Wednesday, March 16, 2011

What Kind Of Headphones Does Ovechkin Use

RANDORI

The Randori
( Ran dori = chaos = take) is a type of practice (Keiko ) necessary for the improvement in the performance of dynamic techniques, it is an exercise to seize the opportunities that the partner offers performing the appropriate techniques, and can also become a self-test to assess the level reached in the spontaneous application of the techniques of Aikido .

For learning we can divide the training Randori in various levels of difficulty, adjusting to grade, age, gender of the practitioners. The Randori can go only to those who has reached a good technical grade, to high levels of difficulty, but should never be conceived as a comparison. In this case we speak of fighting that fact, in sports derived from martial arts, you define the term Shiai (试 合), join in the spirit of confrontation.

In the learning phase it is customary to simplify the difficult things to make them accessible to all.
If the target is too small enough to enlarge, then hit everyone. This mode of operation is commonly used in the learning stages of all activities of life, but in the world then the operating difficulties are real. We

be aware that those who practice Randori Mr. Nice Guy with a partner, can improve the shape, but not likely to improve in efficiency.

Training forms (kata and waza) in various applications ( Kihon, Ki no Nagare Awase ... ) provides the practitioner with the correct technique and how to run it effectively, but not efficiently. The
Randori makes efficient practitioner, and the more it will be if the basic shapes have been learned in efficacy. However, in actual application, beyond the study of the form of technical efficiency can solve problems effectiveness.

As I have said the practice of randori in ' Aikido should be an application of technical training opportunities offered by the attacks of the partner. But, generally, is almost always interpreted as a kind of performance.
In Embukai (demonstrations) and Randori demonstration can reach high levels


These performances are of considerable effect, due to considerable technical skills, but always show it, in order to show, with recipients in the giving and receiving. Anyway nothing to say on the effectiveness and efficiency of the Masters Tissi, Toutain and Flouquet.

The Randori , however, should not be reduced solely to the exhibition.
I have ever assisted in the ' Aikido, Randori a with the same characteristics of the practice of Judo traditional, this type of training is, unfortunately, almost totally disappeared even in the practice of Judo modern, completely replaced by Shiai also in training in the Dojo .

I refer to a type of practice where the Randori is not intended as a display or the application of techniques for moving it as a form of confrontation, but as a technical dialogue where both are active as performers and recipients and falls or landing can take place only under certain conditions: if the technique and really effective because its construction was well done: to exploit the opportunity, the right cause imbalance, exclude the use of force (which causes stiffness and reaction partner). In carrying out this type of practice, no doubt, you reach higher levels. In the movie

Judo that will understand the difference between the concept of Shiai Randori and, as regards the Judo same. In the first part, introductory, we see the true spirit of combat Judo , the Shiai , where an athlete is not trying to assert itself on the antagonism only to defeat him, but the real victory by applying a clean technique. Very different from modern combat where victory for the company's prestige, the team or the nation, has become more important principle.
course, the movie, is a type of combat more ... chivalrous.

Also in the movie then follows the practice of Randori under the supervision of Master Kyuzo Mifune . The Judoka move and carry techniques, attack and defend them diligently, do not yield easily, but they do not even opposition. Accepted for fall only if the technique is performed particularly well and with some effectiveness.
Then the movie continues with demonstrations of techniques.
the course 'is different from Aikido Judo not clings to perform the techniques. The technique must be done in the context of an attack that starts and ends up being circumvented, and Tori, rarely grabs Keikogi partner. In randori of Aikido, one of the partners should stick with proper control, the other to defend themselves and respond with a technique, if you are unable to apply patience Uke should not go to the ground force. Everything should be done with honesty.

If of Aikido randori were interpreted as a system partner to land the starting positions, adapted to Judo, he would become a form of judo players.
In this movie, where the great Maestro Tohei is challenged by a journalist who practice Judo, if not expert, it is clear, however, the similarity of attitudes with the battle of Judo. It is noted that the agreement between the two was an adaptation to combat judo players. Tohei among other things, implements principles of imbalance only (does levers, are excluded atemi), so it is in traditional Judo. In any case, the attitude is not that of Randori, but rather to a Shiai .

should also be considered that the costume, the Keikogi , fits a lot more to Judo. Aikido can be practiced in T-shirt (or shirtless) without much difficulty (these may relate to the attacker), keeping intact all the techniques. For Judo would be different, many techniques would be difficult to implement.

