Budo Business Blog

Sutemi

2009-12-22T17:08:00.000-05:00

In order to fully understand the concepts that fall under sutemi we must first delve far into Japan’s warring past into the times of the development of the Samurai, where the true roots of Budo began and the concepts of sutemi were one of the principle beliefs. To the samurai, sutemi stood for the willingness to sacrifice even one’s own life in order to achieve victory. These fierce warriors marched into battle prepared to die a glorious death on the battlefield, for the sole purpose of total conquest for those that were to follow. For dying on the battlefield in the name of your clan was one of the most honorable attributes that a warrior and his family could attain.

Today, as we look into the past of these great Japanese warriors of the time, we consider their mannerisms barbaric and absurd, but little does the general public understand that these concepts of sutemi still remain for the practitioners of the Budo way of life. As mentioned in the previous sections, Budo is a living art. And, just as Budo has evolved with the times through war and peace, so has its concepts. Therefore, sutemi is still very much a part of daily life, existing less at times in its physical form like that of the past, but more in its mental state where it can be more appropriately applied to modern day life.

When adapting the concepts of sutemi into everyday life, one must first analyze them self and identify with a logical goal for their future. This goal set forth by them should be clearly understood and all possible benefits and repercussions examined in detail, such as the great warriors of past who decided to sacrifice their lives on the battlefield for the honor of their people. After careful and logical examination one can start to apply sutemi to their life, the willingness to sacrifice anything including oneself to accomplish his or her goal for the purpose of being prosperous and successful in life and for the purpose of ones own state of mind. The constant struggle is for the ultimate accomplishment in which lies that of inner peace within ones mind and body. It is for this reason that the Budo practitioner must fully understand the set goal, if one is to dedicate and sacrifice everything they have and do to accomplish it. A weak goal with potential mediocre results and a 50- 50 probability of becoming reality after careful analysis will be severely detrimental to one’s own mind and body if finally turn in a negative direction.

It is for this reason that sutemi must be considered carefully when finally applied to daily life. As at times it may take an entire life time of dedication and self sacrifice to accomplish the largest of goals, and if taken in the wrong direction by the practitioner, he or she may find them self with nothing to vouch for, and a wasted life.

It is through close comparisons, such as these, explained to us by the teachings of the great Budo masters that one can start to make to connection between past and present, at times pushing to light such concepts as sutemi to help guide us through the walks of life. The teachings of Budo also demonstrate to us, that much like sutemi, if abused will in turn destroy the abuser, and if willingly understood will push the enlightened student to great heights.

Understanding Japanese Swordsmanship

2009-09-14T11:48:00.002-04:00

Throughout the years many students have approached me asking which art best clearly conveys the philosophies and practical applications of Japanese swordsmanship- Kendo or Iaido? My answer to them is this; in my opinion the practitioner must delve into the study of both arts in order to receive a better understanding of Japanese swordsmanship as a whole. We must first remember that Kendo comes from Kenjutsu in which the fight starts with blades drawn, while Iaido originates from Battojutsu and focuses on the process of drawing and cutting, therefore making the practice methods of these two arts very different. Questions is how do these methods differ and how do they benefit each other.

In making this analysis, the first obvious difference is the equipment utilized for the practice of these two arts. In kendo, bogu (armor), and shiani (bamboo sword) are used for the primary practice of this art which basically entails sparring, or Ji- Keiko. Which means that the practitioner may never come into actual contact with a katana, raising the question; if you never handle a sword then how would you understand how to use it? In contrary to Kendo, Iaido utilizes the katana for its general practice, which consists of kata, a series of prearranged techniques. The question raised in this case would be; how will the practitioner ever develop a sense of timing and distance if never confronted with an opponent?

Over the decades Kendo has become watered down, and emphasis placed more on the sport of Kendo rather than the origins of Kendo, despite the efforts of the All Japan Kendo Federation. This emphasis eliminates the necessity to develop proper cutting technique and focuses more on how to score a point. It is fact that the methods used to cut in Kendo would be ineffective in battle and would not even deliver a finishing blow onto the opponent. Usually the term cutting the opponent is replaced with striking or hitting the opponent, once again eliminating the true nature of Kendo’s martial background. Of course if the practitioner is destined never to handle a sword, only a bamboo representation of a sword, focus was certain to change from martial to sport. The benefit Kendo has to offer, however, which is not available to Iaido practitioners, is the interaction with an opponent, which brings about an understanding of distance, tactics, and timing, which is essential for combat in swordsmanship.

Iaido, on the other hand, does not provide the opportunity to confront an opponent in an open match, which eliminates all the positive aspects Kendo has to offer and only leaves the practitioner with the theories presented in kata. However, Iaido does offer a clear understand of proper cutting technique and proficiency in the manipulation of the katana, an essential component of swordsmanship. It is fact that the cutting method in Iaido is lethal as proven through tameshigiri, test cutting.

In conclusion, in order to receive a complete understanding of Japanese swordsmanship, a practitioner would need to practice Kendo in order to understand the vital elements and practical application of distance as well as timing, and practice Iaido for an understanding of actual sword mechanics and manipulation along with proper cutting methods. In my opinion, it is impossible to fully comprehend one without the other.

Hayashizaki Jinsuke and His Sword

2009-09-12T02:50:00.007-04:00

It has been almost two months since I started my research on Hayashizaki Jinsuke in order to understand what type of blade he used to create Muso Jikiden Eishin Ryu. Part of the reasoning behind my research is to determine which nagasa, length, and sugata, shape, is most appropriate for the study of Muso Jikiden Eishin Ryu. I believe to best understand the techniques of Muso Jikiden Eishin Ryu and its practical application; we must first understand the origins of its creation and what was used to create it. My second reason is to determine which line of Muso Jikiden Eishin Ryu is most authentic, since some lines claim that in order to practice Muso Jikiden Eishin Ryu Iaido its practitioners must use blades of extreme length, such as the line headed by Sekiguchi Komei.

