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EDITORIAL: Welcome to the first issue of “Junsei” Magazine.

This issue has been put together in an abridged format, giving you a sneak peak of what you can expect from Junsei magazine.

It is our intention to publish the magazine quarterly with each issue detailing news and events from the previous quarter, whilst detailing themes and events for the following quarter. Rather than incurring the costs associated with a conventional printed Magazine, Junsei magazine will be issued through numerous facets as a free to download and distribute PDF. “Junsei” magazine will allow us to offer a far greater range of information that the Junsei website could possibly handle alone. Furthermore In order to ease the burden of additional website traffic on the official Junsei Ryu website, a new website www.JunseiMagazine.com has been created. All Junsei Ryu members, friends and affiliates are encouraged to donate an original article for use in this magazine and can do so by contacting the editor via either of the official Junsei Ryu websites. If we all pull together we can make this ongoing project a thing or real value and excellence.

All the best and enjoy the read!

Taran McCarnun: Editor

www.JunseiMagazine.com www.junseiryu.org

COPYRIGHT NOTICE: The © 2010 of all content within this publication remains with its original author, unless otherwise stated.

GRAPHIC CREDITS Editor: Taran McCarnun Photographs: Richard Madeley Gordon Allison Taran McCarnun Gareth Burgess Dr Ash McKee Shihan

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The views reports and comments found within Junsei Magazine are not necessarily the thoughts of the Editor or Junsei Ryu, and whilst every effort will be made to check their authenticity, Junsei Ryu accepts no liability for inaccuracies within articles or any offence caused to third parties by their content.

The originator, editor, publishers or Junsei Ryu itself are not responsible in any way for injury or other loss incurred as a result of reading this document or following the instruction herein. It is essential that medical consultation should be sought before taking up practice of any martial art and that a qualified instructor be present at all times of practice.

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CONTENTS: Editorial / Credits / Legal

Page 2

Contents

Page 3

Sword-Care & Maintenance (By Taran McCarnun)

Page 4

A Selection Of Haiku (By Taran McCarnun)

Page 7

Jutsu, Jitsu, Do Or Tao? (By Taran McCarnun)

Page 8

Bushido – The Warrior Way (By Taran McCarnun)

Page 11

Introduction To Shinto Part 1 (By Taran McCarnun)

Page 14

Weapons Of Japan & The Ryukyu: The Kama (By Taran McCarnun)

Page 17

Profile - Dr Ash McKee Shihan

Page 23

Advertising With Us

Page 28

DVD Review – Ninja Assassin

Page 29

Latest News And Events

Page 30

List Of Advertisers

Page 32

Sword-Care And Maintenance (Cleaning The Sword)

By Taran McCarnun Why Should I Perform Maintenance?

It has become a sad sign of modern martial arts that instructors in the vast majority of sword-schools do not know how to correctly clean a sword or even why it should be cleaned regularly. This state of affairs not only exists amongst instructors of Aikido and Jujutsu, but also to the alleged sword specialists of Kendo and Iaido. This loss of tradition has been accelerated by the increased use of “Stainless Steel” and “Chrome Plated” swords that do not tarnish with use.

The regular inspection and maintenance of any sword-blade is of vital importance to its overall use and longevity. Such regular upkeep is especially vital when concerning forged and folded blades whatever their age and history.

Yet the maintenance of a Blade is far more than just a quick clean, it is a moment of quiet contemplation between a swordsman and his sword. It reflects an ancient Samurai tradition of respecting ones blade as a symbol of ones living soul, and perhaps more importantly it greatly improves the blades usability. It stands to reason that the more frequently a blade is handled the more attuned to it the user becomes, so such moments of quiet contemplation really are a priceless commodity.

Now people may ask how oiling a blunt Iaito sword could possibly improve it usability, well the answer is surprisingly simple. When performing Noto (The Sheathing Of The Blade) the left hand is held across the upper portion of the Saya (Scabbard) and the Koiguichi (Scabbard Mouth).

The Mune (Back Of The Blade) is then drawn along the back of the left hand and guided into the scabbards mouth. When a blade has been correctly oiled this movement is a smooth one, however a dry blade can drag the web of the users hand into the scabbard mouth, cutting clean through it in the case of Shinken Blades (Sharp Cutting Swords).

The maintenance kit allows you to maintain your blade the same way as original cleaning styles have been used in the past.

When Should I Perform Maintenance?

Maintenance should be performed at least every other month; as well as before and after every time the sword has been used or the blade is touched. This is of utmost importance, as the natural oils in the skin will cause corrosion and permanent blade discoloration surprisingly quickly.

NOTE: the author has personally witnessed the damage that untreated fingerprints can cause to an antique blade when an amateur collector enquiring about the damage to his own blade approached him. The damage was so invasive that the collector had to send the sword away to a specialist restorer, a process that eventually cost the collector in several hundred pounds to rectify, and ultimately decreased the blades original value immensely.

Basic Sword Cleaning: The maintenance of a sword need not be the proviso of the serious martial-artist, and any collector or practitioner should be able to clean and maintain any swords in their possession.

The Basic Sword Maintenance Kit The basic equipment needed to clean a modern sword is as follows:

High Grade Oil: (WD40™ / 3in1™) Soft Cotton Cloth: Kitchen Paper: By following these three simple steps, a sword can easily be kept in a clean and useable condition.

Details Of The Five Components Of A Traditional Sword Cleaning Kit: Choji Abura / Choji Yu: 丁子油 (Clove Scented Oil)

Firstly the blade of the sword should be carefully cleaned with a soft dry cotton cloth. Ensuring that any grit or residual oil is removed.

Apply a droplet of oil every five or six inches across the length of the blade. And spread across the blades surface using a folded piece of kitchen paper (Being careful to avoid the blades edge). Repeat the process on the other side of the blade.

When both sides of the blade have been coated in a thin layer of oil, re-sheath the sword being careful not to touch the blade with your hands.

NOTE: antique blades should only be cleaned with a traditional maintenance kit, as the drying agents inherent to the majority of modern high-grade oils can react with the steel and iron of older blades, causing them to discolor.

The Traditional Sword Maintenance Kit: The traditional sword-maintenance kit consists of five basic components, each of which serves a specific purpose toward the well being of a swords blade. These five components are:

The clove scented blade oil; the clove essence within the sword oil serves a number of purposes.

1. Cloves are highly scented and traditionally would have been used to mask the smell of the residual fat and blood within the hardwood Saya (Scabbard) of a sword.

2. Cloves are a potent anesthetic, as any who have used clove oil to sooth a toothache will agree. Hence any minor cuts or scratches the user may suffer during practice will be somewhat less painful.

3. Cloves have an antiseptic quality and as such any minor cuts or scratches the user may suffer during practice will be less likely to become infected.

Choji Abura: (Clove Scented Oil) Okome-Kami: (Rice Paper) Tsuchi: (Brass Hammer) Uchiko: (Powder Ball) Wata-Nuno: (Cotton Cloth)

4. Cloves serve as a thinning agent when applied to oil, and as such help prevent it congealing on a blade during cold and damp weather conditions.

Some maintenance kits however feature a number of optional extras including thin wood slivers, glues and spare Mekugi (Sword Hilt Pegs) all of which are used in a swords general upkeep.

NOTE: It is not advisable to add pure “Clove Oil” directly to the blade of a sword; it must first be mixed with high-grade carrier oil suitable for use with polished metals. The carrier oil must not

be any type of vegetable oil, as this will rapidly stain and corrode the blade.

Okome-Kami / Oshigami: 押紙 (Rice Paper / Blotting Paper)

The unsweetened Rice Paper used for cleaning oil from a blade as well as polishing and spreading oil.

NOTE: Under no circumstances should confectionary rice paper be used at any part of the sword cleaning processes, as the inherent sugars will corrode and discolor the swords blade.

