Martial Arts/Bujutsu

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Phases of Martial Structuring: Kyūba no Michi

This year, an area of interest I hope to cover in its entirety is the different phases of Japan’s martial systems and the different paths they developed on. Throughout the history of Japan, especially when the influence of militaristic rule was at its highest, the names tied to martial combat, as well as how it was approached, changed a good number of times. This also played a significant part in the types of weapons and armor used at certain points.

The first entry to start off with will be “Kyūba no Michi”, which is written with the characters “弓馬の道”. Kyūba no Michi loosely translates as “The way of bow & arrow and horseback riding”. Considered the 1st phase of a systematically formalized martial system, it was under development early in Heian period, and came into full form from Kamakura period onward. To get a full understanding of what Kyūba no Michi is, we’ll look at not only its components and how it systematized how battles played out, but how it was directly influenced by the growth of Japan’s society. Old texts used for information on this includes the following

  • Heike Monogatari (平家物語)
  • Mōko Shurai Ekotoba (蒙古襲来絵詞)
  • Azuma Kagami (吾妻鑑)
  • Genpei Seisuiki (源平盛衰記)
  • Ōshū Gosannenki (奥州後三年記)

DEVELOPMENT OF BOW & ARROW

Japan, like many countries before the advancement of technology, had a strong adaptation of the bow & arrow in its early civilization. Known under older titles such as “yumiya¹”, it would first be used for combat as early as Yayoi period (300 BCE – 300 CE), having a sense of virtue and honor among warriors at that time. Later it gained influences from China, and certain practices were put into order. This spanned from formal customs & etiquette to the type of materials used for crafting a bow. These influences are documented in ancient texts such as the Shurai², Gokanjo³, and Raigi⁴.

The Imperial family, along with those families of nobility, supported the ceremonial and cultural practices adopted from China, thus spreading this to many aspects of life. Warrior groups and families followed in suit, as they did not have the same form of power or sway to challenge these aristocratic pursuits. With the combination of the above factors, the use of bow & arrow was treated with great respect, like a sacred and honorable art.

IMPORTANCE OF HORSES

For Kyūba no Michi to point towards horsemanship meant that horses were a vital resource. At specific times in Japan’s history, horses gained different roles depending on the development of society. For example, during the Heian period they were primarily used for horse breeding (basan, 馬産) and for racing (keiba, 競馬), while in Kamakura period they were vital for transportation (unyu, 運輸) and farming tasks (nōkō, 農耕). What is similar between the two time periods, however, is that there was an even greater need of horses for military activities (gunji, 軍事).

Kibamusha01

A picture of warriors on horseback with bow & arrows, accompanied by their retainers. From “Mōko Shurai Ekotoba”.

Areas that raised horses were very important, as they not only provided the means for warriors to develop and hone their horsemanship, but these horses needed to be in top condition. One of the more well known areas for this was named Senma⁵ located in the north-eastern region once known as Ōshū (present day Higashi Iwashi District, Iwate Prefecture). An example of this is the war horse named Tayūguro⁶, the prized possession of the famous warrior Minamoto no Yoshitsune. In 1180, Yoshitsune first acquired this horse from the warlord Fujiwara no Hidehira while passing through Ōshū seeking assistance against the Taira. At the time, his horse was named “Usuzumi⁷” due to its hairs being black in complexion. Yoshitsune would later ride his new horse and accomplish impressive feats, especially during a major battle at Ichi no Tani⁸ in the western region of Japan. Not only was Yoshitsune rewarded for his performances, his horse was honored with a rank as well, and was renamed “Tayūguro”⁹.

Cavalry was an important position in an army during Heian period, and in Kamakura period. Bearing a label such as kibamusha (騎馬武者), warriors were very active with capable horses. Choosing the correct horse in itself was a skill. A common advice from warriors at the time was to choose a horse that was neither too big or too small, not too timid or too wild. As they were ridden for long periods when conflicts between warlords were inevitable, well-trained horses were needed to handle tough conditions, such as long journeys, climbing up and down rough terrains, and dealing with the chaos found in skirmishes against enemy armies.

ROUTINE OF THE KIBAMUSHA

From the Kamakura period, the establishment of Kyūba no Michi truly took form once Minamoto no Yoritomo took governing power over Japan. Directing the country to operate in a more militaristic fashion, the growth of the warrior class and their activities took off. Military families took precedence in many aspects of life, for example controlling lands and areas, building their army with locals, and ensuring that they are sustained with supplies from farms and artisans that live in their territory.

Delving deeper into the meaning of Kyūba no Michi, it was a label that stood for a system where one understood and/or takes part in martial & military affairs. Usage of the bow & arrow, and skills of riding horseback were the main components, as they cemented the basis of what a true warrior was supposed to know, as well as were involved in their activities. As an example, there were 3 activities they took part in as a pastime, as well as a stake of honor as it tested their archery ability while horseback:

  • Yabusame (流鏑馬) = Shooting targets while on a running horse
  • Kasagake (笠懸) = Riding alongside a strategic course shooting designated targets
  • Inu Oumono (犬追物) = Dog chasing

Collectively, they were known as “Kisha Mitsumono” (騎射三物). Along with this, hunting was also part of a warrior’s lifestyle. They would head out as a pack while on horseback, and split up in multiple directions in search of deer or boars in a forest, and taking their prey down through the use of their bow. This act was generally labeled as “makigari¹⁰”.

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A miniaturize ōyoroi (large armor), complete with yumiya (bow & arrows) and tachi (battlefield sword). Taken by Nanahito Wing (ナナヒトウイング) and used with permission from “ShashinAC“.

For their martial training, warriors were expected to be verse at various aspects. Some specialized in certain areas, such as setting up camp or makeshift forts in enemy territory, commanding army formations, and so on. They were also trained to be versed in using many different types of weapons for battle at the time, including swords (tachi, 太刀¹¹) , spears (yari, 槍¹²), (naginata, 薙刀¹³), and war axes (masakari, 鉞¹⁴). High ranking warriors also wore large, box-shaped armor called ōyoroi (大鎧). This type of armor provided significant protection, but hindered mobility greatly. Ōyoroi was deemed suitable while on horseback.

ORGANIZED BATTLES

In Japan’s early history, those who possessed a form of power knew about one another one way or the other. Japan being a small island contributed to this. There were many reasons for this, such as by word of mouth from travelers, scouts, or through (in) direct involvement with each other. There were minimal oppositions that were foreign, if at all, in Japan that would’ve posed a surprise in battle tactics. Due to this, those with military power established their strongholds and armies almost the same way.

During Heian period, military families would do as much as they could to occupy land areas, establish their stronghold, and build their army. Their strongholds would either be on flat lands, hills, or up in the mountains. However, during the Kamakura period, those loyal to Yoritomo and his Bakufu¹⁵ (shogunate) could get land appointed to them, while others who were seen as an opposition would be attacked and have their land taken away from them by the Bakufu’s massive army. Since the Japanese earned much of their fighting experience against one another, many military families adopted similar, if not the same, battle tactics and etiquette for engaging in war, with Kyūba no Michi playing a heavy role of how this unfolded.

1920px-Gosannen_kassen

A section from the “Gosannen Gassen Emaki” (後三年合戦絵巻) called “Gankō no Midare” (雁行の乱れ), where Kibamusha (cavalry warriors) from the Minamoto were notified about hidden enemies in the brush through the sudden flight of wild geese. From Wikipedia.

