Mobility is a core point in all martial arts. Ensuring we strengthen our legs on a regular basis is important. Standard leg exercises is good, such as running, squats, training with weights, and so on. Of course, there are martial style-specific leg training methods as well. For kobudō, leg strengthen is done with the purpose not just for power, but for basic structural endurance.
In Chikushin group, it is taught that bending one’s knees is a foundational principle that is simple, yet can impact one’s martial growth if skipped. Many of the methods used for this are naturally imbedded in our everyday training curriculum, so that students can strengthen their legs in a steady, progressive fashion.
LOW POSTURE
One method we use to strengthen our legs is to practice basics while maintaining a low posture. This can range from loosening one’s joints to performing movement drills. Practicing strikes, different walking patterns, etc. This is slowly integrated into our kihon gata (基本形, basics training), and can be done at one’s pace even during our own solo training. Structural endurance is one of the many benefits a person can get from dedicated practice.
Examples of maintaining low postures. From these we learn how to move, perform strikes, and so on while staying low.
Other than strengthen your legs, this type of low profiling creates good habits of executing techniques with the knees engaged naturally. As an example, it’s not unusual for people to unconsiously straighten their legs due to adrenaline during stressful situations while dealing with conflict. While there can be some good usages to standing tall at certain moments, balance and quick movements are typically compromised, especially while grappling. Performing drills where you keep your knees engaged and maintain a low profile helps to increase one’s chances of doing so without thinking about it. Our group uses kumiuchi (組打ち) practice to work on maintaining a low profile in order to take balance while preventing our blance from being compromised, and soundly perform throws against a training partner.
A comparison of when a person keeps their legs straight and can be easily tipped off balance (2 pics to the left), versus bending one’s knees to stay grounded and create stable footing in order to control one’s opponent (2 pics to the right).
SEATED FORMS
Another essential method used in our kobudo training is perform kata from a kneeling position. Some ryūha naturally have zagata (座形, seated forms), such as jūjutsu-oriented ones. However, for those systems that do not have these, then we can simply adapt tachigata (立形, standing forms) into zagata. Not only does this engage the knees, but is a great way to learn how to adapt in situations that transition to the ground.
Utilizing a rokushaku bō from a kneeling position and transitioning from one strike to another through a small jump. Note that this movement is not to gain height in the air, but to maintain a low profile.
Just like hand-to-hand systems, weapon systems can also be incorporated in zagata. Depending on the length, one needs to adjust to, as well as get comfortable with, dexterity and larger leg movements to make this work, which can produce fruitful results. Let’s take the rokushaku bō (六尺棒), or 6-foot stick, as an example. Most koryū systems feature some form of manipulation of this common weapon on the ground while kneeling during specific sequences and kata training. For some of the transitions, one needs to be able to switch from one knee to the other; sometimes this is through shikkō (膝行, walking through kneeling position), or through small, grounded jumps. As one would expect, this takes a lot of practice to get comfortable with. One can build their core by doing isolated drills of utilizing a bō from a kneeling position, such as striking and blocking combinations.
OVERHEAD SWORD CUTS
Lastly, here’s a good method that works as both a squatting exercise and sword-cutting drill. We practice a method called Ōkiri no tanren (大斬りの鍛錬). A kenjutsu-centric drill, one practices an overhead cut, bringing their sword up above their head as they stand tall, then cutting downward to the ground through a squat. In actual application, this trains the body to engage the knees in delivering a strong cut. During certain kata, this is apparent, especially for those that can fell an opponent as you coordinate power behind your sword and dropping one’s weight through one’s knees.
Performing Ōkiri no tanren.
CONCLUSION
Developing strong legs as a martial artist is imperative for future growth. It is not just dependant on outer muscles, but inner muscles developed through engaging bent knees. In kobudō this training is progressive and not rushed, for a student will be guided in, and challenged, to get better at doing this not just during class sessions, but in everyday life.
The word “kenjutsu” normally stirs up the idea of training in Japanese-style swordsmanship with the standard katana. In truth, this is more of a modern labeling. During Japan’s history of medieval warfare, the idea of kenjutsu was not limited to a sword of one size. This idea is retained in kobudō, and is put into practice in specified types of lessons, which is also upheld by our Chikushin group.
It is not impossible to apply the techniques of kenjutsu which incorporates a sword of specific length to, say, a sword of a longer length. In fact, it’s this same concept that was applied in the past (along with trial & error from experience), which can give birth to legitimate systems, such as kodachijutsu. This lies in the establishment of solid fundamentals that transpire in the multitiude of weapons one can learn in kobudō.
Some Japanese martial schools that possess various disciplines with different types of bladed weapons, each bearing a clear curriculum of skills, may be called a sōgō bujutsu (総合武術). There may be other non-curriculum content, such as sotowaza (外技), or skills that come from other martial systems not part of the current martial school’s philosophy¹, but in turn offer unique skills that prove beneficial. It’s from factors like these in which one can learn kenjutsu that can transpire across bladed weapons of varying designs.
In this article, I will demonstrate the similarities and differences in kenjutsu based on 3 types of bladed weapons, as well as the neccessity of understanding these finer points in order to use each one effectively. This demonstration encompasses fundamental skills that each of the weapons presented below share.
DIMENSIONS
Presented here are 3 bladed weapons, each of a different type that serves different roles: long sword, standard sword, and short sword.
LONG SWORD (NAGAMAKI): The first is a nagamaki. For starters, this features a 34″ blade, which is longer than the standard katana length of 27″. Along with that is an enlongated handle of 38″, giving the wielder a great reach advantage. A battlefield weapon that was once very devastating, whether on foot or while on horseback.
STANDARD SWORD (KATANA): Next is a katana, the common representation of Japanese sword. This one features a 28″ blade and 11″ handle. The katana accounts for much of what martial artists train with when studying kenjutsu. It’s not only crucial to be adept at using one, but also how to defend against it, since many weapon systems use lessons where one goes against an opponent who wields a katana.
