Kobudokai Australia

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School of old-style Jōjutsu and Kenjutsu (Japanese Swordsmanship - incorporating Nitojuku.com)

Brisbane school of Japanese Sword & Weapon Arts - Kenjutsu, Jōdō, Tanjō, Jutte & Kusarigama. Koryū Dōjō dedicated to the traditional bugei of Shintō Musō-ryū jōjutsu, Shintō-ryū kenjutsu and Niten Ichi-ryū kenjutsu.

Japanese Swordsmanship Seminar - Brisbane 01/09/2021

For more information and future Seminar schedules please visit our Dōjō webpage.

Japanese Swordsmanship Seminar - Brisbane Learn traditional Kenjutsu as well as Musashi two-sword methods and techniques...

The ‘Kihon’ of Uchikomi & Kiriotoshi 11/12/2020

何事も「基本に勝る奥義なし」と言われるが、神道夢想流杖においても同じである。
It's said that in anything there's “no secret techniques better than Kihon”, and this is the same in Shintō Musō-ryū Jō.

The ‘Kihon’ of Uchikomi & Kiriotoshi In SMR Jō, Hikiotoshi is one of the secret techniques, and when I first came to understand it I felt that Kiriotoshi of Kenjutsu is also a secret technique.

06/08/2020

Our Nitōjuku specific subpage - shared and pinned for convenience.

Nitōjuku - 二刀塾 Please visit Nitojuku.com to learn more....

09/03/2020

Picture of a Nito-ryu technique from a 1661 Densho document.

Offensive or winning efficacy of the short-sword in Nito-ryu - where did it go?

From my Niten Ichi-ryu training with Iwami Toshio soke I was admonished that the Nito Seiho's primary focus is really about learning and acquiring the skill to use a single long-sword in just one hand to strike or win against an opponent. And within the outward transmission of the five Nito kata, the short-sword is exclusively used to parry or control the opponent's long-sword so you can strike with your own long-sword - in other words, the short-sword's function is as a defensive or parrying weapon.

Furthermore, as a starting point of learning Nito usage, it's sensible to remain on the outside of an opponent’s ma-ai and therefore just apply the offensive or winning efficacy of the long-sword. Also, the long-sword is generally suited to all situations. So, within the context of that focus, the riai and kata being transmitted is cohesive and purposeful.

However, when I became a direct-student of Ishida Hiroaki shihan, I came to realise through his teachings that there's a lot more to Nito-ryu than I had recognised, perhaps due to my own immaturity or inexperience as a student at that time (and not as a reflection of my prior teacher or teachings, I must point out). It was just the focus was different; not better or worse - just different.

From training with Ishida sensei, I was taught that the left short-sword side was also important, offensively, like the right long-sword side.

In that regard, the short-sword's reach when held extended by one hand is basically the same distance as a traditional long-sword held with two-hands, and the single long-sword held in one hand has an effective reach greater than that of a long-sword held in two hands. Yet, when used in concert, the short- and long-sword held in each hand do cover the entire range of ma-ai that is from the inside through to the outside of the opponent's ma-ai when treated from the prospective offensive or winning efficacy.

As an aside, in this way, the use of dual-swords shares a similar and deceptive riai as Shinto Muso-ryu's Jo, which allows a user to take an obvious advantage of the full length of a 128cm weapon over a swordsman by working on the outside the opponent's ma-ai yet by moving down the Jo to the middle or to the other end, the weapon still remains effective right up to body-to-body distancing as you enter inside the opponent's ma-ai.

Therefore, the short-sword and long-sword of Nito-ryu can also freely adapt, situationally, to any distance, timing, and direction of their opponent's attack albeit with the use of two weapons simultaneously compared to an innovative single weapon like the Jo. Additionally, the cutting or thrusting functions of either sword still remain effective regardless of the ma-ai, and whether you have entered inside, or remain outside the opponent's ma-ai.

What Ishida sensei taught in that regard was that one must learn to control the left and right side in the same way, in both attacking and parrying (offense and defense), while using two swords simultaneously and interdependently. And that the dual swords - from the perspective of left and right, or short and long - should be treated more equally rather than being entirely dominant on just one side from an offensive and/or defensive perspective.

