A Life in BaijiQuan

 

Cheng Man Ching 37 Taijiquan Form Circa 1946 Photos

 

A good find. 

This is an AI enhanced video of photos used by Cheng Man Ching promoting his "simplified" 37 form in a newspaper. 

 

The Aikido of Rinjiro Shirata

Rinjiro Shirata was a contemporary of Gozo Shioda and a giant in the Aikido world.

Kendo Testing Criteria

Previously, I had posted about the kendo 8th dan exam, which is perhaps the most difficult rank examination in the world. Below is an excerpt from a post that appeared at the Kenshi Journal, regarding the testing criteria for the dan ranks. There is certainly more to kendo than bopping someone on the head! 

The full post may be read here.

In the Yoshinkan Aikido organization within which I previously trained, the last physical test was for 6th dan. On successfully attaining 6th dan the aikidoka was regarded as a shihan, or "master teacher" and was fully authorized to teach all of the approximately 3000 named techniques.

A close examination of the official Standard Guideline for Dan/Kyu Examination reveals that rank progression in Kendo and Iaido is far more than a simple test of physical speed or athletic agility. The grading criteria outline an intentional, decades-long evolution, moving from foundational mechanical execution to strategic match control, theoretical rationale, personal dignity, and ultimately complete mind-body integration. I will first start with Iaido and then move on to Kendo.

The Iaido Promotion Criteria is:

Shodan to 3rd Dan: (1) Correct appearance and etiquette. (2) Precise Nukitsuke and Kiritsuke. (3) Precise Chiburi and [blade]angle. (4) Precise Noto 

4th Dan and 5th Dan, same criteria as Shodan to 3rd Dan with addition of the following criteria: (1) Mental composure (2) Metsuke (gaze) (3) Kihaku (vigour) (4) The unison of Ki(spirit), Ken(sword), and Tai(Body).

6-Dan, 7-Dan, and 8-Dan: The Jitsugi examination for 6th Dan to 8th Dan will take into consideration all the assessment points relevant to Shodan through to 5th Dan with the addition of the following two elements and an expected higher overall level of technical proficiency.  (1) Riai (Understanding of the rationale behind the techniques) & (2) Fukaku, Hinkaku (Grace and dignity, therefore, demonstrating one’s own style which is dignified and elegant.) 

Most promotion examinations (Shinsa) are conducted via ZNKR Iaido to evaluate a practitioner’s technical precision, spiritual focus, and adherence to etiquette across the standardized Seitei Iai kata. Examiners judge candidates using standardized checkpoints that accumulate in expectation as a student advances.

From the brief test criteria explained above it can be understood that the evaluation spans three primary categories:

1. Etiquette & Manners (Sahō / Reihō). Candidates are evaluated from the moment they enter the court to ensure respect, safety, and proper handling of the sword:

• Entry & Posture: Entering with correct footwork, uniform adjustment, and holding the sword at a 45-degree angle with the thumb securing the guard (tsuba).
  
• Bowing Protocols: Demonstrating respectful bows to the altar/shomen (~30 degrees) and to the sword with proper hand placement and posture.
  
• Wearing the Sword: Smoothly inserting the scabbard into the belt (obi) and tying the sageo cord without awkward readjustments.

2. Technical Execution (Jutsu-gi). Examiners look for exact alignment and fluidity across the twelve kata.

• Nukitsuke (Draw & Strike): Ample scabbard pull-back (saya biki), drawing from the body’s center (hara / tanden), and precise blade orientation before release (saya banare).
  
• Furikaburi (Overhead Swing): Bringing the sword overhead in a backward thrusting motion past the left ear while keeping the tip (kissaki) at or above horizontal.
  
• Kirioroshi (Downward Cut): Executing a continuous, decisive cut without hesitation, stopping the left fist in front of the navel with the kissaki slightly lowered.
  
• Chiburi & Nōtō: Correct form during chiburi and smooth, attentive resheathing (nōtō) without breaking focus or looking down.
  

3. Spiritual & Physical Principles

• Ki-Ken-Tai no Ichi (Unity of Spirit, Sword, and Body): Full martial spirit (kihaku), correct posture, and striking simultaneously with correct footwork.
  
• Zanshin (Sustained Awareness): Maintaining physical posture, alertness, and mental readiness after executing cuts.
  
• Metsuke (Gaze): Directing eye focus (Metsuke) outward toward opponents rather than staring down at the sword.
  

