July 20, 2019 by Curtis A

Phases of Martial Structuring: Kyūsen no Michi ~ Part 2

This is part 2 of the discussion on Kyūsen no Michi. Here, we narrow our focus more on the components that defined how this militaristic system worked to craft those into warriors according to how battles were engaged and played out. Whereas the usage of the word “kyūsen”, along with militaristic history of Japanese archery was covered in part 1, for part 2 we will go over the known different groups & styles of archery, as well as a few recognized innovators concerning the bow & arrow. This discussion will also include some categorizing within the world of kyūsen, along with some comparing and contrasting, will be in order.

A good number of handy sources were used for this discussion, including the following:

Kanbon Nihon Bugei Shoden / 完本日本武芸小伝
Kyūsen Zushiki / 弓箭圖式
All Nippon Kyudo Federation / 全日本弓道連盟
Heki To Ryu

Take note that part 2 became much bigger than intended in order to give a proper insight of Japan’s archery. Despite it’s size, it does not give a 100% definitive overview, as there are some information not added, lest it grows into something on the level of a research paper. Still, part 2 should provide enough insight on how significant and respected Kyūsen no Michi was to the point that many warriors invested their lives into it.

KORYŪ VS SHINRYŪ

In order to properly cover the specifics that make up Kyūsen no Michi, it is important to know that, on a technical and cultural level in relations to combat purposes, there are two types of archery (kyūjutsu in Japanese). The first is called Koryū kyūjutsu (古流弓術, Old-style archery), while the second is called Shinryū kyūjutsu (新流弓術, New-style archery). The categorization of these are both based on time period, equipment, and technique:

Koryū – Ancient times, with notable structuring from Heian period until early 1400s period
Shinryū – Around late 1400s onward until the abolishment of the warrior class in late 1800s

MANY SCHOOLS OF ARCHERY

Due to how integral kyūjutsu was in a warrior’s career, many groups specialized in it. Some groups preserved the lessons on archery as their own family styles, while others would learn that particular style and represent it usually indicating that they are a branch of it. Below are lists of some of the well known archery styles throughout Japan’s history, along with the founder and the time they were alive.

The first one is for those that fall under the Koryū kyūjutsu category:

The next list shows the styles that fall under the Shinryū category:

Along with this, are the different branches related to Heki ryū:

While the records pertaining to archery found in manuals & documents list these mentioned above and many more, take note that a lot of them are no longer in existance. The styles that are still active include Ogasawara ryū, Honda ryū, Takeda ryū, and Heki ryū Insai ha.

DIFFERENCE BETWEEN OLD & NEW

Here are some general descriptions between Koryū kyūjutsu and Shinryū kyūjutsu. Note that this is more in reference to how they were conducted before the warrior class was abolished as a whole.

A listing of archers of Taishi ryū, by rank. From Kanbon Nihon Bugei Shoden.

Koryū Kyūjutsu

Generally categorized as reisha (礼射), or “ceremonial-centric archery”, due to the emphasis on etiquette, customary practices, and focus on displaying shooting prowess.
During battles, archery was primarily use, both from long range to close range
Off the battlefield, archers demonstrated great focus and control while shooting targets at various distances.
Engaged in outing activities requiring feats of shooting while on horseback, such as hunting, and special target courses classified under Kisha Mitsumono (騎射三物)
Unison between rider and horse, called “jinba ittai” (人馬一体) in Japanese, was important
Considered a developing practice since ancient times, ceremonial practices within archery slowed abit due to power struggles from Heian period to early Muromachi period, as archers in battle was of necessary use
Once the ways of Koryū kyūjutsu was seen non-viable in combat during Muromachi period (around start of 1400s), it was revitalized and preserved in Ogasawara ryu through restructuring.

NOTES

Despite being considered reisha due to its high focus in shooting ability and ritualistic customs, Koryū kyūjutsu had fighting elements and was indeed acceptable training for combat
While much of the skillset emphasized on shooting from horseback, archers did also practice shooting while on foot
On foot, the bow was held at an angle when shooting arrows.
Although some existing styles such as Ogasawara ryū Reihō (小笠原流礼法) practice solely reisha, few groups such as Bushido Shinkōkai and Dai Nihon Kyūbakai preserve the fighting element of Koryū kyūjutsu not only with the bow & arrow, but with the tachi and naginata.

