In this series of articles, I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. In this article, I will be looking at the tanka for the ninth technique, Takiotoshi.
This is the final tanka translation in this series. I hope to follow it up with a short article looking at the poems as a group, the similarities between them, and how they relate to each other.
Kyūhon-me: Takiotoshi
Takiotoshi is the ninth technique in Hasegawa Eishin-ryū, and the last of the tatehiza techniques in the set as taught in Musō Jikiden Eishin-ryū and Musō Shinden-ryū. It is one of the more complex of the nine waza.
Read More Post a comment (3)In this series of articles, I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. In this article, I will be looking at the tanka for the eighth technique, Namigaeshi.
Hachihon-me: Namigaeshi
The Sea Off Satta, by Hiroshige
Namigaeshi is the eighth technique in Hasegawa Eishin-ryū. It closely resembles the immediately preceding technique, Urokogaeshi. The tanka that accompanies the technique reflects this similarity.
Namigaeshi (浪返) means “the retreating motion of a wave.” A common phrase is yosete wa kaesu nami (寄せては返す波), meaning “waves breaking on the shore and retreating.” This image correlates fairly well with the physical movement of the waza. However, if we look at the dōka for this technique, it appears to run contrary to the image of the retreating wave. At first, this seems to present a problem when relating the tanka to the technique, but a little exploration of the imagery here offers some possible explanations.
In the tanka below, the image of a wave washing unstoppably over high obstacles is used as a metaphor for the motion of the practitioner.
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EDITORS NOTE: This is the last in a series of three that translates a Kendo Kyohan published in 1909. Please see the first installment for more information.
Please note that the image in the title is from a different Kendo Kyohan version (one published in 1934).
Jyōbaguntōjutsu(55)
(this is an appendix to the main book which was published in the prior two installments)
Rules
First Part
The purpose of jyōbaguntōjutsu is to attack your opponent from horseback with cuts and thrusts. The rules for its practice are outlined below.
Second Part
Jyōbaguntōjutsu is learned first while either moving at a walking speed or at rest, and later while moving quickly or moving slowly.
Third Part
Jyōbaguntōjutsu is learned first with the saber. Later, it is possible to study it with the bayonet.
EDITORS NOTE: This is the second in a series of three that translates a Kendo Kyohan published in 1909. Please see the first installment for more information.
Please note that the image in the title is from a different Kendo Kyohan version (one published in 1934).
JŪKENJUTSU(47)
Basic Maneuvers
Thrusting
Fifty-sixth Part
The stabbing maneuvers of juukenjutsu are described below. (See Diagram 13)
Dō(48) / Tsuki (same as prescribed in the basic movements section)
Attention
Fifty-seventh Part
The stance of attention is described in your drill manual. (See Diagram 14)
Fifty-eighth Part
Moving from attention in to the basic stance (See Diagram 15)
Command: kamae-tsutsu(49)
Keep your head facing front. Your left leg should lead and point forward with the right leg behind, forming a rectangle. The right hand should grasp the back of the mokujū and hold the stock, and the left hand should hold the mokujū roughly at the waist line. The right hand should be lower than the left, creating an angled guard.
Put your left foot forward roughly one step, and distribute your body weight evenly between both feet. Bend both knees, and at the same time keep your gun in front of you. Keep the body of your rifle pointed up and turned slightly to the left, with your right hand on the stock your left elbow slightly bent. Point the tip of your rifle approximately at the eyes of your opponent, and keep your body straight. Stay relaxed and focus on the eyes of your opponent.
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EDITORS NOTE:
This is the first in a three part series that translates a 1909 edition of the KENDO KYOHAN (kendo teaching methodology). These small, pocket-sized books were were issued to soldiers that fought in the Imperial Japanese forces. The manuals were modified and reprinted many times over the years and different versions can be found with relative ease (even online). However none has, to our knowledge, ever been available in English.
I will split and publish this in three different sections:
Part 1: General rules, Basic excercise regulations, tournament regulations, and guntojutsu (Military swordsmanship);
Part 2: Jukenjutsu (bayonet methods);
Part 3: Joba-guntojutsu (mounted military swordsmanship).
Notes will be marked with a bracketed number after the relevant section and can be found at the bottom of the article.
This series is the result of 6 months of (very!) hard translation work by Isaac Meyer. I thank him for not only allowing it to be shared in public in this manner, but also for approaching kenshi247.net for this purpose. It really is an important edition to the English speaking kendo/budo community.
Please note that the image in the title is from a different Kendo Kyohan version (one published in 1934).
Read More Post a comment (2)In this series of articles, I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. In this article, I will be looking at the tanka for the seventh technique, Urokogaeshi.
Nanahon-me: Urokogaeshi
Carp, by Hiroshige
Urokogaeshi is the seventh technique in Hasegawa Eishin-ryū, and is much simpler than the preceding three in terms of its execution.
In the past, I have seen the name of this waza translated as “Dragon Turn” on several websites. This seems to me like a mistranslation that has spread because many people do not understand the original Japanese. The word uroko (鱗) does not mean dragon, and although kaeshi (返) can mean ‘turn’ – as in ‘turn over’ or ‘turn back’ – the tanka below suggests another meaning. I can certainly see how the word ‘turn’ could be applied to this waza, especially as both it and Namigaeshi involve a physical turn around, but kaeshi does not normally express a rotation. As I will explain below, in the case of urokogaeshi I would rather emphasise ‘repel,’ or ‘push back.’ Kaeshi can also refer to a swift reversal in direction, and to turning an attack by an opponent into an counterattack of one’s own.