What is known of Hayazaki Jinsuke, much like what is known of Musashi Miyamoto, is quite skeptical. There are actually a few regions that lay claim to him, however the stories are all quite parallel. It is understood that he was born between 1542 and 1546 in either Oshu, or Sagami. It is believed that his father was murdered, and this event is what triggered his intensive interest in swordsmanship, in which he was to devise a new method of drawing and cutting in one swift action. Several sources indicated that he left his home town and went to either Hayashizaki Myojin Shrine in Yamagata Prefecture or Hikawa Shrine in Saitama Prefecture where he trained for 18 years and is said to have received “divine inspiration” from the Kashima gods. He named his sword muso ken, sword inspired by a vision, which later would become the name of his system, Muso Hayashizaki Ryu, between 1601- 1615. After receiving this “divine inspiration” he set out on musha- shugyo, dueling samurai to determine the greater fighting system. His quest took him to Kyoto to avenge his father’s death. While in Kyoto tales of his new fighting style made their way to Toyotomi Hideyoshi, in which he granted Hayashizaki with the title of Tenka Muso, no equal under heaven. While on musha- shugyo he also picked up many followers, one of which was Tamiya Heibei, founder of Tamiya Ryu and swordmanship instructor to the Tokugawa family which may have eventually led to the spread of Muso Jikiden Eishin Ryu.

Hayashizaki Jinsuke’s fighting system was developed during a period of great turmoil in Japan’s history. The late Muromachi period during 1467- 1572 was recognized as one of Japan’s bloodiest times, this era was known as the Sengoku Jidai, the country at war. Swords were in constant demand and improvements in design were ever changing. During this time we see a change from tachi, worn hanging from the belt with armour, to katana, worn in the belt with the cutting edge turned upward. This change brought about the daisho, consisting of katana and wakizashi. There was also a distinct change in nagasa and sugata. The uchigatana was first introduced during this time. Its unique features include a deep sori, curvature, the nasaga, length, was about 60 to 65cm, making it about 10cm shorter than previous blades, as well as a shortened nakano, tang, making the handle shorter and more suitable for katate waza, one handed techniques. These blades were in “style” from 1532- 1592, which coincides with the development of Tenshin Shoden Katori Shinto Ryu, which places a heavy emphasis on battojutsu, drawing and cutting art. It would be safe to say that the development of this style could not have happened without the development of the uchigatana.

After the uchigatana movement we see a shift in blade design once again, between 1596- 1615, which coincides with the final stages of Hayashizaki’s development of Muso Jikiden Eishin Ryu. These blades where known as Keicho Shinto blades, named after the Keicho Era during the Momoyama period. The term Shinto, new sword, comes into play for the first time during this era as well, which refers to the new methods and trends in sword production due to the reorganization of commercial centers moving smiths away from ideal sword making environments into areas that were not so conducive for sword making. Swords made prior to this time period were known as koto, old sword. The blades of the Keicho Shinto era were a bit longer, and measured between 73- 76cm. These blades featured a shallower sori with a slightly longer nakano, making them more suitable for two handed combat yet short enough to effectively draw and cut. The sugata of these blades also made them more suitable for daisho. It is believed that many new schools of kenjutsu flourished during this time and had a large effect on the development of these blades.

When we overlap Hayashizaki Jinsuke’s life story with that of the katana, we can come to a fairly accurate conclusion on what type of blade Hayashizaki Jinsuke used to design and create Muso Jikiden Eishin Ryu around. If the final stages of development were between 1601 and 1615, this would place him well into the Keicho Era. His blade must have been a Keicho Shinto blade around 73- 76cm long with a mid- sized tsuka, handle, and fairly shallow sori.

In conclusion, it would be safe to say, that in order to understand the methods and practical application of Muso Jikiden Eishin Ryu, we would need to use a blade of the Keicho Shinto style, just like if we where to study Tenshin Shoden Katori Shinto Ryu properly we would need to use an uchigatana. This theory would rule out any other line that would lay claim to the fact that Muso Jikiden Eishin Ryu used an exaggeratedly long blade like that of the Sekiguchi Komei line or any other line that may claim to just the opposite.

Example of a Katana made in the Keicho Shinto Style.

Origins of Seiza Kata in Iaido

2009-08-18T17:18:00.003-04:00

According to pre- Edo warriors, seiza was a position from which he rarely would expect to draw his sword from and from the point of view of attacking, seiza is a dead position. It is also noted that a samurai would have rarely worn his sword indoors, as it was considered offensive to the host and would have proven useless for engaging an opponent due to low ceiling height and tight quarters. If this was case, then why it is that seiza katas are practiced today in modern Iaido?

To fully understand the reasoning behind the origins of seiza kata in Iaido we must take a closer look at the history of Iaido as it progressed through the Edo period. The development of battojutsu, better known today as Iaido, started early in the 17^th century by Hayashizaki Jinsuke, which founded Shimmei Muso Ryu, this ryuha would later become the bases for over 200 styles of Iaido. The beginning of the 17^th century also marked a period of great change throughout Japan under the leadership of the Tokugawa shogunate (1603- 1867), which brought peace to the entire country through a new form of centralized government. It was during this time that the warrior class, finding themselves without battles to fight, ventured deeper into the arts and philosophy. The primary focus of swordsmanship shifted from fighting to the development of spiritual enlightenment and art. It was during this time that Iaido would make its largest transformation and a man by the name of Omori Rokurozaemon Masamitsu would change the face of Iaido for the rest of time.

Masamitsu was a student of Rokudayu Morimasa (1661- 1732), 9^th headmaster of the Jinsuke Eishin line. During his studies with Morimasa he was expelled from the Eishin school for personal reasons. This led Masamitsu to pursue other styles of swordsmanship, which led him to Yagyu Shinkage Ryu, where he learned Saya Uchi Batto Gohan, the five forms of sword drawing techniques. He also became a student of the Ogaswara Ryu Reishiki, a school of etiquette and manners that derives from Japanese archery and horsemanship with principles deeply rooted in the teachings of Confucianism, it was also though these teachings that large emphasis was placed on seiza. Combining the teachings of Eishin with Yagyu Shinkage Ryu and Ogasawara Ryu Reshiki he developed a series of 11 seated katas and indicated that its teachings were primarily intended as a spiritual discipline rather than an effective combative form. The creation of these katas led to his reinstatement into the Jinsuke Eishin Line and to the formation of Omori Ryu Iaido.