Shinryū kyūjutsu

Generally labeled as busha (武射), or “military-centric archery”, as this was designed specifically for use on the battlefield according to the new direction wars were approached.
Developed during Muromachi period between mid to late 1400s, when the tactics of war switched to large infantry, formations, and close range skirmishes
For the sake of combat efficiency, archers primarily performed on foot, but also had knowledge on how to shoot while on horseback
Archers were trained to coordinate together using group tactics
Trained to work under all types of conditions, including wet/bad weather, at night, on a boat, in a tower, and when the need to switch to close range fighting arised
Used barricades, such as tate (楯), as defense against long range attacks, as well as fenced areas as protection against flankers/disrupters
Contested with firearms (i.e. rifles, cannons) from mid-ending 1500s.
From Edo period (1603~1868) onward, once firearms took precedence in how wars were conducted, groups such as the Shimazu clan retained the effectiveness of archery by studying & incorporating rifle formations.

NOTES

Shinryū kyūjutsu isn’t completely unique and different. It was built off of koryū kyūjutsu, inherited certain aspects, then redefined specifically for combat purposes, thus why it’s called “the new style of archery”
Yoshida Shigeharu (吉田重春) is credited for implementing customary practices to Heki ryū starting in the mid 1600s. However, as it is not the same as reisha of Ogasawara ryū, Heki ryū’s is called taihai (体拝).
Today, existing Shinryū kyūjutsu styles such as Heki ryū retain busha, as well as practice taihai.

DIFFERENCES IN TECHNIQUES/EQUIPMENT

Here’s a short comparison between Koryū kyūjutsu and Shinryū kyūjutsu.

A mokuroku (list of techniques) of Ban Dōsetsu ryū kyūjutsu. Fron Kanbon Nihon Bugei Shoden.

Koryū kyūjutsu

Archers used larger bows, such as fusedakeyumi (伏竹弓, made out of wood and bamboo) and marukiyumi (丸木弓, curved wooden bow)
During the Heian period, wore large box-like armor called ōyoroi for added protection
Smaller draw due to technical issues such as mobility limitations while on horseback, large kabuto (helmet), etc.
Archery done by cavalry was called kisha (騎射)
Closing the range while on horseback increase accuracy to vulnerable areas
Wore tomo (lefthand glove) to prevent string from injuring hand on return
Carried tachi on left side

Shinryū kyūjutsu

Used smaller bows
Archery done while walking was called hosha (歩射)
From the Muromachi period onward, archers wore revised, slim fitting armor, which allowed less restrictions in drawing skills and mobility while on foot
Used larger draw and other techniques to increase an arrow’s power and penetration capabilities (i.e. allowing the bow to turn ccw in the hand)
Carried uchigatana (slightly shorter battlefield sword for upclose fighting) and unique equipment to adapt to certain situations, such as uchine (打根), spear point on top of bow, etc.

DISTINGUISHED INDIVIDUALS

Below are a few renown archers that are pioneers in Japan’s history of archery.

Ogasawara Sadamune / 小笠原貞宗

Picture of Ogasawara Sadamune. From Shūko Jisshu (集古十種). From Wikipedia.

Born in 1292, Sadamune was a warrior from Matsuo, Shinano Province (present day Ida City, Nagano Prefecture)
As a member of the established Ogasawara clan, he worked for the Kamakura Bakufu through Hōjō Sadatoki
Made a name for himself in Heian Kyō (Imperial capital, present day Kyōto) during the early-mid 1300s, as he participated in many battles such as the campaigns against the Mongol invasions, assault on Emperor Go-Daigo, the attack on Kusunoki Masanari’s Akasaka castle, and the battle of Kamakura
Sadamune earned merits for his efforts, was named “Shinano Shuei” (信濃守衛, Protector of Shinano), and established his residence in Shinshū prefecture.
Known for his involvement in zen, and was a worshiper of Marishiten, the “God of War” (武の神, Bu no Kami)
Sadamune created “Ogasawara ryu Reihō”, which features the rituals, etiquette, and customs practiced by high-ranking warrior families
Ogasawara ryū Reihō contains reisha, the preservation of Koryū kyūjutsu, which includes ceremonial practices, expert level with the bow & arrow, and feats of archery while on horseback
Sadamune established the principles of “sha – go – rei” (射・御・礼), which are the standard for reisha
His contributions inspired others to learn and add this to further their worth as warriors

Heki Danjo Masatsugu / 日置弾正正次

A picture of Heki Danjo Masatsugu. from the collection of the Toda household of the Bishu-Chikurin branch. From Wikipedia.

