1 cutting edge july13 by Adrian Jones

A PUBLICATION FOR ALL THINGS RELATED TO IAIDO, IAIJUTSU AND KENJUTSU

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ISSUE 1 – JULY 2013

A PUBLICATION FOR ALL THINGS RELATED TO IAIDO, IAIJUTSU AND KENJUTSU

inally, a publication related to Iaido, Iaijutsu and Kenjutsu and their associated arts. A must read for students who desire information and details about various aspects of their study and that of other peoples. Therefore the idea behind Cutting Edge is to provide such information from selected knowledgable contributors, sources and from the students at large. We would welcome articles from anyone who has something to say, share, discuss or wishes to inform others of; from the mere beginner to the more experienced practitioner; on any topic − not just limited to the sword, e.g. Kobudo, Jo, Bo, Naginata, tea, calligraphy, armourers and artisans etc. – in fact, on any aspect of Japanese culture as a whole. In this inaugural issue, we have elected to look at two sensei from Japan; one largely unknown, the other very well acclaimed; and also delve into the history of Muso Jikiden. We review some new and old books and take a look at the tea ceremony and Zazen, amongst others. Your contribution is needed in order that we can provide a publication that is universally welcomed and appreciated, so please get writing, supply some pictures and send your material to info@at-the-cutting-edge.com

We need your help. We want to make this the go-to publication for all your questions and curiosities. So therefore, we would like info on your teacher(s), their teacher(s), dojo stories and experiences, your thoughts on the arts, philosophy, concepts, the whys and wherefores, trivial or not so trivial; your feedback and questions, so they can be addressed in one place for the good of our community. For this publication to work, it needs to be current for the student of the arts, from the students of the arts. So, if you have something to say, please say it via email to: info@at-the-cutting-edge.com

Editor: Stephen Nixey

Diary dates

Editor & Creative Director: Fraser Biscomb

Contributors: Steve Coniaris, Chris Grainger, Neil Kemp, Nigel Kettle, Clive Sinclaire, Gary Williamson

Profile

Email: info@at-the-cutting-edge.com

News, events, seminars and updates

Takeshima Toshio Sensei 20th Soke of Eishin Ryu.

Design and production: FARM - info@freerangethinkers.co.uk Cover photo: Cutting Edge Archive Advertising: Contact us at our email address and request a rate card, or go to our website and download information directly from there. Deadlines Copy and imagery: Please submit copy and imagery at anytime by email. We CAN NOT accept copy by post. Imagery should ideally be sent as 300dpi jpegs or psd files and label them appropriately. Image files larger than 10mbs should be sent as compressed files via www.yousendit.com or similar to: info@at-the-cutting-edge.com Advertising: Please submit advertising as per the specifications outlined on the rate card by the end of the second week of every “even” month. The Cutting Edge is published bi-monthly on “odd” number months, therefore submission must be by the 30th day of even number months, i.e., February, April, June, August, October and December. Copyright The magazine follows international copyright law. Images taken by Cutting Edge photographers remains the magazine’s property and are stored electronically in our photolibrary. Reusage of this imagery without permission is forbidden. Imagery taken from the public domain is not credited, as the original owner can not be verified. Imagery supplied by external sources must either be labelled with source details or have permission (accreditation) given for re-use. In these circumstances, Cutting Edge cannot be held responsible for copyright breaches, and the original source will be given if requested by the authorities. The copyright of all written text remains the property of the author. Reproduction in any way or by any means requires the authors permission.

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ISSUE ONE – JULY 2013

In depth

Jikiden 26 Muso Eishin Ryu

A brief history.

42 Bokuden 44 Bushi or goshi

Founder of Kashima Ryu.

Not all samurai were born into the class structure.

Takeshima Sensei

Face-to-face

16 Iwata Norikazu Sensei

Highly respect teacher of many, author and historian.

The sword

brief history of the 32 Adevelopment of the

Japanese sword By Clive Sinclaire

Insight

Slow grow wham!

Iwata Sensei – Menkyo kaiden

Jo-ha-kyu a bigger picture.

Articles

14 Zazen 52 Tea ceremony 54 Why take notes?

An outline of meditation.

Tea and it’s history.

What is the benefit of notes.

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ANATOMY

How to . . . Folding up after practice.

Next issue . . .

Nakayama Hakudo Sensei

The hakama What it means!

Injury issues Achilles tendon.

Father of modern day iaido and the Muso Shinden Ryu

Muso Shinden Ryu

Review DVD and book are reviews.

Worldwide Organisations around the world – make sure your organisation is listed. 60

A well structured figure with all the required equipment, ready for assembly.

Iaidõ-ka tangible

A brief history

Bushi or Goshi – Samurai status for purchase!

Toshiro Mifune

The man behind the movies.

Juban

Mon-tsuki

Yoshioka School A brief history

and more . . .

Obi

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Bokuden

Muso Jukiden Eishin Ryu history

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FOR YOUR DIARY

Eikoku Roshukai

Preston UK Seminar August 25, 2013 Summer Seminar, Nottingham September 27 – 30 , 2013

Events and seminars

Nottingham Semin ar November 16, 2013

If you have an event coming up and it is not here, or if it is and there are mistakes, changes or updates, please let us now.

All United States Kendo Federation (AUSKF) www.auskf.info

Canadian Kendo Federation www.kendo-canada.com Nothing listed

www.eikoku-roshukai

.com

Hokushin Itto-Ryu Europe

Seminar with Otsuk a Sensei Munich, Germany July 27-28, 2013 www.facebook.com/p ages/ Hokushin-Itto-RyuEurope/29453917066 9070?fref=ts

European Kendo Federation (EKF)

Dai Nippon Butoku Kai

UK British Kendo Association (BKA) Summer Seminar 2013 Jodo Seminar August 1-4 Iaido Seminar August 5-7 www.kendo.org.uk

www.dnbk.org

www.ekf-eu.com

Andorra International Kendo & Iaido Seminar 2013 August 9-12 www.kendo-andorra.org Bulgaria Summer budo-camp 2013 “Art of Japanese sword” August 11-17, Golden Sands kendo.bg Belgium ABKF Summer Seminar 2013, Louvain-la-Neuve Iaido & Koryu, August 23-25 www.abkf.be

UK Butoku Sai, London August 2013

Hyoho Niten Ichi-ryu

UK Shibu, Walsall

, 2013 Saturday, August 24 HNIR kenjutsu Two-day practice of 44620/ m/events/6256823074 https://www.facebook.co

Switzerland Special “Swiss Alps” Iaido Seminar September 6, 2013 www.kendo.ch

UK, Okehampton MJER Iaido weekend November 29 - December 1 Ashbury Hotel, Okehampton sam.gerlach@me.com

France 20th European Iaido Championships 2013 Montpellier/Meze October 31 - November 3 www.cnkendo-dr.com

Belgium ABKF Winter Seminar 2013 December 18-22 www.abkf.be

PLEASE NOTE: We advise you to check all dates before planning any trips, as dates and venues may change, and therefore may be different to details listed here. Be sure to check organisers websites.

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TAKESHIMA TOSHIO SENSEI

TAKESHIMA TOSHIO Sensei

A personal insight by Steve Coniaris, Shoshin Ryu, Arizona USA

akeshima Sensei died in the spring of 2007 of Lung Cancer which was attributed to cigarette smoking, after several years of battling the disease and following two, ultimately unsuccessful rounds of surgeries. As the 20th Soke of Muso Jikiden Eishin Ryu (Heart to Heart Transmission of the Art of Eishin Ryu, a 600 year old classical Japanese Martial Art noted for originating Iai or the quick draw of the sword) he took over Eishin Ryu at a critical time in its history. Takeshima Sensei elevated the art with his skill as a practitioner, as a teacher and with his strength, personal warmth and commitment. A simple man from a humble beginning, he created who he was. He lived his life with vigor, but remained always humble. Noted as one of the top three swordsman in Japan in his time, he was also an exceptional calligrapher and photographer. I will attempt to pass on a bit of Takeshima history, not to simply honour him, for he was never one to seek fame or acknowledgement, but as a reminder to each and everyone of us what we can do with our lives. Prior to hi” starting Iai, a couple of events stand out; Takeshima Sensei was an orphan who in High School was a national level swimmer (distant freestyle). He swam throughout his entire life to keep in shape. He took up guitar and became a touring classical guitarist in Japan. He started training Eishin Ryu Iai at the age of 22 years of age. Eishin Ryu had a very full history – a no nonsense approach to martial arts that was well reflected in the character of the people of Kochi. Dueling was not allowed – that was self-serving and an Eishin Ryu samurai was about serving his lord, his clan and the people of the clan. Money was not to change hands – this was “heart to heart transmission”, not something you could read about or barter for, despite the hundreds of 6

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scrolls and journals its leaders had written and compiled. Prior to World War Two, there were many political factions vying for power in Japan. It was a turbulent time. Eishin Ryu and Kochi were pro-Emperor (and instrumental in the return of power to the Emperor and modernization of Japan) and anti-war (they opposed the rightwing expansionist movement and militarization of Japan). When Japan went to war, however, Eishin Ryu members went out and served their country resulting in the death of thousands of iai practitioners. At the end of the war, the United States fire bombed Kochi, burning most of the city to the ground which was of particular significance as Takeshima Sensei lived through this period in time. He fled to the mountains during the bombing and watched his home

burn. I was always inspired that he never held these actions against the United States or Americans. The 19th Soke, Fukui Harumasa, was a swim coach, judo player and Eishin Ryu bugeisha. He was not the most skillful of practitioners and bad knees resulting from Judo limited his ability to perform seiza kata. Still, he was chosen to lead the limited practice during the war and post- war years. He originally awarded the 20th Soke to Hakuren Sensei of Osaka with the stipulation that he move to Kochi to lead Eishin Ryu. Eishin Ryu, while widely spread over most of Japan, was brought to Kochi from near Edo (Tokyo), by the 9th Soke (Hayashi Sensei). The Soke of Eishin Ryu from that period forward always resided in Kochi. Hakuren Sensei did not move to Kochi and more significantly, he started making money from teaching Eishin Ryu. Teaching for money has never been part of the Eishin Ryu tradition and Hakuren showed his mortal state when he began selling the next Soke position to 20 different students. Fukui Sensei, shortly thereafter, removed Hakuren as Soke. With great shame Fukui Sensei began to look for the next Soke. Potential candidates were few due to the decimated numbers of Eishin Ryu practitioners as a result of the war. The poverty in the area and the transition away from classical teaching all culminated in a difficult choice. Takeshima Sensei was 32 years old at the time and while too young for the post and his training not completed, he was approached to become Soke. There was something special about this young man, his character, his

drive. This was a difficult decision but once accepted, Takeshima committed himself to the task. He set down his guitar and vowed never to play it again (he never did) and he trained relentlessly. His training included not only training with Eishin Ryu teachers, but also with six outside teachers, each with specific teachings to pass on to him. He also had several Sempai in Kochi to keep him in check (this was always the Eishin Ryu way – pass on the mantle while the previous Soke was still strong and could control the new Soke if need be).

Over the years this mastery showed itself in the carving of a wooden bokken created from a single piece of Biwa wood. It was beautiful and perfectly balanced. While only a high school graduate, over the next decade Takeshima Sensei would learn Classical Chinese Characters so that he could read the scrolls entrusted to him. In fact, the 13th Soke was to become his “Kokoro Sensei” (heart teacher) – the words of whom touched his heart more than any other and shaped his teaching methods and approach to life. This also led to his daily practice of Shodo (calligraphy), which was said by experts in the field to reflect his mastery of the sword. Over the years this mastery showed itself in the carving of a wooden bokken created from a single piece of Biwa wood. It was beautiful and perfectly balanced. It was accomplished on the first attempt. His iai skill showed in his photography, especially wildlife photography, which he started when CUTTING EDGE

TAKESHIMA TOSHIO SENSEI

around 60 years old. He could capture movement in a photograph with grace and presence. His egret photos received the highest praise in Tokyo. Takeshima Sensei elevated Eishin Ryu with his skill; a skill he passed on by being very inclusive as a teacher, making everyone feel welcome and part of the group. Takeshima Sensei trained daily throughout his life. He rode his bike to work in the morning, then to the pool where he swam at lunch and then again to his home. In the evening or early morning, he trained at least 30 minutes of Iai each day. In the evening he might also do calligraphy, or sharpen his knife (he could sharpen a knife so it would cut through paper with ease if you were left handed but not cut at all if you right handed). Takeshima Sensei was left-handed – a challenge perhaps for right-handed iai, but one he just accepted (though he noted in early Japan’s history there were left-handed swordsmen). Sensei’s skill was mostly kept to himself. He taught what the student needed, not what he was working on and training. He did show pieces of his skill from time to time:

Muranaga Sensei 8

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1. Sensei demonstrated an upper level okuiai kata that had even Muranaga Sensei, today’s current Soke, wide-eyed. The sword seemed to just appear in his hands. 2. Sensei showed a free form kata one day – showing where Iai could go at its highest levels. 3. Sensei could move on his knees as if he was walking, pivoting left, right or 180 degrees without bobbing, at a level none of us had ever seen. 4. He introduced me to Okuiai by sitting in front of me, both of us in tatehiza and said “draw as fast as you can”. I must admit I was a bit scared. I did not want to hurt Sensei with my clumsiness (I was drawing a mogito [training sword], Sensei’s sword was a live blade) and while I cannot say I moved at full speed – my hands didn’t even make it to my sword when Sensei’s sword tip was under my nose. Again everyone’s eyes were wide. It was a great time to be training. 5. Sensei was taken to a Kyudo dojo once and after the several demonstrations, he was asked if he would like to try. Sensei said yes, drew the bow – each time putting the arrow in the target despite never having drawn a bow before. His art, his mastery showed itself in nearly all he did. As a teacher, Takeshima Sensei was always supportive. He was rarely harsh, like the picture we see of modern budo teachers. He made you think you too could do it and showed you how to do it. Early on he was a bit more negative – like many traditional Japanese teachers he might show what you did wrong by demonstrating it for all to see (usually getting a laugh) – a bit of shaming. The amazing part is just how much kinesthetic sense these sensei had.

It was as if their body became that person physically and mentally. Sensei did this once in 1985 or thereabouts and hurt his wrist (tore a cartilage in his wrist that would bother him from time to time the rest of his life). He never made fun of anyone again. I think he sensed there was a better way to teach.

