Wednesday, December 16, 2009

Professor ???? Kano

I have been hanging out at the judoforum.com lately. A gentlemen named Cichorei Kano typed a very interesting and informative post about academic titles (professor) and it's use in modern Judo in the west. Lots of good stuff here. I have noticed some people in American budo throwing around the 'professor' word and I have always been uneasy about that title for budo. I will now hand it over to him.
Indeed. I have now looked this up, and I cannot find any credible evidence of Kanō Jigorō ever on the basis of study or research having been awarded an academic doctorate.

Kanō became a student in 1870 in the 成達書塾 in Ryōkoku, which is pretty much a school for learning how to write. His teacher was Ubukata Keidō. He also got acquainted there with the Chinese Classics. If you do not know what the “Chinese Classics” are, they are 4 main neoconfucian writings, by resp. Ta Hsueh, Lung Yu, and Chung Yung, and the Book of Mengtzu, with in addition what is referred to as the Five Canonic Writings (I-Ching, Ch’un Ch’iu, Li Chi, Shih Ching, and Shu Ching).

Apparently, Kanō was an exemplary student. Ubukata-sensei himself was strongly influenced by Western thought and tried to convey this on to Kanō. Given Kanō’s young and inexperienced age, a first step to do was to recommend that he’d study English. He was sent to Mitsukuri Shūhei to do so.

In 1873, Kanō enrolled in the Iku’ei Gijuku, a private junior college. I think it may have been affiliated or have some link with Keiō University, but I am not sure of that. This school was a sort of boarding school, with students also spending the night there. I believe they employed foreigners, and courses were interestingly taught not in Japanese, but in English and German.

However, Kanō did not stay there and left after just a year, and in 1874 entered the Tōkyō Gaikokugo Gakkō 東京外国語学校 (Tōkyō School of Foreign Languages). In 1875, Kanō was accepted in the Kaisei Gakkō, and entered the Faculty of Letters, with an emphasis on Politics and Economy. He graduated in July of 1881 (Meiji 14, 7th month) with a Bachelor’s Degree of Letters or Bungakushi 文学士.

Tōkyō University or Tōdai did not exist in 1875, and was only created in 1877; the old name of Imperial University 帝國大學 Teikoku daigaku was only given in 1886, five years after Kanō graduated, and its name was changed again in 1897 into Tōkyō Imperial University 東京帝國大學 Tōkyō Teikoku daigaku (see: http://www.u-tokyo.ac.jp/gen03/b03_02_e.html)

After his graduation in July of 1881, he returned to the same Faculty of Letters to focus on Aesthetics and Moral Philosophy, in what thus was graduate study (or as they call it in England ‘Postgraduate). He finished this study in July of 1882. It is there where he also studied under Ernest F. Fennolosa.

I do not know the exact name of this graduate study, assuming that it actually led to a new degree and not just to “having taken some supplemental courses”. I doubt that a single year of study above a Bachelor’s Degree would by any serious person be regarded as a doctorate, and moreover, like Jon Z already pointed out, the Doctoral or Hakase 博士 system did not even exist in Japan at that time.



Source is Hasegawa Junzō: Kanō Jigorō no kyōiku to shisō. Meiji Shō’in, Tōkyō, 1981.

I have mentioned that I have some memory of an event in March of 1924, which may or may not have been an awarding of some doctorate, but I may be wrong, and cannot find the details back.

In any case, I have argued before that a part of the biography of Kanō as it has been spread in the West is fake. I want to make it clear that I am not saying, suggesting, or surmising at all that Kanō Jigorō himself is in anyway responsible for this. In my view as is often the case with hagiographies rather than biographies, convenient ‘errors’ are made to add importance, and those in the known of it, ‘condone’ these errors to make things look more impressive than they really are.

I have never seen any document where Kanō Jigorō signed with ‘Doctor’ or its Japanese equivalent 博士 hakase. In fact, I don’t think that I have ever seen even any Japanese document written by others that do so either.



Let me point out that similarly there exist many W-E-S-T-E-R-N documents that equally bestow a rank of 10th or 12th dan on Kanō, something again of which no foundation exist. I have never seen a single Japanese document that assigns any dan-rank whatsoever to Kanō, just like no Japanese document assigns any dan-rank to Ueshiba. Dan-ranks are for ‘students’, and the creator of style typically does not hold a rank in his own style.

This goes on and on. Even this summer I heard Murata refer to the Kōdōkan's jūdō instructors as ‘professors’ and the foreigners coming there as ‘students’. This is a load of bull crap. The Kōdōkan has never been assigned any academic authority by Monbushō to issue academic degrees or ranks. People teaching at the Kōdōkan are not ‘professors’ but ordinary sports instructors just like baseball coach is. They are typically people who have good practical knowledge about technique and that is it. Don’t try to sit down with them and explore the writings or philosophy of Kanō or they go blank. There are few exceptions, such as Daigo, who simply stands out and is very well-read. Also Komata is a professor, and this at Tsukuba University, but the majority are not. You can clearly see this from the young Kodokan-sensei; some are fighters like Kōji Komuro, others have pretty basic other jobs or education. With much older sensei we often do not know, since they were around long before we were born, and we have such great respect for someone with ranks of 8th or higher that we are all too glad to bestow further mythic proportions to their background. The truth is typically different.



Typically, becoming a professor is no sinecure, and today invariably requires holding a university doctorate, ample publications in peer-reviewed journals, and other scientific accomplishments, such as previous guest-professorships at other foreign universities, conference presentations at international conferences, etc. Some less serious schools in Japan on occasions may still accept people with a Masters as instructors and assistant professors. These issues are not just ‘innocent’ mistakes. The Japanese know very well that an ‘instructor’ 師 or 指南番or lecturer 専任講師is not a ‘professor’ 大学教授. If they wouldn’t, then why would they have completely different terms for ‘professor’ and ‘instructor’ and ‘lecturer’ just like we do in English ?

The Kōdōkan has known for years that part of its history is fake. Be serious. When jūdō was created in 1882, Kanō was only 22 years. How many of you would take serious a 22-year old if referred to as shihan and having created his own style. Kanō was erudite, and Kanō was intelligent, but for Christ’s sake, he was no Mozart or child prodigy.

