無双神伝英信流　大石神影流　渋川一流・・・道標（みちしるべ） 2023年06月

上達

　貫汪館では旧来の許しの前に七段までの段位制を用いています。七段になるまでには稽古を始めてから最短でも10年かかる仕組みにしていますが、人によっては過去に良い経験をしている方もあり能力によっては初段からではなく途中の段位から始まることもあります。そのように何か良い経験（貫汪館の流派に考え方が近い武道の経験だけでなく、その他の日本文化の経験や物事を繊細に深く洞察してきた経験など）をされてきた方は初段から始まっても急速に上達され、半年前に初段となっても次の半年の間に三段、四段の実力を身につけられる方があります。このような方が実際におられるので不思議です。武道の経験はなくても人の心の理解の上に仕事が成り立つ方や本物の演劇に取り組んできた方など様々ですが、良い経験があり、それまでされたことがなかった武道の実技が身につき始めると急速に上達されるのです。繊細な深い生活を送ってきた人に良くあることです。

後傾して座す

　特定の現代武道を経験されている方には後傾して正座する癖がついているようです。私の目から見ればそっくり返って尊大に見せているのだろうかと思えるくらいです。
　いつもお話ししているように居合は、今から始めますよといって始まるものではなくいついかなる時にも対応できなければならない武道なので、始める前に抜きやすい姿勢にかわればよいというものではありません。いついかなる時にも抜ける姿勢でなければならないので物体として自然な状態にあらねばならないのです。大石神影流には正座から始まる手数はありませんが、澁川一流柔術には御前捕や御膳捕打込・居合（抜刀術）などの正座から始まる不測の事態の対応しなければならない形があります。
　常日頃から正座の姿勢を工夫してください。

見て習う

　見て習うのは何も技だけではありません。かつて貫汪館に支部はなく一日半、または二日通しての講習会を頻繁に行っていたころ遠方から稽古に来られる人もあり、休憩のときに喉の渇きを潤わせていただこうと冬にはお湯を沸かしコーヒーや紅茶などの飲み物を用意し、夏にも冷たい飲み物をクーラーボックスに入れて簡単なスナックも準備していました。
　そのような稽古する方に対する配慮を習ってくださっている支部が大半ですが、そうではない支部もあります。支部長の考え方ひとつなのですが、本部がしていた稽古される方に対する配慮を見習えないということは技も習えていないということです。形・手数も表面上の手順の稽古だけをしている可能性があります。
　見ても見えず、聞いても聞けずということでしょうか。

残心

　初心者の方は大石神影流の試合口を五本続けて稽古するときや大森流を十一本続けて稽古するときに一本終わったら次、また一本終わったら次を行うと勘違いされる方がおられます。残心がないのです。
　終わったと思い気を抜き、次を始める。また終わったと思い次を始めるときには残心がなく形と形の間は途切れてしまいます。一本の形を稽古し残心がありそれが次の始まりとなっていれば途切れることはありません。試合口から陽之表を遣う時であれば十五本が一つになり、大森流と英信流表を続けて遣う時には二十一本が一つになります。そのような稽古を心がけて続けて一本となるような稽古に意味があり、ぶつ切りにする稽古には意味がありません。心得違いせずに上達してください。

道

　古武道も茶道・華道とかわらぬ道であるということが理解できた人は上達が速やかです。
　そこがわからなければ武道が何か特別なことをしているように考え、ある人は自分は特別な人間であるとばかり傲岸無恥で周りに配慮しない行動をしたり、またある人はまるで見せるための芸能のように動きに節をつけ力みをいれて何かやっている感を出したり、またある人は武道に関する知識を滔々と語り普通の人が知らないことを知っている人だと思わせたりします。
　しかし、茶道・華道と変わらぬ道であるということに思い至った人は自らの思いや行動を静かに見つめることができるようになり、業は正しい思いや行を積み重ねた結果自然に身につくものであると自覚します。道に入った人です。修行を始めた人ですので上達は速やかになります。

演技

　一定の稽古年数があり大きな演武会にも出るようになると流派外の人に自分を少しでも良く見せたいという心が起こり始めることがあります。この時点で武道を修行と考えて取り組んでいる方は自分のそのような心をよしとせずに素直に稽古に取り組みます。しかし自分をよりよく見せたいという心にとらわれた人はそこから道を外れていきます。
　たとえば目をいからせて眼光鋭いと思わせようとし、動きの節目節目で力みを入れやっている感を出そうとし、有声の気合を腹からの吐く息にのせずに喉からいがらせた声を出したりと見た目で素人受けする動きをし始めるのです。演武ではなく演技をします。
　一度このようなことをし始め、それを素人が褒めると、師から指導されてもますますおかしな動きをし始めます。そして自分で悦に入るようになってしまうともう後戻りできません。どんどん道から離れていき自分で自分を正せなくなってしまいます。指導者が正そうとしても素人に褒められたことが心地よく、正せなくなってくるのです。
　もし人によく見られるための演技をしたいと思う心が起きたと感じれば、その時に自分自身でその心を断ち切り、素直に稽古を続けてください。それが上達の早道です。

首

　無雙神傳英信流の抜付けは半身になります。大森流は正対しているところから半身になりますので首を柔軟に使うことに慣れていない初心者の人は体が向く方向に首が向き、抜付けたときには首が仮想の敵に対して左に向いていて視線だけが斜めに仮想の敵を見ていることがあります。そういったときには初発刀では右足が前に出なければならないのにやや左方向に出てしまい。体が半身になるのではなくおしりを振っています。
　体を固める傾向があり、首を柔軟に視線が向く方向に上半身の向きとは別に首だけを向けることに慣れていない人に起こります。また正対することをよしとして強制されて習慣化した場合にも起こることです。お風呂に入った時などに視線の方向に首を置いたまま上半身を半身にする稽古をしてください。

下から

　無雙神傳英信流の師梅本三男先生は私の現代剣道の癖が抜けなかった頃に「現代剣道は上から、居合は下から」と教えてくださったことがあります。これは大石神影流剣術でも同じです。
　よくあるのが面に斬りこんだり、小手を切ったり、突いていくときに上から斬り突こうとして上半身で行ない重心が上ずることです。鼠径部が緩んで肚で斬り突いてればむしろ落ちるくらいなのですが上半身中心に手首や肩を用いて刀を操ろうとするので重心が上ずってしまいます。刀の動きの中心が臍下丹田であれば上ずることはありませんので体を楽に使い自分の状態を確認してください。

足運びの違い

　無雙神傳英信流と大石神影流では斬撃のとき或は刺突のときの後足の動きが異なりますのではっきりとさせて稽古してください。
　無雙神傳英信流では斬撃の稽古で行っているように後足は残しますので前足と後ろ足の間隔は広がります。一方大石神影流では前足の動きについて後足も前に出ますので斬突時に前足と後足の間隔が広がることはありません。この違いは形・手数の足運びに現れています。たとえば無雙神傳英信流の虎乱刀では右足で抜付け、続く斬撃のためには後足である左足を前に運びます。大石神影流の稲妻では右足で面に斬りつけその時に後足である左足をひきつけていますので、続く内腿への斬撃も右足で行い、さらに行う面への斬り込みも右足で行います。
　流派の違いですので混同しないように稽古してください。