SHORT SWORD (TANTŌ): Lastly is a tantō, coming in with a 10 1/2″ blade and 5″ handle. A bladed weapon that makes a good pair with a katana, but wouldn’t have been the 1st choice for use in combat. Still, it makes for a handy improvision when a bigger weapon isn’t readily available, especially since it’s common for people to carry something similar nowadays.
While the differences between the 3 weapons look daunting, a person can learn how to adapt the concepts of kenjutsu through dedicated practice. For example, while the katana features a common two-handed handle size, the nagamaki is unique as it can be utilized through techniques of both the katana and naginata due to its longer blade and handle. On the other hand, many Japanese martial school teach using a shorter sword against a standard one, allowing one to understand the principles of kenjutsu while wielding a tantō, along with developing dexterity in one’s movements to compensate for its short length.
The following scenarios below uses elements from the kenjutsu of Kukishin ryū to demonstrate how they apply to each weapon, despite their apparent differences. Note that, while Kukishin ryū has specific skillsets for each of these weapons, I will not be going in dept and comparing them to each other. The purpose of this overview is to analyze and compare the overall usage of each in specified situations.
#1 KAMAE – IKIYŌI (SEIGAN)
Here we take up a standard position of readiness, which most know as Seigan (正眼). According to each weapon, how this posture appears will be different, although the intention is the same.
NAGAMAKI – Much easier to control distance with the longer blade. On top of this, one can intimidate and take initiative through the additional handle length. This is achieved through te no uchi (手の内), or how one manipulates the nagamaki using different hand placements.
KATANA – Maintaining a moderate distance, we can keep a proper form. Through skills, one can be ready to either attack or defend when the opportunity arises. Those familiar with kendō can grasp this idea quickly.
TANTŌ – Extend arm to protect oneself and effectively anticipate an attack. Although your arm is more vulnerable this way, one can retract or adjust rather quickly due to a tantō’s light weight and balance point.
#2 KATA – TSUKE KOMI
Next, let’s see all three weapons in action. I will use the following kata, called “Tsuke komi” (附込), in where the main point centers on the defender using a thrust attack to close the distance and defeat an opponent who is open as they raise their own sword over their head. Going solely based on appearance, this kata illustrates the advantages and needed adjustments when performing a thrusting attack through each of the three weapons against an opponent who wields a katana.
NAGAMAKI – At any movement, the opponent is at risk of an uncontested thrust. We can also increase our advantange based on our hand placement on the long handle.
KATANA – Sharing similar reach with the opponent, you crouch down and thrust when a clear opening is made. Timing is still necessary to avoid aiuchi (相打ち, mutual strike that could lead to both killing each other), so speed and placement play an important part here.
TANTŌ – Wielding a shorter weapon, the opponent may be more willing to take the initiative and strike first. In most cases, you intercept with your free hand to neutralize their weapon, while simultaneously stabbing.
#3 UKEGATA – UKEKIRI
For this last scenario, we analyze how to beat an opponent’s overhead sword cut with a strong ukekiri (受け斬り), or cutting-like receive. The timing for this is to wait abit after the opponent commits with their attack, then move accordingly with a strong defense. The key here also lies in the footwork, where for each weapon the right foot is back. The ukekiri we deliver is possible based on how we step with the right foot.
NAGAMAKI – Maintain distance as you take a large swing and cut the attack away, while centering your body behind your weapon. Although slower, the impact from the nagamaki can plow through your opponent’s weapon when well-timed. We don’t extend our arms completely for this in order to maintain center control and balance.
KATANA – As you both move into striking distance, match your sword swing and body movement simultaneously to cut away the attack. You can extend arms abit to apply more power.
TANTŌ – Due to its short length, we step out of the path of the attack and cut into the opponent’s own sword from the side to knock it away. Turn your body sideways with the cut to generate maximum power.
ENDING
Here concludes this demonstration of how to weapons of different lengths can be compared in specified scenarios in order to adapt each one to be effective. This form of learning is but one of many in which practitioners at the Chikushin group can experience.
1) One common reason is the skills come from a certain martial style in which the teacher may not have proper licensing to openly teach. Another is they come from scrolls, being deciphered in its entirety but incorporating a teacher’s knowledge in their current martial systems to fill the gaps.
A topic I bring to the table today is the idea of extreme conditions while engaging in physical activities. This can be a range of methods, such as training in unpleasant environments, bearing an unusual amount of load, to lack of fluid consumption for long periods of time. For athletes this is the norm in order to perform at their highest for their country. However, what about those who are not invested in such occupation, but just want to have fun in the activity of choice?
Extreme conditions during sports are an issue in Japan. Kids of all ages face some form of this when they participate in a sports club at school, which can range from long practices under the blazing sun with no cover, to denial of water by their coach. Whether it be tennis, baseball, soccer, judō, or kendō, the idea is for the kids to learn how to develop spirit of endurance, and go the extra mile no matter how taxing the situation is, which can prove critical when seizing victory against other prefectural schools during competition. However, there have been many cases where kids have collapsed due to heat stroke or exhaustion, some of which had led to deaths. My wife explained to me her experience when she was part of the softball team at her school in Japan, where not only was she and her teammates denied wearing a cap to block the sun rays, but weren’t allowed to drink water until practice was done even though they were dehydrated. It was not a pleasant experience for her. Over the years, efforts by sporting committees in Japan are bringing awareness of how to avoid endangering kids that participate in sports clubs. Still, this is questionable, for the harsh conditions still exist, and the cases of heat stroke during practices still occur, albeit few.
Simple items like a bottle of water and portable fan are essential for recovery during grueling training sessions. From Photo-AC.
