Importance of the sword

By Brett Denison

As a student of Japanese swordsmanship, and based on what I’ve read, the sword was
used rather sparingly on the battlefields of the Sengoku period in Japan, while the
primary arms of the day (after about 1543) were the spear, bow, and gun. It appears
that the sword assumed an entirely secondary role to the above weapons, like a back
up or a side arm. My question is, if this is true, then why did so many samurai, such as
Tsukahara Bokuden, Kamiizumi Hidetsuna, Yagyu Muneyoshi, etc., and their
followers, dedicate their lives to the study of the sword? If the main goal of a
samurai’s martial training during this period was to be able to succeed on the
battlefield, then why would they spend so much of their time learning and developing
techniques for a secondary battlefield weapon instead of focusing their attention on,
say, the spear, since it seems to have been the principle arm in battle?

The sword seems to have been a backup weapon for warriors through the medieval
period, and became a key weapon and symbol of bushi or samurai identity only in the
Tokugawa period, when samurai almost never saw battlefields, but did carry swords
around as part of their everyday dress. Researchers on the topic have agreed for a
couple of decades or more that the early samurai were bowmen, and the thrust of
work being done on the Nanbokucho and Sengoku periods during the past few years
points very strongly to the conclusion that missile weapons (first bows, and later
guns) were the primary weapon of 14th - 16th century battlefields as well, that bladed
weapons came into play only in special situations or after one side had broken ranks
and begun to run, and that even then samurai preferred (and feared) spears over
swords.
The fascination of men like Bokuden or Muneyoshi with swordsmanship probably
had to do with a combination of factors.

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First and foremost is probably the overlap between sword and other military skills.
The idea that fighting is basically fighting, regardless of what weapon you’re using
seems to have been a fundamental part of bushi military thinking from very early on.
Hence warriors could use sword practice as a kind of microcosm of martial art--a
vehicle to generalized expertise. In this context we need to remember that men like
Bokuden were the equivalent of officers, who usually directed squads of foot soldiers
from horseback. By the 15th century there seems to have been quite a bit of
specialization of function in Japanese armies. The archers and gunners who appear to
have been the main offensive weapons of late medieval armies were all low-ranked
soldiers.
A second factor is the effect of four centuries of post-medieval memory. We tend to
forget that Bokuden, Muneyoshi, Hidetsuna, Matsumoto Bizen-no-kami and other
famous late 15th and 16th century warriors were all famous in their time as spearmen,
as well as swordsmen. And most medieval bugei ryuha involved the use of numerous
weapons; sword-only schools were really a product of the Tokugawa period. I suspect
that much of our received image of these individuals as sword specialists is the result
of selective memory born from a modern obsession with the sword.
A third factor is the symbolic value of the sword, and its value as a personal and
dueling weapon. Swords are a central part of Japanese myth and warrior ethos,
appearing in the very earliest written records, and were a standard side arm of the
samurai from beginning of their history. They were the weapons a warrior was most
likely to be carrying, even in civilian dress. And they were both the sexiest and the
most practical weapon for one-on-one duels and other off-battlefield tests of skills.
Most of the great swordsmen from the Sengoku era in fact made their reputations
primarily through duels and matches, not wartime, battlefield exploits.
In other words, we remember Bokuden, Hidetsuna, Muneyoshi and the rest as
swordsmen because they were most famous for their sword fights. But that doesn’t
mean that they were just swordsmen--or even that they were “primarily” swordsmen.
It just means that they were especially good at or especially fond of swordplay, for a
variety of reasons that are only indirectly related to what they actually did on the
battlefield. The situation here reminds me a little of the final scene in “Quiggly Down
Under,” when Tom Selleck (whose character was famous for his expert marksmanship
with a rifle) shoots down the bad guy using a handgun, and remarks “I never said I
couldn’t use one, I said I don’t like ‘em.”

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Kenjutsu

Kenjutsu is a military art form which was created in Japan in the 15th century. It was
primarily designed to prepare samurai, as well as ordinary soldiers for combat on the
battlefield. The main emphasis of kenjutsu centers around the practice of
swordsmanship. But in some styles the practice of other battlefield-related weapons is
also an integral part of their curricula. At the simplest level, it can be viewed as a
collection of combat techniques for various weapons, most notably the sword. At a
more complex level, it can be considered the study of the strategy both large-scale and
small, offensive as well as defensive.

In terms of learning to fight with a sword, kenjutsu has a more complete curriculum.
Kendo of necessity limits the range of techniques and targets. Kendoka generally use
shinai, which allow techniques which do not work with real swords. Kenjutsu
practitioners do not usually use shinai in training, preferring to use bokken (wooden
swords) or katana (steel swords) in order to preserve the cutting techniques of real
sword fighting. Kenjutsu training largely consists of practicing cutting technique and
performing partner kata. For safety reasons, free-sparring is seldom practiced with
bokken or katana.

It was natural for the samurais to practice everyday with their sword. To the samurai
the sword was their foremost weapon and privilege - other groups in the society was
forbidden to bear swords. Furthermore the practice with the sword was much more
than preparing for battle.
Around the japanese sword grew a whole philosophy. It has many names, as ken,
katana, tachi, and to.

History

The history of kenjutsu dates back to the late Kamakura Period ( 1192 - 1333) when
the country was embroiled in a series of civil wars unparalleled in Japanese history, as
the influence and authority of the ruling Ashikaga Shogunate waned and the various
provincial warlords all vied with one another for hegemony and control of the land. It
was in this tumultuous environment that the growth of the military arts blossomed, as

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there evolved the need for well-organized martial disciplines to train and prepare the
legions of warriors and clan members for combat on the battlefields. Kenjutsu was
one of the Six Ancient Martial Arts which warriors study; the others were archery,
jujutsu, gunnery, horsemanship and spearman ship. But in terms of popularity and
practicality, kenjutsu (swordsmanship) practitioners out numbered all others,
especially with the advent of the warrior's code of ethic, Bushido. The pre-eminence
of the study of swordsmanship continued up until the late 20th century, when unarmed
martial arts then became popular.

Martial Traditions

Traditionally, study of kenjutsu originated in the Shinto shrines. The oldest

acknowledged style of swordsmanship is Katori Shinto Ryu. Many famous
swordsman in Japanese history trained in this style and the roots of some famous
styles of swordsmanship can be traced back directly to Katori Shinto Ryu. One of the
most famous swordsmen in Japanese history, Tsukahara Bokuden, who was never
defeated in over 100 duels and fought on the battlefield 37 times, trained in Katori
Shinto Ryu in his youth and at the age of 37, created Kashima Shinto Ryu, a student
of this style, later created Shinkage Ryu. One of the Nobutsuna's brightest students,
Yagyu Muneyoshi, later gained fame and honor for his family when, after he devised
his own style, Yagyu Shikage Ryu, based upon what he had learned from Notutsuna,
he was called upon to instruct the Shogun Tokugawa. Yagyu Shinkage Ryu has been
handed down in tact to the present day and is very well-known in Japanese fencing
circles. Even modern kendo has been influenced by techniques taught in these
traditional styles of kenjutsu.

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THE DIFFERENCE BETWEEN KENDO AND
KENJUTSU

KENDO:

is a sport with rules and conventions guiding acceptable targets, techniques, and
scoring procedures
grew mainly out of Itto Ryu in the mid-1700's but has developed its own techniques
and philosophy targets: wrists, head, throat, belly and sides of the waist. Stance is
upright, facing forward with the whole body, rear foot (left) slightly off the floor.
Main (most basic) cut is typically vertically straight down. Weapon is a bamboo
sword (shinai). Movement is predominantly linear. Curriculum consists of mostly
fencing bouts, some contend that kendo is an art more geared towards improving
oneself through spiritual development, the goal is to improve oneself through the
study of the sword.

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 KENJUSTU

is an art concerned with accurate and realistic sword technique applications, learning
to fight with the sword in a real-life context
is a term referring to old styles of Japanese swordsmanship, most of which were
created in the 1400-1600's. Kenjutsu uses wooden swords, real swords, or bamboo
swords, depending on the style. It can involve study of a variety of weapons which
may include: spear, staff, short sword, short halberd, short staff, etc. Targets are any
targets of opportunity, but certain styles have preferences for specific targets like the
head, wrists, etc.
It grew out of the need for training samurai to fight on the battlefields and practical
concerns of battlefield fighting.
Stances, techniques, and tactics used depend on the particular style.
Movements can be linear or circular or any combination of the two, depending on the
style.
Curriculum consists mainly of training in kata (pre-arranged patterns of movements
with or without a partner) and cutting practice.
Some contend that kenjutsu is the art of winning real fights with real swords.
The goal is victory over opponents

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MAJOR STYLES OF KENJUTSU

KATORI SHINTO RYU

Created around 1400, during Japan’s Warring States Period, this is Japans oldest style
of swordsmanship. It was created by a samurai, Choisai Ienao, for samurai. Born in a
time of civil war, it bears the influence of the trends of in military thinking at the time.
It was created from the standpoint of fighting on the battlefield. The weapons used
and the philosophy of the style reflect this orientation. Weapons studies include:
sword, wooden sword, wooden staff, naginata (halberd or glaive), short sword, two
swords, and spear.

The technical philosophy of the style centers around the idea that to know and be able
to use the sword as well, one must also understand the use of other related weapons.
In this way, this style attempts to create the complete warrior or master-at-arms, one
who is adept at a variety of weapons. Technically, this style is very well balanced due
to its equal treatment of offense and defense. It stresses mobility and variety in body
movements, cuts, blocks, and tatics. Kata are long and intricate reflecting the
founder’s view that combat consisted of a complex series of actions and counter-
actions. The hallmark of this style is its focus on diveristy as the key to success: to be
able to attack and defend effectively from any position or situation.

ITTO RYU

This style is the creation of one man, Ito Ittosai Kaghisa, in the mid-1500's. One night,
he was attacked from behind by an unknown assailant on the grounds of a temple.
Somehow, he sensed it, drew his sword and cut the man in two with one stroke. His
technique was spontaneous and done unconsciously. He did not understand the
meaning of the technique he had used this night until many years later, but it would
become the fundamental technique and philosophy of the style he would eventually
create.

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Itto Ryu has proven to one of the most studied styles of swordsmanship. The supreme
philosophy of this style is to defeat the enemy with one stroke, hence the name "itto" (
"one stroke" or "one cut").

Modern kendo grew out of Itto Ryu and many of the techniques used and principles
observed in kendo derive from this style. It is not surprising that in Japan, many
kendo practitioners also study Itto Ryu.

Itto Ryu does not contain much embellishment or decoration. It has a distinctly "no
nonsense" attitude to it. Cuts are direct and forceful. Blocks and parries are simple
and require a minimum amount of energy and movement. Body movements are
generally straight and linear. Footwork is natural and simple. There is not much
turning or twisting. And the kata are short, simple and easy to learn.

However, one needs to be extremely precise. This is a style that demands precision,
especially in timing and distance appreciation. Itto Ryu leaves no margin for error or
misjudgment. It is, to some, a "do or die" style of swordsmanship and it requires
mind, a calm and decided spirit, and nerves of steel. In the eyes of its creator, combat
consists of "one stroke"

YAGYU SHINKAGE RYU

This style was created around the 1500's by Yagyu Muneyoshi and later refined by his
son, Yagyu Munenort . Having developed partly out of a fusion Katori and Kashima
styles, under Munenori, the style truly blossomed on its own.
Whereas, Itto Ryu was a pragmatic style concerned with achieving technical
superiority. Yagyu Shinkage Ryu focused more on mental and spiritual concepts.

An interesting theory of this style is the concept of "muto" (literally "no sword"), the
technique and spirit of defeating an opponent without using one’s sword. This
illustrates the Zen-based philosophy of the style: that of training the mind. Philosophy,
this idea of "muto" could possibly be interpreted as not having to rely on the sword to
defeat an opponent (ie. The mechanics of sword handling and repertoire of set
techniques) or that it is not the sword but the mind which defeats the opponent.

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For Munenori,mental control was the key issue in combat, not the mechanics of
swordsmanship. Knowing a multitude of techniques was useless if one did not have
mental control and unshakable will.

