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アラスカの大自然の中で武道する毎日を雑記


by alaskakendo
全日本剣道連盟制定居合道のテキストを英訳してみた。巷には英文のテキストも出回ってはいるが、日本文とは多少内容が違っているのが気になっていた。例えば1本目最後の文が日本語のテキストでは「立ちあがると同時に後ろ足を前足にそろえる。右手を柄からはなして『帯刀姿勢』となり、左足より退いて元の位置にもどる」となっているが、英文テキストでは「As you stand up bring your rear foot forwards in line with your rear foot. Release your right hand from the Tsuka and assume Taito Shisei. Return to your original starting position taking three step back beginning with the left foot.」というように日本語のテキストには記載のない「3歩で戻る」という歩数まで記載されている。その反対に英文テキストの説明が日本文ほど詳細にクロノロジカルに書かれていなかったりする箇所もあり、英文のテキストしか読んでいない生徒に「日本語テキストに書いてある」と言って教えても「英文テキストには書いてありません」と言われるなどの不都合がこれまでにもあった。それで今回まずは12本の形の部分のみ翻訳してみた。日本語テキストの文章のセンテンスが長いため、英文にするのにかなり苦労したが、できるだけに本文に忠実にすることを心がけ、「同時に」という言葉は全て「Simultaneously」という語で(at the same timeなどにせず)統一するようにした。それで同じ語の反復が多くなって英文的には美しい文からは程遠いものになってしまったが、いわゆる「取扱説明書」的に理解していただければと思いあえてその方法にした。

関係者の参考になってくれればこれほど嬉しいことはない。また、これはまだ今後改善の余地が多くあるであろう草案的文章なので、間違いなどのご指摘があれば歓迎します。

Because the English Text and Japanese one have some difference. I translated the Japanese text in English (12 Kata portion only). As the original sentences are very long and use the same word repeatedly, I intend to do the same in the English translation. I hope this benefits many English speaking Iaido-ka.
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English Translation: Iaido Text by Zen Nippon Kendo Renmei

2: Technique

Seiza Section

(1) Ipponme “Mae (= Front)”

(Summary)
Feeling the murderous intent of the opposing enemy sitting in front, forestall it by quickly pulling out the sword to the " Komekami (temple)". In addition, cut from the head down to win.
Note
(1) Temple (Komekami) = near the line between the eye and ear

(Movement)
1: Sit in Seiza straight toward the front. Quietly hold the Katana (sword) with both hands to open the Koiguchi (=slightly draw the sword from the mouth of sheath); pull out the Katana with "Sayabiki (sheath pull)"; keep the blade up while raising the hips. When both toes are up, start turning the Saya (sheath) to the left; level the blade just before "Sayabanare (sheath release)", then stretch (press) the hips (forward) when "Fumikomu (step firmly with)" the right foot, and simultaneously "Nukitsuke (pull out)" vigorously to the enemy's "Komekami (temple)".
Note
(1) Sayabiki (Pulling the sheath) = Without taking the left hand off the Koiguchi, pull the left fist fully backward with the little finger pushing against the Obi (the belt).
(2) Sayabanare (Sheath release) = The Kissaki (sword tip) leaving the Koiguchi.
(3) When Fumikomu (stepping firmly), the left toe should be directly behind the left knee; pushing in the hips enough to have the both knees make the 90 degree angle; straighten the upper body and focus on “Tanden (=lower abdomen)”
(4) At the moment of Nukitsuke, the upper body opens about 45 degrees to the left, and the right fist stops diagonally forward the right. The Kissaki (the sword tip) is stopped slightly below the right shoulder, little inward from the right fist.

2: Sending the left kneecap close to the right heel, and simultaneously bring the Koiguchi in front of the navel; quickly “Furikaburu (swing up) ” the Katana overhead with the feeling of Kissaki piercing the back along the left ear. At the time of Furikaburu movement, put the left hand on the Tsuka (handle); Fumikomu (step firmly with) the right foot without pause, and simultaneously “Kiriorosu (=cut down)” from the head.
Note
(1) When Furikaburu (swung up), do not lower the Kissaki below horizontal.
(2) After the Kirioroshi (cut down), the left hand is stopped at the navel; place the Kissaki slightly below horizontal. The posture is the same as Note (3) in the previous section.