From my standpoint, extreme conditions have their purpose, especially for those who are invested in it to excel at their chosen activity, and are monitored by staff or companions, (i.e. a manager, a medical team, etc.) ensuring they progress safely. This can be done in moderation, so that the individual can grow. Kids shouldn’t be forced to endure such harsh conditions to the point it leaves long-lasting injuries. A lot of responsibility has to be taken when putting people through training with extreme conditions. For me, in my pursuit to study martial arts, I took the plunge and engaged in this as much as I could.
During my teenage years, my mentality towards budō was old-fashioned, thinking that a person on this path trains to be as fit as a warrior. Through research, I adapted a rigorous training regiment, along with other forms of conditioning outside of training. One in particular included not drinking water during 2+ hrs of training. I spent many years doing this with no issues, which further cemented the idea of such extreme training as fine. During my college years, I met others with the same ideologies as me, whom would become my training brothers, and would engage in long training sessions together, pushing ourselves to be the best. As an example, there were times when we would meet early in the morning on a weekend and travel to a park in a different borough while I was still living in NYC. There, we would have a long training session, which included running on a path hidden in foliage and scaling the side of a rocky surface to strengthen our fingers. This normally lasted over 2 hours. Having no drinks with us, we would have to make our way to the local store which, depending on how deep we were in the park, could take as long as 20 minutes to get there.
One day, when I was having a particular conversation related to martial arts with one of my training brothers, we hit on a topic about our experience with interacting with others who weren’t part of our group. Seeing that my views were abit one-sided, he responded to one of my statements in a manner like, “people have their own reasons to studying, and you shouldn’t always expect others to want to train for the same purpose as you.” At the time, I acknowledged the remark, but still held on to my own views as law.
A little later, after joining a dojo and training with many practitioners from all walks of life, I learned there was more to life than just training to be a “warrior”; interacting with others with varying views and values from mine, along with different purposes in their pursuit to studying martial arts helped to make me more open-minded. Not everyone is training for duels to the death, carry on the tradition of a specific style until they die with unwavering dedication, or even conditioning themselves to surpass limits as if going to war…which is fine. Quite frankly, we live in a time where such devotion is not a necessity to survive; on the contrary, it is more of a personal endeavor, one that I have embraced, but need not expect those around me to do the same.
Coming to this understanding was a good thing overall, as it made me more responsible when taking others under my wing. When I started my training group years later, I created an environment where students can immerse themselves in the martial arts, but also being mindful of everyone’s capacity. For example, after a period of rigorous practice, I would add breaktime where students can take 5 mins to catch their breath, ask questions, take a water break, and so on. If practice was indoors, I ensured that we had plenty of ventilation and, if the room got excessively hot, would turn on whatever cooling system we had on hand. Also, if during practice someone needed water to stay parched, I didn’t hesitate to allow them to step away and get a drink. In a dual fashion, the option to tough it out was there, but wasn’t forced onto students. My hopes were that each would develop endurance overtime, and slowly go pass their limitations. I encouraged this through various training methods, but was still mindful not to force this ideology outright in the group as a must-do.
In closing this topic, there’s a time when we should push ourselves during physical activities. Some people relish in this, while others are grateful when their coach or team pushes them hard to excel. Subjecting people of any age to extreme conditions without any regard to their health and safety, especially when signs of deterioration is evident, is wrong. Gradual strengthening over time can produce favorable results. While I see value in training to get better through specific forms of extreme conditioning, I believe they should be used with responsibility.
Over the years, I’ve put out a few articles regarding the importance of working on kihon gata (基本形), or basic techniques, for kobudō, as one would have a difficult road proceeding forward without a solid foundation these develop. Now I want to go into a little about kata (形), or forms with preset movements, which are next in the journey of learning a Japanese martial art. Just like basic techniques, one must take the same approach and work hard on what would be the basic for forms, in order to properly learn the methodology of one’s martial system.
A term found in traditional Japanese systems is “honwaza” (本技). What does honwaza mean? This label is used to identify kata that are base forms. Honwaza is used a good deal when working with kata (形), a well known term for forms used in most of Japanese martial arts. Depending on the martial art school, there may be different terms used to identify forms, such as sei (勢), or gyō (業). In the end, they represent the same concept of forms to learn a school’s methodology.
Why are base forms so important? For starters, they are the vehicles for learning one’s selected martial system; from principles, strategies, to techniques, a base form is constructed as the prime instruction for this. Also, base forms are built on the basic techniques one learns at the start of one’s martial journey, so they become another method of refining those core skills, and enhancing one’s overall ability. Of course, if one’s basics are not cemented properly, then base forms will expose this, for you will find difficulties in performing them as instructed.
Along with base forms, there are “variation” forms that accompany them in order flesh out a student’s understanding of their martial system. Falling under specific terms such as henka (変化), ura gata (裏形), sayū jōge (左右上下), and so on, these variations are taught at different stages depending on when students have achieved an adequate understanding of said base forms. These variation forms are necessary for teaching options in specific situations, from utilizing different movements, techniques, and so forth, adding more tools to one’s repetoire. While there is a lot to be taken from these, understand that they do not replace the importance of base forms. For starters, variation forms, while necessary for further instructions in one’s martial system, may not fully “teach” key methodologies or principles clearly without understanding the original. While some variation forms may differ from the base form in simply a few movements or the technique used to defeat one’s opponent, others may change early in the form and use a strategy that veers away a considerable amount from the original. Then there are those cases where the variation form does not resemble the basic form at all.
