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1960 - 2021 Kancho Mamoru Miwa is the Master and Founder of the Tenshinkan Style. He is a 10th Dan Black Belt Master and holder of a Masters Degree in Kobu-Jitsu, Aiki-Jitsu and Karate. Kancho Miwa’s Grandfather was a Samurai (Emperor’s Warrior). His father also was a Shogun Samurai Guard to the Emperor until his retirement. Kancho Miwa started Martial Arts training at the age of five. Kancho Miwa trained in Aiki-do, Ju-jitsu, Goshinjitsu, Kobudo and Bushido (Ninjitsu). Kancho Mamoru Miwa is extremely proficient in kobujutsu and kenjutsu and Tenshinkan Karate puts strong emphasizes on sabaki and aikijutsu KOBUJUTSU WEAPONS Kancho Inoue Motokatsu 1918-1993. Born in Tokyo in December 1918. Inoue O’Sensei studied martial arts from when he was eight. His first teacher was Fujita Seiko Sensei the 14th headmaster of Kouga Ninja Ryu He studied Karate under Konishi Yasuhiro, founder of Shindo Shizen Ryu. O’Sensei started training with Taira Sensei at the age of 20. Taira Sensei made Inoue O’Sensei president of Ryukyu Kobujutsu Hozon Shinko Kai. O’Sensei studied Aikido under Shioda Gozo Sensei one of the most senior disciples of Grandmaster Ueshiba Mohirei The kobujutsu weapons are known as : Bo (or kon in Chinese), it is a 6 foot wooden staff the Japanese refer to it as Rokushaku Bo, (roku six, shaku is unit of measure slightly shorter than a foot, BO means wood). This implement had many uses in olden times, it could have being used to carry water (one vessel on each end of the staff) and as a walking stick, Nunchahku , two pieces of wood joined by a short string, it appears that it could have been either horse bits or flails to beat grains it became popular in the 70s with Bruce Lee. Tonfa , looks like a police baton with an handle attached at 90 degrees close to one end and they are used in pairs, Tekko look like knuckle dusters and they were made out of horse shoes, Kama a pair of short bladed sickles, Sai a pair of metal truncheons possibly another farming implement. Tinbe a small shield (35 t0 50 cm made of metal or tortoise shell or woven rattan) and Rochin a short spear. Surujin , it is a small links chain approximately 1.2 meters long and has a weight at one end of it. These were weapons developed by the people of the Ryukyu kingdom during the period of weapons embargo imposed by the Samurai cast in the prevention of further revolts in the effort of establishing peace and unifying Japan. TENSHINKAN HISTORY AND LINEAGE KARATE HISTORY KOBUJUTSU HISTORY Hanshi Hans Haupt. 8th Dan Tenshinkan Karate and World Liaison Officer under Kancho Mamoru Miwa. Hanshi Hans was a disciple of O’Sensei Inoue Motokatsu in the mid 70s and obtained 4th in Ryukyu Kobujutsu Hozon Shinko Kai. Hanshi Hans also studied Ju-Jutsu Saito Ryu and obtained the rank of 4th Dan. Hanshi Hans founded Tenshinkan Ryukyu Kobujutsu to honour Kancho Mamoru Miwa Shihan-dai Joe Bracone. 5th Dan Tenshinkan Karate and 3rd Dan Tenshinkan Ryukyu Kobujutsu trained and graded by Hanshi Hans Haupt. Before relocating to UK, he was South Africa Honbu Dojo deputy Chief Instructor, achieved many top 3 places in many national competitions. He is a keen student of goshin-jutsu and an avid practitioner of sabaki and combination techniques. KOBUJUTSU HISTORY KOBUJUTSU means “the ancient art of the weapons” and it refers to as the way of becoming skilled in the art those weapons. Ryukyu Kobujutsu is a weapons system from Okinawa. It includes the effective use of Bo, Sai, Tonfa, Nunchaku, Kama, Tekko, Tinbe and Rochin, and Surujin. Like karate, Kobujutsu training is divided into Kihon (basics), Kata (forms), and Kumite (fighting). Kobujutsu has its beginning about 700 years ago. The masters of the 18th, 19th, and 20th centuries were worried that the techniques and kata were being lost and made great efforts to restore and promote Ryukyu Kobujutsu. One of these masters was Shinken Taira. He compiled and authenticated 42 Weapons kata, spread across 8 weapons. KOBUJUTSU MASTERS The Ryukyu Kobujutsu appeared in history approximately 700 years ago. It is said that it was the period of heroes. With the wide spreading of Kobujutsu , many great teachers such as Soeishi, Sakugawa, Chatanyara appeared in the 17th ,18th and 19th centuries In Taisho era [around the beginning of 20th century], some masters were deeply concerned about this heritage and made great efforts to restore and promote Ryukyu Kobujutsu. Subsequently, the late master Shinken Taira, who was a disciple of master Moden Yabiku sensei, had comprehensively compiled 42 Weapon Kata which consist of eight kinds of Weapons specified previously and founded The Ryukyu Kobujutsu Hozon Shinko Kai a body for the preservation of this ancient art. All of these Kata had been taught to the late master Kancho Inoue Motokatsu who was the closest disciple of master Taira and later president of RYUKYU KOBUJUTSU HOZON SHINKO KAI.

