In classical Japanese martial arts, just about everyone runs into techniques, routines, or concepts that are difficult to handle. Like a very high wall, these may seem near impossible to overcome, whether it means adapting this particular thing into one’s repertoire or working on it for long periods until it becomes something natural to do. In some cases the difficulty is due to a lack of physical strength or coordination, while in others it’s a mental block. Then there are those cases where our lack of interest causes us not to proceed forward with that particular area of training. However, with a bit of drive, we can overcome such difficult things, as well as gain an overall benefit in our journey of learning the martial arts.
Examples of flexible weapons. Top left is a kusari fundō, bottom left is a kyoketsu shoge, while on the right are a kusarigama and ōgama. All are handmade training weapons which are light, fairly soft materials with no sharp parts.
A case that sticks out particularly in my own experience is the difficulty of using flexible weapons. In my younger days, I made a point to be as proficient as I could with all that was taught to me at my previous dojo. Yet, I was more inclined to not further my studies on such martial tools like the kusari fundō (鎖分銅, chain with weights on opposite ends), hayanawa (早縄, fast-tie ropes for restraining), and kusarigama (鎖鎌, chain with a sickle and weight on either ends). These types of weapons are much more difficult to use than non-flexible ones, and require more personal training time. It wasn’t that I couldn’t learn how to use them, it’s just that I saw no real value in doing so; other than twirling them, I couldn’t grasp any practical applications with them. Exaggerated images of using flexible weapons for lassoing was one of the dominant reasons for my personal mental block. Despite getting training in them, my notes and experience on flexible weapons were often pushed to the side to collect dust.
Many years later, I began doing research on the style of kusari fundō used in the martial system I was studying at the time. I also explored similar weapons studied in different martial arts schools and observed how these flexible tools were being used. Little by little I began to realize that my understanding of flexible weapons were flawed and misinformed. To correct this I continued with my research, sought out advice, and began retraining outside of my normal training regiment for several years. Focus on structured handling, and practical applications of flexible weapons based on classical teachings has given me a new outlook.
Pics from a past training session with a fellow buyu (武友, martial arts buddy). Working with a kyoketsu shoge (距跋渉毛), a unique tool that consists of a knife with a hook on the side connected to a rope with a metal ring on the other end. For training purposes, a handmade “safe version” is used. Also, instead of a rope, a plastic chain is used for strength building purposes.
For example, the use of kamae (構え, one’s posture based on the given moment) is critical in understanding where each part of a flexible weapon is at all times, which is an important fundamental that extends to every weapon one studies in classical Japanese martial arts. The image of mindlessly swinging them has also been eliminated from my mind, for I’ve learned that doing so is actually not the core principle for using flexible weapon, but something that serves several purposes, such as improving one’s control through furigata (振り型, practice of swinging flexible weapons in specific directions and under specific conditions) . While it was a difficult endeavor to make these adjustments, my motivation was reinvigorated, and I was driven to put great amounts of energy into the training of flexible weapons and learning them correctly.
Although my journey is far from over, I have grown as a person and am in a better place with handling flexible weapons I originally could not understand. Everyone encounters difficult things in activities they engage in, especially classical Japanese martial arts. My advice is to hang in there, seek help, and work even harder to overcome them. In time, you will notice results, one step at a time, and be more inclined to tackle any obstacles that may come your way.