Here is an example of how the engagement for battle described in historical documents played out. When 2 powerful individuals had a dispute (i.e. over the control of land), in worst case scenario, they would send their armies to clash with each other in a big battle, which is called gassen (合戦) in Japanese. There were certain criteria many followed when confronting an imposing force was inevitable, which is described in the example below:

__________

1. Both sides would set up camps and such away from each other, and prepare for the battle by gathering supplies, weapons, troops, and the like.

2. Scouts would be used to keep tabs on each side and gather intel, such as the size of the army, layout of camp, terrain advantages that can be exploited, and so on.

3. On the day of the battle, both sides take up their formations. Words may be exchanged between the commanders or such regarding the situation at hand.

4. Day of battle begins with each side shooting off a signalling arrow called kaburaya (鏑矢), which notifies to begin ya-awase (矢合わせ), or raining arrows at each other.

5. Infantry from both sides, under the cover of arrows, make their way to clash against one another, which is called kumiuchi (組打). Cavalry, along with their retainers on foot, galloped through the field fighting as well.

6. When 2 elite warriors met face to face¹⁶, each side would exchange their name and title, and fight on horseback.

7. The two warriors attacked first with a bow firing arrows at each other, in a yabusame-like fashion. When this proved ineffective, they would then move on to close range weapons, such as a tachi or naginata.

8. In the event one warrior had gained the advantage over the other, such as knocking the other off his horse, retainers of the losing side would jump in to save their master. This would cause everyone from both sides to engage in battle.

__________

This is how Kyūba no Michi influenced the flow of a battle. This also happened, more or less, when an army went to besiege an enemy castle.

FINAL WORDS

This concludes the discussion regarding Kyūba no Michi. Japan’s development and other influences contributed to it being the way for martial combat. Be on the lookout for the next entry, as it is in the works and will be posted within the next few weeks.

1) 弓矢

2) 周礼

3) 後漢書

4) 礼記

5) 千厩

6) 太夫黒

7) 薄墨

8) Known as “Ichi no Tani no Tatakai” (一の谷の戦い) in Japanese, this battle took place at Ichi no Tani in Settsu Province (divided between present day Hyōgo Prefecture and Ōsaka Prefecture). While the Taira was stationed there with a defensive stronghold, the Minamoto were able to besiege and defeat them, which was a great victory on their side.

9) Minamoto no Yoshitsune and Tayūguro’s feats while on the battlefield is a representation of the phrase “Jinba Ittai” (人馬一体), which means a person and their horse performs as if in perfect unison.

10) 巻狩

11) In some cases, also known as an ōdachi (大太刀).

12) Generally written with the character 槍. Before the yari was its predecessor called hoko (鉾). The spear came to popular use from the Kamakura period onward.

13) While generally written as 薙刀, it is known to have been written as 長刀 in the past. Although the naginata saw great usage in earlier periods such as the Heian period, it went into decline from the Kamakura period onward. This is due in part to the more effective attributes of the yari against armored warriors.

14) Another name for an axe is ono (斧).

15) 幕府

16) These warriors tend to stand out due to their armor, or components on their armor, being a lighter or brighter shade of color.

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Benefits of Overcoming Difficult Things

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.

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Foundation and Context

Recently, I had a discussion with a good training buddy of mine about how training can be conducted during one’s class. While we hit on many topics, one interesting point that came up was being productive in one’s training while studying techniques. For traditional Japanese martial arts, there are stories about students (usually those that are new) working on only one technique for the duration of a class. While there is much practicality in this in terms of building one’s foundation in a certain area, this is not a practice to embrace all the time, especially in today’s fast-paced society where martial arts classes only meet but a few times a week for around 2 hours. When working on technique, contextual training is necessary along with foundational conditioning. Both can be incorporated together to ensure a balanced learning experience, while adjusting according which one to focus on more based on a student’s level.

As an example, let’s look at a technique called “Jōdan Uke¹”, which is a basic blocking method in Taijutsu². Jōdan Uke is something new students will learn early in their martial arts career, as it is pretty basic and simple to mimic. However, what appears simple in appearance can be difficult in application without proper training. In the beginning, physical structure is an important point and one that needs to be focused on for a long time. Simply going through the motion of transitioning from shizentai³ into Jōdan Uke, then back into shizentai is effective, and can be a good way to train mental and spiritual endurance (during and outside of class). However, this may not prove to be the best way to understand Jōdan Uke if this is all that is done, especially in a 2-hour session. In a class setting where Jōdan Uke is the focus, let’s look at a method where both foundational conditioning and contextual training are combined for a balanced training session.

Demonstration of Jōdan Uke against a strike.

After class begins, with stretching, warm ups, and other formalities completed, students spread out to work on drilling Jōdan Uke. Working both left side and right side, they spend around 15 minutes going through the motion as a group under the teacher’s guidance. Next, they pair up with one another and again drill Jōdan Uke against a straight punch. This gives them a stimulus where they can learn how to not only execute it correctly with proper body form, but see their errors as well as understand where this technique fails if not done properly. This can be worked on with a similar time duration. The following exercise can then be worked on in the form of uke–tori⁴ practice, where one person (uke) executes a series of pre-set punch attacks (starting off, 2-3), while the other person (tori) works on defending against these with preset movements, with Jōdan Uke being one of those movements. The purpose of this exercise is to have the one using Jōdan Uke continue to learn how it works in order to overcome their opponent. If kept short (5-10 minutes) and time permits, several uke-tori practice drills can be used for the remainder of the training session, with the next using a different scenario that teaches how to apply Jōdan Uke (i.e. against a shirt grab, against a kick-punch sequence, etc.). To note, since the premise of this training is for beginners or newer students, it’s best that only defensive applications of Jōdan Uke are worked on, to ensure proper foundation building.

This is an interpretation of how one can apply a balance between foundational conditioning and contextual training. There is no official way to go about this, but one must achieve a correct approach that is productive in the long run, as well as effective.

1) 上段受け. Simple translation would be “high-block”.

2) 体術. Taijutsu is an older term for hand-to-hand combat, and is still used today by some traditional martial arts groups in Japan.

3) 自然体. Means to stand in a normal posture where you are neither on the offense or defense. Usually, one’s hands are to are sides.

4) 受捕. This is a joint word referring to training where one person take the role as the attacker and lose (uke), while the other takes the role as the defender and win (tori).

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Reihō and Sahō in Traditional Martial Arts

Within the traditional martial arts of Japan are customary practices called reihō¹ and sahō². They both have strong cultural ties, and play an essential role both in and out of martial training. When traditional martial arts were introduced to western countries, such as the United States, some individuals made efforts to retain both reihō and sahō. However, not everyone sees the significance in them, and may even feel that these 2 practices can be excluded. For this post, I will discuss about the importance of reihō and sahō, from their roles on a cultural aspect to the lessons that lay hidden in them.

ABOUT REIHŌ

Let’s first look at the practice of reihō, which has the dictionary meaning of “etiquette” or “manners”. It’s function is a bit deeper than these definitions, though. An integral part of Japan’s history, the idea of reihō is practiced daily within the culture of Japan as showing respect to people, objects, customs, and so on. It is like a code of conduct, an unwritten behavior of sorts that has evolved over time. For martial arts, reihō is simply showing respect to one’s teacher, training partners, the weapons & equipment one uses, as well as to the art itself. While a customary practice, for those who aren’t native to Japan generally have to be taught reihō³.

A misconception of reihō is that it is ritualistic, or religious by nature. Actually this is not the case. Reihō is very simple in presentation and has reason behind its existence. There are few exceptions where certain groups and schools (i.e. Ogasawara ryu, Imagawa ryu, and Ise ryu) have “ritualized” their reihō, especially during the peaceful times of Edo period. Focusing on a visually appealing presentation, very structured rules and procedures are used within their formalized reihō, which can be seen in practices such as rope tying for both armor and packaging, flower arrangement, and style of clothing worn for martial events. While they may have been influential in certain aspects, what these groups do is not considered the norm.

