Basic in learning iai-do ken-jutsu Courtesy by the red dragon ju jitsu dojo By Sensei David T. Bish
A master swordsman must size up his opponent. No two swordsmen fight the same. Ito Ittosai, a great Japanese swordsman was reckless in his style. "Learn by being cut" was his philosophy. He believed one should be concerned more with not losing rather than winning. Proper timing is a key element of this concept.
In his book Go Rin No Sho (A Book of Five Rings), Miyamoto Musashi, remarked that his entire strategy was based on timing and rhythm. Musashi was the founder of the Nito or two sword method of fighting in Japan. It is believed that he learned the rapier and dagger techniques of the Europeans from traders in Southern Japan and used these techniques to develop his own style.
In traditional martial arts, no other weapon has held the status of the sword. It is the center of training for the majority of the arts. Kenjutsu may be studied as a separate art or as a subordinate art of another major system. At the Red Dragon Ju Jitsu Dojo, the basics of Kenjutsu are required for advancement to the rank of Blue Belt. It is also taught as a stand-alone art.
In terms of skills, few weapons require the demands of swordsmanship. The sword moves much faster than the fastest person, the skill in timing and judgement will benefit the Martial Artist in all other aspects of their training.
Kenjutsu should not be considered the same as Kendo. Kendo is a sport form of swordsmanship and an offspring of Kenjutsu. In Kendo, the targets are restricted to the head, wrist, body plate, and throat. In Kenjutsu, any target is fair game.
The study of Kenjutsu has no belting system. It is a pure study of the art and mastery is developed through practice. Students must learn the basic stances along with the basic attacks and defenses. Mastery is derived from actual combat or Kumite using a wooden Bokken. After the student has been properly instructed in the techniques of combat and practices of various timing drills they are pitted against other students under the direct supervision of the Sensei who referees the match.
Training Sequence
The study of Kenjutsu is more than merely wielding a sword. One not only learns the Kihon Dachi (basic stances) and attacks with defenses, there is much more to the study of the art of the Samurai. Any butcher can swing a sword but to be a master you must develop the mental and spiritual aspects of the art as well as the physical.
Shin-Ku-I (Body, Mouth, Mind) or more accurately Action, Word, and Thought is how the Samurai were evaluated. What makes the difference between a swordsman and a master is Ken Shin Ichi Nyo, or Sword and mind as one. One must train as if the sword was a part of them, if it is looked at as a separate entity you will never develop the skill to master the art.
The sequence of training in Kenjutsu is as follows:
-Kihon O Manabu - Emphasize the basics
-Kaisu O Kasaneru - Development through repetition
-Jiga Ni Tsuite - Controlling your ego
-Dai - Kyo - Soku - Kei - Big - Strong - Fast - Light
-Develop the techniques
-Add power to the techniques
-Increase your speed in the techniques
-Perfect the techniques so that the power is derived from the speed and no longer requires strength.
-Saigo Made Einoku Suru - persist to the end - NEVER GIVE UP. This is true for both the practice of the art and the attitude in combat.
-Yudan Nashi - Never off guard
The motto of the Samurai fighter were known 14th centuries ago as "Shinu Kikai O Motomo", "Looking for the opportunity to die" but not today anymore. I believe you would say so don't you?.
This was not a defeatist attitude. The Samurai held life in great esteem and were very selective on what "cause" they would lay their life on the line for. It is easy to kill a man when you yourself are willing to die.
Carrying the Sword (Teito)
The sword should be carried in the left hand with the thumb over the Tsuba. The sageo or strings should be secured between the index and middle fingers to prevent them from dragging. The Ha should be toward the floor in a natural drawing position.
Rei ni hajimari, rei ni owaru (Everything begins and ends with respect)
Bow of Respect (Hairei)
When bowing into the dojo or to the alter, the sword should be transferred to the right hand with the Tsuka toward the rear and the Ha toward the ground. This is a sign of deepest respect and trust since holding the sword in this position makes it impossible to draw.
Bowing to the Sensei (Shirei)
All Seito line up in front of the Sensei taking seiza. The proper way to take the position of seiza is to snap the left leg of the hakama back between the legs and kneel onto the left knee then bring the right knee down. NEVER use the sword as a crutch to support your weight. This is a sign of disrespect. It would be better to fall on your face then to disgrace yourself in this manner. The sword should be lying on the floor on your right side with the Ha facing toward your right leg and the Tsuka toward the front. Seizarei is performed by first placing the left hand on the floor in front of you in an "L" shape with the tip of the thumb on midline. Next place your right hand down in the same manner so that the thumb tips meet forming a diamond shape. Bow the head approximately 4 - 6 inches from the floor centered on the diamond formed by your hands.
After the Sensei has returned your bow return to a seiza position by returning your hands to the rest on your knees in the reverse order of placing them on the floor. Rise to your feet, first the right then the left. Again, do not use the sword as a crutch to assist you.
Bowing to the Sword (Torei)
Depending on the school you attend, the Torei may be performed from either seiza or the standing position. Never-the-less, it is always performed prior to and immediately following any practice session. This is a sign of respect to your sword and a joining of your spirit with that of the sword's.
When performed from seiza, the sword should lie in front of you. The Tsuba should be positioned so that it is in line with the left knee, the Ha toward you and the Tsuka to the left. The seito would then perform seizarei to the sword as described above.
If Torei is performed from a standing position, the sword is held in front of the head at eye level with the Tsuka toward the right and the Ha away from you. Lower the head to below the level of the sword.
Wearing the Sword (Taito)
The katana is worn on the left side with the Ha facing upward. The Sageo are tied into the Obi of the hakama. The end of the Tsuka should be directly in front of the naval.