ACCREDITATION This page will hold all of the information headings required for accreditation of Rank and Title. It is directed to the person or persons making the recommendation for an individual to receive a Dan Grade Rank such as a Dojo Leader or Chief Instructor. In the event that a Dojo Leader is being put forward for a Certificate of Rank, it will require the additional names of two referees acting in support of their recommendation. APPLICATION FOR CERTIFICATE OF GRADE PLEASE USE THESE HEADINGS FOR INFORMATION PROVIDED NAME OF RECOMMENDER GRADE AND TITLE DISCIPLINE (S) POSTAL ADDRESS EMAIL ADDRESS PHONE NUMBER NAME OF PROPOSED RECIPIENT OR CANDIDATE CURRENT GRADE DISCIPLINES (S) POSTAL ADDRESS EMAIL ADDRESS PHONE NUMBER TRAINING START DATE GRADING HISTORY GRADE DATES SHODAN NIDAN SANDAN YONDAN GODAN ROKUDAN CHICHIDAN HACHIDAN RECOMMENDATION PLEASE PROVIDE ALL OF THE REASONS FOR YOUR RECOMMENDATION Consideration is given to each of the following : - grading record as above, years of continuous training, technical skill prowess, accomplishments, dedication and service, attitude, teaching and instruction, heart, values and excellence in personal character. APPLICATION FOR CERTIFICATE OF TITLE FOR INFORMATION PURPOSES ONLY RECOMMENDER WILL BE BUDOKAN IN ASSOCIATION WITH DOJO LEADERS NAME OF PROPOSED RECIPIENT OR CANDIDATE CURRENT TITLE DISCIPLINES (S) POSTAL ADDRESS EMAIL ADDRESS PHONE NUMBER TRAINING START DATE GRADING HISTORY GRADE DATES SHODAN NIDAN SANDAN YONDAN GODAN ROKUDAN CHICHIDAN HACHIDAN DOJO HISTORY TITLES AWARDED ACCOMPLISHMENTS RECOMMENDATION PLEASE PROVIDE ALL OF THE REASONS FOR YOUR RECOMMENDATION Titles are awarded to those who have made an outstanding personal contribution to the promotion and development of Traditional Japanese Budo, showing leadership in teaching and the maintenance of a high personal level of Budo skills over decades of continuous service.

JULIE TULLIS Julie Tullis (née Palau) (15 March 1939 – 6/7 August 1986) was a British climber and filmmaker who died while descending from K2 's summit during a storm, along with four other climbers from several expeditions, during the "Black Summer" of 1986. Julie was born to Erica and Francis Palau. Her early life was disrupted by the outbreak of World War II . In 1956, she began climbing near Tunbridge Wells , where she met Terry Tullis. In 1959, they were married and spent the following years running various small businesses. They also continued climbing, in addition to which Julie studied traditional Japanese martial arts, under David Passmore in the Budokan school, Tunbridge Wells. She occasionally practised karate forms in traditional hakama when climbing. Tullis met Austrian climber Kurt Diemberger in 1976, and by 1980 they were working together on lecture tours. In 1981, Diemberger hired Tullis as a technician for an expedition to Nanga Parbat , and their high-altitude filming career began. It would include, in the following years, expeditions to the North ridge of K2 and the unclimbed North-East ridge of Mount Everest . In 1984, Tullis and Diemberger climbed Broad Peak , and after more film work they went on an expedition to climb K2, in 1986, becoming part of the 1986 K2 disaster . Although Tullis and Diemberger finally made the summit on 4 August 1986, making Tullis the first British woman to do so, they were exhausted from spending several days above 8,000 metres; 26,000' (known as the death zone ). On the descent, Tullis slipped and fell; although Diemberger's belay successfully saved them both, it is likely that Tullis suffered internal or head injuries that began to affect her vision and co-ordination.[citation needed ] Arriving at Camp IV they were trapped in their tents by a storm that lasted for several days. All the trapped climbers deteriorated physically and mentally, lacking food, sleep, oxygen and, once the gas for the stoves ran out, the ability to melt snow and produce water. This, in turn, made them vulnerable to pulmonary or cerebral oedema , which in Tullis' condition would have been rapidly fatal. Tullis died on the night of 6/7 August (the accounts of Diemberger and another climber present, Willi Bauer, differ on the date) and was buried on the mountainside. * wikipedia More on her Japanese Budo life to come.

