one should be careful, however, not

one should be careful, however, not to mix elements of the two styles when shooting.
Ashibumi
Ashibumi is the foundation upon which the remaining stages of the hassetsu are built. Without firm, stable footing good shooting is virtually impossible. It is imperative, then, that you develop a thorough urderstanding of ashibumi.1. two ways of making ashibumi 2. Angle and alignment of the feet(right),and weight distribution.
There are two ways to position the feet when making ashibumi :the step and slide method used in reishakei and the two-step method used in bushakei. In both cases it is important to keep the body erect and to let the feet glide smoothly over the floor to avoid bobbing or swaying. As a rule, the feet are spread the distance of one’s arrow length (yazuka) with the big toes in line with the center of the target. The angle of the footing should be sixty degress, and the weight of the body should be evenly distributed so that the center of gravity is maintained between both feet. Equal pressure should be applied to both legs, and the knees should be storretched naturally. The feet must be set firmly on the ground, but you must be careful no to”plant”your feet or press excessively against the floor. Instead, you should feel as if the energy of the earth itself were rising up through the floor ang into your legs and upper body. The bow and arrows are held at hip level with the bow on the left and the arrow on the right. Both elbows should point autward. The top of the bow is kept in line with the center of the body and held so that the points protrude about tencentimeters from the glove. In bushakei only the ends of the points are exposed. In either case, the arrows are held at the same angle as the bow to form an imaginary triangle in front of you.

DOZUKURI
Once the feet ere in place you must turn your etention to the posture of the upper body. Special care must be taken with the so-called three cross relationship, where the shoulders, hips, and feet are help in line with one another, pararell to the floor. For this posture to work correctly, the shuulders must be kept down as the spine and back of the neck are gently stretched. The first arrow (haya) is knocked and held in place with the left forefinger, while the second arrow (otoya) is held beneath the haya between the ring and little fingers (reishakei), or between the middle and ring fingers (bushakei). The bottom end of the bow is rested on the left knee, and the bow is held so that the upper curve is in line with the center of the body. As the right hand is placed on the right hip you must correct your posture, taking care not to lean forward or backward, nor to the left or right. Then, depending on the type of glove used, the otoya is grasped and the held at your right side in one of the two ways illustrated. The eyes look softly along the line of the nose to a point on the floor about four meters away. At this point you should regulate your breathing and let your weight settle naturally as you calm your mind and send your spirit forth in every direction, creating what is known in kyudo as enso, a feeling of roundness. As a final preparation do tsurushirabe, the inspection of the spring, by first looking down the string then along the length of the arrow to the target. After a brief moment return your gaze to the nocking area and prepare to do yugamae.
Two ways of holding the haya and otoya in dozukuri: reishakei (left) and bushakei
Two ways of holding the otoya in dozukuri: with three fingered glove (left) and with four-fingered glove
Yugamae (readying the bow)
There are two style of yugamae in modern kyudo. In the first, called shomen no kamae, the bow is kept in front of the body. In the second, called shamen no kamae, the bow is held off to the left side. Both ways include a series of preparatory movements known as torikare (setting the glove), tenouchi (gripping the bow), and monomi (viewing the target).
Torikake
One of the more difficult task in kyudo is learning how to make a clean, effortless release of the arrow. The ability to do this depends partly on one’s ability to set the glove to the string in a correct manner.
To make torikare, first set the string in the nocking groove at the base of the thumb, then, depending on whether it is a three- or fourfinger glove, lay the first two or the first three fingers across the thumb. Next, slide your thumb up the string until it meets the arrow.
There are four points that must be carefully considered when making torikake. First, you must be sure to set the thumb of the glove perpendicular to the string. Next, you must keep your wrist straight so that your forearm is in line with the thumb. Also, the thumb itself must be kept straight inside the glove, and never “hooked” or pressed against the sides. Finally, the right forearm must be rotated slightly. The pushes the arrow against the bow and keeps it in place during shooting.
Tenouchi
After setting the glove you must prepare the tenouchi, a special method of holding the bow peculiar to Japanese archery. The impor tance of correct tenouchi cannot be overemphasized. The flight and speed of the arrow is impossible to control if the tenouchi is not done properly, also, the yugaeri- the action where, at the moment of rewill not occur if the tenouchi is incorrect.