Standing Bow to Training Partner (Tachi Rei)
Prior to Junjo (training) and upon completion of training you and your partner should perform Tachi Rei to show mutual respect. Any time you change partners or receive individual instruction from the Sensei, tachi rei should be performed.
When your training session has ended and you and your partner have performed Tachi Rei, you should again bow to your sword (Torei), Bow to your instructor (Shirei) and bow to the alter or at the exit of the dojo (Hairei).
Gripping the Sword (Tsuka No Nigiri Kata)
Many beginners tend to hold the sword too tightly. In the beginning, training should concentrate on gripping the sword properly. The sword should be held loosely but firmly. It should act as a natural extension of the dominant hand. There should be a space between the hands, this allows for better mobility of the weapon. The dominant hand should be next to the hand guard; this is the weapon's center of balance. The majority of the grip strength is applied by the little finger and the index finger is used for balance. Beginners are often taught to grip the sword with the index finger extended to train them not to use this finger for gripping. The non-dominate hand should grip the sword close to the butt of the weapon.
Drawing Cut (Nukit Suke)
Koiguchi no kiri kata - Opening the Koiguchi. The thumb of the left hand should push against the Tsuba slightly to advance the sword approximately ½ inch from the saya (scabbard). The middle knuckles of the right hand should rest on the bottom side of the Tsuka. As you draw the sword forward from the saya with the right hand, the left hand should be pulling the saya to the rear. Do not think of drawing the sword and cutting your opponent - think only of cutting your opponent. Drawing the sword is merely a means to the end and both the drawing and the cutting are the same action.
Raising the Sword (Furikaburi)
After the initial cut is made on your opponent, twist the right wrist inward to raise the blade above the head. The blade should be brought to a position parallel to the ground as the left hand raises to the Tsuka.
Downward Cut (Kirioroshi)
This is the Men uchi strike to end the suffering of your opponent. To allow another Samurai to bleed to death or die from infection of the wound would be to disgrace him. To die at the hands of a master swordsman was the ultimate sign of respect. Te no uchi or cutting technique refers to a straight cut or hasuji otosu. A wavering hand would only butcher the opponent more and add to his suffering. The cut must be quick, clean and straight.
Chiburi (Blood removal)
There are three main ways to perform Chiburi. They are as follows:
Kasa no Shizuku Oharao - After the cut is made, twist the wrist so that the Tsuka is now in front of the head. Swing the katana in a circular motion over the head and snap the blade by twisting the wrist as it is pointing to your right.
Katana O Kaesu - Loosen the grip with the left hand except for the little finger. Flick the right wrist out while pulling the back of the Tsuka to the left with the little finger of the left hand.
Chi no Shizuku O Otosu - Tilt the blade to a 45 degree angle and rest the tip on the right outer thigh and allow the blood to run or drip off.
Noto (Resheathing)
When replacing the Katana, circle the sword in front of you, bringing the mine to rest on the koiguchi. Slide the mine along the koiguchi until the Kissaki drops into the opening. Raise the Tsuka rotating the Ha upward and slide the blade into the saya with the right hand as you slide the entire saya forward with the left hand.
Distance and Timing (Ma ai)
Kenjutsu requires an extreme awareness of distance and timing. Unlike unarmed combat, where an accurate defense may result in an opponent contacting with a strike or kick, in Kenjutsu, the same mistake could result in death. Distance and timing is what makes great martial artist great. No matter how strong the attack, if you are not there when it arrives, the attack is ineffective.
Knowing when and from where to attack is paramount. An ill-executed attack is just as deadly as an ill-executed defense. Faking an attack against an experienced swordsman is useless. He will see through your fake and avoid it, launching his counter-attack before you have a chance to recover.
Unlike the movies, actual sword-combat last only for a few passes. A spectator may not realize what has happened before the combat has ended. In training, a great deal of time is devoted to distance and timing. There are multiple drills the student must work on to build these skills.
Metsuke (Eye Contact)
Where should your eyes be focused during combat? There are many different schools of thought on this question. The best advice is to look at the level of the solar plexus with Enzan no Metsuke, or Distant mountain site. This allows you to see the entire body all at once. If you watch only one portion of the body you can be fooled by a master swordsman. All parts of the body cannot fake a movement at the same time.
Kokyu (Breath Control)
When practicing kata, take three deep silent breathes attacking on the third breath. Think positive thoughts with each inhalation and disperse negative thoughts with every exhalation. The breaths should enter the nostrils, circle the crown of the head and settle to the Tan Tein.
Samurai weapons, Samurai armors and the Samurai way of life, hold a fascinating sway on the imagination. Samurai, the historically famous warriors of Japan, were known for their bravery, sense of honor, fighting skills and, of course, for their elaborate armors and weapons. They were an elite class of warriors who loyally served their masters, the daimyo.
Though thought of as, basically, the classic, essential soldier, most Samurai were well-educated and highly versed in literature and the fine arts. They had many pursuits outside of the arts of war. Samurai were, in general, followers of Bushido - which translates as "Way of the Warrior." They studied all weapons and skills to form a code of conduct which guided their actions on the battlefield and off.
Samurai were skilled in the use of a range of weapons such as bows and arrows, knives, spears and guns; but their most famous weapon and their symbol was the sword.
Thanks to countless romantic representations in movies, the word, Samurai, has come to signify the superhuman warrior. Actually the word finds its root in samorau (or saburau). This is a verb in Japanese that means "to serve".
History tells us that the Samurai first came into being out of the need by the feudal lords of Japan to have skilled, armored bodyguards to protect themselves from robbers and the warriors of rival clans. Over time, the samurai (also known as Bushi) became a class unto themselves, creating new power structures in Japanese society with elaborate traditions.
