“Descubre el emocionante cuento de Takeshi, un niño aventurero que se adentra en un mundo mágico para aprender hiragana, el alfabeto japonés.
Acompaña a Takeshi en su divertido viaje por tierras desconocidas mientras aprendes las letras del hiragana de manera entretenida y efectiva.
Con hermosas ilustraciones y una historia llena de enseñanzas y valores, este libro es perfecto para que los niños y niñas se diviertan y aprendan al mismo tiempo.
¡Sumérgete en esta maravillosa aventura y descubre todo lo que el hiragana tiene para ofrecerte!”

 don’t hesitate to contact if you have any questions 
( i will try to reply in your native language) 

How to write your name in Japanese !

In modern Japanese, katakana is most often used for transcription of words from foreign languages (other than words historically imported from Chinese), called gairaigo.

For example, “television” is written テレビ (terebi). Similarly, katakana is usually used for country names, foreign places, and foreign personal names.

For example, the United States is usually referred to as アメリカ Amerika, rather than in its ateji kanji spelling of 亜米利加 Amerika.

Katakana are also used for onomatopoeia, words used to represent sounds – for example, ピンポン (pinpon), the “ding-dong” sound of a doorbell.

Technical and scientific terms, such as the names of animal and plant species and minerals, are also commonly written in katakana.

Homo sapiens, as a species, is written ヒト (hito), rather than its kanji 人.

Katakana are also often (but not always) used for transcription of Japanese company names.

For example, Suzuki is written スズキ, and Toyota is written トヨタ. As these are common family names, Suzuki being the second most common in Japan, it helps distinguish company names from surnames in writing.

Katakana are commonly used on signs, advertisements, and hoardings (i.e., billboards), for example, ココ koko (“here”), ゴミ gomi (“trash”), or メガネ megane (“glasses”).

Words the writer wishes to emphasize in a sentence are also sometimes written in katakana, mirroring the European usage of italics.

Pre-World War II official documents mix katakana and kanji in the same way that hiragana and kanji are mixed in modern Japanese texts, that is, katakana were used for okurigana and particles such as wa or o.

Katakana were also used for telegrams in Japan before 1988, and for computer systems – before the introduction of multibyte characters – in the 1980s.

Most computers in that era used katakana instead of kanji or hiragana for output.

Although words borrowed from ancient Chinese are usually written in kanji, loanwords from modern Chinese dialects which are borrowed directly use katakana instead.

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In this section the various yoroi parts, including the Dou, Kote, Sode, Waidate, Haidate and Suneate—known collectively as Rokugu, which means “Six Articles of Arms”—will be explored in detail along with related componets. Following that, auxiliary armor will also be touched upon.

DOU: The main body of the armor, this is a panel of lamellar boards laced together with silk and leather cords.

WAIDATE: This piece, which can be considered another part of the dou but was typically secured prior to wearing it, is designed to protect the wearer’s right side. The upper part consists of a leather-covered iron plate with a lamellar bottom part.

TSURUBASHIRI: This leather panel, which covers the front of the torso plate, is meant to prevent the bowstrings from snagging on the scales of the armor. This part is frequently decorated with beautiful patterns.

KUSAZURI: This is the plate skirt that protects the lower part of the body as well as the upper leg. It is laced together to the upper plates. For the armor made during the Heian and Kamakura periods, the skirt was made with both leather and iron. However, post-Muromachi Period armor saw a shift mainly to iron, with some being made from roasted leather.

SODE: Made from the same basic materials as the Kusazuri, These two shoulder plates are attached to the Dou with Watagami (shoulder straps, some made from leather before the Muromachi period and iron after that).

Not surprisingly, some samurai armor parts were actually crafted together. During the late 16th century, the co-designed Sode and Kusazuri formed a matching set with the same patterns.

KOTE:  These are arm-length glove sleeves reaching clear to the shoulder. They are typically created from cloth such as silk brocade, covered with metal plates, and connected with Kusari (chainmail). Another type of protection is the Han Kote (Kote Gauntlet) which only covers the forearms. Early samurai would only use Kote on the left arm, which gave the right one freedom for archery; in the late 1100s, matching sleeves began to appear.

SUNEATE: These shin guards, vertical plates which first appeared during the 12th century, are connected by either hinges or Kusari chainmail. They are tied to the calf via cloth straps which are also attached to a cloth backing. The shin guards, which may actually be all chainmail in certain instances, are composed primarily of iron or leather.

Like the aforementioned Yoroi parts, the Kote and Suneate were also crafted together as a matching set.

HAIDATE: These are the thigh guards. They are a late addition to Japanese armor, not making their appearance until the 13th Century. They were made with a mixture of textile material and metal, attached to the cloth and held together by chainmail. Despite the fact that the Haidate can be seen in most suits of samurai armor, it is believed that they were not actually used very frequently due to being uncomfortable and cumbersome.