Technically, this style is fascinating in that the major tactical ideas involve battling
and enticing the opponent to strike. It is thus an offensive style with defensive
countenance. It grew out of a fusion of Katori and Kashima styles and the kata reflect
this heritage. There are twisting, turning, and evasive body movements and study in
this style requires a certain amount of physical agility. Technically, this style demands
correct mental judgments of distance and timing. But most importantly, this style
requires an alert and resourceful mind. It is a style that requires a certain amount of
cunning and calculation. This reflects the beliefs of its teachers that combat consists
of outwitting the opponent.

It should be finally noted that many martial systems included sword arts as a part of
their curriculum. In other cases, predomanently sword martial systems have included
other types of weapons. And finally there are still other systems which teach only
sword arts. The most traditional ryu would teach the sword as their primary weapon,
and perhaps some other arts (weapons or empty hand). Only in modern budo or
bujutsu have the empty hand arts become primary with the sword playing a
supporting role.

Sword training revolves around our structure of "Gorin Goho Gogyo" (five equally
balanced interacting rings that symbolize the five major methods of technical study).
This includes: Suburi (sword swinging drills), Tanrengata (solo forms), Battoho
(combative drawing and cutting methods), Tachiuchi (sparring) and
Tameshigiri/Shizan (cutting straw and bamboo targets). Students typically train using
a Bokuto (wooden sword), and later advance to training with Iaito (or mugito, non-
sharpened sword) and finally Shinken, or 'live blade'. At more advanced levels, the
student begins to test their acquired skills through test cutting practice on tatami
omote makiwara (rolled up tatami mats, previously soaked in water), and eventually
Nihondake or Mosodake (Japanese or Chinese bamboo).
The study of swordsmanship improves one's skills of balance, coordination of mind
and body, and increases awareness of detail.

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Kenjutsu ("the art of the sword")

Kenjustu is usually recognized as combative. It always begins with the sword already
drawn with an agressive intent. The first recorded historical systematic teachings of
the Japanese long sword began about 800 AD. Since that time, over 1200 differnt ryu
(schools) have been documented.

Many exponents of kenjutsu began to question if a higher understanding could be

achieved through practice and study with the sword. These kenshi (swordsmen)
developed the art of the sword (kenjustsu) into a way of the sword (kendo). To signify
their advances, they coined the name kendo. This divisive move began around the
middle of the 14th century.

Kenjutsu is considered a classical bujutsu (art of war or martial art), having been well
formulated prior to the Meiji reformation (the classical/modern dividing line).
Classical kenjutsu ryu (schools) tend to be quite secretive of their techniques, being
very closed to outsiders. Classical kenjutsu ryu are the closest to classical warrior
training in the modern world. Examples are Yagyu Shinkage Ryu, and Tenshin
Shoden Katori Shinto Ryu.

Kenjutsu wear is traditional, consisting usually of hakama (split skirt trousers),

keikogi (a heavy weight jacket worn tucked in) and obi (belt). As a rule, there are no
belt colors in kenjutsu, but only titles; Deshi (student), Renshi (instructor), Kyoshi
(teacher) and Hanshi (master).

Kata (prearranged forms or exercises) are the usual way of learning the intricate
motions required. Initially one practices solo, but later pairs or multiple kenshi kata
are performed. The standard practice tool is either a bokken (simulated wooden
sword) or an actual live blade. Actual cutting, and thrusting of the blade against water
soaked rolled mats and bamboo poles, called tameshigiri, give the more advanced
exponent practice in actual impact of the live blade against a target.

KENJUTSU is the art of samurai swordsmanship; Kenjutsu schools proliferated from

the 9th century onward. Many of the seryu appear repeatedly in the chronicles of

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bujutsu. By the end of the Tokugawa period (1600-1867), there were more than 200
active kenjutsu schools.

Notwithstanding the policy of strict secrecy adopted by various masters, the methods
and techniques practiced in each school of kenjutsu were usually influenced by those
popularized in other fencing schools. There was perpetual effort on the part of
hundreds of experts to discover and perfect new methods in swordsmanship. Out of
this effort grew a habit that was perpetuated to modern times:

When a warrior had mastered one system of sword-play, he set himself to study all
others by traveling through the provinces, fencing against other experts and, in the
event of defeat, constituting himself the victor's student.

Competition was merciless, since defeat often meant ruin. A kenjutsu master with a
well attended school and a substantial income from the lord of a fief stood to lose
everything in an encounter with an itinerant expert. Victory, on the other hand, meant
opportunity, income, and a prestigious position. Many a kenjutsu student risked his
life repeatedly to establish a reputation that would enable him to become the leader of
his own school. Naturally, there was a noticeable reluctance on the part of established
sensei to partake in direct confrontations with other fencing teachers or with the
wandering champions who were always ready, if not eager, to issue a challenge at the
mere mention of a reputation.

Gradually, legislation was enacted to curb the bloodshed in these personal contests of
fencing skill. Training with live blades in the dojo of pre-Tokugawa Japan had already
been restricted to inanimate targets, such as the makiwara, made of rice straw, or to
controlled kata performances-still employed in schools where kenjutsu with a live
blade is practiced.

The main phase of kenjutsu was training with the katana, the regular sword. Ancient
sword techniques appear to have been first systematized in 1350 by Choisai and Join.
Techniques were generally divided into two groups, the first comprising cutting (kiri)
and thrusting (tsuki) used in attack and counterattack, the second comprising parries
used in defense. Targets were clearly identified.

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According to orthodox laws of fencing, no warrior was proud of wounding an enemy
in any manner other than established by strict samurai code The long sword was to be
directed at only four points: the top of the head, the wrist, the side, and the leg below
the knee. Stern warnings issued by many sensei concerning the degrading use of
certain practices, would seem to indicate that observance of the code was by no means
a general phenomenon. Unpredictable cuts, thrusts, and parries directed against any
available target; psychological ploys; and reliance upon tactical surprise were all said
to have been so widely employed that they appear to have been the norm rather than
the exception. Almost every student of kenjutsu fancied himself the possessor of a
secret, unique, and irresistible method of penetrating every other swordsman's
defense. Sensei were constantly devising new strategies for the katana, alone or in
conjunction with other weapons, which accounts for the many styles associated with
this weapon.

A warrior also learned the techniques of other, minor specializations of kenjutsu. He

could usually fence equally well with the wakizashi (short sword) or the intermediate
sword (chisa-katana), and explored in detail the efficiency of the nodachi, the long
sword generally worn on the back with the handle jutting out behind the shoulder.
Kenjutsu reached heights of beauty and efficiency with the simultaneous use of two
blades-the katana and the wakizashi, or chisa-katana-in the two-sword style made
famous by Miyamoto Musashi in his school, nito-ryu. Immensely difficult were those
techniques which called for the use of one or two swords against several opponents
armed with swords or spears. Gliding pivots and spins predominated in such
exercises.

Today, of the ancient kenjutsu and all its specializations, there are only a few, strongly
modified forms extant in Japan, many of which are embodied in the highly ritualized
kata of kumi-tachi. Bouts with wooden swords, called bokken, are also staged
between students of ancient sword disciplines. Kendo is the most popular modern
derivation of feudal fencing. Kendo has its own weapons, techniques, ranks, and
purposes, all of which are heavily impregnated with the traditions of ancient Japanese
swordsmanship.

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FORMS OF KENJUTSU

JIGEN RYU Aggressive style of kenjutsu founded by Togo Bizen no Kami in the 16th
century; the foremost martial tradition for the Japanese warriors of Satsuma.

SHINGEN-RYU Traditional kenjutsu school dating from the 16th century under the
patronage of the Nanbu clan.

KENDO Known as the "way of the sword," it developed from kenjutsu (art of the
sword). Kendoka wear traditional samurai dress. The feet are bare. A hakama (divided
skirt) is worn with a tare (apron or groin protector). The keikogi (kendo jacket) is
similar to the one used, in judo, but is worn tucked into the trousers. Hands and
forearms are protected by kote (wrist gloves) and the chest is covered by a do
(breastplate), held in place by cords fastened around the shoulders. Finally, the men
(head-guard), a steel visor and padded cloth, protects the head, throat, and shoulders.

The kendoka uses a shinai (practice sword)-four polished staves of bamboo held
together by a long sheath that forms the handle. There is a small leather cup at the tip
and a cord to the handle holding the sword together. The shinai is sometimes as long
as 3 feet 10 inches. When performing kata, a practitioner dispenses with body armor
and wears only the hakama and keikogi, and uses the bokken. For important, formal
demonstrations a real sword, mainly the katana (long sword), is often used.

The keikogi's color denotes grade. There is less emphasis on rank here than in other
martial arts. A white keikogi indicates the lower kyu (grades), beginning at 6th and
progressing to 1st. A black keikogi denotes the higher den (rank), starting at 1st dan
and working up ultimately to 10th. From 4th to 6th dan, a kendoka may be awarded
the title of renshi (polished expert); and from 8th to 10th that of hanshi (master).
Contest ability, mental discipline, and technical knowledge take a practitioner to 6th
dan, after which advancement is obtained through teaching ability and service to the
art. For the hanshi degree, a kendoka must make original research and take an
examination set by the technical board of the All-Japan Kendo Association. The
hanshi and renshi awards can be authorized only in Japan.

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The object of a kendo contest is to land two scoring blows on a target area. There are
eight target areas: o-shomen center of the head; hidari-men, left side of the head;
migi-men, right side of the head; hidari-kote, left forearm; migi-kote, right forearm;
gyaku-do, left side of the rib cage; migi-do, right side of the rib cage; tsuki, the throat.
All are attacked by cuts except the throat, which can be threatened only by a lunge.
Competitors often use only one hand on the shinai-to obtain extra distance-but
powerful blows are performed with two hands. All blows are called kiri (cuts) in
which a kendoka attacks with the cutting edge of the shinai. When striking, the arms
should be fully extended, hips remaining square to the target. After striking, the shinai
should slide freely up the target without being disengaged.

The kiai (yell) is even more important in kendo than in other martial arts. A score
cannot be registered without the shout that accompanies the blow. The kiai has three
functions: attack, to aid mental and physical coordination, and to unnerve the
opponent.

Kendo originated more than 1,500 years ago. The first references to kenjutsu, in fact,
are contained in the three volumes of the Kojiki, a medieval history. The earliest
reference to any non-lethal practice weapon is about 400 A.D., and the weapon
mentioned was the bokken (wooden sword), whose weight, length, and balance were
approximately the same as the real one.

Like other Japanese martial arts, kendo has innumerable ryu (schools). The earliest of
these was Nen-ryu, founded in 1350. There is some dispute as to who originated the
style; some authorities claim Kamisaka Yasuhisa and others Somashior Yoshimoto.
This particular style was taught until the 18th century by the Higuchi family, but has
now disappeared. In the 20th century kendo has spread to most parts of the world,
including Europe and North and South America. Apart from Japan, the U.S., Canada,
and Brazil are the strongest nations.

Kendo, as practiced today, is neither a fighting art nor a pure sport; many consider it
primarily a spiritual discipline. Many instructors claim the real purpose of kendo is to
learn to settle the problems of lite without ever having to draw the sword. See also
kenjutsu.

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Further reading. Fundamental Kendo, All Japan Kendo Federation, 1973; Asian
Fighting Arts, Donn F. Draeger and Robert W. Smith, 1969; Modern Bujutsu and
Budo, Donn F. Draeger, 1974; Secrets of the Samurai, Oscar Ratti and Adele
Westbrook, 1973; MartialArts of the Orient, Roald Knutsen, 1975; This is Kendo,
Junzo Sasamori and Gordon Warner, 1964; Official Karate Magazine, Nov.1968.

GEKKEN Common name for kendo (way of the sword) during the Meiji era (1868-
1912) in Japan. While higher institutions of learning preferred to develop what they
called kendo, gekken was used by militarists to bolster a sense of nationalism among
the people.

HOKUSHIN ITTO RYU Style of kendo (art of the sword).

HOZAN-RYU Style of kendo (way of the sword).

KEN-NO-MICHI Variant of the word kendo (way of the sword) that arose in the early
Tokugawa period, from about 1600-1750.

