A PUBLICATION FOR ALL THINGS RELATED TO

IAIDO, IAIJUTSU AND KENJUTSU

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ISSUE 1 JULY 2013

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

inally, a publication related to Iaido, Iaijutsu and Kenjutsu and

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

We need your help.

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

Editor:
Stephen Nixey

Diary dates

Editor & Creative Director:

Fraser Biscomb

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

Profile

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

News, events, seminars

and updates

Takeshima Toshio
Sensei
20th Soke of Eishin Ryu.

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CUTTING EDGE

ISSUE ONE JULY 2013

Copyright Cutting Edge 2013

In depth

Jikiden
26 Muso
Eishin Ryu

A brief history.

42 Bokuden
44 Bushi or goshi

Founder of Kashima Ryu.

Not all samurai were born

into the class structure.

Takeshima Sensei

Face-to-face

16 Iwata Norikazu Sensei

Highly respect teacher of

many, author and historian.

The sword

brief history of the

32 Adevelopment
of the

Japanese sword
By Clive Sinclaire

Insight

46

Slow grow wham!

16

Iwata Sensei Menkyo kaiden

Jo-ha-kyu a bigger picture.

Articles

14 Zazen
52 Tea ceremony
54 Why take notes?

An outline of meditation.

Tea and its history.

What is the benefit of notes.

32

CUTTING EDGE

ANATOMY

How to . . .
Folding up after practice.

30

Next issue . . .

31

Nakayama Hakudo
Sensei

The hakama
What it means!

Injury issues
Achilles tendon.

56

Father of modern day iaido and the

Muso Shinden Ryu

58

Muso Shinden Ryu

Review
DVD and book are reviews.

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

A well structured figure with all the required

equipment, ready for assembly.

Iaid-ka
tangible

A brief history

44

Bushi or Goshi Samurai status for purchase!

Toshiro Mifune

The man behind the movies.

Juban

Mon-tsuki

Yoshioka School
A brief history

and more . . .

Obi

Hakama
Pads

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26

Bokuden

Muso Jukiden Eishin Ryu history

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CUTTING EDGE

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CUTTING EDGE

FOR YOUR DIARY

Eikoku Roshukai

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

Events and seminars

Nottingham Semin
ar
November 16, 2013

If you have an event coming up and it is not

here, or if it is and there are mistakes, changes or
updates, please let us now.

All United States Kendo

Federation (AUSKF)
www.auskf.info

Canadian Kendo Federation

www.kendo-canada.com
Nothing listed

www.eikoku-roshukai

.com

Hokushin Itto-Ryu
Europe

Seminar with Otsuk

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

European Kendo
Federation (EKF)

Dai Nippon Butoku Kai

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

www.dnbk.org

www.ekf-eu.com

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

UK Butoku Sai, London

August 2013

Hyoho Niten Ichi-ryu

UK Shibu, Walsall

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

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

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

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

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

PLEASE NOTE: We advise you to check all dates before planning

any trips, as dates and venues may change, and therefore may be
different to details listed here.
Be sure to check organisers websites.

CUTTING EDGE

TAKESHIMA TOSHIO SENSEI

TAKESHIMA
TOSHIO Sensei

A personal insight by Steve Coniaris,

Shoshin Ryu, Arizona USA

akeshima Sensei died in the spring of 2007 of Lung Cancer

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

CUTTING EDGE

scrolls and journals its leaders had

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

burn. I was always inspired that he

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

drive. This was a difficult decision but

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

Over the years this mastery

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

TAKESHIMA TOSHIO SENSEI

around 60 years old. He could capture

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

Muranaga Sensei
8

CUTTING EDGE

1. Sensei demonstrated an upper

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

It was as if their body became that

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

Takeshima Sensei elevated

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

company. In this way his he was able

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

Ryu for their behaviour, their lack of

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

Sensei could look at anyones

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

who had trained with him all day

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

TAKESHIMA TOSHIO SENSEI

needed to travel if they were serious

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

CUTTING EDGE

there. I must say I was excited to try

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

Sensei could see people as

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

to take the next step. Let go of it. Let

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

their way. Sensei could see people as

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

He touched many of his students

lives. His dignity, honor and good
nature helped many students find
their way.

