#nagekomi

[sacksofpotatoes]

NAGEKOMI”. Practice the day before the All-Japan Judo Championships

The Hane goshi is slowly becoming my favourite throw. Maybe it's the inescapable nature of its execution. Maybe it's the tactile nature of the leg extension and the uke sliding off it like a sack of potatoes.

My tokui waza used to be the Tai otoshi because it was easily hidden as a plan B move. But now I want to pivot to this. Yesterday my sensei told me the harai goshi was the preferred throw of middleweight to heavyweight judoka. I agree but inside I was like I really like Hane goshi more.

[themsleeves]

Heavy O Soto Otoshi to O Soto Gari (very useful combo)

[buffetlicious]

First up was this Salad which look simple enough but packed a very fragrant sesame taste that even after I finished my meal and drunk the green tea, I can still felt it in the cavity of my mouth. A lot of places, (free) salads mean just lettuce, tomato and cucumber but here you also get greens like arugula.

The Fisherman's Nagekomi-don set lunch include what you see here, the salad above and pudding. The rice bowl was packed with fresh seafood from amaebi (sweet prawns), katsuo (seared bonito), maguro (tuna), shake (salmon), ika (squid) and a few more which I do not know what they were. All these topped with ikura (salmon roe), tobiko (flying fish roe) and garnished with shredded Japanese cucumber plus pickled ginger and wasabi on the side. The rice still retained some of it's warmth when I dug into it. All I can say was that the sashimi were very fresh and sweet tasting that you don't really need much dipping in the soya sauce.

[jewlwpet]

Girl Alchemist Egg Tale of the Rose track 3, 少女錬金術師/Shoujo Renkinjutsushi/Girl Alchemist

I love this song, and I was stuck on it this whole time, but a little while ago, I discovered the key to understanding it. That key is the book Witchcraft, Magic, and Alchemy by Grillot de Givry, specifically book 3. The spoken-word portions of the song are all adapted from chapter 1 of this text, as you can see if you click the link (to J. Courtney Locke's English translation of the book) and compare to the song. As for the sung parts, they draw from other chapters. I couldn't help making it a mess to read with all the footnotes, though the original document is slightly easier to follow.

My thanks to @mafreiidyne for transcribing the lyrics in kanji and romaji and @quetzalpapalotl for helping me when I was stuck! More tracks are coming in the future.

自然の謎は依然として判読不可能、すなわち謎のままだ。不可視の世界の神秘に分け入ろうとした者もいた。未来の事物の神秘を解き明かそうと咎めた者もいた。

Shizen no nazo wa izentoshite handoku fukanou, sunawachi nazo no mama da. Fukashi no sekai no shimpi ni wakeirou toshita mono mo ita. Mirai no jibutsu no shinpi wo tokiakasou to togamete mono mo ita.

The riddle of nature remained unread; in other words, it remained a mystery. There were already some who sought to penetrate the mysteries of the invisible worlds. There were also challengers who sought to dispel the darkness of future things.

火吹く 鞴 哲学の

Hi fuku Fuigo Tetsugaku no

The blowing fire, The bellows, The philosophical

炎 精錬 生命得る

Honoo Seiren Inochi eru

Flame, Refined, Procurement of life.

われら時の竃に 投げ込み作る わたしの石

Warera toki no kamado ni Nagekomi tsukuru Watashi no ishi

Into the furnace of time, we are Throwing it, brewing it: This stone of mine.

そう われらはわれら自身を 作りて生く

Sou Warera wa warera jishin wo Tsukurite iku

Yes: We are making up ourselves And bringing them to life!

少数の達人だけに許された困難な狭い道。誤った小径に迷い込んで、失望と誤謬と虚言にしか出会わなかった者。でもほどなく中世の科学の暗い建物の中に��って、それらの企ては、大きく静かな不変の薔薇窓が、俗世界から遠いところでまどろむ大聖堂の翼廊をえもいわれぬ光で浸すように、光彩を放っていったのだ。そういった、錬金術師たちの困難な事実が、わたしの父の一人であるハインリッヒ・クーンラートの『永遠の知恵の円形劇場』の図版に描かれている。そう、二十一に区画された錬金術の城塞だ。十五世紀の錬金術師であり、わたしの父の一人でもあったニコラ・ヴァロアは「神はその聖なる秘密を、わたしの祈りとそれを立派に用いようというわたしのよき意図とによってわたしに与えられた。心の純粋を失うとき、人は科学を失う」と。だが、秘密を知ったからってそれを実現することはできない。