歴史の証明

　武道史、大きく言って歴史といっていいかもしれませんが事実を証明するにはその当時の史料を発見しなければなりません。後世そういうことではないかと考えられたことは史実とは言えず推測です。
　たとえば関東地方の撃剣の他流試合は農村地帯の方が武士階層よりも早く行われ、農村地帯や足軽といった身分の低い人たちに基盤を持っていた流派の方が他流試合をより早く始めているということから、剣術の試合（九州では撃剣という言葉が用いられるようになったのは関東地方の影響を受けた後だと考えており、撃剣という言葉が出てくるのはかなり後になってからです。）に達者であった、それまで使われていなかった長い竹刀を用いて突き技や胴切りなどの技を持ちて江戸を席巻した大石進種次もまた農村地帯に住んでいたことから関東の農民階層と同じような身分が低いもので土佐藩の下士や徳島藩の原士と同じように身分が低い半農半士であったから自由なことができたのだろうと推測されています。しかし柳河藩には下士や原士のような半農半士は存在せず、「在宅」という制度があって、許可を得て領地を直接知行する武士たちも多くいました（柳河藩は藩士が全員城下集住をしていたわけではないのです）。「在宅」の武士たちは実入りを多くするために自ら農作業もしていました。詳細は省きますが大石家は柳河藩でも由緒のある家で先祖は立花宗茂の父である高橋紹運と共に城を守って討ち死にしています。立花宗茂が柳河を再び治めるようになり始めて、身を寄せていた熊本の加藤家を去り再び立花宗茂につかえます。それ以来領地を直接知行している「在宅」の武士です。また勝手に剣術・槍術を教えていたのではなく大石進種次の祖父である遊釼以来、柳河藩の師範に任命されており、他の流派同様柳河藩主の上覧を定期的に受けています。これは柳川古文書館の藩政日記を読み続けたことから得られた藩政日記に書いてある史実です。すべての藩が同一の制度を持っていたであろうという推測から言われていた身分の低い半農半士であるということが誤りなのです。
　歴史の本であり大学教授が記された歴史にも推測があり誤りがあります。権威ある大学教授が推測で書かれたものは一般の人には真実だととらえられます。それを覆すことは大学教授が推測で書いたことよりも何十倍もの労力を要します。例として大石進種次のことを述べましたが武道史の記述で、或は一般的な歴史の関することでこのような例は多いかもしれません。妄信は禁物であり、権威ある人が記したことにも誤りがあり、それを覆すのは多大な労力が必要であると思ってください。

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情報を鵜呑みにしない

　現在は情報が大量に発信される時代です。その情報を鵜吞みにして大きな失敗をする人たちも非常に多くおられます。詐欺の場合には犯罪ですが、武道の場合それが嘘であっても犯罪に問われることはほとんどありません。
　流派の歴史を偽って創作武術を古くからあるように宣伝している。また創作武術であるにもかかわらず古武道という文字を用いて如何にも武士が行っていた武道であるかのように思わせる。大半の形は先代が作ったものであるにもかかわらず古くから存在していたかのように思わせ古くからある流派の理論のように偽る。現代武道の理論を自分が称している流派に付け加えてもっともなように思わせる。このようなことは当たり前のように行われています。
　また人を信じやすい人は映像の中でよい人物を演じている人を簡単に信じ、素晴らしい流派だと思い込みます。せっかく武道を稽古しているのですから真贋を見極める眼をもたなければなりません。戦う技だけが武道ではないのです。

心が通う稽古

　形・手数は打太刀・仕太刀、受、捕の心が通ったものでなければなりません。かといって相手の心を窺うのではありません。己をなくしあるがままとなってください。自分の心の壁をなくせば相手の心が自分に届いてきます。自分の心の壁をなくすためには作為があってはなりません。梅本先生は無念無想に斬撃の稽古をされましたし、畝先生は暖かな心で私を抑えてくださいましたし、大石先生はそのままに私を導いてくださいました。己の壁はなく心と心の稽古でした。

表に現わさない

　顔には感情を現しません。そのようなことをしたら心の中を読まれてしまいます。ここをアニメか何かの影響を受けた初心者の人は勘違いしてしまいます。怒りの表所をしたり、相手を威圧するような表情をしたり、いかにも集中しているような表情をしたりしますが、間違いです。経験年数の長い人の中にもそのような方がおられ、眼に「眼光鋭く」と演技をする人さえいます。経験年数が長くなり実力以上に人に良く思われたいという思いにとらわれたのでしょう。
　無雙神傳英信流の伝書に百人一首40番平兼盛の歌を引用して

　忍れと色に出にけり我恋は
　　　　　　　　　　　　物や思ふと人のとふまで

とありますが、これは心が表に現れることを説いています。そこが隙になります。
　顔の表情は普段のように動きも自然にあるがままに自分の思いを外に現わさないでください。剣舞や歌舞伎とは異なるのです。

写し取る

　初心者の方が形・手数を覚えるときに,、「右足を出して次に右手を上げて・・・」と一つ一つの動きを覚え、順を追って文字通りに再現しようとすることがあります。動きの最中に頭の中で次は右足次は右手と考えながら動くのですから素抜き抜刀術での自分自身の動きの調和はなく、ましてや剣術・柔術での相手との調和はありません。また極論すれば手順は同じであっても師の動きを写し取っているわけではなく自分の考えで動いているのでその人個人の流派となってしまいます。
　形は師の動きを写し取ることが大切で、師の動きのイメージをまねることを稽古の主眼としなければならず細部の手順はその後です。似ているけれども違うものを自分自身で作りたいのか、流派の本質を会得したいのかの問題であり、似ているけれど違うものを構築した人は流派の外の人であり、本質を得ようとして努力する人は拙くても手順の間違いはあっても流派の中の人になることができます。

抜付け

　抜付け時に初心者の方の中にはどうしても上半身を使って鞘手・柄手を動かそうとする方がおられます。以下の点に気を付けて稽古してください。

・常に両肩の重さを感じているか。
・常に両肘の重さを感じているか。
・鞘手・柄手ともに手首をひねったり指先を使っていないか。
・特に鞘引き時、鞘手の肩。手首・指先に力みが入り歪んでいないか。
・抜付けの最後で柄手の四指で柄を握っていないか。