He touched many of his students

lives. His dignity, honor and good
nature helped many students find
CUTTING EDGE

11

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12

CUTTING EDGE

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CUTTING EDGE

13

ZAZEN

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

Hara (the centre of gravity in the belly)

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

Source: http://en.wikipedia.org/wiki/Zazen
Sources cited by Wikipedia:
Uchiyama, Kosho (2004). Opening the Hand of Thought: Foundations of Zen Buddhist Practice. Wisdom Publications. pp. 4546, 105. ISBN 0861713575.
Kapleau, Philip (1989). The Three pillars of Zen: teaching, practice, and enlightenment. New York: Anchor Books. p. 10(8). ISBN 0-385-26093-8.
Kapleau, Philip (1989). The Three pillars of Zen: teaching, practice, and enlightenment. New York: Anchor Books. pp. 4853. ISBN 0-385-26093-8.

14

CUTTING EDGE

CUTTING EDGE

15

IWATA NORIKAZU SENSEI

Roshukais renowned

IWATA NORIKAZU
Sensei (1913-2011)

wata Norikazu Sensei, Hachidan, 19th generation Hanshi,

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

16

CUTTING EDGE

and several articles for the Kendo

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

Source:
http://tosamjeriai.iaido.hu

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

I have had many teachers and each

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

CUTTING EDGE

17

THE INTERVIEW

The interview

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

When was Fukui Harumasa

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

How old are you now?

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

18

CUTTING EDGE

What style of Iai do you teach?

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

to my dojo on a regular basis and

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

When and where did you start your

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

What led you to study the

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

Muso Jikiden Eishin Ryu in Kochi and

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

CUTTING EDGE

19

THE INTERVIEW

In what year did you start Iaido

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

20

CUTTING EDGE

When was Hokiyama Sensei born

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

a) Yamamoto Takuji Senseis Iaido.

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

You dont need to come any

more. You have finished.
However, I asked him to teach
me more. I went to Kochi for
two years and six months more.
I learnt all the 45 Waza during these
three years, and my teacher said,
You dont need to come any more.
You have finished. However, I asked
him to teach me more. I went to Kochi
for two years and six months more.
We did all the 45 Waza for about one
hour and each time I listened to all
the traditional Kochi Iaido stories they
knew. Later this helped me a lot. I feel

the long years of practice were really

good.
Yamamoto Takuji Sensei passed away
in 1977. He was 92 years old.
c) How I learnt under Mori Shigeki
Sensei.
After learning in Kochi, I started to visit
Mori Sensei in Matsuyama to get his
comments and guidance once every
two months. Maybe he liked my Iaido
attitude, for he sometimes visited me.
He also came to Kanonji, and taught
my comrades and me. Mori Sensei
respected Yamamoto Takuji Senseis
teachings. He said repeatedly You
have learnt the most dynamic Tosa
(Kochi) gihou (technique). You have
attained the dynamic Iaido sufficiently
well. However, Oe Senseis Iaido
was half-dynamic and half-graceful.
I remember he encouraged me. He
didnt correct what I was doing, he
only added his Iaido to mine. Later he
became disabled and moved to his
childs house in Nagoya. I made it a
point to visit him once in every two or
three months and talked on various
topics all day long. He was very
pleased with this. He passed away on
29 May 1988. He was 97 years old.

My teachers were long-lived.

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

Did Oe Sensei leave any written

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

Your iaido is very dynamic.

You dont need to change your
iaido. Just do your iaido
Yamamoto Takuji Senseis iaido was
very dynamic. He took the dynamic
part mainly from Oe Sensei. I was
strongly influenced by Takuji Sensei,
so my Iaido is 80% dynamic and 20%
graceful. Harumasa Sensei was calm,
mild and warm-hearted. Mori Sensei
was very precise. He respected Kochi
teachers, so he didnt correct me. But
he used to say Oe Senseis Iaido was
50% dynamic and 50% graceful. He
added his Iaido to my Iaido. He said,
Your Iaido is very dynamic. You dont
need to change your Iaido. Just do
your Iaido. I tried to take the best
points from all the Sensei, but it was

Takuji Sensei that influenced me the

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

21

THE INTERVIEW

therefore Mori Sensei could not write

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

CUTTING EDGE

Yamamoto Sensei and the study of

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

I was thinking of reasonable

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

Sensei had. He was an excellent

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

Kubota Sensei was a teacher at Koubusho, a kind of

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

Reproduced coutesy of Neil Kemp.

Translations by Yuriko Terao.
CUTTING EDGE

23

Throughout the magazine,

there will be an opportunity
to feature photographers
work; professional or
amateur.
If you are interested in
having your work featured,
please let us know.

