Keiko method. Toru KAMEI Sensei’s Kendo Lecture

There are many exercises we do during keiko, for example kirigaeshi, kakarigeiko, uchikomi, etc. What I’d like to talk about today are the points I pay attention to when it comes to uchikomi. Naturally, as we get older our physical power declines. And the number one place of this decline is in our legs. So we must strengthen our legs. Even though it might be difficult to increase our leg strength, we should try and not allow our current leg strength to decline as much as we can. If we do this, we will natural see a difference when we practice with people of the same age.

So, now I want to talk about how to strengthen our legs during the practice of uchikomi. Without worrying whether it is “correct” or not, when it comes to strengthening our legs, I think we should use the full length of the dojo.

For example, when we striking men, we should travel using suriashi from one end of the dojo to the other quickly, smoothly, and sharply. By doing this, we can help strengthen our legs. Do this up and down three times. Naturally, I think, there is good benefit in practicing like this. I think doing this within uchikomi allows us to improve both our men strikes and our leg strength.

Even though it is relatively simple, the most difficult thing in kendo is ashi-sabaki. One thing that we do in kendo that we don’t do in our daily life is fumikomi-ashi. Stamping footwork. We pretty much never do this in our daily life.

Another example of something like this is the type of continuous footwork we do when striking, for example, kote-men. One way to check if your leg strength is declining is to practice kote-men strikes: “Ah, my legs have become weak.” “Oh, that person’s legs have become weak.” By looking at someone’s kote-men strikes we can generally tell the decline in someone’s leg strength. So, we should not only do the men strikes the full length of the dojo as mentioned before, but also kote-men strikes. “kote-men” techniques is often explained as “first strike kote and, if the opponent moves back, then strike their men.” This is of course the base of this technique, but, please put this aside for a moment and try practicing kote-men simply as a continuous strike (i.e., as a method of strengthening our legs).

Lastly, kirikaeshi. Kirikaeshi is something we cannot leave out of any discussion on kendo.

In kirikaeshi, the teaching DAI-KYO-KEI-SOKU is embedded. That is “large, strong, light, and nimble.”

To these four, I personally add another KAKU (“reliably”). That is, to strike the correct area reliably. When striking left and right men, you should aim to strike the opponent’s men, not their shinai.

These are the five points I make when teaching kirikaeshi. I’d like it if you would pay attention to these five points when practicing kirigaeshi.

Point: During uchikomi, suriashi from one end of the dojo to the other to help strengthen your legs. It is good to make your footwork small and fast. Use continuous kote-men striking as a leg-strength barometer. Do kote-men without breaking your posture. Kirikaeshi should be executed with large, strong, light, and nimble movements. 

Although we did a lot of different things up until this point in the video, I believe the very base of my kendo to be the basic shomen strike.  Why is this? Well, if you can strike a basic men from a far distance then you will be able, to some extent, easily strike kote, do, tsuki, and continuous techniques.

So please, everyone, first master striking basic men from issoku-itto-no-maai. Like this, without moving your left foot in first as described before. This is the base.

Kote is below you, so just strike down. Remember not to divert your gaze. Do is simply a diagonal cut. Tsuki is simply straight. Kote-men is just a combination of basic kote and men strikes one after another.

But first is the basic men strike from issoku-itto-no-maai.

Only once you have mastered this, you should proceed to the other techniques 

Toru KAMEI Sensei’s Kendo Lecture

The text of this note is an excerpt of DVD> Toru Kamei's Kendo Improvement Course () Book – 2017/6/1 Toru Kamei (Author) and Toru Kamei's Kendo Improvement Course () Book – 2017/6/1

Registration information

    Release date: 2017/6/1

    ISBN-10: 4884584074

    ISBN-13: 978-4884584078

    Publisher: Physical Education and Sports Publisher (2017/6/1)

Birds of Barcelona

 

Find the differences

 

Respect

 

Ushiro

 

Toru KAMEI Sensei’s Kendo Lecture

There are many ways to execute and learn how to tsuki.

However, like I mentioned before, if you attempt to execute a technique from issoku-itto-no-maai or to-ma, then there is a possibility that your body posture will break. Therefore, in the same way that we practiced men before, I recommend that you start to practice from chika-ma.

From chika-ma, step in and thrust without stretching your arms out. Simply move forward in your kamae and put your shinai tip in your partner’s throat. First, master tsuki like this.

Next, step back from chika-ma by about 20 cm and practice the same thrusting action.

Once you have mastered tsuki from this distance, step back to issoku-itto-no-maai.

From there the execution is as before: from your kamae, step in and put your shinai tip into the partner’s throat. Practice from this distance until your accuracy rate reaches 100%.

Once you have mastered this, the next step is to do the same action from issoku-itto-no-maai except at the very instant your shinai tip lands on the opponent’s throat push your hands out.