3: Take the left hand off the Tsuka and send it to the left Obi, and simultaneously turn the right hand’s “Tanagokoro (palm)” up so the Hasaki (blade edge) is turned to the left; then turn it all the way to the right at the shoulder height; bend the elbow to bring the right fist closer to Komekami (the temple). While standing up, perform “Kesani Furioroshite No Chiburi (Kesa Swing Down Blood Shedding) ” and assume “Iaigoshi (Iai Style Standing Posture).”
Note
(1) Kesani Furioroshite No Chiburi is performed in the same manner as shedding the water off of an umbrella. When shed down, the right fist is diagonally forward to the right, horizontally at the same height as the left hand. Kissaki is about 45 degrees down forward and stopped little inside the right hand. At this time, the Hasaki (blade edge) is facing the direction that the blade is shed down.
(2) Iaigoshi = Both knees slightly bent to lower the hip with the mind of Zanshin (remaining focused).

4: Maintaining the Iaigoshi posture, bring the back foot to the front foot, then, pull the right foot back. Send the left hand from the left Obi to the Koiguchi for “Notoh (returning sword to the sheath)”. At the completion of Notoh, the right knee simultaneously touches the floor.
Note
(1) At the time of Notoh, hold the Koiguchi with the left middle finger, and loosen the thumb and index finger while the right hand sends the Mune (back of the blade) near the Tsuba (Guard) to the dip made by the left thumb and the bent index finger. Extend the right elbow diagonally forward to the right, and place the Kissaki near the left hip while sending the Koiguchi of the left hand near the left Obi to insert the Kissaki into the Koiguchi. When the Katana is starting to put back, pull out the Saya slightly with the left hand to greet it. When it is quietly put it back with both hands, left thumb is placed on the Tsuba. When finished, place the Tsuba in front of the navel with the Katana at almost horizontal.

5: Stand up and align the back foot with the front foot simultaneously. Take the right hand off the Tsuka and assume “Taitoh Shisei (Wearing Sword Posture)". Return to the original position from the left foot.
Note (1) Taitoh Shisei = Posture with the sword inserted into Obi.



(2) Nihonme "Ushiro (=Back)"

(Summary)
Feeling the murderous intent of the enemy sitting behind, forestall it by quickly pulling out the Katana to the " Komekami". In addition, cut from the head down to win.

(Movement)
Turn clockwise from the front to the direction of the right foot and sit in Seiza facing backward. Quietly hold the Katana with both hands and draw the Katana following the "Ipponme, Movement 1". While pulling out the Katana, raise the left knee and turn counterclockwise with the right kneecap as the axis to face the enemy in front, and simultaneously step on the left foot slightly to the left; "Nukitsuke (=Pullout)" the Katana vigorously to the enemy's "Komekami (temple)".

In the same way as in "Ipponme Movement 2, 3, and 4", but the feet are reversed with left and right, execute "Kirioroshi (cut down)", "Chiburi (blood shedding) ", "Notoh " and assume "Taitoh Shisei (Wearing Sword Posture)" ; then return to the original position from the left foot.


(3) Sanbonme “Uke-Nagashi (Block and Parry)”

(Summary)
As the enemy sitting on the left side suddenly stands up for the cut down attack, parry it with the "Shinogi", and cut down the Kesa angle to win.
Note (1) Shinogi= see “Blade Figure”

(Movement)
1: Sit in Seiza toward the right from the front. Quickly hold the Katana and simultaneously turn the head to the front (left side) enemy. Without pause, raise the hips, stand the right toe, and extend (press) your hips while Fumikomu (stepping firmly with) the left foot inside the right knee with the left toe facing slightly outward; pulling the Katana close to the chest and up above the forehead, and simultaneously stand up and Fumikomu (step firmly with) the right foot inside the left foot to parry the enemy’s Katana that is striking down.

Note
(1) When the Katana is drawn up, drop the Kissaki (tip) with the Hasaki (blade edge) obliquely upward and facing backward; and cover the body with the Katana.

2: Using the parrying momentum, turn the Kissaki upward to the right while turning toward the enemy; bring the left hand on the Tsuka; pull the left foot behind the right foot without stopping the Katana, and simultaneously Kiriorosu (cut down) in “Kesa” angle from the enemy's left shoulder near the neck.

Note
(1) When the Kesa angle cut is executed, the left fist is stopped at the navel; the tip is placed slightly below the horizontal level and to the left side a little.

3: Maintaining the posture, bring the Hasaki (blade edge) facing forward; set both hands to the left front, and place near "Monouchi" above the right kneecap.

Note
(1) When both hands are at the left front, the left hand grasps the Tsuka from above with the elbow extended; turn the right hand’s "Tanagokoro (palm)" upward, loosen the grip and support the Tsuka from the bottom.
(2) Monouchi = see “Blade Figure”

4: Remove the right hand from the Tsuka once, and hold it in “Sakate (reverse grip)” from the top.

5: Take the left hand off the Tsuka to hold the Koiguchi. Turn the right hand’s "Tanagokoro (palm)" up to turn the Kissaki to the left through the bottom, and send the “Mune” nearby the Tsuba to the Koiguchi. Perform Notoh while maintaining the Sakate (reverse grip), and the back knee touches the floor simultaneously at its end.