As a standard reihō when 2 people are practicing kata, they stand face to face while holding their bokuto (wooden sword) in the left hand.
Switching their weapons from left hand to right hand, they bow their heads down. Their weapon passed to their right hand is a sign of respect, that they will not attack one another unexpectedly.
Finishing their bow, they step back with the left foot, and draw their weapon out, ready to train.
The 3 pics above show the reiho used during kenjutsu training in Chikushin Martial and Cultural Training Group. Click on each pic for further descriptions.

Bowing one’s head is the obvious indication of reihō. For martial arts there are a few that can be considered standard, or commonly see. Some of these are the following:

  • Shizen rei (自然礼) = Standing bow, to peers, teacher, etc.
  • Shinzen rei (神前礼) = Bow to the kamidana (small shrine in a dojo), in respect to the art and forefathers
  • Shi rei (師礼) = Bow to teacher before, and after, training

Keep in mind that the types of reihō practiced depends on a martial school’s history, customs, what type of martial system it specializes in, and so forth.

Other than showing respect, reihō can serve some unique purposes not often considered. One is it helps to develop habits of “staying human” during training. What does “staying human” mean? In an activity where one learns techniques that can potentially hurt another, reihō acts like a reminder to be gentle with training partners during practice, and be thankful that they entrust his/her safety in your hands. This can be seen when two individuals bow before engaging in kata geiko, as well as the bow afterwards. It is here where reihō can help us to stay human, and put aside our ego. Without it, training could resemble that of a fight club, where participants engage just to be only strong and unbeatable, while disregarding the safety of those who they train with.

Another aspect of reihō is it contains some tactical applications both for physical purposes, as well as psychological. It varies between martial schools, and is applied accordingly based on the school’s philosophy. For example, reihō can teach the concept to gesture respect to others, which in turn you can gain trust, friendship, and possibly gain access to much needed information. On the other hand, reihō can encourage to develop awareness about people around you, especially in unfamiliar places, and read people’s temperament.

ABOUT SAHŌ

Sahō is a practice that, much like reihō, has deep roots in Japanese culture. Dictionary terms tend to be the same as reihō (manners and etiquette), but actually goes beyond stated definitions. Sahō deals with preparation and customary actions, which can be as grand as ceremonial event to something as small as one’s everyday routine. The sahō of Chadō⁴ (tea ceremony), for example, is a great representation of the effort & attention to detail that is incorporated into presenting an elegant and engaging experience for those who appreciate tea.

Historically, sahō plays an important role in the nation of Japan rich with an intricate tradition. Its influence can be found in how rooms were prepared with specific decor for special events, how particular outfits were worn daily to work, and so on. As one would expect, sahō not only helps keep order and consistency in certain engagements & routines, but makes record keeping of what is required easy.

arrangement2

The sahō for many traditions have been recorded during peaceful times in Japan. For example, this dated manual called “Tokokazari Un’ō no Maki” (床飾蘊奥の巻) depicts detailed instructions for servants/employees on how to set up a room for specific celebrations and events.

In Japanese martial arts, there are different aspects of sahō. On the lowest level, sahō is simply wearing one’s keikogi for training. On a more visually profound level, we see sahō during the start of certain training exercises, as well as while working on specific kata. This can vary numerous ways, from the specific way one walks to initiate a training exercise, 2 practitioners bow to each other, to even how a particular weapon is prepped for use.

Here is an example of sahō that is used in my martial arts group, Chikushin Martial & Cultural Training Group. During kenjutsu training we utilize what is called “Issoku Ittō no Maai⁵”. This entails 2 people standing a few feet away from each other while holding their bokutō (wooden sword) on their right side as if a real sheathed sword. Passing it to their left hand, both draw their bokutō out (as like a katana from its sheath), stand in a posture called Seigan, and walk forward. They meet the tips of their bokutō together before stepping back and assuming the designated posture. While it can appear ceremonial at times, one of the purposes of Issoku Ittō no Maai is to help learn proper cutting range with a katana.

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This pic shows a small part of a unique sahō used for a bo versus katana sequence where both practitioners place their weapons on the ground in a specific formation, followed by a za rei (kneeling bow). Such is done for public demonstrations and events.

Possibly the most common place to see a martial school’s sahō is during public demonstrations. For these demonstrations, generally called an enbu⁶, sahō that is presented may seem very ritualistic. For example, a practitioner is preparing for a solo kata which includes a sheathed katana, he/she may appear mentally focused and serious as the katana is gestured during bowing or the like, as if in a zen-like state, before inserted into the obi. Or when 2 practitioners that have finished a sequence in a paired kata may do movements that appear slow and exaggerated, with pauses that make their presentation seem not-so-combative. There are reasons behind all this.

For the most part, sahō during a public demonstration is all for the sake of presentation, to convey to spectators the type of spirit one must develop. Studying traditional martial arts isn’t only about developing a strong, physical body; refining one’s spirit and fortifying one’s mental endurance are just as important, and sahō helps to support this. Another reason can be to indicate where certain techniques are strong and are an actual strike. Take note that while having spectators being able to understand and follow demonstrations is important, this does not mean that sahō should reveal specific details about a particular martial style and its techniques, for certain information, such as strategic timing, are held back and made accessible for those training in that style.

ENDING

In essence, there are many positive aspects of doing both reihō and sahō. Other than preserving this Japanese tradition, there are lessons that can be useful both in and out of one’s dojo. Those that pursue studying traditional martial arts generally get a chance to learn about these practices at schools that choose to follow this custom. Both reihō and sahō are also preserved in my martial arts group, and incorporated in each training sessions.

1) 礼法

2) 作法

3) Surprisingly, reihō is not a big part within many families’ household in Japan’s current society compared to a few hundred years ago. Although the idea of respect and manners are expressed in many service-related, business-related, and educational-related mediums, one would be surprised how it doesn’t rub off on every individual as a whole. Spending time living amongst the locales, as well as reading current topics on news sites and blogs, gives one the chance to see and understand these changes.

4) 茶道

5) 一足一刀の間合

6) 演舞

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Discerning Measurements for Training Weapons

Great care is necessary when studying weapons in martial arts. In the beginning, there are specific forms or drills one must go through in order to understand the characteristics of the weapon that is connected to the ryuha¹, or style of martial system, one is training in. One of the challenging points to ensure correct study is obtaining a training weapon proportional to your body type. For this post, we will look at how the characteristics of weapons (i.e. measurements, material, etc.) are preserved by traditional schools and the hurdles that come with this, the ups & downs of dealing with manufactures that follow the “one size fits all” model, and how one should go about to training with weapons that match us properly.

IMPORTANCE IN DETAILS VS MARTIAL SYSTEMS

A good martial arts school will ensure that new students obtain a training weapon suitable for them, whether they are buying it or not. For Japanese traditional martial systems this is commonplace. For example, there are numerous types of systems for kenjutsu² (sword techniques), each with their own unique philosophies. Some may specialize a slightly shorter blade length that requires ashisabaki³ (evasive movements with the feet), or a much longer blade where maai⁴ (distance) and chōshi⁵ (timing) are key components. Others may utilize a nitōryū⁶ (2-sword style) system, where two swords that are wielded in each hand are a different size from each other. At any rate, when wielding a sword that does not fit your school’s criteria, unforeseen adjustments will be made, which will prevent a new student from grasping the principles of the particular kenjutsu being studied.