　これらのことは繊細に自分の体を意識していればわかることですので初心者の方は必ず気を付けてください。

縁

　支部で稽古される方の中には私が流派のコレクターのように隠れた流派を探して居合、柔術、剣術と習ってきたのだと誤解されている方がおられるので正しておきます。支部長も私から聞いたことを伝える時間がないのだと思います。
　無雙神傳英信流は中学1年生か2年生になったばかりのころの剣道の試合のときに梅本先生が居合を演武され、「虎走」ですーっと走られるのを見てまるで自分がお城の広間にいるかのような錯覚を覚えたことがあります。ほかの居合の高段者とは全く次元が異なる居合をされる方がおられるのだとは思いましたが、梅本先生であるということも知りませんでした。当時、居合にそれほどの興味もなかったのでそのままでした。中学を卒業するときに剣道の先生に「広島に剣術流派が残っていませんか。」とお訪ねしたときに、「剣術流派は残っていないが・・・。」と梅本先生を紹介されたのはお話しした通りです。梅本先生に稽古をつけていただくようになり、あの時見た居合をされたのが梅本先生だったということがわかりました。
　柔術は居合の兄弟子の御近所に畝先生がおられたので、兄弟子に稽古に行かないかと誘われたのですが、筑波大学在学中であり、また卒業後は航空自衛隊に籍を置いたので稽古には行けませんでした。兄弟子を車でご自宅にお送りしたときに畝先生がご自宅の庭におられ、畝先生にご挨拶しました。その時、畝先生はにこにこしながら対応してくださり「何時でも稽古にいらしてください。」とおっしゃっていただきました。柔術を習い始めたのは航空自衛隊を依願退職してからのことです。
　居合の師も柔術の師も自ら求めて探し出して習ったわけではなく縁が先にできていたのです。
　大石神影流は武道史研究が先でした。習うためではなく武道史研究の目的で大石先生をお訪ねしたのです。私が持っていた大石神影流のイメージは、それまで読んだ武道史の書籍に書いてあることから形作られたもので「真剣では使うことができない法外な長さの竹刀を用いて試合に勝つことだけを目的にした流派」というものでした。先入観により自分から習いたいと思う流派ではなかったのです。研究を深めると、どうやらこれまで読んだ武道史の記述が意図的に大石進を貶めるものではないかと思うようになり、当時、多くの他藩の藩士が大石進に入門していることも分かり、長州藩の来嶋又兵衛や土佐藩の吉田東洋、後藤象二郎、鳥取藩の河田景与などの名のある武士も入門していることがわかり始めたときに、神示を得たのです。百人は超えると思っていた門人の末端に加えていただくことを書状を筆で書いてお願いしました。
　いずれの流派も縁が先にありました。縁がないのに無理やり縁を作り流派のコレクターとなろうとしたのではありません。しかも無雙神傳英信流では教えることができるまでの実力を身につけるまで稽古を深めたいと思っていましたが、ほかの流派は門人の末端に加えていただきたいという意識しかなかったにもかかわらず、流派を背負わざるを得ない立場になったのです。
　また、私の場合は幸いにも航空自衛隊の幹部自衛官をしていたので、銃剣、拳銃、小銃、ミサイルなどの技術も身につけることができましたので、剣も鎗も長刀も手裏剣も火縄銃もと考える必要を感じることはなかったのです。
　詳しいことは支部に招かれたときに食事会などがあればお話しします。すべては縁に基づくことです。

気付く

　稽古をただ繰り返しているだけだと自分のダメなことに気付くことはなく、ダメな動きに慣れてそれが自然なのだと思い込んでしまいます。私が何度手直しをしても、すぐそのあとにダメな姿勢、ダメな動きをされるのです。習い性となり、それが癖ではなく自然だと思い込んでいるのです。まるで自分で自分に暗示をかけているような状態です。私が言う言葉を用いながら本質的に異なることをしても気づかなくなるのです。自分を疑うことがなければ上達は出来ません。できていると思い込んでしまうのですから。
　先には先がある。奥には奥があると思い自分が至らぬと思い、ダメなところに気付けば上達は再び始まります。
　貫汪館では段位制を採用していますが、七段までの段位制は、形・手数を覚えた目安です。本当に自由に遣えるということではないのです。七段を得たのちに真の稽古が始まり、心の修業と相まって初伝、中伝、免許皆伝へと進みます。貫汪館の七段は初伝にも至らぬ位です。江戸時代の武士の稽古量をみればわかることです。また上達していけばいくほど心の領域が占める割合が高くなっていきます。心の部分は簡単に会得できるものではなく、スポーツをしている感覚で十年、二十年で成果が出るものと考えるべきではありません。先には先、奥には奥があることを知り自分のダメなところに気付いて上達してください。

上達してもらうためには

　各支部長は支部で稽古している方に上達していただくために様々な工夫をしておられると思いますが、最も大切なことはその人を上達させるためには何が必要であるかを見極めて個々に応じて指導することです。たくさん指導しなければならないことはあるでしょうが、それを全員に一斉に教えても習う人はあれもこれも同時に習得しようとして迷うだけです。
　一人一人を見極めて一つ習得させればそれにつれて他の部分も変化し上達していけるところに集中して稽古していただかなければなりません。

自由になるために

　形・手数の稽古は流派の動きを身につけさせるためにあります。手順が同じでも中身が異なっていたら形・手数を身につけたとは言わず流派の動きも身につけておらず、真似をしているだけです。「我」が強い人がこのような状態になるのですが、本人は気づいておらず形・手数の真似をしているだけで自分は流派を身につけていると思います。
　形・手数が本当に身についていたら今度は自由に動けるようになります。自由に動けないようであれば形・手数を身につけたとは言えません。形・手数が堅苦しいものと思うのは初心者の段階です。自由に動けないのは形・手数が身についていないのです。ここを超えるためにはただひたすら教えに従って稽古するしかありません。教えに従うことなく形・手数の手順のみを習得しようとする人は流派の形・手数を習得できることはありません。流派の形・手数が身についたら自由に動けるようになりますので、次の段階は下記の道歌の段階になりますが、現代人がここまでに至るためには相当な年月を要します。

　大石進種次の歌に

習得シ手数ノ勝ヲウチステス
　　　　　　　　　我仕覚ハ上ルトキナシ

刀の持ち方

　無雙神傳英信流も大石神影流も刀の持ち方は同じです。これは私が同じにしたのではなく流派の教えとして同じなのです。具体的には道場でお教えしているので詳細は省きますが、刀を教えられるとおりに持ったら手首が窮屈で肘や肩迄固まってしまうと感じられる方がいます。またなぜかそのまま長年稽古している方もあります。
　その原因は一つです。親指以外の四指で刀を握ろうとしているからです。親指は反らさずに自然に柄と平行、小指・薬指の先の爪と反対側の膨らんだ部分は柄をあさくひっかけるだけにすれば肘・肩は固まることがありません。梅本先生は「蛸の吸盤のように」とおしゃっていました。この持ち方ができなければ永遠に無雙神傳英信流と大石神影流の動きは不自由なままです。刀を自由に扱おうとして握りしめて自分自身を不自由にしています。その思いをすてて楽にすれば体と刀は一体になります。

修業中

　無雙神傳英信流、澁川一流、大石神影流を貫汪館で稽古する人たちは私を含めて全て修業中です。修行中であるということはたとえ師として弟子を導いていても師は自分自身の至らぬところを知り自分自身で稽古していかなければなりません。したがって人として道を外れているときに後進を𠮟責することはあっても、後進に上から目線で流派を指導することはありません。
　自分が修行中であるということを忘れ、自分はここまでできていると考えたときには道を外れていきます。貫汪館では修行の目安として段位制を設け初段から七段迄の段位がありそれぞれの段位に応じて習得しておかなければならない形・手数を決めています。段位はあくまでも目安にすぎません。また八段や錬士、教士、範士といった称号を設けていないのは勘違いする人を作らないためです。
　自分が修行中であるという自覚があれば稽古年数が長くなっても後進を上から目線で見たり指導することもなく、道を外れることはありません。

317156522_1241950030002379_5023173706582084512_na_20230127112240884.jpg

愚直に

　上達するためには愚直に学ばなければなりません。
　「我」の強い人は「そうは指導は受けても、このほうが力強い。」「先生はそう言うけれど、このほうが速い」「先生はそのように指導するけど、古武術家の○○はこう話していた。」などと自分の考えをもとに稽古するので流派を稽古しているわけではなく、似たような手順で自分の流派を稽古していることになります。多い少ないはあっても人はこのような思いにとらわれがちです。また猿知恵が働く方は、「先生が求めておられることをするにはこの方法の方が良い。」などと考えて稽古します。このような方は梅本先生の元にも何人もおられました。
　上達するための早道は指導されたことを愚直に求めて稽古することです。私たちは流派を学んでいます。いろいろな指導を受けるのも流れに乗って稽古するためです。
　