The primary distinction between beginner and intermediate levels lies in the transition from basic mechanical execution to complete technical precision and classical school integration:

• Beginner Standards (3rd Dan & Below):
  • Technical Accommodations: Examiners allow minor accommodations for beginners (e.g., slight footwork adjustments or pausing in uke nagaeshi positions). Beginners are permitted specific physical leniencies while building core stability (hara) and basic mechanics. For example, beginners are allowed to draw the sword directly toward the cutting target rather than drawing toward the center of the face first, pause briefly in intermediate positions like uke nagashi in Sanbon-me or waki gamae in Jippon-me, rotate the scabbard downward before drawing in Gohon-me, or adjust the scabbard tip (kojiri) when placing the sword during zarei.
    
  • Evaluation Focus: Grading at these early levels focuses on foundational etiquette (reiho), learning proper trajectory, avoiding shoulder tension, and establishing core balance.
    
• Intermediate Standards (4th & 5th Dan):
  • Strict Standardized Execution: Candidates must demonstrate seamless technical proficiency alongside classical school (koryū) training. Intermediate candidates must eliminate all beginner accommodations and execute every Seitei Iai kata with uncompromising technical correctness.
    
  • Mandatory Koryū Integration: The sources explicitly state that for 4th and 5th Dan practitioners and above, Koryū (classical school) training becomes indispensable. ZNKR Iai and koryū are designated as “the two wheels of one cart” (kuruma no ryōrin), intermediate practitioners cannot rely on standardized federation forms alone and must actively study ancient lineages to master the art’s deeper technical and spiritual foundation.

While the sources do not detail administrative pass rates for 6th–7th Dan examination panels, they define the overarching technical and spiritual metrics required for advance higher-level promotion as:

• Shin-Ki-Ryoku Ichi (Unity of Mind, Spirit, and Power): High-rank candidates are judged on achieving full unity between mental focus, martial spirit (kihaku), and physical power generated from the principles of the sword rather than muscular force.
  
• Shinken Shōbu Mindset: Demonstrations must convey the gravity of an actual duel with a real sword (shinken), demonstrating unwavering presence, sharpness (sae), and seamless, sustained awareness (zanshin) throughout.
  
• Concealed Internal Control (Kokyū): Advanced practitioners must demonstrate refined breath control (kokyū). The waza should ideally be completed in a single breath, or controlled so that breathing is completely imperceptible to an opponent.
• Refined Posture & Awareness: High-level performance requires complete mastery of enzan no metsuke (a broad gaze like looking at a distant mountain), precise blade-handling, and fluid movement that reflects decades of koryū refinement.
  

The official requirements to be eligible for the 8-Dan examination are:

• Age Minimum: The candidate must be at least 46 years old.
• Practice Period: The candidate must undergo a mandatory practice period of 10 years or more after earning 7-Dan before applying.

8-Dan: “Someone who reached the innermost secrets of Iaido and has attained total mastery of technique

The Daito Ry Aikijujutsu of Nubuhito Yamamoto

 

First Female Disciple of Yang Cheng Fu

 

Famous Students of Miyagi Chojun Sensei Video

 

Interesting video:

A Mixed Martial Art before MMA

Below is a video about Nippon Kempo. A truly mixed martial art before MMA was cool. Enjoy.

 

 

Northern vs Southern Kung Fu Styles Explained

 

Boxing and Martial Arts in the Movies

Budo Journeyman had an entertaining post on boxing and martial arts as portrayed in movies. Below are some excepts. The original may be read here, where there are lot of clips that you may enjoy.

 

Boxing.

Below is a list of the main themes encountered in boxing movies. But bear in mind that boxing on film has probably the longest history in cinema. Ideal for the silent era, because language is not needed to explain the drama (very early documentary movies feature famous boxing matches).

First theme:

The Underdog.

Pitched against the injustices of society, whether it’s race or class, or the wrong side of the tracks; the ‘zero to hero’ story always has appeal; it offers hope to even the most downtrodden.

Notice how many boxing movies come out of America, clearly it taps into the myth of the American Dream. You could start with Rocky (Stallone) and carry all the way through to the ‘Cinderella Man’ (Russell Crowe), a biopic where the underdog theme is really larded on.

Probably the most famous non-boxing scene from a boxing movie, every line quotable. Great acting ‘On the Waterfront’ 1954, Marlon Brando and Rod Steiger in the back of a taxi.

Second theme:

Obsessions and consequences.

Tragic individuals and catastrophic results.

Probably the most gritty story rendered on to screen is that of Jake LaMotta in the movie ‘Raging Bull’, artfully told by Martin Scorcese. A true-life story of how LaMotta’s urge to make a success of his life and career, results in human carnage, in terms of relationships and family.

LaMotta played by De Niro; strong stuff, not pleasant.