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There are somethings I look for in a ‘real’ dojo. By that I mean the physical space, not the members that go to the dojo (there are things I look for in my dojo mates, sempai, kohai, and sensei too of course!). These chiefly being a good floor, a shomen (with or without kamidana), correct orientation, good ventilation, a taiko, katana-kage (for hanging our bokuto and/or shinai on), and a nafuda-kake (dojo member name plate). Of-course, depending on your situation you may have access to a dojo with only some of these, and others may or may not be possible to acquire.
Read More Post a comment (11)In this series of articles, I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. This article covers the tanka for the sixth technique, Iwanami.
Roppon-me: Iwanami
Boat Navigating Rocks in Izu Province, by Hokkei
Iwanami is the sixth technique in Hasegawa Eishin-ryū. As with the previous two waza, it differs slightly between Musō Jikiden Eishin-ryū and Musō Shinden-ryū. Again, however, the basics of the technique remain largely similar. Once more, I will cover the technique as it appears in both Jikiden and Shinden.
Iwanami (岩波 or 岩浪) literally means ‘rock wave.’ It refers to a wave that swells and breaks against rocks, and is a fairly common image in Japanese poetry. These waves are often depicted as being powerful or fast-moving, and caused by a strong current in a river. In the Eishin-ryū tanka, the image of one of these waves striking a boat is used to express overwhelming speed and power.
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Photo Courtesy of Richard Stonell (C)2009
Authors note:
This article emphasises a “lateral” view in that I am by no means a master or even seasoned teacher of Jodo. I believe that insincere humility is as bad as arrogance and so I would not go so far to say that I am a rank beginner in Koryu Jodo either. I do consider myself to be an avid student of the art and suffice to say I have been fortunate to have been taught by some excellent teachers.
My personal lineage follows up the Tokyo-ha route of SMR Jodo starting with my own teacher Chris Mansfield Sensei 7th dan Renshi; Ishido Shizufumi Sensei 8th dan Kyoshi; Hiroi Tsunetsugu Sensei 8th dan Hanshi; Shimizu Takaji Sensei 8th dan Hanshi etc. I have also been very grateful to have had the chance to meet and receive instruction from Namitome Shigenori Sensei 8th dan Hanshi and Yano Shoichiro Sensei 8th dan Hanshi (both Fukuoka-ha) as well as many of their personal students.
However with all this in mind, the following article is based on my understanding and all mistakes or misinterpretations are my own.
I would furthermore like to thank all the people who over the years have inundated me with photos. I have lost track of who I have actually gained permission from to use their photos. Should you find one that belongs to you and would rather I did not use it please let me know.
In this series of articles, I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. This article covers the tanka for the fifth technique, Oroshi.
Gohon-me: Oroshi
'Blowing Snow' - by Shreyans Bhansali on Flickr
Oroshi, or Yamaoroshi, is the fifth technique in Hasegawa Eishin-ryū. Like Ukigumo, this technique varies somewhat in execution between Musō Jikiden Eishin-ryū and Musō Shinden-ryū. However the essential point of the waza remains the same.
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On the 26th of April 1873 a 10 day event occurred in Asakusa, Tokyo, which had a direct influence in the development of modern kendo and possibly without which the fledgling kendo (then called gekkiken or kenjutsu) could have faded into extinction: the first ever Gekkikenkai (撃剣会) – or gekkiken kogyo (撃剣興行) . This was a public gathering of budo experts who fought each other in front of an audience and received money to do so. Many of the combatants of this first gekkikenkai were out of work ex-samurai, but it also included some women and – intriguingly – a couple of non-Japanese kenshi.
Three woodblock prints were commissioned to commemorate the event, the artist being Utagawa Kunitera the 2nd (歌川国輝2代). The above picture is one that many kenshi247.net readers have seen no doubt. What I would like to do here – briefly – is introduce the people in the picture, one of whom was one of the most influential figures in the history of kendo.
Read More Post a comment (8)In this series of articles, I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. This article covers the tanka for the fourth technique, Ukigumo.
Yonhon-me: Ukigumo
'浮き雲 / a floating cloud' by furbychan on Flickr.
Ukigumo is the fourth technique in Hasegawa Eishin-ryū. The execution varies somewhat between Musō Shinden-ryū and Musō Jikiden Eishin-ryū, but the movement and feeling involved are much the same.
It is well-known that Hasegawa Eishin was an expert yawara (jūjutsu) practitioner. There is even a Hasegawa-ryū yawarajutsu that claims descent from him. The Hasegawa Eishin-ryū contains a good deal of grappling techniques, or techniques that may be effectively adapted for use in grappling, and Ukigumo is a prime example of this. Even without adapting the basic ‘situation’ usually used to describe the waza, there are several clear grappling elements. The nukitsuke here may be treated not so much as cutting through but as applying the sword to the opponent. The sword is then used to take the opponent to the ground, where they are killed with a cut to a vulnerable area of the body.