Tsuchi: 槌 (Brass Hammer)

The Brass Hammer, used for removing and installing the Mekugi (Handle pegs) within the Tsuka (Handle). NOTE: If you regularly disassemble your katana you will gradually loosen the fittings, which will then eventually need replacing.

Furthermore disassembling a sword will normally invalidate any product guarantee or returns policy inherent to it.

Uchiko: 打ち粉 (Powder Ball)

The Powder Ball, for applying polishing powder to blade. Perfume free talc can be used as a substitute on modern blades.

Wata-Nuno / Nuno: 布 (Cotton Cloth / Cloth)

The Cotton Cloth used for cleaning of the blade and Saya.

general

Cleaning The Sword With A Traditional Sword Maintenance Kit: The following is a simplified breakdown of the sword cleaning process using the traditional maintenance kit.

1) First use a sheet of rice paper to remove oil from previous maintenance, holding the edge away from you and working very carefully to avoid injury. If the blade features Hi (Fullers / BloodGrooves) then care should be taken to remove any detritus held within this area.

NOTE: In order to save on rice paper a soft cotton cloth may be used in its place.

2) When the blade has been cleaned to your satisfaction lightly tap the Uchiko (Powder Ball) along the length of the blade, ensuring a light but even coverage.

3) Repeat the powdering process on the opposite side of the blade as well as along the Mune (Back Of The Blade). Be careful not to strike the Ha (Blade Edge), as this will split the Uchiko rendering it useless.

NOTE: when using the ball for the first time, you may need to tap the ball against a hard surface several times in order to loosen the powder and start its flow-

-through the fabric of the ball.

Holding the Tsuka (Handle) close to the Tsuba (Sword Guard), strike the Tsuka with your free hand several times; causing the blade to vibrate slightly. This will cause the powder on the blade to adhere to any remaining dirt or oil on the blade (Like dusting for fingerprints).

5) Wrapping a clean piece of Okome-Kami (Rice Paper) or a Wata-Nuno (Soft Cotton Cloth) around the back edge of the blade carefully rub over the powder to remove the powder and polish the blade. Where possible polish the blade from Habaki (Blade Collar) to Kissaki (Blade Tip) and not in a back and forth motion, as this will cause the Habaki to fill with powder and grit, eventually damaging the blade.

Repeat this process until both sides of the blade and the Ha (Fullers / BloodGrooves) have been fully polished and all of the powder has been removed.

6) Apply a few drops of oil along the length of each side of the blade and use a clean piece of rice paper or cotton cloth to spread the oil evenly over the blade.

Ensure that a thin coating of oil remains on all parts of the blade, But not the Habaki (Blade Collar) of Tsuka (Handle).

7) Be sure not to touch the blade again or breathe on it before re-sheathing in the Saya.

8) To re-sheath the blade place the Kissaki (Blade Tip) in the Koiguichi (Scabbard Mouth) slowly re-sheathe the blade, firmly pressing the Mune (Back Of The Blade) against the inside of the Saya (Scabbard) so that the sides of the blade make minimal contact with the inside of the Saya.

9) Once the sword has been re-sheathed, gently polish the full length of the Saya (Scabbard) using the Wata-Nuno (Soft Cotton Cloth) to remove any residual marks, powder or oil that have been

-transferred during the cleaning process, before placing the sword into its Ken-Kaban (Cloth Sword Bag) for storage

Remember, as with everything practice makes perfect. The more often you handle your sword, the more comfortable it will feel in your hands during training. A samurai was almost never parted with his sword and as such developed a close affinity with his own blade, whether or not it was a family heirloom.

Happy cleaning.

A Selection Of Haiku

By Taran McCarnun “Then The Bloodied Blade Lies Silent, Painted Crimson How Quickly Life Fades” OOO

“I Watch In Awe The Perfect Singing Sword Cuts Tears Fill My Eyes” OOO

“The Sound Of Rain Upon Cloth Movements In The Shadow I Am Not Alone” OOO

“All Alone I Sit, The Autumn Leaves Are Falling, A Perfect Silence” OOO

“Standing On The Hill The Wind Howls Like A She Wolf Biting Through My Clothes” OOO

Would you like to see your own Haiku, in the next Issue of Junsei Magazine? For more information Contact www.junseimagazine.com

Jutsu, Jitsu, Do Or Tao?

By Taran McCarnun

For this reason all combative arts within the Junsei Ryu are described as Jutsu whereas all spiritual and philosophical arts are described as Jitsu. A simple division that is easy to remember and just as easy to pass on to others.

What Is Ju?

For as long as the western world studied the martial arts of Japan Okinawa, student of various styles systems have argued amongst another about the correct written spoken names for their chosen arts.

has and and one and

One major such bone of contention between students of Japanese martial arts is the interchangeable use of the words Jitsu and Jutsu. In truth the majority of instructors regardless of rank and title do not understand the different meanings of the words and mistakenly use the Kanji for Jutsu and read it as Jitsu.

Jitsu & Jutsu Are Not The Same!

実

Jitsu

術

Jutsu

The term JITSU 実 is m ost com m only translated as “Content, Substance, Truth or Reality”.

Whereas the term JUTSU術 translates as “Art, Science, Method or Technique”.

Using the correct readings the term Jitsu takes on a meaning far closer to the word Do 道 (or Tao) indicating a spiritual or philosophical path that one follows.

The prefix 'Ju' in Jujutsu means softness, suppleness or flexibility. Jujutsu exponents use their techniques to react to an opponent’s attack rather than using brute strength in order to overcome the enemy. In that way, a smaller person may stand a chance of overcoming a larger person by means of stratagem and effective technique.

One might say “A bamboo tree has a flexible trunk that bends in high winds to avoid being up rooted”. And although a rather simplified analogy, it provides a sufficient description of how a Jujutsu exponent conceptualises the art of fighting.

What Is Jujutsu?

Jujutsu is a term used to describe a martial arts principle that originated in ancient Japan as the most common empty handed fighting system of the Samurai. Jujutsu was both used as a method of self-defence during times of peace as well as a last resort during battle. Jujutsu unlike many other martial arts saw a great deal of development during peacetime and eventually became so popular that its practiced bridged the gap between rich and poor so that even farmers and shopkeepers began to study it. Jujutsu is a martial art

that concentrates specifically on throws and joint manipulations in response to an attack. Although striking and kicking are practiced to produce a comprehensive system of self-defence, the majority of training time is spent throwing and locking.

The term " Jujutsu" can be translated as the "Gentle Art." One of the most fundamental principles of Jujutsu is that an attack should not be countered by brute force, but should instead be redirected, damaging ones opponent in the process.

The literal translation of the word Jujutsu means, "gentle art". In Japan, Jujutsu is also be used as a broad umbrella term encompassing all Japanese martial arts such as Jujutsu, Judo and Aikido (in the same way as the term Gung Fu is used in China to encompass many different schools of martial art).

Also the term Jujutsu can have a more specific meaning related to schools that follow the tenets of old school Jujutsu, as opposed to other divergent specializations such as those denoted by the 'Aiki' 'Karate' or 'Kempo' prefixes.

Jujutsu unlike some of the more sportorientated martial arts allows for a far greater level of combative flexibility in response to an attack. However, Jujutsu can equally be very passive, nullifying an attack without hurting the attacker. The flip side of this is that Jujutsu can also be extremely destructive, utilizing all of the practitioner's weight and balance against a small part of the attacker, such as a joint.

This methodology allows a Jujutsuka (Student Of Jujutsu) to respond to any

-given situation with an appropriate amount of force, whilst retaining their emotional and physical composure.

“A Rose By Any Other Name….”

The art that we of the Junsei Ryu refer to as Jujutsu is and has been known by numerous names since the earliest records of Ancient Japan. In order to demonstrate just a few of the different names for the art the following list has been compiled. One should pay particular attention to the different connotations the interplay of Jitsu and Jutsu has on the art in question.