6: Stand up and align the back foot with the front foot simultaneously. Take the right hand off the Tsuka and assume “Taitoh Shisei (Wearing Sword Posture)". Return to the original position from the left foot.


(4) Yonhonme “Tsuka-Ate (Tsuka Strike)”

(Summary)
Feeling the murderous intent of the enemy sitting in front and back, at first, hit the front enemy’s "Suigetsu" with “Tsuka Gashira (the head of the Tsuka)”, then thrust into the back enemy’s “Suigetsu”, and cut the frontal enemy from the head down to win.
Note (1) Suigetsu = Mizuochi (solar plexus)

(Movement)
1: Sit in "Iai Hiza" position facing the front. Quickly hold the Katana with both hands and raise the hips; raise the left toe directly behind the left knee, stretch (press) the hips forward; Fumikomu (step firmly with) the right foot, and simultaneously push out the Katana with both hands to vigorously hit the frontal enemy’s “Suigetsu” with the “Tsuka Gashira”.
Note (1) The Iai Hiza should be done as follows. From the "Taitoh Shisei" execute "Hakama Sabaki (Hand Split of Hakama)" then bend both knees with the left knee resting on the floor, send the right foot inside the left knee and stretch the left toe. Stand the right knee at an angle with the right side of the right sole on the floor; rest the buttocks on the left heel to stabilize the upper body. Close both hands lightly with "Tanagokoro (palm)" facing downwards, and place them in the middle of both thighs, follow the "Saho, 5-3", "Seiza posture" to assume the correct posture.

2: Immediately pull the Saya backwards with your left hand and turn the face back at the enemy behind; turn the left toe to the right with the left kneecap as the axis, open the upper body to the left and pull out the Katana; simultaneously bring the Mune near "Motouchi" at the left nipple that makes the blade facing outward. Without pause, squeeze the left hand inward, send the Koiguchi to the navel, and simultaneously stretch the right elbow to thrust into the “Suigetsu” of the enemy behind.

3: Turn the face at the front enemy, return the left toe with the left knee as the axis, and simultaneously bring the Katana over head while pulling it out, putting the left hand on the Tsuka, turning toward the front enemy, “Kiriorosu (cut down)” from the head.
Note (1) When cut down, Kissaki and posture are the same as “Ipponme, Movement 2, Note (2).

4: Maintaining the posture, release the left hand from the Tsuka and send it to the left Obi, simultaneously execute “Open to the Right style Chiburi” with the Katana in the left hand.
Note (1) When executing Open to the Right style Chiburi, the position of the right fist is diagonally right forward and horizontally at the same height as the left hand. Turn the Hasaki (blade edge) to the right, slightly lower the Kissaki and keep it little inside the right fist.

5: Send the left hand to the Koiguchi from the left Obi in order to perform Notoh; pull the front foot back to settle the hips; and assume Sonkyo position with one (the left) knee on the floor.

6: Stretch (Press) the hips forward; stand up by stepping on the right foot, and simultaneously align the back foot to the front foot. Release the right hand from the Tsuka and assume "Taitoh Shisei (Wearing Sword Posture)"; return to the original position from the left foot.


Tachi Iai Section

(5) Gohonme “Kesa-Giri (Kesa Cut)”

(Summary)
While advancing forward, the enemy from the front is trying to cut with the sword overhead, cut up Gyaku Kesa (reverse Kesa) angle, then cut down Kesa angle with the return sword to win.

(Movement)
1: Move forward from the right foot toward the front, and quickly put both hands on the Katana when stepping with the left foot. Pull out the sword while turning the Saya to the lower left; step with the right foot and simultaneously " Kiriageru (cut up)" the front enemy from the right flank (obliques) with one right hand Gyaku Kesa angle.
Note (1) When cut up, turn the Katana to the right fist above the right shoulder.

2: Maintaining the step, the left hand returns the Saya to the original position and holds the Tsuka; and without stopping the Katana above diagonally “Kiriorosu (cut down)” with Kesa angle from the enemy’s left shoulder near the neck.
Note (1) When cut down, the positions of the left fist and the Kissaki are the same as those in "Note (1) of Movement in Sanbonme”.

3: While pulling back the right foot, assume Hasso No Kamae Position to show Zanshin (mind of remaining focused).

4: While pulling the left foot back, release the left hand from the Tsuka to hold the Koiguchi, and simultaneously perform “Kesani Furioroshite No Chiburi (Kesa Swing Down Bood Shedding).

5: Perform “Notoh” while maintaining the posture.

6: Align the back foot with the front foot; release the right hand from the Tsuka; and assume the "Taitoh Shisei"; return to the original position from the left foot.