However, traditions, no matter how strong, can hold up against the inevitable changes in societies. The Samurai warrior clan slowly slipped into decay and then into extinction, due mostly to the abolishing of feudalism in the late 1800s. As the Japanese began to centralize their government, they also combined the many small armies of the land into one national army. And without feudal lords to protect, who would need the services of a specialized "bodyguard?"
Still the Samurai lives in legend and in our imagination, today, as true warriors to be respected and admired. And along with the soldiers who used them, the Samurai weapons and armor continue to awe people due to both their artistic appeal as well as their practical uses.
The Katana
The Katana is a curved, single-edged Japanese sword traditionally used by the samurai. Pronounced [kah-tah-nah] in the kun'yomi (Japanese reading) of the kanji, the word has been adopted as a loan word by the English language; as Japanese does not have separate plural and singular forms, both "katanas" and "katana" are considered acceptable plural forms in English.
In battle, katana was typically paired with the wakizashi or tanto, a similarly made but shorter sword. Both were worn by members of the Japanese warrior class. The two weapons together were called the daisho, and represented the social power and personal honor of the samurai.
Katana with long blade was used for open combat, while the wakizashi or tanto with shorter blade was considered a side arm, more suited for stabbing and close quarters combat. Samurai may have used the shorter sword for decapitating beaten opponents when taking heads on the battlefield, and seppuku, a form of ritual suicide.
In Japanese, the scabbard for a katana is referred to as a saya, and the hand guard piece, often intricately designed as an individual work of art, is called the tsuba.
Other aspects of the mountings (koshirae), such as the menuki (decorative grip swells), habaki (blade collar and scabbard wedge), fuchi and kashira (handle collar and cap), kozuka (small utility knife handle), kogai (decorative skewer-like implement), saya lacquer, and ito (professional handle wrap, also named emaki), received similar levels of artistry.
Each blade has a unique profile, mostly dependent on the smith and the construction method. The most prominent is the middle ridge, or shinogi. The shinogi can be placed near the back of the blade for a longer, sharper, and more fragile edge - or a more moderate shinogi near the center of the blade.
The sword also has an exact tip shape, which is considered an extremely important characteristic. The tip can be long (okissaki), medium (chukissaki), short (kokissaki), or even hooked backwards (ikuri-okissaki). In addition, whether the front edge of the tip is more curved (fukura-tsuku) or (relatively) straight (fukura-kareru) is also important.
The kissaki (point) is not a "chisel-like" point, nor is the Western knife interpretation of a "tanto point" found on true Japanese swords. A straight, linearly-sloped point has the advantage of being easy to grind, but it bears only a superficial similarity to traditional Japanese kissaki.
Kissaki have a curved profile, and smooth three-dimensional curvature across their surface towards the edge - though they are bounded by a straight line called the yokote and have crisp definition at all their edges.
A hole is drilled into the tang (nakago), called a mekugi-ana. It is used to anchor the blade using a mekugi, a small bamboo pin that is inserted into another cavity in the tsuka and through the mekugi-ana, thus restricting the blade from slipping out. To remove the tsuka one removes the mekugi. The sword smith's signature (mei) is placed on the nakago.
Some marks on the blade are purely aesthetic. Signatures and dedications written in kanji and engravings depicting gods, dragons, or other acceptable beings, called horimono.
Some are more practical. The presence of a "blood groove" or HI (also known as "fuller") does not actually allow blood to flow more freely from cuts made with the sword. There is no difference in ease of withdrawing a blade from the saya, or a reduction of the sucking sound, which many people believe was the reason for including this feature on commando knives in World War II.
Instead, the purpose is to lighten and strengthen the sword blade. The grooves are consistent in structure to an I beam, lessening the weight of the sword yet keeping structural integrity and strength. The basic design principle is that bending causes more stress in material near the edge or back of the blade than material in the middle, due to leverage. Blood grooves remove material from near this neutral axis, which is closer to the blade's spine if one edge is sharpened. This yields stiffer blades of a given weight, or lighter blades of a given stiffness.
Furthermore the grooves (always done on both sides of the blade) make a whistling sound when the sword is swung (the tachikaze). If the swordsman hears one whistle when swinging a grooved katana then that means that just one groove is making the whistle. Two whistles means that both the edge of the blade and a groove are making a whistle, and three whistles together (the blade edge and both grooves) would tell the swordsman that his blade is perfectly angled with the direction of the cut.
Wakizashi
Samurai always carried a second, shorter sword named a wakizashi. Carrying both of these swords gave the samurai a greater advantage over a swordsman armed with only one sword, as a wakizashi could be used to greater effect in close quarters, often used to deliver the killer blow to the enemy.
Tanto
Another bladed samurai weapon was the tanto, which is more or less a dagger, and used for very close quarters, and often concealed and used in surprise attacks.
Samurai Armor
Not an offensive weapon, but a defensive weapon, the armor of a samurai was especially designed to be as light and as free-moving as possible, which put the samurai at a great advantage over opponents wearing rigid suits of armor as their ability to move quickly and freely wasn’t impinged.
One can only imagine how fearsome a samurai in full armor must have looked to the unfortunate enemy.
Kama
Samurai certainly were inventive, and every implement with lethal capabilities was exploited. Such an example of this is in the kama – which is nothing more than a farming tool similar to the western world’s sickle. Left and right handed
Kama were made, and when used in battle they were usually used in tandem. (Kama training for martial arts purposes still exists today.)
The Kama is a Japanese farming implement, not dissimilar to a sickle, used for cutting crops. Samurai and various other martial artists have also made use of the Kama as a lethal weapon.
When used for farming, Kama will be used single handed (they come in right or left handed varieties) while the other hand holds the crops to be cut. Used as a weapon, Kama are invariably used as a pair.
