Best Judo

Judo Book Reviews

Random Notes On Judo – Takahiko Ishikawa

January 31, 2016 by khadaji Leave a Comment

 

NOTES TAKEN AT RANDOM
MERION DOJO CLASSES – TAKAHIKO ISHIKAWA SENSEI

COMBINATIONS:

Hidari Okuriashiharai to Osotogari or Osotoguruma.

Hizaguruma to Deashiharai – used when uke resists tori’s attempt at Hizaguruma by bringing up his left foot to regain his balance – tori abandons Hizaguruma and attacks uke’s left foot as it is moving forward.

Deashiharai to Taiotoshi

Deashiharai to Kosotogake

Ouchigari to Kouchigari

Kouchigari to Ouchigari

Ouchigari to Osotogari – when tori fakes the Ouchigari, he comes in to the side (his right).with knee bent and pulls forward instead of pushing back so that when opponent’s balance is disturbed he can swing into Osotogari.

Kouchigari to Taiotoshi – Tori tries Kouchigari but does net put his weight on his attacking right foot, Instead he forces uke into stepping back by pushing uke with his body. As/when uke steps back, tori applies Taiotoshi

COUNTERS:

Counter to Ippon Seoinage – Step to right side, shift weight to right leg, sit down and do Ura Nage throwing opponent over your left shoulder. The power of this throw comes from your right leg which should be bent at the knee and right foot stays on mat.

Counter to Ippon Seoinage – Step to right side, stoop down low grasp your opponent’s right leg with your left hand and lift him by throwing out your stomach. As your opponent comes in for Ippon Seoinage, pull him in close with your right arm. When you grasp his right leg with your left hand, reach in deep so that your left shoulder helps with the lift.

Counter to Ippon Seoinage – Put your weight to your left foot, lean left shoulder down, right arm up. Put your left arm around opponent’s waist low and lift him from your stomach by throwing your pelvis out and throw him in Ura Nage over your left shoulder. As he comes in for Ippon Seoinage, pull him in close with your right arm. Get your stomach to his side.

Counter to Ippon Seoinage – Put your left hand very low and deep around opponent’s waist and turn your body to the side – you can counter with Ushiro Goshi or Ura Nage.

Counter to Taiotoshi – As your opponent comes in, control his right elbow with your left hand by leaning or putting your weight on it. At the same time that he comes in, skip or slide quickly to the right and pivot your hips sharply to the right. Slide or skip in a half circle close to your opponent.

Defense to Hanegoshi – Hook your left leg around opponent’s standing leg. Counter to Hanegoshi, etc. – As your opponent comes in, pull your right arm out to side with straight elbow and step to right and pull out with your left arm at the same time.

Defense to Hanegoshi – As your opponent comes in, step to right in a half circle with a pronounced hip movement. At the same time, tuck your opponent’s right elbow in with your left arm in a circular movement. Put your weight to your left hand and left leg.

Counter to Osotogari – If your opponent attacks your right legs put your weight to your right arm and sweep your right leg across in front of your own left leg in an Okuriashiharai movement. Pull your right arm down and to the back.

Counter to Osotogari – Leave your right foot in place when opponent attacks it. As he comes in, swing your left foot all the way around behind your right foot and throw opponent in Sotomakikomi. Be sure to get your hip in deep. Pull your opponent in to you as you swing your left foot back.

Counter to Osotogari – When opponent attacks your right leg, slide your left foot back and pull him in close with your left arm and throw him with Osoto-gari.

Defense to Osotogari – When opponent attacks your right leg, slide your right leg back and shift your weight to your left foot. As you slide your right leg back, tuck your opponent’s right elbow in with your left hand in a circular movement.

Defense to Goshi Waza – When your opponent comes in for any hip throw, pull his right elbow in with your left hand, put your weight to your left foot and twist your body to the right. Pull your right arm with sharp pull to your rear. Just turn your body, do not step Push your left hip hard into your opponent. Good for Hanegoshi and Tsurikomigoshi.

Defense to Hizaguruma, Sasaetsurikomiashi, Haraitsurikomiashi – Step to left front and lean down on your own left arm.

NOTES ON WAZA:

When performing Kouchigari, advance in with your right foot followed by your left foot. Your left foot must be behind and touching your right foot. Bring your left hand down to your left hip and lean your weight down on your left hand with body slightly bent and leaning over your left hand. Try to reach your right foot far behind your opponent’s foot with a scoop or hook. Your body must bend forward from waist for good balance. Make your opponent’s weight come to his right foot which is the foot you are attacking.

Apply Osotogari as your opponent steps back with his left foot. Tori apply weight as he steps in for the throw.
In contest Tomoenage, put your left foot outside of uke’s right leg and your right foot to the side of uke’s hip then throw uke over to your right side rather than over your head. This method will work in contest. Your left leg which is outside should be bent at the knee. Kuzushi is to tori’s right back corner rather than over tori’s head.

Practice for Taiotoshi – Both uke and tori take two tsugiashi as in Nage no Kata. On third tsugiashi, tori go into position for Taiotoshi.

On Hanegoshi – Make sure that the heel of your left foot is exactly in the center of your opponent’s feet. The heel is in the center but the toes are turned slightly to the left and so are not exactly in the center.

SHIME WAZA:

When you are on the bottom, slip your right hand with your thumb under across opponent’s neck grasping his collar. Reach your left hand behind opponent’s neck and grasp your own right sleeve with your left hand.

SodeTsurikomigoshi – Tori push uke’s right elbow out to outside first then up and slide in for Hidari Tsurikomigoshi. If Tori tries to push uke’s elbow straight up without first pushing it to the outside, he will have trouble getting uke’s arm raised. Try for Hanegoshi – come out and go into Sode Tsurikomigoshi. Now just fake the pull for Hanegoshi without trying to go in for it, then go right into Sode Tsurikomigoshi.

Sanka – Put your right heel close in opponent’s right arm pit – left leg slide over opponent’s head and put your heel close on his neck. Kneel on top of your opponent and lock your left foot behind heel of your right foot. Lie on your opponent and grasp around his waist or legs with both your arms. Your heels must slide under his head so that they can be locked behind his head. It is not legal to squeeze with your feet, but this trick can be used for holding.

Taniotoshi – Advance left foot to uke’s right foot, bring up your right foot, slide left foot behind uke’s right leg, keeping your foot on mat. Your kuzushi is to rear side as in Osotogari. Sit down and throw him to his right rear corner keeping your right arm across his chest.

Taniotoshi as counter – Taniotoshi can be used as a counter when your opponent attempts any hip throw or Seoinage but it is important that you turn your upper body as your opponent comes in for the hip throw or shoulder toss. Then you can counter with Taniotoshi with no trouble.

Tori come in same as for Osotogari but instead of doing Osotogari do Ouchigari. Be sure to tuck uke’s elbow in stead of back and down as for Osotogari, then you will have no trouble doing Ouchigari.

In using Uki Waza as a counter, be sure to take a large circular step to your right as your opponent comes in. The only difference between using Uki Waza as a counter and Taniotoshi is in the direction. For Taniotoshi you merely turn your upper body and fall to mat but in Uki Waza you must take a large circular step to your right before going to the mat.

Counter to Ouchigari – When your opponent comes in for Ouchigari, sit down and throw him on Uki Waza. You must twist hips and start Uki Waza before your opponent gets his leg behind your knee for Ouchigari.

Use the same Kuzushi on Ko soto gake as for Ko soto gari. Your stomach must have contact with your opponent’s body in order to apply Kosotogake properly. Try Kosotogake either when your opponent steps forward with his right foot or steps backward with his left foot To get your opponent to step forward with his right foot, you must pull his right arm forward and in and at the same time attack with your left foot.

When your opponent tries Kosotogake an you, turn your body to the left and counter him with Uchimata. Be sure you pivot way around, also pull your opponent close to you as he comes in.

To resist Sasaetsurikomiashi or Haraitsurikomiashi, lean your body weight to your left front.

On Kosotogari be sure to lift up with your right arm. Your arms should be in the same position as for Osotogari. Your left foot in same position as Deashi-harai. Difference is you lift opponent up as you reap., Your body should be in same position as Kosotogake.

Kouchigari push straight back with arm and upper body. Be sure to reach your foot way in in for a good reap. When your opponent tries Kouchigari, turn your body to the right as he come in and pull him and counter with Sasaetsurikomiashi.

On Sumiotoshi, make (as you break opponent’s Kuzushi to right rear corner) sure that you push with your right hip as well as your arms. Left hand turns opponent’s right elbow in and down.

On Yokogake and Deashiharai, make sure you attack behind opponent’s heel and not the side of his foot.

On Osotoguruma, Kuzushi is straight back. Come in deeper than for Osotogari. Osotogari do not come in so deep – Kuzushi is to right back corner.

On Osotoguruma, put your right leg across opponent’s back of knees with your right knee bent and turned slightly to the left and toes pointed.

On ushirogoshi, make sure your right elbow stays up and pull as your opponent comes in. Pull him in faster than he expected.

On Haraigoshi, do not come in too deep with your hip or you cannot sweep properly. Come in a little less than Ogoshi.

Choke when on bottom. Grasp opponent’s left lapel with both hands. As he tries for Juiji Jime pull his head down and slide your right elbow over his head and turn your right arm so that your small finger side of arm is on his neck and apply choke.

On Kosotogari make sure your right leg is between your opponent’s legs and not to outside of his legs.

On Kouchigari, be sure to turn your reaping foot in an exaggerated angle somewhat resembling a putting iron in golf.

When your opponent tries Hizaguruma from the left, lean your weight on your left leg, bend your right knee and attack his heel which is on your knee and apply Kouchigari and push him down and back. The Kouchigari is applied to the heel of his foot which is on your knee. You can also reverse this on right Hizaguruma but it is a little more difficult.

If your opponent tries Kouchigari and misses, but he is still pushing you backward and trying to take you down, sit down and apply Tomoenage.

Koshiguruma cannot be done if your opponent is standing in Shizentai. He must be slightly bent forward before you can apply Koshiguruma.

When your opponent attacks your right leg in Kosotogake, pivot your left foot and turn your body and counter with Uchimata

Yokowakare – when your opponent steps forward with his right leg, pull him forward and lie down (not sit down) while still pulling him and leaning back with your body as you lie down.

On Taniotoshi make sure your right arm, your hip, and your leg is in straight line, elbow bent, your right side of body has contact with opponent’s left side.

On Haraigoshi and Hanegoshi, your left foot must be exactly in the center of your opponent’s legs.

 

Filed Under: History, Techniques

1960 World Championships – Report By Donn Draeger

January 31, 2016 by khadaji Leave a Comment

 

FOREIGN CORRESPONDENCE
Report by Don Draeger
Tokyo, 1 May 1960.
1960 All – Japan Judo Championships Report

The accent was on youth with its concomitants of speed, power, endurance and dazzling Judo technique as the 1960 All-Japan Judo Championships came to a close. Twenty-three year old Akio Kaminaga, 5 Dan (225 lb. runnerup to 6 Dan ‘World Champ K. Sone in 1958), using skillful strategy, powerful Judo style, and taking advantage of pairing circumstances which were decidedly in his favor, wrested the crown from defending titles, Isao Inokuma, 5 Dan, in a bitterly contested 20 minute battle. The victory, awarded by a close decision, avenged the loss Kaminga suffered to Inokuma in last years final.

This tournament, as in past years, further supports the thesis of the writer that Judo championship caliber requires of the participants to couple efficient Judo technique with a young, physically powerful body. Veteran judoka over 26 years of age found the going extremely difficult and the blistering pace set by the younger men overwhelming any advantage of experience possessed.

The 1960 Shiai was conducted on a different basis than has been standard in past years in that competition was scheduled over a period of two days, the first day of which was the contesting of 48 competitors arranged in groups of "threes" competing on a Soatari (round-robin) basis, with the winner advancing to the normal pattern of Tentori (single elimination) shiai on the second day. Such competition places a premium on endurance and it was evident from the outset that youth with power and stamina would be the survivor. Pre-contest favorites included aging World Champion K. Sone, 6 Dan; 1959 All-Japan Champ, I. Inokuma, 5 Dan; powerful challenger, A. Kaminaga, 5 Dan; speedy, skillful stylist, K. Watanabe, 5 Dan; Osaka policeman, M. Kawano, 5 Dan; Kyoto’s giant (6’3"–200 lb.) Y. Oda, 5 Dan; and 1959 University Student Champ, M. Shigematsu, 4 Dan.

The first day of competition (Soatari) progressed more or less as anticipated and was characterized by clean-crisp techniques. The Champion, Inokuma, advanced powerfully with lightning-fast Judo and his victims joining his "Taio-toshi and Seoinage Club." In a major upset, World Champ Sone fell miserably before the onslaught of former Tenri University star, Wakita, 4 Dan, who got an early start on Sone by scoring Wazari by Osotogari which startled not only Sone, Wakita and the audience, but the Referee as well, who paused not being able to believe what he had witnessed and waited many seconds before calling a partial point. Wakita applied continued pressure and put Sone in constant difficulty by shedding off ineffective attempts of the best Sone could muster (Osotogari and Uchimata), and keeping Sone in completely defensive Judo for most of the bout until a devastating Osotogari pounded Sone to the mat for the score. Sone in his second match eliminated himself by barely obtaining a Yuseigachi over a relatively feeble opponent. It is a splendid example of the inability of "oldsters" to keep pace with modern youthful Judo in Japan. Sone, hampered by age, injury and lack of condition due to domestic requirements, presented a pityful sight to those who remember him as the great champion he was. Sone’s elimination put Meiji University’s captain, M. Shigematsu into the running, who advanced easily in his eliminations. Kaminaga got off to a slow start, having trouble with his first opponent, a Sandan, and had to be satisfied with a Wazari by Taiotoshi and later completing the score with a very secure Osaekomi. Speculation about Kaminaga’s condition due to his recent junket to Europe as a "Judo Ambassador" was prominent, but his next aged opponent (32) went down quickly to a Taiotoshi thus advancing Kaminaga. Kansai area Judoka Kawano and Oda advanced rather easily. One of the most skillful stylists and perhaps the possessor of the most deceptive Judo in Japan, K. Watanabe, "out-danced" his opponents but was eliminated by Hansokumake (violation of rules) when the Referee charged him with deliberate dumping of his opponent outside the contest area. In one of the most interesting bouts of the entire tournament, tiny (149 lb.) H. Iwata, 4 Dan, competed against gigantic (317 lb.) R. Miyake, 5 Dan. These two are the quantitive "Mr. Small" and "Mr. Big" of Japanese Judo. Iwata is reminiscent of the famous Osawa, 6 Dan, and attacks with similar skillful, brainy, tiger-like ferocity, using a sureness of body control which is beautiful to behold (Iwata held Kaminaga to a Wazari decision in 1959 All-Japan and defeated Inokuma in 1959 East-West). Iwata carried the fight to the mammoth Miyake (as yet un-thrown in major competition) and was never behind, setting Miyake rudely down on his large posterior with a wicked Kouchigari followed by grappling from a rear choking position astride Miyake’s back. Miyake, in panic, rolled lumbersomely off the mat, coming up on all fours with tiny Iwata perched astride him much to the amusement of the audience. Shortly thereafter, Iwata succeeded in doing what no one else has ever done……throwing Miyake over the top with a slow, but positive Tsuri-seoinage, but the elephantine landed outside the contest area for no score! (Iwata is often used as case in point for argument against weight classes, but stands as an exception……being extremely powerful for his size and is not an accurate index. Then too, Miyake in this match was miserably out of shape and did nothing but stand). The emphasis on youth, power and endurance continued emersed in sparkling waza as confused "oldsters" fell beneath the pounding pace of round-robin Judo. Advancing impressively were two teammates from Nihon University, T. Koga, 4 Dan (who at 20 years has met contest requirements for 5 Dan but must wait two more years for that rank due to age restrictions! ), with a flowery high-speed style of Uchimata and Ouchigari, and Tokyo’s "wonder boy" S. Ito, 4 Dan, who literally blasted his opponents off the mat. The most captivating bouts from the standpoint of audience sympathy was the performance of young (19 years) K. Seki, 3 Dan, who as a high school boy was making his first appearance in major action. Seki, with furious abandon and tenacity, overwhelmed his bewildered senior opponent, whom I am sure must have thought there were two opponents after him! Continuing this pace against his second opponent, the wily Matsumoto, 4 Dan from Tenri University, Seki almost managed his advancement to the second day finals but was caught on a Wazari from a Kaeshi executed Yokootoshi as Seki took too leading a stance.