(6) Ropponme “Morote-Zuki (Both Hand Thrust)”

(Summary)
Feeling the murderous intent of three enemies front and back while advancing forward; first execute an angular Nukiuchi (draw/cut) at the front enemy’s right Men (head); in addition, thrust into the "Suigetsu" with both hands. Next, cut the enemy behind down from the head. Then win by cutting down the other enemy coming straight from the front.

(Movement)
1: Move forward from the right foot toward the front; and put both hands on the katana when stepping on the left foot; step on the right foot and simultaneously open the upper body to the left and make a diagonal Nukiuchi (draw/cut) from the enemy's right Men to the chin.

2: Immediately send the back foot near the front foot while lowering the sword to Chudan position and hold the Katana with the left hand; without a pause, step on your right foot, and simultaneously thrust into the front enemy’s "Suigetsu" with both hands.

3: Look back at the enemy behind; turn counterclockwise with the right foot as the axis while pulling out the Katana; bring the left foot to the left; swing it over the head in Ukenagashi style; turn to the enemy behind and simultaneously Fumikomu (step firmly with) the right foot and “Kiriorosu (cut down)” from the head.
Note (1) At the time of Kirioroshi (cut down), both fists are stopped at the navel and the katana leveled. Hereinafter to the Junihonme (12th), all “Kiriorosu” from the head movements are the same way.

4: In addition, turn to the other enemy coming from the front and simultaneously step the left foot to the left, Fumikomu (step firmly with) the right foot and “Kiriorosu (cut down)” from the head.

5: Maintaining the posture, release the left hand from the tsuka and send it to the left Obi, and simultaneously perform “Open to the Right style Chiburi”.

6: Send the left hand to the Koiguchi from the left Obi to perform Notoh by remaining the posture.

7: Align the back foot with the front foot, release the right hand from the Tsuka, and assume the "Taitoh Shisei"; return to the original position from the left foot.


(7) Nanahonme “Sanpo-Giri (Three Direction Cuts)”

(Summary)
Feeling the murderous intent of enemies in three directions: front, left and right while advancing forward; first execute a Nukiuchi (draw/cut) at the right enemy’s head; then “Kiriorosu (cut down) at the left enemy; next, Kiriorosu (cut down) the front enemy from the head to win.

(Movement)
1: Move forward from the right foot toward the front, and put both hands on the Katana when stepping with the left foot. Pressing the enemy in front, start drawing the Katana; turn to the enemy on the right with the left foot as the axis, and simultaneously Fumikomu (step firmly with) the right foot slightly forward, cut down from the enemy’s head to the chin.

2: Maintaining the step, turn to the left enemy with the right foot as the axis while Furikaburu (swinging the Katana overhead) in Ukenagashi style, and simultaneously place your left hand on the Tsuka; Kiriorosu (cut down) from the head without any pause.

3: Turn to the front enemy with the left foot as the axis while Furikaburu in Ukenagashi style, Fumikomu (step firmly with) the right foot, simultaneously “Kiriorosu (cut down)” from the head.

4: While pulling back the right foot, assume Morote Hidari Jodan No Kamae to show Zanshin.

5: While pulling back the left foot, release the left hand from the Tsuka and send it to the left Obi, and simultaneously perform “Kesani Furioroshite No Chiburi (Kesa Swing Down Blood Shedding).

6: Send the left hand to Koiguchi from the left Obi while maintaining the posture; perform Notoh.

7: Align the back foot with the front foot; release the right hand from the Tsuka, and assume the "Taitoh Shisei"; return to the original position from the left foot.


(8) Hachihonme “Ganmen-Ate (Face Strike)”

(Summary)
Feeling the murderous intent of two enemies front and back while advancing forward; first execute “Tsuka-Ate Handle Head Strike” in the front enemy’s face; then, thrust into the "Suigetsu" of the enemy behind; in addition, Kiriorosu (cut down) the front enemy from the head.

(Movement)
1: Move forward from the right foot toward the front, and put both hands on the Katana when stepping with the left foot. Fumikomu (step firmly with) the right foot, and simultaneously push out the Katana to vigorously hit between the eyes of the front enemy with the “Tsuka Gashira (the head of the Tsuka)”.

2: Immediately look back at the enemy behind while performing Sayabiki (sheath pull). Turn counterclockwise with right foot as the axis; step the left foot to the left simultaneously at the "Sayabanare (sheath release)"; turn to the enemy behind, and simultaneously level the Katana with the blade facing out by applying the right fist to the upper right hip (above the hip bone). Without pause, Fumikomu (step firmly with) the right foot, and simultaneously “Tsukisasu (thrust)” into the “Suigetsu (solar plexus)” of the enemy behind by firmly extending the right elbow without losing your upper body balance.
Note (1) When thrusting, lower the right fist slightly below the Kissaki.