幸運な秘伝を受け、二十一番目の城塞の門を抜け出れた者には、「神秘学的に祈り、物理学的に仕事をせよ」という二つの周到な忠告が彼を迎える。

Shousuu no tatsujin dake ni urusareta konnanna semai michi. Ayamatta komichini mayoikonde, shitsubou to gobyuu to kyogen ni shika deawanakatta mono. Demo hodonaku chuusei no kagaku no kurai tatemono no naka ni atte, sorera no kuwadatte wa, ookiku shizukana fuhen no bara mado ga, sokusekai kara tooi tokoro de madoromu daiseidou no yokurou wo emoiwarenu hikari de hitasu youni, kousai o hanatteita no da. Sou itta, renkinjutsushi-tachi no konnanna jijitsu ga, watashi no chichi no hitori dearu HAINRIHHI KUUNRAADO no “Eien no Chie no Enkeigekijou” no zuhan ni egakareteiru. Sou, nijuu ichinichi kukaku sareta renkinjutsu no jousai da. Juugoseiki no renkinjutsushi deari, watashi no chichi no hitori demoatta NIKOLA VAROA wa “Kami wa sono seinaru himitsu wo, watashi no inori to sore wo rippo ni omoi you toiu watashi no yoki ito to niyotte watashi ni ataerareta. Kokoro no junsui wo ushinau toki, hito wa kagaku o ushinau tto. Daga, himitsu o shittakara tte sore o jitsugen suru koto wa dekinai. Kounna hiden o uke, ni juuichi banme no jousai no mon o nukedereta mono ni wa, ‘shinhigaku-teki ni inori, butsurigaku-teki ni shigoto o seyo’ to iu futatsu no shuutouna chuukoku ga kare o mukaeru.

This science is based on a secret reserved for only a few privileged adepts. Difficult and narrow is the way, and many are those who stray in treading it into wrong paths, where they are to find only deceit, error, and falsehood. But shortly thereafter, in the shadowy edifice of the medieval sciences, this science beams like those giant rose-windows--still, silent, remote from the vulgarities of life--which bathe the transepts of slumbering cathedrals in ineffable light. In like manner, alchemists’ the difficult truths are expounded by Heinrich Khunrath, who is one of my fathers*, in one of the plates of his Amphitheatre of Eternal Wisdom. Yes, it depicts the Alchemical Citadel divided into twenty-one**. Nicolas Valois, an alchemist of the fifteenth century and another one of my fathers*, says expressly***, “The good God granted me this divine secret through my prayers and the good intentions I had of using it well; the science is lost if purity of heart is lost.”

偽善なら変成にて 愛することなき自己形成を 唯一なるもの 唯一の 唯一なる自身を創造れ

Izen nara hensei nite Aisuru kotonaki jiko keisei wo Yuiitsu naru mono Tada hitotsu no Yuiitsu naru jishin wo tsukure

With hypocrisy, by transmutation, There comes a loveless self-formation. That which is one-of-a-kind, Your one and only... One of a kind-self... make it up!

さらに二十一番目の城塞の門を抜け出れた者には、変成七操作に対応する七つの城塞の角を巡らされ、最後の望みの目的である、巨大な竜に守られた「賢者の石」に到達し、竜よりそれを手渡される。わたし？わたしは一日で完遂したわ。大いなる作業。大いなる野望…

Sarani nijuuichi banme no jousai no mon wo nukedereta mono ni wa, hensei nana sousa ni taiousuru nanatsu no jousai no kado o megurasare, saigo no nozomi no mokuteki dearu, kyodaina ryuu ni mamorareta `kenja no ishi' ni toutatsu shi, ryuu yori sore wo tewatasareru. Watashi? Watashi wa ichinichi de kansuishita wa. Ooinaru sagyou. Ooinaru yabou...

Furthermore, for the one who slipped through the citadel’s twenty-first gate, traversing the citadel’s seventh angle, answering to the seventh of the seven operations of transmutation****, the desired goal at the end, guarded by an enormous dragon, is the attainment of the “philosopher’s stone,” to be yielded by the dragon. Me? I accomplished it in a single day*****: The Great Work. The Great Ambition...

少女とて 錬金術の 秘日の 占星術知る その瞬間とは 太陽白羊宮 月金牛宮

Shoujo tote Renkinjutsu no Hijitsu no Senseijutsu shiru Sono shunkan to wa Taiyou hakuyoukyuu Tsuki kingyuukyuu

Even if you’re a girl To know The alchemical Secrets of dates, Astrology. That moment: Aries sun, Taurus moon******.

