Montag, 31. Januar 2011

Bericht von zwei beeindruckenden Iaido Seminaren (Englisch)

Im Januar hielt René van Amersfoort ein Iaido Seminar in Düsseldorf und eines in Mannheim ab. Anbei zwei Artikel in englischer Sprache (Verfasser sind unsere Niederländischen Freunde), der sehr schön beschreibt, wie ein didaktisch durchdachtes und nach modernen Lehrmethodiken durchgeführtes Iaido Seminar aussehen sollte. Allein schon die Nachbearbeitung in dem Artikel ist lobenswert. Wie ich bereits schon öfter anführte ist es schade, dass dies in Deutschland noch kein Standard ist! Aber was nicht ist kann ja noch werden, die Hoffnung stirbt zuletzt.

Nach dem Artikel ein weiterer Bericht über ein Iaido Seminar, das etwas später, ebenfalls im Januar in Mannheim statt fand.

Veröffentlichung mit freundlicher Genehmigung:




An iaido seminar was given by René van Amersfoort sensei (7th dan renshi) in Dojo HAKUSHINKAI in Düsseldorf, Germany on Saturday 8th and Sunday 9th January 2011.
This seminar took place for the first time, although many participants already visited other seminars given by René in Germany. Among the participants high grade German iaidoka like Klaus (Sensei of Dojo Hakushinkai Düsseldorf), Udo, Peter (Sensei of Löwen Dojo Braunschweig), Horst, Thomas (Sensei of Syubukan Essen) and also students from abroad (Switzerland, Holland and Belgium). Approximately 35 students in total. The hall was filled and there was enough space for everybody to train.

Dojo HAKUSHINKAI arranged the SHOMEN with their beautiful purple flag and different sort of flowers in the dojo ‘centre’. The atmosphere was very good. One of the reason was that the students were eager and keen on listening and learning and where correcting there techniques on the spot. Saturday training times from 10.30 – 17.00 hours. Sunday 10.00 – 15.00 hours. Naturally together with a few small breaks and lunches to ‘rehabilitate’. On Saturday evening there was a dinner which was joined by a lot of students.

We started with REIHO or REIGI (etiquette). The importance of this was stressed and practised with special attention to performing examinations, demonstrations and competitions.

Following two basic exercises which maintained special attention to the use of the lower part of the body and advises on cutting with one rhythm (and relaxed) at several heights.
Both exercises were explained thoroughly. The different way of moving in both forms, made the students have to think about how to use their bodies correctly.

On the implementation of exercise two, all students were asked tot try to see the difference between exercise one and two. Many of the students couldn’t see this difference due to a lack of ENZAN NO METSUKE. The difference was of course explained after this problem occurred among the students. In this way they were driven to look more carefully at details shown by the teacher. Learning by observing is called MITORI KEIKO.

We went into some ground exercises because it’s iaido after all☺ During these exercises several important issues like: NUKITSUKE, SAYA BANARE, SAYA BIKI, FURIKABURI, KIRIOROSHI, CHIBURI and NOTO were trained and explained.

During one training method the students weren’t allowed to make any sound:
  • No tipping on the ground with the KOJIRI during NUKITSUKE, KIROROSHI or NOTO.
  • No so called ‘SAYA (scabbard) sounds’ during NUKITSUKE or NOTO.

It took a while until the students were conscious on how to prevent making those noises. But when they discovered it, it changed the overall look of their iaido because of the simple fact that their shoulders were more relaxed than before.
Now it was time to combine all the abovementioned exercises together into two basic TACHI WAZA (standing) exercises in which alternately the right and left leg in front was used.

Important point in those two exercises is the SEQUENCE. The students had to learn not to do things at the same time, but how ‘one movement’ is done after the other while trying to keep all movements CONNECTED.

From slow movements and part after part movements we took the level up to fast and total movements. Visible was that all students had problems to keep their sequence and in the same time stay RELAXED and SHARP, LIGHT and FAST when necessary. The teacher also explained MUDA NA CHIKARA, MUDA NA WAZA and MUDA NA DOSA.

Time to move into ZEN NIHON KENDO RENMEI SEITEI GATA. The first four kata were instructed really into detail: MAE, USHIRO, UKENAGASHI and TSUKA ATE using SEIZA NO BU and TATE HIZA NO BU.

We also went through all twelve kata using the under mentioned training method:
Each kata was performed three times
  • The first time in SLOW MOTION.
  • The second time AS FAST AS POSSIBLE.
  • The third time at NORMAL (individual) SPEED and under normal conditions

During the slow motion training method the students learned to pay attention to even the smallest details, while linking the several movements within the KATA together.

During the fast execution of the kata they learned to be LIGHT and FLUID in their movements and feel automatically where the connection within the kata movements occur.

During at normal speed executing the kata, individual students must use their individual possible speed to be able to perform all parts within the kata CORRECTLY and with DEPTH as well as (individual) FLAIR.

JO HA KYU is related to RHYTHM and TIMING in iaido. For example the students were instructed to start drawing their swords slowly, while FOCUSING on the opponent and gradually increasing their speed ensuring that the tip of the sword leaves their scabbards rapidly (SAYA BANARE), while also paying special attention to close their right hand on the TSUKA in combination with the use of the little right finger during NUKITSUKE.

The kata should be performed with FLUIDITY, EFFICIENCY and PRECISION. While performing the students should FOCUS THE EYES on the opponent.

In iaido we speak of KASSO TEKI: an imaginary opponent.

JO HA KYU and KASSO TEKI was fully explained to the students in theory and practical sense by the abovementioned old way training method. Especially KASSO TEKI was stressed. The imaginary opponent always is the same in height and size as the students who tries to express KASSO TEKI. Attacks are aimed at the centreline of the imaginary opponent. The importance to see and cut this invisible opponent was brought thoroughly under the attention of the students.
During the performance of the SEITEI kata the teacher in a way used JI RI ITCHI or BUN BU RYODO meaning: “action and theory are one or technique and its logic must be applied together”.

Very special attention was drawn to a standing exercise before executing the 3rd kata: UKENAGASHI.

During this standing exercise the students learned how to use the full left side of their bodies (from top to bottom; to the feet on the ground), while drawing their swords and turning towards the imaginary opponent in order to DEVIATE the attack of an imaginary sword in one swift movement followed by the KIRIOROSHI in one breath and rhythm (ICHI HYOSHI or better MU HYOSHI), in the same time keeping a nice balance and keeping both feet on one line.