THE ART OF KARATE KATA Aesthetics and Power Kata in Japanese simply means form and their origin can be traced back to the relationship between China and Okinawa, during the early years of trading between the two countries. Performing and practicing Kata requires the complete immersion into body, mind and spirit - as all three have to be present in embu or performance, or the essence of what kata is all about, is lost. It is the combination of a range of body movements in a variety of different directions, made up of individual techniques that become progressively more flowing, appearing effortless to the untrained eye. They include simple hand and arm movements at first until balance is achieved based upon the use of correct stances. Being in the correct stance at every moment of any kata is THE principal requirement of balance and movement from one stance to the other. Without this element in place at every turn, the very foundation of each form is absent. And by stance is meant to be not only the height and length of each one that is done - which is critical - but the relationship of one foot to the other and the angles they are placed in to achive stability in the landing and lightness of touch and bounce in preparation for the next move. A good kata practitioner will eliminate all uneccessary footwork as a basic requisite for fluidity and the smooth flow of movement. A relaxed and not stiff upright posture is critical to this flow. Eyes level - chin tucked in just enough - head balancd on the torso - shoulders level at all times - chest slightly raised - lower back hollow - allowing movment reminiscent of a matador. At an appropriate point - once balance has been achieved on two feet - kicking techniques are incorporated and take time to master in the flow of a kata as balancing moves onto one leg. The key skill here being how to return the foot to the floor and keeping the flow of the kata alive. And then the kata comes ito its own as a "dance" (the term in this context is of Chinese origin), made up of a designated number of moves, which have been handed down over time. Kime is a commonly used Japanese martial arts term, meaning "power" and/or "focus," describing the instantaneous tensing at the correct moment during a technique, where a momentary stillness is observed. It is the timing of moments like this that "make" any Kata. It is here where power and control merge and if you lose the latter, the kata disintegrates into a shambles as too much power on poor stances distorts the shape of each and every movement. It is the biggest mistake that Karateka in general make when performing kata - for in the Embu or performance, the expression of power must be contained so as to maximise the aeshthetic appeal of the Kata. The combination of this seemingly effortless flow of movement along with perfect timing and pause, creates a series of sequences which tell the "story" to be found in each kata, interspersed with moments of immense power. It can only be described as breathtakingly awesome to behold and beautiful to watch, as this explosive form of ballet appeals aesthetically as the Art of Karate Kata. Practitioners of karate kata read the various sequences and turn them into practice drills called Bunkai - the practical application of various techniques with a partner or partners - which naturally leads on to the various forms of Kumite - or sparring. But first there is the Art of the Kata to master. David Passmore Kyoshi 2008

Taking care of ourselves, our families, our friends and our communities has never been more important in our lives, as we struggle with the everyday reality of what is happening around us, to us and to many whom we know. "Being deeply loved by someone gives you strength, while loving someone deeply gives you courage." Lao Tzu We wish you whatever you wish for yourselves in the New Year of 2024 and we hope we can inspire you to keep head, heart and soul together for the benefit of those around you. "Our greatest glory is not in never falling, but in rising every time we fall". Confucius

1960 - 2021 LOCKDOWN FUNNIES AND THE WINNER IS THE RUNNERS-UP WERE KEITH MOLYNEUX DIX FROM SA TOBY MELLOWS AND CONGRATULATIONS TO ALL THOSE WHO TOOK PART - GREAT FUN ALL ROUND! Strong in hand, kind in heart © David Passmore 2021 www.budokanworld.com Website created and built by David & Katy Passmore All rights reserved in all media HOME About New Page PHILOSOPHY OF BUDO New Page THE BUDO CHARTER BUSHIDO-BUDO DOSHU - RICHARD SALMON TTHE ART OF KARATE KATA KARATE GENEALOGY STORY OF BUDOKAN ARCHIVE ZEN DESCRIPTION DOWN MEMORY LANE TAMURA NOBUYOSHI ARCHIVE 10 DAN KARATE KATA WORKSHOPS 2022 New Page New Page General ABOUT ACCREDITATION CERTIFICATION MEMBERSHIP INFO New Page New Page New Page New Page MEMORIAM General IAN CARD LINEAGE BLACK BELT REGISTER DOJO AIKIDO PRETORIA BUDOKAN HOLLAND BUDOKAN LYMINGTON General BUDOKAN SOUTHAMPTON BUDOKAN LEOMINSTER BUDOKAN RANDBURG BUDOKAN ARUNDEL KARATE - JEFFREYS BAY BUDO KARATE SA New Page KODOKWAN ZAMBIA KYUSHINDO BUDOKAN NZ LARNE NI RIO GRANDE DO SUL SEISHIN SHINSEI RESEARCH LIBRARY Search Results

