12 February 2012| Page 1 THE KAZE ARASHI RYU A History & Antropology weapons practice instead of attempting to still A MODERN MARTIAL ART teach the art independently, as other ex-students I practiced Kaze Arashi Ryu (KAR) for sixteen had previously done when leaving or being years until I realized I was being misled by my kicked out of its organization. I have instead instructor about the origins of his martial art. He fulfilled my curiosity about medeival Japanese represented KAR as a classical Japanese martial swordsmanship by seeking out classical arts art (koryu) practiced by mountain ascetics (koryū). (yamabushi) in the Dewa area of Japan. More Later, I met with an Aikidō shihan who had spectacularly, KAR was said to contain a form of trained under Tohei Koichi in Hawaii and asked "aiki-jujutsu" in its syllabus that was one of the him about about various KAR jujutsu locks and parent arts of Daito-ryu. Instead, and in short, throws, in an effort to puzzle out where the KAR is a modern cognate jujutsu art: a combina- empty hand portion of its curriculum came tion of Isshin-ryū Karatedō, Shorinji Kempō, from. All of the "aiki-jujutsu" throws I demon- Kodokan Judō, Aikidō, and waza adapted from strated, the shihan remembered practicing un- older Jujutsu styles including Sosuishi-ryū, Dai- der Tohei in the 1950's. So, a great part of what tō-ryū, and Danzan-ryū. Additionally, and un- is preserved in Kaze Arashi Ryu "aiki-jujutsu" fortunately, it contained a large weapons curric- seemed to be in fact adaptations of 1950's era ulum of sword and stick movements that were Aikidō. This began to lend credence to the idea largely invented from whole cloth. that KAR's unarmed curriculum was also recent After I had resigned from KAR, Ellis Amdur in vintage, although possibly of higher quality helped me analyze the KAR sword and stick than its weapons arts. This led me to focus on curriculum and concluded that it was a pastiche only preserving a subset of the self-defense and of movements glued together from different tra- Aikidō and Judo/Jujutsu techniques I learned as ditions, largely by someone who held little un- part of KAR, and focusing not on preserving the derstanding of the parent arts. While some ele- forms (two man kata called "tai-sabaki" in KAR) ments of the syllabus had value, there were a of that practice, but instead integrating those great number of teachings which would put the techniques as finishing movements to comple- practitioners in danger were they to be actually ment my neijia practice. used outside a dojo. Confirming these observa- tions is what caused me to abandon my KAR © 2012 Inner Dharma, All Rights Reserved. 12 February 2012| Page 2 Third, in November 2007 I reconnected with an have since discarded the kempo I learned in old training buddy, Louis Bravo. Louis is a KAR in favor of nèijiā. I heard from Lou again in Hakko-ryu black belt who trained in karate and 2011. Lou, while in Chile, ran into a source who Aikidō before visiting our Kaze Arashi Ryu dojo had trained with the founder of KAR in the on the recommendation of his father. His father 1970's during the period of invention of KAR. is a Hakko-ryu practitioner who had heard of He had the following to add: Kaze Arashi Ryu as an art that was taught as a “I had a chance to meet with someone who was with variation on Miyama-ryu and effective for street HRV in the early pre KAR days in New York. He fighting and self defense. I asked Louis to check told me the base for KAR is Shorinji Kempo before what his father exactly knew about KAR's histo- the Aikidō was added. He told me that the Aikidō ry. Louis himself felt KAR was similar in some that KAR has is not modern Aikidō but pre-war Ai- ways to the techniques he saw in Hakko-ryū kidō giving it more variations of throws, locks, etc. The weapons he was not sure on but said that the and old Aikidō that were both derived from original goal of KAR was of a Goshin-Jitsu. Daitō-ryū, but mixed with Karatedō and Judō: He told me that even the story of Nishiyama passing “I got a call from my old man and he gave me the away and his only duaghter taking over the system missing link. Here is the breakdown for KAR. Sensei was the true story of Shorinji Kempo who head mas- Claudio was the founder Hoteikan Ryu. He worked ter is the duaghter of the