KINDNESSES UNEXPECTED

Kindnesses Unexpected

In 1891, Lafcadio Hearn made a voyage to the Oki Islands or Oki-shotō (隠岐諸島), a group of volcanic, one hundred miles west off the western coast from Izumo and Shimane Prefecture.  As he put it, “Not even a missionary had ever been to Oki, and its shores had never been seen by European eyes, except on those rare occasions when men-of-war steamed by them, cruising about the Japanese Sea.”  It was here that he experienced some not-so-small kindesses and surprises.

     “On the morning of the day after my arrival at Saito, a young physician called to see me, and requested me to dine with him at his house.  He explained very frankly that, as I was the first foreigner who had ever stopped in Saigo, it would bring much pleasure both to his family and to himself to have a good chance to see me; however, the natural courtesy of the man overcame any hesitation I might have felt to gratify the curiosity of strangers.  I was not only treated delightfully at his beautiful home, but actually sent away with presents; most of which I attempted, in vain, to decline.  In one matter, however, I remained obstinate, even at the risk of offending:  the gift of a wonderful specimen of bateiseki (a substance which I shall speak of later).  This I persisted in refusing to take, knowing it to be not only very costly, but very rare.  My host at last yielded; but afterwards, secretly sent two smaller specimens to the hotel, which Japanese etiquette made it impossible to return.  Before leaving Saigo, I experienced many other unexpected kindnesses from the same gentleman.

     “Not long after, one of the teachers of the Saigo public school paid me a visit.  He had heard of my interest in Oki, and brought with him two fine maps of the islands made by him, a little book about Saigo, and as a gift, a collection of Oki butterflies and insects that he had also made.  It is only in Japan that one is likely to meet with these wonderful exhibitions of pure goodness on the part of perfect strangers.

     “A third visitor, who had called to see my friend, performed an act equally characteristic, but which also pained me.  We squatted down to smoke together.  He drew from his obi a remarkably beautiful tobacco pouch and pipe case, containing a little silver pipe, which he began to smoke.  The pipe case was made of a sort of black coral, curiously carved, and attached to the tabako-iré, or pouch, by a heavy cord of three colors of braided silk, passed through a ball of transparent agate.  Seeing me admire it, he suddenly drew a knife from his sleeve, and before I could stop him, severed the pipe case from the pouch and presented it to me.  I felt almost as if he had cut one of his own nerves apart when he cut that wonderful cord; and nevertheless, once this had been done, to refuse the gift would have been rude in the extreme.  I made him accept a present in return; but after that experience, I was careful never again, while in Oki, to admire anything in the presence of its owner.”

     Even now in the 21^st century, if one will take the time to meet people, and to experience the true Japan, he too is bound to experience such amazing kindness, which seems so lacking elsewhere in the world.


*Print by Mishima Shoso (1856 - 1926) titled Sparrow Grand-pa (c. 1900) illustrating a Japanese folktale about an honorable old man who rescued a sparrow (suzume).  later, he was invited to the village of sparrows and given a box of gifts.

JAPANESE AESTHETICS: Plants in the Visual Arts (Geijutsu to Shokubutsu)

The graphic or illustrative arts in Japan traditionally have relied on the sensitivity of the artist to nature and thus, have been likely to be simple, compact, and modest, yet elegant.  Traditional renderings of landscapes, for example, do not display the wide range of colors that is seen in Western oil paintings or watercolors.  This same simplicity and grace applies to sculpture as well:  delicately carved and small in size.

Plants, flowers and birds, or at least their outlines are frequently rendered in lifelike colors on fabric, lacquer ware and ceramics.  The love of natural forms and an enthusiasm for the expression of nature in idealized style have been the key intentions in the development of traditional Japanese arts such as ikebana (flower arrangement, chanoyou (the tea ceremony), tray landscapes (bonkei), bonsai, and landscape gardening.  It is through these arts that the Japanese people have attempted to incorporate the beauty of nature into their spiritual values and daily lives.

