sábado, 30 de junio de 2012

Vocabulario básico de Aikido

Vocabulario



* AGATSU Victoria sobre uno mismo. De acuerdo con el fundador, victoria verdadera. (MASAKATSU) es AGATSU, entonces MASAKATSU AGATSU
* AIKIDO Ai armonía, Ki vitalidad, Do camino
* AIKIDOKA Persona que practica AIKIDO, tiene la connotación de experto y por lo tanto no se debe usar para referirse a uno mismo.
* AIKIKAI Asociación de Aikido creada por Morihei Ueshiba
* AI HANMI Guardias iguales para UKE y NAGE
* AI NUKE Escape mutuo. Nadie sale lastimado
* AI UCHI Muerte mutua, los dos AITEs mueren. Tradicionalmente en las artes marciales se consideraba el estado ideal. Espíritu de IKKYO OMOTE por ejemplo.
* ASHI SABAKI Desplazamientos de pies
* ATEMI Golpe con el propósito de distraer
* BOKKEN o BOKUTO Espada de madera
* BUDO El camino de las artes marciales
* CHOKUSEN Directo, eg. CHOKUSEN NO IRIMI
* CHUDAN Nivel medio
* CHUSHIN Centro
* DAN Grado de cinta negra
* DO camino
* DOJO El lugar de practica
* DOJO CHO Director técnico
* DOMO ARIGATO GOZAIMASHITA Muchas gracias por lo que hiciste.
* DOSHU Máxima autoridad del IAF, Kisshomaru Ueshiba.
* FUDO SHIN Mente inmovible
* FUKUSHIDOIN Instructor asistente
* FURI KABURI Movimiento de levantar la espada, IKKYO
* GEDAN posición baja GEDAN NO KAMAE
* GI, DOGI, KEIKOGI Ropa para practica
* GYAKU HANMI Posturas opuestas
* HAKAMA faldón usualmente para grados DAN
* HANMI Postura triangular
* HANMI HANDACHI NAGE sentado, UKE de pie
* HAPPO 8, ejemplo:. HAPPOUNDO, HAPPOGIRI
* HARA Centro donde se concentra la energía y masa en el cuerpo, fuente de Ki
* HASSONOKAMAE Postura del 8
* HENKA WAZA Variaciones de técnicas y combinaciones
* HOMBU DOJO DOJO central
* HIDARI Izquierda
* Hiji Codo
* IRIMI Entrar al cuerpo
* JINJA Templo AIKI JINJA templo en IWAMA
* JIYU WAZA Forma libre
* JO Palo
* JODAN Posición alta, ejemplo: JODANNOKAMAE
* KACHIHAYABI Victoria a la velocidad de la luz. Cuando se a logrado estado de control total sobre uno mismo y perfecta armonía con el universo AGATSU se es uno con el universo y la mera intención de alguien de romper el estado de armonía es suficiente para vencer, instantáneamente. La vida humana es una vida de amor AI y el amor no tiene enemigos
* KAESHI WAZA Contra técnica. Forma avanzada de entrenamiento
* KAISO Fundador
* KAMAE guardia
* KAMI Dios o fuerza divina
* KAMIZA Altar
* KANSETSU WAZA Técnica de control sobre coyunturas
* KATA hombro o forma predeterminada
* KATAME WAZA técnicas de control
* KATSU JIN KEN Espada salvadora. Técnicas desarrolladas con la intención de no lastimar al AITE
* KEIKO Practica
* KEN espada
* KENSHO Iluminación
* KI Vitalidad
* KIAI Concentración de energía con voz
* KIHON básico
* KI MUSUBI KI NO MUSUBI Liga de KI con el AITE
* KOHAI Estudiante con menos experiencia
* KOKORO Corazón o espíritu
* KOKYU Respiración, ejemplo: KOKYU HO, KOKYU RYOKU
* KOTODAMA Practica religiosa usando sonidos
* KU vacío
* KUMIJO Practica de parejas con JO
* KUMITACHI Practica de parejas con BOKKEN
* KUZUSHI Romper el balance del AITE
* KYU Rango de principiante
* MA AI Distancia correcta
* MAE frente
* MASAKATSU Victoria verdadera
* MIGI Derecha
* MISOGI Ritual de purificación
* MOCHI Agarre
* MOKUSO Meditación
* MUDANSHA Estudiante no cinta negra
* Mune, muna Pecho, solapa
* MUSHIN Mente limpia o en blanco; sin mente
* NAGARE fluido
* OBI cinta
* OMOTE Frente
* OMOTOKYO Grupo religioso al que perteneció Morihei Ueshiba
* ONEGAI SHIMASU Por favor
* OSAE WAZA Técnica de control
* OSENSEI Gran maestro Morihei Ueshiba
* RANDORI Estilo libre. Ataques múltiples
* REIGI Etiqueta
* SATORI Iluminación
* SENSEI Maestro
* SEIZA Posición sentado
* SEMPAI Estudiante mas avanzado
* SETSU NIN TO Espada que mata
* SHIHAN Maestro de maestros
* SHIKAKU Angulo muerto, punto ciego
* SHIKKO Caminar de rodillas
* SHINKENSHOBU Duelo con espadas afiladas
* SHINTO Religión japonesa
* SHODAN Cinta negra
* SHOMEN frente de la cabeza, frente del DOJO
* Sode Manga
* SOTO Fuera
* SUBURI Practica individual con JO o BOKKEN
* SUKASHIWAZA Técnicas de anticipación
* SUKI Abertura o falta de concentración.
* SUTEMI Abandono del cuerpo para realizar una técnica
* SUWARI WAZA Técnica sentado
* TACHI Espada o posición de parado
* TACHIWAZA Técnica parado
* TAIJITSU Practica sin armas
* TAINOHENKO TAI NO TENKAN Vuelta 180 grados con AITE
* TAI SABAKI Desplazamiento
* TAKEMUSU AIKI AIKIDO
* TANINSUGAKE Practica contra ataques múltiples
* TANTO cuchillo
* TE Mano
* TEGATANA Mano de espada
* TENKAN vuelta
* TENSHIN salida a 45 grados
* TSUKI Golpe recto
* UCHI Dentro
* UCHIDESHI Estudiante que vivió con Ueshiba
* UESHIBA KISSHOMARU DOSHU Hijo del fundador
* UESHIBA MORIHEI KAISO
* UESHIBA MORITERU DOJOCHO Nieto del fundador
* UKE Persona que recibe la técnica
* UKEMI Técnica de recibir sin lastimarse y manteniendo contacto con NAGE
* URA atrás
* USHIRO Hacia atrás, ejemplo: USHIRO UKEMI
* WAZA Técnica
* TORI o DORI agarre
* YOKO Lado
* YOKOMEN Lado de la cabeza
* YUDANSHA Cinta negra
* ZANSHIN Concentración; continuar la técnica mentalmente
* ZEN Budismo
* ZORI sandalias