本質的な動きの変化

　かつて現代剣道を稽古したことがある人が居合の稽古や剣術の稽古をしても現代剣道の動きを忘れることができないのは防具をつけて稽古するときの動きが本質的なところで大正時代を境にして大きく変わってしまったということを知らず、剣道は刀の使い方をもとにしたものだという思い込みがあるからです。剣道を稽古したのだから、刀を遣う動きを稽古してきたのだと錯覚しているのです。
　すでに述べたように明治大学の長尾先生のご研究に明らかなように面を打った後に前に進むようになったのは大正時代です。そのころ明治維新以前に大人として腰に刀を差して日々を送っていた人たちは亡くなられていた時期です。剣道の競技化が進み刀の代用である竹刀の遣い方が、刀の使い方から離れ競技のための竹刀の使い方となり、また刀の使い方とは大きく異なる競技のための竹刀の使い方でも一本となるようになったのです。中山博道がそのような動きを批判していたのはすでに記したとおりです。
　もっとわかりやすく言えば剣道形の刀を使う動きと、防具を着用して竹刀を用いるときの動きは異なっています。もし剣道形が面を打った後に前方に走り抜けていくとしたら同じ動きでしょうが剣道形には面を打った後に前に走り抜けていく動きはありません。このような動きが完全に一般化したのは戦後のことです。戦前戦中には防具を身につけ竹刀を手にして稽古しても剣道形や各剣術流派の形とおなじように面を打った後に前に走り抜けていかない人たちもいたのです。竹刀の振り方も剣道形のようにその場にとどまる動きと前に走り抜けていく動きとでは異なります。明治以降に剣道と言われるようになってもその動きは剣ではなく竹刀を最適に用いて競技するように変化したのです。現代剣道とそれ以前の刀の使い方をしていた剣道の違いです。
　ここがわかっていなければ剣道経験者は居合をしても剣術をしても竹刀の振り方から離れることができません。現代剣道の竹刀の振り方は居合や剣術の刀の振り方とは違うのだという認識を持って稽古してください。

無雙神傳英信流　四段昇段審査論文

　米国インディアナ州のダンビル支部の支部長の無雙神傳英信流の4段の論文です。自身や支部員のビデオを月に何度も送っており普段はビデオを見ながら指導しています。年に1，2度しか講習会に参加していない日本国内の門人よりはあるかに多く手直しをしています。遠隔地におり、正しい日本の古武道の知識が伝わりにくいなかにあって「道標」も翻訳ソフトなどを用いて読んでおりよく勉強しています。

Describe the way to teach Muso Shinden Eishin Ryu Iai Heiho.

Learning to teach martial arts is an essential part of the education of the student.
The time when a student becomes a teacher often comes before you feel you are ready. Having the courage to proceed even if you are unsure of yourself is a test of character.
If done well, teaching makes you dig deeper into yourself and into the arts you train as you seek to convey to your students the lessons you have learned.
When teaching before you have reached complete mastery, it is important to understand what you know and can do as well as what you do not know and cannot do. You must only teach to the level of your ability and admit where your knowledge ends.
You should be honest with yourself and with your students. If you are honest with your students, they will be more likely to trust you. Then you can guide them while learning together.
This also requires humility as there are times when a student asks a question for which I have no sure answer. In that case, it is best to admit I do not know for certain but give the best answer possible based on what I know to be true from experience and personal instruction from my Sensei.

In teaching Japanese Kobudo, it is also important to understand the difference between “martial arts” as they are thought of – especially here in America – and Japanese Budo, as well as the differences between Modern Budo and Kobudo.
In America, martial arts are mostly associated with commercial dojos that teach for profit, children’s martial arts classes, mixed martial arts competitions, and fight scenes choreographed for movies.
This creates many misconceptions when talking with people about the kind of training we do.
Many modern martial arts, even the arts with roots in Japan and other Asian countries, focus mainly on fighting. The emphasis is on the development of external fighting skills.
In budo, the focus of training is on making the student a better person in addition to teaching self-protection skills. The “fight”, so to speak, takes place within oneself. However, in some modern budo like Kendo and Judo, there has developed an emphasis on sport and competition which is different from arts that focus on self-cultivation, such as Aikido, Iaido and Kyudo. Even within the modern budo there are different ideas about what training should accomplish.
In many modern budo which have their roots in the kobudo and koryu schools, the primary emphasis is on the external techniques or kata. Many have lost the internal secrets that make them effective.
The internal teachings are best preserved in the kobudo schools. Though much has been lost over the centuries, many schools still teach both the “inside” and “outside” of the technique.
This is what separates the kobudo ryu from modern schools, making them properly “martial ways”.
It is important to have this understanding, to explain to anyone who observes a training session the difference in what we train and why we train compared to other schools. Also, this helps develop advertising directed at the people who would be most interested in the styles we train.
It is also important to remember that students come to train with different needs, expectations, and physical capabilities. Are they interested in training for stress relief or better physical fitness? Are they interested in Japanese history and culture? Are they sincerely dedicated to training until mastery?
An instructor should be aware of the student’s goals and do their best to help the student achieve them.
It is also very important to set a good example both in and out of the dojo.
Ask yourself:
“Do I live honestly?”
”Do the values of kobudo reflect in my daily actions?”
“How do I include kobudo training in my daily life?”
“How deeply have the principles penetrated my spirit?”
“How often do I practice on my own?”
“Is there something I can improve?”
If you make the spirit of kobudo your foundation and let it guide the way you live, your life should be a good example for your students.
In the dojo, when you are demonstrating a technique, are you relaxed?
Even if your understanding of the technique isn’t complete, being relaxed and natural in your movements sets a good example for your students.
How well can you perform the role of uchitachi?
Can you lead the student through the technique?
Can you adjust your movements to their movements?
Can you observe your opponent’s mind and anticipate their attack?
Do you perform the technique with good intent?
Demonstrating a technique with lack of intent or in a way that your sword would fall short of its target is not setting a good example.
Even though people don’t fight with swords anymore and we don’t wish to harm our students or training partners, it is important to make them feel as though they must act to protect themselves to correctly teach the technique.
Teaching the arts from the uchitachi role should make the instructor think deeper about the meaning of the technique.