Takeshima Sensei elevated Eishin Ryu with his skill; a skill he passed on by being very inclusive as a teacher, making everyone feel welcome and part of the group. Takeshima Sensei grew Eishin Ryu and raised its level of skill considerably over the years. His teaching and refinement of kata continued. Early on he was much more power oriented, while later he emphasized more precision and ‘Ma’ (the time and transitioning between motions). New and mid level students were still taught power first. If you wanted to learn he would teach you. There were several people over the years, who some of the seniors felt were not well equipped to excel. Sensei listened, perhaps gave a bit of advice and then usually kept on teaching them. He showed everyone what could be done and what students could accomplish. His skill and presence was the key to keeping the varying groups from around the country from splitting off, resolving any in-fighting or silly squabbles. He knew when to be strong, when to forgive and when to say, “Is this a reflection of your Iai?” Mostly you just wanted to please him. He never needed to say anything – and he never abused the trust a student placed in him. Sensei lived well within his means despite working his way up to president of a small shoe distributing

company. In this way his he was able to be generous with his hospitality and his worries were few. He housed students from around the country who came monthly to train with him. He was known as an excellent boss and had an interesting way of dealing with his clients. He would carry them if times where hard, give them discounts if they needed or even forgive a debt. He never charged interest on the bill he carried for a person. His clients were very loyal and the bank would grant loans to start up stores or troubled companies based on his word and his support of their efforts. His word carried a lot of weight. If an individual, however, came and bartered with him, claiming that so and so was offering a better deal, he would escort such a person to the door and never do business with that person again. He felt his business was not about making money, but rather about supporting his family, his employees’ families and his clients’ families. And to do so with good cheer, friendliness and honour that would spread out and touch all those people’s lives. He entertained at least one week night and once on the weekends almost every week. He and his wife were a wonderful host and hostess, making all feel warm and welcome. Even when a drunken, lower ranking student from Fukui pinched Takeshima Sensei’s daughter and the Kochi students were about to drag him outside and give him the famous “Kochi teachings” – Sensei said no, leave him be. The man was so embarrassed he never acted so poorly again. This does not mean Sensei never called people to task for their behaviour. Nor does it mean he did not kick people out of Eishin

Ryu for their behaviour, their lack of sincerity. He did what was best for the group and for the individual to help him or her improve. If you needed straightening out you got it – perhaps at first in the form of a talk to the entire group, or taking the individual aside, or he might mention behaviour just as the person did it in front of group (shaming the individual). He just might even kick the person out. However, with Sensei’s insight, the respect everyone had for him and his projection of energy, this rarely happened. If you were out of line – he let you know. If there was a problem he solved it.

Sensei could look at anyone’s iai and know what type of person they were. He knew when and how to motivate. Takeshima Sensei knew their soul it seemed. Sensei wanted to open the minds of his students. This occurred in many ways. He always was exposing his students to new ideas, or for example new foods. If you keep doing things the same way how can you get better? Keep the good and change the bad but be open to change. He never said you had to like it, just be open to trying it. He lived this way himself – while at the Grand Canyon he ate ice cream. What is special about this? Classical men in Japan (and the bushi of old) like sour taste and never eat sweets. They like pickled food or beer, not cookies. In fact no one had ever seen Sensei eat sweets before. He said, “I am in America and I think I should try all the food Americans like.” He believed an open mind was necessary if Mushin was ever to come. Sensei also kept everyone humble. He had a group of visitors from Tokyo

who had trained with him all day and were enjoying dinner at Sensei’s house. One gentleman called Sensei a ‘Sword Saint’. Sensei interrupted and said, “No, I am just a man.” Similarly, he was fond of saying in English for emphasis, “I don’t know” if asked a question for which he did not know the answer. He was also known to get everyone to start training after hours of eating and drinking. The blades were real and if you couldn’t draw well at that time, you didn’t know how to drink – a bushi was never drunk, though he might appear to be. It was amazing how red faced Eishin Ryu practitioners could be, then stepping on the dojo floor they suddenly became sober – suffice to say, there were some cuts to the head and hands from folks who were not in control of themselves. (Please do not do this at home.) This does not mean Sensei was never stern. Rather, he taught each person as they needed to be. One time it might be gentle, perhaps the next time firm, but never in anger. He let you know when you were wrong usually without saying a word. He would answer your questions until at some point he might say, “I can say no more, you must feel it, so go train.” At the end of my first year, I was in a taxi with Sensei going to a big going away party for me. I wanted to let him know I was happy with my training and would come back next year; so I said I would train daily and train hard – and wham! Energy flowed from him. Shocking me – “Never say what you are going to do. Do it! I will know next year if you trained or not.” Sensei was very big on no B.S. Takeshima Sensei had a way of taking each person along the path they CUTTING EDGE

TAKESHIMA TOSHIO SENSEI

needed to travel if they were serious about their training. If you were not serious, then he would let you sit. He would be nice but not teach. Sensei could look at anyone’s Iai and know what type of person they were. He knew when and how to motivate. Takeshima Sensei knew their soul it seemed. I traveled with Sensei to various training sessions around the country as part of my training. He would have you dress him, then get his sword ready and you had better be ready when he hit the floor. At the end when training was done – clean his sword (always great fun), fold his clothes then get your sword cleaned, change and out the door with him. He never said hurry, you just got it done. “He uses his deshi.” an outsider once said. But no, he taught us to be efficient; he taught us how put our ego aside and serve. Then one day I went to get his clothes and he said, “No, I know how to dress my self and you have learned all you can from this.” So unless he needed some help or I felt like I wanted to look after him, or show a mid-level student how to prepare Sensei’s things – I was not to do this so called chore. As your skill progressed he might find ways to challenge you. Knowing your weak spot he would expose it. If you were down he would help you find your strength and remind you – you can do it. My first visit to Tokyo – we traveled on an airplane and Sensei was going to have me demonstrate the kata while he talked. Our hosts had about 25 swords, 10 of which were works of art, most were two to four hundred years old, all but one were lovely swords. There was one on the end – too short, ratty, out of balance. I wondered why that one was 10

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there. I must say I was excited to try many of these shinken. Sensei looked them over and gave me the short one that rattled! No preparation, just get out there and start. I had drawn with various size blades before, so no worries, but then as Sensei introduced me he said, “I was one of his best students.” Now I became nervous. I felt I had to live up to the expectation of being one of his best students, rather than simply being a student. He knew which button to push. I had drawn for him before while he lectured, no big deal, but now I was shaking. I was not just demonstrating, but I was doing this for him, as one of his “best” students. I mangled the kata, looking like a rookie pitching to Babe Ruth; a karate yellow belt seemingly could have done better. It was embarrassing. He never said a word or seemed to notice. He just smiled and continued with his presentation.

Sensei could see people as they were. He did not judge them, but he did not waste anyone’s time either. He could see beyond the culture he grew up in – noting its strengths and weaknesses. He cultivated the good in people. Later that night, he asked what I had learned. I did not get the point, so he said, “You have trained with me for a long time and you have demonstrated all over Japan. You have trained at Gasshuku for 16 hours a day. You have drawn with swords that were too long and with swords that were too short at other demonstrations. But you are too attached to me. I say you are “my” student and you feel the pressure to not let me down. That was fine before, it motivated you, but now the time has come for you

to take the next step. Let go of it. Let go too the embarrassment of today.” He reminded me about a breathing technique and said good night. I still felt like I had let Sensei down, but I understood his point. The next day my Iai was very nice because my mind was clear; despite him introducing me again as his best student. Sensei knew how to get the best out you for the long term. Sensei’s teachings were for his students. Iai was not a game to play and the dojo was not a circus to entertain others. Iai was a “way” and the dojo a place to improve you and thus the world around you. Yes he taught the jutsu- side of the art to his upper students, but this is not why he taught. His kindness opened people’s hearts. His firmness did not let little things slide – solve problems while they are little and still easy to correct. Leave problems alone too long and they will grow and be difficult to change. Earnest effort, trust, and honour were very important to him. Takeshima Sensei knew his art. He knew how to teach and how to motivate. He also knew how to give each student exactly what each one needed. Combo Sensei can relate how effective a teacher Takeshima Sensei was. Takeshima Sensei knew the key point to change in one’s art that would lead to real progress. He knew how to challenge the student to excel and gave the student the means to do so. He said “No” when something was wrong and helped you get “Yes” that is it, or yes, you are moving toward the right direction. He knew how to praise you and keep you going.

their way. Sensei could see people as they were. He did not judge them, but he did not waste anyone’s time either. He could see beyond the culture he grew up in – noting its strengths and weaknesses. He cultivated the good in people. As I said at the beginning of this article, Takeshima Sensei wanted his students to know “you can do it”. You may have to work at it, but you can progress and grow if you commit to your training. He enjoyed his journey on this earth and even though he has now passed on, he continues to live on because of the man he was, the legacy he left and teachings he instilled in so many people. Reproduced coutesy of Steve Coniaris http://shoshinaz.org

He touched many of his students’ lives. His dignity, honor and good nature helped many students find their way.

He touched many of his students’ lives. His dignity, honor and good nature helped many students find CUTTING EDGE

Nine Circles are proud to present our new range of lightweight Iaito from the famous Japanese sword manufacturer Minosaka.

We are offering two models of Iaito (blunt alloy training weapons).

The Tokusei retailing at ÂŁ219.17 + VAT The Higo Koshirae retailing at ÂŁ298.33 + VAT, which also features a Wakizashi version for those looking for a matching Daisho set. Available in lengths from 2.20-2.60 Shaku, both models feature a lightweight zinc/ aluminium alloy blade, with a chromed finish and etched Hamon in the style typical to Iaito manufactured in Japan. The Tokusei model features plain, good quality fittings in accordance with its budget price, whilst the Higo model comes complete with upgraded Tsuba and hilt fittings, which offset the sword beautifully.

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If you are in the market for a new Iaito and are particularly looking for a lightweight or budget piece to start you on your Iaido path, then look no further than these great value models. Like all of our swords, these Iaito are subject to our usual one year warranty and a lifetime of support for service and advice where requested. CUTTING EDGE

ZAZEN

zazen Zazen (seated mediatation) is considered the heart of Zen Buddhist practice. The aim of zazen is just sitting, that is, suspending all judgmental thinking and letting words, ideas, images and thoughts pass by without getting involved in them. In Zen temples and monasteries, practitioners traditionally sit Zazen as a group in a meditation hall, usually referred to as the Zendo. The practitioner sits on a cushion called a Zafu, which itself is usually placed on top of a low, flat mat called a Zabuton. Before taking one’s seat, and after rising at the end of the period of Zazen, Zen practitioners perform a Gassho bow to their seat, and a second bow to fellow practitioners. The beginning of a period of Zazen is traditionally announced by ringing a bell three times (Shijosho), and the end of a round by ringing the bell either once or twice (Hozensho). Long periods of Zazen may alternate with periods of kinhin (walking meditation). The posture of Zazen is seated, with folded legs and hands, and an erect but settled spine. The hands are folded together into a simple Mudra over the abdomen. In many practices, the practitioner breathes from the

Hara (the centre of gravity in the belly) and the eyelids are half-lowered, the eyes being neither fully open nor shut so that the practitioner is neither distracted by, nor turning away from, external stimuli. The legs are folded in one of the standard sitting styles; Kekkafuza (fulllotus), Hankafuza (half-lotus) or Seiza (a kneeling posture using a bench or zafu) Master Dogen recommended only Kekkafuza and Hankafuza. Types of zazen In his book Three Pillars of Zen, Philip Kapleau says that practitioners in the Rinzai school face in, towards each other with their backs to the wall, and in the Soto school, practitioners face the wall or a curtain. Kapleau quotes Hakuun Yasutani’s lectures for beginners. In lecture four, Yasutani describes the five kinds of Zazen: Bompu, Gedo, Shojo, Daijo, and Saijojo.

Source: http://en.wikipedia.org/wiki/Zazen Sources cited by Wikipedia: Uchiyama, Kosho (2004). Opening the Hand of Thought: Foundations of Zen Buddhist Practice. Wisdom Publications. pp. 45–46, 105. ISBN 0861713575. Kapleau, Philip (1989). The Three pillars of Zen: teaching, practice, and enlightenment. New York: Anchor Books. p. 10(8). ISBN 0-385-26093-8. Kapleau, Philip (1989). The Three pillars of Zen: teaching, practice, and enlightenment. New York: Anchor Books. pp. 48–53. ISBN 0-385-26093-8.

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IWATA NORIKAZU SENSEI

Roshukai’s renowned

IWATA NORIKAZU Sensei (1913-2011)

wata Norikazu Sensei, Hachidan, 19th generation Hanshi, Muso Jikiden Eishin-Ryu, is the headmaster and founder of Roshukai. Iwata Sensei studied iaido for many years under the guidance of several of the direct students of Oe Masamichi Sensei, the Master who codified the curriculum of the Muso Jikiden Eishin Ryu. Iwata Norikazu Sensei was born in Kochi in 1913, he holds the highest level of certification in Muso Jikiden Eishen Ryu, the Menkyo Kaiden. At the age of 11 Iwata Sensei started to learn budo and to practise Kendo. At the age of 27, he started to learn Iaido from the 19th headmaster of the school, Fukui Harumasa Sensei. He also studied with Mori Shigeki Sensei, Suzue Yoshishige Sensei, Takaoka Den Sensei and Yamamoto Takuji Sensei. He practised Iaido for 20 years with Yamamoto Sensei, who was a student of Oe Masamichi Sensei for seven years on a daily basis. Iwata sensei also attended Aikido practices led by the famous Morehei Ueshiba Sensei. Iwata sensei was the headmaster of Roshukai in Japan, and he is the only living teacher who really knew the way Oe Masamichi Sensei was thinking about the form and exercises of Iaido. His unique style is a rich source of the teachings from his masters, and the masters of his masters. He wrote three books

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and several articles for the Kendo Nippon magazine. His teaching and publications give an insight into the tradition of his masters, especially the teaching of Oe Masamichi (Roshu) Sensei. We know from Yamamoto Takuji Sensei – Iwata Sensei’s master – that Oe Masamichi Sensei first studied Eishin Ryu Shimomura Ha, and he became the 15th headmaster of the school. Later, he left this school, joined the Tanimura Ha, and became the 17th headmaster there. No one knows why he changed from Shimomura Ha to Tanimura Ha, but Iwata Sensei put forward a theory on it; Oe Masamichi sensei was originally a Kendo teacher, therefore the natural posture for him was one that looks the opponent directly in the face. So it is suggested that this was probably why he chose Tanimura Ha, the iai school with a more natural posture.