13 jo kata


YouTube - 13 jo kata.




Cancer

DESPUÉS DE MUCHOS AÑOS DE DECIRLE A LA GENTE QUE LA QUIMIOTERAPIA ES LA ÚNICA MANERA DE TRATAR (tratar literalmente) Y ELIMINAR EL CANCER, EL HOSPITAL JOHN HOPKINS ESTA FINALMENTE EMPEZANDO A DECIR A LA GENTE QUE HAY ALTERNATIVAS:


tomar agua en la hora correcta

  • 2 vasos de agua después de despertar ayuda a activar los órganos internos.
  • 1 vaso de agua 30 minutos antes de comer ayuda a la digestión.
  • 1 vaso de agua antes de bañarse ayuda a bajar la presión sanguínea.
  • 1 vaso de agua antes de irse a dormir evita apoplejías o ataques al corazón.
  • 1 vaso de agua antes de hacer el sexo ayuda al relajamiento del organo femenino
  • 2 vasos de agua ante de ingerir bebidas alcoholicas ayuda al higado
  • 1 vaso antes de enojarse ayuda a tomar las cosas con calma

Demostración de Shioda



YouTube - 養神館合気道、aikido Shioda Gozo demonstration 1978-1981

jo (杖)

Formas de jo





The technical curriculum of Iwama Aikido

After examining the structure and organisation of a number of technical curricula from other Japanese Martial Arts, I realised that the Aikido Curriculum is arranged, from basic to advanced, in a completely different and unique way to these other arts. There are no secret techniques in Aikido, nor does it draw any distinction between Shoden, Chuden, Hiden and Okuden levels of teaching that the Koryu (Classical) arts do. Instead, Aikido techniques are graded from basic to advanced by levels of technical complexity, both in taijutsu (hand-techniques) and bukiwaza (weapons). While probably not as extensive as the curriculum of Daito Ryu Aiki Jujutsu or other Koryu arts, Iwama Aikido does retain a large number of techniques as compared to other styles of Aikido.


Techniques are divided into three main groups, Aiki Tai-jutsu (body techniques, or empty-hand), Aiki Ken jutsu (sword techniques) and Aiki Jo jutsu (stick techniques). These three major groupings of techniques are inter-related through the innovative concept of Riai that O-Sensei developed during the Iwama period. There are also a number of supplementary groups of techniques, such as Tanto-dori (knife-taking), and Tenugui waza (techniques with a hand towel) both of which are included within tai-jutsu, Juken-dori (bayonetted rifle disarming), which are absorbed into Aiki Jo Jutsu, and Shuriken Jutsu (blade throwing), which was taught separately to uchi-deshi of Saito Sensei and probably did not play a role in O-Sensei's concept of Riai.

Finally there is a collection of movements which fall outside the categorisation of the above groups, but which are essential to all, and they are everyday movements such as rolling etc, which for lack of a better term I call Kyotsu Waza, common techniques shared by all.

A. Aiki Tai-jutsu


  • Categorisation method 1.
    This categorisation method shows techniques listed both in progressive order of technical difficulty, within labelled sections that describe each step of an attack/defense movement.

    Techniques are named, when applicable, according to the following classification:
    a) Posture,
    b) Directional Aspect - Attack,
    c) Type of attack,
    d) Technique being executed,
    e) Directional Aspect - Defense,
    f) Method of finishing.

    Many combinations of these classifications are not possible, due to the nature of the movement of some techniques, however this categorisaion method is a simple and practical way of defining more than 1,000 techniques.


