lunes, 21 de enero de 2019

An interview to Takuya Murata (Italian)



Takuya Murata is Master of Kendo: Sensei 7th dan KYOSHI.
(In Kendo, Iaido, and Jodo, Dan 9th and 10th have been abolished since no one would physically achieve "in time", that is, in life, such degrees. The maximum dan reachable in the aforementioned disciplines is the 8th dan).
He is in charge of the Technical-Cultural Commission of the Italian Confederation Kendo (CIK). In Jodo: Master degree RENSHI 6th dan, National Technical Director (CIK).
In Karatedo: 5th dan Shorin-ryu and 1st dan Shotokan-ryu

He studied and practiced Zen at the University of Hokkaido and Kenchoh Temple in Kamakura.

To read the full interview follow the link: http://www.karatedomagazine.com/2019/01/18/takuya-murata-maestro-di-kendo/

domingo, 20 de enero de 2019

Weekend training. Today Vllafranca del Penedés



Today a raining and cold day but also a training day with Pere Calpe Sensei & colleagues
An interesting review of several ZNRK katas with personal corrections 
Thanks Pere and to all for your patience and kindness


Curs MENSUAL ZNKR-IAIDO Gener-2019
20th January

Stage, Budokan Penedés


Gatka training. Sikh Martial art

lunes, 14 de enero de 2019

Pastel de Queso

Hoy una receta fácil para contentar a grandes y pequeños. Ingredientes fáciles de manejar, manipulación sencilla, poco tiempo de elaboración. No sé que más queréis que os diga... qu ya tardáis caramba!
Material
 Maizena
Azúcar
Iogurt
huevos (3)
Queso para untar (300 g)
Un limón
Nueces (o cualquier otro fruto seco o pasas













Hasta aquí como habéis podido comprobar nada extraordinario (el resultado final siiiiiii)

Métodos:

 Verter en un bol grande en primer lugar el queso y los yogures (yo suelo emplear 3 pero hay quien usa 4. Sobre el tema del yogurt hay opiniones de todos los gustos. Hay quien pone dos naturales y uno griego para dar más consistencia. Yo personalmente uso yogures de limón. Le dan un aire más fresco al pastel).
Sobre el queso suelo usar Philadelphia pero un día de estos lo haré con mascarpone q tampoco ha de quedar malo. Ahí dejo la idea por si algún kendolechón se me adelanta.
Una vez hemos vertido los ingredientes en el bol con la minipimer lo convertimos en una masa homogénea. Hay quien usa una batidora de varillas pero por la consistencia del queso suele ser mejor la minipimer.






A seguir echamos la maizena (unos 40-50 gr) y el azúcar (130-140 g). Sobre este punto hay también opiniones. Para algunos 140 de azúcar es mucho y 40 de maizena poco pero si ponéis mucha maizena el pastel os quedará muy denso-mazacote. Yo uso las cantidades q os he descrito y me suele quedar que no queda nada una vez lo sirvo.
Bueno menos digresiones. Una vez hemos echado el azúcar y la maizena de nuevo al minipimer hasta conseguir la homogeneidad.
Truco por si no tenéis báscula: yo suelo usar uno de los envases de yogurt una vez vacío como medida del azúcar y la maizena. Un envase hasta la cima de azúcar es entre 130-140 gr  de azúcar y unos 46 de Maizena.






A seguir echanos los huevos, en este caso no un par si no tres! y seguimos con el minipimer. Ánimo que ya casi estamos.

Ojo, el orden es importante para que no os queden grumos de maizena luego en el pastel.














 Ya solo queda verter el contenido en un molde. Yo prefiero los de Plum Cake pero siempre hay quien opina q mejor los circulares. Y de aquí al horno a 180 grados (mejor precalentado antes de colocar el pastel)











Cuando empieza a densificarse la mezcla es el momento en el cual yo suelo echar las nueces u otros frutos secos y uvas pasas.  Para ello abrimos el horno poco a poco para q no se enfríe rápidamente el horno y lanzamos sobre la superficie estos últimos elementos. De este modo no se os hundirán en el lecho del molde. Si lanzáis los frutos secos luego al principio por gravedad y la densidad de la mezcla inevitablemente irán al fondo.





 Sobre el tiempo en el cual ha de estar en el horno os diré que es variable. Cada horno es un mundo y cada mezcla también. De promedio 40-45 minutos suele ser el tiempo q demora en estar a punto el pastel. Yo suelo poner la alarma del horno a los 35 minutos y a partir de aquí más o menos cada 5 minutos con un palillo voy probando si sale limpio y está hecho o sale con algún grumo y aún falta un poco de tiempo.


