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James R.Fox




Location: Youngstowm,Ohio
Joined: 29 Feb 2008

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PostPosted: Fri 03 Jul, 2009 9:28 am    Post subject:         Reply with quote

Mr Gandy-I did not express myself well. I meant to say that the Japanese Seem to have picked up the Idea of a two sword method of fighting, as they did gunpowder, the plate half armour curiass, and several other military ideas from the Portugese and Spanish as these things appeared in Japan immediately after Portugese contact. The thing that got them expelled was the appearence of commeners trained to use matchlock muskets and cannon under Takeda Shingen and then Oda Nobunaga. Hideyoshi attempted to supress these ideas when he became Shogun,but it was only when Togukawa Ieyasu conquered Japan that christianity was destroyed, gunpowder auppressed,and the commoners totally disarmed.He was smart enough to forsee the gunpowder revolujtion in warfare and destroy it while it could be done, after the Battle of Seigigahara, which gave him control of Japan.
Ja68ms
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Anders Backlund




Location: Sweden
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PostPosted: Fri 03 Jul, 2009 11:19 am    Post subject: Re: Japanese Swordsmanship vs European         Reply with quote

Michael Curl wrote:
1. Whenever I see kendo being practiced it seems like they are making short hops rather than passing steps, how are these used? Are they like the advances in classical fencing where they ar more like syncronised advances rather than the hops they appear to be.


They're called suriashi. IIRC, what you basically do is push away with your left foot and let your right foot glide forward, only barely lifted off the ground. If done right you end up in the same position all over again so you never need to move your left foot in front of your right.

When I practised kendo, I found this type of footwork to be very hard to get right, with a tendency to hurt your feet, and I consider them slightly overrated in general.

However, people who are actually good at it can supposedly move very fast in a kind of gliding manner.

Quote:
2. How often are thrusts implemented? Is it just as frequently as with the longsword, or is it more rarely done?


In kendo there is only one thrust, the tsuki, which basically comes down to poking your opponent in the throat.

Quote:
5. What role does the tsuba play? It seems that due to its size, it would only be good for preventing your hand from sliding up the blade, and the enemies from sliding down.


From what I gather, the tsuba is mostly meant to keep your hands from accidentally sliding unto the blade and giving a more secure grip in general. However, I've seen pictures of antique tsubas with cut marks in them, so they probably served some protective role against your opponent's blade as well.

Asian swordsmanship in general doesn't seem to consider the guard to have much of a practical role in the actual fight - according to a friend of mine who's trained in Chinese fenching, the reasoning is that if your enemy's blade gets that close to your hand, it means you've seriously messed up your technique.

The sword is an ode to the strife of mankind.

"This doesn't look easy... but I bet it is!"
-Homer Simpson.
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Patrick De Block




Location: Belgium
Joined: 10 Aug 2008

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PostPosted: Fri 03 Jul, 2009 11:20 am    Post subject:         Reply with quote

Tetsuzan Kuroda has two dvd's with English subtitles: the more-dimensional body and the multi-dimensional body which are available at BudoJapan.com if someone is interested in just what he is doing.
At 0:36 there is indeed a fleeting moment in which they're square to each other but they are in transition. Look at those dvd's to see what they are doing, it is a core movement, transitioning from a left hanmi to a right hanmi.
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William Carew




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PostPosted: Fri 03 Jul, 2009 1:50 pm    Post subject:         Reply with quote

Patrick De Block wrote:
Tetsuzan Kuroda has two dvd's with English subtitles: the more-dimensional body and the multi-dimensional body which are available at BudoJapan.com if someone is interested in just what he is doing.
At 0:36 there is indeed a fleeting moment in which they're square to each other but they are in transition. Look at those dvd's to see what they are doing, it is a core movement, transitioning from a left hanmi to a right hanmi.


Hi Patrick,

I have these ones (the ones linked below) and they are great.

This volume deals with jujutsu and basic body mechanics:
Tetsuzan Kuroda: Training Kata - The more-dimensional body vol.

This volume deals specifically with the 'kenjutsu body' and is most applicable to swordsmanship in general:
Tetsuzan Kuroda: Training Kata - The multi-dimensional body vol.