24

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25

MUSO JIKIDEN EISHIN RYU

Hayashizaki Jinsuke Shigenobu

Born from divine

inspiration; used
by the warrior; and
adopted by the
Tosa samurai.
Muso Jikiden
Eishin Ryu, and its
lineage of some
450 years plus.

he study of the sword as we

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

26

CUTTING EDGE

using the sword, to facilitate the fast

draw and therefore instantly cut down
an opponent. Because of this and
his influence on other swordsmen,
Hayashizaki is considered to be the
founder of modern day Iaido.
Jinsuke was
born in Sagami
Province, (modern
day Kanagawa
Prefecture), during
the Ashikaga era.
Whilst little is known
of his history, it is
for certain that he grew up during a
time of constant turbulence a Japan
ravaged by warfare and uncertainty.
This inevitably exposed the young
Jinsuke to various sword-fighting
methods and techniques, though
details of his martial background are
not known. According to legend,
Jinsukes father was killed in a duel,
and in order to avenge his death, the
14 year old began training in earnest.
At the age of 25, he travelled to Oshu
(in present day Tokoku area), where,
at the Hayashi Myojin shrine, he
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27

MUSO JIKIDEN EISHIN RYU

undertook meditation and restraints

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

The school is noted in

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

CUTTING EDGE

central figure in the development

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

He set to reorganising the curriculum

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

Innovations were made

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

Images of the temple reputed to be the one that

Hayashizaki visited.

Omori Ryu. He also introduced the

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

The 10th Headmaster was Hayashi

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

Mogobei Masasuke (d. 1898), who

further developed the Tanimura-Ha.
It wasnt until the
17th headmaster that
the Muso Jikiden
Eishin Ryu became
the style of Iai that
we know today. This
is down to Oe Masaji
(also known as Masamichi) (Shikei
Roshu). Born in Tosa Province in 1852.
He studied Kokuri Ryu and Shinkage
Ryu Kenjutsu, as well as ShimomuraHa Eishin Ryu. At the age of 15,
he took part in the battle of TobaFushimi, part of the Boshin War, when
the allied Choshu, Satsuma and Tosa
samurai battled with the Shogunate
forces near Kyoto in 27th January
1868. Following his experience of
battle, he began to study Tanimura-ha
Eishin Ryu under Goto Magobei.
Oe became, probably, the most
influential person in contemporary
Muso Jikiden Eishin Ryu, having
received instruction in both TanimuraHa and Shimomura-Ha (also being,
for a time, the 15th headmaster of the
Shimomura-Ha).

introducing Hayanuki and Bangai

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

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

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29

THE HAKAMA

The hakama

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

The jacket

According to tradition, the seven pleats that form the

hakama represent the virtues of the warrior. Something we
all should aspire to. They are as follows:
Gi - Justice, morality

What do you do with your jacket and

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

First lay the hakama front down

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

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CUTTING EDGE

Rei - Courtesy, etiquette

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

1.

Chu - Loyalty

2.

3.

4.

5.

9.

13.

6.

10.

14.

7.

11.

15.

8.

12.

16.

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31

A BRIEF HISTORY OF THE DEVELOPMENT OF THE JAPANESE SWORD

A brief history of the

development of the
Japanese sword
By Clive Sinclaire

Clive Sinclaire lives near London in the

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

CUTTING EDGE

f course, there are many reasons to enjoy

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

or had fifty generations of previous

owners who cared for and preserved
it, places weighty obligations on
our shoulders. There can also be no
doubt that there is a way in the
Zen sense of the word, and a spiritual
aspect, associated with the study and
appreciation of fine Japanese swords.
Such study as this was the province of
the gentlemen of rank in old Japan.
Personally, I think an even greater
appreciation of swords may be
gained from adding an active study
of Kendo and Iaido, the martial arts
of the sword. This helps give a very
practical understanding of what a
sword was made to do and is capable
of. I consider this to be the other side
of the coin to a purely academic study
of swords. Of course, it may not be
suitable for everyone, but both Kendo
and Iaido may be practised to a fine
old age! For a sword collector, this
may be a great experience as well as
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33

A BRIEF HISTORY OF THE DEVELOPMENT OF THE JAPANESE SWORD

a way to gain a fuller understanding of

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

To own a sword that may have

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

34

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

historically as the Nara period, Nara

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

government, after the famous battles

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

The history and development

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

to make fine swords. The large

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

A pupil of Shintogo Kunimitsu, named

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

may have been brought about by the

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

By the early 14th century, the

Kamakura Shogunate, still controlled
by the Hojo family as regents, was in
dire financial straights and was finally

With the settling of the Imperial

dispute in 1393, Ahikaga Yoshimitsu
became the first official Ashikaga
Shogun, and whilst there was still

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

responsible for the Yaki-ire (quenching

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

overthrown by Emperor Godaigo,

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

skirmishes throughout the country,

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

Swords in this period often became

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

Rebellions against the now weak

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

35

A BRIEF HISTORY OF THE DEVELOPMENT OF THE JAPANESE SWORD

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

only the special order blades from

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

As the Tokugawa or Edo period

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

CUTTING EDGE

one of his own generals, the job was

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

Kunihiros influence was enormous. It

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

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

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

their own ore, but could buy it

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

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

However in the early Tokugawa

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

words the swords began to resemble

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

swordsmith he is better known for

his writings and research than for his
good sword making.