On the second day, 16 finalists met, competing on a single elimination basis. In one major bracket, Kawano, Kaminaga, Iwata, Shigematsu …….. in the other, Koga, Inokuma, Ito and Oda. It was this turn of circumstances in pairing which gave Kaminaga a relatively easy entrance to the finals, conserving his energy, while his opponent to be, Inokuma, had to battle long and hard for the same entrance.

Kawano gained a clearcut decision over his first opponent. Kaminaga, a Meiji U. alumnus, faced a Meiji opponent who took an obvious "dive" for him early in the bout at no expense to Kaminaga’s energy reserve. Iwata battled the stable Shigematsu on more or less equal terms, but Shigematsu’s relentless attacks gained him a close decision. In the other bracket, Koga scored easily to advance. Inokuma, meeting powerful and reckless Ito, was held to a decision at the expiration of time, but was clearly superior as Ito did little but defend. Oda drove in hard for his usual long-legged, hopping type of Uchimata for an easy score. In the second round, Kaminaga faced his only true prefinal bout of the day against Kawano. After a slow start, Kaminaga managed a driving Ouchigari Wazari and a bit later filled the score with a smashing Taiotoshi. Shigematsu advanced easily. The second round in the other bracket saw a terrific battle between Koga and Inokuma. Koga, a willowy speed-merchant, has a spinning, whip-like left Uchimata (much like J. Osako, but faster and more powerful) which is easily changed by him into a ripping Ouchigari. Inokuma stalked Koga, taking the initiative as he always does in shiai, but unable to do much. Koga knifed in for the kill time and time again, stumbling Inokuma several times with Ouchigari and once forcing Inokuma to twist and dive for the mat to save the point. Koga was confined to the mat edge by Inokuma’s forward tactics, but managed to spin in to fling Inokuma to the ground with Uchimata just outside the mat area (Inokuma told me afterwards that it was this Waza which shook his confidence.). Things looked dark for Inokuma, but with a desperate blur of speed Koga was whirled overhead by Seoinage for a Wazari which gained a decision for Inokuma at the expiration of time. Oda spilled his opponent easily with Ura Kaeshi twice for Awase Waza. In the semi-finals, Kaminaga faced his second Meiji opponent in Shigematsu who danced rapidly around in the opening seconds of the bout and took an unmistakable "dive" for a Nage-no-Kata like Ukiwaza. This additionally greatly economized Kaminaga’s energy and force Inokuma into almost immediate action against the Kyoto goliath, Oda, who was making his bid for the title for the 5th time. Oda was determined not to let Inokuma, who had humiliated him in the 1959 matches, push him around, and carried the fight to Inokuma. Inokuma, unable to enter for his pet Seoinage, fought back with "roughhouse" tactics which smashed and clobbered Oda around, both on and off the mat. Oda worked desperately to obtain his driving Osotogari only to be smashed to the mat time and time again in failure. Stances were unorthodox, with standing in a deep right posture gripping Inokuma’s right lapel with both hands while Inokuma standing similarly with his left arm dangling loose hoping to seize the giant’s right leg as it attacked (Inokuma is extremely powerful from weight training and can easily clean 250 lbs.) At the expiration of time, the officials could make no decision and ordered OVERTIME. Inokuma infuriated with this decision, used the roughest tactics seen in a long time. Making use of Morote Gari time after time to tackle or scoop Oda up, one time smashing into Oda from mid-mat and driving Oda out of bounds, across the safety perimeter, and off the platform to the concrete 3 feet below! Oda never recovered from this treatment and complained of a back injury. As time wore on, it was evident the 31 year old Oda was running out of gas. Inokuma too showed the strain as his famous power pull for Seoinage ceased and he contented himself with knocking Oda down and clamped on his vice-like Yokoshihogatame (from which there is no escape) for the score before the expiration of the overtime (15 minutes). Both opponents were obviously tired and beyond rapid recuperation. (Ito, Koga, and Oda confided in me that after their bout with Inokuma, they were exhausted. Inokuma told me at this point that he saw no hope for victory over Kaminaga by throwing technique).

In the final, fresh Kaminaga, who had fought less than 8 minutes all day and had enjoyed about 50 minutes rest (compared to 35 minutes of fighting and 12 minutes of rest for Inokuma), was visibly confident of victory, knowing Inokuma’s fatigue. It was here that Inokuma, even in defeat, demonstrated the truly great qualities of a champion by carrying on a 20 minute battle against the sturdy Kaminaga, greatly reducing any special acclaim Kaminaga should normally receive by winning the title. The bout began cautiously with Kaminaga taking no chances against the Seoinage which had done him in on their last meeting. Kaminaga clamped a defensive grip on Inokuma for the first few minutes, blocking the Seoinage attempts and adding to Inokuma’s fatigue. Then, with clever tactics, Kaminaga invited grappling, not with the idea of obtaining a score (Kaminaga is inferior on the ground), but to hasten the energy collapse of Inokuma. Kaminaga remained carefully near the mat edge should the going get tough, and kept Inokuma in an attacking position. Inokuma tried desperately to haul Kaminaga to the center but the position was nullified by the Referee and combat resumed from standing. Inokuma attacked with Seoinage ….. but the sting was gone ….. fatigue was the real enemy of Inokuma. Kaminaga, satisfied that Inokuma was helpless, opened up and managed a Kosotogari which Inokuma rolled out of, but spilled onto his knees in doing so. This proved the slight margin necessary for Kaminaga’s victory. Inokuma knocked Kaminaga down and was driving into grappling attack as the bell sounded.

The new champion is a deserving athlete, a possessor of dynamic Judo style and powerful, smashing attacks. He represents the youthful element which rules modern Judo (story on his training methods which include weight training in future issues). His victory came after a long grooming and hard work which will bring new credit to him and unavoidable, additional respect for his defeated rival, Inokuma.

 

Filed Under: History

Early Report On BJJ (Brazilian Jiu Jitsu)

January 31, 2016 by khadaji Leave a Comment

 

Here’s an interesting bit of information on early BJJ, long before it was known in the U.S. – it seems apparent that the Gracie family has – for quite some time – not been fans of Judo… which seems strange considering their martial art roots.

                THE REHABILITATION CENTER AT PHILADELPHIA
                 8801 STENTON AVENUE PHILADELPHIA 18, PA.
                   ADAMS 3-2O5O CHESTNUT HILL 8-2550

                                                       August 31, 1960

     OFFICE OF THE DEPUTY DIRECTOR

     Mrs. Helen Foos
     c/o Philadelphia Judo Club
     P.O. Box 165
     Merion, Pa.

     Dear Mrs. Foos,
                             I have just returned from a two weeks lecture
     tour of Brazil and found the very fine looking new copies of the Judo
     Bulletin.  I think the cover is outstanding and of course, I was most
     interested in the news.  May I add some news for your next Bulletin?

                             I had the opportunity to conduct classes at the
     Brazilian Military Academy of Physical Education with particular em-
     phasis on Judo.  I found that their Judo system was predicated on the
     "Gracie" method which had its inception in Rio about 30 years ago.
     Since the system seemed to be a queer mixture of Jiu Jitsu, Karate,
     and Judo I determined to visit the Gracie Salon.  I found them occ-
     upying two floors in a very large office building, very lush quarters,
     many rooms with padded walls,and floors covered by tatamis and one
     large room with sitting space for spectators.  I found that this was
     a business run by a very large family, all of whom claimed to be champ-
     ions and all of whom were very dynamic people.  I spent three hours
     with the two leaders of the Gracie family and found them very bitterly
     opposed to Judo per se, to the Judo system in general and to Japanese
     in particular.  The leader claimed to have defeated every Judo Black
     Belt that had ever visited Brazil.  It took me three hours to find out
     something about the system.

                             They do not observe formalities or convention
     but do wear Judogis (made by themselves and claimed to be the best in
     the world).  A standing throw meant nothing but affording the opport-
     unity to work on the mat.  Most of the techniques seemed to point in
     the direction of causing the opponent to quit in the grappling situa-
     tion.  While I found nothing of extreme merit within this system these
     people are indeed the Judo (?) powers in Brazil as was evident by the
     military utilizing their system.  Their whole appraisal of Judo or
     Jiu Jitsu is "Can you beat your opponent by any means?". There are
     several Kodokan type Judo organizations in Rio but my other commit-
     ments did not permit me to visit them.

                             I feel that possibly your readers will be inter-
     ested in knowing what is happening in other parts of the world in our
     game.	
                                              Sincerely yours,

     ARF:ge                                   Anthony R. Flores
                                              Lt. Col. MSC

 

Taken from “The Judo Journal”, dated Spring of 1961.

 

Filed Under: History

Shiro Saigo – Judo’s Secret Weapon?

January 31, 2016 by khadaji Leave a Comment

Was Shiro Saigo the "secret weapon" of Judo?

… And did Jigoro Kano popularize his new art by using a ringer?

In 1886, the Tokyo Police Department hosted a Judo vs. Jujutsu tournament. And, although there aren’t as many details available to us today as we might wish, some details are clear. For example, there seems to be no doubt that Kano’s students won the majority of the matches.

This simple fact demands an explanation. What I’d like to do in this article is to examine the various claims made about this tournament (specifically dealing with Shiro Saigo), and try to sort fact from fiction.

 

The statements I’d like to discuss, in no particular order, are these:

1. Jigoro Kano "stacked the deck" by using students who’d previously trained in Jujutsu.

2. Shiro Saigo was one of these "deck-stacking" students of Kano. He was really a master of Daito-Ryu Jujutsu.

3. The technique that Shiro Saigo used to dispatch his opponents (Yama Arashi) was not taught in Judo. There is some doubt as to what the technique actually consisted of.

Each of these statements are readily found on either the Internet, or in various Jujutsu books.


 

"Jigoro Kano ‘stacked the deck’ by using students who’d previously trained in Jujutsu".

This is at least partially true, in the sense that many students of Kano had previous experience in various other arts, but completely misses the point. For example, it’s well known that Shiro Saigo was studying Tenshin Shin’yo Ryu at the same dojo where Jigoro Kano was an assistant instructor. This was before Shiro Saigo started training exclusively under Jigoro Kano in what was to become Judo.

Just as Jigoro Kano himself had studied both Tenshin Shin’yo Ryu, and Kito Ryu, before founding Judo.

The point that is apparently being missed by some, is that the fact that some students of Kano had previous training doesn’t explain anything. You still have Jujutsu students (that all train at one particular dojo) defeating other Jujutsu students.

What was the difference between "Kano’s Jujutsu" and the other styles of Jujutsu that allowed Kano’s students to overwhelmingly defeat them?

In my opinion, it was the difference in training methods. Kano made a strict division between Jujutsu techniques that could be safely practiced at high speed and full power, and those techniques that could not. If they couldn’t be practiced with full speed and power, he relegated them to Kata practice.

Kano’s students could concentrate on the relatively fewer techniques, and become much more proficient while keeping injuries to a minimum. During a discussion of this article at E-Budo.com, Joseph Svinth made the point that keeping injuries to a minimum is not a point to be glossed over. By keeping injuries down, the Kodokan Judoka could essentially multiply the time they spent practicing, as they were not recuperating from numerous injuries.

The lessons learned from the 1886 tournament continues to echo down to the present day. Martial arts that don’t have a strong tradition of training with full speed and power against resisting opponents have been mowed down by those that do. This is, perhaps, the reason that some modern day Jujutsu styles seem to spread "stories" about Judo, and the 1886 tournament. They wish to give alternative reasons for Judo’s victory.

For example:

"In February 1882 at a Buddhist temple called Yeishoji, in a small room of only twelve tatame mats (18 feet by 12 feet) and with only a few dedicated onlookers, birth was given to what we now know as judo. A few years later, on June 10, 1886, in a large, well-lit one-hundred-tatame room at Tokyo Police Headquarters, a contest took place between the new and the old. Jujitsu was represented by the head instructor at the Japanese Police Department. Judo was represented by a student of Dr. Kano; the student was also an aiki-jutsu master. The jujitsu master was beaten and died. From that day forward, judo was the only hand-to-hand self-defense art the upper class would respect and accept. The lower class, trying to copy the upper, followed suit. As a consequence, jujitsu was left to decay as a relic of the past. The decline of jujitsu – this fine and noble art developed by the elite samurai class during Japan’s feudal days – symbolized the ending of the feudal system and the beginning of a new era. (Ref #1)

While it’s not my intention to go into detail about the 1886 tournament, it’s common knowledge that it was a series of matches, commonly the number given is 15. By dropping the number down to one, it becomes possible to place Judo’s victory at the foot of another style. This is a good example of poor scholarship (or revision of history) from an otherwise fine book.

Another interesting fact, is that if Jigoro Kano "stacked the deck" in the 1886 tournament, the other Jujutsu masters of the day apparently knew nothing about it. They increasingly allied themselves with the Kodokan. People who believe that Judo "cheated" their way to victory, cannot explain why contemporary Jujutsu masters thought highly of Jigoro Kano. Here’s an interesting photo from a conclave of leading Jujutsu masters at the Dai Nippon Butokukai in Kyoto on July 24th, 1906. They had gathered to formulate the official katas to be used by the Kodokan.

Jujutsu Masters

Jujutsu Masters Kanji - Click Here to Enlarge

Dai-Nippon Butokukai (Greater-Japan Martial Virtue Association)
Judo Kata Seitei-iin (Members of the Committee to Establish the kata of Judo).

(Front row, right to left): Hiratsuka Katsuta of Kagawa (Yoshin Ryu); Yano Koji of Kumamoto (Takeouchi San-To Ryu kyoshi); Sekiguchi Jushin of Wakayama (Sekiguchi Ryu); Totsuka Eibi of Chiba (Yoshin Ryu hanshi); Kano Jigoro of Tokyo (Kodokan Judo hanshi); Hoshino Kumon of Kumamoto (Shiten Ryu hanshi); Katayama Takayoshi of Kagawa (Yoshin Ryu); Eguchi Yazo of Kumamoto (Kyushin Ryu kyoshi); Inazu Masamizu of Kyoto (Miura Ryu).

 

(Back row, right to left): Yamashita Yoshiaki of Tokyo (Kodokan Judo kyoshi); Isogai Hajime of Kyoto (Kodokan Judo kyoshi); Yokoyama Sakujiro of Tokyo (Kodokan Judo kyoshi); Nagaoka Shuichi of Kyoto (Kodokan Judo kyoshi); Takano Shikataro of Okayama (Takenouchi Ryu); Tanabe Matauemon of Himeji (Fusen Ryu kyoshi); Imai Kotaro of Okayama (Takenouchi Ryu kyoshi); Sato Hoken of Kyoto (Kodokan Judo kyoshi); Oshima Hikosaburo of Kagawa (Takenouchi Ryu kyoshi); Tsumizu Mokichi of Wakayama (Sekiguchi Ryu); Aoyagi Kihei of Fukuoka (Sosuishitsu Ryu kyoshi). (Ref #2)

 

Kyoto-shi o Butokukai Honbu (Butokukai Headquarters in the city of Kyoto)
Meiji 39-nen 7-gatsu 24-nichi (July 24, 39th year of Meiji – 1906)

Note: Although I originally quoted directly from the book, Brian Griffin on E-Budo.com has been kind enough to clean up the mistakes and romanization in the above caption. He also points out that

"The three hanshi are front-and-center, with Kano smack-dab in the middle. At his elbow is Totsuka, his main rival at the 1886 Police tournament. Many of the others – including Tanabe of Fusen-Ryu – appear in Yokoyama’s Judo Kyohan demonstrating Judo grappling techniques." – Brian Griffin

My thanks to Brian for his work in correcting this!


 

"Shiro Saigo was one of these "deck-stacking" students of Kano. He was really a master of Daito-Ryu Jujutsu."

Shiro Saigo was born on Feb 4, 1866, making him just 16 years old in 1882, when he became the eighth student to sign the enrollment register at the newly-established Kodokan dojo. So if he was a "master" of anything at age 16, it doesn’t speak very highly for what he was a "master" of, does it?

Quite often while researching this article, I would run across ‘factoids’ that are self-evidently wrong. Take for example:

"In 1888 the youngster entered the Inouye dojo which taught Tenjin Shin’yo Try. Kano, who held a menkyo kaiden in the ryu, met Shida there and contested with him. Kano was greatly impressed by Shida’s proficiency. Kano asked Shida, who was by then 16, to help him build up the Kodokan." (Ref #3)

The dates are quite obviously wrong, since Saigo was born in 1866, which made him 22, not 16 in 1888. And since Saigo was one of the Judo representatives in the 1886 tournament, for him not to have even met Kano until two years later seems strange. But this paragraph is actually quite typical of the mistakes found routinely while researching Shiro Saigo’s life.

