Kinomichi

Il Kinomichi (氣之道?) è un'arte marziale della tradizione del budō, sviluppata a partire dall'arte giapponese dell'aikido da Masamichi Noro e fondata a Parigi, in Francia, nel 1979. Masamichi Noro era uno degli allievi interni (uchideshi) di Morihei Ueshiba, il fondatore dell’aikido. Nominato «Delegato per l’Europa e l’Africa» da Morihei Ueshiba, Noro sbarcò a Marsiglia il 3 settembre 1961,

I movimenti del Kinomichi vengono riclassificati e suddivisi in modo diverso rispetto a quelli dell’aikido, nel tentativo di semplificare la nomenclatura per noi europei. Un’altra novità è rappresentata dalla metodologia di insegnamento dei movimenti e dalla pedagogia utilizzata per affrontarli integrando pratiche derivate dall’Eutonia (tecnica di educazione somatica), dal Méthode Ehrenfriede (ginnastica olistica) o dall’osteopatia. 
I praticanti vengono preparati a studiare la spirale nel corpo, prima da soli e poi in coppia, con 6 movimenti chiamati prima iniziazione, che aiuta l'allungamento e il radicamento a terra. 

si estende la ricerca a tecniche più complesse e dinamiche, utilizzando anche le armi: Jō 杖道 (bastone di legno), Bokken 木剣 (spada giapponese di legno) o il Tantō 短刀 (coltello di legno). Dopo la fase di contatto, i due praticanti: Uke (受け) e Tori (取り), studiano e applicano i principi funzionali delle leve articolari per ottenere immobilizzazioni o proiezioni, come la rotolata chiamata ukemi (受け身) che ha la funzione di proteggere il corpo dall’impatto con il suolo.
I movimenti all’inizio della pratica vengono eseguiti lentamente, lavorando per sciogliere le rigidità che impediscono il libero flusso del Ki, sia da sdraiati che in piedi.
durante la pratica spesso ci soffermiamo sul rapporto con il partner, alla ricerca di migliorare la qualità del contatto, cercando di raggiungere un incontro nel movimento armonioso e fluido e utilizzando tutto lo spazio possibile. A guardarlo, potrebbe sembrare una danza senza l’ausilio della musica, un approccio alla sensazione di ritmo prodotta insieme, come se fosse il regista del movimento, senza attacco né difesa, ma solo incontro e gioia. Un’arte raffinata ed essenziale che oggi è riconosciuta dal Ministero dello Sport francese come sport di valore universale.

traduzione 

Kinomichi (氣之道?) is a martial art in the tradition of budō, developed from the Japanese art aikido by Masamichi Noro and founded in Paris, France, in 1979. Masamichi Noro was one of the live-in students (uchideshi) of Morihei Ueshiba, the founder of aikido. Designated "Delegate for Europe and Africa" by Morihei Ueshiba, Noro debarked in Marseille on September 3, 1961, 

traduzione 

To then widen the research to more complex and dynamic techniques, also using weapons: Jō 杖道 (wooden stick) Bokken 木剣 (Japanese wooden sword) or the Tantō 短刀 (wooden knife). After the contact phase, the two practitioners: Uke (受け) and Tori (取り), study and apply the functional principles of the articular levers to reach the immobilizations or the projections, such as the roll called ukemi ( 受け身 ) that has the function to protect the body from the impact with the ground. The movements at the beginning of the practice are performed slowly, working on unblocking the rigidities that prevent the free flow of Ki, both lying down and standing. We often dwell on the relationship with the partner, looking for the quality of contact, trying to reach a meeting in the harmonious and fluid movement and using all the space possible. To look at it, it may seem like a dance without the aid of music, an approach to the feeling of rhythm produced together, as the director of movement, no attack or defence, but encounter and joy. A refined and essential art that is now recognised by the Ministry of Sport in France as a sport of universal value.