Kama have a razor sharp tip and inner blade for their offence, but Kama can also be used as defensive weapons to block and disarm an attacker.
Like other lethal weapons, a great deal of skill is required to make effective use of Kama. Numerous martial arts still use Kama training to this day. As Kama training is difficult, normally blunt, wooden or rubber Kama are employed, which are much more forgiving than would be razor sharp Kama if a mistake was made.
Kama were extra effective as samurai weapons because of the confusion caused by having to watch, dodge and break the defence of two weapons being used at the same time.
Ever inventive, the Japanese created an even more complex and interesting weapon to overcome their enemy using the Kama as a basis, which became known as the Kusarigama.
Kusarihama
Kusarigama are interesting weapons which evolved from Kama; the farming sickle, to incorporate a length of chain with a weight at the end.
Kusarigama are a notoriously difficult weapon to master, but someone skilled in Kusarigamajutsu can use the weapon in a variety of ways, such as…
Swinging the weight on the chain to distract or strike an enemy before moving in with the blade.
Disarming an enemy at range by entangling their weapon.
Entangling the enemy themselves.
Striking a deadly or injuring blow to the enemy with the weight.
Holding the weight and swinging to strike the enemy with the bladed end.
Kusarigama certainly added a whole new dimension to the Kama, particularly greater range.
Of course, Kusarigama from different regions and periods vary, but the most prominent difference is some Kusarigama have the chain attached to the upper-end of the weapon (usually on a loop on the near side of the blade, or to a hold made in the near of the blade) or to the butt of the handle. Differences also occur in the length of the blade, the size and shape of the weight as well as chain length.
Fans
Who knows if the term ‘fanning the flames of war’ originated here. Fans were used for a variety of purposes, and by a variety of people throughout feudal Japan. Japanese samurai in particular were known to have carried a type of fan called a tessen.
A tessen was actually a steel fan
masquerading as a harmless paper fan, which the samurai would use for throwing, fending off projectiles, and even clubbing people with when closed. Sometimes, samurai would even create a dummy folded tessen which was in fact a solid steel club.
It may seem a little bizarre that a samurai who carried swords and knives would have use for a fan, but, they were actually carried into places which weapons weren’t permitted; so what we have is an early example of a concealed or disguised weapon.
Kenjutsu is usually recognized as combative. It always begins with the sword already drawn with an aggressive intent. The first recorded historical systematic teachings of the Japanese long sword began about 800 AD. Since that time, over 1200 different ryu (schools) have been documented. Many exponents of kenjutsu began to question if a higher understanding could be achieved through practice and study with the sword. These kenshi (swordsmen) developed the art of the sword (kenjutsu) into a way of the sword (kendo). To signify their advances, they coined the name kendo. This divisive move began around the middle of the 14th century. Kenjutsu is considered a classical bujutsu (art of war or martial art), having been well formulated prior to the Meiji reformation (the classical/modern dividing line). Classical kenjutsu ryu (schools) tend to be quite secretive of their techniques, being very closed to outsiders. Classical kenjitsu ryu are the closest to classical warrior training in the modern world. Examples are Yagyu Shinkage Ryu, and Tenshin Shoden Katori Shinto Ryu. Kenjutsu wear is traditional, consisting usually of hakama (split skirt trousers) , keikogi (a heavy weight jacket worn tucked in) and obi (belt). As a rule, there are no belt colors in kenjutsu, but only titles; Deshi (student), Renshi (instructor), Kyoshi (teacher) and Hanshi (master). Kata (prearranged forms or exercises)are the usual way of learning the intricate motions required. Initially one practice solo, but later pairs or multiple kenshikata are performed. The standard practice tool is either a bokken (simulated wooden sword) or an actual live blade. Actual cutting, and thrusting of the blade against water soaked rolled mats and bamboo poles, called tameshigiri, give the more advanced exponent practice in actual impact of the live blade against a target.
KENDO (“the way of the sword”)
Kendo is generally considered a classical budo (martial way), being formulated before the Meiji Restoration. In its most modern from it is practiced more as a sport and to improve the mind of the individual,
rather than a form of combat. In the beginning, kendo was a technique for training in kenjutsu without the bodily consequences of mistakes inherent in bokken or live katana or tachi practice (live blades). The standard weapon of kendo is a shinai, which is a split stave of bamboo with a leather tip cap and a leather handle. There is no curvature and the shinai is quite light in weight. Traditional gi (clothes) are worn, but over this are budogu (fencing armor), similar to what western fencers wear. The men (a face mask with throat protector), the do (a breastplate), the kate (gloves and gauntlets), and a tare (heavy apron).Legal strikes are to the wrist , the sides of the do, and three cuts to the head (left right and center) and one thrust (the throat). An defined area (a square about 10 meters on a sides)is the legal mat area , and two legal strikes as called by judges are required to win a match. Advancements is done by way of kyu and dan, similar to colored belts in other martial way. But the obi (if worn, sometimes deleted) always remains the same color. At the higher dan levels one is required to show some minimal competence with a live blade in ten kata, with both long (daito, katana or tachi)and short (shoto, wakizashi) swords. Classical ryu have all but disappeared within kendo, and so the emphasis is much more on the sport aspects.