In contrast, when my colleagues observe certain types of Judo Randori of Aikido, manifest perplexity. Uke falls always, each technique is always successful, sometimes with a simple push. Many times, this way you do, make representations, and not only in the eyes of experienced martial artists, false and not credible.
If there is no reason to play, which may partly justify the beauty of form at the expense of substance (though I believe that the efficient and controlled movement always nice), this type of randori becomes an end in itself, and if presented in the exhibition as a martial art can lead to the conclusion the 'Aikido ridiculous. You can deceive the public but not practicing martial.

The Randori is definitely the fight of purity. This does not mean that there should be no conflict, Nor does it mean to get a comparison of technical, but a form of construction of technical dialogue.

In words seems easy, but it is not. But is it easy ' Aikido?

In Stage, seminars and gatherings Aikido I have never seen taking up the subject of randori , how to set it as progress. There is no comprehensive education on this topic. Everyone gets by as he can. Everyone interprets it as he wishes.

Like many, I try to find ways to begin to Randori my students.
I think clarifying and assessing the roles of both a good start. In normal practice
Tori is one who performs, Uke is the one who suffers. Tori is good, always wins, Uke takes them.

Let's see them in another way, the student is Tori, Uke is the master.

look like a boxer's training: the sample ( Tori ) is the student's partner (Uke ) and usually the same coach (the coach) that can offer opportunities, create situations, sometimes responds when the boxer is wrong and it turns out, not wanting to overwhelm his pupil. So

Uke becomes a figure as important as, if not more than that of Tori . It eliminated all forms of abuse. Practitioners become a team, unit, who works for the betterment of everyone.

The problem with many aikido is to consider their art (Aikido) higher than the other disciplines and with a priori presumption discard any reference to other activities, but I think that, with due consideration and experience, you will be able to assess what is useful or unnecessary in the other disciplines.

Monday, March 14, 2011

Milena Velba Clips Downloud Free

Italian Championships U20. Results. Judo


Great Judo Lignano where the U-20 Saturday 11 and Sunday, March 12, 2011, have fought for the Italian title of Judo. In the event stands out as Elisa Marks (Gymnastics Triestina) in the +78 kg, which took fourth consecutive national title, a company created by very few. The following charts.



Charts women.
44 kg: 1) Sara Maria Romano (Akiyama Settimo), 2) Maddalena Maisto (Cs Pomilia) 3) Shannon Ruggeri (Kodokan Cremona) and Desire Lipstick (Akiyama Settimo)
48 kg: 1) Odette Giuffrida (Pavoni Judo) 2) Julie Mongiello (Seventh Akiyama), 3) Feliciana Savina (Akiyama Savina) and Francesca Milani (Banzai Cortina)
52 kg : 1) Anita Colla (Kyu Shin Do Kai Parma), 2) Manuela Lentini (Three Marmar) 3) Greta Poser (Judo Vittorio Veneto) and Marta Iadeluca (Banzai Cortina Rome)
57 kg: 1) Sonia Arduini (Valpolicella Judo) 2) Anna Righetti (Cus Verona), 3) Rebecca Conti (Banzai Cortina Rome) and Rome Fabiola (Kyai Ostuni)
63 kg: 1) Ilaria Fortini (Banzai Cortina Rome), 2) Martin Grech (Banzai Cortina Rome), 3) Bintu Fofana (Judo Brianza) and Carola Paissoni (MK Team)
70 kg: 1) Miranda Giambelli (Isao Okano Club 97), 2) Ilaria Silveri (Banzai Cortina Rome), 3) Sara Marignane (Ok Arezzo) and Giuseppina Macri (Judo Milone Crotone)
78 kg: 1) Valeria Ferrari (Valpolicella Judo) 2) Alessandra Ravotto (Ok Judo Club) 3) Chiara Meucci (Sakura Kai Pescara) and Linda Politi (Ren Shu Kan Marina)

