The dojo is the place where you practice a Japanese Martial Art. It can be a purpose built space or it can be inside of an existing structure that does other activities; nevertheless before, during and after practice we should strive to treat this place - and the people within - with respect. This small guide aims to improve your understanding of what the rules and etiquette are, and why they are important. Most of the time it is really a logical, common-sense reasoning that drives this rules; in Japan, most of these things come naturally with being Japanese, but abroad sometimes there is a need to explain them better. - Before entering the practice area: remove your shoes/sandals and place them in the proper storage area, if any, or keep them neatly outside in a way that doesn't impede or obstruct the entrance. - As you enter or exit the practice area: bow to the kamiza area of the dojo, recognizable for its Shinto shrine, or pictures of old Masters, or calligraphy important for that peculiar art; often a mix of all of these. The bow should be about 30 degrees. - Inside the practice area, before or after the lesson: don't talk too loudly or too rowdy; silence your phone. If you change clothing, try to do so facing the wall and not other members or the kamiza. Do not eat, unless authorized. Only drink while turned towards the wall and discreetly. - Inside the practice area, during the lesson: don't talk unless the instructor asks you to; do not lean or rest against the wall or - God forbids! - using a sword or a weapon like a cane. Younger students should seat or position themselves nearer to the entrance door than older or more experienced ones. Do not eat or drink during the lesson. If your clothing needs a fix, do so discreetly, sitting and facing the wall in a discreet area of the dojo and only after asking permission to the instructor. Before going anywhere or doing anything outside of the practice (example: use the restroom) ask the instructor first. If arriving late or needing to go away earlier, ask for permission and bow. Names and roles There are plenty of names with which you can address other people or roles in the dojo. A sempai is a student who is senior than you, who are his kohai. A sensei can be the instructor, can be a person with a certain level of experience, or can just be an older professional: for example in Japan even Doctors or Lawyers might be called sensei. Shihan is an older form which is more specifical for a martial arts teacher of a high level, especially in older arts. Uke/tori and motodachi/kakarite are expressions to indicate who is receiving technique and who is executing it. Kancho is the leader of the organization or the Dojo, who might be - or not - also the Sensei; it is more of an administrative position, and it is more or less interchangeable with Dojo-cho. A soke or a soshi is normally the leader of a whole association or organization, either by family inheritance or electively. Renshi, Kyoshi and Hanshi are honorific titles given in some arts to very high level ranked practitioners to indicate their dedication in developing that particular art or to celebrate their achievements and contributions. A kyusha or a mudansha is instead a beginner (holder of a kyu rank) and a yudansha is a more expert practitioner (holder of a dan rank). Remember, when in doubt always listen what terms are used in your dojo and do not be afraid to ask! We currently hold regular Iaido courses in Singapore; if you want to join, please do not hesitate to contact us.
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For the first, long, part of my Japanese Martial Arts life and path, I practiced an old form of Jujitsu called Daito-ryu Aikibudo.
As the origin of Aikido it is mostly known for its hand-to-hand techniques. What very few know is that actually exists a unique set of Iaido kata in its curriculum. It's a very small group of techniques which has next to no connection to classical Iai but it is still very interesting: the main focus is a special tai-sabaki (body movement) used to simultaneously evade an attack and cut our opponent. The same body movement (which is almost identical to the movement used in Kendo's men-nuki-men) is often and very effectively used in the normal hand-to-hand practice of the art. The origins of this set are unknown, but my personal opinion is that some of them were created by Takeda Sokaku, with variations finalized by Takeda Tokimune. I desume this in particular by one kata, maybe the most articulated, in which you cut the legs of the opponent in front of you, then quickly stab the groin area of another coming from behind and that seems to be exactly the situation Takeda Sokaku found himself in on a narrow bridge during his youth - after a few cuts and stabs in front and behind he managed to escape by jumping in the river below. It is very interesting to study these kata, which are not properly or regularly trained by Daito-ryu students, from a Iaido perspective, keeping an attention to the sword's trajectory and making them "real" and "alive". They can also be practiced with bokken, or even with steel iaito, in a "batto" fashion, in couples, and I have seen them performed both ways. In my opinion they are more interesting performed in this way, in "couples" because of the simplicity of the katas themselves, which doesn't render easily in solo practice, save - maybe - for the "bridge" kata I described above. The educational and practical aspect is also higher, and helps focalizing the body distances during a correct tai-sabaki. All of this is further proof that practice of Iaido and understanding of the correct use of the sword where fundamental in most forms of Japanese Budo. We regularly organize Iaido courses in Singapore. When deciding to start a Japanese Martial art, it is fundamental to understand the historical background of it.
Many people is convinced, for example, that the techniques studied today in Iaido, Kendo, Jujutsu and most Koryu (ancient arts) are derived from battle knowledge and experience, but this is very far from reality! The period of Japanese History before the Edo period (1600-1868 AD) was quite different than what we envision: it was a period of semi-constant war, mostly between different clans and areas of Japan, and only occasionally abroad. Spanning roughly from 1333 AD until 1600 AD (divided in Muromachi and Azuchi-Momoyama periods) field battle was the main activity of the warrior caste, the Samurai. They were mostly wearing full armor and were wielding larger and longer swords, often held with the edge side down or mounted on their backs. Of this period, very few martial arts remain, and they still mostly practice in full armor, and their purpose is mainly conservation of history and knowledge in festivals and events during the year. It was only in the Edo period, with the "Pax Tokugawa" in place that the dueling Samurai, dressed in normal clothes, had the time and will to focus all his warring energies in studying, developing, teaching and training in the Art of the Sword. And this was no more for "war" or "battle" purposes, but mainly for spiritual and self-growth reasons; most of the Koryu we see today derive their roots or most of their development in this period. Most of the techniques derived from realistic everyday life situations, on the street, in the tavern, in the market, escaping an assassination etc. etc. and while the biggest and foremost purpose was still effectiveness and survival, also body control and elegance, as a side effect, were looked for. By the end of the Edo period, and especially after, during the Meiji Restoration the everyday life fighting skills were suddenly even less relevant and sporting forms like Gekkiken (precursor of Kendo) were developed, mainly to entertain people and letting the now unemployed Samurai earn their living. A greater focus started to emerge in the early 1900s and until the War towards hand-to-hand arts as a practical self-defense method, while sword arts became Budo, more philosophical ways of self improvement, like Kendo and Iaido. In the period after the Second World War, Sword arts and most martial ways were banned, and when they were reintroduced they had more of a "sporting" accent on them - by design, in an attempt to reduce the fervent nationalistic spirit of the Japanese people. Nowadays there is a feeling in many of us that the "sporting" accent is something too much focused on, and this explains the renewed interest in Koryus and in non-competitive arts in general. There are great pros, and great cons, in the competitive aspects, and it is a very difficult matter to discuss. But if we will focus on training in a disciplined, realistical and effectively focused way, we will manage to keep that Budo spirit alive; if we will think about Martial Arts in the same way we do about Table Tennis, then there are surely better ways to invest our time, effort and sweat in. Hi to all! We have some exciting news for the present and future of our Dojo:
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