While a good tenouchi often takes to develop, the basic technikque is actually quite simple; just keep the hand straight with the fingers extended and held close together, then fold the last three fingers in to meet the thumb. Particular attention must be paid to the correct alignment of the hand, wrist, and arm, and to the connection between the thumb and middle finger. Also, the open space between the bow and the base of the thumb must be maintained at all times. With careful practive these elements will lead to a well-prepared and properly executed tenouchi.
Monomi
Monomi, which literally means to view the object, is the final preparation in yugamae. In monomi you look at the target with calm, half closed ayes. You shoud not think of aiming-monomi is not an aiming technique-you should simply send forth your spirit to make contact with the target. And from this moment on you must neither blink nor avert your gaze from the target lest you lose this vital connection.
Uchiokoshi(raising the bow)
In uchiokoshi you prepare to shoot by letting your spirit travel to the ends of your bow and arrows so that they become like extensions of your boby. You then raise the bow in either of two ways; shomen uchiokoshi, where the bow is raised from the left-sided shamen position.
The bow must be lifted without force, like smoke rising into the air. And in the case of shomen uchiokoshi, it must be kept perfectly straight with the help parallel to the floor. Normally, the bow is raised to a point where the hands are just above the head and the arms are at a forty- five degree angle, although this may vary some what depending on the person’s physical condition. When raising the bow it is important to keep the arms and chest relaxed and the shoulders forward. This posture is often said to be like holding a large tree trunk. One must not take this teching too literally, however, lest the arms appear unnaturally round.
The bow is raised in concert with the inhalation of the breath. At the peak of the move there is a short pause as the breath is softly exhaled. Then the archer inhales once more as he starts the drawing sequence.
Hikiwake
The Japanese bow is drawn in two steps. The first, called daisan, is a preliminary move that sets up the draw. Daisan is followed by the draw itself. Daisan means”big three” the term was coined from the teaching “push big and pull one-third’. Daisain is formed by pushing the bow to the left as the right arm folds at the elbow. The move is complete when the arrow has been drawn about half its length and the right hand is a little above and just forward of the forehead. At this point in the draw most shooting styles pause momentarily. But even though the motion appears to stop, it is really quite active, because the pause coincides with the exhalation of the breath and the flow of the spirit.the second stage of hikiwake, the actual drawing of the bow, benginsas to start to inhale. You should continue to inhale to inhale until you have completed about one-thirt of the draw. You then gently settle the breath in the lower abdomen. Do not attempt to force the breth down or you will create excessive tension in the upper body musculature.
In kyudo, the bow is not so much pulled as it spread apart. It is spread equally to the left and right , of cource, but one should have the feeding that the bow is sliding along the arrow, and not the reverce. This same idea is also reflected in the teaching’’ push the string with the left arm and pull the bow with the ringht.
The bow is drawn primarily with the back and chest muscles, and not with the arms or hands. This enables you to evenly distribute the forsce of the pull throughout the whole of your body, which makes for a smooth, effortless draw. During the drawing sequence from daisan into kai the left hand and the right elbow move simultaneously down and to the back along a curved path. To emphasize this point, master archers often tell their students to have a feeding of squeezing their body between the bow and string the bow and string as they complete the draw.
Kai (completing the draw).