FOUR POISONS OF KENDO: The four deep-rooted emotional or intellectual

problems to be overcome in kendo; tear, doubt, surprise, and contusion. By resolutely
confronting many opponents, a student tries to steer objectivity and a calmness of
mind in which every situation is perceived with equal clarity.

KUM DO Korean sword art and sport identical to Japanese kendo. The Korean Kum
Do Association was established in June 1948, and the National Kum Do
Championships were inaugurated in 1953. The foremost kum do master is Haksuh
Jung.

KUMITACHI Sword exercise practiced in Japan as long ago as A D. 789, when

kumitachi entered the curriculum of the sons of kuge, or noblemen, at the capital city
of Nara. The introduction ot kumitachi is still commemorated each year in the Boy's
Festival held on May 5, and marked annually by a large kendo meeting in Kyoto.

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NIHON KENDO KATA "Japan Kendo Formal Exercise." Known as the Dai Nippon
Teikoku Kendo Kata (Great Japan Imperial Kendo Formal Exercise) when it was
founded in 1912, it consists of 12 techniques, 9 with the odachi (long sword) and 3
with the kodachi (short sword). This kata, created by a cross-section of high-ranking
swordsmen of the Butokukai, is the foundation ot all modern kendo practice.

SHINAI-GEIKO Swordsmanship training using the shinai. It was developed during

the latter Edo period (early 1700s) in Japan and is the direct forerunner of modern
kendo. Opponents attacked each other vigorously but always observing certain rules
to ensure safety. Kaho, or prearranged forms, was reduced in importance. Further
reading: Modern Bujutsu and Budo

Kenjutsu (The Art of Japanese Swordsmanship)

A master swordsman must size up his opponent. No two swordsmen fight the same.
Ito Ittosai, a great Japanese swordsman was reckless in his style. "Learn by being cut"
was his philosophy. He believed one should be concerned more with not losing rather
than winning. Proper timing is a key element of this concept.

In his book Go Rin No Sho (A Book of Five Rings), Miyamoto Musashi, remarked
that his entire strategy was based on timing and rhythm. Musashi was the founder of
the Nito or two sword method of fighting in Japan. It is believed that he learned the
rapier and dagger techniques of the Europeans from traders in Southern Japan and
used these techniques to develop his own style.

In traditional martial arts, no other weapon has held the status of the sword. It is the
center of training for the majority of the arts. Ken-jutsu may be studied as a separate
art or as a subordinate art of another major system. At the Red Dragon Ju Jitsu Dojo,
the basics of Ken-jutsu are required for advancement to the rank of Blue Belt. It is
also taught as a stand-alone art.

In terms of skills, few weapons require the demands of swordsmanship. The sword
moves much faster than the fastest person, the skill in timing and judgement will
benefit the Martial Artist in all other aspects of their training.

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Ken-jutsu should not be considered the same as Kendo. Kendo is a sport form of
swordsmanship and an offspring of Ken-Jutsu. In Kendo, the targets are restricted to
the head, wrist, body plate, and throat. In Ken-Jutsu, any target is fair game.

The study of Kenjitsu has no belting system. It is a pure study of the art and mastery
is developed through practice. Students must learn the basic stances along with the
basic attacks and defenses. Mastery is derived from actual combat or Kumite using a
wooden Bokken. After the student has been properly instructed in the techniques of
combat and practices of various timing drills they are pitted against other students
under the direct supervision of the Sensei who referees the match.

Training Sequence

The study of Ken-jutsu is more than merely wielding a sword. One not only learns the
Kihon Dachi (basic stances) and attacks with defenses, there is much more to the
study of the art of the Samurai. Any butcher can swing a sword but to be a master you
must develop the mental and spiritual aspects of the art as well as the physical.

Shin-Ku-I (Body, Mouth, Mind) or more accurately Action, Word, and Thought is
how the Samurai were evaluated. What makes the difference between a swordsman
and a master is Ken Shin Ichi Nyo, or Sword and mind as one. One must train as if the
sword was a part of them, if it is looked at as a separate entity you will never develop
the skill to master the art.

The sequence of training in Ken-jutsu is as follows:

Kihon O Manabu - Emphasize the basics

Kaisu O Kasaneru - Development through repetition
Jiga Ni Tsuite - Controlling your ego
Dai - Kyo - Soku - Kei - Big - Strong - Fast - Light

Develop the techniques

Add power to the techniques
Increase your speed in the techniques

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Perfect the techniques so that the power is derived from the speed and no longer
requires strength.

Saigo Made Einoku Suru - persist to the end - NEVER GIVE UP. This is true for both
the practice of the art and the attitude in combat.
Yudan Nashi - Never off guard

The motto of the Samurai was Shinu Kikai O Motomo, Looking for the opportunity to
die. This was not a defeatist attitude. The Samurai held life in great esteem and were
very selective on what "cause" they would lay their life on the line for. It is easy to
kill a man when you yourself are willing to die.

Carrying the Sword (Teito)

The sword should be carried in the left hand with the thumb over the Tsuba. The
sageo or strings should be secured between the index and middle fingers to prevent
them from dragging. The Ha should be toward the floor in a natural drawing position.

Rei ni hajimari, rei ni owaru (Everything begins and ends with respect)

Bow of Respect (Hairei)

When bowing into the dojo or to the alter, the sword should be transferred to the right
hand with the Tsuka toward the rear and the Ha toward the ground. This is a sign of
deepest respect and trust since holding the sword in this position makes it impossible
to draw.

Bowing to the Sensei (Shirei)

All Seito line up in front of the Sensei taking seiza. The proper way to take the
position of seiza is to snap the left leg of the hakama back between the legs and kneel
onto the left knee then bring the right knee down. NEVER use the sword as a crutch
to support your weight. This is a sign of disrespect. It would be better to fall on your
face then to disgrace yourself in this manner. The sword should be lying on the floor

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on your right side with the Ha facing toward your right leg and the Tsuka toward the
front. Seizarei is performed by first placing the left hand on the floor in front of you in
an "L" shape with the tip of the thumb on midline. Next place your right hand down in
the same manner so that the thumb tips meet forming a diamond shape. Bow the head
approximately 4 - 6 inches from the floor centered on the diamond formed by your
hands.

After the Sensei has returned your bow return to a seiza position by returning your
hands to the rest on your knees in the reverse order of placing them on the floor. Rise
to your feet, first the right then the left. Again, do not use the sword as a crutch to
assist you.

Bowing to the Sword (Torei)

Depending on the school you attend, the Torei may be performed from either seiza or
the standing position. Never-the-less, it is always performed prior to and immediately
following any practice session. This is a sign of respect to your sword and a joining of
your spirit with that of the sword's.

When performed from seiza, the sword should lie in front of you. The Tsuba should
be positioned so that it is in line with the left knee, the Ha toward you and the Tsuka
to the left. The seito would then perform seizarei to the sword as described above.

If Torei is performed from a standing position, the sword is held in front of the head at
eye level with the Tsuka toward the right and the Ha away from you. Lower the head
to below the level of the sword.

Wearing the Sword (Taito)

The katana is worn on the left side with the Ha facing upward. The Sageo are tied into
the Obi of the hakama. The end of the Tsuka should be directly in front of the naval.

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Standing Bow to Training Partner (Tachi Rei)

Prior to Junjo (training) and upon completion of training you and your partner should
perform Tachi Rei to show mutual respect. Any time you change partners or receive
individual instruction from the Sensei, tachi rei should be performed.

When your training session has ended and you and your partner have performed Tachi
Rei, you should again bow to your sword (Torei), Bow to your instructor (Shirei) and
bow to the alter or at the exit of the dojo (Hairei).

Gripping the Sword (Tsuka No Nigiri Kata)

Many beginners tend to hold the sword too tightly. In the beginning, training should
concentrate on gripping the sword properly. The sword should be held loosely but
firmly. It should act as a natural extension of the dominant hand. There should be a
space between the hands, this allows for better mobility of the weapon. The dominant
hand should be next to the hand guard; this is the weapon's center of balance. The
majority of the grip strength is applied by the little finger and the index finger is used
for balance. Beginners are often taught to grip the sword with the index finger
extended to train them not to use this finger for gripping. The non-dominate hand
should grip the sword close to the butt of the weapon.

Drawing Cut (Nukit Suke)

Koiguchi no kiri kata - Opening the Koiguchi. The thumb of the left hand should push
against the Tsuba slightly to advance the sword approximately ½ inch from the saya
(scabbard). The middle knuckles of the right hand should rest on the bottom side of
the Tsuka. As you draw the sword forward from the saya with the right hand, the left
hand should be pulling the saya to the rear. Do not think of drawing the sword and
cutting your opponent - think only of cutting your opponent. Drawing the sword is
merely a means to the end and both the drawing and the cutting are the same action.

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Raising the Sword (Furikaburi)

After the initial cut is made on your opponent, twist the right wrist inward to raise the
blade above the head. The blade should be brought to a position parallel to the ground
as the left hand raises to the Tsuka.

Downward Cut (Kirioroshi)

This is the Men uchi strike to end the suffering of your opponent. To allow another
Samurai to bleed to death or die from infection of the wound would be to disgrace
him. To die at the hands of a master swordsman was the ultimate sign of respect. Te
no uchi or cutting technique refers to a straight cut or hasuji otosu. A wavering hand
would only butcher the opponent more and add to his suffering. The cut must be
quick, clean and straight.

Chiburi (Blood removal)

There are three main ways to perform Chiburi. They are as follows:

Kasa no Shizuku Oharao - After the cut is made, twist the wrist so that the Tsuka is
now in front of the head. Swing the katana in a circular motion over the head and snap
the blade by twisting the wrist as it is pointing to your right.

Katana O Kaesu - Loosen the grip with the left hand except for the little finger. Flick
the right wrist out while pulling the back of the Tsuka to the left with the little finger
of the left hand.

Chi no Shizuku O Otosu - Tilt the blade to a 45 degree angle and rest the tip on the
right outer thigh and allow the blood to run or drip off.

Noto (Resheathing)

When replacing the Katana, circle the sword in front of you, bringing the mine to rest
on the koiguchi. Slide the mine along the koiguchi until the Kissaki drops into the

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opening. Raise the Tsuka rotating the Ha upward and slide the blade into the saya with
the right hand as you slide the entire saya forward with the left hand.

Distance and Timing (Ma ai)

Ken-jutsu requires an extreme awareness of distance and timing. Unlike unarmed

combat, where an accurate defense may result in an opponent contacting with a strike
or kick, in Ken-Jutsu, the same mistake could result in death. Distance and timing is
what makes great martial artist great. No matter how strong the attack, if you are not
there when it arrives, the attack is ineffective.

Knowing when and from where to attack is paramount. An ill-executed attack is just
as deadly as an ill-executed defense. Faking an attack against an experienced
swordsman is useless. He will see through your fake and avoid it, launching his
counter-attack before you have a chance to recover.

Unlike the movies, actual sword-combat last only for a few passes. A spectator may
not realize what has happened before the combat has ended. In training, a great deal
of time is devoted to distance and timing. There are multiple drills the student must
work on to build these skills.

Metsuke (Eye Contact)

Where should your eyes be focused during combat? There are many different schools
of thought on this question. The best advice is to look at the level of the solar plexus
with Enzan no Metsuke, or Distant mountain site. This allows you to see the entire
body all at once. If you watch only one portion of the body you can be fooled by a
master swordsman. All parts of the body cannot fake a movement at the same time.

Kokyu (Breath Control)

When practicing kata, take three deep silent breathes attacking on the third breath.
Think positive thoughts with each inhalation and disperse negative thoughts with

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every exhalation. The breaths should enter the nostrils, circle the crown of the head
and settle to the Tan Tein.

Bokken
Bokken is a wooden sword, also called bokuto. The wodden sword has the same
alleviated deflection and proportions that the real sword, but it is more roundish
instead.The best material for a bokken is oak or something just as hard. Miyamoto
Musashi, the legendary samurai from the 15th century, fought many of his duels with
bokken instead of a real sword. The wooden sword is a very useful weapon itself and
it is much nicer than the sharp one, but when you train with your bokken you should
handle it as if it were sharp - otherwise you don't learn the true sword art.