At the very instant the thrust lands, push your hands out like this. Practice like this over and over until you can reliably land your shinai tip on the opponent’s tsuki-dare. This is the main point.

To do this thrust from your kamae without doing any exaggerated or unneeded movements or extension of the hands and arms.

If you practice with this in mind, I believe that you will naturally come to master tsuki.

However, before executing this technique in a real situation (i.e. jigeiko or shiai), it’s important to use the movement of your shinai tip to somehow force your opponent to step back before thrusting at them.

If your opponent is pressuring you strongly and you react to this in desperation by attempting to thrust, they will simply strike your men. In the dojo, the shiai-jo, etc., you must push your opponent back and back and then thrust at them.

This is the correct process for executing a thrust. Please don’t make a mistake.

Point: When learning to master tsuki, start from chika-ma and step in and thrust.

Don’t’ break your kamae or posture and ensure that your shinai tip lands on the opponent’s tsuki-dare.

Slowly increase the distance and practice. From issoku-itto-no-maai work on thrusting accurately.

At the instant your shinai lands in the opponent’s tsuki-dare slightly push your hands out. This helps complete the technique.

There are a large variety of methods when it comes to the execution of morote-tsuki.

What I want to describe now is the different directions of thrusting.

I have about 4 patterns of executing tsuki.

The first is the orthodox method, from the omote side I step in and thrust straight.

Next, I move my shinai tip down and pressure the opponent from below. The opponent becomes confused as to which direction I will come or what technique I will execute, then at that moment I thrust from the omote side. This is my second pattern.

The third pattern is the same as the last except I tsuki from the ura side.

In the last pattern, I look at the opponent’s movement, for example if they often lift their shinai up high. Like before, if you pressure from below, the opponent will lift their hands up. It’s not a thrust from down to up, it’s almost straight.

Basically, I look at what technique they are about to execute and adapt to that. These are the four patterns I use when executing tsuki. Please give them a try.

Point: Pressuring the center line, thrust.

Pressure the opponent from below and thrust from the omote side.

Pressure the opponent from below and thrust from the ura side.

Pressure the opponent from below and thrust the moment they raise their hands.

The fundamental tsuki technique is morote-tsuki (two-handed thrust), but I’d like to also explain katate-tsuki (one-handed thrust) today.

Of course, when it comes to katate-tsuki, I believe the most important thing is your left hand grip.

You should grip as you would in your kamae (i.e., you don’t need to modify it for thrusting). This is very important.

Like morote-tsuki that I explained before: the opponent’s tsuki-dare is simply at the extension of your shinai tip, so you don’t need to over emphasize thrusting at your opponent heavily.

From issoku-itto-no-maai, step out and thrust from your kamae. Try to keep your right hand on the shinai handle for as long as you can, releasing it only at the very instant of the thrust and, at the same time, squeezing with the left grip.

Actually, if your left hand grip is correct then you don’t need to think about squeezing at all.

First, ensure that your left hand grip is good.

Second, like I said before, thrust without compromising your kamae in the process. This is what I think makes a basic katate-tsuki.

One method in which you can master this katate-tsuki is to practice thrusting from the ura side. By moving your kensen to the opposite side, your left hand will come slightly out of position and move or shake a little bit.

If you practice in this unfavorable situation, when you fist and perhaps your kensen are shaking, and are able to tsuki successfully from it, then thrusting from the normal omote side will become considerably easier. Move your kensen to the ura and thrust. Please try this.

Of course, don’t divert your gaze from the opponent, pay attention to your posture and backbone.

While doing this, moving to the ura side, remember and keep your right hand on the shinai for as long time as possible before thrusting. Releasing off the right hand should only be done at the very instant of thrusting.

Point: For katate-tsuki, pay attention to the left hand grip.

Don’t over exaggerate or over emphasize the thrusting motion.

Move into the correct distance keeping your kamae and, on the instant of thrusting, release the right hand and squeeze with the left.

By practicing thrusting from the ura side, you will find that thrusting from the omote side becomes easier.

As with other techniques, pay attention to keeping your gaze on your opponent, and on keeping a good posture.

 

Toru KAMEI Sensei’s Kendo Lecture

The text of this note is an excerpt of DVD> Toru Kamei's Kendo Improvement Course () Book – 2017/6/1 Toru Kamei (Author) and Toru Kamei's Kendo Improvement Course () Book – 2017/6/1

Registration information

    Release date: 2017/6/1

    ISBN-10: 4884584074

    ISBN-13: 978-4884584078

    Publisher: Physical Education and Sports Publisher (2017/6/1)

Soete Tsuki

 

Uma questão de tomates

Doente internado no Hospital Amadora-Sintra arranca o próprio testículo

Um doente, internado no Hospital Amadora-Sintra, arrancou o próprio testículo durante um surto psicótico.  