Ju / Jiu: 柔 "Gentle, Soft, Supple, Fluid, Unresisting, Easy, Yielding" Jitsu: 実 "Content, Substance, Truth, Reality" Jutsu: 術 "Art, Science, Method, Technique"

Jujutsu / Jiujutsu: 柔術 "The Gentle Art"

Yawarajutsu: 柔術 "The Gentle Art"

Jujitsu / Jiujitsu: 柔実 "The Gentle Truth"

Yawarado: 柔道 "The Gentle Way"

Wajutsu: 和術 "The Harmony Art, The Peace Art"

Torite: 捕手 "The catching Hand" catching hand"

Wajitsu: 和実 "The Harmony Truths, The Peace Truths"

Kumiuchi: 組打 or 組討 "Grappling, Wrestling"

Taijutsu: 体術 "The Body Movement Art" The application of body movement to defeat an enemy.

Taijitsu: 体実 "The Body Movement Truths"

Judo: 柔道 "The Gentle Way" The first known use of the term Judo to describe a style of Jujutsu was made in 1724 by the fifth headmaster of the Kito Ryu style 'Terada Kan'emon' predating the Judo of Kano Jigoro by some 158 years.

Taido: 体道 "The Body Movement Way"

Kogusoku: 小具足 "The Art Of Seizing, Armoured Grappling"

Hoshin Jutsu: 保身術 "The Self-Defence Art"

Juho: 柔法 "The Gentle Method / The Soft Method" The indirect application of force to defeat an enemy.

Hoshin Jitsu: 保身実 "The Self-Defence Truths"

Aikijutsu: 合気道 "The Art Of Spirit Harmony" Aikijitsu: 合気道 "The Truths Of Spirit Harmony" Aikijujutsu: 合気柔術 "The Gentle Art Of Spirit Harmony" Aikijujitsu: 合気柔実 "The Gentle Truths Of Spirit Harmony" So the next time you are having conversation about Jujutsu, remember pause and think it through. Are you student of system of Jutsu, Jitsu, Do Tao? Yawara: 柔 "Gentle, Yielding, Soft" An alternative reading for the Kanji Ju 柔.

Yawarajitsu: 柔実 "The Gentle Truth"

a to a or

What may appear to be a relatively minor difference between the meanings of the name can in turn facilitate multiple changes to the methodology of training. …………………or at least it should do!

Bushido: The Warrior Way

By Taran McCarnun

-day it is renowned worldwide as being something innately Japanese.

武士道

The Literary Pun

The History Of Bushido Over the last thousand years Japans Bushido code has developed from a warriors’ formal code of conduct to an all encompassing and often life changing religious doctrine. Although the origins of Bushido lie deep in Japans ancient history it was only in the 12th century that the code of Bushido was fully developed. Bearing this in mind it seems strange that it would take four hundred years (During the mid 16th century) for the Bushido code to be written down and utilized as the stringent doctrine of the Samurai class.

Some scholars liken the Japanese code of Bushido to the Chinese warrior code of “Wu-Te” which translates as “Warriors Virtue”. The Wu-Te code itself is believed to be the creation of the Indian monk “Bodhidharma” in around the year AD 520.

The comparable similarities between the two codes are numerous; and as Japan had been steadily importing Chinese technology, style and philosophy since around AD 400, the possibility of a shared ancestry is quite acceptable. However strong feudal societies had existed in both China and Japan for thousands of years before the advent of Buddhism. One only has to look at the sheer enormity of the terracotta army of china’s first emperor to realize just how organized, effective and disciplined these early warriors were.

Regardless of its early origins however, the Bushido Code was given a chance to develop along its own path during the centuries in which Japan closed its borders to the outside world. And to this

A great many literary scholars have pointed out that when the common name for Japans native religion “Shinto” is written out in the traditional Chinese Kanji it reads “The Way Of The Gods”. Yet by adding the word “Bu” meaning “Warrior”, the word structure instead reads as “Bushido” meaning “The Way Of The Warrior”.

The multiple nuances encountered when translating Japanese words into the earlier Chinese letters is an interesting subject in its own right, and the most literal translation of the written word is often far more revealing than the modern translation. For example the literal translation of “Bushido” reads more accurately as “The Way Of Warrior, That Will Send You To The Gods”… a far more sobering translation by far.

Other examples of these literary variations are found in other words of military origin such as “Heiho”; which when written in Japanese letters reads “The Methods Of The Soldier” but when written in Chinese letters reads instead “The Way Of Peace”, assuredly a joke shared by military tacticians throughout Japan for centuries.

Literature has always played an important roll in societies perceptions of Bushido especially so, during Japans more peaceful eras when ancient texts regarding the subject were studied as sources of truth.

However many of these early texts were grossly misinterpreted and the Bushido based upon them in turn became an altered form. Such an example can be found in the Japanese literary classic “Hagakure” penned by a Samurai named Yamamoto Tsunetomo. Although a Samurai of rank, Yamamoto lived his entire life in peace and never took part in any battles or mass conflict. Regardless of this fact Yamamoto often makes references to the mentality of-

-combat and how Bushido should be applied to it. His most famous quote regarding the Bushido code is “The Way Of The Samurai Is In Death” something which later scholars of the subject; including the Kamikaze pilots of World War Two would deliberated heavily upon.

As with any literary source misconceptions are rife and to effectively state that “To be a Samurai is to die” is a narrow sighted opinion at best. In truth however it is not known whether Yamamoto ever intended his book to be Published, read or much less followed like a religious doctrine. As the various modern transcriptions of the Hagakure all differ slightly in their translations we should assume the quote to read something like “To be a Samurai, is to devote your life utterly to the will of your lord and master”, as this would be far more in keeping with the early Bushido ideals assuredly taught to Yamamoto in his youth.

真 SHIN: Truth, Sincerity and Honesty

礼 REI: Respect, Politeness and Gratitude

義 GI: Morality, Righteousness and Justice

忠 CHU: Loyalty, Faithfulness and Dedication

名誉 The Written Code Because the Bushido code is more than just a way of life, to state that it was an utterly inflexible set of rules and procedures would be utterly inaccurate as Bushido was as individual to a Samurai as was the relationship between a lord and each of his attendants.

Whilst Bushido itself can exist in many varied forms, the majority of Japanese scholars generally accept that the following eight ideals are the basis for most visions of Bushido:

MEIYO: Honour, Integrity and Respect

勇 YU: Courage, Bravery and Heroism

仁 JIN: Benevolence, Selflessness and Humanity

Only by adhering to these principles could a Samurai maintain his honour, as straying from this predetermined path would result in irrefutable shame upon the individual and their family. In some situations the disgrace was considered so severe that the offending party was obliged to commit Seppuku; in order to regain some small measure of personal honour.

-ultimately it did not survive into modern times at the hands of Japans nobility, nor in fact did it truly survive amongst the majority of Japans martial arts fraternity.

But rather it survived amongst the rank and file of the Modern Japanese Army; The immediate successors to the same modernised military force that wholly ended the Satsuma rebellion and the rule of the Samurai caste in the year 1877.

Was this random chance? A longing to relive past glory? dark irony? or perhaps a method to honour the long dead warriors of Japan affording them the deepest levels of respect? I will let you decide, but I for one hope that it was an act of respect worthy on any true Bushidoka!

Endnote

In other examples however disgraced Samurai accepted their dishonor and underwent decades of hardship in an attempt to atone for their past mistakes. In the eyes of many great historical Samurai, the willingness to live on and lead a productive life regardless of ones mistakes is just as much a part of the Bushido ethic as a willingness to die. To further complicate matters Bushido itself contains numerous dualities that risked the very honour of those who wished to uphold it. A prime example of this duality is the adage of a Samurai commanded by his Lord, to assassinate another noble in cold blood whilst he slept. Whilst this undeniable act of cowardice would rob the obeying Samurai of his lifetime’s honour, the very fact that one was willing to risk such a personal disgrace at the bidding of his master would expunge them of any associated dishonor.

