Wood and Steel

I finally purchased a Shindo Yoshin Ryu bokken from Tozando online. As you can see in the picture below it just so happens it is the same length as my custom made sword (which is quite long due to my height).

TSYR uses a sword with a longer tsuka (handle) and a deeper sori (curve), which in turn means the bokken must mimic this. In fact the dimensions of the blade determine how some of the kenjutsu techniques work.
Up until now I have been using a VERY old aikido bokken that was too short and had been taped in three places to prevent the blade splitting. Sensei has been kind enough to let me use a TSYR bokken that belongs to the dojo from time to time to allow me to improve my technique.
I'm looking forward to using the new bokken in 2014.

TSYR and aikido cross paths.

In the week just been my Sensei took Toby Threadgill and the other visitors from abroad to an amazing dojo found in the Coromandel, New Zealand. Three members from our branch also went. The Koru dojo was designed by an aikido practitioner called David Lynch and as far as I know there is nothing like it in the world.

Toby Threadgill Sensei with members of TSYR.

The dojo is surrounded by native New Zealand bush and has a unique roof. Over four nights this was their home. David and his wife made the kobudo group very welcome and the setting and hospitality impressed so much that it is likely the branch will visit there again. 

Battojutsu

Needless to say, I am extremely happy to see the two arts that I practice combining in the name of budo. It is times like these I realise just how lucky New Zealand is to have such quality in budo locations and practitioners. Despite being on the bottom of the world. 

What's wrong with aikido?

For years now, people have rubbished aikido by saying it isn't a practical martial art. I can see their point. But I think the Founder's aikido was very practical. So what has happened?

In this article:
http://www.aikidojournal.com/article?articleID=519

Todd Jones says the following about students of O'Sensei, "Yes, so they understood these things fundamentally. He didn't have to waste time teaching basics… they were either qualified to step into his dojo or, “Sorry, we don’t have time.” I think, partly because of that, aikido — the way it’s taught today - is built on an expectancy of those fundamentals; those basic skills should already be there. I see aikido as a high level, or graduate school, martial art. If you've done ten years of judo, or if you've done ten years of karate, or if you've done ten years of kendo… it’s very easy to step in and say, “Oh yes, I see.” This just makes training all that much easier, all that more efficient, all that much better."

Let's look at the implications of this. If aikido was originally taught to students who had come from other martial arts backgrounds we can assume they were already taught how to strike, use timing and understood ma-ai. 

Morihei Ueshibi then advanced them further with aikido. 

Now move forward to contemporary aikido and untrained people are walking off the street into that kind of training paradigm. Here, I believe the problems begin. 

Aikido as a set of principles and techniques is a solid martial art in my opinion. However, the training paradigm is wrong. 

I can speak from personal experience around this. I now study a kobudo with others trained in another martial art, most people on the mat are Dan-ranked in a gendai budo. The training is intense as every practitioner is competent in their ability to move their body around. Of course we have our strengths and weaknesses. The karateka strike well but have had to learn how roll and breakfall. I can roll about all day (coming from an aikido background), but must learn to strike correctly. Those trained in Judo find the body throws a piece of cake. 

If I was to take this experience and retrofit it to an aikido dojo, I'm sure the training would be very satisfying. Imagine a group of Judoka, karateka and kendo practitioners working through aikido techniques. Alas, this is simply not the case now. 

I think this would solve problems of colluision between uke and nage. It would stop problems around poor attacks and it would turn aikido back into a serious martial art once more. 

Enter the Kaicho...and his students!

I have just spent a weekend training with the headmaster of TSYR, Toby Threadgill. Now, he has been over to New Zealand quite a few times but never with some of his senior students in tow. We had the pleasure of training with Marco Pinto of Portugal, Brent Carey from Hombu Dojo, Colorado and Douglas Walker from Portland, Oregon. These three men hold Shoden teaching licences and could teach a seminar by themselves. 

How would I describe the two days I attended? EXHILARATING! 

We covered tanto disarms, kumitachi, taijutsu and kumi tanto. Just being on the receiving end of an attack from one of these guys is an experience. They bring another level of intensity to the training. 

Threadgill Sensei was at his best. His techniques were subtle and he took my centre so early in a technique that he had me from the moment of contact at times. Better still he had great ways of explaining how to do some of the stuff he was doing. 

