Jag har tränat Budo & Kampsport sedan år 1981 och har varit aktiv instruktör sedan 1984. Jag var med och grundade Dokan Dojo (Honbu Dojo) i Göteborg år 1987. Började 1981 med Ju Jutsu och sedan rullade det på med Judo och Taekwondo. I perioder har det också blev en del Karate och vapenträning. Har alltid varit en allätare.
År 2000 grundade jag Dokan Ryu Ju Jutsu, en stil som förutom självförsvar är mycket inriktad på Fighting och Sport Ju Jutsu, både poäng och fullkontakt. Idag är jag graderad 7 Dan Kyoshi Ju Jutsu & Goshin Jutsu, 7 Dan Hedergrad Kyoshi Karate Jutsu, 5 Dan Taijutsu, 4 Dan Jidokwan & Kukkiwon Taekwondo, 3 Dan Kodokan Judo, Shoden Ho Miura Ryu, Jag har också Shodan i Karate Do Toyama Ryu Morinaga Ha Iaijutsu och Mokuroku Renshi i klassisk Kenjutsu.
I år blev min bok ”Dokan Ryu Ju Jutsu & Budo Densho” klar, efter några års arbete.
Jag arbetar annars som ortoped, med framförallt inriktning Barnortopedi.
På den här bloggen skall jag försöka förmedla mina kunskaper, erfarenheter och åsikter om Budo & Kampsport.
Chiburi is shaking off the blood from the blade. The way chiburi is performed varies within different schools and koryu. In some schools, chiburi is not performed. Chiburi is only a ceremonial and symbolic part of a kata. Of course, it’s impossible to shake off the blood from the blade of the sword. Usually, we perform kaitenchiburi or yokochiburi after the cut.
Kaiten chiburi:
Kaiten chiburi
Kaitenchiburi is the rotating shaking of blood from the blade. After the cut, you still have your left hand on the tsukagashira, relax your grip slightly. Now you are going to perform kaiten chiburi. With your left hand, rotate the sword once counterclockwise and the then strike with your right hand below the tsuba.
Yoko chiburi:
Yoko chiburi
In yokochiburi, the sword is moved sharply to the right side of the body, almost parallel to the floor. In the final phase, the tip of the sword (kissaki) should be aimed at the seichusen and your enemy.
Jämvikt och balans är två viktiga faktorer inom biomekaniken.
Vad är då balans?
Balans betyder inom fysiken att något är i jämvikt. Det klassiska exemplet, som vi kanske kommer ihåg från skolan är exemplet med gungbrädan.
Exemplet med gungbrädan (bilden lånad).
Balansförmåga:
Balans, som en träningskvalitet eller den personliga balansförmågan, är förmågan (och skickligheten) att kunna upprätthållajämvikt i alla positioner och under kroppsrörelser.
Jämvikt:
Våra fötter är våra stödpunkter i Fudo dachi. Stödytan under kroppen och mellan våra stödpunkter blir vår bas.
När vi står i balans i ställningen Fudodachi, så befinner vi oss i jämvikt.
Våra fötter fungerar som stödpunkter i Fudo dachi. Stödytan under kroppen och mellan våra stödpunkter blir vår ”bas”. Kroppens tyngdpunkt befinner sig ovanför, jämnt fördelad på våra fötter.
Tyngdkraften, som skapas, vill dra oss ned mot mattan/golvet. Golvet skapar en ”normalkraft”, som är lika stor och som motverkar tyngdkraften. Det vill säga i en perfekt Fudo dachi, så råder en kraftjämvikt.
Hur fungerar då jämvikt inom Budō och kampsport?
När Din motståndare applicerar och utsätter Dig för en kraft, störs Din balans och Din jämvikt (förutsatt att du är helt passiv). För att kunna motstå denna obalans och upprätthålla Din jämvikt måste du svara med motsvarande kraft.
Det bästa sättet att kunna behålla Din balans, Din jämvikt och Ditt motstånd mot yttre krafter är att alltid sträva efter att ha en bredstabil bas med Dina stödpunkter. Detta gäller såväl i stående som i Newaza.
Kiri (or kiritsuke) is the swordcutting action, the decisive finishing cut. In some kata, but not all, the final cut is performed with a simultaneous kiai.