3: Turn the face to the front enemy, pulling the Katana and turning counterclockwise with the right foot as the axis; stepping the left foot to the left; Furikaburu (swinging the katana over head) in Ukenagashi style; putting the left hand on the Tsuka and simultaneously turning to the front enemy; without pause
Fumikomu (step firmly with) the right foot and “Kiriorosu (cut down)” from the head.

4: Maintaining the posture, release the left hand from the Tsuka and send it to the left Obi, simultaneously perform “Open to the Right style Chiburi”.

5: Send the left hand to the Koiguchi from the left Obi to perform Notoh by remaining the posture.

6: Align the back foot with the front foot; release the right hand from the Tsuka and assume the "Taitoh Shisei"; return to the original position from the left foot.


(9) Kyuhonme “Soete-Zuki (Hand Assisted Thrust)”

(Summary)
Feeling the murderous intent of the enemy on the left while advancing forward, forestall it by executing the diagonal Nukiuchi (draw/cut) in Migi Kesa; in addition, win by thrusting at the abdomen while placing hand on the Katana.

(Movement)
1: Move forward from the right foot toward the front, and when stepping with the left foot; turn the face to the left enemy and simultaneously put both hands on the Katana. Then, turn to the enemy with the right foot as the axis, and pull the left foot while opening the upper body to the left and “Kesani Nukiuchi (drow/ cut in Kesa angle)” from the enemy's right shoulder near the neck to the left flank.
Note (1) When Nukiuchi in Kesa angle, stop the right fist at the navel level and keep the tip slightly above the right fist.

2: Turn the right foot little outward and pull slightly to assume “Soete- Zuki no Kamae (Hand Assisted Thrust Position)”, without pause, Fumikomu (step formly with) the left foot and simultaneously “Tsuki-Sasu (thrust)” into the abdomen of the enemy.
Note (1) Soete- Zuki no Kamae (Hand Assisted Thrust Position)= Posture that the left thumb and index finger firmly gripping the Mune in the middle of the blade length; the right hand holding Tsuka placed upper right waist, and upper body open to the right with the Hasaki (blade edge) facing down and Katana kept horizontally.

3: Without moving the left hand, pull the Katana while turning the Hasaki (blade edge) to the lower front; assume “Kamae” by sending the right fist in front of the right nipple for showing Zanshin.
Note (1) At the Kamae, the left thumb and index finger holding the Katana and the "Tanagokoro (palm)" facing down; lightly extending the right arm and make the angle with the Katana approximately 90 degree.

4: Release the left hand from the Tsuka to hold the Koiguchi; pull the left foot back and simultaneously, perform “Open to the Right style Chiburi” following the direction of the Hasaki (blade edge).

5: Perform “Notoh” while maintaining the posture.

6: Align the back foot with the front foot, release the right hand from the Tsuka, and assume the "Taitoh Shisei", return to the original position from the left foot.


(10) Jipponme “Shiho-Giri (Four Direction Cuts)”

(Summary)
Feeling the murderous intent of the enemies in four directions while advancing forward, forestall it by executing “Tsuka-Ate” at the right front enemy’s right fist; then, piece the Suigetsu (solar plexus) of the left behind enemy; next win by Kiriorosu (cut down) from the head of the enemy at the left front.

(Movement)
1: Move forward from the right foot toward the front, and when stepping with the left foot, turn the face to the right front enemy and simultaneously put both hands on the Katana. When the enemy tries to pull the Katana out of Saya (the sheath), strongly hit the enemy’s right fist with the Hira (flat part) of the Tsuka, and simultaneously Fumikomu (step firmly with) the right foot.

2: Immediately turn the face to the enemy at the left behind while performing “Saya-Biki (pulling the sheath)” with the left hand; turn counterclockwise to assume "Hitoe-Mi Posture" against the enemy; and simultaneously release the tip from the Koiguchi; put the "Mune" near "Motouchi" at the left nipple. Without pause, Fumikomu (step firmly with) the left foot, and simultaneously stretch the right elbow while squeezing the left hand inward to thrust into the enemy's "Suigetsu".
Note (1) Hitoe-Mi (single layered body)= Upper body more open than Han-Mi (half body) and almost facing sideway.
(2) The upper body when the Mune is at the left nipple as well as piecing is the same as “Yonhonme Tsuka-Ate”.

3: Turn the face to the enemy in the right front; pull out the Katana while swinging it overhead, and simultaneously put the left hand on the Tsuka; turn clockwise with the right foot as the axis to face the enemy, and simultaneously Fumikomu (step firmly with) the left foot and cut down from the head.