Perhaps this viewpoint of focus was because Ishida sensei, in addition to being a menkyo-kaiden in Niten Ichi-ryu, was also a menkyo of Enmei-ryu, which has a direct connection to the earlier through to middle teachings of Musashi's Nito-ryu, and still has some offensive efficacy of the short-sword.

Anyway, the following image is from a 1661 Densho document of a deshi of Musashi, named Aoki Joemon Kyushin (* see below), and it clearly illustrates the offensive application of the short-sword. The kanji can be read as Muikken (Dream One/Single Blade/Sword) for those that may be interested.

Within the same denshō, there are other illustrations of short-sword offensive techniques while the long-sword is parrying. This also illuminates, in my view, that there was once more offensive or winning use of the short-sword within earlier Nitō-ryū transmissions.

Further, Yonehara Kameo sensei, a menkyo-kaiden of Aoki Kikuo 8th sōke of Santō-ha HNIR, has also stated publicly in the video we subtitled that the left-hand is vital in Nitō-ryū's ultimate teaching (gokui). This would appear to imply, from the outward nature of what is being transmitted in modern times, that this gokui is the use of the short-sword for defensive or parrying purposes primarily, in which one is limited to using the outside ma-ai to strike or win with the long-sword exclusively.

In the end, what I personally have come to truly appreciate from Ishida sensei's teachings is that, ultimately within Nitō-ryū, there's also a wealth of offensive or winning short-sword riai available. These then, do make available for use a wider and deeper gamut of Nitō techniques which, for example, can be utilised to take the initiative from a mutual chūdan-no-kamae awase (coming together) without concern. And, also assist in manipulating, restricting or striking an opponent in an effective way through the complete range of ma-ai and de-ai, and against the full directional variety of an opponent’s attack.

Of course, this does require the ideal use and focus of both left and right sides in attacking and parrying with the short- and long-swords, and by not completely separating their functions or roles. Or, put another way, to win with the short-sword as well as the long-sword or be ready to win with all the weapons.**

~~~~~~~

* There is a sibling connection between the Aoki and Miyamoto (Hirata) family (from the generation of Musashi's grandfather, the founder of Enmei-ryu). The Aoki descendants were also successors of both Enmei-ryu and Tori-ryu. According to Bushu Denraiki written by Tachibana Minehira, a 4th generation successor of Niten Ichi-ryu, Aoki Joemon had been a former student of Musashi's father (Munisai) first, receiving a license of transmission, and then Musashi's student.

** In the Scroll of Earth, Musashi states: "To be ready to win with all the weapons - that is the essence of my school." - Miyamoto Musashi: His Life and Writings: Kenji Tokitsu, 2006.

19/09/2019

Short clip of some Shintō-ryū Kenjutsu Kata from our recent Matsuri Brisbane demonstration.

16/09/2019

A couple of Kata from our Shinto Muso-ryu Jojutsu demonstration at 祭ブリスベン Matsuri Brisbane

11/09/2019

60 second photo snapshot of our 祭ブリスベン Matsuri Brisbane demonstration.

Many thanks to the Organisers for their earnest effort in the local promotion of the Japanese spirit and culture, and our Dojosei for their participation on the day too.

Seikōan 31/05/2019

A couple of photos from Hamaji sensei’s home dōjō “Seikōan”. Undeservingly, yet gratefully, being a little spoilt with two shihan for keiko, sharing their combined insights and knowledge from training in Shintō Musō-ryū Jōjutsu for far longer than I have been alive.

26/05/2019

Aijokai Shinto Muso-ryu Jo embu from 2011 at Atsuta Jingu, featuring Tomita Takashi shihan (shidachi) and the late Ishida Hiroaki shihan (uchidachi).

28/04/2019

Today it has been 2 years since my mentor passed away. I express my deepest gratitude for the great favour bestowed upon me during his lifetime and the Yoin he has left with me. I sincerely pray for his soul to rest in peace.

我が恩師のご逝去後、本日で2年が経ちました。ご生前のご高配と先生が私の中に遺して下さった余韻に、深く感謝を申し上げます。先生の御霊のご平安を心よりお祈りしております。

24/02/2019

"This interview was turned into a book, only forty-one pages, first in Japanese and now in English, one I consider to be the single most important work for anyone interested in koryū bugei." Ellis Amdur

Shinto-muso-ryu Jo No Hinkaku
(The Dignity of Jo)
Original version published: August 25, 2008
English version published: September 1, 2010
Publisher: Mitsuo Hamaji
Publishing Organization: the Aijokai
Office: Takashi Tomita
Editor: Hiroaki Ishida

【 Regarding the publication of Shinto Muso-ryu “Jo no Hinkaku”. 】

Amongst the belongings of the late Gerald Toff a tape recording of an interview with the late Hamaji Kouichi shihan (first generation head of Aijokai) has recently been found, collated in the form of a manuscript with permission from his wife, and has reached the stage where it can be published as “Jo no Hinkaku”

According to the records, the tape was taken at the home of Hamaji Kouichi shihan, on 3rd January, 1977.

Mr. Toff was also a member of Aijokai and, while working as a university professor, was well known both as a Kobudo researcher and as commentator on a Sumo documentary aimed at the overseas market, airing on NHK's free-to-air network.

In this book are glimpses of Hamaji shihan as one who has studied Jo through both the Meiji and the Taisho eras, living in the style of a Bushi. He talks on the history of the spread of Shinto Muso-ryu jo and the teachers who worked towards it. Also mentioned are his requests to those who will pass on Jo to the next generation.

In order that those who will go on to hand down Shinto Muso-ryu jo, starting with ourselves, are not pushed along by the present age and in aid of them considering once more what the transmission of Budo is, this book is a work that will certainly become an important reference for the present generation.

I hope to contribute to the continuing growth of jodo by introducing this book to the many practitioners studying Budo with the same fervour as enthusiasts of jodo.
                                   
Hamaji Mitsuo, President of Aijokai, 25th August, 2008.