Let’s take a kata from Kukishin ryu Bōjutsu called “Sashi Ai” as an example. In the base form, after several sequences, when our opponent raises their sword to strike, we react by crouching low and swinging our bō upwards into our opponent’s lower area. There is a lot to unpack here even just by focusing on this simple movement of taking a low profile against a high strike. Now, let’s compare with a similar version of this kata, but instead we step to the side, and lower one’s stance while thrusting the tip of our bō to the opponent’s face. It can be stated that this alternative movement is equally effective as the base form. However, it deviates by using different movements that change certain key elements, such as distance, timing, and positioning. Alternative movements in a kata like so may not utilize core fundamentals that are part of the identity of a martial art, but instead introduce supplemental lessons in the event a situation changes based on the opponent’s movements, thus why this is labeled as a variation form.
In truth, all versions of kata are important, whether it be the base form or a variation. However, since the base form usually represents the identity of a martial system, full details of it, whether in the form of visuals or specific lessons, may be held back. In its place, a variation can be openly presented…which in turn is a strategic decision of its own. Here’s a scenario to which variation forms are chosen over base forms. During a public demonstration, a school may choose to use a variation form with many changes from the original. This keeps the core principles of the martial system safe, not exposing the key components, so those viewers who see just the variation form and choose to copy it won’t be able to steal the most critical points. From another angle, those same viewers could later turn around and openly declare they too have learned a specific martial system in order to draw unsuspecting students by demonstrating the variation form they saw, saying it’s the real deal. Of course, legitimate schools can expose them as lying, revealing them as frauds.
In ending, the idea of honwaza, or base forms, being a key component of one’s growth in martial arts is on the same level as learning, establishing, and refining one’s foundation through fundamental skills. Base forms can be thought of as a form of treasure, which should be preserved even when you have mastered all that there is to learn in the martial system you dedicate yourself to. While there is no love lost for legitimate schools that present only variation form so long as within inner circles they are acknowledged as truly knowing the original, it still holds true the importance of ensuring that base forms are preserved accurately in order to continue being an essential tool for proper learning.
There is something that many martial arts have in common. This similarity deals with the fundamental structures we assume with our bodies during combat, and how it can dictate our positioning against an opponent. From my own experience, along with cross-training with and conversing with others, I’ve learn that this fundamental structure is very basic in nature, but is a root support even for advanced instructions. While the approach may differ from one martial art system to another, the end result is generally the same.
This article will discuss this from a kobudō point of view, although I’m sure those from different systems will be able to relate. 2 fundamental body structures that are prominent are “ichimonji” and “hira ichimonji”.
Ichimonji (一文字) in Japanese means “straight line”. While the attitude of the body depicts this, the underline principles speak on it much more. In kobudō, kamae, or postures, that use this body structure generally have one leg forward, and the other leg behind. The front leg’s toes are usually facing forward, while the back leg’s toes are pointing outward, almost 90 degrees. Examples of kamae that are used that greatly represent this linear body structure are Ichimonji no kamae, Katate Seigan no kamae, and Kōsei no kamae.
Here’s a representation of ichimonji, viewed from a bird’s eye perspective. In terms of application, we imagine our body turned to the side while facing forward (up).
The strength of this ichimonji, or “straight line” body structure is that it dictates moving forward linearly in a slimmer profile. In application, one can punch or block on a linear path, and have a longer reach because the upper body turns to the side. The slimmer profile makes it easier to be a smaller target, with the ability to slip by and evade oncoming attacks.
Ichimonji no kamae (left) and Kōsei no kamae (right)
The next fundamental body structure, hira ichimonji (平一文字), describe objects that are straight laterally and appear “flat”. In combative scenarios, this shape can be referred to as “squaring up”. In kobudō, postures that use this body structure have us facing forward with our shoulders and hips aligned, and our feet pointing forward at an angle. Examples of kamae with this body structure include Hira Ichimonji no kamae and Hoko no kamae.
Here’s an example of hira ichimonji. From a bird’s eye perspective, this represents facing forward (up) with our body aligned straight with no twists.
Since we are wider with a Hira Ichimonji body structure, there is more rooted stability. It is easier to impose strength, such as during grappling, or show a lack of strength with one’s arms down. It is a more natural body form, meaning movements of all types can be done as well.
Hira Ichimonji no kamae (left) and Hira no kamae (right)
Here is an example of how these fundamental structures determine mechanical movement. There is a unique method of movement called shikkō (膝行), which involves walking while kneeling down. We start off in a kneeling position called seiza (正座), with both palms placed on top of the thighs near the hips. Next, we raise our right leg up and put our right foot forward while turning our upper body to the left through our hips. from there, we bring our right knee down to the ground as our entire body slides forward. Lastly, we return back to seiza by pulling our left leg forward next to our right leg, all the while turning our hips to face forward. We repeat this by alternating to our left leg by raising it up & forward in the same fashion. In seiza we have a hira ichimonji structure, but whenever we step forward our body shifts into an ichimonji structure. This is the proper way to do it, for trying to maintain only hira ichimonji structure is unnatural and very difficult. This demonstration of shifting our body into an ichimonji structure is also key for many other skills while in seiza, which includes punching and grappling.
The natural flow of the body while performing shikkō.
Earlier it was mentioned that each fundamental structure represents a posture. While this is truth for the most part, it is not entirely written in stone, especially since postures are not static poses. In fact, it is not unusual for a posture to have both an ichimonji structure and a hira ichimonji structure. Let’s take Hassō no kamae from Kukishinden ryu Naginatajutsu. When we assume Hassō no kamae with our naginata in hand to our right side, it is not wrong to stand with our left foot forward and upper body turned to the right, or with both feet roughly lined up together while facing forward with our chest. Each variation of this kamae have their advantages, especially when analyzed from a battlefield perspective.
Hasso no kamae performed with the naginata. To the left it is done with ichimonji body structure, while to the right is with hira ichimonji body structure.