4: While turning the face to the enemy at the right behind, Furikaburu in Ukenagashi style with the left foot as the axis; face the enemy and simultaneously Fumikomu (firmly step with) the right foot and cut down from the head.

5: Turn the face to the enemy behind (at the left front) while turning counterclockwise with the right foot as the axis, stepping the left foot to the left while assuming Waki-Gamae, Furikaburu in Ukenagashi style; Fumikomu (step firmly with) the right foot and simultaneously Kiriorosu (cut down) from the head.

6: While pulling the right foot, assume Morote Hidari Jodan No Kamae to show Zanshin.

7: While pulling the left foot back, release the left hand from the Tsuka and send it to the left Obi, and simultaneously, perform “Kesani Furioroshite No Chiburi (Kesa Swing Down Blood Shedding).

8: Send the left hand to Koiguchi from the left Obi while maintaining the posture; perform Notoh.

9: Align the back foot with the front foot; release the right hand from the Tsuka, and assume the "Taitoh Shisei"; return to the original position from the left foot.


(11) Juipponme “So-Giri (Total Cuts)”

(Summary)
Feeling the murderous intent of the enemies in front while advancing forward, forestall it by Kiriorosu (cutting down) the enemy’s left diagonal Men (head); next the right shoulder, the left chest, then execute an horizontal cut at the lower abdomen; and win by Kiriorosu (cut down) from the head.

(Movement)
1: Move forward from the right foot toward the front, and when stepping with the left foot, put both hands on the Katana. Step forward with the right foot; pull out the Katana forward; Furikaburu in Ukenagashi style while puling the right foot close to the left foot; and simultaneously put the left hand on the Tsuka, without pause Kiriorosu (cut down) the front enemy’s left diagonal Men (head) to the chin while Fumikomu (stepping firmly with) the right foot.

2: Return the Katana toward the direction of the Mune and Furikaburu (swing overhead); Kiriorosu (cut down) the front enemy’s right shoulder near the neck to “Suigetsu (solar plexus)” while Fumikomu (stepping firmly with) the right foot.

3: Return the Katana in the direction of the Mune, and Furikaburu (swing overhead); “Kiriorosu (cut down) to the front enemy’s the navel from the left armpit while Fumikomu (stepping firmly with) the right foot.
Note (1) When cutting down to the navel, keep the Katana Horizontal.

4: Return the Katana in the direction of the Mune, and Furikaburu (swing overhead); turn the Katana horizontally on the upper left hip while turning the Hasaki (blade edge) forward; without stopping cut the abdomen horizontally from the right to the left while Fumikomu (stepping firmly with) the right foot.

5: Without stopping the Katana which just cut horizontally, Furikaburu (swing overhead) and Kiriorosu (cut down) the front enemy from the head.

6: Maintaining the posture, release the left hand from the tsuka and send it to the left Obi, simultaneously perform “Open to the Right style Chiburi”.

7: Send the left hand to the Koiguchi from the left Obi to perform Notoh while remaining the posture.

8: Align the back foot with the front foot; release the right hand from the Tsuka, and assume the "Taitoh Shisei"; return to the original position from the left foot.


(12) Junihonme “Nuki-Uchi (Quick Draw/Slash)”

(Summary)
When an standing enemy facing in front suddenly attempting to cut, pull out the Katana upward while stepping back to make the enemy’s Katana cut the air; in addition, Kiriorosu (cut down) from the head to win.

(Movement)
1: Quickly put both hands on the Katana while standing upright; pull the left foot backwards; pull out the Katana quickly above the head while pulling the right foot close to the left foot, and simultaneously put the left hand on the Tsuka and without pause Fumikomu (step firmly with ) the right foot and simultaneously Kiriorosu (cut down) from the head.

2: While pulling the right foot behind the left one, send the left hand to the left Obi and simultaneously perform “Open to the Right style Chiburi”.

3: Send the left hand to the Koiguchi from the left Obi to perform Notoh by remaining the posture.

4: Align the back foot with the front foot; release the right hand from the Tsuka, and assume the "Taitoh Shisei"; return to the original position from the right foot.


