無双神伝英信流　大石神影流　渋川一流 ・・・ 道標（みちしるべ）

　エルパソ支部で稽古している方の三段の論文です。以前お話ししましたが職務で澁川一流の技を用いて刃物を持って暴れる人を取り押さえた方です。

Describe the unique features or characteristics of Oishi Shinkage-ryu Kenjutsu compared to other schools.

My experience of various schools’ teachings of Japanese swordsmanship began in 2010 under Pedro Borrego in the adult continuing education courses facilitated by the University of Texas at El Paso, USA. The courses focused on Iai and modern Kendo. Soon after I was briefly introduced to Kendo No Kata a two man practice that taught basic elements of swordsmanship with Kendo influence. I was also able to witness practitioners perform Sekiguchi Shinshin-ryu’s two man forms, however, I never myself practiced the forms. My Kenjutsu remained very limited until 2016 where I was introduced to Oishi Shinkage Ryu Kenjutsu. Other two man forms I have been taught are from the affiliated schools under Kan ou-kan Koryu school’s Muso Shinden Eishin-ryu Iai Heiho and Shibukawa Ichi-ryu Jujutsu. I believe that to help one understand movement and body mechanics it is good to examine other practices that may not be in the same category and understand how they relate. I would like to note that as a teenager I learned law enforcement techniques as a Border Patrol explorer and as an adult modern Muay Thai kickboxing. I also study body conditioning and training in calisthenics, weightlifting, running and natural movements informally. With this background of myself noted I will proceed to describe the unique features or characteristics of Oishi Shinkage-ryu Kenjutsu compared to other schools.
Having a rather limited experience with two man forms in comparison to Iai studies, I will primarily compare and contrast the Kendo No Kata to the Oishi Shinkage-ryu Kenjutsu that is now our El Paso school’s main curriculum under Kan ou-Kan. The first observation I would like to discuss are the body mechanics. Oishi Shinkage-ryu Kenjutsu uses a widened stance with the lead foot facing the opponent and the rear foot at a 45-degree angle out away from the body. The Kendo form teaches to keep both feet directly pointed at the opponent’s direction and all the weight loaded on the front of the foot and not the heels. The hips and shoulders are squared to the opponent. The back is completely erect and the pelvis in a more upright position as well. In contrast Oishi Shinkage-ryu Kenjutsu with a more open stance and weight distributed across the feet promotes balance in 360 degrees. The pelvis and hips sink downward with flexion at the knees and waist compared to standing fully erect. The leading front foot, hip and corresponding shoulder create a body angle known as hanmi. Hanmi can be seen in many different fighting styles and swordsmanship schools across the world. It is a natural way to be both offensive and defensive. It creates balance and potential to strike or defend either quickly or powerfully or both. In shooting a gun and moving with a weapon the lowering of the hips and pelvis offers stability in the upper body when stepping offering more accuracy and control. Lowering the body in this manner while running forward can decrease shock and trauma globally to the body and keep a runner safe while running longer distances. It also gives the runner the ability to adjust the direction of travel with less effort. An observation is that shorter steps are required however they can be performed quickly. The Kendo method and ideology to me as I understand it, is to be able to move forward and backward as quickly as possible. Therefore, the body positioning is closely related to how a higher speed runner moves forward. In my opinion, this sacrifices stability and control. It may work on a perfectly flat surface for demonstration however it faces problems if performed in areas where the ground may not have ideal conditions, if the wind blows from one’s side, or, if on a vessel in the water where the floor changes tilt and direction. From my experience being fully erect balanced on the toes works incredibly well for running because momentum is always in a forward motion and the speed of the runner creates inertia and high stability. However, being at a stop and moving at lower speeds in this position does not offer this stability as well as being in a lowered ready position. Again, all my opinion through observation but I feel it is a significant contrast. Oishi Shinkage-Ryu Kenjutsu is extremely focused on balance and stability. Popular science observing humans teaches us that humans developed heels to stand on for balance as we went from four legs to two. The heels offer great stability when carrying heavy weight and moving slowly. With the heels being used more so in footwork and stepping one feels an increase of control and balance. Use of the body naturally as it was designed by millions of years of movement creates the lower body to be such as roots of a great and strong tree that cannot easily be felled. One in control of themselves can have great influence on another. Control over oneself creates control over the opponent. These lessons are well demonstrated in Oishi Shinkage-ryu Kenjutsu. Going back to the footwork, Oishi Shinkage-ryu has the advantage of being able to move in a lateral direction quickly because of the dynamics I have described with use of the entire foot and foot positioning. Many of the kata or tekazu demonstrate the forward and lateral advance of the participants removing themselves from the opponents center and focus by side stepping, then flanking offensively, and keeping away from the cutting path of the opponent’s sword. This is a key advantage displayed in sports such as boxing or stand up fighting. Also, this is applied in law enforcement. Removing yourself from danger yet remaining in control is a key element to survival in real life situations.
The intention of two-man forms is to teach swordsmanship principals and techniques. They teach distance, footwork, timing, sword control and techniques, also, how to control one’s self to the extent they can control the situation. A large degree of this control is demonstrated in Oishi Shinkage-ryu Kenjutsu. First harmony between the two participants is established as it is practiced to read and feel the other participant’s energy and movement. Practicing this observation of the other routinely creates the habit of understanding the intentions and feelings of others in their presence around you. When practicing sword techniques, it becomes possible to read when the other will move and their level of capability and confidence. Certain techniques take advantage of this and are demonstrated as one person wins a duel without having to cut at the other. Overwhelming one with the presence of confidence and control is one of the major features of Oishi Shinkage-ryu. This goes beyond sword techniques. It moves to a level where one is able to extinguish the other’s possible next move and to a state of defeat without a violent act. In other words, one can overcome the other by using the mind and body together. Observed in other Japanese two-man forms, I believe that Oishi Shinkage-ryu emphasizes this type of capability more so. This makes the tekazu more than just choreographed motions. They are exercises in deeper understandings of one’s self and exploration into reading another. If done well, this can deepen the harmony between the practitioners and create more depth when taking a lesson from each of the tekazu creating a mental exercise in addition to physical control and movement.

On the note of speaking of control and movement, the sword control in Oishi Shinkage-ryu in my opinion is performed in a more conservative and gentler manner. When observing a cut coming from overhead, in other schools such as the Kendo schools, the sword is sprung into motion beginning with changes in the hands and fingers causing the tip to travel. The wrists snap into an extended position then emphasized by extending the arms. At the end of the cut, the arms travel back towards the body in front of the hara to an area in front of the seika tanden. This creates an elliptical path the tip of the sword travels. In contrast with Oishi Shinkage-ryu, there is no snap of the wrist when observing the same overhead vertical downward cut. The hand positioning is slightly different as the forward right hand rolls inward more so emphasizing contact with the handle in key areas. This produces more control and more security when moving the sword. The arms do not extend to the degree of the other styles. They rather only lift enough to bring the sword overhead with the sword at a 45-degree angle laterally and posteriorly above the head. The cut is initiated by the hands directing the sword to the desired angle of the cut, brought downward to return the handle of the sword to the same area mentioned earlier in front of the seika tanden. This creates a circular motion rather than an elliptical motion. Excessive movements that cause an elliptical motion are eliminated. In my observations practicing other modalities such as using sledgehammers for body conditioning or using an o’bokken for extended periods of over an hour of post striking results in excessive movements cause pain, wear and tear. They also decrease the relaxation of the body. The less the body relaxes, the slower it can become and less apt for adaptability to change in a situation. In other words, there is less overall control. In law enforcement, it is essential to be accurate and concise when yielding a firearm. There is no margin for error in many scenarios. Extra movements and movements that can cause errors or fatigue are brought to ones attention and eliminated in training so that in the future if needed one has an advantageous method of adaptation to an environment.
To summarize my observations, a widened hanmi stance in a lowered ready position and natural footwork, the reading of ones self and reading of the other practitioner, and streamlined sword motions are the main features of Oishi Shinkage-ryu Kenjutsu that I have noticed are contrasting to other forms of two-man techniques especially compared to Kendo no Kata.
Again, my own opinion linking things I believe to understand from other schools and my own explored modalities to teachings of Japanese swordsmanship. And in doing so I can appreciate things much more for what they are and what they are not.
Also, an appreciation of living traditions generations old and their teachings has led me to this approach of the discussion of the description of the unique features or characteristics of Oishi Shinkage-ryu Kenjutsu compared to other schools. I look forward to learning more with every lesson and also to deepen my understanding by observing how many aspects of different modalities relate and contrast to each other.

1. 2023/07/01(土) 21:25:00|
2. 昇段審査論文

　昨日の大石神影流の論文と同じ筆者です。いつも自然の野山を駆け回るトレーニングをされています。穏やかで人を幸せにする力を持っている方です。

Describe the unique features or characteristics of Muso Shinden Eishin-ryu Iai Heiho compared to other schools.