Example of training kusari fundo I’ve made over the years. Each can have a variation in length, weight, size of the weighted ends, etc.

During my years as an assistant instructor at my previous dojo, I was adamant regarding using training weapons that were proportional with those who attended my class. In one case, the monthly theme was a weighted chain called kusari fundo⁷. We used rope versions for safe training. Since I was already making these rope versions for my own training, I did so for those who attended my class to ensure they learned correctly. I had to measure each student’s arm length so to have their rope kusari fundo tailor-made to them.

There is an interesting story⁸ that deals with the weighted chain. A man by the name of Charles Gruzanski, a military officer stationed in Japan during the 1950s, was accepted as a student in Masaki ryu Manrikigusari jutsu⁹ under the 10th successor at the time, Nawa Fumio. One of the challenges that his teacher had to deal with was finding an appropriate chain size for Charles, as he was a tall man with large hands. The weighted chains that Fumio had just were too short, which would’ve made studying the techniques difficult to comprehend. Through some searching, he finally tracked down a chain from a different style that was large enough for Charles to use. This story is an important reminder that appropriateness in weapon size is necessary in the beginning of one’s training.

DETAILS IN ANCIENT DOCUMENTATION

There can be a fascination regarding information in ancient documentations, such as scrolls and manuals. Those that have descriptions of weapon dimensions, for example, are important details critical to the identity of a martial system. However, one must take caution in following these details too literally. When a training weapon is being prepared based on specific dimensions, it still needs to be adjusted based on the student’s body proportion.

This is a sanshaku bō (3-shaku staff). Half the size of a rokushaku bō, which is too short in reach and light in balance.
This is a yonshaku bō (4-shaku staff). While its length and balance is good, much adjustments would be needed to imitate the techniques used with the rokushaku bō.
This is a rokushaku bō (6-shaku staff). It is the appropriate size and weight for studying bōjutsu.
3 pics that illustrate different lengths in staves used in Japanese martial arts. When first studying bōjutsu that requires the rokushaku bō, choosing the right length is critical. Click on each pic for descriptions.

Let’s look at a very common weapon used in Japanese martial arts, which is the rokushaku bo¹⁰, or 6-shaku staff in English. A shaku¹¹ is an old measurement unit used in Japan. This “6-shaku” is a length that serves as a standard, a rough measurement for a staff that should be around or slightly taller than your height. In the past, this length would be appropriate for most Japanese martial artists that were above 5 feet, but it was not unusual for the staff to be made shorter for accommodation purposes. Likewise, those who are much taller than 6 feet (especially in western countries) would need a staff slightly longer. In cases like these, access to having weapons custom made according to a practitioner’s needs is a must.

SHOPPING TIPS FOR THE RIGHT SIZES

Shopping for one’s training weapons can be at times difficult. Going to a common martial arts store in your neighborhood that sells everything at only one size is limiting unless you are at that perfect height where everything fits your body type (around 5″6 & up). When shopping around, especially online, what you should look for from retailers is those that A) provide multiple sizes, B) provide customization services, or C) custom make their weapons.

Stores that offer multiple sizes of a particular training weapon is very convenient. Not only does it make finding one that fits you quickly, but this is also convenient for practitioners of all ages. For example, some stores may offer a wooden daito¹² (a standard sized sword) in 3 sizes: large, medium, and small. This ensures that no matter which size you select, it is proportionally designed, from the blade down to the handle. Those needing a smaller size daitō will not need to substitute with a wooden kodachi, which is naturally designed as a one-handed short sword¹³.

Some retailers may offer a customization service, whether they do it on-site or can have it done by another party. This is good when small adjustments are needed, but don’t necessary need to be redesigned from the ground up. Looking at the rokushaku bō as an example, it may be possible to have one adjusted in length in the case where a shorter one is needed.

Here is a comparison of 2 bokken, or wooden swords. The bottom one is a custom made version of the sword that is used in one of the ryuha I study, Togakure ryu. I was given the dimensions as it is said to be written in that system’s scroll, but had to make slight adjustments when getting it designed in order to match my body type.

Possibly the best option is to shop from a retailer who has training weapons custom made. Not only is it possible to have the dimensions tailored to your liking from the smallest detail, but can go as far as craft it and make it unique just for you. While this can be a great option, it can also be more pricier, as time, cost of materials, and labor goes into custom making training weapons. Quality control for custom made weapons tends to be very high, so if money and time is not an issue, then this is a great route to go.

CONCLUSION

As a rule, it is important to train with weapons that proportionally match. Finding what matches the practitioner is a task that can be handled by the teacher, as it will ensure little to no errors when purchases are made. However, when this has to be in the hands of a student, the best choice are from retailers that give many options that can fit one’s needs.

1) 流派

2) 剣術. An older name related to fighting techniques with a sword. The modernized system of kendo (剣道) derives from this.

3) 足捌き

4) 間合

5) 調子

6) 二刀流

7) 鎖分銅

8) You can read the full story, and more about Charles Gruzanski’s life story in Japanese martial arts at “Tru-Flyte Martial Arts Memorial Website“, which is maintained by Robert C. Gruzanski.

9) 正木流万力鎖術. Manrikigusari is another name for a weighted chain.

10) 六尺棒. Usually translated as 6-foot staff in English, thus most are sold as so. However, in reality 6 shaku does not equal to 6 feet.

11) 1 shaku = 11.93 inches.

12) 大刀

11) 小太刀. A big difference between a daitō and a kodachi is that the handle of a daitō is long enough for 2 hands to grip, while a kodachi’s handle is long enough for only one hand. Size difference in handle makes it difficult, if not impossible, to practice kenjutsu that requires a normal sword, such as a daitō.

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​Irimi Shiai & Its Application To Training

This past weekend during training, I engaged in a session of Irimi Shiai1. For Irimi Shiai, this involved one person using a bokken (wooden sword), while the other uses a training yari (Japanese spear). As this was a rather free form practice, it gave us a chance to work on techniques we learn from Kukishinden ryu Bikenjutsu, and see how to apply it against the techniques from Kukishinden ryu Sōjutsu. However, as this training was focused on the concept of Irimi Shiai, there were some rules we had to abide to, in order to make it a challenging, and informative, learning experience. This also included moments of referring to wearing armor and what role it would play in our kamae, along with spots to attack if the situation was on the battlefield.

 

ROOTS OF IRIMI SHIAI

What is “Irimi Shiai”, exactly? Well, it is well known as a competitive engagement between a longer weapon and a shorter weapon, but in reality goes beyond this as tactical practice. After Japan moved away from the constant wars of Sengoku period and was followed by several eras that promoted a more peaceful society, many martial schools utilized different training and competitive methods to keep their styles active. One method involved closing the distance between longer weapons, such as the yari. This became more prominent in the 1800s, when most martial schools moved in the direction of Kyōgi Budo² (sports-centric martial arts), competitive engagements that featured a sword style versus a spear style became commonplace.

An artwork (low-quality version) called “Sakakibara Gekikenkai Ezu” by Kaisai Yoshitoshi (aka Tsukioka Yoshitoshi). It features many martial artists in competitive matches while wearing protective gear. In the middle-right, there are 2 individuals squaring off using training yari, while below that are two fighters, one with a shinai, and the other with a naginata. From Wikipedia.