The AGEMAKI bow, a cord suspended from a ring on the upper plate, can be found at the rear of the armor. This bow, which was originally designed to keep all the parts of the armor together, became merely decorative in later years.

The KABUTO and MENGU, the helmet and face mask respectively, will be covered extensively in future articles.

Auxiliary Samurai Armor Parts

Of course, the incredible array of samurai armor parts does not stop at the larger pieces; whether for battle or display, the auxiliary parts matter just as much. Here is a list of those essential pieces that not only provide the perfect finishing flourish, but also ensure that the armor is historically accurate down to the very last detail.

NODOWA (Neck protector): Fastened at the back of the neck, this part is designed to protect the throat. There are several variations; the MEGURIWA, which attached with hooks, and the ERIWA, which used a buckle, are two examples.

WAKIBIKI (Armpit protectors): Though they may be composed of a single piece of hardened leather or even iron, these protectors are most typically seen as rectangular textiles, sewn to the cloth backing and covered in armor. Hanging from the shoulders, they are designed to protect the exposed armpit area and can either be worn inside or outside the main body of the armor.

Before the use of wakibiki sometimes we would find two plates, one on each side the chest area: The SENDAN-NO-ITA (right side) and KYUBI-NO-ITA (left side). The Sendan no Ita was designed to protect the chest and armpit area while riding into battle when firing arrows. The Kyubi-no-Ita, on the other hand, was designed to protect the heart.

MANJU NO WA: This is a compact vest featuring small connectors that go under the armpit area from the back and attach in the front. Made up of KATA-ATE (shoulder pads), YERI-MAWARI (collar) and Wakibiki, this vest serves to protect the upper chest area. Before being sewn in to a backing of textile, it may be covered with Kikko (brigandine), Karuta (small armor plates) or Kusari (chain armor).

KEGUTSU (Shoes): These short, fur-trimmed leather boots are also sometimes termed Tsuranuki.

KOGAKE (Armored foot coverings): These foot protectors may be designed either as a simple metal surface worn over the foot or as armored tabi shoes, made of metal plates sewn to a deerskin foundation and a slightly heavier leather sole.

TATE-ERI: (Shoulder Pillow/Padded Collar): This standing collar, designed specifically to shield the neck via Kikko armor,  sits on a pad attached to the shoulders.

Font: http://blog.a-janaika-japan.com/

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Until the 1590’s, an ashigaru was normally a peasant who worked in his home village when not on his lord’s campaigns.

Koi community and dig into the 80 Giga of Bujinkan techniques covering every aspect of our martial art system: basics, schools, weapons, Juppō Sesshō!

Become a member of his community!

Why becoming a member? Because it is the best for you!

Arnaud has over 45 years of experience in training and teaching Japanese martial arts including 30+ years in the Bujinkan (Ninjutsu).

He travels three times a year to Japan to train under the guidance of the Sōke (grand master) Dr. Masaaki Hatsumi.

As part of his responsibilities as a Dai Shihan (master instructor), Arnaud Coursergue has given seminars all over the world and conducted many Taikai (International training sessions).

He shares his thoughts on martial arts in his blog kumafr.wordpress.com

The contents of this platform are also available in the form of downloads, DVDs, and books at budomart.eu

He has been awarded the highest level of diplomas in the Bujinkan system including:

• Shingitai Diploma (Tokyō April 2011)
• Shi Tennō Diploma (Tokyō August 2012)
• Dai Shihan Diploma (Tokyō December 2015)

He holds Black Belt ranks in Jūdō 1st Dan, Karate 3rd Dan, Bujinkan Taijutsu 15th Dan He is commonly known as the “Shiro Kuma” and is the technical mentor to many Dōjō groups around the world.

Es una de las fieras deidades guardianas del culto budista Vajrayāna -o budismo esotérico- particularmente reverenciada por los practicantes del budismo en Japón.

Es una deidad protectora en el budismo shingon, por la cual es venerada en China, Tibet y Nepal.

Es clasificado entre los vīdyārāja, o reyes de la sabiduría, y pertenece a los Myō-ō.

Con la mano derecha empuña una espada flamígera para cercenar la cabeza del mal, y con la izquierda sujeta una cuerda para sacar a flote a sus aliados.

Se le sitúa en el centro, entre los otros cuatro dioses situados en los cuatro puntos cardinales.

Se le representa rodeado de llamas porque lucha contra el mal en el mismo infierno.

You’re beginning to learn Japanese, so you need to learn hiragana. Most Japanese teachers will get you started with a hiragana chart. Unfortunately, the majority of charts aren’t that great.

There are so many styles, types, and methods out there. But you have to find the chart that fits your learning style.

MICHAEL ROWLEY’S MNEMONIC HIRAGANA CHART

This chart comes from a 1992 book called “Kanji-Pict-O-Graphix” by Michael Rowley. Love the title.