The abovementioned exercise was more difficult then it seems to be, so we stayed quite a while performing it!

Following step was executing UKENAGASHI in the correct way. The students occurred many difficulties in implementing, what was learned in the standing exercise, into the original kata!!

Especially difficult is: TO GET RID OF OLD HABITS!

In this case the teacher shouldn’t be nice to the students. Instead he must try to develop an disciplined environment in which the necessity of combining the exercise into a swift and fluid performance of UKENAGASHI complete with PRECISION and ACCURACY and without UNNECESSARY STOPS and without unnecessary and unwanted interpretations of this kata. There is NO BLOCK in this kata!

Only a so called ‘NAGASU’ practically meaning “to guide the energy one is receiving and to let the energy pass one’s body”. This is what should happen with the energy of the attacking sword after which the defender executes the KIRIOROSHI without stopping and while maintaining the necessary DISTANCE for the kirioroshi to be EFFECTIVE.

In TSUKA ATE the students were faced with, how to correctly attack the front imaginary opponent. The sequence of lifting the body (not by using the shoulders) by using power generated by the lower part of the body in combination with gripping the hilt correctly and by using the left foot and lower left part of the leg correctly before the right leg is put forward in order to execute the attack to the SUIGETSU with the TSUKA GASHIRA.

All students were checked and corrected when necessary. Especially we focused on closing the right and left hand while holding the grip when executing the trust. Shown was also how to execute the kata when under pressure from opponents in the front and rear. Stressed was the execution of the thrust with the KISSAKI to the rear opponent. Many students (higher and lower grades) aiming to the wrong spot! The target in this case must be the SUIGETSU with the consequence that the KISSAKI ends after the thrust pointing a bit inward (in the centre) behind the executioner. Even for high grades this was an eye opener. It was nice to see how the classical instructions led into individual corrections.

In KESA GIRI the attention from the students was drawn to: how to apply pressure (SEMME) into the attack of the imaginary opponent. A basic and advanced method was shown. Also shown were the two cuts performed in one relaxed efficient way. At first sight the students showing many different ways of executing the two cuts. Gradually it came to an understanding between teacher and students, thus lifting the level of KESA GIRI to greater heights.

Now strongly became visual, what the students had to correct. The DO’S and DON’TS became transparent, after which the students had a better guideline to a correct execution of KESA GIRI. Keeping the centre line and not leaning forward or going up and down with the hips or bending and lowering the elbows before KIRIOROSHI, were attention points for the teacher to move into depth and details.

In MOROTE ZUKI the two slightly different ways of lifting the sword above the head were stressed. A question on ASHISABAKI (footwork) in this kata, made the teacher show the correct footwork after which the students were set to work with performing this part of the kata on both sides: LEFT and RIGHT! Some students immediately got coordination problems.

The logic (RIAI) of GANMEN ATE was explained with attention to the first thrust with the TSUKA GASHIRA between the eyes of the imaginary opponent. Not to stretch the arms was explained fully! The origin of this kata was shown by executing the KORYU (old school) kata YUKI CHIGAI in two different ways.

SO GIRI, the 12th seitei kata, was trained repetitively in lines with attention on the start of a movement (OKORI) and how to bring the energy out of the body through the hands on the TSUKA into the MONO UCHI of the sword. After which was shown how to link each separate cut together in order to prevent openings into the ‘defence’. Because: ATTACK and DEFENCE are ONE! Timing and the way of performing movements 4 and 5 of this kata were especially focused on. And three ways of executing the fourth movement were shown:
  • A beginners way
  • An advanced way and
  • An experienced way.

The first seminar day was ended with a lot of coordination and timing exercises trained in lines and sometimes in pairs. Learning points: FURIKABURI differs in time and is a part of keeping SEMME and KIRIOROSHI stays the same in time: LIGHT and SHARP!
Difficulties: the coordination between body, feet and sword handling in order to prevent:
  • Stopping the KIRIOROSHI to high
  • Cutting with only the arms and
  • Bouncing.

During the whole seminar things were stressed like: a good physical condition, but overall a good mental and concentration condition and safety during execution of the several techniques.

To underline what was taught on Saturday, the teacher and a Belgium student gave a JODO demonstration: TSUKI ZUE, SUIGETSU, HISSAGE, SHAMEN, SAKAN and RAINAI. With this demonstration was shown what to do with a real opponent.

On Sunday some KORYU kata were trained: KORANTO and SHOHATTO. In KORANTO many different ways to execute this kata during training were explained and trained. Right and left sides were drawn into activity, leaving some students sometimes frozen on the spot, due to a sudden lack of coordination because of those different approaches of this kata.

A part of SHOHATTO was shown (with a small group of students known with this training method) with repetitive localized actions in order to learn to understand the flow of this kata in combination with the control over the so called HARA. Also stressed was when to “PEAK” in this kata and how to be FLUID when starting with the so called SEMME movement, without stressing this SEMME movement to much! DIFFICULT!!!

The seminar was closed after a practical demonstration of SHOHATTO by some of the higher grades (godan and yondan) students (Klaus, Peter, Horst and Thomas). Even during this demonstration the performers were taught by the teacher, resulting finally in an overall reasonable and correct execution of this kata on this level. It was visible that the performers – because of their continuous training – slowly becoming more quietly in their performance! Thus, less BUSY BUSY, which is a great step forward!

A group photo on Sunday was the end of a wonderful gathering, repeatable in 2012. The students who attended went home with lots of information allowing them to canalize their future trainings according to the correct path. Until next time!



On Saturday 22nd and Sunday 23rd January 2011 an iaido seminar was organized by Namban Tetsu Mannheim. In this dojo kendo, iaido and jodo is trained for many years. Teachers in iaido and jodo within this dojo are Roland Tropschug and Thomas Papkalla. It is in this dojo were Cenet Bauer (the winner of the Shodan category at the European iaido championships 2011 in Paris) started her training and developed into a champion. Roland told me that Cennet is able to analyze the teachings given to here rapidly and therefore able to implement certain things much faster than students normally do. Among teachers this can be a nice discussion, because it’s really a fact that one student can absorb quicker than another student. And also the way of absorbing is with every student different. That’s why differentiated instruction in education is necessary when teaching budo. Also a fact is that a direct student in a one to one situation (teacher and student) can absorb better because the transfer of the techniques is continuous without blurs.