Ukigumo means ‘floating cloud’ or ‘drifting cloud.’ It is an enduring image in Japanese poetry, notably appearing in a famous passage in the Tale of Genji. The Chinese word fúyún (浮雲), adopted into Japanese as fuun, has approximately the same meaning. The floating cloud is a metaphor for being restless and changeable. As with other imagery we have seen, it can also mean something ethereal or ephemeral that is liable to move or vanish.
Read More Post a comment (7)This is the third in a series of articles in which I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. This article covers the tanka for the third technique, Inazuma.
Sanbon-me: Inazuma
Thunderbolts in the Rain over Hashidate, by Utagawa Kuniyoshi
The name of the third technique in the set, Inazuma, means “lightning.” The waza consists of stepping back and cutting into the wrist(s) of an opponent as they commit to a strike from jōdan. Like Tora no Issoku, this is followed by a kneeling kirioroshi.
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Tsukahara Bokuden (1489/90-1571) is a renowned and well-known kenshi inside and outside of Japan, and is up there with the likes of Matsumoto bizen-no-kami, Kamiizumi Ise-no-kami, and Iisaza Chiosai in relation to his impact on systemising Japanese swordsmanship into the ryu-ha format.
He was born around 1489-1490 as the 2nd son of Urabe Akikata, one of the four retainers of Kashima shrine. As a young boy and teenager, Bokuden was taught the swordsmanship arts passed down within the shrine itself (Kashima Chuko-ryu) by his father, and later learned Tenshin Katori Shinto-ryu from his foster father (who was said to have studied under Iizasa Chiosai himself). It is also said that he learned Matsumoto Bizen-no-kami’s Shinkage-ryu as well, but whether that was from his foster father, or directly by himself is unknown. What is known, however, is that he fought his first duel with a live blade, and went on to fight many more during the duration of his three musha shugyo’s (around the ages of 20, 40, and 60). In total it was said that Bokuden took part in 39 battles and 19 duels with a live blade, never once being injured.
Bokuden lived a long life, and was a successful career swordsman, becoming a retainer of the then Ashikaga Shogunate. Although it is said he never gave a name to his own style (his students would go on to name it Kashima Shinto-ryu) he did pass on his full teachings to three students.
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銃剣に対しては普通の構より右肩を前に、體を稍々平身にし切先を下げ心地にして構へ、機を見て剣先を押へ飛込んで相手の面を撃つか、左足より左斜前に飛込んで、左片手を似て、相手の右横面を撃つのである。相手が突いて来た場合は身を交し、はらふか押へて直に正面を撃つか左右の片手を似って相手の横面をうつか、或は左胴をとろもよい方法である。突は不利で面を撃つが良法である。
When facing someone armed with a Juken (bayonet) you should slightly put your right shoulder forward, drop the tip of your shinai, and have the sensation of a more flattened posture than normal. Looking for a chance to attack, strongly jump foward and attack your opponents men, or jump diagonally to the right with your left foot and attack their migi-yoko-men with your hidari-kakate waza. When your opponent attempts to tsuki you, dodge their attack with your body and sweep or push their Juken with your shinai, then attack their shomen, yokomen, or left do. Since tsuki is difficult to do against this type of opponent, its advisable to aim for men.
Note
As always, please remember that these translation is done by a non-professional. Any and all mistakes are my own.
Source
剣道指南。小澤愛次郎範士。昭和二年発行。
As part of my summer Musha Shugyo this year I visited the spiritual and historical center of budo in Japan: Kashima and Katori shrines, located in Ibaragi and Chiba prefectures respectively.
Their proximity to each other is very close, about 15 mins by train. Although 400 years ago there were no trains nor cars and travel was done by foot or horse, I can easily imagine kenshi of yore walking between these shrines as part of their musha shugyo.
From the aptly titled article “A bit of Background” please refer to this quote from Meik Skoss to understand the relationship between these shrines and budo culture:
The areas most famous for the development of the classical martial traditions (koryu) are located, as the saying goes, in the Kanto region, “Heiho wa Togoku kara”: heiho comes from the East, referring to the Kanto area surrounding Tokyo (heiho means martial or military arts; strategy). The Kashima and Katori Shrines lie on opposite sides of the Tone River in Ibaraki and Chiba Prefectures.
There are enshrined two of the most important Shinto martial deities: Takemikazuchi no Mikoto (Kashima Jingu) and Futsunushi no Kami (Katori Jingu). They, along with the Buddhist goddess, Marishiten, serve as the patron and protective deices for many of the martial traditions. Historical records show very clearly that young warriors gathered, or were sent by their masters, for advanced training at these shrines, which became centers for the martial arts after the end of the Heian era. Eventually this led to the foundation of the oldest known formal traditions in the martial arts, the Kashima Shinto-ryu and the Katori Shinto-ryu.
As this quote states, these shrines did not only serve as centers for religious and psychological development of warriors, but were also places they could study the more physical aspects as well. Kashima in particular was noted for its training of swordsmen.
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So, Fujimoto Kaoru… have you heard his name before? Probably not. I hadn’t until quite recently. But like myself, almost everyone reading this website has seen his picture (above). So who was he and – if he was was strong enough to fight in front of the Emperor – why isn’t he more widely known today (in Japanese kendo circles at least) ?
Fujimoto took part in the second of three Tenran shiai (competition held before the Emperor) in 1934 as a Kagawa prefecture representative. In the final he fought – and lost to – the famous son of Kodansha publishing company’s owner Noma Seiji, and one of the countries strongest young kenshi: Noma Hisashi.