The members of the Hamilton dojo are progressing as well. No matter who I had as a training partner on the mat, I was working with a competent martial artist. It made for a fulfilling experience.

So thank you to all those who stepped onto that mat over the weekend. My training was better for it.

The Long Slog Ahead...

I'm reflecting on the training I had last night. Sensei had me partner up with another member of the group to work through a set of kata involving the sword vs. O-tanto (large dagger). I had never done these techniques before and I'm the first to tell you my sword skills are probably the weakest of my TSYR skill sets.
Can you imagine facing a swordsman with your tanto hand outstretched as an obstacle. It sure doesn't feel safe at all. The shitachi needs very good timing and entering to make the techniques work. Add to that how tired I was last night and you get to see that the session ahead was demanding.

Its one of those moments when you tell yourself that this is what I signed up for in a koryu. Sometimes training is just hard. In that situation I was the weakest practitioner and had the most to learn. I felt incompetent and frustrated with myself at times. There is a long road ahead. Constant practice is the only thing that will allow me to progress along that road. This was only one kata set of many at this level of the curriculum. It is mind-boggling to think how we are going to practise all the different kata we know enough to progress. There doesn't seem to be enough time outside of family commitments and work. However, this is what I have signed up for.

Despite what I have written above. I count myself as lucky. Lucky to have the opportunity to study a koryu in NZ. Luck enough to have an outstanding martial practitioner as my sensei and lucky to have great training partners.

So, back to the mat and back to training.

Dean.

Koryu snobbery

I would estimate that only a small percentage of any country's population study martial arts. Then of that group only a small number may study koryu arts. This may make them elitist or exclusive. Due to this there has been a feeling out there among some people that the koryu practitioners look down at other Japanese martial artists. Perhaps even see them as inferior.

I have been reading a very interesting forum about this topic. Here is one response:

"Let me suggest that the koryu are "elusive" rather than "elitist" or "exclusive". I think this terms suits both the koryu schools and perhaps their teachers/exponents.

Are the Koryu dying? Well, one might think so. Much like European fencing or Viking axework, there is not much call for these skills in the modern era, and therefore not much interest in learning them.

As a result, the arts themselves are somewhat elusive because instruction of any kind, much less quality instruction, is so very difficult to find. Once found, legitimate koryu teachers/exponents are generally very particular about who they bring into the fold.

In my experience (primarily with Shinto Muso-ryu Jo), koryu exponents view their study and practice as stewardship of a great cultural asset which happens to be a martial art. As a result they take their practice and the choice of potential students/training partners/successors very seriously. This doesn't mean they are snooty or demeaning.

Again in my experience, seasoned koryu practitioners are very approachable and accessible to folks who respect their arts and take them seriously. Do they have strong opinions about people who without benefit of genuine experience, prattle on about koryu ... when perhaps these people should just keep their mouths closed? Sure, wouldn't you if people were belittling something you treasured?

To put it another way ... what if, instead of martial artists, we were discussing the rare folks who carry on traditions like the indigo-dyeing of Japan, the dulcimer music of Appalachia or the batik painting of India? If one were to seek these folks out and ask to learn their craft, they would almost certainly be met with the reserved caution we often see in koryu exponents and mistake for elitism. The only difference is, I doubt we'd consider them elitist.

Instead, we probably consider them artisans, committed to perfecting their craft and finding the right people to whom they might pass on the cultural asset with which they were entrusted."

I like what this person states. I certainly uphold to the idea of learning about and passing on a cultural asset, even if it is not my own culture. What are other people's thoughts on this matter? Do those of us who practice koryu really act elitist around others?

The Witchy Stuff

The above title was in the subject heading of an email a friend of mine sent to me today. He is an aikido practitioner and a good friend who started his aikido training at my old dojo here in NZ then continued his practice back in the States. Here is what he had to say:

On Sundays, an old Taekwondo friend and I go to a hunting property that we lease to work on stuff. We always talk about martial arts, our dojos, etc. I started to tell him this story and then stopped. He would think that I'm crazy, delusional, etc.