But in spite of numerous errors, it is possible to sort through the chaff, and figure a few things out. The first thing that must be done is to establish just what connection there is between Shiro Saigo, and Daito-ryu. Since Daito-Ryu was really an invention of Sokaku Takeda (1858-1942), there must be some contortions to allow Shiro Saigo to learn anything of Daito-Ryu. So a short history of Daito-Ryu lineage is in order here:

(A short comment is in order here… although it seems to be a consensus among martial art historians that Sokaku Takeda is the originator of Daito-ryu, students of Daito-ryu do not generally agree. Strangely enough, this tends to downplay the true martial genius of Sokaku Takeda.)

The lineage that is recorded in the earliest mokoroku of Takeda stops with his grandfather, Soemon Takeda (1758-1853). Takeda himself does not state where he received his training in what he was the first to call Daito-Ryu. It is important to keep this simple fact in mind, as it indicates the degree to which various Daito-ryu lineages are at least partially based on hypothesis. As Stanley Pranin states:

"Except for his training in Ono-ha Itto-ryu kenjutsu, the specific content of the various arts Sokaku was taught by his father or others in Aizu remains unclear. Whatever the martial arts formation he received within the clan may have been, Sokaku’s training at the dojos of famous swordsmen Kenkichi Sakakibara and Shunzo Momonoi, and his lengthy journeys for self-training (musha shugyu) over more than a decade surely played a major role in shaping the sophisticated martial system which would later emerge. All evidence points to the conclusion that the Daito-ryu arts Sokaku taught over a span of more than half a century are as much a synthesis of his vast training experience and technical innovation as they are a faithful continuation of the Aizu clan martial tradition." (Ref #4)

Interesting to keep in mind when following this lineage, is that Sokaku Takeda’s father, Sokichi Takeda, was a sumo wrestler weighing in at 240, and held the provincial rank of Ozeki (in Aizu). He was also an expert swordsman and expert in Bojutsu. He had been taught Hozoin-ryu Takada-ha sojutsu (Art of the Spear) form his father-in-law, Dengoro Kurokochi. He’d also had practical fighting experience, fighting in the Boshin Civil War at the Battle of Toba-Fushimi in Kyoto, and later in the battle at Aizu Wakamatsu Castle. He had his own dojo on his property, where he taught others. May I suggest that what early training Sokaku Takeda received, he received from his father? Is it reasonable?

I would like to mention at this point, that Sokaku Takeda quite certainly did not learn anything from his grandfather, Soemon Takeda. In researching for this article, I frequently ran across references stating that he did. ‘Samurai Aikijutsu’ for example, states this. But, as Soemon Takeda died in 1853, and Sokaku was born in 1858, if Sokaku was taking lessons from his grandfather, it was via a Ouija board…

Now, we need to see what possible connection Sokaku had with Shiro Saigo, to determine if it is reasonable to assume that Shiro Saigo ever learned Daito-ryu.

The connection is to be found in the name of Tanomo Saigo (1830-1903 who later changed his name to Chikanori Hoshina). Shiro Saigo was the illegitimate son of Tanomo Saigo according to some sources, who in any case adopted Shiro.

Chikanori was the chief councillor and governor-general of the Aizu clan. He was thus a quite politically powerful and important man. It is an historical fact that Sokaku Takeda spent some time with Chikanori, learning what Sokaku called "Oshikiuchi". Leaving what that may have been until later, the theory is that Soemon taught, not his son Sokichi, who would teach Sokaku… but that Soemon taught Chikanori, who admittedly *did* teach Sokaku Takeda something.

The problems with this theory are several, and the main problem is that the deduction is being made that Chikanori is a martial arts master not based on historical evidence, but on the fact that he is closely connected to two martial geniuses. His son Shiro Saigo, and the founder of Daito-ryu, Sokaku Takeda. This seems to be akin to placing the cart before the horse. As Stanley Pranin points out:

"Chikanori Hoshina’s life is well-documented and even his diary has been preserved. Hoshina scholars have, however, found no evidence of Chikanori having undergone any extensive martial arts training or having taught such arts. Had Chikanori been a skilled martial artist in his own right, surely some record of his talents and exploits would have survived." (Ref #5)

If you accept that Chikanori was *not* a martial artist, and non-Daito-ryu history certainly doesn’t proclaim him one, then what is "Oshikiuchi"? It is the testimony of Sokaku Takeda that he learned Oshikiuchi from Chikanori. One of the better discussions of this point is:

"A further unresolved issue is the matter of the term used historically to refer to Daito-ryu techniques transmitted within the Aizu clan. Tokimune and others have written that Sokaku learned secret techniques called oshikiuchi and that it was these arts that form the essence of Daito-ryu. The characters used for oshikiuchi, "o" (an honorific) + "shiki" (ceremony) + "uchi" (inside),Oshikiuchi Kanji, represent a rather curious combination and do not convey any obvious meaning. They were probably recorded based on the oral testimony of Sokaku who was himself illiterate. One theory is that the correct Chinese characters are actually,Oshikiiuchi Kanji, "o" (an honorific) + "shikii" (threshold) + "uchi" (inside). According to this view, what was actually referred to as oshikiuchi were not martial techniques at all, but rather the court etiquette or manners that trusted subjects of the inner circle who were allowed "inside the threshold" were expected to observe. If this is indeed the case, what Chikanori Hoshina taught Sokaku during the latter’s visits had to do with matters of samurai etiquette." (Ref #6)

Another reference to this same point is:

"There is some question about the proper reading/pronunciation of this term. The form Sokaku taught his son Tokimune translates as "honorable ceremony inside," and the term came to be equated with gotenjutsu, literally "self-defense techniques for use within the palace." Usually, however, groups of Japanese characters used as words have some sort of intrinsic sense that indicate their meaning, and a number of Japanese scholars have noted that this particular version of oshikiuchi is essentially nonsense. Some researchers now believe that the correct characters are "within the honorable threshold" , oshikiiuchi, and that it refers to the behavior of those permitted within the threshold of the palace, be it domainal or that of the Shogun" (©1997 Diane Skoss). (Ref #7)

(For those who don’t know any Japanese, the difference between the verbal pronunciation of "Oshikiuchi" and "Oshikiiuchi" is small! It’s a lengthened "i" sound, instead of the short ‘i’ sound. Japanese is a language where it can frequently not be possible to know the meaning of a word without seeing the written form.)

So if Chikanori is not known to history as a martial artist, and did indeed teach samurai etiquette to Sokaku Takeda, we are left without anyone to teach Daito-ryu to Chikanori’s son, Shiro Saigo. Shiro Saigo did not have any known historical contact with Sokaku Takeda…

Only two students of Sokaku Takeda received menkyo kaiden in Daito-ryu Aikijujutsu directly from Sokaku. One of them was Takuma Hisa (1895-1979 Menkyo Kaiden, 1939) One of his students was Hakaru Mori, awarded Hachidan in 1973, and appointed Director of the Daito-ryu Aikijujutsu Takumakai in December of 1978. Here is what he had to say on the subject:

"Question: Sensei, you’ve been pursuing some historical research on the Daito-ryu. Can you tell us about the relationship between the famous Shiro Saigo and Daito-ryu?

 

Answer: Shiro Saigo was adopted by Tanomo Saigo, who was said to have been one of Sokaku’s instructors. Thus it is natural to assume that Saigo had some kind of connection to Daito-ryu. However, Shiro Saigo studied Judo at the Kodokan starting when he was a child, and there is no evidence that he learned Daito-ryu. But he later left the Kodokan, and there are many theories on why he did so. He was one of the students left in charge of the Kodokan while Jigoro Kano was on a trip, but he ran away. We simply cannot prove that he used Daito-ryu techniques at the Kodokan. Some people say the yamaarashi is a variation of shihonage, but the technique introduced by the Kodokan as yamaarashi is totally different. Besides, I doubt that you can actually bend an arm in that way. When you try to apply the technique to someone, you will discover that it is very difficult to bend a judoka’s arm that way. Thus, I am not convinced by the theory that yamaarashi is a variation of shihonage. Furthermore, there is no evidence that Saigo used Daito-ryu after he left the Kodokan. Although it is said that his adopted father taught him Daito-ryu, it is difficult to judge whether or not this is true." (Ref #8)

So we can see that one of the top sensei in Daito-ryu doesn’t believe that Shiro Saigo knew any Daito-ryu, let alone being a "master" of it. The current headmaster of mainstream Daito-ryu, Katsuyuki Kondo, also doesn’t believe that Shiro Saigo ever knew any Daito-ryu. (See his statements below)

One other source can be found on the Internet that claims that Shiro Saigo was a master of Daito-ryu, and that is an art that is titled "Saigo Ha Daito-ryu" Here’s what they have to say:

"Tanomo Saigo taught his adopted son Shiro Saigo the traditional art of the Minamoto and Aizu clans and groomed him as his official successor. (This included all the secret aspects of this art including the religious and cultural operations of the system), but, due to some romantic pressures, Shiro ended-up reclining the offer to become the new headmaster of Daito-Ryu. At this point, Tanomo approached his bodyguard, the grandson of his teacher (Saemon Takeda) to ask him to train in his art and assume the headmastership of Daito-Ryu. The bodyguard was Sokaku Takeda, who was already a master of several fighting systems and was trained in some aspects of Daito – Ryu under both his grandfather and his father. The rest is history: Shiro Saigo relocated to Nagasaki and assumed a low public profile, still teaching Daito-Ryu, along with other arts, while, Sokaku Takeda, assumed the title of grandmaster of Daito-ryu and became very well-known until he died in his early 80’s." (Ref #9)

Unfortunately, history doesn’t record that Sokaku Takeda was a bodyguard for anyone, let alone the chief councillor for the Aizu clan. Neither does history record that Chikanori was the "headmaster" of any martial art. Sokaku Takeda almost certainly learned some martial skills from his father, who was a Sumo Ozeki and Bojutsuka, with his own dojo… but it’s rather doubtful if Sokaku Takeda learned anything at all from his grandfather. After all, Sokaku was born in 1858, while his grandfather had died five years earlier in 1853. Furthermore, history *does* record that Shiro Saigo gave up his study of Judo, but other than becoming a master of Kyudo (Archery), history says nothing at all about his knowledge of, or teaching of, Daito-ryu.

The current leader of mainstream Daito-ryu, Katsuyuki Kondo, had this to say about the claims of Saigo ha Daito-ryu:

"Properly speaking, there is no connection whatsoever between the Saigo-ha and Daito-ryu schools. They should not call themselves Daito-ryu because there is no relationship at all between Daito-ryu and the version of history they are offering." (Ref #10)

So, did Shiro Saigo ever learn any Daito-ryu? I think history is fairly clear here, no, he didn’t.


 

The technique that Shiro Saigo used to dispatch his opponents (Yama Arashi) was not taught in Judo. There is some doubt as to what the technique actually consisted of.

The falsity of this statement is probably the easiest of all to demonstrate. And yet, it’s a statement that I run into quite often on the Internet. One has to wonder why this statement is still being made, knowing how easily it can be shown to be incorrect.

First, let’s take a look at some of the myths being passed along about Yama Arashi. Michael DePasquale Jr. has this to say about Yama Arashi:

"This technique did in fact fall into disuse with the advent of modern Judo. However our research reveals that it must have been performed as shown here. Yama Arashi was made famous by Shiro Saigo when he was fighting for the reputation of Kodokan Judo against the older schools of Jujitsu. No Judo man since his has been able to perform this throw and it seems that it was never included in the curriculum of the Kodokan." (Ref #13)

In reading the above paragraph, the only one that seems to be true is the third sentence. All the rest of the statements are demonstrably wrong! Yama Arashi was in the first compilation of the Gokyo no waza, and has always been taught in Judo. It’s not, however, a particularly popular throw. But it is a recognized Judo throw, and always has been.

DePasquale Jr. also states that "Jigoro Kano intelligently, if a little unfairly, used a master Daito Ryu technique to prove the supremacy of his own Judo method."

Since I’ve shown that there’s a great deal of doubt that Shiro Saigo learned *any* Daito-ryu techniques, this statement is not very accurate. But for the sake of discussion, let’s imagine that it is absolutely correct. The mystery would then be how contemporary Jujutsu masters were unaware of this. It’s certainly no secret that many Jujutsu masters joined with the Kodokan in the years following the 1886 tournament. Their reasons, of course, were many, but they wouldn’t even consider joining the Kodokan if they’d thought for a moment that Judo had ‘cheated’ their way through competition. Would they?

The original source for the statements quoted above from Michael Depasquale Jr.’s website appear to be from the book, ‘Samurai Aikijutsu’ by Toshishiro Obata. Fortunately, an interview was conducted with the author on E-Budo.com, and we can see where he got his information:

On Aug 23, 2000, Robert Reinberger, a Jigen Ryu Jujutsuka, asked the following questions of Toshishiro Obata:

In your book Samurai Aikijutsu (pg. 56-59) you also presented a variation of this technique, and wrote:

 

"However, our research reveals that it must have been performed as shown in this section."

May I ask for some informations about that research? To whom did you refer when you wrote ‘our research’? What kind of informations led to your version? And were you taught any versions of this throw in any of the styles you practiced, or is your version of Yama arashi based entirely on the mentioned research?

Toshishiro Obata replied to the above questions, and I quote the entire reply here:

Yama Arashi is actually a technique in a book that was written and created by Tomita Tsuneo.

 

It is said that Yama Arashi was created by Tomita Tsuneo, but no one really knows. Since it was written, people think that it is a real technique. However, if it was real, it [would stand to reason that it would have] been passed down.

There were many movies titled "Sugata Sanshiro". In the various versions, they used the Yama Arashi technique [though they only show it in partial view in the more popular version still available commonly.NS].

Sugata Sanshiro’s role in the movie was supposed to have been Saigo Shiro. When Saigo Shiro was young, he is said to have learned Daito Ryu Aikijujutsu.

From what I have learned over the years, I have come to think that Yama Arashi isn’t a Jujutsu technique. I think of it as an Aikijujutsu technique, and it is said that proper ukemi can’t be performed [when executed correctly].

Therefore, I basically researched and guessed [from what little evidence could be found] the Yama Arashi technique based from knowledge of Aikijujutsu, and used it in the "Samurai Aikijutsu" book.

The english used in the book says "it must have been done this way", but this may have been a strong choice of words.

Unfortunately nobody can know for a fact – there is not enough believable evidence to say.

(The comments in brackets apparently come from one of his students, Nathan Scott.)

It becomes apparent when reading Mr. Obata’s answers, that he has based his entire theory on either the book written by Tomita Tsuneo, or the movie, Sanshiro Sugata, that was based on the book. Since Mr. Obata is not a Judoka, it would seem that the first avenue of research would be through Judo literature. It seems obvious that he would not have "guessed" how Yama Arashi is done had he researched Judo sources rather than a "knowledge of Aikijujutsu".

Another bit of proof, if any more is needed, is to compare the Aikijujutsu version of Yama Arashi. It has been said that if Shiro Saigo missed his favorite technique, he would continue his attack by dropping into Tai Otoshi. The version of Yama Arashi propounded by Mr. Obata simply doesn’t allow that, as we can see below.

Here is the description of Yama Arashi created by Mr. Obata from "Samurai Aikijutsu":

Yamaarashi

Literally ‘mountain storm’ this technique did in fact fall into disuse with the advent of modern Judo and was ‘lost’. However our research reveals that it must have been performed as shown in this section. ‘Yama Arashi’ was made famous by Shiro Saigo when he was fighting for the reputation of Kodokan Judo, against the older schools of Jujutsu. No Judo man since him has been able to perform this throw, and it seems that it was never included in the curriculum of the Kodokan.

 

To perform ‘yama arashi’, as you grapple with your opponent, block or slip inside his arm, crouch and throw him in one fast movement. Variations include using your leg to help with the throw, throwing the opponent onto his head instead of away from you and a greater degree of emphasis on a wrist hold to perform the technique.

1. As you grapple with an opponent, take hold of his collar and right arm.
2. Holding him firmly, step to the side with your right foot to break his hold…
3. …then stepping in under your opponent’s arms, apply pressure to his neck and twist his arm. Then as your hip touches his body…
4. … applying still more pressure to his neck through the hold you have on his collar, lift him at the point that your hip touches him…
5. …and in one continuous movement, throw him forward and down by shifting your weight forward and pulling down with both hands.

Now that we’ve seen how Mr. Obata describes his version of Yama Arashi, let’s look at Judo sources to determine if this is a "lost technique" or not. Brian Griffin, on E-Budo.com, had this to say on the subject:

We do have several eyewitnesses who knew & trained with Saigo over the course of many years. They experienced his yama arashi at first-hand many times, and saw him use it in the famous 1886 tournament. In fact, they fought beside him in that tournament.