Perhaps the most ironic fact, surrounding entirety of the Bushido code is that-

“No man dies with dignity, but a man may accept the inevitability of his death with that same virtue.

This is Bushido” Quote “Taran McCarnun”

An Introduction To Shinto Part 1 – What Is Shinto?

By Taran McCarnun

神道 What Is Shinto?

The term Shinto 神道 is used to describe the early native religions of the Japanese people. Shinto loosely translates as the “Way Of the Gods”. As the term Shinto is itself a rather modern addition to what is essentially a prehistoric religion, it is most likely that Shinto would have been described as “Kami No Michi” or the “Spirit Teachings”

神 SHIN / JIN / KAMI / TAMASHII Spirit, Deity, God

道 DO / TO / TAO / MICHI Path, Way, Teachings, Moral, Journey Unlike many of the other religious societies of Asia ‘Shinto’ is both an ancient religion as well as a nationalistic cult amongst the Japanese. Whilst there are numerous texts detailing mythologies, religious law and ceremonial procedures; during its early years what we now refer to as the Shinto religion had no name, no fixed dogma, no moral guidelines, no philosophical literature and no sacred texts.

Shinto is at its core seemingly formed from an uncountable number if differing tribal religions, each sharing a number of common ideals and viewpoints.

A deep-seated factor of Shinto worship centres on the veneration of the divine emperor, who is himself a direct descendant of the Shinto Sun Goddess Amaterasu Omikami 天照大神. Other factors within Shinto veneration include a vast pantheon of ancient ancestor and animistic nature spirits known generally as the Kami.

Some Kami could be described as gods in the western sense of the word, humanoid beings of incredible power able to change shape and form at will. These Kami are occasionally likened to the gods of ancient Greece and Rome.

Other Kami are considered to be personifications of the energies that make up the natural world, such as air, earth, storms, fire, sky and the heavens.

Generally speaking all rites of Shinto worship are dedicated to one or more of these Kami and frequently included the offering of valuable items such as carved beads, jewellery, food and water or in the case of wealthy warriors and noblemen; swords, weaponry and armour.

The Early History Of Shinto Following the large-scale import of Chinese political and cultural ideas during the 6th century AD, and the subsequent popularity of Buddhism. During the latter part of the 6th century the name “Shinto” was created as a means of distinguishing between Japans native religion and those faiths imported from China and Korea. Within only a handful of generations Buddhism had rapidly overshadowed Shinto and many of the native deities came to be regarded as various manifestations of the Buddha.

With the rapid breakdown of Shinto dominance it was left to the Buddhist priests to act as custodians of the Shinto faith and guardians of its Shrines.

As one might expect this Buddhist influence left a permanent mark on Shinto, and it is at this time the first large scale Shinto statuary are created.

Because Shinto had no fixed doctrine or system of ethics it was simple to practice both Shinto and Buddhist rites together. In fact since its introduction, Buddhism and Shinto have coexisted synchronically since at least the early 8th century.

The path to a Shinto shrine is normally marked with a series of giant wood or stone gateways that are know as Torii 鳥居. . In former times the commoners would make their prayers and offerings at the outermost gate, whilst those of higher social standing were permitted to venture further in to the sacred space. Approach to such a sacred area could only be permitted after detailed purification had been performed, including the uttering of personal prayers, the washing of the hands and feet and the rinsing of the mouth and face.

From the end of the 8th century and into the beginning of the 9th century, a celebrated Japanese faith teacher who would posthumously become known as Kobu Daishi 鼓舞大師 formally established a religious doctrine uniting Shinto and Buddhism together under the name of Ryobu Shinto 両部神道 translating as “The Shinto Of Two Kinds”.

Within this new synthesis of ideas the Buddhist element undoubtedly held dominion over its Shinto forbears and elements were even adopted into it from Chinese Confucianism.

In the decades that followed the ancient practices of true Shinto had all but disappeared, with only a handful of great Shrines remaining largely undiluted. Aside from these handfuls of disenfranchised shrines the only place where Shinto remained a factor of daily life was within the grounds of the Imperial palace at Kyoto.

Features Of Shinto Sacred areas are almost always marked with a large rope formed from reeds or rice straw. These are tied around the trunks of ancient trees, giant boulders or hung across the -doorways of Shines in order to mark the area as sacred.

Generally speaking neither Shinto priests nor priestesses had to practice any austerities, as the Shinto faith stresses that one should lead a full and meaningful life complete with the enjoyment of the pleasures of food, drink and family life.

However at the same time that Shinto venerated Life is abhorred the idea of death and decay.

In fact the Shinto faith almost exclusively steers itself clear from all aspects of death and defilement leaving events such as funerals to the local Buddhists.

In fact some Shinto sects became so concerned with the defilement of sacred objects that the priest would hold a large piece of folded paper in his mouth so no breath would touch the sacred object.

Shinto Priests & Priestesses Most sects of early Shinto subscribed to the

-utilization of a class of female priests.

After all the divine deity of the Japanese people was the Goddess Amaterasu, so it made sense that it should be a woman that communicated with her.

The main function of these female priests had been a mediumistic one of establishing contact between the world of the living and the world of the spirits.

However such was the dominance of the Patriarchal society within Japan, by the time of the Tokugawa Shogunate the female priesthood had sunk to the level of temple hands, sacred prostitutes and village wise women. There were still some female inhabitants of the larger shrines that took part in shrine dances, but in general the role of women within the religion was minimal at best.

Male Shinto priests were permitted to marry and it was normal for a father to be succeeded by his eldest son. In the case of the priest having a daughter or daughters they would be trained a virgin shrine girls, and would assist their father with the upkeep of the shrine as well as assisting in some of the more elaborate rituals.

As with all other aspects of life in feudal Japan, there is within Shinto a strict order of Hierarchy and subsidiary to the priests themselves were the agents of the great shrines whose duty it was to organize pilgrimages for religious town folk (farmers, merchants and even parties of samurai).

It comes as little surprise that not every townsperson could afford to make a pilgrimage to the great temples, and in these cases people could purchase the same talismans that they would have received from a visit to the main temple from a regional representative. In effect, big brand Shinto franchises were available from the local Shinto retailer.

Modern Shinto During the early 18th century Shinto as a whole underwent a huge revival; as the national faith of the ultra-nationalistic Japanese. This revival was openly encouraged by the eras most noted scholars, who were in turn motivated by the strong nationalistic emotions of a reverence for Japanese antiquity and an increasing loathing for all foreign influences. During this time the disestablishment of Buddhism began, and ended with the adoption of Shinto as Japans official religion.

In 1867 the Shogunate was overthrown and the Emperor was restored as the head of state. According to the revived Shinto doctrines, the sovereignty of the Emperor was granted by divine right, as the Emperor was historically a direct descendent of Jimmu Tenno the first Emperor, himself a great grandson of the sun Goddess Amaterasu.

Related beliefs of the time also included doctrines that the Japanese people were superior to all other races because of their divine ancestry. This same doctrine also stated that as a divine being the Emperor was destined to rule over the entire world.

This emperor worship gained popularity within Shinto up until Japans defeat during the Second World War. In fact one might say that these beliefs were utilized specifically to assure the nations support for the military expansion of the Japanese Empire into the rest of Asia.

Next Issue: An Introduction To The Major Deities Of Shinto

Weapons Of Japan And the Ryukyu (Part One) The Kama

By Taran McCarnun

鎌 Kama, Kamma, Gama (Sickle, Hand Scythe)

-found worldwide with blades formed from flint, stone and even obsidian. Some middle eastern examples are recorded to have been created in the centuries predating 10.000 BC. All sickles regardless upon which geographical region of the world they were created, share a common shape, purpose and construction. The basic design of any sickle is a hardwood billet to which is attached a curved single edged blade projecting at a right angle from one end.