Source: http://tosamjeriai.iaido.hu

A bell is struck. The reverberation is known in Japan as Yoin.

“I have had many teachers and each of them left me their Yoin… I want to have Yoin and leave it for posterity… I think it will be really difficult but I will make every effort to leave Yoin… Life is long but short, or short but long. It is full of pain but I can remember the joy I felt. I’m 88 years old and my heart is filled with deep emotion. I think of my hard younger days, my luck at surviving the life-or-death crisis of the war, the details of my family and the ups and downs of Japan. These are all in my mind as Yoin. Deep, painful, joyful Yoin. Yoin is becoming stronger and stronger at my age and I am enjoying it. I want to enjoy the rest of my life with Yoin.” (Iwata Norikazu, 2000) Source and ©: http://www.iwata-yoin.com

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THE INTERVIEW

The interview

The interview that follows is courtesy of Neil Kemp, with questions from Pasi Hellstén. Conducted between November 2001 and May 2002. What’s your full name? My name is Iwata Norikazu, but some people call me Iwata Kenichi because of the way the Kanji in my name can be read. When I was young, I was not very healthy, so my family called me Shohei. Later when I was stronger they called me Norikazu; this was when I was about 20 years old.

When was Fukui Harumasa chosen to be the 19th Soke? When one of the menkyo kaiden students is chosen Soke, is there a special ceremony? Yes, there is a special ceremony in front of the Shinzen and the next Soke usually gets a sword the same day.

How old are you now? I was born in Kagawa Ken on the 16 September 1913 (Taisho 2), so I am actually 89 years old, however, by the old Japanese system I am in my 90th year, and I hope I will go on being able to practice and teach Iaido. I entered a former junior high school in 1927, and started learning Kendo. I got my 3rd dan in August 1933, and I taught Kendo as an assistant teacher for four months at the junior high school. In December 1933, I joined the army in Manchuria and became a military policeman in 1935; and in April 1936 started to educate military policemen. I kept teaching until August 1945. Since Japan was the defeated nation of the Pacific War, I became a prisoner in Russia in 1945. I only came back to Japan in December 1949. Initially, before joining the army, I learnt only Seiza No Bu Iaido. I started practicing iaido very hard in 1957 when I was 43 years old. Are you a professional budo teacher or do you have a “civil occupation”? I am now retired, but I study Iaido full time. So in essence I now concentrate on budo and calligraphy, but I would not say I am a professional budo teacher. I will tell you a little later about my time in the army and the war. Early in my career I was secretary of a company making agricultural machinery. Later in life I was the secretary to the Prime Minister of Japan.

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What style of Iai do you teach? Now I teach only Muso Jikiden Eishin Ryu as I was initially taught in Kochi. I no longer teach anyone the Zen Nippon Kendo Renmei Seitei Gata Iaido. What is your present rank in Iai? I am Hanshi Hachidan as specified by the Zen Nippon Kendo Renmei. I achieved Hachidan in 1976 and gained Hanshi status in 1983. The other ranks you will be aware of are Kyoshi Nanadan, and Renshi Rokudan. There are no additional examinations for these teaching titles but there are certain requirements, characteristics, e.g. good standing in the community, well respected within iaido, no criminal record etc. What is your dojo name? My dojo name is Hounan Jyuku. What is the average number of members in your dojo? I cannot give an average number. I have had many students over the years, more than 200 – 300 from Japan and also some students from England and Canada. I have some long-standing students that come

to my dojo on a regular basis and some local students from Kagawa. I also get requests from people of different schools across Japan that have read my articles in the Nippon Kendo magazine, or have seen the videos I have made on Muso Jikiden Eishin Ryu for the same magazine, or have read my books. I also teach all over Japan at locations where there are students that belong to Roshu Kai and other places where people are interested in learning traditional iaido/ iaijutsu. Do you have any special seminars? Yes we have Japanese Roshu Kai seminars and for the last four to five years I have been teaching students from England that come to Japan to learn directly from me. These seminars can run for long weekends for Japanese students, or seven to ten days for the English students. I have to think very carefully about what I want to teach at these seminars, especially the long seminars for the English students. They have to travel a long way and have so much to learn that they need this extended period.

When and where did you start your study of Iai ? I initially learnt Seiza no Bu Iaido locally in Kagawa in the 1940’s. However, I started to learn seriously in 1957 in Kochi. It took the Kochi senseis – Fukui Harumasa Sensei, who was the 19th Soke of Muso Jikiden Eishin Ryu, Yamamoto Takuji Sensei and Shimazaki Teruyuki san three months to reply to my request to learn. I was very pleased when they confirmed that I could learn. They were very strict with me initially, and tried to put me off in the beginning, but I worked hard and they gradually accepted me. I used to travel by train from Kagawa to Kochi each Sunday, a journey of about four hours, and practiced for several hours with only very little breaks. It was very hard work but very rewarding. After a few years they said they had taught me enough and I could go, but I said I wanted to learn more (I was not going to let them off so lightly) so they agreed to continue to teach me. This training was a solid foundation for my iaido and I thank my senseis very much for all their help and their teaching.

What led you to study the martial arts? When I was young, I was not too healthy, so I studied and practiced martial arts to build up my strength and character. I believe this is quite a common reason for starting martial arts. My father was a Judo teacher (with a Menkyo Kaiden) but he didn’t think I was strong enough then to learn Judo, so he told me I should take up Kendo. I did and have never regretted it. It has been an important element in my life. Was your father a Menkyo Kaiden in Judo or some old school of Jujutsu? I thought there were no more makimono in judo? My father’s school was Yoshin Ryu Jujutsu. At that time there were still Menkyo Kaiden in Judo. What is your rank in Kendo? I am Kyoshi Nanadan. How do these other budo arts fit in with your Iai practice? Kendo complements Iaido, the form is different but the spirit is the same. The body movements are also slightly different but can help with each other. Is it advisable for Iaido students to learn kendo or Koryu Kenjutsu in order to get a better understanding of Japanese sword arts? Yes, this is very much the case. The partner work will help the Iaido waza to develop further and better, and vice versa. Who was your first iai teacher? Soon after coming back to Japan in 1949, I started practicing Kendo again. I heard there was a very traditional

Muso Jikiden Eishin Ryu in Kochi and there was a Soke there and I wanted to learn iaido too. I knew Koda Morio Sensei, who had just came back from Taiwan. I started to practice Kendo and learn Iaido under him. Koda Sensei graduated from a special budo school (Kyoto Budo Senmongakko), and took part in a 7-day Iaido seminar by Oe Sensei. One day I asked Koda sensei about waza, then he said, “I learned from Oe sensei, but just for seven days and that was a long time ago, so I forgot. The parts I forgot are my own style.” Then I asked him, “May I go to Kochi to learn iaido?” He said, “yes”. So I decided to go. But we kept practicing together after that, for about 20 years. He corrected his own style silently. He was a very upright and good teacher. In May 1957 I attended the Kyoto Taikai (organised by the ZNKR). On my way home, I met by chance Fukui Harumasa Sensei (the 19th Muso Jikiden Eishin Ryu Soke) Yamamoto Takuji Sensei and Taoka Tsutau (also called Taoka Den) Sensei. Soon after I met them, I asked Yamamoto Sensei to teach me and I started to visit Kochi in August 1957. I was 43 years old then. I learnt all the waza and all the things about the old and new Kochi Iaido by asking them. I studied iaido there for five years. Then I studied under Mori Shigeki Sensei until he passed away in 1988. Mori Sensei started to learn under Oe Sensei when he was a junior high school student, and kept learning till Oe Sensei passed away in 1927. Were you Yamamoto Sensei’s private student or were there lots of students? Yes I was a private student of Yamamoto Takuji Sensei, but he also had lots of other students.

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THE INTERVIEW

In what year did you start Iaido under Mori Sensei? I started to learn separately with Mori Shigeki Sensei in 1972. Who were the most influential teachers for your Iai and budo career? I would have to say that it was the three teachers I mentioned above. I have met many fine budoka and teachers in my life, including Morihei Ueshiba Sensei who was very powerful, but these three teachers are still the most important to me. I met Ueshiba Sensei at the military police school, where he was giving lessons. I was there for two months just before the war broke out. The training was meant to be for a year but war broke out after two months and it stopped. Ueshiba Sensei was a very special person. No one could reach him, he moved so well and his spirit was so strong. Even when ten people tried to attack him at the same time they were not able to catch him. But when he caught hold of your hand you had to move where he wanted you to move or your arm would break. Are these teachers still teaching? Unfortunately all of these teachers are now dead. This is the natural way of things but their memory and their teaching is still with me. The Menkyo Kaidens I have from both Yamamoto Takuji Sensei and Mori Shigeki Sensei help to remind me of their teaching and in this respect they are very useful. How was your instruction carried out? What teaching methods did your teachers use? Initially the teaching was strict. The senseis would demonstrate the Waza, then I would imitate them and afterwards they would correct me. So the teachers did more Iaido, again and again they would demonstrate good Waza and I would follow.

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When was Hokiyama Sensei born and when did he die? Was his successor already known? You can find the dates for Hokiyama Sensei in my book. No, his successor was not known right away. Fukui Sensei was Hokiyama Sensei’s close friend. They used to drink together. So soon after Hokiyama Sensei died, his wife gave his sword to Fukui Sensei without the ceremony. After that, for a few years, no one said anything, because the people were having a hard time. He died in 1935 – it was before the Second World War. But people started to object. Fukui Sensei said, “I will choose 21st Soke from Kochi”. The old teachers in Kochi quelled the dispute.

a) Yamamoto Takuji Sensei’s Iaido. He learnt Iaido under Oe Sensei for about six years before Oe Sensei passed away. Yamamoto Takuji Sensei was not so young when he learnt Oe Sensei’s Iaido. He acquired Oe Sensei’s last Iaido thoroughly. b) How I learnt under Yamamoto Takuji Sensei. For the first three months he didn’t explain at all. He demonstrated the 11 Seiza No Bu Waza, then I did them. We did this in turns. I learnt his Iaido without asking. Three months later, he explained the reasons briefly. He taught me Seiza No Bu for one year. Then I could learn Tate Hiza No Bu. I visited Kochi every Sunday. I arrived at the Kochi dojo (Chidokan) at around 9:30 in the morning. I left Kochi after 3 o’clock in the afternoon by train. I practiced for five or six hours each time. While I was practicing under Yamamoto Takuji Sensei, Fukui Harumasa Sensei, Taoka Tsutau Sensei and Shimazaki Teruyuki san gathered around and watched my practice smiling. Shimazaki san owned a martial arts shop. He was always with Oe Sensei until Oe Sensei passed away. While Yamamoto Takuji Sensei was taking a break, they called me aside and gave me additional lessons. I remember I had little break.

“You don’t need to come any more. You have finished.” However, I asked him to teach me more. I went to Kochi for two years and six months more. I learnt all the 45 Waza during these three years, and my teacher said, “You don’t need to come any more. You have finished.” However, I asked him to teach me more. I went to Kochi for two years and six months more. We did all the 45 Waza for about one hour and each time I listened to all the traditional Kochi Iaido stories they knew. Later this helped me a lot. I feel

the long years of practice were really good. Yamamoto Takuji Sensei passed away in 1977. He was 92 years old. c) How I learnt under Mori Shigeki Sensei. After learning in Kochi, I started to visit Mori Sensei in Matsuyama to get his comments and guidance once every two months. Maybe he liked my Iaido attitude, for he sometimes visited me. He also came to Kanonji, and taught my comrades and me. Mori Sensei respected Yamamoto Takuji Sensei’s teachings. He said repeatedly “You have learnt the most dynamic Tosa (Kochi) gihou (technique). You have attained the dynamic Iaido sufficiently well. However, Oe Sensei’s Iaido was half-dynamic and half-graceful.” I remember he encouraged me. He didn’t correct what I was doing, he only added his Iaido to mine. Later he became disabled and moved to his child’s house in Nagoya. I made it a point to visit him once in every two or three months and talked on various topics all day long. He was very pleased with this. He passed away on 29 May 1988. He was 97 years old.

My teachers were long-lived. Mori Sensei learnt with Oe Sensei for 20 years. Yamamoto Sensei learnt from Oe Sensei for the last six years. So both had direct teaching from Oe Sensei. Mori Sensei also learnt from Hokiyama Namio Sensei, the 18th Soke. Hokiyama Sensei and Mori Sensei were high school classmates. I learnt a lot from Mori Sensei, especially in the conversations about Oe Sensei’s life and iaido. Also Mori Sensei saw Fukui Harumasa Sensei for the last time just 2 hours before he died. So all the teachers were very close. At that time there was no conflict between people practicing Tanimura Ha and Shimomura Ha. In Kochi you could go to both. Kochi people were very friendly and you could train as you liked, so I was able to learn both Ha of the Ryu. People outside Kochi then, and now, sometimes say differently but they are not correct. I was very happy and lucky to have such great teachers, they were always pleased to teach me more when I asked.

Did Oe Sensei leave any written material about iaido or budo? Unfortunately Oe Sensei did not leave any books or written material. His students collated all the information. Can you describe your teachers? What kind of teachers and human beings were they? All the teachers in Kochi were Igosso (strong characters). Igosso is Kochi dialect.

