I currently have a limited amount of black leather for the blade portion of the fukuro shinai.

Sufficient to make:
2x long
2x regular
1x ninja
2x short
The longer ones can also be shortened down – so would be feasible to make 5 ninja length blades…

Email me at markekbrown@gmail.com if you are interested.  Prices and all other details are the same as on the page http://bujinshugyo.wordpress.com/fukuro-shinai/

I need to know for each fukuro shinai:
1> length – long, regular, ninja, short
2> handle binding colour – black, brown, blue, white
3> blade leather colour – black
4> your location – for postal calculation

The usual brown leather blade covering is also available.  Any other questions send them to the same email above.
Thanks,
Mark Brown
Bujin Shugyō

The dragon and tiger images are strongly linked with the martial arts and martial artists. Both are metaphors for martial endeavour and achievement.

Though as a note of caution – in the martial arts context both must be seen in their mystical or supernatural forms. Tigers are familiar to us through photographs, film, zoos and so on, but we should shed this familiar image when looking at the tiger in the context of Japanese cultural usage. The ‘image’ of the tiger from ancient times in Japan can be seen as originating from mainland Asia, from Chinese sources, stories, tales and travellers accounts, such as those from ambassadors, priests or monks who may have seen a tiger in the flesh. For the most part the Japanese and martial artists would be exposed to the cultural tiger image, few in the Bushi would have been exposed to a tiger until the invasions of Korea in the 16th Century, and then only a few. The tiger in artwork, though striped and feline, usually has a rounder face and more anthropomorphic features. Thus both the tiger and dragon should be viewed in their archetypal forms – the ideals, characteristics and behaviours they represent.

Ryūko 龍虎 dragon and tiger.
This phrase is used in the context of talking about great rivals, two powerful fighters or matched combatants. They are not diametric opposites (such as black-white, good-bad) but powerful figures that employ a different approach to achieve the same end – victory. The dragon and tiger may also be seen as different aspects or attitudes within a single person – and the changing flow between the attitudes of attack and defence. A heroic figure may be described as ryūkoseishin 龍虎精神 possessors of the dragon-tiger spirit.

The dragon and tiger are characterised by different approaches to achieving the same purpose – victory or dominance (although you can say that the ultimate goal is balance). The tiger is direct, aggressive and spontaneous or reactive, whereas the dragon is indirect, defensive and considered or circumspect. This attitude may be familiar through the phrase kotekiryōda 虎擲龍拏 the tiger strikes and the dragon catches and the principles of juppōsesshō 十方折衝 handling all directions. Note here that dragon kanji is pronounced as ryō rather than ryū.

Other instances of the tiger vs dragon attitude include ideas such as; straight – circular, linear – turning, attack – receive, impatient – patient, crouch – hide, uke – tori. In training practice a pair often take on the role of the tiger and dragon – uke attacks while tori receives to then apply a ‘technique’. It must be remembered here that both are practicing, uke is not the passive receiver, uke must attack sincerely to challenge tori in their defence. Throughout practice tori and uke(s) shift naturally between both attitudes.

Though crouch and hide may be seen in the well known film context, the difference may be seen in the tiger crouching (retreating or cornered) ready to surge forwards in an explosion of action whilst the dragon uses subterfuge and obfuscation to conceal (body or intention) before acting, attacking or evading.

Hatsumi-sensei has said that to know Togakure ryū you must first learn Kotō ryū and Gyokko ryū. Seeing Kotō ryū as the tiger and Gyokko ryū as the dragon you can then see their expression as not the techniques but the changing attitude and approach in Togakure ryū ninpō taijutsu (taijutsu here is 體術). The tiger of Kotō ryū is seen in the direct and powerful nature of the techniques, pouncing in to attack and break bones or resolve. The dragon of the Gyokko ryū is seen in the circular movements and capturing techniques, coiling around the attack to control or manipulate, and attacking the kyushō as with claws of lightning to disable.

The article then went on to give seven examples of dragons… Seven examples of dragons in Western mythology and literature. Reading this I was quite frustrated as the examples were irrelevant to the original story as there was no attempt to compare or contrast the Eastern and Western dragon image.

So what are the differences?

Western

The dragon is seen as fire breathing, winged, a lizard like serpent, belligerent, destructive, evil, hoarder of treasure, devourer of maidens and in dire need of a good vanquishing.