Again all sickles were initially used as farming and harvesting tools, but at some stage in their early history their use as a weapon became apparent.

Throughout Asia agricultural sickles have always been widely used, and even in today’s modern world almost every agricultural homestead owns at least a couple of these most utilitarian of tools. I myself own several sets of Kama, each suited to a different purpose, including one live edged set purchased specifically for use in my garden. I use my ‘Garden Kama’ in the same way as folk throughout Asia do, to cut the hedging, prune bushes, remove weeds and other such simple gardening activities.

What Is A Kama?

When we say Kama perhaps the first thing that comes to mind it that famous Asian text the “Kama Sutra”, but stepping away from the realms of the exotic, the Kama is an ancient weapon with its roots deeply in the cultivation of the land.

Since his earliest times as a farmer, man has created tools to ease the burden or working the land for agriculture. One of the earliest Stone Age tools created for such a purpose was the Sickle or as the Japanese would later call it the ‘Kama’. Early example of agricultural sickles have been

Being such a mainstay item of Asian agriculture it stands to reason that almost every martial art in Asia would incorporate its use into their everyday teaching. In fact the Kama is a common weapon to many Japanese, Okinawan, Filipino, Malaysian and Indonesian martial arts, and although not as common it is also found in Korean, Thai and Chinese fighting systems.

The Kama As A Weapon: Whilst the exact date Stone Age man first used a sickle in combat will never be known, the first recorded use of the Kama as a weapon in Japan is dated to the year 645 AD when the warrior Nakatomi no Kamatari 中臣鎌足 attacked and defeated one of the manipulators of the imperial throne-

- a man by the name of Soga no Iruka 蘇我入鹿.. This legendary event claims that Nakatomi no Kamatari prayed to the gods for a success prior to going to battle. The gods answered his prayer and sent a Tenko 天狐 (Divine Messenger In The Form Of A Celestial Fox Spirit) who gave him a Kama and taught to him a number of secret techniques for its use. Following his victory in battle Kamatari went on to found his own school of Bujutsu, the Koden Ryu. Just prior to his death Kamatari was awarded the surname Fujiwara by the emperor Tenji for his services to the imperial family.

The Kama In Okinawa: The oral histories of the Ryu Kyu Islands (and especially Okinawa) indicate that they were largely lawless places, prone to sporadic conflict and bandit raids. Even after both the Chinese and Japanese had forced their own sovereignty upon the islands, the level of violent banditry still remained very high. In such lawless times the ability to utilise any item that came to hand as a weapon was a skill that frequently made the distinction between life and death.

Around the year 1478 AD the Okinawan King Sho Shin prohibited all of his peasant subjects possession of any form of weapon in an attempt to calm the violence of the period. As a result of these edicts the Okinawan hand-to-hand fighting arts flourished (Most notably what would eventually become known as Karate), as did the widespread use of farming implements as improvised weapons. In the following centuries Okinawa and the Ryu Kyu Islands came under Japanese administration and the laws prohibiting ownership of weaponry were enforced more harshly than ever before. Not being able to carry weaponry increased the use of faming tools as weapons in their own right and initiated their subsequent evolutions.

As a direct result of this the Okinawan Karate practitioners were amongst those who first formalised the combative use of Kama, and soon discovered that whilst the Kama was a highly effective weapon, its use became all the more devastating when used in pairs (As is the most common method within the Ryu-Kyu islands.

Ryu-Kyu & Okinawan Designs Of Kama:

Kama 鎌 or かま (Hand Sickle)

Kama 鎌 or かま (Hand Sickle)

Natagama 鉈 鎌 (Billhook)

Jingama 陣 鎌 (Battle Sickle)

Rokushakugama 六尺镰 (Six Foot Kama)

The Kama In Japan: Almost as a parallel to the Okinawan development of the Kama, the Japanese were developing numerous “Sickle” type weapons all of which varied greatly in size and appearance. Although the Kama was-

-still being used throughout Japan as an everyday agricultural tool, it is unknown as to when the warrior class first began to modify and adapt it specifically for combat. Such modifications may have been a direct result of conflict with Kama wielding peasants, or as a natural evolution in weapon design, taking into account the advantages offered by adding a hooked portion to almost any weapon.

Japanese Designs Of Kama:

Kama 鎌 or かま (Hand Sickle)

Kama 鎌 or かま (Hand Sickle)

Kagi 鉤 or 鈎(Hook Sickle)

Jingama 陣 鎌 (Battle Sickle) Kamayari 鎌槍 (Sickle Spear)

Kamayari 鎌槍 (Sickle Spear)

Kagi Yari 鉤槍 (Hook Spear)

Kata Kama Yari 片鎌槍 (Single-Sided Sickle Spear)

Sogama / Morogama 双镰 (Double Blade Kama)

Natagama 鉈 鎌 (Billhook) Nagigama / Naigama (薙 镰) (Mowing Down / Reaping Kama) Funayosegama 舟寄せ镰(Ship Ending Kama) Jingama 陣鎌 (Battle Sickle) Kamayari 鎌槍 (Sickle Spear)

Kusarigama 鎖鎌 or 锁镰 (Sickle & Chain) Jingama 陣鎌 (Battle Sickle)

Jingama 陣 鎌 (Battle Sickle)

Design Details For Individual Styles Of Kama Kama 鎌 or かま (Hand Sickle) The Kama is in essence a rather simple agricultural sickle mounted with a single edges blade at a right angle to the upper portion of a hardwood billet. All sickles-

-regardless upon which geographical region of the world they were created, share that common shape, purpose and construction.

Kagi 鉤 or 鈎(Hook Sickle) The term Kagi is in essence used to describe any sort of hook or deeply curved claw (Such as a sickle). In agricultural use the deeper the curve on a sickle blade the easier it is to use, of course sharpening and large hook, such as a butchers meat hook can make a formidable improvised weapon. One should not consider the Kagi a separate weapon to the everyday Kama, but rather as an alternative blade design.

Natagama 鉈鎌 (Billhook) The Natagama is another style of agricultural and light industrial Kama used as a general purpose chopping and shaping tool. Just like its western counterpart the Billhook the Natagama could be used to slash and cut like a sickle, but had the advantage that the base portion of its blade could be used for hacking and chopping in the same manner as an hand axe.

-for ease of use or some other reason is debateable.

There are a number of major differences between the Kusarigama of different Koryu.

Some have a straight blade, some a curved blade and others a double-edged blade more similar in appearance to a pick. Some schools attach the chain to the base of the Kama, others to its middle and some to the back edge of the blade itself. Now add this the divergent schools that use rope instead of chain and you are left with a huge variety in application and technique.

We will cover the Kusarigama in more detail next issue.

Jingama 陣 鎌 (Battle Sickle) The term Jingama is a rather awkward one to translate accurately. The character Jin 阵 can be loosely translated as battle-camp or battle and theoretically can be applied to any Kama modified or created specifically for combat. Common designs of Jingama include normal Kama with heavier blades, Kama with metal hand-guards, and Oversized Kama designed to be used against a mounted enemy.

Kusarigama 鎖鎌 or 锁 镰 (Sickle & Chain) The exact origins of the Kusarigama are as widely debated as that of the Kama itself. One apparent claim to the creation of the Kusarigama comes from the records of the Koryu style known as NenRyu. Nen-Ryu traditions claims that around the year 1400 AD the founder of the Ryu, a Sohei (Warrior Monk) known as Jion had a vision whilst meditating. In this vision he saw himself holding a Kama in one hand and a weighted chain in the other, this vision then inspired him to develop the Kusarigama.