COMPETITION RULES 

In some older cases of Irimi Shiai, the kenjutsuka (swordsman) dons on padded training armor and uses either a bokken or shinai, while the sōjutsuka (spearman) uses a padded-tip training yari, and no body armor. The goal of this match was the kenjutsuka had to close the distance and get in range to strike, whereas the sōjutsuka had to keep the kenjutsuka with only the tip of the yari. The rules were usually in the favor of the kenjutsuka, whereas they have more range of techniques to use in this match, the sōjutsuka was restricted to only using thrusting techniques, and only to the armored areas on the kenjutsuka. 

Having no body armor for the sōjutsuka is an interesting rule; while it insures the safety of the kenjutsuka (they will get hit a lot by the yari due to its reach), it is a nod the favor of the sōjutsuka, indicating the superiority of the yari. On the flipside, this puts more pressure on the sōjutsuka, for allowing the kenjutsuka to get pass the tip of the yari and in range to attack will put the skills of that sōjutsuka in shame…as well as in the receiving end of the shinai. 


DIFFERENT STYLES

There are records of competitions with Irimi Shiai involved, most speaking in favor of those using a longer weapon such as the spear coming out as the victor. There is a documention of such competition called “Taryu Shiaiguchi Narabi ni Montai³”, written by Kasama Yasunao. In it is analyzation of a large martial arts event that consisted of 17 kenjutsu schools competing against 9 sōjutsu schools. Some well-established and renowned schools were involved, such as Shinkage ryu, Takeda Hōzōin ryu, Sekiguchi ryu, and Niten ryu. Very detailed writeup included a description of each school and their  specialties, the methods some schools use to train, and the techniques used during the matches. In the end, the sōjutsu schools prevailed by having the most wins. 

The settings used for Irimi Shiai isn’t just limited to kenjutsu versus sōjutsu. Depending on the participating martial schools, numerous conditions can be set featuring different weapon systems. Over the years, some of the matchups included tachi vs naginata, naginata vs yari, mokujū⁴ vs tachi, and kodachi vs tachi. Despite the weapon styles used, the idea remains the same when concerning Irimi Shiai: one side is trying to get within range to attack, while the other side is trying to maintain range and keep the other out.

 

COMBATIVE PRINCIPLES

While Irimi Shiai is best suited for sports-related martial arts, it’s important to remember that the principles stem from actual combat. During the long warring periods in Japan, certain weapons were considered superior both in use and the strategies applied to them, such as the yari. On top of this, many types of weapons were carried and used by an armor-clad samurai varying in length, and not always was it possible to carry the “superior” weapon at all times. When a samurai armed with an uchigatana5 has to confront an enemy who so happens to have a yari, that samurai must do what it takes to win. This is true even off the battlefield, where warriors may engage in duels with each other, sometimes facing off against specialists in a specific weapon system. Some examples include Bokuden Tsukahara defeating a renown naginata master named Kashiwara Nagato by cutting of the naginata’s blade with his tachi, and Miyamoto Musashi outbesting the famous spear play the monks of Hozoin took pride in.

In Bujinkan Budo Taijutsu, the different ryuha studied do not have a “sports” curriculum in it. This doesn’t mean that one cannot use “Irimi Shiai” as a tool to learn, but gives us an advantage of studying this with rules that are more suitable. For example, many forms and techniques found in Kukishinden ryu are designed for fighting in armor, so one can incorporate this in Irimi Shiai. Certain areas in one’s kamae and techniques are naturally protected by armor, so you can use this factor to guide your movements, as well as pick areas that are vulnerable to attacks on your opponent.

For Bikenjutsu, one can practice using their bokken as a shield to get by the blade of a yari. A practitioner can also seize the yari and hold on to both neutralize it and use their other hand to score a winning blow with their bokken. For sōjutsu, one is not limited to just thrusts with the blade of the yari, so all parts (including the ishizuka) can be utilized both offensively and defensively. Understanding the principles of one’s art, Irimi Shiai can be approached much realistically with less restrictions, yet must retain some structure in order to keep this as a method for learning.

 

CLOSING

This concludes my story on Irimi Shiai. It was a good experience on my end to engage in Irimi Shiai. I believe it would do wonders for others studying martial arts to challenge themselves in such a training method.

 

1) 入身試合

2) 競技武道

3) 他流試合口並問對

4) 木銃. The mokujū is a wooden replica bayonet for the purpose of training in Jūkendo. The techniques are heavily derived from sōjutsu.

5) 打刀. Uchigatana can be considered the predecessor of the modern katana due to similarities in blade length and shape. This was used as a close-range weapon on the battlefield.

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Bo Shuriken At a Glance

Within Bujinkan Budo Taijutsu, there are many different weapons and tools to study. One of them is the bo shuriken1. Part of the kakushi buki2 category, bo shuriken is often used as a secondary or supplementary weapon, when there is a chance to be deployed. While I’ve invested several years in this, recently I’ve been training more with this as to learn how to adapt this into my taijutsu better. In this post I will talk abit about what the shuriken3 is, what is unique about the bo shuriken, as well as some basic tips when learning how to throw this.

DEFINING THE SHURIKEN

Bo shuriken is a type of shuriken, small to average sized blade that can be deployed from close to medium range. These are especially renowned as a projectile weapon, although their usage is not limited to this. The shuriken is a Japanese weapon that, through the course of history, can be crafted in many different designs. Shuriken generally fall under 2 categories, one being “hiragata shuriken4“, and the other being “bo shuriken”. Looking first at hiragata shuriken, these are wide, flat, and have multiple points. These are iconic with being the prized tool of the ninja. There are many different types of this, of a multitude of unique designs. The hiragata shuriken tends to be the more popular out of the 2 categories, with such versions like the “shaken5” (otherwise known as “chinese stars” or “ninja stars” in pop culture”) usually come to most people’s mind when they hear the term shuriken.

A set of antique bo shuriken. The label on the upper right reads “根岸流” (Negishi ryu). From Wikipedia.

Next, the bo shuriken is a single or double pointed, relatively straight bar of metal. These are generally associated with bujutsu schools, and tend to have more formalized training methods. The bo shuriken is considered a much more difficult projectile to accurately throw due it’s design; whereas the hiragata shuriken has to be thrown with a spin and is almost guarantee to connect with at least one of its many points, the bo shuriken has to instead be thrown with as little rotation as possible and calculated from which distance its point will connect. This is especially critical when wielding one that only has one point.

It is not certain when the shuriken was first developed. However, there are documentations that mention it’s use around the Muromachi period (1336 – 1573) a time when warriors were active for combat due to warlords struggling for power. On a general basis, the image of the shuriken is associated with the ninja and ninjutsu. This is due to exaggeration through the various ninja boom that took place over the years, first in Japan from the Edo period (1603 – 1868) onward, then followed by many other countries in the late 20th century. The truth is, the shuriken was never solely a ninja weapon, but a tool as a means to hurl a projectile from a distance out of reach of an opponent by warriors and martial artists. While some types of shuriken may have been more frequently used by ninja, the skills to wield this was learned even by samurai.

ABOUT THE BO SHURIKEN

The bo shuriken can be designed in a multitude of ways, although its base still resembles that of a long, spiked bar. It’s body can be rounded, flat, or squared. Bo shuriken are often thin, easy to stack in a bunch, and portable. Throughout Japan’s history, a good number of martial schools and systems trained in the shuriken, especially from Edo period onward. Nowadays, there are a good number of traditional schools that retain their knowledge and history with this projectile weapon and provide training with them, such as Negishi ryu, Meifu Shinkage ryu, and Kukishin ryu. Depending on the ryuha6, or martial school of a specific style, there are special labels for the type of bo shuriken used. For example, in Kukishin ryu these are called uchibari7.

A set of homemade bo shuriken. On the left is live (sharpened) version, while on the right is safe training version.