In the summer of 2010, I began the study of Japanese swordsmanship under Pedro Borrego in the city of El Paso, TX, USA. I have had the privilege since then to be introduced to several schools’ teachings of Japanese swordsmanship with Iaido being the main focus. Iaido school’s teachings that I have been introduced to are Zen Nihon Kendo Renmei Seitei Iaido, Araki Mujinsai-ryu Iaido, Shin Shin-ryu Iaijutsu, Toyama-ryu Iaido and most recently Muso Shinden Eishin-ryu Iai Heiho beginning in 2016. Muso Shinden Eishin-ryu Iai Heiho and its affiliated schools under Kan ou-kan Koryu schools of Oishi Shinkage-ryu Kenjutsu and Shibukawa Ichi Ryu Jujutsu are now our focus and curriculum. In comparison to other Iai schools, Muso Shinden Eishin-ryu has many unique characteristics and features that I have made efforts to implement and understand. I will discuss these characteristics using what I have learned from other schools and from my life experiences in martial arts and movement. In addition to Japanese swordsmanship, as a child I practiced karate, as a teenager I practiced law enforcement techniques as a Border Patrol Explorer, and as an adult, modern Muay Thai kickboxing. I also study body conditioning and training in calisthenics, weightlifting, running and natural movements informally. I mention my experiences with my extra circular studies to help one understand my perspectives and points of view. Our experiences help shape who we are and how we view and understand the world around us.
One of the major characteristics of Muso Shinden Eishin-ryu Iai Heiho is that it features the most relaxation and natural movements and techniques from the other Iai schools that I have learned from. Thinking back to when I first began learning Iai I do not believe that I may have noticed this particular characteristic. After years of practicing Zen Nihon Kendo Renmei Seitei Iaido and Araki Mujinsai-ryu Iaido it is incredibly obvious. Japanese schools teach concepts that are similar to each other however the exact techniques do vary in execution. There is a rigidity imbued in the more modern Iai schools that can be first observed in the area of the neck, back and pelvis. Other schools seem to have an influence of western military presentation where the body is always settled in an erected position from the hips and above. There is little flexion or extension observed in movement resembling a soldier at attention. In the animal world this translates to a display of one trying to cause some sort of intimidation or presence to be observed by others as being your largest most erect self has a conscious and unconscious effect on those surrounding you. The term “peacocking” was coined in American English after observation of male peacocks when they display all their plumage in a bold array of decorative display to impress others as their mass looks larger than they actually are. I have never noticed “peacocking” in Muso Shinden Eishin-ryu Iai Heiho as I have in the other Iai schools I have learned from. There is no rigidity or over erectness in the spine. Only a natural understanding of the pull of gravity and its counterpart of where the head is existing in relation to it. The head extends skyward away from the ground in a natural manner and at rest, the elbows naturally exist close to the body. In motion the spine is allowed to move in front of the center of gravity being the pelvic area and return when appropriate. There is a Japanese term that corresponds although not exactly with the English term “center of gravity”. The Japanese term of seika tanden can be described as an area from the front just below the navel and centered at the core of the abdominal pelvic region. I have never noted performing in other schools any movements or katas where the upper body leans away from or deviates from above the tanden or center of gravity. In Muso Shinden Eishin-ryu It is understood that the spine and pelvis are not fused items. Rather moving parts of the body that when yielding a sword that functions best with some movement. A great quote by a wise man translated to English states: Men are born soft and supple; dead they are stiff and hard. Plants are born tender and pliant; dead, they are brittle and dry. Thus, whoever is stiff and inflexible is a disciple of death. Whoever is soft and yielding is a disciple of life. The hard and stiff will be broken. The soft and supple will prevail. – Lao Tzu. Upon discovering this quote I understood the importance of the teachings of Kan ou-Kan Koryu school’s Muso Shinden Eishin-ryu Iai Heiho. It is stated officially that: “Training is not unreasonable or brute force. It seeks a reasonable and natural state of mind and body”. With this statement in mind, in addition to the back not being limited to immovable and rigid the school teaches many other aspects of movement that are much softer and more natural movements than other schools. I will discuss these observations later. Focusing at the moment on the back and pelvis we see that there are dynamic movements where the pelvis has leeway to tilt and the spine can flex and extend as necessary such as in the Omori-ryu set demonstration of Ryutou or Nukiuchi. Ryutou teaches us in the end of the cut to tilt our body slightly forward with our weight of our upper body in front of our seika tanden. Also, the same in Nukiuchi. Although only slight deviation forward, we can see the advantage of being able to give the sword the ability to reach a further target and keep our bodies at a safe distance from an opponent’s sword yet still completely within our bodies natural ability to balance itself. These are very important lessons in swordsmanship and in life itself if translated correctly.
Another aspect of Muso Shinden Eishin-ryu Iai Heiho that is different from the other Iai schools is how the sword travels when performing cuts. Vertical cuts are usually the first type of cut any Iai school teaches. Musho Shinden Eishin-ryu’s cut coming from overhead downward in front of the practitioner is the first to be observed. Other schools teach the initiation of cut resulting in the tip of the sword drawing an oval or elliptical shape in the air. This oval shape is created by a snapping or exstension of the wrists and closing of the fingers springing the sword forward then extending the arms and later to draw them back in to the area in front of the tanden a few inches outward from the body. Eishin-ryu teaches the sword to be moved in a circular motion where the grip does not change much and the arms do not extent forward. The arms simply drive the sword along a natural range of motion of the upper arms with the hands above the head and then downward with the also resulting in a circular pattern with the sword handle in front of the tanden at the end of the cut. The elbows are always slightly bent, and the hands grip the sword more by the right forward hand rolling slightly more inward and the wrists in a more neutral position. This creates more surface area of the hand on the handle in key areas offering a more stable grip. Muso Shinden Eishin-ryu Iai Heiho again demonstrates using a more gentle and natural motion set than the other schools offers the unique advantage I leave to my logic and imagination to explain. The school uses a much larger sword in comparison to the other schools. Wielding more weight and length changes the physics and geometry of the sword and the practitioner. Attempting to swing a larger sword in the same manner as a lighter smaller sword will not optimize performance or execution of a cut. A much gentler natural approach is necessary. My life experience and practice of other modalities has led me to believe this. While conditioning for upper body strength, wielding a sledgehammer for over an hour and striking a post with an o’bokken for over an hour led me right back to the teachings of Eishin-ryu. Thus, the less movement, the better for the tendons and joints. Excessive movements long term are superfluous and cause pain, wear and tear. Slow and easy leads to smooth and smooth leads to fast. An idea I was taught initially when learning Iai and then applied to training of running long distance to then create a better overall understanding in Kan ou-kan’s schools’ teachings. The gentler approach and minimal movements of the sword in comparison to the other schools allows one to wield a much larger heavier sword and do it for a lifetime. I had mentioned before an element of relaxation that is taught. It exists mentally and in posture and movements. The sword is moved effortlessly without the body’s resistance or becoming too stiff. Yet it is with enough control to be effective cutting and the body always remains in control yet in a natural state. I have yet to perfect the sword movements however I have improved, and I appreciate the improvements and teachings.
I stated that that I have observed Muso Shinden Eishin-ryu Iai Heiho to be gentler and more relaxed and with less extra movements than other styles I have practiced yet it has the most aggressive approach to the technique of drawing the sword. Other styles remain rather static in the initial motions of drawing the sword. Some even have extra movements in comparison. The first katas that teach how to initially draw the sword in Muso Shinden Eishin-ryu get a step ahead of the others as the sword is approached first with the left hand immediately moving from the body to gripping and pushing the sword in the direction it will be traveling. At the same time the body moves forward as well. The right hand follows the same idea and instead of gripping the handle with the fingers closed, the fingertips also project in the same direction of travel. The left side then moves the saya away from the opponent maintaining and creating an angle of the body in respect to the opponent. The body continues to push forward as well and the right hand then grips the sword with the wrist in a natural position as the arm travels only as far as necessary. All movements are then forward and no extra movements exist. The mind projects the body and the sword in the direction of travel as the sword is drawn. Going back to my experience with running, running is basically a perpetual and controlled falling forward of the human body. I see this in many ways in the initial movements of Eishin-ryu in the way the sword is drawn. The body is shifted to a forward motion where the body naturally shifts forward to cut the opponent without hesitation or lapse. No extra movements are required. The body ends in a traditional “stand-up” fighting position or rather a variation of a hanmi stance where one shoulder and respective hip are closer to the opponent than the other offering balance in 360 degrees and a narrower target. The rear foot angles out in a 45-degree fashion offering stability and balance. Other styles and schools practice a much shallower body position. In my understanding it takes more effort to establish balance and posture in such a manner holding a completely forward-facing stance. Also noting that the body’s vital areas end in a closer range to the opponent to maintain such posture and balance.
To restate my observations, Muso Shinden Eishin-ryu’s differences and features are a more natural and balanced posture and stance, a more relaxed cutting motion, and a very quick aggressive sword draw and initial movement. These are my favorite observations that I have noted for Muso Shinden Eishen-ryu Iai Heiho that are unique to the school compared to other Iai schools. I have taken lessons from the teachings of relaxation, gentleness and minimization of excessive movements and translated and applied them in other areas of study and training in my life. With practice they work very well. It was also a good experience to reflect on these features.

1. 2023/07/02(日) 21:25:00|
2. 昇段審査論文

　何度か述べていますが、まだ腑に落ちていない方もおられますので述べておきます。私と一緒に抜くときには私は流派そのものを写し取らせようとしています。したがって私より先に動くことはあり得ないのです。一緒に抜きながら私より先に動こうとするのは業を写し取ろうとしているのではなく、自分の思い通りに動こうとしているだけで無雙神傳英信流の形の手順を用いながら自分自身の思いをかなえているにすぎません。習ってはいないのです。
　形の初動からだけでなく、袴捌、座り方、立ち方、回り方全て写し取らなければ一緒に抜く意味はありません。心して稽古してください。

1. 2023/07/03(月) 21:25:00|
2. 居合 総論

エルパソ支部で稽古している方の澁川一流の初段の論文です。すでに渡米して3回指導していますが指導のたびに目に見えて上達しておられます。

Describe the etiquette of Budo and the etiquette of Shibukawa Ichi Ryu Jujutsu.

In broad terms budo etiquette encompasses the dogmatic practices during and around class, the social hierarchy displayed to practitioners, the attire practitioners display and the condition of the attire, the attitude toward practice, and in general the mindset of the budo practitioner.
As Japan transitioned from the warring states period to the more peaceful Edo period, established martial arts school had to change from pragmatic militaristic training to more ethical minded ways of teaching self-defense and self-improvement while still imparting the martial aspects of the schools teaching, of course coming from a westerner with only a cursory knowledge of this time period, and who’s knowledge of budo practice is from the western branches of these schools hopefully this paper doesn’t come off completely tone deaf to the actual facts of budo life in Japan. This renaissance of focus to one self’s personal growth altered the stakes of daily practice from one as a fundamental practical routine for self-preservation on the battle field to an introspective approach to a better self. As a Samurai would see themselves as a professional Warrior, or modern terms a Soldier, now the Samurai is a social pinnacle of moral rectitude, a shining knight as it were, there to maintain order and protect the social status quo. As before the social trappings reserved only for high-ranking officials were taught to the upper crust as a matter of not only standing, but also for practical recourse, as such well prepared, feed, and equipped retainers are not only more effective but also more survivable on the battle field and display grater loyalty to one’s employer. Now these lofty attributes needed to be imparted to Budo students as principals to apply to one self, as one is always Daimyo of the self.
The way schools positioned themselves for greater exposure and influence also lead the way that the schools imparted their teachings and to whom. As the saying goes; like attracts like. The core teaching attitude from there leadership attracted, or turn away, practitioners from them, which in hindsight this approach is completely logical/expected as military doctrine does teach that you don’t win a battle/war with scores of just anyone. Victory comes from individuals with like or different backgrounds, but all contain the common core beliefs that most human organizations hold as valuable, courage, trust, motivation, honor, pride, humility, gratefulness, etc. So how do you teach such a fundamental core set of principals during practice sessions, you can’t. Teachers can only aspire, guide, and offer a moral counterpoint during small discourses when possible. This is not to say that a practitioner cannot chance, but people don’t change unless they want to, and accept change. All that time does is allow the heart to shine with the colors that were already there. Which all lead to why budo etiquette stress’s hierarchical structure during practice.
A common social structure in budo is the same as one would see in the chain of command in military organizations, but with an educational slant for daily practice. Given the historical origins of the schools from battle professionals, social-class defenders, into modern professionals needing a pass time for physical and mental development. One can argue that modern budo could move away from these structures, so if one does an audit of newer disciplines, it can and has been done. One of the biggest examples being Jeet Kune Do, though famously the head of the school decided to step away from becoming the center of the discipline. Though I personally think that whatever the structure the school uses can be effective as long as the core tenants of respect, mindfulness, and gratefulness are maintained. Losing respect for one’s fellow practitioners leads to mistrust, that can make accidents more frequent, and you cannot learn from someone who you do not respect as a teacher. Mindfulness and gratefulness go hand in hand when learning. As most techniques can be learned from a book, however learning alone with a book is a flat experience that leaves many holes in the practitioner’s mind, as well as how these techniques apply to different opponents and physical body types. As this all leads back that one has to be mindful and grateful of other people’s time, no one joins a group to be a stepping stone in someone else’s story.
So, to answer the question; I really don’t see much of a different in other Budo and Shibukawa Ichi Ryu Jujutsu. Shibukawa Ichi Ryu Jujutsu seems to offer the same adherence to personal growth through mental and physical drills, mindful and grateful use of others time, and respectful demeaner from the participants and leadership.