O homem estava internado no serviço de neurologia, com um quadro de miastenia grave, uma doença autoimune caracterizada por episódios de fraqueza muscular. Estava a ser medicado com corticóides. 

 

Ao final da tarde de segunda-feira correu pela enfermaria e tentou agredir a enfermeira chefe do serviço. Foi imobilizado pela equipa, mas, passada meia hora, foi encontrado ensanguentado, com o próprio testículo ao lado, no chão. 

 

O homem foi suturado na enfermaria e transferido para o bloco operatório. Regressou ao serviço de neurologia onde se encontra a recuperar. 

 

O Amadora-Sintra disse à CMTV que foi aberto um processo de averiguação do surto psicótico. Em cima da mesa está a possibilidade de estar relacionado com a medicação.

https://www.cmjornal.pt/sociedade/detalhe/alerta-cm--doente-internado-no-hospital-amadora-sintra-arranca-o-proprio-testiculo-e-tenta-agredir-enfermeira

Three-Cup Chicken

Esta es una receta la cual sí preguntas a 100 personas cómo se realiza obtendrás 100 respuestas diferentes. Hay quien fríe la gallinácea al principio, otros estofan el pollo directamente, los hay que usan más aceite y quien echa menos o más vino o diferentes proporciones de soja y vino. En fin que viene a ser como hablar de fútbol que si Cristiano es mejor, que si Messi es dios etc. Y como en el fútbol los debates se convierten en peleas cuerpo a cuerpo cuando se discute de cuan espesa debe ser la salsa o cuales son las partes del pollo que deben emplearse. Yo me basé en una receta del  chef taiwanés-estadounidense Eddi Huang pero al final le hice más modificaciones que las que realizó Alfonso Guerra al Estatut de Autonomía de Catalunya.

Material: 

3 cucharadas de aceite de sésamo* 

1 pieza de jengibre de 6 a 8 cm, pelada y cortada en rodajas, aproximadamente 12**

12 dientes de ajo pelados

4 cebolletas enteras, recortadas y cortadas en trozos de  2-3 cm

3 pimientos rojos secos***

1 kg de muslos de pollo, deshuesados ​​o con hueso, cortados en trozos pequeños****

1 cucharada de azúcar moreno 

½ taza de vino de arroz #

¼ taza de salsa de soja light

2 tazas de hojas frescas de albahaca

Modificaciones:

* eché a ojo desde la botella en el wok y seguro q eran más de 3 pongamos  que unas 5 y como no tenía aceite de sésamo a mano tiré de girasol que es bastante neutro y no deja gusto como lo hacen otros aceites y así se degusta más la esencia de los sabores q se mezclan

** Como me gusta el picantillo del jengibre acabé poniendo 14 más dos trocitos q sobraban de la pieza

*** Nuevamente y arrastrado por mi pasión por el picante le puse 4

****Como tenía un pollo entero lo deshuesé todo y lo corte a trocitos de unos 4 cm y curiosamente como había mucho pollo lo único q no puse fueron las piernas del pollo (si las ancas)

# Como no tenía vino de arroz me lancé a por el sake y fue mano de santo!

Ah y fuera de la receta añadí una zanahoria también cortada a rodajas

Métodos

Primero calentamos 2 cucharadas de aceite en un wok a fuego alto. Como no disponía de wok utilicé una cazuela bien grande y de nuevo recordad la "pequeña" modificación q os comenté al principio (eché el aceite a ojo así que aquí seria como unas 3-4 cucharadas, calculo...)

A la que empiece a brillar el aceite vamos al ataque y agregamos el jengibre, el ajo, las cebolletas, la zanahoria y los pimientos, y vamos cocinando hasta que la fragancia de las especies nos llegue a la pituitaria (vamos aproximadamente 2 minutos de reloj)

A seguir desplazamos a un lateral los vegetales, agregamos el aceite restante y esperamos a que se caliente. Es el momento de sacar al protagonista en escena, echamos el pollo al wok y lo freímos  removiendo ocasionalmente hasta que esté dorado y crujiente en todas sus caras (esto según tengáis la vitro os llevará entre 5 y 7 minutos (con la vitro a 8 yo estuve 8)

A continuación, agregamos el azúcar y removemos azúcar y pollo para que se mixturen como un gin tonic atómico al agregar a continuación el sake (vino de arroz en la original pero para qué engañarnos, no viene de unos 20º y al final os relameréis los dedos, palabrita del niño Jesús) y la salsa de soja y ya mezclamos todos los ingredientes vegetales y animales (respetando al cocinero). Seguimos con el fuego alto hasta que empiece a hervir y en este punto reducimos la intensidad y cocinamos a fuego lento (4 en mi vitro) hasta que la salsa se reduzca y comience a espesar entre 15 y 20 minutos según la intensidad elegida.