Charts men.
55 kg: 1) Andrea Ferretti (Cus Siena), 2) Graziano Pires (Teiko Judo) 3) Marcello Mundula (Karalis Judo) and 3) Marco Schiavina (Akiyama Settimo)
60 kg: 1) Fabio Basile (Akiyama Settimo), 2) Lorenzo Guzzardi (Fuorigrotta Judo) 3) Kevin Morelli (Gymnastics Centre Turin) and Carmine Di Loreto (Nippon Napoli)
66 kg: 1) he speaks (Flames Gold), 2) Emanuele Bruno (Florida Fitness Club New Rome), 3) Silvio Cici (Judo Castelfranco Veneto) and 3) Anthony Edwards (Star Judo Club Napoli)
73 kg: 1) Massimiliano Carollo (Akiyama Settimo), 2) Augusto Meloni (Judo Frascati), 3) Alessandro De Luca (Judo Valpolicella) and 3) Gennaro Palumbo (Nippon Napoli)
81 kg: 1) Fabio Miranda (Team Romagna), 2) Raffaele D'Alessandro (Nippon Naples) 3) Luke Barilari (Judo Together) and Ares Zanella (Equipe Feltham 2007)
90 kg: 1) Diego Frustaci (Banzai Cortina Rome), 2) Nicolas D'Amico (Ciriè Center) 3) Karim Gharbi (Team Romagna) and 3) Mirko Pinto (Nippon Napoli)
100 kg: 1) Ciro Bust (Strength and Constance Brescia) 2) Joseph Causarano (Koizumi Scicli) 3) Valerio Menale (Judo Preneste Castle) and Alessandro Troisi (Akiyama Settimo)
+100 kg: 1) Domenico Guide (Star Judo Club Naples) 2) Alex Fox (Tor Lupara Judo) 3) Nicola Bickerstaff (Kodokan Judo Fratta) and Francesco Detroia (Kodokan Montenero di Bisaccia)
Company: 1) Seventh Akiyama, 40, 2) Nippon Napoli, 26, 3) Star Team Romagna and Naples, 16

+78 kg: 1) Elisa Marks (Gymnastics Triestina), 2) Carolina Coast (Fight Olimpika Messina), 3) Francesca Macaluso (San Mamolo Judo) and Clare Bonechi (Kodokan S. Angelo)
Company: 1) Banzai Cortina Rome, 52, 2) Seventh Akiyama, 34, 3) Judo Valpolicella, 20

Saturday, March 5, 2011

Can You Take Mucinex Nyquil

and AIKIDO COMBAT THE THREE

am not opposed to the styles, I favor, I'm not opposed to competition, either for, what I write is just my own observation.

Morihei Ueshiba was a fighter. There are many anecdotes about this attitude. Why then so stubbornly fighting against?

I state that I absolutely agree, even with my past and judoka agonist, with those who say that Aikido is not "contaminated" from competitions, because there is already a true competitive spirit greatly from the many masters of Aikido, and between the various associations.

Nevertheless, I think the comparison, non-competitive, an effective way to improve.

The various arguments have appeared in the web I noticed two substantive justified and at the same time questionable motives who want to deny the players Aikido:
the first is the certainty of a distortion of Aikido
the second, the fear of developing too much of the individual ego.

For the first argument I completely agree, as was the case for Judo, many techniques have disappeared because dangerous. Martial art is the exact opposite: in sport if the technique is dangerous rises while for the martial art intended as a warrior, the more dangerous, more must be applied.

Aikido, which is not expected to affect the adversary, of vital importance is the control, using devastating techniques without bringing in a dangerous manner. But before we get to a control action in a real fight, several Uke no longer have the opportunity to practice.

aspects of competitive considerations
By the second statement is not entirely agree.

I have often heard the criticism of modern Judo, with absolute right, because many judoka have pursued mainly aimed at winning the competitive aspect, feeding self-centeredness and egotism, as I read somewhere (although I have seen more self-centeredness and egotism in some high degree of Aikido).

Some of the good athletes in judo, with whom I fought, and those of other disciplines that I attended, I always found great humility and mutual respect, not to defeat facing each other, but to see if their technique went in the right direction, victory or defeat was its consequence.

Undoubtedly there who wants to prevail at all costs by force or taking advantage of the rules, but in most cases are short-lived, over the leave everything racing period.

I am equally convinced that the comparison is a balance ego, not a power: the shy and insecure athlete may realize that after all is not worse than his opponent than he thought, the more aggressive and arrogant athlete who realizes there are better athletes than he.

am firmly opposed to those who promote the total removal of the ego, does not make sense in our lives, but I agree with those who promote its balance.