While today 60- and 70-year old people are struggling to understand what Itsutsu-no-kata is about, yet the Kōdōkan would like us to believe that Kanō supposedly would have created it himself at just 27 years of age ? Right. It is known that Kanō in 1932 when he was 72 years of age was still struggling with this kata, as admitted by himself during a visit to London, a statement notoriously absent from any Kōdōkan documents, just like the things Kanō failed in are notoriously absent. Why would he be struggling with something that he would have shaken out of his sleeve half a century earlier ? There does not exist a single piece of writing where Kanō states that he would have created Itsutsu. The only thing he once said is that the first two techniques came from Kitō-ryū (which in fact is wrong) and that the last three would have been original. The Kōdōkan for years has conveniently explained this as that “Kanō himself would have taken these two techniques from Kitō-ryū and created the last three himself”, which is a very, very liberal interpretation of the previous statement. Itsutsu-no-kata comes from Tenjin Shinyō-ryū where it is one of the most advanced exercises. Kanō had barely practiced this last part and by 1932 even far less. He didn’t exactly struggle with jū-no-kata. Why ? Because jū-no-kata he did actually create. The two ones he struggled with were Itsutsu- and Koshiki-no-kata both which he did not create, but imported from the two parent schools of jūdō.



What is the origin of Kanō Jigorō’s ‘Dr.’ predicate ? Real ? Fantasy ? The debate here so far, shows that we can’t say for certain, but there is little evidence that this ‘Dr.’ title originated in Japan. One speculation is that in the early century no one in the West was familiar with the promotion system of jūdō; in fact, very few were familiar with it in Japan. There exists at least one document where Kanō is trying to explain the system by comparing it with ordinary academic study, linking certain jūdō black belt rank levels to some sort of “Bachelor’s Degree in Jūdō”, Jūdō ranks such as 6th dan and upwards as Master’s Degree in Jūdō level, and the highest ranks of 10th dan as similar to PhD level. The question can be raised whether this comparison was taken literally by enthusiastic Western audiences and back-extrapolated suggesting that as ‘shihan’ Kanō therefore would have been a “Dr. in jūdō”. As cute as this may sound, academically speaking it is complete nonsense.

If in the end, the ‘Dr.’ is real and was indeed a 1924 Doctor honoris causa, then the logical follow-up question is: Which university bestowed it and when ? Honorary doctorates are not particularly difficult to trace, as such things are typically public events and information, and not protected by privacy. Many universities even have the names of honorary doctorate holders published on their website. Most people, even the most modest ones, usually have it mentioned in their biography, since getting a honorary doctorate is a quite remarkable honor, and are all too keen to specify which institution bestowed it and in what year. In that respect, it is striking that no biography of Kanō mentions any such details, which adds doubt to such claim. If it would be a foreign university, then I think that there are not too many candidates. I can think of Berlin, for example, but not too many others.

Dealing with these things in a proper way is a challenge. If you raise such concerns regarding the person of Kanō, you will often be called ‘disrespectful’ and even may become “persona non grata”. Did I already say that Yukimitsu Kanō hasn’t spoken to me for years ? Fact is, who is really served by perpetuating these nonsense ? As well-meaning as the Kōdōkan and Japan may be, their reluctance to correcting anything towards the past out of fear that it may cause embarrassment or perceived as disrespect, may sound noble, but is in the end not workable as one day it will come back and bit the Kōdōkan in the ass.

In the mean time, the saga continues …


Orginal Thread on JudoForum

Friday, December 4, 2009

The Legend of the Invincible Old Man

Patrick Parker brought up the legend of the invincible old man on his blog.


I believe in 1996 or so I went to a seminar that was being hosted at the dojo of my teacher. At the time Russell Waddell was a member of the Jiyushinkai Aikibudo organization headed by Charles Clark. “Chuck” Clark is one of those teachers that borders on magician. He bends the mind with impossibly clean technique and long dissertations of solid aiki principles. I had trained at his seminars several times and I had been looking forward to again training in the shadow of the great teacher for months.



I arrived at the seminar and headed back to the dressing room to change into my uniform. In the changing area I saw a man I had never seen before. I am guessing he was in his 60s or 70s as he had sparse snow white hair. He must have been 5’3”. He was packing a lot of extra weight. The exertion of simply putting on his uniform caused his lungs to have a strained whistle. On top of all this he had a goofy looking red and white striped belt I had never seen before. I thought to myself “this guy is going to get himself killed”.

After the session started Chuck Clark asked the man to come up and show something. The short man stepped onto the mat and broke out into a heavy sweat. In fact he carried a towel with him to mop up the rivers that poured off him. He was having health problems in his later years.

He motioned to me to use me to make his judo demo.

Judo? My young guy mind thought I was going to show this guy what Aikido was about. I was not at the time of my life where I had learned to be a polite uke, and I would prove it now. I made a move against this man but instead I fell right into the softest and most effortless o soto gari foot sweep I have ever NOT felt. He followed me to the ground. I had been putting in a lot of mat time so I was sure this fool had made a mistake. Instantly I was put into a wrist lock, elbow lock, shoulder lock, and choke all at the same time. Four locks at once! I thought my eyes were going to explode. Releasing me from my bind I made a move with the other hand, and just as effortlessly I was bound into a second wrist lock, elbow lock, shoulder lock, choke.




This man went on to demo on me things I have never felt before or since. He could press nerves and make me leg dance. He choked me with a single finger over and over. His judo was sublime and perfect aiki.

His name was Stan Conner and he was a true master technician. He was a 8th dan in Kodokan/Jiyushikan Judo. He is the only American to have graduated from the Korean National Judo Teachers College. Though I just met him once the energy and feeling I got from him has shaped my journey on the path ever since.


While I heard his physical form passed away several years ago, I like to believe he is one of those Aiki/Jedi master ghosts hanging out in a dojo some where. Maybe he will call with a ghostly voice "Luke.... don't use Force."

Tuesday, December 1, 2009

Matl Sensei Says...

Matl Sensei is a great Judo player and teacher. I believe he is 8th or 9th dan in Judo, and believe me he deserves it. He is short man around 70 years old. He speaks in such a heavy Czech accent I can only understand every two or three words. I have a great respect for his approach to judo and his technical ability.



He seems to appreciate aikido, but has a useful critical eye for it too. Here are some quotes from the master himself on aikido.

“I like Aikido. It is perfect Judo technique. One thing though – in real life perfect Judo is very hard to do. In real situation in order to get technique you have to put a foot in the way.” (referring to the difficulties of pure Te waza)

"Tai Chi is meditation by your self. Aikido is meditation with some one else. Judo is meditation against someone."

Matl sensei has another quote when he asked the Round Rock aikido teacher to shiai with him. "You aikido guys need to shiai every once in while. Otherwise you are just sitting on the couch, eating pizza and smoking cigars." While this is a somewhat cryptic and humorous quote, especially if you know the man, I think it makes a point.

I think there is a theme building in Sensei’s quotes and observations about aikido training. I am hearing him say in the subtext of his quotes that aikido is a great art, but a lot of aiki training methods hover around some of the gritty difficulties of a martial encounters.