These katas would later become part of the Jinsuke Eishin line’s unofficial curriculum with the naming of the 11^th headmaster, Oguro Motoemon Kiyokatsu, a direct student of Masamitsu. Kiyokatsu also took instruction from the 10^th headmaster, Hayashi Yasudayu Seisho, of the Eishin line, which was a student of Morimasa, 9^th headmaster. Upon Kiyokatsu becoming 11^th headmaster controversy arose regarding the inclusion of these techniques, which would later lead to divisions in the style. These divisions are known as the Tanimura- ha and the Shimomuro- ha, in which the Tanimura- ha became the main Eishin line and the Shimomura- ha would lead to the development of Muso Shinden Ryu.

However, these 11 katas would still not be officially introduced as part of the Jinsuke Eishin line until the Taira period (1912- 1926). The 17^th headmaster Oe Masamichi Shikei made significant changes to the line that would give Muso Jikiden Eishin Ryu its current face. Shikei suggested that the Jinsuke Eishin line formally be taught under the name of Muso Jikiden Eishin Ryu and that its techniques where to include those of the Omori Ryu. He renamed and classified these katas as Shoden, entry level, and reclassified the tate-hiza katas as chuden, middle level.

These modifications became permanent, answering the question as to why Iaido practitioners today perform katas from seiza, a position that pre- Edo warriors would have rarely encountered due to circumstance and procedure. We can now say with confidence that the development of seiza katas in Iaido was not developed for actual combat, but rather for spiritual enlightenment through arduous training and self-sacrifice.

Oe Masamichi Shikei

Iaido- Brief History

2009-08-13T18:49:00.002-04:00

Iaido, the art of drawing the sword, can be traced back hundreds of years to its creator, Jinsuke Shigenobu, better known as Hayashizaki (Rinzaki) Jinsuke. Although much of his life’s tales have been highly developed, what is known is that he was most likely born in Sagami (Kanagawa Prefecture) in the mid- sixteenth century, around 1545, during a time of great conflict which may have consequently led to his interest in swordsmanship.

No traceable documentation has been found about Jinsuke’s childhood or about his martial arts training background up until the year 1595, where it is said that he resided in Bushu, present day Saitama Prefecture, for 18 years. It was during this time that Hayashizaki Jinsuke developed batto- jutsu.

Shimmei Muso Ryu or Junpaku- Den Batto- jutsu would become the bases for all modern noncombative iaido today.

Jinsuke’s batto- jutsu was founded on the Chinese theories of Yin and Yang (In and Yo in Japanese) and is a fighting system developed to quickly draw the katana while cutting the enemy in one stroke. His disciples would later call this style Shin Muso Hayashizaki Ryu, which today has evolved into over 200 schools of Iaido, the predominate ones being Muso Jikiden Eishin Ryu and Muso Shinden Ryu.

After developing Shimmei Muso Ryu, Jinsuke headed out on musha- shugyo, dueling samurai to determine the greater fighting system. Along his tour he defeated many warriors and had many disciples. In around 1616, when he was about 73 years old, he toured for a second time and was never seen again. He is assumed to have passed away in 1621.

As batto- jutsu evolved through the Edo period, becoming iaijutsu, sword drawing art, so did the society around it. Batto- justu was watered down and started to become more of an art and a mechanism for spiritual enlightenment rather than an actual fighting form. During the Edo period the sword was not only a sign of the samurai class, but a vehicle in which the samurai could search for clarity and peace mind.

As time progressed into the Meiji Restoration period, the wearing of the katana in public was band, and iaijutsu made its final transition into Iaido, the way of drawing the sword. In this final stage Iaido lessened its emphasis on developing techniques to defeat opponents, and strived to become an art in which to seek spiritual clarity through diligent practice and perfection of technique.

Today, Iaido is still practiced by millions, and continues to fascinate even the most experienced of martial artists, as it provides us with a glimpse into the past and allows us to attempt to walk along the footsteps of the samurai.

Kendo- Brief History

2009-08-13T15:47:00.003-04:00

Kendo, literally translated means” way of the sword”, and was developed over hundreds of years throughout Japan’s warring past in the form originally known as Kenjutsu, “Sword Art”. However, Kendo in its current form didn’t start to take its shape until the Tokugawa period, (1600- 1868), also known as the Modern Period.

During this time of peace those of the Samurai class were given time to reflect on the concepts of bushido and study the arts of calligraphy and tea ceremony amongst other arts. It was during this time that many new schools of swordsmanship started to develop based on theories and concepts created by past warriors. New training methods were developed, and since shinken shobu, live blade combat, for taryu- jiai, trial between two swordsman of different styles, required consent from the shogun, alternate methods had to be created for sword to sword combat. Due to these regulations, schools started to turn to the bokken, wooden sword, for these trials, but combat still led to crippling injuries and needless deaths. It wasn’t until Hikida Bungoro (1537- 1606), founder of Hikida Ryu, invented the first shinai, in which swordsmen were able to practice shinai- geiko, trial with shinai, at full capacity without fear of severe injury or death. In around 1711, Yamada Heizamon of Jikishin- Kage Ryu developed the first armor for shinai- geiko to eliminate injury and to focus more on waza, technique, and philosophy behind Kendo.

As time passed more rules were added, equipment refinements were made, and philosophies shifted from taking your enemy’s life to scoring and theoretically cutting your opponent which added a sport concept to the art while keeping its combative aspect. This eventually led to the creation of the Dai Nippon Budokai Bujutsu Senmei Gakko, Great Japan Martial Virtues Association Martial Arts Specialty School, which is responsible for systemizing the techniques and training methods of Kendo in 1895. In 1909 a university kendo federation was created and in 1911 the Ministry of Education made Kendo available in middle schools throughout Japan. In 1928, the Zen Nippon Kendo Renmei, All Japan Kendo Federation, was created to control and unify Kendo nationwide. And by 1941, Kendo was offered in all primary schools.