Kai means”meeting”. It come from the Buddhist teaching that every meeting is followed by a separation. In kyudo this means that each of the previous stages of shooting leads to kai, and that the release is a natural result of their meeting. Thus, the success or failure of our shooting is not determined after the release, it is determined in kai. It can be said that if hikiwake is the physical draw, then kai is the spiritual draw. In hikiwake the strength we use to draw the bow comes from the efficient use of our

Results (Indonesian) 1:

kita harus hati-hati, namun, tidak untuk mencampur unsur-unsur gaya dua ketika menembak.AshibumiAshibumi adalah dasar atas mana tahap sisa hassetsu dibangun. Tanpa perusahaan, stabil pijakan baik menembak hampir mustahil. Hal ini penting, kemudian, bahwa Anda mengembangkan urderstanding menyeluruh dari ashibumi.1. dua cara membuat ashibumi 2. Sudut dan keselarasan kaki (kanan), dan distribusi berat.Ada dua cara untuk posisi kaki ketika membuat ashibumi: metode langkah dan slide yang digunakan dalam reishakei dan dua langkah metode yang digunakan dalam bushakei. Dalam kedua kasus sangat penting untuk menjaga tubuh tegak dan membiarkan kaki meluncur lancar lantai untuk menghindari angguk atau bergoyang. Sebagai aturan, kaki tersebar jarak satu panah panjang (yazuka) dengan jari-jari kaki besar sesuai dengan pusat target. Sudut pijakan harus enam puluh degress, dan berat badan harus dibagikan secara merata, sehingga pusat gravitasi yang dijalin antara kedua kaki. Tekanan sama harus diterapkan untuk kedua kaki, dan lutut harus storretched secara alami. Kaki harus ditetapkan tegas di tanah, tetapi Anda harus berhati-hati tidak untuk "tanaman" kaki Anda atau tekan berlebihan terhadap lantai. Sebaliknya, Anda harus merasa seolah-olah energi dari bumi itu sendiri yang naik melalui ang lantai ke kaki dan tubuh bagian atas. Busur dan anak panah diadakan di pinggul tingkat dengan busur di sebelah kiri dan panah di sebelah kanan. Kedua siku harus menunjuk autward. Bagian atas busur tetap sejalan dengan pusat tubuh dan diselenggarakan sehingga titik-titik menonjol tentang tencentimeters dari sarung tangan. Di bushakei hanya ujung poin yang terkena. Dalam kedua kasus, panah diadakan di sudut yang sama sebagai busur untuk membentuk sebuah segitiga imajiner di depan Anda.DOZUKURIOnce the feet ere in place you must turn your etention to the posture of the upper body. Special care must be taken with the so-called three cross relationship, where the shoulders, hips, and feet are help in line with one another, pararell to the floor. For this posture to work correctly, the shuulders must be kept down as the spine and back of the neck are gently stretched. The first arrow (haya) is knocked and held in place with the left forefinger, while the second arrow (otoya) is held beneath the haya between the ring and little fingers (reishakei), or between the middle and ring fingers (bushakei). The bottom end of the bow is rested on the left knee, and the bow is held so that the upper curve is in line with the center of the body. As the right hand is placed on the right hip you must correct your posture, taking care not to lean forward or backward, nor to the left or right. Then, depending on the type of glove used, the otoya is grasped and the held at your right side in one of the two ways illustrated. The eyes look softly along the line of the nose to a point on the floor about four meters away. At this point you should regulate your breathing and let your weight settle naturally as you calm your mind and send your spirit forth in every direction, creating what is known in kyudo as enso, a feeling of roundness. As a final preparation do tsurushirabe, the inspection of the spring, by first looking down the string then along the length of the arrow to the target. After a brief moment return your gaze to the nocking area and prepare to do yugamae.Two ways of holding the haya and otoya in dozukuri: reishakei (left) and bushakeiTwo ways of holding the otoya in dozukuri: with three fingered glove (left) and with four-fingered gloveYugamae (readying the bow)There are two style of yugamae in modern kyudo. In the first, called shomen no kamae, the bow is kept in front of the body. In the second, called shamen no kamae, the bow is held off to the left side. Both ways include a series of preparatory movements known as torikare (setting the glove), tenouchi (gripping the bow), and monomi (viewing the target).TorikakeOne of the more difficult task in kyudo is learning how to make a clean, effortless release of the arrow. The ability to do this depends partly on one’s ability to set the glove to the string in a correct manner. To make torikare, first set the string in the nocking groove at the base of the thumb, then, depending on whether it is a three- or fourfinger glove, lay the first two or the first three fingers across the thumb. Next, slide your thumb up the string until it meets the arrow. There are four points that must be carefully considered when making torikake. First, you must be sure to set the thumb of the glove perpendicular to the string. Next, you must keep your wrist straight so that your forearm is in line with the thumb. Also, the