 

Yamashita Yoshiaki
Yokoyama Sakujiro
Tomita Tsunejiro

…and, of course, Kano Jigoro

Tomita’s son Tsuneo (also a judoka) wrote Sanshiro Sugata in 1942. In 1909, when Tsuneo was five years old, Yokoyama published Judo Kyohan, a "master text" illustrating & describing the Kodokan curriculum. It features the original (1895) gokyo no waza, which had yama arashi as a standard throw. Yokoyama helped create the 1895 gokyo. Yamashita, Kano, and other contemporaries of Saigo appear in the illustrations. Kano himself reviewed and approved it. At the time of it’s publication, Saigo Shiro was alive and vigorous and owned his own newspaper. He certainly could have objected to any perceived inaccuracy in the depiction of "his" technique.

So what we are asked to believe is:

 

Some time between 1890 (when Saigo left the Kodokan) and 1895 (when the gokyo was first promulgated) The Kodokan changed yama arashi. Everyone listed above, as well as hundreds of others, either remained silent, or actively promoted the deception. Saigo himself went along with the conspiracy.

William of Occam…please call your office. Your razor appears to be missing.

I find myself in agreement with Brian, with his humorously sly reference to the principle of Occam’s Razor. Sakujiro Yokoyama certainly trained with and alongside Shiro Saigo for many years, and it would be strange indeed, if Yokoyama wasn’t familiar with Shiro Saigo’s favorite technique.

Old Yama ArashiModern Yama ArashiAs Brian stated above, Sakujiro Yokoyama wrote a book on Judo in which he describes Yama Arashi:

 

"You both hold each other in migi shizen tai. Take his right lapel in a ‘natural hold’ with your right, while you grip the middle part of his right sleeve with your left. Pull him again and again toward his right front corner, and he will lean in that direction on tiptoe, resting his weight on his right foot. At that moment, put the right back corner of your body close to his right front corner, as shown in Fig. 72 (Photo on left) Apply the back of your right leg against the outside of his and give a backward sweep to your leg, while you pull him down with your right hand, first lifting him a little with it, and then describing an arc with that hand and the left one. (Ref #11)

And strangely enough, it’s the same version of Yama Arashi I learned from my sensei 40+ years ago. It’s identical to every Judo reference book description I’ve ever seen. For a more modern photo, see the photo on the right. (Ref #12)

Now, in order for us to imagine that there’s any doubt whatsoever about this technique, we will be forced to believe in a vast conspiracy of early Judoka… or much more believably, that people who claim Yama Arashi is a lost technique simply haven’t done the basic research.

Now, is the Judo’s Yama Arashi the Yama Arashi? Certainly not. There are almost as many "versions" of this technique as there are Jujutsu schools… some of whom claim to have "re-invented" a "lost" technique. And, as long as their claims of "lost techniques" are not in reference to Judo, that’s none of my concern.

I suspect that some of this misunderstanding can be laid at the door of the Japanese language. It’s not unusual for a single technique to have dozens of names… coming from the many different styles of Jujutsu. Even within a single style there were sometimes multiple names for a single technique. For example, Judo’s Morote Seoinage is also known as Eri Seoinage. Conversely, there are certainly examples of *different* techniques that have the same name. (Judo and Aikido, for example, share some identically named, but different techniques.)

Yama Arashi is one of the examples where there are different techniques that use the same name. As an example, here’s a Yama Arashi from Tenjin Myöshin Ryu: (Ref #14)

Yamaarashi Yamaarashi

 

But to come to the conclusion that Shiro Saigo was trained in Daito-ryu, based on the fact that Daito-ryu *also* has a technique called Yama Arashi, is mistaken reasoning.

Just as coming to the conclusion that Shiro Saigo’s father, Chikanori Hoshina, must have been a Jujutsu master because he is associated with two admitted martial geniuses, is again, faulty reasoning.

Now the question becomes, why do so many Jujutsu styles continue to pass along myths about Shiro Saigo, and the tournament of 1886? My own theory is relatively simple. The lessons of that famous tournament continue to echo down to the present day.

That tournament taught us that a style that is capable of practicing its techniques with full power and full strength (with a minimum of injury), against a resisting opponent, will have the upper hand when compared to a martial art that does not train this way. Judo’s advantage was not "stacking the deck" with Jujutsu "masters". It was not Shiro Saigo. (who after all, only accounted for one of many matches) And it was not a Daito-ryu technique, long lost, that won the day for Judo.

There are, then, Jujutsu styles today that wish that the lessons of 1886 could be explained away. I recall one long-time Judo instructor who confided to me that "When Daito-ryu talks about Judo, they lie". Now, that seems to be a rather harsh statement, and this is not a "bash Daito-ryu" article. But the ‘sense’ of the comment is that way too much misinformation on Judo seems to emanate from various Jujutsu styles.

Hopefully, the information presented here will allow readers to see how distorted and wrong much of our martial history is. It seems that far too much of our historical information is passed along orally, and not subjected to very much critical thought. This is, of course, partially the result of our heritage… "what the sensei says is the truth" sort of thing. But if we wish to remain true to our ideals, they cannot be founded on anything less than the truth. Judo is not the greatest martial art in the world, absolutes rarely are… but neither is the spread of Judo an accident of history, cheating its way to Jujutsu supremacy.


 

The Kodokan has printed a marvelous Japanese/English Dictionary of Judo terms. The following biography on Shiro Saigo appears there:

"Shiro Saigo (1866-1922) Third son of Shida Sadajiro, a samurai of the Aizu Domain, born in 1866 in Aizu Wakamatsu. In 1882 he moved to Tokyo and enrolled in the Kodokan. In 1884 he was adopted into the family of Tanomo Saigo, a former elder councillor of the Aizu Domain and took the name Hoshina Shiro. In 1888 he reverted to the surname Saigo in order to resurrect the Saigo family line, which had died out with the passing of Saigo Tanomo. Exceptionally talented a martial artist, he was particularly well known for his powerful yama arashi ("mountain storm") technique. He earned the rank of shodan in judo in August 1883, nidan in September of the same year, jumped to yodan in August 1885, and godan in January 1889. However, he later left the Kodokan organization in May 1890 while Jigoro Kano was away travelling. He is also known to have been the model for the main character in Tomita Tsuneo’s 1942 novel Sugata Sanshiro. He died in Onomichi in Hiroshima prefecture in December 1922."

Thanks to Joe Svinth, Brian Griffin, Nathan Scott, Mark Feigenbaum, and others who’ve helped with their useful critiques of this article. Martial artists who are seeking quality information and discussion could do much worse than a trip to E-Budo.com

 

REFERENCES

Reference #1 – Japan’s Ultimate Martial Art by Darrell Max Craig (page 2)

Reference #2 – Beginning Jiu Jitsu (Ryoi-Shinto Style) by James G. Shortt & Katsuharu Hashimoto (page 40-41)

Reference #3 – Beginning Jiu Jitsu (Ryoi-Shinto Style) by James G. Shortt & Katsuharu Hashimoto (page 38)

Reference #4 – Daito-ryu Aikijujutsu by Stanley A. Pranin (page 10-11) This book is an extremely useful reference to any student of Judo, Jujutsu, or Aikido. Mr. Pranin holds the rank of Godan in Aikido, and is the Editor-in-Chief of Aikido Journal The book consists of a series of interviews with many of the top Daito-ryu sensei. I like this book because it hasn’t fallen victim to easy factoids, and Mr. Pranin has done the actual research.

Reference #5 – Daito-ryu Aikijujutsu by Stanley A. Pranin (page 21)

Reference #6 – Daito-ryu Aikijujutsu by Stanley A. Pranin (page 22)

Reference #7 – www.daito-ryu.org/history.html

Reference #8 – Daito-ryu Aikijujutsu by Stanley A. Pranin (page 133-134)

Reference #9 – www.geocities.com/Tokyo/4856/main.html

Reference #10 – Daito-ryu Aikijujutsu by Stanley A. Pranin (page 175-176)

Reference #11 – Judo by Sakujiro Yokoyama (page 147-148)

Reference #12 – The A to Z of Judo by Syd Hoare (page 81)

Reference #13 – http://www.mawn.net/trad5.htm – Michael DePasquale Jr.’s Website

Reference #14 – Classical Fighting Arts of Japan – A Complete Guide to Koryu Jujutsu by Serge Mol (page 22)

Filed Under: History

Go Rin No Sho (A Book of Five Rings) – Miyamoto Musashi

January 31, 2016 by khadaji Leave a Comment

A BOOK OF FIVE RINGS

Go Rin no Sho
by
Miyamoto Musashi

…… Transcribed to 1’s and 0’s by Slaegr the Anarch ……

CONTENTS

  • Introduction
  • The Ground Book
  • The Water Book
  • The Fire Book
  • The Wind Book
  • The Book of the Void

INTRODUCTION

I have been many years training in the Way of strategy, called Ni Ten Ichi Ryu, and now I think I will explain it in writing for the first time. It is now during the first ten days of the tenth month in the twentieth year of Kanei (1645). I have climbed mountain Iwato of Higo in Kyushu to pay homage to heaven, pray to Kwannon, [God(dess) of mercy in Buddhism. – Slaegr] and kneel before Buddha. I am a warrior of Harima province, Shinmen Musashi No Kami Fujiwara No Genshin, age sixty years.

From youth my heart has been inclined toward the Way of strategy. My first duel was when I was thirteen, I struck down a strategist of the Shinto school, one Arima Kihei. When I was sixteen I struck down an able strategist Tadashima Akiyama. When I was twenty-one I went up to the capital and met all manner of strategists, never once failing to win in many contests.

After that I went from province to province dueling with strategist of various schools, and not once failed to win even though I had as many as sixty encounters. This was between the ages of thirteen and twenty-eight or twenty-nine.

When I reached thirty I looked back on my past. The previous victories were not due to my having mastered strategy. Perhaps it was natural ability, or the order of heaven, or that other schools’ strategy was inferior. After that I studied morning and evening searching for the principle, and came to realize the Way of strategy when I was fifty.

Since then I have lived without following any particular Way. Thus with the virtue of strategy I practice many arts and abilities – all things with no teacher. To write this book I did not use the law of Buddha or the teachings of Confucius, neither old war chronicles nor books on martial tactics. I take up my brush to explain the true spirit of this Ichi school as it is mirrored in the Way of heaven and Kwannon. The time is the night of the tenth day of the tenth month, at the hour of the tiger (3-5 a.m.)

THE GROUND BOOK

Strategy is the craft of the warrior. Commanders must enact the craft, and troopers should know this Way. There is no warrior in the world today who really understands the Way of strategy.

There are various Ways. There is the Way of salvation by the law of Buddha, the Way of Confucius governing the Way of learning, the Way of healing as a doctor, as a poet teaching the Way of Waka, [a type of poem. – Slaegr] tea, archery, and many arts and skills. Each man practices as he feels inclined.

It is said the warrior’s is the twofold Way of pen and sword, and he should have a taste for both Ways. Even if a man has no natural ability he can be a warrior by sticking assiduously to both divisions of the Way. Generally speaking, the Way of the warrior is resolute acceptance of death. Although not only warriors but priests, women, peasants and lowlier folk have been known to die readily in the cause of duty or out of shame, this is a different thing. The warrior is different in that studying the Way of strategy is based on overcoming men. By victory gained in crossing swords with individuals, or enjoining battle with large numbers, we can attain power and fame for ourselves or our lord. This is the virtue of strategy.

The Way of Strategy

In China and Japan practitioners of the Way have been known as "masters of strategy". Warriors must learn this Way.

Recently there have been people getting on in the world as strategists, but they are usually just sword-fencers. The attendants of the Kashima Kantori shrines of the province Hitachi received instruction from the gods, and made schools based on this teaching, traveling from country to country instructing men. This is the recent meaning of strategy.

In olden times strategy was listed among the Ten Abilities and Seven Arts as a beneficial practice. It was certainly an art but as a beneficial practice it was not limited to sword-fencing. The true value of sword-fencing cannot be seen within the confines of sword-fencing technique.

If we look at the world we see arts for sale. Men use equipment to sell their own selves. As if with the nut and the flower, the nut has become less than th flower. In this kind of Way of strategy, both those teaching and those learning the way are concerned with colouring and showing off their technique, trying to hasten the bloom of the flower. They speak of "This Dojo" and "That Dojo". They are looking for profit. Someone once said "Immature strategy is the cause of grief". That was a true saying.

There are four Ways in which men pass through life: as gentlemen, farmers, artisans and merchants.

The Way of the farmer. Using agricultural instruments, he sees springs through to autumns with an eye on the changes of season.

Second is the Way of the merchant. The wine maker obtains his ingredients and puts them to use to make his living. The Way of the merchant is always to live by taking profit. This is the Way of the merchant.

Thirdly the gentleman warrior, carrying the weaponry of his Way. The Way of the warrior is to master the virtue of his weapons. If a gentleman dislikes strategy he will not appreciate the benefit of weaponry, so must he not have a little taste for this?

Fourthly the Way of the artisan. The Way of the carpenter [architect and builder, all buildings were of wood. – Slaegr] is to become proficient in the use of his tools, first to lay his plans with a true measure and then perform his work according to plan. Thus he passes through life. These are the four Ways of the gentleman, the farmer, the artisan and the merchant.

Comparing the Way of the carpenter to strategy

The comparison with carpentry is through the connection with houses. Houses of the nobility, houses of warriors, the Four houses, [there are also four different schools of tea. – Slaegr] ruin of houses, thriving of houses, the style of the house, the tradition of the house, and the name of the house. The carpenter uses a master plan of the building, and the Way of strategy is similar in that there is a plan of campaign. If you want to learn the craft of war, ponder over this book. The teacher is as a needle, the disciple is as thread. You must practice constantly.

Like the foreman carpenter, the commander must know natural rules, and the rules of the country, and the rules of houses. This is the Way of the foreman.

The foreman carpenter must know the architectural theory of towers and temples, and the plans of palaces, and must employ men to raise up houses. The Way of the foreman carpenter is the same as the Way of the commander of a warrior house.

In the construction of houses, choice of woods is made. Straight un-knotted timber of good appearance is used for the revealed pillars, straight timber with small defects is used for the inner pillars. Timbers of the finest appearance, even if a little weak, is used for the thresholds, lintels, doors, and sliding doors, and so on. Good strong timber, though it be gnarled and knotted, can always be used discreetly in construction. Timber which is weak or knotted throughout should be used as scaffolding, and later for firewood.

The foreman carpenter allots his men work according to their ability. Floor layers, makers of sliding doors, thresholds and lintels, ceilings and so on. Those of poor ability lay the floor joists, and those of lesser ability carve wedges and do such miscellaneous work. If the foreman knows and deploys his men well the finished work will be good.

The foreman should take into account the abilities and limitations of his men, circulating among them and asking nothing unreasonable. He should know their morale and spirit, and encourage them when necessary. This is the same as the principle of strategy.

The Way of Strategy

Like a trooper, the carpenter sharpens his own tools. He carries his equipment in his tool box, and works under the direction of his foreman. He makes columns and girders with an axe, shapes floorboards and shelves with a plane, cuts fine openwork and carvings accurately, giving as excellent a finish as his skill will allow. This is the craft of the carpenters. When the carpenter becomes skilled and understands measures he can become a foreman.

The carpenter’s attainment is, having tools which will cut well, to make small shrines, writing shelves, tables, paper lanterns, chopping boards and pot-lids. These are the specialties of the carpenter. Things are similar for the trooper. You ought to think deeply about this.

The attainment of the carpenter is that his work is not warped, that the joints are not misaligned, and that the work is truly planed so that it meets well and is not merely finished in sections. This is essential.

If you want to learn this Way, deeply consider the things written in this book one at a time. You must do sufficient research.

Outline of the Five Books of this Book of Strategy

The Way is shown as five books concerning different aspects. These are Ground, Water, Fire, Tradition (Wind), and Void. [the void, or Nothingness, is a Buddhist term for the illusionary nature of worldly things. – Slaegr]

The body of the Way of strategy from the viewpoint of my Ichi school is explained in the Ground book. It is difficult to realize the true Way just through sword-fencing. Know the smallest things and the biggest things, the shallowest things and the deepest things. As if it were a straight road mapped out on the ground, the first book is called the Ground book.

Second is the Water book. With water as the basis, the spirit becomes like water. Water adopts the shape of its receptacle, it is sometimes a trickle and sometimes a wild sea. Water has a clear blue colour. By the clarity, things of Ichi school are shown in this book.

If you master the principles of sword-fencing, when you freely beat one man, you beat any man in the world. The spirit of defeating a man is the same for ten million men. The strategist makes small things into big things, like building a great Buddha from a one foot model. I cannot write in detail how this is done. The principle of strategy is having one thing, to know ten thousand things. Things of Ichi school are written in this the Water book.