...the Shogunate desperately

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

37

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

With few exceptions, most

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

38

CUTTING EDGE

the famous Yasukuni Shrine on the

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

Fortunately a few enlightened souls

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

swordsmiths and hold a swordmaking

competition every year. The annual
Shinsaku Meito Ten (newly made
swords competition) is one of the
years highlights in the sword world.

Fully assembled tangible assets.

Next is to acquire the intangible ones!

Iaid-ka
intangible

There now appears to be a great

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

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

From the foregoing it will be

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

Hara
ki

figure. 2

The To-ken Society of Great Britain

www.to-ken.com

CUTTING EDGE

39

40

CUTTING EDGE

CUTTING EDGE

41

TSUKAHARA BOKUDEN

idely regarded as a kensei (sword saint),

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

A ukiyo-e print showing Bokuden pushing the boat

away from the ruffian on Lake Biwa.

42

CUTTING EDGE

sukahara Bokuden (1489-1571)

was a famous swordsman of the
early Sengoku period. He was
born into the Yoshikawa family within
the Hitachi Province of Honshu. The
family was one of four Kar families
serving the Kashima clan; one of the
cadet branches of the Imperial House
of Japan (descendants of the Imperial
Prince Kazurahara (786853). Bokuden
was adopted by the Tsukahara family,
an offshoot of the Kashima clan.
Bokuden learned the Tenshin Shden
Katori Shint-ry from his adopted
father and later honed his skills by
engaging in musha shugy (warriors
ascetic training), traveling throughout
Japan and training with most of the
skillful and knowledgable swordsmen
of the day. Tsukahara Bokuden was the
classic knight-errant; a rich nobleman,
travelling the Japanese countryside,
very often with a full entourage.
He went on to later systemising
the teaching of the Kashima areas
local martial arts, including such
approaches to combat as Kashima
no tachi and Ichi no tachi, after
allegedly receiving a divine inspiration
from Takemikazuchi
no kami, the deity of
Kashima Shrine; naming
his martial system as
Kashima Shint-ry,
though for a brief
period, he asle called his
system Mutekatsu-ry
(winning without hands).
Bokuden took part in 39
battles and 19 duels with
a live blade, never once
being injured.

In one famed story, Bokuden was

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

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

CUTTING EDGE

43

BUSHI OR GOSHI

Hereditary or paid for?

A relaxed Ryoma Sakamoto

In difficult times, it seems anything can be bought or sold.

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

CUTTING EDGE

The mountaineer: harsh, intolerant,

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

The ruling family was Yamauchi,

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

Ryoma Sakamoto

Shintaro Nakaoka

Due to problems maintaining and

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

45

BUSHI OR GOSHI

These fives ranks provided the

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

with subordinating baillifs (Daikan)

with the village heads.

Commissioners General (Bugyoshoku): three high ranking retainers

with ultimate authority and
responsibility.

These magistrate posts were only

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

Assistant Ministry (Shioki-yaku):

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

CUTTING EDGE

The main ranks of the late-Tokugawa

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

Regular Samurai (Hira-zamurai):

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

DID YOU K

NOW?

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

The last four ranks, received modest

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

loyal Chosogabe retainers, and from

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

...it was made known that,

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

following the rules laid out in 1690,

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

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47

Slow, fast, faster: the usual

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

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shape of Gagaku, Kabuki, Noh and

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

... if Budo parallels life,

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

SLOW, GROW, WHAM!

So. So far the concept of Jo-ha-kyu

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

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49

50

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51

TEA CEREMONY

he tea ceremony, or the Way of Tea, is a

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

CUTTING EDGE

Tencha, in which powdered Matcha

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

Culture, centred around the elegant

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

The Japanese tea

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

profundity, imperfection, and

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

in tea ceremony, followed his master

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

Murata Juko is known in Chanoyu

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

DID YO
KNOW U
?

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

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53

WHY TAKE NOTES?

Everyone has an opinion. Especially when it comes to the

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

The Book of Five Rings (Go Rin No Sho)

Source: Eisei-Bunko Museum
54

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Notes. Take notes, and lots of them.