少女とて 錬金術の 秘術 偽夢棄てて 真夢知りたし ロック・ル・バイイの デモステリオン

Shoujo tote Renkinjutsu no Hijutsu Gi mu sutete Masa yume shiritashi ROKKU RU BAII no DEMOSUTERION

Even if you’re a girl, The alchemical Mysteries: I want to throw away false dreams And know true dreams*******. Roch le Baillif’s Demosterion.

重要なことがある。それは宇宙の創造と錬金術の大いなる作業の同一性である。だから錬金術師たちは「世界形成の一連の過程は、動物の懐胎と同一であり、われわれの金属生成のそれもこれと同様でしかありえない。それゆえに、われわれは《自分たちの唯一の主人は自然であり、書物は一切必要なく、成功するためには目を見開いて自然を真似れば十分だ》」と繰り返す。自然をあくまで模倣するところから、錬金術師は自分たちを哲学者、賢者と称し、その科学を哲学、その仕事の成果を賢者の石と読んだのである。

Juuyouna koto ga aru. Sore wa uchuu no souzou to renkinjutsu no ooinaru sagyou no douitsusei dearu. Dakara renkinjutsushi-tachi wa “sekai keisei no ichiren wa, doubutsu no kaitai to douitsu deari, wareware no kinzoku seisei no soremo kore to douyoude shika arienai. Soreyueni, wareware wa ‘jibuntachi no yuiitsu no shujin wa shizendeari, shomotsu wa issai hitsuyounaku, seikousuru tameni wa me wo mihiraite shizen o manareba juubunda’” to kurikaesu. Shizen wo akumade mohousuru tokorokara, renkinjutsushi wa jibuntachi wo tetsugakusha, kenja to shoushi, sono kagaku wo tetsugaku, sono shigoto no seika wo kenja no ishi to yonda nodearu.

An important point remains. That is the identity of the Great Work with the creation of the Cosmos. This is why the alchemists have said “The progression followed in the formation of the world is the same as that of animal gestation, and metallic gestation can only be the same. That is why all the alchemists stubbornly repeat so often that their sole master is Nature, that books are not necessary for perfecting the Great Work, and that it suffices for success to look with open eyes and imitate Nature.” On account of this constant imitation of Nature, we alchemists have styled ourselves the supreme "Philosophers" and "Sages," our science "Philosophy," and the product of our labors, the Philosopher's Stone.

わたしは硫黄 燃えるもの すべて わたしは水銀 昇って煙 昇華 残るものは塩とわたし

Watashi wa iou Moeru mono Subete Watashi wa suigin Nobotte kemuri Shouka

Nokoru mono wa shio to watashi I am sulfur, Everything that Burns. I am mercury, Vapor ascended, Sublimed, And when I am left behind, they call me salt********.

*The "one of my fathers" lines in reference to Khunrath and Valois are unique to this song, not in the original text. However, in his Amphitheatre, Khunrath cited the poet Juvenal's saying that "the Teacher should take the place of a venerable Parent" (translation via Peter J. Forshaw).

**Or, as Givry puts it, “surrounded by a circle divided into twenty-one compartments, each with an entrance. Twenty of these have no exit, and are barred by the enormous wall which parts them from the citadel. They signify the twenty roads in which seekers after the alchemical doctrine can go astray.”

***In Les Cinq Livres Ou La Clef Du Secret Des Secrets, quoted by Givry. No complete English translation of the original text exists.

****According to Givry, “dissolution, purification, introduction into the sealed vessel or fiery furnace, which is represented here by the words Azoth pondus, solution by putrefaction, multiplication, fermentation, and projection.”

*****Givry: “The time necessary to complete the labours of the Philosoper's Stone is a year, according to the majority of authors, but is lengthened to fifteen months by Raymond Lully, and to eighteen months, three years, seven years, and even twelve years by other alchemists. All these numbers are imaginary, and relate to a single symbolic and hieroglyphic system.” Khunrath: “Believe one taught by Experience speaking the truth, it is not the work or study of a single day, week or month, especially for one only just initiated!” One exception is noted: “the Wise King [Solomon] who... in a single night's dream, was filled by GOD With the Wisdom of all superior and inferior things.”

******Givry: “La Scala philosophorum says that the operations of the Stone must be undertaken when the Sun is in the sign of the Ram and the Moon in the sign of the Bull, which is perhaps only another symbol.”

*******From The Romance of the Rose (which shares its Japanese title with the play in the anime, "The Tale of the Rose"): "Many a man holds dreams to be but lies, All fabulous; but there have been some dreams No whit deceptive, as was later found. One might well cite Macrobius, who wrote The story of the Dream of Scipio, And was assured that dreams are ofttimes true."

