the short sword, the referee has hardly ever point. It's odd, but it's like that. In any case, we tend to
think we use the sword as a short-cut long sword. We hardly ever think of a more spontaneous technique launch a sword. Indeed, when using the two swords, one
had to know start short sword. Musashi excelled at the launch of the sword and knife. According to a document, "Musashi was able to pierce a floating fishing on a
stream by launching its short sword. ". It has also developed a special form of throwing knife. His throwing technique is transmitted as the Musashi- ryu shuriken.
Some schools founded from Musashi teaching have specialized in the technique of launching short sword in battle. In this case, the right-hander has the short sword
in his right hand. But the technique of throwing sword is most effective when the opponent ignores this possibility. This is why the technique of throwing sword was
not passed an open manner. At the time of the samurai, in a duel, if you were holding the long sword in his left hand and short sword in his right hand in au waving
the top of the right shoulder, your opponent could have been warned to beware a possible launch of the short sword. But if you hold them in contrast to the way a
left-handed, it is not wary. Musashi seems to have been left-handed.
The influence of Musashi in budo
technique of the two swords, nito, has often been seen in modern kendo as "perverse"; therefore, few followers used it. However, this technique is beginning to be
appreciated in modern kendo again. Regardless of the technique, strategic and technical thought Musashi was cited repeatedly by masters of kendo since the
seventeenth century. If its technical thought directly influenced the other sword schools and also the naginata, spear and stick, strategic mindset influenced jujutsu,
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judo and karate also. For example, the late Oyama Masutatsu, founding master of karate Kyokushinka, took Musashi model. Like him, many karate masters are
inspired by the life of Musashi. But in most cases, the image of Musashi rather corresponds to that forged by the writer E. Yoshikawa at historical figure. In this sense
too, Yoshikawa has touched the spirit and sensibility of Japanese. The influence of Musashi is therefore exercises in two ways: by his work, the Gorin- no- sho and the
novel.
The School of Musashi today
Musashi The School continues today under the name of Niten Ichi-ry . Several masters proclaim the true heir of his teaching. In 1986 I visited master Masayuki
Imai, head teacher of a current school Musashi. (See photo). He showed me a bokuto has made
Musashi. I was moved by taking this bokuto Musashi was a daily
instead of a cane. It struck me by the nobility of its shape and its perfect balance. On the blade of bokuto, was engraved a poem: Kanryu Tsuki wo Obite Sumerukoto
Kagamino gotoshi. I translate this poem: Like a mirror, the current of a river winter reflects the moon, yet it is transparent. Reaching into the ice and fast water
evokes a cold sharp as the sword blade. The speed is also the dynamism of combat. At the same time the surface of the water gives the image of purity and calm. If
the surface is disturbed, the moon will be fragmented. This poem, often cited to describe the state of mind of the sword shows in fact comprises two types of violence
and calm.
Kenji Tokitsu
NOT RATED
KATA: TEKKI OR NAIFANCHI BY SENSEI TOKITSU