1. 2023/07/04(火) 21:25:00|
2. 昇段審査論文

昨日と同じ筆者の無雙神傳英信流抜刀兵法の三段の論文です。筋力が強い方で始めて指導したときには動きが硬かったのですが、見る見るうちに上達されました。概していえることですが、米国の人の方が日本人よりも真面目に話を聞きすべてを習おうとしますので、同じ時間を教えても日本人よりも何倍も速く上達します。

Describe the unique features or characteristics of Muso Shinden Eishin Ryu Iai Heiho.

As one looks at the composure between styles one must surmise that Muso Shinden Eishin Ryu Iai Heiho has a truly unique approach to composure. If you look at styles like Shin Shin Ryu or Araki Ryu Mugen Sai Iai that have practitioners adapt a composer that stresses a more power-based stance, Shin Shin coming from heavy upper body work and Araki from large kinetic motions from lower stances. Shin Shin having power as such a driving factor that the motions are very choppy for a very prolonged period for the practitioner. Araki on the other hand stresses power from large flowing motions that one does not truly understand until taking some time to see the dance hidden in the Kata, this may cause stagnation for some practitioner as not everyone has the capacity to fully develop an artistic flow to there Kata. As one observes these styles in practice it is easy to not see the common thread toward teaching, but it leaves the practitioner having to adapt their nature to fit the schools’ approach to motion and power. Muso Shinden Eishin Ryu Iai Heiho brings out the natural composure of the practitioner into the Iai world, teaching the adaptations necessary for the composure to be applied as a practical sword user. The biggest differences are in the use of shoulder weight and hara. As the other style would have the user rotate the shoulders back slightly from a relaxed position to enhance the practitioner’s posture. On the other hand, hara use is left more to the practitioner to understand from the Kata themselves and not fully be explored until later in the practitioner’s development; while Muso Shinden Eishin Ryu Iai Heiho would make this a large part of a practitioner’s yearly practices. Given that the most difficult aspect to impart to a new Kenshin is not physical, but mental, spiritual, and wholeness as individual.
Muso Shinden Eishin Ryu Iai Heiho is also very forgiving on the Kata steps for distance. While Sete Iai, Araki, and Shin Shin Ryu would systemize the steps, order, starting foot in a very clear manner, but with no deviation for different body types or age differences. Sete Iai is very dogmatic in this regard as practitioners have to start and end each Kata with very exact foot work with a very stoic head and death stare. Shin Shin Ryu requires practitioners to spend extended periods of time learning to avoid a blade by jumping, though being well intentioned it does create a barrier to entry for practitioners. While Budo in general has a large physical component asking practitioners to jump from seiza repeatedly does seem to be an extreme version in the modern world. Muso Shinden Eishin Ryu Iai Heiho allows the practitioners to focus on the blade distance and the effectiveness of the practitioner to do the cut. Focusing on the blade work itself allows the practitioner to spend more time understanding how their bodies move in relation to cutting and proper blade work.
The importance of breathing in any physical activity cannot be understated, however the rhythm and scope of breath is very regularly treated as an advance aspect to be left un-explored until very late in the practitioner’s martial arts career. Styles like Shin Shin and Toyama Ryu depend exclusively on dogmatic use of Kiais with not much as toward the why the Kiai is used in the first place. Although, even Sete Iai has very exact regimental guidelines toward the use of breathing and motion control similar to Muso Shinden Eishin Ryu Iai Heiho, but restricting such elaboration to high-ranking practices. Taking the time to feel the weight of the motion with breath control, feeling the air be pulled down, amaze toward the hara, allowing the air to expand the motion, feel the heat of my core come forward toward the motion, then the body relax as the air terminates has been a very enjoyable part of learning Muso Shinden Eishin Ryu Iai Heiho. Breathing is often over looked as something the practitioner shall developer in due course, or as a result of survival. Given that something like breathing shall develop on its own, I’m more in favor in allowing people to contemplate the role of breathing in their motions.
On the subject of feel of the blade weight Muso Shinden Eishin Ryu Iai Heiho does offer a unique approach to strike motion. As I’ve seen before most styles prefer to reflect on the Kata first and help practitioners see how the blade weight affects their motion as practical knowledge learned as they try to cut their first cutting target. Granted watching somebody bounce off the target, or scoop it into the air like a scene from a Quinton Tarantino movie is an enjoyable afternoon that can be described as fun for the whole family; it does leave a bitter taste in one’s mouth, hopefully the practitioner learns from the experience with grace. Asking the practitioner to feel the weight and to see the weight as part of practice makes it easier for a practitioner to transition from Kata to actual cutting, as one has already a taken into account the physical ramifications of making contact with the target and how the weight of the blade affects motion. Granted, as imaginary exercises this is not the same as training with actual targets, but it is a very useful way to safely introduce cutting into the lexicon of the practitioner. As the hardest part of learning to cut is to learn to lose tension, or have no tension, and trust the motion, to see the motion as a natural part of the flow. This is also related by extension into the idea of being in a scenario like the Kata used to practice, to simply move as needed with no hesitation or doubt, live another day simply by existing in the present and being the maximum of yourself to live in the moment and past the moment.
As your understanding of blade work deepens you begin to see the full extent that something as basic as grip can affect everything. Sete/Kendo is designed more for the extreme edges of range so a grip that allows the practitioner to still maintain a firm grip at even the largest possible reach is necessitated, by adjusting the grip toward the opponent leaving a large pocket in the thenar web space of the hand. Such a grip has the practicality of allowing an extended reach and placing less strain on the wrist, though at the expense of cutting control making it ill-suited for the scenarios used to teach during Muso Shinden Eishin Ryu Iai Heiho Kata. This also gravely hinder the practitioners understanding of weight in relation to cutting or body motion. As weight is key to understanding the cuts and body motions of most Kata. A styles Kata is not just some random assortment of motions for people to practice, although some can be described as cutting exercises, they represent a school’s fundamental view toward the art, its practitioners, and the world. How the Kata are practiced from day one influence every day from there, so grip may seem like a small part that the practitioner shall inherit in due course, but the position, inclination, angle, etc. of the tsukagawa in the practitioner’s hand can tell you a lot of how a styles handles positioning, distance, and even power, I’m probably not even scratching the surface on how much. So as time passes and I begin to see even more in the details, one can hope to be ready to accept the seen, feel the reality of the good and bad aspects of one’s skills, and move forward with the necessary practices.

Muso Shinden Eishin Ryu Iai Heiho as a style grounds the practitioner with practical drills to expand the use of the physical and emotional center their being. As the practitioners learns the value on the scenarios, how to control the hara, and depends the connection to the motions as a how the practitioner moves in to deeper understanding of blade work. Breathing as the connection to the motions, not only as matter of course as individuals must breathe, as an integral notion that creates the motion itself. This all must be balanced with the practitioner’s body and relation to the opponent, so the more practical need to fully understand the space the Kata is being practiced in comes back into the practitioner’s mind. Keeping a balanced mind to have no tension while bringing the hara under control to create power. As the time passes and the student practices Kata the motions become part of the daily routine and shape not only the practitioner’s approach to exercise but to thinking, to being. So, to finally answer the question; Muso Shinden Eishin Ryu Iai Heiho stands not so much as unique in practice, I have been exposed to different style with unique approaches to many things. Muso Shinden Eishin Ryu Iai Heiho stands apart to me as unique from its mindset, cultivate the Kenshin from the core out.

1. 2023/07/05(水) 21:25:00|
2. 昇段審査論文

　エルパソ支部に所属される方の三段の論文です。先日の無雙神傳英信流の筆者と同じ方です。剣術も居合同様にはじめは固い動きしかできなかったのですが速やかに上達していかれました。聞く力と、自分自身で問題解決していく力が現代の日本人よりも大きいのだと思います。

Describe the unique features or characteristics of Oishi Shinkage Ryu Kenjutsu.