founder who died sometime with Sensei Perreira before he created Miyama Ryu. in 1981 and the founder was in his own words a War- He was a Karate and Judo guy. Sensei Claudio rior Monk. So both the Kempo and Aiki of KAR can worked out of several dojos including the basement be traced back to older systems of Japan and China. in the Bronx [which had split off from Miyama Ryu] This is why the Atemi / Aiki work well for a Goshin- I told you about during this period. Sensei Claudio Jitsu. met Sensei Robert Hasman and ran study groups around NYC in the 70's and 80's. Sensei Claudio was The guy told me that also at this time HRV used the also a contemporary of Sensei William C. Morris, a records of the Asahi Newspaper office in Osaka sensei of Sosuishi-Ryū Jujutsu and Danzan Ryū Jujit- where many Daitō-ryū techniques were preserved on su. They had a Black belt named David Samuel [the film as originally taught by both Ueshiba and Takeda man Vilaire initially claimed was his instructor]; he Sokaku to make his art more solid and traditional. He was a former Marine. Kaze is Sosuishi-Ryu Jujutsu told me that at this time the adding of arts or creating mixed with Sensei Claudio's Karate and Judo and of a system was a big thing in NYC since it was the Sensei William C. Morris' old Danzan Ryu of Jujitsu. only way to stand apart from the big names schools The Basement dojo and the first Hoteikan Ryu school in NYC like Oyama, Yamada, Oishi. was in a bank in the Bronx that is how HRV came into the picture. The reason HRV is not a Miyama I think the Aikidō and Sosuishi ryu came first when Ryu guy is because he was part of the study group HRV wanted a Goshin art then the Shorini Kempo Sensei Claudio had in the Bronx. completed the system we know today as KAR. The Hoteikan dojo from what I see looks like the lab / I hope this helps in closing the gap you have with testing place for KAR and a few other NYC arts. Kaze. HRV had a good background but no hombu [association to Japan] like many guys from the 70's. I wanted you to know that what you spent so many So he came up with Kaze and that was okay back years on was not a waste of time since KAR has vari- then in NYC. I told my old man this was like finding ations of techniques that many of todays Aikidō Jimmy Hoffa.” black belt have never seen before. In closing on KAR I now understand that it does have a real base its just Lou's current focus is Brazilian jujutsu, but still that HRV for some reason had to create a story for it values some of his KAR training. I, in contrast, © 2012 Inner Dharma, All Rights Reserved. 12 February 2012| Page 3 and that is when I think the weapons part came into CONCLUSION KAR.” The above is important to relate because I con- Lastly, a former colleague began training under tinue to receive email inquiries from people who a long time teacher of Sosuishi-ryu in NYC have read this website, looked at forums like E- whose self-defense teachings helped inspire Budo, and ask (to paraphrase): some of KAR's practices. Doing so, he discov- "I looked around on the Internet and see you have ered that many of the original stories or descrip- quit Kaze Arashi Ryu -- I don't care whether KAR is tions associated within the KAR organization to old or new, just whether it is effective or not. There is its teacher's instructors (fictitiously named Lee a KAR school in my area, do you think I should prac- Samuel and Aikihiro Nishiyama) were actually tice KAR?" taken from the lives of teachers of Sosuishi-ryu. Many of the people whom I've met while train- So, Shorinji-kempo was not the only art KAR ing in KAR were fine individuals and good mar- stole back story from. tial artists. However, until KAR as an organiza- This kind of history, except for the assertion that tion can be open about the nature of what it an art is actually classical in nature, is quite teaches, and come to grips with the fact that it is normal for the type of martial arts being prac- not preserving a medieval Japanese battlefield ticed in New York City in the 1970's and 1980's. martial art, but instead teaching a modern crea- A talented martial artist takes his own practice, tion which is constantly evolving for better or which may come from a number of sources, and worse, I cannot recommend people seek out its begins to refine what he is doing.