Kinomichi (氣之道?) is a martial art in the tradition of budō, developed from the Japanese art aikido by Masamichi Noro and founded in Paris, France, in 1979. Masamichi Noro was one of the live-in students (uchideshi) of Morihei Ueshiba, the founder of aikido. Designated "Delegate for Europe and Africa" by Morihei Ueshiba, Noro debarked in Marseille on September 3, 1961, preceding Nakazono and Tamura in the communal construction of European and African aikido.[2] In France, Kinomichi is affiliated with the Fédération Française d'Aïkido, Aïkibudo et Affinitaires (FFAAA) and maintains warm relations with the Aikikai Foundation and its leader, Moriteru Ueshiba, the grandson of aikido's founder.

The movements of Kinomichi are reclassified and divided differently from those of aikido in an attempt to simplify the nomenclature for us Europeans. Another novelty is the methodology of teaching the movements, and the pedagogy to approach them. Practitioners are prepared to study the spiral in the body, first alone and then in pairs, integrating practices derived from Eutonia (somatic education technique) or Méthode Ehrenfriede (holistic gymnastics) or osteopathy.

To then widen the research to more complex and dynamic techniques, also using weapons: Jō 杖道 (wooden stick) Bokken 木剣 (Japanese wooden sword) or the Tantō 短刀 (wooden knife). After the contact phase, the two practitioners: Uke (受け) and Tori (取り), study and apply the functional principles of the articular levers to reach the immobilizations or the projections, such as the roll called ukemi ( 受け身 ) that has the function to protect the body from the impact with the ground. The movements at the beginning of the practice are performed slowly, working on unblocking the rigidities that prevent the free flow of Ki, both lying down and standing. We often dwell on the relationship with the partner, looking for the quality of contact, trying to reach a meeting in the harmonious and fluid movement and using all the space possible. To look at it, it may seem like a dance without the aid of music, an approach to the feeling of rhythm produced together, as the director of movement, no attack or defence, but encounter and joy. A refined and essential art that is now recognised by the Ministry of Sport in France as a sport of universal value.

Kinomichi (氣之道?) is a martial art in the tradition of budō, developed from the Japanese art aikido by Masamichi Noro and founded in Paris, France, in 1979. Masamichi Noro was one of the live-in students (uchideshi) of Morihei Ueshiba, the founder of aikido. Designated "Delegate for Europe and Africa" by Morihei Ueshiba, Noro debarked in Marseille on September 3, 1961, preceding Nakazono and Tamura in the communal construction of European and African aikido.[2] In France, Kinomichi is affiliated with the Fédération Française d'Aïkido, Aïkibudo et Affinitaires (FFAAA) and maintains warm relations with the Aikikai Foundation and its leader, Moriteru Ueshiba, the grandson of aikido's founder.

The movements of Kinomichi are reclassified and divided differently from those of aikido in an attempt to simplify the nomenclature for us Europeans. Another novelty is the methodology of teaching the movements, and the pedagogy to approach them. Practitioners are prepared to study the spiral in the body, first alone and then in pairs, integrating practices derived from Eutonia (somatic education technique) or Méthode Ehrenfriede (holistic gymnastics) or osteopathy.

To then widen the research to more complex and dynamic techniques, also using weapons: Jō 杖道 (wooden stick) Bokken 木剣 (Japanese wooden sword) or the Tantō 短刀 (wooden knife). After the contact phase, the two practitioners: Uke (受け) and Tori (取り), study and apply the functional principles of the articular levers to reach the immobilizations or the projections, such as the roll called ukemi ( 受け身 ) that has the function to protect the body from the impact with the ground. The movements at the beginning of the practice are performed slowly, working on unblocking the rigidities that prevent the free flow of Ki, both lying down and standing. We often dwell on the relationship with the partner, looking for the quality of contact, trying to reach a meeting in the harmonious and fluid movement and using all the space possible. To look at it, it may seem like a dance without the aid of music, an approach to the feeling of rhythm produced together, as the director of movement, no attack or defence, but encounter and joy. A refined and essential art that is now recognised by the Ministry of Sport in France as a sport of universal value.