Birthdate is uncertain, although some sources say around 1444
Believed to have been born in either Yamato Province (present day Nara Prefecture) or Iga (present day Mie Prefecture)
Originally studied Henmi ryū, Masatsugu participated in many battles in the northern parts of Japan, such as Ōnin War (1467~1477)
While serving as a warrior, Masatsugu had opportunities on the field to utilize the bow & arrow according to how it would prove useful
Main focus on the redivision of archery was on militaristic usage, both in and outside of the battlefield.
Established the principles of “kan – chū – kyū” (貫・中・久¹) as the highest level of Heki ryū kyūjutsu
After a life of battles, Masatsugu traveled around Japan to test his methods. It is from this time he meets Yoshida Shigekata.
After choosing his successor (Yoshida Shigekata), Masatsugu retired by living in one of the temples within the mountainous region called Kōyasan located in Kishu (present day Wakayama Prefecture)
Some of the titles he used includes “Rurikōbō” (瑠璃光坊) “Dōi” (道以) , and “Itoku” (威徳)
Masatsugu is known as the “pioneer who revitalized the archery of Japan”, as he brought attention to the new ways the bow & arrow could be used in battle during a time where many viewed them as obsolete.
Despite his fame through the effectiveness of Heki ryū, much mysteries surround his existence, to the point where some researchers speculate that Masatsugu could be a fabrication

Yoshida Shigekata / 吉田重賢

Born 1463, Shigekata came from Gamō County, Ōmi Province (present day Ryūō Town, Gamō County, Shiga Prefecture)
Was a retainer of Rokkaku Sazaki in Ōmi Province (present day Shiga prefecture)
Shigekata was a skilled archer, studied different archery styles such as Ogasawara ryū, Takeda ryū, and Henmi ryū
When Heki Danjō Masatsugu came to visit the Rokkaku clan, he encountered Shigekata and tested him on his archery abilities. Yoshida was able to pass the test, which from there Masatsugu instructed him on the highest levels of Heki ryu before passing successorship to him.
Discerned the effectiveness of Heki ryū according to the times by organizing the lessons
Shigekata is recognized for passing down the teachings of Heki ryū to others through his family style “Heki Yoshida ryū”, which held the highest teachings of this style of archery.
Not much info on him, despite his legitimate family line
Due to the lack of info, some researchers speculate if he and Heki Danjō Masatsugu were the same person

CONCLUSION

We’ve come to the conclusion of Kyūsen no Michi. This is just a small sample of the large amount of information found in Japan’s archery history, especially when dealing with the technical side of things. Stay tuned, as we will move on to a different phase pertaining to how Japan’s methodology to combat changed and developed.

1) There is another version, which is “hi – chū – kan” (飛･貫･中). They are not 100% the same. Here’s a quick explanation.

kan – chū – kyū = Penetrate the target, always hit the target, and last long enough to keep doing the first two points
hi – chū – kan = Shoot from long range to hit the target, always hit the target, and penetrate the target

They are both associated with Heki ryū. The difference may be between the different branches and the methodology that was passed down in each one.

On another note, there are other modernized 3-point principles, but they pertain to kyūdo and are geared more towards one’s shooting form.

May 7, 2019 by Curtis A

Training A Healthy Life: Body Maintenance

In today’s society, martial arts is considered a good way for developing a strong, healthy body. This is true, especially those that can be participated in by elders. Outside of the combat elements, however, there are several routines related to martial arts that are essential for taking care of the body. On their own, these routines can support and promote a long, healthy life. Coined as “body maintenance”, below is an explanation of several components of this, as well as tips from my own experience.

STRETCHING

A form of body maintenance is stretching, which is a basic routine essential for almost all types of martial arts. Called jūnan taisō¹ in Japanese, oftentimes this is reserved for the begnning of a traning session, where one stretches the arms, legs, waist, and so on in order to increase the flexibility in one’s muscles, and tendons. Stretching is vital as it not only allows a person to perform punches, kicks, and body movements required in given martial system, but can prevent serious injuries from certain joint and body strains or sudden falls one may get if their body isn’t supple enough.