Third is the Fire book. This book is about fighting. The spirit of fire is fierce, whether the fire be small or big; and so it is with battles. The Way of battles is the same for man to man fights and for ten thousand a side battles. You must appreciate that spirit can become big or small. What is big is easy to perceive: what is small is difficult to perceive. In short, it is difficult for large numbers of men to change position, so their movements can be easily predicted. An individual can easily change his mind, so his movements are difficult to predict. You must appreciate this. The essence of this book is that you must train day and night in order to make quick decisions. In strategy it is necessary to treat training as part of normal life with your spirit unchanging. Thus combat in battle is described in the Fire book.

Fourthly the Wind book. This book is not concerned with my Ichi school but with other schools of strategy. By Wind I mean old traditions, present-day traditions, and family traditions of strategy. Thus I clearly explain the strategies of the world. This is tradition. It is difficult to know yourself if you do not know others. To all Ways there are side-tracks. If you study a Way daily, and your spirit diverges, you may think you are obeying a good Way but objectively it is not the true Way. If you are following the true way and diverge a little, this will later become a large divergence. You must realize this. Other strategies have come to be thought of as mere sword-fencing, and it is not unreasonable that this should be so. The benefit of my strategy, although it includes sword-fencing, lies in a separate principle. I have explained what is commonly meant by strategy in other schools in the Tradition (Wind) book.

Fifthly, the book of the Void. By void I mean that which has no beginning and no end. Attaining this principle means not attaining the principle. The Way of strategy is the Way of nature. When you appreciate the power of nature, knowing rhythm of any situation, you will be able to hit the enemy naturally and strike naturally. All this is the Way of the Void. I intend to show how to follow the true Way according to nature in the book of the Void.

The Name Ichi Ryu Ni To (One school – two swords)

Warriors, both commanders and troopers, carry two swords at their belt. In olden times these were called the long sword and the sword; nowadays they are known as the sword and the companion sword. Let it suffice to say that in our land, whatever the reason, a warrior carries two swords at his belt. It is the Way of the warrior.

"Nito Ichi Ryu" shows the advantages of using both swords.

The spear and the halberd are weapons which are carried out of doors.

Students of the Ichi school Way of strategy should train from the start with the sword and the long sword in either hand. This is a truth: when you sacrifice your life, you must make fullest use of your weaponry. It is false not to do so, and to die with a weapon yet undrawn.

If you hold a sword with both hands, it is difficult to wield it freely to left and right, so my method is to carry the sword in one hand. This does not apply to large weapons such as the spear or halberd, but swords and companion swords can be carried in one hand. It is encumbering to hold a sword in both hands when you are on horseback, when running on uneven roads, on swampy ground, muddy rice fields, stony ground, or in a crowd of people. To hold the long sword in both hands is not the true Way, for if you carry a bow or spear or other arms in your left hand you have only one hand free for the long sword. However, when it is difficult to cut an enemy down with one hand, you must use both hands. It is not difficult to wield a sword in one hand; the Way to learn this is to train with two long swords, one in each hand. It will seem difficult at first, but everything is difficult at first. Bows are difficult to draw, halberds are difficult to wield; as you become accustomed to the bow so your pull will become stronger. When you become used to wielding the long sword, you will gain the power of the Way and wield the sword well.

As I will explain in the second book, the Water Book, there is no fast way of wielding the long sword. The long sword should be wielded broadly and the companion sword closely. This is the first thing to realize.

According to this Ichi school, you can win with a long weapon, and yet you can also win with a short weapon. In short, the Way of the Ichi school is the spirit of winning, whatever the weapon and whatever its size.

It is better to use two swords rather than one when you are fighting a crowd, and especially if you want to take a prisoner.

These things cannot be explained in detail. From one thing, know ten thousand things. When you attain the Way of strategy there will not be one thing you cannot see. You must study hard.

The Benefit of the Two Characters reading "Strategy"

Masters of the long sword are called strategists. As for the other military arts, those who master the bow are called archers, those who master the spear are called spearmen, those who master the gun are called marksmen, those who master the halberd are called halberdiers. But we do not call masters of the Way of the long sword "longswordsmen", nor do we speak of "companion swordsmen". Because bows, guns, spears and halberds are all warriors’ equipment they are certainly part of strategy. To master the virtue of the long sword is to govern the world and oneself, thus the long sword is the basis of strategy. The principle is "strategy by means of the long sword". If he attains the virtue of the long sword, one man can beat ten men. Just as one man can beat ten, so a hundred men can beat a thousand, and a thousand can beat ten thousand. In my strategy, one man is the same as ten thousand, so this strategy is the complete warrior’s craft.

The Way of the warrior does not include other Ways, such as Confucianism, Buddhism, certain traditions, artistic accomplishments and dancing. But even though these are not part of the Way, if you know the Way broadly you will see it in everything. Men must polish their particular Way.

The Benefit of Weapons in Strategy

There is a time and place for use of weapons.

The best use of the companion sword is in a confined space, or when you are engaged closely with an opponent. The long sword can be used effectively in all situations.

The halberd is inferior to the spear on the battlefield. With the spear you can take the initiative; the halberd is defensive. In the hands of one of two men of equal ability, the spear gives a little extra strength. Spear and halberd both have their uses, but neither is very beneficial in confined spaces. They cannot be used for taking a prisoner. They are essentially weapons for the field.

Anyway, if you learn "indoor" techniques, you will think narrowly and forget the true Way. Thus you will have difficulty in actual encounters.

The bow is tactically strong at the commencement of battle, especially battles on a moor, as it is possible to shoot quickly from among the spearmen. However, it is unsatisfactory in sieges, or when the enemy is more than forty yards away. For this reason there are nowadays few traditional schools of archery. There is little use nowadays for this kind of skill.

From inside fortifications, the gun has no equal among weapons. It is the supreme weapon on the field before the ranks clash, but once swords are crossed the gun becomes useless.

One of the virtues of the bow is that you can see the arrows in flight and correct your aim accordingly, whereas gunshot cannot be seen. You must appreciate the importance of this.

Just as a horse must have endurance and no defects, so it is with weapons. Horses should walk strongly, and swords and companion swords should cut strongly. Spears and halberds must stand up to heavy use: bows and guns must be sturdy. Weapons should be hardy rather than decorative.

You should not have a favourite weapon. To become over-familiar with one weapon is as much a fault as not knowing it sufficiently well. You should not copy others, but use weapons which you can handle properly. It is bad for commanders and troopers to have likes and dislikes. These are things you must learn thoroughly.

Timing in strategy

There is timing in everything. Timing in strategy cannot be mastered without a great deal of practice.

Timing is important in dancing and pipe or string music, for they are in rhythm only if timing is good. Timing and rhythm are also involved in the military arts, shooting bows and guns, and riding horses. In all skills and abilities there is timing.

There is also timing in the Void.

There is timing in the whole life of the warrior, in his thriving and declining, in his harmony and discord. Similarly, there is timing in the Way of the merchant, in the rise and fall of capital. All things entail rising and falling timing. You must be able to discern this. In strategy there are various timing considerations. From the outset you must know the applicable timing and the inapplicable timing, and from among the large and small things and the fast and slow timings find the relevant timing, first seeing the distance timing and the background timing. This is the main thing in strategy. It is especially important to know the background timing, otherwise your strategy will become uncertain.

You win battles with the timing in the Void born of the timing of cunning by knowing the enemies’ timing, and thus using a timing which the enemy does not expect.

All the five books are chiefly concerned with timing. You must train sufficiently to appreciate this.

If you practice day and night in the above Ichi school strategy, your spirit will naturally broaden. Thus is large scale strategy and the strategy of hand to hand combat propagated in the world. This is recorded for the first time in the five books of Ground, Water, Fire, Tradition (Wind), and Void. This is the way for men who want to learn my strategy:

  1. Do not think dishonestly.
  2. The Way is in training.
  3. Become acquainted with every art.
  4. Know the Ways of all professions.
  5. Distinguish between gain and loss in worldly matters.
  6. Develop intuitive judgement and understanding for everything.
  7. Perceive those things which cannot be seen.
  8. Pay attention even to trifles.
  9. Do nothing which is of no use.

It is important to start by setting these broad principles in your heart, and train in the Way of strategy. If you do not look at things on a large scale it will be difficult for you to master strategy. If you learn and attain this strategy you will never lose even to twenty or thirty enemies. More than anything to start with you must set your heart on strategy and earnestly stick to the Way. You will come to be able to actually beat men in fights, and to be able to win with your eye. Also by training you will be able to freely control your own body, conquer men with your body, and with sufficient training you will be able to beat ten men with your spirit. When you have reached this point, will it not mean that you are invincible?

Moreover, in large scale strategy the superior man will manage many subordinates dextrously, bear himself correctly, govern the country and foster the people, thus preserving the ruler’s discipline. If there is a Way involving the spirit of not being defeated, to help oneself and gain honour, it is the Way of strategy.

THE WATER BOOK

The spirit of the Ni Ten Ichi school of strategy is based on water, and this Water Book explains methods of victory as the long-sword form of the Ichi school. Language does not extend to explaining the Way in detail, but it can be grasped intuitively. Study this book; read a word then ponder on it. If you interpret the meaning loosely you will mistake the Way.

The principles of strategy are written down here in terms of single combat, but you must think broadly so that you attain an understanding for ten-thousand-a-side battles.

Strategy is different from other things in that if you mistake the Way even a little you will become bewildered and fall into bad ways.

If you merely read this book you will not reach the Way of strategy. Absorb the things written in this book. Do not just read, memorise or imitate, but so that you realize the principle from within your own heart study hard to absorb these things into your body.

Spiritual Bearing in Strategy

In strategy your spiritual bearing must not be any different from normal. Both in fighting and in everyday life you should be determined though calm. Meet the situation without tenseness yet not recklessly, your spirit settled yet unbiased. Even when your spirit is calm do not let your body relax, and when your body is relaxed do not let your spirit slacken. Do not let your spirit be influenced by your body, or your body be influenced by your spirit. Be neither insufficiently spirited nor over spirited. An elevated spirit is weak and a low spirit is weak. Do not let the enemy see your spirit.

Small people must be completely familiar with the spirit of large people, and large people must be familiar with the spirit of small people. Whatever your size, do not be misled by the reactions of your own body. With your spirit open and unconstricted, look at things from a high point of view. You must cultivate your wisdom and spirit. Polish your wisdom: learn public justice, distinguish between good and evil, study the Ways of different arts one by one. When you cannot be deceived by men you will have realized the wisdom of strategy.

The wisdom of strategy is different from other things. On the battlefield, even when you are hard-pressed, you should ceaselessly research the principles of strategy so that you can develop a steady spirit.

Stance in Strategy

Adopt a stance with the head erect, neither hanging down, nor looking up, nor twisted. Your forehead and the space between your eyes should not be wrinkled. Do not roll your eyes nor allow them to blink, but slightly narrow them. With your features composed, keep the line of your nose straight with a feeling of slightly flaring your nostrils. Hold the line of the rear of the neck straight: instill vigour into your hairline, and in the same way from the shoulders down through your entire body. Lower both shoulders and, without the buttocks jutting out, put strength into your legs from the knees to the tips of your toes. Brace your abdomen so that you do not bend at the hips. Wedge your companion sword in your belt against your abdomen, so that your belt is not slack – this is called "wedging in".

In all forms of strategy, it is necessary to maintain the combat stance in everyday life and to make your everyday stance your combat stance. You must research this well.

The Gaze in Strategy

The gaze should be large and broad. This is the twofold gaze "Perception and Sight". Perception is strong and sight week.

In strategy it is important to see distant things as if they were close and to take a distanced view of close things. It is important in strategy to know the enemy’s sword and not to be distracted by insignificant movements of his sword. You must study this. The gaze is the same for single combat and for large-scale strategy.

It is necessary in strategy to be able to look to both sides without moving the eyeballs. You cannot master this ability quickly. Learn what is written here; use this gaze in everyday life and do not vary it whatever happens.

Holding the Long Sword

Grip the long sword with a rather floating feeling in your thumb and forefinger, with the middle finger neither tight nor slack, and with the last two fingers tight. It is bad to have play in your hands.

When you take up a sword, you must feel intent on cutting the enemy. As you cut an enemy you must not change your grip, and your hands must not "cower". When you dash the enemy’s sword aside, or ward it off, or force it down, you must slightly change the feeling in your thumb and forefinger. Above all, you must be intent on cutting the enemy in the way you grip the sword.

The grip for combat and for sword-testing is the same. There is no such thing as a "man-cutting grip".

Generally, I dislike fixedness in both long swords and hands. Fixedness means a dead hand. Pliability is a living hand. You must bear this in mind.

Footwork

With the tips of your toes somewhat floating, tread firmly with your heels. Whether you move fast or slow, with large or small steps, your feet must always move as in normal walking. I dislike the three walking methods know as "jumping-foot", "floating-foot" and "fixed-steps".

So-called "Yin-Yang foot" is important in the Way. Yin-Yang foot means not moving only one foot. It means moving your feet left-right and right-left when cutting, withdrawing, or warding off a cut. You should not move on one foot preferentially.

The Five Attitudes

The five attitudes are: Upper, Middle, Lower, Right Side, and Left Side. These are the give. Although attitude has these five divisions, the one purpose of all of them is to cut the enemy. There are none but these five attitudes.

Whatever attitude you are in, do not be conscious of making the attitude; think only of cutting.

Your attitude should be large or small according to the situation. Upper, Lower and Middle attitudes are decisive. Left Side and Right Side attitudes are fluid. Left and Right attitudes should be used if there is an obstruction overhead or to one side. The decision to use Left or Right depends on the place.

The essence of the Way is this. To understand attitude you must thoroughly understand the middle attitude. The middle attitude is the heart of attitudes. If we look at strategy on a broad scale, the Middle attitude is the seat of the commander, with the other four attitudes following the commander. You must appreciate this.

The Way of the Long Sword

Knowing the Way of the long sword means we can wield with two fingers the sword we usually carry. If we know the path of the sword well, we can wield it easily.

If you try to wield the long sword quickly you will mistake the Way. To wield the long sword well you must wield it calmly. If you try to wield it quickly, like a folding fan or a short sword, you will err by using "short sword chopping". You cannot cut down a man with a long sword using this method.

When you have cut downwards with the longsword, lift it straight upwards; when you cut sideways, return the sword along a sideways path. Return the sword in a reasonable way, always stretching the elbows broadly. Wield the sword strongly. This is the Way of the longsword.

If you learn to use the five approaches of my strategy, you will be able to wield a sword well. You must train constantly.

The Five Approaches

  1. The first approach is the Middle attitude. Confront the enemy with the point of your sword against his face. When he attacks, dash his sword to the right and "ride" it. Or, when the enemy attacks, deflect the point of his sword by hitting downwards, keep your long sword where it is, and as the enemy renews his attack cut his arms from below. This is the first method.

The five approaches are this kind of thing. You must train repeatedly using a long sword in order to learn them. When you master my Way of the long sword, you will be able to control any attack the enemy makes. I assure you, there are no attitudes other than the five attitudes of the long sword of Ni To.

  1. In the second approach with the long sword, from the Upper attitude cut the enemy just as he attacks. If the enemy evades the cut, keep your sword where it is and, scooping up from below, cut him as he renews the attack. It is possible to repeat the cut from here.

In this method there are various changes in timing and spirit. You will be able to understand this by training in the Ichi school. You will always win with the five long sword methods. You must train repetitively.

  1. In the third approach, adopt the Lower attitude, anticipating scooping up. When the enemy attacks, hit his hands from below. As you do so he may try to hit your sword down. If this is the case, cut his upper arm(s) horizontally with a feeling of "crossing". This means that from the lower attitudes you hit the enemy at the instant that he attacks.

You will encounter this method often, both as a beginner and in later strategy. You must train holding a long sword.

  1. In this fourth approach, adopt the Left Side attitude. As the enemy attacks hit his hands from below. If as you hit his hands he attempts to dash down your sword, with the feeling of hitting his hands, parry the path of his long sword and cut across from above your shoulder.

This is the Way of the long sword. Through this method you win by parrying the line of the enemy’s attack. You must research this.

  1. In the fifth approach, the sword is in the Right Side attitude. In accordance with the enemy’s attack, cross your long sword from below at the side to the Upper attitude. Then cut straight from above.

This method is essential for knowing the Way of the long sword well. If you can use this method, you can freely wield a heavy long sword.

I cannot describe in detail how to use these five approaches. You must become well acquainted with my "in harmony with the long sword" Way, learn large-scale timing, understand the enemy’s long sword, and become used to the five approaches from the outset. You will always win by using these five methods, with various timing considerations discerning the enemy’s spirit. You must consider all this carefully.