If we look at the ichimonji structure of this kamae, not only does it allow the user to evade an incoming strike from an enemy while setting up for a counterattack, it also makes a person a smaller target while wearing armor, along with using the oosode (大袖, plates of woven armor draped beside the shoulder) as a shield. On the other hand, hira ichimonji structure is beneficial in group formation, for if a group of warriors are wielding naginata, they create a natural barricade against incoming enemies, all the while having the ability to push back with the shaft and quickly delivering a kesa giri (袈裟斬り, diagonal cut) through small motions. There is great versatility with these 2 fundamental body structures in the techniques of kobudō, offering infinite possibilities once well versed in adapting them in our movements.
In closing, these two fundamental body structures are linear, making the concept of them representing a lateral and horizontal line simple to grasp. As many things that are simple in nature, they hold an abundance of value when applied to strategic lessons. This holds true for kobudō, as well as other martial arts.
As an objective of growth for 2023, my training group will be focusing on more close-quarter combat. One concept related to this is torite (捕手). Torite can be translated as grappling, catching, or arresting. In many ways it is similar to judō as a form of grappling system, but has many differences due to the purpose of usage, techniques allowed, as well as tools that can used to assist.
When learning the methods of torite, usually practitioners train in katageiko (型稽古), which is a drill that features one person as a defender and another as an attacker. The scenario used in katageiko generally consists of an attacker initiating a confrontation by grabbing the defender, while the defender reacts using specified techniques to defend against & defeat the opposition. It is very common for a student to learn the specifics regarding how to apply torite to defeat an attacker’s technique, as well as subdue them with their own. However, what is not covered in detail at the beginning of one’s training are the advantages the attacker has when performing their initial torite (grapple) technique. In theory, the initial action of a skilled attacker would prove difficult to stop if timed correctly, which is why the #1 effective defense is not to be there as a target.
For today’s article, I will cover various grapples an attacker may attempt that we train to defend against, and explain briefly the advantages of these if an attacker is successful in pulling this off.
SINGLE HAND WRIST GRAB
With a forward or downward pull, you can take a person’s balance as they stumble forward, leaving their upper body vulnerable to attacks. There is also a double hand wrist grab version.
Grabbing an opponent’s sleeve can be used as another variation of this. In similar fashion, you can manipulate an opponent by pulling downward, forward, or to the side. Depending on which hand you use, an opponent’s arm can be pulled across their body by their sleeves, leaving their side vulnerable and unable to defend themselves.
SLEEVE GRAB NEAR ELBOW
Grabbing the sleeve closer to the elbow gives more control in manipulating an opponent’s upper body, especially along their spine. Pulling here downwards to your hip, or outward, can take their balance, and leave them open for strikes or throws. Similar to the sleeve grab near the wrist.
SINGLE LAPEL GRAB
Seizing the lapel from the front with one hand isn’t just limited to a strike with the other hand. One can still manipulate an opponent by pushing or pulling while gripping the lapel to take balance, and can administer more weighted control by pulling downward at the same time. Of course, this is not done through just the strength of one’s arm, but has to be coordinated with movements by the entire body. Depending on if you grab the lapel on the same side as your hand or go for the opposite side, you can push or pull the opponent right or left.
DOUBLE LAPEL GRAB
A much more secure version, this offers the same results as the single lapel grab, but with even greater control. Shoving and pushing can greatly take balance, along with lower body techniques that are difficult to anticipate. It is also easier to execute throws and take downs since you are using both hands.
BEHIND LAPEL GRAB
This is usually done at an opponent’s blind side, which is typically from the back. When done correctly, one can quickly pull down the opponent to the ground, or push the opponent forward by striking with the same hand that grabs. Outside of this, one can use their free hand and legs to deliver strikes.
SINGLE SLEEVE-LAPEL GRAB
This is a familiar set up for specific throws, such as seoi nage (背負投げ, shoulder throw). Of course, we have to set up prior to make throws work effectively. As the aggressor, the hand that grabs the lapel can strike into sensitive areas around the face and neck to create opening, while the hand that holds the sleeve manipulates by pulling to take balance in different directions.
In closing, understanding the strong points of an attacker is critical in martial arts. It is often stated that the one who throws the 1st punch wins a confrontation. The same can be said with well-timed & well-executed grapples. That being said, there is a lot of value understanding how an attacker cam truly use the initial grapple to win. From this can we learn how to effectively defend against this.
There is something to be said about being a specialist when it comes down to martial arts. Dedicating time & effort to be a master of a particular style or weapon is no small feat. Yet, we should avoid limiting ourselves as well, and explore different martial systems and disciplines as well.
Artwork by ChikanobuArtist Yōshū Chikanobu’s artwork, entitled “Komakiyama ni Yasumasa Hideyoshi wo ou” (小牧山ニ康政秀吉ヲ追フ, Chasing Yasumasa Hideyoshi at Mt. Komaki). Here, we see a warrior to the right not only wielding a yar (spear)i, but also has a tachi (battlefield sword) slung at his side.
It is good to be exposed to many different weapons, disciplines, and the like when studying martial arts. This way, we gain knowledge to different approaches towards combat, as well as being able to perceive what others have studied themselves. In the modern times we live in, there is a greater variety of martial arts styles to choose from, whether it be Japanese, Chinese, European, Southeast Asian, and the like. For me, I’ve had the opportunity to do the same; while I’ve dedicated most of my effort in kobudō, over the years I’ve taken the time to explore the basics of karate, taekwondo, boxing, and hung gar. On a technical level, studying other systems has not only helped to appreciate the philosophy behind these different styles, but pick up unique skills and methods of movements that have made essential contributions to my overall studies that I can take with me.
Let’s narrow this down to Japanese martial arts, and how this idea of learning different styles has been important in its growth. When studying how Japanese warriors stayed active during Japan’s Sengoku period, we learn how various weapons were used on the battlefield, from swords, spears, archery, and gunnery. Depending on the time period, warriors who had the resources not only trained with them to understand how they are used, but carried a plethora of weapons in war campaigns. So, it’s not unusual to read details about archers who spent most of their effort in arrow volleys having to switch to drawing out uchigatana slung at their left hip when the opposing army has closed the distance, or a general who’s fighting with a tachi on horseback may switch to a yari which his attendant would be carrying close by.