BUDOKAN DOJO THE HEART AND SOUL OF TRAINING There are thousands of dojo that practice Karate, Aikido Iaido and other traditional Japanese Budo or martial arts such as Kendo, Ju Jitsu, Kodokan Judo and Kobudo - mosltly small "houses" of martial ways. We would like to bring these dojo together via their Dojo Leaders in order to create and host all the content required to teach and learn traditional Japanese Budo in the manner in which they were originally intended, which has become part of our lineage. Including, should any dojo wish it, the teaching of the classical virtues of Japanese Bushido, with the practice of zazen or seated meditation. The OLINE LIBRARY will never replace the dedicated training required to acquire rlelvant skills in martial arts - but will serve as a complement to that effort as more teaching and learning takes place online, simply because it is more easily accessible at any time. It is intended that these DoJo Pages will also hold news, events, grading, social gatherings and views in words, pictures and vodeo of what Budo people, colleagues and friends are up to in the conduct of their daily lives wherever they are in the world. DOJO DIRECTORY RIO GRANDE DO SUL BUDOKAN HOMBU DOJO BUDOKAN SOUTHAMPTON BUDOKAN NETHERLANDS SHINSEI DOJO KODOKWAN JUDO ZAMBIA BUDOKAN JEFFREYS BAY AIKIKAI PRETORIA BUDO KARATE DO SA BUDOKAN IN NZ KYUSHINDO DOJO BUDOKAN ARUNDEL SEISHIN DOJO THE ZEN HUT BUDOKAN LARNE DOJO KENYOKAN DOJO NZ BUDOKAN LLANGUNLLO GOJU RYU KARATE KARATE AIKIDO IAIDO ZAZEN KARATE AIKIDO IAIDO ZAZEN KARATE KYUSHO AND KODOKWAN JUJITSU IAIDO KENDO KODOKAN JUDO AND JUJITSU KARATE AIKIDO KARATE KARATE AND SELF DEFENCE YANAGI RYU JIU JUTSU KARATE AIKIDO IAIDO ZAZEN KARATE KOBUJUTSU KARATE KENJUTSU KOBUDO ZAZEN KARATE AIKIDO GOJU RYU KARATE KARATE AIKIDO IAIDO ZAZEN

PORTO ALLEGRE - RIO GRANDE DO SUL Kata Master Arthur Sensei 7th Dan from Porto Alegre (Rio Grande do Sul) performing Seisan in the Brazilian Championship in 2016 he sent us recently. His Kata are excellent and some video are on the way! Visit his Dojo Page YMCA Goju-ryu Karate-do Rio Grande do Sul, Brasil Arthur Xavier de Oliveira Filho (Porto Alegre, Rio Grande do Sul state, Brasil) Brief Biography Arthur sensei (shihan 7th dan - Brazilian Karate Confederation / World Karate Federation) Karate-do Goju-ryu instructor at ACM RS (Young Men Christian Association of Rio Grande do Sul, Brazil) since October 1976. Today, still the sensei. The first black belt to reach 7th grade by FGK, Rio Grande do Sul, Brazil. Chief Instructor: Karate-do Taniguchi-ha/ Brasil. Teacher graduated in Letters (Portuguese and Literature) 5th dan diploma from the Mahato Karate Association - Japan; F.A.J.K.O. 3rd dan diploma Akira Taniguchi student (deceased), 8th dan FAJKO Start at Karate in 1972 with Luiz Watanabe, World Champion in 72, Shotokan. Co-Founder of the Gaúcha Karate Federation and Graduate Director FGK Former kata athlete. Former judo practitioner. Intern and competing students in Japan (JKF Goju-kai) at 90, 92, 25, 26 and 99. Student Handel Dias Champion Kumite Open in Sasebo, Japan, in 96; student, and today instructor, Julio Cunha, 3rd. place at kumite Open Japan (JKF Goju-kai) Diploma Honor to Merit by the Porto Alegre City Council for its contribution to Porto Alegre society, 2012 The exchange took place. 43 years of Karate Goju-ryu at YMCA in Porto Alegre, Rio Grande do Sul, Brazil, October 26, under the general coordination of the entity's sensei: Arthur, in two shifts was trained kihon and kata goju, with other instructors. .holding the legacy of Akira Taniguchi Shihan... Honouring the legacy of Akira Taniguchi Shihan

PROGRAMS LIST PRACTICAL SELF DEFENCE FOR WOMEN - LEVEL 1 15 Teilnehmer Kostenlos Details ansehen ZAZEN 18 Teilnehmer Kostenlos Details ansehen IAIDO 15 Teilnehmer Kostenlos Details ansehen KARATE 27 Teilnehmer Kostenlos Details ansehen AIKIDO 21 Teilnehmer Kostenlos Details ansehen

PRETORIA AIKIKAI, SOUTH AFRICA Training is done in an energetic, friendly, safe and non-competitive atmosphere. Beginners and advanced students train as a close, integrated community and family unit in the same class. The pace varies according to the experience and seniority of each member. Beginners and visitors are always welcome. DISCIPLINE AIKIDO – Traditional INSTRUCTION Paul de Beer (6th Dan) Cell: +27 (0)83 636 1764 E-mail: aikido.pretoria@gmail.com Website: www.AikidoPretoria.co.za VENUE The dojo is situated in a basement on the western side of the Rembrandt hall in the LC De Villiers Sport Centre of the University of Pretoria, South Street extension (East), Hatfield, PRETORIA. GPS Coordinates: S25° 45.198 E28º 14.965 PRACTICE TIMES Mondays: 18:00 to 19:30 Wednesdays: 18:00 to 19:30 Fridays: 18:00 to 19:30 The dojo is closed on public, as well as certain University/School holidays. THE DOJO: The Pretoria Aikikai was established in 1979. It continues to play a central role in the training of instructors and the spreading of Aikido throughout South Africa. Tuks Aikido is situated in Hatfield and serves as the central dojo in Pretoria. It is run by Mr Paul de Beer (6th Dan, Aikikai, Dojo-cho) with the aid of assistant instructors. It has close ties with Aikido groups in Japan, Italy, Guam, Great Britain, Hong Kong, New Zeeland, Australia, Canada, China, Russia and Reunion. Seminars and exchanges take place at regular intervals. "Kindness is the language the blind can see and the deaf can hear" - Mark Twain AIKIDO-A TOOL FOR SENSIBLE LIVING REDISCOVERING AIKIDO

