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The Newsletter of the Jikishin-Kai International Kagami The Newsletter of the Jikishin-Kai International Kagami Production: Kagami - Summer 2009 Volume 4, Issue 2 Executive Advisor: Ken I Ittai: by Masayuki Shimabukuro, Hanshi Masayuki Shimabukuro, Hanshi Over the last few years, there has been an increasing emphasis on kenjutsu training at Advisor: Jikishin-Kai International (JKI) events and seminars. We have always included a signifi- Carl E. Long, Renshi cant amount of katachi training in the study of Muso Jikiden Eishin-ryu within the JKI. Editor: However, it has been my belief that the study of an additional kenjutsu system within the Erik A. Johnstone JKI will result in a much deeper understanding and higher expression of swordsmanship among the students in the JKI. It is for this Assistant Editor: reason that I have pursued the study of Ono-ha Itto-ryu Kenjutsu and was able to receive per- Adrian Smith mission from Sasamori Takemi, the 17th Soke of Ono-ha Itto-ryu, to establish a kenkyukai within the JKI to oversee the practice of Ono- ha Itto-ryu within our organization. Inside this Issue: One may ask why I believe that there should kenjutsu contain at least some iaijutsu or bat- be such an emphasis on kenjutsu within the tojutsu within their respective curriculums. Ken I Ittai 1 JKI. The answer is actually quite simple: the However, most practitioners of the Japanese sword arts are truly martial arts of the highest sword arts today focus only on iai, engaging in From the Editor’s 2 degree; the pinnacle of traditional Japanese little if any paired practice. This is a mistake, Desk budo. And the highest expression of the tech- one that results in an incomplete understand- Membership, Lead- 5 niques of Japanese swordsmanship is found in ing of how to truly use the sword; how to ership and Owner- the phrase “Ken I Ittai”, or “kenjutsu and iai- really express the true depth and breadth of the ship jutsu as one body or entity” or the essential iaijutsu and kenjutsu. unity of kenjutsu and iaijutsu. Dojo Spotlight - JKI 6 There are many aspects of toho that we focus at Gold Coast Aiki- The study of the sword is the study of face to on in our training, elements such as hasuji, use kai face combat; the study of life and death. It of the shinogi, and sayabiki, and the regulation therefore stands to reason that in order for one of breathing to name just a few examples. The Four Phases of 7 to truly understand the sword arts, one must These are critical elements of swordsmanship Karate-do engage in the regular practice of kumitachi or that, along with many others, are studied katachi, the paired kata of kenjutsu and iai- deeply in solo iai practice. However, if one jutsu. It should be remembered that iaijutsu truly wishes to understand how these aspects News & Announce- 8 may be thought of as a component, or aspect, are truly applied; if one wants to truly under- ments of kenjutsu, one that trains the swordsman to stand how to use the sword, one has to practice respond to or defend against a sudden attack. kenjutsu kumitachi diligently. JKI Gasshuku 2009 9 This was a significant consideration, one that was of such importance that most schools of (continued on Page 3) Upcoming Events & 11 Seminars Page 2 Kagami - Summer 2009 Page 2 From The Editor’s Desk: On Intent by Adrian Smith, Shindokan Dojo On Intent In the past decade I’ve been lucky enough to study two martial arts in some depth: first aikido, in which I trained full-time in Japan for a number of years, and now Muso Jikiden Eishin-ryu with Erik Johnstone Sensei in Rhode Island. My aikido (a small and little-known style called Doumukai) has always involved non-contention in some form. Nage never enters uke’s space unless absolutely necessary, but instead draws uke into attacking, takes ku- zushi and controls uke (either by pinning or by throwing) without ever forcing a fight for space. I had seen mushin on my sensei’s face and felt it in his body many times as he threw me but never considered how he projected his intent onto me, and then through me, until I started train- ing in MJER. Now, after two and a half years of MJER Editors note: training, coupled with a recent introduction to Ono-ha Itto- ryu, I feel as if I’m scratching the surface of an extremely Welcome to the Summer 2009 issue of Kagami! We are a bit late in our release, but despite a few technical glitches along the deep subject, one that will take me a long time to under- way, we are endeavoring to get back on track with our schedule. stand fully, if ever. As you may (or may not) have noticed, we are experimenting