    1. Posture - 3 possible combinations of postures that attacker and defender can take

      1. Suwari Waza - both seated

      2. Hanmi Handachi - nage seated, uke standing

      3. Tachi Waza - both standing

      Suwari Waza is regarded as basic training, because it teaches basic principles of body movement, while helping to physically develop the hips and rest of body. Even though it is more difficult to perform than in standing position, it learned first in order to impart the correct principles of movement early in the course of learning.

    2. Directional Aspect - Attack - 2 possible directions from which an attack may come.

      1. Mae Waza - frontal attacks (including from side)

      2. Ushiro Waza - rear attacks
        Although Ushiro Waza techniques are essentially a repeat of all the frontal attacks, it is regarded as more advanced because of the added complexity of dealing with the opponent gripping from the rear. Attacks from the side can be adapted to become frontla attacks by a simple turn of the body. They are all grouped together because they are within the field of view, whereas attacks to the rear are outside the field of view, and so are treated separately to frontal and side attacks.

    3. Type of Attack - 24 different attacks, upon which the full range of possible attacks are based

      1. Shomen-uchi - palm strike to centre-line, raising

      2. Shomen-uchi-komi - edge of the hand strike to centreline from above

      3. Yokomen-uchi - edge of hand strike to side of body

      4. Katate-dori - wrist being grabbed by one hand of attacker

      5. Sode-dori - cuff below / shirt at elbow grabbed by one hand of attacker

      6. Sode-guchi-dori - inside cuff held

      7. Kata-dori - one shoulder grabbed by one hand of attacker

      8. Muna-dori - one hand grab/strike to centre-line, chest level

      9. Kosa-dori - wrist grabbed in reverse grip by one hand of attacker

      10. Tsuki - punch to centre line

      11. Ryote-dori - both wrists grabbed by both hands of attacker

      12. Ryo-sode-dori - both elbows grabbed by both hands of attacker

      13. Ryo-kata-dori - both shoulders grabbed by both hands of attacker

      14. Ryo-muna-dori - two-handed grab to centre-line, chest level

      15. Morote-dori - both attackers hands grab one arm

      16. Kata-dori/shomen-uchi (or tsuki) - shoulder grab and strike with other hand

      17. Muna-dori/shomen-uchi (or tsuki) - chest grab and strike with other hand

      18. Ushiro-eri-dori - neck lapel gripped by one hand from behind

      19. Ushiro-ryo-kata-dori - shoulders grabbed by attacker from behind

      20. Ushiro-ryote-dori - both wrists grabbed from behind

      21. Ushiro-eri/katate-dori - neck lapel and wrist grabbed from behind

      22. Ushiro-katate-muna-dori - wrist/collar at front grabbed from behind

      23. Ni-nin/san-nin gake - 2 or more persons grabbing

      24. Geri - variations on hand techniques against a variety of kicks

      These attacks are listed in order of progressive difficulty, as well as in order of basic principles being imparted through the training with such attacks. The attacks themselves are not absolute, and the list is not exhaustive, however, these 24 attacks define the full range of possible attacking movements that could be encountered by the Aikido-ka, according to the principles of "Takemusu Aiki".


    4. Technique being executed - 6 core techniques, with a further 4 regarded as variations of these techniques, and a further 3 regarded as specialised techniques.

      1. Ikkyo kara Rokkyo - 1st teaching to 6th teaching

      2. Shiho Nage - four directional throw

      3. Kote-gaeshi - wrist turning

      4. Irimi nage - entering throw

      5. Kokyu Nage - abdominal breath power throw

      6. Koshi Nage - hip throw

      Ikkyo kara Rokkyo refers to all the elbow taking techniques, Ikkyo, Nikyo, Sankyo, Yonkyo, Gokyo and Rokkyo, which are themselves ordered in a progression of technical complexity. Rokkyo was previously labelled as a separate technique: "hiji-katame", but now appears to be regarded as a progression from Ikkyo. The following techniques have their own classification, but are technically regarded as being variations of the above Movements


      1. Kaiten Nage - rotary throw (variation of sankyo)

      2. Tenchi Nage - "heaven and earth throw" (mixture of irimi & kokyu nage)

      3. Ganseki Otoshi - big rock drop (variation of irimi nage)

      4. Sumi Otoshi - corner drop (vaitaion of kokyu nage)

      5. Juji Nage - cross-shaped or cross-twine throw (specialised technique)

      6. Kubi Nage - neck throw (specialised technique)

      7. Aiki Nage - throwing with energy (specialised technique)


    5. Directional Aspect - Defense - 2 possible directions the defender can move against the attackers force

      1. Omote - entering across the front

      2. Ura - turning to the rear

      This directional aspect is the movement of the defender against the attacker, as opposd to the above, which is a movement of the attacker against the defender. Omote and Ura are treated as being equally as important, rather like two sides of the coin.


    6. Method of Finishing the techniques - 4 methods of dealing with the attacker.

      1. Nuke - escaping

      2. Atemi - striking

      3. Nage - throwing

      4. Katame, or Osae - pinning, or controling

      These finishes are listed in order of progressive difficulty, however it is Nage and Katame that is usually practiced, because if one in proficient in these, Nuke and Atemi are readily apparent. To make matters clearer, a technique name can be generated by following the path of movement through the above categories, from the beginning of the movement to the end, as seen in the chart below.

    7. For example, to classify a technique where you are attacked from the front by a standing attacker while you are seated, with a grip to your wrist, whereby you perform the 4 directional throw to their rear, finishing with a pin, the technique would be called "Mae hanmi handachi katate-dori shiho-nage, katame". If the technique was practiced as a solid exercise (see below), then you would add "kihon" at the end.