“Your iaido is very dynamic. You don’t need to change your iaido. Just do your iaido” Yamamoto Takuji Sensei’s iaido was very dynamic. He took the dynamic part mainly from Oe Sensei. I was strongly influenced by Takuji Sensei, so my Iaido is 80% dynamic and 20% graceful. Harumasa Sensei was calm, mild and warm-hearted. Mori Sensei was very precise. He respected Kochi teachers, so he didn’t correct me. But he used to say Oe Sensei’s Iaido was 50% dynamic and 50% graceful. He added his Iaido to my Iaido. He said, “Your Iaido is very dynamic. You don’t need to change your Iaido. Just do your Iaido”. I tried to take the best points from all the Sensei, but it was

Takuji Sensei that influenced me the most. Can you tell some anecdotes about your teachers which might describe their characters etc? Yamamoto Sensei was a very independent man. Even when he was hurt or cut he would treat himself, he did not go to see a doctor. Harumasa Sensei was married but he had no children, so he died alone. He was very calm with people, he was very kind to people from outside Kochi (he treated them like guests). However, Harumasa Sensei was a ‘devil’ when he taught, he was very strict. Takeshima Sensei of Kochi was taught by Harumasa Sensei. Kochi people tended to protect each other so they trained very hard and seriously together. Takeshima Sensei has many of the characteristics of Harumasa Sensei. He doesn’t generally teach people from outside Kochi, so the students from England should feel very honoured, and I am sure they do. Maybe I was the first person from outside Kochi to be taught like this by the Kochi Sensei. All three got together to decide if they would teach me. After three months Harumasa Sensei said yes but people had to teach me harshly so I would give up and go away. They failed, although they taught me for five hours at a time without a break, I kept going to Kochi for more tuition. The hard work was very good for me and I think in the end they respected me for my effort. Mori Sensei was a very intelligent man, and did very beautiful and precise calligraphy. As I said he and Hokiyama Sensei were classmates, and they promised each other to make a very precise book about Oe Sensei’s Iaido. However, Hokiyama Sensei was a very heavy drinker and died at only 40 (he had very high blood pressure), CUTTING EDGE

THE INTERVIEW

therefore Mori Sensei could not write the book. He thought that if he wrote the book with Hokiyama Sensei as the Soke people would respect it. If he published on his own it wouldn’t be respected. When I published my first book, Mori Sensei was very happy and I asked him to write the foreword for the book. Can you explain something more about your research into iaido and the books/articles you have written? Since I learnt Tosa Iaido under Yamamoto Takuji Sensei, Fukui Harumasa Sensei, Taoka Tsutau Sensei, and Shimazaki Teruyuki san I thought I should write an outline of Wazamae that I learnt in Kochi so as not to forget in the future. That was the beginning of my book writing. I named it Shi Den Kai Ko – Tosa No Eishin Ryu (also known as The Red Book), and started to write the articles. It was necessary to study Koryu enough to write a book. So I started to trace the origin of Koryu. I started to study books by Kono Hyakuren Sensei. He was taught by Hokiyama Namio Sensei (18th Soke) especially, and after Hokiyama Sensei passed away, he was taught by Fukui Harumasa Sensei (19th Soke). He had enough practical training and studied the reasons very much. He redoubled his efforts to study Koryu and became the 20th Soke. One of his books is an explanation of the 45 hon practice, another one is a study of Koryu. In his last years he deplored the wrong ideas people had of Iaido: Waza were done incorrectly and even changed, and so he wrote a book called Tan I Roku. He published several excellent books, and did his best to teach Iaido to people at that time (Showa). I read these books and practiced every day. That helped me a lot to finish Kochi practice. I was very much enlightened by them and I felt I started to gain firm confidence from the lessons by 22

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Yamamoto Sensei and the study of Kono Sensei’s books. I could not publish my Red Book when I initially wrote it as I was only 50 and I didn’t think it would be very well accepted. Around this time Nippon Budo Shinbun was still publishing in Kyoto. Many ideas about Budo and the present Budo situation appeared in the newspapers. There were various kinds of individual opinions among them and I thought of contributing some articles. I thought someone would answer my questions and teach me. So I started to contribute every month for four years from 1963. My articles appeared almost every month, however, I was disappointed in my expectations. I did not get any answers. On the contrary, I had a bad reputation, “an impertinent fellow”, so I stopped. I was around 50 years old then. I was thinking of reasonable Iaido day and night and wrote freely without reserve. It was very useful for me to write books. I published these as an at-random commentary Iaido book, Tanbo Kaiko (the cover is dark blue.)

I was thinking of reasonable iaido day and night and wrote freely without reserve. It was very useful for me to write books. I finally published Shi Den Kai Ko – Tosa No Eishin Ryu when I was 70, and by then I was respected and so most people accepted the book. I re-wrote the book five times over 20 years as I learnt more, so perhaps the delay was a good thing. a) Soda Torahiko Sensei (the 16th soke, Shimomura Ha) Soda Torahiko Sensei learnt under Yukimune Sadayoshi sensei (the 15th Soke, Shimomura Ha). He was a Shimomura Ha expert and had copies of the reference material Yukimune

Sensei had. He was an excellent Shimomura Ha teacher. I heard his son lived in Tokyo. I asked him about the copy of the reference material on Iaido. He kindly gave me the copies he had. These were very valuable documents, such as Oe Sensei’s students’ articles and Shimomura Ha and Tanimura Ha teachers’ articles that were contributed to Nippon Budo Shinbun in 1926. Moreover, these were copies of Yukimune Sensei’s writings about Shimomura Ha Koden, commonly called Muso Shinden Shigenobu Ryu Record. Soda Sensei copied them and they were really useful, so I could study a lot. There were also Nakanishi Sensei’s articles; a man who was from Kochi contributing from Manchuria. The reference material helped me to learn about the Kochi’s Iaido teachers’ activities and facilitated much of my study of Iaido in Kochi. I appreciated these precious documents so I put some of them in my book, Tanbo Kaiko. b) Research into the old traditional books. 1) Research into the book, Kendo Shyugi. Kendo Shyugi was written by Yamada Jirokichi Sensei, a Kendo teacher at the Tokyo Commercial University. I knew the book had many useful old writings when I was contributing to Nippon Budo Shinbun so I asked my friend to buy one for me. He had graduated from the Tokyo Commercial University. I started to research into the book and found there were a lot of explanations about Budo Ryu Ha (Budo schools), a lot of Kubota Sugane Sensei’s writings, Gorin No Sho and so on. There were many original texts in the book, so I researched and extracted the parts useful for Iai and published them in a book form. I named the book Iaido Shyugi, the third book I published (the cover is light green).

Kubota Sensei was a teacher at Koubusho, a kind of school, in the last days of the Tokugawa shogunate. There were a lot of useful explanations about the old traditional Kendo and Iaido techniques and how to teach them, therefore his book was very helpful in my study of these techniques. 2) Research into Gorin No Sho. I found Gorin No Sho explained by Kobayashi Ichiro in a second-hand bookstore in Kyoto in 1988. I studied it with all my heart. He explained the book as one of the old traditional books. However, the explanations are like ones by a martial artist. I have never read such a good book as this. I keenly realised we should study and practice Kendo and Iaido aiming at Gorin No Sho as our objective. I often reread it even now. 3) Research by reading various books. You can learn Muso Jikiden Eishin Ryu techniques well enough, if you study the books by Kono Hyakuren Sensei very hard, however, you can’t learn mentality well enough, even if you study Iaido writings very much. Yamaoka Tesshu Sensei, a famous swordsman and statesman, finally completed his Kendo by Zen. After learning in Kochi, I thought of mental training. I tried to find good books, and I read the books on Zen by Suzuki Taisetsu Sensei. I read Ken and Zen, Yumi and Zen, and so on, as mental explanations are very useful to improve techniques. However, there weren’t so many good books to help techniques. I read a book about Noh play (drama) and I was impressed. Noh has been keeping strictly to its old traditions and the people have been putting old things into practice. They have warned against changes in the body movement. They have kept the admonition in mind. 4) Study techniques and reasons by adopting ideas from newspapers and magazines. We can find the articles about the people who succeeded technically by making efforts. Their mental processes through their efforts are very similar to ours. When we read about their achievements, we can adopt their experience to improve our Iaido. I always look for these kinds of articles. I try to keep useful things in my mind. But of course I can’t keep all of them, but I do try. I also enjoy reading books and often go to the bookstore. I was impressed most by Mr. Matsushita Konosuke, the first (Matsushita) Panasonic president. By his achievements, words and deeds – we can learn a lot. He studied by himself, not at schools, and his words, deeds and mentality are of great use to all of us. Source: http://www.iwata-yoin.com/?page_id=438

Reproduced coutesy of Neil Kemp. Translations by Yuriko Terao. CUTTING EDGE

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MUSO JIKIDEN EISHIN RYU

Hayashizaki Jinsuke Shigenobu

Born from divine inspiration; used by the warrior; and adopted by the Tosa samurai. Muso Jikiden Eishin Ryu, and it’s lineage of some 450 years plus.

he study of the sword as we know them today are likely to have been developed by individuals like Iizasa Ienao (Cho-isai), founder of the Tenshin Shoden Katori Shinto Ryu, following divine inspiration, and one of the oldest and most complete Budo schools in existence today. This school and numerous others contain numerous weapon arts; from the sword, to the naginata; the bow to the knife; from hand-to-hand and medicine. But all schools included the fast draw and immediate use of the sword – Iaijutsu. Iaijutsu developed out of necessity. The warrior, for his own safety as well as the safety of others, required a quick draw, in the same way that a gunfighter of the American West required a quick hand. Jinsuke Shigenobu, or Hayashizaki Jinsuke Shigenobu (c.1546-1621), like Iizasa Ienao, is reputed to have received divine inspiration in the ways of the sword. From this, it is said that he had the vision of a means of

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using the sword, to facilitate the fast draw and therefore instantly cut down an opponent. Because of this and his influence on other swordsmen, Hayashizaki is considered to be the founder of modern day Iaido. Jinsuke was born in Sagami Province, (modern day Kanagawa Prefecture), during the Ashikaga era. Whilst little is known of his history, it is for certain that he grew up during a time of constant turbulence – a Japan ravaged by warfare and uncertainty. This inevitably exposed the young Jinsuke to various sword-fighting methods and techniques, though details of his martial background are not known. According to legend, Jinsuke’s father was killed in a duel, and in order to avenge his death, the 14 year old began training in earnest. At the age of 25, he travelled to Oshu (in present day Tokoku area), where, at the Hayashi Myojin shrine, he CUTTING EDGE

MUSO JIKIDEN EISHIN RYU

undertook meditation and restraints for 100 days. Here he received the divine inspiration for a method of drawing the sword and attacking in one continuous movement. He is said to have renamed himself Hayashizaki after his profound experience. (The legend has it that he did eventually find and defeat his father’s killer using his new found knowledge). This method became known as the Shinmei Muso Ryu. Later he named his school the Muso Shinden Jushin Ryu Batto Do. The school is noted in the Honcho Bugei Shoden as Muso Hayashizaki Ryu and also as Jushin Ryu.

The school is noted in the Honcho Bugei Shoden as Muso Hayashizaki Ryu and also as Jushin Ryu. Hayashizaki continued his study and the development of his Ryu, and attracted many renowned swordsman of the era. One such swordsman was Tamiya Heibei Shigemasa (2nd headmaster), founder of the Tamiya Ryu. He studied under Hayashizaki later in life along with many others, and was sword master to the first three Tokugawa Shoguns; Ieyasu, Hidetada and Iemitsu. The school continued to grow under the tutelage of the likes of Nagano Muraku Kinrosai (3rd headmaster), Momo Gumbei Mitsushige (4th headmaster), Arikawa Shozaemon Munetsugu (5th headmaster) and Banno Danemon No Jo Nobusada (6th headmaster) whom was regarded as having a profound influence on subsequent headmasters and taught, amongst others, Hasegawa Eishin. Hasegawa Chikaranosuke Eishin (c. 1610) (7th headmaster) was considered as probably the most 28

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central figure in the development of the Muso Jikiden Eishin Ryu. Eishin studied under Banno in Edo (Tokyo), and here he transformed the techniques, and was responsible for positioning the sword blade up through the obi (belt) and devising the Eishin Ryu set of forms (it is also suggested that he introduced the original Tachi uchi forms). His school became known as Muso Shinden Eishin Ryu Batto Heiho, Muso Hasagawa Eishin Ryu or Muso Jikiden Ryu. It is believed, but not proven, that his teachings became widespread in Tosa (present day Kochi Prefecture), the supposed place of his birth. Regardless of the validity of the claim, it is clear that Eishin’s art was an extremely vital factor in the education of Tosa’s fighting man, whose high degree of martial ardour accounts for their stubborn tenacity. From this point on, the school of Muso Jikiden Eishin Ryu – as we know it today – began to take shape. Arai Seitetsu Kiyonobu (8th headmaster) continued to teach in Edo, following on from Eishin. One of his students, later to become the 9th headmaster, was Hayashi Rokudayo Morimasa (1661-1732) who studied Shinmei Muso Ryu under Arai and Shinkage Itto Ryu kenjutsu under Omori Rokurazaemon Masamitsu. Omori – who had been a direct student of Eishin – had been expelled by the later for personal reasons, and had developed his own distinctive style of Iai, the Omori Ryu. This style used forms beginning from seiza and had been influenced by Ogasawara Ryu school of etiquette (which is still in existence today). Omori instructed Hayashi Rokudayu in his sword style, so when the Hayashi became headmaster, he incorporated these forms into the Ryu. This gave the Ryu three main streams; Shinmei Muso Ryu, Hasagawa Eishin Ryu and

He set to reorganising the curriculum of the Ryu by establishing a three level system; Omori ryu as Shoden (first level), Hasegawa Eishin ryu as Chuden (second level) and Okuden Iai as the third level. Innovations were made in the training methods and composition of techniques;

Innovations were made in the training methods and composition of techniques Members outside a dojo in Kochi in the early 1900’s. Oe Masaji is in the centre.

Images of the temple reputed to be the one that Hayashizaki visited.

Omori Ryu. He also introduced the reishiki (etiquette) into the training regime. In 1675, his sword style was introduced to an fiefdom called Tosa (Shikoku), whilst he was within the service of the Lord of Tosa – Yamauchi Toyomasa – as first as a head cook. They accepted this style and so it became known as Tosa Eishin Ryu. His art flourished in Tosa, and hence became protected and preserved by the province. Here the higher level Bushi – Hatamoto and senior members of the Yamauchi clan – and the regular retainers, or Goshi, accepted the art whole-heartedly.