Ánimo que ya solo nos falta apagar el fuego, esparcir la albahaca sobre la pitanza y removerlo todo para que quede bien mezclado. 

Os aconsejo que preparéis arroz blanco para acompañar. Verter la salsa por encima y comerlo con el pollo ummmmm, empiezo a salivar solo de recordarlo...

Ánimo mis lechones q vais a disfrutar seguro

Toru KAMEI Sensei’s Kendo Lecture: Kote Waza

The orthodox way to strike kote is off-course to go over the opponent’s shinai and strike. But before striking, it’s important to pressure them.

First, pressure the opponent by threatening to tsuki them. Fearing your tsuki and they will try and push your shinai down and, at that very moment, strike their kote. Threatening to tsuki, strike their kote. This is one style of striking kote that I do.

Strongly pressure them with the feeling that you are going to thrust at them, then strike kote. This is important.

You could of course simply strike kote without this feeling of pressure, but I think it’s important to display pressure both with your kensen and with your spirit before striking.

Another method is to pressure the opponent in the same way and strike them as they move forward. Even if they don’t move forward, you can strike their fists if they unintentionally raise them up. This is another way of striking kote.

Another method is to push down on the opponent’s shinai from above. If the opponent reacts to this by pushing back, immediately strike their kote. Whether the opponent comes forward or not, you can still use this method to strike their kote.

These are the three ways of striking kote that I use at the moment. Please give them a try.

Point: Rather than just strike at kote from nothing, you should pay attention to pressuring the opponent into moving first then strike.

If you threaten to thrust at them, the opponent will fear your attack and their fists will raise up. By pressuring your opponent whilst moving your shinai tip down, you will find their fists are easier to force up. Pushing down on the opponent’s shinai tip, they may attempt to push back. In that instant, quickly swing the shinai up and strike.

The text of this note is an excerpt of DVD> Toru Kamei's Kendo Improvement Course () Book – 2017/6/1 Toru Kamei (Author) and Toru Kamei's Kendo Improvement Course () Book – 2017/6/1

Registration information

    Release date: 2017/6/1

    ISBN-10: 4884584074

    ISBN-13: 978-4884584078

Concepto y propósito del kendo

Hoy, en estos tiempos de pandemia, el club nos ha enviado un mail que merece la pena compartir con la comunidad kendoka

El concepto de kendo: es disciplinar el carácter humano a través de la práctica de los principios de la espada.

El propósito de practicar kendo es:

Moldear la mente  y el cuerpo.

Cultivar un espíritu vigoroso.

Y mediante la práctica correcta y rigurosa,

Esforzarse para mejorar en el arte del kendo.

Apreciar la cortesía humana y el honor.

Relacionarse mutuamente con sinceridad.

Y perseguir siempre el desarrollo de uno mismo.

Así uno será capaz de:

Amar su país y a la sociedad.

Contribuir al desarrollo de la cultura,

Y promover la paz y la prosperidad entre todas las personas.

Men, Kote, Do

 

Toru KAMEI Sensei’s Kendo Lecture: Men Waza

I think that there are many people whose favorite technique is debana men.

I’m going to introduce three different types of ways to execute this technique today.

What I pay attention to when attempting this technique is, like I said earlier, having a kamae that you are confident in and the ability to express this confidence in a way that your opponent can feel.

Naturally you can do this by applying pressure on your opponent. This pressure causes them distress and they step in to strike you. At that instant you strike men. It’s a relatively simple matter. However, you shouldn’t move back but pressure forward and strike them (from the omote side) the instant they move in.

Next, to this method let’s add something. When the opponent moves in to strike, push down on their shinai using your shinai tip then strike. The very instant they move in you should push down and strike (osae waza).

Don’t split these actions up into separate movements, rather they should be done simultaneously.

Next, the third method. While pressure the opponent move your shinai tip down and around the opponent’s to the ura side. When the opponent steps in strike them immediately. Strike without pulling your hands back directly from your kamae.

These are the three debana men patterns I use during my own keiko. Please give them a try.

Point: When you want to strike men be sure and pay attention to strongly pressuring your opponent into moving.

Pressure the center line and strike men when the opponent moves forward. In the instant the opponent steps in, push their shinai down with your shinai tip and strike. While pressuring the opponent, move your shinai tip down and around the opponent’s shinai to the ura side. Without pulling your hands back, strike.

Up until now, I’ve been talking only about techniques where you move forward.

You pressure the opponent so that they either move back and you strike or are compelled to attack forward and you strike. These are all techniques where you move forward and strike.

Next I’m going to talk about a technique that I have been using quite a lot recently.