Iaito
A training sword made of steel is called iaito. It is not a real handicraft, but it is much
cheaper. When you practise iaido it is a good thing to buy an iaito as soon as possible,
in order to better acquaintance yourself with the sword. When you buy an iaito it is
not nessecery to buy one of the most expensive ones; that would just be a waste of
money. Furthermore, if you don't feel adventurous don´t buy a sharp sword. You
shouldn't buy a sword from a souvenier shop either.

Katana
The real, handicrafted sword is called katana. These things are really expensive and a
senseless investment if you don't have iaido as a passion. A katana must be treated
very carefully; you have to clean it everytine you´ve used it, otherwise it will stain.
When you practise with your katana you should be aware of its sharpness and if a less
capable person uses it, it could be dangerus. Even the most skillfull iaidokas cut
themselves on their swords.

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 Miyamoto Musashi

Miyamoto Musashi (1584? - May 19, 1645) was a famous Japanese swordsman.

Much of Miyamoto Musashi’s past is shrouded in mystery and legends. His place and
date of birth are in doubt. Apparently he was born into a samurai family in the village
of Miyamoto in the province of Mimasaka. His full name was Shinmen Musashi no
Kami Fujiwara no Genshin.

Reputedly Musashi’s mother died in childbirth and either his stepmother Toshiko
raised him – even after his father Shinmen Munisai divorced her, or his mother's
brother, a priest raised him. He met his father occasionally and they may have sparred
together. By the time Musashi was nine, his father was either dead or had totally
abandoned the boy.

Musashi also apparently contracted eczema in his infancy and it influenced his
appearance. One story claims he never took a bath because he did not want to be
surprised unarmed. When he took his new name for adulthood, Musashi selected the
name of his birthplace, Miyamoto.

According to the introduction of his The Book of Five Rings, where he states some
autobiographical details, he had his first successful duel by the age of thirteen. His
first opponent was an accomplished samurai Arima Kibei.

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According to tradition he fought in the Battle of Sekigahara in the troops of Ashikaga.
He does not mention this in The Book of Five Rings.

After the war was over he left for Edo. According to his adopted son Iori, in 1604
Musashi fought a victorious duel against master swordsman Yoshioka Seijuro using
only a bokken, a wooden sword. Reputedly he had a grudge against Yoshioka family
for how they had treated his father. After he had defeated the father, he killed both
boys in duels – though the latter one was more of an ambush. Records of Yoshioka
family claim otherwise.

From 1605 to 1612 he traveled extensively all over Japan in Musha-Shugyo, a warrior
pilgrimage during which he honed his skills with duels. He was said to have used
bokken in actual duels. He is said to have fought over 60 duels and was never
defeated. Japanese historians seem to believe that he could not have won all of them
alone, without some assistance from his students.

In April 14, 1612 he had his most famous duel with Sasaki Kojiro who was using
nodachi, a long two-handed sword. Musashi came late and unkempt – possibly to
unnerve his opponent - and killed him with a bokken that he had made from an oar.

He briefly established a fencing school in 1612.

In 1614-1615 he reputedly joined the troops of Tokugawa Ieyasu when he had

besieged the castle of Osaka of the again rebellious Ashikaga family. Other accounts
claim he actually served in the defending side but many historians disagree with that.
1615 he entered the service of Ogasawara Tadanao in Harima province as a
construction supervisor. During his service he adopted a boy called Iori and originated
Enmyo Ryu school of kenjutsu.

In 1627 he begun to travel again. In 1634 he settled in Ogura with his stepson Iori.
Later they apparently entered the service of daimyo Ogasawara Tadazane when he
fought in the Shimabara Rebellion.

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Six years later Musashi moved to service of Hosokawa Tadatoshi, daimyo of
Kumamoto castle to train and paint. In 1643 he retired to a Reigandou cave as a
hermit to write The Book of Five Rings. He finished it couple of weeks before his
death around May 19, 1654.

After his death, various legends begun to appear. Most talk about his feats in kenjutsu
and other martial arts. Others tell that he killed giant lizards in Echizen. He gained the
stature of kensei, “a sword saint” and various tales connect him with other
contemporary martial artists.

Musashi perfected the two-sword kenjutsu technique he called niten’ichi (two heavens
as one) or nito’ichi (two swords as one). In that swordsman uses both katana and
wakizashi at the same time. Reputedly two-handed movements of temple drummers
inspired him. He was probably able to do this due to his unusually large size. Most of
his contemporaries held their katana with both hands.

Musashi was also rare in that he was a loner. He had no formal training in any of the
formal kenjutsu schools – aside from dueling with their representatives. He also had a
rather no-nonsense approach to fighting with no additional frills or aesthetic
considerations. This was probably due to his real-life combat experience.

Especially in his later life Musashi also followed the more artistic side of bushido. He
made various Zen brush paintings and calligraphy and sculpted wood and metal. Even
in the Book of Five Rings he emphasizes that samurai should understand other
professions as well.

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 Kenjutsu vs. Iaijutsu

The following is a question I was sent in an email and I thought you might find this
informative:

The reason I am e-mailing you is that I have been trying to find out how Kenjutsu
kata differ from Iaido setei. Do they resemble the kobudo kata that I am used to doing
with a large number of techniques and a greater amount of movement than the Iaido
setei or are they shorter with less movement? Any help would be greatly appreciated.
The Iaido Seiteigata are practiced with a iaito or a shinken (live blade) and they all
begin with the katana (sword) in the saya (scabbard) (Note: that not all iaijutsu kata
begin this way, most do, and all seiteigata do). Iaido seiteigata are solo kata (though
they obviously have bunkai and oyo like Karate performed in karate and kobudo).
Kenjutsu kata, also called kumitachi or katachi, are almost always executed using
bokken (wooden swords) and always involve one or more attackers (called uchitachi).
The length and extent of the kata vary depending on the ryu there from, but most are
relatively short and involved only two to three cuts. Frequently in both kenjutsu and
iaijutsu, training will include stringing together multiple kata, resulting in much
longer routines, but these are exercises and not formal representations of the kata.
With Kenjutsu, for the most part, the sword is already drawn, and you are facing your
attackers. Iaido (and Iaijutsu) frequently works from the premise that you are attacked
by surprise (hence you didn't have time to draw your sword) or you perceived the
attack before it was actually commented.
Think of Kenjutsu as more of an open field battle art, and iai as more of a surprise
attach type art.
Obviously these are over simplification, but this should provide a reasonable
overview.

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 The Samurai Way

“Hai!”
“Y’me!”
“Osu!”
The shouting of commands, barked orders, roared replies, all make the average
Japanese karate dojo sound very much like a Marine Corps boot camp. In many
schools, training is augmented by “incentive”-type punishments such as push-ups or
duck-walk laps imposed for inattentiveness or some other infraction. Most karateka,
however if they do ask about it, they will probably be told it is the “samurai way” of
learning. Indeed, the typical karateka tends to look upon his teacher (especially if that
teacher is of Japanese ancestry) as a living, modern-day samurai, and he sees his
military type karate training as a contemporary counterpart to the warrior
apprenticeship undertaken by the feudal era bushi.

Both suppositions are nonsense. Karate training today is only tangentially related to
the bugei of the warrior’s dojo, and the average 20th century karate sensei—Japanese
or not—doesn’t know spit from apple butter about the samurai.

To grasp just how nonsensical these ideas are, one must be fortunate enough, like a
friend of mine recently was, to observe training in a traditional bujutsu dojo in Japan.
“It was so different,” he said. “No shouting or rigid lines. The training was extremely
intense, but still, it seemed relaxed.” Since the dojo he observed has literally been in
continuous use since the days of the classical warriors, training methods almost
precisely preserved, how is it that it’s so different from the modern karate (or judo,
Aikido, etc) dojo?

Well, for the answer, a quick history lesson is in order. It seems reasonable to expect
that the post-feudal Imperial Army must have drawn its strength from the ranks of the
samurai. In fact, though, nothing could be further from the truth. The traditional
samurai despised the entire notion of a conscription army. He loathed the thought of
commoners presuming to be warriors, and while many of his kind later enlisted in the
Navy (which had a more aristocratic tradition than the Army), the vast majority of the

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pre-WWII Japanese Army was made up of commoners or the descendents of
commoners. What that means is that Imperial Army officer you see swaggering and
strutting in old newsreels is more likely to be the grandson of a potato farmer rather
than of a classical warrior. His treasured katana was probably a cheap, mass-
manufactured trinket instead of a generations-old heirloom. (Entire “ryu” had to be
hastily concocted by Army officials just to teach these officers to draw and cut with
their weapons in the simplest fashion without injuring themselves.)

Since the Army had no warrior tradition of it’s own—there was no Japanese Army
before 1867—it had to create one. Understandably, it gravitated to the aura of
bushido. But remember, the modern soldier had no real experience in the warrior’s
ways. He had not come from a family of samurai, had never even entered a traditional
dojo; he had only the vaguest concept of what those ways were all about. The average
commoner had always held the samurai’s bravery in awe. Yet, not understanding that
the samurai’s courage and skill came from cultural breeding and complex societal
pressures, the Army hoped to attain those same ends by harsh physical conditioning.
Brutally demanding exercise and incessant drills were combined with sadistic
discipline in the Japanese Army. Officers often beat enlisted men; death from
overexertion was common. Both soldiers and their officers were led to believe this
was the way the samurai had trained, a misconception they swallowed gladly, and
they went on to banzai charge their way into WWII, thinking themselves the modern
embodiment of a proud martial tradition.

The Japanese population also gobbled the “modern samurai” stuff up. Male high
school students began wearing high-collar uniforms molded after those of the
Prussian Army. Martial songs were in vogue. Just as many Americans like to imagine
their European ancestors as noble knights, Japanese were encouraged to magnify and
distorting the memories of their ancestors and a great-great grandfather who was
pressed into reluctantly battle became a revered hero.

The budo, too, were used for this militaristic propaganda. The budoka’s training took
on a decidedly military bent. Karate, particularly because it was the newcomer to the
budo scene, readily adopted this approach and the majority of Japanese karate
teachers in this country today are products of it. They continue to teach the way they

29
learned, with a strong emphasis on shouting, military-type rigidity in discipline, and
so on.

So what? After all, the benefits of karate are outstanding. The excesses of the old
military-style training have been abandoned and the discipline and hardships that
remain are excellent ways of learning. It may well be that formal militarism of karate
is the best thing that’s happened to it. Karate is meant for people of all kinds, not just
for the samurai elite who studied the bujutsu, and there is no reason its training should
be like that of a feudal ryu. If military style training is helpful, it should continue.

However, the tradition of military training in the karate dojo must be recognized for
what it is. It is historically bogus to continue insisting that “drop and gimme 20!” and
“Osu!” have any link with the training of the bushi. It is culturally dishonest for karate
sensei to present themselves as inheritors to a lifestyle to which they have no more an
intimate connection than the average American has to the colonial rebel who fought at
Lexington Common. To continue this misconception is to keep alive the warped
propaganda of a long-dead Imperial war machine. And it prevents us from seeing and
following karate-do as it really and honestly is.

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 Yamauchi-ha Muso Jikiden
Eishin-ryu Iaijutsu
Iaijutsu is very commonly referred to as the “Art of the Sword” because one studies
how to smoothly and gracefully draw and cut with the katana, or Japanese long sword.
However, the more literal breakdown of Iaijutsu illuminates its deeper purpose. “I”
means “to be” or “to sit” and “ai” means “harmony” while “jutsu” means “art.” So
together Iaijutsu can be viewed as the Art of the Harmony of Being. The Iaijutsu
student practices not to defeat others, but rather to defeat the things within them that
prevent their self-development.

Iaijutsu is practiced as a series of kata. Each kata begins with the individual calmly
sitting or standing with their sword sheathed. Then, one or more perceived assailants
suddenly attack the individual. The individual must draw his sword and perform a cut
or series of cuts to defend themselves. Once the perceived assailants have been
deterred, the sword is cleaned and re-sheathed. In the midst of all this action and
perceived conflict, the iaijutsu practitioner must retain the calm state of mind they had
while sitting or standing.