If anyone is interested (and if like me you need the English subtitles) get them from BudoJapan.com (BJ) and *not* from BudoVideos.com (BV). BV have them but the previous one I ordered from BV was in Japanese only - no English subtitles, which is a great shame, as Kuroda Sensei explains many things at length and without the subtitles those of us who don't speak Japanese are left staring at the screen dumbfounded! Laughing Out Loud

Cheers,

Bill

Bill Carew
Jogo do Pau Brisbane
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Nicholas Allan Wilson




Location: New Orleans
Joined: 16 Feb 2009

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PostPosted: Fri 03 Jul, 2009 3:23 pm    Post subject:         Reply with quote

William Carew wrote:
Nicholas Allan Wilson wrote:
Nicholas Allan Wilson wrote:
From the video that you posted, at 0:36 they are squared off, at least more so than some of the WMA guys I see.


I'm sorry. I meant to say "the video i found".

http://www.youtube.com/watch?v=QyS5roV6Q3Q

Again, sorry for the confusion.


Hi Nicholas,

I'm not sure what being 'more squared off than WMA guys' means? Kuroda Sensei and his assistant move through a variety of physical positions during the execution of their approach and techniques: sometimes they are more side on; sometimes they are squarer on and it depends on the circumstances in the moment according to what they are trying to achieve... just as it is with 'WMA guys.'

Actually, instead of talking about 'WMA' if we are referring to swordsmanship interpreted from surviving European texts I prefer to use HEMA or Historical European Martial Arts. WMA is actually a wide umbrella term that usually also includes numerous living tradition arts such as Savate, Glima, Boxing, Wrestling, Jogo do Pau, Bastone Siciliano etc.


By 'squared off" I'm referring to the position of the center and the shoulders.

In using 'WSA' or 'WMA I' was referring to the general post that was asking to compare "longsword" techniques and Japanese techniques. I was not trying to be too specific since Mr. Curl's original post was based on the general term of longsword (technically, longsword could be used to describe a katana as well). HEMA may a bit more specific but it was not in the original post. However, I am sorry for not using the correct terminology.

Also, I am not trying to judge the caliber of practice between the two 'groups'. If it came out that way I'm sorry. I am just referring to what I have seen with regards to HEMA. With more research and study I will hopefully be better informed and able to use the correct terminology as it pertains to the topic at hand.

~nic
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William Carew




Location: Australia
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PostPosted: Fri 03 Jul, 2009 3:55 pm    Post subject:         Reply with quote

Nicholas Allan Wilson wrote:


In using 'WSA' or 'WMA I' was referring to the general post that was asking to compare "longsword" techniques and Japanese techniques. I was not trying to be too specific since Mr. Curl's original post was based on the general term of longsword (technically, longsword could be used to describe a katana as well). HEMA may a bit more specific but it was not in the original post. However, I am sorry for not using the correct terminology.

Also, I am not trying to judge the caliber of practice between the two 'groups'. If it came out that way I'm sorry. I am just referring to what I have seen with regards to HEMA. With more research and study I will hopefully be better informed and able to use the correct terminology as it pertains to the topic at hand.

~nic


Hi Nic,

Please don't apologise for anything. I did not intend to criticise you for using of the term WMA. I merely wanted to point out HEMA is a better descriptive term for 'European longsword' practice since all modern European longsword practice is reconstructed from Medieval and Renaissance historical texts. Since there are no living lineages of European longsword practice alive today (that we know of), it is hard (and possibly unfair) to compare our young, sometimes fumbling efforts to well established Japanese koryu systems with continuous lineages from the Sengoku Jidai (warring states period) 400 - 600 years ago.

Because most European longsword researchers have been interpreting and physically reconstructing from the source texts for less than 15 years or so (sometimes, much less) we really can't be sure what 'good longsword' should look like yet. Anytime interpretation and reconstruction is involved, the results will vary considerably as a result of the individual characteristics of each researcher. What is good posture with the longsword? How should we cut and step? What are good biomechanics? All this varies from researcher to researcher, teacher to student, sometimes (arguably) from historical source to source and these discussions still continue to this day, even amongst researchers that have been practicing this stuff for 10 years or more. Japanese Sword Arts (JSA) have the luxury of a great deal more certainty about their practice and what it should look like (i.e. do what the master/soke/sensei says!).