If you pressure the opponent then naturally they will come forward. I say naturally but I’m talking about when they respond to your pressure by attacking you somehow.

Sometimes you find yourself in the situation where you think “Oh, I’m late (in striking them first)…”

At this time, you can, evading their attack, move back and strike men like this. Strike the opponent around about their right men whilst moving back a little bit diagonally to the left. I’ve been doing this a lot recently.

At this time, even though your body may bend a little bit to the back you must, naturally, never divert your gaze from the opponent.

If you do so, it will affect the action of your hands and your strike will be less effective. Keep looking at your opponent. Please try this.

Point: Whilst moving the body diagonally back to the left, evade the opponent’s attack and strike men. Be careful not to break your posture or to divert your gaze from the opponent.

The text of this note is an excerpt of DVD> Toru Kamei's Kendo Improvement Course () Book – 2017/6/1 Toru Kamei (Author) and Toru Kamei's Kendo Improvement Course () Book – 2017/6/1

Registration information

    Release date: 2017/6/1

    ISBN-10: 4884584074

    ISBN-13: 978-4884584078

    Publisher: Physical Education and Sports Publisher (2017/6/1)

Video from you tube

Kamei Sensei Seminar at Wilson Park - Nagamine Sensei vs Kamei Sensei

Carta de Vinícius de Moraes para Tom Jobim

 Caro Tonzinho, estou em Paris, num hotel com sacada sobre uma praça, que dá para toda solidão do mundo e diz:

Procura-se um amigo. Não precisa ser homem, basta ser humano, ter sentimento, ter coração. Precisa saber falar e saber calar no momento certo. Sobretudo, saber ouvir. 

Deve gostar de poesia, da madrugada, de pássaros, do sol, da lua, do canto dos ventos e do murmúrio das brisas. Deve sentir amor, um grande amor por alguém, ou sentir falta de não tê-lo. Deve amar o próximo e respeitar a dor alheia. Deve guardar segredo sem sacrifício. 

Não precisa ser puro, nem totalmente impuro, porém, não deve ser vulgar. Deve ter um ideal e sentir medo de perdê-lo. Se não for assim, deve perceber o grande vazio que isso deixa. Precisa ter qualidades humanas. Sua principal meta deve ser a de ser amigo. Deve sentir piedade pelas pessoas tristes e compreender a solidão. 

Que ele goste de crianças e lastime as que não puderam nascer e as que não puderam viver. Que goste dos mesmos gostos. Que se emocione quando chamado de amigo. Que saiba conversar sobre coisas simples e de recordações da infância. 

Precisa-se de um amigo para se contar o que se viu de belo e triste durante o dia; das realizações, dos sonhos e da realidade. Deve gostar de ruas desertas, de poças d’água, de beira de estrada, do cheiro da chuva e de se deitar no ceapim orvalhado. Precisa-se de um amigo que diga que a vida vale a pena, não porque é bela, mas porque já se tem um amigo. Deve ser Don Quixote sem contudo desprezar Sancho. Precisa-se de um amigo para se ter consciência de que ainda se vive.

Broa de Avintes

Hoje una receita primeiro em Português pois é uma guloseima e um dos pães tradicionais de Portugal. Logo a seguir um resumo em espanhol. A Broa de Avintes é um pão que como seu nome indica é  feito em Avintes (Vila Nova de Gaia) no norte de Portugal, também conhecido como Boroa de Avintes. Devido a sua composição é um pão que pode ser utilizado em diversos comeres, a acompanhar sardinhas asadas por exemplo ou com bacalhau de qualquer maneira cozinhado... uma delícia.

 

A Broa de Avintes é um pão com formato de uma torre sineira feito com diversas farinhas (milho amarelo e branco, centeio e malte) e pelo centeio tem uma cor castanho escura e um sabor agridoce. Meus caros leitões vão gostar

 

Material (receita original e modificações)

Como as quantidades da receita original eram excessivas para fazer em casa só usei uma quinta parte dos ingredientes.

 

Farinha de Milho Branca – 1,25kg  (no seu  lugar 250 gr)

Farinha de Milho Amarela – 1,25kg (no seu  lugar 250 gr)

Farinha de Centeio – 2,5kg  (no seu  lugar 500 gr)

Farinha de Malte – 100gr  (no seu  lugar farinha de aveia 20 gr é difícil arranjar por cá – Catalunya- farinha de malte assim q fiz esta substituição)

Água – 2500ml  (no seu  lugar 500 ml)

Levedura – 50gr (no seu  lugar 10 gr)

Sal – Pitada

 

Métodos

 

Aquecer a água a uns 45ºC com um pouquinho de sal (duas pitadas), depois vamos a amassar as farinhas com essa água, (a receita original sugeria cortar um pouco da água (até 50%) para criar uma massa mais dura mas com 500 ml para as proporções de farinha indicadas a massa não acaba de ligar e ficam grumos, assim que tive de adicionar um pouco mais de água (até os 650 ml) para obter uma massa que ficasse homogenia.