For the decoration of a teahouse, a modest flower was selected to conform with the principle that flowers should always look as if they were still in nature.  The  Japanese have sought to express the immensity as well as the simplicity of nature with a single wild flower in a solitary vase.

Copyright 2010 by Hayato Tokugawa & Shisei-Do Publications.  All rights reserved.

Amatai no Shugo-ryū: Goals, Ki, and State of Mind

  

      Achieving our two essential goals in the practice of Amatai no Shugo-ryu, that is the cutting of an opponent while avoiding being cut and the perfection of character, require an keen awareness of both the physical and mental aspects of each interaction between training partners or opponents.  Equally important is the ability to feel the exchange of energy, ki, between the participants.  One’s state of mind is critical to this; for, a negative state of mind will interfere with one’s ability to achieve the purpose of each exercise in practice.   Anger, impatience and selfishness can limit one’s awareness and prevent them from determining their opponent’s intent.

      On the other hand, proper practice does have a significant, positive effect on one’s state of mind.  By putting one’s body and mind into action through the practice of kata and drills, while being focused on the key elements and asking one’s self questions about one’s strategy, the tendency is to disrupt anger and promote patience and cooperation.  Happiness, patience and cooperation:  all make the smooth flow of ki between training partners possible; therefore, each person is better able to react properly.

      The more one is able to live in the moment and put aside all irrelevant thoughts and respond intuitively to perceived subtle changes of strength or weakness, the more one is able to sense the ki.  To achieve such a state of mind is not easy; however, once one is really aware of the ki component in Kenjutsu, one can then begin to learn to control their attacker’s intent.

      This is a valuable goal and it is not by chance that the same qualities one develops in the dojo will help them to become better people outside.  Those who truly seek enlightenment, the “Way”, as Miyamoto Musashi put it, try hard to develop specific qualities within themselves:  to live within the moment, to put aside irrelevant thought, and to allow intuition to guide them to correct action.  As one studies Amatai no Shugo-ryū, they can attain a similar state of mind both inside the dojo and when they leave at the end of the day.

Strategy in Amatai no Shugo-ryū (Part 4): Strategies for 2010

      

     As we have seen, strategy is a plan of action that is intended to accomplish a specific goal.  Tactics are methods that one utilizes to achieve a particular end or goal; thus, strategy refers to one’s general plan of action and one’s tactics are the methods used to accomplish that plan.  Methods can themselves be categorized into techniques, which will enable one to establish the proper frame of mind and action that will lead to the efficient accomplishment of their goals.

      This is so vital to one’s success in the dojo and one’s success in Kenjutsu; however, with the new year of 2010, we should also be aware that it is these same things – strategy, tactics, techniques – which can play as equally vital a role in our daily lives as in the art of swordsmanship.  Let us look to Miyamoto Musashi for his insight into this “strategy for life.”

      In Go Rin Sho, his Book of the Five Rings, Musashi made two points concerning this.  First, that one must choose a goal before one can accomplish it; and secondly, the more difficult one’s goal is, the more effort they must put into achieving it.  Now, Musashi’s goal, one he established before even reaching his teens, was (even though perhaps unspoken) to become a great swordsman:  the greatest in Japan.  An extraordinary ambition for anyone let alone a youth in Sengoku Period Japan.

      There are probably few goals in modern life that could compare with the goals that Musashi set for himself; however, all accomplishment, all success starts with goals.  Musashi tells us to be ambitions in setting goals; ambitious goals will help one to focus their energies, abilities, and actions to their maximum effort.

      New years, it is said, is a time of resolution.  With the coming of 2010, we should reflect on our lives, what we have achieved and what we have failed to achieve.  We should take the time to think of what we want and can do in the coming year.  We should then take the time to form strategies, and determine the tactics and techniques that will enable us to achieve our goals and be successful; be it at our job, in our homes, with our families, or with ourselves.  Realistic goals, well-thought strategies, carefully selected tactics and techniques, should make 2010 a good year for us all.

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.