    1. Categorisation Method 2.
      This categorisation method defines the above techniques in a particular training method according to the type of martial principles being taught. Certain of the above techniques can be regarded as teaching basic principles, while others only appear in special circumstances, and all of the above techniques can be defined in terms of one of these training methods.


      1. Kihon Waza - basic techniques

      2. Henka Waza - variation of basic techniques

      3. Oyo Waza - applied techniques

      4. Sutemi Waza - sacrifice techniques

      5. Kaeshi Waza - reversal, or counter techniques

      6. Iko Waza - techniques to deal with counter techniques

      7. Jiyu Waza - free techniques

      These methods are listed in order of progressive difficulty and complexity, which is consistent with an increasing depth of martial principle.

    2. Categorisation Method 3.
      This categorisation method defines the level of intensity in physical movement and amount of intention in the mind of both the attacker and the defender when performing the movements.


      1. Ko Tai - "hard body" or solid,

      2. Ju Tai - "soft body" or flexible,

      3. Ryu Tai - "flowing body"

      4. Ki Tai - "energy body"

      This list shows the training method in order of progressive difficulty, which is consistent with an increasing development in performance. Ko Tai and Ju tai have come to be known as "Kihon" and "Ki-no-nagare" respectively, while Ryu Tai and Ki Tai have become grouped together to form what is known as "Ki-musubi". A distinction should be made between Ryu Tai and Ki Tai however, as Ki Tai is performed with the same physical movement as Ryu Tai, but with the most intense level of intention that borders on fully-intended attack.

    B. Aiki Ken Jutsu.



    1. Ken Suburi - 7 techniques - basic cuts and steps from ken kamae, starting from right hanmi

    2. Suburi Awase - 7 techniques, as above, but in conjunction with a partner

    3. Happo giri - 5 techniques - 8 directional cut from ken kamae

    4. Ken awase - 7 techniques - sword blending patterns with a partner, each with several variations

    5. Ki-musubi-no-tachi 1 technique - a 3 step pattern to practice awase, and introduce kumi-tachi)

    6. Kumi-tachi - 25 techniques, with partner, 5 kihon, each with 2 set sword and 2 set body variations, further variations

    7. Tachi-dori - 10 Techniques - sword disarming

    8. Ken/Tai Jutsu No Riai - 10? techniques, with 2 partners, showing relationship between sword and body movement

    9. Tanren Uchi - supplemental training, heavy striking

    10. Suburito Keiko -supplemental training with a heavy sword


    C. Aiki Jo Jutsu




    1. Jo Suburi - 20 techniques, basic strikes and blocks

    2. Roku no jo - 3 techniques, a 6 step combination of suburi that condenses to 4 step, with variations

    3. Tenkan Waza - 6 techniques, 180 and 360 deg. turning movements based on suburi

    4. Sanjuichi-no-Jo - 31 step kata

    5. Jusan-no-Jo - 13 step kata

    6. Jo Awase - 8 techniques, stick blending patterns with a partner

    7. Kumi-Jo - 10 techniques, applied techniques with a partner

    8. Sanjuichi-no-Kumi-Jo - partner practice to the 31 step kata (kata bunkai)

    9. Jusan-no-jo Awase - partner practice to the 13 step kata (kata bunkai)

    10. Jo Dori - 11 techniques, stick disarming

    11. Jo/Tai Jutsu No Riai, or Jo Nage - 10 techniques, throwing attacker who grabs stick

    12. Ken-Jo-no Riai (or Ken-Tai Jo) - 10? techniques, stick defence against sword


    D. Tanto Dori
    a) Tanto Dori - 10 techniques, disarming knife, based upon Tai-jutsu

    E. Tenugui Waza
    These techniques utilise the traditional Japanese cotton hand-towel (tenugui), and involve trapping the attackers arm and throwing. They are based upon taijutsu movements and are performed rarely, usually in a Demonstration setting. It is possible they derived from manriki-gusari (double weighted chain weapon) arts of the 19th Century and earlier.

    F. Juken Dori
    These are pre-War bayonetted rifle techniques that the founder trained in and taught while in the army, and have become absorbed into the Jo-Jutsu curriculum, however they still appear occasionally in Demonstration settings.

    G. Shuriken Jutsu
    While O-Sensei is not known to have studied, or even mentioned Shuriken Jutsu, the founder's teacher Sokaku Takeda and Morihiro Saito Sensei both were masters of this art, Negishi Ryu Shuriken Jutsu. Saito Sensei taught Shuriken to uchi-deshi after they had signed a "keppan" or oath of sincerity.

    F. Kyotsu Waza
    These are not really techniques as such, but movements and understandings that students need to learn to enable safe participation in traditional Japanese dojo life. Kyotsu means "shared by all" and simply refers to the common sense things that one should know when ina dojo.
    a) Shikko - moving around while kneeling
    b) Ukemi - falls, rolls, and high falls (tobu-ukemi)
    c) Osoji - cleaning
    d) Rei - Etiquette

    G. Kuden
    Kuden is the oral teachings and written material produced by O-Sensei over his almost 70 year martial career. It consists of calligraphy, poems, oral teachings, poems and writings, all of which contain further information and detail about the art the the founder taught. It is not all collected and kept in a single place, rather, it is spread out over private collections, reproductions in publications, on display in dojo around the world, and held in the memories of the remaining students of O-Sensei and their deshi.