The "Attitude No-Attitude" Teaching

"Attitude No-Attitude" means that there is no need for what are know as long sword attitudes.

Even so, attitudes exist as the five ways of holding the long sword. However you hold the sword it must be in such a way that it is easy to cut the enemy well, in accordance with the situation, the place, and your relation to the enemy. From the Upper attitude as your spirit lessens you can adopt the Middle attitude, and from the Middle attitude you can raise the sword a little in your technique and adopt the Upper attitude. From the lower attitude you can raise the sword and adopt the Middle attitudes as the occasion demands. According to the situation, if you turn your sword from either the Left Side or Right Side attitude towards the centre, the Middle or the Lower attitude results.

The principle of this is called "Existing Attitude – Nonexisting Attitude".

The primary thing when you take a sword in your hands is your intention to cut the enemy, whatever the means. Whenever you parry, hit, spring, strike or touch the enemy’s cutting sword, you must cut the enemy in the same movement. It is essential to attain this. If you think only of hitting, springing, striking or touching the enemy, you will not be able actually to cut him. More than anything, you must be thinking of carrying your movement through to cutting him. You must thoroughly research this.

Attitude in strategy on a larger scale is called "Battle Array". Such attitudes are all for winning battles. Fixed formation is bad. Study this well.

To Hit the Enemy "In One Timing"

"In One Timing" means, when you have closed with the enemy, to hit him as quickly and directly as possible, without moving your body or settling your spirit, while you see that he is still undecided. The timing of hitting before the enemy decides to withdraw, break or hit, is this "In One Timing".

You must train to achieve this timing, to be able to hit in the timing of an instant.

The "Abdomen Timing of Two"

When you attack and the enemy quickly retreats, as you see him tense you must feint a cut. Then, as he relaxes, follow up and hit him. This is the "Abdomen Timing of Two".

It is very difficult to attain this by merely reading this book, but you will soon understand with a little instruction.

No Design, No Conception

[When word and actions are spontaneously the same. – Slaegr]

In this method, when the enemy attacks and you also decide to attack, hit with your body, and hit with your spirit, and hit from the Void with your hands, accelerating strongly. This is the "No Design, No Conception" cut.

This is the most important method of hitting. It is often used. You must train hard to understand it.

The Flowing Water Cut

The "Flowing Water Cut" is used when you are struggling blade to blade with the enemy. When he breaks and quickly withdraws trying to spring with his long sword, expand your body and spirit and cut him as slowly as possible with your long sword, following your body like stagnant water. You can cut with certainty if you learn this. You must discern the enemy’s grade.

Continuous Cut

When you attack and the enemy also attacks, and your swords spring together, in one action cut his head, hands and legs. When you cut several places with one sweep of the long sword, it is the "Continuous Cut". You must practice this cut; it is often used. With detailed practice you should be able to understand it.

The Fire and Stones Cut

The Fires and Stones Cut means that when the enemy’s long sword and your long sword clash together you cut as strongly as possible without raising the sword even a little. This means cutting quickly with the hands, body and legs – all three cutting strongly. If you train well enough you will be able to strike strongly.

The Red Leaves Cut

The Red Leaves Cut [allusion to falling, dying leaves. – Slaegr] means knocking down the enemy’s long sword. The spirit should be getting control of his sword. When the enemy is in a long sword attitude in front of you and intent on cutting, hitting and parrying, you strongly hit the enemy’s long sword with the Fire and Stones Cut, perhaps in the spirit of the "No Design, No Conception" Cut. If you then beat down the point of his sword with a sticky feeling, he will necessarily drop the sword. If you practice this cut it becomes easy to make the enemy drop his sword. You must train repetitively.

The Body in Place of the Long Sword

Also "the long sword in place of the body". Usually we move the body and the sword at the same time to cut the enemy. However, according to the enemy’s cutting method, you can dash against him with your body first, and afterwards cut with the sword. If his body is immoveable, you can cut first with the long sword, but generally you hit first with the body and then cut with the long sword. You must research this well and practice hitting.

Cut and Slash

To cut and to slash are two different things. Cutting, whatever form of cutting it is, is decisive, with a resolute spirit. Slashing is nothing more than touching the enemy. Even if you slash strongly, and even if the enemy dies instantly, it is slashing. When you cut, your spirit is resolved. You must appreciate this. If you first slash the enemy’s hands or legs, you must then cut strongly. Slashing is in spirit the same as touching. When you realize this, they become indistinguishable. Learn this well.

Chinese Monkey’s Body

The Chinese Monkey’s Body [short-armed monkey. – Slaegr] is the spirit of not stretching out your arms. The spirit is to get in quickly, without in the least extending your arms, before the enemy cuts. If you are intent upon not stretching out your arms you are effectively far away, the spirit is to go in with your whole body. When you come to within arm’s reach it becomes easy to move your body in. You must research this well.

Glue and Lacquer Emulsion Body

The spirit of "Glue and Lacquer Emulsion Body" is to stick to the enemy and not separate from him. When you approach the enemy, stick firmly with your head, body and legs. People tend to advance their head and legs quickly, but their body lags behind. You should stick firmly so that there is not the slightest gap between the enemy’s body and your body. You must consider this carefully.

To Strive for Height

By "to strive for height" is meant, when you close with the enemy, to strive with him for superior height without cringing. Stretch your legs, stretch your hips, and stretch your neck face to face with him. When you think you have won, and you are the higher, thrust in strongly. You must learn this.

To Apply Stickiness

When the enemy attacks and you also attack with the long sword, you should go in with a sticky feeling and fix your long sword against the enemy’s as you receive his cut. The spirit of stickiness is not hitting very strongly, but hitting so that the long swords do not separate easily. It is best to approach as calmly as possible when hitting the enemy’s long sword with stickiness. The difference between "Stickiness" and "Entanglement" is that stickiness is firm and entanglement is weak. You must appreciate this.

The Body Strike

The Body Strike means to approach the enemy through a gap in his guard. The spirit is to strike him with your body. Turn your face a little aside and strike the enemy’s breast with your left shoulder thrust out. Approach with the spirit of bouncing the enemy away, striking as strongly as possible in time with yout breathing. If you achieve this method of closing with the enemy, you will be able to knock him ten or twenty feet away. It is possible to strike the enemy until he is dead. Train well.

Three Ways to Parry His Attack

There are three methods to parry a cut:

First, by dashing the enemy’s long sword to your right, as if thrusting at his eyes, when he makes an attack.

Or, to parry by thrusting the enemy’s long sword towards his right eye with the feeling of snipping his neck.

Or, when you have a short "long sword", without worrying about parrying the enemy’s long sword, to close with him quickly, thrusting at his face with your left hand.

These are the three methods of parrying. You must bear in mind that you can always clench your left hand and thrust at the enemy’s face with your fist. For this it is necessary to train well.

To Stab at the Face

To stab at the face means, when you are in confrontation with the enemy, that your spirit is intent of stabbing at his face, following the line of the blades with the point of your long sword. If you are intent on stabbing at his face, his face and body will become rideable. When the enemy becomes as if rideable, there are various opportunities for winning. You must concentrate on this. When fighting and the enemy’s body becomes as if rideable, you can win quickly, so you ought not to forget to stab at the face. You must pursue the value of this technique through training.

To Stab at the Heart

To stab at the heart means, when fighting and there are obstructions above, or to the sides, and whenever it is difficult to cut, to thrust at the enemy. You must stab the enemy’s breast without letting the point of your long sword waver, showing the enemy the ridge of the blade square-on, and with the spirit of deflecting his long sword. The spirit of this principle is often useful when we become tired or for some reason our long sword will not cut. You must understand the application of this method.

To Scold "Tut-TUT!"

"Scold" means that, when the enemy tries to counter-cut as you attack, you counter-cut again from below as if thrusting at him, trying to hold him down. With very quick timing you cut, scolding the enemy. Thrust up, "Tut!", and cut "TUT!" This timing is encountered time and time again in exchange of blows. The way to scold Tut-TUT is to time the cut simultaneously with raising your long sword as if to thrust the enemy. You must learn this through repetitive practice.

The Smacking Parry

By "smacking parry" is meant that when you clash swords with the enemy, you meet his attacking cut on your long sword with a tee-dum, tee-dum rhythm, smacking his sword and cutting him. The spirit of the smacking parry is not parrying, or smacking strongly, but smacking the enemy’s long sword in accordance with his attacking cut, primarily intent on quickly cutting him. If you understand the timing of smacking, however hard your long swords clash together, your swordpoint will not be knocked back even a little. You must research sufficiently to realize this.

There are Many Enemies

"There are many enemies" applies when you are fighting one against many. Draw both sword and companion sword and assume a wide-stretched left and right attitude. The spirit is to chase the enemies around from side to side, even though they come from all four directions. Observe their attacking order, and go to meet first those who attack first. Sweep your eyes around broadly, carefully examining the attacking order, and cut left and right alternately with your swords. Waiting is bad. Always quickly re-assume your attitudes to both sides, cut the enemies down as they advance, crushing them in the direction from which they attack. Whatever you do, you must drive the enemy together, as if tying a line of fishes, and when they are seen to be piled up, cut them down strongly without giving them room to move.

The Advantage when coming to Blows

You can know how to win through strategy with the long sword, but it cannot be clearly explained in writing. You must practice diligently in order to understand how to win.

Oral tradition: "The true Way of strategy is revealed in the long sword."

One Cut

You can win with certainty with the spirit of "one cut". It is difficult to attain this if you do not learn strategy well. If you train well in this Way, strategy will come from your heart and you will be able to win at will. You must train diligently.

Direct Communication

The spirit of "Direct Communication" is how the true Way of the Ni To Ichi school is received and handed down.

Oral tradition: "Teach your body strategy."

Recorded in the above book is an outline of Ichi school sword-fighting.

To learn how to win with the long sword in strategy, first learn the five approaches and the five attitudes, and absorb the Way of the long sword naturally in your body. You must understand spirit and timing, handle the long sword naturally, and move body and legs in harmony with your spirit. Whether beating one man or two, you will then know values in strategy.

Study the contents of this book, taking one item at a time, and through fighting with enemies you will gradually come to know the principle of the Way.

Deliberately, with a patient spirit, absorb the virtue of all this, from time to time raising your hand in combat. Maintain this spirit whenever you cross swords with and enemy.

Step by step walk the thousand-mile road.

Study strategy over the years and achieve the spirit of the warrior. Today is victory over yourself of yesterday; tomorrow is your victory over lesser men. Next, in order to beat more skillful men, train according to this book, not allowing your heart to be swayed along a side-track. Even if you kill an enemy, if it is not based on what you have learned it is not the true Way.

If you attain this Way of victory, then you will be able to beat several tens of men. What remains is sword-fighting ability, which you can attain in battles and duels.

THE FIRE BOOK

In this the Fire Book of the Ni To Ichi school of strategy I describe fighting as fire.

In the first place, people think narrowly about the benefit of strategy. By using only their fingertips, they only know the benefit of three of the five inches of the wrist. They let a contest be decided, as with the folding fan, merely by the span of their forearms. They specialise in the small matter of dexterity, learning such trifles as hand and leg movements with the bamboo practice sword.

In my strategy, the training for killing enemies is by way of many contests, fighting for survival, discovering the meaning of life and death, learning the Way of the sword, judging the strength of attacks and understanding the Way of the "edge and ridge" of the sword.

You cannot profit from small techniques particularly when full armour is worn. ["Roku Gu" (six pieces): body armour, helmet, mask, thigh pieces, gauntlets and leg pieces. – Slaegr] My Way of strategy is the sure method to win when fighting for your life one man against five or ten. There is nothing wrong with the principle "one man can beat ten, so a thousand men can beat ten thousand". You must research this. Of course you cannot assemble a thousand or ten thousand men for everyday training. But you can become a master of strategy by training alone with a sword, so that you can understand the enemy’s strategy, his strength and resources, and come to appreciate how to apply strategy to beat ten thousand enemies.

Any man who wants to master the essence of my strategy must research diligently, training morning and evening. Thus can he polish his skill, become free from self, and realize extraordinary ability. He will come to possess miraculous power.

This is the practical result of strategy.

Depending on the Place

Examine your environment.

Stand in the sun; that is, take up an attitude with the sun behind you. If the situation does not allow this, you must try to keep the sun on your right side. In buildings, you must stand with the entrance behind you or to your right. Make sure that your rear is unobstructed, and that there is free space on your left, your right side being occupied with your side attitude. At night, if the enemy can be seen, keep the fire behind you and the entrance to your right, and otherwise take up your attitude as above. You must look down on the enemy, and take up your attitude on slightly higher places. For example, the Kamiza [residence of the ancestral spirit of a house; often a slightly raised recess in a wall (with ornaments). – Slaegr] in a house is thought of as a high place.

When the fight comes, always endeavour to chase the enemy around to your left side. Chase him towards awkward places, and try to keep him with his back to awkward places. When the enemy gets into an inconvenient position, do not let him look around, but conscientiously chase him around and pin him down. In houses, chase the enemy into the thresholds, lintels, doors, verandas, pillars, and so on, again not letting him see his situation.

Always chase the enemy into bad footholds, obstacles at the side, and so on, using the virtues of the place to establish predominant positions from which to fight. You must research and train diligently in this.

The Three Methods to Forestall the Enemy

The first is to forestall him by attacking. This is called Ken No Sen (to set him up).

Another method is to forestall him as he attacks. This is called Tai No Sen (to wait for the initiative).

The other method is when you and the enemy attack together. This is called Tai Tai No Sen (to accompany him and forestall him).

There are no methods of taking the lead other than these three. Because you can win quickly by taking the lead, it is one of the most important things in strategy. There are several things involved in taking the lead. You must make the best of the situation, see through the enemy’s spirit so that you grasp his strategy and defeat him. It is impossible to write about this in detail.

The First – Ken No Sen

When you decide to attack, keep calm and dash in quickly, forestalling the enemy. Or you can advance seemingly strongly but with a reserved spirit, forestalling him with the reserve.

Alternatively, advance with as strong a spirit as possible, and when you reach the enemy move with your feet a little quicker than normal, unsettling him and overwhelming him sharply.

Or, with your spirit calm, attack with a feeling of constantly crushing the enemy, from first to last. The spirit is to win in the depths of the enemy.

These are all Ken No Sen.

The Second – Tai No Sen

When the enemy attacks, remain undisturbed but feign weakness. As the enemy reaches you, suddenly move away indicating that you intend to jump aside, then dash in attacking strongly as soon as you see the enemy relax. This is one way.

Or, as the enemy attacks, attack still more strongly, taking advantage of the resulting disorder in his timing to win.

This is the Tai No Sen principle.

The Third – Tai Tai No Sen

When the enemy makes a quick attack, you must attack strongly and calmly, aim for his weak point as he draws near, and strongly defeat him.

Or, if the enemy attacks calmly, you must observe his movements and, with your body rather floating, join in with his movements as he draws near. Move quickly and cut him strongly.

This is Tai Tai No Sen.

These things cannot be clearly explained in words. You must research what is written here. In these three ways of forestalling, you must judge the situation. This does not mean that you always attack first; but if the enemy attacks first you can lead him around. In strategy, you have effectively won when you forestall the enemy, so you must train well to attain this.

To Hold Down a Pillow

"To Hold Down a Pillow" means not allowing the enemy’s head to rise.

In contests of strategy it is bad to be led about by the enemy. You must always be able to lead the enemy about. Obviously the enemy will also be thinking of doing this, but he cannot forestall you if you do not allow him to come out. In strategy, you must stop the enemy as he attempts to cut; you must push down his thrust, and throw off his hold when he tries to grapple. This is the meaning of "to hold down a pillow". When you have grasped this principle, whatever the enemy tries to bring about in the fight you will see in advance and suppress it. The spirit is too check his attack at the syllable "at…", when he jumps check his jump at the syllable "ju…", and check his cut at "cu…".

The important thing in strategy is to suppress the enemy’s useful actions but allow his useless actions. However, doing this alone is defensive. First, you must act according to the Way, suppressing the enemy’s techniques, foiling his plans and thence command him directly. When you can do this you will be a master of strategy. You must train well and research "holding down a pillow".

Crossing at a Ford

"Crossing at a ford" means, for example, crossing the sea at a strait, or crossing over a hundred miles of broad sea at a crossing place. I believe this "crossing at a ford" occurs often in man’s lifetime. It means setting sail even though your friends stay in harbour, knowing the route, knowing the soundness of your ship and the favour of the day. When all the conditions are meet, and there is perhaps a favourable wind, or a tailwind, then set sail. If the wind changes within a few miles of your destination, you must row across the remaining distance without sail.