Despite coming in 2nd place, and only 21 years old at the time (and in face of supposed opposition to his use of gyaku-nito-ryu), his standing in the kendo community was secured. However the times were turbulent, and he died in 1942, at the age of 28, whilst serving as a soldier in Burma.
(Note: Noma Hisashi is mostly known in the English speaking kendo world as the writer of The Kendo Reader)
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槍は左手を先に右手を手許にして構へるものである。體形は左半身になって、右に開いておる、故に攻める時は向つて槍の左方から攻めるが常である、槍は突くものであるから其の穂先さへ避ければよい、穂先より打ちへ入れば、槍は施す術のないものである故に、隙あれば手許へ入ることが肝要である。
The spear is usually held with the left hand in the front, and the right hand behind. The body is held in a sideways stance with right at the rear. The normal seme from someone using a spear is from the left hand side. Spears are fundamentally thrusting weapons, so you should aim to avoid the spear tip and enter into the space beyond it (this is how i’ve chosen to translate 手許へ入る). If you see an opening where you can enter into this space then its essential that you take it, as it will render your opponents weapon useless.
Read More Post a comment (5)This is the second in a series of articles in which I am attempting to translate and contextualise the dōka of Hasegawa Eishin-ryū. All articles in this series can be found here. This article covers the tanka for the second technique, Tora no Issoku. Note: this translation was revised on 11 March 2010.
Nihon-me: Tora no Issoku
Tiger Amongst Bamboo by Kano Sansetsu
The name of the second technique in the set, Tora no Issoku, means “tiger’s step” or “tiger’s foot” – either could be applicable, I feel. The waza contains an element present in all three schools (or teaching levels) that make up Musō Jikiden Eishin-ryū. This element is sunegakoi, a sweeping block to protect the knee from a horizontal cut. The outer forms of Tora no Issoku and its more advanced counterpart, simply called Sunegakoi, are almost identical. Although “sunegakoi” literally means “enclosing the shin,” in standard Japanese, in Tosa dialect the word “sune” means “knee,” not shin. Senior sensei have told me that this is an important distinction to be aware of.
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While I was in Kyoto for work at the end of July, I ended up swinging by a historical site that is associated with Miyamoto Musashi: Ichijoji.
Four years after Sekigahara the young Musashi came to the capital. Here he is said to have challenged the Yoshioka school to a duel. Musashi defeated the head of the school, then his successor. The Yoshioka – being one of the most famous schools in the city – could not stand the shame of defeat and asked for a rematch. This time his opponent would be the new head of the school – and the 3rd of three brothers (Musashi having defeated his two elder brothers). Leaving nothing to chance, the supporters of the school selected an isolated area on the outskirts of the town and prepared an ambush. The ambush of-course did not go as the Yoshioka group expected and Musashi not only survived unhurt, but defeated the last of the Yoshioka brothers as well. The shame of this defeat damaged the schools reputation so much that the school was effectively destroyed.
Read More Post a comment (3)This is second installment in a short series about waza that are rarely used, are pretty much dead, or discussion about kendo theory that is not much talked about nowadays. Enjoy!
”片手面”は左または右の片手で相手の正面または右か左の横面を打つ「業」である。普通には左片手で相手の右横面を打つから、玆ではそれについて述べるが、他の場合もこれに準じて行うのである。
“Katate-men” is a waza where you use your left or right hand to strike your opponents shomen or yokomen (left or right). The technique is usually seen with the attacker striking the opponents migi-yoko-men with their left hand and this is the method I will explain below. However other methods exist and they conform to the rules that I will lay out.
左片手で右面を打つ方法は、相手を攻込み、機を見て”右小手”とか”突”を攻撃すると、相手は自ら構えをくずし、横面に隙を生ずる、そこをすがさず左足から踏み込んで、十分身体を開き、左手を伸ばし、刃筋を正して、左片手で相手の右面を打つのである。
The method of striking migi-yoko-men with your left hand is as follows. Whilst your are pressuring your opponent keep an eye out for opportunities to attack. Should they attempt to attack your kote, tsuki, etc, they will break their kamae in doing so, opening a chance to attack yokomen. In that instant step forward with your left foot, open up your body sideways, stretch out your left arm, and with your shinai at the correct angle, strike their migi-yokomen with your shinai.
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Of the three great private dojo in Japan (日本の３大私塾道場) – Honma Dojo (Chiba), Shubukan (Hyogo), and Tobukan (Ibaragi) – two remain extant at the time of writing this article: Shubukan and Tobukan. Having been to Shubukan, I decided to take sometime out of my schedule and go to practise at the infamous Tobukan in Mito city, Ibaragi prefecture, and learn more about this influential dojo.
Tobukan was founded on the 1st of January 1874, just three years after the abolition of the domain system in Japan and creation of the modern prefectural system. Mito-han had been an extremely influential domain and was the home of many radical thinkers centered around the domain school Kodokan.
The founder of Tobukan was one Ozawa Torakichi, a Mito-han clansman who had been a kenjutsu instructor at Kodokan along with Chiba Shusaku (the founder of Hokushin-itto-ryu, and an extremely influential figure in kendo’s history). Before taking the post he studied Hokushin itto-ryu at Chiba’s dojo in Edo – Genbukan.
