05/12/2005 In Experiments / Ideas by andy
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I define Taido as a system of principles which prescribe creativity in movement and though. Taido takes “martial art” as its vehicle for sport play and organizational structure. I make this distinction in order to differentiate between Taido and martial styles that are based simply on fighting. Since I can’t condone physical (or other forms of) violence, martial systems founded on simple dominance don’t meet my ethics. In my practice of Taido, I focus on health, mobility, and personal development through the exploration of creative movement. And I also hit people.
The Taido I practice and teach does not comprise a laundry list of preset attacks and defenses such as many schools advertise. In fact, my Taido only has five techniques. To me, the word “technique” means something similar to “method or strategy.” Taido’s five core movements can be used in fluid combination with unique footwork as well as various hand or foot strikes, throws, and joint manipulations to create an infinite variety of possible techniques. In this respect, I take the fundamental principles of Taido to represent a meta-structure capable of encompassing all of martial art.
I define Taido as a system of principles which prescribe creativity in movement and though. Taido takes “martial art” as its vehicle for sport play and organizational structure. I make this distinction in order to differentiate between Taido and martial styles that are based simply on fighting. Since I can’t condone physical (or other forms of) violence, martial systems founded on simple dominance don’t meet my ethics. In my practice of Taido, I focus on health, mobility, and personal development through the exploration of creative movement. And I also hit people.
The Taido I practice and teach does not comprise a laundry list of preset attacks and defenses such as many schools advertise. In fact, my Taido only has five techniques. To me, the word “technique” means something similar to “method or strategy.” Taido’s five core movements can be used in fluid combination with unique footwork as well as various hand or foot strikes, throws, and joint manipulations to create an infinite variety of possible techniques. In this respect, I take the fundamental principles of Taido to represent a meta-structure capable of encompassing all of martial art.
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08/12/2005 In Knowledge Base by andy
The following is an update of the article that got the public area of the old taido.us site stripped of its content. Apparently one high-ranking American Taido black belt felt so threatened by the information and ideas contained herein that he was afraid someone with no Taido experience could read my article and be able steal his students. While I am flattered that he credits my writing abilities so highly as to suggest that those who read this will become better instructors than he is, I disagree that spreading knowledge of Taido’s theory is a dangerous thing. So I have decided to re-release my unsoku article here. I hope you enjoy it.
The following is an update of the article that got the public area of the old taido.us site stripped of its content. Apparently one high-ranking American Taido black belt felt so threatened by the information and ideas contained herein that he was afraid someone with no Taido experience could read my article and be able steal his students. While I am flattered that he credits my writing abilities so highly as to suggest that those who read this will become better instructors than he is, I disagree that spreading knowledge of Taido’s theory is a dangerous thing. So I have decided to re-release my unsoku article here. I hope you enjoy it.
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20/12/2005 In Experiments / Ideas, Knowledge Base by andy
The gojokun is the set of five statements that form the heart of Taido ’s philosophy. Through the years, several different English versions of these five statements have existed. I will present a few of them along with some analysis. With any luck, this article will get to the point of what can be a very frustrating mission statement.
The primary problem with the original 5jokun is typical of Japanese philosophy. It can’t be translated into English words that the western mind will readily “get” without taking a good deal of artistic license. Since English and Japanese operate on different operational principles, they convey different kinds of meaning in different ways. There have been three of four attempts to my knowledge at a literal translation of the 5jokun, but none of them have meant very much to people who weren’t already experts.
The gojokun is the set of five statements that form the heart of Taido ’s philosophy. Through the years, several different English versions of these five statements have existed. I will present a few of them along with some analysis. With any luck, this article will get to the point of what can be a very frustrating mission statement.
The primary problem with the original 5jokun is typical of Japanese philosophy. It can’t be translated into English words that the western mind will readily “get” without taking a good deal of artistic license. Since English and Japanese operate on different operational principles, they convey different kinds of meaning in different ways. There have been three of four attempts to my knowledge at a literal translation of the 5jokun, but none of them have meant very much to people who weren’t already experts.