    

No fim de bem amassada adicionamos a levedura (como era fresca, com um pouquinho de água para a dissolver) e amassamos mais um pouco, depois deixámo-la repousar uns 30 minutos para a massa levedar um pouco (tapamos a massa com um pano no bole) 

Pronto! Já agora partilhamos a massa em pedaços de 600 gramas, enrolamos, amassamos e estendemos a massa mais um pouco com ajuda de bastante farinha de aveia (centeio na original, mas como gastei toda a que tinha ao fazer a massa...), 

depois arrumamos as broas num tabuleiro de levar ao forno forradas com papel de alumínio (folhas de couve galega na tradição culinária e na receita original, mas como... quem dá com folhas de couve galega na Catalunya? Assim q para conservar a humidade do pão embrulhei com o papel de alumínio.

Levamos a seguir ao forno pré-aquecido a 260ºC, e deixamos cozinhar por volta de 1 hora (lembrai q cada forno é cada forno e os tempos podem variar e também se o tamanho de broa é maior, tb mais tempo vai demorar). Uma vez temos a broa já cozida, guardamo-las debaixo de um pano para ficarem bem abafadas até arrefecer.

Y ahora en español:

La Broa de Avintes es un pan que como su nombre indica se elabora en Avintes (Vila Nova de Gaia) en el norte de Portugal, también conocido como Boroa de Avintes. Por su composición, es un pan que se puede utilizar en diferentes comidas, para acompañar sardinas al grill por ejemplo o con bacalao de cualquier forma cocinado ... una delicia.

Este pan de forma acampanada se elabora con varias harinas (maíz amarillo y blanco, centeno y malta). El centeno le da un color marrón oscuro y un sabor agridulce. 

 

Material (receta original y modificaciones)

Como las cantidades de la receta original eran excesivas para hacer en casa, solo usé una quinta parte de los ingredientes.

 

Harina de Maíz Blanco - 1,25 kg (250 gr en su lugar)

Harina de maíz amarillo - 1,25 kg (en su lugar 250 gr)

Harina de centeno - 2,5 kg (en su lugar 500 gr)

Harina de malta - 100gr (en su lugar de avena 20 gr)

Agua - 2500 ml (500 ml en su lugar)

Levadura - 50gr (en su lugar 10gr)

Sal - pizca

 

Métodos

 

Calentar el agua a unos 45ºC con un poco de sal (dos pizcas), luego amasamos las harinas con esta agua, (la receta original sugería cortar un poco de agua (hasta un 50%) para crear una pasta más dura pero con 500 ml para las proporciones de harina indicadas la masa no se liga y quedan grumos, así que tuve que añadir un poco más de agua (hasta 650 ml) para obtener una masa que fuera homogénea.

Una vez bien bien amasadas las harinas añadimos la levadura (como estaba fresca, puse previamente un poco de agua para disolverla) y amasamos un poco más, luego dejamos reposar unos 30 minutos para que la masa suba un poco (tapamos la masa con un paño en el cubriendo el bol donde la dejamos reposar)

Pasada la media hora distribuimos la masa en trozos de 500-600 gramos, enrollamos, amamos y enrollamos un poco más la masa con la ayuda de mucha harina de avena (centeno en el original, pero como me gasté toda la que tenía al hacer la masa ...), a seguir colocamos el pan en una bandeja de horno forrado con papel de aluminio (hojas de col gallega en la tradición culinaria y en la receta original, pero  ¿quién encuentra hojas de col gallega en Catalunya?  Así para conservar la humedad del pan lo envolví con papel de aluminio.

Luego llevamos la masa al horno precalentado a 260ºC, y dejamos cocinar 1 hora aproximadamente (recordad queridos lechones que cada horno es cada horno y los tiempos pueden variar y además si el tamaño del pan es mayor, tardará más). Una vez cocido el pan lo guardamos bajo un paño para mantenerlo bien arropado hasta que se enfríe.

Toru KAMEI Sensei’s Kendo Lecture: How To Strengthen The Left Leg

The first method is to move the right foot out pressuring the opponent then, from that position, strike.

The next method is to move the right foot out pressuring the opponent and then, with the intention of luring the opponent in, pull the right foot back to the original position and then strike.

The third method is to move the right foot out and pressure the opponent. While pressuring the opponent move the left foot up so that you can return to your original kamae position and then strike from there.

These are the three types of ashi no seme that I pay attention to during my keiko. Whether this is “correct” or not I don’t know, but I feel that I have consistent success with these methods.

If you find these methods in anyway useful and if you try them at least once during your own keiko then I’ll be very happy.