Kiai is a yell or shout produced from the hara, the lower part of the abdomen. Ki-ai can be translated as ”collective ki”, a shout that get out all Your inner energy and focus Your full power. In addition, kiai has an inhibitory effect on the opponent while building one’s own courage.
Kiaijutsu is the actual technique of shouting out one’s kiai. Another name for kiai is kakegoe, attack roar. A common misconception is that it is the word ”ki-ai” that is shouted out.
In the old schools, you have several different types of kiai. JikishinKageRyu has for example 13 different kiai. Within some schools only silent kiai were used. Kiai is usually divided into four different main types:
“YAH” or “YOH”: The victorious shout. Your voice could pierce the opponent like an arrow (ya). One is prepared for attacking.
A long drawn out “EI”: The attacking shout. The yell should simultaneously frighten and break down the opponent’s movement patterns.
”TOH”: The reacting shout, for example when blocking or countering.
The shadowshout or the ”silent shout”: Usually completely silent (just your breathing) or just like an ”uhmn”.
However, many schools, like ours, use ”EI” for cutting/striking and ”TOH” for stabbing/thrusting.
You wear the sword in a taito-position, the sword is worn on left side with the ha (edge) facing upwards. Tsuka (the sword handle) should be directed in front of the umbilical. You control tsuba with your left thumb.
Nuki is the quick sword draw from saya (the scabbard). There is a difference between Nukitsuke and Nukiuchi. Tsuke (in Nukitsuke) means that you draw your sword before the opponent has started his attack and, in this way, you can also control and psyche your opponent. In Nukiuchi, on the other hand, you draw and cut down the opponent.
An important part of the drawing action is the principle of “hiki–nuki” (draw-draw). This will allow you to accelerate your draw. The nuki is performed in the following steps:
Sayaoshi, you move saya upwards at an angle of 30-45° in the direction towards the seichusen.
Sayabiki, when the sword is drawn from the scabbard, the scabbard (saya) is withdrawn.
DO GIRI:
Do giri
Dogiri is a horizontal cut across the torso. In connection with Nukiuchi, it is sometimes called Yoko ichimonji or Suihei.
GYAKU KESAGIRI:
Gyaku kesa giri
Gyakukesagiri is a reversed diagonal cut from below, drawn from your left side. The cutting direction will be from the opponent’s right iliac crest up towards the left collarbone.
Gyaku kesagiri
FURIKABURI: Furikaburi is the actual lifting of the sword (“the upswing”) in preparation for the next cut. Often it is performed after nuki or nukiuchi. This is an important element that is often overlooked, even though it is an important part of the strategy. A true sword master has mastered this important moment! A pre-requisite for success is that you also master the correct grip of the sword handle, Teno Uchi. Furikaburi should be done in a smooth and flowing motion. You should be able to control your opponent and the seichusen (centerline). In short, you make sure that during furikaburi, you have either kissaki (the sword tip) or tsuka aimed at your opponent (always be ready to cut).
You should remain in control throughout the action. This step has more important functions than just lifting the sword for the next cut.
Remember, furikaburi is a part of the strategy (heiho), which gives you the opportunity to create an opening (suki) and at the same time expose the enemy to both mental and physical stress (seme).
Den här gången skall vi lära oss lite mer Budojapanska (min tanke) genom att lära oss orden för våra olika grader och licenser.
HIDEN:
Hiden (秘伝) innebär inom Budō ofta den ”hemliga (eller förseglade) nivån”. Hiden betyder ”hemlig överföring” eller ”hemlig tradition”. Hiden är kunskaper som inte finns nedskrivna, då de inte på något sätt skall kunna delas med några utomstående. Kunskaper som bara överförs muntligt från mästare till utvald elev. Hiden kan också bara betyda ”hemlighet”. Hiden skrivs med två olika kanji-tecken och uttalas på on’yomi, det sino–japanskauttalet av de kinesiska tecknen.
Hiden skrivs med två olika kanji-tecken, men va betyder varje tecken var för sig?
• det första tecknet, 秘, uttalas ”hi” på på on’yomi, det sino–japanskauttalet av de kinesiska tecknen. Hi har flera olika betydelser, som ”hemlig”, ”förseglad” eller ”dold”, men betyder i det här sammanhanget ”hemlig”. På kun’yomi, det japanska uttalet av de kinesiska tecknen, uttalas det ”himeru”, ”hisoka” eller ”kakusu” (vi kan känna igen det i till exempel Kakushi tsuki, det ”dolda slaget ” i Kata Wanshu).
