Deze mystieke krijgskunst
kende zijn oorsprong in het begin van de XVIIe eeuw en wordt algemeen toegeschreven
aan Muso Gonnosuke.
Men bestudeert het hanteren van de stok en de afweermogelijkheden om het zwaard
te overwinnen. Op een hoger niveau worden eveneens andere " blanke"
wapens bestudeerd.
Zoals in Iaido, zijn de technieken van Jodo vooral gebaseerd op kata, de vastgelegde
vormen. Hier worden ze wel per koppel beoefend : één is gewapend
met een houten zwaard terwijl de andere de stok hanteert.
Omdat de kata uitgevoerd worden zonder bescherming zijn hier eveneens de beheersing van de beweging en het concentratievermogen van heel groot belang. Ook al oefent men met houten wapens, toch zijn de technieken niet helemaal zonder gevaar, en men mag niet bang zijn van een doorslag. Jodo is zeker geschikt voor eenieder die Iaido iets te weinig " dynamisch" vindt, en een beter inzicht wil verkrijgen in afstand en timing.
JO
| 1. Honte Uchi | striking with the hand in a basic position |
| 2. Gyakute Uchi | striking with the hand in a reverse position |
| 3. Hiki Otoshi Uchi | draw the jo back and strike |
| 4. Keashi Tsuki | reverse the weapen and thrust |
| 5.Gyakute Tsuki | high trust, the hand in a reverse position, to basic strike |
| 6. Maki Otoshi | to drop down with an developing movement |
| 7. Kuri Tsuke | to guide and strike tne weapen against the body |
| 8. Kuri Hanashi | to guide en let go |
| 9. Tai Atari | to crush in the body |
| 10. Tsuki Hazushi Uchi | deflect a trust and strike |
| 11. Do Barai Uchi | strike on a sweeping action to the torso |
| 12. Tai Hazushi Uchi | to evade with the body and strike |
| 1. Tsuke Zue | To meet an attack to the centre of the head, an evasive
move is made to the right rear from where a strike is made to uchidachi’s
suigetsu, landing on his left wrist. As he takes Jodan no kamae, advantage
is taken of his lapse of attention to follow him and strike his left wrist
using Honte uchi |
| 2. Sui getsu | To meet a sword attack to the centre of the head, the body is moved
forward to the diagonal right and a thrust is made to the enemy’s
solar plexus. This is followed by a Hikiotosch uchi. |
| 3. Hissage | Hidden jo, an attack to the center of the head is evaded by moving the
body to the rear, quickly followed by kuritsuke, a thrust to the enemy's
suigetsu and finally a Hikiotoshi uchi to his face. |
| 4. Shamen | Jo in Tsune no kamae, to meet an attack to the centre of the head, the
body is moved to the right and with a reverse left hand grip on the jo,
a strike is made to uchidachi’s left temple (kasumi), followed by
kaeshi tsuki. |
| 5. Sakan | To avoid a thrust to the suigetsu, the body is moved back and at the
same time the thrust is parried with the jo. The bokuto is then struck
down using Tsuki hazushi uchi followed by Hikiotoshi uchi. |
| 6. Monomi | Jo is held in right hand and is put with his end on the left side from
the body on the floor. To counter a cut to the centre of the head, the
body is moved to the left rear and , using left honte uchi, a strike is
made to Uchidachi’s richt wrist. Then, as he takes Jodan no kamae,
the chance provided by his break in concentration is taken to attack with
Kaeshi tsuki. |
| 7. Kasumi | An attack is made using Gyakute uchi on the bokuto which is held in
Seigan no Kamae. A counter attack to the centre of the head is met with
taiatari following by kuritsuke. Then, on a break in Uchidachi’s
concentration following his backward move, a thrust is made to his suigets
followed by hikiotoschi uchi to the fase. |
| 8. Tachi Otoshi | The technique is to oppose an enemy who is in Seigan no kamae. Seeing
a break in his concentration, move the body to one side and strike at
his head. Immediately perform Kuritsuke, then as he retreats execute Kaeshi
tsuki to his suigetsu following this with Hikiotoshi uchi to make a rapid
series of attacks. |
| 9. Rai Utchi | As a cut is made to the shoulder a thrust is immediately made to the
enemy’s suigetsu using Gyakute tsuki. Then moving the body to the
left another thrust is made down into his pelvis. |
| 10. Seigan | The opponent approaches and starts to draw his bokuto. In an attempt
to control and forestall his threat an attempt is made to hit his suigetsu
but having succeeded in drawing his bokuto he must then be countered with
Gyakute tsuki. This technique proving unsuccessful is followed with a
strike to his suigetsu. |
| 11. Midre Dome | Gyakute uchi is used to strike at the bokuto held in seigan no kamae.
This is followed by another gyakute uchi to the face, rotate the jo 180°
and strike the bokuto down with honte uchi. A cut to shomen is countered
with Maki otoshi, and a second cut is met with Taiatari followed bij hikiotoshi
uchi. The push in taiatari is done with the left foot instead of the usual
right foot. |
| 12. Ran Ai | This Kata is formed by including many of the techniques used in the
previous kata |
| Shin | spirit ,Kami |
| Do | the "way" |
| Muso | dream or vision, also the family name of the developer of jodo, Muso Gonnusuke |
| Ryu | collection of martial skills taught within a school |
| Jodo |
the way of training with a short staff |
| Tandoku | single individual training |
| Sotai | two peron training with bokken and jo |
| Kihon | basic movements or training |
| Kata | training forms designed to teach principle and application |
| Kamae | a posture which reflects combative spirit and readiness |
| Shisei | posture |
| Migi | right |
| Hidari | left |
| Ma Ai | combative distance between opponents |
| Sensei | teacher |
| Shihan | master teacher |
| Bokken | wooden training sword |
| Jo | wooden staf |
| Shidachi | jo wielder |
| Uchidachi | bokken wielder |
Tai So Yoi |
place the jo behind the arm on the left side ,held vertically with the tip of the jo resting on the floor. |
| Sage Jo | place the jo behind the arm on the right side and hold the jo vertically when walking an carrying the weapen. |
| Tsune No Kamae | assume the natural basic posture with the jo held on the right side with the tip centered on the opponent. |
| Honte No Kamae | assume the forward on guard position with the jo centered on the opponent his eyes and the forwards hand in a naturel position. |
| Gaykute No Kamae | assume the forward on guard position with the jo centered on the opponent his eyes and the forwards hand in a reverse position. |
| Hiki Otoshi No Kamae | assume the side postur on guard position with the jo |
| Ichi Monji No Kamae | assume the jo position for Tsuke Hazushi Uchi with the jo held horizontally abve the head, each hand grasping the end of the jo. |
| Hasso no kamae | assume a posotion with the sword held on the right side, tip pionting up and back at a 45° angle with the tsuba next to the corner of the mounth. |
| Yamae | stop all activity immediately, return the jo to Honte No Kamae and wait for further instructions. |
| Motoe | return to Tsune No Kamae |
| Itchi Kotai | change positions with your traning partner, do NOT trade weapens. |
| Shi Uchi Kotai | exchange weapens with your training partner |
| Osame | put away the sword |
| Jo Osame | Put away the jo |
| Yoi | ready ( to begin ) |
| Hajime | begin |
| Kiyotsuke | attention |
| Rei | bow |
| Sensei Ni Rei | bow to the teacher |
| Maware Migi | about-face (pivot to the right) |