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This is the first installment in a short series about waza that are rarely used, are pretty much dead, or discussion about kendo theory that is not much talked about nowadays. Enjoy!
相手が我が面を打つて来た時、右足を後に引き、體（たい）を稍々右にひねつて右膝を折り敷さそれと共に太刀を左に廻はて敵の右胴を打つのである。又體を左にかはし、折敷いて敵の左胴を打つ。又右足を前にしたらまま左足を折り敷いて、敵の右左胴を打つ場合もある。我が體を低くすれば、敵の太刀が仮令我が頭上に落る共、充分の効を奏することなく、我は見事に敵の胴を打つ得ると云ふ手段である。
When your opponent tries to attack your men, pull your right leg back, twist your body slightly to the right and – at the same instant as you go down on your right knee – swing your shinai to the left and strike your opponents right DO. You could also move quickly to the left and strike your opponents left DO. Another method is to leave your right foot forward and simply sink your left knee, allowing you to hit their left or right DO.
我が體を低くすれば、敵の太刀が仮令我が頭上に落る共、充分の効を奏することなく、我は見事に敵の胴を打つ得ると云ふ手段である。
Lower your body in such a way that the sword of your opponent might fall on your head from above. At the same time, without allowing the opponent to make an effective attack, you may skilfully strike do.
Note
As always, please remember that these translation is done by a non-professional. Any and all mistakes are my own.
Source
剣道指南。小澤愛次郎範士。昭和二年発行。
Background
The Mito-han was a highly influential domain during the entire Edo-period. As a senior branch of the Tokugawa clan their prestige was immense. Mito-han became one of the leading intellectual centers in Japan, and its daimyo and scholars became more and more vocal in challenging the central authority of the shogunate, eventually being instrumental in its dissolution. During the turbulent years leading up to civil war and the Emperors restoration, the domain school that produced these young intellectuals was Kodokan.
The following introductory text is taken from the English leaflet called “Kodokan” (I have slightly reworded sections of it). I will add my own thoughts at the end.
Kodokan: the biggest domain school in Japan
Kodokan was built by Tokugawa Nariaki (1800-1860), the ninth daimyo of the Mito-han in 1841. In those days the Mito-han was facing the fear of the baku-han system crumbling (centralised Shogunate relationship with the provincial clans/domains) and threat from foreign colonial powers. Nariaki initiated a reform of the han administration. As a part of this, he aimed at to introduce higher education for his clansmen. Kodokan was built to achieve this.
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Musō Jikiden Eishin-ryū and Musō Shinden-ryū are the two most widely-studied schools of iaido in the world. Both were derived from Hasegawa Eishin-ryū, which was founded by Hasegawa Chikaranosuke Eishin during the Edo period. Two generations later, the ryūha moved to Tosa, where it was transmitted until the modern era. Eishin, the seventh-generation shihan of Hayashizaki Jinsuke’s Shinmei Musō-ryū, was responsible for adapting that school’s battō techniques for the uchigatana, as well as creating a number of waza himself. The waza he created are today collected in both Musō Jikiden Eishin-ryū and Musō Shinden-ryū at the Chūden level, in the set of techniques known as Tatehiza no Bu. This set may also be referred to simply as ‘Eishin-ryū’ or ‘Hasegawa Eishin-ryū.’
Tatehiza no Bu today consists of ten waza, all but one of which is performed from the half-kneeling tatehiza position. In this position one kneels with one leg as in seiza, whilst the other is placed with the foot alongside the knee of the first. This seated position is said to come from the correct posture for kneeling in armour.
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Often when an individual thinks of influential characters in kendo, more likely than not, that individual will think of Japanese kenshi like Mochida Moriji or Takano Sasaburo, or even present day heroes like Eiga or Miyazaki (rightfully so as these people have left a tremendous mark). However, few would think of an American named Dr Gordon Warner. Little information is readily available about Dr Warner and therefore his contributions go unnoticed for the most part. Dr Warner was a pioneer and is largely responsible for bridging the western world to Japanese kendo. In the following post I want to share what I discovered about Dr Warner and encourage those with personal knowledge to contribute below (and please correct any mistakes I may have made!).
As a young boy growing up in Southern California Dr Gordon Warner enjoyed watching chambara movies with his nisei friends, which at that time was very rare due to the absence of cultural understanding. Dr Warner often believed the people in the community thought he may have wandered into the theaters by mistake. It was this early exposure to Japanese culture that sparked his interest in Japanese history and eventually budo.
Dr Warner, a social studies major at the University of Southern California, was a large athletic man. Standing at 6’4″Dr Warner was on the varsity swim team. During this time he also decided to pursue judo and kendo at a local dojo. After graduating in June 1936, Dr Warner entered the United States Marine Corps as a 2nd lieutenant. It was during his time in basic training that Dr Warner met two officers Colonel Biddle (at the time a renowned fencer and foremost hand-to-hand combat instructor) and Captain Puller, who both encouraged him to continue studying budo, noting that kendoist were adept at parrying attacks during bayonet drills.
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In the first four parts of this series, I translated the sections of Takano Sasaburo’s Kendo Kyohan concerning waza for men, tsuki, kote, and do. In part five I translated the sections about tsubazeriai and taiatari. In this section, I translate the section on grappling (kumiuchi).