We also need to consider how neither LaMotta nor the fictional Rocky Balboa are blessed with high intelligence; but that seems okay in boxing movies, where philosophy never really gets a look in (unlike martial arts movies). You don’t need deep thinking to understand a boxing match.

Theme three:

Violence packaged for the public in the name of sport.

Naturally, everyone pretty much understands the rules and objectives of a boxing match. Consider also how the contest and the drama is all conveniently contained in a small space; no need for long rolling tracking shots to follow the action. Compared to other action movies, this makes things so much easier to manage.

Also, the narrative on every boxing movie is split into two zones; inside the ring and outside the ring. The viewer unconsciously understands this, and accepts it unconditionally.

We also tolerate the brutality of the ring, no matter how graphic. Example; ‘Raging Bull’ was a movie shot almost entirely in black and white, but it didn’t lessen the gore-factor. In fact, it enhanced it.

The next theme:

Masculinity, and, a place for women?.

There are women’s boxing movies, but they are quite rare (think of Clint Eastwood’s ‘Million Dollar Baby’). Decades ago, the idea was totally unthinkable. There have been combat sports movies with women as the central protagonists; recently ‘Tatami’ 2023, a judo movie which is worth watching, for many reasons, cerebral, cultural and political, and then there’s the judo.

From the male perspective there are often very positive themes of honour, duty and responsibility, as well as sportsmanship (there is also pressure against corruption).

A quick mention of bare-knuckle, whether historical or not. (But, let’s put aside anything with Brad Pitt in it).

My go-to examples for historical bare knuckles fighting are; the short section in Robert Downey Jnr’s ‘Sherlock Holmes’.

And, the not very successful, ‘Prizefighter, The Life of Jem Belcher’, 2022. The Americans don’t seem to have an interest in these stories, leaving it up to the Europeans, despite having their own pantheon of fighters from the bare-knuckles age. I suspect that across the Atlantic everything has to hook on the myth of the, previously mentioned, ‘Great American Dream’. Europe and the UK tend to be more historically nuanced.

Comparison with martial arts movies.

Now, on to my main objective.

The common ground:

· Discipline and grind (Rocky chasing chickens and Shaolin types carrying buckets up steps).

· Underdog tales in both genres. It taps into something fundamentally human.

· Final climactic showdown. Think ‘hall of mirrors’ in ‘Enter the Dragon’ and any Rocky movie.

All of the above are found in martial arts and boxing movies, but…

The real differences:

· Martial arts movies don’t go for the same grit as boxing movies. They are more about grace and aesthetics.

· Superhuman potential is really ramped-up in martial arts tales. The bar is set really high. With boxing it tends to be grind and muscle, and, dare I say it; more realism?

· Endurance versus self-actualisation and philosophy. Eastern religions and disciplines very much guide the martial arts storylines. While in the world of boxing, it tends to be just doggedly staying in the fight and clawing your way out of poverty etc.

· With boxing, the themes tend towards Western individualism, while the Eastern traditions lean heavily into collectivism, even heritage or ancestor worship.

· Technical aesthetics: In boxing it’s the close-up toughness of the brawl. While in martial arts movies we find the viewpoint is pulled back away from the action, so we can appreciate the artistry and the flair of the fighters.

 

 

 

 

 

 

The Cradle of Karate

 Below is an interesting documentary on the history and development of karate on Okinawa.

 

 

The Great Hammers of Xingyiquan

 

 

Karate Day Demonstrations

Below are some Karate Day demonstrations held on Okinawa.

 

Vintage Kobudo Video

Okinawan Kobudo is the weapons art that often accompanies Karate. Below is a vintage video.

 

 

The Taijiquan of Maggie Newman

Over at Bloke on the Path, a video was posted of Maggie Newman doing the Yang 37 Taijiquan form. Ms Newman was one of the most senior students of Cheng Man Ching in the US. She was a storied dancer; widely known and respected, and threw it all aside to study Tajiquan under Master Cheng.

 

 

The Aikido of Ryuji Shirakawa

Ryuji Shirakawa is just so much fun to watch. Enjoy.

 

 

The Aikido of Takeshi Kimeda

 

When I trained in Yoshinkan aikido under Kushida Sensei back in the 70's and 80's in Detroit, a frequent visitor was Takeshi Kimeda Sensei, who was in charge of Yoshinkan Aikido in Canada. I was able to snag him as a training partner a few times and it was a wonderful experience.

 Below is a video of a demonstration he gave in 2018. Enjoy.

 

 

The Four Standards of the Sanchin Kata

 

The Aikido of Kanshu Sunadomori

 

The Fundamental Practice of Karate