Iaido /Iaijutsu
Iai is considered a classical bujutsu or budo. It is more difficult to characterize iai , as the students progresses the –do aspects are left behind and the jutsu aspects become more pronounced. Iai is believed to have its origins about 1200 AD, with about 800 ryu cataloged since then. It is possible that the present art of iai had its origins in an ancient reference to “tachi- gake” from about 1000 AD. Iai is differentiated from the ken styles in that the sword is initially at rest in the scabbard instead of already drawn for combat. Iai is composed of drawing the sword (nukitsuke), bringing it to combative use in minimum time , and returning the sword to the saya (scabbard). Starting positions for iai can be from combative postures or from everyday setting or standing positions. Traditional gi are worn as in kenjutsu. Advancement can be either in the traditional method, without dan kyu, or can include it similar to kendo. Iai within the Zen Nihon Kendo Renmei is ranked, and several instructor credentials are also available; called renshi, kyoshi and hanshi, which are also available in kendo. The reason for the kendo federation having oversight of iaido is quite simple. Early this century, kendo practitioners were aware that kendo was not properly teaching the sword. A shinai is not a Nihon- to (Japanese sword) and does not handle like a sword. Kendo did retain ten kata as a part of their promotion process, but they were felt to be insufficient to properly teach the “way of the sword”.
In the late 1950s the Kendo Federation invited classical iai expert swordsmen to form a commission to investigate courses of action. The result was a selection and adoption of seven iai kata. This list was later revised to ten kata by a later commission. These kata formed the basis of the Zen Nihon Kendo Renmei Seitei Gata. These ten kata form the basis of kendo based iai. Further advancement is made within classical ryu. Example are the Muso Jikiden Eishin Ryu and the Muso Shiden Ryu. These two ryu are splits of the same branch and remain quite probably the most practiced ryu of iaido. These were the first to allow the public to join their ranks and participate as outsiders. The Seitei Gata have three opening positions. Seiza is used for the first three and is considered a non- combative position. Tate- hiza is used for the fourth kata and is considered neutral, that is neither combative or non- combative. Finally, the last six kata are started from tachi- ai, and also considered neutral. There is one other opening position which is considered combative but is not used in seitei, called iai- goshi. The reason for non-combative or neutral starts is that these are the positions of everyday life. One could expect a surprise attack at anytime, and the ability to react from an everyday starting position was considered essential.
The Japanese culture is heavily imbued with the sword. In fact, one of the three objects of possession required to be Emperor is a sword. This Imperial Regalia has been handed down, generation after generation, to the ruler of Japan; the Jewel, the Mirror and the sword. The Imperial Regalia is held in the Shinto shrine at Ise, near the traditional home of the Imperial family Nara. The ancient legend of the Shinto that tells of the origin of the islands themselves refers to a bladed weapon which was dipped into the sea and the drops of water off of the tip became the islands of Japan. One cynic characterized the history of Japan as too many people fighting over too little land. The sword and its use were shaped by the history of the land and its people. Japanese legend says that the gifted sword maker Amakuni was the one to develop the classically styled Japanese sword. Long, single edged and curved with two handed grip. Amakuni is thought to have lived in about 720 AD. Prior to this time, the swords were developed from copies of Chinese and Korean designs. Straight, single or doubled edged, usually two handed grips. Two things happened with the advent of the Japanese style. First, the blade became a very effective cutting weapon, even against armor. And two, its deployment changed which allowed the rise of a distinct style of Japanese Swordsmanship. About this time, the Imperial family moved the center of government from Nara to Kyoto, where it would remain for nearly a thousand years.
In order cultivate and improve the sword, as a weapon and as an art form, two conditions were required. First, there had to be sufficient stability that swordsmiths could practice their trade with little disruption. Second, there must have existed sufficient unrest that development was required. For the first 500 years of the Japanese sword, both of this conditions existed. Most of the legendary battles of Japanese folklore occurred in this time period. At first, the battles were fought between the race we call the Japanese now and the indigenous peoples, called the Ainu or Emishi. A hardy race related to the Lapps and the Eskimos, they were loathe to release their traditional lands to the newcomers. The battles were furious and the leader of the Emperor’s army was called the Taishogun, later shortened to Shogun, the ultimate military ruler of Japan. By the late 800s, they had been pushed back from the three large arable plains which constitute the bulk of Japanese food production and wealth.
Gempei war
Later, the Gempei War between the Taira and the Miyamoto clans, typified the wars between clans struggling for supremacy. The Miyamoto eventually won, laying claim to the title Shogun on their leader; after which the Emperor declared that only Miyamoto descendants could lay claim to the title. The zenith of the Japanese sword is usually considered to be the early 1300s; smiths such as Murasama and Masamune being names commonly heard. Many consider Masamune’s work to have been unsurpassed at any tme, before or since.
After that time, civil unrest outstripped the ability of smiths to supply demand. Quality dropped as more utilitarian quantities of blades were required. The years from the middle 1300s to 1600s were a very dark time for Japan. These were the years where the Imperial Court was divided into two, the Ashikaga Shogunate ran the country into disarray, and the “Hundred Years War.” The Ashikaga also moved the center of the military government from its traditional place in Kyoto to their home in Kamakura.
At the end of the 16th century, three great generals arose, each in succession, and all unified the country under one leadership; Oda Nobugana, Hideyoshi Toyotomi and Ieyesu Tokugawa. When Tokugawa overthrew his last upstart rival in the battle of Sekigahara in September 1600, he unified the country under a government for the first time in 800 years. Because Ieyesu could claim Miyamoto blood, he also claimed the title of Shogun for himself and his heirs. His home was near Kamakura and so he moved the center of government to Edo, today called Tokyo.
Togukawa Shogun
For the next 268 years, the Tokugawa Shogunate ruled the land in peace. And with peace came the decline in the practice of sword. However, small groups of traditionalist refused to give up the old ways. The writings to these reclusive kenshi are still quoted today as examples of great swordsmen. Miyamoto Musashi, Tsunemoto Yamamoto and zzz are still regarded as kensai(sword saints) in Japanese folklore. With the great peace, came the unemployed warrior or ronin (literally “wave man”). The Tokugawa tried to convert warriors into bureaucrats to run the government. The Tokugawa may have ruled in peace but they held an iron fist to do so. Part of their way to control the flow of Japanese society was to establish a caste system. There were four classes of people in descending order, samurai (royalty), farmers, artisans and merchants. Those who traditionally were farmer warriors could no longer possess swords, only the samurai could wear the official badge of office, the sword. The Tokugawa also closed the shores of Japan to the outside world, executing all trespassers and only allowing a single small island near Kagoshima in the south to be visited once a year by Portugese traders.