組打
Grappling
（一）劍を打落し又は打落された場合
組打は敵から組み附いて來る時、又は劍を打落された場合に行ふものである。敵の劍を打落した場合には、其の機に乘じ直に撃込むのである。若し撃ち遲れたなら、敵を近寄らせず、壓迫して行く。我が劍を撃落された場合には、敵が次の技を起さない間に、直に飛び込んで組み附くのである。直に飛び込めぬ場合は一時飛び退き、隙を見て飛び込ものである。
(1) Striking Down the Enemy’s Sword and When Your Sword is Struck Down
Grappling is something that happens when the enemy closes to wrestle or when your sword is struck out of your hands. In the case of knocking the sword out of the enemy’s hands, take advantage of the opportunity and strike directly. If you delay in striking, even though you don’t draw close to the enemy, he may be pressured into grappling. In the case where your sword is knocked out of your hands, fly in straight away to wrestle before the enemy can perform another technique. In the case where you can’t do that, jump back for a moment. When you see an opening, fly in.
In the first four parts of this series, I translated the sections of Takano Sasaburo’s Kendo Kyohan concerning techniques for men, tsuki, kote, and do. As I wrote in part one, I originally planned to make a fifth entry translating the sections on tsubazeriai, taiatari, and grappling (kumiuchi). However, the section on grappling was long enough that I decided to make it into its own entry. Thus part five will cover tsubazeriai and taiatari.
Tsubazeriai, taiatari, and kumiuchi are sections three through five of the chapter titled “Information about Shiai” [仕合心得]. Sections one and two of that chapter are “Normal Information” [一般の心得], which covers things like reigi and the notion of fighting fair and square, and “Preparations at Tachiai” [立合の支度].
鍔糶合
Tsubazeriai
（一）離方
敵に接近して鍔糶合となつた時は、速に離れるやうにする。離れ際が大切であつて、必ず敵の?を撃つて引くか、太刀を押へて、敵に手の出せぬやうにして、迅速に引き離れるのである。此の心得なくして、空しく引く時は、敵に乘ぜられ敗を取ることになるのである。
(1) How to Separate
When you have come to tsubazeriai, coming close to the enemy, separate quickly. The moment of separation is worthy of attention, so separate pull back quickly, either striking where the enemy is unprepared or suppressing his sword so that the enemy cannot extend his hands. If you don’t know this and pull back ineffectively, you will be defeated by the enemy.
In the first three parts of this series, I translated the sections of Takano Sasaburo’s Kendo Kyohan describing techniques for men, tsuki, and kote. In this part, I translate the section for do techniques.
As in part two, I have included the section on how to strike do [胴の撃方] from the chapter on basic practice [基本練習]. Note that for basic migi do, Takano sensei uses ayumi ashi, striking with the left foot forward.
右胴
兩臂の間より敵胴の見える程振冠り，左足から稍左斜前方に進み，右足は之に伴ひ、斜左上から兩臂を伸ばして敵の右胴に撃込む。此の場合，兩腕の交叉點は體の中央前に來るやうにし、且兩腕で抱き挾み、刀の動搖せぬやうに心掛ける。刃は右に向ける。
Migi Do
Swing up until you can see the enemy’s do between your arms. Advance slightly diagonally left with the left foot, and accompany it with the right foot. Stretching out both arms, strike the enemy’s right do diagonally from the upper left. In this case, the crossing of your arms comes directly in front of your body, but bear in mind not to let your sword stray, holding it between your arms. Turn the edge to the right.
左胴
兩臂の間より敵胴の見える程振冠り，右足から右斜前方に進み，左足は之に伴ひ、斜右上から兩臂を伸ばして敵の左胴に撃込む。刃は左に向ける。
Hidari Do
Swing up until you can see the enemy’s do between your arms. Advance diagonally to the right with the right foot, and accompany it with the left foot. Stretching out both arms, strike the enemy’s left do diagonally from the upper right. Turn the edge to the left.
In parts one and two of this series, I translated the sections of Takano Sasaburo’s Kendo Kyohan describing techniques for men and tsuki. In this part, I translate the section for kote techniques.
As in part two, I have included the section on how to strike kote [籠手の撃方] from the chapter on basic practice [基本練習].
籠手撃
兩臂の間から敵の籠手の見える程振上げて、正面から籠手へ撃込む。右足から進み、左足は之に伴ふのであるが、腹で進む心持で進むことが肝要である。籠手撃の場合は、手先だけで撃つやうになり易いからである。
Kote Uchi
Swing up until you can see the enemy’s kote between your arms, and strike kote from the front. Advance from the right foot, and follow it with the left, but the feeling of advancing with your abdomen is essential. This is because in the case of kote uchi it is easy to strike as if using just your fingers.
巻籠手撃
手元で小圓を描く心持で、切先で巻込むやうに敵の右籠手に撃込む。足の運方は前と同様。
Maki Kote Uchi
With the feeling of drawing a small circle, spiral in with your sword tip and strike the enemy’s right kote. The footwork is the same as above.
抜籠手撃
左足を左方に踏出し、右足も之に伴つて左足の前に進め，劍尖は敵刀の下から半圓を描き、初歩の間は大きく抜き、敵の右籠手に撃込む。
Nuki Kote Uchi
Step to the left with the left foot. Accompany it with the right foot, and advance the right foot in front of the left. Describe a half circle under the enemy’s sword with your sword tip. During the first step make a large evasion, then strike the enemy’s right kote.
