Strategy in Amatai no Shugo-ryū (Part 3)

     One might well ask, “What is the difference between strategy and tactics, or between tactics and technique?”  Well, they are each distinctively different; yet, they also go hand in hand.  Remember, we have defined strategy as a plan of action that is intended to accomplish a specific goal.  Tactics can be defined as a procedure, or a set of maneuvers which one engages in to achieve a particular end or goal.  So then, strategy refers to one’s general plan of action and one’s tactics are the methods used in order to accomplish the plan.

      Methods can be categorized even further into techniques.  Techniques, with practice, will instill in one the intuitive response that will enable one to act within a tactical frame of mind and efficiently accomplish their strategic goals through the interaction of the sword.

      As mentioned above, strategy, tactics and techniques go hand in hand and thus, often overlap.  It is important to keep in mind however, the distinctions between them.  Too illustrate, let us consider a reaction to a straight, downward strike with a katana.  The basic goal, the strategy, is to cut the opponent without being cut.  There are numerous ways to accomplish this particular goal.   One tactic that could be employed to achieve this end would be to move to one’s side, then counter strike.  A technique which could be utilized to do this would be for one to step forward and to the right with the right foot, whle rasing one’s sword overhead; then pivot back and out of the way with the left foot while executing a downward cut or lateral, decapitating strike.

      Strategy then, is something that is accomplished by means of tactics, which in turn, consist of techniques.  By being aware of the different facets of each encounter, one allows themselves the opportunity to focus their attention in such a manner that the effectiveness of one’s training is taken full advantage of.  By examining an encounter in broad terms, one can determine their goal.  By narrowing one’s perspective, one can then determine what tactic(s) best suit the accomplishment of that goal.  Having done so, one should then select the techinque0s) which will make up the tactics and then practice them until they are literally done without conscious thought:  automatic or intuitive.  Practice, however, does not stop there.  One needs to practice and practice more until one’s reflexive abilities and knowledge are such that we perform them at the very instant they are needed.  One might consider it in this way:  one’s goal is reflexive abilities and knowledge that “kick in” automatically the second they are required.  The tactic to accomplish this goal is study and practice of the techniques we are taught.

      As will be discussed later, the value of all of this extends well beyond the walls of the dojo.  If one pursues their goals in this exact manner, one can accomplish great things and have a significant and pleasing upon their character.

     

Copyright 2009 by Hayato Tokugawa and Shisei-Do Publications.  All rights reserved.

Strategy in Amatai no Shugo-ryū (Part 2)

To cut the opponent while avoiding being cut is in one sense largely external, because it depends, in part, on technique and strategies which are taught and learned.  The second goal, to progress in the direction of perfection of character, is more internal, as it comes from within each of us; yet, it is equally as valid.  Both of these objectives are keys to the proper practice of the art of swordsmanship and every subsequent goal is derived from them.

      To cut an opponent while at the same time not being cut is, as noted above, a largely external goal.  It relates to one’s physical actions as well as to those of their opponent.  If one thinks about it, however, “to cut an opponent while not being cut” is also a theoretical goal, in that in modern Japanese society, we do not typically use the katana as a weapon.  The modern trend is to place far less emphasis on the killing ability of the katana and instead focus on its character as a tool by which one adds or modifies character and self-discipline.  It is however, necessary to keep in mind the true, fighting purpose of the katana.  One must maintain a concept of the practical reasons for the art of swordsmanship; thus anchoring one to a sense of martial practicality.  Each decision one makes; how to hold a sword, how to stand, how to move, how to think; must be based on the actual principles of fighting with the katana; otherwise one’s actions are no longer fixed in the art and its traditions.

      Within our dojo, “to cut an opponent while not being cut” is taken quite seriously, both in discussion of tactics and techniques, as well as in practice.  Wearing full bogu[i], it becomes a practical matter of not being “whacked” by bokken or shinai – both potentially a painful experience.  The intent of such a practice, among others, is not a competition, but rather to take matters one step further in providing a real, tangible means of fixing in one’s mind in the true, practical aspects, traditions, and history of swordsmanship.

      The perfection of character, an internal end, relates directly to the state of one’s mind and spirit.  It is equally a real goal although difficult to achieve.  It is possible through practice to improve one’s awareness, thought patterns, self-discipline, even one’s integrity and ability to live harmoniously within the community, in keeping with the principles of Wa-Dō.  Granted, there is no actual need to develop the skills of sword fighting; yet, there does exist a true need for one to refine themselves and to work toward the betterment of themselves and their community.

      The more one follows their quest to accomplish the first goal, the more one makes press along the path to the second.  Time spent well in practicing kata, in drills, and in other training with the sword, the more the internal goals are achieved.  Therefore, when one speaks of strategy, one addresses both the most successful ways to use a sword and the most effective ways to utilizing swordsmanship to fashion one’s spirit.

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[i] Bogu (防具) is the specially developed protective armor used in Japanese martial arts, particulary in Kendō.  A complete set consist of: men (面), the facefask and shoulder protector or helmet; the dō (胴) or torso protector; the kote (小手) or hand and forearm protectors (long, extended gloves); tare (垂れ) the leg and groin protector.