    Descripción de kata de jo

    31-count jo kata and kumi-jo
    by Jonathan Diesch


    For this transcription, I have tried to avoid using japanese terms for various techniques, partly because I can never remember them all, and mostly because it will limit the number of ppl who can follow what I'm saying. This is only a description of the kata as I know it, and may bear no relation whatsoever to anything your sensei has taught you.

    Throughout this transcription YOU are 'doing' the kata side, HE is 'doing' the "anti-kata". numbers 1-31 are you, numbers 1a-30a are him!

    1a: starting L posture, he makes a straight thrust to your chest.

    1: Starting L posture, you step off the line to your L and make a reverse thrust over his jo, to the chest.

    2a: stepping back, and slightly left, he rotates his jo to cause a deflection of yours, taking your balance to your rear L, and then makes a straight thrust to your face.

    2: Stepping to your R, you raise your jo to protect your face, and block upwards, cocking your wrists as you do so, to keep contact, and stop his jo flying off into space. From here rotate your jo from under his to on top, and strike it down, taking his balance to his front R, and...

    3: Thust to his L floating ribs.

    3a: keeping the end of his jo low, he steps back into R posture, and turns his hips towards you, blocking your strike with his jo vertical. From here he makes a spiral movement with his jo, that brings on-line with your face, and takes your jo, and your balance, to your rear L. Then he makes a straight thrust at your face.

    4: You avoid this thrust by making a BIG step to your R, across the line, raising the jo to protect your face, NOT blocking him! As you bring the jo up, allow your back hand to slide into the middle of the stick, then let go with your front hand so that you can rotate the jo through 180 deg. catch the end again, step forward and...

    5: make a straight cut (shomen).

    5a: stepping back, he absorbs your cut by making an identical cut to yours, in mirror-image.

    6: So drop the end of the jo to your R, step forward, around the end of his jo, and cut again. You should now be in L hanmi.

    6a: he makes another identical cut, but is a little slow with it, this time you catch his jo, and send him off-balance to his rear L. He should now be in L hanmi.

    7: You now pivot to face the opposite direction, and make a straight cut to an imaginary persons' head.

    7a: he recovers his balance, and attempts a straight thrust at your back.

    8: You step forward, making shomen again.

    8a: he raises his jo to hit you on the head, stepping forward into R posture.

    9: You are in L posture, L hand forward on the jo. You raise the end of your jo to your front L, and then make (kaiten-ashi) by pivoting on the balls of you feet through 180 deg. then stepping FORWARD with your L foot. As you do this swing the jo round, and down diagonally, to strike at his knees. Ensure that you turn your wrists over so that you PUSH the jo round not pull it. If you pull you cannot stop the jo easily. Do not allow the jo to go further than 90 deg past his knees.

    9a: with his jo still raised he steps back (quickly!) then steps in again to strike your head.

    10: Step forward on your L foot, bringing the jo up horizontally under his elbows, to prevent him cutting you, IRL you go under his chin, or put the tip straight in his throat.

    11: now drop the end of your jo, allowing him to finish his cut, stepping round to your L, and making shomen.

    11a: he avoids being hit by drawing back, and meeting your strike,

    12: You are now in L posture, so is he. This is a neutral position. Release the jo with your L (back) hand, uncross your hands and grip the jo firmly, pointing towards him maintaining zanshin.

    12a: he does the same as 12.

    13: Step forward, L posture, and thrust to his chest.

    13a: he steps to his R, and spirals under your jo, as in no 2a, then thrusts at your face.

    14: Step across to your R, and avoid the jo as in no 4

    15: Make shomen as no 5.

    15a: he steps back, and makes a mirror image shomen, as no 5a. He is now in R posture, with the R hand forward.

    16: To avoid having the end of your jo smashed by his shomen, pull the jo back along your L side. Pull the jo with your back hand, through the front until the end of the jo is in your front hand, then push the jo through the back hand with your front. If you do this in reverse you will get your hand broken! Keep the jo in close to your body, with the front R hand at about chest height. You should be in R hanmi.

    17: Now step forward with your L foot, around his jo, and punch it forwards to strike his R knee.

    17a: he steps back into L posture, and simultaneously turns his hand over, allowing the end of the jo to drop, he puts his left hand in front of the R, and slides the R hand to the back of the jo. This blocks the knee strike, and exposes you to...

    18a: he draws his jo back, and makes a straight thrust at your knee/thigh

    18: you step forward and to the R, turn to face him, and rotate your jo through 180 deg. to strike his stick down with the back end, being carefull to keep the jo at an upward angle so that he is knocked down and away from you. This also exposes his leg, so...

    19: Draw back slightly, and thrust at his ANKLE.

    19a: he steps back, drawing his L foot out of the way, and turning to face you, as he does this he lifts the back end of his jo, so that is vertical, and blocks your ankle thrust to the side. At this point he thinks he can hit you on the head, so raises his jo for shomen uchi.

    20: You raise your jo to protect your head, but then realise that you can hit his R knee, so step forward and to your R, turning L to face him, and strike to the back of his knee, dropping onto one knee as you do so.