TAMURA NOBUYOSHI The body, core of the practice The major architect of the development of Aikido in France and Europe Writtenby Eric Grousilliat Tamura Nobuyoshi, born in 1933 and deceased in 2010, was undoubtedly the major architect of the development of aikido in France and Europe. Entered as an uchi deshi at the Honbu dojo of the aikikai on August 5, 1952, he stayed there until his departure for Europe in October 1964. He was a privileged partner of Ueshiba Morihei, particularly with the weapons, and served as otomo (assistant) during his trip to the Hawaiian Islands in 1961. 5th dan at the time, Tamura sensei quickly made a name for himself among Hawaiian aikidoka, who nicknamed him the “stone wall” because it was impossible to move him. Settled in the south of France for almost 50 years, he had the reputation of an efficient aikido, despite his small size, and while he taught two days a week in his Shumeikan dojo, he spent the rest of his time teaching in large workshops, often gathering 400-500 people, both in France, Europe, and also in other countries. At the time when he was uchi deshi, Tamura was described by his fellow students as a “carbon copy of the founder”, because gifted with a deep sense of observation, he had perfectly understood that in the world of Budo, one must be able to “steal the technique”. Tamura sensei’s credo was that the first goal of the practice was to order the body, i.e. to remove the useless, to adopt a correct posture, to pose the breath. After that, once the body orders, the mind follows. That’s how he understood the words of Ueshiba Morihei: “Aikido is misogi”. From his beginnings in Europe in November 1964 until his last training course in France in March 2010, Tamura sensei’s practice was in constant evolution, always trying to purify his movements, to find the right gesture. This concerns his practice of Taijutsu of course but also the practice of weapons and preparatory gymnastics, the junbi dosa. At the time Tamura sensei entered the Honbu dojo, the morning class began with Ame no torifune, and then the technical study came immediately afterwards. With the development of aikido to a wider audience, it was decided, mainly under the leadership of Tohei Koichi, to introduce Junbi dosa. Ueshiba Morihei also became older and was interested in different healthy systems. Tamura sensei said: “It is a tradition that existed in Aikido, at the time of O sensei. The Makko-ho, the health system of Katsuzo Nishi Sensei or the method of Kenzo Futaki (Misogi no Renseikai). O sensei would try certain things himself and if he found it interesting, he would ask his students to do so. He would say, “It’s good” or “It’s not good” (Laughter). He would make us do that, but he would say, “Stop if you feel something is wrong. I still do some Nishi sensei exercises every morning Tamura sensei introduced when he arrived in France, the junbi dosa learned at the Honbu dojo, starting with Amenotorifune, followed by taisabaki, tekubidosa, ukemi, breathing exercises, shikko, etc…they are often referred to as aikitaiso. It is a practice that is quite well known by aikidoka around the world and I will not dwell on it. However, it can be said that in accordance with the founder’s conception, Tamura sensei did not see these exercises as a kind of warm-up but as aikido. He said: “Practicing Aikitaiso is already practicing Aikido” Tamura sensei was a Budo researcher, curious about everything. In his book “Aikido”, he said: “To practice martial art, you study dietetics, anatomy, psychology, meteorology, astrology, geology, sociology, etc.”