Today Kendo is governed worldwide by the International Kendo Federation (IKF) and the All Japan Kendo Federation. There are about 8 million Kendo practitioners worldwide, with about 3.5 million in Japan alone. Kendo is considered Japan’s third largest sport after Baseball and Judo.

Suiento No Kurai

2009-07-24T10:05:00.002-04:00

Suiento No Kurai literally translated means “spill point”. When applied to the art of Japanese swordsmanship, Suiento No Kurai represents the closing of the distance from tou- maai, or far away distance, to issoku- ito no maai, the distance from which the opponent may be reached by taking a single step in their direction. This is the point at which the swords intersect and both combatants come into a distance where either one can take their opponent’s life or lose their own with one false movement or reaction, hence the term spill point. Suiento No Kurai is perhaps the most stressful of all the steps used in confronting an opponent, requiring that the Budo practitioner remain calm and steady in mind and body in order achieve victory over the opponent.

When transferred into daily life, one may find their self uneasy and unable to think clearly in order to make the right decisions when pressured either by some one or the fear of the outcome and repercussions their decisions may carry in achieving one’s overall goal. It is for this reason that the student must follow the guidelines outlined by the teachings of Budo and follow such concepts as mushin and shugyo in order to achieve preparedness for any given situation that may arise on their path of life. It is through these concepts that when confronted with Suiento no Kurai the pupil will find their self placing the pressure on the opponent rather than on the receiving end of it, ultimately finding their self clear in mind and spirit with full confidence of overcoming the conflict and with the ability to look beyond the current situation and into what is to come.

One must keep in mind that the concepts taught through Budo are the steps and guides on how to achieve our goals in a successful manner, and must remember that it is the sole responsibility of the practitioner to carry out these teachings to the letter. Any wavering from these guides will lead to weakness and a lessening in confidence. The teachings of Budo can not explain to us how to react in situations such as Suiento No Kurai; it can only show us the path which to follow to be successful when confronted with this situation. Suiento No Kurai is not a teaching of Budo, rather a scenario which the practitioner encounters in every conflict, in which case the student must turn to his or her preparations through Budo in order to over come it.

Ai-nuke: Legacy of the Mujushinken ryu

2009-06-04T21:53:00.003-04:00

For most swordsmen there are only 3 possible outcomes in a swordfight. 1. To be struck down by a stronger opponent. 2. To strike down a weaker opponent. 3. To be mutually struck down with an opponent of equal strength, this is called ai-uchi. There is an alternative to this called ai-nuke, which means mutually passing by. The man who came up with this concept was Harigaya Sekiun, founder of the Mujushinken ryu. Sekiun was the student of Ogasawara Genshin. Genshin learned the Shinkage ryu from Kamizumi Ise no Kami, he then traveled to China and returned to Japan with a technique called hassun no nobegane. This technique involved the storing of ki in the hara, projecting it through the sword, out the tip and into the opponent’s space. This was a mental technique that gave Genshin the edge in all his subsequent matches after his return to Japan. Sekiun was unsatisfied with all he learned from Genshin and turned to Zen in order to breakthrough what he called chikusho heiho, beastly tactics. Sekiun practiced Zen in Kyoto at Tofukuji under the retired abbot Kohaku. After experiencing enlightenment, Sekiun had a match with Genshin and won, he then founded the Mujushinken ryu.

Those familiar with the anime Samurai Champloo will recognize the Mujushinken ryu as Jin’s sword style. His master was the real life 3rd and last master of the Mujushinken ryu, Mariya Enshiro. The 2nd master of the Mujushinken ryu, Odagiri Ichiun, wrote extensively on his ryu, it is thanks to him that we still have the concept of ai-nuke, even though his style was lost to history. Ichiun’s primary instruction to his students was the following, “When armed with a sword and confronting an enemy, if the distance is too far, advance and strike. When the distance is correct, strike where you are. There is no need to think. With most swordsmen, things are different. Their mind busily works away on how best to use every tactic they’ve learned. They have no concept of Heavenly Reason or its function under the myriad of conditions. It is a great mistake to anticipate the outcome of the duel, don’t think of victory or defeat. Allow nature to take its course, and one’s sword will strike at the right moment.”

Sekiun believed that the way to ai-nuke was ai-uchi. He believed that swordsmen should completely dedicate themselves to ai-uchi for the beginning of their training. Ichiun wrote the following, “The concept of ai-uchi probably won’t seem hard at the start. However, as the contest continues the hope of victory is sure to arise. This is what interferes with Heavenly Reason. This is the time to reflect ‘How is it that I have become double minded? I begin determined to end the contest with an ai-uchi, but then I waver, hoping for victory.’ It will take years to find one’s way out of this dilemma, and have an insight into Heavenly Reason, that is always quiet, unmoved and unchanging, because of this it acts in infinite ways and is beyond conscience thought.” Ai-nuke could be considered to be the ultimate goal of Budo. When true masters confront one another there can be only one outcome, ai-nuke, both having the respect for each other and for life in general, to exit the contest unscathed.

Early history of Ryushin Jigen ryu

2009-05-29T16:51:00.006-04:00

There are a few different stories regarding the founding of the Jigen ryu. The most mystical of the stories goes as follows. Setoguchi Bizen no Kami, a samurai of the Satsuma domain, (modern Kagoshima prefecture), and also known as Togo Shigekata, spent 3 days and nights at the Itogaki shrine, under a waterfall to purify himself. A tengu (a creature of Buddhist lore), named Jigenbo, decided to teach him the secrets of swordsmanship. This would make for a great anime story, but it is far from the truth. Another story goes as follows. A samurai named Jigensai Itto Jichibo created the Hakugen ryu around 931 AD, that was inherited by Minamoto Yoshie and it was then called the Kamakura ryu hyoho. Then it was inherited by Setoguchi Bizen no Kami who named it Tenshinsho Jigen ryu and brought it to Satsuma. This story is more believable, however, it is impossible to confirm in any real way.