If you attain this spirit, it applies to everyday life. You must always think of crossing at a ford.

In strategy also it is important to "cross at a ford". Discern the enemy’s capability and, knowing your own strong points, "cross the ford" at the advantageous place, as a good captain crosses a sea route. If you succeed in crossing at the best place, you may take your ease. To cross at a ford means to attack the enemy’s weak point, and to put yourself in an advantageous position. This is how to win large-scale strategy. The spirit of crossing at a ford is necessary in both large- and small-scale strategy.

You must research this well.

To Know the Times

"To know the times" means to know the enemy’s disposition in battle. Is it flourishing or waning? By observing the spirit of the enemy’s men and getting the best position, you can work out the enemy’s disposition and move your men accordingly. You can win through this principle of strategy, fighting from a position of advantage.

When in a duel, you must forestall the enemy and attack when you have first recognised his school of strategy, perceived his quality and his strong and weak points. Attack in an unsuspecting manner, knowing his metre and modulation and the appropriate timing.

Knowing the times means, if your ability is high, seeing right into things. If you are thoroughly conversant with strategy, you will recognise the enemy’s intentions and thus have many opportunities to win. You must sufficiently study this.

To Tread Down the Sword

"To tread down the sword" is a principle often used in strategy. First, in large scale strategy, when the enemy first discharges bows and guns and then attacks it is difficult for us to attack if we are busy loading powder into our guns or notching our arrows. The spirit is to attack quickly while the enemy is still shooting with bows or guns. The spirit is to win by "treading down" as we receive the enemy’s attack.

In single combat, we cannot get a decisive victory by cutting, with a "tee-dum tee-dum" feeling, in the wake of the enemy’s attacking long sword. We must defeat him at the start of his attack, in the spirit of treading him down with the feet, so that he cannot rise again to the attack.

"Treading" does not simply mean treading with the feet. Tread with the body, tread with the spirit, and, of course, tread and cut with the long sword. You must achieve the spirit of not allowing the enemy to attack a second time. This is the spirit of forestalling in every sense. Once at the enemy, you should not aspire just to strike him, but to cling after the attack. You must study this deeply.

To Know "Collapse"

Everything can collapse. Houses, bodies, and enemies collapse when their rhythm becomes deranged.

In large-scale strategy, when the enemy starts to collapse, you must pursue him without letting the chance go. If you fail to take advantage of your enemies’ collapse, they may recover.

In single combat, the enemy sometimes loses timing and collapses. If you let this opportunity pass, he may recover and not be so negligent thereafter. Fix your eye on the enemy’s collapse, and chase him, attacking so that you do not let him recover. You must do this. The chasing attack is with a strong spirit. You must utterly cut the enemy down so that he does not recover his position. You must understand how to utterly cut down the enemy.

To Become the Enemy

"To become the enemy" means to think yourself in the enemy’s position. In the world people tend to think of a robber trapped in a house as a fortified enemy. However, if we think of "becoming the enemy", we feel that the whole world is against us and that there is no escape. He who is shut inside is a pheasant. He who enters to arrest is a hawk. You must appreciate this.

In large-scale strategy, people are always under the impression that the enemy is strong, and so tend to become cautious. But if you have good soldiers, and if you understand the principles of strategy, and if you know how to beat the enemy, there is nothing to worry about.

In single combat also you must put yourself in the enemy’s position. If you think, "Here is a a master of the Way, who knows the principles of strategy", then you will surely lose. You must consider this deeply.

To Release Four Hands

"To release four hands" is used when you and the enemy are contending with the same spirit, and the issue cannot be decided. Abandon this spirit and win through an alternative resource.

In large-scale strategy, when there is a "four hands" spirit, do not give up – it is man’s existence. Immediately throw away this spirit and win with a technique the enemy does not expect.

In single combat also, when we think we have fallen into the "four hands" situation, we must defeat the enemy by changing our mind and applying a suitable technique according to his condition. You must be able to judge this.

To Move the Shade

"To move the shade" is used when you cannot see the enemy’s spirit.

In large-scale strategy, when you cannot see the enemy’s position, indicate that you are about to attack strongly, to discover his resources. It is easy then to defeat him with a different method once you see his resources.

In single combat, if the enemy takes up a rear or side attitude of the long sword so that you cannot see his intention, make a feint attack, and the enemy will show his long sword, thinking he sees your spirit. Benefiting from what you are shown, you can win with certainty. If you are negligent you will miss the timing. Research this well.

To Hold Down a Shadow

"Holding down a shadow" is use when you can see the enemy’s attacking spirit.

In large-scale strategy, when the enemy embarks on an attack, if you make a show of strongly suppressing his technique, he will change his mind. Then, altering your spirit, defeat him by forestalling him with a Void spirit.

Or, in single combat, hold down the enemy’s strong intention with a suitable timing, and defeat him by forestalling him with this timing. You must study this well.

To Pass On

Many things are said to be passed on. Sleepiness can be passed on, and yawning can be passed on. Time can be passed on also.

In large-scale strategy, when the enemy is agitated and shows an inclination to rush, do not mind in the least. Make a show of complete calmness, and the enemy will be taken by this and will become relaxed. When you see that this spirit has been passed on, you can bring about the enemy’s defeat by attacking strongly with a Void spirit.

In single combat, you can win by relaxing your body and spirit and then, catching on to the moment the enemy relaxes, attack strongly and quickly, forestalling him.

What is know as "getting someone drunk" is similar to this. You can also infect the enemy with a bored, careless, or weak spirit. You must study this well.

To Cause Loss of Balance

Many things can cause a loss of balance. One cause is danger, another is hardship, and another is surprise. You must research this.

In large-scale strategy it is important to cause loss of balance. Attack without warning where the enemy is not expecting it, and while his spirit is undecided follow up your advantage and, having the lead, defeat him.

Or, in single combat, start by making a show of being slow, then suddenly attack strongly. Without allowing him space for breath to recover form the fluctuation of spirit, you must grasp the opportunity to win. Get the feel of this.

To Frighten

Fright often occurs, caused by the unexpected.

In large-scale strategy you can frighten the enemy not just by what you present to their eyes, but by shouting, making a small force seem large, or by threatening them from the flank without warning. These things all frighten. You can win by making best use of the enemy’s frightened rhythm.

In single combat, also, you must use the advantage of taking the enemy unawares by frightening him with your body, long sword, or voice, to defeat him. You should research this well.

To Soak In

When you have come to grips and are striving together with the enemy, and you realize that you cannot advance, you "soak in" and become one with the enemy. You can win by applying a suitable technique while you are mutually entangled.

In battles involving large numbers as well as in fights with small numbers, you can often win decisively with the advantage of knowing how to "soak" into the enemy, whereas, were you to draw apart, you would lose the chance to win. Research this well.

To Injure the Corners

It is difficult to move strong things by pushing directly, so you should "injure the corners".

In large-scale strategy, it is beneficial to strike at the corners of the enemy’s force. If the corners are overthrown, the spirit of the whole body will be overthrown. To defeat the enemy you must follow up the attack when the corners have fallen.

In single combat, it is easy to win once the enemy collapses. This happens when you injure the "corners" of his body, and thus weaken him. It is important to know how to do this, so you must research deeply.

To Throw into Confusion

This means making the enemy lose resolve.

In large-scale strategy we can use our troops to confuse the enemy on the field. Observing the enemy’s spirit, we can make him think, "Here? There? Like that? Like this? Slow? Fast?". Victory is certain when the enemy is caught up in a rhythm which confuses his spirit.

In single combat, we can confuse the enemy by attacking with varied techniques when the chance arises. Feint a thrust or cut, or make the enemy think ou are going to close with him, and when he is confused you can easily win.

This is the essence of fighting, and you must research it deeply.

The Three Shouts

The three shouts are divided thus: before, during and after. Shout according to the situation. The voice is a thing of life. We shout against fires and so on, against the wind and the waves. The voice shows energy.

In large-scale strategy, at the start of battle we shout as loudly as possible. During the fight, the voice is low-pitched, shouting out as we attack. After the contest, we shout in the wake of our victory. These are the three shouts.

In single combat, we make as if to cut and shout "Ei!" at the same time to disturb the enemy, then in the wake of our shout we cut with the long sword. We shout after we have cut down the enemy – this is to announce victory. This is called "sen go no koe" (before and after voice). We do not shout simultaneously with flourishing the long sword. We shout during the fight to get into rhythm. Research this deeply.

To Mingle

In battles, when the armies are in confrontation, attack the enemy’s strong points and, when you see that they are beaten back, quickly separate and attack yet another strong point on the periphery of his force. The spirit of this is like a winding mountain path.

This is an important fighting method for one man against many. Strike down the enemies in one quarter, or drive them back, then grasp the timing and attack further strong points to right and left, as if on a winding mountain path, weighing up the enemies’ disposition. When you know the enemies’ level attack strongly with no trace of retreating spirit.

What is meant by "mingling" is the spirit of advancing and becoming engaged with the enemy, and not withdrawing even one step. You must understand this.

To Crush

This means to crush the enemy regarding him as being weak.

In large-scale strategy, when we see that the enemy has few men, or if he has many men but his spirit is weak and disordered, we knock the hat over his eyes, crushing him utterly. If we crush lightly, he may recover. You must learn the spirit of crushing as if with a hand-grip.

In single combat, if the enemy is less skilful than ourself, if his rhythm is disorganised, or if he has fallen into evasive or retreating attitudes, we must crush him straightaway, with no concern for his presence and without allowing him space for breath. It is essential to crush him all at once. The primary thing is not to let him recover his position even a little. You must research this deeply.

The Mountain-Sea Change

The "mountain-sea" spirit means that it is bad to repeat the same thing several times when fighting the enemy. There may be no help but to do something twice, but do not try it a third time. If you once make an attack and fail, there is little chance of success if you use the same approach again. If you attempt a technique which you have previously tried unsuccessfully and fail yet again, then you must change your attacking method.

If the enemy thinks of the mountains, attack like the sea; and if he thinks of the sea, attack like the mountains. You must research this deeply.

To Penetrate the Depths

When we are fighting with the enemy, even when it can be seen that we can win on the surface with the benefit of the Way, if his spirit is not extinguished, he may be beaten superficially yet undefeated in spirit deep inside. With this principle of "penetrating the depths" we can destroy the enemy’s spirit in its depths, demoralising him by quickly changing our spirit. This often occurs.

Penetrating the depths means penetrating with the long sword, penetrating with the body, and penetrating with the spirit. This cannot be understood in a generalisation.

Once we have crushed the enemy in the depths, there is no need to remain spirited. But otherwise we must remain spirited. If the enemy remains spirited it is difficult to crush him. You must train in penetrating the depths for large-scale strategy and also single combat.

To Renew

"To renew" applies when we are fighting with the enemy, and an entangled spirit arises where there is no possible resolution. We must abandon our efforts, think of the situation in a fresh spirit then win in the new rhythm. To renew, when we are deadlocked with the enemy, means that without changing our circumstance we change our spirit and win through a different technique.

It is necessary to consider how "to renew" also applies in large-scale strategy. Research this diligently.

Rat’s Head, Ox’s Neck

"Rat’s head and ox’s neck" means that, when we are fighting with the enemy and both he and we have become occupied with small points in an entangled spirit, we must always think of the Way of strategy as being both a rat’s head and an ox’s neck. Whenever we have become preoccupied with small detail, we must suddenly change into a large spirit, interchanging large with small.

This is one of the essences of strategy. It is necessary that the warrior think in this spirit in everyday life. You must not depart from this spirit in large-scale strategy nor in single combat.

The Commander Knows the Troops

"The commander knows the troops" applies everywhere in fights in my Way of strategy.

Using the wisdom of strategy, think of the enemy as your own troops. When you think in this way you can move him at will and be able to chase him around. You become the general and the enemy becomes your troops. You must master this.

To Let Go the Hilt

There are various kinds of spirit involved in letting go the hilt.

There is the spirit of winning without a sword. There is also the spirit of holding the long sword but not winning. The various methods cannot be expressed in writing. You must train well.

The Body of a Rock

When you have mastered the Way of strategy you can suddenly make your body like a rock, and ten thousand things cannot touch you. This is the body of a rock.

You will not be moved. Oral tradition.

What is recorded above is what has been constantly on my mind about Ichi school sword fencing, written down as it came to me. This is the first time I have written about my technique, and the order of things is a bit confused. It is difficult to express it clearly.

This book is a spiritual guide for the man who wishes to learn the Way.

My heart has been inclined to the Way of strategy from my youth onwards. I have devoted myself to training my hand, tempering my body, and attaining the many spiritual attitudes of sword fencing. If we watch men of other schools discussing theory, and concentrating on techniques with the hands, even though they seem skilful to watch, they have not the slightest true spirit.

Of course, men who study in this way think they are training the body and spirit, but it is an obstacle to the true Way, and its bad influence remains for ever. Thus the true Way of strategy is becoming decadent and dying out.

The true Way of sword fencing is the craft of defeating the enemy in a fight, and nothing other than this. If you attain and adhere to the wisdom of my strategy, you need never doubt that you will win.

THE WIND BOOK

In strategy you must know the Ways of other schools, so I have written about various other traditions of strategys in this the Wind Book.

Without knowledge of the Ways of other schools, it is difficult to understand the essence of my Ichi school. Looking at other schools we find some that specialise in techniques of strength using extra-long swords. Some schools study the Way of the short sword, known as kodachi. Some schools teach dexterity in large numbers of sword techniques, teaching attitudes of the sword as the "surface" and the Way as the "interior".

That none of these are the true Way I show clearly in the interior of this book – all the vices and virtues and rights and wrongs. My Ichi school is different. Other schools make accomplishments their means of livelihood, growing flowers and decoratively colouring articles in order to sell them. This is definitely not the Way of strategy.

Some of the world’s strategists are concerned only with sword-fencing, and limit their training to flourishing the long sword and carriage of the body. But is dexterity alone sufficient to win? This is not the essence of the Way.

I have recorded the unsatisfactory point of other schools one by one in this book. You must study these matters deeply to appreciate the benefit of my Ni To Ichi school.

Other Schools Using Extra-Long Swords

Some other schools have a liking for extra-long swords. From the point of view of my strategy these must been seen as weak schools. This is because they do not appreciate the principle of cutting the enemy by any means. Their preference is for the extra-long sword and, relying on the virtue of its length, they think to defeat the enemy from a distance.

In this world it is said, "One inch gives the hand advantage", but these are the idle words of one who does not know strategy. It shows the inferior strategy of a weak spirit that men should be dependent on the length of their sword, fighting from a distance without the benefit of strategy.

I expect there is a case for the school in question liking extra-long swords as part of its doctrine, but if we compare this to real life it is unreasonable. Surely we need not necessarily be defeated if we are using a short sword, and have no long sword?

It is difficult for these people to cut the enemy when at close quarters because of the length of the long sword. The blade path is large so the long sword is an encumbrance, and they are at a disadvantage compared to the man armed with a short companion sword.

From olden times it has been said: "Great and small go together.". So do not unconditionally dislike extra-long swords. What I dislike is the inclination towards the long sword. If we consider large-scale strategy, we can think of large forces in terms of long swords, and small forces as short swords. Cannot few me give battle against many? There are many instances of few men overcoming many.

Your strategy is of no account if when called on to fight in a confined space your heart is inclined to the long sword, or if you are in a house armed only with your companion sword. Besides, some men have not the strength of others.

In my doctrine, I dislike preconceived, narrow spirit. You must study this well.

The Strong Long Sword Spirit in Other Schools

You should not speak of strong and weak long swords. If you just wield the long sword in a strong spirit your cutting will be coarse, and if you use the sword coarsely you will have difficulty in winning.

If you are concerned with the strength of your sword, you will try to cut unreasonably strongly, and will not be able to cut at all. It is also bad to try to cut strongly when testing the sword. Whenever you cross swords with an enemy you must not think of cutting him either strongly or weakly; just think of cutting and killing him. Be intent solely upon killing the enemy. Do not try to cut strongly and, of course, do not think of cutting weakly. You should only be concerned with killing the enemy.

If you rely on strength, when you hit the enemy’s sword you will inevitably hit too hard. If you do this, your own sword will be carried along as a result. Thus the saying, "The strongest hand wins", has no meaning.

In large-scale strategy, if you have a strong army and are relying on strength to win, but the enemy also has a strong army, the battle will be fierce. This is the same for both sides.

Without the correct principle the fight cannot be won.

The spirit of my school is to win through the wisdom of strategy, paying no attention to trifles. Study this well.

Use of the Shorter Long Sword in Other Schools

Using a shorter long sword is not the true Way to win.