In teaching Muso Shinden Eishin Ryu Iai Heiho, relaxation, mindfulness, and natural movements are the most important things.
Without these, making progress is unlikely.
Reiho should be taught first as it teaches the proper way to move in all the kata.
It is important to relax the arms when moving the sword into the proper position before the standing bow. The tanden must relax when performing the standing bow to make the bow natural. To drop into seiza, the tanden must be relaxed as well to perform the movement gracefully. When performing the seated bow, the tanden must move first and the arms must follow. This also applies to moving the sword before performing tachirei. When inserting the sword into the obi, your arm should be relaxed. You should not shove or force the saya into the obi. Using the left hand, you should adjust the obi, even pulling the saya from the end to bring the sword through. When standing from seiza, the movement should begin with the tanden and the right leg following. All movements should be natural, not jerky or stiff.
It is important for all the movements to be slow and performed with mindfulness. You are dedicating yourself to that time and place in which you are training. Performing the movements in this way helps the mind to be correct for practice.
Zangeki should be taught next.
In Zangeki it is important to teach how to hold a sword properly using Te No Uchi. The sword should rest lightly in the hands. It is also important to teach how to walk smoothly without bouncing up and down. It should feel as if you are gliding, sliding your feet instead of stepping. This is also when to teach how to correctly swing the sword. It should be raised slowly while focusing on your breathing. Breathing in slowly while raising the sword and breathing out while lowering it. If the student can understand that the breath comes from the tanden, up through the torso, through the back and into the arms causing them to lift, they will make progress. As in Reiho, a sense of relaxation and mindfulness should be present.
Using observation and awareness all these movements can be found in the kata.
The same sense of mindfulness should be present during the practice of all the sets, both individual and paired.
The awareness cultivated in the individual seated practice helps to develop an awareness of your partner during the paired sets.
In the first four techniques of the Omori Ryu, Shohatto, Sato, Uto and Toto you should not think of drawing with the right arm, but with the left side of your body. The right arm should stay relaxed as in Reiho.
This style of nukitsuke is also used in the first two techniques of Tachiuchi, Deai and Tsukeiri.
Now you must also judge distance as well as observe your opponent’s mind when performing nukitsuke.
In the next two techniques, Ukenagashi and Ukeiri. stepping into hasso kamae smoothly while the sword lifts naturally into position with the arms relaxed as in Zangeki, judging your distance while moving toward your opponent then cutting at them with your right body unified not just your arms.
Good Te No Uchi and relaxed shoulders are necessary to receive the strike when Uchitachi swings to clear the sword from the center turning it into ukenagashi. The same relaxed shoulders and soft hands are needed to turn Uchitachi’s strike into the cut ending Ukeiri.
In Shinmyoken, the draw is performed while moving like a combination of Seitoken and Koranto from the Omori Ryu. Here the smooth walking style of Zangeki is built upon along with the nukitsuke.
These are only a few examples of how teaching good fundamentals in the early stages of training creates good technique in the later stages of training. As I mentioned earlier, these observations are from an instructor without full understanding of the style. I am sure my understanding will grow as my journey continues.
In conclusion, I would say that perhaps the most important point to keep in mind when teaching and training kobudo is patience. This is true for new students as well as the more advanced who are leading the group. Kobudo training is deeply personal. Not every student will understand every lesson at the same time or in the same way. What seems simple for one student may take a great deal of time and effort for another. By being patient and keeping the above points in mind, I have found that the students I am leading have made progress since their training began. I hope that as I continue to grow in my practice, I will be able to guide students to grow in theirs.
This is how we pass on The Way.

澁川一流柔術初段論文

米国インディアナ州のダンビル支部の支部員の澁川一流の初段の論文です。英文の論文が続きますが、翻訳ソフトなどを用いてお読みください。

Shodan Paper
Shibukawa Ichi-Ryu Jujutsu

To train in Budo is to train a way of thinking. While learning different techniques and styles, the practitioner is also honing their mind. Understanding that one’s body, heart, and mind must become one is an important part of studying budo, although it can be a difficult concept to master. Etiquette helps to achieve this goal. Respect requires using all three pieces - the body for the movements of respect, such as bowing; the heart for showing sincerity; and the mind for focusing on the act. Respect is also shown in other types of actions. For example, when the sensei is teaching, the student should actively listen and be open to receiving the information. The student should also actively watch the demonstrations of techniques. Passively listening or passively watching leads to failure of the heart and mind as full concentration is needed to properly absorb the information given. This also extends to senior students - be receptive to any comments made so that one can continue to improve. In addition, the concept of zanshin is required for Budo arts. Zanshin is awareness of a sparring partner’s mind and creating a connection between it and one’s own mind. It is also actively observing one’s surroundings but remaining in a state of relaxed alertness.
In Shibukawa Ichi-Ryu Jujutsu, the first set of kata begins with the basics of empty-handed movements while engaging the entire body. The techniques require suppleness and softness - rigid movements can lead to injury of muscles or failure to defend oneself properly. When practicing with a partner, care must be taken to create zanshin. The student trusts that their partner will guide or follow the steps in each kata accurately. Zanshin also leads to respect of one’s training partner - when practicing a kata, one becomes aware of the state of their partner. The kata is done with the proper force applied; however, the student is receptive to seeing or feeling their partner’s response, such as knowing when to stop applying increased pressure to prevent injury.
To create the beginning of zanshin with a training partner, there is the opening reishiki of Shibukawa Ichi-Ryu. To begin, each person stands facing the other in a relaxed standing position. Then, moving at the same time, both lower to a squatting position, arms lightly resting on the top of the legs. Once both have reached the depth of their squat, both proceed to lower their arms slowly in front of them with their hands curled into fists with the knuckles touching the ground. Unlike the Oishi Shinkage-Ryu opening rei, the thumb is not extended. After pausing for a moment, both training partners bring their arms back up into the resting position on their legs. Finally, both rise back into the standing position. During the opening of reishiki, it is important that both training partners maintain eye contact throughout their movements.
Unlike the other two styles practiced (Muso Shinden Eishin-Ryu Iai Heiho and Oishi Shinkage-Ryu Kenjutsu), Shibukawa Ichi-Ryu contains other starting reishiki for the different sets of kata. In the Kutsugata set, both training partners stand facing each other. The designated person steps forward to the correct distance apart and attempts to strike the other with a low stabbing movement (hand curled into a fist) while using the ki-ai “ei!”. The following steps happen:
1.) the defender steps back to receive and catches the opponent’s fist with the left hand from underneath
2.) the defender steps forward while hooking the opponent’s elbow with their other arm then pulls back - the opponent is turned around with their arm bent behind their back
3.) the defender, after pausing for a moment, gently slaps the back of the opponent’s right shoulder and lets both hands align at the same height
4.) once the hands are at the same height on the opponent’s back, the defender pushes them away
5.) the defender steps back with their left foot and goes down onto their left knee; at the same time, the opponent is turning around to face the defender with feet together
6.) the defender bends both arms, elbows facing out and fingertips of each hand facing each other in front of the chest; the opponent does the same thing while standing
7.) both extend their arms out to the sides with a ki-ai of “ei” (the opponent should step backward with the left leg while doing this)
8.) while maintaining eye contact, both lower their arms slowly, creating zanshin between them
Once this has occurred, the defender stands up by rising and bringing their left foot to rest next to their right in a standing position. Both training partners are now ready to start on the kata. They should ensure that, during training, zanshin and supple movements are used. Once the training session is over, both practitioners bow to each other as a sign of gratitude for training with them. The phrase “doumo arigatou gozaimashita” can be used to verbally thank the sensei and the other students.

Resources

Kan-ou-Kan (English)
“Budo Etiquette” article by Tanukidojo
Classical Budo: The Martial Arts and Ways of Japan, Volume Two by Donn F. Draeger
“Zanshin: Learning the Art of Attention and Focus From a Legendary Samurai Archer”
by James Clear