A common image is that of St. George slaying the Dragon, thus saving the land and peoples thereabouts and converting them to Christianity to boot. St. George is variously depicted as wielding either a spear, lance or sword. The coiling and twisting of the dragon represents the corruptive and destructive nature of evil that will continually attack humanity in myriad forms.

Eastern

The dragon is strongly associated with water, thunder and lightning, it is wingless, horse headed, bearded, long and snake like, wise and benevolent.

In appearance the dragon is long and sinuous, a coiled snake like serpent, able to fly without the need for wings. The head is usually a mix of equine and canine features, bearded with long moustaches and a set of horns. In Japan dragons typically have three claws on each of their four limbs as opposed to their Chinese neighbours that commonly have four or five. Dragons are able to assume human form (a common trait for supernatural beings) to move unnoticed or interact with human society.

As a symbol of wisdom and authority the dragon is tied to imperial power, the divine right of the emperor to rule. The second meaning of the dragon kanji 龍 is ‘imperial’.

Water and Air – the association with water and air (or wind) may better be seen as the energy and nature of the water cycle – falling as rain, flowing down river to the sea to be evaporated into the sky to form clouds. Air and water together in Japanese is fūsui 風水 the natural flow of energy in nature, commonly referred to by the Chinese name feng shui in the West. With the interaction of water and air you have the connection with weather and storms, a tornado is seen as a dragon twisting as in the word tatsumaki 竜巻 lit. dragon-roll. On the one hand dragons play in the skies and clouds to produce rain, a natural blessing to sustain life, on the other they can produce more powerful energy in the form of thunder and lightning.

Dragons are associated with mountains as water that falls as rain with flow down their sides or will bubble up from springs within. Shrines to dragons are found at pools, lakes or in mountains near the sources of water – caves, springs and waterfalls. Dragons live in their hidden palaces at the back of caves or in the depths of ponds. Visiting Japan you will commonly see dragon statues as water spouts at temples for visitors to cleanse themselves.

A wise friend – Japanese tales often tell of friendships struck up between dragons and monks or other devout people. For example, in a time of drought the emperor commands a monk to make it rain as he knows the monk to be friends with a dragon, the dragon knows he will be punished by his king, but will do this for his friend as the monk cannot disobey the order. Three days later with thunder and lightning rain falls and the drought is broken. The monk heads into the mountains and finds the dragon’s torn body in a pond, he buries the dragon and erects three temples in its honour. In another tale a mischievous tengu snatches a dragon that is in the form of a snake from beside a lake and deposits the dragon in a dry hole in the ground to eat later. The tengu then decides to abduct a monk, snatching him as he is going for a drink and deposits him in the hole also. The monk and dragon talk, learning that the dragon is powerless without any water the monk gives him the gourd he is carrying. The dragon is then able to break free and flies the monk home, leaving him at the temple accompanied by rain, thunder and lightning before heading off to hunt down the tengu.

Here’s an excerpt:

The concert hall at the Sydney Opera House holds 2,700 people. This blog was viewed about 22,000 times in 2011. If it were a concert at Sydney Opera House, it would take about 8 sold-out performances for that many people to see it.

Click here to see the complete report.

2012 is the Year of the Dragon, the character 辰 here is the ‘sign of the Dragon’ as opposed to the kanji for dragon itself, 龍 or 竜. Japanese astrology is based, as with many things, on its Chinese counterpart. In Japan the term eto 干支 is used for Chinese astrology and the cycle of 12 zodiac animal signs for the years (eto is not to be confused with eeto (lengthened vowel ‘e’) frequently used as an interjection in spoken Japanese meaning errr, hmmmm, well…). In the 5 elements cycle of wood-fire-earth-metal-water 2012 is also a water year, so the year of the water dragon.

辰 Sign of the Dragon
Sign of the dragon 辰 is read as tatsu or shin, while Year 年 is toshi or nen. Combined they are read as tatsudoshi, changing the t to d to aid in vocalisation. This is the kunyomi reading, the native Japanese, as opposed to the onyomi reading of shinnen. Onyomi is the Japanese approximation of the Chinese pronunciation of a character at the time of its adoption into the Japanese language. The kanji used in Japan can have one or more of each of these pronunciations in addition to specialised readings when used in names, all adding to confusion and enabling interesting word games or double-meanings – of which Hatsumi sensei is keen.

龍 or 竜 Dragon
Of the two kanji used for dragon the older and more commonly used in relation to budō is 龍. In contemporary Japanese language 竜 is used. Both are read as tatsu or ryū depending on context. The kunyomi reading tatsu links these kanji with the tatsu of 辰.