    20a: having raised his jo above his head for shomen, he sees you going instead for his knee, so steps back to withdraw the leg, and swings the jo back down to block your strike vertically.

    21: You pull you jo back against your side, to avoid it being hit, as in no 16.

    22a: he raises the jo to make a straight strike to your head.

    22: You are in R posture, sitting on your L leg, you stand up and step forward, bringing the back end of the jo forward, to thrust at his chest.

    23a: to avoid this thrust he pivots his lead foot, turning off the line, and facing you. the jo is still raised. He then slides the jo though his hands to thrust downwards at your chest, over the top of your jo.

    23: You step to your R side, turning to face him, and rotate the jo vertically through 180 deg. to strike his jo downwards and away from you, exposing his side.

    24: You make a straight thrust at his L side.

    24a: he pivots to his R, avoiding the thrust, then back to his original position, at the same time he drops the end of his jo under yours, and spirals it over the top, knocking you off balance to your front and L, this is similar to nos 2a and 13a, only upside down.

    25: You draw your jo back to regain your posture, and make another straight thrust to his ribs.

    25a: he turns to his L again, this time rotating the jo through 180 deg. vertically to strike your stick down. He then makes a straight thrust to your face.

    26: You make a BIG step back and slightly off the line to your R pulling the stick back to your R side, as in no 16

    27: Now step forward, punching the jo forwards to strike his knee as in no 17. You are now in R posture.

    27a: he steps back, dropping the front end of his jo to block

    28: Step forward, and to your L, moving past the end of his jo, and raise your jo ABOVE your head, so that you can thrust downwards at his chest/neck, with the lower end.

    28a: he lifts the front end of his jo to vertical, and steps back, avoiding the thrust. As he does so, he strikes the end of your jo sideways, and he finishes with the jo held vertically, to side of his head (hasso no kamae (?))

    29: When your jo is stuck sideways, allow it to rotate HORIZONTALLY through 180 deg. then drop the jo down to a mid-level position, and...

    30: thust at his chest (chudan tsuki).

    30a: he steps off the line to his R, and makes a straight strike to the end of your jo.

    31: Absorb the force of his strike, letting the jo travel naturally around your body, step forward and to your L, turning to face him, and strike him powerfully across the back of his head, caving in his skull, and finally finishing the whole business!

    You should finish in L posture, with your right hand forward on the jo. He should be flat on the floor, bleeding, or alternativley in R posture, with his R hand forward on the jo.

    This is not a perfect transcription, many of the techniques are really hard to explain in words, as you have probably seen(!) So dont take this as gospel! (also dont leap down my throat for getting it all wrong!) I am intending to put a pamphlet together with a full set of photos to illustrate this kata at some point, perhaps then it might make some sense :)

    Como una piedra

    Uno de los aspectos sorprendentes y fundamentales del Aikido, 合気道, es la proyección de energía vital, .



    Se pude ver en videos de Ueshiba como con una mano sostiene un jo, , contra el que empujan 8 o 10 personas y no lo pueden mover.

    En mis años de práctica una vez y solo una vez he experimentado algo parecido a eso. Después de que salí del ITESM, por algún tiempo continué yendo durante la mañana temprano a practicar. Iba de 6:30 a 8:00 en la mañana y regularmente solo asistía un estudiante. Era tranquilo, de baja estatura y robusto. Practicaba con entusiasmo y los ataques, cuando le tocaba hacer de aite (uke), 相手, los hacia con mucha fuerza e intensidad, entre probándose, probándome, y tratando de ser honesto. Siempre terminábamos con kokyu-hô, 呼吸法.

    Al practicar kokyu-ho, cuando me toca hacer de uke, 受け, normalmente hago un truco o trampa que consiste en mantenerme relajado y ofrecer resistencia solo cuando tori, 取り, trata de moverme. En aquel memorable día me senté relajado, en la actitud que los chinos llaman de los ojos suaves y tome las muñecas de mi compañero sin verme las manos y empecé a esperar a que tratara de moverme. Paso más tiempo de lo normal sin que sintiera ningún intento por parte del estudiante por moverme y caí en la cuenta de que estaba dando su 100 % por moverme y yo ni siquiera lo sentía. Justo en el momento en que me di cuenta de lo que estaba pasando, perdí mi concentración de la sorpresa y tori pudo moverme. Ni antes, ni después he logrado ese estado mental de ser inamovible.

    Cabe aclarar que la proyección de energía no es puramente mental sino que por supuesto se manifiesta en lo físico. En ocasiones en que me toman muestras de sangre puedo controlar el flujo de sangre por mi brazo proyectando mentalmente energía a través de mis dedos.

    Morihiro Saito; jo (杖)


    Aikido Morihiro Saito Sensei Jo techniques







    Asanas

    Efectos físicos, mentales y emocionales de distintas asanas

    Televisión japonesa

    Programa japones sobre la extensión de energia (Que tan real no lo sé)





    Biografía de Gozo Shioda

    Cuando Robert Kennedy visito Japón fue a una demostración privada en el Dojo de Shioda y socarronamente comento que se veía bien el asunto pero dudaba que Shioda pudiera aplicar sus técnicas a sus guardaespaldas. Así que escogieron al más fuerte y grande para hacer un ejercicio de kokyuoho. Shioda lo controlo con extrema facilidad y contundencia y el guardia alego que no había desayunado.