. For combat, these studies are essential, they are necessary. ” With this state of mind, his practice was in constant evolution, in constant research, especially in the domain of the body. It was therefore quite natural that Tamura sensei proposed to her students certain methods to both strengthen the body but also improve health. At a young age, he was already interested in the macrobiotic diet, meeting Sakurazawa Yukikazu, the founder of the method. It was through this method that he heard about aikido and met Yamaguchi Seigo. It was the latter who convinced him to become uchi deshi. Still in the prime of life, he first became interested in Jikyo jutsu, a set of 31 movements, combining joint gymnastics, breathing exercises and also acupuncture point pressure. Tamura sensei used to repeat movements 1, 2 and 15 after the complete series. At the time Tamura sensei entered the Honbu dojo, the morning class began with Ame no torifune, and then the technical study came immediately afterwards. With the development of aikido to a wider audience, it was decided, mainly under the leadership of Tohei Koichi, to introduce Junbi dosa. Ueshiba Morihei also became older and was interested in different healthy systems. Tamura sensei said: “It is a tradition that existed in Aikido, at the time of O sensei. The Makko-ho, the health system of Katsuzo Nishi Sensei or the method of Kenzo Futaki (Misogi no Renseikai). O sensei would try certain things himself and if he found it interesting, he would ask his students to do so. He would say, “It’s good” or “It’s not good” (Laughter). He would make us do that, but he would say, “Stop if you feel something is wrong. I still do some Nishi sensei exercises every morning Tamura sensei introduced when he arrived in France, the junbi dosa learned at the Honbu dojo, starting with Amenotorifune, followed by taisabaki, tekubidosa, ukemi, breathing exercises, shikko, etc…they are often referred to as aikitaiso. It is a practice that is quite well known by aikidoka around the world and I will not dwell on it. However, it can be said that in accordance with the founder’s conception, Tamura sensei did not see these exercises as a kind of warm-up but as aikido. He said: “Practicing Aikitaiso is already practicing Aikido” Tamura sensei was a Budo researcher, curious about everything. In his book “Aikido”, he said: “To practice martial art, you study dietetics, anatomy, psychology, meteorology, astrology, geology, sociology, etc.”. For combat, these studies are essential, they are necessary. ” With this state of mind, his practice was in constant evolution, in constant research, especially in the domain of the body. It was therefore quite natural that Tamura sensei proposed to her students certain methods to both strengthen the body but also improve health. At a young age, he was already interested in the macrobiotic diet, meeting Sakurazawa Yukikazu, the founder of the method. It was through this method that he heard about aikido and met Yamaguchi Seigo. It was the latter who convinced him to become uchi deshi. Still in the prime of life, he first became interested in Jikyo jutsu, a set of 31 movements, combining joint gymnastics, breathing exercises and also acupuncture point pressure. Tamura sensei used to repeat movements 1, 2 and 15 after the complete series. The Jikyo jutsu, which could be translated as the “technique of developing one’s own strength”, was created in 1916, under the efforts of Nakai Fusagoro ( / 1878-1931 ), as the first Japanese gymnastics for the promotion of health. Within the context of Budo, of course, improving one’s breathing capacity, flexibility and relaxation, muscle tone, is something of very important, in perfect accordance with the practice of the techniques. Regarding Jikyo jutsu, Tamura sensei said: “After doing the Jikyo jutsu exercises, I am instantly able to hold myself in a natural and relaxed posture, which is very effective when you are not feeling well. It’s difficult when you practice with a partner, but when you practice them alone, you become able to see inside yourself. As Tamura sensei became older, he gave up this practice for himself, but he always invited his students to do so. He then practiced several kinds of methods inspired by his knowledge of Chinese and Japanese practices, a series of self-massage to relax and energize or a series of stretches that were both complete and relaxing. The latter method was particularly useful for correcting the body’s posture, rather than forcing on the body’s muscles, the emphasis was on maintaining different positions. Chinese method of Qi Qong It was in the early 2000s, when I used to go regularly to the Shumeikan dojo, that sensei presented for the first time his method called the eight pieces of brocade, which is part of the Chinese method of Qi Qong. This was the beginning and afterwards he made some slight changes to the exercises. Far from the dynamism of Aikitaiso or Jikyojutsu, the eight breathing movements were slow, but also with great mental concentration. In this way, the coordination between movement and breathing was refined, and in this way, we became closer to the work of aikido. Tamura sensei described her evolution of the Junbi dosa as follows: “Before, I used to start with Ame no torifune. Then followed other educative ones such as Ikkyo undo. These are movements that O’Sensei practiced and are perfect for young people. The children also like them a lot. Now I’m older and more sensitive to my body. I feel that it is good to do this or that exercise depending on the moment and I change the preparation. I say it often, but these are things that I have discovered over time and that make me feel good. I currently practice