I think his observations are interesting and worth including into your own evaluation of aikido. I think we aiki artists can justifiably rationalize some of his observations away, but returning to face them every now and then is probably wise.

Thursday, November 26, 2009

Calligraphy of Kenji Tomiki 富木 謙治の書道

Kenji Tomiki was a famed Judo man, Aikidoka, and Shodoka. Shodo 書道 is the spiritual path of the brush.  While much has been written about his work in the martial arts, very little has been passed down to us about his work with the brush.




In articles I have read Ueshiba Sensei was very impressed with his calligraphy.  Apparently from a young age he was influenced by the fine arts of Japan.  His uncle is cited as a major influence on his artistic development.  His Uncle's name was Hyakusai Hirafuku.  He was a famous painter and illustrator and the internet is full of his work and collections.

The Cherry Blossom blog writes of  Hyakusai Hirafuku.
 
"He was born and brought up in 角館 (Kakunodate) , which is famous for the birthplace of 小田野直武 (おだの なおたけ)(Odano Naotake)(1750 – 1780), one of the greatest painters of Akita ranga (秋田蘭画) , also known as the Akita-ha (秋田派).   平福百穂 (Hirafuku Hyakusui) was greatly influenced by Akita ranga (秋田蘭画) and earnestly tried to introduce and spread its style, in which the Akita painters for the most part painted traditional Japanese themes and compositions using Western-style techniques and an approximation of oil paints."

Cherry Blossom


I have been searching long and hard for examples of Kenji Tomiki's calligraphy and art work, and thus far they have been very hard to find. Anyone who is known for calligraphy will have thousands of examples of their work out there, but as of yet this is all I have been able to collect.

Here is a tiny blog friendly sized version of his most famous piece. It says 'Mushin Mugamae' 無心 無 translates to 'No Mind, No Stance'.



larger version of Mushin Mugamae


In the signature of Tomiki Sensei taken from the Mushin Mugamae painting. He signs it ShodokanCho, Tomiki Kenji

 
                                           Above is from a signature on the back of a photograph.
                                                      It reads Aikido 合気道 on the right
                                                   and Tomiki, Kenji 富木 謙治on the left.




                             Here is a unstamped piece some lucky collector in Japan stumbled upon.
                                                              


                             I found this piece on the JAA website.The four character piece is from Confucius' Analects. 「子曰、君子和而不同、小人同而不和」  Google translator says this means "and different"  Poor translation?  Out of context?  At this point the true meaning eludes me.  It is a tad clearer when I run the complete longer phrase through Google- I get back "Confucius said, a gentleman and a different villain same without."


On the Facebook Tomiki Study group  Christopher Li added "The quote from Confucius is saying something on the order of "harmony, not sameness" (Waji Fudou). In other words, working together but not necessarily the same. It's part of the longer quote which says "The wise man creates harmony without sameness, the narrow-minded person creates sameness without harmony".

This next piece comes from the Waverley Aikido Website. They claim it was written by Tomiki Sensei. It reads Aikido 合気道.





I believe I am introducing the next two pieces to the internet. I posted on E-budo that I was searching for examples of Tomiki's work and these showed up in the mail.



                   Looks like this one says something like "gentle heart/mind beauty 美  ki/spirit "


                                   I blew up the signature on the bamboo painting.





                             The hanko taken off the bamboo painting. I blew it up and sharpened it a bit.


 
 
 Here is another piece a contributor sent me claiming it was a Tomiki piece. This is a cursive style for the kanji 和 for harmony - peace.
 
 
 
 
The next two pieces were emailed me from Jack Mumpower.  He trained in Fuchu Japan with Tomiki Sensei and Obha Sensei from 1958-1960. 



  The three panel piece is in a single frame and hung in Mumpower Sensei's dojo. I sent the piece to some calligraphy friends in Japan.  They sent beck this. 




 I consulted some top calligraphers in Japan.

"After consulting with the man (Ikeda Sensei), we believe the centre panel of the panel piece says:
「修自然禮之妙用」
which is new to the both of us and I can find no references to it on the internet. Ikeda-sensei believes it should be read in Japanese as:
自然礼(しぜんれい)の妙用(みょうよう)を修む(おさむ)
We're not sure if the second character is 「自」or 「百」. If the latter, then it doesn't make sense. If the former, then it is 誤字."

 「禮」"thanksgiving, gratitude"
「妙用」"marvelous workings"
「修」 "make a part of oneself".




Here is a sampling of some of his pieces from a book the J.A.A. in Japan recently released.  There are a few new ones in there I have not seen before.  When time allows I will pull them out and enlarge them.





 Mushin -無心 'no mind' is written with orange bamboo.





I wish to preserve his art and give an interested audience access to it. If you have translations, examples of Tomiki's work, or leads to people who might have examples of his work, please email me at thedragonsorb@gmail.com Even copies of his signature or known hankos will help in this long term project.

Monday, November 23, 2009

Tsukuri 作りin Seal Script








To continue the series of an in depth look at the seal script kanji that define the parts of a throw we look at tsukuri.

The Judo philosophers divided the the actions of a throwing motion in to three parts. They called these parts kuzushi, tsukuri, and kake. Simplified it is the balance break, entry, and execution of the throw. However upon deeper analysis we find the Chinese characters that make up these words offer deeper clues into the meaning of the parts of the throwing actions.

Some of the Japanese words that use this symbol 作りare: make, produce, manufacture, shape, build, construct, building, developing, fabricate, fashion, MAKE (as an object that requires time and skill)














I found in my calligrapher's dictionary some 10 different ways to write this kanji in it's ancient Chinese form. This one called out to me. The line along the left edge and bottom represents a road or a path. The pictographic idea behind this symbol this symbol is made up of two part.  It shows "action of a person 亻人 = make."

Kanji Etymology 











Tsukuri is about building the structure of the technique. I don't think I have really understood this premise at higher levels until I watched Sloan Sensei  practicing Judo nage komi. He moves in and builds the dysfunctional relationship that causes catastrophic effects to uke's balance. He builds the throw and it effortlessly happens.Here we see tsukuri in action.  Good stuff.



I will leave you with Kyle and Damon doing some lovely judo randori, so you can see the tsukuri happening. " "

Thursday, November 19, 2009

When Tomiki met Ueshiba

There is a correction that needs to be made in the writings and beliefs of some Tomiki Aikido historians.

Some people believe that Kenji Tomiki was an 8th dan in Kodokan Judo when he met Ueshiba. The myth is spread that when Tomiki met Ueshiba he was defeated in combat. Because of this Tomiki saw his study of judo was in vain, so he began the study of aikido.