In the system I study, the bo shuriken techniques are primarily associated with Togakure ryu8 and Kukishinden ryu9. Using it is based on taijutsu, with our kamae a starting point for learning when to throw. One of the basic kamae we learn to launch a bo shuriken from is called Doko no Kamae10, where we stand with our left foot forward and right hand up next to our right ear, holding the point upwards. When training with “live” shuriken (that is, sharpened metal ones), a large target, such as a wooden board or a tatami mat, is used, while safe, non-metallic versions can be used during drills & kata keiko with your training partners.

THE BASICS

When training with the bo shuriken, a key aspect to focus on is one’s form. This is considered basic, and is crucial for beginners to take to heart. Instead of trying to make the bo shuriken stick into the target when throwing it, one should instead focus on how to take proper posture (In this case we’ll use Doko no kamae) before, during, and after the throw. This process has to be repeated many times in this fashion, where your form dictates the bo shuriken striking the target correctly. The key point here is that the technique is within one’s form, and once a person ingrains this into their body, will it be possible to get consistent results.
Once your body has “learned” the form, can one then gradually focus on aiming for the target. One can attempt to control where you want the bo shuriken to strike, as well as progress to throwing multiply projectiles in relative quick successions. The throwing form is not abandoned, as you still need to be aware of how to prep yourself to launch the bo shuriken; instead you put faith in your body being trained enough where you don’t have to think about your throwing form from start to finish.

SITUATIONAL ADAPTATION

In the beginning, when learning the bo shuriken (or any projectile for that matter), we do it stationary. Usually this is from a frontal, standing position. As time progresses and our ability to consistently hit a target increases, we work on being able to throw under different conditions. Some of these conditions include facing different directions, crouching down, and having another weapon in hand. In one example, this can be integrated with kenjutsu as, while holding a katana in Seigan no kamae11, you take out a single bo shuriken with your right hand and skillfully hurl it at the target.

Throwing a bo shuriken can also be accomplished while moving, which includes walking, turning, and leaping. This is is especially difficult while performing Ukemigata Taihenjutsu12, for timing varies if thrown at the start of, during, or after tumbling to the ground. Conditions like these further challenge the practitioner to develop the ability to use the bo shuriken in any scenario.

CONCLUSION

Studying the bo shuriken is demanding, for developing a skill for precision is a must. In the end, it is very rewarding. That about wraps up this post. Hope this was informative, especially to those who have interest in shuriken training.

1) 棒手裏剣

2) 隠し武器. This means “concealed weapon”.

3) 手裏剣. While this is generally read as “a hidden blade in the hand”, I’ve learned that the actual meaning is “a blade held in the hand is thrown outward”. To better represent this meaning, shuriken can be written as 手離剣, with the second character meaning “to gain distance” or “move away from”.

4) 平型手裏剣

5) 車剣, which means a bladed projectile that is round like a wheel.

6) 流派

7) 打針

8) 戸隠流

9) 九鬼神伝流

10) 怒虎の構

11) 正眼の構. A posture in kenjutsu where the tip of the katana is held towards your opponent’s eyes.

12) 受身型体変術. This is an area of training that focuses on breakfalls, rolling, and moving through the air with agility.

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Onna Bugeisha: Women and the Naginata

Women and their role as warriors in the history of Japan is an interesting topic I’d like to touch upon. There are many literature, plays, and artworks of onna bugeisha1, or female warriors in English, that portray their feats. Depending on the time period, onna bugeisha are said to have had their fair share of combat like their male counterparts, some in armor suited for the battlefield, and others in simple domestic wear. Women learn to use many types of weapons, according to their needs and the situation at hand. In an on-going series, I will discuss various topics related to onna bugeisha, from key figures to the martial systems they’ve specialized in. Today’s topic will start off with women and their ties with the weapon called the naginata2. This will briefly cover the historical periods where women became synonymous with the naginata, along with some truths and falsehoods that stemmed from this image.

An artwork called ” Ishi-jo, wife of Oboshi Yoshio, one of the “47 loyal ronin”” (誠忠義心傳：大星良雄内室石女). Ishi-jo is shown brandishing a naginata. Artist is Utagawa Kuniyoshi, and was made in 1848. From Wikipedia.

A GLANCE INTO HISTORY

Onna bugeisha and their ties with the naginata is most recognized around Edo period (1603-1868), a time when the newly-established Tokugawa shogunate ushered in a time of peace after long periods of war. To ensure that no opposing factions or groups ever rose up to challenge the rule of the Tokugawa clan, all battlefield weapons were restricted from public possession and use. At the time, the naginata was considered a large battlefield weapon, consisting of a blade similar in length to a katana, which was mounted on a long, sturdy pole. Due to this, the naginata was subjected to strict regulations, such as “Naginata Naoshi”3. While many were converted into shorter-bladed swords, the knowledge of utilizing the naginata would soon be given a new route to stay viable during the more peaceful era that settled into most areas.

Families that have a military background were known as buke4, or warrior family. Members of these household were often trained in various combat arts, so to be able to protect themselves from danger, as well as to maintain the family’s martial tradition. In one instance, to ensure that homes and mansions were protected from theft and invasions, military and martial specialists trained their wives, daughters, and young women in how to wield the naginata. The techniques learned were initially from those used on the battlefield, but modified so to be adaptable for use indoors against armorless opponents. This became the norm over the years as the naginata became a favorite among women as a means for self defense due to its reach advantage against the katana, and balance due to having a long shaft. This likeness prompted the label “Onna Naginata”5, or “Women’s Naginata”.

Some martial systems that have naginata techniques/curriculum modified them for use by women; whereas the original techniques required wide open space for larger swings, naginata used by women were more smaller and concise for use indoors. Through this developed entirely new systems for the naginata, complete with their own lineage. Some of these lineages are even headed by female headmasters, which is a rarity throughout Japan’s martial history. An example of this is Youshin ryu Naginatajutsu, which started around 1620s as a means of self defense for the female residents living in a castle in Yanagawa Domain6. Youshin ryu Naginatajutsu is currently headed by Koyama Takako, who continues to actively maintain this system and ensures that quality training is available to female practitioners.

As time went on, Onna Naginata went through some transformations. For starters, during the Meiji period, a competitive version of naginata was developed alongside gekiken (a sword system using a shinai and protective gear predating modern kendo), and displayed in many gekiken competitions around Japan. Women participated using wooden naginata, and would often pit their skills against men doing gekiken. An example is Chiba Sanako, the daughter of Chiba Sadakichi Taira no Masamichi, who ran the Chiba Dojo belonging to Hokushin Itto ryu Hyoho. Sanako was not only a licensed master of Hokushin Itto ryu Kodachijutsu, but was also very proficient with the naginata. It is said that she had defeated every challenger that stepped foot into the Chiba Dojo located in Fukagawa, Tokyo.

2017-04-20-14.22.51.jpg.jpg

A portrayal of Chiba Sanako with a wooden naginata dueling with a gekiken practitioner. From the 3-panel woodblock print called “Chiba Gekikenkai (千葉撃剣会) by Tsukioka Yoshitoshi in 1873(?). To see the entire print, please visit Hokushin Itto ryu Hyoho’s website here.