Hatsumi sōke has said that this year we will be studying the sword (although will this be as ken or katana?). The ken or tsurugi 剣 as the older double-edged straight sword is linked with dragons in various legends and tales. For example, the three items that form the Imperial regalia of Japan include the sword Kusanagi-no-Tsurugi 草薙の剣 ‘mowing-down grass sword’ that was taken from the tail of a dragon by the god Susanoo 須佐之男.

For more on this years themes see Doug Wilson’s Shinryūyogo and Michael Glenn’s Futsu.  I’ll also be adding more info and thoughts on dragons and budō as time permits.

Ōguri Kōichi sensei sadly passed away earlier this week. He will be sorely missed by all those who have had the honour to train with him over the years, to those of us who have been wonderfully confused and challenged by the taijutsu he demonstrated in his unique way, accompanied by a smile and a laugh.

I once overheard what I consider to be a great compliment on a Saturday morning in the Hombu – the person said they didn’t know if they would go to Ōguri’s class as it would be too difficult…

Below is the Japanese text and a translation:

免許皆伝変蝶型
この変蝶型というのは、ちょうど蝶が舞い遊ぶがごとく、右に左に身体を転じて相手方の虚に付き入るというのが目的で、槍を充分に使うことが出来得る者に於て、この型を練習と共に使うことが出来るのである。

Changing butterfly patterns passed from teacher to student
These are the changing butterfly techniques, that is to say as the butterfly dances and plays (flutters) so must you. Move the body to the right and left, turning around the opponent’s side, harmonise and enter in to the space with intent. To fully make use of the spear a person needs to practice and gain competence with all these techniques and to be able to use them together/interchangably.

The above is my translation, the last line being quite difficult to find the best way to express what is written.

Kukishin Ryū Sōjutsu and the Creation Myth of Japan

The idea in the henchō gata of thrusting into emptiness or space is an interesting reflection of one of the creation stories of Japan.

Thrusting ame-no-nuboko into the mist

Two deities, Izanagi-no-Mikoto and Izanami-no-Mikoto, formed the first islands out of churning chaos. In this task they were granted the bejeweled spear Ame-no-Nuboko 天沼矛 (heavenly jeweled spear). They descended to the floating bridge of heaven Ame-no-Ukihashi 天浮橋 and were halted by an obscuring mist. Izanagi thrust the spear into the mist repeatedly until it began to evaporate. When he felt it strike he pulled the spear back, mud dropped from the tip of the spear, water began to flow and the mist cleared to reveal an island surrounded by clear water.

An alternate version of this story has Izanagi thrusting the spear into the mist and stirring the ocean, when he withdraws the spear the salt water drops to create the island.

Both relate to the idea in the henchō gata of thrusting into emptiness (mist or the void) and striking the target, as well as thrusting repeatedly and turning or rotating the spear head. The connection between the yari and the elements of water and air (leading to mist) are also reinforced.

As opposed to viewing the kamae as separate ‘static’ positions practiced in isolation, this can help in understanding kamae as transitory and forever changing through one-another. The kamae is more than forming a static pose, it is (as with kurai dori) a position in relation to the environment and opponent/s along with the body’s movement into that position and potential movement thereafter.

Typically kamae are listed in some sort of hierarchical or logical progression – high-middle-low, Jō-Chu-Ge – however with the sōjutsu the order in which they are practiced in the forms becomes:

• 征眼之構 Seigan no Kamae • 扞法 kanpō
• 流水之構 Ryūsui no Kamae • 四方技 shihō gi
• 中段之構 Chūdan no Kamae • 飛鳥抛 hichō nage
• 上段之構 Jōdan no Kamae • 一突挨 ittotsuai
• 詒変之構 Ihen no Kamae • 一擣三當 icchu santō
• 下段之構 Gedan no Kamae • 撥摧 hassai

Most of these names are in common usage for other weapons and schools (within the Bujinkan ryūha and beyond). Of particluar note though are the first two seigan and ryūsui.

征眼之構 Seigan no Kamae – subjugating eye posture

Although the term seigan ‘aiming at the eyes’ is common in būdo the first kanji used here is a little different. The usual kanji for sei is 正 meaning correct or just. In Kukishin sōjutsu the kanji for sei is 征 meaning to subjugate or attack the rebellious. The character itself is made up of three elements: one, moving man, to stop or halt.