    合気道 富木謙治先生

    YouTube - Aikido Tomiki Kenji sensei

    Gozo Shioda

    YouTube - Budo : Aikido Shioda


    martes, 12 de junio de 2012

    Las conductas; ¿de qué te quejas?

    El Dr. Juan Hitzig es autor del libro "Cincuenta y tantos" Cuerpo y mente en forma aunque el tiempo siga pasando. En la página de Gerontología de la Universidad Maimónides se lee:

    No hay duda de que el ser humano vive cada vez más. ¿Cómo hacer para que esta longevidad no sea una acumulación de dolencias y enfermedades, sino una etapa vital, plena de experiencias y desarrollo personal?

    Las ideas centrales de este libro se basan en investigaciones que demuestran que alrededor de los cincuenta años se encuentra el Punto de Inflexión Biológica que define en qué forma envejeceremos. Transmitiendo experiencias y observaciones que ha hecho a lo largo de su carrera, el autor sugiere ideas y conclusiones que ayudarán a los lectores a acceder a una longevidad saludable. Tomando en cuenta aspectos biológicos, sociológicos, psicológicos e incluso espirituales, presenta una manera de encarar los próximos años que permitirá frenar el envejecimiento y renovar, con inteligencia, la segunda mitad de la vida de muchos.

    Profesor de la Universidad Maimónides y reconocido gerontólogo dedicado a estudiar las causas de la longevidad saludable sostiene con humor que:

    "El cerebro es un ‘músculo' fácil de engañar; si sonríes cree que estás contenta y te hace sentir mejor".

    Explica que el pensamiento es un evento energético que transcurre en una realidad intangible pero que rápidamente se transforma en emoción (del griego emotion, movimiento), un movimiento de neuroquímica y hormonas que cuando es negativo hace colapsar a nuestro organismo físico en forma de malestar, enfermedades e incluso de muerte. Con los años, el Dr. Hitzig ha desarrollado un alfabeto emocional que conviene memorizar.

    Las conductas con R:

    Resentimiento, rabia, reproche, rencor, rechazo, resistencia, represión, Son generadoras de coRtisol, una potente hormona del estrés, cuya presencia prolongada en sangre es letal para las células arteriales ya que aumenta el riesgo de adquirir enfermedades cardio-cerebro-vasculares.

    Las conductas R generan actitudes D:

    Depresión, desánimo, desesperación, desolación. En cambio, las conductas con S: Serenidad, silencio, sabiduría, sabor, sexo, sueño, sonrisa, sociabilidad,sedación, son motorizadoras de Serotonina, una hormona generadora de tranquilidad que mejora la calidad de vida, aleja la enfermedad y retarda la velocidad del envejecimiento celular.

    Las conductas S generan actitudes A:

    Animo, aprecio, amor, amistad, acercamiento.

    Fíjate que así nos enteramos de que lo que siempre se llamó "hacerse mala sangre" no es más que un exceso de cortisol y una falta de serotonina en la sangre. Algunas reflexiones más del Dr. Hitzig:

    Presta atención a tus pensamientos pues se harán palabras.
    Presta atención a tus palabras pues se harán actitudes.
    Presta atención a tus actitudes porque se harán conductas.
    Presta atención a tus conductas porque se harán carácter.
    Presta atención a tu carácter porque se hará biología. Practiquemos.



    Hace muchos años el poeta Rabindranath Tagore decía: "Si tiene remedio, ¿de qué te quejas? Y si no tiene remedio, ¿de qué te quejas?" Podría servirnos para aprender a dejar las quejas y los pensamientos negativos de lado y buscar en cada situación el aspecto positivo ya que hasta la peor de ellas lo tiene. De esa forma nos inundaría la serotonina con todas sus eses, la sonrisa se nos grabaría en las mejillas y todo ello nos ayudaría a vivir mucho mejor ese montón de años que la ciencia nos ha agregado. Porque, olvidaba escribirlo, el Dr. Hitzig ha comprobado con sus investigaciones que quienes envejecen bien son las personas activas, sociables y sonrientes. No las rezongonas, malhumoradas y avinagradas que nadie quiere tener cerca. Empecemos hoy practicando las eses frente al espejo para mejorar nuestro humor y cuidar nuestra salud. ¿Estás de acuerdo con el alfabeto emocional? ¿Qué abunda más en tu vida, R’s o S’s?

    lunes, 11 de junio de 2012

    Esteban Cervantes, "El Héroe de México".

    OCURRIDO EL 18 DE SEPTIEMBRE DE 2009
    CD. DE MÈXICO
    METRO BALDERAS



    Siempre persiguió la justicia, de niño le apodaron El Abuelo y practicó el box. Fue el único que intentó detener al asesino. ´Pudo haberla librado, pero la gente no lo apoyó´, dice su hijo.




    Solo los mejores, los que creen en sí mismos, los que aman su patria, son los capaces de sacar su coraje y valentía en una situación así, no son de los que se derrotan, no son de los que se apartan, Esteban Cervantes es de los que ni siquiera dudan, es de los que dan un paso al frente, el primero en en decir "yo voy, ¡ya basta!". Bravo a todos los Esteban Cervantes, que en paz descanses.

    lunes, 4 de junio de 2012

    sun exposure

    By JANE E. BRODY



    This is a plea to all children and teenagers, their parents and teachers, and the doctors who treat them: Please take sun exposure more seriously.