大石神影流初段論文

米国インディアナ州のダンビル支部の支部員の大石神影流の初段の論文です。

Shodan Paper
Oishi Shinkage-Ryu Kenjutsu

In Budo, there is a phrase that many dojos use when speaking of etiquette: “Begin with rei and end with rei.” Respect is an integral part of practicing martial arts. When a person gives respect, it should come from three areas: from the body, from the mind, and from the heart. In the dojo, bowing shows respect to the sensei, to the dojo, to the equipment used, and to their fellow students; however, it must be done using all three parts (body, mind, and heart) or the respect may not be received as sincere. For training that involves a partner, the practitioner should show their earnest heart with their bow, aiming to seek a connection with their training partner by closely bowing at the same time. Senior students lead by a breath of a second with the idea that the kohai follows shortly behind. The idea is to sync their minds and dedicate focus to their partner and to their practice together.
To delve deeper into the rei of the mind, there is a term used when two practitioners are about to perform paired work with each other: zanshin. Zanshin is having awareness of the self as well as the awareness of an opponent or sparring partner. The intent is to connect with the other person’s mind and be ready for their movements. The best way to describe zanshin is that of creating and maintaining a mental connection with an opponent. One’s entire focus is on observing in a state of relaxed alertness. As Oishi Shinkage-Ryu Kenjutsu requires paired work to perform the kata, it is important that both sparring partners practice and hone zanshin.
The opening reishiki for Oishi Shinkage-Ryu Kenjutsu differs from Muso Shinden-Ryu Iai Heiho. To start, the sword should already be placed in the saya with the sageo tucked beneath the hakama ties to secure the saya in place. For Oishi Shinkage-Ryu, the practitioners use long wooden bokutō. Oishi Shinkage-Ryu’s opening rei does not use seiza because it is meant to be practiced outside. To perform the opening reishiki:
1.) Stand with feet together in a relaxed but alert posture
2.) Grip the saya near the tsuba to prevent the sword from sliding out
3.) Bring the right leg back and down, so that the right knee is close to the left foot
4.) Move both hands forward into fists with the knuckles down on the ground, thumbs pointing outward, then bowing forward with both the head and body
5.) Hold the bowing position for a few seconds then move left hand back to the tsuba and rise into a standing position
6.) Face the sensei or lead student and bow, holding for a few seconds before returning to the standing position
Beyond the opening reishiki, there are other etiquette points to follow in Oishi Shinkage-Ryu, depending on the kata. For the first set of kata, once a student has been partnered with another student, both should face each other and bow while standing up to show respect and to show that they are ready to begin practicing with each other. Once both draw their bokutō, they are ready to take three steps forward to cross swords near the kissaki to begin kurai wo miru. While based on improving technique and less with showing etiquette, the action of kurai wo miru helps to build the control of the tanden while performing zanshin with an opponent. After training is done with the current partner (depending on the number of techniques performed together), both practitioners sheath their swords at the same time. Then, both bow to each other to signify the end of the current training bout. If there is a new partner to practice with, both students will bow to start and to end the training bout with each other.
During training, it is important to show intention behind movements - strikes, cuts, and other technique movements should aim to hit without actually landing the hit. The idea is that it forces the student to read their opponent’s movements and react accordingly, not just going through the motions without focus. At the same time, if the learning student makes a mistake in timing or fails to remember the next step, the more experienced student must know when to pull back to prevent injury. This is why zanshin is performed every time practitioners are paired together. After each kata, it is also important to return to the center, the kissaki of each sword touching while the students maintain zanshin throughout.
Once the day’s training session is coming to a close, the ending reishiki is performed. The movements are the same as the opening reishiki, starting with having the sword secured in the obi. From there, perform the bow by lowering down on the right knee, hands turned into fists with knuckles down on the ground and thumbs facing outward. Then rise to a standing position and perform a standing bow to the sensei. Using the words “doumo arigatou gozaimashita” will convey the student’s gratitude toward the sensei for the training session.

Resources

Kan-ou-Kan website (English)
“Rei: Mastering the art of Japanese politeness” article by Kuma Sensei
Classical Budo: The Martial Arts and Ways of Japan, Volume Two by Donn F. Draeger

詐欺的行為

　以前海外向けの無双直伝英信流の書籍に無双直伝英信流に伝わっている教として無雙神傳英信流の伝書の記述をそのまま盗んだ内容が記されていたことを述べたことがあると思います。ひらたく言えばパクリなのです。
　そのパクリの内容を日本人が堂々と我が無双直伝英信流にはこのようなことも伝わっていると記しているのを見て驚いたことがあります。それを書いた本人は代々古くから伝わっていると信じ切っていますので、このような詐欺的行為は師である立場の人によって日本国内でも行われているのだと思います。このようにして嘘は拡散され、やがてその流派や流派を超えた真実となっていきます。
　古文書の探求をすることなしに不確かなことを確信をもって発言することは武道の高段者であれば避けなければなりません。

無雙神傳英信流　初段論文

米国インディアナ州のダンビル支部の支部員の無雙神傳英信流の初段の論文です。英文の論文が続きますが、翻訳ソフトなどを用いてお読みください。

Shodan Paper
Muso Shinden Eishin-Ryu Iai Heiho

In Budo, there is a feeling of reverence and respect given. This feeling is shown through etiquette. Etiquette is defined as “the customary code of polite behavior in society or among members of a particular profession or group.” Budo, with its long history, is steeped in rules of etiquette. Most of these rules involve showing respect to the art, to the teacher, to the dojo, to fellow members, and to the weapon used in training. Carelessness has no place in budo.
When entering or exiting the dojo practice space in budo, bowing is important. Bowing expresses respect for the teacher, for fellow students, and for the art itself. In addition, when learning the particular art being practiced, the learner should follow the instructions of his or her teacher and seniors wholeheartedly. The guidance from the teacher is invaluable. There are also the simple etiquette rules one should follow for any practiced art: show up to training on-time and prepared to start with proper training attire; be earnest in training to the best of one’s ability; and clean up the area to return it to the good condition it was in prior to training. Etiquette is important when training in budo.
For Muso Shinden Eishin-Ryu Iai Heiho, there is additional etiquette to follow to practice the art properly. Many of these points of etiquette happen during the opening and ending reishiki of practice, but there are also etiquette rules in-between during training too. It is important to follow these points of etiquette to show both respect and a willingness to learn.
Once the learner has dressed in proper attire for training (such as wearing hakama), they should approach the edge of the training area and bow toward the teacher before stepping forward. The learners should line up facing the teacher according to their level - from senior student to novice student. The sword for Iai Heiho should be in its saya, held with the cutting side facing up on the right side of the body. The sageo should be held around the middle finger of the hand with the extra length dangling down. Following closely behind the teacher, the steps for the opening reishiki are:
1.) flip the sword delicately with the cutting side facing down; the sageo should still be held in the proper manner - then, the learner should bow and flip the sword back to its original position
2.) enter the seiza position with the saya still next to the body - the saya should then be placed quietly next to the body, with the loop of the sageo resting to the side
3.) bow while in the seiza position to the teacher, placing first the left hand then the right hand; after a few seconds, return the hands (first is the right hand, second is the left hand) to the natural resting position in the lap
4.) place the middle finger in the loop of the sageo, gently pick up the saya, and stand the saya at an angle - the cutting side of the sword should face toward the learner with the saya touching the floor on the right side while the left remains in the air
5.) lower the saya to the floor completely, then straighten the sageo so it is parallel with the saya
6.) bow to the sword to show respect, following the same hand movements as before
7.) once the learner has returned to the natural seiza position, grab the sageo where the middle finger creates the loop again; then, stand the sword in its saya vertically in front with the cutting side facing the learner
8.) place the second hand on the lower end of the saya
9.) bring the saya to the left side of the body and gently work it beneath the cords of the hakama and obi so that one layer of the obi remains between the saya and the hakama itself
10.) take the length of the sageo and loop it first below the sword, then beneath the cords of the hakama, creating two loops to keep the saya in place
11.) rise by using the right leg until in a standing position with both feet underneath; the left hand should be holding the saya while rising up
As shown above, there are many steps to perform the proper etiquette for the opening reishiki of Muso Shinden Eishin-Ryu Iai Heiho. Each step must be taken with care, as respect should be given to each person and item used for training. The movements should be slow and flow naturally - jerky, rushed movements do not show the proper respect.
During kata practice, the senior student should lead with the other students following closely behind in performing the steps of the kata. Again, the movements should flow with emphasis on being slow. Rushing may lead to incorrect technique. If the teacher is reviewing or showing a new kata, the students will be respectful in silently observing the kata being shown. The expectation is that the students will practice this kata afterward. Once training is over, the students will line up again from seniority and perform the ending reishiki by taking the steps in the opposite manner. This means that the student will go into seiza and place the sheathed sword in front of them, bowing to it. Once the students reach the end of the ending reishiki, they should bow to the teacher and thank them for the training.
There is more to Muso Shinden Eishin-Ryu Iai Heiho as there is also paired practice. The etiquette for the paired forms is to bow to each other respectfully before beginning and after finishing training. When starting each technique, the shidachi should first begin moving into their position - the ukedachi will follow immediately behind in moving into their position (the technique will dictate which form to use).