a kind of Chinese gymnastics that I find very interesting. It’s a suggestion that I make to people. Everyone has to look for what works for them. You can do the exercises with a health perspective at the beginning but after a period of time, it should become a work of introspection on the body. If we really pay attention to each gesture, an exercise that we thought we were doing correctly will seem difficult the next day. The body is an extraordinary thing and we must learn to listen to it. Anything that is not natural imposes constraints on the body. Positions that may appear comfortable to us superficially are often incorrect and do not allow the body to function naturally. The most correct positions are the best for health. They do not use any force and do not tire, no matter how long they are held. If your shisei is correct, the breath is settled and the body is relaxed. That’s why kokyu ho exercise is extremely important. One finds there the same type of research as in zazen or yoga. Budokas should have the posture that yogis or Zen monks have. This work of posture, of shisei, constitutes in my opinion the basis of the bases. As long as the shisei is not established, it is useless to think about movement. It is something that I think is particularly missing in today’s aikido world. But the meaning of shisei does not only refer to an external attitude: a good form, a style, a good posture, but also, an inner force visible from the outside in its manifestation. The sword, forge of body and mind It is usual to say that aikido comes from the sword…this was especially true in the work of Tamura sensei. Everything, in his gestures, in his attitude, in his eyes was placed under the sign of the sword. Experiencing a technique from him was like feeling a cut. Tamura sensei’s father was a kendo instructor, trained at the Budo senmon academy (), and it was one of his friends who trained young Nobuyoshi in kendo. During the same period, he started judo. It is around 20 years old, after becoming uchi deshi of the honbu dojo, that he was initiated to iaido with the very famous Haga Jun’ichi, a formidable swordsman, pupil of Nakayama Hakudo. It was probably for a short period of time, as his tasks as an uchi deshi were very strenuous, but a passion for the work was born. Tamura Semsei ‘s lecture about bokken So when he started in France as an aikido teacher, he quickly realized that just working with the bokken and the jo, which he had learned from O sensei, made it hard to fully understand the real sword work, especially for a western audience. He therefore proposed the practice of iaido, devoting part of the training courses to this practice. In 1977, on the advice of Chiba Kazuo sensei, who is very involved in the practice of Iaido, Tamura sensei invited Mitsuzuka Takeshi, an expert from the Muso Shinden Ryu school, the last generation of Nakayama Hakudo’s students, to teach during the aikido workshops. At the same time, during the Shodan’s examinations , Tamura Sensei required the knowledge of the first four Iaido kata of the Muso shinden ryu school. Tamura sensei’s Iai As with the Junbi taiso, the practice of Iaido becomes an important part of Tamura sensei’s training. As a passionate person, Tamura sensei’s practice was in perpetual evolution, he tried out new things, keeping what he thought was useful, discarding the rest. The sword was at the heart of his practice, in his way of executing the techniques, in his way of walking, getting up, doing ukemi, etc.. At the end of the 90s, something pushed his practice further in this direction. He discovered the incredibly fine work of Kuroda Tetsuzan, met her, and introduced important changes in his practice, such as the way of making ukemi, holding the sword or moving while doing the techniques. For his own training he worked on the kata of iaijutsu demonstrated by Kuroda sensei, for his students he proposed to work on the first sword suburi presented by Kuroda sensei. Of course, Tamura sensei also proposed exercices with partner using the bokuto or the jo, but this was based on a rather simple but fundamental work, looking for opening, weakness in the partner’s guard, while avoiding offering it oneself. Again, a deep and profound work on the shisei, concentration, observation. There was no separation in his practice, Taiso, Buki waza and Taijutsu corresponded to the same study, a study on oneself. One of the most important principles of Tamura sensei’s sword was the absence of blocking. The sword does not make contact with the partner’s sword at any time, it seeks the opening in the guard and cuts directly into the center. Facing Tamura sensei, it was really hard to initiate an attack, at the slightest movement, you were “cut”. Similarly, with my bare hands, at the slightest grasp of Tamura sensei, it was impossible for me to move. On the contrary, to try to attack Tamura sensei was to immediately find oneself “cut off”, i.e. unbalanced without really understanding why.