thumb itself must be kept straight inside the glove, and never “hooked” or pressed against the sides. Finally, the right forearm must be rotated slightly. The pushes the arrow against the bow and keeps it in place during shooting.Tenouchi After setting the glove you must prepare the tenouchi, a special method of holding the bow peculiar to Japanese archery. The impor tance of correct tenouchi cannot be overemphasized. The flight and speed of the arrow is impossible to control if the tenouchi is not done properly, also, the yugaeri- the action where, at the moment of rewill not occur if the tenouchi is incorrect.While a good tenouchi often takes to develop, the basic technikque is actually quite simple; just keep the hand straight with the fingers extended and held close together, then fold the last three fingers in to meet the thumb. Particular attention must be paid to the correct alignment of the hand, wrist, and arm, and to the connection between the thumb and middle finger. Also, the open space between the bow and the base of the thumb must be maintained at all times. With careful practive these elements will lead to a well-prepared and properly executed tenouchi.MonomiMonomi, which literally means to view the object, is the final preparation in yugamae. In monomi you look at the target with calm, half closed ayes. You shoud not think of aiming-monomi is not an aiming technique-you should simply send forth your spirit to make contact with the target. And from this moment on you must neither blink nor avert your gaze from the target lest you lose this vital connection.Uchiokoshi(raising the bow)In uchiokoshi you prepare to shoot by letting your spirit travel to the ends of your bow and arrows so that they become like extensions of your boby. You then raise the bow in either of two ways; shomen uchiokoshi, where the bow is raised from the left-sided shamen position. The bow must be lifted without force, like smoke rising into the air. And in the case of shomen uchiokoshi, it must be kept perfectly straight with the help parallel to the floor. Normally, the bow is raised to a point where the hands are just above the head and the arms are at a forty- five degree angle, although this may vary some what depending on the person’s physical condition. When raising the bow it is important to keep the arms and chest relaxed and the shoulders forward. This posture is often said to be like holding a large tree trunk. One must not take this teching too literally, however, lest the arms appear unnaturally round.The bow is raised in concert with the inhalation of the breath. At the peak of the move there is a short pause as the breath is softly exhaled. Then the archer inhales once more as he starts the drawing sequence. Hikiwake The Japanese bow is drawn in two steps. The first, called daisan, is a preliminary move that sets up the draw. Daisan is followed by the draw itself. Daisan means”big three” the term was coined from the teaching “push big and pull one-third’. Daisain is formed by pushing the bow to the left as the right arm folds at the elbow. The move is complete when the arrow has been drawn about half its length and the right hand is a little above and just forward of the forehead. At this point in the draw most shooting styles pause momentarily. But even though the motion appears to stop, it is really quite active, because the pause coincides with the exhalation of the breath and the flow of the spirit.the second stage of hikiwake, the actual drawing of the bow, benginsas to start to inhale. You should continue to inhale to inhale until you have completed about one-thirt of the draw. You then gently settle the breath in the lower abdomen. Do not attempt to force the breth down or you will create excessive tension in the upper body musculature. In kyudo, the bow is not so much pulled as it spread apart. It is spread equally to the left and right , of cource, but one should have the feeding that the bow is sliding along the arrow, and not the reverce. This same idea is also reflected in the teaching’’ push the string with the left arm and pull the bow with the ringht. The bow is drawn primarily with the back and chest muscles, and not with the arms or hands. This enables you to evenly distribute the forsce of the pull throughout the whole of your body, which makes for a smooth, effortless draw. During the drawing sequence from daisan into kai the left hand and the right elbow move simultaneously down and to the back along a curved path. To emphasize this point, master archers often tell their students to have a feeding of squeezing their body between the bow and string the bow and string as they complete the draw.Kai (completing the draw). Kai means”meeting”. It come from the Buddhist teaching that every meeting is followed by a separation. In kyudo this means that each of the previous stages of shooting leads to kai, and that the release is a natural result of their meeting. Thus, the success or failure of our shooting is not determined after the release, it is determined in kai. It can be said that if hikiwake is the physical draw, then kai is the spiritual draw. In hikiwake the strength we use to draw the bow comes from the efficient use of our