In addition to its meditative focus on calmness, Iaijutsu also emphasizes awareness,

precision, efficiency and centering related to handling the sword and the self. Other
aspects include manners and respect. Iaijutsu can be studied alone but it is very
complimentary to other arts, such as Chado (tea ceremony), Shodo (calligraphy), and
Kado (flower arranging), and is often taught alongside other forms of budo and or
bujutsu.

Today, the most widely practiced style of iaido in central Japan is “Muso Jikiden
Eishin-Ryu,” meaning “Peerless, Direct Transmission, True-Faith Style.” Eishin-Ryu
claims a unbroken history of about 450 years, making it the second oldest extant
martial art form in Japan (the only budo form with a longer history is “Tenshin
Shoden Katori Shinto-Ryu,” an eclectic system of fighting arts that includes some
“Iaijutsu,” the art of drawing the sword and reacting to surprise attacks).

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The founder of Eishin-Ryu was Hayashizaki Jinsuke Minamoto Shigenobu, who lived
between 1546 and 1621 in present day Kanagawa prefecture, Japan.

Hayashizaki's iaijutsu has been given many names since then and it has been handed
down from master to student to the present day. It is considered the foundation for the
two major styles of iaido that are practiced today: Muso Jikiden Eishin-Ryu and Muso
Shinden-Ryu. In each generation a headmaster, or soke, has been appointed to guide
the practice of the art and each soke has had its own influence on its development.
Eishin-Ryu claims an unbroken line from Hayashizaki through twenty-one
generations to the present day soke, Sekiguchi Komei.

Most iaijutsu historians agree that the inspiration for the name Eishin-Ryu came from
the name of the 7th generation headmaster, Hasegawa Chikaranosuke Eishin.
Certainly the characters used in his name are the same as those employed in the name
of the style. After the 11th generation, iaido branched off into Muso Shinden-Ryu by
Nakayama Hakudo. The original branch become known as Muso Jikiden Eishin-Ryu
after Oe Masamichi. Currently these two are the most widely practiced iai styles in
Japan. There are also a number of other, less-widely practiced, forms of iai that grew
out of Hayashizaki's art.

Muso Jikiden Eishin-ryu Iaijutsu as practiced by our dojo is the descendant of an

unbroken line of tradition that stretches back some 450 years to its origins in ancient
Japan. Hayashizaki Jinsuke Shigenobu originated this technique that was to become
Iai out of necessity after his father was slain. And if, after vanquishing his powerful
foe Hayashizaki had lost the need for Iai, we might not know his name today. But
instead of a one-use tool, Hayashizaki sama found an immortal use for this technique.
He found a powerful way to preserve life, and refine the human spirit all at once.
Working on this solid foundation he began to build a sword style that would survive
until these modern times.

The seventh grand master Hasegawa Eishin shaped the school around the changing
times, keeping true to its enduring spirit, and mastering a new type of sword.
Hasegawa’s time saw the evolution of the sword from the Tachi design to the Katana.
A different style of sword, with a different style of being worn. These stylistic changes

32
demanded fundamental changes in the arts techniques. A challenge that was well met
by the man whose name would come to label this style. In fact it was a demonstration
before Toyotomi Hideoshi around 1590 that earned the ryu the title “Muso Ken”
(“Sword Without Equal” ).

Iaijutsu is the art of a face-to-face, and perhaps spirit-to-spirit confrontation. In its

simplest form, it involves the technique of quickly utilizing a sword to deal with a
potentially deadly situation and then returning the sword to its sheath in a stylized
manner. To call it “Samurai sword quick draw” would at first seem aptly descriptive,
but then would fall so completely short of the mark as to make you sigh in
exasperation.

Indeed the masters of this art are able to act with blinding speed. Hit with unerring
accuracy and replace the sword in the sheath before you know they are moving. But
this, I do not believe to be the very heart of Iai. Because anyone... anyone can move
quickly. But, to know when to act, to feel compassion even in the heart of conflict,
and to be able to see beyond the surface of the situation, and know what to do. This is
Iai.

I have told people who attend my class for the first time, that I expect them to screw
up everything I teach them. I say this because I see this uncompromisingly high self
expectation that they have set upon themselves. At some point we all have to lower
that expectation and accept our natural ability to succeed, and to fail. Learn from that
failure, and succeed. We must set ourselves up to do and do again the things that teach
us and help us grow.

I believe that there is always something more to discover in this school. Iaijutsu is
over four hundred and fifty years old. How much has gone into this system. How
many innovations, trial and errors have formed this ryu. And here I am, a student of
only a few years. What do I have to learn... So much.

Iaijutsu is a martial art. A concept of warfare that has endured the ages. Iai is about an
individual, and a sword. Iai is about meeting the challenge, and surviving. Iai is about

33
not giving up, never quitting and seeing yourself through to the end. Iai is about
exploration and learning, within yourself and the world.

With the inclusion of the suffix, jutsu, Iai claims a military history of practical
application. An art--but a martial art. A series of forms and concepts born of
battlefield sensibly will be a part of your education in this venerated style of
individual combat. But within you there will be a deeper more personal battle. If won,
this battle of the self, you will learn Iaijutsu and grow with it. If lost, you will see the
sword for a sword and an ancient killing art for no more than its worth to shed blood.

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 The Samurai of Japan

The ancient samurai warriors once had a key role in Japan. Over the years their
existence has slowly diminished leading to their extinction. Although the samurai are
no longer existent, they have left an unforgettable legacy that continues to affect the
lives of people in modern Japan. The traditions and customs of the samurai still have
an impact on the daily lives of the Japanese people. Whether it be through the martial
arts, the peaceful arts, or their core beliefs, and how the styles of swordsmanship, the
samurai continue to influence life to this day. Furthermore, the samurai’s ethics are
prominent in Japanese society as well as business. The romantic ideal of the samurai
still inspires children and adults through countless mediums. Finally, the idea of
Bushido exists in society today as the Japanese business ethics illustrate honor and
duty to Japan.

The beginning of the samurai’s beliefs date back to 660 BC. During this year, Jimmu
Tenno became the head of a confederation of clans. Tenno, known as "The Divine
Warrior", led his people from Kyushu to conquer the Kinki region. Tenno settled in
Yamato, which led to the rise of the Yamato Dynasty. The Yamato clans sent
numerous military campaigns to Korea and China. These campaigns led to the
introduction of Korean and Chinese culture which includes the technology and martial
arts of feudal Japan. The primary conduit of these influences came by way of the

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returning warriors. The martial arts beliefs acquired from these expeditions would
form the basis of the samurai warrior ethic.

The Samurai’s code of chivalry, known as Bushido, or "Way of the Warrior", was
created in Japan using China’s concept of warriors known as "The Way of Horse and
Bow". The concept of Bushido was a core belief of the samurai. The philosophy
behind Bushido is "freedom from fear." This meant the samurai was not to fear any
bout and to face death with honor.

Bushido "gave [the samurai] the peace and power to serve his master faithfully and
loyally and die if necessary"(Brief History of the Samurai). The samurai held duty to
one’s master and to oneself above all else. The samurai rose to power out of the
constant fight for land in feudal Japan. They became experts at fighting from
horseback and on the ground. They trained in armed and unarmed combat. "The early
samurai emphasized fighting with the bow and arrow" (Brief History of the Samurai).
Battles with the Mongols in the late thirteenth century led to the greater dependence
on combat with the sword and fighting solely on foot.

A large part of the samurai’s honor is the two swords they would wear at all times.
One sword was long; the other short. The long sword, or Katana, would generally be
forty-one inches long. While the short sword, or Wakizashi, was between twelve and
twenty-four inches long. The first swords the samurai used were based upon designs
from China and Korea, they were straight swords similar to what the medieval knights
of Europe would use. It was the samurai’s desire for tougher, sharper swords lead to
the curved swords which are still used today (Brief History of the Samurai). They
believed that their swords were one with their soul. To touch a samurai’s sword
without permission was a direct insult to the owner. Generally, the samurai would
only use one of his swords during a battle. The long sword was ideal for wide-open
spaces; while the short sword for tight spots. It wasn’t until the 17th century when
using two swords at once began to become a technique for swordsmanship. A ronin
(master-less samurai) and expert swordsmen Miyamoto Musashi created this style. He
had been in more than sixty bouts to the death by the age of twenty-nine, and he never
lost one of them. After he was twenty-nine it is believed that he stopped fighting and
spent the rest of his life teaching and refining his military science.

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In 1643 Miyamoto Musashi wrote The Book of Five Rings, the definitive guide to
swordsmanship which is still used to this day. It is also used as a guide for business
management in America and Japan. The Book of Five Rings has been studied
endlessly by businessmen for its insight into the Japanese approach to business
strategy similar to how the Art of War is studied for its own insight. "The book
analyzes the process of struggle and mastery over conflict that underlies every level of
human interactions" (The Book of Five Rings, back cover). Furthermore, the book
discusses the following qualities.

Japan, once a small island country with little to no technological power, has become a
powerful force in world trade. The qualities that make up Japanese business are rather
easy to describe, but difficult to put into practice. The qualities include practicality,
trust, respect, solidity, substance, loyalty, courage, simplicity, brevity, calmness,
tolerance, patience, perseverance, and wisdom. To understand these concepts you
must look deeper than the simple meanings of the words. As the expert samurai once
taught their students in their dojo’s, many Japanese companies have mentors that help
aid the new graduates learn their positions. John Harford’s article The New Samurai
explains that the "most successful Japanese businessmen have the skills of the
samurai in the sense that they are never afraid to take difficult decisions and do not
flinch from bad news" [p. 38] .

Before writing The Book of Five Rings, Miyamoto Musashi went on a spiritual quest
to uphold his family’s name after his dishonorable action of running away from his
home to join in a war seeking fame, this ultimately led to the expert swordsman we
remember him as today (Musashi).

Honor was very important to the samurai’s way of life. It was their honor that ruled
their actions over everything, except possibly over their daimyo’s commands. The
samurai’s loyalty to their daimyo is unparalleled even to this day. In return for the
samurai’s loyalty, the daimyo would reward their samurai greatly. Paying them
monthly and even going so far as to build sleeping quarters. The samurai’s payment
was having his services available during any battle against the daimyo he served
under. It is this regard to loyalty and honor, which made famous the tale of the forty-
seven ronin. The ronin’s master was killed by a rival daimyo, after two years of

37
waiting idly for the correct time to strike, the ronin made their move. After killing
their masters’ murderer, they committed suicide as a result of their treacherous deeds.
The story of the forty-seven ronin has been told in countless books and movies and
continues to this day to be a great story telling the honor and loyalty the samurai
upheld through their actions. This powerful story has the effect of inspiring these
qualities into the people of Japan today as they strive to live up to the samurai code of
their elders. Today, Japan is a leader in technology and high loyalty can be found in
many companies in Japan. A large amount of companies reward their loyal
businessmen with free housing. A few companies have been known to pay for
weddings and other ceremonies for the extremely loyal businessmen. This is similar
to the daimyo’s high regard for their samurai and it is possible that this is were the
businessmen of today have learned of the importance to satisfy their workers to
ensure good results.

Another vital part of a samurai’s way of life, is their appreciation of the peaceful arts.
The peaceful arts include landscaping, gardening, architecture, poetry, painting,
calligraphy, the tea ceremony, and Noh and Kabuki theaters. A popular saying during
feudal Japan was to "practice the arts of peace on the left hand, and the arts of war on
the right."

For a samurai to reach The Way (Bushido), he was expected to have an appreciation
of and work with at least one of the peaceful arts. Calligraphy, painting, and poetry
were very highly regarded by the samurai. The Dual Way of the Sword and Writing
Brush was said to teach sensitivity as well as fierceness. Calligraphy was seen as a
reflection of your inner self, demonstrating your power, integrity, and ethical
correctness (Daimyo).

The tea ceremony is a tradition that most every samurai and respected official was
expected to take part in. Buddhist monks during the Tsang Dynasty brought tea to
Japan. The Tea Ceremony is used to focus your awareness as well as to escape from
reality. It was used frequently prior to large battles by daimyo and samurai as a
preparation of acceptance for death. The states of mind which were the goal of the Tea
Ceremony include Harmony, Respect, Purity, and Stillness (Daimyo). The actual
ceremony is very traditional and strict. It has been passed on from generation to

38
generation and is still in use to this day. Many women perform the Tea Ceremony at
home or in special teahouses where businessmen can come to relax after a busy day at
the office. Other examples of the peaceful arts including calligraphy, paintings, and
ceramics can be seen in many Japanese homes to this day.