# by alaskakendo | 2020-02-20 15:04
アラスカ剣道クラブは毎週土曜日にフリーの地稽古セッションを行っている。

2018年2月17日、そのセッションにある男が現れた。

20年ほど前にアリューシャン列島の離島の町に教師として転任していった剣道の生徒だ。
若くてエネルギッシュだった彼は、多少白髪は増えたけれども、その熱いエネルギーに満ちたところは変わらないままだった。

そして剣を交えた瞬間、それが証明された。
その時の稽古の模様の一部はユーチューブで紹介しよう:https://www.youtube.com/watch?v=EZ-qoW4zgqk&feature=youtu.be



十数年ぶりに戻ってきた生徒との稽古_b0241736_06183952.jpeg
かの地でも独りで稽古を続けていたという彼は、左義手を見事に使いこなして、段レベルの稽古を披露してくれた。


十数年ぶりに戻ってきた生徒との稽古_b0241736_06190669.jpeg

そして昨年の夏、教師としては最高レベルの校長先生として再びアンカレジに戻ってきたというのである。

彼の剣の師としては誇りであり、独り感動しているのであった。
と同時に、自分もジジイレベルが上がってきた、と独り複雑な思いに駆られるのであった。




# by alaskakendo | 2018-02-20 06:28
アラスカ剣道クラブは毎週土曜日にフリーの地稽古セッションを行っている。

2018年2月17日、そのセッションにある男が現れた。

20年ほど前にアリューシャン列島の離島の町に教師として転任していった剣道の生徒だ。
若くてエネルギッシュだった彼は、多少白髪は増えたけれども、その熱いエネルギーに満ちたところは変わらないままだった。

そして剣を交えた瞬間、それが証明された。
その時の稽古の者用の一部はユーチューブで紹介しよう:https://www.youtube.com/watch?v=EZ-qoW4zgqk&feature=youtu.be



十数年ぶりに戻ってきた生徒との稽古_b0241736_06183952.jpeg
かの地でも独りで稽古を続けていたという彼は、左義手を見事に使いこなして、段レベルの稽古を披露してくれた。


十数年ぶりに戻ってきた生徒との稽古_b0241736_06190669.jpeg

そして昨年の夏、教師としては最高レベルの校長先生として再びアンカレジに戻ってきたというのである。

彼の剣の師としては誇りであり、独り感動しているのであった。
と同時に、自分もジジイレベルが上がってきた、と独り複雑な思いに駆られるのであった。




# by alaskakendo | 2018-02-20 06:28
あるスポーツジャーナリストの知り合いからこんなメールをもらいました。剣道を修行している人は是非記事を読み、ブログを読み、その中にある動画を見てご意見をお聞かせください。

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安藤様、

ご無沙汰しております。
今、「剣道の誤審」に関し、調べております。
すると、こんな記事にぶつかりました。

http://www.sankei.com/premium/news/151004/prm1510040010-n1.html

連盟に問い合わせたところ「流れからして明らかな判定、相手の監督も納得していた」とのことでした。
安藤さんから以前「剣道に誤審はない」というような内容の話をうかがい、興味をもって調べたところ、このような記事にぶつかりました。

この記事の言っていることも一理あるかと思うのですが、安藤さんは、どう思われますか?
もしご興味があれば、少し、ご教授といいますか、ご意見をたまわることができればと思い、ご連絡させていただきました。
勝手なお願いで申し訳ありません。

じつは、こんなブログがあります。この中で、映像も確認できます。
http://kendo-zakki.net/?p=822

安藤さんが「剣道に誤審はない」と言ったのは、剣道は武道であり、本来、勝ち負けに終始するものではないので……といった内容ではなかったでしょうか。

私としては、サンケイ新聞の記事内容も一理あるのでは、と思ってしまうのですが……。
******************

それに対して、私は以下のような説明をお送りしました。


******************
こんにちは。

ビデオ拝見しました。

わたしは基本的にはこの甚之助さんの意見に賛成です。

そしてさらに私は、この合議を要請した審判(副審)を立派だと思いました。

私の試合のこの打突の部分の感想は、「胴を打った選手、せっかく良い機会をとらえていい胴を打ったのに、なんで打突直後に勢い余ったように時計回りにくるりと回って相手に背中を見せて相手と一緒に移動するようなおかしな行動をしたのか。あ〜あもったいない。」というものです。

胴を抜いた後、そのまま前進して抜けて行き、数歩進んだところで左側に回って、相手に竹刀を向けて残心を示せば、完璧に一本として完成されていたのに、打ちっぱなしになってしまった。だからこれは一本とは認められなかったということです。

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わたしは野球をよく知らないので良い例えではないかもしれませんが、例えば野球だったら、ホームランを打ったのに浮かれて最後のホームベースを踏まないでベンチに帰ってしまったみたいな感じでしょうか(その場合はその選手はアウトになり得ますか?ホームランは無効になり得ますか?)。
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しかし、旗が3本きれいに上がってから、このように合議を要請し、一本の宣告を取り消すというのは審判員としては大変勇気のいるものです。しかし、試合の内容をより高いレベルのものにするには、審判員はこうでなければならないのだな、こういう審判の仕方は確かに必要なのだ、ということをこのビデオから学ぶことができました。ですのでこの学びの機会を与えてくれて、大変感謝しております。