So the gist of my posts here are simply to introduce a note of caution about drawing conclusions about JSA vs HEMA based on our limited data sets. Please don't take any of this as personal criticism. BTW, are you interested in studying HEMA? If so, let us know where your interests are, and maybe we can suggest some good groups, books and videos.

Cheers,

Bill

Bill Carew
Jogo do Pau Brisbane
COLLEGIUM IN ARMIS
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Nicholas Allan Wilson




Location: New Orleans
Joined: 16 Feb 2009

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PostPosted: Fri 03 Jul, 2009 4:13 pm    Post subject:         Reply with quote

Thank you for your reply. I guess this can be a somewhat complicated subject seeing as the field of swordsmanship is continuously expanding.

As far as doing HEMA is concerned, my plate is currently full as I'm involved in another martial art. Thanks for the offer though.

~nic
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Max Chouinard




Location: Quebec, Qc
Joined: 23 Apr 2008

Posts: 108

PostPosted: Sat 04 Jul, 2009 8:34 am    Post subject:         Reply with quote

As for binding, it is developped in some styles, but I think none does it as much as Maniwa Nen ryu. I've seen many of their techniques where they use the tsuba to trap a blade (not a very sturdy trap one might argue, but then I think it is necessary in the execution of these techniques). The tsuba adequately protects the hand from all sides, a cross guard is good but leaves the sides unprotected (not talking about later complex hilts).

There are no proof to claim that espada y daga and nito have a connection. Musashi did not invented this style and it seems from many older schools that it could have been known before the arrival of the europeans.

Halfswording is known in various forms again. Most of the time it is done with the hand open, as it permit to slide the blade easily. But with the O dachi of the shumpukan, it is done with the hand closed. Most of the time around some kind of material like paper, but I'm not sure it would have been necessary all the time.

Maxime Chouinard

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I don't do longsword
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Elling Polden




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PostPosted: Sat 04 Jul, 2009 9:40 am    Post subject:         Reply with quote

The long crossguard seems to be a european invention, and is posibly a result of other european weapon technologies. This could be the use of kite shields (resulting in up-close-and personal binding matches), sword and buckler fighting (featuring lots of strikes against the hands), or some other development...
"this [fight] looks curious, almost like a game. See, they are looking around them before they fall, to find a dry spot to fall on, or they are falling on their shields. Can you see blood on their cloths and weapons? No. This must be trickery."
-Reidar Sendeman, from King Sverre's Saga, 1201
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Patrick De Block




Location: Belgium
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PostPosted: Sat 04 Jul, 2009 10:33 am    Post subject:         Reply with quote

Hi William,

Those are indeed the ones I meant.


I won't be lazy this time and post some links.

http://www.youtube.com/watch?v=QeV3WUeh2QA

This is Kashima Shin Ryu. What you see is harai-tachi. What is told is that the founder got this from an exorcism ritual at the Kashima Shrine and that he developped his techniques from this harai-tachi. Those techniques aim at defeating the opponent without blocking or striking the opponent's sword.

http://www.youtube.com/watch?v=bel3EpC26aQ

At the beginning you see Maniwa Nen ryu and the bigger part is Kendo. It's interesting to compare the basic postures. Maniwa Nen Ryu is wider and the fukuro shinai is held to the side ( a right sided Alber or a Schrankhut on the wrong side). The Kendo posture is smaller (shoulder width) and the shinai is held in chudan (Pflug or rather Sprechfenster) which makes it possible for them to square up altough even at shoulder width it is not necessary . The posture of the Maniwa Nen Ryu is comparable to one of the postures of the Kashima Shin Ryu and is called in KSR mugamae (no posture). The way MNR and Kendo generate power is also comparable, though the Kendo people seem a bit nervous compared to MNR.
The one on the left in MNR is in Vor though he never initiates the attack and the last cut he does is comparable to the one Kuroda does in the fourth kata (see link in a previous post by Nicholas). Kuroda in fact does twice the same, two kata cut upwards (ending in Ochs) and the other two downwards. The difference is in the way he generates power, he does it by transitioning from left to right or vice versa, as opposed to MNR.