Let's review the facts

March 15th, 1900 Tomiki was born

1910 Kenji Tomiki started judo

November 1919 he received shodan in Judo. Soon after wards he became ill and took three and a half years to recover. One might presume his training was limited in this time.

1923 He studied at university. Tomiki studied Political Economics. He joined the Waseda Judo Club, advancing to the rank of fourth dan by his senior year.

1926 Tomiki met Ueshiba. Tomiki was a young man of 26. He was a fourth dan in judo when he met Morihei. Kenji Tomiki was receiving a dan a year during university so he was not a well seasoned mid ranked Judoka. He had an inflated rank by modern standards. Ueshiba, around 43 was hardly a master level teacher at the time, having only been studying Daito Ryu for the past ten years. He had only been an official instructor of Daito Ryu for 4 years.

There is talk in the Daito Ryu community that Kano sent Tomiki to study because of Sokaku Takeda's fame,  Ueshiba was a branch school of Takeda's Daito Ryu, so it likely was he was simply the local representative of the more famous martial artist at that time.

Tomiki made a statement in 1927 that he was unable to find a chance to break Ueshiba's balance with judo techniques when sparring with Ueshiba. This is hardly a statement of butt kicking, or a judo master turning away from his art. Instead a young man met a man whom he could not defeat with his current strategies, so he found a new teacher.



Tomiki did not drop his judo career to study aikido exclusively. In fact in 1927 he was awarded 5th dan in Judo (continuing his rapid ranking trend) He entered the prestigious Imperial Martial Arts Tournament (Tenranjiai) in 1929 as the judo representative from Miyagi Prefecture.

He saw aikido and judo as compliments. I believe he was a judo man at heart and often wrote of aikido in judo terms. He had a view of a “complete judo” which encompassed two parts: “grappling judo” (kumi judo) which equated to Kodokan Judo, and “separated judo” (hanare judo) which was equivalent to aikido. He even introduced classical jujitsu and aikido into the Kodokan kata system through the goshin jitsu kata in the 1950s.

Ueshiba promoted Tomiki to 8th dan in 1940. Tomiki was the first person to receive this rank from Ueshiba and this honor reflected the high regard in which he was held by the aikido founder. It also shows how rapid advancement was in those days, as Kenji Tomiki received 8th dan only 14 years after first meeting Ueshiba. There is some speculation he received advanced rank early so he could have the credentials to be able to teach at a university in Manchuria.

It was not until 1971 that Kenji Tomiki received 8th dan in Kodokan Judo, 45 years after Tomiki and Ueshiba first met, and two years after the death of Ueshiba.

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So when these two men met they were both still quite young and novice in their marital careers. Neither was a great master yet, neither in Judo or in the yet to be conceived art of Aikido. What they did see in each other was a fellow on the path. They became friends and helped each other advance their arts until separated by death 43 years later.

Wednesday, November 18, 2009

Psy-Ki-Do and the Dirty Bird

Patrick Parker of the Mokuren Dojo and blog has started a series on psy-ki-do. Now I have been a professional magician, mentalist and hypnotist in my career. I have a few thoughts to share.



I would like to start with a piece of black magic. It is a insidious little spell for spreading negative energy. It is a lightning rod for spreading hostility and negativity towards man. I will only teach this to you, because when you encounter it, and you WILL encounter it - I want you to be prepared.



Imagine you are driving down the road. You are jamming to 'Hotel California' while cruising down the highway. Right as it gets to that creepy line about "steely beast", some guy swerves into your lane, and hits the breaks. Stupid bastard. On top of that he is richer than you and has a bumper sticker for the opposite political party you endorse.



From deep within anger arises. A stream of swears and curses passes though your lips. Instantly you are hot and you are saying things you would never say to another humans face. Road rage is a potent seducer to the dark side.

Now you are angry, but the thing is the butt head that cut you off does not know about it. He is happily being a driver while he left your day miserable! You decide to take action and use dark magicks! You pull up beside the offender. Your stare and you eyes lock. Now is the time!

You point your hand directly and him, lower 4 fingers and leave the middle one up. You aim it directly at the man and then you say whatever dark filth is running through your road raging mind! Yep, you just gave the dirty bird!



Now an interesting phenomena takes place. Negative emotions that are in you body will actually transfer through space and rise up in the man you are pointing at. Whooah, serious mojo when you think about it! Symbols are a powerful thing my friend and the middle finger is a short cut to the dark side.

Now O student of Psy-Ki-Do, I know you will never use this fierce spell of evil. But how do you protect yourself from the effects of this witchcraft?

My dear old dad pioneered an ingenious Psy-Ki-Do method that actually reflects, negates or eliminates the curse of the dirty bird. He smiles, waves and blows a kiss back to the offending bird flicker.

(***important note *** the above picture is not my father)


He breaks the kharmic chain in an instant. He creates off balance at the moment of contact. Using the opponents energy against themselves! Psy-Ki-Do indeed!

Tuesday, November 17, 2009

Kata Evolution in Tomiki Aikido



I have a associate teaching license in a koryu style (daitoryu aikijujitsu) that I received in Japan. The koryu martial arts community is interesting because many of them see themselves as martial arts historians. They are preserving the techniques exactly as they have been done for hundreds of years. Personally, even though I studied koryu, I think this is not accurate. Martial techniques are organic and even if we think we are studiously copying the techniques of our teachers, there tends to be a drift. Sometimes we improve the techniques. Sometimes we never hit it as sweet as sensei did. Whatever happens understanding changes. It has too. The koryu guys are playing a centuries old game of "whisper into the ear down a line." The end result will always be different.

I have been very interested in the slow morphing of Tomiki kata in the 30 years since the death of Mr Tomiki. Every artist and every organization is pulling the katas in different directions. It has stayed very true in appearance to the original linear look and feel in some groups. In others it has morphed into circles. The ideas about timings, throw angles and connections seem to change radically too. Some groups are proactive, some reactive. Some enjoy rough housing while others are militant about the pursuit of softness. Many Tomiki societies are even including foot sweeps, which Tomiki Sensei had chosen to leave out of the system.



I believe kata should evolve. Mr Tomiki gave us a framework to help us wrap our heads around the principles of aikido. If we become artists we can use his table of aiki elements he proposed and paint with them throughout our aikido careers. The techniques are a palate to paint the canvas of the mats.

No great artist paints the same thing through their entire life. Artists go through movements. Perhaps Picasso's blue period is equivalent to Tomiki Sensei's competitive Judo days. Eventually in both artists the motivations that caused these movements passed and they went on to create in new ways.



I humbly submit we should closely look at and study the kata and techniques of our teachers, all the while painting something new with our own understanding of the glorious flow that is aiki. Aiki is not something that can be copied. It must be created.

