This is the way Japanese swordsmanship was originally studied. There are many types of schools where one can study one aspect or another of Japanese Swordsmanship. Only Shinkendo involves study of each of these important aspects of swordsmanship.
True, deep study of Japanese Swordsmanship must involve many interlocking concepts. In Shinkendo, these five aspects of swordsmanship, Suburi, Battoho, Tanrengata, Tachiuchi, and Tameshigiri are like five interlocking rings. All five aspects have some relation to the other rings.
This is the foundation of a comprehensive study of swordsmanship. It allows for one to view the techniques from a larger perspective and pursue them deeply. Koryu kenjutsu is a form of partnered training that starts when both participants already have their blades drawn. Many koryu kenjutsu styles still exist in Japan today. Training is usually done with a bokuto wooden sword , but some styles also use a fukuro-shinai padded bamboo stick , to practice sparring techniques more safely.
The important aspects of koryu kenjutsu are incorporated into Shinkendo as Tachiuchi, or two-person prearranged exercises. Kendo is a form of sparring that utilizes bogu armor and practice with a shinai bamboo sword , that came into existence near the end of the Edo period.
After WWII, modern kendo became more of a competition sport of hitting and thrusting, rather than true Budo. However, those valuable sparring tactics that are used in Kendo are incorporated into Shinkendo as variations in Tachiuchi. Shinkendo teaches how to draw the sword combatively, and re-sheath it safely. This training is called Battoho. Students begin practice with a wooden sword and learn to draw effectively in many directions.
Advanced students later use an Iaito, or non-sharpened practice sword, and later use a Shinken, or real sword. Techniques done from a sitting position Suwari Iai are very common in other schools, but are not used in Shinkendo. These techniques are impractical and unsafe. Budo was no longer concerned with winning a battle, but geared toward the development of mind and spirit.
In budo, the goal was to be strong and effective, and as a by-product of hard training, the mind and spirit would develop naturally. Strength is not to be confused with violence. The goal when practicing is to care for and respect your partner opponent. If not, you or your partner would suffer the consequences of injury, which would in turn hamper your training. In , the Tokugawa government had fallen, and warriors' world came to an end. By , the Meiji era brought with it an influx of European civilization and culture.
In , the haitorei was issued which banned samurai from wearing swords in public. The sword was no longer the trademark of the samurai. Fewer and fewer people practiced swordsmanship until finally, the art became obsolete and many traditions disappeared completely. This began a period of time when swordsmanship was no longer exclusive to the samurai bushi class, and any citizen could learn how to use a sword. Subsequently, this period saw the birth of many seiza-based iaido sword groups.
This was indicative of the change from "jutsu" to "do", as bujutsu changed to budo; kenjutsu to kendo; and jujutsu to judo. The concept of budo changed drastically and was, generally speaking, no longer a combat effective art, but that which was evolving into a more spiritual, non-aggressive art. The following interview unedited was conducted and translated by Sachiko Kunisawa, in response to frequently asked questions In the 6th year of the Meiji era , the army established the Rikugun Toyama Gakko a military school located in Toyama, Tokyo.
Among other traditional skills, gunto soho was taught, which was the study of using the army sword. It was an accelerated course to train officers in the effective usage of a Japanese sword in a short period of time. Later, in the 10th year of the Showa era , the techniques were refined to create Toyama ryu. There were only seven simple, but practical basic techniques in the Toyama ryu curriculum. Nakamura Taizaburo sensei was a Nanpo kirikomitai Budo Kyokan, or, instructor of sword attack.
After the war ended, he continued to do demonstrations of tameshigiri test cutting. Unfortunately, Nakamura sensei was chided by the public because the public felt that sword was the only skill he was experienced in. As peace continued to prevail, many martial artists began to re-examine this modern non-combative budo and questioned its effectiveness.
Nakamura sensei was continuing to broadcast on t. Different styles of kobudo were also introduced and in a demonstration held in Houno enbu dedicated to the Meiji shrine , a number of instructors throughout Japan came and performed. Although each group claimed a long history and tradition, most of the styles looked the same and it was doubtful that any of the techniques could have actually been used by the samurai in battle.
For whatever reason, some styles added an element of Zen to their techniques and made the movements slow and unlike anything a warrior would practice. Zen is a spiritual study, not a type of budo. During this time I was uchi-deshi live in student at the Yoshinkan Aikido honbu dojo.
I attended a budo demonstration, wherein I performed aikido. Nakamura also did a demonstration. Although he was already in his fifties, he still had power and focus in his cutting and it caught my attention. I wondered how much speed he had in his younger days.
At the time, Nakamura sensei brought his own test cutting material and handled the setting up and cleaning up by himself. I thought I would like to study with this man if I had the chance, so I volunteered to assist him. Since studying any other art while being an uchi-deshi at the Yoshinkan was forbidden, it was not until I left Yoshinkan and entered the Wakakoma that I was able to study with Nakamura sensei.
