The next Instructor Development Workshop for Dentokan Aiki Jujutsu scheduled for January 16th at 10:00 a.m. at Shindokan Dojo/BBTMAC.
Monday, January 3, 2011
Instructor Development Workshop
The next Instructor Development Workshop for Dentokan Aiki Jujutsu scheduled for January 16th at 10:00 a.m. at Shindokan Dojo/BBTMAC.
Carl Long Kyoshi at Shindokan Dojo in February
Shindokan Dojo is proud to announce the return of Carl Long, Kyoshi to New England for a 2-day seminar in Muso Jikiden Eishin-ryu Iaijutsu and Ono-ha Itto-ryu Kenjutsu. Sensei will be here over the weekend of February 26th and 27th. We will post more information shortly, but for now, we look forward to Sensei's visit with great anticipation! Please contact me at shindokan1@gmail.com for durhter information!
Kagami Biraki 2011
Thanks to everyone who took part in Kagami Biraki at Shindokan Dojo/Black Bear TMAC; we had a great session consisting of brief (10 minutes) of sitting meditation, followed by 108 repetitions of a couple kosa dori variations (ude osae & konoha/kote gaeshi....54 of each). I hope everyone enjoyed the practice!
Monday, May 24, 2010
May Day Embu: Part 1
Shindokan Dojo/Black Bear Traditional Martial Arts Center conducted an embu (demonstration) on May 1st on the green by the Mystic River in beautiful, historic downtown Mystic, Connecticut.
The first portion of the embu was performed by youth who comprise the Black Bear Traditional Martial Arts Center Demonstration Team. The children, ranging in ages from 6 to 15, provided an excellent demonstration of traditional Shorin-ryu Reihokan Karate-do and Kobudo. This is especially significant, given our era of so-called “martial arts” studios” in which authentic, traditional martial arts for children are eschewed in favour of over-hyped, pretend martial arts (using the terms “martial” and “art” very loosely here) that are nothing more than flashy, glorified acrobatics and dance routines in silly looking, multi-coloured and multi-patterned circus outfits. These forms of “Rah-Rah-ryu” (not intended as an insult to cheerleading in any way, but martial arts should never be presented in a way that confuses the two!) amount to nothing more than mere toys, just like their glow-in-the-dark “staffs” masquerading as the bo of the dignified warrior of the Ryukyu Kingdom.
It is therefore very refreshing to see enthusiastic but disciplined youngsters, clad in the simple, dignified white do-gi of traditional Karate-do, correctly demonstrating the etiquette and skills of authentic budo with vigour and sincerity. It is also a testament to the heart and skill their teacher, who, along with his dedicated assistant instructors, transmits the art of Shorin-ryu Reihokan Karate-do and Kobudo just as he himself pursues his own studies; with an uncompromising commitment to the Way.
Seeing the youth of Shindokan Dojo/Black Bear Traditional Martial Arts Center demonstrate their arts with confidence and skill; seeing them show their budo, their hearts, to all in attendance, filled me with hope and joy. As one of my teachers recently said to me, “it is from small seeds that big trees grow”. And it is youngsters such as these, rigourously pursuing the true heart of Karate-do, which give the world much to be hopeful for.
Thursday, May 20, 2010
New Schedule at Shindokan Dojo Beginning in June
Black Bear Traditional Martial Arts/Shindokan Dojo has expanded and now has a second training floor, enabling us to offer different class concurrently. As such, we will be going forward with a new training schedule beginning in June.
Our “samurai arts” classes, including Aiki Jujutsu, Iaijutsu and Kenjutsu, will now be offered Monday through Thursday at 6:00 pm. And on Saturday mornings beginning at 9:00 am. We will also be holding morning beach classes at least twice each week (weather permitting) from mid may through September (these classes are by invitation only).
Our Zen practice group will also resume meeting for zazen (Zen meditation) practice on Saturday mornings at 8:00 am beginning in June.
Please see http://blackbearkarate.com for changes to the Shorin-ryu Reihokan Karate-do & Kobudo class schedule.
Our “samurai arts” classes, including Aiki Jujutsu, Iaijutsu and Kenjutsu, will now be offered Monday through Thursday at 6:00 pm. And on Saturday mornings beginning at 9:00 am. We will also be holding morning beach classes at least twice each week (weather permitting) from mid may through September (these classes are by invitation only).
Our Zen practice group will also resume meeting for zazen (Zen meditation) practice on Saturday mornings at 8:00 am beginning in June.
Please see http://blackbearkarate.com for changes to the Shorin-ryu Reihokan Karate-do & Kobudo class schedule.
Tuesday, February 9, 2010
Some Random Thoughts....
It is a mistake to chase after heijoshin; to chase after awakening; the closer I think I get, the farther away it really is.
Budo is training in mindfulness; in sincerity; to live fully experiencing this moment…
Budo is training in mindfulness; in sincerity; to live fully experiencing this moment…
Saturday, January 23, 2010
Seiza: True Sitting
Note: This article was originally printed in the BBTMAC/Shindokan Dojo Newsletter.
One of the purposes of the Dojo Newsletter is to provide our dojo members with a solid foundation in their understanding of the cultural components of budo, the martial arts and ways of Japan and Okinawa. As I have previously alluded to, the cultures from which these arts come are inseparable from the arts themselves. In this issue, we will continue our presentation of various aspects of budo culture with a discussion of seiza, the formal kneeling seated posture common to Japan and Okinawa.
The first thing that one should know is that “seiza” literally means “true” or “correct” (sei) sitting (za). The very word “seiza” then should provide a certain degree of understanding that proper seiza is more than merely sitting in a kneeling position. Please keep in mind that depending on the art (martial or cultural) or the social situation, there are variations in how one sits down into seiza as well as some very slight variations in the seated posture itself. The method that I will describe is derived directly from the Ogasawara-ryu, a classical school of formal court etiquette (among other things).