Saturday, November 14, 2009

Why are there no foot techniques in Aikido?



This is a question that was asked in the Hombu dojo newsletter, "Why are there no foot techniques in Aikido?" I have heard Aikikai Shihan state "foot sweeps are for those Judo guys, we don't do them." The Hombu newsletter clarified the idea somewhat.

Full Article

The article makes two main arguments. The first one being...

"One characteristic of Aikido is the absence of foot techniques and because of that, Aikido techniques attain dignity."

I think this argument is silly. Humans are too evolved to use our feet for martial arts? This argument is absurd. The article goes on to have a somewhat more logical argument against foot sweeps.



"The other reason for the absence of foot techniques in Aikido is that they are used far from an opponent and the feet cannot reach the opponent."

This idea initially makes some sense. Aikido training tends to focus on a mid range attack. Someone is coming in from a distance and striking or grabbing in some way. At the extended range it is difficult to execute a foot sweep technique.

I find this logic is somewhat flawed. The instant a attack happens, range is broken and now the two people quickly enter a grappling range. Most Aikido training assumes successful technique and uke happily falls over. I have an earth shattering question to the Aikido community, What if attacker does not fall over and he begins grappling? Does Aikido fail here? What if the most effective and appropriate motion is to do a foot sweep? Wouldn't it be Aikido?

Aikido absolutely has foot sweeps. It has sutemi waza (sacrifice throws). It has ne waza (ground techniques)


The real reasons Aikido people tend not to do foot techniques are not because these motions are not Aikido. The reasons are...

1. Ueshiba Sensei's personal techniques did not include them. Many of his students, rather than innovating and taking aiki from other traditions have made themselves happy in photocopying one man's version of Aikido. There is a continuing fallacy in many Aikido schools. Many people believe Ueshiba's aiki was perfect and all of us are mere followers. We must try to recreate the work he did. Humbly I suggest that idea is not the true way.

2. Poor uke training. Many Aikido schools lack a system of free play randori. Instead the attacker takes a nice pretty fall every time rather than engaging on a grappling level. Realism must be a factor. The first technique does not always work! People can throw Aikido artists! Does the conflict end there?

I make no bones about it, I think there are foot techniques in Aikido. I think a good Aikido program should contain exercises that challenge the student at all ranges with a variety of problems. If an Aikido artist is not able to generalize the concepts of aiki to different problems, ranges and connections then there are weaknesses in the system. There are large holes to exploit. If an artist becomes comfortable practicing Aiki at range, in grappling and the ground...etc, then and only then Aiki becomes a true martial strategy, not a mere collection of techniques.

Wednesday, November 11, 2009

Whose Aikido is right?



Jeff Duncan at Full Circle Aikido told me the other day he had a visitor from a school that bragged closer ties to Ueshiba's lineage than Tomiki's aikido. He seemed to imply that because of this, his system was more pure, or correct way to practice. Why is their direct system more correct?

You see I look around the attitudes of much of the aiki world and I see it like the churches from the bible belt I reside in. Every church seems to look to every other one with doubt and a critical eye. They do this even though they worship the same ideas and read the same books.

Aikido is really no different. Lowry Sensei was telling me that when he walking a different path he was taught to see other people's work through a lens of right/wrong. If aikido wasn't being done their way it was wrong.

I think we all can fall into that mode of thought. I regularly offer critical analysis of other artists work. God knows other artists offer it of mine. But really what Lowry Sensei says is the difference lies in preferences.

Preferences.

Some people like to make power technique. Some people like painful aiki technique. While these techniques do not fall into my model of what aiki is, its ok. The world is large enough for people to define it themselves.

One of the truths I have learned on this path is that today's understanding and preferences will evolve into something completely different tomorrow.

Friday, November 6, 2009

The Old Aikidoka

In 1995 in Lewisville Texas I was first introduced to the art of aikido. The dojo was named Aikibudo Dojo, run by the man who is still my teacher, Russell Waddell. It was a very small place for a commercial front. But it was a golden time in my education. The lessons there laid the basis for everything that was to come.

It was in a poor neighborhood. An old man whose name escapes me would come in every night and sit in one of the chairs and watch. He was probably in his 80s. He was close to the end of his earthly life. He appeared to be very poor.



The old man had never trained in his life. He now had such joy watching us, and knew if he were in a young man's body he would be with us in second. Night after night he would take his long walk from the apartments across the street. He appeared and would enjoy the free show of us training. Over time I grew to think of him as a member of the dojo - indeed he was. He came and contributed his presence and his spirit. His mind was eager to learn the art of aikido, even if his body had given up the pursuit long ago.

I feel now the lesson he had to offer is that it is never too late to study the lessons of aikido. Most of us are at some point on the path where pain and health are a genuine factor in our training. Yet night after night we show up trying to find our place, our current level of training we can push ourselves to.

At one point in my career I found myself too injured to train, yet I showed up to the dojo and drew pictures of throws. Now one of my students and friends is having a similarly difficult path. I look into his eyes and see a future for all of us that train - a moment were we cannot. Perhaps this is part of budo too, the pause for injury and healing and the end of ability all together.

Wednesday, November 4, 2009

Mushin


Mushin is a mental state into which very highly trained artists are said to enter during practice and execution of their art. The literal translation of mushin is "no-mind" but is often translated as "unfettered mind." A mind not fixed or occupied by thought or emotion is open to everything.

According to wikipedia

"Mushin is achieved when a person feels no anger, fear or ego during combat. There is an absence of discursive thought and judgment, so the person is totally free to act and react towards an opponent without hesitation. At this point, a person relies not on what they think should be the next move, but what is felt intuitively. The mind could be said to be working at a very high speed, but with no intentions, plans or direction."



I myself think of these state as being free from conscience thought and decision making processes. We move because we must. We fit appropriately to situations with correct attitude, movement and principles. In fact I feel the previous sentence is a definition of Aikido as well.


Another interesting quote from wikipedia...


"Some masters believe that mushin is the state where a person finally understands the uselessness of techniques and becomes truly free to move. In fact, that person will no longer even consider themselves as "fighters" but merely living beings moving through space"


Sunday, November 1, 2009

Ichi Go Ichi E

In classical Japan a unique blend of visual artistry, poetry, philosophy and asthetic emmerged. Perhaps one of the more influential of the cultural phenomena to develop was the tea ceremony. In Japanese, it is called chanoyu (茶の湯) or chado (茶道;also, especially at Zen temples, pronounced sadō?). Zen Buddhism was integral to the development of this cultural activity, and this Zen influence pervades many aspects of it.

Written on many calligraphy scrolls in dojos and tea rooms around the world is the phrase, ichi go ichi e, attributed to the tea master Sen no Rikyū.