Tales of the samurai have infiltrated the cinema and books for sheer storytelling as
well as to get an idea of what it was like to live in feudal Japan as a samurai. The
legend of the samurai is used in Japanese culture today to inspire people to adhere to
its ideals. It is also used to teach the history of the samurai so the people are able to
identify with their past and learn from it. In 1954, the famed director Akira Kurosawa
released the movie The Seven Samurai. The story for The Seven Samurai is of a small
village that is frequently raided by brigands. The village people decide to hire ronin to
protect them from the brigands. Each ronin hired has a special skill that he has
mastered. It is only with their combined efforts that they are able to defeat the
brigands. John Sterger later created The Magnificent Seven, which is essentially a
"westernized" version of The Seven Samurai. That is, instead of having samurai in
feudal Japan, it takes place in western USA with cowboys. The novel Musashi, by Eiji
Yoshikawa, depicts the story of the famed creator of the dual sword technique,
Miyamoto Musashi. It has been published in book format over fourteen times and has
been produced as a film seven times. It is known as "The Gone with the Wind of
Japan" and has been highly praised in book reviews. It is known as the definitive book
discussing society during feudal Japan (Yoshikawa et al, ix). The tales of the Samurai
have been recreated in many formats and has impacted most every medium of
entertainment. This shows Japans endless love for their history and its effort to teach
each new generation of the samurai’s great accomplishments.

The samurai ethic influenced Japanese culture to such an extent that the government
at one point found ways to exploit young recruit’s beliefs to further their cause. The
concept of Bushido is illustrated by the kamikaze flights during World War II. Pilots
in the Japanese air force during World War II were told they were "The Divine Winds"
or Kamikaze, thus was born the Kamikaze pilot. The pilots were ordered to crash into
American warships. They were told that this was a great honor and was for the good
of Japan. Many kamikaze pilots would wear two samurai swords during their attacks.
Some pilots would even whiten their faces just as the samurai had once done prior to

39
battle. The pilots believed they were doing this for the good of their country. They
were defending their Emperor as the samurai had defended their Daimyo.

Therefore, the sense of duty, honor, and loyalty that Bushido emphasized is still
prominent in Japanese culture.
The samurai’s influence on modern day Japan has been substantial and will continue
to stay in the country’s culture. Most every medium has been affected by the appeal of
the samurai. Whether it be business’ reading The Book of Five Rings by Miyamoto
Musashi as they would read The Art of War by Sun Tzu for the books value on
business management. Or the local school children being told the story of the forty-
seven samurai and their incredible loyalty, honor, and courage. The martial arts are
still studied across the globe, as is swordsmanship including the two-handed
technique created by Miyamoto Musashi. The Katana and Wazikashi are still used in
the discipline of martial arts. The two swords are still seen as a symbol of honor in
Japanese culture, and are considered a prized possession.

The samurai's great regard to honor and perseverance has no doubt effected the way
business is done in Japan, creating an excellent work ethnic which makes them
continue to develop new technological feats and providing answers to modern day
problems. The Japanese businessmen must be able to successfully draw upon the
belief of Bushido to reach success in Japan. Loyalty is one of the greatest assets
Japanese business’ have today. Respect and honor are characteristics that evolved
from the samurai ethic that are vital to successful business relationships in Japan. The
term "Business is War" stemmed from the ethics carried over from the samurai to
Japanese businessmen. Japans excellence in art has not stopped with the samurai,
calligraphy is practiced across the globe. The samurai practiced the tea ceremony for
centuries. It is still used in Japanese homes to this day to teach discipline and
patience. Cinema, Books, and Television have aided in clarifying Japan’s rich culture.
The history of the samurai has been used to teach the children about their culture.
They have inspired children to live up to the ideals set forth by the samurai. There
have been countless books and novels telling the great exploits of Miyamoto Musashi
and many other samurai warriors. The Bushido was brought back to life through the
Kamikaze pilots of World War II. The pilots were protecting their Emperor as the
samurai had protected their Daimyo.

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The beliefs and exploits of the samurai will continue to live in the hearts and minds of
Japanese people and the world for centuries to come. This is important, as it will
forever keep the Japanese and the world in touch with the history of the samurai
warriors. By acknowledging their past they can learn from their accomplishments and
potential mistakes as well as live up to the high ideals set forth by the samurai. The
samurai warriors are one of the great treasures of Japan, their beliefs and actions have
brought great pride to the Japanese. They have given Japan a national identity and
helped define their culture, enriching their sense of who they are as a people.

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 Genealogy of Muso Jikiden
Eishin-ryu Iaijutsu

The following lineage is only the lineage of Muso Jikiden Eishin Ryu Iaijutsu I train.
This lineage is started from the Founder of the art, Hayashizaki Jinsuke Shigenobu
until my sensei who teaches me the art, Brett Denison sensei.

Remember, that today there are 3 branches of Muso Jikiden Eishin-ryu, but only
Yamauchi-ha line is still Iaijutsu, the other two lines are considered Iaido.

Founder: Hayashizaki Jinsuke Shigenobu

2nd Headmaster: Tamiya Heibei Shigemasa
3rd Headmaster: Nagano Muraku Nyudo Kinrosai
4th Headmaster: Momo Gumbei Mitsushige
5th Headmaster: Arikawa Shozaemon Munetsugu
6th Headmaster: Banno Dan'emon no Jo Nobusada
7th Headmaster: Hasegawa Chikaranosuke Eishin (Hidenobu)
8th Headmaster: Arai Seitetsu Kiyonobu
9th Headmaster: Hayashi Rokudayu Morimasa
10th Headmaster: Hayashi Yasudayu Seisho
11th Headmaster: Oguro Motoemon Kiyokatsu
Tanimura-ha
12th Headmaster: Hayashi Masu (Masa) no Jo Masanri (Seishi)

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13th Headmaster: Yoda (Mansai; Manzo; Sansho) Yorikatsu
14th Headmaster: Hayashi Yadayu (Seiki) Masayori (Masataka)
15th Headmaster: Tanimura Kame no Jo Yorikatsu (Sugio)
16th Headmaster: Goto Magobei Masasuke (Seiryo)
17th Headmaster: Oe Masamishi (Shikei Roshu)
Muso Jikiden Eishin-ryu Iaijutsu Komei Jyuku
Yamauchi-Ha
18th Headmaster.: Yamauchi Toyotake
19th Headmaster: Kono Kanemitsu
20th Headmaster: Onoue Masamitsu
21th dai soke: Sekiguchi Komei (Takaaki)
Sensei: Brett Denison

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 Eishin-ryu Iaijutsu Waza

Shoden Seiza

1. Mae (Front)

2. Migi (Right)

3. Hidari (Left)

4. Ushiro (Rear)

5. Yaegaki (Barriers within barriers)

6. Ukenagashi (Flowing Block)

7. Kaishaku (Suicide Assistant)

8. Tsukekomi (Seize Opportunity)

9. Tsukikage (Moon shadow)

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10. Oikaze (Chase the wind)

11. Nukiuchi (Draw and cut)

Chuden Tatehiza

12. Yokogumo (Cloud bank)

13. Toraisoku (One leg of a tiger)

14. Inazuma (Lightning)

15. Ukigumo (Floating Clouds)

16. Oroshi (Mountain Wind)

17. Iwanami (Waves breaking against rocks)

18. Urokogaeshi (Sudden turn)

19. Namigaeshi (Returning wave)

20. Takiotoshi (Cascading waterfall)

21. Makko (Face to face)

Okuden Tachi

22. Yukizure (Escorted)

23. Tsuretachi (Companions)

24. Somakuri (All around)

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25. Sodome (Stop everything)

26. Shinobu (Stealthy)

27. Yukichigai (Passing By)

28. Sodesurigaeshi (Brushing Sleeves)

29. Moniri (Entrance gate)

30. Kabezoi (Against the wall)

31. Ukenagashi (Flowing block)

32. Itomagoi (Farewell visit)

Okuden Suwari

33. Kasumi (Haze)

34. Sunegakoi (Shin protection)

35. Tozume (Boxed-in by doors)

36. Towaki (Beside the door)

37. Shihogiri (Four direction cut)

38. Tanashita (Beneath a shelf)

39. Ryozume (Boxed-in on both sides)

40. Torabashiri (Running tiger)

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 Tameshigiri

Iaijutsu training has three major components: waza (techniques), tachiuchi no kurai
(partner exercises), and tameshigiri (practice cutting). Together these elements
provide a balanced training program for the physical skills of iaijutsu in much the
same way that kata (forms), kumite (sparring), and tameshiwari (breaking) promote
well-rounded training in karate-do.

The waza practice in iaijutsu develops the knowledge of appropriate techniques for
the various types of attacks a samurai might encounter. It also trains the practitioner to
block and cut with correct stance, balance, mental focus, and technique.

However, waza practice must be augmented with partner exercises, such as the
tachiuchi no kurai, in order for the student to develop proper timing, distance, and
footwork in their practical application.

Tameshigiri is essentially a means of determining if the student can apply the lessons
learned in waza and katachi practice to the use of a live sword (shinken). In order to
cut the practice material, you must apply correct swinging technique, together with
proper cutting distance (kirima). If these elements are combined correctly, a clean test
cut is the result. If not, the areas requiring further practice become readily apparent.

Often tameshigiri is depicted as a technique only masters are capable of performing,

requiring near superhuman ability and training to execute correctly. While tameshigiri
is not particularly easy, it is also nothing mysterious or inordinately difficult with
properly balanced training in waza and katachi.

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For cutting, correct technique is of course far more important than muscle strength. If
you have solid kihon, you should not have difficulty cutting when the time comes. In
fact, women and children can often perform tameshigiri earlier in their training than
many men, because rather than trying to strike forcefully they tend to let the sword do
what it was designed to do. A key fact to remember is THE SWORD CUTS; not you!

How to make tameshigiri targets

First you must decide whether you will be making a half, full, or multiple mat target.
We have found that for most of our tameshigiri we prefer to use targets made from a
half-mat. The thinner targets show us more about the quality of our cutting angle
(hasuji), because they bend slightly if the angle is not correct. Full targets are less
frustrating to use, but if you want to see your mistakes, half-targets will tell you more.
An added plus is that you can do twice as much cutting (or spend half as much
money).

Please make sure that the area where you roll your targets is completely free of dirt,
rocks, or other hard materials. If one grain of sand is rolled into your target and your
sword strikes it, you will scratch the polish, dull the edge, or both. We normally
practice with a cutting stand that has a 1 inch diameter dowel which extends 3 to 4
inches into the base of the target. The method for rolling a target is the same no matter
what size mat you use.

You need to roll the mats as tightly as you can, tie them, then soak the mats in water
for at least 48 hours, then get them out of the water and stand them up and let the
excess water run off for about 30 minutes, then they are ready to cut.

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 Differences between Jujutsu
& Aikijujutsu

Legend has it that Shinra Saburo Minamoto Yoshimitsu (1057-1127), the younger
brother of Minamoto Yoshiie, studied the bodies of war dead in order to learn the
secrets of atemi and kansetsu waza. Legend also states that observing a spider binding
its prey in silk enlightened Yoshimitsu.

His teachings were passed down through the Takeda branch of the Minamoto family,
and formed the core of what we now know as aikido. Please note that what was
passed down was not just a set of techniques. Equally, if not more, important was the
methodology: proper technique is derived from scientific research. Jujutsu techniques
were existent before the time of Yoshimitsu, and they continued to exist and develop
after his death. Yet, in no other combat art are fundamental principles of joint
manipulation studied as deeply as they are in the traditional art of the Takeda house.
While other ryu may be satisfied with a successful technique done with proper form,
the Takeda art has an inherited tradition of scientific research. And research they did.
For seven hundred years, countless students of the art took each technique apart and
studied its components in minute detail. Ueshiba Morihei, when talking about the
Daito-ryu best described the results: “Its techniques are many and the theory is deep.”

