辰年 Year of the Dragon

Tatsudoshi - Year of the Dragon.

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.

大栗絋一 先生

大栗絋一 先生

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…

Essence of Budō – Menkyo Kaiden Henchō Gata

From the Essence of Budō book. There is a second omission in the English translation for the sōjutsu section (p90), under the Menkyo Kaiden Henchō Gata 免許皆伝変蝶型 heading there is a short descriptive paragraph.

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.

Sōjutsu 槍術 – Six Kamae 六法之構

Kukishin ryū sōjutsu has 6 kamae or postures. These kamae are contained within the forms of the first level, kaisetsu gata, of the sōjutsu training.

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.

Sōjutsu 槍術 – Essence of Budō

Alone the kanji for spear 槍 is yari - to describe techniques of the spear the alternate pronunciation of sō is used, hence sōjutsu.

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

Essence of Budō – Kyoba…

From the Essence of Budō book by Hatsumi sōke – in the English text the translation for the yari technique kyoba is missing, though appears in the Japanese text, and is assumed to be a publishing omission (p90).

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.

月之輪 Tsuki no Wa – full moon

Tsuki no Wa – tsukinowa – the ninth technique

月 – moon
之 – of – indicates possessive
輪 – ring, circle, loop, hoop, wheel

月之輪 is an older Japanese term for the moon and more specifically the full moon.

You could use a literal reading of the kanji to say circle of the moon, moon circle, moon ring, moon disc and so on, or a more creative version such as the circle (of light) formed by the shape of the moon.

The moon is an emotive image in Japanese culture, mythology and literature. The moon is one aspect of the beauty of nature and the seasons as captured in the phrase 雪月花 setsugekka. Tsukioka Yoshitoshi, the C19th ukiyo-e artist, produced a famous series entitled ’100 aspects of the moon’ many of which may be familiar.

The technique itself involves thrusting (through) with the sword at the neck, side and abdomen. This is thrusting at a specific spot/point. There is the idea in budō of practicing a thrust at a point of light – a shaft of sunlight or moonlight – with the katana, yari or other weapon.

Tsukinowa is an alternative name for the wooden ring on a zen monk’s clothing – 絡子環作務 rakusukansamu where 環 kan is the common kanji for ring. This ring secures the kesa and so is another interesting link to monk’s clothing, as seen with kesa giri (ref. happō giri), in the sword techniques. This ring has evolved from a functional to a decorative item in modern day. The ring itself is small and can be seen as an indication to accurately strike a small target.

- many thanks to Oguri-san, shihan and sōtō zen monk, for his discussions and input on this.

When thrusting at the abdomen in this technique bear in mind the kyushō 五輪 gorin - 稲妻 inazuma and 月影 tsukikage – lightning and moonbeams. The kanji 月影 tsukikage is also read as getsuei and is on the right side of the abdomen. Also on the right side and associated with the moon is the liver – hopefully this demonstrates the connection with with technique.

月之輪 alternately written 月の輪 or 月輪. 之 is a more archaic kanji, commonly replaced by the hiragana character の no in the modern written form. の is often omitted altogether when the reader knows it should exist – a good example being the Yamanote train line around Tokyo, everyone knows it is pronounced Yama-NO-te and not Yamate as the characters may suggest 山手.

‘Ring around the moon’ – this translation appears to have been popularised through Anime and the Final Fantasy series, a more Jinglish approach. As a translation/interpretation for the budō phrase it may be a little misleading. 之 no indicates the possessive ‘of’, whereas the spatial preposition ‘around’ may use the kanji 回, 廻 or 周. The ‘ring of the moon’ (the full moon) brings to mind a different image to ‘ring around the moon’, the former is the moon itself or the ring/wheel shape formed by the light of the full moon, the latter indicates something separate from or enclosing/encompassing the moon. If the latter was the case being described then a more suitable interpretation would be along the lines of ‘moon halo’, ‘corona’ or ‘nimbus’ (each of which have various kanji forms).

Tsukinowa ‘full moon’ is also a brand of sake from Iwate.