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23/12/2005 In Knowledge Base by andy
hengi are the archetypal taido techniques, defending and countering simultaneously by changing the orientation of the body axis. here i have simply listed the defining characteristics and some examples of hentai technique.
doko 5 kai
- hentai unpu - imagine clouds changing direction. feel your head being pushed toward the ground, pivoting about your hips.
- kihatsu seiko - the back thigh or heel is your weak point. either one of these points can be used to misdirect or defeat a hentai technique.
- ohen fubi - the body axis topples over. maintaining tension in your lower back, keep your body axis straight. as your head moves toward the floor, your leg must rise toward the target. pivot your body axis around your hips.
- santei kyogo - both hands and the stationary foot should form an equilateral triangle. in order to push the kick towards the target, place your hands close to your foot.
hengi are the archetypal taido techniques, defending and countering simultaneously by changing the orientation of the body axis. here i have simply listed the defining characteristics and some examples of hentai technique.
doko 5 kai
- hentai unpu - imagine clouds changing direction. feel your head being pushed toward the ground, pivoting about your hips.
- kihatsu seiko - the back thigh or heel is your weak point. either one of these points can be used to misdirect or defeat a hentai technique.
- ohen fubi - the body axis topples over. maintaining tension in your lower back, keep your body axis straight. as your head moves toward the floor, your leg must rise toward the target. pivot your body axis around your hips.
- santei kyogo - both hands and the stationary foot should form an equilateral triangle. in order to push the kick towards the target, place your hands close to your foot.
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23/12/2005 In Knowledge Base by andy
nengi are twisting techniques, often executed against the oponent’s joints. the body axis is skewed against the direction of movement. these techniques flow best as combinations from other techniques and have a wide range of possible targets. here i have simply listed the defining characteristics and some examples of nentai technique.
doko go kai
- nentai kasho - imagine being in a whirlpool. your body is twisted and turned in either direction. grip your opponent and twist him to the ground or use the twisting motion to kick from an unexpected direction.
- kihatsu seihai - your back, chest, and hips are vulnerable. by grabbing any of these points to prevent you from spinning, your opponent can prevent you from executing any nengi.
- kokan sokuhatsu - if you touch your hip to the opponent’s body before twisting, you can have create more leverage with which to force him to move.
nengi are twisting techniques, often executed against the oponent’s joints. the body axis is skewed against the direction of movement. these techniques flow best as combinations from other techniques and have a wide range of possible targets. here i have simply listed the defining characteristics and some examples of nentai technique.
doko go kai
- nentai kasho - imagine being in a whirlpool. your body is twisted and turned in either direction. grip your opponent and twist him to the ground or use the twisting motion to kick from an unexpected direction.
- kihatsu seihai - your back, chest, and hips are vulnerable. by grabbing any of these points to prevent you from spinning, your opponent can prevent you from executing any nengi.
- kokan sokuhatsu - if you touch your hip to the opponent’s body before twisting, you can have create more leverage with which to force him to move.
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23/12/2005 In Knowledge Base by andy
sengi are spinning techniques. for the most part, they are executed with the body upright and consist of a spinning motion with an attached strike or kick. of all the sotai, sen is probably the easiest to conceptualize, but among the most mechanically-complex. here i have simply listed the defining characteristics and some examples of sentai technique.
doko go kai
- sentai furin - think of wind swirling between trees. you should feel like a leaf being carried by a spinning wind. sentai spins forward and down, using the spin and gravity for power.
- kihatsu seiken - be careful of your shoulders. by slowing or stopping your shoulders, your opponent can end your sentai. to prevent this, do not begin turning your shoulders too soon. hold your spin until you can complete it in one quick motion.
sengi are spinning techniques. for the most part, they are executed with the body upright and consist of a spinning motion with an attached strike or kick. of all the sotai, sen is probably the easiest to conceptualize, but among the most mechanically-complex. here i have simply listed the defining characteristics and some examples of sentai technique.
doko go kai
- sentai furin - think of wind swirling between trees. you should feel like a leaf being carried by a spinning wind. sentai spins forward and down, using the spin and gravity for power.