********Givry: “Roch le Baillif, in his Demosterion (Paris, 1578), says that ‘Sulphur is everything that burns, mercury what goes into air and consumes itself in vapour, and the residue is salt.’”

[martialarts4life-blog1]

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[inspiringcityuk]

It’s been a while since popular London based street artist SAKI & Bitches has put on a solo exhibition in her adopted home city. The last time was in 2013. Turning her studio into a makeshift exhibition. That work introduced us to the Yujo, the Japanese sex workers of Imperial Japan whose lives, in this latest body of work, she seems to be ever more keen on exploring.

We’ve been working with SAKI to put together some of the words for the show. A kind of narrative to bring the work to life and to shine a light on the lives of the Yujo.

WHO WERE THE YUJO?

Plucked from their families at a young age, the Yujo were poor women often forced and even sold by their families to live lives of servitude. Their only means of survival to prostitute themselves, obeying the will of the brothel owner to whom they now belonged. Working to pay off the debt they owed. It was the cost of the purchase from their families in the first place. Accumulating over time as costs of board, food and clothing were added. It became a debt that would never be repaid.

HANA MACHI – THE FLOWER TOWN

Hana Machi was the red light district or the ‘flower town’. A lovely name but with the darkest of meanings. The flowers were the Yujo and they would go there to be plucked. To sell the flowers would be to sell sex! Yoshiwara was the name of the area where SAKI’s Yujo would live and where the Hana Machi was based. A historical place, it sat on the outskirts of Edo, modern day Tokyo. The area itself, more of a prison. Enclosed on all sides the flowers would wait, their faces painted white, with only one way in and out.

The Yujo’s lives were often short.Their only means of escape either to be bought or to die within the Hana Machi. Their families long since abandoning thoughts that their daughters would ever return. Even death though would not be an outlet for some! Those who had broken the rules of the Yoshiwara might find their bodies dumped unceremoniously at the entrance to the infamous Jokanji temple. Known as the Nagekomi-Dera, it translates as the ‘Throw Away Temple’. Their lifeless bodies wrapped in cheap straw matting and given a name in death which would make their journey through the afterlife difficult.

THE LIFE OF THE OIRAN

A contrast to the life of the Yujo was the Oiran! The highest ranking Yujo they would have their choice of customer. Often not even permitting the customer to speak on the first meeting, the Oiran would herself exude grace and intelligence. She would be the highest ranking yet despite this would still not be permitted to leave the Hana Machi. Dignity being her most important asset and the key thing that she could own.

SAKI captures the Yujo and in particular the Oiran in their prime! Sensuous and using the only asset they have in order to survive a life of servitude. She sees them as strong women in a tough situation. She empathises with them and portrays women doing what it takes to survive.They are bold and alluring. Their beauty betraying a dark history, yet still they peer out, daring us to challenge them or for us to pass judgment.

LINKS WITH THE YUJO OF TODAY

In the lives of the Yujo, SAKI sees parallels in the modern world. She makes links with the sex industry of today where women and indeed men still suffer from exploitation. She also speaks of  the connection that, in places around the world, women are still not free in their own body. Where people, just like the Yujo, try to strive for what might pass as a normal life in circumstances that they did not and nor would ever choose.

For SAKI, this exhibition is about supporting the Yujo of today whilst looking through the lens of the past. Her chosen charity, the ‘National Ugly Mugs’ (NUM) will receive a donation from the sales. Campaigning to end violence towards sex workers, it offers greater access to justice and protection for those who might well find themselves targeted by dangerous individuals on the streets.

A NEW BEGINNING

In Hana Machi, this new ‘flower town’ SAKI’s Yujo are given new life! They represent a celebration of the female form, beauty and empowerment. Behind her images sit the women of the past and the women of the future. They pay tribute to the sex workers of today and remember those of the past.

Showing paintings on wood, the randomness of its texture helps to give each Yujo a personality and character of her own. Finding beauty in its surface, the wood allows SAKI to connect with nature as well as with her own Japanese culture. Its randomness linking in with the environment in which it grew. Just like the Yujo, the wood would have no choice where it entered the world and the circumstances in which it would live within it.

Hana Machi the exhibition from SAKI & Bitches is showing at the Sway Gallery on Old Street from 13-28 September 2018. The words used in this post were written for the exhibition to tell the story of the Yujo and the Oiran. For previous posts about the work of SAKI & Bitches have a look at some of her street art from 2013 here. Also have a look at her first London show ‘The Orchid and the Wild Foxes‘ here.