 Lo dicho, se acaba nada más ofrecerlo.
PS: Para que no se enganche el pastel en el molde yo suelo embadurnar el molde con margarina. Los puristas pueden poner papel de hornear. Pero en general con la margarina suele ser más que suficiente.
Hala Lechones a disfrutar!

Ventosidades arriesgadas

1908 ► Barcelona en tranvía



Entrañable y encantadora pelicula de la Barcelona de principios de siglo XX, llama la atención el nada despreciable número de bicicletas y resulta curioso el saludo mediante sombrerazos de los chicos jovenes (con curiosa indumentaria) y el descubrimiento como gesto de saludo de muchos hombres. 

domingo, 13 de enero de 2019

Koshirae

Bajo el término Koshirae se engloban todos los elementos que constituyen el montaje de una katana como un todo (vaina, empuñadura, guarda, trabas y decoraciones).  El koshirae mas simple, que recibe cualquier katana una vez ha sido forjada es una empuñadura y  una vaina de madera, shirasaya, que sirve para proteger y guardar la hoja. 

Saya: Es propiamente la Vaina de madera de la katana. Generalmente laqueada, puede presentar textura y decoración. Se realiza a medida para cada espada. Partes de la saya son: el koiguchi (abertura donde la hoja entra y se encaja), el kurigata (aro donde se amarra el sageo), el sageo (cordón que une el saya a los himos o cintos de la hakama) y el kojiri (punta del saya).

Tsuba: La guarda de la espada. Esta pieza presenta una enorme variedad de formas y decoraciones, siendo objeto de colección y apreciación tan importante como la propia espada.

Los dos lados del Tsuba se encajan en los dos espaciadores, generalmente de cobre, llamados Seppa. Tienen la función mecánica de absorber impactos.

Otro componente de carácter mecánico es el Habaki, el traba-espada que prende la hoja al Saya. Debido a su función de encajar la espada en el Saya, todas las espadas presentan Habaki.

Tsuka: La empuñadura de la espada. Hecha tradicionalmente de madera, recubierta con piel de raya y trenzada con cordones de algodón o con cuero. Consiste también en el Fuchi y Kachira (extremidades del Tsuka) y el Menuki (pieza decorativa que queda abajo del trenzado del tsuka y sirve para reforzar el agarre de la mano en la espada). Como son utilizadas en el mismo Tsuka, ellas son fabricadas y decoradas en conjunto.

El último componente mecánico del koshirae es el Mekugi, perno de bambú que fija el Tsuka en el Nakago con lo que se evita q la hoja salga de la tsuka. 

The Five Schools of the Japanese Sword

The Japanese sword is divided based on the period of era it was made. Kotō (old sword) refers to the sword made before the Keicho era (just before the Edo period) and Shintō (new sword) refers to swords made between the Keicho and the beginning of the Meiwa era (1764). Swords made between the Meiwa era and the 9th year of the Meiji era (1876), when swords were abolished, are called Shinshintō (new-new sword). Especially in the old sword era, the swords are divided into five schools based on its main place of production and its technique.

Specifically, they are Yamashiro-den (Kyoto), Yamato-den (Nara), Soshu-den (Kanagawa), Bizen-den (Okayama) and Mino-den (Gifu). Of course, swords were produced in other areas too, but these 5 places have particularly unique features and have also produced many famous swords. This can sometimes come in handy for authentication.

There five places of production have a deep historical connection. Nara and Kyoto both held the Japanese capital and functioned as the center of Japanese politics. This is why sword production was more popular in the west.
In Yamashiro (Kyoto), Yamato (Nara) and Bizen (Okayama), swords were made as early as the late Heian period. Especially in Yamashiro and Yamato, the rise of many samurai bands to protect the emperor caused a surge in demand for swords. Bizen became an important contributor because of the high quality iron sand produced there.
During the Kamakura era, the feudal government was placed in Kamakura (Kanagawa), which caused sword making to begin in Soshu as well. Mino was a late comer to the sword making, which began around the North-South Dynasty period (1336-1392).
Mino became a famous produce as it was controlled by powerful daimyos (feudal lords) during the Sengoku period (late 15th century to end of 16th century) which caused many skillful swordsmiths to move to Mino.

The oldest is Yamato-den, which was made since the Nara era (710-794). It was originally made for warrior monks, and it had a very powerful demeanor to it. The 5 swords that were used during the Kamakura period are the Senjuin, Tegai, Taima, Hosho, and Shikkake swords. The ridge was raised high and also with substantial width in boorish style, and the blade patterns were usually a straight grain pattern intertwining with straight line.