Let’s look again at the three ashi no seme methods we discussed before. For illustration purposes I’ll slightly exaggerate the examples.

From your kamae step out but don’t stop there, obviously you should attack immediately. If you break it down into steps your body will sink but in that instant you should already be striking forwards. Anyway, first of all step out and seme with your right foot.

In the second method we first step out with the right foot then pull it back. This will either cause your opponent to strike or step in, either due to his own volition or because you have lured them to. At that point strike.

In the last method we move the right foot out and immediately bring in the left foot so that we are back in our basic kamae and strike.

These are the three methods of using the right foot/leg that I currently use during my keiko at the moment. Up until now we have only discussed strikes from the omote side (left side of the shinai), but this time we will look at strikes from the ura side (right side).

Move your kensen around and under the opponent’s shinai so that the shinai are touching on the ura side. It doesn’t matter if you move your right foot or not, but what you must not do is pull the shinai towards yourself. From this position strike. I’d like you also to try this out.

Another one is in the instant the opponent starts to move to execute a men strike press their shinai down and strike them.

There are other examples of seme methods that I am practicing at the moment.

If you approach keiko with this feeling (using these methods), you will not lose to your opponent’s seme and your seme may force the opponent to move back.

At least, these are some of the benefits I feel that are to be gained through these type of methods. Please try them by yourself.

As mentioned before I said that we should not pull the left foot up when striking. This has been one thing I’ve constantly worked on since I was a child.

OK, so how do we go about not doing this? Of course, this should be done through repeated practice of suriashi, fumikomi, that is, the basics.

However, if you have developed a bad habit of pulling your left foot up when striking, how do we get rid of it?

The first thing is that if we are holding a shinai and facing an opponent we often forget to be conscious about working on the bad habit and it just gets worse.

My idea therefore we should first practice by ourselves without a shinai. Let me explain my method.

If you hold shinai and face an opponent you end up wanting to strike them, and your footwork may be compromised.

Therefore you should practice by yourself and kamae using only your hands. From there practice striking men or kote-men from your kamae without moving your left leg up.

By practicing striking, body movement, and footwork without a target (i.e., an opponent) you will be able to more easily acquire correct movement.

Point: You will be able to acquire good form in both body movement and footwork if you practice striking without holding a shinai. It will also allow you to pay attention to not pulling up your left leg while striking.

It is important that you should do this repeatedly many times.

Whilst doing this you must always be careful not to pull the left foot up when striking. As a kendo practice method I’m not sure if what I just introduced is orthodox or not but I do feel that if you do it whilst paying attention to your left foot and body posture there is benefit to it.

The next step is to do the same practice whilst holding a shinai.

The execution is the same: do it without an opponent, and strike forward in range that it is comfortable for you.

The point is the same as before: don’t pull your left foot up when striking, move directly from your kamae. Just like this.

By practicing in this way repeatedly you will acquire good body movement. Please try this first without a shinai, then with a shinai. By practicing by yourself like this you will see a good result.

You might feel a little bit lonely practicing by yourself so you could try practicing using a mirror.

Even if you practice by yourself, remember and imagine that you are facing an opponent of about the same height and never divert your gaze, and pay attention to your spine and coccyx.

By paying attention to good body posture and not pulling up the left leg I feel that this method has a lot of benefit. Please try it.

I’ve talking about not pulling up your left foot during striking.

I think this is the most basic of the basic elements of kendo to master.

Why?

Well for example by pulling up your left foot you are telegraphing your intention to the opponent “I’m going to strike you now”, which we must of course lose.

So how do we do this exactly?

Previously I worked as a kendo teacher in a police academy and there I taught people who began kendo as adults.

Now I’ll show you what I taught them.

First, at the same time as lifting the shinai up raise the right foot and put your weight on your left foot. Strike from that position.

I had the adult students repeat this action again and again.

In the beginning they did it without holding a shinai in their hands. Lift up and strike. Lift up and strike. They did this again and again.

After this we moved onto suriashi.

The next step was to do the same thing whilst holding a shinai. Something you should be careful of at this time is to be careful not to show the bottom of your foot when you lift it up.

There are lots of points to make, but in the meantime just concentrate on lifting up the foot and shinai at the same time and striking from that position. Like before, there is no partner with you so you don’t have to jump forward so much. Because of this I think that this action is easy to master. Please give it a try.

Ok, so I talked about the left foot. Next I’m going to discuss about a method of not breaking body posture whilst wearing bogu and facing partner.

First, enter close to your partner, so close that you could strike them using only your hands. From here, strike like this. Keep this form. Naturally, when you strike pull up your left foot on the strike.

From a close distance strike. Whilst doing this you can pull up your left foot or just leave it in place, that’s up to you. Next, move back 20 cm and strike men. Like this.