One of my teachers is an accomplished painter as well as being a 7 dan. In mid-December he chooses a theme for the following years keiko and paints a picture illustrating it and hangs it in the dojo. The painting is always bright, positive, and sports the following years animal zodiac.
This one is from 2007. It reads:
自ら燃えなければ火はつかない.
Translated liberally into literal English:
If you can’t fire yourself up, then your flame will never catch light
I will leave it for you to decide your own interpretation.
In part one, I translated the section of Takano Sasaburo’s Kendo Kyohon describing 18 techniques for striking men. Part two is 13 techniques for thrusting. One important point not included in this section is that Takano sensei considers tsuki to contain three distinct techniques—mae zuki, omote zuki, and ura zuki—in the same way that men is divided into shomen, hidari men, and migi men. Because of this, I will include his section on how to thrust [突方] from the early chapter on basic practice [基本練習] that describes these three variations.
前突
両手をを一様に絞り、體を進めると同時に両腕を伸ばし、敵の咽喉部を突く。
Mae Zuki
Thrust at the enemy’s throat, wringing both hands equally and stretching out your arms at the same time you move your body forward.
表突
両手を絞り、刃を稍右方に向け、同時に両腕を伸ばし、敵の表(左方)より體を進めると同時に咽喉部を突く。少しく右斜前方に右足より進み、左足の之に伴ふことが肝要である。
Omote Zuki
Wring both your hands, and turn the edge slightly to the right. At the same time, stretch out your arms, and thrust to the throat while advancing your body towards the enemy’s omote (left side). It is essential to advance your right foot slightly diagonally to the right and to accompany it with the left.
As every kendoka knows, Busen (Budo Senmon Gakko) was – along with Tokyo Koto Shihan Gakko – the premier place for training kendoka before the war. It was run by the Butokukai and was based in the legendary Butokuden in Kyoto. People who graduated from here went on to train kenshi all over the country. The schools impact on modern kendo cannot be underestimated. During the post WW2 occupation the school was renamed and its martial arts practice banned.
The subject of this article is about the person who was said to be the last graduate from Busen – Furuya Fukunosuke hanshi. Furuya sensei was well known in the Kansai area and taught at a few different dojo, including my own one in central Osaka – Yoseikai. I managed to do keiko with him only a few times before his health deteriorate to the point where he could not practice. Even after that point he still came to the dojo and attended a couple of gasshuku, thus I luckily had the chance to learn something from him. unfortunately, at the relatively young age of 81, Furuya sensei died last December.
My sempai and sensei reacted sadly at his death – not only because of his young age nor due to his impact in the kendo of the area – but his passing is also hard evidence that the kendo world is changing for ever. Gone and going are the sensei who learned kendo at legendary places such as Busen. Can we live up to their legacy? Well, only time will tell.
My ardour, posture, and sword were cultivated by breaking through the opponents kamae during keiko (相手の剣を割っていく稽古で気勢、体勢、剣勢が養えた)
I am the last graduate from Busen. This was a special school aimed for people who wished to pursue kendo as a professional career. At that time, training there was completely different from normal dojo. First of all, everyone was treated as a beginner, and kendo was taught to you from the start, no matter if you were experienced or not.
Read More Post a comment (9)Founding of the Butokuden
in 1895 on the 1,100 year anniversary of the transferring of the Japanese capitol to Kyoto (Heian-kyo), and as part of the building of Heian-jingu, the Butokuden construction began. It was originally meant as a demonstration platform for the Butokukai. It was completed in 1899 on the north-west side of the Hein-jingu complex. If was then also designated as a school for training Martial Arts teachers (later it would become the Budo Senmon Gakko).
At that time it was said “in the east there is Kodokan (built 1884), and in the west the Butokuden” such was its place in the center of Japanese budo circles.
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This is the first in a series that looks at techniques done by those that are as acknowledged as the best executors of them.
The individual final of the 1st world kendo championships (1970) was between Toda sensei, twice winner of the All Japan Kendo Championships (1962 and 64, using jodan), and Osaka police’s Kobayashi Mitsuru sensei (3rd place in the same competition, 1963). The ippon that secured Kobayashi sensei’s historic win, 33 years before Eiga Naoki saved the Japanese team from defeat by using the same technique: katatezuki.
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Discussions of pre-war kendo pop up from time to time with people proposing what it was like. It seems that those proposals are often supposition based on what someone wishes or imagines it was like instead of the sources that are available. To that end, I’m translating portions of Takano Sasaburo’s Kendo Kyohon into English.
Kendo Kyohon was originally published in 1930, and much of it is repetition from his prior work, Kendo, published in 1915.
I plan to make five entries. The first four will be his “fifty varieties of technique” broken into four sections: men, tsuki, kote, and do. The fifth will be taiatari, grappling, and throwing. The curriculum of 50 techniques is a reduction and reworking of a curriculum of 68 techniques described by Chiba Shusaku. The 50-technique version also appears Kendo, with the only differences being slight differences in phrasing and more old-fashioned grammar.
I’d like to make one note on the translation. Takano sensei describes the two participants as “I” [我] and “the enemy” [敵]. I have switched first-person declaratives to second-person imperatives, as that is much more natural in moden English.