On Saturday we started with an extra training in jodo attended by several students on the spot. A small hour of jodo in which some “new” exercises where taught at first with special attention on points like relaxation and using the shoulder as the centre of moving the jo with the correct use of the hips, thus trying to avoid leaning forward when executing techniques like GYAKUTE UCHI and HIKI OTOSHI UCHI. Those basic exercises where first trained with jo against jo. After which we went into kata with the task to implement what was learned through the basic exercises. That this is difficult was experienced by Roland Tropschlug, Robert Volkmann, Suzi Berko, Stephen and Henrike from Mannheim and Oldrich from Saarbrucken etc. During the training we moved from the first kata TSUKI ZUE into the fifth SAKAN and into the ninth kata SEIGAN. Those kata are part of ZEN KEN REN JODO SEITEI GATA. From there we moved into KORYU CHUDAN WAZA where we practised the first kata ICHI RIKI and then two kata further up in this serie, namely YOKO GIRI DOME and SEIGAN. Although the names of the seitei kata SEIGAN and the chudan kata SEIGAN are the same, the execution of the kata differs. We ended this extra lesson in Jodo with some of the basic exercises we practised at the beginning and thus giving the attendants the possibility to take these “new” exercises back home to train in their dojo’s.

In the meantime the dojo was filled with iaido students coming from different cities: Düsseldorf, Bremen, Braunschweig, Bamberg, Heidelberg, Saarbrucken, Strassbourg and ofcourse Mannheim. Even students from Tsjech Republic joined us. Roland Tropschlug was happy with so many attendants. The group was nicely divided in all levels: ikkyu, shodan, nidan, sandan, yondan and godan. In this way their was as to speak balance in the dojo and the teacher was able to use techniques and explanations on all levels.

We kicked off at 13.00 hours with exercise 1 and 2, slightly different in performance, reason why we stayed a while training them, in the meanwhile explaining deeper parts of these exercises. Slowly the exercises came as to speak “alive” and where gradually understood.

Understanding is a must. Without understanding you can’t speak of KEIKO. Then only RENSHU is left, merely exercising without no deeper meaning.

We went into exercise 3 which involved three cuts reasonable quickly executed after each other while using the correct ASHISABAKI (footwork) and also cutting on three different levels which levels changed in sequence all the time.

Earlier with exercise 2 the teacher showed by using an opponent the correct footwork and SEMME (pressure) and showed what isn’t. Still it was difficult to do it, just because understanding and performing correct techniques takes time.

In SEIZA (sitting position): NUKITSUKE, FURIKABURI / KIRIOROSHI, CHIBURI and NOTO was practised trying not to make any sound during performing. With a slow pace most of the students could do it. As soon as the pace increased in speed, the students became into trouble thus making unnecessary sounds showing that under pressure they can’t control their rhythm and the balance of their movements.

In standing position we went through another exercise 1 and 2 going through all basic movements. This time we stayed long with performing basics, because this is off great importance for all levels, especially for the higher levels. Most of the time higher level students has grown into a certain shape and conditions in which they perform their techniques. On their own it is very difficult to make corrections and to develop to a higher level.

For this you need regular training under the guidance of an experienced teacher.

When correcting students on several points, the teacher without doing this on purpose creates new problems for the student. Often the student has an idea: for example “how to cut”.
With this idea a feeling is attached. When the teacher correct the cut to a higher level, then automatically the feeling attached to this “new” cut is a “new” feeling too! Thus creating “new” problems: for example “the starting and ending of this new movement and all that is caught between the start and the end!” That’s why students have to train for a very long (self)disciplined period under good guidance. In Mannheim the students felt the need for training these basic principles which was felt by the teacher, who could continue on the chosen path without making it boring to do.
A special standing exercise 3 went into working together with a partner of course both on safe distance from each other to avoid injuries. Special attention was drawn to safety matters during iaido classes. The teamwork between both partners consisted of the appropriate using of TIMING and RELAXATION. First of all: DIFFICULT and secondly: TIRING.

Reason of being tired is in most cases the wrong use of TENSION and RELAXATION, because most of the time the students are using to much power in the muscles. Actually the teacher thinks that most of the students use only the outer (external) part of their muscles instead of the inner (internal or lower) part of their muscles. With “the lower part of the muscles”, the teacher means the muscle part which is closer attached to the bones.
And not the outside part which is situated further away from the bones. Study this point for a while!

For beginners it’s important how to sit down into SEIZA position and how to use METSUKE and where exactly is looked at. Also correct HAKAMA SABAKI is important.

Saturday ended at 18.00 hours. The whole afternoon we practised a lot of MAE, USHIRO and UKENAGASHI (this last kata was also performed standing with two handed cuts and one handed cuts). Blending into the attack was stressed in performing UKENAGASHI.

Every time the teacher showed new points from another view in different levels. The lower grades (up till sandan level are beginners and higher grades are the advanced students) learned that being a high grade doesn’t free you off learning. On the contrary the higher grades were really heaving a hard time. The teacher demanded a lot of them. In this way it became more and more clearly that being a YONDAN, GODAN or trying to become a ROKUDAN isn’t just a matter of solely training iaido. No! Students need more than this.

Sunday training started at 09.00 hours. The teacher choose an strategic position in the dojo, from where he could see the students on the rear. We trained the last movement of the tenth seitei kata SHIHO GIRI. We started immediately with training this way, so we skipped the normal basic exercises routine. The atmosphere changed and it became very quiet in the dojo while all students where trying to follow the teacher instructions. It was a technical approach. Then this exercise was followed with REIHO / REIGI (SHOMEN NI REI, TOREI involving TAITO and DATTO).

After a while training in the abovementioned way, the teacher explained what he wanted from the students, thus leading the students slowly to perform at the level which was asked for. Then a exhibition was done by five students from certain positions in which they could concentrate more on executing the REIHO / REIGI individually without being disturbed by the others. Again the purpose of the exercise came alive, after which we trained it again classically. After this period of training the atmosphere was friendly, quiet and technical.

So time for working! And we worked! In a swift rhythm the teacher went from one exercise into the other, less explanation more work. And this was visual on the faces off all students. Sweat was dripping of their faces. From exercising into executing ten times MAE, five times USHIRO and five times UKENAGASHI.

After which we went all to the short side of the dojo and started working in the long side of the dojo. We did a very important exercise in which especially UKENAGASHI movement was trained. But also the whole composition of moving the body, cutting with the sword in balance with the body and things like ZANSHIN, METSUKE etcetera was trained sufficiently. Again we stayed a bit longer with this exercise so that the students were able to implement the corrections taught by the teacher into their movements. Again not an easy task.