As one looks at the composure between styles one must surmise Oishi Shinkage Ryu Kenjutsu has a truly unique approach to composure. If you look at styles like Shin Shin Ryu or Kendo Kata that have practitioners adapt a composer that stresses a more power-based stance, Shin Shin coming from heavy upper body work and Kendo from extremely stretched body forms. Shin Shin having power as such a driving factor that the motions are very choppy for a very prolonged period for the practitioner. Kendo on the other hand stressing the reach from a practitioner even if the cut would not be effective against armor having more emphasis on the life-giving sword aspect of Kenjutsu, this may cause stagnation for some practitioner as many in Kendo prefer the combative rivalry instead of the philosophies hidden in the Kata. As one observes these styles in practice it is easy to not see the common thread toward teaching, but it leaves the practitioner having to adapt their nature to fit the schools’ approach to motion and power. Oishi Shinkage Ryu Kenjutsu brings out the natural composure of the practitioner into the Kenjutsu world, teaching the adaptations necessary for the composure to be applied as a practical sword user. The biggest differences are in the use of shoulder weight and hara. As the other style would have the user rotate the shoulders back slightly from a relaxed position to enhance the practitioner’s posture. On the other hand, hara use is left more to the practitioner to understand from the Kata themselves, or grueling physical activity, and not be fully explored until later in the practitioner’s development; while Oishi Shinkage Ryu Kenjutsu would make this a large part of a practitioner’s yearly practices. Given that the most difficult aspect to impart to a new Kenshin is not physical, but mental, spiritual, and wholeness as individual.
Oishi Shinkage Ryu Kenjutsu is also very forgiving on the Kata steps for distance. While Kendo, or Shin Shin Ryu would systemize the steps, order, starting foot in a very clear manner, but with no deviation for different body types or age differences. Kendo Kata is very dogmatic in this regard as practitioners have to start and end each Kata with very exact foot work with a very stoic head and death stare. Shin Shin Ryu requires practitioners to spend extended periods of time learning to avoid a blade by jumping, though being well intentioned it does create a barrier to entry for practitioners. While Budo in general has a large physical component asking practitioners to jump from seiza repeatedly does seem to be an extreme version in the modern world. While Budo in general has a large physical component asking practitioners to jump from seiza repeatedly does seem to be an extreme version in the modern world. Oishi Shinkage Ryu Kenjutsu allows the practitioners to focus on the blade distance and the effectiveness of the practitioner to do the cut. Focusing on the blade work itself allows the practitioner to spend more time understanding how their bodies move in relation to cutting and proper blade work.
The importance of breathing in any physical activity cannot be understated, however the rhythm and scope of breath is very regularly treated as an advance aspect to be left un-explored until very late in the practitioner’s martial arts career. Styles like Shin Shin and Kendo depend exclusively on dogmatic use of Kiais with not much as toward the why the Kiai is used in the first place. Although, the explanation in Kendo is very obvious as if you don’t learn to control your breathing you’ll probably pass out. Taking the time to feel the weight of the motion with breath control, feeling the air be pulled down, amaze toward the hara, allowing the air to expand the motion, feel the heat of my core come forward toward the motion, then the body relax as the air terminates has been a very enjoyable part of learning Oishi Shinkage Ryu Kenjutsu. Breathing is often over looked as something the practitioner shall developer in due course, or as a result of survival. Given that something like breathing shall develop on its own, I’m more in favor in allowing people to contemplate the role of breathing in their motions.
On the subject of feel of the blade weight Oishi Shinkage Ryu Kenjutsu does offer a unique approach to strike motion. As I’ve seen before most styles prefer to reflect on the Kata first and help practitioners see how the blade weight affects their motion as practical knowledge learned as they try to cut their first cutting target. Granted watching somebody bounce off the target, or scoop it into the air like a scene from a Quinton Tarantino movie is an enjoyable afternoon that can be described as fun for the whole family; it does leave a bitter taste in one’s mouth, hopefully the practitioner learns from the experience with grace. Asking the practitioner to feel the weight and to see the weight as part of practice makes it easier for a practitioner to transition from Kata to actual cutting, as one has already a taken into account the physical ramifications of making contact with the target and how the weight of the blade affects motion. Granted, as imaginary exercises this is not the same as training with actual targets, but it is a very useful way to safely introduce cutting into the lexicon of the practitioner. As the hardest part of learning to cut is to learn to lose tension, or have no tension, and trust the motion, to see the motion as a natural part of the flow. This is also related by extension into the idea of being in a scenario like the Kata used to practice, to simply move as needed with no hesitation or doubt, live another day simply by existing in the present and being the maximum of yourself to live in the moment and past the moment.
As your understanding of blade work deepens you begin to see the full extent that something as basic as grip can affect everything. Sete/Kendo is designed more for the extreme edges of range so a grip that allows the practitioner to still maintain a firm grip at even the largest possible reach is necessitated, by adjusting the grip toward the opponent leaving a large pocket in the thenar web space of the hand. Such a grip has the practicality of allowing an extended reach and placing less strain on the wrist, though at the expense of cutting control making it ill-suited for the scenarios used to teach during Oishi Shinkage Ryu Kenjutsu Kata. This also gravely hinder the practitioners understanding of weight in relation to cutting or body motion. As weight is key to understanding the cuts and body motions of most Kata. A styles Kata is not just some random assortment of motions for people to practice, although some can be described as cutting exercises, they represent a school’s fundamental view toward the art, its practitioners, and the world. How the Kata are practiced from day one influence every day from there, so grip may seem like a small part that the practitioner shall inherit in due course, but the position, inclination, angle, etc. of the tsukagawa in the practitioner’s hand can tell you a lot of how a styles handles positioning, distance, and even power, I’m probably not even scratching the surface on how much. So as time passes and I begin to see even more in the details, one can hope to be ready to accept the seen, feel the reality of the good and bad aspects of one’s skills, and move forward with the necessary practices.
Oishi Shinkage Ryu Kenjutsu as a style grounds the practitioner with practical drills to expand the use of the physical and emotional center their being. As the practitioners learns the value on the scenarios, how to control the hara, and depends the connection to the motions as a how the practitioner moves in to deeper understanding of blade work. Breathing as the connection to the motions, not only as matter of course as individuals must breathe, as an integral notion that creates the motion itself. This all must be balanced with the practitioner’s body and relation to the opponent, so the more practical need to fully understand the space the Kata is being practiced in comes back into the practitioner’s mind. Keeping a balanced mind to have no tension while bringing the hara under control to create power. As the time passes and the student practices Kata the motions become part of the daily routine and shape not only the practitioner’s approach to exercise but to thinking, to being. So, to finally answer the question; Oishi Shinkage Ryu Kenjutsu stands not so much as unique in practice, I have been exposed to different style with unique approaches to many things. Oishi Shinkage Ryu Kenjutsu stands apart to me as unique from its mindset, cultivate the Kenshin from the core out.

1. 2023/07/06(木) 21:25:00|
2. 昇段審査論文

　稽古に用いる道具は基本的に樫で作られてきました。江戸時代や明治時代、またできる人は最近まで自作してきました。かつては赤樫も用いられていたのですが、現在赤樫と呼ばれるものは本来の赤樫ではなく弱いために稽古には用いません。現在赤樫とよばれるものを稽古に用いて、半棒や六尺棒の稽古で棒や木刀が折れていますので、現在の赤樫とよばれるものは稽古に用いるべきではないと考えます。
　澁川一流柔術の稽古に用いる互棒や小棒といった短い棒も樫でつくります。市販の丸い棒を用いると弱く折れることがありますので稽古に用いて万が一折れて稽古相手の喉や腕に刺されば大変なことになります。
　

1. 2023/07/07(金) 21:25:00|
2. 居合・剣術・柔術 総論

　最近はカメラで写真を撮ることがなくなったためかずいぶん前から一眼レフだけでなくコンパクトカメラで写真を撮ったことがない人がいます。
　写真を撮るセンスは武道のセンスに通じます。被写体の動きの良いタイミングでシャッターを切れるかどうかは機を見れるかどうかにつながります。良いアングルや良い背景を選ぶことができるかどうかは全体を見る力につながっているのです。今はスマホでも高解像度の写真を撮ることができます。武道の写真に限らず、家族の写真や動物の写真など動きのある被写体であれば稽古になります。写真を撮ることが稽古の一つと思って試みてください。

1. 2023/07/08(土) 21:25:00|
2. 居合・剣術・柔術 総論

　受、打方、打太刀の間合がいい加減であると捕、仕方、仕太刀の技もいい加減になってしまいます。
　澁川一流柔術の打込は受が懐剣で頭部又は顔面を打込なければなりませんが深く打込んだり、また浅すぎれば適切な技をかけることができません。間合が異なるのですから捕は形通りの動きは出来ず、本来ならば捕はその場に応じた異なった動きをしなければならないのです。稽古のたびに受の打込の間合が異なっていたら初心者には稽古になりません。受は適切な間合いで打込まなければならないのです。適切な間合いがわからなければ自宅で壁や柱に向って打込む稽古をしてください。適切な間合いを覚えたら初めて一人で空間に打込む稽古をしてください。それではじめて受を務めることができます。受は責任重大なのです。負ける役目ではありません。

1. 2023/07/09(日) 21:25:00|
2. 柔術 業

　無雙神傳英信流抜刀兵法の師である梅本三男先生の道場は大変小さな空間でした。梅本先生は親族が社長の薬草屋さんの専務をされておられ、薬草屋の裏の住宅に住んでおられましたので薬草倉庫の２階の一室を道場として整備されていました。斬撃の稽古を３人がすればいっぱいで形の稽古は２人しかできませんでした。稽古できない人は稽古している人を見ているか話をしていましたが私は先生が指導されるのを見ていました。どうしてもたくさん稽古したければ隣の部屋に薬草の俵がないときにはそこを使わせてもらい、また薬草の倉庫の物干し場を使わさせていただくこともありましたが、いつもは先生が指導されるのを見ていました。
　週に１回は饒津神社の境内にあった白石先生が建てられた修武館という導場で稽古があり、そこが道路拡張で取り壊しにあった後は中学校の体育館や公民館の体育館などの広い場での稽古が続きました。
　広い場での稽古は先生が抜かれれるのに合わせて抜き、先生の業を写し取る稽古でした。
　先生の道場はそのような小さな空間でしたが、先生の晩年には先生の業が進み、理解できる人が少なくなってマンツーマンでご指導を受けました。稽古後の道場や階段の水拭きなどは最後まで私の仕事として務めさせていただくことができました。

1. 2023/07/10(月) 21:25:00|
2. 居合・剣術・柔術 総論

　正しく抜けなければ抜いてはいけません。そこが自分の限界と知り、さらに稽古を積まなければなりません。無雙神傳英信流の稽古でははじめは鞘木刀など現代人の身長では無雙神傳英信流の稽古には短めの長さの木刀を用いて稽古していただいていますが、注文して数カ月たって後は各人の身長に合わせた適切な長さの模造刀で稽古をしていただいています。
　その時に短いもので抜いていたように抜きたい。自分の思うように抜きたいという「我」が勝る方があります。短いものは我儘でも抜けます。適切な長さのものは法にかなわなければ正しく抜くことは出来ません。しかし抜きたいという思いが勝り無雙神傳英信流の教えにかなわない抜き方で抜こうとし始められるのです。抜付けにはならないのです。無雙神傳英信流の法は細い道です。我儘であればどのようにでも抜けます。しかし我儘を繰り返していたら無雙神傳英信流にはならなくなります。正しく抜こうとして抜けないのであればそこには間違いがあるのです。その自分の間違いを正すのが自分の稽古です。我儘で抜いてしまえば問題解決をしようとはしなくなります。抜けないからこそ問題解決をしようと努力します。修行です。
　抜けなければ抜いてはいけません。



　

1. 2023/07/11(火) 21:25:00|
2. 居合 業

　エルパソ支部に所属する方の無雙神傳英信流の論文です。弁護士をしておられ暖かな性格の家族思いの温和な方です。

Describe what you have concentrated on in your practice and what you will work on going forward.
 
