Martial Arts Of The World - Webs
Martial Arts Of The World - Webs Martial Arts Of The World - Webs
596 Swordsmanship, Japanese others. By attempting to perfect a predetermined set of movements, practitioners can focus on their own body movements and state of mind without being distracted by real opponents. Thus, the kata provides a vehicle for what many Japanese have always valued highly—self-improvement and character building. Even when the iaidô practitioner performed the kata with a practice partner, the emphasis remained on perfection of movements and attaining a spiritual connection between the practitioners. Nevertheless, the use of wooden or metal practice swords did allow for the preservation of the combative nature of swordsmanship in kata practice, and when iaidô was evaluated by the American occupation forces after World War II, it was indeed classified as a method of warfare. Under the American occupation following the Pacific war, Japan went through a social and cultural transformation that, in the decades that followed, popularized sports competition. The American command in Japan restricted any form of martial art practice, including kendô, in official educational institutions. In response to this policy, the Japanese made a radical change to the nature of kendô by placing strong emphasis on the use of bamboo swords, which were unlike weapons of war, and re-forming kendô as a competitive sport devoid of its martial essence. Permission to practice kendô in schools in its new form was granted only in the early 1950s. For almost a decade and a half of American occupation, teachers and students who were devoted to the preservation of martial traditions and who, in many cases, were also hard-line nationalists practiced swordsmanship behind closed doors. Shortly after the Occupation ended, the Japanese government lifted the restriction on kendô, and it quickly became part of schools’ curricula once again. Similarly, kendô practice in the police force was resumed, leading to the revival of what is commonly referred to as “police kendô.” Although post-Occupation kendô includes both sports competition and traditional forms, it is much more a sport than a practical martial art. Consequently, the increasing popularity of kendô as a competitive sport, together with diminishing interest in premodern martial traditions among younger Japanese, has made old-style swordsmanship anachronistic. Moreover, the concept of swordsmanship as a fighting skill of premodern warriors has lost its meaning for the common Japanese. Therefore, the image of kendô in contemporary Japan is that of bamboo swords, body protection, rules, umpires, and tournaments. Nevertheless, it is still viewed as a practical way for building stamina and perseverance, which are viewed by Japanese as the heart of true Japanese spirit. Currently, kendô is one of the most widely practiced forms of competitive martial sport. It remains part of school education, and is a popular choice of practice for Japanese policemen. Premodern forms of swordsmanship are gradually becoming a thing of the past, or a feature of enter-
tainment that belongs in samurai movies. At any rate, the remaining schools of swordsmanship that teach traditional kata, or those schools where the emphasis is on actual sword fighting and less on rigid forms, have been pushed aside under the pretext of not being practical in a modern lifestyle. However, in a society where traditions die hard, it is still possible to find old forms of swordsmanship living together with the new. Roy Ron See also Form/Xing/Kata/Pattern Practice; Japan; Koryû Bugei, Japanese; Samurai; Sword, Japanese References Berry, Elizabeth M. 1994. The Culture of Civil War in Kyoto. Berkeley: University of California Press. Friday, Karl. 1997. Legacies of the Sword. Honolulu: University of Hawai’i Press. Hurst, G. Cameron, III. 1998. Armed Martial Arts of Japan: Swordsmanship and Archery. New Haven: Yale University Press. Kondo, Yoshikazu. 1997. Yumiya to tôken. Tokyo: Yoshikawa Kobunkan. Varley, Paul. 1994. Warriors of Japan as Portrayed in the War Tales. Honolulu: University of Hawai’i Press. Warner, Gordon, and Donn Draeger. 1982. Japanese Swordsmanship: Technique and Practice. New York: Weatherhill. Swordsmanship, Korean/ Hankuk Haedong Kumdô Hankuk is the old name for the country of Korea. Haedong refers to the East Sea (Sea of Japan). Kumdô refers to the Way of the Sword. Hankuk Haedong Kumdô, therefore, explicitly denotes sword forms that are of Korean origin. Fantastic claims abound concerning the origins of many Korean arts, but more especially Haedong Kumdô. One reason for the confusion surrounding the origins of Haedong Kumdô is that the art remains obscure, even in Korea. Korean History On August 29, 1910, Emperor Sunjong abdicated the throne of Korea and officially relinquished control of the country to the Japanese. Japan immediately set about the systematic destruction of the Korean culture, including making it illegal to teach Korean history. A revisionist history, written by the Japanese, replaced the traditional subject matter in the public schools. Korean martial arts were banned, and eventually supplanted by Japanese forms. Ssirŭm, a form of wrestling that the Koreans probably learned from the Mongols, was replaced by sumô. T’aek’kyŏn, a form of unarmed self-defense that included extensive use of kicking techniques, was replaced by jûdô. And Korean (Hankuk) kumdô was replaced by Japanese Swordsmanship, Korean/Hankuk Haedong Kumdô 597
- Page 575 and 576: An advertisement for Burmese boxing
- Page 577 and 578: and unlike contemporary Krabi krabo
- Page 579 and 580: modeled on the spurring talons of t
- Page 581 and 582: Ryan, N. J. 1976. A History of Mala
- Page 583 and 584: English actor, producer, and direct