Especially because there were students who never trained in this way. This exercise as the other exercises used by the teacher showed the ability and inability of the attendants. Sometimes during corrections it was not understood by the student, because individual students had in some cases a total different picture in their mind than they had to show. And thus a total different understanding of a particular technique. In those cases the teacher went a bit deeper and tried to explain really on basic level, even for students the advanced students.

A fact is, that if the teacher only teaches without making individual corrections or without explaining techniques thoroughly, the development and growth of the students will be very slowly mainly because of a lack of information and (private) tuition.

Of course the teacher mustn’t fill always every “foxhole” during the path of learning, that would make it to easy for the students. But if the students fall time after time in their own pitfalls, then many of them can’t climb out and thus aren’t able to develop to an appropriate level which is normally attached to the level of their individual dangrades.

It’s very important that after students visited a seminar, they are able to train those points shown to them during the seminar in their own dojo’s. Well known is that most of the beginning and advanced students train in a surrounding where for example all the finer points of the SEITEI kata are known. But the problem is maintain and develop every time a higher form of training, thus developing a strategy or smarter way of training. So that the students at last (after many years) can train lots in less time than before! Study this point for a while!

And never must be forgotten that a student visiting a seminar, not in all cases is also the student of the teacher who is conducting the seminar. Seminars are there to gain information and thus being able to continue training with new impulses.

Advise: remember 3 to 5 key points of each seminar. When a students visits five seminars a year, then there are 15 to 25 key points to train during that year! This doesn’t mean that the student will be able to correct himself according to so many key points during that year!

We went into the eleventh seitei kata SO GIRI which we trained a pretty long time. Especially the competition players among the students and those students who are going this year for a higher grade plus the advanced students were trained hard by the teacher.

Again with many examples a lot of corrections were made transparent for all levels in order to gain the most of it:
  • So we stood still by changing from an incorrect posture to a correct posture.
  • We stood still by using OKURI ASHI and KI KEN TAI ICHI instead of jumping to conclusion :-) , so no “jumping” was allowed when executing KIRIOROSHI.
  • We stood still by the composition of the total movement.
  • We stood still by making a nice sound with the sword in order to avoid stretched arms and shown too much arm muscles. A nice sound is mostly the result of correct use of HASUJI. We stood still by the fact that a horizontal cut must be executed totally horizontally and not going up at the end of the horizontal cut.
  • We stood still by the use of the MONO UCHI and thus transferring the energy through the hands holding the TSUKA into the KISSAKI.
  • We stood still at the use of the correct sequence in executing certain movements.
  • We stood still by the use of different levels of executing certain techniques.
  • We stood still by the use of SEMME in order to avoid being attacked after starting of finishing your own attack.

Then also on the long side we trained a part of the KORYU kata SHOHATTO. We did this exercise both with the right and left leg forward. Painfully the students worked more and more on their budo spirit. Training is growing of the heart; growing of KOKORO NO KAMAE. Every training is a building stone to this principal. At the end the student is training just for him or herself. You don’t do such heavy KEIKO for someone else or to show off. This is really working on your INNER SELF!

Think a while what you gained by joining this iaido seminar in Mannheim. Knowing what you can’t do, is knowing what you can do! Study this point for while!
We ended with NUKIUCHI the twelfth and last SEITEI kata. This exercise was explained with an opponent. And also a movement from KENDO KATA IPPONME was shown with an opponent. We increased the level of execution to a higher level by showing the FRIENDLY and UNFRIENDLY approach. So with a hidden part (“the FRIENDLY approach”) in the brain of the student, it was easier to perform a “nice” NUKIUCHI. Most difficult was to execute this kata in such a way, that when the right foot is pulled back to the left foot, the sword at that moment arrives above the head. When the students understood this and some of them where able to perform it, it immediately showed because the RHYTHM of the kata improved instantly! By doing this the NUKIUCHI became one total round movement which gave the student the possibility to avoid the attack in a correct manner and thus staying alive and kicking!

We ended the seminar at 13.30 hours with the proper etiquette.

NAMBAN TETSU MANNHEIM again made it possible to organize a perfect seminar in which both students and teacher flourished and lifted each other to greater heights. It’s MUTUAL POLISHING all the way!

Roland Tropschug reminded us that in the past this seminar started with seven students. In the past years it developed to a very well visited and pleasant seminar. The students were satisfied and went home with old (renewed) and “new” information. Until next time! Before we left the dojo a historical group photo was made.


Samstag, 29. Januar 2011

"Shiraha no Ya ga tatsu" 白羽の矢が立つ

Es gibt eine Redewendung in japanischer Sprache:
" Shiraha no Ya ga tatsu" (Der Pfeil mit den weißen Federn hat getroffen = ausgewählt)

shiraha no ya ga tatsu

Shiraha ist die weiße Feder und Ya der Pfeil. Die vollständige Redewendung lautet: "shiraha-no-ya ga tatsu" oder "shiraha-no-ya wo tateru"
Man benutzt diese Redewendung, wenn jemand für eine besondere Stelle (Aufgabe) ausgewählt wurde.

Es gibt in Japan viele Legenden über Götter, die Menschenopfer fordern. Eine dieser Legenden erzählt von einem Gott, der einen weiß befiederten Pfeil auf das Dach des Hauses schießt, in dem das Mädchen lebt, das er als Opfer begehrt. So hatte die Redewendung "shiraha-no-ya" ursprünglich eine tragische Bedeutung in dem Sinne, dass man aus einer großen Zahl von Menschen als Opfer ausgewählt wurde.
Heute wird die Redewendung in Japan eher in dem Sinn verwendet, dass ein glücklicher Mensch für eine verantwortungsvolle Aufgabe unter vielen anderen Bewerbern ausgewählt wurde.

Da jedoch der ursprüngliche Sinn unterbewusst weiterhin mitschwingt, wird in diesem Fall der Person nicht direkt gratuliert. Eine solche Gratulation würde von denen aus deren Mitte die Person erwählt wurde nur für gemischte Gefühle und einen Hauch von Neid sorgen.

Aus diesem Grund habe ich für die Befiederung meiner Federn für das Projekt "Kriegsschiessen" auch weiße Federn gewählt. Dazu demnächst mehr Bilder und Infos. Leider ist die historische Pfeilspitze aus der Edo-Zeit auf dem Postweg verschollen. Diese sollte als Vorlage für den Schmied dienen. Immerhin müssen wir knapp 90 Pfeile mit Spitzen ausstatten.

Danke Kieko, der Hinweis war sehr interessant!