The danger of not comparing
the other hand I have heard criticism of the practitioners of Aikido for their lack of real comparison, for their research very refined, sometimes too philosophical, theoretical. Do not want to compete with other practitioners of Aikido. I do not speak of a competitive type of comparison, if Aikido was transformed into a competitive sport would, most likely, a bad copy of Judo, I speak of a constructive and a technical point of view of that principle.

work without comparison may mislead, conceal, mystify and subject: it can increase the egos of those who practice it, convinced of its boundless capacity to the point to be considered so clever as to be unbeatable, or his technique has achieved such high sophistication "to invent new styles."

I get the impression that the ego is not fed by the "healthy debate" but competitive activity from unhealthy form of "power" that comes when you realize their "capacity compelling" and likely to lead with charisma, with awe: when there is at the center of attention without allowing comparisons. When you understand how easy it is to upset the spontaneous or promote the artifice.

so I would say that even the non-competitive spirit helps to feed the ego.

I think, in this sense, the steps are easy high levels that are the most dangerous athletic activity, if the candidate does not deserve it.

I met also with senior Aikido, good teachers, who still learn from their students that demand and challenge, enhancing increasingly, are not precursors of new styles like many others have done by attaching to an infinity of non-technical arguments (perhaps because the technique does not know it) to bring their little credible Aikido.

There were also great characters who have created good current, other than technical and strategic conceived of Aikido as a martial art. Methods of practice that have lost their tactical and technical-martial to promote new experiences rather than technical-sensitive practices for the pure physical exercise, but none of these is Aikido current total, if it can be a part of. Jigoro Kano himself has introduced in exercises such as Judo Ju No Kata (forms of gentleness) with stylized movements so that the technique of Judo becomes unrecognizable, it is designed as a gym, but undoubtedly develop that sense of surrender and also useful dell'assecondare techniques of combat, but it is a part of judo, Judo is not total.

The teacher must be clear when he proposes these types of practice, this would not it is Aikido, but a system that derives . .

Thursday, March 3, 2011

Wording For Wedding Response Cards Dietary Needs

the Olympic Museum in Lausanne.


From March 3 to May 1, 2011, to celebrate the 60th anniversary of the International Judo Federation at the Olympic Museum in Lausanne will hold a special exhibition with the theme "Judo, Martial Arts from Olympic Sports."

The exhibition is located on level -1 and access is free for all visitors.
Enter the Olympic Museum is equivalent to a tour through the Olympics, the 2000 years of human history.
For those interested in learning more should visit the site http://www.olympic.org/museum .

Wednesday, March 2, 2011

The Goodie Box Condom

katate (katate Sanbon)

In the previous blog dedicated to ' HACH NO JI gaeshi I talked about the uniqueness of this suburi.
In particular, I tried to find the link between the Kanji Hachi (eight in Japanese), and execution of movement.

In this new work I will try to highlight the link between the group of suburi the katate SANBON, which is part of the suburi already discussed.

katate SANBON (the three key strokes with the hand) =
katate with one hand (literally hand-shaped)
San = three
Bon (Hon) *= Fundamental Basic Japanese
* H becomes B (Hara-bara), as K becomes G (Kaeshi-gaeshi) in compound nouns

katate Gedan gaeshi (reply from bottom with one hand )
As you can see, the line drawn from the jth bottom-up diagonal:
katate Toma Uchi (shot with his hand from a distance)
The line drawn from the jth is the diagonal from top to bottom:

Bringing the two graphs:
we connect the points of arrival and departure of the two and get the suburi Hachi no ji gaeshi:


Front View:
and here

katate Hachi No Ji gaeshi (cross-shaped response of eight with one hand)


Where Can I Find Tempeh

World Judo Cup in Warsaw. Meloni is Gold.



In a tournament dominated by the French, Roberto Meloni, just thirty years old, wins its third World Cup win with a maturity of five years. He won in 2001, in 2006 and now in 2011.
has dominated the 90kg category, getting rid of Grigori Minaskin (EST), Ariun Batbayar-Erdene (MGL), Lukasz Kolesnik (POL) and Kamil Magomedov (RUS) all by Ippon. Randle Milan (SVK) was beaten in the semifinals with a golden coffin to de ashi score and then won the final double penalty (liabilities) on Victor Fishman (ISR).
important goal is to make a leap of ten positions to which port Meloni 30th place world ranking.