Resources
Kan-ou-Kan Website (English)
Budo Secrets: Teachings of the Martial Arts Masters by John Stevens
Japanese Swordsmanship by Gordon Warner and Donn F. Draeger

大石神影流　四段論文

　米国インディアナ州のダンビル支部の支部長の大石神影流の4段の論文です。自身や支部員のビデオを月に何度も送ってきており普段はビデオを見ながら指導しています。年に1，2度しか手直しを受けない日本国内の門人よりはるかに多く手直しをしています。遠隔地におり、正しい日本の古武道の知識が伝わりにくいなかにあって「道標」も翻訳ソフトなどを用いて読んでおり、日本文化の知識も吸収しようとしています。

Describe the way to teach Oishi Shinkage Ryu Kenjutsu.

Becoming a kenjutsu instructor is not a casual decision. You are taking the responsibility of not only teaching students but of understanding a school that comes from a different time and place.
It is something you should feel passionate about. The work you put into creating good conditions for training will be more than expected. If you are passionate about bringing kobudo to your area it will make the extra effort more than worth the time.
For a Westerner, part of this responsibility is learning about the history of Japan, as well as making your best effort to learn Japanese language. If you understand where these arts came from in a historical sense, it can help to clarify what we are doing and why we are doing it. Also, if you know something of the language and culture it can increase you appreciation of the arts you practice.
In Japanese Kobudo the sensei is the source of the school. The wisdom of the generations before is represented in them.
When taking on the responsibility of teaching before having a complete understanding of the lessons contained in the school it is important to proceed with care in how to present the parts of the school you have some understanding of.
For every tekazu there is a deeper lesson. You can teach the outside of a technique but there is still more to learn before you can truly teach the style.
The deeper lessons are taught by your sensei as you become ready. However, I have found that to teach at even a basic level it is important to reflect on some basic ideas.
To ask yourself why we train kenjutsu is like the inner idea related to the outer shapes of the tekazu. Asking ourselves why we do something shapes how we do it.
Why do we train kenjutsu in the 21st. century? Certainly, we don’t learn it for its original purpose which was to defeat enemies in combat. In the modern era there is little use for the sword on the battlefield or even in most self-defense situations as it is difficult to carry a sword in daily life.
In my experience, most people who train in budo, old or new, are all looking for a way to live a better life.
It has been said to me that while modern martial arts can help you develop excellent fighting skills, kobudo training teaches you how to live. It has also been said to me that the purpose of kobudo training is learning how to die well.
Living and dying.
Things that all sentient beings struggle with.
How did the arts of the battlefield become ways of living a better life? Is it something do to with the taking and preserving of life that has always been inherent in those arts?
At a basic level the tekazu help us to strengthen our bodies which can help to live a better quality life.
Having a way to exercise the body that can even improve as you grow older gives a way to keep the body active promoting better health and mental clarity.

They also help us strengthen our minds.
One of the most important qualities we develop in kenjutsu training is zanshin, complete concentration in the moment. When someone is trying to cut you down you don’t have time to think. When the movements have ended you are focused on your opponent.
You are practicing “not thinking”.
Like in the practice of zazen, the clearing of the mental clutter that clouds our senses allows us to hear the natural wisdom within us. Clearing the mind can help us better observe our actions and thoughts leading to better decisions about how we choose to live.

As with every Japanese classical martial art, it begins and ends with reiho.
The reiho for the Oishi Shinkage Ryu is very simple compared to Muso Shinden Eishin Ryu. The Oishi Shinkage Ryu was often practiced outside so a single bow to the shrine or shomen with the thumbs touching the ground, then a bow to your training partners is all. The tanden should be relaxed and the bow starts from there. The bow should be as unfurling a roll of silk.
After this it is best to begin with how to stand and how to hold the sword.
In the Oishi Shinkage Ryu we open the left hip further creating hanmi stance with a larger angle. To draw the sword, you must open the body keeping the right arm close to you, pulling back with the left body. In many ways it is like the standing draw in Muso Shinden Eishin Ryu.
The sword should be held gently, gripping only with thumbs and little fingers. The wrists are rolled slightly inward. The kissaki should be low. As an instructor it is easy to tell if a student is gripping too tight or their upper body is tense because the kissaki will rise.
It is a good practice to lead students through raising the sword into jodan, then lowering back into shinken while following your timing. This will help them practice how to connect the movement of raising into jodan with their breathing and tanden. It will also help them develop the internal sense needed in later tekazu.
This can also be done leading the students through all of the kamae of the style.
The basics of the style are all taught in Shiaiguchi.
The development of sensitivity to your opponents’ movements learned in Kurai No Miru, how to generate power from your tanden using Haru, reading your opponent and closing the distance as they move as in Suigetsu, stepping off the line of the strike as in Ichimi. All of these reappear again in You No Omote and You No Ura.
A foundation must be strong so it can be built upon.
In Youken, the first tekazu of You No Omote, the lesson is to learn to strike just as your opponent is striking. I have been told that the true technique is to cut through their strike and cut them down.
As it is performed during training you meet their strike and suppress it covering their right side using Noru. This movement is similar to Haru, but the weight is lowered using the entire body in a coordinated fashion.
In Gekken it feels like a string connects the two opponents. Shitachi should again observe Uchitachi’s mind, moving back to avoid the first cut then moving back in to cut similar to Suigetsu. The movement off the line and deflection are similar to Ichimi.
The opening cut in Muniken should be committed. If Uchitachi does not deflect the strike it should connect. The relaxed grip practiced early in training will help control the sword once the strike has been deflected.
In Nishou we begin practicing projecting our spirit to drive Uchitachi back after the first cut has missed. This projection is not done by making an intimidating face or shouting kiai from the lungs. It is more subtle and powerful. I cannot speak past his point yet.
There should be a connection as well when they draw back into jodan after the missed cut. As in Suigetsu and Gekken Uchitachi’s backward movement should pull Shitachi forward instantly.
In Inazuma the three cuts should be smooth before they are powerful. It takes time to learn how to use your body instead of your arms to cut rapidly in succession.
I have read that Aizu Ikou who founded the Kage Ryu developed some of his techniques after watching a monkey reach for a piece of fruit with a long stick. Taiyouken has the same idea. Using distance and relaxing your tanden you can strike your opponent while staying out of their range. It is important to keep the arms relaxed while reaching. You must watch for Uchitachi to commit to their strike before making your cut.
Seitoken is the first time we see a low block from Jodan. Relax the arm and guide its fall using gravity and your tanden to assist. It doesn’t take much force to deflect the thrust enough to create an opening to perform Noru.
In Muiken we perform Haru from two different angles. The first is the same as Isshin in Shiaiguchi. The second is very different requiring a different understanding of how creating Haru works. It is difficult for me to say more as I am still working to understand it.
Norimi blends ideas from earlier in the set. It is important to not only catch Uchitachi’s timing by observing his mind before he is able to come all the way from Waki No Chudan into Jodan, you must drive him back before striking the wrist.
Chidori seems like it is preparing the student for You No Ura as it’s opening movements are similar to Seiryu and Sachin. We see the raising of the knee at the same time as the sword is lifted over the left shoulder. Again, this is a tanden driven movement which I am still practicing. The cut down seems like it could be a continuation of the downward block in Seitoken.