If you use a sword you can do two things, lift it up and bring it down or push it to the right - pull/push it to the left always keeping your right hand center. You could say that Kendo is lifting and cutting down while Maniwa Nen Ryu (both having comparable ways of generating power) is not simply lifting the sword to bring it down. And Kuroda who generates power in another way is perfectly capable of cutting straight down or up for that matter.

The aim of suriashi (sliding step) is to teach you to keep your hips level, you shouldn't move your trunk to the left or right or bob up and down. You're one step away from death and you should cut with your whole body. By the way, the one on the left in MNR barely moves compared to his opponent.

Generally speaking JSA aim at not getting in the bind, while WSA suppose that you will end in the bind but as Max wrote, this is not true of the Maniwa Nen Ryu and I guess Liechtenauer would have approved if you did a Zornhau immediatedly killing your opponent.
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Nicholas Allan Wilson




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PostPosted: Sat 04 Jul, 2009 2:43 pm    Post subject:         Reply with quote

Another difference I don't think anyone has mentioned is the way a katana (excluding tachi) and longsword are worn. Katana being slipped through the obi are worn very close to the body, almost riding on the hip. Based off photographic examples, longswords appear suspended either at an angle with a sword frog and other straps or worn vertically(?). Are there other ways of wearing a longsword?

~nic
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Max Chouinard




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PostPosted: Sun 05 Jul, 2009 8:28 am    Post subject:         Reply with quote

Elling Polden wrote:
The long crossguard seems to be a european invention, and is posibly a result of other european weapon technologies. This could be the use of kite shields (resulting in up-close-and personal binding matches), sword and buckler fighting (featuring lots of strikes against the hands), or some other development...


While I nearly agree that for swords it seems to be a European invention (I have seen a nagamaki with some form of a cross guard), it is surely not when it comes to other weapons: look from 1:04 up to the end http://www.youtube.com/watch?v=2vCaRMR99cc&feature=related

Maxime Chouinard

Antrim Bata

Quebec City Kenjutsu

I don't do longsword
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Jean Thibodeau




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PostPosted: Sun 05 Jul, 2009 7:17 pm    Post subject:         Reply with quote

Max Chouinard wrote:
Elling Polden wrote:
The long crossguard seems to be a european invention, and is posibly a result of other european weapon technologies. This could be the use of kite shields (resulting in up-close-and personal binding matches), sword and buckler fighting (featuring lots of strikes against the hands), or some other development...


While I nearly agree that for swords it seems to be a European invention (I have seen a nagamaki with some form of a cross guard), it is surely not when it comes to other weapons: look from 1:04 up to the end http://www.youtube.com/watch?v=2vCaRMR99cc&feature=related


I see a lot winding with the spear work as well as things in principle similar to western quarter staff: No big surprise here as a long pole is a long pole and what works in one culture would tend to be the same in another although stylistic differences or unique " inventions/techniques " may have been discovered by one culture and not by the other.

This whole Topic could be approached in a very culturally neutral way but to make comparisons between one style of Japanese sword arts and one European sword art only someone very knowledgeable in both could analyse them in comparison technique by technique
" theoretically ". This wouldn't be a this is better comparison but I suggest one could take any single attack/defence technique in each art and ask what would be the " natural " most obvious counter in the other art.

Take Japanese attack ( A) look at it's Japanese (B) counter and then look again at the Japanese (A) attack and try to define what the European Longsword counter (B) would most probably be effective.

One could do this systematically for the whole art(s) Japanese VS European or between Chinese VS European: A lot of work involved and expertise needed for this to be useful. Wink But it would be interesting. Big Grin

Done this way one avoids all the this is better or the issue of the best fighter winning: One wouldn't even have to decide who would win a particular encounter and only what would work against what.

You can easily give up your freedom. You have to fight hard to get it back!
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Patrick De Block




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PostPosted: Tue 07 Jul, 2009 9:35 pm    Post subject:         Reply with quote

Well, Jean, it looks like no one will do it, but maybe I didn't wait long enough.
Don't tell anyone I suggested this, but, in the evening when the light is fading go quietly to your backyard not armed with your trusted longsword but with a katana and run through your basic longsword drills with it.
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