Freitag, 28. Januar 2011

Sehenswerte Ausstellung für Freunde Japanischen Kunsthandwerks

WAZA, Traditionelles Kunsthandwerk aus Kyoto. 27. Januar bis 27. März 2011

Japanische Meister präsentieren ihre Handwerkskunst am Donnerstag, 27. Januar, Samstag und Sonntag, 29. und 30. Januar 2011.

Gastkuratorin Miki Shimokawa präsentiert in der Ausstellung rund dreißig verschiedene Künstler und deren Betriebe. Sie stehen für traditionsreiche, teilweise vom Aussterben bedrohte Kunsthandwerke, die in der alten Kaiserstadt noch gepflegt werden: No-Masken. Bögen und Pfeile, kostbare Papiere. Lampen, Kämme, göttliche Kreisel, Kerzen, Fächer und weitere kunsthandwerkliche Exponate werden nicht nur zur Schau gestellt; es werden euch 14 Künstler aus Kyoto zu Beginn der Ausstellung alle interessierten Besucher am Entstehen und bei der Gestaltung ihrer Werke teilhaben lassen. Die Arbeiten werden mit den kostbaren, traditionellen Materialien und dem überlieferten Werkzeug hergestellt und vermitteln japanische Traditionen, deren Fortbestand nicht immer gesichert ist.


Museum für Angewandte Kunst Frankfurt
Schaumainkai 17
60594 Frankfurt am Main
Telefon: 069 212-340 37
Fax: 069 212-307 03


Meinen Dank an Nicolai für den Hinweis.


Donnerstag, 27. Januar 2011

Ozu Yasujirō eine Retrospektive seiner Filme

Im Rahmen des Programms "150 JahreFreunschaft Deutschland Japan" findet im Japanischen Kulturinstitut Köln in der Zeit vom 10. Januar bis 31. März 2011 eine Retrospektive der Filme des wohl renommiertesten und einflussreichsten unter den Regiusseuren Japans, Ozu Yasujirō 小津 安二郎, statt.

Ozu Yasujirō
In nahezu allen Filmen thematisierte Ozu die komplexen Beziehnungen innerhalb einer Familie und schildert mit ruhiger Hand die vielschichtigen emotionalen Verpflechtungen zwischen den verschiedenen Generationen. Dabei bevorzugte er zunehmend die Zusammenarbeit mit einem eingespielten und profilierten Team an Schauspielern, die zu den Stars ihrer Zeit zählten.

Erst spät wurden Ozus Werke außerhalb Japans bekannt, dem breiten Publikum blieb er unbekannt. Viele Cineasten und Filmschaffende schätzen ihn jedoch als einen der größten Meister. Im Werk westlicher Regisseure wie Alain Resnais, Rainer Werner Fassbinder, Wim Wenders oder Aki Kaurismäki sowie jüngerer japanischen Regisseure wie Takeshi Kitano ist sein stilistischer Einfluss unverkennbar.

Ozus Grab in Engaku-ji

Das Programm findet sich hier: Programm

Japanisches Kulturinstitut
(The Japan Foundation)
Universitätsstraße 98
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Montag, 17. Januar 2011

Nachtrag zu: (鹿島神傳) 直心影流 – (Kashima Shinden) Jikishinkage Ryu

In meinem Beitrag: (鹿島神傳) 直心影流 – (Kashima Shinden) Jikishinkage Ryu waren einige Zeichnungen abgebildet die leider nicht übersetzt waren.

Mein Dank geht an den bekannten Autor, Fachübersetzter und Mitglied des NIHONTO-Club Herrn Markus Sesko, der sich die Zeit genommen hat die Zeichnungen fachmännisch zu übersetzen. Natürlich möchte ich diese den Lesern des Blog nicht vorenthalten:

Schema der kamae im Hinblick auf die Fünf-Elemente-Lehre:
Die chinesische Orakellehre (ekigaki, 易学) hat natürlich auch Einzug in unseren ryû gehalten. Für den Schwertkämpfer jener Zeit, der in der Einstellung lebte, dass sein Leben bereits am nächsten Tag zu Ende sein könnte, waren Orakel wie das I-Ging und Horoskope wie das kyûsei (九星) von essentieller Bedeutung. Letzteres, wörtl. „Die Lehre von den neun Sternen“, ist einer aus dem alten China übernommener Volksglaube, der auf das Zusammenwirken folgender neun „Faktoren“ basiert: weißes Wasser, schwarze Erde, türkises Holz, grünes Holz, gelbe Erde, weißes Metall, rotes Metall, weiße Erde und rotes Feuer. Untenstehendes Diagramm zeigt die kamae-Stellungen im Hinblick auf die Fünf-Elemente-Lehre, und zwar arrangiert nach Vorteilhaftigkeit im orakeltechnischen Sinn, sprich von seigan (精眼) in jôdan (上段), von jôdan in wakigamae (脇構), von wakigamae in hassô (八相), von hassô in gedan (下段), und von gedan in seigan.

Die Vorteilhaftigkeit der kamae-Wechsel sollte man sich nach folgendem Schema einprägen:

sôkoku (相尅) – Schädigungszyklus
Wasser weicht Erde auf → Erde erstickt Holz → Holz macht Metall stumpf → Metall nimmt Hitze (Feuer) auf → Feuer verdampft Wasser
Holz → Erde → Wasser → Feuer → Metall

sôshô (相生) – Nährungszyklus
Holz lässt Feuer brennen → Asche (durch Feuer) reichert die Erde mit Nährstoffen an → Erde bringt Erze (Metall) hervor → Spurenelemente (Metall) beleben Wasser → Wasser nährt Bäume und Pflanzen (Holz)
Holz → Feuer → Erde → Metall → Wasser