So interestingly this kamae is a person moving to stop another. The second kanji means the eye/ball or to look. Together a few possible renderings of 征眼 could be subjugating eye, subjugating gaze or domineering stare.

流水之構 Ryūsui no Kamae – flowing water posture

This is very straightforward to translate, the characters are flow and water, hence you can say flowing water, running water, stream or water currents. However beyond this there are some interesting ideas behind the name and within the kamae.

There is the image of water running freely down the yari and flowing from the tip or of the yari being as a stick on a river, bobbling up and down with the current, and again freely moving. In this kamae you need to be able to freely move or rock the legs back and forth. This could mean being able to stand in a river and gently move with the current as opposed to trying to resist and stand firm. Further to this, and as a link with the kukishin ryū being used on ships, you have the idea of lowering the stance to move naturally and maintain stability in response to water moving beneath you.

In Japanese aesthetics flowing or running water is one of the beauties of nature. Captured in the phrase 高山流水 kōzanryūsui, high mountains and running water, a symbol of natural beauty. Water flows down the mountain where it will eventually rise as a cloud to repeat the cycle – often referred to by Hatsumi sensei. This kamae then should be natural or beautiful, a part of the natural cycle and a reminder of it’s/life’s transience, and not becoming fixed at one point.

There is also an interesting connection here between ideas in Kukishin ryū sōjutsu and Japanese mythology, but more about that at a later time.

The kanji 槍 is made up of two parts – 木 wood or tree – and 倉 storehouse or magazine. So the spear here can be seen as the wooden weapon in military storage, the place where bushi to store their weapons at barracks.
Yari is alternately written as 鎗 – instead of wood the element for metal 金 appears – and 鑓 using the elements for metal 金 and to dispatch/kill 遣.

護攻虚変争精神不動
Essence of Budō p76 – here there is a line about the nine tracks for the methods of the spear. The English text appears to have one kanji pronunciation absent and should read “GoKoKyoHenSōSeiShinFuDō” as I see it. The Sō here is not the sō of yari. Sō 争 means to fight or contend, hence Hatsumi sensei saying sōjutsu means spear techniques as well as fighting techniques.

The first level of Kukishin ryū sōjutsu 九鬼神流槍術 is the Kaisetsu gata 快攝型 – enjoyably/pleasantly learnt/received forms. As kanji can be pronounced in various ways due to their Chinese or Japanese readings, so the techniques may be pronounced variously – this is one of the main causes of confusion for English readers when there is no reference to the original Japanese character form.

Below is a list of the 9 techniques of the Kaisetsu Gata with alternate pronunciations

• 扞法       Kanpō
• 四方技    Shihō Gi – Shihō Waza
• 飛鳥抛    Hichō Nage – Hichō Kaku
• 一突挨    Ittotsuai 一突挨法 Hitotsukiaihō
• 一擣三當 Icchu Santō – Ittō Santō
• 撥摧       Hassai
• 秘槍       Hisō
• 天地摧    Tenchi Kaku
• 撥捕扼    Happo Yaku

Below is the Japanese text from the book and a translation.

七枚葉
姿勢は右斜め。中段の構。身体を一歩引くと見せて槍先を右へ廻し、敵の左裾を払い、姿勢一歩引いて槍先を左に回し、敵の右裾を払い。これは突きより右に左に払い倒す。七枚返しともいう。葉陰葉乱万象を伝象するものである。

Kyoba
The body is postured on the right diagonal. The kamae is chūdan. Pull the body back one step, showing the spear tip spin to the right and sweep the opponent’s left ankle. From this position take a step back turn the spear tip to the left and sweep the opponent’s right ankle. These strikes from the right or left sweep and knock down. This technique is also called seven leaves reversal. In the denshō (image transmission) it is written that all creation can be see in the changing shadows of (falling) leaves.

The above is my translation and an attempt to stay in line with the other techniques in the book.

There are several ways to render 七枚葉 – shichimaiyō, shichimaiba, nanamaiba - though not normally kyoba. Shi is often avoided when speaking about living people or their actions as one meaning of shi is death and seen to invite such.

Kyoba is an alternate name for this technique as the intention is to use kyojitsu 虚実, interchanging falsehood and truth. Ba 葉 commonly refers to a leaf/leaves or is a counter for leaves, however it can also mean spear. Seven leaves 七枚葉 nanamaiba – kyoba is also the deceptive spear 虚葉 kyoba.