Kyoto, which held the Heian capital, was also a famous place for sword production. As the main feature of Yamashiro-den, the elegance of the long sword was popular with the aristocrats. Sanjo Munechika was a famous swordsmith during the late Heian period and along with Yoshiie and Kuninaga, these are considered the ancestors of the Yamashiro swordsmiths.
Since swords were main mainly for the emperor and imperial aristocrats, the sword patterns were characterized by pretty small wood grain patterns with a straight line. The swords also had carvings in them. The Awataguchi, which was produced during the Kamakura period, had a surface of unmatched beauty. Raiha swords appeared in the middle ages with its powerful style.
Bizen was the top produced of swords in Japan from the Heian until Muromachi period, providing many samurai generals with top quality swords. The Old Bizen style, Ichimonji style, and Osafune style—known to many Japanese who are not that familiar with swords—were all produced here. It had a clover-based pattern, and its gorgeous style captivated many a general.

Masamune is a famous brand known to all as a legendary producer, and this Masamune originated in Soshu. As the first feudal rule began in Kamakura, many swordsmiths moved from Yamashiro and Bizen. With a strong grain-based pattern, a powerful bubble pattern is added. Some have wave-pattern or an all-tempered pattern to give some flamboyance. Daggers were popular too, and Shintogo Kunimitsu is known as the father of Kamakura swordsmiths. Masamune, whose sword was held in wide acclaim by many generals during the Sengoku period, was a disciple of Kunimitsu.

The newest of the 5 schools is Mino-den, which was begun by swordsmiths who moved there from Yamato. The Mino swords gained popularity in the Muromachi period when Mino and the surrounding areas were controlled by powerful daimyos such as Saito Dozan, Oda Nobunaga, and Tokugawa Ieyasu. For this reason, fight swords were most common and there are no long swords, The ridge is slightly high, and the layers are thin and made more suitable for combat. The swords made in the Edo period and thereafter are mostly based on Mino-den. Sekino Magoroku is a famous Mino-den swordsmith.
Unlike today, in the eras during which Japanese swords were forged, they did not have efficient methods of communicating and traveling. This gave rise to strong local characteristics in the swords. Knowing the characteristics based on the region of production can help identify swords during authentication. Those regions also have their glory days and their downfalls s in their long history. Learning Japanese history is another way to grow our knowledge of Japanese swords. That is how deep and meaningful Japanese swords are, and once you develop a love for them you really can’t get away from them!

Bokken & Katana = Tegatana



Este vídeo parte de la película "Agaru After the Rain" refleja la esencia del Aikido y sus raíces con el Bokken y Katana. La calma para enfrentar el ataque y sólo luchar cuando no hay mas remedio, intentando causar el menor daño posible.

sábado, 12 de enero de 2019

Shinai Sword Fighting



Fighting at the beach

Monty Python-Buenas Tardes, me gustaría tener una discusión

Sonkyo – The Lion’s Position in Kendo

Kendo is a martial art that takes manners seriously. Players bow before the match, fight hard once the match begins, and then bow politely whether they win or lose. During this ordeal, there is a position called sonkyo (crouching). In modern kendo sonkyo is often called the “lion’s position”, and it carries a lot of pride.
As the players hold their shinai aimed at the opponents’ eyes, they open their legs backwards in V shape, lift their heels and bend their knees outward, and lower their hips. When the player lower the hips, the right foot points forward and the left foot opens slightly toward to left. The hips must be straight.
In another Japanese national sport, sumo, the players assume this position before the bout. In kendo, players assume the sonkyo position, then lift their hips and wait for the call to begin the match. After the match is settled, they return to their original position, match each other’s timing to assume the sonkyo position, and bow again before they finally leave the place.
But what is the need for this sonkyo?
Sonkyo, from ancient times, was the most sincere show of respect in front of the gods. It is a mannerism and an expression of the heart that shows gratitude and towards the opponents. Even now, at some Shinto shrines, people often assume the sonkyo in addition to the regular bow.
The sonkyo in kendo is an expression of thanks toward the opponent for taking part in your development. It also prepares you own heart before you fight the match.
When this unique sonkyo position was introduce into sumo, the bow was called kikyo, and the players closed their legs, knelt on the ground and placed their heels against their hips. It is like a seiza sitting with your legs bent beneath itself, but with your toes off the ground and your heels straightened, but the sumo players detested this. This was because their knees were touching the dirt, and for a sumo players getting dirt on your body was equal to defeat.
Because of this, a new position was developed where players would not let their knees touch the ground but open their legs in a sonkyo position. This was then introduced into kendo. This position is very tiring if you are not used to is, and in the past this was not done in girls’ kendo. Now it is implemented in girls’ kendo the same way was in boys’.
Kendo has a deep history, and each movement and position has its own proper meaning. There is a big difference between just doing it for the sake of it and doing it while understanding its meaning.
As you continue in your kendo, I hope you can reflect on the having respect for your opponent and the gratitude toward the opportunity to play kendo.

sábado, 5 de enero de 2019

lunes, 31 de diciembre de 2018

Bogu dictionary

Happy New Year