In principal a Kusarigama is any variant of Kama to which is attached a length of weighted chain. In truth however many schools of Kusarigama use a weighted rope instead of a chain, whether this is-

The above woodblock print by Yoshitoshi Tsukioka illustrates the Japanese Hero Kirishima Matsugoro wielding his makeshift Jingama, formed from a basic Kama bound to a bamboo pole.

Larger forms of Jingama were used in the manner of scythes in order to prepare a wilderness area so that an resting army could more easily make camp.

-Yari is often classified as a style of spear, with the addition that it carries a deeply curved hook. Its application is the same as that of other Kama Yari.

Nagigama / Naigama 薙镰 (Reaping Kama / Mowing Down Kama) Essentially the Nagigama is an oversized Jingama mounted on a very long pole of an average seven Shaku in length (approximately seven foot). Nagigama are because of their length often categorised as Yari. These long Kama are recorded as being in used during the Genpei Wars (1180 AD - 1185 AD ). The main use of the Nagigama was like that of the Jingama to mow down ones enemies, removing their hands, arms, heads, legs and feet in a swift slashing movement. The Nagigama may also be known by the name Funayosegama 舟 寄せ 镰 which loosely translates as “Ship Ending Kama” as it was used to cut the sails and rigging of passing ships.

Sogama / Morogama (双 镰) The Sogama is another variation of the Jingama or Kamayari in that its main purpose was to hook at a mounted enemy with its double Kama before dragging them to the ground and disembowelling them. In length the Sogama averages at around Five Shaku (approximately five foot in length).

Kamayari 鎌槍 (Sickle Spear) The term Kamayari can be used to both describe any style of Kama mounted on a long pole as well as any style of Yari to which a Kama style blade is mounted. The most common style of Kamayari is the pair of Kama blades mounted at the socket of an ordinary spear. In application the Kamayari could be used to both slash and thrust. Various styles of Kamayari were used during peacetime by Japanese firemen to pull down the roves of burning buildings in order to slow the spread of a fire.

Kata Kama Yari 片鎌槍 (Single-Sided Sickle Spear) The Kata Kama Yari is often thought to have been based on earlier Chinese styles of halberd, many of which were mounted with a single side-facing blade used to hook the enemies limbs and pull them from horseback to the ground.

Kagi Yari 鉤槍 (Hook Spear) Like the Kama Yari and Nigigama the Kagi-

Kama Technique: The Kama is one of the most versatile of Asiatic weapons. It can cut, stab, slice, block and hack. It can hook an enemies weapon and with but a rotation of the wrist relieve and opponent of his hand or fingers.

Whilst the single Kama was by far more popular amongst the Japanese warrior class, throughout China and the Ryu Kyu the paired use of the weapon was the normal practice.

The paired use of the Kama had the advantage that one Kama could be used to black and capture an opponent’s weapon, whilst the other was used to attack the numerous vulnerable points on the opponents body.

Kama application is often thought to be brutal, in fact the Kama is generally considered to be the most Savage of Asiatic weapons. My sensei once told me that In order to make Kama technique effective one must get close enough to ones enemy as to feel his last breath upon your face.

The cutting movement of the Kama is characterised by a deep rotation of the hip, in fact its movements are often said to have no direct comparison to any other Japanese or Okinawan weapon. In fact one could even go as far as to say that Okinawan-

-twin Kama techniques have no direct counterpart in Okinawan Karate, yet they are without a doubt an integral part of traditional Okinawan Kobudo.

Modern Kama:

Chinese: Chicken Claw Sickle, Lian, 镰, Lian Dao, Ji Zhua Lian, 鷄爪鐮, 鸡爪鐮, Chicken Sickle, 鸡鐮, 鷄鐮, Ji Dao Lian, 鸡刀鐮; 鷄刀鐮, Chicken-Saber Sickle, Kun Hua Yao Zi, 捆花腰子; 綑花腰子, Binding Flower Waist Carry, 镰刀, 切割装置, 用镰刀割, 呈镰刀状

The creation of same Kama, with blades formed from wood, foam or even blunt metal is a logical conclusion for safer training, as blocking an opponent’s wrist or neck with a live blades Kama during the application of technique is obviously a highly dangerous and irresponsible thing to do, albeit sometimes a rather tempting one.

Danish: Segl

As Kama can be used singularly or in pairs it has become a favourite amongst Kata and freestyle practitioners. Its savage elegance never fails to raise a few eyebrows. However the vast majority of freestyle practitioners use the Kama as no more than a prop to hold whilst performing an overly flashy empty hand routine. These Flash moves have little if anything to do with highly focused and deadly traditional Kamajutsu technique.

Greek: δρεπάνι

Many designs of modern Kama have been created over the last ten or twenty years.

Some remain traditional to the weight and proportions of a traditional Kama whilst others have become little more than spiky fantasy knives attached to sticks. In my opinion such bastardisation of a classical weapon is abhorrent, but that’s just me.

Other Sickle Weapons: Almost every country in the world has utilised sickles as an agricultural tool and at one stage or another as an improvised weapon. Just as a matter of comparative interest, the following list details some of the variant names of Sickle type weapon and tools from around the world.

Arabic: ‫‏لجنم‬

Dutch: Sikkel French: Faucille Gaelic: Corran German: Sichel

Hebrew: ‫שמרח‬ Hindi: Daranti, Hansiya, Daramti, Hamsiya Indonesian: Sabit, Arit, Clurit, Celurit, Sakera Celurit, Italian: Falce Korean: Nat, Malay: Arit, Sabit, Hansa Mongolian: Rар Xадуур Polish: Sierp Portuguese: Foice Russian: Cерп Spanish: Hoz Swedish: Skara Thai: เคียว

, Khiaao, Khiao

Instructor Profile (Dr Ash McKee Shihan)

-who was a few years older than me, hoping that she could help. But the truth was she could only help when she was about, and once she had gone the bullies came back again. After the second or third time my dad had been called into the school because I had been badly beaten up. He decided that I should start boxing classes at the local club.

Junsei Magazine: So your first martial arts experience wasn’t Jujutsu then?

Dr McKee: Nope, good old fashioned English boxing.

This issue we are conducting an interview with Dr Ash McKee Shihan, Founder, patron and senior-most instructor of the Junsei Ryu family.

Junsei Magazine: Firstly Shihan, we would like to thank you for taking time out of your busy schedule to talk to us today.

Junsei Magazine: And how did you find it?

Dr McKee: (laughs) I utterly hated it, didn’t like standing around getting hit in the face repeatedly. It just felt the same as the bullies at school, painful and humiliating!

Junsei Magazine: What happened then?

Dr McKee: Not a problem, always happy to chat with fellow martial artists, especially those from within our own organisation.

Dr McKee: Well my father took me to the Kempo Jujutsu class where he was an instructor to start Jujutsu training.

Junsei Magazine: Glad to hear it.

Dr McKee: Good, good, good.

Junsei Magazine: How did you get into the martial arts and what are your first martial arts memories?

Dr McKee: When I was about six years old I was attending the Walkergate Junior School in the Walkergate area of Newcastle-Upon-Tyne. Being the new kid who had just moved to the area I found myself having problems with pretty much every other lad in my class.

Junsei Magazine: What sort of problems?

Dr McKee: Well they taunted me and beat me up just about every day. In fact I used to run away and go looking for my sister-

Junsei Magazine: So why didn’t your father take you to his jujutsu class to begin with?

Dr McKee: Well at that time my father did not think that studying a traditional combative system like Jujutsu was appropriate for children.

Junsei Magazine: Really? Do you think he was correct to think that?

Dr McKee: At the time I didn’t really understand, but looking back Yes I think he was correct. There were no special children’s classes and everyone was expected to perform to the same high standard. The way people trained back then and the fighting mentality was quite dangerous, injuries were commonplace-

-especially during Dojo Arashi.