The 10th Headmaster was Hayashi Yasudayo, who was the adopted son of Rokudayu. He was succeeded by Oguro Motoemon Kiyokatsu (11th headmaster), who had studied under Hayashi. Following his death, the Ryu split into two Ha or factions. These were named after two highly skilled students who developed their own styles. The first being known as Tanimura Kamenojo Takakatsu, one of the regular retainers, or Goshi (Tanimura-ha); his style was more closely associated with the Tosa Iai and eventually developed into the Muso Jikiden Eishin-Ryu. The other was known as Shimamura Shigeichi (Shimomura-ha), a classical warrior, which gave his style more prestige, and whom introduced considerable changes. Notable headmasters followed: 12th Headmaster Hayashi Masunojo Masamori, 13th Headmaster Yoda Manzai Yorikatsu, 14th Headmaster Hayashi Yadayu Masayori, 15th Headmaster Tanimura Kamenojo Takakatsu (d. 1862) – he is responsible for the development of the TanimuraHa – and the 16th Headmaster Goto

Mogobei Masasuke (d. 1898), who further developed the Tanimura-Ha. It wasn’t until the 17th headmaster that the Muso Jikiden Eishin Ryu became the style of Iai that we know today. This is down to Oe Masaji (also known as Masamichi) (Shikei Roshu). Born in Tosa Province in 1852. He studied Kokuri Ryu and Shinkage Ryu Kenjutsu, as well as ShimomuraHa Eishin Ryu. At the age of 15, he took part in the battle of TobaFushimi, part of the Boshin War, when the allied Choshu, Satsuma and Tosa samurai battled with the Shogunate forces near Kyoto in 27th January 1868. Following his experience of battle, he began to study Tanimura-ha Eishin Ryu under Goto Magobei. Oe became, probably, the most influential person in contemporary Muso Jikiden Eishin Ryu, having received instruction in both TanimuraHa and Shimomura-Ha (also being, for a time, the 15th headmaster of the Shimomura-Ha).

introducing Hayanuki and Bangai forms, and the incorporation into the curriculum of the paired forms; Tachi uchi no Kata and Kurai, Tsumiai no Kurai; and later officially naming the school Muso Jikiden Eishin Ryu. Many excellent swordsmen became his students, many of whom had their own ideas about the techniques and developed their own alternatives – kai-waza/henka-waza. Oe Masaji issued five Menkyo Kaiden; Hokiyama Namio, Masaoka Kazumi, Yamauchi Toyotake Hoken, Yamamoto Harusuke and Yamazaki Kenkichi. As a result, and after his death, there was a breakage in headmaster succession which resulted in the formation of various factions in the practice of Muso Jikiden Eishin Ryu.

Sources: Japanese Swordmanship – Technique and Practice. Gordon Warner and Don F. Draeger: Weatherhill Inc, 1993 Flashing Steel – Mastering Eishin Ryu Swordmanship. Masayuki Shimabukuro and Leonard J. Pellman: Frog Ltd, 1995 Wikipedia – 2013 http://en.wikipedia.org/wiki/Musō_Jikiden_Eishin-ryū http://en.wikipedia.org/wiki/Hasegawa_Eishin-ryū Samurai archives http://wiki.samurai-archives.com/index. php?title=Hayashizaki_Shigenobu

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THE HAKAMA

The hakama

After practice . . . The jacket and the hakama; do you roll, hang or fold? You should fold, and hereâ&#x20AC;&#x2122;s how. They cost a lot, look great and are the traditional garments used in budo, but unless they are looked after, they can end up looking like dish-clothes.

The jacket

According to tradition, the seven pleats that form the hakama represent the virtues of the warrior. Something we all should aspire to. They are as follows: Gi - Justice, morality

What do you do with your jacket and hakama immediately after practice? It is recommended that you dry them first, then fold them straightaway to keep them flat and to make sure the creases stay in the right places. There are many ways to fold your jacket and hakama, so what follows is one of many.

First lay the hakama front down and straighten out the back (1), thern turn it over and arrange the front pleats neatly (2), followed by folding the sides in (3). Once flat and the pleats straight, fold the hakama into thirds, starting from the bottom, then the top (4). Sitting, so that the koshita (hard trapezium shaped back board) is in front of you, start folding the left longest tape. Fold in half, and then half again (6) and lay at about 45Â° across the hakama. Do the same for the right side tape (7). Next start with the left short tape and follow the diagrams (9 to 12). Do the same for the right side (13 to 16). Voila, a hakama ready for the next practice session.

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Rei - Courtesy, etiquette Meiyo - Honour, prestige Yu - Courage Jin - Humanity, compassion Makoto - Sincerity, integrity The hakama

Chu - Loyalty

13.

10.

14.

11.

15.

12.

16.

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A BRIEF HISTORY OF THE DEVELOPMENT OF THE JAPANESE SWORD

A brief history of the development of the Japanese sword By Clive Sinclaire

Clive Sinclaire lives near London in the UK, where he worked in the advertising business until his retirement. His long term experience as a serious student of Kendo and Iaido has greatly influenced his views on Japanese swords. He sees the practise of these arts, as the practical and reverse side of the same coin that is the artistic appreciation of Nihonto. Clive is the chairman of the To-ken Society of Great Britain, one of the first Western study and appreciation groups focusing on the Japanese sword and has written two books on the subject. His special interest is in Hizen-to, swords made in Hizen province (present day Saga Prefecture) in the Edo period. 32

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f course, there are many reasons to enjoy and appreciate the Japanese sword. An understanding of Jigane and Jihada, as well as the intricacies of the Hamon’s hataraki and form, is visually perceived. Even if some education and explanations are needed and desirable, provided that you have the eyes to see, the sword should hold no secrets. It takes only a sensitive nature and relaxed mind to fully appreciate such things. For some, this may be where it ends, but a fuller study of the culture of the Japanese sword will add a further dimension. To me, this is an integral and important part of Japanese sword appreciation. Ogasawara Sensei (ex curator of Japanese swords and Tokyo National Museum, Ueno Park, Tokyo) once said to me, “The trouble with you, Clive, is that you look at swords from a Kendo man’s point of view.” Whilst I may not completely agree with this assessment, I have no problem with it. Even modern swords, far removed from the lifeand-death struggles of bygone times, acknowledge the importance of a sword’s practical properties. That is to say, to maintain their integrity as a weapon, they must not bend or break and must be capable of cutting well. It is such considerations that make today’s Shinsaku-to so satisfying to view and handle. How can one not be moved, therefore, when the historical context of a sword’s life is considered on top of all this? To own a sword that may have seen the Mongol invaders

or had fifty generations of previous owners who cared for and preserved it, places weighty obligations on our shoulders. There can also be no doubt that there is a “way” in the Zen sense of the word, and a spiritual aspect, associated with the study and appreciation of fine Japanese swords. Such study as this was the province of the gentlemen of rank in old Japan. Personally, I think an even greater appreciation of swords may be gained from adding an active study of Kendo and Iaido, the martial arts of the sword. This helps give a very practical understanding of what a sword was made to do and is capable of. I consider this to be the other side of the coin to a purely academic study of swords. Of course, it may not be suitable for everyone, but both Kendo and Iaido may be practised to a fine old age! For a sword collector, this may be a great experience as well as CUTTING EDGE

A BRIEF HISTORY OF THE DEVELOPMENT OF THE JAPANESE SWORD

a way to gain a fuller understanding of the sword. Beyond the aspects described above, I have not touched on the other great benefits of Japanese sword study in today’s international market. I owe a debt of gratitude to the Japanese sword for bringing me to many places and introducing me to friends that I have made all over the world. This is the culture of the Japanese sword as I see it today, and it is the culture that I enjoy so much. If this means that I look at swords from a Kendo practitioner’s perspective, then I suppose that Ogasawara Sensei was right.

To own a sword that may have seen the Mongol invaders or had fifty generations of previous owners who cared for and preserved it, places weighty obligations on our shoulders What follows is a basic and historical account of the development of swords in Japan which is necessary to impart an initial understanding of Japanese swords. KOTO The history and development of the Japanese sword is intrinsically entwined with the history of the country itself, as both practical and political considerations influenced and developed both its shape and forging techniques. The earliest swords, known as Chokuto, were straight, ridgeless blades and both the makers and blades were imported from the continent, Korea and China. The later straight ridged versions, known as Kiriha-zukuri may have been amongst the first to be domestically produced in Japan. Along with swordmaking and metal technology, both Buddhism and the Chinese method of writing were imported into Japan in the 7th and 8th centuries AD, known

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This magnificent wakizashi or short sword has a blade by Etchu no Kami Masatoshi and is stripped down to show its constituent parts. These include the tsuba (hand guard) habaki (collar), seppa (spacers) as well as kogai (a skewer like tool, and a kodzuka (small auxiliary knife). The elaborate workmanship represents the Mino-Goto style pf decoration. This sword is part of the British Museum’s collection.

historically as the Nara period, Nara being the imperial capital at this time. By the 10th century, having gone through a number of further transitions, the Japanese sword was more or less the same as those made today. That is to say, it was a single edged, curved blade with a ridge line running its entire length, or to describe it properly – a Shinogitsukuri Tachi, with Zori (curvature). These swords were mainly made in the vicinity of Nara (Yamato Province) and Kyoto (Yamashiro Province), and it is these two provinces which lend their names to the two earliest ‘schools’ or traditions of swordmaking, i.e. Yamashiro-den and Yamato-den, to be followed closely by the Bizenden (around present day Okayama Prefecture). The sub schools of Yamato-den were mainly supported by the Buddhist monasteries of the area, whilst those swords of Yamashiro-den reflect the refined taste of the noble and aristocratic people of the Imperial Court which by then had moved to Kyoto (Yamashiro province). By the end of the 12th century, the samurai were in control of the

government, after the famous battles of the Gempei wars, in which the Minamoto clan (the Genji) completely annihilated their rivals for power, the Taira (the Heike). The victorious Minamoto Yoritomo then established his Shogunate. A shrewd man, he moved far away from Kyoto, the effete imperial capital with its corrupting influences, and set up his capital far to the east, at Kamakura in the province of Sagami, more commonly known by its other name of Soshu.

The history and development of the Japanese sword is intrinsically entwined with the history of the country itself, as both practical and political considerations influenced and developed both its shape and forging techniques Although Yoritomo had established his Shogunate, it was not uncontested, and a few years later the retired Emperor Gotoba prepared an uprising to regain his usurped power. Preparing for this, Gotoba gathered around him the best swordsmiths of the day. They attended him on a continuous basis and taught him

to make fine swords. The large number of Bizen swordsmiths who attended the Emperor’s court attests to the fact that this school was highly regarded at this time. Swords made by Gotoba still exist in Japan, and are simply signed with an Imperial chrysanthemum crest called a Kiku, these swords are therefore known as Kiku Gyusaku (Imperial Chrysanthemum Made). It is said that Godaigo’s dark and brooding mood, as he plotted to overthrow the upstart Yoritomo, may be seen in his swords. In fact, he was probably only

A pupil of Shintogo Kunimitsu, named Masamune developed that style and produced gorgeous blades that were far less likely to be irreparably damaged in battle. Masamune had ten famous pupils, known collectively as the ‘Masamune jittetsu’, who spread their masters teachings throughout Japan. The so-called Soshu-den had arrived and flourished.

may have been brought about by the difficulties encountered with the larger swords in street and indoor fighting as well as the tendency towards fighting on foot rather than horseback. Both the styles of swordmaking of Soshuden and Bizen-den were popular and the influence of Soshu-den on Bizen swordsmiths at this time is evident in a hybrid style known as Soden.

By the early 14th century, the Kamakura Shogunate, still controlled by the Hojo family as regents, was in dire financial straights and was finally

With the settling of the Imperial dispute in 1393, Ahikaga Yoshimitsu became the first ‘official’ Ashikaga Shogun, and whilst there was still

Another style of tachi known as an Efu-no-tachi which was worn in ancient times by courtiers and Imperial guards although this is a later copy. It was probably made for donation to a shrine and bares many mon of the Takeda family.

responsible for the Yaki-ire (quenching of the blades) rather than the demanding labour involved with the hammerwork of the forging. Gotoba’s uprising was not to succeed and the so-called Kamakura Shogunate remained under the regency of the Hojo family. The military atmosphere that was prevalent in the Kamakura period allowed the production of swords to flourish and many swordsmiths gathered at Kamakura to be patronised by the great samurai families that lived there. The style of swords from the middle Kamakura period were to set the pattern for swords for many years to come. In 1274 and 1281, Japan experienced invasion from Kublai Khan’s Mongol hordes, and it was found necessary for the samurai to drastically change their battle tactics from individual or single combat, to group warfare. Swords became wider and stronger in appearance and more resilient.

overthrown by Emperor Godaigo, however, an Imperial succession dispute heralded a new era of warfare, known as the Namboku-cho period. The Namboku-cho period is characterised by there being two Emperors reigning at the same time! Emperor Godaigo had set up his court in Yoshino in the south (Nan) of Kyoto, whilst Emperor Komyo, protected by a self appointed Shogun named Ashikaga Takauji, held court in the north (Hoku). This state of affairs lasted for sixty years until the Emperor Gokomatsu ascended the throne in 1392 and reunited the two courts.

skirmishes throughout the country, there was a state of relative peace and the new age became known as the Muromachi period, named after the area in Kyoto where the Shogun had taken up residence. The long unwieldy swords of the Nambokucho period were abandoned and there was a general return to the style of swords popular in the Kamakura period. At this time the production of wakizashi (short swords of about 4050 cm in length) began to be made, mostly also in the shinogi-zukuri shape (with a ridgeline). However, the peace proved to be a short passing thing and was not to last.

Swords in this period often became exaggerated in their proportions, with wider bodies, extreme lengths (some as long as 90 cm) and long points, although some swords were made at about 70 cm and began to be worn through the belt with the cutting edge upwards, whereas previously most swords were of the tachi or slung sword type. This latter development

Rebellions against the now weak Ashikaga Shogunate in 1439, the Eikyo Rebellion, and in 1467, the Onin Rebellion, began the periods of civil strife known as Sengoku Jidai that was to last in excess of one hundred years. A constant stream of wars created a huge demand for swords, which became almost mass-produced, with a subsequent loss of quality. It was CUTTING EDGE

A BRIEF HISTORY OF THE DEVELOPMENT OF THE JAPANESE SWORD

This koshirae (mounting) is of a katana, which unlike the tachi, was a sword worn with the cutting edge uppermost. The saya is covered with polished ray-skin known as samé. This was very expensive and highly desirable during the Edo period (1600-1868).

only the ‘special order’ blades from this period that retained any vestiges of artistic merit, and cutting ability was the main criterion for all others. The production of swords through this period was mainly in the socalled Mino-den style; a style created from one of Masamune’s Jitetsu named Saburo Kaneuji. Swordsmiths of this school who were famous in the Muromachi period included Kanesada and Kanemoto and the supposedly dark character Muramasa whose swords gained a reputation for being evil and bloodthirsty. As well as Mino-den the later Bizen-den was active and a town named Osafune in Bizen appears to have been almost entirely populated by swordsmiths for centuries!