For purposes of this article, I will forego a discussion of the exact method of sitting down into seiza, as the method that a student uses here in the dojo is likely dependant on the art that one studies. In other words, the way that one sits down into seiza in Muso Jikiden Eishin-ryu is different from the way that one moves into seiza in Ono Ha Itto-ryu Kenjutsu. These methods are both different from the way that one sits down into seiza in an art such as Wado-ryu Karate-do. As such, I will focus on the structure of seiza once one has lowered into it.
The most important thing about seiza is shisei, or a posture that exudes a feeling of dignity. Dignity is one of the key components of the foundation of any form of budo or geido (cultural arts). When one is sitting in seiza, one’s posture must be straight, with a feeling of one’s head being pulled straight up from the crown. This serves to “stretch” the spine and lift the head, brining the ears directly over the shoulders and putting one into proper structural alignment. Additionally, the small of one’s back should be pushed forward, shifting the weight forward towards the knees rather than keeping it back on the ankles. Aside from contributing to the feeling of shisei in one’s posture, this forward shift of the weight enables one to sit comfortably in seiza for longer periods of time (there is a limit for everyone, however!) or to move more fluidly from seiza should your art or the social situation require you to do so.
One’s metsuke, or gaze, should be cast slightly downward. Additional considerations include the distance between one’s knees and how one place ones hands. In the most formal variations of seiza, the knees are positioned at a distance of two fist widths apart. For women and girls, the knees should be touching. The big toe of each foot should be touching. The arms hang naturally from the shoulders, with one’s elbows at one’s sides. The palms of the hands should rest at mid-thigh, with the fingers (held straight together) angled slight forward and towards the inside of the legs. This is how one would sit in a formal situation.
However, there are slight variations in the distance between the knees and how one positions their elbows and places their hands, depending on the art one studies. Sometimes, the big toes will overlap rather than merely touch. However, there are certain factors in correct seiza that remain constant, regardless of stylistic considerations. Seiza should always covey a strong, but dignified spirit. It should be natural and relaxed, never forced or tense. One’s facial expression should be equally relaxed and dignified, never tense or angry. One should never slump or slouch, neither should one “puff” one’s chest up in an attempt to look strong. Seiza is dignity. Without true dignity, it cannot properly be called seiza, or “true” sitting. Anything else is merely “za.”
One of the purposes of the Dojo Newsletter is to provide our dojo members with a solid foundation in their understanding of the cultural components of budo, the martial arts and ways of Japan and Okinawa. As I have previously alluded to, the cultures from which these arts come are inseparable from the arts themselves. In this issue, we will continue our presentation of various aspects of budo culture with a discussion of seiza, the formal kneeling seated posture common to Japan and Okinawa.
The first thing that one should know is that “seiza” literally means “true” or “correct” (sei) sitting (za). The very word “seiza” then should provide a certain degree of understanding that proper seiza is more than merely sitting in a kneeling position. Please keep in mind that depending on the art (martial or cultural) or the social situation, there are variations in how one sits down into seiza as well as some very slight variations in the seated posture itself. The method that I will describe is derived directly from the Ogasawara-ryu, a classical school of formal court etiquette (among other things).
For purposes of this article, I will forego a discussion of the exact method of sitting down into seiza, as the method that a student uses here in the dojo is likely dependant on the art that one studies. In other words, the way that one sits down into seiza in Muso Jikiden Eishin-ryu is different from the way that one moves into seiza in Ono Ha Itto-ryu Kenjutsu. These methods are both different from the way that one sits down into seiza in an art such as Wado-ryu Karate-do. As such, I will focus on the structure of seiza once one has lowered into it.
The most important thing about seiza is shisei, or a posture that exudes a feeling of dignity. Dignity is one of the key components of the foundation of any form of budo or geido (cultural arts). When one is sitting in seiza, one’s posture must be straight, with a feeling of one’s head being pulled straight up from the crown. This serves to “stretch” the spine and lift the head, brining the ears directly over the shoulders and putting one into proper structural alignment. Additionally, the small of one’s back should be pushed forward, shifting the weight forward towards the knees rather than keeping it back on the ankles. Aside from contributing to the feeling of shisei in one’s posture, this forward shift of the weight enables one to sit comfortably in seiza for longer periods of time (there is a limit for everyone, however!) or to move more fluidly from seiza should your art or the social situation require you to do so.
One’s metsuke, or gaze, should be cast slightly downward. Additional considerations include the distance between one’s knees and how one place ones hands. In the most formal variations of seiza, the knees are positioned at a distance of two fist widths apart. For women and girls, the knees should be touching. The big toe of each foot should be touching. The arms hang naturally from the shoulders, with one’s elbows at one’s sides. The palms of the hands should rest at mid-thigh, with the fingers (held straight together) angled slight forward and towards the inside of the legs. This is how one would sit in a formal situation.
However, there are slight variations in the distance between the knees and how one positions their elbows and places their hands, depending on the art one studies. Sometimes, the big toes will overlap rather than merely touch. However, there are certain factors in correct seiza that remain constant, regardless of stylistic considerations. Seiza should always covey a strong, but dignified spirit. It should be natural and relaxed, never forced or tense. One’s facial expression should be equally relaxed and dignified, never tense or angry. One should never slump or slouch, neither should one “puff” one’s chest up in an attempt to look strong. Seiza is dignity. Without true dignity, it cannot properly be called seiza, or “true” sitting. Anything else is merely “za.”
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