This idea of being resourceful with multiple weapons continued throughout Edo period, to even modern times. Those who specialize in hand-to-hand systems during the 18th century also made practice to be proficient using smaller weapons concealed on their person, such as suntetsu (寸鉄, a steel bar held in a fist), kakute (角手, a ring with a small spike), and manriki gusari (萬力鎖, weighted chain), which are often categorized as kakushi buki (隠し武器). This ideology has been retained in specific traditional forms practiced today, where practitioners work on being able to switch from one weapon to another.
Defender strikes with naginataNaginata is knocked awayDefender reaches for tantōOpponent is bested by unexpected use of tantōHere, the defender wielding a naginata is at a disadvantage against a skilled opponent with a katana. Discarding the naginata, the defender quickly draws a tantō and takes control of the situation once at close range.
Let’s take naginata systems as an example. There are forms where the defender, a naginata wielder, will be overwhelmed by an opponent using a katana that manages to close the distance. In response to the opponent preparing to deliver a finishing blow, the defender pulls out a tantō that is kept in the front of their obi and counters appropriately. Interestingly, there are accounts of this in documented records from Edo period where a shorter bladed weapon proved to be the equalizer in situations where their trusted longer weapon was ineffective, such as the skilled spearsman Katsuhisa Umataemon Saitō¹, and the war-hardened swordsman Tsukahara Bokuden².
In closing, martial artists should strive to be as skilled as can be, especially with disciplines we truly favor. However, we must not be closed-minded to other disciplines, for studying & adapting multiple skills can help keep us open-minded, and enhance us even further.
1) This experience changed Umataemon’s views on long weapons. This was covered on this blog, which can be read here.
2) Bokuden spoke about his, as well as other adventures during his time. This can be read in the following post on this blog here.
In today’s generation, martial arts schools offer lessons to all, as long as necessary requisites can be fulfilled (i.e. covering fees). Through years of dedication, all can learn pretty much what is offered in a progressive format from basics to advanced techniques, and receive acclaims as proof of such hard work. Furthermore, anyone can continue their training for as long as they want, even to their elderly years. These are great points we can enjoy in modern times. However, this was a different story in Japan of old.
Here’s food for thought, about a different approach that goes against the norm. There was once s a martial system known as Kusaka Ichimune ryū (日下一旨流), which specialized in a number of disciplines, such as sōjutsu (槍術, spear techniques) and jūjutsu (柔術, hand-to-hand grappling techniques). This martial system no longer exists, but there are scrolls of it that still remain. On a website called “Kobujutsu Hōzonkai ‘Getsurindō’“, a researcher presents one of the remaining scrolls from this particular system that is called “Onna Naginata”, which is about women’s naginatajutsu. Dated 1854, it contains a list of technique names, but right before this section is something a foreword about this discipline. Below is the original Japanese text, followed by my own English transliteration.
ENGLISH: “Our women’s naginata style is different from that of what boys learn. Women will learn all that is to be passed down, for they will be taught gradually the means of attaining victory against an opponent as advanced techniques and secret lessons are taught early in their training. This is due to not being able to engage in grueling training over many years like boys can.”
Screenshot of said scroll, with section about how women trained in naginatajutsu is mentioned. From the website “Kobujutsu Hōzonkai ‘Getsurindō’“.
What is understood from this message is that contrary to the teaching methods most people would imagine, this particular system allows women to learn much of what Kusaka Ichimune ryū’s naginatajutsu has to offer almost from the start. This is a dream for many engaged in martial arts today. However, this is because women could not spend years upon years being engrossed in personal perfection in combative training. Why was that? The answer lies in how Japanese society was structured during the Edo periond.
PROGRESSION OF JAPAN’S MARTIAL ARTS
Let’s go over a quick summary about the development of Japan’s martial systems, as this went through several stages of changes. During Japan’s ancient periods, the methods of warfare was in its infantry years, for families with combat background specialized in combat methods that were either native to them (i.e. archery), or whatever that was brought to this island country from China and Korea. As time went on, certain families rose up and became prosperous as they supported & worked for the Imperial line, and continued to improve on combat methods through campaigns in the northern part of Japan, or against those who were considered a threat. Once Japan became a military state, war became a constant against power-driven elite families that could afford their own military, all the way to the late 1500s of Sengoku period. Within old documentation, martial training is recorded as being designated to elite military families that either had their own tradition, could send their children to learn at a temple, or families that had a background for bearing weapons for survival. This wasn’t only permitted to boys, as there were girls too who, born in military families, were given martial training.
Fast forward to 1600s of the Edo period, martial training transformed into something more formalized and accessible with the opening of martial arts schools, as well as instructions in-house. Documentations about martial training from 1600s to early1800s illustrate this primarily from men’s perspective, where they could spend years perfecting their craft by taking up careers that involved combat, such as an instructor, running a dojo, and doing police/guard work. However, women didn’t have the same chances during these times when Japan was progressing towards modernization, as they were expected to get married, settle down and handle other tasks, such as child care, house work, or working for shops. While wars were not a common thing as pre-Edo period, martial training was still handled with serious attention, which men were given the chances to engage in with full commitment especially as a career; this meant they could invest as much time needed to attain full transmission of a martial system, could teach at their own schools, as well as able to inherit ownership of it. On the other side of the spectrum, women were not generally given these opportunities. While there are few rare cases of martial system being passed into the hand of women, these scenarios come up because there wasn’t a male heir present at the time.