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

But note taking I feel, is part of the

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

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55

By Nigel Kettle BSc(Hons)Ost

GOsC Registered Osteopath

ACHILLES TENDONITIS

Achilles Tendonitis

he Achilles tendon attaches the posterior muscles

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

The Achilles tendon is one of the

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

56

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approximately a quarter the length of

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

What shouldnt you do?

Avoid training and long periods of
standing. Also avoid activities which
would cause an increase in blood flow
and swelling such as warm showers,
heat pads and alcohol/heat rubs.
Could there be any long-term
effects?
If left untreated this could cause the
tendon rupture or tear. A rupture
would require surgery and a long
period of non-weight bearing until
the tendon has healed. After surgery
there could be relapses. Partial tears
can be helped by your local
physiotherapist or Osteopath but will
mean several weeks off from activity.

Alternative stretches can be seen below.

Both dont require a wall and can be done anywhere, and should be
done before practice and as a cool down after practice.
Dont force a stretch!

What can you do to avoid it?

Stretching can help avoid placing the
tendon under ongoing strain.
Exercise
Assume a position facing the wall,
one foot forward, and the front toes
just touching the wall. The calf to be
stretched is the rear leg, the foot is
about 24 inches back from the front
one, with both feet pointing directly
at the wall in front.
Bend your front knee, keep the rear
leg straight at the knee and lightly
push the rear heel down toward the
floor so that you feel a stretch in the
calf (See top diagram opposite).
Hold for 20 seconds, repeat five times
for each leg.
www.jointandback.com
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57

REVIEWS

Books

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

The Last Samurai

Book launch in London

Spirit of the Sword

Rating

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

Rating

At the launch was Gary D Williamson

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

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

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

Kurikara

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

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

Rating

Published by Blue Snake Books

ISBN: 978-1-58394-244-4

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

Rating

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

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

58

The Spirit of the Sword by Nakamura Taisaburo,

translated by Gavin J. Poffley.
Published by Blue Snake Books ISBN: 978-1-58394-542-1

Love and Honour

16.71 from Amazon.

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

CUTTING EDGE

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

Rating

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59

Organisations and governing bodies

from around the world
ORGANISATIONS
AFRICA

EUROPE

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

European Iaido Association

www.europeaniaidoassociation.com

ASIA PACIFIC

Andorra
FADKEN Federaci Andorrana de Kendo
www.kendo-andorra.org

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

European Kendo Federation

www.ekf-eu.com

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

AMERICAS

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

Argentina
Federacin Argentina de Kendo
www.kendoargentina.org

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

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

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

Brazil
Kendo Brasilia
www.kendo.org.br

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

Instituto Niten
www.niten.org.br

Ireland
The Iaido Association of Ireland
www.iaido.ie

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

Norway
NKK Norges Kendo Komitee
www.kendo.no
Poland
PZK Polski Zwiazek Kendo
www.kendo.pl
Portugal
APK Associao Portuguesa de Kendo
www.kendo.pt
Republic of Macedonia
MKIF Macedonian Kendo - Iaido Federation
www.kendo.org.mk
Russia
RKF Russian Kendo Federation
www.kendo-russia.ru
Serbia
SKF Serbian Kendo Federation
www.kendo.rs
Slovakia
SKF Slovak Kendo Federation
www.kendo.sk
Slovenia
KFSLO Kendo Federation of Slovenia
www.kendo-zveza.si
Sweden
SB&K Svenska Kendofrbundet
www.kendoforbundet.se
Switzerland
SKI Swiss Kendo + Iaido SJV / FSJ
www.kendo.ch
The Netherlands
NKR Nederlandse Kendo Renmei
www.nkr.nl
Turkey
TKC Turkish Kendo Association
www.kendo-tr.com
Ukraine
UKF Ukraine Kendo Federation
ukf.org.ua/?lang=en
United Kingdom
BKA British Kendo Association
www.kendo.org.uk
MIDDLE EAST
Jordan
JKC Jordan Kendo Committee
www.jkcjo.com

Israel
IKBF Israel Kendo & Budo Federation
www.ikbf.co.il
Italy
CIK Confederazione Italiana Kendo
www.kendo-cik.it
Latvia
LKF Latvian Kendo Federation
www.kendo.lv
Lithuania
LKA Lithuanian Kendo Association
www.kendo-lka.lt
Luxembourg
LKA Lithuanian Kendo Association
www.kendo-lka.lt
Malta
Classical Budo Malta
www.classicalbudomalta.org/iaido.html

LET US KN

OW!

If your orga
nisation is
not here, o
r the detail
s
are wrong,
the let us
know and w
e will make
the amend
ments
or addition
s.

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