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In the human body there are a finite number of muscles and a finite number of
muscle-bone linkages, which create a finite system of levers. It is obvious, therefore,
that there must be certain directions in which a human body is incapable of directing
any significant amount of force. Researchers soon discovered that, by applying energy
in these directions, they could control a person with a minimal amount of strength.
Going even further, they found that in certain configurations a person’s own body
weight could supply enough energy to pin him, which led to the branch of jujutsu
known as kage-osae, shadow pins.

The physiological ramifications of this advanced form of combat are obvious: due to
the minimal strength involved, an elderly daimyo could physically control a young
warrior, which resulted in a boost to the daimyo’s status. The fact that it took years of
practice to develop the precision necessary to execute one of these techniques, thereby
making them impossible for younger warriors even if they knew the physical
principles involved, further enhanced the daimyo’s status.

But, on the road to technical perfection, an interesting thing happened. Once the
person’s body became capable of executing a technique with little or no effort, he
discovered that there was a proportional decrease in the amount of mental effort
involved. And, freed to think about other things, he found that concentrating his
attention beyond his opponent, instead of on him, generated an even more powerful
technique.

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 Tanren: Training on the Edge

The vast majority of your martial arts practice is in one of two forms, kihon-geiko or
renshu-geiko: kihon is basic study, in which you are learning a new technique, and
renshu is the process of practicing the waza over and over until it becomes a
conditioned reflex. Both types of training are of obvious importance but, to truly
master your art, you must engage in tanren-geiko.

Tanren may be literally translated as forging, and we use the term to indicate both
spiritual and physical conditioning. The fundamental methodology consists in
practicing in as realistic and vigorous manner as possible, consistent with safety.
Tanren, therefore, must be both exhausting and dangerous.

Police officers have a saying: “Do what ever you have to do, but make sure you can
go home after your shift.” (i.e., Don’t get killed.) Pilots have something similar:
“There are old pilots and bold pilots, but there are no old, bold pilots.” The dojo
equivalent to these sayings is: “You must be able to attend the next scheduled class.”

This seems easy enough to understand, and it creates an obvious upper limit to
training: you don’t want to train so hard, or so dangerously, that you are physically
unable to go to the next class. The problem is that, while the saying does create an
upper limit, it doesn’t set a lower limit: you could go to the dojo every day for the rest
of your life, train very softly and safely, and never accomplish anything. It would be

51
like running, but only five yards, or lifting weights, but only five pounds, or
stretching, but only five degrees.

So, let’s modify that dojo adage to: “You must be barely able to attend the next
scheduled class.”

Aha! That one word, “barely,” makes a tremendous difference. See how it sets a lower
limit, while the rest of the sentence still controls the upper limit?

What we would like to see is a few vague aches and pains as you enter the dojo for
the next class but, after a few minutes of warming up, you feel perfect. The problem is
that this is a very narrow window: train too hard on Monday and you’re not going to
be able to train properly on Wednesday; train too softly on Monday and you’ve
wasted a day.

As for the danger, that window is equally narrow. Optimal would be practice that
scares you enough to get the adrenaline flowing, but doesn’t cause injuries serious
enough to keep you out of the dojo.

When you train in this manner it is tanren. The physical activity forges your body and
the danger forges your spirit, and it changes you.

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53
What Makes Aikijujutsu Unique?

Head instructor Mizukan Dojo

There are many dojo and systems (ryuha) that teach and have a strong emphasis on
the concept of Aiki; for example Daito-ryu Aikijujutsu, Yanagi-ryu Aikijujutsu,
Aikikai Aikido to name just a few. There are also many dojo or school that utilize the
term aiki, because of its esoteric nature and because of the mystic associated with it.

There are many interpretations for “aiki.” I like to describe aiki as the “blending with
internal energy.”

What follows is merely my view and opinion of Aiki, especially how it relates to
Jujutsu.

I don’t believe Aiki represents any specific set of techniques. Rather I view Aiki as a
way or method of applying techniques. For example, a very common technique that
exists in many aiki based systems is Shihonage (four direction throw). Just because
this technique frequently appears in aiki-based systems doesn’t automatically mean
that this technique always utilizes aiki when executed or that the execution relies or
depends on aiki for effectiveness. Likewise, the technique Seoinage (back carry
throw) is commonly seen in many non-aiki based systems such as Kodokan Judo, etc.

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This does not mean that this technique cannot and does not utilize aiki for its
execution and effectiveness.
It is very easy to execute Shihonage in such a way that the concept and principle of
aiki is non-existent; and it is equally possible to execute Seoinage using the principles
associated with aiki.

A technique that correctly utilizes aiki is very powerful, and usually has a physical
and psychological effect of the attacker. But, that effectiveness comes at a price. Aiki
usually materializes itself in very subtle ways; ways of influencing the attackers’
psyche, ways of using his involuntary reflects against him, ways of causing him to
work against him. These subtleties take many years of very hard and very intense
training to develop and refine.

Aiki-jujutsu is the enhancement of jujutsu waza (techniques), via the application of

aiki. This application must be very precise—almost surgical in nature.
Physiologically Aiki-Jujutsu approaches training in much the same way as Jujutsu
systems; the differences are subtle, but these differences have a devastating effect on
the attacker. The Aiki-jujutsu practitioner throws the attacker by forcing the attacker
to off balance themselves. This is done via the application of kuzushi, or off
balancing, which applies at initial contact, as opposed to physically pushing or pulling
the attacker to off balance them. The least amount of force used the better. Also Aiki-
jujutsu utilizes the attackers mind against him to make techniques more effective.
Aiki-jujutsu utilizes involuntary responses uses utilizes the physiological make up of
the human body all to accent the Aiki techniques.

Jujutsu systems teach you to take the path of least resistance; Aiki-Jujutsu systems
teach you to take the path of most resistance. Over a period of time you begin to
realize that no matter how strong or how much resistance confronts you, your
techniques will still be effective, actually the more resistance the easier and more
devastating the technique. You begin to use less and less energy to apply techniques as
you train; you realize that it's not necessary to use the extra energy to be effective.
When you execute techniques you use only the amount of force necessary, and no
more. The confidence that develops as you train begins to radiate. This "presence"
intimidates attackers. This "presence" was what Sokaku Takeda, founder of Daito Ryu

55
Aiki-Jujutsu, was referring to when he said, "Aiki is the ability to defeat an attacker
with a single glance." An example would be the child that stopped misbehaving when
its mother just looked at him.

So, what arts can be classified as Aiki? "The short answer is none of 'em. Or all of
'em. ‘Aiki’ is a concept found in most, if not all, koryu; what it means and how it's
used is something that varies with the system. It's not that big a deal, in the way that
aikido makes it out to be, merely a concept or tactic to be used in defeating an enemy.
The term ‘aiki’ has been around for hundreds of years, and was definitely not invented
by Daito-ryu, although it probably has the most sophisticated understanding of the
idea" (Skoss, M., eBudo.com).

There is great debate and viewpoints expressed in regards to aiki. In my opinion, the
primary reason for this is that there are many very talented and very knowledgeable
martial artists, but in addition to being budoka, they are also human, and as human
beings, they each have there own views, opinions, and life experiences. These
differences result is different interpretations. I strongly believe that the core of the
various viewpoints is all very similar. Some of these individuals are better able to
articulate there views, some of these individuals have more experience, etc, but these
various opinions are all usually referring to the same concept.

All facets of Japanese martial arts have a surface or obvious level or interpretation
called omote, and more obscure or hidden interpretations called ura. Some of the
differences in the debates about aiki stem from the fact that one person is describing
the aiki at an omote level and another person is describing aiki at more of an ura level.
Because of this it seems that the two people are disagreeing, when in fact they are
merely approaching the same concept from different perspectives. That doesn’t make
anyone involved in these debates automatically right or wrong.

If you asked several people to describe mathematics, or more specifically something

like algebra, you would end up with many very different descriptions. The chances
are they would all be correct, based on the knowledge and experience level of the
people questioned. Aiki discussions are similar to this.

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Aiki is concept or principle that is very difficult to describe or express in written form.
As such very little about aiki can be gleaned from reading any of the hundreds of
books that touch on the subject. Even the many videos and DVD that are no available
on Aikido and Aikijujutsu do little in the way of helping a person understand what
aiki is all about.

The only way to truly gain an understanding of aiki is to get out on the mat with a
qualified instructor and train. Not for two weeks or six months, but for several years,
only then will you begin to understand and be able to apply aiki in its true form.

References:
Fabien, S. M., (1995). Some Identifying Characteristics of Nihon Jujutsu. Richmond,
CA: SMAA Newsletter.
Skoss, M. Aiki Discussion on E-Budo.com.
Scott, N. Aiki Discussion on E-Budo.com.
Elias, R. Aiki Discussion on E-Budo.com.
Threadgill, T. Aiki Discussion on E-Budo.com.

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 Budo and the Art of Japanese
Calligraphy

This article first appeared in the Spring-Summer 1995 issue of the Furyu: The Budo
Journal.

Many students of traditional Budo have read that the education of the bushi consisted
of a dual emphasis on bun and bu. Bu refers to the study of martial strategy and
combat, while bun indicates the literary and fine arts of Japan. Some scholars of Budo
have even declared that bun and bu must be considered as one. For example,
Nakajima Masayoshi Sensei, fifth headmaster of Takenouchi-Hangan-Ryu, has
written that, in addition to the ryu's eighteen classical martial arts, students are taught
such fine arts as Shakuhachi (five-holed flute), Shimai (a form of Noh dance),
Yokyoku (Noh song), Sado (tea ceremony), and Kado (flower arrangement).
Moreover, in feudal Japan, young bushi, or samurai, of the Aizu clan attended the
Nisshinkan, where in addition to taking part in the martial activities that many would
expect from an institute of samurai education, the youths also received detailed
instruction in the Chinese classics, religion, etiquette, classical music, mathematics,
healing arts, astronomy, and Japanese calligraphy. It was the art of brush writing, in
fact, that was among the most important of studies for the higher-ranking bushi.

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Actually, for many ancient warriors, as well as present-day Japanese martial arts
experts, Japanese calligraphy (Shodo) amounts to a vital part of Budo training.

Shodo, or the Way of Calligraphy, is studied by a multitude of Japanese, from college

professors to housewives. However, even in Japan, few fully grasp the connection
between Budo and Shodo, or how Japanese brush writing can be used as an
exceptionally effective form of supplemental training for the Budoka. This is holds
true despite the fact that many past masters of the martial arts and ways were also
masters of Shodo. Well-known martial artists such as Miyamoto Musashi; Aikido's
founder, Ueshiba Morihei Sensei; and Muto Ryu Kenjutsu's founder, Yamaoka Tesshu
Sensei, are all held in equally high regard as calligraphers. Yamaoka Sensei is a fine
example of a master of the dual ways of Sho and Bu. Terayama Katsujo Sensei, in his
foreword to The Sword of No-Sword, writes:

Yamaoka Tesshu was an outstanding figure of the turbulent era that marked the birth
of modern Japan. In the public sphere, Tesshu negotiated with Saigo Takamori and
arranged for the peaceful transfer of power from the old order to the new; as an
individual student of the Ways, Tesshu attained profound enlightenment at the age of
forty-five and realized the inner principles of swordsmanship, Zen, and calligraphy.
Thereafter, Tesshu was like Miyamoto Musashi, "passing one's days without
attachment to any particular Way" (Book of Five Rings). Tesshu too became an
extraordinarily versatile and prolific master: a peerless swordsman who established
the No-Sword School; a wise and compassionate Zen teacher in the Tekisui tradition;
and an unrivaled calligrapher who gathered all things of heaven and earth in his brush.
Even today, nearly a century after his death, Tesshu's incredible vitality can still be
discerned in his brushwork. 1

As the actions of the sword in Kenjutsu can be considered a reflection of one's mind,
in Shodo, the dynamic movement of the artist's spiritual force, or Ki, becomes visible
in the form of jet-black ink. Like traditional Budo, Shodo, which is derived from
3000-year-old Chinese characters adopted by Japan, can be practiced as a means of
cultivating Ki. In Zen and the Art of Japanese Calligraphy, Omori Sogen Roshi
expresses this idea:

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The work of a Zen artist, on the other hand, is permeated by what Hakuin called the
"overwhelming force of enlightened vision." That force is kiai. Ki, the energy of the
cosmos, is always present but remains dormant if not cultivated. Kiai is to be full of
ki; it is incorporated in the ink as bokki. 2

Setsudo said about this: "Bokki is not, as most people believe, the colour of the ink,
and does not depend on the quality of the brush, ink, and paper. If one's ki is not
extended into the work, the bokki is dead." 3 The clarity of the bokki is not seen with
the eyes, it is sensed with the hara, the physical and spiritual centre of one's body.
Bokki reveals the calligrapher's inner light.