Sen no Rikyū (千利休?, 1522 - April 21, 1591, also known simply as Sen Rikyū), is considered the historical figure with the most profound influence on chanoyu, the Japanese "Way of Tea".



Ichi-go ichi-e (一期一会) is a concept connected to the way of tea; it expresses the ideal of the way of tea. Roughly translated the phrase means...

"one time, one meeting," "one encounter; one opportunity," "for this time only," "never again," "one chance in a lifetime," or "Treat each meeting as a one time meeting."

This phrase to me speaks heavily of the Zen ideas of being present and mindful in your practice. It says to me to be in the moment, to focus on the now and to treat each moment of training with the preciousness it deserves.

Quickly the floating world around us fades. Our teachers and parents wither and die, our bodies grow older, and even the young faces grow old before our eyes. Our time in our practice is limited and not something to be taken for granted.

Even within the practice every technique exercised is a precious moment, a gift of limited duration. Each moment comes but once. We have only one time to practice it and extract of much learning we can from each moment.

Alas we only get one life, and one chance to live it. If you have chosen your path as a person of Budo, each moment in the dojo, and in life itself should reflect this idea.


Thursday, October 29, 2009

getting off the line

Waddell Sensei has always taught there is one technique in Aikido practice that is the basis for all others, that is getting off the line of attack.



On a Friday night last June I found myself in the middle of conflict. It was a domestic disturbance. A drunken man was screaming at his sister and mother. I was called over to make sure nothing happened. The ladies wanted the physical presence of their martial arts friend.

It was surreal. People screaming and accusations flying. I found myself trying to talk people into leaving, just "walk away". At all times I keep distance and tried to make sure no one was about to be hurt. I felt like the the calm in a hurricane.

Suddenly the insults between the people cut deep, and I could sense a change in atmosphere. The man went upstairs to his room.

A moment of silence.


I heard a firearm chamber a round from upstairs. 'chink chink' - The unmistakable sound made me move instantly.

Time began to move different. It was like everyone was slower than me. 19 thoughts raced through my head at once. Every situation envisioned ended bad. If that man came down the stairs I was going to have to attack. This would end up in someone - likely me, dead.

I grabbed the women in the room and carried them out the door. They were almost paralyzed. I commanded them in the car and started it almost in one motion. I felt like I was looking in all directions at once. Everyone else moved so slowly...so muddled in emotions.

After a truck load of drama and a police intervention the story ends positive. No one got hurt, no one went to jail. But the game did get serious and Aikido possibly averted a situation.

Was it Aikido? I was emotionally detached from conflict. My intention was to protect everyone. I saw that physical control was not possible.

I got off the line of energy.

Perhaps one of the more valuable lessons to be learned from the martial path is when it is a good time to fight. An intoxicated and angry man with a firearm is to be avoided when possible.

Like my friend Jeff Duncan forwarded me in an email once - "If you find yourself in a fair fight, your tactics suck." I guess it stands to reason when you find yourself in an unfair fight, get the hell out of the way. Not being there to let an attack effect you IS the strategy.

Monday, October 26, 2009

Kuzushi Video

I have been totally geeking out to the new Windsong videos on you tube. One particular lecture series is a must watch - his talks on kuzushi. Kuzushi is balance breaking or structure crumbling. It is the magic of aiki and ju. No matter your art form you have to understand this principle in order to make the stuff work effortlessly.

Here is the first one to get you started.

Friday, October 23, 2009

4 years of KyuRyu AikiBudo

I sent out the first emails starting a group 4 years ago. We gathered in my garage the first few months until we found our current location. Here is a short film of our journey and some of the crew that has brought this beast to life.

Tuesday, October 20, 2009

Tomiki Kata and the Dusty Mirror

Shen-hsiu presents the following verse in his bid to demonstrate his mastery of the Dharma and become the next headmaster of Chan.




The body is the bodhi tree,
The mind is like a clear mirror.
At all times we must strive to polish it,
And must not let the dust collect.




I have begun seeing the kata, the base moves of the Tomiki system of aikido as a dusty mirror in a dusty room. With every training we remove a layer - we think we glimpse at understanding, then dust like snowflakes slowly covers up our work and impartial understanding.

Many a great teacher has promoted its intense study. "Look deep into the mirror, but you must look into it THIS way".

Many have made a standardized form in which to try to understand it and appreciate it. "You must polish the mirror exactly like this! The only way I want you to polish is the way I show you!"

Is there perfect form that springs from the 17 kata? Was Kenji Tomiki an enlightened master whose work we must closely copy in order to understand the truth? Surely if I could uncover enough of the dust I could see the mirror of Aiki and see what Tomiki Sensei saw.

Recently I have made some progress in not letting the dust collect. The intense training has made my body sore, but from below the dust I see a pair of eyes staring back at me from the depths of the mirror. Is it a dragons eyes? Is it the eyes of Tomiki Sensei himself? Yes it is becoming clearer.



I can only see myself. I was trying to uncover myself and my own Aiki the whole time.

The mirror represents not truth, or even aiki. It is a symbol of seeing self and reflection.

You see the mirror analogy of Shen-hsiu was of slightly flawed understanding. Hui-neng offers the following alternative verse that showed he has deeper understanding:




Bodhi really has no tree
Nor is clear mirror the stand
Nothing's there initially
So where can the dust motes land?




So the rabbit hole goes even deeper. The nature of aiki lies in freedom of thinking and freedom in motion. There is no mirror. There is no form, no kata, no style that contains truth...that contains aiki. It is all just a practice. The practice itself is merely the finger pointing to the moon, a finger pointing to something greater.


Hotai pointing at the Moon

Friday, October 16, 2009

Shomen Ate has game!



Shomen Ate is the first technique we learn in the Tomiki Aikido system. It is the first of the atemi waza, and is considered by some to be a signature movement of Tomiki's system. Shomen ate translates to "front strike, or face strike."

Here are the gentlemen at Houston's Aikibudokan giving us a demo.



In football this movement is called the 'stiff arm'. It seems to be deployed pretty much the same, but in a running context. Funny they call it the stiff arm and aikidoka call it the unbendable arm. Same ideas being employed here.





And presenting the new shomen ate king! A young fellow that we need to recruit for a super solider program.

Thursday, October 15, 2009

The most important lesson

My teacher of the past 14 years has been Russell Waddell. He has been teaching since the 1970s and has had a fair share of students.He started driving down from Dallas to Austin to come for an occasional visit about three years ago.

On one such visit he expressed a frustration that he has had about martial arts students over the years. Most want to be spoon fed martial arts. Most people come in 'brain neutral' and want all the answers given them.