Next, women’s naginatajutsu further developed from Meiji period (1868-1912) onward as a kyougi budo7, or a sports-centric martial art. Under kyougi budo, there are many rules that dictate both movements and areas to strike. This type of naginatajutsu became the standard, and was introduced to certain schools as a physical education class for young women not only to train their bodies, but to learn discipline and refine their spirit. Sonobe Hideo (4/18/1870-9/29/1963), the 15th lineage holder of Jikishinkage ryu Naginatajutsu, contributed to this. She took the role as instructor and taught naginatajutsu at several schools and institutions around Japan from the late 1800s to early 1900s, including Himejishihan Daigaku (later changed to Hyougoshihan Daigaku), Osaka Kyoiku Daigaku (Osaka Kyoiku University), and Gakushuin Joshi Daigaku (Gakuin Women’s College).

Onna Naginata continued to develop with the times, even after Japan’s defeat during WWII and the practice of martial arts was banned for some time. Stripping away most of its combat elements, naginatajutsu was still made available to women with the intention to be more for sports and health purposes. In modern times, it further evolved to fit under the standards of Zen Nihon Naginata Renmei, the organization that oversees all participating systems of naginatajutsu for both competition and forms nationwide. Now called Atarashii Naginata8, it is offered in high schools to female students, giving them the chance to learn naginatajutsu in clubs, and participate in tournaments against other schools. Primarily a bamboo naginata is used alongside with protective gear (consisting of a face guard, chest guard, padded gloves, and shin guards) during competition, which is often naginata versus naginata, or, in recent times, naginata user versus a kendo practitioner. Note that while Atarashii Naginata is still associated with young women, it has also been made available for young men to learn and compete in.

DISCERNING TRUTHS AND FALSEHOODS

Now that the history onna bugeisha and their connection with the naginata has been briefly covered, let’s look at some points that will cover some of the truths and falsehoods that are associated with the image of women and the naginata.

yōshū_chikanobu_tomoe_gozen.jpg.jpg

A woodblock print of Tomoe Gozen (middle) battling Uchida Ieyoshi (left) during the Battle of Awazu in 1184. She is shown wielding a naginata while on horseback. Artist is Yoshuu Chikanobu, and was made in 1899. From Wikipedia.

1) Naginata is a women’s weapon
While there are evidence that leans towards this, primarily in the modern society of Japan today, it is not entirely true. In earlier times when wars were abundant and Japan wasn’t unified, male bushi, otherwise known as warriors, utilized the naginata a great deal. It was a heavy weapon that was effective against enemy troops and cavalry alike through its reach and large sweeping cuts. It wasn’t until Japan was ruled by the Tokugawa shogunate and big battles were almost non-existent where the role of the naginata switched from a battlefield weapon to a self defense weapon. During this time, the katana was the primary weapon that the samurai took pride in, thus many male warriors focused their attention to kenjutsu. Since women were not allowed to carry a katana, they focused their energy into being proficient with other weapons, one being the naginata.

2) Naginatajutsu is designed for women
Again, not entirely false, but not quite true either. Onna Naginata, as it is labeled was designed for women due to some important points. For starters, the naginata used by women was shorter and lighter than the version men used on the battlefield, allowing for faster cuts and ease in manipulation. This type of naginata is often called a konaginata9. Women at the time wore long kimono that restricted them from taking wider stances for big swings, so they needed to learn how to move with the naginata taking smaller steps, and using agility with quick body turns that matched their normal wear to move accordingly. Naginatajutsu for men, often labeled “Otoko Naginata10“, still exists, and often retains techniques used for the battlefield against armored opponents. However, Otoko Naginata is not as popular or publicly documented in Japan. This is generally found in some kobudo11, such as Katori Shinto ryu, Shidare Yanagi ryu, and Kukishinden ryu.

3) Onna Bugeisha that had to go to battle did so with the naginata
This not only refers to actual female warriors in the past, but the general viewpoint of them that is now visible in pop culture. Contents that have a historical setting before Edo period tend to show these female warriors going to battle with a naginata. This can be seen in books, comics, and games. A big contribution to this image is ukiyoe12, or woodblock prints, that were commonplace during the 1700s to 1800s. Many ukiyoeshi13, or woodblock artists, often took a theme from society or history, and would paint them with a more romanticized flavor in order to make the visuals more appealing. Ukiyoe, while visually stunning, tend not to be accurate. Case in point, a famous female warrior by the name of Tomoe Gozen is depicted in ukiyoe. Decked in armor, she is a prime representative of a Japanese woman not only taking part in battles, but having the prowess to best men in mortal combat. One misconception is found in the actual weapons used in battle by her. In historical accounts,  it is said that during one of her last battles Tomoe was using a sword to duel and beat her opponents. However, in a ukiyoe by Yoshuu Chikanobu (shown above), the same scene is vividly recreated, but with Tomoe using a naginata instead. The change to the naginata may have been due to the current trend of women training in naginatajutsu at the time.


FINAL WORDS

In closing, onna bugeisha made great strides in being a formidable force with the naginata. Women have demonstrated its effectiveness as a means of self defense, as well as utilized its superior reach in competitions. Even as Onna Naginata transformed from a combative art to a sports-centric system,  women continue to train in it with the same vigor as in the past. Hope you enjoyed today’s topic, and look forward to future posts on on female warriors!

1) 女武芸者

2) There are 2 ways of writing this in Japanese, which are 長刀 and 薙刀. The 1st one, an older version, stands for a ‘long, bladed weapon’. The 2nd one, more commonly used in recent times, stands for a ‘bladed weapon that mows down’. Both use the same pronunciation.

3) 薙刀直し. Naginata Naoshi was a movement where blades of many naginata were reforged and turned into shorter swords, usually in the style of a katana. Due to this, there are almost no naginata in existence dating back before the 1600s.

4) 武家

5) 女薙刀. Also called Josei Naginata (女性薙刀), which has the same meaning.

6) 柳河藩. Former domain during the Edo period in present Fukuoka Prefecture, Kyushu.

7) 競技武道

8) 新しい薙刀. This means “New Style of Naginata”.

9) 小薙刀

10) 男薙刀

11) 古武道

12) 浮世絵

13) 浮世絵師

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Kata Geiko: Approaching Forms in Martial Arts

Within the traditional martial arts, particularly the ones found in Asia, a good deal of the lessons are taught through forms. The term forms mean sequences that include preset movements and techniques that end in a given outcome. This is true for the majority of martial art styles that have existed for many decades, such as in Chinese styles like Hung Ga and Xing Yi, the Korean style of Taekkyeon, and the Indian style of Kalaripayattu. Japanese traditional martial arts, often labeled as kobudo (古武道), are no different. One of the reasonings behind forms is that they help to ingrain the given style’s movements and techniques into the body. This is important, for it not only helps the student to learn the essence of the martial art being studied and preserve it for future generations, but it keeps training partners safe. It takes a good deal of time to see the fruits of one’s labor in training through this method, but in the end the results tend to be solid.

While a good number of traditional martial art styles have a considerably long history where they have had a chance see use in conflicts, their effectiveness are being questioned as the years go by and countries around the world are seeing more times of peace. This is heavily contributed by modern martial arts, as these have gotten more exposure and gaining popularity. This is true especially for those systems that are used competitively, such as Sanda, Brazilian Jiujitsu, and Mixed Martial Arts. Some of the strong points of these modern systems include the following: shorter time of intense training yielding effective results, relatively simpler training methods and techniques for quicker understanding, and an emphasis in a muscular physique. While their effectiveness for actual conflict will not be questioned, the point I want to focus on is how the form-driven traditional martial arts are approached to be effective. While I’ve had abit of exposure to a few Asian styles, I will speak based on my ongoing experience with Japanese martial arts.