Here are the top places.
- 60 kg Ashley McKenzie (GBR)
- 66 kg NAZARYAN Armen (ARM)
- 73 kg DARBELET Benjamin (FRA)
- 81 kg PIETRI Loic (FRA)
- 90 kg Roberto Meloni (ITA)
-100 kg Cyril Maret (FRA) Stanislav BONDARENKO
+100 kg (UKR)



by kombatmagazine

Sunday, February 27, 2011

Pioneer Pro 1000hdi Stand

katate HACH NO KEN JI gaeshi

suburi One of the most significant is undoubtedly dell'Aikijo katate Hachi No Ji gaeshi.
katate = hand (literally "hand shape")
eight
Hachi Ji = = = cross
gaeshi response reversal (the situation), controtecnica

Therefore, the translation is " Reply (an attack) with cross-eight motion with his hand ".

One of the most taken for this movement is a response to Renzoku Uchikomi with jo,

Go or no suburi, yokomen consecutive right-left with the bokken.

A clear application of Hachi no ji gaeshi you see in the 10th kumi jo


The reference in that it uses to run suburi this is the number eight, Hachi in Japanese

hachi

From the image you can see the "lines" which resulted in the name of the movement suburi concerned.
As you can see there are different types of styles for rappresentale Hachi. From the most narrow and rigid, and expanded to more harmonious. The writing is very personal, but the movements are.

Aikido is full of symbolism, but the symbols are codes, but should not be taken literally interpreted, most of the time analyzing the hidden meaning. And above all, must have an objective verification of the application in the real

When the wise points at the moon
the fool looks at the finger.
(Zen saying)

goes without saying that the kanji for the number eight does not want to (only) to identify the directions that the jo should go, but (also) the two main points of emphasis of the movement, that is where we will be the impact with the other jo or bokken.

During a slash of the sword (yokomen uchi) we can identify three main points of impact between jo and ken-dependent trajectories of jo 3:
let's see one by one :

A
By Kanji reference to the type A, very closed, the impact on the section of bokken would be at the top (A). Hitting on this point from above give even greater boost to blow that it will continue its downward trajectory with greater force, with the possibility to be addressed toward the body, hitting the legs.



B
Kanji With reference to the type B, more open, the impact would be on the section of bokken diagonally from top to bottom, it diverts the bokken but not to such an extent as to make sure that you do not shoot down on us, if you hit the bokken a bit 'more above its trajectory will not change.





C
Kanji With reference to the type C, very open, the impact on the section of the bokken is the most effective and deflect from the path to safer, even if the impact happen in the highest part of the bokken.

Another curiosity about number eight on its meaning "hidden", the Kanji Hachi, which in Chinese is Ba, depicts a river that divides a two branches, the origin of the sign is hence separation. The number eight, for the Chinese, was also a kind of calculation units, covered the rice field. Rice fields were divided into four parts, eight had two fields. The farmers therefore used the number eight as the basis for the division of the fields in the negotiations.

tian ("field" in Chinese)


This consideration may have to Hachi No Ji gaeshi also means to divide, move, separate.

Master De Compadre insisted on this very special to dismiss asserting that, incidentally, extraordinarily, the directional lines of relevant suburi West also looked like the number 8, reverse, and that is the symbol of infinity, an extension to the right and then left.

At this point is, in slow motion, this suburi performed by Saito Sensei and look at what is the line drawn from the jth, especially at the beginning of the movement, is almost parallel to the ground, and do not pass close to the body.

1st example
Example 2
and into that sequence Miles Kessler where the open and even more pronounced:

3rd example

Contrary to the following video where jo passes close to the body of the practitioner:
4 th example


5 th example

The interpretations and systems for the execution of Hachi no Ji gaeshi of these teachers are different, as is the case generally also for many other techniques of Aikido.

I suburi performed by Saito Sensei and Miles Kessler, in my opinion, are effective in practice as well as representation "philosophy" of Kanji hachi. The fourth and fifth example can also be one of the Kanji above (that of type A), but I have serious doubts and concerns about their successful implementation.

Tuesday, February 22, 2011

Can A Man 62 Years Old Still Have Erections

no Kamae - three positions - three fundamentals of a Witness

techniques, movements and tactics derived from the movements of Aikido Kenjutsu and tactics ... O Sensei has adapted these movements and tactics is that at the Tai Jutsu Buki Waza, in accordance with the principles that he himself has developed ...