Every time he came down I would barrage him with questions about how to make technique work...etc. He told me that he does not want to rob me of the experience of discovering how to make it work on my own. Instead he came down and taught seminar after seminar about how to solve problems, and how to think about Aikido. He granted me permission to think - something most martial arts teachers don't want. He told me that I had to become my own teacher.

So now I continue to train with many great teachers. However when it comes down to it, I am the shaper of my ethics, art and future. No single person can shape my own art more than I can. I do not depend on my teachers to solve my problems.

So the most important lesson I have been taught to date is to take responsibility for your own training.

Monday, October 12, 2009

Budo Lessons From Kyudo

I like Kyudo, the way of the bow. I studied it briefly when I was living in Japan. I constantly return to it's ideas as it embodies many of the budo ideals.

Before the samurai picked up the sword, they were archers on horseback. The very root of the Japanese martial tradition is in the bow.


Thursday, October 8, 2009

Stealin' from Nick

/>Lowry Sensei is an epic kind of guy. I see him as the a southern bohdisattva, a true good ole' buddha. He is a man of Zen taking the time to travel within, and to explore and master the external. He is the head of the Kaze Uta Budo Kai. I like the man and his work so much I will shamelessly steal his works and present them to my audience.

The piece he writes here rings true to my own explorations of late. I feel like so many people in the Aiki world are sticking to things, rather than finding freedom. Zen mind Budo mind

Our Budo points us towards an intergrated free funtioning self that turns freely in all directions. A Mind that is awake and not stuck on anything. People mistake this for slackness, but this is not some loosey goosy hippy deal, but rather a consistant dedicated practice of letting go. No matter how important something seems, we cannot stay fixed on it. Putting it all down, returning to zero as the default, requires precise practice because we hold on in ways we dont even imagine. Holding on, getting stuck, reguardless of what we get stuck on, is the heart of the problem. Here is how an old sword saint expressed it:

It is a disease to be possessed by ideas of victory or of technique.
It is also a disease to be possessed by the idea of showing the results of your training.
It is a disease to be determined to attack first or, conversely, to wait for the opponent's move.
It is a disease even to be possessed by the idea of removing all such diseases.
The disease is a state of mind that is rigid and fixed, in whatever situation.
All such diseases stem from your state of mind.
It is important to control the mind.

From "Hei-Ho-Kaden-Sho" by Yagyu Tajimanokami Munenori

Monday, October 5, 2009

Do senseis move differently through time?



The short answer is yes. They move differently through time.


Trip on that.



Let's take a step back. Some years ago one of my students commented that it seemed to him I moved in slow motion but I was always in the right place. I was processing the event in a way that my slow motions could counter his frantic responses.

Another of my group commented a few weeks ago that time moved differently for me than for her. I had to agree. I know my teachers have this similar effect on me.




Here are some of the sensations I feel from my teachers.

When I shiai Matl Sensei I get one action to five of his. I feel like the little man in chopping away at my legs with ashi waza at his high speed leisure. He moves through time differently on the mat. It feels like he speeds up super humanly.

Waddell Sensei slows himself in time. Every normal human reaction is quartered in his time flow. Impatience is his weapon to use against you. The second you try to force something he takes your body in a slow motion way - no options to get out.

Hussey Sensei moves in a way where he forces my body to slow down time even though I am struggling to go full speed. I think he achieves this through constant little structure flaws he creates in me, so it constantly takes me three steps to actually make one.



The fact is Senseis do move differently through time. They have been in situations so many times that their brains can process the minutia of what is happening at fantastic, and I dare say often superhuman levels. Because the mind moves faster, the body need not. The truth is that in the game of Aiki the Sensei's mind moves faster into powerful effective decisions than it does for most people.

I am awe struck that have this power with my students I train with. I am twice struck when I feel it happening to me by my seniors on the path. Totally amazing.


What magic this art is.

Sunday, October 4, 2009

Education Theory for Budo Transmission

The past week or so at the KyuRyu blog I have been looking at ideas about how we learn, teach and train in the martial arts. To be sure there are many differing ideas. First I gave a few critical analysis of Aikido kata, then I took a look at the goals of physical education - generalization of skill.

So here is some tidbits of education theory from an special education teacher that is obsessed with Budo - me! Take your seats the bell has rung!

Today I would like to write about the success/failure threshold in budo training. I define this threshold as the point where an artist's understanding of the principles fails them and they revert to power and strength and make poor choices in angles. Coming from an Aikido/Judo perspective this threshold is where blending and softness stops. After that we begin violation of the ideas central to our art form.

Yesterday I attended Chad Haas' judo class. He is a great ground technician. At the end of class we did 30 minutes of full power wrestling. It did not take me long to get the threshold. I locked my muscles, held people in physical strength, and constantly choose bad and inefficient angles to move. My technical skill failed my ideal. I still won most of the matches but I used power to achieve my results. A failure in my eyes.



Hussey Sensei wandered in after class to meet me for Aiki after Judo. I told him my frustrations of hitting the wall in mat work. So we went at it. Much to my amazement he demonstrated perfect aiki randori on the ground - no tensions, no clashing energy. Never could I get him to a point where he had to betray the ideals of the art form.

Sweet there is hope. He showed me ways to train where I could be successful and train to the ideals of the art form.

So now let's get to the meat of what I want to discuss today. How do we set up our training so we can train realistically yet still have success? Success is a key word here. We must design our lessons so students find success most of the time. Clashing and failure is OK, but the option for success must be present for a lesson to be successful.



If you are taking a forgien language class, you do not start in literature and poetry. You start with basic words and grammar. You constantly stretch yourself - to the point you can always be successful if you apply the skills and knowledge you have at this time in your training.

What does a poorly designed aiki class look like? Here is a film by a dojo violating the principles of this threshold style training I am trying to describe. Most of their films are like this. The whole time the students are put in a position where they cannot be successful. The circumstances are too challenging and they revert instantly to the failure threshold.



What is happening here is that are imprinting on each other here that this is aiki, this is what it should feel like. I feel like they are taking 2 big steps backwards here. Training under the threshold line in education is often referred to as the frustration level. Who wants to train at FRUSTRATION level? If the training always looks like this (and according to their other films it does) they need to slow down, reduce variables and return to a place they can find success. Once they do that they can build on success and increase difficulty riding that threshold line.

Yes be challenging to another! But every elementary school teacher knows you must make the student successful in the basics before they can succeed in advanced work.



Finally I would like to thank the above dojo for posting their work to be evaluated. KyuRyu means no ill will in criticism. It is my hopes we can all learn from each other no matter where we are on the path. Thanks and keep up the training!