~~~~~~~~
For more information and how to purchase please visit -
https://kogenbudo.org/shinto-muso-ryu-jo-no-hinkaku-the-dignity-of-the-jo/

Kobudokai Australia - Update
"In remembrance of Hamaji Kouichi shihan [濱地光一師範を偲ぶ] by Ishida Hiroaki", can also be found on our Kobudokai Australia website;
https://www.jojutsu.com/articles.php

14/02/2019

[Also below is one of Ishida sensei’s keiko journals regarding Kuritsuke]

In this video, the late Ishida sensei is illuminating the riai (underlying rationale) of his kuritsuke waza, as well as demonstrating the subtlety of body and jo movements in the application of it on uchidachi.

In keiko, Ishida sensei continually taught that the proper ex*****on of the kuritsuke series of waza, like numerous other waza in Jo, involved the utilisation of an essential principle contained within Aun (i.e. opening & closing of the armpits and associated retraction & protraction of scapulae along with proper breath).

There is also a fine nuance to Ishida sensei’s use of the tachi in the kuritsuke series, within kata, that may not be initially apparent. In his teachings uchidachi is not passive and always initiates a very subtle sword movement to allow shidachi to utilise go-no-sen properly while doing kuristuke, kurihanashi and taiatari.

In fact, Ishida sensei had specific sword movements to shift the jo from aiming at the eyes for katageiko that represented counters for uchidachi against shidachi’s intended attempt to thrust the face, which, of course, never actualises.

There were different sword movements for kuritsuke, kurihanashi and taiatari, to which shidachi would then apply their waza with go-no-sen.

Taken further, even with the first type of kuritsuke in chudan that appears in ichiriki and oshizume, when shidachi has entered, spun and is under the tsuka with their back to uchidachi, Ishida sensei wasn’t passive through shidachi’s rocking/sliding away, semi-rotating/twisting and escaping back out/pinning sequence.

He would initiate two interesting sword movements in quick succession to provide the riai for shidachi’s waza and taisabaki in those particular kata sequences, before moving into the usual push-cutting variations for uchidachi.

Those active uchidachi sword movements within the ichiriki and oshizume kata not only provided a complete and logical explanation for shidachi’s resultant waza and taisabaki, they more importantly allowed these kuritsuke sequences to be performed and practiced with go-no-sen as well.

There were also initiated sword movements for the other kuritsuke variation found in other kata, like shinshin, as well.

