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Tag: Tips & tricks

Seiza or Seiza?

kumafrAugust 11, 2010October 22, 2010

From Shiro Kuma's Weblog by kumafr

seiza no kamae

Whenever we are waiting or listening we naturally put ourselves in seiza no kamae. Over the years, this kamae has been assimilated and we do it without thinking. This is the objective we should have for every movement we learn in the dôjô; i.e. being able to do everything without thinking. By forgetting the self we forget the form and the flow is born.

One day I went with a buyu to attend a sadô seminar of the ura senke school in a Zen Rinzai monastery.

Even though we had explained to the superior priest and the sadô sensei that we were martial artists, our natural way of walking, kneeling, and standing was so natural that they suspected us from being sent by the Zen headquarters in Japan to check on them! Luckily we were not trying to infiltrate them like ninja.

seiza no sanshin (Arnaud, Beth, Eugenio)

The seiza 正座 or 正坐 (kneeling with the tops of the feet flat over the floor, and sitting on the soles) or the seiza 静座 or 静坐 (sitting calmly and quietly in order to meditate) are the same but differ in their meaning; the tai gamae (体構え) is the same not the kokoro gamae (心構え).

The first set of seiza is the one used in court when the samurai deserted the battlefields and the yoroi and began to live in the palaces. This is why one of the meaning of 正 is “righteous”. The second half being either 座 or 坐 and meaning respectively “cushion, seat, and “to sit”. From this we understand that seiza has the meaning of using the correct form of sitting 1) in general; 2) with a superior. It deals with the omote (表)

left over right foot

The second set of seiza is the one used in the temples for meditative purpose. The meaning of 静 is quiet, calm. Therefore “sitting quietly” can be done with or without a zafû (座蒲 or 坐蒲) and can be done even in fudôza (不動座). It deals with the ura (裏).

Technical tip: the left foot is on top of the tight foot to be able to draw rapidly the sword or to move from seiza to fudôza. Train these kamae.


… Read More

Sticks Up Today!

kumafrMay 15, 2010

From Shiro Kuma's Weblog by kumafr

A… Read More

Tips & tricks (7) Tachi Basics

kumafrMay 10, 2010

From Shiro Kuma's Weblog by kumafr

A… Read More

Tachi Tips & tricks (6)

kumafrApril 26, 2010

From Shiro Kuma's Weblog by kumafr

No harm

Yesterday during my seminar, one student was waving his sword held to his wrist by the rope at the tsuka kashira and the ring at the end broke releasing the sword.

Training weapons are NOT real ones and might break easily. Do not get over excited while training and keep high security levels. There was no harm but an accident could have happened.

We are now training with metallic blades instead of padded ones. Therefore our ways of training should adapt accordingly. Permanent adaptation is not to be applied only during the techniques but should include all the elements of the class in the dôjô. Adaptation is what tachi kumiuchi is teaching us. Stop thinking always in the same ways. Last month sensei said: “don’t hold to what you know or you won’t improve your skills”. The key point is to adapt.

A weapon designed for training purpose is still a weapon. Please be careful. You can influence the actions of a sentient being during the fight but there is no possibility to affect an in-animated object.

Be aware of this.


… Read More

Tachi Tips & Trick (5)

kumafrApril 25, 2010

From Shiro Kuma's Weblog by kumafr

various types of blades some being both...

When you get older your students get older too and you can learn from them!

Yesterday on tachi kumiuchi seminar at the Bujinkan France in Vincennes I learnt two things. One of my old students followed a few seminars to become a blacksmith.

I was teaching the particular way of waving the blade horizontally and was telling the students that the point of pivot is done around the first third of the blade. He told us that the sôri (curve) of the blade is not the same in a tachi and on a katana. The katana is balanced more or less at the middle of the blade but the tachi is often balanced at a point closer to the tsuba. The apex of the curve being closer to the hands it is logical (ans easier) to turn the blade from this point adding more momentum and speed to the blow. Remember that you do not cut with the blade but only try to get uke‘s balance. Also the burden of the yoroi makes it also easier to move the blade that way.

Rotate your blade  on itself and do not pivot from the kissaki (tip of the blade). A tachi is not a katana therefore your movements have to be different.

Also, you can find the same blade displayed with the katana mouting and the tachi mounting which confirms what I was writing in a previous post.


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