ADVANTAGES OF MARTIAL STUDIES WITH NO LIMITATIONS
Taking the time to research about lifestyle and occupations during much of Edo period, it becomes evident the world of martial arts was a playground for boys. This didn’t mean that women didn’t learn at all; one of the more popular impression is that women born in or hired to work within the household of a military family would be taught a number of different disciplines as a means of survival and to protect the home. In fact, when it comes down to the naginata, it is said that women of a castle in Chikugō Province (筑後国, now present-day southern Fukuoka Prefecture) were taught this to be as a line of defense in case of an invasion¹.
3-panel artwork from the collection “Chiyoda no Ō-Oku” (千代田之大奥”, Maidens of Chiyoda castle’s Inner Chambers), entitled “Naginata no Keiko” (長刀稽古, Naginata Training). By Yōshuu Chikanobu (楊洲周延). From National Diet Library Digital Collections.
The method for teaching women naginatajutsu in the now defunct Kusaka Ichimune ryū appears to have, theoretically, come with many perks. Let’s take a quick look at what these could be.
BENEFITS
Learning the effectiveness of techniques quicker
Having access to most, if not all, of the content
Taught advanced techniques and secret lessons early
If we take the message from Kusaka Ichimune ryū as one that reflects the trend of how women’s naginata² was taught as a standard during early/mid Edo period, then their training should be considered real throughout. When you think about it, if the available time for practice was shorter than men’s, then it is logical to only teach effective lessons so that they can immediately use what is taught. The learning process could be what most would expect: being taught the “secrets” of application alongside the study of the basics, doing repetitive drills, learning techniques, and engaging in set forms. Instructions were probably much straight forward and to the point, with the end goal taught clearly so that women could handle danger immediately. There are many merits to this.
In terms of actual content, there was probably less holding back in the lessons. This can be a two-fold argument, however, depending on how this is viewed. On one hand, if women were trained to be capable of defending their home, then what better way than to teach them everything they would need? This could also include complex or intricate techniques, along with advice & instructions on subject matters that, from a men’s perspective, would only be learn after decades of studying under a teacher and earning their trust. On the other hand, it could be that the level of the skills learned in this naginata style may not have been so complex, which could be why such a curriculum could be used. For example, if Kusaka Ichimune ryū’s women’s naginata was streamlined off of what was once used on the battlefield, it could be that tactics used in formations, against armored opponents, cutting methods, etc. were omitted, leaving a more bare-boned version. Since the intended goal was not to have women run onto the battlefield, but instead deal with one, or a handful of enemies within an indoor setting, then their version of naginatajutsu had to be taught differently. Of course, this isn’t a strong argument anyone can make wholeheartedly, for many martial systems went through this same change and focus was geared towards what was needed during this time once big battles were not a normal occurrence during Edo period. This is especially evident once hand-to-hand martial systems grew in popularity. Realistically, an assertive evaluation on the contents cannot be made, since Kusaka Ichimune ryū has already died out, meaning we can only speculate and make educational guesses.
Now, one of the more interesting points to be discussed regarding women’s naginata of Kusaka Ichimune ryū is the idea of advanced techniques and secret teachings being instructed in the early stages of training. One of the benefits of this is being inducted into the true methodology of this martial system, along with understanding how to utilize it at its fullest in a shorter time. Of course, this probably has some guidelines, as this could be problematic on its own. Considering the proficiency needed for more advanced-level skills, it would not be so fruitful to teach them to those who are brand new on their 1st day as a whole. Most likely they were coupled in with basic training, and introduced progressively so not to become too confusing or difficult to comprehend. Meaning, as each woman developed their foundation in basic movements, executing proper cuts, understanding the concept of distancing, and so on, they would then be introduced to advanced techniques that would cement their potential utilization of the skills being developed, as well as be instructed on the secret lessons that would make all that is being taught usable almost immediately.
CONCLUSION
While women’s training in martial arts may not have been so extensive during the Edo period, it is much different in modern times, as many women train freely to their heart’s content. There are even renown female headmasters of their own martial systems in Japan today, such as Ogihara Haruko of Jiki Shikage ryū, Kimura Kyōko of Tendo ryū, and Koyama Nobuko of Yoshin ryū, as they run their respective schools teaching young girls, as well as boys, the methods of handling the naginata, along with other weapons. Still, if older martial arts systems like Kusaka Ichimune ryū serves as an example, it’s quite amazing that the training for women’s naginatajutsu was so accelerated in such a short time. While I personally enjoy the traditional way of studying Japanese martial arts, it could be satisfying to engage in learning where all secrets are offered at the start of one’s journey down the path as a martial artist.
1) Part of the history of a different ryūha known as Yoshin ryū Naginatajutsu (楊心流薙刀術).
2) This also should include other disciplines that were available, such as kusarigamajutsu and kodachijutsu
At least once a week our group engages in dōjō jiai (道場試合), which can be viewed as a form of competitive training. While this has the nuance of being a competition among practitioners in-house, this really isn’t the case for us, as this is more of an umbrella term for a collection of active training methods designed as a means to drive our skills, and see how our martial systems work. As a whole, competitive training assists in flourishing our skill, as well as show which areas need improvements. All these points lead to one critical principle that’s necessary to being a exemplary martial artist: the ability to adapt.
Kumitachi using fukuro shinai.
For those that train in sports-oriented systems such as boxing, mixed martial arts, kendō, and the like, and either fight competitively or just focus on the possibility of self defense, competitive training is a useful tool. In kobudō, there are schools that also utilize competitive training. Generally, it is not the main focus of transmission of a martial system, for instead focus is put on kata geiko (形稽古, practice of preset forms) as the main tool for teaching. In kata geiko, we learn to develop structure, and understand key principles of our specific style, or techniques and how they would work under specified conditions. The more we can execute these forms with the correct energy and movements, the better we can present the core essence of our martial system. This is a fine example of “art”.