I never missed one of his seminars. Often, there would be other swordsman there practicing iai seated techniques. I found it amusing that Nakamura sensei would question them on why anyone would want to sit down with a sword especially when a traditional samurai would never wear their long sword indoors.
These practitioners were taught these techniques by their instructors and one could guess that someone, at some point in time, changed the art, which is disappointing.
Nakamura was criticized for doing just that when he began practicing Omori ryu from a standing position, since it had developed as a set of seiza sitting techniques. Several years ago, Victor Figueroa wrote in an iaido newsletter that "Obata's Toyama ryu is not Toyama ryu". To that I can only respond that it is not his fault that he is unaware of the changes in the Toyama ryu kata over the years.
I feel it is his instructor's responsibility to disseminate accurate information about the art, and I am not interested in defending my position. In Japan, when budo is taught, one does not question his instructors. It was considered virtuous and honorable never to question or doubt your instructor. Since new practitioners are novices and cannot recognize a good technique from a bad one, it becomes a tragedy of sorts when a student has a misinformed instructor.
In traditional budo, the art is passed by watching your instructor and mimicking his movements. Techniques are not memorized, but ingrained in the body through hard training, so as to become second nature. Your body should react without thought in a real life-threatening situation.
Your senses become sharper and you create variations, to keep the mind and body alert. Training without variation cannot create a dynamic and vital art, but encourages the art to "stagnate", and can allow weak or incorrect technique to be passed on to subsequent generations. During Nakamura sensei's seminars, I would keep very busy assisting other instructors. I was concerned that these teachers may injure themselves, and indeed many of them struck the floor with their swords, unable to control and stop their swing.
Some had such loose grips that the sword actually spun out of their hands. Making a mistake during practice is understandable, that's why its called "practice", but safety should always be the number one priority.
Even Mr. Nakamura has injured himself several times with his own sword, which he states in his book. In my opinion, an injury can only be the result of insufficient practice or poor technique. It is truly a shame, when senior Instructors pretend to know what they are doing or boast about their ability, when they lack even a basic understanding of sword technique.
There are people around the world creating their own styles, and ironically these are the same individuals who end up injuring themselves or their students.
Although I was one of the youngest participants in these seminars, many older instructors would ask for advice, which I greatly admired them for. In Japan, there is a saying "Kiku wa ittoki no haji, kikazaru wa issho no haji", which means pretending to understand and not ask for help, results in a lifetime of shame.
There is an American adage which is just as appropriate, "Better to ask questions once and be thought a fool once, than never to ask and remain a fool forever". You should visit the Honbu in Little Tokyo to get a better picture of everything. Take care. Join Date Mar Posts That's just outside Houston. It is run by Jimmy Crow. He is looking for new members as this group is just starting out. He can be reached via jimmycrow mac.
I hope this helps. Re: Misinformation! Yeah, Paul!! What the heck is the matter with you!! Next thing you know you will actually expect people to double check their sources, or maybe give citations, or suggest possible resources!!!
THEN where would we be?!? No more spouting from the lip! No more endless passing of fractured oral traditions and heresay!?! What the hell fun is THAT! Gees, imagine a world where we have no more subjective and endless debates about what art is the best or could Mifune beat-up Bruce Lee! Just one string after another of accurate productive information being exchanged. Could things get any more dull!?!
I tell you, Paul sometimes I really wonder where your head is at. Best Wishes, Bruce. Re: Re: Misinformation! Distances in Texas. Re: Re: Re: Misinformation! OK, Step out side!!! Dear Tony: " His chapter on Tsuji Gettan Sukemochi certainly identifies this gentleman as the originator of the style. Then pg 19 the author goes on to identify two brothers Yasuke and Hidezou Takahashi who factored in their background in Jikyou-Ryu after Sukemochis' death in From what I can read in this particular resource nobody later changed the style back.
I know this must seem like picking nits, but my money would be on the Takehashi brothers as the originators of what is practiced today. Otherwise, somebody could likewise make a case for Aikido actually being originated by Takeda instead of Ueyshiba.
Hey Tony, I didn't know that they had formed an official study group. That's cool, I'll have to add them to my list of Texas sword folks! Hey Bruce, I think you need to start a new thread on that subject. You could probably get some pretty definitive answers on it from Renfield Kuroda. Thanks Diane! It's nice to know someone is keeping an eye on the signal to noise ratio! Dear Paul: " You could probably get some pretty definitive answers on it from Renfield Kuroda Will do.
The Takahashi's came after that. Regardless of what is being practiced today. The ryuso would still be Tsuji Gettan. The Takahashi's were soke's at certain times within the art. As for Mr. Craigs books. There is some debate regarding the content that he uses for Mugai Ryu.
Regardless, it is not a debate or discussion that I care to get into. It has been discussed before. Paul, i second your comment above by the way. This is the main reason why I stay off the forums. That and the cartoon kooks!
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