The real story, the one that can be confirmed historically, goes as follows. Hideyoshi Toyotomi defeated the Shimazu clan, the rulers of Satsuma, in 1587, at the Battle of Sendaigawa (Chidorigawa) and the Siege of Kagoshima. The Shimazu negotiated a peace with Hideyoshi and were allowed to continue their rule over Satsuma. Many of the samurai of the Shimazu clan felt that their defeat had been the result of the clan ryuha, the Taisha ryu. The Taisha ryu was founded by Marume Kurando no Suke Nagayoshi. Nagayoshi had learned the Shinkage ryu from Kamizumi Ise no Kami (also known as Kamizumi Nobutsuna), who also taught the famous Yagyu Sekishusai, whose family became the official swordsmanship instructors of the Tokugawa shoguns. Nagayoshi then renamed his line of the Shinkage ryu to the Taisha ryu. Togo Shigekata, a student of Marume Nagayoshi, was one of the samurai who felt that the Taisha ryu was lacking, and that another ryuha was needed for Satsuma.

In 1588, the head of the Shimazu, lord Yoshihisa, went to Kyoto to demonstrate his loyalty to Hideyoshi. Togo Shigekata was chosen to be his lord’s attendant, and went to Kyoto with him. While in Kyoto, Shigekata began to study Zen Buddhism at Tennei-ji temple. It was there that Shigekata met the Zen priest Zenkichi, (Zankitsu by some accounts), who was a master of the Tenshinsho Jigen ryu. The Tenshinsho Jigen ryu was a style that had derived from Iizasa Choisai Ienao’s Tenshinsho-den Katori Shinto ryu, the oldest ryu known. Zenkichi taught Shigekata the Jigen ryu, and then Shigekata desired to bring the Jigen ryu back to Satsuma.

However, Shigekata would not get an opportunity to return to Satsuma until 1601, when Iehisa became the head of the Shimazu and the daimyo of Satsuma. It was shortly after Shigekata arrived in Satsuma, that lord Iehisa offered him an opportunity to prove the superiority of the Jigen ryu. That opportunity came in the form of a taryu jiai, a contest between ryuha. Shigekata fought against To Shinnojo, who would represent the Taisha ryu, and a son of a teacher of Shigekata’s. Shigekata won the duel against Shinnojo and secured the Jigen ryu as the official ryuha of the Shimazu clan, and by extension, the Satsuma domain. Shigekata became the Shimazu clan’s official swordsmanship instructor, and continued to win a total of 46 duels. The Jigen ryu continued to be Satsuma’s official ryuha into the modern age. There are different variations, including the Yakumaru Jigen ryu, popular among the goshi (the lower ranks of samurai), and the Tenshinsho Jigen ryu, which our style, the Ryushin Jigen ryu, comes from.

Fear, Doubt, Surprise, and Confusion

2009-03-26T14:55:00.002-04:00

Fear, doubt, surprise, and confusion are concepts considered by the great masters of Budo to be the four sicknesses of the killing arts developed by the beginners and intermediate level practitioners of the art, and at times amongst those of the highest ranks. Once one starts to understand the basic concepts of the Budo arts these sicknesses begin to manifest themselves by means of fear in applying these proven Budo concepts in daily life afraid of their true functionality, doubt in oneself and their abilities to apply these concepts of Budo, surprise of the capabilities of these teachings, and confusion caused by the outcome the teachings. When made in reference to the art of Japanese swordsmanship these four sicknesses have the ability of hindering a swordsman’s capability of achieving victory over an opponent in a definitive manner. Upon further analysis we will discover how each one of these sicknesses will disable one’s ability to succeed and how these sicknesses run hand in hand.

Fear

Fear is perhaps the most common of the four sicknesses. Fear of an opponent or of the capabilities one possesses to confront a life situation demonstrates lack of preparation and/ or confidence in ones abilities, ultimately leading to defeat of one’s own mind and body. To overcome this fear one must sacrifice them self in training and preparation in order to develop a strong state of mind and body in turn allowing them the confidence to overcome this fear and conquer their goal.

Doubt

Where fear may act in times leading to the conflict, doubt lingers in the mind at the moment of conflict. Doubt in life, just as in swordsmanship, can have the potential of making one falter in times of attempting or finalizing the finishing blow, resulting in catastrophic results. Doubt, just like fear can be brought upon oneself through the lack of preparation and the inexperience of practical application. If the principles of Budo are closely adhered to, one will start to discover that these concepts are truly effective and must, at times, place trust in the hands of its philosophies in order to become successful. One must always remember that the teachings of Budo have existed for hundreds of years and proven time and time again. It is for this reason that it is still in practice today in modern day life by many, each time providing a successful way of life to its practitioners.

Surprise

In swordsmanship, the sickness of surprise is that of not being fully focused and being caught off guard by the opponent. At times this element can lead to fear and doubt simply by venturing into the unknown and finding the unexpected. Through the teachings of Budo we can overcome this concept of surprise by adhering to the basics and not straying into what is unknown, but only into what is heavily researched and examined, where the outcome as well as its possibilities of becoming reality is known. By doing so, one can avoid this element of surprise in whole and only venture into what is known, in the long run proving beneficial to oneself in being victorious over one’s goal or opponent.

Confusion

Confusion is derived from the culmination of fear, doubt, and surprise. In Budo, when a state of confusion enters the mind and body, the outcome is guaranteed defeat of oneself. It is for this reason that the teachings of Budo demonstrates to its pupils the way of evading confusion by showing the proven basics of life. Starting with discipline, cleanliness, and unselfishness, then transcending into the more complex of philosophies as that of Sutemi and Enzan No Metsuke. Once concepts such as these are understood and well thought out, following a logical mindset, in their true meaning can one avoid such sicknesses as confusion.