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Following the final stage in Paris (18/19 January) during which Sensei alluded to Tekki kata or Naifanchi, here is a piece of text written by Sensei
Kata: Tekki or Naifanchi
The majority of modern karate kata named Tekki know (or Naifanchi). Team trains to kata in a stable position by moving just a step and a half on the right and the
same on the left while keeping the hips in front. There are only few moves and technical movements. What makes some people say:
" It is a kata to cultivate and develop stability. "
By observing this kata, those who do not know him, could say that moves like a puppet.
Indeed, if today karate kata train that is to take the exam to brown belt in most cases. There are many other more dynamic kata, more interesting and spectacular,
the exercise gives the impression to train for progress. Sometimes a karateka old or tired chooses this kata for the demonstration because its performance is less
tiring.
However, under the current karate SHURITE tradition, the oldest of Okinawa, it says:
The essential techniques of karate are all contained in the kata Nafanchi (Tekki).
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Note that the current characteristic Shuri Karate was known for its technical speed and movements like the waters of a torrent.
Compared interpretations given above, do not you think there is a significant lag? Y is there a big difference between contemporary practice mode of this kata and
the classical tradition of karate in Okinawa? Why do we say that this kata so little mobile, so simple and square contains all the essentials of karate which is
particularly mobile and fast?
By exercising this kata of officially for decades, can we find the essence of karate? Why is there such a large gap between what tradition says, and technical reality
that contemporary karate? There certainly has a reason; Which One?
Choki Motobu (1870-1941), Karate Master of Okinawa, has left significant traces in the history of modern karate. There are many anecdotes that demonstrate their
abilities and fighting qualities. It turned out he was an expert of kata Naifanchi (Tekki).
The qualities and capabilities of karate C. Motobu was well known for his strength, for speed attacks and the various movements that conforms to the Shuri Karate
expresses the tradition of Okinawa.
Why, he has such a big difference?
Let's take a quick look at the particularity of this adept.
The name of C.Motobu was known in Japan from the public fight he did in Kyoto in 1921 against a European professional boxer he knocked out in the first round. C.
Motobu was then 51 years old. Note that at this time, the average Japanese life span was 50 years. It is commonly said: "Life ends at 50 years." The 50-year-old was
considered an old man. Indeed, in the story of this fight, C. Motobu is a "old country."
A decade later, C.Motobu said about this fight: "In the fight against a boxer in Kyoto, I beat him by hitting him in the face jumping because it was great. It is effective
to hit jumping against a larger opponent. "
He also said:
"In the fight, I do not take any particular position ... My position is the same as in kata in combat. I bow my knees slightly as I do in kata Naifanchi moves freely and I
... "
The positionof kata naifanchi for C. Motobu was not that of a puppet, but one that allowed him to move freely. According to the documents we read today, it was also
used for attack and defense techniques based on kata Naifanshi.
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His life path is strewn with fights.
This is one of testimony:
" The Master Motobu was over 60 years old when I saw him fight a Japanese champion in boxing bantamweight. "
During their meeting, the boxer posed various questions to the Master replied. At some point, the Master said: "To understand the reality, we must actually do the
fighting. Attack me freely with all your strength by trying to knock me I will not hurt you "
The boxer was hesitant at first, but he began to accelerate his movements ... Taking his guard, the Master moved lightly by agreeing to the beat boxer ... Boxer
eventually launch all kinds of attacks. And each time, the Master walked close to the boxer as if he slipped in space and wore his fist between the eyebrows boxer
without pressing ... The same scene happened several times ... The boxer finally greet politely and said, "I can not do anything against you. I am totally dominated. "
1. Motobu lived similar experiences and some fool boxers became his student ...
Where is the difference between the kata Motobu and one you know? It will be an internship topics in Namur (15 and 16 March 2014).
KATA
NAIFANCHI
TEKKI
NOT RATED
ZANSHIN
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In Japanese martial art, you may hear the word zanshin. What does it mean? I will clarify the meaning of this term and add some personal interpretation.
I write this in response to the request of Vincent Leduc, my student karate Belgian, 6th dan. So I'm at the end of this text clarify this concept in relation to karate.
In Japanese dictionary, two meanings are given for the word zanshin. The instructions are short explanations, I add my own comments in italics.
1 - The spirit remains, or letting the mind remain.
- The spirit that will not come off.
- The failure to fully satisfy things or actions.
2 - The desired state of mind and practiced kendo or kyudo (archery).
In kendo: the mental attitude is maintained after hitting.
Hitting with the shinai (in kendo) corresponds to the action slay with the sword. The explanation of the dictionary means: having hit (Cloven) the opponent, your
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mind does not have to stop this action. You must be able to act against another potential adversary while maintaining alertness on the first opponent. It does not
suddenly stop gesture, or to continue this gesture in a vacuum. Even if the action stops, the mind is always in action without being on. Alertness, disposition, energy
remain while the action of attack seems completed ...
In Kyudo: maintaining mental tension after releasing an arrow.
Your body is in harmony with the target. You release an arrow. It hits the goal or not, your action continues to resonate in your body and your mind. The act of
shooting the arrow is over, but not the spirit to do this action, since the resonance of gesture continues to remain in you. Let an arrow does not mean the end of the
act of shooting the arrow.
In martial arts, we refer to the second direction.
The modern karate places great importance in the art for the realization of Kim whose concept is inspired by the idea of
zanshin we just saw.
If you have a karate training, I invite you to focus your attention on your body when you realize kime. What's happening in your body? You contract the muscles so
that your body will instantly blocks to express the strength and technical precision. The modern karate calls this form of expression strength associated with
technique.
If you compare the voltages to achieve Kim with what I have written in italics, you should be aware of some differences.
For, you are practicing a technique with Kime you for a moment frozen in a posture in which you express precision and strength of the gesture. If you could see
yourself, you would see that at this moment, you are stuck. If you observe more, you would see that you are prevented from making another move. Which means
that at this very moment, you are yourself forbidden to respond to any attack from another opponent. This can not be a martial art attitude.
This is one of the reasons why I personally consider that the implementation of Kim in modern Karate is not a success in the application of zanshin concept.
By comparing this with the comment that I added in italics, you could easily go for the difference. In the original Okinawan karate situation was quite different. (I'll
explain in other texts that one.)
One question remains.
If kime is inspired by zanshin in Japanese martial arts, so why the model of the current Kim did he appear? This question leads us to a socio-cultural and historical
reflection. I'll let you think about it. I would only like to present a few historical elements.
Previously, here's a little story to finish this brief reflection on the zanshin.
" A famous kendo master of the 20th century was having tea with his student on a terrace overlooking the garden. The student asked a question about what the
master zanshin. In response, the teacher suddenly threw the contents of tea in the garden. Then he pointed to the bottom of the cup which remained a few drops of
tea. He said, "That's the zanshin.
Brief historical overview of modern karate
I mean modern karate a set of current and karate schools trained and developed after 1920 on the main island of Japan. I distinguish four periods in the history of
modern karate.
1) First period (1921-1945).
The introduction of Okinawan karate on the main island of Japan. It begins in 1921 and continues to the end of the Second World War. This is an attempt by a period
of Okinawan karate alloy with the tradition of Japanese martial arts.
2) Second period (1945-1970).
After the war until late 1960. This is a formation of modern karate karate combining the first period with a tendency to athletic competition. It was the birth of what
is called "traditional karate".
3) Third period (1970-1990).
After the first Karate World Championship in 1970 in Tokyo, karate has boomed worldwide. Based on the wave of Bruce Lee movies will come a few years later,
karate has experienced real expansion in the world until the late 80s.
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4) Fourth period (1990- until now).