Die Fünf Tugenden und ihr entsprechendes Element:
Holz = Menschlichkeit (jin, 仁)
Metall = Gerechtigkeit (gi, 義)
Feuer = Ethisches Verhalten, Etikette (rei, 礼)
Wasser = Weisheit (chi, 智)
Erde = Güte (shin, 信)

bokken no zu (木劔之圖) – Illustration des bokken

links oben: tsukagashira, 4,2 * 3,5 cm
links unten: Seitenansicht des Griffes
Mitte: Rückenansicht (mine, 峯)
rechts: Schneide (ha, 刃), Gesamtlänge 3 shaku 3 sun (~ 1 m), Grifflänge 9 sun (~ 27,5 cm)

tachi no zu (太刀之圖) – Illustration eines tachi (obgleich hier ein katana abgebildet ist)
(aus Yamada Jirôkichis [山田次郎吉] Werk „Jikishinkage-ryû“ )

oberes Bild v.l.n.r.: mekugi-ana, machi, shinogi, bôshi
nakago, tôshin

unteres Bild v.l.n.r.: kashira, menuki, tsuka , mekugi, fuchi, tsuba, seppa, habaki, koiguchi, kurigata, sageo, saya, kojiri

habikitô no zu (刃挽刀之圖) – Illustration eines stumpfen Stahlschwertes
Grifflänge ~ 28,8 cm, Klingenlänge ~ 106,4 cm
zwei mekugi, gyaku-menuki, Position des menuki auf der ura-Seite, flache hiramaki-Wicklung
(aus Yamada Jirôkichis [山田次郎吉] Werk „Jikishinkage-ryû“ )

fukuro-shinai no zu (袋韜之圖) – kodachi no zu (小太刀之圖) – Illustration eines fukuro-shinai (lederbezogenes shinai) und kodachi

• Für ein bokken bzw. bokken-kodachi wird hochqualitatives Holz mit masame-Struktur der jap. Weißeiche (shirakashi, 白樫) verwendet
• Ein fukuro-shinai besteht wie ein normales shinai aus vier Bambusstreifen, die sich zur Spitze hin verjüngen

rechtes Bild: Gesamtlänge 3 shaku 3 sun (~ 1 m), Grifflänge 9 sun (~ 27,5 cm), mit Leder bezogener Teil 1 shaku 6 sun (~ 48,5 cm), Teil mit der Sehne 8 sun (~ 24,3 cm)

linkes Bild: Gesamtlänge 1 shaku 6 sun (~ 48,5 cm), Grifflänge 5 sun (~ 15,2 cm)

Hier noch einige Bücher zum Thema:

Die ultimate Quelle:
Kashima Shinden Jikishinkage-ryū 鹿島神傳直心影流
Autor: Yamada Jirōkichi 山田 次朗吉
Erschienen: 1927.

Kashima Shinden Jikishinkage Ryu Kenjutsu Book
The origin of Samurai swordsmanship from Kashima Shrine. The god of Bushido - Kashima - a symbol of justice by the sword.
Autor: Masaru Iwasa
Format: Hardcover, 295 SEITEN
Sprache: Japanisch
Preis: zwischen US$ 69.95 - US$ 79.95
Bezug durch

Koryu Bujutsu: Classical Warrior Traditions of Japan, Volume 1
Herausgegeben von Diane Skoss
Paperback, 192 Seiten
Koryu Books
ISBN: 1-890536-04-0
Preis: US$ 19.95
Bezug durch


Sonntag, 16. Januar 2011


Neben dem bekannten NBTHK gibt es für all jene, die sich ernsthaft mit dem Japanischen Schwert befassen wollen seit 2008 den "NIHONTO-CLUB".

Der "NIHONTO-CLUB" ist kein Verein, sondern setzt sich aus Sammlern zusammen, die Spaß an der Sache haben. Der Club möchte wissenschaftlich, historisch und kulturell interessierte Personen anregen, in der Fortentwicklung des Wissens mitzuwirken, und den Wissensaustausch zu fördern. Seine Tätigkeit ist nicht auf Gewinn ausgerichtet und fast kostenneutral. Daher gibt es auch keine Aufnahmegebühr und keine Beiträge, lediglich der kostenpflichtige Verzehr von günstigen und guten Speisen, bzw. Getränken in dem Lokal indem man sich trifft dient zur Kostendeckung des Clubraumes.

Der Club erklärt ausdrücklich, dass er keinerlei Händleraktivitäten duldet, da hier meist andere Zielsetzungen verfolgt werden, die sich mit denen des Clubs nicht decken.

Dem gegenüber steht der ausdrückliche Wunsch, sich auf die ernsthaften Mitglieder, meist langjährige Sammler, die ihr Wissen gerne mit anderen vertiefen und austauschen möchten, zu stützen.

Wichtig für Einsteiger !
Bevor man sich entschließt ein Schwert kaufen zu wollen, ist es ratsam sich fundiertes Wissen anzueignen.
Gute Literatur und der Wissensaustausch mit erfahrenen Sammlern kann vor bösen Überraschungen schützen .
Dies soll durch Veranstaltungen und Treffen mit internen Vorträgen und guten Anschauungsobjekten der Mitglieder erreicht werden.

Der Club hat über sein fachkundige Mitglied Markus Sesko einige interessante Bücher veröffentlicht, die ich grundweg empfehlen kann. Eines der Bücher hatte ich bereits in meinem Artikel "Neues Buch zum Thema 'japanisches Schwert'" besprochen. Marcus war auch aus der "Bericht von der 'Japanische Schwertausstellung 2010'" und hat dort einen interessanten Vortrag gehalten.

Neuerscheinung 2011:

Schwerter des Nihonto-Club Deutschland
€ 49,90 .
Books on Demand (BoD)
ISBN 978-3-8423-3868-5
Paperback, 112 Seite

Dieser Katalog erfasst einen Teil der Klingen des Nihonto-Club Deutschland. Beschrieben werden vierzig Klingen, von denen zwölf den Status Juyo-Token der NBTHK besitzen. Erläutert werden Klingen aus den Zeiten Koto, Shinto, Shin-Shinto und Gendaito . Es gibt eine Version in deutscher Sprache und eine separate in englischer Sprache.

Zu beziehen via BoD und nun auch bei AMAZON

Geschichten rund ums japanische Schwert
€ 29,90
Books on Demand (BoD)
ISBN 978-3-8391-5271-3

Genealogies and Schools of Japanese Swordsmiths
€ 34,90
Books on Demand (BoD)
ISBN 978-3-8391-8347-2

Kontakt zum NIHONTO-CLUB:
Sekretär und Gründungsmitglied:
Joachim Hoppen
Telefon: 02622 / 902870


Freitag, 14. Januar 2011

(鹿島神傳) 直心影流 – (Kashima Shinden) Jikishinkage Ryu

Meine besondere Vorliebe für die Jikishinkage Ryu ist bekannt und daher bin ich auch sehr interessiert an allem was es zu diesem Thema an Veröffentlichungen und Seminar Angeboten gibt.