Anyway, in the following keiko journal, published on Facebook for his students, you might also come to realise that the opening movement of our practice for the kuristuke series is likely a bit different, in that we actively target and strike the kote (back of hand) with the jo in a lowered position during the initial side-step.

Following which we utilise the whole body to adjust the tip to aim at the eyes when entering deeply with the alternate foot and raising the jo to the forehead all at the same time.

So even within our kihon practice, for example, we’re not catching uchidachi’s tsuka in-between the hands with our right foot already forward and jo raised to the forehead, and thereafter adjusting the tip to aim towards the eyes with a levering action of the rear arm.

The above commentary and included translated keiko journal below are riai and kuden connected to Ishida sensei’s teachings and kata, from Shimizu-ryu Nishioka-ha.

There were also some differences between what Nishioka sensei taught in Nagoya and elsewhere, which is representative of the true nature of koryu transmission; ten different students, ten different arts.

Additionally, we’ve also been exposed to teachings from Shimizu-ryu Hamaji-ha, that come from Ishida sensei’s first teacher Hamaji Kouichi shihan, in which there is almost no emphasis to aim at the eyes in kata (most but not all).

In this case, the tip of jo is left wherever it lands, and kuritsuke is immediately applied without any delay or adjustment to where the jo is pointing.

Using these above-mentioned differences in those two lines of transmission, albeit from Shimizu shihan’s last and first menkyo respectively, each still has its own reasoning and objective. In fact, each has its own merit depending on the circumstances and other factors.

Therefore, Ishida sensei’s keiko journal below, like the other journals we have published on our timeline, is not intended to be taken or considered as gospel but rather just a little insight or glimpse into my late teacher’s thinking and methodology for those that maybe interested.

Ishida sensei’s particular overall teaching focus was to create and enable an enlivened uchidachi within katageiko to proactively provide shidachi the opportunity to acquire, in his definition, “a living jo”.

稽古日誌 1月25日
25th January

繰り付けの動作も中々難しい様である。
The movement in kuritsuke is rather difficult it seems.

切り掛かる打太刀に対して、左足を左に捌き、杖尾で打太刀の手の甲を打ち、右足を前方に出しつつ、甲手を打った杖先を打太刀の目に付けて攻めるのを、打太 刀はこれを嫌って左方に外すのに従って打太刀の重心を崩す様に繰り付ける技であるが、繰り付けた際、杖は直ちに杖を返して打太刀の顔に当てるので、打太刀 はこれを避ける為、遠位の足(後足)を先ず下げなければならないのである。
Moving the left foot to the left, striking the back of the uchidachi’s hand with the tail of the jo, then moving the right foot forward while putting the tip of the Jo that struck the kote to the uchidachi’s eyes. Uchidachi then dislikes this and takes the tip of the Jo off towards his left, and the waza is to apply kuritsuke to it and break uchidachi’s centre. It must be the far foot (back foot) of uchidachi that should go backward in order to avoid the jo that is reversed and aimed at striking the uchidachi’s face immediately when completing kuritsuke.

ここで打太刀が杖に逆らって頑張って居たのでは理に反することになる。打太刀は常に柔らかく遣わなければならない。
It’s contrary to the correct way things should be conducted if uchidachi holds his ground and withstands against the Jo in this part. Uchidachi should always be soft and flexible.

西岡先生もこのことを常に仰られて居たし、やって見ればすぐ分かることである。
Nishioka sensei always said this and you would understand it right away if you try.

また、繰り付ける際は必ず後の先でなければならない。
Also, it is also important that it should be always go-no-sen when doing kuritsuke.

打太刀が杖先を嫌って動かしたところを繰り付けるのである。
You initiate kuritsuke when uchidachi dislikes the tip of the Jo and moves it.

杖が先に動いたのでは、打太刀に後の先をとられてしまう。
If the jo moves first, uchidachi will take go-no-sen against it.

この表裏が常に変転する自在な遣い方を会得しなければ生きた杖にはならない。
It will not become a living jo unless you master those usages that freely change constantly in between omote and ura.

このことをシッカリ心得て稽古したいと思う。
I would like to us to be thoroughly familiar with this in our practice.

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