The above is all Shitachi’s part of the technique. Once you understand it you can become Uchitachi. Uchitachi much lead Shitachi through the technique.
When performing Uchitaci’s part it is important to bring good energy and intent to performing these techniques. That’s what makes our arts alive where many other koryu or kobudo arts have become like imitations of the original.
Shitachi must feel as though if they do not move you will cut them down with your strikes. This is part of transmitting the original intent of the techniques as well as the deeper lessons of the style.
In this way we keep our arts alive for future generations.
This is the goal of a kenjutsu instructor.

澁川一流柔術　四段論文

　米国テキサス州エルパソ支部長の渋川一流の論文です。武道は現代剣道や現代居合道から始めていますので特に柔術の稽古は苦労していますがよく努力しています。

Describe the way to teach Shibukawa Ichi Ryu Jujutsu.

The most correct answer to this question is the way my teacher Morimoto Kunio sensei has taught me. Morimoto Kunio sensei has stated to me that he wished to teach me in the Japanese way. he believes, as do I, that this is the ideal way to pass along the ideas and knowledge of Shibukawa Ichi Ryu Jujutsu.
Now what is the "Japanese way to teach"? I never attended a Japanese school, so I have no firsthand experience in the "Japanese way". My only knowledge in this is Morimoto sensei's explanation. My understanding is that the "Japanese way" involves the teacher in this case Morimoto sensei performing the technique, being waza, kata, tekazu or whatever lesson is being imparted and the student again in this case myself, watching and then performing said technique in the same fashion. There is no questions asked, no explanations given just a physical repeat of what was shown with an inherent trust in what your teacher is showing. Mimicking exactly what was shown by Sensei. Again my understanding is that the lesson is shown only once or twice and in this time all information is given and expected to be learned. As is obvious this requires exceptional observational and memory skills.
I think this " Japanese way" is the ideal way for its time. But as the saying goes, time marches on. One such example is in the area of technology. This is manifested in the ability to take video easily. Morimoto sensei would perform a kata for example, and still expects me to watch and learn, no questions asked but allows a video to be taken for later reference.
Back to our original question of describe how to teach Shibukawa Ichi Ryu Jujutsu. In the United States, where I live, we have an instant results, instant gratification and it is someone else's responsibility society. For the most part the new student expects to be taught and given the knowledge with the minimum amount of effort. The responsibility is on the teacher and not on the student. Because of this expectation , I have found that for new students I would need to follow more "modern" teaching methods such as the demonstration method, the lecture method, the interactive method or a combination of methods. This allows the student to start an introduction of an art they have an interest in but in most cases have no actual knowledge of.
Now what I teach is what I have learned and am still learning from Morimoto sensei of Shibukawa Ichi Ryu Jujutsu. I start by teaching what Shibukawa Ichi Ryu Jujutsu is not. By dispelling some of the myths surrounding Japanese martial arts. I explain that it is not like what is shown on TV or movies, that it is not a sporting competition or like modern martial arts.
Next we perform a demonstration of Shibukawa Ichi Ryu Jujutsu to further show what is involved. This is done by myself and all the students. This is to show the different ability levels of all involved. Since I teach all the schools of the Kanou Kan, this demonstration involves Muso Shinden Eishin Ryu Iai Heiho, Oishi Shinkage Ryu Kenjutsu as well as Shibukawa Ichi Ryu Jujutsu.
The first lesson is how to bow and the reiho of the school. This is the first time the relaxation of the body is introduced. This is a recurring theme in every class and something the students, myself included need to work on. At the beginning obvious tension points are pointed out and the student is asked to start looking for the not so obvious ones. For example in Oinage the first kata in the Kutsugata set obvious tension points would be the shoulders or the upper arms when positioning to throw your opponent, the not so obvious ones would be raising or thrusting your hips forward when throwing your opponent.
In following the way I have been taught, the first kata of the set is demonstrated a couple of times and then the students practice it and then we move on to the next one and so on until the set is finished. I try to follow this pattern as much as possible but with the inclusion of an explanation of what is happening in the kata.
There are many general, fundamental points that are the basis of Shibukawa Ichi Ryu a unique art. I focus on one of these points in every class and return to them frequently. These lessons include relaxation of the body, movement and breathing by Seki Tanden, control of your opponent and not to have rigidity in action or thought. These points must be learned not just by definition and mimicking another but by instinctively moving correctly when needed.
The first of these concepts I introduce to the student is relaxation of the body. The body must be completely relaxed in order to have the most efficient movement of the body. These movements must be done naturally with an absences of body tension. These tension points in the body retard movements making them slower and less effective.
Breathing patterns is also introduced to the student early on. Everyone comes in breathing instinctively and reflectively, but there is a correct and more efficient way to breath. Besides the obvious need to breath to maintain life, the flow of oxygen in correct amounts is needed to perform strenuous physical activities and mental focus. I teach one to breath by inhaling through the nose and to exhale through the mouth. We use a deep breathing technique of filling one's lungs from the tanden on up as opposed to the shallow breathing where only the upper chest is filled. This type of breathing creates a natural rising and falling of the body and I believe an increase in the production of one's own ki. I just explain and demonstrate the points of when to inhale and exhale and let the student learn and practice this point on their own.
Controlling your opponent is the ultimate goal of Shibukawa Ichi Ryu. Your opponent is attacking you with a knife, sword. stick or some other weapon, even bare handed, you must control them or they will control you and you will lose. This control is accomplished by taking the initiative and reducing your opponents choice of movement options until they have none left. For example the kata Kuedome from the Kutsugata set, your opponent attempts to stab you, You seize the initiative by immediately grabbing his right hand and moving it away from your body, you must maintain control of this hand if not they can attempt to stab once again. You then step through and your left hand in shuto against their triceps and bring them to the ground. Again it is not enough just to let them fall for they may rise and attack again. You must control where they fall so you have an advantages position for your body. Your knee is placed at their armpit and your left hand is placed in front of their elbow allowing an arm bar to be performed. This now leaves you in complete control of your opponent. This gives them the only option to surrender or suffer a debilitating injury. At any point where control is lost the opponent can escape and resume his attack.
I teach that rigidity of thought and action is to be avoided, I call this fluidity of movement. Morimoto sensei has taught me not to count my movements, in other words no step one do this then step two do this and so on. I pass this knowledge onto my students. Physically when doing this it leads to very choppy movements, when moving one action should flow into another. More importantly mentally this leads to a break in concentration. Where one stops to think of, in the case of kata, what movement comes next and then the kata movements look non-natural. In the case of an actual fight or confrontation if one freezes to consider what your opponent is going to do next or what one should do next this pause could lead to a fatal conclusion. In fluidity of motion I teach the students to eliminate these pauses. I do this by constant repetition of the kata and by demonstrating the correct movement. Constant repetition of an action creates muscle memory where one begins to move instinctively in a given situation. Correct demonstration must also constantly be shown because , just as correct movements can be instinctively learned so can incorrect behavior be ingrained by the student.
In summary while I would prefer to teach in a teacher demonstrates and students copy and improve over time with repetition and experience method, I have found to have a more successful student, I need to include some more modern methodology. In this way I hope to remain true to the ideals of Shibukawa Ichi Ryu Jujutsu and Morimoto Kunio sensei.

References:
My Tutor Source Global - website, by Chloe Daniel, September 11, 2021
Personal classes with Morimoto Kunio sensei

無双神伝英信流　大石神影流　渋川一流・・・道標（みちしるべ）

無雙神傳英信流抜刀兵法、大石神影流剣術、澁川一流柔術を貫汪館で稽古する人のために

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