It is strange to think that two years have passed since I first started practicing Iaido, when in many ways it feels like I am more of a novice now than I was when I began my training. From dojo and budo etiquette to practicing each of the forms I was taught, I ignorantly allowed myself to oversimplify what I was learning and observing, not realizing then I was thus keeping myself from truly learning anything, not actually observing. Iaido kata seemed, at first, fairly straightforward, a matter of memorizing names, stances and movements. I thought it odd during the first several of my Iaido lessons that we would perform the same kata class after class. I even at one point suspected that we were being instructed by Borrego Sensei to repeat the same kata set only so that I, the “new guy,” could learn the steps of an introductory form…that as a student new to the dojo and art I was causing senior students to be held back from focusing on different or new kata sets.
Gradually, through instruction from Borrego Sensei and practice—and also from learning from and observing my fellow students at our dojo—I began to realized and appreciate just how nuanced and complex Musho Shinden Eishin Ryu Iai Heiho is, how much there is to be aware of and focus on in performing every movement, and how necessary it is to practice and repeat every form time after time. The more I train and practice, the more it is clear how much there is to the art and each movement in a kata; an appreciation and respect I continue to develop.
Shohatto, for example, once seemed (I am embarrassed to admit) a simple matter of repeating a few steps: kneel, draw and cut, cut again, sheathe, stand. After thinking I had memorized these “steps,” it was tempting to think “Ok, I have memorized and know this form. What’s next?” Listening to and observing Borrego Sensei, as well as the senior students, it quickly became clear how much I had unwittingly allowed myself to oversimplify not only the form and kata, but the art of Shinden Eishin Ryu Iai Heiho and Iaido as well. I had not been paying attention to my breathing nor posture, I had not been minding the importance of moving from my hara, I had been performing each kata with unnecessary movements and without regard to how I moved and positioned my iaito.
In our training, Sensei has taught us to be conscious of our body and iaito (as an extension of our body) during every stage of practice. Sensei has instructed us on how to hold and carry our bokken and iaito before, between and after katas, making sure the blade is facing the right direction and that we are properly securing the tsuba. We have been taught the importance and meaning of rei ho, as well as how to how to properly bow in and out of class with attention to our posture and the placement of our hands and iaito throughout the rei. We have learned how to properly draw and grip our iaito, and to hold the iaito so that the tsuka is correctly positioned and approximately a fist away from our hara. Sensei has instructed us to always move the hara, and the importance of doing so. We have been taught to be mindful of our breathing when sitting in seiza, drawing our iaito and during noto, and with each cut. We have learned metsuke, to always be conscious of the opponent and to position our eyes accordingly.
When performing Shohatto (and every other kata) now, I try to be more conscious of my posture and breathing during seiza, while drawing my iaito and during each cut, during chiburi and noto, and while rising from seiza. I try to focus on keeping my shoulders relaxed, and maintaining correct posture and stance during every stage of the kata. I pay more attention to moving from hara, as I rise from seiza, as I cut, as I change my stance. I try to be more aware of the position of the tsuba prior to drawing and the tsuka after each cut, and of the where the kissaki is pointing throughout the kata and chiburi. I am more mindful of where my opponent is and try to maintain mestuke at all times. And I am far more aware of how much more I have to train and practice to improve in each of these areas.
Going forward, I hope to continue to practice and progress in all aspects of iaido, and realizing how much room for improvement there is has helped already tremendously, though I believe there will always be a long way to go. I recognize that my breathing needs get better, and that that will in turn help with my form and technique. I need to focus on correcting my movement, posture and stance, and appreciate that this will come only through more training and repeating kata. And ultimately, I hope to get closer to performing correctly and with better form more naturaly, without having to think too much of all that I do.

1. 2023/07/12(水) 21:25:00|
2. 昇段審査論文

　エルパソ支部長のご子息の無雙神傳英信流抜刀兵法の二段の論文です。的確に問題点を指摘できる見る目があり将来楽しみな人材です。

Describe what you have concentrated on in your practice and what you will work on going forward.

Muso Shinden Eishin Ryu Iai Heiho is very unique compared to the Kenjutsu and Jujutsu schools within Kan-ou-kan. In Oishi Shinkage Ryu and Shibukawa Ichi Ryu, you have a partner which gives you a physical target to visualize the technique you are performing. In Eishin Ryu, you are alone and must visualize your target. It is too easy to just swing a sword and say you cut your opponent correctly. Rather, it is up to you to put yourself in the situation and practice your kata correctly. There is no distraction of worrying about your partner cutting correctly, or worrying about having the correct distance, or keeping a proper pace. There is just you and the kata. Focus and you can take your time to improve any aspect you want. I believe this is an incredible opportunity to hone your core techniques and apply them to all schools within Kan-ou-kan. The concepts you learn in one school will apply to another and they will all feed off each other and work together. Muso Shinden Eishin Ryu will give you the foundation of proper movement for Oishi Shinkage Ryu and Shibukawa Ichi Ryu and the sword work that will be essential in Oishi Shinkage Ryu.
My body is very responsive to feelings of stress and unnecessary pressure. I can feel the pressure in my knees and hips when my stance is too rigid. I feel the stress in my arms and shoulders when I try to use too much power in a cut. I can feel my hands hurt from gripping the iaito too tightly. All these are warning signs to relax. This is very helpful in Eishin Ryu to understand what movements I am doing incorrectly. I try very hard to keep myself relaxed so that the movements come naturally. I focus on creating natural movement so that my steps, cuts, strikes, and all the motion I use in my kata comes fluidly. I can understand Deai from the Omori Ryu set forwards and backwards, I can describe every slight movement I will take and my attacker will take, but it is all for nothing if I cannot move correctly. I need to continue to practice my movement and breathing so that I am confident enough to move without stress or unneeded pressure. Only then can I begin to worry about my opponent. Every part of Kan-ou-kan that I study always comes back to my basic movement. It is something I will always try to better, even if I am never satisfied with it.
No one could ever truly be perfect at anything, and that includes Iai. No matter how much I practice and train and condition myself, I will always have room to become better and better. There are areas within my Iai that I am comfortable with where they are, but none are in a place where I can neglect further practice. My cuts can be better, my breathing can be more steady, my kiai can be more authoritative, and, of course, my movement can be smoother. There is no one part I can focus on to better myself. However, something I love about Muso Shinden Eishin Ryu is that anything I improve will help all my technique. All that we do that goes into a kata is working with each other so that when one part is improved, the kata as a whole is better. I can choose to focus on my cuts one day, then my footwork the next, then my breathing the next but all through that time I will be focusing on my movement. I will ensure that no matter what kata I perform or what my opponent attacks me with, that my body will be able to naturally move in the proper Muso Shinden Eishin Ryu way. One day it will become as natural as breathing, but until then I need to remember to relax my legs and shoulders.
I believe sound movement is the foundation of good Iai so that will continue to be my point of emphasis. This will remain true across Oishi Shinkage Ryu, Shibukawa Ichi Ryu, and Muso Shinden Eishin Ryu because they will all benefit from this practice. However, Muso Shinden Eishin Ryu is unique in that it gives me immediate feedback in my body and allows me to correct it and practice on my own. In school, I was taught that repetition is the mother of learning. Repetition is vital but I need to make sure I try to better myself and my technique with each repetition. I can never allow myself to become complacent with my own practice. I enjoy Eishin Ryu because it is the easiest to practice repeatedly and get the work done on my technique I need. I look forward to bettering my technique and myself as I progress through Kan-ou-kan.

1. 2023/07/13(木) 21:25:00|
2. 昇段審査論文

　澁川一流柔術の師である畝重實先生に稽古をつけていただいたのは先生のお宅の仏間でした。先生のお宅にはかつては農家によくある土間があり、先生はそこで稽古をつけられていたそうなのですが高度経済成長期に稽古する方がおられなくなったとき、土間を普通の座敷の部屋にかえられたということでした。
　仏間で稽古をつけていただいたので、大きく投げる負投などは座敷が痛むため先生のお宅では背負うまでにし、一緒に稽古に行っていたいとこの次男と土の上に畳をおいたり茣蓙を敷いたりして稽古していました。
　畝先生の先生も道場として別の建物を持っておられたわけではなく先生のお宅の土間に畳を置いて稽古したということでした。

1. 2023/07/14(金) 21:25:00|
2. 居合・剣術・柔術 総論

　　米国インディアナ州のダンビル支部の支部長の渋川一流の4段の論文です。初めの頃は力みが抜けなかったのですが、稽古を重ねるに従い良い方向に変化していきました。写真は指導中の支部長です。