This helped and hurt the sword as the Japanese had been introduced to matchlocks by the Portugese in 1543. But with the closed borders, small enclaves still held the sword as weapon of choice for duty, honor and Emperor; along side the bow and arrow. The saying, “kyu ba no michi” is usually translated as “the way of warrior”, but is literally “the way of bow and the horse.” In general, the sword and its practice continued to decline during this time in a gradual manner.
In 1854, Americans ships entered Tokyo Bay and demanded that Japan open trading with the west. The technology that the west had compared to the Japanese was quite considerable. Had America forced the issue, it would have easily destroyed Japan. Instead, Japan turned itself inside out culturally and technologically. The Tokugawa were terrified of the technological prowess the Americans displayed. Fortunately, the American had troubles at home and soon forgot the Japanese.
But the Tokugawa were being pressured by internal forces to overturn their rule. The only way the Tokugawa could see to preserve any measure of limited control was to return power to the Emperor. And so in 1868, the Tokugawa stepped down, returning power to the Emperor Meiji, beginning the Meiji Reformation. Japan had entered the industrial revolution.
The samurai were officially disbanded by the Emperor Meiji. Later, they were stripped of the official badge of office, the wearing of the two swords in 1877. This gave rise to the last great battle of the swaor, the Satsuma Rebellion in December 1877 through January 1878. The Satsuma refused to obey and fought the conscript government army (with modern weapon) at Kagoshima in the south. The samurai were killed to a man, and their martyrdom has become a poignant symbol of the swordsman.
The modern period of the sword has been characterized by even greater decline. Samurai were forced to give exhibitions in order to try to earn money. More and more of them left the art behind, to learn new trades and skills with which they could live. Smiths began to fashion scissors and other metal implements. The old ways were fading away into history very fast, except amongst a small dedicated following.
GI - Honesty and Justice: Be acutely honest throughout your dealings with all people. Believe in justice, not from other people, but from yourself. To the true Samurai, there are no shades of gray in the question of honesty and justice. There is only right and wrong.
REI - Polite Courtesy: Samurai have no reason to be cruel. They do not need to prove their strength. A Samurai is courteous even to his enemies. Without this outward show of respect, we are nothing more than animals. A Samurai is not only respected for his strength in battle, but also by his dealings with other men. The true strength of a Samurai becomes apparent during difficult times.
YU - Heroic Courage: Rise above the masses of people who are afraid to act. Hiding like a turtle in a shell is not living at all. A Samurai must have heroic courage. It is absolutely risky. It is absolutely dangerous. It is living life completely, fully, wonderfully. Heroic courage is not blind. It is intelligent and strong.
MEIYO - Honor: A true Samurai has only one judge of honor, and this is himself. Decisions you make and how these decisions are carried out are a reflection of whom you truly are. You cannot hide from yourself.
Portrait below: Sensei Rahim Bin Ahmad
JIN - Compassion: Through intense training the Samurai becomes quick and strong. He is not as other men. He develops a power that must be used for the good of all. He has compassion. He helps his fellow man at every opportunity. If an opportunity does not arise, he goes out of his way to find one.
MAKOTO - Complete Sincerity: When a Samurai has said he will perform an action, it is as good as done. Nothing will stop him from completing what he has said he will do. He does not have to "give his word." He does not have to "promise." Speaking and doing are the same action.
CHU - Duty and Loyalty: For the Samurai, having done some "thing" or said some "thing," he knows he owns that "thing." He is responsible for it, and all the consequences that follow. A Samurai is immensely loyal to those in his care. To those he is responsible for, he remains fiercely true.
The sword arts themselves are divided several ways. First is by type, ken or iai (sometimes called batto). Also at the same time they divide by origin, the three families of sword arts; Muso (“empty”), Kage (“shadow”) and Shinto (“new sword”) styles. Some types mix these dependant on origin and application. Within each type are the three styles. All can be recognized by their employment of various characteristics.
There are two organizations within Japan that have tried to consolidate these sword arts. The Zen Nihon Kendo Renmei (All Japan Kendo Federation) oversees certification requirements for kendo, kenjutsu and some iaido ryu. The Zen Nihon Iaido Renmei (All Japan Iaido Federation) is a much younger and oversees certification of some kenjutsu and many iaido ryu. However, the more traditional of the ryu have not joined either of the two organizing bodies and have remained independent and free of oversight.
It should be finally noted that many martial systems included sword arts as a part of their curriculum. In other cases, predominantly sword martial systems have included other types of weapons. And finally there are still other systems which teach only sword arts. The most traditional ryu would teach the sword as their primary weapon and perhaps some other arts (weapons or empty hand). Only in modern budo or bujutsu have the empty hand arts become primary with the sword playing a supporting role.
Samurai martial arts are no different than others. Though faced with the enemy with no arms but I believe that you are able to fight well because of the techniques and the philosophy of samurai itself are the same.
Training and understanding should come together through physical and spiritual approach could change your perspective and influence to be more confident time to time. Further more interest, focus and a lot of training are the main recipes or elements to generate mortalities and self potential. If you realized I’ve been always emphasized "team work" in every single training we had. Dear all students what I dream of you to be are works, and build your skills together as in a family. There are no other mortal weapons than to fight as what you are now as a family.