- kihatsu seiken - be careful of your shoulders. by slowing or stopping your shoulders, your opponent can end your sentai. to prevent this, do not begin turning your shoulders too soon. hold your spin until you can complete it in one quick motion.
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23/12/2005 In Knowledge Base by andy
tengi techiques are closely related to taido’s unshin movements. the difference is that unshin is transportation, while tengi include integral strikes or other techniques. the most difficult obstacle to executing tengi is the tendency to perform them as a tumble-then-technique. here i have simply listed the defining characteristics and some examples of tentai technique.
doko go kai
- tentai raido - imagine lightning breaking a rock. your body should move swiftly to the ground.
- kihatsu seiyo - do not allow your opponent to catch your waist. you must also strike immediately upon completion of your revolution. the time between a roll or flip and the adjoined technique is especially vulnerable to attack. be careful that the opponent does not block the momentum of your hips at this time.
- oten raika - move with speed and power so that you can add force to your technique.
tengi techiques are closely related to taido’s unshin movements. the difference is that unshin is transportation, while tengi include integral strikes or other techniques. the most difficult obstacle to executing tengi is the tendency to perform them as a tumble-then-technique. here i have simply listed the defining characteristics and some examples of tentai technique.
doko go kai
- tentai raido - imagine lightning breaking a rock. your body should move swiftly to the ground.
- kihatsu seiyo - do not allow your opponent to catch your waist. you must also strike immediately upon completion of your revolution. the time between a roll or flip and the adjoined technique is especially vulnerable to attack. be careful that the opponent does not block the momentum of your hips at this time.
- oten raika - move with speed and power so that you can add force to your technique.
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23/12/2005 In Knowledge Base by andy
ungi include all jumping techniques and are probably the simplest to perform from a mechanical standpoint. here i have simply listed the defining characteristics and some examples of untai technique.
doko go kai
- untai gekiro - become as a wave crashing onto the shore. you should feel as if you are being swept up by a wave and thrown onto your opponent. use the power of gravity behind your hips to knock your opponent down.
- kihatsu seisoku - watch out for your back knee or foot. if your opponent can slow or stop your kamae’s back knee, you will be defeated. instead, lift the knee high for protection. then bring it back down quickly.
- soko tottetsu - as your rear foot comes down, strike with your foot on the bones of your opponent’s front foot.
ungi include all jumping techniques and are probably the simplest to perform from a mechanical standpoint. here i have simply listed the defining characteristics and some examples of untai technique.
doko go kai
- untai gekiro - become as a wave crashing onto the shore. you should feel as if you are being swept up by a wave and thrown onto your opponent. use the power of gravity behind your hips to knock your opponent down.
- kihatsu seisoku - watch out for your back knee or foot. if your opponent can slow or stop your kamae’s back knee, you will be defeated. instead, lift the knee high for protection. then bring it back down quickly.
- soko tottetsu - as your rear foot comes down, strike with your foot on the bones of your opponent’s front foot.
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28/12/2005 In Miscellany by andy
[rant] Not to be negative, but these things bug me. I have compiled my list of the top eleven problems with Taido as things currently stand. This list is unique to me and represents my personal values for what Taido is and should become. I can cope if people don’t agree, but meanwhile, i’ll be working on moving things in a direction that I feel is healthier and more effective all around. Maybe I can change a few minds, and maybe I’ll change my mind too as things go forward. For right now, here (not really in any kind of order) are what I see as the eleven biggest things holding Taido back from its potential:
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28/12/2005 In Learning / Teaching, Practice / Training by andy
There is an outlined method for practicing Taido movements. I have also spent a good deal of time researching various training and practice methods as well as general educational theory. Using the standard method as a framework, I have made additions and adjustments that I think are applicable to most skill acquisition scenarios we are likely to encounter in Taido practice.
There are two sets of five steps we need to consider: one is for generally learning the movement and the other is for practicing it. The first process is applied consecutively through each stage of the second, giving us five levels of iteration of the same five-step process. We’ll discuss this process first because it’s the part most likely to be taken for granted or forgotten.
The 5 Steps
- See the movement
- Understand the general theory of the movement
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