Today, some schools of Aikido practice little or no study at all Buki waza (weapons techniques). Some schools have even banned weapons from circulation in the name of non-violence, thereby departing from the roots. Others, in contrast, study the technical school of Kendo, Iaido, Jodo ... These arts, not just in my opinion, even if valid, are not completely suited to applications in the movements and principles of Tai Jutsu Aikido (grappling techniques) indeed, some going in opposite directions.
This does not mean they should not be given, but must be considered martial arts, or sports from martial arts, aikido that have little to do.


NO KEN KAMAE
The basic position for the practice of ' Aikiken is Ken No Kamae, in particular the form Chudan . The criteria that govern this position are the basis of ' Hanmi .


When we talk about Ken no Kamae and then we talk of Hanmi.


I Kamae, in ' Aikiken , three, and three of the first three Kamae Suburi: 1 Suburban Chudan no Kamae, 2nd Suburi Jodan-no Kamae and 3 ° suburban Gedan no Kamae.


In the other arts of the sword the guard positions only many more, but we know that O Sensei, took only what, functionally, it served to highlight the principle of Aikido in their actions. And most of all, he has selected and "clean " all movements that potentially could remove the practice of these principles.


So, today we find ourselves practicing aikido techniques without tripping, no mowing, ... sweeps without all those mechanisms that make effective techniques and reduce the efficiency dell'aikidoka. O Sensei has the clean and tell us: " get out all the armor and practiced with the minimum of your maximum potential for exploitation." One senses that he tried not techniques arm ourselves, but let us become " technology" . Aikido strips us completely and compels us to fight our own inner nature.




The three images are related to the three positions of the Katori Shinto Ryu.
Although Buki Waza of O Sensei, developed specifically for Aikido, differs from many schools of Kenjutsu, some points remain common.
Hanmi position, that aikido has maintained, in other martial arts has been replaced for reasons of competition (where the attacks become more important defense) by a more frontal position., And where , since there is no danger of death, you can take daring attitudes.

These three positions, strategically, were those who espoused more fighting in the bush. Each of these positions controlled the other. Steps from one location to another, the tactics of attack or defense


If the first contestant took the position Chudan, Jodan passed to the other, and the first answered by Gedan.


It will deepen further on these mechanisms, for the moment let's enjoy this movie made from "the seven Samura i" Akira Kurosawa, and observe that these steps are intentionally well highlighted by the wonderful director, expert Samurai traditions of her country (see critical film at the end of this article).




E 'superfluous to point out that in the warrior tradition, position control, spirit and emotion are crucial in situations of danger .


Ken no Kamae and stability


Be that as people in everyday life, and as Aikido, studying and learning the martial characteristics, our balance can be compromise in three points.

1. Physical balance
The control point is the center of gravity of the human body, positioned a few inches below the navel


2. Emotional balance
The checkpoint is the heart-lung, organs that express the anxieties materially


3. Mental balance, mental
The checkpoint is our mind, our control center


The disruption of one of these three points has an impact on other points. Control, stability and continuous alignment of these three acts decisively on our state and consequently on our choices and actions.


In Zen posture is of primary importance to meditation.
It takes more than a year to sit properly.
If the three points are well aligned then the senses, thoughts, energy, flow blocks and of course without the clarity and insight will be total.


or senses in meditation


In Aikido we find this formula by three foundations that O Sensei path:

physical equilibrium - Stability - Strength - Earth - Square
Emotional Balance - Running - Fluid - Water - Circle
psychic equilibrium - Anal - Air - Fire - Triangle


In conjunction with the Eastern philosophical tradition, the structure of the pagoda is deeply entrenched. The square is represented by the legs, belly-land, the border is exactly 3 cm below the navel. The circle includes belly-heart zone, the border is the heart. The triangle area includes the heart-mind, the boundary is the highest point.

Ken no Kamae and three sources

particular position of O Sensei Ken no Kamae


position Ken no Kamae aligns the mind and the heart of the basin:


Basin
Stability , physical balance, effective technique ...
The stable base for the technical implementation, balance and physical imbalance

Heart
Emotions, feelings ...
The heart makes the final decision, balance and emotional imbalance

Mind
conceptualization, formulation, concentration ...
The basic tactical and strategic action and defense, balance and imbalance in the psyche.