Erwin had started to push me by stepping up his attacks (in terms of speed, power, intent). Even if I make the correct shape, with the correct distance and the correct timing, he can shut me down almost every time. I started trying something different a few weeks ago (out of desperation!) and it works better each time I do it. The split second before he touches me, I visualize blasting his center with my intent. It's amazing! Many times, he goes down before he can touch me. He swears that he not taking a fall. It doesn't matter what the attack or technique is. To test it, I can make the same shape without the blast and it doesn't phase him. Your thoughts? As great as all of this sounds, it doesn't work as well on anyone else and not at all on others. My theory is that you have to understand the relationship between your center and your opponent's as well as the reverse before it works. It's eerie and amazing. I look forward to your thoughts and experiences in this matter! 

I was excited when he wrote about his revelation because something that is discussed often in TSYR is intent. It appears that as we get more sensitive and our technique gets more subtle, intent and visualisation becomes more important. The mindset of the practitioner is paramount. I do not believe any of this is ki or magic but simply the refinement of physical principles and mind-body connection. In other words, neurological pathways becoming stronger and more efficient with repeated movements.

I certainly know that if I am tired or not focussed my waza is certainly worse for it!

Do internal strength exercises and grow three centimetres!

I know, it sounds like a dodgy advertisement but since training in the nairiki no gyo in TSYR I have increased three centimetres in height.
My partner noticed I was looking down at her and when we met eight years ago we were the same height so it got us thinking. We measured each other against the door frame and then got out the tape measure just to make sure she wasn't the one shrinking! She is still 1.83m while I now stand 1.86m.
The only explanation I can give is that the internal strength exercises are causing the muscles to stretch my spine resulting in better posture. I certainly hold my posture better than I used to.

Had this not happened to me personally I wouldn't have believed an adult could grow taller. I'm 37 years old so there is no chance of an overdue growth spurt.

Just another good reason to train in internal strength.

Dean.

Budo Body Part II

A while ago (during my first year of TSYR training) I mentioned that the body conditioning exercises were changing the musculature of my back and some re-wiring of the nervous system was going on.
This is an update.

After 2 and a half years of doing these conditioning exercises this is how things have progressed...
When I work through some of the exercises and then carry this feeling of good body alignment into my techniques it feels like most of my postural muscles are engaged. So all those muscles that allow for good posture fire. For me these are the trapezius muscles, lats, some deep abdominal muscles, hamstrings, calf muscles, even muscles that pull my flat feet into better alignment. Everything feels like it gets pulled tight like a spring. Now this is not a tensing of the muscles to the point of rigidity or stiffness. The feeling is spring-like. There is stability but bounce - for want of a better word.
Other muscle groups that seem to get attention during training are the triceps. Basically every muscle group on the posterior of my body gets some sort of workout when I train. Now this intrigues me because when I think of strength I think of rock hard abs and broad pectoral muscles. However, the tone and the muscle soreness a couple of days later is almost always centred on muscles on the rear side of my body.

As some of the larger muscle groups strengthen, the conditioning exercises then seem to target smaller muscle groups to maintain correct alignment. I really do feel like I am ironing out the kinks when I perform this routine. This conditioning is having a large effect on my techniques. I move from a place of strength and balance more often. I can power the technique with a coordinated body rather than certain muscle groups trying to force it into happening. It is exciting and empowering at the same time.

I can't help thinking that Morihei Ueshiba, Sokaku Tekada and other men that influenced the creation of Aikido must have moved with this power. Aikido techniques make more sense from this viewpoint. Certainly people like Ellis Ambur and Stanley Pranin seem to suggest this.

Along with this training develops a strong awareness of your own balance and where your body is in space. This sensitivity is key to effective TSYR technique. During some of the faster, freestyle like training we do, one can start to sense when your opponent has lost their balance, or given it back to you. This can result in counters and is incredibly subtle.

Keeping the momentum

Over the last little while my TSYR group has steadily improved our knowledge of the shoden kata. We all pretty much know the basic form of each kata. Now we need to look a little deeper and start to improve on this foundation.
This got me thinking about maintaining the drive and motivation to train. In TSYR the curriculum is very large so there is always the excitement of learning a new kata. However, how do we keep the ones we have already learned fresh?
Here are some things our group has been trying:
1) deviate from the form slightly. If the kata is set using a single hand grab, how would we complete the technique from a punch? This challenges the practitioner to problem solve but stay true to the principles of that kata. We do this slowly and deliberately.
2) semi- freestyle practice. Allow the attacker to throw a punch, single-hand grab or double hand grab. The recipient must then perform one of the set kata. This can happen slow or fast. It checks how many of the kata have become internalised. If a punch is thrown or your hands are seized and you freeze...what good is your technique?
3) faster! Perform the set kata with more speed and more smoothly. Move past, the paint-by-numbers mentally that we all must start with. Trying to go faster often exposes holes in one's technique.