技法五十種
劍道では、或一二の特に熟練した得意の技を持つてゐることは、頗る有利なものであるが、得意な技に偏して、技に變化がなかつたり、他の技に不熟練なのは宜しくない。種々なる技法に習熟して、場合に應じて巧みに之を用ふるやうにしなければならぬ。次に最も基本的で、且普通に應用し得る技五十種を擧げる。漸次是等の技法を試み、之を習熟するやうに努むべきである。
Fifty Varieties of Technique
In kendo, having a certain one or two favorite techniques at which you are proficient is advantageous, but it is not good to be biased toward your favorite techniques, without any variety or being skilled at other techniques. You must master many techniques, so that they can be used skillfully to respond to the situation. The 50 most basic yet typically easy to use techniques are listed below. You should gradually try these techniques and work to master them.
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“The night bus to Tokyo: a nine hour hell ride in a muggy sardine can, with an interior that is all too reminiscent of a cheap airport hotel, and a smell to match. This is the chariot of thrifty foreign travelers, poor university students, and gassy old men who snore throughout the night. After an evening of being folded up in a tiny bus seat, breathing in re-circulated air you emerge from the bus greasy and disorientated. You are displaced. It feels like have you just stepped out of the bar to be greeted by the morning sun coming up over the horizon (in this case it will be streaming in between the buildings in Shinjuku) after a long night of drinking. In short I hate the night bus and while I am at it I might as well note that I’m also not particularly keen on Tokyo either. Never-the-less here I am on my way from Osaka to Tokyo. If I am going to subject myself to this kind of abuse then there must be a damn good reason. I’m a man with a mission; I am going to catch wreck at Noma.”
Read More Post a comment (4)This small article intriduces the “Showa no kensei (昭和の剣聖)” or “The Sword Saints of the Showa period.” All of these kenshi are widely known within the Japanese kendo community, and abroad as well, but I thought a quick article in here would serve as a useful reference.
I hope to expand on this and write longer and more in-depth articles about various kenshi from by-gone years (and not limited to just kendo or renowned personages).
In particular, I feel that Takano Sasaburo’s impact on kendo is not fully understood by many modern practitioners, myself included. Doing research for these articles gives me the chance to learn more and clarify my own thoughts and ideas about kendo, which can only be a good thing!
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Takano Sasaburo (高野佐三郎) 1862 or 3 – 1950. Ono-ha itto-ryu, kendo hanshi. Notable events in his career: 1879 – Entered Yamaoka Tesshu’s Yubukan |
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Introduction
A couple of years ago I made my first ever home made tsuki-pad for my house (instructions are on posted on this blog). Its still holding up well despite beatings from myself and various kendo visitors. However, its not designed to be used heavily nor repeatedly (although I was doing 50 katatezukis a day for a few months), so when I got the idea in my head to make a heavy duty tsuki pad that could take persistent strong beatings and would have to have a long life, I realised a rethink was in order.
This redesigned DIY heavy duty tsuki pad is for use in a high school kendojo. It was made/designed with the purpose of being abused 6 days a week repeatedly and heavily. Once nailed to the dojo wall I don’t want to have to remove it for repair.
What you need
- Strong wood squares, thicker being better
- Carpeting (you can normally buy cheaply in big squares)
- Plastic coasters (shape and thickness is up to you)
- Hammer and nails
Directions
- Take your coaster and place it on the carpeting. Cut the carpeting up so that you have a larger piece than the coaster. Prepare three pieces of carpeting the same size;
- Place the three pieces of carpeting on top of each other and nail it to the wood. I used about 8 nails to secure them firmly;
- Nail the coaster into the middle of the carpeting;
- Attach the tsuki-pad to the dojo wall, either by nailing it in (preferably) or by using strong adhesive.
- Try it out!
Yagyu no sato (柳生の里) is a small village in Nara prefecture, Japan. Passing through it in a car or by very infrequent bus, you would probably notice nothing particularly different to any other sleepy rural Japanese town. However, this town was the center of Yagyu-han, the ancestral home of the Yagyu family, the masters of the most famous school of Japanese swordsmanship.
Yagyu Sekishusai was already a renowned bugeisha (martial artist) when – via the introduction of the skilled spear-wielding monk Hōzōin In’ei – he was introduced to one of the legends of Japanese swordsmanship – Kamiizumi no kami Nobutsuna. Following a legendary duel in which Sekishusai lost to one of Kamiizumi’s students armed with a fukuro-shinai, Sekishusai himself became a follower of Kamiizumi, eventually inheriting the system from him. Sekishusai’s son Munenori went on to become an official sword instructor for the Tokugawa Bakufu (shogunate) and taught three successive Shogun’s. In his lifetime his stipend and position considerably rose, assuring both his families success and their notoriety.
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Following Scotts great article on the 1st Hyoho Niten Ichi-ryu UK Seminar, i’d like to start the first in a series of short articles entitled “Kendo Places” by writing about a place that all kendo enthusiasts should visit at least once in their life and that is connected strongly with the art that Scott practises: REIGANDO.
Reigando (霊巌洞) is basically a small cave in the mountains close to Kumamoto city. It is on the grounds of the very old Unganzenji temple (雲巌禅寺), and it was here, in this cave, where Miyamoto Musashi was said to have written his treatise the Go Rin no Sho (五輪書) in the early 1640′s.
Myself, my friend, and my sempai and his family travelled there by car early one morning back in 2004. It was a cold morning and we were a bit hungover.
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