Jujitsu has a long history in Japan. Practiced both as an art of war as well as a way of self-improvement over the course of centuries, it exists today in many forms. The modern arts of Judo, Aikido, and Brazilian Jujitsu would not exist without the unarmed grappling arts of the samurai.
It seems likely that it has its roots in Japanese wrestling or Sumo.
Sumo is the oldest style of wrestling recorded in the history of Japan. The records of the Nara (710 – 794) and the Heian (794 – 1185) periods have records of records of ritualistic matches called Sumai no Sechi held before nobles of the Imperial court. Sumo evolved though the ancient and feudal periods to be what many consider today to be the national sport of Japan.
In the reiho of the Shibukawa Ichi Ryu we use sonkyo to unify ourselves with our opponents similar to the way it is used in Sumo. Leg sweeps, leg throws, and arm locks are all common to Sumo and jujitsu. One sumo technique called Ipponzeoi seems to closely resemble our own Oi Nage technique with the Sumo rikishi loading his opponents over his back then throwing them by a locked arm. Another Sumo technique called Tokkurinage uses a grip to the head and neck to throw the opponent similar to our own Ura Gaeshi technique.
While some of the techniques of the Sumo dohyo were certainly used on the battlefield, the techniques of jujitsu evolved along a different philosophy of use from sporting Sumo. Many of the early styles of jujitsu were designed to be used wearing armor and used as a last resort if you found yourself fighting without your primary weapons.
However, in the case of both the Tenshin Shoden Katori Shinto Ryu and the Takenouchi Ryu there were grappling techniques for both in and out of armor. This is notable as these are two of the oldest schools with a direct lineage still practiced in modern times.
It is also notable that both schools which were founded during the late Muromachi period (1447 and 1532 respectively) are considered “sogo” or comprehensive, similar to the Shibukawa Ichi Ryu which was founded much later in the last years of the Edo period. I believe this points to our school being the product of practically minded, combat oriented individuals like the classical warriors of old.
Unlike many of the ryu that specialize on one weapon or skill, by teaching many different skill sets sogo ryu seem to acknowledge that the number of skills one needs to be familiar with are numerous and there is only a finite amount of time one can train in them. This approach is not too different from the training methods of the Filipino martial arts where the skills learned in single stick practice can then be used in both knife and empty hand applications.
Given the number and types of techniques and weapons in the Shibukawa Ichi Ryu teaches both offensively and to defend against and the time in which it was developed it certainly seems to be a late Edo period reflection of the classical warrior traditions of earlier times.
Knives would have been a common weapon for criminals in most areas. The hanbou, rokushakubou and jitte were all weapons of law enforcement officers of that time. Learning to defend yourself against a knife empty-handed or using the weapons of the day seems to be a practical consideration. Also, I have been told that most samurai practicing Shibukawa Ichi Ryu would have also practiced kenjutsu of another style as well, perhaps Muso Shinden Eishin Ryu or Oishi Shinkage Ryu which would round out their education.
The Shibukawa Ichi Ryu was founded by Syuto Kuranoshin Mitsutoki. After practicing Shibukawa Ryu, Asayama Ichiden and Namba Ippo Ryu. While it isn’t certain what parts of our curriculum come from which schools it’s a fair assumption that our founder would have combined the most useful of what he had learned from these older schools and taught it to be an effective art for the times he lived in.
It was certainly practical enough for the samurai of Matsuyama domain (present day Ehime) in Shikoku where Mitsutoki was recruited to teach his style and lived for a time.
In the times it was developed there was serious problem around the Hiroshima domain with former samurai, now ronin committing crimes to survive the hardships of the times. The overwhelmed local authorities were unable or unwilling to provide assistance to the locals.
Around this time Mitsutoki returned to Hiroshima domain and taught his art to the locals, samurai and commoner for self-protection.
So, the Shibukawa Ichi Ryu was an art accessible to all, not just those of the bushi caste.
It was also an art of the common people.
Jujitsu has declined in popularity since the end of the Edo era. The koryu were seen as a relic of the old samurai days. Something to be avoided. Modern arts, all based in jujitsu, began to become popular.
From the Kito Ryu and the Tenjin Shinyo Ryu, Jigoro Kano developed Judo. Kano emphasized the sport and educational aspects of his art to separate it from the old ways.
From Daito Ryu Aikijutsu and his religious beliefs, Morihei Ueshiba created Aikido. His vision was of an art that encompassed the skills of all existing schools without the spirit of violence he perceived in the old koryu traditions.
After World War Two, many Japanese martial arts were severely proscribed by the Allied Occupation Forces. Anything with a link to the samurai traditions was seen as a possible threat.
In these times many koryu and kobudo traditions were lost as Sensei had no students to pass the arts on to. Similar to the early Meiji, the ways of the samurai were to be considered a part of a past best forgotten.
Based upon my experience in the Shibukawa Ichi Ryu I believe that perhaps some of the rush to leave the kobudo traditions behind for modern traditions may have been more of a product of the times as opposed to the old traditions having no place left in the modern world.
One of the goals of martials training after the beginning of the Edo period was self-improvement. While self-improvement meant something different for young retainers of the period many modern people come to the classical arts for the same reason. They are looking for a physical practice to help them improve their lives.
Should the koryu and kobudo traditions have been discarded as a relic of the past?
As I have observed earlier, the Shibukawa Ichi Ryu was taught to bushi and commoners alike. This seems a matter of practicality given the times. However, maybe some more progressive ideas were taking root towards the end of the Edo period.
Are the modern Japanese Budo arts superior to the old traditions?
My experience with the Kanoukan arts makes me think that there was a “common core” of concepts that comprised the koryu and kobudo traditions.
While specific techniques and strategies may vary from school to school moving the body as a unified whole or left and right half, learning to use smaller muscle groups, relaxation under stressful conditions seem to be concepts common to many of the old traditions.
While modern schools may have been better suited to the times they were created in they were not something new. They were a new outer expression of the same internal concepts.
The human body has not changed significantly for many millennia. We all have two arms, two legs, one head. While individual characteristics may vary from person to person the basic way the body works is the same.
As I have observed above the old traditions acknowledged that that the variations of violent conflict were many and the time to train was limited. They found the simplest way to teach what would be the most effective use of the human body in those conditions. Then the teaching was tested and refined. There was nothing to be added.
While the outer forms may have been re-purposed by the founders of the modern budo to fit the times, because the roots of the old traditions are in human movement the basic concepts cannot be changed.
The emphasis on competition or removing violence only serves to push modern traditions farther away from the older as the basic internal concepts are gradually lost.

The basic idea throughout jujitsu is to use your opponent’s force against him by redirecting the energy of the attack. This allows smaller people to control larger opponents. It also requires relatively little force if done properly. This is consonant with the concept of economy of motion and conservation of energy throughout kobudo arts.
The basics of the Shibukawa Ichi Ryu are taught in the Kutsugata.
The techniques in this set provide a foundation for learning the rest. Many are repeated throughout both the empty hand defense and defense against knife sets.
The Kutsugata teaches defense against a low line strike by intercepting it and redirecting the energy to the left or right off balancing your opponent. Kikake teaches defense against a high line grab or strike by stepping back and off the line of attack. Stepping back and off the line makes your opponent overextend thereby off balancing them. Komi Iri teaches defense against a lapel grab. When your opponent grabs and pushes you turn off the line to re-direct the energy. Uchi Komi teaches defense against a knife strike from overhead by getting off the line of attack, then redirecting the downward force into the technique.
As the Kustugata lays the foundation for the rest of the jujitsu sets, the jujitsu sets lay the foundation for learning the rest of the sets in the school. Learning to act in a relaxed, natural manner against an attack is a kind of stress inoculation exercise. We learn to handle what is coming in instead of tensing up or flinching. This has benefits during stressful situations off the mat as well.
Not everyone will be drawn to kobudo arts like the Shibukawa Ichi Ryu. The austerity of the techniques and lack of competition gives little for the ego to cling to.
For me, it is the simple yet profound nature of our school is what I am drawn to.

References:
Budo, Martial Ways of Japan
Japan Nippon Budokan
Section 4: Sumo

Japan Times Online
Sumo Special 2020
https://sports.japantimes.co.jp/sumo/techniques.html

Sword and Spirit
Classical Warrior Traditions of Japan, Vol. 2
Chapter 3
Meik and Diana Skoss

1. 2023/07/15(土) 21:25:00|
2. 昇段審査論文

米国インディアナ州のダンビル支部で稽古している方の澁川一流柔術の論文です。稽古年数は長く優しく思いやりがある方です。

The main point that I have been concentrating on in my study of Oishi Shinkage Ryu is relaxation. You need to not only relax your entire body, but also the mind. All while still moving in a very precise and concentrated manner. You must keep a high level of intensity in all your actions throughout the entire kata. Striking with the intention of cutting them down, and keeping the mindset of zanshin. All while holding your bokuto with the grip of a gentle newborn. Also while not focusing strength into one particular muscle group, but to relax your body to the point where the energy can flow from your feet, through the tanden, and out to the kissaki. This duality is exactly what I have been trying to concentrate most in all three arts that we study.
The next point that I have been concentrating on in Oishi Shinkage Ryu is my footwork. I have a bad habit of rising as I step forward in a kata. I am slightly flat footed so I tend to lift my heels off the ground, and walk with my toes and the balls of my feet. So that way my footsteps are not so heavy and I don't walk in a stomping manner. So I have been focusing on relaxing and sinking into my hips and keeping a steady motion as I move through the kata. Trying to maintain a relaxed step, not letting my heels rise and making my head and shoulders bounce. I have started to adjust my walk at work to try and step more like we do in kata, so I can make it my natural movement.
Also trying to really attune my eye to the distance in a given kata. Understanding the Mea is very crucial to everything we do. To know just how large a step to take to be able to cut. As well as how far you need to move to avoid the strike and counter. I have been working on judging distances with my eyes, not only in the dojo. But also at my work, when I operated a fork lift judging distance was very important to my job. I not only had to know how far to lift a pallet to have it fit into its slot sometimes up to 30 feet away from me. But also to get the forks of the truck to fit into the small opening of the pallet to retrieve a pallet from said heights as well. So I used these actions that I had to do multiple times a day as training, that way I could sharpen my eyesight and try to gain a deeper understanding of mea.
Another point that I have been concentrating on is keeping a relaxed grip on the bokuto like I said above. If you grip with force the energy from your tanden will stop there instead of extending out towards the kissaki. You want to hold lightly with the index finger, holding slightly more firmly with each descending finger. Keep your thumb relaxed but with the feeling of being alive as it rests on the bokuto. If you keep your fingers relaxed your wrist will relax, then your arms and so on till your whole body is relaxed and connected. But keeping your grip relaxed like that while cutting and moving during a kata can be difficult. So I have been trying to focus on keeping this kind of grip as I move my bokuto through kata, as well as other practices like Zangeki. Which has been incredibly helpful in developing this sort of relaxed sensation in my hands.
Timing is another point that is of high importance in the training of our arts. Not only in the kata, but also in the etiquette of Oishi Shinkage Ryu. The Shidachi should always start his movements slightly after the Uchidachi during kata. The timing of all the movements in a kata are one of core principles in Oishi Shinkage Ryu. You must also have a relaxed and observant mind. If you mind is clouded or full of thought you will never be able to observe the timing in a kata. Meditation is another way that I have been trying to deepen this understanding and to help clear and relax my mind. One more point that I have been concentrating on is when cutting in kata to precisely aim for the target. You don't just want to swing blindly or to just cut in the general direction, each kata has precise places to strike. So I have been practicing how to cut precisely while maintaining the correct timing. The kata that I have been focusing on for this is Suigetsu from the Shiaiguchi set.
In conclusion my study of Oishi Shinkage Ryu has been focused on relaxation, and trying to deepen my understanding of mea and zanshin. While trying to eliminate my bad habits that I have made, I hope to strengthen my sense of relaxation and connection to my tanden.

1. 2023/07/16(日) 21:25:00|
2. 昇段審査論文

　米国インディアナ州のダンビル支部で稽古している方の無雙神傳英信流の論文です。真摯に本質を追及しておられます。

Muso Shinden - Omori Ryu: Etiquette
It is not easy to relate to the eastern mind, having grown up in the west. Many westerners have
tried, and have had some success, but only the Japanese can fully appreciate what reiho
means.
Those of us from the west who study the eastern martial arts have a great deal of respect for
the arts we study and the people who created them. Some of us can even relate to these
ancients by remembering our western ancestors who fought for their country and king.
When I think of the Samurai, I can only think of the knights of the kingdoms of England and
France. The knights swore an oath to their king and embraced the real possibility of their own
death in doing so. They were fierce warriors and brave men - but that is where the similarities
end. There is a certain mystique surrounding the samurai that elevates them above the knights
of the old kingdoms of the west.
It is this connection to the past, and the people who brought the Omori Ryu into being that
captivates me. It is more than just movement. It is a connection to the people of the past and the
things that they discovered in the heat of life or death combat. It is the dedication to practicing
movement to perfection. All of this is the art.
Reiho in Omori Ryu is a promise.
It is a promise to myself, my ancestors and the ancestors of those who practiced the art before
me, that I will fully dedicate myself to the art while I am executing it.
The first movement shows a respect for place. You bow to the place where you are to practice.
The sword is secondary at this point because it is by your side.
Next you bow to your Sensei and your fellow students. This also has the benefit of giving you
the chance to make a promise to yourself, that you will dedicate this time fully to your art. The
sword is at your side once more.
The sword is then moved respectfully in front of the practitioner. This shows an understanding
that the blade is a partner. You then bow to the sword, acknowledging this partnership.
The sword is a weapon. It demands respect. You can injure, maim and even kill yourself or
others with it. It is power in your hands. It demands respect and responsibility. The bow to the
sword is another contract. It is an agreement that you will treat each movement with respect and
care. That you will take care of the sword, because it will take care of you.
Finally, the sword is retrieved respectfully and positioned in front of the practitioner. This is done
in the center of the body, and is centered to the body. The end of the Saya is taken in hand and
the entire Katana is positioned for proper insertion into the Obi.
It may seem trivial to the observer, but this portion of Reiho is vital. Proper positioning of the
Katana will ensure that there are no interruptions during your practice. The sword must ride
against the hip, with the Tsuka angled toward the center of the body and the Kashira centered
on the Tanden. This position ensures the proper flow of technique.
For me, the Reiho in Omori is all about finding the center. In the west, we have a difficult time
understanding this concept, and since all of the techniques rely on moving the Tanden, we need
to fully embrace the understanding of ‘center’.
I have many years to go in order to understand this concept myself, but I have felt it from time to
time. When one feels the Tanden move the sword and not the arm, then there is a moment of
clarity. This is what the ancients discovered and where the power of the swordsman lies.
Now if only I can keep that moment of clarity in focus, then the techniques would flow.
I have the rest of my life to find it.