    Many parents, if not most, are very conscientious about protecting babies from the sun — as long as the infants are still being carried or are confined to a stroller. But once children become ambulatory, sun protection too often takes a back seat to the myriad challenges of getting out of the house with toddlers or bundling children off to school on time.

    Unless sun protection practices are established early in life as inviolable habits, akin to using seat belts in a vehicle, children become increasingly lax as they get older about preventing sunburns that can lead to life-threatening cancers decades later. In a study of 360 fifth graders over three years, Alan C. Geller, director of melanoma epidemiology at Massachusetts General Hospital, and his colleagues found that as the children moved into adolescence, the proportion who “often or always” used sunscreen declined to 25 percent from 50 percent.

    And once children reach their teens, sun protection succumbs to burgeoning feelings of independence and invulnerability, as well as the popular belief among teenagers that they look more attractive when sporting a tan. Few seem worried about the chances of developing wrinkled, leathery, blotchy skin decades later as a result. Fewer still seem to know that they are risking cancer.

    Yet childhood is the most critical time for avoiding sun-induced harm later in life. As much as 80 percent of a person’s lifetime exposure to skin-damaging ultraviolet rays occurs by age 18. Multiple studies have shown that the more youngsters are exposed to the sun early in life, especially if they suffer serious sunburns, the greater the risk of later developing both superficial skin cancers and deadly melanomas.

    The issue of sun protection is all the more important these days because the thinning of the ozone layer has rendered everyone more susceptible to skin-damaging solar radiation.

    An Avoidable Risk

    For all its marvelous life-giving properties, sunlight can also be damaging and sometimes lethal, even for those who “never” burn, tan easily or have naturally dark skin.

    Most babies are born with blemish-free skin. But once exposed to ultraviolet radiation, those destined to become blonds or redheads often develop freckles, a sign of increased vulnerability to sun damage. Even more serious, in white populations, childhood sun exposure increases the risk of developing acquired nevi, or moles, those melanin-rich lesions that can become melanomas.

    Unlike superficial forms of skin cancer, called basal cell and squamous cell carcinomas, melanomas are much more serious cancers that arise deeper in the skin and can spread and threaten life before they are detected. And it is not just the light-skinned who are at risk. Melanomas can also develop in people with very dark skin; while it may not burn as easily, darker skin is rich in the pigmented cells in which these cancers arise.

    Canadian researchers showed more than a decade ago that routine use of sunscreen by school-age children diminishes their risk of developing moles. The study, directed by Richard Gallagher of the British Columbia Cancer Agency in Vancouver, followed 458 elementary school children over three years. All were initially examined to count and measure how many moles they had.

    The children were then divided into two groups. The parents of both groups were asked to keep detailed diaries of their children’s sun exposure during the summer months. One group of parents was given educational materials and a supply of broad-spectrum sunscreen, SPF 30, and instructions to apply it whenever their children were likely to be in the sun for 30 minutes or longer. Each month, the amount of lotion remaining in the bottles was measured as a test of compliance.

    The second group of parents received neither the educational materials nor the free sunscreen, though many parents in this group did apply sunscreen to their children on their own. At the end of the study, the number and size of moles on both groups of children was reassessed.

    There was no difference in the amount of time the children spent in the sun or in how much clothing they wore. But the children whose parents got the educational information and sunscreen developed fewer moles than the children whose parents did not. And fewer moles, the researchers said, no doubt mean that these children will be less likely to develop melanomas when they grow up.

    “This is a true prevention study,” Dr. Gallagher said. “Parents need to know that if they intervene early, they can probably significantly reduce their child’s risk of skin cancer in the future.”

    In a 10-year study of 1,621 Australians ages 25 to 75, Adele C. Green of the Queensland Institute of Medical Research and colleagues found that those who used sunscreen daily on their head and arms developed half the number of melanomas as those who used it less often.

    Helpful Programs

    In an interview, Mr. Geller, a lecturer on health at the Harvard School of Public Health, cited several programs that could help change the sun protection practices of children. One is called SunWise, created for schools by the Environmental Protection Agency, which includes a “toolbox” of instructional materials that can help teachers incorporate sun protection messages into various subject areas, like math, social studies and physical education.

    Another is Pool Cool, developed by Karen Glanz, professor of epidemiology and nursing at the University of Pennsylvania, and designed for children ages 5 to 10. Lifeguards and parents at swimming pools are taught about the use of sunscreen, shirts and hats to reduce sun exposure.

    “A T-shirt has an SPF of 7 or 8,” Mr. Geller said. “A shot-glass amount of sunscreen should be applied to all exposed skin, including the ears, back of the neck and top of the feet, which are often forgotten.”

    In Australia, where skin cancer has long been epidemic, a “no hat, no play” policy as part of a broad-based emphasis on sun protection has made the country one of the first in the world in which skin cancer incidence is declining, Mr. Geller said.

    He also urged pediatricians “to take sun exposure more seriously” and to emphasize the importance of sunburn prevention at every visit with children. And, he said, sunscreen should be made readily available at pools and beaches.

    “We should be applying the lessons learned from tobacco, using clever public service ads and more emphasis in schools of the downsides of sunburn,” he said. “Kids need to hear messages about the impact of sun protection multiple times from multiple sources.”