I hope to those who had done (1st Kyu - the red emblem) will not engage in any criminal activities as we must help to build these nation - these people in such beautiful country of Malaysia building better life, better future in peace and harmony.
- The Honorary Founder Soke Sensei Tuan Haji Syukri Saat 2003
Seni beladiri pedang tiada bezanya dengan seni yang lain. Walapun berhadapan dengan musuh dalam keadaan tiada senjata namun saya percaya anda yang belajar seni beladiri bersenjata mampu bertempur dengan baik kerana teknik dan falsafah tangkis dan serang adalah sama.
Latihan dan kefahaman perlu wujud dalam diri ahli seni beladiri melalui pendekatan fizikal dan spiritual mengubah perspektif jatidiri anda menjadi lebih yakin dalam apa jua perbuatan harian. Minat, fokus dan kekerapan latihan adalah elemen atau resepi utama pembinaan potensi seorang ahli seni beladiri.
Jika anda sedar saya sentiasa menitik berat elemen latihan berkumpulan selama ini. Apa yang saya impikan anda saling bertolong bantu ibarat sebuah keluarga. Tiada senjata yang lebih ampuh dari ikatan kekeluargaan baik dalam medan peperangan mahupun pembinaan negara bertamadun seperti Malaysia ini.
Diharapkan anda yang telah dilimpahi ilmu seni beladiri (1st Kyu - emblem merah) dapat memanfaat seni pedang negara matahari terbit ini kearah perkara yang tidak menyalahi undang-undang negara kita, justeru menjadikan seni ini sebagai sebahagian amalan senaman fizikal harian anda membina stamina dan potensi diri. Semoga berjaya dalam apa jua kerjaya anda diluar sana.
- Yang Berbahagia Pengasas Soke Sensei Tuan Haji Syukri Saat 2003
Ninjutsu Japanese Dictionary Courtesy by ninjutsu.org.uk
Translation of all the basic Japanese Ninjutsu words in one place just for you. You are advised to spend couple of minutes on these before attending your class. Off you go & good luck!
Japanese Words
Numbers
Ichi - One Ni - Two San - Three Shi - Four Go - Five Roku - Six Shichi - Seven Hachi - Eight Ku - Nine Ju - Ten
A
Aite - Opponent Anatoshi - Trapping Ashiko - Foot Band Ate - Strike
B
Bajutsu - Horsemanship Barai - Sweep Bisento - Battlefield Halbred Bojutsu - Stick Fighting Bo Ryaku - Stratergy Boshi Ken - Thumb Strike Budo - Martial Way Budoka - Student of the martial way Bugie - Martial arts Bujin - Warrior spirit Bujutsu - Martial arts techniques Bushi - Warrior Bushido - Way of the warrior
C
Chi - Earth Chi Mon - Geography Cho Ho - Espionage Chu - Middle Chunin - Mid level Ninja agent
D
Daisho - Pair of swords Daito - Large Sword Dakenjutsu - Striking, Kicking, Blocking Do - Way Dojo - Training hall Doko - Angry Tiger Dori - To sieze or capture Dai - large, big, great Daisho - the set of katana and kodachi Daito - longer Japanese sword Dakentaijutsu - striking body methods Dan - level or degree of black belt Deai - initiatory action in combat Den - legend, tradition Densho - traditional scrolls (see also makimono) Deshi - student; disciple Do - path, road, way; motion; change Do Jime - choke applied to opponent's sides Dojo - training hall, place of the way Doko - angry tiger Dome - stop; arrest Dori - seize, catch Doshin - Tokugawa period law enforcement official
E
Empi - Elbow strike Eri - collar Eri Jime - Collar strangulation technique
F
Fu - Wind Fudo Ken - Clench Fist (also known as Immovable fist) Fudoshin - Immovable spirit Fudoza - Immovable seat Fukiya - Blowgun Futari dori - Held by two opponents
G
Gaeshi - Counter-attack Gake - Hook Ganseki Nage - Throwing the big rock Garami - Entangle Gawa - Side Gedan Uke - Low Block Genin - Low level Ninja agent Genjutsu - Art of illusion Geri - Kick Gi - Martial arts uniform Godai - Five elements Gokui - Secret Gotono - Using natural elements for evasion Gyaku - Reverse
H
Hai - Yes Haibu Yori - From behind Hajime - Begining Hajutsu - Escaping techniques Han - Half Hanbo - 3' Staff Hanbojutsu - Stick fighting Happa Ken - One handed strike Hasso - Attack Heiho - Combat Stratergy Henka - Variation Hensojutsu - Disguise and Impersonation arts Hicho - Flying bird Hidari - Left Hiji - Elbow Hiki - Pull Hishi - Caltrops made from dried water chestnuts Hodoki - Escape Hojo - Bind, Tie up Hojutsu - Firearms Arts
I
Iai - Sword drawing Igadama - Caltrops made of spiked iron Inpo - Hiding Intonjutsu - Escape and Concealment Iri - Enter Itami - Pain Iaido - sword drawing way Iaijutsu - techniques of sword-drawing Ichimonji - the written character one in Japanese In - soft, negative, dark, female (yin) Inton - concealment and camouflage Iri - to enter
J
Jo - 4' Staff Jodan Uke - High Block Junan Taiso - Body conditioning Jutaijutsu - Grappling Jutsu - Techniques Jime - to constrict, tighten, choke Jin -man Jissen gata - real fighting; true fightingforms Jodan - upper level Jojutsu -techniques of the stick; stick art Jonin - leader ninja Jumonji -the written character ten in Japanese Jutsu - techniques,school,art or method Jitte - Anti sword trunchon
K