The third step is to move back to issoku-itto-no-maai and strike. If you practice like this then finally you will be able to strike without breaking your posture or form and without pulling your left foot up before striking.

I think it is good if you break it into three steps, close distance, middle stance, striking distance, and practice this way.

Point: Practice striking men in three different steps, gradually increasing the distance.

In each of the three steps pay attention to keeping your body posture.

The text of this note is an excerpt of DVD> Toru Kamei's Kendo Improvement Course () Book – 2017/6/1 Toru Kamei (Author) and Toru Kamei's Kendo Improvement Course () Book – 2017/6/1

Registration information

    Release date: 2017/6/1

    ISBN-10: 4884584074

    ISBN-13: 978-4884584078

    Publisher: Physical Education and Sports Publisher (2017/6/1)

51st All Japan Iaido — 6th Dan Final

Toni Tipton-Martin's Pork Chops in Lemon-Caper Sauce

 Chuletas de cerdo en salsa de limón y alcaparras del Chef Toni Tipton-Martin

Esta es una receta extraída del "Jubilee: Recipes From Two Centuries of African American Cooking" de Toni Tipton-Martin (2019). Es un remix de una receta que el chef Nathaniel Burton recopiló en su obra de 1978, "Creole Feast: Fifteen Master Chefs of New Orleans Reveal Their Secrets", a la cual Tipton-Martin incorporó ralladura de limón, jugo y mantequilla extra. Es un plato de chuletas de cerdo ahogadas convertido en algo glorioso y elegante. “La historia alimentaria de los negros en Estados Unidos ha sido una historia de comida de la supervivencia”, dijo Toni Tipton-Martin en una entrevista. Pero la verdad es que este plato es brutal!

MATERIAL

4 chuletas de cerdo con hueso 

Sal y pimienta negra recién molida, al gusto

½ cucharadita de hojas secas de tomillo

2 cucharadas de aceite de oliva

4 cucharadas de mantequilla sin sal

1 chalota muy pequeña, picada (aproximadamente 1 cucharada)

2 dientes de ajo, picados (aproximadamente 1 cucharadita)

2 cucharaditas de harina

1 taza de vino blanco seco

1 ½ tazas de caldo de pollo

2 cucharadas de alcaparras escurridas

2 cucharadas de perejil fresco picado, y más para decorar

1 cucharadita de ralladura de limón recién rallada, más 2 cucharadas de jugo

MÉTODOS

1.- Secamos las chuletas con papel de cocina y sazonamos generosamente con sal, pimienta y tomillo. 

2.- Vertimos el aceite de oliva en una sartén grande y caliente a fuego medio hasta que el aceite comience a brillar. 

3.- Agregamos las chuletas y cocinamos hasta que estén bien doradas por cada lado y bien cocidas, aproximadamente 5 minutos por cada lado. Ha seguir transferimos las chuletas a un plato y las cubrimos para mantenerlas calientes.

6.- Escurrimos la grasa de la sartén, y pasamos papel de cocina para eliminar restos (ojo con no quemarse!) luego derretimos 2 cucharadas de mantequilla a fuego medio hasta que chisporrotee. 

7.- En este punto, agregamos la chalota y el ajo, y sofríe hasta que los aromáticos se ablanden, reduciendo el fuego si es necesario, aproximadamente 1 minuto. 

(Como en casa no gusta ni la cebolla ni cosas semejantes, pasé la cebolla de Figueras que utilicé en lugar de la chalota, por el rallador para no dejar rastro del delito)

8.- A seguir, espolvoreamos con la harina y seguimos cocinando, revolviendo el potaje, durante 2 minutos. Añadimos el vino y el caldo de pollo y subimos el fuego a alto para llevar el líquido a ebullición.

9.- Reducimos la intensidad del fuego a medio-alto y cocinamos, sin tapar, hasta que el líquido se reduzca aproximadamente a la mitad (nos llevará entre 7 y 10 minutos).

10.- Incorporamos las alcaparras, el perejil, la ralladura de limón y el jugo de éste y la salsa picante al gusto (usé tabasco generosamente pues me gusta el picante)

11.- Cocinamos ahora a fuego lento durante 1 a 2 minutos. 

12.- Agregamos las 2 cucharadas restantes de mantequilla hasta que se derrita y la salsa se vea suave. En este punto incorporamos las chuletas de cerdo en la salsa y las dejamos calentar durante un par de minutos y ya las tenemos listas para servir vertiendo salsa sobre cada chuleta de cerdo al gusto. Podemos acabar adornando el plato con un poco de perejil fresco.

A disfrutar lechones!

【剣道1本集】竹刀を躱す引き面【Kendo ippons】Hiki-Men avoiding opponent's shinai 검도 剑道