As the Tokugawa or Edo period progressed, and peace was maintained, the requirement for highly efficient blades was diminished and artistic properties were emphasised It will be noted that we have now five main schools or traditions, which are collectively known as the Gokaden. These are Yamato-den, Yamshiro-den, Bizen-den, Soshu-den and lastly Minoden. Although these are the main traditions there were many styles, variations, sub-divisions and smaller schools within the Gokaden. Towards the end of the Muromachi period, a powerful Daimyo named Oda Nobunaga, began his attempt at the unification of the country. On his death in 1582, assassinated by 36

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one of his own generals, the job was carried on by Toyotomi Hideyoshi and eventually completed by Tokugawa Ieyasu after the battle of Sekigahara in 1603. This period (up to the first year of the Keicho period ,1596) is known as the Momoyama period in sword history and was a time of great creativity in the culture and arts of Japan. In Japanese sword history the start of the Keicho era ended the Koto (old sword) period and began that of the Shinto (new sword) period.

Kunihiro’s influence was enormous. It was at this time that the wearing of the Daisho (one long sword and one short sword, usually with matched fittings) became compulsory to all those of samurai rank. The emergence of castle towns attracted all kinds of commerce and craftsmen, including swordsmiths who now had stable centres from which to ply their trade. At the same time, improvements in trade and communications meant that swordsmiths no longer had to mine

This is a koshirae known as an Ito-maki Tachi or “thread-wrapped slung sword”. The name derives from the wrapping on the saya which protects it from damage when worn with armour, especially whilst mounted on a horse. It later was worn on more formal occasions. A heraldic Crest known as a “mon” may be seen on the lacquered part of the saya and this devise is repeated on the metal mounts.

SHINTO Tokugawa Ieyasu established his capital at a small fishing village named Edo, far to the east of Kyoto and quite close to Kamakura. With the final unification of the country under Tokugawa Ieyasu, peace finally came to the land and the new creative surge of the Momoyama period was reflected in the genius of a Kyoto metalworker named Umetada Myoju and his main student, Horikawa Kunihiro. These two gentlemen attracted many pupils who were to spread the new styles of swordmaking throughout the land. Umetada is known as the father of the Shinto (new sword) period and both his and

their own ore, but could buy it from central sources and they were now free to experiment and try to rediscover the old techniques of swordmaking, lost in the turmoil of the Muromachi period battlefields. The Tokugawa Shogunate virtually sealed the country off from the rest of the world, prohibiting the entry of foreigners or the exit of Japanese nationals. As the Tokugawa or Edo period progressed, and peace was maintained, the requirement for highly efficient blades was diminished and artistic properties were emphasised.

The matched pair of swords are known collectively as a daisho (lit. great and small) and were the distinguishing badge of rank of the samurai class. As this particular style of mounting owes much to the previously mentioned tachi style, it is known as a Handachi (half-tachi) daisho-koshirae.

However in the early Tokugawa period, whilst the warrior ethic was still strong and assertive, there was a great demand for swords. Swordsmiths flocked to the new capital of Edo (present day Tokyo) where the Shogun’s court was located, as well as to the commercial centre of Osaka. The blades they made reflect the bravado of the age and the different atmospheres of the locations. They are characterised by their splendid Horimono (carvings) and by differently shaped Hamon (quenched and hardened edges) that were newly adapted or invented as the artistic aspect of swords was emphasised. Apart from the swordsmiths resident in the great cities of Edo, Kyoto and Osaka, a number of the better swordsmiths of the early Tokugawa period, benefited from the patronage of the Daimyo (feudal lords) and were retained in this manner for many generations. Swordsmiths such as Tadayoshi in Hizen (who studied under Umetada Myoju) was retained by the Nabeshima Daimyo in Saga and Kunikane in Sendai, retained by the Date Daimyo, benefited in this way. Throughout the first part of the Tokugawa period, subtle changes in the shape of swords occurred. For instance, the swords made in the Kanbun era (1661-73) became straighter and tapered towards a smaller point. This change was influenced by the rise in popularity of Kendo and the use of bamboo swords known as Shinai, in other

words the swords began to resemble the shape of the Shinai, but the merchant class started to take-over the economic running of the country and the samurai ethic was diluted. During the first 2/3rds of the 18th century the quality of swords was low and few swords were made, other than by those retained swordsmiths mentioned above. Even in Edo and Osaka few swordsmiths could be found, although the production of ornate and highly decorative sword fittings flourished and reflected the more ostentatious tastes of the merchant class. Towards the end of the Tokugawa period in the late 18th to mid 19th centuries, the Shogunate was under great pressure both from within and without. The seclusion policy was being severely tested as foreigners tried to open trading relations with Japan and some of the more militant anti-Tokugawa Daimyo were becoming restless. Mostly these families had been on the loosing side at Sekigahara. As a reaction to this the Shogunate desperately tried to rekindle the flagging martial vigor of the samurai and in the wake of this there was a renewed interest in the Japanese sword. SHINSHINTO This resurgence of interest was led by a swordsmith named Suishinshi Masahide. He was a great theorist and preached a return to the sword styles of Soshu-den and Bizen-den, from the Kamakura and Namboku-cho periods. Although a reasonably accomplished

swordsmith he is better known for his writings and research than for his good sword making.

...the Shogunate desperately tried to rekindle the flagging martial vigor of the samurai and in the wake of this there was a renewed interest in the Japanese sword. This revival, spearheaded by Masahide, heralded the sword-making period known as the Shin-shinto period (very new sword period). Masahide, together with his highly talented pupil Naotane, spread the revival throughout Japan influencing many swordsmiths. Kiyomaro was another great swordsmith who set up his shop in the Yotsuya area of Edo and his work became so highly acclaimed that he became known as the Yotsuya Masamune. The untimely suicide of this flawed genius prevented him from realising his full potential shown in his extant works, particularly his later pieces, and in some ways he may be regarded as the Van Gogh of Japanese sword smiths. The coming of Commodore Perry in 1853 and the forcing of Japan to open her doors to international trade, sparked pressures that would eventually lead to the Shogunate relinquishing power to the Emperor Meiji in 1868. The Meiji Restoration of 1868 was soon followed by edicts permitting the cutting of the samurai’s topknot and then in 1876 a strict CUTTING EDGE

ANATOMY order that banned all citizens, other than the military or police, from carrying swords was enacted. This for some while appeared to be the end of the history of the Japanese sword. Fortunately, a very few swordsmiths, such as the Horii and Gassan families, managed to keep making blades and saved the art of sword-making from disappearing and being lost altogether. This was greatly helped by Emperor Meiji himself who was both an avid collector and patron of Japanese swords. However, the swordsmiths of this time had a precarious existence and many resorted to making fakes or reproductions of swords from famous swordsmiths of the past, in order to make ends meet and satisfy the demand from the few collectors of the time.

With few exceptions, most of the swords made in the World War 2 period were machine made and should not be considered true Japanese swords at all The Russo-Japanese war of 1905 and the rise of militarism in the 1930’s once more sparked interest, as all officers of the Imperial Japanese Army and Navy were required to carry a sword. With few exceptions, most of the swords made during the period of the Second World War were machine made and should not be considered true Japanese swords at all. It is these Showa-to (swords made in the early Showa period, 1926-45) blades that are most commonly found in the West and are valueless as art swords but of interest to collectors of militaria. Swords made in the traditional manner were, however, still made during the war and are known as gendaito (modern swords). One of the principal centres and best known location for making such blades was

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the famous Yasukuni Shrine on the Kudan Slope in Tokyo as well as the Nihonto Tanren Denshujo founded by Kurihara Hikosaburo (Akihide). These institutions laid the foundations of the post war production of swords. After the Second World War, a great reaction to Japan’s militarist attitude set in, affecting both the victors and the vanquished. Swords were considered by the occupying powers to be at best souvenirs and at worst weapons that had helped to inspire Japan’s aggression and only fit for destruction.

Fortunately a few enlightened souls amongst the American occupation troops, realised the high artistic merit of the true Japanese sword, and their intervention prevented the wholesale destruction and looting of many masterpieces. Amongst these Colonel Cadwell is considered the great saviour, and his bust is to be found in the foyer of the Japanese Sword Museum in Tokyo. Several years after the war, the government set up the Nihon Bijutsu Token Hozon Kyokai (the Society for the Preservation of Japanese Art Swords) publicly recognising that swords had high artistic merit. Amongst their responsibilities is the running of the aforementioned Sword Museum and the fostering of all aspects of the Japanese sword, including polishing, Tsukamaki (hilt wrapping), Saya (scabbard) making and many other aspects of sword preservation and study. They encourage modern

swordsmiths and hold a swordmaking competition every year. The annual Shinsaku Meito Ten (newly made swords competition) is one of the year’s highlights in the sword world.

Fully assembled tangible assets. Next is to acquire the intangible ones!

Iaidõ-ka intangible

There now appears to be a great resurgence of interest in the arts of the Japanese sword in Japan. There are two swordsmiths alive today who has been designated a “Living National Treasure” as well as a good number of younger men who have considerable talent. Currently the styles of the old Bizen swords are popular in Japan and some of the lost techniques are being rediscovered, similar in many ways to the revival of swordmaking at the start of the Shinshinto period.

jo-ha-kyu kan-kyu meri-hari fukaku mushin etc...

From the foregoing it will be understood that the arts of the Japanese sword were constantly changed to suit both fashion and practical needs. It is an art form that is as much alive today as it was 1000 years ago and with dedication it may be appreciated as much by the Westerner as the native Japanese. The secret is not about whether or not you are Japanese (although that helps), but whether or not you are prepared to spend the time and effort on serious study and be greatly rewarded for the effort. In this respect, the study of Japanese swords is the same as the study of Kendo or Iaido or any of the martial arts.

Hara – ki

figure. 2

The To-ken Society of Great Britain www.to-ken.com

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TSUKAHARA BOKUDEN

idely regarded as a kensei (sword saint), Bokuden was the founder of a new Kashima style of fencing, and served as an instructor of Shogun Ashikaga Yoshiteru and Ise provincial governor Tomonori Kitabatake. Left: A ukiyo-e print of the famous meeting between Musashi and Bukuden

A ukiyo-e print showing Bokuden pushing the boat away from the ruffian on Lake Biwa.

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sukahara Bokuden (1489-1571) was a famous swordsman of the early Sengoku period. He was born into the Yoshikawa family within the Hitachi Province of Honshu. The family was one of four Karō families serving the Kashima clan; one of the cadet branches of the Imperial House of Japan (descendants of the Imperial Prince Kazurahara (786–853). Bokuden was adopted by the Tsukahara family, an offshoot of the Kashima clan. Bokuden learned the Tenshin Shōden Katori Shintō-ryū from his adopted father and later honed his skills by engaging in musha shugyō (warrior’s ascetic training), traveling throughout Japan and training with most of the skillful and knowledgable swordsmen of the day. Tsukahara Bokuden was the classic knight-errant; a rich nobleman, travelling the Japanese countryside, very often with a full entourage. He went on to later systemising the teaching of the Kashima area’s local martial arts, including such approaches to combat as Kashima no tachi and Ichi no tachi, after allegedly receiving a divine inspiration from Takemikazuchi no kami, the deity of Kashima Shrine; naming his martial system as Kashima Shintō-ryū, though for a brief period, he asle called his system Mutekatsu-ryū (winning without hands). Bokuden took part in 39 battles and 19 duels with a live blade, never once being injured.

In one famed story, Bokuden was challenged by a mannerless ruffian, bragging about his martial prowess. When asked about his style, Bokuden replied that he studied the “Style of No Sword”. The ruffian laughed and insultingly challenged Bokuden to fight him without a sword. Bokuden agreed to fight the man without his sword but suggested they row out to a nearby island on Lake Biwa to avoid disturbing others. The ruffian agreed, but when he jumped from the boat to the shore of the island, drawing his blade, Bokuden pushed the boat back out, leaving the ruffian stranded on the island. Bokuden explained, “This is my no-sword school”. A famous Japanese folk tale tells of the young Miyamoto Musashi challenging Bokuden to a duel during a meal. When Musashi struck first, Bokuden parried the sword with the lid of the iron pot he was eating from. Sadly, the reality the story has not basis, as Bokuden had died 13 years before Musashi was born! Bokuden died of natural causes in 1571. The grave at Temple Baiko of Suga is in Kashima, Ibaraki. Those devoted to the art of Japanese swordfighting, would make pilgrimages to the Kashima Shrine because it is considered one of the spiritual homes of Kenjutsu.

Sources: http://en.wikipedia.org/wiki/Tsukahara_Bokuden http://kenshi247.net/blog/2009/10/26/tsukaharabokuden/

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BUSHI OR GOSHI

Hereditary or paid for?

A relaxed Ryoma Sakamoto

In difficul times, it seems anything can be bought or sold. This also applied to the status samurai. Not all samurai were born into the position. This was the case in Tosa towards the end of the Tokugawa shogunate. Tosa is a small province on the island of Shikoku. Nowadays known as Kochi, a small fan shaped area which is largely unchanged from its appearance during the Tokugawa rule. Mountainous, hot and humid and generally off the beaten tourist track, it’s an area with plenty of rainfall, it’s rice yield is high and irrigation is not an issue, unlike in other areas. Therefore a self sufficient province with little or no need for food imported from other areas. Popular writers sometimes distinguish between two types of personality which developed under the warm skies, sudden storms and a difficult terrain. 44

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The mountaineer: harsh, intolerant, rigid and unyielding. The coastal dweller: credited with a more supple approach in negotiation, and an openminded curiosity about the new and strange. Of the local and renowned samurai, Ryoma Sakamoto (a Tosa loyalist who organised the Kaientai and helped bring about the SatsumaChoshu alliance, and formed the eight-point program, the basis for the proposed compromise at the centre of the Meiji Restoration) would be “coastal”, Shintaro Nakaoka (a Tosa loyalist leader who worked with Sakamoto for the Satsuma-Choshu alliance) the “mountaineer.