- Page 585 and 586: moves, the actors and the choreogra
- Page 587 and 588: a gibbet immediately outside the li
- Page 589 and 590: lades being replaced by an ash stic
- Page 591 and 592: techniques have been part of savate
- Page 593 and 594: tises that stickfighting competitio
- Page 595 and 596: Dressed in traditional garb, sword-
- Page 597 and 598: As a result of the first invasion,
- Page 599 and 600: Zen masters, however, did not thems
- Page 601 and 602: strength, stamina, and ferociousnes
- Page 603 and 604: and actively, defensively and offen
- Page 605 and 606: to stand up against increasingly he
- Page 607 and 608: there were three principal actions
- Page 609 and 610: to the Eighteenth Century. 1885. Re
- Page 611 and 612: the period clearly demonstrates tha
- Page 613 and 614: sponse to the use of cut-and-thrust
- Page 615 and 616: the late Renaissance as a personal
- Page 617 and 618: classical fencing and sport fencing
- Page 619 and 620: evolved over more than two thousand
- Page 621 and 622: (third-fifth centuries A.D.), when
- Page 623 and 624: A color woodblock print of a duel b
- Page 625: Another form subscribed to combat s
- Page 629 and 630: Hankuk Haedong Kumdô students Glen
- Page 631 and 632: through their perceptions, understa
- Page 633 and 634: T’aek’kyŏn T’aek’kyŏn is
- Page 635 and 636: distinct identity, with a common fo
- Page 637 and 638: Each t’aek’kyŏn association in
- Page 639 and 640: Side kick delivered by Miss Kim, ca
- Page 641 and 642: In 1955, General Choi Hong-Hi, know
- Page 643 and 644: ing, as it is successful kicks that
- Page 645 and 646: plexus, and ribs; and groin protect
- Page 647 and 648: emphasis is placed on tournament fi
- Page 649 and 650: Group practice of taijiquan in Beij
- Page 651 and 652: Yang Chengfu made the form smooth,
- Page 653 and 654: powerful larger, sweeping, striking
- Page 655 and 656: tablished. The earth’s energy/for
- Page 657 and 658: Choreographed two-person sets are a
- Page 659 and 660: ———. 1983. T’ai-Chi Touchst
- Page 661 and 662: Two Kachin tribesmen near Bhamo, My
- Page 663 and 664: Branches of Thaing Bandô, the most
- Page 665 and 666: Outside Myanmar, thaing is represen
- Page 667 and 668: martial art. As a result, its metho
- Page 669 and 670: Advanced acrobatic and sword skills
- Page 671 and 672: and those warriors who possess this
- Page 673 and 674: Doshi, Saryu, ed. 1989. Dances of M
- Page 675 and 676: Practitioners of kendô, the Japane
596 Swordsmanship, Japanese<br />
others. By attempting to perfect a predetermined set of movements, practitioners<br />
can focus on their own body movements and state of mind without<br />
being distracted by real opponents. Thus, the kata provides a vehicle for<br />
what many Japanese have always valued highly—self-improvement and<br />
character building. Even when the iaidô practitioner performed the kata<br />
with a practice partner, the emphasis remained on perfection of movements<br />
and attaining a spiritual connection between the practitioners. Nevertheless,<br />
the use of wooden or metal practice swords did allow for the preservation<br />
of the combative nature of swordsmanship in kata practice, and<br />
when iaidô was evaluated by the American occupation forces after <strong>World</strong><br />
War II, it was indeed classified as a method of warfare.<br />
Under the American occupation following the Pacific war, Japan went<br />
through a social and cultural transformation that, in the decades that followed,<br />
popularized sports competition. <strong>The</strong> American command in Japan<br />
restricted any form of martial art practice, including kendô, in official educational<br />
institutions. In response to this policy, the Japanese made a radical<br />
change to the nature of kendô by placing strong emphasis on the use of<br />
bamboo swords, which were unlike weapons of war, and re-forming kendô<br />
as a competitive sport devoid of its martial essence. Permission to practice<br />
kendô in schools in its new form was granted only in the early 1950s. For<br />
almost a decade and a half of American occupation, teachers and students<br />
who were devoted to the preservation of martial traditions and who, in<br />
many cases, were also hard-line nationalists practiced swordsmanship behind<br />
closed doors. Shortly after the Occupation ended, the Japanese government<br />
lifted the restriction on kendô, and it quickly became part of<br />
schools’ curricula once again. Similarly, kendô practice in the police force<br />
was resumed, leading to the revival of what is commonly referred to as<br />
“police kendô.” Although post-Occupation kendô includes both sports<br />
competition and traditional forms, it is much more a sport than a practical<br />
martial art. Consequently, the increasing popularity of kendô as a competitive<br />
sport, together with diminishing interest in premodern martial traditions<br />
among younger Japanese, has made old-style swordsmanship<br />
anachronistic. Moreover, the concept of swordsmanship as a fighting skill<br />
of premodern warriors has lost its meaning for the common Japanese.<br />
<strong>The</strong>refore, the image of kendô in contemporary Japan is that of bamboo<br />
swords, body protection, rules, umpires, and tournaments. Nevertheless, it<br />
is still viewed as a practical way for building stamina and perseverance,<br />
which are viewed by Japanese as the heart of true Japanese spirit.<br />
Currently, kendô is one of the most widely practiced forms of competitive<br />
martial sport. It remains part of school education, and is a popular<br />
choice of practice for Japanese policemen. Premodern forms of swordsmanship<br />
are gradually becoming a thing of the past, or a feature of enter-