SAKI & Bitches returns with Hana Machi an exhibition focusing on the lives of the Yujo of Imperial Japan It's been a while since popular London based street artist SAKI & Bitches has put on a solo exhibition in her adopted home city.

[vvvfightco]

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USA team Judo Camp. Wow. from @hatashitasportsjudo - Olympic Champion @judo_kayla does nagekomi during the Pan American Judo Camp! #Regrann #bjj #jiujitsu #judo #usateam #team #camp #nagekomi #wow

[hillbillyplease]

At its purest, nagekomi is the repetition of a simple physical task beyond the point of exhaustion. It is the ceaseless completion of an exercise until you collapse. Baseball stuck so well here partly because in its routines, in its timelessness and pseudo-meditation, it might have been Japanese: a game of self-control, of precision, of craft. It also, conveniently, lent itself well to nagekomi. Baseball, as witnessed from a certain vantage point, could seem designed expressly to break you.

http://espn.go.com/mlb/story/_/id/9452014/pitcher-tomohiro-anraku-future-japanese-baseball-espn-magazine?

[majoringindebt]

IN JAPAN THERE are things that should never be forgotten, and a baseball manager's job, at its essence, is to make such things hard to forget. In a country that can seem so modern in so many ways, with its bullet trains and capsule hotels, with its bento boxes that heat up with the pull of a string -- seriously, it's like magic -- there are also 2,000 years of history and nearly as many traditions. One of those traditions is called nagekomi. In America, nagekomi, like throwing 772 pitches in a single tournament, would be considered child abuse. Scientists would debunk it, and surgeons would decry it. But in Japan, nagekomi is important. It's maybe even essential. It is many things all at once, but mostly it is an exercise in remembering, and it is beautiful. It was born, like so much else that matters in Japan, of Buddhism, of martial arts, of bushido -- of the samurai spirit. At its purest, nagekomi is the repetition of a simple physical task beyond the point of exhaustion. It is the ceaseless completion of an exercise until you collapse. Baseball stuck so well here partly because in its routines, in its timelessness and pseudo-meditation, it might have been Japanese: a game of self-control, of precision, of craft. It also, conveniently, lent itself well to nagekomi. Baseball, as witnessed from a certain vantage point, could seem designed expressly to break you. Nagekomi is that moment of clarity that comes in the last hundred yards of a marathon; it is that instant your throat closes and tears begin to run down your face. It is not a pursuit of a temporary, earthly glory. It is not gravity bound. Nagekomi is weightless, and it is forever.

[fritfilter]

>At its purest, nagekomi is the repetition of a simple physical task beyond the point of exhaustion. It is the ceaseless completion of an exercise until you collapse. Baseball stuck so well here partly because in its routines, in its timelessness and pseudo-meditation, it might have been Japanese: a game of self-control, of precision, of craft. It also, conveniently, lent itself well to nagekomi. Baseball, as witnessed from a certain vantage point, could seem designed expressly to break you.

[cheetossprinkles-blog]

First nagekomi experience.

And my partner's major technique is morote-seionage (my least favorite technique as an uke). I have no words.

[themsleeves]

This guy is always impressive... ILLIADIS rules !

[buffetlicious]

I am never a fan of Miso Soup but this bowl of soup was especially good that I emptied it. Compared it to the lobster soup at Kushi, this was many times better than it.

I also ordered a small plate of Mixed Sashimi that consisted of a amaebi (sweet prawn), 2 slices of shake (salmon) and one slice each of maguro (tuna) and tai (snapper). Usually I do not fancy eating tuna but the maguro here was very sweet and flavourful.

The Chocolate and Coffee Puddings were melt in your mouth delicious; one of the best pudding I have ever eaten. Between the two flavours, I much preferred the chocolate one for it thick rich taste.

Bill - The Fisherman's Nagekomi-don set lunch we had was priced at S$20++ each which I will say was very value for money considering it came with a rice bowl full of fresh seafood, salad, pickle, soup and a dessert. You can bet that I will be back there soon enough to try out the other set lunches.

[hkjudokan-blog]

02/25/2012 Iwami-Sensei Nage-Komi Hong Kong Martial Arts Club

p33.mov Watch on Posterous

[themsleeves]

Mikhail IGOLNIKOV - Uchi mata @  European Judo Championships 2018 Tel Aviv day 3.

[themsleeves]

Traditionnal Kosen Judo newaza video archive... here they go for sutemiwaza...