All of the above are only useful if the practitioners have a reasonable grasp on the basic kata. Complete novices would be confused and it would slow their progress, not improve it.

Of course, the best thing you can do to keep motivated in your training is to always self-critique. Have I got my balance? Have I taken my partner's balance? Am I keeping good body alignment/structure throughout the technique? Am I safe to move into that position? and so on and so forth.

Keep training!

Tetsubo, iron fans and pointy things

The samurai were a walking arsenal of weapons. Not only did they carry a long sword and a second, shorter blade (wakazashi or tanto), but they would most likely have on their person a variety of other, smaller back-up weapons.

My instructor has recently returned from Colorado where he has been taught a range of new kata. One such set of kata concentrate on the use of the tetsubo (iron bar) in combat. This bar is approximately 1 foot long and may or may not have a curved extension on it like a half sai. The kata are very direct and brutal with target areas being the neck, ankles, knees and head. In some cases I believe the iron fan can be substituted for the bar. Last night for our Wednesday training we were taught the 5 kata concerning these secondary weapons. The tetsubo/iron fan was worn on the opposite side to the swords and used used in times when the sword was not accessible for whatever reason.
Another weapon of the samurai was the metal implement tool, it basically looks like a really sharp chop stick and was used for a variety of things outside of combat. Of course, being practical types, the samurai learned how to defend themselves with such a tool. I have yet to see the kata associated with that weapon.
I am really enjoying not only seeing these techniques demonstrated but also participating in the kata. It is becoming obvious where similar body movements and principles are overlapping from earlier kata I have been taught.

This is an exciting time to be in TSYR and with the news that Toby Threadgill will be travelling to NZ in December with two senior members of the ryu it can't get any better, can it?

Body dropping

The fine art of body dropping or "tai otoshi" is the ability to suddenly drop your body but keep your alignment intact as you do so. It is a crucial part of TSYR and I enjoy training this body movement. It is not as easy as it sounds. What tended to happen when I first tried this was that I would let my arms "float". Or, as I dropped my body, my hips would pop backwards and ruin my alignment. Both these things are detrimental to keeping connection to your partner and maintaining good body alignment. The idea is to drop through your spine, this requires a completely upright posture through the whole movement.
Please don't confuse what I am talking about with the tai otoshi used in judo like throws. It is not a technique in itself but a body principle. Once I had some idea how to do it, I could use the body drop to throw partners once kuzushi was made. The effect is fast and dramatic and often it occurs before your partner realises what is happening. There is no 'tell'. As body movements such as these are refined, it gets harder and harder to tell when the uke/uchitachi is about to be thrown. It comes down to complete control of your own body to control another. The more you can isolate and manipulate your own structure, the easier I is to manipulate someone else on contact.
Of course the conditioning exercises that we do to develop a budo body aid in also developing such movements as tai otoshi.

Getting to know your sword

So, I now have my own, custom-made sword. It is Chinese made but was forged in the traditional manner. It is folded steel that has been differentially heated. I have made it a goal of mine to learn the Japanese terminology for the parts of the sword. I have found the whole experience fascinating. I have looked over numerous Youtube clips and other websites in my eagerness for knowledge.
So what do I know at this point (excuse the pun)?
Kissaski - the point of the sword.
Mune - the back of the blade.
Ha - the edge of the blade.
Hamon - the wavy line on the blade.
Tsuba - the guard.
Habaki - the brass piece that links blade to handle.
Seppa - the brass spacers.
Mekugi - peg that holds handle to tang.
Tsuka - the whole handle.
Same - ray skin wrap.
Saya - scabbard.
Sageo - scabbard cord.

This picture tells the story...

Of course knowing the parts of the sword allow me to look into sword disassembly and care but it is a tool for conflict and ultimately I do TSYR to learn how to use this weapon. 