Forms in Japanese martial arts are called kata (型 or 形), while the term commonly used when studying kata is kata geiko (形稽古). Kata can range from being short sequences of, at times, 5 movements, to long sequences of over 10 movements. Within these sequences are intricate movements, principles, and basics that are essential for developing one’s foundation. At first glance kata can seem simple, sometimes to the point where you accept what is presented at face value. However, this is not the case, for a kata hold many lessons that one can study from and formulate many applications over the course of time. A teacher who has studied their art correctly can lead students to understanding this point.

Here’s a few steps one takes when studying kata in a traditional Japanese martial art. To note, the following is based on my experience over the years under qualified teachers and the results that came with it. In no way am I claiming that these steps are the only means to training in kata, for each individual school and style may utilize other steps that can produce the same results.

1) REPETITION: When given a particular kata, you should go through the motions in the kata many times as shown. Doing it a few times isn’t enough; the kata should be repeated hundreds of times. This can be done with a partner (if it calls for it) as well as solo. Those engaging in kata should take their time as they go through the motions, even when working with a fellow partner. The reasoning behind this is not only do you want to ingrain the movements into your body, but as you repeat the movements in the kata, a certain understanding should start to develop.

Over time you should gain more insight and proficiency in little things such as control, timing in execution, the dynamics in the footwork, and so on. Repetition is more than just muscle memory for the sake of doing the kata, but learning to discover what the kata is trying to teach you to do.

2) BUNKAI: At some point during kata geiko, you will start to do bunkai of the kata you are learning. Bunkai (分解) means “analyzation” or “breaking down”. Through bunkai, you generally will be shown, in details, what’s going on in the kata. It is more than just a visual explanation, but on a much deeper scale in regards to your responses (i.e. the movements you are doing) against an opponent’s movements. Reasoning behind the movements and the techniques used will be explained, along with the type of energy and intention behind the movements you should possess, as well as different scenarios they may play out in.

Usually, principles and lessons key to the art will be revealed through bunkai. As a better understanding of the given kata is acquired, you should start increasing the amount of intent used (between 30%-50% depending on one’s skill level) when practicing with a partner, as well as working to develop a smoother, yet unrushed, flow.

3) VARIATIONS: Depending on the particular martial system and its lineage, you may be taught variations of a kata. Variations serve several purposes, with one being to approach the same concepts and principles of the kata in question in a different light. There are different labels for variations, such as henka (変化) and ura (裏). In any event, variations may be handle the same as the original kata, such as being required to drill them consistenly, or shown as a supplement to emphasis specific points. Some variations are near identical to the original, save for a few moves in its ending sequences. Others may diverge in terms of appearance very close to the beginning, but retain certain principles and movements from the original kata. Then there are those that do not resemble the original kata, for they may be designed to approach the same situation with a completely different solution.

As a whole, variations are necessary to learn more about the toolset and lessons received from the main kata, and how they can be applied further against new obstacles. These should be treated with the same importance as the original kata, and be used during one’s practice to push you to learn how to handle changes in an opponent’s attacks.

4) FREE PLAY: As the name applies, you approach your kata geiko with training methods that grant abit more freedom and a chance to test your abilities. Free play is a coin term for different training methods that allow you to interact with your skills against others in a challenging fashion. Keep in mind that there are still rules when approaching this, with the biggest one being that you must use the art you are training in. Methods that fall under free play may have different names and rules depending on the martial system. One of these methods I work with is called randori (乱捕). What takes place in randori is a semi-free exchange between one person taking the role as a defender, while the other person assumes the role of an attacker. As the attacker presses on with different attacks, the defender has to use the skills and principles learned from kata and apply particular techniques to outbest the attacker, as a way to understand how things would work under more realistic circumstances.

Randori can be structured to allow for more or less freedom in the techniques one can use, as well as have a different number of attackers. Generally, the intent level used in this can exceed over 50% of what you would normally use in training, but never reaching 100%; although both students should feel like they are in a struggle, randori is still done in a controlled manner to avoid injuries.

 

As one can see from above, there are steps to use kata as a means to learn a particular style properly, as well as understand how to deal with conflicts. It does require a lot of time, on the other hand, but with almost everything in life that requires proficiency this is normal. Studying martial arts require a lot of effort and commitment, for a person is working to develop proficiency on a physical, mental, and (depending on the style) spiritual level that takes years to achieve. Even then, one must continue to refine one’s skills and understanding, for our body and mental state changes as we get older. One of the strong points about kata is that they retain the lessons to be learned as they keep the same components, yet are ageless in how these lessons can be applied with each generation.

There is a sense of responsibility one should be prepared to bear when studying traditional martial arts. It is more than just fighting, but the upkeep of the martial style through perfecting our abilities through kata, for we in turn represent the effectiveness of the style we sign up to learn.

This is just my thoughts and advice concerning kata used in martial arts. Hope it helps to shed some light for those who may question the necessity and use of them, and why it is used mainly in traditional martial arts.

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Mune or Mine, Which One Is Right?

How familiar are you with the anatomy of the katana? A popular single-edge sword, the katana is one type of the different bladed weapons used in Japan’s history, collectively known as nihonto1. Gracefully made, each part of a katana is essential and is required to be understood thoroughly if studying one of the traditional kenjutsu and iaido schools from Japan. While the naming convention for each part tends to be universal, at times certain schools will use a different name. One part in particular caught my attention recently, which is the back of the blade. Growing up, I learnt this as “mune2“. However, I’ve come accross different sources, primarily in Japanese, that call this “mine3” instead. What is the difference between the two terms, and what are their origin?

A pic of a katana and its parts illustrated. Mune is circled. From the book “The Art of Japanese Swordsmanship: Manual of Eishin-ryu Iaido” by Nicklaus Suino.

MUNE
The word mune is used to describe the ridge on the roof of a building. Usually roofs on more older buildings such as shrines and long wooden homes have this. They stretch across the top of these roofs, acting like a joint for the sloping parts that make up the roof. The thickness and defined shape of the back of a nihonto was probably likened to this.

A picture of a roof of Hiroshima Castle. The mune is the highest part of the roof, featuring a fish sculpture. From Wikipedia.

MINE
The use of the word mine is generally associated with an object reaching to a great height. Usually referencing tall mountains, it also has been used when referring to eboshi4 (traditional headwear). For nihonto of relatively long length, when held upright, is similar in comparison to a mountain.

High points on tall mountains, such as Mt. Fuji, are often described with the word mine. Picture from Wikipedia.

WHO USES WHICH

Referencing different traditional kenjutsu/iaido schools, it’s interesting to see which ones use one or the other. Here’s a few names of the schools that use the term mune:

  • Eishin ryu (includes Mugai Jikiden Eishin ryu, Musou Jikiden Eishin ryu, etc.)
  • Musoshinden ryu
  • Yagyu Shinkage ryu

Now, a few names of schools that use the term mine:

  • Jigen ryu
  • Shinto Munen ryu
  • Niten Ichi ryu

CONCLUSION

In ending, both mune and mine are interchangable when referring to the back of a single-edge nihonto, albeit style-specific in some cases. Just remember that either one is ok to use.

1) 日本刀. The term is actually for bladed weapons with a handle, and not soley reserved to actual swords, such as the katana. Here’s a few of the various weapons that fall under this category:

  • Tsurugi (剣)
  • Chokuto (直刀)
  • Tachi (太刀)
  • Wakizashi (脇差)
  • Nagamaki (長巻)
  • Yoroidooshi (鎧通し)
  • Uchigatana (打刀)

2) 棟

3) 峰

4) A light, black headwear made out of good quality washi (Japanese-originated paper). It’s use began during the Heian period (late 700’s to late 1100’s) up until the Middle Ages, around Sengoku period (1500’s to early 1600’s).