As examined in the latter, the studies of Budo possess the power of teaching its practitioners the way of conquering its sicknesses of fear, doubt, surprise, and confusion, as well as showing them the way to a long and healthy mental state of mind through the teachings of what may appear to be common sense, but when further reviewed, much more challenging and complex to fore fill in physical daily life. It is through this constant struggle with oneself that one will be able to improve them self and in turn improve society around them.

San Satsu no Ho

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San Satsu no Ho (also referred to a San- Sappo) is composed of three vital components that compose an attack which can be utilized individually or as a whole. These three elements are as follows: Ki o korosu (Killing the spirit), Ken o korosu (Killing the sword), and Waza o korosu (Killing the technique). Each one consists of a unique characteristic that focuses on a particular aspect of the opponent, while with each phase placing the opponent gruelingly closer to defeat with each step they encounter. This procedure is the result of trial and error, tested with the lives of brave men over the centuries of Japan’s warring history.

Ki o korosu

Once one has come to the understanding of one’s own spirit, one can start the process of understanding that of the opponent’s and begin to engage in the process of what is called Ki o korosu, killing the spirit. Such is fact, not just in hand to hand combat, but in encounters throughout life as well. The concept of Ki o korosu teaches the daily practitioner of the Budo way of life that confronting your opponent’s spirit, while understanding it and decoding its true underlying feelings and messages, will allow the practitioner to crush that of his opponents with their own, leaving the enemy with one less line of vital defense, while aiding in the process of solidifying victory, if not already conquered, by that of the pupil’s spirit. Therefore, it is of the essence for one to develop their own mind and spirit through such concepts as sutemi, Ki Ken Tai Ichi, and those that encompass the basics, in order to master this skill and avoid it overwhelming oneself in life and combat.

Ken o korosu

Ken o korosu, killing the sword, is the next phase in disabling one’s opponent. The focus in this process is to control the opponent’s sword, or in the case of modern day life- the vehicle used to threaten one’s existence or ability, by using a series of blocks and parries to defeat the opponent’s blade. This tactic will result in the overwhelming of the opponent to the point that ne or she will no longer have the ability to return the sword to an on guard position before the definitive final blow is delivered by that of the efficient Budo practitioner’s. In order to achieve perfection in Ken o korosu one must strive for a clear understanding and manipulation of their own device before attempting to overcome those of their adversary’s, just as being knowledge of one’s own spirit in order to have the ability to defeat their opponent is paramount for success in attempting Ki o korosu.

Waza o korosu

The final element completing San Satsu no Ho is known as Waza o korosu, killing the technique. This element is considered by many to be the most challenging of the three elements that compose San Satsu no Ho, requiring that the practitioner predict or anticipate his or her opponent’s next step and intercept it, allowing the adversary no opportunity to attack. In order to follow through with this task, one must first posses self confidence, followed by a clear understanding of his or her weapon of choice, and finally must attain sufficient experience through vigorous training to accomplish the capability to interpret the most minute intricate details that compose the beginnings of his or her opponent’s attack in order to allow sufficient time to launch an efficient counterattack of one’s own. When Waza o korosu is applied to daily life, one must maintain a clear mind and posture for the purpose of being able to look beyond the present and dominate the ability to foresee what is to come, and be capable of preparing or counterattacking in a positive manner.

In conclusion, after venturing into greater detail of San Satsu no Ho, one can start to realize that one must undergo the complex training that teaches to develop one’s own spirit, sword, and technique, before one can begin to apply these effective elements of attack, in order to be able to avoid one’s own destruction through these same means used by the opponent. Although generally applied to swordsmanship, one can start to see how, if directed to life and it’s never ending threatening situations, one will find themselves in better standing and confidence with these proven teachings, versus the apprehensive feeling of one not comprehending where and how to begin or avoid a life altering confrontation.

Mitsu No Sen

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Mitsu No Sen is a series of counterattack methods and philosophies developed by the great sword master Miyamoto Musashi (late 16th century to the early 17th century). Over time, as word spread about these concepts, along with the stories of the countless combative successes accomplished by Miyamoto Musashi on the battlefield, martial artists started to put to these ideas to the challenge on numerous occasions, not only in the physical arena that is combat, but in the mental and spiritual arena that is life itself. It is through this process of rigorous testing and analysis that concepts such as these gain the confidence of the great Budo masters and become part of the philosophical curriculum to be past down from master to student for generations. Until this day, Mitsu No Sen remains to be one of the most vital concepts in Budo.

Mitsu No Sen can be broken down into three different counterattack methods: Sen No Sen, Sen, and Go No Sen. As listed these three concepts fall under the categories of novice, intermediate, and advanced, as each one progressively becomes more difficult and requires substantially more experience. Furthermore, if one is to fully learn and understand these teachings for the purpose of actual application for combat or daily life, one must closely observe the fine details in each of these concepts, as wavering from them can lead to a disastrous outcome.

Sen No Sen

Sen No Sen is the beginner process of Mitsu No Sen, as it requires, although not always the case, more physical ability rather than that of spiritual or mental capability. At this level of counterattack, one may choose to clash, block, or attack the attack. This level strictly relies on reaction speed and to what some call a quick response muscle twitch reaction. Yes, experience may be required to quickly decipher what the opponent’s plan of attack is in order to stop it and successfully counter, but in reality, if one has the physical potential, one will find him or her self with the ability to at least block or stop the attack, if not fully counter it by utilizing over whelming force and reaction speed. Of course, in order to receive the most minimal of results, the practitioner must be that of a self- sacrificed pupil to the physical and mental studies of Budo, so that the proper reflexes in mind and body can be developed for those times of need.

Sen

The intermediate level of Mitsu No Sen is known as Sen. Sen is perhaps the most common of strategies used in life and actual combat. When Sen is performed properly, with accuracy and confidence, the results are that of an overwhelmed opponent, caught in the heat of a fully committed all out attack, which in their mind, would guarantee a victorious outcome. In Sen one offers his or her opponent an opening while in the mean time closing down all other possible target areas, in turn forcing the opponent to attack the only logical clear opening in which he or she may find weakness. As the opponent initiates their attack on the so called vulnerable area, one counterattacks with a devastating blow before the opponent has the opportunity to finish their attack, in essence, “beating him or her to the punch.” Although experience and physical training are of great benefit when utilizing this technique, confidence in one’s self is paramount to the success of Sen.

