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As the legend puts it, martial
arts in the form of far eastern martial arts, were born in India
then journeyed eastward toward Japan, the land of the Rising
Sun. Though it is known that martial traditions thrived in Japan,
they were seldom considered as a "Way" towards knowledge.
Today, these arts have traveled the road back west, only further,
taking root deep in the soil of France. In fact, France has now
become the most prominent European country for the study of Asian
martial arts.
Within this large river, flowing
now westward, Kinomichi is an art created by Masamichi NORO in Paris in the late '70s.
He brought from Japan to Europe the teachings of his master Morihei
UESHIBA, founder of Aïkido. Pushing further, he discovered
to his own surprise close relations between the eastern and western
teachings. Our art is a meeting of these two paths leading to
mutual understanding.
Our school is a unique place
where different cultures and minds meet. Held at the American
Church of Paris, our classes are conducted in both English and
French. We foster a bilingual spirit that blends the rich backgrounds
and sensitivities of these two Western cultures with those of
the East found in Kinomichi.
- Kinomichi respects the body,
ones own and equally that of one's counterpart. This is an exceptional
attitude which understands victory on the basis of preserving
life and health for both oneself and one's opponents. In our
classes, the will to maintain good health prior to any other
goal is enhanced by the meeting of Shiatsu, Yoga, Holistic Gymnatics,
Alexander Technique and other energetic arts. In this way East
meets West to greatest benefit of participants. Special attention
is paid to posture, breathing and relaxing which bring stability,
endurance and fluidity.
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- The strategy of Kinomichi is
to "feel, conduct and blend with the energy of each, one's
self and one's counterpart." Not only do Kinomichi techniques
create the means by which one improves one's position in a variety
of frames, but they also provide a proficient way to study "circumstances"
as the key to taking action. The key to overcoming lost situations
is equally important and studied by martial artists as a means
of moving toward technical excellence in what one might call
"life skills."
Kinomichi's background roots deep in the stories of secret and
rival schools, of long ago warriors going abroad in search of
greater knowledge, and of astonishing encounters between different
cultures. The techniques inherited are based on sword, staff,
dagger and wrestling movements.
We come to learn through Kinomichi because we experience, sense
and exchange. In our practice, we foster an open attitude towards
our selves and others and create a sensitivity without which
there is neither art, nor meeting with others. We learn to appreciate
and accept whatever exists for us and for others. But we must
never forget that Kinomichi dwells within the martial realm and
that it begins at the physical level. We work our muscles, our
ligaments, our breathing and our heart. In training, we never
forget to aim at earnestness. Exerting our muscles and willing
to overcome is a common feature in Kinomichi. Kinomichi as a
spiritual art is based on the intelligence that our body becomes
a tool, an instrument fully mastered by labour and sensitivity.
In the East, we say that Gods cannot study the great teachings
for they lack an essential quality -- they don't possess a body!
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- Master NORO's family crest
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- Oral
Teaching of Master Noro :
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- Sword and Technique
- “The sword is of a perfect
beauty. It is the mirror of the soul. One must hold it firmly
so it doesn’t fall from the hands but, at the same time,
one must also feel the entire blade, and beyond that.” (2007)
- “One must know technique
because proper technique is a treasure one shares with the student.
The beginner is very sensitive. One must show him advanced movements
so that he tastes the wonder that is unveiled, as I myself tasted
the techniques of my master, Morihei Ueshiba sensei, on the first
day.” (European Teachers Workshop, July 2007)
- “To become hakama (equivalent
to black belt), on must know the 111 movements. I have never
known anyone who became good by restricting himself to only initiations
1 and 2. One must know initiations 5 and 6 in order for the movements
of initiation 1 and 2 to transform and become more rich. (European
Teachers Workshop, July 2007)
- “My sword doesn’t
aim to cut. It pushes the energy, it conducts the breath.”
(2007)
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- Spirituality and the Way
- “A Zen master told me one
day while watching my class: “Kinomichi is Zen in movement.”
I might have taken great pride… (the Master laughs)”
(European Teachers Workshop, July 2007)
- “The Do, which is the Tao
in Chinese, is very deep. It is the Way and its study demands
more than the Michi… which is the Path. At the beginning
of my teaching, we came close to the teaching of my master (Ueshiba
sensei) by studying the technique, Jutsu Waza in Japanese. I
wanted my students to follow the direction of the Ki (energy/breath)
so I created Kinomichi. Today, there is a new step: I want my
students to tackle the Shin (heart) and starting from Initiation
5, that they study that which I now call Kishindo, the Way of
breath and heart. The means for this study is through the greater
ensemble of techniques. The techniques are there, doorways to
the heart, and they must carry the heart with energy. I have
never betrayed the teaching of my master. Faithfulness is the
Japanese tradition.” (2007)
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- Smile
- “The smile is the sign
of thanks, of welcome and of a constructive energy. With the
smile, one presents oneself before the master and partner. With
the smile, we encounter the other.” (2007)
- “The smile appeared on
the face of my master (Ueshiba sensesi) after my depature from
Japan. Until then, his face was serious like those seen on samouri
portraits. I studied this evolution. I studied what my master
did, like a lesson, without neglecting a detail. This smile,
I meditated on it and finally integrated it into my practice.
This smile, it testifies to a sincerity, face to face with my
master, of my openness, of my trust in his teaching.”
- “The smile is a stance
adopted by the spirit. It goes with the grip on the sword. It
expresses the sincerity that links a real feeling to the outward
attitude.” (2007)
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- Flexibility and Strength
- “One must feel the rhythm
of the other and push along and on their breath, Ki Awase. From
there comes the strength of a technique.This is the kokyu.”
(2007)
- “One must let the Ki go.
The Ki gives the form and the form is a cloth to the movement.
(2007)
- “Flexibility allows the
passage of energy. Flexibility is a quality of the body but also
of the spirit. It permits for adaptation and it creates the opening
toward a better situation.” (2007)
- “Each moment and each person
possess their rhythm and their musicality. One must listen and
hear in order to act appropriately. It is this that grasps the
Ki. It is this above all that expresses it. Technique is the
tool for this work. Suppleness prepares the strength in the oriental
sense, both breath and energy. (2007)
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- Duality and Harmonious Unity
- “Unity is born from the
meeting between two. Through listening and intention, the two
are freed within a free movement. For harmony, one must work
a lot!” (2007)
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- Recollected by NGUYEN Thanh
Thiên.
- Copyrights © L'Enfance
de l'Art
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