with a few slight changes in layout. Among these changes is the Step one for me was to consider the concept of Shin-Gi- two column per page format. Please let us know what you Tai (mind-technique-body), and the idea that shin is the think! most important of the three, as stated by Shimabukuro Sensei. Not just being mindful, or being determined Additionally, my good friend and Assistant Editor, Adrian Smith, (although those are important), but the idea that to win a had a greater hand in the overall production of this issue, includ- contest one must know that he has already won, that his ing writing the article that serves as this month’s “From the Editor’s Desk” installment. He has been a great help in the pro- opponent is irrelevant and merely in the way of his mo- duction of Kagami, and I want to make sure to thank him here! tion. This is eloquently demonstrated in Ono-ha Itto-ryu in that every one of shikata’s cuts is down the center, moving We also feature yet another insightful article by Shimabukuro uchikata offline and taking kuzushi simply by cutting to Sensei that we are sure you will enjoy. Also, Gasshuku 2009, the midline without regard for the opponent’s blade. originally announced in the last issue of Kagami, is now only two weeks away. However, we are including a special two-page After this crystallized in my mind (but not yet in my advert, prepared by Erik Tracy of Hombu Dojo, as a reminder body!) I next began to contemplate Ken-Shin Ichi-Nyo out there for anyone needing to make last-minute arrangements (sword/body and mind as one). If my mind (shin) is in a to attend. state where my opponent doesn’t matter, then my body Thanks to everyone who submitted articles or provided images should be in that same state to achieve true Ken-Shin Ichi- for use in this issue. I also want to thank those (especially the Nyo. If my opponent isn’t important, there’s no need to folks in Costa Rica...you know who you are) who have submit- tense my muscles, to feel a surge of adrenalin as I move, ted articles that have not yet been used. Rest assured, the are or to tighten in anticipation as I perform techniques. All queued up for use in upcoming issues! By the way, please keep that matters is the motion of my body and sword (Ken) and the articles and submissions coming; we absolutely need then to the state of mind (Shin), both of which should be unified keep this effort going! As Chuck Arnold of Hombu Dojo stated as one. All that matters is that I perform the technique to a few month’s back, “Kagami belongs to all of us.” He is abso- the best of my ability, since my opponent is irrelevant. lutely correct in that regard, so please take a portion of that ownership by stepping up and contributing! We look forward to hearing from you. Once I understood this in my mind and in my muscles, a rapid evolution occurred in my training. I found techniques I hope that everyone enjoys the rest of the summer! were easier to understand and complete in less time, and Erik Johnstone, Editor Kagami: The Newsletter of the Jikishin-Kai International (continued on Page 4) Page 3 Kagami - Summer 2009 Page 3 Ken I Ittai (continued from Page 1) In proper solo iai practice, one uses one’s imagination to lowing him to attack. However, this is not as simple a “create” the opponent or opponents, drawing, cutting, strategy as it may sound. As stated above, the opportuni- blocking, and cutting again, polishing the components of ties for an attack to be successful are limited; therefore, one’s technique. This is most certainly an excellent com- shitachi, the defender, has to draw uchitachi into a com- ponent of training, allowing the practitioner to develop and mitted attack. How does shitachi accomplish this? He polish his or her technique at an often unhurried pace. does so by exerting pressure through the kissaki, thereby However, this is a dramatically different form of training forcing uchitachi to attack. There are numerous ways of than practice with a real training partner. Obviously, in executing this, however a complete discussion of these face-to-face combat, an opponent would not simply wait methods (a series of articles in and of themselves) is be- for a swordsman to execute his technique. This is one of yond the scope of this article. These subtle skills are the important factors in engaging in paired practice. A among the most important lessons in the Japanese swords training partner changes the feeling, and therefore the un- arts and can only be understood through the practice of derstanding, of everything in one’s swordsmanship: tim- kumitachi.
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