The ruling family was Yamauchi, though this wasn’t their traditional domain. Originally the ruling family of Totomi, a small area in comparison to Tosa, had gained favour from the Tokugawa before the battle of Sekigahara in 1600. Ieyasu removed the then ruler of Tosa, Chosogabe Morichika following the battle, and bestowed Tosa onto Yamauchi Kazutoyo, even though the Yamauchi had not taken part in the battle. This led to implications during the Meiji Restoration, as the Yamauchi always felt a great debt of gratitude to the Tokugawa, and it explained why they were reluctant to rise against the shogunate at the crucial time of the Restoration. Yamauchi rule was imposed through bureaucratic institutions, similar in manner to the Tokugawa shogunate and it’s major vassals.

Ryoma Sakamoto

Shintaro Nakaoka

Due to problems maintaining and imposing rule, what follows are the divisions that made up the provincial government common in Tokugawa times. Court Office (Naichokan): responsible for the administration of the lord’s household affairs. Division of Internal Administration (Naikan): responsible for the supervision of the samurai, residences in Edo (Tokyo) and elsewhere, instruction of the samurai and with records and archives. Outer Office (Gaichokan): responsible for the administration of the province. Of the above three offices, the last office would be the most visual in terms of presence amongst the commoners and samurai, as this office would dictate the governmental policies that ran the province. CUTTING EDGE

BUSHI OR GOSHI

These fives ranks provided the bureaucracy of Tokugawa feudalism. Lower Samurai (Kashi or Keikaku): Goshi, 900-1000 individuals Yonin, number not fixed Kachi, number not fixed Kumigai, number not fixed Ashigaru, the “foot soldier”, which was sub-divided into further groups. Of the Outer Office, there were three sub-divisions.

with subordinating baillifs (Daikan) with the village heads.

Commissioners General (Bugyoshoku): three high ranking retainers with ultimate authority and responsibility.

These magistrate posts were only served by specific ranks amongst the samurai. With this rank came the responsibility of command in the military, though whilst during the period of peace – in place since the 17th Century – the positions were ceremonial and hence had been retained.

Assistant Ministry (Shioki-yaku): three assistants to the Commissioners General. They were responsible for shrines and temple, as well as religious surveys and census. Great Inspectors (Ometsuke): three men heading the police and surveillance services. Further divisions were to be found in the above offices, the most important being the Assistant Ministry. Here could be found the magistrates for towns, taxes, finance etc. Of these magistrates, the District Magistrate (Kori-Bugyo) was the person who formed the link between the central government and the local affairs. Their offices could be found in Tosa’s seven districts and they usually dealt 46

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The main ranks of the late-Tokugawa period are as follows: Upper Samurai (Joshi, Osamurai or Shikaku): 1. Karo, eleven individuals headed the Court and Internal administration, serving as Commissioners General. headed the major military formations, granted the use of the Yamauchi name, and served the Daimyo. 2. Churo, eleven individuals holding important offices. Responsible for the implementation from the more honoured Karo.

Regular Samurai (Hira-zamurai): 3. Umamawari, comprised of approximately 800 mounted samurai. Field grade officers in battle formations, and formed the leadership at an administrative level, in particular the Assistant Ministry along with the Churo. 4. Koshogumi, number not fixed, but worked with Umamawari as magistrates. 5. Rusuigumi, number not fixed, but worked with Koshogumi as magistrates and lesser positions.

DID YOU K

NOW?

Samurai co uld be fem ale. Samurai sta tus was inh erited by all desce ndants (ma le and female ) of samura i, and women samurai we re expected to fig to protect th ht fiercely eir home while the m en were away from it.

The last four ranks, received modest employment of the lowest sort, and paid, if at all, with rations for dependants. The lowest rank of Ashigaru performed labour services within the logging organisations. Of the Lower Samurai ranks, it would be the Goshi that would figure prominently in the Meiji Restoration and the lead up to it. Key figures of the loyalist movement hailed from this rank; Ryoma Sakamoto, Shintaro Nakaoka and Zuizan (Hanpeita) Takechi. The rank of Goshi owed it’s formulation due to problems in administration during the takeover of Yamauchi form the Chosogabe. At the time of the Yamauchi takeover following Sekigahara, it’s warrior following was small, as a direct result of their previous land holding in Totomi. Therefore they were unable to fill all the positions required to administer the province. The province was still under the influence of the

loyal Chosogabe retainers, and from time to time, rebellious resistance would spring up against the Yamauchi. In order to placate some of the retainers, the Yamauchi granted them the status of Goshi or “country samurai”. The rank was granted in 1613 to a number of Chosogabe retainers in an area close to Kochi City. They were expected to administer and live in the countryside, and were given military assignments equal to those of non-commissioned officers, sometimes accompanying their lord on visits to Edo.

...it was made known that, anyone could be considered for the Goshi rank as long as they proved suitable. In 1644, in an attempt to bring more order to the countryside, it was granted that the rank of Goshi could be awarded as an incentive for individuals to reclaim land that yielded a specified amount of income. These newly claimed fields (Shinden) by a qualified individual could claim one of 100 Goshi patents created. This led to an additional 800 ranked Goshi over a period of time in the early 1700’s, with an emphasis on character rather than family that would guarantee the rank. It was therefore inevitable, that as the newly acquired Goshi increased their land, so their income grew, which,

following the rules laid out in 1690, meant that they were now eligible to shift from “Lower Samurai” to “Regular” and even “Upper Samurai”, namely the Rusuigumi and sometimes Koshogumi. In 1763, at a time when the Hata District of Tosa was due for development, it was made known that, anyone could be considered for the Goshi rank as long as they proved suitable. Only having a criminal in the lineage could exclude an applicant. As a result, merchant and wealthy rural individuals applied for the Goshi rank. As a result, many newly acquired individuals with samurai rank moved back to the main City of Kochi, away from their lands. These “urbanised country samurai” were looked down on by the Upper Samurai, and in the future would prove troublesome. It was into these ranks that Ryoma Sakamoto was born, in 1835. His father was a wealthy Sake brewer who had purchased the rank of Goshi in 1771 and so had continued to live in Kochi City. So the samurai rank of Goshi became a purchasable position, not an hereditary one. Though, once acquired, it was handed down within the family. References: Sakamoto Ryoma and the Meiji Restoration, by Marius B. Jansen; Columbia University Press, NY.

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Slow, fast, faster: the usual translation of Jo-ha-kyu. But it is much more than just acceleration of the sword from the Saya. There is a larger issue at heart – a Russian doll effect. Maybe due to age, but I find myself thinking too much about everything; thinking ahead; premeditating actions; and considering those actions and their consequences. To the point where it seems that day-to-day living is one big chess game! “Every action has a consequence” rings in my ears, whether large or small, planned or accidental; and when the time to reflect comes around, the tendency is to shrug it off and move on, irrespective of the out-come. Of late, this manner of thought has lead me to the belief that daily living is one continuous performance – start, middle and end. The slow thoughtful start, the development and the final culmination of action – the slow, grow, wham effect – followed by the lull of contemplation, and then we’re off all-over again. So if life follows this pattern, and if Budo parallels life, therefore the slow, grow, wham effect must be apparent in Budo (Funny how simple thoughts lead to the “bleedin’ obvious”). Of course it does, and whilst my teachers have told me this over and over for years, it took my own long-winded thought process to switch on my preverbial light bulb! Now I get it – well in my own way at least. Like in a play, book or film, there is a beginning, middle and an end. The manner by which we study and pursue any activity is just the same. A beginner starting out in a Dojo, slowly follows instruction, develops his thoughts and skills, and whilst there is no end to study, a student can attain set goals throughout their ongoing Budo journey. This is the intangible action that is Jo-ha-kyu (序破急). Interestingly, Japanese stage performances in the 48

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shape of Gagaku, Kabuki, Noh and Joruri extensively use the concept of Jo-ha-kyu; in the sense of how a performance is laid out; in the case of Noh over a full day. Zeami, a notable Noh playwright, in his work called Sando (three paths) describes a five part Noh play as the ideal form. Starting slowly in the first part (first dan)(Jo), building drama and tension through the second, third and fourth parts (Ha) with the biggest climax in the third (third dan), and gradually returning to peace in the fifth part (fifth dan)(Kyu). This loosely mirrors the dan grading system of many organisations).

... if Budo parallels life, therefore the slow, grow, wham effect must be apparent in Budo ... Therefore, the application of Jo-ha-kyu relates and permeates through the performance – an example of such a performance for Budo would be Iaido. Not just the small parts but the Kata as a whole. Take the first Kata of Seitei Iaido, mae as an example: The Iaido-ka sits at peace in Seiza; slowly rising from this position (Jo) drawing the sword towards Teki, developing and growing in size and ki, the delivery of Nukitsuke (Ha) (Yoko ichimonji), the continued pressure forward with the ever growing desire to deliver Kirioroshi (Kyu) followed by the lull, the concentrated and methodical Chiburi and Noto with a return to serene peacefulness. Ok, there is much more to it than that, but it is a good example, and similarly runs to the Noh performance layout.

SLOW, GROW, WHAM!

So. So far the concept of Jo-ha-kyu can be found in life, in Budo, in Kata. It is starting to look a bit like a Budo Russian doll – each part fitting into the next section. But each part is huge in it’s own right. In daily life, we don’t tend to think too much, we just do. But in budo, there is so much to think about that we have to unnaturally create Jo-ha-kyu (and other concepts), so that it does become natural and part of our daily thoughts. As mentioned earlier, the concept permeates a performance, not just the visual aspect of the movement but also the manner that the movements are performed. The delivery of Nukitsuke for example: right from the beginning, this peaceful and serene performer is simply a bubbling volcano full of ki. The drawing together of the knees, the rise of the hara, the slow soft hands positioning themselves on the Tsuka, and the quiet pull back of the Saya from the sword (Jo); the upward and forward drive of the hara and hips, the rise of the body and the gradual draw of the sword from the saya by pushing the right hand forward (Ha); the pressure of the Tsuka gashira towards Teki, the increasing speed of the draw, the movement of the toes turning under ready to create the stable and yet classical looking base; the explosion of the Boshi from the Koiguchi (Saya-binari), Saya-biki, and sweeping horizontal cut; the contact of the blade with Teki and the placement of the right foot (Kyu). So the next time you are told to use “J o-ha-kyu”, you may think it is but a small part of a large movement, but actually, it is the movement and more, very much more.

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TEA CEREMONY

he tea ceremony, or the Way of Tea, is a Japanese cultural activity involving the ceremonial preparation and presentation of matcha, powdered green tea. It is, in Japan, referred to as Chanoyu, Sado or Chado. The first documented evidence of tea in Japan dates to the 9th century, when it was taken by the Buddhist monk Eichu on his return from China. The entry in the Nihon Koki states that Eichu personally prepared and served sencha (unground Japanese green tea) to Emperor Saga who was on an excursion in Karasaki (in present Shiga Prefecture) in the year 815. By imperial order in the year 816, tea plantations began to be cultivated in the Kinki region of Japan. However, the interest in tea in Japan faded after this. The custom of drinking tea, first for medicinal, and then largely also for pleasurable reasons, was already widespread throughout China. In the early 9th century, Chinese author Lu Yu wrote The Classic of Tea, a treatise on tea focusing on its cultivation and preparation. Lu Yu’s life had been heavily influenced by Buddhism, particularly the Zen–Chán school. His ideas would have a strong influence in the development of the Japanese tea ceremony. Around the end of the 12th century, the style of tea preparation called 52

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“Tencha”, in which powdered Matcha was placed into a bowl, hot water added, and the tea and hot water whipped together, was introduced to Japan by Eisai, another monk, on his return from China. He also took tea seeds back with him, which eventually produced tea that was of the most superb quality in all of Japan. This powdered green tea was first used in religious rituals in Buddhist monasteries. By the 13th century, when the Kamakura Shogunate ruled the nation and tea and the luxuries associated with it became a kind of status symbol among the warrior class, there arose tea-tasting parties wherein contestants could win extravagant prizes for guessing the best quality tea – that grown in Kyoto, deriving from the seeds that Eisai had brought from China. The next major period in Japanese history was the Muromachi Period, pointing to the rise of Kitayama Culture, centred around the gorgeous cultural world of Ashikaga Yoshimitsu and his villa in the northern hills of Kyoto (Kinkaku-ji), and later during this period, the rise of Higashiyama

Culture, centred around the elegant cultural world of Ashikaga Yoshimasa and his retirement villa in the eastern hills of Kyoto (Ginkaku-ji). This period saw the budding of what is generally regarded as Japanese traditional culture as we know it today.

The Japanese tea ceremony developed as a “transformative practice”, and began to evolve its own aesthetic, in particular that of Sabi and Wabi principles. The Japanese tea ceremony developed as a “transformative practice”, and began to evolve its own aesthetic, in particular that of “Sabi” and “Wabi” principles. “Wabi” represents the inner, or spiritual, experiences of human lives. Its original meaning indicated quiet or sober refinement, or subdued taste “characterised by humility, restraint, simplicity, naturalism,

profundity, imperfection, and asymmetry” and “emphasises simple, unadorned objects and architectural space, and celebrates the mellow beauty that time and care impart to materials. “Sabi” on the other hand, represents the outer, or material side of life. Originally, it meant “worn,” “weathered,” or “decayed.” Particularly among the nobility, understanding emptiness was considered the most effective means to spiritual awakening, while embracing imperfection was honoured as a healthy reminder to cherish our unpolished selves, here and now, just as we are – the first step to “satori” or enlightenment.

in tea ceremony, followed his master Takeno Joo’s concept of ichi-go ichi-e, a philosophy that each meeting should be treasured, for it can never be reproduced. His teachings perfected many newly developed forms in architecture and gardens, art and the full development of the “way of tea”. The principles he set forward – harmony (和 wa), respect (敬 kei), purity (清 sei), and tranquility (寂 jaku), are still central to the tea ceremony. Many schools of Japanese tea ceremony have evolved through the long history of chado and are active today.