Many followers of Budo, especially Aikido and Aiki-jujutsu practitioners, place a

similar emphasis on the cultivation of Ki, kiai, and hara in their own disciplines, just
as Shodo is viewed by its disciples as an equally effective method of developing
oneself spiritually. A spontaneous creative gesture that has much in common with
abstract expressionism, Shodo is more than mere writing, and its skilled practitioners
believe that the "visible rhythm" created by the brush is a "picture of the mind" which
reveals the calligrapher's physical and mental condition. For hundreds of years in
China and Japan, leaders in any field, including Budo, were expected to demonstrate a
powerful, composed script. Recently, major American and European corporations
have started to employ handwriting analysts to help them select future executives;
however, the study of byohitsu, or "sick strokes," is not new to Japan. It is believed
that the subconscious mind is unmasked at the moment the brush is put to paper. It is
also felt that one's subconscious can be positively influenced by copying masterpieces
of Japanese calligraphy executed by exceptional individuals such as Yamaoka Tesshu
Sensei. Like Budo, Shodo is ultimately a means of cultivating the personality by
developing positive subconscious habits. Martial arts author Michel Random writes,
"It is said that internal serenity drives the brush. The brush in effect interprets the
deepest part of the subconscious. The 'wisdom of the eye' is what relates the
characters to each other as though assembling the movable and the immutable, the ego
to the 10,000 things in the universe, the present to the timeless."

Each brush stroke in Japanese calligraphy must be perfectly executed since the artist
never goes back to touch up any character. Each movement of the fude, or brush, is

60
ideally performed with the full force of one's mind and body, as if one's very life
depended upon the successful completion of each action. It is this spirit of
decisiveness, of throwing 100% of oneself into the moment's action without
hesitation, that perhaps most clearly connects Budo and the art of Japanese
calligraphy. Random further states in The Martial Arts:

For is not the ability to make the stroke flow naturally, to let the brush move freely
across a thin piece of paper, also a superior struggle of the most testing kind? The
spontaneous stroke of the brush is reminiscent of the quick free thrust of the sword or
the freedom of the arrow fired effortlessly. Wherever there is distress, worry or
uneasiness, there can be no perfect freedom or swiftness of action. 4

In Shodo, all mistakes are final, just as in the martial arts a mistake ultimately, or at
least symbolically, results in the Budoka's death. For this reason, many beginners in
calligraphy lack the spiritual strength to paint the character decisively. Each stroke
must be delivered like the slash of the bushi's sword, yet the brush must be held in a
relaxed manner, as well as manipulated without a loss of controlled calmness.
Through rigorous training, a kind of seishin tanren (spiritual forging), the student's
mental condition is altered, and this change in consciousness is expected to be carried
into the individual's daily life as well. For the Budoka, the added strength and
composure, which is cultivated by Japanese calligraphy allows him or her to more
instantly respond to an opponent's attack without hesitation. In one sense, the shuji-
gami, or calligraphy paper, which is so sensitive that the ink will "bleed" through it in
seconds, is one's opponent and the brush one's sword. Every kanji, or character, must
be painted with a perfect asymmetrical balance, which like a person's balance in
Jujutsu, must be developed until it is maintained on a subconscious level. (In fact, the
author has found his prior training in Aiki-jujutsu to be invaluable for sensing balance
in Shodo, and over the years, his study of calligraphy has enabled him to more
precisely see, and correct, a lack of balance in the bodies of his Aiki-jujutsu students.)

Shodo requires a balanced use of the mind and body, as well as a state of mental and
physical integration. As many novices in the martial arts have discovered, it is
sometimes rather difficult to make the mind and body work together as a unit. To
simply paint a straight line can be a surprising challenge, one that can be

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accomplished only through a coordination of one's faculties. In Japanese painting and
calligraphy, a strongly concentrated mind must control the brush, and a relaxed body
must allow the brush to act as an exact reflection of the mind's movement. Shodo, as
much as Budo, demands this coordination. Through calligraphy practice, the martial
artist has an additional means of realizing the essential harmony of thought and
action, and a visible means of illustrating this state of unification at that. To achieve
unification of mind and body, of course, demands a positive, concentrated use of the
mind, along with a natural and relaxed use of the body. It is this enhancement of
concentration and relaxation that many people, including Japanese practitioners of the
martial arts, find so appealing.

Just as Judo begins by gripping the opponent, and Iaido begins by gripping the sword,
so too does Shodo start with the student's hold on the brush. Unless the proper method
of holding is mastered, no real progress is possible. Some teachers in the past tried to
suddenly pull the brush from the student's hand as a means of testing the grip. An ink-
covered hand would reveal an improperly held brush. However, squeezing tightly is
not the answer, because this does not produce flowing, dynamic characters. Limply
gripping, on the other hand, results only in a loss of brush control. It was, and is,
therefore essential to learn to hold the fude in a way that is neither tense nor limp,
with a kind of "alive" grip in which one's Ki is projected from downward-pointing
fingers through the brush, out of the tip, and into the paper. This same supple, yet firm
grip, is vital in most forms of Budo, and it has been characterized as "Ki de toru," that
is, holding with Ki.

As an individual prepares to paint, he or she will notice if the tip of the brush is still or
shaking. A wobbling brush not only makes it difficult to paint stable kanji, but it also
indicates an unstable, nervous mental state. In Shodo, and Budo, the body reflects the
mind. Therefore, the bushi would also notice if his opponent's kissaki (sword tip)
began to tremble, for this was often an indication of suki--a break in the opponent's
composure and concentration, and an opportunity to attack. In Shodo, as in Budo, as
in daily life, the mind and body are interconnected.

In both Shodo and Budo, one's spirit controls the brush or, in the case of Budo, one's
body. The Shodo student needs to strongly focus on the character to be painted for a

62
split second, and then without hesitation, move the brush in a relaxed manner. In this
way, the Shodo artist endeavors to succeed mentally before the brush even touches the
paper, in much the same way that a skilled Budoka will spiritually win before
engaging the opponent. Japanese calligraphy dictates that the movement of a person's
Ki slightly precedes the brush as it draws the character.

Shodo has a "visible rhythm"; in other words, the kanji sit in repose on the paper, but
they must look and feel as if they are moving. (This is the state of dochu no sei, or
"stillness in motion," that is often alluded to in esoteric densho, or manuals containing
a school's most profound teachings. Its converse is "motion in stillness." It is the unity
of these two conditions that results in skilled Shodo and Budo.) To create this
dynamic, yet balanced feeling, the brush must flow in a free and easy manner. Each
kanji has a set number of strokes that must be brushed in a precisely defined order.
Within the form of each character, the brush should move smoothly from one stroke to
the next. This creates a rhythm, which must not be broken if the character is to take on
a dynamic appearance, and unless a constant flow of concentration is maintained, this
rhythm will be broken. Many people have an unfortunate tendency to cut off their
stream of attention at the completion of an action. In calligraphy, this often happens
when finishing a single character or at the end of a line of words. It is vital to maintain
an unbroken flow of Ki and concentration throughout the artistic act. In Budo as well
as Shodo, this is known as zanshin (literally "remaining mind"), and it indicates a kind
of "mental follow-through" and unbroken condition of calm awareness. Shodo has
been used in the past, as well as the present, as a way for Budoka to develop zanshin
without the presence of an actual opponent.

Both Budo and Shodo have been characterized as forms of "moving meditation."
Michel Random eloquently describes this unique method of meditation with the
brush:

The sign is repeated until total spontaneity is achieved, completely free from thought .
. . spontaneity and not automatism of movement which is contrary to the object of the
exercise. In calligraphy (as in the martial arts), the space between the lines is what
matters. It is this space which gives the signs their beauty. In Zen painting, we find the
same need for pressure and spontaneity. Here, we see the result of the movement of

63
the brush and ink on the paper. The brush is dipped in encre de chine. The special
quality paper is very fine and absorbent. The brush hardly needs to touch the paper to
make a large blob. Therefore, the hand must skim or fly across the paper without
stopping. Thought is free. 5

Few realize that many of the brush strokes in Shodo are similar, or the same as, the
lines of the fude in Japanese ink painting (Sumi-e). Both the Japanese and the Chinese
use pictographs as well as thousands of ideograms in their languages, each with a
specific meaning, producing a virtually limitless combination of expressions. A large
number of kanji are actually abstract and abbreviated pictures which can evoke
emotion in the viewer, just as some paintings do, owing to their variety and depth. For
this reason, it is not uncommon to find that some Japanese calligraphers can actually
paint, and some Sumi-e experts can execute calligraphy, as the two arts overlap
considerably.

Shodo is, thus, an art that can be appreciated just as much by individuals that cannot
read Japanese as by those that can. For just as it is possible to enjoy the rhythm and
sound of music, without being able to read the notes, it is also possible to appreciate
Japanese calligraphy without being fluent in Japanese. In the dynamic beauty of
Shodo, one finds the essential components that make up all art--balance, rhythm,
grace, and the beauty of line. These aspects of Shodo, which are also found in
properly performed Budo, can be appreciated by all cultures.

Dave Lowry, the esteemed author of Autumn Lightning, describes his impressions, as
a young American, observing the calligraphy painted by his sensei:

... Sensei was writing in the much older kanji characters of Japanese script with ink
and a soft bristled brush. There is a maxim in the bujutsu, ken, sho, ichi, a reminder
that the katana and the brush are one and the same in practice and the swordsman
must wield his blade with exactly the accuracy and artistry with which he employs a
brush to render the intricate characters of calligraphy. Sensei's characters, like his
swordsmanship, were adroit and flowing, unconsciously expert. 6

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It is the author's hope that this article will encourage American martial artists to look
beyond Budo's more obvious physical aspects, to realize that it is a Way born out of
the arts, religions, and history of Japan; that it is a cultural art like tea ceremony,
Shakuhachi, Shodo, and others; and that ultimately, it is not possible to fully remove
Budo from Japan's cultural matrix without altering beyond recognition its true form.
In fact, it may help individuals not fluent in Japanese to realize that Shodo is often
painted in ancient and highly abstract scripts, such as tensho and sosho, which the
average Japanese cannot even read. (Shodo is, however, an enjoyable, stimulating
method of learning the Japanese language--the international language of Budo.)

Perhaps, through the practice of Shodo, Western martial artists can come to also
understand the other so-called "impenetrable" Japanese cultural arts that the bushi
considered an invaluable part of his education, and which are so rarely explored by
Budoka today.

Notes:

1. John Stevens, The Sword of No-Sword, Boulder: Shambhala,1984, p. vii.

2. Omori Sogen and Terayama Katsujo, Zen and the Art of Japanese Calligraphy,
Boston: Routledge & Kegan Paul, 1983, p.10.
3. Michel Random, The Martial Arts, London: Octopus Books Limited, 1978, p. 98.
4. Ibid.
5. Ibid.
6. Dave Lowry, Autumn Lightning, Boston: Shambhala, 1985, p.142.

About The Author:

H. E. Davey is the Director of the Sennin Foundation Center for Japanese Cultural
Arts, located in Albany, California (near San Francisco). It offers classes in Japanese
Yoga, Japanese healing arts, Aiki-jujutsu, and Shodo. He is also a direct disciple of
Shodo master Kobara Ranseki Sensei, Vice President of the Kokusai Shodo Bunka
Koryu Kyokai of Japan. He holds the highest rank in Kobara Sensei's method of
Shodo, and he exhibits his artwork annually in Japan at the International Shodo
Exhibition (Kokusai Shodo-Ten), where he has received various awards, including
Jun Taisho, the Associate Grand Prize.

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