The Budo Charter Budo Kensho The Japanese Budo Association was formed in 1987. The English version of their Budo Charter was produced in 2004 and is reproduced here for your interest. Their Philosophy of Budo was published in 2009 and will be posted up soon. Budo, the Japanese martial ways, have their origins in the age-old martial spirit of Japan. Through centuries of historical and social change, these forms of traditional culture evolved from combat techniques (jutsu) into ways of self- development (do). Seeking the perfect unity of mind and technique, budo has been refined and cultivated into ways of physical training and spiritual development. The study of budo encourages courteous behaviour, advances technical proficiency, strengthens the body, and perfects the mind. Modern Japanese have inherited traditional values through budo which continue to play a significant role in the formation of the Japanese personality, serving as sources of boundless energy and rejuvenation. As such, budo has attracted strong interest internationally, and is studied around the world. However, a recent trend towards infatuation just with technical ability compounded by an excessive concern with winning is a severe threat to the essence of budo. To prevent any possible misrepresentation, practitioners of budo must continually engage in self-examination and endeavour to perfect and preserve this traditional culture. It is with this hope that we, the member organisations of the Japanese Budo Association, established The Budo Charter in order to uphold the fundamental principles of budo. ARTICLE 1: OBJECTIVE OF BUDO Through physical and mental training in the Japanese martial ways, budo exponents seek to build their character, enhance their sense of judgement, and become disciplined individuals capable of making contributions to society at large. ARTICLE 2: KEIKO (Training) When training in budo, practitioners must always act with respect and courtesy, adhere to the prescribed fundamentals of the art, and resist the temptation to pursue mere technical skill rather than strive towards the perfect unity of mind, body and technique. ARTICLE 3: SHIAI (Competition) Whether competing in a match or doing set forms (kata), exponents must externalise the spirit underlying budo. They must do their best at all times, winning with modesty, accepting defeat gracefully and constantly exhibiting self-control. ARTICLE 4: DOJO (Training Hall) The dojo is a special place for training the mind and body. In the dojo, budo practitioners must maintain discipline, and show proper courtesies and respect. The dojo should be a quiet, clean, safe and solemn environment. ARTICLE 5: TEACHING Teachers of budo should always encourage others to also strive to better themselves and diligently train their minds and bodies, while continuing to further their understanding of the technical principles of budo. Teachers should not allow focus to be put on winning or losing in competition, or on technical ability alone. Above all, teachers have a responsibility to set an example as role models. ARTICLE 6: PROMOTING BUDO Persons promoting budo must maintain an open-minded and international perspective as they uphold traditional values. They should make efforts to contribute to research and teaching, and do their utmost to advance budo in every way. Member Organisations of the Japanese Budo Association Zen Nihon Judo Renmei (All Japan Judo Federation) Zen Nihon Kyudo Renmei (All Nippon Kyudo Federation) Zen Nihon Karatedo Renmei (Japan Karatedo Federation) Shorinji Kempo Renmei (Shorinji Kempo Federation) Zen Nihon Jukendo Renmei (All Japan Jukendo Federation) Zen Nippon Kendo Renmei (All Japan Kendo Federation) Nihon Sumo Renmei (Japan Sumo Federation) Aikikai (Aikikai Foundation) Zen Nihon Naginata Renmei (All Japan Naginata Federation) Nippon Budokan (Nippon Budokan Foundation) ©2004 The Japanese Budo Association