Murata Juko is known in Chanoyu history as an early developer of tea ceremony as a spiritual practice. He studied Zen under the monk Ikkyu, who revitalised Zen in the 15th century, and this is considered to have influenced his concept of Chanoyu. By the 16th century, tea drinking had spread to all levels of society in Japan. Sen no Rikyu and his work, Southern Record, perhaps the most well-known – and still revered – historical figure

DID YO KNOW U ?

During the Edo period, farmers were pr oh the “lux ibited ury” of drinkin g tea. http://en.wikipedia.org/wiki/Japanese_tea_ceremony

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WHY TAKE NOTES?

Everyone has an opinion. Especially when it comes to the interpretation of instruction from instructors. “He did it this way”, “No, he did it that way!” Two weeks later, and it all changes again, until a point comes when we ask “How did he do it?” Now come on, how many of us have done that, and then been a bit creative in the interpretation? It all comes out in the wash though, because the next time you visit with your Sensei, he asks “Why did you do it like that”, or “Where did that come from?” Or worse..., “Who taught you that, what’s your teachers name?” Oh no!

The Book of Five Rings (Go Rin No Sho) Source: Eisei-Bunko Museum 54

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Notes. Take notes, and lots of them. Ok, it’s not traditional – or is it? Clearly over the 100s of years since the first recipient of instruction, I can only assume that someone along the road made notes, or hand drawings as a memory jogger for the sword school he belonged too! I am sure Musashi drew his sword style in note form to pass on to students – the school scrolls perhaps?

But note taking I feel, is part of the learning process. Don’t get me wrong, I think running off to take notes in the middle of instruction, is rude, and one should absorb all information from instructors before retiring to write or draw. Therefore, make notes during breaks, or wait until after the session when it is possible to consult with fellow students or the Sensei about the sessions lessons. Perhaps what you thought was important doesn’t match someone else’s opinion, so get their opinion down too, it all helps. Notes should take the form of bullet points, and not essays. Get the vital parts on paper and make the connections in your own time, adding your own points and interpretations. Notes become invaluable when teaching, and a quick and ready reference clarifies instruction, and aids in the inevitable difficult questions that students can come up with. It saves a creative answer that can sometimes come back and bite you.

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By Nigel Kettle BSc(Hons)Ost GOsC Registered Osteopath

ACHILLES TENDONITIS

Achilles Tendonitis

he Achilles tendon attaches the posterior muscles of the calf, proper name gastrocnemius and soleus muscles, to the calcaneus (the heel bone). In 1999, after studying for four years full-time at the British School of Osteopathy – the country’s oldest osteopathic school – Nigel qualified as a registered osteopath with a 2.1 Bachelor of Science Honours degree. In addition to having his own clinic in East Sussex, he works in private practices in Kent, Reigate and Epsom in Surrey. As a teacher, he is currently principle lecturer in Osteopathic Technique at Surrey Institute of Osteopathic Medicine, a Recognised Qualification (RQ) Osteopathic Degree Course based in North East Surrey College in Ewell.

The Achilles tendon is one of the strongest and largest tendons in the human body. In adults about the thickness of your little finger. The purpose of this tendon is to transmit the force of the muscle contraction to push up or forward from the ground during walking, running and jumping. Achilles tendonitis is primarily internal damage of the Achilles tendon. Very small or micro- tears can occur if the muscle/tendon is pushed to work to the limit and this usually occurs after a heavy training session leading to local inflammation and then pain. What is the cause of it? This can be a problem for people who run regularly, and for Iaido and Kendo practitioners. Poor support from footwear may also cause tendonitis and can also indicate other greater issues you may have with the strength of your ankle joint. However, it can also occur as a result of an ankle inversion injury or blunt force trauma to the calf or the tendon. Having poor training or exercising techniques; making changes to your training programme or, increasing the intensity of your training and how often you train; training or exercising on hard or sloped surfaces; having a high-arched foot, and having poor flexibility from not stretching enough, are all very common causes. How does it feel? The pain is initially located on the Achilles tendon (from the base of the ankle on the heel bone to

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approximately a quarter the length of the calf). The pain is commonly worse in the mornings due to inflammation which builds up from inactivity over night but should ease after a few minutes of movement. There may be swelling located over and around the tendon. The pain will increase in severity during activities that involve running and/or jumping, but may also be felt during walking and standing depending on severity. Generally the pain will be sharp in nature although it could start off as a dull pain. What should you do? RICE...Rest, Ice, Compression and Elevation treatment. Rest requires you to stop activity and limiting the amount of weight you put through your leg. Ice wrapped in a dry tea towel should be applied at the site of injury for five to eight minutes once every few hours to reduce the inflammation. Compression can sometimes help, this involves the application of a support bandage around your ankle, it should be firm but not cause pain. Elevation involves lying with your ankle resting comfortably on a chair or pillows so that it is above the level of your heart. Once you have tendonitis you should completely rest the tendon and get it seen to by an osteopath or physiotherapist as soon as possible. This will not only confirm the diagnosis, but will get much needed treatment onto the tendon and the surrounding tissues so you can return to activity sooner.

What shouldn’t you do? Avoid training and long periods of standing. Also avoid activities which would cause an increase in blood flow and swelling such as warm showers, heat pads and alcohol/heat rubs. Could there be any long-term effects? If left untreated this could cause the tendon rupture or tear. A rupture would require surgery and a long period of non-weight bearing until the tendon has healed. After surgery there could be relapses. Partial tears can be helped by your local physiotherapist or Osteopath but will mean several weeks off from activity.

Alternative stretches can be seen below. Both don’t require a wall and can be done anywhere, and should be done before practice and as a cool down after practice. Don’t force a stretch!

What can you do to avoid it? Stretching can help avoid placing the tendon under ongoing strain. Exercise Assume a position facing the wall, one foot forward, and the front toes just touching the wall. The calf to be stretched is the rear leg, the foot is about 24 inches back from the front one, with both feet pointing directly at the wall in front. Bend your front knee, keep the rear leg straight at the knee and lightly push the rear heel down toward the floor so that you feel a stretch in the calf (See top diagram opposite). Hold for 20 seconds, repeat five times for each leg. www.jointandback.com CUTTING EDGE

REVIEWS

Books

This section of the magazine takes a look at the old and new. Cinema releases, books and DVDs. The aim is to give an honest and impartial review, so if you have seen or read anything of interest and want to make a review with a 5 star rating panel, please drop an email to info@at-the-cutting-edge.com

The Last Samurai

Book launch in London Spirit of the Sword

Rating

An in-depth and sometimes quite heavy-going look at the real “Last Samurai”, Saigo Takamori. It chronicles his life and ideals; from childhood experiences that shaped his future, to acquaintances, imprisonment and finally to death, in a battle that proved to be the bloodiest in over 200 years, dying by his own hand on the battle field of the Satsuma Rebellion. The story of a legendary character immortalised in stone in Tokyo’s Ueno Park.

Rating

At the launch was Gary D Williamson The book “Spirit of the Sword” by Nakamura Taisaburo, was launched on the 28th May 2013 by the translator Gavin J. Poffley, at the School of Oriental and African Studies (SOAS).

Published by Wiley ISBN: 978-0-471-70537-6

The guests were witness to a demonstration of various martial arts in a small dojo comprising of Tanren Bo conditioning, Batto Do, Okinawan Karate and Aikido, with the use of a bokken to give focus and line to the technique, and for the maintenance of zanshin. Finally, Goshin ju-jitsu, which demonstrated both the traditional and modern techniques. Unfortunately there was no demonstration of Tameshigiri. The demonstration was followed by a talk by Gavin, which covered the life of Nakamura Taisaburo, considered to be one of the greatest swordsmen of the 20th Century. He was born in 1912, the year the Titanic sank, and died in 2003. His book was written in 1980 and the intellectual copyright reverted to the family and his daughter Ms. Tomoko Nakamura, who allowed the translation and publication. It was originally titled “Essence of Test Cutting with the Japanese Sword” but Gavin retitled the book to reflect its nature. He considers this book the best of his works and essential for anyone interested in sword arts.

Kurikara

Gavin spoke of the three types of translator; the poor who translate literally; the adequate who translate the meaning; and the good who translate the intent. He told of the time he spent deciphering what was meant by a man who was considered dichotomous, in that he followed structural form, but was also frank and opinionated. The book is part autobiographical. Nakamura Taisaburo did not like the idea of sword “sport”, and believed much had become too stylised, as he believed in both the practical and spiritual side, an example of the importance of technique is demonstrated in the book, where after being bayonetted through the hand his technique suffered, emphasising the importance of tenouchi. Other self-inflicted injuries mentioned in the book demonstrate the importance of focus. For his services to martial arts Nakamura Taisaburo was awarded the Silver Dish by former Prince Higashikuni Naruhiko. He was influenced by Nakayama Hakudo Sensei, the last soke in the Muso Shinden Ryu Goto-ha line.

A very well considered book, looking at the complete swordsman, physically, spiritually and technically. Very few books delve as deep as this one, but still leave room for consideration and contemplation for the reader; never giving answers but posing questions via trodden paths by the author John Maki Evans. Irrespective of your sword style, this is a book to be kept and read, and re-read.

Rating

Published by Blue Snake Books ISBN: 978-1-58394-244-4

DVD RAN A classic Kurosawa version of Shakespear’s “King Lear”. A spectacular samurai costume drama. The action starts with a boar hunt on a breezy, sunny day. The old Daimyo deciding to had over his power to his sons; and the eventual breakdown of father and sons relationships.

Rating

Like all Kurosawa films, the art direction is beautiful, the sounds score riveting and dramatic, the acting wonderful. Filmed in Japanese with English subtitles, but one not to be missed.

I look forward to studying the book and learning from it, then posting the review here.

The Spirit of the Sword by Nakamura Taisaburo, translated by Gavin J. Poffley. Published by Blue Snake Books ISBN: 978-1-58394-542-1

Love and Honour

£16.71 from Amazon.

Develops into very nice story of a husband and wife relationship, and the concluding defense of her honour with a sword fight that’s quite inspiring.

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A great film, though a little slow to start. But, once it gets going, you are hooked.

Rating

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Organisations and governing bodies from around the world ORGANISATIONS AFRICA

EUROPE

Norway

South Africa SAKF – South Africa Kendo Federation www.kendo.org.za

European Iaido Association www.europeaniaidoassociation.com

NKK – Norges Kendo Komitee www.kendo.no

European Kendo Federation www.ekf-eu.com

Poland

ASIA PACIFIC

Andorra FADKEN – Federació Andorrana de Kendo www.kendo-andorra.org

Australia Australian Kendo Renmei www.kendoaustralia.asn.au Hawaii Hawaii Kendo Federation www.hawaiikendo.com Hong Kong Hong Kong Iaido Kenjutsu Club www.iaidohk.com India The Nippon Budo Sogo International India www.samuraiindia.com Japan All Japan Kendo Federation/ International Kendo Federation www.kendo-fik.org Dai Nippon Butoku Kai www.dnbk.org Zen Nihon Toyama Ryu Iaido Renmei toyamaryuiaido.jp/index_en.html New Zealand New Zealand Kendo Federation www.kendo.org.nz Vietnam Vietnam Kendo Club www.kendo.vn

Austria AKA – Austrian Kendo Association www.kendo-austria.at Belgium ABKF – All Belgium Kendo Federation www.abkf.be Bulgaria BKF – Bulgarian Kendo Federation www.kendo.bg Croatia CKA – Croatian Kendo Association www.kendo.hr Czech Republic CKF – Czech Kendo Federation www.czech-kendo.cz Denmark DKF – Danish Kendo Federation www.kendo-dkf.dk Estonia EsKF – Estonian Kendo Federation www.kendo.ee Finland FKA – Finnish Kendo Association www.kendoliitto.net

AMERICAS

France CNK – FFJDA. Comite National Kendo www.cnkendo-da.com

Argentina Federación Argentina de Kendo www.kendoargentina.org

Georgia GNKF – Georgian National Kendo Federation NNLE www.kendo.ge/new

Bolivia Asociación Boliviana de Kendo www.facebook.com/kendobol

Germany DKenB – Deutscher Kendo Bund e.V. www.dkenb.de

Brazil Kendo Brasilia www.kendo.org.br

Greece HKINF – Hellenic Kendo Iaido Naginata Federation www.eokin.gr

Instituto Niten www.niten.org.br

Hungary HKF – Hungarian Kendo Iaido and Jodo Federation www.iaido.hu www.jodo.hu

Canada Canadian Iaido Association www.iaido.ca Equador Asociación Ecuatoriano-Japonesa de Kendo kendoecuador.org Mexico Federación Mexicana de Kendo www.kendo.mx United States of America AUSKF – All United States Kendo Federation www.auskf.info Peru Asociacion Peruana de Iaido www.facebook.com/IaidoEnElPeru

Ireland The Iaido Association of Ireland www.iaido.ie

Italy CIK – Confederazione Italiana Kendo www.kendo-cik.it Latvia LKF – Latvian Kendo Federation www.kendo.lv Lithuania LKA – Lithuanian Kendo Association www.kendo-lka.lt LKA – Lithuanian Kendo Association www.kendo-lka.lt Malta Classical Budo Malta www.classicalbudomalta.org/iaido.html

CUTTING EDGE

Portugal APK – Associação Portuguesa de Kendo www.kendo.pt Republic of Macedonia MKIF – Macedonian Kendo - Iaido Federation www.kendo.org.mk Russia RKF – Russian Kendo Federation www.kendo-russia.ru Serbia SKF – Serbian Kendo Federation www.kendo.rs Slovakia SKF – Slovak Kendo Federation www.kendo.sk Slovenia KFSLO – Kendo Federation of Slovenia www.kendo-zveza.si Sweden SB&K – Svenska Kendoförbundet www.kendoforbundet.se Switzerland SKI – Swiss Kendo + Iaido SJV / FSJ www.kendo.ch The Netherlands NKR – Nederlandse Kendo Renmei www.nkr.nl Turkey TKC – Turkish Kendo Association www.kendo-tr.com Ukraine UKF – Ukraine Kendo Federation ukf.org.ua/?lang=en United Kingdom BKA – British Kendo Association www.kendo.org.uk MIDDLE EAST Jordan JKC – Jordan Kendo Committee www.jkcjo.com

Israel IKBF – Israel Kendo & Budo Federation www.ikbf.co.il

Luxembourg

PZK – Polski Zwiazek Kendo www.kendo.pl

LET US KN

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