Junsei Magazine: Dojo Arashi, as in Dojo Storming?

Dr McKee: Yes, Dojo Storming. People would regularly challenge other local clubs in order to sort the wheat from the chaff.

Occasional students with some Jujutsu or Karate experience would formally challenge instructors in order to find the best in a particular area.

Junsei Magazine: Fifty press-ups? Wasn’t that a bit extreme for a child?

Dr McKee: Like I said, the couple of children that did train were expected to keep up with adults and were given zero leniencies. Back then mistakes were punished and then corrected; it was the northern Budo way (laughs). Driving home from the club my dad asked me if I enjoyed it, even with all the press-ups. I told him that I loved it and wanted to train and I never stopped.

Junsei Magazine: Did the Jujutsu classes sort out the bullying problem?

Dr McKee: Sort of. In the end my mother was called into school because I had broken the nose of one of the bullies and two ribs on one of the others. After that I started bullying them in revenge for making my life miserable. But when my dad found out he came down on me really hard and I stopped fighting at school, for a while at least.

Brian Wrightson Kancho And Dr Ash McKee Shihan

Junsei Magazine: Interesting, So your first martial arts class was mixed ages Kempo Jujutsu. What do you remember about it?

Dr McKee: Well the club was the Hankyo Kempo Pennywell Jujutsu club at the Sunderland Echo. My father was one of the instructors and my uncle one of the others.

There were one or two more but I can’t recall their names at the moment. I was wearing my bright red ‘Steve Austin’ style tracksuit, which made me feel like a true athlete, I loved that tracksuit (laughs).

Anyway we were practicing kicking combinations when my uncle noticed that I had missed out a kick, so he made me do 50 press-ups. That really hurt!

Brian Wrightson Kancho

Junsei Magazine: Do you have many fond memories of your Jujutsu training in Newcastle-Upon-Tyne?

Dr McKee: Oh god yes, far to many to list. I remember some of the techniques, drill and Kata as well as some of the really-

-uncomfortable Ki exercises.

-the modern world?

Junsei Magazine: Such as?

Dr McKee: Yes, of course. The core principles of combat will always apply, whilst some of the techniques themselves may be somewhat outdated. It’s not a particularly common occurrence that normal people encounter sword-carrying opponents walking the streets of the UK. That said those same outdated techniques can improve almost any students Mai-Ai and Tai-Sabaki and in that sense are still as valid today as they were two hundred years ago.

Dr McKee: Well one such exercise involved an instructor standing on your stomach and chest whilst you attempted to control your breathing. Only my father would dig his toes or heels into you solar plexus of bladder. As it happens quite o lot of students used to pass out holding their breath, that’s not the way to do it.

Junsei Magazine: So back to more recent times, how did Junsei Ryu come into being?

Dr McKee: Well, it’s a long story but the short version is that following the death of my father (Brian Wrightson Kancho – Hachidan / 8th Dan) I wanted to honour his memory by breathing life into an idea we had spoken about for many years.

Junsei Magazine: And this idea was Junsei?

Dr McKee: Kind of, my father was rightly proud of everything he achieved with Hankyo Kempo Jujutsu; but in the last decade of his life he became somewhat disillusioned with the abridged version of the art he was teaching and yearned for a return to the classical training of the early years. He wanted us to create an elite society within Hankyo teaching the truths and reality of the Hankyo techniques, these students would be hand picked from the Hankyo rank and file only if they showed the right traits and characteristics. It was not going to be something open to everyone, not even all of the Shodan grades. Junsei was a name that my father mentioned once or twice during our conversations about this and following his death it seemed like the only name that fitted his memory and martial ethic.

Junsei Magazine: Bearing your own background in mind, do you think that classical martial art training has a place in-

Brian Wrightson Kancho And Dr Ash McKee Shihan

Junsei Magazine: What are your current aims and projects for Junsei Ryu? Dr McKee: Well apart from the magazine, I intent to focus on keeping our core principles true. I will never ever compromise the integrity of the technique for anyone. It is better to have 5 good students than 5000 average ones. That said I would like to see the Junsei more readily accepted. I would like to see us as more of a facilitator for other martial arts organisations that share our core beliefs.

Junsei Magazine: What are the principles and concepts that you try to uphold and instil within your students?

Dr McKee: Self-integrity, honour, respect, spiritual knowledge, to strive for truth and most importantly self-humility.

Junsei Magazine: Why do you think that it is important for people to study martial arts?

Dr McKee: Like I just said, Self-integrity, honour, respect, spiritual knowledge and self-humility. Martial arts are a life skill that can teach discipline and interaction in a controlled manner.

Junsei Magazine: What obstacles have you encountered so far with regards Junsei Ryu and how did you overcome them?

Dr McKee: (sigh) well there have been plenty. I suppose the prejudice has been the most frustrating, that and the system slagging. You know, people slagging off who you are and what you are doing without ever having sat down and spoken to you, let alone stepped into your Dojo.

How you overcome these things is by just being your self and staying true to your principles, eventually if what your are doing is good, your reputation will carry you through… but it can take a very long time!

Junsei Magazine: You mentioned Prejudice with martial arts, what exactly do you mean?

-something else! This can lead to people disregarding any of the techniques or methodologies used by anybody else.

Adaptation of a technique to the individual is important and training to your strengths can make the difference between being able to walk away from a fight and not being able to walk again. I would not encourage a one armed man to get into a fistfight when it would leave him at an obvious disadvantage, however that same man could be exceptionally good at kicking or groundwork. Always fight to your strengths but train to your weaknesses.

Junsei Magazine: What insights can you share with our readers?

Dr McKee: Don’t go to a Japanese Sensei just because he is Japanese. Go to the sensei that is good at what he does and will continue to push and develop your technique. It really does not matter if your sensei is Japanese, English, Korean or African; it’s the instruction that matters.

Take some of the new age types who listen to ghosts and spirits in their dreams and visions, “just because they’re dead it doesn’t make them smart!”

Junsei Magazine: What is your proudest moment in your martial arts career?

Dr McKee: Getting my white belt aged seven. It was at my fathers Pennywell Jujutsu club and there were some great Sensei testing us that day.

Junsei Magazine: Like who?

Dr McKee: Well there was my father, Brian Graham Sensei (International Jujutsu), and Colin Whitaker Sensei (Northern Budo Renmei) to name but a few.

Dr McKee: Well every person thinks that the art they are studying is the best there is, otherwise they would be studying-

Junsei Magazine: Does it disappoint you when a student who has trained for many years suddenly stops?

Dr McKee: No, people come and people go. Life changes and people have to change with it. Our job as Sensei is not to question, judge or demean, it is to offer assistance, advice and instruction in the short time that we share with them.

Junsei Magazine: Martial Arts have undergone quite a few changes over the last ten years, most notably with MMA coming to the forefront. What are your thoughts on the future of traditional martial arts?

-Within traditional martial arts there will always be a small core of dedicated sensei that will uphold the traditional application and mentality, people like Keith Morgan Sensei of Shingitai Aikijujutsu and the late great Billy Doak of Goshin Jujitsu UK. They are traditionalists of the old school, and they should be admired as such.

Junsei Magazine: Interesting, now that our interview is almost over we just have a few quick fire questions for you to answer.

Dr McKee: Fire Away.

Dr McKee: Well in truth people are always looking for a quick fix. In the nineties it was all kickboxing, before that sport Karate. MMA is the logical step for people who want to delude themselves that MMA will make them masters of a realistic martial art.

Junsei Magazine: So you don’t think MMA is a realistic martial art? What makes you say that?

Dr McKee: Well what is MMA? it is Mixed Martial Arts, that in itself is not such a bad thing, to take the most effective techniques from a variety of systems can work. The Japanese call this Goshin Jutsu. The main problem I have with people who think that MMA is reality based is that it has rules and boundaries.