1. 2023/07/17(月) 21:25:00|
2. 昇段審査論文

　大石神影流の大石英一先生も個人の道場は持っておられませんでした。先生のお父上は先生がお生まれになってすぐに亡くなられましたので御祖父様の一（はじめ）先生に育てられました。大石英一先生は学校から帰るとすぐに御祖父様から庭で稽古をつけられていたとお話になっていました。
　さて私が稽古をつけていただいたのは、先生が経営されていたビジネスホテルのガレージでした。初めは稽古着も持参しましたが、そのままでよいということで着替えることもなく外から見えるガレージでの稽古でした。先生が入院されるまでガレージでの稽古は続き気合をかけながらの稽古でしたが、外を歩く人はありませんでした。大石神影流はすり足で移動することはなく一歩一歩足を地面から浮かせて進みますので、コンクリートの上で靴を履いたままでも稽古できます。

1. 2023/07/18(火) 21:25:00|
2. 居合・剣術・柔術 総論

　ダンビル支部で稽古されている方の論文です。素直に指導されたことを求めておられます。

Oishi Shinkage: Etiquette
One of the most difficult parts of Oishi Shinkage for me has been the understanding of how to
approach the art itself. In Jujitsu, there is an opening Reishiki. In Muso Shinden, there is a
seated Reiho with multiple bows. Oishi Shinkage, has a single deep crouched bow to the
ground.
In every martial art, there is an opening and a closing to the art. It is a thing that we in the west
do not fully understand, but we can appreciate its beauty.
Even though the opening and closing bows are short, they are still required in order to fully
practice the art. The reason? Etiquette.
The word etiquette means different things to people in the west. I have always seen it as using
good manners and being polite. In the east it is especially taken seriously. I can only assume
that being polite was a manner of survival in a world where nearly everyone was armed.
This especially holds true in a dojo setting where the students are striving to learn difficult
techniques. It can be frustrating when you fail to grasp a concept, or when another student
accidentally hurts you. Tempers can flare and there are usually deadly weapons nearby.
Training in a situation were etiquette was not observed could be deadly.
Perhaps this is why etiquette is demanded in martial arts training. It is there to remind the
students that they are here to learn. That this is not a competition against anyone but yourself.
That you must recognize your place in your own journey, as well as being respectful of how far
others have come. You must surrender your ego and realize that you do not know everything,
and that it is okay not to know everything.
Furthermore, the dojo should also offer a feeling of welcome. Etiquette toward one another
should be one of compassion, friendship and empathy. We are all on the same journey. If you
are on a trail and you see a fellow hiker injured on the side of the road, you should feel inclined
to help that person get back on the journey. That’s also how it is in the dojo.
We all have good days and bad days. We all struggle with a certain technique. Each of us
should be respectful and compassionate. Likewise there are things that we do well, and we
should congratulate those fellow students that overcome those obstacles.
All of us are on the same journey.
Learning techniques in a simulated combat situation makes this understanding more important.
As we learn to read the opponent, strike before they do and deflect a heavy blow, it is most
important to stay calm and release your ego.
In a real fight, your body is flooded with adrenaline and stress hormones. It is easy to lose
control. Fear is a poison. Learning combat techniques can be stressful. It is important to not only
train your body for the movements, but to train the mind to stay calm.
I read about the concept called the “normal mind” where the fear and ego are calm in a combat
state. I understand the concept, but the irony is that in a fight, the mind is far from normal.
However, cultivating this mental state even in a stressful situation is a higher dimension of the
art, and one that we not only strive for, but are deeply humbled to learn.
The etiquette of Oishi Shinkage is to understand that we are learning an art passed down by
men who lived in the shadow of death. Whatever our modern reasons for learning this art, we
should be respectful of those who came before, and supportive of those learning it now

1. 2023/07/19(水) 21:25:00|
2. 昇段審査論文

　半棒で最後に打太刀が受けるのは半棒の打込から身を守るためでなく半棒に打ち込ませる稽古をさせています。ここを勘違いして「どうだ自分には打ち込めないだろう。」という稽古をしてしまったら打太刀が半棒を使う者を導いていることにはなりません。
　また半棒には刃がついていませんので半棒を使う者の打ち込みには「威」がなければなりません。打ち砕く心が必要になります。これを間違って打太刀の木刀に棒をのせに行くだけの人もいますから指導者はよく見て導かなければなりません。
　六尺棒を廻す稽古は一度習えば個人が家ですべきで、わざわざ道場で稽古して時間を無駄にすることはありませんが、二人で組んで動きながら打ち込むには打太刀が必要になります。



　

1. 2023/07/20(木) 21:25:00|
2. 柔術 業

　ダンビル支部で稽古しておられる方の論文です。

Kutsugata: Etiquette
Reishiki is called “bowing in and bowing out” in the west.
This is a misunderstanding of what is really going on. It is not just the opening and closing of a
ceremony, nor is it a way to mark the beginning and the end of a given event. It is about
connection.
Jujitsu can be executed with devastating effect, thus it is important to train jujitsu in a manner
that is not only considering safety, but also communicates a deeper concept. That concept is
that of connection. Connection with your partner, and even (and especially) your attacker.
In the first sense, a jujitsu practitioner must connect with their training partner. This is done
through the very first technique: Reishiki. All motions, actions and intentions must be in sync
with your training partner. This facilitates the rhythm of training.
Once this rhythm is established, it is important to keep this timing and poise as you execute the
techniques. Each technique relies on proper connection, or the technique fails. It is more than
just timing and motion. Jujitsu is the art of suppleness, thus each technique must be executed
without brute force. The only way to begin to achieve this is to connect with your partner.
It is even more important should you ever need to defend yourself from an attacker.
In the stress of a violent confrontation, the body dumps stress hormones into the bloodstream
causing agitation, fear and can often manifest in trembling. It is almost impossible to relax in a
situation like that.
I have heard it said that combat training is “stress inoculation”. In the west that is akin to getting
a vaccine against an illness that you do not want to get. Training in an art of suppleness
requires something more than mere training of movements. You are not inoculating yourself
against stress hormones, rather, you are training to minimize the need for them.
It all goes back to connection. You must connect with an adversary in the same way you
connect with a training partner. You must be able to move as they move, when they move, feel
their intentions when you make contact with their body. Feel where they are going so that you
can move softly and redirect their energy.
It begins with Reishiki .
Movement. Timing, Synchronization. Connection. They are all present in the opening techniques
of Reishiki .
Both people lower together, touch the mat together, eyes locked to each other. They are not
touching, but they are connected. The initial strike from the attacker, the intercept from the
defender.
Connection.
The defender redirects the initial energy, folding the attacker’s arm and turning him. The push
follows, driving the attacker away. Energy redirected, yet connected.
The defender absorbs the energy, sinking to his knee, while the attacker redirects the push into
a turn of the body. They once again face one another.
Connection.
The arms of both practitioners extend, they both kiai, “Ehh!”
Connection.
The arms of both slowly descend in unison, maintaining the connection, establishing the timing
of the training to follow. All of this is established in the Reishiki.

1. 2023/07/21(金) 21:25:00|
2. 昇段審査論文

　ダンビル支部の無雙神傳英信流抜刀兵法の二段の論文です。よく稽古を重ねて記されています。日本文化、とりわけ武道が好きな方で日本に関する書籍を何十冊も持っておられるということです。

In Muso Shinden Eishin Ryu Iai Heiho I have been concentrating on how to truly relax my body. So that way I can draw and cut with my tanden without losing the feeling of the kissaki. Relaxation is of the utmost importance in all our arts. If you are stiff or trying to use too much strength, you will never be able to move through the kata in the correct way. That is why I have really focused on trying to relax my entire body as I draw and move in Muso Shinden Eishin Ryu Iai Heiho.
Learning how to relax all my movements has been my biggest point that I have been focusing on. From the smallest of movements as in drawing the sword, to large ones such as O-chiburi, relaxation is key for your body to move in the proper way. If you are not relaxed when you draw, you will not be able to fully unsheathe your iaito without extension of the arms. You must be able to sink back into your tanden, while your whole body moves in unison as you draw. The same can be said about O-chiburi. To be able to rise up with the feeling of the kissaki pulling you and keep your balance. You need to be relaxed to be able to feel the weight of the kissaki. As well to be able to move straight up from a kneeling position, while not tensing your muscles.
So to practice this type of relaxation in my study of Muso Shinden Eishin Ryu Iai Heiho, I have been focusing on trying to feel these small sensations like, the weight of the kissaki, moving and cutting from the tanden and to sink into the tanden. I focus on these sensations by slowly moving through different parts of the kata focusing on relaxing. I have also been working on meditation. So that I can also keep my mind calm and focused, which is just as important as a relaxed body. If your mind is tense then so shall your body be. Likewise if your body is tense then your mind will be clouded and you will not be able to move in a proper manner. Hence relaxation being the key and biggest point to deepen my understanding of this art.
Another point that I have been working on is strengthening my knees so that I am able to move through the kata, but also to be able to sit in seiza for longer periods. to work on this I have been sitting in seiza more outside of training. I have also been working on stretching my body, so I can stay more limber and relaxed in training. I work through stretching each of the muscle groups before and after training practice as well as when I feel tension in my muscles while at work. For example, I do lunge stretches to help relax my leg muscles which will also help strengthen my knees. Also I try to relax my shoulders and back with yoga stretches and positions. Tension in the muscles can cause tension in other muscles nearby. It's why stretching is an important step in relaxing your body.
In conclusion my study and practice of Muso Shinden Eishin Ryu has been centered on being able to relax my body and mind.A relaxed body and mind are both required in order to practice Muso Shinden Eishin Ryu properly. Without relaxation, my movements will be stiff, and I will lose the sensation of the kissaki. To achieve relaxation of the body, I do stretches; to have a relaxed mind, I practice meditation to clear it. Because relaxation is something to constantly be working on, going forward in my training of Muso Shinden Eishin Ryu , I will focus on continuing to relax my muscles to have a clear body and mind.