• det andra tecknet, 伝, uttalas ”den” på on’yomi, det sino–japanska uttalet av de kinesiska tecknen. Den betyder ”tradition” eller ”överföring” (i mening att man får mottaga en lära eller tradition). På kun’yomi, det japanska uttalet av de kinesiska tecknen heter det ”tsuta(waru)”.
Te no Uchi is the correct hand grip in the sword or really in any weapon. Thus, the concept is not only limited to Iaijutsu or Kenjutsu, all types of weapons (buki) require a correct basic grip. Te no Uchi means “inside the hand”, i.e., how we hold the weapon. Here we focus on the sword technique, i.e., how we hold the sword. The ideal grip is a grip where you can manipulate and control the weapon. A grip that is too tight will be inhibiting, a grip that is too loose can cause you to lose the sword.
Te no Uchi
The Hand Grip: The correct grip, tenouchi, is important. The expression “nigiri-tamago no tenouchi” describes the feeling one should have and means “to grasp the sword as if you were holding an egg in your hands”.
The right hand.
• The right hand grasps close to the guard, tsuba. You hold the sword in a light but relaxed grip between your thumb and index finger. The middle finger and other fingers are pressed tighter around the sword handle.
Left hand
• Your lefthand covers the entire handle and pommel (tsukagashira), allowing your wrist to move freely. You grasp with the little finger side. The left hand should be as far away from the right hand. When we practice Kenjutsu, we use bokken without tsuba. Then you can easily lose the distance between your hands. When practicing with bokken, make sure that the distance between your right hand and your left hand is about one fist.
Honte is the “natural grip”, as described above.
GYAKUTE:
Gyakute, reverse grip.
Gyakute is the reverse grip of the sword. You start in the same way with the left hand, as in honte. Then you use your right hand in a reverse grip on the sword handle (tsuka). The little finger side is almost in contact with the guard plate (tsuba).
Spänst är annan typ av styrkekvalité, som kräver en koordination och kombinationen av framförallt bålens och benens styrka. Synonymt brukar man säga att spänst är lika med Din hoppstyrka. Hur högt eller långt kan Du hoppa?
The usefulness of warming up is sometimes a debated question. What is the meaning of warming up? What evidence is there for the benefit of warming up? Questions that I sometimes encounter both as an instructor and as an orthopedic surgeon.
What happens to the body?
A warm-up should last for 10-20 minutes, a little depending on the activity you will perform. Also try to vary with different exercises, then it might also be experienced as a fun part of the training session. It is important to activate all major muscle groups, but also arms and legs. The heart rate is gradually increased. You should get sweaty, but not ”run out”.
That is to say, the warm-up increases the bodytemperature and starts the bloodcirculation. When the blood circulation starts, the synovialfluid lubricates the joints and the muscles become more elastic. You can react and perform in a better way. Also try to see the warm-up as a mental preparation for what is to come.
So what is the purpose of the warm-up? The most common reason you hear is that it is for you to avoid injuries and to be able to perform to the max.
But how is it really? Is the warm-up injury preventive? What medical and scientific evidence is there?
There are not many studies that concern martial arts, but there are several studies regarding team sports, such as football.
The available studies have shown that a well-conducted warm-up reducesthe risk of various soft tissue injuries, such as muscleinjuries and tendon injuries. Injuries that may make up up to 30% of sports injuries in an orthopedic emergency department. Tendon injuries are also increasingly common as the body begins to undergo its aging process (from the age of 40). The tendons go through a degenerative phase and get both a poorer quality and a lower strength. A typical example is the Achilles tendon rupture in racket sports. So warming up is equally important at all ages! However, there are more studies that show that warming up increases your performance.
You who are an instructor can start to note when an injury occurs. Had the participant warmed up properly?
At the same time, remember that the evidence for the effect is for muscle injuries and other soft tissue injuries and not for fractures. Evidence for the effect in joint injuries, such as joint dislocations, is lacking. These are injuries that probably require other injury prevention measures.
In summary, it can be said that the warm-up:
• should be an obvious part of the training session
• prepares both your muscles and your mindset for training and physical activity
• increases your performance
• is injury preventive when it comes to muscle, tendon and ligament injuries
Pavel Antonsson Shihan & Chief Instructor 