First there is the practise of battojutsu, or sword drawing. It is a precise discipline and there is much to be gleaned in the four kata we learn at the basic level.

However, the real challenge is simple suburi, the repetition of simple movements such as men strikes. I can swing a bokken through 100 cuts but today, I cut with my sword for 50 cuts and found that swinging a piece of steel about requires conditioning. Something I do not have as of yet. I sit writing this with aching wrists, shoulders and back muscles (also an indication that my technique is poor).

I have a long journey ahead with my sword work, it is by far the weakest part of my practice. However, having my own blade and learning its balance, weight and length is enjoyable.

Now, back to training!  

Kneeling, standing and swinging swords.

Training was intense today. We started with the body conditioning exercises then moved into idori kata. After this we practised a set of kata that was new for me involving the short sword versus the long sword and then we finished with some intense training moving through the various sets of taijutsu kata at pace.

I enjoy the idori as it has similarities to the suwari waza of aikido and my body responds well to it. I can keep my alignment intact and maintain my centre most of the time. My taijutsu technique is getting sharper and quicker all the time and I've had moments of disappearing into the kata to find myself at the end of it without really remembering the steps. You know, that feeling you get while driving a car and you realise you have just driven the last 10 minutes without being fully conscious of it. This is an indicator to me that my body is internalising the movements.

The short sword kata were challenging  Timing is extremely important in these kata as the opponent with the longer blade has the advantage. I only worked on the first one of this set as I had not been exposed to them before and that was enough. It was tough.

As for the sword work in general? Terrible! For some reason, when I pick up a bokken my body alignment goes downhill. It is frustrating to say the least because I feel off balance or not centred and I am struggling to fix it. Of course, sensei notices as well and is constantly reminding me how I'm doing it wrong. To top it off, we train the sword work on Wednesday evenings when my brain is trying to shut down for the day. There  are times I really hate that training but I continue to turn up because I know I am progressing at some level.

Now my first, new sword is arriving any day from the Kaicho and I am very excited as this will mean I can train at home and work out this issue I have with sword work. Having a blade custom made is quite humbling it makes it mine in every sense of the word. Another member of the group brought back a cheaper version from Japan and it is quite obvious how the quality differs. It is one thing to see these swords on a website but quite another to see them, hold them and inspect the quality close up.

Putting Spirit in Sword Kata

Morihei Ueshiba and son.

I'm reflecting on my Saturday training session. We covered many facets of TSYR. Ukemi practice, body throws, some very old, technical kata and finally batto (sword drawing) and sword kata. As I don't yet own my own sword, I was paired up with the only other guy there who was swordless and we practised kumitachi with bokken. We worked on the two sets from the Shoden level. We know these kata well now so we are now trying to refine them, refine them and refine them some more. One aspect we were working on is investing a stronger presence or spirit in our actions. When both people are deeply invested in the kata this creates an almost tangible tension that locks the two together. When the kata finally finishes, I feel a sense of relief or calmness as the tension falls away. It is incredibly meditative. 

I recently read that the key is to ensure that our training is intense enough is to encourage enough risk that we feel challenged but not overwhelmed. By providing a strong fighting spirit for our partner to deal with we help hone their edge. The difference between someone who is just going through the motions and someone who is fully invested in each moment is marked! The idea is to consider each kata a life and death scenario where you are looking for an opening in the other person's defences. There should be a feeling of pressing your opponent at all times, even when you are taking the role of the 'loser'. In this way you both develop and become stronger budoka for the experience.

Comparisons

Comparisons - I wrote this near the end of the 2012 year and forgot to post it earlier. My apologies. It is not a positive post and I wasn't going to place it here, but it is what I felt at the time and therefore my historical point of view. I don't name anyone or any club so take it how you like. 