Go No Sen

The final and most advanced stage of Mitsu No Sen is that of Go No Sen. The concept of Go No Sen, for some, takes a life to time to develop, as it requires that mind and body work in unison, in order to achieve the confidence and experience needed to utilize this concept. Go No Sen follows the same initial preparation as that of Sen. The difference being the ability to evade or intercept the opponents attack, to later destroy it, and counterattack in a definitive manner, by first controlling the opponent’s sword, followed by control over the opponent. Go No Sen is the strategy of having the opponent show his cards before one applies his or her final move. Go No Sen is best utilized amongst those of senior ranks, as they have invested the time, and have gained experience through trail and error to develop or discover the answer to most logical studied situations and attacks.

Upon further analysis of Mitsu No Sen, one can start to see the transformation of student to master, through these three concepts. One must also take into consideration that with rank and experience comes age. So it would make sense that the younger less experienced beginners are full of physical strength and stamina, while the more experienced senior practitioners have grown wiser, but yet somewhat weaker in their physical capabilities, therefore requiring them to more mentally than physically combative through the means of such concepts as Go No Sen.

Ki- Ken- Tai- Ichi

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According the art of Japanese Swordsmanship, Ki- Ken- Tai- Ichi, generally refers to the vital components applied simultaneously to an attack, designed to effectively destroy or seriously hinder an opponent. These components consist of Ki- Spirit, Ken- Sword, and Tai- Body as one- Ichi. When properly assembled and applied the result is that of a devastating blow onto the enemy. Faltering in any one of these points will lead to imperfection of technique and making the outcome that of an ineffective blow, possibly resulting in negative repercussions.

Ki- Spirit

In Budo, just as in life, Ki refers to ones inner spirit, therefore being the most essential of the three components that compose Ki- Ken- Tai- Ichi. Ki, in life, is interpreted as the confidence which can only be developed through the knowledge of ones understanding of the steps taken to preparedness. Without this understanding of preparedness, one will falter in accomplishing the final goal of total destruction of an opponent or any given situation in life itself.

Ken- Sword

Ken simply refers to the vehicle utilized to overcome a life and death situation. Of course, one does not need to posses the ability to wield a blade to be victorious, but certainly must contain the capability to utilize some form of weapon, weather tangible or mental, in order to achieve a positive response in the situations that confront them in daily life. In other words, one must not head into battle empty handed, but rather with some sort of concept or weaponry to defeat to opposing force. For although perhaps strong in mind and body one will find them self in defeat without a vehicle in which to carryout their plan of attack.

Tai- Body

When concepts of Ki and Ken are understood and underway in the attack procedure, the final step is that of Tai- Body. In swordsmanship, Tai is the entrance of the body committing oneself to the final blow. In life, the final step to be learned from this Budo concept is that of total commitment to the procedure utilized to overcome ones problems, making this step essential in delivering the final response in an affirmative manner.

It is when these three components Ki, Ken, and Tai are applied together in any given circumstance that one can assume to achieve a successful outcome from their approach. For utilizing these three elements combined in attack, the opponent will find him or herself overwhelmed and defeated, as will the situations one encounters through life. It is concepts such as these that one starts to discover the true hidden powers that lie within Budo and that should be respected and followed. As to make oneself aware of the possibilities that surround them and of others that may be using these concepts against them.

Enzan No Metsuke

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Enzan No Metsuke has a dual meaning to those of the Budo way of life. The first is that of a combative approach to interaction with an opponent, and the second, just like many of the conceptual teachings of Budo, a practical application for life itself. Enzan No Metsuke can be interpreted as a look into the distance of a far mountain. A fixed gaze that not only focuses on what is directly in front of us, but beyond. Encompassing the entire scope of the current and future circumstances that are to come in result of one’s current actions.

As applied to the art of Japanese Swordsmanship, Enzan No Metsuke is the endless gaze through the windows of the adversary’s spirit. Looking deep into the opponent’s eyes reading not only his physical motions, but his thoughts as well. It is through this procedure, once mastered, one will have the capability of predicting the outcome of a match, by possessing the ability to interpret the thoughts of his opponent, although at times contrary to what is displayed by the opponent’s physical demeanor. The opponent may clearly appear to be physically capable, but may posses a weak spirit. This may also be reversed, when perhaps one may encounter a much more challenging match than that of the physically threatening posture. In essence, Enzan No Metsuke teaches the Budo practitioner that it is what lies deep within the opponent’s mind and spirit that truly counts, and not necessarily what is portrayed on the surface.

As Enzan No Metsuke is applied to swordsmanship, the teachings of Budo have shown its pupils the way of grasping this concept and applying it to their lives. Enzan No Metsuke when applied to daily life, according to the teachings of Budo, refers to the ability to look beyond the present and into the future, where our current actions will lead to the outcome of our future state. Although at times the situation may superficially appear to be more appealing in the present, one must always consider the positive and negative consequences deriving from the present that will in turn affect the future yet to come.

Upon further analysis, for the Budo practitioner, Enzan No Metsuke not only plays a vital role in determining the final outcome of a life and death situation that is actual physical combat, but most importantly of all- life. For living a long and fruitful life through Budo is the greatest victory of all, and should not be hindered by avoidable negative situations that one may have encountered on their voyage through life due to following the attractive rather that choosing the logical.

Machine Stitched vs Hand Stitched Bogu

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Machine stitched bogu comes in a variety of stitching widths ranging from 8 millimeter to 2 millimeter. The concept is simple to understand, the tighter the stitching the more compressed the futon becomes making it stiffer and offering more protection. The downside to machine stitched bogu is that it comes in predetermined sizes, increasing size in increments of two centimeters, which at times may offer complications for those that are between sizes.