In ancient times, tachi and katana meant long and short swords. Men of superior strength in the world can wield even a long sword lightly, so there is no case for their liking the short sword. They also make use of the length of spears and halberds. Some men use a shorter long sword with the intention of jumping in and stabbing the enemy at the unguarded moment when he flourishes his sword. This inclination is bad.

To aim for the enemy’s unguarded moment is completely defensive, and undesirable at close quarters with the enemy. Furthermore, you cannot use the method of jumping inside his defence with a short sword if there are many enemies. Some men think that if they go against many enemies with a shorter long sword they can unrestrictedly frisk around cutting in sweeps, but they have to parry cuts continuously, and eventually become entangled with the enemy. This is inconsistent with the true Way of strategy.

The sure Way to win thus is to chase the enemy around in confusing manner, causing him to jump aside, with your body held strongly and straight. The same principle applies to large-scale strategy. The essence of strategy is to fall upon the enemy in large numbers and bring about his speedy downfall. By their study of strategy, people of the world get used to countering, evading and retreating as the normal thing. They become set in this habit, so can easily be paraded around by the enemy. The Way of strategy is straight and true. You must chase the enemy around and make him obey your spirit.

Other Schools with many Methods of using the Long Sword

Placing a great deal of importance on the attitudes of the long sword is a mistaken way of thinking. What is known in the world as "attitude" applies when there is no enemy. The reason is that this has been a precedent since ancient times, and there should be no such thing as "This is the modern way to do it" in dueling. You must force the enemy into inconvenient situations.

Attitudes are for situations in which you are not to be moved. That is, for garrisoning castles, battle array, and so on, showing the spirit of not being moved even by a strong assault. In the Way of dueling, however, you must always be intent upon taking the lead and attacking. Attitude is the spirit of awaiting an attack. You must appreciate this.

In duels of strategy you must move the opponent’s attitude. Attack where his spirit is lax, throw him into confusion, irritate and terrify him. Take advantage of the enemy’s rhythm when he is unsettled and you can win.

I dislike the defensive spirit know as "attitude". Therefore, in my Way, there is something called "Attitude-No Attitude".

In large-scale strategy we deploy our troops for battle bearing in mind our strength, observing the enemy’s numbers, and noting the details of the battle field. This is at the start of the battle.

The spirit of attacking first is completely different from the spirit of being attacked. Bearing an attack well, with a strong attitude, and parrying the enemy’s attack well, is like making a wall of spears and halberds. When you attack the enemy, your spirit must go to the extent of pulling the stakes out of a wall and using them as spears and halberds. You must examine this well.

Fixing the Eyes in Other Schools

Some schools maintain that the eyes should be fixed on the enemy’s long sword. Some schools fix the eyes on the hands. Some fix the eyes on the face, and some fix the eyes on the feet, and so on. If you fix the eyes on these places your spirit can become confused and your strategy thwarted.

I will explain this in detail. Footballers do not fix their eyes on the ball, but by good play on the field they can perform well. When you become accustomed to something, you are not limited to the use of your eyes. People such as master musicians have the music score in front of their nose, or flourish swords in several ways when they have mastered the Way, but this does not mean that they fix their eyes on these things specifically, or that they make pointless movements of the sword. It means that they can see naturally.

In the Way of strategy, when you have fought many times you will easily be able to appraise the speed and position of the enemy’s sword, and having mastery of the Way you will see the weight of his spirit. In strategy, fixing the eyes means gazing at the man’s heart.

In large-scale strategy the area to watch is the enemy’s strength. "Perception" and "sight" are the two methods of seeing. Perception consists of concentrating strongly on the enemy’s spirit, observing the condition of the battlefield, fixing the gaze strongly, seeing the progress of the fight and the changes of advantages. This is the sure way to win.

In single combat you must not fix the eyes on the details. As I said before, if you fix your eyes on details and neglect important things, your spirit will become bewildered, and victory will escape you. Research this principle well and train diligently.

Use of the Feet in Other Schools

There are various methods of using the feet: floating foot, jumping foot, springing foot, treading foot, crow’s foot, and such nimble walking methods. From the point of view of my strategy, these are all unsatisfactory.

I dislike floating foot because the feet always tend to float during the fight. The Way must be trod firmly.

Neither do I like jumping foot, because it encourages the habit of jumping, and a jumpy spirit. However much you jump, there is no real justification for it; so jumping is bad.

Springing foot causes a springing spirit which is indecisive.

Treading foot is a "waiting" method, and I especially dislike it.

Apart from these, there are various fast walking methods, such as crow’s foot, and so on.

Sometimes, however, you may encounter the enemy on marshland, swampy ground, river valleys, stony ground, or narrow roads, in which situations you cannot jump or move the feet quickly.

In my strategy, the footwork does not change. I always walk as I usually do in the street. You must never lose control of your feet. According to the enemy’s rhythm, move fast or slowly, adjusting you body not too much and not too little.

Carrying the feet is important also in large-scale strategy. This is because, if you attack quickly and thoughtlessly without knowing the enemy’s spirit, your rhythm will become deranged and you will not be able to win. Or, if you advance too slowly, you will not be able to take advantage of the enemy’s disorder, the opportunity to win will escape, and you will not be able to finish the fight quickly. You must win by seizing upon the enemy’s disorder and derangement, and by not according him even a little hope of recovery. Practice this well.

Speed in Other Schools

Speed is not part of the true Way of strategy. Speed implies that things seem fast or slow, according to whether or not they are in rhythm. Whatever the Way, the master of strategy does not appear fast.

Some people can walk as fast as a hundred or a hundred and twenty miles in a day, but this does not mean that they run continuously from morning till night. Unpracticed runners may seem to have been running all day, but their performance is poor.

In the Way of dance, accomplished performers can sing while dancing, but when beginners try this they slow down and their spirit becomes busy. The "old pine tree" melody beaten on a leather drum is tranquil, but when beginners try this they slow down and their spirit becomes busy. Very skilful people can manage a fast rhythm, but it is bad to beat hurriedly. If you try to beat too quickly you will get out of time. Of course, slowness is bad. Really skilful people never get out of time, and are always deliberate, and never appear busy. From this example, the principle can be seen.

What is known as speed is especially bad in the Way of strategy. The reason for this is that depending on the place, marsh or swamp and so on, it may not be possible to move the body and legs together quickly. Still less will you be able to cut quickly if you have a long sword in this situation. If you try to cut quickly, as if using a fan or short sword, you will not actually cut even a little. You must appreciate this.

In large-scale strategy also, a fast busy spirit is undesirable. The spirit must be that of holding down a pillow, then you will not be even a little late.

When your opponent is hurrying recklessly, you must act contrarily and keep calm. You must not be influenced by the opponent. Train diligently to attain this spirit.

"Interior" and "Surface" in Other Schools

There is no "interior" nor "surface" in strategy.

The artistic accomplishments usually claim inner meaning and secret tradition, and "interior" and "gate", but in combat there is no such thing as fighting on the surface, or cutting with the interior. When I teach my Way, I first teach by training in techniques which are easy for the pupil to understand, a doctrine which is easy to understand. I gradually endeavour to explain the deep principle, points which it is hardly possible to comprehend, according to the pupil’s progress. In any event, because the way to understanding is through experience, I do not speak of "interior" and "gate".

In this world, if you go into the mountains, and decide to go deeper and yet deeper, instead you will emerge at the gate. Whatever the Way, it has an interior, and it is sometimes a good thing to point out the gate. In strategy, we cannot say what is concealed and what is revealed.

Accordingly I dislike passing on my Way through written pledges and regulations. Perceiving the ability of my pupils, I teach the direct Way, remove the bad influence of other schools, and gradually introduce them to the true Way of the warrior.

The method of teaching my strategy is with a trustworthy spirit. You must train diligently.

I have tried to record an outline of the strategy of other schools in the above nine sections. I could now continue by giving a specific account of these schools one by one, from the "gate" to the "interior", but I have intentionally not named the schools or their main points. The reason for this is that different branches of schools give different interpretations of the doctrines. In as much as men’s opinions differ, so there must be differing ideas on the same matter. Thus no one man’s conception is valid for any school.

I have shown the general tendencies of other schools on nine points. If we look at them from an honest viewpoint, we see that people always tend to like long swords or short swords, and become concerned with strength in both large and small matters. You can see why I do not deal with the "gates" of other schools.

In my Ichi school of the long sword there is neither gate nor interior. There is no inner meaning in sword attitudes. You must simply keep your spirit true to realize the virtue of strategy.

THE BOOK OF THE VOID

The Ni To Ichi Way of strategy is recorded in this the Book of the Void.

What is called the spirit of the void is where there is nothing. It is not included in man’s knowledge. Of course the void is nothingness. By knowing things that exist, you can know that which does not exist. That is the void.

People in this world look at things mistakenly, and think that what they do not understand must be the void. This is not the true void. It is bewilderment.

In the Way of strategy, also, those who study as warriors think that whatever they cannot understand in their craft is the void. This is not the true void.

To attain the Way of strategy as a warrior you must study fully other martial arts and not deviate even a little from the Way of the warrior. With your spirit settled, accumulate practice day by day, and hour by hour. Polish the twofold spirit heart and mind, and sharpen the twofold gaze perception and sight. When your spirit is not in the least clouded, when the clouds of bewilderment clear away, there is the true void.

Until you realize the true Way, whether in Buddhism or in common sense, you may think that things are correct and in order. However, if we look at things objectively, from the viewpoint of laws of the world, we see various doctrines departing from the true Way. Know well this spirit, and with forthrightness as the foundation and the true spirit as the Way. Enact strategy broadly, correctly and openly.

Then you will come to think of things in a wide sense and, taking the void as the Way, you will see the Way as void.

In the void is virtue, and no evil. Wisdom has existence, principle has existence, the Way has existence, spirit is nothingness.

Twelfth day of the fifth month, second year of Shoho (1645)
Teruro Magonojo
SHINMEN MUSASHI

 

Filed Under: Books, History

Interesting Judo Photos

January 31, 2016 by khadaji Leave a Comment

 

Mikonosuke Kawaishi Kawaishi's Belt One of the interesting things about collecting Judo books, is that you occasionally run across photos of Judo from days gone by that others rarely see. I know that many Judoka are interested in the history of Judo, and what better way to show it than by photos? So, with somewhat irrelevant comments by myself tossed in, here we go…

Keeping in mind that most photos I provide can be clicked on to provide a larger view, the sharp-eyed among you may have already noticed the rather unusual method of tying the belt that Mikonosuke Kawaishi, that great leader of French Judo… those of you who are not so sharp eyed, I’ve also provided an enlargement:

So, the question becomes… have we been tying our obi’s wrong all this time? Or was there a revolution in ‘Obi’ knots that never made it to the history books? Inquiring minds want to know! (This photo came from "A Complete Guide to Judo" by Robert Smith)


Hizaguruma Hizaguruma Now, I suspect that many of you are probably looking at this Hizaguruma the same way I am… If tori were my student, I’d be doing alot of correction on this form! Tori, by the way, is Professor S.K. Uyenishi. Unless otherwise noted, the rest of the photos on this page come from his book "The Textbook of Ju-Jutsu". You may also suspect, by the uniform being worn, that this is a fairly old version of Hizaguruma. I suspect that most Judoka can perform a somewhat better version nowadays…


Koshi-nage Seoinage Seoinage Now, a quick quiz. Can you pick out the picture that shows Seoinage? Perhaps a closer look at the grip and position of the hands/arms will help you… I’ve provided a closeup here on the right… (remember to click on a photo for a larger view). Now, have you decided which photo shows Seoinage? You can move your cursor over the photo for an answer… Yes, the one on the far left is not Seoinage. I’ll bet you’d have never guessed it to be ‘Koshi-nage’. And taking a closeup look at the grips being used in the photo on the right, I’ve seen grips like that from many white belts! Can’t recall seeing a grips like this being used by a black belt. Of course, in Prof. Uyenishi’s defense, he didn’t have very much material to work with!


Okuriashibarai Deashibarai This photo should put a stop to all those complaints about the mat being too hard, or too soft… looking closely, you’ll discover these two are doing a little ‘backyard’ randori. Anyone notice anything funny about that Okuriashibarai? I’m lucky to pull it off on the ‘fast’ canvas covered mat. Prof. Uyenishi is pulling it off on grass, and manages to do it so well that he doesn’t even need to drive the feet together! Sometimes when I see photos like this one, I break out the magnifying glass and look for the supporting wires!


Deashibarai Described in Prof. Uyenishi’s book as "…one of the simplest and yet most effective of the many throws in Ju-jutsu" Well, 30 years later, I’m still learning how to use this ‘simplest’ of throws. And perhaps it’s my imagination, but uke here looks like he’s a student of Kawaishi, he seems to have learned the same method of tying one’s obi. Another interesting point is the grip… uke’d be chastised today for such a grip.


Taiotoshi Taiotoshi Taiotoshi Taiotoshi is one of those fascinating techniques that has undergone a great deal of change in the last 100 years. You can see a couple of versions here on the left. Most instructors would hold their breath if they saw one of their students doing a version like this. I can easily imagine alot of knee and ankle injuries if Taiotoshi were still performed this way. Luckily, Judo has progressed, and we do a much more effective, and safer version nowadays.

Although we call this Taiotoshi today, this is referenced in the book as "Hiki-Otoshi" – to pull drop. A rather interesting excerpt concerning this throw are given here:

One might ask, "What difference does it make whether you throw your man sideways or stright forward?" and the answer is simple enough. Although you timed the throw correctly, the chances are, as forward progression is the most natural to man, he will far more likely be able to save himself, and therefore a clean fall would seldom result, but side movement being most awkward for him, he has little or no chance of recovery.

Good advice, and very well stated!


Taiotoshi Taiotoshi Here on the left is a version of Taiotoshi that will be somewhat more familiar… this particular photo comes from Sakujiro Yokoyama’s 1915 book on Judo. It will look familiar to those of you who own and study Kodokan Judo, as you will see Mifune Sensei doing Taiotoshi in a very similar manner. Interestingly enough, in his "Canon of Judo", Mifune does it both ways, here’s a photo of Mifune on the right doing a more modern version of Taiotoshi. I find it interesting that both the original 1955 version of Kodokan Judo, and the newer 1986 version of Kodokan Judo, both show the version shown on the left… whereas most Judoka do a Taiotoshi more related to Mifune’s version on the right.


Osotogari Osotogari Recognizable today as Osotogari, this throw was referenced as Kekaeshi – from Kaesu, to turn over, and Keru, to kick. This particular version isn’t even close to what is considered classical form, and yet this is as old a photo as you are likely to be able to find demonstrating the technique. It seems clear that what we think of as "classical" Judo was more a product of the 1940’s and onward, rather than the earliest Judo.


By the way, you might have noticed that I’ve not said anything about the outline figures on the right. Did you notice that they look slightly similar to the photos coming out of Prof. Uyenishi’s book? They come from a book titled "Ju-Jutsu and Judo" by Percy Longhurst. I’ve been unable to locate any attribution in his book detailing where these sketches came from. In fairness to Mr. Longhurst, he wrote the last chapter of Prof. Uyenishi’s book, and is therefore apparently connected somehow to the publishing of it.


Ashi-Nata Listed as "Ashi-nata", this is perhaps better known as "Kata Ashi Hishigi". Forbidden in shiai, and rarely practiced in randori… sambo and BJJ are today the strongest proponents of this move. More and more Judoka are being re-acquainted with this old technique, however, as they practice with other styles.


Yokogake This photo would be a very good way to quickly differentiate between Judoka and BJJ’ers. For those of you who study BJJ, no, this is not a Judoka pulling his opponent into his guard! (Which wouldn’t, in any case, be a legal manuever in Judo.) This is Yokogake, somewhat similar to a Haraitsurikomiashi with a sacrifice movement to the rear. A very nice technique to know, since it makes a very nice combination off of Haraitsurikomiashi, or Sasaeturikomiashi…


Now, just for the fun of it, here’s three comic books I have in my collection… dating from August 1953, they are the earliest comic books I know of that are about Judo. There are only three, #1, #2, and #3, wonder why this wasn’t a continuing series? I’ve also included the first four pages of the first comic… I would hesitate to show more due to copyright, but I wanted everyone to get the ‘flavor’ of the comics. Plus too, for those of you who are somewhat literate in Japanese culture, you should enjoy a laugh or two! Click on any one of these photos for an enlarged view.

JudoJoe #1 JudoJoe #2 JudoJoe #3 JudoJoe Page 1 JudoJoe Page 2 JudoJoe Page 3 JudoJoe Page 4

Filed Under: History

Copyright © 2026 · Dynamik Website Builder on Genesis Framework · WordPress · Log in