Since the 90s, karate enters a period of regression. The popularity of the previous period dwindling, the number of practitioners decreases. Meanwhile, Chinese
martial arts, including tai chi chuan, are experiencing a surge of public appreciation.
Conclusion
In this historical classification of modern karate, we are right now in the fourth period.
I think the concept of Kime was formed and developed during these historical periods when karate was to train as a martial art discipline both traditional and
sporty. The modern karate was to develop as spectator sport while maintaining simplicity of traditional Japanese martial art.
In a way, the modern karate is the product of a dilemma: to train for the show while managing to maintain sobriety of the martial art. We see well in the story of the
cup of tea: how can we make a show with a drop of tea at the bottom of a cup? Thinking about zanshin is the answer.
ZANSHIN
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3/4/2015

SUMMER INTERNSHIP 2015 DR. YAYAMA AND ME TOKITSU IN

Dr. Yayama and Sensei Tokitsu in Barcelona

Dr. Yayama & Sensei Kenji Tokitsu

There are 80 places available , registration is open until May 1, 2015.

Oskar Gutierrez, jiseidoatTokitsu.es

ARTICLE DRAGON 2014

WHAT PATH, WHAT METHOD?

The reflection on the martial arts method

2014 Tokitsu in Ristu-Zen

Chen Changxing (1771-1853)

Does this not freedom in the sense of the term fair?

TAI CHI CHUAN: ORIGINS AND POWER OF A MARTIAL ART

Tai Chi Chuan: Origins and Power of a

Understanding Taichi Chuan in its history

Luchan Yang (1799 -1872)

Tai Chi Chuan Tokitsu Vico Corse 2014

2014 RitsuZen Tokitsu

THE BUDO ACROSS CULTURAL BARRIERS (1998)

The Budo beyond cultural barriers

Transmission by the Japanese Budo

Budo problem for foreign fans

A key for Budo

the double component of violence and calm.

Ki and Japanese culture

Conventional methods of development of ki

Achieving ki by the kata method

flow naturally. We can say that the exercise of this

The energy method

X Text Transcript issued March 14

STUDY OF THE LOGIC OF THE BODY (1995)

social groups. Cellesci

The two principles of displacement

Teaching immersion trip

Enrollment in one body design

ETHICS AND COMBAT SPORTS - INTERNATIONAL SYMPOSIUM TOULOUSE UNIVERSITY

On this occasion, I made a conference that would interest my students.

I put the contents of this conference to them in my column this month.

Ethics in sports games or martial arts?

Here is the first example

A question arises: what should be the role of ethics in sports rules?

Here is the second example.

Here is what touched me most about teaching.

One day after training, while drinking tea, he said:

The following example will better understand this situation.

This is the third example.

This is a perfect victory.

What lessons can we draw from these three examples?

Reflection on the cultural frameworks of ethics.

However, the samurai did not practice this type of salvation.

PHD THESIS ON MIYAMOTO MUSASHI (1996)

Presentation of a PhD thesis in language and culture of East Asia

NEWS OF THE THOUGHT OF MIYAMOTO MUSASHI (1994)

News of the thought of Miyamoto Musashi (1994)

KATA: TEKKI OR NAIFANCHI BY SENSEI TOKITSU

Kata: Tekki or Naifanchi

" It is a kata to cultivate and develop stability. "

Why, he has such a big difference?

Let's take a quick look at the particularity of this adept.

His life path is strewn with fights.

This is one of testimony:

4) Fourth period (1990- until now).

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