In Deutschland ist mir nur Sasaki Gensô Rôshi als der Lehrer bekannt, der hier regelmäßig Sesshin abhält.
Sasaki Gensô Rôshi (佐々木 玄宗, geboren 1947) ist ein japanischer Rinzai Rōshi, ein Nachfolger der Tenryū-ji Line des Rinzai Zen. Sasaki Gensô Rôshi ist Zen Lehrer des Jikishinkage-ryū 直心影流 Kenjutsu und der Kalligraphie (Hitsuzendô, dem Zen-Weg mit dem Pinsel).

Sasaki Gensô Rôshi

Sasaki Gensô Rôshi beim Hitsuzendo

Infos zu den Lehrinhalten der Sesshin, Bilder und ein interessanter Film finden sich hier: Link

Sasaki Gensô Rôshi ist unter anderem der Lehrer des in den Niederlanden lebenden Afaq Saleem, der neben Katori Shinto Ryu auch Jikishinkage Ryū praktiziert und unterrichtet. Afaq ist ein Meister der japanischen Kalligraphie und des Sumi-e. Er ist wirklich ein begnadeter Künstler und seine Homepage ist sehenswert: Link

Es gibt auch noch den bereits in einem anderen Artikel erwähnten Chozen-Ji Tempel auf Hawaii: Hojo / Chozen-ji und den Bericht über Matsuba Kunimasa - Schwertschmied und Kampfkünstler.

Sehr interessant sind die beiden DVDs "直心影流 – Jikishinkage Ryu Vol. 1 bzw. Vol.  2". Hier zeigt Iwasa Katsuhashi Sensei sowohl die Grundlagen wie auch die Kata der Ryu.

Iwasa Katsuhashi Sensei

Basierend wie immer auf der Fünf-Elemente Theorie:

Diese Art der Darstellung zeigt schon, dass wir es hier mit einer der wirklich alten Ryu zu tun haben, die mehr umfasst als "nur" Schwerttechniken.

Kashima Shinden Jikishinkage Ryu Volume 1.
57 minutes.
All Region NTSC.
Japanese Language.

Kashima Shinden Jikishinkage Ryu Volume 2.
60 minutes.
All region NTSC.
Japanese language

Bezugsquelle: Mugendo Budogu

Besonders interessant ist das Katana das Iwasa Katsuhashi Sensei in dem Video benutzt. Eine Klinge mit sehr kleiner Zori 草履 und einer halben zweischneidigen Klinge.

Auch die Bindung des Sageo aus einem runden Band ist sehr interessant. Gerade bei der Bindung der Hakama fällt auf, das die Art und Weis wie man einen Hakama bindet Einfluss darauf hat wie der Unterbauch (Hara / Tanden) unterstützt und gestärkt wird. Dies verändert und beeinflusst die Bewegungsschemata sehr.

Wer sich wirklich einmal etwas Gutes gönnen will, dem seien diese beiden DVDs empfohlen.


Dienstag, 11. Januar 2011

Der Schwertzieher

Ich habe gerade ein Buch aus dem modernen Antiquariat bekommen, das nichts mit den Kampfkünsten, auch nicht entfernt, zu tun hat. Darin fand ich als Lesezeichen des vorherigen Besitzers eine Eintrittskarte zum Ernst Barlach Museum in Hamburg. Was mein Interesse weckte war die Darstellung eine Plastik von Ernst Barlach der mir bis dahin völlig unbekannt war.

Da nun aber die abgebildete Plastik den Namen "Der Schwertzieher" trägt, wurde ich sogleich an das Iaido erinnert.

Es muss ja nicht immer Japan sein, eine schöne Arbeit.


Montag, 10. Januar 2011

Die Geheimnisse der Katori-Shinto Ryu??

Einige holländischen Katori Shinto Leute vom Yugenbudo Shinkokai haben es sich zum Ziel gesetzt das Wissen der Katori-Shinto Ryu Jedermann zugänglich zu machen. Angeblich auch die sogenannten "Geheimen Techniken".

Das Material ist auf zwei DVDs erhältlich: Link

Bestellen kann man das für EUR 39,90 hier: Bestellung

Yugenbudo Shinkokai
DVD, 2 DVD set, 140 min., region-free

Produktbeschreibung in English

Einige Impressionen gibt es hier:

Die Yugenbudo Shinkokai (Y.B.S.) ist eine Gruppe von Menschen, die für sich beanspruchen die klassischen Japanischen Kampfkünste zu bewahren und zu verbreiten. In diesem Verbund der Y.B.S. sind unter anderem folgende Dojo versammelt:
Abazovic Bushido

Die Aufnahmen für die DVD wurden im "Sakura-dojo" des "Japanese Art Centre, Ten Chi Jin" in Apeldoorn, in den Niederlanden gamacht.

Nun, ob diese beiden DVDs die Geheimnisse der Ryu ausplaudern wage ich zu bezweifeln. Auch in dem wunderschönen Buch von Risuke Otake "Katori Shinto-ryu: Warrior Tradition" werden einige "Geheimnisse" besprochen, aber wirklich verraten wird doch nichts. Da ist das Video von Otake Sensei aus praktischer Sicht schon interessanter. Oder aber das neue Buch "Die Kampfkunst-Lehrmethode des Tenshin Shoden Katori Shinto Ryu" von Kikue Ito und Yoshio Sugino, das ich sehr empfehlen kann.
Die wirklichen "Geheimnisse" werden einem nur in der praktischen Umsetzung und von Mund zu Mund offenbar!
Immer wieder wenn sogenannte Geheimnisse einiger Schulen veröffentlicht werden wird Kritik lau. Auch in Bezug auf diese DVDs hörte ich das. Mich wundert das. Heutzutage sympathisiert fast jeder mit Wikileaks aber wenn dann mal jemand die Interna der Kampfkunstschulen veröffentlicht ist das Gejammer groß. Warum nur? Zum einen gibt es keine Geheimnisse denn die wirklich wichtigen Sachen schützen sich selbst. Meine Erfahrung hat mich gelehrt, dass ich so viele Informationen bereits seit langem besaß, diese aber erst dann anwenden bzw. nutzen oder erkennen konnte, als ich mental dazu in der Lage war. Ich stehe auf dem Standpunkt, dass man alles Wissen und alle Informationen offen darlegen sollte, dann kann niemand aus dem nicht öffentlichen Wissen "Herrschaftswissen" machen. Die wahren Mysterien schützen sich eh selbst. Also her mit einem "Budoleaks".