Ka - Fire Kaeshi - Counter attack Kagi - Hook Kaiten - Rolling Kaiten Ken - Open hand Kakusi Geri - Hidden Kick Kamae - Stance Kamiza - Shrine Kata - Set of movements Kantana - Sword Katate - One hand Kayakujutsu - Fire and Explosives Arts Kenjutsu - Sword fighting Keppan - Blood oath Keri - Kick Ki - Spirit Kiai - Focused shout Kikaku Ken - Head Strike Kinhon - Basic Kikaku Ken - Demon horns fist Kiriage - Upwards Cut Kiten Ken - Sword hand strike Ko Ashi - Small steps Kodachi - Small Sword Kogoroshi - Finger breaking Koho - Back Koho Geri - Backwards Kick Koho Kaiten - Backwards Roll Koku - Tiger Sky Kokyu Breath Koppo Ken - Thumb knuckle strike Koppojutsu - Bone Smashing Techniques Koryu - Traditional Koshijutsu - Organ and Muscle Striking Kote - Wrist Ku - Void Kudaki - Break or Smash Kuden - Oral Techings Kuji - Nine Syllables Kuji in - Hand Posturing Kuji-Kiri - Protective grid slashing Kumiuchi - Grappling and close fighting Kumitachi - Sword practice with a partner Kunoichi - Female Ninja Kusari fundo - Short Weighted Chain Kusari gama - Chain and Sickle Kuzushi - Breal opponents balance Kyojitsu Tenkan Ho - Philosophy Kyoketsu - Cord and dagger Kyoman - Observation Kyu - Grade below blackbelt Kyusho - Pressure points
M
Mae Kaiten - Front Roll Maki - Winding Makimono - Scrolls Matte - Wait Mawashi - Rotate Mawashi Geri - Round Kick Meiso - Meditation Meijin - Master Metsubushi - Blinding Powder Meysubushi - Distraction Men Uchi - Strike to the head Menkyo - Teacing certificate Migi - Right Mizu - Water Mokuso- Meditate Morote - Both hands Mute - No hands Muto Dori - Unarmed defense against a sword
N
Nagare - to flow Nage - Throw Nagashi - Flow Naginata - Halbred Naname - Diagonal direction Neko te - Finger tip weapons (worn by Konoichi) Nin - Endurance or Stealth Ninpo - higher order of Ninjutsu Nuki Ashi - Sweeping step Ninki - Specialised ninja tools
O
Obi - Belt Odashi - Long Sword Omote - Outside Oni - Devil Oni Gedaki - Crushing The Little Devil Osae - Press down Oshigiri - Push cut used with sword Osoto gake - Great outside hook Oten - Cartwheel
R
Randori - Sparring Rei - Bow Ryote - Tow hands Ryomune dori - Two handed chest grab Ryu - Scool or Dragon
S
Sakki - Intuition of attack Saya - Scabbard Satori - Enlightenment Seishin Teki Kyoyo - Spiritual Refinement Seiza - Kneeling Sempai - Senior student Sensei - Teacher Shaken - Throwing stars Shako Ken - Claw Strike Shi - Finger Shihan - Senior Instructor Shikko - Walking on knees Shikan Ken - Extended Knuckle Fist Shikomi Zue - Sword Cane Shin - Heart Shinai - Bamboo Sword Shinken gata - Real combat training Shinobi - Stealth Shinobi aruki - Ninja walking Shinpi - Mysticism Shishin Ken - Finger Strike Shitan Ken - Thumb Pressure Shito Ken - Thumb Strike Shizen Ken - Natural or Body Weapon Shomen - Front Shoten no jutsu - Tree Climbing Shuki Ken - Elbow Strike Shurinkenjutsu - Blade throwing Shuko - Spiked hand Shuto Ken - Open Hand Strike Soka Gyaku - Toe Strike Soke - Grandmaster Sokki Ken - Knee Strike Sokuho Kaiten - Side Roll Sokuho Geri - Side Kick Sokuho Tobi - Sideways leap Soku Yako - Heel Strike Sokugyaku Geri - Toe kick Sui - Water Sui Ren - Water Training Sutemi Nage - Sacrificial throw
T
Tabi - Traditional footwear Taihenjutsu - Body Movement Tai Ken - Total Body Weapon Taijutsu - Unarmed combat / Skill with the body Take - Bamboo Taisabaki - Natural body movements Taiso - Body Conditioning Taki Ori - Breaking Bamboo Tanto - Knife Tantojutsu - Knife Fighting Tatami - Straw Mat Te - Hand Teki - Enemy Tenmon - Meteorology Tesson - Iron war Fan Tetsubushi - Metal Caltrops Toamijutsu - Fish Net Skills Tobi - Leap Tobi Keri - Leap with Kick Tori - The one who executes Tsuba - Handguard on a sword Tsugi bune - Collapsible boat Tsuki - Thrust
U
Uchi Gata - Take down using legs Uke - The one who receives Ukemi - Breakfalls Ura - Inside
Kendo is generally considered a classical budo (martial way), being formulated before the Meiji Restoration. In its most modern from it is practiced more as a sport and to improve the mind of the individual, 
Iai is considered a classical bujutsu or budo. It is more difficult to characterize iai , as the students progresses the –do aspects are left behind and the jutsu aspects become more pronounced. Iai is believed to have its origins about 1200 AD, with about 800 ryu cataloged since then. It is possible that the present art of iai had its origins in an ancient reference to “tachi- gake” from about 1000 AD. Iai is differentiated from the ken styles in that the sword is initially at rest in the scabbard instead of already drawn for combat. Iai is composed of drawing the sword (nukitsuke), bringing it to combative use in minimum time , and returning the sword to the saya (scabbard). Starting positions for iai can be from combative postures or from everyday setting or standing positions. Traditional gi are worn as in kenjutsu. Advancement can be either in the traditional method, without dan kyu, or can include it similar to kendo. I