It is nearing the end of the year and tomorrow will be my last training session of TSYR for 2012. I happened to attend the last training session of my aikido club as well, earlier in the week. The teenage daughter of an old work colleague of mine was grading to 4th kyu and I was interested in seeing her progress and seeing what I could still remember of aikido. All people on the mat participate in a grading at this dojo. So even though I was not grading I was pairing up with people and doing the techniques asked by the grading panel just like everyone else there. As it turns out the young woman had a solid grading and I hadn't forgotten any of the kihon waza asked at this level. I discussed this with my aikido sensei afterwards. How is it that I could still perform the techniques crisply and without hesitation after being away from training for many months? Well, the first thing that happens to any athlete that ceases training is that their body loses condition. Of course this is not the case with me because I am still in fact training in the martial arts, just not aikido. I know of many examples where people have ceased training and then returned to find that their mind is willing but their body is not. After nine years of aikido, the techniques were still locked away ready to be used and the fact that I was in the familiar setting of the dojo I learnt the art in and going through the rituals of a formal grading, it was easy to fit right in. Also of importance was the calibre of the grading, it was 4^th kyu, not very high up the ranks and the test was pretty limited as to what was asked. However, at that level all techniques that I consider kihon were asked for. From katatetor; ikkyo through to yonkyo and shihonage. From shomenuchi; iriminage, ikkyo and nikkyo and from yokomenuchi, any two techniques. There were other combinations as well as the grading panel pushed the young girl to her limits. Kotegaeshi from munetsuki, tenchinage from a two handed grab, sumi otoshi from katate tori and so on.

As a nidan in aikido none of those techniques posed a problem for me. But here’s the snag. I like the people I train with at aikido, they are genuinely, nice people. However, after training elsewhere in what I consider a potentially more dangerous art, I had concerns for my safety at the grading. Why? The emphasis appears to be on making the technique work, come what may. As I have trained in TSYR and my body alignment and structure has improved, I don’t lose my centre as easily and I have become more sensitive to the balance of my training partner. Most of the people at TSYR are even better at this than me so when a technique doesn't work, they don’t think “push harder” they think “what have I done wrong, where have I lost the connection?” So they stop adjust and dump me cleanly on my backside. I had one experience during the aikido grading where my partner was attempting ikkyo on me and he swung my arm in the appropriate manner but simply didn't move me from my base at all, I wasn't resisting, in fact I was quite relaxed (thank goodness) and because I didn't move as expected he proceeded to try and force me down by putting his knee into my arm as well. Now, I still didn't move as the pressure was still being applied in the same way, but now with his knee. However, seeing where it was going I moved appropriately and he pinned me. As I got up he said “Man, that didn't really work, even when I put my knee in.” I'm thinking, what is wrong with the training methodology here that an aikido practitioner of a reasonable rank would think like that? Of course I am/was a product of the very same dojo and I know my TSYR instructor has ironed out a few kinks in my thinking since then. Another incident occurred when we were asked to perform any techniques we wished from yokomenuchi. At one point I looked across to the pair training next to me and my partner. A young black belt had a complete novice in a dangerous technique that included a head lock with the uke’s back arched. The poor girl didn't realise she needed to tap her leg to signal submission and she was going red in the face while this young show-off applied the lock. Needless to say I quietly but very firmly told him to let go and to take into account the abilities of the training partner.

I had mixed emotions about the night. I was happy for the girl grading as she had done a great job. I was happy that I slotted back into the aikido dojo without any of my techniques showing any ‘rust’ and I enjoyed catching up with people I hadn't trained with for a while. However, I was disappointed at how no one I trained with that night showed any evidence of good internal body structure, and during a formal occasion when things are often at their safest, I saw/experienced some practises that were very dangerous.

This leaves me thinking. Was the dojo always like that when I was a consistent practitioner? I certainly know that my posture and general body alignment was rubbish before I trained in TSYR. The grading was set up so that only dan grades trained with kyu grades to allow most experienced to work with least experienced. So I never got my hands on the other black belts that night. However, all but three were my junior so I have a good idea of what they are capable of. I honestly believe I can now see a contrast in the training methodology of each of the two dojos I have trained in. It was not as apparent while I was still training in both vigorously. Now that I have been away from the aikido dojo for a while, my eyes have been opened to the differences.

A part of me wants to be involved in changing things at the aikido dojo but it is not my place. It is my sensei’s dojo, not mine. I can simply choose to train elsewhere and go back from time to time to keep the bonds of friendship with the people in aikido, ignoring the aspects of training that bother me. As the saying goes, when in Rome…

Metsuke

After an intense kenjutsu training session I stumbled upon this blog about focus.
Metuske

This is exactly what is occurring when we practise the sword kata with the right intensity. It is very taxing mentally yet meditative and relaxing once it is over.