In MMA knee stamps, headbutts, bites, groin kicks, eye gouges and point of elbow strikes are all illegal manoeuvres that will get you disqualified from professional competition. On the street however all of these techniques are a major part of a fighters arsenal.

Junsei Magazine: So MMA doesn’t compete with traditional martial arts in your mind?

Dr McKee: No. It’s a great sport and probably the best sporting martial art in the world, but it is lacking in the basic principles of combat. To survive no matter what and to hell with the rules!-

Junsei Magazine: What is your favourite Jujutsu technique?

McKee: Yonkajo (or Yonkyo as the Aikidoka call it) Junsei Magazine: What is your favourite classical weapon.

Dr McKee: Katana or any other Nihonto.

Junsei Magazine: First music album you ever purchased?

McKee: Banana Splits by the punk band ‘The Dickies’.

Junsei Magazine: Most recent music album you purchased?

Dr McKee: Black Ice by AC-DC Junsei Magazine: Best live band or concert you have seen?

Dr McKee: Any of the UK Steve Vai concerts of the last ten years (I have been to most of them) Junsei Magazine: If you could meet anyone in the world dead or alive who would it be and what would you say to them?

Dr McKee: Jesus, and I would ask him if he had any idea of how much trouble and-

-bloodshed his ideas would cause over the next 2000 years.

Junsei Magazine: If you were a biscuit what would you be?

Dr McKee: Milk Chocolate Digestive, my favourite.

Junsei Magazine: What are your favourite three films?

Dr McKee: Yojimbo, Kagemusha and the original version of the Italian Job. Junsei Magazine: What are your favourite three music albums?

Dr McKee: Black Sabbath by Black Sabbath.

Passion and Warfare by Steve Vai and anything by The Clash.

Junsei Magazine: What are your favourite three books?

Dr McKee: The Emperor Series by Conn Iggulden, The Rome series by Steven Saylor and the Art of war by Sun Tsu. Junsei Magazine: Aside from your martial arts training, what sort of pastimes do you enjoy?

Dr McKee: films, meditation, reading, family and power lifting (Not necessarily in that order) Junsei Magazine: What is the most embarrassing piece of clothing you own of have ever owned?

Dr McKee: An old pair of neon yellow MC hammer trousers. I have to stress that I no longer own these.

Junsei Magazine: Dr McKee it has been an honour and an insight, thank you once again for taking the time out of your bust schedule to take part in this interview.

Dr McKee: Not a problem, I really enjoyed taking part.

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DVD REVIEW

By Taran McCarnun

NINJA ASSASSIN “Fear Not The Weapon But The Hand That Wields It”

Basic Plot Synopsis: As an orphan Raizo (Rain) was adopted by the ninja master Lord Ozunu and inaugurated into the Ozunu Ninja clan where he is trained to become the perfect ninja assassin. After many years of training Raizo is sent on his first assassination mission, which he successfully completes (cue gore and extreme violence).

Immediately following this, Raizo is asked to execute one of his adopted sisters for trying to leave the clan; he disobeys and instead attacks his master, Lord Ozunu. Following his betrayal of the clan Raizo is immediately attacked by all of his former clan mates and only by a miracle survives the ensuing conflict.

When Europol investigator Mika Coretti (Naomie Harris) realises that a number of high profile assassination have been carried out in a near identical manner she begins to dig into the archives of information and soon suspects that the assassination were carried out by one of nine ancient clans of Ninja. When Mika digs a little too deep she is herself marked for death.

At home she is attacked by one of the Ninja sent to murder her and is only saved by the renegade Raizo, who has been informed that she is the next ninja target.

Ninja Assassin (2009)

Rated: 18 Genre: Martial Arts, Action, Ninja, Gore, Thriller, Slasher Director: James McTeigue Writers: Matthew Sand (Story & Screenplay) J. Michael Straczynski (Screenplay) Main Cast:

Character:

Rain (Jeong Ji-Hoon) Naomie Harris Ben Miles Rick Yune Sho Kosugi Randall Duk Kim Sung Kang Jonathan Chan-Pensley Ill-Young Kim Yuki Iwamoto Linh Dan Pham Fang Yu Adriana Altaras Kylie Goldstein Yoon Sungwoong

Raizo Mika Coretti Ryan Maslow Takeshi Ozunu Tattoo Master Hollywood Yakuza Henchman Yakuza Mohawk Yakuza Couch Pretty Ninja Laundromat Manager Landlady Young Kiriko Young Raizo

On the Run together Raizo and Mika must try to stay alive long enough to put a stop to the killings, whilst at the same time allowing Raizo close enough to his former clan mates in order to kill his former master, Lord Ozunu.

The Good: Great cinematography, interesting albeit rather overly gory fight scenes and some nice insights into the training of a ninja. Its also a very easy script to follow.

The Bad: Not the most original of plots “Boy trains as ninja, disobeys his master, gets outcast, grows up and hunts him down”.

The Ugly: Rather unusually, Ninja Assassin can actually be a little too gory in places, so I would not recommend watching this film whilst eating.

The Rating: 7 out of 10 Get this film if you enjoy gory ninja based slasher films. Don’t get this film if you are looking for a detailed plot and a great deal of romantic or political intrigue.

Latest News And Events Within Junsei Ryu Congratulations to the following students each of whom achieved another step on their long journey towards a Junsei Ryu Shodan over the last few months.

Junsei Ryu Audlem: Junior Jujutsu Grading: Dave Bowen Renshi, Wright, Matthew Mansell, Matthew Poultney, Tom Platt and Peter Massey Sensei

Shrewsbury Carnival 2010 Thanks again to the students of Junsei Ryu Shrewsbury (and their parents) for lending a hand and making our participation in this years Shrewsbury carnival possible.

Junsei Ryu Shrewsbury: Kenjutsu Okuiri Grading: (L-R) Graham LloydButler, Dr Ash McKee Shihan and Gareth Burgess

The various demonstrations of Jujutsu, Kenjutsu and Kobujutsu were well received throughout the day by all.

Junsei Ryu Shrewsbury: Junior Jujutsu Grading: (L-R) Liam Morris, Thomas Allport, Daniel Jones, Tyler Raines, Dr Ash McKee Shihan, Ashley Roberts (Kneeling) Bradley Painter, Matthew Roberts, Alex Morris and William Jones

Junsei Ryu Shrewsbury: Jujutsu Grading:(L-R) Duncan Allison, Mike Shottel, Dr Ash McKee Shihan, Simon Madeley and Gareth Burgess

Junsei Ryu Shrewsbury was also awarded the “Highly Commended� prize (4th Place) for their part in the parade. Not bad for twelve students when the 1st place group had over 100 participants and the second around 80.

Pictured below are the main Junsei Ryu adults that were involved on the day; unfortunately many more Junsei members from Shrewsbury were unable to attend due to work and other commitments, however next year should be bigger and better. (L-R) Gareth Burgess, Graham Lloyd-Butler, Taran McCarnun Renshi, Richard Madeley, Lisa Sanders.

Above are Junsei Ryu members Taran McCarnun Renshi and Graham LloydButler undergoing some freestyle (Unrehearsed) Kenjutsu sparring. You just have to love the way that the camera has captured the floating movement of the Hakama.

Pictured below is Junsei Ryu student Gareth Burgess, who having recently purchased a full suit of authentic Yoroi, jumped at the chance to wear it in public‌

Bellow is Junsei Ryu student Graham Lloyd-Butler going through some Yari Kata prior to the start of the parade.

Above is Junsei Ryu student Heather McCarnun (Can you guess who her father is?) practicing her Kempojutsu Kata of striking methods.

All in all the day went very well but we would really like to make next years event a bigger, better, brazen bushido bash!!!

Now just try saying that with a mouthful of super pointy Shuriken!

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