Thursday, October 1, 2009

A few moves versus many



Morihei Ueshiba is considered a genius by many. Some technique taxonomists have estimated he had some 10,000 techniques. The tradition he came from was Daito Ryu AikiJujitsu. Daito Ryu was primarily spread by Sokaku Takeda. Similarly I have read some branches of Daito Ryu have so many kata they claim also to have 10,000 techniques.
While in their own rights both Morihei and Sokaku were great budo men, Mr Tomiki came along to study in their shadow. He was a physical educator that took a long look at what Ueshiba was doing. After many years of tinkering he formulated a system that contained the core ideas and principles of the 10,000 motions Ueshiba demonstrated.



The genius of Tomiki lies in the fact he made a physical equation to simply the understanding of the movement of Aikido. Eventually he boiled it down to 17 ideas of motion, what we call the junana hon kata. The simplified Aiki system was meant to teach people the ideas more quickly.

I am willing to bet these 17 ideas are more than most artists will ever really master in a lifetime. I know I have not even come close.

It appears that Tomiki Sensei and his core of close students and comrades became prolific kata writers. The students of all these people continued to write more and more katas, and now a mere 30 years after his death the amount of kata under the umbrella of Tomiki Ryu is staggering. The genius of the 17 techniques has returned to 10,000. Some teachers even claim you must learn them all to understand the system.



I myself see the beauty in aikido is in simplicity. To study simplicity is a study of what I believe the intention and design of the 17. While the advanced katas are fun and useful, it is my assertation that endlessly grinding through kata is not the only, or even most efficient way to absorb the lessons of the Tomiki Ryu system of aikido.

As a related side note, if you look at statistics of sumo and judo players you will find they tend to score the same 4 techniques over and over. Good advice from the pros...simplify.

Wednesday, September 30, 2009

Generalization of Skill

The Round Rock dojo was kind enough to let me lead a class last night. I have worked out with the group a number of times, but have never really learned the work out routines that Hussey Sensei teaches.I was on my own to infect the dojo with KyuRyu methodologies. The drive up to Round Rock got me thinking about about the idea of transmission of skills and ideas. I am a professional educator and figuring out how to maximize my impact is always important. It is another aspect of the Aiki of maximum efficiency.

I come from a heavy kata background. The Tomiki and Daito Ryu styles that I learned under are both organized around exercising kata, over and over. Kata practice is typically two man prearranged exercise. Kata practice tends to be very formalized in schools. Often there is a stylized attack, and the Aikido man will try carefully to copy the exact angles, footwork, and motions of the instructing teacher. This leads to a very precise photocopying of style.This style of working on a technique one way fails to do the most important thing - teaching generalization of skill.

It is often written that techniques in Aikido are not important. The principles are important and the techniques are just expressions of principles. I think a lot of aikidoka believe that, say it themselves, but I think very few understand it. Either they don't understand it or they have limited training in education theory because they keep pursuing a methodology (over training in kata) that has a definite point of diminishing returns.

Let's define generalization of skill for a moment. Any given technique is not important, it is the generalization of technique that is important.

For a student to show generalization of skill, the student must be able to transfer the knowledge of the skill to a new context, environment, person, and connection.

So what I found in my years of training kata heavy Daito Ryu, many artists had difficulty generalizing the skill to new situations and contexts.

Last night when I was instructing at the Round Rock dojo I was trying to teach in a way to promote generalization. I introduced the idea of Sumi Otoshi. (a corner drop throw) I demonstrated it, then we practiced it from a cross hand grab, from a same hand grab, same hand grab to tenkan turn, shoulder grab, shoulder grab to judo sumi otoshi....etc. We went over 15 versions and we invented 15 more in the course of exercising them.

Then I saw magic happen. Stan, one of the students, would move out of the way. He moved in a way that I had not taught. He connected still, moved without thinking and created sumi otoshi from novel and unique connections and positions. He did it over and over. He kept messing up what I showed him, but he would still connect and create beautiful sumi otoshi. He transcended the particulars of technique and grasped the real idea. Connection was not important, only dropping to the corner.

Generalization of Skill

I strongly believe and promote a technique should be practiced in ever changing novel ways to promote generalization. Only when a technique is generalized is it mastered.

Sunday, September 27, 2009

Kusari Fundo - Manriki Gusari

At Muteshokai we have been getting into to training with a diverse range of classical weapons. My new favorite toy is the kusari fundo.

Kusari means chain.鎖  

Fundo or Fundou means weight.分銅



Kusari-fundo is a weighted short chain weapon. Variations are also called Manriki gusari, Manriki, Surujin, and Suruchin. It is a close range weapon, approximately 18–30 inches (46–76 cm) in length. It is generally constructed of a non-reflective etched steel chain or thick rope for training purposes. This flexible weapon can be used to strike, snare, or entangle an assailant or their weapon.

I only found a few pieces of history and origins of this weapon.

An interesting note about the Manriki was that it was especially popular with the palace guard of Japan, because it was sacrilege to spill blood on palace grounds, but the chain could strike, strangle and entrap without wounding. I read that it was invented by Masaki Toshimitsu Dannoshin who was the head sentry at Edo castle in the early 1700s. Later the weapon was adopted by constables to capture criminals.

From Wikipedia
Masaki Toshimitsu Dannoshin (正木 俊光?, February 11, 1690 - May 22, 1776) was a famous swordsman of Japan during the 17th century. Dannoshin served as a guard of the Edo Castle. Dannoshin considered killing people on the ground of the palace to be rather sacrilegious. Due to this belief, Dannoshin tried to find a more peaceful way to apprehend intruders. After some time, Dannoshin produced a two-foot-long chain with two weights, one attached to each end, and devised a series of techniques to disarm and subdue an armed opponent. Dannoshin's unique weapon soon became known as the manriki-gusari, in which manriki means "10,000 power", and gusari means "chain".[1] This was because Dannoshin believed that the weapon contained the power and the ingenuity of 10,000 people. This weapon fighting style soon evolved into the Masaki-ryu style.

Masaki Toshimitsu Dannoshin 正木 俊光



Another story I found is about Masaki. Masaki Toshimitsu Dannoshin was a guard at a Buddhist temple gate in Edo in the 1600's. He created the manriki-gusari so he could do his job and not break the Buddhist prohibition against spilling blood. He also developed the techniques for it's use and founded the school that teaches these techniques and bears his name. Was Masaki a palace guard or temple guard?


Some people use it as a throwing or striking weapon



Some schools use it to aid in techniques. Here is a classic looking school performing techniques with the kusari fundo. This film is my favorite of the series.





In modern schools posting on the web, the weapon seems to be predominately used in schools that train in the image of the ninja. The vast majority of people talking about it on the web seem to be from these lineages.

This next film is worth watching for the neat camera setup the guy has.