      The men which protects the face, neck and shoulders, consists of a facemask with several horizontal metal bars, running across the entire width of the face, from the chin to the upper forehead. To this is attached a long, rectangular, thick cloth padding, which curves over the top of the head and extends to cover the shoulders.  A plate to protect the throat is also attached to the bottom of the facemask.  The men is held in place with a pair of cords, which wrap around the head and are tied at the back.  Note that the men is left open for ventilation and thus the back of the head is left unprotected.  This is primarily due to the fact that there is no prescribed nor permitted stroke to the back of the head.

      The main component of the dō is the curved stomach and chest protector.  In its modern form, the dō has a distinct bulge, which helps convey the force of a strike away from the soft, middle areas of the torso.  Lacquered bamboo has traditionally used however, molded plastic or fiberglass is now frequently used instead.  The dō is held in place from the shoulders by two diagonal ties from the shoulders and a small set of ties at the back.

      The kote are gloves that resemble long-sleeved mittens, designed specifically for Kendō.  While they look cumbersome, they indeed provide a high degree of mobility for hands and writs in gripping in gripping and wielding the shina (the traditional split bamboo “sword” of Kendō.

      The tare is a thick, padded, cloth belt that wraps around the waist and ties under the front flap.  The padded flaps that hang from the belt protect both the upper legs as well as the groin area.

Strategy in Amatai no Shugo-ryū (Part I)

      Saya no uchi.  Saya no uchi no kachi.  Victory with the sword still in the scabbard.  The words almost shout at the swordsman, exhorts him, to remember that physical combat is always the last resort.  No matter how confident one may think they are, how many techniques they may know, a master of strategy will always find a way to win without fighting.  This is a  message that is not unique to our dojo; rather, it has been passed down through the ages.

      Sun Tsu once said:

      To fight and conquer in all your battles is not supreme excellence;

Supreme excellence consists of breaking the enemy’s resistance without fighting.

Did not Miyamoto Musashi make this a central point of his Go Rin No Sho, The book of the Five Rings?  Did not Yagyū Munenori, founder of the Edo Branch of Yagyū Shinkage-ryū from which Amatai no Shugo-ryu draws so much, preach this very thing time and again?

      The path to mastery of Amatai no Shugo-ryū, Yagyū Shinkage-ryū, or any form of Kenjutsu is long indeed.  Before anyone can achieve success by virtue of intellect or willpower, they must have a deep understanding of the principles of swordsmanship and of a nature which will allow them to act in keeping with those principles.  One can only acquire this through constant, long-term practice and the study of strategy; which includes the old texts by those Musashi and Yagyū Munenori, among others.

      Simply put, strategy is a plan of action with the intention of accomplishing a specific objective.  A true swordsman practices his art with two very definite objectives in mind:

n     To cut the opponent while avoiding being cut.

n     To progress in the direction of perfection of character.

To cut the opponent while avoiding being cut is in one sense largely external, because it depends, in part, on technique and strategies which are taught and learned.  The second goal, to progress in the direction of perfection of character, is more internal, as it comes from within each of us; yet, it is equally as valid.  Both of these objectives are keys to the proper practice of the art of swordsmanship and every subsequent goal is derived from them.

The Japanese Concept of Nature (Nihonjin no Shizenkan)

      The basic meaning of the word shizen, commonly translated as nature, may be regarded as the power of spontaneous self-development and its results, in keeping with the kanji used to represent the concept, which in themselves mean from itself, thus it is:  it is an expression of the state of being, rather than the existence of some natural order.  Interestingly, the word shizen is not found in archaic Japanese as a term for nature, which would indicate that the ancient Japaneswe people recognized natural phenomena as manifestations of the kami[i].  The terms ametuchi (heaven and earth) and ikitoshi ierumono (living things) served as the closest archaic terms for nature.

      One interpretation of the Nihon shoki (c. 720 A.D.) holds that the first children of the primeval couple Izanagi and Izanami were not kami  like their parents but rather islands; thus, human beings were not considered to be either superior or in opposition to nature as is common to Western notion of the relationship of man and nature.  Rather, the lives of men were seen to be embedded in nature; that is, part of nature itself, as frequently expressed in numerous Japanese cultural and art forms such as Zen painting, sumi-e brush painting, cha-no-yū (the tea ceremony) and ikebana or the art of flower arranging.

      In nature, both subject and object are fused into a single reality, something frequently demonstrated in haiku.  The Western concept of nature, a natural order, did not exist in Japan until the opening of Japan to Western ideas and influence in the Meiji Era




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[i] Kami (神 ), most simply defined are all-powerful entities worshiped by people.   It is the Japanese word for the spirits, natural forces or essence, common to Shintō, found in the oldest written Japanese record of creation, the Kojiki (c. 712 A.D.) 

Copyright 2009 by Shisei-Do Dojo and Shisei-Do Publications.  All rights reserved.