1. 2023/07/22(土) 21:25:00|
2. 昇段審査論文

　無雙神傳英信流の太刀打の出合や詰合の発早も澁川一流の半棒と同じように斬りこませる稽古をしています。大森流の稽古をして空間に抜付け、斬撃させる稽古をした後に打太刀の木刀に斬り込む稽古をさせているのです。打太刀の木刀の上で仕太刀が木刀を止めているのではなく、打太刀の正面に斬り込むかわりに木刀に斬り込んでいます。
　ここで気を付けなければならないのは刃がついていない半棒の打ちこみと、刃がついている刀の代わりに用いる木刀の斬撃とでは異なるということです。太刀打や詰合の場合には打太刀の木刀に打ちこむといっても刀の代わりの木刀ですので、素抜き抜刀術の大森流で稽古したように斬り込まなければなりません。勘違いして半棒と同じように打ちこんでいたら何を稽古しているのかわからなくなります。使うものによって使い方は異なります。

1. 2023/07/23(日) 21:25:00|
2. 居合 業

　無雙神傳英信流抜刀兵法はすり足で大石神影流剣術は一歩一歩地面から足の裏を話して進みます。しかし本質は同じです。私が高校生の頃は家の横の路地で無雙神傳英信流の一人稽古をしていました。小石交じりの昔からの舗装されていない道でした。そこで斬撃や抜付けの稽古をするときにすり足で動くと小石に引っかかたり地面の凹凸にひっかかったりしてうまく足運びができなかったので梅本先生に尋ねました。先生は「そうか。できるはずです。」とおっしゃいました。私の摺足の解釈が間違いだったのです。すり足とは文字通り地面に足の裏をこすって進むことだと思っていたのですが、本質的な足の進め方は後に稽古することになる大石神影流と同じでした。稽古のときにお教えしていますので細部は述べませんが「すり足」という言葉にとらわれなければ本質は同じということが理解できると思います。

1. 2023/07/24(月) 21:25:00|
2. 居合・剣術・柔術 総論

　無雙神傳英信流抜刀兵法の稽古は高段者になれば真剣を使用する方が上達は速やかです。梅本先生は「真剣には模造刀と異なって芯がないように感じる。」という表現をされましたが、また同時に「稽古に当たっては真剣も模造刀も変わるものではなくまた変わってはいけない。」という話もされました。私の経験では模造刀も真剣も正しく稽古していればかわるものではないのですが真剣を用いるとより微細な感覚を養うことができるように感じます。また模造刀しか用いてこなかった人も真剣を用いると模造刀を真剣のように微細に使うことができるようになります。それができる人でなければ真剣による稽古で自分自身を傷つけてしまいます。
　高段者になっていざ真剣を買おうとすればお金が一気に無くなってしまいますが、五六年計画で真剣を買うためのお金を貯める難しいことことではありません。本気で稽古を続けようとするのであればお酒の量を少なくしたり、遊興費を削らなければなりません。またそういったことができないようであれば真剣さが他の人に劣る訳ですから上達できなくても仕方ないと思わなければなりません。
　大石神影流の稽古でも高段者になれば鞘之内の稽古で真剣を用い、澁川一流柔術の稽古でも高段者になれば居合（抜刀術）の稽古で真剣を用います。必要となるものです。

1. 2023/07/25(火) 21:25:00|
2. 昇段審査論文

　無雙神傳英信流の太刀打や詰合だけでなく大石神影流の稲妻や大落でも打太刀に斬り込む稽古をさせています。打太刀が仕太刀の木刀を受けて終わるのは斬りこませる稽古をしているのです。
　これも半棒で打ち込んでいるように錯覚していたら稽古にはなりません。打つと斬るでは大きな違いがあるのです。理解して稽古してください。

1. 2023/07/26(水) 21:25:00|
2. 剣術 業

　稽古を続けていると、理解できるようになり、稽古が楽しくなりどんどん吸収していける時があります。この機会を逃してはいけません。吸収できる時になるべくたくさん会得するのです。この時になるべく多く吸収しておけば、その次に来る進むのが困難になるときに対応できます。たくさん吸収しているので何をどうすれば脱出できるのかがわかるのです。しかし、波に乗っている時期に楽をしてしまうと、次に困難な時期が来たときにどうしてよいかわからずに自分に負けてしまいます。求めるのではなく、今ある自分の地位に安住してしまうのです。そこら慢心が生まれます。
　吸収できる時にしっかり稽古してしっかりと根を張ってください。枝葉は自然についてきます。

1. 2023/07/27(木) 07:50:28|
2. 居合・剣術・柔術 総論

　大石神影流の稽古には総長三尺八寸の鞘木刀を用いるのはご存じのとおりです。正式な演武の場合には脇差または短刀を指すことになっていますので将来的には脇差又は短刀が必要になります。これは模造刀でも構いません。もちろん真剣の脇差や短刀を腰にした方が気が引き締まりますのである程度質の良いものを買い求める余裕がある方はそうしてください。うまく買い求めればそれほど高くはありません。これも節約次第です。
　基本となる三學圓之太刀までの稽古が終わったら槍合、長刀合、棒合の稽古になりますので、打太刀を務める者には鎗・長刀・六尺棒が必要になります。用いる槍は約4m弱ですが、このような稽古槍は現在では樫材もなく、またあったとしても高価で手に入るべくもないので、車に乗る1間半の真槍を仮に用いています。長刀は総長257ｃｍ刃部約40ｃｍを用います。人によりこれより短くてもよいことになっていますが、鑓と同じく樫材が手に入りません。稽古には長刀の動きに習熟してもらうために一人稽古の場合に真剣の長刀を用いていただいています。棒合に用いる六尺棒は澁川一流柔術の六尺棒と共用できます。あとは二刀の稽古をするようになれば小太刀の木刀が必要になるくらいです。正式な演武には刃引きを用いることもあるとされていますが、2尺8寸2分くらいの堅牢な手数の稽古に用いて打ち合わせることができるような真剣を安価で手に入れることは難しいと考えています。
　現在1間半の真槍は7本程度真剣の長刀は数本購入していますので支部で指導するときには車を運転して運んでいますが、各支部でも稽古用のしっかりした木長刀や稽古槍の入手を工夫してください。稽古槍に関しては現在お願いしているところがありますので、複数本購入できる目途が立ったら支部にも連絡します。支部には常備する必要があると考えています。
　大石神影流の稽古には個人でそれほど多くの稽古道具をそろえる必要がありませんが将来的に指導者となろうとする方はそれなりの稽古道具を買い求める資金が必要です。今からそのための預金をしておいてください。

1. 2023/07/27(木) 21:25:00|
2. 剣術 総論

　澁川一流柔術の稽古道具で必要なものは木製・模擬刀の懐剣、互棒、半棒、三尺棒、六尺棒、十手、分童、小棒、鎖鎌といった主に木製品です。居合（抜刀術）に真剣を用いても無雙神傳英信流抜刀兵法の真剣と共用できます。懐剣、互棒、三尺棒くらいは白樫で自作できます。半棒、六尺棒も自作できないことはありませんが難しければ澁川一流に用いる径で武道具屋で注文できます。十手や分童、鎖鎌も自作できますので、自分で作る労をいとわなければそれほどの出費はありません。苦手な方は早めに取りかかっておけば時間はあります。

1. 2023/07/28(金) 21:25:00|
2. 柔術 総論

　門人の中には武道に縁のない知人から「真剣を持っていたら斬ってみたくなりませんか」と言われることがあるようです。この場合の「斬ってみたく」とは人を斬ってみたくならないかということなのでしょう。このように言われるのは真剣を持っている人の物腰態度人格によるところがあるのではないかと思います。
　私はそのように言われたことはなく「何時頃の時代のものですか」とか「高価なものなのでしょう。」とか「どれくらいの数持たれていますか。」などと聞かれたことしかありません。
　友人が冗談で「斬ってみたくならないか。」と聞いたのであれば聞き流しても大丈夫と思いますが、それ程親しくない人ににそのように聞かれたとしたら自分自身に普通ではない何かが表れているのだと思った方が良いように思います。

1. 2023/07/29(土) 21:25:00|
2. 居合・剣術・柔術 総論

　何年も前から書道を習っていますが、やっと見えるようになってきてはいるものの60年近くの悪癖が邪魔をして見たとおりに書けるのはまだまだ先のことです。小学生の頃に漢字の書き取りを数十回書くことが宿題でした。自分自身は数回書けば覚えているのに無駄なことを何十回もさせられて帰宅後に遊びに出るのが遅くなるのが嫌でいい加減に自己流で素早く字を書いていたらそれが癖になっているのです。わかっていても癖が出ます。小学生たちが書道の稽古を始め、はじめは上手とは言えなかったのに数年たつと見違えるような素晴らしい字を書くのをみていると何も癖がないことがいかに重要かということがよくわかります。
　武道もこれと同じで、はじめに貫汪館で稽古している流派と真反対のような武道を経験しているとなかなかその癖が抜けず流派に入れません。自分は一生懸命やっていると思っても、その癖の上に貫汪館の流派を身につけようとしていますので全く流派は身についていないのです。自分の癖がわかっていなければまずは自分がどのような癖を持っているのかを見つけることから始めなければなりません。自分の癖がわかったらその癖をなくす努力をしなければなりません。そしてはじめて貫汪館で稽古している流派の習得のための稽古が始まるのです。自分にはアドバンテイジがあると思っていたら、武道を何も経験してこなかった人があっという間にはるか先に行ってしまいます。また癖がなくなったように見えるまで稽古をした人も注意しなければなりません。体の動きの癖と同様に心の癖があります。体の癖が直ったと思っても心の癖はそう簡単に直るものではありません。心の癖が少しでも残っていれば体の動きの癖はすぐに復活します。

1. 2023/07/30(日) 21:25:00|
2. 居合・剣術・柔術 総論

　初めから真剣を用いて稽古できる人は幸せですがほとんどの人は模造刀による稽古を経て後真剣を用いて稽古するようになります。この時に模造刀で稽古していたように稽古できなくなる人は模造刀を真剣として扱わずいい加減な稽古をしてきた人ということになります。
　刃がついていないので模造刀の刃の部分が手に触れても気にせず稽古している。刃がついていないので抜付けで刃が鞘（鯉口）に強く当たっていても何も感じない。模造刀でメッキであるので数日手入れせずに刀油を用いなくても錆びないから大丈夫と考えている。
　上記のような感覚で模造刀を用いて稽古していた人は真剣を用いて稽古するようになると必ずけがをしたり、刀をひどく錆びさせてしまいます。模造刀を用いて稽古しても真剣であるという思いを持たなければ上達はありません。ぎゃくに模造刀を真剣だという思いで繊細に稽古する人は上達していきます。

1. 2023/07/31(月) 21:25:00|
2. 居合 業