On the other hand, at some point students need to be tested in some fashion to not only see their level of proficiency, but for themselves to actually use what they are learning in a “live” environment. Many forms of competitive training assist with this, such as sparring, randori, kumite, kumitachi, and so on. While there are different degrees of control that can be placed on this type of training (ranging from rules restricted areas of attack, limitation of specific techniques that can be used, to being completely free form), they all serve the purpose of conditioning us to adapt, which makes it possible to deal with stress and develop insight on how to stay in control in order to win or survive.
While the flow can be unpredictable during competitive training, technique can still be executed. Here is a successful use of a sōjutsu technique “maki age”.
Perfectly executed techniques are a testament to one’s ability, but considering an actively resisting opponent won’t just allow it, we must also understand there are moments where we need to adjust our techniques, or reinforce them with other skills, in order for them to work. Just because a technique is done in a particular way during kata geiko doesn’t mean it is valid in all situations. Preset forms can be viewed as “snapshots”, and give validity to the usefulness of the technique itself. However, forms can also be viewed as “not alive”, since in an actual conflict people do not move or respond in only one preset manner. Conflict of all types represent the notion of “war”, and we generally cannot approached them in a scripted manner.
An example of irimi shiai. Here, the spear wielder is able to maintain good distance & control, which leads to scoring a hit.
To teach students the concept of adaptation is not only done in competitive training, but more preferably during regular kata geiko itself. Let’s look at a component normally tied with this, which is technique. Fundamentally, we first learn how to do techniques in a set manner to understand its mechanics under set conditions. When those conditions differ due to an attack being at a different height, range, or even scenario, can these techniques still be applied? Realistically yes, for we have to naturally adjust the techniques where they can be applied, enabling them to adapt and be effective according to the vision of one’s martial system. This is only true if techniques themselves retain their core principles. Before this can be achieved during competitive training, bunkai (分解, breaking down the components for analyzing) needs to be incorporated into kata geiko at some point, especially when students show a level of understanding and have grasped the basic movements.
Looking at irimi shiai from another perspective, the spear wielder is at a loss when the sword wielder is able to close the distance and score an uncontested strike.
Another aspect of adaptive training is giving students the chance of failure, which is necessary for them to understand this feeling, and how to proceed forward. The idea of “losing” to another can be tough, especially when we hold onto thoughts about being a great & unstoppable martial artist. Yet this is fine, as this can be a demon of sorts that needs to be overcome. Once this is achieved, a person’s perception regarding conflict will change from being a personal endeavor to one that is in tune with everyone and everything around us. Failure can make or break a student, which becomes their own personal challenge when growing as a martial artist, as they’ll need discover that capacity to adapt, and mover forward in order to look at the big picture. Another good point about failure is that it can help to crush ego, which is a big obstacle just about all of us encounter, and need to deal with at some point.
A Japanese saying I learned many years ago that has a strong connection to the idea of adaptation is “banpen fugyō” (万変不驚). Literally, this reads as “10,000 changes, no surprise”. In martial arts, this can be interpreted as how chaotic things can become during a fight, for one’s opponent(s) may attack freely with whatever knowledge or tools they have at hand. Yet, with proper conditioning and a solid foundation, one can stay calm and handle things accordingly through adaptation, no matter what comes at you.
Last Thursday, Chikushin Group held an event called Shochūgeiko (暑中稽古), which is a special training done during the hot days of summer. It took place on the beach in full training attire, which proved to be challenging. Due to the differences in training grounds, we were able to work on certain principles we would’ve normally not get a chance. One of these was on the lesson of kurai dori. For this article, we’ll look into the meaning behind this word, how it applies to martial arts, and how we approached this during this special training on the beach.
Defender runs nimbly across the sand to evade an overhead cut, and successfully performing a counterattack.
Kurai dori (位取り) means taking control over a situation through an advantageous position. This is a form of lesson that is found in many Japanese martial systems. It is easier to analyze this through a 1-on-1 scenario, where one person takes the high ground on uneven terrain, or has the sun behind their back. This directly influences the type of kamae (構え), or posture, one uses, accordingly. When both sides are on even grounds in the conflict, then it’s a matter of skill in one’s footwork and movement when fighting is unavoidable. This was part of the theme for our event on the beach, which made it an invaluable lesson for those who took up this challenge.
As both run towards each other, one performs a sword thrust early in hopes to catch the opponent unaware.
For example, one segment in the event involved running on the sand. While it sounds simple, it can feel sluggish as most people will drive their force downward into the sand. This makes us sink down abit while we won’t move as fast as we’d like to. However, to really move nimbly requires ability to carrying one’s weight in a way where each step becomes lighter. We put this to the test through drills where two people then run at each other with sword in hand, and the defender needed to evade an overhead cut from the opponent in order to successfully counterattack. Understanding the principle behind carrying one’s weight, which we call ukimi no ho (浮身の法) in our group, is vital for this.
By setting one’s weight down to quickly stop, a followup attack can be performed.
Another point we explored involved taking the initiative while running towards an opponent with a sword thrust. For one was the idea of initiating this slightly beyond our cutting range while low profiling. If done correctly, we will connect with our opponent before he/she can strike us with their own sword. We looked at a few ways to make this safe for us in case our opponent is skilled enough to dodge. One was to use momentum from our run to keep going, for if we missed, we would be able to avoid any counter attack by running by and making distance that would be safe to stop and turn around to once again face the opponent. The other would be to dig our feet into the sand while initiating the thrust, which will not only ground us so we can stop early, but puts us in a position where we can quickly re-adjust and spring upon our opponent with a follow up attack.
In short, the concept behind kurai dori has many layers based on the type of area, type of ground, and so on. Exploring this while on the beach was very fruitful, as our footwork and movements where greatly influenced by the conditions one faces while on sand. Looking forward to future events that allow practitioners to getting a different perspective to the lessons we normally train, but from a different environment.