ということで、これは誤審と呼ぶことはできないと私は思います。それは一度一本とされた判定が、明確な意思を持って覆されて取り消されたものだからです。

むしろ、これを誤審と呼んでしまう記者さんには、記事を書く前にもう少し剣道を学んでから、または剣道審判法をよく知っている人にきちんと検証してもらってから記事を発表してほしかったと思います。

あと、もう一つ剣道のわかりにくい点なのですが、普通のスポーツ観戦と剣道の試合の観戦の違いの一つに、審判が反則などに関して説明する必要がないことがあります。相撲やアメフトでは審判の判断を観客に向けてマイクで説明する場面がありますが、それは試合の目的のひとつが観客に見せることにあるからだとおもいます。でも、剣道の試合はそういった目的にはないので、説明はありません。実際に後半で両者に反則が宣言されましたが、何の反則かは説明されていませんし、剣道を知らない人にはなんで反則なのかはきっとわからないと思いますし、さらにはよく剣道を知らない人ですと審判が反則の宣言をしたということさえもわからないかもしれません。

剣道の試合はわかりにくいと言われます。そして一本の判定はもっとわかりにくいと言われます。確かにそうです。それは剣道の大会のレベルによって一本の基準が変わることや、各審判の判断基準の違いなどもあります。なので、同じ動作で行った打突でも、状況によって一本だったりそうでなかったりすることもあり得ます。「わかりにくいからよくない」という意見は一般的によく聞きますが、わたしには「わかりにくいのはそれだけ奥が深いからだ」と思えるのです。

竹の棒を持ち、タイヤ(打ち込み台)に向かって雄叫びをあげ、一心不乱にバシバシ叩くなどという一見アホみたいなことを、社会的地位のあるいい大人がやっているのです。日本なら「剣道」と理解してくれるかもしれませんが、アラスカでは「何子供みたいにアホなことやってるんだ?」と思われるのがオチです。だから打ち込みの稽古は人の見ていないところでしかできません。

というように、一見アホみたいに見える行為に深い意味が隠されていても、それを知らない人には見えないし、理解は難しいと思います。

「そんな不透明なものは簡素化するべき」、「もっと一般にもわかりやすくするべき」という意見もたまに聞きますが、そういっているのは剣道をよく知らない人に多いと思います。剣道の有効打突の見極めが、そのように簡単にできるものであるとしたら、たぶんそれは剣道ではないです。つまりそれは剣道の打突の深い意味がなくなった、ただの打ち合いや当てっこ競技だと思うのです。

だから対象を簡素化するのではなく、反対に、その対象を観察する人が自分の見る目を磨き、理解を深めて行き、本質を見極められるようになるように努力する以外に、本当はどうなのかを理解することはできないのではないかと思う次第です。

たかが剣道なのに、大上段に振りかぶった物言いをしてしまい、大変失礼かもしれませんが、とりあえずまずは以上私故人の感想を申し上げます。
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剣道を知っている人はもちろん、知らない人たちにとっても少し興味深い話なのではないかと思ってアップしました。
# by alaskakendo | 2017-02-03 17:11
居合道アラスカ、朝の独り稽古_b0241736_3533123.jpg

遥か遠く日本を離れ、この地で武道を稽古する身においては、師に観てもらえることはない。より高いレベルを見ることができるように鍛えて、自らの目を鍛えることが必要である(前回記載の「真実を見極める目」も是非参考にしてください)。




朝の稽古日には独りだけ先に道場に行き、ビデオを使って自らの稽古を撮影する。撮影中も撮影中であることを忘れるくらい集中して稽古をし、自宅に戻ってからじっくりと観察する。先生のビデオを観て、自分の動きと比べ、何が違うかを探ろうとする。
居合道アラスカ、朝の独り稽古_b0241736_354189.jpg



演じているときの自分の心を振り返り、演武の際の動きが鈍って見える部分を発見した時、自分がどのような気持ちでいたかなども反省する。


居合は「動く禅」と呼ばれることがある。

戦いを坐禅をしているときの心境で行うことができるのだとしたら、それはもはや人間業ではない。

しかし不動心の境地、明鏡止水の心を得るためには、人間を超える心境を目指さなければ、辿り着けるものではない。

不可能なことを求め、敢えて努力精進するところに意義があるのだ。



居合道アラスカ、朝の独り稽古_b0241736_3553990.jpg
このような土地にいることで、技術力が上がる度合いには大きなハンディがあるが、いつもハングリーな心を保ち、より濃い稽古時間を自ら作り出すためには理想的な場所なのである。

剣道の稽古、居合の稽古というよりも、
「剣を修行している」ということを実感する時間なのである。
# by alaskakendo | 2015-08-17 04:06