2 DVD set, 140 min., region-free
Katori Shinto-ryu
Tenshin Shoden Katori Shinto-ryu was founded by Iizasa Ienao (1387-1488), a respected spearman and swordsman whose daimyo was deposed, encouraging him to relinquish control of his household to conduct purification rituals and study martial arts in isolation. The ryu itself gives 1447 as the year it was founded, but some scholars claim circa 1480 is more historically accurate.
Katori Shinto-ryu is the source tradition of many Japanese martial arts. Several famous swordsmen who learned directly from Choi-sat (Ienao's Buddhist name) or his immediate followers became founders of their own schools, with either the same or different names:
Kashima Shinto-ryu (Bokuden-ryu), Kashima-ryu. Kashima shin-ryu (founded by Matsumoto), Arima-ryu, Ichiu-ryu, Shigen-ryu, and others.
As such in 1960 the school received the first ever "Intangible Cultural Asset" designation given to a martial art. It claims to have never aligned itself with any estate or faction, no matter what stipend was offered. This allowed the ryu to maintain its independence and integrity.
Famous contemporary masters and senior instructors include: Risuke Otake, Yukihiro Sugino, his father Yoshio Sugino, Goro Hatakeyama and Tetsutaka Sugawara. Tenshin Shoden Katori Shinto-ryu was popularized in the west by the extensive research and writings of late Donn F. Draeger (1922-1982).
Yugenbudo Shinkokai
This DVD-set on Shoden Katori Shinto-ryu, made by the Dutch Yugenbudo Shlnkokat, reveals some parts of what the masters hold secret. It lifts up the veil of secretiveness, so that the okuden is not forgotten. The DVD-set contains many old kata and reveals basic and secret applications.
The Yuqenbudo Shinkokai (Y.B.S.) is a group of people who strive to preserve and spread the classical Japanese martial arts. In Katort Shinto-ryu their main lineage is that of Yoshio Suigino sensei. Their style is also influenced by Risuke Otake, Goro Hatakeyama and other masters however.

DVD 1 (80 min.)
• Reflections on kata-bunkai and kamae
• Kamae and kiriwaza
• Omote no tachi
• Bo jutsu
• Naginata jutsu
• Ryoto jutsu
• Iai-jutsu
• Many bunkai
• Extra: Kiat-jutsu

DVD 2 (60 min.)
• Gokui no kodachi.
• Gogyo no tachi
• Gokui no tachi
• Gokui no bo
• Gokui no iai-jutsu
• So-juts»
• Many bunkai
• Extra: Kuji-no-in

Nachdem ich mir die DVDs angesehen habe muss ich sagen, ich bin etwas enttäuscht. Die Darbietung des Textes in der schon lange aus der Mode gekommenen "Star Wars Laufschrift" ist eher störend. Die Darbietungen der Kata sind nicht überzeugend und didaktisch ist ein Begriff der hier überhaupt keine Anwendung finden sollte.
Gut, es werden die Kuji-no-in gezeigt, sehr schön, aber die wirklichen Geheimnisse suche ich vergebens.

Ein DVD-Set der nett zu haben ist, ohne den man aber auch gut leben kann. Da habe ich zwei weitaus interessantere DVDs zum "直心影流 – Jikishinkage ryu" bekommen, über die ich demnächst berichten werde. Zwei echte Perlen!


Dienstag, 4. Januar 2011

5. Japanische Filmwoche Düsseldorf 5.-13. Februar 2011

Im Februar findet die 5. Japanischen Filmwoche in Düsseldorf statt, bei der vom 5. bis zum 13. Februar 2011 im Filmmuseum Düsseldorf in insgesamt 23 Vorstellungen (inkl. zwei Sondervorstellungen) zehn japanische Filme - darunter vier Zeichentrickfilme (Anime) - in japanischer Originalversion mit deutschen Untertiteln gezeigt werden. Der Eintritt ist frei!

Hier können Sie sich den Programmflyer (pdf-Datei farbig bzw. schwarzweiß, ca. 2,7 MB) und das Plakat (farbig, ca. 400 KB) herunterladen und im Folgenden das Programm anschauen:

Japanisches Generalkonsulat Düsseldorf

Filmmuseum Düsseldorf

Japanisches Kulturinstitut Köln (The Japan Foundation)


Kombiniertes Kobudo Seminar in Bremen

Moto-ha yôshin ryû Jûjutsu + Kanshin ryû Iaijutsu mit Tim Weigel
26.-27.02.2011 in Bremen

1999 gründete Yasumoto Akiyoshi die Moto-ha yôshin ryû als Zweig der Hontai yoshinryû Takagi ryû, die von Takagi Oriemon Shigetoshi (1635-1711) gegründet wurde. Sie wurde in ungebrochener Linie bis heute weitergegeben. Das Ausbildungssystem umfasst Jûjutsu, Bojutsu sowie Kenjutsu.
An diesem Wochenende werden wir uns hauptsächlich mit dem Jujutsu der Moto-ha yôshin ryû befassen, dessen Grundprinzipien erlernen und uns einen Überblick über das Curriculum der Schule verschaffen.
Darüber hinaus erhalten wir eine Einführung in das Kanshin ryû Iaijutsu.
Kanshinryu geht direkt auf Minamoto Yoshitsune, einer Berühmtheit in der Geschichte der Kampfkünste, zurück und wird zu den Kyohachi ryû, den 8 Schulen der Hauptstadt gezählt. In ihrer heutigen Form wurde die Schule allerdings 1570 von Shishido Shisen Ietoshi zusammengefasst.

Ort: Dojo des Aikido-Zen-e.V. Bremen, Grundstraße 10

Kosten: 30,00 € p.P. (Ermäßigt: 27,00 €)
Übernachtung: Ist kostenlos im Dojo möglich. Um vorherige Anmeldung wird gebeten.
Voraussetzung: Keine

Bitte Bokken, Tanto und, wenn vorhanden, Iaito mitbringen. Eine Teilnahme ist aber auch “ohne” möglich.


Zeiten: Samstag, 26.02.2011 Sonntag, 27.02.2011
Samstag: 10:00 Uhr – 14:00 Uhr, 16:00 Uhr – 19:00 Uhr
Sonntag: 10:00 Uhr – 13:00 Uhr

Parkplätze sind nur bedingt vorhanden. Wenn möglich bitte öffentliche Verkehrsmittel nutzen.

Die Teilnehmerzahl ist begrenzt!
Eine vorherige Anmeldung ist daher unbedingt notwendig!

Das Mitbringen von scharfen Schwertern oder Waffen jeder Art ist untersagt! Der Veranstalter haftet
nicht für Personen- oder Sachschäden oder den Verlust von (Wert-) Gegenständen.