Hand stitched bogu is usually, although not always the case, a better quality set of equipment, and is usually made to measure, providing the practitioner with a very comfortable well fitted set of bogu. Hand stitched, or tezashi bogu, also have varying stitching widths, measured in Bu, varying from 2.0 Bu to 0.8 Bu. A bu is a Japanese form of measurement based on the shaku and came be traced back hundreds of years to it’s origins in China. 1 bu equals 3.030 millimeters. You can usual tell tezashi bogu apart from machine stitched from its stitching pattern. Tezashi bogu is stitched in a vertical and horizontal pattern creating a checkerboard impression on the gear where machine stitched is generally sewn in only one direction.

Some will say that when it comes to hand stitched bogu that it is some what of a status symbol, saying that you have spent time in the art and are committed to it; therefore you have made the investment. Some, if not all, that have reached the higher levels of the art almost expect it of each other. It is not unusual to upgrade one’s equipment as one moves up in rank. However, it may be considered slightly over the top if a beginner decides to purchase a tezashi bogu right off the bat.

While studying in Japan I had the opportunity to visit one of Japan’s top bogu masters, Mr. Umezawa. His small generations old shop is located in Saitama Prefecture. Mr. Umezawa mentioned to me that in order to place an order with him a customer had to be of a higher level and display good form and character before he would even consider placing the customer on his two year waiting list. Mr. Umezawa’s bogu start at about $10,000.

Tezashi bogu made in Japan usually start at about $2000, although bogu manufacturers are springing up in China and Korea offering tezashi bogu starting at about $900. Machine stitched bogu prices range from $400 to $2000 depending on stitching and material used.

The Basics

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Before one can start to walk along the stepping stones of Budo’s path, one must first start with the basics of obtaining discipline, cleanliness, and unselfishness in order to be able to fully grasp the teachings of Budo. These are perhaps the simplest of all concepts to understand, but most difficult to become proficient in throughout daily life. However, just like in practical Budo where the first lessons taught are that of proper breathing and sets the bases for all techniques to come, these concepts are our first breaths to a new way of life through the teachings of Budo.

Discipline

Discipline as we understand it in the western world has, at times, a different understanding than that of the east. In the west, the perception of discipline is that of always keeping a good posture, not speaking much, allowing our positive actions to speak louder than words, and always doing what is considered by all to be the right thing in times of frustration and ciaos. Although these are characteristics of discipline in the east, to the great masters of Budo discipline goes beyond these points. To the practitioners of the Budo way of life, discipline is 100% dedication to the steps needed to accomplish the goals one sets forth in his or her own life. In essence, within this form of discipline lies the base, for not only the beginners of Budo, but for those at the forefront as well. Always willing to mentally and physically sacrifice for the betterment of ones own mind and body. In turn seeking improvement in the society that surrounds them, while at the same time unwavering from the personal goals set forth by them.

Cleanliness

When considering cleanliness, the general public often turns to the interpretation of the word that refers to our physical appearance and surroundings, but in fact has a much greater meaning in the wide panoramic scope that composes the Budo way of life. Of course, cleanliness in appearance and surroundings is essential in Budo, and is the first step in achieving this goal, but having a clean mind free of any cluttering unnatural or disturbing thoughts is of the utmost importance in Budo. Therefore, after discipline, the next phase in achieving a fruitful Budo lifestyle is cleanliness. For without discipline one will not encounter the drive to accomplish a stable state of cleanliness within ones own mind and spirit.

Unselfishness

Unselfishness as considered by the great masters of Budo is normally not that of sharing tangible items or doing favors for nothing in return, but more the exchange of ideas and concepts learned through Budo and the self-sacrifice to teach and help others in times of need and want. In an effort to enhance ones own knowledge and understanding of life while at the same time giving a lending hand. It is in this final phase of preparation to enter the Budo way of life that discipline and a clean state of mind and body play leading roles. Discipline is essential to strive for perfection, not only in oneself, but in their interactions with others as well. And, in order to attempt to achieve this level of perfection one must be clear in mind and spirit in order to trust oneself and those around him or her, where at times teacher becomes student and student becomes teacher. With these ideas understood and put into practice one can start to achieve a true understanding of what the pioneers of Budo consider to be unselfishness.

In closing of the basic elements that compose the essence of any serious Budo practitioner one must always remember that striving for discipline, cleanliness, and unselfishness are essential in accomplishing any of, if not all, future teachings of Budo and its way of life. Missing any one of these components, one will find themselves unable to fully grasp the many concepts that lie within Budo, and find themselves unable to conquer life itself.

Introduction

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Budo, the martial arts, is generally misinterpreted as a purely physical art which only consists of confronting an opponent in hand to hand combat and where strenuous training for the sole purpose of being victorious when the time calls for a physical engagement is the ultimate goal. But, in fact, aside from the physical and psychological benefits of understanding ones capabilities to handle a physical engagement after years of training, one can start to see that through Budo lies an entirely new perspective and philosophy that not only lies between the boundaries of the killings arts that is Budo, but that applies to life itself.

Aside from the basic concepts that Budo teaches us about discipline, cleanliness, and unselfishness, Budo also offers its practitioners an entirely new perspective on confronting issues in daily life and business. Deriving from proven battlefield strategies, the great masters of Budo have perfected a way to interpret and convey these concepts into our everyday lives. And if applied in the proper manner, just as a technique is applied with the utmost precision to accomplish total victory over an opponent, one can accomplish total victory in life and business.

Budo is a living art, always changing and improving. These concepts were passed down from master to student for hundreds of years evolving as the times did, and each time becoming better perfected and modified to match the ever changing ways of the times through war and peace. Through Budo we can start to uncover the secrets of conquering our everyday dilemmas making our minds and bodies stronger through positive experiences.

In the next sections we will start to analyze and uncover the simple but yet effective philosophies that lie within Budo using the concepts provided to us through Japan’s most respected form of Budo, the art of Japanese Swordsmanship. Through the bases of this art we will venture into the ideas and philosophies that have formed the foundation of Japan’s people and have changed the lives of those who have had entered its realm.