If the position is correct, the belly is stable, the breath (kokyu) is normalized and the heart is calm, does not agitate the mind becomes clear and focused but ki flows.
If the position is correct, the belly is unstable, the breath becomes anxious your heart beats strong and stirs the mind (stress), the Ki is blocked.
The stability of the body may be broken causing a serious imbalance of mind. Acting on the mind

Aikido In ethics the above brings us to the following statement

body running the blow
the mind directs the blow
heart decide between life and death

Morihiro Saito Sensei Ken no Kamae

Ken no Kamae and the strategy of control
sword pointed at the eyes of the opponent controls the mind: the alignment (c) directs the stability of your body in line straight to the mind of the opponent which will not be able to find a way to penetrate the guard.


This point is critical to capture the Ki of the aggressor, and it is at this point that Tori can open your channel to watch the attack of Uke.


KAMAE is not just a physical location, a guard for the fight, but a state of physical, psychological, emotional connection between mind, body and spirit. For this reason the position, in a real fight, it was of paramount importance.


Note on Duel of "The Seven Samurai," Akira Kurosawa
has used the advice of the Master of Kendo Yoshio Sugino regarding technical and tactical parts of the film, even if we do not know when it has influenced the plot. The duel over represented a facsimile of a historical episode, though, for obvious reasons, not reconstructed exactly, the main character was the famous master swordsman Yagyu Jubei Mitsutoshi (1607-1650), the Yagyu ryu school. At the time, like today, wooden swords were used for daily training (bokuto or bokken) without the use of guards, the shots had come into contact with a strong proficiency in such a way as not to bring injury. Of course, the incidents were equally frequent, sometimes fatal, and the complaints were of use. Over time the use of shinai, still used in Kendo matches, will bring the hit safely without risk of injury to the opponent.


The masterless samurai (ronin ) were constantly on the road and carry only the bare essentials. In the film sequence the two contenders in the absence of bokken, obtained by cutting the makeshift bamboo swords. The challenger then took an aggressive stance (offensive mind, body pending) warning high (jodan) while the other moves to guard waki Gama (Gedan), with a neutral attitude (mind and body hold).
rattled the challenger attacks to break through the inertia, so impetuous (body and mind in attack), Kyuzo (main character) comes back with perfect timing and his bokken touches the opponent before it touches briefly in turn.

The challenger understands the difference and not declare a tie, but Kyuzo, more aware, says that the victory is his. Inevitably the answer then we try in earnest.

Repeat with real swords follows the pattern of the first assault, and this time the result is fatal for the challenger. Kurosawa with a device that loves very scenic, having exacerbated the tension and the pace of the action, past the crucial moment, shows in slow motion the fall of the victim. Probably a ploy more realistic than they seem: at times of maximum attention, as what the audience should have a duel to the death, the assurance maximize their sensitivity and time seem to expand, the moments become interminable.

The Smell Of Nylon Feet

Newaza Judo Tournament in Milan.



4 TROPHY Memorial Ezio Ghiringhelli

when?

March 27 Times - 8.30 weight control - 9:00 am race start
Entries must be received by Thursday, March 24, 2011

weight and age:

Age - Race reserved for all athletes who have reached 16 years of age
Grade - Race reserved for blue belt, Brown and black or in the view of his master
Men: kg 65 / 75 / 85 / + 85
Women: kg 50 / 60 / - 70

type of race

Only Ne Waza (ground fighting)
rounds of competition - based on the number of participants
(as far as possible every athlete will have the chance to take at least 2 fights)
For categories where the female members will not be sufficient (in the opinion of the organization) can be reduced to two or even one!
race time - 3 minutes actual

Awards Medal of contributions by all members.
Judogi the best judoka of the event (prize awarded at the discretion of the organization according to number of ippon, technical excellence, originality of the steps on the ground) Art
Users to top 3 in addition to the following awards: 1st place
  • . : Hooded Judo
  • 2nd Class: Bag Sports
  • 3 rd Class Book of Alfredo Vismara.
Adhesions - It is confirmed the participation of the team Catalana (Spain)

€ 10 registration fee to be paid at the time of the weight.

Contact:

Straight to Maestro Valter Scolari e-mail valter.scolari1 @ tin.it - \u200b\u200btel. 3319702921