Picture on the left, reaching both hands behind our backs, while in the picture on the right, front leg lifts.

In order to maximize one’s ability to stretch, there are other important segments to remember. One of these is loosening the joints up before doing deep, long stretches. This can be done by rotating one’s arms, swinging one’s legs, rotating the hips, and so on. Loosening one’s joints should be done with control and care, especially for beginners; excessive and/or overpowered limb and joint manipulation could lead to strains, tears, or severe joint injuries.

BODY MASSAGE

Another routine for body maintenace is body massages. In some martial systems great emphasis is placed on this, as massages can loosen and relax muscles, and promote good blood flow. Massages can warm up the muscles to prevent injuries during active times while training, such as muscle pulls. This is also true in sports. In my group, several basic massaging routines used include those that can be self-applied. This includes simply rubbing and pressing the muscles on the calves, forearms, sides, feet, and back.

Various ways to increase flexibility in the wrists

A unique way to actively massage the body is through light body strikes. Just like a regular massage, a practicioner can self-apply this all over the body using different parts of the hand, such as the palm or sides. While this gives you similar results to regular massages, light body strikes also works as conditioning for the body, for the impact toughens the skin and gets one’s body used to the striking sensation. One must also be careful to do this moderately and to one’s capacity, for striking too intensely can cause unforeseen damage.

DAILY ROUTINES

Body maintenance should not only be performed in class, but outside during one’s daily routines as well. Actually, it cannot be stressed enough about the necessity of doing this on a daily basis. For example, I personally did stretching up to 3 times a day while growing up, and this was outside of training. I would stretch once in the morning, once in the early afternoon, and once at night, preferably before going to bed. This routine has benefited me greatly over the years health-wise, as well as avoiding long term injuries. Of course, there are some guidelines to keep in mind:

Examples of ground stretches for the legs and body.

① Never stretch immediately upon waking up. Walk around abit and warm up the muscles & joints before beginning stretching.

② Do not stretch immediately after eating. For the afternoon, stretch before eating lunch, or save it for early evening after eating lunch.

③ If going to bed immediately after stretching, then stretch lightly and less vigorously. Stretching stimulates the blood and can wake up the body.

While stretching is a must before training, stretching after a training session is also important. After training sessions is good for loosening tight, fatique muscles, and improving blood flow. It should not be as vigorous as the before-training stretch, nor as long.

CONCLUSION

Body maintenance is an important, non-combative element in martial arts. It should be performed as much as the combative elements. Body maintenance can be achieved almost anywhere and anytime. For a martial artist, body maintenance not only can keep us healthy, but allow us to keep training in our techniques even when we get old, if done correctly.

1) 柔軟体操. Along with stretching, jūnan taisō also refers to movements and motor skills found in calisthenics.

April 23, 2019 by Curtis A

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).

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”.

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.

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.

February 19, 2019 by Curtis A

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.

15800745_1783703588550610_1509688710536970890_o1892910764507569056.jpg

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.

September 10, 2018 by Curtis A

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).

July 23, 2018 by Curtis A

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.

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.

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

May 3, 2018 by Curtis A

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.

September 20, 2017 by Curtis A

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.

June 20, 2017 by Curtis A

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.

April 20, 2017 by Curtis A

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.

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.

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

Light in the Clouds

Sharing contents about the martial arts, language, and culture of Japan

Martial Arts/Bujutsu

Phases of Martial Structuring: Kyūsen no Michi ~ Part 2

Training A Healthy Life: Body Maintenance

Picture on the left, reaching both hands behind our backs, while in the picture on the right, front leg lifts.

Various ways to increase flexibility in the wrists

Examples of ground stretches for the legs and body.

Phases of Martial Structuring: Kyūba no Michi

Benefits of Overcoming Difficult Things

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.

Foundation and Context

Reihō and Sahō in Traditional Martial Arts

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.

Discerning Measurements for Training Weapons

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.

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.

Irimi Shiai & Its Application To Training

Bo Shuriken At a Glance

Onna Bugeisha: Women and the Naginata